SEM Newsletter Published by the Society for Volume 39 Number 3 May 2005

SEM Soundbyte were alluding to the phrase that Marga- SEM 50 LAC Update ret Mead used in her book title, Coming By Timothy Rice, SEM President of Age in Samoa. Mead was discussing By Tong Soon Lee, Emory University the transition from adolescence to adult- On Aging and Anniversaries hood, and we likewise were alluding to The SEM 50 Local Arrangements Committee is continuing its preparation A few years ago, while hiking over the maturation of the society, and by th the lava flows on Hawai’i’s Kilauea extension, the field of inquiry. The for the 50 anniversary conference of volcano, I was amazed to realize that I ethnographic approach used by Ameri- the Society for Ethnomusicology in At- was walking on earth younger than I can scholars was beginning to be well lanta, November 16-20, 2005. Ongoing was. It is almost equally surprising to established as a mode of inquiry. Like- plans are being made to prepare for the realize that our Society, celebrating its wise, by 1980 most major institutions musical performances and events at the 50th anniversary this year, is also younger taught courses in ethnomusicology. conference hotel and at Emory. than I am. It didn’t dawn on me when Even SEM was becoming a mature schol- The structure of the pre-conference I entered graduate school in 1968 that arly organization.” Setting aside for the symposium is gradually shaping up and the discipline to which I would devote moment what she might have meant by here is a tentative outline of the day. my professional life was just a teenager. “even SEM,” the slogan accords pretty The pre-conference theme is “Race and At the time it already seemed to me well with my current view of the history Place: Invoking New Music Identities” venerable, well es- of our field, al- and will be held on Wednesday, No- vember 16, 2005. With a focus on tablished, and nec- though I am What are the signs of expressive traditions, half of the day essary. Only later tempted to tweak would be devoted to different modes of did I realize that it it slightly with the our vigor as a discipline musical, religious, and broader social hadn’t yet “come of following sugges- expressions of identities in the southern age.” This rite de and as a Society today? tion: ethnomusi- regions. An example of a focused topic passage was not rec- cology “came of is a critical examination of the prevail- ognized and celebrated for another de- age” in 1978, two years before our 25th th ing black/white division that dominates cade, when in 1980, at our 25 anniver- anniversary. much of current discourses on race, sary meeting, hosted by Indiana Univer- I say this because 1978 saw the using musical examples from the South sity, the motto was “coming of age.” publication of five works that, while not as case studies. The format is yet to be A couple of years ago I emailed Ruth precisely seminal, exemplified the trends confirmed but would include video Stone, the program committee chair that Ruth and her committee had iden- showing and roundtable discussions. that year, and asked her what she could tified and that foreshadowed modes of The second half of the pre-conference recall about their choice of that slogan. discourse, and themes and issues, that considers the theme broadly in the She replied, “The meeting in 1980 was were to become commonplace in the th format of paper presentations and dis- the 25 anniversary of SEM, and we quarter century since then. cussions. We are currently working on 1. Paul Berliner’s The Soul of Mbira, the organizing a shape-note singing event first frequently cited book-length musi- in between the two parts of the sympo- cal ethnography that combined anthro- sium. More details on the pre-confer- Inside pological and musicological approaches ence symposium will be announced in 1 SEM Soundbyte and that was written by someone trained the September newsletter. 1 SEM 50 LAC Update in a music department, not an anthro- There is no call for papers for the 4 Encomium for Mantle Hood pology department, pointed the way to pre-conference. Presenters at the pre- 5 A Year of Anniversaries a trend that has exploded into a rapidly conference would include an interdisci- 6 Leo Sarkissian African Music Library growing catalog of similar books since plinary group of faculty from Emory 6 EVIA Digital Archive Receives Funding then. and other universities and colleges in 6 People & Places 2. Frank Mitchell’s autobiography, Na- the local area, as well as SEM members. 8 Obituary: Dr. Kishibe Shigeo vaho Blessingway Singer, edited by The SEM 50 Local Arrangements Com- 10 Dale Olsen Awarded Guggenheim David McAllester and Charlotte Frisbie, mittee extends a very warm welcome to Memorial Fellowship was a harbinger of growing interest in all SEM members to the pre-conference 10 Conferences & Workshops reporting on the lives of individual and hopes that the informal arena would 11 Conferences Calendar Continued on page 3 be congenial to forming new research ideas and partnerships. 2 SEM Newsletter

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

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

SEM Soundbyte globalization, nationalism, transnation- alism, media and the music industry, Continued from page 1 migration, deterritorialization, nostal- musicians and of the potential for creat- gia, war, and disease. The materiality of Crossroads Project ing collaborative representations of sound is inspiring some thought-pro- knowledge gained from working with voking new work. The Crossroads Project (SEM others. Second, our influence in North Committee on Diversity, Dif- 3. Bruno Nettl’s edited collection, Eight American universities is growing, mani- ference and Under-represen- Urban Musical Cultures, pointed to an fested, for example, in an ever-increas- tation) invites you to join our expanded, modern idea of the places ing number of graduate programs in events at SEM Atlanta 2005. ethnomusicology. In 1968, I counted where ethnomusicologists conduct their Our mission is to create new studies and to the popular and quotid- seven such programs; today there are ian musical genres that have come to more than twenty, and a new one seems opportunities for conversations engage us. to come on board every few years. At that make a difference within the same time, more of us are bringing our Society, in our home insti- 4. Hugo Zemp’s article in Ethnomusi- the good news of ethnomusicology to cology, “‘Are’Are classification of musi- tutions, in the fields where we liberal-arts colleges, state universities, conduct and share our research cal types and instruments,” signaled the and community colleges, where we are then-new and now-routine method- and scholarship, and in re- doing an effective job of turning stu- cruiting and retaining students ological centrality of gathering “insider dents on to the joys of ethnomusicology knowledge” of musical theory, termi- and increasing the quality and quantity of color, women, international nology, and native taxonomies of mu- of applicants to our graduate programs. members, people with disabili- sic. Since even today only a small percent- ties, and, perhaps most impor- 5. Kenneth Gourlay’s article in Ethno- age of U.S. colleges and universities tantly, native ethnographers. musicology, “Towards a reassessment have an ethnomusicologist on the fac- We invite the various commit- of the ethnomusicologists’ role in re- ulty and since someday they all will, we tees, special interest groups search,” critiqued the possibility of ob- remain a growth industry—a sure sign jective observation in ethnomusicology of vigor and potential growth. and even individual members and the notion that we are engaged in Third, within SEM the relatively re- to co-sponsor specific work- a scientific project, and argued for what cent flowering of the Sections for Ap- shops, panels, and forums dur- is now taken for granted, namely that plied Ethnomusicology, the Status of ing our annual and regional the socially and historically positioned Women, Education, and the Gender meetings or at your home in- observer has a crucial effect on what is and Sexualities Taskforce reflects our stitutions that address diver- studied and on the results that are committed engagement beyond the sity, multiculturalism, and other reported. academy with the societies in which we relevant issues. Members are These five publications from 1978 live. The resurgence of interest in welcome to join our yahoo define, to a rather large extent, the regionally based Special Interest Groups group by sending a message in the last few years means that we are current shape of our field, which, like to (Email) semcrossroads- many an adult, has changed little and reaching outward, beyond the U.S., and probably not fundamentally since then, encouraging scholars from many parts [email protected]. although, to be sure, new themes and of the world to participate in our confer- All SEM members are wel- issues have continued to emerge during ences and publications. come to our open business the last quarter century. These are but a few signs of a lively meeting and to our open fo- If we came of age about 25 years discipline and a sprightly Society ready- th rum session at SEM 2005 con- ago, where are we today in the life cycle ing itself to celebrate its 50 anniver- ference in Atlanta. For more of our academic discipline? To press sary. I am sure I have left out many the metaphor perhaps further than I other signs of life, and so I am looking details, please visit the Society should, are we in the prime of life or are forward to the reflections and presenta- for Ethnomusicology confer- we beginning to show our age? Do our tions that will contribute to my under- ence website at (Webmail) younger members still find ethnomusi- standing of our field and that will ani- www.ethnomusicology.org. cology as fresh and full of promise as I mate our 50th anniversary annual meet- You can make a difference did more than thirty years ago? What ing, hosted by Emory University later in ethnomusicology with are the signs of our vigor as a discipline this year (November 16-20) in Atlanta. I the Crossroads Project. and as a Society today? Here are at least hope you will join me, our colleagues, For more information, please a few. students, new members and local schol- contact Kyra Gaunt, Chair, First, new themes, fresh shoots from ars, music educators, and musicians in Crossroad Project at (Email) a mature trunk as it were, have been a conversation about our past, present, emerging over the last 25 years. Gender and future and help us raise a toast (sto- [email protected]. as a locus of study is now well estab- let perhaps) to the life of our Society lished. We are engaged with develop- and to the important roles we continue ing realities on the ground, such as to play in the lives of our societies. 4 SEM Newsletter

SEM Honorary Member Mantle Hood By Dale A. Olsen, Florida State University

Mantle Hood—ethnomusicolo- time with Laurence Petran and others to and listening, informing and being gist, scholar, composer, performer, developing one of the first university informed, constructively evaluating mentor, professor, novelist, film ethnomusicology programs in the United and welcoming constructive criti- maker, and thinker—graduated Phi States at UCLA; he eventually founded cism.” More than ever, today we are Beta Kappa in music from UCLA in the famous Institute of Ethnomusicol- in dire need of the accuracy of 1951 with a B.A.; in 1952 from UCLA ogy in 1960 with funds from the Ford human communication. If only we with a M.A.; and in 1954 from the Foundation and the University of Cali- (i.e., humanity) could make more with a Ph.D., fornia. Over the years literally hun- music, I often tell myself, colleagues, cum laude, where he studied with dreds of students have been trained by and students, there would be much Jaap Kun st. He returned to UCLA as Hood, and the list of M.A. and Ph.D. less strife in our world. If only we an Instructor in 1954, became Assis- students he has guided as major profes- could tell others (i.e., communicate tant Professor in 1956, Associate Pro- sor reads like a “who’s who” of around the world and at home) fessor in 1959, Professor in 1962, ethnomusicology, dozens of whom have about the beauty of music, there and Professor Emeritus after his re- founded their own programs in would be so much more healing tirement in 1974. Since leaving UCLA ethnomusicology at major universities than killing. he has taught at the University of and colleges throughout the world. As a tribute to Mantle Hood I Maryland, Baltimore County; Yale Hood has also served SEM as council would like to quote from another University; Indiana University; The member, President, Seeger lecturer, and individual whom I also consider to Queen’s University of Belfast; Cen- presenter, among many other duties. be synonymous with the best in tral Academy of Music, Beijing; The My contact with Mantle Hood came musical artistry and human nature— Academy of Arts, Cairo; University rather late in the scope of his UCLA Pablo Casals (from an undated wall of Massachusetts; Florida State Uni- tenure, beginning in the fall of 1970 and plaque purchased in Puerto Rico in versity; and West Virginia Univer- ending in the spring of 1973. As one of 1997): sity. He has held innumerable fel- his last Ph.D. students, I had the unique I am a person first, an artist lowships throughout his academic opportunity to learn from his nearly second. As a person, my first years and has received many awards, twenty years of experience at UCLA and obligation is to the welfare of the most notable being honors from in the field. I also learned about the my fellow people. I will en- the Indonesian government: the con- many experiences that had gone on in deavor to meet this obligation ferral of the title “Ki” (“Venerable”) Schoenberg Hall before my time, from through music—the means in 1986 and membership into the the “formative years,” through the “good which God has given me—since Dharma Kusuma (Society of National old days,” to the final epoch. Always it transcends language, politics Heroes) in 1992. the consummate brain stormer, inspirer, and national boundaries. My Although he was not one of the and mentor in the Wednesday after- contribution to world peace may members of the team of correspon- noon seminars, ethnomusicology be small, but at least I will have dents beginning in 1953 that led to classes, rehearsals, and in private dis- given all I can to an ideal I hold the development of the Society for cussions, Dr. Hood stretched our imagi- sacred. Ethnomusicology fifty years ago in nations and thinking processes in many This emphasis upon music as 1956 (see Ethno-Musicology News- ways: musically, culturally, socially, communication, human understand- letters Nos. 1-5), Mantle Hood con- psychologically, mechanically, artisti- ing, and world peace, not only tributed to the program of the first cally, and humanly. through musical performance, but official annual meeting of the newly Above all, he taught us about the also through research, teaching, and formed Society for Ethnomusicol- importance of music as communica- other forms of dissemination, is one ogy on September 5, 1956 by pre- tion, as he wrote in 1961 (from an of the greatest gifts Mantle Hood has senting a paper titled “Training and undated brochure of the Institute of given to ethnomusicology. Dr. Hood Research Methods in Ethnomusicol- Ethnomusicology, UCLA): “In this latter is 87 years old and is in with his ogy,” in which he described UCLA’s half of the Twentieth Century it may entire family at the time of this writ- program and explained his approach well be that the very existence of man ing. He is indeed a man to admire in to the study of ethnomusicology depends on the accuracy of his commu- so many ways—his energy and en- (published in Ethnomusicology News- nications. Communication among thusiasm is boundless, and his devo- letter No. 11, September 1957). Be- peoples is a two-way street: speaking tion to ethnomusicology is profound. ginning in 1954, he devoted all his SEM Newsletter 5 SEM 1955-2005

A Year of Anniversaries he was about, and why he was listening Seeger, Helen H. Roberts, George to all this strange music. Herzog, and Henry Cowell. But this By Bruno Nettl, University of Illinois The article ranges widely over the society, too, fell apart; as Seeger wrote, kinds of methods and theories for which “none of the officers ...had the heart, SEM was founded on November 18, Hornbostel later became famous, but it time, or experience to keep it alive” (p. 1955, exactly fifty years ago, to the day, ends on an essentially aesthetic note, 3). of our Atlanta meeting—well, sort of. telling us that “the rapid spread of Why then did it take a decade after The founding was actually more gradual. European culture will devour the last war’s end to establish a successor to that The four founders first met to discuss remnants of foreign song and speech. society founded 75 years ago, in 1930? approaching interested parties about a We must save what can be saved...,” In the late 1930s, just before World War newsletter in 1952, and the first “annual predicting the cultural grey-out to which II and again immediately after, both meeting” actually took place in 1956. Alan Lomax later referred pessimisti- anthropology and musicology (the lat- Still, as we’re living in a ten-base math- cally. For Hornbostel, the railroad, the ter because of an unprecedented influx ematical culture, we are right to cherish automobile, and the then yet unrealized of Europeans escaping Holocaust and 1955. widespread use of aircraft waiting in the war) began to flourish mightily. Was it But this is also a year of other wings, were principal villains. But because ethnomusicology was particu- important anniversaries in the history of Hornbostel too was looking back, not- larly affected by the aftermath of the ethnomusicology. In 1955, the founders ing Alexander J. Ellis’s “pioneering” Holocaust, the McCarthy era, the begin- might have done well to note that article of 1885, “On the Musical Scales ning of the Cold War? Was it that the exactly fifty years earlier, in 1905, there of Various Nations” (which, I would nature of fieldwork had to change in the appeared an article by Erich M. von argue, set both methodological and last throes of colonialism and the com- Hornbostel titled, “Die Probleme der ideological precedents for our field), ing of the neocolonial era? That we vergleichenden Musikwissenschaft.” It’s and on this basis he designates Ellis as didn’t know how to deal with the world’s the first publication that sets out to talk “Vater der vergleichenden Musikwis- musics in the face of overdue and about ethnomusicology (in an earlier senschaft....” If we accept this land- incalculable social and political changes? incarnation and with a different name, mark, then we can consider ethnomusi- Or was it just random individual pro- to be sure) as a field of research, and it cology to be celebrating its 120th anni- clivities? There’s a lot of history to be begins by saying, “A young specialty of versary this year. It’s interesting to see studied as we celebrate and remember, an [established] discipline has the obli- how much we’ve changed; and maybe but also try to recapture the landmarks gation, to justify its existence.” The also to what extent Hornbostel’s “prob- of our ever-lengthening strand of intel- word “Probleme,” in this case, didn’t lems” still play a role in our work. lectual and institutional history. mean issues of theory and methodol- And finally, as re- ogy, but rather, the fundamental ques- minded us in 1956, in Ethno-Musicology References tions that the field proposed to study. Newsletter no. 6 (p. 1-2), we should also And Hornbostel, somewhat surprisingly, mark the 75th anniversary of the found- Ellis, Alexander John. “On the Musical tells us that these are the discovery of ing of the predecessor of SEM. In 1930, Scales of Various Nations.” 1885. Jour- the origins of music, and of universals the Gesellschaft zur Erforschung der nal of the Society of Arts 33:485-527 explaining the fundamental human aes- Musik des Orients (Society for the Study Hornbostel, Erich M. von. 1905. “Die thetic of music; and that only through of the Music of the Orient [i.e., Asia and Probleme der vergleichenden Musik- comparative study of the world’s mu- the Middle East]) was founded—explic- wissenschaft.” Zeitschrift der interna- sics can these questions be addressed. itly neither national nor international, tionalen Musikgfesellschaft 7(3):85-97 The article was originally a lecture but centered in Germany. Changing its given, on March 24, 1905, to the Vienna Seeger, Charles. 1956. “Past Organiza- name to Gesellschaft für vergleichende tion.” Ethno-Musicology Newsletter 6:1-3 chapter of the Internationale Musikge- Musikwissenschaft in 1933 (and begin- sellschaft, a predecessor of the Interna- ning in that year publication of the tional Musicological Society (IMS), and journal, the tri-lingual Zeitschrift für while I have no information on the way vergleichende Musikwissenschaft—that it was conceived (or received), I can ran only until 1935 but directly pre- imagine the older music scholars of cedes Ethnomusicology), it soon suc- Vienna (maybe the distinguished Guido cumbed, as neither its subject matter Adler and Eduard Hanslick as well as nor its leadership were deemed accept- early ethno insiders Robert Lach and able by the Nazis. As Seeger described Richard Wallaschek among them) invit- it, in 1935 the assets of the society were ing the 28-year old Hornbostel, living in turned over to the small, struggling Berlin but maybe visiting relatives in his American Society for Comparative Mu- native Vienna, to explain to them what sicology, among whose leaders were 6 SEM Newsletter

The Leo Sarkisian The Leo Sarkisian Library of African scholars are currently annotating to pro- Music will not only conserve archival vide detailed background information Library of African materials for research and scholarship, and analyses. Music but also establish a website to serve the In addition to refining the tools and needs of VOA programmers, academic systems created under the previous Washington, D.C., Jan. 5, 2005. Voice scholars, and researchers. The library is grant, this new grant will add another of America’s Library of African Music, a located at VOA headquarters in the 150 hours of field recordings to the rare collection of indigenous African Cohen Building, 330 Independence archive and will create a sustainability music has been named the Leo Sarkisian Ave., SW, Room G108. The Voice of plan as well as detailed user profiles Library of African Music. America, which first went on the air in which will be the basis for further Sarkisian, 84, internationally known 1942, is a multimedia international application and system development. VOA broadcaster, musician and ethno- broadcasting service funded by the U.S. The EVIA Digital Archive is currently musicologist, amassed the collection government through the Broadcasting the only project of its kind which col- during nearly 50 years of traveling and Board of Governors. VOA broadcasts lects, copies, annotates, and preserves recording music in . He inter- more than 1,000 hours of news, infor- ethnomusicological video materials on viewed musicians and compiled a mation, educational, and cultural pro- the web for use by educators, research- unique collection that reflects the gramming every week to an estimated ers, and musicians on a global scale. For continent’s broad heritage of traditional worldwide audience of more than 100 more information about the Ethnomusi- and popular music. The collection million people. Programs are produced cological Video for Instruction and includes recordings presented to him in 44 languages, including English. Analysis Digital Archive, visit (website) both by African radio stations and ordi- http://www.indiana.edu/~eviada. nary Africans for broadcast on his long- running VOA radio show, Music Time in Africa. Thanks in part to such EVIA Digital Archive contributions, his personal collection grew to include more than 10,000 reel- Receives Funding People & Places to-reel tapes, plus records, cassettes, A team of ethnomusicologists from Gage Averill’s Four Parts, No Wait- and CDs. The collection also includes Indiana University and the University of ing: A Social History of American Bar- several hundred tapes of original Music Michigan recently received a third grant bershop Harmony (Oxford University Time in Africa broadcasts along with from the Andrew W. Mellon Founda- Press, 2003) won the 2003 Irving Lowens scripts, reference books on African his- tion to continue development of the Award for Best Book from the Society tory, culture, music and literature, Afri- Ethnomusicological Video for Instruc- for American Music, the 2004 Alan P. can music periodicals, journals of the tion and Analysis (EVIA) Digital Archive. Merriam Prize of the Society for Ethno- Society for Ethnomusicology, and pub- The $759,000 grant has been supple- musicology for the most distinguished, lications of the International Consor- mented by additional support from both published English-language monograph tium of African Music. universities bringing the project total to in the field of ethnomusicology, and “For decades, Leo’s broadcasts on $988,000. was named an “Outstanding Academic VOA have established him as an ambas- Based out of the IU Archives of Title for 2004” by Choice, the review sador of goodwill to the people of Traditional Music and the University of magazine of the American Library Asso- Africa,” said VOA Director David S. Michigan’s Duderstadt Media Center, ciation Jackson., during a dedication ceremony the project focuses on preservation Kyra D. Gaunt, Associate Professor at the Voice of America, Dec.14, 2004, needs for original field video record- at New York University, is pleased to attended by members of the African ings of music performances from around announce that her book The Games Diplomatic Corps, representatives from the world and on providing high quality Black Girls Play: Learning the Ropes the Library of Congress, the Smithsonian internet access to scholars and to teach- from Double-Dutch to Hip-hop will be Institution, the International Consor- ers. Since 2002, co-principal investiga- released by New York University Press tium for African Music, Department of tors of the project Ruth M. Stone, direc- in the fall of 2005. She recently com- State and many friends. “His collection tor of the IU Ethnomusicology Institute, pleted an essay for publication in a is an international treasure for anyone and Lester Monts, Senior Vice Provost volume edited by Michael Eric Dyson studying African music and culture, and for Academic Affairs at the University of and Sohail Daulatzai devoted to the we’re proud to make it available to Michigan, have been developing the tenth anniversary of the 1994 release of scholars and researchers.” Archive with a team of ethnomusicolo- Illmatic, a hip-hop classic by rapper Sarkisian first visited Africa as a gists, video and computer technolo- Nas due later this year. Her most recent music director for a Hollywood record- gists, programmers, librarians, archi- research is entitled “Beyond the Bling: ing company in 1958. Five years later, vists, intellectual property rights spe- Sisters, Ciphers, and Artistic Skill.” It at the invitation of Edward R. Murrow, cialists, and graduate assistants from explores the revolutionary contributions then director of the U.S. Information both universities. of Toni Blackman (U.S. Cultural Spe- Agency, Sarkisian joined the Voice of To date the project has made archi- cialist and Ambassador of Hip-hop for America. He has been on the air ever val copies of nearly 150 hours of invalu- the U.S. State Department and founder since. able field recordings which depositing of D.C.’s Freestyle Fellowship), a fe- male emcee who specializes in teaching SEM Newsletter 7 the art of freestyling or improvising in California, and Florida wanted to in- our community of the lovers of Ameri- the performance frame known as a fringe upon dancers’ freedom of ex- can music” “cipher”. Toni and Kyra have been pression. The graduate students at New York collaborating to transform hip-hop from David G. Hebert (SEM member since University are making tracks in ethno- the practical and the academic realms. 1993) recently completed his Ph.D. in musicology. Eric Usner, Bill Boyer, and Kyra has been touring community col- Music under Patricia Shehan Campbell a critical mass of our other students leges sharing Toni’s ideals about for- at the University of Washington, Seattle. hosted a highly successful interdiscipli- warding discipline as well as freedom in His dissertation, sponsored by the Ja- nary graduate student conference en- hip-hop emceeing. She and Toni will pan Ministry of Education, was the first titled Music, Performance, and Racial be collaborating at McGill University’s ethnography among participants in the Imaginations on March 4-5, 2005 (see “Improvising in the Arts/Improvising world’s largest music competition. David [Website] http://www.nyu.edu/gsas/ Between the Arts” Conference, June 3- has taught music courses for Moscow dept/music/mpri/). The featured key- 5, 2005 sponsored by Eric Lewis. Robert State University (Russia) and Tokyo note speakers were Professors Deborah O’Meally, Ingrid Monson, Bill Dixon Gakugei University (Japan), and cur- Wong (UC-Riverside) and Philip and Amiri Baraka are among the other rently works in Auckland as Head of Bohlman (U of Chicago) and the chairs/ select participants at this intimate event. Music for New Zealand’s largest tertiary discussants for this remarkable event Judith Lynne Hanna (University of institution, Te Wananga O Aotearoa. included Greg Tate, George Lewis, Maryland, College Park) was an “invitado The Indiana University Archives of Sherrie Tucker, Juan Flores, Jason King, de honor” (VIP) of the Cuban Govern- Traditional Music and the Archive of Deborah Kapchan, and Michael ment in Havana for the April 2004 “Los World Music at have Beckerman. In other news, Joyce Dias de la Danza” (“Seven Days of been awarded a $348,441 grant from Hughes recently returned from her field- Dance Festival”). She was asked to the National Endowment for the Hu- work studying bhangra in India funded present an hour-long keynote address manities for a collaborative research by a Fulbright-Hays Doctoral Disserta- to the theory sessions on “The Chal- and development project designed to tion Research Abroad Fellowship (2003- lenges for Dance in the 21st Century.” create best practices, examine existing 4) and is currently working towards Recent publications include “The First best practices and test emerging stan- completing her dissertation. Michael Amendment, Artistic Merit and Nudity dards in the digital preservation of criti- Birenbaum-Quintero received a in Minnesota: Dance, Criminal Public cally endangered archival audio record- Fulbright IIE Fellowship for dissertation Indecency and Evidence,” Minnesota ings. It is the second-largest grant field research in Cali, Colombia and he Law and Politics Web Magazine (2004, amount among the NEH’s most recent also received the NYU President’s Ser- www.lawandpolitics.com [click on MN awards for research and development vice Award for bringing his colloborators, & then web magazine]), “Applying projects. The “Sound Directions: Digi- Grupo Naidy, to NYU for their first tour Anthropological Methods in Dance/ tal Preservation and Access for Global in the U.S. Thomas Brett received the Movement Therapy Research,” in R.F. Audio Heritage” project will: (1) De- Shortell Holtzer Fellowship for disserta- Cruz and C.R. Berrol, eds., Dance/Move- velop best practices and test emerging tion writing (2004-5). Rachel Lears is ment Therapists in Action: A Working standards for audio preservation in the currently participating in an intensive Guide to Research Options (Charles C. digital domain; (2) Produce digital au- program to learn video production to Thomas Publishers, 2004), “To Tap into dio preservation packages that are complement her interests in Latin Ameri- the Meaning of Movement,” Movement interoperable-that can be exchanged can music. Wynn Yamami performed News (Laban/Bartenieff Institute of and read by each other’s preservation taiko drumming in the opening cer- Movement Studies), 29(1)(2004); repositories; (3) Establish at each uni- emonies at the 2004 U.S. Open in Ten- “Taleh’s Solo Concert—Her Kuchipudi versity digital audio preservation sys- nis. Daniel Neely received the Dean’s Graduation,” Dancer (October 2004), tems that will enable this work to be Dissertation Fellowship and is well on “Dancing to Celebrate and Help carried into the future; (4) Preserve his way to completing a definitive eth- Women,” Dancer (December 2004); critically endangered, highly valuable, nography of Jamaican mento music. “Social Dance,” “Dance Classes,” and unique field recordings of extraordi- Melvin Butler will be defending his “Performing Arts Audiences,” in G.S. nary national interest. Project partners dissertation on transnationalism in Cross, ed., Encyclopedia of Recreation include the Indiana University Digital Pentacostal music focusing on Haiti, and Leisure in America (Charles Library Program and the Office for In- Jamaica, and Brooklyn, New York. We Scribner’s Sons, 2004), “Cuban Dance formation Systems at Harvard Univer- want to congratulate Melvin on becom- on Street, Stage and Page,” Dance Crit- sity. To learn more about the Sound ing the Thurgood Marshall Dissertation ics Association News (Fall 2004), “Rasta Directions project, or to send us com- Fellow, a postdoctoral position at Thomas, Prodigal Son,” Dancer (Janu- ments, please visit (Website) http:// Dartmouth College (2004-5). This fall, ary 2005), “Dance and Religion (Over- www.dlib.indiana.edu/projects/ he will join the music faculty at the view),” in L.J., ed., The Encyclopedia of sounddirections/. University of Virginia as an Assistant Religion (2nd edition) (Macmillan Co., Anne Dhu McLucas was honored Professor. 2005). Hanna served as an expert court with the Society for American Music Continued on page 10 witness in exotic (striptease) dance cases Distinguished Service Citation, given in in which governments in North Caro- recognition of her “manifest, long-stand- lina, Connecticut, New Jersey, Ohio, ing, and deep commitment to bettering 8 SEM Newsletter

Obituary He graduated in 1936, a year that Dr. Kishibe Shigeo (1912-2005) proved to be decisive to him as a scholar. By Steven G. Nelson, Department of First, he published Japanese, Hosei University, Tokyo what he regarded as The pre-eminent Japanese scholar his first academic pa- of East Asian music history, Dr. Kishibe per, “Biwa no engen” Shigeo, passed away on January 4, [“The origin of the East 2005, at the age of 92. Dr. Kishibe was Asian lute”] in the re- Professor Emeritus of the University of spected journal of ar- Tokyo, and Honorary President of the chaeology, Kôkogaku Toyo Ongaku Gakkai (Society for Re- zasshi. Second, to- search in Asiatic Music). In a career gether with the writer spanning more than seven decades, Dr. and scholar of Islamic Kishibe produced an enormous body of music history, Iida work that closely reflects the develop- Tadasumi (1898– ment of musicology in Japan during this 1936), he proposed time, especially in the fields of Asian the formation of a new and Japanese music history. academic society for Kishibe Shigeo was born in the Kanda the study of Asiatic Jinbôchô district of Tokyo on June 6, music. This attracted 1912, as the sixth child and second son the support of Tanabe, of Kishibe Fukuo and his wife Kayo. Tanaka Shôhei (1862– Fukuo was an educator, the founder of 1945), Hayashi Kenzô a well-known kindergarten, and a writer (1899–1976), Taki of children’s literature. The young Ryôichi (1904–83), Shigeo seems to have been first ex- and several other posed to music as a singer of children’s scholars, and resulted songs in his father’s stories and plays, in the founding in the making his first record and stage ap- same year of the Tôyô pearance at the age of 9 (by traditional Ongaku Gakkai (So- Asian count), and his first radio appear- ciety for Research in Recent photograph of Dr. Kishibe by Takei Kôichi ance at the age of 14. At junior high Asiatic Music). Kish- school, which under the pre-war sys- ibe played an important role in activities well as with more popular theatrical tem corresponded roughly to present- of the Society from its inception, and and instrumental forms, especially in day senior high school, he was fasci- published several articles and reports in China. In 1941 he married Sasaki Yori, nated by Asian history. This fascination its first issues. These and other early a Yamada-school koto and shamisen was fostered at Musashi Senior High publications demonstrate both a solid player with the professional name School, where he developed an interest command of the historical sources avail- Michiga, and their three children were in the study of history and its methods. able for research on the music of East born in the following four years. In It was also at this time that he first met Asia—both documentary and icono- 1944 he published his first collection of the senior scholar of Japanese and Asi- graphical in nature—and a strong aware- essays, Tôa ongaku shikô [Essays on the atic music history, Tanabe Hisao (1883– ness of the development of the field of history of music in East Asia], and the 1984), and avidly read Tanabe’s Tôyô comparative musicology in , es- war ended in 1945, without him being ongakushi [History of Asiatic music, pecially Germany. conscripted. 1930]. In the period leading up to and Although he had already taught at In April 1933, he entered the Divi- during the Second World War, Kishibe’s senior high school from the early 1940s, sion of Asiatic History of the Faculty of research was supported by scholar- and part-time as a lecturer in Asian and Letters, Tokyo Imperial University (fore- ships from the Imperial Academy and Japanese music history from the mid- runner of the post-war University of the Keimei Foundation, which was then 1940s, it was not until July 1949 that he Tokyo), where he studied under Ikeuchi active in colonial research. He partici- was appointed to the position of Asso- Hiroshi (1878–1952), a specialist in pated in two research tours to the Asian ciate Professor at the Faculty of Liberal Korean and Manchurian history. His mainland, the first to Korea (then a Arts of the University of Tokyo. He twofold interest in Asiatic history and Japanese colony) in summer 1941 and remained at this university for much of Asiatic music culminated in a graduate the second to China in summer 1943. his career, reaching the rank of Profes- thesis on the modal systems of the On both tours he came in contact with sor in 1961, and mandatory retirement popular music (suyue) of the Chinese surviving elements of the ancient court in 1973. In June of the same year, he Sui and Tang dynasties (late 6th to early traditions of both countries, namely the th was honored with the title of Emeritus 10 centuries). aak of the Yi dynasty in Korea and the Professor. On retirement from the Uni- yayue of the Chinese Qing dynasty, as SEM Newsletter 9 versity of Tokyo, he took up a post as Ethnomusicology, brought with it an To his students, Dr. Kishibe always Professor at Teikyô University, a posi- approbation that culminated in 1986 stressed the importance of having prac- tion he held until March 1994. Through- with his successful nomination for Mem- tical experience of performing the mu- out this time, he lectured at many other ber of Honour of the International Mu- sic that they were studying. Long be- universities and music colleges in To- sic Council, a truly rare feat for a musi- fore there was any talk of “bimusicality” kyo and other parts of Japan, including cologist. he himself was learning a variety of Tôkyô Geijutsu Daigaku (Tokyo Na- Needless to say, his research and genres with origins in widely differing tional University of Fine Arts and Music, teaching have also been widely recog- historical periods. He learned the mouth- 1952–79), Sôai Women’s University (later nized in Japan. His two-volume study organ shô and reed-pipe hichiriki of the Sôai University, Ôsaka, 1959–87), Niigata of the music institutions of Tang-dy- gagaku ensemble in the pre-war years, University (intensive courses, 1965–84), nasty China, Tôdai ongaku no rekishiteki the nôkan (nô flute) in the 1950s, Hirosaki University (intensive courses, kenkyû, Gakusei-hen [A historical study nagauta over a span of many years 1970–79), Waseda University (Tokyo, of the music of the Tang dynasty: Music from the 1940s, and the relatively minor 1973–82), and shorter times at many institutions, 1960–61] was awarded the shamisen-accompanied vocal genre others. He also worked as a research Japan Academy Prize in May 1961. The itchû-bushi in the 1960s. He was also fellow at the Tokyo National Research excellence of the work was also ac- one of very few people who studied the Institute of Cultural Properties (1952– knowledged by the University of To- Chinese qin with Robert Hans van Gulik 65). It may not be too much to say that kyo, which conferred the degree of (1910–67). Moreover, his sympathy for through this broad teaching experience Doctor of Philosophy on him in Decem- performance was stimulated in his ev- he has exerted a guiding influence on ber of the same year. He served as eryday life, in which he had constant the majority of Japanese scholars work- President of the Tôyô Ongaku Gakkai contact with performance at the highest ing in the fields of Japanese and Asian during two periods, the first in 1978–80 level. His wife, an eminent performer music history. and the second in 1984–93. In 1982 he of Yamada-school sôkyoku, assumed It did not take long for Kishibe’s was invested with the Japanese Order the title of 2nd generation Fujii Chiyoga reputation to spread internationally af- of the Rising Sun, Third Class. in 1964. She in turn passed this title on ter he made his first trip to the United While Dr. Kishibe’s central research to their daughter Momoyo (now 3rd States in 1957–58. There he taught as theme was the music culture of the generation Fujii Chiyoga) on her retire- Visiting Professor at UCLA, Harvard Chinese Tang dynasty, and his central ment. Like Dr. Kishibe, his wife has University, and the University of Ha- methodology essentially historiographi- been recognized by the government, waii, and in addition lectured at several cal in nature, he also undertook field- with the investiture of the Order of the universities in the southern states. While work on the contemporary musical prac- Sacred Treasure, Fourth Class, in 1992. in the United States, he attended his first tices of many regions in Asia, including Clearly there must have always been a international conference, the annual Korea, India, Iran, and the Philippines. strong sense of mutual respect and general meeting of the Society for Eth- In the post-war period, his fieldwork on support for a single household to pro- nomusicology held in Chicago in De- Chinese music tended to be limited to duce a musicologist and musicians of cember 1957. He also lectured as Vis- Taiwan, Hong Kong and Singapore until such distinction. iting Professor at the University of Wash- the early 1980s, when he made a num- Dr. Kishibe is survived by his wife, ington (Seattle) and Stanford University ber of trips to mainland China, espe- three children, and two grandchildren. in 1962–63. On this trip he was accom- cially the western areas of the country His two-volume study of the music panied by his wife, who taught Yamada- that are associated historically with Tang institutions of Tang China, Tôdai ongaku school sôkyoku during the visit, and his culture and the ancient Silk Road. Within no rekishiteki kenkyû, Gakusei-hen [A children. Later, in 1973–74, he lectured Japan, Dr. Kishibe undertook fieldwork historical study of the music of the Tang for another semester at the University of on surviving traces of performance tra- dynasty: Music institutions, 1960–61] , where he was accompanied by ditions of historical significance, such was issued in a reprint edition in Febru- his daughter Momoyo, who is also an as the Tsukushi-goto tradition and the ary 2005 by the Ôsaka publishing house outstanding koto and shamisen player. variant Ikuta-school tradition of koto Izumi Shoin. A companion volume in- In addition to these appointments as music of the Tsugaru region (Aomori cluding many of his other important Visiting Professor, Kishibe held advi- prefecture, northern Honshû). He also articles on Asian music history, Tôdai sory positions with other overseas insti- studied regional folk performing arts on ongaku no rekishiteki kenkyû, Zokukan tutions involved in music research, such many occasions. From the early 1980’s [A historical study of the music of the as the Berlin International Institute for he has traveled extensively throughout Tang dynasty: Continued] is currently Comparative Music Studies and Docu- the country in an untiring search for in press. This will include substantial mentation (from 1964) and the Bombay surviving examples of the Chinese zither commentary in English. Inquiries should (Mumbai) National Centre for the Per- qin, and records of those who played be addressed to the publisher at (Email) forming Arts (from 1971). His profile as the instrument and passed down its [email protected]. an international scholar in various world- tradition during the Edo (1603–1868) wide scholarly networks, such as the and modern periods. The results of this International Folk Music Council (now quest can be seen in his last major known as the International Council for publication, Edo jidai no kinshi Traditional Music), the International monogatari [Tales of the qin players of Musicological Society, the Society for the Edo period, 2000]. 10 SEM Newsletter

Continued from page 7 Free Topics. For more information, Brenda Romero (University of Colo- please contact the host for this event: rado, Boulder) is the 2004 recipient of Professor Chun In-Pyong, College of Society for American Music’s Sight and Korean Music, Chung Ang University, Sound award. The award will subvent 456-780 Anseong-si, Gyeonggi-do, Ko- Dr. Romero’s work on a compact disc rea; (Tel) +82.31.670.4728 or +82.2. that recovers the early music of New 401.2228; (Fax) +82.31.676.9232 or +81. Mexico, delineating through the song 11.9775.3459; (Email) peacemusic@ selections, an outline of the region’s gmail.com history beginning in 1598. T.M. Scruggs presented the second 3rd Korean Traditional Music annual Lise Waxer Endowed Lecture at Workshop for Overseas Musicolo- York University, Toronto in November, gists 2004. The talk was entitled “Music and Cuba’s (Re)Insertion into a Corporate- June 13-July 2, 2005, Seoul, Korea dominated Global System.” The lecture A tentative schedule for the work- was broadcast on the university’s radio shop is now available at (Website) station where Lise once hosted a world www.kofo.or.kr (click on “Press Room” music show. and select “Notice”). Please note that an Lisa Urkevich (American University international conference on Korean of Kuwait) is completing her second music and dance will be held on July 1, year of Fulbright research in the Ara- 2005 under the auspices of the Associa- bian Peninsula and will continue her tion of Korean Traditional Music, and work as a Visiting Professor at the specifically focuses on the time period workshop participants are invited to American University of Kuwait. from 1990 to 2005. As former Director attend the conference. For more infor- of FSU’s Vietnam International Summer mation, please contact Ms Yong Eun- Program, Olsen spent the summers of Jin, Program Officer, Culture and Arts 2002 and 2004 in Vietnam. The Department, Korea Foundation; (Tel) Dale A. Olsen Guggenheim Memorial Fellowship will +82.2.3463.5615; (Fax) +82.2.3463.6075; Awarded Guggenheim enable him to spend the summer of (Email) [email protected]. 2005 and Spring semester 2006 in Hanoi Memorial Fellowship and Ho Chi Minh City. The Atlanta History Center’s Black Olsen’s most recent book, The Chry- A Distinguished Research Professor World Music Series of Ethnomusicology at Florida State santhemum and the Song: Music, University, Dale A. Olsen (Ph.D., 1973, Memory, and Identity in the South Ameri- September 16-17, 2005, Atlanta, UCLA) has been awarded a 2005—2006 can Japanese Diaspora, was published Georgia Guggenheim Memorial Fellowship for in December 2004 by the University On September 16 – 17, 2005, the research in Vietnam and the completion Press of Florida. His 2002 book, Music Atlanta History Center’s African Ameri- of a book tentatively titled “Farewell to of El Dorado: The Ethnomusicology of can Initiative will host its second Black the Past!”—Popular and Pop/Rock Mu- Ancient South American Cultures, will World Music Series program. This an- sic, Memory Politics and Willed Amne- be available in a paperback edition in nual event celebrates the history and sia in Vietnam. In his book Olsen June 2005 from the same press. evolution of African music throughout suggests that memory politics and its the world. The Black World Music many facets in Vietnam since reunifica- Series features panel discussions, a stu- tion in 1975, and Vietnam’s doi moi Conferences and Work- dent forum, hands-on workshops, policy in 1986 and the country’s conse- shops children’s activities, a documentary film quent embracing of capitalism, both series, food and arts vendors, and live concurrently influence, affect, and drive Asian Music and Education performances that illustrate black music’s the musical expressions and prefer- significant contributions to world cul- ences of Vietnam’s young people and June 16-19, 2005, Seoul, Korea ture. the Vietnamese music industry. Conse- The College of Korean Music at The Atlanta History Center is located quently, they affect the socialist Chung Ang University will host a con- on 33 acres in the heart of Atlanta’s government’s and people’s attitudes ference and a series of workshops on Buckhead district and includes: one of about music, aesthetics, and morals. To Asian music and ethnomusicology. the Southeast’s largest history muse- prove his hypothesis, Olsen specifically Workshops will be held from June 16- ums; a research library and archives that looks at the ways doi moi and capital- 19, 2005 and the conference is schedule annually serves more than 10,000 ism have affected and influenced the from June 17-19, 2005. The conference patrons; two historic houses illustrating music and musical lives of the Vietnam- themes are: (1) Music of the Silk Road; over a century of Atlanta’s history; a ese youth in Hanoi, Ho Chi Minh City, (2) Present and Future in Teaching two-acre midtown campus which houses and other Vietnamese urban areas. He Traditional Music of Asian Cultures; (3) the Margaret Mitchell House & Mu- seum; and a series of gardens unique in SEM Newsletter 11 both design and horticultural presenta- Oct 19-23 tion in the metropolitan area. American Folklore Society An- For more information about the Black nual Meeting. Renaissance Items for sale at the World Music Series, please contact the Hotel, Atlanta, GA. For more SEM Business Office program coordinator, Antoine Haywood information, see (Website) at (Tel) 404.814.4023. For additional http://afsnet.org/ information about the Atlanta History Center, please visit (Website) www. Oct 27-30 • A Manual for Documentation, atlantahistorycenter.com. American Musicological Soci- Fieldwork and Preservation for ety Annual Meeting. Omni Ethnomusicologists (2001) Topp Shoreham Hotel, Washington, Fargion, Janet (ed.) $6.00 SEM DC. For more information, see members/$12.00 non-members Conferences Calendar (Website) http://www.ams- • Hugo Zemp Are’are Music and 2005 net.org/annual.html Shaping Bamboo. Video tape Jun 13-17 series, 3 parts w/ study guide The College Music Society In- Nov 17-21 (1993). $49.95 SEM members/ ternational Conference. Uni- Society for Ethnomusicology $69.95 non-members th versity of Alcalá de Henares’s 50 Anniversary Meeting. • John Blacking’s Domba. Video Aula de Música, in Alcalá de Sheraton Midtown Atlanta at tape series w/guide. $30.00 SEM Henares (Madrid), Spain. For Colony Square, Atlanta, Geor- members/$50.00 institutions and more information, please visit gia. For more information, non-members (Website) http://www.music. please visit (Website) http:// www.ethnomusicology.org • Ten-Year Journal Index Volumes org 21-30, 1977-86. $8.00 Jun 24-28 Nov 19-22 • Special Series No. 4, Andrew Post-Colonial Distances: The Middle East Studies Associa- Toth Recordings of the Tradi- Study of Popular Music in tion Annual Meeting. Marriott tional Music of Bali and Lombok Canada and . Memo- Wardman Park Hotel, Wash- (1980). $15.00 rial University, St. John’s, New- ington, DC. For more informa- • Special Series No. 6, Richard foundland. For more informa- tion, see (Website) http:// Keeling, ed. Women in North tion, contact Beverley Diamond: fp.arizona.edu/mesassoc/ American Indian Music: Six Es- (Email) [email protected] says (1989) $10.00 Nov 30-Dec 4 • SEM ceramic mug (cobalt blue Aug 3-9 American Anthropological As- th with gold lettering) $6.50 38th International Council for sociation 104 Annual Meet- Traditional Music World ing. Marriott Wardman Park • SEM T-shirt (Large & Extra Large) Conference, University of Shef- Hotel, Washington, DC. For (sage green with navy lettering field, UK. For more informa- more information, see (Website) or black with white lettering) tion, see (Website) www. http://www.aaanet.org/mtgs/ $15.00 ethnomusic.ucla.edu/ICTM/ mtgs.htm 2005uk/ICTM%20Homepage. Shipping/handling charges are html 2006 Mar 16-19 added according to total order as follows: Aug 24-28 Joint conference of the Society 21st European Seminar in Eth- for American Music and the nomusicology (ESEM). Uni- Center for Black Music Re- Up to $6.00 add $2.50 S/H search. Chicago, Illinois. For versity of Cologne, Germany. $6.01-$15.00 add $3.75 S/H For more information, contact more information, see (Website) Ruediger Schumacher, Univer- http://www.american- $15.01-$25.00 add $5.50 S/H sitaet zu Koeln, Musikwissen- music.org/. Over $25.00 add $7.00 S/H schaftliches Institut 50923, Koeln, Germany; (Tel) +49.221. Apr 6-9 470.2249 or 221.470.2339; (Fax) Association for Asian Studies To purchase items, please contact +49.221.470.4964; (Email) Annual Meeting. Marriott Ho- Lyn Pittman at the SEM Business tel, San Francisco, CA. For Office, Indiana University, Morri- ruediger.schumacher@uni- rd koeln.de more information, see (Website) son Hall 005, 1165 East 3 Street, http://www.aasianst.org/ Bloomington, Indiana 47405-3700; annmtg.htm (Tel) 812.855. 6672; (Fax) 812.855. 6673; (Email) sem@ indiana.edu. 12 SEM Newsletter

2006 (cont’d) 2007 Oct 18-22 Mar 1-4 American Folklore Society An- Joint conference of the Society nual Meeting. Hyatt Regency for American Music and the Milwaukee, Milwaukee, Wis- Music Library Association. consin. For more information, Pittsburg, PA. For more infor- see (Website) http://afsnet.org/ mation, see (Website) http:// www.american-music.org/. Nov 2-5 American Musicological Soci- Mar 22-25 ety Annual Meeting. Century Association for Asian Studies Plaza Hotel, Los Angeles, CA Annual Meeting. Marriott Ho- (jointly with the Society for tel, Boston, MA. For more Music Theory). For more infor- information, see (Website) mation, see (Website) http:// http://www.aasianst.org/ www.ams-net.org/annual.html annmtg.htm

Nov 14-19 Nov 1-4 Society for Ethnomusicology American Musicological Soci- Annual Meeting. Honolulu, ety Annual Meeting. Hilton Hawai’i. For more information, Convention Centre, Quebec please visit (Website) http:// City, Canada. For more infor- www.ethnomusicology.org mation, see (Website) http:// www.ams-net.org/annual.htm

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

Volume 39, Number 3 May 2005