Compilation of translated texts describing the explorations of Coronado and his companions as they traveled in Central American and parts of present-day United States, with some supplementary historical notes for context.

Spanish settlers brought the precursor to the bassoon, el bajón, to Mexico in the late sixteenth century. Documentation of the bassoon was intermittently from the sixteenth century on, the current playing traditions were not established until the second half of the twentieth century. Bassoon education in Mexico flourished in the 1970's because several bassoonists became expatriates, and chose to live and work in Mexico for the entirety of their careers. Two major pedagogues, Lazar Stoychev and Jerzy Lemiszka paved the way for the current Mexican bassoon community. This dissertation presents a selective lineage of bassoonists who have held positions in major Mexican orchestras and universities since the mid-twentieth century. The purpose of this study is to recognize the contributions these players and teachers have given to the bassoon world. In recent years, Mexican bassoonists have commissioned hundreds of works for the bassoon and this significant achievement has placed the Mexican bassoon community in an upward trajectory. To place these players in proper historical context, a brief history of classical music institutions in Mexico since the sixteenth century is given. This dissertation documents the history and pedagogy of recent bassoonists in Mexico via a cohesive family tree.

This work addresses the experiences of female asylum seekers from Central and Mexico currently living in Dallas, TX. The main purpose is to analyze how these women engage in the gendered processes of both migrating to and accessing legal resources and protection within the United States. As the women move through male-dominated spaces in their home country, the borderlands, and the asylum court they must challenge the patriarchal institutions that attempt to silence their narratives and criminalize their bodies. Their physical wounds become evidence in the courtroom, while outside of the courtroom their movements are monitored and tracked through multiple mechanisms of state control: ankle monitors, detention centers, ICE check-ins. They face intersectional discrimination as they are targeted as both women and immigrants. However, these female asylum seekers are not victims. They constantly display agency as they represent themselves in court, find solace in their faith, and form community with each other.

Mario Lavista (b.1943) is widely acknowledged as one of Mexico's foremost living composers. Having acquired his music education in his native Mexico and in Europe alike, he is similar to numerous other Latin composers who were building a career in the latter half of the twentieth century. During this time, composers were relying on international aspects of avant-garde techniques, and using nationalistic Latin rhythms and melodies less. Lavista embraced internationalism, and aimed to compose works devoid of identifiable elements of nationalism. This document argues that the absence of nationalistic elements in Lavista's music has affected his notoriety outside of Mexico. The role of nationalism is assessed through a brief examination of influential Mexican composers and educators prior to 1950, followed by a discussion of education and composition in the latter half of the twentieth century. These aspects are investigated with regard to Lavista's education and resulting compositional style. A theoretical analysis of Cinco Danzas Breves para quinteto de alientos (1994) serves as a representative example of Lavista's compositional style and influence. This document aims to highlight and increase exposure of Mexican composers outside of Latin America who do not compose nationalistic music.