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Dr. Mauricio Molina (34) 663 074 839
maurus4@gmail.com
EDUCATION
City University of New York Graduate Center
Ph.D. in Historical Musicology, 2001-2006.
Mannes College of Music
Master of Music in Historical Performance (renaissance and baroque recorders),
1997.
Bachelor in Music in Historical Performance (renaissance and baroque recorders),
1996.
Recorder studies with Nina Stern.
Renaissance and Baroque Music Studies with Arthur Hass and Patrick O’Brien.
Escuela Superior de Música de Tunja, Colombia
Undergraduate Studies in music theory, 1988-90.
TEACHING EXPERIENCE
Institute for the Education of Students, American University Abroad Program in
Barcelona (http://www.iesabroad.org/study-abroad/barcelona)
Adjunct Faculty, 2010-present
Classes Taught:
La música en España: diversidad, funcionalidad, y la construcción de una
identidad cultural (in Spanish)
The Iberian Peninsula: Cultures and Religions Through the Arts
Introduction to Music: Learning to Listen
Conservatorio de Música de Girona, Aula de Música Antiga
Adjunct Faculty, 2008-present
Classes Taught:
Medieval Music Theory (Teoría y práctica de la música medieval, in Spanish)
Dr. Mauricio Molina • Page 2
Chamber Music
Director of the Medieval Music Ensemble-in-Residence Cerverí de Girona
International Course on Medieval Music Performance (Early Music Besalú)
Director and Faculty, 2012-present
Classes Taught:
Medieval Music Theory
Chamber Music Ensemble
Percussion Classes
University of Bridgeport
Adjunct Faculty, 1999-2003.
Classes Taught:
Methods in Music Education I & II
Recorder
Early Music Ensemble
Carnegie Hall
Lecturer and performer in the outreach program presented in NY Public Libraries
and schools, 1997-2002.
Mannes College of Music
Adjunct Faculty, Recorder Ensemble, 1996-2001.
Assistant Conductor, Collegium Musicum, 1995-1998.
Hunter College
Director, Hunter College Early Music Ensemble, 1998
PUBLISHED WORKS
La canción monofónica secular y religiosa en el Occidente medieval (s. XII y
XIII): fuentes, repertorios y aproximaciones. Madrid: Dairea (forthcoming).
“Music, Sound and Performance in the Mediterranean / Instruments.” In Mapping
the Medieval Mediterranean, c. 300-1550: an encyclopedia of perspectives in
research. Boston: Brill Press (forthcoming).
Dr. Mauricio Molina • Page 3
“Li autres la citole mainne: Towards a Reconstruction of the Citole’s Performance
Practice.” In The British Museum Citole: New Perspectives. London: The British
Museum Press (forthcoming).
“Tympana rauca: Context, Symbolism and Performance Practice of the Medieval
Western European Frame Drum.” In Transculturation and Organology: Frame
Drums in History and Contex. Kent, Ohio, Kent State University Press
(forthcoming )
Entries on Spanish instruments to the New Grove Dictionary of Musical
Instruments, 2nd edition. (Oxford: Oxford University Press, 2013).
“Non se tenga por maestra complida: The Skillful Medieval Female Performer
and her Challenge to the Social and Intellectual Space Dominated by Males." In
Recent Research in Early Iberian Music in an International Context (Papers from
the Medieval and Renaissance Music Conference, Barcelona, 5-8 July 2011)
(Kassel: Reichenberger, 2014)
“Alleviators of Sadness and Tedium”: Constructing a Socially Acceptable Image
for the Medieval Female Performer. Núcleo de Iconografia Musical (NIM),
Universidade Nova de Lisboa, 2014).
“Panderos, cribas y tumbas: los tambores de marco y su conexión con el grano y
los ritos de la fertilidad del antiguo Mediterráneo.” Ítaca: quaderns catalans de
cultura clàssica 24 (forthcoming).
Liner notes. Magister Petrus. Vacillantis: Amorous, Religious, and Moralistic
Latin Songs of the 12th-Century Renaissance . Enchiriadis EN 2034. 2012.
"Tympanistria nostra: La reconstrucción del contexto y la práctica musical de las
pandereteras y aduferas medievales a través de sus representaciones en el arte
románico español." Codex Avquilarensis 26 (2011): 77-104.
Frame Drums in the Medieval Iberian Peninsula. Kassel: Reichenberger, 2010.
“In tympano Rex Noster tympanizavit: Frame Drums as Messianic Symbols in
Medieval Spanish Representations of the Twenty-Four Elders of the Apocalypse.”
Music in Art 32 (2007): 100-123.
“Musical Instruments Unit Metropolitan Museum of Art.” In Music Under
Construction: Imitation. New York: Carnegie Hall Education Department, 2002.
pp. 36-45.
Review of Peter Bruegel the Elder: Drawings and Prints, The Metropolitan
Museum of Art (September 25 to December 2, 2001). Music in Art 26 (2001):
152-153.
Liner notes. Sendebar. De Mar a Mar: Music in the Medieval Iberian Peninsula.
One Soul Records OS 28867. 2007.
Dr. Mauricio Molina • Page 4
Liner notes. Ensemble for the Seicento, Forbidden Dance: Dances and
Diminutions of the Italian Baroque. Musicians Showcase Recordings MS1073.
2001.
CONFERENCE PAPERS
“Non se tenga por maestra complida: The Skillful Medieval Female Performer
and her Challenge to the Social and Intellectual Space Dominated by Males.”
Medieval and Renaissance Music Conference: Barcelona. July 5-8, 2011.
“Song, Body Movement, and Rhythmic Counterpoint: The Dexterous Threefold
Spectacle of Some Medieval Spanish Juglaresas.” Performa 11, Conference on
Performance Studies: Aveiro, Portugal. May 19-21, 2011.
“Li autres la citole mainne: Towards a Reconstruction of the Citole’s
Performance Practice.” The British Museum Citole Symposium: New
Perspectives, The British Museum, London. November 4-5, 2010.
“Favorosi vedelicit sexus feminei: Ambivalent status and antagonizing ideas in
the depictions of medieval female professional performers.” Congreso
Internacional La iconografía musical en el mediterráneo y su impacto sobre la
cultura europea a lo largo de la historia, Universitat Autònoma de Barcelona,
Barcelona. Octobre, 4-6, 2010.
“Fai totz los cascavels order: Reconstructing the Timbre and Performance
practice of the Medieval Iberian Round Frame Drum with Jingles.” Symposium:
Reconstructing Medieval Percussion Instruments, The City University of New
York Graduate Center, New York. May 8, 2008.
“Singing and Dancing We Will Honor Our Lady: The Performance of the Marian
Songs in the Cantigas de Santa Maria and the Llibre Vermell of Montserrat.”
Symposium: The Presence of the Past in Performing the Llibre Vermell of
Montserrat, The City University of New York Graduate Center, New York.
December 5, 2006.
“In quattuor lignis: History, Timbre, and Performance Practice of the Medieval
Iberian Frame Drum.” 35th
Annual Meeting of the American Musical Instrument
Society Held in Collaboration with the Galpin Society and The International
Council of Museums, The National Music Museum, University of South Dakota.
May 19-23, 2006.
“E Tañer Panderos e Adufes: Reconstructing the Practice of Combining Different
Types of Frame Drums in Medieval Iberian Music.”41st International Congress of
Medieval Studies, Western Michigan University, Kalamazoo, May 2006;
American Musicological Society, Mid-Atlantic Chapter, The City University of
New York Graduate Center, New York. April 6, 2006.
Dr. Mauricio Molina • Page 5
“The Semitic and Messianic Symbolism of the Square Frame Drum in Medieval
Iberian Art.” Medieval Studies Conference/Inter University Consortium,
Princeton Club, New York. April 16, 2005; Music in Art: Iconography as a
Source for Music History/9th
Conference of RCMI in memory of Emanuel
Winternitz, The City University of New York Graduate Center, New York.
November 5-8, 2003; Medieval and Renaissance Music Conference, Friedrich-
Schiller-Universität, Jena, Germany. August 3, 2003.
LECTURES, SEMINARS, AND WORKSHOPS
“El bordón como practica polifónica en la musica de los siglos XII y XIIIl.”
Escola Superior de Música de Catalunya – Master in Historical Performance,
Module 5: September 19, 2012.
“Dicant nunc Hebrei: El pueblo judío en la canción latina de los siglos XII y
XIII.” Festival Terre de Trovadors – Castelló d´Empúries September 09, 2012.
Lecture: Iconografía y reconstrucción de la practica de interpretación musical y su
aporte al estudio musicológico. I Curso de Musica Medieval y Renacentista de
Morella - Morella (Valencia): July 22, 2012.
Seminario: La iconografía musical y su aporte al estudio musicológico. Facultat
de Geografia i Història - Universitat de Barcelona: February 16, 2012.
"Perspectivas de interpretación en la música del siglo XIV: instrumentos y la
teoría del a capella." Escola Superior de Música de Catalunya --Master in
Historical Performance: November 6, 2011.
"Repertoires, sources, context, and performance practice in troubadour music."
Universitat Autònoma de Barcelona, musicology program: December 1, 2011.
“Harmonic Color, Droning, and Performance Issues in the Rondellus Sumer is
icumen in.” Escola Superior de Música de Catalunya – Master in Historical
Performance, Module 5: May 28, 2011.
“Simbolismo y la representación de diferentes aspectos de la práctica musical en
el arte románico.” Universidad Complutense de Madrid –VI Curso de Iconografía
Musical: April 7-8, 2011.
“El bordón como recurso de interpretación y composición en la polifonía
medieval.” Escola Superior de Música de Catalunya – Master in Historical
Performance, Module 5: February 18-19, 2011.
“La canción monofónica medieval no litúrgica: fuentes, repertorios y
aproximaciones.” Universitat Autònoma de Barcelona (Catalonia), musicology
program: January 20, 2011.
Dr. Mauricio Molina • Page 6
“Panderos, cribas y tumbas: los tambores de marco y su conexión con el grano y
los ritos de la fertilidad del antiguo Mediterráneo.” Societat Catalana d'Estudis
Clàssics, Barcelona. July 10, 2010.
“Reconstructing the Performance Practice of 12th- and 13th- Century Vocal and
Instrumental Dances." Conservatori de Música de Girona, Girona (Catalonia):
July 3-4, 2010.
“Una práctica multidisciplinaria de reconstrucción musical histórica y su
aplicación en la interpretación de un cordófono medieval.” Escola Superior de
Música de Catalunya, Barcelona: March 19, 2010.
“Contexto, estructura e interpretación de las Cantigas de Santa María de Alfonso
X.” Universitat Autònoma de Barcelona, Barcelona: Dec 10, 2009.
“Abriendo tumbas y cazando fantasmas: historia, contexto y problemática de la
reconstrucción de las prácticas de interpretación del pasado.” Conservatori de
Música de Girona, Girona (Catalonia): May 23, 2009.
“Teoría y practica del ritmo en la música clásica árabe.” Universitat Autònoma de
Barcelona, Barcelona: May 15, 2009.
“From the Grain Sieve of the Ancient World to the Modern Puerto Rican Plena:
Tracing the Roots of the Latino American Tambourine.” Rutgers University, New
Jersey: May 1, 2008.
“Educación y multidisciplinarismo en la escuela musicológica norteamericana.”
Universitat Autònoma de Barcelona, Barcelona: January 18, 2008.
“Como esquinado adufe: Distribución, terminología y función del pandero
cuadrado medieval en la península Ibérica según las fuentes históricas.” Primera
trobada panderos cuadrats, Argelager (Catalonia), May 6, 2007.
“Panderos, garbells, temples i tombes” (“Frame Drums, Sieves, Temples, and
Tombs”). Festival Integral de Percussions, Valls (Catalonia). January 25, 2007.
“La Gaita (The Bagpipe).” Lecture-performance sponsored by the Department of
Education of the Metropolitan Museum of Art, New York. December 9, 2006.
“Instrumentarium Hispanicus: Musical Instruments in the Medieval Iberian
Peninsula.” Lecture-performance sponsored by the Department of Musical
Instruments of the Metropolitan Museum of Art, New York. December 6, 2006.
“Seminar on the Music, History, and Performance Practice of Historical and
Traditional Frame Drums from Around the World.” Amherst Early Music
Festival. July 16-22, 2006.
“Frame Drums in the Maghreb: Classification, History, Social Status, and
Performance Practice.” Hunter College, New York. August 5, 2005.
Dr. Mauricio Molina • Page 7
“Reconstructing Medieval Instrumental Performance Practice in the Cantigas de
Santa Maria of Alfonso X.” Queens College, New York. March 14, 2005.
“History and Performance Practice of Brass Instruments.” Lecture sponsored by
the Departments of Education and Musical Instruments of the Metropolitan
Museum of Art, New York. February 26, 2005.
“The Fulani Flute and other Musical Instruments of West Africa.” Lecture
sponsored by the Departments of Education and Musical Instruments of the
Metropolitan Museum of Art, New York. February 7, 2005.
“Seminar on the Music, History, and Performance Practice of the Mediterranean
Frame Drums.” The City University of New York Graduate Center, New York.
October 19-November 23, 2004.
“Musical Instruments in Pre-Columbian, and Colonial Peruvian Art.” Lecture
sponsored by the Department of Education of the Metropolitan Museum of Art,
New York. October 24, 2004.
ORGANOLOGY AND EXHIBITIONS
Consultant, acquisition of Iberian, Italian and Greek historical and traditional
instruments for the MIM (Musical Instrument Museum), 2008-present.
Curation of the exhibition: Pergami sobre fusta: el pandero en quatre continents
(Parchment Stretched on Wood: the Frame Drum in Four Continents). XQ Beat:
Festival Integral de Percussions, Valls (Catalonia). January, 2007.
FELLOWSHIPS
CUNY University Fellowship, 2004-2006.
The Endicott Foundation Fellows Program, 2004-2005.
AWARDS
The 2012 Nicholas Bessaraboff Prize of the American Musical Instrument Society for the most
distinguished book-length work in English in organology published in 2010.
The 2006 Higini Anglès Dissertation Award for the dissertation “Frame Drums in
the Medieval Iberian Peninsula.”
The Frederick R. Selch Award for best paper at the 35th
Annual Meeting of the
American Musical Instrument Society held in collaboration with the Galpin
Society and The International Council of Museums, The National Music Museum,
University of South Dakota. May 19-23, 2006.
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