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International Colonial Conference2020-03-06T16:46:01-05:00

International Conference on Colonial Music: Music and Arts of Colonial New Spain

Miami, FL

March 5 – 7, 2020

with FIU’s Kimberly Green Latin American and Caribbean Center and School of Music

International Conference on Colonial Music: Music and Arts of Colonial New Spain

The 1st Annual 2020 International Conference on Colonial Music: Music and Arts of Colonial New Spain, scheduled for March 5-7, is a three-day multidisciplinary conference on art and music in 18th-century colonial Latin America that will culminate in four performances throughout Miami. Presented by FIU’s School of Music and Latin American Caribbean Center, this conference is multi-purpose event that will educate, showcase, and celebrate the rich history of Hispanic culture with a series of presentations, Q&A sessions, video conferences, and lecture-recitals led by an international gathering of leading scholars and researchers from around the globe.

We welcome all individuals who take an interest in learning about Hispanic history and listening to music from the colonial era.

The community can register to attend all events of the conference for $35. FIU Faculty, staff, and students can register for free. But hurry, space is limited! Please note: concerts are ticketed separately.

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Presenters

Presented by the Kimberly Green Latin American and Caribbean Center and School of Music at Florida International University

Partners

Partners include Thoma Foundation, Colonial Florida, March and Mary Concert Series, and Chicago Arts Orchestra

Conference Topic

Ignacio Jerusalem (1707–1769) was born in Naples, worked in Spain and later New Spain (Mexico City) in the second half of the eighteenth century. He eventually held the post of Chapelmaster of the Mexico City Cathedral (1750–1769). This conference commemorates the 250th anniversary of the death of Jerusalem. Jerusalem was a prolific composer whose compositions were well distributed in New Spain during his lifetime and immediately after. To this day his works can be found in archives as far north as California and as far south as Guatemala. Jerusalem’s compositions exemplify the transition from the baroque to the galant style. We invite papers of original research on Jerusalem’s life, his music, and the artistic life of the Mexico City Cathedral in the second half of the eighteenth century. The conference is multidisciplinary and welcomes papers on recent and original research on topics of music, visual art, and architecture in New Spain during Jerusalem’s lifetime. We also invite papers discussing the intersection of the arts or papers that provide larger artistic and/or historical context of the era. Other topics of interest include sacred music in other cathedrals of New Spain during the eighteenth century; new research on Jerusalem’s contemporaries in New Spain including, but not limited to, chapelmasters Santiago Billoni, Esteban Salas, Rafael Antonio Castellanos, Manuel José Quiróz, and Antonio Juanas.

Submission Deadlines and Information

Please note: The submissions deadline for the 2020 conference has passed.

Presentations can be in the form of twenty-minute papers or forty-minute lecture recitals. Proposals for panel discussions, workshops, and roundtable sessions will also be considered.

Proposals for paper presentations in the form of abstracts of no more than 350 words should be submitted in English or Spanish, both the official languages of the conference. Abstracts should state a clear title and any new, or original research included and the significance of the work. Proposals for lecture-recitals should include the content of the recital and lecture, sample recordings, and short biographies of the performers. Proposals for workshops, panel discussions, and roundtable sessions should also be 350 words in length and discuss the objective, content, and format of the session.

All proposals should be sent to Professor David Dolata at dolatad@fiu.edu as attachments in the form of PDFs. Header should be formatted as “NAME FIU/Ignacio Jerusalem Proposal.” The proposals should be sent in two formats, one with only the title and abstract, and another with the author’s name, institutional affiliation (if any), email, telephone number, and mailing address.

Keynote Speakers

Dr. Drew Davies (Bienen School of Music, Northwestern University)

Dr. Lucero Enríquez Rubio (Musicat, National Autonomous University of Mexico [UNAM])

Dr. Suzanne Stratton-Pruitt (Thoma Foundation)

Javier Marín, Universidad de Jaén

Miriam Escudero, Universidad de La Habana

Academic Committee

Dr. David Dolata (Florida International University School of Music)

Dr. Miriam Escudero (Colegio Universitario San Gerónimo de La Habana [Universidad de La Habana])

Dr. Joel Galand (Florida International University School of Music)

Artistic Committee

Professor Juvenal Correa-Salas (Florida International University School of Music)

Maria Guinand (Florida International University School of Music)

Dr. Drew Davies (Bienen School of Music, Northwestern University)

Dr. Javier José Mendoza (Florida International University)

Speakers and Presentations

Suzanne Stratton-Pruitt (Thoma Foundation)

“Music and the Visual Arts in the Era of Ignacio Jerusalém”

Architecture, paintings and sculpture comprise the setting for the performances of Ignazio Jerusalém’s compositions in the Cathedral of Mexico City.  This presentation is planned to enable the audience to understand the mise-en-scène in which the music was heard in the eighteenth century.  Parallels will be drawn between the lyrics and the religious subjects of works by visual artists, and the different ways in which the arts supported Catholic faith will be explored.

Lucero Enríquez Rubio (Musicat, National Autonomous University of Mexico [UNAM])

“Maravilla Americana? Music and painting in New Spain around 1750”

Maravilla Americana? American wonder?  Why writing a question mark after the title of a book published on 1756, written by the well-known painter Manuel Cabrera, including the peer-review comments of six other colleagues, in which they concluded, after a scientific and thorough analysis, that the image of the Virgin of Guadalupe, painted in the cape of the Indian Juan Diego, was the work of God himself? I will use the question mark as a leit motiv in this lecture to refer to some topics currently used in musicological studies such as an enlightened New Spanish “nobility” interested in music making and music patronizing; or the music editions, music recordings and historically informed music performances of Ignacio Jerusalem’s works as “one man” concert music pieces; and last but not least, the endless citations of Mexico’s Cathedral “Colegio de Infantes” as a musical institution where musicians were formed and trained.  To answer such questions, I will let the “most noble art of painting,” as practiced in New Spain around 1750, do its job, that is to say, answer those questions as a contrasting mirror or as an uncomfortable counterpoint.

Javier Marin (Universidad de Jaén)

“Ignacio Jerusalem and the Biographical Method: Issues and Challenges”

With the publication in 1802 of his Über Johann Sebastian Bachs Leben, Kunst und Kunstwerke, Johann Nikolaus Forkel inaugurated what is probably one of the historical-literary genres of greatest historiographical fortune in Musicology: biography. Despite its late institutionalization compared with other fields such as Art history (since 1550 the mythical Vite de Vasari were available), musical biography quickly became the touchstone of the incipient musicological discipline, living its golden period in the second half of the nineteenth century, and sheltered from the cult of genius and creative individuality. Although with the emergence of Postmodernism many predicted its extinction, the validity of the biographical genre is absolute in almost all historiographical traditions today. In this presentation the main issues and challenges of the biographical method will be outlined taking as a case study Ignacio Jerusalem and Stella (1707-1769), the cosmopolitan composer who worked in Italy, Spain and Mexico and that, despite its recognition, today lacks a minimally detailed biography. Taking advantage of the preparation of an updated biographical chronology of the Neapolitan master, the historiographic treatment received by Jerusalem, the current state of art, and future lines of research will be drawn.

German Labrador (Universidad Autonoma de Madrid)

“Diégesis musical y visual en El Poeta escribiendo un melólogo, de Blas de Laserna. Una propuesta para la recuperación del teatro breve del siglo XVIII”

En la producción teatral del siglo XVIII es notoria la constante producción de obras de pequeño formato, los géneros breves, mucho más numerosa que la de tragedias o comedias. En el caso del teatro musical este tipo de obras resultan prácticamente desconocidas; a la falta de ediciones se suma la dificultad que presenta su puesta en escena, tanto por razones presupuestarias (siempre resulta más económico hacer teatro sin música) como por tratarse de géneros y autores desconocidos, por los que resulta difícil apostar.

Es el caso de los melólogos, género de teatro musical que se puso de moda en la década de 1790 y del que no existen grabaciones ni prácticamente puestas en escena en el sigo XX o XXI. No obstante, la dramaturgia musical de estas producciones es muy similar a la del cine, y los nuevos medios audiovisuales ofrecen posibilidades insospechadas para la recuperación y el conocimiento de este repertorio. En el caso del melólogo del Poeta, escrito por Blas de Laserna en 1793, el G. I. R. de la UAM Música y Cultura en tiempos de los Borbones recuperó en 2019 esta obra en formato audiovisual, integrando eficazmente en los nuevos lenguajes la dramaturgia musical propia de este género dieciochista.

Este trabajo de recuperación es resultado directo del proyecto de investigación HAR2014-53676-P, Hibridacion cultural y transculturacion en el teatro musical español de los reinados de Carlos III y Carlos IV (1759-1808), desarrollado en la Universidad Autónoma de Madrid, y resulta una propuesta de especial relevancia para actualizar otros repertorios de teatro musical del siglo XVIII de forma eficaz y atractiva para el público de hoy. En la intervención que se plantea para el congreso se presentarán las principales convenciones de la dramaturgia musical del género y el modo más lógico de plantear una traslación de las diferentes diégesis musicales y literarias a la visualidad de un medio como el cine. Finalmente, fuera del tiempo previsto para la intervención, se proyectará esta breve obra (diez minutos), subtitulada en inglés.

Carol Damian (Art Historian)

“The Virgin Mary or Tonantzin: Who is Our Lady of Guadalupe?”

Our Lady of Guadalupe, Nuestra Señora de Guadalupe, appeared before the peasant Juan Diego in a vision in 1531 and requested a church be built upon the hill where she stood.  It is a fascinating story of skepticism and religious fulfillment and today Our Lady of Guadalupe holds a special place in the religious life of Mexico and is one of the most popular religious devotions.  However, there is another side to the story that relates her to the Aztec Earth Mother “Tonan” or “Tonantzin” who was worshipped on the same hill that Juan Diego first saw her image.  She has become one of the most famous syncretic images in Latin America, a blend of Christian and Aztec symbolism.  This presentation will discuss the symbolism of both identities and how they become one to make Our Lady of Guadalupe one of the most revered religious figures in the Catholic religion.

Luciana Kube Tamayo (Florida International University)

“Misticismo y arcadismo en el villancico novohispano: Manuel de Sumaya y sus contemporáneos”

La música y la divinidad han estado siempre en estrecha relación. En la música novohispana del siglo XVIII este fenómeno es más que evidente. Se trata de un tiempo de evolución estilística vertiginosa en todas las artes. La plástica, la literatura y la música confluyen y sirven de soporte a un arte nuevo, el Rococó. La floración churrigueresca está, además de en lienzos y biombos, en el vocabulario de la lírica de la Nueva España con fuerza, a la vez que se afianzan los modelos religiosos por un lado y el arcadismo por otro. Los esquemas de la espiritualidad se encuentran encajados en la miniatura poética y el ingenio dieciochesco, desbordante de naturaleza y fantasía.

En el período virreinal encontramos autores que celebran esta reunión intelectual entre la música y la mística post-escolástica, entre los que destaca indiscutiblemente la figura de Sor Juana Inés de la Cruz, pero también en los músicos y poetas que le sucedieron. En esa larga lista de herederos artísticos se encuentra el compositor novohispano Manuel de Sumaya (1678–1755). En los textos que utiliza para sus composiciones la metáfora, los símbolos y los personajes alegóricos funcionan como piezas que se intercalan en la poesía para denotar, en este caso a través del lenguaje musical, una comunicación mística multidimensional a través de recursos como el uso de vocativos, la anáfora, la personificación y la elipsis.

Esta vinculación entre las alusiones musicales y su relación con los símbolos de lo divino en el villancico Corred, corred, Zagales, compuesto Sumaya en 1728. Constituye un buen ejemplo de lirismo donde lo galante y refinado se encuentran con el arcadismo y el misticismo que llega hasta el siglo XVIII en la Nueva España. El lenguaje es rico, en él la naturaleza puede redimirse y alegrarse a la vez. Se pueden establecer correlaciones entre este villancico y otras formas literarias de autores contemporáneos a Sumaya, como en la poesía del versificador Juan José de Arriola (n. 1698) o de Miguel de Reina Zeballos (n. 1703), entre otros. En ellos pueden encontrarse similitudes estilísticas, así como vestigios del culteranismo, del conceptismo y un marcado signo de la contemplación íntima de la naturaleza y del hecho divino.

Craig Russell (California Polytechnic State University)

“From Heavenly Stars to the Foot of the Cross: Music and Drama in Mexico’s Conservatorio de las Rosas”

Some of the musical jewels of the New World in the eighteenth century were its music establishments attached either to convents or schools designed for young women. Becoming an accomplished vocal or instrumental virtuoso was one of the few avenues open for women to earn a position of high acclaim in a male-dominated society (even if “performance” was confined either to private spaces or behind a cloistered barrier). Judging from the extant sources, one can see that the music-making at these women’s schools rivaled the transcendent quality heard in the major cathedrals. (Notably, Ignacio Jerusalem’s daughters María Micaela and María Joaquina attended Vizcaínas in Mexico City.)

But perhaps the most celebrated girls’ music school was the Conservatorio de las Rosas in Morelia, Mexico, founded in 1743 on the site of the newly vacated Convento de Santa Catalina de Siena. In today’s paper I will explore two contrasting works from the Conservatorio (my editions drawn from the manuscript sources) and focus on the feminine perspective that is at their core. “Celebren los astros” is a short skit-play known as a coloquio or “convocation.” This genre signified an artistic get-together that could include music, poetry, short dramas, and readings. They are often allegorical (with characters based on the heavenly bodies or Greek gods) or pastoral with shepherds and shepherdesses. “Celebren los astros” features three heavenly Stars whose soprano lines sparkle (clearly sung by the young girls of the Conservatory), juxtaposed with the planet Mercury, a low alto- register (a senior nun?) couched in the rhythm of a regal sarabanda.

In complete contrast, Ortiz de Alcalá’s “Al monte suspiros” (To the mountain, sighs) depicts the agonizing grief of Mary at the foot of the cross. It has a villancico’s structure but—unlike that genre—is void of any peasant-like mannerisms or jocular good-humor. At first we imagine the moaning gasps “Ay! Ay! What agony!” to be those from the suffering Christ, but we soon discover that it is Mary—not Jesus!—who is breathless, dying from grief as she watches her Son die before her.

Paul Feller (Northwestern University)

“¿Qué es esto pastorcillos?”: signification and usage of theatrical dances in the Christmas villancicos of colonial Santiago, Chile”

The last vestiges of a literary and performative genre grounded in the renaissance bucolic tradition, the Hispanic-American sacred musical compositions known as villancicos, gradually declined in production during the second half of the eighteenth century. These not-always-sanctioned vernacular works were performed in part to attract and entertain the congregation in the course of a long religious ritual while demonstrating an unusual adaptability to local circumstances amid its dissemination throughout the Spanish Empire. Following an Italianizing and popularizing influence emanating from Naples, the villancico was modernized all through the New World, yet it retained a common language rooted in rather older theatrical codes. It is at this junction that issues of interpretation and reception arise, in considering the relationship between conventional meaning and the usage of distinct musical elements in the context of solemn festivities.

This paper intends to clarify and contextualize the presence and specific selection of two types of Hispanic theatrical dances introduced across different eighteenth-century Christmas villancicos found in the Cathedral archive of Santiago, Chile: the bolera and the pastorela. In elucidating their functions within the music, specific associations will be established between these dances and traditional depiction mechanisms for stereotypical characters. Moreover, the paper argues that these characters are exhibited on a stage circumscribed by the liturgical context demarcated by Christmastide. In so doing, the paper suggests that meaningful coherence is framed by the confluence of the catechetical potential of the villancico with the careful treatment of musical mechanisms of characterization. Improving our comprehension of the practical functions of this music will hopefully clear the path towards disentangling historical puzzles such as the continuity of the genre in colonial Hispanic-America in spite of recurrent prohibitions.

David Coifman Michailos (Doctor por Florida State University-Tallahasse/Universidad

Complutense de Madrid)

De El Contrato social (1762) al Popule meus (1801): la libertad musical como utopía en la Ilustración de Venezuela”

El Contrato social de Rousseau impuso el pacto social como la vía capaz de asociar fuerzas para proteger al individuo y a su bienes al “ponerlas en juego mediante un solo móvil y hacerlas obrar a coro”. La metáfora musical como unión de carácter homofónico entre individuos libres e independientes tiene en la voluntad del “pueblo” (germen de la nación) al individuo de acción en la consecución de la República como utopía en el siglo XVIII. Carmen Iglesias resume el importante papel que tuvo la educación en la materialización de esta utopía:

Pero si esa libertad solo puede preservarse por la tensión de la razón y la voluntad, se deduce que hay que estar aprendiéndola y sosteniéndola continuamente, interiorizándola en cada nueva generación, en cada nuevo individuo. De ahí la importancia de la educación, el cuidado de la opinión, la continua corrección de las voluntades particulares, tendentes a su propia inercia, por la voluntad general; en una palabra, la obligación de ser libres (Razón, sentimiento y utopía).

Para escuchar la música como voluntad del pueblo en la Ilustración hispanoamericana debemos interiorizar el pensamiento utópico de Rousseau en la textura de la música colonial venezolana centrada en la del “Popule meus” (1801) de Lamas (1775–1814) cuya “belleza sublime” kantiana alcanza su mejor resultado en la “Misa” compuesta por este autor para celebrar, ante Andrés Bello y Simón Bolívar, la instalación de la Junta Patriótica del 19 de abril de 1810. Indagar el significado de lo “bello sublime” kantiano en la Ilustración musical de Venezuela, en claro contraste con la “fealdad” barroca de la música “española” compuesta en otros territorios hispanoamericanos, nos permitirá además conceptuar el significado que tuvo la libertad musical de Rousseau en la consecución de la Primera República en Venezuela.

Miriam Escudero (Universidad de La Habana)

“Músicos migrantes del siglo XVIII: viajes de ida y vuelta entre la Península, La Habana y Puebla de los Ángeles”

La villa colonial de San Cristóbal de La Habana (1519), en su condición de ciudad portuaria, acogía y bendecía (desde la iglesia del Santo Cristo del Buen Viaje) a visitantes en tránsito desde/hacia tierras de leyenda y oro. Entre ellos, a músicos, comediantes y empresarios itinerantes, en busca de la mejor plaza para su arte. Aun cuando esta ciudad poseía rango e importancia geopolítica para la corona española, no le fue concedido el permiso para erigir Catedral hasta 1789. Entre tanto, desde la Parroquial Mayor de La Habana un maestro y su capilla de músicos protagonizaban los actos conmemorativos de la urbe.

No muy lejos de La Habana se encontraba la suntuosa Catedral de Puebla de los Ángeles (1649), en la que un obispo cubano, Santiago José de Hechavarría Elguezúa, compartió mitra entre 1787-1789. Era Puebla el más próximo polo de atracción para músicos que deseaban escalarar a un puesto mayor y mejor remunerado. Se trata entonces de reconstruir una historia cultural común, que ha dejado huellas de trasvase documental en el archivo de música de la sede Angelopolitana y de rendir homenaje a La Habana, cinco veces centenaria, a través de la obra de tres músicos viajeros: Joaquín Ugarte, Josep Fallótico y Cayetano Pagueras.

Gustavo Sanchez (Universidad Autonama de Madrid)

“Las primeras Sinfonías de Gaetano Brunetti: Entre el estilo galante y el clasicismo”

En la producción sinfónica de Gaetano Brunetti (40 obras) se encuentran seis sinfonías, consideradas cronológicamente las primeras compuestas por el autor. Si nos fiamos de la anotación algo borrosa de la única copia autógrafa de estas obras, al parecer fueron escritas en 1772, aunque también es probable (según estudios sobre el papel utilizado) que se puedan datar alrededor de 1768. Se trata de la única serie integrada en el corpus sinfónico de Brunetti, en un grupo de seis, como suele ser habitual en él en otros géneros de su producción musical. Pero lo que nos interesa en este estudio es el aspecto estilístico de estas seis obras, pues aunque en ellas se aprecian rasgos propios del clasicismo, al mismo tiempo perduran ciertos aspectos característicos del estilo galante como, por ejemplo, la  estructura típica de obertura italiana en tres movimientos (rápido-lento-rápido) —de hecho, el propio Brunetti escribe en el manuscrito la palabra “Overtura” al comienzo de cada una de ellas. En definitiva, se pretende en este estudio ahondar en las cuestiones formales y estéticas de estas seis sinfonías con el fin de proporcionar un itinerario estilístico que nos muestre la evolución del compositor en el género sinfónico; un itinerario que partiría de un estilo galante de raíces italianas y desembocaría en el estilo sinfónico clásico propio de la primera escuela de Viena.

Dianne Lehmann Goldman (Elmhurst College)

“Ignacio Jerusalem’s Sources at the Basílica de Guadalupe, Mexico City”

Since its founding in the late-seventeenth century, the Basilica of Guadalupe has been an important pilgrimage site and a center of visual art, literature, and music. A large quantity of musical works was needed to accompany the religious services. The basilica acquired hundreds of works by local composers including many composed by Ignacio Jerusalem. Because the original works belonged to the composers or to the institutions they worked for, copies were made and sent to the basilica. The surviving pieces are found in the basilica’s archive, currently located in the offices of the modern church.

This paper will focus on the pieces by Ignacio Jerusalem at the Basilica of Guadalupe. Many of the copies postdate the composer’s death by two or three decades. Like other works that were in continuous use over many years, they bear the signs of adaptation, reuse, contrafacts, and in many cases, they have information about what years the music was used, for which service, and who performed it. Also present are a number of humorous drawings and doodles and remarks by basilica chapel masters who classified Jerusalem’s pieces as “old and ugly” and as “excellent and in good taste.”

My presentation will compare the correspondences at the Basilica of Guadalupe and the cathedrals of Mexico City, Durango, and Puebla to find the differences between the musical contents and the services they accompanied. In addition, I will discuss the basilica’s unica sources. Finally, I will comment on what the presence of these sources and their use and reuse can reveal about the legacy of Ignacio Jerusalem during the late eighteenth and early nineteenth centuries.

Faith Lanam (University of California, Santa Cruz)

“Behind Closed Doors”

María Micaela Jerusalem and María Joaquina Jerusalem trained in Mexico City’s Colegio de San Miguel de Belem as musicians in the galant style, which their father—Ignacio Jerusalem— imported from Europe and widely circulated throughout New Spain. Based on groundbreaking archival research at the Archivo Historico del Colegio de las Vizcaínas, this paper weaves together a biography for María Micaela Jerusalem, who served a long, distinguished career as an educator at Vizcaínas, and considers Ignacio Jerusalem’s impact on the musical life of women’s colegios and convents, both directly and through the legacy of his daughters.

Women’s experiences have largely been ignored by researchers focusing on music of the male spheres of cathedrals, courts, and boys’ conservatories. Women of New Spain are underrepresented in scholarship and on the concert stage. This paper seeks to contribute to rectifying this neglect by illuminating the life of María Micaela and examining three unique sources of her father’s compositions that she used in preparation for her musical career.

Exemplifying galant pedagogy, the didactic manuscript “Vezerro de lecciones” contains solos, duets, canons, and solfeggi composed by Ignacio Jerusalem, Francesco Feo, and Leonardo Leo. These solfeggi suggest that the girls were learning to perform, improvise, and compose. Two of Ignacio Jerusalem’s settings of “Non fecit taliter”—a text associated with the blended European-Mexican identity of the criollo population of New Spain—not only served the needs of the colegio’s chapel, but also gave the girls performance experience, preparing them to become professional musicians. Moreover, they link Belem to the cathedral, demonstrate the musical forces available at the school, and evidence the role of Our Lady of Guadalupe in New Spanish criollo culture.

María Micaela Jerusalem led an extraordinary life that invites us to look more closely at issues regarding pedagogy, gender, colonialism, and class, all situated within the greater context of the musical and social life of Mexico City. In a scholarly field in which women have been marginalized, the Jerusalem family presents a unique opportunity to leverage quality music by a well-known composer to illuminate the training and careers of female musicians in New Spain.

Drew Davies (Bienen School of Music, Northwestern University)

“The Compositions of Ignacio Jerusalem, the Work Concept, and Galant Music in Diaspora”

Nearly twenty years ago, Reinhard Strohm edited a volume about the dissemination of galant music throughout Central and Eastern Europe via the movement of people from Italy (The Eighteenth-Century Diaspora of Italian Music and Musicians, Brepols, 2001). Since that time, much research has pointed to the influence of galant music on the Iberian Peninsula and its overseas viceroyalties, a topic often sidelined in scholarship. Indeed, it is precisely through the network of Spanish polities that an eighteenth-century musician such as Ignacio Jerusalem was able to build a global career across three continents (Europe, North Africa, and North America) as a cellist, hornist, and composer. As we acquire more knowledge of Jerusalem, it is clear that the quality of his music rises to an international level and can only be understood within a transatlantic framework in which an individual transmits musical practices from one environment in order to transform another.

Having established an updated directory of Jerusalem’s compositions upon the occasion of the 250th anniversary of his death last year, I concentrate in this presentation on the Neapolitan composer’s output as a whole, looking at three issues: 1) Jerusalem’s adaptation of galant musical aesthetics and genres to the local institutional context in New Spain; 2) the work concept as evident in Jerusalem, many of whose pieces show philological complexity and piecemeal composition; and 3) the extent of Jerusalem’s influence, given the wide distribution of his manuscripts in New Spain. As such, Jerusalem’s music – whether Masses, Responsories, or Villancicos –emerges as fundamentally shaped by its global context in terms of genre and topicality, yet also limited by the structures of the colonial environment. Seeing Jerusalem as an individual, a performing musician, and an institutional composer with links throughout Mexico City leads to a complicated view of a musician whose legacy was largely created by future generations.

Craig Russell (California Polytechnic State University)

 “Dreamy Ruminations, Strummed Passion, and Florid Filigree Music in New Spain for the Baroque Guitar”  (lecture-recital)

Musical life in the Spanish New World in the 18th century flourished in a variety of styles and settings. At the same time that the sacred choral works of Ignacio Jerusalem, Manuel de Sumaya, Juan de Araujo, and Esteban Salas were heard in Latin American churches and cathedrals, a vibrant secular tradition resounded outside the walls of sacred institutions—emphasizing, in particular, the 5-course baroque guitar. Its sounds were ubiquitous at any festivity, dance, or theatrical production. The guitar’s repertoire became so standardized and endured with such affectionate persistence that today’s son jarocho in Mexico’s Veracruz region consists almost entirely of these same danzas and bailes as they were jotted down by the baroque guitarists Gaspar Sanz, Lucas Ruiz de Ribayaz, Sebastián de Aguirre, and Santiago de Murcia. Their tablatures (in manuscript and engravings) have been found across Latin America, from Chicago and Los Angeles to Puebla, Mexico City, Lima, and Santiago, Chile. And the baroque guitar itself survives to the present day under the appellation jarana in coastal Mexico. This lecture-recital will include performance of musical examples on the 5-course baroque guitar.  

Biographies

Suzanne Stratton-Pruitt (Thoma Foundation)

Dr. Suzanne Stratton-Pruitt received her doctorate in art history from the Institute of Fine Arts, New York University.  She is curator of the Spanish colonial paintings in the collection of the Thoma Art Foundation.  After a career in the field of Spanish art, for which she received the Lazo de Dama de la Orden de Isabel la Católica, she turned to the Spanish Americas. Dr. Stratton-Pruitt co-curated an exhibition of “The Arts in Latin America 1492-1820″ at the Philadelphia Museum of Art, which traveled to Los Angeles and to Mexico City.   She organized The Virgin, Saints, and Angels:  South American Paintings 1600-1825 from the Thoma Collection, a traveling exhibition organized by the Cantor Center, Stanford University.  She edited The Art of Painting in Colonial Quito (Philadelphia: Saint Joseph’s University Press, 2013) and The Art of Painting in Colonial Bolivia (also SJUPress, 2017), and several new essays are forthcoming.

Lucero Enríquez Rubio (Musicat, National Autonomous University of Mexico [UNAM])

Lucero Enriquez studied harpsichord and composition at the National Conservatory of Music in Mexico City and graduated from the Bach Conservatorium in Amsterdam as a solo harpsichordist under the direction of Gustav Leonhardt. She specialized in the Baroque period at the Eduard van Beinum Stichting. She studided composition with Rodolfo Halffter, Julián Orbón and Ton de Leeuw. In 2007, she graduated cum laude as PhD in Art History at the Faculty of Philosophy and Letters of the National Autonomous University of Mexico (UNAM). Her thesis “The Warehouse of Zendejas-Rodríguez Alconedo: painting as a statement and allegation” won the “Alfonso Caso” academic merit medal as the best thesis in Art History of her generation. At the National Autonomous University of Mexico (UNAM) she is a full-time senior researcher in the area of ​​colonial music at the Institute of Aesthetic Research (IIE) and harpsichord and basso continuo teacher at the Faculty of Music of the same University. Since 2001, she has coordinated Musicat, a seminar for New Spain and Independent Mexico music, an international and interdisciplinary network of specialists and students dedicated to the study of music from the period 1521–1858 based in the Institute of Aesthetic Research. She is the composer of the music for the movie Adiós Indio (Night of the Dead) and for the stage works Guess, there is pantomime … and Richard III. In 2012 she published A warehouse of secrets. Painting, pharmacy, Illustration: Puebla, 1797, which won in 2013 the National Chamber of the Mexican Editorial Industry Prize for Editorial Art in the genre of Art (Caniem Prize). She has published in Mexico and in Spain articles of historical musicology focused on cultural history. In 2014, she received the Sor Juana Inés de la Cruz Distinction granted by UNAM and in 2016 the National University Award for Research in Arts.

Javier Marin (Universidad de Jaén)

Javier Marín-López (PhD University of Granada) is Associate Professor of Music at the University of Jaén. He has studied several aspects of Mexican and Spanish musical culture from the 16th to the 18th centuries, with particular emphasis on his transatlantic exchange processes in the wider European context. In 2010 he was awarded the VII Latin American Musicology Prize “Samuel Claro Valdés” of the Catholic University of Chile. Among his most recent publications are articles and reviews in magazines such as Anuario Musical, Acta Musicologica, Latin American Music Review and Notes, his study and critical catalog of the polyphony choirbooks of the Cathedral of Mexico (2 vols., SEdeM and UJA, 2012) and the edition of the collective books Músicas coloniales a debate. Procesos de intercambio euroamericanos (Madrid, ICCMU, 2018) and El villancico en el encrucijada: nuevas perspectivas en torno a un género literario-musical (ss. XV-XIX) (Kassel, Reichenberger, 2019; coed. Esther Borrego). He is currently editor-in-chief of Revista de Musicología, coordinator of the Study Group “Music and American Studies” (MUSAM) of the Spanish Society for Musicology and directs the Festival of Early Music of Úbeda and Baeza (FeMAUB). He is also contributor to the digital platform Books of Hispanic Polyphony (BHP) [https://hispanicpolyphony.eu] and general editor of the new bilingual series Ignacio Jerusalem. Obras selectas – Selected Works (Madrid, Dairea Ediciones, 2019-), together with Drew Edward Davies (Northwestern University). + info: www.javiermarinlopez.com

German Labrador (Universidad Autonoma de Madrid)

Germán Labrador es profesor titular de Música de la Universidad Autónoma de Madrid y coordinador del Grado en Historia y Ciencias de la Música y Tecnología Musical, en el que imparte la mayor parte de su docencia. Completó estancias de investigación en París y Parma, y ha impartido cursos y seminarios en las universidades de Rennes, Burdeos, Ferrara, Pavía (Cremona), Valparaíso, Santiago de Chile (P.U.C.) y Guanajuato (Méjico).

Es Licenciado y Doctor en Historia y Ciencias de la Música por la Universidad Autónoma de Madrid, y profesor de instrumento (guitarra y viola). Ha sido director (2012-2016) y secretario académico (20016-2010) del Departamento de Música de la Universidad Autónoma de Madrid.

Es autor de cuatro monografías y más de 40 artículos y capítulos de libros. Sus líneas de investigación son la música de corte y el teatro musical del siglo XVIII, la ecdótica musical y los nuevos medios y formatos audiovisuales, destacando su dedicación a la figura y obra de Luigi Boccherini y Gaetano Brunetti.

Desde 2001, ininterrumpidamente, ha formado parte de proyectos de investigación competitivos de ámbito nacional, y en la actualidad es investigador principal del proyecto Hibridación cultural y transculturación en el teatro musical español de los reinados de Carlos III y Carlos IV (1759-1808), financiado por el Ministerio de Economía y Competitividad (ref. HAR2014-53676-P).

Carol Damian (Art Historian)

Dr. Carol Damian is the former Professor of Art History in the School of Art and Art History and former Director and Chief Curator of the Patricia and Phillip Frost Art Museum at Florida International University.  She is a graduate of Wheaton College in Norton, Mass., and received her MA in Pre-Columbian Art and her Ph.D. in Latin American History from the University of Miami.  A specialist in Latin American and Caribbean Art, her most recent work has been with Latin American Women and the Cuban exile artists, for whom she has written many catalogs and articles.  Dr. Damian has written and contributed to numerous publications and lectures frequently on Latin American and Caribbean art, has curated numerous exhibitions and is a Cultural Properties expert and consultant for US Customs/Homeland Security (ICE).  Presently, she is the Curator of the Kislak Collection at the Freedom Tower, and the exhibit of “Carlos Estévez: Cities of the Mind” at the Lowe Art Museum.

Luciana Kube Tamayo (Florida International University)

Luciana Kube is currently in her third year of the PhD Program in Hispanic Literature of the Modern Languages Department at Florida International University. Her dissertation research focuses on the colonial cillancico and the syncretic genres of the eighteenth century through both the musical and the literary approach. Luciana is a FLAS Fellowship recipient 2019–2020 at the Kimberly Green Latin American and Caribbean Center (LACC) at Florida International University. She obtained her bachelor’s degree in Audiovisual Journalism at UCAB University in Caracas, Venezuela and her Master of Arts in Spanish at FIU. Luciana received the Monseñor Pellín Award for her dissertation Arte Jesuítico en América Hispánica in 1997. She studied music both in the Conservatorio Simón Bolívar in Caracas, and Conservatori del Liceu in Barcelona and is a former member of the Camerata Barroca de Caracas, conducted by Isabel Palacios. Luciana participated in masterclasses with remarkable professors, such as David Roblou, Jordi Savall, Montserrrat Figueras, and Andrew Lawrence-King. She also worked in Teatro Real de Madrid in the Subtitling and Publications department. Her publication Diarios de Venezuela (Espasa Calpe, 2002) is used as an Instructional reading book for Spanish learners all over the world. She has published two articles in the flamenco magazine La Nueva Alboreá from the Instituto Andaluz del Flamenco (2018 and 2019). Luciana is a member of Sigma Delta Pi Hispanic Honor Society.

Craig Russell (California Polytechnic State University)

Cal Poly professor-emeritus Craig Russell is steeped in the music of Spain and the Hispano-American world, having published over 100 juried articles on eighteenth-century Hispanic studies, Mexican cathedral music, the California missions, and American popular culture. He authored 26 articles for the newest edition of The New Grove Dictionary and collaborated with Chanticleer on a DVD film and four compact disks, two of which received Gramophone award nominations. His scholarship (including four major books) has been published by Oxford University Press, Cambridge University Press, Macmillan, Prentice Hall, the University of Illinois Press, and several universities and publishing houses in Spain and Mexico. In July 2009, Oxford University Press released his highly-acclaimed book, From Serra to Sancho: Music and Pageantry in the California Missions. As a specialist in Spanish-American music of the eighteenth century, he frequently lectures and serves as a guest artist at international conferences and universities in Latin America, North America, and Europe.

Craig Russell’s compositions are released on Naxos as part of the American Classics series and have been widely performed in Europe, Australia, and the USA—including concerts dedicated to his orchestral compositions in Carnegie Hall, the Kennedy Center, the Sydney Opera House, and Disney Hall in Los Angeles.

Paul Feller (Northwestern University)

Paul Feller earned his Bachelor’s degree in Music at the Pontificia Universidad Católica de Chile and is currently a first-year Ph.D. Musicology student at Northwestern University. He has collaborated as a research assistant for several projects dealing with music across the Spanish colonies, especially within the Viceroyalty of Peru, and has presented papers at conferences held in Mexico City (UNAM: “Ignacio Jerusalem (1707–1769) y su tiempo”) and Baeza, Spain (University of Andalucía: “Congreso Ignacio Jerusalem 250”). In addition to colonial music history, his research focuses on musical characterization during the early modern period, and relations between theatrical traditions and sacred music.

David Coifman Michailos (Doctor por Florida State University-Tallahasse/Universidad

Complutense de Madrid)

Investigador, pianista, docente. Miembro correspondiente de la Academia Nacional de la Historia (Venezuela). Licenciado en literatura, en música y en artes. Magíster en Musicología Histórica (Universidad de Wisconsin-Milwaukee) y Doctor en Musicología (Florida State University-Tallahassee y Universidad Complutense de Madrid). Ha sido profesor en la Universidad Central de Venezuela, Universidad Simón Bolívar y Florida State University-Tallahasse, y Profesor Honorífico de la Universidad Complutense de Madrid. Único latinoamericano ganador del Premio Nacional de Investigación Musical, edición 2008, de la Sociedad Española de Musicología. Entre sus libros se cuentan Ideología y discurso en la crítica musical (Premio ARS, 1997); Imágenes carnavalescas: a propósito del Mômoprecóce de Heitor Villalobos (Premio CONAC, 2001); Música Histórica de Venezuela (FUNVES, 2002); De obispos, reyes, santos y señas en la historia de la capilla musical de Venezuela (1532–1804) (SEDEM, 2010); La música en los libros de actas del Cabildo eclesiástico de Caracas (1581–1821) (Circulo Rojo, 2015); y la colección discográfica Monumenta de la música colonial venezolana de la prestigiosa Fundación Camerata de Caracas. Su último libro, La oculta filosofía de la repatriación de los restos de Simón Bolívar (1836–42). Ramon Llull y la Academia de Artes de Fermín Toro, presenta de manera inédita la relación que el masón y filósofo Fermín Toro entabló con el masón y músico Atanasio Bello Montero, y el masón y pintor Carmelo Fernández Páez, para elaborar una piedra filosofal (anima et spiritus et corpus) basada a priori sobre el árbol de la moral del tratado Árbol de la ciencia (1296) del franciscano mallorquín Ramon Llull, considerado a la fecha el más importante alquimista del mundo.

Su ponencia, “De El Contrato Social (1762) al Popule meus (1801): la libertad musical como utopía en la Ilustración de Venezuela”, propone una nueva visión estética para el estudio de la música de José Ángel Lamas (1775–1814) en los albores de la primera República (1811–12) de Venezuela.

Miriam Escudero (Universidad de La Habana)

Dra. Miriam Escudero (Habana, 1970). Musicóloga. Dirige el Gabinete de Patrimonio Musical Esteban Salas de la Oficina del Historiador de La Habana, es investigadora titular del Centro de Investigación y Desarrollo de la Música Cubana (CIDMUC) y profesora titular del Colegio Universitario San Gerónimo de La Habana (Universidad de La Habana) donde ha implementado la Maestría en Gestión del Patrimonio Histórico-Documental de la Música. Participa y dirige proyectos de investigación relacionados con la música de Latinoamérica en el período colonial. Edita y dirige el boletín digital El Sincopado Habanero y las colecciones Música Sacra de Cuba, siglo XVIII, Patrimonio Musical Cubano y Documentos sonoros del patrimonio musical cubano (audiovisual). Integró por 15 años el Conjunto de Música Antigua Ars Longa como musicóloga y organista. Posee un doctorado en música hispana por la Universidad de Valladolid, España (2010) y una licenciatura en musicología por la Universidad de las Artes de Cuba (1997). Sus investigaciones han sido galardonadas con el Premio de la Academia de Ciencias de Cuba (2015, 2011), Premio de la Academia Cubana de la Lengua (2013) y Premio Casa de las Américas de Musicología (1997). Ha impartido posgrados, conferencias y actuado como comité científico en congresos e instituciones como la Universidad Nacional Autónoma de México, la Universidad Complutense de Madrid, la Universidad de Valladolid, España, Michigan State University, The University of Chicago, Florida International University, University of Miami, Jacobs School of Music (IU), University of Notre Dame and ARLAC-IMS.

Gustavo Sanchez (Universidad Autonama de Madrid)

Gustavo Sánchez cursó estudios de Flauta Travesera y Composición, tras los cuales estudió Dirección de Orquesta en el Conservatorio de Viena. Su tesis, defendida en 2009 y dirigida por la Dra. Begoña Lolo, fue merecedora del Premio Extraordinario de Doctorado y su publicación en libro. Es profesor del Departamento Interfacultativo de Música la citada universidad desde 2008, atividad que compagina con la investigación, con varios libros y numerosos artículos publicados.

Como Director de Orquesta, ha sido director invitado de diversas orquestas nacionales e internacionales y desde 2011 director y fundador de la Camerata Antonio Soler, orquesta con la que realiza una importante labor de recuperación del patrimonio musical de la segunda mitad del siglo XVIII, reflejada en la publicación de cinco discos, tres de ellos con Sinfonías de Gaetano Brunetti.

Dianne Lehmann Goldman (Elmhurst College)

Dianne Lehmann Goldman is a scholar of eighteenth-century music from Spain and New Spain, especially Mexico. She earned her Ph.D. at Northwestern University in Evanston, Illinois in 2014 with a dissertation entitled “The Matins Responsory at Mexico City Cathedral, 1575-1815. She has since taught at various institutions including the University of Maryland at College Park and Elmhurst College. Goldman is working on several projects, editions, and articles about Ignacio Jerusalem and his time period. As a member of the Seminario de Música en la Nueva España y el México Independiente based at the Instituto de Investigaciones Estéticas of the Universidad Nacional Autónoma de México, she was invited to contribute the recently-released third volume (music for matins) of the catalog of musical works at Mexico City Cathedral. Other interests include authorship, Jewish music, and cantillation.

Faith Lanam (University of California, Santa Cruz)

Faith Lanam is a scholar-performer whose areas of specialty include historical and cultural musicology, percussion and early keyboard performance, music pedagogy, and liturgical practices. Her research focuses on the music and women of the Colegio de San Miguel de Belem, Mexico’s first music conservatory for girls. Dr. Lanam’s groundbreaking archival work increases our understanding of historically underrepresented foci in musicology— specifically, women’s musical training—situated within the greater context of the musical and social life of colonial Mexico City. She teaches applied keyboards, music theory, and music history at the University of California, Santa Cruz, and serves as the organist at Saint Ann Chapel in Palo Alto, California. When not at the organ console or elbow-deep in eighteenth-century manuscripts, she can be found hiking in the redwoods with her spouse, arts executive and early music tenor, Joshua Lanam, and their two poodles, Chaucer and Brontë.

Drew Davies (Bienen School of Music, Northwestern University)

Drew Edward Davies is a music historian specializing in New Spain, Chair of the Department of Music Studies and Associate Professor of Musicology at Northwestern University’s Bienen School of Music, and Academic Coordinator of the Seminar on the Music of New Spain and Independent Mexico in Mexico City. Among his publications are Manuel de Sumaya: Villancicos from Mexico City (A-R Editions, 2019), Catálogo de la Colección de Música del Archivo Histórico de la Arquidiócesis de Durango (UNAM, 2013), Santiago Billoni: Complete Works (A-R Editions, 2011), chapters in collections such as Music and Urban Society in Colonial Latin America (Cambridge, 2011) and The Routledge Companion to the Hispanic Enlightenment (2019), and articles in journals such as Early Music. With Lucero Enríquez and Analía Cherñavsky, he has published the first three volumes of eight projected volumes of Catálogo de obras de música del Archivo del Cabildo Catedral Metropolitano de México (UNAM, 2014–19), and with Javier Marín-López he has initiated the series Ignacio Jerusalem (1707–1769): Obras Selectas – Selected Works (Dairea Ediciones, 2019). In 2017–18 he was an Academic Leadership Fellow in the Big 10 Academic Alliance and he currently serves on Northwestern University’s newly formed Global Council.

The Music of Colonial Latin America

March 5 – 8, 2020

The music of Spanish Colonial Latin America is rich in flavor, history, and expression. This concert series explores music from Mexico City and New Spain, with a particular interest in the musical life of New Spanish cathedrals and music written by Italian composer, Ignacio Jerusalem, and his contemporaries.

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School of Music
Modesto A. Maidique Campus
Herbert and Nicole Wertheim Performing Arts Center