Postdoctoral Scholars

Andrea Moore is a musicologist specializing in new music and concert culture since 1989. She earned her PhD in Musicology at UCLA in 2016, following previous professional lives in arts administration and new music performance. She is currently at work on two projects. The first examines the politics of identity and representation in post-Cold War new music in the U.S., focusing on a new generation of immigrant composers like Tan Dun and Osvaldo Golijov, as well as the reception of a cohort of former Soviet and Eastern bloc composers. She contextualizes this “multicultural” music within post-Cold War national anxieties and ambitions, and looks at issues of institutional support, musical constructions of identity, and the so-called “culture wars” of the 1980s and 1990s. Her second project examines the lives and structures of professional musical life under late capitalism. Her 2016 article, “Neoliberalism and the Musical Entrepreneur” is a critique of the discourse of “entrepreneurship” so prevalent in many U.S. schools and departments of music; she is also working on an ethnographic study of the Los Angeles new music community, and an analysis of “post-genre” music as a mode of neoliberal labor.

Other research and teaching interests include the sociology of music, music as memorial, Bach culture, and 80s pop. Her work has been supported by the German Academic Exchange Service, the Centers for Jewish Studies and European Studies at UCLA, and others. She is the co-founder of the “Musicology and the Present” conference series, and is an editor for the American Musicological Society’s blog, Musicology Now.

Maria Christine Muyco, PhD, Associate Professor, University of the Philippines-College of Music, Fulbright Scholar hosted by the University of California, Riverside-Department of Music in collaboration with the Department of Dance and Ethnic Studies. My research embarked on understanding the ideologies of the Cahuilla (Southern California-based American Indians) with regards to their birdsongs and associated dances, and the implications of these ideologies to their sense of place and motion. Early in 2016, I attended their Memorial Day gathering on the Morongo Reservation where birdsinging and dancing took place. Coming back later that year through the Fulbright Foundation support, I was able to conduct interviews among birdsingers and further enriched my understanding of their ideologies through participating in their birdsong-dance workshops, panel discussions, and conversations about land-and-resource issues. I gained insight into the depth of their relationship with the land, the myths connected to the land, and their transformations as a people as they have moved around various lands. As little of what remains in their birdsong language and meanings (although language reclamation is underway), these fragments are seen in a different light: as cues, giving the singer and the listener an experience of those times when their ancestors were in migration; as an experience of sacredness in the recall of their migration story; as modes of expressivity reflecting socio-history, e.g., dis-embodiments of people and land; and as a reminder of their connectivity with each other like a flock of birds. Singing and dancing are bases for a felt experience, recalling a sense (sight, sound, feeling or touch), which allows one to be part of that important moment of history when the people arrived on the land and moved across it for the first time. In a way, they relive their experience of a world that was theirs before anyone else, recollecting the breadth of space and freedom around it. The ideology of practice is inscribed in the Cahuilla protocol of singing and dancing. In the break of songs, a Cahuilla is back to the beginning of time where laws and creation were created at the same time. That was a juncture when everything has reverence for the belief system about deities, animal-human forms, and other multiple players of the people' creation-narrative. Singing is reverence for this protocol; when this protocol) is violated, the memory of ancestral heritage would be impaired; spirits inspiring birdsinging would lose their omnipresence with humans; and the power to survive might dissipate. The sharing of experiences and ideas among the Cahuilla as well as my meeting university professors, native students, scholars, artists, tribal/indigenous elders, and various practitioners, have developed friendships and in a longer term, with possibilities for further and deeper international cultural exchanges and collaborations.

perez-photoBelén Pérez Castillo is a Full-Time Lecturer in the Department of Musicology at the Universidad Complutense de Madrid. Her expertise is in twentieth-century and contemporary Spanish music, the subject of her PhD dissertation. She has published articles on composers including Roberto Gerhard (“Two Men in Tune: The Gerhard-Camus Relationship,” The Roberto Gerhard Companion, ed. Monty Adkins and Michael Russ, 2013, Farnham, Ashgate, pp. 153-180. ISBN: 9781409445159), Gonzalo de Olavide, David del Puerto, Fabián Panisello, and Jesús Torres. She belongs to the research team “Música en los márgenes. Diálogos y transferencias entre España y las Américas (siglos XIX y XX)” (HAR2015-64285-C2-2-P) and is currently involved in researching music and politics, as well as music and exile (“’Problematized’ Music. Notes on the Reception of ‘avant-garde’ Symphonic music during the Franco Years (1952-1969),” Music and Propaganda in the Short Twentieth Century, ed. Massimiliano Sala [Speculum Musicae, Vol. 22], Turnhout, Brepols, 2014, pp. 289-316. ISBN: 978-2-503-55246-0; “Redención: la función propagandística de la música en las cárceles franquistas (1939-1945),” en Música y prensa. Crítica, polémica y propaganda. Enrique Encabo (ed.), 2015, Ed. Difácil. ISBN: 978-84-92476-44-21). Her articles have been published by Ashgate and Brepols, in addition to journals such as Revista de Musicología, Cuadernos de Música Iberoamericana, and Observatoire Musical Français. She has contributed entries to the New Grove Dictionary of Music and Musicians and Diccionario de la Música Española e Hispanoamericana. Since 2006, she has directed the seminars “Diálogos con la creación musical” at the Universidad Complutense. She frequently works with Radio Clásica of Radio Nacional de España. She received a Del Amo Foundation grant to pursue research at the University of California, Riverside, during the summer of 2016.

torres-photoElena Torres Clemente is Profesora Titlular in the Musicology Department at the Universidad Complutense de Madrid and researches Spanish music of the twentieth century, with a special focus on the figure of Manuel de Falla.  She has published various books and numerous articles in edited volumes and in refereed journals on Falla, as well as having organized diverse publications and conferences on him.  Among her books is Las óperas de Manuel de Falla, which received First Prize for Musical Research from the Sociedad Española de Musicología (SEdeM) in 2004.  She received her education at the Universidad de Granada, where she obtained the titles of “Profesora de Piano,” “Profesora superior de Solfeo, Acompañamiento y Teoría de la Música,” and Doctora en Historia y Ciencias de la Música.  She has been on the board of directors of SEdeM for over eight years, including as director of the Revista de Musicología.  She continues to collaborate with that publication as editorial advisor, in addition to serving on the Comité Científico of the Fundación-Archivo Manuel de Falla.  She received a Del Amo Foundation grant to pursue research at the University of California, Riverside, during the summer of 2016.

suarez-pajares-photoJavier Suárez-Pajares is a Tenured Lecturer in the Musicology Department, Universidad Complutense de Madrid. In 2016 he received a Fulbright Grant to develop the research project “Spanish Music and Musicians in the US during the Cold War. Propaganda, Existence and Resistance” as Visiting Scholar at the UC Riverside. Here he began collaborating with Professor Walter A. Clark in writing a biography of the Spanish composer Joaquín Rodrigo.  Suarez-Pajares studied guitar at the Real Conservatorio Superior de Música de Madrid and Musicology at the Universities of Oviedo (Spain) and Sheffield (UK). He earned his doctoral degree at the Universidad Complutense in 1994, and his thesis, La música en la catedral de Sigüenza 1600-1750, was published in 1998. His research interests cover a wide range of areas within the history of Spanish music, but in recent years he focused on music and musicians in the mid-twentieth century, especially in regard to connections between music and politics. Until 2020, he will lead the research project “Music on the Margins. Dialogues and Transferences between Spain and the Americas,” with funding of Spanish Ministry of Education. A list of his most important publications can be accessed on the UCM’s website (  He has taught doctoral courses at several Spanish universities, as well as at the Universidad Nacional Autónoma (México), Universidad Estadual Paulista (São Paulo; Brazil), and Escuela Nacional de Música de Montevideo (Uruguay). From 2007 to 2012, he was Principal Fellow-Associate Professor at the University of Melbourne. He is the current President of the Spanish Guitar Society and an acknowledged specialist in the history of the guitar.

BenavidesA native of Málaga (Spain), Ana Benavides has degrees from the Málaga, Granada, Madrid, and Vienna conservatories. Her principal teachers included Gloria Emparán, Manuel Carra, Dianko Illiew and Alicia de Larrocha. She holds a Piano Performing Diploma from the Royal College of Music of London and a degree in Spanish Philology from the University of Málaga. She has a doctorate in Humanities from the University of Carlos III (Madrid), with the Premio Extraordinario de Doctorado. During the 2014-15 academic year, Ana Benavides is a scholar-in-residence at the University of California, Riverside.

Ana Benavides has performed recitals in Europe, Australia, and South and North America as a regular visitor to international festivals both as a soloist and chamber musician. She also maintains an active interest in the Spanish piano repertoire of the 19th century, and she is often invited to give lectures, courses and concerts on this this topic at leading music schools and festivals, for example, the Juilliard School of Music, University of Texas, Austin, Lancaster International Piano Festival, University of Melbourne, and University of Adelaide, among others. In addition to solo recitals, Ana Benavides performs extensively in a duo with clarinetist Pedro Rubio and also in a classical quintet, Músicos del ayre, playing pianoforte.

Her numerous national and international awards include: El Mundo de la Música (Madrid, 1980), Concurso Nacional Marisa Montiel (Linares, 1983), Vienna International Music Competition (Viena, 1995), Concours International de Piano Lucien Wurmser (Paris, 1996), Concours International d’Interpretation Pierre Lantier (Paris, 1996). Spanish music awards include: “Luis Colemán” (1988), “Andrés Segovia” (1989), “Rosa López Comunión” (1990) and “Premio a la mejor edición de música clásica” (Academia de la Música & SGAE, 2008). Email: