Harpist Jacqueline Pollauf gives a solo recital showcasing the many capabilities of the harp, performing a variety of pieces, both original works and transcriptions, including music by Gabriel Fauré, Nino Rota, and Micheline Kahn. Throughout the program, Pollauf will offer remarks and insights about the works presented.
Join us for UMBC’s 14th annual Livewire new music festival, an exploration of new sounds presented in six concerts over three days, October 24 to 26. Livewire 14: Resounding celebrates the work and completion of I Resound Press, an online archive of scores and recordings by women composers selected for their imagination, innovation and craft. Featured guest composer Annea Lockwood will interact with students and audiences in a variety of events, including a sound installation, public conversations, open rehearsals, and a concluding portrait concert of her recent works. Hub New Music, Sofia Kamayianni and Tim Ward, Caballito Negro, and the UMBC faculty contemporary ensemble Ruckus will present concerts including works from the I Resound archive by composers Rahilia Hasanova, Patricia Repar, Sofia Kamayianni, Linda Dusman, Anna Rubin, Lois V Vierk, Ruth Lomon, Caterina Calderoni, Jane Rigler, and Eleanor Hovda. Livewire 14 features premieres by Hasanova, Dusman, Alexandra Gardner, and others, including Sam Garrett, the commissioned alumnus composer for 2024.
The Livewire 14: Resounding festival presents a multi-day installation of featured composer Annea Lockwood's work A Sound Map of the Hudson River. The public is invited to enjoy this installation throughout the festival.
The 14th annual Livewire new music festival kicks off with a concert by the Ruckus ensemble, featuring works by Linda Dusman, Alexandra Gardner, Sam Garrett ’11, music, Patrice Repar, and Anna Rubin. The ensemble features UMBC faculty Teodora Adzharova, piano; Lisa Cella, flutes; Patrick Crossland, trombone; Juan Sebastián Delgado, cello; Dustin Donahue, percussion; Natalie Groom, clarinet; Gita Ladd, cello; Airi Yoshioka, violin; and Philip Mann, conductor.
The second of six concerts in the Livewire 14: Resounding new music festival will feature works by UMBC students and music alumni.
The third of six events in the Livewire 14: Resounding new music festival features Sofia Kamayianni and Tim Ward, who will present their jointly developed Piano+ system. The Piano+ system seeks to extend the sound world of the piano using technology while at the same time closely integrating into conventional piano performance techniques the control and shaping of the new timbres made possible. In this way the extension of the piano offers radical new possibilities to a performer while not dramatically changing their physical practice on the instrument.
Livewire 14: Resounding presents an installation of Piano Garden by featured composer Annea Lockwood. In this work, a piano is set down among bushes or in a wooded area, where it remains indefinitely, unprotected from the elements. Over time, vines, plants, and trees grow over, inside, and around the piano as it slowly decays.
The fourth of six events in the Livewire 14: Resounding new music festival features Hub New Music with performances of works by Caterina Calderoni, Rahilia Hasanova, Eleanor Hovda, and Nina C. Young. Hub will be joined by guest artists Teodora Adzharova and Dustin Donahue.
The Cabalitto Negro ensemble, featuring Tessa Brinckman, flutes, and Terry Longshore, percussion, are joined by UMBC faculty Lisa Cella, flutes, and Dustin Donahue, percussion, for a concert of works by Emma O’Halloran, Jane Rigler, Will Rowe, Stuart Saunders Smith, and featuring the East Coast premiere of Birds, Bees, Electric Fish by Juri Seo.
The Livewire 14: Resounding new music festival presents an open rehearsal of "bayou-borne, for Pauline" by featured composer Annea Lockwood.
The Livewire 14: Resounding new music festival presents A Conversation with Annea Lockwood, in which the composer will discuss her life and works with Linda Dusman, professor of music at UMBC.
The final event of the Livewire 14: Resounding new music festival presents the work of featured New Zealand-born American composer Annea Lockwood, who brings vibrant energy, ceaseless curiosity, and a profound sense of openness to her music. Lockwood’s lifelong fascination with the visceral effects of sound in our environments and through our bodies — the way sounds unfold and their myriad “life spans” — serves as the focal point for works ranging from concert music to performance art to multimedia installations.
The annual Daphne Harrison Lecture features Dagmawi Woubshet, Edmund J. and Louise W. Kahn Endowed Term Associate Professor, English, University of Pennsylvania, who will speak on James Baldwin and the Art of Late Style. James Baldwin has come back with full force in our era of Black Lives Matter. In the 100 years since his birth, he has become the most cited literary artist—living or dead—on matters of race on social media since the Ferguson Uprising, his words deployed to expose white power and innocence and to express black rage and ethics. Decades after his death, the fact that Baldwin’s words ring loud and true today not only testifies to his genius, but also offers an indictment of an America that continues to disparage, torture, and murder black people with impunity.
Mark your calendars for a haunting Halloween afternoon of apparitions, psychic phenomenon, thoughtography and cartomancy in Special Collections and the Library Gallery! Special Collections will host an Open House from 12–3 p.m. on Thursday, October 31! Drop by the reading room to view selected highlights from the Eileen J. Garrett Parapsychology Foundation collection, such as early Spiritualist texts, séance recordings, divination tools, and Gef the Talking Mongoose. You’ll also see how students and researchers use these items in their original scholarship.
In this Humanities Forum talk, Adrian De Leon, Assistant Professor, History, New York University, discusses Diaspora’s Boondocks: Hinterlands in Filipino American History. How were the native people from the margins of empire, from Christianized lowlands peasants to sovereign indigenous people in the mountainous highlands, thrust into the center of late Spanish and American imperial projects of race-making across the Pacific? In this talk, Adrian De Leon re-routes the history of Filipino American migration to its indigenous roots in the bundok (Tagalog: the hinterland) of Northern Luzon.
