Core UCR Faculty
- Gary Barnett (lecturer in music theory)
- Rogerio Budasz (associate professor of musicology)
- Paulo Chagas (professor of composition)
- Xochitl Chávez (assistant professor of ethnomusicology)
- Walter Clark (distinguished professor of musicology)
- Cynthia Reifler Flores (lecturer in Mexican music and director of the Mariachi Ensemble)
- Tagumpay de Leon (lecturer in Philippine music and director of the Philippine Rondalla Ensemble)
- Johnavalos Rios (lecturer in Mexican dance and director of the Studio for Mexican Music and Dance)
- Jonathan Ritter (associate professor of ethnomusicology and director of Mayupatapi)
- Leonora Saavedra (associate professor of musicology)
Cooperating UC Faculty
- Begoña Echeverria (Graduate School of Education)
- María Regina Firmino-Castillo (Dance)
- Alessandro Fornazzari (Hispanic Studies)
- Gloria González-Rivera (Economics)
- Steven Hackel (History)
- Anthony Macias (Ethnic Studies)
- Sally Ness (Anthropology)
- Marta Hernández Salván (Hispanic Studies)
- Marina Magalhães (Dance)
- Luis Lara Malvacías (Dance)
- Friya Shiwy (MCS)
- Linda Tomko (Dance)
- Clifford Trafzer (American Indian Affairs)
- Carol Hess (Musicology)
- Zoila Mendoza (Native American Studies)
- Sergio de la Mora (Chicana/o Studies)
Graduate Students (Past & Present)
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.
Dr. Hannah Balcomb holds a Ph.D. in ethnomusicology from the University of California, Riverside. Her research focuses on music, identity, and social change in/of Latin America. Her dissertation examines racial and ethnic constructs of Indigeneity in Argentina and the ways that displaced groups, and those in solidarity with these groups, use popular and folkloric music to define their social status and contest a homogenous national imaginary. Hannah received her M.A. in ethnomusicology from UCR. Her thesis compared the ways that immigrant versus diasporic groups in Los Angeles used son jarocho music to foster community and social action. She received her B.A. in Latin American Studies from The Evergreen State College. Hannah is the recipient of numerous awards including a Fulbright IIE Grant, as well as a Graduate Research Mentorship Program Award, a Teacher of the Year Award, and multiple Gluck scholarships from UCR. She has presented her research in local, national, and international conferences including those of the Society for Ethnomusicology(SEM) and theInternational Council for Traditional Music (ICTM) in Shanghai, Kazakhstan, and Ireland. Hannah is passionate about making a difference through teaching and takes advantage of every opportunity for pedagogical training. During her graduate studies, Hannah completed the University Teaching Program and a teaching practicum in English composition. She has taught multiple classes in the music and English department including Introduction to Popular Music of the Worldand Introduction to World Music as well as a three-part English composition series. In addition to teaching, Hannah is interested in documentary making and in event and conference organizing. In 2011 and 2013, she interned with the Smithsonian Institution Center for Folklife Cultural Heritage. n 2016-2017, she worked as the Graduate Student Resource Center Coordinator with the UCR GradSuccess Program. In this position, she planned and facilitated three graduate student development symposia. In 2017-2018, she served as co-chair for the University of California, Riverside Music Graduate Student Association debut conference on Latin American Music and Performance. She also participated in the creation of the Latin American Special Interest Group for ICTMand served on the abstract committee for this group’s initial conference. Hannah has served as an interviewer for the Fulbright IIE and the Fulbright English Teaching Abroad Program. She is currently the Sponsored Panel-Coordinator for the Latin American and Caribbean Music Section for SEM.
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.
Corey Michael Blake
Corey Michael Blake is a PhD in ethnomusicology from the University of California, Riverside. His dissertation examines cultural performance, nationalism, and identity for Panamanians of Chinese descent. In March 2017, Corey was awarded a Fulbright U.S. Student Fellowship for his 2017-2018 fieldwork in Panama City, Panama. His research interests include musical expressions of identity in diasporic Central American populations and the effects of tourism on rural Appalachian musical identities. Beginning in 2012, Corey spent a year interning with Smithsonian Folkways Recordings, working with ethnomusicologists, folklorists, and experts in the recording music industry. There, he was commissioned to curate a music playlist for the second inauguration of President Barack Obama. In 2015, he graduated with his M.M. from the University of Tennessee, Knoxville; Corey also holds a B.M. degree in voice education from James Madison University with a minor in anthropology.
Bob Bozonelos is a Ph.D. student in Musicology and a recipient of the Dean´s distinguished fellowship award. Bob’s research focuses on the resurgence of Hellenism and Neoplatonism in the music of Renaissance Spain, with particular interests in the music of the vihuela. Bob holds a Bachelor’s degree in Classical Guitar Performance from California State San Bernardino where he studied with Professor Stuart Green. During his time as CSUSB, Bob was the recipient of several wards which include: The Anthony & Lois Evans Performance Award, EOP Outstanding Student Award, Annual Chairs Award for Guitar Ensemble, Music Department Scholar of the Year, and Music Department Graduate Speaker of the Year.
In 2003, Bob received a Full Graduate Assistant Ship to the University of California Irvine where he received his MFA in early Lute and guitar performance under the supervision of John Schneiderman. In addition to his studies in classical and early guitar, Bob has privately studied jazz with artists such as Jody Fisher and David Oakes. Bob is in demand as a free-lance guitarist having performed with the Inland Valley Chamber Orchestra, Mt. San Jacinto College, Arts Council of Temecula, and recently was selected as the Peoples Choice winner for 2017 Wine Country Music Awards.
As part of his collective teaching experiences, Bob has been on faculty at several colleges and universities. He has taught at the University of Redlands, Mt. San Jacinto College, Art Institute of California, and the Commercial Music Department at RCC Norco. Bob is certified in Pro Tools Recording Software and specializes in recording acoustic guitar. Bob has contributed to various administrative and academic endeavors during his time in post-secondary education. He has proposed and passed curriculum for the MSJC school district, served on the Academic Senate as an Associate Faculty Representative, and has written grants for the Strong Work Force Program for the acquisition of new recording technologies.
Dr. Joshua Brown is a Lecturer in Ethnomusicology at Chapman University in Orange, California. His research focuses on flamenco musical cultures in southern Spain, as well as folk music in the United States. His work explores how flamenco performance models intimacy and solidarity in Andalusian communities based in Seville and Morón de la Frontera. Dr. Brown earned his M.A. and Ph.D. in ethnomusicology at UC Riverside, and his B.A. in history at UC Santa Barbara. At Chapman University he teaches the Musical Cultures of the World series, as well as several other courses regarding popular music, race, and social movements. Brown has received several grants and awards from institutions that include the Fulbright Institute for International Education, the University of California President’s Office, the UC Riverside Center for Ideas and Society, and the Gluck Fellows Program of the Arts. He has presented his work in the U.S., Spain, England, Scotland, Ireland, and Australia.
Jorge Calaf Vicario
Jorge Calaf Vicario is a PhD student in historical musicology at the University of California, Riverside (UCR). Under the guidance of Dr. Walter Aaron Clark, his research interests focus mainly on the music of Puerto Rico and the Caribbean and more broadly on the music of Latin-America and Spain. His dissertation project focuses on the influence of Pablo Casals on Puerto Rican musical culture and its main musical institutions: The Casals Festival, the Puerto Rico Symphony Orchestra and the Conservatorio de Música de Puerto Rico. He studied classical guitar performance with Dr. Kenneth Meyer at Syracuse University (BM’09), with Ivan Rijos at the Conservatorio de Música de Puerto Rico (BM’14) and with Dr. Stephen Lochbaum and Matthew Denman at Oklahoma City University (MM’19). At UCR, he is a recipient of the Gluck Fellowship of the Arts. As a soloist, he has participated in masterclasses with artists like Manuel Barrueco, Rene Izquierdo, Elliot Frank, and Pepe Romero amongst others and has presented recitals in Puerto Rico and the US.
During his time as a student in Puerto Rico he helped Maestro Rijos with the organization and administration of the first institutional guitar orchestra in the Conservatorio. This experience left him with a deep impression of the importance of ensemble playing for classical guitarists and would prompt him to form the group FourteGuitar Quartet with his friends and colleagues Lemuel Lugo, Félix Del Valle and Jehú Otero. The quartet received various coaching sessions with renowned artists like Manuel Barrueco, Carlos Barbosa-Lima, Remí Boucher, Ernesto Cordero, Pepe Romero and The Romeros and others. They appeared in concert regularly in different venues around Puerto Rico and later would perform in Syracuse, NY and Oklahoma City. As part of their “musical mission” the quartet commissioned new Puerto Rican music for four guitars by leading composers from the island like Alberto Rodriguez-Ortiz and Juan Sorroche as well as “revived” music already written for guitar quartet by other Puerto Rican composers like Ernesto Cordero and William Ortiz. During this process, they were fortunate enough to work directly with the composers in matters of performance and interpretation of their work. This material has been recorded and is scheduled for release in the near future. Also, during this time the quartet had the opportunity to form a deep bond of friendship with Pepe Romero and The Romeros, their musical heroes, as part of their residency in the Celedonio Romero Guitar Institue in Oklahoma City as “distinguished alumni”. Over a period of 3-4 years they traveled regularly to OKC for this meeting where they received personal lessons from Pepe, masterclasses with The Romeros and got the chance to perform with Pepe multiple times as a quintet. They also provided the festival with arrangements of the orchestral part of Rodrigo’s famous guitar concertos Aranjuez andFantasía Para un Gentilhombre for guitar orchestra to be used in the final performance of the festival where Maestro Pepe participated as soloist for each concerto, in different years, and all the participating students in the festival formed part of the large ensemble. FourteGuitar acted as “section leaders” during these intense sessions, helping with the teaching of the parts and administration of the group. This experience led Prof. Matthew Denman, organizer of the event, to offer Jorge a scholarship to pursue his graduate studies in performance at Oklahoma City University. As part of his scholarship/assistantship he was appointed as the director of the guitar orchestra OKGO (Oklahoma City Guitar Orchestra) and conducted the ensemble during his time there. Here he got the chance to conduct the quartet’s arrangement of Aranjuez with the notable artist Mak Grgic acting as soloist, amongst other performance opportunities. Also, at OCU he finds mentorship under musicologist Dr. Jake Johnson who motivates him to pursue these interests further.
Daniel Castro Pantoja
Dr. Daniel F. Castro Pantoja, a native of Colombia, is currently the Cynthia Woods Mitchell Scholar-in-Residence in Musicology at the Kathrine G. McGovern College of the Arts at the University of Houston. He holds a PhD in Musicology from the University of California, Riverside, an M.M. in classical guitar performance from The University of Akron, and a B.M. in classical guitar performance from Loyola University New Orleans (summa cum laude). His research interests include music and de/coloniality, music and populism, music semiotics, nationalism, and indigenismo. He has published in Trans-Revista Transcultural de Música (Trans-Cultural Music Review), Latin American Research Review, and the Smithsonian Folkways Festival blog. During the 2015-2016 academic year, he taught at the graduate music program at the Pontificia Universidad Javeriana in Bogotá, Colombia, and served as an Associate Editor for the journal Ethnomusicology Review, curating and editing Crossing Borders, a column that focuses on trans-disciplinary music research. Daniel is also the recipient of multiple awards and grants, including the Beca para colombianos en proceso de formación artística y cultural en el exterior granted by the Colombian Ministry of Culture. In 2015, he was also a Smithsonian graduate fellow, participating in their Latino Museum Studies Program (LMSP). He is currently working on a book project that examines the role of antagonism, Europhilia, and anti-nationalism in Colombian national music narratives, which he discusses by studying the life and work of Colombian composer Guillermo Uribe Holguín (1880–1971).
Leilani Dade is a Ph.D. candidate in historical musicology at the University of California Riverside. Originally from Roanoke, Virginia, Leilani received her bachelor’s degree in music and French at Hollins University, where she graduated magna cum laude with a specialization in classical guitar and a certificate in arts management. While at Hollins, she also studied guitar and music theory at l’Ecole Normale de Musique in Paris, France as part of the Hollins Abroad Paris program (2011-12).
Leilani received her M.A. from the University of California Riverside in 2017 with a master’s thesis titled Alejandro Caturla and Alejo Carpentier’s La Manita en el Suelo:A Creative (Re)Staging. Her thesis examines nationalism, surrealism, and folklore in Caturla’s unpublished puppet opera, La Manita en el Suelo, and offers a fresh analysis of primary documents with intent to revive the work through live storytelling and stop-motion animation. She received the Chancellor’s Distinguished Fellowship in 2014 and is a returning recipient of the GLUCK Fellowship of the Arts (2014-18) for which she developed two artist-in-residency programs: Cadence and Bolero: A Musical Journey through Space, and Drama and Drums: A Five Week Music Program in Opera and Folklore based in part on her thesis research.
In 2018, Leilani received the Manolito Pinazo Memorial Award for advanced research in Spanish music. Her dissertation research focuses on French and Spanish nationalism in Spanish composer Joaquin Turina’s stage works. In 2018, she published an article on Turina’s works for guitar titled “Joaquín Turina: Spanish Nationalism and Guitar in The Early 20th Century” in Soundboard Scholar. Leilani is an active classical guitarist and regularly attends the Celedonio Romero Guitar Institute at Oklahoma City University where she takes lessons and leads guitar history lectures. She has worked extensively on the Romero family archive which resides at the Tomás Rivera Library at UCR.
Anna Emilova Sivova is pursuing a Ph.D. in musicology at the University of California, Riverside. Under the guidance of Prof. Walter Clark, her doctoral research focuses on the chants performed during the Holy Week processions in Andalusia, Spain, specifically Seville. She obtained an MA in musicology at the University of Hawai’i in Manoa, Honolulu and published two books that study the social impact of classical music in Sevillan society before and after the Universal Exposition in 1992. She also holds a master’s degree in orchestral studies from the International University of Andalusia/Barenboim-Said Academy in Seville. She obtained her bachelor’s degree in violin at the prestigious music school Reina Sofia, Madrid and the Conservatory “Padre Soler” in San Lorenzo de El Escorial, Madrid. Emilova has also studied orchestral and choral conducting at the University of Seville. Born in Sofia, Bulgaria, she moved with her family to Seville in the early 1990s. At age five, she started studying violin with her mother, the violinist Madlen Kassabova. Emilova obtained numerous violin prizes in Bulgaria and Spain, and scholarships from the Spanish Ministry of Culture, Andalusian Government, Foundations Albéniz, Cruzcampo, and El Monte. Since the early 2000s, she has held violin positions in several symphony orchestras: Bilbao Orkestra Sinfonikoa (principal second violin), Royal Symphony Orchestra of Seville, and the West-Easter Divan Orchestra conducted by Daniel Barenboim. She has performed in the most important music halls in Europe, both chamber and symphonic music, and has participated in music Festivals such as the Proms and Ravello, among others.
Dr. Bernard Gordillo Brockmann, a native of Nicaragua, is a Scholar-in-Residence at the University of California Institute for Mexico and the United States (UC MEXUS). He holds a Ph.D. in music from the University of California, Riverside, and degrees in performance from Indiana University, Bloomington, the Guildhall School of Music and Drama, and Centenary College of Louisiana. His dissertation, “Luis A. Delgadillo and the Cultural Occupation of Nicaragua under U.S.-American Intervention,” examines five critical responses to the United States intervention in Nicaragua (1909–33) through the writings and music of Nicaraguan composer Luis Abraham Delgadillo (1884–1961). His scholarship focuses on music and politics in Latin America and its historical relationship with the United States, with particular interests in Central America, U.S. geopolitics, nationalism, exoticism, and transnational popular devotion. He is a recipient of the Ingolf Dahl Memorial Award and a Fulbright Fellowship. He is also a professional harpsichordist and has appeared in recent seasons with the Los Angeles Philharmonic, the French Canadian chamber orchestra Les Violons du Roy, and the Los Angeles Baroque Orchestra “Musica Angelica.”
Owain Graham is a doctoral candidate in ethnomusicology at UCR. His research focuses on the confluence of cultural tourism, ritual music, shamanism, traditional healing practices, and the representation of indigeneity in lowland Peru. He is a recipient of the UCR Chancellor’s Distinguished Fellowship (2016-2017) and the Manolito Pinazo Memorial Award (2018-2019).
Before moving to California to pursue his studies in ethnomusicology, Mr. Graham taught music theory and founded the program for classical guitar studies at the Baptist University of the Américas in San Antonio, TX. He received his master of music degree from the University of Texas at San Antonio, where he studied guitar performance and pedagogy with Matthew Dunne. While attending UT San Antonio, Mr. Graham was awarded first prize at the 2013 College of Liberal Fine Arts research competition for his presentation entitled Linear Analysis and Interpretation in Schubert’s “Sonata for Arpeggione and Piano” (D821). Mr. Graham also holds a B.M. from Stetson University in DeLand, FL where he was awarded the William E. Duckwitz Talent Scholarship and studied classical guitar with internationally renowned performer and teacher, Stephen Robinson.
Jessica Margarita Gutierrez Masini is a Ph.D student in Ethnomusicology at the University of California, Riverside (UCR) with interdisciplinary research interests in feminist and decolonizing methodologies, music of the Americas, and music and identities. She is fascinated by how Native American peoples not only maintain, but celebrate and create traditions through music and dance. Jessica has recently completed her M.A. at UCR with an engaged ethnomusicological project titled “Native American Indigeneity through Danza in University of California Powwows: A Decolonized Approach.” She has presented highlights from this research locally and nationally for the Society of Ethnomusicology in 2018, as well as internationally at Graduate Student Music Conference in Toronto, Canada. In 2015, Jessica was the first music major at UCD to earn the Chancellor’s Award for Excellence in Undergraduate Research, and in 2016, she was presented with a Native American Community Honoring for her contribution to the 44th UCD Powwow and Native American Culture Days. She currently serves as President of the Music Graduate Student Association at UCR and as Student Representative for the Southern California and Hawaii Chapter for the Society of Ethnomusicology. Jessica’s ultimate goal is to indigenize academia by supporting indigenous self-determination in higher education.
Hermann Hudde is a musicologist and classical guitar performer who is currently a doctoral candidate in musicology at the University of California, Riverside. Hudde earned degrees at the Universidad Central de Venezuela, New England Conservatory of Music, Brandeis University and Hochschule für Musik Detmold, Abteilung Münster. He has published articles and reviews in Revista Musical Chilena, Soundboard, Mundo Clásico, Revista de Musicología, Tempo, Nineteenth-Century Music Review, Latin American Music Review andHarvard Review of Latin America. In 2011, he received a Jane’s Travel Grant and “Outstanding Research and Proposal Project” from the Latin American and Latino Studies Program at Brandeis University (2011). Hudde earned the Second Prize (2016) and an Honorable Mention (2014) for the Otto Mayer Serra Award in Musicology, and a Research Grant by the Latin GRAMMY Cultural Foundation (2015). He has read papers about Latin American art, music, and culture at Universidad Católica Andrés Bello, Wheaton College, Lasell College, UC Irvine, San Francisco Conservatory of Music, and Tufts University, among other academic venues. Additionally, his experience as a college music instructor includes designing a course entitled Latin American Classical Traditions, which he has taught onsite and online at the New England Conservatory School of Continuing Education, as well as serving as a Teaching Assistant for music courses at the University of California, Riverside. For more information, please visit: http://ucriverside.academia.edu/HermannHudde
Eric Johns is a Ph.D. candidate in musicology at the University of California, Riverside under the guidance of Dr. Walter Aaron Clark. He completed his Master’s degree at the same university with a thesis on Joaquín Nin-Culmell’s opera La Celestina. His current work explores the construction of narratives in tango histories and their marginalization of the guitar in those histories. Eric has been the recipient of the Dean’s Distinguished Fellowship (2014), the Manolito Pinazo Award (2016), the Anythony Ginter Award (2016), the Outstanding TA Award (2017), and a four-time recipient of the Gluck Fellowship of the Arts.
David Kendall is Associate Professor of Music and Chair of the Department of Music at La Sierra University in Riverside, California. He holds an M.A. and Ph.D. in historical musicology from the University of California, Riverside, and a B.Mus. and Performer’s Certificate in low brass performance from La Sierra University. David’s research interests are in liturgical and devotional music of the Spanish and American colonial periods in the Philippines, the baroque revivals of the 19th century, organology and performance practice, and the history of music theory. Recent publications include “Parish Music History and Economic Administration: Three Case Studies in the Central Visayas” and “Roman Catholic Liturgical Music in the Intra-Colonial Period in the Philippines (1880-1940)”, both in Saysay Himig: a Source Book on Philippine Music History (University of the Philippines Press, 2018); “Exotic Exhibitionism at the Exhibit: Music and the Evolutionary Sociocultural Continuum at the 1904 St. Louis World’s Fair” in Perspectives in the Arts and Humanities Asia 7 (Ateneo University Press, 2017); “Singing to Subdue or Sustain?: Looking for an Ethic of Conservation in Christian Liturgical Song and Hymnody” in Ecotheology and Nonhuman Ethics: Community and Compassion (Lexington Books, 2017); and “‘All nature sings, and around me rings the music of the spheres.’ Christianity and the transmission of a cosmic ecomusicology” in Ecotheology in the Humanities (Lexington Books, 2016). David also received an appointment as Visiting Professor of Musicology at the University of the Philippines, Diliman College of Music in 2016. He currently lives in Riverside with his wife Shiela, and daughters Carmina and Mikaëla.
Melinda Latour is Rumsey Family Assistant Professor in the Humanities and Arts and Assistant Professor of Musicology at Tufts University (appointed 2016). She earned a Ph.D. in Musicology from UCLA (2016); an MA from UC Riverside (2009); and a BA from UC Berkeley (2002). Her research centers on early modern moral song, music jurisprudence, tone and timbre in contemporary popular music, and Mexican music cultures, both past and present. Her scholarship on early music has appeared in the Journal of Musicology (2015), the Revue de musicologie (2016), and the Cambridge History of Sixteenth-Century Music (2018). She has also published an edited collection (co-edited with Fink and Wallmark), The Relentless Pursuit of Tone: Timbre in Popular Music (Oxford University Press, 2018). Her work has been supported by an ACLS/Mellon Dissertation Year Fellowship, the Bourse Jean Marandon, the American Musicological Society’s Wolf Travel Award, the Newberry Library’s École nationale des chartes Fellowship, and a National Endowment for the Humanities Summer Stipend.
Pedro López de la Osa
Pedro López de la Osa is a Spanish musicologist and guitarist who specializes in chamber music, pedagogy and research.
He studied with Alfredo Capriles, and completed his Guitar Degree at the Royal Conservatory of Music of Madrid with José Luis Rodrigo with whom he developed deep technical and musical skills. Two great mentors than followed: Betho Davezac and Eduardo Fernández with whom he then completed his professional training. He earned his Musical Education degree at the La Salle University in Madrid with the renowned pedagogue Raquel de las Heras. He later completed his Master Degree in chamber music, with honors, at the Girolamo Frescobaldi National Conservatory of Music in Ferrara (Italy) with Tiziano Mealli and Stefano Cardi. Curious still, he then completed his second Master’s Degree in music, this time in research, at the Autónoma University of Madrid with Germán Labrador. He was Pleased to receive in 2007 the Joaquín Rodrigo Prize in chamber music.
As a professional guitarist, Pedro López de la Osa has focused on chamber music, forming a successful duo with the pianist Pablo López de la Osa and the guitarist Paolo Benedetti. No but he also enjoyed performing with many duos, trios, quartets, as well as orchestras….in Spain, France, Italy, Czech Republic, Switzerland, Palestine, Ecuador, Costa Rica and Poland, with recordings for Radio Spain, Canal 7-Costa Rica and RTVE. He has given masterclasses while a guest in there widely varied nations.
Pedro López de la Osa has pedagogic and research works published and performed in Spain, South Korea, Colombia, Italy, and Palestine. Currently López de la Osa is a PhD student in musicology at the UCR and he had presented papers in several conferences at the university of California Riverside and University of Melbourne in Australia.
Mariangela Nobre is a Ph.D. student in Ethnomusicology and a recipient of the 2019 Eugene Cota-Robles Fellowship Award at UC Riverside, and the 2016 GOFP Fellowship Award at UCLA. Her research focuses on Afro diasporic music in Latin America, colonialism and imperialism; constructions of race and nationalism, with a particular interest in music and rituals in Brazil. Mariangela holds a Bachelor’s degree in ethnomusicology with jazz studies concentration from University of California Los Angeles where she studied with Professor Kenny Burrell, Professor Roger Savage, and Professor Cheryl Keyes among others. She also received her MA in African American studies from University of California Los Angeles under the supervision of Professor Robin D. G. Kelley who was also the advisor of her theses “Umbanda: Resistance and Reinvention of Afro Brazilian Identities, Spirituality and Syncretism in Los Angeles.”
During her years at UCLA Mariangela, also known as Mari, was the lead vocalist of the UCLA Latin Jazz Big Band, and she had the honor to perform as a Soprano in Royce Hall (UCLA) for “A Love’s Suite” an original symphonic composition written and directed by jazz legend Kenny Burrell in celebration of his 85th birthday, accompanied by a 90 piece orchestra.
She has an active career as a singer/songwriter. Her music was on the national TV channel Lifetime, and she was featured as an actress on Lifetime TV and Rai Italia. In 2017 she was invited to record and compose music for TV personality Deepak Chopra’s album and book “Home-Where Everyone is Welcome” which also became a USA-Amazon best seller. In the same year she recorded live from UCLA the album “Live and Alive from Gershwin to Jobim” produced by Chrome Music Records which reached the Jazz Billboard charts. She was also signed by a record label in Europe where her single charted n. 1 on the Itunes Latin charts.
As a performer she is the recipient of a Latin Grammy certificate, an American Songwriter Award, the Jazz Ed Magazine Readers’ Poll Award recipient for Best World Music Album of the Year, and Best World Music Artist of the Year, and the KXRL Radio Award among others. She also performed with the Dean Martin’s string orchestra in Italy where she received the Dean Martin’s Award for promoting the value of diversity through her music.
She is a member of the National Academy of Recording Arts and Sciences, and the Screen Actors Guild.
Alessio Olivieri, Italian classical guitarist and musicologist, is a PhD student in Musicology at the University of California Riverside, where he also serves as both Teaching Assistant and Associate Instructor. He is recipient of the Dean’s Distinguished Fellowship, and the Gluck Fellowship of the Arts. He received a Master of Music in Classical Guitar Performance from the Manhattan School of Music, as well as a Master of Music in Music Technology/Publishing, a Bachelor of Music in Musicology, and a Diploma (M.M.) in Classical Guitar, all from the Cesare Pollini Conservatory in Padova (Italy). Under the supervision of Dr. Walter A. Clark, Alessio’s research focuses on realism and verismo in the Spanish musical theater at the crossroads of the nineteenth and twentieth centuries. Other interests include Italian lute music of the sixteenth Century (thesis on the M.S. 223 of the library of the Accademia Filarmonica in Verona), Italian art songs of the 19th century —with the book Le romanze da salotto di Michele Bellucci. Le edizioni a stampa e i manoscritti autografi (2010) —, and twentieth-century guitar music. His graduate thesis, titled “Il Tenebrismo: la chitarra della noche oscura da Manuel de Falla ad Angelo Gilardino,” introduced the concept of “tenebrism” as a new poetic in the twentieth-century guitar repertoire. Alessio performed throughout Italy, USA, Australia, and New Zealand, as soloist and in chamber music groups —especially with his wife, the Italian soprano Elisa Ramon, as Operaperta Duo. He recorded two CDs (as Operaperta Duo, and as member of the former Manhattan Guitar Quartet). As an educator, Alessio served as Guitar Instructor at the Edinboro University of Pennsylvania (2014-16), and as guitar and music teacher, in high schools and middle schools in Italy.
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. She recently presented at the Latin American Studies Association (Barcelona, 2018), and the national meeting of the American Musicological Society (Milwaukee, 2014/San Antonio, 2018).
Jacob Rekedal is Assistant Professor at the Instituto de Música of the Universidad Alberto Hurtado, in Santiago, Chile. He has conducted fieldwork in central and southern Chile since 2009, with support from the UC Pacific Rim Research Program, Fulbright, and the Chilean government. His work has been published in journals of Latin American Studies and ethnomusicology, and he is currently working on his first book, concerning the role of hip-hop and rock in Mapuche culture. Since 2015, Rekedal has served as the Chile Liaison Officer to the International Council for Traditional Music.
Elizabeth Stela is a PhD candidate in ethnomusicology at UC Riverside, and she earned her MA in Oral History from Columbia University. Her research interests include the music of Japan and the Japanese diaspora, music in intentional communities, phenomenology, and space exploration. Her dissertation research explores music and belonging in intentional communities in Brazil whose members identify as Japanese or embrace perceived Japanese values. Elizabeth has participated in a variety of music and dance ensembles including Origens (Austin, TX), Grupo Vak (São Paulo), Yuubi Japanese Dance Company (São Paulo), the Viva Brazil Dance Company (New York), and the Martha Graham Ensemble (New York).
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 LA and Orange Counties. In 2012 he worked with a colleague to develop the first high school mariachi ensemble (Mariachi Los Vaqueros) in Garden Grove at Rancho Alamitos High School. After, four years of growing this program, he accepted a position to plan, develop, and start the curriculum at Portola High School in Irvine, CA. In 2017 he was named one of Orange County’s Top-25 Teachers and recognized as the Performing Arts Educator of the Year. His recognition came from his work to fuse 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 is a lecturer for the University Writing Program at the University of California, Riverside, and holds an M.A. (2012) and Ph.D. (2016) in historical musicology from California State University, Long Beach, and the University of California, Riverside, respectively. Robert is also a classical guitarist and earned a B.M. (2009) from San Diego State University, where he studied with George Svoboda and played in a variety of Latin American and guitar ensembles. As a Ph.D. student at UC Riverside, Robert was a Gluck Fellow of the Arts (2012–16) and visited many local schools and community centers playing classical guitar for a wide variety of audiences. His research interests include guitar music of Latin America, such as that of Paraguayan guitarist and composer Agustín Barrios Mangoré, and the music of Spain. Robert’s dissertation examines the lives and music of Carlos Surinach and Leonardo Balada, two Spanish-born composers who immigrated to the United States in search of opportunity and artistic freedom following the Spanish Civil War.