Graduate Students, Past and Present

Jacqueline Avila Jacqueline Avila
javila1@utk.edu

Dr. 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 and a B.A. in music with a dual emphasis in French horn performance and music education from the University of California, Los Angeles.  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 Fellowship, and has presented her research at several conferences in the United States and Mexico. She is currently writing a book manuscript tentatively titled CineSonidos: Cinematic Music in Early Mexican Film, which is an examination of meaning and cultural representation in Mexican film music.  
Gary Barnett Gary Barnett
gbarnett70@yahoo.com

Gary Barnett completed his doctoral studies in historical musicology in the spring of 2012 after an extended research trip to Lisbon, Portugal where he received a scholarship with the LUSO/Gulbenkian foundation to study the compositions of Carlos Seixas (1704-1742).  His dissertation was entitled Three Manifestations of Carlos Seixas (1704-1742): A Study of Historiographical Biography, Reception, and Interpretation. As a student at UCR, he performed as both soloist and continuoist with the Musicum Collegium, as well as performances with the Chamber Singers and Choral Society.  Gary has enjoys posting Youtube videos with his carillon and organ teacher, David Christensen (UCR Carilloneur), in the UC Belltower.  Currently he resides in Orange County, California where he maintains a private piano studio and continues accompanying.
Joshua Brown Joshua Brown
jbrow019@ucr.edu

Joshua Brown holds a B.A. in history, with a minor in music, from UC Santa Barbara, and an M.A. in ethnomusicology from UCR. In 2003, Josh lived in Seville, Spain and began his ongoing study of flamenco guitar at the University of Pablo de Olavide. He conducted research in Seville during the 2011-12 academic year, supported by a Fulbright IIE fellowship. This work addresses how Andalusian histories, landscapes and performance spaces relate to musical and social practices within flamenco communities. Also, the Morón style of flamenco serves as a central case study through which Josh evaluates stylistic and performative elements within the context of tradition. For his M.A. thesis, he explored how popular music, American folk ideology and leftist politics converged and intensified at a key folk institution in Los Angeles known as the Ash Grove. Other research interests include the politics of identity and race, cultural memory, social movements, political activism and the bearing of historical conceptions and constructions on the discipline of ethnomusicology.

David Kendall
davikend@gmail.com

David Kendall completed the PhD in Musicology at UCR in 2010 and his continuing research interests include colonial liturgical music of the Philippines, organology and 19th century wind instrument performance practices. David currently lectures in music at UCR and at La Sierra University.  Additionally, he is a brass instructor at Loma Linda Academy, serves as Music Minister at Immanuel Lutheran Church, is Musical Director of the Armory Band (a 19th-century brass band playing period instruments), and serves on the Board of Directors of the Period Piano Center and Museum and Makibahagi (a Filipino arts and culture organization). David lives in Riverside with his wife, Shiela, and two daughters, Carmina and Mikaëla.

David Kandall

Mindy LaTour O'Brien Mindy LaTour O’Brien
mindyobrien@ucla.edu

Mindy LaTour O’Brien graduated with an M.A. in Ethnomusicology from UCR in 2009 with a thesis entitled, “Upward-bound: Music Listening and the American Dream in a Mexican American Community.” During her time at UCR, she played violin and sang in Mariachi Mexicatl and was a member of Mayupatapi. Mindy is currently a Ph.D. student in the Department of Musicology at UCLA where she is developing specialties in 16th-century music and contemporary popular musics.
Alyson Payne Alyson Payne
alysonpayne@yahoo.com

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 University, under the direction of Dr. Carol A. Hess. Her interests include music and politics during the twentieth century as well as music and nationalism.
Jacob Rekedal Jacob Rekedal
jreke001@ucr.edu

Jacob Rekedal is currently finishing his Ph.D in Ethnomusicology, while living in southern Chile with his wife Liliana Pérez.  Jake entered the UCR Ethnomusicology program (Dept. of Music) with a dual focus on bluegrass mandolin and Chilean folkloric musics, in the fall of 2006. In 2008 he completed his master’s research on bluegrass, based both on fieldwork with musicians in southern California, and on reflections and research about bluegrass in different regions of the United States, and in different political and social contexts. In late 2009, Jake left California for Temuco, a city in southern Chile, where he has conducted grant-funded research with support from the University of California’s Pacific Rim Research Program, and from Fulbright IIE. Jake’s two subsequent years in Temuco involved research on music as it relates to the concept of frontera (or borderland)—an idea which has characterized the cultural, political and social dynamics of the region around Temuco since well before the arrival of the Spanish in the 1540s. Southern Chile is rich in folkloric music styles, but also in hip-hop, rock, indigenous Mapuche music, and various types of fusion music unique to the region. Jake’s dissertation deals with case studies in several genres, and their relationships to tumultous struggles over territorial sovereignty and social welfare. Currently, Jake is writing his dissertation while working as an adjunct professor at the Universidad de la Frontera in Temuco, where he teaches “Introducción a la Etnomusicología.”
Desmond Stevens Desmond Stevens
desmond.t.stevens@gmail.com

Desmond Stevens received his BA degrees in Music Education and Sociology from UCLA in 2009. He also holds an MA in Musicology from UC Riverside (2011). During his time at Riverside, he focused his studies on the music of nineteenth and twentieth century Latin American classical and popular musics. His thesis investigated the music of Argentine composer Astor Piazzolla and the Argentine expectations of national musical identity. Since receiving his master's degree he worked as a music teacher in public middle and high schools in the LA and Orange Counties. Currently he is working as the instrumental music teacher at Rancho Alamitos High School in Garden Grove where he is fusing traditional high school instrumental instruction (strings, winds, and percussion) with a specifically tailored curriculum incorporating elements of Western music history, World music history, and Ethnomusicology which reflects the diverse demographics of his school's student body.
Robert Wahl Robert Wahl
robertwahl@gmail.com

Robert Wahl is an entering PhD student in Musicology at the University of California, Riverside. He holds a Master’s Degree in Musicology from California State University, Long Beach where he studied the music of Paraguayan guitarist Agustín Barrios Mangoré. Robert will continue his studies in Musicology at UC Riverside with a focus on guitar in Ibero-American Music. During his studies, he also enjoys playing and performing classical guitar with any free time he finds.

The Center for Iberian and Latin American Music at UCR is pleased to announce that the 2012 Otto Mayer-Serra Award for Music Research goes to:

Jaime O. Bofill Colero (University of Arizona), “Bomba, danza, calipso y merengue: creación del espacio social en las Fiestas de Santiago Apóstol de Loíza”

The paper presents a convincing, well-executed study of a socio-religious practice in Puerto Rico. The author shows how sound plays a crucial role in the definition of a spiritually significant and inclusive space in the Feast of Santiago Apóstol de Loíza. Far from being a passive entity, the soundscape explored in this paper is described as an active and dialogic presence, made vital by its physical expression in the bodies of dancers and bystanders. By combining lively observation with updated theoretical analyses, it brings forward many qualities that we prize in Latin American music research.

Honorable Mention goes to: Rafael Díaz S. (Pontifica Universidad Católica, Chile), “Tiwanaku inventó la flauta traversa del sur del mundo”

CALL FOR SUBMISSIONS

Spanish | Portuguese

The Otto Mayer-Serra Award for Music Research

The University of California Riverside and the Center for Iberian and Latin-American Music (CILAM) call for submissions for the Otto Mayer-Serra Award, given annually for the best unpublished article on Latin American music.

Award
A single, undivided award of 1,500 USD; the award-winning essay will be published in the Latin American Music Review.

Eligibility
All scholars are eligible to apply, regardless of age, nationality or place of residence.

Administration
The winner will be selected by a committee of outside reviewers, nominated by CILAM. The names of the committee members will be made public after a decision has been reached. The committee’s decision is final and may not be appealed. If no submission is deemed worthy the prize may not be awarded. The committee may disqualify any participant who does not meet the requirements established by this call.

Application process
A completed application will consist of the following:

  1. Authors of articles to be considered for the award should submit one complete copy in word doc or pdf format as an attachment to an email addressed to Leonora Saavedra (leonora.saavedra@ucr.edu). Articles should not exceed 40 pages, inclusive of references, illustrations, and musical examples. All material should be double-spaced, in 12-point Times New Roman Font, with margins of at least one inch.

  2. To allow for the anonymous review of submissions, the author’s name should appear only in the cover letter, which should also contain the full title of the submission and all relevant contact information. Authors should avoid identifying themselves in the manuscript itself (title page, header, notes) or in the file information.

  3. The article must be unpublished and written in Spanish or Portuguese and will be published correspondingly in either language.
    Application deadline: June 1, 2012. The winner of the prize will be notified in September 2012.

After being notified, the winning author will submit publication-quality musical examples and illustrations in TIFF (300dpi) and the text in Word format. The author will be responsible for arranging the corresponding permits for publication.

The Otto Mayer-Serra Prize for Music Research was established in 2008 by Instrumenta Oaxaca, Gobierno del Estado de Oaxaca, Fundación para las Letras Mexicanas,  Coordinación de Difusión Cultural UNAM, Instituto Nacional de Bellas Artes and Pauta.

SYMPOSIUM:
Spanish musics and their [Western] Others: Negotiating identity and exoticism

Friday 7 – Saturday 8 December 2012
The University of Melbourne, Australia

Western Music and entertainment have drawn on features of Spanish music and dance since at least the Napoleonic wars. In turn, constructions of musical exoticism based on Hispanic tropes have informed different manifestations of Spanish musical nationalism, as well as regional and popular musics of Spain. These “Spanish” musical identities have evolved and been reconfigured according to the dictates of competing cultural, political and social factors, yet Spain’s unique position and its enactment of cultural identity cannot easily be reconciled within current narratives of musical nationalism and exoticism.

Papers are invited that examine Spanish musical identity, engage with Western evocations of Spanish music, or explore such repertories in relation to constructions of nationalism and exoticism since 1800.
Papers may address repertories or issues relating to one of the following areas (or others related to the conference theme):

  1. Western art music
  2. Dance and theatrical spectacle
  3. National and regional musics
  4. Popular musics
  5. Flamenco
  6. Music and film

Please submit an abstract of not more than 250 words, with a brief biographical note,
to Michael Christoforidis, by emailing  mchri@unimelb.edu.au
by Monday 30 April 2012

Paper-givers will be notified by mid-May, but if you need earlier notification, please indicate this in your submission.

There will be a publication of refereed proceedings.
Accommodation (2 nights) will be provided for international presenters.
 

Encuentros/Encounters 2012: Los Romero: Royal Family of the Guitar

February 22, 2012

Wednesday at Noon: Pepe Romero and the Concierto de Aranjuez by Joaquín Rodrigo.
Musicology Prof. Walter A. Clark will introduce a classic film of Pepe playing Rodrigo's celebrated Aranjuez concerto, with Sir Neville Mariner conducting the Academy of St. Martin-in-the-Fields. The video features not only the performers but also scenes of the Aranjuez palace and grounds, with the ninety-year-old composer and his wife, Victoria. This film is a deeply moving experience.

ARTS 157 at 12 noon. Free and open to students, staff, faculty. and the public
February 24, 2012

A lecture-demonstration featuring world-renowned guitar virtuoso Pepe Romero
and UCR musicology professor Walter Aaron Clark

7 p.m.: Walter Aaron Clark, "Los Romero: The Saga of an Andalusian Family of Guitarists"

8 p.m.: Pepe Romero performs works for classical and flamenco guitar

Free and open to the public.
Though admission is free, a ticket is required. Tickets are available at the box office on a first-come, first-served basis.
Performance Lab, ARTS 166
Parking: $5.00 in Lot 1 for the concert.

Center for Iberian and Latin American Music
The Center for Iberian and Latin American Music (CILAM) was established at University of California, Riverside, in 2004 to foster research and performance in an interdisciplinary spirit, embracing the entire musical heritage of Iberia and Latin America. The Center's activities include maintaining an educational website, www.cilam.ucr.edu; an online scholarly journal, Diagonal; and annual Encuentros/Encounters, featuring concerts and a conference dealing with a particular aspect of Iberian or Latin American music.

Walter A. Clark, director Professor of Musicology University of California, Riverside ARTS 145 (951) 827-2114

Encuentros/Encounters 2012 is made possible by generous financial support from the MaryLu Clayton Rosenthal Endowment.

Pepe Romero

Born in Málaga, Spain, Pepe Romero is the second son of "The Royal Family of the Guitar," The Romeros. Renowned worldwide for his thrilling interpretations and flawless technique, he is constantly in demand for his solo recitals and performances with orchestra. His contributions to the field of classical guitar have inspired a number of distinguished composers to write works specifically for him, including Joaquín Rodrigo and Federico Moreno Torroba. His discography presently contains more than fifty recordings and includes over twenty concertos with the Academy of St. Martin-in-the-Fields conducted by Sir Neville Marriner and Iona Brown. In recognition of his accomplishments, he was knighted by King Juan Carlos I of Spain in 2000. He is on the faculty of the University of Southern California.

Walter A. Clark

Walter Aaron Clark received an M.A. in classical guitar at UCSD, where he was a student of Pepe Romero. He subsequently earned a Ph.D. in musicology from UCLA. He is the author of books on Spanish composers Isaac Albéniz, Enrique Granados, and Federico Moreno Torroba, all published by Oxford University Press. He is also the editor or co-editor of several books on Spanish and Latin American music, including the forthcoming Norton textbook Musics of Latin America, and he edits the Oxford series Currents in Latin American and Iberian Music. He is currently writing a book about the Romero family.



Background Music: The habanera "La paloma" (The dove) by Sebastián Yradier (1809-65), arranged for guitar by Francisco Tárrega (1852-1909), performed by Pepe Romero on his album Corazón Español (Hollywood Records, 2005).
Page created by CHASS College Computing
Copyright © Regents of the University of California. All rights reserved.