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Robin D. Moore School of Music University of Texas at Austin 1 University Station E3100 Austin, TX 78712-0435 USA Off. Tel.(512)471-0373 Fax (512) 471-7836 Hm. Tel. (512)374-1070 [email protected] Education 1995 Ph.D. in music (emphasis ethnomusicology), University of Texas at Austin. 1990-95 Doctoral studies, University of Texas at Austin. Major field: ethnomusicology. Minor field: popular culture studies. Geographic specialization: Cuba and the Hispanic Caribbean. 1990 MA in music (emphasis ethnomusicology), University of California, Santa Barbara. 1982-87 BA cum laude in music (emphasis composition), March, 1987, University of California, Santa Barbara. Junior year at the Hochschule für Musik und Darstellende Kunst and Universität Wien in Vienna, Austria. Employment 2010- Professor, University of Texas at Austin. 2005-09 Associate Professor, University of Texas at Austin. 2003-05 Associate Professor, Temple University, Philadelphia. 1997-2002 Assistant Professor, Temple University, Philadelphia. 2001 Adjunct Faculty for the Fall Semester, Swarthmore College. 1996-97 Rockefeller Fellow, Center for Black Music Research, Columbia College. 1995-96 Lecturer, Music Department, University of California, Santa Barbara. Field Research 2011 Havana, Cuba (2 weeks): Research on the early history of the danzón. 2007 Recife, Brazil (3 weeks): Research into candomblé drumming in the terreiro Xambá. 2006 Havana, Cuba (3 weeks): Research into the artistic career of Afro-Cuban percussionist Pedro Izquierdo. Vita, R. Moore, p. 2 2003 Havana, Cuba (1 month): Interviews conducted on the formation of government musical institutions including state empresas and casas de cultura. 2002 Cartagena, Colombia (2 weeks): Research on Afro-Colombian percussion rhythms including gaita, porro, mapalé, bullerengue, and cumbia. Awards, Prizes 2011-12 American Council of Learned Societies Collaborative Research Fellowship 2011 Mellon Research Travel Grant (Oaxaca, Mexico) 2010 Hamilton Book Award Prize Winner, University Co-Operative Society 2010 Lozano Long Institute of Latin American Studies Sabbatical Grant 2008 Mellon Research Travel Grant (Havana, Cuba) 2007 Big XII Faculty Fellowship Grant for lectures at the University of Kansas 2005 Library Research Grant from Florida International University 2004-5 Residency Fellowship, The National Humanities Center, North Carolina 1998 Gustave O. Arlt Award, The Council of Graduate Schools, Washington, D.C. 1996 Rockefeller Foundation Post-Doctoral Residency and Travel Grant 1992-4 MacArthur Foundation Peace and Security Grant for dissertation research Courses Taught Introduction to Ethnomusicology (graduate) Analytical Methods in Ethnomusicology (graduate) Music and Nationalism (graduate) Music, Race, and History (graduate) Studies in Popular Music (graduate) Introduction to Music Pedagogy (graduate) Music of Mexico and the Caribbean (undergraduate) Music of Central and South America (undergraduate) Music of the African Diaspora (undergraduate) Introduction to World Music (undergraduate) Popular Music in the United States (undergraduate) History of Rock ‘n’ Roll (undergraduate) Music Appreciation (undergraduate) Music of the Twentieth Century (undergraduate) Current Professional Service —Editor, Latin American Music Review/Revista de Música Latinoamericana —Editorial Board, Journal of Black Music Research —Editorial Board, Revista Brasileira de Música Vita, R. Moore, p. 3 Performance 2006- Director, The University of Texas Hispanic Caribbean Ensemble 2005-06 Director, The University of Texas Mariachi Paredes de Tejastitlan 1998-2005 Director, The Temple University Latin American Ensemble Refereed Publications Edited Books 2012 Musics of Latin America. New York: W.W. Norton. 453 pp. Books 2013 Danzón: Circum-Caribbean Dialogues in Music and Dance (co-authored with Alejandro Madrid). New York: Oxford University Press. 281 pp. 2010 Music of the Hispanic Caribbean. New York: Oxford University Press. 256 pp. 2006 Music and Revolution. Cultural Change in Socialist Cuba. Berkeley: University of California Press. 350 pp. 2002 Música y Mestizaje. Revolución artística y cambio social en la Habana (1920-1940). Madrid: Editorial Colibrí. 362 pp. [a translation of Nationalizing Blackness] 1997 Nationalizing Blackness: afrocubanismo and artistic revolution in Havana, 1920- 1940. Pittsburgh: The University of Pittsburgh Press. 320 pp. Articles In press “Carlos Varela, Protest Song, and Cuban Music History.” In Habáname: The Musical City of Carlos Varela. Toronto: University of Toronto Press. In press “The Teatro Bufo: Cuban Blackface Theater of the Nineteenth Century.” In Donna Buchanan, ed., Soundscapes from the Americas: Ethnomusicological Essays on the Power, Poetics, and Ontology of Performance. London: Ashgate [2014]. In press “The racialization of heritage: danzones and Cuban cultural controversies of the 1880s.” In Maria Alice Volpe, ed., Patrimônio Musical na Atualidade: Tradição, Memória, Discurso e Poder. (Série Simpósio Internacional de Musicologia da UFRJ, vol. 3). Rio de Janeiro, Brazil: UFRJ. 2012 “Música negra e a diaspora: reflexes sobre o caribe hisánico.” Projeto História., São Paulo no. 44 (June 2012), pp. 305-19. 2010 “Havana in the nueva trova repertoire of Gerardo Alfonso.” In Amanda Holmes and Richard Young, eds., Cultures of the City: Mediating Identities in Urban Latin/o America. Pittsburgh: University of Pittsburgh Press, pp. 15-30. 2007 “Música e crise ideológica em Cuba de 1990 em diante.” ArtCultura vol. 9 no. 15 (July-December 2007), pp. 213-29. 2006 “Black Music in a Raceless Society: Afrocuban Folklore and Socialism.” Cuban Studies 37. Pittsburgh, University of Pittsburgh Press, pp. 1-32. Vita, R. Moore, p. 4 2006 “Analysis of a tratado for Obatalá, ‘King of the White Cloth.’ ” Michael Tenzer, ed., Analytical Studies in World Musics. New York: Oxford University Press, pp. 120- 160. Co-written with Elizabeth Sayre. 2005 “Revolution and Religion: Yoruba Sacred Music in Socialist Cuba.” Toyin Falola and Matt Childs, eds., The Yoruba Diaspora in the Atlantic World, pp. 260-290. Bloomington: Indiana University Press. 2003 “Transformations in Cuban Nueva Trova, 1965-95.” Ethnomusicology vol. 47 no. 1 (Winter 2003), pp. 1-41. 2002 “Échale salsita: el son y la revolución musical en La Habana.” Estudios. Revista de Investigaciones Literarias y Culturales Año 10 vol. 19 (July, 2002), pp. 229-244. Caracas, Venezuela: Departamento de Lengua y Literatura, Universidad Simón Bolívar. 2002 “Salsa and Socialism: Dance Music in Cuba, 1959-99.” In Situating Salsa: Global Markets and Local Meanings in Latin Popular Music, ed. Lise Waxer, pp. 51-74. New York: Routledge. 2002 “’Revolución con pachanga’?: Debates Over the Place of Fun in the Dance Music of Socialist Cuba.” Canadian Journal of Latin American and Caribbean Studies vol. 26, No. 52, pp. 151-177. 2002 “La fiebre de la rumba.” Encuentro de la cultura cubana vol. 23 (Winter 2001-2002), pp. 175-194. 2001 “From the canción protesta to the nueva trova, 1965-85.” International Journal of Qualitative Studies in Education vol. 14 no. 2, pp. 177-200. 2000 “Nacionalizar la africanía: el auge del afrocubanismo en La Habana, 1920-1940.” Nueva época, Revista de ciencias sociales no. 8 (Jan 2000), pp. 39-85. 1998 “Poetic, Visual, and Symphonic Interpretations of the Cuban Rumba: Towards a Model of Integrative Studies.” Lenox Avenue, A Journal of Interartistic Inquiry vol. 4 pp. 93-112. 1995 “The Commercial Rumba: Afrocuban Arts as International Popular Culture.” Latin American Music Review vol. 16 no. 2 (Fall/Winter 1995) pp. 165-198. 1994 “Representations of Afrocuban Expressive Culture in the Writings of Fernando Ortiz.” Latin American Music Review vol. 15 no. 1 (Spring/Summer 1994), pp. 32-54. 1992 “The Decline of Improvisation in Western Art Music Since 1840: An Interpretation of Change.” The International Review of the Aesthetics and Sociology of Music vol. 23 no. 1 (June 1992), pp. 61-84. 1991 “‘Primitivism’ and Afrocuban Music: Developmental Parallels” The Caribbean Studies Journal vol. 7 nos. 2 and 3 (Winter 1989/Spring 1990), pp. 181-88. Other Publications In press Eight brief articles (500-1000 words) for the Dictionary of Caribbean and Afro-Latin American Biography, ed. Henry Louis Gates, Jr. and Franklin W. Knight (Oxford, 2014). Vita, R. Moore, p. 5 In press “The Commercial Rumba: Afrocuban Arts as International Popular Culture.” Black Music and Music History, ed ***. New York: Oxford University Press,(a reprint of the 1995 Latin American Music Review Article mentioned above). In press Forward to Cuban Flute Style. Interpretation and Improvisation (New York: Scarecrow Press, 2013). In press Eight brief articles (approximately 300 words each) on Latin American and Latino music to appear in the Grove Dictionary of American Music, 2nd edition. New York: Oxford University Press. 2013 “Carlos Varela, canción protesta, y la historia de la música cubana.” In Habáname: La ciudad musical de Carlos Varela. Havana: Centro Cultural “Pablo de la Torriente Brau” (a translation of the 2013 University of Toronto publication mentioned above). 2012 “Havana no repertório nueva trova de Gerardo Alfonso.” Revista Brasileira de Música vol. 25 no. 1 (Jan-June, 2012), pp. 41-60 [translated reprint of 2010 refereed publication]. 2011 “O teatro bufo: teatro blackface cubano.” In Antonio Herculano Lopes et. al., eds., Música e historia no longo século xix. Rio de Janeiro: Casa Rui Barbosa, pp. 357-82 [translation of refereed publication]. 2009 Liner notes for the CD
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  • New Song: Nueva Canciόn in the Life and Music of Lourdes Pérez: Intersections of Politics, Identity and Community

    New Song: Nueva Canciόn in the Life and Music of Lourdes Pérez: Intersections of Politics, Identity and Community

    Copyright by Tara Elgin Hurst 2010 The Report Committee for Tara Elgin Hurst Certifies that this is the approved version of the following report: A “Newer” New Song: Nueva Canciόn in the Life and Music of Lourdes Pérez: Intersections of Politics, Identity and Community Approved by Supervising Committee: __________________________ Robin Moore, Supervisor __________________________ Stephen Slawek A “Newer” New Song: Nueva Canciόn in the Life and Music of Lourdes Pérez: Intersections of Politics, Identity and Community By Tara Elgin Hurst, B.A. Masters Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Music The University of Texas at Austin August 2010 Acknowledgements For my children Kathryn and Peter. Special thanks to Robin Moore, Stephen Slawek and Michael Seamus O‘Brian. iv Abstract A “Newer” New Song: Nueva Canciόn in the Life and Music of Lourdes Pérez: Intersections of Politics, Identity and Community Tara Elgin Hurst, M.Music The University of Texas at Austin, 2010 Supervisor: Robin D. Moore Commonly known as nueva canciόn in Puerto Rico or nueva trova in Cuba, ―new song‖ is a 60-year-old genre, a musical form resonant with political overtones. This thesis examines the life and music of Lourdes Pérez, a Puerto Rican singer working in the nueva canciόn tradition. Pérez, who has lived in the U.S. for 20 years, is dedicated through her compositions to create a ―newer song,‖ a form of socially engaged music based on artists of the past but addressing contemporary issues.