¡Música del Corazón!
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Sacred Choral Music and Ritual Dance on the Camino Real de Tierra Adentro: 1598-1821 ~ 11th Annual John Donald Robb, Jr. Memorial Concert
Sunday 24 November 2024 FREE family-friendly community event 2pm round table 3pm concert UNM Keller Hall | directions this is a non-ticketed event general seating first come, first served |
 2024 ¡Música del Corazón! poster
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FREE City of ABQ street & meter parking. FREE UNM surface lot parking at Central between Girard and Princeton | directions. Convenient paid parking at UNM Cornell Parking Structure | directions.
View, download, print a complimentary 2024
View, download, print a complimentary 2024
Tentative Schedule
Visit the John Donald Robb information table and meet members of the Robb Trust Board in the Keller Hall lobby.
2pm Preconcert round table (45 minutes)
- Sacred Choral Music: Dr. Javier Marín-López
- Ritual Dance: Dr. Enrique Lamadrid
- Facilitator: Dr. Ana Alonso-Minutti
3pm Concert (approx. 100 minutes)
- Sacred Choral Music: UNM Concert Choir + Música Antigua de Albuquerque
- Robb Award presentation: Michael Mauldin, composer
- Ritual Dance: Matachines de la Merced del Cañón de Carnué
Co-Curator Statement
During Spanish colonial times, the church was the patron of the visual, musical, and dramatic arts. The Counter-Reformation generously financed artists and composers to lend their talents to inspire Catholics with the spectacles of their faith. Sacred music echoed daily, resonating from the great stone cathedrals of New Spain to the humble adobe churches of New Mexico. During the great Pueblo Revolt of 1680, churches and sacred art were destroyed in the northlands, along with all traces of the repertory of sacred music. However, evidence found along the Camino Real shows that music played a daily, vibrant role in the liturgical calendar, spanning from Advent to Pentecost. It flourished particularly during Christmas and Holy Week seasons, as well as in Marian feasts and celebrations of particular saints like St. Francis or Santiago. UNM Concert Chorus and Música Antigua de Albuquerque draw from the music of the Camino Real from Mexico City north, as well as from the 18th century California missions.
The calendar also featured seasonal autos sacramentales or sacramental plays, especially the Pastorela or Christmas shepherd's plays and La Pasión, the Passion of the Christ. Numerous other plays celebrated everything from Adam and Eve to the Virgin of Guadalupe. All had their own distinctive music that offered a reprieve from the solemnity of the Mass. Sixty days after Easter, Corpus Christi provided an opportunity for even more celebration. Villancicos or carols were sung in Spanish and Native languages. On such special occasions, costumed dancers appeared in the Tocotín, a ritual dance of Mexican origin. Its cousin, the Matachines dance, dramatizes the spiritual Conquest of Mexico and celebrates the emergence of a new Indo-Hispano culture. It was performed in and out of church from Mexico City to Santa Fe, spilling onto plazas and streets. The sones that still accompany the masked dance in New Mexico are the most ancient instrumental music in the land. Our program honors dancers and musicians from La Merced del Cañón de Carnué, the land grant in the mountains east of Albuquerque, especially since John Donald Robb visited there and recorded the songs on many occasions.
~ Dr. Javier Marín-López, Sacred Choral Music Curator
~ Dr. Enrique Lamadrid, Ritual Dance Curator
About
The annual Música del Corazón concert is a showcase of the living legacy of John Donald Robb. He carefully recorded and transcribed more than 3,000 Hispano folk songs throughout New Mexico, the Southwest, Mexico, and Spain. Like romantic and modernist composers before him, he looked to the songs of everyday folk to inspire and inform his own compositions and scholarship. He also provided a living record to us, the musicians, scholars, and teachers of the future. Over the past decade, we have marveled at the persistence and genius of traditional music as it recalls the past, adapts to the present, and shapes the future. Robb’s extensive field recordings are archived at UNM's Center for Southwest Research and Special Collections.
Performers
UNM Concert Choir
UNM Concert Choir is the leading choral ensemble in the University of New Mexico's Department of Music. The Concert Choir maintains a full schedule of performing, touring, and recording. It regularly collaborates with other UNM ensembles including the Symphony Orchestra and the Health Science Center Orchestra, in recent years presenting works including Mozart’s Requiem, Antonio Estevez’s Cantata Criolla, and Vaughan Williams’s Five Mystical Songs. In the spring of 2022, the Concert Choir collaborated with the UNMSO to present the world premiere of Andrea Clearfield’s Singing into Presence. We invite you to watch and hear past UNM Concert Choir performances on YouTube.
David Edmonds, DMA currently serves as Director of Choral Studies at the University of New Mexico where he directs the UNM Concert Choir and University Chorus and teaches undergraduate and graduate conducting and choral repertoire. Since 2022, Dr. Edmonds has also served as Artistic Director and Conductor of the community-based choral ensemble, Dolce Canto, in Missoula.
Before coming to UNM, Dr. Edmonds was Director of Choral Activities at the University of Montana for six years where he led the UM Chamber Chorale to their first-ever invitations to perform for both the NAfME NW and NWACDA Conferences. An advocate for students and pre-service teachers, Edmonds just completed a six-year appointment as ACDA National Repertoire & Resources Chair for Student Activities, working on the R&R team to create programming and initiatives supporting the ACDA national student membership.
Dr. Edmonds obtained advanced degrees with highest honors in conducting from the University of North Texas (D.M.A., ’12) and Westminster Choir College (M.M., ’10) after teaching high school choral music for six years in Iowa and Texas. His original compositions and arrangements are published by Alliance, Colla Voce, and MorningStar Music Publishers. He lives in New Mexico with his incredible wife and their two (often) well-behaved daughters.
Video: The UNM Concert Choir sings Henning Sommerro's arrangement of Amen! Jesus han skal råde recorded live November 2022 in UNM's Keller Hall, Dr. David Edmonds, conductor. Soloists: Ruby Kraft, Garrett Medlock, Marshal Hollingsworth, Shane Hall, Nadine Adisho, Jaqueline Papp, Nina Syaheda.
Before coming to UNM, Dr. Edmonds was Director of Choral Activities at the University of Montana for six years where he led the UM Chamber Chorale to their first-ever invitations to perform for both the NAfME NW and NWACDA Conferences. An advocate for students and pre-service teachers, Edmonds just completed a six-year appointment as ACDA National Repertoire & Resources Chair for Student Activities, working on the R&R team to create programming and initiatives supporting the ACDA national student membership.
Dr. Edmonds obtained advanced degrees with highest honors in conducting from the University of North Texas (D.M.A., ’12) and Westminster Choir College (M.M., ’10) after teaching high school choral music for six years in Iowa and Texas. His original compositions and arrangements are published by Alliance, Colla Voce, and MorningStar Music Publishers. He lives in New Mexico with his incredible wife and their two (often) well-behaved daughters.
Video: The UNM Concert Choir sings Henning Sommerro's arrangement of Amen! Jesus han skal råde recorded live November 2022 in UNM's Keller Hall, Dr. David Edmonds, conductor. Soloists: Ruby Kraft, Garrett Medlock, Marshal Hollingsworth, Shane Hall, Nadine Adisho, Jaqueline Papp, Nina Syaheda.
Música Antigua de Albuquerque
Música Antigua de Albuquerque was founded by local musician, early music enthusiast, and 2023 Robb Award honoree John Truitt. Música Antigua has been performing medieval, Renaissance, and Baroque music since 1978. In recognition of New Mexico’s Hispanic tradition, the ensemble concentrated on the repertoire of Renaissance and medieval Spain in its early performances. Soon, however, the organization began to broaden the scope of its repertoire, and its concerts have since featured music from many areas in Europe from the 13th to the 18th centuries.
Música Antigua has given guest performances throughout New Mexico, including Las Cruces, Silver City, Portales, Hobbs, Taos, Tucumcari, Los Alamos, Socorro, Grants, Corrales, Cedar Crest, Tomé, and Mountainair. The ensemble has given joint performances with the Sangre de Cristo Chorale and the Coro de Cámara, and has collaborated with the Cathedral Church of St. John in productions of the medieval Play of Daniel and T. S. Eliot’s Murder in the Cathedral. In 2002, the group performed for the Southwest Repertory Theater’s Shakespeare Festival. The ensemble has also given tour performances in Houston and Milwaukee.
In addition to its concert series and guest performances, Música Antigua gives frequent lecture-demonstrations of early music and instruments to adults and students of all ages. As part of our educational mission, we also coach the Música Antigua Youth Consort, a small group of select high school students who want to expand their musical horizons by exploring the world of early music. The students are able to try a variety of period instruments and the ensemble gives a recital each year during the spring.
Música Antigua is the recipient of the Albuquerque Arts Alliance’s 2002 Bravo Award for Excellence in Music, an honor of which we are exceedingly proud. Música Antigua has received grants from the National Endowment for the Arts, New Mexico Arts, the New Mexico Endowment for the Humanities, the McCune Charitable Foundation, the New Mexico Quincentenary Commission, the Santa Fe Arts Commission, and the City of Albuquerque Urban Enhancement Trust Fund.
Personnel
Música Antigua has given guest performances throughout New Mexico, including Las Cruces, Silver City, Portales, Hobbs, Taos, Tucumcari, Los Alamos, Socorro, Grants, Corrales, Cedar Crest, Tomé, and Mountainair. The ensemble has given joint performances with the Sangre de Cristo Chorale and the Coro de Cámara, and has collaborated with the Cathedral Church of St. John in productions of the medieval Play of Daniel and T. S. Eliot’s Murder in the Cathedral. In 2002, the group performed for the Southwest Repertory Theater’s Shakespeare Festival. The ensemble has also given tour performances in Houston and Milwaukee.
In addition to its concert series and guest performances, Música Antigua gives frequent lecture-demonstrations of early music and instruments to adults and students of all ages. As part of our educational mission, we also coach the Música Antigua Youth Consort, a small group of select high school students who want to expand their musical horizons by exploring the world of early music. The students are able to try a variety of period instruments and the ensemble gives a recital each year during the spring.
Música Antigua is the recipient of the Albuquerque Arts Alliance’s 2002 Bravo Award for Excellence in Music, an honor of which we are exceedingly proud. Música Antigua has received grants from the National Endowment for the Arts, New Mexico Arts, the New Mexico Endowment for the Humanities, the McCune Charitable Foundation, the New Mexico Quincentenary Commission, the Santa Fe Arts Commission, and the City of Albuquerque Urban Enhancement Trust Fund.
Personnel
Hovey Dean Corbin, Jr. earned bachelor’s degrees in vocal performance and instrumental music education (percussion emphasis) from UNM. He is in his 28th year of teaching band at Albuquerque Academy, and is also the co-conductor of the Albuquerque Junior Symphony. He and his father enjoy building sackbuts and custom conducting batons in their spare time. Hovey performs with Steve Chavez and the New Mexican Marimba Band, the LINKS! Percussion Ensemble, the heavy-metal vaudeville troupe Skümbaag and the Sol Calypso Steel Drum Band with his wife, Alexis.
Dennis Davies-Wilson, woodwind specialist, has been performing with Música Antigua since 1988. He holds a Master of Music from UNM and a Master of Library Science (Music Specialization) from Indiana University. A retired librarian, he is currently a Lecturer in Music at UNM. Also a bassoonist, he has performed with the Opera Southwest Orchestra, Santa Fe Symphony and Sangre de Cristo Chorale.
Ruth Helgeson has long been interested in many music traditions. While in college she performed early music with Concentus Musicus of the Twin Cities, directed by Arthur Maud. After receiving a BFA in Visual Arts with a minor in Chinese, she lived on Taiwan, where she studied the gu zheng (zither) and er-hu (fiddle). For ten years she was a psindhen (female vocalist) and instrumentalist with the Sumunar Central Javanese gamelan in Minnesota.
David McGuire, tenor, holds a Bachelor of Music in theory and composition from the University of North Texas, and an MBA from UNM. His vocal and instrumental compositions have been performed nationally and internationally. During his career in information technology, he has sung in many ensembles, including New York’s Manhattan Vocal Ensemble, Hartford’s Cathedral Chamber Singers, the Santa Fe Desert Chorale, and Quintessencea.
Art Sheinberg, a founding member of Música Antigua, holds a master’s degree in doublebass performance from UNM and performed in the New Mexico Symphony Orchestra for 15 years. He taught orchestra in the Albuquerque Public Schools for 36 years, and now works with music education students at UNM. He serves as an adjudicator and clinician throughout the Southwest, and has composed and arranged numerous works for school orchestra. In 2003, he was one of seven teachers to receive the Golden Apple Award for excellence in public school teaching in New Mexico.
Colleen Sheinberg is a founding member of Música Antigua. A graduate of Southern Methodist University and UNM, she holds master’s degrees in anthropology and piano performance and is active as a chamber musician, teacher and accompanist. She has performed with the Santa Fe Desert Chorale, Chamber Orchestra of Albuquerque, and the New Mexico Symphony Orchestra, and at the University of North Texas, Louisiana Tech University, University of Arkansas, and Fort Lewis College. She is on the faculty of the UNM Department of Music, where she teachers piano and harpsichord, directs the Early Music Ensemble, and is a coach-accompanist of vocal students.
Video: Ciaramella, me dolçe, Ciaramella by Antonio Zacara da Teramo (c1350/60--after 1413) performed at Chatter in 2014. Música Antigua de Albuquerque is Hovey Dean Corbin, Jr; Dennis Davies-Wilson; Ruth Helgeson David McGuire; Art Sheinberg and Colleen Sheinberg.
Matachines de la Merced del Cañón de Carnué
Matachines de la Merced del Cañón de Carnué is a ritual dance society that performers a public dance during the Saints days for all in the east Sandia Mountain communities, but has its origin in San Antonio de Carnué. The Matachines likely arrived to the Carnué Land Grant by way of Isleta Pueblo and Sandia Pueblo, where many early San Antonio families have matriarchal lines through inter-marriage. The dance is primarily danced in Pueblo native communities in New Mexico, but is also practiced in communities such as Alcalde, Bernalillo, El Rancho, and Tortugas (Rodríguez, 2009). The leadership of the Matachines is known at the monarcha, representative the Aztec king Montezuma, and is responsible for organizing practice, selecting danzantes (dancers) and mentoring and training youth from the community into the matachín society. Historically, there was one monarcha from San Antonio de Carnué, but later there were two, with a leader in Carnuel. Before WWII, only men were allowed to be danzantes; however, during WWII there were a lack of male dancers in the community and women ensured that the ritual performances continued. Los matachines serves as an initial training and mentoring of the youth of the community into the querencia of Carnué.
Video: Fiesta de Cañoncito of the Sandia Mountains east of Albuquerque, NM.
Video: Fiesta de Cañoncito of the Sandia Mountains east of Albuquerque, NM.
Robb Award Honoree
Michael Mauldin (b. 1947 Texas) moved to New Mexico in 1971 for "the light, the space and the timelessness." That year he met JD Robb, with whom he worked to develop the New Mexico Composers Guild. He completed a Master’s Degree in composition at UNM, opened a music school, raised a family and wrote music. In 1980 he won the “Composer of the Year” award of the Music Teachers National Association for “Voices from Chaco: Concertino for Piano and Woodwind Quintet.” In 1985 "Fajada Butte: An Epiphany," commissioned by the New Mexico Symphony Orchestra, was performed at Kennedy Center by the National Repertory Orchestra for the 20th anniversary of the National Endowment for the Arts. Mauldin first visited New Mexico in the late 1950's when his father brought his family to church retreats at Ghost Ranch. While exploring red arroyos one day, he encountered artist Georgia O’Keefe painting a landscape. He remembered her distinctive appearance but learned only later who she was. He determined that he wanted to live in a place like that--a place that "surrounds you with colorful space--and creates new space inside you."
His catalogue contains over 90 works, from chamber, orchestral and choral music, to works for harp, organ, guitar and piano. His music is “accessible, yet distinctive and memorable.” It often portrays the power and magic of the rugged beauty and ancient cultures of his adopted state of New Mexico. "Prayer of Mesas," for the University of New Mexico Chorus and Orchestra, was commissioned by UNM and the City of Albuquerque to celebrate the university's centennial in 1988.
Michael served for four years as the national chair of the Student Composition Contest of the Music Teachers National Association. He served for seven years as Musical Director of the Albuquerque Boy Choir (of which his sons are alumni), which grew to three choirs, 85 boys between ages 7 and 17, who toured, recorded and completed a rigorous musicianship program.
Mauldin guest-conducted student and community orchestras, and he conducted the New Mexico Symphony Orchestra in recording sessions to prepare five of his orchestral pieces for the compact-disc album, "Enchanted Land." As a public speaker, clinician, composer and performer, he actively promoted private and public arts-education throughout the country. He has also been an advocate for the rights of children, holding that discipline is more than repression, and that society is repaid when children and young people are treated with respect and allowed to participate in choices regarding their own minds, bodies and spirits.
Critical Acclaim:
Learn more about Michael:
Video: "Prayer of Mesas" for large orchestra and chorus (1989) by Michael Mauldin performed by the Kyiv Philharmonic and Chorus. Text: "Father the Sun, Our Mother the Earth, Bless this place where the powers move-- the great powers that move between earth and sky! May the people that move upon us know from whence they came. Let the space of the land open their minds, that they may let the earth heal. May they let the earth heal, that they may live among us, and know from whence they came." Images: Dissolve photos of San Juan Mesa, Jemez Mountains, New Mexico.
His catalogue contains over 90 works, from chamber, orchestral and choral music, to works for harp, organ, guitar and piano. His music is “accessible, yet distinctive and memorable.” It often portrays the power and magic of the rugged beauty and ancient cultures of his adopted state of New Mexico. "Prayer of Mesas," for the University of New Mexico Chorus and Orchestra, was commissioned by UNM and the City of Albuquerque to celebrate the university's centennial in 1988.
Michael served for four years as the national chair of the Student Composition Contest of the Music Teachers National Association. He served for seven years as Musical Director of the Albuquerque Boy Choir (of which his sons are alumni), which grew to three choirs, 85 boys between ages 7 and 17, who toured, recorded and completed a rigorous musicianship program.
Mauldin guest-conducted student and community orchestras, and he conducted the New Mexico Symphony Orchestra in recording sessions to prepare five of his orchestral pieces for the compact-disc album, "Enchanted Land." As a public speaker, clinician, composer and performer, he actively promoted private and public arts-education throughout the country. He has also been an advocate for the rights of children, holding that discipline is more than repression, and that society is repaid when children and young people are treated with respect and allowed to participate in choices regarding their own minds, bodies and spirits.
Critical Acclaim:
- “Full of space and spirit.” Albuquerque Journal
- “Characteristic and grateful instrumental writing.” Santa Fe Reporter
- “Intriguingly new and overwhelmingly beautiful.” New Mexican
- “An evocation of place in a more modern idiom.” Records International
- “Full of beauty and charm.” American Record Guide
- “Attractive, contemporary-sounding, yet manageable pieces.” American Music Teacher
Learn more about Michael:
Video: "Prayer of Mesas" for large orchestra and chorus (1989) by Michael Mauldin performed by the Kyiv Philharmonic and Chorus. Text: "Father the Sun, Our Mother the Earth, Bless this place where the powers move-- the great powers that move between earth and sky! May the people that move upon us know from whence they came. Let the space of the land open their minds, that they may let the earth heal. May they let the earth heal, that they may live among us, and know from whence they came." Images: Dissolve photos of San Juan Mesa, Jemez Mountains, New Mexico.
Pre-Concert Roundtable
Javier Marín-López, PhD {Úbeda / Jaén, Spain} Musicologist, professor and music festival manager. He completed his musical studies in the Úbeda, Jaén and Granada conservatoires, and his musicological ones in the last city, where he obtained his PhD in 2007 with a thesis on the musical relations between Spain and the New World through Mexico Cathedral during the colonial period (Cum laude, European Doctorate, Extraordinary Award). Since 2007 he works as lecturer at the University of Jaén, where teaches Music History, being invited as professor in several Master programes both in Spain and abroad.
He has received fellowships of the Consejería de Cultura of Junta de Andalucía, Ministries of Education, Foreign Affairs and Innovation of Spain, Secretary of Foreign Relations of Mexico and Caja Madrid Foundation. He has published articles in journals such as Historia Mexicana, Sacred Music, Heterofonía, Early Music, Música y Educación, Revista de Musicología, Resonancias, American Music, Acta Musicologica and Revista Musical Chilena, among others, as well as several chapter books in collected monographs edited by Brepols, Brill, La Rioja, Granada, Pontificia de Salamanca, UNAM and Cambridge universities presses. His two-volumen monograph Los libros de polifonía de la Catedral de México. Estudio y catálogo crítico (coedited by the Spanish Society for Musicology and the University of Jaén Press, 2012) received a dozen of reviews in international musicology journals. He has established several collaborations with early music ensembles, recovering new musics from Latin American and Iberia that have been premiered in concert and / or recorded. He has also been editor of various anthologies of essays published by the Spanish Society for Musicology, International University of Andalusia, Complutense Institute of Musical Sciences, Reichenberger, Dykinson and Iberoamericana Vervuert.
Dr. Marín-López has completed several research stays in Mexico (Universidad Veracruzana in Xalapa and Centro Nacional de Investigación, Documentación e Información Musical «Carlos Chávez» of Mexico City) and, as Visiting Scholar, in the cities of Cambridge, UK (University of Cambridge, Faculty of Music, 2006), Dublin (Trinity College, 2008), Chicago (Northwestern University, 2010), Lisbon (CESEM-FCSH, Universidade Nova, 2016), Albuquerque (Latin American & Iberian Institute, University of New Mexico, 2022) and Tours (Centre d’études supérieures de la Renaissance, Université François Rabelais, 2024). Recently, he has presented his work in more than twenty countries, including almost all in Latin America. Between 2013 and 2021 he was editor of the Revista de Musicología, the journal of the Spanish Society for Musicology, of which he is Vice President since January 2022. He is adviser of several publishers and musicology journals and is member of the editorial board of Cuadernos de Iconografía Musical (UNAM). Besides, he is artistic director of the Festival de Música Antigua de Úbeda y Baeza, which has been turned into a space to transfer of musicological research specialized on the recovery of the musical heritage of Spain and Latin America. From the festival the cooperation among musicologists, researchers, and performers is promoted through the preparation of new programmes and recordings of ineditous repertoires. He is consultant member of the New Grove Dictionary of Music of Musicians subcommittee for the 17th century. He is part of several I+D+i research projects of the Spanish Government and member of the research group «Music and Cultural Studies» (HUM-942) based at the University of Jaén. He is also member of the Spanish Association of Americanists, Spanish Society for Musicology, American Musicological Society, and International Musicological Society. Additionally, he is member of the Regional Association for Latin America and the Caribbean (ARLAC/IMS, member since 2012; board of directors since 2022), the Study Group «Music and American Studies» (MUSAM/SEdeM, founder and president since 2016), and the Music Division of the Instituto de Estudios Giennenses (County Council of Jaén, since 2016).
He received the 2010 Latin American Musicology Award «Samuel Claro Valdés» from the Instituto de Música of the Catholic University of Chile, and the following year he was recognized with a Diploma of Scientific Divulgation by the University of Jaén for his work as programmer of the Early Music Festival of Ubeda & Baeza. In 2019 he received the one of the IV Music Prizes of the Province of Jaén (Classical Music modality), given by the newspaper Viva Jaén, and in 2021 he was recognized with the «Medalla al Mérito» by the Real Academia de Bellas Artes de Granada. He also received the Honorable Mention of the 2021 Otto Mayer-Serra Competition from the University of California, Riverside, for the best unpublished essay on Iberian and Latin American Music. Between 2019 and 2022 he serves as member of the Consejo Estatal de las Artes Escénicas y de la Música and the Consejo Artístico de la Música (Ministry of Culture and Sport, Spanish Government).
Video: Dr. Marín-López discussing ¡Música del Corazón! 2024; produced by Julia Camargo. Watch the full interview here.
He has received fellowships of the Consejería de Cultura of Junta de Andalucía, Ministries of Education, Foreign Affairs and Innovation of Spain, Secretary of Foreign Relations of Mexico and Caja Madrid Foundation. He has published articles in journals such as Historia Mexicana, Sacred Music, Heterofonía, Early Music, Música y Educación, Revista de Musicología, Resonancias, American Music, Acta Musicologica and Revista Musical Chilena, among others, as well as several chapter books in collected monographs edited by Brepols, Brill, La Rioja, Granada, Pontificia de Salamanca, UNAM and Cambridge universities presses. His two-volumen monograph Los libros de polifonía de la Catedral de México. Estudio y catálogo crítico (coedited by the Spanish Society for Musicology and the University of Jaén Press, 2012) received a dozen of reviews in international musicology journals. He has established several collaborations with early music ensembles, recovering new musics from Latin American and Iberia that have been premiered in concert and / or recorded. He has also been editor of various anthologies of essays published by the Spanish Society for Musicology, International University of Andalusia, Complutense Institute of Musical Sciences, Reichenberger, Dykinson and Iberoamericana Vervuert.
Dr. Marín-López has completed several research stays in Mexico (Universidad Veracruzana in Xalapa and Centro Nacional de Investigación, Documentación e Información Musical «Carlos Chávez» of Mexico City) and, as Visiting Scholar, in the cities of Cambridge, UK (University of Cambridge, Faculty of Music, 2006), Dublin (Trinity College, 2008), Chicago (Northwestern University, 2010), Lisbon (CESEM-FCSH, Universidade Nova, 2016), Albuquerque (Latin American & Iberian Institute, University of New Mexico, 2022) and Tours (Centre d’études supérieures de la Renaissance, Université François Rabelais, 2024). Recently, he has presented his work in more than twenty countries, including almost all in Latin America. Between 2013 and 2021 he was editor of the Revista de Musicología, the journal of the Spanish Society for Musicology, of which he is Vice President since January 2022. He is adviser of several publishers and musicology journals and is member of the editorial board of Cuadernos de Iconografía Musical (UNAM). Besides, he is artistic director of the Festival de Música Antigua de Úbeda y Baeza, which has been turned into a space to transfer of musicological research specialized on the recovery of the musical heritage of Spain and Latin America. From the festival the cooperation among musicologists, researchers, and performers is promoted through the preparation of new programmes and recordings of ineditous repertoires. He is consultant member of the New Grove Dictionary of Music of Musicians subcommittee for the 17th century. He is part of several I+D+i research projects of the Spanish Government and member of the research group «Music and Cultural Studies» (HUM-942) based at the University of Jaén. He is also member of the Spanish Association of Americanists, Spanish Society for Musicology, American Musicological Society, and International Musicological Society. Additionally, he is member of the Regional Association for Latin America and the Caribbean (ARLAC/IMS, member since 2012; board of directors since 2022), the Study Group «Music and American Studies» (MUSAM/SEdeM, founder and president since 2016), and the Music Division of the Instituto de Estudios Giennenses (County Council of Jaén, since 2016).
He received the 2010 Latin American Musicology Award «Samuel Claro Valdés» from the Instituto de Música of the Catholic University of Chile, and the following year he was recognized with a Diploma of Scientific Divulgation by the University of Jaén for his work as programmer of the Early Music Festival of Ubeda & Baeza. In 2019 he received the one of the IV Music Prizes of the Province of Jaén (Classical Music modality), given by the newspaper Viva Jaén, and in 2021 he was recognized with the «Medalla al Mérito» by the Real Academia de Bellas Artes de Granada. He also received the Honorable Mention of the 2021 Otto Mayer-Serra Competition from the University of California, Riverside, for the best unpublished essay on Iberian and Latin American Music. Between 2019 and 2022 he serves as member of the Consejo Estatal de las Artes Escénicas y de la Música and the Consejo Artístico de la Música (Ministry of Culture and Sport, Spanish Government).
Video: Dr. Marín-López discussing ¡Música del Corazón! 2024; produced by Julia Camargo. Watch the full interview here.
Enrique Lamadrid, PhD {Embudo / ABQ} is Professor Emeritus, Distinguished Professor of Spanish at the University of New Mexico. His research interests include ethnopoetics, folklore and music, Chicano literature, contemporary Mexican poetry, and literary translation. His field work centers in NM, but ranges as well into Mexico, Spain, the Andes and the Caribbean. His research on the Indo- Hispanic traditions of New Mexico charts the influence of indigenous cultures on the Spanish language and imagination. His literary writings explore the borderlands between cultures, their natural environments, and between popular traditions and literary expression. In 2006 and 2008 he organized an international research team working on the spiritual traditions of the Camino Real, with special focus on Durango, the role of penitential brotherhoods, and the Mexico experiences of Padre Antonio José Martínez. In 2009 and 2010 he organized expeditions to Aguascalientes, Mexico and Jinotepe, Nicaragua to document popular festivals on Santiago, the patron saint of Spain most associated with conquest and resistance to conquest.
Author of numerous books and articles, Lamadrid’s collaboration with renowned photographer Miguel Gandert is legendary. In 2009 they were jointly awarded the Gilberto Espinosa Prize by the New Mexico Historical Society for their work on the intangible cultural heritage of the Camino Real, “Hermanitos Comanchitos”: Indo-Hispano Rituals of Captivity and Redemption (UNM Press 2003), won the Chicago Folklore Prize in 2004, the oldest and most important in the nation for folklore and ethnography. Nuevo México Profundo: Rituals of an Indo-Hispano Homeland (Museum of NM 2000), a previous collaboration with Gandert won the prestigious Southwest Book Award in 2001. In 2005, Hermanitos Comanchitos also won the Southwest book award. The same year he was awarded the Américo Paredes Prize by the American Folklore Society in 2005 to recognize his community based cultural work. Lamadrid is a scholar of the corrido ballad tradition of Greater Mexico and has several key articles on the subject, as well as a book co-authored with Jack Loeffler, La Música de los Viejitos: Hispano Folk Music of the Río Grande del Norte (UNM Press). He has produced a notable series of CDs.
In the museum world, he led the design team and was co-curator of the permanent exhibit at the International Camino Real Heritage Center south of Socorro, NM. He was also a member of the curatorial team of the Smithsonian “El Río” exhibit on bio-regionalism and traditional culture in the Río Grande/Bravo basin. Lamadrid was sole curator of “Nuevo México, ¿Hasta Cuándo?: Four Centuries of Hispanic Ballady”, a component of the renown Smithsonian exhibit “Corridos sin Fronteras / Ballads without Borders: A New World Ballad Tradition.”
Lamadrid is also an acequia activist and scholar of traditional water management. He and his students are preparing documentation for a UNESCO nomination for the Acequia cultures and systems of New Mexico and northern Mexico for world heritage status in the category of intangible cultural heritage. He is mayordomo of five sub-laterals of the Gallegos Lateral in Albuquerque’s north valley, a district of 90 parciantes known as Acequia los Alamos de los Gallegos. His recent children’s book is titled Juan the Bear and the Water of Life: La Acequia de Juan del Oso, and combines the history of the acequias in the beautiful Mora valley with the famous Juan del Oso cycle of traditional cuentos.
Video: Dr. Lamadrid discussing ¡Música del Corazón! 2024; produced by Julia Camargo. Watch the full interview here.
Author of numerous books and articles, Lamadrid’s collaboration with renowned photographer Miguel Gandert is legendary. In 2009 they were jointly awarded the Gilberto Espinosa Prize by the New Mexico Historical Society for their work on the intangible cultural heritage of the Camino Real, “Hermanitos Comanchitos”: Indo-Hispano Rituals of Captivity and Redemption (UNM Press 2003), won the Chicago Folklore Prize in 2004, the oldest and most important in the nation for folklore and ethnography. Nuevo México Profundo: Rituals of an Indo-Hispano Homeland (Museum of NM 2000), a previous collaboration with Gandert won the prestigious Southwest Book Award in 2001. In 2005, Hermanitos Comanchitos also won the Southwest book award. The same year he was awarded the Américo Paredes Prize by the American Folklore Society in 2005 to recognize his community based cultural work. Lamadrid is a scholar of the corrido ballad tradition of Greater Mexico and has several key articles on the subject, as well as a book co-authored with Jack Loeffler, La Música de los Viejitos: Hispano Folk Music of the Río Grande del Norte (UNM Press). He has produced a notable series of CDs.
In the museum world, he led the design team and was co-curator of the permanent exhibit at the International Camino Real Heritage Center south of Socorro, NM. He was also a member of the curatorial team of the Smithsonian “El Río” exhibit on bio-regionalism and traditional culture in the Río Grande/Bravo basin. Lamadrid was sole curator of “Nuevo México, ¿Hasta Cuándo?: Four Centuries of Hispanic Ballady”, a component of the renown Smithsonian exhibit “Corridos sin Fronteras / Ballads without Borders: A New World Ballad Tradition.”
Lamadrid is also an acequia activist and scholar of traditional water management. He and his students are preparing documentation for a UNESCO nomination for the Acequia cultures and systems of New Mexico and northern Mexico for world heritage status in the category of intangible cultural heritage. He is mayordomo of five sub-laterals of the Gallegos Lateral in Albuquerque’s north valley, a district of 90 parciantes known as Acequia los Alamos de los Gallegos. His recent children’s book is titled Juan the Bear and the Water of Life: La Acequia de Juan del Oso, and combines the history of the acequias in the beautiful Mora valley with the famous Juan del Oso cycle of traditional cuentos.
Video: Dr. Lamadrid discussing ¡Música del Corazón! 2024; produced by Julia Camargo. Watch the full interview here.
Ana Alonso-Minutti, PhD {Puebla, México / ABQ} is an Associate Professor of Music, research associate of the Southwest Hispanic Research Institute, and faculty affiliate of the Latin American and Iberian Institute and the Women, Gender, and Sexuality Studies at the University of New Mexico. She graduated summa cum laude with a BA in music from the Universidad de las Américas, Puebla, Mexico, and received MA and PhD degrees in musicology from the University of California, Davis.
Alonso-Minutti’s scholarship focuses on experimental and avant-garde expressions and music traditions from Mexico and the US-Mexico border. Among her research areas are Latina/Chicana feminist and queer theories, critical race studies, and decolonial methodologies. Her work has been published in edited volumes as well as in academic journals in the United States (Latin American Music Review, Journal of Music History Pedagogy, Brújula, Sound American), Mexico (Heterofonía, Discanto, Pauta, Sonus Litterarum), and Argentina (Revista Argentina de Musicología), and she has presented her work in conferences and institutions across the Americas (Brazil, Canada, Colombia, Mexico, Puerto Rico, U.S.) and Europe (Finland, Romania, Spain). She is the author of Mario Lavista: Mirrors of Sound (Oxford University Press, 2023) and co-edited the volume Experimentalisms in Practice: Music Perspectives from Latin America (Oxford University Press, 2018).
In addition to her scholarly work, Alonso-Minutti has written a number of pieces. Her multi-movement choral work, Voces del desierto (performed at Albuquerque’s National Hispanic Cultural Center in 2019), won the biennial Robert M. Stevenson Prize granted by the Society for Ethnomusicology in 2021. Moreover, she directed and produced the video documentary Cubos y permutaciones: plástica, música y poesía de vanguardia en México exhibited at the Museo Universitario de Arte Contemporáneo (MUAC) in Mexico City and at the Museo Espacio in Aguascalientes.
Currently, Alonso-Minutti is the co-editor of Twentieth-Century Music journal, area editor for Grove Music Online’s Women, Gender, and Sexuality Project, member of the editorial board of Journal of Music History Pedagogy, member of the advisory board of Sonus Litteratum, and curatorial advisor for Mediateca Lavista. Moreover, she is a faculty affiliate of Project Spectrum, a student-led coalition committed to increasing diversity, equity, inclusion, and accessibility in music studies. She has served in various capacities in music-centered academic societies. She is a former council member of the American Musicological Society and the Society for Ethnomusicology, former chair of AMS’s Ibero-American Music Study Group, and former chair of AMS’s Alfred Einstein Award.
In her classes, Alonso-Minutti fosters a multidirectional dialogue centered on musical/sound practices while engaging in decolonial methodologies, cultural aesthetics, transculturation, gender/sexuality studies, border consciousness, and musical activism. Prior to joining the University of New Mexico in 2013, she was Assistant Professor of Music at the University of North Texas, where she taught large undergraduate non-music major courses, upper-division music major courses, courses within the Honors College, and master’s and doctoral-level
seminars.
Dr. Alonso-Minutti's course offerings at UNM:
¡Música del Corazón! Artistic Director
Alonso-Minutti’s scholarship focuses on experimental and avant-garde expressions and music traditions from Mexico and the US-Mexico border. Among her research areas are Latina/Chicana feminist and queer theories, critical race studies, and decolonial methodologies. Her work has been published in edited volumes as well as in academic journals in the United States (Latin American Music Review, Journal of Music History Pedagogy, Brújula, Sound American), Mexico (Heterofonía, Discanto, Pauta, Sonus Litterarum), and Argentina (Revista Argentina de Musicología), and she has presented her work in conferences and institutions across the Americas (Brazil, Canada, Colombia, Mexico, Puerto Rico, U.S.) and Europe (Finland, Romania, Spain). She is the author of Mario Lavista: Mirrors of Sound (Oxford University Press, 2023) and co-edited the volume Experimentalisms in Practice: Music Perspectives from Latin America (Oxford University Press, 2018).
In addition to her scholarly work, Alonso-Minutti has written a number of pieces. Her multi-movement choral work, Voces del desierto (performed at Albuquerque’s National Hispanic Cultural Center in 2019), won the biennial Robert M. Stevenson Prize granted by the Society for Ethnomusicology in 2021. Moreover, she directed and produced the video documentary Cubos y permutaciones: plástica, música y poesía de vanguardia en México exhibited at the Museo Universitario de Arte Contemporáneo (MUAC) in Mexico City and at the Museo Espacio in Aguascalientes.
Currently, Alonso-Minutti is the co-editor of Twentieth-Century Music journal, area editor for Grove Music Online’s Women, Gender, and Sexuality Project, member of the editorial board of Journal of Music History Pedagogy, member of the advisory board of Sonus Litteratum, and curatorial advisor for Mediateca Lavista. Moreover, she is a faculty affiliate of Project Spectrum, a student-led coalition committed to increasing diversity, equity, inclusion, and accessibility in music studies. She has served in various capacities in music-centered academic societies. She is a former council member of the American Musicological Society and the Society for Ethnomusicology, former chair of AMS’s Ibero-American Music Study Group, and former chair of AMS’s Alfred Einstein Award.
In her classes, Alonso-Minutti fosters a multidirectional dialogue centered on musical/sound practices while engaging in decolonial methodologies, cultural aesthetics, transculturation, gender/sexuality studies, border consciousness, and musical activism. Prior to joining the University of New Mexico in 2013, she was Assistant Professor of Music at the University of North Texas, where she taught large undergraduate non-music major courses, upper-division music major courses, courses within the Honors College, and master’s and doctoral-level
seminars.
Dr. Alonso-Minutti's course offerings at UNM:
- Women, Music, and Feminist Thought
- Experimental Music Across the Americas
- Mexican Music Beyond Borders
- Proseminar in Critical Musicology
- Opera in Context
- Music History from 1750 to the Present
- Studies in Twentieth-Century Music
- Studies in Medieval & Renaissance Music
¡Música del Corazón! Artistic Director
lisa nevada {b. New México, Chicana, Nuevoméxicana} advocates for our earth mother through her dance-making, performance, and teaching. Living most of her life in New México, lisa eventually landed in Brooklyn in 2019 where she thrives as a dance and teaching artist. In Lenapehoking (NYC) and beyond, she facilitates movement experiences and performs dances that engage all peoples in the observation of ecosystems and our human interactions to ignite kinship with mama earth, centered on gratitude. She choreographs for experimental theatre & musicals and is continuously mining her personal creations and offerings. Her embodied research and performance delve into the sonic realms of lullaby and wailing in response to humanity’s active destruction of psyche and home. The soils, plants & trees, waters, animals, and insect beings propel lisa’s work while dance remains the sustaining conduit through which she lives and communicates.
Community and community-building too is essential to lisa. Teaching dance classes with folks of all ages, abilities, and backgrounds nourishes these community relationships, reminding her of the positive impact human beings may have on one another and the land. lisa is fortunate to teach with the Taylor School at Paul Taylor Dance Company under Carolyn Adams and MAQAHATINE, a Montréal-based gathering space for First Nations and Indigenous artists instigated by Ivanie Aubin-Malo. She is a member of Radical Evolution’s Street Theatre Crew and currently dancing in projects with Tanya Lukin Linklater and Cami’ Leonard.
lisa is the Projects and Partnerships Coordinator and an Ensemble member with Dancing Legacy. Founded by sisters Carolyn Adams and Julie Adams Strandberg, Dancing Legacy is a performing and teaching organization committed to enabling individuals to appreciate and participate in the rich dance heritage of the United States.
She received her MFA in Dance from the University of New Mexico with concentrations in land-based choreography and performance, embodied dance history, and teaching. In 2015 SHIFT |
DANCE was founded and launched by Jacqueline García, Kelsey Paschich, and lisa nevada. The trio also instigated SHIFT DANCE | FESTIVAL, one of the only annual dance festivals in Albuquerque, NM to present contemporary, research-based, and experimental dance forms from artists across the nation.
As an independent artist, lisa has performed the choreography of Kristy Janvier, Jacqueline M. García, Kelsey Paschich, Erika Pujič, Tanya Lukin Linklater, Donna Jewell, Rishauna Zumberg, Rulan Tangen, Danny Grossman, David Parsons, Robert Battle, Donald McKayle, Jose Limón, Martha Graham, Anna Sokolow, Bill Evans, Vladimir Conde Reche, Jessica Miller-Tomlinson, among others. From 2006-2017 lisa was a core member of Ecotone Physical Theatre, a performance ensemble with a mission to mine the veins of improvisation: sonic, kinesthetic, textual, visual.
Video: lisa nevada discussing ¡Música del Corazón! 2024; produced by Julia Camargo. Watch the full interview here.
Community and community-building too is essential to lisa. Teaching dance classes with folks of all ages, abilities, and backgrounds nourishes these community relationships, reminding her of the positive impact human beings may have on one another and the land. lisa is fortunate to teach with the Taylor School at Paul Taylor Dance Company under Carolyn Adams and MAQAHATINE, a Montréal-based gathering space for First Nations and Indigenous artists instigated by Ivanie Aubin-Malo. She is a member of Radical Evolution’s Street Theatre Crew and currently dancing in projects with Tanya Lukin Linklater and Cami’ Leonard.
lisa is the Projects and Partnerships Coordinator and an Ensemble member with Dancing Legacy. Founded by sisters Carolyn Adams and Julie Adams Strandberg, Dancing Legacy is a performing and teaching organization committed to enabling individuals to appreciate and participate in the rich dance heritage of the United States.
She received her MFA in Dance from the University of New Mexico with concentrations in land-based choreography and performance, embodied dance history, and teaching. In 2015 SHIFT |
DANCE was founded and launched by Jacqueline García, Kelsey Paschich, and lisa nevada. The trio also instigated SHIFT DANCE | FESTIVAL, one of the only annual dance festivals in Albuquerque, NM to present contemporary, research-based, and experimental dance forms from artists across the nation.
As an independent artist, lisa has performed the choreography of Kristy Janvier, Jacqueline M. García, Kelsey Paschich, Erika Pujič, Tanya Lukin Linklater, Donna Jewell, Rishauna Zumberg, Rulan Tangen, Danny Grossman, David Parsons, Robert Battle, Donald McKayle, Jose Limón, Martha Graham, Anna Sokolow, Bill Evans, Vladimir Conde Reche, Jessica Miller-Tomlinson, among others. From 2006-2017 lisa was a core member of Ecotone Physical Theatre, a performance ensemble with a mission to mine the veins of improvisation: sonic, kinesthetic, textual, visual.
Video: lisa nevada discussing ¡Música del Corazón! 2024; produced by Julia Camargo. Watch the full interview here.
Educational Outreach
Each year ¡Música del Corazón! delivers 'eduformaces' lasting approximately 30 to 90 minutes. Events feature artists performing in the annual November ¡Música del Corazón! concert. Educational Outreach presentations incorporate Northern New Mexico Spanish cultural history, dance, and music. All educational outreach events are free admission and the public is cordially invited to attend.
Tentative 2024 Educational Outreach Events
Friday 22 November 10:00am-11:00am
Artist: Matachines de la Merced del Cañón de Carnué
Location: National Hispanic Cultural Center ~ theatre to be announced
Program: Matachines lecture-demonstration with student interaction
Friday 22 November 1:00pm-2:00pm
Artist: Matachines de la Merced del Cañón de Carnué
Location: National Hispanic Cultural Center ~ theatre to be announced
Program: Matachines lecture-demonstration with student interaction
Friday 22 November 3:00pm-5:00pm
Artists: UNM Concert Choir + Música Antigua de Albuquerque
Location: University of New Mexico ~ Keller Hall
Program: Open rehearsal + tour of Keller Hall / Center for the Arts (CFA)
Additional education/outreach event to be announced.
Production
Guest Curators
Keller Hall
John Donald Robb Musical Trust
Tentative 2024 Educational Outreach Events
Friday 22 November 10:00am-11:00am
Artist: Matachines de la Merced del Cañón de Carnué
Location: National Hispanic Cultural Center ~ theatre to be announced
Program: Matachines lecture-demonstration with student interaction
Friday 22 November 1:00pm-2:00pm
Artist: Matachines de la Merced del Cañón de Carnué
Location: National Hispanic Cultural Center ~ theatre to be announced
Program: Matachines lecture-demonstration with student interaction
Friday 22 November 3:00pm-5:00pm
Artists: UNM Concert Choir + Música Antigua de Albuquerque
Location: University of New Mexico ~ Keller Hall
Program: Open rehearsal + tour of Keller Hall / Center for the Arts (CFA)
Additional education/outreach event to be announced.
Production
Guest Curators
- Javier Marín-López, PhD {Úbeda / Jaén, Spain} Musicologist and Professor, University of Jaén
- Enrique Lamadrid, PhD {Embudo / ABQ} Historian of Chicano, Mexican American, and Hispano culture, Professor Emeritus, University of New Mexico
Keller Hall
- Rebecca RJ Smith, Production Manager
- Margaret Liz Rincon, Audio/Visual Senior Technician
John Donald Robb Musical Trust
- lisa nevada ~ ¡Música del Corazón! Artistic Director
- Robert Lucero, Jr. ~ Board of Directors Chair
- Rosalia Pacheco, PhD ~ Education Specialist
- Ana Alonso-Minutti, PhD ~ Archives & Underwriting Committee Chair
- Robert Tillotson, PhD ~ Performance & Education Committee
- Jim Bonnell ~ Board of Directors Secretary
- Julia Souto de Camargo ~ Graduate Assistant
- Thomas Goodrich ~ Program Specialist
Sponsors
Archives
- 2024 Sacred Choral Music and Ritual Dance on the Camino Real de Tierra Adentro
- 2023 10th Anniversary Celebration
- 2022 Baroque Fandangos of New Spain and Historic Fandangos of New Mexico
- 2021 Fandango Roots and Flowers
- 2020 Mariachis y Flamencos
- 2019 Sin Froteras 30th Anniversary Celebration
- 2018 Una Velada Nuevomexicana
- 2017 Adventuras Musicales - Spain, Mexico, New Mexico
- 2016 A Celebration of Nuevomexicano Music
- 2015 Spotlights Tradition
- 2014 Enjoy Time-Honored New Mexico Folk Music
- 2013 An Afternoon with Frank McCulloch
- 2012 A Celebration of the New Mexico Centennial