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.
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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, 02:58:28am EDT
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Daily Overview |
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Politics of Identity and Representation in Latin America Session Chair: Hermann Hudde | |
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Orientalism, Exoticism, and Musical Transculturation in Manuel M. Ponce’s Eight Cycles for Voice and Piano University of California, Riverside, Manuel M. Ponce (1882–1948), a leading 20th-century Mexican composer, conceived of Mexican song as a melodious expression of the nation’s soul and essence. For Ponce, popular music was not a fusion of mixed cultural and ethnic heritages but a transculturation of European music in Mexico. In 1925, Ponce traveled to Paris to update his musical language and to delve into the latest trends in European culture and art. Enrolling in Paul Dukas’ composition course at the École Normale de Musique fundamentally altered Ponce’s musical aesthetics. During this period, Ponce produced distinctive solo-vocal works, including his eight Ciclos (Cycles), which I assert are closely linked to Latin American Modernismo, a pre-revolutionary literary movement in the late 19th and early 20th centuries with orientalist and exotic attributes. In this proposal, I contend that these important yet largely neglected songs constitute a giant leap forward in his compositional style and technique. After arriving in Paris, Ponce finished the second cycle for voice and piano, Tres poemas on verses by the Russian writer Mikhail Lermontov. Although the texts that Ponce chose as the basis for the composition of six of his eight cycles belong to poets influenced by the Modernismo movement, the music written for them corresponds precisely to this artistic trend. At the end of 1931, he wrote Granada, using a poem by Mariano Brull. Ponce also began the Five Poésies chinoises and Poemas Melancólicos. He concluded this series in Mexico, where he wrote Cuatro poemas by Icaza in 1936; Seis poemas arcaicos in 1938; and Tres poemas by González Martínez, two of them in 1939 and the last in 1940. In my work, I will examine and contextualize these pieces, considering historical and interdisciplinary aesthetic tendencies through the lenses of Latin American Modernismo, Orientalism, Exoticism, Transculturation, and Paul Dukas’ musical style. This highly diverse collection reveals an eclectic composer who diverged from an evolutionary and teleological creative process. I argue that by studying Ponce’s transcultural influences, we can observe broader trends of orientalism and exoticism in 20th-century Mexican music, which remain understudied in musicology. | |