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Department of Music Concert Calendar

Most Department of Music concerts are general admission, FREE and open to the public.  Ticketed performances are listed below and available for sale online or via the Music Box Office: (858) 534-3448. 

Purchase Tickets online for Department of Music Events

Maps: to the Conrad Prebys Music Center pdf / weblink          Sign up for music events e-mail newsletter.

PLEASE NOTE: NO LATE SEATING.  Guests arriving late may be turned away or will be asked to enter between pieces.


 

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Guest Speaker: Gerard Assayag
Tuesday, April 23rd, 2019
8:00 pm
Conrad Prebys Music Center Recital Hall
Free

Gerard Assayag

IRCAM, Paris

Improvisation can be seen as a major driving force in human interactions, strategic in every aspect of communication and action. In its highest form, improvisation is a mixture of structured, planned, directed action, and of hardly predictable local decisions and deviations optimizing adaption to the context, expressing in a unique way the creative self, and stimulating the coordination and cooperation between agents. An invaluable observation deck for understanding, modeling and promoting co-creativity in a context of distributed intelligence, Improvisation is an indispensable ability that any cyber-human system should indeed cope with in an expert way. Improvisation is instantiated in its most refined form in music, where the strongest constraints govern the elaboration of highly complex multi-dimensional, multi-scale, multi-agent actions in a cooperative and timely fashion so as to achieve creative social and cultural cooperation.

Setting up powerful and realistic human-machine environments for improvisation necessitates to go beyond the mere software engineering of creative agents with audio-signal listening and generating capabilities, such as what has been mostly done until now. Gerard Assayag has coined the term symbolic interaction in order to account for a richer and more versatile musical dialog between machines and humans, spanning over several levels of information from acoustic signals to the higher symbolic integration scales that are familiar to trained musicians. In order to foster realistic and artistically interesting behaviours in creative software agents, and to communicate with these in a productive way, we bring into synergy a combination of technical means: machine listening — extracting high level features from the musician signals and turning them into significant symbolic units ; machine cognition — discovering and assimilating on the fly structural schemes and learning powerful representations ; style modelling— elaborating consistent model of style an activating generative processes ; symbolic music representation — linking to formalized representations underpinning organized musical thinking s;a. analysis and composition. All these means cooperate — or compete — in order to elaborate multi-dimensional and multi-scale memory models, underlying processes of discovery, understanding, adaptation, reactivity, decision, planning, generation and contributing to the emergence of creative musical agents acting individually or in social interaction with other agents.

Improvised creative interactions between humans and machines can thus be studied from different perspectives (social sciences, AI, signal processing, control theory, robotics) and modalities in order to highlight the conditions under which these interactions can emerge, their temporal adaptation dynamics, their logical strategies, and to exploit their creative potential. We have proposed the expression co-creativity between human and artificial agents in order to emphasize the fact that creativity in this case is an emerging phenomenon resulting from complex interactions and complex crossed feed-backs between actors, and cannot be reduced to one or the other agent’s production in isolation, whether the latter be human or artificial. 

This neutralizes the endless philosophical question of whether artificial entities can be qualified as “creative” or not, and shifts the research interest to the exploration of how to build the best possible technical tools in order to allow co-creative interaction to occur. 


 


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Jasper Sussman - Graduate Recital
Saturday, May 4th, 2019
5:00 pm
Conrad Prebys Music Center Recital Hall
Free

Jasper Sussman is a music researcher, voice artist, collaborative composer, and educator pursuing her Ph.D. in Integrative Studies at the University of California San Diego where she studies the in- and exclusionary aspects of vocal performance and practice. Her first dissertation recital features 20th and 21st-century music with vocal styles ranging from Italian verismo to American Appalachian. Her fondly selected program delightfully showcases the diversity of the human instrument.

Featuring: Christopher Clarino, percussion, Mari Kawamura, piano, Kathryn Schulmeister, double bass

PROGRAM
Georges Aperghis (b. 1945) | Pub 1 (2002), Pub 2 (2002)

Tansy Davies (b. 1973)
         Troubairitz: 1. What I Write Now, 2. Secret Wishes, 3. Since I Refused,
         4. Beloved Friend, 5. Now He Is Gone, 6. Winter, 7. I Walk Alone (2010)
               featuring Christopher Clarino, percussion

Francis Poulenc (1899-1963) | Violon: Fiançailles Pour Rire (1939)

Gustav Mahler (1860-1911) | Ich bin der Welt abhanden gekommen (1901)

Giacomo Puccini (1858-1924) | Un bel di, vedremo (1904)
               featuring Mari Kawamura, piano

Shawn Jaeger (b. 1985) | In Old Virginny (2007)
               featuring Kathryn Schulmeister, double bass


 


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Joseph Garcia - undergraduate recital
Saturday, May 18th, 2019
5:00 pm
Conrad Prebys Music Center Recital Hall
Free
Self Supported Event
Sponsor: Phil Larson



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UG Percussion Ensemble, MUS 32
Tuesday, May 21st, 2019
7:00 pm
Conrad Prebys Music Center Recital Hall
Free

 


 


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Jennifer Colin, soprano - Senior Recital
Friday, May 24th, 2019
5:00 pm
Conrad Prebys Music Center Recital Hall
Free
Self Supported Event
Sponsor: Phil Larson


Vocal student Jennifer Colin, accompanied primarily by pianist Remi Ha, presents her senior recital. 

The program will include exerpts from Pierre Lunaire, German lieders, and French and Italian arias.


In an effort to conserve resources and reduce paper waste, we post our concert programs as electronic documents on this page (see listings, below). If you are not at a computer, you can easily access this page by scanning the QR code at right (for iPhones we recommend the Bakodo barcode scanning app). Programs for past concerts dating back to October 2008 are available in our concerts archive. Click here to connect with the archive.

PLEASE NOTE: As an experimental and new music department, much of our music is very intimate and quiet, for this reason, we request that students preparing concert reports refrain from writing or rustling papers during concerts.  We also respect the artistry of our musicians and adhere to a strict policy of NO LATE SEATING.  Guests arriving late may be turned away or will be asked to enter between pieces.

Please Note: The Department of Music does not take responsibility for the content of external websites, Facebook pages, and other outside UCSD.

 

Copies of concerts performed by the faculty and students of UCSD Music Department are available for educational use only by the performers, composers and faculty involved in the event pursuit to all applicable copyright laws. View our Dubbing Policy for more information.

View events only for these locations: Conrad Prebys Concert Hall / Recital Hall / Experimental Theater / Mandeville Auditorium /

View Archived Events