SOUND and SENSORY STUDIES Listening to Brier30 The2017timhortons in M Are We Human,Orare We 20 Scholars? We Sense(Howes 2015)

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Volume 13, Number 2 | Fall/Winter 2017 ollowing contributions needlittle Society for © Ethnomusicology introduction and will sound,show, speak,andmove on multiplefronts. contributors, canlikewise engage with Student News of text and word, andthat you, our readers and our publication andcontentbeyond thelimitations channel). Ihopethat we cancontinuetoexpand (several of which you canfindonour new links toexternally hostedaudioand video examples photographs andfigures, thelatter of which include primary printmediumbut with theincorporationof contributions embracemultiplemedia. We retain our befitting our multi-sensory theme,thepresent issue’s our publication,butcertainly toa greater degree and studies andethnomusicology. nota first While for themed format with a focus onsoundandsensory Winter 2017! This issuefeatures a return toour Dear readers, Studentwelcome toSEM News Fall/ From theEditor SEM calls for submission! latest updates and Twitter to get the following uson Facebook and by likinguson Join your peers Ethnomusicology of theSocietyfor An officialpublication The f { Buddha’s Songs:ACloseReadingofSinginginaTaiwanese 38 Monastery Sounds andSubjects:EthnomusicologyitsRelationto 18 SoundStudies STUDENTNEWS Music Studies andSound:AConversationMusic Studies withMattSakakeeny 22 More than Sound: A Sensory Studies BibliographyMore Studies for thanSound:ASensory Novices 45 YouTube The SenseofaFeast: Capturing theGeorgian Supra 41 Contemplation, Encouragement, andCelebration: Cover ofDiegoPani imagecourtesy andJordan Zalis(seepage30) SENSORY PERCEPTIONINFIELDANDPRACTICE employing thenotionof acoustemology toask how and knowable through musicking. Likewise, I am how sociocultural values andideals are sense-able knowing-with sound, hashelpedmetoexplore and being inthe world, or knowing-through and acoustemology,y own research, thestudy Ifind myself ofsonic particularlyways ofknowing studies. For starters,Steven Feld’s (2015)notionof inspired by thefieldsofsoundandsensory sense andhow ethnomusicologists fundamentally attendstowhatwe these fieldsto reveal that everything we doas even further, surpassany clear boundariesbetween field ofsensory studiesmore broadly; some, going between soundstudies,ethnomusicology, andthe each oneoftheminquires intotheintersections for themselves. To varying degrees andapproaches, SOUND AND SENSORY STUDIES Listening to Brier30 the2017TimHortons In m Are We Human,orare We 20 Scholars? we sense(Howes 2015). . ANDETHNOMUSICOLOGY Hotness Revisited 25 continued on next page . . Student VoicesStudent 6 From theEditor 1 SEM Reports 3 SEM Reports Dear SEM14 Our Staff 48 } 1 SEM{STUDENTNEWS} Vol. 13, No. 2 | Fall/Winter 2017 Society for © Ethnomusicology Potter, Caroline. 2008.“SenseofMotion, SensesofSelf:Becoming a Dancer.”Journal Ethnos: of Anthropology 73(4): 444–65. Mendoza, Zoila S.2015. “Exploring the Andean Sensory Model: Knowledge, Memory, andtheExperienceofPilgrimage.” In Howes, David, andConstanceClassen.2014.Ways of Sensing: Understanding theSenses in Society. New York: Routledge. Howes, David. 2015. “Sensation and Transmission.” InRitual, Performance and theSenses, editedby MichaelBull andJon P. ———. 2015. “Acoustemology.” InKeywords inSound, editedby David Novak andMattSakakeeny, 12–21. Durham, NC: Duke Feld, Steven. 1996.“Waterfalls ofSong: An Acoustemology ofPlaceResounding inBosavi, Papua New Guinea.” InSenses of Place, References and .imbuethoseregistrations with significance” the world” we both“register itthrough thesenses Mendoza 2015). values, cognitive processes, and ways ofknowing (see enables better understandingsoflocal practices, intrinsic relationships between them—which inturn senses thatframeperceptual experience andthe model, or sensorium—thatis,the predominant research with anunderstanding of a society’s sensory California, Davis, hasencouraged metoapproach my Mendoza, anadvisor ofmineatUniversity of sociocultural practices(Howes andClassen2014). the sensesand,inturn,how ways ofsensing inform attending tohow socialandcultural values shape pathways (Potter 2008). This understanding callsfor world, notasseparate,independentbiological directing thebody’s totalattentiontoitselfinthe interconnected network ofperceptory apparatuses and theidea thatthesensesare bestunderstoodasan have likewise beenencouraged by sensory studies ways ofknowing. Inapproaching thisintegration,I movement relationships asintegratedandembodied a conceptionofsound,movement, andsound- visual, among other) phenomena,Iamdeveloping of musicking toincludekinetic(and by extension performance spaces. and ideologicalconstructionsunderstandingsof 1996); andhow thesenses are criticaltoconceptual felt, andsoon—inthrough musicking (Feld senses are placedandplacesare sensed—heard, seen, . continued From theEditor Ritual, Performance and theSenses, editedby MichaelBull andJon P. Mitchell,137–52. New York: Bloomsbury. Mitchell, 153–66.New York: Bloomsbury. University Press. edited by Steven Feld andKeith H. Basso, 91–135. Santa Fe, NM:School of American Research Press. Furthermore, anda As Ihav David Howes (2015)observes that when we “sense e expanded my focus beyond thesounds littlecloser tohome,Zoila University of California, Davis than sound? music appropriate when musicking issomuchmore is sucha synonymous parallelbetween soundand studies affect musicstudies (and vice versa)? And, with studiesofmusicking,andhow doessound and cultures inturn?How issoundstudiesadjoined how doessensory perception shapethesesocieties by thesocietiesandcultures you engage with, and in mind:How are localsensory perceptions shaped theme, Ioffer several questionsthat you might keep approach toethnomusicology. to consider andemploy anexplicitly sensory-attuned example ofthisadaptability andencourage allofus contributions inthepresent issue will serve asan of socioculturalspacesandpractices.Ihopethatthe its adaptability inregards tothechanging dynamics sensorial approach allthemore valuable precisely for suggests guards againstreductionism. This makes a signification, or feeling andmeaning, which Howes have compoundnatures involving bothsensationand (153). Thus, the very notionsof“sense” and“sensing” Davin Rosenberg new, soundandsensory-themed issue. manners we offer. And,inclosing,pleaseenjoy this to our publicationinoneor more ofthe various present. Likewise, Iencourage you tocontribute gathering where via email,listserv, socialmedia,or thenext in-person us know your thoughtsonour enterpriseas a whole, As you peruse thisissueandcontemplateour I invite you torespond tothisissue,and/or let Student News representatives are

2 SEM{STUDENTNEWS} Vol. 13, No. 2 | Fall/Winter 2017 Society for © Ethnomusicology that shouldbeincludedinanupcomingissue,pleasecontact usat more active andengagedasanethnomusicologist. Ifyou have announcements,calls,ornew programs of activity. From conferences to publications,thiscolumnprovides updates andinformation onbecoming This columndraws attention to exciting ways you canget involved inSEMandrelated projects andsites By DavinRosenberg (University ofCalifornia, Davis) announcements, calls,initiatives SEM Reports [email protected] If you would like tocontribute your translation skillstothisinitiative, please contactthe invitation toany volunteers who would like totranslatethestatementintoother languages. their contributorshave translatedthestatement into Practice ofEthnomusicology” statement The UnionBlog Student who mightbeinterested intheposition. Please feel free torequest further information by to To apply, pleasesend your CV along with a briefstatementof your experience and interest (c. 250 words) familiar with Applicants shouldberesourceful, experienced with various onlinepublicationcatalogsanddatabases, are extended versions oftheresource liststhatappear inthenewsletter andrequire semi-regular updates. and maintaining onlineresource listsunder the and other sources related totheissue’s particular topic/theme. Additional responsibilities includecreating annotations, for eachissueofthenewsletter. The resource listsincludeprintpublicationsas well asonline The Researcher isprimarily responsible for assembling resource lists,complete with introductions and ethnomusicology or a related discipline. should bestudentscurrently registered ina graduatedegree program andconducting musicresearch in of theselectedapplicantreceiving theposition,intimefor our Spring/Summer 2018issue. Applicants term ofatleastfour issues(two years). The startdatefor theposition will ideally begin within onemonth StudentSEM News Call for Applications:Researcher, [email protected] SU blog is very pleasedtoannouncea continuationofthe Chicago Manual of Style is now accepting applications for theResearcher positiononitsstudent-ledteamfor a for more information. “Disciplinary Intervention” “Disciplinary Translation Initiative nolater than formatting guidelines. . Intheir ongoing commitmenttomulti-lingualposts,several of 8 January 2018 Student News contacting theeditor SEM Student NewsSEM Student Spanish publicationpage onSEM’s website. These . , SEM “Disciplinary Intervention for a Chinese [email protected] , and andtoshare thiscall with anyone Turkish . They are extending an continued on next page . . SU blog editorsat . 3 SEM{STUDENTNEWS} Vol. 13, No. 2 | Fall/Winter 2017 Society for © Ethnomusicology . continued SEM Reports Tuck, Eve, andK. Wayne Yang. 2012.“DecolonizationIs Not a Metaphor.” Reference: submissions tothisspecial issueof attachments to About theauthor: short listofkeywords. Abstract andkeyworks: Consult a recent issueof author-date system throughout. Endnotesare permitted. Audio and video materialsare encouraged. Formatting: Final publicationdecisionsrest with theeditor (inlightofreviewer recommendations). Peer review process: accompanied by anEnglishtranslation. generally accessible.Considering thatmost welcome articlesthat were previously publishedina language other thanEnglishor ina venue not Languages: issues isdeterminedby submissions,approvals, andtechnicalpreparation. welcomed: e.g.,education,music,philosophy, sociology, history, psychology, curriculum.Frequency of MayDay Group development articlesofinternationalinterest thatilluminate,extend, or challenge the A music production, teaching,disseminationandconsumption,research. Indigenous andother marginalizedpopulations,inconnection with materialandideologicalconditionsof global North, notrestricted suchas(but to) (mis)representation anddeprivation ofresources andagency of also welcome manuscriptsthatarticulatedecolonizationinmusiceducationfrom theperspective ofthe healthy interchange anddialoguebetween different contexts andissuesofcolonization/decolonization. We theguesteditors’While geocultural location istheGlobalSouth, we acknowledge theimportanceof as interchangeable with any kindofsocialoppression or avoid theuseofdecolonizationasa catch-allterm. contributions, basedonliterature coherent with thegeocultural contexts addressed, thatavoid colonization perspective—also fallsshortinaccomplishing theobjectives ofdecolonization. We invite critical Research aboutIndigenous or marginalmusicsor communities—from anovertly Eurocentric, White and theadvocacy for multiculturalisminclassrooms, donotnecessarily constituteactsofdecolonization. Indigenous musicalinstrumentsandrepertoire andnon-hegemonic knowledge incurricula andpractices, when they failtounveil anddismantletheorigintermsofcolonialoppression. The inclusionof educational endeavors andsocialjusticescholarshipactivism may affirmandperpetuatecolonization In their groundbreaking article “DecolonizationIs Not a Metaphor,” Tuck and Yang (2012) warn that critique. territories, bodies,communities,andsubjectivities inmusiceducation,beyond anticolonialstatementsand policy, as well asparticular historicalprocesses or culturalissuesthatreveal andchallenge colonizationof problematize ontologies,epistemologies,notions,hierarchies, curricula,pedagogical andresearch practices, This specialissueof Education Call for Papers—Special Issueof CT (1): 1–40. missionandbreadth: With theintenttofavor discussionondecolonizationthrough pluriversal knowledge, we Please format submissionsusing themost recent editionoftheChicago ManualofStyle’s onDecolonizationofMusicEducation [email protected] . Research basedinand across a variety ofdisciplinary perspectives isthusencouraged and Include a 100–150 word biography for eachauthor. Pleaseemailmanuscriptsas ACT All submissionsto Submissions mustbeaccompaniedby a briefabstract(ca. 100–150 words) anda , editedby GuillermoRosabal-Coto, Favio Shifres, andDaniel Gonnet,aimsto ACT

ACT or contacttheeditor for more information, ifrequired. publishesrefereed andinvited critical,analytical, theoretical, andpolicy ACT is ACT 1 January 2018 ACT are subjectto a rigorous process ofdouble-blindpeer review. , copiedto Action, for Criticism,andTheory Music readers are fluentinEnglish,accepted manuscripts willbe [email protected] . Decolonization: Indigeneity, Education &Society . The deadlinefor continued on next page . . Action Ideals ofthe 1 4 SEM Reports . . . continued

Ethnomusicology Translations Ethnomusicology Today

Ethnomusicology Translations is a peer-reviewed, Ethnomusicology Today is an SEM podcast open-access online series operated by SEM for series that represents a growing diversity of the publication of ethnomusicological literature publications embracing digital media formats translated into English. Articles and other in an effort to increase accessibility and literature in any language other than English will public engagement both within and beyond be considered for editorial review, translation, the field of ethnomusicology. Currently and publication. Preference will be given available episodes feature short interviews with to individual articles published in scholarly Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol.

} ethnomusicologists recently published in the journals or books during the past 20 years. journal, Ethnomusicology. As a central online resource, Ethnomusicology Translations aims to increase access to the global Most recently, episode 7 featured a discussion scope of recent music scholarship and advance with Marié Abe (Boston University), whose ethnomusicology as an international field of article “Sounding Against Nuclear Power in Post- research and communication. 3.11 Japan: Resonances of Silence and Chindon- STUDENTNEWS { Ethnomusicology Translations is now into its ya” can be found in the Spring/Summer sixth issue and can be accessed here. The latest 2016 issue of Ethnomusicology. Abe explores SEM publication features Abduvalī Abdurashidov’s the Japanese musical advertisement practice “The Formation of Ruboī Meters in Terms of chindon-ya and how it has become politicized Musical Rhythmic Rotations,” translated by as the sounds of anti-nuclear street protests Evan Rapport and edited by Richard K. Wolf. In after the 3.11 nuclear disaster. Abe examines the this article, Tajik maqom master and pedagogue tensions between chindon-ya’s role in street Abduvalī Abdurashidov approaches the problem protests and the socially mandated practice of of ruboī (a type of quatrain) versification from the silence of jishuku. the standpoint of music. He takes us step-by- step through the process by which he arrives Forthcoming episodes will continue to feature at the ruboī meters, with fascinating results interviews and stories aimed at engaging a broad that remind us of the interdependent nature of audience interested in contemporary issues in poetry and music. global music studies.

The editors of Ethnomusicology Translations • Listen to Ethnomusicology Today via are currently seeking nominations of streaming on the SEM website ethnomusicological articles representing a wide range of languages and geographic areas. • Subscribe to Ethnomusicology Today Ethnomusicologists are encouraged to nominate through iTunes articles by sending an email to Richard K. Wolf, General Editor, at [email protected]. To submit feedback or suggestions for future edu. See SEM’s website for more details about episodes, please contact Trevor Harvey at nominations and the review process. [email protected].

Keep an eye out for SEM Student News Reports to stay informed on SEM calls, activities, and events of interest to students. We periodically release SN Reports via our social media pages, separate from our Fall/Winter and Spring/Summer issues.

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Society for Ethnomusicology © 5 Student Voices: Reflecting on the In-Between a student union column

By Ana-María Alarcón-Jiménez (Instituto de Etnomusicología-Música e Dança [INET]; Universidade Nova de Lisboa, Portugal) With contributors and co-writers Efraín Rozas (New York University), María Gabriela López Yánez (Goldsmiths, University of London), and You Nakai (New York University)

“Student Voices” aims to provide a space for ethnomusicology students to voice their thoughts and concerns in relation to SEM Student News’ general topic. The makers of this space, Jessica Getman, Justin R. Hunter, and José Torres (former members of the SEM Student Union's Executive Committee), have worked hard to push this initiative forward. As the author of this column, my role is to find effective ways to open this space to ethnomusicology students’ diverse voices. This column also aims to link Student News with the Student Union (SU). Together, we are striving to collectively construct the SU as an open, available, and Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol. } caring resource for students. On behalf of all the passionate and hardworking volunteers who make up the SU’s five different committees, I want to invite ethnomusicology students to participate in our Student Union. We want to hear about your needs and concerns and to look for new projects tackling issues important to you. SU Leadership: Jeremy Reed Dear readers, this is my last contribution to “Student Voices” before the Chair new Vice Chair of the SEM Student Union, as a duty of the position, takes Indiana University, Bloomington STUDENTNEWS { leadership of this column. For this final piece, I spoke with three researchers [email protected] whose academic training spans ethnochoreology, ethnomusicology, and Ana-María Alarcón-Jiménez SEM historical musicology. Their work further includes academic and non- Vice Chair Universidade Nova de Lisboa academic texts; performed, recorded, or written music/dance creations; and [email protected] musical/dancing objects. My three guests, and the actual co-writers of this Kevin Silwoski “Student Voices” column, are Efraín Rozas, María Gabriela López Yánez, and Incoming Vice Chair You Nakai. Efraín is from Peru and recently obtained a PhD in composition UC Riverside and ethnomusicology from New York University. María Gabriela is from [email protected] Ecuador and is currently finishing her practice-based doctoral degree Liza Munk Secretary/Treasurer at Goldsmiths, University of London. And You is based in New York and UC Santa Barbara recently graduated from the doctoral program in Historical Musicology at [email protected] New York University. Cali Alexander The answers below consist of individually written responses to three Incoming Secretary/Treasurer questions I posed via email exchange. In post-editing, we interwove María CU Boulder [email protected] Gabriela’s, Efraín’s, and You’s texts to advance a powerful conversation regarding the main topics of this Student News issue: music, sound, and the Shumaila Hemanai Member-at-Large senses. Our three column participants hold diverse views and approaches University of Alberta regarding their understandings of the terms “music” and “sound.” For [email protected] example, You locates sound on the “periphery of music,” while Efraín defines music “as a subset of sound.” Additionally, María Gabriela focuses on emic understandings of the terms, drawn from her extensive fieldwork on Afro-Ecuadorian dance practices in Ecuador’s Chota-Mira Valley, where the term “sound” did not emerge. All three, nevertheless, coincide in their understanding that “music” and “sound” are not to be approached interchangeably and as synonymous with one another. Despite the difficulties of being an “active” musician or dancer while completing a doctoral degree, the three participants of this column have found different ways of doing so. These practices have played key roles in

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Society for Ethnomusicology © 6 Student Voices: Reflecting on the In-Between . . . continued allowing them to think critically about their own particular topics. All in all, María Gabriela, You, and Efraín elucidate the intricacies of writing about and making music/dance.

PART I: INTRODUCTIONS

Ana-María: As a way of introducing what you do: Do your scholarly and music/sound/dance-making creative activities connect somehow? Why and/or why not?

You*: I’ve been making works as a member of No Collective, whose output has ranged from music, dance, theatre, ghost houses,1 play scripts, performance art, video works, literature, Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol. } and so on. No Collective also recently started a publishing company called Already Not Yet where we publish books and journals whose essence is very akin to that of our performance works. I used to perceive scholarly activities and “creative” ones as different, for the simple reason that my involvement in academia was a way of getting money, whereas my efforts in art were a way of spending it. So I considered the former as a day job I had to do (which I did all right, but more importantly, others recognized more easily that I did all right) in order to support the accumulating expenses of the latter (which I thought was STUDENTNEWS { more important than my scholarship, but whose accomplishment was also more difficult to comprehend and required, understandably, more time for acceptance). SEM But at the same time, I hated the fact that I had to do something that did not interest me just for money, so I always wished and strove to turn what I was doing in academia into something that is not entirely different from making artworks. In other words, I tried to find ways to (secretly) approximate the works I produce in academia to the works I produce elsewhere as “art.” And I’ve largely succeeded in doing this—in two ways. Firstly, by conceiving of the production of each paper or book, and to a lesser extent, of each presentation or lecture, as the fabrication of a performance apparatus which enables a certain experience, or a series of experiences, for the reader and audience to go through. Because after all, literature (which includes, or at least governs, the activity of writing/presenting scholarly papers) cannot do away with the aspect of performance—of someone doing (or saying) something over time while others see/ listen. Secondly, more and more, I’ve expanded my own “creative activities” to include the production of books, journals, and papers. Like I said, I even fabricated a publisher in order to specifically focus on this type of work. Also, more recently, I have been working as a theoretical consultant, so to speak, tailor-making theories for other artists, choreographers, and composers when asked for help (mostly for friends). These are theories that I make up on demand, which I don’t necessarily believe in but do serve the needs of others. So to summarize, I now write and publish books and papers, construct theories, and perform lectures both in and out of the narrow confines of academia, as simply yet another form of “creative” output. As a result, the major difference between these two kinds of activities—the “academic/scholarly” and the “creative/artistic”—has become precisely that: the specific form of output. Scholarship is a creative activity where the form of the end-result is in most cases text, whether written (books and papers) or enacted (presenting at conferences and teaching). Otherwise, in terms of fabricating an apparatus which guides experience in one way

*I am substituting a portrait (drawn by my son, Aevi) for my headshot. There are several reasons for this, but the most urgent is related to an ongoing piece called “X by Y,” where I send a stranger to act as “You Nakai,” from the initial meeting with curators and all the way up to the actual performance/concert. Thus, the work becomes a theatre piece for those who either know me or the person acting as me, while presenting itself as (relatively) ordinary music for those who don’t. One critical condition for continuing this piece is for me to have as little visual exposure on the internet or any other form of publication as possible. In any case, the portrait captures fairly accurately how I look.

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Society for Ethnomusicology © 7 Student Voices: Reflecting on the In-Between . . . continued and not another, these two forms of activities are quite similar. In other words, writing a paper and composing music are as different and similar as composing music and building a ghost house.

María Gabriela: Absolutely. I am an Ecuadorian practice-based PhD candidate and one focus of my research is dancers’ sonic memories. I began to pay attention to the relationship between dancing and sound during my MA research. The title of my dissertation was “Beyond the Hips: The Afro-Ecuadorian Dance of Bomba in Chota-Mira Valley as a Shared Experience.” This dissertation was the result of around eight years where a few friends from the Ecuadorian artistic and research group “Grupo Itinerante de Artes Guandul” and I had the opportunity to share with Afro-Ecuadorian dancers and learn about their way of living Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol.

} and understanding their own dances. Although I considered my dissertation a contribution to the field of dance scholarship, once I finished writing I realized the untranslatability of spoken words to written ones. I felt that precious information was not taken into account when oral testimonies were transferred to paper. So for my PhD I decided to work with oral history as an affective experience. Thus, in my current research, I am interested in Afro-Ecuadorian dances not as a product but as a dynamic process that has evidently followed structures other than those developed in written documents. As an ethnochoreologist, I am especially interested on going beyond STUDENTNEWS { the kinetic experience of dancing and widening the notion of what dancing really means. For instance, it is clear that dancing As an ethnochoreologist, I

SEM and memory are deeply connected. When I look at some of the transformations Afro-Ecuadorian dances have had, especially in am especially interested on staged performances where these and other dances tend to be going beyond the kinetic reduced to a fixed set of steps, I see that these transformations are due to the fact that their relation with memory has changed experience of dancing and drastically. In a time when the passing of memories from old to new generations is not as common as it used to be, I am interested widening the notion of what in understanding the role of the affective experience of speaking/ voicing/listening in the transference of these memories and how dancing really means. the decrease of this experience has influenced the previously mentioned transformations. In the specific case of the two Afro-Ecuadorian dances I am studying now,bomba and marimba, I am developing “sonic pieces” of some Afro-Ecuadorians’ dancing memories as a way of highlighting not just their semantic meaning but also the power of communication that specific rhythms, tones, sighs, laughters, pauses, and even silence have. I am also interested in making audible the dialogue I have had with those voices all of these years, this meaning, not just how some Afro-Ecuadorians have historically perceived their own dances but also how I—as a mestizo-Ecuadorian—have embodied the process of going beyond the understanding of bomba and marimba as a fixed set of steps—with which I grew up—to an understanding of these dances as dynamic experiences totally related to specific contexts and that embody specific knowledges that have survived throughout time. I aim to locate these sonic pieces in an “empty” space—in the sense of a space with no dancing bodies—and in this scenario I also see the relation between dances and sounds as a way of symbolically making “visible” the imminent decrease—and thus, the danger of disappearance—in the number of dancers that are still connected with specific memories. continued on next page . . .

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Society for Ethnomusicology © 8 Student Voices: Reflecting on the In-Between . . . continued

Efraín: More and more, my musical, visual, and performance works are becoming the way I express my theoretical interests. For me, the language used to convey an idea is not a mere tool. The language or medium you use embodies a theory of knowledge with a history. The language or medium, in many cases, expresses the theory more than the content itself. A tool always carries an epistemology, a vision of the world. An obvious example is the predominance of written prose in scholarly work, which says a lot. I do use text in my work too, but as an accessory to other media.

PART II: MUSIC AND SOUND Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol. } Ana-María: Regarding the terms “music” and “sound,” do you use them interchangeably, as synonyms, and why? Does this change when you are writing about music/sound/dance practices and when you are making music/ sound/dance pieces?

You: I understand music as a documentary of how time passes in a certain way, an apparatus that thereby allows one to repeat a certain In this sense, sound exists form of experience (though always a pseudo-repetition at that)—in STUDENTNEWS { other words, as a time machine (pseudo, yes, but all time machines only on the periphery of are pseudo). In comparison, sound is difficult to perceive, especially SEM now that we have acquired both the conceptual and technical means music and is perceived to musicalize everything. In this sense, sound exists only on the periphery of music and is perceived only once in a while (most often only once in a while (most when we are not paying attention). Because I understand music as a time machine, and sound as often when we are not something extremely difficult to hear, I tend to perceive everything I make as music, even when I am writing about it. Writing is simply paying attention). music in an unforeseen format, which is also true about my works that are perceived and registered as dance, theatre, ghost houses, etc. The only reason the issue of music/sound can shift a bit when I am writing about them is due to the fact that those two activities are usually only differentiated in the minds of other people. Whereas making music is often perceived by others as music, writing about music is more than oftennot perceived as music (which also means that the same difference arises between making dance as music and making music as music, for instance). When the others don’t perceive what I make as music (but present, for instance, in the form of text or theatre), what happens is that, structurally speaking, music attains a sound-like status in relation to the other, foregrounded genre, whatever that is—as something that is there materially but perceivable only on the periphery. So only then do music and sound become interchangeable. Since this is strictly conditioned by the differentiation that others make in their mind often without knowing so, I approach and exploit such a moment of interchangeability as a pedagogical occasion.

María Gabriela: In terms of writing about Afro-Ecuadorian dances, when I choose how to name things, I try to follow as much as possible how people from whom I am learning refer to those things. So far, following the ideas of some Afro-Ecuadorian writers, dancers and musicians, there is a clear notion of what music is. Marimba and bomba are the names of percussive instruments that are part of music genres that have the same name (e.g., marimba is the name of a xylophone-type instrument and also the name of a music genre in which that xylophone-type instrument is included). Thus, marimba and bomba are also considered music. As for sound, so far I have not known of any Afro-Ecuadorian referring to the word sound in relation to musical performance continued on next page . . .

Society for Ethnomusicology © 9 Student Voices: Reflecting on the In-Between . . . continued or dancing. I locate the inclusion of the notion of sound within my research of Afro-Ecuadorian dances within what the Afro-Ecuadorian historian and story-teller Juan García Salazar used to refer to as “la memoria nueva” (the new memory), which relates to new ways of portraying and disseminating Afro-Ecuadorians’ oral history, especially among Afro-Ecuadorians themselves (García Salazar and Walsh 2017, 169). . . . I use the word music as In this context, I am specifically interested in the sonic memories— voices—of Afro-Ecuadorian dancers and the role these voices have a subset of sound, where played in the permanence of Afro-Ecuadorian dances. music is a valid concept

Efraín: I don’t use them as synonyms. I guess I use the word music that comes from Western Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol.

} as a subset of sound, where music is a valid concept that comes culture and sound a from Western culture and sound a broader one that admits many different meanings and not a fixed definition. broader one that admits many different meanings . . . PART III: SENSORIA

Ana-María: How do you conceptualize the senses, how many senses do you think there are, and how do both STUDENTNEWS { of these things change depending on whether you are writing about music, doing field or archival research, or making music/sound/dance pieces? SEM

You: I don’t think senses are countable except when you wish to hold them accountable. I take allergies as the primary model for thinking about the senses. Allergies are physical, often extreme and uncontrollable, reactions to exterior substances. I’ve suffered with allergies since childhood, so I know a thing or two about them. And one thing I know for sure is that they can suddenly appear, seemingly out of nowhere, just as they can suddenly disappear, for no good reason. Allergy is what your body does to you unbeknownst to yourself, a phenomenon that erupts on the periphery of what you consciously hold as yourself. Kind of like what sound is to music, but I will get back to that. In this sense, I regard the issue of senses as pertaining to the issue of influence (influenza). Senses are sensors or catchers of influence, as allergies are bodily reactions to the same. But what is influence? I’ve been trying to fabricate a theory of influence recently (only while on substance—“working under the influence”). The word “influence” is derived from the term “in flux,” which was used by philosophers of Neoplatonism. This term accounted for how the essence of a star is emanated in the form of light, shining on, say, a stone on our planet, which then can be used to make a pigment to draw an image of a constellation on, say, the vault of a Renaissance villa. The fundamental idea here is that the original essence of the star is preserved, materially but invisibly, in this chain of emanation. People would see the visible images of constellation but would also be exposed (often unknowingly) to the invisible influence of the stars. And it was this material yet invisible force of exterior substance that became known as “occult”—as something that is there exercising its powers but not perceivable as such. So senses, like what is sensed, are essentially occult. And that is why they cannot be counted or be held accountable in a sensible manner (although one’s good nature may be revealed in how one reacts to things). The mere belief in having a perfect grasp of your senses cannot prevent you from suddenly getting hay fever one day and starting to sneezing uncontrollably. You can never really count (on) the senses for they are prone to catching the flu. But at the same time, for better or worse, we can only make sense of the world by exposing such senses to it. In this sense, the difference between sound and music I described in the first question can also be paraphrased as a matter of influence. Sound exists on the periphery of music—and precisely therefore, sound influences music (occultly). However, if senses are what moves you in one way or the other, you could also think continued on next page . . .

Society for Ethnomusicology © 10 Student Voices: Reflecting on the In-Between . . . continued of its mechanism as an invisible choreography. For this reason, I regard dance as the most important genre for thinking about senses—music, sure, but isn’t dance what emerges when we are influenced by music? When I am writing about music (or as music) or making music (as music) I concentrate on composing a network of influences that the reader or listener is subjected to, whereas when I do field or archival research I try to subject myself to as much influence as possible. So there’s a difference there—although I usually embed my own self in the final form of work, deliberately making it impossible for me to hold an overview, so that I myself am subjected to the same network of influences that my past-self conceived and fabricated—a form of self- infection.

María Gabriela: I think that the number of senses depends on I think that the number of Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol.

} where we locate the limits of each sense, and I think that limits vary strongly in each specific experience, so perhaps I could say that each senses depends on where specific experience includes a unique quality/quantity of sensorial experiences. For instance, I think that tactile experiences cannot be we locate the limits of defined just as the act of touching between two or more beings, but it must also include specific characteristics that vary on each context. each sense, and I think that Within the dances I study, tactile experiences play an essential role,

STUDENTNEWS limits vary strongly in each { but they are definitely not just about the act of touching but also about how, to whom, and on which moment each specific tactile

SEM specific experience . . . experience occurs. Just by engaging with as much detail as possible, each dance can be approached sensorially. Also, within these dances, there are certain senses that depend on one another to exist. For instance, tactile experiences among dancing bodies depend on music and on listening experiences. Without the experience of listening/producing music, dancing, and thus tactile experiences among dancers, rarely occurs. As for the sense of seeing, sometimes dancers are so close to each other that the sense of seeing is not so important anymore (or maybe it is but just plays a different role). However, it is essential in some other moments. For instance, in the Afro-Ecuadorian dance of bomba in Chota-Mira Valley there is this dancing game called caderazo or cadereo (hip-pushing) which basically consists of pushing the other dancers with one’s hips. Within this dancing game, seeing (the other dancers), hip- pushing, and listening depend on each other.

Efraín: Senses are a technology, an interface. And the way we use and define them is also a battleground. Like any tool, Senses are a technology, an they embody an ontology, a theory of knowledge and an interface. And the way we epistemology, of which we can have more or less control. We can decide to gain control over them or to let others define use and define them is also a how we relate with reality on a cognitive level. For example, the control of how we think of and experience the senses is one battleground. Like any tool, of the main areas of interest for capitalism these days. Social they embody an ontology, a media, virtual realities, and new technologies are where that negotiation and battle is taking place. The next bio-political theory of knowledge and an frontier. In broad terms, we can say that the concept of “sense” epistemology, of which we can itself comes from modernity. Even though the concept is have more or less control. useful, it’s just one among many ways in which we can talk about how we experience reality. “Senses” imply the idea that there is a soul or mind driving the body. I don’t deny that,

continued on next page . . .

Society for Ethnomusicology © 11 Student Voices: Reflecting on the In-Between . . . continued but there are many other ways of talking about our experience, and they do not exclude each other. In my new series titled Prosthesis and Myth, I talk about these issues and explore different ways of gaining agency over my relationship with reality, including the senses. “Do Robots Have an Ethnicity?” is the first installment of theProsthesis and Myth series. I created a robot that improvises with my own logic of rhythm, which is influenced by Latin American concepts of polyrhythm. I wanted to create an interface that suits the way I relate with sound and time better than other interfaces out there. Usually, sequencers use a Western notation score as the grid through which we think time. In my robot’s brain there are many grids juxtaposed, moving all the time, and not one but two metronomes. “I Enjoy the World” is the second installment of the Prosthesis and Myth series. It is a sound installation that was the result of an experiment I did during six months exploring different mind and body states. The objective Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol.

} was to re-code mysticism, to recover it as a form of agency and subversion, beyond official religions, ancestral- ism, or New Age. The six-month experiment dealt a lot with the way in which I was using my senses, my body, my consciousness. Our senses, our minds, bodies, and realities are not a given—they are an arena where very

powerful forces, including us, are trying to gain control. ■

Reference García Salazar, Juan, and Catherine Walsh. 2017. Pensar sembrando/sembrar pensando con el Abuelo Zenón. [To think sowing/to sow STUDENTNEWS

{ thinking with grandfather Zenón.] Quito: Universidad Andina Simón Bolivar, Sede Ecuador. Ediciones Abya-Yala.

SEM Endnote 1. “Ghost house” refers to the piece “House Music (A): And The Rest of You,” first installed and presented by No Collective at the Mikke Konohana Art Festival in Osaka, in November 2013. I was given as the site of my work an abandoned, two-storied warehouse formerly used to grow silkworms. The first floor had a microphone in the middle of the room, with four small speakers hanging from the ceiling, all surrounding the microphone. Any input to the microphone went to the four speakers, set at maximum volume, through a 10-minute delay. The second floor was pitch dark with over 200 sound-activated chirping bird toys placed on the former silkworm shelves that filled the space, as well as 10 mirrors of different sizes similarly scattered around the room. At the back of the room was a motion sensor which activated the gating of the speakers downstairs. Given this setting, visitors would first try out the microphone on the first floor and, upon seeing that nothing is happening, proceed to the second floor, activating the bird toys with their own presence in the room, as well as feeling the invisible (because of the darkness) yet undeniable presence of “others” in the room produced by their own reflection in the mirrors. If they continued exploring the room, they could accidentally activate the motion sensor thereby letting any sound that entered the microphone 10 minutes ago—which in most cases were their own voice—to be played from the speakers downstairs at maximum volume. Thus all the ghostly phenomena encountered in the house were the visitors’ own reflection—their own presence in the house produced and activated the ghosts. The sound system stored the input from 10 minutes past for only 15 minutes and then discarded the memory to reset itself for the next visitor (the bird toys also only chirped for 20 seconds). As a result of this mechanism, when the flow of audience increased and the speakers were continuously activated, feedback would occur and accumulate between the microphone and the surrounding speakers. This happened towards the end of the two-day festival as more and more people came and feedback at maximum volume accumulated to an alarming degree, until the frightened neighbors called the police who came and forcefully shut down the installation for us, just five minutes before the planned closing time. Photographs of the installation can be seen here: http://nocollective.com/ha.html.

Efraín Rozas is a Peruvian musician and researcher specializing in the combination of new technologies with Latin American genres. He holds a PhD in composition and ethnomusicology from New York University funded by the McCracken fellowship. Rozas has published the book/video documentary “Fusión: a soundtrack for Peru” and has released several LPs internationally via Names You Can Trust, the Ethnomusicology Institute of Peru, the Embassy of Spain in Peru, and Buh Records. Rozas has performed at the Brooklyn Museum, Queens Museum, Lincoln Center, and played nationally and internationally with his experimental salsa band La Mecánica Popular; venues include the Central Park Summerstage Fania Records 50th anniversary in New York, Levitation Festival, and Festival Cultura Libre. Rozas has worked as a

continued on next page . . .

Society for Ethnomusicology © 12 Student Voices: Reflecting on the In-Between . . . continued professor at New York University and is a consultant for several institutions, including the Ministry of Tourism of Peru. He has hosted and produced radio for 10 years with his program La Vuelta al Día en 80 Mundos. The BBC, CNN, Washington Post, Daily News, and NPR’s Soundcheck have all featured Rozas’ work. More at www.efrainrozas.com.

María Gabriela López Yánez is an Ecuadorian ethnochoreologist, dancer, and choreographer. She pursued her MA in performing arts with specialization on ethnochoreology at University of Malaya (Kuala Lumpur, Malaysia). Currently, she is a practice-based PhD candidate at the Department of Theatre and Performance, Goldsmiths, University of London. In her practice, Gabriela focuses on non-Western dances. In the last few years, she has been training mainly with the Indian classical dance of kathak and Sufi dances. She is also interested in finding ways of representing Ecuadorian dances that go beyond visuals. Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol.

} As a practice-based PhD candidate, her focus is on Afro-Ecuadorian dancers’ sonic memories as affective experiences that could communicate the social and historical context of these dances. As the Liaison Officer for Ecuador for the ICTM (International Council of Traditional Music and Dances), she has presented her research widely in Ecuador, the UK, China, Kazakhstan, Ireland, Austria, and Malaysia.

You Nakai conducts research on experimental music, post-dance, theatricality, and other curiosities and reports his findings in the form of academic papers and books. Most recently, he has spent considerable STUDENTNEWS

{ time studying the music of David Tudor, for which he obtained a PhD from New York University in 2016 and is now writing a book called Reminded by the Instruments: David Tudor’s Music under contract with Oxford

SEM University Press. You also fabricates music(ians), dance(rs), theatrics, picture books, ghost houses, ad-hoc theories, and other forms of work as part of No Collective (http://nocollective.com), which was featured in Leonardo Music Journal (MIT Press) as one artist doing interesting things with technology today, and the publisher Already Not Yet (http://alreadynotyet.org), which still has no accolade to call its own.

SEM Student Union Blog The SEM Student Union (SU) is composed of the society’s student membership and serves as a resource and voice for students in the society. We are an intrepid group at different stages in our education and all ridiculously excited about ethnomusicology. In this blog, we share our experiences of music, education, and life.

Please join us and share your musical stories at semstudentunion.wordpress.com, and email us at [email protected].

The SU blog also features a variety of series, including: • Ethnomusicology and Parenthood • In Discipline: Talks from the European Side • From the Field • Textbook Review • Ethnomusicology Student Groups

Society for Ethnomusicology © 13 Dear SEM, A response column by Davin Rosenberg, with respondents: For this issue, we asked a select group of professional scholars engaged in sound and sensory studies for any insight they could Deborah Kapchan (New York provide to students interested in sensory-attuned research. Our University) and Tomie Hahn respondents, Deborah Kapchan and Tomie Hahn, graciously (Rensselaer Polytechnic Institute). took up this offer to discuss various possibilities, benefits, and challenges that a sensory approach to ethnomusicology invites. At SEM Student News, we try to Their contributions below suggest how we, as student and address the most pressing issues working scholars, might introduce such an approach to our own research. and diverse research fields for our student body and broader The Challenge of Bi-Sensoriality readership. Want to get advice

Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol. and insight from our network

} Deborah Kapchan: In many ways, ethnomusicology of peers, colleagues, and has long been a sensory-attuned mentors? Email your questions to discipline, encouraging as did [email protected]. Mantle Hood in 1960, a bi- musicality. Hood cautioned against the mind/body split: humanities and a subsequent cultivation of respect STUDENTNEWS

{ the ability to compose without feeling, to observe for other sensoria, other ways of being. The challenge and analyze without embodied participation. Such this poses, however, is in the translation of realm to

SEM divisions were naturalized half a century ago. realm, ontology to ontology: what kind of writing Indeed, the academy was built upon maintaining the can evoke other knowledges without constructing difference between knowing and being, analyzing worlds built on empathic imagination that passes and doing. This was the foundation of the scientific for “reality” while continuing to privilege human method and rational objectivity and still haunts interpretation? Does the translation of other sensoria researchers and research today. and ontologies into language necessarily colonize and But what is repressed in order that a non-sensory- violently reduce them? Perhaps we need another kind attuned research becomes conceivable at all and of language. Perhaps scholars need also to be poets. why? What configuration of the senses structures Being bi-musical—fluent in the lived sound the perception of the researcher (Howes and Classen aesthetics of another culture—is a labor that requires 1991, 260; cf. Ingold 2011)? Is it possible to become long and dedicated apprenticeship. Being bi-sensorial aware of our own perceptual and aesthetic apparatus? (or multi-sensorial) likewise requires attentive study Is it also possible to learn to inhabit another and practice, immersion, and often discomfort. sensorium, to in effect cultivate abi-sensoria like one Lingering in that space of discomfort—between styles cultivates a bi-musicality? And if the answer to that of aesthetic being, between perceptual modalities— question is yes, why do so, how, and what are the demands letting go of habits, beliefs, preconceptions. ethical implications? More than fifty years after Hood wrote “The Consider this possibility: If humans can listen to Challenge of Bi-Musicality,” scholars of music and and learn the sound worlds (acoustemologies; see sound now assume that both sounding and listening Feld 2015) of other humans, might they also listen to are methods of knowing, and that method and theory and learn the sound worlds of non-humans (animals, cannot be ethically severed. How we listen, learn, and plants, and by extension elements, objects, spirits; sound determines what we hear, know, translate, and see Feld 1980, Guerts 2003, Jackson 2015, Kohn 2013, transmit. Style and aesthetics are not worldviews, but Povinelli 2016)? One benefitof such an endeavor is the decentering of humans in the social sciences and continued on next page . . .

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Society for Ethnomusicology © 14 Dear SEM, . . . continued actual material worlds. How enter? The very short press (Hahn, forthcoming), to further muck and muse answer to the prompt is what my music teacher told about the quandary.1 me in 1982 when I was about to go live in Morocco for the first time: “Let it get into you.”

References Hood, Mantle. 1960. “The Challenge of Bi-Musicality.” Ethnomusicology 4 (2): 55–59. Howes, David, and Constance Classen. 1991. “Conclusion: Sounding Sensory Profiles.” InThe Varieties of Sensory Experience: A Sourcebook in the Anthropology of the Senses, Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol. } edited by David Howes, 257–88. Toronto: University of Toronto Press. Ingold, Tim. 2011. “Worlds of Sense and Sensing the World: A Response to Sarah Pink and David Howes.” Social Anthropology 19 (3): 313–17. Feld, Steven. 1980. Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression. Philadelphia:

STUDENTNEWS University of Pennsylvania Press. Noticing Transmission: Knowledge Building(s) { Guerts, Kathryn Linn. 2003. Culture and the Senses: Bodily Many educational settings build structures that Ways of Knowing in an African Community. Berkeley: SEM organize our experiences of the world, art, and University of California Press. information. I want to use just such a setting to draw Jackson, Michael. 2015. Harmattan: A Philosophical Fiction. attention to the continuum of information flow in New York: Columbia University Press. order to problematize small-to-large organizations Kohn, Eduardo. 2013. How Forests Think: Toward an Anthropology of the Human. Berkeley: University of of knowledge or corporeal structures. On one side California Press. of the continuum we encounter the subtle details of Povinelli, Elizabeth A. 2016. Geontologies: A Requiem to Late ephemeral sensory information transmitted through Liberalism. Durham, NC: Duke University Press. bodies—between performers or teacher and student. On the other end of the spectrum are the large-scale structural patterns of moving bodies, such as the Transmission, the Senses, and Mud* design of pathways on a college campus or highways Tomie Hahn: for vehicle travel. While newly arising in the Standing central to the entire transmission academic stream of methods, affair is the body—with the senses transmitting conducting sensory fieldwork the flow of information. Culture and upbringing appears paradoxical—I have never color our worlds. As human beings, our selective been able to compartmentalize sensory awareness at any given time, influenced by sensory modalities. As humans, cognitive filtering and enculturation, shapes how we reside in bodies that sense. We orient ourselves in we attend to the stream of information around us. time and space with others and with objects. Cultures Cultural hierarchies of the senses, as well as personal/ introduce fascinating sensory customs, ways of being, individual filters, affect the transmission of particular and challenges. Our personal experiences shape who sensory information (see Classen 1993; Howes 1991, we are. Has academia specialized us away from the 2005; Pink 2009). These filters problematize notions larger sensational frame? Mucking around in mud of sensory “translation,” or how we make sense of our offers such a wealth of sensory diversity; why narrow experience. observations to one sensory modality? I offer the Academia shapes our environment and the following passage, drawn from a chapter currently at structures of knowledge flow. Regarding the design

*Photos courtesy of Tomie Hahn © continued on next page . . .

Society for Ethnomusicology © 15 Dear SEM, . . . continued of campuses, architect Gregory Kessler (2011) keenly people, those working within traditional academic observed, “The built environment communicates parameters of intellectual research or theory. ideas, values, and beliefs that reflect the material Curious. This further obfuscates the organization culture of our civilization. In this way, our spaces of knowledge flow. Campus designs often mirror a and places can be understood as a language of conventional notion of the philosophical mind-body communication in the same way that our written and split, even in the face of contemporary theories of verbal language allows us to communicate with each embodied cognition, in which the brain is not the other” (75). I would like to expand Kessler’s statement sole keeper of knowledge. The entire body holds to include the time-based, ephemeral arts by positing knowledge. that the built environment also communicates But you get my point: when the sensory modes Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol.

} the non-material culture of our civilization. The are compartmentalized in the academic arena, we organization of university campuses shapes the flow lose the perspective of the humanity—the diverse of our movements, juxtapositions of buildings create social and cultural qualities of being human—of the associations, and populating these living spaces whole expressive, sensory being. In everyday life, shapes knowledge and the valuing of this knowledge. the senses are not discrete. There is a great deal of It is vital to understand how our academic sensory overlap—perhaps the greatest examples cultures have compartmentalized the sensory order appear in the connections between smell and taste, STUDENTNEWS { of our studies of expressivity and the acquisition or sound and touch. So why do we compartmentalize of knowledge in general. The campus maps out, them in academia or even in many artistic practices?

SEM or reconfigures, our bodies and research: people Understandably, there are practical and formal who study music, “ear people,” are “housed” in one reasons, as well as spatial concerns. Yet I feel it is our building; the visual arts or “eye people” generally responsibility as artists and scholars to identify the work in a different building; and dancers or others structures that shape our lives. Collaborating across who move their entire bodies inhabit yet another disciplinary or practice boundaries is one way to building. Additionally, in some universities, people reconnect divisions—yet only collaborations that who create art make their work in locations on the integrate the senses/arts/research in deep ways will margins of the campus and distant from the “head” counter and reconstruct such structural forces.

continued on next page . . .

Society for Ethnomusicology © 16 Dear SEM, . . . continued I offer that it’s essential to pull back the structural www.pcah.us, for the forthcoming book The Sentient Archive: frames—and, in taking notice, to seek out, write Bodies, Performance, and Memory to be published by Wesleyan University Press. about, and be creative with the knowledge we embody. There’s creative movement, sound, visual, References and other sensory expressivity in our everyday lives. Classen, Constance. 1993. Worlds of Sense: Exploring the Senses I beg that we take notice. Observing context and in History and Across Cultures. London: Routledge. structure is key. Hahn, Tomie. 2017. “Arenas of Sense—Monster Truck Rallies as Cultural Performance.” In Cultural Performance: Sound Minds and Bodies Ethnographic Approaches to Performance Studies, edited I find that sound studies soundly addresses an by Kevin Landis and Suzanne MacAulay, 54–66.

Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol. Hampshire, UK: Palgrave Macmillan. } immersion of the body. I close with, oddly enough, ———. Forthcoming. “Stalking Embodied Knowledge—then optics from a Monster Truck rally. I wish I could what?” In The Sentient Archive: Bodies, Performance, and include how the soundscape imposes the “feel” of Memory. Middletown, CT: Wesleyan University Press. sound, but even a recording cannot suffice. Decibel Howes, David, ed. 2005. Empire of the Senses: The Sensual levels cannot permit the transmission of the Cultural Reader. Oxford: Berg. overwhelming, inspiring, and yes, moving experience ———, ed. 1991. The Varieties of Sensory Experience. Toronto: of a 10,000 pound vehicle floating in space (see Hahn University of Toronto Press. STUDENTNEWS { 2017). Suffice it to say: it’s loud and your body stirs. Kessler, Gregory A. 2011. “Designing with a Visual

Mud abounds. ■ Language: Elements and Ordering Systems.” In The SEM Built Environment: A Collaborative Inquiry into Design Endnote and Planning, edited by Wendy R. McClure and Tom J. Bartuska, 75–83. Hoboken, NJ: John Wiley & Sons. 1. Parts of this essay are drawn from a chapter titled “Stalking Embodied Knowledge—then what?” and Pink, Sarah. 2009. Doing Sensory Ethnography. London: Sage commissioned by the Pew Center for Arts & Heritage, Publications.

SEM Student News Archives SEM holds an archive of past SEM Student News issues. We have covered many topics, including decolonization, the job market, publishing, health, diaspora, interdisciplinarity, funding, and more. You can check them all out, along with submission guidelines and resource lists, by visiting our SEM Student News page on the SEM website.

SEM {STUDENTNEWS} SEM {STUDENTNEWS} SEM{STUDENTNEWS} SEM{STUDENTNEWS} SEM{STUDENTNEWS} SEM{STUDENTNEWS} SEM{STUDENTNEWS} An official publication An official An official publication An official publication An official publication of the Society for publication of the of the Society for of the Society for of the Society for An official publication ETHNOMUSICOLOGY NOW An official publication DECOLONIZING ETHNOMUSICOLOGY Ethnomusicology Society for Ethnomusicology Ethnomusicology Ethnomusicology of the Society for of the Society for Letter from the SEM President 1 Letter from the Editor 1 Ethnomusicology MUSIC EDUCATION AND ETHNOMUSICOLOGY MUSIC AND DIASPORA Ethnomusicology Ethnomusicology FINDING PATHS ON THE JOB MARKET MEDICAL AND COGNITIVE ETHNOMUSICOLOGY ! THE FUNDING ISSUE SEM Reports 6 SEM Reports 2 ! ! SEM Regional Chapter Updates 10 Student Voices 5 Welcome! Welcome! Welcome! Welcome! Welcome! A Letter from the Editor 1 A Letter from the Editor 1 ! Student Voices 13 Thoughts from the Field 11 A Letter from the Editor 1 A Letter from the SEM President 1 ! Letter from the Incoming Editor 1 Dear SEM 14 SEM Reports 2 SEM Reports 2 SEM Reports 2 ! Thoughts from the Field 20 Student Voices 3 Student Voices 3 Student Voices 2 ! SEM Student Union Update 2 Dear SEM 23 Thinking through Decolonizing Ethnomusicology The State of the Field 4 SEM Reports 3 ! New! SEM Reports 2 The State of the Field 5 POLITICAL DISCOURSE “Personal-is-Political”: Decolonial Praxis and the Future 17 Dear SEM 6 The State of the Field 4 ! ! Dear SEM 7 Dear SEM 7 The State of the Field 4 ! Money money money money … money! A Response to “Decolonizing Ethnomusicology” 25 Decolonizable Spaces in Ethnomusicology 20 ! Decolonizing through Sound 21 Diverging Paths, Common Goals 8 Dear SEM 6 The State of the Field 3 Ethnomusicology, Islam, and Political Dialogue 27 ! Thinking about the Job Market An Ethnomusicologist from Mars? 9 Discerning Diaspora 9 Dear SEM 5 The “Pre-Postmodern” Ethnomusicology of Zora Neale Hurston 31 Reflecting on the Pulse Nightclub The Ethnomusicology Job Market 9 ! Legitimizing Culture-Specific Learner Practices 11 Diaspora, Globalization, Transnationalism, Oh My! 10 Methodological Divides 8 ! Effective Grant Writing 7 Mad Planet 23 Preparing for Marketability and Success in Academia 12 Disrupting the Paradigm 13 The Fate of Diaspora 12 ! ENGAGING THROUGH SEM Transference and Creativity in the Job Market 13 If You Have a Cognitive Hammer 10 An Ethnographic Study of PhD Funding 9 After Pulse: Political Movements and the Dance Floor 25 The Renewed Challenges to “Bi-Musicality” 14 The Diaspora Nyunga Nyunga Mbira 13 ! SEM Chapter Meetings; Or, Why that Six-Hour Drive Really is Worth It 34 Volume 9 | Fall/Winter 2014 Volume Thinking Beyond Cultural 11 Looking for Advantages: Funding the Degree 10 Tools of the Trade 16 Songs of a Lost Tribe 14 ! The Ten Tracks Project 36 Confronting Colonial Legacies What Do Ethnomusicologists Do? 11 | Fall/Winter 2015 Volume World Music and Cultural Knowledge 17 Diaspora and Technology 15 “Evidence” and the Clinical/Cultural Divide 12 ! Graduate Student Debt: It’s A Thing 11 “You’ve Never Heard This?” 26 What is a “True Ethnomusicologist” 14 ! Growing the Next Generation of Tango Musicians 19 Towards an Ethnography of the ‘Diaspora’ 17 Cultural Cognition 13 Taking a Leap: In Favor of Student Debt 12 INTO THE FIELD Postcolonial Institutional Ethnography 27 Dissertation Grant Writing 17 ! 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Ethnomusicology through Teaching Musical Diasporas, Diasporic Musics A Letter from the SEM President Funding Matters Letter from the SEM President Letter from the Editor Once again, I welcome our readers to a new volume of skill sets. “Applied,” “public sector,” “private sector,” and Greetings again from the SEM education and ethnomusicology— with Patricia Shehan Campbell To our faithful readers and those that “home”—my knowledge base are quite unique, but as the We have come to expect that SEM do with living in balance, not simply preventing or a letter from the incoming editor Hello from Malang, East Java, Company (VOC) and Dutch colonists, eager to enjoy Welcome to Volume 12, Number 2, of SEM Student Thus, I hope that you, our colleagues and readers, SEM Student News. In this, my final volume as editor, I other modifiers have been used as alternative or Student News staff. This volume two historically divided career and (University of Washington) who perusing our pages for the first of these issues has grown in photographer of the above image Student News will address issues that are eradicating the cause of illness. I’ve had to learn more Once again, we welcome you to often the search for funding is so This issue also marks a significant Indonesia. Davin, thank you for the cool climate and productive agriculture of the News! This is my first issue as editor and thus an will open yourselves to the various critiques and might ask that the readership bear with some reflexivity. supplemental options in our paths as student scholars, brings together the old and new in research paths in most music suggests a combination of trainings time, welcome to Volume 10 of editing this volume. It is my hope points out, they are indeed urgent and significant. This issue deeply about the biopolitics of colonialism and another edition of SEM Student News. narrowly focused it becomes an shift in the life of SEM Student News. Vol. 8 covers a wide array of isolating and self-guided project. Our founding editor, Lauren asking me to write a greeting for area. Located in East Java, Malang is now a bustling important one for me, but it is also a significant perspectives presented here, consider them with and As an instrument of SEM and as a sounding board for predominantly training to be professors. Many programs our staff. We have had a few programs. As many of us build —ethnomusicology and music SEM Student News. Within that yours will too. I am pleased diasporic—representing the continues the pattern with a focus on imperialism where not all bodies are grievable. issues important to the student body, the newsletter’s continue to focus solely on training students for the “retirements” from the newsletter, student careers around novel education together—is a valuable ethnomusicology and cognate to say that we had numerous Atlantic experience and the New medical ethnomusicology and cognitive Ethnomusicologists understand the potential that music viewpoints on a subject we all tackle Though we cannot provide the Sweetman, is stepping down with the summer 2017 issue of SEM city of 40 universities. It lies two hours south of the one for our newsletter, society, and field as a whole. against your own work and experiences, and reflect while pursuing higher education: perfect formula for obtaining the completion of Vol. 8. Her time contributors have covered a wide breadth of topics tenure-track job, but a few have broadened their with more to come shortly. We are research foci and developing new and attainable solution. The other disciplines, the term “diaspora” responses to our calls for World experience—of African ethnomusicology—two areas that are and dance have in treatment, as means to animate both Student News. Your newsletter is metropolis, Surabaya, one of the busiest port cities Decolonizing ethnomusicology, as the following on what it means to bring decolonizing knowledges funding. The responses you will find funding, here we can ponder issues spent developing this publication has during my tenure. From research funding to researcher offerings to at least acknowledge divergent paths. For pleased to introduce four new staff concepts for the study of music, side of the coin—music education has been problematized and submission, and we look forward Americans working within these attracting a growing number of new body and creative spirit, to survive trauma. Do we pay simply brilliant, and I have been on the Marine Silk Road, and about two hours east voices advocate, is as pressing a concern and project and praxes into the spaces we negotiate on a daily in this volume from scholars and to consider in your search. made significant strides in voicing health, labor issues to publication, and interdisciplinary many, myself included, the academic job is indeed the contributors— Eugenia Siegel how many of us aim to hone our as a field—could also benefit from defended, substituted and to continued engagement with communities. This nuanced and old scholars while also serving to build our equal attention to the fact that sound can inflict pain? enlightened and inspired by is the horseshoe of coastal East Java towns that I also students raise varied questions from student concerns within, and indeed as it has ever been—(post)colonialism and its legacies basis. approaches to music studies, we have focused on the aspiration, but the reality remains that those elusive and Conte (Wesleyan University), Kyle teaching skills as much as our better approaches to “world music,” accepted; here, our contributors both student and professional understanding of diaspora lends interdisciplinary capacity. I am also eager to see whether contributors to Too often students (and scholars) rereading past issues. I write with a few reflections want to visit. Malang is surrounded by mountains, the the logistics of funding to the broader beyond, SEM. Her attention to pervade our daily lives, from the classroom to the In addition to contributions submitted in issues students feel are most pressing. In some ways, this limited posts at institutions are increasingly difficult to DeCoste (alumnus of Tulane research skills? While scholarship is as not just a token selection for engage with the issues and current ethnomusicologists. For this agency to the community and I will be interested to see how those who write this newsletter will write about the potential cross talk become overwhelmed and feel implications of academic budget cuts. potentially belittled by the process of detail, level of professionalism, and on “fieldwork,” riffing a bit more personally on some most well-known of which are Bromo and Semero. (I field, wherever that may be. response to our call for submissions, this issue of SEM volume revisits many of the themes we have already land and many of us find ourself in “alternative” work. University), Brett Gallo (alumnus of often the main agenda for most concert, but a complimentary trends of diaspora music studies, volume, the discussion on avoids resorting to broad labels or about these issues will speak about the assumptions that between the two themes. The emotions that listening From choosing a program of study rejection. But, as you will read in the long hours spent making SEM of the themes from my last “President’s Column” have been told that the city has also been a repository Our initial call invited critical discussion of Student News features two cross-publications from covered but with reflection on the growing concerns over For some, the “alternative” paths are or would be the Tufts University), and Simran Singh ethnomusicologists, most of us end pedagogical approach to teaching broadly defined, and you will find diaspora took many forms and outsider assumptions. Many of frame our work in each of these areas. Will they address invokes, the expansion of sensory intensity (in trance, for based on financial packages to Dear SEM column, Dr. Anthony Student News what it is are a for the SEM Newsletter: “Notes from the Field ~ The for convicts and ne’er-do-wells due to the difficulty ethnomusicology as a field and practice, asking a special issue of Ethnomusicology Review/Sounding the current job market for ethnomusicology graduates. goal, if they were presented as valid and valued. (Royal Holloway, University of up in some form of educational music. a variety of problems, solutions, each editorial brings to light the thoughts shared in this the additional skills and knowledge we must acquire to instance), and the entrainment of bodies in performance considering student debt and family Seeger suggests thinking of the process testament to her four years of Ethnomusicologist’s Rite of Return” (Rasmussen of mountain travel to and from the destination, In the following columns and editorials you will find The larger point here is not to only discuss possible London)—whose first contributions setting where teaching is the bulk of and case studies that deal with questions regarding both volume center on this idea of do such scholarship, for instance, or the methodologies —all are topics in cognitive ethnomusicology that cross service. As the incoming editor, I bid contributors to draw attention to the significance Board dedicated to the Pulse nightclub shooting in We hope this volume truly speaks concerns, funding is a complicated as casting many fishing lines. A huge 2017). and thus has a character of multiculturalism and advice and discussions on the ever-growing issue of solutions to the job market crunch, but to think about the can be found below. Their unique our work. Many of us will rely on such ideas. As a researcher whose communities’ positions as well as self-identification and the might we need to develop? Will they call into question over to medical ethnomusicology. a hearty thanks to Lauren for her of diversity in perspectives and representation. Orlando, Florida. Their issue features a range of beyond borders and opens up matter. Though this is a topic of number of lines may be cast, but once contingent labor within academic and public sector ways these labels inadvertently divide our career perspectives are a nice addition to “on the job” training through primary focus has not been on the researchers’ positions understanding of complex some of the broad assumptions that frame mainstream Congratulations to the staff of SEM Student News patience and trust in me to take over Malang, historically encompassed in the independent resistance.) One might compare Furthermore, it encouraged reflexive critique of reflections on the tragedy and its implications for our conversations for us all to be better discussion among peers, we rarely the “big one” comes in, it makes up work. However, this volume deals as much with the job aspirations and limit our options. We hope that this our staff. Welcome to you all! graduate teaching or paying our disaporic communities in the concerning “diasporic” identity. emotional, cultural, and scientific approaches? In my own work, I’ve often had to for creating such a dynamic publication. Thanks for find ourselves engaged with the idea for the fatigue and disappointment. the reins of this important canon for Kanjuruhan and Singhasari Kingdoms, beginning in Malang to Boston, for its universities, to Australia our positions, roles, actions, responsibilities, and work as ethnomusicologists. Likewise, Ethnomusicology scholars, students, and teachers. * the students of SEM. * market as it does the need to reconsider how we volume can begin discussion anew to reconsider our field dues in adjunct life. This volume traditional sense—peoples This volume’s cover image is a historical processes. * question what I assume “health” is. Indigenous teachers bringing these two themes together. * of funding as a part of coursework. We hope this issue is full of useful the 8th century, and later subsumed by the Majapahit for its legacy of prisoner exile, and to New England relationships within the communities where we are Review/Sounding Board includes three SEM Student For this volume, we focused on the approach the training of ethnomusicologists, and our says we can do better. We should do By Justin R. Hunter displaced from a “homeland” but prime example. The Mardi Gras —along with most in our discipline—emphasize that Many programs may discuss the thoughts to consider while you begin, By Justin R Hunter (University of Kingdom and then by the Mataram Sultanate, or Washington for its hillside orchards. I compare continued on next page . . . trajectories between music By Justin R. Hunter (University of By Dr. Beverley Diamond (Memorial University) engaged as graduate students and ethnomusicologists. News editorials on decolonizing ethnomusicology. We conceptions for what we can do with our interdisciplinary better. We feature a conversation (University of Arkansas) retaining (or not) cultural ties to Indian traditions in New Orleans health is not just individual but also social, that it has to “how to’s” of grant writing, but or continue, to cast your lines. Hawai‘i at Mānoa) eventually came under control of the East India Hawai‘i at Mānoa) continued on next page . . . continued on next page . . . Society for Ethnomusicology © 1! Society for Ethnomusicology © 1 Society for Ethnomusicology © !1 Society for Ethnomusicology © !1 Society for Ethnomusicology © #1 Society for Ethnomusicology © 1 Society for Ethnomusicology © 1

SEM{STUDENTNEWS} SEM{STUDENTNEWS} SEM{STUDENTNEWS} SEM{STUDENTNEWS} SEM{STUDENTNEWS} SEM{STUDENTNEWS} SEM{STUDENTNEWS} The Society for An initiative of the An initiative of the An initiative of the An initiative of the An initiative of the An initiative of the Ethnomusicology’s Student Concerns Student Concerns Student Concerns Student Concerns Student Concerns Student Concerns Committee of the Committee of the Committee of the Committee of the Committee of the Committee of the only publication run IN THIS ISSUE IN THIS ISSUE by students, for Society for Society for IN THIS ISSUE Society for Society for Society for Society for IN THIS ISSUE IN THIS ISSUE students. Ethnomusicology Ethnomusicology Ethnomusicology Ethnomusicology Ethnomusicology IN THIS ISSUE Ethnomusicology IN THIS ISSUE Welcome! Welcome! Welcome! Welcome! Letter from the Editor 1 Welcome! Letter from the Staff 1 Letter from the Editor 1 Welcome! Letter From The Editor 1 Ethnomusicology + Inter/disciplinarity SCC Update 2 Letter from the Editor 1 SCC Update 2 Letter From The Staff 1 Letter From The President Of SEM 2 SCC Update 2 SCC Update 2 The State of the Field 3 Letter From The Editor 2 Letter From The Presidents Of The SCC 3 Letter from the President 1 Digital Ethnomusicology Community News 3 Upcoming Conferences 2 Community News 3 Econ 101 4 Student Union Update 3 The Limits of Digital Ethnography in a Lo-Fi World 3 SCC Update 3 SEM Student News The State of the Field 4 Speaking Out On Student Health Community News 3 Chapter Updates 4 Applied + Activist Ethno The Lowdown on Student Labor 1 | Fall 2010 Volume Conferences 5 The State of the Field 4 Dear SEM 7 Boosting Productivity by Stopping to Smell the Roses 4 RedeÞning ÒAppliedÓ Ethnomusicology 4 Privatizing the Public University 5 Student Issues: Publishing A Word From The Pacific Review Of Ethnomusicology 5 Dear SEM 6 The State of the Field 5 Dear Little Man 5 Feature: Historical Ethnomusicology 6 Online Bodies: Education + Social Media A Community of Writers 5 Working the Private Sector 7 Job Seeking Outside Academia 8 Dear SEM 8 Paper Labor: A Guide To First Publications 7 Getting To Know Each Other: Three Student Profiles 6 The Rise of the MOOC 10 The State of the Field 6 Facing Health Crises 10 Article: Contemplating Historical Ethnomusicology 9 Dear SEM 7 The Job Market Feature: Intellectual Property Recent Student Publications 11 Volume 7 | Fall/Winter 2013 Volume Material Student Bodies in a Digitized Academic World 11 5 | Fall/Winter 2012 Volume 3 | Fall/Winter 2011 Volume Ethnomusicology, Jazz Education + Record Production 9 Changing Dynamics through Trauma 10 Connecting Ethnomusicologists 13 Responsibility and the Ethnomusicologist 8 What’s in a Job Application, Anyway? 9 SEM Student News Introduction 9 Call For Submissions 11 Conceptualizing Global Music Education 11 Conßicted Bodies 11 Getting To Know Each Other: Three Student Profiles 9 Our Staff 12 Digital Technologies and Music 14 Working in the Applied Sector 10 Dear Icon Formerly Known as Little Man 10 now has a Expanding the Reach of Ethnomusicology 12 Join your peers by Join your peers by Ethnomusicologizing While “Disabled” 11 Want to stay in the Want to stay in the Facebook page! Staff Editorial: Debating IP Issues Within SEM 13

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Join your our updates and ‘liking’ us on the latest updates Organizations + Resources 17 the latest updates peers by ‘liking’ us peers by ‘liking’ us Getting to Know Your SEM 14 Our Staff 17 calls for Our Staff 18 Facebook and get and calls for and calls for on Facebook, and Our Staff 16 on Facebook, and Getting to Know Your Council + Reps 15 Our Staff 18 submissions, and the latest updates submissions! Our Staff 21 submissions! get the latest get the latest Our Staff 16 become part of the Our First Issue! and calls for updates and calls updates and calls larger student a letter from the editor submissions! for submissions! for submissions! community! By Lauren E. Sweetman (New York University) Sites of Convergence Speaking Out On Student Health I am excited to say it (so read it out ethnomusicology and related musical expression. Here we see not Disciplinarity and Interdisciplinarity in The Labor Issue: Answering Your Calls Welcome Back! loud!): these are the Þrst words of the disciplines to share their stories. We only the passion that has long driven a letter from the editor and against the stigma of seeking help Being a ______Ethnomusicologist a letter from the staff a letter from the staff Þrst issue of SEMÕs new student want to provide our immense, often us, but also the interdisciplinary Ethnomusicology newsletter! This particular moment disconnected community with a nature of music research to which we a letter from the president of sem Welcome, dear readers, to the sixth Or at least a semi-luddite, who owns Auckland, Aotearoa New Zealand Welcome to the Þfth issue of SEM about our health in professional scholars-to-be. And this fear is choosing our adjectives volume of SEM Student News, an iPhone 3G with outdated apps and working on this volume with Student News! As we enter our third settings, with the exception of, as heightened especially when facing Welcome to the second issue of Regardless of where you are in contributions will further the marks a beginning of something, and chance to get to know each other, a all can relate. The choice of interdisciplinarity as anthropologists concerned with study of a set of natural-kind devoted to the topic “digital and who doesn’t sync anything (the contributors spanning from here to year of publication, we wanted to Prof. Ellen Koskoff writes in our mental health issues, leading to a Welcome to the fourth volume of and social engagement is one I our research, but also strengthens Greetings! Welcome to the third what we will do with our 12:30pm. Let us know what you’d SEM Student News! We hope you your grad school trek, this issue dialogue already taking place in beginnings are powerful. I grappled place to articulate our comings and the theme of this issue of SEM music as a cultural phenomenon things-in-the-world (such as ethnomusicology.” To begin, a few cloud freaks me out). I’m a moderate Hawai‘i to Arkansas to England to start it off by breaking the silence on Dear SEM column, the host of untreated, overwhelmed, SEM Student News. In this issue, constantly face in both my it? volume of SEM Student News, ethnomusicology degrees, and how like to see in our future pages, and are all able to enjoy some rest and aims to equip you with interesting our listservs, seminars, grad with various ways to say hello, to goings, and a platform to voice the At SEM Student News, we ultimately welcome you, to invite you in to what debates and tensions we encounter. work for you. Please feel free to send Student News usefully returns a were an important driving force in invertebrates or stars or minds) but questions: What kinds of spaces do Facebooker, and I do depend on the Bali. So when I consider my own a pressing issue affecting us all: our legendaryÒethno street credÓ gained unsupported students whose work we highlight the subÞelds of professional and personal lives. devoted to an issue on all of our we will do it. learn how you can be a part of the relaxation after a long academic and helpful discussions in response lounges, and pubs. So enjoy the longstanding concern of our Þeld the foundation of our Þeld. But rather as a group of people you converge in? Where do you Internet for my daily routine—e- sites of convergence, this newsletter health. from surviving a life-threatening and lives would beneÞt greatly if minds: work. As we gear up for team. Not going to SEM? Send us is, for us, an undeniable labor of love. We hope to arm you with information us your input, ideas, and comments applied and activist Colleagues often ask me why I Many of our teachers and mentors year. To recent graduates, to two current concerns of the newsletter—and let us know what to the spotlight of critical ethnomusicology’s history has working in concord or conßict to loiter? Where are your sites of mails, Young and the Restless is forefront on my mind. As a infectious disease while in the Þeld. they accessed the help available to SEM’s annual conference in In this issue, youÕll Þnd critical an email or post on our Facebook Such labor, however, often includes and updates, or, in a word, news: via email, and join our Facebook ethnomusicology, questioning how bother with all the ethics reviews, are conducting community-based, admittees, comps-completers, and student community: intellectual you think! attention. From ethnomusicology’s always been more complex and far try to grapple with some facet of interaction, contemplation, and updates (don’t judge), hockey scores, publication only available online, From malaria to sleep deprivation to them. What results from the stigmas our work as scholars can be community meetings, and collaborative research and writing Philadelphia, we invite our discussions of the economy and page. We look forward to hearing moments of stress and frustration that news of your peers, news of events, group. We want to use this newsletter procrastination? Is it in a grad whose calls for submissions and chronic stress to addiction to Why is this? Perhaps our health is attached to seeking help is an grad school survivors, we offer our property and student publishing. founding in the early twentieth ranging than that, with scholars existence. Why, for example, are guitar tabs, the Māori online connected to the broader social, collaborative editing. Community that speciÞcally seeks to address colleagues to think about their student labor, as well as job market from you! perhaps reßect our more general news of experiences. as an opportunity for students to lounge, a coffee shop, a friend’s dictionary, and the sea of online announcements happen largely over performance-based injuries to deemed too private and personal an academic culture where our health heartfelt congratulations. To those We are excited to share with you Send us your feedback, comments, century through the nineteen- from a wide array of backgrounds sociology (the study, perhaps, of educational, and research members often ask me why my this question. And yet, so many connections to each other, SEM, advice from our mentors and peers student existence. But this existence is publish and speak to each other, for eighties at least, it had been a making contributions to our society) and anthropology (the basement, a kitchen? And while in academic literature that makes up a the SEM listservs and Facebook, it maternity leave, our work as issue for the public setting of our often takes a backseat to the and the Þeld as a whole. geared to help you navigate and Warmest Regards, still slogging through readings, the following pages, which feature ideas, and concerns to our what we have in common, what we Each issue will include a variety of students to experiment with forms, these locales, are you also in another makes immediately visible the ethnomusicologists both affects and institutions, to be dealt with largely demands and ambitions of our communities in which we Þnd work should matter to them, what times we hear how experimental truism that our Þeld operates at literature, and that is even more study of humanity) different substantial part of ABD life as I gear plan your future careers. The SEM{StudentNews} Team papers, and summer programs, we editorial articles written by our Facebook page or email us at can all share. So please join us, as articles, interviews, and updates of ideas, and opinions that may not Þt world, a digital world, consuming, up to write my dissertation. And if inßuence of the digital world in our is affected by our health in profound on our own. Many of us may fear professional lives. That is, as you will ourselves. As a medical greater purpose I can serve, and writing, social engagement, or the intersection of anthropology true today. The interdisciplinarity disciplines? It is certainly not As many of us begin to consider [email protected] wish you sleep, caffeine, and peers as well as the advice of our [email protected] so celebrators and empathizers, as conferences, publications, and other neatly into other publications at this uploading, downloading, or wading my research were about the Internet? academic work. professional and personal ways. And that turning to our mentors, student hear from the contributors in this ethnomusicologist researching what results I can guarantee. How public scholarship had to wait until students and colleagues, as we begin pertinent materials. Each issue will be point in our careers. So let us know and musicology. In some at the origin of our Þeld helps us because “society” and “humanity” through the likes of Facebook, I can only imagine how the hours yet, though most of can easily name health centers, counseling services, or volume, until something happens indigenous health and an activist can we reconcile these two often- they were post-dissertation, post- our futures outside of graduate At SEM Student News, we value humor. And to those of you in the senior colleagues. We have we can continue to expand the important ways, this is not to remember a fact that scholars are cleanly separable phenomena YouTube, JSTOR, or Soundcloud? I spent digitally would multiply. And as I begin to think of life post- a number of colleagues, mentors, or disability services for health advice that is impossible to ignore. working in educational opposing positions, and foster a job, post-book, post-tenure, post-I- school, the recent effects of a your voice. Come meet our staff at Þeld, we wish you safe and expanded our content conversation among students in this endeavor together in the devoted to a particular Þeld or theme what you think! In letters, prose, inaccurate. Conversations between from other areas often have to that require distinct methods of have to admit that by modern PhD and prepare to enter the job friends in our Þeld whose health has will damage our reputation as documentary media, the productive and meaningful have-already-proven-myself-as-an- downtrodden and transforming the Student Concerns Committee productive journeys! considerably since our last issue; it ethnomusicology. following pages. in ethnomusicology. This issue, poetry, articles, or however else you musicologists interested in non- work hard to understand: a study and therefore distinct standards I may be a bit of a luddite. As I write now, I am Òin the ÞeldÓ in market, I am ßooded with questions become an issue, we seldom talk intellectual, capable, savvy, with-it continued on next page... relationship between academics dialogue that not only facilitates continued on next page... economy have led us to question meeting on Thursday, Nov. 17 at is our hope that these focused on historical express yourself, we welcome you. Western musics and discipline is not best deÞned as the continued on next page... In this newsletter, we strive to create a ethnomusicology, invites us to begin forum for students in by looking back into the richness of

Society for Ethnomusicology © 1 Society for Ethnomusicology © 1 Society for Ethnomusicology © 1 Society for Ethnomusicology © 1 Society for Ethnomusicology © 1 Society for Ethnomusicology © 1 Society for Ethnomusicology © 1

Society for Ethnomusicology © 17 Sounds and Subjects ethnomusicology and its relation to sound studies

By Jon E. Bullock (University of Chicago)

The Amna Suraka museum the past few decades. And they In his book The Audible in Sulaimani, Iraqi Kurdistan, have generally promoted the Past, preeminent sound studies is dedicated to preserving the three principles underlying sound scholar Jonathan Sterne (2003) memory of the Ba’ath regime’s studies, as defined by literary suggests that “the history of crimes against Kurdish civilians scholar Bruce R. Smith (2002): sound must move beyond and the 182,000 Kurds who died that “sound has been neglected recovering experience to during the Anfal genocide in the as an object of study,” that interrogating the conditions late 1980s and early 1990s. In the “sound offers a fundamentally under which that experience Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol.

} portion of the museum dedicated different knowledge of the became possible in the first to honoring the Kurdish freedom world than vision,” and that place” (28). There can hardly be fighters (Peshmerga), there is a “most academic disciplines an assertion closer to the basic glass display containing an old remain vision-based, not only tenets underlying much of what Philips shortwave radio, along in the materials they study, but we do as ethnomusicologists, with the following inscription in in the theoretical models they even though the field’s association Kurdish and in English: “Here is deploy to interpret them” (309). with sound studies can be traced STUDENTNEWS { the voice of Kurdistan’s people. We might ask ourselves how much further back in history to Here is the voice of Kurdistan’s these principles affect the ways the works of Murray Schafer and

SEM revolution. Here is the voice of ethnomusicologists already view Steven Feld. And certainly the Kurdistan. The station, the pigeon the world, or how they might association with sound studies pact delivering us the revolution contribute to contemporary has been a mostly positive news, both from the mountain ethnomusicological scholarship. one, culminating in Deborah and the town, The lovely guest Wong’s insistence in 2014 that who [was] always welcomed.” “if ethnomusicologists want our Within a few meters on either But given the infiltration work to matter, we must de-link side of this display, there are also of sound studies into so (not rescue) our work from music exhibits containing a violin that as a historical and ideological belonged to one of the Peshmerga much contemporary construct” (348). fighters and seven Peshmerga J. Martin Daughtry’s 2015 tunes transcribed into Western scholarly work, we might book, Listening to War: Sound, notation. Although these exhibits also ask ourselves . . . what Music, Trauma, and Survival in are dedicated to the sounds that Wartime Iraq, is an example of encouraged the Kurdish people ethnomusicologists might an ethnomusicological project and supplied them with news of indebted to sound studies. In his their loved ones and the Ba’ath be able to contribute to book, Daughtry examines the army units during the war, these complex sounding and listening the area of sound studies. sonic objects are now surrounded practices of those in and around by an ironic, almost eerie, silence. Baghdad during the US-led The message of these But given the infiltration of invasion and occupation of Iraq objects, and one that increasingly sound studies into so much beginning in 2003. He examines resonates within our discipline contemporary scholarly work, we the uniqueness of these practices and so many others, is that might also ask ourselves where as they are enacted during both sounds and silence matter. these principles might fall short, modern warfare, and his analyses Naturally, ethnomusicologists or what ethnomusicologists might of “belliphonic” (3) phenomena have taken a special interest in be able to contribute to the area will no doubt prove seminal for auditory or sound studies over of sound studies. continued on next page . . .

Society for Ethnomusicology © 18 Sounds and Subjects . . . continued scholars interested in the ways one that also forms the core diverse ethnic groups, including that war adds to and forever performative element of mawlid Kurds, or its religious factions. alters not only the adjacent celebrations, held in honor of As I have already soundscapes but also the lives the Prophet’s birthday, and maintained, sounds do matter. of those involved in or affected other important events, which But so do subjectivities. If the by war. Perhaps the greatest are dedicated to honoring the current strength of film and contribution of Daughtry’s work Prophet and his virtues for the media studies is found in its in this area is the creation of new majority of Muslims who attend “convergence of sound and paradigms by which he maps “the them. Although nasheed certainly screen” (Hilmes 2008, 115), the zones of wartime (in)audition” have been used to extremist ends strength of ethnomusicology Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol.

} (76) and his description of the in various locales since the 1970s resides in its convergence of various “structures of listening, (Said 2012, 865), they also form sound and subject. And if science sounding, and emplacement” (119) an important part of the broader and technology studies offer that characterized belliphonic “ethical project” that Charles a “focus on the materiality of practices during “Operation Iraqi Hirschkind (2006) has argued sound, its embeddedness not Freedom.” is “shaping the contemporary only in history, society, and Daughtry’s work also moral and political landscape of culture, but also in science and STUDENTNEWS { illustrates what seem to be the the Middle East” (2–5, 128). The technology and its machines and limits of sound studies, a sort message here is one that Jonathan ways of knowing and interacting”

SEM of intellectual metonymy in Stock has argued elsewhere, that (Pinch and Bijsterveld 2004, which the thing related (sound) “many of these essential parts of 636), ethnomusicology offers an comes to stand for the thing the whole complex that is music understanding of sound whose itself (culturally and historically in any concrete setting are not meaning is reliant upon and yet influenced perceptions and immanent in the sonic material transcends its own materiality. interpretations of sound). For itself” (2004, 19). In other words, In conclusion, even as we example, at one point, Daughtry sound alone does not always continue to learn from sound refers to nasheed, a genre of sung highlight the differences inherent and other sensory studies and poetry honoring the Prophet among particular genres, or to incorporate these approaches Muhammed, as “jihadist music” among groups as varied as “Iraqi into our own work, let us also (268). Unfortunately, such a terse citizens,” in whose case sound remember the lessons our own reference, even when made in alone might actually leave little field has taught us, and let us not passing, might cause readers to room for the various subjectivities forget that we too have something

misjudge this particular genre, that characterize the nation’s to offer.■

References Stock, Jonathan P.J. 2004. “Documenting the Musical Event: Observation, Participation, Representation.” In Empirical Musicology: Aims, Methods, Prospects, edited by Eric Clarke and Nicholas Cook, 15–34. Oxford: Oxford University Press. Daughtry, J. Martin. 2015. Listening to War: Sound, Music, Trauma, and Survival in Wartime Iraq. Oxford: Oxford University Press. Hilmes, Michele. 2008. “Foregrounding Sound: New (And Old) Directions in Sound Studies.” Cinema Journal 48 (1): 115–17. Hirschkind, Charles. 2006. The Ethical Soundscape: Cassette Sermons and Islamic Counterpublics. New York: Columbia University Press. Pinch, Trevor, and Karin Bijsterveld. 2004. “Sound Studies: New Technologies and Music.” Social Studies of Science 34 (5): 635–48. Said, Behnam. 2012. “Hymns (Nasheeds): A Contribution to the Study of the Jihadist Culture.” Studies in Conflict and Terrorism 35 (12): 863–79. Smith, Bruce R. 2002. “How Sound is Sound History? A Response to Mark Smith.” The Journal of the Historical Society 2 (3–4): 307–15. Sterne, Jonathan. 2003. The Audible Past: Cultural Origins of Sound Reproduction. Durham, NC: Duke University Press. Wong, Deborah. 2014. “Sound, Silence, Music: Power.” Ethnomusicology 58 (2): 347–53.

Society for Ethnomusicology © 19 Are We Human, or are We Scholars? diagnostic bodies of sound and sensory studies

By Eugenia Siegel Conte (University of California, Santa Barbara)

Are we human, or are we dancer? My sign is vital, my hands are cold. And I’m on my knees looking for the answer— are we human, or are we dancer? - “Human,” The Killers (2008)

Sound and sensory studies asks more from us as scholars. We must know the burgeoning scholarship in this (relatively) new field, from R. Murray Schafer to the present. We must reconfigure culturally inculcated Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol.

} notions of music versus sound versus noise, touch versus feel, scent versus stench; relearn how to listen and feel with our new, intellectually-honed senses. And, we must reconsider ourselves— As we tap our bodies and body and mind—as diagnostic instruments, capable of nuanced minds for experiential layers measurements. Rather than individual “data points,” we experience that overlap, we find that input that we must interpret as the imbrication of self, external factors, embodied physicality, and individualized sequences of our perceptions—physical STUDENTNEWS { memory and cultural context. And then we are charged with asking and mental—are inexorably interlocutors about their experiences, writing these down alongside linked to our training in ways SEM our own understandings, and theorizing in the margins around overlapping experiential memories. As we tap our bodies and minds that may feel as if we are for experiential layers that overlap (Daughtry 2017), we find that our being drawn away from perceptions—physical and mental—are inexorably linked to our “normal” human experience. training in ways that may feel as if we are being drawn away from “normal” human experience. This process presents several challenges, some of which are ordinary to academic training (knowledge of scholarship or fieldwork methods, for example). Other hurdles require a personalized retraining process of the body and the mind. In order to apprehend “sound knowledge,” which Deborah Kapchan (2017) describes as “a nondiscursive form of affective transmission resulting from acts of listening” (2), scholars must be aware not only of the sonic properties of the event but also cognizant of the affective space it creates in us. They (or we) must be able to access and contextualize that affective response later. This could easily be expanded to include other forms of what might be termed “sensory knowledge,” after Kapchan, including the affective spaces afforded by smell, taste, touch, and vision, as well as hearing. We must act as their own affective recording equipment, knowing ourselves well But, in learning this skill, we enough to recognize myriad affective responses and to disentangle may be removing ourselves overly-personalized responses from more culturally recognizable from the immediacy of affect. But, in learning this skill, we may be removing ourselves from the immediacy of experience and from the experience of those experience and from the around us—and privileging a specific kind of entrained multi- experience of those around engagement that simply does not apply to everyone. In October 2017, I sang as an alto in a professional pick-up choir us—and privileging a specific performing the Mozart Requiem with the Santa Barbara Symphony kind of entrained multi- Orchestra. I had spent the 2016–2017 academic year thinking deeply about choral music—my area of study—and how it interacts with engagement that simply architectural space and embodied vocality, but I had not sung at does not apply to everyone. all during that time. Walking back into a rehearsal room felt like a

continued on next page . . .

Society for Ethnomusicology © 20 Are We Human, or are We Scholars? . . . continued familiar exercise, though routine physicalities—like holding a choir folder, wearing a pencil behind my ear, and compulsively numbering each measure during rehearsal downtime—gave me more pleasure than they ever had before my hiatus. As we rehearsed, I became aware of several internal monologues running concurrently, dividing my attention between the logistical (“The sopranos are a little sharp, and the alto tone is too dark. I’d better make my tone brighter . . .”), the political (“I wonder if everyone is being paid the same amount?”), the immediate physical (“WHOOPS! *thud* This chair is impossible to sit forward in without tipping it over! How can I sit up straight?”), the analytical (“The conductor is using the word ‘sweet’ here to describe the desired sound of female voices—is this a gendered terminology to describe timbral shifts?”), the room’s acoustics (“This tray ceiling is pretty, but it’s dulling and darkening our sound—and what IS that incessant hum? Is that the lights?”), and any number of additional layers of experience complicated and

Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol. As much as I felt like a scholar

} enriched by my background as a scholar and singer. All of these seem like a relatively normal set of thoughts during these rehearsals, these for any singer to have throughout a rehearsal. However, my heightened meta-awareness of these multiple dialogues was scholarly concurrences provided a new twist on a familiar experience. The bittersweetness of meta-experiential awareness shocked me; a vertiginous new layers of engagement, experience that forced me to inquire if I was still capable of STUDENTNEWS { fully participating without concurrently recording affective reminding me of my genuine responses, clocking each physical nuance, monitoring language

SEM and tone, and noting how I and others around me redirected enthusiasm for the processes of our behaviors in reaction to each other. However, heightened rehearsal and performance. awareness of overlapping processes was exhilarating—which added yet another layer of imbricated affective response. As much as I felt like a scholar during these rehearsals, these scholarly concurrences provided new layers of engagement, reminding me of my genuine enthusiasm for the processes of rehearsal and performance. On top

of all the layers, I was simply another person enthralled, sensing the sound and space around me. ■

References Daughtry, Martin J. 2017. “Acoustic Palimpsests.” In Theorizing Sound Writing, edited by Deborah Kapchan, 46–85. Middletown, CT: Wesleyan University Press. Kapchan, Deborah. 2017. “The Splash of Icarus: Theorizing Sound Writing/Writing Sound Theory.” In Theorizing Sound Writing, edited by Deborah Kapchan, 1–22. Middletown, CT: Wesleyan University Press. The Killers. 2008. “Human.” Track 2 on Day and Age. Island Records. CD.

If you would like to write an article in response to this or a previous issue of SEM Student News, or something else in the world of ethnomusicology, please contact the editor at [email protected] to discuss your ideas.

Society for Ethnomusicology © 21 SEM{STUDENTNEWS} Vol. 13, No. 2 | Fall/Winter 2017 Society for © Ethnomusicology Youtube channel. the recorded conversation. You can *This interview transcription hasbeenedited, revised, andcondensed,thusdoesnot reflect strictly normalized understanding ofmusic:(1)music where soundstudieshaschallenged thefamiliar, music asthispredetermined objectofstudy. that onbutsquarely within thelegacy that upholds The premise of ethnomusicology was totake a lotof unmediated experience ofcomposing andlistening. art musicinnotatedscores andthesupposedly from sound,starting with theprivileging of Western intellectual legacy offetishizing musicasa thing apart baggage ofmusicstudies,the suspicious oftheinstitutional but I would say thefield itselfis much soundstudiesresearch, Certainly musicistheobjectof field, anditemerged that way. inherently interdisciplinary couple ofdecadesandisan which developed inthepast different from soundstudies back very far, andthat’s quite humanities. That legacy goes departments ofmusicinthe science within theseestablished and itemerged asa social is a field withinmusicstudies, to firststartoff by recognizing thatethnomusicology some ofustake thatfor granted,andsoI would want studies asausefulparadigmfor your research? you tellusalittlebitabouthow you cametosound for thisspecialissueonsoundstudies. Why don’t News Student B By Brendan Kibbee(CityUniversity ofNew York) a conversation withmattsakakeeny* Music Studies andSound rend In theendofmy chapter, Ipointoutthree areas an K ibbee . We’re very happy tohave you here : Welcome, Dr Sakakeeny, to called musicstudies. And Ithink 2015) isthatthere issomething Sound in my chapter of one ofthethingsI was proposing want tothink aboutsoundstudies, M a tt S (Novak andSakakeeny akakeeny : Even before we Keywords in apart fromapart sound. of fetishizing musicasathing theintellectualstudies, legacy baggageofmusic institutional field itselfissuspiciousofthe research, butIwould saythe of muchsoundstudies musicistheobject Certainly listen to Brendan andMatt’s fullconversation SEM SEM a sortofcounter argument,asserting insomesense has beenprivileged within musicstudies. sound bringsabouta defamiliarizing ofmusicasit of torture. Those are allexamples where a focus on muzak ata mallor violently loudmusicasa form has historically attributedtoit,suchasbackground carry thekindsofassociationsthatmusicstudies streaming; and(3) situations where musicdoes not with cylinders and78supintotheMP3era and course mechanically reproduced soundstarting through sheetmusic,pianorolls, andthenof an entry pointfor thecommodificationofsound, soundscapes, andacousticecologies;(2)musicas as contextualized within spatialenvironments, would cometobecalledsoundstudies.But ofcourse, soundscapes, that’s oneearly emergent wing of what of Murray Schaefer andSteven Feld dealing with studies. But infact,if we look at,say, thelineage sound studiesgrew upautonomously from music MS: were theinstitutionalfactorsat play? ethnomusicologists cametosoundstudies? What BK: Can you talk alittlebitabout how Ithink thequestionsortofpresumes that But thetensioninbook isthat we alsooffer more productively engage? is soundstudies?How can we ismusicstudies? What What ismusic? What issound? What studies doessoattheir peril. discards thelegacy ofmusic that a soundstudiesthatsimply this legacy. Ithink we’re arguing and justcalling itsoundignores music asa kindof further, andthatapproaching going back toPythagoras and with soundfor two millennia, been dealing andgrappling that musicstudieshasactually on continued on next page . . SEM Student News’SEM Student tabula rasa

22 SEM{STUDENTNEWS} Vol. 13, No. 2 | Fall/Winter 2017 Society for © Ethnomusicology the practiceof music-making, what are we missing?” performance, andphenomenologicalexperience, and asking, “If we’re privileging thisnotionofmusical MS: needed atthatparticular time? Ochoa andothers. Was there areason why it was in the Annual Review of Anthropology from Ana interest group at thearticlesthatcomeout AAA, interest group atSEM, themusicandsoundspecial explosion ofactivities: thesoundstudiesspecial BK: work across thoseboundariesor even dissolve them. affiliation inonefield oranother but aretrying to Ana Ochoa,andJonathan Sterne don’t privilege an and peoplelike Feld, and an exchange happening there music studies,becausethere’s arriving fully packaged into corner ofacademia andthen as happening over insome thinking ofsoundstudies little bituncomfortable with be musical.IguessI’m a sounds thatare deemedto those discoursesand as a category thatsubsumes larger reckoning ofsound unmediated environments—a what we think ofasorganicor of face-to-face contactand in recorded form outside mutates through circulation and culturalstudiesofsoundasitdisseminates come from media studies,popular musicstudies, That’s onefoundational example. Others would distinguishes musicandsoundnature andman. to nature thanhispresumed Western ontology that entirely different relational ontology tosoundand acoustemology, after learning thattheKalulihadan of theanthropology ofsound,andthenfurther of to critiqueit.He eventually developed thisnotion working within thedisciplineofethnomusicology foundational dialogues with CharlesKeil, and was Merriam andColin Turnbull, partnered inthese Feld isanethnomusicologist.He studied with Alan . continued Music Studies andSound

There’s this intervention from scholars Around 2009and2010there’s thisbig sound are beingquestioned. boundaries between musicand working inaspacewhere the and disparate, butwe’re all seen ascompletely distinct and theselanguagesare not up atareally exciting time, graduate are students coming Many ofyour colleaguesas others—starting upa soundstudiesinterest group at of graduatestudents—Ben Taussig andBillBoyer and institutionalized? So within SEM,there was a group questions is,at what pointdoesthatbecome old questions. And so,Ithink totheheartof your ask new questions,andtorethink andproblematize example, right? To allow for aninsurgent critique,to expectations of what thesoundof Africa is. That’s an are manipulatedinthestudiotomeetaudience’s music andliterally how thesoundsthemselves record labels,andconsumerssocially construct Feld’s theory ofacoustemology, which atthetime the onehand,I was very deeply invested inSteven sound inthebrassbandparades ofNew Orleans.On an attempttointerpret andanalyze thepoliticsof MS: sound canbepolitical? BK: Can you elaborate[on] how anorientationto questioned. the boundariesbetween music andsoundare being and disparate,but we’re all working ina space where these languages are notseenascompletely distinct students are coming upata really exciting time,and whatsoever. Many of your colleaguesasgraduate Africa, You have, say, a study by LouiseMientjes, My firstmajor essay, “Under theBridge,” was about how engineers,performers, producers, emergence ofsoundstudies the sortofsolidity ofthe institutional spacetorecognize SEM andtrying tocarve outan have norelationship tomusic with forms ofsoundthatmay a spacelike triple A, toengage more possibility, obviously in a life ofitsown becausethere’s Association that was taking on American Anthropological Sound Interest Group atthe others with theMusic and and Danny Fischer andmany Mandy MinksandEllenGrey Dave Novak andultimately studies. And then you have within ethnomusicological continued on next page . . Sound of 23 SEM{STUDENTNEWS} Vol. 13, No. 2 | Fall/Winter 2017 Society for © Ethnomusicology Sakakeeny, Matt.2010. “Under theBridge: An Orientation toSoundscapesinNew Orleans.” Novak, David, andMattSakakeeny. 2015. Meintjes, Louise.2003. References timely question.Daphne Carr, a graduatestudentat Sussman andMartinDaughtry working onthat prisons, and we have SuzanneCusick andDavid being enactedondetaineesin American military sonic andmusicaltorture are forWhen, instance,forms of pressing inthismoment. see itassomething that’s very of musicandsoundto the questionofpolitics attempting tograpple with ethnomusicology that’s really to enclosepeople. environments thatare designed racism inthese very lo-fi urban of questionsaboutanti-black legacy butasking a different set homage toFeld’s intellectual physical embodimentandthrough sound.Paying black Americans totake over publicspacesthrough and politicizedquestionof what doesitmeanfor organize theseparades. An explicitly racialized group of African Americans inNew Orleans who but toa very modern,highly policed,andenclosed that nottoa ruralegalitariansociety like theKaluli experienced inspace.Ontheother hand,Iapplied was explicitly around how soundresonates andis . continued Music Studies andSound contact theeditor at photographic, to audio/video, ormultimediaarticle written Ifyou and otherwise. are interested incontributing aninnovative written, submit duringcallsfor submission,regardless language. oftheirfirst Weinternational participation. encourage interested students inpublishingwithusto insight from from students around theworld andthevaried views thatcomewith NewsSEM Student There’s a sector within Additionally, we welcome andencourage submissionsinavariety offormats, Sound of Africa!: Making Music Zulu in a South African Studio hasawidereadership from around Assuch,we theglobe. value [email protected] going to chooseto tell? What kindofstories are we we shouldbeaskingourselves: whatever intellectual legacies, of musicandsound, engage with,whatever form Whatever we chooseto Keywords inSound . Durham,NC: Duke University Press. legacies, we shouldbeasking ourselves: kindof What form ofmusic and sound, whatever intellectual MS: conversation? BK: Isthere anything else you’d like toaddthe United States. NYU, studying soundasa weapon righthere inthe and outcomesare we working towards?” you know, “what are we doing here?” And, “what goals should belooking inthemirror andasking ourselves, Whatever we choose to engage with,whateverWhateverto choose we . SEM Student NewsSEM Student . Durham,NC: Duke University Press. into their work. So,Ithink this momentandbring it and racismsexism in inequality andneoliberalism bring intimely questionsabout colleagues who’ve beenableto to tell?Ireally respect my stories are we going tochoose to do with thosetools. Allofus question of what are we going me issubsidiary tothelarger we going toaffiliate with,to to useor what disciplinesare methodologies are we going the disciplinary issueof what Ethnomusicology , please 54(1):1–27. ■ 24 SEM{STUDENTNEWS} Vol. 13, No. 2 | Fall/Winter 2017 Society for © Ethnomusicology in rhythm and death,tohotthingsimagined, to hotness expressed inthisscholarship;from hotness The selectedquotationsbelow evince thescopeof reappeared inrecent ethnographiesof African music. uncritical hermeneuticsof difference (63). predisposition toapproach African music with an (2003) diagnosesasthediscursive andanalytical scholarly instantiations—evokes what Kofi Agawu African musicalhotness—inbothitspopular and recent article by MichaelIyanaga (2015). Altogether, of consciousness,” ananalytic deconstructedina hotness as“a culture-pattern carriedbelow thelevel determinism, Waterman, for hispart,theorizes not civilization. Attempting tosteer clear ofracial invader primedtocontaminate white propriety, if whiteness: hotrhythm represented a menacing to typify a racialthreat posedtohegemonic early twentieth century madeuseofthemetaphor of African-American musicalhotnessfrom the 26–27). As Ron Radanocatalogs(2000), depictions relations allowed for successfulhybridization (ibid., musical traditions,religious systems, andrace most notably in American slave communities where Herskovitzian retention, hotrhythm “survived” (ibid., 24). Meeting thetextbook definitionof a of impinging non-Negro groups inbeing ‘hotter’” the music.Negro musicdiffers from themusic ‘hot’; themore exciting therhythms, the‘hotter’ Waterman tellsus,“a compelling rhythm istermed its diaspora. Among “West African tribesmen,” hotness haslong beenassociated with Africa and Rhythm inNegro Music,” themetaphor ofmusical Richard Waterman’s (1948) canonicalessay “Hot concept. through potentialnew directions for thissticky want totake thisopportunity tothink and write ethnomusicological encounters with hotness and ethnographers, we’ve noticeda recent uptick in By Lyndsey Marie(University ofOxford) andIanCopeland(Harvard University) Hotness Revisited Rising from theserhetoricalashes,hotnesshas Perhaps known besttoethnomusicologists via As Africanist music. and African hotness, temperature, conversation about our ongoing real-life written byproduct of followsWhat isthe Sounds hotness inMandemusichismonograph Ryan Skinner (2015)illustratesthemetaphor of traditions: binary ofhotandcoldinhis work onEwe funerary denotative directions for anoft-malignedterm. hot bodies. As we seeit,thisliterature suggests new local aestheticsofhot,sweating bodies: explanation for African popular musicgenre footnotes) tohotnessinhismonographontheSouth Gavin Steingo (2016) gives detailedattention (and their fitness for competition: dancers gesturing totheir own heatasa symbol of Louise Meintjes (2017)evocatively portrays ngoma In her James Burns (2012)speakstothemetaphorical actions ofthecommunity. (157) which mustbecooledoffthrough thecollective In Ewe culture, deathbringsabouta stateofhotness embodied reaction tomusic.Sweat isaninvoluntary sweating is viewed asa bodily expression, an beads ofsweat from their brows. Insuchcontexts with handkerchief inhand,continually wiping kwaito musicisfeatured prominently, peopledance At many South African clubs where thisfaster him indancing.(201) steps, slapping hisback becausenoonecantouch his facebecausethemomentishot,readying his supporting ranks.He isdancing center stage, wiping In a blink,Mbonenihasbroken outofthe dancer. He’s madehispointandheretreats. (114) face andchestina gesture marking thathe’s hotasa erect, upper body assupplea reptile, he wipes his [Zabiwe] rushesout,postures. Kneeling,stick held fires” ( by metaphorsof“boiling” ( louder, faster, andmore energetic—often described accompaniment pattern.(99) vocal injunctionstocooldown andreturn toan instrumental hotnessisnecessarily countered by This is when themusicheatsup( : Dust from theZulu f ɔ li ŋagalendon kwaito ’s varying tempos,hepointsto , itselfhotoffthepress, ). .Before boiling over, this continued on next page . . kwaito f ɔ li wulila . Proffering f ɔ li kalaya ) and“raging Bamako )—gets 25 SEM{STUDENTNEWS} Vol. 13, No. 2 | Fall/Winter 2017 Society for © Ethnomusicology Photo by Lyndsey Marie© Agbahoungba isseenin thethird row playingtrombone. 2016. 30January Figure 1. Africanist ethnomusicology. Yet ethnographic hotness remains a hottopicincontemporary As thesescholarsdemonstrate,themetaphor of sweat as Paraphrasing drummer Nii Otoo Annan, Feld posits chronicles a musicalaestheticsofsweat inGhana. In . continued Hotness Revisited Jazz Cosmopolitanism exhibition ofitspassion,seriousness.(142) the energy andbodily engagement of work, the that sealstheir bond..Sweat, ofcourse,indexes drummer andhisdrums,the workout libation a deepexpression ofthespiritualmerger ofa not tomentionmoistandlubricated.(50–51) attractive—as a signthatthebody isalive and well, relationship with music.Sweat isthusoftenseenas outpouring ofthebody thatemerges through a

Fanfare Voix desAngesdeSodohomeplaysinafuneral caravan inLokossa, Benin.Maxime , Steven Feld (2012)similarly appear inred with theethnographichot.( respective field experiences illustrateour encounters own work. The following shortanecdotesfrom our uncritical trope—an analytical effort we make inour of hotness(es) necessarily troubles “hotrhythm” asan in particular contexts. Acknowledging a multiplicity ethnography enablethinking aboutheat’s immediacy of participantobservation andthe writing of theorizing andRadano’s historiography, themethod of heat.Incontrastto Waterman’s fieldwork-less hotness asmetaphor istheatmosphericexperience particularly evident inSteingo and Feld, implicitin metaphorical totheperceptual domain—asis attention tohotnesshasmoved beyond the while Ian’s appear inblue * continued on next page . . Lyndsey’s reflections . ) 26 SEM{STUDENTNEWS} Vol. 13, No. 2 | Fall/Winter 2017 Society for © Ethnomusicology hot bodies.My informants tellmethattosweat—to local aestheticaround sweat andtheappearanceof producing heat.InBenin,as elsewhere, there isa bodies, instruments,andsounds. the materiality ofheatanditseffects onmusical the tangiblequalitiesoftemperature—in particular, my fieldwork, encourage my analytical attentionto physical enduranceandclimaticconditionsduring instrument performance, andmy own struggle with 1 and2). The difficultconditionssurrounding brass and their designatedcrateofsugary drinks(Figures or water, untilthey finally reach thefuneral reception winds oftheharmattan;playing, without rest or food coughing through tornadoesofdustfueledby the asphalt streets; breathing inair thick with car exhaust; humidity; squinting inthesunlightreflected off caravans: sweating inthesteaming heatand themselves marching for hoursonendinfuneral take placeoutdoors.Brassplayers regularly find fanfare musicians whose performances primarily southern Beninpresents uniquechallenges for of Benin. The tropical, coastalenvironment of study ofamateur brassbands( Lyndsey: . continued Hotness Revisited Figure 2. For one,Iconsider hotbodiesor, rather, bodies My doctoralresearch isanethnographic (Video)

Voix desAngesdeSodohome fanfare ) intheRepublic effects. After all,sometimeshumanbodiescannot heat—a word play thatemphasizesheat’s (in)tangible from coldtohot. around temperature; there isa bodily progression “warming up” ( One canalsothink ofthemusicalpractice bodily exertion, andcoolnessthatofbodily control. of corporeal movement; hotnessisa product of this, onecanconceptualizetemperature asa function practice seeninBeninandelsewhere (Figure 3). Like neck toabsorbsweat andconvey a coolcomposure, a hotness isthestyle ofdraping towels around one’s too also strive tolook cool—onedoesnot want tosweat health, andphysical ability. Yet musicalparticipants embody heat,toshow hotness—istoshow strength, been “worked already,” Maximeclaimed;replete dust toenter their body. Air inurbancitieshas deeply, inviting a wealth ofpollution,exhaust, and he said,a brassmusicianbreathes actively and arduous parades through thestreets ofCotonou, heat canbothsurround andpenetrate.During long, Trombonist Maxime Agbahoungba suggested that heat exposure, andfatigueare par for thecourse. fanfare musicians,ailmentssuchasdehydration, choice buttoacquiescetheir environment. For manage (or afford) climatecontrol, leaving themno much. An example ofthedesire tocontrol bodily Hot bodiescanberefashioned asbodiesin le chauffement Photo by Lyndsey Marie© 2016. 27 February candidate LionelZinsou. rally for thepresidential for localpoliticians ata Figure 3. continued on next page . . ) aseffectively a regiment Afanfare plays 27 SEM{STUDENTNEWS} Vol. 13, No. 2 | Fall/Winter 2017 Society for © Ethnomusicology and condomdemonstrations, allsettoa pulsating intercut with Americans leading classroom lessons of clapping anddancing Malawian schoolchildren organization’s YouTube profile teems withscenes original decisiontomake the trip toMalawi. One canard ofmusic’s universality—as a factor intheir both canny NGO marketing andthe romantic cite theallure of African music—inculcated through in anunfamiliar place.During interviews, many goals of servicetounfamiliar peopleandadventure that perfectly encapsulatestheseindividuals’ dual European voluntourists—a felicitous portmanteau curricula, Iregularly encounter American and international aidorganizationsandtheir musical West African stomping grounds. Infocusing on Southern African nation-statefar from Lyndsey’s shape humanitarianencountersinMalawi, a Ian: musical soundandpitch. wind speed,andother atmosphericconditions on research ontheinfluence of temperature, humidity, observation points toprofitable directions inmusic deterioration, andcompromised intonation. This heat, then,manifests ininstrumentsasmalfunction, ascends in warm temperatures. The materiality of instruments descendsincoldtemperatures and intonation ofbrassinstruments:thepitch temperature, too,hasa significantinfluence onthe substances like palmoil,peanutandpetrol. Air who improvise ineffectual valve lubricants withlocal the more troublesome for Beninesebrassplayers trombone slidestobesticky andsluggish. This isall and oilsevaporate, causing trumpet valves and brass instrumentsget hot,their metalsexpand environmental elementsinparticular ways. When and responds toheat,cold,moisture, andother do instruments.Metal hasparticular sonicqualities environmental impurity andposebodily risk. Hotness here denotesharmfulmicrobodies thatbrew to “cold air” ( called this“hotair” ( quality air constitutesa healthhazard. Maxime with carbondioxide rather thanoxygen, thispoor . continued Hotness Revisited Just asbodiesreact toheatandhumidity, sotoo In my research Iask how musicalexperiences le souffle le frais le soufflechaud * ) thatiscleanandfresh. ), comparing it and ideologically discordant. speaking about When physically demanding,psychologically dispiriting, poverty, disease,and geopolitical neglect—canbe as theaffective labor required by encounters with challenges posedby Malawi’s bureaucracy as well of internationaldevelopment—both thelogistical talking-head testimonials. As itturnsout,the work shaped by deftpromotional materialsandstirring encounter a reality quitedifferent from expectations voluntourists’ participation. catch-all for themusicalstereotypes thatinduce mystifying, difference-making—serves as a fitting musical score. Waterman’s “hotness”—enticing, disorienting, stifling,counterproductive—in places And what about thehazeoffieldwork—at times the not-yet-sufficiently-explained or theorized? of hotness’ allure—of thedesire toengage with as ethnomusicologists,aren’t there similar traces a stoke: among our own, individual originstories The neoimperialistanalogy draws itself.Given this, aid, however well-meaning, canpredictably fallshort. familiar. It isa miniature portraitofhow Western international development, thisnarrative isall-too- 2009).(see Anderson with biophysical challenges andneutered altruism the musicalOther toanaffective atmosphere thick transition from a highly-anticipated encounter with missing home. We canthink ofhotness,then, via the spent inbed,felled by parasitesifnotmalaria,and retroactively oftheir first weeks inMalawi aslosttime humid month.Somelonger-term volunteers speak air-conditioned experience during Malawi’s most university, opting instead for their first ever non- Many voluntourists forgo their January breaks from congestion, upsetstomachs,andrestless nights. dust, sun,andsweat thatprevise malaise,nasal mention their new physical environments: theheat, this adjusting-of-expectations, my informants often Upon their arrival, however, my informants For thosefamiliar with thepitfallsof Figure 4. Figure 5. ( Video) ( Video)

“A DayatWorld Camp” continued on next page . . “MOVE 2016” 28 Hotness Revisited . . . continued hot, cold, or otherwise? What of our own heaviness, hotness moves away from musical generalizations weariness, and sensorial overload? I remain cognizant to material particularities, and, against the othering of how my own field experiences either reinscribe or ideology of Waterman’s generation, hints at a common contest the historical and contemporary legacies of phenomenology of experiencing heat. On our rapidly travelers to Malawi; perhaps our shared experience warming planet, scholarly attention to the interplay of of metaphorical and experiential hotness serves, for music and the environment—here we think of Feld’s better or worse, as a telling family resemblance. (1982, 1996) foundational texts in ecomusicology as well as Michael Silvers’ (2015) recent work on the * * * musical transmission of ecological knowledge— To close: an alternative reading of hotness that merits a renewed focus on temperature and climate. Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol.

} emphasizes materiality, climate, bodies, and shared In revisiting hotness, we leave behind hot rhythm’s experiences, like the ones we gave here, draws will-to-difference and propose heat and its sensory attention to the complex environments of musical correlates as timely topics for ethnomusicological

sounds and the people they reach. This genre of research. ■

References Agawu, Kofi. 2003.Representing African Music: Postcolonial Notes, Queries, Positions. London: Routledge. STUDENTNEWS { Anderson, Ben. 2009. “Affective Atmospheres.”Emotion, Space, and Society 2 (2): 77–81. Burns, James. 2012. “Cooling the Road: The Role of Music within the Southern Ewe Funeral Ceremony.” Mortality 17 (2): 158–69. SEM Feld, Steven. 1982. Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression. Philadelphia: University of Pennsylvania Press. ———. 2012. Jazz Cosmopolitanism in Accra: Five Musical Years in Ghana. Durham, NC: Duke University Press. Feld, Steven, and Keith Basso, eds. 1996. Senses of Place. Santa Fe, NM: School for Advanced Research Press. Friedson, Steven. 2009. Remains of Ritual: Northern Gods in a Southern Land. Chicago: University of Chicago Press. Iyanaga, Michael. 2015. “On Flogging the Dead Horse, Again: Historicity, Genealogy, and Objectivity in Richard Waterman’s Approach to Music.” Ethnomusicology 59 (2): 173–201. Radano, Ronald. 2000. “Hot Fantasies: American Modernism and the Idea of Black Rhythm.” In Music and the Racial Imagination, edited by Ronald Radano and Philip V. Bohlman, 459–80. Chicago: The University of Chicago Press. Skinner, Ryan Thomas. 2015. Bamako Sounds: The Afropolitan Ethics of Malian Music. Minneapolis: The University of Minnesota Press. Silvers, Michael. 2015. “Birdsongs and a Song about a Bird: Popular Music and the Mediation of Traditional Ecological Knowledge in Northeastern Brazil.” Ethnomusicology 59 (3): 380–97. Steingo, Gavin. 2016. Kwaito’s Promise: Music and the Aesthetics of Freedom in South Africa. Chicago: The University of Chicago Press. Waterman, Richard. 1948. “‘Hot’ Rhythm in Negro Music.” Journal of the American Musicological Society 1 (1): 24–37.

We are currently discussing plans for future issues of SEM Student News, including volume 14, numbers 1 and 2. If there are any topics that you want us to address in future issues, please email the editor at [email protected].

Society for Ethnomusicology © 29 Contemplation, Encouragement, and Celebration listening to the 2017 tim hortons brier*

By Diego Pani and Jordan Zalis (Memorial University of Newfoundland)

They call it the roaring game. We knew this much about curling1 as we walked up the stairs toward the main entrance of the arena. The Canadian men’s annual curling championship, the Tim Hortons Brier, draws fans from across the country to lend support to the provincial champions and represent their local clubs. In totality, “The Brier” spans eight days of activity and stands as the biggest event on curling’s national calendar. The 2017 Brier, hosted at the Mile One Centre in St. Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol. } John’s, Newfoundland, from March 4–12, was no exception. That Saturday afternoon, one of the first things we saw on our way to section 106 was a vending machine for ear plugs. One dollar to protect your hearing, brought to you by the Canadian Hard of Hearing Association. We did not know what we would be exposed to inside the arena, but we now expected it to be loud. After working our way through the concourse and grabbing some poutine and beer, we arrived at our seats with the basic idea that every sport is a sounding world that carries specific soundmarks (Schafer 1977). But what is curling’s soundscape?

STUDENTNEWS How do people interact with it? What does it mean? { SEM

Ear-plug vending machine

1 The sport of curling features two teams of four people taking turns sliding granite stones, end-to-end, down a pebbled sheet of ice. They aim their shots toward a painted “button” inside a series of concentric circles some 45 metres away. Teams score points and play ten ends (like baseball’s innings).

*All photography by and property of Diego Pani and Jordan Zalis © continued on next page . . .

Society for Ethnomusicology © 30 Contemplation, Encouragement,

. . . continued and Celebration Framing The Brier as a site of social behaviour, we follow Lindquist’s (2006) position that spectator2 sport serves multiple socio-cultural and ideological purposes. Interpreted as a public enactment and secondary genre, it functions simultaneously as a festival, ritual, tradition, and celebration. Regarding the aural experience of The Brier, we examine its soundscape and apply Feld’s (2015) concept of “acoustemology” to inform our listening practice. According to Feld, “acoustemology conjoins ‘acoustics’ and ‘epistemology’ to theorize sound as a way of knowing. In doing so it inquires into what is knowable, and how it becomes known, through sounding and listening” (12). Through acoustemology, Feld expands existing vocabulary used in the anthropological discussion of human

Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol. engagements with sound. He refers to the highly developed practices of listening, hearing, and sounding, and } defines his acoustemology concept as the ethics of perception, based on listening and learning—sound becomes the primary means by which to understand, appreciate, and have a deep experience of the cultural space-time context of a social world. The listener’s perception is led toward a personal, immersive understanding of the sound dimension of any setting. In our case, to gather sonic data concerning The Brier, we took part in events all week, noted our experiences, and recorded audio. Along with collecting this information, we adopted an ethnographic approach and spent time interacting with curling fans. We were lucky enough to be invited to STUDENTNEWS

{ The Brier’s most intimate social scene, Morning Classes, which have been part of its celebrations since 1948. Ultimately, our project is an experiment in dialogism. Our stories and memories, the photos we took, the

SEM recordings we made, are all in experiential conversation, resounding our lived experience (Feld 1996; Guilbault 2014).

Anthems { listen here: https://youtu.be/fRr-dC-2fkE }

Diego: Cando ant finidu cun “O Canada” e ant cumintzadu a cantare sa “Ode to Newfoundland,” mi est pàssidu comente chi àteras milli pessones esserant intradas in s’arena in cussu momentu.3

Jordan: Hm?

Diego: When they finished with “O Canada” and started to sing the “Ode to Newfoundland,” I felt like another thousand people suddenly entered the arena. Listen, you can hear it.

Saturday afternoon marked the tournament’s opening ceremonies where Lady Cove sang both the Canadian national anthem, “O Canada,” and the official provincial piece, “Ode to Newfoundland.” Neither of us had heard the provincial anthem before. It seemed louder and prouder than the national anthem. Oddly enough, however, the sense we both shared in the stadium did not register so well on our field recordings. This suggests that our perception of sound is deeply connected to our total experience of the space. A sports arena holding 6,000 people is not represented so well through two computer speakers.

2 We believe that the word “spectator” should be taken with a grain of salt. The crowds that gather when sports are being played do so much more than watch. They laugh, talk, listen, cheer, clap, eat, and more.

3 Diego’s mother tongue is Sardu. Jordan’s is Canadian English. Our dialogic writing must take this into its account. Regarding curling, Jordan played it once, at the legion, when he was a kid. Diego knew it only from Italian sports television and always wondered what the strange game was about. continued on next page . . .

Society for Ethnomusicology © 31 Contemplation, Encouragement,

. . . continued and Celebration Morning Classes

You must understand that, first of all, they aren’t classes in the schoolroom sense. They have nothing to do with pedagogical pursuits. They are educational only in the broadest sense.

Standing just outside a small, fourth-floor room in the Delta Hotel, down the street from the Mile One Centre, we read the above description of Morning Classes. Compared to our first overwhelming experience inside the arena, the Morning Classes really did ring a different bell—and several gin collins. This Brier-only tradition has been running for sixty-nine years, organized by a small team of curlers from the Fort William Curling Club in Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol.

} Thunder Bay, Ontario. We were told that Morning Classes are a carryover from World War II, when soldiers both returning from and heading to duty were given liquor at the byway. Today, Morning Classes turn hotel rooms into carnivals of Canadiana and carry with them traditional oralities, constantly revealed through their sonic dimension, unique to the history of curling in Canada. There are tricks and games, and along with the club standards, hats, and pins that point out important people, different dialects, accents, and registers place the diverse set of people and their stories.4 We found the whole event informative and fun. It felt like a space where members of different small local clubs could meet each other STUDENTNEWS { and share their knowledge about the game, inside jokes, and the latest gossip. It was here we learned that the participants shared a common history and a common language. This was communion—and we were allowed

SEM take pictures.

{ Access our full photo-journal here }

Master of Ceremonies The three men pictured here are all members of the Fort William Curling Club in Thunder Bay, Ontario. The host’s table offers gin collins made from freshly squeezed lemons. You can see, by how many glasses there are, how many they expect to serve. The hosts are gracious storytellers.

4 When we were there, there were not only Canadian fans, but Danish and Scottish ones too. continued on next page . . .

. . . continued and Celebration

Don Don is another member of the Fort William Curling Club. He set up around a table of

Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol. games and tricks. An engaging } conversationalist, Don has a musical quality to his voice. He seemed to be a playmaker, getting strangers and neophytes involved in the fun. STUDENTNEWS { SEM

Hooey Hooey presents a frustrating conundrum. Rubbing a wooden stick along a series of notches not only sounds like a guiro, but makes a propeller turn. Somehow, yelling “hooey” makes it change directions. This never worked for Jordan. It is a trick. In Morning Classes, the word “hooey” is almost always followed by laughter.

continued on next page . . .

. . . continued and Celebration

Morning Class Collage Draping the hotel room walls are collages made of photographs taken over the years at other Morning Classes.

Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol. Participants spend a lot of } time looking at the artwork, recollecting memories and telling stories about the people and places that came before. STUDENTNEWS {

Attention Please SEM Fred, our master of ceremonies, rings a bell, signaling the end of a raffle. Diego, the visitor who came from greatest distance, was selected to pick the winning ticket. An autographed commemorative hat went to the lucky winner.

Tricks Brenda’s expression comes after she sprayed Jordan in the face with water from this children’s toy. Lots of laughter followed.

continued on next page . . .

. . . continued and Celebration Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol. } STUDENTNEWS { SEM

Northern Ontario Moose Call A coffee can, with a hole punched in the bottom and a string attached, played by pulling a rosined block along the taut cord. It sounds like a grunting moose. Seeing the instrument up close allowed us to understand some of the new sounds we heard in the arena. This instrument, though, was not foreign to Diego, who knows it in Sardu as a Trìmpanu.

Olympic Gold When the man centered in this picture found out Diego was from Italy, he lit up and shared some memories of the food he had while there one time. Never did he mention that that was during the 2006 winter olympics in Torino, that he was Jamie Korab, or that he won a gold medal in curling that year.

continued on next page . . .

Acoustic Anatomy Annotating photos provides a viewer with much-needed context. With sound, it is not so simple. We can, however, use its most common visual representation, the digital waveform, as a listening aid by recalling our direct experience from inside the arena.

{ listen here: https://youtu.be/ZGXI_WE9TbE }

Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol. SHOOTER SETS UP } THE ROCK IN POSITION SCORES SHOOTER SHOOTER ROCK SLIDING A POINT GATHERS PUSHES OFF (TWO PLAYERS SWEEP THE ROCK’S PATH) HIMSELF PLAYERS GATHER AND SHOOTER THE ROCK PREPARE FOR STEADIES IS RELEASED THE NEXT SHOT STUDENTNEWS {

SEM CONTEMPLATION CROWD DISCUSSION GAME COMMENTARY GETTING READY CHEERING VOLUME FOR THE NEXT SHOT DECREASES ENCOURAGEMENT CELEBRATION VOLUME (Rhythmic Clapping, ENCOURAGEMENT CELEBRATION DECREASES ENCOURAGEMENT Cowbells, Shouts) VOLUME CHEERING FESTIVE CHEERING INCREASES (Cowbells, Claps, Whistles, Shouts)

0 15 30 45 1:00 1:15 1:30

continued on next page . . .

. . . continued and Celebration Each shot has a narrative, and every rock tells a story. We know this by listening. Bells are not just bells, they represent encouragement. Yells are not just yells, they represent cheer. Silence is not just silence; it represents contemplation, a crucial part of this game. Never mind that all this sound is directly related to the movements of the players sliding down the ice. Every utterance can be contextualized. Each sounding has its situated significance. However, our aural perception of The Brier radically changed after we experienced Morning Classes and the soundscape of the arena was different because we had a more “inside” perspective. As a result, our acoustemology became interrelated with the members of the small local clubs. The common language we were exposed to in the Morning Classes revealed itself in the different sounds in the arena. In this sense, the different

Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol. communities of supporters were situated in relation to each other inside the space. This allowed us to know more } through sound in a new and more nuanced way. By treating sound as a way of knowing in our experience of The Brier, we were exposed to a range of meanings concerning sound, music, and expressive culture. The sounds of the crowd and, in turn, each individual enmeshed with the movements of the players, their decisions, and the rocks as they went “roaring”

down the ice. Sounds are not just sounds—here they are contemplation, encouragement, and celebration. ■ STUDENTNEWS

{ Final Shot SEM

We would like to thank Cathy Bowman at Curling Canada for setting up so much of our experience and inviting us to our first Morning Classes. Thank you as well to Elena Cabitza for her advice on putting together the waveform graphic.

References Feld, Steven. 1996. “Waterfalls of Song: An Acoustemology of Place Resounding in Bosavi, Papua New Guinea.” In Senses of Place, edited by Steven Feld and Keith H. Basso, 91–135. Santa Fe, NM: School of American Research Press. ———. 2015. “Acoustemology.” In Keywords in Sound, edited by David Novak and Matt Sakakeeny, 12–21. Durham, NC: Duke University Press. Guilbault, Jocelyne, and Roy Cape. 2014. Roy Cape: A Life on the Calypso and Soca Bandstand. Durham, NC: Duke University Press. Lindquist, Danille Christensen. 2006. “‘Locating’ the Nation: Football Game Day and American Dreams in Central Ohio.” The Journal of American Folklore 119 (474): 444–88. Schafer R. M. [1977] 1994. The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester, VT: Destiny.

By Wangcaixuan Zhang (University of Pittsburgh)

“Please kneel song, “A Prayer to the World,” Buddhist practices in modern and put had been sung as a daily prayer Taiwan. Instead of privileging your palms by all residents since 2008 (listen any one sense in this process, together.” At here, with English translation).4 I integrate multiple senses of approximately Focusing solely on this participants as well as myself to 6:50 in the transformation in the present- perform a close reading and draw morning, day Buddhist soundscape and a more critical interpretation of after breakfast and following a without taking into account any the usage of Buddhist songs. Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol.

} cue emitting from the monastery contexts or sensational feelings Beginning with a monotone speakers, all residents and of performing these Buddhist announcement from the visitors prepare themselves for songs, scholars have interpreted monastic practitioner (who the first prayer session of the Buddhist songs as cultural usually leads the morning day. As one of the participants, I products under globalization chanting), which serves as an feel the coldness of the ground, and commercialization (Chen auditory mark differentiating the warmth of my own palms, 2005); likewise, they have the religious moment from one’s STUDENTNEWS { the freshness of the early criticized their toll on Buddhist daily life routine (Corbin 1998; morning air, and the quiet of the spirituality and inappropriateness Schmidt 2000; Taussig 1993),

SEM monastery. I recognize this as for required religious functions participants’ senses become a cue for a ritualistic moment. (Lin 2012; Lin 2002). However, crucial to perceiving the song as Cutting through the momentary through a multisensorial lens,5 a sacred performance instead of silence after everyone has knelt, my experiences of participating a piece of secularized Buddhist a recording of “A Prayer to the in this daily prayer session tell music. One of the participants World” broadcasts through the a different story. In this article, was a senior volunteer in his speakers, and people begin to I attempt to present a multi- sixties. From the announcement sing along. In this moment, the sensory ethnography of singing of the praying session, through “A secular sound of a Buddhist song, a particular Buddhist song in Prayer to the World,” and ending arranged for piano and voice with the monastic setting in order with the cue to stand up and bow, a Western harmonic progression, to question the framework of he knelt with a straight back and does not feel secular anymore. secular/sacred for understanding unwavering gaze. Even when the Buddhist songs, featuring hard and cold wooden floor was lyrics with Buddhist teachings hurting his knees, judging from Instead of privileging any and modified sutra texts,2 his uneasy rise and gentle knee have been gaining popularity one sense in this process, massage after the prayers were in contemporary Taiwanese completed, his singing remained Buddhist organizations. These I integrate multiple senses focused and his back did not songs are not only disseminated curve. Although I could see his throughout the general public of participants as well as discomfort—his upper body as Buddhist products but myself to perform a close quaking as he maintained his are also used in Buddhist weight on his knees—I focused ceremonies. During my stay at reading and draw a more on the sparkle in his eyes and his the monastery of Tzu Chi,3 a mellifluous invocation of pious new-age transnational Buddhist critical interpretation of the prayer. To him, this is not a song organization in Taiwan, I usage of Buddhist songs. but a routine for his religious discovered that one Buddhist practice; a moment for dedicating

continued on next page . . .

Society for Ethnomusicology © 38 Buddha’s Songs . . . continued his goodwill to all suffering steady, soft voice, one that did Consequently, I found myself people through his own suffering not stand out and was not as transforming this uncomfortable on his knees. My own “sensational recognizable. However, because singing experience into a more knowledge” (Hahn 2007) allows of my training, it was hard for engaging musical ritualistic me to further verify and explore me to vocalize without my full, performance. I started to embody a deeper understanding of less-restrained singing voice—the a set of Buddhist principles—such “A Prayer to the World,” its discomfort in not being able to as collectivity and uniformity in association with Buddhist rituals sing out always interfered with rituals—through the sensorial and traditions intertwined with my concentration and made me experience of singing this song. personal sensations of singing this forget the lyrics. Rather than downgrading, such Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol.

} song. Instead of perceiving this use of secular musical materials One day I did not finish my as “singing along,” I found the re-defines and uplifts the breakfast on time, so I had to stop process closer to my experiences sacredness in subtle ways. The on my way to the main Buddha in Buddha Hall morning integration of my sensational Hall to pray. I ended up praying classes, where I would carefully knowledge became a tool to with a monastic practitioner in a monitor my voice and behaviors unpack this interpretation as small room right next to the main and adjust the volume and a Buddhist practitioner, which STUDENTNEWS { hall. After I poured my heart out, pronunciation of my chanting further problematizes the singing the song like a classical according to the voices of the paradigm of sacred and secular in

SEM singer—which I understood as other monastic practitioners. modern Buddhism. appropriate for sacred singing— A close reading of senses the monastic practitioner came and sounds places Taiwanese up to me and commented that The integration of my Buddhist practitioners and my voice stood out too much. their experiences at the center sensational knowledge She suggested that, instead of of this research. After studying focusing on my individual voice, became a tool to unpack the experiences of singing and I should endeavor to blend with engaging in musical activities, this interpretation as a the other singers. From that giving special attention to point on, I purposely lowered Buddhist practitioner, which sensorial experience, I was able my volume and kept my voice in to form a more comprehensive further problematizes my chest instead of my head in and critical view of Buddhist order to merge more successfully the paradigm of sacred singing. Each Buddhist song with other practitioners, who and secular in modern and its performance is not were mostly singing with their just an adaptation of a secular speaking voices. I also controlled Buddhism. song but a musical enactment my diaphragm to maintain a continued on next page . . .

Check out our collection of resource lists on SEM’s website. These include one for the present issue, Sound and Sensory Studies, as well as Reading, Decolonizing, Navigating the Job Market, Music and Diaspora, and more.

Society for Ethnomusicology © 39 Buddha’s Songs . . . continued for Buddhist practitioners of musical practices through another. By obtaining a more to reiterate and reproduce a close reading of a particular intimate interpretation of musical Buddhist meanings. Multi- musical event. This further activities and musical meanings, sensory studies can prepare one challenges the relationship ethnomusicologists will further to enter the sensory world of the between performance and reveal who we are as people in other by assisting the scholar in meanings and de-homogenizes more humane, nuanced, and

capturing a more detailed image our understandings of one sophisticated ways. ■

Endnotes 1. I borrow this phrase from Deborah Wong (2017), who suggests “close reading” as a methodology for ethnomusicological

Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol. studies and encourages the ethnographer to take a snapshot of a musical performance and carefully analyze its details to delve } deeper into the sophisticated politics of music making. 2. Sutras are literature on Buddhist teachings. 3. Tzu Chi Foundation, or Compassion Relief Tzu Chi Foundation, is a Buddhist non-profit organization that was founded in Hualian in eastern Taiwan in 1966 by Dharma Master Cheng Yen. It is reasonably estimated now to have ten million members and branches in ninety-eight countries. This group is well-known for its social engagement, such as its involvement with medical care, environmental protections, educational programs, and disaster relief. I based my studies of Taiwanese Buddhist songs on the musical activities of this Buddhist group during my fieldwork in 2015 and 2016, when I interviewed composers, STUDENTNEWS { musical event production team members, and participants, and participated in several musical events myself. 4. This name of the song is also translated as “Prayer.” Usually, practitioners will sing along with the recording as an execution

SEM of a prayer session twice daily, at 6:55 in the morning and 1:30 in the afternoon. English and other translations exist for practitioners outside of Taiwan, encouraging their participation in the collectivity which I mention later. 5. I adopted this term from “The Reorganization of the Sensory World” (Porcello et al. 2010), an article focused on the development and recent trend of studying senses in anthropology. Paul Stoller (1989) first emphasized the term “multisensory” in his study of the ritual language of the Songhay of Niger, where “he turned from linguistics to a focus on knowledge held in multisensory experience” (Porcello et al. 2010, 54). Following Stroller, several scholars, such as Feld (1996), Farquhar (2005), and Hahn (2007), have pushed to integrate multiple senses in understanding cultural expressions.

References Corbin, Alain. 1998. Village Bells: Sound and Meaning in the Nineteenth-Century French Countryside. New York: Columbia University Press. Farquhar, Judith. 2005. Appetites: Food and Sex in Postsocialist China. Durham, NC: Duke University Press. Feld, Steven. 1996. “Waterfalls of Song: An Acoustemology of Place Resounding in Bosavi, Papua New Guinea.” In Senses of Place, edited by Steven Feld and Keith H. Basso, 91–136. Santa Fe, NM: School of American Research Press. Lin, Meijun 林美君. 2002. “從修行到消費–台灣錄音佛教音樂之研究.” [From Spiritual Cultivation to Consummation.] Master’s thesis, National Cheng Kung University, Tainan. Lin, Tse-Hsiung Larry. 2012. “The Development and Conceptual Transformation of Chinese Buddhist Songs in the Twentieth Century.” PhD diss., University of California, San Diego. Hahn, Tomie. 2007. Sensational Knowledge: Embodying Culture through Japanese Dance. Middletown, CT: Wesleyan University Press. Pi-yen, Chen. 2005. “Buddhist Chant, Devotional Song, and Commercial Popular Music: From Ritual to Rock Mantra.” Ethnomusicology 49 (2): 266–86. Porcello, Thomas, Louise Meintjes, Ana Maria Ochoa, and David W. Samuels. 2010. “The Reorganization of the Sensory World.” Annual Review of Anthropology 39: 51–66. Schmidt, Leigh Eric. 2000. Hearing Things: Religion, Illusion and the American Enlightenment. Cambridge, MA: Harvard University Press. Stoller, Paul. 1989. The Taste of Ethnographic Things: The Senses in Anthropology. Philadelphia: University of Pennsylvania Press. Taussig, Michael T. 1993. Mimesis and Alterity: A Particular History of the Senses. New York: Routledge. Wong, Deborah. 2017. “Ethnomusicology and Close Reading.” Paper presented at the 44th world conference of the International Council for Traditional Music (ICTM), University of Limerick, Ireland, 13–19 July.

Society for Ethnomusicology © 40 SEM{STUDENTNEWS} Vol. 13, No. 2 | Fall/Winter 2017 Society for © Ethnomusicology musical culture, however, attending a supra with Georgian folk singers cancreate indeliblememories(Figure 1). be overwhelming, especially ifone’s hosthastrouble taking “no” for ananswer. For thosedrawn toGeorgia for its similarly address strategiesfor supra attendance. The “excess” attheheartof thesupra (Fumey 2006) can indeed I hadtoattendaninformation sessiondevoted tothistopic,andmaterialsfrom Peace Corps volunteer training alcohol or have reached your limit. As anEnglishteacher fundedby a Georgiangovernment program in2012, to compliment your host without having toloosen your belt,andpolitely declining a drink if you abstainfrom supra, with tipsfor observing proper etiquetteduring andbetween toasts(Holisky 1989), eating enoughfood as a pointofentry toGeorgianculture. For touristsandother visitors, a commonthemeishow to“survive” a drunk—at a Georgianbanquet. hearing, voicing, dancing,translating—and,tobesure, becoming writing or other means,thelived experience oftasting,ingesting, phenomenology ofthesupra:anattempt to communicate,through prominent role inthesupra. Absent from theliterature thusfar isa only Tsitsishvili pays attention tothesongs which play sucha intersection with Russianimperialdiscourse.Ofallthesestudies, whether a postcolonialcritiquecouldapply tothesupra asan the present-day form ofthesupra, with somerespondents asking proposing a nineteenth-century, cosmopolitan,literary originto centered around anarticleby literary theoristHarsha Ram(2014) within theSoviet Union). The bulk ofanissue 2017 onthe“edible ethnicity” ofGeorgianculturalperformance post-Soviet Georgianidentity (Mühlfried 2005, 2006;seeScott traced publicdebateover thesupra tocompeting claimsfor a (Kotthoff 1995;Manning 2012; Tuite 2010), while othershave and delineatedroles, asa semioticfield for theanalysis ofculture in turn,have focused onthesupra, with itsformalized speech simplistic reading ofthesegender roles. Linguisticanthropologists, female singing practices,though Linderman(2012)problematizes a scrutiny from Nino Tsitsishvili (2006) asa setting for theinscriptionofpatriarchal attitudestoward maleand participants, thesinging ofGeorgianfolk or religious music.Inethnomusicology, thesupra hasreceived close chosen andelaborateduponby a toastmaster ( perception, inany ethnographicengagement with Georgianmusic. transnational circulation (Bithell2014b), thesupra warrants robust representation, anchored insubjective sense- conventional titlesofmany songs. As a foundational context, then,for a genre ofmusicincreasingly audiblein for Georgianfolk song ismarked by thepresence oftheadjective multisensory approach todepicting anddocumenting thissocialpractice. The importanceofthesupra well astheperceptual blending brought aboutby intoxication. Inthis article,Iarguefor a commensurably a profoundly multisensory experience, activating auditory, gustatory, olfactory, andkinestheticresponses, as As a sitefor thenegotiation andrehearsal oftraditional values, theGeorgiantraditionalfeast, or By BrianFairley (New York University) capturing thegeorgian The Senseof aFeast For me,a holisticsensory reckoning iscrucialtorepresenting thesupra,especially given itsprominence At itsmostschematic,thesupra consistsofa sequenceof toasts—with wine or other spirits—onsubjects supra tamada Ab Imperio ), accompaniedby food and,depending onthesetting and

supruli (of or related tothesupra) inthe Absent from theliterature a Georgian banquet. be sure, becomingdrunk—at dancing, translating—and, to hearing,voicing,ingesting, lived experience oftasting, writing orother means,the to communicate, through of thesupra: anattempt thus far isaphenomenology continued on next page . supra , offers 41 SEM{STUDENTNEWS} Vol. 13, No. 2 | Fall/Winter 2017 Society for © Ethnomusicology GoPro camera, whose smallsizeand wide-angle lens,Iimagined, would permitmetocapture theembedded these microphones inmy ears,sincetheshapeofear’s pinnaehelpstocreate a stereo picture. Ialsohada precise spatializationofsoundthatcomes from being incloseproximity tospeakers andsingers. At first,I wore documenting thesupra more immersively. By using binaural microphones, Ihopedtocapture someofthe satisfy, even ifIbalked atsinging upper-voice partsby myself. desire toadd my voice tothesesurrounding vibrations was anurge Ieventually felt comfortable enoughto a moveable drone insongsfrom KakhetiineasternGeorgia,induces,for me,a strong affective response. The distant endsofthetable.Being surrounded by several menallintoning the singer issitting rightnext to you when heor shesings,or whether two singers are engaging indialoguefrom following independentbutcoordinated paths. As a listener, itmakes a big difference whether a loud,first-voice experience oflistening is when seatedata table.Georgiansong israrely a soloaffair, withmultiple voice parts along with somepublishedfield recordings by Sylvie Bolle-Zemp andothers,I was struck by how different the my ear, before my first visit,tostudio recordings ofGeorgianchoirs like theRustavi Ensemble and Mtiebi, at DoubleEdge Theatre in Ashfield, Massachusetts—prospects for sensory capture are limited.Having tuned common tochoirs with experience inGeorgia (Bithell2014a,231)andsomething I’ve donemyself with friends back from Georgia. Bridge open-air markets, thememory ofthesupra experience may bethemostprizedsouvenir onecanbring More sothanbottlesof wine, embroidered wall hangings,or Soviet paraphernalia purchased in Tbilisi’s Dry singing tour: Caroline Bithell(2014a) captures theutopianfeeling ofcommunity experienced aspartof a Village Harmony . continued The Senseof aFeast home inZugdidi,June2012. Figure 1. When Ireturned toGeorgiaWhen inthesummer of2016toconductfieldwork, Imadesomefirstattemptsat But how canone share thisexperience with others? Apart from recreating suprasathome—a practice affective experience thatleftthem withanenduring senseofgratitudeandenrichment.(286) and wine oftengiving riseto feelings ofblissfultransportation—was also, for many participants, a profoundly conviviality thatprevailed atthesetimes—thecombinationofsentiment,song,andcopiousamountsgood food friendship andtounderstanding between our countries;tolove andtopeaceinthe world. The heightened Each night we drank toGod andtoGeorgia;our ancestorsandchildren; topoetry andmusic;toour new Photo by BrianFairley © Asupra inafamily bani , a basspartthat operateslike continued on next page . . 42 SEM{STUDENTNEWS} Vol. 13, No. 2 | Fall/Winter 2017 Society for © Ethnomusicology this night’s supra may be up writing aboutinmy thesis(Fairley 2017, 74–75). A preliminary attemptatsyncing theaudioand video from at a supra inMtispiri, a performance thatfeatured a striking momentoflaughter andinsidejoking thatIended available when thedynamic young vocal group Adilei sang a ten-minute version oftheepicsong “Khasanbegura” microphones inmy earsprompted bemusedresponses from fellow guests.Even so,I was gladtohave thissetup ridiculous by half,soI was forced toholditinmy handandsubtly pointit where I was looking, while having the perspective ofsomeonesitting atthetable.Results were mixed. Wearing theGoPro onmy forehead looked too . continued The Senseof aFeast before thearrival ofguests. Figure 2. Photo by BrianFairley © Figure 3. The supra table Oneversion oftherecording rig. August 2016. viewed here Photo by BrianFairley © , with membersof Adilei singing “Bindisperia Sopeli” (It istwilightinthe thought soimportanttoshare with the wider world. neglect them would have compromised theevent I had host, after all, andbore a responsibility for my guests. To important thantheresidual traceofa recording. I was the immersion—my attention,inother words—was more me toomuchfrom theproceedings. My own sensory and repositioning thecamera rig would have removed realized, that night, thatfrequently checking, adjusting, My footage, however, was generally useless.Iquickly Choir, was a charming,funny, andgenerous tamada. and David Shugliashvili, a member ofthe Anchiskhati microphone or camera (Figure 3). It was a splendidnight, next tomeatthetable,soI would nothave to wear either GoPro ona special rig ona tripodandplaceditright interlocutors several excellent singers who hadbecomefriendsand my birthday ata restaurant in andinvitedTbilisi of my documentation, Idecidedtohosta supra for Determinedtohave somecontrol over theconditions village), ina version from theregion ofRacha.

(Figure 2).Isetupthemicrophones and continued on next page . . 43 SEM{STUDENTNEWS} Vol. 13, No. 2 | Fall/Winter 2017 Society for © Ethnomusicology Tuite, Kevin. 2010. “The Autocrat oftheBanquet Table: The Political andSocialSignificanceoftheGeorgianSupra Tsitsishvili, Nino. 2006.“‘A ManCanSing andPlay Better thana Woman’: Singing andPatriarchy attheGeorgianSupra Feast.” Scott, Erik.2017. Samuels, David W., LouiseMeintjes, Ana Maria Ochoa, and Thomas Porcello. Ram, Harsha.2014.“TheLiterary OriginsoftheGeorgianFeast: The CosmopolitanPoetics ofa National Ritual.” Ninoshvili, Lauren. 2005. “Crossroads ofFeeling: Speech, SentimentandSolidarity intheGeorgian ———. 2006. Mühlfried, Florian.2005. “Banquets,Grant-Eaters andtheRed Intelligentsia inPost-Soviet Georgia.” Manning, Paul. 2012. Linderman, Laura Joy. 2011.“TheGendered Feast: Experiencing a GeorgianSupra.” Kotthoff, Helga. 1995. “TheSocialSemioticsofGeorgian Toast Performances: OralGenre asCultural Activity.” Holisky, Dee Ann. 1989. “TheRulesoftheSupra or How toDrink inGeorgian.” Fumey, Gilles.2006.“Excess attheBanquet? The Case oftheGeorgianSupra.” Feld, Steven, andDonaldBrenneis. 2004.“Doing Anthropology inSound.” Fairley, Brian.2017. “TheGurian Trio Song:Memory, Media, andImprovisation ina GeorgianFolk Genre.” Master’s thesis, ———. 2014b. Bithell, Caroline. 2014a.“GeorgianPolyphony anditsJourneys from National Revival toGlobalHeritage.” In References the supra ineluctably defiescapture. vehicles for ethnographicinquiry (Feld andBrenneis 2004;cf.Samuelsetal.2010), even ifthesensory excess of all, thesupra offers a challenging arena for Steven Feld’s still-relevant calltotake soundand videoseriously as another outletfor theseefforts. Simultaneoustranslation,subtitles,or commentary couldaddanother layer. In installations, perhapsinteractive onesaccompaniedby food, inthestyle oftheartist allow the viewer tochoosea pointoffocus, though we would losethedirectionality ofthebinauralaudio. Video later paired with a virtual-reality headset would work better, atleastfor the visual aspectofthesupra,asit would documentation tocommunicatecertainaspectsofthesupra. Perhaps a table-mounted360-degree camera, . continued The Senseof aFeast guidelines, staff information, resource andmore: lists, Check out University, Sweden, 17–20 June 2005. Studies 2 Ethnomusicology Press. Anthropology.” 2014 (4): 19–52. Master’s thesis,Columbia University. transition.] Stuttgart: Ibidem-Verlag. Review Pragmatics 22–40. Wesleyan University. University Press. Handbook of Music Revival Despite theshortcomingsoftheseinitialattempts,Ibelieve there isgreat potentialinusing immersive 4(1):16–19. . Paper presented ata conference oftheSchoolInternationalMigration andEthnicRelations, Malmö Postsowjetische Feiern: Das GeorgischeBankett im Wandel 24(4): 353–80. A Different Voice, a Different Song: Reclaiming Communitythrough the Natural Voiceand World Song Familiar Strangers: The Georgian Diaspora and theEvolution of theSoviet Empire SEM Student NewsSEM Student 50(3): 452–93. Annual Review of Anthropology The Semiotics of Drinkand Drinking , editedby Caroline BithellandJuniper Hill,573–97. London:Oxford University Press. ethnomusicology.org/group/SEMStudentNews ■ ’ pageonSEM'swebsite to findbackissues,submission 39:329–45. . London:Continuum. . [Post-Soviet celebrations: The Georgianbanquetin American Ethnologist 2010. “Soundscapes: Toward a Sounded Food and History Annual of theSociety for theStudy of Caucasia Anthropology of East Europe Review . New York: Oxford University 41(4): 461–74. 4(2):253–61. Liz Phillips Supra Central Eurasian Studies inNew York City.” . Oxford: Oxford , couldbe The Oxford Journal of Ab Imperio .” Caucasus 29(2):22. 1:

44 SEM{STUDENTNEWS} Vol. 13, No. 2 | Fall/Winter 2017 Society for © Ethnomusicology Hahn, Tomie.2007. Edensor, Tim, ed.2010. Classen, ConstanceC.1990. “Sweet Colors,Fragrant Songs:Sensory Models ofthe Andes andthe Amazon.” Bull, Michael,andJon P. Mitchell,eds. 2015. Bull, Cynthia Jean Cohen.1997. “Sense,Meaning, andPerception in Three Dance Cultures.” In mayprovedancing outscholarship revelatory. way, Ihave noticed thatmany ofthesetexts are aboutdance.Asanactthatisobviously multisensory, and whichfocus perception. ontheconstructed aspectsofsensory Inapproaching thebibliography this approach Ihave scholarship. to concentrated sensory onworks created through ethnographic approaches it comesto sound. cross-cultural andmeaning-making. scholarship rest ofthesensorium.Even “hearing”assomething parsing separate from bodilyexperience caneviscerate epistemological richesofsound.However, itiseasyto fixate onthesoundofthingsat expense ofthe Comparably, loudlytheorizedthe studies hasmost soundholdsaprivilegedposition,andthefieldof falls secondinthehierarchy: below sightandabove the“lower order” sensesoftaste, smell,andtouch. experience. IntheWestern sensory challenged thelimitsofasingle five-sense model,hearingtraditionally feminist andanystudies, studies, other fieldordisciplinedelvinginto issuesofembodimenthave interested perception, insensory albeitonesenseinparticular. Phenomenology, Indigenous soundstudies, isarelatively studies Sensory young field,butinmany ways, haveethnomusicologists always been By HannahAdamy (University ofCalifornia, Davis) bibliography studies fora sensory novices More thanSound attends totheculturalspecificity ofthe Japanese traditionalpractice. the audienceofher performances. Hahnfollows from feminist dance andperformance scholarshipasshe field experience, theprimary meansofher engaging withother socialactors:her teachers,colleagues,and Japanese dance ( University Press. Hahn’s ethnography, basedonher thirty years ofexperience asa practitioner oftraditional power. as a meansof choreographing bodiesandtheresults are a fascinating study inmateriality, movement, and cultural, political,andeconomicsignificanceofrhythm asananalytic. Theauthorsthink through rhythm remarkably cohesive volume usesHenri Lefebvre’s late writings onrhythmanalysis todig intothesocio- importance ofattending toindigenous knowledge while employing a sensory approach. Andean highlandsandthe Amazonian lowlands. Through thiscomparative approach, Classendraws outthe American Ethnologist Snow inPeru. Sepulchre inJerusalem, thefestival ofRamlila inRamnagar, India,andtheshrineofLord oftheShiny studies ofmiraclesinCatholicMalta,meditative practicesintheatricalperformance, theChurch oftheHoly eight chaptersby scholarsinneuroanthropology, performance studies,andsensory anthropology, with case compendium includes works by scholars who approach religious ritualasbodiedexperience. There are which aestheticsandsensory perception influenceeachother. takes ballet,contactimprovisation, andtraditionalGhanaiandanceasher casestudiestoexplore the ways in New Cultural Studies of Dance In thisspirit,Ipresent asmallannotated fence bibliography when thatsitsonthesensory ofscholarship A longerbibliography isavailable online Sensational Knowledge: Embodying Culture through Japanese Dance. nihon buyo 17(4): 722–35. Classenoutlinestheculturally-coded modesofperception inthecentral Geographies of Rhythm: Nature, Place, Mobilities and Bodies ), reads like a kinestheticexperience. Hahncastsher body atthecenter ofher , editedby Jane C.Desmond,269–87. Durham,NC: Duke University Press. Bull Ritual, Performance and theSenses for thosemore interested inasound-forward . New York: Bloomsbury. This . New York: Routledge. This Middletown, CT: Wesleyan continued on next page . . Meaning inMotion: 45 SEM{STUDENTNEWS} Vol. 13, No. 2 | Fall/Winter 2017 Society for © Ethnomusicology Pink, Sarah.[2009] 2015. McMurray, Peter. 2015. “Archival Excess: SensationalHistoriesbeyond the Audiovisual.” Malnig, Julie, ed.2009. Kahn, Douglas.1999. Howes, David, ed.1991. . continued More thanSound future issues, pleaseemailtheeditor at volume 1and 2.Ifthere 14,numbers are any topics that you want usto address in We are currently discussing plans for future issuesof and writing with attentionto varied sensory perceptions. and thearts.Shegoes ontooffer concrete strategies for conducting interviews, observing peopleandspaces, ethnography. Pink parsesoutdistinctionsinsensory methodologiesinanthropology, sociology, psychology, bibliography would notbecomplete without atleastonepracticalguidetodoing careful sensory on thehumansthatexperience them. reconsider latentassumptionsabout what kindsofthings“belong” inanarchive andtheeffect ofthesethings archival spacesintermsofnotonly theaudiovisual butalsotouch,taste,andsmell,heoffers a way to media logicsofthearchive, thusexhibiting what hedeemsa kindof“archival excess.” As McMurray rethinks and soundobjectsasfixed texts. He theorizesthe ways in which archival objectsoften exceed thesensory and the MilmanParry CollectionofOralLiterature tocritiquesoundarchives asprimarily textual repositories (3): 262–75. Another deviation from ethnography, McMurray enlistsa selectionofmultisensory objectsfrom Gwin Waggoner’s examination ofCajunandzydeco forms inLouisiana are ofparticular note. American dancehistory. Christina Zanfagna’s chapter onkrumping andhip-hopinLos Angeles, andMay and sexuality, raceandethnicity, regional identity, andtherole of theatricality insolidifying a senseofan many sense-focused or sense-informed contributions. These nineteenshortessays tackleissuesofgender of IllinoisPress. A richexploration ofsocialandpopular American dance,Malnig’s collectionincludes Western experiences of“art.” mechanization inforging thesesight-soundrelationships. Kahnchallenges distinctionsamong thesensesin acoustic concepts,their dissonancesandconfluences withthosesameconceptsin visualarts,andthe role of from thelate-nineteenthtomid-twentieth centuries. This work isparticularly insightfulinitshistory of voice totheconversation. deviates from theethnographic- anddance-basedfocus ofthisbibliography, ifonly toaddanadjacent heralding other sensory ways ofbeing. and KitGriffin’s “TheRitualofSilent Wishes: Notesonthe Moroccan Sensorium” focusonsound’s rolein as shapersandbearers ofculture. Particularly, Howes andConstanceClassen’s “Sounding Sensory Profiles” studies scene. Authors from anthropology, psychology, linguistics,andculturalhistory attendtothesenses University of Toronto Press. This collectionofessays isa great starting pointfor anyone new tothesensory Noise, Water, Meat: A History of Sound in the Arts Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader The Varieties of Sensory Experience: A Sourcebook in the Anthropology of theSenses Doing Sensory Ethnography Noise, Water, Meat delves intotherelationship between sound,music,andnoise . 2nded. Thousand Oaks, CA:SAGE Publications. This [email protected] . Cambridge, MA:MIT Press. Kahn’s book SEM Student NewsSEM Student continued on next page . FontesMusicae Artis . , including . Urbana: University . Toronto: 62 46 SEM{STUDENTNEWS} Vol. 13, No. 2 | Fall/Winter 2017 Society for © Ethnomusicology Teffer, Nicola. 2010. “Sounding Out Vision: Entwining theSenses.” Spiller, Henry. 2017. “Sonicand Tactile DimensionsofSundaneseDance.” In Roseman, Marina.1991. Potter, Caroline. 2008.“SenseofMotion, SensesofSelf:Becoming a Dancer.” . continued More thanSound Check outourcollectionofresources onSEM’s website. Theseinclude: the onlineversions ofourresource lists. [email protected] Did we misssomething? Contact us withyour at commentsandsuggestions identity ofa body intotherealm of vision andimage. medium thanlighttothink through the ways in which thesetechnologiesmediate theinteriority and references for thinking about visual perception. Teffer employs Hegel’s ideasaboutsoundas a more ideal what isinvisible. Shearguesthatusing radio waves, magneticfields,andsound waves scramblesestablished considers the ways in which ultrasoundandmagneticresonance imaging (MRI)mediateperceptions of of dancer anddrummer (the visual andthesonic) intheexperience ofmovement anddance. Through analyzing vocal gesture anditsrelationship tophysical gesture, Spiller communicatesthecollapse experienced visually; rather, heargues,thisdanceisa tactileactthatisfelt for bothdancersanddrummers. York: Routledge. Inhischapter, Spiller challenges thenotionthatSundanesedance( Choreomusicology in Maritime Southeast Asia performance, and affect toilluminatetheefficacy ofsinging in Temiar healing rituals. of illnessetiology anddiagnosticstrategies,indigenous ideasaboutmusicalcomposition,speech, anthropology, performance theory, medicine,andethnomusicology, shejointly investigates Temiar concepts the medicinalpracticesof Temiar people, who live inKelantan, West Malaysia. Using theoriesfrom University ofCalifornia Press. Inher book,basedon20monthsoffield research, Roseman describes of culturalidentity. community. For Potter, a focus onkinaesthesia invites a sensory understanding thatengenders a bodily sense developing a heightenedsenseofkinaesthesia isa meansofbecoming socializedintotheprofessional dance Potter usesher experience ina professional dancetraining program tophenomenologically reflect onhow (sight, sound,smell,taste,andtouch) attheexpense ofother viable senses(heat,pain,andkinaesthesia), (4): 444–65. Critiquing the ways in which scholarly literature hasfocused on“thefive” Euro-American senses • • • • • Music, Medicine,Health, andCognition Music andDiaspora theJobMarketNavigating Reading, Decolonizing Studies Sound andSensory Healing Sounds from theMalaysian Rainforest: Temiar Music and Medicine Extended Resource Lists . We willbehappy to addcitations andresources to , editedby Mohd Anis Md Nor andKendra Stepputat, 13–30. New The Senses and Society Sounding theDance, Moving theMusic: Ethnos: JournalEthnos: of Anthropology 5 (2):173–88. Teffer tari kursus . Berkeley: ) isprimarily 73 47 SEM {STUDENTNEWS} Davin Rosenberg, Editor & Design/Layout Davin is a PhD candidate in ethnomusicology at University of California, Davis. His research focuses on flamenco in the Americas wherein he explores musicking in the social (re)creation of space and sense of place, grooves as social and musical processes, and intersensory modalities. In previous work he discusses flamenco performance, instruction, and tradition in Phoenix, Arizona. Davin is also a musical instrument repair technician and enjoys playing samba and flamenco guitar. Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol. } Eugenia Siegel Conte, Assistant Editor Eugenia is a PhD student in ethnomusicology at the University of California, Santa Barbara. She completed an MA in ethnomusicology at Wesleyan University, researching identity in choral music and performance in Oahu, Hawai'i. Previously, she earned an MA in music research at Truman State University, focusing on gender and sexuality in Benjamin Britten's opera The Turn of the Screw. She is currently interested in voice studies and sound studies and

STUDENTNEWS how they may be applied to choral musical practice. { SEM

Heather Strohschein, Copy Editor Heather is a PhD candidate in ethnomusicology at the University of Hawai'i at Mānoa. She holds a BA in world music and an MA in ethnomusicology from Bowling Green State University. She recently defended her dissertation and will be graduating in the spring of 2018. Her dissertation research focuses on Javanese gamelan use outside of Indonesia as well as the performance of affinity and community. Heather also serves as a co-editor/co- founder of the SEM Student Union blog and currently teaches online world music courses at the University of Hawai'i West O'ahu and Owens Community College in Ohio.

Ana-María Alarcón-Jiménez, SEM Student Union Liaison Born in Bogotá, Colombia, Ana-María Alarcón-Jiménez recently completed her PhD in ethnomusicology at the Universidade Nova de Lisboa. She currently lives in Barcelona, where she holds a temporary post as guest researcher at the Department of Anthropology of the Institute Milà i Fontanals, CSIC (Spanish Research Council). This year, Ana-María is finishing her term as Vice Chair of the SEM Student Union and as contributor to the SEM Student Union Blog. Together with Josep Martí and Sara Revilla, she recently created the Grup de Treball d’Etnomusicologia in Barcelona, an ethnomusicology interest group of the Catalan Institute of Anthropology (ICA).

Hannah Adamy, Researcher & Incoming Thoughts from the Field Columnist Hannah is a second-year PhD student in ethnomusicology at the University of California, Davis. She received her MA in performance studies from Texas A&M University, where she studied processes of heteronormativity in Euro-classical vocal pedagogy. Her current research focuses on vocal production as praxis in speaking back to violence. She also composes music for various community theaters in New Jersey.

Society for Ethnomusicology © 48 SEM {STUDENTNEWS} Maria Stankova, Contributor Maria is a PhD candidate in ethnomusicology at New York University. Her dissertation research focuses on globalization, nationalism, and the contemporary dimensions of Bulgarian choral folk singing. She currently sings with two ensembles—Cosmic Voices from Bulgaria and Nusha.

Simran Singh, Contributor Simran is a Reid scholar and recipient of the Overseas Research Award at Royal Holloway, Vol. 13, No. 2 | Fall/Winter 2017 13, No. 2 | Fall/Winter Vol. } University of London. Her doctoral research explores hip hop in Uganda. She holds an MA with distinction in media and international development from the University in East Anglia and has served as Visiting Tutor in the departments of Music, and Politics and International Relations, following a seven-year career as Creative Director of a branding firm in India.

Brendan Kibbee, Contributor STUDENTNEWS { Brendan is a PhD candidate at the Graduate Center of the City University of New York and a fellow at the Center for Place, Culture, and Politics. His dissertation project, “Counterpublics SEM and Street Assemblies in Postcolonial Dakar,” focuses on the intersection of music, associational life, politics, and public space in a popular quarter of Dakar, Senegal. Brendan plays Senegalese percussion at the Alvin Ailey Extension and is a jazz pianist. He has taught at CUNY and Rutgers University.

Jon Bullock, Contributor Jon is a PhD student in ethnomusicology at the University of Chicago. He holds a BA in religion and an MA in ethnomusicology. Jon’s research interests include constructions of time and place in contemporary Kurdish music, with a focus on the interstices of music and nationalism, modernity, and global migration/diaspora. He has also written about music and religion, including music censorship within the Christian church, and various sonic phenomena within Islamic performative and theological traditions.

Brian Fairley, Contributor Brian is a first-year PhD student in ethnomusicology at New York University, pursuing research on practices of the voice and media archaeology in the Republic of Georgia and among theater ensembles in the Polish physical theater tradition. He received his MA from Wesleyan University in 2017, with a thesis entitled “The Gurian Trio Song: Memory, Media, and Improvisation in a Georgian Folk Genre.” Brian is also a pianist, dramaturg, and member of Gamelan Kusuma Laras in New York.

Solmaz Shakerifard, Social Media Manager Solmaz is a PhD student in ethnomusicology at the University of Washington, Seattle. Her research interest lies at the intersection of ethnomusicology and music education, with special focus on the pedagogy of Iranian classical music, the interactions of this musical tradition with those of Euro-American musics, and the socio-political contexts of musical change and continuity. She has been an active community music organizer in Seattle. She is currently an assistant at the University of Washington’s ethnomusicology archives.