SEM Newsletter Published by the Society for Volume 39 Number 1 January 2005 President’s Report 2004 SEM 2005 Atlanta: SEM 2005 Atlanta: By Timothy Rice, SEM President Call for Proposals Emory Welcomes SEM I want to begin my President’s re- By Judy McCulloh & Bruno Nettl, By Crystal Cheng and Tong Soon Lee port by thanking some of the people Program Committee Co-Chairs for the SEM 2005 Local Arrangements who have made this year such a suc- Committee The Society for Ethnomusicology cessful one for the Society for will hold its 50th annual meeting, No- Ethnomusicology. First, I would like to Emory University is honored to host vember 16-20, 2005, in Atlanta, Geor- th thank the annual meeting Local Ar- the 50 anniversary conference of the gia, at the Sheraton Colony Square. rangements Chair, Janet Sturman, and Society for Ethnomusicology in 2005. Our host will be Emory University. the Program Committee Chair, Larry Robert A. Paul (Dean of Emory College This meeting marks a very special Witzleben. We are fortunate that both and Charles Howard Candler Professor milestone, the 50th anniversary of the have been particularly creative: Janet in of Anthropology and Interdisciplinary her mustering of resources from the Society’s founding in 1955. Our meet- Studies), Stephen Crist (Chair, Depart- University of Arizona and the local ing in Atlanta will celebrate this anni- ment of Music), and the Local Arrange- community, and Larry in the creation of versary by reflecting on our history and ments Committee at Emory extend a a space for plenary sessions and his anticipating our future. We will also warm invitation to SEM members to imaginative construction of panels. I welcome the kinds of events and pre- come to Atlanta, Georgia. might add that the Program Committee sentations that members normally ex- The conference will be held in the had a strikingly international cast this pect at an annual meeting. Sheraton Midtown Atlanta Hotel at The annual lecture Colony Square, November 16-20, 2005. year. th Besides conferences, the main mis- will be delivered by Anthony Seeger Come celebrate the 50 anniversary of sion of our Society is the publication of (University of California, Los Angeles). the founding of SEM in Atlanta, a bus- a scholarly journal and a newsletter. There will be a pre-conference sympo- Continued on page 5 Thanks are due to the Journal editor, sium on November 16, 2005, on the theme of “Race and Place: Invoking Peter Manuel, and the Newsletter edi- Call for Papers for New Music Identities” (more informa- tor, Tong Soon Lee. Both have the tion on the pre-conference will be an- Special Issue of Eth- magical capacity to make their jobs look nounced soon) easy when they surely are not. nomusicology The conference theme is SEM at 50, Continued on page 3 with the following sub-themes: By Peter Manuel, Editor, Ethnomusi- cology Inside (1) The history of ethnomusicology. This is part of our looking to the past, To commemorate the 50th anniver- 1 President’s Report 2004 tracing how we’ve gotten to where we’ll sary of the founding of SEM, the journal, 1 SEM 2005 Atlanta: Call for Papers be in 2005. This is admittedly a very Ethnomusicology, will devote one or 1 SEM 2005 Atlanta: An Emory Welcome broad topic, but one that should en- possibly two issues to articles reflecting 1 Ethnomusicology Special Issue courage an intriguing array of papers. upon various aspects of the field. While 4 2004 SEM Election Results (2) The history of SEM. This is also some of the contents will derive from 4 2004 SEM Silent Auction open-ended, ideally leading to varied papers presented at the 2005 annual 6 SEM Prizes & Awards kinds of papers as well. We might add, conference, in the interests of obtaining 7 Some Notes on Our Origins to the extent they have connections a great diversity of perspectives, we 8 People & Places in Ethnomusicology with SEM, the history of other learned hereby invite submissions from any 9 Announcements societies. SEM members who feel inspired to 10 Grants & Fellowships If looking backward is instructive, so is contribute. Articles need not be long or 12 ICTM: Music and Minorities “research”-oriented. The commemora- 13 Call for Papers looking around us at the contemporary scene. This suggests the following: tive issues, which would be jointly 13 Position Announcement: New Edi- edited by myself and two or three tor for Ethnomusicology (3) Areas neglected by SEM and ethno- others, would appear in early 2006 and 14 Obituary: José Maceda (1917-2004) musicology generally, such as ap- possibly late 2005. I sincerely encour- 17 2005 SEM Chapter Meetings proaches to research and analysis, or age readers to take this opportunity to 19 2005 Korean Music Workshop Continued on page 5 offer their thoughts on our field. 19 Conferences Calendar 2 SEM Newsletter

The Society for Ethnomusicology and SEM Newsletter Guidelines the SEM Newsletter Guidelines for Contributors Editor, SEM Newsletter Tong Soon Lee Emory University •Send articles to the editor by e-mail or on a 3.5" disk with a paper copy. Department of Music Microsoft Word is preferable, but other Macintosh or IBM-compatible software 1804 North Decatur Road Atlanta, GA 30322, USA is acceptable. (Tel) 404.712.9481 (Fax) 404.727.0074 • Identify the software you use. (Email) [email protected] • Please send faxes or paper copies without a disk only as a last resort. (Website) www.emory.edu/Music

The SEM Newsletter Advertising Rates Copy Deadlines The SEM Newsletter is a vehicle for exchange of ideas, news, and information among the Society’s Rates for Camera Ready Copy March issue...... January 15 members. Readers’ contributions are welcome and Full Page $200 May issue ...... March 15 should be sent to the editor. See the guidelines for contributions on this page. 2/3 Page $145 September issue ...... July 15 The SEM Newsletter is published four times 1/2 Page $110 January issue ...... November 15 annually, in January, March, May, and September, by the Society for Ethnomusicology. Inc., and is 1/3 Page $ 6 0 distributed free to members of the Society. 1/6 Page $ 4 0 Back issues, 1981-present [Vols. 14-18 (1981- 84), 3 times a year; Vols. 19-32 (1985-1998), 4 times Additional charges apply to non-camera-ready materials. a year] are available and may be ordered at $2 each. Add $2.50/order for postage. Address changes, orders for back issues of the SEM Newsletter, and all other non-editorial inquir- Internet Resources British Forum for Ethnomusicology ies should be sent to the Business Office, Society for Ethnomusicology, Indiana University, Morrison http://www.bfe.org.uk Hall 005, 1165 East 3rd Street, Bloomington, Indiana The SEM Website 47405-3700; (Tel) 812.855.6672; (Fax) 812.855.6673; British Library National Sound (Email) sem@ indiana.edu. http://www.ethnomusicology.org Archive SEM Membership The SEM Discussion List: SEM-L The object of the Society for Ethnomusicology International Music Collection: To subscribe, address an e-mail mes- is the advancement of research and study in the http://www.bl.uk/collections/sound- field of ethnomusicology, for which purpose all sage to: [email protected]. interested persons, regardless of race, ethnicity, archive/imc.html religion, gender, sexual orientation, or physical abil- EDU. Leave the subject line blank. Type ity are encouraged to become members. Its aims the following message: SUBSCRIBE SEM- Catalog: include serving the membership and society at large http://cadensa.bl.uk through the dissemination of knowledge concern- L yourfirstname yourlastname. ing the music of the world’s peoples. The Society, SEM Chapter Websites Ethnomusicology OnLine (EOL) incorporated in the United States, has an interna- tional membership. Mid-Atlantic Chapter Free, peer-reviewed, multimedia Web Members receive free copies of the journal journal. For more information, point and the newsletter and have the right to vote and http://www.macsem.org participate in the activities of the Society. Life mem- your browser to: bers receive free copies of all publications of the Mid-West Chapter http://umbc.edu/eol (home site) Society. Institutional members receive the journal and the newsletter. http://www.wku.edu/midwestsem/ EthnoFORUM, a.k.a. ERD (inactive) Student (full-time only) (one year) ...... $30 Niagara Chapter Individual/Emeritus (one year) Archive at: http://www.inform.umd. income $25,000 or less ...... $50 http://www.people.iup.edu/ edu/EdRes/ReadingRoom/Newsletters/ income $25,000-$40,000 ...... $70 rahkonen/NiagaraSEM/NiagaraSEM.htm EthnoMusicology/ income $40,000-$60,000 ...... $80 income $60,000-$80,000 ...... $95 Northeast Chapter International Council for Tradi- income $80,000 and above ...... $100 http://web.mit.edu/tgriffin/necsem/ tional Music Spouse/Partner Individual (one year) ...... $35 Life membership ...... $900 Southwest Chapter http://www.ethnomusic.ucla.edu/ Spouse/Partner Life ...... $1100 http://www.u.arizona.edu/~sturman/ ICTM Sponsored* (one year) ...... $35 Institutional membership (one year) ...... $80 SEMSW/SEMSWhome.html Iranian Musicology Group Overseas surface mail (one year) ...... $10 Southern California Chapter http://groups.yahoo.com/group/ Overseas airmail (one year) ...... $25 *Donated membership for individuals and in- http://www.ucr.edu/ethnomus/ iranian_musicology stitutions in soft-currency countries. Send spon- sorship letter with dues ($35) and postage (either semscc.html Music & Anthropology $10 Surface rate or $25 airmail) to the SEM Business Office. Southeast-Caribbean Chapter http://www.muspe.unibo.it/period/MA Ethnomusicology: Back Issues http://otto.cmr.fsu.edu/~cma/SEM/ http://research.umbc.edu/eol/MA/ The Society's journal, Ethnomusicology, is cur- index.htm rently published three times a year. Back issues SEMSEC02.htm/ are available through the SEM Business Office, Society for American Music Indiana University, Morrison Hall 005, 1165 East 3rd Ethnomusicology Sites Street, Bloomington, Indiana 47405-3700; (Tel) American Folklife Center www.American-Music.org 812.855.6672; (Fax) 812.855.6673; (Email) UCLA Ethnomusicology Archive [email protected]. http://lcweb.loc.gov/folklife/ http://www.ethnomusic.ucla.edu/ ISSN 0036-1291 archive SEM Newsletter 3

President’s Report 2004 tion around the world. I appointed a had predicted was the failure of our committee of Dale Olsen, chair, An- membership survey to predict accu- Continued from page 1 drew Killick, and Jay Keister to select rately the number of people in each Thanks also to our business office the first winner of this prize. category of self-reported income and staff. They take an enormous burden The Investment Advisory Committee. therefore the amount of dues we would off the Board of Directors and the In addition to a number of endowed recover. The most dramatic difference President and work quietly and effi- prizes such as the Stevenson Prize, life was in the category of non-student with ciently behind the scenes to make the memberships and other gifts have cre- income less than $25,000 per year. The Society function smoothly: Alan ated an endowment approaching survey predicted we would have 75 Burdette, our executive director, is a $700,000. It is imperative that we man- people in the Society in this category, paragon of efficiency and attention to age the endowment well for the long- but 270 paid their dues in this category. detail; Lyn Pittman, our secretary, is term prosperity and stability of the So- Our total membership (individual and incredibly quick and good-humored in ciety. To that end, I created this year a institutional) dropped, but only her responses to every query from me, new Investment Advisory Committee to slightly—about 50 memberships. the Board, and the membership. I’d like work with the firms that manage our High conference registration fees. The to thank Cullen Strawn for his help with investments for us and to report to the Board is concerned, as are many of our our website and David Trasoff for fairly Board their opinions with regard to (1) members, with the high conference and efficiently moderating our listserv. asset allocation and (2) withdrawals registration fees. These are due, in part, I would like to thank the chairs of from the endowment to fund the ongo- to our decision three years ago to use a the Council, Committees, Sections, and ing expenses associated with life mem- professional conference management Special Interest Groups for serving all bers who no longer pay dues. The service. This service ensures us a the members of SEM, and thanks to all committee consists of Terry Miller, chair, smoothly run meeting: allows us to of you who took my President’s Jacob Wainwright Love, and Noriko meet in places like Tucson where there Soundbyte, “Let’s Communicate,” seri- Manabe. Noriko, by the way, is an is only one ethnomusicologist and a ously and worked on the visual support ethnomusicology student at CUNY who small coterie of students; and protects of your papers at this meeting. spent twenty years in the investment us against serious financial losses. So Every year three or four members of business and recently decided to go there are many advantages to using the Board of Directors leave as new into ethnomusicology, I imagine for the such a service. Please be assured, members join. The outgoing members same reason most of us have—the however, that the Board is actively this year are: Ellen Koskoff, Past Presi- money. They have issued their first tackling the problem of high registra- dent, a wonderful and inspiring mentor report, which has already greatly as- tion fees, and I hope to be able to nd to me; Matthew Allen, 2 VP, whose sisted the Board in rethinking its ap- announce some remedies in the next flair for interpersonal diplomacy and proach to our endowment. year. hard work revising the LAC and PC Beyond financial matters, the Board chairs’ manuals were truly exceptional; The Development Committee. As presi- dent, I hope to be able to increase has been working on a number of other Sean Williams, member-at-large even matters this year: year, whose plans to create an contributions to our endowment, and ethnomusicologists’ cookbook will likely to that end I have decided to reconsti- Future meetings. Our 2005 annual meet- be published by Routledge; and Laurel tute the Development Committee as a ing will be held in Atlanta, and we will Sercombe, Treasurer, whose wit and committee of Deans, Directors and hear from PC chairs Bruno Nettl and attention to numerical detail have kept Chairs. It seems to me these folks have Judith McCulloh, and LAC chair Tong the Society’s finances in delicate bal- the experience and the mindset to help Soon Lee later in the business meeting ance for four years. Please join me in the institutions they lead, or have led, about their ambitious plans for this, our th thanking them for their service to SEM. prosper, and I believe the Society should 50 anniversary meeting. Anthony During my term as President, I take advantage of their expertise. So if Seeger has been selected to give the planned to pay special attention to you have been a Dean, Director or Seeger Lecture on this occasion. The fund-raising and related financial mat- Chair of a university School, Depart- Board selected the University of Hawai’i ters, and I have a number of things to ment, or Center, you are hereby ap- to host the 2006 annual meeting. Fred report: pointed to the Development Commit- Lau will chair the Local Arrangements tee. This is an offer you cannot refuse. Committee and Jacqueline Cogdell Robert Stevenson Prize. Robert DjeDje will chair the Program Commit- Stevenson, the distinguished scholar of Sliding-scale dues structure. This past year was the first under the new sliding- tee. The meeting will be held in Hono- Latin American and Spanish music and lulu on November 14-19, 2006 (co- a composer as well, has long been scale dues structure. With the new dues structure, we hoped to achieve two incidentally, four students from Hawaii impressed by the number of ethnomu- gave papers at this conference and they sicologists who are or were also com- things: (1) increase the total income of SEM and (2) provide a fairer dues struc- extended a musical invitation to us to posers. This year he contributed a join them in Hawaii in 2006). generous endowment for a prize to ture based on self-reported income. encourage work on this topic and more We have increased the income, but SIGs and Sections. I am pleased to generally on the relationship between barely—just about $2000. The reason report the growing number of Special ethnomusicology and music composi- income didn’t increase as much as we Interest Groups (SIGs) and Sections devoted to themes, areas, and issues of 4 SEM Newsletter concern to the membership. There has with the President of SEM as President members Laith Ulaby and Michael been some concern that such SIGs and ex officio of the National Committee. It Birenbaum Quintero. Sections will lead to an atomization of seems to me that this is an important The results of the nonbinding reso- the Society, but it seems to me that it is symbolic gesture, acknowledging and lution to remove representations of the an opportunity for the membership to joining the many scholarly societies in flute-playing figurine from all its publi- take the Society in directions that deem the world devoted to the study of eth- cations, website, stationery, and other relevant to them, not waiting for the nomusicology. In that spirit, I was official documents as of its 50th annual serendipity of submitted papers and inspired by Su Zheng’s observation meeting in 2005 were: Yes: 202; No: Program Committees. They provide an during the President’s Roundtable on 279; Abstained: 35. opportunity for people with similar in- “Diverse Voices” that, from a global terests to get together. So if you feel that perspective, we are a local society with your interests are not well represented a universal name. She asked if this is in the program, I encourage you to seek what we intend? In light of the current 2004 SEM Silent Auction out like-minded people and consider arrogance of American foreign policy, I forming a SIG to make sure that they worry that our name can be read by our By Ellen Weller, Chair, SEM Silent are. Specifically, someone pointed out colleagues abroad as an unwitting ex- Auction at this year’s President’s Roundtable on pression of that American arrogance. In the theme of diversity that area-based this our 50th year, I would like us to Thanks to everyone who partici- SIGs have great potential for reaching reflect on the question of whether we pated, the 2004 Silent Auction netted out to our colleagues abroad and ar- should change our name, with apolo- $1,400 to help offset graduate student ranging to bring them to our annual gies to others in the Americas, to “The conference fees, a new record! Like a meetings American Society for Ethnomusicology”? year-end shoe sale at Bloomingdale’s, the final hours were rather hectic as Logo Vote. The Board placed on the Of course, such a question stirs up many variant possibilities and raises bidders were quite anxious about their annual ballot this year a nonbinding items, but our capable Silent Auction resolution to remove the native flute- numerous other issues. But maybe our 50th year is as good a time as any to team was able to handle the crowd. playing figurine, also known as the The donations were astounding, in- Little Man, as the logo of the Society for consider this question and these issues. I have therefore asked the Council to cluding a hardcover edition of Wolfe Ethnomusicology on its publications and Lornell’s book, The Life and Legend and stationery. The measure was de- reflect on how the Society might con- duct a sensible discussion of them this of Leadbelly, a handmade Jamaican street feated by a vote of 202 in favor, 279 flute, and lovingly used CDs, instru- opposed. While the Board will take the year. I have enjoyed working this year mental instruction books, and hard-to- matter under advisement based on this find journals. vote, I believe that the process was with all the dedicated people who make this organization function as well as it Many thanks to the generous donors flawed because, unlike ballot measures who made the Auction possible: in the ordinary political process, the does. I am looking forward to an th ballot did not include a statement of the exciting 50 year for this dynamic orga- • Paul Austerlitz pros and cons. That is, there was no nization. • Cross Cultural Dance Resource discussion on the ballot of the issues at • Judith Gray (American Folklife Center) stake in the vote. This lapse is entirely • Suzanne Flandreau (Center for Black my fault and I apologize for the confu- Music Research) sion that it may have caused. I have 2004 SEM Election • Steve Grauberger (Alabama Center therefore asked the Council to discuss Results for Traditional Culture/Alabama this matter further and advise the Board Folklife Association) on whether and how to proceed on this By Deborah Wong, Secretary, SEM matter at this point. • Rob Lancefield Board of Directors • Terry Miller Plenary session. This year’s meeting was distinguished by three plenary ses- The following SEM members have • Bruno Nettl sions, all on matters of importance to been elected to the Board of Directors: • Sara Stalder the Society. By all accounts, these— • President Elect: Philip Bohlman • Bonnie Wade including the President’s Roundtable— • 2nd Vice President: Brenda Romero • Sean Williams were very successful and a welcome • Treasurer: Suzanne Flandreau A very special thanks to Romeo addition to the concept of our program. • Member-at-Large (even year): Guzman (UCLA) and his Silent Auction I would like to thank once again all the graduate student team members Stephen panelists, all those who joined the dis- J. Lawrence Witzleben The SEM Council has the following Pixley (Wesleyan) and Aaron Bittel cussion from the audience, and all of (UCLA). See you in Atlanta! you who attended. new members: Lois Anderson, Tomie Hahn, Travis Jackson, Cheryl Keyes, Our international profile. This year the Javier Leon, Irene Markoff, Brana Board decided to constitute SEM as the Mijatovic, Ana Maria Ochoa, Zoe U.S. National Committee of the Interna- Sherinian, Ruth Stone, Sumarsam, and tional Council for Traditional Music, Christopher Waterman, with student SEM Newsletter 5

SEM 2005 Call for Papers The SEM 2005 Program Committee either address: please see the Call for consists of Samuel Araujo (Federal Uni- Papers forms for the proper address. Continued from page 1 versity of Rio de Janeiro), Jackie DjeDje We strongly encourage you to sub- those traditions that survive and thrive (University of California, Los Angeles), mit your abstract using the online form “under the radar” without our realizing it. Charlotte Frisbie (Southern Illinois Uni- at (Website) www.ethnomusicology.org Birthdays happen, life moves on. Im- versity, Edwardsville), Nancy Guy (Uni- (follow the links to the abstract-submis- plicit in the themes just mentioned is versity of California, San Diego), Robin sion site), available after January 15, this notion: Moore (Temple University), and Isabel 2005. This year’s online submission Wong (University of Illinois), with Judith system will not work with some older (4) Contemplations on our future, which McCulloh and Bruno Nettl (University browsers. If you plan to submit online, might include thought-pieces or exhor- of Illinois) as co-chairs. Kay Shelemay we recommend that you check the tations on directions ethnomusicology (Harvard University), who chaired the submission site before March 15 in the and SEM should take in our next half- committee that laid the groundwork for event that it is not compatible with your century. the commemorative part of the 2005 browser. If you do not have access to A couple of themes follow logically program, and Larry Witzleben (Chinese the internet, mail your form and abstract from where we’ll be meeting in 2005: University of Hong Kong), chair of the to: Indiana University Conferences, (5) African American music 2004 program committee, serve as advi- Attn: SEM 2005 Abstract Submission, sors to the 2005 program committee. A 110 One City Center, Bloomington, (6) Musical cultures of Georgia and the subcommittee, comprised of Jackie IN 47404, USA. Southeast DjeDje, Charlotte Frisbie, Isabel Wong, Timetable: And two more sub-themes, last but Kay Shelemay (advisor), and Bruno certainly not least: Nettl (chair) is in charge of planning March 15. Postmark and online-submis- sion deadline for all SEM proposals (7) Advocacy and cultural democracy. special events commemorating the When musicians and musical commu- founding of SEM and related matters. May 15. Notifications of acceptances nities want equal time and equal oppor- For further questions about the pro- mailed (including preliminary sessions tunity, what should ethnomusicologists do? gram for SEM 2005, please contact: and times) with pre-registration materials Judith McCulloh, University of Illinois August 2. Deadline for receipt of pre- (8) Diverse voices. This sub-theme is Press, 1325 South Oak Street, Champaign, IL inspired by the excellent and spirited registration fees from SEM members 61820; (Tel) 217.244.4681; (Fax) 217.244.8082 whose proposals were accepted roundtable organized for our 2004 meeting. [Attention: Judith McCulloh]; (Email) Proposals on any other topics rel- [email protected]; for the special October 1. Deadline for presenter can- evant to the field of ethnomusicology commemorative aspects of our 2005 cellation and refund of pre-registration are also welcome. The online and meeting: Bruno Nettl, School of Music, fees from SEM members whose propos- postmark deadline for submission of University of Illinois, 1114 West Nevada als were accepted (minus a $35 han- SEM proposals is Tuesday, March 15, Street, Urbana, IL 61801; (Tel) 217.333.9613; dling fee) 2005. (Fax) 217.244.4585; (Fax) [email protected]. October 15. Registration cancellation Do not send proposals or abstracts to refund deadline for nonpresenters (mi-

nus a $35 handling fee) ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

SEM 2005 LAC The Local Arrangements Committee hotel, with a performance by Emory’s is considering a variety of programs for jazz band led by Gary Motley (Emory). Continued from page 1 the conference, including: a pre-confer- Events are not confirmed at the present tling metropolis and the Southeast’s ence on “Race and Place: Invoking New time and more information will be avail- leading cultural and tourism center. Music Identities” coordinated by Dwight able as the committee firms up details. With more than 4.5 million residents in Andrews (Emory); a concert of tradi- The committee is also working with the the metro area, Atlanta is the second tional and contemporary Korean music SEM 2005 Program Co-Chairs to coordi- fastest growing city in the nation. by master musicians from Korea coordi- nate events related to SEM’s 50th anni- Atlanta’s rich history dates back to 1837 nated by Jinmi Huh Davidson, (Univer- versary commemoration. when it was founded at the end of the sity of North Carolina, Chapel Hill); a Come experience Atlanta’s southern Western and Atlantic railroad line. In performance of Gullah music and cul- charm and hospitality, and not to men- 1864, during the American Civil War, ture at the Donna and Marvin Schwartz tion some of that good ‘ol southern the advancing Union army burned and Center for Performing Arts at Emory cooking, as we celebrate the 50th anni- destroyed much of the city. Midtown University; and an evening of tango versary of the Society for Ethnomusicol- Atlanta was one of the earliest areas to music and dance coordinated by Kristin ogy in Atlanta, Georgia. If you have any be rebuilt and its intown neighborhood Wendland (Emory). Emory College questions regarding local arrangements, residence and modern buildings retain and the Department of Music will host please do not hesitate to contact Tong both historical charm and cosmopolitan a welcome reception on Thursday, Soon Lee at (Tel) 404.712.9481; (Email) vitality. November 17, 2005, at the conference [email protected]. 6 SEM Newsletter

SEM Prizes and Awards style of Near Eastern-influenced dance defined intellectual space, providing a called cocek. The older style of dance model of both method and content. By Sean Williams, SEM Member-at-Large embodies modesty and propriety The committee members also wished to whereas the newer dances represent acknowledge another author and work: The Charles Seeger Prize is awarded more eroticized notions of femininity. Jihad Racy, for his Making Music in the annually to honor the most distinguished Jane historicizes this shift in perfor- Arab World: The Culture and Artistry of student paper presented at the SEM mance practice by examining elements Tarab. The committee felt that this Annual Meeting. The Charles Seeger of women’s dance in Southeastern Eu- beautifully written and researched book Prize committee consisted of Katherine rope from the Ottoman period to the was a true testament to decades of Brown (last year’s winner), Matthew present. In recent years, Prespa women continued scholarship and performance Allen, and the chair, Sean Williams. The have borrowed the movements of ‘those by a valued member of our society. committee read 37 papers during the other women’—professional entertain- Written from the perspective of a cul- past year and was pleased with the high ers, courtesans, prostitutes or ritual spe- tural insider, it stands as an important caliber of many of the offerings. It is cialists—to articulate ‘a new more sexu- marker of the essence of our discipline. exciting to see such compelling work alized notion of femininity that is con- The Robert Stevenson Prize is coming from some of our newest col- sistent with the ideals of the Western awarded annually to the writer of the leagues in the field. The winner of the urban societies in which they now live’ most distinguished publication in the 2004 Charles Seeger Prize is Richard (p. 88). Cocek signifies the way in area of composition. The selection Jankowsky, for his essay titled “Music, which young Prespa women have been committee consisted of Dale A. Olsen Possession, and the Racialized Body in able to combine ‘respectable’ as well as (chair), Jay Keister, and Andrew Killick. Tunisia.” In his paper, Richard ex- eroticized images of femininity ‘in the The recipient of the first Robert M. plored the performance of stambeli, a body of a single dancer’ (p. 88). Based Stevenson Prize is Michael Tenzer for type of Tunisian ritual healing music. In on this brief but rich ethnographic and his article in Ethnomusicology titled an environment fraught with racial ten- historical study, Sugarman concludes: “Jose Maceda and the Paradoxes of sions and legacies of slavery, stambeli ‘in our scholarly attempts to analyze Modern Composition in Southeast Asia.” serves not to divide Tunisians into fac- and generalize about women’s cultural Dr. Tenzer is a professor of ethno- tions, but rather to engage multiple forms in this area, we have tended to musicology at the University of British constituencies within the context of focus on single genres in isolation, Columbia in Vancouver, British Colum- healing ritual. The committee members rather than recognizing that contrasting bia, Canada. His article on the well- noted that Richard’s work was lucid, ones—performative and participatory, known Filipino composer and ethno- informed, serious, and profoundly en- professional and amateur, urban and musicologist, Jose Maceda, perfectly fits gaging. His paper was based on rigor- rural—have often existed side by side the criteria of the Robert M. Stevenson ous and persuasively analyzed field- within any given locale, each deriving Prize because it recognizes an ethno- work, and was wonderfully relevant in meaning from its juxtaposition with the musicologist (Maceda) who was a com- its nuancing of race. In terms of the other’ (p. 111).” poser, and it beautifully analyzes his quality of the writing, it was well-struc- The Alan P. Merriam Prize is awarded works relative to the composer’s use of tured and argued, and added new infor- annually to recognize the most distin- his own research materials. The recog- mation to wider theoretical concerns. guished, published English-language nition of Jose Maceda is made even The Jaap Kunst Prize recognizes the monograph in the field of ethnomusi- more relevant because of his recent most significant article in ethnomusicol- cology. The Alan Merriam Prize com- death this year. Tenzer writes (p. 94), ogy written by a member of the Society mittee consisted of Suzel Reily, Carol “My contacts with Maceda—the man, for Ethnomusicology and published Muller, Chris Geortzen, and Ellen his aspirations, his community, his music, within the previous year (whether in Koskoff, Chair. The winner of the 2003 and his writings—have been the stimu- Ethnomusicology or elsewhere). The Alan Merriam Prize is Gage Averill, for lus for this article and homage.” In his Jaap Kunst Prize committee consisted his book titled Four Parts, No Waiting: article, Tenzer (and Maceda himself) of Regula Qureshi, Beverly Diamond, A Social History of American Barber- tells us how the composer dealt with Ron Emoff, and Andrew Weintraub, the shop Harmony, published in 2003 by the intertwining of Filipino jaw’s harps chair. The winner of the 2004 Jaap Oxford University Press. Committee and modern composition; how the Kunst Prize is Jane Sugarman, for her chair Ellen Koskoff included comments works of Varese and Xenakis influ- article “‘Those Other Women’: Dance from the committee in her statement enced him in the development of his and Femininity among Prespa Alba- about the quality of the book. She personal and national style; and how nians,” published in Music and Gender: noted that of the 21 works submitted for the composer considered his music to Perspectives from the Mediterranean, consideration, Four Parts, No Waiting be both Asian and Western. edited by Tullia Magrini (University of shined above the rest in its freshness, The Klaus Wachsmann Prize is Chicago Press, 2003). Andrew originality, and exuberance for a little- awarded annually for the best publica- Weintraub noted, “In this brilliant and known and often maligned American tion on the subject of organology. wide-ranging article, Sugarman analyzes musical phenomenon. The book is Chaired by Eric Charry, the committee the shift in dance style among Prespa beautifully written and addresses con- also included Nora Yeh, Ken Moore, Albanian women in Toronto during the ceptions of American-ness in a way that and Mohammed-Reza Darvishi (last early 1990s from the stately restrained is quite novel within the social sciences. year’s winner). The winner of the 2003 line dances to a freer more spectacular It is smart, timely, and creates a clearly Klaus Wachsmann prize is Mark F. SEM Newsletter 7

DeWitt, for his article titled “The Dia- sicology of popular music presented at history, ethnography and musical analy- tonic Button Accordion in Ethnic Con- the SEM annual meeting. The commit- sis in a revealing study of male bonding text: Idiom and Style in Cajun Dance tee consisted of Kai Fikentscher (Chair), and male harmonizing in barbershop Music,” published in Popular Music and Jane L. Florine, Dominique Cyrille, and quartets, from the late 1800s to the Society 26/3:305-330. Committee mem- Jeremy Wallach. The 2003 winner of present. bers noted that DeWitt’s superb orga- the Lise Waxer prize is Richard Mook, Congratulations to all of you! The nological study was important and com- for his paper titled “Oh How I Miss That SEM website has information about all prehensive, contributing much to the Old Gang of Mine: Memory and Homo- of the SEM prizes and awards. For the study of the button accordion. It shows eroticism in Barbershop Performance.” 2005 year, each of the above prizes will an excellent balance between technical The paper examined the ways in which be awarded, in addition to the Halpern aspects of instrumental technique and memory and nostalgia shaped the Fellowship and Award (to help support social and cultural contexts, specifically homoerotics of barbershop performance research on Native American music of those of Cajuns in Louisiana. The in Philadelphia. By contextualizing and the United States and Canada and to author effectively connects fascinating analyzing the gestures and song inter- recognize the publication of said re- and subtle relationships between the pretation of a recent barbershop perfor- search), and the Nahumck Fellowship diatonic button accordion’s technology, mance, the paper showed how, through and Award (to help support research on its playing technique, its place in his- this nostalgic musical practice, barber a dance-related subject and its subse- tory, issues of identity, and Cajun dance shoppers engage a rich tradition of quent publication.). Students inter- music. The committee feels that it has male intimacy that defines their hobby, ested in the Charles Seeger prize should great potential to become a book. even as they reimagine the history of be aware that papers presented during The Lise Waxer Prize is awarded that tradition. In a statement read at the a pre-conference are not eligible for annually to recognize the most distin- SEM meeting, the committee stated that consideration. Please visit the society’s guished student paper in the ethnomu- Mook’s paper deftly combines cultural website for further information.

The Society for Ethnomusicology, 1955-2005

Some Notes on Our Origins By Bruno Nettl, Emeritus Professor, University of Illinois, Urbana-Champaign

The mimeographed newslet- “comparative musicology” and “eth- pioneers, including Gertrude ter simply titled “ETHNO-MUSI- nomusicology”), but at the end, we Kurath, and Edwin G. Burrows. COLOGY Newsletter No. 5, Sep- had the rudiments of an organization Of the four founder of the SEM tember 1955,” announced that and a group of elected officers. The Newsletter, Charles Seeger was not an organizational meeting for 24 people present included some present but was very much in- the purpose of forming an ethno- people who may have had no spe- volved in the preparations for the musicological society would be cial interest but were simply curious, meeting. Alan Merriam, editor of held in Boston on November 18, but also some prominent anthro- the SEM Newsletter which led to 1955, during a meeting of the pologists (e.g. Melville Herskovits, the meeting (and elected editor American Anthropological As- Helen Codere, Gene Weltfish) who for its continuation) was actually sociation. With only two months’ wanted to lend support, and, impor- in Africa. Other prominent senior notice, I imagine that not many tantly, a number of devoted profes- members, including , people could make the trip es- sionals. William Malm, and Barbara Smith, pecially for ethnomusicological We hope that a number of these joined a bit later. But by 1957, two purposes, but actually, 24 people 24 founders will attend the anniver- years later, the first published mem- showed up in Parlor 133, after sary meeting (speaking as the young- bership list shows 218 member in an AAA banquet and film show- est person there, I can tell you that all the USA, and 63 in other nations, ings. As I remember it, it was a survivors are definitely senior citi- plus several dozen institutions. pretty informal meeting, (de- zens). The list (it’s on the SEM web Phenomenal growth, due surely scribed by David McAllester in site) includes several who later be- to the intrinsic interest of our field, SEM Newsletter no. 6) and went came presidents of the Society: but maybe just a bit also to the fairly late into the evening, and Mieczyslaw Kolinski, Barbara Krader, modest dues structure—$2.00 for there were spirited arguments David McAllester, Bruno Nettl, individuals, $3.00 for institutions. (e.g. ethno-musicology” versus Willard Rhodes; and there were other 8 SEM Newsletter

Universities, in support of her on-going Musical Blackness In and Out of Its People & Places in work on the role of women in flamenco Everyday Context (American Musics).” Ethnomusicology song. She has been invited onto a Musical Quarterly 86(3)(2004); “Got Spanish research project co-sponsored Rhythm?: Difficult Encounters in Theory Harris M. Berger, Associate Profes- by the Universidad de Sevilla and the and Practice and Other Participatory sor of Music at Texas A&M University, Instituto de la Mujer of the Junta de Discrepancies in Music.” City and Soci- was recently elected president of the Andalucía in Sevilla. She is currently ety, 14(1)(2002); and “Ethel Waters,” in U.S. branch of the International Asso- collaborating with scholars from the Notable American Women: A Biographi- ciation for the Study of Popular Music Department of Anthropology of the cal Dictionary, v.5 (February 2005). (IASPM), an organization that promotes University of Sevilla on the project, Forthcoming work includes a second inquiry, scholarship and analysis in the Flamenco Women: Ethnicity, Educa- book tentatively titled “Gender and All area of popular music. IASPM has 16 tion and Power. This year she is at work That Jazz,” an ethnographic study on branches around the world and the U.S. on a Spanish language edition of her the socialization of singers, instrumen- branch is one of the largest. Berger will book on flamenco singers and recently talists and how the politics of gender is serve as president on the Board of signed a contract with Signatura and is not a factor in formal and infor- Directors for the next two years. Berger Ediciones de Andalucía, an academic mal training of jazz musicians. She also is the current Crawley Family Faculty press that will publish her work in began work on a collaborative project Fellow at Texas A&M and is also the Spain. with several graduate students includ- founder and chair of the Popular Music Judah M. Cohen and Kyra D. Gaunt ing NYU’s Bill Boyer and Sentienla Toy Section of the Society for Ethnomusicol- (New York University) have collabo- about the role and reception of black ogy. He was recently chosen to be co- rated on a course titled “Musical musical performances in New York City editor of the Journal of American Folk- Diasporas: Blacks and Jews,” co-spon- through the lens of the amateur night at lore. As president of IASPM, Berger sored by the NYU Music Department the Apollo. This project deals with drag hopes to work with other scholarly and the Skirball Department of Hebrew performers no longer present at the societies on the issues of intellectual and Judaic Studies. The first-time course Apollo, the Apollo audience, genres property rights and fair use of copy- focuses on the creative responses to and representation, and Harlem as the righted materials, as well as continuing exile, migration, memory and identity imagined site of musical blackness in several organizational initiatives already within and between the communities of New York City eclipsing other bor- in place. the African and Jewish diasporas in the oughs, and even New Jersey where rich The Center for Black Music Research United States. traditions and histories of amateur and is pleased to announce the appoint- Kyra D. Gaunt (New York Univer- professional musical practices. Gaunt ment of the Rockefeller Resident Fel- sity) served as the coordinator of the serves as the chair of the Crossroads lows for the 2004-2005 academic year. ethnomusicology track at NYU in 2004/ Project in SEM. She is currently in They are Dr. Timothy Rommen, Assis- 5. She inaugurated the Black Speakers search of a co-chair to work with issues tant Professor of Music at the University Series at Southern Arkansas University of diversity, difference and under-rep- of Pennsylvania, and Dr. Rebecca Sager, on November 15 with a lecture on resentation in our society, home institu- independent scholar and former in- “Empowering the Female Emcee, Toni tions, in our fieldwork and scholarship. structor at Istanbul Bilgi University. The Blackman, and The Games Black Girls If interested, please contact Gaunt at title of Dr. Rommen’s proposal is “Popu- Play” (http://www.saumag.edu/news/ (Email) [email protected]. lar Music and the Ethics of Style in the gaunt.htm). She served as a panelist for Paul Greene (Pennsylvania State Circum-Caribbean,” while that of Dr. the NEA Folk and Traditional Arts Grants University), Recording Review Editor Sager is “How Rhythm and Motion Power in Fall 2004 (http://www.nea.gov/ for Ethnomusicology, has received ten- Identity in Caribbean Dance.” Both grants/apply/GAP05/Folk.html) and ure and promotion to the rank of Asso- fellows will be in residence from Sep- traveled to Ghana in November, her ciate Professor. tember 1, 2004, to May 31, 2005, split- first trip to the continent. She gave a Kim Heesun (National University of ting their time between the Center for lecture at “Celebrating Ghanaian Highlife Singapore) recently obtained her doc- Black Music Research in Chicago and Music: Its Impact and Relevance (An torate (ethnomusicology) from the Uni- the Alton Augustus Adams Music Re- International Conference and Concert)” versity of Pittsburgh. Her dissertation, search Institute in St. Thomas. The sponsored by NYU’s Africa House. titled “Kayagûm Shin’gok: Composition, theme for the Center’s resident fellow- Gaunt was part of a delegation of schol- Performance, and Representation of New ships during the year is “Researching ars from NYU that included ethnomusi- Kayagûm Music in Contemporary South the Circum-Caribbean.” cologist Michael Veal. Her talk is a call Korea,” focuses on kayagûm shin’gok, Loren Chuse has just finished up a for the study of gender in highlife newly composed music for the year of teaching as a Visiting Professor musical studies (http://www.nyu.edu/ kayagûm, a 12-stringed long board in the Music Department at California africahouse/highlife.html). Gaunt’s zither. The work examines the relation- Polytechnic State University in San Luis book The Games Black Girls Play: Learn- ship between music, performance and Obispo. In July 2004, at the end of her ing the Ropes from Double-Dutch to Hip- representation of new music in contem- teaching year, she was awarded a sum- hop is in press at New York University porary Korea. She received her B.A. mer research grant from the Program Press and is due out in 2005. Other and M.A. in music from Seoul National for Cultural Cooperation between Spain’s recent publications include: “The Two University in Korea where she trained Ministry of Culture and United States’ O’Clock Vibe: Embodying the Jam of as a performing artist. As a practitioner SEM Newsletter 9 of kayagûm, she has performed in the University, has been awarded the made her first trip to Africa in 1929 U.S., Canada, U.K., Asia as well as Amaury Talbot Prize for African Anthro- under the auspices of the American Korea. She is currently Post-doctoral pology from The Royal Anthropological Museum of Natural History. She subse- Fellow (Cultural Studies in Asia Cluster) Institute of Great Britain and Ireland quently made close to 20 trips to the at the Asian Research Institute (ARI) at (RAI). The award is for the book, Dan continent of Africa, pioneering the re- the National University of Singapore Ge Performance Masks and Music in cording and research of music from (NUS) where she is completing a book Contemporary Côte d’Ivoire. The RAI is around the world. She made a signifi- manuscript based on her doctoral re- the world’s longest-established schol- cant impact on the study of ethnomusi- search. At ARI, she will organize work- arly association dedicated to anthropol- cology, contributing to the creations of shops and conferences on music and ogy. ethnomusicology departments in major culture in Asia and will be engaging Boden Sandstrom, Lecturer in the universities. Ruth Stone has researched various research projects including cul- Musicology and Ethnomusicology Divi- the music of West Africa for the past 30 tural practices and practitioners in con- sion of the School of Music at the years. Focusing on the music of the temporary Asia. University of Maryland, was awarded Kpelle people of Liberia, she has Phong Nguyen (Kent State Univer- the 2003 Philip Brett Award sponsored authored numerous books and articles sity) has been awarded a Fulbright by the Gay and Lesbian Study Group of in addition to contributing to audio, Scholar grant to lecture at the National the American Musicological Society, for CD-ROM, and digital video projects. Conservatory of Music in Hanoi during exceptional musicology work in the Most recently she edited the Africa the 2004-2005 academic year. Professor field of transgender/transexual, bisexual, volume of the Garland Encyclopedia of Nguyen will pioneer the field of ethno- lesbian, gay studies for her work as co- World Music, which was awarded the musicology in postwar Vietnam by of- producer of the documentary on Dartmouth Medal in 2003. She has fering introductory courses of world women’s music, Radical Harmonies. served as president of the Society for music and seminars on history, con- Ruth M. Stone of the Department of Ethnomusicology and the Liberia Stud- cept, techniques, and current issues in Folklore and Ethnomusicology at Indi- ies Association. She is presently chair of ethnomusicology to Vietnamese stu- ana University has been named the first the Department of Folklore and Ethno- dents and faculty. He is one of approxi- Laura Boulton Professor by the Dean of musicology and Director of the Ethno- mately 800 U.S. faculty and profession- the College of Arts and Sciences, Kumble musicology Institute. als who will travel abroad to some 140 Subbaswamy. This professorship, es- Paul Yoon (Columbia University) countries for the 2004-2005 academic tablished by an endowment from the successfully defended his dissertation year through the Fulbright Scholar Pro- Laura Boulton Foundation, honors Laura in May 2004. The title of the dissertation gram. Established in 1946 under legisla- Boulton (1899-1980), a scholar who is “Christian Identity, Ethnic Identity: tion introduced by the late Senator J. recorded and annotated a notable col- Music Making and Prayer Practices William Fulbright of Arkansas, the lection of music recordings and musical among 1.5- and Second-Generation program’s purpose is to build mutual instruments, many of which are housed Korean-American Christians.” It will be understanding between the people of at the Archives of Traditional Music and submitted to UMI and should be avail- the United States and other countries. the Mathers Museum of World Cultures. able within a few months. His current Daniel Reed, Assistant Professor of Other recordings are held by Columbia work is with the Asia Society and he is Ethnomusicology and Director of the University, Harvard University, and the looking at national and international

Arvhices of Traditional Music at Indiana Library of Congress. Laura Boulton systems of support for taiko groups. ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Announcements We invite all to visit the site, which Ethnomusicology Forum (formerly we hope will be of use to a broad public known as the British Journal of Ethno- Wesleyan University Virtual interested in music. This first version musicology) is the academic, refereed Instrument Museum has been in progress for one year and is journal of the British Forum for Ethno- The Wesleyan University Music De- frequently updated. We welcome sug- musicology. The journal provides a partment is pleased to announce the gestions and corrections, but please dynamic forum for the presentation of launching of its Virtual Instrument Mu- bear with us as we continue to proof- new thinking in the field of ethnomusi- seum (http://learningobjects.wesleyan. read, add media, and gradually imple- cology, defined broadly as the study of edu/vim/), a unique and innovative ment version two this year, which will “people making music,” and encom- website showcasing over 100 instru- include ensemble examples and more passes the study of all music, including ments from our World Musical Instru- user-friendly mapping capabilities. Western art music and popular music. ment Collection. Video and audio dem- Articles often emphasize first-hand, sus- onstrations feature Wesleyan faculty so- Ethnomusicology Forum: New Editors tained engagement with people as music makers, taking the form of ethnographic loists, including Abraham Adzenyah, The British Forum for Ethnomusi- writing following one or more periods Neely Bruce, David Nelson, and cology welocmes the incoming editors of fieldwork. Typically, ethnographies Sumarsam, as well as undergraduate of Ethnomusicology Forum: Rachel Har- aim for a broad assessment of the pro- and graduate students. Extensive ac- ris, SOAS, University of London, UK and cesses and contexts through and within companying texts were written by mem- Tina K. Ramnarine, Royal Holloway, which music is imagined, discussed and bers of the Wesleyan community. University of London, UK. 10 SEM Newsletter made. Ethnography may be synthe- Dance Heritage Coalition Wins The Dance Heritage Coalition serves sized with a variety of analytical, histori- Award as an institutional think tank and na- cal and other methodologies, often en- The Dance Heritage Coalition has tional advocate for documentation, pres- tering into dialogue with other disci- been awarded the “Save America’s Trea- ervation, and access issues facing arts plinary areas. The field is therefore sures,” FY 2000 Historic Preservation and cultural organizations, artists, edu- characterized by its breadth in theory Fund Grant. The Dance Heritage Coa- cators, and libraries. Elizabeth Aldrich and method, its interdisciplinary nature lition, an alliance of the nation’s major serves as director and members of the and its global perspective. Each vol- dance collections and housed in the Coalition are: American Dance Festival; ume comprises two issues: one focus- Music Division of the Library of Con- New York Public Library Dance Divi- ing on a specific theme and prepared by gress, has been awarded a grant for sion; Harvard Theatre Collection; Jacob’s a guest editor; the other including a $90,000 to fund the conservation and Pillow Dance Festival; Library of Con- range of articles covering a broader preservation of three unique collec- gress; Ohio State University, Lawrence field of interest. tions that represent important aspects and Lee Theatre Research Institute; and The incoming editors would like to of American dance artistry and tradi- San Francisco Performing Arts Library extend their gratitude to the outgoing tions: the Katherine Dunham Archives and Museum. For more information, editors, Caroline Bithell (University of (African American) located in East Saint please contact: The Dance Heritage Wales) and Janet Topp Fargion (Na- Louis, IL; the Halla Huhm Dance Collec- Coalition, P.O. Box 15130, Washington, tional Sound Archive), who have made tion (Korean American) located in Ho- DC 20003; (Tel) 212.707.2149; (Email) immense efforts to ensure a smooth nolulu, HI; and Cross-Cultural Dance [email protected]. transfer into our partnership with Resources (Native American, Eleanor Routledge and whose diligent editorship King, Gertrude Kurath, and Joann has entrenched the journal’s reputation Kealiinohomoku collections) located in Grants & Fellowships as one of the leading publications in the Flagstaff, AZ. The grant, which will be field. We congratulate the outgoing matched by $90,000 in private funds, Humani- editors on the last journal produced will assist in the preservation of photo- ties Fellowships at the Smithso- under their editorship, Ethnomusicol- graphs, moving-image material, cos- nian Institution Center for Folklife ogy Forum 13(2) which includes papers tumes, and musical instruments. and Cultural Heritage: “Theorizing on ngoma song and dance in post- Coalition president, Sali Ann Cultural Heritage apartheid Africa (Louise Meintjes), hip- Kriegsman, noted: “Each collection is a Cultural heritage is today a rubric of hop culture in Brazil (Derek Pardue), community-based, grassroots organiza- and the role of music in Disney theme ever-expanding scope. It is used glo- tion that plays a vital role in the vitality bally as a basis for multinational, na- parks (Charles Carson and Laudan of its community and this support will Nooshin). We also welcome the incom- tional, state and local programs. Cul- allow the DHC to provide technical tural heritage is also the focus of ideas ing Reviews Editor Rowan Pease and assistance to these extremely worthy, extend our thanks to Kevin Dawe for and programs generated by hundreds yet fragile, dance archives.” The of non-governmental organizations, his efforts over the past four years. Coalition’s grant was one of four given The editors welcome submissions of community-based and advocacy groups to organizations located in the District and even businesses. Yet the concept original manuscripts from researchers of Columbia, which also included Ander- anywhere in the world, relating to all of “cultural heritage” is vastly under- son Cottage, President Abraham theorized. It has lacked an academic, topics and methods falling within the Lincoln’s summer White House, the site field of ethnomusicology, broadly de- disciplinary base; has generated only an for the July 7, 2000 press conference attenuated theoretical literature; and has fined. For further information, please given by President Clinton to announce contact the editors: Dr. Rachel Harris, generally left the bearers of cultural the awards. “Save America’s Treasures” heritage out of the discussion. Department of Music, SOAS, Thorn- is a public-private partnership between haugh Street, Russell Square, London, Rockefeller Foundation Humanities the White House Millennium Council Fellows at the Smithsonian Institution WC1H 0XG, UK; (Email) [email protected]; and the National Trust for Historic Pres- or Dr. Tina K. Ramnarine, Department Center for Folklife and Cultural Heri- ervation. Administered by the National tage will help expand and refine the of Music, Royal Holloway University of Park Service, the program aims to focus London, Egham, Surrey, TW20 0EX, theoretical framework for cultural heri- public attention on the importance of tage to include grassroots voices. Re- UK; (Email) [email protected]. our national heritage and the need to Correspondence relating to reviews flecting the perspectives of academic save our treasures at risk. “We are specialists, civil society groups, and should be sent to Dr. Rowan Pease, thrilled that the highly competitive pro- Publications, SOAS, Thornhaugh Street, public cultural organizations, fellows’ gram chose to include America’s dance work will inform dialogues and practice London WC1H 0XG, UK; (Email): history among their awards,” said Coa- [email protected]. across social, political, and disciplinary lition chairman, Vicky Risner. “We boundaries, as well as indicate future believe the three archives selected for directions for policy. this preservation grant are emblematic The Smithsonian is hosting up to six of the tremendous need for support for fellows for each of three years to work dance preservation, and of the diversity Continued on page 12 of America’s dance experiences.” SEM Newsletter 11

Towards An African Pianism

An Anthology of Keyboard Music from Africa and the Diaspora on Compact Discs. Compiled and Annotated by Akin Euba with contributions from composers and pianists

CD 1 Works by J.H. Kwabena Nketia, Akin Euba, Eric Moe, , Andres Wheatley, Mark Boozer, Nkeiru Okoye, Amy Rubin Performed by Eric Moe, Glen Inanga, Lorna Young-Wright, Mark Boozer, Amy Rubin

CD 2 Works by Paul Konye, Wallace Cheatham, Akin Euba, Gary Powell Nash, Robert Kwami, Joshua Uzoigwe Performed by Darryl Hollister

$11.95 per copy (excluding packaging and mailing)

The concept of an African pianism was pioneered by Akin Euba and endorsed by several of Africa’s major composers. In defining the concept, Euba stated that techniques used “in the performance of (African) xylophones, thumb pianos, plucked lutes, drum chimes…and the polyrhythmic methods of African instrumental music in general would form a good basis for an African pianistic style”.

The release of the first two CDs in the anthology will coincide with the issuing of the following two-volume publication. If you buy the books, you will get the two CDs free of charge.

Towards An African Pianism: Keyboard Music of Africa and the Diaspora

Volume One – Essays; Volume Two – Music Scores Edited by Cynthia Tse Kimberlin and Akin Euba Published by the MRI Press in January 2005 422 pages, 35 photographs, numerous music examples and other illustrative material. ISBN 0-9627473-6-X $ TBA per set plus shipping Order CDs from: Order books from: Akin Euba Cynthia Tse Kimberlin, Department of Music Music Research Institute P.O.Box 70362 Pittsburgh, PA 15260 Point Richard, CA 94807-0362 USA USA E-mail: [email protected] E-mail: [email protected] 12 SEM Newsletter

Grants & Fellowships Application Process for 2005-06 Fel- (3) A curriculum vitae; (4) An indication lowships. Submit a letter of interest (not of the prospects for publication or other Continued from page 10 to exceed three pages), in English. This public presentation of the project re- on the theoretical development of the letter should outline the proposed work sults. concept of cultural heritage. Fellows and how it will further the theoretical Applications should be sent to Rich- examine the relationship between cul- development of the concept of cultural ard Warren, Grants Committee Chair- tural heritage and political representa- heritage in relation to economic pur- man, Historical Sound Recordings, Yale tion (2004-05), economic pursuits (2005- suits. Applicants should attach a resume University Library, P. O. Box 208240, 06), and the arts (2006-07). The fellows or C.V. and include the proposed dates New Haven, CT 06520-8240, U.S.A. The are humanities-oriented thinkers en- of the residency. Based on letters of deadline for receipt of applications is gaged in the work of academic institu- interest, a limited number of applicants February 28, 2005. tions, public organizations, and cultural will be notified by February 25, 2005, communities. Applicants for 2005-06 and invited to submit full proposals. will be interested in developing ideas, Full proposals will be due April 1 for the rd principles, and frameworks for under- 2005-06 fellowships. Please do not The 3 Meeting of the standing the economic dimensions of apply for 2006-07 fellowships at this ICTM Study Group on the production, distribution, and/or time. Residency Term: Six weeks to five Music and Minorities consumption of cultural heritage. Keep- months, between September 1, 2005, ing in mind the concern with grassroots and July 31, 2006. Deadline for letter of By Adelaida Reyes, Emeritus Profes- cultural communities, applicants will interest: January 14, 2005. For further sor, New Jersey City University focus their critical inquiry on such is- information contact: Carla Borden or sues as cultural capital, intellectual prop- James Early, Center for Folklife and From August 27 to September 3, erty, community-based rights, cultural Cultural Heritage, Smithsonian Institu- 2004, the ICTM Study Group on Music tourism, employment, and poverty re- tion, P.O. Box 37012, Victor Building and Minorities met in the ancient town duction, and will demonstrate original- 4100, Washington, DC 20013-7012; (Tel) of Rocv in Croatia. In this Istrian location ity of approach and significant potential 202.275.1461 or 202.275.1576; (Fax) which dates back to the 11th century, the for making a contribution to the formu- 202.275.1119; (Email) culturalheritage Study Group members found a combi- lation of cultural heritage policy and [email protected]. nation of lovely surroundings, an ambi- practice. ence conducive to extensive discus- The Smithsonian Center for Folklife ARSC Grants Program sions and conversations in and outside and Cultural Heritage—where cultural the meeting venues, and a supportive The ARSC Grants Program supports v heritage is the subject of ongoing, daily local community. Naila Ceribasic´ from projects, scholarship, and publication intellectual and practical activity—hosts Zagreb’s Institute of Ethnology and in the fields of sound recording and the fellows. Given the Center’s location Folklore Research chaired the local ar- audio preservation. Projects eligible for in Washington, D.C., and given its strong rangements, in collaboration with the support include discography, bibliogra- Cultural and Art Society “Istarski connections to international and na- v phy, historical studies of the sound v tional institutions, service organizations, Zeljeznicar.” The Program Committee recording industry and its products, and nongovernmental and community was chaired by Ursula Hemetek of the any other subject likely to increase the groups, fellows partake of an incredibly Institut für Volksmusikforschung und public’s understanding and apprecia- rich environment and find colleagues Ethnomusikologie, Universität für Musik tion of the lasting importance of re- and cultural policymakers strongly in- und Darstellende Kunst in Vienna. corded sound. ARSC encourages appli- terested in their work. Among the themes for the various cations from individuals whose research Applicants need not be U.S. citizens sessions were regional ones that fo- forms part of an academic program at to be eligible, and approximately half of cused on Croatia, the former Yugosla- the master’s or doctoral level. the fellows are drawn from outside the via and the Roma, and the more general Both ARSC members and non-mem- United States. Fellowships include a ones that dealt with multiple identities, bers are eligible for grants in amounts stipend and an allowance for travel to religion, and etic/emic approaches to up to $1000. Funds can be used to and from Washington, D.C., as neces- the study of music and minorities. A underwrite clerical, travel, and editorial sary. Please note: These fellowships are final discussion at the end of each day expenses, but may not be used to not intended to support undergraduate allowed a synthesis of the day’s presen- purchase capital equipment or record- or graduate studies, or research. Projects tations and an informal scholarly ex- ings, to reimburse applicants for work will not be considered for the re-writing change. Participants came from all over already performed, or to support projects of dissertations, editing of texts, papers, Europe and the United States, as well as that form part of a job. or the preparation of textbooks or an- from China, Taiwan, and Japan. Applications for an ARSC Grant thologies. Applicants whose native A complement to the discourse of should include: (1) A summary of the language is not English are expected to the Study Group members were the project (one page maximum), with have a sufficiently good command of performances of music and dance by samples of the work, if possible; (2) A spoken English so that they can fully national minority groups in Croatia and budget covering the entire project and discuss, debate, and exchange ideas Istria, a lavish open-air reception, a highlighting the expenses the ARSC v and practices about cultural heritage. guided tour through Roc, and an excur- Grant will cover (one page maximum); sion through Istria. SEM Newsletter 13 Call for Papers Position Announcement: 2005 Annual Graduate Student Conference: Ethnomusicology at New Editor for Ethnomusicology Work and in Action April 9-10, 2005, University of Califor- The Society for Ethnomusicology invites proposals from Society members nia, Los Angeles who wish to be considered for the editorship of the journal Ethnomusicology. All students, faculty, and profession- The premier journal in the field for nearly fifty years, Ethnomusicology has als involved in ethnomusicology, musi- played a central role in the expansion of the discipline in the United States and cology, music performance, cultural abroad. The journal is published three times annually—winter, spring/ studies, anthropology, media studies, summer, and fall. Each issue runs approximately 182 pages and includes major folklore, music journalism, and related research articles as well as numerous book, record, and film reviews. fields and professions are invited to The journal editor position requires a commitment of five years: an initial share their work and experiences at the transition year during which the editor-designate learns procedures and fourth UCLA Ethnomusicology Gradu- begins to acquire articles, followed by a (renewable) four-year term as editor ate Student Organization Conference, (i.e. providing content and named as editor on the masthead), including, in “Ethnomusicology at Work and in Ac- the fourth year, a transition year of training for the incoming editor, during tion.” which the editor-designate begins learning procedures and acquiring articles. As the old notion of a disengaged Peter Manuel, the present editor, will complete his term with the fall 2006 academic “ivory tower” continues to issue (volume 50, no. 3); the new editor’s first issue will be winter 2007 lose its relevance, ethnomusicologists (volume 51, no. 1). The SEM Board of Directors will meet in April 2005 to select are faced with a variety of hands-on the new editor, allowing for a one-year transition period from Fall 2005 to Fall roles in the wider community as con- 2006. sultants, activists, specialists, and edu- The journal editor is responsible for acquiring and editing research articles cators. The term “applied ethnomusi- (approximately 400 pages of printed text annually), identifying referees for cology” has emerged to help define submissions and overseeing the review process, coordinating the material how ethnomusicologists interact with provided by review editors and working with the University of Illinois Press, people and interests beyond the tradi- which currently produces the journal. The journal editor submits reports to tional domain of academia. But what the SEM Board of Directors in October and March, orally summarizes the does “applied” actually mean? In what October report at the annual meeting, and chairs the SEM Editorial Board ways has “traditional” ethnomusicology meeting at the annual meeting. already demonstrated community en- This position will require an appropriate amount of institutional support. gagement? How do we problematize The editor should receive release time equal to one full course per term, long-held distinctions between theory funding for a part-time assistant (fifteen hours weekly), a subsidy of at least and praxis, home and field, and the fifty dollars monthly for photocopying, telephone, fax, and mailing expenses, university and society? Are there limits travel to the annual meeting, and computer access. All manuscripts for to the scholar’s role in advocacy and Ethnomusicology are submitted on disk and the editor converts files as social justice? necessary to a single word-processing system. Peter Manuel encourages As it stands, applied ethnomusicol- applicants to contact him directly, preferably by email ([email protected]), ogy encompasses community activism, to discuss the tasks involved in editing Ethnomusicology. world music pedagogy, archiving, and Applicants should submit a statement describing (1) previous editorial and/ grassroots organizing among many other or administrative experience; (2) the extent to which release time and other forms of engagement. Advancing the institutional support can be expected; (3) a brief narrative of their training and conversation requires perspectives from experience in ethnomusicology; and (4) their view of how the journal would all who support communities and their develop under their editorship. Applicants should also submit a curriculum arts: universities, community arts insti- vitae and the names of three potential referees (including the applicant’s tutions, teachers, performers, concert immediate superior, if applicable). Potential editors must be members of the programmers, film composers, etc. This Society for Ethnomusicology. SEM welcomes nominations from Society conference seeks papers that address members (nominees must submit all required materials). SEM encourages the theoretical, practical, and ethical applications from women and minorities. issues that develop from their commu- The Publications Advisory Committee, comprising Mark DeWitt, Robert nity application. We seek submissions Garfias, Frank Gunderson, Ellen Koskoff, John Murphy, Jennifer Post, Philip from a wide range of disciplines and Schuyler, Ruth Stone, David Trasoff, Larry Witzleben, Alan Burdette, and Andy institutions on subjects that draw from Sutton (Chair), will review the applications and make recommendations to the recent research or works-in-progress; SEM Board of Directors. The deadline for receipt of applications is March 15, address current community issues; and 2005. Please send all materials (hard copies, please) to: Lyn Pittman, SEM present community resources. Business Office, Indiana University, Morrison Hall 005, 1165 East 3rd Street, Topics of interest include, but are Bloomington, IN 47405-3700; (Tel) 812.855.6672; (Fax) 812.855.6673; (Email) not limited to: (1) Archiving and mu- [email protected]. Continued on page 16 14 SEM Newsletter

In Memoriam: José Monserrat Maceda (1917-2004) By Ricardo D. Trimillos, University of Hawai’i José M. Maceda, the pioneer ethno- lera (1958), and Muslim Mindanao His research invoked different musicologist of the Philippines, was (1959b). He compiled the first recorded geocultural frames for viewing Philip- also educator, concert pianist, and com- anthology of music from Muslim and pine genres and musical organization. poser. His life, one dedicated to music, lumad groups in Mindanao (1961). After In addition to the framework of the came to a close on May 5, 2004 follow- advanced study at Queen’s College Philippine nation-state, he also used a ing a difficult period of illness. I am (NYC), Columbia University, University regional Southeast Asia framework to honored to share my thoughts about of Chicago, and Indiana University, he examine historical genres (1979), con- him. completed the doctorate at UCLA with a cepts of time (1986), drone and melody Prof. Maceda enjoyed an interna- dissertation on music from the (1974), and scales (1990). He explored tional reputation in the worlds of schol- Magindanaon people of the Cotabato Southeast Asian sensibilities about meth- arship and music composition. Fluent region (1964). It was the first system- odology, producing A Manual of a Field in French and English, he was a lively atic, ethnomusicological study of a Phil- Music Research with Special Reference participant at international congresses ippine group and set the bar for those of to Southeast Asia (1981). This signal and an effective multi-lingual spokes- us who were to follow. His early work anticipated the current attention man for the music and the ethnomusi- research included not only music of the to discourses of “native voice.” Related cology of the Philippines. International Philippines, but also other traditions to the publication of the manual he recognition include Ordre des Palmes resident there. For example, he inves- organized a collaborative field project Académiques (France, 1978), SEM tigated music among local Chinese in in Southeast Asia, drawing cultural spe- Charles Seeger Lecture (USA, 1984), Manila and introduced nanguan in- cialists from throughout the region. Fumio Koizumi Award for Ethnomusi- struction into the University in the 1970s, A pan-Asian frame informed his study cology (Japan, 1992), National Acad- anticipating the present ethnomusico- of court musics (1995, 2001). It was emy of the Arts Plenary Speaker (S. logical interest in overseas and diasporic central to the organization of the 2003 Korea, 1994), Nikkei Award (Japan, communities. Asia Symposium, “A Search in Asia for a 1997), Civitella Ranieri Award (Italy, Prof. Maceda was committed to edu- New Theory of Music.” Very much like 1997) and Légion d’Honneur (France, cation. He founded the Department of his own career, that meeting in Manila 2001). In conversations he often framed Asian Music at the University of the provided an encounter among ethno- these awards as honors for the Philip- Philippines (UP), which he later devel- musicologists, performance practitio- pines rather than for himself. oped into the present Department of ners, contemporary composers, and National recognition in the Philip- Music Research. Its mission is to study presenters of new music throughout pines came principally for his creative and document the diversity of music in Asia as had his earlier 1961 International work. In-country awards include Gawad the archipelago. He took this mission Symposium. ng Lahi (1989), Araw ng Maynila (1996) seriously; his stewardship of the archive Dr. Maceda began his career as con- and the prestigious lifetime title, Na- collections is legendary. He made the cert pianist. Following training in Ma- tional Artist for Music (1998). His pass- Department the principal national re- nila he studied abroad, where his prin- ing occasioned another national recog- pository for music research. cipal teachers were Alfred Cortot at the nition: an official state funeral. To my In addition to documentation and École Normale de Musique de Paris knowledge he is the first ethnomusi- research, he will be remembered for the (1937-41) and E. Robert Schmitz at the cologist ever to be so honored. advancement of native scholarship and San Francisco Conservatory (1946-50). Dr. Maceda’s research locus was the the institutional recognition of indig- He became the leading exponent of the Philippines; he was a nationalist scholar enous expertise. He mentored the French piano style for the Philippines in in the best sense of the term. He often present generation of Filipino ethno- the 1940s and 1950s, joining the piano described his research area as one coun- musicologists, including Drs. José faculty at the University of the Philip- try with a wealth of musical traditions. Buenconsejo, Verne de la Peña, and Fe pines in 1952. He appreciated the richness and diver- Prudente. Prof. Maceda invited master Although we in SEM may know him sity of its music and was concerned artists of traditional music into the De- primarily as an ethnomusicologist, he about minority survivals in a moderniz- partment as researchers and teachers, was simultaneously and equally active ing nation. I recall one long conversa- including Aga Mayo Botucan in as a composer—the principal basis for tion at Café Adriatico, which he ended Magindanaon kulintang and Benny his national recognition. Like his re- with the admonishment, “…these mu- Sokkong in highland Kalinga music & search, his compositions reflect an en- sic traditions may suffer the same fate as dance. He expanded the Asian master gagement with Filipino materials, modes our [virgin] forests—you may not notice artist presence to include teachers of of organization, and values. In a state- they are disappearing until it’s too late.” Javanese gamelan and Japanese koto. ment prepared for the Cultural Center of Acting on that concern he began to In 1990 Dr. Maceda retired from the the Philippines in 2002, Dr. Maceda document and study the smaller cul- University. Designated Professor Emeri- comments on his own work: “A mixture tural communities first, focusing upon tus, he continued as a researcher and as of ideas in this music [Varese, Xenakis, Mindoro Island (1959a), Luzon’s Cordil- Executive Director of the UP Center for the avant-garde of the 1960s] and no- Ethnomusicology. tions gained from ethnomusicological SEM Newsletter 15 Photo courtesy of the University Phillipines College Music studies make up the basis of his music unity. In retrospect, I suggest that symphony orchestra (premiere 1998). compositions.” Organology was one of Ugnayan was a harbinger of the popu- These works have been heard in Eu- those studies. His second version of list, mediated, collective and organic rope, the U.S. and Japan. In his compo- Ugma-ugma (premiere 1963) was the People Power movement that in 1986 sition, research, and mentoring he drew first massed use of indigenous brought down the Marcos dictatorship. upon a broad, diverse range of musical idiophones and aerophones combined Ugnayan, combining mass participa- and cultural experiences. José M. with choruses on the concert stage. tion with technology, is an early in- Maceda was an international artist and Pagsamba (premiere 1968)—based on stance of what Vicente Rafael recently scholar, grounded in a Filipino identity. the Roman Catholic Mass in Tagalog labels “messianic politics” (“The Cell To close on a personal note, the last and conceived for a specific, enclosed Phone and the Crowd: Messianic Poli- time I met Pepe (as he is affectionately circular space—was scored for some tics in Recent Philippine History” Public known) was January 12, 2004 at the UP 250 performers including multiple cho- Culture 15-3, 2003). Further, Dr. College of Music. Even though he was ruses and native instruments. Maceda’s use of massed participants not well, he insisted on attending my His notion of Filipino materials in- was a conscious evocation of Philip- Forum talk. It was a wonderful reunion, cluded the Philippines’ mass media. pine values: foregrounding the collabo- although at the same time difficult for Two years into Martial Law, Dr. Maceda rative and collective aspects of an act me, seeing him in this weakened condi- produced a remarkable participatory while not denying individual agency. tion. His voice was barely a whisper, event for Metro Manila: Ugnayan (pre- He also wrote for Western media, to nonetheless an energetic whisper that miere 1974) mobilized thousands of which he brought notions of drone, was much in evidence during the ques- Filipinos using transistor radios in open musical textures, and timbres from his tion/discussion period. That last public spaces to access 20 radio stations research. Exemplary works include memory—my lasting memory of Pepe— broadcasting separate sound tracks he Music for Five Pianos (premiere 1993), is a combination of the undimmed created. We were literally part of a Dissemination (premiere 1990) and sparkle in his eyes, that shock of hair he populist, mediated, collective and or- Distemperament (premiere 1992), the continually pushed back from his fore- ganic soundscape. In the wake of latter two for winds and strings. A head, and the barrage of engaged, criti- recently-imposed curfews and restric- lifelong interest in alternative ways, that cal, and probing questions so typical of tions on public gatherings, the event is, “Asian ways,” of organizing sound our exchanges. Any passing engenders was a fleeting moment of empowered resulted in Colors Without Rhythm for a sense of personal loss. While it is a 16 SEM Newsletter moment of sadness, it is also an oppor- 1961. The Music of the Magindanao in 1990. “In Search of a Source of Hemitonic tunity for celebration. The words prof- the Philippines. New York: Ethnic Folk- and Anhemitonic Scales in Southeast fered here embrace both sentiments: ways. FE4536 (Smithsonian/Folkways Asia.” Acta Musicologica 62(2/3):192- the loss and the celebration of a scholar, FE04536) 223 an artist, a colleague, a kababayan, and 1964. The Music of the Magindanao in 1995. “A Logic in Court Music of the a friend. the Philippines. Dissertation, UCLA Tang Dynasty.” Acta Musciologica I honor him with words from an- 67(2):109-141 other island nation: 1974. “Drone and Melody in Philippine Musical Instruments.” Traditional Drama 1998. Gongs & Bamboo; a Panorama of Ua pau, ua hala lakou- and Music of Southeast Asia, edited by Philippine Music Instruments. Diliman: Koe no na- hana no’eau Mohd. Taib Osman, 246-273. Kuala Lumpur: University of the Philippines Press His days are over, he has departed Kementerian Pelajaran Malaysia 2001. “The Structure of the Principal His wise and artistic works live on 1979. “A Search for an Old and a New Court Musics of East and Southeast Music in Southeast Asia. Acta Muscio- Asia.” Asian Music 32(2):143-178 Publications by José M. Maceda Cited logica 51(1):160-168 1958. “Chants from Sagada Mountain 1981. A Manual of a Field Music Re- Thanks to Chris Millado (Cultural Province, Philippines.” Ethnomusicol- search with Special Reference to South- Center of the Philippines), Verne de la ogy 2(2):45-55, 2(3):96-107 east Asia. Quezon City: Dept. of Music Peña (University of the Philippines), Barbara B. Smith (University of Hawai’i) 1959a. “The Music of the Bukids of Research, College of Music, University of the Philippines and Andrew Weintraub (University of Mindoro.” Filipiniana 1/2:19-20 Pittsburgh) for assistance. RDT— Ho- 1959b. “The Setting of Magindanao 1986. “A Concept of Time in the Music nolulu 28 October 2004. Music.” Diliman Review 3(3):308-316 of Southeast Asia.” Ethnomusicology

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Call for Papers ISMIR 2005: 6th International (MIR), including, but not limited to, the Conference on Music Information Continued from page 13 following domains and topics: (1) Mu- Retrieval sic libraries, archives and digital collec- seum work; (2) Sound media produc- tions; (2) Intellectual property rights September 11-15, 2005, London, UK tion; (3) Ethnographic filmmaking; (4) and business issues; (3) Western and Concert promotion and artist manage- The 6th International Conference on non-western musicology, analysis; (4) ment; (5) Cultural policy/brokering; (6) Music Information Retrieval, ISMIR 2005, Composition, forms and structures, no- World music pedagogy; (7) The place will be held at Queen Mary, University tation; (5) Knowledge representation; of applied work in ethnomusicology; of London, from September 11-15, 2005. (6) Music perception, cognition, affect, (8) The future of applied work in ethno- The annual ISMIR Conference is the and emotion; (7) Human-computer in- musicology. The standard presentation established international forum for those teraction and interfaces; (8) Databases, format is a 20-minute presentation fol- working on accessing digital musical languages, protocols; (9) Systems, lowed by a 10-minute question and materials. It reflects the tremendous internet software, mobile devices; (10) answer period. We also welcome pro- recent growth of music-related data Metadata, classification, recognition and posals for panel discussions and work- available and the consequent need to modeling; (11) Social and ethical issues shops. Submissions of paper, panel, or search within it in order to retrieve and Authors are encouraged to submit con- workshop abstracts should include a use music and musical information effi- tributions in areas they feel belong to title and be limited to 250 words. Please ciently and effectively. These concerns MIR, even if they have not been explic- include contact information including are of interest to education, academia, itly mentioned above nor dealt with in affiliation, address, email, and phone. entertainment and industry. ISMIR there- previous ISMIR conferences. Please send submissions to Kevin Miller fore aims to provide a place for the All contributions must be original, at (Email) [email protected] by Friday, exchange of news, issues and results, and must not have been previously February 4, 2005. Questions regarding by bringing together researchers and published, nor be in review for presen- submissions may be directed to Kevin developers, educators and librarians, tation elsewhere. Authors are required Miller at the email address above or by students and professional users, work- explicitly to demonstrate the relevance phone to Megan Rancier (Tel) 310.745. ing in fields that contribute to this of their methods to MIR and are strongly 8841 (please keep Pacific Time zone in multidisciplinary domain, to present encouraged to include aural music ex- mind). Presenters will be notified of original theoretical or practical work. It amples in their presentations; to facili- acceptance by February 28, 2005. also serves as a discussion forum, pro- tate this, we recommend use of copy- vides introductory and in-depth infor- right-free examples (see, for example, mation in specific domains, and show- www.archive.org). Where appropri- cases current products. ate, authors are required to address ISMIR 2005 solicits contributions to evaluation of their work in the MIR the field of music information retrieval context. SEM Newsletter 17

Submissions, which will be peer- historical practice? How should we 2005 SEM Chapter reviewed, may be in the following cat- judge musical reconstructions which egories: paper, poster, tutorial propos- are largely based on fantasy? Meetings als (see conference website for details), In October 2005, Amsterdam will be and panel proposals. Publishers and the location of a broad range of Chinese SEM Northwest Chapter (SEM-NW) software houses in MIR-related areas music events. This includes a number of February 5-6, 2005, University of are invited to contact the program com- ancient music concerts (a detailed pro- Washington, Seattle mittee regarding the ISMIR bookstore gram will be announced in March 2005). The SEM Northwest Chapter will and/or exhibition space (Email) Issues of musical reconstruction and hold its meeting at the University of [email protected]; reinvention (and the ideologies that Washington in Seattle on February 5-6, [email protected]. Submis- accompany them) will be the main th 2005 and will include a concert on sion deadline: April 18, 2005; booking focus of the 10 CHIME Meeting, which Saturday evening. The chapter offers of exhibitor space: August 18, 2005. For will be held at the KIT Theater (Royal the Thelma Adamson Prize for the best more information, please visit (Website) Tropical Institute) in Amsterdam during student presentation at the annual chap- http://ismir2005.ismir.net/. the same period. ter meeting, which includes a cash For this meeting, we especially wel- award of US$100.00; the winner’s name 10th International CHIME Meeting: come papers which focus on the basis and the title of her/his name Exploring China’s Musical Past of concrete examples on wider (contex- will also be included in the chapter tual and musical) implications of the October 6-9, 2005, Amsterdam, The report to SEM. For more information main theme. For the second theme about the conference, please contact: Netherlands (recent fieldwork), we welcome schol- th Laurel Sercombe, SEM-NW President Two themes will feature in the 10 arly presentations of audiovisual mate- (Email) [email protected] or Eric International CHIME meeting to be held rials in any genre or area of Chinese Hung, SEM-NW Secretary/Treasurer in Amsterdam in The Netherlands in music. Abstracts of up to 300 words for (Email) [email protected] conjunction with a major festival of individual (20 minute) papers are wel- Chinese music: (1) Exploring China’s comed and should be sent by mail, fax musical past (on the reconstruction and or email to: Program Committee of the SEM Northern California Chapter reinvention of recent and older genres 10th CHIME Meeting, c/o P.O. Box 11092, (NCCSEM) of music in China); (2) Audiovisual 2301 EB Leiden, The Netherlands; (Fax) March 5, 2005, Morrison Hall, materials of recent fieldwork on (any +31.71.5123.183; (Email) [email protected]. University of California, Berkeley Panel proposals (for 3 or 4 speakers) kind of) music in China or among NCCSEM will holds it 2005 meeting are also welcomed, in which case we Chinese-speaking communities. The in at University of California, Berkeley, ask for a short description of the panel meeting is jointly organized by CHIME March 5, 2005. Graduate student pa- topic as well as for individual abstracts (European Foundation for Chinese Music pers are eligible for the Marnie Dilling by the panel participants. Abstracts Research), Music Department, Univer- Prize, which carries a modest cash award: must reach us by April 15, 2005. Possi- sity of Amsterdam, International Insti- winners are announced at the business bilities exist for early acceptance of tute for Asian Studies (IIAS), and the meeting during the conference. Royal Tropical Institute. papers for those who need to rely on Is the search for early or ancient this for grant applications (please indi- music in China mainly a mine-field of cate need for urgent reply when you SEM Niagara Chapter romantic, overblown expectations? submit your abstract). Those who wish March 11-13, 2005, University of Given the relative scarcity of early nota- to attend this meeting without giving a Toronto tions (apart from guqin), do we have presentation are also warmly welcomed. For program and local arrangements sufficient information to go on? Is there Please notify the organizers (same ad- details, please visit (Website) http:// still room for genuine discoveries, dress as Program Committee) and let us www.people.iup.edu/rahkonen/ whether in Tang music or in other know your email address so that we can NiagaraSEM/NiagaraSEM.htm. historical realms, or should we say that keep you informed. More news on the China’s performing traditions of the meeting and on possibilities for pre- past have simply been lost? Would it be registration and booking of accommo- SEM Mid-Atlantic Chapter (MACSEM) a more rewarding, more realistic chal- dation will be announced soon on the March 18-19, 2005, University of lenge just to examine how, for example, CHIME website at (Website) http:// Maryland School of Music, College living folk traditions have changed within home.wxs.nl/~chime. Park, MD the recent, documentable past? Or can The primary theme of MACSEM 2005 we still learn more from Chinese folk is the often-asked question “Ethno- genres, which, while not remaining what?” which relates to the (mis-)per- static, embody traditions often going ception of ethnomusicology in the pub- back many centuries? How can we lic sphere. In view of two major upcom- meaningfully integrate historical re- ing anniversaries (the 50th anniversary search with fieldwork? And how does of SEM in 2005 and the 25th anniversary music labeled as “ancient” or “early,” as of MACSEM in 2006), the discussion of it is performed in China today, relate to 18 SEM Newsletter the history and the future of both orga- mailer.fsu.edu. Proposals must be re- Emergent Communities (all broadly nizations is very timely, especially with ceived by February 1, 2005. Notifica- construed), though all themes and top- regard to the identity, purpose and tions will be made by February 15 by e- ics are welcome. The conference en- image of each organization. A second- mail. courages student abstracts and ary theme concerns virtual ethnomusi- The joint SEMSEC/NCFS conference participation. The JaFran Jones award cology and the impact of digital tech- will be held in Talley Student Center at will be awarded for best student paper, nologies on ethnomusicological research North Carolina State University, located a student concerns committee will meet, and teaching. For more information, at 2610 Cates Avenue, Raleigh, NC 27695. and extensive student “crash space” will please contact: Jonathan Dueck (Email) Hotel accommodation has been ar- be available. [email protected], Boden Sandstrom ranged at The Holiday Inn-Brownstone Dr. Ellen Koskoff, Professor of Eth- (Email) [email protected], or visit Hotel, 1707 Hillsborough Street, Ra- nomusicology at the Eastman School of (Website) www.macsem.org. leigh, just a ten-minute walk from Talley Music, will deliver the keynote address, Student Center. Double and single titled “Out in Left Field: Changes in SEM Southeast and Caribbean rooms are available for the same group Ethnomusicology, 1990-2005.” We have Chapter (SEMSEC) rate of $59 plus tax ($66.67 total) per tentatively planned special workshops night. To make reservations, call The (Ghanaian drumming, West African gyil April 1-2, 2005, North Carolina State Brownstone at 1-800-465-4329 and xylophone, Tejano, Midwest Old Time) University, Raleigh, NC ask for the group rate for the North featuring guest artists. Superstar archi- The program committee of the an- Carolina Folklore Society conference. vist Bill Schurk has agreed to give a tour nual meeting of the Society for Ethno- You must call by March 18, 2005, to to select interested attendees of Bowl- musicology, Southeast and Caribbean receive this discount rate. The hotel’s ing Green’s collection of popular music Chapter invites SEM members and oth- restaurant, Ledo Pizza and Pasta, is and culture, the largest such collection ers interested in the field of ethnomusi- open for all three meals, including a in the world. cology to submit proposals for papers full, hot breakfast buffet for just $5.99. The conference will begin on Fri- and panels, film/video screenings, etc, The hotel offers free parking and an day, April 1, at 8 pm with World Percus- for the 2005 conference at North Caro- airport shuttle service to and from RDU sion Night, a free concert featuring lina University, Raleigh, North Caro- International Airport. The website for BGSU’s Balinese gamelan, Afro-Carib- lina. Authors of papers related to pub- The Holiday Inn-Brownstone Hotel is bean Ensemble, and Korean drum-danc- lic sector ethnomusicology, and the (Website) www. brownstonehotel.com. ers. The concert will be followed by an theme “Music in Our World: Taking It to Further details about transportation and informal, light reception. Paper ses- the Streets” are especially encouraged directions will be posted on the SEMSEC sions and panels will be held on Satur- to submit, though all topics are wel- website. For further information on day morning (April 2) and afternoon, come. We are planning a joint confer- local arrangements, contact Alison and Sunday morning (April 3). The ence with two partners: North Carolina Arnold (Email) [email protected]. keynote address and business meeting Folklore Society, and PineCone, the For more information on the Dale Olsen will take place on Saturday afternoon. Piedmont Council of Traditional Music. prize and general information about Saturday night will feature entertain- Both individual paper proposals and SEMSEC, please visit (Website) http:// ment by local Latino music phenom- panel submissions are welcome. Pro- otto.cmr.fsu.edu/~cma/SEM/ enon, La Revancha. posals from graduate students in ethno- SEMSEC02.htm. Abstracts should include the name(s) musicology and closely related fields of presenter(s), institutional affiliation, are especially welcomed. Graduate stu- SEM Midwest Chapter (MIDSEM) title of presentation, description of pre- dent papers will be eligible for the Dale sentation (100-250 words), and specific Olsen prize. Local faculty and visiting April 1-3, 2005, Bowling Green State equipment requirements and any addi- scholars are also encouraged to contrib- University, Bowling Green, Ohio tional information. These should be ute. The format will follow the 20- The Midwest Chapter of the Society sent to Steven Cornelius (Email) minute paper format, followed by 10 for Ethnomusicology (MIDSEM) will [email protected]. Abstracts are minutes of discussion. For individual hold its annual meeting April 1-3, 2005, due by January 31, 2005; decisions on paper proposals, please provide name at Bowling Green State University in submissions will be made by March 1, and affiliation and include an abstract of Bowling Green, Ohio. The MIDSEM 2005. For further information, contact up to 250 words. Organized panels are program committee invites SEM mem- David Harnish (Tel) 419.372.8487; encouraged. Each member of a panel bers and others interested in the field of (Email) [email protected]. Con- must submit an individual paper pro- ethnomusicology to submit proposals ference announcements with lodging posal and the panel chair/organizer of no more than 250 words for papers, and direction information will be sent in must submit a Panel Abstract. The panels, film/video screenings, and work- February. panel abstract should not exceed 150 shops. Papers or panels will be in the words. Panels may have 3 or 4 papers, standard 30-minute format (20-minute or 3 papers and a discussant. Paper and presentation, 10-minute discussion); Panel proposals and abstracts must be alternative formats are invited. Tenta- submitted via e-mail. Send an e-mail tive conference themes include Local with name, affiliation and abstract to Cultures, Recent Developments in Eth- Frank Gunderson (Email) fgunders@ nomusicology, Popular Music, and SEM Newsletter 19

SEM Southwestern and AMS Rocky 2005 Korean Music Mar 17-19 Mountain Chapters 1st Conference of the Répertoire Workshop International De Littérature Mu- April 8-10, 2005, Northern Arizona sicale—“Music’s Intellectual University School of Music 3rd Korean Traditional Music Work- shop for Overseas Musicologists History: Founders, Followers & Northern Arizona University School Fads.” The City University of of Music will host a joint meeting of the Following its success in 2001 and New York Graduate Center, SEM Southwestern and AMS Rocky 2003, the Korea Foundation will hold New York. For more informa- Mountain chapters on April 8-10, 2005. the third Korean Traditional Music tion, visit (Website) http:// The keynote speaker will be Professor Workshop for Overseas Musicologists www.rilm.org Richard Crawford, Hans T. David Dis- for three weeks in June or July 2005 tinguished University Professor of Mu- (dates to be announced), in coopera- Mar 31-Apr 3 sicology Emeritus at the University of tion with the National Center for Korean Association for Asian Studies Michigan, member of the American Traditional Performing Arts (NCKTPA). Annual Meeting. Hyatt Hotel, Academy of Arts and Sciences, and All costs within Korea, including ac- Chicago, IL. For more informa- leading scholar in American Music. Mr. commodations and inland transporta- tion, see (Website) http:// Crawford was president of the Ameri- tion related to the workshop, will be www.aasianst.org/annmtg.htm can Musicological Society from 1982 to borne by the organizers; participants 1984. His recent books include are responsible for their own airfares. Apr 13-16 America’s Musical Life: A History The workshop will be conducted at Music and Dance Performance: (Norton, 2000) and An Introduction to the NCKTPA in Seoul and is designed Cross-Cultural Approaches. A America’s Musical Life (Norton, 2001). for scholars and doctoral candidates in joint conference of the British He is currently working on a book on the field of musicology and ethnomusi- Forum for Ethnomusicology George Gershwin. cology who are interested in Korean and the AHRB Research Centre Two concurrent sessions will run music. Lectures will be given in English for Cross-Cultural Music and throughout the conference. A banquet and the workshop will include classes Dance Performance. School of will be held on Saturday evening, fol- on the performance of Korean music Oriental and African Studies lowed by a concert given by the NAU instruments, field trips, concerts, and (SOAS), University of London. Faculty Chamber Players. Conference in-depth discussions with Korean mu- For more information, contact attendees will also have an opportunity sic specialists. Sareata Kelly: (Tel) 020.7898. to attend a performance on Friday If you are interested in participating 4515; (Fax) 020.7898.4519; evening of Carl Orff’s Carmina Burana in the workshop, please contact Ms (Email) musicanddance@ by the Flagstaff Symphony Orchestra Eun-Jin Yong, Program Officer at the soas.ac.uk together with the NAU Shrine of the Korea Foundation by Friday, January Ages Choir and the Master Choral of 28, 2005 at (Email) ejyong@kf. or.kr. Jun 13-16 Flagstaff. You may also write to the Cultural 4th Annual Hawaii International Located in Flagstaff, Northern Ari- Exchange Department, Korea Founda- Conference on Social Sciences. zona University is a short ride to the tion, Diplomatic Center, 1376-1 Seocho Waikiki Beach Marriott Hotel, Grand Canyon and scenic Sedona. 2-dong, Seocho-gu, Seoul 137-072, Ko- Honolulu Hawaii, USA. For Ground transportation is available be- rea; (Tel) +82.2.3463.5615; (Fax) more information, write to tween the Sky Harbor Airport in Phoe- +82.2.3463.6075; (Email) cultural@ (Email) [email protected] nix and Flagstaff. The drive by car from kf.or.kr. More details will be announced and visit (Website) http:// Phoenix is approximately 2 1/2 hours. in February 2005 at (Website) www.kf. www.hicsocial.org A block of hotel rooms will be available or.kr. at a discounted rate. Jun 13-17 Paper proposals on all aspects of The College Music Society In- musicology and ethnomusicology are ternational Conference. Uni- being accepted through February 1, Conferences Calendar versity of Alcalá de Henares’s 2005. Interdisciplinary topics are espe- Aula de Música, in Alcalá de cially welcome. Paper presentations 2005 Henares (Madrid), Spain. For are limited to 20 minutes in length. more information, please visit Students are encouraged to submit. Mar 4-6 (Website) http://www.music. Proposals of no more than 250 words Over the Waves: Music in/and org may be sent to [email protected] Broadcasting. McMaster Uni- (SEM); [email protected] (AMS) versity, Hamilton, Ontario, Jun 24-28 Canada. For more information, Post-Colonial Distances: The contact Christina Baade (Email) Study of Popular Music in [email protected], James Canada and Australia. Memo- Deaville (Email) deaville@ rial University, St. John’s, New- mcmaster.ca or Sandy Thorburn foundland. For more informa- (Email) [email protected] tion, contact Beverley Diamond: (Email) [email protected] 20 SEM Newsletter

Aug 3-9 Oct 27-30 2006 38th International Council for American Musicological Soci- Apr 6-9 Traditional Music World Con- ety Annual Meeting. Omni Association for Asian Studies ference, University of Sheffield, Shoreham Hotel, Washington, Annual Meeting. Marriott Ho- UK. For more information, see DC. For more information, see tel, San Francisco, CA. For (Website) www.ethnomusic. (Website) http://www.ams- more information, see (Website) ucla.edu/ICTM/2005uk/ net.org/annual.html http://www.aasianst.org/ ICTM%20Homepage.html annmtg.htm Nov 17-21 th Aug 24-28 Society for Ethnomusicology 50 Oct 18-22 21st European Seminar in Eth- Anniversary Meeting. Sheraton American Folklore Society An- nomusicology (ESEM). Uni- Midtown Atlanta at Colony Square, nual Meeting. Hyatt Regency versity of Cologne, Germany. Atlanta, Georgia. For more infor- Milwaukee, Milwaukee, Wis- For more information, contact mation, see (Website) http:// consin. For more information, Ruediger Schumacher, Univer- ethnomusicology.org see (Website) http://afsnet.org/ sitaet zu Koeln, Musikwissen- schaftliches Institut 50923, Nov 19-22 Nov 2-5 Koeln, Germany; (Tel) +49.221. Middle East Studies Associa- American Musicological Soci- 470.2249 or 221. 470.2339; (Fax) tion Annual Meeting. Marriott ety Annual Meeting. Century +49.221.470. 4964; (Email) Wardman Park Hotel, Wash- Plaza Hotel, Los Angeles, CA ruediger.schumacher@uni- ington, DC. For more informa- (jointly with the Society for koeln.de tion, see (Website) http:// Music Theory). For more infor- fp.arizona.edu/mesassoc/ mation, see (Website) http:// Oct 19-23 www.ams-net.org/annual.html American Folklore Society An- Nov 30-Dec 4 nual Meeting. Renaissance American Anthropological As- Hotel. Atlanta, GA. For more sociation 104th Annual Meet- information, see (Website) ing. Marriott Wardman Park http://afsnet.org/ Hotel, Washington, DC. For more information, see (Website) http://www.aaanet.org/mtgs/ mtgs.htm

SEM Newsletter The Society for Ethnomusicology Non-Profit Organization Indiana University U.S Postage Morrison Hall 005 PAID rd Bloomington, Indiana 1165 East 3 Street Permit No. 2 Bloomington, IN 47405-3700

Volume 39, Number 1 January 2005