卡内基 - 梅隆大学的学生特里萨abalos希望帮助人们通过声音感受世界。
"Sometimes, you can't articulate why the world is so complex, but you can engage with it by creating something that's breathtaking 和 moving, often in healing ways," said Abalos, a junior 人文艺术学士学位 （BHA）学生 全球研究 和 音乐表演。她通过研究阿根廷的土著音乐家的音乐实践结合她的两个学科。
abalos也追求在一个小 西班牙研究 她看到与他们的语言环境中从事主题的重要性。
“你说的具体语言是很多喜欢音乐 - 它深深连接到你的感受，你的事情怎么回应，你是怎么想” abalos说。
Last summer, Abalos studied in Argentina and conducted research 和 fieldwork in her interactions with indigenous peoples. 该 scholarship transformed her abroad experience.
该 本科生研究办公室 已经为她的奖学金和助学金应用程序支持abalos。
"We have been thoroughly impressed with her dedication to her academic and professional goals. 该resa's tenacity and focus will continue to serve her well throughout her graduate education and beyond." said Richelle Bernazzoli, assistant director of Undergraduate Research 和 National Fellowships.
Assistant Musicology Professor Alexa Woloshyn, helped guide Abalos' research, which focuses on the musical practices of contemporary indigenous musicians from Argentina and how they engage with 和 shape modernity.
"该ir identity as indigenous does not mean they are frozen in the past; rather they're engaging with and helping to build what we consider modern, leading to movements both ideologically and across rural 和 urban spaces," Abalos said.
She is contributing to the growing scholarly conversation about how tradition is not incompatible with modernity. She recently presented her research, entitled "Who are the "folk" in música folclórica? Indigeneity 和 the Performance of Belonging in Argentina," at the Niagara Chapter of the Society for Ethnomusicology 2019 Conference at SUNY Buffalo State. She also will present her research at CMU's 头脑的会议 在五月。
When she says "música folclórica," she refers to the notion of music that represents the essence of pre-modern Argentina. But in her research, she noticed that many different types of music were being called "música folclórica." Her project aims to understand why the label has become vague, how it's connected to Argentina's history, 和 its implications for Argentina's indigenous peoples.
For an example, she points to the National Festival of Folklore of Cosquín, which takes place every year in Córdoba, Argentina. For much of the festival's history, the musical traditions of indigenous peoples were excluded in favor of music romanticizing the pastoral Argentina experienced by European Argentines. In the past decade, however, indigenous musicians such as Mariana Carrizo came to the stage, bringing sounds of indigenous traditions to form a more diverse sonic representation of Argentina.
"He has supported my activities outside the typical music trajectory, such as studying abroad 和 being in BXA," Abalos said. "And he has helped me develop my belief that with a lot of balancing work, non-musical endeavors can enrich, rather than hinder, my growth as a musician."
While she studied in Argentina, Almarza helped connect her to world renowned flutists Marcela Bianchi, Patricia Dadalt, Cecilia Ulloque, and Claudio Barile. Both Marcela Bianchi 和 Cecilia Ulloque studied in the CMU flute studio.
Studying flute performance alongside her research in cultural anthropology has given Abalos the chance to experience what she is researching, in performance and identity, language 和 sound. She said her research has helped her become a more critical musician.
abalos呼吁更多的人在CMU社区参加 美术学院 活动，并允许自己进行运输。
"该re's something to be gained from entering a space where the performers are sharing their life's work with you in every breath they take, every movement, from moment to moment — through what is most likely great music, a thought-provoking story, a scene that catches you off-guard, or all three," Abalos said.