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UID:378@1718.ucla.edu
DTSTART;TZID=America/Los_Angeles:20220126T160000
DTEND;TZID=America/Los_Angeles:20220126T170000
DTSTAMP:20220105T183635Z
URL:https://1718.ucla.edu/events/wip-leguin/
SUMMARY:Works-in-Progress session: “Lyric Comedy in the Iberian-American 
 Atlantic”
DESCRIPTION:by Elisabeth Le Guin\, Professor of Musicology\, University of 
 California\, Los Angeles\, and Alejandro García Sudo\, Ph.D. Candidate i
 n Musicology\, University of California\, Los Angeles\n\nPresented online 
 via Zoom meeting. Please register to attend:\nhttps://ucla.zoom.us/meeting
 /register/tJUodOitrj8uHNxgHT3wkh4bhUC09V2wauWL \n\nThis session presents 
 an overview of Le Guin’s and Garcia Sudo’s recent explorations of the 
 tonadilla\, a type of satirical musical comedy that enjoyed outstanding po
 pularity in Madrid\, Spain\, and reached numerous North and South American
  stages between about 1760 and 1820 (Le Guin\, 2014). The researchers welc
 ome feedback on a book proposal and an article proposal\; both documents w
 ill be circulated before their session.\n\nTonadillas Americanas will be a
  co-authored book with two parallel lines of argumentation. First\, the au
 thors will present historical case studies of musical performance in circu
 m-Caribbean stages—Veracruz\, La Habana\, New Orléans—making the case
  that the tonadilla can be conceptualized as a performative complex with n
 umerous embodiments across Hispanic-American domains. Additionally\, the a
 uthors will interweave chapter-long historiographic meditations about the 
 nature and scattered location of some of the sources relevant to this tran
 snational research\, arguing that musical genres and performing traditions
  that are often imagined as coherent prove to be fluid and unstable when e
 xamined from multiple positionalities and ideologies (colonial\, nationali
 st\, imperial\, and postcolonial).\n\n“The Transatlantic Tonadilla\,” 
 a companion piece to Tonadillas Americanas\, will dive into the prevailing
  theoretical underpinnings of transatlantic music studies\, contending tha
 t music and the performing arts should hold a more visible place in world 
 historical research\, and that Hispanic-American early music histories mig
 ht shed new light on Atlantic Studies as conceived by U.S.-American and En
 glish musicological circles (Roach\, 1998\; Madrid\, 2011\; Goodman\, 2012
 \; Madrid and Moore\, 2013\; Jones\, 2014\; Miller\, 2015\; Goodman\, 2015
 ). The authors would like help evaluating different ways of presenting and
  expanding the main ideas of this upcoming article.\n\nElisabeth Le Guin i
 s a performer and musicologist whose dual allegiances manifest as a series
  of dialogues\, in tones and words\, between theory and practice. As a Bar
 oque cellist\, she was a founding member of Philharmonia Baroque Orchestra
  and the Artaria String Quartet. In recent years she became involved in th
 e movimiento jaranero\, a transnational grassroots musical activism in Mex
 ico and Mexican immigrant communities in the USA.\n\nAs an academic\, Prof
 essor Le Guin has published two books with the University of California Pr
 ess: Boccherini’s Body: an Essay in Carnal Musicology (2006) and The Ton
 adilla in Performance: Lyric Comedy in Enlightenment Spain (2014). She rec
 eived the American Musicological Society’s Alfred Einstein and Noah Gree
 nberg Awards.\n\nShe has taught at UCLA since 1997\, with a particular foc
 us on undergraduate advising\, the teaching of writing\, international edu
 cation\, and the integration of performance with scholarship. She succeede
 d in re-starting UCLA´s Early Music Ensemble in 2009 after a 15-year hiat
 us\, and has served two terms as Study Center Director for the UC Educatio
 n Abroad Program in Mexico City.\n\nAlejandro García Sudo is a Ph.D. Cand
 idate in Musicology. He earned a B.A. (licenciatura) in International Rela
 tions from El Colegio de México (2010) and a M.A. in Musicology from The 
 University of Western Ontario (2012). Later\, he completed doctoral course
 work at UCLA under Fulbright-García Robles sponsorship (2013–16). He is
  interested in theorizing the international and transnational dimensions o
 f early modern and modern musical performance. His current dissertation as
 sesses the weight of Pan-American discourses in musically inclined intelle
 ctual circles\, and the salient role of Latin American music in government
 -sponsored cultural projects of the interwar period.
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CATEGORIES:Lectures
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