María Teresa Linares Savio

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María Teresa Linares. Musicologist and pedagogue. One of the prestigious Cuban musicologists of her generation and those who succeeded her. Recipient of the "María Teresa García Montes de Giberga" Prize in 1958 for her essay "Spanish Influence in Cuban Music". Researcher of Merit; Doctor Honoris Causa in Art Sciences; National Prize for Cultural Research, 1999; Member of Merit of UNEAC, 2000, and International "Fernando Ortiz" Prize, 2000.

Academic Training
As a child she received piano lessons from Professor Buenaventura Yánez, and later studied at the Municipal Conservatory of Music in Havana (now "Amadeo Roldán" Conservatory). She was a student in the Summer Courses of the University of Havana and completed her Degree in Cuban Studies. She holds a Degree in Literature and Hispanic Language, with a specialty in Cuban Studies. She has a Doctorate in Art Sciences and is an Associate Full Professor at the Superior Institute of Art.

She has taught classes at the music conservatories Amadeo Roldán and Alejandro García Caturla. She was a professor at the Summer School of the University of Havana, founder of the Institute of Ethnology and Folklore of the Academy of Sciences, where she conducted field research and taught courses to researchers.

Her activities include the production of ethnographic records, for which she has received several prizes, the direction of the National Museum of Music, and the work of teaching and dissemination of traditional Cuban music and various aspects of Cuban musicology, through courses and lectures in the country and abroad in more than twenty countries in Europe, Africa, and the Americas. In addition, she has been president of the Musicology Section of the Association of Musicians of UNEAC and belongs to the Council of its Presidency. She collaborates with various publications in Cuba and abroad, which is why she has an extensive bibliography with emphasis on the cultural roots of Cuba and Latin America.

Work
She was a member of the Coral Society of Havana and served as a teacher of musical appreciation and choral practice in choirs organized in the schools of Ceiba del Agua and Dominicas Francesas. She worked as a music teacher in general education schools, in private conservatories such as that of César Pérez Sentenat and the Summer Course of the University of Havana. Between 1948 and 1956 she conducted field work with her husband, musicologist Argeliers León, in various areas of the country to gather information, songs and music of Hispanic and African origin. From 1957 onwards she taught classes at the Municipal Conservatory.

In the sixties she offered seminars at the National Theater, courses at the "Alejandro García Caturla" Conservatory and contributed to the training of art instructors. She worked at the Institute of Ethnology and Folklore of the Academy of Sciences of Cuba, and from 1974 she dedicated herself to advising and producing for EGREM long-playing records that compiled examples of music she had collected in different parts of the country, as well as the different musical genres of Cuba.

She was responsible for the production in Cuba of the first Anthology of Afro-Cuban Music, a record series of nine volumes produced by EGREM, and the texts for two of the volumes: Old Afro-Cuban Songs, Volume I (LD-3325) and Oru de Igbodu, Volume II (LD-3995). She has taught classes, lectures, and seminars in Puerto Rico, the Canary Islands, Nicaragua and Mexico, among other countries. In 1984 and until 1997 she served as director of the National Museum of Music and during those years, through her connection with CIDMUC, she led the musicologists of that institution to their first practical field studies, which they had only known through the theoretical classes of Argeliers León. As a musicologist, one of her most transcendent written contributions is in her book Music and the People of Cuba.

She attended in the year 2000 the Summer Course of Rey Juan Carlos University in Málaga, where she explained the importance of Cuban music in the forties and fifties.

She participated in the symposium "Fernando Ortiz and His Work" at Queen University in New York in March of that same year. She was a speaker at the symposium "New World 2000", invited by the Department of Culture of Dallas, Texas. She visited in March of 2001 the city of Chetumal, in Quintana Roo, where she gave a lecture, as well as at the House of Culture in Cancún. She was given, in the city of Holguín, the Aldabón de la Periquera and, in the city of Tunas during the Cucalambeana Festival, a replica of the ivory pen used by poet Juan Cristóbal Nápoles Fajardo, El Cucalambé. In 2002 she participated as a professor in the Ethnology Diploma Program of the Fernando Ortiz Foundation and in the Master's in Anthropology of the Faculty of Philosophy and History of the University of Havana; in the symposium on Nicolás Guillén in the province of Las Tunas and the one held in Havana on the occasion of the poet's centenary.

At present she serves as Vice President of the Fernando Ortiz Foundation. She holds the Order "Félix Varela," the highest decoration awarded by the State Council of the Republic of Cuba to personalities who have made extraordinary contributions to artistic and literary culture.

Musical Writings (selection)
"The Guajiro Point," in the magazine La música, year 2, no. 5, Havana, January-March, 1949.
"The Décima in the Peasant Songbook," in the magazine Nuestro Tiempo, year IV, no. 17, Havana, 1957.
"Spanish Influence in Cuban Music," in Revista Pro-Arte, Havana, May, 1958.
"Hispanic Antecedents in Our Music," in La Gaceta de Cuba, Havana, Ediciones Unión, 1964.
"Popular Music in the Revolution," in Boletín Música, no. 4, Havana, Casa de las Américas, 1970.
Popular Music, Instituto Cubano del Libro, Havana, 1970; "On Our Musical Tradition," in Boletín de Música, no. 22, Havana, Casa de las Américas, 1972.
"The Décima and the Point in Cuban Folklore," Boletín de Música, no. 31, Havana, Casa de las Américas, December, 1972.
"The Sucu-Sucu: A Case in the Caribbean Area," Boletín de Música, no. 44, Havana, Casa de las Américas, January-February, 1974.
Music and the People, Editorial Pueblo y Educación, Havana, 1974
"The Raw Material of Musical Creation," in Latin America in Its Music, Siglo XXI Editores, Mexico, 1977, pp. 73-87, and in Musicology in Latin America, Editorial Arte y Literatura, Havana, 1984, pp. 342-362.
"Some Hispanic Elements in Cuban Music," in Cuban-Canary Relations, IX Conference of Canary Islands-America Studies, 1989.
"Functions and Relations of the Décima and the Music with Which It Is Sung in Cuba," in The Popular Décima in the Hispanic Tradition (Proceedings of the International Symposium on the Décima), Las Palmas de Gran Canaria, 1994
"The Décima as a Peninsula Traveler and Its Return Cubanized," in The Popular Décima of Ibero-America (Proceedings of the II Ibero-American Festival of the Décima), Instituto Veracruzano de Cultura, Mexico, 1995.
"Music in the Improvised Décima," collaboration in The Popular Poetry of Antonio Hems Porras, Diputación de Córdova, Spain, 1998
Music between Cuba and Spain (co-authored with Faustino Núñez), Fundación Autor, Madrid, 1998.
Álbum Regio of Don Vicente Díaz de Comas, facsimile edition of its unique 1855 edition, revised and anthologized by María Teresa Linares, Fundación Autor, Madrid, 1998.
The Cuban Point, Editorial Oriente, Santiago de Cuba, 1999
"Hispanicity Present in Peasant Music," Paper edited with a record, Venezuela, 1999.
"The Music Archive of the Havana Church of La Merced. Study and Catalog" (review), in Revista Clave, year 1, no. 1 (second epoch), Havana, July-September, 1999, pp. 62-63.
"The Cuban Guaracha, Image of Creole Humor," in Catauro. Cuban Journal of Anthropology, no. 0, Fernando Ortiz Foundation, Havana, 1999, pp. 94-104.
"Expressions of Chinese Culture in Cuba: Theater, Music," in Catauro. Cuban Journal of Anthropology, year 2, no. 2, "Fernando Ortiz" Foundation, Havana, 2000, pp. 41-49.