Alonso-Minutti Ana R. - Experimentalisms in Practice

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Library of Congress Cataloging-in-Publication Data

Names: Alonso-Minutti, Ana R., 1976 | Herrera, Eduardo, 1977 | Madrid, Alejandro L.

Title: Experimentalisms in practice : music perspectives from Latin America /

ed. by Ana R. Alonso-Minutti, Eduardo Herrera, Alejandro L. Madrid.

Description: New York, NY : Oxford University Press, [2018] |

Includes bibliographical references and index.

Identifiers: LCCN 2017034408| ISBN 9780190842741 (cloth) | ISBN 9780190842758 (pbk.) |
ISBN 9780190842772 (epub.)

ISBN 9780190842789 (oxford scholarly online) | ISBN 9780190864699 (companion website)

Subjects: LCSH: Avant-garde (Music)Latin AmericaHistory20th century. |

MusicLatin America20th centuryHistory and criticism.

Classification: LCC ML199.5 .E96 2018 | DDC 780.98dc23

LC record available at https://lccn.loc.gov/2017034408

Ana R. Alonso-Minutti, Eduardo Herrera, and Alejandro L. Madrid

Eduardo Herrera

Susan Thomas

Daniel B. Sharp

Joshua Tucker

Alejandro L. Madrid and Pepe Rojo

Ana R. Alonso-Minutti

Susan Campos Fonseca

Tamar Barzel

Rodolfo Acosta

Marysol Quevedo

Andrew Raffo Dewar

Benjamin Piekut

THIS BOOK WOULD have not been possible without the help and support of many friends, colleagues, students, and family. We are grateful to all the colleagues who responded to our request of trying to problematize mainstream ideas about musical experimentalism from a Latin@/Latin American perspective; their enthusiasm, commitment, and passion made this endeavor possible. The project began at the 2013 meeting of the Society for Ethnomusicology, where we, the editors, shared a panel with Benjamin Piekut and talked about the possibility of putting together a volume about experimental music practices in Latin America. Two years later, in 2015, Eduardo Herrera organized a workshop titled Experimental Music in Practice: Perspectives from Latin America, at Rutgers University. Most of the collaborators in this volume were able to get together for a meaningful scholarly exchange. The collective conversations and feedback that started during the workshop and continued well afterward were determinant in shaping the intellectual dialogues that concern this volume as well as in strengthening each of its essays. At Rutgers University we are indebted to the Mason Grass School of the Arts, the Center for Latin American Studies, the Centers for Global Advancement and International Affairs, the Office of Institutional Diversity and Inclusion, the School of Arts and Sciences, the Office of the Dean of Douglass Residential College, the Center for Latino Arts and Culture, Critical Caribbean Studies, the Department of Art History, the Department of American Studies, and the Department of Music for their generous support. We especially wish to express our deep gratitude to Robert Livingston Aldridge, Ulla Dalum Berg, George D. Stauffer, and Camilla Stevens for believing in this project, securing funds, and working hard in the numerous details that made the workshop at Rutgers University possible. We would also like to thank Britney Alcine, a student at Rutgers University who served as research assistant during the initial phase of this project.

Numerous individuals, colleagues, and students contributed in a wide variety of ways to the success of this project. To all of them we owe a great debt. We are especially grateful to Felicia Miyakawa for her editorial hand as the books final manuscript was taking shape. Finally, we extend our thanks to Suzanne Ryan, Jamie Kim, and others at Oxford University Press for their interest in our project and their work in seeing it through to publication. Thanks to our anonymous reviewers for all their suggestions at various stages. Thanks to Martha Ramsey for her careful copyediting, and thanks to Norm Hirschy for help in designing and supporting the OUP website accompanying the publication of our book. We hope that the sound files, images, links, and other materials posted there will prove a useful complement to the text that follows.

Ana R. Alonso-Minutti, University of New Mexico

Eduardo Herrera, Rutgers, The State University of New Jersey

Alejandro L. Madrid, Cornell University

Rodolfo Acosta is a Colombian composer, performer, improviser, and teacher trained in Colombia, Uruguay, France, the United States, Mexico, and the Netherlands. He studied with Corin Aharonin, Graciela Paraskevadis, Klaus Huber, Roger Cochini, and Brian Ferneyhough, among others. His music has received awards and prizes and has been performed, published, and recorded in the Americas, Europe, and Asia. He is the founder of Ensamble CG and EMCA, mixed ensembles devoted to the performance of contemporary music. Since the 1990s, Acosta has been an active improviser in Bogot, collaborating with local and international musicians. He has directed the improvisation collective Tangram and is one of the organizers of Bogot Orquesta de Improvisadores. He has been guest professor and lecturer at universities and conservatories throughout the Americas and Europe, teaching composition, music history, music theory, analysis, and interpretation. Currently he teaches at the Facultad de Artes-ASAB of the Francisco Jos de Caldas District University and at the Central University (both in Bogot), as well as in the Masters in Literary and Musical Studies of the Mexican/North American Institute of Cultural Relations in Monterrey, Mexico.

Ana R. Alonso-Minutti is associate professor of music and faculty affiliate of the Latin American and Iberian Institute at the University of New Mexico. She holds a Ph.D. in musicology from the University of California, Davis. Her teaching and research endeavors blend musicological and ethnomusicological inquiry into the study of contemporary musical practices across the Americas. Her scholarship focuses on experimental and avant-garde expressions, music traditions from Mexico and the US-Mexico border, and music history pedagogy. She has published in Latin American Music Review, Revista Argentina de Musicologa, Journal of Music History Pedagogy, Pauta, and elsewhere and her book Mario Lavista and Musical Cosmopolitanism in Late Twentieth-Century Mexico is under contract with Oxford University Press. As an extension of her written scholarship she directed and produced the video documentary