Resume

ACADEMIC BACKGROUND

2010 – PhD in Musical Performance (with Honors), Faculty of Music, National Autonomous University of Mexico (UNAM), Mexico.

1996 – Master’s Degree, University of West London, England.

1996 – Fellowship Diploma, London College of Music, England.

1994 – Certificate of Advanced Studies, London College of Music, England.

1989 – Bachelor’s Degree in Music, Universidade de São Paulo, São Paulo, Brazil.

1985 – Professional Technical Course in Music, Conservatório Estadual de Música “Juscelino Kubitschek de Oliveira”, Pouso Alegre, Minas Gerais, Brazil.

LANGUAGES: English, French, Spanish, and Portuguese.

CREATION AND MUSICAL PERFORMANCE

2025 – EMS Elektronmusikstudion, Stockholm, Sweden. May 2025. Analog creation practices with the Buchla Series 200 synthesizer.

2024–2026 – Poéticas de la Ciudad and Espejismos Sonoros. Sistema Nacional de Creadores de Arte (SNCA), Secretaría de Cultura.

2023 – HANGAR MUSIC, Centro de Investigação Artística, Lisbon, Portugal. Voces Ancestrales Project. Programa Ibermúsicas – INBAL – Secretaría de Cultura. September.

2023 – Selection of the audiovisual work Espectros de Água (2021) for the exhibition Derecho a Vida – Miradas Ecofeministas. Centro Cultural de España, San José, Costa Rica. March 8 – June 5.

2021 – Féminas Sonoras. Creation of 4 electroacoustic works for 5-string eCello by Iracema de Andrade, with visual support by Adela Marín and Jessica Rodríguez. Programa Ibermúsicas – INBAL – Secretaría de Cultura.

2020 – Creation Laboratory for Mixed Ensemble: Cello Alterno. Centro Mexicano para la Música y las Artes Sonoras, Morelia, Michoacán.

2016–2018 – El violonchelo en el siglo XXI: Creation and performance of new repertoire for acoustic cello and 5-string electric cello combined with electroacoustic sounds and video. Programa Creadores Escénicos con Trayectoria. Fondo Nacional para la Cultura y las Artes, Secretaría de Cultura.

2016 – Prácticas de Vuelo 2016. Strengthening Program for Young Composers in Electroacoustic Music: Creation of 8 works for cello, electroacoustic sounds, and video. Centro Mexicano para la Música y las Artes Sonoras, Morelia, Michoacán.

ARTISTIC RESIDENCIES

2025 – EMS Elektronmusikstudion, Stockholm, Sweden. May 2025.

2023 – HANGAR MUSIC, Centro de Investigação Artística, Lisbon, Portugal. September 1–30, 2023. Project: Ancestral Voices. Programa Ibermúsicas – INBAL – Secretaría de Cultura.

2019 – Escola Superior de Música de Catalunya (ESMUC), Barcelona, Spain. April–May 2019.

2018 – Centro Mexicano para la Música y las Artes Sonoras (CMMAS), Morelia, Michoacán, Mexico. March 7–9, 2018.

2013 – OMI – International Arts Center, Ghent, New York, USA. July 18 – August 4, 2013.

2007 – Centro Mexicano para la Música y las Artes Sonoras (CMMAS), Morelia, Michoacán, Mexico. September 17–21, 2007.

DISTINCTIONS AND GRANTS

2024 – First Place, Premio al Desempeño Académico en Investigación 2024, Instituto Nacional de Bellas Artes y Literatura.

2023–2026 – Sistema Nacional de Creadores de Arte, Sistema de Apoyo a la Creación y a Proyectos Culturales, Secretaría de Cultura, Mexico.

2022 – Programa Ibermúsicas, Voces Ancestrales Project. Artistic residency at HANGAR MUSIC, September 2023. Creation of work based on the soundscape of Lisbon, Portugal.

2020 – Programa Ibermúsicas, Féminas Sonoras Project. Creation of new repertoire for 5-string eCello, electroacoustic sounds, and visual support.

2018 – Programa de Fomento a Proyectos y Coinversiones Culturales. Album Aleaciones (2020). Fondo Nacional para la Cultura y las Artes, Secretaría de Cultura.

2016–2018 – Programa Creadores Escénicos con Trayectoria. Fondo Nacional para la Cultura y las Artes, Secretaría de Cultura.

2013 – Programa de Fomento a Proyectos y Coinversiones Culturales. Album Voces Electroacústicas (2014) and acquisition of 5-string electric cello. Fondo Nacional para la Cultura y las Artes, CONACULTA.

2013 – Programa de Apoyo a la Docencia, Investigación y Difusión de las Artes (PADID). Seminario Mexicano de Música Electroacústica. CENIDIM, INBA-CNA.

2011 – Programa Creadores Escénicos. Convergencias Temporales: Música para Violoncello y Nuevas Tecnologías. Fondo Nacional para la Cultura y las Artes, CONACULTA.

2010 – Medalla “Alfonso Caso” for Academic Merit. Universidad Nacional Autónoma de México.

2009 – Programa de Fomento a Proyectos y Coinversiones Culturales. Album Electro-Acústico. Nominated in two Latin Grammy Award 2011 categories for Contemporary Music. Fondo Nacional para la Cultura y las Artes, CONACULTA.

2008 – Comisión de Apoyos Especiales. Ensamble Cello Alterno. Album Cello Alterno: Música Mexicana para Dos Violonchelos y Piano (2009). Fondo Nacional para la Cultura y las Artes, CONACULTA.

2005 – Programa de Fomento a Proyectos y Coinversiones Culturales. Ensamble Cello Alterno. Commission and premiere of works for 2 cellos and piano by Mexican composers (II). Fondo Nacional para la Cultura y las Artes, CONACULTA.

2004 – Programa Creadores Escénicos. Nuevos Cantares del Trópico: Música Brasileña del Siglo XX para Violoncello. Fondo Nacional para la Cultura y las Artes, CONACULTA.

2003 – Programa de Fomento a Proyectos y Coinversiones Culturales. Ensamble Cello Alterno. Commission and premiere of works for 2 cellos and piano by Mexican composers (I). Fondo Nacional para la Cultura y las Artes, CONACULTA.

2003 – Winner, third edition of the Educación por el Arte Call. 1st Cello Week at Escuela Superior de Música: Recitals, Masterclasses, Conferences, Cello Orchestra, and Instrument Exhibition. INBA-CNA.

2001 – Programa de Apoyo a la Docencia y Difusión de las Artes (PADID), Escuela Superior de Música, INBA-CNA.

1994 – Programa de Coordinación de Perfeccionamiento de Personal Superior (CAPES), Ministry of Education and Culture (MEC), Brazil.

PUBLICATIONS

2025 – Creating from the Body: Gendered Agency in Contemporary Music Performance. Music and Practice, Vol. 12, November 2025. The Norwegian Academy of Music. ISSN:1893-9562.

2025 – “Maneras otras de ser en la música: la performer-creadora como categoría de resistencia”. Seminario Permanente de Música y Género. Reflexiones, intersecciones, pasados y presentes. SPMG, Posgrado en Música. FaM, UNAM. (en impresión).

2023 – El intérprete y la praxis musical en el siglo XXI: Desafíos en la consolidación de una tradición interpretativa en obras electroacústicas mixtas con sistemas computacionales interactivos. Heterofonía, Revista de Investigación Musical. Instituto Nacional de Bellas Artes y Literatura, Centro Nacional de Investigación, Documentación e Información Musical “Carlos Chávez”. Aurelio Tello, coordinador. ISSN: 0018-1137.

2023 – El Foro Internacional de Música Nueva (1979 – 1994): 16 años de música electroacústica, multimedia e interdisciplina en México. Secretaría de Cultura, Instituto Nacional de Bellas Artes y Literatura, Centro Nacional de Investigación, Documentación e Información Musical “Carlos Chávez”. ISBN: 978-607-605-767-4.

2023 – Visualidad y juego entre campos sonoros expandidos y notación gráfica en la obra de Manuel Enríquez: Una interpretación a partir del acervo documental del Fondo Manuel Enríquez. Sonidos Tangibles: Documentos para la investigación musical. CENIDIM – PADID 2019. Omar Morales Abril, coordinador. ISBN: 978-607-605-756-8.

2022 – Roma y el silenciamiento de lo subalterno. Revista Cubo Blanco. Espacio dedicado a la lacrítica de arte.

2022 – La Mujer Sonora: Alicia Urreta y la vanguardia musical en México. Cuadernos Digitales de Música #2. Dirección General de Música de la Universidad Nacional Autónoma de México. Yael Bitrán Goren, coordinadora.

2018 – 40 años de Música Nueva en México. Memoria gráfica de la exposición conmemorativa Foro Internacional Manuel Enríquez: 40 años de Música Nueva en México. Secretaría de Cultura, Instituto Nacional de Bellas Artes y Literatura, 2018.

2017 – Grafismo, improvisación y nuevos universos sonoros: Los años de ruptura y experimentación. Ibook: Manuel Enríquez: Hoy de Ayer. Secretaría de Cultura, Centro Nacional de las Artes, 2017.

2016 – El intérprete de música mixta: Perspectiva histórica, aportaciones y desafíos. Revista Sonic Ideas/Ideas Sónicas, Vol. 9, No. 17, 2016. Iracema de Andrade, coordinadora. Centro Mexicano para la Música y las Artes Sonoras, 2016. ISSN: 2317-9694.

2016 – Seminario Mexicano de Música Electroacústica 2014: Reseña de una colaboración internacional. Cuarenta años de investigación musical en México a través del Cenidim. Yael Bitrán Goren, Luis Antonio Gómez y José Luis Navarro, coordinadores. Secretaría de Cultura, Insituto Nacional de Bellas Artes y Literatura, Centro Nacional de Investigación, Documentación e Información Musical “Carlos Chavéz”, 2016, ISBN: 978-607-605-394-2

2013 – Mixed Electroacoustic Music: Investigating the Concept of Temporal Convergence Applied to the Creative Processes of Composers and to the Auditory Experiences of Listeners. Observatoire Musical Français, Musicologie, Informatique et Nouvelles Technologies. Université Paris-Sorbonne., Paris, Francia, 2013.

2013 – La música electroacústica mixta: El intérprete y los desafíos de la praxis musical contemporánea.. Vórtex Music Journal, Vol. 1, No. 2, 2013, pp. 49-64. Escola de Música e Belas Artes, Universidade Estadual do Paraná. Brasil, 2013. DOI: 10.33871/23179937.2013.1.2.429.

2011 – El CMMAS de los demás: Testimonios. Lustro 01, CMMAS 2006 – 2011. Centro Mexicano para la Música y las Artes Sonoras, 2011.

2009 – Convergencias temporales en obras electroacústica mixtas. Pauta: Cuadernos de Teoría y Critica Musical,, Vol. XXVIII, No. 110, 2009. Secretaría de Cultura, Instituto Nacional de Bellas Artes y Literatura, 2009.

2009 – Temporal Convergences in Mixed Electroacoustic Works. EMS09 Conference Proceedings: Heritage and Future. Electroacoustic Music Studies. Buenos Aires, Argentina, 2009.

2008 – La relación entre el instrumento acústico y el material electroacústico: Un acercamiento a Synchronisms No. 3 de Mario Davidovsky desde el punto de vista del intérprete. Ideas Sónicas/Sonic Ideas,, Vol. 1, No. 1, 2008. Centro Mexicano para la Música y las Artes Sonoras, 2008. ISSN: 2317-9694.

CONFERENCES

2025

  • Reconfiguring the Body on Stage: Gender Disruptions in Concert Music”
    XI Research in Art Conference – “The Arts, Neither Beautiful nor Apolitical, but Critical and Combative”. University of Costa Rica. September 1–4, 2025.

  • Jornadas on Digital Projects. CITRU – Centro Multimedia, Centro Nacional de las Artes, Mexico City. August 11–15, 2025.

  • Gender, Coloniality, and Situated Artistic Practices in Mixed Electroacoustic Music. Laboratory of Sound Creation and Artistic Interaction (LACSIA – CNPq/UFPR), Graduate Program in Music, Department of Arts, Federal University of Paraná, Brazil. June 23, 2025.

  • Reimagining Women Performers in Concert Music: Creative Processes and Acts of Resistance. Poster Presentation. Resonance – 16th SAR International Conference on Artistic Research, University of Porto, Portugal. May 7–9, 2025.

  • Of Presences and Absences: Feminist Methodologies in Mexican Musicology. Roundtable. Coordination: Dr. Ana Alonso Minutti. Jesús C. Romero Chair. CENIDIM – INBAL, January 17, 2025.

2024

  • Interdisciplinarity and Knowledge Generation: Assessment and Prospects. Seminar on Art Historiography in Latin America. Doctoral Program in Visual Arts, Performing Arts, and Interdisciplinarity, INBAL. Aula Magna José Vasconcelos, Centro Nacional de las Artes. April 24–26, 2024.

  • Other Possible Itineraries: The Performer-Creator. Festival Aquelarre of Women and Dissidences in Music and Technology. ENES-UNAM Morelia, CMMAS. February 23, 2024.

2023

  • From “We, the Musical Thinkers” to the “Concept of Temporal Convergence”: Decoding the Musical Poetics of Javier Álvarez. Colloquium in Honor of Composer Javier Álvarez. ENES-UNAM, Morelia, Michoacán. November 14, 2023.

  • Body, Memory, and Archive: Alternative Forms of Being and Existing in Music. Music and Gender Seminar, FaM-UNAM. November 10, 2023.

  • Ancestral Voices: Play Between Sound Objects and Instrumental Gestures. Commented Work Presentation, Contemporary Music Seminar, FaM-UNAM. October 24, 2023.

  • Specters of Água and Rabeca: Case Studies on Performance and Intermediality in Contemporary Musical Practice. CENIDIM. October 25, 2023.

2022

  • Other Ways of Inhabiting Music: Creation-Performance in the 21st Century. School of Musical Arts, University of Costa Rica. November 29, 2022.

  • Colloquium Sonus Litterarum: Contemporary Music Seen by Its Performers. Aula Magna José Vasconcelos, Centro Nacional de las Artes, CENIDIM – PADID 2021. October 14, 2022.

  • Moderator – Women in the Cello: A Critical View. VII National Meeting “Around the Cello,” FaM-UNAM. September 8, 2022.

  • Féminas Sonoras: Audiovisual Works for eCello. IV International Symposium Women in Music – SIMM 2022, University of Costa Rica. March 25, 2022.

2021

  • Iracema de Andrade: Aleaciones – From Interpretation to Sound Creation. Mexican Women Composers in the 21st Century Series. CENIDIM. December 3, 2021.

  • Presentation of the Project Latin America: GEXLAT – Gender and Experimentation in Latin America. Database of Latin American Women Sound Creators. November 18, 2021.

  • Reconfigurations of Sound in the Musical Work of Alicia Urreta. CENIDIM Conference Series 2021. August 27, 2021.

  • New Paths for Musical Creativity in Composition and Collaborative Performance. Visiones Sonoras Festival 2021. CMMAS – ENES, Morelia, Michoacán. June 11, 2021.

  • Commentator – Project XVI Three Open Studies: Experimental Audiovisual Performance Practices for the Web. Student: Emilio Ocelotl, PhD in Music Technology. XVI Colloquium of Master’s and Doctoral Students in Music, FaM-UNAM. May 31, 2021.

  • Gender Issues in Musical Practice. Women in Music Week, General Directorate of Music, UNAM. March 9, 2021.

2020

  • Commentator – Project Ivrida: Development of a Hybrid Modular String Instrument with Digital-Analog Interactive Response. Student: Jonathan Andrés Pérez Díaz. XV Colloquium of Master’s and Doctoral Students in Music, FaM-UNAM. December 9, 2020.

  • Musical Praxis in the 21st Century. Master’s Program in Musical Arts, Escuela Superior de Artes de Yucatán. September 30, 2020.

  • The Performer and Musical Praxis in the 21st Century. MUSITEC2 Seminar on Music and Technology, Federal University of Mato Grosso do Sul, Brazil. November 26, 2020.

  • Avant-Garde and Rupture: Alicia Urreta and the Reconfigurations of Sound. III International Symposium Women in Music – SIMM 2020, University of Costa Rica. August 1, 2020.

2019

  • Sonic Experimentation and Avant-Gardism in the Interdisciplinary and Electronic Works of Alicia Urreta (Mexico, 1930–1986). Feminist Interventions in the Histories and Archives of Sound Art. 8th International Conference on the Histories of Media Arts, RE:SOUND 2019. Aalborg University, Denmark. August 19–23, 2019.

  • Avant-Garde and Musical Experimentalism Revisited: Electroacoustic and Interdisciplinary Works of Alicia Urreta (1930–1986). The Expansion of Electroacoustic Music in the Americas: Local Influences, Cultural Impact, and Global Interactions. EMS 2019. Casa del Lago, UNAM. June 11–15, 2019.

  • The Performer and Musical Praxis in the 21st Century: Challenges in Consolidating a Performance Tradition in Mixed Electroacoustic Works with Interactive Computer Systems. Escuela Superior de Música de Cataluña, Barcelona, Spain. May 15, 2019.

  • Electric Cello and Artificial Intelligence. Conservatorio Nacional de Música, INBAL. March 19, 2019.

2018

  • Extending the Sonic Limits of the Cello: Technical and Technological Resources. Contemporary Music Seminar, Facultad de Música, UNAM. October 23, 2018.

  • Reflections on the Production and Interpretation Processes of New Repertoire for Cello and Electroacoustic Media. 6th National Meeting “Around the Cello,” Facultad de Música, UNAM. September 27, 2018.

  • Reflections on the Production and Interpretation Processes of New Repertoire for Cello and Electroacoustic Media. Escuela de Estudios Superiores, UNAM, Morelia Campus. August 30, 2018.

  • The Historiography of Avant-Garde, Electroacoustic, and Experimental Music in Latin America. Seminar on Historiography, Doctoral Program in Arts, INBAL. April 26, 2018.

  • New Paradigms in Musical Performance in the 21st Century. Escuela de Bellas Artes, Universidad Panamericana. March 20, 2018.

2017

  • The 5-String Electric Cello: Challenges and Perspectives in Creating New Repertoire with Electroacoustic Sounds and Video. Roundtable: Baroque and New Instruments – Destandardizing Cello Performance. Cycle: Other Cellos – New Ideas on the Instrument, Facultad de Música, UNAM. November 3, 2017.

  • The Performer and Musical Praxis in the 21st Century. Contemporary Music Seminar, Facultad de Música, UNAM. October 31, 2017.

  • A Look at Electroacoustic, Multimedia, and Interdisciplinary Music in Mexico Through the International Forum of New Music: 1979–1994. Centro Multimedia, Centro Nacional de las Artes. October 26, 2017.

  • Collaborative Creation-Performance in Mixed Music: Works for 5-String Electric Cello, Electroacoustic Sounds, and Video. Centro Multimedia, Centro Nacional de las Artes. June 2, 2017.

  • The Mixed Cello Repertoire: Considerations Regarding the Implementation of a Performance Tradition. University of New Mexico, Albuquerque, USA. April 18, 2017.

  • The Mixed Cello Repertoire: Some Issues Regarding the Consolidation of a Performance Practice. Concordia University, Montreal, Canada. March 1, 2017.

2016

  • Mixed Electroacoustic Music: Challenges in Consolidating a Performance Tradition and the Performer–Composer Relationship. International Congress on Musicology Applied to Concert Performance. Universidad Internacional de Andalucía, Campus Baeza, Spain. December 1–3, 2016.

  • Acoustic Ecology: The Concept of Soundscape Applied to Electroacoustic Music. Seminar: Sciences and Music, CENIDIM – FaM, UNAM. July 21, 2016.

  • The Poetics of Sound: The Cello in the Universe of Electroacoustic Sounds. Centro Multimedia, Centro Nacional de las Artes. June 30, 2016.

  • The Concept of Temporal Convergence Applied to Mixed Repertoire. Centro Mexicano para la Música y las Artes Sonoras, Morelia, Michoacán. June 22, 2016.

  • Geophonies and Biophonies in the Creative Processes of Electroacoustic Music. Escuela Superior de Música, INBA-CNA. February 27, 2016.

2015

  • The Role of the Acoustic Instrument in Electroacoustic Music: Interpretative and Compositional Perspectives. Escuela Superior de Música, INBA-CNA. November 25, 2015.

  • Mexican Seminar on Electroacoustic Music 2014: Review of an Interinstitutional Collaboration. Colloquium: Forty Years of Musical Research in Mexico through CENIDIM. Centro Nacional de Investigación, Documentación e Información Musical “Carlos Chávez,” INBAL. July 8–10, 2015.

2012

  • Temporal Convergences 4. Open Seminar on Contemporary Music: Creation and Musical Interpretation in the 21st Century. Escuela Nacional de Música, UNAM. November 30, 2012.

  • Creative Processes and Auditory Experiences: Exploring the Concept of Temporal Convergence in Mixed Electroacoustic Music. Study Days: Sixty Years of Mixed Music. Observatoire Musical Français, Université Paris-Sorbonne, France. November 22–23, 2012.

  • Sound, Silence, and Art: Friends of John Cage. Third Sound Week: Silence and Noise in Contemporary Societies. Fonoteca Nacional de México. September 5

RESEARCH PROJECTS

 

  • Reconfiguring Musical Performance Practice: Critical Approaches to Intermediality and Digital Technology in Mixed Electroacoustic Music Repertoires.

  • Avant-Gardes and Nationalisms in Dispute: Two Decades of Film Music by Alicia Urreta.

  • Avant-Garde and Musical Experimentalism Revisited: The Life and Work of Alicia Urreta (1930–1986).

  • A Look at Electroacoustic Music, Multimedia, and Interdisciplinarity in Mexico through the Foro Internacional de Música Nueva (1979–1994).

CONCERTS

 

  • Iracema de Andrade has developed an extensive career in sound and musical creation in recent years, performing in major venues in Mexico, Brazil, Canada, the USA, England, Argentina, Cuba, and Scotland. She has also given live performances for BBC3 in London, Radio UNAM, Opus 94, and Radio Educación, premiering a wide range of new works. Her concerts have been featured at the Foro Internacional de Música Nueva “Manuel Enríquez” (Mexico), Festival Internacional Acusmático y Multimedial “Sonoimágenes” (Argentina), Festival Internacional de Música Electroacústica y Nuevas Tecnologías Visiones Sonoras (Michoacán), Festival Internacional de Música Electroacústica Primavera en La Habana (Cuba), Festival Internacional Cervantino (Guanajuato), Festival Internacional Puentes (Mexico – Spain), Festival Internacional de Arte Contemporáneo (Guanajuato), Festival Internacional de Música Contemporánea “Bernal Jiménez” (Michoacán), Habitación del Ruido – Universidad del Claustro de Sor Juana (CDMX), Laboratório Sonoro – Música UNAM, Festival Península Sonora (Mérida), Festival Internacional Discantus (Puebla), Music from the Americas Concert Series – Keller Hall, Center for the Arts, University of New Mexico (USA), Festival Montréal Nouvelles Musiques (Montreal), Ciclo de Música Electroacústica de la Universidad Austral (Chile), among others.

MEMBER OF JURIES, REVIEW PANELS, SELECTION COMMITTEES, AND CURATORSHIPS

2025 – Reviewer for the Journal for Artistic Research (Society for Artistic Research).

2025 – Member of the Editorial Board of Música Hodie, Graduate Program in Music, Universidade Federal de Goiás, Brazil.

2025 – Reviewer for Organized Sound, Edition: Sound, Music and Technology in Latin America. April 2026, Cambridge University Press.

2025 – Member of the selection committee for the Master’s and Doctoral Program in Music, field of Musical Technology, Coordinación General de Estudios de Posgrado, UNAM, for the 2026-1 Graduate Admission Call, March 7 – May 26, 2025.

2025–2022 – Member of the Faculty Council of the Doctoral Program in Arts – DAVEI (Visual Arts, Performing Arts, and Interdisciplinarity), Instituto Nacional de Bellas Artes y Literatura.

2025–2021 – Member of the Advisory Board of SONUS LITTERARUM.

2025–2013 – Member of the Advisory Board of Vórtex Music Journal, Escola de Música e Belas Artes, Universidade Federal do Paraná, Brazil.

2025–2013 – Reviewer for Entreciencias: Diálogos en la Sociedad del Conocimiento, Unidad de Estudios Superiores, UNAM, Campus León, Guanajuato.

2024 – Peer review of the work Sobre Cowell y otros procesos creativos. Academic journal with articles by multiple authors. Editorial Committee, Secretaría de Desarrollo Institucional – UNAM. August 2024, Mexico.

2024 – Member of the Interdisciplinary Evaluation Committee, Premio Chihuahua Vanguardia en Artes y Ciencias 2024, Secretaría de Cultura del Gobierno del Estado de Chihuahua. August 19 – October 4, 2024.

2024 – Jury member for the Call of the Municipal Fund for Established Creators 2024, Subdirección de Innovación Cultural, Dirección de Cultura, Ayuntamiento de Mérida – Yucatán, Mexico. February 15–29, 2024.

2023 – Jury member, Selection Committee of Works, Simpósio Internacional de Música Nova – SiMN 2023, Universidade Estadual de Paraná, Brazil.

2021 – Member of the Advisory Board of SONUS LITTERARUM.

2021 – Jury member for the essay contest La necesidad de una reconstrucción. Ensayos para imaginar un futuro posible para las artes escénicas mexicanas, Coordinación de Difusión Cultural, UNAM, Direcciones de Teatro y Danza, Dirección General de Música, Cátedras Extraordinarias Ingmar Bergman in Film and Theatre and Gloria Contreras in Dance Studies. October 4, 2021.

2021 – Curator, Electroacoustic Music Concert, III Festival Expresiones Contemporáneas, FEC Morelia 2021. March 22, 2021.

2020 – Curator, Electroacoustic Music Cycle, Program IX, Season 2020, Universidad Austral de Chile. December 11, 2020.

2020 – Curator, Coloquio Salvador Contreras: Sound Arts and Musical Creation in Mexico, 21st Century. CENIDIM, INBAL. January 19–22, 2021.

2020 – Member of the Scientific Committee, Foro Nacional de Investigación y Documentación Musical CENIDIM 2020. September 2020.

2020 – Member of the Selection Committee of Works, Simpósio Internacional de Música Nova, Universidade de Aveiro, Portugal and Universidade Federal do Paraná, Brazil. July 2020.

2019 – Jury member, Artistic Residencies Program Mexico – Colombia 2019, Fondo Nacional para la Cultura y las Artes, Secretaría de Cultura.

2019 – Reviewer for the international conference RESOUND:2019, Sound, Media and Art – Theories, Histories, Practice, for the journals British Computer Society (ISSN 1477-9358) and Seismograf Journal (ISSN 2245-4705).

2018 – Jury member, Programa de Apoyo a la Docencia, Investigación y Difusión de las Artes (PADID – 2018), Centro Nacional de las Artes.

2018 – Academic and research advisor for the commemorative exhibition Foro Internacional Manuel Enríquez, 40 Años de Música Nueva en México, Sala Justino Fernández, Palacio de Bellas Artes. Coordinación Nacional de Música y Ópera, CENIDIM, INBAL.

2017 – Jury member, Programa Ibermúsicas 2017, Programa de Fomento de las Músicas Iberoamericanas.

2015 – External examiner, Graduate Program in Music, Universidade Federal do Rio Grande do Norte, Brazil. Master’s exam of student Fernanda Rosa Machado. November 30, 2015.

2015 – Jury member, project selection commission, Festival Internacional Cervantino 2016. Secretaría Estatal de Cultura de Guanajuato. November 25–26, 2015.

2014 – Member, Technical Selection Committee, Programa de Estímulo a la Creación y al Desarrollo Artístico, Fondo Estatal para la Cultura y las Artes del Estado de Sonora.

2013 – Reviewer, Entreciencias: Diálogos en la Sociedad del Conocimiento, Unidad de Estudios Superiores, UNAM, Campus León, Guanajuato.

2013 – Member of the Advisory Board of the electronic journal VÓRTEX, Escola de Música e Belas Artes, Universidade Estadual do Paraná, Brazil.

2012 – Member, Selection Committee, Programa de Fomento a Proyectos y Coinversiones Culturales, Fondo Nacional para la Cultura y las Artes, CONACULTA.

2011 – Jury member, International Computer Music Conference – 2011 (ICMC), University of Huddersfield, England.

2011 – Jury member, Programa de Becas de Apoyo a la Producción Artística 2011, Instituto Cultural de León, León, Guanajuato.

2010 – Jury member, State Composition Competition, VI Festival Internacional de Música Contemporánea del Conservatorio de las Rosas, Secretaría de Cultura del Estado de Michoacán.

2010 – Jury member, Composition Competition En Torno al Violonchelo, Escuela Nacional de Música, UNAM.

TEACHING ACTIVITIES

2021 – Seminar: Avant-Gardes and Revisited Experimentalisms: A Look at the Antecedents of Electroacoustic Music in Mexico. Arturo Márquez Chair of Musical Composition. Dirección General de Música – UNAM. June 3 – July 1, 2021.

2021 – Seminar on Historiography of the Arts. Doctorate in Visual, Performing and Interdisciplinary Arts. INBAL. May 13, 2021.

2020 – Creation Laboratory for Mixed Ensemble: Cello Alterno. Bachelor in Music and Artistic Technology. Escuela de Estudios Superiores, UNAM, Campus Morelia. February – May 2020.

2019 – Module 3: Musical Interpretation and Creation. Diploma for the Preparation of Research Pre-Projects in Musical Disciplines. CENIDIM – INBAL. July 9–10, 2019.

2018 – Seminar on Historiography of the Arts. Doctorate in Visual, Performing and Interdisciplinary Arts. INBAL. April 26, 2018.

2017 – Module 1.3: Interpretation and Creation. Diploma in Musical Research. CENIDIM – INBAL. August 4–5, 2017.

2017 – The Cello in the 20th and 21st Centuries: Introduction to Notation and Extended Techniques. Escuela Superior de Música, INBAL. May 19–20, 2017.

2016 – Coordination of the Tribute for the 90th Anniversary of Manuel Enríquez: Conversations, Concerts, and Exhibition. INBA – CENIDIM – CENART. October 2016.

2016 – Workshop: The Cello in the 20th and 21st Centuries: New Sonorities, Notation, and Execution. Escuela Superior de Música, INBA. July 8–9, 2016.

2016 – Module 1.3: Interpretation and Creation. Diploma in Musical Research. Centro Nacional de Investigación, Documentación e Información Musical “Carlos Chávez”, INBA. June 17–18, 2016.

2016 – Program: Flight Practices 2016. Centro Mexicano para la Música y las Artes Sonoras, Morelia, Michoacán. May – October 2016.

2014 – Coordinator of the Seminario Mexicano de Música Electroacústica. Centro Nacional de Investigación, Documentación e Información Musical “Carlos Chávez”, Centro Multimedia, Canal 23, Centro Nacional de las Artes. February – November 2014.

2014 – Workshop: Acousmatic and Mixed Music – Analysis, Notation, and Musical Praxis. Seminario Mexicano de Música Electroacústica. CENIDIM – CNA. November 4–6, 2014.

2014 – Workshop: Introduction to the Interpretation of Electroacoustic Repertoire for Cello. Fourth National Meeting “En Torno al Violonchelo.” Escuela Nacional de Música, UNAM. September 22–26, 2014.

2014 – Workshop: Historical Antecedents of Electroacoustic Music in Latin America. Seminario Mexicano de Música Electroacústica. CENIDIM – CNA. August 18–20, 2014.

2014 – Workshop: Historical Antecedents of Electroacoustic Music in Europe and the USA. Seminario Mexicano de Música Electroacústica. CENIDIM – CNA. March 25–27, 2014.

2012 – Workshop: Temporal Convergences – Music for Cello and New Technologies. Escuela Superior de Música, INBA – CNA. December 3–4, 2012.

2012 – Workshop: Temporal Convergences – Music for Cello and New Technologies. Centro Mexicano para la Música y las Artes Sonoras, Morelia, Michoacán. June 4–5, 2012.

2012 – Workshop: Temporal Convergences – Music for Cello and New Technologies. Escuela Nacional de Música, UNAM. May 11–12, 2012.

2009 – Coordinator of the Second National Meeting “En Torno al Violonchelo.” Escuela Nacional de Música, UNAM. January 12–16, 2009.

2009 – Workshop: Instrumental Technical Resources and the Use of Digital Technology in the Composition of Mixed Works for Cello. Centro para la Música y las Artes Sonoras, Morelia, Michoacán. June 15–17, 2009.

2008 – Workshop: The Cello – New Sonorities, Notation, and Execution. Escuela Nacional de Música, UNAM. September 1–5, 2008.

2006 – Coordinator of the Workshop: Cello – Improvisation and Real-Time Electroacoustics, taught by Thomaz Gardner (UK). Festival Internacional de Música Electroacústica y Nuevas Tecnologías, Visiones Sonoras 2006. Sala Carlos Chávez, CCU, UNAM.

2003 – Coordinator of the 1st Cello Week at Escuela Superior de Música: Recitals, Masterclasses, Conferences, Cello Orchestra, and Instrument Exhibition. Programa Educación por el Arte, CNA – INBA – CONACULTA.

SCHOLARLY TRAINING

2025 – Course: Introduction to Contemporary Art & Politics. Visiting Researcher. Doctoral Programme in HDK-Valand, UNIVERSITY OF GOTHENBURG. HDK – Valand – Academy of Art and Design, Sweden. June 10 – August 28, 2025.

2025–2026 – CENIDIAP – Seminar: Current Art Issues. Part IV: Time and Perspective. March 2025 – November 2026. Coordinator: Dr. Humberto Chávez Mayol.

2024 – Approaches to AI from the Arts and Humanities. September 9 – November 10, 2024. SGEIA – Coordination of Innovation, UAM Cuajimalpa.

2024 – Diploma: Tránsitos 32 – CENART. IMAGE/MOVEMENT AND THE LIVING. INTERMEDIALITY AND PRESENCE. September 4 – December 4, 2024.

2024 – Emerging Paradigms for Research in the Arts and Humanities. June 10–21, 2024. SGEIA – INBAL. Instructor: Dra. Gemma Argulles.

2023 – Reflections on the Use of Inclusive and Non-discriminatory Language. Instructor: Dolores Susana González Cáceres. Academic Formation, Updating and Leveling Program 2023. SGEIA – INBAL. August 9, 2023.

2022 – Art Criticism. Resistance and Journalism. Instructor: Edgar Alejandro Hernández Barrera. Academic Formation, Updating and Leveling Program 2022. SGEIA – INBAL. October 24–28, 2022.

2022 – Gender Perspective in Arts Research. Instructors: Mayra Elizabeth Aguilar Enríquez & Daniela Isabel Quintanar Pérez. September 19–23, 2022. Academic Formation, Updating and Leveling Program 2022.

2022 – Qualitative Recording Techniques (Observation, Interview, and Artist’s Journal). Instructor: Ignacio Pineda Pineda. June 27 – July 1, 2022. Academic Formation, Updating and Leveling Program 2022. SGEIA – INBAL.

2022 – Autobiography as a Research Tool. Instructor: Fernando Magallón. June 27 – July 1, 2022. Academic Formation, Updating and Leveling Program 2022. SGEIA – INBAL.

2022 – Cinema and Ethnicity in Mexico. Museo Amparo, Puebla, Mexico. February 18 – April 8, 2022. Instructor: Álvaro Vázquez Mantecón.

2022 – Research Problems and Objects of Study in the Era of Reproducibility. Instructor: Adriana Yeyetzi Cardiel Pérez. August 1, 3, 5, 8 & 12, 2022. Academic Formation, Updating and Leveling Program 2022. SGEIA – INBAL.

2022 – Postcolonial Scientific Research Approaches. Instructor: Luis Eduardo Primero Rivas. July 7, 12, 14, 19 & 21, 2022. Academic Formation, Updating and Leveling Program 2022. SGEIA – INBAL.

2021 – Cultural and Artistic Projects with Social Impact. Instructor: Dra. Johanna Ángel Reyes. September 13, 15, 20, 22 & 27, 2021. Academic Formation, Updating and Leveling Program 2021. SGEIA – INBAL.

2021 – Inter- and Transdisciplinarity in the Arts. Instructor: Minerva Anguiano. August 30–31 & September 1–2, 2021. Academic Formation, Updating and Leveling Program 2021. SGEIA – INBAL.

2021 – A Global History of Sex and Gender: Bodies and Power in the Modern World. University of Glasgow, Scotland. December 12, 2020 – January 5, 2021.

2021 – Contemporary Mexico 1952–1982. From the Cold War to the Continuous Crisis. Literature and Cinema. Instructor: Ricardo Pérez Montfort. Universidad Autónoma del Estado de México. February 5 – April 23, 2021.

2020 – Audiovisual Tools for Virtual Arts Teaching. Instructor: Miguel Cortés. SGEIA – INBAL. November 18, 2020.

2020 – Musicological Research on Digital Platforms. Instructor: Paulo Castagna. II Encontro Sergipano de Musicologia, Universidade Federal de Sergipe, Brazil. November 21, 2020.

2020 – Types of Edition. Instructor: Carlos Alberto Figueiredo. II Encontro Sergipano de Musicologia, Universidade Federal de Sergipe, Brazil. November 21, 2020.

2020 – Cybersecurity and Virtual Identity. Instructor: Nicolás Reyes Martínez. Coloquio Internacional Espacio Inmersividad, UAM – Lerma. December 8–10, 2020.

2019 – Jesús C. Romero Chair: Reflections on Ethnomusicology – Experiences in the Andean Region. Instructor: Julio Mendívil (Universidad de Viena). CENIDIM – INBAL. November 25–29, 2019.

2018 – Jesús C. Romero Chair: Historical Musicology in a Post-Historical Era. Instructor: Alejandro Vera (Pontificia Universidad Católica de Chile). November 5–8, 2018. CENIDIM.

2018 – Decoloniality, Transmodernity, and Music: Latin America in the 21st Century. Instructor: Nelson Hurtado (Universidad Nacional Experimental de las Artes de Venezuela). October 8–12, 2018. CENIDIM.

2018 – Current Trends in Musicology and Ethnomusicology. Instructor: Alfonso Padilla (Universidad de Helsinki). April 16–27, 2018. FaM – UNAM.

2015 – Music in the Audiovisual Framework: Analysis, Interpretation, Creation, Applications, and Research. Instructor: Rubén López Cano (Escuela Superior de Música de Catalunya). August 30 – September 4, 2015. FaM – UNAM.

2015 – Contemporary Thought on Technique. Instructor: Dr. Bernard Stigler. September 30 – October 2, 2015. Centro Multimedia – CENART.

2015 – Jesús C. Romero Chair: Figurations of Sound in Latin America and the Caribbean. Instructor: Ana María Ochoa. November 2–6, 2015. CENIDIM.

2014 – Soundscapes in the Classroom. Instructor: Murray Schafer. March 17–21, 2014. Festival Cedros – Universidad Panamericana.

2013 – Musical Research Today: New Trends, New Problems, and Old Challenges. Instructor: Rubén López Cano (Escuela Superior de Música de Catalunya). September 17–20, 2013. CENIDIM – INBA.