Hermann Hudde
The range of my experience in higher education includes teaching diverse music courses at UCLA, Scripps College, Harvey Mudd, College Cambridge Centre for International Research (United Kingdom), New England Conservatory of Music and UC Riverside.
As an emerging respected scholar from Venezuela and the United States, my research articles have been published in peer-reviewed journals and reviews such as Journal of the Society for American Music, Oxford Bibliographies, Current Musicology, Latin American Music Review, Diagonal: An Ibero-American Music Review, Revista Musical Chilena, Músicaenclave, Harvard Review of Latin America, Tempo, Nineteenth-Century Music Review and Resonancias. My research has been supported by a grant from the Latin GRAMMY Cultural Foundation and the Otto Mayer-Serra Award for Music Research. Because of my expertise, Current Musicology, a publication of Columbia University, invited me to participate on the editorial board (Vol. 111, 2023). I also have the chapter, “Bernstein and Latin America,” in the Bernstein in Context volume (Cambridge University Press), invited by the editor, Elizabeth A. Wells.
As an active performer (classical guitar), I have given recitals at prestigious concert venues including Leonard Bernstein Festival of the Creative Arts, Graphik Museum “Pablo Picasso,” Casa de Estudios Latinoamericanos “Rómulo Gallegos,” University of Chicago Fulton Recital Hall, Isabella Stewart Gardner Museum, MIT Guest Artist Concert Series and La Maison de l’Amérique Latine in Paris, among others.
As a performer, my recordings are Iberoamérica (Centaur Records, 2009) and Trivium (Dreyer & Gaido, 2003), and I have been dedicated and premiered works for classical guitar by Uruguayan composer Miguel del Aguila’s Sambeando (2019) and Venezuelan composer Alex Rodriguez’s Continental Suite (2019).
In recognition of my holistic work (scholar, pedagogue, performer, and public service), I was awarded a Future of Music Faculty Fellowship at Cleveland Institute of Music (2022-23).
Supervisors: Dr. Walter A. Clark and Dr. Leonora Saavedra
As an emerging respected scholar from Venezuela and the United States, my research articles have been published in peer-reviewed journals and reviews such as Journal of the Society for American Music, Oxford Bibliographies, Current Musicology, Latin American Music Review, Diagonal: An Ibero-American Music Review, Revista Musical Chilena, Músicaenclave, Harvard Review of Latin America, Tempo, Nineteenth-Century Music Review and Resonancias. My research has been supported by a grant from the Latin GRAMMY Cultural Foundation and the Otto Mayer-Serra Award for Music Research. Because of my expertise, Current Musicology, a publication of Columbia University, invited me to participate on the editorial board (Vol. 111, 2023). I also have the chapter, “Bernstein and Latin America,” in the Bernstein in Context volume (Cambridge University Press), invited by the editor, Elizabeth A. Wells.
As an active performer (classical guitar), I have given recitals at prestigious concert venues including Leonard Bernstein Festival of the Creative Arts, Graphik Museum “Pablo Picasso,” Casa de Estudios Latinoamericanos “Rómulo Gallegos,” University of Chicago Fulton Recital Hall, Isabella Stewart Gardner Museum, MIT Guest Artist Concert Series and La Maison de l’Amérique Latine in Paris, among others.
As a performer, my recordings are Iberoamérica (Centaur Records, 2009) and Trivium (Dreyer & Gaido, 2003), and I have been dedicated and premiered works for classical guitar by Uruguayan composer Miguel del Aguila’s Sambeando (2019) and Venezuelan composer Alex Rodriguez’s Continental Suite (2019).
In recognition of my holistic work (scholar, pedagogue, performer, and public service), I was awarded a Future of Music Faculty Fellowship at Cleveland Institute of Music (2022-23).
Supervisors: Dr. Walter A. Clark and Dr. Leonora Saavedra
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Papers by Hermann Hudde
Latin American and Latinx composers continue to contribute to music by bringing a subtle universe of
sounds shaped by their agency and cultural history. Composer Max Lifchitz (b. 1948) bridges his artistic
output with entrepreneurship and pedagogy. Since migrating from Mexico to the United States, Lifchitz
has constructed a multifaceted persona as a cultural broker. As a composer, Lifchitz’s self-defined eclecticism
forms the basis of his musical voice, which reconciles opposites and flows between contrasting compositional
aesthetics, cultures, and techniques. In 1980, he created the North/South Consonance organization, which has
been an open and anti-canonical space for composers from different aesthetics, traditions, and ethnic and
gender identities to share their works with new music audiences. In Lifchitz’s role as a pedagogue, he positions music as a pluriversal tool to generate epistemological equity and inclusion and a more intercultural
educational experience. Despite his contributions to contemporary Western art music, his impact on new
music has not yet been studied. Therefore, the article’s purpose is to examine Lifchitz’s extensive and complex
contributions from a transmodern theoretical perspective as postulated by philosopher Enrique Dussel (b.
1934) to demonstrate how the composer’s music and persona represent qualities of this philosophical theory
and promote the redefinition of art music and the musician’s role in the twenty-first century.
American writers working in the contemporary chronicle genre have begun to rewrite history to refute
the representations made by European or Eurocentric chroniclers and contribute to the epistemological
decolonization of the American continent. Therefore, the question that arises concerns whether there
are works of art music by contemporary Latin American composers’ equivalent to contemporary Latin
American chronicles of literature? Thus, the purpose of this article is to study the interconnections that
relate Latin American art music with the genre of the literary chronicle in Latin America through Latin
American and Latin American cultural theory. From this perspective, this article focuses on the figure of
the composer Miguel del Águila (Uruguay, 1957) and analyzes three of his works: TOCCATA, op. 28
(1989), RETURN, op. 66 (1999), and THE FALL OF CUZCO, op. 99 (2009). In conclusion, it is possible to
identify that music, like literature, reconstructs facts, subjects, ideas, affections and becomes the
reference for the symbolic and subjective rewriting of identity and memory, which generates new
proposals of interdisciplinary artistic production.
Composer Miguel del Águila (Uruguay, 1957) has developed an outstanding international career, whose cosmopolitan music has reached audiences and musicians around the world. This brief article analyzes, mainly, non-musical elements such as syncretic culture in Uruguay, the Cold War, Emigration, Modernity and Sexual orientation, among other factors, that have shaped the works and the style of the composer. This article intends to establish part of the basis for future research on the music by Miguel del Águila.
Palabras Clave: Venezuela, música, decimonónico, piano, Latino América, compositoras.
Teresa Carreño, more than being another prodigy child, was, thanks to her creativity and agency, an outstanding cosmopolitan and all-round artist during the nineteenth-century and the beginning of the twentieth-century. Her role of concert pianist was complemented with those of composer, pedagogue, opera impresario and Singer. Teresa Carreño challenged the conventions of her time in order to built her legacy. This article collects the thoughts of scholars and performers related to her work and life as well as a current list of intellectual productions about the artist with the aims of continuing the contribution to its examination and promotion.
Keywords: Venezuela, Music, Nineteenth-Century, Piano, Latin America, Women composers.
Resumen
Paul Desenne es un compositor latinoamericano cuyo mestizaje musical es la esencia de la riqueza y creatividad en su música. Este diálogo es una invitación para que Paul Desenne reflexione sobre las experiencias y filosofías que han contribuido con su vida artística y sus creaciones. Desde el punto de vista de un compositor, Desenne nos expresa sus opiniones acerca de lo real maravilloso, su programa de radio Alzheimer, la música urbana, las músicas de América Latina, el humor musical y el postmodernismo en sus de sus obras.
Book Chapters by Hermann Hudde
Invited Contributions by Hermann Hudde
CD Reviews by Hermann Hudde
Latin American and Latinx composers continue to contribute to music by bringing a subtle universe of
sounds shaped by their agency and cultural history. Composer Max Lifchitz (b. 1948) bridges his artistic
output with entrepreneurship and pedagogy. Since migrating from Mexico to the United States, Lifchitz
has constructed a multifaceted persona as a cultural broker. As a composer, Lifchitz’s self-defined eclecticism
forms the basis of his musical voice, which reconciles opposites and flows between contrasting compositional
aesthetics, cultures, and techniques. In 1980, he created the North/South Consonance organization, which has
been an open and anti-canonical space for composers from different aesthetics, traditions, and ethnic and
gender identities to share their works with new music audiences. In Lifchitz’s role as a pedagogue, he positions music as a pluriversal tool to generate epistemological equity and inclusion and a more intercultural
educational experience. Despite his contributions to contemporary Western art music, his impact on new
music has not yet been studied. Therefore, the article’s purpose is to examine Lifchitz’s extensive and complex
contributions from a transmodern theoretical perspective as postulated by philosopher Enrique Dussel (b.
1934) to demonstrate how the composer’s music and persona represent qualities of this philosophical theory
and promote the redefinition of art music and the musician’s role in the twenty-first century.
American writers working in the contemporary chronicle genre have begun to rewrite history to refute
the representations made by European or Eurocentric chroniclers and contribute to the epistemological
decolonization of the American continent. Therefore, the question that arises concerns whether there
are works of art music by contemporary Latin American composers’ equivalent to contemporary Latin
American chronicles of literature? Thus, the purpose of this article is to study the interconnections that
relate Latin American art music with the genre of the literary chronicle in Latin America through Latin
American and Latin American cultural theory. From this perspective, this article focuses on the figure of
the composer Miguel del Águila (Uruguay, 1957) and analyzes three of his works: TOCCATA, op. 28
(1989), RETURN, op. 66 (1999), and THE FALL OF CUZCO, op. 99 (2009). In conclusion, it is possible to
identify that music, like literature, reconstructs facts, subjects, ideas, affections and becomes the
reference for the symbolic and subjective rewriting of identity and memory, which generates new
proposals of interdisciplinary artistic production.
Composer Miguel del Águila (Uruguay, 1957) has developed an outstanding international career, whose cosmopolitan music has reached audiences and musicians around the world. This brief article analyzes, mainly, non-musical elements such as syncretic culture in Uruguay, the Cold War, Emigration, Modernity and Sexual orientation, among other factors, that have shaped the works and the style of the composer. This article intends to establish part of the basis for future research on the music by Miguel del Águila.
Palabras Clave: Venezuela, música, decimonónico, piano, Latino América, compositoras.
Teresa Carreño, more than being another prodigy child, was, thanks to her creativity and agency, an outstanding cosmopolitan and all-round artist during the nineteenth-century and the beginning of the twentieth-century. Her role of concert pianist was complemented with those of composer, pedagogue, opera impresario and Singer. Teresa Carreño challenged the conventions of her time in order to built her legacy. This article collects the thoughts of scholars and performers related to her work and life as well as a current list of intellectual productions about the artist with the aims of continuing the contribution to its examination and promotion.
Keywords: Venezuela, Music, Nineteenth-Century, Piano, Latin America, Women composers.
Resumen
Paul Desenne es un compositor latinoamericano cuyo mestizaje musical es la esencia de la riqueza y creatividad en su música. Este diálogo es una invitación para que Paul Desenne reflexione sobre las experiencias y filosofías que han contribuido con su vida artística y sus creaciones. Desde el punto de vista de un compositor, Desenne nos expresa sus opiniones acerca de lo real maravilloso, su programa de radio Alzheimer, la música urbana, las músicas de América Latina, el humor musical y el postmodernismo en sus de sus obras.
The dissertation similarly examines individuals, groups, and concepts, such as Grupo Renovación (Argentina, 1929–1944), Grupo de los cuatro (Mexico, 1936-1940), Música Viva (Brazil, 1939–1948), Grupo de Renovación Musical (Cuba, 1942–1948), and Francisco Curt Lange’s (1903-1997) Americanism musical, just to name a few, who fostered a vibrant and creative Modern- music scene in Latin America during the first half-century. Although some recent publications have discussed and reviewed the role of modern art music on the American continent and its intersection with U.S. cultural diplomacy during the periods of Pan-Americanism and Inter-Americanism, the impact of Latin American modern music at the Berkshire Music Center at Tanglewood remains unstudied. Throughout the dissertation, I examine how the geocultural and epistemological category of Latin American art music, despite possessing a musical/cultural history, must constantly negotiate aesthetics and politics vis-à-vis the ethnocentric and epistemological hierarchies of Western modernity. The purpose of the dissertation is to examine the intersection of Latin American modern music at the Berkshire Music Center at Tanglewood (1941-1951), U.S. cultural diplomacy, and Western modernity, thus shedding needed light on this untold episode from the Western hemisphere’s art-music history.