Conference Agenda
The Online Program of events for the 2026 AMS Annual Meeting appears below. This program is subject to change. The final program will be published in early November.
Use the "Filter by Track or Type of Session" or "Filter by Session Topic" dropdown to limit results by type. Some of the sessions are also color-coded: purple indicates performances, grey indicates paper forums, and orange indicates sessions which have been organized by one of the regional associations of IMS (ARLAC or IMSEA). (Sessions which are both IMS sessions and performances are only colored orange.)
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Please note that all times are shown in the time zone of the conference. The current conference time is: 1st Sept 2026, 02:10:03am EDT
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“Canciones Neogranadinas” and the Latin American Villancico: Domestic Practices and Transregional Networks (1850–1930) (ARLAC)
Session Topics: Performances, 1800–1900, Latin American / Hispanic Studies, IMS Sessions
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| Session Abstract | |
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Organized by the ARLAC-IMS Working Group “The Villancico in Hispanic America.”
This presentation examines the anonymous mid-nineteenth-century musical manuscript Canciones neogranadinas, villancicos y responsorios, held at the Archivo Perdomo of the Luis Ángel Arango Library (Bogotá, Colombia). Comprising a singing manual, secular songs, and a collection of religious pieces scored for voice and guitar (or bandola), this document serves as an exceptional testament to the blurred boundaries between orality and literacy, and between the sacred and the profane in domestic music-making. Furthermore, it evidences the extrapolation of ecclesiastical repertoire into nineteenth-century salons.
A comparative analysis of this manuscript with other regional sources—such as the manuscript by José María Ardila Vásquez (Venezuela) and the Manual de organistas y cantores by Manuel María Rueda (Colombia)—allows us to establish links between musical practices across the South American continent, specifically within the Northern Andean region. These concordances attest to a vibrant and uninterrupted practice of the villancico genre that extends beyond the nineteenth century, persisting within both liturgical and salon contexts in Colombia, Ecuador, and Venezuela well into the twentieth century.
Based on a critical study of these manuscripts—characterized by non-standard notation and abundant marginalia, erasures, and amendments—we offer an interpretive proposal grounded in the premise that these are "open texts," where the score functions as a flexible guide for performance rather than a fixed object. Transcriptions and arrangements by Juan Francisco Sans for two voices, piano, and guitar—which incorporate the vocal methodology found in the Canciones neogranadinas manuscript—form the repertoire performed by La Lira Antioqueña. This ensemble’s name pays tribute to the eponymous string group founded in Medellín in 1903, which recorded over 75 discs of regional vocal and instrumental music with the Columbia Phonograph Co. in New York. This project seeks not only the recovery of sonic heritage but also to critically examine the reception and preservation of Latin American vocal music within the framework of contemporary musicology, performance studies, and Historically Informed Performance (HIP).
This session will include a performance by La Lira Antioqueña, featuring Mónica Herrera (mezzosoprano), Jamir Mauricio Moreno (tenor), Carlos Caballero Parra (guitar), Marianonia Palacios de Sans (piano), and Jorge Mario Valencia (recording artist). |