Latin American and Iberian Music
Begun in 2021, the Grove Music Online Ibero-Latin update project rethinks and updates coverage of music and musicians in the Spanish and Portuguese-speaking world. Under the editorship of Walter A. Clark, this multi-year project will expand Grove’s coverage in this exciting area of music making.
To discover new and revised entries commissioned through this project click here.
Editor in Chief
Walter Aaron Clark received his doctorate in musicology from the University of California, Los Angeles, and is currently Distinguished Professor of Musicology at the University of California, Riverside, where he is the founder/director of UCR’s Center for Iberian and Latin American Music. He was the founding editor (2005-16) of Oxford University Press’s award-winning series Currents in Latin American and Iberian Music, and he is now editor-in-chief of the Grove Dictionary of Latin American and Iberian Music, as well as of the refereed online journal Diagonal: An Ibero-American Music Review. He is the author of groundbreaking biographies of Isaac Albéniz, Enrique Granados, and Federico Moreno Torroba (with William Krause), published by Oxford University Press, as well as Los Romeros: Royal Family of the Spanish Guitar, from University of Illinois Press. His latest book is Joaquín Rodrigo: A Research and Information Guide, for Routledge. He is currently writing a co-authored biography (with Javier Suárez-Pajares) of Joaquín Rodrigo, for W. W. Norton, and co-editing (with Álvaro Torrente) The Cambridge History of Music in Spain. He is the recipient of Fulbright and NEH grants, and in 2016, King Felipe VI of Spain conferred on him the title of Comendador de la Orden de Isabel la Católica, a Spanish knighthood, in recognition of his efforts to promote Spanish music and culture.
Rogério Budasz (University of California, Riverside) is a musicologist interested in early plucked instruments, Luso-Brazilian musical theater, and Afro-Iberian musical connections. His most recent research focuses on the Atlantic circulation of musicians and repertories and the intertwined issues of power, ethnicity, and cultural reconfiguration. He has published three books, several book chapters, and a number of articles in Music & Letters, Early Music, Music & Art, Studi Musicali, and Revista Portuguesa de Musicologia, among other venues.
Leonora Saavedra is Associate Professor of Music at the University of California, Riverside. In 1985-87 she was the director of the National Center for Music Research (CENIDIM) in Mexico City, and in 2016 she occupied the Jesús C. Romero Chair at that institution. Her research centers upon Mexican music of the late-19th and 20th centuries, music and the State, exoticism, nationalism, cosmopolitanism, and modernism, classical marxism, and the musico-political relations between Mexico and the United States. She is considered the leading expert on Carlos Chávez. She has presented papers at the annual meetings of the American Musicological Society, the Society for Ethnomusicology, the International Musicological Society, and the Society for American Music, as well as in conferences in the US, Mexico, Cuba, Belgium, Finland and the UK. She is the editor of Carlos Chávez and His World (Princeton, 2015), which was translated into Spanish and published by Mexico’s Colegio Nacional. Her publications include “Carlos Chávez and the Myth of the Aztec Renaissance,” in that volume, “Carlos Chávez’s Polysemic Style: Constructing the National, Seeking the Cosmopolitan” (JAMS, 2015), and the book La música mexicana de 1910 a 1930: conocimiento social y comunidad identitaria (Mexico, Cenidim, 2010).
Suzel Ana Reily, Professor of Ethnomusicology, Universidade Estadual de Campinas (Unicamp), Campinas, Brazil
Carlos Sandroni, Professor of Ethnomusicology, Universidade Federal de Pernambuco (UFPE), Recife, Brazil
Paulo Castagna, Professor of Musicology, Universidade Estadual de São Paulo (UNESP), São Paulo, Brazil