BULLETIN of the
INTERNATIONAL COUNCIL
for
TRADITIONAL MUSIC
Including third notice for No. 121, October 2012 42nd World Conference in ISSN (Online): 2304-4039 ICTM Shanghai, People’s Republic of China, 2013
Contents
FROM THE SECRETARIAT Iconography of the Performing REPORTS and Discourses from Three Message from the Secretary Arts; Programme: 8th Reports from ICTM National Continents; Muzicologii, General; Happy 65th Birthday, Symposium of the ICTM Study and Regional Representatives: etnologii, subiectivităţi, politici; ICTM!; Call for Proposals for Group on Maqām; Call for Argentina, Austria, China, Routes and Roots: Fiddle and Nominations; Search for the Papers: 3rd Symposium of the Ethiopia, Germany, Japan, Dance Studies from around the next General Editor of the ICTM Study Group on Kazakhstan, Korea, Nigeria, North Atlantic 4; World music Yearbook for Traditional Music; Multipart Music; Call for Singapore, South Africa, Spain u Srbiji. Tradicije, poreklo, ICTM Seeks Film/Video Papers: 13th Symposium of the Sweden, Tanzania, Uzbekistan. razvoj; Lidé města/Urban Reviews Editor for the Yearbook ICTM Study Group on Music Pages 22-48 People; PAX SONORIS IV-V; for Traditional Music; Dieter Archaeology; Call for Papers: From Shamanism to Sufism: forthcoming volume of the Reports from ICTM Study Women, Islam and Culture in Christensen Turns Eighty; Groups: Applied Happy 80th Birthday, Jürgen ICTM Study Group on Music Central Asia; Danzas de la Archaeology; Call for Papers: Ethnomusicology; East Asian Provincia de Huelva. Elsner; Happy 70th birthday, Historical Musical Sources; Ricardo Trimillos; Visits to the next Symposium of the ICTM Pages 68-69 Study Group on Music of the Ethnochoreology; Mediterranean Secretariat. Music Studies; Multipart ICTM WORLD NETWORK Pages 2-6 Arab World; Programme: 3rd Symposium of the ICTM Study Music; Music and Dance in Pages 70-71 42nd ICTM WORLD CONFERENCE Group on Music of the Turkic Southeastern Europe; Music ICTM STUDY GROUPS IN SHANGHAI, CHINA Speaking World. and Minorities; Musics of East Page 72 Third Notice of the next ICTM Pages 11-20 Asia; Performing Arts of World Conference. Southeastern Asia ICTM AUTHORITIES Announcements — Related Pages 49-62 Pages 8-10 Organisations: 63rd Annual The President, Vice Presidents, ANNOUNCEMENTS Conference of the Society for Other reports: UNESCO, Secretary General, Executive Research in Asiatic Music RILM, ESEM Assistant and Executive Board Announcements — ICTM: 2013 (TOG); “Tullia Magrini” Pages 63-65 Members. Joint Annual Meeting of Scholarship Award; British Page 73 the British Forum for CALENDAR OF EVENTS Forum for Ethnomusicology Ethnomusicology and ICTM- Pages 66-67 GENERAL INFORMATION Annual One-Day Conference. Ireland; Meeting of new About the ICTM; Membership; Pages 21-22 FEATURED PUBLICATIONS BY Ethnochoreology Sub-Study ICTM MEMBERS Publications; Institutional Group on Movement Analysis; Subscriptions Programme: 11th Symposium of Music and Minorities in Pages 74-77 the ICTM Study Group on the Ethnomusicology: Challenges
Bulletin of the ICTM Vol. 121 — October 2012 — Page 1 FROM THE SECRETARIAT
Message from the exceeds all previous volumes, which nouncements in this Bulletin deserves very much testifies about the active life to be specially emphasised: the forth- Secretary General of the Council. However, the increasing coming Symposium of the Study by Svanibor Pettan number of activities by ICTM members Group on Music of the Arab World. As has made us consider new ways of im- the activities of this Study Group con- Dear members and proving the communication channels tinue to be affected by political turmoil friends of the Interna- between the Secretariat and the mem- in several Arab countries, our col- tional Council for Tradi- bership. Would a quarterly Bulletin leagues Scheherazade Hassan (Chair) tional Music! (i.e., distributed four times a year and the local hosts at the Antonine There are many good rather than twice) and the establish- University in Baabda, Lebanon deserve news from the Secretariat in Ljubljana ment of a members-only ICTM Listserv congratulations and gratitude for mak- to be shared with you. First of all, the be the right answers? Please share with ing the Symposium possible (more on examination copy of Vol. 44 (2012) of us your opinions about these two po- page 18). the Yearbook for Traditional Music is al- tential improvements, so that the Ex- ecutive Board can have a strong plat- The most extensive edition of the Bulle- ready in the hands of General Editor tin of the ICTM so far ends up with Don Niles, which means that, if no ma- form to reach a decision at its next Or- dinary Meeting, which will take place some featured publications by ICTM jor changes will be required, members members (pages 68-69), our World and institutional subscribers in good in Shanghai on the days preceding the 2013 World Conference. Network (pages 70-71), Study Groups standing will receive their copies as (page 72), Authorities (page 73), Gen- early as next month. There is a special About the contents of this Bulletin eral Information (pages 74-76) and the reason for starting this introduction first ad ever published in a Bulletin As you will see in the Third Notice on with our main publication: Don’s ex- (page 77). emplary term as General Editor will page 7, preparations for the 42nd end next year, after the 2013 Yearbook ICTM World Conference in Shanghai Website news will be published. Lisa Urkevich, Film/ are in full swing. Co-chairs of the Local Have you recently taken a look of the Video Review Editor of the Yearbook, Arrangements Committee Yang Yan-di ICTM website? While in general it con- will also step down at the same time. and Xiao Mei and the Chair of the Pro- tinues to be faithful to the original Thus, let me kindly invite those of you gram Committee J. Lawrence Witzle- website created by the previous Secre- interested in taking over the roles of ben expressed satisfaction with the tariat in Canberra, improvements have either General Editor or Film/Video number of received proposals, and the been made on search engine visibility, Review Editor of the Yearbook for Tradi- Program Committee is now evaluating access speed, and content readability. tional Music to read the announcements them. According to the experience of The new “General Information” section on pages 4-5, and to inform the Secre- the Executive Board meeting and other (link) gives some basic data about the tariat about your wish to serve in either activities organised by the LAC that Council, while a new section referring capacity. Another call that requires took place in Shanghai last July (see to the institution and country hosting your active reaction comes from the pages 29-30 for more), there is no the Secretariat will be made available Nominations Committee, composed of doubt that the 42nd ICTM World Con- soon. Also the sections on Institutional Dan Bendrups, Gisa Jähnichen and ference will be an excellent scholarly Subscriptions (link), Authorities, and Stephen Wild (convener). Please read event and we very much look forward World Network, have been completely the Call for Proposals for Nominations to meet many of you there. renovated. on page 3 and inform us about the col- Among the numerous announcements leagues whom you would wish to see New Brochure and reports included in this Bulletin, as your representatives on the Execu- do not miss those on UNESCO and The Secretariat has also commissioned tive Board. On pages 5-6 you will read RILM (on pages 63-64), written by Wim a new, updated ICTM Brochure. Copies about three colleagues who left deep van Zanten and Joe Peters respectively. will soon be posted to National and imprints in the history of ICTM and are Both Wim and Joe are ending their Regional Representatives and Study celebrating round birthdays. Congratu- terms as ICTM representatives in Group Chairs, and –on demand– to all lations to Dieter Christensen, Jürgen UNESCO and RILM, so please join us who may need them to promote the Elsner and (with a slight delay) Ri- in expressing warm gratitude for their Council in whatever way during the cardo Trimillos! Finally, the section exemplary service! Wim will be suc- period leading up to the next World “From the Secretariat” ends up on page ceeded by Naila Ceribašić, while Joe, Conference. 6 with expressions of gratitude to those along with Maria Elizabeth da Silva colleagues who visited the Secretariat Changes to the ICTM World Network Lucas, Yu Siu Wah and Richard Kent in Ljubljana within the past few Wolf, will be succeeded in the RILM months. I would like to express my immense Commission Mixte by Virginia Daniel- gratitude to the following outgoing While reading this Bulletin, you will son, Margaret Kartomi, Xiao Mei, and ICTM National and Regional represen- easily realise that its size and richness Yoshitaka Terada. One of the an- tatives for their invaluable service to
Bulletin of the ICTM Vol. 121 — October 2012 — Page 2 FROM THE SECRETARIAT the Council: Hildegard Kiel, Olena Happy 65th Birthday, László Lajtha (Hungary) Murzina, Tô Ng c Thanh, and Kwon Claudie Marcel-Dubois (France) Oh-Sung, whose last report as Chair of ICTM! Petro Petridis (Greece) the ICTM Korea National Committee by Don Niles, Executive can be found on page 37. The new rep- Board Member and Ole Mørk Sandvik (Norway) resentatives joining the ICTM World General Editor of the Ahmed Adnan Saygun (Turkey) Network are Made Mantle Hood (In- Yearbook for Traditional Klaus P. Wachsmann (Uganda/USA) donesia), Olha Kolomyyets (Ukraine), Music Louise Witzig (Switzerland) Katrin Lengwinat (Venezuela), Ph m Minh H ng (Vietnam), Imani Sanga In her capacity as Hon- In the same year, IFMC appointed 140 (Tanzania), Sheen Dae-Cheol (ROK), ourable Secretary of the International music experts as correspondents from and Timkehet Teffera (Ethiopia); the (Advisory) Folk Dance Council, Maud 35 countries and regions. On 13–18 very first reports by Imani and Timke- Karpeles (1885–1976) organised the September 1948, the first IFMC confer- het can be found on pages 30 and 44. A International Conference on Folk Song ence was held in Basel, and the first warm welcome also goes to the two and Folk Dance, held at the Belgian Bulletin was published. In 1949 the first newly confirmed ICTM National Institute in London, 22–27 September issue of the Journal of the International Committees, those of Bosnia and Her- 1947. Delegates from twenty-eight Folk Music Council appeared. The Year- zegovina and of Serbia. countries participated, mostly ap- book of the International Folk Music Coun- pointed by the governments of their cil replaced it in 1969. The name change Membership Support respective nations, as well as a UN- to the International Council for Tradi- ESCO representative, Vanett Lawler. In an attempt to contribute to member- tional Music occurred at the 26th The conference was paid for by a small ship development, we urge those of World Conference in Seoul on 27 fund held by the English Folk Dance you who can afford to support col- August 1981. The name of the journal and Song Society (EFDSS), represent- leagues from soft-currency countries to then became the Yearbook for Traditional ing profits from the International Folk do so. At the moment you can pay an Music. Dance Conference and Festival held in additional 30 EUR fee per year to sup- 1935, an additional £100 from the Sources port an individual’s ICTM member- EFDSS itself, and the same amount ship, or give a donation to the Barbara Karpeles, Maud from an anonymous donor. Barnard Smith Travel Fund, which is • “The International Folk Music Coun- used to help members attend ICTM On the afternoon of Monday, 22 Sep- cil: Its Formation and Progress.” World Conference. The present eco- tember 1947, the Vice Chairman of the Journal of the International Folk Music nomic crisis, felt acutely in some parts conference, Steuart Wilson (1889–1966), Council 1 (1949): 3–4. of the world, helped the ICTM Execu- proposed “that an International Folk tive Board in reaching the decision to Music Council be formed”. The motion • “The International Folk Music establish a Membership Development was carried by a show of hands. In the Council—Twenty-One Years.” Year- Fund, which will be implemented following days, a provisional constitu- book of the International Folk Music through the ICTM website in the near tion was adopted, and Officers and an Council 1 (1969): 14–32. future. Executive Board were appointed for one year. • “Jottings from the Early Years.” Bulle- Conclusion tin of the International Folk Music The growing membership and the The Officers were: Council 41 (October 1972): 27–33. richness and variety of the presented Ralph Vaughan Williams (UK; Presi- and planned activities testify to the dent) Call for Proposals for good health of our favourite interna- Poul Lorenzen (Denmark; Vice Presi- Nominations tional scholarly society. Together with dent) The Nomination Committee requests Executive Assistant Carlos Yoder, who proposals for nominations to fill posi- deserves special gratitude for his dedi- Albert Marinus (Belgium; Vice Presi- tions on the Executive Board that will cated work, I send the very best wishes dent) become vacant at the time of the Gen- to all of you from your Secretariat in W. S. Gwynn Williams (UK; Treasurer) eral Assembly, July 2013. These posi- Ljubljana. Maud Karpeles (UK; Secretary) tions are as follows:
The Executive Board consisted of: • President
Renato Almeida (Brazil) • Vice President Natko Devčić (Yugoslavia) • 3 Ordinary Members Duncan Emrich (USA) Douglas Kennedy (UK) The vacant position of President is cur- rently occupied by Adrienne Kaeppler
Bulletin of the ICTM Vol. 121 — October 2012 — Page 3 FROM THE SECRETARIAT
(USA). In July 2013 Dr. Kaeppler will Search for the next • Be a member of ICTM in good stand- have completed two terms of office ing (eight years) and will not be eligible for General Editor of the re-election. Yearbook for Traditional • Be fluent in spoken and written Eng- Music lish, the language of the Yearbook The vacant position of Vice President is currently occupied by Salwa El- Don Niles, the General Editor of the • Have prior experience in academic Shawan Castelo-Branco (Portugal). In Yearbook for Traditional Music, has in- editing formed the Executive Board that he July 2013 Professor Castelo-Branco will Display intimate familiarity with will be stepping down after publication • have completed one term of office (four Microsoft Word, particularly its use of the 2013 Yearbook. The Executive years) and will be eligible for nomina- for editing tion and re-election. Board has established a committee to find a new General Editor. This com- • Have good communication skills and The vacant positions for Ordinary mittee consists of Adrienne Kaeppler, the ability to meet and enforce dead- Members are currently occupied by Stephen Wild, Svanibor Pettan, and lines Ursula Hemetek (Austria), Don Niles Don Niles. (Papua New Guinea) and Timothy Rice • Have a reliable communications in- Work of the General Editor (USA). In July 2013 each of these Ordi- frastructure, involving email, Inter- nary Members will have completed The General Editor is responsible for net access, fax, telephone, and cou- one term of office (six years) and is eli- all aspects of the preparation of the rier services; most communications gible for nomination and re-election. Yearbook for Traditional Music for publi- are through email However, Professor Rice has indicated cation. These include: • Have software and hardware as nec- that he does not wish to serve a second essary to do the required work term. • Communicate with authors regard- ing submissions to the Yearbook • Although not essential, it is highly All ICTM members in good standing desirable that the General Editor may be proposed for positions on the • Initially evaluate all submissions have familiarity with: Executive Board. According to the • Solicit referees’ reports on submis- ICTM Rules, proposals may be made sions - Adobe Photoshop or similar soft- by the Executive Board, by National ware, for preparation of bitmap and Regional Committees, and by two • Work with authors on revisions to images individual members from different their articles to prepare them for countries. If the total number of pro- publication - Adobe Illustrator or similar soft- posals exceeds three for any of the po- ware, for preparation of vector sitions, it is the responsibility of the • Appoint and supervise the work of graphics the review editors Nomination Committee to decide - Microsoft Excel or similar software, which three names will appear on the • Liaise with any guest editors regard- for preparation of charts ballots. ing requirements for publication and oversee their editing of articles - Finale or similar software, for Proposals should be sent to the Secre- preparation of musical examples tariat or to one of the members of the • Copyedit articles and reviews to en- Nomination Committee (see below). sure they conform to Yearbook stan- - Adobe InDesign or similar soft- All those proposed should be current dards ware, for page layout and the paid-up members of ICTM. The dead- preparation of PDF files line for receiving proposals is 31 De- • Apply Yearbook styles to final text Adobe Acrobat or similar software, cember 2012. - • Liaise with the ICTM Secretariat re- for modification of PDF files Stephen Wild, Convener (Australia) garding the layout of each volume The General Editor is appointed by and [email protected] and the preparation of PDF files for printing is responsible to the Executive Board. Gisa Jähnichen (Germany/Malaysia) The initial appointment is for a period [email protected] • Check printer proofs and give final of three years, which may be extended. approval for printing in November A written report to the Board is re- Dan Bendrups (Australia) quired of the General Editor at every Prepare PDF files according to JSTOR d.bendrups@griffith.edu.au • Board meeting (annual) summarising specifications and upload to their site the contents of the previous volume, Requirements for the General Editor progress on the current volume, and plans for next year's volume (including A General Editor should have the fol- appointment of guest editors). If not a lowing experience and qualifications: member of the Executive Board, the
Bulletin of the ICTM Vol. 121 — October 2012 — Page 4 FROM THE SECRETARIAT
General Editor may attend and partici- Dieter Christensen ICTM World Conferences (1969 and pate in Board meetings, but not as a 1975), Secretary General (1981–2001), voting member. Turns Eighty and General Editor of the Yearbook for Traditional Music (1982–2001). Nerthus Further Information and Submissions of Interest was Executive Assistant from 1981 up to 2001. Interested members should contact the present General Editor, Don Niles The Christensens were motivated by ([email protected]), for further idealism and a firm conviction of details about this work. Formal appli- ICTM’s potential in establishing dia- cations must be submitted to the ICTM logue among scholars across the world, Secretariat ([email protected]) but especially in countries that were no later than 15 March 2013 and la- divided by ideological differences and belled “YTM Editor’s position”. The political strife. Under the Christensens’ Committee will make recommenda- leadership, ICTM grew into a finan- tions to the Board, which will then cially robust organisation, with a wide make an appointment. international outreach and a solid scholarly reputation. The Yearbook for ICTM Seeks Film/Video Traditional Music became a leading Reviews Editor for the Dieter Christensen was born in Berlin publication in the field of Ethnomusi- to a family where music making was a cology. Yearbook for Traditional regular household activity. He initially Music The Executive Board of the Interna- studied cello at the Staatliche Ho- tional Council for Traditional Music The Yearbook for Traditional Music re- chschule für Musik (1950–1953), after extends its warm wishes to Dieter quires a Film/Video Reviews Editor to which he joined the Freie Universität Christensen for his 80th birthday, and replace Lisa Urkevich, who will be Berlin where he completed his Ph.D. in remembers Nerthus, who would have stepping down from this position at Comparative Musicology and Ethnol- been 80 this year as well. the end of 2013. The Film/Video Re- ogy in 1957. He began his professional views Editor is responsible for solicit- career in 1958 as Research Assistant at Happy 80th Birthday, ing, coordinating, and editing up to the Berlin Phonogram Archives (Mu- five reviews of film or video publica- seum für Völkerkunde) where he was Jürgen Elsner tions for each Yearbook, totalling c. 2500 appointed as director in 1967. During words. Reviews are then sent on to the the same period, he lectured at the General Editor by a specified deadline. Freie Universität Berlin (1962 -1970). In The Film/Video Reviews Editor would 1970 he accepted visiting professor- then assist in liaising with the review- ships at Wesleyan University and Co- ers to resolve any queries regarding the lumbia University where he continued reviews in their preparation for publi- his career as professor and director of cation. the Center for Ethnomusicology up to his retirement in 2005, moving to Berlin An applicant for the Film/Video Re- in 2010. views Editor position should be an ICTM member in good standing, and An indefatigable field worker, Dieter have a demonstrated interest and in- Christensen carried out field research volvement with ethnomusicological in many parts of the world: northern films and videos. Experience in editing Norway among the Sami; Turkey, Born in Finsterwalde, 22 April 1932, would also be an advantage. Institu- Western Iran and currently Berlin Jürgen Elsner is a highly specialised tional support is important for possible among the Kurds; Southern and Cen- German ethnomusicologist and long postal, email, fax, and telephone ex- tral Anatolia (Turkey); Indios of Puebla term member of ICTM. He studied penses. (Mexico); Bosnia Herzegovina; and music theory at the Deutsche Ho- Oman, resulting in scholarly writings chschule für Musik, East Berlin (1950– Anyone interested in undertaking this and ethnographic recordings (see this 55), and musicology with Meyer and important service to the membership link for more). Vetter at the Humboldt University, Ber- should send an application to the Gen- lin (1955–8). eral Editor ([email protected]) Dieter Christensen and his wife Ner- by 1 January 2013. thus served the Council in multiple After studying Arabic there for six capacities for three decades. Dieter was years, he obtained his PhD in 1964 with Executive Board member (1971–1981), a dissertation on Hanns Eisler’s protest Program Committee Chair for two
Bulletin of the ICTM Vol. 121 — October 2012 — Page 5 FROM THE SECRETARIAT music and in 1970 completed his “ha- Happy 70th birthday, Alumni Association (2010-12) and the bilitation” with a study of the concept Co-Chair for Program of the 50th An- of the maqām in modern Egyptian mu- Ricardo Trimillos niversary Alumni Conference. He had sic. Meanwhile, he worked as an Assis- served on the board of the Interna- tant at Humboldt University (1958–64), tional Council for Traditional Music, then at Leipzig University (1964–8) and Society for Ethnomusicology, and Col- then back, this time in the capacity of lege Music Society. Currently, he is a Senior Assistant (1968–70), at Hum- board member of the Society for Asian boldt University, where he was ap- music and the editor of its journal, pointed in 1975 as Professor of Ethno- Asian Music. musicology, and was Director of the Institute for Musicology and Music Visits to the ICTM Education (Institut für Musikwissen- Secretariat in Ljubljana schaft und Musikerziehung) from 1979 to 1990. He has also been a guest lec- turer at other universities, including Tashkent, Warsaw and Vienna.
He is founder and director of the Re- search Centre for Popular Music (For- Ricardo Trimillos is Professor Emeritus schungszentrum für Populäre Musik) after an illustrious career serving as a at Humboldt University, and Chair of Professor of Asian Studies and Ethno- the ICTM Study Group on Maqām, musicology at the University of Ha- whose symposia’s reports he has ed- waiʻi at Mānoa for more than 40 years. Krister & Anna Malm, Kjell Skyllstad. ited. He is an internationally known ethno- September 2012. musicologist and consultant to the Elsner’s fieldwork has spanned three Smithsonian Institution, the National continents, and it includes studies un- Endowment of the Arts, US State De- dertaken in Algeria, Yemen, Iraq, Ka- partment, and UNESCO on issues of zakhstan and Slovakia. He specialises the arts and public policy, education, in Arabic music and has also written and the performing arts. extensively on Hanns Eisler and on methodologies in ethnomusicology. Trimillos’s specialisation is music and performance arts of the Philippines His rich audiovisual collections are and Southeast Asia with a broad focus accessible at the Ethnomusicology De- on expressive arts in their social envi- partment of the Berlin Ethnological ronment. He has been actively in- Jill Ann Johnson and Tommy Sjöberg. Museum. volved in bringing indigenous Filipino September 2012. musicians to national folk festivals in the United States. His publications in three languages include articles on Asian Americans, world music in higher education, cross-cultural impli- cations for the arts, interrelationships of the arts, issues on gender and per- formance, Philippine ritual and Hawai- ian music.
Trimillos has received numerous awards throughout his career. Among them was the University of Hawai‘i at Ricardo Trimillos. September 2012. Mānoa Graduate Division’s Distin- guished Graduate Mentoring Award, the East-West Center Distinguished Alumni Award, and East-West Center Graduate Fellowship. Trimillos is an active member of the East-West Asso- ciation where he was the president of the East-West Center International
Bulletin of the ICTM Vol. 121 — October 2012 — Page 6 ICTM WORLD CONFERENCES 42nd ICTM World Conference 11-17 July, 2013. Shanghai Conservatory of Music, Shanghai, People’s Republic of China.
Third notice You are cordially invited to attend the 42nd World Conference of the ICTM which will be held in the summer of 2013 and hosted by the Shanghai Con- servatory of Music.
The ICTM World Conference is the leading international venue for the presentation of new research on music and dance. Many new initiatives emerge at World Conferences and, per- haps even more crucially, discussion at these meetings helps us to shape our ongoing work. A successful World Conference—like that in St. John's, Newfoundland, in July of 2011—is a truly stimulating place to be. Shanghai Conference Themes is one of the world's most vibrant cit- Email: [email protected] Telephone: +1 (301) 405-5502 1. Presentation and Representation in Mi- ies, and the Shanghai Conservatory is nority Musics and Dance ideally located in the heart of the old Fax: +1 (301) 314-9504 French district, within easy walking A meeting in a nation with fifty-five distance of a wide range of hotels, res- Local Arrangements officially recognised minority ethnici- taurants, and stores, and with conven- Committee ties is a perfect opportunity to engage ient access to metro transportation. in further discussions of a theme that Yang Yan-di (Co-chair) has produced some of the most excit- World Conference website: Xiao Mei (Co-chair) ing work in ICTM circles in recent ictm2013.shcmusic.edu.cn Han Zhong-En (member) years. We understand "minorities" (in Luo Qin (member) the broad sense as defined by the Program Committee ICTM Study Group on Music and Mi- Zhao Wei-Ping (member) J. Lawrence Witzleben (Chair, USA) norities) to be "groups of people dis- Chen Xiao-Yi (member) tinguishable from the dominant group Samuel Araújo (Brazil) Tang Jun-Jie (member) for cultural, ethnic, social, religious, or Dan Bendrups (Australia) Li Xiao-Nuo (member) economic reasons”. Some suggested Salwa El-Shawan Castelo-Branco (Por- topics within this theme include: 1) Wu Wei-Xi (member) tugal) definitions and treatment of minorities Huang Wan (secretary) Frederick Lau (USA) at various times and in various places, Chen Ting-Ting (secretary) and the consequences for music and Alvin Petersen (South Africa) dance; 2) presentational contexts for Svanibor Pettan (Slovenia) Contact Information minorities within private and public Xiao Mei (China) 3rd Floor, Rehearsal Center domains; 3) representation of minori- ties and their music and dance in vari- Contact Information Fenyang Road, No. 20 Shanghai Conservatory of Music ous media contexts; 4) reflections of J. Lawrence Witzleben Shanghai minority-minority relations (as well as School of Music, 2110 Clarice Smith P.R. China minority-majority relations) in music Performing Arts Center and dance; and 5) educational perspec- University of Maryland Email: [email protected] tives and possibilities for betterment College Park MA 20742-1620 Telephone: +86 (21) 6431-4353, 6431-4028 within the frame of applied ethnomu- United States of America Fax: +86 (21) 64745068 sicology.
Bulletin of the ICTM Vol. 121 — October 2012 — Page 7 ICTM WORLD CONFERENCES
2. Rethinking, Reconstructing, and Reinvent- generational or regional disputes over music and dance research. It provides ing Musical Pasts the legitimacy of knowledge are just a opportunities for producers of visual This theme addresses the representa- few issues—among a plethora of oth- media to discuss their productions in a tion of historical aspects of cultural ers—that can be considered within this research context, for critical commen- practice in ethnomusicology and eth- theme. Interactions, syntheses, or con- tary on the role of visual media in re- nochoreology, and the ways in which flicts between traditional ways of search theory and method, and other researchers engage with history in transmitting music and dance, and the related issues. Topics can include any ethnography. It seeks to open up a dis- modern standardised practices devel- aspect of screen media production and course on the role that history plays in oped in conservatories, dance acade- consumption, large or small, including informing and influencing cultural mies, or schools of performing arts are soundtracks, music video, television practices, and the ways in which re- also processes deserving of critical and programming, documentary making, searchers can use historical resources comparative discussion. visual media in applied ethnomusicol- ogy, the Internet, and so on. Papers that for contemporary purposes. Papers 4. Ritual, Religion and the Performing Arts may also look into how such represen- engage critically with the role of film tations are configured by cultural poli- In many societies, it is hard to find mu- and television in the representation of tics, especially within the framework of sic, dance, or theatre that is not associ- culture are particularly welcome. ated in some ways with either multina- nationalist or regionalist movements, 6. New Research or, alternatively, how they emanate tional religious traditions such as from grassroots movements. While Christianity, Buddhism, and Islam, or Proposals on new research on other revivalist movements have often ap- localised belief systems and practices relevant topics are also welcome. peared as ethnographic subjects in eth- of communication with the supernatu- nomusicology, musical pasts can in- ral. The performing arts and ritual Timeline combine not only in religious rites and form our research in other ways as • First call for proposals: October 2011 well, investing contemporary practices ceremonies, but also in traditions such with new meaning. Another dimension as theatre and dance drama performed • Second call for proposals: April 2012 of this theme is the intersection of his- specifically for deities or in conjunction Deadline for submission of propos- tory, historiography, and performance. with religious festivals. We also look • als: 7 September 2012. In some countries or regions, new for papers dealing with ritualised as- scholarship may challenge national pects of performance, even in secular Submissions are now closed. (and nationalist) discourses of origin, contexts, in what J. H. Kwabena Nketia has called "the manner in which famil- continuity, or innovation, and tensions • Notification of acceptances: Decem- between historical accuracy and con- iar forms and content are reproduced, ber 2012. temporary notions of aesthetics or recreated or reenacted so that they be- commercial viability are also not un- come the focus of aesthetic behaviour”. The Preliminary Program will be pub- lished in the April 2013 edition of the usual. This theme is open to papers 5. Screening Music and Dance that discuss the place of history in re- Bulletin. search, as well as particular case stud- Film and television play crucial roles in ies of musical pasts reconfigured for a the communication and mediation of Conference Schedule culture, and their roles have intensified contemporary purpose. 10 July Arrival of participants at the in the twenty-first century. Researchers Shanghai Conservatory of Music 3. Ethnomusicology, Ethnochoreology, and of music and dance engage with film Education and television in a wide variety of 11 July Opening Ceremony at 9 AM. Seen as both the transmission of ways, using these media platforms as knowledge from one generation to an- both sources of information and vehi- 11-13 July Paper sessions, business other and an intergenerational process cles for the dissemination of findings. meetings, concerts, workshops & reaching across cultural formations, Researchers, cultural organisations and films education can benefit from the multi- communities of cultural practice also 12 July Welcome Reception disciplinary approaches to the study of engage visual media as vehicles for music and dance that are crucial to preserving and transmitting aspects of 14 July Break for organised sight- fields such as ethnomusicology and intangible cultural heritage. These pro- seeing excursions ethnochoreology. Socio-cultural and ductions occupy a central place in our 15-17 July Paper sessions, business political determinants and their impli- disciplinary practices, as evidenced by meetings, concerts, workshops & films cations for educational processes, insti- academic journal reviews and the in- tutionalisation of music and dance clusion of film screenings in successive 17 July Closing Ceremony education, national vs. regional poli- ICTM world conferences. This theme cies, establishment of curricula or invites papers that engage in critical 18 July Departure proper instructional codes, transmis- and descriptive discussions of film, sion processes and techniques, and television and other screen media in
Bulletin of the ICTM Vol. 121 — October 2012 — Page 8 ICTM WORLD CONFERENCES
Conference participants are encour- • 16 July: East Asian Night: Traditional residence today, the city has become an aged to arrive at the Shanghai Conser- and Contemporary Music of China, international metropolis with a great vatory of Music on Wednesday 10 July; Japan, Korea and Vietnam. diversity of cultures. It is a place of registration will be open from noon to choice for people from all over the 5 PM. Thursday 11 July begins with an Registration Fee world who wish to sample its colourful opening ceremony at 9 AM, followed past and its dramatic metamorphosis Early Registration by 15 April 2013 immediately by paper sessions. The into today's booming trading and cul- opening ceremony will take place in tural hub. Type Fee (USD) Fee (￥) the Concert Hall at the Shanghai Con- Walking along the Bund, in the centre servatory of Music. Registration will be ICTM Member 200 1,260 open all day. of Shanghai, you will find a cluster of exotic architecture, much of it in a vari- ICTM Student 135 850 Inquiries concerning local arrangements ety of European styles. You may feel as Member should be directed to: if you are travelling back in time more ICTM Conference Manager Non-Member 280 1,770 than a century, and many of you will 3rd Floor, Rehearsal Centre probably recognise something familiar, derived from your own culture. At the (排演中心三楼） Registration after 15 April 2013 same time, Shanghai is a place where 20 Fenyang Road the traditional and the modern are per- Type Fee (USD) Fee (￥) Shanghai Conservatory of Music fectly merged. Apart from its role as a Shanghai P.R. China ICTM Member 250 1,580 commercial and entertainment centre [email protected] abounding with restaurants, boutiques, Phone: +86 (21) 6431-4353, 6431-4028 ICTM Student 180 1,130 cafés and bars of Chinese and foreign Fax: +86 (21) 64745068 Member styles, Shanghai also hosts all kinds of music from the Western world—classi- Exhibits Non-Member 320 2,030 cal concert music, jazz, and popular The conference organisers will provide music—alongside Chinese traditional booths for displaying and selling of Please Note: the registration form can music, including the famous local en- ethnomusicological books, audio, be seen in detail at the Conference semble genre Jiangnan Silk and Bam- audio-visual, and other materials dur- Website, ictm2013.shcmusic.edu.cn. boo. You may also encounter music of ing the conference. If you are interested the expatriate communities, Chinese in exhibiting your books or other mate- Local Arrangements pop song, and sounds from China's numerous ethnic minorities. rials, please access the conference web- Shanghai is an international city with a site and download the Registration population of more than twenty mil- The Shanghai Conservatory of Music, form, which should be submitted by 15 lion. It is one of the four municipal cit- where the 2013 World Conference of May 2013. ies directly under the Central Govern- the International Council for Tradi- ment in China, and one of the nation’s tional Music will take place, is situated Entertainment key economic and cultural centres. For in the heart of Shanghai. Since its Workshops (daily) more than a century, it has been a ma- founding in 1927, it has built up a solid jor crossroads between Asia and the basis for composition, Chinese and Music and dance workshops will be West. With many foreign settlements in Western-style performance, and schol- offered each day. the first half of the twentieth century arship. Over the years, it has contrib- Evening Concerts (11, 12, 13, 15, 16 July) and large expatriate communities in uted a great deal to the transmission
• 11 July: Silk & Bamboo Music and the Past and Present of Chinese Music on Traditional Instruments
• 12 July: Performance of Beijing op- era, kunqu, pingtan, huju, etc. during the Opening Reception.
• 13 July: Colourful Clouds of the South: Chinese Minority Music of Yunnan Province.
• 15 July: Sea Echoes, A Look Back at Shanghai’s Urban Music
Entrance to the Campus of the Shanghai Conservatory of Music
Bulletin of the ICTM Vol. 121 — October 2012 — Page 9 ICTM WORLD CONFERENCES and exchange between Chinese and Far-east Asia”. The highlights of the 2) Water Town Tour to Wuzhen Western music, and student interest Bund are the colonial-era buildings (08:00—17:00) now extends also to many world mu- lining ing the west side of Zhongshan sics. Dong Yi Lu, standouts of which in- In this excursion, we will depart at 8 clude the former British Consulate, AM for Wuzhen, a water town that lies During the conference, we shall pro- Customs House, former Hong Kong in the far northeast of the Zhejiang vide enough meeting rooms of various and Shanghai Bank, and Fairmont province, about 90 minutes’ drive from sizes for paper presentations and pan- Peace Hotel Shanghai. Besides its Shanghai. The town is completely en- els, and our Local Arrangements landmark colonial architecture, how- circled by two rivers—the Dong Shi Committee team will provide informa- ever, the Bund has a few other good and a smaller tributary, which meet at tion on accommodation and cater to all attractions. Then we will take a relax- a T-junction. On the rivers are numbers your needs during your stay. Hotel ing walk on Nanjing Dong Road, Pe- of beautiful bridges. Here you will rooms of different types are being ar- destrian Street, and the Yu Garden for have the experience of taking a rowing ranged close to the conservatory for sightseeing and shopping. boat trip, sightseeing some famous at- your convenience. We shall also offer tractions along the rivers, including the all delegates three choices for an excur- Route B (08:00— 20:00) Temple of Guan Yu, Water Market, sion (see below). Beijing-Hangzhou Grand Canal, and We will drive in the morning at 8:00 to White Lotus Tower. You will undoubt- In honour of the conference, we shall Nanpu Suspension Bridge and Oriental edly find it to be very picturesque and organise many fabulous concerts in- Pearl TV Tower (Shanghai is known as relaxing. Wuzhen also boasts quite a cluding a special event titled “An East the pearl on the coast of the East China few well-preserved old buildings, con- Asia Night,” as well as many unique Sea) or to the 88-storey Jinmao Tower, structed in the Ming and Qing dynas- workshops with famous musicians after which we will have sightseeing ties. from Shanghai, Chinese ethnic minori- on both sides of the Huangpu River, ties, and other parts of the world. the Lu Jia Zui Central Financial Dis- 3) Trip to “Earthly Paradise” Suzhou trict, the Yan An Dong Lu Tunnel and (08:00—17:00) We are confident that your trip to The Bund—the most famous landmark Shanghai will be wonderful and unfor- of Shanghai, nicknamed “Wall Street of The journey to Suzhou starts at 8:00 in gettable, and we welcome you heartily Far-east Asia”. The highlights of the the morning. It is about a 90 minute to our city, and to the 42nd World Con- Bund are the colonial-era buildings drive from Shanghai. Suzhou is a beau- ference of the ICTM at the Shanghai lining the west side of Zhongshan tiful city and has been called the "Ven- Conservatory of Music! Dong Yi Lu, standouts of which in- ice of the East" because of its network of canals. Its landscaped private gar- Excursions — Sunday 14 July clude the former British Consulate, Customs House, former Hong Kong dens built from the 6th century BC to 1) One-day urban tour of Shanghai and Shanghai Bank, and Fairmont the Qing Dynasty are world-famous, especially the Zhuozheng Yuan Gar- Route A (08:00—17:00) Peace Hotel Shanghai. Besides its landmark colonial architecture, how- den, showing why Suzhou has been We will drive in the morning at 8:00 to ever, the Bund has a few other good given the title of "garden city”. In the Nanpu Suspension Bridge and Oriental attractions. After that, we will go to afternoon, we will visit another famous Pearl TV Tower (Shanghai is known as visit the Shanghai Grand Theatre and attraction, Huqiu (Tiger Hill). In both the pearl on the coast of the East China the breathtaking architecture of the places, you will breathe fresh air and Sea) or to the 88-storey Jinmao Tower, “Moonboat” (former Saudi Arabia Pa- enjoy a peaceful stay far away from the after which we will have sightseeing vilion, World Expo 2010). Finally, we noise of city life. This excursion will on both sides of the Huangpu River, will drive to Mercedes-Benz Arena for definitely give you an unforgettable the Lu Jia Zui Central Financial Dis- dinner. memory. trict, the Yan An Dong Lu Tunnel and The Bund—the most famous landmark of Shanghai, nicknamed “Wall Street of
Excursion 1: One-day urban tour of Shanghai Excursion 2: Water Town Tour to Wuzhen Excursion 3: Trip to “Earthly Paradise” Suzhou
Bulletin of the ICTM Vol. 121 — October 2012 — Page 10 ANNOUNCEMENTS Announcements — ICTM
2013 Joint Annual Meet- • How have ethnomusicologists ex- bling work in progress to be shared plored digital media in their re- using video/image as well as other ing of the British Forum search, and what untapped potential media. A brief description of the mate- for Ethnomusicology and might there still be for the discipline? rial and technical requirements should ICTM-Ireland be submitted for this. Keynote Speaker: The conference or- 4-7 April 2013. ganisers are very pleased to announce The deadline for the submission of Queen's University Belfast. that Professor Leslie C. Gay, Jr., has proposals is 15 December 2012. Suc- Submissions deadline: 15 December 2012. agreed to deliver the Keynote Speech cessful applicants will be notified by Theme: Ethnomusicology in the Digital at the conference. mid January. Anyone requiring an ear- Age lier confirmation date, please contact Proposals are invited for: the conference organisers so that spe- Increasingly, digital technologies are cial arrangements can be made. mediating people’s engagement with • Papers (20 mins + 5-10 mins for ques- music, posing new challenges to tradi- tions) Please note that all presenters must be tional ethnomusicological orientations. members of EITHER the BFE or the • Organised sessions (3 or 4 linked pa- ICTM-Ireland at the time of the confer- The theme for the 2013 conference, pers around a theme, 1½ or 2 hours) ‘Ethnomusicology in the Digital Age’, ence. aims to confront these challenges by • Round table discussion sessions (dis- Contact the conference organisers via addressing the ways in which the digi- cussion topic, 3-4 shorter presenta- [email protected]. tal revolution is affecting how music is tions not exceeding 15 mins each, conceptualised, constructed and used chaired discussion, total 1½ hours) For more information on location, both by individuals and groups. Possi- • Poster/digital display material travel etc., visit the BFE Conference ble questions for exploring how eth- Website. nomusicological concerns might be Proposals should follow the following directed toward the analysis of digital format to enable them to be reviewed Conference Committee: Suzel Reily mediations include: anonymously: (chair), Ioannis Tsoulakis (ICTM-IE rep), Noel Lobley (BFE rep); Local Or- • How are digital technologies being Paper proposals: Name of proposer, ganisers: Gordon Ramsey and Ray used in the emergence, development Email address, Paper title, Abstract Casserly and dissemination of new musical (not exceeding 300 words). The name genres? of the presenter should not appear in Meeting of new Ethno- the abstract. • How are traditional genres being choreology Sub-Study affected by these same media? Organised session proposals: Name of Group on Movement proposer, Names of other contributors, • What impact are digital technologies Analysis Email address of proposer and other having on the ways people listen to participants, Abstract for session, Ab- 8-10 November 2012. music? stract for each contributor. Abstracts Budapest, Hungary. • How does music mediate the forma- should not include the names of any of Invitation to the meeting of the Sub-Study tion of internet communities, and to the contributors. Group of Movement Analysis, hosted by the what extent does it sustain them? Department of Ethnomusicology and Ethno- Roundtable proposals: Name of pro- choreology, Hungarian Academy of Sciences How are these social spheres creating poser (assumed to be the chair unless new musical identities? stated otherwise), Names of other con- The meeting will take place in Buda- pest, in connection with the celebration • How are internet technologies affect- tributors, Email address of proposer dedicated to the 80th anniversary of ing the trans-national flows of mu- and other participants, Abstract for the György Martin’s birth. sic? roundtable, Abstract for each contribu- tor. Abstracts should not include the We invite members of the ICTM Study • How is music mediating social net- names of any of the contributors. Group on Ethnochoreology interested working? Poster/Digital display: We hope to be in analysing dance, to a demonstration • What legal and/or ethical implica- able to support a number of digital of a new motion capture system at the tions do ethnomusicologists need to displays of work in the same area as Hungarian Academy of Sciences, Bu- consider in research in the realm of the book displays/refreshments, ena- dapest. The system is just at the begin- digital technologies? ning of being explored, and could pro-
Bulletin of the ICTM Vol. 121 — October 2012 — Page 11 ANNOUNCEMENTS vide a tool for advanced analysis of Local Arrangements Committee: János sequences from the plurality of indi- dance movement. Fügedi and László Felföldi. vidual variations.
The meeting will have 3 phases: Secretary of the Sub-Study Group: Siri The Department of Ethnomusicology Mæland. and Ethnochoreology is now collabo- 1. Workshop: Exploring the motion rating with the Cognitive Informatics Program capture suit: Research Group of the Computer and a) The participants will be able to Thursday 8 November Automation Research Institute of the try the suit and explore/ Hungarian Academy of Sciences. Their Arrival experience it, and labs and hardware-software comprises: 14:00–17:00: Welcome and Hungarian b) The participants will work • The 3DVRR laboratory (3D Virtual Memory Presentations with the motions on the com- Reality Room at MTA SZTAKI), puter, discussing how the suit Evening options which consists of a 3D immersive and the software are capable of virtual reality room as well as a large reflecting dance movements in Friday 9 November number of high-tech interaction equipment (Measurand data suit, a way they could be analysed. 09:00–12.00: English Memory Presenta- Flock of Birds position and orienta- tions 2. Meeting with the Cognitive Infor- tion tracker, Microsoft Kinect, a 55” matics Research Group: 14:00–17:00: 3D presentation and per- Samsung 3D television, etc.). sonal probes in the Computer Lab, a) Each participant will be invited • The VirCA platform, a distributed, SZTAKI to talk briefly about their basic component-based virtual collabora- approach in analysing dance Evening options tion platform targeting 3D Internet, and movement, and to address and which currently runs in the expectations of using motion 3DVRR laboratory (distributed com- capture as a tool for advanced Saturday 10 November ponents can also run on low-end PCs analysis of movement and outside of the laboratory) dance. 09:00–12.00: Open Consultation on the use of 3D technology in recording • A 4D motion capture studio that is b) The Cognitive Informatics Re- dance and dance analysis. (Establish- capable of detecting the finest of hu- search Group will reflect upon ing a Movement Analysis Sub-Study man movements and storing. our expectations and how it Group?) could be solved. Programme: 11th Sympo- 14:00–15:30: Consultation on the sub- 3. Declaration of the establishment of sium of the ICTM Study ject of the Norwegian Fund grant the Ethnochoreology Sub-Study Group on the Iconogra- application with the participation of Group on Movement Analysis interested partners. phy of the Performing The participants do not need to bring Arts Departure / Evening options any technical equipment or computers. 26–31 October 2012. We will use our host’s equipment. About the hosts China Conservatory of Music, Beijing.
We will explore the possibility of set- The Department of Ethnomusicology The upcoming eleventh Symposium of ting up a Skype meeting for those who and Ethnochoreology, Hungarian the ICTM Study Group on the Iconog- have too long travel distance or in Academy of Sciences raphy of the Performing Arts, titled other ways are not able to come, but Images of Music-Making and Cultural A speciality of the research at the De- are unsure whether we could manage Exchange Between the East and the West, partment is the sophisticated, detailed and if Skype is suitable. will be held on 26-31 October 2012 at comparative structural analysis of the China Conservatory of Music (中国 The meeting is linked to a new project dance, resulting the sets of motive cata- that wants to make new paradigms in logues, relying on dance notation, es- 音乐学院), Beijing. Its preliminary pro- the collection, handling and analysis of tablished by a former research genera- gram follows. cultural heritage such as folk dance tion (György Martin, Ernő Pesovár, and artistic motion by using advanced Olga Szentpál), whose approach is de- Friday 26 October motion capture, 3D/4D virtualization veloped further on. Today the analysis 19:00 Opening Reception and Dinner and information processing techniques. is continued on a wider scope of dances, regions and performers, while Saturday 27 October Information about the system and a new research direction has been Opening (Liu Yong / 刘 勇) video demonstrations can be found at emerged towards discovering deeper the following links: virca.hu, sztaki.hu, level cognitive patterns of movement motion-capture-system.com. 9:00–9:30 Welcoming remarks by
Bulletin of the ICTM Vol. 121 — October 2012 — Page 12 ANNOUNCEMENTS
Zdravko Blažeković, Chair of the ICTM modern contents to traditional culture of 9:00-9:30 Jia Shubing / 贾抒冰 Study Group on the Iconography of the Chinese music iconography (Central Conservatory of Music, Bei- 赵 Performing Arts and Zhao Talimu / jing), Western music in High Qing China 塔里木 Instruments I (Luzia Rocha) , President of the China Conser- (1662–1795): An iconographic approach vatory of Music. 14:00-14:30 Ingrid Furniss (Lafayette College, Easton, Pen.), Lutes, gender, and 9:30-10:00 Raquel Jiménez Pasalodos 9:30–10:00 Group photograph and ethnicity in pre-modern Chinese history: & Jon Peruarena Arrehui (Universidad tea break The visual and textual evidence de Valladolid), The image of the East: Musical iconographies and the construcion 李玫 Opening coordinates (Li Mei / ) 14:30-15:00 Li Mei /李玫 (Chinese of the historical discourse in the Museo Ori- ental of Valladolid 10:00–10:30 Zdravko Blažeković (City National Academy of Arts, Musical Re- University of New York, The Graduate search Institute, Beijing), Chinese adapta- 10:00-10:30 Luzia Rocha (Universi- Center), The research of music iconography tion of harps dade Nova de Lisboa), European visions in the East and the West 15:00-15:30 Beatriz Magalhães-Castro of Chinese music—Chinese visions of Euro- pean music: A Portuguese case study 10:30–11:00 Wang Zichu /王子初, The (University of Brasilia), The “guitar” in Ibero-American iconographic sources: Instruments II (Liu Yong / 刘 勇) resources of Chinese music iconography Iconological and organological methodologi- 11:00–11:30 Antonio Baldassarre (Lu- cal problems as perspectives of meaning in 9:00-9:30 Shen Yingying /申莹莹 globalised contexts cerne University of Applied Sciences (Central Conservatory of Music, Bei- and Arts), The “Western Orient” or Orien- 15:30-16:00 Ardian Ahmedaja (Institut jing), Drums of the New Stone Age talizing the West: Visual discourses on the für Volksmusikforschung und Ethno- “Orient” musikologie, Universität für Musik und 9:30-10:00 Wang Jinxuan / 王金旋 11:30-12:00 Huo Xuchu /霍旭初 (Xin- darstellende Kunst, Wien), Lahutë images (Shanghai Conservatory), Shakuhachi in between symbolism and everyday practice ancient visual sources jiang Qiuci Research Institute), Recent Discoveries of Ancient Musical Instrument 16:00-16:30 Break 10:00-10:30 Chen Anting /陈岸汀 in Xinjiang Cross sections II (Sylvain Perrot) (China Conservatory of Music, Beijing), 牛龙 菲 陇 Performance practice on ancient Chinese 12:00-12:30 Niu Longfei / ( 刘 勇 16:30-17:00 Liu Yong / (China pipa 菲) (Lanzhou University), Sistrum Conservatory of Music, Beijing), Could 10:30-11:00 Break wall paintings provide reliable iconographic 12:30-14:00 Lunch evidence? Asia. I (Ardian Ahmedaja) Cross sections I (Sławomira Żerańska- 17:00-17:30 Wang Ling / 王玲 (Yun- Kominek) 11:00-11:30 Dorit M. Klebe (Univer- nan University, Kunming & Fujian sität der Künste, Berlin), Iconography and 14:00-14:30 Liu Yutong /刘 宇统 (Col- Normal University, Fuzhou), Images of symbolism of the circle and its significance lege of Music and Performing Arts, Yi- music and dance on the Dai people’s Hinay- for cyclic structures in notation and per- bin University, Sichuan), Three academic ana Buddhist mural paintings in Yunnan formance of music and dance in parts of issues in music iconology in China: Direc- Eurasia since the seventeenth century 17:30-18:00 Sergey A. Yatsenko (Rus- tion, position and paths sian State University for the Humani- 11:30-12:00 Ş. Şehvar Beşiroğlu (Is- 14:30-15:00 Lin Guizhen /林桂榛 ties, Moscow) & Aleksey M. Kossykh tanbul Technical University, Turkish (The Novgorod Center for Music Antiq- Music State Conservatory, Istanbul), The (Xuzhou Normal University, Jiangsu), A uities, Veliky Novgorod), Musicians in çeng and the kanun as female symbolic fig- study of the variants and meanings of the the art of medieval Novgorod and Pskov ures in Mughal, Timurid, and Ottoman Chinese character 樂 republics: Costumes and instruments (the court paintings 13th to 15th centuries) 15:00-15:30 Hon-Lun Helan Yang /楊 12:00-12:30 Gabriela Currie (Univer- sity of Minnesota, Twin Cities), Sound- 漢倫 (Hong Kong Baptist University), 18:00 Dinner ing images of self and other: Ilkhanid, Ge- Visualizing the soundscape of Chinese mod- 19:30 Theatre performance / to be an- novese, and Timurid intersections ernity nounced Tang dynasty / Armenia (Wang Xidan / 15:30-16:00 Li Rongyou /李荣有 (The Sunday 28 October 2012 王希丹) Musical Institute, Hangzhou Normal Missionaries (Sheng-Mei Ma) University, Zhejiang), The connection of 11:00-11:30 Chao Nancy Hao-Ming (Chin) / 趙琴 (皓明) (Taipei Municipal
Bulletin of the ICTM Vol. 121 — October 2012 — Page 13 ANNOUNCEMENTS
University of Education), The ico- Henan), Drums with knobs represented in Monday 29 October 2012 nographic evidence for the Huxuan (胡旋 the Han dynasty stone reliefs at Nanyang Intersections in modern art and music 舞) and Huteng (胡騰舞) of Central Asia 15:30-16:00 Hu Yaofang /胡耀方 (Bruno Forment) during the Tang dynasty (China Conservatory of Music, Beijing), 9:00-9:30 Arabella Teniswood-Harvey 11:30-12:00 Liang Mian / 梁勉 Han dynasty stone reliefs discovered in (University of Tasmania, Hobart), Music southwestern Shandong province and cross-cultural aesthetic exchange in late (Shaanxi Historical Museum, Xi’an), The 19th- and early 20th-century Australian art scenes of music-making in the wall paint- 16:00-16:30 Break ings of the Tang dynasty tombs in the Xi’an 9:30-10:00 María De Los Remedios Celebrations and festivals / Popular area and the cultural exchanges between the Vázquez González (Conservatorio Su- music (Raquel Jiménez Pasalodos) West and the East perior de Musica Eduardo Martinez 16:30-17:00 Candela Perpiñá García Torner, Oviedo), Mongolian overtone sing- 12:00-12:30 Emma Petrosyan (Insti- (Universitat de València), Urban festivals ing Chinese & flamenco diphonic voice in tute of Archaeology and Ethnography, in 15th-century Valencia: A musical ico- the Spanish contemporary music: Iconogra- National Academy of Sciences, Yere- nographic reconstruction phy, notation, graphical analysis of the van), Theatrical events in the Armenian sound iconography 17:00-17:30 Anna Valentini (Univer- sità degli Studi di Padova), The place for 10:00-10:30 Sheng-Mei Ma (Michigan 12:30-14:00 Lunch musicians in Ferrarese banquet scenes at the State University), Big picture, big sound: Instruments III (Beatriz Magalhães- beginning of the 17th century Global media’s great wallpaper and Beetho- Castro) ven bug 17:30-18:00 Nicola Bizzo (Università 14:00-14:30 Wang Jun / 王军 (China degli studi di Torino), The singles’ covers 10:30-11:00 Break of Queen discography: The different ap- Conservatory of Music, Beijing), The Music and social order (Zdravko proach to images in Asian countries wall paintings at the Goddess Temple in Blažeković) Tian village in Fenyang, Shanxi province 18:00-18:30 Yang Yuanzheng / 杨元铮 11:00-11:30 Conrad L. Donakowski 14:30-15:00 Lee Mei-Yen / 李美燕 (The University of Hong Kong), Portrait (Michigan State University, East Lans- on the double ninth: A glimpse into the re- ing), Platonic paradigm: Art and propa- (National Pingtung University of Edu- circulation of twelfth-century literati music ganda in philosophical and historical con- cation, Taiwan), The cultural significance in eighteenth-century Yangzhou text and aesthetics of Chinese guqin iconography Han dynasty II (Wang Ling / 王玲) 11:30-12:30 Keynote lecture. Richard 15:00-15:30 Veronika A. Meshkeris & Leppert (University of Minnesota, Min- Vladimir A.A. Mamonov (St. Peters- 16:30-17:00 Wang Jie /汪洁 (School of neapolis), Music and Western social order burg), Chinese musical images in the paint- (Ancient World and Early Modern World) ing of medieval Khulbuk (Tajikistan) Music, Hangzhou Normal University), The handkerchief dance represented in the 12:30-14:00 Lunch 15:30-16:00 Dorota Popławska (War- Han dynasty carvings saw), Sixteenth- and seventeenth-century Antiquity and Byzantine art (Colum P. 季 伟 woodcuts with musical depictions kept in 17:00-17:30 Ji Wei / (Research Hourihane) Polish collections Center for Han Culture, Nanyang Nor- 14:00-14:30 Theodor E. Ulieriu-Rostás mal University), Bronze bells in the Nan- Han dynasty I (Ingrid Furniss) (École des hautes études en sciences yang stone reliefs of Han dynasty sociales, Paris & University of Bucha- 14:00-14:30 An Qile /安其乐 (Inner 17:30-18:00 Zhang Feng / 张峰 rest), Negotiating Easterness: Auloi, con- Mongolia Institute of Arts, Huhhot), texts and cultural identity in Attic red- (Shaoxing Arts School), Jian gu and its Music activities in the Sichuan province figure vase painting during the Han dynasty symbolism in Han stone carvings 14:30-15:00 Sylvain Perrot (École Zheng Like/ 郑立克 (School of Music, 14:30-15:00 Gu Xingli /顾兴立 française d’Athènes), The iconography of (Graduate School, Chinese National Hangzhou Normal University), Analysis the bells in the Greco-Roman world: A link Academy of Arts, Beijing), Evidence of the Han dynasty visual sources for in- between the West and the East? struments about the existence of the jian-drum dance 15:00-15:30 K. Deniz Polat (Center for during the Han dynasty 19:00 Dinner Advanced Studies in Music (MIAM), Istanbul Technical University), Imagin- 15:00-15:30 Guo Xuezhi /郭学智 20:00 Theatre performance / to be an- ing fourth-century festive dances at the nounced (Huanghuai University, Zhumadian, Hippodrome of Constantinople
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15:30-16:00 Angeliki Liveri (Athens), 11:00-11:30 He Lina / 何丽 娜 (China 19:00 Farewell Dinner Fulin dances—Byzantine dances: A lost Conservatory of Music, Beijing), Dis- Tuesday 31 October 2012 painting of Li Gonglin and the iconography semination of the Cantonese opera in the of dance in the Byzantine art Guangxi province Full-day excursion to Yungang grottoes near Datong. 16:00-16:30 Break 11:30-12:00 Liu Qianyao /刘 倩瑶 The conference will be held at the Jing- Western theatrical visions of China (China Conservatory of Music, Beijing), min Hotel Beijing, where the partici- (Antonio Baldassarre) Sculptures on the Yuedong Assembly Hall pants can also stay for approximately in Baise city representing characters of the 16:30-17:00 Anna Mouat (University USD 45 per night . The registration fee Cantonese opera of Calgary), European perceptions of Chi- for the symposium is US$ 80 (for stu- nese culture as depicted on the 18th-century 12:00-12:30 Christoph Klemmt (Or- dents with ID US$ 40) and it includes opera-ballet stage project, Beijing), Anisotropia meals (lunch and dinner) during the conference and the excursion to Yuan- 17:00-17:30 Olga Jesurum (Rome), 12:30-14:00 Lunch gang grottoes near Datong. For further Chinese imaginary in Galliari’s set designs information write to the chair of the Asia II (Ş. Şehvar Beşiroğlu) for Italian operas at the end of the 18th cen- Study Group Zdravko Blažeković at tury 14:00-14:30 Martin Knust (University [email protected] or the director 刘 勇 17:30-18:00 Bruno Forment (Ghent of Stockholm), Towards a social history of of local organisation Liu Yong / University / Vrije Universiteit Brussels), music in ancient Angkor: The iconography ([email protected]). Jumbo-sized artifacts of operatic practice: of music on the Bayon temple carvings As the current mailing list of the Study The opportunities and challenges of histori- 14:30-15:00 Gretel Schwoerer-Kohl cal stage sets Group is out of date, the ICTM mem- (Martin-Luther-University, Halle- bers interested in the interpretation of 18:00-18:30 Michael Saffle (Virginia Wittenberg), Images of Thai and Mon mu- visual sources relevant for performing Polytechnic Institute and State Univer- sic making from the late 19th century pre- arts are encouraged to contact the chair sity), From “Chin-Chin” to “Chu-Chin- served on the mural paintings of Wat Sai of the Study Group so they can be in- Chow”: Re-inventing musical China on Arrirak in Central Thailand formed about the future projects. London and Broadway stages and screens, 15:00-15:30 Zulfiqar Ali (Taxila Insti- 1900–1940 tute of Asian Civilizations, Quad-i- Programme: 8th Sympo- 19:00 Dinner Azam University, Islamabad), Dance sium of the ICTM Study depictions in Hindu temples and Sikh Group on Maqām Tuesday 30 October 2012 shrines of Sindh, Pakistan 8–11 November 2012. Databases then and new (Dorit M. 15:30-16:00 Ilnaz Rahbar (Tarbiat Mo- Sarajevo, Bosnia and Herzegovina. Klebe) dares University, Tehran), The chordo- Venue 9:00-9:30 Sławomira Żerańska- phones in Safavid miniatures Kominek (Instyt Muzykologii, Uniwer- 16:00-16:30 Break Academy of Music in Sarajevo, Josipa sytet Warszawski), Images of music in Stadlera 1/II, Sarajevo, Bosnia and Her- Cesare Ripa’s Iconologia Cross-pollinations zegovina.
9:30-10:00 Colum P. Hourihane (In- 16:30-17:00 Wang Xidan / 王希丹 Programme Committee dex of Christian Art, Princeton Univer- (Central Conservatory of Music, Bei- Jürgen Elsner, Germany sity), The iconography of music in The In- jing), A comparative study of images of Gisa Jähnichen, Germany-Malaysia dex of Christian Art: Medieval art from musical instruments and dance in the Jean During, France early apostolic times to the end of the six- Koguryo tombs in Ji‘an and tomb murals of Jasmina Talam, Bosnia and Herzegovina teenth century Central Plains of China 林雅琇 10:00-10:30 Lin Yaxiu / (Cen- 17:00-17:30 Xiao Wenpu /肖文朴 Programme and schedule of meetings tral Conservatory of Music, Beijing), The (Guangxi Art College, Nanning), Visual Thursday 8 November evidence about Buddhist music in Chinese sources for music in Guangxi: Their range, cave murals forms and significance Registration
10:30-11:00 Break 17:30-18:30 ICTM Study Group on the 16:00 Opening ceremony Theater and its venues (Jia Shubing / 贾 Iconography of the Performing Arts 17:00–18:00 Session 1 抒冰) general assembly & Closing remarks by Zdravko Blažeković, Liu Yong / 刘 勇 1. Gisa Jähnichen, Germany/Malaysia: Maqām Principles in Peripheral Cul- and Li Mei / 李玫
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tures. 2. Fatima Hadžić and Lana Paćuka, model or does every term have its ‘own Bosnia and Herzegovina: Oriental history’? How do their connotations 2. Murat Okan Öztürk, Turkey: The musical tradition during the period of change? How do other sciences influ- concept of şube (branch) as a tetra- Austro-Hungarian rule in Bosnia and ence this process? And what about chordal classification method in the Herzegovina. questions on ‘lingua franca’? What is 15th century Ottoman makam theory the place of local terminology within and the enchiriadis theory: a herme- 11:00–11:30 Coffee break this framework? How does terminology neutic interpretation. 11:30–13:00 Session 5 influence local musicians’ and scholars’ 3. Hooman Asadi, Iran: The Shades of perception of music and music making? 1. Jürgen Elsner, Germany: A Turkish Modes: Comparative Analysis of 2. The role of educated musicians and Āvāz-e Bayāt-e Esfahān. contribution to Algerian musical cul- ture: the Bashraf. missionaries in local music practices 19:00 Concert 2. Ruth Davis, United Kingdom: Maqām Schoolmasters, cantors, choir conduc- Friday 9 November legacies of the Tunisian shaykhs. tors and other educated musicians have influenced local practice in many parts 10:00–11:30 Session 2 3. Franc Križnar, Slovenia: Turks in of the world. With regard to multipart Slovenia and their influences by music they have even influenced the 1. Ali Fuat Aydin, Turkey: The Melodic Slovenian music. establishment of new traditions. An im- Characteristics of Greek Rebetika portant place is occupied by religious Music: A Comparative Study on the 13:00–15:00 Lunch break missionaries in this context. As a result, Dromos and the Maqāms. 15:30 The National Museum in many cases local music has lost its 2. Nicolas Elias, France/Turkey: The reputation or has been neglected in fa- lavta and the recent introduction of 19:00 Dinner offered by Acad- vour of newly introduced music. the Istanbul makam in Greece. emy of Music in Sarajevo and Musi- cological Society Through case studies and theoretical 3. Jasmina Talam, Bosnia and Herzego- approaches, the kind of influences these vina: From Traditional to Modern: Sunday 11 November activities have on everyday musical Ilahy in Bosnia and Herzegovina. Free time/Departure. practice will be examined, focusing at the same time on the contexts of the ob- 11:30–12:00 Coffee break Call for Papers: 3rd jectives and results of the work of vari- 12:00–13:30 Session 3 Symposium of the ICTM ous protagonists in this process. 1. Jasmina Huber, Germany: Contempo- Study Group on 3. Individualists in company rary maqām practice in the Jewish Multipart Music Multipart music as a specific mode of community of Belgrade as outlined 12-16 September 2013 music making and expressive behaviour by the example of the liturgical hymn Budapest, Hungary is based on intentionally distinct and nishmat kol hay. Submissions deadline: 1 February 2013 coordinated participation in the per- 2. Vesna Ivkov, Serbia: Adhan in the forming act by sharing knowledge and Tradition of Islamic Religious Com- Themes shaping values. In this process, the munity in Vojvodina. company members try to promote per- 1. Scholarly terminology and local sonal goals connected with creation and 3. Damir Imamović, Bosnia and Herze- musical practice experimentation during music making govina: Sevdah reconsidered – a per- One of the barriers ethnomusicologists and the discussions about it with com- former’s view on the genre. have to constantly overcome in their munity members. A specific issue within this framework is multipart mu- 13:30–15:30 Lunch break work is the balancing act between deal- ing with local practices and trying to sic performed by one singer or by one 15:30 City Museum of Sarajevo generalise the focused questions by us- musician on a single instrument. The ing scholarly terminology. In addition to main question to be discussed within 19:00 Concert the complex relationship between local this framework is connected with the Saturday 10 November and global terminologies, connotations kind of position the individual and the of terms in use change continuously. company have in various multipart mu- 10:00–11:00 Session 4 Furthermore, different sciences influ- sic traditions. 1. Risto Pekka Pennanen, Finland: A ence each other’s views and conse- Call for Papers hundred years of Makams and modes quently their terminologies. We invite proposals for individual pres- in Bosnian commercial recordings, Questions to be focused on in the dis- entations, panels and round tables. They 1908-2008 – Developments in impro- cussions are: How do terms come into are to be sent by email before 1 Febru- vised musical sections. use in scholarly research? Is there a ary 2013.
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The text should be pasted into the body Panels Ignazio Macchiarella (Italy) of the email and sent as a Word docu- Zhanna Pärtlas (Estonia) ment or Rich Text Format (RTF) attach- We encourage presentations of panels. ment to assure access. Please label all Proposals may be submitted for panels Lujza Tari (Hungary) communications clearly with your full consisting of at least three presenters. The committee cannot consider propos- contact details. The structure is at the discretion of the coordinator. The proposal must explain als received after the deadline of 1 Feb- Please note that participants are limited the overall purpose, the role of the indi- ruary 2013. Notification for acceptance to a single presentation. vidual participants, and signal the or rejection will be announced by 29 commitment of all participants to attend March 2013. The Program Committee reserves the the conference. Each panel proposal will If you have a deadline for funding ap- right to accept those proposals that, in be accepted or rejected as a whole. their opinion, fit best into the scheme of plications for travel, accommodation, the symposium, and that can be ac- Submit a short summary (not exceeding and so on, please notify the Program commodated within the time frame of 300 words) of the panel overview, and Committee of your deadline date. the symposium. an individual paper proposal, as de- MEMBERSHIP scribed under “Individual Presenta- Please indicate clearly your preferred tions” above, for each presenter. All Please note that the Program Committee format. If members have any questions proposals for a panel should be sent will only consider proposals by mem- about the program, or the suitability of together. Proposals should address one bers of the ICTM in good standing for a proposal, please contact the Program or more aspects of the established 2013. Please contact Ardian Ahmedaja Chair and ask for assistance. Colleagues themes of this meeting. ([email protected]) for membership are advised to bring alternative modes in the Study Group. Members may join of presentation delivery if using Power- Roundtables and submit a proposal at the same time. Point, DVD, and so on in case of unex- We also encourage presentations in the Membership applications are available pected technical difficulties on the day at the ICTM website. For membership of presentation. form of roundtables: sessions that are entirely planned, coordinated, and pre- questions, contact the ICTM Secretariat Research papers should be based on pared by a group of people, one of at www.ictmusic.org/contact. original research that addresses the con- whom is the responsible coordinator. ference theme and should not have al- The aim is to generate discussion be- Call for Papers: 13th Sym- ready been presented. Papers should be tween members of the roundtable who posium of the ICTM Study designed and presented to take no more present questions, issues, and/or mate- Group on Music Archae- than 20 minutes, including audiovisu- rial for about 5 minutes on the prese- ology als. lected unifying theme of the roundtable. The following discussion, at the conve- 8–12 April 2013 Students, who feel that they are not yet ner’s discretion, may open into more Guatemala City, Guatemala in the position to present a full-length general discussion with the audience. Submissions deadline: 30 November 2012 paper, are welcome to give short presen- tations (10 minutes) of their project, in The total length of a roundtable will be Crossing Borders: Musical Change and Ex- order to get feedback. 90 minutes inclusive of all discussions. change through Time
Individual Presentations Proposals may be submitted for a Music cultures are often described as roundtable consisting of up to 10 pre- enclosed and stable entities, even Accepted presentations of individual senters, and the structure is at the dis- though the factors of inner-cultural and members will be grouped by the Pro- cretion of the convener who will chair intercultural change and exchange are, gram Committee into sessions of 90 the event. The proposal must explain at least theoretically, fully recognised. minutes. Each presentation will be allot- the overall purpose, the role of the indi- This conference aims to explore the di- ted 20 minutes inclusive of all illustra- vidual participants, and signal the verse moments of change and exchange tions, audio-visual media or movement commitment of all participants to attend in music caused by travel, trade, migra- examples, plus 10 minutes for questions the symposium. Each roundtable pro- tion, and political relations across cul- and discussion. posal will be accepted or rejected as a tural boundaries, and to determine the Please submit an abstract not extending whole. structural frames in which they used and still use to occur. Three areas of re- 300 words outlining the content, argu- Where to send the proposals? ment and conclusion, its relation to one search will be specifically addressed: of the symposium themes. Please in- Ardian Ahmedaja Itinerant Musicians clude the type of illustrations to be used [email protected] in the presentation, such as slides, DVD, Through all times, musicians travel, oc- Program committee video (including format), and so on. casionally over large distances, and thus Ardian Ahmedaja (Austria, Chair) frequently become intermediaries be-
Bulletin of the ICTM Vol. 121 — October 2012 — Page 17 ANNOUNCEMENTS tween different music cultures. Along chaeology, Guatemala 2013, invite inter- based comparisons. Ideally, a paper with their musical instruments, their ested colleagues to deliver abstract pro- with ethnomusicological approach playing and manufacturing techniques, posals related to the topic of the confer- would at least reflect on some ancient melodies, rhythms and aesthetics travel, ence. Any music-archaeological ap- music tradition, which may be traced as do historical and mythological proach, including comparisons with back in terms of possible continuities. knowledge, which are mainly dissemi- living oral traditions, is welcome. nated through their song texts. While If you like to propose one of the intro- much ethnographic and historical evi- • Deadline for proposals: 30 Novem- ductions or bring up a specific case dence of wandering musicians is pre- ber 2012 study for one of the above mentioned chapters, please get in contact with sent, their remains are much harder to • Proposals: not more than 300 words, find in the music-archaeological record. Arnd Adje Both at including title. Please indicate affilia- [email protected]. All the more valuable are textual and tion and contact address, and attach a pictographical references which allow short scientific CV. us the possibility of tracing back this Call for Papers: next Sym- important tradition. • Conference languages: English (pref- posium of the ICTM Study erable) and Spanish. Group on Music of the Music, War, and Politics • Websites: for further information Arab World The terrifying sounds of war are often please visit the Study Group’s web- 20–21 March 2013. documented in written accounts, yet page and the Symposium’s webpage. Baabda, Lebanon musical instruments, left behind on the Submissions deadline: 15 December 2012 battlefield or looted by the enemy, are • Contacts: Adje Both sometimes evident in the music- ([email protected]) and The ICTM Study Group on Music of the archaeological record. Moreover, in- Matthias Stöckli Arab World will hold a symposium, struments, musicians, and dancers were ([email protected]). hosted by the Antonine University in exchanged as gifts or sent as part of the Baabda, Lebanon, in 20-21 March 2013, tribute payment. The extent to which Call for Papers: forthcom- in the context of its host’s 6th Musi- war and politics contributed to an inter- ing volume of the ICTM cological Meeting. The theme will be cultural dialogue through music and Study Group on Music Ar- “The Situation of Music in the Arab sound will be explored, and how such chaeology World in the New Millennium”. musical exchange altered or consoli- dated existing social and political rela- The editors of the forthcoming publica- The aim of the meeting is to draw a tionships. tion of the ICTM Study Group on Music comprehensive overview of the situa- Archaeology, entitled “Sound and Rit- tion of Music in the Arab World, its tra- Music, Trade, and Migration ual: Bridging Material and Living Cul- ditions, concepts, practices, education and training, and of research in this Musical instruments formed and form tures”, welcome paper proposals for the field, in the first decade of the 21st cen- part of trading goods, and thus can also following subjects (chapters): tury. It takes into account the factor of be found along ancient trading routes. • RITUAL MUSIC, SOUNDS FOR THE regional upheavals due to successive Often enough it is an open question if GODS wars and displacements of populations such goods were specifically made to and to examine its possible conse- match foreign musical needs, or if they • HORNS IN RITUAL quences on the different aspects of re- were a means to export the aesthetics of RITUAL MUSIC AND SACRIFICE gional musical traditions. their producers. Sometimes mingled • with trade, and often difficult to distin- • HEALING, TRANCE, AND SHA- Submissions guish from it in the music- MANISM Abstracts—limited to 250-300 words— archaeological record, are migration should be sent by 15 December 15 2012 movements evidenced by finds of • SOUNDS FOR THE DEAD in Arabic, English or French to the or- musical instruments and/or their depic- • ARCHAEOACOUSTICS OF CERE- ganising committee: tions, which may sometimes be traced MONIAL STRUCTURES over very large periods of time. How- Scheherazade Hassan, Chair ever, whereas linear migration waves Each chapter will contain an introduc- ([email protected]). are easily drawn from the records, such tion as an overview on the subject (not a movement patterns in the past might synthesis of the following papers), and Nidaa abou Mrad, have been far more complex, and it is four to five case studies. ([email protected]), likely that musical influences were tak- Dieter Christensen ing place in multiple directions. The focus of the book is on past music cultures, but we also like to include eth- ([email protected]) The organisers of the 13th Symposium nomusicological perspectives, in order of the ICTM Study Group on Music Ar- to enhance theory and methodological-
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Programme: 3rd Sympo- Folk Religion and Folk Songs of Some 16:00–18:00 Session C1: From Ritual- Turkic People istic practices to traditional perform- sium of the ICTM Study ances Group on Music of the • Éva Csáki (Peter Pazmany Catholic Turkic Speaking World University, Hungary). The Role of Mu- • Saida Yelemanova (Kazakh National sic Performance of Bektashis Rituals in University of Arts). The Study of Ka- 1–2 December 2012 Thrace zakh Music in its Sacred and Spiritual Cambridge, UK Dimensions • Angelika Jung (Weimar, Germany). The upcoming 3rd Symposium of the Sufi ideas in the Music of Bukharan • Valentina Suzuki (Tuva Institute of ICTM Study Group on Music of the Shashmaqam Arts and Humanity). The Traditional Turkic§ Speaking World, entitled and Popular music in Tuva “Popular Culture in Turkic Asia and 12:30-13:30 Lunch Afghanistan: Performance and Belief”, • Alla Bairamova (The Azerbaijani state 13:30-15:30 Session B1: From Ritual- will take place from 1 to 2 December Museum of Musical Culture, Azerbai- istic practices to traditional perform- 2012 at the University of Cambridge. jan). Traditional Azerbaijani Music: ances Following is its preliminary pro- Some Peculiarities of Modern Interpreta- gramme. • Fattakh Khalig-zade (National Acad- tion emy of Music, Baku, Azerbaijan). Is- Friday 30 November • Parmis Mozafari (University of Cam- lam and Music in Modern Azerbaijan bridge, UK). The Ritual Music of Turk- 18:00 Reception at Jesus College, Uni- men of Iran versity of Cambridge • Janyl Jusupjan Chytyrbaeva (Radio Ozodlik, Prague, Czech Republic). 16:00-18:00 Session C2: Diaspora and 19:00 Opening Ceremony and Concert New Religious Music in Kyrgyzstan Minorities at Chapel, Jesus College • Ersen Varli (Karadeniz State Conser- Karina Firkaviciute (Lithuanian Saturday 1 December • vatory, Turkey). The Process of Popular- Academy of Music and Theatre, 8:30-9:00 Registration ity of Religious Musical Examples with Lithuania). Popular Music in Lithuanian the Aspect of Performance Theory Among Karaim Society – A Different Case 9:00-10:30 Keynote address: Profes- Women and Men: Music of Sunni and sor Nicholas Cook (Faculty of music, Alevi Sects in Turkey (1) • Abdullah Akat (Karadeniz State Con- University of Cambridge) servatory, Turkey). The Influences and • Özlem Doĝuș Varli (Karadeniz State Changes of the Crimean Tatars Music in 10:30-11:00 Tea & Coffee break Conservatory, Turkey). The Mediums of the Process Mysticism during the Process of Popular- 11:00-12:30 Session A1: Music in ity in Sunni Sect, Turkey (2) • Shakhym Gullyev, Kysyl Orda Afghanistan: Tradition and Modernity (Turkmenistan-Kazakhstan). Turkmen 13:30-15:30 Session B2: From Ritual- Traditional Music at Home and Abroad • Bernard Dupaigne (SNRS, Paris, istic practices to traditional perform- France). Popular Music and Religion in ance • Dorit M Klebe (Berlin, Germany). The Northern Afghanistan in the 1966-1976 Role of Music among the Cultures of Period • Yusuf Azmun (Eastern Mediterranean Turkic-Speaking Communities (Kazakhs, University, Cyprus). Musical and Relig- Kyrgyzs, Tatars) in the Berlin Diaspora), • Will Summits (University of Central ious Aspects of Turkmen Carpets Asia, Tajikistan). The Tawārīkh-i 2006-2012 Mūsīqīyūn: the post-humus populariza- • Gennadiy Makarov (Kazan’ State 18:00-19:00 Dinner tion of musicians from Afghanistan in a Conservatory, Tatarstan). Muslim spiri- 19th century Chaghatai treatise tual poems as Tatar cultural phenomenon 19:00 Concert: Popular Culture in Turkic Asia and Afghanistan • Yahia Baiza (The Institute of Ismaili • Mahmud Aga Rahim Ogly Salah, Studies, London). Music, Religion and (Baku State conservatory, Azerbaijan). Sunday 2 December Culture: a study of Traditional Turkic Daf-Qaval Music Instrument in Holy 9:00-10:30 Keynote Address: Music in Afghanistan Books and Religious Ceremony Alexander Djumaev (University of Cen- 11:00-12:30 Session A2: From Ritual- • Zilya Imamutdinova (State Arts Study tral Asia) istic practices to traditional perform- Institute, Moscow, Russia). The Trans- 10:30-11:00 Tea & Coffee Break ances formation of Muslim Religious Musical Genres at the Beginning of the 21st Cen- 11:00-12:30 Session D1: Traditional János Sipos (Hungarian Academy of • tury (the Example of Maulid in Culture culture in contemporary soundscape Sciences, Hungary). From the Spiritual of the Ural-Volga Tatars and Bashkirs to the Profane and Back: the Relation of 15:30-16:00 Tea & Coffee Break
Bulletin of the ICTM Vol. 121 — October 2012 — Page 19 ANNOUNCEMENTS
• Tom Solomon (University of Bergen, • Liesbet Nyssen (Amsterdam, The Norway) & Inna Naroditskyaya Netherlands). Khuday, Khay, and Khu- (Northwestern University, USA). Azeri ray: Connections to Religion in Khakas Rap Music and Oral Poetry between Tra- Popular Music dition and Modernity • Aziza Sadikova (Berlin, Germany). • Megan Rancier (Bowling Green State New Music Technique and Koran Recita- University, USA). “The Sound of Mod- tion: “Untitled”, a Piece for Amplified ern Kazakh Nomads”: Discourses of An- Violoncello and Tape cientness and Nationhood in the Music of Contemporary Kazakh Qyl-qobyz Per- • Vladimir Manyakin (Kazakh National formers University of Arts). Kazakh Folk Songs: From Preservation to Transformation and • Violetta Yunusova (Moscow State Development Conservatory, Russia). The Main Ten- dencies and Popular Music Forms of • Gulya Kuzbakova (Kazakh National Turkic Speaking Peoples in Modern Rus- University of Arts). Kazakh Popular sian Federation Music in 1990-2010: Metamorphosis of Development 11:00-12:30 Session D2: Traditional culture in contemporary soundscape 15:30-16:00 Tea & Coffee Break 16:00-18:00 Session F: Film Screening • Kerstin Klenke (Stiftung Universität Hildesheim, Germany). The Hajj Does • John Baily (Goldsmiths College, Lon- not Go Pop: Uzbek Estrada and Islam don, UK ). Return of the Nightingales. The Afghanistan National Institute of • Giovanni De Zorzi (University ‘Ca’ Foscari’ of Venice, Italy). Jâhri zikr Music Used as Therapy for Teenagers • Razia Sultanova (University of Cam- bridge, UK). The Music of Minorities in • Feza Tansuğ (Yeditepe University, Turkey). American Popular Music in Northern Afghanistan Central Asia • Keith Howard and Misha Maltsev 12:30-13:30 Lunch (London, UK). Siberia at the Centre of the World: Music, Dance and Ritual in 13:30-15:30 Session E1: Traditional Sakha-Yakutia culture in contemporary soundscape Book Presentations Ivanka Vlaeva (University of Sofia, • There will be recently published book Bulgaria). Music Images of Istanbul: presentations during the symposiums’ From Fatih Akin’s Films to Stage and tea breaks by the following scholars: Street Performances John Baily, Keith Howard, Fattah • Fikri Soysal (Dicle University State Khalyk-Zade, Janos Sipos/Eva Csaki, Conservatory Diyarbakır, Turkey). Tom Solomon, Inna Naroditskaya, Razia Music Culture of Islam Civilization and Sultanova, Valentina Suzuki, Galina Popular Culture in the 21st Century in Sythenko, Saida Yelemanova, Giovanni Turkey De Zorzi.
• Gulnar Abdirakhman (Kazakh Na- Convener of the Third Symposium: Ra- tional University of Arts). New images zia Sultanova, [email protected]. of Kazakh traditional songs
• Valeriya Nedlina (Kazakh State Con- servatory, Kazakhstan). Folklorismus in Popular Music of Kazakhstan: Returning to Spiritual Roots
13:30-15:30 Session E2: Traditional culture in contemporary soundscape
Bulletin of the ICTM Vol. 121 — October 2012 — Page 20 ANNOUNCEMENTS Announcements — Related Organisations 63rd Annual Conference young graduate presenting the best sound designers use ambisonics to en- research project centred upon the topic code sound fields with incredible fidel- of the Society for Research “Anthropology of Music and Mediter- ity. in Asiatic Music (TOG) ranean Cultures”. The research project At this exciting time in the history of 10-11 November 2012 can be drafted either in Italian or Eng- sound recording and objects – when Kunitachi College of Music (Tachikawa, lish. the influence of the commercial record- Tokyo) Full application details and require- ing industry is declining, and the age The special attractions of the confer- ments, are available at the University of personal sound production and ence include the exhibition of the of Bologna website. inter-personal distribution is proliferat- TAKEUCHI Michitaka collection, fo- ing –several key questions arise: What cusing on shamisen (Japanese three- British Forum for Ethno- methods and resources might scholars stringed lute) song texts and music- musicology Annual One- use to collect, analyse, create and use related coloured woodblock prints dat- Day Conference sound? How best might we conceptu- ing from the Edo period. alise the relationships amongst sound 24 November 2012 archives, museums, contemporary The first day of the conference also fea- Pitt Rivers Museum, University of Oxford communities and soundscapes? What tures a gagaku (Japanese court music) Submissions deadline: 19 October 2012 type of knowledge is it possible to performance by Reigakusha, a re- achieve and share through sound and nowned gagaku performing group, and “Making Sound Objects: Cultures of Hearing, Recording, Creating and Circulation” sound-producing objects? How does MIYATA Mayumi, a specialist of shō (a the creation and sharing of sounds in- type of mouth organ used in gagaku). This conference explores the contem- fluence and change societies? They will present traditional gagaku porary and historical creation, collec- pieces including dance as well as mod- tion and circulation of sound and This one-day conference is hosted by ern compositions. The second day of sound-producing objects, and is the Pitt Rivers Museum, and seeks in- the conference consists of paper ses- guided by the following enlightened terdisciplinary engagement with these sions and a mini concert of traditional advice of Henry Balfour, first curator of questions. Contributions are welcomed Mongolian songs. the Pitt Rivers Museum: from anthropologists, musicologists, acousticians, historians, geographers, The Kunitachi College of Music (Kuni- “Any object whether natural or artifi- organologists, sound engineers, song tachi Ongaku Daigaku) is located in cial, and however simple, which is em- collectors and sound artists – in fact the western part of Tokyo prefecture. ployed for the purpose of producing anyone engaged with the production For more information, please refer to sound (whether ‘musical’ in an aes- and analysis of sound. the conference website (Editor’s Note: at thetic sense or not) should be included the time of publishing, available in Japa- as a musical instrument”. Possible themes and issues include: nese only). If you are interested in at- • Instruments, sounds and recording tending the conference, please contact He gave this advice in 1929 to anthro- collections as forms of knowledge WASEDA Minako at pologists engaged in the collection of musical instruments, advice which [email protected]. • Curating instruments, objects and seems prescient indeed, as distinctions other technologies of sound “Tullia Magrini” between sound and music are dis- solved and re-articulated in contempo- • The history of sound recording, field Scholarship Award rary thinking about the sound and recording, and phonography Deadline for applications: 16 November sound objects. Such objects have been 2012 amassed over 130 years of recording, • In what ways do media shape the collected, documented and stored in content and use of recordings, ob- The University of Bologna, to com- archives, lofts, memory sticks, phones jects, sound and music? memorate Professor Tullia Magrini, and clouds, while new technology cre- • Archaeoacoustics with funds allocated by the Faculty of ates exciting new sonic possibilities: for Letters and Philosophy and with the example, electronic artist Aphex Twin • The history and contemporary roles contribution of family members, set up can conduct an orchestra by remote of sound recordists and sound ar- a Scholarship Award for the amount of control, engineers use microphones to chives 4,000 Euros gross, to be assigned to a capture subterranean explosions, and
Bulletin of the ICTM Vol. 121 — October 2012 — Page 21 ANNOUNCEMENTS / REPORTS
• What problems might sound collect- ing solve or cause?
• Intellectual property rights, ethical Reports from ICTM recording and collecting, ownership, and circulation National and Regional • Sound art, sound delivery, sound installation, sound ethnography Representatives Proposals are welcomed for:
• Papers (20 minutes) Argentina Moreau. He has documented music • Organised sessions (3 linked papers mainly in rural communities of the around a theme, 1 1/2 hours) by Silvia Citro, Liaison northwest of Argentina, and published Officer articles, CDs and Videos. • Round table discussion sessions (chaired discussion topic, 3-4 shorter The last report on Argen- University of Buenos Aires presentations not exceeding 15 min- tina for the Bulletin of the At the Institute of Anthropological utes each, total 1 1⁄2 - 2 hours) ICTM was in 2002. Then, our country was suffering a serious Sciences of this University, ICTM mem- Please email proposals for papers and economic and political crisis that also bers have received grants for develop- presentations to had an impact on our scholarly activi- ing different research projects. [email protected] (200-250 ties. Nevertheless, a process of recovery Between 2004 and 2007, Irma Ruiz co- word abstracts, plus any relevant MP3 has begun in 2003, which results in a ordinated a collective research project sound files and images if applicable) by slow but steady growth in scholarly about three indigenous groups of Ar- Friday, 19 October 2012. studies on traditional music and dance. gentina, entitled "History interpreta- Abstracts and sound/ video files may Nowadays, there are groups of young tions and postcolonial socio-cultural also be sent on CDR/ DVD to: researchers working at different state strategies in the Mbyá, Toba and Mo- universities and cultural institutions, coví groups: A study of their perform- Noel Lobley dedicated especially to studies about ances". (BFE Sound Conference) “popular music” and different ethnic Following these ethnomusicological Pitt Rivers Museum, South Parks Road, and folk dances, which have had a vig- studies, Miguel A. García, Silvia Citro, Oxford,OX1 3PP. orous impulse in the last decade. I will and Adriana Cerletti, researchers sum up these activities and, at the end, trained by Irma Ruiz in this field, began the publications of ICTM members. to develop different collective projects Main Research Projects with young researchers and postgradu- ate students. National Institute of Musicology “Car- los Vega” Since 2004, Miguel A. García has coor- dinated four collective research projects. In this institution research has been One of them about “Argentine popular done on different traditional music and music: Theoretical Reflection and Criti- ritual performances, such as on Afro- cal Bibliography” (UBACYT 2004-2008); Argentinean music and dances (Nor- and other three about the relation be- berto Pablo Cirio), ritual performances tween music and visual designs in dif- of popular Catholicism in the province ferent indigenous peoples of the Gran of Jujuy (Graciela Restelli and Héctor Chaco region: “Anthropology of aes- Goyena), tango music (Omar García thetic paradigms: musical practices and Brunelli and Héctor Goyena) and cha- figurative art among the aborigines of mamé (Alejandra Cragnolini). Further- the Gran Chaco - Pilagá and Ishir” more, several books and CDs on these (UBACYT 2008-2010); “Anthropology of topics have been published by the Insti- the aesthetic interaction politics among tute. aborigines and White people. Musical Besides, since 2006 Norberto Pablo Cirio practices and abstract and figurative has been working on the UNESCO Pro- representations of the Pilagá and Ishir gram “La Voz de los Sin Voz”(The voice of the Gran Chaco” (PIP 2009-2011); and of the voiceless} (PNUD ARG/05/016), “Aesthetics of the Otherness. Anthro- coordinated by Susana Fernández de pology of the musical practices and
Bulletin of the ICTM Vol. 121 — October 2012 — Page 22 REPORTS abstract and figurative designs of the Approaches in Argentinean Musicol- on embodiment, body techniques and Pilagá and Mbyá (Argentina)” (UBA- ogy”. performances. In 2009, Miguel A. CYT 2011-2014). The last two projects García and Irma Ruiz chaired the also included Irma Ruiz as Senior Re- At the National University of San working groups “Performance and searcher. Martin, since 2010 Guillermo Wilde power: drama, aesthetics and ritual” has researched “Music, ritual and and “Music, conviviality, affectivity Since 2006, Silvia Citro has coordinated Memories in the Colonial Missions of and ethics” respectively. three collective research projects that Guaraní and Chiquitos” and Marita documented and analysed cultural per- Carozzi coordinates a study group on formances from Indigenous, Afro- “Dance, Movement and Society”, in- American and Asiatic traditions, focus- cluding Tango and Folk dances. ing especially on dances practiced in different regions of Argentina: "Body Conservatories and Multiculturalism in contemporary In 1984, one of the oldest Musical Con- socio-aesthetic practices. A compara- servatories of Buenos Aires, Conserva- tive study on performances in Buenos torio Superior de Música Manuel de Aires and Rosario" (UBACYT 2006- Falla, opened a specialisation in Eth- 2009); "Body, performance and cultural nomusicology for Professors of Music, diversity in the context of the globalisa- and in 2006, they also created the Eth- tion process” (PICT 2008-2011); and nomusicology Research Institute. In “Bodies, performances and politics: this institution some professors and Aesthetic practices in a context of cul- students have begun to develop re- tural diversity and social exclusion” search projects: Elena Hermo and (UBACYT 2010-2012). Marta Andreoli are coordinating a pro- In 2007, Adriana Cerletti developed a ject on “The Sources of Argentine project of transcription and musical Popular Music”, Luis Ferreira Makl about “Improvisation in Popular Mu- analysis of song-dances of the Indige- Workshop on Tango dance by Adriana Cerletti, nous of the Argentinean Chaco, funded sic” (especially within percussion en- with collaboration of Jörgen Torp and Silvia by the National Arts Fund. sembles), Paula Vila about “Voices and Citro Vocalities in Latin-America”, and Ana At the Gino Germani Research Insti- María Romaniuk has been studying In the context of the Argentine Con- tute (School of Social Sciences, Univer- Pampean Folk music. gresses of Social Anthropology, the sity of Buenos Aires), Mario Margulis main national congress in this field, Congresses and Pablo Alabarces are coordinating there have been symposia about music research groups about sociology of cul- Argentine Association of Musicology as well as dance and embodiment. In ture and popular culture, respectively, 2004 Silvia Citro organised the first which include some studies on musical Since the last report for the Bulletin, the Symposium on Anthropology of Body practices: Tango by Mercedes Liska AAM has organised five National Con- and Performance, followed up in 2006, and Sofía Ciccone, and also about Rock ferences (XVI to XX), held in 2004 in 2008 and 2011. A large number of pa- and Cumbia by Pablo Alabarces, Mar- Mendoza, in 2006 in La Plata, in 2008 in pers were presented about ritual per- celo Urresti, Daniel Salerno, and Santa Fe, in 2010 in Córdoba and in formances, music and dances. In 2006, Malvina Silba, among others. 2012 in Buenos Aires. At these confer- Guillermo Wilde, Javier Nastri and ences most papers dealt with historical Marta Penhos organised the sympo- Other National Universities musicology, but a small number were sium “Past and present in the visual devoted to ethnomusicology and eth- At the National University of La Plata, and sound aesthetics from America in a nochoreology. Most scholars were from since 2009 Diego Madoery coordinates historical-anthropological perspective”, Argentina but some presentations were a collective research project entitled and in 2011, Hugo Partucci and Victo- given by musicologists from Chile, “Popular music in Argentina: Rock, ria Polti organised a Symposium on Brazil and Bolivia, among others. Folk and Tango. Preliminary Studies Anthropology of Music and Sound, for their history”. Symposia and working groups at other were Adriana Cerletti was the discuss- congresses ant. At the National University of Cór- doba, since 2008 Héctor Rubio coordi- In the context of the Meetings of An- Also since 2004, working groups on nates a collective research project on thropology of MERCOSUR, the main Anthropology of the Body and Per- “Music in Córdoba in the 20th cen- congress which gathers scholars from formance met at the Rosario Meetings tury”, and in 2007, together with Argentina, Brazil, Uruguay and Para- of Social Anthropology, held at the Federico Sanmartino, organised the guay, José Bizerril and Silvia Citro have School of Humanities and Arts of the Colloquium “Popular Musics. Theo- organised since 2007 working groups National University of Rosario. The retical, Methodological and Analytical group was first chaired by Silvia Citro
Bulletin of the ICTM Vol. 121 — October 2012 — Page 23 REPORTS and later by Yanina Mennelli and 2011). However, most of these articles y Letras, Universidad de Buenos Ai- Manuela Rodriguez. belong to historical musicology and res, 2006. just a few to ethnic, folk or indigenous Finally, in 2012, research groups from music and dances. • García, Miguel A. Paisajes sonoros de the Universities of Buenos Aires, La un mundo coherente. Prácticas musicales Plata and Rosario (coordinated by Publications, videos and sound records by y religión en la sociedad wichí [Sound- Citro), organised the 1st Latin- ICTM members scapes of a coherent world. Musical prac- American Meeting of Researchers of Books tices and religion in the Wichi society]. Body and Embodiment in the Cul- Buenos Aires: Instituto Nacional de tures at the National University of Ro- • Ruiz, Irma. La “conquista espiritual” Musicología Carlos Vega, 2005. sario. This meeting had the peculiarity no consumada. Cosmología y ritual de of combining oral presentation of pa- los mbyá-guaraní de Misiones, Argen- CD with booklet pers with performance workshops and tina [The ‘spiritual conquest’ uncon- • García, Miguel A. Robert Lehmann- artistic interventions. The working summated. Cosmology and ritual of the Nitsche. Walzenaufnahmen aus Argen- group on “Perception and embodiment Mbyá-Guarani of Misiones, Argentina]. tinien 1905-1909. Grabaciones en cilin- in musical practices” was chaired by Quito: Abya Yala, 2013 (forthcom- dros de Argentina 4/5. Historische Adil Podhajcer, Adriana Cerletti was ing). Klangdokumente. Two CDs and bilin- the discussant, and Gisela Magri coor- Citro, Silvia and Patricia Aschieri, gual booklet. Berlin: Berliner dinated the workshop. The working • eds. Cuerpos en movimiento. Antro- Phonogramm-Archiv, Staatliche group on “Body movement, art and pología de y desde las danzas [Bodies in Museen zu Berlin, 2009. performance” was chaired by Ana Motion. Anthropology of and from the Sabrina Mora and Jussara Sobeira Se- Videos dances]. Buenos Aires: Editorial Bi- tenta; María Carozzi, Rubiela Arboleda blos, 2012.. • Citro, Silvia and Soledad Torres Gómez and Eugenia Calligaro were the Agüero. Cuerpos Significantes. discussants; and Marie Bardet and • Citro, Silvia, ed. Cuerpos Plurales. An- Travesías de una etnografía dialéctica Raquel Guido coordinated the work- tropología de y desde los cuerpos [Plural [Meaningful Bodies: A dialectical shops. Bodies. Anthropology of and from the ethnography with Toba Takshik], 2011. Musicology Awards bodies]. Buenos Aires: Editorial Bi- blos, 2011. • García, Miguel A. and Francisco Le- Since the last report for the Bulletin, the vaggi. Crónicas de la memoria. La cul- Samuel Claro Valdés Latin-American • García, Miguel A., ed. Rock en papel. tura pilagá en diálogo con su pasado. La Musicology Award was received three Bibliografía crítica de la producción construcción del naseré. Buenos Aires: times by young Argentine ethnomusi- académica sobre el rock en Argentina Instituto Nacional de Musicología cologists and ethnochoreologists: Pablo [Rock in paper. Critical bibliography of Carlos Vega, 2006. Cirio in 2002 for his paper “Ap- the academic production about rock mu- proaches to Afro-Argentinean Music: sic in Argentina]. La Plata, Editorial Articles in journals and books (last The case of the current musical prac- de la Universidad de La Plata, 2010. five years) tices in the San Baltazar cult”; Silvia • Citro, Silvia. Cuerpos Significantes. • Citro, Silvia and Soledad Torres Citro and Adriana Cerletti in 2006 for Travesías de una etnografía dialéctica Agüero. “‘Es un ejemplo no sola- their paper "Integration, creativity and [Meaningful Bodies. Journeys of a Dia- mente para los de su raza qom sino cultural resistance in the Mocoví lectical Ethnography]. Buenos Aires: para toda la juventud formoseña’. El musical practices”, and by Guillermo Editorial Biblos, 2009. patrimonio cultural y la música toba Wilde in 2008 for his paper “The Sono- en la controvertida política formo- rous Enigma of Trinidad: Interpretation • García, Miguel A. and Gloria B. Chi- seña." RUNA (2012). Essay from the Historical Ethnomusi- cote. Voces de Tinta. Estudio preliminar cology perspective”. y edición antológica de Folklore Argen- • Citro, Silvia. “Ritual Transgression tino (1905) de Robert Lehmann-Nitsche and Grotesque Realism in 1990s Rock Periodical Publications [Voices of Ink. Preliminary study and Music. An ethnographer among the Two journals about musicology have anthological edition of Argentine Folk- Bersuit.” In Youth Identities and Argen- been published in Argentina during lore (1905) of Robert Lehmann-Nitsche]. tine Popular Music: Beyond Tango, ed- the past 10 years. The AAM put out La Plata/Berlin: Universidad Na- ited by Pablo Vila and Pablo Semán. issues 3-12 of its journal Revista Argen- cional de La Plata/ Instituto Ib- New York: Palgrave Macmillan, 2012. tina de Musicología, directed by Miguel eroamericano de Berlín, 2008. • Citro, Silvia. “Cuando escribimos y A. García between 2007 and 2009. • Citro, Silvia. La fiesta del 30 de Agosto bailamos. Genealogías y propuestas The National Institute of Musicology entre los mocoví de Santa Fe [The Feast teórico-metodológicas para una an- “Carlos Vega” published issues 6-19 of of 30 August among the Mocoví people tropología de y desde las danzas.” In its journal Música e investigación [Music of Santa Fe]. Buenos Aires: Instituto Cuerpos en movimiento. Antropología de and Research] in five volumes (2003- de Lingüística, Facultad de Filosofía y desde las danzas, edited by Silvia
Bulletin of the ICTM Vol. 121 — October 2012 — Page 24 REPORTS
Citro and Patricia Achieri. Buenos pología de y desde los cuerpos, edited by • Ruiz, Irma. “Las ‘versiones’ del caso Aires: Editorial Biblos, 2012. Silvia Citro: 17–58. Buenos Aires: mapuche: historias de ayer y de Editorial Biblos, 2011. hoy”. In A Tres Bandas. Mestizaje, sin- • García, Miguel A. and Ana María cretismo e hibridación en el espacio so- Spadafora. “Mundos espejados en un • García, Miguel A. “Archivos sonoros noro iberoamericano, edited by Albert relato. Fusión de creencias y des- o la poética de un saber inacabado.” Recasens and Christian Spencer: 47– estigmatización en la sociedad pilagá ArteFilosofía 11 (2011): 36–50. (link) 55. Madrid: Ministerio de Asuntos .“ Papeles de Trabajo 23 (2012). Rosa- • García, Miguel A. “Esbozos de la Exteriores y de Cultura de España - rio: National University of Rosario, Sociedad Estatal para la Acción Cul- 2012. estética musical pilagá.” TRANS - Transcultural Music Review 15 (2011). tural Exterior, 2010. García, Miguel A. “Phenomenologi- • • Citro, Silvia and Adriana Cerletti. cal Approaches and Ethnomusicol- • García, Miguel A. “Las músicas de Tierra del Fuego en su versión (et- “‘Aboriginal dances were always in ogy.” In Kompendium Musikethnologie. rings...’. Music and dance as a sign of Kompendien Musik 6, edited by Detlev no)musicológica.” In Cultura, sociedad y política en América Latina. Aportes identity in the Argentine Chaco." Altenburg. Laaber: Laaber Verlag, Yearbook for Traditional Music 41 2012. para un debate interdisciplinario, edited by Klaus Bodemer. Madrid/ (2009): 138–165. Ruiz, Irma. “La creatividad indígena Frankfurt, Iberoamericana/Vervuert, • • Citro, Silvia. “Los indígenas al servicio de una visibilización es- 2011. chaqueños en la mirada de los jesui- tratégica: las músicas públicas mbyá- tas germanos: idealización y discipli- guaraní”. In Current Issues in Music • García, Miguel A. “Escuchar y es- cribir. Las músicas de Tierra del namiento de los cuerpos”. Anthropos. Research: Copyright, Power and Tran- International Review of Anthropology snational Music Processes, edited by Fuego en los relatos de viajeros, misioneros y científicos.” In Estudios and Linguistic 104 Vol. 2 (2009): 399– Susana Moreno Fernández, Salwa El- 421. Shawan Castelo-Branco, Pedro Roxo de caso en la musicología actual: diferen- tes aproximaciones, edited by Diana and Iván Iglesias: 111–127. Lisbon: • García, Miguel A. “El rock argentino Colibrí, 2012. Fernández Calvo: 141–157. Buenos en clave académica. Tres estrategias Aires: Universidad Nacional de de narrar nuestras experiencias con • Citro, Silvia, Patricia Aschieri, Yanina Quilmes, 2011. la música popular.” In Rock en papel. Mennelli et al. “El multiculturalismo Bibliografía crítica de la producción en los cuerpos y las paradojas de la • Ruiz, Irma. “Aborigen, sudamericana y transgresora: la ingeniosa flauta de académica sobre el rock en Argentina, desigualdad poscolonial.” Boletín de edited by Miguel A. García: 19–27. La Antropología, Vol. 25 #42: 103–128. pan de las mujeres mbyá-guaraní”. TRANS. Revista Transcultural de Plata, Editorial de la Universidad de Antioquía: University of Antioquía, La Plata, 2009. 2011. Música 15 (2011). Special dossier about Amerindian sound and visual • Ruiz, Irma. “Cuestión de alteridades: objects. la aciaga vida del Tupã guaraní en la • Citro, Silvia. “Memories of the ‘old’ literatura de los “blancos” y en la aboriginal dances. An approach to vital versión oral de los mbyá.” the performances of the Chaco Toba RUNA XXX Vol. 2 (2009): 119–134. and Mocoví.” Journal of Latin Ameri- Buenos Aires: UBA. can & Caribbean Anthropology 15 Vol. 2 • Citro, Silvia. “El rock como ritual (2010): 363–386. Society for Latin adolescente. Trasgresión y realismo American and Caribbean Anthropol- grotesco en los recitales de Bersuit.” ogy (SLACA). TRANS - Transcultural Music Review • García, Miguel A. “Culturas que 12 (2008). susurran en los archivos de Berlín. • Citro, Silvia, Lucrecia Greco and Las grabaciones fonográficas de Manuela Rodríguez. “Cuerpos e Charles W. Furlong, Martin Gusinde identidades en la danza de orixás, y Wilhelm Koppers en Tierra del entre Brasil y Argentina.” Revista Cla- Fuego.” In Ideas viajeras y sus objetos: roscuro 7 (2008): 151–178. El intercambio científico entre Alemania y América austral, edited by Gloria • Citro, Silvia. “Las estéticas del poder Chicote and Barbara Göbel: 281-290. entre los mocoví santafesinos.” In • Citro, Silvia. “La antropología del Madrid/Frankfurt: Iberoamericana/ Liderazgos, representación y control so- cuerpo y los cuerpos en-el-mundo. Vervuert, 2010. cial en el Gran Chaco, edited by José Indicios para una genealogía (in)dis- Braunstein and Norma C. Meichtry. ciplinar.” In Cuerpos Plurales. Antro- Corrientes: EUDENE, 2008.
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• Citro, Silvia. “Creando una mujer: El ciplinar.” In Cuerpos Plurales. Antro- • Ruiz, Irma. “Las ‘versiones’ del caso ritual de iniciación femenina entre pología de y desde los cuerpos, edited by mapuche: historias de ayer y de los toba”. In Mujeres indígenas, edited Silvia Citro: 17–58. Buenos Aires: hoy”. In A Tres Bandas. Mestizaje, sin- by Silvia Hirsch. Buenos Aires: Bi- Editorial Biblos, 2011. cretismo e hibridación en el espacio so- blos, 2008. noro iberoamericano, edited by Albert • García, Miguel A. “Archivos sonoros Recasens and Christian Spencer: 47– • Citro, Silvia and Adriana Cerletti. o la poética de un saber inacabado.” 55. Madrid: Ministerio de Asuntos “Continuities and Re-elaborations in ArteFilosofía 11 (2011): 36–50. (link) Exteriores y de Cultura de España - Indigenous Music and Dances: The • García, Miguel A. “Esbozos de la Sociedad Estatal para la Acción Cul- Case of the Mocovi.” Review: Litera- tural Exterior, 2010. ture and Arts of the Americas 77, Vol. estética musical pilagá.” TRANS - Transcultural Music Review 15 (2011). 41 (2008): 271–275. • Citro, Silvia and Adriana Cerletti. García, Miguel A. “Las músicas de “‘Aboriginal dances were always in • García, Miguel A. and Ana María • Tierra del Fuego en su versión (et- rings...’. Music and dance as a sign of Spadafora. “Visitantes oportunos e identity in the Argentine Chaco." inoportunos de la noche pilagá. De- no)musicológica.” In Cultura, sociedad y política en América Latina. Aportes Yearbook for Traditional Music 41 rivaciones del sueño en la vida di- (2009): 138–165. urna.” Indiana 26 (2008): 149–176. para un debate interdisciplinario, edited by Klaus Bodemer. Madrid/ • Citro, Silvia. “Los indígenas • García, Miguel A. “Políticas de uso y Frankfurt, Iberoamericana/Vervuert, chaqueños en la mirada de los jesui- ‘posesión’ de los cantos entre los pi- 2011. tas germanos: idealización y discipli- lagá del Chaco argentino. Cuadernos • García, Miguel A. “Escuchar y es- namiento de los cuerpos”. Anthropos. de Música Iberoamericana 16 (2008): 99- International Review of Anthropology 109. cribir. Las músicas de Tierra del Fuego en los relatos de viajeros, and Linguistic 104 Vol. 2 (2009): 399– • García, Miguel A. “Ambiente tec- misioneros y científicos.” In Estudios 421. nológico y música popular en el con- de caso en la musicología actual: diferen- • García, Miguel A. “El rock argentino texto multiétnico del Chaco argen- tes aproximaciones, edited by Diana en clave académica. Tres estrategias tino.” In Músicas Populares. Aproxima- Fernández Calvo: 141–157. Buenos de narrar nuestras experiencias con ciones teóricas, metodológicas y analíti- Aires: Universidad Nacional de la música popular.” In Rock en papel. cas en la musicología argentina, edited Quilmes, 2011. Bibliografía crítica de la producción by Federico Sammartino and Héctor académica sobre el rock en Argentina, Rubio: 59–79. Córdoba: UNC, 2008. • Ruiz, Irma. “Aborigen, sudamericana y transgresora: la ingeniosa flauta de edited by Miguel A. García: 19–27. La • Ruiz, Irma. “¿Lo esencial es invisible pan de las mujeres mbyá-guaraní”. Plata, Editorial de la Universidad de a los ojos? Presencias imprescindibles TRANS. Revista Transcultural de La Plata, 2009. y ausencias justificables en el paisaje Música 15 (2011). Special dossier • Ruiz, Irma. “Cuestión de alteridades: sonoro ritual cotidiano mbyá- about Amerindian sound and visual la aciaga vida del Tupã guaraní en la guaraní.” Cuadernos de Música Ib- objects. literatura de los “blancos” y en la eroamericana 16 (2008): 59–84. • Citro, Silvia. “Memories of the ‘old’ vital versión oral de los mbyá.” • Citro, Silvia. “La antropología del aboriginal dances. An approach to RUNA XXX Vol. 2 (2009): 119–134. the performances of the Chaco Toba Buenos Aires: UBA. and Mocoví.” Journal of Latin Ameri- • Citro, Silvia. “El rock como ritual can & Caribbean Anthropology 15 Vol. 2 adolescente. Trasgresión y realismo (2010): 363–386. Society for Latin grotesco en los recitales de Bersuit.” American and Caribbean Anthropol- TRANS - Transcultural Music Review ogy (SLACA). 12 (2008). García, Miguel A. “Culturas que • • Citro, Silvia, Lucrecia Greco and susurran en los archivos de Berlín. Manuela Rodríguez. “Cuerpos e Las grabaciones fonográficas de identidades en la danza de orixás, Charles W. Furlong, Martin Gusinde entre Brasil y Argentina.” Revista Cla- y Wilhelm Koppers en Tierra del roscuro 7 (2008): 151–178. Fuego.” In Ideas viajeras y sus objetos: El intercambio científico entre Alemania • Citro, Silvia. “Las estéticas del poder y América austral, edited by Gloria entre los mocoví santafesinos.” In Chicote and Barbara Göbel: 281-290. Liderazgos, representación y control so- Madrid/Frankfurt: Iberoamericana/ cial en el Gran Chaco, edited by José cuerpo y los cuerpos en-el-mundo. Vervuert, 2010. Braunstein and Norma C. Meichtry. Indicios para una genealogía (in)dis- Corrientes: EUDENE, 2008.
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• Citro, Silvia. “Creando una mujer: El indigenous dances in the Argentine Group on Historical Sources of Tradi- ritual de iniciación femenina entre Chaco.” Paper presented at the 41st tional Music, Berlin, Germany, 6–13 los toba”. In Mujeres indígenas, edited ICTM World Conference, St. John’s, March 2006. by Silvia Hirsch. Buenos Aires: Bi- Canada, 13-19 July 2011. blos, 2008. • García, Miguel A. “Religious Postu- • Cerletti, Adriana. “The ‘Voice’ of lates, Ethnic Boundaries and Popular • Citro, Silvia and Adriana Cerletti. Power. A comparative study between Music.” Paper presented at the 38th “Continuities and Re-elaborations in shamanic songs and Evangelical ICTM World Conference, Sheffield, Indigenous Music and Dances: The song-dances among Tobas in the Ar- England, 3-10 August 2005. Case of the Mocovi.” Review: Litera- gentine Chaco.” Paper presented at Concluding Remarks ture and Arts of the Americas 77, Vol. the 41st ICTM World Conference, St. 41 (2008): 271–275. John’s, Canada, 13-19 July 2011. Since there have been no university careers in Ethnomusicology in Argen- García, Miguel A. and Ana María Ruiz, Irma. “La creatividad indígena • • tina, our traditional musics and dances Spadafora. “Visitantes oportunos e al servicio de una visibilización es- have been studied initially by Folklor- inoportunos de la noche pilagá. De- tratégica: las músicas públicas mbyá- ists and Musicologists, later by An- rivaciones del sueño en la vida di- guaraní”. Paper presented at the 11th thropologists trained in music or urna.” Indiana 26 (2008): 149–176. Congress of SIBE, 3rd Congress of dance, and in the last decade also by popular musics of the Spanish and Sociologists and Music professors. • García, Miguel A. “Políticas de uso y Portuguese speaking world and 1st This has probably contributed to the ‘posesión’ de los cantos entre los pi- Congress of the Portugal ICTM Na- development of these studies as an in- lagá del Chaco argentino. Cuadernos tional Committee, Lisboa, Portugal, terdisciplinary field involving different de Música Iberoamericana 16 (2008): 99- 28-31 October 2010. 109. approaches and theoretical influences. • Citro, Silvia and Adriana Cerletti. In this sense, one of the main chal- • García, Miguel A. “Ambiente tec- "The embodiment of gozo (bliss). Aes- lenges to the researchers is to reach a nológico y música popular en el con- thetic experience, emotion and ideo- fruitful synthesis between the aesthetic texto multiétnico del Chaco argen- logical discourse in the Toba dances analysis of music and/or dance and tino.” In Músicas Populares. Aproxima- of the Argentine Chaco.” Paper pre- the study of their socio-cultural con- ciones teóricas, metodológicas y analíti- sented at the 40th ICTM World Con- texts as well the experiences of their cas en la musicología argentina, edited ference, Durban, South Africa, 1–8 performers and audiences. by Federico Sammartino and Héctor July 2009. Rubio: 59–79. Córdoba: UNC, 2008. Finally, as this review shows, just a few • Citro, Silvia and Cerletti, Adriana: researchers could participate in ICTM • Ruiz, Irma. “¿Lo esencial es invisible "Music and dance in the Guaycurú Events along these years, in part due to a los ojos? Presencias imprescindibles rituals: performance and cosmology the comparatively high costs of travel- y ausencias justificables en el paisaje from a dialectic perspective." Paper ing and registration for us and for sonoro ritual cotidiano mbyá- presented at the 39th ICTM World other scholars from LatinAmerica as guaraní.” Cuadernos de Música Ib- Conference, Vienna, Austria, 4-11 well. We hope this participation may eroamericana 16 (2008): 59–84. July 2007. increase in the next years which will Papers presented at ICTM World Con- certainly contribute to develop this • García, Miguel A. “A chat with the promising field. ferences and Study Group Symposia past. What historical sources can tell • García, Miguel A. “Historical sound us about Argentine popular music in Austria sourced: a fragmentary and unfin- the early 20th century.” Paper pre- ished knowledge. The case of Tierra sented at the 39th ICTM World Con- by Thomas Nußbaumer, del Fuego Recordings.” Paper pre- ference, Vienna, Austria, 4-11 July Chair of National sented at the 19th Symposium of the 2007. Committee ICTM Study Group on Historical • Ruiz, Irma. “Cosmology and musical Symposium on Music Sources of Traditional Music, Vienna, practices: Gender roles in ritual per- Therapy Austria, 6–10 March 2012. formances.” Paper presented at the On 3 June 2012, the ICTM Austria Na- 39th ICTM World Conference, • García, Miguel A. “Music from Tierra tional Committee held its annual gen- Vienna, Austria, 4-11 July 2007. del Fuego. Rethinking researcher’s eral assembly. The event was preceded epistemological and aesthetic ap- • García, Miguel A. “Canonical (eth- by a symposium on 2 June, entitled proaches.” Paper presented at the no)musicology and the reconstruc- “Music as Therapy – Perspectives from 41st ICTM World Conference, St. tion of the history of music in Argen- Ethnomusicology and Music Therapy” John’s, Canada, 13-19 July 2011. tina. The case of Lehmann-Nitsche (the symposium was held entirely in • Citro, Silvia. “‘Now, we are modern- recordings.” Paper presented at German, but for convenience, all titles ised’. A dialectical approach to the Symposium of the ICTM Study will be presented in English).
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Following the opening address by committee Chair Nußbaumer, the key- note lecture was presented by Austrian/German music therapist, psychologist and medical doctor Wolf- gang Mastnak. The keynote raised the question “Music as Therapy – Holistic Mysterium and Scientific Perspective, a Contradiction?” Mastnak produced examples and explanatory models from both evidence based medical studies, as well as from his own expe- rience in intercultural music therapy research based in Eastern Asia, specifi- cally in Shanghai.
In the afternoon, two additional lec- tures were given by August Schmidho- fer, “Suggestion as an Efficiency Factor in Music Therapy”, and by Bernd Bra- The Georgian Rustavi choir at the presentation of “European Voices II” (ed. Ardian Ahmedaja), n bec de Mori on “Music Therapy ex 18 May 2012. Photo: Nicola Benz. Shamanism: Magic of Contact, Con- tamination, and Mimesis from a Cul- cifically in therapy. Further on, the Further activities and publications by mem- tural Anthropological Perspective”. threat of a cultural neo-colonialism was bers of the Austrian National Committee Schmidhofer suggested to develop a discussed, questioning if music ther- Institute of Folks Music Research and model based less on ethnopsycho- apy in Europe may appropriate sounds Ethnomusicology at the University of analysis (as his title would make us and methods invented by non- Music and Performing Arts Vienna assume) but rather on sociological and European communities. social anthropological explanations of The Institute of Folk Music Research what happens in therapeutic sessions, The three sessions were chaired by and Ethnomusicology at the University exemplified on tromba practices in Thomas Nußbaumer, Ursula Hemetek, of Music and Performing Arts Vienna Madagascar. Brabec de Mori tried to and Regine Allgayer-Kaufmann respec- has been able to publish a new volume explain the efficiency of music by tively. The symposium reached a rela- of the “kanglese”series, for the first time switching epistemological perspectives tively big audience and discussion was as an internet-publication: Ursula He- and viewing music therapy, especially intense throughout the day (and the metek (ed.): Music and Minorities in techniques involving “trance” or “al- evening gathering thereafter). The Ethnomusicology: Challenges and Dis- tered states”, as a magical practice (in topic is highly appealing for a variety courses from Three Continents, Institut the way non-European praxis is often of disciplines and the symposium con- für Volksmusikforschung und Ethno- analysed), thereby deconstructing the tributed in fostering interdisciplinary musikologie, Vienna 2012. See more on category “shamanism”. cross-consultation and cooperation. page 68. Finally, on 30 August the Austrian The symposium was concluded by a Broadcast Company (ORF) aired a 25- Two members of the Institute, Ardian round table discussion with invited minute report “Healing Sounds”, fea- Ahmedaja and Ursula Hemetek, co- guest speakers Gerhard Kubik (ethno- turing interviews with various partici- organised two Symposia of the ICTM musicologist, Vienna/Malawi), Ruth pants as a follow-up to the symposium; Study Groups they chair, on Multipart Kutalek (medical anthropologist, therefore the audience reached was Music (Tirana, Albania, April 2012) and Vienna), Wolfgang Mastnak (music exceptionally large for an academic on Music and Minorities (Zefat, Israel, therapy researcher, München) and event. August 2012) respectively. Read more Monika Glawischnig-Goschnik (music about the Symposia on pages 55 and New homepage therapist and medical doctor, Graz). 57. Under the headline “Healing with Mu- The Austrian National Committee of The institute was also active in hosting sic, Healing through Music? Music the ICTM has polished up its web ap- lectures of respected colleagues from Therapy from an Intercultural Perspec- pearance. The site is hosted by the abroad: Britta Sweers (University of tive”, the discussion addressed the par- University of Music and Performing Bern/Switzerland), Brigitte Bachmann- tial incommensurability of measures Arts Graz and provides details about Geiser (Bern/Switzerland), and Mark and methods among different human members, as well as current and past Slobin (Wesleyan University/USA). ontologies present in different societies, activities. Please visit it here. as well as modes of explanation of the A cooperation with the Georgian em- efficacy of music in general, and spe-
Bulletin of the ICTM Vol. 121 — October 2012 — Page 28 REPORTS bassy in Vienna enabled the institute to invite the well known Georgian Rus- tavi Choir for the presentation of the book “European Voices II”, edited by Ardian Ahmedaja (Editor’s Note: fea- tured in Bulletin of ICTM #120, page 51). China by Xiao Mei (萧梅), Chair of National Committee
The Shanghai Conservatory of Music held International Symposium “Traditional Music In The Contemporary Society” Participants of the 108th Ordinary Meeting of the ICTM Executive Board In the occasion of the 108th Ordinary Meeting of the Executive Board of latest developments in international Vice President Salwa El-Shawan ICTM in late June, 2012, a series of ethnomusicology. Castelo-Branco (Portugal) can be re- academic events were held by the garded as the practical aspects of the Shanghai Conservatory of Music. Quite a few scholars paid close atten- subject. The former gave a paper enti- Among them were a workshop lead by tion, theoretically and practically, to the tled “Production of heritage within Executive Board Member Tran Quang subject of “how music can influence UNESCO: Comparing Croatia and Hai entitled “Discovery of overtone and even change dynamically or initia- China as successful state parties”, and singing /Theory and Practice”, a pre- tively the environment in which it ex- the latter examined “how music has miere of the Chinese translation of the ists”. In his speech “Ethnomusicology been implicated in the articulation of book May It Fill Your Soul, written by in Times of Trouble”, Timothy Rice ex- the nation-state, nation belonging, poli- Executive Board Member Timothy Rice plicitly suggested this perspective, fo- tics of representation and power rela- (UCLA), and on 29 June the Interna- cused on the study of music’s role in tions” during the time of dictatorship tional Symposium entitled “Traditional solving or exacerbating contemporary between 1933 and 1974 in Portugal, Music in the Contemporary Society” problems instead of in a traditional agreeing with the idea of “the central- was held. “authentic” context. ity of cultural practice to the inculca- Among those who contributed greatly Adrienne L. Kaeppler, ICTM President, tion of political ideologies and he- to the organisation of this meeting posed the question of “to whom we gemonic rule, and to the efficiency of were the Anthropology of Music Divi- study ethnomusicology”. In addition to resistance movements that eventually sion E-Institutes of Shanghai Universi- these theoretical studies, the researches led to its overthrow”. Besides, the ties, the Research Institute of Ritual of ICTM Executive Board Member typical topic of the relationship with Music in China (RIRMC, the key re- Naila Ceribašić (Croatia) and ICTM and significance of music for public life search Institute of Humanities & Social Science in Shanghai) and the Institute of Traditional Music in China.
During the symposium, ICTM Execu- tive Board members from the USA, Croatia, Portugal, Brazil, France, the UK, Slovenia and Austria, alongside Chinese scholars from the Music Re- search Institute of the Chinese National Academy of Arts, the School of Music of Central China Normal University and Shanghai Conservatory of Music shared the subjects and accomplish- ment of their recent researches. Their enthusiastic discussion also presented us with brilliant intellectual virtuosity. The symposium acquainted us with the Standing, from left to right: Wu Fan, Qi Kun and ICTM Executive Board Member J. Lawrence Witzleben. Seated: ICTM Vice Presidents Salwa El-Shawan Castelo-Branco and Stephen Wild, ICTM Secretary General Svanibor Pettan.
Bulletin of the ICTM Vol. 121 — October 2012 — Page 29 REPORTS was thoroughly discussed in the versity of Berlin from 1988 to 1999 suc- had the opportunity to offer a number speeches of ICTM Executive Board cessively obtaining my BA, MA (1994) of scientific presentations on various Members Jean Ngoya Kidula from and Ph.D degrees (1999) in this aca- international conferences, symposia University of Georgia and Razia Sul- demic field. From 2004 to 2007 I con- and workshops in Europe, Asia and tanova, Dean of the Research Institute ducted an intensive research in East Africa. of Central Asia of Cambridge Univer- Africa as a fellow of the German Re- sity. Moreover, the symposium set a search Association (DFG) and as an In addition to being a member of round table named “Shanghai City affiliate of the Martin-Luther Univer- ICTM, I am active in a variety of inter- Music Research”, in which Huang Wan sity of Halle-Wittenberg (MLU) focuss- national organisations, such as the In- and Zhang Yanli from Shanghai Con- ing on aerophones. My fieldwork in ternational Association of Sound and servatory of Music and Wu Yan from five East African countries in 2005, Audiovisual Archives (IASA), Orbis Nanjing Normal University gave re- which enabled me to explore quite a Aethiopicus (Safeguarding of Ethio- ports about the characteristics of the large number of musical cultures pian Cultural Heritages), Board mem- city music of Shanghai. Furthermore, among communities inhabiting the ber of Amhara Region Cultural and Qi Kun from Beijing, Wu Fan from region, taking me to Uganda, Tanzania, Development Research Centre, Bahir Wuhan and Mu Qian, a journalist from Kenya, Ethiopia and the Sudan. The Dar University (BDU; Ethiopia) as well China Daily demonstrated in their outcome of this elaborated research as member of the Ethiopian Students speeches refined theoretical capacity was published as a book in early 2009 and Alumni Association in Germany and solid fieldwork. in Berlin under the title Aerophone im (DÄSAV). Instrumentarium der Völker Ostafrikas MA Program in Ethnomusicology at the Yared These series of activities promoted the [Aerophones Among the Societies of School of Music (YMS), Addis Ababa University communication between Chinese East Africa]. (AAU) scholars (especially the younger gen- eration) and the international academic My scientific research so far deals with The Yared School of Music (YSM), Ad- circle in the field of scholarship of mu- the investigation of the various music dis Ababa University is the only music sic and dance, with widened range and traditions of Ethiopia in particular and learning institution of its kind in horizon. New perspectives and inspira- East Africa at large. My publications Ethiopia to date. Founded in 1954 by tion were also brought to the research (books and articles) resulting from the the Ministry of Education & Fine Arts of Chinese music professionals as well past two decades have been very in- as a full-fledged state-owned learning as the contemporary preservation of strumental to introduce and promote centre for higher music training in the traditional cultures. the Ethiopian musical cultures, e.g. the country, its former name, National Harari, Tigray, Amhara, Oromo, Maale, School of Music was officially changed Ethiopia Ari, Berta, Mao, Komo, Gumuz and the to Yared School of Music in 1969. The Shinasha as well as the traditional mu- school was administered by different by Timkehet Teffera, sics of other East African communities government bodies until it was de- Liaison Officer such as the Nymang (Sudan) Baganda, cided to have the Addis Ababa Univer- In the mid of this year Basoga (Uganda), Wasambaa (Tanza- sity take over the administration in (2012) the ICTM Execu- nia), Giriama and Digo (Kenya). 1999, thus upgrading its program to tive Board proposed me the level of Bachelor of Arts degree. Having chosen a career in Ethnomusi- for the position of the cology—a nearly unknown field in Despite the socio-economic and cul- national representative (liaison officer) Ethiopia—I have been able to stand out tural situation Ethiopia has been for Ethiopia. I am very grateful for be- in my efforts as the only female scholar through in the past decades, the YMS ing nominated to accomplish this task. in this field from Ethiopia to date. has registered a significant progress in It will hence be my pleasure to do my Apart from my scholarly publications, I terms of accomplishing its goal best to serve as a bridge and act as in- termediary between ICTM and Ethio- pian music and dance scholars along with all scholarly activities that are re- lated with this particular subject. How- ever, before communicating the new activities taking place in Ethiopia, I would like to seize the opportunity to introduce myself, my academic back- ground and my scholarly activities.
I am an Ethiopian ethnomusicologist (independent scholar). I studied eth- nomusicology at the Humboldt Uni- Yared School of Music (YSM), Addis Ababa, Ethiopia (left: old building; right: new building)
Bulletin of the ICTM Vol. 121 — October 2012 — Page 30 REPORTS through training young music profes- The YSM welcomes interested scholars credits) is currently a new and unique sionals, teachers, researchers, singers, to give lectures, seminars, workshops study in German-speaking countries. performers and more, who, through in ethnomusicology and related disci- their talent, impacted the cultural, in- plines and to share their experiences Bernhard Bleibinger (Fort Hare/South tellectual, and socio-economic life of with students. Africa) started into the conference’s their society both locally and on inter- topic with a report on a course of study national arts forums. For further details and information, established by Dave Dargie in the please contact: 1980s at the music department of the The ultimate goal of the YSM being to University of Fort Hare based on both increase the number of skilled man- Timkehet Teffera “western” and African Music, thus en- power that meets the need of the coun- Postal Address: Knaackstr. 99 riching the curriculum, offering places try in the area of music and related 10435 Berlin, Germany for interaction and preparing the way trades, the institution has exerted [email protected] for a new transcultural reality. The maximum effort to apply state-of-the situation and struggles of unmarried Mentesnot Kebede art musical instruments, along with women and 'migrant widows' of the deployment of highly skilled teachers. [email protected] rural Xhosa society in South Africa as Today, a large number graduates of the Coordinator, Graduate programs and reflected in the songs of the Lumko school work for government and/or research unit, Yared School of Music, area were the focus of the paper given private cultural centres and educa- Addis Ababa University. by Dave Dargie (Fort Hare/South Af- tional institutions as singers, music rica). Edda Brandes (Mainz) examined performers, arrangers, composers, Germany the musical reality in Mali, a country teachers and researchers. where about thirty different ethnic by Dorit Klebe, Chair of groups live, raising questions concern- National Committee Furthermore, providing music students ing multi-ethnicity, identity-shaping with a wide-range of knowledge, the The Germany ICTM factors, transculturality, and presented Addis Ababa University recently, has National Committee music examples both emphasising the designed an MA program in Ethnomu- held its General Assem- original roots and of fusion music re- sicology, in a bid to further enhance the bly and Annual Meet- sulting from encounters of musicians areas of training, adding one more as- ing from 3 to 4 February 2012 in on a transcontinental level. pect of a discipline that enables stu- Würzburg, invited by the Chair in Eth- dents to study music in relation to cul- Jigs and Reels in Tobago, a Caribbean nomusicology at the Institute of Music ture, politics, social life, psychology, Island, were investigated by Andreas Research of the Julius-Maximilians- religion, art and economy. The greatest Meyer (Berlin) in regard to musical University Würzburg. The inspiring part of the modules offered in this pro- ‘artification’ [from the German artifika- venue of the conference was the Tosca- gram combine music as an art form, tion, a transformation from non-art into nasaal, a hall of the Würzburg Resi- with special emphasis on how musical art); he pointed out innovations in the dence. art and practice relate to other aspects musical performance of jigs and reels, of culture, society, politics, and eco- On Friday afternoon, 3 February, the traditionally performed on weddings nomics. They also refer to music phi- Chair of the Germany ICTM National and feasts, but recently more and more losophy and aesthetics as well as the Committee Dorit Klebe warmly wel- removed from its traditional context. study of music perception and cogni- comed the participants. The conference In his free report of recent research, tion applying experimental methods. was opened by the Head of the Insti- Felix Pfeifer (Weimar-Jena) presented The program also aims at developing tute of Music Research of the Julius- a topic new to most participants of the the students’ critical thinking and skill Maximilians-Universität Würzburg meeting; the use and usefulness of of conducting ethnographic studies of Andreas Haug and the former holder acoustic cameras with a specific record- any musical traditions in different cul- of chair in Ethnomusicology Ralf Mar- ing technique as currently applied in tural settings. tin Jäger. the automobile industry for musi- Students specialising in this field will The topic of the Annual Meeting 2012, cological micro-analysis of traditional have the opportunity of studying mu- “Musik and Transkulturalität” (Music music from Myanmar. sic in cross-cultural context and be able and Transculturality) was, as usual, Two papers thematised the music of to analyse the role of music in human coordinated with the inviting institu- church service from different points of life from various aspects. The program tion. It was connected with the recently view. Li Ma (Bamberg) contributed to is also intended to encourage scholars established Master degree course in the conference’s topic with a paper to explore the untapped the diverse Ethnomusicology / Transcultural Mu- looking upon the influence of the Chi- musical riches and artistic endowment sic Studies at the Institute of Music Re- nese traditional music on the Catholic of Ethiopia. search. This Master degree in ethno- church service in China combining two musicology (acquisition of 45 ECTS different cultures by various musical
Bulletin of the ICTM Vol. 121 — October 2012 — Page 31 REPORTS manifestations; with selected music examples she demonstrated transcul- tural processes and interactions be- tween traditional Chinese religions and the Catholic liturgy. Heiko Fabig (Stapelfeld) observed the music cul- tural practice of the Gospel music movement especially concerning the development of music styles, exploring reasons for innovations of music styles and connections to the cultivation of traditions in the music of the church service.
Based on selected passages of lyrics The Würzburg Residence – Venue of the General Assembly and Annual Meeting. Photo: Jürgen Sven Kirschlager (Berlin/Mexico) Schöpf gave a free report on his recent re- search studies on lyrics of Mexican papers will be published in book form. Dorit Klebe (Berlin) explored the musicians who earn their living in The executive committee will take care transcultural phenomena of the country buses playing for passengers. to find out conditions and formalities Ottoman-Turkish song “Üsküdar’a gid- He analysed the lyrics by means of re- and inform the members about the re- eriken . Having started her research lational space concepts, concerning on sults thereafter. from an early documentation of 1902 the one hand the representation of out of the Ottoman period she exam- spaces and on the other the formation After the General Assembly had fin- ined stages of survival in German- of loci, spaces and movements. ished the presentation of papers was speaking countries between 1970 and continued by Ralf Martin Jäger (Mün- 2011, focusing on processes of change On the morning of Saturday 4 February ster) who informed about the MA on like of structures of lyrics and music, the General Assembly was held and offered by the Institute of Music Re- heterophnic and non-heterophonic per- opened by the Chair Dorit Klebe. Chair search of the Julius-Maximilians- formance practice, hybrid structures, and Vice Chairs—with exception of Universität Würzburg. More informa- shapes of different music styles and Gisa Jähnichen who could not partici- tion can be found online here. changes of the sociocultural context as pate in the Annual Meeting at well. Würzburg— reported on their activi- Barbara Alge (Rostock) reported on the ties of the previous year, including results of the conference ”Beyond Bor- Students of Tiago de Oliveira Pinto meetings of Chair and Vice Chairs, par- ders: World-Music-Pedagogy” which from the University Weimar/Jena en- ticipation in the 41st ICTM World Con- took place at Rostock University of riched the programme of the confer- ference in St. John’s, Newfoundland, Music and Drama from 11 to 13 No- ence with poster presentations of their and in various meetings of ICTM vember 2011, organised by herself in recent field research. Nina Graeff in- Study Groups, where a great number collaboration with Oliver Krämer (Edi- formed in her poster presentation of members of the German National tor’s note: see page 33 for full report). about “The ‘transcultural triangle’: Re- Committee is very actively involved as The last session started with a speech search datas concerning the musical Chairs, Co-Chairs and/or members. of Ekkehart Royl (Berlin). He dis- practice in Rio de Janeiro, Angola and Bahia”. Maarja Haamer Ansorg pre- A main topic of the General Assembly cussed dualistic principles in the music sented a poster on “Birds and other was the election of a new executive of various cultures, stretching from animals as messengers from the next board. Dorit Klebe (Berlin) was elected early forms of acoustic communication, world. Study of lamentation songs of as Chair, and Ulrich Morgenstern “primitive“ music up to European art the Setu, Estonia“. (Hamburg) and Edda Brandes (Mainz) music, demonstrating various musical were elected Vice Chairs. The new manifestations, especially focusing his The conference was completed by a committee expressed their gratitude to examples on the contrast of tension/ visit to the collection of musical in- the members for their confidence. de-tension. struments, under the guide of Ralf Martin Jäger. This collection, though in A further important topic concerned Angelika Jung (Weimar) reported on the beginning of its foundation, al- the publishing of proceedings. Several the basis of her field research on the ready contains unique artefacts from proposals were discussed among the Bukharan Shashmaqom, on the last rep- Japan gratefully donated by Robert participants forming the opinion to resentative Ari Babakhanov living now Günther. make papers accessible on a Virtual in Germany and about safeguarding Library of Musicology in form of an the Shashmaqom in Central Asia (Edi- The presented papers showed the wide Online-Database. Additionally, selected tor’s note: see Uzbekistan report for more range of the conference’s topic and on pages 45-48).
Bulletin of the ICTM Vol. 121 — October 2012 — Page 32 REPORTS could only adumbrate issues in its ini- American music pedagogy specialist importance of musical education in tial stages. It seems that interesting ap- emphasised the political and ethical overcoming social challenges in the proaches to a methodical convergence implications of music education and “kaleidoscope of cultures” in present- are developing and research areas and presented her model of a music day Germany, issues that were devel- regions indicate to be explored. The teaching-training course which sought oped through Barbara Alge’s response proceedings to be prepared for being to equip music teachers of the twenty- showing the usefulness of ethno- published could enrich the discussion first century with pedagogical methods graphic fieldwork paradigms for music of this complex of subject. and materials required for teaching in education. Finally that day, Britta today’s diverse and globalised society. Sweers (Bern) offered a critique of an I would like to express my gratitude to By emphasising the significance of ethnomusicological canon of musical the organisers. The meeting owed its musical practice (performing and lis- cultures created through music educa- good atmosphere to the students’ help- tening), she proposed a “deep musical- tion, a discussion that was continued ing hands and last but not least to the cultural pedagogical experience” by her respondent Alexander Cvetko Institute of Music Research of the which promotes intercultural respect (Siegen). The day was rounded off by a Julius-Maximilians-Universität and exchange. The remainder of the concert by Kaleidoskopnacht consist- Würzburg for being the host for this conference consisted of extended pres- ing of musical performances by stu- meeting. I am also thankful to all par- entations by invited speakers and re- dents of the host institution. ticipants who found their way to spondents of mainly a German- Würzburg in spite of very chilly, if speaking academic community whose The final day of the conference began sunny, weather conditions, and espe- research foci spanned the fields of eth- with two parallel sessions. In one cially to those who helped with their nomusicology and music pedagogy. Bernd Clausen (Würzburg) offered a elaborated papers, lively discussions wider historical and critical context for and even home made cakes to make On the morning of Saturday 12th Max- the issue of diversity in musical educa- the conference a success. Peter Baumann (Würzburg) advocated tion, whilst in the other Isolde Malm- a “transversal listening” which would berg (Vienna) suggested practical ex- The next Annual Meeting will take promote a practice of intersubjectivity amples of how culturally sensitive ap- place by invitation of Klaus Näumann and transcultural sensibility. His pres- proaches could be introduced into the at the Institute of European Ethnomu- entation was complemented by Oliver classroom. This was followed by a sicology, University of Cologne, from Krämer’s (Rostock) response, which workshop session in which all confer- 15 to 16 February, 2013. The members suggested ways in which such a prac- ence participants were arranged in are warmly invited to join this meeting. tice of listening might be achieved. groups to discuss, produce and present Report on Conference “Beyond Borders: World- Dorothee Barth (Hamburg/Berlin) then potential new music curricula for dif- Music-Pedagogy. Music Pedagogy and Ethno- considered the classroom as a vital ferent levels of musical education in musicology in Discourse” space for the formation of social identi- Germany. To conclude the event, con- Rostock University of Music and Drama ties and thus highlighted the impor- ference participants then engaged in 11-13 November 2011 tance for creating a pedagogical open discussion to further explore and Organised by Barbara Alge (ethnomu- method that would allow for pupils to round up particular issues raised over sicology) and Oliver Krämer (music explore their own identity. The re- the last two days. sponse by Raimund Vogels (Hanover/ pedagogy), the event set out to provide “Beyond Borders: World-Music- an important space for debate, ex- Hildesheim) argued that such a model could not be realised in an education Pedagogy” set out to address pressing change and reflection on timely and issues in contemporary music educa- pertinent issues in the realm of con- system that was still heavily ‘Eurocen- tric’ and posited a more critical tion. Bringing together leading scholars temporary music pedagogy by bring- in the fields of ethnomusicology and ing together prominent scholars in the “cultural-anthropological interpretive music pedagogy”. music pedagogy, and drawing an audi- fields of ethnomusicology and music ence of international academics as well pedagogy. The conference aimed in In the afternoon, Simone Krüger (Liv- as music teachers and students from particular at exploring and developing erpool) drew on her extensive research Germany, the event created a vital new ways of conceptualising and prac- on ethnomusicology teaching in higher space for the exchange of diverse per- ticing a culturally sensitive music edu- education in the UK and Germany to spectives and experiences and the forg- cation in an increasingly ‘multicultural’ highlight the persisting challenges ing of new dialogues across profes- society. faced by teachers in overcoming stu- sional and disciplinary boundaries. Indeed, this theme was opened up dents’ values and expectations of The success of the event was very through a thought-provoking keynote musical ‘authenticity’ and ‘exoticism’. much indebted to the academic exper- lecture given by Patricia Campbell In response, Irmgard Merkt (Dort- tise and hard work of the organisers (University of Washington, Seattle) mund) suggested practical ways of Barbara Alge and Oliver Krämer, as entitled “World Music Pedagogy on overcoming such problematic ideolo- well as their student helpers. the evening of Friday 11th”. Here, the gies in the classroom. Professor Mag- nus Gaul (Rostock) then discussed the
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More information on the conference speech “Strawberry Fields Forever – “simply the greatest”, Bernward and the upcoming publication under How Simple Beat Songs Became a So- Halbscheffel (Leipzig) demonstrated in www.hmt-rostock.de. phisticated Art.” Kramarz particularly his speech. Beginning with the Beatles, reported about the historical, social through Extreme, to contemporary Report on Conference “Art and Commerce in Progressive Rock” and political situations as well as the bands like the french Daft Punk, University of Cologne music-historical conditions which led Halbscheffel made clear to which ex- 23-24 November 2011 to this special movement in the late tent those groups borrow musical ideas 1960s. and elements from Bach. However, he On 23-24 November 2011 the Interna- stressed that this could be “discov- tional Conference “Art and Commerce As Kramarz before, Eckard Münch ered” by the listener only through de- in Progressive Rock” took place at the (Cologne) in his lecture about tailed knowledge of the classical reper- University of Cologne. The event was a “Krautrock” focused on the political toire, and not without it. cooperation between the Institute for and social developments. Using exam- European Ethnomusicology (Univer- ples of music he discussed the nature The musical aspect of socialisation, sity of Cologne) and the Macromedia and the musical characteristics of which is especially in Progressive Rock Hochschule für Medien und Kommu- Krautrock and questioned whether of great importance, was highlighted nikation (MHMK) in Munich. there exist any parameters that allow during the last two lectures of the con- us to talk about a coherent style. ference. Klaus Näumann reported In his welcoming speech, Director Re- about “The Musical Socialisation with inhard Schneider first talked about the With selected text passages and quota- Progressive Rock” in the southern part Institute for European Ethnomusicol- tions, Sidney King (Cologne) thereafter of Germany during the 1980s and ogy and its development at the Faculty spoke about the “Effects of Definitions 1990s, based on interviews he had con- of Human Sciences in Cologne. In 2010 and Historical Narratives on the His- ducted with “old fellows” from the the facility was renamed from “Insti- tory of Progressive Rock”. Stuttgart region. The subsequent dis- tute of Musical Folklore” to “Institute The second day of the conference be- cussions with the audience made clear for European ethnomusicology” and in gan with a detailed history about the that the presented results show paral- 2011 provided him with a junior pro- Mellotron (developed in the 1960s) and lels to a lot of progressive rock listeners fessorship. These developments finally its relevance for progressive rock. Flo- and the experiences they made. enabled it to deal with new topics such rian Zwißler (Cologne), himself owner as Progressive Rock. From Europe it finally went to South of one of these rare instruments, ex- America. The Peruvian-born Julio The co-initiator of the conference, plained the complex operation of the Mendívil (Cologne) told in an exciting Mellotron and through numerous pho- way about what probably most of the Klaus Näumann (Cologne), spoke in tos and videos how it was used within audience had never heard before –Pro- his introduction about the history of the genre. gressive Rock bands in Peru during the the conference, how he got in contact 1970s. Above that he explained how with lecturers, the importance of the In his speech “Shreds of Memory in difficult it was to socialise with this topic, the enduring lack of acceptance Post-Millennial Prog” Allan Moore music during those times, and also in the scientific context and the state of (Surrey, GB) reported about musical demonstrated some music samples that research about Progressive Rock. In similarities between the Progressive can rarely be heard. addition, he outlined nature and ori- Rock of the 1970s and the new millen- gins of the genre since the mid-1960s to nium. With music samples Moore On the whole, the conference showed the present day, dealt with the term showed how contemporary artists like the potential of the subject Progressive and related terms, and emphasised the Neal Morse or the Flower Kings refer Rock from a scientific point of view. high potential for future research. to the works of the classic Progressive Different disciplines dealing with mu- Rock bands like Yes, King Crimson and sic can find exciting and still largely The first lecture, by Michael Custodis Genesis. unexplored topics that are worth to (Münster) was titled “Symphonic Prog dabble with. A start has been made, Orchestral Projects of The Nice to Steve Following another approach, Franco hopefully followed by further efforts to Vai”. In addition to a historical sum- Fabbri (Milan) in his lecture focused on establish the genre also in the German mary, the artist Steve Vai was specially “Rock in Opposition” (RiO), mainly scientific discourse. in focus, since Custodis already con- from the 1960s till the 1980s in Italy. ducted several interviews with him. In Fabbri–himself a well known guitarist, the centre of Custodis' exciting contri- vocalist and composer of the band bution were musical scores which were Stormy Six–defined RiO as a genre used by him to explain musical struc- with which some of the progressive ture and specific characteristics. rock bands felt familiar.
An entirely different approach chose That Johann Sebastian Bach was for Volkmar Kramarz (Bonn) with his many artists of rock and pop music
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Japan Kazakhstan Kazakh Kurmangazy National con- servatory. Almaty, December 2007. by WASEDA Minako, by Saule Utegalieva, Liaison to ICTM of Liaison Officer • Problems of musical art, science and National Committee education. Round Table on the 70th In recent years (2006- anniversary of Kira Kirina (1937- The Society for Re- 2012) the scientific and 2004), renowned Kazakhs musicolo- search in Asiatic Mu- cultural life in Ka- gist. Organised by the Kazakh Kur- sic (Tōyō Ongaku zakhstan has been very mangazy National conservatory. Al- Gakkai = TOG) took rich and interesting. Many cities in Ka- maty, December 2007. the role of ICTM Japan zakhstan have held international and National committee in 2001. TOG was regional scientific conferences, sympo- • International conference celebrating founded in 1936 as a forum for ex- sia, workshops and music festivals. the 100th anniversary of Kuddus changing knowledge and research in Themes ranged from homages to the Kuzham’jarov (1908-1995), composer, the field currently known as ethnomu- memory of outstanding Kazakh musi- national artist and considered the sicology. The current TOG membership cians, composers, musicologists and founder of professional Uigurian is about 650, including scholars, per- ethnomusicologists who have spear- music. Organised by the Kazakh formers, independent researchers, and headed the formation of the musical Kurmangazy National conservatory. students. Many TOG members are also culture of the country, to the various Almaty, April 2008. ICTM members, and the president of problems of modern and traditional • Traditional Song. Problems of learning TOG assumes the position of Chair of musical culture of Kazakhstan and and mastery. International conference ICTM Japan National Committee. TOG Central Asia, as well as the current on the 20th anniversary of the Folk also appoints a committee member to state of music education in the country song Department. Organised by the support the representative. The author and the region as a whole. Kazakh Kurmangazy National con- has been in charge of this supporting servatory. Almaty, October. position since 2006. Below is given information about the most important and interesting events • International conference celebrating and projects. the 100th anniversary of Piotr Aravin Conferences (1908-1979), famous scholar, musi- cologist, teacher, lector and public • Beautiful life is a pattern in the centu- man of Kazakhstan. Organised by ries. International conference, de- the Kazakh Kurmangazy National voted to 100th anniversary of Akh- conservatory. Almaty, November met Zhubanov (1906-68), the great 2008. musicologist, composer, academic, national artist, winner of the State • Musical and pedagogical Heritage of Prize of Kazakhstan, and one of the Garifulla Kurmangalijev. International founders of the Kazakh musical sci- conference devoted to the 100th an- ence in the twentieth century. Organ- niversary of Garifulla Kurmangalijev ised by the Kazakh Kurmangazy Na- (1909-1993), an outstanding musician tional conservatory, Almaty, April and anshi (folk singer). West- 2006. Kazakhstan Utemisov State Univer- sity. Ural’sk, October 2009. • Traditional music of Turkic people: pre- sent and future. International confer- • The role of Turkic world in civilisation The current president of TOG and ence organised by the Kyzylorda dialogue. International symposium Chair of the Japan National Committee Korkyt Ata State University and the organised by the Institute of Culture is KANESHIRO Atsumi of the Oki- Kyzylorda Oblast Akimat. Kyzy- Politics and Arts Study and Interna- nawa Prefectural University of Arts lorda, September 2006. tional Organisation “Turksoy”. Al- (pictured above). maty, April 2009. • Language of traditional music and mod- TOG’s main activities include the or- ern cultural space. International con- • Traditions and development. Interna- ganisation of an annual conference and ference organised by the centre “El”. tional conference devoted to the publication of the Journal for Research in Almaty, October 2007. 150th anniversary of Dina Nurpei- Asiatic Music (Tōyō Ongaku Kenkyū). sova (1861-1955), famous kyuishi, vir- TOG will hold its 63rd Annual Confer- • International conference celebrating tuoso dombra performer and national ence Kunitachi College of Music (Ta- the 80th anniversary of Bulat Sary- artist. Organised by Kazakh Kur- chikawa, Tokyo) from 10 to 11 Novem- baev (1927-84), renowned Kazakh mangazy National conservatory. Al- ber 2012. See page 21 for details. ethnoorganologist. Organised by the maty, December 2011.
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• Korkyt and tunes of Great steppe. Inter- national research and practice con- ference. Organised by International organisation "Turksoy". Kyzylorda, September 2011.
• International Research Round table, devoted to the 70th anniversary of Bulat Karakulov (1942), a professor of Kazakh Kurmangazy National conservatory. Organised by Kazakh Kurmangazy National conservatory. Almaty, May 2012.
Proceedings from all these conferences have been published. Uighur Folk and ethnographic Ensemble “Nava”
The conference Traditional musical music. Folk musicians arriving from Altai Kazakhs. It includes material cultures of peoples of Central Asia was the different regions of Kazakhstan, collected by the author in field expe- an important event in the cultural life Central Asian republics and China took ditions to East Kazakhstan, Altai, and of the region. It was organised by my- part in them. Western Mongolia. self for the Kazakh Kurmangazy Na- tional Conservatory in May 2009. Program and reports of the conference • Sarymsakova, Almagul’. Zhyr-kyuis were published in Kazakh, Russian and an-kyuis in dombra tradition of Ka- The conference was attended by dele- and English. A CD was produced con- zakhs. Almaty, 2007. In Russian with gates from countries such as Japan, taining the recording of concerts of English summary, 124 pages. Turkey and China, and especially from traditional music. the Central Asian republics of Azerbai- • Kasymova, Galija. Ritual music cul- jan, Turkmenistan, Kyrgyzstan, Tajiki- In recent years, the city of Astana has ture of Kazakhs. Almaty, 2008. In Rus- stan, as well as from Russia (Moscow, hosted international conferences, sian, 256 pages. The author is a St. Petersburg, Kazan’). workshops and music festivals devoted singer, researcher and journalist. She to the music of the Turkic peoples. examines weddings, funeral, mater- Among them is the music festival nity and other shamanistic rituals "Astana-arkau", which takes place from fundamentally new positions. every year. Researchers, as well as mu- sicians from neighbouring Turkic • Khasanova, Rizvangul’. Essays about States were involved in these events. Uigurian Music (from song to opera). Almaty, 2008. In Russian, 143 pages. Scientific Publications This book looks at the origins of Uighur music and theatre. Among the publications that have ap- peared in recent years, we will list • Temirgalieva, Saule & Saule Utegal- From left to right: Saule Utegalieva, Violetta books, researches, monographs, collec- ieva. “Turkmen” kyuis in dombra tradi- Yunusova (Russia), Gjul’naz Ablullazade tions of articles and collections of songs tion of West Kazakhstan. Almaty, 2008. (Azerbaijan) and instrumental pieces for folk In Russian with Kazakh and English At the conference six thematic direc- musical instruments. summary, 130 pages. The authors examine the "Turkmen" kyuis as a tions were considered: Folk music as a Books and researches Source of Historical Information on the relatively independent genre and Ethnogenesis of the Central Asian peo- • Utegalieva, Saule. Chordophones of style group of pieces in the dombra ples; Traditional Music and Religious Central Asia. Almaty, 2006. In Russian tradition of Western Kazakhstan. Systems; Folk Musical Instruments and with English summary, 120 pages. Traditional Musical culture of the Cen- Instrumental Music; Questions of Re- • tral Asian people. Reports of the Interna- cording and Safeguarding of Tradi- • Macievskij, Ihor. Folk Instrumental tional scientific conference. Almaty, tional Music Masterpieces Using Com- music as a Phenomenon of culture. Al- 2009, 468 pages. In Russian, Kazakh, puter Technologies; Traditional Music maty, 2007. In Russian with English and English. and Modern Musical Education and and Kazakh summaries, 520 pages. Music of Diasporas. • Zhuzbasov, Khairulla. Musical folklore • Turmagambetova, Bakhyt. Ka- zakhstannyn Batys aimagynyn an Within the framework of the confer- of Mountain Altai Kazakhs. Almaty, 2007. In Russian, 168 pages. The book madenieti [Song culture of Western Ka- ence a musical festival was conducted, zakhstan]. Almaty, 2009, 320 pages. In which included concerts of traditional is about the musical culture of the
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Kazakh with English summaries. Extensive liner notes include informa- • In August 2010, the Second Interna- The author outlines the features of tion about performers and composers/ tional Symposium of the ICTM Study folk song traditions of Western Ka- creators of kyuis and songs in Kazakh, Group on Musics of East Asia (MEA) zakhstan. Russian and English. This type of an- was hosted by the KNC-ICTM in thologies of recordings of folk vocal Seongnam, Gyeonggido. Collections of Kazakh kyuis and songs and instrumental music are without precedent in the whole cultural space • The Korean Musicological Society • Yskakov, Biljal. Saryarka sazdary. Tat- holds its National Academic Confer- timbet. Talimindegi kyuiler zhinagy. of the former Soviet Republics. These two collections presented a treasure of ence each spring and fall in addition [Saryarka Melodies. Collection of Tat- to its quarterly meetings. timbet kyuis]. Almaty, 2007, 440 pages. Kazakh traditional and modern kyuis In Kazakh. and songs for the first time. • Many Korean scholars participated in the August 2010 meeting of the • Igilik, Bajan. Alystagy shugyla. Korea International Society for Music Edu- (Shynzhan kazaktarynyn kyuileri) [Far cation (ISME) held in Beijing. Light. Xingjian Kazakh kyuis]. Almaty, by KWON Oh-Sung, 2011, 310 pages. This collection in- outgoing Chair of • Several Korean scholars also partici- cludes the best examples of dombra National Committee pated in the Third International Symposium of the ICTM Study music of Kazakhs living in China, In recent years, the Group on Musics of East Asia (MEA) of their genesis, information about research interests of held in Hong Kong in August 2012. folk musicians, and a CD with re- Korean musicologists cordings of kyuis. In Kazakh and have expanded into • In November 2010, the International Russian with summaries in English more ethnomusicological or music- Conference of the Society for Asian and Arabic. anthropological studies than in previ- Music Tonal System (樂律學會) was ous decades. In addition, there has CDs held in Seoul. been an increased level of activity by Anthology of Kazakh Folk Music both the Korean National Committee • In December 2010, the International of ICTM and the Korean Musicological Conference of the East Asian Bud- Within the framework of the Society involving academic exchanges dhist Music Conference was held in government-sponsored program "Cul- with scholars from other countries in Seoul. tural heritage", and with the direct as- hosting or attending international • In November 2011, the International sistance of the Ministry of Culture and symposiums. Information of Kazakhstan, two Conference of the East Asian Society monumental musical anthologies were The International Conference for Ari- for Music Archaeology and Iconol- released in 2011: 1000 Kazakh Traditional rang held in December 2011 in Seong- ogy was held in Seoul. Kyuis and 1000 Kazakh Traditional Songs. nam, Gyeonggido, for instance, was • In October 2012, the East Asian Soci- one of these, at which scholars from ety for Music Archaeology and around the world shared and dis- Iconology will meet in Suzhou and cussed the meaning of Arirang, the Ko- Beijing, China; and the meeting of rean folksong loaded with uniquely the East Asian Buddhist Music Con- Korean sentiment, from various per- ference will be held in Changsha, spectives, including its relation to the Hunan Sheng, China. Korean diaspora, K-pop, and world popular music. • The Council for Asia and Oceania, which was founded during the 2011 In May 2012, an International Confer- meeting of the International Music The first collection (spanning 41 CDs) ence and Concert was held succes- council (IMC) in Estonia, will hold its features kyuis performed on the three sively in Seoul, Korea and in Fujian first meeting, jointly with the 17th basic Kazakh musical instruments: Sheng, China, as the two nations cele- APSE conference in Jinan, Shandong dombra, kyl-kobyz and sybyzgy. brated the 20th anniversary of the es- Sheng, China, from 29 October to 1 tablishment of diplomatic relations The second collection (spanning 50 November 2012. CDs), features traditional songs from between China and Korea. It is ex- all the different regions of Kazakhstan. pected that there will be more aca- demic exchanges between the two These editions include introductory countries regarding studies on Korean remarks by the President of Ka- and Chinese traditional music. Other zakhstan Nursultan Nazarbayev, have activities conducted by the KNC-ICTM the highest production values, and and its members are summarised in the characterised by a beautiful design. following.
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Nigeria The Association of Nigerian Musicolo- mental, religious, and popular music. gists (ANIM) held its 11th Annual Con- These include composers, the clergy, by Richard Okafor, ference at the Department of Music of popular musicians, and Richard Don- Liaison Officer the University of Nigeria, Nsukka, ald Smith, the blind musician from Nigeria is a country from 13 to 18 August 2012. The theme New York, for his great interest and with about 152 million of the Conference was “Music Per- contribution to African Music. The 12th citizens. It has three formance in Africa”. The Keynote Annual Conference of the Association popular religious ad- speaker was Kofi Agawu FBA from of Nigerian Musicologist (ANIM) will herents, namely Animists (indigenous Princeton University (USA), and the be held at the University of Port Har- believers) 10%, Muslims 50%, and University of Ghana. His paper was court, Rivers State, from 12 to 17 Christians 40%. Its literate population titled “Tonality as Colonising Force in August 2013. The theme of the Confer- is 68%. The languages spoken are Eng- Africa”. The Conference included ple- ence is “Rhythm in African Music”. lish (official), Hausa, Yoruba, Igbo, Fu- nary sessions and open paper presenta- tions, workshops, symposia, poster There were many choral competitions, lani, Efik, Ibibio, Ijaw, Edo, Igala, music festivals and festival of arts at Idoma, and more than 200 others. In presentations and concerts that fell within the overall theme. both State and National levels in the total, there are over 250 ethnic groups Country. Some of these were sponsored and over 400 languages in Nigeria, and As is well known, African music sub- by individuals while the others had because of this heterogeneity there are sists and develops through perform- either State or Federal sponsorships. many festivals that reflect its rich cul- ances. Thus, understanding the nature, There is a sustained interest in Nige- tural diversity. These festivals are held paraphernalia, trends and issues rian ethnomusicology as a majority of in commemoration of special events around the performance of music in Nigerian music scholars do their doc- like ushering in the harvest season and Africa remains significant to music toral research in some aspects of Nige- the new year; prayers to deities; inves- scholars. Over 100 papers were pre- rian traditional and popular musics. titures of new chiefs; and as tributes to sented at this Conference on musical Also worthy of note is the increasing heroes who triumphed over enemies in performances under such themes as number of Nigerian professors of mu- the past. theories of music performance, cultural sic, which, at the last count, has risen to The most important of these festivals perspectives on music performance, sixteen in the 11 departments of music include Mmanwu (spirit-manifest) Fes- philosophy of music performance, the in Nigerian universities. performer-composer, indigenous tech- tival, which celebrates the Igbo belief In addition, much air time is now in the interaction between the living nology in music performance, etc. Par- ticipants came from universities, col- given to Nigerian traditional music on and the dead (ancestors). There is the our Radio and TV networks. Osun Osogbo Festival, held annually in leges of education, polytechnics, de- partments of fine and applied arts, August to mark the renewal of mystic Singapore bonds between the Osun River god- creative and performing arts, the me- dess and the people of Osogbo (West- dia and secondary schools in Nigeria. by Joe Peters, Liaison ern Nigeria). The Iri-ji (the New Yam) Some others came from Ghana, Great Officer Festival is one of the biggest festivals of Britain and the USA, including Marie Agatha Ozah, HHCJ, who came from There are 12 members the Igbo-speaking people in south- of ICTM in Singapore, eastern Nigeria. It symbolises the con- Duquesne University, USA. Her paper was titled “From the Ọkpọkọlọ to the which is not bad for a clusion of a work cycle and the begin- country without a formal study of tra- ning of another. During the festival, Piano: Egwu Amala in Traditional Afri- can and Western Performance Idio- ditional music on the lines that ICTM only yam dishes are served because the understands. However, there are some festival is symbolic of the abundance of matic Expressions”, and Bode Omojola, Five College Associate Professor of institutional bases doing some aspects the produce. Dating back centuries, of the discipline and I reported those in when the Emirate used horses in war- Music, of the Mount Holyoke College, South Hadley, USA. His paper was 2007 (Editor’s Note: see Bulletin of the fare, Durbar Festivals take place in ICTM Vol. 112, pp. 57-61). They are several cities in northern Nigeria to titled “Representing Africa: Creative Ethnomusicology and Post Colonial much the same today, with signs of commemorate the Muslim Festivals of growth in some quarters – and too Eid al-Fitr and Eid al-Adha. Eyo Festi- Themes in the Music of Samuel Akpa- bot”. early to report. I am following these val is unique to the indigenes of Lagos. developments and will keep ICTM in- It takes place whenever occasions and Among the highlights of the conference formed. However, there is one new traditions demand. However, in the was the recognitions and awards to initiative in the form of a second major past, it was held as the final burial rites eleven deserving and outstanding per- study that is arts-related and I will ex- of highly regarded chiefs. Traditional sonalities, who have made invaluable pand on this. Four traditional music musics and dances are a sine qua non to contributions to the growth and devel- schools (associations) in Singapore, one the celebration of these festivals. opment of various aspects of African large regional traditional orchestra music – choral, composition, instru-
Bulletin of the ICTM Vol. 121 — October 2012 — Page 38 REPORTS project, and a few individuals and their the technology – write to me directly at cians and new compositions. Besides work will be presented. [email protected] if you want performing in the traditional style, to have the audio and I will highlight Sari-Sari has also collaborated with To update you on individuals that I the Thai authority that produced these artists from various traditions, includ- wrote about in previous reports: Ivan ebooks. ing Balinese musician Dewa Ketut Alit, Polunin died two years ago and his Kalinga musician Alexander Tocong Arts and Cultural Management (ACM) as a invaluable collection of artefacts, films Tumapang, and Javanese dancer Ri- and some ethnomusicology recordings Second Major at Singapore Management Uni- versity anto. The past and current members of are being put into a commercial collec- the ensemble are all students at Yong tion that would be accessible soon. The new Second Major in Cultural and Siew Toh Conservatory of Music, Na- Yusnor Ef has written two more books Arts Management at Singapore Man- tional University of Singapore who on local Malay neo-traditional music agement University offers students major in Western classical and contem- and he has also been awarded the Cul- from other streams of the university porary music. More information and tural Medallion (Singapore’s highest (e.g. law, business, management, social videos of Sari-Sari’s past performances award for the arts). sciences) the opportunity to combine can be found on YouTube and Face- the renowned expertise of SMU in book. business and management with an in- ternational best-practice approach to ASEAN Korea Traditional Orchestra (AKTO) arts leadership sourced both from Sin- This is mammoth project funded en- gapore and leading global partners. tirely by the South Korean government The SMU Second Major in Arts and and which was launched in 2009 as a Cultural Management aims to provide performing orchestra made up entirely students with an introduction to the of traditional and indigenous musical specific knowledge and skills required instruments from Korea and the 10 to take responsible roles within the ASEAN countries. I served as the inau- arts, culture and entertainment sectors, gural Co-Chairman and had some col- Samuel Wong Shengmiao (pictured both public and private. Study areas leagues that are familiar names in above) is currently the Artistic Director offered include visual arts, performing ICTM: Dr Sam-Ang Sam (Cambodia), of The TENG Company, and has writ- arts (theatrical and musical), literary and Ruhaya Supanga (Indonesia). Sam- ten a chapter on Chinese music in the arts and publishing, events manage- Ang is the current Co-Chairman. This upcoming publication Singapore Sound- ment, venue management, new media project is a perfect example of discon- scape: Musical Renaissance of a Global and popular culture. The programme nect between the discipline of ethno- City, which will be published by the includes a compulsory placement musicology and the rapidly rising de- National Library Board of Singapore. within the industry, either in Singapore sire of governments to blend musical or internationally. Assessment is by Jeremy Leong (member of ICTM) is cultures and systems for spectacular proactive participation, team/group shows. One great benefit I saw in this teaching at the Singapore Institute of projects, module marking and disserta- Management a curriculum that is project was the deep discussions tion. Students will be given personal among the countries on preservation of jointly done with the Universities of and professional guidance throughout Buffalo and Nevada. their musical identities in the face of the programme. these blending exercises. Much of the Sonic Orders in ASEAN Musics For more information contact Kirpal contention was on pitch and tonal is- sues that underpin the definition of The two volumes and 10 CDs on Sonic Singh, Director, ACM Prog., Sch. of musical systems in this region. In Orders in ASEAN Musics that I reported Soc. Sc., Singapore Management Uni- drawing the brief for composers to in 2005 - these books are now available versity, at [email protected]. write new music, a new term “flexible as e-books through an initiative of the Sari-Sari Philippine Kulintang Ensem- diatonic” was coined. It could be a government of Thailand. They can be ble spout for some new way of studying read at these sites: and applying traditional and indige- Founded by ICTM members Pamela www.m-culture.go.th/ebook/59/ nous musical systems. For more infor- Costes Onishi and Hideaki Onishi in mation refer to some of the webpages September 2009, the Sari-Sari Philip- www.m-culture.go.th/ebook/60/ listed below: pine Kulintang Ensemble has been There are 64 ASEAN publications in actively performing in and out of Sin- • 110.45.173.105 music and other arts topics. To access gapore ever since. Sari-Sari tries to re- them just change the last two numbers vive a highly improvisatory manner of • www.google.com at the end of the URL above (i.e., performance of the Philippine kulintang • www.youtube.com /ebook/1.. /ebook/64). No CD audio in the original setting and reinvigorate is available because of the limitation of it with the interaction among musi-
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Traditional Music Associations and Schools China to teach Nanyin classes as well as their old masters to document and organising regional Nanyin exchanges produce timeline music education SRI Warisan and recruiting younger generation of (TME) commentaries, and they have This institution teaches and performs Nanyin practitioners. Through the submitted an abstract for the 2013 Malay traditional and new-traditional above, Nanyin has gained awareness ICTM World Conference in Shanghai. art forms. over the years and it has helped pre- serve the art form till today. Seeking to More at www.chinatownology.com. Its programmes on Angklung, Kompang, strike balance between traditional Dikir Barat and Gamelan are now taught standards and modern-day needs, South Africa at more than 10 schools through the Siong Leng sends its artists to China by Alvin Petersen, Liaison Arts Education Policy of the Singapore annually for training to ensure the Officer National Arts Council in conjunction quality of music produced by our local with the Singapore Ministry of Educa- artists. Besides performing thrice an- The annual conference tion. nually at the Thian Hock Keng temple, of the South African Society for Research in They also have a vibrant performing Siong Leng also actively participates in Music (SASRIM) took programme which included a mega large scale performances, such as col- place between 19 and 21 July at the dance theatre production “Bendahara - laboratIONS with the Singapore Chi- Department of Performing Arts of the A Betrayal”, an angklung concert Tunas nese Orchestra (SCO) in the Singapore Tshwane University of Technology in Berseni and daily gamelan perform- Arts Festival performance, and in the Pretoria. This represents a ‘first’ for the ances at the Indocafe Arts and Culture series Melodies from the Temple Court- Department of Performing Arts in its Museum, and kompang music accom- yard, with invited guest performers new state-of –the art facility. The execu- panying the dance choreographed by from China’s Stone Lion City Ensem- tive committee of SASRIM departed Cultural Medallion awardee Mdm Som ble. Siong Leng has also performed in from the tradition of choosing a main Said, Variasi Kompang at International Indonesia, China and Malaysia for In- theme, preferring instead, to group all Festivals in Indonesia, Russia, France, ternational Nanyin Conferences, and abstracts submitted into sub-themes. and New York. represented Singapore in an ASEAN Fair in Bali and at the Llangollen Inter- This allowed for more inclusivity. The Contact: Adel Ahmad , Managing Di- national Musical Eisteddfod 2010, sub-themes that emerged after the ab- rector & Head of Music where they won the 1st Prize in the stracts were reviewed were: Sri Warisan Som Said Performing Arts category “Folk Solo”. • Music in South Africa-past and pre- Ltd sent 47 Kerbau Road. Singapore 219173. More at siongleng-nanyin.blogspot.sg. Tel: 62256070. Fax: 62256036 Thau Yong Teochew Association’s • South African Popular Music and www.sriwarisan.com Timeline Music Education Project Musicians
Siong Leng Musical Association Thau Yong is one of the very few Teo- • African Music in the School Curricu- lum Under the leadership of Teng Mah chew clans groups in Singapore that has a remarkable music performing Seng, the Siong Leng Musical Associa- • Music, Gender and Sexuality tion started several projects in the history. They have a body of repertoire 1970s, aiming to preserve and promote created over the last 70 years based on • Music Research traditional music concepts of weichang Nanyin.Blogspot.Sg. Projects include • Performance Issues writing new lyrics to existing melodies and or categories. A small group of and engaging master teachers from young professionals are working with • Studies in Music and Psychology
• Music in Society. The keynote speaker was J. H. Kwa- bena Nketia, the internationally re- nowned Ghanaian nonagenarian eth- nomusicologist, linguist, educator and composer. His address, entitled “Ex- ploring Africa’s heritage of music in contemporary contexts of application”, was liberally interspersed with many audio samples of his own composi- tions, all based on and inspired by the rich aural tapestry and textures of a cross-section of African musics in A Nanyin Music Performance in Singapore Ghana. The main import of his address
Bulletin of the ICTM Vol. 121 — October 2012 — Page 40 REPORTS was that ethnomusicologists should music and dance among the Basarwa Board Member Tran Quang Hai), as the not allow indigenous African musics to community of Botswana. Eastern Cape Province, where UFH is remain static, but to use them in con- located, is the traditional home of the temporary applications such as compo- • Kruger, Daleen (North West Univer- Xhosa peoples of South Africa. For sition (a field in which he is an accom- sity, Potchefstroom). The E-Hymnal of more information on the conference plished master). After his address a the Dutch Reformed Church in South please send an email to Bernhard sense of awe prevailed in the audito- Africa. Bleibinger at [email protected] or rium for almost 30 seconds, after which • Lambrechts, Lizabé (University of to Jonathan Ncozana at everyone broke into spontaneous ap- Stellenbosch). The Gallo Record Ar- [email protected]. plause. chive: An ode to a steam train. Activities at the School of Music of the North West University (Potchefstroom) Following is the list of papers pre- • Meyer, Jaco (North West University, sented at that conference, representing Potchefstroom). To be heard and not There was a veritable flurry of African a true cross-section of African musics seen: Why music is gesturing in the dark music activity at my institution, since topics, or topics of interest to African to analysts. the start of the 2012 academic year. ethnomusicologists: • Ndzuta, Akhona (University of We celebrated Africa Day on Saturday, • Allingham, Rob (Gallo Africa Sound South Africa). Musicians performing 26 May, at which the guest speaker Archives). American country music and financial management: Seeking the local was Meki Nzewi of the University of its influence in South Africa economy. Pretoria. In his address he urged teachers to be like the elders, a fertile • Chipendo, Claudio (Midlands, Zim- Nkosi, David (North west University, • subsoil. babwe). We was robbed: Research sub- Potchefstroom). Preparing for the im- jects in Zimbabwe speak out on some plementation of the South African Cur- music researchers’ dishonesty and disre- riculum and Assessment Policy State- gard for ethical issues. ment (CAPS): Teacher training work- shops on modern African classical • Dumisani Bajilla, Paul. Ritual per- formance as social drama in Ndebele drumming. society: The place of folk song. • Nombembe, Caciswa. Song and inter- pretation of Iingoma zoqhuba inkwenkwe • Fronemann, Willemien. The musical biographer as significant other. during Xhosa Umguyo ceremony in Zimbabwe. Meki Nzewi • Gumboreshumba, Laina (Rhodes University). Tshikona and cultural na- • Pooley, Thomas (University of Penn- He congratulated the students for their tionalism: A Venda art form past and sylvania). Modelling melody: A pho- sterling performance of African music, present. netic study of Zulu song prosody. and presented them with a challenge: Pyper, Brett (Klein Karoo National “You have now embodied the music. • Hammond, Nicol (New York Univer- • Festival). Listening made visible: Theo- Now you must learn to explain it”. He sity). Fan pages: Ethnomusicological expressed that “skin colour does not research online. rising dance in the practice of South Af- rican Jazz appreciation societies. always mean Africanness”, and that he • Jansen van Rensburg, Claudia (Uni- perceives himself as a “mother” versity of Stellenbosch). Structures of • Thram, Diane, McConnachie, drummer rather than as a “master” silence: Apartheid music censorship and Boudina and Carver, Mandy. Repa- drummer. Women in Africa are akin to the South African Broadcasting Corpora- triation of AV archives in the 21st cen- the Supreme God. At a foundational tion. tury: The ILAM Music Heritage Project level all Africans have commonalities. SA. For example, they use their feet to • Jorritsma, Marie (University of the make drumming sounds. The drum is • van Vreden, Mignon (North West Witwatersrand). The ‘social’ phenome- a mother. When you touch it, it gives University, Potchefstroom). Music in non: Inverstigating church women’s birth to a sound. Hence, you are a Grade R. society dance style in Kroonvale, South mother musician when you create Africa. The next conference of the South Afri- sounds on the drum. Men are a sky can Society for Research in Music will force and women are an earth force. • King, George (University of South Music is always a process – never an Africa). Sustaining an imagined cul- take place at the East London Campus end product. The circle is a very pow- ture: Reflections on South African music of the University of Fort Hare (UFH). It erful force. We need to reconfigure our research in thirty-five years of Ars Nova. promises to be a feast of the many and varied Xhosa music genres (such as tertiary music programmes in order to • Kokeletso, Christopher (University ukutytyimba and umngqokolo – a per- accommodate African music. Con- of KwaZulu-Natal). Significance of sonal favourite of ICTM Executive versely, we need to situate African
Bulletin of the ICTM Vol. 121 — October 2012 — Page 41 REPORTS music within the traditional Western at the International Society for Music • I Seminar on Music and Gender. Or- music institution. Education conference in July. The sec- ganised by the University of Sala- ond, “Music Made Easy” by Boudina manca and SIBE (Spanish Society for Kwabena Nketia and his research asso- McConnachie, teaches fundamentals of Ethnomusicology). Salamanca, 10 ciate, Andrews Agyemfra-Tettey vis- music theory. It is designed for inter- and 21 February 2012. ited the School of Music between Sun- mediate level students and meets all day, 22 July and Friday, 27 July. He pre- requirements of the South African • I International Conference on Music sented a public lecture on Thursday, 26 Creative Arts Curriculum for music. and Bodygraphies (Música y Corpo- July entitled “Post-millennial research grafías). Organised by the University trends in African music and dance”. ILAM’s travelling exhibition, “For Fu- of La Rioja and SEdeM (Spanish Mu- This was a highlight of his visit to us. ture Generations - Hugh Tracey and sicological Society), Logroño, 7-8 One of the key aspects of the collo- the International Library of African June 2012. quium was his challenge to us to pro- Music” and the exhibit catalogue of the mote indigenous African music far same title were created by ILAM and • III International Seminar MusiCam more at tertiary level and to incorpo- launched at the Origins Centre Mu- (Ethnomusicology and Audiovisual rate it into music education curricula of seum at WITS University late in 2010. production). Organised by the Uni- both primary and secondary schools. “For Future Generations” has travelled versity of Valladolid, Valladolid, 3-4 When he visited the Bill Cosby Tswana to Grahamstown to be featured in the May 2012. Cultural Group in the township of Ik- National Arts Festival in 2011, then to Please see the Calendar of Related Or- ageng, he was exhilarated by their Cape Town, Bloemfontein and East ganisation for forthcoming meetings in hour-long spectacular performance of London. In 2013 it travels to museums Spain on page 67. indigenous Tswana, Zulu and Sotho in Pretoria and Durban. Go to ILAM’s dance song genres. We are indebted to website to see features on all of ILAM’s Hetta Potgieter, the niche area Director additional publications. Recent publications of South African Musical Cultures in Action, sponsored by the National Re- Spain • Alonso, Celsa, ed. Creación musical, search Foundation, for sponsoring cultura popular y construcción nacional Kwabena Nketia’s visit. by Enrique Cámara de en la España contemporánea. Madrid, Landa, Chair of National ICCMU, 2011. See more at News from the International Library of African Committee www.elargonauta.com. Music The following scholarly Diane Thram, Director of the Interna- • Ayats, Jaume, Anna Costal, Iris Gay- meetings took place ete and Joaquim Rabaseda, eds. “Po- tional Library of African Music (based recently in Spain: at Rhodes University, Grahamstown, lyphonies, Bodies and Rhetoric of senses: latin chants in Corsica and Eastern Cape Province of South Africa), • V Jornadas de Jóvenes Musicólogos y reports as follows: Estudiantes de Musicología: the Pyrenees.” In Transposition. Mu- “Desafíos de la investigación musical sique et sciences sociales, 2011. The International Library of African del siglo XXI” [5th Conference of Music (ILAM) continues to publish • Ayats, Jaume, Anna Costal, Iris Gay- Young Musicologists and Students of ete. Cantadors del Pallars. Cants religio- African Music, its annual journal, cur- Musicology: Challenges of the XXI rently edited by myself. Volume 9, sos de tradició oral al Pirineu – Religious century musical research]. It was Chants of the Oral Tradition in the number 2 (2012) is in press and will be held at the Joven Asociación de Mu- available by late October 2012. It and Pyrenees. Barcelona: Rafael Dalmau sicología [Young Musicology Asso- Editor, 2010. all back issues from the journal’s incep- ciation] at the Universidad tion in 1954 are available in hardcopy. Autónoma de Madrid on 13 March • Ayats, Jaume, Anna Costa and Iris Additional ILAM publications in 2012, 2012. The programme is still avail- Gayete. Els Segadors. De cançó eròtica a also edited by myself, are two music able online at himne nacional. Barcelona: L'Avenç, education textbooks richly illustrated vjornadasmusicologia.blogspot.com. 2011. using Hugh Tracey’s (ILAM’s founder) field recordings and ethnographic im- • VIII Conference of Spanish Musi- • Cámara de Landa, Enrique. “Multi- ages. Both textbooks are intended to cological Society (SEdeM): “Musi- part Music Making between Spain fulfil Tracey’s vision for giving his field cología global, musicología local” and Latin America: some considera- recordings of African music back to [Global Musicology, Local Musicol- tions related to the theoretical pro- future generations by creating text- ogy”]. It was held in Logroño, from 6 posals of Ignazio Macchiarella.” In books for the schools that teach princi- to 8 September 2012. The programme Multipart singing. A specific mode of ples of African music. The first, “Un- (which includes some ethnomusi- musical thinking, expressive behaviour derstanding African Music” by Mandy cological and popular music studies and sound, edited by Ignazio Macchi- Carver, was designed for high school sessions) is still available at arella, 23–36. Udine: Nota, 2011. level music majors, and was launched www.sedem.es.
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• Cámara de Landa, Enrique. “El • López Cano, Rubén. Música y Retórica search and dissemination of popular violín en la música tradicional de en el Barroco. Barcelona: Amalgama, music”. Bolivia y Argentina: algunos aspectos 2012. comparativos”. In El violín en Bolivia, Sweden coordinated by Walter Sánchez • Mora, Kiko and Eduardo Viñuela. by Krister Malm, Chair of Canedo, 20–39. Cochabamba: Funda- “Marcas blancas y paramarcas en la National Committee and ción Simón I. Patiño, 2011. industria musical.” In Rebelión en las marcas (marcas de distribuidor y con- former President of ICTM • Cámara de Landa, Enrique. “La inte- sumo inteligente), edited by Olivares Since there is no institu- gración de enfoques metodológicos et al., 203–238. Barcelona: LID, 2012. tion within Swedish en el estudio del tango italiano.” In universities devoted Investigación musicológica: cinco estu- • Moreno Fernández, Susana. El rabel: solely to ethnomusicol- dios de caso, edited by Diana Fernán- de las cocinas a los escenarios. Un estu- ogy or ethnochoreology, students, dez Calvo, 15–24. Bernal: Universi- dio de caso en Cantabria. Valladolid: postgraduates and faculty members dad Nacional de Quilmes, 2011. Universidad de Valladolid, 2011. can be found in a number of different Pelinski, Ramón. La Danza de Todo- • Cámara de Landa, Enrique. “Stru- • institutions devoted to musicology, menti a fiato nell’Messico prehis- lella. Memoria, historia y usos políticos anthropology or ethnology, literature, panico: un universo di forme e signi- de la danza de espadas. Valencia: Insti- cultural studies, media and even theol- ficati.” In Il sole e il soffio. Fischi rituali tuto Valenciano de la Música, 2011. ogy, as well as in museums, archives, precolombiani dalla collezione Armando • Viñuela, Eduardo. “El análisis del etc. This means that those active in Scoto, 15–18. Perugia: Museo Archeo- gesto audiovisual en el videoclip ethnomusicology and/or ethnocho- logico Nazionale, 2012. desde la perspectiva de género: el reology often have no specialists in the caso de ‘The voice within’ de Chris- discipline in their immediate environ- • Cámara de Landa, Enrique. “La re- ment. The Sweden ICTM National cepción de la obra de Carlos Vega.” tina Aguilera.” In In corpore domina (cuerpos escritos, cuerpos proscritos), Committee serves as a node and forum Revista del Instituto de Investigación for those active in ethnomusicology Musicológica Carlos Vega 26 (2012): coordinated by Dolores Ramírez, 283–300. Sevilla: Arcibel, 2011. and ethnochoreology in Sweden. The 239–270. NC receives a yearly grant from the For the contents of the Spanish ethno- • Cámara de Landa, Enrique. “Entre government to be used to subsidise una carrera de honores y un destino musicological review Etno-Folk see travel costs for members participating eligió un destino: Carlos Vega en la www.dosacordes.es in ICTM events and for other ICTM purposes. prensa.” Revista del Instituto de Inves- Forthcoming publications tigación Musicológica Carlos Vega 26 One important activity of the NC is (2012): 425–469 • Moreno Fernández, Susana, Pedro Roxo and Iván Iglesias, eds.). Musics seminars, where ethnomusicologists • Díaz, Diana. “La labor de folclorista and Knowledge in Transit. Lisbon: Co- from different parts of Sweden can de Manuel Manrique de Lara en el librí, 2012. meet, present works in progress and contexto de su vida y obra.” Cuader- get comments from their peers. Re- nos de Música Iberoamericana 23 (2011): • Moreno Fernández, Susana, Salwa cently the following seminars have 45–66. El-Shawan Castelo-Branco, Pedro been held: Roxo and Iván Iglesias, eds. Current • Fraile, Teresa, Eduardo Viñuela, eds. Issues in Music Research: Copyright, • Juoiganmuitalusat (Yoik narratives) - La música en el lenguaje audiovisual: Power and Transnational Music Proc- Krister Stoor presented his research aproximaciones multidisciplinares a una esses. Lisboa: Colibrí, 2012. into the narrative components of comunicación mediática. Sevilla: Arci- Saami yoik. bel editores, 2012. • Ruesga Bono, Julián, ed. Jazz en es- pañol: Historia del jazz en América • The phonograph as performance - • López Cano, Rubén and Juan Fran- Latina y España. Xalapa: Universidad Mathias Boström on his research into cisco Sanz, eds. Música popular y jui- Veracruzana, 2012. early music media. cios de valor: una reflexión desde Amé- Awards • The folk high schools as an artistic rica Latina. Caracas: UCV, 2011. rite de passage – Erik Nylander pre- Jaume Ayats has received the National • López Cano, Rubén. “Lo original de sented his research on the music Prize of Popular Culture 2012 [Premio la versión. De la ontología a la prag- courses, especially jazz education, in Nacional de Cultura Popular 2012] mática de la versión en la música Swedish so called folk high schools. from the Catalan National Council for popular urbana.” Consensus 16 Culture and Arts [Consell Nacional de • David Thyrén presented the project (2011): 57-82. la Cultura i les Arts de Cataluña] for “Benny Andersson – composer, mu- “the rigour and excellence of its re- sician, band leader, producer and entrepreneur” (that is Benny Anders-
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son of ABBA fame). tions from Tanzania and other coun- Other institutions tries of Southern and Eastern Africa. • Hyperfemininity in Oriental dancing The Bagamoyo College of Arts and the – Karin Högström on the culture of Let me introduce here some of the re- Butimba Teachers College of Mwanza those women in Sweden that partici- search work that the staff and post- offer diploma programmes in music pate in Oriental dance groups. graduate students have been doing for and other subjects. The Dhow Coun- the last five years. tries Music Academy (DCMA) which is • Kristin Borghed presented her re- located in Zanzibar and Ruhija Lu- search on ”Sound in traditional sing- • The music of the wagogo of Dodoma: theran College which is located in Bu- ing”. Kedmon Mapana (who is currently koba, Kagera region offer music train- finishing his PhD at the University ing at certificate level. • A panel on the project “The condi- Seattle, Washington), Mitchel tions for musical creation – between Strumpf and Pamphilious Mandago International Ethnomusicology Symposium at cultural politics, economy and aes- (who is finishing his MA at the Uni- the University of Dar es Salaam thetics” with Dan Lundberg, Susanne versity of Dar es Salaam) have done Since 2007 the department of Fine and Holst, Ingrid Åkesson, Marika Nord- research on the music of the wagogo ström and Alf Arvidsson. Performing Arts at the University of focusing mainly on enculturation Dar es Salaam has been organising an • Anders Hammarlund presented his processes. Some of their work has international ethnomusicology sympo- research on the chazzan and music been published in the British Journal sium. The symposium has been at- researcher Abraham Baer and his of Music Education and the Journal of tended by a number of scholars from context in the 19th Century. African Cultural Studies. African countries such as Malawi, Zambia, Kenya, Uganda, Sudan, South The NC cooperates closely with • Church music: Imani Sanga, Kas- Africa, Zimbabwe, Ghana and Mo- Svenskt visarkiv (Centre for Swedish somo Mkallyah and Jenither Kameli zambique as well as from other conti- Folk Music and Jazz Research) and the have done research on church music nents such as Asia, Europe and Amer- seminars are usually held at the prem- in Tanzania and the use of elements ica. Keynote speakers during the six ises of Svenskt visarkiv. from Tanzanian music cultures in contemporary church music in Tan- years of the symposium have included prominent scholar of the music of Af- Tanzania zania. Sanga’s research has examined this music in relation to the concepts rica such as Gerhard Kubik, Kwabena by Imani Sanga, Liaison of nationalism, hybridity and cos- Nketia, Kelly Askew, Frank Gunderson Officer mopolitanism. Some of the research and Lars-Christian Koch. This year the symposium took place from 31 July to Since this is my first from these studies has been pub- lished in Ethnomusicology, Ethnomusi- 4 August, thanks to the efforts of the report I will begin by a symposium coordinator Mitchel brief introduction of cology Forum, Journal of Popular Music and Society, and African Music. Strumpf. More than 150 participants tertiary institutions attended the symposium, which fea- teaching traditional • Music, Gender and AIDS: Mathayo tured both paper presentations and music or ethnomusicology courses Ndomondo has done research on the music performances. A number of mu- with particular focus on the music cul- nexus between music, gender and sic groups from Tanzania mainland tures of Tanzania. Some of these insti- AIDS in Tanzania. Imani Sanga has and Zanzibar as well as the Kachamba tutions are universities which offer de- done research on music and gender. Heritage Kwela Band performed at the grees (BA, MA or PhD) while other are Their research work has been pub- symposium. smaller colleges which offer certificates lished in Journal of Popular Music Wagogo Music Festival and diplomas. studies and African Music. Kedmon Mapana, who teaches Music The University of Dar es Salaam Tumaini University Makumira in the Department of Fine and Per- (Arusha) This institution offers degree pro- forming Arts at the University of Dar grammes at their department of Fine This institution offers a BA degree in es Salaam and is currently finishing his and performing Arts. The degrees of- music, a course in the music of Tanza- PhD at Seattle, Washington has been fered include BA, MA and PhD. It of- nia and Africa, and a course on music organising a yearly wagogo music festi- fers a number of courses in ethnomusi- education. Third year students conduct val in Chamwino, Dodoma. In July this cology, music of Africa and the Music research in their communities and year 15 ngoma (drumming, singing and of Tanzania specifically. These also in- write research papers. Most of these dancing) groups from Chamwino and clude a number of practical courses on research papers have been focusing on five neighbouring villages performed African drumming, music ensemble, preservation of these music cultures during the festival. and choir which focuses mainly on and how to incorporate these music drumming, dancing and singing tradi- cultures in Tanzanian formal education system.
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Uzbekistan ditions of Bukharan Iranians, which Khorazm was transformed to the common Buk- An important centre for studying and by Alexander Djumaev, haran musical phenomena. Liaison Officer performing maqom music is the al- The Bukhara College of Arts combines Khorazmi Department of Music in the Reviving and broaden- two directions in music education – Faculty of Arts of the Urgench State ing the local centres of European and traditional performing University. In 2002 a group of musi- traditional music and arts. The traditional direction includes cians and musicologists (Hamidullo especially maqom music teaching of maqom performance and Aminov, Rustam Boltaev, Otanazar is the main feature of the recent devel- broader traditional performance as Matyakubov) organised an initiative to opment of music culture in Uzbekistan. well. There is no curricula for ethno- study the Khorazmian tanbur notation, Two main regional centres, in addition musicology, but some teachers of the an important XIX century source for to the capital, Tashkent, should be College, well known singers and in- Khorazmian classic and popular music. highlighted: Bukhara and its region strumentalists, deal also with scholarly In 2007 in Tashkent Rustam Boltaev and Khorazm (the cities of Khiva and work. They prepare textbooks and together with his colleagues published Urgench). Certainly, and to a certain studies for practical educational pur- a part of the notation, so-called Dutor degree, the performing and studying of poses such as descriptions of rhythms makomlari (Dutar maqoms) in European maqom traditions has existed in other in Bukharan Shashmaqom, melodic pat- staff notation with a scholar introduc- cities as well, such as in Samarkand, terns, modes, etc. Three teachers of the tory article (see below). Later the main Gijduvan, Vabkent, in the localities of College (Eshpulat Ortykov, Rakhma- part of the tanbur notation was deci- the Ferghana Valley, i.e., Andijan, Na- tullo Inoyatov and Tolibjon Temirov), phered and transformed into European mangan, Fergana, Kokand, etc. renowned as masters-musicians in staff notation. On this base musicians started to reconstruct old tanbur and Bukhara their own right, presented papers at the Weimar International Symposium dutar maqoms and perform it in public In Bukhara two state-run maqom cen- on Bukharan Shashmaqom (November concerts. The next edition of Khoraz- tres exist: the Association of Academic 2011, see below). mian tanbur notation as facsimile of an and Popular Artistic Groups (the for- old manuscript and transcription in the mer “Bukharan Philarmony”) and the Bukharan traditional music and its his- Europeen notation prepared by the Mukhtar Ashrafi Bukharan State Col- tory are subjects offered at the Depart- initiative group was published in 2010 lege of Arts. The Association is a ment of Music of the Bukharan State in Tashkent (see below). concert-performing centre where University. Musicologist-historian and Conferences maqom and other types of ensembles teacher of the Department of Music gather for rehearsals for their concerts. Faizulla Turaev publishes articles and The main scholar international confer- A Shashmaqom Ensemble sprang from books devoted to traditional music of ence in Uzbekistan is the biennial con- the Association in 1991 under the lead- Bukhara and Bukharan Shashmaqom ference arranged in the frame of the ership of maestro Ari Babakhanov, who (see below). International Music Festival “Sharq know lives in Germany. Many of his Taronalari” (in Samarkand). The last apprentices are in the ensemble now. was held in 2011 during the VIII Inter- The recent publication of Ari Baba- khanov’s version of the Bukharan Shashmaqom (Berlin, 2010, see below) is the result of his many years of study- ing, reconstructing and recording of the old Bukharan school of Shashmaqom in its musical and poetical unity. It provoked a new interest to Bukharan shashmaqom among musicians and eth- nomusicologists, and became a main reason for organising the Weimar In- ternational Symposium on Bukharan Shashmaqom in 2011.
Besides of Shashmaqom Ensemble there are other groups of musicians in the Association, including the well-known folklore-ethnographic ensembles “Bukhorcha” and “Mavrigi”. The latter represents the old music and dancing A group of musicians from the Shashmaqom ensemble of the Association, together with Ari cycles associated with the musical tra- Babakhanov (second from the right). Photo by Alexander Djumaev, Bukhara, 2004.
Bulletin of the ICTM Vol. 121 — October 2012 — Page 45 REPORTS national Festival. The topic was “The Meaning of Sources for Studying of Musical Cultures of the People of the East”. Among the papers presented were: Zakir Aripov (Uzbekistan): “Arabic terms in the musical sources of the epoch of Temur and Temurids”, Frederique Bressand (France): “The questions of studying art and history of the epoch of the Temurids”; I. Saidov (Uzbekistan): “History of musical art of Samarkand in the XVI – XX centuries”; Tatyana Rasulova (Uzbekistan): “Philo- sophical comprehension of the sources of Amir Temur’s epoch”; Saib Begma- tov (Uzbekistan): “Treatises on music of Orient: tradition and contemporane- ity”; Abduvali Abdurashidov (Tajiki- stan): “The Importance of bayazes for Folklore-ethnographic ensemble “Mavrigi”, Bukhara. Photo by Alexander Djumaev. the studying of development of the system of Shashmaqom”; Sanubar companied by master-classes and con- lems / Issues of Preservation and Baghirova and Mahmud Salakh (Azer- certs given by Ari Babakhanov and Transmission”; Angelika Jung (Wei- baijan): “A Role of primary sources for groups of musicians. The sessions de- mar): “The meaning of ‘Tradition’ in studying classical Music”, and others. voted to Shashmaqom were: History and Respect to Bukharan Shashmaqom – A Small local musicological conferences Aesthetics of Shashmaqom, Sources of the Discussion with Ari Babakhanov”; are usually arranged in the Uzbekistan Bukharan Shashmaqom, Revitalising Buk- Alexander Djumaev (Uzbekistan): State Conservatory, in the Scientific haran Shashmaqom in Tajikistan, Tradition “Ways of Forming and Range of Prob- Institute of Art Researches of the Acad- and Transmission of the Bukharan Shash- lems of the Old Aesthetics of Bukharan emy of Sciences of Uzbekistan, and in maqom, Relation of Shashmaqom with Shashmaqom”; Stephen Blum (USA): other institutions such as the Institute other regional traditions. Shashmaqom “The Persian Radif in relation to the of Culture, Institute of Arts, etc. outside Central Asia, Modal Theory of Bukharan Shashmaqom”; Sadullo Kari- Maqam and Theoretical and Practical As- mov (Tajikistan): “The influence of the Symposium in Weimar pects of Shashmaqom Performance Today. traditions of Bukharan Shashmaqom on The International musicological Sym- Papers directly connected to Bukharan the music of Tajik mountain regions”; posium “Music as intangible Cultural Shashmaqom were: William Sumits Evan Rapport (USA): “Shashmaqom per- Heritage. Bukharan Shashmaqom: the (UK): “From chahar shadd to Shash- formance and transmission among Classical Music of Central Asia” took maqam: the evolution of maqam suite Bukharan Jews in New York”; Rakhma- place on 1 -5 November 2011 in Wei- performance from the 17th to the 19th tullo Inoyatov (Uzbekistan): “Thoughts mar, Germany. It was the first time that century”; Rustam Boltaev (Uzbeki- on performing ghazalroni and sukhan- a special and representative forum was stan): “Comparative description of the roni in the Bukharan Shashmaqom”; To- devoted to Bukharan Shashmaqom. The Tanbur notation for Khorazmian libjon Temirov (Uzbekistan): “The Sys- idea, program conception and organ- Maqoms and European staff notation tem of usul in Bukharan Shashmaqom”; isational efforts were realised by two for Bukharan Shashmaqom of Victor Otanazar Matyakubov (Uzbekistan): ethnomusicologists: in Germany Ange- A.Uspenskiy”; Theodore Levin (USA): “A new view on the modal theory of lika Jung, and in Uzbekistan myself, “Musical Revitalization and Institu- Maqamat”. tional Action: the Aga Khan Music Ini- Alexander Djumaev. This joint project Traditional Uzbek Music on CDs of the Institute für Musikwissenschaft tiative and the Revitalization of Central Weimar-Jena, the department on Asian Music”; Faroghat Azizi (Tajiki- During last decade many CDs with Transcultural Music Studies of the Ho- stan): “Bukharan Classic Maqom School traditional music came out in Uzbeki- chschule für Music Franz Liszt Weimar and its Historical Significance”; Adbu- stan due to the commercial activity of in collaboration with Aga Khan Music vali Abdurashidov (Tajikistan): private label “Nirvana”. The firm is the Initiative was implemented thanks to “‘Academy of Maqom’ and Develop- leader in the market of audio produc- financial support of Volkswagen- ment of Art of Shashmaqom in Tajiki- tions in Uzbekistan, and it has its own Stiftung. The Symposium gathered stan”; Sultonali Khudoyberdiev (Tajiki- network of specialised audio-video ethnomusicologists and musicians stan): “Art of Maqom and its Local shops in Tashkent and other cities of from Uzbekistan, Tajikistan, Europe Variants in the Ancient Cities of the the country. In addition to other music and USA. Scholarly sessions were ac- Sogdian region”; Razia Sultanova interests “Nirvana” deals with rebirth- (UK): “Maqom, Mugham, Maqām: Prob-
Bulletin of the ICTM Vol. 121 — October 2012 — Page 46 REPORTS ing old recordings of Uzbek traditional music made during the first half of the 20th century and beyond. The firm is- sues a great number of CDs devoted to prominent old musicians and ensem- bles. Among them are: Orifhoji Ali- mahsumov. Sulim (2007);
Ustoz va Ustozoda: Turgun Alimatov, Ab- ror Zufarov. 2008; the CD series Unutil- mas umrboqiy kushiklar (Unforgettable eternal songs; 2007, 2008) carrying col- lections of pieces performed by various Uzbek singers, musicians and ensem- bles.
The Swiss Agency for Development and Cooperation which operates in Uzbekistan also deals with CDs inside the country. There is no regular pro- Bukharan musicians – participants of the Simposium in Weimar. Photo by Alexander Djumaev. gram for issuing traditional music CDs there, but the Agency does release, Important selected publications (books) from time to time, individual projects Other journals were materials about traditional music appear from time to in a non-profit way. An interesting such • Yunusov, Ravshan (2005). Fakhriddin time are Mizuydan sado (Echo of History, project is a triple CD box of Samarka- Sodiqov. 216 pages with illustrations. quarterly, in Uzbek, English and Rus- based singer Farhod Halimov. recorded In Uzbek. and issued in 2006 (recordings by Jean sian), Art. The Journal of Academy of Art During). The discs consist of (1) tradi- of Uzbekistan (quarterly, in Uzbek, Rus- This book is about the famous Uzbek tional popular songs, (2) parts from sian and English); Theater; Tafakkur. musician and traditional composer maqom repertory and (3) pieces com- Ijtimoiy-falsafiy, ma’naviy-ma’rifiy jurnal (bastakor) Fakhriddin Sodyqov (1914 – posed by bastakors (composers) includ- (Reflection. Public-philosophical and en- 1977). The edition was supported by ing Farhod Halomov himself. Farhod lightenment journal, quarterly, in Uzbek) UNESCO in the series “Shashmaqom is Halimov represents a vocal perform- and others. the Pearl of Humanity’s Oral and In- tangible Cultural Heritage”. ingstyle of old Bukharan masters, Some dissertations defended in Tashkent which is almost forgotten in the con- • Boltaev, Rustam (2007). Dutor makom- temporary music culture. (Abstracts in Uzbek with English and Russian summaries) lari (XIX asr Khorazm notasi asosida Important periodicals kaita tiklangan kui va o’z matnlari). • Aikhodjaeva, Shahnoza I. (2007). [Dutar maqoms (Melodies and their A great number of articles on tradi- Maqom taronalari: janr hususiyatlari, texts reconstructed on the base of XIX tional music are being published in the ijro an’analari (Taranas of Maqams: century Khorezm notation)]. 144 pages. specialised newspaper O’zbekiston ad- peculiarities of genre, traditions of per- abiyoti va san’ati (Literature and Art of forming). The book includes an introductory arti- Uzbekistan, weekly, in Uzbek) and also cle (“Dutar makoms”) in Uzbek, Russian • Tursunova, Gulshanoi A. (2007). and English languages and a collection in other newspapers. Among the jour- Karim Zokirov va uning sulolasi – XX of pieces transcribed from the old nals one can mention Jannat Makon asr Uzbekiston musiqa madaniyati ke- manuscript of dutar maqoms into the (“The Beautiful Place”, monthly, in simida (“Karim Zokirov and his dynasty European staff notation with Uzbek Uzbek). Its editor-in-chief is ethnomu- in context of the music culture of poetry. The edition was sponsored by sicologist Iroda Dadadjanova, who ar- Uzbekistan in the 20th century”). the Swiss Agency for Development and ranges regular materials devoted to Cooperation in Tashkent. traditional Uzbek music. Many issues • Ganieva, Iroda A. (2008). Uzbek mu- of the journal look like a specialised siqasida “Tanovar”: tarikhiy va nazariy • Rajabiy, Yunus (2007). O’zbek maqom- ethnomusicological journal, with arti- muammolar kesimida (“Tanovar” in lari. Shashmaqom (Uzbek maqoms. cles or series of surveys and rare pho- Uzbek music: in the context of historical Shashmaqom). 632 pages with illustra- tographies on hereditary musician and theoretical problems. tions and musical notes. In Uzbek. families in Uzbekistan (e.g., Vol. 8, A reprint of the Shashmaqom cycle in 2008, Vol. 9, 2009, and so on). European staff notation in a single vol- ume (the first edition was in 1966–1977,
Bulletin of the ICTM Vol. 121 — October 2012 — Page 47 REPORTS in six volumes) with a new short Intro- • Nishanova, Arzu (2008). Tradicionnyi duction by Rustambek Abdullaev and musykal’nyi yazyk uzbekskogo, karakal- a new article by Hasan Rajabi (son of pakskogo i uygurskogo narodov (Tradi- Yunus Rajabi). This new simplified edi- tional music language of Uzbek, tion features a huge supplements of Karakalpak and Uigur Peoples). 161 old Persian and Tajik texts from the pages, musical notes. In Russian. XIX century bayaz (collection of po- etry), indexes for namuds, a facsimile of • Sultanova, Razia (editor, 2009). Sacred the manuscript of bayaz, and an after- Knowledge: Schools or revelation? word article. The project was support- Master-Apprentice System of Oral edby UNESCO in the series “Shash- Transmission in the music of the Turkic maqom is the Pearl of Humanity’s Oral Speaking world. 117 pages, illustra- and Intangible Cultural Heritage”. tions. In this book there is an article related to • Yanov-Yanovskaia, Natalia (2007). Uzbekskaia muzyka i XX vek. (“… Uzbekistan, “Master – Apprentice Poslednego slova ne sushestvuet…”). (Usto-Shogird) training system in the Raboty raznyh let. [Uzbek Music and Ferghana musical tradition,” by Razia XX century (“…There is no a last Sultanova. word…”). Works written at different • Matyakubov, Otanazar & Boltaev times]. 272 pages. In Russian. Rustam & Aminov, Hamidulla A collection of articles devoted to the (2010). Khorazm tanbur chizigi music culture of Uzbekistan based on (Khorezmian Tanbur Notation). 484 Natalia Yanov-Yanovskaia’s conception pages, illustrations, musical notes. In of unity of contemporary and tradi- Uzbek and Russian and with English tional directions. There are problems of summary. interaction between European and tra- This publication consists of an intro- ditional aesthetic principles and ideas. ductory article, a facsimile from a A significant article in this sense is manuscript (168 pp.) and a transcrip- Odna kultura – dve tradicii (One culture – tion of two maqoms (Rost, Navo) in the two traditions). European staff notation.
• Turaev, Faizulla (2008). Bukhoro • Angelika Yung (ed., 2010). Der mughanniylari (Bukhoro khonanda, so- Shashmaqam aus Bukhara uberliefert zanda, bastakor va musiqashunoslari von den alten Meistern notiert von Ari khayoti va ijodi khaqida mukhtasar Babakhanov (Shashmaqam from Bukhara ma’lumotnoma). [A short reference book – notated by Ari Babakhanov in the tra- about life and creative work of Bukharan dition of the old masters). musicians (Bukharan singers, instru- mentalists, traditional composers and Publication of a facsimile of Ari Baba- musicologists]. 324 pages, illustra- khanov’s version of Bukharan Shash- tions. In Uzbek. maqom in European staff notation with an introduction of Angelika Jung. • Oripov, Zokirjon (2008). Ibn Zailaning “Kitabu-l-kafi fi-l-musiqa” risolasidagi • Turaev, Faizulla (2011). Bukhoro musiqashunoslik atamalari. (Musicologi- Shashmaqomi tarikhidan… (From the cal terms in the treatise on music History of Bukharan Shashmaqom…). “Kitabu-l-kafi fi-l-musiqa” by Ibn Zaila). 180 pages, illustrations. In Uzbek. 220 pages. In Uzbek. Essays on Bukharan musicians and This book includes a facsimile of Ibn singers, and some events connecting Zaila’s treatise from the British Library. with Bukharan Shashmaqom.
• Oripov, Zokirjon (2008). Sharq mu- siqiy manbashunosligi (X –XI asrlar).
[Source Study of Eastern Music (X-XI centuries)]. 160 pages. In Uzbek.
Bulletin of the ICTM Vol. 121 — October 2012 — Page 48 REPORTS Reports from ICTM Study Groups
Applied Britta Sweers (Switzerland) discussed apy project in a junior high school and the role of the ethnomusicologist as a film presentation by Permius Matiure Ethnomusicology mediator in Switzerland, while Leila (Zimbabwe/South Africa) revealed the by Klisala Harrison, Qashu (Canada) looked at conflict reso- situation of a blind street musician in Study Group Chair & lution processes through music in Zimbabwe. Particularly memorable Britta Sweers, Study Ethiopia and Mike Hajimichael (Cy- were also Bernhard Bleibinger’s (South Group Secretary prus) shed light on the difficult col- Africa) fascinating paper on the com- laboration processes across the so- plexity of responses to disabilities in a Report on the 3rd Biannual Symposium and 5th Gen- called Green Line separating Greeks university music program in South Af- eral Assembly of the ICTM and Turks in Cyprus. The issue of pub- rica, and a strong Australian fo- Study Group on Applied lic conflict resolution was taken up by cus—represented by Aaron Corn (Aus- Ethnomusicology Inna Naroditskaya (USA) who pre- tralia), Sally Treloyn (Australia) and sented material on recent protest Andrea Emberly (Canada)—that ad- The ICTM Study movements. Focusing also on the issue dressed the complexities and intercul- Group on Applied Ethnomusicology of conflict, Ray Casserley (Ireland) ana- tural challenges of social activism with met for a stimulating third symposium lysed the use of music in parades in regard to indigenous Australian at the University of Nicosia in Nicosia, Northern Ireland by Protestants and groups. Marija Dumnić highlighted Cyprus from 18 to 22 April 2012. At- Catholics. Kai Åberg (Finland) dis- issues of urgent ethnomusicology in tended by approximately 40 scholars cussed boasting songs of the Finnish photo-archival work in Serbia, while from Europe, North America, Asia, Af- Roma or Kale, while Anthea Skinner Sofia Weissenegger (Austria) added rica and Australia, the symposium (Australia) highlighted the role of mu- insights on the applied school project concentrated on the three themes of sic in Australian military bands. “With all Senses”. Other engaging pre- politics and practices of applied eth- senters included Dimitris Papaniko- nomusicology in relation to social ac- A second group of papers displayed a laou, Andreas Tsiartas and Nefen Mi- tivism, censorship and state control; fascinating range of approaches in the chaelides. disability and music; and music and area of social activism. Carolyn Landau conflict. The symposium opened with (UK) presented a highly stimulating As already indicated with the Austra- brief lectures by Panikos Giorgoudes, paper on applied research within Mus- lian papers, this symposium marked chair of the Local Organising Commit- lim communities, Pamela Costes On- the development towards a more theo- tee, conflict mediator Maria Hadjipav- ishi (Singapore) gave insights into cul- retical reflection on applied ethnomu- lou, and sociologist and university tural policies of the National Arts sicology, as became apparent in the president Nicos Peristianis on the rele- Council of Singapore’s drumming papers of Klisala Harrison on applied vance of the music and conflict theme workshops at community centres, ethnomusicology as an evaluative re- for scholars of music in Nicosia. The while Paola Barzan (Italy) offered an search method; Samuel Araújo (Brazil; cosmopolitan and culturally rich city is ethnographic analysis of a music ther- transmitted via Skype) who reflected also the last divided capital in Europe between a Greek south and Turkish- occupied north part. Study Group Chair and Program Committee Chair Klisala Harrison (Finland/Canada) introduced her theoretical idea of epis- temic communities of applied ethno- musicology for collective projects that address problems and issue areas while ICTM Secretary General Svani- bor Pettan shared a history of applied ethnomusicology at the ICTM.
The following days featured academic papers that introduced relevant re- search and praxis on a highly diverse range of topics. One group of papers focused on the topic of conflict, media- tion and reconciliation. Sarah Ross and Participants of the 3rd symposium of the ICTM Study Group on Applied Ethnomusicology together with the music ensembles Karsi and Oi Las. Nicosia, Cyprus, April 2012. Photo by Alison Fulu
Bulletin of the ICTM Vol. 121 — October 2012 — Page 49 REPORTS on the challenges of social activism in developed from the Study Group’s first • Legal implications of music; music, post-industrial urban societies; and symposium was a peer-reviewed book, law and ethics (These were highly Jonathan Stock (UK) who discussed Applied Ethnomusicology: Historical and favourite topics during the meeting.) human research ethics and related Contemporary Approaches (2010). The challenges for applied work within an assembly strongly agreed not to pub- • Music and media, particularly re- institutionalised context. lish conference proceedings from each garding mass media and conflict, and symposium, but rather to work to- relationships between film or video The study group’s unique format of wards another peer-reviewed book and ethnomusicology talking circles focused this year on ap- with a reputable publisher. Samuel plied ethnomusicology in relation to • Reverse migration including the role Araújo, Klisala Harrison and Britta of institutions therein institutions. Other highlights included Sweers have been approached by exchanges between Cypriot and inter- Cambridge Scholars Publishing, which, • Post-colonialism in the southern national scholars on music as a tool in however, does not have an editing staff hemisphere conflict resolution, for instance through (the editors would have to undertake • An imaginary Europe (How do we a panel focused on conflict in the Medi- copy editing themselves). Svanibor imagine Europe from the outside?); terranean and Middle East featuring Pettan offered the journal Musicological occidentalism and economics speakers Edwin Seroussi, Nicos Peris- Annual (Editor’s Note: Muzikološki zbor- tianis, Costas Constantinou, Maria nik, a Slovene language publication), al- • Diasporic identities and re- Hadjipavlou and Engul Atamert. though an English language copy enculturation processes involving However, academic presentations and editor would also be needed. At this music discussions were also interspersed point, study group members including • Immigration and emigration (and the with performances of rebetiko music, Caroline Landau, Sally Treloyn, Klisala children of immigrants) music and dance from the Paphos dis- Harrison, Paola Barzan and Svanibor trict in Cyprus as well as music from Pettan announced their recent and • Ethnomusicology in contemporary Asia Minor and the greater Mediterra- forthcoming publications on applied artistic and multimedia perform- nean. This included the presentation of ethnomusicology. Regarding member- ances; the creative handling of eth- traditional folk and art music from ship matters, attendees were reminded nomusicology (e.g., by composers) Asia Minor and the greater area of the that being a presenter at the Study Mediterranean presented by the Group symposium requires the status • National and international policy groups Karsi and Oi Las, which fo- of an ICTM member in good standing. frameworks and frame-working (e.g., cused on Cypriot music (19 April), and Payment is now possible through Pay- UNESCO declarations and cove- on 21 April, a performance of rebetiko Pal via the ICTM website. nants, or South African institutional frameworks for cultural production) music by the group Neorebetes. The Study Group’s mailing list is also Framed by a wonderful buffet at the being updated. The next agenda item, • Infrastructure: What can we do in Hilton Park Hotel, the event set confer- location of the next symposium, pro- terms of establishing infrastructure? ence participants rebetiko dancing as duced a generous number of offers. Economy and festival well. Thanks again to Panikos Gior- Paola Barzan pointed out that Venice, • goudes and his team for having organ- Italy is an available location. Bernhard The roles, developments and mecha- ised this rich and stimulating event! • Bleibinger offered the newly estab- nisms of state-approved cultures Minutes of the 5th General Assembly of the lished University of Fort Hare campus (e.g., involving folklorisation) ICTM Study Group on Applied Ethnomusicology in East London, South Africa as well as a second University of Fort Hare cam- The fifth general assembly of the ICTM East Asian Historical pus in Alice and a university confer- Study Group on Applied Ethnomusi- Musical Sources ence facility in Hogsback (i.e., we have cology was held on 20 April 2012 from the choice of three different locations in by ZHAO Weiping, Study 11:00 to 11:35. Klisala Harrison and South Africa). Svanibor Pettan in- Group Chair Study Group Secretary Britta Sweers formed that Elena Shishkina offered co-chaired the business meeting. Intro- In 2011, the work of the Astrakhan as a location. Cyprus was ductory remarks and a welcome con- ICTM Study Group on offered again. Last, possible themes for veyed greetings sent by Samuel Araújo East Asian Historical a 2014 symposium were solicited. The (the Study Group’s Vice Chair) who Musical Sources focused on prepara- following list also may serve as an out- was active as a program committee tions for the 2013 International Sympo- line of current and prospective schol- member. The next point on the meeting sium on East Asian Musical Notations. arly interests of study group members: agenda, Study Group activities and In June 2012, Kwok-wai NG, the secre- publications, discussed the format in • Intercultural encounters in music tary of the Study Group, had a meeting which Study Group members would education with disabilities with Steven G. Nelson, the organiser of prefer to publish writings associated the planned symposium, in Tokyo, to with the Study Group. The publication • Music and poverty discuss the possibility of holding it at
Bulletin of the ICTM Vol. 121 — October 2012 — Page 50 REPORTS the Research Institute for Japanese Mu- sic Historiography of Ueno Gakuen University, in Saitama, Japan. The symposium is tentatively scheduled for October or November 2013.
Members of the Study Group have been actively engaged in research on the transmission and preservation of East Asian historical musical reperto- ries. ZHAO Wei-ping’s Zhongguo yu Dongya Yinyue de Lishi Yanjiu (A His- torical Study of the Musics in China and East Asia) and TERAUCHI Naoko’s Gagaku no ‘Kindai’ to ‘Gendai’: Keishō, Fukyū, Sōzō no Kiseki (The ‘Modern’ and the ‘Contemporary’ in Gagaku: Continuity, From left to right: Catherine Foley, Lálzló Felföldi, Anca Giurchescu, Allegra Fuller Snyder, Orfhlaith Dissemination and Creative Renewal) Ni Bhriain, Elsie Ivancich Dunin, Mats Melin, Adrienne L. Kaeppler and Colin Quigley. were the key publications of our mem- bers. Dance hosting us at the Academy: tions of place in connection with dance, The Research Centre for Sino-Japanese Catherine Foley (Chair), Colin Quigley, as well as different ways of conceptual- Musical Culture of the Shanghai Con- Orfhlaith Ni Bhriain and Mats Melin. ising space in dance. The larger num- servatory of Music has worked inten- We were heartily welcomed at the ber of papers on this topic is a reflec- sively on making replicas and/or pho- opening reception and dinner the first tion on the wide range of applications tographic reproductions of historically evening by Professor Paul McCutch- of this “place” notion (Liz Mellish and important scores. These include mainly eon, Vice President Academic and Reg- Dorota Gremlicová at the concluding the lute, transverse flute and mouth- istrar, University of Limerick, Cather- session). ine Foley with her staff and Professor organ scores compiled after the eighth Some researchers theorised and con- century in Japan. Through making László Felföldi, Chair of the Study Group. nected the terms place and space. An- these replicas and photographic repro- drée Grau explored, from different ductions available, we hope that more Monday morning of 23 July started the ethnographic documentation, the scholars and researchers in China can 6 day-long programme with the two “conversations” that exist between the obtain and study Japanese sources in a themes of Dance and Place and Dance spatiality of the dances/dancers, the more convenient manner. The materi- and Festival. The Programme Commit- place they are realised in, and the ways als donated to the Research Centre by tee of Colin Quigley (Chair), Hanafi they are received by their audiences. Allan J. Marett after his retirement in Bin Hussin, Mehmet Öcal Özbilgin, Anca Giurchescu used the terms to 2008 have attracted much attention Daniela Stavelová and Judy van Zile demonstrate how they are intercon- from scholars and researchers. They are surely put a great effort to “placing” nected, exploring two fieldwork expe- being widely used in both teaching and our papers in an order that felt obvious riences. Ivana Katarinčić explored the research in China. and welcoming. Since there was only terms through several standardised one session at a time (i.e., no parallel dance forms such as historical dances, Ethnochoreology sessions) every paper was heard by classical ballet and sports dances, while by Siri Mæland, Chair of everybody attending the Symposium. Georgina Wierre-Gore demonstrated ICTM Norway National That gave the opportunity to place sen- how the dancing in distinct places at an Committee ior and junior researchers in the same annual ceremonial festival in Nigeria sessions, which gave dynamics, good has special meanings and are marking 27th Symposium of the ICTM atmosphere and many interesting dis- hierarchy and power. Study Group on Ethnocho- cussions and questions after each pa- reology and Celebration of Physical places in connection to dance its 50th Anniversary, 22-29 per. Everybody in the symposium was in the past and present were exempli- July 2012 engaged! fied by the papers of Zdravko The Irish World Academy of Music and Theme 1: Dance and place Ranisavljević on modern Serbian wed- Dance in Limerick, Ireland hosted dings, Berna Kurt Kemaloğlu on staged these great events. During the week we traveled to many folk dance performances in Turkey, continents of the world, in real and Jörgen Torp in his historical sketch of We are very grateful for the Local Ar- virtual places, and even ventured into tango placed and unplaced, and Mohd rangement Committee’s work at the non-places. We were introduced to Anis Nor and Hanafi Hussin in their Irish World Academy of Music and many varying applications of the no- presentation “Lariangi: dancing
Bulletin of the ICTM Vol. 121 — October 2012 — Page 51 REPORTS maiden, palace and royals of the Bu- diasporic Ukrainian participatory Pictures of the 27th Symposium of tonese Kingdom in Southeast Sulawesi, dance repertoire. the ICTM Study Group on Ethnocho- Indonesia”. Andrea Conger explored metaphorical reology Other papers were more concentrated places/spaces or digital spaces in con- Mehmet Öcal Özbilgin not only pre- around dance as embodied in a specific nection to flash mobs and folk dance, sented a paper and was part of the place/space: Marie-Pierre Gibert ex- while Vesna Bajić Stojiljković’s contri- Symposium’s Program Committee, plored the connection between a place bution was about the use of dance but also took dozens of beautiful pic- and the materiality, internal logics and space, “Choreography of folk dances tures, which truly captured the cele- characteristics of the dance itself while from Serbia: dance, place and stage” bratory feeling of this Symposium. Anu Laukkanen explored affective and while Z. Gonca Girgin Tohumcu and kinaesthetic ethnography. Selena Ra- Kate Spanos explored place within the Following are a few examples: kočević gave a picture of a Romanian- dance (Romani dance versus Romani Serbian village and identity, Kristin style and Irish dance, traditional and Harris Walsh explored Step dancing in contemporary). Newfoundland, Elizabeth Painter ex- plored machismo in Cuban Casino, Theme 2: Dance and festival Placida Staro’s case studies in Italy During the week it became obvious emphasised how the structure and that the second theme Dance and Fes- form of a dance changes in new set- tival was closely related to the first tings, as Yolanda van Ede did in the theme Dance and Place. Theresa Buck- case of Japanese Flamenco. Stephanie land emphasised this in the first paper Smith explored the role of Pinewoods of this section. She demonstrated that Camp in English Country Dance while the concept “invention of traditions” is Anne von Bibra Wharton explored the problematic in connection to staging of places for dancing in the Herbstadt so-called ancient and national dances Plantanz. The only roundtable presen- as part of community celebrations in tation of the symposium, with Egil relation to issues of amateur perform- Bakka, Gediminas Karoblis, Siri ance, heritage and English identity. Mæland and Marit Stranden, discussed Chi-fang Chao followed up the link how performer-spectator relationship between the themes while exploring affects private and public place distinc- the phenomenon of cultural and spatial tion. identifications. Adrienne Kaeppler fo- Place as context, shifting contexts or cused on place of performance and its replacing dance where explored by influences on traditional dance in con- Tvrtko Zebec in Irish dancing in Croa- temporary works and fusion in Hawai- tia, Gürbüz Aktaş in the shifting con- ian dance. Urmimala Sarkar unfolded texts of the religious dance Samah, the safe space of dancing in an unsafe Judy van Zile in re-placing dance in place, Purulia in India. Korea, Belma Kurtişoğlu in çiftetelli on Community formation, dance, and fes- the artistic and social stages, Mats Me- tivals were explored by Pegge Vissicaro lin on the transformation and change in the case study of Festas Juninas in of meaning of Cape Breton step- Sao Paulo, Brazil and Rebeka Kunej’s dancing in different contexts in Scot- case study on Veselica in Slovenia, Liz land and Maria Koutsouba’s reflection Mellish’s focus on dance performance upon a dance’s number of “realities”. as part of community festivals in Timi- Place was also connected to diaspora/ soara, Romania and Daniela Stavelová migrants and dance by Ann R. David, in traditional festivities in Bohemia. who talked about the folk dance prac- Irene Loutzaki looked at the Hellenic tices of Indian Gujaratis settled in the Folk Culture Festival in Greece and UK.; Daniela Ivanova-Nyberg, Bulgar- Fahriye Dincer at Afro-Turks formation See the full set (available on Face- ian folk dance activities in the United of identity. Mehmet Öcal Özbilgin gave book) by clicking on this link. Stated; Elsie Ivancich Dunin, “From a historic paper about the early folk Croatia to the Americas and Australia: dance movement in the 1950s-70s and Korčula`s sword dances in diaspora”; the role of festivals as promotions and Omer Barbaros Unlu presented his Judy Olson, táncház as emotional protection of Turkish folk dances. ethnographic work and emphasised homeland and Andriy Nahachewsky, hidden competition at the Horon dances as the focal point of the Upland
Bulletin of the ICTM Vol. 121 — October 2012 — Page 52 REPORTS festival of Black Sea Region in Trabzon. their traditions. Some of us stayed in Mediterranean Music On the other hand Sherry Johnson em- the town for the evening session of set phasised community-building and dancing in a local pub. It felt like com- Studies learning experiences over competition ing to a real place (not imagined one) by Marcello Sorce Keller, in Ottawa Valley step dancing contests. when the local accordionist played Study Group Chair Chris Miller explored the mulit-inter- with his electrical drum box, the locals Report on the 9th Sympo- transdisciplinary festival Crossing the of all ages rehearsed with a caller, some sium of the ICTM Study Line, while Dorota Gremlicova ex- good dancers, some just having fun. Group on Mediterranean plored a graduation ball in contempo- This event contrasted with the next Music Studies in Lisbon rary Czech society. evening when we attended a dance (Portugal), July 2012 concert with former students of the Between July 10 and 12, 2012 the Study Miriam Phillips and Linda Dankworth MA Irish Traditional Dance Perform- Group on Mediterranean Music Stud- both gave papers with a critical look at ance Programme. That concert showed ies held its 9th Symposium in Lisbon, Ethnic Dance Festivals/World Dance us the diversity of Irish step dancing as Portugal, hosted by INET-MD at the Festivals that propose to unite different different styles of local, traditional, Faculdade de Ciências Sociais e Hu- cultures from around the world. shows and art performances. The Irish manas of the Nova Universidade de pub in Limerick showed us how the Mats Nilsson had the hard task of be- Lisboa. We are all very grateful to Pro- musicians just have become a part of ing the last presenter of the sympo- fessor Salwa El-Shawan Castelo- the pub, jamming “for themselves” sium. With his idea and metaphor of Branco, Director of INET-MD, for her while the pub’s life goes on either with puzzle picture and its connection to the cordial hospitality, impeccable organi- talking, eating, listening or, as it was theme Festival, the participants found sation, and active participation as dis- that day, watching the opening cere- themselves in the middle of moral cussant and session chair. panic, Carnival, festival and secure mony of the Olympic Games in Lon- dancing during the 20th and 21st cen- don. For some of us the symposium The theme of this Symposium was tury in Scandinavia. ended with the Barbecue Céili on Sat- “Musical Insularity: How it Favours urday evening, dancing céili dance to a Conservation, How it Triggers Innova- Reports and student papers: live céili band, and lots of shared danc- tion”. Papers were selected by a com- ing. For me the peak of the evening Three students at different levels, Jer- mittee, made up of Caroline Bithell, was the step dancing jam where many emy Carter-Gordon (BA), Konstantinos Kevin Dawe, and myself. It is with participants showed that step dancing Dimopoulus (MA) and Jiaying You great regret that we could not have in Ireland is only a little bit of the step (PhD) showed us impressive ethno- Kevin's presence, because of a joyful dancing “world”. graphic works and how to conceptual- event in his family requiring his total attention. ise these. Carter-Gordon presented I thought that all these venues made Sword dancing traditions across West- the celebration of our 50th anniversary. The choice of a theme such as “insular- ern Europe, Dimopoulos presented Anca Giurchescu was placed in the ity” requires a bit of explaining because changes in poetic and melodic identity middle of the celebration, with her in June 2004, Tullia Magrini organised in the community of Vathylakkos, Kar- knowledge, her devotion for tradi- in Venice the 6th Meeting of the Study ditsa and finally You presented two tional dance and her supporting atti- Group—then called "Anthropology of completely different ways of celebrat- tude. Her speech about the starting Music in Mediterranean Cul- ing Chinese New Year in Edmonton, point of the Study Group in Eastern tures"—devoted to a discussion of Canada. Europe gives a perspective for new “Music in Mediterranean Islands”. members like myself now entering a Venues and Celebration of 50th Anni- Since then islands have become a much group where the diversity of anthropo- versary bigger topic than they ever were. In logical and choreological approaches is fact, thanks largely to Godfrey Baldac- During the week a number of “after living fruitfully side by side, or some- chino (University of Prince Edward symposium venues” were highlighted times intermingled in the research and Island, Canada), and his journal “Is- and celebrated as we got to watch, par- in the collaborations that the study land Studies”, islands have become a ticipate in and listen to the diversity in group members form within and out- veritable new field of intellectual en- Irish dancing and music. The local side the Study Group. I think the over- deavour. That is why it seemed chal- committee brought us on an excursion all respect between different ap- lenging to musically revisit “islands,” to Killaloe/Ballina Historic Town proaches to dance, the dedication to and do so in an even wider perspective where we walked the town and were dance together with the lovely friend- – that of “insularity”. Luckily, we could brought to the Lough Derg Cruise. At ships between the members forms the have in Lisbon, some of the people the cruise our hosts had brought their basis for this fruitful group and its who had previously been in Venice instruments and played, sang and growth. I am looking forward to the (Judith Cohen, Caroline Bithell, Ruth danced Irish tunes for us. It ended up next fifty years! Davis, Franco Fabbri, and Gail Holst- being a jam session where the partici- Warhaft) and so the connection be- pants shared dancing and singing from tween the 2004 event and this later one
Bulletin of the ICTM Vol. 121 — October 2012 — Page 53 REPORTS was more than merely symbolic. • Franco Fabbri (Università degli Studi • Loren Chuse (Berkeley, California): di Torino): “Beam me up, Scotty!” “Spanish Flamenco: A Case of In Lisbon a welcome address was Metaphoric and Real Insularity in Musical Insularity and Innovation” given by Salwa El-Shawan Castelo- the Globalised World (or: a Sea Star Branco, followed by a few words by Trek)” • Maria Hnaraki (Drexel University): myself. Six sessions followed, with “Dancing with the Heroes: Conserva- eighteen papers by representatives of • Mojca Piškor (University of Zagreb): tion and Innovation in Cretan Per- eleven nations (Albania, Croatia, “Island Islanded: Decoding the Is- formance” France, Greece, Italy, Malta, Morocco, landness of the Otočki Rock” Portugal, Israel, UK, USA). Actually • Marcello Sorce Keller (University of more than eleven nations, if one con- • Ruth Davis (Corpus Christi College, Malta): Musings on Islands, Insular- siders how many of our speakers are Cambridge): “Islands of Musical ity, and Cultural Diversity either bi-national or live and work in a Memory: Recalling the Jewish Arab past in North Africa and the Levant” • Caroline Bithell (University of Man- country different from that of their up- chester): “Reimagining the Island” bringing. They all made up a very in- • Judith Cohen (York University, Can- teresting party, where old friends were ada): “Singing Beyond the Island: This was not only an interesting mix of happy to meet each other again, and New Musical Strategies among Ibe- topics but also, in the estimation of this where new people were equally happy rian Crypto-Jews” writer, a mix that gave us all a tangible to join the group. perception of how large the topic of • Vanessa Paloma (Brandeis Univer- musical insularity really is, and of how sity): “A Songbook from Alcazar- it provided a new angle from which to quivir’s Early 20th Century” examine the “tradition vs. innovation” dynamics; in other words, the dynam- • Ed Emery (SOAS, London): “The ics of musical change. Insularity of Insular Song” A conclusive session, devoted to the • Jorge Castro Ribeiro (Ethnomusicol- discussion of future events, future pub- ogy Institute INET-MD Lisbon, Uni- lications, and future development of versity of Aveiro): “Beyond Insularity the MMS website took place at the end, and Tourism: Popular Music in the chaired by Salwa El-Shawan Castelo- Madeira Archipelago” Branco. As far as future events are con- Participants of the Symposium • Cassandre Balosso-Bardin (SOAS, cerned, Palermo seems to be the place We adopted, in keeping with a phi- London): “The Xeremies in Mallorca: where our next colloquium will be losophy developed and tested last year Between tradition and Modernity, hosted, thanks to Sergio Bonanzinga of in the Portel Symposium, a “slow the Modern Day Situation of the Ma- Palermo University (Crete and Mo- food” approach. The program was full, jorcan Bagpipes after its Revival in rocco, and even Australia are being but not packed, and a good amount of the 1970s” considered for the medium range fu- time was devoted to discussions. In ture). In the way of publications there evenings we all could satisfy our thirst • Goffredo Plastino (University of seems to be a clear propension to go for Fado performances. Newcastle). “A Tough Sound: the electronic, and the MMS website is Calabrian Lira from Isolation to In- probably the place for this to occur. The list of papers presented, repro- novation” This is something on which the present duced here below in the order of ap- writer will have to work for the next • Andrew Pace (University of Man- pearance, gives an idea of the variety several months. of topics put on the table for discus- chester): “A Comparison of Perform- sion; some of the papers explored the ance Context Between Maltese At the very end a party took place. idea of musical insularity in its more Communities in Malta and Austra- general terms, others in its anchorage lia” and manifestation in local settings: • Abigail Wood (SOAS, London/Haifa University, Israel): “Insularity in a • Ioannis Tsioulakis (University Col- lege, Cork): “Musical Eclecticism and Crowded Place: Music and the the Pre-recession Athenian Ethnic Boundaries of Belonging in Jerusa- Scene: Fragments of a Salvage lem’s Old City” Ethnography” • Mikaela Minga (Università degli Studi di Milano): “The Serenata • Gail Holst-Warhaft (Cornell Univer- sity): “Porous Borders and Liminal- Korçare: How a Song Can Be Insu- lar” Sérgio Fonseca plays guitar at the Symposium’s ity: the Aegean Islands as Musical farewell party Conduit and Crossroads”
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The music was provided at first by Here are some impressions: Sérgio Fonseca, doctoral student at INET-MD, who is a Fado performer, and guitar collector. Then Franco Fab- bri took over the guitar and gave us classical rock, as well as some of his songs written for the Italian group “Stormy Six”. Cassandra Balosso Bar- din also took up her bagpipes, with Die Tanzgeiger from Austria Ioannis Tsioulakis at the keyboard, and Judith Cohen joined in with percus- sions and flute. Many of us enjoyed some dancing as well. It should not be forgotten that music and dancing we intermixed with wine, baked codfish with cream (a Portuguese delicacy) Svanibor Pettan, Secretary General of the cake, and cookies. That was the appro- ICTM speaking to the audience during the Opening Ceremony priate way to enjoy once more each other's company, and then say good-by or, rather, arrivederci. I Cantatori di Irgoli, Sardinia. Multipart Music by Ardian Ahmedaja, Study Group Chair
Report on the 2nd Sympo- sium of the ICTM Study Group on Multipart Music. 22-29 April 2012, Tiranë and Vlorë, Albania Sejdiu Borthers in Tiranë
The 2nd Symposium of the ICTM Ex-Silentio Study Group on Multipart Music took While working on the proceedings the place between 22 and 29 April 2012 in next Study Group Symposium is being Tiranë and Vlorë, Albania. The local prepared (see the “Call for Papers: Bu- organiser was the Ulysses Foundation dapest, 12-16 September 2013” in this based in Tiranë and the co-organiser Bulletin). was the Institute for Folk Music Re- search and Ethnomusicology of the For further information please visit the University of Music and Performing website of the Study Group, run by Arts in Vienna. Labë singers in Llogara, Southern Albania Ignazio Macchiarella at the University of Cagliari, Sardinia, Italy: The careful and dedicated preparation work created the needed atmosphere www.multipartmusic.org for presentations and lively discussions as well as contacts with local music and musicians from several parts of the country. The program was enriched by groups who performed music from the Medieval Mediterranean, Sephardic traditions, religious and profane music from Sardinia as well as vocal, instru- mental and dance music from Austria. The scholars and the musicians helped making the symposium a remarkable experience and spreading its contents and significance to a broader public in the country. This aspect was all the more important, because this was the first ICTM symposium in Albania. Participants of the Symposium
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Music and Dance in The business meeting had three points • The place and time for the next meet- on the agenda: ing were set: Serbia in the second Southeastern Europe half of September 2014. by Speranţa Rădulescu • Elections. Considering that the in- cumbent members of the board have • The possible formation of new Sub- Report on the 3rd Sympo- acted efficiently and in perfect Study Groups was discussed, the sium of the ICTM Study agreement, the participants decided already existing one (on Military Group on Music and Dance in Southeastern Europe, to reconfirm them, through elections, Connections) being functional and 17-23 April 2012, Berovo, in the positions they held: Velika active. Macedonia. Stojkova Serafimovska as Chair; Mehmet Öcal Özbilgin and Jane • The broad participation in the meet- The Study group is relatively young, Sugerman as Vice Chairs; Liz Mellish ing of young ethnomusicologists but dynamic and growing. This year, as Secretary; Lozanka Peycheva as who are also performers (singers, its meeting—the third—saw the par- Music Liaison and Selena Rakočević instrumentalists) was pointed out, ticipation of 57 ethnomusicologists as Dance Liaison. The participants most of whom are Turkish or Mace- from countries in the region (Bulgaria, also appointed a new program com- donian. (The entertaining presenta- Croatia, Greece, Macedonia, Romania, mittee for the next two years. tion by Gonca Girgin Tohumcu and Serbia, Slovenia, Turkey) and other Ahmed Tohumcu and F. Merve Eken countries (Austria, Denmark, France, • The program of the next meeting. Küçükaksoy of the “Communicator Germany, Italy, UK, USA). It was or- Seven themes were proposed, out of Behind Cloak: Karagöz Shadow ganised in the mountain town of which the local organisers and the Theatre” enjoyed special success.) Berovo, in Macedonia, by a team of the new program committee will select Senior participants Anca Giurchescu, ICTM Macedonia (FYROM) National and made official three. For the mo- • Elsie Dunin-Ivancich, Dieter Chris- Committee, made up of Velika Stoik- ment, two of the topics of the next tensen and Victor Friedman gave the ova Serafimovska, Ivona Tatarcevska meeting have met the approval of all younger participants finely and Marjana Gjorgjioska. The organisa- the participants: 1. Professionalism in cloaked—and well-received—advice tion was impeccable in all its aspects. music and dance and 2. Improvisa- tion. on elaborating papers and abstracts, The symposium proper began after the and the standard notation of refer- customary greeting speeches and the • The book published after the previ- ences. homage paid to the meeting’s Guest of ous meeting (Izmir, Turkey): Proceed- The feeble participation of Greek col- Honor, Victor A. Friedman from the ings. Second Symposium of the Interna- • leagues in the meeting, and the total University of Chicago, USA. The pa- tional Council for Traditional Music absence of Bosnian, Montenegrin and pers dealt with one of the following Study Group on Music and Dance in Kosovan participants were noticed three topics: Southeastern Europe. How do Public Presentations Affect Perceptions and with regret. All those present were 1. Terminology and analytical ap- Practices of Music and Dance? Regional invited to find solutions to attract proaches to Southeastern European and National Experiences. Educational them into the group. music and dance. Systems of Music and Dance (Learning • It was commented that “Intercultural 2. Crossing national boundaries / and Teaching Processes). Interested communication” was a compara- Intercultural communication. persons can purchase this book by tively little dealt-with topic, in pa- sending a request to Öcal Özbilgin, pers that for the most part did not 3. New approaches (Free papers). email: [email protected]. bring into relation more than two or All in all, 51 papers were delivered, 12 The final session consisted of an open three different musical and choreo- of which were grouped into four pan- discussion on various topics: graphic cultures. els. Those under New Approaches con- It was suggested that the new pro- • Appreciation was given to the or- • cerned a few issues of constant interest gram committee find ways to en- among ethnomusicologists: expressing ganisation of the meeting in Berovo and the collateral events: concerts courage the organisation of panels identity through music, minorities’ with members from different coun- music and dance, nation and national- and musical animations, the release of “Walzenaufnahmen aus tries, and to stimulate papers that ism, folklore and folklorisation, teach- deal with existing musical and cho- ing popular dance in an institutional- Sudosteuropa/Wax Cylinder Record- ings from Southeast Europe”, record- reographic categories and phenom- ised framework, archives and ways of ena, in various formats, across the capitalising on the documents they ings produced by the Berliner Pho- nogrammarchiv, which involved the entire south-east-Balkan area, such as contain. It is to be noticed that the pa- horo/kolo/hora etc., lyric songs in free pers kept the balance between ethno- efforts of a team led by Susanne Zie- gler, and a lovely excursion to a rhythm and with improvised form, musicology and ethnochoreology epic songs with common subjects, sheepfold hut. (which can be considered as the special and many others. quality of this group).
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• Proposals were submitted for more College of Zefat. Set up for a three-year 2010 (edited by Ursula Hemetek, see efficient promotion of the following curriculum, this program ultimately page 68) took place at the business meetings of the group. leads to a BA in Literature, Visual Art meeting of the Study Group. On this and Music. Essica Marks spoke about occasion, the publishing of the com- The ICTM Study Group on Music and two different methods of teaching Arab pendium of articles from participants Dance in Southeastern Europe meeting music to Arab-Israeli children both be- to the current symposium was dis- in Berovo took place in a warm atmos- ing developed and in use at the college. cussed, in the hope that the new enter- phere. Without exaggeration, all the prise will see the light before the 8th participants felt like a family. The musical heritage of Sephardic Jews Study Group Symposium, selected to in France, Poland and Slovakia, Judeo- take place in 2014 in Osaka, Japan. Music and Minorities Spanish musical practices, the Swiss- Jewish minority nationalism expressed As a lateral observation to this wonder- by Cornelia Buijs- through music, and secrecy aspects of fully organised symposium: it did Dragusin and the Portuguese Crypto-Jews culture, benefit the students of the Zefat Aca- TERADA Yoshitaka were included in the symposium. demic College to attend the sympo- Report on the 7th Sympo- sium and many of them took the op- sium of the ICTM Study Highlights of the cultural place of the portunity to participate in an interna- Group on Music and Mi- large Arab minority on Israel territory, tional ethnomusicological discourse. norities, 7-12 August as well as that of Hadramy Arab music 2012, Zefat, Israel and dance in Singapore, and the rise of Minutes of the 15th Business Meeting of the cultural identity of Astrakhan Muslims ICTM Study Group on Music and Minorities, 9 The seventh sympo- August 2012, Zefat, Israel sium of the ICTM were also on the program. The meeting was called to order by Study Group on Music Various sessions centred on ethnic- Ursula Hemetek, Chair, at 14:30. and Minorities was racial aspects of the cultural life of di- hosted this year by the verse minorities and diaspora: the 1. Introductory remarks included a Academic College of Amami Islands minority of Japan, the warm welcome to members pre- Zefat, Israel. A num- Basques struggle for self determina- sent. Apologies for absence, in par- ber of 30 to 40 participants from 18 tion, the Circassians in Turkey, the ticular from Naila Ceribašić, a countries attended the four-day pro- Hmong population of Thailand, the member of the program commit- gram, which included 25 paper presen- Indian and Sri Lankan diaspora in tee, were noted. tations, business meetings and discus- North America and England, the cul- sions, as well as cultural events offered tural isolation of Kurds in Russia, of 2. The printed copy of the minutes of by the hosting organisation. Roma in Finland and Slovakia, and of the 14th business meeting in St Sorbians and Turks in Germany. John’s was distributed. Hemetek The symposium presented a selection announced that the new Study of four of the aspects of the methodol- New terms emerged from presenta- Group Executive Committee, con- ogy and study of minority groups cul- tions, such as the ‘analytical model of sisting of Ursula Hemetek, Ade- ture, and were distributed over the “the circulatory flow”’ (Terada) and laida Reyes, and Yoshitaka Terada three days of paper presentations and ‘cultural spicing’ (Hilarian). One Study had been elected at the meeting. panel discussions. The four themes Group member suggested the change Svanibor Pettan, who had been the were dedicated to: of the traditional term 'minority' as Vice Chair of the Study Group as- representative statement for the name • Musical education and cultural iden- sumed the position of Secretary tity 'Music and Minorities' adopted by the General of ICTM, and was thus Study Group. Recommended alterna- replaced by Reyes. Hemetek ex- • Methodology in the study of music tives were ‘domination and resistance’ tended her special thanks to Pettan and minorities and ‘music and power’. A challenging for the important role he played in discussion followed about ‘promotion the creation of the Study Group • Nationalism in music and minorities or integration’ of a minority and which and in the valuable service he has • Representation of minority music in one has the priority? About preserva- given to it. Reyes, who had been film and video tion of tradition through function and the secretary of the Study Group, the functional role of tradition through was replaced by Terada. The min- The first morning was allocated to local the recurrence of cultural events. utes were approved unanimously. scholars’ presentations on cultural as- pects and challenges encountered in It was generally agreed that the old 3. a) Ursula Hemetek reported on the cultural relations between different name of 'Music and Minorities' will 2010 meeting in Hanoi, and spe- ethnic groups living in Israel. The in- continue to be in use. cifically on the proceedings con- taining papers read at the meeting. troductory paper (Judith Cohen, Israel) The official launch of the online publi- The volume, edited by Hemetek, detailed the unique program recently cation of a selection of papers from the includes 11 articles (15 edited created for the multicultural Academic Hanoi 6th Study Group Symposium in
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manuscripts were submitted while pers presented at the meeting to be - Digital media and minority 4 were withdrawn during the included after minor revisions, and process of editing) and was pub- 2) selected articles based on the - Cultural policy and minority lished online, for the first time in paper presented at the meeting. - Postcolonial theory the history of the Study Group. Essica Marks will investigate the Hemetek described the advantages college’s publication policy to help - Sexual minority of internet publication such as the determine the method. She will - Minority and exile inclusion of colour photos and easy announce the deadline for submit- access to audio examples. Hemetek ting the edited manuscripts at a 8. The gratitude of the Study Group also explained the reason that the later date. was extended to the local organis- proceedings was not published by ers—to Essica Marks and her 5. a) Yoshitaka Terada proposed to the hosting organisation and that whole team—for their extraordi- hold the next Study Group Sympo- none of the papers by Vietnamese nary efforts to make the Zefat sium in Osaka, Japan. His Power- participants are included in the Symposium a success. Marks ac- Point presentation provided in- proceedings. A printed copy of the knowledged and responded to the formation on the conference venue, publication was presented to Es- thanks. sica Marks (local organiser) and accommodation and excursion Svanibor Pettan (Secretary General possibilities. The dates of the meet- The Assembly adjourned at 16:00 P.M. of the ICTM). ing were discussed and two possi- bilities were suggested: mid-July Musics of East Asia b) Tom Solomon announced the and early September 2014. Terada publication of two collections of will announce the dates after se- by J. Lawrence essays edited by him: Music and curing the facility. Vote was taken Witzleben, outgoing Identity in Norway and Beyond: Es- and the proposal was unanimously Study Group Chair says commemorating Edvard Grieg the supported. The ICTM Study Humanist (Fagbokforlaget, 2011) Group on Musics of and Ethnomusicology in East Africa: b) As for a future meeting, Larry Francis Hilarian suggested the East Asia (hereafter Perspectives from Uganda and Beyond MEA) held its Second International (Fountain Publishers, 2012, co- possibility of hosting it in Singa- pore. Judith Cohen expressed her Symposium on 24-26 August 2010 on edited with Sylvia Nannyonga- the outskirts of Seoul, Korea, at the Tamusuza). concern that the two consecutive meetings in Asia might prevent the scenic Academy of Korean Studies. c) María Escribano announced that participation of European col- Sheen Dae-Cheol was the Local Ar- her doctoral dissertation, leagues. rangements Chair and Master of “Rhythms of struggle: Recovery, Ceremonies for the many performances revival and re-creation of txalaparta 6. Attention was drawn to the themes and other events, while Tsai Tsan- in the Basque Country” (2012, of the upcoming ICTM World Con- Huang (Chinese University of Hong University of Limerick) had been ference in Shanghai, China and Kong) served as Program Chair. The completed and would soon be participation from Study Group Symposium featured both a Keynote available at the university’s online members in the form of individual Address by Kwon Oh-sung on “Some thesis register. papers and panel presentations Suggestions for the Future of East- was encouraged. In particular, as Asian Musicology in the 21st Century” d) Pettan urged Study Group the selected themes for the 2013 and a Lecture Concert: “The Music members to send information World Conference are congruent World of Maestro Hwang Byungki”, about their publications, in any with the themes of the Study presenting Professor Hwang's insights languages, that will be of interest Group Symposium, members were on Korean music, along with perform- to the general membership, to the particularly encouraged to organ- ances of some of his recent composi- Secretariat of the ICTM. ise panels. Pettan encouraged at tions. least three panels to be formed by 4. Hemetek reiterated the principle of Study Group members. MEA's Third International Symposium the Study Group that the local or- was hosted by the Chinese University ganiser of the meeting is responsi- Members were reminded of the 7 of Hong Kong on 31 July-2 August ble for the proceedings, which will September deadline for submission 2012, with Victor Vicente as Local Ar- be published under the name of of abstracts/proposals. rangements chair and Helen Rees the institution to which s/he be- (UCLA) as Program Chair. Yamaguti longs. The content to be included 7. Themes for the next Study Group Osama offered a keynote speech with in the proceedings of the Zefat Symposium were proposed, and the tantalising title “East Asian Net- meeting was then discussed. The included: works of Music in Retrospect, Inspect, pros and cons were given to the - The concept of minority and Prospect”. The Symposium was a following two methods: 1) all pa- great success, but a note of sadness
Bulletin of the ICTM Vol. 121 — October 2012 — Page 58 REPORTS lingered over the event with the un- sity of Hong Kong) for “Globaliz- sium’s main themes, an exhibit was set timely passing of CUHK's Music De- ing the Traditional: The Develop- up at the NCCA Gallery, featuring pic- partment Chair, musicologist Michael ment of Peking Opera in Hong tures and written materials on the four McClellan, who had died just a few Kong” and Diao Ying (University Filipino cultural groups that performed days earlier. Mike was a good friend of Maryland, College Park) for during the event. and colleague to many of us in the “Compositional Techniques on Study Group, and he had worked tire- Lisu Christian Hymnody: Accul- The Symposium began with the dele- lessly to make this event happen. turation and Musical Adaptation”. gates’ registration on 14 June and wel- Our warm congratulations to Jer- coming remarks from Marlene San- Each of these Symposia featured over emy, Joshua, and Emma! chez, Deputy Executive Director of the sixty papers on a wide variety of sub- National Commission for Culture and jects. One of the Study Group's initial 3. The MEA Subgroup for Research the Arts. Welcoming comments also missions was to provide a venue for on Music and Colonial Modernity came from Patricia Matusky, Chair of younger scholars in East Asia to pre- in East Asia, founded by Hugh De- the PASEA Study Group and from sent and share their work in a friendly Ferranti and currently led by Joys Made Mantle Hood, Chair of the Pro- environment, and this aspiration has Cheung as Acting Chair, has been gram Committee for this Symposium been achieved to an extent that sur- active in organising panels for both and Secretary of the PASEA Study passed all of our expectations. All of MEA Symposia and ICTM World Group. the founding members of the MEA Ex- Conferences. Those interested in ecutive Committee—Sheen Dae-Cheol, the joining the Subgroup should Themes. In this 2nd Symposium of Tsai Tsan-Huang, Um Hae-Kyung, contact PASEA, the local host put forth Theme Wang Ying-Fen, Waseda Minako, Xiao [email protected]. I, (Re)Producing the Southeast Asian Mei, Yang Mu, and myself—have now Performing Arts—Traditions in the completed their terms of service, and I Here and Now, which focused on the Performing Arts of South- topics of local identity formation, tour- would like to express my thanks to all eastern Asia of them, especially our first Chair, ism and commodification, and institu- Wang Ying-Fen, and our Secretary of by Patricia Matusky, tionalising Southeast Asian performing four years, Waseda Minako, for helping Study Group Chair arts traditions in modern multi-cultural music education. Theme II for this to bring the Study Group to life. Our The 2nd Symposium current ExCo members are Matt Gillan, symposium, proposed by PASEA of the ICTM Study members, was Southeast Asian Bod- Frederick Lau (Chair), Lee Ching-Huei, Group on Performing Li Mei, Park Mikyung, Helen Rees ies, Music, Dance and other Move- Arts of Southeast Asia ment Arts, which focused primarily on (Secretary), and Terauchi Naoko (Vice took place at the Na- Chair). As I complete my term as Chair movement arts and their relation to tional Commission for Culture and the music, ritual and dramatic arts in of the Study Group, I am pleased to see Arts in Manila, The Philippines, and its future in the capable hands of Fred, Southeast Asia and the diaspora. In was hosted by the Citizens for Arts & addition, New Research was repre- Naoko, Helen, and their distinguished Culture Manila, Inc., on 14-19 June colleagues. sented, including several ‘lightning’ 2012. Our venue (the NCCA) was one sessions reporting activity and pro- In other MEA news of historical significance being placed gress of ongoing field research projects in the Intramuros walled city of Ma- by graduate students and other schol- 1. The Fourth International Sympo- nila, erected by the Spanish in the 16th ars. These themes were covered in the sium will be held in the summer of century. The official symposium secre- formats of individual papers, panels 2014 at Japan's Nara University of tariat site was at the White Knight Inn and short lightning sessions. Education, with Liou Lin-Yu and (where many delegates stayed) also in Terauchi Naoko jointly chairing the the Intramuros just a short walk from In addition, a summation and com- Local Arrangements Committee. the NCCA building. Buffet lunch was mentary on this symposium was given Details will be forthcoming. served at nearby Barbara’s restaurant. by Professor Ricardo Trimillos (Univer- sity of Hawai’i at Manoa, USA) as part 2. The 2008 Student Paper Prize (for a This Symposium was attended by 95 of the final session of the symposium, paper delivered at the 2008 meet- delegates from the Philippines, Indo- reporting ‘the state’ of this symposium, ing in Shanghai; announced at the nesia, Malaysia, Singapore, Germany, which can serve as a guide post to this 2010 meeting) was awarded to Jer- France, Australia, Taiwan, Thailand, young study group for the organisation emy Leong (University of Wiscon- the United Kingdom and the USA. and composition of future symposia. sin, Madison) for his paper “Flee- They came together to hear and discuss Professor Trimillos noted that among ing the Nazi's Pogrom: Music and some 57 paper presentations, and the papers presented at this sympo- the Jewish Experience in Pre- shorter reports on research by graduate sium, about 25% were given by young Communist Shanghai and Fujian”. students, as well as demonstrations, scholars or graduate students, a fact The 2010 prize was jointly awarded dance, music and ritual performances. which strongly upholds one of the to Chan Pui-Lun (Chinese Univer- In connection with one of the Sympo-
Bulletin of the ICTM Vol. 121 — October 2012 — Page 59 REPORTS primary objectives of this Study Group. Arts, Taiwan) entitled “Music, Mi- trasting Modes of Singing at Funeral We were very pleased to hear that grants and Cultural Identities: Musical Ceremonies Among the Bontoc People news and will continue our efforts to Activities of Indonesian Migrants in of Northern Philippines”, Arwin Tan attract young scholars from Southeast Taiwan and Their Diasporic Phenom- (Univ. of the Philippines) presented Asia and elsewhere into this Study ena”. Still focusing on Taiwanese and “An Inquiry on the Status of a Philip- Group. Austronesian peoples, Schu-Chi Lee pine Town Maestro: The Case of Don (Taipei National Univ. of the Arts, Tai- Lorenzo Ilustre of Ibaan, Batangas”, Sessions. The early sessions of the wan) presented “Searching through and Ma. Alexandra Iñigo Chua (Univ. Symposium focused on Theme I, Musical Instruments for the Trace of of Sto. Tomas, Philippines) spoke about (Re)Producing the Southeast Asian Taiwanese Indigenous Peoples and the “Hispanic Villancicos in 19th Century Performing Arts—Traditions in the Austronesian-speaking Peoples”. The Manila: Musings on Representation, Here and Now and issues involving topic of local identity in Vietnamese Appropriation and Identity in Music”. tourism and commodification of the culture was addressed in the paper Southeast Asian performing arts. Mar- entitled “One Song–Two Stories” pre- Theme I-sub-topic Institutionalising garet Sarkissian (Smith College, USA) sented by Gisa Jähnichen (UPM, Ma- Southeast Asian Performing Arts Tra- spoke about “Full Circle: Marking Five laysia). Although Andrew McGraw ditions in Modern Multi-Cultural Hundred Years of Portuguese Presence (Univ. of Richmond, USA) could not be Music Education was covered in three in Malacca”. Continuing with this present, his paper “The Ethical- papers in this symposium. These were topic, recent developments in Cambo- Aesthetics of I Wayan Sadra (1953- David Harnish (Univ. of San Diego, dia were discussed by Celia Tuchman- 2100)” was read by David Harnish. USA) “Between Traditionalism and Rosta (UC Riverside, USA) in her pa- Russ Skelchy (UC Riverside, USA) Postmodernism: Multiple Identities of per “From Sacred Art Form to Com- spoke about “Growing the Tradition: the Balinese Performing Arts Troupe, modity: Cultural Tourism and Classical Discourses of Genre and Identity Çudamani”, Supeena Insee Adler (UC Dance in Cambodia”, while Clare Chan Among Keroncong Musicians in Yog- Riverside, USA) speaking on “Sources Suet Ching (UPSI, Malaysia) spoke yakarta”, and Alex Dea’s (Independent of Order: Thai Musical Ensembles in about “Informed Choices and Aesthet- Scholar, Indonesia) paper was entitled the Royal Thai Armed Forces”, and ics? Reproducing Orang Asli (Indige- “The Five-Minute Bedoyo and the Sa- finally Pamela Costes-Onishi (Nanyang nous People) Music and Dance from cred Wayang Kulit Cabaret: Local Cul- Tech. Univ., Singapore) and Hideaki Mass Mediated Reinvented Versions of tural Circuits and Expressive Culture Onishi (National Univ. of Singapore) It”. in Java”. James Chopyak (CSU- addressing “The Institutionalisation of Sacramento, USA) spoke about “The the Philippine Kulintang Tradition: A After a quick lunch break, the topic of Proposal for an Alternative Teaching tourism continued with Rebekah Many Versions of the Malaysian Na- tional Anthem, Negara Ku, My Coun- Methodology that is Consistent with its Moore’s (Indiana Univ., USA) “A City Stylistic Essence”. Cacophonous: Traversing Denpasar, try”, Phang Kong-Chien (UTM-MARA, Bali’s Disparate Soundworlds” which Malaysia) presented “Pesta Muzik Theme II, Southeast Asian Bodies, was a lightning paper read for Rebekah Klang: Musical Expression of Malay- Music, Dance and other Movement (who could not be present) by Made sian Chineseness”, and turning to East Arts (sub-topic: Movement Arts & the Mantle Hood. Following were Eliza- Malaysia Julia Chieng (UPM, Malaysia) Southeast Asian Body) was begun by beth McLean Macy (UCLA, USA) on presented “Musical Adoption: Gurkha Uwe U. Paetzold (Robert Schumann “Balinese Music and Cultural Tourism: Music in the Lebu’ Kulit Longhouses of Univ. of Music, Germany) on “Ben- Struggling into the 21st Century”, Li Jia Sungai Asap, Sarawak”. Mi Hyun Oh jang–An Indigenous Fighting Art and (Univ. of the Philippines) presenting a (Univ. of the Philippines) spoke about Its Music Coping with the Challenges lightning paper “Genre Formation of “Emotion and Representation in Kasfala to Maintain its Identity in the Eastern Pinoy Pop Music: Perception Discrep- Recontextualization Among the Saran- Suburbs of Bandung City, West Java ancy and National Identity”, and Ran- gani Blaan People of Southern Min- (Indonesia)”. Discussion on movement dal Baier (Eastern Michigan Univ., danao, Philippines”, and Rowena Gue- arts continued with Paul H. Mason USA) speaking on “Music in the Tour- vara (Univ. of the Philippines) pre- (Macquarie Univ., Australia) speaking ist Landscape: The Photographic Ico- sented “Re-interpreting Tiruray Agung on “Sound Movement: Self- nography of the Sundanese Angklung Music and Dance Tradition”. Accompanied and Musician- Ensemble”. Randal’s paper was the In a special panel of four papers de- Accompanied Movement in West Su- sole presentation with a PowerPoint voted to the topic of local identity in matran Plate Dancing”, and Lilymae F. ingenuously projected from an iPad! The Philippines, José S. Buenconsejo Montano (Univ. of the Philippines/ (Univ. of the Philippines) presented Philippine Women’s Univ.) “Claiming The Theme I, (Re)Producing Southeast Social Justice in a Cordillera Commu- Asian Performing Arts with a focus on “Fury in Paradise: An American Musical Stereotype of Zamboanga, nity in the Philippines: The Ifugao Hi- local identity began with a lightning mong Revenge Dance”. paper by the young scholar Shou-Fan Philippines (1937)”, Christine De Vera Hsieh (Tainan National Univ. of the (Miriam College, Philippines) spoke on The sub-topic movement and the “Dissolving Barriers: The Case of Con-
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Southeast Asian Body continued with three presenters as well as questions Children’s Music”, Kristina Benitez Maria Christine Muyco (Univ. of the from the audience. (Philippine Women’s Univ.) presented Philippines) presenting “Space Consti- her paper entitled “Insights into Con- tutions in Panay Bukidnon’s Music and Theme II, Southeast Asian Bodies, cepts of Melody and Tuning among Dance”, a lightning session by Hanafi Music, Dance and other Movement Practitioners of Traditional Musics in Hussin (Univ. of Malaya, Malaysia) Arts was also approached from the the Philippines”, Mayco A. Santaella and MCM Santamaria (Univ. of the sub-topic Movement, Music, Ritual (Univ. of Hawai’i, USA) presented Philippines) on “Igal Campur: Interro- and Theatre. Three sessions were de- “Nationalizing Kakula: The Works of gating Hybridity in Sama Dilaut voted to this sub-topic. We heard first Hasan Bahasyuan in Central Sulaw- Dance”, Toh Lai Chee (Teacher Ed. from Felicidad Prudente (Univ. of the esi”, and John Garzoli (Monash Univ., Inst., Malaysia) on “Transformation in Philippines/Philippine Women’s Australia) spoke on “Musical Conso- the Teaching and Learning of Boria at Univ.) on “Calling the Spirit: A Ritual nance and Cultural Dissonance: An Institute and Schools in Penang”, and of the Buaya Kalinga People of North- issue in Musical Hybridity”. Cynthia Afable (Philippine Women’s ern Philippines”, Tsung-Te Tsai (Tainan Univ./Univ. of Sto. Tomas) presenting a National Univ. of the Arts, Taiwan) A second session on New Research lightning paper on “The Tagalog speaking on “Religion, Chant, and presented a variety of topics on both Paawitan Today in the Province of Healing: Ruqyah Medical System and folk and classical musics. Neal Math- Quezon, Philippines”. Islamic Chant in Java”, and Sumarsam erne (UC Riverside, USA) presented (Wesleyan Univ., USA) presenting the “Remembering Maceda: Ugnayan and With a focus on movement and the paper entitled “Islamic Perspectives on National Memory in the Philippines”, Southeast Asian body in the perform- Traditional Javanese Music and Thea- Leo Eva Rempola (Univ. of the Philip- ing arts of Malaysia, we heard Mohd. tre”. pines) spoke on “Metaphors of Power Anis Md. Nor (Univ. of Malaya, Malay- and Propaganda in Lucino T. Sacra- sia) speaking on “Zapin-Melayu in Jo- Other sessions on the sub-topic Move- mento’s Ang Maharlika and Ang Bitiun hor: Constructing Malay-ness from the ment, Music, Ritual and Theatre in- Concertos for Piano and Orchestra”, Body, Music and Dance of Hadhra- cluded Tan Sooi Beng (Univ. Sains Ma- while Lawrence Ross (CUNY, USA) maut”, Patricia Matusky (Independent laysia) speaking on “Mediating Plural- spoke on “For the Sake of Religion, Scholar, USA) presenting a paper on ism and Modernity through Comic Race and Nation: Articulating Malay- “Puppets, Movement and Music: Songs in Colonial Malaya”, Patricia ness through Silat in Malaysia”. Knowing and Meaning in a Malay Hardwick (Independent Scholar, USA) wayang kulit tradition,” and Jacqueline speaking on “A King, A Palace, A Excursion. The third day of this Sym- Pugh-Kitingan on “Music, Movement, Country: Exploring the Conceptualiza- posium (16 June) was devoted entirely Sport and Identity: The Moulilian Ta- tion of the Body in Mak Yong Healing to an excursion away from the formal gunggak of the Gana Murut of Sabah, Performances in Rural Kelantan, Ma- sessions and evening performances. Malaysia”. laysia”, Christine Yung May Yong’s The trip away from Manila took us first (Univ. of Malaya, Malaysia) paper enti- to Cavite Province to visit the A final group of papers on movement tled “Monkey Business: Interweaving Geronimo Berenguer de los Reyes Jr. and the Southeast Asian body was pre- Stories into Contemporary Gamelan Museum in General Trias to view its sented as a panel with discussant Ri- Performance”, Sarah Anaïs Andrieu collection of vintage Philippine photo- cardo Trimillos. The panel presenters (Ecole des Hautes Etudes en Sciences graphs. We then proceeded to Tagaytay approached this topic in specific con- Sociales, France) presenting “Creative City for a lunch of great Filipino food, texts and from the point of view of Processes, Perception and their Redefi- and by late afternoon-early evening we Filipino Americans. The papers were nition in Contemporary Traditional witnessed the Tagalog Firewalkers rit- Wayland Quintero (Univ. of Malaya, Performance: The Example of Sun- ual in the nearby town of Alfonso, and Malaysia) speaking on “Not Muslim danese wayang golek (West Java, Indo- a few of the Study Group members Music and Dance! Filipino American nesia)”, and Ako Mashino (Tokyo Univ. joined in walking on the hot coals (we Responses to ‘Muslim’ and Islamopho- of the Arts, Japan) presenting “The hope their purposes have been ful- bia”, Bernard Ellorin (Univ. of Hawai’i Body Producing the Music: Voice, filled). at Manoa, USA) on “Samahan versus Body, and Music in the Balinese Pasacat: Hybridity and Mimesis of Phil- Musical Theater, Arja”. General Study Group Meeting. The ippine Folk Dance and Music in San morning of the fourth day of this Sym- Diego, California”, and Desiree A. New Research in this Symposium was posium (17 June) saw the General Quintero (Univ. of Hawai’i at Manoa, reported, firstly, through a panel of Study Group Meeting to discuss the USA) presenting “Costuming as Moro: four scholars presenting papers on tun- business matters important to the run- Filipino Americans as Shifters in the ing systems as found in Southeast Asia. ning of this Group. The Bylaws and Re-Siting of Filipino-ness”. Discussion Made Mantle Hood (Univ. of Mel- the Guidelines for Symposia were and commentary on these and related bourne, Australia) spoke about unanimously passed by the member- “Musical Invasives: Hybridity and the ship. issues was led by Trimillos with the Forces of Diatonicization in Balinese The hosting proposals for the 2014
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Symposium (from Laos, Thailand, In- by Mohd. Anis Md. Nor who reports walls in the performance gallery at the donesia and Malaysia) were presented that there are about 20 members cur- NCCA Building. and will be evaluated and decided rently in that group. upon by the Executive Committee of Acknowledgements. On behalf of all this Study Group over the next few Finally, Paul Mason suggested this members of the ICTM Study Group on months. The Executive Committee is Study Group set up a Facebook page, Performing Arts of Southeast Asia, sin- especially concerned about keeping the discussion followed, and it was agreed cere thanks is extended to the host or- cost to attendees as reasonable as pos- to set up the social network page (Paul ganisation—The Citizens for Arts & sible, and maintaining one of the im- Mason will take care of it) which will Culture Manila, Inc., and to the venue portant objectives of our mission function as an informal communication agency—National Commission for statement to bring in young scholars site for members and other interested Culture and the Arts (NCCA) in Ma- and graduate students from Southeast individuals, while the current ICTM nila. To Professor Ricardo Trimillos we Asia and elsewhere. Possible themes website and this Study Group’s current say maraming maraming salamat po! for the 2014 Symposium were re- google user website will carry the offi- Many, many thanks also to all mem- quested and a drop-box for proposed cial information disseminated by this bers of the Program Committee and the themes from the membership was put Study Group, including the Minutes of Local Arrangements Committee for in place for the remaining duration of the General Study Group Meeting. arranging and presenting a stimulating the Symposium. and all-round excellent symposium. Great Entertainment. Over the five The complete Program, Biographical The Executive Committee as it now days of sessions during this Sympo- Notes of Presenters and the Abstracts stands (Patricia Matusky, Chair; Made sium, the delegates were entertained in for this symposium, and the current Mantle Hood, Secretary & Program the early evening hours with music Minutes of the Study Group Meeting Committee Chair for the 2012 Sympo- and dance by a number of diverse may be seen at this Study Group’s sium; Mohd. Anis Md. Nor, Publica- groups. The Bayanihan Philippine Na- website at sites.google.com. tions Chair; Felicidad Prudente, Local tional Dance Company performed at Arrangements Chair; and David Har- the Conrado Benitez Hall of the Philip- nish, Member-at-Large) will stay in pine Women’s University, which was place until new elections and reap- followed by a buffet dinner for all. The pointments in 2014. Philippine Madrigal Singers sang at the 16th-century cathedral San Agustin The Publications Chair explained the Church in the old, walled city Intramu- process for editing and formatting the ros, and near the end of symposium Proceedings for the current 2012 Sym- the Madukayan Turayan artists of posium (same as the process for the Tabuk City, Kalinga performed dances 2010 Symposium). All papers actually accompanied by flat gongs (gangsa), presented in this Symposium will ap- bamboo zithers (tabbatab), and bamboo pear in the Proceedings, and once ed- stamping tube ensemble (tongatong). ited and formatted by the Editorial We heard the Madukayan end-blown staff, the Proceedings will be published bamboo flutes (baradong), bamboo by the Philippine Women’s University zither solo and duets (kullitong) and in time for distribution and sale at the jaw’s harp (onnat), while choral singing ICTM World Conference in Shanghai in featured courting songs and several 2013. salidummay rendered with guitar. One evening’s performance was devoted to The members present were urged to a demonstration, with delegates’ par- consult with colleagues and submit ticipation, of Achenese sitting dances proposals for panels on Southeast (rhythmical body percussion dances Asian performing arts for the World accompanied by songs derived from Conference in Shanghai. devotional Islamic melodies) by A new sub-study group on Studies of dancer/choreographer Alfira O’Sulli- Performance in Royal Contexts (in van, founder of the Suara Indonesian Southeast Asia) was proposed by Law- Dance Group. The ICTM-PASEA rence Ross, discussed and approved by Study Group extends many thanks to the membership. Anyone interested is all the performers, to the members of welcome to join and should contact the local arrangements committee who Lawrence directly. The first sub-study arranged these performances and to group, formed in 2010, focuses on Per- the designers of the exhibition banners forming Arts of Muslim Communities and wall hangings that informed us in Southeast Asia and was organised about the performers and enhanced the
Bulletin of the ICTM Vol. 121 — October 2012 — Page 62 REPORTS Reports from Related Organisations
UNESCO Report 2. Forum of ICH-Researchers organisational aspects of the Forum and also a symposium on the results of On the Sunday before the start of the by Wim van Zanten, the convention with respect to com- General Assembly, 3 June 2012, the Fo- outgoing ICTM munity participation. As the place of rum of ICH-Researchers had its first representative at the 7th Committee meeting changed meeting at the Maison des Cultures du UNESCO from Grenada to Paris, there is only Monde in Paris. This Forum was an limited possibility to attend (60-70 1. Meeting General Assem- initiative of Toshiyuki Kono and sev- seats). Hence registration is needed for bly of the 2003 UNESCO eral others who had been involved in Convention in Paris, 4-8 June 2012 attending the NGO Forum at the ´Mai- the 2003 convention for a long time. son des associations du 7ème arrondis- The major issue at this meeting was Officially this meeting had nothing to sement´, 4, rue Amélie, 75007 Paris, 2 whether more responsibilities should do with the GA meeting, but it was a December 2012. be given to NGOs and individual ex- clear sign by the 2010 president of the perts of the Consultative Body. During GA, Toshiyuki Kono, and others that A more extensive report on the above the GA in Paris almost sixty percent of the convention should listen more to issues is given in the document “12-07- the time was devoted to this issue and the voices of researchers. The presenta- 02 report GA 2012 for NGO the major decisions were: tions centred around three themes: Forum.pdf”. This report and the pro- gramme and way of registration for the 1. the tasks of the Consultative Body 1. Interpretation of the criteria for NGO Forum in Paris, 2 December 2012, will not be expanded; inscription on the lists and the reg- may be found on the site ister of the Convention; 2. the mandate of the members of the ngoforum.pbworks.com that can also Consultative Body will be ex- 2. Community participation in the be reached via the UNESCO-ICH site. tended to a maximum of four safeguarding of their ICH under years, and its composition be re- the Convention; RILM Report newed by one quarter each year. 3. How to identify priority areas for by Joe Peters, outgoing 3. the Intergovernmental Committee research? ICTM representative at (IGC) will set a maximum to the RILM Commission Mixte All papers except one may be found on number of files to be treated annu- the website of the Forum. It was de- The RILM (Repertoire ally and the order of priority. cided that the next meeting of this International for Music For NGOs it was important that the ICH-Researchers Forum will be in To- Literature) Meeting was held on 8 July GA invited the IG Committee ‘to un- kyo, January 2013. 2012 at the Multimedia Library of the dertake a reflection on the criteria and Auditorium Parco della Musica in 3. Meetings of NGOs modalities for accreditation of non- Rome. I attended this meeting via governmental organisations, taking At this GA there was no NGO Forum Skype from Singapore. account of their role in the Conven- organised, such as during the IGC The agenda as usual covered national tion.’ This issue will be addressed in meetings in Nairobi (2010) and Bali committees, the impact on some priori- the 3-7 December 2012 IG Committee (2011). Instead, there were three short ties set last year, meaning the effective- meeting (7.COM). meetings of the representatives of ness of RILM itself, including its agents NGOs attending the GA. Many repre- who manage the abstracts, and some Last year ICTM was selected for the sentatives attended for the first time Consultative Body 2012. The present good discussion on the perennial (and and this is one of the major problems of recurring) problems of information author represented ICTM in the Con- getting the NGOs organized properly. sultative Body and examined the 20 representation, metadata and database These meetings were also attended by management issues. nominations for the Urgent Safeguard- members of the ICH section of ing List (8), the International Assis- UNESCO: Héléna Drobna (responsible In last year's report I said that RILM's tance (10), and the Best Practices (2). for the coordination with NGOs) and relationship with ICTM is still unde- The Committee will use these advices Susanne Schnüttgen (chief Capacity fined and I hoped this would be dis- for its decisions in December 2012. The Building and Heritage Unit). cussed in depth at the meeting in Can- nominations for the Representative List ada. I think this was done (I assume) as were examined by the Subsidiary Body. It was decided that the day before the I was not informed. A new team will IG Committee meeting (that is, on represent ICTM from next year and I Sunday 2 December 2012) there should think they will continue to keep ICTM be a business meeting, discussing the
Bulletin of the ICTM Vol. 121 — October 2012 — Page 63 REPORTS linked to RILM. trism within CM that is preventing a It is not CM's role to question current breakthrough. Where collaboration practice at RILM, but if ICTM plays a RILM for the first time made the could take place it has not. I found it a role in RILM (which is really a busi- boundaries clear between their Board lost cause to bring this up at the CM ness) then this has to be on the agenda and the Commission Mixte (CM). It was meetings. It also probably a lost cause for discussion. It will come into play interesting for me as I think CM was to push this in ICTM. when pedagogy begins to finally move discussing issues that did not concern in tandem with the current rapid de- them, but at the same time there was RILM reported an advance indexing velopment in media protocols. no clear role for CM in developing initiative and that seems to again be strategies for RILM. These were done Euro centric and related to music the- The connection with RILM must be by the full-time staff and brought to ory that is Western. I did not bring up seen as developmental and it has to be CM meetings as reports. any points here because ICTM itself linked to people who are actively in- does not have any framework to dis- volved in database development in Because of my personal involvement in cuss music theory in traditional music. their curricula. I have not seen this so IASA (International Association of far. I wish the ICTM team at the Com- Sound Archives) and the Laon-Laon An area where ICTM could sit down mission Mixte an enjoyable time - and (Forum on Music Research Centers) with RILM and have a good talk is in please attend the annual meetings. If and other bodies in Asia, I bring up their amended classification relating to you cannot go there do it via Skype. from time to time issues relating to da- No 33 (Ethnomusicology); Asia. There Barbara Dobbs Mackenzie goes to great tabases but there seem reluctance from is really no change that will cater for lengths to ensure this works for us, and the chair to discuss them. the real length and breath of Asian mu- she runs RILM in an excellent manager sic because RILM is depending on clas- and briefs CM with more information The CM's role is to interface the aca- sifications that are again done in old demic community with their needs for than is necessary. What more can one style. This topic has to be visited and ask for? abstract and other related issues. I revisited with Asia and not through think pedagogy issues cut into this too. what has been published in ICTM. RILM has a string of regional commit- Otherwise, I can see a schism in the European Seminar in tees. I think the ICTM infrastructure near future when Asia will look for its Ethnomusicology must interface with them to bring the own route through this. RILM will not by Mojca Kovačič, Chair publication issues into context. be able to navigate Asia on its own. of Slovenia ICTM As usual RILM’s own report is always ICTM has to make some fundamental National Committee a good one – but I could not verify this changes to get the real Asia involved. The XXVIII European even if I wanted to (and I would rather Perhaps, as associate members. Seminar in Ethnomusi- not). They say it was a productive year RILM also brought up a “new tracking cology (ESEM) that took despite decrease in staff, and made tool” for general information. I think place from 19 to 23 September 2012 in possible through greater efficiency and the full time staff at RILM are a great Ljubljana, Slovenia, was hosted by the “productivity metrics”. The number of bunch of futurists. But for them to be Centre for Interdisciplinary Research records that had full editorial treatment relevant to the world, there is an in- and the Institute of Ethnomusicology also significantly increased to finally formation gap at the moment that has of the Scientific Research Centre of the reverse the trend and the backlog of to be plugged. They also have plans to Slovenian Academy of Sciences and work in this area. In other words RILM launch a second online database and I Arts. has reached a functional work level think this is brilliant and it should keep that would allow full editorial treat- them occupied for some time while ment of records. The facility for direct RILM and ICTM sort out some funda- submissions by authors which was a mentals. This second database which recent move has also increased - but as they call RILM Classic will bring re- usual there is a proviso that it could be cords before 1967 - and that I think is a better. I highlighted this point in my bonus for all. Currently, RILM is “re- last report to ICTM that this facility placing” their current interface and was important to all ICTM members. this is directly related to their metadata And as usual, the RILM national com- structures which seems to be based on mittees are under-performing - and I MARC with much assistance from the think unless there is fundamental ne- British Library. The objective is clear - gotiations between ICTM and RILM on to make it participatory and dynamic. I this, there will be no change. As usual, did ask a question (for my silent USA Afro-Asia is a blank, but no one is friends) if some thought was given to bothered to find out if there is much FRBR of the Library of Congress. The going on in Asia in their separate quar- chair seemed befuddled, so that was ters. I think it is Euro-American cen- the end of any discussion. ESEM 2012 Poster
Bulletin of the ICTM Vol. 121 — October 2012 — Page 64 REPORTS
This year's theme, National Past in Lecture, presented by invited scholar Music/National Musical Past: Music and ICTM Executive Board Member and Cultural Memory in post-1989 Naila Ceribašić from the Institute of Europe has encouraged scholars to Ethnology and Folklore Research, Za- approach the topic with different and greb, Croatia. very interesting aspects: by exploring the ways in which current musical The ESEM meeting left a very positive forms address the past events and by impression on all of us, which was evi- investigating the strategies of reshap- dent both in the satisfaction of the par- ing and re-narrating the musics from ticipants, as well as in level of discus- the past in the dominant discourses of sions, questions and comments follow- the present. ing paper presentations. The week- long meeting was complemented by a The topic attracted international schol- rich accompanying program which ars from all over the world, including greatly contributed to the success of many ICTM members and authorities. the event. Participants were treated to a The representation of national identity film screening of Sretno dijete (“Happy and historical past was discussed child”) by Igor Mirković, about the through film music, state commemora- musical “new wave” in Yugoslavia, a tion rituals, and music festivals, and on concert of traditional Slovene music themes such as diasporic reconstruc- Zajuckaj in zapoj (an annual event or- tions of past through music, national ganised by Institute of Ethnomusicol- memory in music of minorities, music ogy ZRC SAZU), an excursion to the and individual cultural memory. The coast, and a farewell dinner with a papers’ themes also allowed forming concert by Ljubljana’s Partisan Choir. more national related sessions such as German and post-Yugoslav music and The next meeting is planned to be in memory politics, as well as the use of the beginning of September 2013 in music and musical instruments for Bern, Switzerland. promoting, transmitting or supporting contemporary nationalistic movements and ideas. Memory politics, employ- ment and meaning of the socialist sounds in some post social societies, such as in former Yugoslavia were also debated by many scholars, as well as through the John Blacking Memorial
Participants of ESEM 2012. Front and centre: Krister Malm, former ICTM President and Chair of Sweden ICTM National Committee.
Bulletin of the ICTM Vol. 121 — October 2012 — Page 65 CALENDAR OF EVENTS Calendar of Events — ICTM
26-30 October 2012 20-23 March 2013 11th Symposium of the ICTM Study Group on Iconography of the 19th Symposium of the ICTM Study Group on Folk Musical In- Performing Arts. struments.
Location: Beijing, China. Location: Bamberg, Germany.
Read more about the Symposium here. Read more about the Symposium at the Study Group's home page.
8-10 November 2012 4-7 April 2013 Meeting of new Ethnochoreology Sub-Study Group on Movement 2013 Joint Annual Meeting of the British Forum for Ethnomusicol- Analysis. ogy and ICTM-Ireland
Location: Budapest, Hungary. Location: Queen's University Belfast, United Kingdom.
Read more about the Meeting here. Read more about the Symposium on page 11.
8-11 November 2012 8–12 April 2013 8th Symposium of ICTM Study Group on Maqam. 13th Symposium of the ICTM Study Group on Music Archaeology.
Location: Sarajevo, Bosnia and Herzegovina. Location: Guatemala City, Guatemala.
Read more about the Symposium here. Read more about the Symposium here.
1-2 December 2012 11-17 July 2013 3rd Symposium of the ICTM Study Group on Music of the Turkic 42nd ICTM World Conference Speaking World. Location: Shanghai Conservatory of Music, Shanghai, China. Location: Cambridge, UK. Read more on pages 3-6. Read more about the Symposium here. 12-16 September 2013 31 December 2012 3rd Symposium of the ICTM Study Group on Multipart Music. Deadline for receiving proposals for nominations to fill positions on the ICTM Executive Board. Location: Budapest, Hungary.
Read more about the procedure on pages 3-4. Read more about the Symposium here.
1 January 2013 Deadline for applications to fill positions of Film/Video Review Editor for the Yearbook for Traditional Music.
Read more about the procedure on page 5.
15 March 2013 Deadline for applications to fill position of General Editor of the Yearbook for Traditional Music.
Read more about the procedure on pages 4-5.
20-21 March 2013 Symposium of the ICTM Study Group on Music of the Arab World.
Location: Baabda, Lebanon.
Read more about the Symposium here.
Bulletin of the ICTM Vol. 121 — October 2012 — Page 66 CALENDAR OF EVENTS Calendar of Events — Related Organisations
24-27 October 2012 24-28 June 2013 Annual Meeting of the American Folklore Society. 17th Biennial Conference of the International Association for the Study of Popular Music (IASPM). Location: New Orleans, United States. Location: Gijón, Spain. Read more here. Read more here. 1-4 November 2012 Joint Annual Meeting of the Society for Ethnomusicology, American Musicological Society, and the Society for Music Theory .
Location: New Orleans, USA.
Read more here.
7-10 November 2012 “Sonidos del presente, propuestas de futuro: Investigación, innova- ción y aprendizaje en las músicas populares urbanas y de tradición oral”. XII Conference of SIBE-Sociedad de etnomusicologia.
Location: University of Extremadura (Institute of Modern Lan- guages), Cáceres, Spain.
Read more at sibecaceres.wordpress.com.
16 November 2012 Deadline for applications to the “Tullia Magrini” Scholarship Award.
Read more on page 21.
10-11 November 2012 63rd Annual Conference of the Society for Research in Asiatic Music (TOG).
Location: Kunitachi College of Music (Tachikawa, Tokyo).
Read more on page 21.
24 November 2012 British Forum for Ethnomusicology Annual One-Day Conference.
Location: Pitt Rivers Museum, University of Oxford, United King- dom.
Read more on pages 21-22.
10-12 January 2013 Workshop: Participatory Pop: Audiences, Life Styles and Fan Cul- ture in 20th Century Southeast Asia.
Location: Jakarta, Indonesia.
Read more on Bulletin of the ICTM 120, page 17.
Bulletin of the ICTM Vol. 121 — October 2012 — Page 67 PUBLICATIONS Featured Publications by ICTM Members Music and Minorities in time in Romanian ethnological scholar- these terms’ customary to order: hence ship, the perils of patriotism, national- the current ‘Routes & Roots’. Ethnomusicology: Chal- istic infatuation, and amateur praise of lenges and Discourses the folklore of yore (as well as of con- • Aberdeen: University of Aberdeen, from Three Continents servative mentalities), are both system- 2012. Paperback, 242 pages. Edited by Ursula Hemetek atically and suggestively revealed. The • concept of “subjectivity”, as subtler • Language: English The ICTM Study and more revealing than “identity”, is • ISBN: 978-0-9545682-7-6. central to the entirework, not only the Group on Music and Price: £ 12.00; order directly from the subjectivities involved in the “collec- • Minorities has regu- publisher’s website. larly held meetings tive” creation being discussed, but also and was able to pub- those of the academic constructions are lish the results regu- analysed from an insubordinate, criti- World music u Srbiji. cal perspective. larly as well. The Tradicije, poreklo, razvoj Study Group meet- • Bucharest: Editura Muzicală, 2011. ing which is the sub- • 350 pages, photos, transcriptions. By Rastko Jakovljević ject of this publication was held in Hanoi/Vietnam from 19 to 24 July • Language: Romanian. • Muzička omladina 2010, and was a joint meeting with the • ISBN: 978-973-42-0648-3. Srbije, 2011. ICTM Study Group on Applied Eth- • For more information contact the • Paperback, 90 nomusicology. It was the 6th meeting author at [email protected] pages, photos, of our Study Group and the first out- transcriptions, side Europe, which was meant to add Routes and Roots: Fiddle audio CD. to the quality of international coopera- and Dance Studies from tion and additionally to benefit ethno- • Language: Serbian. musicology and minority research in around the North Atlantic 4 • For more information contact the the region itself. This is mirrored in the Edited by Ian Russell and Chris Goertzen author at [email protected]. 11 articles included in the publication. This volume, the Lidé města/Urban People • Vienna: Institut für Volksmusikfor- fourth in the series, is schung und Ethnomusikologie, 2012. The second volume of Lidé města/ the result of the 2010 Urban People (2012) dedicated to the • E-book (74.9 MB), 131 pages, colour North Atlantic Fiddle theme “Theory and Method in Urban photos, transcriptions, illustrations. Convention, held in Ethnomusicology“ has just been pub- • Language: English. Aberdeen, Scotland, lished by the Faculty of Humanities, • ISBN: 978-3-902153-06-7. its theme being Charles University, Prague. Based on a ‘Roots and Routes’. ‘Roots’ has tradi- • Available for free from publisher’s two-day round table held in Prague in website. tionally suggested beginnings, attach- June 2011, the volume features essays ment to place, and stasis in general, by Adelaida Reyes, Kay Kaufman She- whereas ‘routes’ has encompassed lemay, Peter McMurray, Bozena Musz- Muzicologii, etnologii, travel, migration, and displacement – subiectivităţi, politici kalska, Ursula Hemetek, Zuzana in short, movement. But the research Jurková, Eugene Dairianathan and by Marin Marian-Bălaşa contained in this volume strongly sup- Kjell Skyllstad. ports a more modern, nuanced under- An extended version of the volume Within the dominat- standing of ‘roots’: earlier times have which includes sound examples is ing nationalistic con- already featured plenty of the opera- available on-line www.lidemesta.cz. text of the Central tion of the dynamics of change. Since and Eastearn Euro- ‘roots’ were packed with ‘routes’ from pean ethnological the start, the journey from conference scholarship, this to published volume entailed inverting book is strikingly different. For the first
Bulletin of the ICTM Vol. 121 — October 2012 — Page 68 PUBLICATIONS
PAX SONORIS IV-V ion has shaped their daily lives and • Huelva: Diputación de Huelva- continues to do so today. From Sha- Servicio de Publicaciones, 2010. Edited by E. M. Shishkina manism to Sufism explores the funda- • Paperback, 321 pages, colour photos, This present edition mental interplay between religious be- lief and the cultural heritage of music transcriptions, DVD with audiovis- of the scientific ual examples. magazine PAX SO- and dance and is the first book to focus NORIS includes sec- particularly on the role of women. • Language: Spanish. tions on Theroy of • London: I. B. Tauris, 2011. • ISBN: 978-84-8163-490-7. Music and Aesthet- ics, Traditional • Hardcover, 256 pages. • Price: € 30.00 from casdellibro.com. Musical Heritage, • Language: English. Nations’ Cultures, Dialogues of Cultures. Ethnocultural • ISBN: 978-1848853096. Convergence, Academic Musicology, Knowledge of Ethnic Instruments, Re- • Price: £ 56,00, order directly from the gional Ethnography, Applied Ethno- publisher’s website. musicology, and New Publications. Danzas de la Provincia de It features articles by Bernhard Bleibin- Huelva ger, Elena Gorokhovik, Ursula Heme- tek, Maria Hnaraki, Lasanthi Manaran- By Juan Agudo, Celeste Jiménez, Francisco janie Kalinga Dona, Bożena Muszkal- J. García Gallardo and Herminia ska, Svanibor Pettan, Alexander Arredondo Schwab, Inna Shved, Janos Sipos, Kjell Danzas de espadas Skyllstad Muller, Razia Sultanova, Tr n (sword dances) are Quang H i, and Saule Utegalieva. traditional dances • Astrakhan: State Folklore Centre very common in “Astrakhanskaya Pesnya”, 2010- Europe during the 2011. last centuries. They are collective, public, • Paperback, 256 pages, transcriptions, and exclusively per- photos. formed by men's groups. • Language: Russian and English. In the areas of Andévalo and the Sierra • ISBN: 978-5-902742-53-1. de Huelva –southwestern Andalusia– • For more information contact the sword dances and similar types of editor at [email protected]. dances (lances, sticks, castanets, arches and decorative sticks) are today usu- From Shamanism to ally integrated into the celebration of a Sufism: Women, Islam rite, in solemn as well as festive, relig- and Culture in Central ious ceremonies. Asia The music of these dances is instru- mental, played on the pipe and tabor, by Razia Sultanova gaita (a special kind of flute) and tambo- Women have tradi- ril. Some of the local names of these tionally played a vi- music and dance are: Danza de espadas, tal part in Islam de los palos, de los Cirochos, de los Cas- throughout Central cabeleros, del Santísimo, las mudanzas, Asia -- the vast area fandango parao, folía. from the Caspian Sea In the book, the authors describe in to Siberia. With this detail these dances, referring to many ground-breaking and aspects: festivities, time and spaces, original study, Razia events and sequences, the dancers Sultanova examines clothing and items they carry, choreo- the experiences of Muslim women in graphic sequences, as well as transcrip- the region and the ways in which relig- tions and analysis of the dance music.
Bulletin of the ICTM Vol. 121 — October 2012 — Page 69 ICTM WORLD NETWORK
Albania Côte d'Ivoire India Sokol Shupo, Liaison Officer Hien Sié, Liaison Officer Shubha Chaudhuri, Chair of [email protected] [email protected] National Committee [email protected] Argentina Croatia Silvia Citro, Liaison Officer Tvrtko Zebec, Chair of Indonesia [email protected] National Committee Made Mantle Hood, Liaison [email protected] Officer Australia & New Zealand [email protected] Dan Bendrups, Chair of Cyprus Regional Committee Panikos Giorgoudes, Chair of Iran d.bendrups@griffith.edu.au National Committee Hooman Asadi, Liaison Officer [email protected] [email protected] Austria Thomas Nußbaumer, Chair of Czech Republic Ireland National Committee Zuzana Jurková, Liaison Officer Liz Doherty, Chair of [email protected] [email protected] National Committee [email protected] Azerbaijan Denmark Sanubar Bagirova, Liaison Lene Halskov Hansen, Chair Israel Officer of National Committee Edwin Seroussi, Liaison Officer [email protected] [email protected] [email protected]
Bangladesh Estonia Italy Mobarak Hossain Khan, Chair Ingrid Ruutel, Chair of Leonardo D’Amico, Chair of of National Committee National Committee National Committee [email protected] [email protected] [email protected]
Belarus Ethiopia Jamaica Elena Gorokhovik, Liaison Timkehet Teffera, Liaison Olive Lewin, Chair of Officer Officer National Committee [email protected] [email protected] [email protected]
Belgium Finland Japan Anne Caufriez, Liaison Officer Pirkko Moisala, Chair of Atsumi Kaneshiro, Chair of [email protected] National Committee National Committee pirkko.moisala@helsinki.fi [email protected] Bosnia and Herzegovina Jasmina Talam, Chair of France Kazakhstan National Committee Julien Mallet, Chair of Saule Utegalieva, Liaison [email protected] National Committee Officer [email protected] [email protected] Brazil Eurides Souza Santos, Chair of Germany Kenya National Committee Dorit Klebe, Chair of Charles Nyakiti Orawo, [email protected] National Committee Liaison Officer [email protected] [email protected] Bulgaria Rosemary Statelova, Liaison Greece Republic of Korea Officer Irene Loutzaki Kifissias, Sheen Dae-Cheol, Chair of [email protected] Liaison Officer National Committee [email protected] [email protected] Canada Sherry Johnson, Chair of Guatemala Laos National Committee Matthias Stöckli, Liaison Bountheng Souksavatd, [email protected] Officer Liaison Officer [email protected] [email protected] China Xiao Mei, Chair of National Hungary Latvia Committee Katalin Kovalcsik, Chair of Martin Boiko, Liaison Officer [email protected] National Committee [email protected] [email protected]
Bulletin of the ICTM Vol. 121 — October 2012 — Page 70 ICTM WORLD NETWORK
Lithuania Portugal Tanzania Rimantas Sliužinskas, Chair Salwa Castelo-Branco, Chair of Imani Sanga, Liaison Officer of National Committee National Committee [email protected] risli@delfi.lt [email protected] Thailand Macedonia (FYROM) Romania Bussakorn Binson, Liaison Velika Stojkova Serafimovska, Marian Lupascu, Chair of Officer Chair of National Committee National Committee [email protected] [email protected] [email protected] [email protected]
Madagascar Russian Federation Turkey Mireille Rakotomalala, Liaison Alexander V. Romodin, Arzu Öztürkmen, Chair of Officer Liaison Officer National Committee [email protected] [email protected] [email protected]
Malaysia Serbia Uganda Tan Sooi-Beng, Liaison Officer Danka Lajić-Mihajlović, Chair James Isabirye, Chair of [email protected] of National Committee National Committee [email protected] [email protected] Mexico Carlos Ruiz Rodriguez, Singapore Ukraine Liaison Officer Joseph Peters, Liaison Officer Olha Kolomyyets, Liaison [email protected] [email protected] Officer [email protected] Nigeria Slovakia Richard C. Okafor, Liaison Oskar Elschek, Chair of United Kingdom Officer National Committee Tina K. Ramnarine, Chair of [email protected] [email protected] National Committee [email protected] Norway Slovenia Siri Maeland, Chair of National Mojca Kovačič, Chair of United States of America Committee National Committee Harris Berger, Chair of [email protected] [email protected] National Committee [email protected] Oman South Africa Khalfan al-Barwani, Chair of Alvin Petersen, Liaison Officer Uzbekistan National Committee [email protected] Alexander Djumaev, Liaison [email protected] Officer Spain [email protected] Palau Enrique Cámara de Landa, Howard Charles, Liaison Chair of National Committee Vanuatu Officer [email protected] Raymond Ammann, Liaison [email protected] Officer Sri Lanka [email protected] Papua New Guinea Lasanthi Manaranjanie Kalinga Naomi Faik-Simet, Liaison Dona, Liaison Officer Venezuela Officer [email protected] Katrin Lengwinat, Liaison [email protected] Officer Sweden [email protected] Peru Krister Malm, Chair of Raúl Romero, Liaison Officer National Committee Vietnam [email protected] [email protected] Ph m Minh H ng, Chair of National Committee Philippines Switzerland [email protected] José Buenconsejo, Liaison Raymond Ammann, Chair of Officer National Committee Zambia [email protected] [email protected] Mwesa I. Mapoma, Liaison Officer Poland Taiwan [email protected] Ewa Dahlig, Chair of National Tsung Te-Tsai, Chair of Committee Regional Committee [email protected] [email protected]
Bulletin of the ICTM Vol. 121 — October 2012 — Page 71 ICTM STUDY GROUPS
African Musics Music and Dance in Southeastern Europe Chair: Patricia Opondo (South Africa) Chair: Velika Stojkova (Macedonia/FYROM) [email protected], [email protected] [email protected]
Applied Ethnomusicology Music and Dance of Oceania Chair: Klisala Harrison (Canada/Finland) Chair: Denis Crowdy (Australia) klisala.harrison@helsinki.fi [email protected]
East Asian Historical Musical Sources Music and Gender Chair: Zhao Weiping (China) Chair: Fiona Magowan (UK) [email protected] [email protected]
Ethnochoreology Music and Minorities Chair: László Felföldi (Hungary) Chair: Ursula Hemetek (Austria) [email protected] [email protected]
Folk Musical Instruments Music Archaeology Chair: Gisa Jähnichen, (Germany/Malaysia) Chair: Arnd Adje Both (Germany) [email protected] [email protected]
Historical Sources of Traditional Music Music of the Arab World Co-Chairs: Susanne Ziegler (Germany) & Ingrid Åkesson Chair: Scheherazade Hassan (France) (Sweden) [email protected] [email protected], [email protected] Music of the Turkic-Speaking World Iconography of the Performing Arts Co-Chairs: Dorit Klebe (Germany) & Razia Sultanova (UK) Chair: Zdravko Blažeković (USA) [email protected], [email protected] [email protected] Musics of East Asia Maqām Chair: J. Lawrence Witzleben (USA) Chair: Jürgen Elsner (Germany) [email protected] [email protected] Performing Arts of Southeast Asia Mediterranean Music Studies Chair: Patricia Matusky (USA) Chair: Marcello Sorce Keller (Switzerland) [email protected] [email protected]
Multipart Music Chair: Ardian Ahmedaja (Austria) [email protected]
Bulletin of the ICTM Vol. 121 — October 2012 — Page 72 ICTM AUTHORITIES
Adrienne L. Kaeppler Salwa El-Shawan Stephen Wild Svanibor Pettan Castelo-Branco President Vice President Secretary General Vice President USA Australia Slovenia Portugal
Carlos Yoder Samuel Araújo, Jr. Naila Ceribašić Ursula Hemetek
Executive Assistant Executive Board Executive Board Executive Board Member Member Member Argentina/Slovenia Brazil Croatia Austria
Jean Ngoya Kidula Don Niles Timothy Rice Razia Sultanova
Executive Board Executive Board Executive Board Executive Board Member Member Member Member
Kenya/USA Papua New Guinea USA UK
Kati Szego Trần Quang Hải J. Lawrence Witzleben Xiao Mei (萧梅)
Executive Board Executive Board Executive Board Executive Board Member Member Member Member
Canada France/Vietnam USA China
Bulletin of the ICTM Vol. 121 — October 2012 — Page 73 ICTM AUTHORITIES
Memberships for individuals About the ICTM • Ordinary Membership: EUR 60.00 • Joint Ordinary Membership (*): EUR 90.00 The International Council for Traditional Music is a Non- Governmental Organisation in formal consultative relations • Student Membership (**): EUR 40.00 with UNESCO. Its aims are to • Emeritus Membership (***): EUR 40.00 further the study, practice, documentation, preservation and • Life Membership: EUR 1,200.00 dissemination of traditional mu- Joint Life Membership (*): EUR 1,500.00 sic and dance of all countries. To • these ends the Council organises (*) Joint Memberships are available for spouses who both World Conferences, Symposia wish to join. They receive only one set of ICTM publica- and Colloquia.. tions, but otherwise enjoy all other privileges and responsi- bilities of ordinary members. The ICTM publishes the Yearbook for Traditional Music, dis- tributes the online Bulletin of the ICTM, and maintains an (**) Individuals may take advantage of Student Member- online Membership Directory. ship rates for a maximum of five years. Proof of student status will be required. By means of its wide international representation and the activities of its Study Groups, the International Council for (***) Available only to applicants retired from full time work Traditional Music acts as a bond among peoples of different which had been members of the ICTM for at least 5 years. cultures and thus serves the peace of humankind. Memberships for organisations Corporate Memberships are available to organisations such Contact information as government departments, regional scholarly societies, radio-television organisations and other corporate bodies International Council for Traditional Music for EUR 250.00 a year. Corporate members receive all the Department of Musicology benefits of an Ordinary membership, plus they have the Faculty of Arts option to select up to three additional individuals who will University of Ljubljana enjoy all the benefits of ordinary members. However, Cor- Aškerčeva 2 porate Members have only one vote at ICTM elections. 1000 Ljubljana Slovenia Institutional Subscriptions to the Yearbook for Traditional Telephone: +1 410 501 5559 Music are available in electronic-only, print+only and E-mail: [email protected] print+electronic formats. See next page for more informa- Skype: ictmslovenia tion. Supporting memberships All members who are able to sponsor individuals or institu- tions in a soft currency country are urged do so by paying Membership an additional fee of EUR 30.00 for each sponsored member- ship or institution. If the recipient is not named, ICTM will All memberships to ICTM run from 1 January to 31 Decem- award the supported membership to one or more individu- ber, except for Life and Joint Life Memberships (see below). als or institutions in such country. Members in good standing are entitled to: Payment methods 1. Participate in the activities of the Council (such as pre- senting a paper at a World Conference). Remittance payable to the ICTM Secretariat is preferred in euros via Electronic Funds Transfer (aka bank transfer, giro, 2. Receive the Council's publications. wire transfer, or SEPA/UPO order). Other currencies and payment methods are accepted (major credit and debit 3. Obtain access to premium website content (such as the cards, PayPal, cheques), but additional charges may apply. ICTM Online Directory). For any questions regarding memberships, please write to 4. Vote in ICTM elections. [email protected].
Bulletin of the ICTM Vol. 121 — October 2012 — Page 74 GENERAL INFORMATION Institutional Subscriptions
Institutional Subscriptions to ICTM are available for libraries, institutions and other organisations (including Subscription Agents) who wish to carry the Yearbook for Traditional Music in printed and/or electronic form. All subscriptions run from 1 January through 31 December.
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Institutional subscribers receive: Institutional subscribers receive: Institutional subscribers receive:
• Online access to the five most re- • A printed copy of the 2012 Year- • A printed copy of the 2012 Year- cent issues of the Yearbook for Tra- book (vol. 44), sent in November/ book (vol. 44), sent in November/ ditional Music (i.e., 2008-2012) via December 2012. December 2012. JSTOR. Price: USD 120.00* per year • Online access to the five most re- Price: USD 100.00 per year cent issues of the Yearbook for Tra- To place your subscription, contact ditional Music (i.e., 2008-2012) via To place your subscription, contact the CTM Secretariat. JSTOR. JSTOR. (*) Price given in USD for coherence only. Subscribers will be billed for EUR 90.00. Price: USD 150.00 per year
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Bulletin of the ICTM Vol. 121 — October 2012 — Page 75 GENERAL INFORMATION Publications
Yearbook for Traditional ICTM Secretariat, from Vol. 1 (1969) announcements, calls for papers, etc.) through Vol. 42 (2010), at 23.00 EUR per on a regular basis. Music volume plus shipping and handling. A The Yearbook for Traditional Music is a 10% discount is available for orders of Individual ICTM members should di- refereed scholarly journal which carries more than 10 copies of the same volume rect relevant announcements or reports essays, reviews, and reports in the area shipped to the same address. Please on activities to their national or regional of traditional music and dance research. note that the latest issue (currently Vol. representative or Study Group Chair. 43) costs 90.00 EUR (shipping and han- ICTM members residing in countries ISSN (Print): 0740-1558. dling included). with no official ICTM representation ISSN (Online): 2304-3857. may submit reports and announcements Electronic back issues (via JSTOR): directly to the Editor. General Editor: Don Niles. institutions may add archival content The Bulletin is primarily a means for The Yearbook was established in 1949 as (back issues) of the Yearbook for Tradi- tional Music to their existing JSTOR communicating ICTM information. the Journal of the International Folk However, the Editor will consider in- Music Council, and it is published in accounts. Please note that this service is currently available to organisations cluding news from international organi- English every December by the ICTM sations which may be of interest to Secretariat. All ICTM members and in- only. Individual scholars may, however, obtain access through one of JSTOR's ICTM members, giving priority to stitutional subscribers in good standing UNESCO affiliated organisations. receive a copy of the Yearbook via prior- participating institutions. To go to the ity air mail. Yearbook's page at JSTOR's website, Articles will be edited, when necessary, please click here. without notification. The latest issue of the Yearbook is Vol. 43 (2011). For any questions regarding online ac- The submission deadline for the April cess to the Yearbook for Traditional Mu- issue is March 15, for the October issue sic, please contact JSTOR directly. is September 15. Bulletin of the ICTM All submissions should be sent via e- mail to [email protected], in The Bulletin of the International Council any of the following formats: Apple for Traditional Music carries news from Pages, Microsoft Word, Rich Text For- the world of traditional music and mat (RTF), OpenOffice.org (ODT). dance, a calendar of upcoming events, and reports from Study Groups and Back issues National and Regional Representatives. Back issues of the printed Bulletin of the ISSN (Print): 0739-1390 ICTM (Vols. 1-118) can be ordered di- ISSN (Online): 2304-4039 rectly from the Secretariat at a cost of EUR 7.70 plus shipping and handling. Editor: Carlos Yoder. For your convenience, however, you can read and download the last ten year's The Bulletin was established in 1948 as worth of Bulletins directly from the Bul- the Bulletin of the International Folk Music letin’s webpage. Council. It is published in April and Oc- tober each year, mainly in English but with occasional articles in other lan- guages. The Bulletin is made available Submissions online at the ICTM website, and is also If you would like to submit original ar- sent directly to ICTM members and in- ticles and/or review materials to be stitutional subscribers via e-mail. It is considered for inclusion in the next is- is protected by a Creative Commons BY- sue of the Yearbook for Traditional Music, NC-SA 3.0 Unported License. please find the full guidelines here. Submissions Back issues All ICTM National and Regional Repre- ICTM Printed back issues of the Yearbook for sentatives as well as Study Group Traditional Music are available from the Chairs should submit articles (reports,
Bulletin of the ICTM Vol. 121 — October 2012 — Page 76 ADVERTISEMENTS FACULTY POSITIONS Music NYU ABU DHABI
New York University has established itself as a Global Network University, a multi-site, organically connected network encompassing key global cities and idea capitals. The network has three degree-granting campuses - New York, Abu Dhabi, and Shanghai - complemented by 12 additional academic centers across five continents. Faculty and students will circulate within the network in pursuit of common research interests and cross-cultural, interdisciplinary endeavors, both local and global.
NYU Abu Dhabi seeks leading scholars for tenured, tenure-track or contract appointments in its Music program in 1) musicology and/or in 2) ethnomusicology, with a preference for those with an expertise in music of the Middle Eastern region, and 3) performance, a professional with the ability to organize a performance program. Junior scholars with clear research profiles will be considered; dossiers of scholars at the associate- or full-professor level are highly desirable. The successful candidate will have the opportunity to play an integral role in fashioning a complete international research university oriented around the liberal arts. We are looking for scholars who maintain an active agenda of research, have publications appropriate to their rank, and have a demonstrated commitment to undergraduate teaching. Please visit the Music Program’s website for a description of its innovative curriculum: http://nyuad.nyu.edu/academics/ Advertising space undergraduate-programs/majors/music.html
Entering its third year, NYU Abu Dhabi has recruited a cohort of faculty who are at once distinguished in their research and teaching. Our students are drawn from around the world and surpass all traditional recruitment benchmarks, both US and global. NYU Abu Dhabi’s highly selective liberal arts enterprise is complemented by an institute for advanced research, sponsoring cutting-edge projects across the Arts, Humanities, Social Sciences, Sciences, and Engineering.
The terms of employment are competitive and include housing and educational subsidies for children. Faculty may also spend time at NYU New ICT MUSIC BUL- York and other sites of the global network, engaging in both research and LETIN teaching opportunities. The appointment might begin as soon as September 9/15/2012 1, 2013, or could be delayed until September 1, 2014. 5156033- Njpc92355 Applications for tenure-track and contract positions are due by NEWYOU November 30, 2012; applications received later will be reviewed until 131” x 269mm” the position is filled. To be considered, applicants should submit a cover Karen Mrakovcic v.4 letter describing their experience and aspirations, a Curriculum Vitae, and three letters of reference, all in PDF format. Senior candidates are not required to submit references at this time. Please visit our website at http://nyuad.nyu.edu/about/careers/faculty-positions.html for instructions and other information on how to apply. If you have any questions, please e-mail [email protected].
NYU Abu Dhabi is an Equal Opportunity/Affirmative Action Employer.
Bulletin of the ICTM Vol. 121 — October 2012 — Page 77