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Society for Ethnomusicology 59Th Annual Meeting, 2014 Abstracts Society for Ethnomusicology 59th Annual Meeting, 2014 Abstracts Young Tradition Bearers: The Transmission of Liturgical Chant at an then forms a prism through which to rethink the dialectics of the amateur in Eritrean Orthodox Tewahedo Church in Seattle music-making in general. If 'the amateur' is ambiguous and contested, I argue David Aarons, University of Washington that State sponsorship is also paradoxical. Does it indeed function here as a 'redemption of the mundane' (Biancorosso 2004), a societal-level positioning “My children know it better than me,” says a first generation immigrant at the gesture validating the musical tastes and moral unassailability of baby- Holy Trinity Eritrean Orthodox Church in Seattle. This statement reflects a boomer retirees? Or is support for amateur practice merely self-interested, phenomenon among Eritrean immigrants in Seattle, whereby second and fails to fully counteract other matrices of value-formation, thereby also generation youth are taught ancient liturgical melodies and texts that their limiting potentially empowering impacts in economies of musical and symbolic parents never learned in Eritrea due to socio-political unrest. The liturgy is capital? chanted entirely in Ge'ez, an ecclesiastical language and an ancient musical mode, one difficult to learn and perform, yet its proper rendering is pivotal to Emotion and Temporality in WWII Musical Commemorations in the integrity of the worship (Shelemay, Jeffery, Monson, 1993). Building on Kazakhstan Shelemay's (2009) study of Ethiopian immigrants in the U.S. and the Margarethe Adams, Stony Brook University transmission of liturgical chant, I focus on a Seattle Eritrean community whose traditions, though rooted in the Ethiopian Orthodox Church, are The social and felt experience of time informs the way we construct and affected by Eritrea's turbulent history with Ethiopia. Drawing on thirteen reconstruct history, a phenomenon particularly relevant to commemorations months of ethnographic research, I examine how the process of musical of past traumatic events. Ethnomusicological studies of commemoration have transmission from priest to youth authorizes the youth as significant tradition for the most part not viewed historical conflict through the lens of emotion and bearers. Following Corsaro (2011), I argue that the youth are not merely embodied temporality; and while recent ethnomusicological scholarship on passively enculturated, but are empowered as leaders through the knowledge conflict has attended to trauma and the body, it has largely focused on present of and ability to render the liturgical chant and hymns of the Orthodox conflict. This essay examines how the felt experience of time, re-wrought in tradition. Not only does this research contribute to an understanding of a musical and dramatic commemorations, is crucial in maintaining the rarely studied diasporic ethnic community in ethnomusicology, but also to a relevance of past events in the present. In Kazakhstan, historical lesser-studied age demographic. By focusing on the “expressive practices” reenactments of World War II often take the form of popular war songs and (Minks, 2002) of children and teenagers, this research highlights the their dramatization on stage. These songs essentially form a chronology of the importance of youth involvement with music for the preservation of religious war, a narrative string of emotional vignettes that force a collective and cultural traditions. remembering of traumatic events. Paul Ricoeur proposed that it is through chronosophy ‘essentially assigning meaning to time’ that we construct the Singing the City: Informal Choirs and the Promotion of the Amateur temporal 'architecture' of 'our civilization'“ (Ricoeur 2004:156). I seek to at the State's Fingertips in Urban China understand how these temporal structures and narratives are felt and Ruard Absaroka, School of Oriental and African Studies (SOAS), University of accepted as history, and, more broadly, how and why the present is interested London in the past. In examining, through ethnographic research, the role of emotion and felt temporality in musical, dramatic, and cinematic representations of Drawing on extensive fieldwork across Shanghai, this paper examines the WWII in post-Soviet Kazakhstan, I hypothesize that the heightened emotions agency and spatial practices of two kinds of amateur choral group. The first in repeated commemorations are key to bringing past events into the present, group is typified by choirs that congregate primarily in public urban parks. thereby maintaining their significance.” The second generally meet in Neighborhood Committee Offices (juweihui) or directly under the aegis of, Sub-district Cultural Bureaux. Both groups Endangering and Empowering: The Personal Politics of a Royal primarily sing 'revolutionary' songs of their collective youth. I address the Ensemble in Central Thailand nature of group interaction, and proficiency, and then turn to the municipal- Supeena Adler, University of California, Riverside level marshaling of informal musical activities to meet wider goals concerning cultural showcases such as the 2010 World Expo. Forming an essential sonic The khrueangsai pii chawaa (“string instruments with Javanese oboe”) backdrop to the better known imperatives and pressures of modern creative ensemble in central Thailand is a unique and highly-regarded ensemble industries, such generationally inflected but ubiquitous grassroots musical known for its repertoire, tuning, high level of difficulty, and overt and practice provides poignant insights regarding the underbelly of regimes of exceptionable virtuosity. Khrueangsai pii chawaa is now maintained only by aesthetic production and regulation in contemporary China, and calls into the Fine Arts Department of the Thai government, and is reserved for very question many common assumptions about the nature of 'popular' culture. special functions including royal processions and dramatic performances of This investigation of musical life in the heart of a re-globalized megalopolis royal literature. At present, the well-known master musician khruu Piip 1 Society for Ethnomusicology 59th Annual Meeting, 2014 Abstracts Khonglaitong directs this ensemble at the Fine Arts Department in Bangkok. Türkü Bars, Alebesk and Transnational Aesthetic among Alevis in Very few musicians are able to participate in the ensemble because he tightly Germany restricts the number of musicians who can participate, due to its history of Ozan Aksoy, New York University association with royal authority and the royal musicians who created the ensemble, including khruu Piip's father. Khruu Piip's tight control endangers There is a sizeable Alevi minority among the predominantly Sunni Muslim the future of this ensemble while at the same time empowering the elite immigrant groups from Turkey in Germany. One of the key social activities for musicians who are accepted to participate. As a result, the khrueangsai pii the members of Alevi community has been attending türkü bars, musical chawaa ensemble is rare and kept largely outside of the gaze of ordinary venues that feature folk music” along with other kinds of music from Turkey. spectators and even the Thai classical music community. Based on extended Sanctioned formerly by the Turkish Radio and Television officials, türkü, research in Bangkok from 2008 to 2013, I focus on the uniquely powerful drawing on Alevi musical repertoire along with others, has come to be used as figure of khruu+i/~ Piip to examine how the power of royal authority a generic term for folk tunes in Turkey. Türkü bars, cover-band bars where functions to keep this musical ensemble endangered by design, so that those performers regularly play a repertoire consisting of traditional and chosen few who participate maintain strict control over the tradition and contemporary folk tunes, have transcended standard entertainment activities preserve their elite social status in Thai classical music community. for many immigrant groups from Turkey. Drawing on my ethnography of türkü bar musicians and their audiences in Germany, in this paper I Àdúrà àwítunwi (A prayer repeated): the art of Fújì singing (90 document how “Anatolia” or the “first homeland” has been reimagined and minutes) recreated sonically and spatially in the türkü bars. Some of the most popular David Aina, Lagos State University songs at türkü bars can be classified in a grey area that I call alebesk, a hybrid genre between arabesk and “Alevi music” and türkü. Alebesk combines an In a city split between reality and competing aspirations, Fújì occupies a arabesk stance, türkü, and transnational aesthetic typically associated with liminal space physically and socially. The bourgeoisie associate it with Islam, Alevis. Alebesk lyrics may also include commentary on social inequalities, tribalism, illiteracy, petty crime, street violence and poverty, putting it at odds issues related to immigration and urbanization, and longing for places and with current Governor Fashola's gentrification of Lagos State. A culture of people left behind in Anatolia. In this paper, I lay out the process by which classism and a history of education emphasizing Western mimicry, e.g. Alevi musicians and audiences in Germany both create and maintain a new “dressing corporate” and speaking “Queen's English”, devalue Fújì music, transnational aesthetic embodied in alebesk and at türkü bars.” musicians and listeners. Meanwhile, a flourishing of amateurism and populism in Fújì,
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