Teaching
interests: Arts and Humanities in general, music history, art history, musical aesthetics, philosophy of art
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Research
interests:My main research areas are aesthetics, philosophy of music, and cultural musicology. I am especially interested in hermeneutic approaches to music history and criticism. Other areas of interest include theories of creativity, the relationship between music and literature, ethnomusicology, and critical musicology.
My main current project is a book-length investigation of the decline of improvisation in the Western musical tradition. I interpret this phenomenon within the context of changing aesthetic ideals and performance practices in the nineteenth century.
My most recent publications are “The Roots of Autonomy: Rethinking Autonomous Music Before and After Formalism” in Perspectives in Systematic Musicology, Selected Reports in Ethnomusicology, vol. XII, 2005; and “Hybridity all the Way Down? Music, Hybridity and Identity in an Era of Globalization” in the International Journal of Humanities, vol. 2:2, 2006.
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Brief
biography: I received a Ph.D. from UCLA in 2001. Although the official degree is in Ethnomusicology, my doctoral work was mainly within the field of Systematic Musicology, with a specialty in Aesthetics and Philosophy of music. Before coming to California I had received in my native Spain an undergraduate degree in Philosophy, and the Conservatory equivalents to a B.A. in piano, and to an M.A. in Music Education. I also completed all doctoral coursework in Historical and Systematic Musicology at the University Autonoma of Madrid. My professional history before coming to CSUF includes a Teaching fellowship at UCLA, and tenured positions of Professor of Solfege and Music Theory at the Royal Conservatory of Music of Madrid and at the Professional Conservatory of Music of Madrid.
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