Transcultural Music Review
#11 (2007) ISSN:1697-0101
Curricula autores TRANS 11 (2007)
Licenciado en etnomusicología por la Escuela Nacional de Música de la UNAM (ENM). Realiza una tesis de maestría en la ENM sobre el desarrollo de la etnomusicología en México. En 2005 publicó un libro de divulgación con dos fonogramas sobre la música y el baile de artesa de dos comunidades afrodescendientes de Guerrero y Oaxaca. Colaboró como investigador en El Colegio de México y actualmente labora como Profesor Investigador en la Fonoteca del Instituto Nacional de Antropología e Historia.
Nació en Lanús (Buenos Aires) en 1966. Lic. en Cs. Antropológicas (UBA). Investigador del Instituto Nacional de Musicología “Carlos Vega” en los proyectos La música afroargentina: historia y vigencia de prácticas musicales vinculadas al culto a San Baltazar (desde 1991), La música tradicional gallega en la Argentina. Permanencia y proceso de cambio a partir del proceso migratorio (desde 1996), y Las prácticas musicales en el contexto de la religiosidad popular. Aproximación integradora desde lo religioso y lo musical (desde 2004).
Marcos Branda lacerda is a musicologist and composer. He researches theoretical issues on African Music from Benin. He is also professor of Music Theory at the Music Department from the University of São Paulo, Brazil. mbl@uol.com.br
Luis Ferreira Makl is Ph.D. in Social Anthropology. He is currently Associate Researcher, Nucleus of Afro-Brazilian Studies, University of Brasilia. His research interests lie in Black Latin-American Music, and Studies in Culture, Power and Racial Relations, publishing Los Tambores del Candombe (2002), and El Movimiento Negro en Uruguay (2003), as well as several papers presented in Latin-American forums.
Kofi Agawu is Professor of Music at Princeton University and Visiting Scholar at the University of Ghana, Legon. He is the author of articles and reviews on the analysis of European and African music. His books include Playing with Signs: A Semiotic Interpretation of Classic Music (Princeton University Press, 1991), which received the Young Scholar Award from the Society for Music Theory in 1994, African Rhythm: A Northern Ewe Perspective (Cambridge University Press, 1995), and, most recently, Representing African Music: Postcolonial Notes, Queries, Positions (Routledge, 2003). A Guggenheim Fellow (1990), he was awarded the Dent Medal in 1992 by the Royal Musical Association, and elected Fellow of the Ghana Academy of Arts and Sciences in 2001.
Willie O. Anku holds a PhD and MA from University of Pittsburgh (1988, 1986) and MME (Master of Music Education) from the University of Montana, Missoula (1976). He is currently appointed director of the School of performing Arts, University of Ghana, Legon, and was the immediate past head of the Music Department at the same institution. He was visiting professor at the Simon Fraser University, Burnaby, BC, Canada (2004), Portland State University (2003), and at California State University, San Marcos between 1994 and 1996, and ever since has been on yearly visits during the summer. His research focuses on the acquisition of reliable digital transcriptions of African Music, which are analyzed, systematized and presented as rules of procedure for composition and performance. Dr. Anku has published in many journals such as The International Jazz Archives Journal, Intercultural Music, Black Music Research Journal, The Journal of the Performing Arts, and Music Theory online. Other publications include Structural set analysis Volume I “Adowa”, (1992) and volume 2 “Bawa” (1993).
Simha Arom, Docteur d'État (Sorbonne University, Paris) is currently Emeritus Director of Research at the French National Center for Scientific Research (C.N.R.S.). His theoretical work bears particularly on the relation between meter and rhythm, and on methods of modelization of orally transmitted music. He has worked for many years in the Central African Republic, where he developed original methods, which made it possible to understand the complex mechanisms of vocal and instrumental polyphonic music, in particular, the highly complicated one of the Aka pygmies. His recent work on African and Indonesian musical scales applies innovative research techniques, in particular interactive methods using both traditional instruments and synthesisers, thus opening up a field of research at the crossroads of musicology and the developing discipline of cognitive psychology. Professor Arom has published several books, numerous scientific papers, and some thirty records and films. He has held the position of visiting professor at numerous universities, among them Cambridge (U.K.), UCLA, Montreal, Basel, Zurich, Tel Aviv. He was awarded the Silver Medal of the C.N.R.S. in 1984 for his development of methods of analysis of traditional, unwritten polyphonic music. Three of his records have won the “Grand Prix International du Disque” of the Académie Charles Cros, and his book African Polyphony and Polyrhythm, published by the Cambridge University Press, was awarded in 1992 the prestigious “ASCAP Deems Taylor Award”.
Leonardo D'Amico is Professor of Ethnomusicology at the University of Ferrara and Anthropology of Music at the University of Siena. He is an ethnomusicologist with research specialization in Afro-Colombian music and sub-Saharan Africa. He is the author of the books La musica afrocolombiana (2002) and Musica dell’Africa Nera (2004) co-authored with Andrew Kaye. He also has edited Folk Music Atlas: Music of Africa (1997) and Musica dei Popoli. Viaggio nella musica tradizionale del mondo (2005). He is in charge of the FLOG Centre for Folk Traditions (Florence) as art director of the traditional music festival “Musica dei Popoli” and of the ethnomusicological film festival “Festival del Film Etnomusicale” and is involved in the creation of an array of public programs: festivals, concerts, exhibitions, publications, conferences, audio recordings, multimedia products and TV programs. He is also President of the Italian Committe of I.C.T.M.
(PhD. University of Sorbonne-Paris, 1999) holds a Canada Research Chair in Ethnomusicology and teaches as Assistant Professor at the University of Montréal. She's also Associate Member of the L.M.S (Language, Music, Society), laboratory of the Centre National de la Recherche Scientifique (France). Her research interests concern polyphonic systems, scalar systems and musical categorisation in central Africa. She's conducting fieldwork in Cameroon for twelve years. She recently undertook a comparative study of the Pygmies music’s of north-Congo. She is the author of "Expérimenter en ethnomusicologie", "A cognitive approach to Bedzan Pygmies vocal polyphony and Ouldeme instrumental polyphony: methodology and results", "L'ethnomusicologie est-elle condamnée à rester une science 'molle'?", "New perspectives for interactive field experiments", and the CDs Cameroun-Musique Ouldémé. Au rythme des saisons, Cameroun-Pygmées Bedzan de la plaine Tikar, and Cameroun-Flûtes des Monts Mandara.
Andrew L. Kaye is an ethnomusicologist with research specialization in sub-Saharan Africa, Brazil, and ethnoanalytical approaches to the cinematic soundtrack. A longtime collaborator with pioneering folk music specialist Alan Lomax, Kaye co-edited the "Southern Journey", a series of 13 compact discs based on material originally recorded by Lomax in the American South in 1959 and 1960. Kaye's article, "The guitar in Africa" appears in the Garland Encyclopedia of World Music, Volume 1: Africa (New York, Garland, 1998). His history of contemporary African music forms the second part of the book Musica dell'Africa Nera: Civiltà subsahariane fra tradizione e modernità, co-authored with Leonardo D'Amico (Palermo, L'epos, 2004). Professor Kaye currently teaches courses in world music and film at Albright College in Reading, Pennsylvania. He has taught courses on music and cinema at the University of Iceland and the Universidad de Buenos Aires. In 1998, he taught a course on African music at the Universidade Federal de Pernambuco em Recife. In the summer of 2005, he presented papers on music in African cinema at conferences of the European Conference on African Studies in London, and the International Association for the Study of Popular Music (IASPM) in Rome. He also co-presented a paper on questionnaire methodology, with Camila Juarez, at the annual meeting of IASPM-Latin America in Buenos Aires, in August 2005.
Michelle Kisliuk is Associate Professor at the University of Virginia (Critical and Comparative Studies in Music program), where she teaches performance theory, ethnographic writing, and leads the African Music and Dance Ensemble. Her work challenges the divide between scholarship and performance/poetics. She is the author of Seize the Dance! BaAka Musical Life and the Ethnography of Performance (Oxford University Press 1998/paper 2000), which won the ASCAP Deems Taylor Special Recognition Award. She has also published influential essays in Shadows in the Field (Oxford University Press, 1996, new edition forthcoming) and Performing Ethnomusicology (University of California Press, 2004), among others. Her area specialities include the music of African forest people (BaAka) as well urban music and dance in the Central African Republic, and jam sessions at bluegrass festivals in the United States. By way of personalizing and particularizing aesthetic processes, her work engages with postcolonial politics; issues of race, class, ethnicity, gender, and identity formations. One of her current research projects will focus on a small group of African Jews.
Ruth M. Stone is Laura Boulton Professor of Folklore and Ethnomusicology and African Studies. She has edited Africa (1998) and The Handbook of African Music (2000) in the Garland Encyclopedia of World Music series. She has also authored Music in West Africa (2004), Dried Millet Breaking (1998), and Let the Inside be Sweet (1982) based on fieldwork conducted among the Kpelle of Liberia, West Africa. She also works on multimedia projects. Her first was a co-authored project entitled, Five Windows on Africa (2000). More recently she has been co-project director for the EVIA Digital Archive, an electronic publication that will be accessible over Internet 2.
Polo Vallejo is an Ethnomusicologist, Composer and Doctor of Music Sciences. Guest teacher and lecturer at international Universities, Conservatories and Music Schools, his research works on the field, closely followed by the eminent ethnomusicologist Simha Arom, have been materialized in a descriptive study —The Musical Patrimony of the Wagogo of Tanzania: Context and Systems— (CNRS, Paris /UCM Madrid) concerning to the polyphonic proceedings practised by this African society, presented at the Universidad Complutense de Madrid under the direction of Victoria Eli Rodríguez. At least, his works are edited in several recordings (OCORA/Radio France label, VDE-Gallo, Geneva), numerous articles, and an original book-CD Mbudi mbudi na mhanga focusing on the world of Wagogo children’s music. Polo Vallejo is a member of Musica Presente.
Rolando Antonio Pérez Fernández
Violonchelista, musicólogo y profesor nacido en 1947 en Santiago de Cuba. Licenciado en Musicología y Doctor en Ciencias sobre Arte (Instituto Superior de Arte, La Habana, 1981 y 1998). Fue investigador en el Centro de Investigación y Desarrollo de la Música Cubana (1981-87) y obtuvo un Premio de Musicología “Casa de las Américas” 1982. Desde 1993 enseña en la Escuela Nacional de Música de la Universidad Nacional Autónoma de México.
Rolando Antonio Pérez Fernández
A ‘chellist, musicologist, and professor born in 1947 in Santiago de Cuba. He has a Bachelor’s degree in Musicology and a Doctorate in the Sciences of the Arts (Higher Institute for the Arts, Havana, 1981 and 1998). He was a researcher at the Centre for the Research and Development of Cuban Music (1981-87) and got a 1982 “Casa de las Américas” Musicology Award. Since 1993, he teaches at the National School of Music of the Autonomous National University of Mexico.