Jacqueline Avila is a PhD candidate in musicology at the University of California Riverside where she currently studies with Dr. Leonora Saavedra. Her research interests include Mexican modernism, nationalism and constructions of identity in music, and cinema studies. She has researched extensively on modernist composer Silvestre Revueltas, focusing on his performance career in silent film theaters in Mexico and the United States and his film scores of the 1930s and has presented her findings at the 2008 national conference for the Society of American Music. Jacqueline is a recipient of the UC MEXUS Dissertation Research Fellowship 2008-2009 and the American Musicological Society’s Howard Meyer Brown Fellowship, and has presented her research at several conferences in the United States and Mexico. She is currently in Mexico City completing research on her dissertation entitled “Los sonidos del cine: Cinematic Music in Mexican Film, 1930-1950, which is an examination of meaning and cultural representation in the music of Mexican cinema.
Egberto Bermúdez studied early music performance practice and musicology at the Guildhall School of Music and King’s College, University of London. Currently he is Professor (tenured) of the INSTITUTO DE INVESTIGACIONES ESTÉTICAS (I.I.E.) of the Faculty of Arts, National University in Bogota , Colombia . He has published a number works on Latin American and Colombian music history, traditional and popular musics and musical instruments. In 1984 he founded, and since then directed, CANTO, an ensemble specialised in Spanish and Latin American Renaissance and Baroque repertoire. In 1992 with Juan Luis Restrepo established the FUNDACION DE MUSICA, an institution dedicated to disseminate the products of research on the Latin American musical past, both amongst the scholar community and the general public. President of the HISTORICAL HARP SOCIETY from 1998 to 2001. Presently director of the I.I.E.
Tania Camacho Azofeifa is PhD candidate in historical musicology at the University of Texas at Austin. Originally from Costa Rica, she holds degrees in flute performance and music education from the Universidad de Costa Rica. She holds a masters degree in flute performance from the University of Texas at Austin, as well. As a doctoral student in historical musicology, Tania’s research focuses on the intersection of modernity, tradition, and musical nationalism, in the early 20th century Costa Rica. She also studies current popular music to discuss transnational identities and music of migrant cultures in Central America and the Caribbean.
Tania has presented papers at the annual meetings for the Society for Ethnomusicology (SEM), the Rocky Mountain Council for Latin American Studies (RMCLAS), the Latin American Studies Association (LASA), the Congreso Centroamericano de Estudios Culturales (CCEC), the Student Conference on Latin American Studies (ILASSA) and the Hispanic and Luso-Brazilian Graduate Colloquium (COLOQUIO-UT.) Her paper “Who Does Imagine the Nation? Music and the Construction of National Identity in Costa Rica” will appear in the second volume of Nation and Nationalism in Latin America published by the Latin American Council of Social Sciences (CLACSO.) She currently writes new entries for the Caribbean section of the Enciclopedia de Puerto Rico en Línea and for the Latin American and Latino revised edition of the Grove American music dictionary. Tania worked as Assistant Instructor in the Spanish and Portuguese Department, and in the Department of Musicology and Ethnomusicology.
Jennifer L. Campbell is Assistant Professor of Music Theory and History at Central Michigan University. She received her Ph.D. from the University of Connecticut in 2010, and her dissertation explores intersections between music, politics, and cultural identity and delves into the U.S. government’s use of music as a diplomatic tool in building relationships with South American countries in the early 1940s. She also examines the music of Aaron Copland, Virgil Thomson, and Paul Bowles. She has presented her research at the annual meetings of the Society for American Music, the American Musicological Society, the Society for Ethnomusicology, the Culture and International History IV conference in Cologne, Germany, and the Paul Bowles International- Centennial Conference in Lisbon, Portugal.
Katherine L. Campe recently completed her Master’s in Mind, Brain, and Education at Harvard’s Graduate Schoolof Education. While at Harvard, working at the Conservatory Lab Charter School, and the Music and Neuro-Imaging Lab at Beth Israel Deaconess Medical Center, has allowed her to focus her research on children’s cognitive development and music. She has previously presented research at conferences including ICMPC 11, and is excited to have been accepted to present on El Sistema at the Seventh Conference on Interdisciplinary Musicology. Previously, Katherine received her M.M. in Theory from the University of Cincinnati-College Conservatory of Music, and a B.M. in Music Education and Voice from Westminster Choir College.
Erick Carballo was born in Costa Rica where he attended Costa Rica’s Universidad Nacional in Heredia, receiving a Bachelor’s degree in Music Education (1987). In 1992 he received a Fulbright grant to study music theory at Indiana University in Bloomington, from which he was awarded a Master’s degree in 1994. He continued studies at Indiana University, and his Ph.D. dissertation “De la pampa al cielo: The Development of Tonality in the Compositional Language of Alberto Ginastera” won the 2006-2007 Esther L. Kinsley Ph.D. Dissertation Award, IU’s highest annual honor for a doctoral research document across all fields. Work experience includes teaching music and conducting choirs and instrumental ensembles at primary and secondary levels. He was also a professor of music theory at the Escuela de Artes Musicales of the Universidad de Costa Rica and has collaborated with the Latin American Music Center (Indiana University), working as its IT coordinator and teaching classes on Latin American music and culture at the Jacobs School of Music. For a significant portion of his life, Carballo has been involved in the research and performance of Costa Rican traditional music, particularly the repertory for cimarronas (street folk bands). Presently Carballo combines his pedagogical background and technological interests as Indiana University’s Web Content Management Administrator. He also continues teaching Latin American music and music theory courses for the Latin American Music Center and for the Universidad de Costa Rica Escuela de Artes Musicales.
Walter Aaron Clark is a professor of musicology at the University of California, Riverside, where he is the founder/director of the Center for Iberian and Latin American Music. He received his Ph.D. in 1992 from UCLA, where he worked with Robert Stevenson; he then taught for ten years at the University of Kansas, before returning to California. His research has appeared in numerous journals and reference sources, and he is the author of two Oxford biographies, Isaac Albéniz: Portrait of a Romantic (1999/2002) and Enrique Granados: Poet of the Piano (2006/2011), which won the 2006 Robert M. Stevenson Award. He is currently preparing an edition of Granados’s Catalan opera Follet for publication by Tritó in Barcelona, and he is completing the manuscript of Federico Moreno Torroba: A Musical Life in Three Acts, which Oxford will publish next year. His collaboration with Oxford includes serving as editor of the series Currents in Latin American and Iberian Music. He edited the 2002 Routledge collection From Tejano to Tango: Latin American Popular Music, as well as a recent issue of The Musical Quarterly (fall 2009), devoted to Latin America. He co-edited Antes de Iberia: de Masarnau a Albéniz (Asociación Cultural LEAL, 2009), and he is the co-editor of a forthcoming volume from Pendragon, entitled Treasure of the Golden Age: Essays on Music of the Iberian and Latin American Renaissance in Honor of Robert M. Stevenson. Finally, he is the contributing editor of a new textbook entitled The Musics of Latin America: An Introduction, due out from Norton early next year. Prof. Clark is the coordinator for the Ibero-American Music Study Group of the American Musicological Society.
Donna Coleman’s worldwide recognition encompasses award-winning recordings, major prizes in international competitions, prestigious fellowships, concert tours around the globe, and invitations from music schools on four continents for teaching and performance residencies. She is renowned for her interpretations of the music of Charles Ives, with two universally acclaimed recordings for Etcetera—the “Concord” Sonata disc received the Diapason d’Or from France’s Diapason magazine upon release. Her interest in the 19th century background for Ives’s music spawned the Rags to Riches series of recordings for ABC Classics—Australia’s Soundscapes awarded its Editor’s Choice to Volume I, A Syncopated Century. In 2010, OutBach® released Don’t Touch Me, 37 Danzas Cubanas by Ignacio Cervantes, on cdbaby.com/cd/DonnaColeman. A third Rags to Riches disc, The Lost Lady: Paris, Havana, New York, and recordings of the music of J.S. Bach and Scott Joplin are in production. Her prizes include the Solo Recitalist Fellowship from the United States Information Agency, Second Prize in the 1st International American Music Competition (John F Kennedy Center, Washington DC), three Rockefeller Foundation grants for touring in the USA, and a Fulbright Senior Scholar Award that funded her first residency in Australia in 1992. The Celestial Railroad Tours featuring her eclectic repertory encompassing Bach to Bill Evans and compositions written yesterday have taken her to twenty-nine of the United States of America, and to Canada, Europe, and Australia for concerts and for master classes and workshops featuring her Dancing with the Piano philosophy of whole-person music making. OutBach®, a project that explores the relationships between the ancient musical traditions of Australia, Western European art music, and the African-inspired styles in the Americas, in 2003 introduced the first-ever collaborations between piano and didgeridu, Internet-streamed by ABC Classic FM. Other OutBach® initiatives include the Shell-Darwin International Guitar Festival’s July 2005 presentation of the world premiere of the Concerto in D minor for Piano, Didgeridu and Guitars, originally composed by JS Bach, and in July 2007, with Tom E Lewis and the Djilpin Arts Aboriginal Corporation for their annual Walking With Spirits festival in Beswick NT. With Federico Agostini, former concert master of I Musici, she is creating new performances and recordings of the Sonatas for Violin and Piano by Charles Ives, Ferruccio Busoni, and others for the OutBach® label. Born in Philadelphia, Dr Coleman has been on the faculty of three US universities and is now Coordinator of the Master of Music and PhD courses in the Faculty of the VCA and Music (Southbank), the University of Melbourne, and she has presented masterclasses for L’Accademia Pianistica Internazionale “Ferruccio Busoni” in Bologna (San Lázzaro), Italy.
Almir Cortes was born in Santo Antonio de Jesus, in the state of Bahia, Brazil. He is a musician, as well as an academic researcher in the field of Brazilian instrumental music. He plays genres that are considered “traditional” or “regional” (choro, frevo, baião, etc), but with a contemporary approach that includes experimentation and improvisation. Mr. Cortes is a multi-instrumentalist who plays the following plucked string instruments: mandolin, guitar, electric guitar, cavaquinho and viola caipira. He has an undergraduate diploma in classical guitar from UFBA (Federal University of Bahia). He also has a Master’s degree in music, and is working on a Ph.D. in popular music performance at UNICAMP (State University of Campinas).
In 2005, his composition Freveando was awarded the Best Instrumental Music prize at the III Festival de Música Educadora FM in Bahia. He has played professionally and held workshops allover Brazil, in the United States and in Europe (Italy, France and Spain). He has recorded two CDs, “Almir Côrtes” (Fábrica Discos, 2006) and “Choro da Voz” (Gravina Música, 2008, in partnership with the singer Bel Dias). Among his most important performances are the Latin Music and Culture Celebration (Berklee College of Music), XIV Festival de Música Instrumental da Bahia, Lotus World Music & Arts festival, and the Virada Cultural Paulista. He also organized the V and VI Encontro Nacional de Choro da Unicamp. In 2010 Almir Cortes was a visiting scholar at the Jazz Studies Department at Indiana University’s Jacobs School of Music. During his time he presented a paper about improvisation in choro (Brazilian popular genre) at the National Popular Culture & American Culture Conference. He also played with fine musicians such as Tom Walsh, Jeremy Allen, Michael Spiro and Fernando Brandão.
A musicologist, lecturer, guitarist, and author, Dr. Galván completed his Ph.D. in historical musicology at the University of Florida where his dissertational research on American composer Henry Cowell won the 2007 Carol June Bradley Award from the Music Library Association. He has presented his research on twentieth-century Pan American orchestral music at myriad national conferences in Chicago, New York, San Antonio, and San Francisco as well as international conferences in Honolulu, Granada, and Bangkok. Dr. Galván’s articles on American musical topics have appeared in American Music and an array of encyclopedias published by Salem Press. He has produced thirty articles for Oxford University Press forthcoming edition of The Grove Dictionary of American Music, and is lead editor for the forthcoming edition of Latin American Classical Composers: A Biographical Dictionary from Scarecrow Press. In addition to teaching at La Salle University in Philadelphia, Dr. Galván works as an archival consultant with the Edwin A. Fleisher Collection of Orchestral Music at the Free Library of Philadelphia where he coordinates an expansive historic digitization project. He has appeared as a guest expert on WRTI’s program, Discoveries from the Fleisher Collection.
Bernard Gordillo, a native of Nicaragua, holds degrees from Centenary College of Louisiana, the Early Music Institute of the Indiana University Jacobs School of Music, and the Guildhall School of Music and Drama (London). He has performed on harpsichord and chamber organ throughout the United States, Western Europe, and Israel, appearing at a number of festivals and concert series including the Aldeburgh Festival, Berkeley Festival Fringe, Bloomington Early Music Festival, Boston Early Music Festival Fringe, Cheltenham Festival of Music, Innsbruck International Festival of Early Music, Indiana University Summer Music Festival, Royaumont Saison Musicale, and Stoke Newington Early Music Festival. Recent seasons have seen him perform with Baroque Northwest (Seattle), Music of the Baroque (Chicago), Indianapolis Baroque Orchestra, Baroque Band (Chicago), and Catacoustic Consort (Cincinnati). Bernard has accompanied in numerous masterclasses, notably at the Handel House Museum in London, the Innsbruck Summer Academy as accompanist-in-residence, and the Britten-Pears School where he was a Young Artist. He has been a staff accompanist in the Choral and Early Music departments at Indiana University, in addition to holding a long-term position as harpsichordist for its Pre-College Recorder Program. Bernard was a finalist in the Guildhall School’s prestigious Deutsche Bank Pyramid Award for his group L’AURA and held a Corporation of London scholarship for basso continuo accompaniment. In 2006, L’AURA was a first-prize winner of the Indiana University Latin American Music Center’s competition in the performance of music from Spain and Latin America. More recently, the ensemble was featured in a recording of wedding and ceremonial music entitled “Beautiful Baroque.” For five seasons, Bernard was the writer, programmer, and assistant producer for Harmonia, a nationally-syndicated Public Radio program dedicated to presenting early music in a new light. He was also the host and producer of the Harmonia Early Music Podcast.
Irineu Guerrini Jr. Ph.D. in Sciences of Communication by the University of São Paulo, Brazil. Professor/researcher of the Radio and Television Course at Faculdade Cásper Líbero, São Paulo. Consultant of FAPESP (Foundation for the Advancement of Research of the State of São Paulo), media and music sectors. Consultant of ANPPOM (National Association of Research and Post-Graduation in Music). Already worked as: Producer/director/narrator of programs (music, teleclasses and documentaries) at TV Cultura, a public television station in São Paulo; Director of Cultura FM (classical music) and Cultura AM (Brazilian popular music) in the same city; Producer/director/presenter of the BBC Brazilian Section in Bush House, London; Co-director of TV Escola (Ministry of Education). Published books: A música no cinema brasileiro: os inovadores anos sessenta (Music in Brazilian cinema: the innovative sixties), (doctorate thesis); A elite no ar: óperas, concertos e sinfonias na Rádio Gazeta de São Paulo (The élite on the air: operas, concerts and symphonies at Radio Gazeta de São Paulo); Na trilha do disco (On the disc track) (co-org.)
Eduardo Herrera is currently a PhD candidate in ethnomusicology at the University of Illinois at Urbana-Champaign. He has done research in Latin American avant-garde music and has begun working on a project with Brazilian legendary Trio Elétrico Dodô e Osmar looking to examine middle-class constructions of racial and regional identity. He is defending his dissertation titled Composing Peripheries: Music Making, Philanthropy and the Construction of Elite Art Worlds at the Latin American Center for Advanced Musical Studies (CLAEM) in August 2011. This year Eduardo was a special guest at the festival La Música en el Di Tella, el nacimiento de la modernidad, an international gathering of composers to commemorate the 50th anniversary of the foundation of the CLAEM. He is interested in twentieth-century art music history and theory; Latin American music (classical music, popular music, Andean music, Brazilian popular music, salsa, music in Colombia); music and politics; philanthropy and policy making; music during the Cold War; and the construction of elite art worlds. In 2009 Eduardo was awarded a yearlong fellowship for the Illinois Program for Research in the Humanities. In 2008, his teaching was commended with the Campus Wide Instructional Award for Excellence in Undergraduate Teaching, and the Instructional Award for Excellence in Undergraduate Teaching in Liberal Arts and Sciences. He has received funding from the University of Illinois’ Graduate College Dissertation Travel Grant, and a Tinker Field Research Grant for archival and fieldwork in Latin America, Switzerland and the Rockefeller Archives in New York. Eduardo earned his B.A. in music history at the Pontificia Universidad Javeriana in Colombia, and holds a M.M. in music theory from the University of Illinois. He has delivered papers and guest lectures in the United States, Canada, Mexico, Colombia and Argentina, including the national meetings of the Society for Ethnomusicology, and the Society for American Music.
Brian L. Kaufman currently works as a resident artist in the El Sistema program at Conservatory Lab. There he has assisted in developing the curriculum, lead ensembles, taught music literacy, and implemented a school wide music literacy assessment. He will be representing El Sistema and Conservatory Lab at the Seventh Conference on Interdisciplinary Musicology. Additionally, he is the artistic director of the Sounding Board, an organization that addresses social issues through music, and serves as a mentor for From The Top’s (NPR) Center for the Development of Arts Leaders. Brian holds degrees from New England Conservatory (M.M. Conducting), the University of Maryland (M.M. Performance), and the University of Michigan (B.M. Performance and Music Education).
Marianne Kielian-Gilbert is Professor of Music Theory at the Jacobs School of Music where she teaches music theory and analysis. She has served as vice-president of the Society for Music Theory, and has been a member of the SMT Committee on the Status of Women, the SMT Diversity Committee, the Editorial Board of Music Theory Spectrum. A member of the Editorial Board of Perspectives of New Music, she also served a term as co-editor. She has published essays on Stravinsky’s music, tonal/Schenkerian analysis, 20th- and 21st-century music, and music and cultural studies (feminism and music). Her work appears in essay collections and journals including College Music Symposium, In Theory Only, Journal of Musicology, Journal of Music Theory, Music Analysis, Music Perception, Music Theory Spectrum, 19th-Century Music, Perspectives of New Music, and Theory and Practice.
Kielian-Gilbert’s recent work examines connections between music and cultural studies in relation to different perceptual, contextual, and philosophical orientations. Another dimension of her work includes multi-disciplinary/multi-media presentations that have explored gender and sexuality in Britten’s music, music of contemporary women composers, Picasso and Stravinsky, the poetry of Sylvia Plath in the music of Shulamit Ran, and tango and dance. In summer 2008, she was co-producer with conductor Carmen Helena Téllez for the world premiere of the opera ¡Únicamente la Verdad! (Only the Truth!) by Mexican composer Gabriela Ortiz at Indiana University. She is the recipient of the 2008 Distinguished Scholar Award from Indiana University’s Office for Women’s Affairs.
Roberto Kolb-Neuhaus, Ph. D. Born in Mexico City of Viennese parents, oboist and musicologist Roberto Kolb-Neuhaus is professor of oboe, lecturer and advisor at the music graduate program at UNAM, in Mexico City. As a researcher, he has dedicated more than a decade to the music of Mexican composer Silvestre Revueltas’. In 1997 he published Sensemayá: un juego de espejos entre poesía y música, co-authored with Susana G. Aktories. A year later he compiled the catalogue of Revueltas’s works, the first one to be published since the composer’s death in 1940. In 1999, he organized the Second International Silvestre Revueltas Symposium under the auspices of UNAM. His research has lead to the production of four digital recordings including unknown repertoire by Revueltas. An anthology of musicological essays on Revueltas, Sonidos en rebelión, was published in 2007 by UNAM in tandem with another digital publication, the Foro Virtual Silvestre Revueltas, which combines the concept of an electronic book with that of a homepage focused on providing specialized data for researchers, such as detailed information on the composer’s works, phonography, and bibliography. He is also responsible for the compilation of the Revueltas Digital Manuscript Library, which includes the composer’s complete musical and non-musical manuscripts. He is also chief editor of the Revueltas Critical Edition, published by UNAM. He is presently working on a book on Revueltas for Oxford University Press.
Marie Labonville is an associate professor of music at Illinois State University, where she teaches a variety of courses in music history, theory, literature, and appreciation. During her senior year at the University of Texas she worked as a student secretary to Gerard Béhague, who acquainted her with important names and styles in the musical history of Latin America. Later, as a doctoral student at the University of California at Santa Barbara, she decided to learn more about musical culture in Latin America. Her current research interests include the life and work of Juan Bautista Plaza (1898–1965), one of the most influential figures in Venezuelan music history, and Roque Cordero (1917–2008), the best-known and most influential composer of Panama. Dr. Labonville has published Juan Bautista Plaza and Musical Nationalism in Venezuela (Indiana University Press, 2007), as well as articles about Plaza in the Revista Musical de Venezuela, the Enciclopedia de la Música en Venezuela, and elsewhere. Currently she is collecting information for a book about Cordero. Her other musical interests include choral performance and world music, especially the music traditions of India and the Middle East.
Javier F. León is an ethnomusicologist originally from Lima, Peru. He received B.A. in astrophysics from the University of California, Berkeley and M.M. and Ph.D. in ethnomusicology from the University of Texas at Austin. Professor León taught at the Newcomb Department of Music and The Stone Center for Latin American Studies at Tulane University and joined Indiana University in 2007. His research has focused on contemporary Afroperuvian music making, criollo popular music and nationalism in the early and mid-twentieth century Lima, and the politics of academic research. Since 1995 he has worked with prominent Peruvian artists such as Manuel Acosta Ojeda, Gabriel Alegría, Roberto Arguedas, Oscar Avilés, Eva Ayllón, Susana Baca, Félix Casaverde, Carlos Hayre, Novalima, Juan Medrano Cotito, Perú Negro, Teatro del Milenio, and Abelardo Vásquez. His work has been published in Latin American Music Review, Selected Reports in Ethnomusicology, Black Music Research Journal, Ethnomusicology Forum and in the volume Music and Cultural Rights, edited by Andrew Weintraub and Bell Yung. He is currently working on a book on how neoliberal socioeconomic reforms and a changing culture industry are affecting Afroperuvian musical production and its ability to remain a symbol of Black identity. And is also the co-editor with Michael Marcuzzi of the edited volume Studies in Latin American Music.
Luiz Fernando Lopes has piano and musicology degrees from Universidade do Rio de Janeiro, the University of Michigan, and Indiana University. He has taught graduate seminars and other classes on Latin American art, popular, and traditional music at Skidmore College and Indiana University, where he works as adjunct lecturer at the Latin American Music Center. He has chaired sessions and presented papers on Latin American music in conferences in Brazil, France, and the United States, including the national meetings of the American Musicological Society, the Society for American Music, and the College Music Society, as well as the “Simpósio Internacional Villa-Lobos” in São Paulo, the Symposium “Cultural Intersections in Latin American Art Music: The Music of Tania León” at DePauw University, and the “Premier Congrès International Heitor Villa-Lobos” in Paris. His publications on music from Latin America and Portugal include articles in the Encyclopedia of Latin American History and Culture (2d ed.), the Reader’s Guide to Music: History, Theory, Criticism, the International Dictionary of Black Composers, Resound: A Newsletter of the Archives of Traditional Music, as well as the forthcoming Grove Dictionary of American Music (2d ed.). He has been invited to participate as a member of the evaluating committee of Músicaenclave: Revista venezolana de música, an on-line musicological journal, as well as Revista arte e cultura from the Faculdade Santa Marcelina in Brazil. He has written liner notes for a number of CDs of Latin American music by Chilean pianists Paulina Zamora and Pola Baytelman, as well as the Annual Competition in the Performance of Music from Spain and Latin America. He was the main writer and researcher of the radio program “A Latin American Christmas,” which was broadcast in the United States by NPR-affiliated stations. His research has been sponsored by many agencies, including the Tinker Foundation.
Tomás Lozano is a singer, musician, scholar and writer, born in Barcelona, Spain, from Andalusian parents. Lozano’s music incarnates his mix of cultural roots; he is the flavor itself of a bitter-sweet heritage, a history of conquest and resistance masterfully expressed through his smooth voice, the vibrant fingerwork on his guitar and the soothing droning of his hurdy-gurdy. Lozano began as a self taught musician, performing Catalan folk music in Barcelona as a young teenager with the ensemble, Els Trobadors del Vallès. Later he proceeded to tour Europe, playing folk, traditional and medieval music at festivals in Switzerland, southern France, Germany, northern Italy, etc., at which time his career as singer, musician and performer took off to new heights. Then, in 1993, through a sponsorship by the Spanish Ministry of Exterior Affairs, Lozano toured Canada and the United States with the theater troupe Bufons. Lozano has since made the United States his home base, performing solo and with a number of other musicians across the country. He established and directed Crisol Bufons—an internationally recognized New Mexico-based non-profit organization that provided cultural and pedagogical performances across the U.S. largely to underprivileged communities. Other like organizations that he directed and helped create are Hey, Mozart! New Mexico. Together with his wife, Rima Montoya, Lozano started Crisol Luz, an ensemble of medieval, renaissance, Sephardic, and traditional Spanish music. When Crisol Luz fused with Juan Wijngaard and Sharon Berman, they became ¡Viva la Pepa! Presently, Lozano is a permanent member of ¡Viva la Pepa! and Trio Lococó. Besides performing, he lectures at colleges and universities across the country and makes musical instruments in his spare time.
Lozano has authored a book entitled, Cantemos al Alba: Origins of Songs, Sounds, and Liturgical Drama of Hispanic New Mexico, published in 2007 by University of New Mexico Press. It is an innovative study and bank of information that provides testimony for Lozano’s anthological work. Cantemos al Alba is a bilingual English/Spanish work and includes two CDs with over 100 songs with music notation and full dramas, examples of the music and dramas discussed in the text.
Kimberly D. Meisten has spent her career connecting art, music and history with communities of all ages and cultural backgrounds. Graduating from the College of William and Mary with a B.A. in Music, she subsequently earned her M.A. in History Museum Studies at the Cooperstown Graduate Program, and then began working at Winterthur, an American Country Estate in Delaware. After spending seven years developing changing exhibitions and leading Winterthur’s Office of Continuing Education, she became the Director of Public Programs at The Baltimore Museum of Art. While in Baltimore, Kimberly sang with the Full and Symphonic Choruses of the Baltimore Choral Arts Society, which lead her to VocalEssence in 2007. As Director of Community Engagement, she has managed several educational initiatives, most importantly ¡Cantaré!, a unique program designed to bring the talents of composers from Mexico directly into Minnesota classrooms. She is also an active singer, performing with the Minnesota Chorale and the chamber chorus Kantorei.
Michael Mena began his quest as a music student in the summer of 1999 while still attending secondary school in the borderland town of Donna, TX. Mena quickly became obsessed with the power music extended over the emotions of others and himself. Though not aware at the time, he would go on to graduate from the University of Texas-Pan American with a Bachelors of Music Education (K-12) and waits to finish his Masters Degree of Ethnomusicology in December 2011. He plans to finish his Doctorates in Business with an emphasis on “Ethnic Music Marketing” by 2014. After working for three years in low-income school districts as a Mariachi director, Mena became enthralled with culture’s effect on music. At the same time, the immersion in Mexican folk music brought to surface insecurities about his own identity as a Mexican American. While anthropology was his primary inspiration for returning to academia, the field of Ethnomusicolgy became irresistible. Today Mena continues in-depth research into the worlds of musics. Being a borderland native who lives four minutes from the U.S.-Mexico border, Mena is intimately aware of the binational/biracial complexities between the nation-states of America and Mexico, between Americans and Mexicans, and between Mexican-American citizens and noncitizens. With the addition of the borderwall, the region has become even further segregated from the rest of the United States and even between the local Mexican social classes. Struggle and resistance through working-class music has become common place. Mena continues to be inspired by “minority” musical groups that simultaneously tread the lines of musical genius and political motivation.
Adriana Lopes da Cunha Moreira began her teaching at Music Department (CMU) of São Paulo University (USP) in 2004. Now, she is deputy chief of the Music Department. Her research focuses on musical perception, musical analysis, and piano, with particular emphasis on music of the 20th and 21th centuries – particularly, on works by Almeida Prado and Olivier Messiaen. She founded (2008) and is co-coordinator of Perception and Musical Analysis Laboratory (PAM). She translated to Portuguese (2009) Ear Training: A Technique for Listening, by Bruce Benward and Timothy Kolosick, and Sight Singing Complete, by Maureen Carr and Bruce Benward. A CD with16 Poesilúdios, piano pieces by Almeida Prado, had released by her (2002). She has published numerous articles on these subjects over the course of her career. She has a Ph.D. (music theory, 2008), an M.A. (music theory, 2002), and a B.M. (music performance, piano, 1993) from State University of Campinas (UNICAMP). For her PhD thesis, entitled Oliver Messiaen: Inter-relation between sets, texture, rhythm and movement in piano pieces (http://libdigi.unicamp.br/document/?code=000436055), she proposes an association between musical analysis techniques developed during the 20th and 21th centuries and the musical theory concepts presented by Olivier Messiaen. Her M. A. dissertation, Poetics on 16 Poesilúdios, piano pieces by Almeida Prado: music analysis (http://www.bibliotecadigital.unicamp.br/document/?code=vtls000289862&opt=1), won the 1st José Maria Neves Award (2005), of the Brazilian Association of Music Research and Postgraduate (ANPPOM).
Nilton Moreira, Brazilian flutist, master’s degree in Music Performance and Bachelor in Flute by Minas Gerais Federal University (UFMG). He is studying a doctoral course in music at UNIRIO University, currently. Nilton has played in many orchestras: Youth Brazilian Symphony Orchestra (2004), National Symphony Orchestra (Brazil, 2007)). Today he plays with the Philharmonic Orchestra of Espírito Santo (Brazil). Nilton Moreira participated in several competitions, with the following awards: In 2003 he won the competition UFMG Young Soloists, where he performed the Concerto for Flute and Orchestra in D Major by Mozart with the Orchestra of UFMG. In 2005 he won the competition “Orchestra for All”, of the Brazilian Symphony Orchestra, where, through this contest, participated in a stage and performed a concert with the Brazilian Symphony Orchestra. In the academic area, Nilton presented researches in many congress like “Week of Arts and Philosophy” UFOP (2005), ANPPOM (National Association of Research and Graduate Studies in Music) (2006 and 2010), MUSICOM (2009). He also published the work “Jazz traces in the genres of Brazilian choro and baião: three case studies” (2007 CHARM Conference, Royal Holloway University, England). He was professor of two Brazilian universities, UNINCOR (2008-2009) and FAMES (2009), teaching flute, music theory and music history. In the field of Brazilian popular music, Nilton integrates the Patápio Silva Sextet, who plays popular instrumental music. He recorded a CD with the Patápio Silva Sextet (2002), containing various compositions of Patápio Silva and other Brazilian composers. Nilton also served as arranger and producer this CD.
Elizabeth Berndt Morris is currently an assistant professor, music bibliographer, and reference librarian at Central Michigan University. At CMU, she is responsible for music collection development, providing reference and bibliographic instruction to the music students and faculty, and teaching a library and research skills course open to all undergraduate students. She completed a Bachelor of Music in Music Education at the University of Kentucky and Master of Library Science with a Specialization in Music Librarianship at Indiana University. Currently, Elizabeth is earning a second masters degree in clarinet performance. Her research interests include information literacy, music library collection development approaches and strategies, contemporary clarinet performance, and film music. She presented a co-authored paper “Concerto as Culmination: Bernard Hermann’s Concerto Macabre in Hangover Square” at the 2010 Music and the Moving Image Conference at New York University’s Steinhardt School. Elizabeth chairs the Public Services Committee of the Music Library Association Midwest Chapter, in which she is currently researching the implementation of the learning commons in academic libraries and how it impacts music librarians’ role as information service providers.
A native of Somerset, Kentucky, Charles Morris began playing trombone at the age of nine. He completed his Bachelor of Music in Music Education at the University of Kentucky in December of 2004. Also in 2004, Charles was accepted into the Aspen Music Festival and School where he spent the summer playing with the festival orchestras as well as various chamber groups. Morris continued his music education by accepting a Graduate Assistantship with the Indiana University Jacobs School of Music. At Indiana University, he played with the premier school orchestra, the Food4Thought trombone quartet, and was the 2008 IU Concerto Competition winner. Charles is currently pursuing a Doctorate of Musical Arts at Michigan State University and serves as an Adjunct Professor of Music at Mid Michigan Community College. His research interests include film music and the modern brass solo and chamber repertoire. In addition to his scholarly activities, Charles works as a freelance musician, having performed with the Grand Rapids Symphony, Indianapolis Symphony, Indianapolis Chamber Orchestra, and a variety of music ensembles across the Midwest.
Alyson Payne is a doctoral student at the University of California at Riverside, studying with Dr. Leonora Saavedra and Dr. Walter Clark. Her dissertation concerns the Festival of Music of the Americas and Spain and Cold War politics. She received her master’s degree in music history from Bowling Green State University, where she was advised by Dr. Carol A. Hess. She has given several papers on topics ranging from Carmen Barradas and machine music, to Amy Beach and the exotic, to Ethel Smyth and World War I. She also delivered a paper on Alberto Ginastera and the Inter-American Music Festivals at the national meeting of the Society for American Music (2008). She published an article on the same topic in the Music Research Forum (2007). She is currently updating articles for the new edition of the Grove Dictionary of American Music, revising articles on Pozzi Escot, Ignacio Nieva Morales, Natalie Hinderas, Clara Rockmore, and others. For the past three years, she has been a Gluck Fellow with the Maxwell H. Gluck Foundation, which seeks to bring arts into the community. Her projects have included a lecture-recital of Ginastera’s Cinco canciones populares argentinas, a lecture-recital of Libby Larsen’s Songs from Letters, and a sing-along style presentation of the folksong collecting done by John and Alan Lomax.
Ludim Rebeca Pedroza is Assistant Professor of Music at Texas State University, where she teaches courses in history of Latin American music, general music history, and piano techniques. A native of Venezuela, she studied piano at the conservatory Vicente Emilio Sojo in the city of Barquisimeto from the age of 6 until her graduation from high school and consequently earned B.A. and M.A. degrees in music from Antillean College (Puerto Rico) and West Texas A&M University, and a Ph. D. in Fine Arts from Texas Tech University, where she held teaching assistant positions in both the school of music and the philosophy department. Pedroza’s research focuses on the philosophy and cultural anthropology of performance, specifically in relation to piano performance and Latin American hybrid genres. Among her publications and presentations are “Music as Communitas: Franz Liszt, Clara Schumann, and the Musical Work” (Journal of Musicological Research 29/4), “Folk Dance in the Latin American Art Tradition: An Overview of the Venezuelan Joropo at the Piano” (CMS National 2008), and “Priestess at the Piano: The Mind/Body Conflict in Clara Schumann’s Performative Persona” (Hawaii International Conference on Arts and Humanities 2007). Prior to her arrival at Texas State University she was Associate Professor of Music at the University of the Incarnate Word in San Antonio, Texas, where she taught music history, studies in world music, and keyboard skills, among other courses. Pedroza’s occasional performance interests gravitate toward the exploration of non-canonical repertoire in historical and aesthetic relation to standard repertoire. Her recent performances have concentrated on works by Osvaldo Lacerda, José Clemente Laya, Moisés Moleiro, and Juan Vicente Lecuna.
Alyssa Pereira is currently pursuing her Masters in Performance Studies at New York University’s Tisch School of the Arts. Her interests lie in global popular music and performance, particularly in the United States, Central and South America and Europe. Last June, she received her Bachelor of the Arts degree from San Francisco State with a Minor in Music. During her Undergrad studies, Ms Pereira worked various positions in the music industry. Upon a transfer from Cal Poly San Luis Obispo, she took a job in New Media for SMC Recordings, a prominent indie hip-hop label based in San Francisco to explore social media marketing platforms for SMC artists. Later, she worked for Café Du Nord, a small independent concert venue in San Francisco. Most recently, as an intern, she produced 2-3 shows a week for CBS affiliate Movin’ 99.7 (currently 99.7 Now!), a top-ranked Top 40 station broadcasting to the San Francisco Bay Area. Recent projects have included a deconstruction of the subgenres of Bay Area hip-hop, titled “Get Stupid: The Apollonian Versus the Dionysian in Bay Area Hip-Hop” and a detailed exploration into the Pre-1900 roots and impetuses of the Blues titled “The Emergence of the Blues in the American South.” Following the completion of her Masters from Tisch, Ms Pereira will pursue further studies for the PhD at Tisch or elsewhere in the related fields of Performance Studies and Ethnomusicology.
Marysol Quevedo is a Ph.D candidate in musicology at Indiana University. Quevedo completed pre-college instruction at the Conservatory of Music of Puerto Rico in flute and cello, graduating with honors from the Conservatory’s Children’s String Program. She received a scholarship to pursue a BM in flute performance from the University of Central Florida. As a music student at UCF she was honored with the Gale Sperry Memorial Scholarship and the Presser Foundation Scholarship. Upon completing her BM in 2005 Quevedo was offered a Chancellor’s Fellowship to pursue a PhD in musicology at Indiana University’s Jacobs School of Music. She completed a minor in ethnomusicology, has served as graduate assistant and associate instructor, worked as digitizing assistant for the Variations Program, and is now research associate for the Latin American Music Center. In 2009 she presented a paper at the annual meeting of the Society for Ethnomusicology in Mexico City, served as editorial assistant for the Journal of Musicology, and completed several entries for The New Grove Dictionary of American Music, 2nd ed. (forthcoming). Her research interests include Spanish Baroque stage and theater music, 20th-century Latin American art and popular music, as well as performance of gender and ethnicity in contemporary music. She advanced to PhD candidacy on December of 2010, and is currently working on a dissertation on Cuban art music after the 1959 Revolution.
Leonora Saavedra was born in Mexico City. She studied performance and historical musicology in Mexico, France, Germany and the USA. She is currently Associate Professor at the University of California Riverside. From 1985 to 1988 she was the director of the National Center for Music Research (CENIDIM) in Mexico City. Her research interests include 20th-century Mexican music, the music of Manuel M. Ponce, Carlos Chávez, Silvestre Revueltas and Aaron Copland, nationalism, exoticism, music and the State, and the musical relations between Mexico and the United States. Her work on the symphonic triptych Chapultepec by Manuel M. Ponce appeared recently in The Musical Quarterly and she is currently writing a book on Mexican music for Oxford University Press. She was one of the founders of the Mexican music journal Pauta; her work has also appeared in Vuelta, Plural, the Inter-American Music Review, the Opera Quarterly and other periodicals, collective volumes and encyclopedias. She has been invited to present papers in conferences and distinguished speaker series in Mexico, Cuba, England and the United States. From 1980 to 1985 she was also active as a performer of new music, and as a member of the Da Capo quartet she gave the first performances of numerous works by Mexican composers. She is the dedicatee of works for oboe by Mario Lavista, Manuel Enríquez, Daniel Catán, and Rodolfo Halffter.
Deborah Schwartz-Kates is Associate Professor and Chair of the Musicology Department at the University of Miami. Her research focuses on contemporary Argentine music and national identity. She has authored the book, Alberto Ginastera: A Research and Information Guide (Routledge, 2010), which is a comprehensive resource on the composer and the first published study on the subject in English. A second book, Revealing Screens: The Film Music of Alberto Ginastera (Oxford University Press, forthcoming) explores the composer’s eleven full-length film scores, which combine commercial and artistic styles in a new form of modernist Argentine film music. Professor Schwartz-Kates has authored an extended chapter on Argentina and the Río de la Plata region for a textbook on Latin American music that will be published by W. W. Norton. Additionally, her research has been published in the Musical Quarterly, The New Grove Dictionary of Music and Musicians, the Yearbook for Traditional Music, the Latin American Music Review, and Die Musik in Geschichte und Gegenwart. She has received fellowships from the National Endowment for the Humanities, the Pro Helvetia National Arts Council of Switzerland, and the Paul Sacher Foundation in Basel, Switzerland.
Tim Storhoff is a Ph.D. student in ethnomusicology at Florida State University in Tallahassee, Florida. He did his undergraduate studies at the University of Iowa in Iowa City, Iowa where he studied bassoon with Benjamin Coelho and received a Bachelor of Music degree in Bassoon Performance and a Bachelor of Arts degree in American Studies. He received his M.M. from Florida State University in ethnomusicology where he wrote his Master’s Thesis on the role of head-to-head competition in hip hop culture. He is currently working on his dissertation entitled “Beyond the Blockade: The Implications of U.S.-Cuban Foreign Policy in International Cuban Music Festivals.” In addition to playing bassoon and saxophone, Storhoff is also a percussionist who has played in Trinidadian steel bands and Afro-Cuban drum ensembles. As a graduate assistant at FSU, he coordinates academic and performance events for the college’s Center for Music of the Americas and teaches classes such as Modern Popular Music, American Roots Music, and World Music Cultures. His academic interests include American musical cultures, music and international relations, popular music and documentary film.
Dr. Christina Taylor Gibson is Clinical Visiting Assistant Professor of Music at The Catholic University of America where she teaches both graduate and undergraduate music history courses. She has also taught at Towson University, The College of William and Mary, and St. Mary’s College of Maryland. Her specialty is twentieth-century music of the Americas, particularly musical exchange between the U.S. and Mexico during the first half of the century, and she has presented her work at local, national, and international scholarly meetings. In 2008 Dr. Gibson received a Ph.D. from the University of Maryland, College Park with a dissertation about Mexican music in New York during the 1920s and 1930s. She has contributed to the latest edition of New Grove Dictionary of American Music and is working on articles about Carlos Chávez and Julián Carrillo in the U.S. She is chair of the American Musicological Society’s Capital Chapter and co-chair of the Society for American Music’s Interest Group for Latin America.
Isaac Terceros Montaño desarrolló su formación musical en Argentina, Chile y en su país natal, Bolivia. Actualmente es estudiante del Departamento de Música (CMU) de la Escola de Comunicações e Artes (ECA) de la Universidade de São Paulo (USP) en Brasil, donde cursa la Carrera de Dirección Coral y Orquestal. Como parte de sus actividades académicas en la Universidade de São Paulo, fue becario de la Fundação de Amparo à Pesquisa de São Paulo (FAPESP), desarrollado el trabajo de investigación titulado: Cinco Peças Orquestrais Op. 10, de Anton Webern: Análise musical com ênfase em timbre e textura, bajo la orientación de la profesora Dra. Adriana Lopes da Cunha Moreira. Resultados de este trabajo fueron presentados y publicados en eventos nacionales e internacionales, tales como: I Encontro Internacional de Análise Musical UNESP-USP-UNICAMP, en São Paulo; Encontro de Jovens Pesquisadores do CMU-ECA-USP-RP, en Ribeirão Preto, SP y Encontro de Pesquisa em Música, EPEM 2009, en MARINGÁ, PR. Isaac también desarrolla trabajos de investigación sobre música latinoamericana e específicamente sobre la producción musical en Bolivia. Con este objetivo ha participado del VIII Festival Internacional de Música Renacentista y Barroca, Misiones de Chiquitos, del VIII Simposio de Musicología y de las VI Jornadas de Música Contemporánea, CBBA, Bolivia. Como resultado de estas actividades presentó los seminarios: Reflexões sobre o dialogo entre a linguagem musical indígena e as influências européias nas Missões Jesuíticas de Chiquitos y Abordagens analíticas da vida e obra do compositor boliviano Alberto Villalpando. Actualmente, es miembro del Laboratorio de Análisis Musical (PAM) del Departamento de Música en la Universidade de São Paulo, donde desarrolla su Trabajo de Conclusión de Curso sobre la producción musical contemporánea de Bolivia.
En Brasil y Bolivia ha actuado como coralista, pianista, organista y como director junto a la Orquesta Juvenil de Santa Cruz de la Sierra (OSJ) y al Laboratorio COMUNICANTUS de la Universidade de São Paulo.
Susan Thomas is Associate Professor of Musicology and Women’s Studies at the University of Georgia. She received her Ph.D. in musicology from Brandeis University and also received an M.F.A. in women’s studies from the same institution. Additionally, she earned masters degrees from Tufts University and New England Conservatory. Her research interests are Cuban and Latin American Music, early twentieth-century musical theater and film, gendered performance practices, and transnationalism and diaspora. She is the author of Cuban Zarzuela: Performing Race and Gender on Havana’s Lyric Stage (University of Illinois Press, 2008), which received the Pauline Alderman Award from the International Alliance of Women in Music. She is the author of articles published in The Journal of Popular Music Studies, Latin American Music Review, The New Grove Dictionary of American Music, and Reviews in Anthropology. Additionally, chapters of her work appear in Cuba Transnational (University of Florida, 2004) and La voz marginal: Projecciones de grupos marginales en los medios de comunicación populares (Vienna: Praesens Verlag, 2010).
John Turci Escobar is an assistant professor of music at Washington University in St. Louis. He earned a B.A. from Rutgers University (1996) and a Ph.D. from Yale University (2004). His primary areas of interest are the late Italian madrigal, the music of Astor Piazzolla, and Argentine tango. John has presented his work at regional, national, and international conferences. He has published articles on Carlo Gesualdo, the late Italian madrigal, and the collaboration between Astor Piazzolla and Borges. He is preparing a book on the 1965 intersection between Astor Piazzolla and Jorge Luis Borges.