Flower World - Mundo Florido, vol. 2

Music Archaeology of the Americas - Arqueomusicología de las Américas

The Contributors – Los contribuidores

EGBERTO BERMÚDEZ studied early music performance practice and musicology at the Guildhall School of Music and King’s College, University of London. Currently he is tenured professor in the Instituto de Investigaciones Estéticas (I.I.E.) at the Faculty of Arts, National University in Bogotá, Colombia. He has published a number of works on Latin American and Colombian music history, traditional and popular music, and musical instruments. In 1984, he founded, and since then directed, CANTO, an ensemble specialised in Spanish and Latin American Renaissance and Baroque repertoire. In 1992, he established with Juan Luis Restrepo the Fundación de Música, dedicated to disseminating the results of research on the Latin American musical past, both amongst scholars and the general public. From 1998 to 2001 he was president of the Historical Harp Society. Presently he serves as director of the I.I.E., coordinator of the Master in Musicology program, and editor of Ensayos: Historia y Teoría del Arte.

ARND ADJE BOTH obtuvo su doctorado en Estudios antropológicos y arqueológicos de las Américas con una disertación sobre los aerófonos aztecas excavados en el Recinto Sagrado de Tenochtitlan (Aerófonos mexicas, Berlin 2005). Para su tesis de maestría sobre la etnohistoria de la música en el Posclásico Tardío de Mesoamérica (1999) recibió el premio Rudolf-Virchow de la Sociedad Berlinese de Antropología, Etnología y Prehistoria. Fue profesor en el Instituto de Estudios Latinoamericanos, Universidad Libre de Berlín (2001-2008), y gerente de conferencias y cabezal de la oficina editorial del International Study Group on Music Archaeology en el Instituto Arqueológico Alemán, Berlín (2005-2008). Fue curador de “Musik-Welten”, una exposición sobre música en los Reiss-Engelhorn-Museen, Mannheim (2008-2012), y es actualmente curador de una exposición de arqueomusicología del European Music Archaeology Project (2013-present). Lleva a cabo una serie de proyectos de investigación acerca de las culturas musicales prehispánicas que incluyen investigaciones de campo en los sitios arqueológicos del Templo Mayor, Teotihuacan, y Xochicalco. Es fundador del Directorio de Investigadores Dedicados a las Antiguas Culturas Musicales Americanas y las Culturas Viventes (mixcoacalli) y director del ICTM Study Group on Music Archaeology (2007-present).

CARRIE DENNETT is a doctoral candidate in the Department of Archaeology at the University of Calgary, in Alberta, Canada, where her Ph.D. (expected 2014) focuses on ceramic compositional analyses, ceramic economy, and social identity in pre-Columbian Pacific Nicaragua. Her M.A. research similarly focused on ceramics and identity in pre-Columbian Northeast Honduras. In collaboration with various colleagues, she has given both international conference presentations and published on ceramic musical instruments from both these archaeological regions. Since 2007 she has served as the Managing Editor of Ancient Mesoamerica, a peer-reviewed academic journal published by Cambridge University Press, and is currently (2012–2014) the Resident Mayer Fellow at the Denver Art Museum working with the Frederick and Jan Mayer pre-Columbian Costa Rican collection.

ANNA GRUSZCZYNSKA-ZIÓLKOWSKA is a polish musicologist and professor at the Institute of Musicology, University of Warsaw, where she earned both her Ph.D. (1992) and habilitation (2005). Since 1987 she is working on the “Proyecto Nasca” at the Centro Italiano Studi e Ricerche Archeologiche Precolombiane conducting research on the Nasca musical instruments (Rytual dzwizku. Muzyka w kulturze Nasca, 2003). She is also doing research on Andean history (El poder del sonido: El papel de las crónicas españolas en la etnomusicología andina, 1995; The Face of Ñamçapa: On the Role of Music in the Andean Myth. In Musicology Today: Anthropology – History – Analysis, 2007). Other topics in musical anthropology she has published on are tarantism in Spain (Revista de Folklore 317/27a, 2007), the blind musician as a figure in traditional culture (Metamorfozy dziada-lirnika wsztuce polskiej XIX i poczatku XX wieku. In: Polski Rocznik Muzykologiczny 8, 2010), and traditional systems of sound (Analiza muzykologiczna pieani Sibinczyków. In: Folklor ludów tunguskich, 2009).

MARK HOWELL is the Director of the Winterville Mounds Park and Museum (2006-present), a 12-mound Mississippian site in the Mississippi Delta. Prior, he taught Music History at Fordham University (1999-2006) and Hunter College (1999-2004) in New York City. More recently, he was a Senior Research Fellow with TOPOI in Berlin (2009-2012) where he co-organized the workshop: “Sound, Political Space, and Political Condition: Exploring Soundscapes of Societies Under Change” (2011), and co-organized the “Klangräume” for an exhibition at the Pergamon Museum (2012). Recent publications include: “Music Evidence of Spanish, French, and English Encounters with Native Americans: The Similarities, Differences, and Consequences” (Proceedings from the TOPOI workshop 2013; he also served as co-editor for that volume); “An Organology of the Americas as Painted by John White and Other Artists” in Flower World: Music Archaeology of the Americas (2012); “Tzunam Bailes and the Role of Music Instruments in Pre-Columbian Highland Guatemala” in Studien zur Musikarchäologie VII (2012); and “Music Syncretism in the Postclassic K’iche’ Warrior Dance and the Colonial Period Baile de los Moros y Cristianos” in Maya Worldviews at Conquest, University Press of Colorado (2009). Dr. Howell is currently working with Graeme Lawson, Ricardo Eichmann, and others, developing a master’s level degree program in music archaeology for the Berliner Antike-Kolleg. Prior to his academic career, Dr. Howell was a working musician-composer based in New York City (1982-2006).

KATRINA CASEY KOSYK is an undergraduate in the University of Calgary completing her Honours Bachelor of Science in Archaeology and Bachelor of Arts in History. Her honours research focuses on pre-Columbian Costa Rican musical instruments, specifically ceramic aerophones incorporating an in-depth analysis of social identity, cultural history, and tonal properties. She has presented at a number of international conferences in collaboration with a number of colleagues from the Archaeology department at the University of Calgary. She was awarded the Mount Royal University President’s scholarship for engineering and the Alexander Rutherford scholarships for both academic and music excellence in 2006. In 2012, she received the Jason Lang scholarship for academic achievement. She will continue exploring her passion for Central American archaeology and music as she transitions her current research into graduate level studies.

DANIELA LA CHIOMA SILVESTRE VILLALVA es graduada en Historia por la Universidad de São Paulo (Brasil) y tiene una Maestría en Arqueología por la misma universidad (Museo de Arqueología y Etnología). Trabajó sobre los tocadores de antaras en las iconografías moche y nasca, enfatizando su rol social y la relación de las antaras con la cosmovisión. Actualmente está desarrollando su investigación de doctorado (Universidad de São Paulo) sobre los músicos moche de la costa norte del Perú y su papel en el entorno político-religioso. Desde 2008 está participando en proyectos de excavación en la región de Lambayeque, Perú, además de investigaciones en diversas instituciones académicas y museográficas del Perú y Brasil, en razón de sus estudios doctorales. Es Investigadora Asociada del Centro de Estudios Mesoamericanos y Andinos de la Universidad de São Paulo, donde coordina, entre otras actividades, el Grupo de Estudios de Lengua Quechua.

VANESSA RODENS DE POZUELOS es candidata a doctora en antropología americana por la Universidad de Bonn, Alemania. En la misma universidad cursó estudios en antropología americana y musicología, con especialidad en los instrumentos musicales mayas, y se graduó con una tesis sobre los tambores de la cultura maya del período prehispánico. Posteriormente obtuvo una beca de investigación del Servicio Alemán de Intercambio Académico (DAAD) y fondos de investigación de la Fundación Reinhart (EE.UU.) para iniciar el registro de aerófonos mayas de las Tierras Bajas Centrales de Guatemala. En los últimos años ha realizado estudios organológicos de los aerófonos de diversos proyectos arqueológicos en Guatemala, entre ellos el Proyecto El Mirador, Motul de San José, Piedras Negras, Aguateca y Holmul, y de las colecciones de instrumentos musicales del Museo Popol Vuh, Fundación La Ruta Maya, Casa K´ojom (Museo de Música Maya), Museo Nacional de Antropología y Etnología e Instituto de Antropología e Historia (Salón 3). Ha publicado informes y diversas contribuciones en Guatemala, Alemania y Suiza.

GONZALO SÁNCHEZ SANTIAGO, Etnomusicólogo egresado de la Escuela Nacional de Música de la Universidad Nacional Autónoma de México y Maestro en Antropología por el Centro de Investigaciones y Estudios Superiores en Antropología Social (CIESAS). Sus investigaciones abordan el arte prehispánico y la arqueomusicología del suroeste de Mesoamérica. Entre sus publicaciones se encuentran libros, catálogos y artículos sobre los instrumentos musicales prehispánicos de Oaxaca. Ha participado en la elaboración de guiones museográficos para el Museo de las Culturas de Oaxaca y el Museo Amparo en Puebla. Ha sido colaborador del Instituto Nacional de Antropología e Historia (INAH), Centro Oaxaca y profesor de la Licenciatura en Historia en la Universidad Autónoma “Benito Juárez” de Oaxaca (UABJO). Es coeditor del libro Panorama Arqueológico: Dos Oaxacas publicado por el INAH y el Fondo para la Investigación Arqueológica de Oaxaca. Forma parte del Programa de Posgrado en Historia del Arte en la Universidad Nacional Autónoma de México.

HENRY STOBART is a Reader in Music/Ethnomusicology in the Music Department of Royal Holloway, University of London. He has published widely on the music of the Bolivian Andes, initially focusing on rural indigenous perspectives and more recently on the implications of digital technologies and ‘piracy’ on indigenous music. His books include the monograph Music and the Poetics of Production in the Bolivian Andes (Ashgate, 2006) and several edited volumes: The New (Ethno)musicologies (Scarecrow, 2008), Knowledge and Learning in the Andes: Ethnographic Perspectives (co-edited with Rosaleen Howard; Liverpool University Press, 2002), and Sound (coedited with Patricia Kruth; Cambridge University Press, 2000). Henry maintains an active interest in performance and is the founder/coordinator of the UK Latin American Music Seminar.

MATTHIAS STÖCKLI is associate professor and researcher in the Department of Anthropology and Sociology at the Universidad del Valle in Guatemala City. A former researcher in the Centro de Estudios Folklóricos at the Universidad de San Carlos de Guatemala (2004-2012) and co-founder of “Senderos: Revista de Etnomusicología,” he has published on a wide array of topics related to the traditional indigenous music of Guatemala. His music archaeological research includes studies on the musical finds of Piedras Negras, Aguateca, Kaminaljuyú, and various sites of the Guatemalan Pacific coast.

GRAZIA TUZI has earned a B.A. in Ethnomusicology from the Sapienza University of Rome where she studied with Diego Carpitella, and a Ph.D. in Ethnoantropological Sciences from the same university. From 2004 to 2009 she taught ethnomusicology at the University of Calabria where she also holds a Research Fellowship. Since 2009 she is professor of ethnomusicology at the University of Valladolid in Spain where she teaches undergraduate and graduate courses. Her research focuses on topics of identity, migration, and gender in Italy, Spain, Mexico, Argentine, and Morocco.