Download The Contributors / Los contribuidores

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The Contributors / Los contribuidores
JONATHAN S. ABEL is a Consulting Professor at the Center for Computer Research
in Music and Acoustics (CCRMA) at Stanford University, working in music and audio
applications of signal and array processing, parameter estimation and acoustics. He
was a Co–Founder and Chief Technology Officer of Universal Audio, Inc., a GRAMMY
Award-winning professional audio equipment manufacturer, where his research concentrated on digital emulation of vintage audio processors. Previously a researcher at
NASA/Ames Research Center, he explored topics in array processing, room acoustics
and spatial hearing on a grant through the San Jose State University Foundation. He
has served as Chief Scientist at Crystal River Engineering, Inc., and was a lecturer in
the Department of Electrical Engineering at Yale University. He holds degrees in electrical engineering: Ph.D. and M.S. (Stanford University) and S.B. (MIT), and was voted
a Fellow of the Audio Engineering Society for contributions to audio effects processing.
ARND ADJE BOTH received his doctoral degree in ancient American studies with
a dissertation on the Aztec wind instruments unearthed in the temple precinct of
Tenochtitlan (Aerófonos Mexicas, Berlin 2005). For his MA thesis on the ethnohistory of music of Late Postclassic Mesoamerica (1999) he received the Rudolf-VirchowAward of the Berlin Society for Anthropology, Ethnology and Prehistory. He taught at
the Institute for Latin American Studies, Free University Berlin (2001-2008), worked
as the conference manager and head of the editorial office for the International Study
Group on Music Archaeology, at German Archaeological Institute Berlin (2005-2008),
and as the curator of a music exhibition at the Reiss-Engelhorn-Museen Mannheim
(2008-2012). He carries out several research projects on pre-Columbian music cultures,
including field research at the archaeological sites of Teotihuacan and Xochicalco,
Mexico, and founded the Directory of Researchers Dedicated to the Ancient Music
Cultures of the Americas and the Living Traditions (www.mixcoacalli.com). He is
chair of the ICTM Study Group for Music Archaeology (2007-present).
TERESA DE MARIA CAMPOS. Etnóloga mexicana, egresada de la ENAH, con una
maestría en Artes plásticas es miembro fundador del Museo de Antropología e Historia de San Pedro Sula, Honduras, del cual es directora desde hace 19 años. Sus principales investigaciones y publicaciones tratan temas de cosmovisión, etnobotánica, medicina tradicional y alimentación, basada en la recolección. Así mismo ha escrito sobre
industrias artesanales y ha trabajado con diferentes grupos de artesanos, especialmente alfareros. Su trabajo de campo se centra en el sureste de México, Guatemala y especialmente en Honduras, país en que reside. El interés por los instrumentos musicales
surge del manejo de las colecciones del museo y la necesidad de estudiarlas y explicarlas. Ha escrito numerosos guiones para exposiciones temporales, muchas de las cuales
incluyen material arqueológico.
JUAN CARRILLO GONZÁLEZ es candidato a doctor en historia por el Centro de Investigaciones y Estudios Superiores en Antropología Social (CIESAS). Cursó estudios
en ciencias antropológicas con especialidad en historia en la Universidad Autónoma
de Yucatán, asimismo, la maestría en historia en el CIESAS Peninsular, en donde se
graduó con mención honorífica y, posteriormente obtuvo el premio Francisco Javier
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Clavijero de Historia y Etnohistoria otorgado por el Instituto Nacional de Antropología e Historia (INAH, México). Ha realizado diversas publicaciones al respecto de la
ritualidad, cosmovisión, procesos de resistencia étnica y prácticas musicales entre los
mayas coloniales. Actualmente lleva a cabo investigaciones sobre la Verapaz (Guatemala). También es colaborador del proyecto “Universos sonoros mayas” (CEM, IIF,
UNAM). Por más de una década se ha dedicado a la investigación y conservación de los
instrumentos musicales mayas precolombinos, analizando la evocación de sus sonidos
así como sus implicaciones sociales. Aunado a la recopilación de diversas réplicas de
instrumentos elaboradas por artesanos especializados en diversas partes de México,
Chiapas y Guatemala, se ha dedicado a la ejecución y composición de obras musicales
que se han empleado en la sonorización de documentales y exhibiciones museográficas. También se ha desempeñado como coordinador en la musicalización de la exposición “Espacios sagrados, arqueología maya en la obra de Teoberto Maler” (2002), presentada en Valencia (España).
OSWALDO CHINCHILLA MAZARIEGOS es arqueólogo, profesor en la Universidad
de Yale a partir de 2012. Recibió un doctorado en la Universidad de Vanderbilt en 1996.
Entre 1998 y 2012 fue curador en el Museo Popol Vuh y profesor en la Universidad de
San Carlos de Guatemala. Ha realizado investigaciones extensas sobre las sociedades
prehispánicas de la Costa Pacífica de Guatemala, particularmente la ciudad clásica de
Cotzumalguapa. Se ha especializado en el estudio de la escritura, la iconografía y la religión mesoamericana, campo en el que ha enfocado sus estudios más recientes. Es autor de los libros Imágenes de la Mitología Maya (2011) y Cotzumalguapa, la Ciudad
Arqueológica: El Baúl, Bilbao, El Castillo (2012). Ha editado los libros The Decipherment of Ancient Maya Writing (2001), The Technology of Maya Civilization: Political Economy and Beyond in Lithic Studies (2011), y Arqueología Subacuática: Amatitlán, Atitlán (2011). Su interés por la arqueomusicología se inició en 2003, cuando
organizó la exhibición especial “Voces Mayas: Instrumentos Musicales Prehispánicos”
en el Museo Popol Vuh. Subsecuentemente, ha prestado especial atención a las representaciones relacionadas con la música, el baile y el canto en sus estudios sobre el arte
mesoamericano.
PERRY R. COOK is Professor Emeritus of Computer Science, with a joint appointment
in Music, at Princeton University. Along with Dan Trueman, Perry co-founded the
Princeton Laptop Orchestra (PLOrk) in 2005, later awarded a MacArthur Foundation
Digital Media and Learning Innovation Grant in 2008. Cook has published nearly 200
technical/music papers, books, and book chapters, and presented lectures throughout
the world on vocal acoustics and musical instrument simulation, human perception of
sound, and interactive devices for expressive musical performance. He has performed
as vocal soloist and computer musician throughout the world (including quite a few
gigs on seashells and digeridoos), has recorded Compact Disks on the Lyricord Early
Music Series Record Label with the vocal group Schola Discantus, and live electronic
music with the group Interface on the Cycling 74 label. In 2003 he received a Guggenheim Fellowship to write a new book on Technology and the Voice.
MARK HOWELL is the Director of the Winterville Mounds Park and Museum, near
Greenville, Mississippi (2006-present). Prior, he taught Music History at Fordham University (1999-2006) and Hunter College (1999-2004). He was a Senior Research Fellow
with TOPOI (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 in Berlin
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(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 [forthcoming 2013]). (He also serves as co-editor for this volume.); “Tzunam Bailes and the Role of Music Instruments in Pre-Columbian Highland Guatemala,” in Studien zum 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).
MIRIAM A. KOLAR’s research explores the acoustics and auditory perceptual implications of ancient sites and sound-producing instruments. Since 2008 she has led archaeoacoustics field work at Andean Chavín de Huántar, Peru. Her Ph.D. dissertation,
“Archaeological Psychoacoustics at Chavín de Huántar, Perú”, examines the relevance
and study of human auditory perception in archaeology, via the case study of auditory localization experiments conducted inside this 3,000-year-old ceremonial center. At
Stanford University, she was a Stanford Interdisciplinary Graduate Fellow (SIGF) and
Ph.D. candidate at the Center for Computer Research in Music and Acoustics (CCRMA).
Miriam has worked professionally as concert sound designer and recording engineer,
and previously taught and directed the undergraduate music technology program at
California Institute of the Arts (CalArts).
MATTHEW LOOPER received his Ph.D. in Art History from the University of Texas
at Austin in 1995. His advisor was Dr. Linda Schele. His dissertation research was conducted between 1993 and 1995 in Quiriguá, Izabal, Guatemala, on the sculpture programs of K’ahk’ Tiliw Chan Yopaat, an eighth-century Maya ruler of Quiriguá. Following postdoctoral work on the Maya Hieroglyphic Database Project, Department of
Native American Studies, University of California at Davis (1996-1998), he joined the
faculty at California State University, Chico, where he has taught from 1998-present.
Looper’s research interests include Classic Maya art and writing, Maya textiles, and
Maya dance traditions, in all periods. His most recent book To Be Like Gods: Dance
in Ancient Maya Civilization (Austin: University of Texas Press, 2009) was honored
with the Association for Latin American Art Book Award in 2010.
JOHN RICK is Associate Professor of Anthropology, former Chair of the Department
of Anthropological Sciences at Stanford University and past Director of Stanford’s Archaeology Center. His teaching concentrates on South American archaeology, the beginnings of sociopolitical complexity, hunter-gatherers, stone tools, and digital methodologies in archaeology. For the last 19 years he has directed fieldwork at Chavín de
Huántar, a monumental World Heritage site dating to around 1,000 B.C. in the highlands of Peru. His interests there concentrate on understanding how early religious
cults strategized the beginnings of political authority in the Andes. A previous longterm project focused on early hunter-gatherer cave sites in the 14,000 ft altitude puna
grasslands of Peru, but he has also done archaeological fieldwork throughout South
America and in the American Southwest; he is also currently co-directing a fieldwork
project on Preclassic sites near Lake Atitlan in the Guatemalan highlands.
HELENA SIMONETT received her doctoral degree in ethnomusicology at the University of California, Los Angeles, and is currently a faculty member at the Center for Latin American Studies and Blair School of Music, Vanderbilt University, Nashville. Her
publications include Banda: Mexican Musical Life across Borders (2001, Wesleyan
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University Press); En Sinaloa nací: Historia de la música de banda (2004, Sociedad
Histórica de Mazatlán, Mexico), as well as numerous journal and encyclopedia articles. She is the editor of The Accordion in the Americas (2012, University of Illinois
Press). Her current field project and interest focus on ceremonial music-making/dancing among the Yoreme indigenous people of northwestern Mexico.
MATTHIAS STÖCKLI, Doctor en Etnomusicología por la Universidad de Zurich, Suiza. Es actualmente Profesor e Investigador Asociado del Departamento de Antropología y Sociología de la Universidad del Valle de Guatemala, Ciudad de Guatemala. Realizó estudios sobre diversos aspectos de la cultura musical indígena contemporánea y
colonial de Guatemala y Mesoamérica, así como los hallazgos musicales de los sitios
arqueológicos de Piedras Negras, Aguateca, Kaminaljuyú, entre otro. Es co-editor de
Senderos - Revista de Etnomusicología.
GARY TOMLINSON is the John Hay Whitney Professor of Music and Humanities at
Yale University and Director of the Whitney Humanities Center there. He is a musicologist long committed to multidisciplinary exploration whose teaching, lecturing, and
scholarship have ranged across diverse areas of study. Central among them are the traditions of European classical music, including the history of opera and early-modern
musical thought and practice, but they include also the musics of indigenous American
societies, jazz and popular music, cultural and anthropological theory, and the philosophy of history. His latest project, intersecting with archaeology and evolutionary science, investigates the place of musical capacities in the emergence of modern humanity. Tomlinson’s books include Monteverdi and the End of the Renaissance (1990);
Music in Renaissance Magic: Toward a Historiography of Others (1994); Metaphysical Song: An Essay on Opera (1999); Music and Historical Critique (2007); and The
Singing of the New World: Indigenous Voice in the Era of European Contact (2009).
He is a member of the American Academy of Arts and Sciences and the recipient of
Guggenheim and MacArthur Fellowships.