Diego García-Peinazo is Lecturer in Music at the Universidad de Córdoba (Spain). He is a musicologist and music educator interested in areas such as popular-music analysis, intertextuality, rock flamenco, politics and national identity in Spain who holds his Ph.D. in Musicology (with distinction) in 2016 from the Universidad de Oviedo (Spain). His book Rock andaluz: Significación Musical, Identidades e Ideología en la España del tardofranquismo y la Transición (1969-1982) has been awarded the national Premio de Musicología 2016 (Sociedad Española de Musicología-SEdeM). He has published several journal articles and book chapters for publishers such as DeGruyter or Centro de Estudios Andaluces, among others, participated with oral presentations in conferences in the United Kingdom, Germany, Brazil, Portugal, and Spain, and was selected to take part in the International Postgraduate Summer School Methods of Popular Music Analysis (Universität Osnabruck, Germany, 2015).
Andrea Garcia Torres is a Ph.D. student at the University of Oviedo (Spain), funded by a FPI fellowship from the Ministry of Economy, under the supervision of María Encina Cortizo. Her research interests include Spanish music from the 19th and 20th centuries, musical theater, especially opera and zarzuela and their process of transculturation within Hispanic culture, music, and gender. She earned her Bachelor’s degree in Musicology in the University of La Rioja (2015), and her Music Performance Degree in viola at the Eduardo Martinez Torner Conservatoire (2011). She also has two Master Degrees: in Research on Musical Heritage (University of Oviedo, 2012) and in Teaching in Secondary School (Valencian International University, 2016). Her most significant publications include “El gorro frigio: dramaturgical stereotypes, scenic renovation, and diffusion circles in a sainete by Manuel Nieto” in the journal Cuadernos de Música Iberoamericana (ICCMU 2015); “Franz von Suppé in Spain: reception of his lyric plays in the Viennese operetta tradition” in Opera, drama lírico y zarzuela grande entre 1868 y 1925, Mª Pilar Espin Templado (ed.) (UNED 2016), and “Lyric theatre as a diffuser of the dominant ideologies around the War of Africa (1859-1860),” in Anuario Musical (CSIC 2017). As part of her studies, she teaches various undergraduate and public courses including the subjects of opera, zarzuela, music and gender in the Department of Musicology and the Department of Teaching at the University of Oviedo. Andrea has presented papers at the Annual Congress of the Italian Musicology Society, Spanish Society for Literary Study of Popular Culture, and several conferences of the Centro Studi Opera Omnia Luigi Boccherini. Additionally, she writes for the regional newspaper La Nueva España about musical life in Oviedo, including performance critics and interviews.
Michael has presented papers at meetings of the American Musicological Society, the Society for American Music, and the Society for Disability Studies. His research has been supported by the UC Riverside Chancellor’s Postdoctoral Fellowship program, the Bilinski Educational Foundation, and the UC Davis College of Arts and Sciences. This summer, he will participate in “Global Histories of Disability,” an NEH Summer Institute hosted by Gallaudet University in Washington, D.C.
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.
Elena 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.
Javier 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 (http://www.ucm.es/dep-musicologia/javier-suarez-pajares). 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.
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: email@example.com