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Rhythm was the first language Diana S谩ez鈥檚 family introduced to her. That gift paved the way for her lifelong love affair with music鈥揳nd with time, cemented her passion for music education.

Now, after years of collecting and lovingly using various annotated Oxford anthologies of choral music, S谩ez will add another to her bookshelf鈥揺xcept this time, her name and knowledge will live within its pages as an editor.

鈥淚 remember dreaming of doing something like this,鈥� S谩ez says. 鈥淥ver the years, I purchased beautiful Oxford anthologies of choral music of different topics鈥搈adrigal music from Italy, sacred music from across Europe and more. This is truly a full circle moment.鈥�

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Diversifying music history education

In her role as director of choral activities in the College of Fine Arts and Communications鈥� Music Department, S谩ez directs the University Chorale, Women鈥檚 Choir and Choral Society.

S谩ez infuses her passion for studying the historical contexts of Latin American music and rhythms into her choral teaching and collaborative projects.

鈥淪omething people assume about Latin American music is that it is all about movement and fun. But because of Spain and Portugal鈥檚 colonization of Latin America, there is also a significant influence from composers like Mozart,鈥� she says.

S谩ez's curiosity led her to co-edit the 鈥淥xford Book of Latin American Choral Music,鈥� with professor and co-editor Jos茅 Rivera, Ph.D., of the University of North Carolina. Set to publish in February 2027, the book will illustrate Latin America's historical influence on choral music.

The project builds on S谩ez's existing knowledge and evolving understanding of Latin American musical influence on a broader scale, making it accessible to musicians and educators worldwide.

Professor Diana S谩ez leads rehearsal for her students in the Ensemble: Chorale (MUSA451) course. 

鈥淪tudents need to be exposed to all kinds of music, from all eras and of all rhythms,鈥� she says. 鈥淥nce in a while, I bring a sacred piece by Latin American musicians into my courses. Teaching this is another way to fight stereotypes.鈥�

In recent years, there has been greater recognition of research on the origins and influence of music and rhythm beyond Europe. Just four years ago, Oxford University Press published the anthology of Black composers鈥搕he first of its kind.

Students need to be exposed to all kinds of music, from all eras and of all rhythms.

PROFESSOR DIANA S脕EZ

That slow but steady progress paved the way for anthologies like the one S谩ez is editing.

鈥淭here is an acknowledgement that we must learn about more choral music outside of European contexts.鈥� S谩ez says. 鈥淩ivera and I agreed that this anthology had to happen now鈥搉ot 10 years ago. People wouldn鈥檛 have been ready for it.鈥�

After the anthology is released, S谩ez will share it with other music educators at the American Choral Directors Conference.

One of the most gratifying aspects of teaching her students is seeing the surprise in their eyes when they learn how various rhythms intersect with other cultures.

鈥淚鈥檓 a big believer that everything is connected,鈥� S谩ez says. 鈥淟ast semester, I taught my students about popular music and rhythms across Latin America. From Bachata, bossa nova and rumba to samba, salsa and more, I had students from Ghana and Togo who were amazed at how much Africa influenced Latin American music.鈥�