$15 public, available at the Memorial Union Box Officeand at the door. Free to students. Note: Seating is limited. We recommend patrons buy ahead of time or arrive early.
Yousif Sheronick, a native of Iowa, discovered the music of Arabian countries when his Lebanon-born mother sang tunes over the drone of the family vacuum cleaner. As a youth, he gravitated toward American rock and was a member of the local drum corps. His natural percussion skills landed him a full scholarship to the University of Iowa, but it wasn’t until he enrolled as a master’s student at Yale University that he really dug into the music of Eastern countries. He traveled to Brazil and studied music of India, Africa and the Middle East.
Kathryn Lockwood, a native of Australia, studied classical viola at the Queensland Conservatorium of Music and came to the US in 1991, where she received a master’s degree at the University of Southern California. She then won several awards in succession: the Naumburg Chamber Music Award, Grand Prize at the Coleman Chamber Music Competition, Concert Artists Guild Management Award, and awards at solo competitions such as the Primrose Competition, Washington International Competition, and the Pasadena Instrumental Competition. She was an original member of the Pacifica Quartet and co-formed the Lark Quartet in 1985. Along the way she met Sheronick.
The two met, married and formed a new ensemble, duoJalal, that spanned cultures, genres and styles. “duoJalal started organically when a friend and composer offered to write us a piece,” says Sheronick. “We had so much fun we decided to keep going and commissioned more pieces which showcases our unique voice as an ensemble of melody & rhythm.”
Hear duoJalal on SoundCloud:
“duoJalal” was named to honor the cross-cultural poetry of the 13th-century Turkish poet, Jalal al-Din Rumi, whose work Sheronick discovered when he arrived in New York City.
Today, duoJalal performs music ranging from classical to Klezmer, jazz to Middle Eastern. Wrote Toronto Star reviewer John Terauds: “Sheronick applies impeccable technique to a wide range of percussion tools, from the bodhran in the opening piece to a goat-hoof shaker in Glass’s ‘Duo for Solo Viola and Percussion.’ Lockwood is all slow, sensuous allure with her bowing arm one moment, a tempest of notes the next. If this is what world music’s future holds, bring on the party.”
At the School of Music, duoJalal’s concert was suggested by percussion professor Anthony di Sanza and viola professor Sally Chisholm, the long-standing violist with the . “They sit halfway between the Western classical world and global music, and that’s a world I find interesting,” says Di Sanza. “Yousif plays a lot of Middle Eastern percussion music, and we have a good number of students who have been playing Middle Eastern instruments and studying this regularly. And I also like the idea of collaboration with the string area, and with Sally Chisholm.”
“I am certain she will give wonderful feedback to our violists on standard viola repertoire as well as offer her unique perspective on paths musicians can create for themselves,” says Chisholm.
String Master Class: Mon March 14, 12:05 PM, Room 2521- Free
Percussion Master Class: Mon March 14, 12:05 PM, Room 1629 -Free
Presentation/Discussion about Composing Global Chamber Music: Tuesday, March 15, 12PM, Room 2521 – Free
We hope you will join us for one or more events!
Here is the March 14 concert program:
David Krakauer (b. 1956): Klezmer a la Bechet (in the SoundCloud link above)
Evan Ziporyn (b.1959): Honey from Alast
Yousif Sheronick (b.1967): Jubb Jannin
Enzo Rao (b.1957): A Different World
Kenji Bunch (b.1973): Lost & Found (2010)
I. Lost in Time (Dumbek)
II. Found Objects (Djembe)
Somei Satoh (b.1947): Birds in warped time II (1983)
Giovanni Sollima (b.1962): Lamentatio
For more information, please contact the concert manager at 608. 263.5615.
We thank the University of Wisconsin Anonymous Fund for its support of this residency.
Coloratura soprano Brenda Rae returns to alma mater to raise funds for University Opera
Gazing at herself in a bewitched mirror, she is obsessed with her radiant beauty; she caresses her own face and simpers at an imagined lover. That would be Brenda Rae in Seattle Opera’s February production of Handel’s “Semele,” where she was described by Opera News as “sensual,” “dazzling,” and “moving.”
Above: Brenda sings “Myself I shall adore” in Seattle Opera’s Semele.
Discover the dazzle for yourself on September 27, when Appleton native and School of Music/Juilliard alumna Brenda Rae – who has spent most of the last decade performing in Frankfurt, Berlin and other major European opera halls – visits Mills Hall at 7:30 PM to sing a benefit concert for University Opera. She’ll be paired with the UW Symphony Orchestra as she sings Gliere’s Concerto for Coloratura Soprano, having just finished a run in Milwaukee Symphony’s Cosi fan Tutti. She’ll then fly to Paris’s du Théâtre des Champs-Elysées to sing Zerbinetta in Richard Strauss’s Ariadne auf Naxos.
Brenda’s return is part of a larger three-day fund drive to place University Opera – which has existed at UW-Madison for 57 years, but relies mostly on ticket sales and donations to finance productions – on secure financial footing. On Friday, there will be a free master class in Music Hall from 5-7 PM. On Saturday, two special donor events are planned: the first, a VIP dress rehearsal followed by a private University Club reception for event sponsors. The weekend’s events comprise a fund drive that honors opera alumna Karen K. Bishop, who passed away in January. Her husband, Charlie Bishop, donated $500,000 to the opera program in her name, now matched by a $1 million gift from the Morgridge Fund and local supporters. Read a story in the Wisconsin State Journal about the larger effort.
You are invited to join the many others in Madison who love opera and who have supported University Opera for all or part of its history. Please consider becoming a sponsor:
Includes admission for you and one guest to the private University Club reception with Brenda Rae on Saturday and two tickets to the Sunday concert in a prime seating area.
The Prima Donna
Includes the benefits of the Impresario level, plus your name(s) will appear in the concert program as a master class sponsor.
The Bishop Circle
$1,000 or more
Includes the benefits of the Prima Donna level, plus your name(s) will appear in the concert program as a concert sponsor. You and one guest will also receive admission to the VIP dress rehearsal on Saturday.
Give a gift of $2,500 or more, and you will receive a reserved table in your name for a maximum of eight people at the private University Club reception on Saturday. This includes all the benefits of the Bishop Circle level for the named sponsor, so your name will appear in the concert program at the Bishop Circle level.
Tickets for the Sunday evening concert are $25 for adults, and are available online now; they will also be sold at the door, day of show. Students are free. We invite you to pack Mills Hall and see her now… before she hits the stratosphere!
Legendary “Buena Vista Social Club” musician Juan de Marcos here to teach, perform and inspire
UW-Madison will host legendary Cuban musician, Juan de Marcos González, a driving force behind the Buena Vista Social Club, as the Fall 2015 Arts Institute’s Interdisciplinary Artist in Residence.
During his residency, notable Cuban artists and groups including Afro-Cuban All Stars, Telmary Diaz, Pellejo Seco, and musical members of his family (who also are part of Afro-Cuban All Stars) will perform in Madison. He will present numerous lectures on the history of Cuban music and teach a lecture course called “Afro-Cuban Music: Roots, Jazz, Hip Hop” and a production course “Music Production: Afro-Cuban and Hip Hop Music.” A complete schedule of classes and performances is listed at this website: http://artsinstitute.wisc.edu/iarp/juandemarcos/
Juan de Marcos González was born in Havana, Cuba and grew up surrounded by music. As a musician, composer, and producer, it is his mission to showcase the wealth, diversity, and vitality of Afro-Cuban music to the world. Through his work with the Afro-Cuban All Stars, the Buena Vista Social Club, Rubén González, Ibrahim Ferrer, Sierra Maestra, and others, he has made an extraordinary contribution to raising the profile of Cuban music throughout the world. He has been nominated for a Latin Billboard Award and multiple times for Grammy Awards. During his career, Juan de Marcos has arranged, conducted, produced/co-produced, and/or performed on more than twenty-five albums.
With the appointment of Professor Jerome Camal, a faculty appointment in the Department of Anthropology, this semester marked a new beginning for ethnomusicology at UW-Madison’s School of Music. The new initiative, a “global music studies” program, examines music’s constitution as a cultural force woven into the social and political fabric. The program was the brainchild of professor Ronald Radano, Professor of Musicology and Ethnomusicology and Senior Fellow at the Institute for Research in the Humanities, and former UW ethnomusicologist R. Anderson Sutton, now Dean of the School of Pacific and Asian Studies and Assistant Vice Chancellor for International and Exchange Programs at the University of Hawaii-Mānoa.
The university will offer courses and certificates at both the undergraduate and graduate levels with the expectation of initiating formal degrees in the future. It is made possible through support from the Mellon Foundation.
Camal came to Madison from the University of California at Los Angeles, where he was part of the Mellon Postdoctoral Program in the Humanities, Cultures in Transnational Perspective. Prior to that, he studied at Webster University, where he earned a bachelor’s degree in jazz studies; then earned a master’s in jazz performance from the University of New Orleans; and followed up with a Ph.D in musicology with an emphasis in ethnomusicology and a certificate in American Culture Studies from Washington University in St. Louis.
Up to 2011, he performed regularly on saxophone, clarinet and flute as a freelancer in New Orleans and Saint Louis as well as in Guadeloupe and subsequently in France. Now, Camal’s research focuses on music and politics in the French Caribbean island of Guadeloupe where he has been studying gwoka, a drum and dance tradition peculiar to that island.
This semester, Professor Camal is offering a graduate-level seminar on the subject of “Caribbean Music: Mobile Sounds, Creole Identities.” Next fall, he teach Anthro 104, Introduction to Cultural Anthropology. In the spring, he’ll teach two music- related seminars in the spring, one of them on the anthropology of dance. His summer plans include writing a book and getting married!
I spoke to him about the intellectual journey that brought him from his home in Nancy, France to the United States, first to pursue a career as a jazz saxophonist, and then to undertake formal academic studies.
When did you decide that you wanted to go into musicology and ethnomusicology? Had it been coming for a while, or was there a moment when you started getting really interested in it?
Well, I realized after a while that the musician’s life and lifestyle was just not for me. I’ve always enjoyed intellectual pursuit, and that was missing from my life. I really enjoyed the artistic stuff, and that was great, but the reality is, when you’re trying to make a living as a musician, a lot of times you end up doing the kind of music that you don’t care about, and you can’t do the music you really care about because you wouldn’t get paid for it. Artistically it wasn’t totally fulfilling, intellectually it was a complete vacuum, and financially it was disastrous, so I decided to apply for a graduate program, and honestly at the time I had no idea what I wanted to do. I initially wanted to do this thing on jazz scenes, but it didn’t sound like a terribly exciting topic. Then I got really interested in the Civil Rights Movement, and I started to do a little bit of research on the SNCC Freedom Singers. SNCC (the Student Nonviolent Coordinating Committee) had these vocal groups that raised money. And I wrote a paper about them, and I began to contact some of them, I was gung-ho, I was going to do some interviews…and then Ingrid Monson came out with a book about jazz in the Civil Rights Movement, right then. “Well, there goes that idea,” I thought. And then eventually I found all of this stuff going on in the Caribbean, and because I am bilingual I was in a really good position to do this work.
So you found your way to the study of Caribbean music through jazz?
Well yes, sort of. When I went down to Guadeloupe to do my field work the first time, my idea was to work on the musicians who mixed the local traditions with jazz, and then when I got down there I interviewed a lot of musicians, but they were saying, “Stop with your jazz crap already, why don’t you just focus on our music?” And I discovered that there were some really interesting things going on politically, and that music played a big part in the political questions that were being debated in Guadeloupe. Now I’ve gone 360 degrees because I’m actually working on a big paper on jazz and gwo ka, which is the traditional music. What I’m looking at is the power relationships that are taking place when you have American musicians who go down to Guadeloupe and work with local musicians there, and then they put out a CD. What happens? Who gets to control what the music sounds like, whose name is actually out there?
You’ve also taught some classes on popular music.
That’s the reality of a teaching position, right? I taught at UCLA for a few years, which is a program that’s really into popular music, so one of the courses that I had proposed was on Caribbean popular music, and especially on a side-by-side study of hip hop, Jamaican dance hall and reggaeton. So they thought that I was a popular music person, and so they asked me to teach the history of rock ‘n roll, so I became a rock ‘n roll guy. I did that twice, and I really, really enjoyed it. This year, I’m on the committee for the International Association for the Study of Popular Music conference, and it feels like a good fit. The questions that people who study popular music are asking are the questions that I am interested in learning about.
Jazz, the Caribbean, rock ‘n roll…how did your appointment as an anthropology professor come about?
I was the first hire in Ron Radano’s plan to put together the Global Music Studies Initiative, and they had a really well-defined job announcement. They were looking for someone who did African Diaspora, either the Caribbean or Latin America. It just fit very well with what I do. I’m really happy; I love the anthropology department. It’s cool, because I get to learn something new. It’s also very liberating to teach courses that have nothing to do with music. When I was at UCLA the very first class that I taught was a graduate seminar on music and nationalism, and now, this coming semester I’m going to do a seminar just on ethnicity and nationalism where I may talk about music at some point, but it’s an anthropology course, so I can really deal with some of the theories and read more stuff, read it differently, and not necessarily worry about applying them to music. I’m also affiliated with the School of Music; half of my teaching has to be cross-listed with the School of Music so that I can continue to contribute to the ethnomusicology curriculum. I’m also affiliated with LACIS (Latin American Cultural and Iberian Studies).
Beyond music and anthropology, what are you interested in bringing to the classroom?
I received a Madison Institute for Learning Excellence Fellowship to help me develop hybrid pedagogical tools for bringing technology into the classroom, especially in large, lecture-based courses, and using social media tools in the classroom, figuring out how to use these technologies to actually increase student engagement in lectures that can be totally boring and impersonal.
What sort of tools do you think have the most potential in that respect?
I’ve experimented with Twitter. I created an account for a class, and students would tweet questions, or I would ask them something and I’d ask them to tweet answers back. And I would periodically check the feed and answer questions orally during the class. And then after class we would keep the conversations going. We’d sometimes exchange videos, or articles that we found – you know web pages, anything. That was pretty successful, so I’m probably going to continue working with that. There are also instant polling websites…it’s basically the idea of a clicker, but much more sophisticated because you can ask students to type full sentences. My attitude is, “If you’re going to be on your computer, I’m going to disrupt your Facebooking by asking you to do things online that actually have something to do with what we’re talking about.” Not only do we have professors who are not good at thinking or knowing about some of the things that can be done with these tools, but we have a lot of students that aren’t good at them either. It’s important to think about how to use social media beyond “Here’s a picture of my friends and me at the bar last night,” and to teach students to use online tools like Wikipedia in a way that makes sense.
In terms of your own teaching, what courses are you planning on offering in the future?
I’m not entirely sure. I may end up teaching the “Musics of the World” class. Also, no one is teaching a seminar in ethnomusicological methods right now, so that’s something I’m probably going to do in the future. And I may start to think in terms of undergraduate courses on global popular music. I think that would be fun, and it’s also something that no one is offering right now, so it might be a good idea in terms of relevant courses that could attract a large undergraduate population to the School of Music. I taught a seminar last semester that was an introduction to the anthropology of the Caribbean which I’m going to be revamping to become a more lecture-based 200- or 300-level course for undergrads, an introduction to the Caribbean as a region. I cannot just offer courses on the Caribbean because there’s not enough interest, so I’m thinking about offering things on popular music, topics in anthropology, theoretical topics in anthropology…I’m really invested in post-colonial studies, so I’ll maybe develop a course along those lines. It sort of depends on what the different departments need and where they’re hoping to go. I hope we can find a happy medium.
Reach Professor Camal on campus:
Office: 5313 Sewell Social Science Bldg.
Email address: firstname.lastname@example.org