"Dame dame dame, que te voy a dar ... una guayabita de mi guayabal."


Más sobre el pretendido desalojo de las comunidades de bajamar en Buenaventura

"Marcando Territorio" - Jóvenes porteños protestan la violencia y amenzasa de desalojo en el B/Lleras

Esto desde la pastoral Afrocaleña:

Los invitamos a ver el video Marcando Territorio, un mensaje de resistencia de los jóvenes del barrio Lleras de Buenaventura.
El barrio Lleras, ubicado en zona de baja mar (manglar) en Buenaventura, ha sido considerado en los últimos años como el barrio más violento de Buenaventura, se conoce por fuentes oficiales de presencia de grupos armados al margen de la ley. En el documental Los Pacificadores del Pacifico 1, se describe gran parte de la problemática. La violencia es un problema grave que afecta significativamente la vida, no sólo de sus moradores sino de toda Buenaventura. Es difícil llegar a entender en su totalidad la complejidad del problema.

Toda esta situación ha llevado a que los jóvenes reflexionen sobre el hecho y que tomen acciones, y no me refiero precisamente a la violencia, porque en la dura adversidad se destacan cientos de artistas con el potencial para triunfar en la música y que hoy lideran una lucha no violenta, de resistencia en contra de aquellos que quieren oprimirlos. Ellos son atacados diariamente con armas de fuego y la indiferencia, ellos se defienden y atacan con la música en la defensa de sus derechos. He aquí una muestra.

RIP Milton Babbit QEPD

Composer Milton Babbitt has died.
El compositor Milton Babbitt ha muerto.

Obituaries below, here's his in/famous essay "Who Cares if You Listen?"

From The Times:
January 29, 2011

Milton Babbitt, Composer, Dies at 94


Milton Babbitt, an influential composer, theorist and teacher who wrote music that was intensely rational and for many listeners impenetrably abstruse, died on Saturday. He was 94 and lived in Princeton, N.J.

Paul Lansky, a composer who studied with Mr. Babbitt and was a colleague at Princeton University, where Mr. Babbitt remained an emeritus professor of composition, said that Mr. Babbitt died at a hospital in Princeton.

Mr. Babbitt, who had a lively sense of humor despite the reputation for severity that his music fostered, sometimes referred to himself as a maximalist to stress the musical and philosophical distance between his style and the simpler, more direct style of younger contemporaries like Philip Glass, Steve Reich and other Minimalist composers. It was an apt description.

Although he dabbled early in his career with theater music, his Composition for Orchestra (1940) ushered in a structurally complex, profoundly organized style that was rooted in Arnold Schoenberg’s serial method.

But Mr. Babbitt expanded on Mr. Schoenberg’s approach. In Mr. Schoenberg’s system, a composer begins by arranging the 12 notes of the Western scale in a particular order called a tone row, or series, on which the work is based. Mr. Babbitt was the first to use this serial ordering not only with pitches but also with dynamics, timbre, duration, registration and other elements. His methods became the basis of the “total serialism” championed in the 1950s by Pierre Boulez, Luigi Nono and other European composers.

Mr. Babbitt began exploring this path in Three Compositions for Piano (1947) and Composition for Four Instruments (1948), and adhered to it through his entire career. He composed prolifically for chamber ensembles and instrumental soloists and created a substantial and varied catalog of vocal works. He also composed a compact but vital group of orchestral pieces and an enduring series of works for synthesizer, often in combination with voices or acoustic instruments.

Mr. Babbitt liked to give his pieces colorful titles, often with puns (“The Joy of More Sextets,” for example), and said that in selecting titles he tried to avoid both the stale and the obscure. Yet when Mr. Babbitt explained his compositional approach in essays, lectures and program notes, they could be as difficult to understand as his music. In one program note, he spoke of “models of similar, interval-preserving, registrally uninterpreted pitch-class and metrically durationally uninterpreted time-point aggregate arrays.”

He often said in interviews that every note in a contemporary composition should be so thoroughly justified that the alteration of a tone color or a dynamic would ruin the work’s structure. And although colleagues who worked in atonal music objected when their music was described as cerebral or academic, Mr. Babbitt embraced both terms and came to be regarded as the standard-bearer of the ultrarational extreme in American composition.

That reputation was based in part on an article published by High Fidelity magazine in February 1958 under the title “Who Cares if You Listen?” The headline was often cited as evidence of contemporary composers’ disregard for the public’s sensibilities, and Mr. Babbitt objected that it had been added by an editor, without his permission. But whatever his objections, the article did argue that contemporary composition was a business for specialists, on both the composing and listening end of the transaction, and that the general public’s objections were irrelevant.

“Why refuse to recognize the possibility that contemporary music has reached a stage long since attained by other forms of activity?” Mr. Babbitt wrote. “The time has passed when the normally well-educated man without special preparation could understand the most advanced work in, for example, mathematics, philosophy and physics. Advanced music, to the extent that it reflects the knowledge and originality of the informed composer, scarcely can be expected to appear more intelligible than these arts and sciences to the person whose musical education usually has been even less extensive than his background in other fields.”

Listeners who overlooked Mr. Babbitt’s philosophical abstractions and thorny analyses — who simply sat back and listened, rather than trying to understand his harmonies and structural processes — often discovered works of great expressive variety.

These range from the intense emotionality of “A Solo Requiem” (1976) to the shimmering surfaces and eerie pictorialism of “Philomel” (1964) and the poetic flow of some of the solo piano works, which have the spirit of advanced jazz improvisations. Indeed, in his “All Set for Jazz” (1957), for winds, brasses and percussion, he achieved a freely improvisatory feeling within an atonal harmonic context.

Milton Byron Babbitt was born in Philadelphia on May 10, 1916, and grew up in Jackson, Miss. He began studying the violin when he was 4 but soon switched to clarinet and saxophone. Early in his life he was attracted to jazz and theater music.

He was making his own arrangements of popular songs at 7, and when he was 13, he won a local songwriting contest.

Although the music he went on to write rejected the easily assimilated tonal language of popular music, Mr. Babbitt retained a fondness for theater songs all his life and was said to have an encyclopedic knowledge of the style.

“If you know anybody who knows more popular music of the ’20s or ’30s than I do, I want to know who it is,” he said in an Internet interview with the New Music Box in 2001. “I grew up playing every kind of music in the world, and I know more pop music from the ’20s and ’30s, it’s because of where I grew up. We had to imitate Jan Garber one night; we had to imitate Jean Goldkette the next night. We heard everything from the radio; we had to do it all by ear. We took down their arrangements; we stole their arrangements; we transcribed them, approximately. We played them for a country club dance one night and for a high school dance the next.”

In 1946, Mr. Babbitt tried his hand at a musical, a collaboration with Richard Koch and Richard S. Childs called “Fabulous Voyage.” The work was not produced, but in 1982 Mr. Babbitt published three of its songs, which showed a firm command of the idiom and considerable charm.

But Mr. Babbitt set his course toward serious avant-garde composition in 1932, when he played through the scores of some Schoenberg piano music that an uncle had brought home from Europe. At the time, Mr. Babbitt was a 16-year-old philosophy student at the University of Pennsylvania. The next year he became a composition student of Marion Bauer and Philip James atNew York University, and in 1935 he began studying privately with Roger Sessions.

In 1938, Sessions invited Mr. Babbitt to join the Princeton composition faculty, and Mr. Babbitt succeeded him as the William Shubael Conant Professor of Music in 1965. Mr. Babbitt was also on the faculty of the Juilliard School, where he began teaching in 1973, as well as at the Salzburg Seminar in American Studies; the Berkshire Music Center at Tanglewood; the new-music academy at Darmstadt, Germany; and the New England Conservatory in Boston. A series of six lectures he gave at theUniversity of Wisconsin was published as “Words About Music” in 1987. Mr. Babbitt’s articles about music were published as“The Collected Essays of Milton Babbitt” by Princeton University Press in 2003.

His students included Mario Davidovsky and John Eaton, who have followed essentially in Mr. Babbitt’s atonal path (although Mr. Eaton later broke away), and the theater composer Stephen Sondheim.

During World War II, Mr. Babbitt taught mathematics at Princeton and undertook secret research in Washington. He also evolved his extended form of serialism during these years. But immediately after the war he pursued a split musical path, exploring his rigorous serial style in his abstract concert works, on one hand, and completing “Fabulous Voyage” and a film score, “Into the Ground” (1949).

In the 1950s Mr. Babbitt was hired as a consultant by RCA, which was developing the most sophisticated electronic-music instrument of the time, the Mark II synthesizer. The Mark II became the centerpiece of the new Columbia-Princeton Electronic Music Center in 1959. Mr. Babbitt was one of the center’s first directors, along with Sessions, Vladimir Ussachevsky and Otto Luening.

Mr. Babbitt’s earliest electronic pieces, Composition for Synthesizer (1961) and Ensembles for Synthesizer (1964), were as intensely organized as his instrumental music had been. Indeed, he saw the synthesizer as a kind of liberation from the physical limitations of living performers.

“The medium provides a kind of full satisfaction for the composer,” he said in a 1969 interview with The New York Times. “I love going to the studio with my work in my head, realizing it while I am there and walking out with the tape under my arm. I can then send it anywhere in the world, knowing exactly how it will sound.”

The early synthesizer pieces have become classics, but Mr. Babbitt quickly moved forward, writing works in which electronic soundtracks accompanied live performers. Particularly striking are the vocal works “Vision and Prayer” (1961) and “Philomel,” and “Reflections” (1975) for piano and tape. He stopped composing music with an electronic component in 1976, when the Columbia-Princeton studio was vandalized, and it was decided that restoring it would be too expensive.

Many of Mr. Babbitt’s works have been recorded, and he has always had the loyalty of performers willing to devote the effort required to render his music sensibly. Among his earliest champions were the soprano Bethany Beardslee, for whom he wrote many of his vocal works (“A Solo Requiem” was written in memory of her husband, Godfrey Winham); the Juilliard String Quartet; the pianists Robert Miller and Robert Helps; the Contemporary Chamber Ensemble; and the Group of Contemporary Music.

In the 1970s and 1980s, a generation of young instrumentalists inured to the complexities of contemporary music became eloquent champions of Mr. Babbitt’s music . Among them are the pianists Robert Taub and the guitarist David Starobin, who have commissioned and recorded Mr. Babbitt’s works.

Mr. Babbitt’s orchestral music is so exceedingly complex that both the New York Philharmonic, in 1969, and the Philadelphia Orchestra, in 1989, postponed premieres when the available rehearsal time proved insufficient. He did, however, have champions among top-flight conductors, the most notable being James Levine, who in 1967, as a 24-year-old fledgling conductor, led the premiere of Mr. Babbitt’s “Correspondences.” Mr. Levine later recorded Mr. Babbitt’s music with the Chicago Symphony Orchestra and commissioned his Second Piano Concerto for the Met Orchestra and Mr. Taub in 1998. He regularly included Mr. Babbitt’s chamber works on his Met Chamber Ensemble programs, and in 2004 Mr. Babbitt dedicated his Concerti for Orchestra to Mr. Levine and the Boston Symphony Orchestra, which commissioned it.

Mr. Babbitt received a special Pulitzer citation for his life’s work in 1982, and in 1986 he was awarded a $300,000 MacArthur Fellowship. His earlier awards included the Joseph Bearns Prize from Columbia University, for his “Music for the Mass” in 1941; the New York Music Critics Circle Awards, for Composition for Four Instruments in 1949 and for “Philomel” in 1964; and the Creative Arts Award from Brandeis University in 1970. He was elected to the National Institute of Arts and Letters in 1965.

Mr. Babbitt’s wife, Sylvia, died in 2005. He is survived by a daughter, Betty Anne Duggan, and two grandchildren, Julie and Adam.

De Radio Beethoven FM:

El músico dejó de existir a los 94 años tras una larga enfermedad. Babbitt compuso numerosas obras para medios electrónicos, mixtos e instrumentales. Entre sus composiciones más destacadas se cuenta “Philomel” para soprano y cinta magnética.

Desde hace varios años que Milton Babbitt (1916-2011) se veía aquejado en su salud. Luego de componer su última obra en el año 2006 (“An Encore” para violín y piano), el prestigioso compositor norteamericano dejó la vida activa en su arte, por problemas de salud derivados de su avanzada edad. Babbitt finalmente dejó de existir en la mañana del sábado 29 de enero del año 2011.

Procedente de Jackson, Mississippi, en sus inicios estudió clarinete, violín y saxofón, y desarrolló una fuerte pasión por el jazz, que lo acompañaría toda la vida. Hijo de un matemático, originalmente siguió los pasos de su progenitor para luego optar por la composición. Su profundo interés por los autores de la Segunda Escuela de Viena abrió sus ojos a las posibilidades que le ofrecía el serialismo.

Fue así que luego de estudiar con Roger Sessions, Babbitt empezó a aplicar sus conocimientos matemáticos en la composición. Esta exploración tuvo un breve paréntesis en 1946, cuando el joven compositor escribió un musical para Broadway, titulado “Fabolous Voyage”. Cabe decir, que Babbitt siempre se consideró un gran admirador del mundo de los musicales estadounidenses, y que fue mentor de Stephen Sondheim, uno de los principales autores del género.

En 1947 compusó “Three Compositions for Piano”, uno de los ejemplos más tempranos de lo que después se denominaría “serialismo total”. En los años '50, su ya mencionada pasión por el jazz lo llevó a colaborar con el movimiento denominado “Third Stream”, que aunaba este mundo musical junto con las técnicas de composición modernas. El aporte de Babbitt se llamó “All Set”, y bien podríamos hablar de esta pieza como “jazz serial”.

En 1961 Babbitt fue contratado por la RCA la como compositor consultor para trabajar con su RCA Mark II Synthesizer, lo que dio pie a su primera obra para el medio electrónico, titulada “Composition for Synthesizer”. El músico se fascinó por la infinita gama de timbres novedosos que el naciente medio de la música electrónica ofrecía a su disposición. El hito en esta dirección, sin embargo, fue la obra “Philomel” de 1964, en donde a la rigidez de los sonidos en cinta magnética, Babbitt agrega una voz solista (una soprano) en vivo, lo que sería un paso gigantezco a lo que hoy denominamos “música para medios mixtos”.

A contar de los años ’80, el interés de Babbitt por la electrónica se redujo considerablemente, prefiriendo los medios instrumentales para sus partituras. Es así como surgen gran cantidad de piezas orquestales, vocales y de cámara, incluyendo una numerosa cantidad de obras para instrumentos solos.

En 1982 Babbitt recibió una mención especial del prestigioso Premio Pulitzer, como “un distinguido y pionero compositor estadounidense”. En las últimas décadas, diversos honores enriquecieron su notable currículum y su catálogo de obras se engrosó con encargos provenientes de los más renombrados artistas del medio musical.

Nos ha dejado un pionero. Un artista que aportó de manera significativa a dos de los lenguajes musicales más determinantes de los últimos cien años: el serialismo y la música electroacústica.

Por Álvaro Gallegos M.



Surge escuela de música en el puerto de Buenaventura

De El País:

Desde febrero de este año iniciará actividades la escuela de música del Pacífico como una alternativa de formación de hombres y mujeres de la región.

La escuela se constituye en la primera entidad en proponer la formación formal en educación musical para niños, jóvenes y adultos con una variada oferta académica.

"Vamos a contar con la carrera técnica laboral en música, algo muy novedoso pues permite la formación técnica de muchas personas que tienen conocimientos de la música de forma empírica", dijo Mónica Correa, directora de la escuela.

Esta carrera tendrá una duración de seis semestres con el aval respectivo del Ministerio de Educación.
La misma proporcionará la oportunidad a muchos musicos y amantes de la misma de acceder a actividades laborales en muchos campos.

Correa especialista en música viene de dirigir por muchos años el proceso de Batuta en la ciudad así como de promocionar el surgimiento de grupos corales de la música del Pacífico.

Más de 200 niños de todo el Pacífico colombiano surgieron como interpretes de la música de la región gracias al proyecto de "Cantando la Ley 70", del cual fue artífice la educadora musical Mónica Correa.

CFP: Music and Everyday Life

Music and Everyday Life

2011 Midwest Chapter of the Society for Ethnomusicology Annual Meeting

Bowling Green State University, Bowling Green, Ohio, April 8-10, 2011

Keynote Speaker: Dr. Harris M. Berger, Texas A&M University

The Midwest Chapter of the Society for Ethnomusicology (MIDSEM) will hold its annual meeting April 8-10, 2011. MIDSEM welcomes proposals from SEM members, students, teachers, and anyone working in related fields. Submissions from musicology, music theory, communications, media studies, folklore, performance studies, and popular culture studies are particularly welcomed. Regional SEM meetings offer a unique opportunity for students to present works in progress and gain valuable conference experience and MIDSEM particularly encourages graduate and undergraduate students to submit abstracts. The JaFran Jones Award is awarded annually to the best student paper.

The conference theme for the 2011 meeting will be “Music and Everyday Life.” We especially encourage proposals related to the following themes:

  • Portable Music Technologies
  • Phenomenological Ethnomusicology
  • Music-Making and the Maintenance of Community
  • Mediated Performance Technologies (Karaoke, Guitar Hero, DDR, etc.)
  • Circulation of Music-Related Commodities

Informal Music Pedagogies

Proposals on other topics relevant to ethnomusicology are also welcome. We welcome submissions for scholarly papers (20-minute presentation, 10-minute discussion immediately following), organized panels of three or four papers, poster sessions, lecture-demonstrations, film/video screenings, or workshops.

Paper proposals should include an abstract of no more than 250 words; panel proposals should include a 250-word abstract for each paper plus a 200-word panel abstract. Please include with your proposal: the name(s) of presenter(s), institutional affiliation, title of presentation, format of presentation (paper, panel, poster, workshop, etc.), A/V equipment requirements, e-mail address, and phone number. These should be sent by e-mail to: Jeremy Wallach, MIDSEM President, jeremyw@bgsu.edu, with the exact subject line: MIDSEM 2011 Proposal Submission.

Deadline: Tuesday, February 1, 2011, 11:59 PM, Eastern Standard Time

The program committee will notify participants of acceptances by February 20, 2011.

Program Committee, MIDSEM 2011: Jeremy Wallach (Chair), Kate Brucher, Sonja Downing, David Harnish, Jesse Johnston, David McDonald, Katherine Meizel, Ruth Rosenberg.

For more information, please contact:

Jeremy Wallach
Associate Professor
Department of Popular Culture
Bowling Green State University
Bowling Green, Ohio 43403-0190
(419) 372-8204
fax (419) 372-2577


RIP Eugenio Arango "Totico" QEPD

Que descanse en paz, o que rumbee en el cielo

Here's an obituary from worldmusiccentral By Les Moncada:

Influential singer and percussionist Eugenio Arango “Totico” died Friday, January 21st in New York. He was a well known vocalist, who recorded Patato y Totico, a seminal Cuban rumba album in 1967, together with his boyhood friend Carlos ‘Patato’ Valdes.

Totico was a legend and well known as a rumbero, and individual that had the knowledge and ability to play, sing and dance the Cuban rumba rhythms of guaguancó, yambú and rumba columbia. Totico was also an akpuón, a lead singer for Afro-Cuban santeria ceremonies.

Totico was know for his quinto conga drumming style and his rumba singing. Totico recorded a legendary album that is a classic for all rumberos and drummers with the famed conga player/dancer Carlos “Patato” Valdes entitled Patato and Totico. Patato y Totico featured percussionist Carlos “Patato” Valdés on congas and Eugenio “Totico” Arango on vocals and congas, together with the legendary blind tresero (tres guitarist) Arsenio Rodriguez and the late Israel “Cachao” Lopez on bass. Originally released in 1967, Verve Records reissued it on CD in 2004.

Totico was born in Havana, in the Los Sitios barrio (district). After moving to the United States he performed and recorded with artists such as Israel “Cachao” López, Francisco “Kako” Bastar, Carlos “Patato” Valdés and Alfredo Rodríguez.

Totico’s discography includes Patato y Totico (Verve V6-5037, 1967), Totico y sus Rumberos (Montuno 515, 1992), and Sonido Sólido, with Alfredo Rodriguez, Patato and Totico (Top Ten Records 1995).

And a review for a classic Totico record, from Totico's MySpace page

NY Times Review: (c) Robert Palmer
Published: August 14, 1981

To many New Yorkers, summer music is the music people play on the front steps of apartment buildings and in the city's parks, music that usually involves one or two conga drums, some other percussion instruments and singing, primarily in Spanish. Some summer strollers and joggers consider street-corner Latin music a nuisance, but it has a rich history and is often a singular blend of the staunchest traditionalism and more recent influences. It is rarely recorded, and it has probably never been recorded as winningly as on ''Totico y Sus Rumberos,'' a new album on the Montuno label.

Totico is Eugenio F. Arango, a native of Havana who has lived in New York for a number of years but still sings in the forcefully fluid style of the great Cuban vocalists. He most frequently performs music that derives directly from the rituals of Santeria, the African-derived religions that still flourish in Cuba, though he is also at home in more popular idioms.

The ''rumberos'' he has assembled for his album include expert players of the bata, the Nigerian drum associated with Santeria rituals. But except for a couple of religious chants, the music is street-corner rumba, sung with much feeling and exquisite musicality by Totico and backed by a lusty vocal chorus and some exceptionally fancy percussion, with Andy Gonzalez's string bass added as an anchor.

One selection on the album is a kind of summation of New York as the ultimate cultural melting pot. It is ''What's Your Name?'' the familiar rock-and-roll hit from the 1950's, and Totico and his producer, Rene Lopez, have given it a subtitle: ''Doo-Whop Bata Rumba.''

They have taken the original rock-and-roll song, sung it in the street-corner style that is usually spelled ''doo wop,'' put a rumba rhythm to it and added cross-rhythms on the bata drums. The result is one of the most striking examples of New York summer music to be found on records. ''Totico y Sus Rumberos'' is available in many shops or or call Montuno Records, 840-0580. Robert Palmer
"Agua que va caer" A classic of summertime NYC rumba in Central Park and Tompkins Square Park back in the day - lots of memories here.

A guaguancó cover of the Brazilian bossa nova "Mas que nada"

Covering the Don and Juan doo-wop piece "What's Your Name?" (Ignore the video).



2011 Mid-Atlantic Chapter of the Society for Ethnomusicology Annual
Meeting and Pre-Conference Symposium on Romani/Gypsy Music at the
University of Pittsburgh, Pittsburgh, PA, March 18-20 2011

Keynote Speaker: Peter Manuel, Professor of Ethnomusicology
CUNY Graduate Center

The Mid-Atlantic Chapter of the Society for Ethnomusicology (MACSEM)
will hold its annual meeting March 19-20, 2011, with a pre-conference
Symposium on Romani/Gypsy Music on March 18, 2011 introducing the University
of Pittsburgh's new 3-week Romani music study abroad program in the
Czech Republic,
Slovakia, Poland, and Ukraine (May/June, 2012) and featuring lectures by

Zuzana Jurkova (Institute of Ethnology, Prague)
Svanibor Pettan (University of Ljubljana, Slovenia)
Petra Gelbart (New York University)

with musical performance by Harmonia http://www.harmoniaband.com/

MACSEM welcomes proposals from SEM members, students,
teachers, and scholars working in related fields.
Submissions from musicology, anthropology, media studies,
folklore, performance studies, and popular culture studies are
particularly welcomed. MACSEM strongly encourages graduate and
undergraduate students to submit abstracts.

Proposals on all topics pertaining to ethnomusicology are welcomed.
Though there is no specific theme for the MACSEM 2011 conference, we
especially encourage proposals relating to the following issues:

* Gender and Sexuality
* Cultural Rights
* Global Music Industries
* Music and Postcolonialism

Submissions include scholarly papers (20-minute presentation,
10-minute discussion), organized panels of three or four papers,
poster sessions, lecture-demonstrations, film/video screenings, and
workshops. Paper proposals consist of a 250-word abstract;
panel proposals must have a 250-word abstract for each
paper plus a 200-word panel abstract. Please include with your
proposal: the name(s) of presenter(s), institutional affiliation,
title of presentation, format of presentation (paper, panel, poster,
workshop, etc.), A/V equipment requirements, e-mail address, and phone
number. Please e-mail all information to:

Adriana Helbig, anh59@pitt.edu, MACSEM 2011 program committee
and local arrangements committee chair, with the subject line:
MACSEM 2011 Proposal Submission.

Deadline: January 25, 2011

The program committee will notify participants of acceptances by
February 8, 2011.

Program Committee, MACSEM 2011: Adriana Helbig (Chair), Atesh Sonneborn,
Andrew Weintraub, Emily Pinkerton, Andrew Eisenberg, Sylvia Alajaji, Max
Katz, Yoko Suzuki, Colter Harper

Student Committee, MACSEM 2011: Benjamin Pachter, Colter Harper, Indra
Ridwan, Yoko Suzuki, Yuko Eguchi, Stephen Hager, Alison Decker, Da Lin,
Jungwon Kim, Meng Ren, Oyebade Ajibola Dosunmu, Charles Lwanga, Brandi Neal

For more information, please contact:

Adriana Helbig
Assistant Professor of Music
University of Pittsburgh
110 Music Building
Pittsburgh, PA 15260


Premio Otto Mayer-Serra de Investigación Musical/Otto Mayer-Serra Award for Music Research

En castellano abajo
Abaixo em portugûes


The Otto Mayer-Serra Award for Music Research

The University of California Riverside and the Center for Iberian and Latin-
American Music (CILAM) call for submissions for the Otto Mayer-Serra Award,
given annually for the best unpublished article on Latin American music.


A single, undivided award of 1,500 USD; the award-winning essay will be
published in the Latin American Music Review.


All scholars are eligible to apply, regardless of age, nationality or place of


The winner will be selected by a committee of outside reviewers, nominated by
CILAM. The names of the committee members will be made public after a
decision has been reached. The committee’s decision is final and may not be
appealed. If no submission is deemed worthy the prize may not be awarded. The
committee may disqualify any participant who does not meet the requirements
established by this call.

Application process

A completed application will consist of the following:

1. Authors of articles to be considered for the award should submit one
complete copy in word doc or pdf format as an attachment to an email
addressed to Benicia Jacob (benicia.jacob@ucr.edu). Articles should not exceed
40 pages, inclusive of references, illustrations, and musical examples. All
material should be double-spaced, in 12-point Times New Roman Font, with
margins of at least one inch.

2. To allow for the anonymous review of submissions, the author’s name should
appear only in the cover letter, which should also contain the full title of the
submission and all relevant contact information. Authors should avoid
identifying themselves in the manuscript itself (title page, header, notes) or in
the file information.

3. The article must be unpublished and written in Spanish or Portuguese and will
be published correspondingly in either language.
Application deadline: April 15, 2011. The winner of the prize will be notified in
June 2011.

After being notified, the winning author will submit publication-quality musical
examples and illustrations in TIFF (300dpi) and the text in Word format. The
author will be responsible for arranging the corresponding permits for

The Otto Mayer-Serra Prize for Music Research was sponsored in 2008 by
Instrumenta Oaxaca, Gobierno del Estado de Oaxaca, Fundación para las Letras
Mexicanas, Coordinación de Difusión Cultural UNAM, Instituto Nacional de
Bellas Artes and Pauta.



La Universidad de California Riverside y el Centro para la Música Ibérica y
Latinoamericana (CILAM) convocan a la presentación de artículos para el Premio
Internacional de Investigación Musical Otto Mayer-Serra, otorgado al mejor
artículo sobre música latinoamericana.


El premio, único e indivisible, consiste en un monto de 1,500 Dólares y la
publicación del texto en la Latin American Music Review/Revista de Música


El concurso tiene carácter internacional. Podrán participar todos los autores, sin
importar su edad, lugar de residencia o nacionalidad, que en forma individual
presenten un ensayo sobre la música de América Latina.

El ensayo deberá ser inédito y no premiado con anterioridad.

El jurado será nombrado por CILAM y estará integrado por investigadores de
reconocido prestigio internacional. La composición del jurado se hará pública
hasta la emisión del fallo y su decisión será inapelable. Es facultad del jurado
descalificar cualquier trabajo que no cumpla con alguno de los requisitos
marcados por esta convocatoria. El premio podrá ser declarado desierto.


1. Los trabajos deberán ser enviados en formato Word o pdf, anexos a un correo
electrónico dirigido a Benicia Jacob (benicia.jacob@ucr.edu). El texto deberá
tener una extensión máxima de 40 cuartillas a doble espacio, Times New
Roman, 12 Pts., márgenes no menores de 2.5 cm, incluyendo ejemplos
musicales, gráficos, tablas, referencias y apéndices.

2. Para permitir la revisión anónima de los textos el nombre del autor aparecerá
solamente en el mensaje de correo electrónico, el cual deberá contener también
el título del artículo y todos los datos necesarios para establecer contacto con el
autor. Los autores deberán evitar identificarse tanto en el texto del artículo
como en el documento en general (encabezado, notas, etc.).

3. El texto será enviado en español o en portugués y, de ganar, será publicado
como tal.

La fecha límite de recepción de trabajos es el 15 de abril de 2011. El resultado
del concurso se dará a conocer durante el mes de junio de 2011.

En caso de ser declarado ganador, los gráficos y ejemplos musicales
correspondientes al trabajo deberán ser entregados en formato TIFF (300 dpi) y
los archivos de texto en formato Word. El autor será responsable de tramitar los
permisos de reproducción de música y de gráficos.

El Premio Internacional de Investigación Musical Otto Mayer-Serra fue
patrocinado en 2008 por Instrumenta Oaxaca, Gobierno del Estado de Oaxaca,
Fundación para las Letras Mexicanas, Coordinación de Difusión Cultural UNAM,
Instituto Nacional de Bellas Artes y la revista Pauta.



A Universidade da Califórnia em Riverside e o Centro para a Música Ibérica e
Latino-Americana (CILAM) abrem uma chamada para a apresentação de artigos
para o Prêmio Internacional de Pesquisa em Música Otto Mayer-Serra, outorgado
ao melhor artigo sobre música latino-americana.


O prêmio, único e indivisível, consiste em uma quantia de 1.500 Dólares e a
publicação do texto na Latin American Music Review/Revista de Música


O concurso tem caráter internacional. Poderão participar todos os autores, sem
importar idade, residência ou nacionalidade, que de maneira individual
apresentem um ensaio sobre a música da América Latina.

O ensaio deverá ser inédito e não premiado anteriormente.

A comissão julgadora será nomeada pelo CILAM e será integrada por
investigadores de reconhecido prestígio internacional. A decisão da comissão
julgadora será inapelável. Cabe à comissão julgadora desqualificar qualquer
trabalho que não cumpra com os requisitos delineados nesta convocatória. O
prêmio poderá não ser atribuído.


1. Os trabalhos deverão ser enviados em formato Word ou pdf, anexos a um e-
mail dirigido a Benicia Jacob (benicia.jacob@ucr.edu). O texto deverá ter uma
extensão máxima de 40 pautas em espaçamento duplo, fonte Times New
Roman, 12 Pts., margens não menores do que 2.5 cm, incluindo exemplos
musicais, imagens, tabelas, referências e apêndices.

2. Para permitir a revisão anônima dos textos, o nome do autor aparecerá
somente no corpo do e-mail, o qual deverá conter também o título do artigo e
todos os dados necessários para estabelecer contato com o autor. Os autores
deverão evitar identificar-se tanto no texto do artigo como no documento em
geral (cabeçalho, notas, etc.).

3. O texto será enviado em espanhol ou em português e, caso seja o vencedor,
será publicado como tal.

A data-limite de recepção dos trabalhos é 15 de abril de 2011. O resultado do
concurso será dado a conhecer durante o mês de junho de 2011.

Caso seja declarado vencedor, o candidato deverá enviar as imagens e exemplos
musicais correspondentes ao trabalho em formato TIFF (300 dpi) e os arquivos
de texto em formato Word. O autor será responsável por obter as autorizações
de reprodução de música e imagens.

O Prêmio Internacional de Pesquisa em Música Otto Mayer-Serra foi patrocinado
em 2008 por Instrumenta Oaxaca, Governo do Estado de Oaxaca, Fundação para
as Letras Mexicanas, Coordenação de Difusão Cultural UNAM, Instituto Nacional
de Belas Artes e a revista Pauta.



The Solidarity Center of the AFL-CIO and the Washington Office on Latin America cordially invite you to a brown-bag lunch on:

Colombia’s Port Workers:
Dangerous Work without Protection of Labor Rights


Javier Marrugo
President of the Port Union

Javier Marrugo is the president of the Unión Portuaria (UP, Port Union). The UP is a Colombian union established in 2009 that represents workers of the four major seaports in the country as well as workers in non-maritime ports operations. The UP established locales in the four ports last year and continues to grow. Under Mr. Marrugo’s leadership, the new union has worked with retired port workers from the UP’s predecessor unions to organize subcontracted ports workers. Roughly 75 percent of the workforce in Colombia’s ports is employed under flexible non-labor contracts, meaning that workers are unable to legally join unions. For more than a year, the union has been undertaking an intensive campaign to formalize employment in the ports, where a largely Afro-Colombian workforce labors and receives no social protection benefits. The workers have limited, if any, workplace safety protection and frequently earn less than minimum wage. Since the late spring of 2010, the UP has been meeting with the Government of Colombia in an effort to persuade officials to take action on the labor conditions of the ports. During his visit to the US, Mr. Marrugo will be speaking about labor conditions in the ports sector and the abuse of third-party contracting to circumvent workers’ right to unionize in Colombia.

Wednesday, January 19, 2011
WashingtonOffice on Latin America
1666 Connecticut Ave NW, 4th Floor conference room
Washington, DC

Simultaneous translation from Spanish to English will be provided


conference/conferencia sobre movimientos afro-latinos

Afro Latino Social Movements From “Monocultural Mestizaje” and “Invisibility” to Multiculturalism and State Corporatism/Cooptation

Movimientos Sociales Afro Latinos Desde "Mestizaje Mono-cultural" e "Invisibilidad" al Multiculturalismo y Corporativismo/Cooptación de Estado

February 24 -25, 2010 - Florida International University



NY Times: 104 years in mash-ups

From Charles Ives and Pierre Scaeffer to Remix.vg, DJ Hero, and Girl Talk.

also: a history (and brief manifesto) on the headphone:

Revista Shock - Historia del picó champetero cartagenero (c/ música)

El nuevo evangelio picotero. Guía Shock de la Champeta y el Picó

Se trata de un ritmo muy joven, un niño genio que está creciendo, adquiriendo nuevos poderes, y que nos dará muchas más sorpresas en el futuro. Una guía poderosa pa’ poner la música a tronar y a la pareja a afinar paso. ¡Suénalo!

Nació en un lugar inesperado, en un momento inesperado y de la manera más inesperada. Hace unos 30 años, en lo más profundo de la Africolombia y de nuestra costa Caribe, nació un bebe musical, punketo de corazón: la champeta criolla, uno de los ritmos más originales, censurados e incomprendidos que haya parido nuestra tierra, y el único nuevo ritmo que ha dado nuestra nación cumbiera en las últimas décadas del siglo XX.

[Artículo sigue aquí: http://shock.com.co/actualidad/musica/articuloshock-el-nuevo-evangelio-picotero-guia-shock-de-champeta-y-el-pico ]

Picó El Timbalero: "La Escopeta"

El Guajiro El Tiraflechas: "Lawose Oh Yeye"

El Indio Mayeye El Cucu El Sibanicu
(Con el supuesto primer tema africano escuchado en Colombia en el movimiento picotero)

Afro-Colombin fusion music in Montreal

Says (Bogotano) Roberto López: "This year, when I attend­ed WOMEX in Copenhagen, the word around was that Colombian music is the next great wave in world music.”


Afro-Colombians: "The U.S.-Colombia Free Trade Agreement is One More Threat against Afro-Colombian Communities"




Targeted Fields
Humanities. Social Sciences.

Open To
Students Working on Doctoral Dissertation.

No citizenship requirements.

Eligibility Requirements
Applicants must complete all requirements for the PhD, aside from the dissertation, by the start of the fellowship year. The fellow must remain in residence for the 9-month academic year, deliver one public lecture, and teach one seminar course.

Stipend of $30,000 plus health insurance, a $1,500 research budget, and a fully equipped office.


Program Description
One award offered for dissertation research on any topic within African and/or African Diaspora studies. The successful applicant will have full access to Boston College's seven libraries as well as several rare books and manuscripts collections. Awards support one year of research.

For More Information

AADS Fellowship Committee
Boston College
301 Lyons Hall
140 Commonwealth Avenue
Chestnut Hill, MA 02467-3806

(617) 552-8000