Graduate Students, Past and Present

Jacqueline Avila Jacqueline Avila

Dr. Jacqueline Avila is an Assistant Professor in musicology at the University of Tennessee. She holds an M.A. and Ph.D. in music from the University of California, Riverside and a B.A. in music with a dual emphasis in French horn performance and music education from the University of California, Los Angeles.  Her research interests include Mexican modernism, nationalism, and cinema and media studies. She was a recipient of the UC MEXUS Dissertation Research Grant and the American Musicological Society’s Howard Meyer Brown Fellowship, and has presented her research at several conferences in the United States and Mexico. She is currently writing a book manuscript tentatively titled CineSonidos: Cinematic Music in Early Mexican Film, which is an examination of meaning and cultural representation in Mexican film music.  
Gary Barnett Gary Barnett

Gary Barnett completed his doctoral studies in historical musicology in the spring of 2012 after an extended research trip to Lisbon, Portugal where he received a scholarship with the LUSO/Gulbenkian foundation to study the compositions of Carlos Seixas (1704-1742).  His dissertation was entitled Three Manifestations of Carlos Seixas (1704-1742): A Study of Historiographical Biography, Reception, and Interpretation. As a student at UCR, he performed as both soloist and continuoist with the Musicum Collegium, as well as performances with the Chamber Singers and Choral Society.  Gary has also enjoyed posting Youtube videos with his carillon and organ teacher, David Christensen (UCR Carilloneur), in the UC Belltower.  He is now a full-time lecturer in music theory at UCR and continues to perform nationally and internationally.
Joshua Brown Joshua Brown

Joshua Brown holds a B.A. in history, with a minor in music, from UC Santa Barbara, and an M.A. in ethnomusicology from UCR. In 2003, Josh lived in Seville, Spain and began his ongoing study of flamenco guitar at the University of Pablo de Olavide. He conducted research in Seville during the 2011-12 academic year, supported by a Fulbright IIE fellowship. This work addresses how Andalusian histories, landscapes and performance spaces relate to musical and social practices within flamenco communities. Also, the Morón style of flamenco serves as a central case study through which Josh evaluates stylistic and performative elements within the context of tradition. For his M.A. thesis, he explored how popular music, American folk ideology and leftist politics converged and intensified at a key folk institution in Los Angeles known as the Ash Grove. Other research interests include the politics of identity and race, cultural memory, social movements, political activism and the bearing of historical conceptions and constructions on the discipline of ethnomusicology.
Bernard Gordillo

Bernard Gordillo

Bernard Gordillo, a native of Nicaragua, is a graduate student in Musicology at UC Riverside.  His research interests lie in the area of Latin American music, focused on the art music of Nicaragua and its late nineteenth- and twentieth-century composers.  He has been a Visiting Scholar of the Latin American Music Center (LAMC) at Indiana University, and continues a close relationship with the Institute of History of Nicaragua and Central America (“IHNCA,” Managua) where he is an Associate Researcher.  In 2011 he spent a year in Nicaragua as a Fulbright Fellow, looking for vestiges of Spanish colonial music, as well as studying the manuscripts of Nicaraguan composers Luis Abraham Delgadillo and Carlos Ramírez Velásquez, among others.  Bernard is also a harpsichordist and ensemble director, holding graduate degrees in performance from the Early Music Institute at Indiana University and the Guildhall School of Music and Drama (London).  He has performed on harpsichord and chamber organ throughout the United States, Western Europe, Central America, and Israel.  His ensemble, L’aura, was a first-prize winner of the LAMC’s competition in the performance of music from Spain and Latin America.

Eric Johns

Eric Johns is musicologist and classical guitarist currently pursuing an M.A./PhD in musicology at the University of California, Riverside. Originally from Louisiana, Eric earned his B.M. in classical guitar performance from Southeastern Louisiana University studying with Patrick Kerber, as well as studying jazz guitar with Hank Mackie. After graduating, he moved to Buenos Aires to study tango guitar with maestros Anibal Arias and Julian Graciano. As a musician, he has worked professionally throughout the United States in a variety of styles. 

Eric’s current research focuses on Cuban-Spanish-American composer Joaquìn Nin-Culmell’s opera La Celestina, as well as a reconstructive history of the guitar in tango. He is the recipient of the Dean’s Distinguished Fellowship (2014-2015), and the GLUCK Fellowship of the Arts (2015-2016). Eric is also the host of Radio Maldita on KUCR 88.3FM, a GSA representative, and has recently founded a tango guitar ensemble at UCR.

David Kendall

David Kendall completed the PhD in Musicology at UCR in 2010 and his continuing research interests include colonial liturgical music of the Philippines, organology and 19th century wind instrument performance practices.  Formerly a lecturer at UCR, David is now a full-time, tenure-track assistant professor of music at La Sierra University.  Additionally, he is a brass instructor at Loma Linda Academy, serves as Music Minister at Immanuel Lutheran Church, is Musical Director of the Armory Band (a 19th-century brass band playing period instruments), and serves on the Board of Directors of the Period Piano Center and Museum and Makibahagi (a Filipino arts and culture organization).  David lives in Riverside with his wife, Shiela, and two daughters, Carmina and Mikaëla.

David Kandall

Mindy LaTour O'Brien

Mindy LaTour O’Brien

Melinda completed an MA in ethnomusicology at UC Riverside in 2009, with a thesis project titled, “Music Listening and the American Dream in a Mexican American Community,” advised by Jonathan Ritter. Melinda is currently an ACLS/Mellon Dissertation Completion Fellow for 2015-16 in the Department of Musicology at UCLA. Her dissertation, "Music and Moral Repair in Early Modern France,” explores musical settings of moral poetry in France from 1556-1652. Melinda has undertaken training in print culture and paleography at the École Nationale des Chartes in Paris as the Newberry Library Exchange Fellow for 2014-15, and she is currently affiliated with the Centre d’Études Supérieures de la Renaissance in Tours, France, as she completes her dissertation abroad. Melinda’s secondary research interests, which began during her MA work in ethnomusicology at UCR, are located in sound studies, tone and timbre in popular music, and Chicano/a music production.


“Disciplining Song in Sixteenth-Century Geneva,” Journal of Musicology 32, no. 1(Winter 2015): 1–39.

The Relentless Pursuit of Tone: Timbre in Popular Music. Co-editor, with Robert Fink and Zachary Wallmark (Oxford University Press, forthcoming).

“Case Study: Musical Encounters in Tenochtitlàn/Mexico City” in The Cambridge History of Sixteenth-Century Music (Cambridge University Press, forthcoming).

“Santana and the Metaphysics of Tone: Feedback Loops, Volume Knobs, and the Quest for Transcendence,” in The Relentless Pursuit of Tone: Timbre in Popular Music, edited by Robert Fink, Melinda Latour, and Zachary Wallmark (Oxford University Press, forthcoming).

Co-author, “Introduction” to The Relentless Pursuit of Tone: Timbre in Popular Music, edited by Robert Fink, Melinda Latour, and Zachary Wallmark (Oxford University Press, forthcoming).

Daniel Castro Pantoja

Daniel Castro Pantoja, is a Ph.D. candidate in musicology at UCR specializing in the formation of national identities through music and the role of music in the formation of nation-states in Latin America. Daniel, a native of Colombia, earned his Bachelor´s in Music degree in classical guitar performance from Loyola University New Orleans in 2011, where he graduated summa cum laude. He then attended The University of Akron for his Master´s degree in music performance, where he studied with guitar pedagogue extraordinaire Stephen Aron, earning his MM in the year 2013.

Daniel is currently working on his dissertation under the supervision of Dr. Walter Aaron Clark. Daniel’s dissertation deals with the life and work of Colombian composer Guillermo Uribe Holguín (1880-1971) and his role in the formation of a national music identity in Colombia during the first half of the twentieth century. He is a recipient of the Dean´s distinguished fellowship, the Gluck Fellowship of the Arts, and the Anthony Ginter music award. Daniel was also selected as a fellow of the Smithsonian Institution’s Latino Museum Studies Program (LMSP) this past summer, where we worked for both the Latino Center and the Center for Folklife and Cultural Heritage under the guidance of Dr. Michael Mason. Photo credit: 2015 LMSP.


Alyson Payne Alyson Payne

Alyson Payne completed her doctoral studies in 2012, with a dissertation entitled, “The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero-American Musical Relations in the Context of Cold War Politics,” advised by Dr. Leonora Saavedra. She received her master's degree from Bowling Green State University, under the direction of Dr. Carol A. Hess. Her interests include music and politics during the twentieth century as well as music and nationalism.
Jacob Rekedal Jacob Rekedal

Jacob Rekedal is currently finishing his Ph.D in Ethnomusicology, while living in southern Chile with his wife Liliana Pérez.  Jake entered the UCR Ethnomusicology program (Dept. of Music) with a dual focus on bluegrass mandolin and Chilean folkloric musics, in the fall of 2006. In 2008 he completed his master’s research on bluegrass, based both on fieldwork with musicians in southern California, and on reflections and research about bluegrass in different regions of the United States, and in different political and social contexts. In late 2009, Jake left California for Temuco, a city in southern Chile, where he has conducted grant-funded research with support from the University of California’s Pacific Rim Research Program, and from Fulbright IIE. Jake’s two subsequent years in Temuco involved research on music as it relates to the concept of frontera (or borderland)—an idea which has characterized the cultural, political and social dynamics of the region around Temuco since well before the arrival of the Spanish in the 1540s. Southern Chile is rich in folkloric music styles, but also in hip-hop, rock, indigenous Mapuche music, and various types of fusion music unique to the region. Jake’s dissertation deals with case studies in several genres, and their relationships to tumultous struggles over territorial sovereignty and social welfare. Currently, Jake is writing his dissertation while working as an adjunct professor at the Universidad de la Frontera in Temuco, where he teaches “Introducción a la Etnomusicología.”
Desmond Stevens Desmond Stevens

Desmond Stevens received his BA degrees in Music Education and Sociology from UCLA in 2009. He also holds an MA in Musicology from UC Riverside (2011). During his time at Riverside, he focused his studies on the music of nineteenth and twentieth century Latin American classical and popular musics. His thesis investigated the music of Argentine composer Astor Piazzolla and the Argentine expectations of national musical identity. Since receiving his master's degree he worked as a music teacher in public middle and high schools in the LA and Orange Counties. Currently he is working as the instrumental music teacher at Rancho Alamitos High School in Garden Grove where he is fusing traditional high school instrumental instruction (strings, winds, and percussion) with a specifically tailored curriculum incorporating elements of Western music history, World music history, and Ethnomusicology which reflects the diverse demographics of his school's student body.
Robert Wahl Robert Wahl

Robert Wahl is an entering PhD student in Musicology at the University of California, Riverside. He holds a Master’s Degree in Musicology from California State University, Long Beach where he studied the music of Paraguayan guitarist Agustín Barrios Mangoré. Robert will continue his studies in Musicology at UC Riverside with a focus on guitar in Ibero-American Music. During his studies, he also enjoys playing and performing classical guitar with any free time he finds.


The Otto Mayer-Serra Award for Music Research

The University of California, Riverside, and the Center for Iberian and Latin American Music (CILAM) call for submissions for the Otto Mayer-Serra Awards, given annually for the best unpublished articles on any aspect of Iberian or Latin American Music.


Two awards will be given:  First Place, $2000; Second Place, $1000.  There will also be an Honorable mention, but with no monetary award.  The two award-winning essays will be published in Diagonal:  An Ibero-American Music Review, a new, peer-reviewed online journal of the Center for Iberian and Latin American Music at the University of California, Riverside.


All scholars are eligible to apply, regardless of age, nationality, or place of residence.


The winners will be selected by a committee of outside reviewers, nominated by CILAM. The names of the committee members will be made public after a decision has been reached. The committee’s decision is final and may not be appealed. If no submission is deemed worthy, the prize may not be awarded. The committee may disqualify any participant who does not meet the requirements established by this call.

Application process

A completed application will consist of the following:

  1. Authors of articles to be considered for the awards should submit one complete copy in word doc or pdf format as an attachment to an email addressed to Walter Clark ( Articles should not exceed 40 pages, inclusive of references, illustrations, and musical examples. All material should be double-spaced, in 12-point Times New Roman Font, with margins of at least one inch.

  2. To allow for the anonymous review of submissions, the author’s name should appear only in the cover letter, which should also contain the full title of the submission and all relevant contact information. Authors should avoid identifying themselves in the manuscript itself (title page, header, notes) or in the file information.

  3. The article must be unpublished and written in Spanish or Portuguese and will be published correspondingly in either language.
    Application deadline: November 20, 2015. Prize winners will be notified by January 20, 2016.

After being notified, the winning authors will submit publication-quality musical examples and illustrations in TIFF (300dpi) and the text in Word format. The author will be responsible for arranging the corresponding permits for publication.

The Otto Mayer-Serra Prize for Music Research was established in 2008 by Instrumenta Oaxaca, Gobierno del Estado de Oaxaca, Fundación para las Letras Mexicanas,  Coordinación de Difusión Cultural UNAM, Instituto Nacional de Bellas Artes and Pauta.  It is funded by the College of Humanities, Arts & Social Sciences at UCR.


The Center for Iberian and Latin American Music is pleased to announce the launch of a new journal:  Diagonal:  An Ibero-American Music Review

Its purpose is to highlight the latest research into the vast musical heritage of Iberia and Latin America, as well as other regions once under Iberian colonial rule whose cultural traditions bear some imprint of Spanish or Portuguese influence, e.g., the Philippines or parts of the United States. The name refers to the fact that the journal's mission cuts across disciplinary and regional boundaries.

Diagonal:  An Ibero-American Music Review accepts contributions in Spanish, Portuguese, or English from scholars in musicology, ethnomusicology, and related disciplines. It is a refereed journal with a distinguished editorial board, and it conforms to the highest standards of modern humanistic scholarship.

This groundbreaking new journal is available free of charge through the University of California’s eScholarship website:  Please visit DIAMR to view Volume 1, Issue 1, to get more information about its policies and procedures, and to submit your work for publication.


El Centro para la Música Ibérica y Latinoamericana se complace en anunciar el lanzamiento de una nueva revista: Diagonal: An Ibero-American Music Review (Diagonal: Una revista de música iberoamericana).

Su objetivo es el de realzar la más reciente investigación sobre la vasta herencia musical de Iberia y América Latina, así como de otras regiones que estuvieron en el pasado bajo el régimen colonial ibérico, y cuyas tradiciones culturales muestran la huella de la influencia española o portuguesa (por ejemplo, las Filipinas o los Estados Unidos).

Diagonal: Una revista de música iberoamericana acepta contribuciones en español, portugués o inglés de investigadores en musicología, etnomusicología y disciplinas afines. La revista es arbitrada, cuenta con un cuerpo editorial distinguido y se sujeta a los estándares más altos de la investigación humanística moderna.
Esta innovadora publicación está disponible libre de cargo a través de la página eScholarship de la Universidad de California:  Consulte el número 1, volumen 1 de DIAMR para obtener mayor información sobre sus políticas y procedimientos editoriales, y para someter su trabajo a publicación.


O Centro de Música Ibérica e Latino-Americana tem o prazer de anunciar o lançamento de seu novo periódico -- Diagonal: Revista de Música Ibero-Americana

O objetivo deste periódico é apresentar as últimas pesquisas sobre a vasta herança cultural da Península Ibérica e América Latina, bem como de outras regiões que estiveram sob o domínio colonial ibérico e cujas tradições culturais apresentam marcas de influência espanhola ou portuguesa, por exemplo, as Filipinas e algumas regiões dos Estados Unidos. O nome "Diagonal" refere-se à missão de atravessar as barreiras disciplinares e regionais.

Diagonal: Revista de Música Ibero-Americana aceita submissões em línguas espanhola, portuguesa e inglesa de pesquisadores nas áreas da musicologia, etnomusicologia, e disciplinas relacionadas. Trata-se de um periódico avaliado por pares, com um corpo editorial formado por pesquisadores renomados, e em harmonia com os elevados padrões da moderna pesquisa em humanidades.

O periódico está disponível em acesso livre através do portal eScholarship, mantido pela Universidade da Califórnia:  Visite "Diagonal" para acessar o Volume 1, Número 1 e obter maiores informações sobre seu funcionamento, bem como submeter o seu trabalho para publicação.


This year’s Encuentros/Encounters is devoted to the folk, popular, and classical musics of Colombia, a country with a rich and very diverse heritage of music. Encounters 2015 will begin with a thrilling recital, on February 13, of two-piano music by Latin American composers, especially from Colombia, featuring the virtuosic duo of Daniel Cunha (Portugal) and Evangelos Spanos (Greece). Two recitals will be presented by renowned Colombian soprano Patricia Caicedo, whose recordings, recitals, and scholarly editions actively promote the songs of her native country, as well as the rest of Latin America. With the assistance of renowned accompanist by Nikos Stavlas, her first recital, on February 20, will present art songs by various Colombian composers. The second concert, on February 27, will focus on folk and popular songs of Colombia, and she will be accompanied by celebrated Colombian guitarist Ricardo Cobo. (In addition, on February 18, she and Nikos will present a Wednesday at Noon lecture-demonstration on Catalan art songs, a specialty of theirs, as they live in Barcelona.) The final event of this year’s Encuentros will be a Wednesday at Noon presentation, on March 4, by Colombian scholar Daniel Castro, a doctoral student in musicology at UCR, and UCR lecturer and pianist Gary Barnett. Together they will talk about and demonstrate the piano music of Guillermo Uribe Holguín (1880-1971), one of Colombia’s greatest composers. Prepare to be surprised and delighted by this feast of beautiful music from a country that is both familiar and yet still unknown!

February 13, Friday, 8 P.M.
Latin American Music for Two Pianos
Daniel Cunha, piano
Evangelos Spanos, piano
ARTS 166

February 18, Wednesday, 12:10 p.m.
Wednesday at Noon: Catalan Art Songs in the 20th Century
Patrician Caicedo, soprano
Nikos Stavlas, piano
ARTS 166

February 20, Friday, 8 P.M.
Art Songs of Colombia
Patricia Caicedo, soprano
Nikos Stavlas, piano
ARTS 166

February 27, Friday, 8 P.M.
Folk and Popular Music of Colombia
Patricia Caicedo, soprano
Ricardo Cobo, guitar
Juan Pablo Hernández, tiple
ARTS 166

March 5, Wednesday, 12:10 p.m.
Wednesday at Noon: The Music of Guillermo Uribe Holguin
Daniel Castro, Doctoral Student in Musicology
Gary Barnett, UCR Music Lecturer and Pianist

Background Music: The habanera "La paloma" (The dove) by Sebastián Yradier (1809-65), arranged for guitar by Francisco Tárrega (1852-1909), performed by Pepe Romero on his album Corazón Español (Hollywood Records, 2005).