UNCSA Media releases David Huang Mailman’s “Sino-American” celebrating Chinese American history

UNCSA Media has released “Sino-American,” a new recording featuring two works for concert band by composer and conductor David Huang Mailman, an alumnus of the School of Music at UNCSA. Performed by UNCSA student musicians, and featuring bass clarinet soloist Milo Holcombe Pomerance, the recording explores Chinese American history, music and mythology, through “A Sino-American Suite,” which celebrates nearly 200 years of Chinese American musicmaking and incorporates archival recordings of early Chinese American song, and “Seabird” (Concerto for Bass Clarinet), a virtuosic work inspired by an ancient Chinese myth. “Sino-American” is available today on major streaming platforms, including Spotify and Apple Music.

Commissioned by a consortium of 15 conductors and ensembles from across the country, “A Sino-American Suite” is the first work to give a concert treatment to archival recordings of early Chinese American song. Spanning from the first major Chinese immigrant communities in 1850s California to the present day, the piece brings America's diverse musical history to life, following in the tradition of concert band repertoire staples such as Milburn's American Hymnsong Suite and Still's Folk Suite for Band.

“Seabird” (Concerto for Bass Clarinet), commissioned by and written for soloist Milo Holcombe Pomerance, draws inspiration from the Chinese myth of the Great Peng. First recorded more than 2,000 years ago, the myth tells of a small fish in the depths of the ocean that transforms into a titanic bird with wings spanning thousands of miles. Long interpreted as a story of the meek becoming capable of changing the world, the myth inspires a work that pushes the boundaries of the bass clarinet as a solo instrument, accompanied by a lively concert band.

Both works reflect Mailman’s mission to create accessible music that connects audiences with lesser-known aspects of history. Written in a colorful, populist style that pays tribute to the concert band tradition, the pieces also incorporate instruments, techniques and combinations to evoke the sounds of traditional Chinese music.

“A Sino-American Suite” was given its official world premiere on April 13, 2026, by the Vanderbilt University Concert Band, conducted by Doug Morin, and has been performed at UNCSA, University of Wisconsin-Madison, Penn State, University of Cincinnati College – Conservatory of Music and Old Dominion University. “Seabird” received its world premiere at Vanderbilt on March 21, 2026 by Milo Holcombe Pomerance with an ensemble conducted by Paxson Amy, and has also been performed at UNCSA.

Mailman, whose work combines historical research with musical composition to illuminate overlooked perspectives, is a doctoral student at the University of Missouri-Kansas City. His research examines political revisionism and cultural appropriation in Chinese musical composition, earning him the 2024 Rey M. Longyear Prize for a paper on the Yellow River Piano Concerto's (re)orchestration. He has awards from the National Association for Music Education, finalist recognition for “The President’s Own” Marine Band Call for Scores, two ASCAP Morton Gould Awards, and three American Prizes.

“I'm proud of my heritage, my culture's mythology, and the Chinese Americans who came before me, and so excited that audiences and performers alike can learn about their contributions to the great American tapestry,” said Mailman. “In particular, “A Sino-American Suite” was written to be appropriate for high school, community, and collegiate groups, and I hope bands from across the country will pick up the piece and tell the stories in it.”

“Sino-American” was made possible by a grant from the Thomas S. Kenan Institute for the Arts. The recording was produced and engineered by Tatiana Dismuke and Sam Renard, both alumni of UNCSA’s graduate composition film and visual media program. It was recorded at UNCSA and features a concert band composed of UNCSA student musicians.

“From rehearsal to recording, putting these tracks together showed what the whole UNCSA community can do working together,” said Mailman. “I am so happy to be able to share how amazing our musicians sound with the world.”

About David Huang Mailman

David Huang Mailman (b. 2002) is a composer, researcher, and teacher working at the intersection of historiography and artistic expression. Dedicated to challenging conventional understandings of the past, their music depicts overlooked historical perspectives with a colorful, populist compositional language. He emphasizes approaching stories with humility, collaborators with humanity, and everything else in life with humor.

Mailman is passionate about engaging students of all backgrounds through providing high-quality instruction responsive to community needs. Highlights of their educational work include writing children’s opera for kindergarteners, and developing a pilot program partnering collegiate composers with school instrumental music programs in Winston-Salem, NC. He instructs a young people’s choir in Kansas City, MO, and teaches a private music composition studio.

As a researcher, Mailman analyzes the threads of political revisionism and cultural appropriation that run throughout mid- and late-twentieth century Chinese musical composition. His paper on the Yellow River Piano Concerto’s (re)orchestration won the 2024 Rey M. Longyear Prize. Their research extends to introducing high-quality editions of Chinese classical music transcribed and arranged for Western performers. 

Mailman’s compositional accolades include awards from the National Association for Music Education; and finalist recognition for “The President’s Own” Marine Band Call for Scores, two ASCAP Morton Gould Awards, and three American Prizes. Their works have been performed by C4: The Choral Composer/Conductor Collective, the Choral Arts Initiative, the Eugene Difficult Music Ensemble, TEMPO, the PSU Symphonic Wind Ensemble, the FSU Wind Orchestra, and the Piedmont Wind Symphony among others.

Mailman is a doctoral student in music composition at the University of Missouri-Kansas City studying under CHEN Yi, ZHOU Long, Ben Morris, and Paul Rudy. He holds degrees from Vanderbilt University (BA) and the University of North Carolina School of the Arts (MM), and was a student of Stan Link, Michael Slayton, and Lawrence Dillon. Learn more at davidhuangmailman.com.

About Milo Holcombe Pomerance

Milo Holcombe Pomerance is bass clarinetist committed to bolstering the instrument’s reputation to be on par with its smaller sibling through collaborations with composers and performers to expand its increasingly diverse repertoire. Originally from Roswell, Georgia, Pomerance is currently based in the Phoenix area and is pursuing a Master’s in Bass Clarinet Performance at Arizona State University.

As a performer, Pomerance has served as clarinetist and bass clarinetist of the Vanderbilt University Orchestra, Vanderbilt Wind Symphony, and ASU Wind Ensemble, as well as providing the sounds of a plethora of other woodwinds to the pits of the Vanderbilt Opera Theater and Vanderbilt Off Broadway. Additionally he has performed extensively in solo and chamber settings with an emphasis on works by living composers, having participated in dozens of premieres and commissions.

Awards and honors Pomerance has received include National Finalist for the 2023-2024 MTNA Chamber Music Competition with the 25th Ave. Reed Quintet, The Dave Darlington Award for Outstanding Leadership in Music Production, and the Elliot and Ailsa Newman Prize for Excellence in Performance.

Pomerance has worked with groups such as the Akropolis Reed Quintet, the Imani Winds, and Sqwonk bass clarinet duo. He currently studies under Jeff Anderle and Joshua Gardner and earned his Bachelor’s in Music Performance from Vanderbilt University studying under Mariam Adam.

About UNCSA Media

UNCSA Media is a mission-driven media publishing arm that features the creative projects of faculty and alumni from The University of North Carolina School of the Arts across all disciplines and offers curricular opportunities for students to gain practical career skills in intellectual property and entrepreneurship. UNCSA Media features music, film and video, plays, dance, and more, leveraging the conservatory’s five disciplines on one campus and its extensive worldwide network of talented alumni and faculty.

UNCSA Media launched in Sept. 2023 and releases have included:

• “Windows” (Sept. 2023), a contemporary classical recording featuring UNCSA faculty members performing works by Valerie Coleman, Jessie Montgomery and Reena Esmail, as well as a world premiere commission by Kamala Sankaram.
• “Meditation Through Gunfire” (Oct. 2024), by alumna and singer-songwriter Cashavelly.
• “Firebird Ballet Suite” (May 2025), Stravinsky’s work performed by the UNCSA Symphony Orchestra conducted by Mark Norman, which has since been used as the recording for Dance Theatre of Harlem’s tour of its iconic revitalized “Firebird.”
• “Desert Pass” (June 2025), by Zéphryos Winds, featuring works by Reena Esmail, David Sanford and UNCSA alumnus Tyson Gholston Davis.
• “Poptimism” (Feb. 2026), by Vesna Duo, featuring pop, rock and indie songs reimagined for piano and percussion.
• “you/we” (June 2026), by Lawrence Dillon.

UNCSA Media also produces “The Arts and Everything,” a podcast hosted by UNCSA Chancellor Brian Cole.

UNCSA Media is made possible with funding and programmatic support by the Thomas S. Kenan Institute for the Arts.

For review copies of “Sino-American” contact Katherine Johnson – UNCSA Media | johnsonka@uncsa.edu | 336-770-1402. For more information about “Sino-American” and other releases, visit: www.uncsa.edu/uncsa-media.

About The Thomas S. Kenan Institute for the Arts

Artists change the way we see the world. At the Thomas S. Kenan Institute for the Arts, we make space for that change to happen. From our home at the University of North Carolina School of the Arts, we support artists, spark collaboration, and connect creative communities across the Southeast and beyond. For more than three decades, Kenan Arts has backed bold ideas, nurtured partnerships, and helped the arts thrive in times of challenge and transformation. By expanding pathways to creativity for artists, students, and communities, we continue that work with a clear vision for a world where artists are valued and creativity is a driving force for change. For more information, visit www.uncsa.edu/KenanArts.

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