Thomas Turino

Posted: September 29, 2012 by nmanabe in Lectures
Professor of Musicology and Anthropology, University of Illinois at Urbana-Champaign; specialist in music of Latin America and southern Africa, semiotics, and music and politics

A Peircean Phenomenological Approach to Old-time Music and Dance Scenes

Thursday, March 28, 2013

Woolworth Center, Room 106, at 4:30pm


Thomas Turino’s primary areas of specialization are Andean music, Latin American music, and the music of southern Africa. He also specializes in the semiotics of music and in theoretical issues of music and politics. He has done major fieldwork in Peru and Zimbabwe funded by Fulbright, Inter-American Foundation, and Tinker Fellowships. His articles and reviews have appeared in a variety of books and journals including Ethnomusicology, The Latin American Music Review, and The World of Music. He is the author of two books, Moving Away from Silence: The Music of the Peruvian Altiplano and the Experience of Urban Migration (1993), and Nationalists, Cosmopolitans, and Popular Music in Zimbabwe (2000), and is the co-author of Excursions in World Music. He is co-editor of the book Identity and the Arts in Diaspora Communities. He has recently finished the book, Musical Meaning and Social Participation. In addition to academic classes, he teaches performance of Andean winds and Shona mbira, and performs North American music on five-string banjo, button accordions, and guitar.


Mark J. Butler

Posted: September 28, 2012 by Ireri E. Chávez-Bárcenas in Lectures


Associate Professor and Coordinator of the program in Music Theory and Cognition at Northwestern University

Ringing the Changes: Sounding the Preexistent and the Novel within Improvised DJ Practice

Thursday, April 11, 2013

Woolworth Center, Room 106, at 4:30pm


Performance in electronic dance music mixes elements that are ostensibly fixed with highly fluid, contingent properties that emerge only through improvisational actions. Music that can be held in one’s hand, that is not only precomposed but also inscribed onto wax grooves, is made to dissolve, recombine, and sound anew through the creative metallurgy of DJ practice. My paper explores the interplay of these preexistent and newly created dimensions within DJ performance, through analysis of Jeff Mills’ track “The Bells” as composed and performed.


Mark J. Butler (PhD, Indiana University)
Coordinator, music theory and cognition program. Mark Butler was previously on the faculty at the University of Pennsylvania. He has received fellowships from the American Academy in Berlin and the National Endowment for the Humanities, as well as the Wiley Housewright Dissertation Award from the Society for American Music. His research interests include popular music, rhythm and meter, music and sexuality, and technologically mediated performance. He integrates theoretical, historical, and anthropological approaches to music, with particular emphasis on the use of ethnographic methodology to address music-theoretical questions. He authored Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music (Indiana University Press, 2006) and is currently working on a book focusing on relationships between technology, improvisation, and composition in electronic-music performance. He has authored articles in Music Theory Online, Twentieth-Century Music, Theoria, and Popular Music. He is a classical pianist and frequent performer of new music.

Alejandro L. Madrid

Posted: September 27, 2012 by Ireri E. Chávez-Bárcenas in Lectures

Pachuco Nostalgia: Danzón and Masculinity on the Mexican Dance Floor

Co-Sponsored by the Program in Latin American Studies

Thursday, December 6, 2012

Woolworth Center, Room 106, at 4:30pm


Based on fieldwork in Mexico City this paper takes the notion of nostalgia to explore how contemporary male dancers of danzón develop musical and dancing personae in relation to media representations of 1940s and 1950s Mexican masculinities. The paper focuses on the pachucos, a growing group of dancers from different danzón scenes in
the country that get their inspiration from zoot suit culture to generate icons of Mexican masculinity based on values that contemporary society growingly finds more and more objectionable. I argue that the public presentation of their pachuco dancing persona provides a space for the negotiation of their aspirations and desires, and the expectations from society. These pachuco dancing personae bring back the mystique of chivalry and aggressiveness of a masculinity found desirable at the height of the Mexican project of nation building, but one that seems to slowly fade away in the growingly transnational culture that contemporary Mexicans live in. However, I suggest that Mexican danzón dancing pachucos represent a contradictory and obscure aspect of gender relations that placed masculinity at the center of Mexican nationality and refuses to completely go away in contemporary Mexico.


Alejandro L. Madrid (Ph.D. Ohio State) is an ethnomusicologist and cultural theorist whose research focuses on the intersection of modernity, tradition, globalization, and ethnic identity in popular and art music, dance, and expressive culture from Mexico, the U.S.-Mexico border, and the circum-Caribbean. His interests range from the performance of democratic values through music, media, and technology, to questions of continuity, change, cosmopolitanism, and race in Latin American late 19th-century and 20th-century music, to transnationalism and embodied culture in contemporary electronic dance music.

Dr. Madrid is currently on the editorial board of the Latin American Music Review, Trans. Revista Transcultural de Música, and Dancecult. Journal of Electronic Dance Music Culture, and is senior editor of Latina/o and Latin American entries for The Grove Dictionary of American Music (2nd edition). He has also served on the council of the Society for Ethnomusicology, the executive board of the Hemispheric Institute for Performance and Politics, the executive committee of the International Association for the Study of Popular Music (IASPM)-U.S. Branch, and the advisory board of the Tepoztlán Institute for the Transnational History of the Americas.

His writings on music, performance, and popular culture have appeared in Boletín Música, Ethnomusicology, Fragmentos de Cultura, Heterofonía, Hispanic American Historical Review, Latin American Music Review, Latino Studies, Popular Music, Popular Music and Society, Resonancias, The World of Music, as well as Die Musik in Geschichte und Gegenwart, the Encyclopedia of Popular Music of the World and The Grove Dictionary of American Music. He was also guest editor of a special issue on music and performance studies for Trans. Revista Transcultural de Música (2009).

Dr. Madrid’s books include Nor-tec Rifa! Electronic Dance Music from Tijuana to the World (Oxford University Press), Sounds of the Modern Nation. Music, Culture and Ideas in Post-Revolutionary Mexico (Temple University Press), and Music in Mexico. Experiencing Music, Expressing Culture (Oxford University Press). He has edited Transnational Encounters. Music and Performance at the U.S.-Mexico Border (Oxford University Press) and, with Ignacio Corona, Postnational Musical Identities. Cultural Production, Distribution and Consumption in a Globalized Scenario (Lexington Books). He is the recipient of the Woody Guthrie Book Award of the IASPM-US Branch (2010), the Casa de las Américas Award for Latin American Musicology (2005), the Samuel Claro Valdés Award for Latin American Musicology (2002), the A-R Editions Award of the American Musicological Society, Midwest Chapter (2001-2002), as well as fellowships and subventions from the American Council of Learned Societies, the Fulbright Program, the Ford Foundation, and the American Musicological Society.

Dr. Madrid has held positions as researcher at Mexico’s Centro Nacional de Investigación, Documentación e Información Musical “Carlos Chávez” (CENIDIM) and as visiting scholar at the Lozano Long Institute for Latin American Studies of the University of Texas at Austin and El Colegio de la Frontera Norte-Tijuana. He has taught musicology, ethnomusicology, music aesthetics, and music history courses at Northwestern University, Texas A & M University, and Universidad de las Américas/Puebla, and has been a guest professor at the Universidad Nacional Autónoma de México, Universidad de la República in Uruguay, Instituto Superior de Artes in Cuba, Universidad Nacional de San Martín and Universidad Nacional de Córdoba in Argentina, and The Newberry’s Teacher Consortium of the Newberry Library in Chicago. He is currently associate professor and Director of Graduate Studies at the Latin American and Latino Studies program of the University of Illinois at Chicago.

Tuesday, November 27, 7:30pm

Taplin Auditorium in Fine Hall, Princeton University
Free and open to the public

The Dept. of Music invites you to an evening of traditional Japanese music and improvisatory fusion, featuring Japanese taiko drum and flute master Kaoru Watanabe and koto (Japanese zither) and shamisen (lute) player Sumie Kaneko. Percussionists Barbara Merjan and Evan Schnoll round out the ensemble.

KAORU WATANABE is a master of Japanese flutes (shinobue, nōkan, ryūteki), taiko drums, and Western flute. He is a former member and artistic director of Kodo, the internationally acclaimed taiko drumming troupe. He has collaborated with Zakir Hussain, Giovanni Hildalgo, Carlos Nunez, and legendary Kabuki actor Bando Tamasaburo. Since 2006, he has taught taiko and flutes at the Kaoru Watanabe Taiko Center in New York. He is currently a Lecturer in Music at Princeton, co-teaching Japanese Taiko in Transpacific Perspective with Prof. Noriko Manabe (Music).

Kaoru Watanabe website:

Kaoru Watanabe Taiko Center website:

SUMIE KANEKO studied shamisen at the Tokyo University of the Arts and jazz vocal performance at Berklee College of Music. She played shamisen, percussion, and sang in the world premiere and several productions of Paula Vogel’s The Long Christmas Ride Home. In addition to traditional music and jazz, she leads the band J-Trad and More, which blends jazz, rock, and Japanese and Indian instruments.

Sumie Kaneko website: