Dr. Mauricio Molina (34) 663 074 839

maurus4@gmail.com

EDUCATION

City University of New York Graduate Center

Ph.D. in Historical Musicology, 2001-2006.

Mannes College of Music

Master of Music in Historical Performance (renaissance and baroque recorders),

1997.

Bachelor in Music in Historical Performance (renaissance and baroque recorders),

1996.

Recorder studies with Nina Stern.

Renaissance and Baroque Music Studies with Arthur Hass and Patrick O’Brien.

Escuela Superior de Música de Tunja, Colombia

Undergraduate Studies in music theory, 1988-90.

TEACHING EXPERIENCE

Institute for the Education of Students, American University Abroad Program in

Barcelona (http://www.iesabroad.org/study-abroad/barcelona)

Adjunct Faculty, 2010-present

Classes Taught:

La música en España: diversidad, funcionalidad, y la construcción de una

identidad cultural (in Spanish)

The Iberian Peninsula: Cultures and Religions Through the Arts

Introduction to Music: Learning to Listen

Conservatorio de Música de Girona, Aula de Música Antiga

Adjunct Faculty, 2008-present

Classes Taught:

Medieval Music Theory (Teoría y práctica de la música medieval, in Spanish)

Dr. Mauricio Molina • Page 2

Chamber Music

Director of the Medieval Music Ensemble-in-Residence Cerverí de Girona

International Course on Medieval Music Performance (Early Music Besalú)

Director and Faculty, 2012-present

Classes Taught:

Medieval Music Theory

Chamber Music Ensemble

Percussion Classes

University of Bridgeport

Adjunct Faculty, 1999-2003.

Classes Taught:

Methods in Music Education I & II

Recorder

Early Music Ensemble

Carnegie Hall

Lecturer and performer in the outreach program presented in NY Public Libraries

and schools, 1997-2002.

Mannes College of Music

Adjunct Faculty, Recorder Ensemble, 1996-2001.

Assistant Conductor, Collegium Musicum, 1995-1998.

Hunter College

Director, Hunter College Early Music Ensemble, 1998

PUBLISHED WORKS

La canción monofónica secular y religiosa en el Occidente medieval (s. XII y

XIII): fuentes, repertorios y aproximaciones. Madrid: Dairea (forthcoming).

“Music, Sound and Performance in the Mediterranean / Instruments.” In Mapping

the Medieval Mediterranean, c. 300-1550: an encyclopedia of perspectives in

research. Boston: Brill Press (forthcoming).

Dr. Mauricio Molina • Page 3

“Li autres la citole mainne: Towards a Reconstruction of the Citole’s Performance

Practice.” In The British Museum Citole: New Perspectives. London: The British

Museum Press (forthcoming).

“Tympana rauca: Context, Symbolism and Performance Practice of the Medieval

Western European Frame Drum.” In Transculturation and Organology: Frame

Drums in History and Contex. Kent, Ohio, Kent State University Press

(forthcoming )

Entries on Spanish instruments to the New Grove Dictionary of Musical

Instruments, 2nd edition. (Oxford: Oxford University Press, 2013).

“Non se tenga por maestra complida: The Skillful Medieval Female Performer

and her Challenge to the Social and Intellectual Space Dominated by Males." In

Recent Research in Early Iberian Music in an International Context (Papers from

the Medieval and Renaissance Music Conference, Barcelona, 5-8 July 2011)

(Kassel: Reichenberger, 2014)

“Alleviators of Sadness and Tedium”: Constructing a Socially Acceptable Image

for the Medieval Female Performer. Núcleo de Iconografia Musical (NIM),

Universidade Nova de Lisboa, 2014).

“Panderos, cribas y tumbas: los tambores de marco y su conexión con el grano y

los ritos de la fertilidad del antiguo Mediterráneo.” Ítaca: quaderns catalans de

cultura clàssica 24 (forthcoming).

Liner notes. Magister Petrus. Vacillantis: Amorous, Religious, and Moralistic

Latin Songs of the 12th-Century Renaissance . Enchiriadis EN 2034. 2012.

"Tympanistria nostra: La reconstrucción del contexto y la práctica musical de las

pandereteras y aduferas medievales a través de sus representaciones en el arte

románico español." Codex Avquilarensis 26 (2011): 77-104.

Frame Drums in the Medieval Iberian Peninsula. Kassel: Reichenberger, 2010.

“In tympano Rex Noster tympanizavit: Frame Drums as Messianic Symbols in

Medieval Spanish Representations of the Twenty-Four Elders of the Apocalypse.”

Music in Art 32 (2007): 100-123.

“Musical Instruments Unit Metropolitan Museum of Art.” In Music Under

Construction: Imitation. New York: Carnegie Hall Education Department, 2002.

pp. 36-45.

Review of Peter Bruegel the Elder: Drawings and Prints, The Metropolitan

Museum of Art (September 25 to December 2, 2001). Music in Art 26 (2001):

152-153.

Liner notes. Sendebar. De Mar a Mar: Music in the Medieval Iberian Peninsula.

One Soul Records OS 28867. 2007.

Dr. Mauricio Molina • Page 4

Liner notes. Ensemble for the Seicento, Forbidden Dance: Dances and

Diminutions of the Italian Baroque. Musicians Showcase Recordings MS1073.

2001.

CONFERENCE PAPERS

“Non se tenga por maestra complida: The Skillful Medieval Female Performer

and her Challenge to the Social and Intellectual Space Dominated by Males.”

Medieval and Renaissance Music Conference: Barcelona. July 5-8, 2011.

“Song, Body Movement, and Rhythmic Counterpoint: The Dexterous Threefold

Spectacle of Some Medieval Spanish Juglaresas.” Performa 11, Conference on

Performance Studies: Aveiro, Portugal. May 19-21, 2011.

“Li autres la citole mainne: Towards a Reconstruction of the Citole’s

Performance Practice.” The British Museum Citole Symposium: New

Perspectives, The British Museum, London. November 4-5, 2010.

“Favorosi vedelicit sexus feminei: Ambivalent status and antagonizing ideas in

the depictions of medieval female professional performers.” Congreso

Internacional La iconografía musical en el mediterráneo y su impacto sobre la

cultura europea a lo largo de la historia, Universitat Autònoma de Barcelona,

Barcelona. Octobre, 4-6, 2010.

“Fai totz los cascavels order: Reconstructing the Timbre and Performance

practice of the Medieval Iberian Round Frame Drum with Jingles.” Symposium:

Reconstructing Medieval Percussion Instruments, The City University of New

York Graduate Center, New York. May 8, 2008.

“Singing and Dancing We Will Honor Our Lady: The Performance of the Marian

Songs in the Cantigas de Santa Maria and the Llibre Vermell of Montserrat.”

Symposium: The Presence of the Past in Performing the Llibre Vermell of

Montserrat, The City University of New York Graduate Center, New York.

December 5, 2006.

“In quattuor lignis: History, Timbre, and Performance Practice of the Medieval

Iberian Frame Drum.” 35th

Annual Meeting of the American Musical Instrument

Society Held in Collaboration with the Galpin Society and The International

Council of Museums, The National Music Museum, University of South Dakota.

May 19-23, 2006.

“E Tañer Panderos e Adufes: Reconstructing the Practice of Combining Different

Types of Frame Drums in Medieval Iberian Music.”41st International Congress of

Medieval Studies, Western Michigan University, Kalamazoo, May 2006;

American Musicological Society, Mid-Atlantic Chapter, The City University of

New York Graduate Center, New York. April 6, 2006.

Dr. Mauricio Molina • Page 5

“The Semitic and Messianic Symbolism of the Square Frame Drum in Medieval

Iberian Art.” Medieval Studies Conference/Inter University Consortium,

Princeton Club, New York. April 16, 2005; Music in Art: Iconography as a

Source for Music History/9th

Conference of RCMI in memory of Emanuel

Winternitz, The City University of New York Graduate Center, New York.

November 5-8, 2003; Medieval and Renaissance Music Conference, Friedrich-

Schiller-Universität, Jena, Germany. August 3, 2003.

LECTURES, SEMINARS, AND WORKSHOPS

“El bordón como practica polifónica en la musica de los siglos XII y XIIIl.”

Escola Superior de Música de Catalunya – Master in Historical Performance,

Module 5: September 19, 2012.

“Dicant nunc Hebrei: El pueblo judío en la canción latina de los siglos XII y

XIII.” Festival Terre de Trovadors – Castelló d´Empúries September 09, 2012.

Lecture: Iconografía y reconstrucción de la practica de interpretación musical y su

aporte al estudio musicológico. I Curso de Musica Medieval y Renacentista de

Morella - Morella (Valencia): July 22, 2012.

Seminario: La iconografía musical y su aporte al estudio musicológico. Facultat

de Geografia i Història - Universitat de Barcelona: February 16, 2012.

"Perspectivas de interpretación en la música del siglo XIV: instrumentos y la

teoría del a capella." Escola Superior de Música de Catalunya --Master in

Historical Performance: November 6, 2011.

"Repertoires, sources, context, and performance practice in troubadour music."

Universitat Autònoma de Barcelona, musicology program: December 1, 2011.

“Harmonic Color, Droning, and Performance Issues in the Rondellus Sumer is

icumen in.” Escola Superior de Música de Catalunya – Master in Historical

Performance, Module 5: May 28, 2011.

“Simbolismo y la representación de diferentes aspectos de la práctica musical en

el arte románico.” Universidad Complutense de Madrid –VI Curso de Iconografía

Musical: April 7-8, 2011.

“El bordón como recurso de interpretación y composición en la polifonía

medieval.” Escola Superior de Música de Catalunya – Master in Historical

Performance, Module 5: February 18-19, 2011.

“La canción monofónica medieval no litúrgica: fuentes, repertorios y

aproximaciones.” Universitat Autònoma de Barcelona (Catalonia), musicology

program: January 20, 2011.

Dr. Mauricio Molina • Page 6

“Panderos, cribas y tumbas: los tambores de marco y su conexión con el grano y

los ritos de la fertilidad del antiguo Mediterráneo.” Societat Catalana d'Estudis

Clàssics, Barcelona. July 10, 2010.

“Reconstructing the Performance Practice of 12th- and 13th- Century Vocal and

Instrumental Dances." Conservatori de Música de Girona, Girona (Catalonia):

July 3-4, 2010.

“Una práctica multidisciplinaria de reconstrucción musical histórica y su

aplicación en la interpretación de un cordófono medieval.” Escola Superior de

Música de Catalunya, Barcelona: March 19, 2010.

“Contexto, estructura e interpretación de las Cantigas de Santa María de Alfonso

X.” Universitat Autònoma de Barcelona, Barcelona: Dec 10, 2009.

“Abriendo tumbas y cazando fantasmas: historia, contexto y problemática de la

reconstrucción de las prácticas de interpretación del pasado.” Conservatori de

Música de Girona, Girona (Catalonia): May 23, 2009.

“Teoría y practica del ritmo en la música clásica árabe.” Universitat Autònoma de

Barcelona, Barcelona: May 15, 2009.

“From the Grain Sieve of the Ancient World to the Modern Puerto Rican Plena:

Tracing the Roots of the Latino American Tambourine.” Rutgers University, New

Jersey: May 1, 2008.

“Educación y multidisciplinarismo en la escuela musicológica norteamericana.”

Universitat Autònoma de Barcelona, Barcelona: January 18, 2008.

“Como esquinado adufe: Distribución, terminología y función del pandero

cuadrado medieval en la península Ibérica según las fuentes históricas.” Primera

trobada panderos cuadrats, Argelager (Catalonia), May 6, 2007.

“Panderos, garbells, temples i tombes” (“Frame Drums, Sieves, Temples, and

Tombs”). Festival Integral de Percussions, Valls (Catalonia). January 25, 2007.

“La Gaita (The Bagpipe).” Lecture-performance sponsored by the Department of

Education of the Metropolitan Museum of Art, New York. December 9, 2006.

“Instrumentarium Hispanicus: Musical Instruments in the Medieval Iberian

Peninsula.” Lecture-performance sponsored by the Department of Musical

Instruments of the Metropolitan Museum of Art, New York. December 6, 2006.

“Seminar on the Music, History, and Performance Practice of Historical and

Traditional Frame Drums from Around the World.” Amherst Early Music

Festival. July 16-22, 2006.

“Frame Drums in the Maghreb: Classification, History, Social Status, and

Performance Practice.” Hunter College, New York. August 5, 2005.

Dr. Mauricio Molina • Page 7

“Reconstructing Medieval Instrumental Performance Practice in the Cantigas de

Santa Maria of Alfonso X.” Queens College, New York. March 14, 2005.

“History and Performance Practice of Brass Instruments.” Lecture sponsored by

the Departments of Education and Musical Instruments of the Metropolitan

Museum of Art, New York. February 26, 2005.

“The Fulani Flute and other Musical Instruments of West Africa.” Lecture

sponsored by the Departments of Education and Musical Instruments of the

Metropolitan Museum of Art, New York. February 7, 2005.

“Seminar on the Music, History, and Performance Practice of the Mediterranean

Frame Drums.” The City University of New York Graduate Center, New York.

October 19-November 23, 2004.

“Musical Instruments in Pre-Columbian, and Colonial Peruvian Art.” Lecture

sponsored by the Department of Education of the Metropolitan Museum of Art,

New York. October 24, 2004.

ORGANOLOGY AND EXHIBITIONS

Consultant, acquisition of Iberian, Italian and Greek historical and traditional

instruments for the MIM (Musical Instrument Museum), 2008-present.

Curation of the exhibition: Pergami sobre fusta: el pandero en quatre continents

(Parchment Stretched on Wood: the Frame Drum in Four Continents). XQ Beat:

Festival Integral de Percussions, Valls (Catalonia). January, 2007.

FELLOWSHIPS

CUNY University Fellowship, 2004-2006.

The Endicott Foundation Fellows Program, 2004-2005.

AWARDS

The 2012 Nicholas Bessaraboff Prize of the American Musical Instrument Society for the most

distinguished book-length work in English in organology published in 2010.

The 2006 Higini Anglès Dissertation Award for the dissertation “Frame Drums in

the Medieval Iberian Peninsula.”

The Frederick R. Selch Award for best paper at the 35th

Annual Meeting of the

American Musical Instrument Society held in collaboration with the Galpin

Society and The International Council of Museums, The National Music Museum,

University of South Dakota. May 19-23, 2006.