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2017 SEM Member-at-Large, Groups Candidates-Bios
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Adriana Helbig

Adriana Helbig is Associate Professor of Music and Assistant Dean of Undergraduates at the University of Pittsburgh where she teaches courses on world music, global hip-hop, music and disability studies, and music and politics. She publishes on issues relating to music and human rights in Eastern Europe. She is the recipient of fellowships from the National Endowment for the Humanities, American Councils for International Education, IREX, and Fulbright. Her book Hip Hop Ukraine: Music, Race, and African Migration was published by Indiana University Press in 2014. She is co-author with Oksana Buranbaeva and Vanja Mladineo of Culture and Customs of Ukraine (Greenwood Press, 2009) and co-editor with Milosz Miszczynski of Hip Hop at Europe’s Edge: Music, Agency, and Social Change (Indiana University Press, 2017).

She has extensive experience serving on academic councils, review boards, and oversight committees at the University of Pittsburgh and has brought her management and organizational expertise to the Society for Ethnomusicology as the organizer of MACSEM at the University of Pittsburgh in 2013, as co-chair of the Local Arrangements Committee at the SEM 2015 Annual Meeting in Pittsburgh, and as a member of the SEM Council (2014-2017). She also serves as Vice Chair of the ICTM Study Group on Applied Ethnomusicology (2015-2018).  Organized, diplomatic, and easy to work with, she is running for the position of Member-at-Large, Groups to serve as liaison between the Board and the leadership of SEM’s Chapters, SIGs, and Committees. 


Brenda M. Romero

Brenda M. Romero is associate professor and founder of ethnomusicology at the University of Colorado in Boulder, serving as Chair of Musicology from 2004 to 2007. She holds a PhD in ethnomusicology from the University of California, Los Angeles, and Bachelor's and Master's degrees in Music Theory and Composition from the University of New Mexico. She has worked extensively on the pantomimed Matachines music and dance and other folk music genres that reflect both Spanish and Native American origins. She conducted fieldwork in Mexico as a Fulbright García-Robles Scholar in 2000-01 and from January to July 2011 in Colombia as Fulbright Colombia Scholar, and taught the first musicology course at the Pontificia Universidad Javeriana in Bogotá. She performed as Matachines violinist for the Pueblo of Jemez between 1989 and 1998 and received the 2005 Society for American Music’s “Sight and Sound” subvention toward the production of her 2008 CD Canciones de mis patrias: Songs of My Homelands, Early New Mexican Folk Songs.  She is author of numerous chapters, articles, and reviews; coeditor of Dancing across Borders: Danzas y bailes mexicanos (University of Illinois Press, 2009); and is currently completing a book, Matachines, Transcultural Creativity and Renewal in the Americas for the Folklore Studies in a Multicultural World Series (University of Illinois Press, forthcoming). She co-produced a short video documentary on the Southern California Cahuilla Birdsong Festival (1987) and a one-hour video documentary on the Ute Mountain Ute Bear Dance (2010); she has also appeared on audio and video documentaries of regional musics. 

She served as Program Chair for the 2003 International College Music Society (CMS) meeting in Costa Rica and was facilitator, contributor, and host for the College Music Society Summer Institute on the Pedagogies of World Music Theories, held in 2005, 2007, and 2010. She was facilitator and Program Chair for the SEM 2009 Annual Meeting held in Mexico City and served as Program Chair for the 2016 CMS Annual Meeting held in Santa Fe, New Mexico. She is currently chair of the CMS National Committee on Academic Citizenship. Her most recent work has been collaborative fieldwork with Dr. Norma E. Cantú (Trinity University in San Antonio, Texas) and ethnochoreologists José Luis Sagredo and Isabel Galicia López (Benemérita Universidad Autónoma de Puebla, BUAP) on Matachines at the US-Mexico borderlands. This project was inspired by Romero’s work and is sponsored by the BUAP and funded by the Mexican government.

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