The University of New Mexico’s Department of Music and the College of Fine Arts welcomes Dr. Solis to Keller Hall for his lecture on Thursday, February 18th at 2:00pm, “The Black Pacific: Music, Race, and Indigeneity in Australia and Papua New Guinea.”
From the Fisk Jubilee Singers’ tour of Australasia in the 1890s to Snoop Dogg’s visit to Brisbane in 2014, the last century has seen ongoing, intensive intersections between Indigenous and African Diasporic musicians and activists in the Southwestern Pacific. Dr. Gabriel Solis explores the musical history examining how it represents a continuation of older Indigenous cosmopolitanism and a newer structure, emerging alongside colonial processes.
Dr. Gabriel Solis is Professor of Music, African American Studies, and Anthropology at the University of Illinois, Urbana-Champaign. A scholar of historical ethnomusicology, he has done research in the U.S, Australia, and Papua New Guinea. His work focuses on musical racialization as a component of global modernity. In addition to the books Monk’s Music: Thelonious Monk and Jazz History in the Making (2008), Thelonious Monk Quartet with John Coltrane (2014), and Musical Improvisation: Art, Education, and Society (2009, co-edited with Bruno Nettl), he is the author of articles and book chapters that have appeared in such journals as Ethnomusicology, Popular Music and Society, the Journal of the Royal Musical Association, the Musical Quarterly, Musicultures, and Critical Sociology.
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.