catherine ragland, phd university of north texas, college of … · 2020-01-20 · ragland cv –...

Catherine Ragland, PhD

Associate Professor of Ethnomusicology University of North Texas, College of Music

Division of Music History, Theory and Ethnomusicology

1155 Union Circle, #311367, Denton, TX 76203-5017 email: [email protected]

Education

• Ph.D. Ethnomusicology, The Graduate Center, City University of New York/CUNY,October 2005Editor, Sonic Crossings book series for UNT Press

Dissertation title: Ni aquí ni allá (Neither here Nor There): Música Norteña and the Mexican Working-Class Diaspora (winner, Barry S. Brook Award for best music dissertation)

• M.A. Ethnomusicology, University of Washington, Seattle

Thesis title: Voz del Pueblo Tejano: Conjunto Music and the Construction of Tejano Identity in South Texas

• B.A. Liberal Arts, University of Texas, Austin

Languages

• Native English, fluent Spanish, some Russian and French

Teaching Experience

• Associate Professor of Ethnomusicology, University of North Texas, Fall 2015-Present;Assistant Professor of Ethnomusicology, Fall, 2014-Spring 2015; Visiting AssistantProfessor of Ethnomusicology, Fall 2012-Spring 2014.

§ Graduate courses taught: “Music Cultures of the World,”“Ethnomusicology Field and Research Methods,” “Anthropology of Sound,”“Mexican Musical Life Across Borders” (cross-listed as undergraduate course).“Global Popular Music, Movements and Migration,” “Studies in Music, Genderand Sexualities” and “Public Sector Ethnomusicology.” Undergraduate coursestaught: “World Music Cultures,” “Music, Culture and Society,” “Introduction toEthnomusicology.”

§ Faculty advisor/coordinator Mariachi Águilas

§ Affiliate faculty in Latino/a and Mexican American Studies, Women's andGender Studies Program, and Applied Anthropology

§ Co-created new PhD program in Ethnomusicology (2015-16).

§ "Sonic Crossings" book series editor, UNT Press

§ College of Music Committees: Graduate Council, Graduate Admissions

Committee, PAC/RTPC (Tenure and Promotion Review) committee. Division Committees: Graduate Academic Degree Committee (Chair),UNT IRB Board, Lecture Committee, Presser Music Foundation Award Committee (Undergraduate and Graduate), Dean Search (Spg. 2016).

• Assistant Professor of Ethnomusicology, University of Texas, Pan American, Fall2009-Spring 2012

§ Directed MM concentration in Ethnomusicology. Created curriculum.

§ Graduate courses taught: ”Introduction to Ethnomusicology,” “MusicEthnography and Fieldwork Methods,” “Public Practice in Folklore andEthnomusicology,” “Research Methods and Writing in Music,” “Studiesin Music and Gender,” “Music of Spain and Hispanic America,” Music of theMediterranean,” “Music and Performance in U.S.-MexicoBorderlands” and “Music of Greater Mexico.”Undergraduate courses taught: “World Music Cultures,” “Mexican AmericanMusic, Performance and Popular Culture,” “Women inMusic” and “American Popular Music.”

§ Affiliated faculty in Department of Behavioral Sciences (Anthropologyand Folklore), Mexican American Studies, and Gender and WomenStudies Committee.

§ UT-Pan American (now UT-Rio Grande Valley) Graduate FacultyCouncil (Faculty Status committee chair).

§ “Cathy Ragland Collection” of Texas-Mexican and Mexican music interviewsand field recordings deposited in Border Studies Archive, UT-RGV, 2009 (see,http://portal.utpa.edu/utpa_main/lib_home/archive_home/lib_archive_collections/border_music).

• Assistant Professor, Empire State College of the State University of New York/SUNY, Fall 2007-Spring 2009

§ Arts program mentor and faculty member.

§ Advised and mentored students in developing individualizedBA/BS/BPS degree programs in the Arts, Cultural Studies and Music.

§ Classroom courses and online independent studies taught: “World MusicCultures,” “History of Rock and Roll,” “History of Jazz,” “AmericanMusic Composers,” “Multicultural Music in America,” “Arts Writing andCriticism,” “Arts Grant Writing,” “Music in Latin America and the Caribbean,”“Music, Worship and Religious Practices,” “Performance Studies: Performancein World Cultures,” “History of Latinos in theUS,” and “Latino Family and gender Relations,” and graduate courses in“Perspectives on Gender and Aesthetics in Music Composition” and“Theodor Adorno and Critical Analysis of Popular Music.”

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§ Received funding from the New York State Folklore Society to createandmoderate colloquium and course for Fall, 2008 entitled, “Folk andCommunity Arts Organizations: Creating, Producing and Managing.”Several sessions were open to the public.

• Lecturer, Dept. of Music Studies, Boyer School of Music and Dance, Temple University, Fall2006-Spring 2007

§ Taught undergraduate courses in “World Music,” “Introduction toMusic” (American vernacular, and Western Art Music traditions), andgraduate courses in “Introduction to Music Research and Writing” and“Introduction to Ethnomusicology.”

§ Affiliated faculty member of Latin American Studies Center.

• Adjunct Assistant Professor, Dept. of Latin American and Puerto Rican Studies, LehmanCollege, City University of New York/CUNY, Fall 2005-Spring 2006

§ Taught undergraduate courses in “History of Latinos in the U.S.”(designated writing-intensive introduction to Latino communities, cultureand identity, immigration trends and patterns, and artistic expression);“Latino Family and Gender Relations” (examines Latino family patterns andconsiders issues of assimilation, gender, race and class dynamics);“Music of Latin America and the Caribbean” (a survey of cross-culturalmusical practices in social and political contexts).

§ Served as student advisor in the department on course curriculum anddegree plans.

• Writing Fellow, School of Music, Hunter College, City University of NewYork/CUNY, Fall 2003-Spring 2005; Instructor, Fall 2000-Spring 2003.

§ Taught two undergraduate courses: “Worlds of Music” and “MusicAppreciation. Final two years served as a Writing Across the CurriculumFellow, working with students as a tutor in “Introduction to MusicResearch” and “Music History II and III” courses.

§ Partnered with music faculty to integrate effective writing assignments intheir courses and conducted workshops in other departments on how to usewriting as a tool for student-directed learning.

• Instructor, School of Music, University of Washington, Seattle, Fall 1990-Spring 1992

§ Taught undergraduate course: "American Popular Song." Historical, socialand stylistic survey of popular idioms from the early 20th century to thepresent.

• Instructor, English as a Second Language (ESL), Caritas Refugee English Program, Austin,Summer 1986-Spring 1988

§ Taught beginning level conversational English to Vietnamese refugees andMexican immigrants newly arrived in the U.S.

Advising and Graduate Student Committees Advisees:

M.A./M.M.

• Yuxin Mei, M.A., Ethnomusicology, Graduated, 2017 (UNT). Currently a PhD student.

• Stacey Key, PhD, Ethnomusicology, In coursework (UNT).

• Miguel Espinel, PhD, Ethnomusicology, In coursework (UNT)

• Salvador Hernandez, PhD, Ethnomusicology, In coursework (UNT)

• Sean Peters, M.A., Ethnomusicology, Graduated, 2017. Accepted at Cornell University forPhD program.

• Katrena Henry, M.M. Ethnomusicology. Graduated, 2013 (UT-Pan American, now UT-RioGrande Valley)

• Cora Pina, M.M. Ethnomusicology. Graduated, 2012 (UTPA, now UTRGV)

• Michael Mena, M.M. Ethnomusicology. Graduated, 2011 (UTPA, now UTRGV)

§ Ph.D. student in Linguistic Anthropology, Recipient of 5-year Fellowship from CityUniversity of New York, Graduate Center (2014-19)

Exam and Thesis/Dissertation Committee Member: Ph.D./D.M.A.

• Brandi Estwick, DMA, Voice, ABD (YNT

• Joy Hague, DMA, Organ Studies, ABD (UNT)

• José Torres, PhD, Ethnomusicology, ABD (UNT)

• Adam La Spata, Ph.D., Musicology, ABD (UNT)

• Michael Morey, PhD, Musicology, Graduated, 2019

• Colleen Clark, DMA, Jazz Studies, Graduated, 2019 (UNT)

• Jonathan Thompson, DMA, Oboe, Graduated, 2018 (UNT)

• Jason Pokrus, DMA, Saxophone, Graduated, 2018 (UNT)

• Rachel Woolf, D.M.A., Performance-Flute, Graduated, 2018 (UNT)

• Michael Morey, Ph.D., Musicology, Graduated, 2018 (UNT)

• Martin Godoy, DMA, Performance-Flute, Graduated 2018 (UNT)

• Jesse Orth, D.M.A., Performance-Tuba. Graduated, 2014 (UNT)

• James Yakas, D.M.A., Performance-Percussion. Graduated, 2013 (UNT)

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Academic Editorial Boards • The Handbooks of Latin American Folk and Popular Music, Rowman and Littlefield Books,

Editorial Board Member (2019-Present)• Ethnomusicology Editorial Board, Member (2020-2022)

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Research Grants, Fellowships and Awards

Academic: • Rea Foundation Grant awarded to expand UNT's Mariachi Águilas into a larger Mexican

music program featuring other regional son genres through residencies and communitycollaborative projects, December 2019-March 2021

• Consejo Nacional de Ciencia y Tecnología (National Council of Science and technology– CONAYCT), Co-recipient of a collaborative US-Mexico grant project for bi-nationalresearch project focusing on popular music and social life in Northeastern Mexico andtransnational circuits with Centro de Investigaciones y Estudios Superiores en AntropologíaSocial (Center for Research and Higher Education in Social Anthropology– CIESAS), November 2014-August 2018

• UNT Small Grants Award, Summer, 2016

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D.M./M.A.

• Richard Furtick, Geography & Environment, M.A., ABT

• Chavah Schwartz, Philosophy & Religiion, M.A., Thesis proposal in progress

• Gentry Ragsdale, Performance, M.A., Graduated 2019 (UNT)

• Thanmayee Krishnamurthy, Ethnomusicology, M.A., Graduated, 2018 (UNT)

• Brandi Estwick, M.A., Graduated, 2018 (UNT)

• Brennan Davis, Performance-Percussion, M.A., Graduated, 2017 (UNT)

• Jazpar Saldaña, MA, Jazz Studies, M.A., Graduated, 2017 (UNT)

• Lizeth Dominguez, Ethnomusicology, M.A., ABT (UNT)

• Miguel Espinel, M.A., Composition. Graduated, 2017 (UNT). Currently a PhD student in Ethnomusicology.

• Raquel Ramos Rangel, M.A., Social Anthropology. Graduated, 2016 (Centro de Investigaciones y Estudios Superiores en Antropologia Social-CIESAS Monterrey, Mexico)

• Eston Bell, M.M., Performance-Trombone. Graduated, 2016 (UNT)

• Kai-Po Lan, M.M., Performance-Percussion. Graduated, 2016 (UNT)

• Eric Evans, M.M., Composition. Graduated, 2014 (UNT)

• Robert Trusko, M.M., Composition. Graduated, 2014 (UNT)

• David López, M.M., Performance-Tuba. Graduated, 2013 (UNT)

• José Luis Hernández-Estrada, M.M., Orchestral Conducting. Graduated, 2012 (UTPA, now UTRGV)

§ Recipient of Abreu Fellowship, New England Conservatory; James and Mary Barnes Foundation Director, Sistema Tulsa

• Jacqueline Baez, M.M. Performance-Violin. Graduated, 2012 (UTPA, now UTRGV)

• Magaly Gómez, M.A. Modern Languages-Spanish. Graduated, 2011 (UTPA, now UTRGV)

• Norma Saenz, M.A. Sociology. Graduated, 2011 (UTPA, now UTRGV)

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• Next-Gen Course Redesign Fellowship, University of North Texas, 2013-2014

• Fondo Nacional Para Cultura y las Artes (National Fund for Culture and the Arts) for Proyecto Sonidero (Project Sonidero), Mexico City, 2008-2010 (collaborative research project with Mexican scholars)

• New York Folklore Society, Folk Arts in Education Grant, 2008-2009

• Barry S. Brook Award for best music dissertation, The Graduate Center, City University of New York/CUNY, April 2006

• Rockefeller Residency Fellowship, Centro Regional de Investigaciones Multidisciplinarias, Universidad Nacional Autónoma de México, Cuernavaca, Morelos, 2004-2005

• Andrew Silk Dissertation Grant, CUNY Graduate Center, 2004-2005

• Writing Across the Curriculum (WAC) Fellowship, CUNY Graduate Center, 2003-2005

• Baisley Powell Elebash Dissertation Fellowship, CUNY Graduate Center, 2003-2004

• Summer Research Grant, Center for Latin American, Caribbean, and Latino Studies, CUNY Graduate Center, 2003

• Social Science Resource Council, Arts Program Dissertation Fellowship, New York, 2002-2003

• Graduate Teaching Fellowship (Gileese Fellow), CUNY Graduate Center, 1999-2002

• Rockefeller Humanities Research Fellowship, Gateways Program, Guadalupe Cultural Arts Center, San Antonio, Texas, 1998-1999

• Research Fellowship, Institute of Texan Cultures, San Antonio, Texas, 1991

Public Sector/Music and Folk Arts Projects:

• Grants from the National Endowment for the Arts (NEA), Texas Commission on the Arts(TCA) and San Antonio Department for Cultural and Creative Developmentto support the annual International Accordion Festival in San Antonio, 2010-2014.

• New York State Music Fund, “Festival Viva Mexico, Viva El Mariachi,” Mexican CulturalInstitute and Mariachi Academy of New York, January, 2007

• Union Square Awards, New York, Mariachi Academy of New York, 2006-2007

• New York State Council on the Arts (NYSCA), “Day of the Dead” Program, UnionSettlement Association, 2000-2006 (three multi-year grants)

• National Endowment for the Arts (NEA), New York World Festival (Coastal Sounds),Center for Traditional Music and Dance, 2003-2004

• National Endowment for the Arts (NEA), Mariachi Academy of New York, Center forTraditional Music and Dance, 2001-2002

• US-Mexico Fund for Culture (Fidecomisio), Norte y Sur, Un Solo Pueblo, NorthwestFolklife, 1998

• National Endowment for the Arts (NEA), Norte y Sur, Un Solo Pueblo, Northwest Folklife,1997-1998

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Publications

Books:

• Música Norteña: Mexican Migrants Creating a Nation between Nations, Temple UniversityPress (May 2009)

• Listening for Legacy, Heritage and Place in Texas-Mexican Musical Life (manuscript underdevelopment)

Book Chapters and Academic Journal Articles:

• Book chapter for Oxford Handbook on Protest Music, edited by Noriko Manabe and EricDrott, Oxford University Press (forthcoming, Spring 2020)

• Book chapter for Music, ‘Mexicanidad,’ and the Cultural Logics of Transnationality, editedby Jesus Ramos-Kittrell, Lexington Press (forthcoming, Fall 2019)

• "Hacer sonar la tradición a través de las fronteras: la popularidad transnacional de RamónAyala, ícono de la autenticidad fronteriza en la música norteña," Mexican Studies/EstudiosMexicanos, 35/1 (Winter, 2019)

• Communicating the Collective Imagination: the Sociospatial World of the Mexican Sonideroin Puebla, New York and New Jersey,” In Cumbia!: Scenes of a Migrant Latin AmericanMusic Genre, eds. Héctor Fernández L’Hoeste and Pablo Vila, Duke University Press. (June2013)

• “Tejano and Proud”: Regional Accordion Traditions of South Texas and the Border Region,”In The Accordion in the Americas: Klezmer, Polka, Tango, Zydeco, and More!, ed. HelenaSimonett, Urbana, Chicago, and Springfield: University of Illinois Press.(November 2012)

• “Comunicando la imaginación colectiva: el mundo socio-espacial del sonidero mexicano,”In Sonideros en las aceras, véngase la gozadera, eds. Mariana Delgado and Marco RamirezConejo, Mexico D.F.: Bancomer Foundation (January 2012)

• “From Pistol-Packing Pelado to Border Crossing Mojado: El Piporro and the Making of a‘Mexican’ Border Space,” In Transnational Encounters. Music and Performance at theMexico Border, ed. Alejandro Madrid, London: Oxford University Press. (November, 2011)

• "Norteno Music, Transcending the History of a Texas-Mexican Border Tradition," InGateways: Northeastern Mexico and South Tejas, One Region, One Culture: An Anthology ofEssays, ed. Pedro Rodriguez. San Antonio: Guadalupe Cultural Arts Center, (May 2011)

• “¡Vivan los mojados! poder, imaginación e “mexicanidad” en música norteña y su impactomusical en la diaspora mexicana,” In Las Dimensiones Culturales de la Transición Mexicana:Identidad, Migración, Género y Violencia, ed. Fernando Lozano, Cuernavaca: UniversidadNacional Autónoma de México, Centro Regional de Investigaciones Multidisciplinarías. (Fall2006)

• “Mexican Deejays and the Transnational Space of Youth Dances in New York and NewJersey,” Ethnomusicology, 47/3 (Fall, 2003)

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• “La Voz del Pueblo Tejano: The Construction of Identity and Conjunto Music in South Texas,” inPuro Conjunto, An Album in Words, Pictures, Writings, Posters and Photos from the TejanoConjunto Festival en San Antonio, 1982-1998, ed. Juan Tejeda and Alvelardo Valdez, Austin: CMASBooks, University of Texas Press, (2001)

• “With his Accordion in his Hand: The Impact of the Accordion during the FormativeYears of Modern Texas-Mexican Conjunto Music (1930s-1950s),” The Free Reed Journal,Vol. 2 (Fall 2000)

• “Raíces musicales…raíces de la raza: Maintaining Tradition in Conjunto Style,” Tonantzin,Guadalupe Cultural Arts Center, San Antonio (May, 2000)

• “Mediating Between Two Worlds: The Sonideros of Mexican Youth Dances,” Voices: TheJournal of New York Folklore, Vol. 26 (Fall-Winter, 2000)

Under Review:

• “Sounding the Past while Listening to the Present: Accordion Tuners as AuditoryCulture Mediators in Texas-Mexican Conjunto Music”

• “Soundscapes and cognitive task performance in a digital society,” co-authored withDeborah Cockerham

Reference/Encyclopedia Entries/Articles:

• “Mixing It Up with High Voltage Violins,” commissioned program note for New YorkLincoln Center’s American Songbook series featuring the Villalobos Brothers (March 13,2015; http://americansongbook.org/assets/img/downloads/03-13%20Villalobos.pdf)

• Twenty-two entries on Mexican, Mexican American and Latino Music, The GroveDictionary of American Music, 2nd edition, ed. Tim Sachs, New York: Oxford UniversityPress. (May 2013)

• “Folk and Traditional Musics of Mexico and Central America” Gale World Scholar—LatinAmerica & the Caribbean, an electronic academic resource. (April 2013)

CD and Book Reviews:

• Review of Dissonant Divas, In Chicana Music: The Limits of La Onda by Deborah R.Vargas, Ethnomusicology (Fall 2017)

• Review of ¡Corrido! The Living Ballad of Mexico’s Western Coast by John HolmesMcDowell, Journal of Latin American and Caribbean Anthropology (Spring 2017)

• Review of Borders y Bailes, Los Texmaniacs (Smithsonian/Folkways CD 40555), Yearbookfor Traditional Music, Vol. 41 (Fall 2010)

• Review of The Best of Lydia Mendoza (Arhoolie CD 536) and Juan Reynoso: Genius ofMexico’s Tierra Caliente (Arhoolie CD 509), Yearbook for Traditional Music, Vol. 40 (Fall2009)

• Review of Rolas de Aztlán: songs of the Chicano Movement, (Smithsonian/Folkways, CD40516), Journal of American Folklore (Spring 2008)

• Review of The Roots of the Narcocorrido (Arhoolie CD 7053), Yearbook for TraditionalMusic, Vol. 38 (2007)

• Review of Mariachi Music in America: Experiencing Music, Expressing Culture, Daniel Sheehy,(Oxford University Press). Ethnomusicology, 51/1 (2007)

• Review of Música Tejana and The Mexican American Orquesta: Music Culture and theDialectic of Conflict, Manuel Peña, (University of Texas Press). Ethnomusicology, 47/2(Spring/Summer, 2003)

• Review of El Ciego Melquiades (the blind fiddler): San Antonio House Party (Arhoolie CD7045) and La Hermanas Segovia. Puñaladas de Amor: Pioneers of Tex-Mex/Norteño Music (Arhoolie CD 9028), Yearbook for Traditional Music, Vol. 35 (2003)

• Review of La Bamba: Sones Jarochos de Veracruz (Smithsonian/Folkways Recordings SFWCD 40505), World of Music, Vol. 47(1) (2005)

Manuscript Reviews:

• Book: Reinventing Ranchera by Elijah Wald for Oxford University Press (December 2016)

• Book: ¡Huapango! Mexican Music, Bordered Lives, and the Sounds of Crossing by Alex E.Chávez for Duke University Press ( March 2015)

• Book: Course on Music in Mexico by Janet Sturman for Routledge Press (October 2013)

• Book: Habananame: Music and World of Carlos Varela by Maria Caridad Cumaná, KarenDubinsky, and Xenia Reloba de la Cruz for Temple University Press (March 2012)

• Book: Anxious Mariachis: Performing Race, Gender and Sexuality in Jalisco, Mexico byCandida Jaquez for Duke University Press (November 2011)

Invited Lectures/Public Presentations

• University of New Mexico invited lecture, Albuquerque, NM, September 19, 2019

• Pre-conference roundtable invited speaker on "Decolonizing Ethnomusicology," Society forEthnomusicology meeting, Albuquerque, NM November 14, 2018

• Centro de investigaciones y estudios superiores en anthropología social (CIESAS), ColoquioInternacional/International Colloquium: "El papel de Ramón Ayala como mediador binacional demúsica norteña "/"The Role of Ramon Ayala as binational mediator of musicanortena," May 10, 2018

• University of Texas-Dallas. “Sips of Science” speaker series May 4, 2018

• Invited presenter, President’s Roundtable on Engaged Ethnomusicology and Immigrant andRefugee Communities, 62nd Annual Meeting of the Society for Ethnomusicology, Denver,CO, October 26-29, 2017

• University of California, Santa Barbara, “Reclaiming and Reimagining Tex-Mex BorderMusic through Legacy, Heritage and Place,” Invited lecture, November 16, 2016

• Centro de investigaciones y estudios superiores en anthropología social (CIESAS),“Antropología de sonido y/o Estudios de Sonido: Enfoques y Preguntas” (Anthropology ofSound and/or Sound Studies: Focuses and Questions), Lecture/Workshop as part of a4-day seminar: “Los enfoques etnográfico y investigacion cuantitativo” (EthnographicFocuses and Quantitative Research) in Monterrey, NL, Mexico, March 29, 2016

• Centro de investigaciones y estudios superiores en anthropología social (CIESAS),“Crossing Borders, Sounding Tradition: Being Ramón Ayala, El Rey del Acordeón andWorking-Class Icon,” November 11, 2015

• Vanderbilt University, Nashville, TN, Discussion and Q&A on my book Música Norteña:Mexican Migrants Creating a Nation between Nations (via Skype), December 2, 2015

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• Tarlton State University, Ft. Worth, TX, “The Mexican American Voice in American Popular Music,” November 21, 2014

• Georgetown University, Washington DC, Discussion and Q&A on my book (via Skype), October 30, 2014

• United States Department of Agriculture/Natural Resources and Conservation Service, Ft Worth Texas, “What Ethnomusicologists Do and Working with Mexican Immigrant and Chicano Musicians in Texas” (tentative title), October 15, 2014

• Centro de investigaciones y estudios superiores en anthropología social (CIESA), “El Piporro como arquetipo de música norteña: masculinidad, identidad y culturanorteñas” (El Piporro as an Archetype for Música Norteña: Masculinity, Identity and Norteño Cultures), Coloquio: “Culturas musicales de Monterrey y NuevoLeón” (Colloquium: Musical Cultures of Monterrey and Nuevo León), Monterrey, NL, Mexico, September 19, 2014

• Center for the Study of the American South, University of North Carolina, Chapel Hill, “‘Orale Raza, Here’s my Brown Soul’: The Mexican American Voice in American Popular Music,” March 21, 2013

• Mano a Mano, Cultura Mexicana sin Fronteras (Mexican Cultural Arts organization),“The Mariachi Academy of New York: Its History and Impact on Mexican Immigrant Life in New York,” John Jay College, City University of New York, January 26, 2013

• Centro Cultural de España, Mexico DF, Mexico, “Comunicando la imaginación colectiva: el mundo socio-espacial del sonidero mexicano,” February 16, 2012

• Vanderbilt University, Nashville, TN, "Somos Más Americanos”: Re-imagining History, Place and Nationality through Música Norteña,” November 7, 2011

• University of Bilbao, Basque Country, Spain “Cumbia en Bilbao Conference and Festival,” October 13-15, 2011

• Museum of the City of New York, “Music and Mexican Immigrant Life in New York,” June 16, 2011

• University of Oklahoma, "Somos Más Americanos”: Re-imagining History, Place and Nationality through Música Norteña,” (and radio interview) February 18, 2011

• Tejano/Norteño Convening, “The Texas-Mexican Border: Contesting Space, Place and Identity through Music,” Weslaco, TX, October 2, 2010

• "Researching and Writing About Musica Norteña, An Ethnomusicologist's Perspective,” South Texas College, McAllen, TX, September 23, 2010

• “Transcending Borders: Latin American and Latino Music in North Carolina and the United States Symposium,” University of North Carolina, Chapel Hill, March 2008

• “Communicating the Collective Imagination: The Socio-Spatial World of the Mexican Sonidero,” Festival Internacional de Artes Electrónicas y Video, Transito_MX 02(Symposium), Mexico City, October 2007

• “Vivan los mojados: poder e imaginación de los indocumentados en la música norteña"/“Long Live the Wetbacks: Power and Imagination of Undocumented Immigrants in Música Norteña,” Seminar: Culture, Politics, Migration and the Transnational Process, Regional Center for Multidisciplinary Research, Universidad Nacional Autónoma de México (UNAM), Cuernavaca, Morelos, Mexico, January, 2005

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• “Vivan los mojados: poder e imaginación de los indocumentados en la músicanorteña"/“Long Live the Wetbacks: Power and Imagination of Undocumented Immigrantsin Música Norteña,” Seminar: "Culture, Politics, Migration and the Transnational Process,"Regional Center for Multidisciplinary Research, Universidad Nacional Autónoma de México(UNAM), Cuernavaca, Morelos, Mexico, January, 2005

• “Solidarity, Collective Identity and Imagination: The Música Norteña of Working-ClassEthnic Mexicans,” West Along the Road: Symposium on Music and Identity, GlucksmanIreland House, New York University, NY, October, 2003

• “The Corrido in Música Norteña,” Living in America: The Mexican Immigrant Experience,Symposia and Concert Series with musicians Pablo and Santiago Javier, American Museumof Natural History, NY, January 11 and 12, 2003

• “The Accordion in the Americas: Instrument of Resistance and Cultural Unity,”International Accordion Festival and Symposia, San Antonio, TX, September, 2001

• “Praise in the Park: Sacred Music Traditions in New York” programs for Brooklyn ArtsCouncil,” New York Folklore Society Roundtable, Schenectady, NY, May, 2000

• “Mediating Between Two Worlds: The Sonideros of Mexican Youth Dances,” Mid-AtlanticChapter of the Society of Ethnomusicology, Metropolitan Museum of Art, NY, March, 2000

• “La evolución paralelo y el impacto de la cultura transversal del conjunto tejano y músicanorteña,” Interacción Municipal e Investigaciones Históriales, UNAM, Monterrey, NuevoLeón, México, February, 1999

• “Transcending the History of a Texas-Mexican Border Music Tradition,” University ofTexas, San Antonio, TX, March, 1999

• “Tejano vs. Norteño: Dueling Accordions in the Texas-Mexican Border Region,” 44thAnnual Meeting of the Society for Ethnomusicology, Austin, TX, November, 1999

• “Collaborating with Artists and Colleagues,” Applied Ethnomusicology section panel. 43rdAnnual Meeting of the Society for Ethnomusicology, Bloomington, ID, October, 1998

Conference Papers and Panels

• Presenter, ICTM Study Group Music and Dance in Latin America and the Caribbean, Department of Music, University of Sciences and Arts of Chiapas, Tuxtla Gutíerrez, Chiapas, Mexico (upcoming, March 9-13, 2020).

• Presenter, Latin American Studies Association, Expo Guadalajara, Guadalajara, Mexico (upcoming, May 13-16, 2020).

• Presenter, International Council on Traditional Music World Conference, "Money, Myth and Morality in Regional Mexican Music," Chulalongkorn University, Bangkok, ThailandJuly 11-17, 2019)

• Presenter, "Disentangling the Narco from the Corrido: Ethical and Aesthetic Implications of a Cultural Debate” and roundtable participant: " Center for Traditional Music and Dance: Celebrating 50 Years of Activist Ethnomusicology in New York City," 63rd Annual Meeting of the Society for Ethnomusicology, Albuquerque, NM, November 15-17, 2018

• Presenter & panel organizer, "Reclaiming Tex-Mex Border Music amid Questions of Morality, Legacy Management and the Promise of Urban Renewal and Prosperity,” (Panel title: Music, Morality, Money) XXXVI International Congress of the Latin American Studies Association, Barcelona, Spain, May 23-26, 2018aq

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• Presenter & panel organizer, “A Mi San Antonio” (For My San Antonio): Eva Ybarra’s Dissonance in the Hypermasculine World of Tejano Conjunto” (Panel title: Listening for the San Antonio Sound” in Tejano Conjunto and Conjunto Progressive) American Musicological Society/Society for Music Theory Joint Conference (Alternative joint panel), San Antonio, TX, November 1-4, 2018

• Presenter, “Sounding the Past while Listening to the Present: Accordion Tuners as Auditory Culture Mediators in Tejano Conjunto Music,” 5th International Scientific Meeting for Sound and Musical Instrument Studies, Fundação Guerra Junqueiro in Porto, Portugal, August23-28, 2017

• Presenter, “Sounding the Past while Listening to the Present: Accordion Tuners as Auditory Culture Mediators in Texas-Mexican Conjunto,” Annual Meeting of the regional Society for Ethnomusicology (Southern Plains), University of Texas RGV, Edinburg TX, March 4-5, 2017

• Presenter, “Reclaiming and Reimagining Tex-Mex Border Music through Legacy, Place and Cultural Heritage,” National Association for Chicana and Chicano Studies (NACCS) TEJAS FOCO Texas A&M, College Station, TX, February 23-15, 2017

• Presenter, “Reclaiming and Reimagining Tex-Mex Border Music through Legacy, Heritage and Place – San Benito, TX,” 5th International Symposium of the ICTM Study Group on Applied Ethnomusicology, Cape Breton University and Sydney, Nova Scotia, Canada, October 5, 2016

• Chair/presenter, “Reclaiming ‘the Border’ in Texas-Mexican Conjunto Heritage and Cultural Memory” (for panel on Transnational Spaces and Places of Mexican/Mexican-American Music) and roundtable participant: Applied Ethnomusicology: Research and Careers in the Field, 59th Annual Meeting of the Society for Ethnomusicology, Pittsburgh, PA, November14-15, 2014

• Workshop/presenter and music coordinator of Noche de Cultura program, National Association for Chicana and Chicano Studies (NACCS) TEJAS FOCO University of Texas, Pan American, Edinburg, February 21-23, 2013

• Moderator/presenter, “Shifting Borders, New Identities: Toward a Mapping of Working-Class Popular Music in the Mexican Diaspora,” Festival of International Books and Art, UT – Pan American, Edinburg, TX, March, 2010

• Chair/presenter, “El Proyecto Sonidero /The Mexican DJ Project,” (organized by myself) 54th Annual Meeting of the Society for Ethnomusicology, Mexico City, November 2009

• Presenter, “Communicating the Collective Imagination: The Socio-Spatial World of the Mexican Sonidero,” 2nd Conference of Popular Musics in the Hispanic and Lusophone, Salamanca, Spain, March, 2008

• Presenter, “From Pistol-Packing Pelado to Border Crossing Mojado: El Piporro and the Transnationalization of Música Norteña,” 34th Annual Conference of the Society for American Music, San Antonio, TX, February-March, 2008

• Presenter, “Somos Más Americanos: Los Tigres del Norte, Música Norteña and the Rise of Undocumented America,” 27th International Congress of the Latin American Studies Association, Montreal, Canada, September, 2007

• Presenter, “How the Accordion Conquered the Americas,” 39th World Conference of theInternational Council for Traditional Music,” Vienna, Austria, July 2007

• Presenter, “Communicating the Collective Imagination: The Socio-Spatial World of the Mexican Sonidero,” 51st Annual Meeting of the Society for Ethnomusicology, Honolulu, Hawaii, November, 2006 Ragland CV 2019 -

• Presenter, “Somos Más Americanos: Los Tigres del Norte, Música Norteña and the Rise of Undocumented America,” 27th International Congress of the Latin American Studies Association, Montreal, Canada, September, 2007

• Presenter, “How the Accordion Conquered the Americas,” 39th World Conference of theInternational Council for Traditional Music,” Vienna, Austria, July 2007

• Presenter, “Communicating the Collective Imagination: The Socio-Spatial World of the Mexican Sonidero,” 51st Annual Meeting of the Society for Ethnomusicology, Honolulu, Hawaii, November, 2006

• Presenter, “Mariachi Music, Mexican Immigrant Youth, and Music Education: Mutual Transformations,” Mid-Atlantic Chapter for the Society for Ethnomusicology, New York, NY, April, 2006

• Presenter, “Communicating the Collective Imagination: The Socio-Spatial World of the Mexican Sonidero,” 104th Annual Meeting of the American Anthropological Association, Washington DC, November-December, 2005

• Presenter, “Contrabanding the Corrido: The Narcocorrido and the SpanishImagination,” (for panel on Music, Dance, Identity and the Transnational “Gaze” of the Other, organized by myself) 50th Annual Meeting of the Society for Ethnomusicology, Atlanta, Georgia, November, 2005

• Presenter, “Ethnomusicologists at Work,” Applied Ethnomusicology section panel participant/presenter, 50th Annual Meeting of the Society for Ethnomusicology, Atlanta, Georgia, November, 2005

• Presenter, “Shifting Borders, New Identities: Toward a Mapping of Working-Class Popular Music in the Mexican Diaspora,” 49th Annual Meeting of the Society for Ethnomusicology, Tucson, AZ, November, 2004

• Presenter, “Solidarity, Collective Identity and Imagination: The Música Norteña of Working-Class Ethnic Mexicans,” New Directions in Chicano Music and Musicology, Dept of Chicano Studies and Ethnomusicology, University of California, Invited Speaker, Los Angeles, CA, April, 2004

• Presenter, “Solidarity, Collective Identity and Imagination: The Música Norteña of Working-Class Ethnic Mexicans,” Globalism and Transnational Culture in Latin America, Latin American and Caribbean Studies Center, State University of New York, Stony Brook, NY, April, 2004

• Moderator/Presenter, “American Potluck,” 48th Annual Meeting of the Society for Ethnomusicology, Miami, FL, October, 2003

• Panel discussant, “Punk in the Twenty-first Century,” 47th Annual Meeting of the Society for Ethnomusicology, Estes Park, CO, October, 2002

• Presenter, “Sonideros and Mexican Youth Dances in New York,” Local Music/Global Connections: New York City at the Millennium Conference, Co-sponsored by NYU, CUNY Graduate Center and Smithsonian Institution, CUNY Graduate Center, NY, March 2001

• Presenter, “Mediating Between Two Worlds: The Sonideros of Mexican Youth Dances,” Mid-Atlantic Chapter of the Society of Ethnomusicology, Metropolitan Museum of Art, NY, March, 2000

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Documentaries/Recording Projects Radio/Video/Documentary Projects and Appearances:

• Jefe de Jefes: The Los Tigres del Norte Documentary. Director, Olallo Rubio for Amateur Films,Los Angeles, CA. Interviewee and consultant. Tentative release date: January, 2018.

• As I Walk Through the Valley, A Documentary About the Secret History of Underground Musicin the Rio Grande Valley of South Texas. Directors, Charlie Vela, Ronnie Garza. Intervieweeand consultant. Release date: March 10, 2017 (SXSW Official Selection)

• WNYC, NPR Affiliate, features segment, May, 2011. Interviewed for program on Mexicanimmigrant deejays (sonideros) in New York City and Brooklyn.

• Public Radio International, Afropop Worldwide, Produced by Marlon Bishop, January 2011.Interviewed for program on cumbia music in the Americas and, in particular, Mexico and theU.S.

• “Son Sonideros,” Produced by Aida M.García, Aquí y Ahora, 2004. Interviewed (in Spanish) in20-minute report on transnational Mexican deejay phenomenon in New York, Mexico Cityand Puebla. Program aired throughout the U.S. and Latin America on the Univision Network,April 15, 2004

• “Egg, the Arts Show,” Produced by Thirteen/WNET New York, 2001-2004. Consultant forprograms on music, sound and community folk artists. “Egg” is a program about artistsworking in varied genres across the U.S.

• Accordion Dreams, Producer/Director, Hector Galán, 2000. Served as advisor and wasinterviewed in the 60-minute documentary on the history of the button accordion in Texas andits role as a symbol of ethnic and cultural identity among Mexican Americans in South Texas.The video had its national broadcast premier on PBS, August 30, 2001

• JVC Video Anthology of Music and Dance: The Americas, 1994. Directed and produced threeselections (Texas-Mexican conjunto and Mexican corrido and canción ranchera) for "TheAmericas" volume. Wrote text for all video performances from Mexico and the AmericanSouthwest.

• National Public Radio, Horizons, Spring 1993. Wrote and produced "Texas-Mexican PopularMusic," part three of a four-part series on popular Hispanic music in the U.S.

Upcoming Documentary Appearances: • Corridos Neoyorquinos (New York Ballads) Documentary. Produced by HITN (Hispanic

Information and Telecommunications Network), Director, Javier Gonzalez. New York.NEH humanities consultant and interviewee. Release date TBA.

• Recuerdos: The Life and Music of Little Joe y La Familia, Producer/Director, Una McGinnis. SanAntonio, TX. Interviewee, interviewer and consultant. Release date TBA.

Recordings Produced/Liner Notes: • New York City: Global Beat of the Boroughs, Smithsonian/Folkways, various artists (co-

producer, co-compiler, liner notes editor), 2001• Vestigios, Lourdes Perez, Vivavoce Records (producer), 1997• Recordando a Venezuela, Northwest Folklife Recordings (producer, liner notes), 1997• Romance Inolvidable, Eva Ybarra y su Conjunto, Rounder Records, (producer, liner notes),

1996

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• Presenter, “Tejano vs. Norteño: Dueling Accordions in the Texas-Mexican Border Region,” 44th Annual Meeting of the Society for Ethnomusicology, Austin, TX, November, 1999.• Presenter, “Collaborating with Artists and Colleagues,” Applied Ethnomusicology section panel. 43rd Annual Meeting of the Society for Ethnomusicology, Bloomington, ID, October, 1998.

• Steve Jordan: 20 Golden Hits, Steve Jordan, Hacienda Records (liner notes),1995• Los Relampagos del Norte: En Concierto, Los Relampagos del Norte, Hacienda Records

(liner notes), 1995• Corridos Famosos, various artists, Hacienda Records (liner notes), 1994• Lo Mejor de San Antonio, various artists, Hacienda Records (liner notes), 1994• Borderlands: From Conjunto to Chicken Scratch, Smithsonian/Folkways, various artists

(producer, compiler, liner notes), 1993• A Mi San Antonio, Eva Ybarra y su Conjunto, Rounder Records (producer, liner notes), 1993

Society Memberships/Boards/Panels

• Editorial Board Member, Folk and Popular Music of Latin America: A Handbook Series,Rowman & Littlefield Press; Texas Folklife Resources, Board of Directors; Society forEthnomusicology (SEM former council member); Society for Ethnomusicology-Southern Plains Chapter (former President/current program committee chair), SEMApplied Ethnomusicology Section Paper/Project Prize Committee; InternationalCouncil for Traditional Music; New York Folklore Society, Mid Atlantic Society forEthnomusicology; Latin American Studies Association; Society for American Music;Mariachi Academy of New York, Board of Directors (co-founder); New York StateCouncil on the Arts Grant-Making Panel Member.

Public Sector Work and Journalism

Public Sector Arts:

• Artistic Director, International Accordion Festival, San Antonio, 2010-Present;(consultant since 2001)

§ Researched and curated artists, themes and educational programs for festival. Wrote grants, program notes and educational workshop design. Served as music workshop moderator and presenter of accordion-based traditional and popular ensembles from around the world. Some traditions presented included Bulgarian wedding music, Argentine tango and chamamé, French chanson, Lebanese classical music, Tex-Mex Conjunto, Louisiana Cajun, Zydeco, Basque Trixitrika, Scottish Ceildih, Gypsy Roma, Chicken Scratch (Arizona), Polish Folk Accordion, Brazilian Gaita Ponto, and many others.(see, http://www.internationalaccordionfestival.org/)

• Consultant/Folklorist, Union Settlement Association (East Harlem), New York, Summer 1999-Present

§ Curate and design one of the oldest and largest annual “Day of the Dead” programs in the city which features community artists (theater, literary, music, dance, visual arts) and educators. Manage budget and program staff of five people for annual program.

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• New York State Council on the Arts (NYSCA), New York City, 2004 and 2008-2014

§ Served as folk arts and music panelist with folklorists and ethnomusicologists to review applications for folk arts funding from all over the state.

• Program Consultant/Academic Advisor, Nickelodeon USA, New York, Winter 2006-2008

§ Conducted research for program content and reviewed scripts for content and accuracy for “Go Diego Go” and “Dora,” bilingual educational cartoon programs. Consult/research specifically on areas of music, Latin American and Latino culture, language, literature, folklore and mythology.

• Project Director, Center for Traditional Music and Dance, New York, Summer 2000-Winter 2003; (project consultant 2003-2005)

§ Directed “Community Cultural Initiative” project among Mexican community in New York City. Co-founded/directed, Mariachi Academy of New York. Researched and co-directed numerous public festivals and programs, including: “New York, the Global City” at Smithsonian; Folklife Festival, 2001; Ethnic Heritage Festival at Lincoln Center, 2001 and 2002, New York World Festival, “Music and Culture of the Mediterranean,” at Bohemian Hall, Queens, 2002; “Living in America, The Mexican Community of New York,” at the American Museum of Natural History, 2003; New York World Festival, “Coastal Sounds: Music from the Bayou to the Caribbean,” at Central Park SummerStage, 2004. Also, managed program budgets, staff of eight people and hired freelance researchers and interns.

• Director of Folk Arts Programs, Brooklyn Arts Council, New York, Fall 1999-Summer 2000

§ Directed folk arts programs, conducted research and wrote grants for all folk arts programs. Directed and developed folk arts library series, festivals in the parks, documentation and archiving of Brooklyn’s diverse ethnic and cultural communities. Managed department budget and staff of two people.

• Program Director, Northwest Folklife, Seattle, Summer 1996-Summer 1998

§ Created cultural programming for year-round folklore organization and annual international folklife and music festival. Directed folklore research and programs. Produced recordings for record label, coordinated special concerts, residency programs, conducted research projects within ethnic communities, historical and fine art exhibits, theater, folk crafts exhibits/workshops, educational programs in schools and literary programs. Also directed two-year focus on Chicano/a Expressive Arts and Culture at the festival. Managed department and festival budgets and staff of six (grew to over 100 during festival production) along with interns and independent researchers. Wrote and managed grants for programs and festival.

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• Project Coordinator/Researcher, Texas Folklife Resources, Austin, Fall 1991-Spring 1996

§ Conducted statewide research, archival documentation and coordination offolk arts projects: "Austinlore/Dancelore: African American DanceTraditions in Austin," and "Blues, Boleros and Breakdowns: Texas Womenin Traditional Music, "Accordion Kings," (three-year documentation projecton multiethnic accordion music traditions in Texas), "Texas CountryRoots" (symposium/concert on history of country music in Texas). Wroteand directed three radio series based on these music projects. Managedproject staff of three to seven people(depending on project).

• Project Coordinator/Researcher, Washington State Arts Commission, Winter 1992-Winter1993

§ Conducted fieldwork for performance and documentation project amongMexican and Mexican-American immigrant musicians in Yakima Valleyregion. Managed budget and festival staff of five people.

Additional Contracted Public Sector/Applied Ethnomusicology:

• “American Routes” radio program (advisor/consultant, 2010), World Music Institute(festival coordinator/researcher, New York, 2002 and 2004), Long Island Children’sMuseum, folk arts consultant, 2006-Present), Queens Council on the Arts (folk artsconsultant/researcher, New York, 2001, 2002), Guadalupe Cultural Arts Center (folkloreresearch, San Antonio, Texas, 1990), Jack Straw Foundation (folklore researcher/radioprogram coordinator, Seattle, Washington, 1992-1995), Washington Commission on theArts (folk arts consultant/festival director/researcher, Olympia, Washington, 1992-1995).National Endowment for the Arts, New York State Council for the Arts, Seattle ArtsCommission: Commissioned to write evaluations and reports on programs funded bythese city, state and government agencies.

Professional Music/Arts Journalism:

• Music and Entertainment Writer/Columnist, Austin American-Statesman, Spring 1995-Summer 1996

§ Daily newspaper for Austin and Travis County. Wrote weekly columnfocusing on Latino and Tejano popular music, culture and the arts. Alsowrote arts and entertainment features, previews and reviews.

• “World Music Archives,” radio program host KOOP 91.7 FM Austin, Texas Spring1995-Summer 1998

§ Hosted and researched weekly two-hour world music program withthematic focus (i.e. music based on regional music instrumentcategorizations; traditions and styles from distinct cultures, regions orcommunities, musical trends, fusions, historical developments, etc.)

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• Music Writer/Editor, Microsoft Corporation, Spring 1992-Summer 1995

§ Wrote and edited feature articles and several thousand captions for musicexamples in CD-ROM multimedia encyclopedia Encarta and other researchtools such as World Atlas and Music Central ’95 and ‘96 (jazz, pop, blues,country, folk and world music).

• Music and Arts Writer/Columnist, Seattle Times, Summer 1990-Summer 1994

§ Daily newspaper for Seattle and King County. Wrote in-depth features,previews and essays on American popular music and arts-related issues.Wrote weekly music column in arts supplement Time Out.

• Music and Arts Features Writer/Columnist, Seattle Weekly, Spring 1989-Summer 1992

§ Weekly news and arts publication. Wrote weekly pop, rock, jazz and worldmusic listings column in addition to weekly popular music and artspreviews, essays, reviews and numerous arts and culture features.

• Music and Arts Writer/Columnist, San Antonio Express-News, Spring 1983-Summer 1988

§ Daily newspaper for San Antonio and South Texas. Wrote previews, reviewsand feature articles on music (pop, rock, jazz, country and Texas-Mexican),film and culture. Also wrote weekly music news column.

Additional Journalism:

• New York Daily News, Center for Traditional Music and Dance newsletter; San AntonioLight, Option Magazine (L.A.), Ear Magazine (NYC), Folk Roots (London), Seattle BestPlaces, Earshot Jazz (Seattle), Rakumi Arts Newsletter, Latin Times, Music City Texas,Tonantzin, and Texas Committee for the Humanities Newsletter.

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