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First International Symposium on Latin American Music

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

February 22-23, 2013Blacksburg, Virginia, USA

www.cpe.vt.edu/iclam/

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Squires Student Center

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FRIDAY

8:00–8:30 am Registration, Old Dominion Ballroom

8:30–9:00 Official Welcome, Old Dominion Ballroom

9:00–10:30 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 Guarnieri’s

10 Momentos“• Chelsea Burns, University of Chicago, “Carlos Chávez’s 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 Examina-tion 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”

10:30–11:00 Break, Cardinal Room

11:00–12:30 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 Música: Bavarian Brass Band’s Cousin Abroad”

• Cosme R. Martins, University of São Paulo, “Brazilian Modal Jazz Music in Optimality Theory”

12:30–2:00 Lunch (on your own)

2:00–3:30 Concert, Latin American Chamber Music (Virginia Music Faculty Ensemble)

International Symposium on Latin American MusicTranscending Borders: Latin American Music and its Projection onto the World Stage

ScheduleFebruary 22-23, 2013 • Virginia Tech

3:30–4:30 Concert, Latin American Choral Music (Virginia Tech Chamber Singers), Recital Salon

4:30–6:00 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 Generación, “La nación Popti”

• Juan Mullo Sandoval, Corporación Musicológica Ecuatoriana, “La Revolución

Alfarista de fines del siglo XIX e inicios del XX: el impulso ideológico al nacionalismo musical ecuatoriano”

• Robert Nasatir, Father Ryan High School, “Carlos Varela, dentro y fuera de la

Revolución”• Ketty Wong, University of Kansas, “Julio

Jaramillo, the Pasillo, and the Cantina: the Construction of a National Myth in

Ecuador”

6:00–6:30 Break

6:30–8:00 Banquet (catered), Old Dominion Ballroom

8:00–9:30 Keynote Lecture, Recital Salon Dr. Geoffrey Baker, Royal Holloway College, London, England, “Music and the Politics of Circulation: Latin American Case Studies”

Saturday

8:30–9:00 am Registration, Recital Salon

9:00–10:15 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 Chang-ing Voices of Anti-Colonialist Puerto Rican Protest Music”

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10:15–10:45 Break, Cardinal Room

10:45–12:30 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 Fernández, 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: Operación Serenidad, Melding Latinidad and

American Ingenuity”• Marysol Quevedo, Indiana University, “Film

Music in Revolutionary Cuba as Compo-sitional Experimentation: Leo Brouwer, Roberto Valera and the Cuban Institute of Film Art and Industry (ICAIC)”

12:30–2:00 Lunch (on your own)

2:00-3:30 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 José Mendoza, Chicago Arts Orchestra, “The Globalization of 18th Century European Musical Style”• Drew Edward Davies, Northwestern

University, “Where’s the ‘Local’ in Colonial Music from Mexico?”

• Therese Irene Fassnacht, Mount St. Mary’s 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”

3:30–3:45 Break, Cardinal Room

3:45–5:30 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

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 Música y Danza de Monterrey (Mexico); Ana Karen Rodríguez, Escuela Superior de Música y Danza de Monterrey

• Marli Rosa, University of Montevallo, “Brazilian Music in the USA: from Carmen Miranda to Bossa Nova”

• Iliana Pagán-Teitelbaum, Virginia Tech, “Escaping Diaspora: The Impact of

Migration and Trans-Cultural Exchange in Rita Indiana y Los Misterios”

5:30–8:00 Dinner (on your own)

8:00–9:30 Concert, Latin American Music UCM (Ensamble Quito 6), Recital Salon

How class divisions shape the definition of Ecuador’s national music and identity

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

978-1-4399-0057-4

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Virginia Tech Music Faculty Ensemble ConcertFebruary 22 • 2:00 pm • Old Dominion Ballroom

Chôros 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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Julián Orbón (Cuba, 1925-1991)Ariana Wyatt, soprano

– intermission –

Ocho por radio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Silvestre Revueltas (Mexico, 1899-1940)

Seis por televisión. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . José 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

FluteBetsy Crone

OboeJohn Walker

ClarinetDavid Widder

BassoonJohn Husser

SaxophoneDavid Jacobsen

HornWally Easter

BassJohn Smith

HarpHelen Rifas

PianoTracy Cowden

PercussionJohn FloydWilliam RayJoey Ballard

TrumpetJason Crafton

TromboneJay Crone

TubaMichael Minor

ViolinsJim GlazebrookGeronimo Oyenard

ViolaAlistair Leon Kok

CelloLisa Liske-Doorandish

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 Educa-tion. 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 Wash-ington state during the 2012-2013 season.

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Virginia Tech Chamber SingersFebruary 22 • 3:30–4:30 pm • Recital Salon

Dwight Bigler, Director

I.Hanac pachap kusikuynin Juan Pérez de Bocanegra (Peru) (c. 1598–fl. 1631)

Exsultate iusti Juan Gutiérrez de Padilla (Mexico) (c. 1590–1664)

Cum Sancto Spiritu José Maurício Nunes Garcia (Brazil)from Missa de Nossa Senhora da Conceição, CPM 106 (1767–1830)

II.Las Amarillas Southern Mexico arr. Stephen Hatfield (Canada) Hol’ You Han’ Jamaica arr. Paul Rardin (USA) Jump Down Spin Around Jamaica arr. Larry Nickel (Canada)

III.Muié Rendera Brazilian folk song arr. C.A. Pinto Fonseca

Caramba Otilio Galindez (Venezuela) arr. Alberto Grau (Argentina)

La Chaparrita Venezuelan folk song arr. Vivian Tabbush (Argentina)

Salseo Oscar Galián (Venezuela)

Texts and translations

Hanac pachap kusikuynin

This work appeared for the first time in the book “Ritual Formulario e Institución 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 much’asqayki Yupay ruru puquq mallki Runakunap suyakuynin Kallpannaqpa q’imikuynin Waqyasqayta.

Uyariway much’asqayta Diospa rampan Diospa maman Yuraq tuqtu hamanq’ayman Yupasqalla, qullpasqayta Wawaykiman suyusqayta Rikuchillay.

Heaven’s 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!

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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 Dominiet 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 32:1–6

Cum Sancto Spiritu

Cum Sancto SpirituIn gloria Dei Patris,Amen.

With the Holy SpiritIn the glory of God the Father,Amen.

Muié Rendêra

Olê, muié rendêra,Olê, muié rendá,Tu me ensina a faze rendá,Que eu te ensino a namorá.

As moças de Vila BelaNão têm outra ocupaçaoSe que fica na janelaNamorando Lampeão.

Virgulino é Lampeão.É Lampa, é Lampa, é Lampa, é Lampeão.O seu nome é Virgulino,O apelido é Lampeão.

Hey, lacemaker woman,Hey, lacemaker woman,If you teach me how to weave,I’ll teach you how to court.

The girls from Vila BelaHave no other occupationThan to stay by the windowFlirting with Lampeão.

Virgulino is Lampeão.He is Lampa, Lampa, he is Lampeão.His name is Virgulino,His nickname is Lampeão.

Caramba

Caramba mi amor Caramba,Lo bello que hubiera sido, Si tanto como te quise, Asi me hubieras querido,

Caramba, mi amor, CarambaPasar este invierno triste,Mirando caer la lluviaQue tantas cosas me dice,

Caramba mi amor, CarambaLas cosas que nos perdimos,Los chismes que solo escucho,Entre las piedras y el río.

Caramba mi amor, caramba,El viento entre las espigasAroma de caña frescaY amargos de mandarina

Texts and translations (continued)

Wow, my love, wow,It would have been beautifulIf you loved meAs much as I love you.’

Wow, my love, wow.Passing this dreary winter,Watching the rainThat 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

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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 corazón.Yo te quiero, negra, con todo mi amor,Tu me correspondes con el corazón.

De colora’o se viste el Cardenal.Y por eso le digo a mi morenaQue se peine el copete pa’ bailarEse pañuelito 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 está.

Texts and translations (continued)

Sing to me the chaparritaAs you sang it yesterday,So that when I get marriedI will sing the chaparrita to my wife.Chaparrita of my life, yes,Chaparrita of my life, no.We will soon go to the beautiful chaparritaOf my heart!I love you, darling, With all my loveYour 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 handkerchiefWith 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 friendTie up the dogsBecause the wild pig is in its den.I don’t want it to escape.The wild pig is now safe.

Las Amarillas

Volaron las amarillas calandrias de los nopalesYa no cantaran alegres los pájaros cardenalesA la tirana na naA la tirana na no.

Árboles de la ladera porque no han reverdecidoPor eso calandrias cantan o las apachurra el nido.Eres chiquita y bonita y así como eres te quieroPareces una Rosita de las costas de Guerrero.

Todos dan su despedida pero como esta ningunaCuatro por cinco son veinte, tres por siete son veinte-uno.

The yellow calandras fly from the cactusNo longer will the cardinals sing happilyTo the song na naTo the song na no.

Because the trees on the hillside have not come back to lifeFor that the calandras will either sing or crush their nests.You are small and beautiful, I love you just the way you areYou are like a little rose from the coast of Guerrero.

Everybody has their own farewell, but there’s none like thisFour times five is twenty, three times seven is twenty-one.

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Virginia Tech Chamber Singers

Soprano Nora Cotter Sophomore, Vocal Performance LeesburgMichelle Gervasio Graduate, Materials Science and Engineering HerndonLaura Howell Junior, Public and Urban Affairs MidlothianSarah Lanum Junior, Music Ed/Psychology StauntonEmily Rudzinski Junior, Chemical Engineering FairfaxTori Salisbury Senior, Music Technology Parkersburg, WVKathy Spicknall Sophomore, English RichmondBecca Wiles Junior, Vocal Performance/Music Technology Glen Burnie, MD

Alto Ashlee Albertson Junior, Music Performance RichmondKrista Colley First-Year, Music Education ChristiansburgKatherine Combs Sophomore, Music Performance and Education ChurchvilleAshley DeRemer Junior, HNFE WinchesterNoell Dunlap Junior, APSC/Biology ChesapeakeIsabel Hefner First-Year, University Studies Great FallsKory King Junior, Business Powell, OHJune Shrestha Senior, Biological Sciences ViennaBryn Whiteley Graduate, STS Frederick, MD

TenorBryson Baumgartel Junior, Piano Performance AshburnMatt Chan Graduate, Environmental Engineering Hong Kong, ChinaAndrew Corbin Junior, Sustainable Biomaterials Pennington, NJJordan Hatchett Junior, Music Technology CollinsvilleDavid Sinclair First-Year, General Engineering/Music Virginia BeachAlec Tebbenhoff Junior, Music Technology AshburnTravis Whaley Sophomore, Meteorology /Piano Performance Cary, NC

Bass Geoffrey Brown First-Year, Music Education ChristiansburgLiam Dillon First-Year, Music Education FairfaxRamaan Insari First-Year, General Engineering AshburnStephen Loftus Graduate, Statistics ChesterBlake Martin Sophomore, Music Technology PembrokeJeb Sturgill First-Year, Music Education ChilhowieBen Wilson Junior, Computer Science, Philosophy Fairfax

Dr. Dwight Bigler is the director of choral activities at Virginia Tech where he conducts the Chamber Singers, Tech Men, and Women’s 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 di-rector of the University of Texas Men’s Chorus. Under his direction, the VT Chamber Singers have performed throughout Italy including singing for mass at St. Peter’s Basilica at the Vatican and St. Mark’s 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 Uni-versity 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 bachelor’s degree in piano per-formance and his master’s in choral conducting from Brigham Young University, and his doctor of musical arts degree from the University of Texas at Austin.

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Ensamble Quito 6Repertoire

February 23 • 8:00 pm • Recital Salon

Mi último beso pasillo Carlos Silva (1909-68) arr. Jorge Oviedo

Changa Marcana / Fiesta típico comunidad salasaca Humberto Saltos (1932-) arr. Giovanni Mera Leyenda incásica fantasía Sixto María Durán (1875-1947) arr. Jorge Oviedo

Albazo albazo Leonardo Cárdenas (1968-)

Variaciones en estilo folklórico suite Luis Humberto Salgado (1903-77) arr. Jorge Oviedo

El Espanta pájaros pasillo Gerardo Guevara (1930-) arr. Jorge Oviedo

Asiri bomba Segundo Cóndor (1957-)

Nocturnal pasillo Luis Humberto Salgado arr. Leonardo Cárdenas

Vilcabamba sanjuanito Corsino Durán (1911-75) arr. Jorge Oviedo

Hibridanza Marcelo Beltrán (1965-)

Fiesta albazo Gerardo Guevara arr. Jorge Oviedo

Ponchito al hombro aire típico Carlos Bonilla Chávez (1923-2010) arr. Jorge Oviedo

El pintoresco baile de las cintas sanjuanito Luis Humberto Salgado arr. Jorge Oviedo

El capariche aire típico Sixto María Durán arr. Jorge Oviedo

Personnel

FluteJamil Erazo

ClarinetBenito Tayupanda

ConductorJorge Oviedo

Production and CoordinationTatiana Carrillo

ViolinVictoria Robalino

CelloAmelia Rivadeneira

PianoAlex Alarcón

String BassEfrén Vivar

Ensamble Quito 6 was created in 2004 with the objective of providing opportunities for the dissemination of both the tradi-tional 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 Quito’s department of musical development and dissemination, and was for three years the assistant conductor of the Banda Sinfónica 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 Salgado’s Atahualpa, o el acaso de un imperio. In 2007 he was responsible for the production of the world premiere of Boletín y Elegía de las Mitas, by Ecuador’s most famous living composer, Mesías Maiguashca. Throughout this period Oviedo has guest conducted many of Ecuador’s most important musical organizations, such as the symphonic orchestras of Cuenca, Loja and Guayaquil, as well as the Proyecto Sinfónico Cuenk. He has also taught advanced classes in music in the National Conservatory and composition in the University of Cuenca. Oviedo is the recipi-ent of many awards and honors, including that of finalist in the 1996 Reina María-José 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 Ilaló received an honorable mention in Spain and he was a finalist in a composition competi-tion in Ecuador.

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Dr. Christopher A. Belluzzo Dr. Jacquie C. Keats

401 South Main St, Suite 104Blacksburg, VA 24060

SouthMainChiro.comsmcc_va@yahoo.com

13 abstracts

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 Rodríguez. 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, Brazil’s bossa nova and samba, Colombia’s cumbia and vallenato, Venezuela’s joropo, as well as the Dominican Republic’s merengue, Trinidad and Tobago’s 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 Blade’s 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 com-poser 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 industry’s early sound pe-riod. Prominent among the titles are Redes (1935, dir. Emilio Gómez Muriel and Fred Zinnemann) and ¡Vámonos con Pancho Villa! (1935, dir. Fernando de Fuentes), two films that showcased Revueltas’s 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 melo-drama film genre, illustrating the armed struggle as a destructive and violent episode juxtaposed with popular and folkloric refer-ences. North’s 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 Mexico’s Revolutionary melodrama and a part of Good Neighbor policies. Building from Revueltas’s influ-ence 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 Guarnieri’s 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 practi-cally 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 tech-niques. 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 Guarnieri’s musical-ity and temperament in a very condensed manner. The set is among the composer’s last musical utterances, revealing a distillation of ex-pressive communication that blends a palette of non-functional har-mony 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 Nation-alism because of his synthesis of National musical elements and European non-functional techniques.

The lecture will explore Guarnieri’s compositional style as found in 10 Momentos, conveying that Camargo Guarnieri is one of Brazil’s most erudite and refined composers whose work has a unique and well-crafted musical voice.

Chelsea Burns, University of Chicago, “Carlos Chávez’s H. P. and the International Musical Imagination”

In 1932, Leopold Stokowski premiered Carlos Chávez’s Suite de Caballos de Vapor (Horse-Power Suite [H. P.]) in Philadelphia. The four-movement 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 col-laborated to present materials depicting New York and (implicitly) Mexico; yet despite the presence of a city whose nationality neither Stokowski nor Chávez shared, it is Mexico that is depicted as Other. This paper explores the ways in which Chávez’s music enacted ideas about modernism and exoticism in an international music market through H. P. Chávez used dissonant, angular materials with stutter-ing 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. Chávez 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 contra-dicted by Chávez’s 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 connec-tions 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, Hermeto’s music and idiosyncratic persona were commonly cited as

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being “authentic,” and he was seen as a kind of “reference,” a standard bearer of both uncompromising musical vision and genuine Brasili-anness (brasilidade). Moreover, many of Hermeto’s collaborators see him as both as a teacher and a guru – his longtime bassist Itiberê 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 Hermeto’s current and former sidemen expand and build on Hermeto’s legacy, appropriating both his com-plex, dense sound and his cosmopolitan musical philosophy, a style he calls “universal music.”

Drew Edward Davies, Northwestern University, “Where’s 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 narra-tive 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 qual-ity 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 está la noche by Juan García de Céspedes from Puebla Cathedral in the 17th century, and Señas ve claras, an early 18th-century villancico by Antonio de Salazar for the Virgin of Guadalupe from Mexico City Cathedral. It argues that Salazar’s engagement of local topicality might reveal more about New Spain than the earlier villancico’s signi-fying 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 Hol-lywood: Ernesto Lecuona in a Trans-National Perspective”

Within Cuba, Ernesto Lecuona (1895-1963) is revered as one of the country’s 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, Lecu-ona has been received more generically, as a composer of Latin-fla-vored 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 Lecuona’s song style, originally based in the traditional Cuban canción, 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. Mary’s College, “Contrafactum and Alternatim Praxis as Two Eighteenth Century Requiem Set-tings by Manuel de Sumaya”

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

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 discov-ered 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 Pergolesi’s 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 Sumaya’s other liturgical compositions in or-der to provide further evidence to support this attribution to him. It explores Sumaya’s emulation of European composers demonstrated in his contractum of Pergolesi Stabat Mater in the Misa de Difuntos.

An analysis of the Sumaya’s treatment of the Sequence text will dem-onstrate 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 Fernández, 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 government’s discourse and conscious hip hop’s 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 government’s 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 government’s 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 exposé. Their commitment to that standard binds them artistically to the very same concept that underlies the Cuban government’s claim to moral authority, the idea of a “revolutionary” movement faithful to the promise of change. A deconstruction of each one’s 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 Learn-ing 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 year-long residency at our college, the students, a guest artist, and I, the host, became uncomfortable when confronting cultural differences. Overall, the ensemble’s performance-based workshops stimulated the students’ curiosity of and appreciation for the unfamiliar tradi-tions of Candomblé, afoxé, 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 Candomblé religious ceremony during one workshop, the main guest artist, a Candomblé drummer from Bahia living in New York, wanted the men to play the instru-ments and the women to dance. This upset the women and violated campus policies; so the guest and I adjusted the second workshop.

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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, push-ing 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 philanthropy—a mediating force between them—in 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 emerg-ing from the political sphere and/or the interests of private sectors. By looking at the Rockefeller Foundation’s 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 impor-tance 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 Influ-ence 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 Exótico 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 Band’s Cousin Abroad”

The music of choice for many young Mexicans and Mexican Ameri-cans at dance clubs today is a style called banda musica. Banda be-gan 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

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 style’s acous-tic wind band instrumentation. Based on ethnomusicological field-work with banda musicians in Brownsville, Texas, and other research, this paper will explore banda’s 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: Operación Serenidad, Melding Latinidad and American ingenuity”

Through the simultaneous industrial development plan (Operación Manos a la Obra) and cultural development plan (Operación Sereni-dad)—jointly the Commonwealth Development Plan—Puerto Rico’s Governor Luis Muñoz Marin and American lawyer, Abraham Fortas, aimed at manufacturing an exemplar human civilization, uniting Latin culture and American ingenuity. The Commonwealth Develop-ment 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 (1876–1973) to relocate to San Juan to inject musical prestige into Operación Serenidad. The Festival Casals Inc., served as a corporate umbrella for a three-pronged institutional ap-paratus: 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, Operación 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 musi-cians 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 along-side other musical forms performed on the island.

Catherine Lehr, St. Louis Symphony Orchestra and Community Music School of Webster University, “Mexican Musicians in Interna-tional 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.

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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 Nova—“Brazilian jazz”—was 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, João 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 diplo-mats 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 São 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 melo-dy 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 musi-cian to reinvent his own modal harmony limited within the boundar-ies 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 II—V—I chord progression as well as the rhythms of a modal jazz harmony.

Javier José Mendoza, Chicago Arts Orchestra, “The Globalization of 18th Century European Musical Style”

Musicologists from around the world have recognized the signifi-cance 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 atten-tion 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 performanc-es 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 impor-tance 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 institu-tions, while demonstrating that the gallant style was a global style that not only transcended genre, but also the European continent.

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

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 Gener-ación, “La nación Popti”

La nación Popti’ o Jacalteca, ha venido desarrollando música y pro-duciendo músicos que constantemente han compuesto, dependi-endo la inspiración, al amor, a la tristeza, a la pobreza o una experi-encia que marca en sus vidas. Desde la conquista de los españoles se pudo adaptar no sabemos si por influencia europea o los europeos adaptaron algo de nuestra música. La Marimba Sencilla y Autóc-tona (Te’ Son ó Wixpumum) ejecutada por tres a cinco músicos, ha influido mucho en la composición musical, además las danzas que se practican como del venado que contienen más de 40 piezas; por influencias mexicanas se adaptó el violín, la guitarra y el guitarrón, y junto la adaptación de bajo eléctrico, órgano eléctrico, batería se han generado más de 5,000 composiciones musicales que poco a poco algunas se han extinguido. Existen ciento de composiciones que no cuentan con una identificación, así como el 100 por ciento no cuenta con partituras. El impacto económico en la región es para músicos temporalmente que no es un medio de vida y para personas que se dedican a comercializar ilegalmente la música, lo que es cierto el impacto social que en la nación Maya Guatemalteca Popti’ o Jacalteca, es de gran importancia, la cual genera armonía, conviven-cias, sentimientos y revaloración en la entidad del pueblo Popti’. Es imperante el rescate de la música Popti’, Jacaltenango como centro del pueblo Popti’ tiene mucha riqueza musical que aportar al mundo y que sea reconocida en este ámbito, porque culturalmente nos identificamos con nuestra música.

Juan Mullo Sandoval, Corporación Musicológica Ecuatoriana, “La Revolución Alfarista de fines del sigo XIX e inicios del XX: el im-pulso ideológico al nacionalismo musical ecuatoriano”

Las confrontaciones entre la Sierra y la Costa ecuatorianas en la época republicana, se polarizan esencialmente entre Quito y Guayaquil, serían sucesos históricos generados desde las oligarquías criollas terratenientes, con claros afanes regionalistas o separatistas. En el imaginario de la nación, la Sierra era ideológica y políticamente conservadora, mientras que la Costa liberal. El presidente y líder de la revolución liberal radical Eloy Alfaro, cuando inaugura la construc-ción del ferrocarril, simbólicamente unifica la Costa con la Sierra y con ello marca una visión distinta de una república moderna. El proceso liberal desde fines del siglo XIX, desempeñó un rol esencial en cuanto la educación laica, y entre ello, el desarrollo de las artes musicales desde la gestión del Estado, dio un fundamental impulso al nacionalismo musical, con hechos como la fundación en Quito del Conservatorio Nacional de Música en 1900. En Guayaquil, la Socie-dad Filarmónica, forma a una generación de compositores naciona-listas porteños, ligados a la base ideológica del liberalismo radical. Es interesante anotar que los compositores nacionalistas iniciales de la Sierra, en su mayoría con una orientación ideológica conserva-dora, son permanentemente citados por la musicología 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 ideológica de las creaciones nacionalistas costeñas, dentro de la revolución liberal radical, pero también su obra y repertorio, relacionados con los bailes de salón, las danzas republicanas y géneros patrióticos.

Robert Nasatir, Father Ryan High School, “Carlos Varela, dentro y fuera de la Revolución”

Desde sus primeras canciones, Carlos Varela ha mostrado implícita-mente una comprensión del papel del trovador en la sociedad cubana; además, él aprovecha una identificación mutua con su público en la que el trovador y su público son análogos de varias relaciones sociopolíticas dentro del proyecto revolucionario. Varela se asume como parte de un vasto discurso trovadoresco, un discurso que hoy día pertenece a múltiples generaciones y que es paralelo al desarrollo histórico de la Revolución. Dicho de otra manera, el

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intento de comprender y ubicar a Carlos Varela en la trayectoria más amplia trovadoresca, el propósito de este ensayo, significa el acercamiento a una problemática que ha preocupado al trovador mismo durante el transcurso de su carrera. La indagación implica el deseo de entender un proceso estético a través de eventos históricos y su inversión, es decir, el deseo de asimilar eventos históricos a través de un proceso estético. Ambos procesos, el estético y el histórico, la trova y la Revolución, enfatizan un progreso recto y avanzado que con mucha frecuencia se manifiesta cíclico y repetitivo, una realidad con-tradictoria y cotidiana que por último define la obra de Carlos Varela.

Lori Oxford, Western Carolina University, “’Todos somos Arizona:’ a Concert in Response to SB 1070”

Arizona’s 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 rock’s 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 Aché, and Los Bunkers, among others) came together in the Zócalo 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 “Sí 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 Arizona’s anti-immi-grant 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 Pagán-Teitelbaum, Virginia Tech, “Escaping Diaspora: The Impact of Migration and Trans-Cultural Exchange in Rita Indiana y Los Misterios”

Dominican writer Rita Indiana Hernández’s musical project was pop-ularized through the internet (YouTube) and social media (Facebook) in 2008. In her group Rita Indiana y Los Misterios, Hernández cap-tures her interests in conceptual art, popular Dominican music, and Afro-Caribbean religious traditions. In this paper, I analyze how the group’s 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 project’s musical fusion of rhythms such as Dominican merengue and tradi-tional Afro-Dominican palo, with reggaetón and pop rock. I explore how the surrealist esthetic of the album’s related musical videos, created by Puerto Rican director Noelia Quintero-Herencia, contrib-utes to the musical project’s 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 Ibero-American 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 Ginastera’s Don Rodrigo Symphony and Gustavo Becerra’s Wind Quintet. Recently, various scholars have asserted that during the Cold War, avant-garde music—especially that employing serial techniques—promoted 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

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 passé and divisive. Still, like many composers from countries on the margins of Western music, the Latin American and Spanish composers experienced a doubly bind-ing 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 Ken-nedy’s 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 Revolution’s 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 com-pleted his studies in music composition in Warsaw (1965-7).

While scholars have examined the influence of the ICAIC and its Grupo de Experimentación Sonora on Nueva Trova (Robin Moore, Jan Tumas-Serna), little scholarly attention has been given to the ICAIC’s importance in the development of Cuban art music compos-ers. This paper examines the influence of the ICAIC, and the political and aesthetic agendas it promoted, had on the careers and com-positons 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 director’s 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 Leónidas Trujillo, to the initial margin-alization 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 music’s 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 Volverás” 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 de-scribed as a bilingual fusion of various Latin genres. Through audio clips, this presentation focuses on bachata’s 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.

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Eunice Rojas, Lynchburg College, “’Spitting Phlegm at the System:’” The Changing Voices of Anti-Colonialist Puerto Rican Protest Music”

Spain’s 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 inde-pendence 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 anti-colonialist 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. Navy’s bombing practice on the Island of Vieques in the late 1990s. Finally, in 2005 the F.B.I.’s killing of Filiberto Ojeda Ríos, the seventy-two year old former leader of the Puerto Rican revolutionary group, Los macheteros, inspired a contro-versial 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 island’s borders and has capital-ized 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.”

José 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 qué tractores sin violines?” (What is the use of having bulldozers without violins?) provided a founda-tion of support for the formation of programs such as the Orquesta Sinfónica Infantil and Juvenil and for institutions of learning such as the Conservatorio de la Universidad de Costa Rica and the program of Educación Básica designed to offer musical education for elemen-tary school children.

Costa Rica does not have an army. José 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 fo-cus 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 oppor-tunity 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 bet-terment 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. How-ever, 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 communi-ties, 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 influ-ential 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, per-formed multiple times in both Caribbean and western South Ameri-can 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 Carib-bean 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 people’s idol and is cur-rently considered a national figure whose songs epitomize a collec-tive sense of “Ecuadorianness.” Particularly famous is his performance of “Nuestro juramento” (Our Oath), an Antillean bolero composed by Puerto Rican Benito de Jesús in 1965, which many Ecuadorians believe is a pasillo, Ecuador’s elite musical symbol. This paper exam-ines the processes through which the stigmatized figure of Jaramillo as a drunkard and womanizer has been transformed into that of a na-tional hero. It also explores why and how a song of foreign origin has become the foremost national music, and how Jaramillo’s lifestyle has contributed to shape images of música 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 Jaramillo’s polysemous figure has given rise to the creation of national myths that embody people’s inner desires and idiosyncratic views of the Ecuadorian nationhood.

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Biographies — Presenters

Juan Álamo 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. Álamo has presented solo recitals, master classes and lectures at universities and percus-sion 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 Percus-sive Arts Society, Kappa Kappa Psi and an artist-clinician for Yamaha and Encore Mallets Inc.

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 Society’s Howard Meyer Brown Fel-lowship, 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 perfor-mance at the Universidad Nacional of Costa Rica as a scholarship pupil of Alexandr Sklioutovsky.

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 Univer-sidad 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 Univer-sity. She has also studied with Joela Jones of the Cleveland Orchestra and Donna Lee of Kent State University.

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 focus-ing on Mexico and Brazil. Her research is supported by U. S. Depart-ment 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 Madi-son University, where he teaches courses in Ethnomusicology, Ameri-can 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, Núcleo Contemporâneo, 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 Música en la Nueva España y el México Independiente (“MUSICAT”) in Mexico City. A specialist in the music of New Spain, he recently published Santiago Billoni:

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 Autónoma de México. 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 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), Janáček 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 István Anhalt, György Kurtág, and Sándor 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 Associa-tion Meeting (Vienna, 2010), the International Franz Liszt Competi-tion 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.

A native of Southern California, Therese Fassnacht is an active choral conductor and clinician. She is Assistant Professor of Music at the Mount St. Mary’s 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 Azéma of the Boston Cam-erata 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.

Manuel Fernández 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 Daína 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 1950’s. 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.

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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 Navigat-ing 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 disserta-tion 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 twentieth-century 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.

Kent Holliday studied composition with Paul Fetler and Dominick Argento at the University of Minnesota, where he received his Ph.D. in music theory-composition in 1968. He subsequently did post-graduate 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 Associa-tion 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 Exótico.

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 perfor-mance from SUNY Potsdam (BM), University of Louisville (MM), and the Staatliche Hochschule für 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 estab-lished 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.

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.

Lazo’s 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 interna-tional 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.

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 Mangione’s 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 Missouri’s 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 Or-chestra 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.

Javier José Mendoza is Artistic Director of the Chicago Arts 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 Jerusa-lem 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.

Juan Daniel Montejo Montejo — Nació el 15 de septiembre de 1,982, en el municipio de Jacaltenango, Departamento de Hue-huetenango, Guatemala, Centro América, es de origen de la etnia maya Popti’ de profesión Ingeniero Ambiental. De niño aprendió a ejecutar la marimba con la enseñanza de su abuelo Daniel Montejo y participaba en la Danza del Torito, con su hermano, padres y primos integran la marimba Xajla’ Segunda Generación, donde interpretan música autóctona de la nación Popti’, hoy en día trabaja con otros amigos el rescate de la música de la nación Popti’ que integran 5 municipios en el Noroccidente de Guatemala, así como a contribuido en investigaciones en la conservación de la naturaleza de y mega biodiversidad de su país.

Antropólogo graduado en la Pontificia Universidad Católica del Ecuador, Juan Mullo Sandoval orientó su práctica profesional ha-cia la investigación musical, realizando numerosos trabajos sobre las manifestaciones sonoras de algunas culturas ecuatorianas. Integró el conjunto Taller de Música con quienes realizó presentaciones dentro y fuera del país así como varias grabaciones discográficas. Dirigió una diplomatura en Etnomusicología en la Universidad Católica del Ec-uador y fue profesor en la Universidad San Francisco, Conservatorio Franz Liszt y el Instituto Nacional de Guerra. En el año 2009 publicó su libro Música patrimonial del Ecuador, contando con el auspicio del Ipanc y el Ministerio de Cultura. Forma parte de la Corporación Musicológica Ecuatoriana desde el año 2008.

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 Master’s 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 bios

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

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.

Iliana Pagán-Teitelbaum has a Ph.D. in Romance Languages and Literatures from Harvard University. She obtained a Mellon Postdoc-toral 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 master’s degree from Bowling Green State Univer-sity, 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 bachelor’s degree in flute performance from the University of Central Florida, where she received a Presser Founda-tion Scholarship. She received an IU Chancellor’s Fellowship and has worked as digitizing assistant at IU’s Variations project, editorial assistant for the Journal of Musicology, and currently works as research associate and visiting instructor at IU’s 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.

Patricia Reagan, Ph.D., is an Assistant Professor of Spanish at Randolph-Macon College, and has recently published The Postmod-ern 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 Cortázar’s El per-seguidor (The Pursuer) and Juan José Millás’ 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 Luís 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.

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

Currently a tenure-track faculty at Benedict College, Dr. Nuria Rojas taught at William Carey University in Mississippi and as an 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, Györ-gy Sandor, Antonio Iglesias, Manuel Carra and Alicia de Larrocha.

Dr. Rojas has performed standard repertoire as a soloist, as an accom-panist 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.

Marli Rosa is a Fulbright Scholar-in-Residence at the University of Montevallo, AL, for 2012-13. She majored in Literature and Portu-guese 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 1960’s.

A native of Iowa, John L. Walker received a bachelor’s degree from Drake University. He continued his musical studies at Temple Univer-sity 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 disserta-tion on Latin American chamber music for the oboe.

Walker has held many professional positions, including principal oboe of the Orquesta Sinfónica de Guadalajara, United States Air Force Heritage of America Band, and Orquesta Sinfónica Nacional del Ecuador. While in Ecuador, he performed the world premiere of Desafio X, a concert piece for solo oboe and string orchestra by Bra-zilian 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 promi-nent profile as a soloist and recitalist. He performed the Mozart Oboe Concerto with the University City Symphony Orchestra and a Bach concerto for oboe d’amore with the St. Louis Chamber Orchestra. Walker has published articles about Latin American and Ecuador-ian 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 re-searched 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 pro-gram 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 Sinfónica Provincial de Tungurahua, and Banda Sinfónica Metropolitana de Quito.

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 Música (2004), and Whose National Music? Identity, Mestizaje, and Migration in Ecua-dor (2012). A Spanish version of the latter book received the Casa de las Americas Musicology Award in 2010.

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Notes

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.

Musics of Latin America Robin Moore, General Editor

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