Explore our projects below
Research-Creation
Coast Salish Knitting
An event score inspired by Coast Salish knitting, for Women's Choir SSAA.
DECOMPOSITIONS #1
DECOMPOSITIONS #1 Event score cards, shaggy mane mushroom ink on manuscript paper Invitation: Please take one You are invited to perform the piece in your own time in your own way in your own space When you are complete,
How Bear Lost His Tail
How Bear Lost his Tail is a retelling of the traditional Indigenous Legend using stop motion imagery, narration, trumpet, and piano. This project was completed as part of The Score course in Fall 2020 by Candice Newberry.
Interviews with Athena Loredo and Walker Williams
As a part of The Score course, Matheus Moraes conducted interviews with Athena Loredo and Walker Williams, who composed responses to works by Olivia Whetung and Diamond Point, respectively. You can listen to these interviews below.
Land Acknowledgement
The video is a land acknowledgment, a response to the land I grew up on known as Selangor, Malaysia. It ties in the national anthem of Malaysia along with voice clips from a protest by members from Kuala Langat North Forest Reserve, and an interview with Temuan artist and activist Shaq Koyok.
Land Acknowledgement (For Mount Pleasant)
In the chronicle of human endeavour there is no story more inspiring, no tale more romantic, than that of the resourceful, courageous people whose initiative and energy, peacefully, and in the briefest period of time, created out of the silent emptiness of dark primeval forests, a monumental city of beauty and of culture; an achievement in w
Moonsong
This composition is my response to the question posed Dylan Robinson in the Soundings exhibit: “How can a score be a call and tool for decolonization?”, as well as providing one alternative to what Robinson describes as “hungry listening.” Moonsong engages with topics of decolonization in music by enacting ref
Resounding Truth: A reflection on colonialism, the carillon, and time inspired from performing Strata by Olivia Whetung
This project is meant to synthesize the many personal, historical, and temporal convictions that informed my interpretation of Olivia Whetung’s piece in the Soundings Exhibition titled, Strata.
Score Class: Student Response Projects
In tandem with Soundings, the School of Music generated a course that supports student exploration of "how indigenous compositions and sound art disrupt conventional boundaries of sound, territory and knowledge." The following are projects undertaken by students in response to this question:
Soundings: An Exhibition in Five Parts
Curated by Candice Hopkins and Dylan Robinson, Soundings is cumulative, limning an ever-changing community of artworks, shared experience and engagement. Shifting and evolving, it gains new artists and players in each location. For this iteration on Musqueam territory, the Belkin has collaborated with UBC's Musqueam Language Program in partnership with the Musqueam Indian Band Language and Culture Department; School of Music; Chan Centre for Performing Arts; First Nations House of Learning and Museum of Anthropology to support the production of new artworks and performances by local artists.
UBC Contemporary Players Respond
This fall, the Morris and Helen Belkin Art Gallery was delighted to welcome the UBC Contemporary Players as they responded to Soundings: An Exhibition in Five Parts. Directed by UBC School of Music faculty Dr. Paolo Bortolussi, the UBC Contemporary Players ensemble includes graduate and undergraduate students focusing on music and perfo