Ana R. Alonso- Minutti is associate professor of music and faculty affiliate of the Latin American and Iberian Institute at the University of New Mexico. She holds a Ph.D. in musicology from the University of California, Davis. Her teaching and research endeavors blend musicological and ethnomusicological inquiry into the study of contemporary musical practices across the Americas. Her scholarship focuses on experimental and avant- garde expressions, music traditions from Mexico and the US- Mexico border, and music history pedagogy. She has published in Latin American Music Review, Revista Argentina de Musicología, Journal of Music History Pedagogy, Pauta, and elsewhere and her book Mario Lavista and Musical Cosmopolitanism in Late Twentieth- Century Mexico is under contract with Oxford University Press. As an extension of her written scholarship she directed and produced the video documentary Cubos y permutaciones: Plástica, música y poesía de vanguardia en México. Prior to joining the University of New Mexico, she was assistant professor of music at the University of North Texas.
Eduardo Herrera is assistant professor in ethnomusicology and music history at Rutgers, The State University of New Jersey. He received a Ph.D. in ethnomusicology from the University of Illinois at Urbana- Champaign and specializes in contemporary musical practices from Spanish- and Portuguese- speaking Latin America. His book, Elite Art Worlds: Philanthropy, Latin Americanism, and Avant- garde Music (under contract with Oxford University Press), considers the history of the Centro Latinoamericano de Altos Estudios Musicales (1962- 1971) as a meeting point of US and Argentine philanthropy, framings of pan- regional discourses of musical Latin Americanism, and local experiences in transnational currents of artistic experimentation and innovation. His second book project explores participatory music making in Argentine soccer stadiums and is titled Sounding- in- Synchrony: Masculinity, Violence, and Soccer Chants. He has delivered papers and guest lectures in the United States, Canada, Mexico, Colombia, Cuba, Brazil, Venezuela, and Argentina. He is a board member of the Society for American Music and council member of the American Musicological Society.
Alejandro L. Madrid is author or editor of more than half a dozen books and edited volumes about the intersection of modernity, tradition, globalization, and ethnic identity in popular and art music, dance, and expressive culture of Mexico, the US- Mexico border, and the circum- Caribbean. His work has received the Mexico Humanities Book Award from the Latin American Studies Association, the Robert M. Stevenson and Ruth A. Solie awards from the American Musicological Society, the Béla Bartók Award from the ASCAP Foundation Deems Taylor/ Virgil Thomson Awards, the Woody Guthrie Book Award from the International Association for the Study of Popular Music- U.S. Branch, the Casa de las Américas Award for Latin American musicology, and the Samuel Claro Valdés Award for Latin American musicology. He is also the recipient of the 2017 Dent Medal, given by the Royal Musical Association and the International Musicological Society. Madrid is frequently invited as an expert commentator on national and international media outlets and most recently acted as advisor on the use of Mexican music to filmmaker Peter Greenaway, whose latest film, Eisenstein in Guanajuato, is set in 1930s Mexico. He is professor of musicology and ethnomusicology at Cornell University.
Rodolfo Acosta is a Colombian composer, performer, improviser, and teacher trained in Colombia, Uruguay, France, the United States, Mexico, and the Netherlands. He studied with Coriún Aharonián, Graciela Paraskevaídis, Klaus Huber, Roger Cochini, and Brian Ferneyhough, among others. His music has received awards and prizes and has been performed, published, and recorded in the Americas, Europe, and Asia. He is the founder of Ensamble CG and EMCA, mixed ensembles devoted to the performance of contemporary music. Since the 1990s, Acosta has been an active improviser in Bogotá, collaborating with local and international musicians. He has directed the improvisation collective Tangram and is one of the organizers of Bogotá Orquesta de Improvisadores. He has been guest professor and lecturer at universities and conservatories throughout the Americas and Europe, teaching composition, music history, music theory, analysis, and interpretation. Currently he teaches at the Facultad de Artes- ASAB of the Francisco José de Caldas District University and at the Central University (both in Bogotá), as well as in the Master's in Literary and Musical Studies of the Mexican/ North American Institute of Cultural Relations in Monterrey, Mexico.
Ana R. Alonso- Minutti is associate professor of music and faculty affiliate of the Latin American and Iberian Institute at the University of New Mexico. She holds a Ph.D. in musicology from the University of California, Davis. Her teaching and research endeavors blend musicological and ethnomusicological inquiry into the study of contemporary musical practices across the Americas. Her scholarship focuses on experimental and avant- garde expressions, music traditions from Mexico and the US- Mexico border, and music history pedagogy. She has published in Latin American Music Review, Revista Argentina de Musicología, Journal of Music History Pedagogy, Pauta, and elsewhere and her book Mario Lavista and Musical Cosmopolitanism in Late Twentieth- Century Mexico is under contract with Oxford University Press. As an extension of her written scholarship she directed and produced the video documentary Cubos y permutaciones: Plástica, música y poesía de vanguardia en México. Prior to joining the University of New Mexico, she was assistant professor of music at the University of North Texas.
Tamar Barzel is an ethnomusicologist whose research focuses on twentieth/ twenty-first- century musical avant- gardes and undergrounds, particularly those that span jazz, rock, and free improvisation. With attention to sonic engagements with heritage, memory, and national identity, she delves into the recent history of improvised music and the communities it has fostered. Her book New York Noise: Radical Jewish Music and the Downtown Scene (2015) addresses the heterodox Jewish music that emerged from Manhattan's downtown scene in the 1990s, and her articles have appeared in Journal of the Society for American Music, Jazz/ Not Jazz: The Music and Its Boundaries, and People Get Ready! The Future of Jazz Is Now. She is currently curating the Downtown Oral History Project for the Fales Library- Downtown Collection at New York University. Her article in this book is part of a larger project investigating the intersections among experimental music, theater, and performance in Mexico City in the 1960s and 1970s.
Andrew Raffo Dewar is a composer, soprano saxophonist, and ethnomusicologist who holds a Ph.D. in ethnomusicology from Wesleyan University. He is associate professor of interdisciplinary arts in New College and the School of Music at the University of Alabama. His research interests include experimentalism in the arts from a global perspective, intercultural music, jazz and improvisation, music and technology, and 1960s intermedia arts. His writing has been published in the Journal of the Society for American Music, Leonardo Music Journal, Jazz Perspectives, Jazz Research Journal, the New Grove Dictionary of American Music (2nd ed.), and elsewhere. In addition to his work as a scholar, he is an acclaimed composer and performer whose work appears on more than a dozen commercially released recordings.
Susan Campos Fonseca holds a Ph.D. in music from the Universidad Autónoma de Madrid, Spain. She is a musicologist whose research focuses on the philosophy of culture and music. She has received the 2002 University Council Award from Universidad de Costa Rica, the 2004 WASBE conductor scholarship (UK), the 2005 Carolina Foundation Scholarship (Spain), the 2007 "100 Latinos" Award (Spain), the Corda Foundation Award 2009 (New York), the 2012 Casa de las Américas Musicology Award (Cuba), and the "Distinguished Scholar Award" 2013 and 2014 from Universidad de Costa Rica. She has served as coordinator of the Feminist Musicology Research Group (MUS- FEM) of the Iberian Society for Ethnomusicology, as fellow at the Center for Iberian and Latin American Music of the University of California, Riverside, and as visiting scholar at the University of California, Los Angeles. She serves on the advisory boards of Boletín de Música (Cuba) and IASPM@Journal and has been a guest editor for Trans: Revista Transcultural de Música and Ideas Sónicas (México). Her books include Herencias cervantinas en la música vocal iberoamericana. Poiésis de un imaginario cultural (for which she received the 2012 Casa de las Américas Musicology Award), and the coedited volume Estudos de género, corpo e música: Abordagens metodológica. She currently coordinates a project on sound art, culture, and technology at Universidad de Costa Rica, where she is professor of history and music research.
Eduardo Herrera is assistant professor in ethnomusicology and music history at Rutgers, The State University of New Jersey. He received a Ph.D. in ethnomusicology from the University of Illinois at Urbana- Champaign and specializes in contemporary musical practices from Spanish- and Portuguese- speaking Latin America. His book, Elite Art Worlds: Philanthropy, Latin Americanism, and Avant- garde Music (under contract with Oxford University Press), considers the history of the Centro Latinoamericano de Altos Estudios Musicales (1962- 1971) as a meeting point of US and Argentine philanthropy, framings of pan- regional discourses of musical Latin Americanism, and local experiences in transnational currents of artistic experimentation and innovation. His second book project explores participatory music making in Argentine soccer stadiums and is titled Sounding- in- Synchrony: Masculinity, Violence, and Soccer Chants. He has delivered papers and guest lectures in the United States, Canada, Mexico, Colombia, Cuba, Brazil, Venezuela, and Argentina. He is a board member of the Society for American Music and council member of the American Musicological Society.
Alejandro L. Madrid is author or editor of more than half a dozen books and edited volumes about the intersection of modernity, tradition, globalization, and ethnic identity in popular and art music, dance, and expressive culture of Mexico, the US- Mexico border, and the circum- Caribbean. His work has received the Mexico Humanities Book Award from the Latin American Studies Association, the Robert M. Stevenson and Ruth A. Solie awards from the American Musicological Society, the Béla Bartók Award from the ASCAP Foundation Deems Taylor/ Virgil Thomson Awards, the Woody Guthrie Book Award from the International Association for the Study of Popular Music- U.S. Branch, the Casa de las Américas Award for Latin American musicology, and the Samuel Claro Valdés Award for Latin American musicology. He is also the recipient of the 2017 Dent Medal, given by the Royal Musical Association and the International Musicological Society. Madrid is frequently invited as an expert commentator on national and international media outlets and most recently acted as advisor on the use of Mexican music to filmmaker Peter Greenaway, whose latest film, Eisenstein in Guanajuato, is set in 1930s Mexico. He is professor of musicology and ethnomusicology at Cornell University.
An associate professor of music at Cornell University, Benjamin Piekut is the author of Experimentalism Otherwise: The New York Avant- Garde and Its Limits (University of California Press, 2011), editor of Tomorrow Is the Question: New Directions in Experimental Music Studies (University of Michigan Press, 2014), and coeditor (with George E. Lewis) of The Oxford Handbook of Critical Improvisation Studies (2 vols., Oxford University Press, 2016). His article "Deadness: Technologies of the Intermundane," coauthored with Jason Stanyek, won the 2011 Outstanding Article award from the Association for Theatre in Higher Education. He has published his research in American Quarterly, Cultural Critique, Journal of the American Musicological Society, Twentieth- Century Music, and a range of other journals in music and performance.
Marysol Quevedo, a native of San Juan, Puerto Rico, received her Ph.D. in musicology with a minor in ethnomusicology from Indiana University and is currently assistant professor of music at the University of Miami. Her research focuses on art music in Cuba after the 1959 revolution and examining the relationship between music composition, national identity, and the Cuban socialist regime. Quevedo was program specialist for the Society for Ethnomusicology and visiting lecturer at the Musicology Department of Indiana University. She has contributed numerous entries to the second edition of the Grove Dictionary of American Music and presented her work at the national meetings of the American Musicological Society and the Society for Ethnomusicology, and her article "Classical Music in Cuba" was published by Oxford Annotated Bibliographies.
Pepe Rojo is a writer and interventionist living in the California border zone. He has published five books and more than two hundred texts dealing with fiction, media, and contemporary culture, in Spanish and English. He directed You Can See The Future From Here, a series of science fiction- based interventions at the Tijuana- San Ysidro border crossing, as well as the project Tú No Existes in Mexico City. His English writing can be found in Birds in Shorts City, Flurb!, Three Messages and a Warning, Entropy, and Review: Literature and Arts of the Americas. He was most recently spotted raising Tierra y Libertad flags. He holds an M.F.A. in creative writing from the University of California, San Diego, and is currently pursuing a Ph.D. in communication at the same institution.
Daniel B. Sharp is associate professor at Tulane University, hired jointly in music and Latin American studies. His book Between Nostalgia and Apocalypse: Popular Music and the Staging of Brazil was published in 2014 by Wesleyan University Press as part of the Music/ Culture series. His articles have appeared in Latin American Music Review, Brazilian Popular Music and Citizenship, and Critical Studies in Improvisation. He is currently working on a book about Naná Vasconcelos and his 1979 recording Saudades.
Susan Thomas is professor of music and women's studies at the University of Georgia. Her research interests include Cuban and Latin American music; music and gender; transnationalism, migration, and diaspora; embodiment and performativity; and media studies. Her book Cuban Zarzuela: Performing Race and Gender on Havana's Lyric Stage (University of Illinois Press, 2009) was awarded the Robert M. Stevenson Prize of the American Musicological Society and the Pauline Alderman Book Award of the International Association of Women in Music. She has been the recipient of numerous grants and fellowships, including residential fellowships as the Santander Visiting Scholar at the David Rockefeller Center for Latin American Studies at Harvard University and Greenleaf Visiting Scholar at the Stone Center for Latin American Studies at Tulane University. She is currently completing her second book, The Musical Mangrove: The Transnationalization of Cuban Alternative Music.
Joshua Tucker is David Josephson assistant professor of music at Brown University and the author of Gentleman Troubadours and Andean Pop Stars: Huayno Music, Media Work, and Ethnic Imaginaries in Urban Peru. His work, which has been funded by the Wenner- Gren Foundation and the Social Science and Humanities Research Council of Canada, focuses largely on the social politics of popular music in Latin America. His current research centers on the intersection between indigenous activism, acoustic ecology, and instrument making among Quechua- speaking musicians in the southern Andes.
