Flutist Camilla Hoitenga will be in town and on campus from Thursday, October 22nd to Monday, the 26th. She will be working with the flute students, composition students, coach the NMNM flutist on a piece by Saariaho, and work with composition professor Karola Obermueller on her flute solo piece for a studio recording for the upcoming WERGO portrait CD.
Camilla Hoitenga is at home on stages all over the world, performing in venues as diverse as Carnegie Hall in New York, the Royal Festival Hall in London, the Kremlin in Moskow and the Forbidden City in Beijing, China, playing not only the C-flute but also the alto, bass, and piccolo flute and other varieties of her instrument.
In addition to her intensive collaborations with Saariaho, Köszeghy and Stockhausen, she has had pieces dedicated to her by wide range of composers, including Donnacha Dennehy, Christopher Fox, Miyuki Ito, Anne LeBaron, Arvydas Malcys, Michele Rusconi, Oliver Schneller, Helena Tulve, Jovanka Trbojevic, Andreas Wagner, and Bryan Wolf.
Arab Musicking on the U.S.–Mexico Border
This talk explores the relationship between trauma and identity by examining Arab music performance on the U.S.–Mexico border. Drawing on the musicking of Syrian and Mexican migrant communities, I interrogate theories of cultural and psychological trauma and borderland epistemologies to explore how border tensions influence the often-fraught views of identity.
Music from the Americas presents The Low Frequency Trio
Formed by Antonio Rosales (bass clarinet), Juan José García (doublebass), and José Luis Hurtado (piano), LOW FREQUENCY TRIO is one of the few ensembles in the world that plays music that was exclusively composed for them.
Music, Power, and Signification: A Phenomenological Reading of Race in New Spain
In New Spain, an institutional structure of merit and promotion hinged on the idea of reason as an intrinsically European attribute. This attribute differentiated ‘Europeans’ from people of mixed race claiming European status based on their skin complexion.