SEM Newsletter Published by the Society for Ethnomusicology Volume 41 Number 1 January 2007 President’s Report: The one replete with challenges. To address the Becoming Ethnomusi- theme of “Decolonizing Ethnomusicology” Society for Ethnomusi- we turned not to the histories enacted by cologists cology Makes a Differ- others, but rather to those scripted, often By Philip V. Bohlman, SEM President with force, by selves, indeed, ourselves. The ence groundswell of papers and presentations I turn to my column in the SEM News- By Philip V. Bohlman, SEM President that addressed the ways we ourselves have letter (pp. 4-5) in the aftermath of the 51st been responsible for colonizing others and Annual Meeting of the Society, which took As the Society for Ethnomusicology silencing others, even as we imagined we were as its overarching theme “Decolonizing enters its second half-century, all accounts giving them voice, was impressive indeed, Ethnomusicology.” From the moment of lead to the conclusion that we are ready to not because it was cause for celebrating our its announcement the theme became a light- engage new challenges and embrace new history, but because it presented us squarely ning rod for papers and panels of all kinds. opportunities. The SEM emerged from its with a new challenge from history. Our his- Its impact on the program for the annual 50th anniversary meeting in Atlanta having tory is a history of responsibility. It is and meeting could not have been more palpable. set new records for attendance and participa- also must be a history of response. This is Approached with a sense of responsibil- tion. As we basked in the hospitality of our a history that asks us, as ethnomusicologist, ity—no one, to my knowledge, claimed that Hawai`ian hosts at the 51st Annual Meeting, truly to take charge of making a difference ethnomusicology had not colonized and and even as we rose before dawn to attend in the world. had not been colonized—“Decolonizing paper sessions, weary from the intensity of a Surely, we witnessed in 2006, at the Ethnomusicology” charted new common truly remarkable program, we recognized the 51st SEM Annual Meeting and in the daily ground from the recognition of old practices. many ways that SEM inspired a remarkable undertakings of our students and our col- It provided a call for a history of the present level of commitment. We barely stopped for leagues, that ethnomusicology’s history has in the aftermath of the 50th Annual Meet- refl ection at the turn of the half-century, even been one of taking the challenge of the past ing, devoted to historical refl ection on our as we ourselves turned toward the future, past. Contradictions, nonetheless, abound on mindful of a past in which SEM has made Continued on page 8 that common ground, not least because of a difference. the dilemma of encounter that necessarily It is clear from the events of the past year Call for Papers: SEM in defi nes the occupying of any ground that and the themes of the 51st Annual Meeting might be held as common. In the column that the past of which we are mindful was Columbus, Ohio, Octo- on pp. 4-5, I seek some of the historical ber 24-28, 2007 reasons that ethnomusicologists rallied so Inside collectively to the theme of “Decolonizing Proposals for papers and other kinds of Ethnomusicology” that drew us together in 1 Becoming Ethnomusicologists presentations are called for on the following Honolulu, but also has played a defi ning role 1 SEM Calls for Papers themes: in our complex history. 1 President’s Report: The Society for Eth- Music, war and reconciliation (motto nomusicology Makes a Difference theme) 3 SEM Dues Increase for 2007 Call for Papers: SEM 3 SEM Prizes and Awards 1. Music, place and environment 2007 Pre-Conference 7 Henrietta Yurchenco Made Honorary 2. Interaction between musicians in en- Symposium Member of the SEM sembles 7 SEM Columbus 2007 3. Digital communities and musical ex- The Pre-Conference Symposium, on New 9 Announcements periences Directions in Cognitive Ethnomusicology, 11 Report on The Fourth Meeting of the 4. Musical ontologies will be held on October 24, 2007. It will be Music and Minorities Study Group 5. Ethnomusicologies: shifting perspec- devoted to four sub-themes: tives on the fi eld 11 People and Places 1. New theoretical perspectives 13 A Gamelan Happening in Hawai`i Proposals for papers on free topics may 2. Music and language 13 Calls for Submissions also be submitted. 3. Music and entrainment 14 Report on the EVIA Digital Archive The deadline for submission of paper 4. Music and the cultured brain and body Second Summer Institute and Call for proposals is March 15, 2007. For guidelines Depositors and details of the submission process, see the Submit paper proposals for the sympo- 15 Calls for Proposals insert in this issue of the Newsletter or the sium electronically to Margarita Mazo (email) 15 Conferences Calendar SEM website www.ethnomusicology.org. [email protected] or Udo Will (email) [email protected], by March 1, 2007. 2 SEM Newsletter

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SEM Dues Increase for Now that three years have passed since exchange memberships, it means means that the changes to the dues structure, it is pos- 37% of all SEM members pay less than what 2007 sible to evaluate the appropriateness of the their membership costs the society. If you By Alan R. Burdette, SEM Executive sliding scale to SEM’s operating needs. Since remove institutional memberships from the Director 2000, the SEM business offi ce has managed equation and look only at individual members, to keep expenditure increases to a minimum. 57% percent of individual SEM members As members may have noticed, SEM dues In FY 2000, general operating expenses were pay less per year than the actual cost of their have increased slightly for 2007. Dues rates in $173,538. Average yearly expenses since then membership to the society. This is not to say all but one individual membership category have been $176,883. In our current analysis that it isn’t important to subsidize student increased by either $5 or $10 per year. Stu- the 2003 sliding scale structure has fallen short memberships and low-income members, but dent dues increased from $30 to $40 a year. of expectations and it is necessary to raise it is also clear that the 2006 dues levels are These increases were necessary to address dues across several of the income categories. not sustainable. a regular budget shortfall that has occurred Dues income for 2004 was $145,000 and The 2007 dues have increased rates in since switching to the new dues system three in 2005 it was $149,036. Non-dues income appropriate categories in order to bring dues years ago. In 2003, partly at the request of the typically brings in about $20,000 a year and income up to match expenses. It preserves Council, SEM converted to an income-based thus the total is still falling a few thousand a level of subsidy for students and low-in- sliding scale dues structure. At the heart of dollars short of needed income. come members but it does raise rates almost that shift was a desire to help low income or Several factors complicate the SEM entirely across the board. It does not, in fact, “under-employed” SEM members. In 2003, dues structure. SEM has an extremely high change the ratio of subsidized to subsidizing the transition to an income-based system was percentage of student members compared members, but it does increase the dues rates made based on the minimal demographic data to other societies (AMS and SAM are ap- in an effort to raise the overall dues income we had on members combined with data from proximately 20% or less while 34% of SEM level. Our estimates show that the 2007 dues the 2002 SEM membership survey. individual members are students). Because structure will bring in an additional $16,000. At the time of the dues system transi- student memberships are heavily subsidized This provides a level of income that matches tion in 2003, I conducted an analysis of fi ve (the $30 dues amount for students does not projected expenses and also provides some years of SEM income and expenditures and cover even half of an average membership fi nancial cushion for increases in expenses discovered that life membership income was cost) it means that the subsidy cost borne as well as for new initiatives. disguising the fact that SEM was losing at by other members is high. In addition, the One aspect of the dues structure that has least $5,000 every year. While life member- Individual 1 ($25K or less) category at a dues raised reasonable questions is the low level ships provide a signifi cant amount of money fee of $50 also does not cover the average of institutional rates in relation to individual up front, no system was in place to fund the cost of those memberships and thus it has rates. We have been advised against making actual cost of life memberships over those been subsidized as well. Our estimation of increases in institutional rates larger than 5% members’ lifetimes. Therefore, the sliding the number of members in this category in per year. We have been, in fact, raising them scale that was devised attempted to accom- 2003 was much lower than we have actually $5 every year since 2003 and will continue modate low-income SEM members as well as seen and this has affected our overall income. to do so until there is a greater relative parity raise overall SEM dues income to a level that If you add these two subsidized categories with the upper individual rates. met the expenses of running the society. together plus honorary, complimentary, and

Coast Powwow Style in Vancouver, British year we added to our own the deliberations of SEM Prizes and Awards Columbia’s Inner City.’ The committee found a Spanish and Portuguese language subcom- By J. Lawrence Witzleben, Member-at- that Harrison’s proposal, which included the mittee (Ana Maria Ochoa and T. M. Scruggs) Large, SEM Board of Directors, with use of Dr. Ida Halpern’s research as a basis and an East Asian languages subcommittee Comments on Prize Winners by the Prize of her investigation, was consistent with the (Jonathan Stock and Yoshitaka Terada). To- Committee Chairs purpose of the Halpern bequest in its focus on gether with the languages we could read on Northwest Coast Native musical expression the committee, we were able to consider a Ida Halpern Fellowship and Award as a basis for positive recontextualization of broad range of articles and put the search for The Halpern Fellowship is intended to traditional Northwest ceremonial repertory a Kunst prize winner on a more global footing “help support research on Native American in the contemporary pow-wow circuit. than before. Our search, in the end, brought Music of the United States and Canada and us closer to home, to an article written by the to recognize the publication of said research.” Jaap Kunst Prize guest editor of a special issue of The World The 2006 Prize Committee consisted of Tara The Kunst Prize is awarded to “the most of Music, vol. 47 no. 1 (2005), on ‘Musical Browner (chair), Chris Goertzen, and Paul signifi cant article in ethnomusicology written Reverberations from the Encounter of Local Humphreys. Professor Browner summarizes by a member of the Society for Ethnomusicol- and Global Belief Systems,’ itself a valuable the committee’s decision as follows: “The ogy and published within the previous year.” and timely project. This year’s Jaap Kunst Halpern Prize Committee, after spirited Martin Stokes reports as follows: “The Jaap Prize goes to T.M. Scruggs, for his article: debate, awarded this year’s prize to Klisala Kunst Prize Committee was chaired by Louise ‘(Re)Indigenization?: Post-Vatican II Catholic Harrison for her proposal ‘Northwest Coast Meintjes, and also comprised Yoshiko Oka- Ritual and ‘Folk Masses’ in Nicaragua.’ Of the First Nations Song and the Canadian West zaki, Martin Stokes, and Steven Blum. This Continued on page 6 4 SEM Newsletter

Becoming Ethnomusicologists On Colonialism and its Aftermaths By Philip V. Bohlman, SEM President

reach of what they believed to be civilization, Have no pity for the white people, you music seldom retreated from the frontlines who live along the coasts! The whites of colonialism. landed on our island in the time of our Ethnomusicologists do not fail to rec- fathers. One said to them: Here is the ognize the paradox of the fi eld’s persistent land your wives want to build; be just, colonial presence. If the fi eld accompanied be good, and be our brothers. the spread of empire, it also expanded the global discourses in which the subaltern The whites made their promise and then could sing. If missionaries and colonial turned nonetheless with their tails in the offi cials used music to convert and subju- air. A threatening fortress appeared; the gate, they also opened channels for cultural thunder was trapped in perpetual abyss; and musical exchange. At some moments their priests wanted to give us a god we ethnomusicologists were complicit in the did not know; they spoke incessantly silencing of the colonized, while at others about obedience and servitude. they envoiced them. We know all this because Death would be preferable! . . . we recognize the power of music as a means of representing and translating culture. The Have no pity for the whites, you who live history to which we respond when we seek along the coasts. to decolonize ethnomusicology is very long, —from “Zu den Liedern der Mada- and it has yet to abate. If ethnomusicology historically occupied gasker,” from Herder’s Nachlaß and Johann Gottfried Herder (1744-1803) published in the 1807 posthumous a place opened by colonialism, where then ed. of Herder (1778-79: 542) can it fi nd its place in postcolonial discourse? never be retrieved. By adding the fragments Can these places opened by and situated at to an edition of the Folk Songs that would encounter be compatible in some way? Are Two centuries ago, postcolonial discourse appear at the end of his life, Herder was they mutually exclusive? One of the distin- had found its way into one of the foundational completing a project distinguished by its very guishing traits of postcolonial discourse is works of ethnomusicology, Johann Gottfried incompleteness, an anthology of songs that its uncompromising nature. There should Herder’s two-volume, “Voices of the People in reached ever farther beyond the borders of be no ambiguity between the colonizer and Songs”/Folk Songs (1778-79). In a series of frag- Europe to the frontiers of colonial encoun- the colonized. In the wake of the collapse ments, given the general title, “On the Songs ter. The immediacy of Herder’s own moral of empire in World War II, Aimé Césaire of the People of Madagascar,” Herder meant imperative is clear—he remained a Protestant formulated his Discourse on Colonialism by to reproduce texts gathered in Madagascar pastor throughout his life and was serving naming names and assigning guilt. “Europe is by French colonial offi cials, adding them to in Weimar at its end—but for reasons we indefensible” (Césaire 1972 [1955]: 9; emphasis an edition of Folk Songs that would expand shall probably never know the posthumously in the original). Western civilization, intoned the volume’s global scope. The fragments published postcolonial texts remain without represent various genres: songs and sermons extensive commentary. At the end of his life of the kings, dialogues and chronicles of co- Herder left the full musical encounter with lonial encounter. The colonized speak back, colonialism to those who would follow. Western civilization, in- translated and fi ltered, contextualized as folk And many did follow, many ethnomu- toned Césaire, created the song, indeed, as world music. sicologists at various stages of our fi eld’s It would be easy enough to make a claim history. As folk-song scholars, comparative problem by assuming its that, even in an Enlightenment critique that musicologists, and eventually ethnomusicolo- responded with penetrating awareness to two gists transformed the ways the voices of the values were universal. centuries of colonial encounter, we discover a subaltern could be heard, they were present nascent rhetoric of decolonizing. The eleven at colonial encounter. Colonialism created a Césaire, created the problem by assuming fragments Herder chose are uncompromising space for the encounter with world music. its values were universal. The very names in their assault on the colonial legacy left by The modes of representing other musics of such values made it necessary to share the French in Madagascar. They decry the proliferated, as the technologies of recording them with those not afforded them in their violence and death; in no uncertain terms and disseminating those musics kept pace own lands: freedom, the rule of law, the they recognize racism and religious repres- with the technologies of colonial domina- greater glory of God (ibid.: 10). The values sion; they lament the loss of much that can tion. As European empires extended the of Western civilization were never simply SEM Newsletter 5

isolated phenomena; they accompanied the of scholars and scholarship for shouldering Discovering that Herder sought to decolonize disciplining acts of the colonizer, the violence the responsibility of “cultural and critical is all the more frightening when we realize, in and struggle, the cultural appropriation and theories”: the ideologies of imperialism, the aftermath of the 51st Annual Meeting of slavery, the silence imposed on those who the politics of language, nationalisms and the SEM, that ethnomusicologists have been would speak (see also Fanon 1965). Seen nativisms, hybrid identities, genders and sexu- engaged with decolonizing for a long time, in the light of colonial histories, Western alities, etc. Bill Ashcroft (2001) tenaciously and to little avail. civilization is fundamentally fl awed, leading insists that postcolonial discourse enacts I choose not to conclude pessimistically, Césaire to amplify his indictment: “What is transformation, that its reason for being is because that would make it too easy to sur- serious is that ‘Europe’ is morally, spiritually to unleash response through interpolation render to the singular and allow colonialism indefensible” (Césaire 1972 [1955]: 10). and resistance, habitation and globalization to mature by proliferating into a single and Ethnomusicology has never been preoc- of lived-in places. hegemonic aftermath. Because ethnomusicol- cupied with defending Europe. Quite the Plurals multiply as postcolonial discourse ogy has been at decolonizing for a while—I contrary, it might well be said that Europe, takes shape, spreading to embrace multiple dare say, as a distinctive undertaking of our as historical metaphor and cultural metonym, subject positions, theories, and responses. diverse historical longue durée—a greater bur- has provided the critical font for distinguish- And so it must be, for the plurality of post- den and sense of responsibility has accrued ing between self and other. “Europe,” if we to the fi eld and to us. It is not a responsibil- restore Césaire’s emphatic quotation marks, ity we acquire after the fact or realize as an focuses the ethnomusicological discourse, aftermath. It is a responsibility that we inherit endowing it with the potential to enact post- ... ethnomusicology has as we make the decision to join those who colonial responses. The basic problem and been at decolonizing for came before, becoming ethnomusicologists paradox is that the dismantling of colonial- as they did and we do. ism may require appropriating the tools and a while—I dare say, as methods of the colonizer. Ethnomusicology wrestles historically with this dilemma because a distinctive undertaking it has often, too often, taken its position of our diverse historical Works Cited originally on the side of the colonizer. Ashcroft, Bill. 2001. Post-Colonial Transforma- The indefensibility of Europe and, by ex- longue durée tion. New York: Routledge. tension, of the music of Western civilization Castle, Gregory, ed. 2001. Postcolonial Dis- does not make the ethnomusicological assault courses: An Anthology. Oxford: Blackwell. any easier. The danger lies in the very over- colonial discourse signals a refusal to accept simplifi cation that is implicit in any cultural the singularity of the West and those who Césaire, Aimé. 1972 [1955]. Discourse on domain that is indefensible. The temptation would defend its universality. My choice of Colonialism. Trans. by Joan Pinkham. New is to respond by choosing the same limited the plural “aftermaths,” too, was meant to York: Monthly Press. modes of control imposed on the colonized signal a shift toward plurality within a post- Desai, Gaurav, and Supriya Nair, eds. 2005. by the colonizers. Comparative musicologists colonial ethnomusicology, in the past and in Postcolonialisms: An Anthology of Cultural often succumbed to this temptation, claiming the present. As I fussed over the title of this Theory and Criticism. Oxford: Berg. as their territory “non-Western music,” a far column, however, I wondered whether the Fanon, Frantz. 1965. The Wretched of the Earth. weaker construct even than Western music. plural could simply signify contentment with Trans. by Constance Farrington. London: Separating the musics of the other from the a moral ambiguity of liberal pluralism. Ulti- MacGibbon & Kee. self admits to a long history of successful mately, however, the choice of “aftermaths” defense. came to remind me of the failure to respond Herder, Johann Gottfried. 1778-79. “Stimmen More recent theories of postcolonial dis- adequately to colonialism—the failure, that der Völker in Liedern” and Volkslieder. 2 vols. course offer promise because they shift their is, to prevent one colonial encounter from Leipzig: Weygandische Buchhandlung. attention from cultural objects to emerging sliding into another. Posthumous edition, 1807. subject positions (e.g., McCallum and Faith The epigraph from Herder with which McCallum, Pamela, and Wendy Faith, eds. 2005, Schwarz and Ray 2000, Young 2003). I opened becomes increasingly disquieting 2005. Linked Histories: Postcolonial Studies in For Gayatri Chakravorty Spivak (1999) these when we see it multiply through the history a Globalized World. Calgary: University of positions spread across four primary domains of our fi eld. As a pastor and moral philoso- Calgary Press. shaped into the postcolonial by colonized pher, Herder could not simply maintain a Schwarz, Henry, and Sangeeta Ray, eds. 2000. subject positions: philosophy, literature, dispassionate and objective engagement with A Companion to Postcolonial Studies. Oxford: history, culture. Gregory Castle (2001) and colonialism. The aftermath of colonialism Blackwell. his colleagues chart these domains with meant something very complex, and he was somewhat greater nuance, connecting subject responding to that at the end of his life, in Spivak, Gayatri Chakravorty. 1999. A Critique positions to specifi c modes of discourse: na- the 1790s, when he backed away from the of Postcolonial Reason: Toward a History of tionalism, diaspora and identity, race, gender universalism that would effect a transition the Vanishing Present. Cambridge, Mass.: and the rights of women, literary interpreta- between Kant and Hegel. Herder could not Harvard University Press. tions, etc. Gaurav Desai and Supriya Nair reconcile the brutality that the songs from Young, Robert C. J. 2003. Postcolonialism: A (2005) respond to the call for theory from Madagascar chronicled, and in this sense, Very Short Introduction. Oxford: Oxford cultural studies, thereby heightening the role too, he presaged a modern ethnomusicology. University Press. 6 SEM Newsletter

SEM Prizes and Awards One winner is David Borgo’s Sync or Michael Birenbaum Quintero’s “Music, Continued from page 3 Swarm: Improvising Music in a Complex Age Multiculturalism, and Ethnogenesis: Black- (Continuum, 2005). The subtitle of his book ness and Credible Identity in Colombia” was winning article, one committee member said: is meant to emphasize a process, improvising, notable for both the depth of its ethnography ‘I especially liked the author’s movement from rather than a product such as ‘improvised and its theoretical framework. One commit- select musical detail to multiple intersecting music’ or a genre such as ‘free jazz’ or ‘avant- tee member noted that “Ethnomusicology levels of political struggle, and I think his garde music’ to which these processes are has been central to the construction of broadening out of the discussion to musical often linked. His is a bold attempt to think multiculturalism as a concept and value in processes governing the globalization of about the uncertainties and complexities of U.S. society, and by framing the questions religious musics ... was thought provoking,’ improvising music, often collectively, through in an entirely different society with its own sentiments with which all on the committee the lenses of current scientifi c theories of multicultural social reality, the discussion agreed. The article critiques and historicizes complexity, embodiment, network theory, sheds light on how music, race, and identity the idea of indigenization in Central Amer- emergence theory, and chaos theory. He at- are constructed and manipulated in North ica, distinguishing ‘translation’ and ‘socially tempts to ‘improve communication between America.” In his conclusions, the author committed’ indigenous masses, and tracks the arts and sciences’ during a time when, discusses the “sympathetic and often quite the production, reception and increasingly in both areas, ‘our very ideas of order and tactically savvy actors, from cultural promot- regional circulation of the genre.” disorder are being reconfi gured and revalued ers to cultural activists to state functionar- in a dramatic way.’ ies—and even ethnomusicologists,” and Alan Merriam Prize The other winner is Paul Austerlitz for goes on to suggest that “perhaps our role is Timothy Rice reports: “The Alan P. his book, Jazz Consciousness: Music, Race, and not only to understand the criteria by which Merriam Prize is given by the Society for Humanity (Wesleyan, 2005). Austerlitz views these interlocutors are legitimated, but to act Ethnomusicology for the most distinguished ‘jazz through three large lenses’: its ties to upon that knowledge and share it with other English-language monograph in the fi eld of national identity in the U.S.; its inextricable actors, so that we can work towards a more ethnomusicology, published in the previous links to African infl uences; and its participa- egalitarian, more respectful, more active, year. This year’s committee consisted of me, tion in transnational cultural fl ows, this lat- more fl exible and less hypocritical way of in my role as past-president, and those hon- ter point illustrated with case studies from reconciling power with difference.” ored last year: Judith Becker, Marc Perlman, the Dominican Republic and Finland. It Ronda L. Sewald’s “Back to the Armchair: and Deborah Wong. Twenty-seven books, all incorporates to effective advantage a subtle Reinstating Sound Recordings as Information published in 2005, were nominated. If the refl exivity that includes his own subject po- Sources in Ethnomusicology” eloquently and committee’s goal was to select a single winner, sition as an immigrant at a young age from convincingly explores the arguments used we were defeated by the variety of approaches Eastern Europe and as a semiprofessional by ethnomusicologists and others to dismiss taken by these authors and by the variety of jazz musician. Combining self-refl exivity and the use of older recordings as an outdated minds making the selection. Our discussions, multi-sited ethnography, he ‘argues that jazz practice, and then proceeds to outline the including the recusal from the discussion and creates a virtual space where we can confront, implications of this dismissal. She argues vote on certain books because of committee learn from, and even heal the contradictions that “If our discipline is truly interested members’ closeness to the authors, ended by resulting from social rupture.’” in studying musical behavior and adding replicating last year’s pattern: two winners new insights, we must overcome notions and an honorable mention. The Nicholas and Nadia Nahumck that the use of others’ sound recordings is Honorable mention goes to Vincenzo Fellowship inherently imperialistic or that it is a non- Perna, freelance journalist and scholar from The Nahumck Fellowship was established ethnomusicological practice simply because Italy, for his book, Timba: The Sound of the “to help support research on a dance-related non-ethnomusicologists have used it ... [sound Cuban Crisis (Ashgate, 2005). Perna examines subject and its subsequent publication.” This recordings] are capable of providing us with a contemporary style of Afro-Cuban popular year’s prize is awarded to Louise Meintjes information about past events and current music that emerged in the 1990s after the fall for her project, entitled “Dust of the Zulu: forms of human behavior that is diffi cult to of the Soviet Union and of the economic Performing Manhood in the Post-Apartheid obtain through other means.” One commit- system the Soviets had propped up. Fused Struggle.” Details on the winning entry will tee member commented that “Her logically with elements from hip-hop, jazz, funk, and be provided by committee chair Judy Mitoma sound analysis of the neglect of recordings salsa, this new genre represents a ‘street in the next SEM Newsletter. made by others as tools for scholarly inquiry level’ commentary on the contradictions of has the potential to change the way every contemporary Cuban society. The committee The Charles Seeger Prize ethnomusicologist and every scholar who was impressed by the author’s inclusion of The Charles Seeger Prize is awarded annu- uses sound recordings as data thinks about an abundant potpourri of themes currently ally to honor the most distinguished student and uses recordings.” engaging ethnomusicologists, including the paper presented at the SEM Annual Meeting. voice, the body, race, religion, diaspora, gen- The 2006 Charles Seeger Prize Committee Klaus P. Wachsmann Prize der, sex tourism, patronage, and the marketing consisted of Petra Gelbart (last year’s winner), The Wachsmann Prize was established of nostalgia. John Murphy, Brenda Romero, and the chair, “To recognize a major publication that The Merriam Prize proper goes to two Larry Witzleben. Two papers stood out for advances the fi eld of organology through books. Both represent daring, experimental their excellence, and the committee decided the presentation of new data and by using departures from certain tried and true paths to award the Prize jointly to both authors. innovative methods in the study of musical in ethnomusicology. Continued on page 8 SEM Newsletter 7

Henrietta Yurchenco honor by Cynthia Tse Kimberlin, editor of Henrietta’s autobiography: Around the World Made Honorary Mem- in 80 Years, A Memoir, published by MRI ber of the SEM Press (2003). “Henrietta Yurchenco’s mission has been By Janet Sturman, Secretary, SEM Board to document music’s role not only as an of Directors expression of human emotions, but also as a forum for social and political issues. I am On November 18, 2006, at its 51st annual honored to introduce this remarkable woman meeting in Honolulu, Hawai`i, the Society for who began her career in New York in 1936 Ethnomusicology named Henrietta Yurch- initiating the fi rst broadcast of folk music enco as an honorary member. This award is on radio WNYC introducing great talents given annually to a member in recognition for such as Lead Belly, Pete Seeger, and Woody a lifetime of achievement and contribution Guthrie, eschewing controversy they might to the discipline. Henrietta is richly deserv- cause. A maverick she is, who challenges ing of this award and it appears that even specious theories and beliefs. If there were reaching 90 years of age has not slowed her roadblocks, she would go around them and productivity. When I called to tell her of the fi nd another way. She shined a spotlight on Henrietta Yurchenco honor, she informed me that she was headed women’s issues when they were being swept off to a release party for the publication of under the rug. She conducted fi eldwork in humor and wit along with that inimitable her newest book In Their Own Voices: Women uncharted territory beginning in 1941 work- raucous laughter. And in my admiration in the Judeo-Hispanic Song and Story. This all- ing among 14 remote mountain and desert for her unwavering passion for music along digital publication is available via her website: tribes of Mexico and Guatemala, and later with her legendary compassion for others, henriettayurchenco.com. in Spain, Puerto Rico, Colombia, Ecuador, may I present my colleague and friend—the Although Henrietta was unable to join us and Morocco. Closer to home, she chronicled formidable yet endearing Professor Emerita, in Hawai`i to receive the award in person, she songs and music of New York during the Henrietta Yurchenco.” was feted in her absence with a big-screen turbulent times of the 1960s and 70s and in Following enthusiastic applause, SEM projection of images from her work, allowing the aftermath of 9/11. President Philip Bohlman conveyed Hen- her to be virtually present with us. Long-time She combines scholarly and intellectual rietta’s thanks and her warm greetings to friend and colleague, Professor Akin Euba, integrity with candor and equanimity, and her many friends and fellow members in read the following remarks prepared in her her brutal honesty can disarm you with the Society.

SEM Columbus 2007 By Margarita Mazo, SEM 2007 Local Ar- rangements Committee The 52nd Anuual Conference of the Society for Ethnomusicology will take place at the Hyatt on Capitol Square in Columbus, Ohio, October 24-28, 2007. The theme for the Pre-Conference Symposium on Wednesday, October 24, will be “New Directions in Cog- nitive Ethnomusicology.” The offi cial Calls for Papers for the 52nd Annual Conference as well as for the Pre-Conference Symposium are enclosed in this issue of the newsletter. The Ohio State University, our hosting institution, is the largest single-campus uni- versity in the U.S. (with more than 57,000 students) and a world-class public research university. Columbus, Ohio, is the 15th largest city in the U.S. and one of the fastest growing metropolitan areas in the Midwest. Known in the 19th century as the Buggy Capital of Columbus Skyline. Photo by Randall Lee Schieber the World, the city is now a major industrial center for businesses as diverse as Honda, crombie & Fitch, and headquarters for fast The Hyatt on Capitol Square (http:// the Budweiser brewery, retailing giants such food chains, major banks, and important capitolsquare.hyatt.com/hyatt/hotels/index. as The Limited, Victoria’s Secret, and Aber- software makers. jsp) is located in the center of the downtown Continued on page 10 8 SEM Newsletter

SEM Prizes and Awards we witnessed at the half-century mark, might gists, and we are listening and learning. Third, and so marvelously evident in Honolulu, we continued from page 6 better be described as a fi eld of renewal. It is a refusal to distance ourselves from the are joined by those who live nearby and who instruments.” The 2006 Prize Committee past in order to be new that is so remarkable. come to the meeting to acquaint themselves consisted of Margaret Kartomi (chair), Mark Renewal is dynamic in the way it characterizes with ethnomusicologists and their fi eld. I DeWitt, and Ter Ellingson. This year’s Prize is the interface between historical and ethno- thank these representatives of local culture awarded to Paul D. Greene and Thomas Por- graphic work. Renewal engenders a respect for sharing with us those musics and values cello for their edited volume Wired for Sound: that asks us not to turn our backs on those that we witness as we bring our annual meet- Engineering and Technologies in Sonic Cultures who have gone before. Renewal results from ing to them. (Wesleyan, 2004). Professor Kartomi sum- teaching and fi eldwork that is collaborative. As we refl ect on the ways we have turned marizes the committee’s praise for the book Renewal results from confronting the need toward the future in our second half-century, as follows: “Based on a centrally organological to make a difference for those who give us the written, performed, and mediated record theme (the role of electronic means in the so much. of the ways we turn vision into action is production, distribution, and reception of The spirit of renewal that has emerged as abundant. SEM’s own publications expand musical sounds), this volume draws on the we enter the history of a second half-century, in number, size, and diversity of content, and research of a dozen authors to accomplish nonetheless, must also be disquieting, for it so, too, do those of our constituent organiza- depth as well as breadth in its survey of necessarily asks us to respond to so much that tions, the SEM special interest groups, sec- technological practices in the production seems to be slipping away. As I look across tions, and committees. The SEM Newsletter is of musical recordings and radio broadcasts. the Society for Ethnomusicology in 2006, I just one, very telling chronicle of our growing Not only are there a representative variety sense the vigor that comes from responding discourse. In his 2006 annual report to the of stances toward technology portrayed; the to the challenges that accompany the spirit of SEM Board, Tong Soon Lee, the inimitably range of scholarly perspectives taken toward renewal. It is that vigor that helps us under- energetic Editor of the SEM Newsletter, called the subject ranges from ethnomusicology to stand what we have achieved in the past year attention to the growing number of pages in cultural studies to music perception. This and what we stand to achieve in the future. the Newsletter, not only the 48 in the con- book avoids most of the pitfalls and realizes These are the challenges, moreover, that must ference issue, but the expanded issues that most of the potential advantages of a multi- guide our actions and fulfi ll the true potential appeared throughout 2006. At the local level, authored anthology.” of the Society for Ethnomusicology in the the pages are now fi lled with more commu- next fi ve and fi fty years as we seek to make nications to and about individual members. Prizes for 2007 a difference with ethnomusicology. At a middle level, Tong Soon creatively ex- For 2007, the Kunst, Merriam, and Seeger The SEM continues to grow in numbers, panded the forms, styles, and genres of the Prizes will be awarded, along with the Lois and increase in diversity, both critical mark- Newsletter’s columns. The new President’s Ibsen al-Faruqi Award for a scholar or institu- ers of our overall health. Numbers never column, “Becoming Ethnomusicologists,” tion in the Islamic world and the Robert M. speak alone, of course, and I am particularly for example, is the result of Tong Soon’s in- Stevenson Prize for a composer who is also pleased to report that active participation in spiration and labors. I am myself particularly an ethnomusicologist. With the exception SEM undertakings has risen and expanded. thankful for the opportunity to join with him of the Seeger Prize (for which entries are Participation in annual meetings has increased and his successor, Henry Spiller, and with the submitted during the annual conference), steadily over the course of the past several SEM membership in dialogue. At the more the deadline for all prize submissions is April years. From a previous average of around global level, the Newsletter has opened to 1, 2007. Details can be found on the SEM 600 registrants at annual meetings, attendance essays of considerable substance; witness website (www.ethnomusicology.org). jumped to around one thousand last year. If Charlotte Frisbie’s remarkable account of the we had worried that there would be a slide remarkable life of David McAllester in the back to the previous average in 2006, the conference issue. If it is not clear already that Honolulu meeting proved us quite wrong: we owe a special debt to outgoing Newsletter The deadline for all prize By the end of the meeting more than 750 editor, Tong Soon Lee, let me make it clear had registered. now: Thanks, Tong Soon. submissions is April 1, We must remember, of course, that num- As we have entered our second half- 2007 bers alone do not reveal the whole truth. At century, the SEM has made considerable least three other trends are also evident in headway in recognizing the signifi cance that the annual gathering of the SEM. First of an international membership has long meant President’s Report all, annual meetings are attracting more par- for the Society. International members do ticipants from outside the borders of North make a difference for the Society. Interna- continued from page 1 America. To all who traveled so far, thank you tional members should know that the SEM seriously. It has been remarked by many that for making our meetings and the Society for Board and SEM committees are engaging ethnomusicology is becoming more historical. Ethnomusicology so international. Second, in intensive conversations about the ques- Just as this is the case, I think it also crucial we are welcoming more and more colleagues tions of representation and discourse. We to say that our engagement of his history from other disciplines and fi elds, from the believe it is critical more material available has become increasingly activist. In an age other musicologies as well as from diverse worldwide through diverse technologies. of “new” disciplines—the new historicism, social sciences and humanities. They share The SEM Board and several committees are the new musicology—ethnomusicology, as your ideas and theories with ethnomusicolo- seriously exploring new ways and venues to SEM Newsletter 9 make the work of our colleagues working the SEM chapters is also one stimulus for are distinctively capable of making a differ- in other languages available in English, and discussions about instituting chapters outside ence. The campaign would recognize the making SEM publications in English available North America, thus reinterpreting regional importance of hearing many and different to them. We do not forget that the fi eld of activities internationally. voices, and it would empower the SEM to ethnomusicology is committed to making as In 2006, it is particularly clear that the develop the places—in our meetings, in our many voices audible as possible. sections and special interest groups in the publications, in our classrooms—the voices SEM polity refl ect a remarkable degree of of all can be heard. interdisciplinarity and subdisciplinarity. As “SEM Makes a Difference” would I reviewed the annual reports submitted by embrace projects critical to our central and we owe a special debt to chairs, I was struck by how common it has distinctive concerns about diversity and outgoing Newsletter edi- become for SEM members to wear many representation. “Difference,” in this sense, disciplinary hats. It is uncomplicated to spe- has multiple meanings, all of them together tor, Tong Soon Lee cialize in the music of the Arab Middle East, strengthening a common sense of purpose. and to join colleagues in sections on dance And “making a difference,” too, underscores and popular music, gender and archiving. The that common sense of purpose, inspiring and Our health and our growth are, as Trea- reports from our sections, committees, and guiding the activism that is critical to who we surer Suzanne Flandreau so capably shared special interest groups are striking because are in the Society for Ethnomusicology. with the general membership at the annual of the range of their own activities. Not only As we intensify our discussions on the meeting, evident in our membership growth do they organize panels and evening sessions directions we shall pursue with “SEM Makes and in the fi nancial solvency of the Society. at the annual meeting, but they offer prizes a Difference,” the SEM Board, the several We should not—and do not—take any of this for papers and propose innovative research committees concerned with development and for granted. We believe that our undertakings agendas. As I prepared this report, I had vision for the future will benefi t enormously must always be fresh, and that we must play originally planned to regale its readers with from the differences the membership bring to the role of innovator in so many areas. It has statistics from a few selected sections—the our attention and share with us. If we succeed, only been by doing so that we have been able 507 members in the Popular Music Section, it is because the SEM—we together, through to maintain the standards that keep members the new websites of the Section for the Study collective passion and action—truly recog- reading SEM publications and participating in of Arab Music and the Gender and Sexualities nizes its potential to make a difference. SEM activities at so many levels. Our fi nancial Taskforce, or the digitizing and CD projects health owes much to convincing individuals coordinated through the Archiving Special Announcements to renew memberships, and libraries to insist Interest Group—but in fact such statistics that the journal is on their shelves. have become remarkable only because they Çudamani Gamelan Music & Dance As SEM President, I urge all of us to are, within SEM, unremarkable. They have Summer Institute Bali, Indonesia 2007 remember these practical matters in our ev- become the rule rather than the exception. Two week program: July 2-13, 2007 eryday lives as ethnomusicologists. We should As I begin the second year of my SEM be encouraging our colleagues, students, and Presidency, I am particularly keen to urge Three week program: July 2-20, 2007 teachers to join SEM. We should reach out the Society to embark on a series of proj- Application Deadline: January 5, 2007, or until into our communities, strengthening the ects that the Board has already begun to call enrollment fi lled presence of SEM in the public sector. And “SEM Makes a Difference.” These projects, we should renew our own memberships and developed as components of a fund-raising For the fi rst time, internationally ac- support the various funds and sections that campaign, would begin with a new focus on claimed Çudamani ensemble will invite a need our fi nancial assistance to make a real those who will make our future, our students, select group of 35 individuals from around difference. the new generation. “SEM Makes a Differ- the world to participate in a rigorous study There are many reasons that I report of ence” would help students fi nd a home in of Balinese Music and Dance in Pengosekan. SEM’s health in these remarks, but I should our fi eld and in the SEM by helping them, In addition to intensive classes with master like to turn briefl y to refl ect on two areas in materially and substantively, during the most artists/teachers, the program will include which we can observe particular health. First diffi cult periods of transition: entering gradu- visits to temple ceremonies and sacred of all, I am very pleased to report that the ate programs and navigating them; deciding sites, observations of a wide range of per- SEM chapters have shown quite remarkable on the directions their research will take formances including Çudamani rehearsals, vitality. We know from our own chapters and them and fi nding means to sustain them in and daily encounters with the local artists from Sara Stone Miller’s Chapter Coordina- their fi eldwork; and helping them complete and the community. This program is a rare tor reports that chapter meetings are well dissertations and other ethnomusicologi- opportunity for participants to be a part of attended and that the quality of scholarship cal projects to cross the threshold into the one of the most vibrant and creative cultures presented is superb. Individual chapters are professional arena. in the world. The Artistic Team includes I collaborating with other organizations and “SEM Makes a Difference” would enable Dewa Putu Berata, Program Music Direc- fostering local and regional forms of inter- the Society to support areas of professional tor, and Emiko Saraswati Susilo, Institute disciplinarity. Increasingly, special themes development, programs, in other words, to Dance Director. unify chapter meetings, and keynote speakers empower members to take charge of their The online application is available at highlight them. Prizes for student papers are careers and to shape the role of ethnomusicol- www.cudamani.org. Fees (2 weeks $1,400; awarded, and publications of various kinds ogy in the academy, in the public sector, and 3 weeks $1,950) cover instruction, shared emerge from the meetings. The strength of in the many other places ethnomusicologists Continued on page 10 10 SEM Newsletter

SEM Columbus 2007 air (most major carriers serve the nearby Port guitar, fl ute, or sing, may attend all academic continued from page 7 Columbus Airport), and bus (the Greyhound seminars and participate as observers in the station is one block from the hotel). Costs instrumental, vocal, and ensemble classes. district, one block from North High Street, for local transportation and the conference For traveling companions of Tango Institute the city’s main north-south artery. The hotel hotel rates are quite reasonable. participants, there will be a parallel program is adjacent to the beautifully restored Ohio SEM Columbus 2007 will offer a rich of tango dance classes and Argentine culture Theater, an ornate music-hall from the 1920s variety of experiences for everyone attending. classes run by local arrangements coordinator decked out in gold-leaf Art Nouveau fi ligree, Intellectual, artistic and cultural encounters, Inés Freixas. Tango dance classes and milongas which now is the home of the Columbus like their culinary counterparts, will appeal to will be scheduled for traveling companions Symphony Orchestra. Not far from the a broad range of interests, tastes, and pockets. during the afternoon and evening while the hotel is the Arena/Entertainment District, Please check the SEM web site (www.ethno- Institute participants are in seminars and where among other attractions one fi nds the musicology.org) for further information and classes. Please note that, although the program home of the NHL’s Columbus Blue Jackets. announcements. for Tango Institute Participants is very full, Within walking distance is the North Market there will be some opportunities for those with daily-replenished wonders of the local interested to take tango dance classes, and farmers, coffee shops, restaurants, and more. Announcements may be arranged on-site in Buenos Aires with North of the market is the Short North, continued from page 9 the local arrangments coordinator. Columbus’s answer to SoHo and Greenwich For more information on the preliminary Village, with numerous galleries, cafés, bars, housing, breakfast, lunch, and excursions schedule, faculty biographies, and the parallel boutiques, and nightclubs that appeal to al- Discount airfare available. Non-refundable culture program for traveling companions, most any orientation or persuasion. Near the application fee of $25. please go to the CMS website (www.music. hotel, one also fi nds several theaters, along The Institute is considering a parallel org) and click on 2007 Summer Institutes with the Columbus Opera, the Columbus program for the children of participants. For under Upcoming Activities. Ballet, and the COSI Museum of Science, to more information call: 310.206.1335. mention only a few points of interest. CMS Summer Institute: The Center for A few miles further north along the CMS Summer Institute: Argentine World Music Indonesian Encounters High Street is the main campus of The Tango Music: History, Theory, and 2007 Ohio State University, where all Saturday Practice afternoon conference events will take place. Summer Workshop in Bali: June 3–July 7, 2007 Buenos Aires, Argentina, July 1-13, 2007 A “must see” on campus for those interested Payangan Festival: July 4–7, 2007 in architecture is the Wexner Center for the The College Music Society (CMS) spon- Arts, an example of Peter Eisenman’s early sors a variety of summer institutes, work- Performing Arts Tour of Java: July 9–15, 2007 deconstructivist modern designs. The Wexner shops, symposia, and other events which Departure from the U.S. on June 20. For Center annually showcases an admirable array provide opportunities to hone teaching skills more information visit http://centerfor- of national and international stars in visual and consider issues of concern to the music worldmusic.org/tours/tours.html and performing arts. and higher education community. The CMS Institute “Argentine Tango Music: History, Tibetan Endangered Music Project Theory, and Practice” will intersect tango Seeks Donations scholarly studies with practical musical and SEM Columbus 2007 The Tibetan Endangered Music Project is cultural experience and provide participants seeking donations of unwanted MD record- will offer a rich variety of with an authentic and holistic tango music ers, microphones, headphones and minidisks. experience in the city of the art form’s Our project trains Tibetan students from experiences for everyone birth, Buenos Aires. The two-week intensive Qinghai Education College to use this equip- program will consist of a series of specially ment to record rare and endangered songs in South of the hotel is German Village, designed class activities, including seminars, their home communities. These recordings where an infl ux of German immigrants to instrumental group classes, and ensemble are then digitized, and we are working to make Columbus in the 19th century settled and practice, given by The Conservatorio de them available online. Members of our project practiced the brewer’s art (interrupted briefl y Estilos Tangueros “Argentino Galván” of the come from all regions of the Tibetan plateau: by Prohibition). The area has become a center National Academy of Tango, as well as tango Kham, Amdo and U-Tsang. To date we have of activity and offers several micro-breweries. cultural and fi eld excursions, organized by the recorded around 250 songs, but our work is The Southern Theater, a restored gem of Institute Director, Kristin Wendland. Seminar only just beginning. Donations may be sent 19th-century beauty with wonderful acous- topics will give participants a broad overview to Gerald Roche, Nationalities Department, tics, and an ideal venue for music and dance of history, poetics, repertory, and analysis; Qinghai Education College, Xining, Qinghai, performances, also is in the area. A uniquely individual, group, and ensemble lessons will PR China 810008. transformed former fi rehouse in German include bandoneón, piano, violin, double bass, For more information about the project, Village is now home of the Columbus Music guitar, fl ute, and voice; and cultural and fi eld please visit (website) http://www.thdl.org and Hall, which offers its elegant space to daily excursions will include tango music concerts search for the Tibetan Endangered Music performances of jazz and popular music by and shows, tours of tango institutions, and Project in the community roster. Alternatively, local and guest musicians. visits to tango historic sites. you may email [email protected]. Located “in the heart” of Ohio, Colum- Musicians and scholars who do not bus is easily accessible from anywhere by car, play bandoneón, piano, violin, double bass, SEM Newsletter 11

Report on The Fourth Study Group edited by Naila Ceribasic and com. Before departing from NYU, Gaunt Erica Haskell. The latter is the third volume proudly graduated her fi rst Ph.D. student, Meeting of the Music of Study Group meeting proceedings—one John Michael Runowicz, whose 2006 dis- and Minorities Study for each of the meetings the Study Group sertation, Echo and Harmomy: Race, Nostalgia has convened thus far. The publication of the and the Doo-wop/Oldies Community, already is Group proceedings of the Varna meeting is already receiving interest from publishers. By Adelaida Reyes in the planning stage. David G. Hebert (Ph.D., University of The next meeting of the Music and Washington) has recently accepted a position With the support of Bulgaria’s Institute Minorities Study Group in 2008 will be held as Assistant Professor at Boston University, of Art Studies, the Bulgaria Academy of in Prague, Czech Republic, and is being or- where his duties include coordination of the Science, the Municipality of Varna’s Cul- ganized by Zuzana Jurkova. online doctoral degree program in music edu- ture Directorate, the Austrian Science and cation, which now has more than 200 students Research Liaison Offi ce in Sofi a, the Union in the U.S. and abroad. The program is global of Bulgarian Composers, and the Horizont People and Places in orientation, with graduate courses in Afri- Hotel, the fourth meeting of the Music and Voicing transformation through song and can music, blues, jazz, music philosophy, and Minorities Study Group was held from August scholarship, Kyra D. Gaunt, Ph.D., is pleased psychology and sociology of music education. 25 to September 1, 2006, at the Horizont to announce that she is moving in August Dissertations will be produced in multimedia Hotel in Golden Sands (Varna), Bulgaria. 2006 to Baruch College, the most ethnically format, supervised by “virtual committees” Rosemary Statelova of the Bulgaria Academy diverse institution in the nation (according to composed of international experts in related of Science headed the organizational team U.S. World & News Report). At Baruch, Gaunt fi elds. Herbert recently served as Associate and hosted the conference. will continue to teach her hip-hop and African Editor of Research in New Zealand Perform- Since its fi rst meeting in Ljubljana in the American music courses exploring the limits ing Arts, and continued his fi eldwork this year summer of 2000, the Music and Minorities what people know and experience relative to among bands in Tokyo and Auckland with the Study Group has nearly doubled in size; race, gender and the body in those genres. support of grants from the National Band this meeting in Varna attracted almost sev- 2006 brought the release of her book, The Association and the Arts Council of New enty participants from Europe, Asia, North Games Black Girls Play: Learning the Ropes from Zealand. David can be reached at (email) America, and Israel. A full program of papers Double-Dutch to Hip-hop (NYU), which was [email protected]. addressed the themes of the meeting: hybrid- featured in Black Issues Book Review, Ebony, W. Anthony Sheppard (Associate Pro- ity, education, minority-minority relations, The Chronicle for Higher Education, and Bitch fessor of Music, Williams College) recently and race, class, and gender. The intensity Magazine, as well as a number of nationally learned that he has been awarded the ASCAP of the discussions was both relieved and syndicated radio programs. This fall she re- Deems Taylor Award for his 2005 article stimulated by the beauty of the surround- leases her debut CD as singer-songwriter—an “Cinematic Realism, Refl exivity and the ings. Flanked on one side by the Black Sea R&B album titled Be the True Revolution! American ‘Madame Butterfl y’ Narratives” and on the other by mountains, the Horizont featuring harmonica player Gregoire Maret. published by the Cambridge Opera Journal (17: Hotel and the adjoining hotels which housed Visit her new website at http://kyraocity. 59-93, 2005). other participants provided easy access to the beach. The hotels’ swimming pools offered an alternative to swimming in the sea. An excursion to some of Varna’s attrac- tions provided a one-day respite from the scholarly activities. These included a vist to Alaja, a centuries-old cliffside monastery, a view of icons and pictures at a venue affi li- ated with a small church in the area, and a rare exhibit of Thracian treasures at the city’s Archaeological Museum. There were music and dance performances representing diverse Bulgarian culture groups in a Kosak village, at a radio station, and at a concert hall. The day ended at the Plenary Hall of the Municipality of Varna with a festive reception hosted by the vice-mayor. Attesting to the substantive growth of the Music and Minorities Study Group since its fi rst meeting in 2000 were two books by Study Group members formally presented in the course of the meeting: Rosemary Statelova’s The Seven Sins of Chalga: Toward an Anthropology of Ethnopop Music (2006), and Shared Musics and Nathaniel Stillman (l) and Amy K. Stillman (r) were among the musicians who entertained Minority Identities (2006), the proceedings of conference attendees at SEM Honolulu. Kudos to Chad Pang and the UH students he organized the third meeting of the Music and Minorities for providing the musical mornings on the Marriott’s staircase. Photo by Henry Spiller 12 SEM Newsletter

“Africa meets Asia” Beijing 2007

World Music Days 2nd International Symposium on African and Chinese Music

Co-organized by Central Conservatory of Music, Beijing & Centre for Intercultural Musicology at Churchill College, Cambridge

6-8 November 2007 Central Conservatory of Music, Beijing. China

The event will comprise three sections as follows, 1. Scholarly Sessions will be on topics pertaining to the problem of “Preservation and Development of Traditional Music” 2. Lectures and Workshops Special sessions will be available for 4-5 scholars to discuss their research in the field of African music. 3. Live Concerts Live concerts will feature the works of African and Chinese composers as well as performance of traditional African and Chinese music.

You are invited to submit proposals for any of the sections not later than 3 March 2007. All participants are expected to provide their own funds in respect of international travel and lodging in Beijing (details of lodging cost will be sent to you soon); free boarding will be available at Central Conservatory of Music. Registration fees will be $100 (US) payable in cash when you arrive at the symposium.

Application: Surname ______Please address all correspondence to: First Name ______Li, Xin Musicology Department Institution ______Central Conservatory of Music Beijing, 100031 Address ______China [email protected] ______Phone 861066415902 ______Fax 861066413138

Telephone ______

E-mail ______I am interested in attending and would like to participate in: ____ Scholarly Sessions ____ Live Concerts ____ I will attend as a listener.

For scholarly sessions, please send title and abstract of your paper and for live concerts please send your programme. SEM Newsletter 13

the guests joined in, including visiting Java- piece from listening to the other parts is A Gamelan Happening nese musicians Pak Sumarsam of Wesleyan what gamelan is all about, and that is what University and Pak Sutrisna Hartana of the happened Thursday night. in Hawai`i University of British Columbia. All levels of Those gathered enjoyed freshly prepared By Nancy I. Cooper experience and skill were represented. Those Indonesian snacks with tea and coffee and gathered played several well-known pieces ‘talked story’ Hawai`i style in between pieces. A rare event occurred on November 16, as well as a few specifi cally associated with The camaraderie as well as the music created 2006, at the University of Hawai`i Music Yogyakarta. This particular confi guration of was extraordinary. Pak Sumarsam has written Department. Players of central Javanese musicians had never played together before about the ‘inner melody’ of karawitan that is gamelan music (karawitan) attending the 51st and will probably never play together again, expressed indirectly when all the parts of a annual meeting of the Society for Ethnomu- yet the music fl owed fl uently as the players piece come together to create a space for such sicology in Honolulu came together with adjusted their individual and regional styles an expression to emerge. I dare say that those University of Hawaii Professor Emeritus of to the music-making at hand. As Pak Susilo of us participating all felt the inner melody Ethnomusicology Hardja Susilo and mem- often says, to be aware only of one’s own that night as “the melody that musicians feel bers of the Hawai`i Gamelan Society to play part is not to play gamelan, as all the other in their hearts” when they play. Everyone who music together; in Pak Susilo’s home town parts must be internalized as well. For play- attended truly honored Kyahi Gandrung, Pak of Yogyakarta, Indonesia, such a gathering ers to react to a sudden transition into an Susilo, and the Hawai`i Gamelan Society by might be called uyon-uyon. About 50 people, unexpected piece, struggle to fi nd the pitches, their presence and we all are grateful for an including the host members, alumni of the form, and style, and then fi nally ‘know’ the unforgettable evening. Hawai`i ensemble, and players from all over the United States, the U.K., China, Japan, Canada, Malaysia, and Indonesia crammed into the gamelan room in the Barbara B. Smith Ethnomusicology Wing. The enthusiastic participation of such a stellar group was a quiet tribute to Pak Susilo’s profound infl u- ence on the worldwide gamelan community. Many of those in the room had in one way or another studied with him or had participated with him in some of the numerous guest performances he has made over the decades at the participants’ universities. As Pak Susilo is not prone to make a ‘big deal’ out of his achievements, this modest event became a fi tting (cocok) way to honor his considerable contribution to those who love gamelan. The Hawai`i group started off the evening by playing a loud-style instrumental piece, gendhing bonang “Denggung Turulare” in pelog pathet lima, which featured the resonant sounds of Kyahi Gandrung (Venerable One in Love), Hardja Susilo surrounded by Gamelan Kyahi Gandrung and some of his many admirers in the an heirloom gamelan from Yogyakarta. Then Barbara B. Smith Ethnomusicology Wing, University of Hawai`i. Photo by Henry Spiller

Articles should be word-processed on For additional information see (website) Calls for Sumbissions 8.5x11-inch paper. All materials, including http://www.ccm.uc.edu/comp_theory_ Music Research Forum example captions, should be double-spaced hist/mrf. and conform to the footnote guidelines found Music Research Forum is currently ac- in The Chicago Manual of Style. Contributions Music and Politics cepting submissions from outstanding gradu- should be between twelve and thirty pages. A ate students and young professionals. A new peer-reviewed electronic journal, cover sheet listing the author’s name, address, Now in its twenty-second year, Music Music and Politics, is currently seeking submis- telephone number, email address, and aca- Research Forum is an internationally dis- sions from both faculty and graduate students. demic affi liation (if applicable) must precede tributed and indexed peer-reviewed journal The journal’s website is http://www.music. articles. Articles will not be returned. published annually by the Graduate Student ucsb.edu/projects/musicandpolitics/. The postmark deadline for submissions Association of the University of Cincinnati Music and Politics welcomes submissions for Volume 22 (Summer 2007) is January15, College-Conservatory of Music. We consider of any length that explore the interaction 2007. Authors must submit three hard copies articles in any area of music scholarship, of music and politics. Areas of interest of each article to: Jason Hibbard, Editor, Mu- including musicology, theory, performance include, but are not limited to, the impact sic Research Forum, College-Conservatory practice, ethnomusicology, music and culture, of politics on the lives of musicians, music of Music, University of Cincinnati, P.O. Box and criticism. Faculty are encouraged to pass as a form of political discourse, and the 210003, Cincinnati OH 45221-0003. this information along to their students. infl uences of ideology on musical histori- Continued on page 15 14 SEM Newsletter

Report on the EVIA India, Pakistan, Ghana, Tanzania, Malawi, Call for Depositors Mexico, the Netherlands, Côte D’Ivoire, and Digital Archive Second the U.S. With materials spanning four decades Ethnomusicological Video for In- Summer Institute of musical activity—from the early 1970s struction and Analysis (EVIA) Digital to the present—the EVIA Digital Archive Archive Project Nine scholars gathered on Indiana collection also illustrates a wide range of ana- The Ethnomusicological Video for In- University’s Bloomington campus June 19-30, lytical concepts such as performance theory, struction and Analysis (EVIA) Digital Archive 2006, to participate in the second Ethnomu- politics, identity, aesthetics, transnationalism, project seeks proposals from scholars in the sicological Video for Instruction and Analysis globalization, musical appropriation, trans- fi elds of ethnomusicology, folklore, anthro- (EVIA) Digital Archive Summer Institute. culturation, tourism, and gender. pology and dance studies wishing to become Representing disciplines including ethno- A broadly collaborative effort, the EVIA participants in the project and depositors to musicology, folklore, ethnochoreology, and Digital Archive project is funded by the the archive. Participation entails submitting anthropology, these scholars were selected Andrew W. Mellon Foundation, Indiana approximately ten hours of original, unedited, from a distinguished pool of applicants to University, and the University of Michigan, fi eld video recordings for inclusion in the deposit and annotate original unedited video and combines the resources of IU’s Depart- Archive, and a commitment to annotating recordings of music, dance, and folklore made ment of Folklore and Ethnomusicology, the this collection during an intensive two-week during the course of their fi eld research. After IU Archives of Traditional Music, and the Summer Institute to be held in Bloomington, submitting their videos for digital conversion University of Michigan’s Duderstadt Media Indiana, from June 15-28, 2008. they spent two weeks at the Summer Institute Center. Since 2002, co-principal investiga- Candidates whose proposals are ac- writing descriptive and analytical annotations tors of the project Ruth M. Stone (Laura cepted will receive a $2,000 honorarium time-coded to digital video images using an Boulton Professor, Indiana University) and upon completion of their annotations by innovative new software interface developed Lester Monts (Senior Vice Provost for the designated deadline. The EVIA Digital specifi cally for the project. Participants also Academic Affairs, University of Michigan, Archive will provide travel to the Summer took part in sessions on intellectual property, have been developing the Digital Archive Institute as well as food and accommodation annotating techniques, controlled vocabulary, with a team of ethnomusicologists, video during the Institute. and digital archiving, and engaged in discus- and computer technologists, programmers, For a fuller description of the project, sion sessions focused on broader topics such librarians, archivists, intellectual property the evaluation of applications, the ingestion as the audiences and uses of the archive, rights specialists, and graduate assistants from process, the Summer Institute, intellectual ethical issues, preservation concerns, access both universities. property and ethical issues, and the time controls, end-user interfaces, legal issues, and The project, currently the only one of its commitment involved please read our 2008 pedagogy. During the second week of the kind, focuses on preservation and cataloging Call for Depositors at (website) http://www. Institute, these 2006 participants were joined needs for original fi eld video recordings of indiana.edu/~eviada. by nine of the 2004 Archive depositors who music, dance, and folklore performances from If you are interested in participating in came to write additional material for their around the globe, as well as on providing high- the EVIA Digital Archive Project as a de- annotated collections. quality internet access to those recordings for positor and participating in the 2008 Summer 2006 Summer Institute participants scholars, teachers, students, and musicians Institute, please complete the application included Elsie Dunin (UCLA), Lisa Gilman worldwide. Following the 2006 Summer form found at this link. Proposals should be (University of Oregon), Frank Gunderson Institute, the EVIA Digital Archive project accompanied by a fi ve-minute video sample (Florida State University), John Kay (Tradi- moved into a sustainability phase funded by on VHS cassette or miniDV; if you foresee tional Arts Indiana), John McDowell (Indiana an $850,000 grant from the Mellon Founda- diffi culty in providing a video sample, please University), Anthony Seeger (UCLA), Jessica tion. This grant is supplemented by support contact us to discuss other options: email Anderson Turner (Indiana University), Lisa from Indiana University and the University [email protected] or call 812.856.1323. Urkevich (American University of Kuwait), of Michigan, bringing the three year total to Application forms can be submitted by and Jacqueline Witherow (Queen’s Univer- $1,416,104. The sustainability plan will make email ([email protected]) or by regular sity, Belfast). Pauline Tuttle (University of the Archive’s materials accessible to a broader mail. Hard copies of the form and video Victoria, Canada), a 2006 depositor who audience, establish markets for products and sample tapes must also be postmarked by was unable to attend the Institute, came to services, and allow for the development and February 19, 2007, and mailed to the fol- Bloomington in August to annotate her ma- implementation of a plan by which it can lowing address: terial. By contributing 10-15 hours each of become self-sustaining through an institu- original, unedited footage, these depositors tional membership program and subscription EVIA Digital Archive Project added 150 hours of annotated videos to the service. Furthermore, during this phase an 2008 Depositor Applications Archive’s growing collection, bringing the additional 300 hours of video content will Herman B. Wells Library E951 project total to approximately 300 hours. be added to the Archive during Summer 1320 E. 10th St. The collections of the 2006 depositors Institutes planned for 2008 and 2009. Bloomington IN 47405 USA expanded the Archive’s holdings to include For more information about the EVIA Successful candidates will be notifi ed materials from Macedonia, Malawi, Tanzania, Digital Archive, visit (website) http://www. Brazil, China, Mexico, Kuwait, Northern by April 16, 2007, and at that time will be indiana.edu/~eviada. For information on given instructions for submitting their video Ireland, Canada, and the U.S., building on the how you can participate in an EVIA Digital foundation laid by the thirteen 2004 deposi- materials for immediate digital ingestion and Archive Summer Institute, email eviada2@ archiving. Please contact us if you have any tors who contributed and annotated materials indiana.edu. representing musical traditions in Liberia, questions about the project, your collection, or your proposal. SEM Newsletter 15

Calls for Submissions Proposals are welcome for any of the musicology, and composition—are engaging continued from page 13 following: with performative aspects of music. We invite • Panel discussions (up to 6 participants, submissions that explore issues of perfor- ography. In addition, we seek articles that mance practice: bodies that perform, dance examine pedagogical issues and strate- each giving a short position paper, fol- lowed by a general discussion) and its relationship to music, intersections of gies pertaining to the study of music and performance and research, contextualization • Paper sessions (four 20-minute papers politics in the undergraduate classroom. of performance, queer theory/performance, with 10 minutes for discussion) We also welcome suggestions and/or feminist theory/performance, or work on • Papers (20 minutes maximum, with 10 submissions of articles on music and related topics. The following presentation minutes for discussion) politics that have already been published formats are welcomed: in another language and that would benefi t • Recitals or lecture-recitals (40 minutes from dissemination in English transla- maximum) • Papers (20-minute time limit) tion. Submissions are encouraged from • Workshop-discussions, led by up to • Lecture-recitals (30-minute time limit) both established scholars and graduate three presenters, on aspects of pres- • Performance art students. Because Music and Politics is an on- ent-day composition • Original compositions line journal, authors are welcome to take • Curated installations or compositional • Other performative scholarship advantage of the media capabilities of the listening sessions Submissions must be received by January web (sound fi les, hyperlinks, color images, 31, 2007. Paper proposals should contain a and video). For specifi c instructions on how to submit an abstract, pleasee see the conference web- 250-word abstract with title and a separate, Faust site: http://music.york.ac.uk/icmsn2007. cover letter with the author’s contact informa- tion, institutional affi liation, and indication of As the bicentenary of Faust I (1808) ap- The deadline for submission of session audio-visual needs. Lecture-recital and other proaches, proposals are now being accepted and paper titles and abstracts is January 8, performance proposals should include a CD for chapters in an international scholarly 2007. Send proposals to William Brooks, or DVD of material that is representative collection on the Faust thematic. Topics in Department of Music, University of York, of the work to be performed in addition to literature, music, art, theatre, philosophy, his- YO10 5DD, UK. (email) [email protected]). the abstract. Composers should submit a tory, and cultural studies will be considered, Conference updates will be posted at (website) score with a recording, as well as a 250-word all nationalities and periods. English language http://music.york.ac.uk/icmsn2007. statement about the piece’s relevance to the collection. Send a 500-word proposal and topic at hand. Proposals, CDs and DVDs brief bio by Jan. 30 2007 to Dr. Fitzsimmons CUNY Graduate Students in Music should be labeled with the proposal title only. at (email) lfi [email protected] Tenth Annual Conference: “Theorizing Electronic submissions are preferred where Lorna Fitzsimmons serves as Associ- Performance/Performing Scholarship” possible. Please send proposals to Megan ate Professor and Coordinator of the M.A. CUNY Graduate Center, New York City, April Jenkins, Conference Chair, Music Programs, and undergraduate Humanities Program, 21, 2007 CUNY Graduate Center, 365 Fifth Avenue, California State University, Dominguez Hills, New York, NY, 10016. (email) mbjenkins@ in Los Angeles. She has been teaching an The CUNY Graduate Center’s Music gmail.com. The proposal may be pasted into interdisciplinary comparativist Faust course Ph.D.-D.M.A. program invites submissions the body of the e-mail, or attached as an (literature, music, philosophy, theatre, art, and from graduate students for its Tenth An- .rtf or .doc fi le using the fi rst and last name fi lm) for eight years and has published widely nual Graduate Students in Music symposium of the author as the document title. Your on the topic. (GSIM 10), “Theorizing Performance/Per- forming Scholarship,” to be held on Saturday, identity will be withheld from the Program April 21st, 2007 in the CUNY Graduate Committee. Calls for Proposals Center’s Segal Theatre. Keynote speaker Elisabeth Le Guin Conferences Calendar Fifth Biennial International Conference has taught at UCLA since 1997. Her book, on Music Since 1900 Boccherini’s Body: an Essay in Carnal Musicology, 2007 University of York, U.K., July 5-8, 2007 was published by the University of California Feb 3 Proposals are warmly invited on any top- Press in January 2006. Her current project is Columbia Music Scholarship Con- ics pertinent to musics of the 20th and 21st on musical theater in 18th-century Madrid. ference 2007, “Music and Postcolo- centuries. However, the ICMSN conference Before beginning her academic career, Dr. Le nial Studies.” Columbia University, would particularly like to emphasize work on Guin was a free-lance Baroque cellist in the New York, NY. For more informa- the following topics, intended to be applicable lively Early Music scene in California. She is a tion, see (website) http://www. to all genres of music (pop, commercial, founding member of Philharmonia Baroque columbia.edu/cu/cmsc concert, jazz, folk, world, etc.): Orchestra and the Artaria String Quartet, and appears in over 40 recordings. She continues Feb 16-17 • Technological innovations and social to perform nationally and internationally, Michigan Interdisciplinary Music context and this double career has permitted her to Society’s Biannual Graduate Music • Music in non-Western cultures develop the idea, fundamental to her work, of Conference. University of Michi- • Improvisation and improvised music musicology as a perpetual dialogue between gan, Ann Arbor. For more infor- • Present-day composition shaped by and theory and practice. mation, see (website) http://www. shaping social and historical forces Scholars across all disciplines of mu- umich.edu/~mmts/ sic—ethnomusicology, theory, performance, Continued on page 16 16 SEM Newsletter

Conferences Calendar Mary, Williamsburg, Virginia. For Jun 28-30 more information, see (website) Meeting of the Study Group on Continued from page 15 http://www. macsem.org Anthropology of Music in Medi- Mar 1-4 terranean Cultures: “Cosmopolitan Joint conference of the Society for Apr 13-14 Cities and Migrant Musics.” Venice, American Music and the Music Ethnomusicology in the World: Itlay. For more information, con- Library Association. Pittsburg, Building on the Laura Boulton tact Marcello Sorce Keller at (email) Pennsylvania. For more informa- Legacy. Archives of Traditional [email protected] tion, see (website) http://www. Music, Indiana University, Bloom- Jul 4-11 american-music.org/ ington, Indiana. For more informa- th tion, contact Daniel Reed, Director, 39 World Conference of the In- Mar 10 Archives of Traditional Music, at ternational Council for Traditional Harvard Graduate Music Forum (email) [email protected] Music. Vienna, Austria. For more Interdisciplinary Graduate Student information, see (website) http:// Music Conference: “Music and Apr 21 www. ictm2007.at/ Crisis.” Harvard University, Cam- Tenth Annual Graduate Students bridge, Massachusetts. For more in- in Music symposium (GSIM 10), Jul 5-8 formation contact Jonathan Kregor, “Theorizing Performance/Per- Fifth Biennial International Con- (email) [email protected] forming Scholarship.” CUNY ference on Music Since 1900. Graduate Center’s Segal Theatre. University of York, U.K. For more Mar 22-25 For more information, contact information, see (website) http:// Association for Asian Studies Megan Jenkins, (email) mbjenkins@ music.york.ac.uk/icmsn2007 Annual Meeting. Marriott Hotel, gmail.com Boston, Massachusetts. For more Aug 3-9 information, see (website) http:// Jun 6-10 Music in the World of Islam. Assilah, www.aasianst.org/ Feminist Theory and Music 9 Bian- Morocco. For more information, nual Conference: “Speaking Out of visit (website) http://www.mcm. Mar 30-Apr 1 Place.” Montreal, Quebec. For more asso.fr/site02/music-w-islam/con- Mid-Atlantic Chapter of the Soci- information, see (website) http:// gresen.htm ety for Ethnomusicology’s Annual www.music.mcgill.ca/ftm9/ Meeting. College of William and

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

Volume 41, Number 1 January 2007