program

First International Symposium on

Latin American Music

Transcending Borders: Latin American Music and its Projection onto the World Stage

February 22-23, 2013

Blacksburg, Virginia, USA www.cpe.vt.edu/iclam/

Squires Student Center

Transcending Borders: Latin American Music and its Projection onto the World Stage

International Symposium on Latin American Music

February 22-23, 2013 Virginia Tech

Schedule

FRIDAY 8:008:30 am 8:309:00 9:0010:30 Registration, Old Dominion Ballroom Official Welcome, Old Dominion Ballroom Session 1 Academic Musical Traditions in the Modern Period Moderator: Dr. Tracy Cowden, Associate Professor of Music, Virginia Tech Suham Bello, Ball State University, Brazilian Modern Nationalism: Camargo Guarnieris 10 Momentos Chelsea Burns, University of Chicago, Carlos Chvezs H. P. and the International Musical Imagination Kent Holliday, Virginia Tech, Latin American Music and its Influence on my Composing Style Alyson Payne, University of California Riverside, The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero-American Musical Relations in the Context of Cold War Politics Nuria Rojas, Benedict College, The Musician: Born or Made? The Importance of Musical Instruction at a Young Age: the Costa Rican Case Break, Cardinal Room

3:304:30

Concert, Latin American Choral Music (Virginia Tech Chamber Singers), Recital Salon Session 3 Individual and Collective Recognition: The Confluence of Music and Identity, Old Dominion Ballroom Moderator: Dr. Elizabeth Austin, Assistant Professor of Spanish, Virginia Tech Juan Daniel Montejo, Conjunto Marimba Xajla Segunda Generacin, La nacin Popti Juan Mullo Sandoval, Corporacin Musicolgica Ecuatoriana, La Revolucin Alfarista de fines del siglo XIX e inicios del XX: el impulso ideolgico al nacionalismo musical ecuatoriano Robert Nasatir, Father Ryan High School, Carlos Varela, dentro y fuera de la Revolucin Ketty Wong, University of Kansas, Julio Jaramillo, the Pasillo, and the Cantina: the Construction of a National Myth in Ecuador Break Banquet (catered), Old Dominion Ballroom Keynote Lecture, Recital Salon Dr. Geoffrey Baker, Royal Holloway College, London, England, Music and the Politics of Circulation: Latin American Case Studies

4:306:00

6:006:30 6:308:00 8:009:30

10:3011:00

11:0012:30 pm Session 2 Popular and Indigenous Musical Expressions Moderator: Dr. Petra Rivera-Rideau, Assistant Professor of Sociology, Virginia Tech Andrew Connell, James Madison University, We are all branches on his tree: Hermeto Pascoal and His Circle Marc Gidal, Ramapo College of New Jersey, Too Authentic for a Public College? Discomfort and Accessibility in Intercultural Learning when an Afro-Brazilian Folkloric Ensemble comes to Campus in Suburban America Susan Hurley-Glowa, University of Texas at Brownsville, Banda Msica: Bavarian Brass Bands Cousin Abroad Cosme R. Martins, University of So Paulo, Brazilian Modal Jazz Music in Optimality Theory 12:302:00 2:003:30 Lunch (on your own) Concert, Latin American Chamber Music (Virginia Music Faculty Ensemble)
3

Saturday 8:309:00 am 9:0010:15 Registration, Recital Salon Session 4 Sounds of Resistance: The Role of Music in Multicultural Activism Moderator: Dr. Dennis Hidalgo, Assistant Professor of History, Virginia Tech Lori Oxford, Western Carolina University, Todos somos Arizona: a Concert in Response to SB 1070 Patricia Reagan, Randolph Macon College, The Bachata Boom: from Dominican Marginalization to North American Bilingualization Eunice Rojas, Lynchburg College, Spitting Phlegm at the System: the Changing Voices of Anti-Colonialist Puerto Rican Protest Music

10:1510:45 10:4512:30

Break, Cardinal Room Session 5 Intersections of Music and Politics Moderator: Dr. Ilja Luciak, Professor of Political Science, Virginia Tech Jacqueline Avila, University of Tennesse, Knoxville, Scoring the Mexican Revolution at Home and Abroad: Cinematic Music by Silvestre Revueltas and Alex North Manuel Fernndez, University of Wisconsin-Eau Claire, The Afterlife of Promises: Journalistic Ethics, Utopia and Resistance in the Music of Los Aldeanos Eduardo Herrera, University of Illinois at Urbana-Champaigne, The Rockefeller Foundation and Latin American Music during the Cold War: Meeting Points of Music, Policy, and Philanthropy Silvia Lazo, University of Montana, Pau Casals Legacy in Puerto Rico: Operacin Serenidad, Melding Latinidad and American Ingenuity Marysol Quevedo, Indiana University, Film Music in Revolutionary Cuba as Compositional Experimentation: Leo Brouwer, Roberto Valera and the Cuban Institute of Film Art and Industry (ICAIC)

Policy as it has related to Music in Latin America? Kenneth De Long, The University of Calgary, From Havana to Hollywood: Ernesto Lecuona in a Trans-National Perspective Catherine Lehr, St. Louis Symphony Orchestra, Community Music School of Webster University, Mexican Musicians in International Exchange Participating musicians: Richard Mazuski, Northwestern University; Monica Godbee, University of Miami; Francisco Moreno, Escuela Superior de Msica y Danza de Monterrey (Mexico); Ana Karen Rodrguez, Escuela Superior de Msica y Danza de Monterrey Marli Rosa, University of Montevallo, Brazilian Music in the USA: from Carmen Miranda to Bossa Nova Iliana Pagn-Teitelbaum, Virginia Tech, Escaping Diaspora: The Impact of Migration and Trans-Cultural Exchange in Rita Indiana y Los Misterios 5:308:00 8:009:30 Dinner (on your own) Concert, Latin American Music UCM (Ensamble Quito 6), Recital Salon

12:302:00 2:00-3:30

Lunch (on your own) Session 6 Cultural Influences in the Music of the Colonial and Independence Periods Moderator: Dr. Catalina Andrango-Walker, Assistant Professor of Spanish, Virginia Tech Javier Jos Mendoza, Chicago Arts Orchestra, The Globalization of 18th Century European Musical Style Drew Edward Davies, Northwestern University, Wheres the Local in Colonial Music from Mexico? Therese Irene Fassnacht, Mount St. Marys College, Contrafactum and Alternatim Praxis in Two Eighteenth Century Requiem Settings by Manuel de Sumaya John Walker, Virginia Tech, Culture in Transit: Italian Musicians and their Influence on Caribbean Communities during the mid 19th Century Break, Cardinal Room Session 7 Migration and Transcultural Exchange Moderator: Dr. Carlos Evia, Associate Professor of English, Virginia Tech Juan Alamo, University of North Carolina, What has been the Impact of Migration and Transcultural Exchange on Cultural
4

How class divisions shape the definition of Ecuadors national music and identity

3:303:45 3:455:30

Available online and at your favorite retailer www.temple.edu/tempress

978-1-4399-0057-4

Virginia Tech Music Faculty Ensemble Concert

February 22 2:00 pm Old Dominion Ballroom
Chros No. 7, Settimino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Heitor Villa-Lobos (Brazil, 1887-1959) Lullaby and Doina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Osvaldo Golijov (Argentina, 1960-) I. Lullaby II. Doina III. Gallop Hymnus ad Galli Cantum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Julin Orbn (Cuba, 1925-1991) Ariana Wyatt, soprano intermission Ocho por radio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Silvestre Revueltas (Mexico, 1899-1940) Seis por televisin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jos Serebrier (Uruguay, 1938-) I. Mini Overture II. Sunaloiroc III. Juliet IV. Taming of the Bull Conga-Line in Hell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Miguel del Aguila (Uruguay, 1957-)

Personnel Travis Cross, Director

Flute Betsy Crone Oboe John Walker Clarinet David Widder Bassoon John Husser Saxophone David Jacobsen Horn Wally Easter Trumpet Jason Crafton Trombone Jay Crone Tuba Michael Minor Violins Jim Glazebrook Geronimo Oyenard Viola Alistair Leon Kok Cello Lisa Liske-Doorandish Bass John Smith Harp Helen Rifas Piano Tracy Cowden Percussion John Floyd William Ray Joey Ballard

Travis J. Cross is an assistant professor of music at Virginia Tech, where he conducts the Symphonic Wind Ensemble and teaches courses in conducting. He earned doctor and master of music degrees in conducting at Northwestern University in Evanston, Ill., where he studied with Mallory Thompson. He previously earned the bachelor of music degree cum laude in vocal and instrumental music education from St. Olaf College in Northfield, Minn.
Cross taught for four years at Edina (Minn.) High School, where he conducted two concert bands and oversaw the marching band program. In 2004, he was selected to participate in the inaugural Young Conductor/Mentor Project sponsored by the National Band Association. The same year he received the Distinguished Young Band Director Award from the American School Band Directors Association of Minnesota. From 2001-2003, Cross served a two-year term as the recent graduate on the St. Olaf College Board of Regents. In 2006, he was named a Jacob K. Javits Fellow by the United States Department of Education. He currently serves as national vice president for professional relations for Kappa Kappa Psi, the national honorary band fraternity. Cross contributed a chapter to volume four of Composers on Composing for Band, available from GIA Publications. His original works and arrangements for band, choir, and orchestra are published by Boosey & Hawkes, Daehn Publications, and Theodore Music. He has appeared as a guest conductor, composer, and clinician in several states and at the Midwest Clinic and leads honor bands and other ensembles in California, the District of Columbia, Iowa, New Jersey, North Carolina, Virginia, and Washington state during the 2012-2013 season.
5

February 22 3:304:30 pm Recital Salon

Dwight Bigler, Director

Virginia Tech Chamber Singers

Hanac pachap kusikuynin Exsultate iusti Cum Sancto Spiritu from Missa de Nossa Senhora da Conceio, CPM 106

I.

Juan Prez de Bocanegra (Peru) (c. 1598fl. 1631) Juan Gutirrez de Padilla (Mexico) (c. 15901664) Jos Maurcio Nunes Garcia (Brazil) (17671830)

Las Amarillas Hol You Han Jump Down Spin Around

II.

Southern Mexico arr. Stephen Hatfield (Canada) Jamaica arr. Paul Rardin (USA) Jamaica arr. Larry Nickel (Canada)

Mui Rendera Caramba La Chaparrita Salseo

III.

Brazilian folk song arr. C.A. Pinto Fonseca Otilio Galindez (Venezuela) arr. Alberto Grau (Argentina) Venezuelan folk song arr. Vivian Tabbush (Argentina) Oscar Galin (Venezuela)

Texts and translations

Hanac pachap kusikuynin
This work appeared for the first time in the book Ritual Formulario e Institucin de Curas (Lima, Peru, 1631) and is considered to be the most ancient known polyphonic work in this country. Since Juan Perez de Bocanegra was the publisher of the Ritual, many sources cite him as the composer of this work, although its authorship is uncertain. Hanaq pachap kusikuynin Waranqakta muchasqayki Yupay ruru puquq mallki Runakunap suyakuynin Kallpannaqpa qimikuynin Waqyasqayta. Uyariway muchasqayta Diospa rampan Diospa maman Yuraq tuqtu hamanqayman Yupasqalla, qullpasqayta Wawaykiman suyusqayta Rikuchillay.
6

Heavens joy! a thousand times shall we praise you. O tree bearing thrice-blessed fruit, O hope of humankind, helper of the weak. hear our prayer! Attend to our pleas, O column of ivory, Mother of God! Beautiful iris, yellow and white, receive this song we offer you; come to our assistance, show us the Fruit of your womb!

Texts and translations (continued)

Exsultate iusti
Exsultate justi in Domino: rectos decet collaudatio. Confitemini Domino in cithara. In psalterio decem chordarum psallite illi. Cantate ei canticum novum. Bene psallite ei in vociferacione quia rectum est verbum Domini et omnia opera ejus in fide. Diliget misericordiam et judicium. Misericordia Domini plena est terra. Verbo Domini caeli firmati sunt, Et spiritu oris ejus omnis virtus eorum. Rejoice in the Lord, you righteous ones: it is fitting for the upright ones to give praise. Acknowledge the Lord with the harp. Sing to him with a psaltery of ten strings. Sing to him a new song. Sing praises to him well with a loud voice, for the word of the Lord is right, and all his works are done in faithfulness. He loves mercy and judgment; The mercy of the Lord fills the earth. By the word of the Lord the heavens were made; And by the spirit of his mouth, all of their power. Psalm 32:16

Cum Sancto Spiritu

Cum Sancto Spiritu In gloria Dei Patris, Amen. With the Holy Spirit In the glory of God the Father, Amen.

Mui Rendra
Ol, mui rendra, Ol, mui rend, Tu me ensina a faze rend, Que eu te ensino a namor. As moas de Vila Bela No tm outra ocupaao Se que fica na janela Namorando Lampeo. Virgulino Lampeo. Lampa, Lampa, Lampa, Lampeo. O seu nome Virgulino, O apelido Lampeo. Hey, lacemaker woman, Hey, lacemaker woman, If you teach me how to weave, Ill teach you how to court. The girls from Vila Bela Have no other occupation Than to stay by the window Flirting with Lampeo. Virgulino is Lampeo. He is Lampa, Lampa, he is Lampeo. His name is Virgulino, His nickname is Lampeo.

Caramba
Caramba mi amor Caramba, Lo bello que hubiera sido, Si tanto como te quise, Asi me hubieras querido, Caramba, mi amor, Caramba Pasar este invierno triste, Mirando caer la lluvia Que tantas cosas me dice, Caramba mi amor, Caramba Las cosas que nos perdimos, Los chismes que solo escucho, Entre las piedras y el ro. Caramba mi amor, caramba, El viento entre las espigas Aroma de caa fresca Y amargos de mandarina
7

Wow, my love, wow, It would have been beautiful If you loved me As much as I love you. Wow, my love, wow. Passing this dreary winter, Watching the rain That tells me so much. Oh, my love, oh. Things that we lost, I only hear in gossip Between the rocks and the river. Oh, my love, oh. The wind in the tasels, The aroma of fresh sugarcane, And the bitterness of tangerines.

Otilio Galindez

Texts and translations (continued)

La Chaparrita
Cantame la chaparrita como la cantaste ayer. Para cuando yo me case chaparrear a mi mujer. Chaparrita de mi vida si, chaparrita de mi vida, no, Cuando estemos en la chaparrita linda de mi corazn. Yo te quiero, negra, con todo mi amor, Tu me correspondes con el corazn. De colorao se viste el Cardenal. Y por eso le digo a mi morena Que se peine el copete pa bailar Ese pauelito blanco con ese ramo de flores no me lo poses delante que recuerdo mis amores. Ti-ra-la, ti-ra-la, Que se va la lapa. Ti-ra-la, ti-ra-la, La lapa se va. Ay! Compadre amarre los perros que la lapa esta encueva Yo no quiero que se vaya, la lapa segura est. Sing to me the chaparrita As you sang it yesterday, So that when I get married I will sing the chaparrita to my wife. Chaparrita of my life, yes, Chaparrita of my life, no. We will soon go to the beautiful chaparrita Of my heart! I love you, darling, With all my love Your heart is a good match for me. Dressed in colors red is the Cardinal, And that is why I say to my girlfriend, To comb the tuft of her hair for dancing. That little white handkerchief With that bouquet of flowers, Do not pass them in front of me Because I am reminded of my lovers. Ti-ra-la, ti-ra-la, That the wild pig runs away. Ti-ra-la, ti-ra-la, The wild pig is running away. Hey! My friend Tie up the dogs Because the wild pig is in its den. I dont want it to escape. The wild pig is now safe.

Las Amarillas
Volaron las amarillas calandrias de los nopales Ya no cantaran alegres los pjaros cardenales A la tirana na na A la tirana na no. rboles de la ladera porque no han reverdecido Por eso calandrias cantan o las apachurra el nido. Eres chiquita y bonita y as como eres te quiero Pareces una Rosita de las costas de Guerrero. Todos dan su despedida pero como esta ninguna Cuatro por cinco son veinte, tres por siete son veinte-uno. The yellow calandras fly from the cactus No longer will the cardinals sing happily To the song na na To the song na no. Because the trees on the hillside have not come back to life For that the calandras will either sing or crush their nests. You are small and beautiful, I love you just the way you are You are like a little rose from the coast of Guerrero. Everybody has their own farewell, but theres none like this Four times five is twenty, three times seven is twenty-one.

Virginia Tech Chamber Singers

Soprano
Nora Cotter Michelle Gervasio Laura Howell Sarah Lanum Emily Rudzinski Tori Salisbury Kathy Spicknall Becca Wiles Sophomore, Vocal Performance Graduate, Materials Science and Engineering Junior, Public and Urban Affairs Junior, Music Ed/Psychology Junior, Chemical Engineering Senior, Music Technology Sophomore, English Junior, Vocal Performance/Music Technology Leesburg Herndon Midlothian Staunton Fairfax Parkersburg, WV Richmond Glen Burnie, MD

Ashlee Albertson Krista Colley Katherine Combs Ashley DeRemer Noell Dunlap Isabel Hefner Kory King June Shrestha Bryn Whiteley

Alto

Junior, Music Performance First-Year, Music Education Sophomore, Music Performance and Education Junior, HNFE Junior, APSC/Biology First-Year, University Studies Junior, Business Senior, Biological Sciences Graduate, STS

Richmond Christiansburg Churchville Winchester Chesapeake Great Falls Powell, OH Vienna Frederick, MD

Tenor

Bryson Baumgartel Matt Chan Andrew Corbin Jordan Hatchett David Sinclair Alec Tebbenhoff Travis Whaley

Junior, Piano Performance Graduate, Environmental Engineering Junior, Sustainable Biomaterials Junior, Music Technology First-Year, General Engineering/Music Junior, Music Technology Sophomore, Meteorology /Piano Performance

Ashburn Hong Kong, China Pennington, NJ Collinsville Virginia Beach Ashburn Cary, NC

Geoffrey Brown Liam Dillon Ramaan Insari Stephen Loftus Blake Martin Jeb Sturgill Ben Wilson

Bass

First-Year, Music Education First-Year, Music Education First-Year, General Engineering Graduate, Statistics Sophomore, Music Technology First-Year, Music Education Junior, Computer Science, Philosophy

Christiansburg Fairfax Ashburn Chester Pembroke Chilhowie Fairfax

Dr. Dwight Bigler is the director of choral activities at Virginia Tech where he conducts the Chamber Singers, Tech Men, and Womens Chorus. He is also the music director of the Blacksburg Master Chorale. He has also held positions as assistant conductor and pianist of the Dale Warland Singers, director of choral activities at Trinity University in San Antonio, TX, and director of the University of Texas Mens Chorus. Under his direction, the VT Chamber Singers have performed throughout Italy including singing for mass at St. Peters Basilica at the Vatican and St. Marks Basilica in Venice; for the Virginia Music Educators Association conference; and for events such as Sheer Good Fortune, a Virginia Tech event in honor of Toni Morrison featuring guests spanning the fields of literature, music, government, and more. Bigler is also the composer in residence for the Festival Choir of Madison and has published choral works with Oxford University Press and Hinshaw Music. He was a winner of the 2011 National Collegiate Choral Organization Choral Music Series competition and regularly receives commissions from choirs across the nation for new works. As a collaborative pianist, Bigler has performed throughout the USA, Europe, and South America as a faculty member at Virginia Tech and the University of Texas; with the Dale Warland Singers; and at Scuola Italia in Urbania, Italy. Bigler received his bachelors degree in piano performance and his masters in choral conducting from Brigham Young University, and his doctor of musical arts degree from the University of Texas at Austin.

Connect with OnMusic

Your teaching partner in the digital age
Our music titles will engage your students and simplify course management for your online, hybrid, or face-to-face music course.
Features and benefits of OnMusic:

TM

OnMusic FundamentalsTM

Academically rigorous yet engaging and accessible Easy to adopt we do the setup and there is no cost to your college/university Fully customizable. Modify, add or remove content, music and assignments to make it your own Expert support. Unlimited access to our in-house setup and support team for you and your students Request a reviewer login today at onmusic.connect4education. com and see why hundreds of colleges use OnMusic.

A complete fundamentals syllabus and course ready to adopt Integrated text, animations, scores, listening and interactive learning objects Extensive practice and testing modules - with automatic grading and teacher grade book Classroom teaching resources - including print on demand worksheets and written assignments

OnMusic Fundamentals Placement ExamTM

Widely-used online theory placement exam Easy to manage and no cost to the school We set up a custom exam to fit your needs

OnMusic AppreciationTM

OnMusic for Special LearnersTM

Examines the legislative, psychological, sociological, and philosophical foundations of music education for special learners and the teaching principles derived from these foundations Extensive selection of videos of actual classroom scenarios and demonstrations

High academic standards for content, design, and pedagogy Blackboard Edition now available! Easy to adopt we do the setup. You do the teaching. Integrated text, music, and interactive elements organized to keep students focused and engaged Complete pre-built quizzes and exams included - with auto-grading and teacher grade book Over 400 complete streaming music selections (from Naxos) PLUS students can download and keep all music!
TM

OnMusic Education: An IntroductionTM

OnMusic Jazz Second Edition

New lower price for this edition! Blackboard Edition A complete course featuring online interactive text, now available! music, assessment, and administrative tools More music than ever over 250 pieces with multiple streaming options A Basics of Music chapter covering scales, pitches, rhythm and meter

Introduction to the principles, philosophy, and trends of music education Provides students with the necessary foundation to become effective educators Extensive selection of videos of actual classroom scenarios and demonstrations

OnMusic Education for the Music MajorTM

OnMusic RockTM

A complete syllabus and course featuring online interactive text, music, assessment, and administrative tools Over 750 pieces of streaming music from the earliest roots of Rock to the 21st century Introduces students to the wide variety of ideas and people composers, performers, and producerswho create the world of Rock, through interactive profiles, fast-facts and videos

Designed for prospective elementary educators, it emphasizes how to teach music, not just what to teach Includes effective methods for leading music lessons, videos of actual teaching scenarios to demonstrate and reinforce pedagogy, and full-length pieces of music that illustrate the main course concepts

OnMusic Education for the Non-Music MajorTM

Designed for:

OnMusic History SurveyTM

A complete Music History Survey course - ready to adopt for an online or face to face course Over 400 complete worksstreamed right from the course text Extensive pre-built quizzes and listening exams

Students seeking field experience In-service teachers seeking continuing education credits Non-education graduates seeking alternate certification Teachers seeking to become licensed in music

AcclaimTM
Create and upload videos to your own secure course site that we set up for you Annotate videos with time-stamped text, audio, or video comments Create custom rubrics for assessment and scoring Set up peer-to-peer or team-based evaluation groups Assess auditions with no geographical or time constraints

OnMusic of the WorldTM

Complete and ready to adopt for an online or face to face course Presents the music of Africa, the Caribbean, Native and Latin America, South and Central Asia, and Korea Engaging text, interactive maps, listening guides, images, and videos An extensive selection of streaming music

Experience OnMusic for yourself. Request your free demo account at onmusic.connect4education.com or email us at info@c4edu.com

10

February 23 8:00 pm Recital Salon

Mi ltimo beso Changa Marcana / Fiesta Leyenda incsica Albazo Variaciones en estilo folklrico El Espanta pjaros Asiri Nocturnal Vilcabamba Hibridanza Fiesta Ponchito al hombro El pintoresco baile de las cintas El capariche albazo aire tpico sanjuanito aire tpico pasillo tpico comunidad salasaca fantasa albazo suite pasillo bomba pasillo sanjuanito Carlos Silva (1909-68) arr. Jorge Oviedo Humberto Saltos (1932-) arr. Giovanni Mera Sixto Mara Durn (1875-1947) arr. Jorge Oviedo Leonardo Crdenas (1968-) Luis Humberto Salgado (1903-77) arr. Jorge Oviedo Gerardo Guevara (1930-) arr. Jorge Oviedo Segundo Cndor (1957-) Luis Humberto Salgado arr. Leonardo Crdenas Corsino Durn (1911-75) arr. Jorge Oviedo Marcelo Beltrn (1965-) Gerardo Guevara arr. Jorge Oviedo Carlos Bonilla Chvez (1923-2010) arr. Jorge Oviedo Luis Humberto Salgado arr. Jorge Oviedo Sixto Mara Durn arr. Jorge Oviedo

Ensamble Quito 6 Repertoire

Personnel
Flute Jamil Erazo Clarinet Benito Tayupanda Violin Victoria Robalino Cello Amelia Rivadeneira Piano Alex Alarcn String Bass Efrn Vivar Conductor Jorge Oviedo Production and Coordination Tatiana Carrillo

Ensamble Quito 6 was created in 2004 with the objective of providing opportunities for the dissemination of both the traditional and contemporary music of Ecuador. Born in Quito in 1974, Jorge Oviedo realized his musical studies in the National Conservatory of Ecuador, where he studied piano, composition and orchestral direction. Since that time, Maestro Oviedo has served as a composer for the city of Quitos department of musical development and dissemination, and was for three years the assistant conductor of the Banda Sinfnica Metropolitana. Later, he was named principal director of that ensemble as well as director of musical activities in the Sucre Theater. As part of this organization, in 2000 Oviedo participated in the production of the first recording of Luis Humberto Salgados Atahualpa, o el acaso de un imperio. In 2007 he was responsible for the production of the world premiere of Boletn y Elega de las Mitas, by Ecuadors most famous living composer, Mesas Maiguashca. Throughout this period Oviedo has guest conducted many of Ecuadors most important musical organizations, such as the symphonic orchestras of Cuenca, Loja and Guayaquil, as well as the Proyecto Sinfnico Cuenk. He has also taught advanced classes in music in the National Conservatory and composition in the University of Cuenca. Oviedo is the recipient of many awards and honors, including that of finalist in the 1996 Reina Mara-Jos composition competition in Geneva, Switzerland, and in that same year his work, Tocancias, won the only prize in a choral music composition competition held in Spain. In 2001, his El Cuco del Ilal received an honorable mention in Spain and he was a finalist in a composition competition in Ecuador.
11

Providing Care For: Low Back Pain Upper Back/Shoulder Pain Neck Pain Whiplash Joint Pain Sciatica Dr. Christopher A. Belluzzo Dr. Jacquie C. Keats TMJ (Jaw) Pain/Disorders Carpal Tunnel Extremity Injuries Sports Injuries Headaches/Migraines Auto Accidents Foot Arch Imbalances/Instabilities Foot & Leg Pain

Come in for a No-Cost Consultation

and Experience the Imaging Difference
We utilize the combination of our examination ndings and in-house imaging to 'see' the what, where and why of your pain, and evaluate how best to provide your care. Our two primary imaging tools are the Insight Subluxation Station and the Associate Platinum Foot Scanner which allow us to view the structure and foundation of the body. Our services are covered through most insurance plans and discount plans are available through ChiroHealth USA.

It's Your Life Live it in Health!

Call us today to schedule your appointment!

540-552-5202

We are located in the Clay Court facility in Downtown Blacksburg, with on-site complimentary parking, easy access to stops on the Blacksburg Transit, and within ve blocks of the Virginia Tech campus.

401 South Main St, Suite 104 Blacksburg, VA 24060

SouthMainChiro.com smcc_va@yahoo.com

12

Abstracts
Juan Alamo, University of North Carolina, What has been the Impact of Migration and Transcultural Exchange on Cultural Policy as it has related to Music in Latin America? One of the best examples of a music genre that developed through transcultural exchanges of Latin music is Salsa. This genre originated in Cuba from an earlier musical style from the 1930s called Son Montuno (or simply Son) that was invented by the Cuban composer Arsenio Rodrguez. However, it was in New York that the Salsa as a musical concept developed during the 1960s, and particularly the 1970s, when the music reached its maximum popularity and international exposure. Musicians, singers and composers from Cuba, Puerto Rico, Dominican Republic, Panama, Colombia and Venezuela who had migrated to the USA collaborated with North American musicians in order to create a new sound and style of music that now is commonly known as Salsa. When one listens to Salsa, one can hear elements of the Puerto Rican bomba and plena, Brazils bossa nova and samba, Colombias cumbia and vallenato, Venezuelas joropo, as well as the Dominican Republics merengue, Trinidad and Tobagos calypso, and even American jazz, disco and rock. Therefore, Salsa is a hybrid genre that is the product of transcultural exchanges from different Latin American musical styles. Finally, another important element of Salsa is the social and cultural impact that it has had worldwide among Latinos, but particularly those living in the United States. Many Salsa tunes capture in their lyrics the impact of migration and the struggles that the Latin American communities endured during the 1970s, as is the case with Ruben Blades Siembra, Pablo Pueblo and Buscando America. In many ways Salsa became the voice of Latinos and functioned as a unifying element that gave them hope, identity and unity as a minority community in the USA. Today, Salsa has become a worldwide phenomenon and at the same time, one of the musical genres that best represents the Latinos around the world. Jacqueline Avila, University of Tennessee, Knoxville, Scoring the Mexican Revolution at Home and Abroad: Cinematic Music by Silvestre Revueltas and Alex North In 1939, Hollywood composer Alex North (1910-1991) traveled to Mexico and befriended and informally studied with modernist composer Silvestre Revueltas (1899-1940). During the 1930s, Revueltas maintained an important position in Mexican cinema, composing a total of eight diverse film scores during the industrys early sound period. Prominent among the titles are Redes (1935, dir. Emilio Gmez Muriel and Fred Zinnemann) and Vmonos con Pancho Villa! (1935, dir. Fernando de Fuentes), two films that showcased Revueltass eclectic compositional style, and depicted narratives about the ideologies and major players of the Mexican Revolution (1910-1920). His underscoring served as a model for the Revolutionary melodrama film genre, illustrating the armed struggle as a destructive and violent episode juxtaposed with popular and folkloric references. Norths experiences in Mexico proved to be advantageous to his film-scoring career as he composed music for several movies focusing on Mexico, including Viva Zapata! (1952, dir. Elia Kazan), a Hollywood interpretation of Mexicos Revolutionary melodrama and a part of Good Neighbor policies. Building from Revueltass influence and style, North declined using stereotypical music intended to highlight the Latin American Other, a typical strategy utilized in Hollywood features, and focused on using sources that reflected not only the Mexican landscape, but also the appropriate sounds of the Revolution. This paper explores how the changing interpretations of the Revolutionary melodrama and its cinematic score in Mexico and Hollywood served as transnational bridges between film composers and film industries, developing new constructions that attempted to strengthen diplomatic relations. Suham Bello, Ball State University, Brazilian Modern Nationalism: Camargo Guarnieris 10 Momentos The importance of Camargo Guarnieri as a national composer places him as the most significant Brazilian composer after Villa-lobos. His general output is very extensive: he composed music for practically every medium throughout the 20th-century. His objective was to evolve the music of his country traditionally characterized by a rhythmic vitality and nostalgic lyricism, while creating a distinctive personal style influenced by late 19th century compositional techniques. For the piano, he composed a vast repertoire that spans his entire career. He was a fine pianist himself, and therefore, his music for the piano shows the composer in his most natural medium. 10 Momentos for piano (1982-1988) is a collection of short pieces that reflect moments of personal feeling; they reveal Guarnieris musicality and temperament in a very condensed manner. The set is among the composers last musical utterances, revealing a distillation of expressive communication that blends a palette of non-functional harmony with the national musical traditions of Brazil. In 10 Momentos, Guarnieri employs stylistic aspects inherited from long-established Brazilian folklore like Musica Caipira and the Modinha song, while 19th century compositional techniques like linear chromaticism and harmonic ambivalence are used to facilitate a more modern sound. Guarnieri is one of the best examples of Brazilian Modern Nationalism because of his synthesis of National musical elements and European non-functional techniques. The lecture will explore Guarnieris compositional style as found in 10 Momentos, conveying that Camargo Guarnieri is one of Brazils most erudite and refined composers whose work has a unique and wellcrafted musical voice. Chelsea Burns, University of Chicago, Carlos Chvezs H. P. and the International Musical Imagination In 1932, Leopold Stokowski premiered Carlos Chvezs Suite de Caballos de Vapor (Horse-Power Suite [H. P.]) in Philadelphia. The fourmovement ballet told the story of a group of New Yorkers leaving home on a boat to the tropics, then returning to the North. The British-born conductor and Mexican nationalist composer collaborated to present materials depicting New York and (implicitly) Mexico; yet despite the presence of a city whose nationality neither Stokowski nor Chvez shared, it is Mexico that is depicted as Other. This paper explores the ways in which Chvezs music enacted ideas about modernism and exoticism in an international music market through H. P. Chvez used dissonant, angular materials with stuttering repetition to suggest the industrial energy of the North and its implications of progress, and diatonic melodies and folk dances to portray the more natural South. Chvez maps a modernist aesthetic onto New York in contrast with a seemingly regressive or backward view of Mexico, thus perpetuating stereotypes about primitive and modern cultures in America. In this metaphorical and physical border crossing, he self-consciously created Mexico as exotic other for foreign consumption, a seeming contradiction for this outspoken nationalist composer, and a characterization that is clearly contradicted by Chvezs own compositional workings in this piece. Andrew Connell, James Madison University, We are all branches on his tree: Hermeto Pascoal and His Circle Within any music scene, musicians pursue careers through networks of relationships developed in informal jam sessions, rehearsals, gigs, recordings, bands, and other social processes. Interpersonal connections are both personal and stylistic and reputations are commonly built through work as sidemen to prominent artists. In this paper, I will examine the sphere of influence surrounding of the noted Brazilian multi-instrumentalist, composer, and bandleader Hermeto Pascoal. During my interviews with musicians in Rio de Janeiro, Hermetos music and idiosyncratic persona were commonly cited as
13

abstracts

being authentic, and he was seen as a kind of reference, a standard bearer of both uncompromising musical vision and genuine Brasilianness (brasilidade). Moreover, many of Hermetos collaborators see him as both as a teacher and a guru his longtime bassist Itiber Zwarg described the relationship as, we are all branches on his tree. Using recent recordings by Zwarg and drummer Marcio Bahia, I will examine the ways in which Hermetos current and former sidemen expand and build on Hermetos legacy, appropriating both his complex, dense sound and his cosmopolitan musical philosophy, a style he calls universal music. Drew Edward Davies, Northwestern University, Wheres the Local in Colonial Music from Mexico? The reception of notated colonial church music from New Spain (viceregal Mexico) has developed two dominant myth narratives since the mid twentieth century: a modernist-nationalist narrative that sees colonial music as the precursor of the music of the contemporary nation; and an exoticist narrative that exposes an alternate baroque. Both of these traditions rely on constructions of multicultural participation and representation to show, in the words of one scholar, local color. Yet, as a wider repertoire of colonial church musics becomes known, the overwhelmingly European quality of its aesthetics is challenging the imaginaries of both narratives and demanding a more precise engagement with the intersections between the global and the local. This presentation will address the problem of identifying the local in the music of New Spain by focusing on two case studies: the Christmas villancico Convidando est la noche by Juan Garca de Cspedes from Puebla Cathedral in the 17th century, and Seas ve claras, an early 18th-century villancico by Antonio de Salazar for the Virgin of Guadalupe from Mexico City Cathedral. It argues that Salazars engagement of local topicality might reveal more about New Spain than the earlier villancicos signifying dance elements, and in so doing, it considers the philosophical choices a performer must face when programing this repertoire. Kenneth DeLong, The University Calgary, From Havana to Hollywood: Ernesto Lecuona in a Trans-National Perspective Within Cuba, Ernesto Lecuona (1895-1963) is revered as one of the countrys most important musical treasures, a composer and performer who in his time put Cuban music before an international public, and a musician whose activities straddled the divide between popular and classical music. Within the United States, however, Lecuona has been received more generically, as a composer of Latin-flavored piano pieces, a performer of Latin band music, and, ultimately, a composer of Hollywood movie scores. This paper traces the evolution of the changing reception of Lecuona from his beginnings as a classically trained pianist in Havana to his success as a composer of films for Hollywood. Using the popular song, Siempre en mi Corazon (Always in my Heart) as a point of reference, the paper examines the continuities and discontinuities surrounding this song as composed for the 1942 movie Always in my Heart and its later reception in Cuba (in its Spanish) as virtually the second national anthem of Cuba and an expression of Cuban nationalism. The paper will explore the transformation of Lecuonas song style, originally based in the traditional Cuban cancin, into the idiom of the Hollywood title song, one in which Latin style elements and American foxtrot are seamlessly fused. The paper will include a discussion of the differing receptions of this song in Cuba and the United States as an instance of trans-national music. The paper will include historical musical and video materials as part of the presentation. Therese Irene Fassnacht, Mount St. Marys College, Contrafactum and Alternatim Praxis as Two Eighteenth Century Requiem Settings by Manuel de Sumaya

ment was noteworthy for its efforts to maintain a high standard of performance and composition. These efforts are documented in archival accounts that illustrate the process used for recruiting and hiring prestigious composers and musicians. Manuel de Sumaya (1680-1755) had achieved notoriety as the Chapel-master of Mexico City, the highest musical authority in New Spain, before accepting the post in Oaxaca. His manuscripts represent a large portion of the catalogued works found in the archives. The Misa de Difuntos and Sequentia de Difuntos a 4 are two Requiem Settings recently discovered among a group of previously uncatalogued works that have were attributed to Sumaya. The first of the two works contains a movement with extended passages of Giovanni Battista Pergolesis Stabat Mater. Both of the manuscripts are noteworthy for their settings of the Sequence text Dies Irae. This dissertation includes a detailed study of both of these works, comparing them with Sumayas other liturgical compositions in order to provide further evidence to support this attribution to him. It explores Sumayas emulation of European composers demonstrated in his contractum of Pergolesi Stabat Mater in the Misa de Difuntos. An analysis of the Sumayas treatment of the Sequence text will demonstrate the common practice of alternatim praxis. Critical editions of these two works have been created with the intention of providing two previously unknown works of merit. In this way I hope to make an important contribution to this important body of music composed in eighteenth century Mexico. Manuel Fernndez, University of Wisconsin-Eau Claire, The Afterlife of Promises: Journalistic Ethics, Utopia and Resistance in the Music of Los Aldeanos This study analyzes the tensions caused by the confluence between the promise of change implicit in the Cuban governments discourse and conscious hip hops commitment to a journalistic enterprise, with a specific focus on how those tensions are present in the music of the Cuban hip hop group Los Aldeanos. Los Aldeanos very curt and informed critiques of the Cuban governments policies have been interpreted by both scholars and themselves as loyal to the government responsible for those policies. This present study argues that the difficulty in parsing the differences between Los Aldeanos and the Cuban governments conceptions of what it means to be revolutionary arises from a characteristic common to both. Los Aldeanos musical project, it will be argued, is rooted in the journalistic ethics of the rhetoric of expos. Their commitment to that standard binds them artistically to the very same concept that underlies the Cuban governments claim to moral authority, the idea of a revolutionary movement faithful to the promise of change. A deconstruction of each ones eschatological component will allow us to appreciate the tensions inherent in the evolving social discourse on the island and how Los Aldeanos music reflects those tensions. The study is based on a broader and more literary discussion of the Cuban nationalist tradition than most analyses of Cuban hip hop to date. Marc Gidal, Ramapo College of New Jersey, Too Authentic for a Public College? Discomfort and Accessibility in Intercultural Learning when an Afro-Brazilian Folkloric Ensemble comes to Campus in Suburban America What is the role of discomfort in intercultural learning? When an ensemble of Afro-Brazilian folkloric music and dance held a yearlong residency at our college, the students, a guest artist, and I, the host, became uncomfortable when confronting cultural differences. Overall, the ensembles performance-based workshops stimulated the students curiosity of and appreciation for the unfamiliar traditions of Candombl, afox, and samba-reggae and also the cultural contexts in Bahia, Brazil. This achieved the intercultural, international, interdisciplinary, and experiential goals of the residency. But tensions arose. To recreate authentically a Candombl religious ceremony during one workshop, the main guest artist, a Candombl drummer from Bahia living in New York, wanted the men to play the instruments and the women to dance. This upset the women and violated campus policies; so the guest and I adjusted the second workshop.
14

abstracts

The musical archives of the Oaxaca Cathedral contain the surviving compositions of its maestros de capilla (chapel masters) since its founding in the sixteenth century. The Cathedrals musical establish-

Throughout the process all parties faced their discomforts with foreign cultural practices. Because this folkloric ensemble formed in New York City, not in Bahia, to entertain and educate unfamiliar audiences, how do they create authentic while accessible workshops and performances? If both the joyful and challenging interactions contributed to the goal of intercultural learning, how much should educators control artist residencies while balancing authenticity with curricular goals and campus policies? This paper contributes to the ethnomusicological literature on Brazilians in the United States and intercultural music pedagogy. Eduardo Herrera, University of Illinois at Urbana-Champaign, The Rockefeller Foundation and Latin American Music during the Cold War: Meeting Points of Music, Policy, and Philanthropy Studies on public and private support for the arts, often called the economics of the arts, frequently fail to recognize the personal connections between the people formulating foreign policy, pushing forward specific corporate interests, and deploying resources through grants, endowments and donations. The common interests shared by government and private corporations during the Cold War led into a semi-privatization of American foreign policy. At moments, the anti-communist mission of the government was one and the same as that of the private sector, leaving philanthropya mediating force between themin a unique position. This is at its clearest when discussing the ways in which foreign aid provided by philanthropic organizations tends to reinforce foreign policy emerging from the political sphere and/or the interests of private sectors. By looking at the Rockefeller Foundations project to create a Latin American Center for Advanced Musical Studies in Buenos Aires, and the Latin American Music Center in Indiana, I show the crucial role of John P. Harrison, Assistant Director for Humanities at the Rockefeller Foundation. Harrison played a crucial role in the history of Latin American classical music during the 20th century, and his importance has yet to been recognized. Ultimately I am interested in understanding how in the case of the Rockefeller Foundation particular individuals like Harrison acted within the agency that they had, as they reshaped with their actions both foreign aid and development funds for the arts. Kent Holliday, Virginia Tech, Latin American Music and its Influence on my Composing Style I will discuss and illustrate with recordings essentially five different compositions for keyboard written in the last twenty years that been greatly influenced by Latin American music, literature, and culture. The five pieces, some of them composite suites, are: 1) Recuerdos Peruanos 2) Tango Extico 3) Milongalgusto 4) Dances from Colca Canyon and 5) Incantations from the Popol Vuh. Susan Hurley-Glowa, University of Texas at Brownsville, Banda Musica: Bavarian Brass Bands Cousin Abroad The music of choice for many young Mexicans and Mexican Americans at dance clubs today is a style called banda musica. Banda began as a regional Mexican musical style played on band instruments introduced by European immigrants: ensembles typically include 10-12 musicians who play clarinets, trumpets, Eb alto horns, valve trombones, and percussion. A single sousaphone player belts out the bass lines in a style reminiscent of early Dixieland performances, and groups today feature several singers. The banda style has roots in nineteenth century Sinaloa, a state in northwest Mexico, and its clearly influenced by both German/Czech/Polish and Iberian brass band music in its instrumentation and eclectic repertoire, which includes polkas, waltzes, ballads, cumbias, rancheras, and more. Banda arrangements typically feature three part harmony and melodic sections that contrast the timbres of the clarinet, trumpet, and valve trombone sections. In contrast to Mariachi, which has been subjected to processes of folklorization, banda is still a flexible popular form that easily adapts to changing audience demands and trends. For example, banda musicians sometimes use synthesizers, digital video production and other new technology in innovative
15

ways in the creation of new songs and in their performances. This has spawned a variant style called technobanda, based on electronic instruments. Other banda ensembles have retained the styles acoustic wind band instrumentation. Based on ethnomusicological fieldwork with banda musicians in Brownsville, Texas, and other research, this paper will explore bandas connections to European musical genres and analyze the role of technology in its ever-evolving style. Silvia Lazo, University of Montana, Pau Casals legacy in Puerto Rico: Operacin Serenidad, Melding Latinidad and American ingenuity Through the simultaneous industrial development plan (Operacin Manos a la Obra) and cultural development plan (Operacin Serenidad)jointly the Commonwealth Development PlanPuerto Ricos Governor Luis Muoz Marin and American lawyer, Abraham Fortas, aimed at manufacturing an exemplar human civilization, uniting Latin culture and American ingenuity. The Commonwealth Development Plan, however, consolidated American political, economic, and cultural control over Puerto Rico (neo-colonialism). In 1955, American developmentalist propaganda influenced Catalan cellist Pau (Pablo) Casals (18761973) to relocate to San Juan to inject musical prestige into Operacin Serenidad. The Festival Casals Inc., served as a corporate umbrella for a three-pronged institutional apparatus: the annual Festival Casals (1957), the Puerto Rico Symphony Orchestra (1957), and the Puerto Rico Conservatory (1959). Albeit promoted as a friendly cultural enterprise in 1956, the Festival Casals Inc. proceeded to interpret cultural development on its own terms, promoting European classical music through an American corporatist hierarchy. At odds with conflicting agendas, Operacin Serenidad lacked coherence and failed to account for the political history, social conceptions, and musical tastes of Puerto Ricans. Consequently, the reception of the Festival Casals Inc. varied from enthusiasm, to indifference, to outright dissent. Labeled cultural imperialists by some, foreign directors and musicians faced recurrent attacks that culminated with the cancellation of the 1979 Festival Casals, followed by a transfer of the Festival Casals Inc. to local governmental oversight in 1980. Eventually the Festival Casals Inc. found a more stable place in Puerto Rican culture alongside other musical forms performed on the island. Catherine Lehr, St. Louis Symphony Orchestra and Community Music School of Webster University, Mexican Musicians in International Exchange Cellofest 2012: Cellists without Borders The Mexican government is a strong supporter of the arts, and has many programs benefitting music and musicians, often emphasizing cultural exchange. Among these is the Instituto Nacional de Bellas Artes (INBA), which sponsors the Concertistas de Bellas Artes, the Orquesta Sinfonica Nacional (OSN), and many music conservatories. In July of 2012, Temenuzhka Ostreva from the Escuela Superior de Musica y Danza de Monterrey (ESMDM) brought five of her students to St. Louis, Missouri, joining cellists from St. Louis for a week-long Cellofest, celebrating the cello with compositions from the United States and Mexico, and culminating in concerts as well as television and radio interviews. Much of the funding for this came from the ESMDM, which is a branch of the INBA. The Concertistas de Bellas Artes includes 48 musicians who play solo and chamber music concerts in Mexico and all over the world. The musicians are encouraged to include Mexican music in their programming. The Orquesta Sinfonica Nacional offers professional salary and benefits, much like U.S. orchestras. However, included in the benefit package is up to three years of music study in a foreign country while the musician is on leave from the OSN. These and other programs will be addressed in my paper.

abstracts

Marli Rosa, University of Montevallo, Brazilian Music in the USA: from Carmen Miranda to Bossa Nova In this panel it will be discussed two important periods in the history of Brazilian popular music that are strictly related to the foreign affairs of both the governments of Brazil and the United States of America in the 20th Century. The first period covers the late 1930s and early 1940s, when, due to the Good Neighbor Policy, developed by the government of President Franklin Roosevelt for the Latin American countries, and to the US movie industry, Brazilian music was released in the US territory and, from there, presented to the world. The singer Carmen Miranda and the samba composer Ary Barroso had professional experiences in Hollywood at those times, as a result of the opening of the US entertainment industry to Brazilian artists. The second period that will be presented is the 1960s, when Bossa NovaBrazilian jazzwas released in the US, more specifically in New York City, on November 21, 1962, with a Bossa Nova Concert, in Carnegie Hall. The repercussion of this concert resulted in new opportunities for Brazilian artists, Joo Gilberto, Tom Jobim, and later Jorge Ben, among many others. It will be discussed: firstly, the role of both US and Brazilian governments and their policies, besides diplomats and businessmen from show business, in helping promote the Brazilian music and musicians in the US; and finally, how the US press helped Brazilian music conquer audiences in other parts of the world. Cosme R. Martins, University of So Paulo, Brazilian Modal Jazz Music in Optimality Theory In this paper the author gives a new interpretation for the Brazilian modal jazz music. Influenced by Hindustani and Carnatic music he argues that modal jazz music should gravitate around only one key center. This approach can benefit both musicians and listeners in refining their attention and emotions towards music. After all, music is all about the art of awakening our divine sentiments. He further discusses the techniques that can be applied to the melody section (pedal note with polychords). For the harmony section he proposes a freedom from the pre-established chord changes in the melody during improvisation giving more opportunities to the musician to reinvent his own modal harmony limited within the boundaries of the seven musical degrees of a particular musical mode. In his Brazilian modal jazz conception melody is the center of music. Harmony is just the shad of melodic lines. Even the drums can invoke the rhythm patterns of a melody! Based on the musical model of Optimality Theory (OT), the author elucidates some representations of a musical learning processing of the IIVI chord progression as well as the rhythms of a modal jazz harmony. Javier Jos Mendoza, Chicago Arts Orchestra, The Globalization of 18th Century European Musical Style Musicologists from around the world have recognized the significance of the viceregal works of Mexico. Mexico is home to a wealth of music from this period. Historically notable pieces have appeared in the process of cataloging this repertoire. This project calls attention to repertoire from the 18th century that was previously unknown using the work of Dr. Drew Davies, Dianne Lehmann Goldman and the Chicago Arts Orchestra. The challenges of preparing performances of this music include accessibility of manuscripts and availability of performing editions. These works inform not just Latin American colonial history but also the music history of Europe. This presentation highlights the importance of viceregal repertoire of the 18th century by emphasizing the transatlantic connection between colonial Mexico, Spain and Italy. The newly re-premiered repertoire provides context to social construction in New Spain and the utility that these works had to viceregal institutions, while demonstrating that the gallant style was a global style that not only transcended genre, but also the European continent.

and entertaining. These composers have not been forgotten because they were second rate, but because of political circumstances and changes in societal and institutional preferences. Juan Daniel Montejo, Conjunto Marimba Xajla Segunda Generacin, La nacin Popti La nacin Popti o Jacalteca, ha venido desarrollando msica y produciendo msicos que constantemente han compuesto, dependiendo la inspiracin, al amor, a la tristeza, a la pobreza o una experiencia que marca en sus vidas. Desde la conquista de los espaoles se pudo adaptar no sabemos si por influencia europea o los europeos adaptaron algo de nuestra msica. La Marimba Sencilla y Autctona (Te Son Wixpumum) ejecutada por tres a cinco msicos, ha influido mucho en la composicin musical, adems las danzas que se practican como del venado que contienen ms de 40 piezas; por influencias mexicanas se adapt el violn, la guitarra y el guitarrn, y junto la adaptacin de bajo elctrico, rgano elctrico, batera se han generado ms de 5,000 composiciones musicales que poco a poco algunas se han extinguido. Existen ciento de composiciones que no cuentan con una identificacin, as como el 100 por ciento no cuenta con partituras. El impacto econmico en la regin es para msicos temporalmente que no es un medio de vida y para personas que se dedican a comercializar ilegalmente la msica, lo que es cierto el impacto social que en la nacin Maya Guatemalteca Popti o Jacalteca, es de gran importancia, la cual genera armona, convivencias, sentimientos y revaloracin en la entidad del pueblo Popti. Es imperante el rescate de la msica Popti, Jacaltenango como centro del pueblo Popti tiene mucha riqueza musical que aportar al mundo y que sea reconocida en este mbito, porque culturalmente nos identificamos con nuestra msica. Juan Mullo Sandoval, Corporacin Musicolgica Ecuatoriana, La Revolucin Alfarista de fines del sigo XIX e inicios del XX: el impulso ideolgico al nacionalismo musical ecuatoriano Las confrontaciones entre la Sierra y la Costa ecuatorianas en la poca republicana, se polarizan esencialmente entre Quito y Guayaquil, seran sucesos histricos generados desde las oligarquas criollas terratenientes, con claros afanes regionalistas o separatistas. En el imaginario de la nacin, la Sierra era ideolgica y polticamente conservadora, mientras que la Costa liberal. El presidente y lder de la revolucin liberal radical Eloy Alfaro, cuando inaugura la construccin del ferrocarril, simblicamente unifica la Costa con la Sierra y con ello marca una visin distinta de una repblica moderna. El proceso liberal desde fines del siglo XIX, desempe un rol esencial en cuanto la educacin laica, y entre ello, el desarrollo de las artes musicales desde la gestin del Estado, dio un fundamental impulso al nacionalismo musical, con hechos como la fundacin en Quito del Conservatorio Nacional de Msica en 1900. En Guayaquil, la Sociedad Filarmnica, forma a una generacin de compositores nacionalistas porteos, ligados a la base ideolgica del liberalismo radical. Es interesante anotar que los compositores nacionalistas iniciales de la Sierra, en su mayora con una orientacin ideolgica conservadora, son permanentemente citados por la musicologa ecuatoriana desde una perspectiva andino-centrista, mientras que aquellos de la Costa, coincidentemente liberales, han sido relegados. El presente ensayo trata de evidenciar la base ideolgica de las creaciones nacionalistas costeas, dentro de la revolucin liberal radical, pero tambin su obra y repertorio, relacionados con los bailes de saln, las danzas republicanas y gneros patriticos. Robert Nasatir, Father Ryan High School, Carlos Varela, dentro y fuera de la Revolucin Desde sus primeras canciones, Carlos Varela ha mostrado implcitamente una comprensin del papel del trovador en la sociedad cubana; adems, l aprovecha una identificacin mutua con su pblico en la que el trovador y su pblico son anlogos de varias relaciones sociopolticas dentro del proyecto revolucionario. Varela se asume como parte de un vasto discurso trovadoresco, un discurso que hoy da pertenece a mltiples generaciones y que es paralelo al desarrollo histrico de la Revolucin. Dicho de otra manera, el
16

abstracts

The repertoire of 18th century New Spain has been well received by audiences. Concertgoers may attend concerts of this repertoire out of intellectual interest; what they find is that the music is well crafted

intento de comprender y ubicar a Carlos Varela en la trayectoria ms amplia trovadoresca, el propsito de este ensayo, significa el acercamiento a una problemtica que ha preocupado al trovador mismo durante el transcurso de su carrera. La indagacin implica el deseo de entender un proceso esttico a travs de eventos histricos y su inversin, es decir, el deseo de asimilar eventos histricos a travs de un proceso esttico. Ambos procesos, el esttico y el histrico, la trova y la Revolucin, enfatizan un progreso recto y avanzado que con mucha frecuencia se manifiesta cclico y repetitivo, una realidad contradictoria y cotidiana que por ltimo define la obra de Carlos Varela. Lori Oxford, Western Carolina University, Todos somos Arizona: a Concert in Response to SB 1070 Arizonas Senate Bill 1070 was one of the U.S.s most controversial topics in 2010 and 2011, given the provisions the bill made to deport immigrants and otherwise push them away, if not back to their countries of origin then at least into other states, attempting to shift the immigration problem to other shoulders, and it is considered by many to be little more than a blatant expression of anti-immigrant racism. On May 16, 2011, some of Mexican rocks most well-known bands (Jaguares, Molotov, Bostich + Fussible, and Maldita Vecindad, for example) as well as groups from all over Latin America (Topete y su Trova, Kike y su Ach, and Los Bunkers, among others) came together in the Zcalo of Mexico City to play and demonstrate their solidarity for those affected by SB 1070, or what they call the ley antiinmigrante. The free concert, which was attended by more than 85,000 people, represented a peaceful gathering (despite the sometimes violent dance styles by some of the performing groups) and was called S por la dignidad: todos somos Arizona. In my paper, I will examine how policies and even sentiments within the US, from the 1987 amnesty program to the Minutemen to Arizonas anti-immigrant bill, have inspired everything from tender sentimental ballads to belligerent protest anthems, songs which are usually unfamiliar to the individuals (like US policymakers) whose words and actions have created or at least contributed to the social environment in which the songs are conceived and performed with near-religious zeal. Iliana Pagn-Teitelbaum, Virginia Tech, Escaping Diaspora: The Impact of Migration and Trans-Cultural Exchange in Rita Indiana y Los Misterios Dominican writer Rita Indiana Hernndezs musical project was popularized through the internet (YouTube) and social media (Facebook) in 2008. In her group Rita Indiana y Los Misterios, Hernndez captures her interests in conceptual art, popular Dominican music, and Afro-Caribbean religious traditions. In this paper, I analyze how the groups 2010 album El Juidero (The Escape) functions as a response to the failure of the Dominican diaspora to become incorporated into the American dream. I examine the unsettling effect of the projects musical fusion of rhythms such as Dominican merengue and traditional Afro-Dominican palo, with reggaetn and pop rock. I explore how the surrealist esthetic of the albums related musical videos, created by Puerto Rican director Noelia Quintero-Herencia, contributes to the musical projects construction of immigrant alienation, as literally alien or otherworldly. Alyson Payne, University of California-Riverside, The 1964 Festival of Music of the Americas and Spain: A Critical Examination of IberoAmerican Musical Relations in the Context of Cold War Politics In 1964, the Organization of American States (OAS) and the Institute for Hispanic Culture (ICH) co-sponsored a lavish music festival in Madrid that showcased the latest avant-garde compositions from the United States, Latin America, and Spain. Critics reserved much of their praise for the serial works, such as Alberto Ginasteras Don Rodrigo Symphony and Gustavo Becerras Wind Quintet. Recently, various scholars have asserted that during the Cold War, avant-garde musicespecially that employing serial techniquespromoted ideologies of freedom, anti-Communism, and scientific exploration. However, much of this research has focused on relations between the U.S. and Western Europe, leaving other Cold War battlefields, such as Latin America, on the periphery. During the festival, tropes
17

about solidarity that typified OAS discourse intertwined with commentary on the avant-garde. Serialism, touted as a universal language, became symbolic of Latin American progress, while nationalistic styles became pass and divisive. Still, like many composers from countries on the margins of Western music, the Latin American and Spanish composers experienced a doubly binding paradox, wherein to be valued by the European serialists, they needed to retain their difference: their exotic essence. I propose to problematize the debates about nationalism and the avant-garde of the early 1960s by drawing upon the commentary generated during the Madrid festival. Moreover, as this festival dovetailed with Kennedys Alliance for Progress, an important Cold War project aimed at Latin America, I also deconstruct the nuanced rhetoric of the festival, which reflected centuries of interaction among the Americas. Marysol Quevedo, Indiana University, Film Music in Revolutionary Cuba as Compositional Experimentation: Leo Brouwer, Roberto Valera and the Cuban Institute of Film Art and Industry (ICAIC) In 1959 the Cuban government, seeing film as an ideal medium for disseminationg the Revolutions message, created the ICAIC (Cuban Institute of Film Art and Industry). In 1960 the ICAIC established a music section directed by composer Leo Brouwer, who attended the 1961 Warsaw Autumn Festival, becoming acquainted with the music of the Polish avant-garde. This experience influenced the stylistic direction in which Brouwer would guide the music activities at the ICAIC. Among the other composers who joined Brouwer was Roberto Valera, who worked at the ICAIC from 1961 to 1965, and later completed his studies in music composition in Warsaw (1965-7). While scholars have examined the influence of the ICAIC and its Grupo de Experimentacin Sonora on Nueva Trova (Robin Moore, Jan Tumas-Serna), little scholarly attention has been given to the ICAICs importance in the development of Cuban art music composers. This paper examines the influence of the ICAIC, and the political and aesthetic agendas it promoted, had on the careers and compositons of Brouwer and Valera during the 1960s. In the absence of a local institution for higher studies in composition, the ICAIC served as a workshop where composers employed various compositional techniques according to the film project and its directors needs. I argue that, as films had wider dissemination within and outside of Cuba than live classical music concerts, young composers involved with the ICAIC gained recognition faster than their counterparts. Furthermore, the ICAIC functioned as a space for experimentation that primed Cuban composers for studies overeas. Patricia Reagan, Randolph Macon College, The Bachata Boom: From Dominican Marginalization to North American Bilingualization Bachata, a musical genre originating in the Dominican Republic, can be considered music of resistance both politically and socially. From the direct connection between the inception of the genre and the death of the dictator Rafael Lenidas Trujillo, to the initial marginalization of the genre by the socially elite, both the origins and rise to popularity of the bachata genre are linked to political and social conflict. In the present day, bachata musics wide popularity across many different cultures and borders sets the music apart from its humble roots and from its resistant nature. Indeed, Bachata music can be partially credited with the rise to popularity of bilingual songs in the United States. Specifically, I propose that the trend towards bilingual music began when the Dominican-American group Aventura recorded their first bilingual song, Cuando Volvers on an album called Generation Next in 1999. Aventura also innovated Latin music by fusing the traditional local Dominican genre with other genres; such as the mixing of bachata and North American hip hop music or Latin reggaeton music. These innovations have changed Latin music as we know it today, which can currently best be described as a bilingual fusion of various Latin genres. Through audio clips, this presentation focuses on bachatas history of Dominican marginalization, the innovations of Latino bachata groups, the effect of Latino immigration on the growth of the bachata genre, and the contributions of the bachata genre to various contemporary genres of bilingual pop songs.

abstracts

Eunice Rojas, Lynchburg College, Spitting Phlegm at the System: The Changing Voices of Anti-Colonialist Puerto Rican Protest Music Spains defeat in the Spanish-American War of 1898 ultimately resulted in independence for Cuba, but the neighboring island of Puerto Rico was left with its own aspirations of sovereignty dashed as it passed from being a Spanish colony to a United States territory. Since that time the political status of the Caribbean island nation has undergone slight changes but its colonial identity has remained untouched. The question of status has been an ongoing source of controversy, though, as both a small group of advocates for independence and a much larger segment of the population in favor of statehood have long complained of disenfranchisement from the federal government. Puerto Rican protest music capturing this anticolonialist sentiment has been sparked by three sets of actions taken by the U.S. military and intelligence services in Puerto Rico over the course of nearly 50 years. In the late sixties and early seventies University of Puerto Rico students protesting the presence of the U.S. military ROTC on the university campus produced almost regular riots and generated music that became a symbol of the fight against military power and police brutality long after the riots had ended. Anti-military protests and their accompanying music returned to popularity at the peak of the movement against the U.S. Navys bombing practice on the Island of Vieques in the late 1990s. Finally, in 2005 the F.B.I.s killing of Filiberto Ojeda Ros, the seventy-two year old former leader of the Puerto Rican revolutionary group, Los macheteros, inspired a controversial song by a break-out duo named Calle 13, quickly launching them to fame. Calle 13, unlike most Puerto Rican protest musicians before them who have remained relatively insular, has broadened the message to extend outside the islands borders and has capitalized on prize-winning polularity to champion more universal causes and transmit them to a wider audience. Nuria Rojas, Benedict College, The Musician: Born or Made? The Importance of Musical Instruction at a Young Age: the Costa Rican Case. Jos Figueres, a visionary former president, imagined a Costa Rica concerned not only with meeting its basic needs, but one nation in which all children and young adults could be educated in the field of music. His celebrated phrase, Para qu tractores sin violines? (What is the use of having bulldozers without violins?) provided a foundation of support for the formation of programs such as the Orquesta Sinfnica Infantil and Juvenil and for institutions of learning such as the Conservatorio de la Universidad de Costa Rica and the program of Educacin Bsica designed to offer musical education for elementary school children. Costa Rica does not have an army. Jos Figueres abolished it in 1949. The budget needed to support weapons and troops supports, instead of education and social programs. We, Costa Ricans, like to say that our army is made up of teachers, children and young adults and we earn our medals with violins, pianos, drums, and books, not with weapons. The Conservatory has been a pioneer in the field of music education, creating an educational model designed for children. This is the focus of my proposal: to share this program of study as well as several aspects of our Costa Rican culture. Today I enjoy, at a College in South Carolina, the wonderful opportunity of integrating my Costa Rican educational system with the American system in hopes of finding an A-440 that would eliminate borders and would open the doors to a universe of music scores, original works, and opportunities that would contribute to the betterment of the human race.

John L. Walker, Virginia Tech, Culture in Transit: Italian Musicians and their Influence on Caribbean Communities during the mid 19th Century A faltering economy combined with increasing numbers of musicians in mid 19th century Italy led many of these to seek opportunities in South America. Opera companies organized performances in coastal and interior cities around both coasts of this continent. The residents of these communities received these performances in many different ways. For instance, some looked upon the Italians as a resource that could be used to develop local talent, and as a result, many Italians remained in these countries as performers and educators. There were a number of different routes by which these Italian musicians arrived in South America, the most important of which terminated along the southeastern coast of that continent. However, a significant number of musicians took a more northerly route that ended in Ecuador, Peru, and to a lesser extent, Chile. Since by crossing the Panamanian isthmus it was possible to sail more or less directly from Europe to these west coast countries, some opera companies organized performances in Caribbean seaport communities, such as in Cuba, Puerto Rico and Jamaica. These locales served not only as midway points for voyagers heading to western South America but as jumping off points for musicians traveling to gulf coast communities in the United States or beyond. In a manner not unlike that in Quito, Lima or Valparaiso, the Italian musicians who disembarked at Caribbean communities were influential in the development of music and culture in the region. They provided opportunities not only for the diffusion of western European music but helped stimulate the construction of appropriate cultural institutions that had long-term consequences for the Caribbean area. Their performances entertained countless local inhabitants, and in some cases, inspired many of these to pursue similar careers. This paper focuses on the international relationship of but one small group of Italian musicians who, during the mid 19th century, performed multiple times in both Caribbean and western South American communities and in so doing, contributed to the overall musical development of both regions. Indeed, this group not only gave western hemisphere premiers of several operas, it may have been the only operatic company whose territory comprised all of the Caribbean and the western continental countries mentioned above. Ketty Wong, University of Kansas, Julio Jaramillo, the Pasillo, and the Cantina: The Construction of a National Myth in Ecuador Acclaimed throughout Latin America for his performances of boleros, valses, and pasillos, Julio Jaramillo (1935-1978) was a charismatic Ecuadorian singer who was scorned by the nationalistic elites for his life of excesses. After his death, he became a peoples idol and is currently considered a national figure whose songs epitomize a collective sense of Ecuadorianness. Particularly famous is his performance of Nuestro juramento (Our Oath), an Antillean bolero composed by Puerto Rican Benito de Jess in 1965, which many Ecuadorians believe is a pasillo, Ecuadors elite musical symbol. This paper examines the processes through which the stigmatized figure of Jaramillo as a drunkard and womanizer has been transformed into that of a national hero. It also explores why and how a song of foreign origin has become the foremost national music, and how Jaramillos lifestyle has contributed to shape images of msica rocolera, a working-class music associated with drunkenness and the cantina. To these ends, I examine several discourses and mythologies constructed around Jaramillo in the last quarter of the twentieth century, a period of profound social transformations in Ecuador as a result of the massive rural-to-urban migration and urbanization. Particularly, I trace the semiotic links between Jaramillo, the cantina, and the pasillo as contradictory sites of Ecuadorian national identity construction. I argue that Jaramillos polysemous figure has given rise to the creation of national myths that embody peoples inner desires and idiosyncratic views of the Ecuadorian nationhood.

abstracts

18

Biographies Presenters
Juan lamo is an internationally known performer, composer, and educator. He holds a Bachelor of Music degree from the Puerto Rico Conservatory of Music, and Master of Music and Doctor of Musical Arts degrees with Jazz as related field from the University of North Texas. Originally from Cidra, Puerto Rico, Dr. lamo has presented solo recitals, master classes and lectures at universities and percussion and jazz festivals throughout the United States, Central and South America, and the Caribbean.
Currently Juan is an Assistant Professor at the University of North Carolina, Chapel Hill where he teaches percussion, jazz history and Latin American music history. Dr. Alamo is a member of the Percussive Arts Society, Kappa Kappa Psi and an artist-clinician for Yamaha and Encore Mallets Inc. Complete Works with A-R Editions and collaborated with the Chicago Arts Orchestra on the recording Al combate from Navona Records. His catalog of the music collection at the archive of Durango Cathedral is in press at the Universidad Nacional Autnoma de Mxico. His University of Chicago PhD dissertation earned the 2006 Housewright Prize from the Society for American Music.

Kenneth DeLong is professor of music history at The University of

Jacqueline Avila is an Assistant Professor in musicology at the

University of Tennessee. She holds an M.A. and Ph.D. in music from the University of California, Riverside. Her research interests include Mexican modernism, nationalism, and cinema and media studies. She was a recipient of the UC MEXUS Dissertation Research Grant and the American Musicological Societys Howard Meyer Brown Fellowship, and has presented her research at several conferences in the United States and Mexico. She is currently writing a book manuscript tentatively titled CineSonidos: Cinematic Music in Early Mexican Film, which is an examination of meaning and cultural representation in Mexican film music.

Suham Bello began her music studies in 1996 at Instituto Superior

de Artes. She obtained her undergraduate degree in piano performance at the Universidad Nacional of Costa Rica as a scholarship pupil of Alexandr Sklioutovsky.

Calgary. His principal areas of research are nineteenth-century Czech music, the music of Victorian England, opera, and the piano music of Liszt, Chopin, and Smetana. He has published articles in the New Grove Dictionary of Music and Musicians, The Victorian Review, The Journal of the American Liszt Society, The Canadian University Music Review, and Theatre History Studies, and has contributed chapters to several books, including Convention in 18th- and 19th-Century Music, Liszt and his World (ed. M. Saffle), Janek and Czech Music, and Liszt: A Chorus of Voices. Recent publications include chapters on Schubert in The Unknown Schubert and on Arthur Sullivan in Henry Irving: A Re-Evaluation of the Pre-Eminent Victorian Actor-Manager, both with Ashgate Press. With Friedemann Sallis and Robin Elliott he is editor of Centre and Periphery, Roots and Exile: Interpreting the Music of Istvn Anhalt, Gyrgy Kurtg, and Sndor Veress (Wilfrid Laurier University Press, 2011). Two articles on Liszt are forthcoming. Recently, he has presented conference papers on Liszt at the Word and Music Association Meeting (Vienna, 2010), the International Franz Liszt Competition and Festival (Utrecht, 2011) and Music between Nationalistic and Cosmopolitan Thought: Anniversary Reflections on Franz Liszt (Heidelberg, 2011). In 2012 he presented two papers at conferences in Torino, Italy, and York, Pennsylvania on music for film. His interest in Latin American music stems from his Cuban (musician) wife, her musical family, and from recent trips to Cuba.

Miss Bello has performed numerous concerts and recitals at principal halls in Costa Rica and international halls such as the Weill Recital Hall. She has been the featured soloist with the orchestras of Universidad Nacional and Kent State University. Miss Bello also embraces chamber music, in 2009, Miss Bello was a scholarship participant of the Kent/Blossom Music Festival. Presently, she is a doctoral student of Ray Kilburn at Ball State University. She has also studied with Joela Jones of the Cleveland Orchestra and Donna Lee of Kent State University.

A native of Southern California, Therese Fassnacht is an active choral conductor and clinician. She is Assistant Professor of Music at the Mount St. Marys College in Los Angeles, where she conducts the Mount Chorus & Singers, teaches voice, aural skills, and music survey courses. Dr. Fassnacht completed her Masters studies at Westminster Choir College in Princeton, NJ and her DMA in choral conducting and literature from the University of Illinois at Urbana-Champaign. She has studied conducting and choral music with conductors Joseph Flummerfelt, Andrew Megill, Chester Alwes, Fred Stoltzfus, Donald Schleicher, and Eduardo Diazmunoz. She spent two summers in Coaraze, France with Joel Coen and Anne Azma of the Boston Camerata learning the performance practice of medieval vocal music. She has performed as conductor, soloist, and chorister on both national and international stages. Her research interests include Latin American choral music. Fassnacht is preparing a critical edition of Two Requiem Settings by Manuel de Sumaya. She is an active member of the American Choral Directors Association, the National Collegiate Choral Organization, International Federation of Choral Music, National Association of Teachers of Singing, and the College Music Society.

Chelsea Burns is a Ph.D. candidate in Music Theory and History at

the University of Chicago, where she studies analytical approaches to Latin American art music of the 1920s and 1930s, particularly focusing on Mexico and Brazil. Her research is supported by U. S. Department of Education Foreign Language and Area Studies (FLAS) grants, and she is also the recipient of Tinker funding for field research.

Andrew Connell is an Associate Professor of Music at James Madison University, where he teaches courses in Ethnomusicology, American music, jazz history, Latin American music, Global music, and coaches jazz chamber ensembles. His primary research focus is on Brazilian popular music, looking at issues of identity, improvisation, and place. He holds a Ph.D from UCLA and a Masters of Music from the University of Michigan. Dr. Connell is also an active clarinetist and saxophonist, appearing at the Monterey Jazz festival, the Montreux Detroit Jazz Festival, the Kennedy Center for the Performing Arts, Spoleto Festival USA, the Cabrillo Music Festival, Wintergrass, Rio Festival 2000, and the Denver Folk-Life Festival. He has recorded for the Musical Heritage Society, Intrada, Adventure Music, Ncleo Contemporneo, Earthbeat! Traveler, and Acoustic Levitation labels. Drew Edward Davies is Associate Professor of Musicology and
Director of Graduate Music Studies at Northwestern University, and Academic Coordinator of the Seminario de Msica en la Nueva Espaa y el Mxico Independiente (MUSICAT) in Mexico City. A specialist in the music of New Spain, he recently published Santiago Billoni:
19

Manuel Fernndez received his Ph.D. in Spanish in 2001 from Pennsylvania State University and is currently an Associate Professor of Spanish at the University of Wisconsin Eau Claire. His research has focused on the literary production of contemporary Cuban authors such as Leonardo Padura Fuentes, Amir Valle and Dana Chaviano, on hip hop music produced inside the island by groups such as Los Aldeanos, and on music produced by and for the Cuban community outside of the island since the late 1950s. In the future he will continue to focus on the working out of the Cuban national trauma as represented in literature, film, music and other cultural productions of Cuba and its diaspora.

bios

Marc Gidal is Assistant Professor of Music and Musicology at Ramapo College of New Jersey. He received his Ph.D. from Harvard University, MA from Tufts University, and BS from the University of Oregon. His research concerns Afro-Brazilian religious music and the music of Brazilians and other Latin Americans in the United States. His publications include the article, Contemporary Latin American Composers of Art Music in the United States: Cosmopolitans Navigating Multiculturalism and Universalism, Latin American Music Review 31/1 (2010). Eduardo Herrera received a Ph.D. in ethnomusicology/musicology
from the University of Illinois at Urbana-Champaign. His dissertation is titled The CLAEM and The Construction Of Elite Art Worlds: Philanthropy, Latinamericanism and Avant-Garde Music. He has done historical and ethnographic research in topics including Argentinean and Uruguayan avant-garde music, the history of electroacoustic music, and carnival music in Brazil. He is interested in twentiethcentury art music history and theory; ethnography of elites; Latin American music; music and politics; philanthropy and policy making; music during the Cold War; and the construction of elite art worlds.

Catherine Lehr is currently assistant principal cello of the St. Louis Symphony. Previously, she was principal cello with the Xalapa Symphony in Mexico and with the San Diego Symphony. She has appeared as soloist with orchestras in the United States, Canada, and Mexico. As a member of Trio Cassatt, Ms. Lehr recorded string trios by Reger and Taneiev. She also is the featured cello soloist on Chuck Mangiones album Land of Make Believe.
Ms. Lehr is on the faculty of the Community Music School of Webster University in St. Louis and served on the jury of the Second National Cello Competition in Monterrey, Mexico, this past December. She was honored by the Missouri String Teachers Association as Missouris Artist Teacher of the Year for 2008.

Cosme Martins was born Brazil in 1961. He started his musical career in 1984 as a double bass player with the Youth Symphony Orchestra of Rio de Janeiro. He left music to take his Bachelor Degree in English and M.A. in Linguistics. In 1996 he met John Abercrombie in London who prompted him to return to music by playing the guitar and composing his own music based on modal jazz music.
Orchestra (CAO). Mendoza is active in a movement to unearth and re-debut forgotten works from 18th-century New Spain. With the Chicago Arts Orchestra Mendoza is energetically re-premiering works from archives in Mexico, Guatemala, and Spain in an effort to bring this wonderful music back into public awareness. Mendoza has given U.S/modern day re-premieres of works by Ignacio Jerusalem and Santiago Billoni, both are composers who worked in present day Mexico in the 18th century. Mendoza is one of a few conductors from the U.S. actively working with an El Sistema inspired youth orchestra program in Latin America as guest conductor of El Sistema de Orquestas y Coros de Guatemala. Mendoza is working toward a Doctor of Arts at Ball State University with an emphasis in Conducting.

Kent Holliday studied composition with Paul Fetler and Dominick

Javier Jos Mendoza is Artistic Director of the Chicago Arts

Argento at the University of Minnesota, where he received his Ph.D. in music theory-composition in 1968. He subsequently did postgraduate work in Paris, France, and at Dartmouth College and the University of New Hampshire. In 1969 he worked with Pietro Grossi on computer music in the Studio di Fonologia S2FM in Florence, Italy, and in 1988 studied composition on research-leave with Witold Szalonek of the Hochschule der Kunst in Berlin, Germany. Dr. Holliday was the winner of the Virginia Music Teachers Association Composition Competition in 1983, 1996, and 1999. His Four Evocations won first place in the New Music Delaware Composition Competition in 1996. He taught music composition, theory, history, piano, and selected courses in the humanities at Virginia Tech since 1974. His book, Reproducing Pianos Past and Present, was published by Mellen Press in1989. More recently, Dr. Holliday has also received the ASCAPLUS award for the SCI recording of his work Tango Extico. Susan Hurley-Glowa is assistant professor of ethnomusicology and horn at the University of Texas Brownsville. She holds a PhD and MA in ethnomusicology from Brown University, and degrees in performance from SUNY Potsdam (BM), University of Louisville (MM), and the Staatliche Hochschule fr Musik in Freiburg, Germany. Her research interests include Luso-Africa, Latin America, and Alaska Native music cultures. She has published numerous articles and an award winning documentary film on music of Cape Verde, with a book in progress. Susan will be the director of the newly established Center of Excellence for Latin American and Iberian Music at the University of Texas Brownville, and she is the host of the weekly radio show Excursiones Musicales, on 88 FM, the NPR station in Harlingen, Texas.

Juan Daniel Montejo Montejo Naci el 15 de septiembre de 1,982, en el municipio de Jacaltenango, Departamento de Huehuetenango, Guatemala, Centro Amrica, es de origen de la etnia maya Popti de profesin Ingeniero Ambiental. De nio aprendi a ejecutar la marimba con la enseanza de su abuelo Daniel Montejo y participaba en la Danza del Torito, con su hermano, padres y primos integran la marimba Xajla Segunda Generacin, donde interpretan msica autctona de la nacin Popti, hoy en da trabaja con otros amigos el rescate de la msica de la nacin Popti que integran 5 municipios en el Noroccidente de Guatemala, as como a contribuido en investigaciones en la conservacin de la naturaleza de y mega biodiversidad de su pas.
Antroplogo graduado en la Pontificia Universidad Catlica del Ecuador, Juan Mullo Sandoval orient su prctica profesional hacia la investigacin musical, realizando numerosos trabajos sobre las manifestaciones sonoras de algunas culturas ecuatorianas. Integr el conjunto Taller de Msica con quienes realiz presentaciones dentro y fuera del pas as como varias grabaciones discogrficas. Dirigi una diplomatura en Etnomusicologa en la Universidad Catlica del Ecuador y fue profesor en la Universidad San Francisco, Conservatorio Franz Liszt y el Instituto Nacional de Guerra. En el ao 2009 public su libro Msica patrimonial del Ecuador, contando con el auspicio del Ipanc y el Ministerio de Cultura. Forma parte de la Corporacin Musicolgica Ecuatoriana desde el ao 2008.

Silvia Lazo is currently an instructor at the University of Montana. Silvia earned Bachelors degrees in Music and Theatre at Whitworth University. Her advanced degrees, a Master of Music Education and Doctor of Philosophy, were earned at the University of Montana, where she studied musicology with James Randall.
Lazos principal area of research is western classical music, with special interests in culture, history and politics. Her doctoral thesis, Three Facets of Pau Casals Musical Legacy, was a critical study of Casals legacy at the personal, national (Puerto Rico), and international levels (UN forum). Silvia has presented her research at national and international conferences. Silvia has performed as a soloist and in various ensembles, and also has experience in radio broadcast, public arts programs and arts administration.

bios

Robert Nasatir is Chair of the Department of World Languages and Cultures at Father Ryan High School in Nashville, Tennessee, where he teaches Spanish I, Spanish IV, AP Spanish Language, and AP Spanish Literature. Before joining the faculty at Father Ryan, he taught language, literature, and culture classes at Fisk University and Vanderbilt University. He attended Lawrence University and Berklee College of Music before receiving his B.A. from Belmont University. He has a Masters Degree in Comparative Literature and a Doctorate in Spanish, both from Vanderbilt University. His research interests include poetry, popular music, and the Cuban revolution. He has
20

contributed articles to the Afro-Hispanic Review, Cuban Studies and the African American National Biography, and has published translations of the poetry of Federico Garca Lorca.

Currently a tenure-track faculty at Benedict College, Dr. Nuria Rojas taught at William Carey University in Mississippi and as an

Lori Oxford teaches classes in Hispanic cultures and Spanish

language at Western Carolina University. Although her most recent publications focus on identity in Mexican rock music, her primary research interests extend more generally to Latin American and Spanish cultural studies.

accompanist at Loyola University of New Orleans. She taught class piano courses for the Yamaha Music Foundation of Japan; attended international teaching workshops sponsored by the Foundation in Venezuela, Colombia, Panama, Mexico and Japan; and later became Director of the Yamaha Music Schools in Costa Rica. Dr. Rojas has trained with renowned pianists Russell Sherman, Gyrgy Sandor, Antonio Iglesias, Manuel Carra and Alicia de Larrocha. Dr. Rojas has performed standard repertoire as a soloist, as an accompanist and in chamber groups in the U.S., Costa Rica, and Spain. Her passion for Spanish and Latin American keyboard music contributes to her specialization in this exciting style of music.

Iliana Pagn-Teitelbaum has a Ph.D. in Romance Languages and Literatures from Harvard University. She obtained a Mellon Postdoctoral Fellowship at the University of Pennsylvania. She is currently a Visiting Assistant Professor in the Department of Foreign Languages and Literatures at Virginia Tech. She is currently completing her book manuscript Ordinary Violence in Contemporary Latin American Literature and Film about violence, citizenship, and globalization in literature and film of the Americas.

Alyson Payne completed her doctoral studies in 2012, with a dissertation entitled, The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero-American Musical Relations in the Context of Cold War Politics, advised by Dr. Leonora Saavedra. She received her masters degree from Bowling Green State University, under the direction of Dr. Carol A. Hess. Her interests include music and politics during the twentieth century as well as music and nationalism. Marysol Quevedo is a Ph.D. candidate in musicology at Indiana
University, with a bachelors degree in flute performance from the University of Central Florida, where she received a Presser Foundation Scholarship. She received an IU Chancellors Fellowship and has worked as digitizing assistant at IUs Variations project, editorial assistant for the Journal of Musicology, and currently works as research associate and visiting instructor at IUs Latin American Music Center. Her research interests include Spanish Baroque stage music, twentieth- and twenty-first-century Latin American art and popular music, and performance of gender and ethnicity in contemporary music. With a minor in ethnomusicology, Marysol combines the methods of both historical musicology and ethnographic fieldwork. She is currently working on a dissertation on Cuban art music after the 1959 Revolution, which examines the relationship between music composition, national identity and the Cuban socialist regime. Randolph-Macon College, and has recently published The Postmodern Storyteller: Donoso, Garcia Marquez, and Vargas Llosa (Lexington Books, 2012). Dr. Reagan concentrates on Latin American literature and culture. She has published articles on Julio Cortzars El perseguidor (The Pursuer) and Juan Jos Mills Dos mujeres en Praga (Two Women in Prague). In addition, she has contributed articles to forthcoming books including a piece on bachata, a genre of music from the Dominican Republic, to be included in Sounds of Resistance: The Role of Music in Multicultural Activism, and an article on Jorge Lus Borges Pierre Menard, Autor del Quijote (Pierre Menard, author of the Quixote). She is also a contributing editor to The Encyclopedia of Latin Music (forthcoming) and Celebrating Latino Folklore (ABC-CLIO, 2012). Dr. Reagan joined the Randolph-Macon College faculty in 2008. She earned her B.A. from Hood College and her M.A. and Ph.D. from the University of Virginia.

Marli Rosa is a Fulbright Scholar-in-Residence at the University of Montevallo, AL, for 2012-13. She majored in Literature and Portuguese at the State University of Campinas (UNICAMP), where she received her PhD. Dr. Rosa is a member of the research group Visual History, Artists and Intellectuals at the Universidade Estadual Paulista (UNESP), and also a member of the Brazilian Studies Association (BRASA). Currently she is conducting her postdoctoral research on the repercussion of Bossa Nova in the United States in the 1960s.
A native of Iowa, John L. Walker received a bachelors degree from Drake University. He continued his musical studies at Temple University in Philadelphia as a student of Philadelphia Orchestra member Louis Rosenblatt. In 1995, he graduated with a doctor of musical arts degree from the University of Nebraska after completing a dissertation on Latin American chamber music for the oboe. Walker has held many professional positions, including principal oboe of the Orquesta Sinfnica de Guadalajara, United States Air Force Heritage of America Band, and Orquesta Sinfnica Nacional del Ecuador. While in Ecuador, he performed the world premiere of Desafio X, a concert piece for solo oboe and string orchestra by Brazilian composer Marlos Nobre, and was recognized as an American Cultural Specialist by the United States Embassy. He was also on the faculty of the National Conservatory, where he taught oboe and other courses. In the United States, Walker has maintained a prominent profile as a soloist and recitalist. He performed the Mozart Oboe Concerto with the University City Symphony Orchestra and a Bach concerto for oboe damore with the St. Louis Chamber Orchestra. Walker has published articles about Latin American and Ecuadorian music in both English and Spanish in several well-known music journals, such as Latin American Music Review and Pauta, and has presented papers at international conferences in Quito, Montreal, Rio de Janeiro, and Puerto Rico. The recipient of a Fulbright award, Walker spent the summers of 2008 and 2009 in Ecuador, where he researched the role of Italian immigrant musicians to the early history of the Ecuadorian national conservatory. Walker joined the faculty of Virginia Tech in 2011 after serving eight years as associate professor of music and instrumental music program coordinator at St. Charles Community College. He was also the director of the SCC Concert Band and on several occasions has been engaged as a guest conductor with the University City Symphony Orchestra, Banda Sinfnica Provincial de Tungurahua, and Banda Sinfnica Metropolitana de Quito.

Patricia Reagan, Ph.D., is an Assistant Professor of Spanish at

Eunice Rojas has a Ph.D in Latin American Literature from the University of Virginia and a Masters degree in Spanish Linguistics from the University of Georgia. She is the co-editor of the forthcoming edited series entitled Sounds of Resistance: The Role of Music in Multicultural Activism and author of two of the chapters in that series.

Ketty Wong is Associate Professor of Ethnomusicology at The University of Kansas. She holds degrees from The University of Texas at Austin and the Moscow Conservatory Peter Ilich Tchaikovsky. Her research interests focus on Latin American art and popular music, migration, nationalism, identity, and Chinese ballroom dancing. She is the author of Luis Humberto Salgado: Un Quijote de la Msica (2004), and Whose National Music? Identity, Mestizaje, and Migration in Ecuador (2012). A Spanish version of the latter book received the Casa de las Americas Musicology Award in 2010.

21

bios

NEW & RECENT MUSIC TITLES

from Oxford University Press Higher Education Group
Music in Mexico Mariachi Music in America
Daniel Sheehy
2005 128 pp. 978-0-19-514146-7 mixed media $29.95

Music in the Hispanic Caribbean

Robin Moore
2009 256 pp. 978-0-19-537505-3 mixed media $29.95

Alejandro L. Madrid
December 2012 160 pp. 978-0-19-981280-6 paper $29.95

New!

The rst brief, singlevolume text to provide a thematic, succinct introduction to the music of Mexico

Music in the Andes

Thomas Turino
2007 176 pp. 978-0-19-530674-3 mixed media $29.95

Music in Brazil
Joh n P. Murphy
2006 192 pp. 978-0-19-516684-2 mixed media $29.95

3
HIGHER EDUCATION GROUP

To request an exam copy, visit us online at www.oup.com/us/he or contact us at 800-280-0280.

For those titles covered by Section 112 of the Higher Education Opportunity Act, additional information can be found at www.oup.com/us/he. Prices subject to change.

TrevCo-Varner Music
the worlds foremost purveyor of fine music for double reeds

Serving Oboists, Bassoonists, and Chamber Musicians World-wide with over 10,000 different titles in stock. Visit the TrevCo-Varner Online Music Catalog At

www.trevcomusic.com
Accepting Visa, Mastercard, American Express and Discover Providing the same excellent product and service that you have come to expect since 1983
22

Notes

Musics of Latin America Robin Moore, General Editor

The most current and comprehensive survey of Latin American music available. Covering one of the most musically diverse regions in the world, Musics of Latin America emphasizes music as a means of understanding culture and society: each author balances an analysis of traditional, popular, and classical repertoire with an exploration of the historical and cultural trends that have shaped the music. Every chapter provides detailed listening guides, including lyrics in their original language and in translation and minute-by-minute descriptions, which give students the tools they need to remember genres and how they work.

23

Proudly supports the First International Symposium on Latin American Music

You are cordially invited to visit Steinway Piano Gallery Washington DC, the regions only authorized Steinway piano dealer. We are home to the family of Steinway designed pianos - Steinway, Steinway Boston and Essex series, plus Certified Rebuilt and used Steinway pianos. We share the Steinway legacy of fine craftsmanship with factory trained technicians, tuners, and rebuilders. Our company specializes in carefully prepared pianos that will appeal to the most discriminating teachers, students, and pianists.

24