William P. Malm 12 Honolulu

SEM Newsletter Published by the Society for Ethnomusicology Volume 40 Number 1 January 2006 President’s Report 2005 Celebrating SEM’s Next SEM Honolulu 2006: By Timothy Rice, SEM President Fifty Years Call for Proposals I want to begin my president’s re- By Philip V. Bohlman, President-Elect By Jacqueline Cogdell DjeDje, 2006 Program Committee Chair port by acknowledging some of the If there was any single message we people who have made this a successful took with us from SEM-Atlanta, it is that year for the Society for Ethnomusicol- The Society for Ethnomusicology we have much to celebrate. Ethnomu- will hold its 51st annual meeting, No- ogy. First, I would like to thank the sicologists have generated important annual meeting Local Arrangements vember 16-19, 2006, in Honolulu, ideas, and the Society for Ethnomusi- Hawai‘i, at the Marriott Waikiki Hotel. Chair, Tong Soon Lee. He was ex- cology has provided a disciplinary fo- tremely successful in finding external Just as there was much anticipation for rum to debate them. Ethnomusicolo- sources of support for this program, the 2005 meeting in Atlanta, we believe gists have risen to the crucial ethical, including the Korea Foundation and that SEM members are also excited political, and ideological challenges of Emory University, organizations that I about visiting Hawai‘i after a quarter of the past century, and the SEM has want to thank as well. Program Com- a century: the last SEM meeting in encouraged rather than discouraged its mittee Co-chairs Bruno Nettl and Judith Honolulu took place in 1981. The members from doing so. Listening to McCulloh have created a program of Hawai‘i meeting will allow the Society the music of many, but never turning to focus on issues of relevance to Hawai‘i staggering complexity, the largest by far away from the music making of those in our Society’s history. Their knowl- and the Pacific region. We are also too few in number to wield real power, planning events and presentations that edge of the history of our field is with- ethnomusicologists remain resolutely out parallel, and their experience, imagi- members normally expect at an annual committed also to music in its diversity meeting. To ensure that the Honolulu nation, and dedication enriched this and in its representation of diversity. program immeasurably. meeting is fully integrated into the dis- Continued on page 6 Continued on page 3 Continued on page 5 Inside SEM Honolulu 2006: SEM 2006 Pre-confer- 1 President’s Report 2005 E Komo Mai! Experi- ence Symposium: Call 1 Celebrating SEM’s Next Fifty Years 1 SEM 2006 Call for Papers ence the Spirit of Aloha! for Paper 1 SEM 2006 in Honolulu By SEM 2006 Local Arrangements By SEM 2006 Local Arrangements 1 SEM 2006 Preconference Committee Committee 7 SEM Prizes and Awards 8 Mantle Hood: A Memoir On behalf of the University of Hawai‘i The Local Arrangements Committee 10 A Half-Century of Monographs in at Manoa (UHM), the Local Arrange- for SEM Honolulu 2006 is pleased to Ethnomusicology ments Committee extends a warm wel- announce the theme of the pre-confer- 11 Announcements come to members of the Society for ence symposium: “‘Whose Asia-Pacific?’: 12 SEM Honorary Members Ethnomusicology to SEM 2006 in Representation and Presentation in Eth- William P. Malm 12 Honolulu. The 51st SEM annual confer- nomusicology.” The conference will be Rulan Chao Pian 14 ence will be held at the Waikiki Beach held on Wednesday, November 15, 2006, Judith McCulloh 16 Marriott Resort & Spa, Honolulu, No- 8:30am-5:00pm at the conference site, Nazir Jairazbhoy 18 vember 16-19, 2006. Waikiki Beach Marriott Resort & Spa. 20 2004 President’s Roundtable: UHM is proud and pleased to host Taking advantage of the unique geo- “Diverse Voices” SEM 2006, twenty-five years after the graphical and cultural location of 27 People & Places in Ethnomusicology first meeting in Hawai‘i. One of the Hawai‘i, the symposium will address 28 Guerde Fleurant Honored by Hai- seven islands in the state of Hawai‘i, aspects of representation, cultural rights, tian Studies Association O‘ahu, where the city of Honolulu is advocacy, indigenous cultural politics, 30 Conferences and Workshops situated, is the most developed of the theory and practice of representation in 31 Obituaries for Gerard Béhague and Hawaiian islands. The translation of the Asia and the Pacific. The symposium Isabel Aretz Hawaiian word O‘ahu is appropriately will feature plenary speakers, a 31 Call for Papers Continued on page 6 Continued on page 6 32 Conferences Calendar 2 SEM Newsletter

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

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Every year three or four members of Position statements. Last year the Board President’s Report 2005 the Board of Directors leave as new approved in principle the idea that SEM Continued from page 1 members join. This year, three do so. would from time to time take positions Among the most important func- First Vice-President Helen Rees has ben- on matters of civic and public signifi- tions of our Society is the publication of efited the Board immensely with her cance that affect our work and on which a scholarly journal and a newsletter. sage council and well-timed comments, we have some relevant expertise. What The journal editor, Peter Manuel, who is delivered with mordant wit. Secretary we now need is a policy and guidelines coming to the end of his term, has done Deborah Wong has provided the insti- for the approval of such statements. a wonderful job of keeping the journal tutional memory of the Board during a The Board drafted the following new on schedule and full of engaging ar- six-year term. Her enduring achieve- policy and guidelines and sent it to the ticles. We are grateful, also, to Timothy ments include helping with the design, Council for their comments. While the Cooley from the University of California implementation, and analysis of the final document has not been approved at Santa Barbara, who has accepted the Society’s first membership survey, which and will surely be different, I would like editorship, and to his Dean, who has we continue to mine for a useful image to share parts of it in its current form agreed to provide him with an editorial of the state of our Society. Member-at- with the membership at this time. assistant and other types of support he large Katherine Hagedorn has shep- The preamble reads in part: “The will need. Our newsletter editor, Tong herded our committees, sections, and Society for Ethnomusicology issues from Soon Lee, continues to work his magic. special interest groups through various time to time position statements that The business office staff continues stages of development and change with take a public stand on matters of direct to work tirelessly on our behalf. Par- an exquisite sense of diplomacy. We all relevance to ethnomusicology. We hold ticularly significant this year has been thank them for their service to SEM. that it is our responsibility as scholars the upgrade of our website, led by For the commemoration of our 50th and educators to lead the way in the Executive Director, Alan Burdette, with anniversary, the Program Committee development of ethnomusicology, its the help of Cullen Strawn and Anthony wanted to invite guest speakers from professional standards, and the safety Guest-Scott. I trust you have found it abroad to help us reflect on the history and well being of ethnomusicologists.” more functional, and if you haven’t of our discipline in a global context. To It continues by specifying the proce- visited recently, please check it out. fund those invitations, we turned to the dures that we will use: You will find the new improved mem- senior membership of the Society for bership list especially useful. The support, and many of you, listed in the • Position statements may be proposed website has become a very useful source program, responded generously. We by any member of the Society, as well of information for our members and met our target goal, and the program as the formal bodies of the Society visitors about the Society, its publica- was richer for it. Thanks to you all. such as the Board, the Council, stand- tions and meetings, and its history. Let me turn now to some of the ing committees, sections, and special Lynn Pittman, our secretary, continues developments in the Society over the interest groups. to provide patient, quick, and good- last year: humored responses to all our queries. Future annual meetings. This year the • Position statements must be submit- Thanks also to David Trasoff, who Board selected Adrienne Kaeppler as ted in a fully crafted, written form to has thoughtfully and efficiently moder- the Charles Seeger Lecturer for the 2006 the Chair of the Council or the SEM ated our listserv, SEM-L, for three years. annual meeting in Hawai‘i, and settled President. We are grateful to Brana Mijatovic of on annual meeting sites for 2007 and Christopher Newton University for agree- 2008. In 2007, the meeting will be at • If the statement is submitted to the ing to take on this important task. Ohio State University in Columbus, Ohio Council, they may recommend (1) I would like to thank the chairs and with Margarita Mazo as chair of the that the Board approve (or reject) it members of the Council, Committees, Local Arrangements Committee. In 2008, immediately, or (2) that it be placed Sections, and Special Interest Groups the meeting will be at Wesleyan Univer- on the ballot of the annual election for serving all the members of SEM. All sity in Middletown, Connecticut, with for a vote of the entire membership. of you help to ensure the vitality of our Eric Charry as Local Arrangements Chair. field and of the Society itself. I would That meeting will be unusual in that it If the statement is sent to the Presi- like to single out for special recognition will take place from Saturday to Tues- • Andy Sutton, chair of the Publications day so that we can meet on campus dent, the Board may (1) act on its own Advisory Committee, who supervised when students are away. The Board to approve (or reject) it; (2) refer it to the selection of a new journal editor, a consulted the Council on this schedule the Council for advice; or (3) place it new listserv moderator, and the current change and they endorsed it. We are on the ballot of the annual election search for a new Newsletter editor. currently searching for an institution to for a vote of the entire membership. Margaret Sarkissian, chair of the Jaap host the 2009 annual meeting. If you Kunst Prize Committee, and her com- and your institution would like to con- • Once approved, the position state- mittee members also worked under sider hosting it, please contact Second ment will be printed in the newsletter, difficult conditions this year and sacri- Vice-President Brenda Romero, who is posted to the website in chronologi- ficed an enormous amount of time to coordinating that search. cal order, and become part of the the selection of this year’s winner. permanent history of the Society. Continued on page 4 4 SEM Newsletter

President’s Report 2005 encourages the membership to con- Membership. I would like to bring your tinue the discussion of what is, after all, attention to one category of member- Continued from page 3 a significant matter for the Society ship that I feel we have neglected: Promulgating Ethnomusicology. This through panels and roundtables at an- sponsored memberships. As Professor year, Ruth Stone, chair of the Long- nual meetings, the newsletter, and Nketia pointed out in his plenary ad- range Planning Committee, organized listserv. dress earlier in the meeting, it has his- an extremely useful pre-conference Development. A new Development torically been difficult for some of our meeting of the committee with the Board. Committee, chaired by Dan Neuman, colleagues in Africa to learn about eth- Perhaps the most important result of with current and former chairs of de- nomusicology through the publications that meeting was the realization that the partments, deans of schools, and direc- of the Society for Ethnomusicology due future growth of our field depends on tors of centers has been formed. They to their high cost. This is equally true of SEM taking a more active role in ensur- have been charged with increasing the many parts of the world. A simple, ing that our ideas, values, and the endowment in two areas: the 21st Cen- practical way for us to engage in the courses we teach enter the curriculum tury Fund devoted to travel grants for kinds of dialogues we advocate in prin- of undergraduate major in departments student research, and a fund that will ciple is for us to sponsor the member- and Schools of Music. To that end, allow the Society to recruit new mem- ships of our colleagues in those parts of Elizabeth Tolbert, our liaison to the bers from underrepresented minorities the world. I am not proud of my own National Association of Schools of Mu- by, for example, subsidizing their travel record in this regard, and it is with that sic (NASM), helped the Board respond to our annual meetings. in mind that I urge you to join me in twice this year to the revision of their taking this practical step in helping to accreditation guidelines to include the New Special Interest Groups. The create the kinds of international schol- word “ethnomusicology” in obvious Society’s interests continue to expand arly dialogues we understand are indis- places where it is now omitted. into new areas. As our members under- pensable to the intellectual flowering of The Board has charged the Careers stand that a critical mass is developing our field. and Professional Development Com- around a topic, they are forming new Special Interest Groups (SIG) to foster The Society Today. To conclude, I mittee to begin developing documents thought I would take this opportunity to for posting on the website to educate interest in that topic. This year the Board approved two new SIG’s: one on reflect briefly on the current state of the the membership on best practices when Society on its 50th anniversary. I will use working in such departments. And in medical ethnomusicology and one on historical ethnomusicology. These Bonnie Wade’s model of “then and the coming year the Board and Council now” (and indeed some of her points) will work on strategies to encourage groups are just one indicator of the energy in our Society. from her outstanding plenary session universities and colleges to add ethno- talk. musicology to the required curriculum SEM Archive. The SEM Archive at the First, as she pointed out, we have for music majors. For the long-range University of Maryland Library contains moved from a discipline and Society future growth of the Society and our documents and letters generated by proud of our name to one that causes us discipline and to remain true to one officers of the Society over the years. and others discomfort. This year’s goal expressed in our constitution—the The Archive has been dormant, with President’s Roundtable on the theme, promulgation of ethnomusicology—the virtually no new deposits, for nearly “Ethnomusicology by (m)any other Society must work more actively and fifteen years. The Board has appointed name(s),” echoed that duality. I con- effectively precisely in this area. two co-archivists, Nora Yeh and Judith cluded from the roundtable that we As one small step in this regard, I Gray, to help us solicit the missing need, for the time being, to stay the have been working, under the leader- documents from past officers and com- course with our disciplinary name mainly ship of the American Folklore Society’s mittee chairs and the business office, to because it is beginning to break out in Executive Director, on a grant to the help organize the materials on deposit, both academic and public conscious- Mellon Foundation for a small confer- and to develop standards and proce- ness. When Buffy the Vampire Slayer ence in the spring to discuss the chang- dures for new deposits. goes to college and finds herself choosing relationship of three fields—folk- Regional Chapters. Members of the ing between a course in French litera- lore, oral history, and ethnomusicol- Society, from time to time, form “re- ture and ethnomusicology, you know ogy—to the academy. If we receive the gional chapters” when it becomes ap- we have arrived. grant, six senior members of SEM will parent that a critical mass of members Second, we have moved, or at least join similar groups from the other disci- lives in a particular area. They serve seem to be moving, from a discipline on plines to discuss this issue. three functions: to recruit new mem- the margins of music study with a seven- The SEM Logo. I want to announce that, bers locally, to create a sense of com- syllable name that few people could after further consideration, the Board munity for otherwise isolated ethnomu- spell to somewhere closer to the center respects the majority vote against the sicologists, and to provide an outlet for of things, with a brand name of sorts. proposition on the 2004 ballot to re- students to present their first formal Here in Atlanta we might be reminded move the flute-playing figurine as a conference papers. I thought I should of the history of Cola Cola messing with symbol of the Society. However, we take this opportunity to remind you that its brand when it introduced “new coke” also respect and recognize that this these chapters are an available tool, some years ago, only to be forced to remains a sensitive issue for many mem- both inside and outside the U.S., to retreat to “classic coke.” It seems that bers of the Society. So the Board serve the needs of our members. changing our disciplinary name at pre- SEM Newsletter 5 cisely the moment when we are being noticed by the public and poised to SEM 2006 Conference in Honolulu have new influence in the academy Continued from page 1 would be an unwise strategic move. Third, echoing one of Bonnie’s course of the Pacific, the SEM Board For further questions about the points, we have moved from a disci- has invited the members of several program for SEM 2006, please con- pline that, for its first quarter century, societies based in the western Pa- tact Jacqueline Cogdell DjeDje, expressed itself primarily in journal ar- cific, for example, the New Zealand UCLA Department of Ethnomusi- ticles, self-reflexive essays on the na- Musicological Society and the Musi- cology, Box 951657, Los Angeles, ture of the field, and an occasional cological Society of Australia, who CA 90095-1657; (tel) 310.206.3033; book, to a field that five years ago may have found it difficult to attend (fax) 310.206.4738. Do not send produced a ten-volume encyclopedia meetings on the US mainland. There- proposals or abstracts to either ad- of world music and each year confi- fore, we look forward to an ex- dress; please see the Call for Papers dently produces upwards of ten major change of ideas between scholars forms for the proper address. book-length musical ethnographies in from the western Pacific and other We strongly encourage you to English, many edited collections on parts of the world. submit your abstract using the online emerging topics of importance, and a The annual Charles Seeger Lec- form available at (website) www. fast-growing number of textbooks. One ture will be delivered by Adrienne ethnomusicology.org (follow the sign of our growing influence and im- Kaeppler (Smithsonian Institution). links to the abstract-submission site) pact on the academy is the growing There will be a Pre-conference sym- after January 15, 2006. This year’s interest of publishers in soliciting our posium on Wednesday, November online submission will not work work for audiences that, in some cases, 15, 2006, on the theme “‘Whose with some older browsers. If you we are not even clearly aware of. Asia-Pacific?’: Representation and plan to submit online, we recom- Fourth, the number of job openings Presentation in Ethnomusicology.” mend that you check the submis- in our field seems to be burgeoning just Two plenary sessions are being sion site before March 15 in the in time for our 50th anniversary. When planned for the 2006 meeting. The event that it is not compatible with I entered the job market in 1974, I was tentative titles are: (1) Decolonizing your browser. If you do not have aware of only two job openings for Hawai‘ian ethnomusicology and (2) access to the internet, mail your ethnomusicologists at universities in Decolonizing music scholarship. form and abstract to Indiana Uni- North America. Today the SEM website The conference themes for the versity Conferences, Attn: SEM 2006 lists more than 30 such jobs, plus nearly 2006 meeting include the following: Abstract Submission, 110 One City as many other positions where our Center, Bloomington, IN 47404, expertise is sought after. • Music, sexuality and the body USA. Fifth and finally, how the Society has • Migration and movement, with grown. We have moved from a Society special reference to Asia and the Timetable where 24 people attended the founding Pacific Mar 15: Postmark and online-sub- meeting in 1955 to one with more than • Diaspora studies mission deadline for all 1,000 attendees in 2005. I attended my • Confluences of music and dance SEM proposals first annual meeting 35 years ago in May 15: Notifications of acceptan- 1970. In that period, we were small • Asian and Pacific music masters: ces mailed (including pre- enough that, within a few years, I knew An ethnomusicology of the indi- liminary sessions and everyone I saw. At this meeting, I can’t vidual times) with pre-registra- see everyone I know. I would like to • Music and Islam tion materials thank particularly all the many mem- • Music and indigenous politics bers from aboard who have honored us Aug 2: Deadline for receipt of with your attendance. We have much Proposals on other topics rel- pre-registration fees from to learn from you, and we are delighted evant to the field of ethnomusicol- SEM members whose pro- that you chose to help us celebrate our ogy are also welcome. The online posals were accepted 50th anniversary. And to all of you who and postmark deadline for submis- Oct 1: Deadline for presenter are attending, I thank you for contribut- sion of SEM proposals is Wednes- cancellation and refund ing to this exciting meeting. day, March 15, 2006. of pre-registration fees Let me conclude by saying that, for The SEM 2006 Program Commit- from SEM members me personally, ethnomusicology has tee consists of Susan Asai (North- whose proposals were ac- been more than a profession; it has eastern University), Gregory Booth cepted (minus a $35 han- been a necessity. In that context it has (University of Auckland), Margaret dling fee) been an honor and a privilege to serve Kartomi (Monash University), Zoe Oct 15: Registration cancellation as President of this Society. As pleased Sherinian (University of Oklahoma), refund deadline for as I have been to act in that capacity, and Amy Stillman (University of nonpresenters (minus a however, I am equally delighted to Michigan), with Jacqueline Cogdell $35 handling fee) hand over the gavel to our next Presi- DjeDje (University of California at dent, Philip Bohlman. Los Angeles) as Chair. 6 SEM Newsletter

Next 50 years that ethnomusicologists celebrated in sessions in which our colleagues from Atlanta, but I recognize that our anni- outside the USA and North America Continued from page 1 versaries are different. In Atlanta, we shared their own critical views about The first fifty years of the SEM were turned to the past to draw upon it for the SEM and the history of ethnomusi- restive and responsive. The Society lessons for the future. In celebrating cology: these distinguished visitors told grew because its founders ensured that much, ethnomusicologists fully recog- us what we needed to hear, and they it could be a disciplinary home, into nized that there was much more to did not shy away from the issues that which a fundamental tolerance would celebrate. I dare say that the mode of would make us reassess our past in their welcome all musicians and scholars celebrating in which we collectively countries. seeking responsiveness to all musics. engage is what I prefer to call “activist We now bear with us into the next At SEM-Atlanta, a heady feeling of celebration.” At every turn in Atlanta, fifty the activist celebration that as- multitude unleashed five days of anni- ethnomusicologists persisted in asking sumed such remarkably diverse forms versary stock-taking. The four days of hard questions, which resulted, in turn, in Atlanta. It is already clear that SEM- paper sessions, roundtables, and ple- from an unwillingness to accept conve- Hawai‘i will sustain our activist celebra- nary sessions symbolized the very pleni- nient answers. tion. The Program Committee has taken tude of celebration itself. The The Preconference Seminar on “Race up the challenge of hard questions, and Preconference Seminar may well have and Place” set the tone of a distinctively the Local Arrangements Committee has attracted more participants than the full ethnomusicological self-reflection that undertaken plans that will allow us to conferences of the first quarter-century insists on asking more of music. That engage with diversity in its multitude. or so. Award ceremonies crescendoed we ask more of music was abundantly In Hawai‘i, ethnomusicologists will again into a grand stretto of encomium. We evident in the proliferation of SEM Sec- celebrate as they are best prepared to relished our numbers, wondering tions and Special Interest Groups, whose do, with their commitment to making a whether the ballrooms of future confer- members are committed to reframing real difference. As SEM President, I ence hotels could contain us when old questions and posing new ques- could not be more pleased to join the gathered as a collective whole. There tions. Surely, I was not the only ethno- membership as we together usher in the truly was much to celebrate. musicologist to find her- or himself celebrations that will accompany us as As incoming President of the Society feeling a bit uneasy but intellectually we embrace the challenges of our next

for Ethnomusicology, I take pride in all energized while attending the plenary fifty years. ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

SEM 2006: Experience the Spirit of Aloha! Continued from page 1 the “Gathering Place.” O‘ahu is a world- Waikiki, once a playground for the There are direct flights from major renowned cultural center and tourist ali‘i (royalty) and now a major tourist hubs such as Atlanta, Chicago, Denver, destination. Honolulu is a modern city destination on O‘ahu, is famous for its Houston, Los Angeles, Newark, Orange situated on the southeastern coast of climate, white sand beaches, scenic County, San Francisco, and Seattle. O‘ahu and is the capital of the state. ocean, and sunset views. The Waikiki Please make your hotel and airline Home to approximately 900,000 people, Beach Marriott Resort & Spa is located reservations well in advance. the city and county of Honolulu are a in the heart of Waikiki and one block major gateway to the neighbor islands, from the beach. It is within walking and to Asia and the Pacific. distance of Waikiki’s shopping district, Honolulu embodies the rich history the Honolulu Zoo, Aquarium, and Dia- of the region and offers an intriguing mond Head Crater. Other major cul- SEM 2006 Preconference blend of Asian-Pacific and Western in- tural attractions on the island include Continued from page 1 fluences. The combined arrival of mis- the Bishop Museum, Honolulu Acad- roundtable discussion, and paper ses- sionaries, importation of sugar cane emy of Arts, Iolani Palace, Chinatown, sions. By bringing together scholars plantation workers from Asia, and ab- Plantation Village, and the Polynesian and activists from Asia, the Pacific, and sorption of Hawai‘i into the US through Cultural Center. US mainland, this one-day symposium annexation and statehood have deeply Clearly, Honolulu has much more to intends to confront a central and perti- impacted the indigenous culture and offer than the tourist gaze encounters. nent issue of our discipline. If you are the geo-political landscape. Don’t miss this great opportunity to interested in presenting a paper or have Because Honolulu invokes the po- enjoy a unique cultural experience not further questions concerning the pre- litical and cultural complexity of post- found anywhere else in the US while conference, please contact the Local contact Hawai‘i, it is an ideal setting in attending a stimulating conference! The Arrangements Committee Chair, which to examine conference themes Local Arrangements Committee looks Frederick Lau, at (email) fredlau@ such as decolonization, migration, di- forward to welcoming all of you in hawaii.edu. aspora studies, indigenous politics, and Honolulu. music and dance in Asia and the Pacific. SEM Newsletter 7

SEM Prizes and Awards Martin Stokes’s “Music and the Glo- will take form on the internet, as the bal Order” (published in the 33rd An- idea of nation as physical territory di- By J. Lawrence Witzleben, Member- nual Review of Anthropology), in con- minishes in favor of power in ‘imag- at-Large (with comments on prize trast, is a superb literature review that ined’ communities partly created by winners by the Committees) pinpoints the intellectual frameworks musical iconography.” informing various writings on the sub- In the author’s own words, “The Lois Ibsen al-Faruqi Award ject of musical globalization. Stokes anthem both reflects the contradictions The Lois Ibsen al-Faruqi Award is adroitly explicates the core arguments that can be associated with the Romani intended to provide a deserving institu- behind many individual studies, show- struggle for equality and also poten- tion or individual in the Muslim world ing how they reinforce, counter, or tially compensates for some of the with a three-year gift membership in the refine each other. In the process of essentializing formulations of ‘Gypsy’ Society for Ethnomusicology and with a addressing these, he offers cogent cri- put forth by non-Roma as well as by subscription to Ethnomusicology, the tiques and advances his own arguments Roma. The anthem, even with all its SEM Newsletter, and other member ben- within a number of debates, suggesting contradictions, can be said to stand for the efits. This year’s Prize Committee, con- avenues for future research. In so ‘musical and cultural territory’ possessed sisting of Irene Markoff, Regula Qureshi, doing, he presents a provocative over- and controlled by a nation or transnation and Michael Frishkopf (Chair), has de- view of where we’ve been intellectually that has no physical territory.” cided to award the 2005 Lois Ibsen al- in recent years and where we are—or should be—heading. Faruqi Award to the Egyptian Center for The Robert Stevenson Prize Culture and Art located in Cairo, Egypt. To add a brief footnote in this year The Robert E. Stevenson Prize is For information on the Center, see of historical reflection: Louise Meintjes awarded annually to the writer of the (website) http://www.egyptmusic.org. won the Charles Seeger Prize for the best student paper at the SEM confer- most distinguished publication in the ence in 1989. She is thus the second area of composition. The Prize commit- Jaap Kunst Prize person to achieve this double honor tee (comprising Stephen Blum, Judith The Jaap Kunst Prize recognizes the (the first was Jane Sugarman, 1988 Seeger Vander and chair, Michael Tenzer) is most significant article in ethnomusicol- Prize and 2004 Kunst Prize winner). It honored to recognize composer, scholar, ogy written by a member of the Society is a healthy sign for our field that young teacher and cultural activist Professor for Ethnomusicology and published scholars singled out early in their ca- Chou Wen-Chung for his article “Wenren within the previous year. This year’s reers are continuing to provide intellec- and Culture”, published in Locating prize committee comprised Tim Cooley, tual leadership as they mature. East Asia in Western Art Music (ed. Jane Sugarman, and Margaret Sarkissian Yayoi Uno Everett and Frederick Lau, (Chair); the committee was joined in the Wesleyan University Press, 2004). final stage by Tara Browner. The Charles Seeger Prize In this cogent and intensely felt We are pleased to award the 2005 The Charles Seeger Prize is awarded chapter, Dr Chou sets forth his own Jaap Kunst Prize jointly to Louise Meintjes annually to honor the most distinguished time-tested ethics of musical citizenship and to Martin Stokes. In her artfully student paper presented at the SEM in our era of fusion and exchange. We written article, “Shoot the Sergeant, annual meeting. The Charles Seeger learn therein that in ancient China the Shatter the Mountain: The Production Prize committee consisted of Richard artist—the wenren—was also scientist, of Masculinity in Zulu Ngoma Song and Jankowski (last year’s winner), Anne scholar, statesman and sage. A sharp Dance in post-Apartheid South Africa,” Rasmussen, Brenda Romero, and Larry observer of contemporary culture and published in Ethnomusicology Forum Witzleben (Chair). The committee was an expert in musical pasts, Chou shapes 13(2), Louise Meintjes both illuminates impressed by both the overall quality of music’s future through his composi- ngoma music and dance as aesthetic this year’s submissions and by the di- tions and writings, exhorting us to as- expression and situates the genre pow- versity of research interests and meth- pire to wenren ideals as proactive and erfully within the volatile lives of South odologies they represented. self-aware musicians, and teaching us African men. The article advances the The winner of the 2005 Charles to remain mindful of tradition as we ethnomusicological study of music and Seeger Prize is Petra Gelbart, for her continue to shape modernity. gender in several important respects: by paper “Music as Territory: The Romani In offering this prize to Dr Chou we focusing on masculinity, which is still ‘National’ Anthem, Representation, and honor not only this specific article but comparatively rare in the literature; by Transnational Sociopolitical Spaces.” also his lifetime of abiding dedication emphasizing the multiplicity and vari- Although the author’s extensive use of and achievement, which is our beacon, ety of positive “masculine” attributes the internet as a space for fieldwork was and which long ago earned him true that men perform through ngoma; and somewhat controversial, the resultant wenren stature. Dr Chou writes: “The by addressing the potential for prob- research was clearly deep, interactive wenren spirit is both Chinese and uni- lematic male behavior that lies in those and highly productive, and the commit- versal—Chinese in that it is a unique same constructs. While focused on one tee was impressed by the author’s in- institution responsible for more than community, her analysis speaks to the sight and originality and the clarity of two millennia of China’s cultural and situation in many communities world- her ideas and writing. social life, and universal in that it stands wide that extol the figure of the “war- Brenda Romero noted that “this study for commitment to true quality and rior-hero” as a masculine ideal. is a significant predictor of how socio- deep sincerity, to independence, hon- cultural and socio-political groupings esty and courage.” Continued on page 10 8 SEM Newsletter Mantle Hood: A Memoir By Helen R. Weems This morning, my husband said, ventures in post-World War II LA. father’s experiments. In those hours, I “Mantle Hood died.” Mantle’s flamboyance and appreciation learned phrasing and developed a deep Mantle Hood, pioneer of American of the good life were contagious. I was emotional attachment to music. ethnomusicology and all around bon enamored. As a seven year-old, I de- Mantle Hood remained in mind in vivant, was best man at my parent’s cided that yes, the circle would be college. I longed to join a gamelan, the 1949 wedding in Santa Barbara, Califor- unbroken, because I would grow up to exotic Indonesian orchestra that he in- nia. My father, David Weems, and marry one of Mantle’s sons. troduced to the United States. Later, at Mantle had met in the horticulture lab at While Mantle traveled the world, the Peabody Conservatory, I learned UCLA where they both worked. Their earning among other things the title that Mantle himself was at University of friendship grew through a shared sense “Ki” (“The Venerable”) from the Indo- Maryland, Baltimore County. After of romance and adventure. They sparred nesian government, my family’s life graduating, I landed a secretarial posi- at fencing, got photographed together played out in tiny Newtonia, Missouri tion for the ethnomusicology program with their girlfriends, and helped each (population 182). Dad wrote in his at UMBC—hence, secretary to Mantle other through financial crises. In the 1990 book about speaker design, “While Hood—finally to meet the legend and mid-50s, my parents moved to Missouri, at UCLA, [I] was introduced to the world explore his discipline. and the friendship naturally stalled. of high-fidelity sound . . . by a musicolo- A distinguished, exquisitely suited Mantle presided over my first 27 gist friend.” Mantle later commented to man of about 70 with an unmistakable years as a legend. Resembling Douglas me, upon seeing the blurb, “I’m prob- white coif strolled in to my new office. Fairbanks, Jr., he struck heroic fencing ably the reason you’re a musician, you “Hello,” he said, “I’m Mantle Hood.” poses in my father’s photographs. He know.” Indeed, my most vivid recol- “Helen Weems.” He tilted his head and gazed out regally from his book covers, lections of childhood were of listening gave me a piercing look. “Might I know and figured prominently in Dad’s ad- with my parents to records on my your parents?” “David and Charys

From left, standing: Marie Leach, UCLA bacteriologist; George Ford, my grandfather; Ann Pillsbury, Arthur Pillsbury’s daughter; Claudia Mantle Hood, Mantle’s mother; Arthur Pillsbury (with child on shoulders), Mantle and David’s boss; Pearl Ford, my grandmother; Rebecca Halma, photographer, Harold Halma’s mother; David Weems, my father; Shirley Hood (with neckerchief), Mantle’s first wife; Mantle Hood (in plaid shirt). My mother is seated in front of Pearl Ford (others not remembered) (Photo courtesy of Helen Weems) SEM Newsletter 9

Mantle Hood, the avid fencer (Photo courtesy of Helen Weems) Mantle Hood was a resident of Weems.” He inhaled, then pronounced, been up most of the night writing a Ellicott City for 25 years, and “You are a perfect mélange of Dave and characteristically lyrical inscription for died on July 24, 2005, at the Charys. Perfect!” my parent’s card, which revealed his age of 87. Helen R. Weems is And so I finally got to know Mantle undying loyalty to old friends: a resident of Columbia first hand. I danced with the UMBC (Harper’s Choice), where she Balinese gamelan and learned from For Dave, who taught me to use the has lived for 9 years and has a Mantle how to parry pesky bureaucrats. slide rule and who forgave me piano studio. Photographs of I met his sons, all immensely charming, when I planted cuttings upside Mantle Hood were taken in but fulfilling no childhood fantasies. down in vermiculite; and for Charys, the late 1940’s by the author’s Instead, I discovered UMBC laughter who explained that the tiny father, David B. Weems. expert and neuroscientist Robert scratches of daily use on solid ster- Provine. Oh yes, Mantle said, excellent ling silver create a beautiful pa- scientist. So I married him. tina—which on their 50th wedding Mantle was, like Provine and my anniversary has surely turned to dad, more renaissance man than mod- gold. With loving memory of the ern academe often allows. He lectured, beginnings – Mantle Hood he performed with his gamelans, he golfed, he and wife Hazel threw fantas- A few days before Mantle died I tic parties, and he dressed impeccably visited my parents back home. We for all appearances as he swaggered listened to a CD of Tom Waits together, across the stage of life. As I approached a familiar setting from earlier times. In a PhD in ethnomusicology, I realized that moment, I realized that Mantle had that I, too, wished for more than a been right—he probably was the rea- career in academe. I ditched the degree son I was a musician. He influenced my program for piano teaching and bought parents, and my entire life, like a force a Steinway, impressing Mantle. of nature. My career as a lively piano When my parents celebrated their teacher, my life in Maryland, even my th 50 anniversary, I stopped by Mantle’s marriage had to do with Mantle. home. He was 80 and had survived I decided to tell Mantle this, and also vascular surgery the day before, with to take him a disc of Tom Waits whom frankenstein-like stitches running up he would have enjoyed. But this morn- his neck. He was dressed nattily, sitting ing, my husband said, “Mantle Hood in his beautiful living room with that Helen Weems dancing with the UMBC died.” Balinese gamelan (Photo courtesy of white coif reigning supreme. He had Helen Weems) 10 SEM Newsletter

A Half-Century of Mono- SEM Prizes and Awards ties Section, with details to be provided in a future newsletter. graphs in Ethnomusi- Continued from page 7 Please note that except for prizes for cology The PMSSEM (Popular Music Sec- papers presented at the annual meeting tion) Lise Waxer Prize (and submitted at that time), all prize 2005 Alan Merriam Prizes of the The Lise Waxer Prize is awarded submission deadlines are April 1, 2006. Society for Ethnomusicology annually to recognize the most distin- Some changes in the guidelines for By Philip V. Bohlman, Chair, 2005 guished student paper in the ethnomu- 2006 should be noted as follows (for sicology of popular music presented at complete details and submission infor- Merriam Prize Committee the SEM annual meeting. The commit- mation on these and all prizes, see the It is surely one of the clearest signs tee consisted of Daniel Cavicchi, Jenni- SEM website): of the intellectual vigor of the Society fer Milioto Matsue, Gordon R. Thomp- Kunst Prize. The Society will make for Ethnomusicology at half-century that son, and Tracey Laird (Chair). every effort to draw upon the language our books and monographs stretch The Waxer Prize was awarded to expertise of the membership to evalu- across disciplinary and cultural borders Kristin Solli, a graduate student in Ameri- ate submissions in languages other than as never before. In 2005, there were 43 can Studies at the University of Iowa, for English. The Committee will make a books nominated for the Alan Merriam her paper titled “Keeping it Køntri: good faith effort to locate worthy ar- Prize of the SEM, presented annually to Country Music, Class, and Cultural Hier- ticles but it also relies on self-nomina- honor the outstanding monographs in archy in Norway.” She revealed how tions, as well as on nominations from ethnomusicology. That the monographs the pronunciation of a vowel can por- individual members and other interest of our field recognize the breadth of our tray complex attitudes about class in groups within SEM, including special field so fully could not be more evident. Norwegian society, employing ethno- interest groups and sections. graphic methods and an analytical frame- Indeed, the nominations this year truly Nahumck Prize. The purpose of the chart new territory and realize the goals work with local and global implications for popular music studies. prize is to help support research on a of the potential that fifty years of ethno- dance-related subject and its subse- musicological scholarship have set in For 2006, the Kunst, Merriam, Seeger, Stevenson, and Waxer Prizes, in addi- quent publication. Eligibility: estab- motion. lished scholars, recent PhDs or PhD It is emblematic of our achieve- tion to the Halpern Fellowship and Award (to help support research on candidates who have completed all ments that ethnomusicological scholar- degree program requirements except ship did not parse into typical mono- Native American music of the United States and Canada and to recognize the dissertation research. Preference will graphs or genres in this year’s Merriam be given to applicants planning to en- competition. The authors came from all publication of said research), The Nadia and Nicholas Nahumck Fellowship (to hance their research findings with move- subdisciplinary domains of our field. ment notations such as Labanotation Collaboration was common, and help support research on a dance-related subject and its subsequent publi- and/or with digital media such as pho- coauthorship was by no means rare. tographs, video, or web-based formats. New areas of scholarship were opened cation), and the Klaus P. Wachsmann by many authors, while others were Prize for Advanced and Critical Essays Seeger Prize. Entries will be judged inspired by the history that we collec- in Organology, will all be awarded. solely on the content of the papers, tively celebrate at this conference. Past New prizes for student papers will also including appropriate figures and ex- and present enrich each other, ensuring be offered by the Section on the Status amples, but excluding audio, visual, or the conviction with which the ethno- of Women and the Gender and Sexuali- CD-Rom supplements. musicological monograph leads us into our future. ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ The 43 outstanding books nomi- Honorable Mention: Deborah Wong, very seriously indeed. Listen to that nated for this year’s Merriam Prize, of Speak It Louder: Asian Americans Mak- loud-speaking as Professor Wong opens course, did not make the task of deter- ing Music (New York: Routledge, 2004) the final chapter, “My Father’s Life in mining the winners any easier. The The “Honorable Mention” for the Music”: Merriam Prize Committee, Gage Averill, 2005 Merriam Prize goes to a work of Trying to blur distinctions between Charles Capwell, Nancy Guy, and Philip scholarship that is at once traditional for production and consumption, I V. Bohlman (Chair) read and reread the the ways it examines music making and have cast back and forth between nominations. It was the remarkable cultural identity, and innovative for the performers, composers, improvis- quality of this year’s nominations, even ways it expands concepts of perfor- ers, listeners, producers, audience more than their numbers that led the mance and the body. The product of members and so forth. If we’re committee to award the 2005 Merriam committed, activist scholarship, Speak It going to move away from great- Prize not to one, but to two winners. Louder: Asian Americans Making Mu- man theories of history, then there’s Additionally, the committee felt suffi- sic itself embodies Deborah Wong’s suddenly a lot to attend to, and this ciently inspired by the works of its years of engagement with what it means is especially true as we open up fellow ethnomusicologists to award an to be Asian in North America. Tren- ideas of music history and music “Honorable Mention” this year. chant and challenging at every turn, the cultures to, well, everyone else— analysis and prose in Speak It Louder all those others, including women take the challenge of the book’s title and people of color (321). Continued on page 11 SEM Newsletter 11

Ethnomusicology Monographs ethnomusicological polymath. After opens in Deep Listeners: Music, Emo- leading readers through the rough ter- tion, and Trancing are internal, and to Continued from page 10 rain of implicit and explicit knowledge, many they have seemed elusive, diffi- Deborah Wong was called to accept this conceptual combination, and episte- cult to retrieve and perceive, for some award as recognition of the extent to mological slippage, Professor Perlman even pathological. With deep reflec- which her colleagues had been listen- soothes the reader’s anxieties with a tion and respect, Judith Becker honors ing to her “speaking it louder.” characteristic gentleness: the methods of ethnomusicological an- Co-Winner: Marc Perlman, Unplayed If my readers are surprised to find, cestors and invites contemporary eth- Melodies: Javanese Gamelan and the in a book about Javanese gamelan, nomusicologists to pursue new partner- Genesis of Music Theory (Berkeley: visions of musical universals or a ships with collaborators today, in the University of California Press, 2004) discussion of the debates over the hard sciences, religious studies, and The two co-winners of the 2005 nature of music theory, they could even beyond. Deep Listeners speaks Merriam Prize share a common concern hardly be more surprised than I am expansively to music writ—and for a complex humanness of music and myself. . . . Ultimately, I hope that musicked—large through human expe- music making, and the way that human- this book, by suggesting fruitful rience, but no less important, it speaks ness emerges from a counterpoint be- ways to study conceptual innova- metaphorically and phenomenologically tween our physical and cognitive selves. tion, will inspire ethnomusicolo- to ethnomusicologists, to wit: The first co-winner of the Merriam Prize gists to pay close attention to the Fragmentation of intellectual effort has devoted himself to years of thought- creative thinking of musicians in is one of the curses of the modern ful study of the details in the music for many other traditions (203-04). academy. Ethnomusicology with the Javanese gamelan, and with the The 2005 Merriam Prize surely attests to its multiple parentage has never knowledge he has accumulated as a the receptiveness of ethnomusicolo- had a monolithic dogma but, rather, student and teacher, he has insistently gists to that inspiration. multiple practitioners of many dif- knocked on the doors of other disci- ferent kinds of ethnomusicology. I plines with the message that the time to Co-Winner: Judith Becker, Deep Listen- hope that there can also be many intensify our conversations is long over- ers: Music, Emotion, and Trancing different kinds of music cognition due. Marc Perlman’s Unplayed Melo- (Bloomington: Indiana University Press, including one that is biologically dies: Javanese Gamelan and the Gen- 2004) based, psychologically sophisti- esis of Music Theory, in fact, succeeds The second co-winner of the 2005 cated, and attuned to cultural nu- brilliantly in opening those doors. Be- Merriam Prize has charted new ethno- ances, cultural knowledge (7). musicological landscapes in the course yond those doors are new intellectual It is indeed fitting to honor Judith Becker landscapes, which Marc Perlman charts of a very distinguished career. Many of th the musical landscapes that Judith Becker and Deep Listeners at this 50 Anniversary

with the conceptual astrolabe of an of the Society for Ethnomusicology. ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Announcements Klaus P. Wachsmann Prize for Society for Asian Music Award Advanced and Critical Essays in The Society for Asian Music an- SEM Election Results 2005 Organology nounces the Asian Music Award for the By Deborah Wong, Secretary, SEM By Margaret Kartomi, Chair, Klaus best student paper on Asian Music pre- Board of Directors (2003-05) Wachsmann Prize Committee sented at the annual meetings of the Society for Ethnomusicology. The award The following SEM members have You are invited to nominate and consists of a $100 honorarium and a been elected to the Board of Directors: submit a copy of any book or article on five-year subscription to Asian Music. First Vice President, Dan Sheehy; Secre- musical instruments or aspects of orga- Students should bring three copies of tary, Janet Sturman; Member-at-Large nology published in 2003, 2004, or 2005 their paper with them to the conference (odd year), Cheryl Keyes. to the Klaus Wachsmann Prize Commit- and deliver the papers to the President The SEM Council has the following tee by the deadline of April 1, 2006. of the Society for Asian Music (Susan new members: Ric Alviso, Alice Egyed, Nominations, including self nomina- Asai). Should the paper include exten- Michael Frishkopf, Eileen M. Hayes, tions, may be made by submitting one sive use of audio or visual material, Ursula Hemetek, David W. Hughes, copy of the publication(s) to the Klaus please include a written description of Inna Naroditskaya, Susan Oehler, Wachsmann Prize Committee through those materials as an appendix to the Svanibor Pettan, Anne Rasmussen, the SEM Business Office, Indiana Uni- paper. Ricardo D. Trimillos, and Deborah versity, Morrison Hall 005, 1165 East 3rd Wong, with student members Katherine Street, Bloomington, IN 47405-3700 USA. Music from the British Library Butler Brown and Susan Motherway. The winning entry will be announced at Sound Archive and Topic Records Congratulations to all! the SEM meeting in Hawai‘i in Novem- The business office mailed 1,516 ber 2006. For prize guidelines, see Five years ago the World and Tradi- ballots to our members and 445 voted in (website) http://www.ethnomusicology. tional Music section signed an agree- the 2005 annual SEM election. The total org or http://webdb.iu.edu/sem/scripts/ ment with London record publisher, number of ballots received was down prizes/wachsmann_prize.cfm. Topic Records, to produce CDs of mu- by 72 compared to the 2004 election. Continued on page 27 12 SEM Newsletter SEM Honorary Member William P. Malm By Judith Becker, University of Michigan at Ann Arbor William P. Malm was born in LaGrange, Ilinois in 1928. He began music lessons as a child, studying piano and clarinet. Throughout his high school and college career, he played saxo- phone in various swing bands. He entered Northwestern University in 1945 where he studied composition. He had long been interested in becoming a dance accompanist and in the summer of 1947 got a job as pianist at Jacob’s Pillow Dance Camp in the Berk- shire Hills of Massachusetts. During the summer, he had the opportunity to become the one-man gamelan for the exotic dancer Devi Dja and her troupe, Java Bali Dancers. He took a semester off from his studies at Northwestern and toured with Devi Dja in New York, California and the southwest. This was his first exposure to non-Western music and inspired a life-long interest in Asian music. He received a Bachelor of Music in 1949 and a Master of Music in 1950 from Northwestern. He began his teaching career at the University of Illinois in 1950 where his course load comprised 2/3 teaching music theory, and 1/3 as music consultant for the dance department. After only one semester, he was drafted. For six months he was a member of the 101st Airborne Division Band where he played clarinet. He was sent to Washington, D.C. as an instructor at the US Naval School of Music where he taught from 1951 to 1953. While in Washington, he had the opportunity to spend time in Photo courtesy of William Malm the Library of Congress, reading what- ever materials he could find concerning besides, he now had a strong interest in returned to her home in California, he Asian musics. But there were very few Asian musics. At this time also, he was followed her. In 1953 he began gradu- books that helped him understand how sent a package from his brother who ate school at UCLA, married Joyce in these musics worked. His theorist self was on an aircraft carrier in the Pacific 1954, and in 1955, he went to Japan, was frustrated as he realized that all his that included a shamisen he couldn’t supported by the first music grant ever theoretical tools were only good for play and shamisen notation he couldn’t given by the Ford Foundation. He analyzing Western music. read. He began thinking about gradu- received his PhD in musicology in 1959 Immediately after his discharge from ate school and applied to NYU to study with Lawrence Petran as his dissertation the army, he got on a train and went to with Curt Sachs. But in the summer of chair. New York to continue his interrupted 1953, he took a job as a pianist at a From 1960 to 1994, William Malm career as a dance pianist. But he was dance school in New London, Con- taught at the University of Michigan beginning to realize that he was not that necticut where he fell in love with a where he founded the program in eth- good a pianist or a composer, and dancer, Joyce Rutherford. When she nomusicology, was the director of the SEM Newsletter 13

Stearns Collection of Musical Instru- treasurer from 1968 to 1971; as Office Gagaku: The Court Music of Japan, 1990; ments, and directed and taught two Manager from 1969 to 1988, as Presi- Bunraku Puppet Theater Music, 1992; Japanese performing ensembles: dent from 1978 to 1980, and served Shinto Music, 1994; Nagauta: The Heart Nagauta and Matsuri bayashi. Both many years on the Council. For many of Kabuki Music, 1994; and Noh Drama ensembles regularly presented well-at- years, starting with the annual SEM Music, 1996. In press are two more, one tended concerts. He also organized the meeting in 1965, William Malm has on the koto and one on the shakuhachi. purchase of the University of Michigan taken pictures of prominent and not-so- In 1993, he was awarded the prize Javanese Gamelan. During his long prominent scholars in ethnomusicol- by the Koizumi Fumio Memorial Foun- tenure at the University of Michigan, he ogy as well as current graduate stu- dation for Ethnomusicology for his work also taught four NEH Summer Seminars dents. At first, this photo collection was on Japanese music. In the fall of 2001, on Japanese music. simply his personal archive. As the he delivered the Charles Seeger Lecture His monograph, Japanese Music and years went by and the Society grew, it at the annual SEM meeting in Detroit, Musical Instruments, published in 1959 became apparent that his pictures had Michigan. before he received his PhD, is the first historic value. In 1999, he donated the Malm is the author of more than scholarly and comprehensive survey of complete collection to SEM where it seventy published articles, five single- the subject in English. His book, became the William P. Malm Photogra- author books, and three joint-author Nagauta: the Heart of Kabuki Music, phy Collection. books. He has contributed many book received the 1959 Monograph Prize of In 1990, he undertook the job as reviews and record reviews to various the American Academy of Arts and scriptwriter, consultant, and narrator journals and has been a participant on Sciences and is one of the first detailed for a series of video tapes produced by innumerable panels at conferences English-language studies of a particular the Early Music Television Series, Uni- around the world. As one of the earliest genre of Japanese music. versity of Oklahoma. These videos members of the Society for Ethnomusi- He became a member of SEM imme- include musics that have been his focus cology, William Malm has also remained diately after its founding, and served as throughout his career. They include: one of its most active members.

Encomium for William P. Malm By three of his former students, Judith Becker (University of Michigan at Ann Arbor), Kay Kaufman Shelemay (Harvard University), and Mark Slobin (Wesleyan University)

Judith Becker: Kay Kaufman Shelemay: Mark Slobin: As three of his former stu- Bill was a conscientious mentor who Bill Malm made a point of sup- dents, we wish to speak briefly never tried to dictate a particular course porting SEM. When I was a grad about what his mentoring has of study. No doubt he would have student, the society was tiny; there meant to us. Perhaps first and preferred to pack all of us off to Japan, were no parallel sessions at the foremost, Bill insisted upon good but as our paths took us in very different conventions, and the program was writing. His own books are mod- directions, he whole-heartedly sup- on a single flyer. Bill documented els of clarity of style, and he ported our choices of Java, Afghanistan, it all with his ever-present camera, persistently stressed the impor- and Ethiopia. Bill’s own musical back- but he also spent long hours keep- tance of writing style. Although ground and interests were so eclectic ing track of SEM business and he didn’t articulate aesthetic pre- and broad that I think he could never storing the records. From him, I sentation as much as he did writ- have dreamed of even trying to herd us learned the importance of a learned ing style, his own ground-break- into the same corral. Yet, Bill gave us society as a clubhouse, soapbox, ing book, Japanese Music, also the basics, beyond a concern with clar- and symposium, as well as a photo set another example for us. Schol- ity and style. He taught us the ethnomu- opportunity. And helping me to arly writing needs to be not only sicological equivalents of the three learn how to perform the twenty- clear and coherent, but also beau- “R’s”—what I like to call the three minute paper is a heritage I am tifully produced. As one of the “E’s”—(1) to privilege the emic per- glad to pass on to my students. first major works in ethnomusi- spective; (2) to pay close attention to Thanks, Bill. cology, Japanese Music, with its ethnographic method, and (3) to never, many photos, line-drawings and ever, set aside ethical concerns. In sum, musical notations, as well as the Bill was a supportive mentor, making special expansiveness of the text, enough cheese sandwiches to sustain remains a model we all strive to us through long dissertation consulta- emulate. tions and teaching us how to roll with the punches delivered by a career in ethnomusicology—and by life. 14 SEM Newsletter SEM Honorary Member Rulan Chao Pian By Joseph S.C. Lam, University of Michigan at Ann Arbor A much respected and dearly be- loved scholar and mentor, Professor Rulan Chao Pian has shaped many academic careers and lives in America and China. Her seminal publications, public lectures, and personal guidance have expanded the intellectual scope of Chinese music studies, while her mentorship has nurtured many generations of students inside and outside Harvard University, where she taught from 1947 through 1992. Professor Pian has received many awards, fellowships, and honors, ranging from the presti- gious Otto Kinkeldey Award (1968) for her Sonq Dynasty Musical Sources and Their Interpretation (1967; 2003 reprint) to her illustrious appointment as a fellow in the Academica Sinica in Taiwan in 1994. What distinguishes Professor Pian’s scholarship and mentorship is, however, a personal touch that appears simple and immediate, but is in fact sophisticated and far-reaching. It is a touch that I only began to understand years after I had greatly benefited from it. Professor Pian always treats her students with love and guidance, helping them to develop intellectual interests and skills that they themselves might not even recognize in the begin- Photo courtesy of Bell Yung ning of the process. This is something I experienced myself. with distinguished and learned guests, with parties of coffees, teas, chocolate I first met Professor Pian in the early and with Bell Yung who was then an cakes, and, above all, debates about spring of 1975, when she came to the ABD. Before I knew it, I was one of the what we had video-taped. After a Chinese University of Hong Kong as a dialogists. My undergraduate standing number of those trips and parties, Pro- visiting professor and the invited speaker was never an issue; to help me grasp the fessor Pian became Mrs Pian. She was for a series of public lectures on Chi- issues, Professor Pian sent me to the no longer the professor from Harvard nese music. Despite her busy schedule, relevant references in her library. but my mentor for life, a privilege that she took time to meet with music under- Reminiscing that formative spring of I share with a number of her formal and graduates of the university and even my career and life, I have now realized informal students. invited them to her soirées. There she that what Professor Pian did was to Mrs Pian’s nurturing of the scholarly not only served them delicious food create an intellectual household where young goes way beyond professorial and beverages, but also stimulated their the young learns music scholarship the duties. I once asked her why she had young minds with current theories of way they learn to speak. And that always helped her students and young Chinese music, ethnomusicology, and household was not restricted by physi- colleagues to such a great extent. She anthropology. As a senior, I attended cal walls, because Professor Pian brought answered simply and wisely: she helped many of those intellectual and gastro- her young students to the field—on because she cared for the field of Chi- nomic parties. In the beginning, I was quite a few trips, I was given the honor nese music and ethnomusicology, and most attracted by the novelty of an of carrying a bulky video-recording recognized that its future depended on American professor from Harvard; then machine on my shoulders, a role that the success of the next generations. I became fascinated by the intellectual gave me a chance to learn to do field- From those she had nurtured, she only dialogues that Professor Pian conducted work in situ. Those trips always ended hoped that they would further develop SEM Newsletter 15 the field and take care of those who evidence, coherent methodology, and Chinese narrative music in their concise would come after them. Generous and critical interpretation. This is why even and musical discussions of the genres. long-term nurturing of the young, Mrs as recent publications on Chinese mu- Mrs Pian has contributed greatly to Pian explained, is what sustains schol- sic present new data and insights, they the study of Chinese music and ethno- arship and intellectual comradeship. cannot replace what Mrs Pian’s seminal musicology in America and China. That In the last two decades, Chinese publications provide. Her Sonq Dy- is, however, only one among her many music studies have developed signifi- nasty Musical Sources and Their Inter- achievements. For decades, she was cantly in America, Mainland China, Hong pretation remains a classic, for example, also an influential teacher of Chinese Kong, and Taiwan. It is a development, because its careful and judicious tran- language—quite a few of the leading I firmly believe, that Mrs Pian has facili- scription of ancient Chinese notated American sinologists learned to speak tated in many direct and indirect ways. music and technical discussion of his- Chinese from her. For decades, she was Since the mid 1970s, she regularly vis- torical modes poignantly pinpoint what the driving force behind Chinoperl, a ited and lectured in Mainland China, is verifiable and non-verifiable about scholarly organization for the study of introducing many new ideas and meth- Song Dynasty (960-1279) music. Given Chinese oral and performing literature. odologies to a large group of Chinese the need for 21st century and global And for decades, she organized and music scholars who had been cut off scholars to critically engage with a wave edited the musical oeuvre of her father, from international scholarship in the of “reconstructed” historical Chinese Chao Yuan-ren, an intellectual and previous two decades. And from the music, Mrs Pian’s emphasis on the proper musical giant of early 20th century China. mid 1970s to the late 1990s, Mrs Pian handling of source material, historical Mrs Pian is a filial daughter, as well as a visited Hong Kong and Taiwan many or ethnographic, is more relevant than motherly mentor to her intellectual chil- times, intermittently serving as a consult- ever. And given the need to understand dren, and a devoted wife to Professor ant, speaker, and visiting professor, and music as sonic expressions, her teach- Theodore Pian, Professor Emeritus of continuously promoting the studies of ing and publications on music analysis Aeronautics at MIT. It is most appropri- Chinese music and ethnomusicology. and transcription provide indispens- ate that the Society for Ethnomusicol- Anyone who attended her presenta- able keys to open doors to the complex ogy honors Mrs Pian as an Honorary tions or read her publications would world of diverse Chinese musics. Even Member. Her grand achievements, learn not only the subject matters being today, few scholarly publications, in which will continue to inspire the next discussed but also the rigorous han- Chinese or in Western languages, can generations of ethnomusicologists, are dling of historical and ethnographic surpass her works on Peking opera and reasons why we celebrate our field.

R-L: Mrs Pian, Bell Yung, Ted Pian, and Canta Pian celebrating Ted’s birthday in January 2005 (Photo courtesy of Bell Yung) 16 SEM Newsletter SEM Honorary Member

well, is history, as McCulloh quickly is a direct outcome of McCulloh’s vision Judith McCulloh moved through press ranks, becoming and limitless energy as an editor in By Kay Kaufman Shelemay, Harvard Associate Editor (1977), Senior Editor service of American music and culture. University (1982), Executive Editor (1985), and We must also acknowledge Judy Assistant Director, Executive Editor, and McCulloh’s formidable contributions as I cannot think of an individual more Director of Development (1997). a scholar who has published widely on deserving of an honorary membership Today in her capacity as Assistant folk music and the many transforma- in SEM than Judith McCulloh. Judith Director and Executive Editor of the tions wrought by new technologies. (most commonly known as Judy other University of Illinois Press, Judy Highlights of Judy’s scholarly contribu- than for, in her words, “legal stuff” or McCulloh can look back at many tions include the article “Writing for the “stage name” [Judith McCulloh, private achievements, including the creation of World,” (Journal of American Folklore correspondence, 4 November 2005]) new series over the years in Folklore 1988), as well as editing Stars of Country has made a major contribution to ethno- and Society, American Composers, and Music: Uncle Dave Macon to Johnny musicology, SEM, and the broader world Women Composers. Rodriguez (with Bill Malone, 1975), of American folklife as an editor, a Judy also oversaw acquisition and Ethnic Recordings in America: A Ne- scholar, and arts advocate. development of books in Music, Folk- glected Heritage (1982), and numerous A 1956 graduate of Ohio Wesleyan lore, Appalachian Studies, and Judaica other items. Judy McCulloh has pro- University with high honors in English, and Holocaust Studies. All told, through vided annotations and musical tran- McCulloh received her MA (1957) at the her work as General Editor of the Press’s scriptions of cowboy, hillbilly, Anglo Ohio State University in English and a on-going series “Music in American Life,” and African-American songs, and fiddle PhD from Indiana University (1970) in she has overseen the publication of tunes for publications such as Only a Folklore. In 1972, Judy McCulloh joined nearly 130 volumes. This extraordinary Miner: Studies in Recorded Coal-Min- the University of Illinois Press as an compendium moves across boundaries ing Songs by Archie Green (1972) and Assistant Editor, working on acquisi- of musical genres and communities to The Hell-Bound Train: A Cowboy tions, copy editing and layout of music incorporate the broadest spectrum of Songbook by Glenn Ohrlin (1973). She manuscripts. The rest, as we all know American musical traditions. The series has also edited LPs, including Green

R-L: Judy McCulloh receiving her award from Kay Kaufman Shelemay during the membership meeting at the SEM 2005 conference in Atlanta, presided by SEM President, Timothy Rice (Photo by Alan Burdette) SEM Newsletter 17

lition was created to pull the AFC back from the brink of dissolution and the world of American folk music and culture was saved from losing its national home. During the recent years, Judy has continued to help guide the AFC through a transition into a new, expanded role of leadership in American folklife. I think it is typical of Judy’s modesty and sense of humor that she embraced the fact that she is still gratefully spoken of as “the mouse who roared” by many at the American Folklife Center who remember those dark days. Indeed, Judy says that the “roaring-mouse gig” doesn’t offend her in the least, and adds: “Amish Mennonite types may seem awfully quiet. When the occasion warrants, as happened with the Center, we can call upon deep reserves of energy.” Every- one who values the American Folklife Center owes Judy McCulloh their grati- tude. It is the rare individual who can be SEM 2005 Program Committee Co-Chairs capture administrator: Judy McCulloh and Bruno Nettl, with the Director of the University of Illinois School of Music, Karl credited with rescuing not just one, but Kramer, at the University of Illinois reception in Atlanta, November 18, 2005 (Photo two, major cultural organizations. Fur- by Rob Bird) thermore, Judy McCulloh has mentored many authors beyond those of the hun- Fields of Illinois (1963), which included terms on the councils of the American dreds of books issues by the University field recordings from the central south- Musicological Society and the Society of Illinois Press; I have heard it said by ern parts of the state that she has long for Ethnomusicology. many that they treasured even Judy called home. But it is Judy McCulloh’s unique McCulloh’s letters of rejection, so full Judy McCulloh has given generously contribution to yet another domain, were they of cogent feedback and use- of her wisdom and administrative skills beyond her worthy activities in SEM ful advice. to the Society for Ethnomusicology, and her lifelong work as a folklorist, Judith McCulloh’s contributions merit which she served as Treasurer from editor, and administrator that must be our deepest respect and a full measure 1982-1986. If we are today a solvent highlighted as well. Judy McCulloh has of public recognition. Here SEM adds society with a measure of financial been a great leader of the American to the list of other major honors Judy security, it is first and foremost Judy Folklife Center at the Library of Con- McCulloh has received, including the McCulloh that we ought to thank. All gress, a commitment to which she has first round of the University of Illinois’ who served on the Board during the given untold hours of service and cre- Chancellor’s Academic Professional constraints of the 1980s remember how ative advocacy as a congressional ap- Excellence Award (1989); the Ohio Judy pulled us back from the brink of pointee to that board between 1986 and Wesleyan Distinguished Achievement insolvency, banishing our deficit with 2004. Citation (1993); the Society for Ameri- aplomb. Beyond her work as a member and can Music Distinguished Service Award While we first and foremost cel- frequent chair of the AFC Board of (2001); the International Bluegrass Mu- ebrate Judy McCulloh’s contribution to Trustees, Judy McCulloh played the sic Association Distinguished Achieve- SEM, we must also celebrate the fact leading role in saving the American ment Award (2002); and the Interna- that she has made us so proud in other Folklife Center from dissolution during tional Country Music Conference Life- contexts as well. Judy McCulloh has led an ill-conceived attempt to collapse the time Achievement Award (2003). the American Folklore Society as Presi- Center in the late 1990s. Judy McCulloh As we name Judy McCulloh an hon- dent (1986-1987) and also served as brought the efforts to dismantle the AFC orary member of SEM, we cannot help First Vice-President of the Sonneck So- to the attention of the Library of Con- but acknowledge that she has once ciety for American Music (1989-1993). gress leadership, to members of the US again stepped forward to co-chair the She has continued to advance American Congress, to colleagues all over the program committee on the occasion of musical interests as a representative to country, and to the public at large. It is our fiftieth anniversary meeting. Judith the American Musicology Society’s Com- not an exaggeration to say that in large McCulloh is truly an honorary member mittee on Publication of American Mu- part through the vigilance, courage, whose selection serves to honor the sic (since 1989) and has served endless and devotion of Judy McCulloh, a coa- award itself. 18 SEM Newsletter SEM Honorary Member

Nazir Jairazbhoy education. After teaching at SOAS and bestseller. However, with its original Windsor, Ontario, he moved to UCLA in perspective on Sanskrit, Hindi, and Per- Nazir the Scholar 1975, where he continues to teach occa- sian treatises and modern practice, it By Peter Manuel, Graduate Center, sionally, and where Gordon Thompson constituted a brilliant exegesis of the City University of New York and I, among others, had the good musical and aesthetic logic underlying fortune to be his devoted disciples, or the evolution of Hindustani rags and Nazir Jairazbhoy has made a unique shagirds, Gordon having studied with the intricacies of their modern structure. and extraordinary contribution to the him earlier in Windsor. Many of its insights could easily be field of ethnomusicology, which he has Nazir’s magnum opus—although extended to other modal traditions, and enriched over the last forty years through perhaps collectively outweighed by his I must confess that since reading it I his scholarly productions, his idealism, subsequent output—is his book The have tended to view many other musi- his humor, and his teaching. Raised in Rags of North Indian Music, which con- cal styles through tetrachordal-symme- Bombay, and receiving his higher edu- stitutes a kind of landmark in Indian try-tinted glasses. cation at London’s School of Oriental music studies and in our field as a Nazir went on to research a variety and African Studies, Nazir entered the whole. A difficult, technical work, with of other topics. He “discovered” and field with an intimate knowledge of no mention of the popular themes of documented the richness of western India, a performer’s familiarity with identity, gender, hegemony and sub- Rajasthani music several years before it Hindustani music, and a solid Western version, it was never destined to be a became internationally known. His

Nazir Ali Jairazbhoy listens to the SEM award ceremony, November 19, 2005 (Photo by Amy Catlin-Jairazbhoy) SEM Newsletter 19 article “The Objective and Subjective in the Melograph, one fruit of this was the Perhaps Nazir’s own experiences as Musical Transcription” clarified with loop-repeating device known in some a student shaped the teacher he be- unprecedented insight some of the chal- circles as the Nazagraph, which was came. In their moments of despair, he lenges of transcription and the limits later rendered obsolete by more mod- has reminded his students of the time inhering to mechanical techniques, and ern transcription devices. Jane when, as a destitute young student at yet at UCLA he strove energetically to Sugarman, who like myself, worked as the University of Washington, he slipped invent a successor to the fabled Seeger his research assistant, will also recall the and fell in the snow. Shaking off the Melograph. His article on “Nominal system of elaborate, oversized punch indignity and slush, he probably felt as Units of Time” (or NUTs, also known as cards, for storing data on Rajasthani though he had hit bottom; however, “Nazir’s Units of Time”), predated by modes—another device of the pre-digi- pushing himself up, he discovered some several years other attempts to analyze tal era. change in his hand—enough to buy a the micro-rhythmic nuances that Charles Some readers will remember his can of beans. Indeed, Richard Waterman Keil would later call participatory dis- articles on equipment and technologi- soon discovered that Nazir played sitar crepancies, and the article still provides cal developments in the newsletter in and drafted him to lecture to his classes. what I regard as the best way of repre- the early 1980s. Nazir was often frus- Nazir has never looked back. senting those measurements. trated by the time-lag involved in the Nazir had studied sitar as a boy in When necessary, he did not hesitate printing of his articles, such that the Bombay and then began to take a deep to step on other peoples’ toes, whether fresh products he reported on were interest in studying Indian music. His through daring to debunk the myth of sometimes old hat by the time the brother convinced him to seek out the the twenty-two shrutis, or through try- article was printed. He gave vent to his Sanskrit scholar Arnold Bake at the ing to set up an ethnomusicology archive frustration in one article (of May 1983) School of Oriental and African Studies in India that would be run in a scrupu- in which he attempted to out-maneuver in London. Bake took the young lous fashion rather than as a gravy train the system by describing, in past tense, Jairazbhoy under his wing and mentored for local apparatchiks. The fruit of that the appearance of various futuristic him through the academic process, cul- latter effort, of course, was the Archives gadgets, such as gamma-ray feelers at- minating with an appointment as lec- and Research Centre for Ethnomusicol- tached to the sound source. I must turer in 1962. Nevertheless, Nazir re- ogy (ARCE) of the American Institute of confess that when I read that article I mained an unusual scholar, arranging Indian Studies (AIIS) in Delhi and now didn’t know what to make of it and for lectures and concerts at SOAS by Gurgaon, which is a model institution decided to put it down and look at it Ravi Shankar and Ali Akbar Khan and that came into being primarily through again some other time. Others were taking the occasional extracurricular Nazir’s vision, idealism, and herculean quicker on the draw and recognized it work in Britain’s film and music indus- energies. for the hilarious spoof it was (as the try. His BBC series based on his 1963 Once ARCE was established, those saying goes, he who laughs last thinks travels through India was a vehicle for same indefatigable energies led Nazir, the slowest). him to teach a wide audience in a way generally accompanied by Amy Catlin, that was both illuminating and para- to conduct almost annual research trips Nazir the Teacher digm-shifting. throughout India and Pakistan—trips Always the teacher-provocateur, he which have continued since his formal By Gordon Thompson, Skidmore College repeatedly sought to challenge his stu- retirement from UCLA in 1994. As a Nazir has perennially challenged us dents and colleagues, whether by com- student I read his fascinating diaries of with music and ideas to follow him posing contrapuntal interpretations of some of these trips, which often seem to along an iconoclastic educational path ragas or by authoring satirical send-ups have been a series of disasters and and has never been one to let the simple of our discipline. In all of this, he has ordeals. Nazir became for me a true role immensity of a problem stand in his been passionate. As the President of model, as I swore never to go to way. For example, in 1974 he took SEM between 1975 and 1977, he chal- Rajasthan in June, when it is 115 in the thirteen undergraduates from the Uni- lenged us to consider the ethics of our shade, and there is no shade anyway, versity of Windsor to India because he scholarship and the relationship be- the last tree having been cut down wanted them to better understand In- tween Euro-American ethnomusicology several years ago, I believe. And yet he dian music and culture. How many and the rest of the world. His Seeger persisted, tramping up and down west- undergraduates can say that they sat Lecture to the society similarly defied ern and southern India, and producing late at night in a mountain valley in the conventions of the format and stands a fascinating series of videos and other Western India with the monsoon rain out from all the other honorable pre- works. Some of these, along with his beating on a corrugated steel roof and sentations in that he refused to give the whimsical book Hi-Tech Shiva, reflect a kerosene lamp casting a protective presentation a title. The lecture was what I regard as a thoroughly postmod- orb around them while they savored a published as “From the Inside-Out[er]: ern sense of humor, which is as enter- glass of scotch? Could they also say that Issues in Ethnomusicology” in the Pa- taining as it is intellectually stimulating. on the next day more than a hundred cific Review of Ethnomusicology 8- Despite his aversion to email (or is it tribes people danced and sang to the 1(1996/7):67-83, with accompanying just to corresponding with me?), Nazir accompaniment of drums and oboes, CD. And, of course, he introduced us to has also always been a “techie,” per- while they recorded and photographed the notion of the ‘nonference.” In short, petually pushing the boundaries of what them, talking with them afterwards about in a society of “unconventionals,” Nazir was possible within the technologies of the meanings of the songs? If this was has been the gold standard. the time. Aside from his efforts to revive fieldwork, I wanted fieldwork for life. 20 SEM Newsletter 2004 President’s Roundtable

Diverse Voices Thinking Outside the Box Who are the major exponents of By Jacqueline Cogdell DjeDje, diversity? Who is actively engaged in By Timothy Rice, SEM President University of California at Los Angeles diversity issues? If you look at this panel, one could say that it is primarily At the 2004 annual meeting, a wide- When Tim Rice, our SEM president, people of color. But if diversity is spread concern—coming from the Board invited me to participate in the 2004 supposed to be good for everyone in of Directors, the Council, and the Cross- President’s Roundtable, I did some- the academy and SEM, who is missing? roads Project on Diversity, Difference, thing I do not normally do. I immedi- In an article that appeared in Harvard and Underrepresentation, an SEM stand- ately said yes for several reasons: Magazine in Spring 2002, entitled “Fac- ing committee—for how SEM was do- (1) Probably because I am a person of ulty Diversity: Too Little for Too Long,” ing in terms of diversity converged in a the authors cite statistics which indicate plenary session with the title, “Diverse color in the academy, the topic, “Di- verse Voices,” is one that I deal with on that “91 percent of full professors at Voices.” Kyra Gaunt, chair of the Cross- research universities are white; 75 per- roads Project, and I chaired the a regular basis in my research, my teaching, or simply existing and inter- cent are male. 87 percent of full-time President’s Roundtable. Upwards of faculty members in the US are white; 64 250 people attended, and for many it acting with people in my work place at UCLA. percent are male. Only 5 percent of full proved a galvanizing and inspiring ses- professors in the US are black, His- sion. Questions that concerned us (2) I wanted to figure out why diversity panic, or Native American” (Trower and include: Is SEM too “white”? Is SEM too continues to be a major topic of discus- Chait 2002). “US-centric” in its assumptions and how sion. In other words, why is a scholarly While it is good to organize such a it conceives the discipline? What can organization such as SEM (whose mem- panel (and I applaud the organizers for SEM do, as an institution, to make itself bers espouse in principle openness to doing so), I think the composition of the more welcoming to diverse points of other cultures and other voices) still panel is patronizing for several reasons: view? What can SEM members do (and grappling with this issue. In theory, we what have they been doing) to develop should be ahead of the game. (1) In most cases, people of color do not hold the power to make decisions on a diverse pool of applicants for gradu- When I reviewed Tim’s questions in issues of importance in the academy or ate and undergraduate study and for preparation for this talk, I divided them organizations such as SEM whose mem- positions in and outside the academy? into two parts. On the one hand, he bers come from the academy. As Jeff What can be done in our home institu- wanted us to review the state of diverse Hitchcock states in the book Lifting the tions to develop hiring philosophies voices in SEM in terms of (1) intellectual White Veil, whites must recognize and and organizational cultures that seek discourse (at meetings and in our jour- accept that the US is a racially structured “diverse voices”? What is being done to nal) and (2) membership. On the other society; it is not a “colorblind” society. develop and encourage local scholars hand, he wanted us to take action (by White Americans, especially white males, and scholarship and make their achieve- suggesting ways in which SEM can must be part of the move toward a ments known to the membership of become more open to diverse voices). multiracial society. Whites must de- SEM? How do issues of representation His second set of questions, “ac- velop an awareness of what it means to impact our work as scholars and as a tion,” implied that he already knew the be white privileged or to be white in a Society? answer to the first set. Yet, it really racially structured society (Hitchcock The problems might be framed gen- depends on the side of the table that 2002). erally in terms of (1) the structures and you’re sitting on. For me (or on my side functioning of SEM; (2) the institutions of the table), I strongly believe diverse (2) When only people of color are in which we are trained and in which voices are lacking in SEM, and improve- asked to share their experiences or we work, and (3) the societies in which ments need to be made. Yet, I believe explain their position on diversity, it we work and the local scholars with a lot of people are sitting on the other reinforces white privilege. In an article whom we collaborate. Approaches to side of the table. Either they believe that appeared in the September 17, the problems might be framed in terms diversity is not an issue, or they believe 2004 issue of the Chronicle of Higher of identifying the problems, proposing it is not their problem. Many may Education, a Latina female college ad- and developing solutions to the prob- believe it is a problem but do not know ministrator took issue with the fact that lems and identifying best practices, and what to do. With that said, perhaps this she was asked (on the spot in a presen- enacting solutions to the problems. is the reason little progress has been tation) by the person who invited her to I am pleased that seven of the pre- made in improving diversity in the So- share with the students something about senters have agreed to publish their ciety. Therefore, my remarks concern the development of her ethnic identity contributions in this issue of the news- those who, by their actions (not neces- as a Latina. Although the Latina admin- letter. I hope they lead to progress sarily their thoughts), are sitting on the istrator consented, she felt that she had toward solving the problems we iden- other side of the table. The title of my been placed in a setting where she was tify. presentation is “Thinking Outside the one of the few voices representing Box.” diversity. Furthermore, the question SEM Newsletter 21 alerted her once again to the decep- many people of color leave academe know more about African music tively benign nature of white privilege (and do not join organizations such as than African scholars it totally un- in academe. She states, “Here was one SEM) because they experience a chilly, acceptable (Euba 2001:137-138). of those cases in which members of biased, and hostile environment. In Whether you agree or disagree with minority groups are not treated the other words, what is being offered is Euba’s assessment is not the issue. What same as whites, who are seldom asked “uninviting, un-accommodating, and I am trying to emphasize is that more to bare their souls in the interest of unappealing.” people need to think outside the box in educating people from a different eth- Some of you might be saying, “What all areas of their scholarly endeavors. nic group” (Reyes 2004:B5). are we expected to do, change the way Diverse voices will not just suddenly The bottom line is that more whites we think or become entirely different appear without all of us taking some need to be actively engaged in creating people to accommodate others.” Well, responsibility. Everyone in SEM needs diverse voices because, although we to a certain extent, this is what needs to to be actively involved to make this are hesitant to admit it, whites have the happen. Let us think about something happen. power. It is the status quo even though very simple. In our courses in ethno- many of us are hoping that this will musicology, how many publications by References soon change. Having this discussion at people of color are included on the Hitchcock, Jeff. 2002. Lifting the White SEM is good, but the composition of reading list? If our students only read Veil: An Exploration of White American such panels needs to be broader. Those certain voices, they begin to think that Culture in a Multiracial Context. in positions of power need to give their these are the only people who have Roselle, NJ: Crandall, Dostie and position on diversity issues. something important to say. When Douglass Books, Inc. Recognizing the importance of in- students of colors have ideas that are put from whites, one of the panels at a different from those whom they read, “Keeping Our Faculties: Addressing the conference on diversity at the Univer- many may believe they have nothing to Recruitment and Retention of Faculty of sity of Minnesota in 2002 was entitled: contribute to the discussion. So they Color, April 21-23, 2002.” A symposium “For White Allies: How to Support Fac- say very little. When we conduct re- hosted by the University of Minnesota. ulty of Color.” Questions that the panel search in different parts of the world www.oma.umn.edu:16080/kof (Ac- dealt with included: “How can white where people from that culture or tradi- cessed October 23, 2004) people work with people of color, and tion have developed a body of litera- McKinney, E. A. 2003. Book Review. not against them? How can white ture, how often do we read or include Lifting the White Veil: An Exploration of people mentor people of color? How these publications in our list of refer- White American Culture in a Multira- can whites work to eradicate institu- ences? If we do, how seriously or fully cial Context by Jeff Hitchcock. Choice: tional racism? What can whites do are they integrated into the discussion? Current Reviews for Academic Libraries about racial and ethnic bias in hiring If such works are not included, why 40-11/12:1992, July-August. www. and recruitment policies?” not? By omitting or giving minimal liftingthewhiteveil.com/Reviews.asp Thinking outside the box means that discussion of these works, voices from (Accessed October 23, 2004) those in power need to look beyond that culture are trivialized and/or dis- Reyes, Elizabeth A. 2004. “Whose their close network of friends or groups counted. Akin Euba, one of my col- Culture Is It, Anyway?” The Chronicle of when deciding to invite people to par- leagues, used the question “Do we Higher Education, September 17, B5 ticipate in research projects, when de- need ethnomusicology in Africa?” as the veloping a panel for presentation at title of a forum that he chaired at a panel Trower, Cathy A., and Richard P. Chait. SEM, when choosing the leaders of on African music at the University of 2002. “Faculty Diversity: Too little for SEM, when deciding to hire someone in Michigan in 2001. In his discussion he too long.” Harvard Magazine 104-3:33, their departments, and when recruiting states: March-April. www.harvard-magazine. students into their departments. Giving American and European scholars com/on-line/030218.html (Accessed “lip service” to the matter only suggests hardly ever reckon with African October 23, 2004) a lack of commitment to diverse voices. scholars and seldom use their My appeal for more whites to be works as citations of authority. involved in the discussion is not meant When you look at the average Diversity in Ethnomusicology to ignore or dismiss the efforts of those literature on African music written By Mercedes M. Dujunco, Bard who have been active and sympathetic by Americans and Europeans, the College to making changes. Many of you are citations of authority are over- probably saying, “I have already been whelmingly American and Euro- For me, the issue of diversity within thinking outside the box. I have gone to pean, as if the knowledge of Afri- the discipline of ethnomusicology con- great lengths to attract diverse voices can music resides in America and cerns matters that are more than skin- and people of color at SEM and in my Europe. This is not true; the deep. It has to do mainly with the department.” So the question you may knowledge of African music re- extent to which a whole plethora of be asking is: “Why have I not been sides in Africa (just as the knowl- ideas, perspectives, and paradigms are more successful?” Information in the edge of European music resides in being heard and expressed. article that appeared in the Harvard Europe and that of American mu- Even though there was a whole Magazine also addresses this issue. sic in America) and the idea that plenary session devoted to the topic of According to authors of the article, American and European scholars “Other Ethnomusicologies” at this year’s Continued on page 22 22 SEM Newsletter

Diverse Voices Zemtzovksy, it is something that re- can peripherize music by their alterna- Continued from page 21 mains to be repeated and become a tive theoretical and analytical positions regular feature of our discipline’s flag- and values (Duckles 2004). SEM meeting, I would like to draw ship journal. The journal’s Editorial In recent years, the focus has been everyone’s attention to and emphasize Board may want to consider including a not only on the social and cultural the existence of ethnomusicologies al- translated article every other issue or aspects of music but on performance ternative to the American one, which even have a whole issue devoted to studies by native performers or those has evolved from the seeds laid by the well-chosen articles by foreign scholars who perform like natives (Pegg et al. “founding fathers” of the discipline here translated into English by those of us 2004). With historical and contempo- in the US. Oftentimes, American ethno- with a solid grasp of the necessary rary migrants in the US, it is inevitable musicologists are so engrossed with language. that several layers of musics from the fulfilling the goal of inserting the socio- Some journals in the humanities have original countries and ethnic groups co- cultural study of music in the college long adopted this practice, notably those exist. In some ways, institutions have curriculum that we tend to overlook on cultural studies and film studies such become both repositories and archives other ways of listening to, thinking as Positions: East Asia Cultures Critique of music knowledge, as well as venues about, and analyzing music and music- and Camera Obscura. Not surprisingly, for experimentation and innovation. related phenomena, and more or less these disciplines are also the ones which Music theories and analyses of the cul- automatically adopt the hegemonic are known to be on the cutting edge of tures studied are continuing to be ex- mode. research in the humanities, and we can plored much more on their own terms However, to be fair to ourselves, surmise the extent to which the infusion (Duckles 2004, Pegg et al. 2004). there is not a whole lot of material in the of various kinds of ideas from scholars Drawing from my experiences, re- English language that make known how all over the world and from various search, and scholarship, I find that di- our counterparts in other countries think disciplines, made possible by the En- versity is not only addressed from within and do ethnomusicological research. glish translations of their works, have the field but also by interactions with Although some of their ideas have made contributed to this state of affairs. Eth- colleagues and students. How have their way into our books and articles, by nomusicology can aspire to the same institutions with a European historical then they have already been mediated thing, and it is something toward which music canon brokered and accessed and filtered through our intellectual we can take steps to achieve by making musics of other cultures? One way has modes of thought. Those looking Ethnomusicology more inclusive with been by having composers negotiate through our bibliographical sources who regard to translations of foreign-lan- the entry of those sounds into the would have liked to read material first- guage articles. dominant culture’s soundscape. Ethno- hand are often unable to do so because musicology purports to provide native it is not available in English. I would cultures viewpoint or positions. While therefore like to suggest that we make Diverse Voices and Music Encounters composers and arrangers can provide it possible for these foreign language Jean Kidula, University of Georgia at one kind of doorway, scholars have sources to be more accessible to inter- also become the middlemen through Athens ested scholars here in the US who want recordings, writings, analyses and some- to peruse them. Diverse voices are inevitable in the times performances (by the scholars or There are many seminal ideas by invited practitioners) of the studied scholars out there in the non-English discipline of ethnomusicology, which is distinguished by plurality of subject peoples and their engagement with speaking world that are unknown to music. I believe the historical and many of us because we are unable to matter and personnel whether of geo- graphical location, culture and subcul- contemporary native voice is possibly read Russian, Chinese, Hungarian, or the most effective witness whose live even French, which is one of the Euro- tures, issues, or concerns. The discipline therefore embraces varied theo- performances and analyses provide in- pean languages we were supposed to expressible entry points into their world. have presumably acquired proficiency retical premises, approaches and methods rooted in scholars’ interests, biases This kind of encounter allows students in during graduate school in ethnomu- and colleagues to evaluate the practice sicology. Some of these seminal ideas or problems (Pegg et al. 2004). This type of challenge has fascinated ethno- not just through the ethnomusicologist’s are contained in articles in foreign- lens and guidance, but in light of their language journals which could be rea- musicology scholars and their public from the onset as is evidenced in the own experiences. sonably translated into English. Some My students’ meeting and interview- journals in our discipline, such as Asian variety and mutation of definitions of the discipline (Hood 1971, List 1969, ing of a Cherokee native historian and Music, have featured English transla- musician changed their perspectives tions of important articles in the past. Myers 1992, Nettl 1983). While for me, music is the primary subject matter, the more than all I had tried to do in class There is also the Journal of Music in through readings, and audio visual re- China, which is entirely devoted to field’s engagement with it interconnects with practically every other discipline. sources. My knowledge, experiences, English translations of important ar- and teaching have been enriched by ticles by Chinese scholars. But both are Such broad interests are both enriching and detrimental to the field. On the one partnerships with native musicians and periodicals that are defined by area or analysts. I have also found that collabo- region. Although the journal Ethnomu- hand, music engages with scientific, artistic, social, and other dimensions. ration with colleagues in the other music sicology has featured the translation of departments enables better acceptance a highly seminal article by Izaly On the other hand, these engagements SEM Newsletter 23 of the “other” and a recognition of how cology” Grove Music Online ed. L. Macy, members of special committees related the other sections and cultures have http://www.grovemusic.com, (Accessed to ethnic studies and centers, protests appropriated music styles, practices, and September 28, 2004) (my own experience with the Chicano repertoire. Working with specialists Studies hunger strike at UCLA in 1993), from other disciplines has expanded and artistic productions. In sum, we the pool of available resources, theo- Minorities, Diversity, and the have had to work our tails off, often ries, methods, and approaches. This Intercultural Conflict of Standards with no credit for such activities. collaboration has existed in the disci- Steven Loza, University of California Why did those of us labeled “minori- pline as a feature of the interconnected- at Los Angeles ties,” and referred to as blacks, Chicanos, ness of the musical process, produc- etc., enter ethnomusicology? We found tion, and application as a human enter- This roundtable in effect comprises that SEM was the closest thing to our prise with other fields (Pegg et al. 2004). two separate topics: one centered on research and we also found that they The consumer, whether student, minorities in the US and their experi- were willing to accept us. This does not colleague, or the general public learns ences with academe and ethnomusicol- mean we were part of the society’s to accept, negate, or stereotype certain ogy, and another related to world, or history or that we were published in its voices, categories, or materials by the international, representation in the field. journal or related journals. But we saw ethnomusicologists’ portrayal and ex- it as a place to develop a place for planation of the data in conjunction Minorities in Academe ourselves in the mainstream. Whether with his/her own experiences and prior Historically, especially during the this has happened to the extent we exposure. Teaching the music of other civil rights period of the 1960s and hoped for is part of the reason we are cultures has not only been rooted in thereafter, in the university system and meeting here today. social, anthropological, and other theo- other governmental agencies, groups in ries, but in learning the music theories the US that were officially given minor- Representation in Ethnomusicology of those cultures. Including perfor- ity status were the following: African mances as integral in the class has met Americans, Mexican Americans, Native Five issues of representation chroni- with varying degrees of success particu- Americans, Filipinos, and Puerto Ricans. cally persist: larly by music students who were baffled These appointments were related to (1) The university system is still largely to discover that a seemingly “easy” ethnic struggle, civil rights, or policies dependent on the Eurocentric canon, looking instrument needed as much and/or wars concerning US occupation, theory, and method. Although a num- practice as their primary European in- invasion, or enslavement. These “mi- ber of scholars represent alternative strument for competent mastery of skills. nority” issues would lead to the devel- points of view (e.g., “orientalism”), there For these students, integrating history, opment of affirmative action programs is still not a major diversification of the theory, and practice with live perfor- and ethnic studies centers throughout concept of “theory” (especially, it might mances by native performers proved to the university system in the US. be argued, in terms of not only race, be challenging but insightful. Further, I am a product of this, as my position ethnicity, and gender, but of class). A they found that their lived world is at UCLA was tendered to the UCLA colleague recently recommended a book multi-layered and multicultural, a field Department of Music (since then Ethno- reviewing the history of anthropology with diverse voices and perspectives. musicology) by the Chicano Studies for my history of ethnomusicology Research Center, which still technically graduate seminar. The author actually References holds the position. So from the begin- states that his anthropological perspec- ning of my teaching career, I have tive is limited to sources from the US, Duckles, Vincent and Jann Pasler. “The experienced the importance of ethnic Great Britain, and France. He proceeds Nature Of Musicology” Grove Music studies and the manner in which so to basically state that he assumes his Online ed. L. Macy, http://www. many of us were politicized from the audience is interested in an “Anglo- grovemusic.com (Accessed September “get go.” But it was the only way things American” perspective of anthropol- 28, 2004) were happening. I was the first and still ogy”! Hood, Mantle. 1971. The Ethnomusi- the only Mexican American in the area I agree with what Jackie Djedje just cologist. New York: McGraw-Hill, 2-5 of music at UCLA (and perhaps the said in her presentation: there is a List, George. 1969. “Discussion of K. P. whole UC system). Soon after being problem in the reading lists that our Wachsmann’s Paper,” Journal of the folk- hired by UCLA, I was being recruited by graduate students in ethnomusicology lore Institute 6:194-199 two other UC campuses. I feel my work are being given to study. There is a is what made me desirable to everyone, shortage of native voices in these largely Myers, Helen. 1992. Ethnomusicology: but the fact that there was only one Eurocentric readings, and one must An Introduction. New York: W.W. (me), in addition to the political, social ponder how it is for the underrepre- Norton, pp. 3-18 need for “one,” was always on my mind. sented to be reading lists devoid of Nettl, Bruno. 1983. The Study of Ethno- We have also found that through the representatives of their own cultures. musicology: Twenty-nine Issues and years, we have had double or more of Solutions that we have proposed are Concepts. Urbana: University of Illinois the work of many of our other col- not about lowering standards, but about Press, 1-11 leagues, as we have felt the obligation enhancing, diversifying, broadening, Pegg, Carol, Helen Myers, Philip V. (related to our hirings, but more so to and thus improving them. Bohlman, Martin Stokes. “Ethnomusi- our dedication to the cause) to be Continued on page 24 24 SEM Newsletter

Diverse Voices American intellectuals decades before indispensable tool in academic studies Continued from page 23 the movement became fashionable. But of cultural diversity in the US. But a many of these intellectuals are not review of the intellectual products of (2) In terms of the model proposed by known among the standard hegemonic SEM suggests that American ethnomusi- Tim Rice in a recent issue of Ethnomu- intelligentsia. Yet another example of cologists do not subscribe to a unified sicology (2003), we (minorities, etc.) resistant thought to Eurocentric aca- definition of the discipline. That is, are, at various levels, very different in demic work was Nigerian scholar and while standard textbooks define ethno- terms of the use of the words “time” composer, Fela Sowande, who cited musicology as the study of music as (concepts of “order,” progress, oral ver- many of the major differences between culture, SEM’s intellectual products re- sus written traditions, sometimes even western and African forms of philoso- veal a broad spectrum of interpretations “pace,” social behaviors, semantics and phy, culture, and art. Thus, many of us and approaches. These range from linguistic/language styles, social behav- have asked the question, “”Where are studies that focus on ethnographic docu- iors, religion, aesthetics, etc.), “place” ‘we’ in the history of ethnomusicology?” mentation and analysis of exotic musics (we often live in separate quarters of Part of the solution, obviously, is to add as sonic phenomena situated in colorful our cities), and the “cognitive”—the the names such as those cited above in locale, to those that present cultural inter- way we “know” as cultures. The up- addition to many others to the reading pretation of all musics through experi- shot of this, as I can testify from per- lists we prepare for our graduate stu- mental applications of theories borrowed sonal experience, is that it can be very dents in ethnomusicology. I have done from social sciences and humanities. difficult for us to get our work pub- this for a number of years in my gradu- What has remained relatively con- lished in the SEM journal, when that ate seminar on the history of ethnomu- sistent, however, is the ethnic profile of work doesn’t correspond to hegemonic sicology. My students—“US minorities, American ethnomusicologists and their ways of knowing. foreigners, mainstream, majorities” and choice of musical subject matter. That (3) Academic faculty and research per- others not fitting into these ludicrous is, most American ethnomusicologists sonnel are still dominated by academic categories of humanity—have reacted are scholars of European ancestry who “majorities,” especially in light of the very positively to my expanded lists. I study musics of cultures other than their continued abolishment of affirmative have found that solutions such as these own—musics of the non-European cul- action programs. dissipate fear; I feel that we must also tures. This reality has reinforced a (4) Curriculum. As one of my col- make bold changes in the intellectual/ general perception of ethnomusicology leagues on this panel, Lester Monts, told cultural standards of the SEM journal. as the study of folk and exotic musics. me quite a few years ago, most music Perhaps developing a national/interna- It has also informed the theoretical schools are still following the “five coun- tional circulating list of sources would interests and preoccupations of Ameri- try, one continent (Europe)” plan of help. can ethnomusicology. teaching. The UCLA College of Letters To conclude, natives and non-na- In this forum, I would like to urge and Sciences is the only UC entity still tives must work more together toward the SEM membership to explore the resisting a diversity course requirement. bold enhancements, expansion of stan- implications of American ethno- dards, and ways of thinking, knowing, musicology’s predominantly outsider (5) The “Theory” Problem. I have often, and relearning. We should be cautious perspective and to reconsider the role along with others, referred to this issue in not “overdeveloping” the theoretical of native ethnomusicologists and the as the “theoretical fetish.” Many mi- fetish and the materialist metaphor of status of local musicologists within the norities strongly feel that an intellectual the intellectual. Many of the problems organization. hegemony has dominated scholastic in so-called postcolonialist thought culture and we have felt constant pres- process resemble colonialist thought, sure to conform to this form of “intellec- especially if we become overly com- Ethnic Diversity and SEM tual capitalism.” If you don’t use the petitive. This whole discussion is based SEM is not as diverse as the cultures, fashionable, current body of “theory” on moral issues, and moral issues have societies, and individuals its members (most of it, by the way, borrowed from much to do with our intellectual and study. This is partly because SEM is an other areas of the social sciences and artistic obligations and goals. Having American organization with an interna- humanities), you don’t fit in and are this roundtable is a moral issue, and a tional reach and a membership that has criticized for it—and this has happened noble attempt to make some moral so far been dominated by scholars of in writing as in the form of “blind” progress. European ancestry. As a result, SEM’s evaluations of submitted articles. How intellectual products, for the most part, do we fight this machine of “Do it our reflect an ethnic outsider’s perspective way or no way?” Some of us have Regarding Native Ethnomusicology of world’s musics and cultures. But it is fought it and have paid a price for it. clear that in order for ethnomusicology Niloofar Mina, New Jersey City We should also be able to admit that to be considered a reliable academic University the same tools do not fit every culture. discipline in America, it needs to vali- Cuban scholar Antonio Benitez Rojo, In November 2005, the Society for date and encourage the ethnic insider’s for example, has expressed his position Ethnomusicology celebrated the 50th perspective as well. that postmodernist theories do not fit anniversary of its founding. During Clearly, SEM is best served when a Latin American cultures, and that theo- these years SEM has successfully estab- majority of its scholars have fluent and ries similar to, and yet more useful than lished ethnomusicology as a viable aca- personal knowledge and understand- postmodernism, were conceived by Latin demic discipline in America and an ing of the cultures they study. It is also SEM Newsletter 25 better served when its members have (3) Affirmative action. With the intro- pate in the discussion. We need to greater awareness of the theoretical, duction of a few structural changes, remember that our closest neighbor, social, and political concerns of native SEM can increase the presence and Canada, guarantees these rights in their ethnomusicologists and local musicolo- active participation of non-American state constitution, as do other countries. gists. The active participation of native ethnomusicologists in American aca- We need to support colleagues who scholars in SEM’s activities will not only demic and cultural institutions. These live in jurisdictions in the US or other enrich our understanding of the cul- changes may include: (a) establishing countries where being LGBT is illegal tures they represent, it may also lead to scholarships for foreign students, (b) and dangerous, and threatens their live- a revision of American ethnomusic- translating its cultural products into their lihoods. ology’s attitudes, preoccupations, and native languages, (c) nominating non- findings. American scholars to serve on the SEM Mentoring To that end, I believe SEM needs to board, and (d) inviting ethnic insiders I was asked to speak here as a direct encourage and facilitate greater partici- to serve as panel discussants and as result of early mentoring by two of our pation of the following groups of native key-note speakers. senior faculty. I originally went to the scholars in its activities: (1) native insid- (4) Ethical issues. SEM must encourage University of Maryland as a student to ers and Americans of non-European public debates about the legacies of study traditional music of South America ancestry who study and teach their own colonialism left in our field’s approach with Dr Carolina Robertson. Both she culture’s musics in American universi- to non-European musical cultures. To and Dr Marcia Herndon encouraged me ties, and (2) native scholars with no that end I propose regular sessions at to do research on the music that I had formal ties to American universities. SEM meetings in which native scholars been immersed in, that is, an under- and musicians may openly and critically ground lesbian music network in which Recommendations discuss their observations of their en- I was a sound engineer. I had no idea In order to generate a more bal- counters with Western scholars. that what I valued in my life would be anced crop of intellectual products that valued by the academy. They encour- represent the results of ethnic insiders’ aged my work and helped me present as well as of the outsiders’ perspectives, Perspectives from the Gender and papers at various conferences. Their I would like to propose the following. Sexualities Section encouragement to do scholarly work (1) SEM Sections and Special Interest By Boden Sandstrom, University of on music and gender and sexuality Groups. SEM needs to encourage the Maryland at College Park identities led to my co-producing the creation and use of special interest documentary, Radical Harmonies, groups, sections, committees, and soci- I want to speak to you concerning which led to my being awarded the eties within our organization. These the following three areas: advocacy, AMS Philip Brett Award for outstanding interest groups will serve as liaisons mentoring, and climate in our Universi- musicological research on gender and between SEM and non-American native ties and in SEM, and then give some sexuality related topics. We encourage scholars and will facilitate our exposure suggestions for solutions. LGBT colleagues to be out so that to native ethnomusicologists’ works. students have access to the best men- They will also serve to introduce SEM Advocacy tors for their work. We simultaneously and its intellectual products to the na- We are under attack, not by just anti support everyone’s right to privacy but tive scholars. same sex marriage laws but by a broader would like our colleagues to think about denial of legal rights. For example, how our students need access and sup- (2) Direct Political Action. It is time for port from our mentors and that this is a SEM to have a greater involvement in Virginia passed a new law that prohibits any legal contract between members of useful service to our students. We must national debates on political and cul- fight homophobia wherever we find it. tural topics. We can and must use the the same sex. We need SEM to be an insights generated by our discipline to advocate to help protect us in our work enrich public debates about America’s environments so that we have the same Climate in Universities and Research foreign and immigration policies. Our rights as the rest of the SEM members. We ask support for our students political presence can partly focus on For example, gay activists and support- who are working on gender and sexu- the task of protecting the rights of music ers at the University of Maryland have ality topics, not just from LGBT profes- professionals, consumers, and scholars. been trying to pass a domestic partner sors but from all faculty. Many grad It can also aim to facilitate the participa- benefits package, which has been nar- students have complained of the fol- tion of foreign scholars and musicians rowly defeated by the State legislature lowing: (1) indifference to their topics, in American ethnomusicological activi- every time it comes up. It is conceivable and (2) advice not to publish a queer ties. A SEM political action committee that, if SEM were to help, it might pass. topic as the first paper so as not to be needs to work on guidelines that will We are starting to have to make choices labeled as a “queer ethnomusicologist.” direct the way we will engage and as to our choice of employment based We applaud SEM’s encouragement of address the American elected officials on whether our partners are afforded all members to promote diversity. We as well as the way we will participate in the same rights as our colleagues. These believe that this will result in more public debates in the media. It will also denied benefits include same sex part- inclusive scholarship. It is important need to develop action plans and guide- ner hires, library privileges, etc. We that academia be more open to students lines to help cultural institutions obtain need SEM as a body and our members working on non-conventional topics visas for guest scholars and musicians. to lobby for these benefits and partici- and ones that have more interdiscipli- Continued on page 26 26 SEM Newsletter

Diverse Voices (7) What are other areas that are silent The second point I would like to Continued from page 25 or neglected? Section members feel we raise is actually a question: that is, is have much to offer and want to work SEM a local organization or an interna- nary implications. We ask that gender together with US and international col- tional organization? It is intriguing to and sexuality be taught at all universi- leagues on related topics. Salient ques- ponder the implicit meaning of the ties, not just at universities with LGBT tions to be addressed include: How do name of SEM. The founding fathers of professors. Gender and sexuality should ethnomusicologists handle working in SEM named the society the “Society for be incorporated in the regular curricu- cultures that have strong taboos against Ethnomusicology” instead of the “Ameri- lum, in courses such as fieldwork or homosexuality? How do we handle can Ethnomusicological Society,” fol- theory. Improving the climate could issues of sexual identity disclosure in lowing the examples of AAA (American improve perceptions of our colleagues relation to our consultants? How do we Anthropological Society), AFS (Ameri- who are working in these areas by write about taboo sexuality in disserta- can Folklore Society), or AMS (Ameri- making it easier to get funding, to be tions or other publications, especially can Musicological Society). To me, it published in the academic journals, and when you want to give a copy to hosts? seems there was an underlying aspira- to receive greater recognition of inter- What other ethical concerns do we tion of universalism, or perhaps an disciplinary work and new formats for have? Are there issues of safety in the ambition for SEM to be an international presentation of research. field? organization. No doubt, the subjects of our studies are global in scope, and Solutions many members of the society, as indi- How can SEM be more welcoming? Crossing SEM’s Boundaries viduals, have close professional and personal relationships with local schol- (1) The SEM Council needs more op- By Su Zheng, Wesleyan University portunities for junior colleagues to be ars and musicians from other countries. represented. Such opportunity would I would like to share my thoughts Yet in practice, as an institution, SEM make a great difference in their careers. with you on two things. One is on the more or less has remained local, specifi- This applies not just to gay, lesbian, etc. domestic front, and the other, interna- cally, American. but to people of color, women, international. First, I think the process of I think there is an ambiguity about tional scholars, and unemployed schol- improving the diversity of SEM’s mem- SEM’s identity, which perhaps can be ars. bership, specifically in relation to our viewed separately at the institutional and intellectual levels. At the institu- (2) SEM Newsletter might include less work, may begin in our undergraduate tional level, this ambiguity of SEM’s formal forums such as a regular column classroom, in our various classes on identity can be seen at the organiza- from the gender and sexualities world musics. In my experience, and tional and representational areas. I taskforce, and/or a regular column from also from my discussions with some wonder, of the 26% of foreign members other groups within SEM on topics such colleagues, the enrollment of African of the society, how many of them are as ways to improve diversity within SEM American and Hispanic/Latino/Chicano from places rather than Canada and and at places of employment. students in world music classes have been very low. It will be helpful for us Europe? At SEM meetings, global or (3) Session & section scheduling at to think about what we can do to American racial/ethnic music issues are annual meetings. Don’t schedule Edu- increase that enrollment. One question being spoken of by mostly North Ameri- cation Section and Sexualities Section we could ask of ourselves is how to can ethnomusicologists, while voices of group sessions or meetings at the same make our courses more relevant to scholars from non-US countries consti- time or at the same time as diversity racial/ethnic minority students. What tute a very small number. There is little panels. Don’t schedule queer and gen- are their particular needs in learning opportunity for Western ethnomusicolo- der panels at same time; we want to world musics? Perhaps a forum on race gists to meet non-Western scholars at hear each other’s work (please, not on and diversity in our classrooms can be SEM meetings and to hear the intellec- Sunday). organized at a future annual meeting. tual concerns and priorities of the non- (4) The Journal. There is a perception Further, as a Society, we need to Western scholars, as well as their critical that it is hard for LGBT scholars to be consider what we can do to encourage thinking on Western ethnomusicology. published in the SEM journal; some and recruit more students from under- During my recent trip to China for an ideas include issuing special issues of represented groups to become ethno- international conference on multicul- this scholarship. musicologists. Clearly, attracting and turalism and music education, while my Chinese colleagues were eager to hear (5) The Gender & Sexuality Taskforce is bringing them to the Society’s chapter how the Americans teach multicultural- now a section and it plans to offer a and annual meetings is an important ism in classrooms, it was extremely prize for scholarship on this topic. strategy. I have suggested this before, and would like to mention this again fascinating for me to hear how, among (6) SEM meetings. Organize a SEM here: the Society could consider estab- the non-US participants, American and Conference with Gender/Sexuality as lishing a fund that offers some financial Western multiculturalism has been trans- one of themes like IASPM in Montreal support to seniors and graduate stu- formed into a global multiculturalism (we would like to recommend this for dents from underrepresented groups to based on national discourse against US Hawai‘i) and make it the theme of attend annual meetings, especially if political, economic, military, and cul- regional meetings. Create a plenary they are presenting a paper. tural hegemony. session on international issues that are taboo. SEM Newsletter 27

This leads to the other ambiguity of People & Places SEM’s identity, or more precisely, the ambiguity of ethnomusicology as a uni- Paul Austerlitz’s second book, Jazz versal discipline. Having learned and Consciousness: Music, Race, and Hu- performed various Chinese music manity (Wesleyan University Press) was genres, and educated in Chinese musi- published in Fall 2005. The book looks cology and the Chinese version of West- at jazz in relation to national and racial ern musicology before coming to the identities in diverse contexts ranging US for my graduate degrees in musicol- from the US to Cuba, the Dominican ogy and ethnomusicology, and to teach Republic to Finland. Austerlitz was also ethnomusicology at Wesleyan, and while awarded a Macoll Johnson Fellowship continuing to participate in the Chinese from the Rhode Island Foundation to scholarly scene, I have seen very often support a year’s work on musical com- how Chinese scholars either feel for- position. He is collaborating with Do- eign to what has been done in the West minican musicians to record a CD fea- about Chinese music or are critical of turing his bass-clarinet and contrabass- Western ethnomusicology’s ideological clarinet in original compositions, blend- foundations and approaches. ing jazz with Afro-Dominican genres Ethnomusicology in the US as an such as pri-prí and palos, Yorùbá-Cu- academic discipline has certainly estab- ban orisa songs, and influences from lished its intellectual tradition, which Sibelius and Stravinsky. has sometimes been turned into intel- Brian Diettrich (PhD candidate in lectual boundaries and barriers that Ethnomusicology, the University of have prevented us from providing a Hawai‘i) has received a Wenner-Gren forum for local scholars from countries Dissertation Fieldwork Grant for doc- that do not share Western ethnomusi- toral research on “Transforming Colo- cological intellectual tradition, to tell us nial Encounters: Performing Arts and what they consider important and how Conceptions of Tradition in Chuuk, they talk about related intellectual is- Micronesia.” Drawing on postcolonial sues. Simply put, their words have to be theory, anthropological work on the “framed” by Western ethnomusicolo- creation of heritage, and notions of gists in order to be heard. cultural innovation in Chuuk, his work Are there ways in our annual meet- explores the ways in which Chuukese ings and our publications where we can invoke multiple layers of colonial en- provide a space for international voices? counter in their performing arts, and Are there ways that we can reach out to articulate these hybridized cultural sites encourage, and facilitate a broader view as “tradition.” The grant runs from of studying world musics, while still January 2006-January 2007. keeping the needed intellectual identity Zoe Sherinian was recently given of the Society? I’m glad we have this two awards from the University of Okla- opportunity to collectively consider homa where she is an Assistant Profes- these questions and to debate their sor of Ethnomusicology. The first was solutions. a Junior Faculty Research Fellowship to assist the writing of her book manu- script, Songs of Dalit Liberation: Tamil CDs from British Library Folk Music as Liberation Theology. The Continued from page 11 second was a Presidential Dream Course sic from its collections. This contract teaching award for her course “Music was renewed for a further five years in and the Politics of Nation from the November 2004. To date we have Middle East to South Asia.” This will brought out 12 CDs, with the three provide her funding to bring the ethno- latest: “Out of Cuba: Latin American musicological film makers, Virginia music takes Africa by storm” (TSCD927), Danielson and John Baily, to campus. “The soup which is sweet draws the Additional enhancements for the course chairs in closer: Ewe drumming from include bringing the Bharatanatyam Ghana” (TSCD924), and “Jarana’s four dancer, Aniruddha Knight, and a full aces (los cuatro ases de la jarana): Vocal ensemble of South Indian musicians, as duels from the streets of Lima” well as the Tamil Dalit Christian theolo- (TSCD926). For more information, see gian/composer, J. Theophilus Appavoo, (website) http://www.bl.uk/collections/ to perform and to give workshops and sound-archive/wtmpublications.html#topic. public lectures. Continued on page 28 28 SEM Newsletter

People & Places butions to the organization Continued from page 27 since its inception in 1989 at Tufts University. Dr Fleurant The Social Science Research Council was doubly honored in a in partnership with the American Coun- tribute and cultural recep- cil of Learned Societies is proud to tion on Friday evening at announce the recipients of the 2005 Wellesley College, where he International Dissertation Field Research taught music until his retire- Fellowship (IDRF). ment in Spring 2005. The The 55 fellows were selected from a Yanvalou Dance and Drum very competitive pool of 1,126 applica- Ensemble, which he estab- tions. The 2005 IDRF fellows conduct- lished with Wellesley gradu- ing dissertation research in the disci- ate Kera Washington (1993), pline of Ethnomusicology are: Gregory its current director, per- Robinson (University of Pennsylvania): formed traditional music and ““Where Night Finds Him, He Lives”: dances of Haiti at the tribute. Music, Regional Identity, and the Bor- Dr Fleurant was born in der Among the Gauchos of Chilean Haiti and graduated from the Patagonia,” and Eric Usner (New York École Normale Supérieure University): “The Cultural Practice of before settling in the United Western European Art Music in Vienna: States, where he earned de- An Historical and Ethnographic Study grees in church organ from of ‘Classical Music’ and the Viennese the New England Conserva- Racial Imagination.” tory of Music, sociology from The IDRF program supports full- Northeastern University, time graduate students in the humani- music composition from ties and social sciences, enrolled in Tufts University, and ethno- Dr Guerdes Fleurant (Photo by Tequila Minsky) doctoral programs in the United States, musicology (1987), also from conducting dissertation field research Tufts University and under in all areas and regions of the world. the guidance of David Locke. He taught Valley Media, 1992), filmmaker Robin Fifty fellowships of up to $20,000 will at Salem State College from 1987 to Lloyd documented a three-week spiri- be awarded annually with funds pro- 1992, then Wellesley College from 1992 tual journey of his family to the sacred vided by the Andrew W. Mellon Foun- through 2005. waterfall of Saut d’Eau. With his wife, dation. Further information about dead- The author of many essays and ar- Florienne Fleurant, he has established lines, application procedures, selection ticles, he is best known for his Dancing the Leocardie and Alexandre Kenscoff criteria and recently funded projects Spirits: Rhythms and Rituals of Haitian Cultural Center in Mirebalais, Haiti, can be found at (website) www.ssrc.org/ Vodun, the Rada Rite (Greenwood Press, which houses an elementary school for programs/idrf. 1996). Besides helping to establish the community, a teacher institute, and HSA, he was one of the founding mem- an exchange program, all under the bers of the Congress of Santa Barbara wing of the non-profit Gawou Ginou (KOSANBA), a scholarly organization Foundation, and years of loving sacri- SEM Member Guerdes devoted to the study of Haitian Vodou fice and devotion on the part of the Fleurant Honored at (Vodun). In Haitian Pilgrimage (Green Fleurants. Haitian Studies Meet- ing By Lois Wilken, La Troupe Makandal, Inc., New York The Haitian Studies Association (HSA), a multi-disciplinary organization of scholars that promotes research and disseminates information on Haiti and Haitians, honored ethnomusicologist and SEM member Dr Guerdes Fluerant at its 17th Annual Conference, which took place October 13-15, 2005, at Uni- versity of Massachusetts, Boston. At its closing banquet, Dr Fleurant received the Association’s Special Award for Ser- vice to HSA in recognition of his contri- Wellesley College students of the Yanvalou Drum and Dance Ensemble perform at the tribute to Dr Guerdes Fleurant (Photo by Tequila Minsky) SEM Newsletter 29 30 SEM Newsletter

Conferences & Work- Arrangements Chair, Dr Laurie Semmes, culture who have done extensive field Hayes School of Music, ASU Box 32096, work in ethnomusicology. shops Boone, NC 28608-2096; (tel) 828.262. “The Power of Music” is a series of 7239; (fax) 828.262.6446; (email) workshops designed to offer unique Society for Ethnomusicology [email protected]. opportunities to enjoy, study, and partici- Southeast-Caribbean Chapter pate in lesser-known traditional and (SEMSEC) Annual Meeting Society for Ethnomusicology contemporary performing arts from di- February 17-18, 2006, Appalachian Southern California Chapter verse Asian cultures. Held at Steelgrass State University (SEMSCC) 40th Annual Meeting Ranch, an eight-acre bamboo planta- The 2006 SEMSEC meeting will be tion on the beautiful island of Kauai, the March 4-5, 2006, University of workshops provide a stimulating envi- hosted by the Mariam Cannon Hayes California, San Diego School of Music, Appalachian State ronment for artistic and creative explo- The Program Committee of the ration. Bamboo horticulturalist Tony University (Boone, NC) on February 17- th 18. Presentations are especially encour- SEMSCC 40 annual meeting welcomes Lydgate, the founder of Steelgrass Ranch aged, but not limited to, the following local SEM members, students, faculty, and a member of one of the oldest topics: musics of Celtic, Appalachian, and and all others interested in the field of kamaaina families on Kauai, rounds out African/African-American cultures. ethnomusicology to attend its meeting. the workshop team by serving as host The keynote speech will be deliv- Please note that the conference date has and as instructor in bamboo horticul- ered by Dr Felicia Miyakawa (Middle been moved from its customary time in ture and instrument making. Tennessee State University) on the sub- February due to the President’s Day Daily sessions for the workshop will ject of “scratch” notation styles devel- holiday weekend. As per SEMSCC’s include participatory instruction in In- oped by hip-hop DJs. The Hayes School practice, conference themes are not donesian Gamelan Degung, Indone- of Music faculty ensembles known as stipulated in advance, but will be formed sian Dance and Martial Arts, Filipino & “Sunday’s Well” (Irish) and “High Coun- according to the proposals submitted. Indonesian vocal music, and bamboo try Klezmora” (Klezmer), and members For further information, please contact instrument construction, including the of the Steely Pan Steel Band and Middle Heidi Feldman (Chair) at (email) Kubing, a bamboo mouth harp, possi- Eastern ensembles will perform a joint [email protected]. The SEMSCC 2006 bly the most portable of all instruments, concert at noon on Saturday, February Program Committee consists of Heidi and often celebrated for its role in 18. Saturday evening activities will Feldman (Chair), Ric Alviso, Angeles courtship. Evening activities will in- include Carl Orff’s Carmina Burana, Sancho-Velázquez, and Revell Carr. clude a recital series, group perfor- performed by the Appalachian Sym- mance sessions, and music listening phony Orchestra, University Singers, Bamboo and Bronze: Power of and discussion groups. No previous Appalachian Chorale, Treble Choir, and Music Series Coming to Kauai music or dance training is required. For more information, please visit faculty soloists. Located in the heart of February 2-5, 2006, Kauai, Hawai‘i the Blue Ridge Mountains, Boone is an (website) http://www.power-of- active center for old-time country music. This coming winter, February 2 music.org or write to (email) thepowerof The Appalachian Cultural Museum is lo- through 5, 2006, “The Power of Music” [email protected] cated in close proximity to the ASU cam- workshop series is bringing world-re- pus, and the Town of Boone is approxi- nowned musicians, dancers and instru- Music of the Turkic-speaking World mately 5 miles from the closest entrance ment makers from Indonesia and the and the Phenomenon of “Master- to the scenic Blue Ridge Parkway. Philippines to teach and share their Apprentice” Oral Transmission performance skills on the Garden Is- The nearest hotel to the conference February 3-4, 2006, School of Orien- land of Kauai. site is the Broyhill Inn and Conference tal and African Studies, London Center, located within walking distance Workshop artists were chosen for and operated by Appalachian State their interest in blending the old and the The culture of the Turkic-speaking University. The conference rate is new: each possesses a deep knowledge world, stretching from South Siberia to $76.00, and will be available through and reverence for traditional forms of the shores of the Mediterranean and January 17, 2006; (tel) 800.951.6048 expression, along with a keen interest increasingly also in diasporic locations, (website) www.broyhillinn.com. Other in innovation. comprises the art and music of numer- local hotels include Marriott Fairfield Workshop participants will have the ous different ethnicities (among them Inn & Suites (tel) 800.871.7425; Holiday opportunity to interact, study and per- Yakuts, Tuvans, Hakassyans, Kirghizs, Inn Express of Boone (tel) 828.264.2451; form with artists including singer and Kazakhs, Uzbeks, Uyghurs, Turkmens, High Country Inn (tel) 800.334.5605. songwriter Joey Ayala from the Philip- Karakalpaks, Azerys, Tatars, Bash- The nearest airports are in Greensboro pines, Sundanese gamelan and kacapi kirs, and Turks). Much music within and Charlotte, NC., each of which is maestro Ismet Ruchimat, who also this vast area is based on the phenom- approximately 2 hours by car from founded the fusion group “Sam- enon of oral transmission and the par- Boone. Rental cars are available at each basunda,” and Ening Rumbini and Ati ticular setting of the master-apprentice of these airports. Boone is due west of Sumiati, performers who specialize in relationship, which provides for the Greensboro (NC Hwy. 421), and north- Sundanese modern dance and martial learning of performance skills. west of Charlotte (NC Hwy. 321). arts. They will be joined by Lei Ouyang Featuring a keynote lecture by Hiromi For additional information, please Bryant and Andrew Weintraub, musi- Lorraine Sakata (University of California contact Program Committee and Local cians and university teachers of Asian Continued on page 31 SEM Newsletter 31

Obituaries Her field research in northern Ar- elan Ministry of Culture funded scholar- gentina was supported by awards from ships and travel grants that allowed By Robert Stevenson, University of the Comisión Nasional de Cultura 1941- grantees from all over Latin America to California at Los Angeles 43, which permitted her to publish the study at Caracas. The Instituto’s faculty definitive Música traditional Argentina: was in the same period constantly en- Gerard H. Béhague (1937-2005) Tucumán, historia y folklore (Buenos riched with temporary visiting appoint- The passing of Gerard Béhague on Aires, 1946), followed by El Folklore ments of world famous authorities, es- June 13, 2005 in Austin, Texas, deprived Musical Argentino (1952) and Costum- pecially from Europe. Latin American ethnomusicology of its bres Tradicionales Argentinas (1954). In the meantime, she published pro- most magnetic proponent in the United From 1950-52, she taught ethnomu- lifically: Instrumentos de Venezuela States. As a lifetime laborer in the same sicology at the Escuela de Danzas de (1967), Música tradicional de La Rioja realm, I salute his memory and pay Argentina in the capital. After transfer- (1978), Síntesis de la etnomusicología homage to his nonpareil spouse, Cecilia, ring to Caracas, she received from 1953- en Latinoamérica (1983), Historia de la daughter of the Ecuadorian ambassador 65 research awards in ethnomusicology ethnomusicología en América Latina to France when they met each other as and folklore bestowed by the Instituto desde la época precolombina hasta students at the Sorbonne. Gerard’s Nacional de Folklore de Venezuela that nuestros días (1991) and Música de los family dwelt and continues inhabiting enabled her and her husband, Luis aborígenes de Venezuela (1991). the highest social and financial do- Felipe Ramón y Rivera (born: San The drying up of the Organization of mains. Whenever he traveled in Latin Cristóbal, Venezuela, August 23, 1913; the Americas and Venezuelan Ministry America, Gerard always consorted on died: Caracas, October 23, 1993), to of Culture funds precipitated Aretz’s equal terms with the loftiest plenipoten- traverse South American Spanish-speak- return to Buenos Aires in 1994. Com- tiaries. His pupils share in his ethnomu- ing nations, Panama, and Mexico, col- posers of the Americas (Washington D.C.; sicological glory. lecting, recording, and analyzing their Pan American Union, XVII, 1971) con- folklore heritages. tains a list of her compositions to the In 1968 the Pontificia Universidad publication date. Robert Stevenson Isabel Aretz (1909-2005) Católica Argentina gave her its first canvassed her creative output in “Isabel Born in Buenos Aires on April 13, doctorate in musicology. From its found- Aretz, composer,” Inter-American Mu- 1909. Isabel Aretz (de Ramón y Rivera) ing in 1971 to its dissolution in 1985, she sic Review, 5-2(1983):3-7. Gerard died there on June 1, 2005. A compo- directed the Instituto Interamericano de Béhague added a selective list of her sition pupil of Athos Palma from 1923- Etnomusicología de Folklore at Caracas, compositions in all media to her entry in 33, she emerged as the leading pupil of during which fifteen years the Organi- the second edition of the New Grove Carlos Vega in musicology and folklore zation of American States and Venezu- Dictionary of Music and Musicians.

between 1938 and 1944. ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Conferences & Workshops In 2006, the 29th National Confer- Historical Ethnomusicology Special Continued from page 30 ence of the MSA will be held in Armidale, Interest Group for SEM 2006 at Los Angeles), this two-day interna- at the University of New England. The The newly formed Historical Ethno- tional workshop will focus on the mas- conference draws on the unique nature musicology Special Interest Group is ter-apprentice training system and its of its co-host, the University of New seeking to sponsor panels and interface with oral transmission in mu- England, the oldest regional university roundtable discussions at the SEM 2006 sic of the Turkic-speaking world. For in Australia. The 2006 conference ex- Annual Meeting in Honolulu. Propos- more information, please contact Dr plores the role that music plays in als for individual papers and panel Razia Sultanova at SOAS, London; defining traditions and cultures at a topics focusing on any aspect of histori- (email) [email protected]. local and regional level. Highlights of cal studies in music are welcome. Pos- the conference will include pre-1600 sible topics for panels and roundtables Western music, Indigenous music, discussed at our last meeting include (1) Call for Papers South-East Asian and Pacific music, methodological approaches to research Australian music, and post-1970 music that integrate historical and ethnographic 29th National Conference of the studies (both popular and art music). perspectives; (2) questions surround- Musicological Society of Australia: Proposals for papers, lecture recit- ing the disciplinary boundaries between Music as Local Tradition and als, group sessions and/or roundtables historical and ethnographic work; (3) Regional Practice are invited. Deadline: April 28, 2006. issues related to representation in histo- For more information, visit (website) riography; (4) libraries and archives as September 27-October 1, 2006, www.msa.org.au/join.html or contact fieldwork sites in ethnomusicology. University of New England, Australia Dr Rex Eakins, School of Music, Univer- Individuals interested in contributing to Each year the Musicological Society sity of New England, Armidale, NSW panels and roundtables that deal with of Australia Inc. hosts a National Con- 2351, Australia; (tel) +61.2.6773.6446; these and other topics may contact Ann ference featuring the latest research in (email) [email protected], or Dr Lucas, Historical Ethnomusicology Spe- music and music related fields by na- Jason Stoessel; (tel) +61.2.6773.6563; cial Interest Group Organizer, at (email) tional and international researchers. (email) [email protected]. [email protected] for more information. 32 SEM Newsletter

Conferences Calendar Apr 6-9 Nov 16-19 Association for Asian Studies Society for Ethnomusicology 2006 Annual Meeting. Marriott Ho- Annual Meeting. Honolulu, Feb 15-18 tel, San Francisco, CA. For Hawai‘i. For more information, Reconfiguring, Relocating, Re- more information, see (Website) please visit (Website) http:// discovering. Conference of the http://www.aasianst.org/ ethnomusicology.org International Association for the annmtg.htm Study of Popular Music, US 2007 Aug 25-Sep 1 Branch. Murfreesboro/Nash- Mar 1-4 ICTM Study Group Music and ville, Tennessee. For more in- Joint conference of the Society Minorities meeting. Hotel formation, please contact Su- for American Music and the Horizont-Golden Sands, Varna, san Fast, Program Committee Music Library Association. Bulgaria. For more informa- Chair: (email) 2006conference@ Pittsburg, PA. For more infor- tion, visit (website) http:// iaspm-us.net mation, see (Website) http:// www.ethnomusic.ucla.edu/ www.american-music.org/. Mar 16-19 ICTM. Joint conference of the Society Mar 22-25 Oct 18-22 for American Music and the Association for Asian Studies American Folklore Society An- Center for Black Music Re- Annual Meeting. Marriott Ho- nual Meeting. Hyatt Regency search. Chicago, Illinois. For tel, Boston, MA. For more Milwaukee, Milwaukee, Wis- more information on this event, information, see (Website) consin. For more information, please visit (Website) http:// http://www.aasianst.org/ see (Website) http://afsnet.org/ www.american-music.org/. annmtg.htm Nov 2-5 Mar 31-Apr 3 Nov 1-4 American Musicological Soci- British Forum for Ethnomusi- American Musicological Soci- ety Annual Meeting. Century cology Annual Meeting. Uni- ety Annual Meeting. Hilton Plaza Hotel, Los Angeles, CA versity of Winchester, UK. For Convention Centre, Quebec (jointly with the Society for more information, see (website) City, Canada. For more infor- Music Theory). For more infor- www.bfe.org.uk or contact Dr. mation, see (Website) http:// mation, see (Website) http:// Ruth Hellier-Tinoco (email) www.ams-net.org/annual.html Ruth.Hellier-Tinoco@ www.ams-net.org/annual.html winchester.ac.uk

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 40, Number 1 January 2006