Musicology Colloquium Series
Sponsored by The University of New Mexico Department of Music and the Latin American and Iberian Institute
Thursday April 18, 2:00-3:30pm
LAII Conference Room
Talk Description:
Argentine soccer fandom involves a nuanced set of bodily practices and a vast repertoire of chants based on radio hits and broadcast advertisement. This talk demonstrates how chanting brings together sounds and bodies in an affective public practice that incites intense feelings of social cohesion and belonging meaningful beyond what is being said with words.
Biography:
Eduardo Herrera is Assistant Professor at Rutgers University specialized in musical traditions from Latin America, the Caribbean, and Latinx peoples in the United States from historical and ethnographic perspectives. His book, Elite Art Worlds: Philanthropy, Latin Americanism, and Avant-Garde Music (Oxford University Press, forthcoming 2019) explores the history of the Centro Latinoamericano de Altos Estudios Musicales. Herrera is co-editor of Experimentalisms in Practice: Music Perspectives from Latin America (Oxford University Press, 2018). Herrera’s second book project, titled Soccer Chants: The Sonic Potentials of Participatory Sounding- and Moving-in-Synchrony studies collective chanting in Argentine soccer stadiums.
Dr. Kristina Jacobsen, Assistant Professor of Ethnomusicology, releases book
The Sound of Navajo Country: Music, Language and Diné Belonging (University of North Carolina Press), examines cultural intimacy and generational nostalgia on the Navajo (Diné) Nation (click here for brief interviews in English and Italian about her research).
Spain the ‘Eternal Maja’: Goya, Majismo, and the Reinvention of Spanish National Identity in Granados’s Goyescas.
This talk will explore the influence of artist Francisco Goya (1746-1828) on one of the greatest masterpieces of Spanish music, the Goyescas suite for solo piano by Enrique Granados (1867-1916).
‘Sol y Sombra’: Music in Images in the Arts of New Spain presented by Ray Hernández-Durán
Scenes depicting musicians performing are found in a range of colonial art forms. Here, I briefly explore religious music from the 16th century through an examination of mission design and manuscript illuminations, and secular or profane music from the 18th century represented in genre paintings, domestic spaces, and biombos.