Jorge Arevalo Mateus
Ethnomusicology Ph.D candidate Jorge Arévalo Mateus’ musical score and sound collage for Native artists James Luna’s (Luiseño) installation, “Chapel for Pablo Tac,” was recently acquired by the Smithsonian Institution-National Museum of the American Indian, as part of the museum’s permanent collection of contemporary art. The multimedia work will appear in the upcoming exhibition Vantage Point: The Contemporary Native Art Collection, in Washington, D.C., Sept. 25 to Aug. 7, 2011.
Arévalo Mateus describes the work as a “composite of historical and contemporary source musical elements brought together to sonically demonstrate and elucidate Luna’s ritual of renewal.”
He adds, “the ‘compositional process’ was intended to reflect issues of repatriation and recuperation of indigenous cultures, as well as confronting nationalist and colonialist ideologies.”
Eric Charry, associate professor of music, received a $115,117 grant from the National Endowment for the Humanities, to support a Summer Institute in Ethnomusicology June 20-July 1, 2011 at Wesleyan. The Society of Ethnomusicology will oversee the institute, which will be attended by 22 college instructors and three graduate students. Wesleyan hosted a similar conference in 2008.
Joseph Getter, a Ph.D candidate in ethnomusicology, performs on a frame drum during the Art Farm Sonnet Slam in Middletown. Getter is the music director of Art Farm's summer Shakespeare production. He studies classical South Indian flute and Javanese gamelan at Wesleyan. (Photo by Jody Cormack Ph.D. '92, library assistant in World Music Archives).
Q: Joseph, you are a Ph.D candidate in ethnomusicology. How many years have you been at Wesleyan and when will you finish your Ph.D?
A: I began my graduate studies in ethnomusicology at Wesleyan in the M.A. program in 1995, and don’t you know you’re not supposed to ask when the dissertation will be done? I’m anticipating finishing this summer.
Q: What are you studying, specifically?
A: I have done fieldwork in Chennai, India, on the film music industry there. It’s a huge musical, social, and economic phenomenon that is under-studied in academia. I hope that my dissertation will be a contribution to understanding popular music in South Asia. I’ve also studied classical South Indian flute and Javanese gamelan at Wesleyan.
Q: What are your thoughts on Wesleyan’s ethnomusicology program?
A: It’s a fantastic program that integrates the study of scholarly literature with learning to perform music traditions from around the world. In seminars with Mark Slobin and Su Zheng, I learned about how to conduct research, and think, write and speak about
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