Mario R. Cancel-Bigay studied at Ernesto Ramos Antonini Music School in San Juan, Puerto Rico where he studied the Puerto Rican cuatro, Puerto Rico's national guitar, and began composing socially conscious songs. He obtained a Bachelor's Degree in Modern Languages at the University of Puerto Rico and a Master's Degree in Interdisciplinary Studies at New York University where he worked as a research assistant. His thesis, The Puerto Rican New Song Movement: Between the Modern and the Postmodern, was nominated for the 2013-2014 Hirschhorn Thesis Award and explored the dynamics of Puerto Rican protest music of the 1960s in the light of global changes. He is currently pursuing a doctoral degree in ethnomusicology at Columbia University.
The Center for Ethnomusicology presents a colloquium on:
Indigeneity and Music
Amanda Minks (University of Oklahoma):
"Constructing Culture and Indigeneity on the Caribbean Coast of Nicaragua"
Deise Lucy Montardo (Universidade Federal do Amazonas, Brazil; President. Brazilian Ethnomusicology Association [ABET]):
Music and Cosmology in Lowland South America: Guarani and Baniwa cases
Thursday, Sept. 18, 2014
12 noon - 2pm
701C Dodge Hall (The Center for Ethnomusicology)
Columbia University Morningside Campus (B'way and 116th St.)
Free and Open to the Public
Click image for full sized poster!
The Center for Ethnomusicology Presents:
George Yudice (Director, Miami Observatory on Communication and Creative Industries, University of Miami)
Vulgar musics and the challenge to the recognition of cultural heritage
Monday, Sept. 8, 2014
4.10 - 6.30pm
701C Dodge Hall (Center for Ethnomusicology)
George Yudice received his B.A. (Chemistry) from Hunter College, CUNY; his M.A.
(Spanish) from the University of Illinois, Champaign-Urbana; and his Ph.D. (Romance
Languages) from Princeton University (1977). His teaching includes critical theory,
literary and cultural studies; his courses range from contemporary aesthetics and
politics to urban imaginaries, to film recreations of literary works, Mapping Miami, and
cultural policy in Latin America. He also teaches in the Program in Latin American
Studies and he is director of the Miami Observatory on Communication and Creative
Industries (www.miamiobservatory.org), which tracks work in music, theater, audiovisual, culture-based urban revitalization, cultural networks throughout the Americas, and community-based projects in South Florida
This summer, The Center for Ethnomusicology's main facility in Dodge Hall was renovated. Rolling shelving was removed, carpeting and paint were replaced, and a new HD projection system with a 120" diagonal screen and surround sound installed. This fall, the Center will host many events and speakers in what will be, now, among the finest multimedia/film-screening/video-conferencing facilities on campus.
The Center also has a new mobile website in development. You can check it out here!
ETHNOMUSICOLOGICAL FIELD METHODS/TECHNIQUES (for undergraduates!)
Section 001 Call Number: 62038 Points: 3
Day/Time: T 4:10pm-6:00pm
Location: To be announced
Instructor: Prof. Aaron A. Fox (bio)
The goals of this course are practice-oriented. The end result will be short fieldwork-based project of approxiamtely 20 pages in length. In order to complete the paper, students will conduct fieldwork, read and synthesize relevant literatures, and think carefully about the questions in which they are interested and methods of addressing them through ethnographic inquiry.
This course is open to both undergraduate and graduate students in the junior or senior year only. Permission of the instructor is required. Class size is limited to 12 students, with priority given to Barnard College Ethnomusicology majors and other Music major/concentrators. Please contact Prof. Fox as soon as possible if you intend to register for this course.