The research network Trayectorias / Cultural Exchanges: Music between Latin America and Europe was established in 2014 for the study of the musical exchanges between Latin America and Europe after 1945. In 2015, the first conference took place in Rio de Janeiro as a collaboration of the founding members Omar Corrado (University of Buenos Aires), Daniela Fugellie (Universidad Alberto Hurtado, Santiago de Chile), Christina Richter Ibáñez (University of Tübingen), María Alice Volpe (Universidade Federal do Rio de Janeiro), a representative of the Ibero-American Institute Berlin (IAI) Ulrike Mühlschlegel, as well as Matthias Pasdzierny and Dörte Schmidt (Center for the Study of the Musical Culture of the Postwar Period at the University of the Arts Berlin).
Since then, the network has grown and organized international conferences in Berlin (2017), Santiago de Chile (2019), and Heidelberg (2021). The discussed topics embrace different perspectives on the musical exchanges during the 20th century, among them migration and exile, cultural politics, tours by orchestras and soloists, music festivals, and musicological production, from different theoretical and methodological perspectives.
Diego Alonso: I studied Musicology at the Complutense University (Madrid). I received my PhD in 2015 with a thesis on the influence of Arnold Schoenberg on the music of Roberto Gerhard. I work as a postdoctoral researcher at the Humboldt University in the project Hanns Eisler im republikanischen Spanien. I am a founding member and spokesperson (Sprecher) of the study group “Deutsch-Ibero-Amerikanische Musikbeziehungen” of the German Musicological Society. I have published my research in, among others, Acta musicologica, Twentieth-Century Music, Music Analysis, Die Musikforschung, Journal of War and Culture Studies and Musicologica Austriaca. My academic interests include transnational and transatlantic processes of transfer of musical repertoires, practices and discourses in the short twentieth century, in particular those resulting from political exile. So far I have focused my study on the network of mainly Spanish and German communist composers and theorists exiled by European fascism first in various European countries and later in Latin America, mainly in Mexico. The Trayectorias network is for me a platform for exchange and academic contact with a network of colleagues with similar interests and fields of expertise.
Omar Corrado: Regular Professor at the Faculty of Philosophy and Letters of the University of Buenos Aires between 1995 and 2019. Full Member of the Academia Nacional de Bellas Artes. Most frequent fields of study: music in Argentina and Latin America in the 20th and 21st century, relations of music and politics, problems of analysis, musical semiology and hermeneutics. Studies of musical transfer between America and Europe since the 20th century, in terms of reception theory and cultural translations. I understand the network as a space to share works and produce reflections that enhance individual research. I try to contribute to this task by presenting papers or intervening in institutional instances such as evaluations and programming. Some of his work is available at https://uba.academia.edu/OmarCorrado.
Daniela Fugellie: As a Chilean scholar who studied musicology in Germany, the circulation of musical works, people and discourses between Latin America and Europe has always been one of my main research interests. After concluding my PhD at the University of the Arts Berlin, I returned to Chile, where I work since 2016 at the Music Institute of the Universidad Alberto Hurtado. In connection to trayectorias, I have studied the productive reception and resignification of the music of J. S. Bach, Ludwig van Beethoven, and W. A. Mozart in Chile during the 20th and 21st centuries; the paths of twelve-tone composition in Argentina, Brazil, and Chile; the presence of European immigrants in 20th-century Latin American musical life; Luigi Nono’s exchanges with the Latin American avant-garde; and the context of Violeta Parra’s artistic exhibition in Paris (1964). You can find some of my publications in: https://uahurtado.academia.edu/DanielaFugellie.
Stefano Gavagnin: I am a professor of Humanities at a Lyceum of Arts and Music in Venice, the city where I live and from whose Ca’ Foscari University I graduated in History of Music in 1986. As a musicologist, I investigate the dissemination of Latin American popular music in Italy, especially the Nueva Canción and Andean music, with a distinct interest in its transnational dynamics such as connections, circulations, transfers, appropriations: a perspective that I have explored in my Ph.D. thesis at the University of Rome-Sapienza, and that I have also known as a member of Italian ensembles specialized in Latin American “folklore”. Within the multi-site and diverse network that is Trayectorias, I’m interested in dialoguing with colleagues and collaborating to the best of my possibilities –as an independent researcher–, supporting the organization of conferences, symposiums, etc. In this, my approach can contribute elements of analysis from the reflexive look of a European “other”, someone who is a recipient of Latin American cultures and identities conveyed by music, especially in the popular sphere.
Nils Grosch holds the chair in Musicology at the University of Salzburg/Austria where he is also Head of Department for Art history, Musicology and Dance studies. He gained his doctorate at the University of Freiburg i. Br. with a dissertation about Music and Neue Sachlichkeit and completed his habilitation at the University of Basle with a thesis about 16th century German Lied and Media. He has taught at universities in Basle, Freiburg, Paderborn, Zurich, Detmold and Hanover. His major research interests are music and mobility and musical theatre. Projects co-headed by Nils are “The Representation of History in Musicals” (FWF funded) and “Music, Migration and Mobility” (AHRC funded).
Jesús Herrera: I am a Mexican pianist and scholar. I work at the Universidad Veracruzana in Xalapa (Mexico). I studied Creation and Culture Theory at the Universidad de las Américas Puebla, in my country, besides studying Musicology at the Universidad Veracruzana, and Piano in Indiana University (United States) and in the Universidad Nacional Autónoma de México. My doctoral dissertation was about music in London publications for Spanish America between 1823 and 1826. I worked in the cataloguing of the Musical Archive of Mexico Cathedral. I have done research about different aspects of music in Mexico, from the Viceregal period to the XXth Century. I was co-director of the course “Music in the Spanish Empire in both sides of the Atlantic” in the Escuela Complutense Latinoamericana Xalapa 2019. I have research projects in cataloguing, digitising and edition of musical sources, besides researching matters of cultural transfer and nationalism. My participation in Trayectorias started because of my interest in musical exchanges –in different periods of time– between Mexico and other places, such as Spain, the United Kingdom, and the United States. You can download my publications in: https://uv-mx.academia.edu/Jes%C3%BAsHerrera
Sydney Hutchinson is a research associate at the Institute for Musicology and Media Studies at Humboldt University Berlin. Formerly, she was associate professor of ethnomusicology at Syracuse University. Her numerous books and articles have examined aspects of gender, geographies, and politics of Latin American and Caribbean music and dance, particularly in the Domninican Republic, the Dominican diaspora, the US-Mexico border, and New York City. In the innovative textbook Focus: Music of the Caribbean, Hutchinson explores (among other things) the ways in which Caribbean music and dance transformed Europe from the 16th century onwards. Hutchinson’s currently multiyear project, funded by DFG, is titled “Second World Music: Latin America, East Germany, and the Sonic Circuitry of Socialism.” In it she uncovers and analyses musical and musicological exchanges between the GDR and Latin America, particularly Cuba, and their ongoing impact on music, dance, and society.
Pablo Ernesto Jaureguiberry is Professor of Musical Analysis at Universidad Nacional de Rosario (Argentina), member of the editorial board of Revista Argentina de Musicología, and holds a Ph.D. scholarship from Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET). His doctoral research, based at Universidad de Buenos Aires (UBA), revolves around the musical poetics of Jorge Horst (Rosario, 1963). Some of its results have been published in different peer-reviewed journals, and one focused on the productive reception of Luigi Nono’s Liebeslied (1954) has been granted with the 2022 Gerardo V. Huseby Memorial Award by the International Musicological Society. His scholarly interest focusses on analytical approaches to 20th and 21st centuries art music, music theory, cultural translations and mobilities, productive reception and self-analysis.
Martín Liut: I am a musician, teacher and researcher. I have a PhD in “Social and Human Sciences” from the UNQ and in “Music, History and Society” from the Ecole des Hautes Etudes en Sciences Sociales (Paris). I am currently Associate Professor at the University School of Arts (EUDA) of the University of Quilmes (UNQ) and Adjunct Professor at the Faculty of Philosophy and Letters of the University of Buenos Aires (UBA). My research project “Territorios de la música argentina contemporánea, etapa 2” EUDA has been active since 2011. I am compiler and co-author of 2001, una crisis cantada and co-editor -with Abel Gilbert – of Las mil y una vidas de las canciones, both books published by Gourmet Musical Ediciones. As a musician, I am the author of the sound intervention Mayo, los sonidos de la plaza, and of the cycles Inventarios argentinos and Las dos orillas, among other works for different instrumental and vocal formats.
Iván César Morales: I did my undergraduate studies in musicology at the Instituto Superior de Arte in Havana. Years later, I obtained my doctorate at the University of Oviedo, where I am currently Assistant Professor in the Department of Art History and Musicology. My research activity focuses, around the concepts of identity and migration, on the study of Cuban composers of the diaspora in the late twentieth and early twenty-first centuries, mainly based in Europe. From this point of reference, and in relation to trajectories, my current research interests include: musical and ideo-aesthetic exchanges between Cuba and the Eastern European bloc during the Cold War (from 1959 to 1991), and the reception of music with Afro-Cuban aesthetics in Europe in the first half of the 20th century, mainly France and Spain.
Ulrike Mühlschlegel: I’m an academic librarian and I hold a PhD in linguistics. Since 2001, I have been working at the Ibero-American Institute in Berlin. My research focuses on language contact, cultural contact, knowledge circulation and the history of science. I also have experience in publication management and layout, science management and digitization.
Julio Ogas: Doctor in History and Science of Music and Bachelor of Music: specialising in piano, Ogas is currently Professor at the University of Oviedo, and has also taught undergraduate and postgraduate courses at universities in Spain and Latin America. His work focuses on 20th and 21st century Latin American and Spanish music, both academic and popular. In this field he addresses, among others, issues such as: intertextuality and hypertextuality, the relationship between musical discourse and cultural discourse, transculturation and migration, sound meaning and identity. He is a member of the Research Group on Contemporary Music in Spain and Latin America, and directs the project Música en España y el Cono Sur americano: transculturación y migraciones (1939-2001) with funding from the Spanish Ministry of Science, Innovation and Universities. He has spoken at conferences and was involved in publications in Argentina, Spain, Cuba, France, Uruguay, Germany, Mexico, Brazil, Portugal, Peru and Chile. Since 2011 he has been directing the Aula de Música iberoamericana at the University of Oviedo.
Matthias Pasdzierny: My connection to trayectorias results from my research in the field of music and migration. In my PhD I focussed on the remigration of music professionals (musicians, musicologists, pedagogues etc) to Germany after 1945, including several cases strongly connected to Latin America (e.g. the composer Richard Engelbrecht or the conductor Fritz Busch). In my postdoc period one of my research topics is the history of Techno/Electronic Dance Music. In this context I wrote several contributions about the connection between Latin America (mainly Chile) and Germany. Currently I work as research coordinator (Arbeitsstellenleiter) at Bernd Alois Zimmermann-Gesamtausgabe/Berlin-Brandenburg Academy of Sciences and Humanties and as research assistant (musicology) at the University of the Arts Berlin. My favourite trayectorias-track at the moment: Paula Schopf: Espacios on Soledad (https://paulaschopf.de/work/espacios-en-soledad-ep/).
Abner Perez: After formally studying my undergraduate and MA degree in Media and Commercial Music, in Ecuador and England, becoming a lecturer in Songwriting was my entry door into academics. Then, as an academic coordinator of the School of Music at Universidad de las Américas (UDLA) in Quito, Ecuador, I became interested in understanding the systematic relationship of Higher Popular Music Education (HPME) between Europe and Latin America. My PhD research took me to Germany to the University of Paderborn (UPB), and now I am waiting for the defence of my thesis: Decoloniality and Higher Popular Music Education: Perspectives from Ecuador and Germany. Now, I am working as a Music Teacher at the International School on the Rhine (ISR), as a guest lecturer for the Pop Musik und Media programme at UPB, and I also continue working as a songwriter, performer, and producer. Last year, I was part of the Trayectorias network’ conference in Heidelberg and I am convinced that it is a very important reference for the music research between Latin America and Europe, and I definitely want to be part of that process. Research lines: Higher Popular Music Education, Decoloniality, Inter/trans disciplinarity, Translocality, and Popular Culture.
Christina Richter Ibáñez: Since studying musicology in Germany at the turn of the millennium, I have been interested in music from Latin America. At that time, there were hardly any German-language academic publications. Through a Master’s thesis on Juan Carlos Paz and a dissertation on Mauricio Kagel’s youth in Buenos Aires (1946-1957), I got to know researchers in Latin America and intensified the personal exchange. Since then, I have also worked in the field of exile research on Argentina and Brazil and have dedicated myself to the transatlantic translation of popular music since the 1950. I am professor of musicology at the Frankfurt University of Music and Performing Arts with a focus on performances studies, contemporary and popular music. I convened the fourth conference of trayectorias in Heidelberg and dedicated it to the topic Translation, Interpretation, Adaptation.