Free and open to the public
*A newly created collaboration between the Harvard Music Department and the David Rockefeller Center for Latin American Studies (DRCLAS), the GLAM (Group for Latin American Musics) Concert Series is designed around the promotion of Latin American music on the Harvard campus and broader Boston community through an annual concert and associated master class. GLAM is an initiative of Harvard’s Music Department graduate students Daniel Walden, Julio Zúñiga, and Felipe Ledesma Núñez, under the mentorship of Carol Oja, William Powell Mason Professor of Music.
- Julio Estrada — Canto tejido, for piano (1974)
- Juan Campoverde Q. — Los lugares del deseo, for soprano, flute, clarinet, and harpsichord (2017)
- Pablo Chin, Three Burials, for flute and video
- Julio Estrada — Yuunohui'Tlapoa'Ehecatl, for clarinet and piano(1999)
- Valeria Jonard – Lamentos y reflejos, for two voices and Tibetan bowls
- Pablo Chin — 7 Voice Studies on Chapter 34, for soprano and electronics (2015)
- Julio Estrada — Yuunohui’Ehecatl, for flute (1999)
Masterclass with Fonema and Julio Estrada:
September 19, 2017, 4:00pm. Location TBD.
If interested in attending, please send an email to firstname.lastname@example.org
About Fonema Consort
Consort : a group of instrumentalists and singers performing together
Fonema: (Spanish, phoneme) the smallest unit of speech, which distinguishes words according to their sonic quality.
Fonema Consort is dedicated to the commissioning and promotion of new works for voice and instruments by both established and emerging composers from Latin America and its diaspora. Since its inception in 2012, Fonema has established an international reputation as one of the leading young contemporary classical music ensembles based in the United States. Under the artistic direction of composer Pablo Chin and soprano Nina Dante, it has been featured throughout the Americas (US, Mexico, Ecuador, and Costa Rica) and has collaborated closely with celebrated composers such as Julio Estrada, James Dillon, and Lewis Nielson; as well as young luminaries such as Bethany Younge, Sivan Cohen Elias and Clint McCallum. Fonema Consort has been the recipient of prestigious grants from institutions like the French American Cultural Exchange (FACE), the Ernst von Siemens Foundation, and the Copland Fund for New Music. Fonema Consort has developed a particularly close relationship with the prominent Mexican composer Julio Estrada**, who has been jointly selected by the graduate students and faculty in the Harvard Music Department to serve as a guest speaker in the Barwick Colloquium Series on September 18, 2017.
-Juan Campoverde: September 18, 2017, from 12:00-2:00pm. Room 6, Harvard Music Department. Organized by the Harvard Group for New Music (HGNM)
-Julio Estrada: Barwick Colloquium, September 18, 2017, from 4:15-5:30pm. Davison Room, Harvard Music Department. Organized by the Harvard Music Department
** Composer, theoretician, historian, pedagogue, and interpreter. Julio Estrada was born in Mexico City, where his family had been exiled from Spain since 1941. He began his musical studies in Mexico from 1953–65, where he studied composition with Julián Orbón. In Paris from 1965-69 he studied with Nadia Boulanger, Olivier Messiaen and attended courses and lectures of Iannis Xenakis. In Germany he studied with Karlheinz Stockhausen in 1968 and with György Ligeti in 1972. He completed a Ph.D in Musicology at Strasbourg University from 1990–1994. Since 1974 he became researcher in music at the UNAM Instituto de Investigaciones Estéticas, where he was appointed as the Chair of a project on Mexican Music History and as the head of "Música, Sistema Interactivo de Investigación y Composición", a musical system designed by himself. He is the first music scholar to be honored as member of the Science Academy of Mexico, and by the Mexican Education Ministry as National Researcher since 1984, and since 1985 at the top level (III). He created the Laboratorio de Creación Musical at UNAM, where he has been teaching theory and philosophy of musical creation. He has written more than a hundred articles based on his research. Some have been translated into English, French, German, Italian, Japanese and Norwegian. He is the General Editor of La Música de México  He wrote with Jorge Gil  (IIE UNAM, Mexico 1984). He has postulated a General Theory of Intervallic Classes, applicable to macro and microintervallic scales of duration and of pitch. He has developed together with M. Díaz and Víctor Adán the computer music program MUSIICto generate the combinatory potential of music scales based on the division of the octave. In the field of the continuum Estrada has developed new methods of multidimensional graphic representation of different components of sound (pitch, dynamics, colour), rhythm (pulse, attack, vibrato) and three-dimensional physical space. His first research on the continuum field was published in 1998 in Darmstadt : Ouvrir l’horizon du son: le continuum.He has been a visiting professor at Stanford, California, San Diego, New Mexico, Musikwissenschaft Institut, Rostock, Sorbonne and Darmstadt.