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An event dedicated to the victims and survivors of the San Bernardino mass shooting featuring a sound/video installation and the premiere of works for soprano, percussion and live-electronics by Martin Jaroszewicz and Paulo C. Chagas (CIS Senior Fellow).

Stacey Fraser – soprano
Justin DeHart – percussion
Martin Jaroszewicz – composition, programming and live-electronics
Paulo C. Chagas – composition and live-electronics

In December 2, 2015, a mass shooting occurred at a Public Health facility in San Bernardino, CA; 14 people were killed and 22 were seriously injured. The FBI investigation has shown that the shooters were “homegrown violent extremists” who were inspired by international terrorist organizations, although there is no evidence that they were part of a terrorist network.

The event “Trauma, Loss and Transcendence” is dedicated to the victims and survivors of this episode of mass shooting, most of them inhabitants of Riverside and San Bernardino counties. It presents an immersive and interactive sound/video installation and a concert featuring the world premiere of two pieces for soprano, percussion and live-electronics. The works address the grief, the trauma, and the loss of loved ones while proposing a path for transcending suffering.

In the interactive installation the audience will be invited to participate in real time in the performance using their cell phones. Millions of tweets, postings, and messages on social media created a virtual collective consciousness about the mass shooting both in real time and as a collective memory. The media coverage becomes thus an artistic framework for the poetics of the work and a metaphor for music and art as a persistence of memories. The immersive experience will physically connect people to the San Bernardino mass shooting and illuminate the feelings and reactions that shape our collective grief and collective compassion.


Martin Jaroszewicz/Paulo C. Chagas 
Trauma, Loss and Transcendence (2016) – interactive video/sound installation

Martin Jaroszewicz          
City in the Sea (2016), for soprano, percussion, and live-electronics (premiere)

Paulo C. Chagas      
Too Much Love (2016), for soprano, percussion, and live-electronics (premiere)


Canadian soprano Stacey Fraser’s eclectic musical interests have led her to sing on international operatic, concert and theatre stages across the United States, Canada, Asia and Europe. She has appeared as a soloist for the San Diego Opera, the Tony Award winning La Jolla Playhouse, the Kennedy Center in Washington D.C., Taipei National Concert Hall in Taiwan, ISCM Taiwan, the Musicasa Concert Hall in Tokyo, Japan, the Thailand Composition Festival, the Americké Jaro Festival in Prednasek, Czech Republic, Red Square Gallery in Hong Kong, the Festival Eduardo Mata in Oaxaca, Mexico, Vancouver Symphony, Kazan Co-Op Theatre in Halifax, Nova Scotia, South Dakota Symphony, La Jolla Symphony, San Bernardino Symphony, Banff Centre, Tanglewood Music Center, Asia Society NYC, Alice Tully Hall at Lincoln Center and the world renowned La MaMa Experimental Theatre in New York City.

As a stage director her innovative, modern and zany adaptations of the standard operatic repertoire include Bernstein’s Trouble in Tahiti, Humperdinck’s Hänsel und Gretel, Mozart’s Cosi fan tutte, the Brook/Bizet La Tragedie de Carmen for Opera on Tap San Francisco, Bernstein’s Candide for Pasadena Opera, Maria de Buenos Aires by Astor Piazzolla, Concert Suite from Frida by Robert Xavier Rodriquez and her recently acclaimed Tarantino inspired production of Donizetti’s Don Pasquale. She is currently Professor of Music and Director of Opera Theatre at California State University San Bernardino. Recordings include Lotusblume for ein Klang Records, Manuel Garcia’s Le Cinesi for Harmonicorde and The Redlands Codex (complete works of composer Barney Childs) for Advance Recordings.

Justin DeHart is a GRAMMY-nominated performer and dedicated teacher of a wide range of musical styles – from classical to pop, and from world to electronic.  DeHart’s musical resume includes performances with the San Diego symphony, pipa master Wu Man, and various pop legends, including Cheap Trick.  DeHart is a member of Los Angeles Percussion Quartet (LAPQ) and DC8 Contemporary Music Ensemble who both champion high quality presentation of new music.  His debut solo percussion album entitled Strange Paths onInnova Recordings featuring works by Brian Ferneyhough, Iannis Xenakis, Michael Gordon and Stuart Saunders Smith was lauded as “mesmerizing” by Percussive Notes for his “palette of sounds and intricate weaving of lines.”  DeHart was awarded a Fulbright Scholarship for percussion studies in India (2001-02) and his talents have been featured at concerts around the globe.  As a California native, he holds a B.M. from CSU Sacramento, a M.F.A. from California Institute of the Arts, and a D.M.A. from UC San Diego.  He currently lives in Anaheim, CA and teaches music at Chapman University Conservatory of Music, UC Riverside, and Cypress College.  Justin DeHart is a Yamaha Performing Artist and an endorser of REMO, Sabian, and Innovative Percussion Inc.


Martin Jaroszewicz is a scholar in residence at UCR conducting research in human-computer interaction, gestural spaces in music performance and music cognition.  His  compositions  have been performed in the US, Mexico, South America and Europe and

his  work ranges from solo pieces to chamber orchestra including sound installations, video, improvisation and electronics. Born in Argentina where he studied at the conservatory Manuel de Falla, he holds a PhD in Digital Composition from the University of California Riverside where he studied under Paulo Chagas.  A composer/programmer, he has designed several tools for sound spatialization and interactivity and has developed and teaches STEM curriculum  with applications in music and mobile devices at COSMOS UCI.


Paulo C. Chagas is Professor of Composition at the University of California, Riverside. A very versatile composer, Chagas has written over 140 works for orchestra, chamber music, electroacoustic music, audiovisual and multimedia compositions. His music unfolds a pluralistic aesthetic, using the most diverse musical materials from different cultures, acoustic and digital media, dance, video, and audiovisual installations. Chagas is also a prolific author of articles on musical semiotics, electroacoustic and digital music. His most recent book Unsayable Music (Leuven University Press, 2014) presents theoretical, critical and analytical reflections on contemporary music creativity. The six essays of the book approach music from different perspectives such as philosophy, sociology, cybernetics, musical semiotics, media, and critical studies.

More information at artsblock.ucr.edu