COMEXUS Interview: My Responses
This post expands on two previous blog posts:
My COMEXUS Interview Experience
A commenter asked on my recent COMEXUS Interview Questions post for me to expand on how I responded to several of my toughest questions from my Fulbright-COMEXUS interviews. (Thanks for your comment and question, Kalie!) In today’s blog post, I’m expanding on this topic: sharing what my responses were and, in some cases, what I wish I had said.
2022 Interview
I didn’t record my 2022 interview, so I am simply basing these notes on my memory. The notes from the 2023 interview are based on a recording that I made.
Question: Your project involves studying music from around a century ago. How is this relevant to culture today?
My response: This question could be directed to any and all classical musicians: why study J.S. Bach or Johannas Brahms? One might say that their music is irrelevant since it is over a century old. I believe that “old” music does have relevance to current culture since it is the foundation from which today’s culture evolved.
What I would add: Studying Mexican classical music - especially from prior to the 20th century - has particular relevance because there are not very many resources available for this music (whereas there are many resources for studying German, Italian, and French classical music).
Question: Studying Mexican music and bringing it back to the U.S. sounds like musical “colonialism.” As a white U.S. citizen studying and teaching Mexican music, how do you avoid cultural appropriation? How will you contribute to Mexico rather than simply taking from Mexico?
My response: Honestly, this question caught me off guard. From what I recall, I discussed offering workshops and performances in Mexico as something that I could offer to Mexico. I discussed presenting underrepresented U.S. composers to Mexican audiences.
What I would add: Every Mexican pianist I have met (and I would list all of their names and accolades) has been astonished and thrilled when I mention my interest in Mexican piano repertoire. From my perspective, the issue here is not cultural appropriation but lack of familiarity with and resources surrounding this incredible repertoire. If a Mexican pianist tells me that I am interacting disrespectfully with their music and culture, I will gladly change. My experience has been quite the opposite: Mexican musicians are delighted that I am studying their culture’s classical music and wish that it was better known throughout the classical music world. Therefore, I will forge ahead alongside my Mexican colleagues in making this music known.
2023 Interview
Question: Talk to us more about your vision for this project and its use in the music pedagogy world.
My response: I started by sharing a general vision for my entire project (based on a talking point I created while journaling in preparation for the interview): I want to live a world where it is not surprising that a classical pianist would be familiar with such Mexican composers as Manuel M. Ponce, José Rolón, Ricardo Castro, Gabriela Ortiz, and many more. My intention for this year is to focus on Mexican music at the early advanced to advanced levels. Compiling pieces at an intermediate level and below would be for another year.
Question: It has been one year since you first applied for a Fulbright grant to Mexico, and your project seems mostly the same. How have you strengthened your application since last time?
My response: I acknowledged that my project was largely the same compared to the last time I applied: the same affiliate and institution as well as the same essential goal of studying Mexican classical music from the late 19th and early 20th centuries. Then, I discussed the aspects that are stronger: a) a clearer vision of producing an anthology of Mexican piano music and b) more and stronger connections with musicians in Mexico. At this point, I named every musician contact I have in Mexico and their relevance to the project. (I had made a list on my computer screen prior to the interview so that I could read it without worrying that I would forget a name in the moment.)
What I would change: I would start with an introduction before launching into my response. “I will respond to your question in two parts: first, what has not changed in my project and why. Second, what has changed and how it is an improvement.”
A technical question: what similarities and differences do you notice between Frédéric Chopin’s ballades for piano and Manuel M. Ponce’s Balada Mexicana?
My response: I started by mentioning that this question is special for me since I performed Chopin’s first ballade as well as Ponce’s Balada Mexicana on my master’s recital in 2022. I discussed how both ballades show influence from other art forms: Chopin’s are influenced by poetry and dance styles (like the waltz and mazurka) while Ponce’s Balada is based on two popular tunes: “El Durazno” and “Acuérdate de Mi.” I also mentioned that Ponce was clearly inspired by the pianism of Chopin and Liszt in his use of octaves and runs.
What I would add/change: I slipped up a little on this question because I started to talk about dance influences in Chopin’s ballades and was about to say that there are also dance influences in Ponce’s Balada, which is not the case. (It is based on popular tunes.) So I had to back up and restate my response. It wasn’t the end of the world, but I would form my response more clearly if I could go back.
Question: How will you continue to develop and expand your relationship with your affiliate organization during your grant year?
My response: I mentioned the professors that I have interacted with by name - including my affiliate as well as the director of the conservatory. (Again, I referenced the list of names I had on my computer screen.)
Question: How much do you really want this scholarship? Will you pursue this project in some form even if you don’t get the award?
My response: I mentioned that I appreciate this question because of something I read in the book “The Zen of Fulbright.” Author Thomas Burns mentions that, ironically, the most “Fulbright” thing to do is to pursue your project whether or not you receive the coveted grant. I went on to say that I intend to make use of my connection with Dr. Rodríguez and the Conservatorio Nacional by visiting for a month or two to study and get to know Mexican piano music whether or not I receive the grant. I also stated the weaknesses of this plan: I would lack the financial support to conduct meaningful research and, even more importantly, I would lack the ability to present myself as a cultural ambassador of the U.S. since I would be going as an individual and not as a Fulbright grantee.
Question: Considering your relatively short stay in Mexico, how will you balance your time between research and performance?
My response: I am currently preparing concert repertoire. That way, I can focus more on visiting archives and conducting research during my time in Mexico. Research is the priority since I cannot access archives from the U.S.
Question: Upon your return to the U.S., how do you plan to share your project and what you have learned about Mexican piano repertoire?
My response: I discussed my connection with concert presenters throughout the U.S. as well as my membership in the Music Teachers National Association (MTNA), which has over twenty thousand members. This allows me to publish articles on Mexican music in MTNA publications as well as present this repertoire at the organization’s local and national conferences.
Thank you for reading! I hope these details are helpful and make their way to this year’s semi-finalists. If that is you, please drop a comment!👇 I would be thrilled to hear from you and am happy to address your questions about the COMEXUS interview process in a future blog post.
This blog (www.melissaterrallpiano.com/blog) is not an official site of the Fulbright Program or the U.S. Department of State. The views expressed on this site are entirely those of its author and do not represent the views of the Fulbright Program, the U.S. Department of State, or any of its partner organizations.