2008 SEM Honorary Members Moving Forward At

Volume 43 Number 1 January 2009

from the time she graduated from 2008 SEM Honorary Miss Porter’s (high) School in Fram- Inside Members ington, CT, in 1958. By the time she 1 2008 Honorary Members: had graduated with an MA in Ethno- Each year at the annual meeting, Charlotte Frisbie musicology from Wesleyan University 1 Moving Forward at SEM SEM bestows the title of Honorary and a PhD in Anthropology from the Member on several individuals to 3 Prizes University of New Mexico in 1970, 5 Summer Programs honor their years of service to the her first book,Kinaaldá: A Study of Society and to the field of ethnomu- 5 People and Places the Navaho Girl’s Puberty Ceremony 6 nC2 sicology. This year’s honorary mem- (1967) was already a classic in our bers are Charlotte Frisbie, Carolina 9 Calls for Submissions field—an early ethnography of per- 11 2008 Honorary Members: Robinson, and Beth Lomax Hawes. formance, and at that time, a seem- Below are the introductions presented Carolina Robinson ingly rare look at the lives of women 13 Announcements at the meeting for Charlotte Frisbie in Native American ceremonial life. and Carolina Robinson. We hope to 13 Obituary: David B. Welch In the intervening decades she made 15 Conferences Calendar include a biography of Beth Lomax foundational contributions to the Hawes in the March issue. —Editor study of Navajo culture and has been recognized for outstanding achieve- ments as a teacher and thinker during Moving Forward at Charlotte Frisbie her career at the University of South- SEM By Beverley Diamond ern Illinois in Edwardsville. When I pondered what I thought By Stephen Stuempfle, SEM Ex- Anthropologist and ethnomusi- were Charlotte’s major contributions ecutive Director cologist Charlotte Johnson Frisbie to ethnomusicology, I was struck not has made strikingly important contributions to our discipline practically Continued on page 10 More than 900 people attended the 53rd annual meeting of SEM in Middletown, CT, October 25- 28, 2008. The beautiful campus of Wesleyan University and its distinguished ethnomusicology program provided an inspiring setting for an almost around-the-clock schedule of formal programs, concerts, and collegial gatherings. The success of this meeting is attributable to the dedicated work of the Local Arrange- ments Committee, chaired by Eric Charry, and the Program Committee, chaired by Jeffrey Summit. Eric and his colleagues constructed a conference that facilitated new opportunities for interaction both at the meeting site and through online communication. I believe that everyone who attended the Pre-Conference on October 24 (Toward a 21st-Century Ethnomusi- cology) was impressed by the video- linked conversations that took place between scholars onsite at Wesleyan and those in China, Indonesia, and Beverley Diamond (left) introduces Honorary Member Charlotte Frisbie (right) at the 53rd Annual Meeting of SEM (photo: Henry Spiller) Continued on page 4 Ethnomusicology Sites Internet Resources The Society for Ethnomusicol- American Folklife Center ogy and the SEM Newsletter The SEM Website http://lcweb.loc.gov/folklife/ http://www.ethnomusicology.org Editor, SEM Newsletter British Forum for Ethnomusicology Henry Spiller The SEM Discussion List: SEM-L Department of Music http://www.bfe.org.uk University of California To subscribe, send email message British Library National Sound Archive One Shields Avenue to: [email protected]. Davis, CA 95616, USA International Music Collection: (Tel) 530.757.5791 (Fax) 530.752.0983 EDU. 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SEM Newsletter Prizes The following prizes were announced at the SEM general membership meeting on October 25, 2008, at Wesleyan University in Middletown, CT. Congratulations to all winners!

Charles Seeger Prize By Elizabeth Tolbert The Charles Seeger Prize Com- mittee is pleased to award the 2008 Charles Seeger Prize to Matt Saka- keeny (PhD from Columbia Universi- ty, 2008; currently Assistant Professor of Music at Tulane University) for his paper “A Sound-Body Politic: Mak- ing Claims on Public Space Through Sound.” This beautifully evocative paper not only offers nuanced insights into the socio-political implications of New Orleans jazz funerals, but also presents an exemplary model for future work on the embodied performance of place. The paper is beauti- Sydney Hutchinson (left) receives the Nadia and Nicholas Nahumck Prize from Louise fully written and creatively organized, Meintjes (photo: Henry Spiller) effortlessly interweaving vivid ethnographic description with theories of telling the band that they ner of the 2008 Nadia and Nicholas space, place, and the performance of couldn’t go beyond the desig- Nahumck Fellowship for her imagina- collective memory. nated parade route, but in a tive research on a dancing gendered The paper presents an acouste- matter of seconds the casket trickster figure in a project titled mology of jazz funerals in New was hoisted up into the air and “Meaningful movements: Gender, Orleans by following the funeral pro- the crowd moved quickly under politics, and collective memory in cession of a young woman of 32 who the overpass, with the band Dominican carnival.” was “buried with music,” tracing the unleashing its full power and path of the crowd as it marches under others responding by pumping Jaap Kunst Prize the I-10 overpass, an ever present their fists in the air. reminder that the freeway destroyed As the parade winds along By James Cowdery a once vibrant black neighborhood by its emotionally charged route, The 2008 Jaap Kunst Prize has splitting it in two. In a striking pas- participants re-appropriate been awarded to Timothy D. Taylor sage, the author describes the scene the space “under the bridge,” for his article, “The Commodification as follows: simultaneously reaffirming the of Music at the Dawn of the Era of At the intersection of Claiborne value of an individual life and Mechanical Music” (Ethnomusicol- Avenue, stood the imposing the power of community to ogy 51/2, Spring/Summer 2007). The stanchions of the Interstate- reclaim its history and identity. prize is awarded annually by SEM to 10 overpass. The band and recognize the most significant article the family wanted to lead the The Charles Seeger Prize is in ethnomusicology written by a mem- procession under the over- awarded to the most distinguished ber of the Society for Ethnomusicol- pass for maximum affect. student paper presented at the ogy and published within the previ- “Let’s send her away! Let’s previous year’s annual meeting. This ous year (whether in the journal or send her away!” bandleader year’s committee members were elsewhere). The committee—Virginia James Andrews shouted. The Monique Ingalls, Regula Qureshi, Danielson, Sonia Seeman, Jeremy bass drummer pointed to the Jennifer Post, and Elizabeth Tolbert, Wallach, and Jim Cowdery (Chair)— overpass: “Under the bridge! Chair. found Taylor’s article to be an innova- Under the bridge!” The funeral tive, useful, and highly original study that illuminates an important issue in director hesitated: the casket Nadia and Nicholas Nahumck Prize had already been put back in contemporary ethnomusicology. Congratulations to Sydney the hearse. Then the police Hutchinson (NYU) who is the win- tried to block the procession, Continued on page 8

SEM Newsletter Moving Forward Manuel, Javier León, and Michael Marcuzzi are editing the first volume, continued from page 1 Studies in Latin American Music, Tanzania. Following these ses- which includes articles translated sions, there was much discussion from the Spanish and Portuguese. of whether videoconferencing could This publication is sponsored by the become a regular component of Research Institute for the Study of future SEM meetings. Meanwhile, the Man (RISM), a program of The Reed main conference program manifested Foundation, through a grant to SEM. an extraordinary range of topics, Another major goal in the Strategic perspectives, and formats, thanks to Plan is to advance ethnomusicology the brilliant planning and coordination as a form of public practice. Clearly, of Jeff and the other Program Com- there are many possibilities for more mittee members. Finally, the diverse effectively leveraging the vast exper- evening concerts enabled attendees tise of SEM’s membership to assist to make music together and to further musicians, audiences, and communi- appreciate the wide-ranging talents ties both in the US and abroad. At of our membership. Many thanks are present, we are refining the goals due to Wesleyan University for being Greg Robinson performs at the Latin outlined in the Strategic Plan and such a gracious host and for its ex- American Concert at the SEM Meeting at are identifying specific projects and ceptional financial contribution to the Wesleyan (photo: Alan Burdette) revenue sources that will enable us to conference. pursue these goals effectively. While the 2008 meeting was in throughout the world. Also central to Personally, it has been a great session, a number of people were these efforts is Brenda Romero, Chair pleasure to serve since last Janu- hard at work planning the 2009 meet- of the 2009 Program Committee. ary as SEM’s first full-time Executive ing, which will be held in Mexico City Brenda and the other members of this Director and to work with all of you on November 19-22. Joining us from committee are considering various to build on the Society’s past suc- Mexico City was Guillermo Contre- options for a multilingual conference cesses. I want to particularly thank ras Arias, professor in the Escuela and have crafted a Call for Proposals Deborah Wong and the entire Board Nacional de Música, research scholar that will surely stimulate an array of for their support. I also want to thank at the Centro Nacional de Investig- innovative presentations. Alan Burdette, past Executive Direc- ación, Documentación e Información The tremendous volunteer con- tor, and Lyn Pittman, Business Office tributions of SEM members this past Coordinator, for welcoming me to year ensured that our conference, Bloomington, Indiana, and for helping publication, and prize programs me to better understand SEM as an continued to flourish. However, organization. During the upcoming 2008 was also a year in which we year, I look forward to conversing with dedicated ourselves to envisioning a many more of you. I can be reached broader future for ethnomusicology by email at [email protected] or in both the academy and the public by phone at 812-855-8779. sphere. To this end, the SEM Board, Long-Range Planning Committee, Development Committee, and Coun- ... readers will notice cil devoted many hours to drafting a Strategic Plan for the society. This the new look of the draft document draws on several planning meetings that took place current SEM News- over the past two years and on input letter received from members through the SEM President Deborah Wong wields her online survey conducted last summer. gavel (photo: Alan Burdette) The Strategic Plan is still a work- One final note: readers will notice in-progress but some clear goals the new look of the current SEM have emerged. For example, there is Newsletter. This re-design is part of Musical (CENIDIM), and Chair of the a strong consensus that SEM should an effort to achieve a more consistent 2009 Local Arrangements Commit- explore ways of expanding interna- visual image for SEM in its publica- tee. As Guillermo shared his various tional communication in ethnomusi- tions, printed documents, and web- ideas for the Mexico City conference, cology. While our 2008 and 2009 an- site. Special thanks to Henry Spiller we all became increasingly excited nual meetings certainly demonstrate for implementing this new design about the exchanges that will take this objective, we are also moving for- and for ensuring that the newsletter place next year with our colleagues in ward in the area of publications with remains a lively forum for anyone with Latin America and the Caribbean and a new SEM translation series. Peter an interest in ethnomusicology.

SEM Newsletter shop in Bali, Payangan Festival of Beijing and Beyond (July 15-Au- Summer Workshops Music and Dance, and Performing gust 6): focus on guqin performance. Center for World Music Programs Arts Tour of Java. Cost $3,295. Direc- Visits to Taoist sanctuaries and Abroad 2009 tors and guides: Wayan Tubek and historical sites, and performances of Lewis Peterman. traditional music. Cost $3,695. Direc- The Center for World Music is African Encounters 2009 (July tors: Wang Peng and Jia Wu Xuan. pleased to announce its Programs 30-August 21): two-week workshop Coordinators: Juan-Juan Meng and Abroad 2009: cultural tours and at a seaside resort on the Gulf of Alexander Khalil. hands-on workshops in Indonesia, Guinea and a five-day tour of the Istanbul and Beyond (March Africa, China, and Turkey. cultural highlights of Southern Ghana. 27-April 5): visits to museums and Indonesian Encounters 2009 Cost $3,495. Directors and guides: palaces, fasil music, mehter band (June 20-July 12): two-week work- Alidu Alhassan, Kwame Degbor, and music, whirling dervishes, an Otto- John Gabriel. man banquet, shopping in the Grand Bazaar. Cost $2,495. Tour guides: Kamil Güller and Lewis Peterman. For additional information and on-line application forms, please visit the Center’s website at centerfor- worldmusic.org/tours/tours.html or contact Dr. Lewis Peterman at (email) [email protected] or (phone) 619-440-7046.

Çudamani Music & Dance Summer Institute, Bali, Indonesia 2009 June 28-July 19, 2009 Application deadline: February 7, 2009

With the success of the 2007 and 2008 summer programs, Çudamani will once again invite 35 individuals Music and dance lesson, Center for World Music Indonesian Encounters Continued on page 14

new Chair. Bithell is Senior Lecturer candidate, Wesleyan University) won People and Places in Ethnomusicology and Arts Manage- an award for his liner notes to The After four years at the Rock and ment at the University of Manchester, Live Wire: Woody Guthrie in Perfor- Roll Hall of Fame and Museum, UK, and a former editor of the journal mance 1949, released by Woody Susan Oehler began a new posi- Ethnomusicology Forum. She is also Guthrie Publications. tion in September 2008 as Program a member of the SEM Council. The late Mirjana Laušević was Associate with Facing History and Alejandro L. Madrid (Univer- honored with The Béla Bartók Award Ourselves (website: www.facinghis- sity of Illinois at Chicago) has been for Outstanding Ethnomusicological tory.org), based in their Cleveland awarded a Fulbright Fellowship to Book for her book, Balkan Fascina- Regional Office. Facing History is an conduct research on music, dance, tion: Creating an Alternative Music international educational and profes- and racial relations between Mexico, Culture in America, published by sional development organization that Cuba, and New Orleans. He also Oxford University Press. This award helps teach about the consequences received an Institute for the Humani- honors the memory of Bartók (1881- of genocide, racism, and violence. ties Fellowship from UIC towards the 1945), the great Hungarian-American The Facing History methods and completion of his book, titled Julián composer and ethnomusicologist. resources help students draw con- Carrillo and the Cosmopolitan Imagi- Drexel University recruited Ma- nections between historical events nation: Modernity, Distinction, and ria Hnaraki two years ago to direct and the choices they make as civic Ethnicity in 20th-Century Mexico. a Program in Greek Studies. Dr. decision-makers. In her new position, The American Society of Compos- Hnaraki has developed new courses, Oehler will work primarily with educa- ers, Authors and Publishers (ASCAP) collaborated with the performance tors in schools throughout the Cleve- has announced the winners of the campus ensembles, and expanded land area. 41st Annual ASCAP Deems Taylor the University’s mission by introduc- The British Forum for Ethnomu- Awards for outstanding print, broad- ing a new Program Abroad on the sicology is pleased to announce the cast and new media coverage of island of Crete, Greece. A minor in election of Caroline Bithell as its music. Jorge Arévalo Mateus (PhD Greek Studies is also now available. SEM Newsletter “Change” may be the word we associate most with 2008. Both presidential campaigns riffed on the word, crafting slogans that made “change” something “we can believe in” and “we need” (Obama), and something “you deserve” (McCain; originally an anti-depressant ad). There was talk of the UK’s Conservative Party adopting it (“change you can trust”), and a prominent animal rights advocate adapted it for his “constituency” (“we need change animals can believe in”). “Climate change,” whether of human or divine doing, was on every stump speaker’s lips, thankfully replacing the “regime change” of not-so-long ago. Does anything human change more slowly than institutions? Institutional inertia is often interpreted as conservatism. The “evolution- ary product of social needs and societal functions” (Breit, et al.: 15), rather than the outcome of consensus, institutions are made up of myriad individuals, whose social practice, embedded in persistent cultural worldviews, must change to effect a system-wide change. It’s our beloved habitus at work—the “discontinuous way with varying speeds and dynamics at different levels” (ibid 153)— whereby endogenous change comes to institutions. In this edition of nC2, Megan Rancier reports on music institutions in Kazakhstan, and the issues that resistance to change raises for performers and ethnographers alike. —Jesse Samba Wheeler

Reference Cited

Breit, Heiko, Anita Engels, Timothy Moss, and Markus Troja, eds. How Institutions Change: Perspectives on Social Learning in Global and Local Environmental Contexts. Opladen, Germany: Leske & Budrich, 2003.

<< Cultural Speedbumps Along the Silk Road >> or << The Problem of Musical Institutions in Kazakhstan >>

by Megan Rancier Almaty, Kazakhstan, March 2OO8

I’ll admit that sometimes I envy my colleagues whose research deals with vibrant, living musical traditions and scenes; in contrast, I often get the sinking sensation that traditional Kazakh music in Al- maty—the “southern capital” of Kazakhstan and one of the current economic dynamos of contemporary Central Asia—is either in crisis, or in a period of extended stagnation. It seems that the cultural life of the city has remained very similar to how it was during the Soviet Union: the same operas are shown at the same theaters, the same Kazakh folk orchestras are performing the same re-worked arrangements of Kazakh folk songs, the same Conservatory is training the newest generation of performers of traditional music (and still teaching only certain traditional genres to the exclusion of others). The only major differ- ence is that these genres must now compete with the Euro-American dance music and hip-hop promoted heavily by music channels and blasted throughout the burgeoning nightclub scene. The most striking and problematic aspect of Kazakh traditional music in Almaty is the institutional one. You will rarely, if ever, hear traditional music performed outside of the state-supported venues, themselves holdovers from Soviet times. It’s as if people here got so accustomed to the Soviet way of institutionalizing and “modernizing” traditional culture that nobody has any inclination to try a different way. And of course, there’s really no financial benefit to doing so, since all of the jobs associated with traditional music are within the institutional framework. It’s a self-perpetuating system, and it serves its

SEM Newsletter its purpose just fine; but in my most pessimistic moments during my fieldwork, I tend to see these examples more as just repetitions of increasingly empty cultural formulas than really meaningful and relevant musical expressions of Kazakhs in Almaty today. The situation for local Kazakh popular music is not encouraging, either. Most pop performers are still heavily influenced by Russian estrada style of light (some might say schlocky) pop music, and the somewhat embryonic nature of the country’s music industry privileges those would-be pop stars who have ready financial resources, instead of those with actual talent. A few Kazakh popular artists are working against this trend, developing a style widely known as “ethno-rock,” which combines elements of pop and traditional music, but this style has only a limited audience. Of course, as ethnomusicologists, we’re supposed to be cultural relativists and to look at the situation objectively and analytically. But after I-don’t-know-how-many times I’ve been bored to tears by a Soviet-era Kazakh “national” opera or had my ears blasted by the synthesizer-driven thumping of yet another trite local pop song, I tend to get a little depressed about the state of Kazakh music in Kazakh- stan. From my conversations with certain local experts, I suspect that other people here feel the same way but also feel protective of their national heritage. I also hear the frequent claim that the development of cultural life (e.g., sponsoring artists, festivals, new compositions) is the responsibility of the government. People in Kazakhstan seem to feel powerless to influence or change the direction of the cultural life of their own city—a legacy of the centralized government that characterized all former Soviet republics. I see the main issue at hand as a political one: just as there is no outright criticism of President Nursultan Nazarbayev, there is likewise no fundamental critique of his government’s continued patron- age of increasingly irrelevant musical institutions. It seems that just as freedom of speech is restricted in this country, so is the freedom to think differently about the practice and transmission of traditional music—i.e., outside the closed system of state-sponsored institutions. As an ethnomusicologist, it upsets me to see the life slowly drained out of Kazakh traditional music in this way—but I also feel unable to do anything about it (unless I am prepared to hang up my ethnomusicologist hat and become a full-time, anti-authoritarian dissident…). Who am I to tell people that their governmental system is wrong and stifling the nation’s cultural life? Of course it’s easy for me to point out what I perceive as misguided, but when the individuals in this scenario aren’t truly free to explore other options or critique the government that remains their primary supporter and patron, my critiques would be a cry in the wilderness. Worse, I would run the risk of complicating my relations with local performers and scholars who depend on (albeit problematic) government support for their liveli- hoods. In situations like these, all I seem able to do is repeat the question (in)famously asked by Lenin himself: “What is to be done?”

Rakhmet!!! to Megan Rancier, a PhD candidate in ethnomusicology at the University of California, Los Angeles. Her dissertation fo- cuses on the traditional Kazakh fiddleqyl-qobyz and its role in the formulation of post-Soviet Kazakh national identity in Kazakhstan.

SEM Newsletter Prizes Wong Tolbert Prize Stowitts through his exploration and continued from page 5 Elizabeth Keenan received the depiction of Javanese dance. Draw- Wong Tolbert Student Paper Prize, ing on a rich body of theoretical works Lise Waxer Prize which recognizes the most distin- on orientalism and gender construc- guished student paper on women and tion, this paper also shows an impres- By Kristin McGee music presented at the SEM annual sive sense of historical context not The Lise Waxer Prize selection meeting, for her paper entitled “‘I only in the United States and Europe committee takes great pleasure in Don’t See What the War Has To Do in the early 20th century, but also in naming Jayson Beaster-Jones with Feminism”: Third Wave Femi- Java at the same period, and deftly (University of Chicago) as the win- nism, the War on Terror, and the Poli- interprets a rich body of primary re- ner of this year’s prize for his pa- tics of the American Middle Class.” search materials. per “Indexing the Past, Selling the Future.” Beaster-Jones examines the cultural discourses collapsed into an Indian television advertisement, an advertisement that “uses music to sell insurance, even as it uses music to sell a particular conception of an Indian past and present.” As a “Tree of Life” motif becomes recontextual- ized in the commercial, the combined audio-visual image indexes “an Indian ethos of saving and sacrific- ing.” Insightfully drawing on historical, political, cultural, musical, economic, and theoretical concepts along with fieldwork/interviews, Beaster-Jones writes clearly and convincingly. His suggestion of inter-subjectivity, a con- stantly refreshing feedback loop, as a way of framing semiotics, promises future theoretical development that may become influential in the field. The committee felt that this year’s Tong Soon Lee (left) presents the Wong Tolbert Prize to Elizabeth Keenan (right) (photo: set of papers was exceptionally Alan Burdette) fine, and the top three papers under consideration were particularly so. Marcia Herndon Award Klaus P. Wachsmann Prize Although we have no intention of By Gillian Rodger By Paul Greene beginning an “honorable mention” tra- dition, we would like to suggest that The Gender and Sexualities The 2008 Klaus P. Wachsmann two other papers be given “honorable Taskforce Section of the Society for Prize winner is Theodore Burgh, for mention”: Jenny Olivia Johnson Ethnomusicology created the an- his book Listening to the Artifacts: (New York University), “Dear Mr. nual Marcia Herndon Award to honor Music Culture in Ancient Palestine Jesus, Just Don’t Ask Me What It exceptional ethnomusicological work (T. & T. Clark, 2006). Listening to the Was”: 80s Pop Songs, Child Abuse, in gender and sexuality including, but Artifacts draws together many differ- and Acoustic memories of Sexual not limited to, works that focus upon ent kinds of data to explore the likely Violation,” and Michael Birenbaum lesbian, gay, bisexual, two-spirited, meanings of music sounded by in- Quintero (New York University), “On homosexual, transgendered and struments in the ancient Middle East. Industrious Ants and Fiddling Grass- multiple gender issues and communi- For example, this work calculates, hoppers: Musical Bodies, Laboring ties. I am happy to announce that the based on the average height and Bodies, and the Myth of the Lazy committee has reached a unanimous arm length of people of the time, the Native.” The committee takes great decision that Henry Spiller’s sub- minimal performance space needed pride in honoring and remembering mission, “To Make Ourselves Com- for musical ensembles. The work the unique scholarship of Lise Waxer plete”: Stowitts, Javanese Theatre, then explores the kinds of architec- and especially her contribution to in- and American Masculinities, a paper tural spaces in which musicians could novative ethnographic Latin American given at the 52nd SEM meeting in have performed, and the purposes popular music research. Her critical Columbus, OH, is the winner of this performance events could have theoretical legacy continues to guide year’s Herndon Award. In this paper, served. Burgh has effectively extend- the committee’s criteria for choosing Spiller explores the construction of an ed organology to “excavate” perfor- each year’s prize recipient. alternate masculinity by the Ameri- mance contexts of an ancient music. can athlete and dancer Hubert Julian Continued on page 12 SEM Newsletter tember 2009. For editorial guidelines ogy. The global Symposium will focus Calls for Submissions see (website) http://www.sibetrans. on scholarly sessions, which demon- TRANS—Transcultural Music Re- com/trans/contributors.htm. For more strate intercultural relations between view Special Issues: information, contact (email) edicion@ Africa and North America, and will sibetrans.com. feature special discussion sessions • Musics of the Mediterranean directed by composers and perform- • Music, Technology and Creativity Annual Meeting of The Society ers. The Festival will feature interac- for Ethnomusicology Northwest tive workshops, original compositions, Deadline: September 2009 Chapter and live concerts demonstrating intercultural relations between Africa February 21, 2009 TRANS—Transcultural Music and North America. Review is the refereed journal of Submission deadline: January 9, The principal sponsors of this the SIBE — Sociedad de etnomusi- 2009 milestone event are: The UCLA Herb cología and the IASPM-Spain and is Alpert School of Music (HASOM); Department of Ethnomusicology; the best-ranked academic music jour- The Society for Ethnomusicol- nal in Spain. The journal is soliciting Azusa Pacific University (APU), ogy Northwest Chapter (SEMNW) is Music Research Institute (MRI), and original articles for two special issues pleased to announce its 2009 Annual for 2010. The first, on Musics of the the Center for Intercultural Musicol- Meeting. The School of Music at the ogy at Churchill College, Cambridge Mediterranean, is edited by Rubén University of Washington, Seattle, Gómez Muns (Universitat Rovira i Vir- (CIMACC). Registration begins No- will host this conference on Saturday, vember 20, 2008. Register at (websit) gili) and Fethi Salah (Ecole Normale February 21, 2009. Submissions for Supérieure—Kouba, Argel). The Med- http://amna.ethnomusic.ucla.edu. For individual papers, panels, and work- more information, contact Dr. Kimasi iterranean Sea gives way to a rich, shops are welcome. Abstracts of no complex and diverse cultural area, L. Browne at (email) kbrowne@apu. more than 250 words should be sub- edu. marked by multiple and intertwined mitted by January 9, 2009, to Kim- processes of interaction between berly Cannady at (email) kcannady@ Europe, the Maghreb, the Balkans, u.washington.edu) or Christina Suna- Music of the Sea and Turkey. These processes of cul- rdi at (email) [email protected]. June 12-13, 2009 tural exchange have found in music edu. For details about the meeting one of its best carriers, embodying and the Thelma Adamson Prize for Submission deadline: March 15, 2009 issues of hybridization, métissage, best student presentation, please visit and patrimonialization; postcolonial (website) http://www.music.washing- Mystic Seaport’s 30th Annual relationships, globalization, and also ton.edu/ethno/semnw.html. Symposium “Music of the Sea,” spon- migrancy and diaspora movements. In conjunction with the meeting, sored by Mystic Seaport Museum, This special issue gathers original Gamelan Pacifica, Jessika Kenney, The United States Coast Guard works about the cultural complexity of and Sutrisno Hartana will join re- Academy, and the University of Con- the Mediterranean through the lens nowned Javanese puppet master Ki necticut at Avery Point, seeks pro- of music and from a interdisciplinary Midiyanto for a performance of way- posals for papers in history, folklore, perspective that includes traditional ang kulit (central Javanese shadow literature, ethnomusicology, and other music, popular music, local music puppet theater) at 7:30 p.m. on Fri- appropriate disciplines that address scenes, diasporas, musical practices, day, February 20, at the University of any aspect of music or verse of the cultural industries, theory, etc. Washington Meany Theater. For more sea or inland waters from the Age The second special issue is on information and tickets, please see of Sail through the present day. The Music, Technology and Creativity, (websites) www.music.washington. two-day symposium is part of a three- and is edited by Héctor Fouce and edu or www.meany.org. day event that celebrates the lives Amparo Lasén (Universidad Com- and work of sailors through musical plutense de Madrid). Suggested Africa Meets North America Con- performance. topics include transformations of the ference The Friday, June 12, session will author’s role, music genres based on be held at the United States Coast the use of pre-existent materials (e.g., October 22-25, 2009 Guard Academy in New London, hip hop, Electronic music, Bastard Submission deadline: March 15, 2009 Connecticut, and the Saturday, June Pop, Mashups, etc.), uses of tech- 13 session at Mystic Seaport, Mystic, nology and new creative practices, Connecticut. reorganization of the music industries Dialogues in Music Project will Topics of interest include: ship- in this new context, creative practices host its Third International Sympo- board work songs, songs of maritime of publics, fans and audiences, etc. sium and Festival: “Africa Meets or other occupational trades, seafar- TRANS accepts contributions in North America” (AMNA) in Los ing cultures and cultural change, eth- Spanish, English, French, Italian, Angeles, CA, October 22-25, 2009, nicity and ethnic influences, cultural and Portuguese. The deadline for the at the UCLA Herb Alpert School of submission of the articles is Sep- Music, Department of Ethnomusicol- Continued on page 10

SEM Newsletter Honorary Members: Then I thought about feminism. the Navajo Ceremonial Practitioners I’ve already mentioned Kinaaldá. Fris- Registry (1993). There are many Charlotte Frisbie bie’s interests extend to the women examples. She exemplifies what she Continued from page 1 in our discipline whose history she may have learned from the Navajo: has meticulously maintained in her “harmony obtained through orderly article on the roles and contributions human effort” (Kinaaldá, 2nd edition, just by the significance her work has of women in the Society for Ethnomu- p. 392). had for me, but by how far ahead of sicology from 1952. Her work docu- Then there is her activism. Her the trends of the day she often was. ments: she has written on women’s enormous contribution to organizing First, I thought of her pioneering perspectives on pregnancy and birth the conversation between Navajo and role, together with David McAllester, among the “Nacirema,” on the life non-Navajo academics in the Navajo in making culture bearers visible, histories of traditional Navajo women, Studies Conference. Her significant in telling their stories or enabling and on “unanswered” questions about work on repatriation initiatives. Post- them to tell their own stories, and gender and Navajo music. Her work retirement, her assisting at Midway in recognizing and endorsing the also seeks to learn from history: Elementary School because, as she ethnomusicologist’s role as cultural she has articulated “Anthropological notes in her CV, “my grandchildren mediators by sharing authorship. The Perspectives on the Subordination are there and teachers need help.” 1978 autobiography of Frank Mitchell, of Women” (1980), written about That really says it: for Charlotte, it’s and later the life history of his wife, “Gender issues in Navajo Board- less about activism than it is about Tall Woman, stand out as milestones ing School Experience,” and made service, about supporting family, stu- in a field where communities, rather “Observations on a Preschooler’s dents, colleagues. It’s about honoring than individuals, have often been on First Experience with Cross-Cultural and doing what’s needed. center stage. It took many of us until Living” (1975). She’s done that for us for de- the 1990s to pay more attention to I thought about how I would cades. Charlotte Frisbie’s contribution oral history, to individual lives, and to characterize the style of Charlotte’s to the Society for Ethnomusicology the “ethnography of the particular,” as work. Comprehensiveness, I noted. I has been exemplary. From the time Lila Abu Lughod has labeled it. underlined that word three times. Her she was editor of the Newsletter Second, I thought about perfor- all-encompassing study of vocables (1972-76), through her significant mance studies, a field that began in Navajo ceremonial music—a model presidency (1987-9), her service on to be identified as a distinctive one that every Native Americanist un- the program committee of our land- within our discipline only in the late doubtedly still uses, her significant mark 50th anniversary meeting in 1970s. Since editing the important tome on Navajo Medicine Bundles or Atlanta in 2005, to the present, she anthology entitled Southwestern Jish (1987), her review of definitions has accepted and completed (with Indian Ritual Drama, Frisbie has chal- of performance (1980) and every last distinction) no fewer than nineteen lenged us to push back the boundar- instance she could find of women administrative responsibilities for the ies of what we regard as performance in audio recordings of Navajo per- Society. I am pleased that the Society and why we should study it. formance (1989), her co-creation of has bestowed an honorary membership on Charotte Frisbie.

Calls Canadian Society for Traditional la création et des cultures musicales Continued from page 9 Music / Société canadienne pour (OICCM). The conference theme is les traditions musicales Annual “Musical Heritage: Movement and exchanges, ballad and broadside tra- Meeting Contacts.” It will be held October 29 - November 1 at the Faculté de ditions, technology, regional interests, October 29-November 1, 2009 and popular culture. Audiovisually Musique, Université de Montréal. illustrated presentations are welcome. Submission deadline: February 2, Proposals are welcome in English or Papers selected must be submit- 2009 French. This promises to be a vibrant ted in final form by May 8, 2009. and fruitful collaboration. Graduate students are encouraged The Canadian Society for Tradi- The proposal deadline for pa- to submit proposals. Please submit tional Music / Société canadienne per abstracts as well as workshop proposal and a brief curriculum vita pour les traditions musicales is proposals is February 2, 2009. For or resume to: Dr. Glenn S. Gordinier, pleased to announce an exciting detailed information, please see the Attn: Symposium, Munson Institute, 2009 meeting held in Montréal jointly CSTM web page: http://www.yorku. Mystic Seaport, 75 Greenmanville with the Laboratoire de recherche ca/cstm/conferences.htm. Ave., Mystic, CT 06355-0990, (email) sur les musiques du monde (LRMM), [email protected]. and the Observatoire international de

10 SEM Newsletter 2008 SEM Honorary Members Carolina Robertson By Ellen Koskoff

It gives me great pleasure today to introduce this Society for Ethno- musicology honorary membership to my teacher, my advisor, my friend, and—although much younger than I—my ethnomusicology mommy, Carolina Robertson. Carolina’s keen intelligence, sophisticated theoretical insights, and contagious sense of hu- mor often guided me in the early days of dissertation writing and in the many years that followed when I called upon her for advice or counsel. Her anthropological training and insights were invaluable to me, as she helped me weed through and structure my data into a meaningful whole. And, in the years that passed, her pioneering writing on ritual, medical ethnomusicology, and especially on gender issues in the many cultural contexts Ellen Koskoff and Carolina Robinson (photo: Henry Spiller) she studied, were a continual inspi- ration to me, as well as to a whole generation of ethnomusicologists respect for life have been fueled by Columbia University, the Institute of first grappling with the issues of men, the human encounters made possible Anthropology and Latin American women, and music. by field research. She has worked Thought in Buenos Aires, the Univer- Today, Carolina practices and among the Tzotzil and Tzeltal Maya sity of Santiago de Compostela, the teaches vibrational medicine, medita- in Chiapas, Mexico, the Mapuche of University of Valparaíso in Chile, and tion, permaculture, and ecologically Patagonia, the Kassena-Nankani of several other institutions in Spain and coherent building techniques in the Ghana and Burkina Faso, and Hawai- Latin America. high Andes of Mendoza, Argentina. ians on Moloka’i, Oahu, and the Big Carolina served as President of In the last two years, more than sixty Island. Her publications, lectures, the Society for Ethnomusicology from young people from fifteen countries and workshops address music in 1983 to 1985. She has also served have learned these skills at her solar- ritual communication and spiritual on Boards and committees at the powered organic farm and healing transcendence, the performance of Smithsonian Institution, the National center. Many of these apprentices gender identities, medical ethnomusi- Endowment for the Arts, the National have returned to their own communi- cology, cognition and consciousness, Endowment for the Humanities, the ties to share her ideas about sonic ethnohistory, and teaching for peace. National Science Foundation, the healing and sustainable living on a Carolina has also explored the American Council of Learned Societ- planet in crisis. Bringing a lifetime of applications of technology to teaching ies, the American Council on Educa- diverse experiences into the present, and problems of representation. From tion, the National Institutes of Mental Finca Sonus-sana (Healing Sounds 2001 to 2005, she directed SOL, an Health, the Mountain Institute, and Farm) integrates ecological concerns, online MA program in ethnomusicol- the CONICET (National Academy applied medical ethnomusicology, ogy taught in Spanish, which granted of Sciences of Argentina). Carolina and Buddhist practice. degrees to students from Spain, Mo- has recently completed training in Her current endeavors have rocco, Portugal, Colombia, Mexico, transpersonal counseling and contin- been deeply influenced by ethnomu- Puerto Rico, and Argentina. ues to evolve as a painter, composer, sicology. After completing training in She was a member of the Music writer, and performer. violin at the National Conservatory Faculty at the University of Maryland I present this honor to Carolina of Argentina and in anthropology at for 27 years, with adjunct appoint- Robertson with a full measure of the the National Autonomous University ments in Anthropology, Latin Ameri- generous love, support and warmth of Mexico, Carolina earned a PhD can Studies, and Women’s Studies. she has always given to me, and to in ethnomusicology and folklore at She has also taught at the University all of us. Indiana University. Her love and of Pittsburgh, The Tuskegee Institute, SEM Newsletter 11 Prizes seum, a research center for scholars, of JanFran Jones (d. 1997), who and a concert space. It also houses taught at the University of Toledo Continued from page 8 the National Sound Archive. Its pro- and at Bowling Green State Univer- His study is based on an unusual grams promote study, research and sity, is awarded for the best student combination of types of evidence: the release and re-release of sound paper presented at the annual artifacts, architecture, images, and recordings for academic purposes. Midwest (MidSEM) Chapter meeting. texts. The Klaus P. Wachsmann Prize A scientific indexing system provides The 2008 winner is Natasha Kipp, for Advanced and Critical Essays in multiple accesses to each document “Contestation in the South Caucasus: Organology recognizes a publication while respecting the copyright rela- Musical ‘Masterpieces’ and the Role that advances the study of musical tive to literary, artistic and mechanical of UNESCO.” instruments through presentation reproduction of phonographic docu- The Thelma Adamson Prize, of new data and use of innovative ments. Established in 1991, the Cen- named in honor of one of the first methods. The prize is offered every ter was awarded the Honoris Causa women to conduct ethnographic two years. Prize by the International Music fieldwork in the Pacific Northwest, is Council (UNESCO) in 1997. awarded for the best student presen- Alan Merriam Prize tation at the annual Pacific/Northwest The 2008 co-winners of the Alan Richard Waterman Junior Faculty Chapter (SEMNW) meeting. The Merriam Prize are Tomie Hahn, for Prize 2008 winner is Shalini Ayyagari, her book Sensational Knowledge: ”Spaces Betwixt and Between: Musi- Embodying Culture through Japa- By Paul Greene cal Borderlands and the Theory That nese Dance (Middletown: Wesleyan The Popular Music Section Makes Them So (Rajasthan, India).” University Press, 2007) and Timothy is pleased to announce that the The T. Temple Tuttle Prize, Rommen, for “Mek Some Noise”: first winner of the Richard Water- named in honor of the founding mem- Gospel Music and the Ethics of Style man Junior Faculty Prize is Teresa ber of the Niagara Chapter and Pro- in Trinidad (Berkeley: University of Magdanz for her article “Sobre las fessor of Ethnomusicology at Cleve- California Press, 2007). The Alan Olas: Cultural Synecdoche of the land State University, is awarded for Merriam Prize is awarded annually Past,” published in the Journal of the best student paper presented at to the best book in ethnomusicology, the Society for American Music. The the Niagara Chapter meeting. The published in English. The members committee found her article engag- 2008 winner is Kirsten Dyck, “Navi- of the Merriam Prize Committee were ing, effective and well researched gating Backlash: The Dixie Chicks Philip V. Bohlman (chair), Michael in its historical contextualization of and the Politics of the Entertainment Frishkopf, Kyra Gaunt, and Michael a seemingly “simple” tune, whose Media.” Largey. significance has spanned publishing, The Dale Olsen Prize, named cinema, and recording. The prize was in honor of the founding member of African Music Section (AfMS) Afri- created to recognize the best article Southeast and Caribbean (SEMSEC) can Libraries Student Paper Prize by a junior scholar in the ethnomu- and Professor of Ethnomusicology at Jason McCoy was awarded the sicological study of popular music Florida State University, is awarded AfMS African Libraries Student Paper published within the previous year, in annually to the best student paper Prize, which recognizes the most dis- any publication venue. The members presented at the annual SEMSEC tinguished student paper delivered on of the Waterman Prize committee Chapter meeting. The 2008 winner is the topic of African and African dia- reviewed ten submissions for the Elizabeth Whittenburg, “Sound of sporan music presented at the SEM inaugural year of this prize. the City: The Transmission of Culture annual meeting, for his paper “Making by a College Radio Station.” Violence Ordinary: RTLM Radio and Chapter Prizes The Mid Atlantic Regional Chap- the Rwandan Genocide.” ter awards a MACSEM Lifetime SEM’s local chapters administer Achievement Award to selected Lois Ibsen al Faruqi Award their own prize competitions. 2008 MACSEM members who have made prizes and their recipients include: By Kristina Nelson significant contributions to the disci- The Hewitt Pantaleoni Award, pline of ethnomusicology, and to the This year, the Lois Ibsen al Faruqi named for ethnomusicologist Hewitt award has been given to The Center Chapter itself. The 2008 recipient is Pantaleoni (1929-1988), who was Adelaida Reyes. for Arab and Mediterranean Mu- one of the first members of Middle sic, Tunis, housed in the Ennegma The Marnie Dilling Memorial Atlantic Chapter (MACSEM), is Prize, established in 1998 in honor of Ezzahra Palace overlooking the Bay awarded for the best student paper of Tunis. The Center is dedicated to Marnie Dilling (d. 1997), is awarded at the annual MACSEM meeting. to the outstanding student paper pre- the conservation, preservation/res- The 2008 winner is Jennifer Ryan, toration, and dissemination of the sented at the annual meeting of the “’Beale Street Blues’?: Reconsidering Northern California Chapter (NCC- musical heritage of the region. Under Musical Tourism in Memphis, Tennes- the directorship of Mourad Sakli, the SEM). The 2008 recipient is Eliot see.” Bates, “Comfort and Tea: Institutional Center encourages interdisciplinary The JaFran Jones Award, estab- approaches, while serving as a mu- Culture and Aesthetic Decision-Mak- lished in 1988 to honor the memory ing in the Turkish Recording Industry.”

12 SEM Newsletter of each nominee, together with the Announcements names of co-authors, the publication Obituary: David B. Nominations for the 2009 ARSC title, and the publisher’s name and Welch (1945-2008) Awards for Excellence, Lifetime address. Please submit nominations Achievement Award, and Distin- to one of the Awards Committee By Jason Welch guished Service Award Co-Chairs: Robert Iannapollo, Sibley David B. Welch—child prodigy, Music Library, Eastman School of ethnomusicologist, composer, per- Nomination deadline: January 31, Music, University of Rochester , 27 2009 former, and musical genius—died Gibbs St., Rochester, NY 14604- September 4, 2008 in New Rochelle, 2504, (email) riannapollo@esm. New York. David was born on Octo- SEM members are invited to rochester.edu, or Roberta Freund ber 26, 1945, in Portland, Oregon. propose candidates for the 2009 The Schwartz, University of Kansas, He attended Cleveland High School, Association for Recorded Sound Archive of Recorded Sound, 434 where he was active in the music Collections (ARSC) Awards. Nomina- Murphy Hall,1530 Naismith Dr., Law- program. He graduated from Willa- tions may be made by anyone, ARSC rence , KS 66049, (email) rfschwar@ mette University in 1967 with a major member or not. The deadline for ku.edu. in music. He received his MA and nominations is January 31, 2009. ARSC is a nonprofit organiza- PhD from Northwestern University The ARSC Awards for Excellence tion dedicated to the preservation in Evanston, IL. His master’s degree in Historical Recorded Sound Re- and study of sound recordings in all was in music composition and his search typically recognize histories, genres of music and speech, in all PhD in ethnomusicology. His disser- discographies, or biographies repre- formats, and from all periods. ARSC tation subject was the Nigerian study senting the “Best Research” in these is unique in bringing together private of Sango, the God of Thunder and recording genres: Blues or Gospel individuals and institutional profes- the contemporary folk opera based Music; Classical Music; Country Mu- sionals—everyone with a serious on Sango. He was an Associate Pro- sic; Folk or Ethnic Music; Jazz; Popu- interest in recorded sound. Additional fessor of Music at Ramapo College in lar Music; Rock, Rhythm & Blues, or information about ARSC, including a Mahwah, New Jersey, until his retire- Soul; and Spoken Word. Additional list of past ARSC Award winners, may ment. His publications include many categories include: General Research be found at (website) www.arsc-au- articles and a book: Voices of Thun- in Recorded Sound; Record Labels dio.org. der/Eyes of Fire: In Search of Shango or Manufacturers; Phonographs; in the African Disaspora (Dorrance, and Preservation or Reproduction An Open Letter from the Editor-in- 2001). He also composed several off- of Recorded Sound. Eligible publi- Chief of JAMS Broadway shows and was working on cations include any original printed a new one at the time of his death. work—book, monograph, article, By Kate van Orden liner notes, etc.—first published during 2008. The work may treat any subject related to recorded sound, but I’m sure you’ve all heard the must embody the highest research perennial refrain of the Journal of standards. It should deal primarily the American Musicological Society with historical subjects, pertaining to (JAMS) editors, who each year come periods at least ten years prior to the before the microphone around 6:30 year of publication, with the exception on Saturday evening of the Annual of works related to modern preser- Meeting of the American Musicologi- vation or playback technology. The cal Society (AMS) and ask scholars Awards Committee especially wel- to “send us your best work.” This comes information concerning eligible year, in Nashville, I made a special journal articles, as well as foreign and request that ethnomusicologists small-press publications that might remember the Journal when consid- otherwise be overlooked. ering publication venues, and SEM The ARSC Lifetime Achievement President Deborah Wong was kind Award is presented annually to an in- enough to make a similar announce- dividual, in recognition of a life’s work ment at the Annual Meeting of SEM in research and publication. at Wesleyan University. The ARSC Award for Distin- The Journal publishes as broadly guished Service to Historic Record- as ever in period, methodology, and ings honors a person who has made specialty, but even so, there are fields outstanding contributions to the field, that the Editorial Board and I would outside of published works or disco- very much like to see more fully represented in its pages. When the Shannon Dudley performs at the Latin graphic research. American Concert at the SEM Meeting at Nominations for the ARSC Awards Wesleyan (photo: Alan Burdette) for Excellence must include the name Continued on page 14

SEM Newsletter 13 Announcements you!—send us your best work, and oped as part of Sound Directions, a I’ll do my best to handle it with care. joint project undertaken by Harvard Continued from page 13 Please send submissions to Kate van and Indiana University with a grant Orden, Editor-in-Chief, JAMS, 104 from the National Endowment for the new team came together last year, Morrison Hall #1200, University of Humanities. The Toolkit follows the we drew up the following wish-list: California, Berkeley, CA 94720-1200, publication of Sound Directions: Best film studies, anthropology, dance, (email) [email protected]. Practices for Audio Preservation, an aesthetics, performance, and stud- internationally acclaimed report on ies of non-elite culture. Of course, in audio preservation techniques. order to publish them, we need more Harvard Sound Directions Toolkit Available for Download While Harvard engineers created submissions in these areas, and to the Toolkit, IU staff produced the Field be perfectly frank, in the last year and Audio Collection and Evaluation Tool, A suite of nearly 50 software tools a half, the Journal has received very or FACET, a software package that developed by Audio Preservation few articles by ethnomusicologists. ranks audio field collections based Services in Loeb Music Library that The Journal belongs to the entire on preservation condition and level of automates the most time consuming Society and all those whose interests deterioration. Most of the work auto- and repetitive parts of audio preser- bring them to music, and I aspire to mated by the Toolkit “would normally vation is now available for download. have it reflect the truly brilliant range be done by hand,” HCL Audio Engi- The software, called the Harvard of approaches and subjects I see in neer David Ackerman said. Ackerman Sound Directions Toolkit, was devel- the field as a whole. So please—yes developed the Toolkit with Robert La Ferla. The Toolkit works through a command line interface, and also al- lows users to write scripts that string several commands together. Ackerman uses the tools himself, and said they’ve had a dramatic im- pact on his work. “I’d say it’s probably doubled our throughput,” he said. As an example, he pulled up an audio file which had earlier been transferred from audio tape into digital format. In total, 86 processes had been run on the tape, but just four were carried out manually. The rest were completely automated by the Toolkit. “Everything here was something we would have done, or would have liked to do. If we had to do all 86 of these, that’s a lot of extra work. For more information or to download the software, see (website) SEM Board of Directors (left to right): Salwa El-Shawan Castelo-Branco, Philip Bohlman, http://hcl.harvard.edu/libraries/loeb- Janet Sturman, Tong Soon Lee, Regula Qureshi, Suzanne Flandreau, Elizabeth Tolbert, music/aps/sound_directions.html. Deborah Wong (photo: Alan Burdette)

Summer Workshops program is suitable for experienced ‘backstage’ preparation, and performances; visits to sacred sites and Continued from page 3 musicians and dancers as well as beginners. ceremonies. Participants will engage The workshop, led by Çudamani’s with Pengosekan’s community of art- from around the world to partici- artistic Team of I Dewa Putu Berata ists, well known as weavers, painters, pate in a rigorous study of Balinese and Emiko Saraswati Susilo, will fea- dancers, and musicians. music and dance in the village of ture: intensive study with six master The fees of $2,050 include in- Pengosekan, Ubud, Bali. Çudamani artists and a team of twelve assisting struction, shared housing, breakfast, has provided gamelan and dance teachers using pedagogy developed lunch, and excursions. Proceeds instruction to hundreds of youth and collaboratively by Ibu Ni Ketut Alit Ari- benefit the Çudamani youth pro- adults over the past eleven years. ni, Bapak I Nyoman Cerita, and Çu- gram. For more information, contact The company’s technical accomplish- damani; lectures and demonstrations the UCLA Center for Interculutural ments on the seven-toned gamelan by internationally renowned scholars Performance at (email) [email protected]. Semarandana are unparalleled. The and artists; observation of rehearsals, edu or (phone) 310-206-1335. Visit Çudamani’s website to apply online: www.cudamani.org. 14 SEM Newsletter Mar 7 Apr 3-4 Conferences Calendar GAMMA-UT (Graduate Associa- “The Train Just Don’t Stop Here tion of Music and Musicians at UT) Anymore”: An Interdisciplinary 2009 9th Annual Conference: “Music Colloquium on the Soundscapes and Memory,” University of Texas of Rural and Small-Town America, Jan 9-12 at Austin, TX. For more informa- Millikin University, Decatur, IL. For 7th Annual Hawaii International tion, see (website) http://gammaut. more information, contact Travis Conference on Arts and Hu- music.utexas.edu Stimeling at (email) tstimeling@ manities, Hilton Hawaiian Village millikin.edu Beach Resort and Spa, Honolulu, Mar 7 HI. For more information, contact *Un-Music*: Harvard University Apr 5-9 (email) humanities@hichuman- Graduate Music Conference, Association of Western State Folk- ities.org or see (website) http:// Harvard University, Cambridge, lorists Annual Conference, Wor- www.hichumanities.org/cfp_art- MA. For more information, contact den State Park, Port Townsend, shumanities.htm Michael Heller at (email) mheller@ WA. For more information, contact FAS.HARVARD.EDU Willie Smyth at (email) willies@ Feb 13-14 arts.wa.gov Listening In, Feeding Back, 301 Mar 16-17 Philosophy Hall, Columbia Univer- Unlocking Audio 2: Connecting Apr 16-18 sity, New York, NY. For more infor- With Listeners, The British Library Seventh Annual Meeting, Cultural mation, see (website) http://www. Conference Centre, London, UK. Studies Association (US), Marriott ethnocenter.org/listening_in_feed- For more information, see (web- (at the Plaza), Kansas City, MO. ing_back_conference site) http://www.bl.uk/unlockingau- For more information, see (web- dio site) http://www.csaus.pitt.edu or Feb 21 contact (email) [email protected] Annual Meeting of The Society Mar 19-22 for Ethnomusicology Northwest Society for American Music 35th Apr 16-19 Chapter (SEM-NW), School of Annual Conference, Marriott City Annual Conference of the Brit- Music, University of Washington, Center Hotel, Denver, CO. For ish Forum for Ethnomusicology: Seattle, WA. For more information, more information, see (website) Music, Culture and Globalisation, please see (website) http://www. www.american-music.org John Moores University, Liverpool, music.washington.edu/ethno/sem- UK. For more information, see Mar 20-21 nw.html (website) http://www.bfe2009.net Neapolitan Postcards: The Mar 6-8 Canzone Napoletana as Transna- Theorizing the Space Between: tional Subject, Manhattan, NY. For Apr 17-19 Interdisciplinary Graduate Con- more information, contact Joseph The Bolero in Caribbean Culture ference on Music, University of Sciorra at (email) joseph.sciorra@ and Its Worldwide Circulation, Alberta. For more information, see qc.cuny.edu Centro León, Santiago de los Ca- (website) www.music.ualberta.ca balleros, Dominican Republic. For Mar 26-28 more information, contact Execu- Mar 6-8 Beyond Musicology: The 13th An- tive Secretary of the Conference, West Coast Conference of Mu- nual Symposium for Music Schol- Instituto de Estudios Caribeños sic Theory and Analysis, Scripps ars in Finland, University of Turku, (INEC), Cayetano Rodríguez No. College and Pomona College, Finland 254, Gazcue, Santo Domingo, Claremont, CA. For more informa- Mar 26-29 República Dominicana, (email) tion, contact (email) wccmta@ Association for Asian Studies An- [email protected], (phone) 809- gmail.com nual Meeting, Sheraton, Chicago, 685-1355 Mar 7 IL Apr 20-22 56th Annual Conference of the Mar 27-28 Third International Conference: Rocky Mountain Council for Latin Southeast and Caribbean Chapter “Gender at the Crossroads: Multi- American Studies (RMCLAS), of the Society for Ethnomusicol- disciplinary Perspectives,” Center Santa Fe, NM. For more informa- ogy (SEMSEC) Annual Meet- for Women’s Studies. Eastern tion, see (website) www.rmclas. ing, University of North Carolina Mediterranean University, Fama- org Greensboro (UNCG) School of gusta, North Cyprus. For more Mar 7 Music, Greensboro, NC. For more information, visit (website) http:// Columbia Music Scholarship information, contact James E. cws.emu.edu.tr/GCR2009 Conference, Columbia University, Cunningham, Program Chair, at May 21-23 NY. For more information, see (email) [email protected] Fourth Annual Tamil Studies Con- (website) http://www.columbia. ference: Home, Space and the edu/cu/cmsc Continued on page 16 SEM Newsletter 15 Habib, Program Committee Chair, Oct 29-Nov 1 Conferences Calendar at (email) 2009conference@ Canadian Society for Traditional Continued from page 15 iaspm-us.net Music / Société canadienne pour les traditions musicales 2009 Jul 2-5 “Other,” University of Toronto. For Meeting, Faculté de Musique, Phenomenon of Singing Interna- Université de Montréal Montreal, more information, see (website) tional Symposium VII, Newfound- ww.tamilstudiesconference.ca Canada. For more information, land, Canada. For more informa- see (website) http://www.yorku. May 27-30 tion, see (website) http://www. ca/cstm/conferences.htm 43rd annual ARSC Conference, festival500.com/ The Liaison Capitol Hill, Wash- Nov 12-15 Aug 20–22 American Musicological Society ington, DC. For more information, Regulated Liberties: Negotiat- see (website) http://www.arsc-au- Annual Meeting, Sheraton City ing Freedom in Art, Culture and Center Hotel, Philadelphia, PA dio.org/conference/ Media. First Rethinking Art Studies May 27-31 Conference, University of Turku, Nov 19-22 Feminist Theory and Music Finland. For more information, Society for Ethnomusicology 53rd (FTM10), University of North Car- contact (email) [email protected] Annual Meeting, Mexico City, Mexico olina, Greensboro, NC. For more Oct 21-25 information, contact Elizabeth American Folklore Society Annual Dec 2-6 L. Keathley at (email) elkeathl@ Meeting, Boise, ID American Anthropological Associ- uncg.edu ation Annual Meeting, Philadelphia Oct 22-25 Marriott, Philadelphia, PA May 29-31 Africa Meets North America Con- IASPM-US 2009 Conference: ference, University of California, “Don’t Fence Me In: Borders, Los Angeles. For more informa- Frontiers, and Diasporas,” Univer- tion, contact Kimasi L. Browne at sity of California, San Diego. For (email) [email protected] more information, contact Kenneth

Volume 43, Number 1 January 2009

16 SEM Newsletter