SEM Newsletter Published by the Society for Ethnomusicology Volume 40 Number 4 September 2006

Becoming Ethnomusi- Barbara Smith_ Hon- 2006 Charles Seeger cologists ored by UH Manoa Lecturer: Adrienne L. By Philip V. Bohlman, SEM President Music Department Kaeppler, Smithso- In this column (p.4-5), I turn from Saturday, April 29, 2006. Friends, nian Institution colleagues and supporters of the arts my concern with the issues forming the _ By Ricardo D. Trimillos, University of gathered at the UH Manoa Music De- _ context of ethnomusicology to its meth- Hawai‘i at Manoa ods. At first glance, that turn might partment as the Amphitheatre and Eth- seem like a shift from external to inter- nomusicology Wing of the complex is nal issues. We do, in fact, become dedicated in the name of Emeritus Pro- ethnomusicologists by studying it as a fessor Barbara B. Smith. discipline. Interdisciplinarity, however, Smith’s tenure as a faculty member is not so much a concept of internal and researcher has spanned virtually workings as it is of the bigger picture. It the entire life of the department—from poses questions about how we join her arrival in Hawai‘i in 1949, through together and how we recognize our her official “retirement” in 1982, and to differences before transcending them. the present day in which she remains an Interdisciplinarity, moreover, is a con- active contributor to the university and cept that ethnomusicologists hold as department as a mentor and through very precious. Many, if not most, of us fieldwork and advocacy research. feel it distinguishes our field from oth- “This is a wonderful opportunity to ers, which, so we believe, are narrower recognize the life’s work of an outstand- ing teacher, researcher and performer,” in scope and more limited in their claim _ on knowledge. Isn’t it self-evident that said Manoa Chancellor Denise Konan. ethnomusicology stretches across the “Her service to the university stands out boundaries between music and anthro- as an example of the excellent faculty to pology departments, that it draws vora- whom we turn for leadership and inspi- ciously from the arts, the humanities, ration.” UH recognized her as a “living Adrienne Kaeppler at the Honolulu and the social sciences? Ours is a treasure” of the Colleges of Arts and opening of the exhibition, "Life in the capacious discipline, which welcomes Sciences in 2000. Pacific of the 1700s: The Cook-Forster others. Why, however, is that so? And In her first years here, Smith taught Collection of the Georg August if it is so, why does our interdisciplinar- piano performance and music theory. University of Göttingen." February 22, Among her early students were Herbert 2006 (Photo courtesy of Stephen Little, ity often remain unremarked by other Honolulu Art Academy) disciplines? The answers to such ques- Ohta (Ohta-san) and Eddie Kamae, both tions may elude us, I suggest, because recognized artists in Hawaiian music Adrienne Lois Kaeppler has been a we’ve crossed from a traditional to a today. She was an active piano recital- leading figure in the research, study, new interdisciplinarity. ist, often performed in the community, and advocacy of the Pacific Island Re- and was featured as a concerto soloist gion for at least four decades. Ethno- with the Honolulu Symphony Orches- musicologist is but one of her scholarly Inside tra. identities; others include museum cura- 1 Becoming Ethnomusicologists Through her involvement with the tor, anthropologist, and dance ethnolo- 1 Barbara Smith Honored community and her students, she be- gist. She enjoys international standing 1 2006 Charles Seeger Lecturer: came aware of the rich heritage of and leadership throughout: President Adrienne Kaeppler Hawaiian, Asian and Pacific musics and of the International Council for Tradi- 6 Announcements set about to understand them. She tional Music-UNESCO, senior curator 8 SEM Prizes learned Iwakuni-style bon dance drum- for the Oceania collection at the Smith- 9 Call for Submissions ming, koto, gagaku, and Hawaiian chant, sonian Institution, and President of the 10 Obituary: David McAllester attracting attention as the first female World Dance Alliance-Americas. 19 Obituary: Nadia Nahumck and first Caucasian performer. Begin- Preparation for these lifelong inter- 20 SEM 2006 Preliminary Program ning with Hawaiian chant and Japanese disciplinary and inter-cultural engage- 44 Bob Brown’s Gift to Univ. of Illinois Continued on page 3 Continued on page 3 44 People & Places in Ethnomusicology 45 Mentoring Program for Women 46 Fès Festival of World Sacred Music 2 SEM Newsletter

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Barbara Smith Honored their music. She organized a number of 2006 Seeger Lecturer Continued from page 1 leadership seminars for artists and arts Continued from page 1 administrators at the East-West Center, koto, she introduced ethnic music per- participants of which are now in na- ments began with music studies that formance classes into the Music tional arts positions in their own coun- included voice, violin, and piano. That Department’s curriculum. Recognizing tries. Most recently she undertook the conservatory background has facilitated the value and potential of ethnomusi- final editing of the Queen Lili‘uokalani efficient communication with other cology at the University of Hawai‘i, she Song Book after the death of previous music colleagues, and has been espe- also designed lecture courses and edu- editor Dorothy K. Gillet, a colleague cially beneficial for issues simultaneously cation workshops. She established the and close friend. Her dedication and relevant to ethnomusicology, dance eth- master’s degree program in ethnomusi- contribution to local communities have nology, and anthropology. During her cology in 1960. doctoral studies at the University of not gone unnoticed. In 1969, she re- _ Smith has been active in national ceived the state of Hawai‘i Governor’s Hawai‘i at Manoa, Kaeppler recognized and international organizations, such as Award for the preservation of Hawaiian the centrality of expressive culture to the International Council for Traditional Language, Art and Culture, and in 1983 understanding the Pacific Region. The Music-UNESCO, Society for Ethnomusi- she was publicly recognized as a “pio- dissertation in anthropology, The Struc- cology and the Music Educators Na- neer” by a Resolution of the City Coun- ture of Tongan Dance (1967), was her tional Conference. She held high office cil of Honolulu. first major contribution to that under- in the International Council for Tradi- The program on April 29 began at standing. Although the Kingdom of tional Music, College Music Society, 3:00 p.m. It included congratulatory Tonga continues to be her primary Study Group on Musics of Oceania, and speeches by university officials, chair of research focus, she is active and pro- Society for Ethnomusicology. In 1986 the Board of Regents, and a presenta- ductive concerning other areas of her peers honored her with an invita- tion of a mele inoa (name chant) com- Polynesia, including traditional Hawai‘i. tion to present the Charles Seeger Me- posed and performed by master chanter In 1967, she joined the Anthropol- morial Lecture, the prestigious keynote Ka‘upena Wong. Guests, including UH ogy Department at the Bishop Museum _ address at the national meeting of the president David McLain, UH Manoa (Honolulu). At the same time, she Society for Ethnomusicology. In 2001, chancellor, campus unit representatives, taught ethnomusicology courses on the the Society awarded her the title of Pacific for the University of Hawai‘i at community leaders, educators, former _ Honorary Member. and present colleagues, and the Smith Manoa. In 1980, she received a national She has also contributed in quiet family were treated to performances by calling to her present position, Curator ways. She assisted in the organization the UH Gamelan Ensemble, UH Gagaku, for Oceania, at the Museum of Natural of the University Micronesian Club and and Hawaiian hula performed by stu- History, Smithsonian Institution, in helped them produce a recording of dents in the department. Washington DC. Dr. Kaeppler is a pioneer with breadth. As dance ethnologist, she developed a system of dance analysis that identifies culturally significant units of movement—the kineme; it has be- come a useful methodological tool for comparative studies of movement and dance in other parts of the world. As cultural anthropologist, she has explored issues of aesthetic, examining intersense modalities relative to Tongan aesthet- ics, identity, and cultural specificity. As curator, her 1978 exhibition at the Bishop Museum “Artificial Curiosities” was sig- nal. A pioneering odyssey of re-discov- ery, detective work, and negotiation, her efforts successfully located and as- sembled 18th century Hawaiian objects from museums and private collections throughout the world, including (at the time) politically sensitive parts of East- ern Europe, and all the areas where Cook stopped, such as the northwest coast of America. As wordsmith, she has contributed the phrase “airport art” to current discussions of tourism, popu- Barbara Smith giving a speech at the ceremony during which the Amphitheatre and Ethnomusicology Wing of the Department of Music at the University of Hawai‘i, lar culture, and property rights. _ Manoa was dedicated to her name. April 29, 2006. Continued on page 48 4 SEM Newsletter Becoming Ethnomusicologists On the New Interdisciplinarity By Philip V. Bohlman, SEM President

It’s surely been perplexing for all of the future. Not surprisingly, ethnomu- the cognitive sciences (e.g., Kline 1995, us: What ethnomusicologists call sicology has welcomed the recent turn and Flem et al. 1998); at the other end interdisciplinarity often bears little re- toward interdisciplinarity, and many there are attempts to assess and system- semblance to the interdisciplinarity ethnomusicologists have turned eagerly atize the alliances within new multidis- claimed by others. Ethnomusicologists to the new partnerships. ciplinary fields, such as cultural studies cite their past, the intellectual history in How curious, then, that the interdis- (e.g., Nelson and Gaonkar 1996, and which music took its place among so ciplinarity that we have practiced for so Anderson and Valente 2002). many other cultural practices and phe- long has been largely ignored. How Across the continuum, there is a nomena. Interdisciplinary thinking has perplexing, then, that ethnomusicology’s concern for issues of borders—disci- naturally resonated with the combined passage across disciplinary boundaries plinary and cultural—and ownership— __ art forms of the natya-sastra in South is only one-way. How disturbing, even, personal and discursive (cf. Aleksand- Asia or the multilayered presence of that the failure of other fields to recog- rowicz and Ruß 2001, and Strathern musica in the medieval quadrivium. nize our interdisciplinarity has become 2004). I refer to these issues quite Our more recent disciplinary forebears so very quotidian: at my own university, deliberately as “concerns,” and in this embraced comparative method and indeed, a three-year Mellon Foundation sense they differ from the issues that moved deftly between and among more project on “The Fate of the Disciplines” ethnomusicologists address in their work rather than fewer disciplinary realms at its humanities institute failed entirely on interdisciplinarity, which far more (see, e.g., Nettl and Bohlman 1991). to include ethnomusicology and a mu- frequently express the daring of experi- Ethnomusicologists not only study sic department that strives toward in- ment and the optimism of moving into in the different departments of the aca- tensive and extensive interdisciplinar- unexplored domains of knowledge. demia, but they assume teaching posi- ity. The key difference, I dare say, lies Even when they are cautious about past tions that naturally spill across the de- in an anxiety about survival, borne by achievements and the need for even partmental borders. We publish and the word “fate.” Ethnomusicology, in more sweeping interdisciplinarity, eth- create in a vast array of forms and its new interdisciplinarity, has long ago nomusicologists bring a celebratory tone discourses, and we muster a vast arse- moved beyond that anxiety. to the challenges of their field (see, e.g., nal of methods and skills to do so. In this column, I reflect on two the essays in Stobart, forthcoming). Applied ethnomusicology, no less, is different forms of interdisciplinarity, two Perhaps because of the anxiety to predicated upon a professional different chronotopes, or time/places. which I have been alluding, the meth- interdisciplinarity, a conviction that It is the second of these, which I believe ods that might constitute the continuum ethnomusicology’s multidimensionality deserves to be called the “new of our colleagues in other fields tend can and does make a difference far interdisciplinarity,” that we claim when toward the tentative. The standard title beyond the practice of music. This is we choose to become ethnomusicolo- formula includes some recipe for “inter- how we perceive our interdisciplinarity, gists, and my reflections will, under- disciplinary approaches to …”, or it always already a motivation for why we standably, turn in that direction during establishes a sense of distance by ob- choose to become ethnomusicologists. the course of the column. While pre- serving “interdisciplinarity in ….” We If I dare to claim interdisciplinarity as paring to write about ethnomusicology’s are not always sure whether an author fundamental, even natural, in ethnomu- interdisciplinarity, I have been very or editor adopts interdisciplinarity as sicology, few within our discipline would surprised to discover that other her own. Quite the contrary, many take issue. The more pressing issue interdisciplinarities were, comparatively scholars seem unwilling to give them- would be ensuring that the traditional speaking, rather limited in scope and selves wholly to the new scholarship interdisciplinarity be maintained and quite conservative in reach. they are assessing. The anxiety, clearly, enhanced (cf. Bergeron and Bohlman First of all, if one undertakes a search circles around the dilemma of claiming 1992, and Cook and Everist 1999). through library and internet reference too much. Breadth rather than depth Interdisciplinarity elsewhere, how- sources, one turns up surprisingly few continues to provide the safest ground. ever, looks very different. It insists on subject or title listings that refer directly The interdisciplinarity we witness in its innovation, presented as a challenge or indirectly to interdisciplinary study. many fields coalesces around an object to the academy because of new partner- More often than not, the works one that is subject to “approaches,” and an ships, which together aim to redress the does find are the products of confer- objectifying discipline of which inter- shortcomings of the past (see, e.g., ences or institutional endeavors that are disciplinarity is one of many constitu- Nelson and Gaonkar 1996). It divides testing the waters for the feasibility of tive parts. In this sense, ethnomusicol- the disciplines between those clinging recent or potential alliances. At one end ogy looks very different. It is not the to the singular disciplinarity of the past of a continuum of such alliances are object, “music,” that becomes the focus and those joining forces to move into studies of interdisciplinary methods in of an approach. “Music,” as it did in the SEM Newsletter 5 natya-sastra__ or the quadrivium, has present challenge has become one of multiple meanings and ontologies, and Signaling the shift from closing the gap and realigning much the subject positions that individuals an old to a new interdis- that has been separated by the schisms and collectives bring to its creation and realized by disciplines insisting on per- performance are diverse rather than ciplinarity in ethnomusi- vasive otherness. Fundamental to singular. “Music” is disciplined in many cology was a complemen- ethnomusicology’s new interdisciplinar- rather than few ways, and interdiscipli- tary shift from object to ity is the activist impulse that leads us to narity affords many rather than few adopt disciplinary practices that can ways of realizing it. As we seek through- subject, from music as a effect change, not simply accept it. out our lifetimes to discipline music, we self-contained sonic ob- Ethnomusicology’s interdisciplinarity, realize that it can never be reduced to perhaps, really is distinctive. It is cru- an object. ject to music as a discur- cial, as we become ethnomusicologists, Signaling the shift from an old to a sive field. to recognize that distinctiveness and to new interdisciplinarity in ethnomusi- engage it in such ways that others will cology was a complementary shift from alism. As a domain of in-betweenness, not shy from its critical challenge, but object to subject, from music as a self- however, the crucial questions become instead embrace it as a new interdisci- contained sonic object to music as a not those of border, but rather of bor- plinarity that is truly shared by many. discursive field. Constituting that dis- der-crossing. Local styles and reperto- cursive field ethnomusicologists have ries are not isolated for special claims of Works Cited come to recognize, is the complex of exceptionalism, but rather broadened Aleksandrowicz, Dariusz, and Hans borders, indeed, the common ground into regional and global mixes. Di- Günther Ruß, eds. 2001. Realismus— provided by the in-betweenness of the aspora and displacement are recalibrated Disziplin—Interdisziplinarität. prefix “inter.” Interdisciplinarity in eth- by music to re-chart the multiple histo- Amsterdam: Rodopi. nomusicology, therefore, results from ries of modernity. Anderson, Amanda, and Joseph Valente, the fluidity represented by in-between- The domains of in-betweenness eds. 2002. Disciplinarity at the Fin de ness, and it resists adhering to the fixed rarely connect the old and the new Siècle. Princeton: Princeton Univer- qualities implicit in the singularity of an disciplinarity in neat or convenient ways. sity Press. isolated discipline. The critical issues Ontological questions become discom- for ethnomusicology lie in the complex fiting, for example, in the current US Bergeron, Katherine, and Philip V. nature of the “inter” as a signifier of imperialism that silences musics and Bohlman, eds. 1992. Disciplining change and multidimensionality. expressive practices that voice opposi- Music: Musicology and Its Canons. As we embark upon the second half- tion and resistance, particularly through Chicago: University of Chicago Press. century of SEM’s history we recognize the promulgation of false representa- Cook, Nicholas, and Mark Everist, eds. that the domains of ethnomusicology’s tions of Islam. Clearly, the in-between- 1999. Rethinking Music. Oxford: Ox- new interdisciplinarity have become ness of the domains becomes exten- ford University Press. sites of practice in quite different ways. sively multidimensional, with the onto- Flem, Lydia, et al., eds. 1998. Inter- Primarily to suggest some points of logical and representational spilling over disciplinarités. Paris: Seuil. departure to which each reader of the into the ideological and political. Per- SEM Newsletter will add his or her own formance, as a public act, unleashes the Kline, S. J. 1995. Conceptual Founda- sites of in-betweenness practice, let me political; representation inevitably ex- tions for Multidisciplinary Thinking. suggest an initial six that are particularly presses the ideological. Cultural at- Stanford: Stanford University Press. important in my own work: (1) the tributes claimed as tangential to music Nelson, Cary, and Dilip Parameshwar multiple domains between ontologies by many—identity, race, violence—not Gaonkar, eds. 1996. Disciplinarity of music; (2) performance; (3) repre- only mark music but come to discipline and Dissent in Cultural Studies. New sentation; (4) geographies of world it, forcing ethnomusicology to respond York: Routledge. music; (5) ideology; and (6) politics. through the new interdisciplinarity. Nettl, Bruno, and Philip V. Bohlman, These initial domains of in-between- Have I simply arrived again at the eds. 1991. Comparative Musicology ness stretch between the old and the starting point of this column, admitting and Anthropology of Music: Essays on new interdisciplinarity, but they do not that interdisciplinarity has different the History of Ethnomusicology. Chi- do so in a narrowly teleological way, for meanings for ethnomusicology? Yes cago: University of Chicago Press. they retain much of the old just as they and no. On one hand, I have pushed remold it to shape the new. the argument beyond what might be a Stobart, Henry, ed. Forthcoming. The The domains provide fields for gen- comfortable recognition of uniqueness, New (Ethno)musicologies. Lanham, erating practice and metaphor, thus even pyrrhic pride in the admission that Md.: Scarecrow. (Europea: Ethnomu- linking discourse and activism, and we were there first. Still, I, for one, take sicologies and Modernities) ensuring that our interdisciplinarity is very little comfort in being different for Strathern, Marilyn. 2004. Commons restive and engaged. Take, for ex- its own sake. On the other hand, I and Borderlands: Working Papers on ample, the fourth domain, which may believe it is an essential quality of the Interdisciplinarity, Accountability seem at first glance pedestrian, conser- new interdisciplinarity that its domains and the Flow of Knowledge. Wantage: vatively clinging to threadbare notions of in-betweenness have formed not Sean Kingston. of area-studies and nationalist parochi- simply to be taken for granted. The 6 SEM Newsletter

Announcements Alan Lomax:␣ Mirades Miradas Glances, edited by Antoni Pizà Anthropology of Music in Mediter- Alan Lomax (1915-2002) was one of ranean Cultures the most important song collectors of The study group on the Anthropol- the 20th century.␣ In 1952, he visited ogy of Music in Mediterranean Cultures Spain in order to record the extant folk will hold its 7th meeting in Venice, traditions of the country in a fieldtrip hosted by the Fondazione Ugo e Olga sponsored by the BBC.␣ The materials Levi, June 28-30, 2007. The theme will compiled during his fieldtrips around be “Cosmopolitan Cities and Migrant Spain were used in the Columbia World Musics.” This is the first reconvening of Library of Folk and Primitive Music is- the group after Tullia Magrini, founder sued in the 1950s on LPs and re-issued and soul of it, so prematurely passed more recently on CDs by Rounder away in Summer 2005. The meeting is Records. Alan Lomax:␣ Mirades Miradas an opportunity for the people who Glances presents the first compilation more closely shared Tullia’s interests to of Alan Lomax’s␣ beautiful photographs meet again, to discuss the future of the of musicians taken during his 1952 trip group and of its publication Music & to␣ Barcelona, Mallorca and Ibiza.␣ The portraits. (Barcelona:␣ Lunwerg / Anthropology. Those interested in at- book includes transcriptions of his per- Fundacio Sa Nostra, 2006; 157p. ill.; tending the meeting may contact sonal diaries and a CD␣ with␣ recorded 31cm; ISBN 84-9785-271-0; in English, Marcello Sorce Keller at (email) selections␣ cross-referenced with the Spanish, and Catalan).

[email protected].

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Frans and Willemina de Hen-Bijl Women of Egypt 1924-1931: Pioneers recording stars of today. As for the Instrumental Collections at Duke of Stardom and Fame (compilation and others on the CD, we know little more University notes by Amira Mitchell). TSCD931 than their names and we can only thank In March 2005, the Duke University the serendipitous recording of their Musical Instrument Collections officially voices by a passing phonograph engi- welcomed the arrival of the Frans & neer, thus helping to reconstruct the Willemina de Hen-Bijl Collection of sounds of a musical era long forgotten. Musical Instruments. Professor This CD is devoted to these Arab women, Ferdinand J. de Hen, Belgian organolo- pioneers of Egyptian theatre and song gist and ethnomusicologist, acquired in front of mixed audiences and pio- the collection during his numerous re- neers for subsequent generations of search expeditions. The collection of female performers. over 200 instruments from Africa, the Falak: the Voice of Destiny: Traditional, Americas, Europe, East Asia, India, the Popular & Symphonic Music of Tajikistan Middle East, and others, is named in (recordings, text and compilation by honor of his parents. The Duke Univer- Federico Spinetti; Sound Archive refer- sity Musical Instrument Collections is ence C1164). TSCD932D located at the Mary Duke Biddle Music Building, East Campus, Department of Music, Durham, North Carolina; (tel) Among the great Egyptian singing 919.660.3320; (fax) 919.660.3301. stars of the 1920s, Umm Kulthum is one of the few remembered. Of the women From the World and Traditional who were once her arch-rivals and Music section of the British Li- whose fame extended from Syria to brary Sound Archive in collabora- Morocco, barely their names are re- tion with Topic Records… called, and even less so their music. Just over five years ago, the World Attracted to a burgeoning artistic scene and Traditional Music section signed an and a receptive audience to female agreement with London record pub- performers in turn of century Cairo, lisher, Topic Records, to produce CDs women performers began to leave their of music from its collections. This homes for the lights of the cosmopoli- contract was renewed for a further five tan capital. Some women reached such levels of fame and achieved such high years in November 2004. To date we Falak (lit. “sky” or “destiny”) is a have brought out 15 CDs, with the earning power as to have weekly col- umns in magazines devoted entirely to characteristic musical genre of the rural newest three hot off the press this mountain regions of Tajikistan in Cen- spring. their lives and activities (professional and otherwise!), comparable to the top tral Asia. Falak songs “cry to the sky” of Continued on page 8 SEM Newsletter 7 8 SEM Newsletter

Announcements inhabitants of India) regions in the east whichever comes first. Fellowships will and north-east India. The selection provide support for nine to twelve Continued from page 6 focuses on what many believe to be months of dissertation research. The the transient nature of life and the India’s primary melody instrument, the fellowship must be held for a single separation from beloved ones induced voice. This acoustic journey starts in continuous period within the eighteen by a perceived inescapable fate. Tajik eastern India, travels up the Ghat moun- months between July 2007 and Decem- mountain music also comprises folk, tain range, into the fertile plains of West ber 2008. dance and wedding songs, as well as a Bengal. In the north-east it enters the For more detailed information on tradition of epic singing and settings of Assamese river delta and finally climbs application procedures and eligibility Persian classical poems. This rich mu- up to the Himalayan highlands. This requirements, visit the IDRF website at sical world entered urban contexts of musical journey follows roughly the www.ssrc.org/programs/idrf or contact music-making during the Soviet era, real journey of the sound recordist Rolf program staff at (email) [email protected]. giving rise to creative cross-fertiliza- Killius, who has been documenting tions with a broad range of idioms. Indian music for the last ten years. The Today, a number of Tajik musicians, selection comprises regional music cul- SEM Prizes while playing traditional music on stage tures (bargit, odissi, bhajan, Baul, and or at traditional intimate gatherings, are loko geet), music of the minstrel ballad- The Lise Waxer Prize also versed in popular music, forging a eers (Daasari, Maasti, and Baul), and The Popular Music Section of the dynamic musical synthesis that has be- music of the Adivasi cultures (Saora, Society for Ethnomusicology will again come central to communal occasions in Deori, and Monpa). award the Lise Waxer Prize for the most both rural and urban areas, especially at For more information on the full distinguished student paper in the eth- weddings. More specifically urban is series, please visit (website) http:// nomusicology of popular music pre- Tajik symphonic music, which, how- www.bl.uk/collections/sound-archive/ sented at the SEM annual meeting in ever, is markedly receptive to local wtmpublications.html#topic or contact Hawai‘i this fall. The competition in- aesthetics, including the falak style. Dr Janet Topp Fargion, Curator, World cludes a cash award of up to US$100. This double CD highlights the cross- & Traditional Music; (tel) +44(0)20.7412. All students giving papers on popular over—the continuity and change—be- 7427; (fax) +44 (0)20.7412. 7441; (email) music topics at the upcoming confer- tween rural and urban, between tradi- [email protected]. ence are encouraged to submit their tional and modern, between old and paper for consideration. The winner of new. Whether rooted in local practices IDRF Fellowship Announcement last year’s prize will be announced or borrowed from elsewhere, all these during the SEM General Business meet- musical expressions belong intimately The Social Science Research Council ing. to the Tajik people and form a fertile and the American Council of Learned Scholar, teacher, and musician, Lise musical world with a distinctive Tajik Societies announce the 2007 competi- Waxer was an ethnomusicologist whose character. tion of the International Dissertation research on Salsa music was greatly Research Fellowship (IDRF) program Voices for Humans, Ancestors, and Gods: admired in the field and whose sup- designed to support distinguished gradu- A Musical Journey through India’s inte- portive work as a mentor and colleague ate students in the humanities and so- rior (East and North-East) (recordings inspired the greatest loyalty and respect cial sciences conducting dissertation and text by Rolf Killius; Sound Archive from those around her. Her untimely research outside the United States. Fifty reference C815). TSCD 933 death in 2002 was a shock to those that fellowships of approximately $20,000 knew her, and at the 2002 SEM meeting, will be awarded in 2007 with funds the PMSSEM voted to name the prize in provided by the Andrew W. Mellon her honor. Foundation. Deadline: November 1, Each prize candidate must deposit 2006. four copies of his/her paper to the prize The IDRF program is committed to committee chair at the PMSSEM busi- scholarship that advances knowledge ness meeting at the annual SEM confer- about non-U.S. cultures and societies ence and fill in a registration form. The grounded in empirical and site-specific time and location of the PMSSEM meet- research (involving fieldwork, research ing will be listed in the conference in archival or manuscript collections, or program. The paper deposited is to be quantitative data collection). The pro- the version that is read at the confer- gram promotes research that is at once ence and may not exceed twelve double- located in a specific discipline and geo- spaced pages (roughly 3,900 words). graphical region and is engaged with Candidates are encouraged to submit interdisciplinary and cross-regional per- four copies of audio or visual examples spectives. that will be used in the presentation This compilation is an exploration Applicants must have completed all (tape cassette, CD, VHS, or DVD for- of the scarcely recorded, never played, Ph.D. requirements except on-site dis- mats are acceptable) with a brief expla- and generally underrated vocal music sertation research by the time the fel- nation of how the examples are used in styles of rural and Adivasi (the original lowship begins or by December 2007, the presentation. SEM Newsletter 9

This year’s selection committee in- Call for Submissions ing the Japan Music Competition, Toru cludes Tracey Laird (Chair), Gordon Takemitsu Composition Award, and Thompson, Jennifer Milioto Matsue, and Music of Japan Today 2007 Akutagawa Award; and Shirotomo Harris Berger. Entries will be judged Aizawa, winner of an Ataka Prize, and solely on the content of the papers, March 30-April 1, 2007, University of composition prize from the National including the use of video and audio Maryland, Baltimore County Theater in Japan. He has studied com- examples submitted. The 2006 Waxer Western art music has existed for a position in Tokyo, Berlin, and Vienna, Prize selection committee will decide relatively short time in Japan. It is only and conducting with Seiji Ozawa, among upon a winner by March 15, 2007. since the 1950’s, countering Japan’s others. For further details, please visit the rush to adopt all that is “Western,” that Performances during the symposium SEM home page or the PMSSEM page at some composers, led by Yuasa (b.1929), will include a broad range of works for (website) http://orpheus.tamu.edu/ Mayuzumi (1929-97), Takemitsu (1930- different genres (solo instrument, cham- pmssem/prize.html. Please direct other 96), and Ichiyanagi (b.1933), began to ber music, choral, traditional instru- questions to Tracey Laird at (email) move away from stylistic modeling of ments) by a number of composers, [email protected]. nineteenth-century European forms and including premieres of works by Itoh, twentieth-century dodecaphony to- Yamamoto, and Aizawa. The perform- Marcia Herndon Award wards a more individualistic approach. ers for these concerts will include fac- April 1, 2007 Concerned with reflecting philosophi- ulty and students of the UMBC Depart- cal and musical elements from their ment of Music, and guest musicians The Gender and Sexualities Task- own culture, they began to discover from the Baltimore/Washington DC area force (GST) invites applications for the and develop their “own music.” The and other international new music cen- Marcia Herndon Award which has been music of these artists reflects a new ters. created to recognize outstanding eth- global confluence of multiple cultures— This symposium is the 6th in a series nomusicological work in gender and a powerful cross-fertilization of aesthet- of events since 1992 to address Japa- sexuality.␣ All SEM members are invited ics and musical characteristics from both nese and other Asian musics, organized to apply for this award, which will be East and West. The music is reflective by Tanosaki and Richards. In addition conferred annually.␣ The submission of a variety of aspects of contemporary to topics that address cross-fertilization deadline is April 1, 2007. After viewing Japanese and Western societies, while of aesthetics and musical characteristics the GST page accessible at (website) at the same time deeply rooted in a (Japan and “other”), and the music and www.ethnomusicology.org, please see traditional culture that has evolved over ideas of the featured composers, the the award announcement at (website) many years. committee is especially interested in http://www.nyu.edu/gsas/dept/music/ The University of Maryland, Balti- paper proposals that address the roles/ SEM%20Home.htm. more County will host a three-day sym- functions of sound (music) in Japanese posium of performances, lecture-recit- culture. The committee is also issuing Section on the Status of Women als, panel discussions, and paper pre- calls for lecture/recitals, scores, com- Student Paper Prize sentations on topics that concern Japa- puter/tape music, and performance The Section on the Status of Women nese music from the widest possible competition. Deadline: December 20, invites submissions for the Student Pa- range of disciplines and expertise. A 2006. per Prize.␣ This prize recognizes the performance and roundtable is also Please visit (website) http:// most distinguished student paper re- being planned at the Freer Gallery (Na- www.research.umbc.edu/~emrich/ lated to women and music presented at tional Museum of Asian Art, Smithso- mfj2007.htm for further information. For the SEM annual meeting.␣ The cash nian Institute) in Washington, DC. enquiries, please contact Dr. Kazuko prize will not exceed US$100.␣ Any Three composers of international Tanosaki & Professor E. Michael student who presents a formal paper at stature from Japan will participate in the Richards, Department of Music, Univer- the annual meeting is welcome to ap- symposium. They represent a genera- sity of Maryland, Baltimore County, ply.␣ A student is defined as a person tion born after 1960, composers who 1000 Hilltop Circle, Baltimore, MD 21250; pursuing an active course of study in a were pupils of Yuasa, Miyoshi, Ikebe, (tel) 410.455.3064; (fax) 410.455.1181; degree program.␣ This includes persons Noda, and Kondo. Hiroyuki Itoh, a (email) [email protected] or who are engaged in writing the doctoral winner of international composition [email protected]. dissertation but not those who are teach- prizes in Europe and Japan (including ing full-time while doing so.␣ Papers the prestigious Akutagawa Award), has Perspectives in Vernacular Archi- submitted for other prizes (such as the been commissioned and performed by tecture (Journal of the Vernacular Seeger prize) are also eligible for con- major ensembles including the New Architecture Forum) sideration. Entries will be judged solely Japan Philharmonic, the Nieuw En- Vernacular architecture shapes ev- on the content of the papers, including semble, and the Arditti Quartet; Hiroyuki eryday life. Comprised of those build- the use of video and audio examples Yamamoto, whose works have been ings generated in a particular place, by submitted. The winner will be an- performed at Forum ‘91 (Montreal), a particular community, or for a particu- nounced at the SSWSEM business meet- Gaudeamus Music Week ’94 (Holland), lar function, vernacular architecture com- ing the following year. For additional and ISCM World Music Days (2000 in ports behavior, constructs identity, or- details, please see the SSW website Luxembourg and 2001 in Yokohama), which can be accessed from (website) has received prizes for his work, includ- Continued on page 44 www.ethnomusicology.org. 10 SEM Newsletter

Obituary for further research work as well as for snailmail about the presence of anthro- an eventual meeting of the Navajo Stud- pologists and the importance of anthro- David Park McAllester (August 16, ies Conference Board. There, the sight pology in the early years of ethnomusi- 1916-April 30, 2006) of sacred peaks and red rock cliffs; the cology and the Society, a subject on my smells of sage, burning cedar, and a mind since the Atlanta meeting. And By Charlotte J. Frisbie, Professor of much needed, albeit brief summer rain; with David’s death, both key figures in Anthropology, Emerita, Southern sights of blooming tamarisks, the soft the development of the Wesleyan eth- Illinois University at Edwardsville fluff of cottonwood trees floating on nomusicology program, Bob Brown and It’s a very rare person who can be gentle, early morning breezes, bone dry David, have now passed away, and equally at home in a college classroom, arroyos, cattle and horses wandering within five months of each other. with senior citizens, or third graders; on the highways, and the blossoms of As the only remaining founder of the equally happy teaching and paddling Navajo tea and soaproot yucca plants original four in SEM, David’s death from his canoe, equally happy as president made it possible to let unending memo- a stroke on April 27 truly brings to an of an academic society and as a silent ries bubble up, and to start grieving. So end an era in ethnomusicology. In- observer of beavers building a dam, many of the sights in Arizona were deed, even though his attendance was equally at home on campuses in the among those I had shared with David, not regular in the past decade, it is United States and abroad and in silent initially when he introduced me to the almost impossible to imagine SEM with- Quaker worship, equally interested in Southwest and the Navajo Nation. True out his marvelous smile, gentle hu- meeting new people and being at home to course, the early June afternoons maneness, and powerful presence. enjoying his wife, children, tipi, wigwam, brought intense dry heat, blowing winds, David was loved, admired, and revered sauna, and/or duck pond. It’s a rare and then ferocious blowing sand, dirt, around the globe, and his death has person who finds delight, wonder, and tumbleweeds, and poor-to-no visibility. brought sadness and tears to many peace in it all, and continues to express Again, it had all been shared with David. eyes. Given that, I know that no matter enjoyment in his surroundings and in It’s still hard to grasp the idea that he how I write this, there will be readers being alive. David P. McAllester was, is gone from our sight. The conversa- who think I should have done it differ- indeed, a very rare person. tions are over, for now anyway. I’ll ently, said other things. The past two remain sad that David and Beryl came years in ethnomusicology have been It is with pain and sadness that I th write the obituary of my ethnomusicol- to the 50 SEM meeting Thursday night, full of losses and many have had to ogy mentor, Navajo Studies colleague, thus missing the afternoon’s Commemo- write such pieces for their mentors and and close friend for over 40 years, rative Roundtable during which I was friends. For example, remember once David P. McAllester. Reeling from the one of the speakers addressing SEM’s again the holes left by the passing of: news, I avoided this task until returning history, among other things. That had Kishibe Shigeo, Mantle Hood, Isabel to the Navajo reservation in early June allowed me to explain my path in Aretz, Gerard Béhague, Janice Kleeman, ethnomusicology, David’s central role Robert Brown, and Andrew Toth, among in it, and to thank him publicly, once others, all before David. Writing obitu- again (also see Frisbie 2006a). When I aries for those we love is not a skill any told them that at supper Friday night on of us wish to acquire or volunteer to the way to the Gullah music concert, attempt. Yet, under certain circum- David said, “Well, I’ll read your paper in stances, it is expected and we try to rise the Journal, won’t I?” I guess not. Both to the occasion. his presentation (McAllester 2006b) and Some of David’s Navajo friends mine (Frisbie 2006b), as well as many equated his loss with losing a brother, a others from commemorative and ple- family member, even though many had nary sessions in Atlanta appear in Eth- not seen him in over a decade. Other nomusicology 50(3). From my perspec- tive, there are so many ironic coinci- dences surrounding his death. A major, obvious one is that his stroke came early in the morning while he was working in the woods, a setting he loved probably more than oceans, or the desert southwest. We can all be glad it came in a place he loved and it happened rapidly, something he had always wished for. At the same time that David was suffering his stroke, Ted and I were in Silver City, New Mexico David attending an outdoor meeting of receiving a festschrift done in our honor, Playing back Navajo children’s songs to the Lake Garfield Association, reporting to which David had contributed (McAl- Benjamin and Tom Wilson Yazzie, ages for Monterey News, 1986 (Photo by Don lester 2006a). Earlier in April, he and I 6 and 7, at Tse Bonito, July 1955 (Photo Victor) had started discussions by phone and by Francis Cancian; also published in Frisbie 1986) SEM Newsletter 11 colleagues expressed it differently: “All Not to Do’s. At that time, who knew him will miss the twinkle in unlike now, there were his eye where his love and delight in life very few, and after saying shone out directly from his heart.” “His that, David shrugged and sense of humor was always visible. He gave me a “sink or swim” leaves behind a trail of works, words, reply: “You won’t know humor, and spirit.” “Another of the until you try it so, go get greatest generation has gone.” There your feet wet. If you make are many words that describe David: it, fine. If you don’t make witty, gentle, humane, compassionate, it, well then, you’ll come intelligent, humble, interesting, decent, home.” I’m not saying we visionary, joyful, thoughtful, calm, always agreed or cared peaceful, fair, always gracious and help- about the same things, ful, a wonderful, lovely human being. because we didn’t, right “Not everyone leaves the world richer from the start. As a teacher, David and Susan McAllester, 1987 (Photo courtesy of for his/her presence, but David cer- he knew how to push stu- Bonner J. McAllester) tainly was one of those.” “All of us who dents, to demand their best work, and Richard K. Winslow (1986) authored a knew him are blessed for having known to challenge their thinking and curiosity wonderful tribute that appeared in the him.” He always emphasized the beau- with input about current developments alumni magazine. In SEM, David was a tiful, the wonderful, the good. He was in many academic fields. He was well- past president (1963-65), past secretary- an inspiration, a guide, a model. “He read and prided himself on his vora- treasurer (1955-57), past journal editor walked softly upon the land.” cious appetite for reading. He also (1959-1963), and past just about every- knew when to be critical. Everyday he thing else, including two stints each as demonstrated that he was very serious program and local arrangements chairs, about his demands and expectations, and of course, memberships on many that his students be thoroughly commit- society committees. In addition to be- ted, well prepared, and dedicated to ing one of the four original founders producing top level work. One did not and a life long member, in 1978 at the get by with sloppy writing, lack of meeting in St. Louis, he gave the distin- thorough preparation, garbled reason- guished lecture entitled, “The Aston- ing, inventing excuses, or mediocre ished Ethnomuse” (McAllester 1979). performances of any kind! In 2001, he was made an Honorary David was lauded and feted on member in recognition of his many, numerous occasions during his long many contributions to both the Society and distinguished career. Among his and the discipline. That led to a January honors was a 1986 festschrift I spear- 10, 2005 interview with Matthew Allen, headed for him, in which he chose to a former student and now colleague at write his own autobiographical sketch Wheaton. The interview, along with (McAllester 1986). This decision was encomia for three other honorary mem- based on a re- bers, ap- cent experi- peared in ence of writ- the March Transcribing music in his first office in ing a biogra- 2005 SEM the Biology Department’s Shanklin phy of Leland Newsletter Laboratory at Wesleyan University, 1950 C. Wyman (Allen (Photo courtesy of Bonner J. McAllester) (McAllester 2005:6-7). 1982) for the Those of As my major teacher at Wesleyan, he festschrift that us in atten- was enthusiastic, encouraging, and al- David Brugge dance at ways interested in my thoughts. Unlike and I edited the 50th an- many others in academia, David was for Wyman, niversary generous with his own time, wisdom, another Na- meeting of thoughts, and talents. He was always vajo Studies the Society supportive of my queries, my ideas for colleague in Atlanta, new directions, my ponderings about (Brugge and November future research endeavors. And yet, Frisbie 1982). 2005, know some of what I learned I had to dig out When David Reading to granddaughter, Sudi Sparrow Baker, that there, for myself, with minimal guidance. For retired from Monterey, 1987 (Photo by Susan W. McAllester) David was example, before I began fieldwork, I Wesleyan in 1986, again he was feted; again feted and rightfully celebrated as asked about anthropological resources for example, long time friend and col- the one surviving founder of the Soci- dealing with the How To’s and What league since joining the faculty in 1949, ety. As one of four speakers during the Continued on page 12 12 SEM Newsletter

David P. McAllester student finances, which I was already Continued from page 11 doing by having a fellowship, working in the library, and serving as an organist Friday morning plenary session on and sometimes choral director in a November 18, David, as always, enter- Portland church. These inclusive events tained his eager audience with his usual helped anchor me during those years humor, vocal demonstrations, and and also allowed me to get to know all thoughtful insights on the past and the of the McAllesters in different ways. future (see Ethnomusicology 50/3 for Dinner conversations were always stimu- McAllester [2006b]). As news of his lating, and often, Susan introduced me death spread, Alan Burdette put a short, to foods I had never known and some- provisional, yet succinct and very nice times, taught me how to eat them! obituary online for members to see. David was devoted to Susan, his wife David’s daughter, Bonner, wrote the since 1940, and to both of his children. obituaries for the newspapers (B. McAl- It is now clear to me that David lester 2006a). The one in the Boston never appeared stressed out or fed up Globe, dated June 11, 2006, was based with campus events or personnel dur- on Bonner’s submission but expanded ing our encounters. He never showed by Bryan Marquard (2006), who in- signs of being concerned about devel- cluded additional comments from opments, issues, or arguments going on Editing film, age 43, 1959 (Photo by Bonner, Richard K.Winslow, and David in ethnomusicology while around his Jeanne Davis) Locke, also a former student-turned- family, and he never spoke about any- after night. David’s office was next colleague. Two celebrations of David’s thing but the good sides of teaching. door, in the corner in Judd Hall, and life were planned; one took place at the Clearly, David loved teaching; that was almost without fail, on weekday eve- South Berkshire Friends Meeting, in obvious not just in the way he taught nings, after putting in a full day, he’d go Great Barrington, Massachusetts on June and worked with students, but also in home for dinner and family time. Later, 17. The other will occur at Wesleyan, the way he talked about his day when he’d return to work in his office with the September 24, 2006, at 2 p.m. In lieu of home with his family. In sum, what I door shut until the wee hours of the flowers, memorial donations may be always saw was the message: Life is morning. Clearly this is when he pre- sent to the American Friends Service good, and teaching is fun. It wasn’t pared for classes, dealt with SEM tasks Committee, 1501 Cherry St., Philadel- until I started to teach at the university by phone, typewriter, or even telegram, phia, Pennyslvania. David is survived level myself that I discovered things wrote letters of recommendations for by his wife, Beryl Irene Courtenay McAl- weren’t quite as simple as that, and that students and colleagues, refereed grants lester; daughter, Bonner Jean McAll- while great fun, teaching was a lot of for foundations and manuscripts for ester; son-in-law, Joe Baker, and two work 24/7, if you cared about it. journals and presses, and yes, contin- granddaughters, Sudi Sparrow Baker, Those two years saw Jon Higgins ued his own research and writing. Si- and Cora Jay Baker, all of Monterey, and me in the ethnomusicology lab and lently, he was modeling appropriate Massachusetts, and son, Burling Vincent graduate student office, night after night professional dedication and involve- McAllester, of San Francisco, California. ment for all of us in the program. Given the fact that we have David’s When I left Wesleyan after my 1964 autobiography (McAllester 1986), the MA and switched into anthropology at more recent interview by Allen (2005), UNM, I did so having already decided I and the obituaries written by his daugh- needed to know about the people who ter, Bonner (B. McAllester 2006a), I made the music, and their cultural con- have chosen to be brief about some texts in order to understand their mu- things. David was my major ethnomu- sics. This was a painful decision in sicology mentor during my MA years, some ways, since one option was to and my two years at Wesleyan were “hang out” at Wesleyan and wait for the filled with many experiences, some proposed PhD program in Ethnomusi- already detailed (Frisbie 2006a, 2006b). cology to be approved. I know David David went out of his way to include me was saddened by my decision, but I also in his family and many of their doings; knew that he understood it and would thus, I was a frequent dinner guest, a fan remain supportive of my endeavors. I of Susan’s photography, and I came to had already done two seasons of field- enjoy visits by her aunt, “Minky,” Minnie work on the Navajo reservation, and Sparrow Keyes. I “babysat” Bonner and had worked for both Wyman and McAl- Burling, enjoyed learning about their lester. W. W. “Nibs” Hill at UNM was the wonderful Portland house and its his- only other Navajo scholar at the time tory, and I gave flute and horseback with an international reputation, and I riding lessons to Bonner. Looking back Transcribing in his office in Judd Hall at wanted to work with him, too. While I now, I realize that this was David’s way Wesleyan University, 1959 (Photo by remained interested in ceremonies and of augmenting my minimal graduate Jeanne Davis) SEM Newsletter 13 rituals, and did my PhD on the House tire life. After two years of service in a Blessing Ceremony, another subcer- Cooperstown, New York forestry camp emony in the Blessingway that David during WWII, David went to the state was studying, with time, I ventured mental hospital in Middletown, Con- down different paths. When I started necticut to do another two years of working in Navajo Studies, David and I service as a conscientious objector. shared many of the same collaborators, While there, David and Susan became interpreters, and interests. But from the founding members of the Middletown beginning, we were from different gen- Friends Meeting when it became an erations and genders, and were work- independent constituent of the New ing with Navajos from different per- England Yearly Meeting, and David spectives and roles. He, being closer in gave some guest lectures at Wesleyan age to many of the well known ceremo- University. They returned to Columbia nialists with whom he worked, was Returning from his summer on in 1945 so he could continue a part-time more of an equal, an elder. I was Lindenmeyer Archeological Site, Fort job in the Archive of Primitive Music for anything but. I guess it was predictable Collins, Colorado, 1937 (Photo by Steve George Herzog and start working on his that my Navajo work would unfold in Harris) dissertation on Comanche peyote songs, directions that David was not involved To summarize briefly what is avail- collected during a field school led by in, be they studying sacred parapherna- able in other sources, David was born George Herzog among the Oklahoma lia, getting involved with federal laws, on August 16, 1916 in Everett, MA and Comanches in the summer of 1940. museums, repatriation, the Medicine was part Narragansett. He grew up with McAllester’s lectures at Wesleyan led to Men’s association, and the courts, and three older siblings in a family that an invitation to join the faculty there in then establishing, with David Brugge, loved the woods, traveling, birding, and 1947, to teach “psycho-ethnography” in the Navajo Studies Conference in 1986. reading. He himself was drawn to the Psychology Department and evolu- Since David introduced me to Frank literature about Native Americans, es- tion in the Biology Department with his Mitchell, and his NSF grant made pos- pecially the works of Ernest Thompson first office among the biologists in sible my study of the Navajo girl’s Seton. After Everett public schools, he Shanklin Hall. puberty ceremony for my MA, it was went to Harvard where he earned a BA Arriving at Wesleyan before his PhD natural that I was the one who recorded in Anthropology and met his first wife, in Anthropology was finished in 1949, Frank’s life history and brought it back Susan, while both, as members of the the same year the McAllesters’ first child, the second summer for further discus- Harvard and Radcliffe chorus, were sing- Bonner, was born, David, as the sions, directed interviews, and the like. ing Bach’s “St. Matthew Passion.” Being university’s first anthropologist, founded David and I co-edited the results but in blessed with an especially beautiful their Anthropology Department, where the long process of preparing the work singing voice since childhood, David he remained teaching courses in sci- for publication, I learned that ferreting then went to Juilliard, intending to be- ence, the social sciences, and humani- out historical documents, tracking down come a professional singer. During the ties. In 1952, the year the McAllesters’ references, writing anthropological first year there, he learned about a son, Burling, was born, as we all know, endnotes, and reading galleys was not course on Primitive Music being taught Willard Rhodes and David met Alan David’s idea of fun, at least at that time. at Columbia by an anthropologist inter- Merriam, a student of Kolinski’s at the While my own interests led me off into ested in music, George Herzog. That AAA meeting in Philadelphia. Inter- a myriad of non-ethnomusicological led to his leaving Juilliard to become an ested in communicating with other topics and projects, as well as deeper anthropology graduate student at Co- anthro-musical colleagues through a involvement with the Society in the lumbia. Among other influences David newsletter, they journeyed to the AMS 1980s, its history, and the history of the identified as crucial in his training was meetings in New Haven to meet with discipline, we remained close friends the seminar with Ruth Benedict which Charles Seeger to discuss the idea, and and compadres, always eager to talk by led to his meeting Margaret Mead who ultimately to form a committee of four. phone, snailmail, and later, occasion- was then at the Museum of Natural The rest, documented in McAllester ally by email through Bonner and Joe’s History in New York. Mead challenged (1986:208), is history, leading to the computer. My last visit with Beryl and him with her suggestion that there was formation of the Society for Ethnomusi- David was in Atlanta; my last visit to much more to studying the music of cology in 1955, and ultimately, its 50th their home in Monterey was in 2002 others than transcribing their sounds; anniversary meeting in 2005. At Wes- when Beryl was in Nova Scotia with indeed, you needed to understand the leyan, in 1956, David added the first family and David was holding down the people, themselves! This led to David’s “primitive music” course to the curricu- fort. Ted and I, of course, spent almost enrollment in the Anthropology PhD lum; Willard Rhodes was already teach- the whole time hiking in the woods program at Columbia. He and Susan ing world music at Columbia, Herzog with him, despite the rain, visiting old Watkins were married on September 1, had moved to Indiana, Kolinski was at haunts down by the pond, the wigwam, 1940. Northwestern, and Mantle Hood had the tipi site, and elsewhere. That visit Having been drawn to the Quaker started things at UCLA. In the 1960s, was very much the essence of what faith early in life, while in New York with Robert E. Brown, McAllester David loved and cared deeply about, City, he became a Quaker and a pacifist, founded the Wesleyan Ethnomusicol- and both Ted and I said so when commitments he would devote much ogy program. Modeled on some as- leaving Monterey. time and energy to throughout his en- Continued on page 14 14 SEM Newsletter

David P. McAllester Continued from page 13 pects of Mantle Hood’s UCLA program that had trained Bob Brown, the Wes- leyan one recognized the importance of performance, the need to integrate it with scholarship, and the equality of all musics. In 1971, David moved to the Music Department. Until his retirement in the spring of 1986, he held a joint appointment in anthropology and mu- sic and continued to teach courses in both areas. Having a long academic career, David also earned sabbaticals during his 39 years at Wesleyan. Thus, he was able to travel, do research, and respond to invitations to teach in other places. Among them were: University of Hawai‘i, the Academy of Gamelan Arts in Surakarta, Java, University of Sydney and Queensland University in Australia. Four SEM founders: (R-L) David McAllester, Willard Rhodes, Alan Merriam, and In the United States, he visited many Charles Seeger (Photo published with William Malm’s 2001 Charles Seeger Lecture, campuses, including Yale, Brown, Smith, “50 Years Among the Natives: A Private History in Ethnomusicology,” SEM Newsletter Williams, University of Oklahoma, and 37/1(January 2003), p.7. Simon’s Rock of Bard College. records. In the area of service, besides Navajo social dance, corn-grinding, and David devoted his life to many loves, being there from the beginning, re- other public genre songs. He built a tipi including, as Winslow (1986:2) put it, maining a watchful, faithful steward, on the grounds, and was among those “family, teaching, Quakerism, Ameri- and a constant recruiter through his who constructed a swamp trail around can Indian culture, scholarship, and the teaching and visiting lectures, David the beaver pond. Last year, with Gould Society for Ethnomusicology.” As one was always willing to do what was Farm volunteers, David helped build a of SEM’s four illustrious founders, he needed. wigwam from scratch next to the Bidwell remained actively involved in both the When David retired from Wesleyan House’s colonial vegetable garden. This Society and its NE Chapter. Continuing in 1986, he and his wife of 46 years, was unveiled recently in his honor. At to be a mentor and role model for Susan Watkins McAllester, left their the McAllesters’ new home, David also generations of students, he demon- lovely Portland, CT home to move to made a tipi and a wigwam. Whenever strated true commitment to both the Monterey, Massachusetts and build a they had visitors, he could easily be Society and the discipline through his new home on the land left to Susan by convinced to build small fires around productive service and publication her aunt. Of course, before leaving, which to tell stories and sing songs. On David finished documenting the history their land in the Berkshires, David con- of their Portland abode and gave the tinued to enjoy the woods, wetlands, results to its new owners. Almost over- ponds, brooks, and lakes of New En- night, the McAllesters became active in gland, all of the flora and fauna, and the life of their new community. David numerous habitats therein. Early morn- served as editor of the Monterey News from 1986-1990, an interesting local paper that includes submissions from residents in any genre. Over the years, David submitted poetry and wrote the wildlife column; Bonner did and con- tinues to do the botanical and biological columns, and his grandchildren, Cora and Sudi, submitted drawings, among other things. With several others, David and Susan founded the South Berkshire Friends Meeting, where he served as clerk, and also as a member of several Demonstrating quilling on birchbark committees. As he had done earlier, technique during the Monterey Arts David continued to teach Quaker Sun- Sitting in his tipi on a bed of hemlock Festival, 1985 (Photo by Susan W. boughs. Monterey, MA, 1988 (Photo by McAllester) day School classes, often including Susan W. McAllester) SEM Newsletter 15

unfinished. Retirement also brought deep sadness through the need to face, with Susan, her cancer diagnosis in May 1994 and her death shortly thereafter, on August 31. Two years later, David married Beryl Irene Courtenay from Nova Scotia. For ten years, they enjoyed each other’s company in Monterey, augmented by trips abroad and to new places in the United States to visit Beryl’s grown-up children and grandchildren, among oth- ers. Professionally, David was interna- tionally recognized for his publications in ethnomusicology. As most know, his specific research area was Native Ameri- can ceremonial music, especially that of the Navajos of the American Southwest, but also with Comanches, White River Apaches, and others. As he explained in his autobiographical sketch (McAll- Singing “Mos’ Mos” at a Monterey ester 1986), after working on Mary Community supper, 1997 (Photo Wheelwright’s collection of Navajo sa- courtesy of Bonner J. McAllester) cred music, his first opportunity for six months of Navajo fieldwork came in With support from the Guggenheim 1950, with the Harvard Values Project. Foundation, he produced a film on Leading Monterey Memorial Day Parade, That led to his well-known study of Navajo Blessingway in 1957 with major 1997 (Monterey’s Sesquicentennial). Enemyway music (McAllester 1954), assistance from Frank Mitchell, a David dressed up to honor the historic recordings for Mary Wheelwright and Blessingway singer and David’s princi- local leader, Chief Konkapot (Photo by pal collaborator. Slightly later, a three- Maggie Leonard) editing her Great Star Chant and Coyote Chant manuscripts, field recordings of year NSF grant supported further work ing walks continued to be part of his Blessingway in 1953, and 1955 record- on Blessingway and its subceremonies, daily routine, as they always were even ing work among White River Apaches. including my work on the Navajo Girl’s during annual academic society meet- Puberty Ceremony or Kinaaldá (see ings in concrete-covered, noisy, rush- Frisbie 1967; 1993). Through time, ing cities. Some were lucky enough to David sent a number of students to the accompany him occasionally on such Mitchell family in Arizona, and he facili- walks, which were always a joy, but tated the hiring of one of Frank’s grand- especially so in New England. Like- sons, Douglas Mitchell, aka Doogie, as wise, it was a joy to share times with him a visiting artist at Wesleyan from 1971 in his canoe, or on hikes focused on until his untimely death on December 4, discovering special rocks that appealed 1972. In 1978, David and I published for aesthetic reasons, and were trans- Frank Mitchell’s life history through the ported back to be added to specific University of Arizona Press. After sev- places on the McAllesters’ land. eral editions, it went out of print and Luckily, retirement also brought in- remained inaccessible for a long time. creased interactions with his grandchil- In 2003, UNM Press brought it back, in dren and time for a project David had paper only, and with a new cover and always wanted to undertake, the writ- my new introduction. I went on to ing his family’s history, entitled “Memory work with Frank’s wife, eventually ed- be Green” (McAllester n.d.). He thor- iting and publishing her life history, Tall oughly enjoyed the ensuing extensive Woman (Mitchell 2001; Frisbie with research, and the weaving together of Sandoval 1999). Although many of my letters, diary excerpts, journal entries, other projects have involved other cer- drawings, musical compositions, and emonialists as well as non-ceremonial other kinds of data, facilitated by the topics, I have remained an active mem- use of a computer word-processing ber of the Mitchell family, sharing mu- program set up for him by his son-in- Lecturing and singing at the Berkshire tual joys and sorrows over the years. law, Joe Baker. At his death, the history Museum in Pittsfield, MA, 1983 (Photo Service on the board of the Navajo had reached 1000 pages, but remained by Don Victor) Studies Conference, Inc., as well as Continued on page 16 16 SEM Newsletter

David P. McAllester Continued from page 15 researching and preparing the publica- tion that celebrated the centennial of the Franciscan mission in Chinle in October 2005 (Grein and Frisbie 2005), and most recently, writing and submit- ting the mission’s application for his- toric site status, have continued to pro- vide opportunities for me to spend time with various Mitchell family members. David stands out for many things, not the least of which was his successful merging of art and science in his pursuit of both anthropology and music. No mean feat, his early publications, the study of Peyote Music (McAllester 1949) and Enemy Way Music (McAllester 1954), researched during David’s six months in Ramah, New Mexico in 1950 with the Harvard Values Project (The Comparative Study of Values in Five Cultures Project: 1949-1955), illustrate the conjoining of two diverse fields. Many recognized the 1954 work as a landmark in ethnomusicology for its unique humanism and, among other things, its concern with values while David McAllester (front row, second from right) with SEM Presidents, 1956-1980. studying music as social behavior. As a th scholar, David was meticulous and rig- Photo taken at the 25 SEM Annual Meeting, November 20-23, 1980, Bloomington, Indiana. (L-R): (back row) Nazir Jairazbhoy, Bruno Nettl, William Malm; (middle orous in his research and writing. David row) Mieczyslaw Kolinski, Mantle Hood; (front row) Gerard Béhague, Klaus Locke, a former undergraduate and Wachsmann, Barbara Krader, David McAllester, Willard Rhodes (Photo published graduate student of McAllester’s who is with William Malm’s 2001 Charles Seeger Lecture, “50 Years Among the Natives: A now a member of the Tufts University Private History in Ethnomusicology,” SEM Newsletter 37/1(January 2003), p.8; also music faculty, recently said (in Marquard published in Bruno Nettl’s Encounters in Ethnomusicology: A Memoir. Harmonie 2006): “David showed that it was pos- Park Press, 2002, following p.107) sible to develop a cross-cultural under- ety of journals, contribute essays and involvement with peace demonstrations standing and that our field of ethnomu- chapters to festschrifts and textbooks, and vigils, and anti war rallies be these sicology should aspire to see and hear produce at least one book of poetry, because of Vietnam or most recently, and engage with the performance arts make one film, and contribute to the Iraq. of other cultures from their points of production of at least five recordings. David’s 2005 presentation in Atlanta view. You could call it a paradigm shift. In the 1960s, his concerns about music was vintage, classic McAllester, com- It set a standard that has endured ever education at the secondary level be- plete with humor, wit, showmanship, since.” came obvious. He was instrumental in and joyful vocal performance (McAll- McAllester also edited and wrote creating the Tanglewood Declaration of ester 2006b). As always, David related comments on the “Myth and Prayers of 1967 which supported inclusive, holis- to his audience without any problems. the Great Star Chant” recorded and tic music curricula, and later, in organiz- He loved speaking, be it to community published by Mary Wheelwright in 1956 ing the Wesleyan-Music Educators Na- groups or professional society meet- (Wheelwright and McAllester 1956). In tional Conference-sponsored sympo- ings. He was happy to speak at nursing 1980, with his wife, Susan, he coau- sium in 1985, which resulted in Becom- homes, scout meetings, summer camp thored Hogans: Navaho Houses and ing Human Through Music (McAllester programs, and local historical society House Songs (McAllester and McAllester 1985). The 1960s also brought about meetings. Never unwilling to perform, 1980). Later, David became interested discussions with poet Jerome Rothen- he gave lively presentations which cap- in “new musics” both among the Nava- berg which led the latter into experi- tured and held the attention of his jos (see McAllester and Mitchell 1983) mental oral poetry translations, and the audience. He always included songs and in the compositions of flutist, R. founding, with Dennis Tedlock, of and sometimes dances, too. He was Carlos Nakai (McAllester 1994). All ethnopoetics, and in 1970, its journal, cheerful, his enthusiasm, infectious. along, he continued to write numerous Alcheringa, for which David was a Wherever he went, David McAllester articles on directions and issues in eth- contributing editor. And running was well-loved. nomusicology, review books for a vari- through it all was David’s continual SEM Newsletter 17

I have already begun the work in- gling with ideas of death, its finality, and Note: There truly are no words to ex- volved in updating David’s bibliogra- imagined chilliness, David asked her press my gratitude to others who helped phy which was published through 1985 what she was pondering]. After listen- me finish this obituary by providing in Frisbie (1986). As soon as possible, ing to her, he said: “When I die I will go answers to my unending questions. it will be submitted to Ethnomusicology into the ground. Pretty soon an oak tree Chief among them, of course, is David’s for publication. In the meantime, may will grow, nourished by me, and it will daughter, Bonner Jean McAllester, who we all walk softly, appreciate what and produce acorns. A squirrel will come has been a friend of mine for decades. who surround us, and remember to and eat the acorns and before you Bonner, thanks for continuing fuzzy, appreciate dirt. To explain the latter, let know it, I will be racing through the flying, floating fluffs. Others, too, de- me quote (with permission) from Bonner trees with my bushy tail and lovely fur. serve thanks. They include: Joe Baker, McAllester’s column, entitled “Gimme Death will change us, but it won’t be Richard K. Winslow, Mark Slobin, Tony Dirt,” in the June, 2006 Monterey News final, nor chilly.” Isaacs, Linda Goodman, Tong Soon (B. McAllester 2006b): “When we think Bonner reported that in a planter Lee, Philip Bohlman, Tim Cooley, Joann of life cycles, we rely upon dirt to make box at the Friends Meetinghouse, there Kealiinohomoku, Alec McLane, and Lyn the connection and shoot us up again. is a little oak tree coming up. “Is that Pittman of the SEM Business Office. We are agricultural people and we get you, Dad, already?” Thanks are also expressed to countless our stories from the farm, whether or others who consoled me while I was not we live and eat there ourselves. . . dealing with the newness and shock of [When Bonner was a small child strug- this widely-felt loss. You know who you are; thank you. Continued on page 18 18 SEM Newsletter

David P. McAllester Parish. Celebrating 100 Years of and Cordelia T. Snow, eds., 115-118. Franciscan and Church Presence in Archaeological Society of New Mexico Continued from page 17 Chinle, Arizona. Albuquerque: Cot- 32. Albuquerque: Archaeological Works Cited tonwood Printing, Inc. Society of New Mexico. Allen, Matthew. 2005. “David P. McAl- McAllester, Bonner J. 2006a. Obituary ______. 2006b. “Reminiscences of the lester.” SEM Newsletter, March:6-7 (in of David Park McAllester. Berkshire Early Days.” Invited Presentation in Encomia for SEM Honorary Members, Record, May 5-11: A6 (same obituary the Plenary session, Perspectives of 6-9). also submitted to the Berkshire Eagle, the History of Ethnomusicology: Ap- Middletown Press, Boston Globe, and proaches from Around the World, 1, Brugge, David M., and Charlotte J. the New York Times). November 18 at the 50th anniversary Frisbie, eds. 1982. Navajo Religion ______. 2006b. “Gimme Dirt” Monterey meeting of SEM, Atlanta. Ethnomusi- and Culture: Selected Views. Papers cology 50(3):199-203. in Honor of Leland C. Wyman. Mu- News 36(6)(June):16-17. seum of New Mexico Papers in An- McAllester, David P. 1949. Peyote ______. n.d. Memory Be Green: The thropology 17. Santa Fe: Museum of Music. Viking Fund Publications in Extended Family Narrative of David New Mexico. Anthropology 13. New York: Viking Park McAllester. Frisbie, Charlotte J. 1967. Kinaaldá: A Fund. McAllester, David P., and Susan W. Study of the Navaho Girl’s Puberty ______. 1954. Enemy Way Music. McAllester. 1980. Hogans: Navajo Ceremony. Middletown: Wesleyan Papers of the Peabody Museum of Houses and House Songs. Middletown: University Press. Paperback edition Archaeology and Ethnology. Harvard Wesleyan University Press. with a new preface published in 1993, University 41(3). McAllester, David P., and Douglas F. Salt Lake City: University of Utah ______. 1979. “The Astonished Ethno- Mitchell. 1983. “Navajo Music.” In Press. muse,” Ethnomusicology 23(2):179- Handbook of North American Indi- ______. 2006a. Enjoy Life; This is Not a 189. ans (vol. 10: Southwest). Alfonso Dress Rehearsal. Autobiographical Ortiz, ed., 605-23. Washington, D.C.: ______. 1982. “Leland C. Wyman: A Smithsonian Institution. sketch in Southwestern Interludes: Pa- Biography and Bibliography.” In Na- pers in Honor of Charlotte J. and vajo Religion and Culture: Selected Marquard, Bryan. 2006. “David McAl- Theodore R. Frisbie. Regge N. Views. Papers in Honor of Leland C. lester, Shaped Ethnomusicology with Wiseman, Thomas C. O’Laughlin, and Wyman. David M. Brugge and Char- Interests in Native American Studies Cordelia T. Snow, eds., 1-16. Ar- lotte J. Frisbie, eds. Museum of New (Obituary),” Boston Sunday Globe, chaeological Society of New Mexico Mexico Papers in Anthropology 17: 1- June 11. 32. Albuquerque: Archaeological So- 20. Santa Fe: Museum of New Mexico. Mitchell, Frank. 1978. Blessingway ciety of New Mexico. ______. 1985. Becoming Human Singer: The Autobiography of Frank ______. 2006b. “A View of Ethnomu- Through Music. The Wesleyan Sym- Mitchell, 1881-1967. Charlotte J. sicology from the 1960s.” Invited posium on the Perspectives of Social Frisbie and David P. McAllester, eds. presentation in the Commemorative Anthropology in the Teaching and Tucson: University of Arizona Press Roundtable, Perspectives from Five Learning of Music. August 6-10, 1984. (reissued in paperback in 2003, with th Decades, November 17 at the 50 Wesleyan University, Middletown, CT. new cover and introduction by Char- anniversary meeting of SEM, Atlanta, David P. McAllester, ed. and project lotte J. Frisbie, Albuquerque: Univer- 2005. Ethnomusicology 50(3):204- director. Reston, VA: Music Educators sity of New Mexico Press). 213. National Conference. Mitchell, Rose. 2001. Tall Woman: The Frisbie, Charlotte J., ed. 1986. Explora- ______. 1986. “Autobiographical Life Story of Rose Mitchell, a Navajo tions in Ethnomusicology: Essays in Sketch.” In Explorations in Ethnomu- Woman, c. 1874-1977. Charlotte J. Honor of David P. McAllester. Detroit sicology: Essays in Honor of David P. Frisbie, ed. Albuquerque: University Monographs in Musicology 9. De- McAllester. Charlotte J. Frisbie, ed., of New Mexico Press. troit: Information Coordinators. 201-226. Detroit Monographs in Mu- Wheelwright, Mary C., and David P. Frisbie, Charlotte J., with Augusta sicology 9. Detroit: Information Co- McAllester. 1956. The Myth and Sandoval. 1999. “The Final Stages of ordinators. Prayers of the Great Star Chant and a Life History Project.” In Diné Baa ______. 1994. “The Music of R. Carlos the Myth of the Coyote Chant. Navajo Hané Bi Naaltsoos: Collected Papers Nakai.” In To the Four Corners: A Religion Series 4. Santa Fe: Museum from the Seventh through Tenth Na- Festschrift in Honor of Rose Brandel. of Navajo Ceremonial Art. vajo Studies Conferences. June-el Ellen C. Leichtman, ed., 189-201. War- Winslow, Richard K. 1986. “David P. Piper, ed., 63-67. Window Rock, AZ: ren, MI: Harmonie Park Press. McAllester, Professor of Anthropol- Navajo Nation Historic Preservation ogy and Music.” Wesleyan Alumnus, Department. ______. 2006a. “The Tale of a Journey to the Southwest.” In Southwestern News from College Row/Retirements, Grein, Fr. Blane, O.F.M., and Charlotte Interludes: Papers in Honor of Char- 2 (Summer). J. Frisbie. 2005. Blessings Brought, lotte J. and Theodore R. Frisbie. Regge Blessings Found: Annunciation Mis- N. Wiseman, Thomas C. O’Laughlin, sion, 1905–2005, Our Lady of Fatima SEM Newsletter 19

Nadia Chilkovsky Nahumck (1908- In addition to her work as a per- Nahumck’s publications include col- 2006) former and educator, Nahumck was an lections of transcriptions ranging from By Joanna Bosse, Bowdoin College innovative scholar interested in the re- modern dance classics (including her lationship between music and dance, own choreographed works) to popular Nadia Chilkovsky Nahumck, 98, a an avocation that brought her to the and vernacular genres (American Band- pioneer in dance performance, peda- Society for Ethnomusicology shortly after stand in Labanotation, 1959); scholarly gogy, and scholarship, died on April 23, its founding. In these early decades, the writings on the theory and method of 2006 in Blue Bell, Pennsylvania. She attention given to dance occupied a dance pedagogy and curriculum; and was born in Kiev, Russia in 1908, and larger proportion of SEM activity thanks textbooks for children. Her work was moved to Philadelphia as a child. In to a number of energetic dance schol- buoyed by the love and support of her 1944 she established what became ars, most of them women. Nahumck devoted husband, Nicholas Nahumck, known as the Philadelphia Dance Acad- and her contemporary Gertrude Kurath who illustrated her publications. The emy and organized a college division were at the center of this movement. Center for Cross-Cultural Dance Re- with the Philadelphia Musical Academy Bruno Nettl recalls, “I don’t think Nadia search houses a collection of Nahumck’s in 1954; both were eventually incorpo- was active in ethnochoreology as the research films. Her papers are held at rated into The University of the Arts. study of dance interculturally so much The University of the Arts in Philadel- She also organized an accredited K-12 as she was interested in finding a field phia, where a memorial service will be private school, The Performing Arts that was willing to deal with both music held in the fall. School of Philadelphia, in 1962. She and dance.…I remember her being very She remained an active scholar until served on the faculties of the Curtis present and supporting all kinds of late in her life, publishing one of the Institute of Music, Swarthmore College, dance initiatives.” most celebrated works of her career, Temple University, and the Academy of Combining her interests in scholar- Isadora Duncan: The Dances, in 1994, Vocal Arts, and received a major grant ship, pedagogy, choreography, and with support from the National Museum from the US Department of Education performance, Nahumck was a specialist of Women in the Arts; and establishing to develop a comprehensive dance cur- in Labanotation, an inventive form of the Society for Ethnomusicology Nadia riculum for secondary schools. dance notation developed by Rudolf and Nicholas Nahumck Fellowship for Prior to her tireless work as a peda- van Laban. Throughout her career she dance research, first awarded in 2001. gogue in the Philadelphia area, Nahumck remained faithful to her conviction that Through this fellowship, her dedication was a noted performer and choreogra- widespread literacy in dance notation to the exploration of the mysterious pher in New York. Having studied with was crucial, not only to legitimize dance links between music and dance contin- Martha Graham, Hanya Holm, and Mary scholarship as a discipline within higher ues to inspire and sustain a new genera- Wigman, she performed with the Irma education, but as a necessary requisite tion of ethnomusicologists. Duncan Company from 1921-1931 and for our understanding of movement as co-founded the New Dance Group in a form of artistic and musical expres- New York City. sion.

Nadia Nahumck at a workshop circa 1965 (Photo courtesy of The University of the Arts, University Libraries and Archives) 20 SEM Newsletter

Preliminary Program

Wednesday, Nov 15, 2006 Kona Moku Ballroom - Salon B 8:00 Under the Makeup and Costume: Backstage Preparation and Off- 1B Music in the Arab Diaspora: Remem- stage Life of Performers in Modern brance and Negotiation of Cultural Milo III Taiwan’s Male Cross-dressing Show Identity (Sponsored by the Society Chao-Jung Wu, Wesleyan Univer- 5:00- 6:00 PM for Arab Music Research) sity SEM Board of Directors Strategic Plan- Chair: Kathleen Hood, Independent ning Session with Development and Scholar Waikiki Ballroom – Salon 1 Long Range Planning Committees 1D South and East Asia: Sacred Music Presidential Suite 7:00 Lebanese Zajal Singers as Cultural Ambassadors: The Business of Chair: TBD 6:30-10:00 PM Nostalgia SEM Board of Directors Meeting Kathleen Hood, Independent 7:00 Historical Anthropology and the Scholar Anthropology of Sound: Sacred Thursday, Nov 16, 2006 Music, Collective Violence, and 7:30 Music Making, Identity, and Pres- the Historiography of Riots in ervation of Cultural and Religious Colonial Ceylon Breakfast Block, 6:00–7:00 AM Heritage Among a Lebanese Jim Sykes, University of Chicago Milo I Diasporic Community in the United 6:00–7:00 AM States 7:30 The Kathavacaks of Uttar Pradesh: Ancient Tradition as Ongoing Cre- 2007 Program Committee and Local Guilnard Moufarrej, Independent Scholar ation Arrangements Committee Meeting Margaret E. Walker, York Univer- Presidential Suite 8:00 Musical Remembrance and Regen- sity 8:00 AM–12:00 PM eration in the Arab Diaspora of the 8:00 The Role of Music in Ritual of Hua- SEM Board of Directors Meeting United States of America Kenneth S. Habib, Pomona Col- Su : Discussing the Melody of lege Invocation about “Five-Camp” in Thursday, 7:00–8:30 AM Taiwan Oahu Room Kona Moku Ballroom - Salon C Shang-Yun Ma, National Taiwan Normal University 1A A Sea of Islands: Encounters with 1C Non-Normative Genders and Rene- Time gotiated Performance Processes: Part Waikiki Ballroom – Salon 2 Chair: Jane Freeman Moulin, University I. Challenging Norms of Gender of Hawai‘i at Manoa and Sexuality On and Off the Stage 1E Music Education: Teaching World, (Sponsored by the Gender and Heritage, and Western Musics 7:00 Local Values Meet Contemporary Sexualities Taskforce Section) Chair: TBD Identity: A New Urban Performance Style in Kiribati Chair: Juniper Hill, University of 7:00 Singing Under the Rising Sun: Mu- Mary Elizabeth Lawson Burke, California at Santa Barbara sic Education in Early Colonial Framingham State College Taiwan, 1895-1905 7:00 Embodied Learning of Music and Hui-Hsuan Sylvia Chao, Univer- 7:30 Encounter of Myth and Dance on Gender in Balinese Children’s sity of Michigan Tanna Gamelans Raymond Ammann, University of Sonja Downing, University of Cali- 7:30 “Tune, Tot, and Kin”: Accessing Basel, Switzerland / Vanuatu fornia at Santa Barbara Community and Heritage Musics in a Humanities Course for Under- 8:00 Reality and Ideology—Barrier and 7:30 But We’re Tenors and Basses, Not graduate Nonmusic Majors Bridge Men: Trans Voices and Issues of Miriam Dvorin-Spross, Indepen- Richard Moyle, University of Gender in GALA Choruses dent Scholar Auckland Pamela Moro, Willamette Univer- sity Thursday, November 16, 2006 SEM Newsletter 21

8:00 A Critical Approach to Rehearsal in 7:30 Tourism, Reconstructed Ethnicity Kona Moku Ballroom - Salon B Contemporary Collegiate A Cap- and Indigenous Politics in Mexico 2B Musical Responses to Modernity and pella Ruth Hellier-Tinoco, University of Imperialism in Early Twentieth-Cen- Joshua Duchan, University of Winchester, UK tury Japan Michigan 8:00 Lilith Fair: A Celebration of Whom? Chair: Bonnie Wade, University of Waikiki Ballroom – Salon 3 Jennifer Taylor, York University California at Berkeley 1F Urbanism and Music Milo II 8:45 Civil Morality, Nation-Building and Chair: TBD Japanese School Song Texts in the 1I Music in the African Diaspora 1 Early Twentieth Century 7:00 Making Music, Producing Space: Chair: TBD The Bush Tetras and New York Therese Burton, University of New City, 1980 7:00 American Marimba Music and the England Caroline O’Meara, University of Americanization of the Zimba- California at Los Angeles bwean-Style Marimba 9:15 Musical Mobilization and Alterna- Carol Reed-Jones, Boston Univer- tive Futures in Imperial Japan 7:30 Not Just The Street: Detroit’s Bebop sity Richard Miller, University of Wis- Subculture consin-Madison Franya Berkman, Lewis and Clark 7:30 Master Drummer, Master Dancer? College Fashioning African Identities in 9:45 Modern Times Beyond Tokyo: the Diaspora Musical Life in Japanese Cities 8:00 West African and African American Patricia Tang, Massachusetts In- During the Interwar Period Collaborations in New York City stitute of Technology Hugh de Ferranti, University of Timothy Mangin, St. Lawrence Uni- New England versity 8:00 Archetype as Aesthetic: Meaning and Significance of African Water Kona Moku Ballroom - Salon C Kaimuki Deity Themes in African Diasporic 2C The Cultural Meanings of Musical 1GShaping, Breaking, and Taking Re- Popular Music Variability: Case Studies in Perfor- search: Intellectual Property Law Di- Aja Wood, University of Maryland mance lemmas and Challenges from the Break, 8:30 – 8:45 AM Chair: Marc Perlman, Brown University Field Thursday, 8:45-10:45 AM 8:45 Variability, Sincerity and Spiritual Chair: Larisa Mann, University of Authenticity in Ottoman Music California at Berkeley Oahu Room Robert Labaree, New England Con- 7:00 Cracks or Doorways? The Chang- 2A Hawaiian Music in Motion: Repre- servatory ing Legal Framework for Research sentation, Mediation and the Sonic Larisa Mann, University of Cali- Articulation of Identity 9:15 Improvisation and Its Discontents: fornia at Berkeley Geography, Race, and the Mean- Chair: James Revell Carr, University of ings of Musical Variability in Afro- California at Santa Barbara 7:30 What Is Stolen? What Is Lost? Shar- Cuban Batá Drumming ing Information in an Age of Litiga- 8:45 Native Hawaiian Performance and Katherine Hagedorn, Pomona Col- tion its Reception in California, 1792- lege Wayne Marshall, University of 1862 Chicago James Revell Carr, University of 9:45 Elusive Points of Departure: Varia- California at Santa Barbara tion and Repetition in Senufo 8:00 Silencing Music as a Function of Balafon and Hard Bop Copyright Law? The Case of 9:15 Paniolo Country: The Hawaiian Ingrid Monson, Harvard Univer- Rebecca Clarke Steel Guitar and the Politics of sity Liane Curtis, Brandeis University Nostalgia Kristina Jacobsen, Columbia Uni- 10:15 Variability’s Destabilizing Poten- Milo III versity tial: A Comparative Approach Marc Perlman, Brown University 1H Tourism, Politics, and Gender in Music 9:45 Musically Defining an Affinity Group: Hawai‘i and the Califor- Waikiki Ballroom – Salon 1 Chair: TBD nia Surfing Community 2D Music in the Jewish Diaspora 7:00 Music, Tourism, and Recovery in Timothy Cooley, University of Cali- New Orleans fornia at Santa Barbara Chair: TBD Elizabeth Macy, University of Cali- 8:45 Learning from Sephardim fornia at Los Angeles 10:15 Island Idol: The Negotiation of Jim Samson, Royal Holloway, Uni- Hawaiianness in American Idol versity of London Katherine Meizel, University of California at Santa Barbara 22 SEM Newsletter Thursday, November 16, 2006

9:15 Orpheus in Yiddishland: Icono- 9:45 1960s Copenhagen: The South Af- 10:15 Bapak I Wayan Loceng: Master of graphic Meanings of the Violin in rican Jazz Connection Balinese Gendèr Diasporic Yiddish Culture Carol Muller, University of Penn- Brita Heimarck, Boston Univer- Joshua Walden, Columbia Univer- sylvania sity sity 10:15 Jazz Re/Bordered: Nationalism Milo II 9:45 Sophiline Shapiro and the Khmer and Cultural Policy in Danish 2I Music in the African Diaspora 2 Arts Academy: Innovation, Tradi- Jazz tion and Performative Identity in a Christopher Washburne, Colum- Chair: TBD Diasporic Community bia University 8:45 Spirited Away: Buru as an Ances- Colin Pearson, University of Cali- tral Music in Jamaica and the World fornia at Riverside Kaimuki Kenneth Bilby, Smithsonian Insti- 2G New Approaches to Musical Com- tution 10:15 “Beyond Klezmer”: Exploring the munities Radical Jewish Culture Movement 9:15 “Rebati kay la / Rebuilding the Jeff Janeczko, University of Cali- Chair: Sheryl Kaskowitz, Harvard Nation”: Negotiations of Power fornia at Los Angeles University through the Musical Voice of Haiti’s Waikiki Ballroom – Salon 2 8:45 Rethinking the Collective in Music: Ti Neg Yo Communities of Descent, Dissent, Rebecca Dirksen, University of Sur- 2E Music as Intangible Heritage and Affinity rey Roehampton Chair: TBD Kay Kaufman Shelemay, Harvard University 9:45 Capoeira, Kalinda, and Mosh Pits: 8:45 A Global-Local Interface: Cambo- Community Building through Ritu- dia and UNESCO’s “…Intangible 9:15 Cesária Évora, “Barefoot Diva”: alized Violence Heritage…” Proclamation The Symbolic Construction of a E. Jabali Stewart, University of Toni Shapiro-Phim, Philadelphia Musical Community Washington Folklore Project Carla Martin, Harvard University 10:15 Africans and Arawaks: Vulgariza- 9:15 Music as Intangible Heritage: Eth- 9:45 “You Oughta Hear From the Pi- tion and Classicization in Haitian nomusicological Policy Studies pets”: The Harvard Union of Cleri- Art Music Brett Pyper, Wits University, cal and Technical Workers as a Michael Largey, Michigan State Johannesburg Musical Community of Dissent University Sheryl Kaskowitz, Harvard Univer- 9:45 Kunqu After UNESCO: A Tale of sity Milo I Three Cities 2J Music and Catholicism Isabel Wong, University of Illinois 10:15 Jam Sessions in the Boston Impro- at Urbana-Champaign visation Scene: Building and Bind- Chair: TBD ing a Musical Community with 8:45 Indigenizing Gregorian Chant: 10:15 This Land Is Bootlegged: A Case Free Improvisation Vincent Lebbe and the Musical Study of Politics, Mash-Ups and Marc Gidal, Harvard University Representation of the Catholic Copyright Infringement Church in China in the Early 20th Michael Sam Cronk, Canadian Milo III Century Museum of Civilization 2H Ethnomusicology of the Individual: Ka Chai Ng, The Chinese Univer- South and Southeast Asian Masters Waikiki Ballroom – Salon 3 sity of Hong Kong Chair: TBD 2F Jazz in Denmark 9:15 Carving Out a Tongan Catholic Chair: Leslie C. Gay, Jr., University of 8:45 From Native Informant to Celeb- Identity: The Indigenized Hym- Tennessee rity: Technology, Nation and the nody of Sofele Kakala Hindustani Musician David Kammerer, Brigham Young 8:45 Jazz and Danish Modernity in the Dard Neuman, University of Cali- University-Hawai‘i Film Danmark fornia, Santa Cruz Leslie C. Gay, Jr., University of 9:45 Musical Form in Healing Rituals of Tennessee 9:15 Telling Individual Lives as Alterna- Catholic Charismatics in Kenya tive Modernities: Socio-musical Mo- Bernard Muriithi Kigunda, Otto- 9:15 Copenhagen ’62: Denmark’s Semi- bility and Subaltern Politics in Von-Guericke University of Magde- nal Reception of American Free Kerala, India burg Jazz in Europe Kaley Mason, University of Alberta Mike Heffley, Independent Scholar 10:15 “Voicing Spirits”: Music as Reli- 9:45 Gaps in the Lineage: Modeling gious Expression and Social Prac- Toba Batak Hybridity tice in a Mi’kmaq Church Julia Byl, University of Michigan Gordon Smith, Queen’s Univer- sity Thursday, November 16, 2006 SEM Newsletter 23

Honolulu Kona Moku Ballroom - Salon B 11:00 Constructing Body Appeal: Ejagham Maidens and the 2K Lecture Demonstration 3B From Ottoman Empire to Modern Turkey: Music and Islam Moninkim Ritual 8:45 Seaman Dan presents “Saltwater Marie Agatha Ozah, University Songs: Indigenous Maritime Music Chair: Sehvar Besiroglu, Itu Turkish of Pittsburgh from Tropical Australia” Music State Conservatory 11:30 Translating Body Language: Karl Neuenfeldt, Central Queen- 11:00 The Role of Women in Islamic sland University Dance, Sexuality, and Christian Musical Tradition Praise among Presbyterian Sehvar Besiroglu, Itu Turkish Women in Southern Malawi. 9:15 Blackfoot Flag Song: Praxis, Perfor- Music State Conservatory mance and Purpose Clara Henderson, Indiana Uni- Christine Joy Oro, University of 11:30 Comparison on Traditional and versity Alberta Contemporary Islamic Music in Turkey 12:00 The Body at Rest: Homegoing Kou Songul Ata Karahasanoglu, Itu Celebrations of African Ameri- Turkish Music State Conservatory can Gospel Musicians 2L Poster Sessions (Simultaneous) Mellonee Burnim, Indiana Uni- NOTE TIME: 8:30 – 10:30 AM 12:00 Relation Between Islamic Praxis versity and the Performers’ Attitudes in Supporting Musicians, Changing Be- Turkey Waikiki Ballroom – Salon 2 liefs: The Impact of Applied Ethnomu- Belma Kurtisoglu, Itu Turkish 3E Issues in Community World Music sicology in Zimbabwe Music State Conservatory Performance Learning in the U.S. Erica Azim, MBIRA (Sponsored by the Applied Ethno- Kona Moku Ballroom - Salon C musicology Section) Music of the Puerto Rican Community in Lancaster, Pennsylvania 3C Non-Normative Genders and Rene- Chair: Miriam Gerberg, Minnesota Global Ann McFarland, West Chester Univer- gotiated Performance Processes: Part Arts Institute sity II - Reconfigured Gender Identity through Popular Music Performance 11:00 Heritage and Importation: Mod- Sacred Music of the Kurdish Ahl-i Haqq (Sponsored by the Gender and Sexu- ern Blending of Scandinavian of Guran ality Taskforce) Fiddle Traditions in the U.S. Partow Hooshmandrad, University of Elizabeth Weis, McNally Smith Chair: Boden Sandstrom, University of College of Music California at Merced Maryland Break, 10:45–11:00 AM 11:00 The Female Accordionist in Do- 11:30 Trinidadian and Non-Trinidadian minican Merengue Típico Perspectives Toward Steel Band Thursday, 11:00AM–12:30PM Sydney Hutchinson, New York Music in the United States Oahu Room University Gee Rabe, California State Uni- versity, Northridge 3A Producing Consumers: Media, Popu- 11:30 Reproducing and Transforming lar Music, and the Construction of 12:00 Those Enchanting Middle Eastern Desire Gender Practices in the Post- Soviet Georgian Rock Music Melodies: Educating America Chair: Timothy Taylor, University of Nino Tsitsishvili, Monash Univer- Miriam Gerberg, Minnesota Glo- California at Los Angeles sity bal Arts Institute 11:00 Is It Worth Resuscitating? The 12:00 “Live & Uppity”: Blues Women Waikiki Ballroom – Salon 3 Death of Punk and Shifting Creating an Empowered Alterna- Economies of Desire 3F Music of Europe: Andalusian, Basque, tive Community Through Perfor- Ralph Lowi, University of Califor- and Global Pop mance nia at Santa Barbara Maria Johnson, Southern Illinois Chair: TBD 11:30 Misremembering the Sixties: Popu- University 11:00 Flamenco Festero: Social Affirma- lar Music, Advertising, and Nos- tion, Artistry and Collectivity in Waikiki Ballroom – Salon 1 talgia Andalusian Social Celebrations Kara Attrep, University of Cali- 3D Canvassing, Constructing, and Cel- Loren Chuse, Independent fornia at Santa Barbara ebrating the Body in African and Scholar African American Ritual Contexts 12:00 Identity Practices and the Politics 11:30 Decolonizing “My” Ethnomusi- Chair: Mellonee Burnim, Indiana cology: Working with the Basque of Performativity: Constituting the University (Gendered) Self in Turkish Popu- Nationalist Left in a Study of lar Music Txalaparta Denise Gill, University of Califor- María Escribano, University of nia at Santa Barbara Limerick 24 SEM Newsletter Thursday, November 16, 2006

12:00 Ghurba, or Living as a Stranger: Milo II 2:00 The Transnational Native Who Be- Global Pop at the Fringes of came Modern: Issues on Authen- 3I Globalism, Music, and Diasporic Stud- Europe ies ticity and the Traditional Roberto Catalano, University of Contextualized Within the Speci- La Verne Chair: TBD ficities of the Philippine Kulintang Music’s Global/Local Traffic Kaimuki 11:00 Globalizing Tradition: Orkes Pamela Costes-Onishi, University Gambus Music in Arab-Indone- of Washington 3G The Hawaiian Guitar sian Communities Chair: TBD Birgit Berg, Brown University 2:30 Filipino Contemporary Compos- ers: Transcultural Connections 11:00 Amplifying the “Hawaiian Guitar” 11:30 Unmoored: Contemporary Me- M. Arlene Chongson, Temple Uni- and Its Consequences diations of Moroccan Music in versity Isami Uchizaki, Otani University Granada, Spain Brian Karl, Columbia Univer- th 3:00 Lost in Translation: Diasporic Com- 11:30 In Search of the Lost Tuning: 19 sity munity, Multicultural Chic, and the Century Spanish-Mexican Influ- Problems of Keeping It Real among ences on the Hawaiian Slack Key 12:00 From Immigrant to Emigrant in Filipino Fans of the Black Eyed Guitar Tradition the Pacific Rim: Indo-Fijian Mu- Peas Randall Kohl, Universidad Ver- sic and the Forging of a Rachel Devitt, University of Wash- acruzana Transnational Community ington Kevin Miller, University of Cali- 12:00 Kinetic Patterning in the Music of fornia at Los Angeles Kona Moku Ballroom - Salon B the Hawai’ian Slack Key Guitar Andrew Weintraub, University of Milo I 4B Asian Interpretations of Global Popu- Pittsburgh lar Musics (Sponsored by the Society 3J Film for Asian Music) Milo III 11:00 Kahyangan–Death and the Jour- Chair: Gavin Douglas, University of 3H Music in Constructed Spaces: Pris- ney of the Soul in Bali North Carolina at Greensboro ons and Nursing Homes Linda Burman-Hall, University of California at Santa Cruz 1:30 The Slide Guitar in Post-Colonial Chair: TBD Burma: Local Adaptations to a Glo- Lunch Block, 12:30 – 1:30 PM bal Instrument 11:00 Prometheus Sings: Mythology, Gavin Douglas, University of North Metaphor, and Meaning in Prison Kaimuki Carolina at Greensboro Music 12:30 – 1:30 PM Benjamin Harbert, University of Dance Section Business Meeting 2:00 Ballroom Dance and the Develop- California at Los Angeles Milo III ment of Popular Music in Thailand Terry Miller, Kent State University 12:30 – 1:30 PM 11:30 Gamelan in British Prisons: Narra- (Emeritus) tives of Otherness, and the “Good Audio Visual Committee Vibrations” of Educational Rheto- Milo II 2:30 How Does Hanoi Rock? The Way ric to Rock and Roll in Vietnam 12:30 – 1:30 PM Maria Mendonca, Bowling Green Jason Gibbs, Independent Scholar State University Archiving Special Interest Group 3:00 Re-defining the Aesthetics of Hip 12:00 The “Remembered” Song and the Hop Music in Hong Kong “Demented” Mind: How Music Thursday, 1:30 – 3:30 PM Li Wai-chung, The Chinese Uni- Creates Meaning for the Caregiv- Oahu Room versity of Kong Kong ers of Patients with End-Stage 4A Traditions of Change: Music and the Dementia Kona Moku Ballroom - Salon C Theresa Allison, University of Cali- Filipino Narrative in the Homeland fornia at San Francisco and Beyond 4C Gendered Performance Strategies at Work Chair: Christi-Anne Castro, University of Michigan Chair: Jonathan T. King, Columbia University 1:30 Cultural Localization and Transna- tional Flows: Adaptations of Ameri- 1:30 Sheena Is a Punk Rocker: Con- can and Indonesian Popular Songs structions of Masculinity Among in Magindanaon (Muslim Filipino) Female Karaoke Singers Musical Practice Jason Lee Oakes, Columbia Uni- Mary Talusan Lacanlale, Univer- versity sity of California at Los Angeles Thursday, November 16, 2006 SEM Newsletter 25

2:00 Migrating Femininities: “Village” at Fresno; Christopher 2:30 Carriacou String Band Music: Per- Sexuality and “Urban” Propriety in Smith, Texas Tech formance, Change, and Identity Nepali Dohori Git University; Matt Rahaim, Formation Anna M. Stirr, Columbia Univer- University of California, Rebecca Miller, Hampshire College sity Berkeley; Amy Frishkey, University of California, 3:00 Discussant: Donald R. Hill, State 2:30 Playing with Ourselves: Gender, Los Angeles; Charles University of New York, Oneonta performance, and Identity Con- Sharp, University of Milo III struction in New York City Blue- California, Los Angeles; grass Anthony McCann 4H “Troubling the Waters”: Negotiating Jonathan T. King, Columbia Uni- the Word and the World through Discussant: David Harnish, Bowling Musical Performance versity Green State University Chair: Monique Ingalls, University of 3:00 Performing the Squeezebox: Cod- Waikiki Ballroom – Salon 3 Pennsylvania ing Gender in Timbre and Style 4F Colonialism(s) and Musical Reforms Maria Sonyvetsky, Columbia Uni- in the 1930s: Rhetoric and Media- 1:30 “God is Everywhere”: Negotiations versity tions in Egypt, China, Turkey and of Faith and Space in Memphis the U.S. Music Waikiki Ballroom – Salon 1 Jennifer Ryan, University of Penn- Chair: Michael Tenzer, University of sylvania 4D Perspectives in Systematic Musicol- British Columbia ogy: Intersections with Ethnomusi- 2:00 “The Word Made Digital”: The cology 1:30 Arab Music on Trial: Foreign Ex- Challenges of New Media to Old pertise and Local Sovereignty at Chair: John M. Hajda, University of Boundaries within American Evan- the 1932 Cairo Conference California at Santa Barbara gelical Worship Anne Elise Thomas, Brown Uni- Monique Ingalls, University of 1:30 Intersections: Hermeneutics, Eth- versity Pennsylvania nomusicology and the Discourse of Power 2:00 The “Grand Chinese Evening” Con- 2:30 “I Will Sing Like David Sang”: Roger Savage, University of Cali- cert (1933) and Chinese Essence Negotiating Gender, Faith, and Per- fornia at Los Angeles in Semi-Colonial Shanghai formance in African-American Pen- Joys Cheung, University of Michi- tecostal Churches 2:00 Why the Autonomy of Music is an gan Melvin L. Butler, University of Vir- Ethnomusicological Issue ginia Angeles Sancho-Velázquez 2:30 “Never Completely European”: Na- tionalism, Cultural Alliances, and 3:00 My Funny Valentine: Sex, Sexuality 2:30 Theory and Applications of Empiri- the Roles of Foreign Composers and the Contemporary Gospel cism to Musical and Ethnomusico- in Turkish Musical Reforms Song logical Issues in the 21st Century Kathryn Woodard, Texas A&M Deborah Smith Pollard, University Roger A. Kendall, University of University of Michigan-Dearborn California at Los Angeles 3:00 An “American” Musical Education Milo II 3:00 The Worlds of Music: Culture- for the People dependent Emotional Reactions to YouYoung Kang, Scripps College 4I Nationhood, Identity, and Gender in an Improvisation on the Mijwiz South African Choral Music Pantelis Vassilakis, DePaul Uni- Kaimuki Chair: TBD versity 4G From Cuba to Trinidad: Topics in Caribbean String Band Music 1:30 Can We Sing Together? Performing Waikiki Ballroom – Salon 2 Nationhood through Choral Festi- Chair: Rebecca Miller, Hampshire vals in South Africa 4E Workshop College Thembela Vokwana, Wesleyan Uni- versity 1:30 Ethnomusicology Pedagogies I: 1:30 Haul and Pull Up: Mento and the Pedagogy Is Such an Ugly Word: Sale of Jamaica’s Musical Roots Social and Political Implications 2:00Singing South African-ness: The Daniel T. Neely, New York Univer- Construction and Negotiation of of Teaching Styles in Ethnomusi- sity cology Identity Among South African Youth Choirs 2:00 Parang: Finding a Place for Spanish Nicol Hammond, University of the Chair: Anthony McCann Creole Identity in the Trinidadian Witwatersrand and New York Uni- Presenters: Hope Munro Smith, National Calendar versity California State University Amelia Ingram, Wesleyan Univer- sity 26 SEM Newsletter Thursday, November 16, 2006

2:30 Mothers of the Church: The Music Thursday, 3:45 – 5:45 PM Kona Moku Ballroom - Salon C of “Coloured” Women’s Societies Oahu Room 5C Empowering Musical Diversity: Mas- and South African Gender Issues ter Musicians, History, Ritual, and 5A Decolonizing Music of the Pacific Marie Jorritsma, University of Penn- Philosophy as Collaborative Research sylvania Chair: TBD in Bali 3:00 Music and Dance: Sites of Power in 3:45 Dreaming in Public: Music, Dance, Chair: Made Mantle Hood, Monash Rituals of Xhosa Healer/Diviners and the Representation of Aborigi- University and the Zion Church in South Af- nal Culture in Contemporary Aus- 3:45 Triguna: A Hindu-Balinese Phi- rica tralia losophy for Gamelan Gong Gede Diane Thram, International Li- Gabriel Solis, University of Illinois Music brary of African Music 4:15 “Doing the Torres Strait Hula”: Made Mantle Hood, Monash Uni- Milo I Adopting and Adapting ‘Hula’ versity within Torres Strait Islander Per- 4J Film/Video 4:15 Conversations with Balinese Musi- formance Culture in Australia cian I. Nyoman Suadin and the Lyn Costigan, Central Queensland 1:30 Strategies for Renewing Endan- Value of the Biographical Approach University gered Traditions in Ethnomusicology Ahmed el Maghraby, Egyptian Cen- Rebekah E. Moore, Indiana Uni- ter for Culture and Art 4:45 Shifting Nostalgia: A Case Study of Hapa Haole Music in the Early versity Twenty-first Century Hawai‘i 2:30 Music for a Goddess 5:45Lelambatan in Banjar Wani, Masaya Shishikura, University of Amy Catlin-Jairazbhoy and Nazir Karambitan Hawai‘i at Manoa Jairazbhoy, University of Califor- Rachel Muehrer, University of nia at Los Angeles 5:15 Musical Structure and Cosmology: Maryland Ngarinyin Junba Composition/Per- Honolulu 5:15 Ritualizing’ Barong & Rangda: Re- formance 4K Ethnomusicology of the Individual: percussions of Collaborative Field- Sally Treloyn, University of Sydney Vietnam, Japan, Taiwan, and Arab work in Karambitan, Bali America Kona Moku Ballroom - Salon B Xóchitl Ysabela Tafoya, University of Maryland Chair: TBD 5B Hybrids and Hierarchies: Institution- 1:30 Considering the Fate TÀI T Music: alizing Musical Traditions in the Waikiki Ballroom – Salon 1 Middle East and Central Asia The Last Guardian of Tradition 5D Exploring the Roles and Transfor- Nguyen Phong, Insitute for Viet- Chair: Lorraine Sakata, University of mations of Space and Place in Mu- namese Music Washington and University of sic, Health, and Healing California at Los Angeles 2:00 Koto and Heavy Rock Guitar Hand Chair: Benjamin Koen, Florida State in Hand: Sawai Hikaru and the 3:45 Contemporary Contexts for the University Performance of Traditional Qatari Contemporary Japanese Koto Scene 3:45 “Blues is a Healer”: King Biscuit Sea Music Liv Lande, University of California Time, the Blues, and the Desegre- Laith Ulaby, University of Califor- at Los Angeles gation of American Music nia at Los Angeles Robert Webb Fry, II, Florida State 2:30 Liminal States: Life as an Indie University Musician on Taiwan 4:15 Reconstruction Reframed: Negoti- ating Space for Folk Orchestras in Mack Hagood, Indiana University 4:15 Taratil: Songs of Praise and the Post-Soviet Uzbekistan Musical Discourse of Nostalgia Tanya H. Merchant Henson, Uni- 3:00 Playing Violin in the Midst of the Among Coptic Immigrants in versity of California at Los Angeles “War on Terror”: Nabil Azzam, Arab Toronto, Canada American Identity, and Multi-Eth- Carolyn Ramzy, Florida State Uni- st 4:45 The Kurmangazy Kazakh National nic Citizenship in the 21 Century versity Meghan Askins, University of Cali- Conservatory and its Role in Pre- serving and Transforming Kazakh fornia at Riverside 4:45 “What Shall We Do?” Agency and Musical Culture Disclosure in Oliver Mtukudzi’s Megan Rancier, University of Cali- Songs about AIDS Break, 3:30 – 3:45 PM fornia at Los Angeles Jennifer W. Kyker, University of 5:15 Discussant: Lorraine Sakata, Uni- Pennsylvania versity of Washington/University of California at Los Angeles Thursday, November 16, 2006 SEM Newsletter 27

5:15 Co-Creating Culture in the Explor- Kaimuki Milo II atory World Music Playground: A 5G Making the Scene: The Politics and 5I African Popular Music Child-Ability Centered Approach Pleasures of Rock in the Americas to Autism Spectrum “Disorders” Chair: TBD (Sponsored by the Popular Music Benjamin Koen, Florida State Uni- Section) versity 3:45 Political and Sexual Expression in Chair: Gage Averill, University of Toronto East African Taarab Margaret K. Marangu, University 3:45 The “Minas Sound” of Belo of Alberta Waikiki Ballroom – Salon 2 Horizonte: Regional Conscious- 5E Workshop ness and Popular Music in the 4:15 The Eroticization of Bikutsi: Media Brazilian ‘70s Politics in the Defining of Ethics in 3:45 Ethnomusicology Pedagogies II: Jonathon Grasse, California State Cameroonian Music Texts, Contexts, and Pretexts in University, Dominguez Hills Dennis M. Rathnaw, University of the Teaching of World Music Sur- Texas at Austin vey Courses 4:15 Breaking Out of the Box: How Co-Chairs: Ted Solis and Michael Bakan Black Women Rock 4:45 African Regional Localized with Maureen Mahon, University of Western Construction and Recep- Presenters: Michael Bakan, Florida State California at Los Angeles tion of Benga and Zilizopendwa: University; Susan Oehler, A Study of Daudi Kabaka Masika’s Rock and Roll Hall of Fame 4:45 “Localize It”: Rock Music, Cosmo- “Western Shilo”(1966) and Ayub and Museum; Warren Send- politanism, and the Social Imagi- Ogada’s Subsequent Cover Ver- ers, New England Conser- nary in Trinidad sion (1993) vatory of Music; Ted Solis, Timothy Rommen, University of Everett Igobwa, York University Arizona State University; Pennsylvania Elizabeth Tolbert, Peabody 5:15 Modes of Cultural Representation: Conservatory of Music; Ellen 5:15 Discussant: Gage Averill, Univer- Koo Nimo’s Song-Tales as Rheto- Weller with Michelle Tsi- sity of Toronto ric, Innuendo, and Double- garidas, University of Cali- Entendre fornia, San Diego Eric Beeko, University of Pittsburgh Discussant: Deborah A. Wong, Univer- Milo III sity of California at River- 5H Ethnomusicology of the Individual: Milo I side East Asian Master Instrumentalists 5J Film/Video Program Chair: TBD Waikiki Ballroom – Salon 3 3:45 Let’s Get the Rhythm: Handclaps 3:45 Ah-Bing’s Er-Hu Playing and Tradi- and the Musical Style of Young 5F Decolonizing American Indian Tran- tional Chinese Conception of Mu- Girls scription sic: Body Metaphor in His Recording Irene Chagall, Sausalito/Marin City Chair: Brenda Romero, University of of Er Quan Ying Yue And Beyond School District Colorado at Boulder Yuhwen Wang, National Taiwan University 4:45 “Play Jankunú Play”: Garifuna 3:45 The Drum Will Tell You: Writing Christmas Rituals in Belize Lakota Music 4:15 SUN Wen-ming (1928-1962): Ge- Oliver Greene, Georgia State Uni- Rachel Weissman, Independent nius on Erhu (Chinese Fiddle), Pre- versity Scholar liminary Study of SUN Wen-ming’s Art of Erhu Honolulu 4:15 Arapaho Songs: Beyond Ceremo- Wah-Chiu Lai, Kent State Univer- 5K Lecture Demonstration nialism sity J. Andrew Cowell, University of 3:45 The Piercing Embrace: Confront- Colorado at Boulder 4:45 Miyagi Michio: The Father of Mod- ing Hybridity and Alterity Through ern Koto Music Intercultural Multimedia Perfor- 4:45 Arapaho Individual Song Tran- Anne Prescott, Indiana University mance scriptions Parmela Attariwala, University of Brenda Romero, University of Colo- 5:15 Exploring Disjuncture with China’s Toronto rado at Boulder “Grandfather of the Dizi,” Lu Chun Ling 5:15 Discussant: Victoria Lindsay Levine, Kim Chow-Morris, Ryerson Univer- Colorado College sity, Toronto 28 SEM Newsletter Thursday, November 16, 2006/Friday, November 17, 2006

Evening Block, 6:00–10:00 PM 8:00 Musical Becoming in Times of 8:30 “Drinking From the Wellspring”: Leahi Ballroom Cruelty The Marketing of Heritage in Ana María Ochoa Gautier, New Pernambuco, Brazil 6:00 – 6:30 PM York University Dan Sharp, University of Texas at Welcome Reception for First-Time Con- Austin ference Attendees 8:30 Music and Reconciliation Beyond 6:30 – 7:30 Culture: Bae Chunhui, a Singer 9:00 Pagode and Partido-Alto: The Samba Who Survived Japanese Military is in the “Backyard” Welcome Reception Sexual Slavery Beto Gonzalez, University of Cali- Milo III Joshua Pilzer, University of Chi- fornia at Los Angeles 7:00 – 8:00 PM cago 9:30 The “Bleaching” of Carnaval: Race, Special Interest Group in South Asian 9:00 A Silence Beyond Culture: Impro- Class and Nationality in Samba Performing Arts vising Universalism in a Local Japa- School Competitions Milo II nese Genre Thomas George Caracas Garcia, 7:00 – 8:00 PM David Novak, Columbia Univer- Miami University of Ohio sity Crossroads Project on Diversity, Differ- Waikiki Ballroom – Salon 1 ence, and Under-Representation 9:30 Discussant: Martin Stokes, Univer- 6D Ethnomusicology of the Individual: Milo I sity of Chicago Zimbabwe, Korea, Cuba, and Por- 8:00 – 10:00 PM tugal Kona Moku Ballroom - Salon B Society for Arab Music Research Busi- Chair: TBD ness Meeting 6B Asian Musicians, European Musics: Kaimuki Negotiating Identities and Musical 8:00 Kutambarara (Shona: “Spreading”): Lives Dumisani Maraire, His Music and 8:00 – 10:00 PM Legacy Association for Chinese Music Research Chair: Robert Lancefield, Wesleyan Claire Jones, University of Wash- Business Meeting University ington 8:00 Reframing a Voice: How Tomijiro Asai Disclaimed Orientality in New 8:30 A Tradition Maker: Chung In-sam, Friday, Nov 17, 2006 York, ca. 1918 the Master of Korean Farmers’ Band Robert Lancefield, Wesleyan Uni- Music Breakfast Block 7:00 – 8:00 AM versity Yong-Shik Lee, Hanyang Univer- Kaimuki sity 8:30 The Race of Musicians: Asians in Chapters Meeting Western Classical Music and the 9:00 Sexuality, Imaging, and Gender Milo I Making of an “Asian” Identity Representation in the Music of 2007 Local Arrangements Committee Mari Yoshihara, University of Albita Rodriguez and Program Committee Hawai‘i Mario Rey, East Carolina Univer- sity Milo II 9:00 “Her-story”: Confucianism and Co- Publications Advisory Committee lonialism in the Making of Euro- 9:30 Haunted by a Throat of Silver: Milo III pean Classical Musicians Amália Rodrigues in a Post-Amália Roe-Min Kok, McGill University Lisbon Ethics Committee Lila Ellen Gray, Columbia Univer- Honolulu 9:30 Discussant: Su Zheng, Wesleyan sity Careers and Professional Development University Committee Business Meeting Waikiki Ballroom – Salon 2 Kou Kona Moku Ballroom - Salon C 6E Diasporic Music of the U.S.: South- east Asia Development Committee Business Meet- 6C Samba ing Chair: TBD Chair: TBD 8:00 Innovation in the Guise of Tradi- 8:00 A New Way of Thinking about Friday, 8:00 – 10:00 AM tion: Music Among the Chin Popu- Rainha de Bateria, Interlinking Dif- lation of Indianapolis, USA Oahu Room ferent Perspectives Heather MacLachlan, Cornell Uni- 6A Ethnomusicology and Music Be- Pinar Erdogdu, Istanbul Techni- versity yond Culture (Sponsored by the cal University MIAM Popular Music Section) Chair: Martin Stokes, University of Chicago Friday, November 17, 2006 SEM Newsletter 29

8:30 Intercultural-ising Lineage: Two 8:30 Bringing it to Life: New Technolo- Milo I Southeast Asian Teaching Lega- gies and the Shaping of Ethnomu- 6J Film/Video Program cies in the U.S. sicological Practice Gina Fatone, Bates College Lisa Gilman, University of Oregon 8:00 Journey of a Badiu: The Story of Cape Verdean-American Musician 9:00 A Cambodian Performing Artist: 9:00 Field Video, Access, and Applying Norberto Tavares (Working Title) Creativity and the Impact of Internet Technologies Susan Hurley-Glowa, Franklin and Diasporic Experiences John Fenn, University of Oregon Marshall College Yoshiko Okazaki, University of the Sacred Heart, Tokyo 9:30 Discussant: Alan Burdette, Indi- Honolulu ana University 9:30 Khmer American Musicians and 6K Forum/Roundtable the Challenges and Opportunities 8:00 Ki Ho’alu Beyond Hawai‘i: Slack of Transnationalism Milo III Key Guitar and the Hawaiian Di- 6H Analyzing World Music Sean Norton, Hampshire College aspora Waikiki Ballroom – Salon 3 Chair: TBD Chair: Matthew Allen, Wheaton College 6F Music of the East Asian Diasporas 1 8:00 Transcription Analysis as a Method Presenters: Tamar Barzel, Wellesley for Contextualising Gnaoua Mu- College; John Rosa, Arizona Chair: TBD sic Performance State University; Kevin Fellezs, University of Cali- 8:00 Between Korea and China: Music Maisie Sum, University of British fornia at Berkeley; Patrick of Korean Ethnic Minority in China Columbia Landeza, Pu’unaue Produc- Sunhee Koo, University of Hawai‘i tions at Manoa 8:30 Could Systematic Analysis Engen- der Self-Aware Thinking About Kou Music? 8:30 Okinawan Diasporic Dance and 6L Lecture Demonstration the Process of American Music Benjamin Breuer, University of Marta Robertson, Gettysburg Col- Pittsburgh 8:00 The Village of Happiness: The lege Creative Process of a New 9:00 Sonic Explorations: On the Analy- Storytelling Tradition sis of Intercultural Experimental- 9:00 Crossing Multiple Boundaries, Per- Sumi Kim, Seoul National Univer- ism forming Diasporic Attachments: sity The Music of North Koreans in Andrew Raffo Dewar, Wesleyan Japan University 9:00 Cross-Cultural Elements in the Youngmin Yu, University of Cali- Fantasie for Erhu (Chinese Fiddle) fornia at Los Angeles 9:30 Reduplication in Murriny Patha and Spectra for Sheng (Chinese Djanba Songs in Relation to Musi- Mouth Organ) cal Patterning 9:30 Contemporary Transnational Musi- Zheng-Ting Wang, Monash Uni- cal Dynamics in Northeast Asia: Linda Barwick, University of Syd- versity, Australia The New Presence of Japan in ney Korea and the Repackaged Pres- Break, 10:00 – 10:15 AM Milo II ence of Korea in Japan Friday, 10:15 AM – 12:15 PM Eun-Young Jung, University of 6I Music and Dance of West Africa Pittsburgh Kona Moku Ballroom Chair: TBD Plenary 1: Decolonizing Hawaiian Eth- Kaimuki 8:00 Singing and Dancing for the Spirits nomusicology of the Lakpa Shrine in Accra, Ghana 6G Engaging Our Data: Questions of Chair: Amy Kuuleialoha Stillman, Clarence Henry, University of Kan- Access, Methodology, and Use with University of Michigan Ethnomusicological Field Video sas Presenters: Randie Fong, Ho’okahua Chair: John B. Fenn, University of 8:30 Musical Invigoration of Cultural Office for Hawaiian Cul- Oregon Dynamism in a Bamiléké Dance tural Development, The 8:00 Seeing How We See: Transparency Association Kamehameha Schools; in the Decolonization of Ethno- Brian Schrag, SIL Pualani Kanaka’ole Kana- graphic Field Videos hele, Hawai‘i Community Alex Perullo, Bryant University 9:00 Drums, Headscarves, and Mothers’ College, Hilo; Jonathan Dances at Weddings in Bamako, Kamakawiwo’ole Osorio, Mali: Local Change on the Margins University of Hawai‘i at of Globalization Manoa; Kalena Silva, Uni- Nicholas Hockin, Wesleyan Uni- versity of Hawai‘i at Hilo; versity Victoria Holt Takamine, University of Hawai‘i at Manoa 30 SEM Newsletter Friday, November 17, 2006

Lunch Block, 12:30 – 2:30 PM 3:45 The Individual Musician in Musical 3:45 Recording and Silencing Korea: Milo III Ethnography: Further Investiga- Colonialism, Commercialism and tions in the Ethnomusicology of Censorship during the Japanese 12:30 – 1:30 PM the Individual Occupation Period Section on the Status of Women Busi- Jesse Ruskin, University of Califor- Fumitaka Yamauchi, University ness Meeting nia at Los Angeles of Tokyo 1:30 – 2:30 PM 4:15 Master Musicians of Very Small 4:15 Korean Gisaeng and their Perform- Section on the Status of Women Anni- Traditions: Tales from China’s Hin- ing Traditions under the Impact of versary Reception terland Japanese Colonialism Milo II Helen Rees, University of Califor- Ju-Yong Ha, City University of New 12:30 – 1:30 PM nia at Los Angeles York Graduate Center Society for Asian Music Membership Meeting 4:45 Musical individuals and urban 4:45 The Phantom Music School: Japa- subjectivities: The Case of a nese Colonialism and Music Edu- Milo I Uyghur Popular Singer in Chinese cation in Korea 12:30 – 1:30 PM Central Asia Koki Fujii, Shimane University Medical Ethnomusicology Special In- Chuen-Fung Wong, Macalester terest Group Meeting College 5:15 Workers, Middlemen and their Mas- ters’ Voice: Korean SPs from the Honolulu 5:15 Discussant: Timothy Rice, Univer- Japanese Occupation Period 12:30 – 1:30 PM sity of California at Los Angeles Roald H. Maliangkay, Australian Special Interest Group for the Music of National University Iran and Central Asia Kona Moku Ballroom - Salon B Waikiki Ballroom – Salon 1 Kaimuki 7B Music and Islam: Visions, Perfor- 7D Improvisation in Africa and Afro- 12:30 – 2:30 PM mance, and Pedagogy in Egypt, In- donesia, the U.S.A., and Syria Cuba SEM Council Meeting Chair: Eric Charry, Wesleyan University Chair: Sean Williams, Evergreen State College 3:45 Analysis of a Tratado for Obatalá, Friday, 1:30 – 3:30 PM “King of the White Cloth” 3:45 A Youthful Vision Realized: Umm Kona Moku Ballroom Robin Moore, University of Texas Kulthum’s Religious Performances at Austin Plenary 2: Decolonizing Music Scholar- and the Elevation of Public Taste ship Laura Lohman, California State 4:15 Pre-Performance Composition and University, Fullerton Chair and Discussant: Ana María Ochoa, Composition-in-Performance: To- wards a Theory of Improvisation New York Univ- 4:15 Visions of Islam, Voices of Moder- ersity in Akan Nnwonkoro Songs nity: an Inquiry into Indonesian Kwasi Ampene, University of Colo- Presenters: Akin Euba, Pittsburgh Uni- Nasyid rado at Boulder versity; K. A. Gunasekaran, Dorcinda Knauth, University of Pondicherry University; Te Pittsburgh 4:45 Cubism in African Music Improvi- Ahukaramu Charles Royal, sation œrotokare: Art, Story, Mo- 4:45 Music and Islam in Rural Washing- David Locke, Tufts University tion; Sonia Tamar Seeman, ton State: Pedagogical Issues in a University of Texas at Aus- Time of War 5:15 Toward a Theory of Musical Im- tin; Maria Williams, Univer- Sean Williams, Evergreen State provisation in Africa sity of New Mexico College Eric Charry, Wesleyan University

Break, 3:30 – 3:45 PM Kona Moku Ballroom - Salon C Waikiki Ballroom – Salon 2 7C Music Censored and Controlled? 7E Fast Forward: Impact of Asian Mo- Friday, 3:45 – 5:45 PM Korean Music During the Japanese bile Phone and Game Technologies Colonial Period (Sponsored by the on Production, Consumption, and Oahu Room Association for Korean Music Re- Transnational Expression (Sponsored 7A The Ethnomusicology of the Indi- search) by the Society for Asian Music and vidual: Music Masters on China’s Chair: Keith Howard, SOAS, University Popular Music Section) Periphery of London Chair: Noriko Manabe, City University Chair: Timothy Rice, University of of New York Graduate Center California at Los Angeles Friday, November 17, 2006/Saturday, November 18, 2006 SEM Newsletter 31

3:45 Ring My Bell: The Impact of Cell 4:45 Folklore and the Cosmopolitan 4:45 Sean-Nós Cois Locha: Irish-Lan- Phone Technologies on the Japa- Real: Taiwanese Hip Hop as His- guage Song in America and its nese Music Market torical Practice Return Home on Disc Noriko Manabe, City University of Donald John Hatfield, College of Erin Stapleton-Corcoran, Univer- New York Graduate Center William and Mary sity of Chicago

4:15 Convulsions in the Global Ringtone 5:15 What’s in a Name? Expressions of 5:15 An Intimate Space of Misappre- Industry: The Social Determinants Identity in the Music of New hension: The Fall 2005 Anchiskhat’i of Crazy Frog Zealand Hip-Hop/Reggae/Rap art- Ensemble Concert in Manhattan’s Sumanth Gopinath, University of ist Dean Hapeta aka D Word aka East Village Minnesota Te Kupu Lauren Ninoshvili, Columbia Uni- Frances Wildeboor, Curry College versity 4:45 Go-Go Dancing Taiko Drums and Britney Spears: An Examination of Milo III Milo I Transnational Popular Music Cul- 7H Dance: Politics, Gender, and 7J Forum/Roundtable ture and Technology via Japanese Orientalism Music Video Games 3:45 National Heritage Fellows from Lei Ouyang Bryant, Macalester Chair: TBD Hawai‘i Talk Story to Ethnomusi- College 3:45 Gazing at Nanguan Music: Modern cologists (Sponsored by the Ap- plied Ethnomusicology Section) Waikiki Ballroom – Salon 3 Chinese Bodies Dancing the Poli- tics of Gender Chair: Terence M. Liu, National Endow- 7F Music of the East Asian Diasporas 2 Kyle Heide, University of Hong ment for the Arts Chair: TBD Kong Presenters: Ricardo D. Trimillos, Uni- versity of Hawai‘i at Manoa; 3:45 Singing for Harmony: The Hong 4:15 Dancing the Peace: Music and Genoa Keawe, Harry Seisho Kong Japanese Club Choir in Tran- Movement of the Mangali Gangsa Nakasone, James Ka’upena snational Social Space Genres Wong, Terence M. Liu Lam Tin Wai, The Chinese Univer- Glenn Stallsmith, SIL International sity of Hong Kong and Bethel University Evening Block, 6:00 – 8:00 PM Milo II 4:15 (Per)Forming Chinese Cultural Iden- 4:45 The Commercialization of Mambo tity at a New Zealand Secondary in Post-War America: When 6:00 – 7:00 PM School: A Case-Study of the Lion Canasta Was Replaced by Mambo African Music Section Dance Lessons Milo III Henry Johnson, University of Otago Monica Ambalal, California State University at Long Beach 6:00 – 8:00 PM 4:45 Bon Dance in Hawai‘i: Its Develop- Popular Music Section ment and Characteristics as a Japa- 5:15 Raqs Gothique: Decolonizing Belly nese Diaspora Culture Dance Minako Waseda, Tokyo University Tina Frühauf, City University of of Fine Arts and Music New York Saturday, Nov 18, 2006 5:15 Absurdity and Authenticity: Nostal- Milo II Breakfast Block 6:00 – 8:00 AM gic Japanese Performance in New 7I Over & Back: Reciprocal Influences York City Between Diaspora and Homeland Milo I Wynn T. Yamami, New York Uni- Culture (Sponsored by the Europe 6:00 – 7: 00 AM versity Special Interest Group and Dance Editorial Board Meeting Section) Kaimuki Milo II 7G Hip Hop, Globalization, and Cosmo- Chair: Kate Brucher, Bowling Green 6:00 – 7:00 AM politanism State University Long-Range Planning Committee Meet- Chair: TBD 3:45 Viva Portugal, Viva Rhode Island: ing 3:45 Rappin’ Ga: Hiplife and Some Myths Portugal’s Diaspora Comes Home Milo III of Globalization to Play 6:00 – 7: 00 AM Barbara L. Hampton, CUNY Hunter Kate Brucher, Bowling Green State College and the Graduate Center University Student Concerns Committee Business Meeting 4:15 “We’ve Got Names”: Immigrants, 4:15 Coming Back to Hungary—Bridg- Kou Individuals, and Identity in African ing Cultures through Táncház 7:00 – 8: 00 AM [American] Hip Hop Judy Olson, American Hungarian Education Section Business Meeting Catherine Appert, University of Cali- Folklore Centrum fornia at Los Angeles 32 SEM Newsletter Saturday, November 18, 2006

Saturday, 7:00 – 9:00 AM Kona Moku Ballroom - Salon C Waikiki Ballroom – Salon 2 Oahu Room 8C Music, Sexuality, and the Body 1 8E Globalization and World Music 1 8A Other Postmodernities/Postmodern- Chair: TBD Chair: TBD isms in Asia (Society for Asian Music and the Popular Music Section) 7:00 Lucha Villa’s Erotization of the 7:00 A Song Everyone Can Sing? World Estilo Bravío and the Canción Music, Globalization, and the Chair: Jennifer Milioto Matsue, Union Ranchera Olympics College Antonia Garcia-Orozco, Califor- Justin Schell, University of Minne- 7:00 Problematizing Postmodern “Popu- nia State University at Northridge sota lar” Musics in Modern Japan 7:30 I’d Cringe When It Came on the 7:30 Filipino Bands Singing American Jennifer Milioto Matsue, Union Radio: Synaesthesia, Pop Songs, Pop Songs in a Taiwanese-owned College and Childhood Sexual Abuse in German Pub in Shanghai for a 1980’s America Chinese Audience: Performing 7:30 Playback and Public Culutre in Cosmopolitan Identities in a Glo- India Jenny Olivia Johnson, New York University bal Era Paul D. Greene, Pennsylvania Stephanie Ng, University of Michi- State University 8:00 Music, Body and Sexuality in Bohag gan Bihu Songs of Assam 8:00 An American Idiot in China: Pur- 8:00 New Age or Renewed Tradition?: poseful Mishearing, Schizophrenic Utpola Borah, Independent Scholar Kitarô and “The Silk Road” Living, Pop Music, and Transna- tional Digital Culture 8:30 How the “Maiden Became the Angela Coaldrake, The University Leader”: En-Gendering Groove in of Adelaide Renee T. Coulombe, University of the P’ungmul Madang California at Riverside Donna Kwon, Rhodes College 8:30 Japanese—>honkyoko<—Ameri- can 8:30 Postmodern Indonesia: Cultural Waikiki Ballroom – Salon 1 Relativism and the New World Rachel Mundy, New York Univer- Order 8D Music and Gender 1 sity René T. A. Lysloff, University of Chair: TBD Waikiki Ballroom – Salon 3 California at Riverside 7:00 The Signifying Drummer: Asian/ 8F European and EuroAmerican Music: Asian American Masculinity and Bulgaria, Turkey, Russia, and Franco- Kona Moku Ballroom - Salon B the Odaiko Solo America Paul Yoon, Emerson College 8B Music of the Islamic World Chair: TBD Chair: TBD 7:30 “Now ‘Ladies’ Also Sing”: Gender 7:00 Postsocialist Mythological Tales: Politics in Post-1990 Biraha, A North Music, Memory, Mafia, and Mar- 7:00 Message of Islam in the Sacred Indian Folk Music Tradition keting in Turn-of-the-Millennium Songs of Ismaili Ginan: Contem- Scott Marcus, University of Califor- Bulgaria porary Challenges, Transmission, nia at Santa Barbara Donna Buchanan, University of and Standardization Illinois, Urbana-Champaign Karim Gillani, University of 8:00 “He Came from Outer Space to Alberta Save the Human Race”: Revisiting 7:30 Turkish Ghosts and Haunted Tunes: the Politics of Gender (Dis)Iden- In Search of Turkish Influences in 7:30 Comparison on Traditional and tification with the Help of Klaus the Music of the Balkans Contemporary Islamic Music in Nomi Martha Mavroidi, University of Turkey Zarko Cvejic, Cornell University California at Los Angeles Songul Ata Karahasanoglu, Instanbul Technical University 8:30 Gender Performances in Songs and 8:00 Imagined History: The True Fiction Dance Amongst the Vlach Roma of a Russian Genre’s Origin 8:00 Islam, Music, and Spirit Possession: and the Romungro in Hungary J. Martin Daughtry, University of The Stambeli of Tunis Iren Kertesz Wilkinson, Indepen- California at Los Angeles Richard Jankowsky, University of dent Scholar London 8:30 In and Out of Mameres Kitchen: Franco-American Traditional Mu- sic in Southern Maine Thomas Faux, University of Illi- nois Saturday, November 18, 2006 SEM Newsletter 33

Kaimuki 8:00 Strategic Hybridity and the Popu- 10:45 Nahe Nahe Tough: Singing Island larity of Theodorakis’s Epitaphios Masculinity Sweetly after Football 8G Brazilian Popular Music Yona Stamatis, University of Michi- Games in Guam Chair: TBD gan Vicente M. Diaz, University of Michigan at Ann Arbor 7:00 The Brazilian Pandeiro and the 8:30 Individuality and Nationality in the Aesthetics of Cultural Mediation Music of Korean Composer Hwang Kona Moku Ballroom - Salon B Larry Crook, University of Florida Byungki 9B Islam, Music, and Indigenous Poli- Andrew Killick, University of Shef- tics 7:30 That beat…that beat “...ruim da field cabeça ou doente do pé?” [bad Chair: TBD mind or foot disease?] Milo I Irna Priore, University of North 9:15 Marcel Khalife’s “Oh Father, I’m Carolina at Greensboro 8J Native American Music and Indig- Yusuf” and the Struggle For Politi- enous Politics cal Freedom and Religious Sensi- 8:00 I hear ergo I am (here): Place, Rock Chair: TBD tivity and Identity in Brasília, Brazil Nasser Al-Taee, University of Ten- Jesse Wheeler, University of Cali- 7:00 “Dreaming Indians”: Rethinking nessee fornia at Los Angeles Notions of Authenticity and Ameri- can Indian Pow-Wow Music 9:45 Islamisms and Music: Leaders’ Edicts 8:30 Through the Beats: Electronic Mu- John-Carlos Perea, University of and Lay Followers’ Implementa- sic, Identity and Ritual Perfor- California at Berkeley tion mance in the Brazilian Drum ’n’ Takahiro Aoyagi, Gifu University Bass Scene of São Paulo 7:30 The Dynamics of the “Drum”: Rhyth- Ivan Fontanari, UFRGS/Brazil, mic Ramifications in Pow-wow 10:15 Dueling Fakirs: Phantom Shrines University of California at Los Song and Dance and the Spectacle of Musical De- Angeles James E. Cunningham , Florida bate in Bangladesh Atlantic University Bertie Kibreah, University of Chi- Milo III cago 8:00 Party Politics: Inti Raymi and the 8H Forum/Roundtable Indigenous Movement 10:45 Islam, Politics, and the Dynamic 7:00 Challenges with Global Music in Ellen Jacks, University of Wiscon- of Contemporary Music in Indone- the Digital Domain sin-Madison sia Chair: Daniel Sheehy, Smithsonian R. Franki S. Notosudirdjo, The Sa- Folkways Recordings Kou cred Bridge Foundation 8K Forum/Roundatable Presenters: Richard Burgess, Smithso- Kona Moku Ballroom - Salon C nian Folkways Recordings; 8:00 Education Section Forum 9C Music, Sexuality, and the Body 2 Jon Kertzer, MSN Music; Simeon Chapin, Calabash Chair: TBD Music; Atesh Sonneborn, Saturday, 9:15 – 11:15 AM 9:15 Straightyfest, Ladyquest, Ladyfest: Smithsonian Folkways Re- Oahu Room cordings Femininity, Sexuality, and Third Wave Feminism at Young Women’s Milo II 9A Musics and Masculinities: Past and Present, East and West Punk Rock Music Festivals 8I Ethnomusicology of the Individual: Elizabeth K. Keenan, Columbia Asian and European Composers Chair: Manuel Peña, California State University University at Fresno Chair: TBD 9:15 Musics and Masculinities in Late 9:45 Hazel Scott’s Body 7:00 Techno Ustad: A.R. Rahman’s Icono- Ming China (1550-1650) Monica Hairston, New York Uni- clastic Compositions and India’s Joseph S. C. Lam, University of versity Cinematic Soundtrack Conversion Michigan at Ann Arbor Natalie Sarrazin, Stanford Univer- 10:15 The Good, the Bad, and the Sexy: sity 9:45 The Libertine and the Spectacle: “Gender” in Korean Pop Music Masculinities and the Bhand (K-pop) 7:30 Master of Her Own Style: Nyi Tamasha in 18C Delhi Rebecca Fineman, University of Tjondroloekito (1920-1997), a Katherine Brown, Corpus Christi Hawai‘i at Manoa Javanese Singer College, Cambridge University Nancy Cooper, University of Hawai‘i 10:45 Nineteenth-Century Stage Bodies at Manoa 10:15 The “Treacherous Woman” and and the English Adaptation of the Canción Ranchera Bellini’s La Sonnambula Manuel Peña, California State Uni- Blase Scarnati, Northern Arizona versity at Fresno University 34 SEM Newsletter Saturday, November 18, 2006

Waikiki Ballroom – Salon 1 Waikiki Ballroom – Salon 3 Milo III 9D Music and Gender 2 9F Historical Ethnography: Integrating 9H Music, the Media and Technology 1 Historical and Ethnographic Meth- Chair: TBD ods in Ethnomusicological Research Chair: TBD 9:15 Happy Birthday, Mas Didik: Con- (Sponsored by the Historical Ethno- 9:15 Jacking the Dial: The Radio in testing and Preserving Tradition in musicology Special Interest Group) Grand Theft Auto Cross-Gender Performance Chair: Roberta Lamb, Queen’s University, Kiri Miller, University of Alberta Bethany Collier, Cornell Univer- Kingston Ontario sity 9:45 Representation of Diversity on Ca- 9:15 Reevaluating Roots: Music of the nadian Community Radio Stations 9:45 The Ingenues and the Feminiza- Ancient Southeast Asian Sanskrit Gillian Turnbull, York University tion of Mass Culture in the Sound Cosmopolis Film Era Andrew McGraw, University of 10:15 The Non-Profit Dilemma: Under- Kristin McGee, University of Richmond standing the Contemporary Mar- Groningen ket for Jazz Radio 9:45 California Indians and Scholars: A Ray Briggs, California State Uni- 10:15 Performing Masculinity:Cross- Joint Exploration in Historical Eth- versity at Long Beach Dressing and Male Impersonators nomusicology in Cantonese Opera Margaret Cayward, University of 10:45 Jazz, Technology, and the Redefi- Pui Sze Priscilla Tse, University of California at Davis nition of Community: A “Tech- Hawai‘i at Manoa nography” of Jazz 10:15 The Native American Plains Flute Ken Prouty, Indiana State Uni- 10:45 “Unbearable Intimacy” and Gen- Past and Present versity der/Genre Transgression, or Paula Conlon, University of Okla- Genre Trouble: Voices that Matter homa Milo II Shana Goldin-Perschbacher, Uni- 9I Workshop versity of Virginia 10:45 Preserving the “Creative Gap:” Lessons from Historical, Non- 9:15 From Local Community to the Waikiki Ballroom – Salon 2 Western, and Contemporary Per- Global Marketplace: Critical Skills 9E Globalization and World Music 2 formance Practices for Applied Ethnomusicologists Janet Sturman, University of Ari- (Sponsored by the Applied Eth- Chair: TBD zona nomusicology Section) Chair:Ric Alviso, California State 9:15 Recentering Reggae: From the Car- Kaimuki ibbean Sea to the Pacific Rim University at Northridge 9G Flippin’ the Scripture: New Direc- Hasse Huss, Stockholm University Presenters: Ric Alviso, David Lewiston, tions in Church Music from the Tim Bostock, Keoni Fujitani, African Diaspora 9:45 Translation without Words: On Jay Junker and Bill Feltz Reception and Robert Wilson’s I Chair: Birgitta Johnson, University of Milo I La Galigo California at Los Angeles Sarah Weiss, Yale University 9J Lecture Demonstration 9:15 “When We All Get Together”: Praise 10:15 Traffic in Indigeneity: Andean and Worship Music as a Unifying 9:15 The Father of Bossa Nova Musicians and the Global Public Element in an African American Joao Junqueira, University of Colo- Sphere Mega Church rado at Boulder Joshua Tucker, University of Chi- Birgitta Johnson, University of Cali- cago fornia at Los Angeles 10:15 Advocating Piano Music of the African Diaspora: Melding Cul- 10:45 The Transnational Heritage of a 9:45 Are Those Congas in the Pulpit?: tures Chinese Regional Genre Afro-Cubans in the Cuban Protes- William Chapman Nyaho, Inde- James Wilson, Connecticut Col- tant Church pendent Scholar lege Valerie Dickerson, University of California at Los Angeles Honolulu 9K Song and Ritual 10:15 Hip-Hop in the Church: Commer- cial Street Music as Spiritual Capital Chair: TBD Christina Zanfagna, University of 9:15 Soviet-Korean Folksongs in the California at Los Angeles Early 20th Century Bohi Gim Ban, Hanyang Univer- 10:45 The Agape Chants: Music of In- sity, Center for Korean Studies clusion at a Los Angeles Trans- denominational Mega Church Amy Wooley, Towson University Saturday, November 18, 2006 SEM Newsletter 35

9:45 A Tune for All Occasions: 12:30 (Re)sounding Beirut: Sites of Mu- 12:30 Corruption and Pedophilia Go to Monothematism in Hani Folksongs sical Memory and Urban Imagi- the Dance Floor: Local Politics, of Southwest China naries Media Spectacle, and Electronic Gloria Wong, University of British Shayna Silverstein, University of Dance Music in DJ Kermit’s Columbia Chicago “Gober” Alejandro L. Madrid, University 10:15 O’odham Song Language: Song 1:00 Reflexive Aesthetics in an Online of Illinois at Chicago Texts and Ritual Spoken Texts Community: The Case of Iranian Richard Haefer, Arizona State Uni- Alternative Music 1:00 DJ Cultures and Babysteps To- versity Chloe Coventry, University of Cali- wards a Glocal Ethnomusicology fornia at Los Angeles Kai Fikentscher, Ramapo College Break, 11:15 – 11:30 AM of New Jersey Kona Moku Ballroom - Salon C Saturday, 11:30 AM - 1:30 PM Waikiki Ballroom – Salon 2 Oahu Room 10C Music and Indigenous Politics 1: Fiji, China, and Chicano Culture 10E Ethnomusicology of the Individual: 10A Music and Politics in East Asia: Folk and Art Music Performers Mongolia, Hong Kong, and China Chair: TBD Chair: TBD Chair: TBD 11:30 Matanitu (Government) and the Meke: The Sociopolitical Tool in 11:30 Stories of a Singer: The Intersec- 11:30 Rural & Urban Musical Narratives Fijian Negotiation tion of Personal, Musical, and Na- and the Politics of Cultural Iden- Helen Black, Australian National tional Histories tity in Contemporary Mongolia University, Canberra Sue Tuohy, Indiana University Peter K. Marsh, American Center for Mongolian Studies 12:00 “Red Detachment of Women” and 12:00 Joseph Cooper Walker, Esq. (c. the Enterprise of Making “Model” 1761-1810): A Forgotten Irish Bard 12:00 Music and the Politics of Place in Music During the Chinese Cul- Hilary Morris, Independent the Mongolian Landscape: Kazakh tural Revolution: Recapturing an Scholar Musicians in Western Mongolia Abandoned Dream Jennifer Post, Middlebury College Clare Sher Ling Eng, Yale Univer- 12:30 Witches and Divas and Rufus, Oh sity My! Camping High Art in the Music 12:30 Negotiation of Nationalism in the of Rufus Wainwright Postcolonial Era: The Chinese Na- 12:30 A Proletarian Icon: The Accordion Kate Galloway, Massey College tional Anthem in the Hong Kong in Post-1949 China Mass Media Yin Yee Kwan, The Chinese Uni- 1:00 Migration and Movement in Mun Tak Ada Chan, The Chinese versity of Hong Kong Cantonese Opera University of Hong Kong Suk Yan Tai, The Chinese Univer- 1:00 I’m Not a Criminal: Emerging Im- sity of Hong Kong 1:00 Folksong Collecting Caifeng: Per- migrant and Chicano Cultural and formance and History Writing in Musical Paradigms in Response to Waikiki Ballroom – Salon 3 the Context of Imperial and Com- Anti-immigration Politics munist China 10F Diasporic Music of the U.S.: The Juan Zaragoza, Independent Caribbean and Europe Siu Wah Yu, The Chinese Univer- Scholar sity of Hong Kong Chair: TBD Waikiki Ballroom – Salon 1 Kona Moku Ballroom - Salon B 11:30 From Ping-Pong to P.I.M.P.: His- 10D DJ Cultures: Case Studies and Per- torical and Cultural Perspectives 10B The Middle East: Iraq, Egypt, Leba- spectives of 21st century Ethnomu- on the Arrival and Dissemination non, and Iran sicology of Steel Pan in the United States Chair: TBD Chair: Kai Fikentscher, Ramapo College Janine Tiffe, Florida State Univer- of New Jersey sity 11:30 Sound Targets: Music and the War in Iraq 11:30 New Technologies and the Reor- 12:00 Missing Havana: The Trouble with Jonathan Pieslak, City College of ganization of DJ Culture in Salva- Cuban Music in Cuban Miami New York, CUNY dor, Bahia (Brazil) Lara Greene, Florida State Uni- Gustavo Azenha, Barnard Col- versity 12:00 Re-Imagining Spaces: Transna- lege (Columbia University) tional Forces and Individual 12:30 Sync(retism) or Swim: Cultural Choices in the Emergence and 12:00 Communicating the Collective Preservation of the Ukrainian Shaping of Nonprofit, Private Imagination: The Socio-Spatial Christian Diaspora in the United Music Venues in Cairo, Egypt World of the Mexican Sonidero States Lillie Gordon, University of Cali- Cathy Ragland, Lehman College Stephen Benham, Duquesne Uni- fornia at Santa Barbara versity 36 SEM Newsletter Saturday, November 18, 2006

1:00 Autumnal Diasporas: Conceptions Milo II Presidential Suite of the Russian Emigre Community 10I Forum/Roundtable 12:30 - 1:30 PM in New York SEM Board of Directors Meeting Natalie Zelensky, Northwestern 11:30 Ethnomusicologists at Work, Part University VI (Sponsored by the Applied 1:30 – 2:15 PM Ethnomusicology Section) SEM Board of Directors Meeting with Kaimuki Chair: Mark Puryear, National Council Investment Committee 10G Jazz for the Traditional Arts Lunch Block, 1:30 – 2:30 PM Chair: Eddie Meadows, San Diego State Presenters: Steve Grauberger, Alabama University (Emeritus) Center for Traditional Cul- Milo I ture; Nora Yeh, American 1:30 – 2:30 PM 11:30 Marketing Miles: Technology, Au- Folklife Center, Library of thenticity, and the Body in Miles Historical Ethnomusicology Special In- Congress; J. W. Junker, Uni- terest Group Davis’s Early Fusion Period versity of Hawai‘i at Monoa Jeremy A. Smith, Duke University Milo II Milo I 1:30 – 2:30 PM 12:00 Silencing Sound: Jazz Historiogra- 10J Lecture Demonstration phy and the Sixties Applied Ethnomusicology Section Steven F. Pond, Cornell Univer- 11:30 Improvisation in Khaen Music Milo III sity Priwan Nanongkhamk, Kent State 1:30 – 2:30 PM University 12:30 The Death of Jazz: America’s New Special Interest Group for European Music “Endangered” Music 12:30 Gamelan Music of Lou Harrison: John Bishop, University of Cali- An American’s Tradition Honolulu fornia at Los Angeles Jody Diamond, Dartmouth Col- 1:30 – 2:30 PM lege Association for Korean Music Research 1:00 Comping the Changes: Musical Professionals in the New York Honolulu Kou City Jazz Scene 10K Musical Migrations: Ecuador, 1:30 – 2:30 PM Tom Greenland, University of Mexico, and Mexican Americans Gender and Sexualities Taskforce Santa Barbara Chair: TBD Saturday, 2:30-4:30 PM Milo III 11:30 Musical Migrations: The Tecnoc- Oahu Room 10H Diasporic Music of the U.S.: The umbia Boom in Ecuador Pacific, South and Southeast Asia Ketty Wong, University of Texas at 11A Southeast Asia: Cambodia, Austin Singapore, Bali, and Sumatra Chair TBD Chair: TBD 11:30 “Whose Philippines”? Filipino- 12:00 Decolonial Migrations: Popular American Identity in Commu- Traditional Musics and Transna- 2:30 Musiking in Post Genocidal Cam- nity-based Presentations of Music tional Ritualized Performances bodia: Starting from Nowhere? and Dance in La Fiesta de San Francisco in Stephen Mamula, Independent Romeo Guzman, University of Magdalena, Sonora Scholar California at Los Angeles Peter J. Garcia, Arizona State Uni- versity, Tempe 3:00 Soundscapes of the Immigrant 12:00 Reclaiming the Diaspora Through Child: A Singaporean Perspective Song 12:30 Xochipitzahuac: How a Petite Chee Hoo Lum, University of Wash- Nilanjana Bhattacharjya, Colo- Flower Came to Represent the ington rado College Huasteca Kim Carter Munoz, University of 3:30 Creating the New for the Preserva- 12:30 Experiencing Cambodian Music Washington tion of the Old: I Wayan Sinti’s and Dance: Resettlement and Re- Concept of Kreasi Baru silience in the United States 1:00 The Saxophone-based Conjunto Sabrina Bonaparte, University of Joanna Pecore, Smithsonian In- Norteño: An Innovative Musical Washington stitution Genre Propelling Mexican Ameri- can Identity 4:00 “Sing Out / Ring Out Your Dead”! 1:00 Diaspora or not yet–Indonesian Jorge Andres Herrera, University Musical Choice and Representa- Christians in the USA of California at Los Angeles tion in Toba Batak (North Sumatra, Marzanna Poplawska, Wesleyan Indonesia) Funeral Ritual University Rob Hodges, University of Califor- nia at Santa Barbara Saturday, November 18, 2006 SEM Newsletter 37

Kona Moku Ballroom - Salon B Waikiki Ballroom – Salon 1 Waikiki Ballroom – Salon 3 11B Music of the Other in Arab, Javanese, 11D Music and Protest in African, Fili- 11F Religion in Africa and the African Turkish, and Hawaiian Cultures pino, and Latin American Cultures Diaspora Chair: TBD Chair: TBD Chair: TBD 2:30 Symbolizing Otherness: The Snake 2:30 Fela’s Foundation: Revolutionary 2:30 Who Controls the Trancer? The Charmer in Western Imagination Spirit and Protest Songs of Mystical Powers of Music and Spir- Funmilayo Ransome-Kuti Ali Jihad Racy, University of Cali- its in Agbosu Religious Ceremony fornia at Los Angeles Stephanie Shonekan. Columbia of the Ewe and Fon College Chicago Kofi J. S. Gbolonyo, University of 3:00 Griffes’s Javanese Songs: Whose Pittsburgh Authenticity? 3:00 “Promises of the Cameleon”: Reggae as Resistance in Conflict-Ridden Henry Spiller, University of Califor- 3:00 Boundary, Power, and ‘Impure’ Côte d’Ivoire nia at Davis Gods in the Music of Afro-Brazil- Daniel B. Reed, Indiana Univer- ian Candomblé 3:30 Dueling Multiculturalisms and Mu- sity Daniel Piper, Brown University sical “Con-Fusion” in Modern Tur- key: The Recontextualization of an 3:30 Sacred or Secular: Filipino Migrant 3:30 Islamic Talismans, Catholic Prayers, Instrument of Otherness Workers’ Musical Activities on So- and the Preparation of Cuban Bata cial Protest in Construction of Eric Ederer, University of Califor- Drums for Orisha Worship Diasporic Identity nia at Santa Barbara Michael Marcuzzi, York Univer- Canny Cheng Kam Lam, The Chi- sity 4:00 Capturing the Locus of the Exotic nese University of Hong Kong and the Erotic in “Waikiki” 4:00 Mediating African Musical Encoun- 4:00 Beyond Aztlan: Protest Song in the Anthony T. Rauche, University of ters: The South and West Asian Borderlands of Social Movements Hartford Factor in Music in East African Estevan Azcona, University of Christianity Kona Moku Ballroom - Salon C Texas at Austin Jean Ngoya Kidula, University of Georgia 11C Music and Indigenous Politics 2: Waikiki Ballroom – Salon 2 Folk and Art Music Traditions 11E Arts, Organizations, and Social Kaimuki 2:30 Singing Nothing for Something: Change: Case Studies from Bosnia 11G President’s Roundtable The Politicization of Vocables in and Herzegovina, Suriname, Taiwanese Aboriginal Song Kenya, and Various Parts of Asia 2:30 Activism at the Ethnomusicological Chun-bin Chen, University of Chi- Chair:Kathleen Noss Van Buren, Crossroads cago University of Sheffield, England Chairs: Philip V. Bohlman, University of Chicago; and Steve Loza, 3:00 Revivalism and Reclamation: Strip 2:30 PSYPOP: NATO, Radio, and Psy- University of California at Los Mining and the Politics of Tradi- chological Operations in Bosnia Angeles and Herzegovina tional Music in Central Appalachia 1) Ethnomusicology and Professional Jennie Noakes, University of Penn- Erica Haskell, Brown University Organizations sylvania 3:00 Meke Poku Fu Feti Sida: NGOs and Eileen Hayes and Travis A. Jackson Music in the Fight against AIDS 3:30 Regional Musics as a Hostage of US 2) Government Agencies, Cultural and Among the Maroons of Suriname Corporations Otherwise Sathya Burchman, University of Clifford Murphy, Brown Univer- Judith Gray and Daniel Sheehy sity California at Los Angeles 3) Sites of Publication, Performance, 3:30 Partnering for Social Change: Ex- 4:00 Acoustic Ecologies and Indigenous and Dissemination Politics in the Symphonic Tradi- ploring Relationships between Art- Ingrid Monson and Deborah Wong tion ists and Organizations in Nairobi, Kenya Tina K. Ramnarine, Royal Hollo- 4) Social and Religious Organizations way, University of London Kathleen Noss Van Buren, Univer- sity of Sheffield, England Steve Loza and Zoe Sherinian

4:00 Art Forms and Ethnomusicologists 5) Structures of Colonialism and State- hood in Asia as Bridges between Local, National, and Global Communi- Kyra Gaunt and Amy Stillman ties Todd and Mary Saurman, SIL In- ternational 38 SEM Newsletter Saturday, November 18, 2006/Sunday, November 19, 2006

Milo III Break, 4:30 – 5:00 PM 7:00 Female Pop Singers, Sexuality, God- dess Cults, and the Politics of Neat- 11HMusic, the Media and Technology 2 Kona Moku Ballroom ness in Twenty-first Century Chair: TBD 5:00 - 6:30 PM Vietnam SEM Business Meeting Dale Olsen, Florida State Univer- 2:30 “Alan Lomax’s iPod?” smithsonian- sity globalsound.org and Applied Eth- Evening Block, 6:45 – 10:00 PM nomusicology on the Internet 7:30 Battling Sex, Performing Gender: David Font-Navarrete, University Kona Moku Ballroom Scenes from a Japanese Popular of Maryland 6:45 – 7:45 PM Song Contest Charles Seeger Lecture Shelley Brunt, The University of 3:00 Pandora’s Bachs: You, Musically, Adelaide Custom(er)ized Leahi Ballroom Thomas Porcello, Vassar College 8:00 – 10:00 PM 8:00 “Returning in Dreams to Tang SEM Banquet Dynasty”: Re(Constructing) Chi- 3:30 Synthesizing Race: An Ethnogra- nese Masculinity and Cultural Iden- phy of Vocaloid tity in PRC Heavy Metal Nina Sun Eidsheim, University of Cynthia Wong, Stony Brook Uni- California at San Diego Sunday, Nov 19, 2006 versity Breakfast Block 6:00 – 8:00 AM Milo II Kona Moku Ballroom - Salon C Honolulu 11I Forum/Roundtable 12C (Dis)comforting Positions: Dance, 6:00 – 8:00 AM Ethnography and the Body (Spon- 2:30 “Sandbox Ethnomusicologists” Run SEM Council sored by the Dance Section) Amok? Teachers with Toeholds in Ethnomusicology Presidential Suite Chair: Tomie Hahn, Rensselaer Chair: Ellen Koskoff, Eastman School of 8:00 AM - 1:00 PM Polytechnic Institute Music SEM Board of Directors Meeting 7:00 (Dis)comfort: When Touch Moves Presenters: Patricia Campbell, Univer- Sunday, 7:00-8:30AM Tomie Hahn, Rensselaer Polytech- sity of Washington; Ann C. nic Institute Clements, Pennsylvania Oahu Room State University; Rither 12A A Sea of Islands: Encounters with 7:30 Moving Through Discomfort in Klinger, Cleveland State the Other Kathak Dance University; Jackie Lew, Sarah Morelli, Harvard University Salisbury University, Mary- Chair: Adrienne Kaeppler, Smithsonian land Institution 8:00 Swing Your Partner, Kiss Your Milo I 7:00 Selling Tahiti: Pacific Performance Neighbor: Intimacy and As Cultural Consumption Dis(Comfort) in New England 11J World Music Theory Contra Dance Jane Freeman Moulin, University Chair: TBD of Hawai‘i at Manoa Dorothea Hast, Eastern Connecti- cut State University 2:30 What Happened to Indian Music 7:30 Encountering Heritage: Music, Theory? Waikiki Ballroom – Salon 1 Nazir Ali Jairazbhoy, University Colonialisms, and Tradition in of California at Los Angeles Chuuk, Micronesia 12D Towards a National Recording Brian Diettrich, University of Project for Indigenous Perfor- 3:00 The Tal Paddhati of 1888 Hawai‘i at Manoa mance in Australia James Kippen, University of Chair: Allan Marett, The University of Toronto 8:00 Festival of Pacific Arts, 1972-2004: Sydney Encounters with Time, Across Space 3:30 Unknown Intervals or Unknown and with Others 7:00 Envisioning a National Recording Identity: Is the disagreement on Barbara B. Smith, University of Project for Indigenous Performance specific intervals between Iranian Hawai‘i at Manoa in Australia musicians a simple diversity of Allan Marett, The University of Syd- opinions or an identity crisis? Kona Moku Ballroom - Salon B ney Bahram Osqueezadeh, University 12B Asian Popular Music 1: Sexuality of California at Santa Barbara and Gender 7:30 A Network of Local Initiatives: Building the National Recording 4:00 Categorizing Periodicity Chair: TBD Project for Indigenous Performance Michael Tenzer, University of Brit- in Australia ish Columbia Neparrnga Gumbula, The Univer- sity of Melbourne Sunday, November 19, 2006 SEM Newsletter 39

8:00 There’s No Point Admiring the 8:00 Prepared for Conflicts in the Field? 8:00 Community and Power in Proces- Flowers When the Roots Are Starv- Some Suggestions on how to Im- sional Music Performances during ing: Sustaining the National Re- prove the Efficiency of Ethnomu- SASADU 1998 Festival in Alavanyo, cording Project for Indigenous sicological Fieldwork Ghana Performance in Australia Svanibor Pettan, University of George Dor, University of Missis- Aaron Corn, The University of Syd- Ljublijana sippi ney Kaimuki Break, 8:30 – 8:45 AM Waikiki Ballroom – Salon 2 12G Hawai‘i: Past and Present Sunday, 8:45 – 10:45 AM 12E Scholar-Tourist, Insider-Outsider: Chair: TBD Issues of Reflexivity and “Emitics” Oahu Room in the Ethnomusicology of Cul- 7:00 Falsetto and Yodel in 19th Century 13A Sustainable Music tural Tourism Honolulu: A Speculative History Chair: Jeff Todd Titon, Brown University Chair: Victor A. Vicente, University of Kati Szego, Memorial University Maryland 8:45 Louisiana Creole Bals de maison in 7:30 Sounds of Paradise: Hawai‘i and California and the Accumulation of 7:00 Reclaiming Heritage through Mu- the American Musical Imagination Social Capital sic and Dance: Nostalgia, Repre- Charles Hiroshi Garrett, University Mark F. DeWitt, Independent sentation, and Cultural Tourism of Michigan Scholar along Virginia’s Heritage Music Trail 8:00 Kill All the White Man: Youth 9:15 “Pay for Play”: The Redistribution Cheryl A. Tobler, University of Agency and Resistance in the of Payola for Music Diversity in Maryland Hawai‘i Punk Scene New York State Stephanie Teves, University of Lois Wilcken, La Troupe Makandal/ 7:30 Altitude Affects Amplitude: Musi- Michigan City Lore cal Multiplicity, Economics, and the Touristic Culture of Asheville, Milo III 9:45 Four Fields of Music Making and North Carolina 12H The Brazilian Diaspora Sustainable Community Heather Miller, University of Mary- Tom Turino, University of Illinois land Chair: TBD 7:00 Travel, Identity, and Fusion in the 10:15 Theorizing Sustainable Music 8:00 Sufi Islam and the Itineraries of Jeff Todd Titon, Brown University Enlightenment: Whirling Dervish Bossa Nova Kariann Goldschmitt, University of Shows and the Worshiper-Tourist Kona Moku Ballroom - Salon B Dichotomy in Egypt and Turkey California, Los Angeles Victor A. Vicente, University of 13B The Culture in Traffic: Urban Sounds Maryland 7:30 280,000 Invisible Men: Music, Iden- and Transitional Spaces in the Is- tity and the Story of Nikkei/Zainichi lamic World Brazilian Community in Japan, Sum- Waikiki Ballroom – Salon 3 Chair: Bruno Nettl, University of Illinois mer 2005 12F On the Dark Side of the Field: Junko Oba, Sewanee: The Univer- 8:45 Traffic Culture: Music and Intimacy Fieldwork under Special Circum- sity of the South in Tehran’s Taxicabs stances and Strategies that Make It Niloofar Mina, New Jersey City Uni- Possible Milo II versity Chair: Svanibor Pettan, University of 12I Music and Kingship in Africa Ljublijana 9:15 Everyday in the City: Music and Chair: TBD Identity among Central Asian 7:00 Fieldwork beyond the Dark Side of 7:00 The King’s Royal Musicians of Groups in London the Eye: Considering Participation, Razia Sultanova, SOAS Involvement, Academic Curiosity, Nineteenth-Century Buganda: Ex- and Safety in the Field amining Their Songs as Vehicles of Political and Social Discourse 9:30 Supaya Ramai: Orality, Islam and Helena Simonett, Vanderbilt Uni- the Asian Aesthetic of Noise versity and Change Damascus Kafumbe, Florida State Anne Rasmussen, The College of William and Mary 7:30 Hidden Dangers of Ethnomusico- University logical Field Research: Possible 7:30 Music, Instruments, and Regalia in 10:15 Discussant: Salwa Castelo-Branco Responses University of Lisbon Gerald Florian Messner, Univer- the Great Lakes Region of East sity of Vienna Africa Lois Ann Anderson, University of Wisconsin-Madison 40 SEM Newsletter Sunday, November 19, 2006

Kona Moku Ballroom - Salon C Waikiki Ballroom – Salon 2 Kaimuki 13C Music in Film 13E East Asia 1: Tradition and Innova- 13G Music of South America tion Chair: TBD Chair: TBD Chair: TBD 8:45 Sonic Visions of Manifest Destiny: 8:45 Traditional and/or Modern? The Music and Image in The Unforgiven 8:45 Gods, Humans, and Ghosts: A Confluence of Music and Dance at Tara Browner, University of Cali- Survey of the History, Symbolism, Argentina’s Cosquín National Folk- fornia at Los Angeles and Influences in Daoist Ritual lore Festival Music Jane L. Florine, Chicago State Uni- 9:15 Hollywood “Liebestod”: Music and Chenny Gan, University of North versity Masculinity in Jean Negulesco’s Carolina Humoresque 9:15 Colonial to Post-Colonial Cultural Stephan Prock, University of Vir- 9:15 From Flowing Water to Garbage Migration: Andean Carnival Dance ginia Floating: The Tamsui River in Tai- in a Transnational Context wan Song Tom van Buren, Westchester Arts 9:45 Consumer Fantasies, Fantasies of Nancy Guy, University of Califor- Council Consumption: Suddenly Last Sum- nia at San Diego mer as Colonialist Text 9:45 Artists, not Artisans: Music and the Mitchell Morris, University of Cali- 9:45 Riding the Wave of Nostalgia and Making of an Afroperuvian Mo- fornia at Los Angeles Melodrama through Dae Jang dernity Geum Javier León, Tulane University 10:15 Film Songs, Film Singers, and Hae Joo Kim, Wesleyan University Participatory Discrepencies: A Milo III Cross-Cultural Exploration 10:15 The Survival of Oral Tradition in 13H Forum/Roundtable J. Lawrence Witzleben, Chinese a Modernizing Genre: “Oral Nota- University of Hong Kong tion” in Taiwan’s Peking Opera 8:45 Negotiating Faith and Belief / Schol- Percussion Music arship and Pedagogy: The Emerg- Waikiki Ballroom – Salon 1 Weng Po-wei, Wesleyan Univer- ing Presence of Ethnomusicology 13D South Asia 1 sity in the Southern California Chris- tian Academy Chair: TBD Waikiki Ballroom – Salon 3 Chair: Kimasi L. Browne, Azusa Pacific 8:45 The South Indian “Saraswathi” 13FPerforming Diaspora: European University Musics and Communities in North Veena—Musical Instrument as Presenters: Kimasi L. Browne, Azusa America (Sponsored by European Divine Body Pacific University; Dennis Music Special Interest Group) Beth Bullard, George Mason Uni- Royse, Azusa Pacific Uni- versity Chair: Lynn Hooker, Indiana University versity; Roberta King, Fuller Theological Seminary; 9:15 Compositional Exchange: Nation- 8:45 Performing Identity: Privileging Herbert Geisler, Concordia alist, Religious, and Musical Iden- Narratives through Singing and University tity in Modern India Song from the Polish Tatras Milo II Meilu Ho, University of California Louise Wrazen, York University at Los Angeles 13I Nationalism and Ethnic Identity in 9:15 The Philadelphia Russian Sher Med- African Music 9:45 The Creation of Classical: National- ley: Viewing the Jewish Immigrant Chair: TBD ism, Regionalism and Dance in Experience through a Musical Text Andhra Pradesh, India Hankus Netsky, New England Con- 8:45 Ideologies and Newspapers: Rumya S. Putcha, Independent servatory of Music Kwame Nkrumah and the Use of Scholar Ghanaian Traditional Music and 9:45 Performing the Old, Embracing the Dance as Propaganda 10:15 Becoming the Saint: Sacrifice, New: Festivalization, the Carni- Karen Liu, University of Califor- Embodiment and Musical Virtu- valesque, and the Creation and nia at Santa Barbara osity in Bhakti Maintenance of Community in Jaime Jones, University of Chicago North American Hungarian Folk 9:15 One Face, Many Phases: Fifty Years Music and Dance Camps of Victor Olaiya’s Highlife Music in Lynn Hooker, Indiana University Nigeria Olabode Omojola, Northeastern 10:15 Performing the Journey: Echoing University, Boston Travel Narratives among Student Ceilidh Performances at Scottish Music Camps in North America Kathleen Lavengood, Indiana University Sunday, November 19, 2006 SEM Newsletter 41

9:45 Rural Popular Music and Ethnic 12:00 From Black Magic Woman to 12:00 Limitary Conditions of Blackness: Identity: Benga Dance Bands of Black Magic Men: Sanguma Per- Narcisco Garay’s “Creolization” the Luo Community in Western forming Papua New Guinea of the Panamanian Tamborito Kenya Denis Crowdy, Macquarie Uni- Francesca Rivera, University of Ian Eagleson, Wesleyan Univer- versity California at Berkeley sity 12:30 Tradition and Modernity in the 12:30 Performing American: Ragtime Milo I Music of a Papua New Guinean Dancing as Figurative Minstrelsy 13J Music Archives—A Legacy of Colo- Community Danielle Robinson, York Univer- nial Ethnomusicology or a Model Kirsty Gillespie, Australian Na- sity for the Digital Democracy? tional University Waikiki Ballroom – Salon 1 Chair: Lars-Christian Koch, Berlin Kona Moku Ballroom - Salon B 14D South Asia 2 Phonogramm-Archive, 14B Indonesian Music Ethnological Museum Chair: TBD Chair: TBD 8:45 Beyond Ethnomusicology-Think- 11:00 The Performer Classes of Punjab: ing the Archive 11:00 Indonesian Musik Kontemporer A Regional Case Study Julio Mendivil, University of Co- and the Issue of “Western Influ- Gibb Schreffler, University of Cali- logne ence” fornia at Santa Barbara Christopher J. Miller, Wesleyan 9:15 Archives as Agents - the Construc- University 11:30 Cosmopolitanism and the Curato- tion of Tradition in Romanian Eth- rial Project in Punjabi Music nomusicology 11:30 In Search of an Avant-Garde in Joyce Hughes, New York Univer- Maurice Mengel, Berlin Phono- Contemporary Javanese Music: sity gramm-Archive Two Gamelan Music Masters R. Anderson Sutton, University of 12:00 Listening for Ideology: The Emer- 9:45 The Borno Music Documentation Wisconsin-Madison gence of a Political Aesthetic in Project: A Music Archive in Nige- Hindustani Music ria and its “Postcolonial Heritage” 12:00 “You Can Play Whatever You Nathan Tabor, University of Texas Raimund Vogels, Hochschule für Want… Sort Of”: Unraveling the at Austin Musik und Theater Hannover Mysteries of Reyong Norot Impro- visation in Balinese Gamelan 12:30 What you will hear of the wed- 10:15 Music Archives in Practice - Mak- Gong Kebyar Music ding of God, tonight: Text and ing a Path through the Data Jungle Leslie Tilley, University of British Tune Interactions in a Perfor- Polina Proutskova, Hochschule für Columbia mance of a Jogi Kathâ by Kishori Musik und Theater Hannover Nath of Alwar District, Rajasthan 12:30 From the Highlands to the Me- John Napier, University of South tropolis: Traversing Aesthetic and Wales Break, 10:45 – 11:00 AM Discursive Distance in West Sumatra Waikiki Ballroom – Salon 2 Jennifer Fraser, University of Illi- Sunday, 11:00 AM – 1:00 PM 14E East Asia 2: Ethnic and Cultural nois at Urbana-Champaign Identity Oahu Room Kona Moku Ballroom - Salon C Chair: TBD 14A Music of the Pacific: Tradition and Modernity 14C Moving Musics and Subjectivities in 11:00 Navigating the Fragrant Musical the Americas Harbor: Cultural Identity and Fu- Chair: TBD Chair: Rob Bowman, York University sion Orchestral Composition in 11:00 Music Transmission Among “Postcolonial” Hong Kong Polynesian Brass Bands of New 11:00 Embodied Subjectivities: Samba John Winzenburg, Agnes Scott Zealand Schools and the Negotiation of College David G. Hebert, University of Gendered Identities New Zealand (Te Wananga O Carla Brunet, University of Cali- 11:30 “Return to Innocence”: In Search Aotearoa) fornia at Berkeley of Ethnic Identity in the Music of the Amis of Taiwan 11:30 “Nana I Hawai‘i I Ko’u Mau Maka 11:30 Cante Comigo Galera: Popular Chiung-Wen Chang, University (See Hawai’i Through My Eyes)”: Music Performance, Singing of Florida Cultural Identity in Contempo- Subjectivities, and the Aesthetic rary Hawaiian Music of Participation in Salvador da 12:00 Ikari Taiko Group and Buraku Paula J. Bishop, Boston Univer- Bahia, Brazil Identity in Osaka, Japan sity Jeff Packman, University of Cali- Yoshitaka Terada, National Mu- fornia at Berkeley seum of Ethnology, Osaka, Japan 42 SEM Newsletter Sunday, November 19, 2006

12:30 SamulNori and Cosmological Di- 12:30 Music War: The Twice Displaced Milo I dacticism and Psychedelic Trance Music in 14J The Local and the Global: Old- Honolulu Nathan Hesselink, University of Time, Country and Bluegrass Mu- British Columbia Yuka Hasegawa, University of sic Hawai‘i at Manoa Waikiki Ballroom – Salon 3 Chair: TBD Milo III 14F Imagining Europe: Musical Varia- 11:00 The Voice of the Land: National tions on the theme of UNESCO and 14H Decolonizing Native American Mu- and Indigenous Identity and Au- the European Union (Sponsored sic thority in Australian Country Music by the European Music Special Chair: TBD Graeme Smith, Monash Univer- Interest Group) sity Chair: Sonia Seeman, University of Texas 11:00 Experience and Play: A Recipe for at Austin Success in Apachean Chocolate 11:30 Framing the Genre Debate: Cat- Cake egorization and Contemporary 11:00 Performing Practices and Thomas Aplin, University of Cali- Bluegrass Music UNESCO’s Role in Shaping Arts fornia at Los Angeles Joti Rockwell, University of Chi- Education: Supporting Creative cago Capacities at Elementary School 11:30 Decolonizing the Archive: Docu- Maria de São José Côrte-Real, mentation and the Production of 12:00 “Something Different Yet Taste- Escola Superior de Educaçäo Knowledge in a Participatory Eth- ful”: Japanese Bluegrass and the de Lisboa nomusicological Research in Rio American Traditional Bluegrass de Janeiro, Brazil Community 11:30 Intangible Heritage, Tangible Vincenzo Cambria, Wesleyan Mark Y. Miyake, Indiana Univer- Transformations: UNESCO, the University sity EU, and the Rescaling of Baltic National Song and Dance Festi- 12:00 In Your Dreams: Dreams as a 12:30 “It Ain’t Old-Time Music If It’s Too vals Viable Performing Space for Eth- Good”: Music as Process within Jeffers Engelhardt, Amherst Col- nomusicological Research an Old-Time Jam Session lege Dawn Avery, University of Mary- Trevor Harvey, Florida State Uni- land versity 12:00 Turkey, the EU and Roman/ Çingene: Racing Ethnicity across 12:30 Nez Perce Musical Thought: Real- Honolulu Trans/national Terrain ity vs. Representation 14K Forum/Roundtable Sonia Seeman, University of Chad Hamill, University of Colo- Texas at Austin rado at Boulder 11:00 The Role of History in Ethnomu- sicology (Sponsored by the His- 12:30 Discussant: Stephen Wild, Austra- Milo II torical Ethnomusicology Special lian National University 14I African American Music Interest Group) Chair: Joseph S. C. Lam, University of Kaimuki Chair: TBD Michigan, Ann Arbor 14G Popular Music in East Asia and the 11:00 A Comparison of Two African Presenters: Gillian Rodger, University Pacific American Sacred Steel Guitar of Wisconsin, Milwaukee; Musical Traditions Chair: TBD John O’Connell, Cardiff Robert L. Stone, Florida Folklife University; Richard Wid- 11:00 Hattori Ryouichi and the Course Program dess, SOAS, University of of Exoticism in 1930s Japanese London; Timothy Taylor, Popular Music 11:30 Survival of a Juke Joint: The University of California, Los Edgar Pope, Hokusei Gakuen Uni- Legacy of the Chitlin Circuit and Angeles versity Austin’s Historic Victory Grill Jonathan Meyers, University of Lunch Block, 1:00 – 2:00 PM 11:30 The Intercultural Phenomenon in Texas at Austin the Early Development of Popu- lar Music in Shanghai 12:00 Anatomy of a Sell-Out: the Black- Sunday, 2:00 – 3:30 PM Eyed Peas from Behind the Front Xin Li, Central Conservatory of Oahu Room Music, Beijing to Monkey Business Camille Peters, University of Cali- 15A A Sea of Islands: Encounters Across 12:00 “I am Tibetan”! Representation in fornia at Berkeley Space Tibetan Pop Music 12:30 The Same Old Song: Dialogism in Chair: Stephen Wild, Australia National William Connor, III, University of University Hawai‘i at Manoa the Music of Motown Records Andrew Flory, University of North Carolina at Chapel Hill Sunday, November 19, 2006 SEM Newsletter 43

2:00 Ethnomusicology of the Individual: 3:00 Early Women Tango Singers: The 2:30 Roma Rule in the Chalga/Popfolk A Biography of Rapanui Master Glitch in the Heteronormativity of Groove Musician Kiko Pate a National Cultural Production Irene Markoff,York University Dan Bendrups, University of Otago Sirena Pellarolo, California State University at Northridge 3:00 “21st Century Gypsy”: Musical Col- 2:30 Ethnomusicology of the Individual/ laborations as a Path to a New Music as Autobiography: Ka ‘Upu Waikiki Ballroom – Salon 1 Identity Aloha-alone with my thoughts 15D Quadrille Traditions in Colonial Brana Mijatovic, Christopher New- Aaron Sala, University of Hawai‘i and Postcolonial Contexts port University at Manoa Chair: Rebecca Miller, Hampshire Kaimuki College 3:00 “This is my life”: Biography, Iden- 15G Event - Identity – Experience tity and Narrative in “New Zealand 2:00 Old Timers and Métis Heritage Born” Pacific Rap Songs Chair: Luis-Manuel Garcia, University of Displays in Early-Twentieth-Cen- Kirsten Zemke-White, University of Chicago tury Alberta Auckland, New Zealand Sarah Quick, Indiana University 2:00 Vazaleen, Affect and Utopia: Slid- Kona Moku Ballroom - Salon B ing Public Spheres into Private 2:30 Embodied Politics: Staging Qua- Places 15B Female Maestros of South Korea: drille in Antillean Festivals Luis-Manuel Garcia, University of Women’s Perspectives, Women’s Dominique Cyrille, Lehman Col- Chicago Legacy lege, City University of New York Chair: Heather A. Willoughby, Ewha 2:30 Steady Diet of Nothing: Affinities, Womans University 3:00 Square Dancing, Mimesis, and Ab- Sacrifices, and Change at Record original Public Culture Fairs 2:00 Kim Soon-Ae: The First Female Byron Dueck, Columbia College Andrew Mall, University of Chi- Composer of Contemporary Ko- Chicago cago rea Hyun Kyung Chae, Ewha Womans Waikiki Ballroom – Salon 2 3:00 Tourists in a Local World: Travel- University 15E Music, the Media and Technology 3 ing Through the Chicago Blues Scene 2:30 Yi Ji-Young: Leading a New Gen- Chair: TBD Gregory Weinstein, University of eration of Korean Musicians Chicago 2:00 Amateurism in the Age of Canned Hilary Finchum-Sung, University Music of California at Berkeley Milo III Mark Katz, Peabody Conservatory 15H Music and Learning 3:00 Kim So-hüi: Tradition, Transcen- dence, and Transmission of the 2:30 Mediation, Record Collecting, and Chair: TBD Korean Art of P’ansori Cultural Capital in Sacred Harp Performance 2:00 Learning as Ethnography in African Heather Willoughby, Ewha Ensemble Womans University Brigita Sebald, University of Cali- fornia at Los Angeles Ileana Weinstein, University of Vir- Kona Moku Ballroom - Salon C ginia 3:00 The Film Director as Ethnomusi- 15C Reinas de la Noche: Reconsidering cologist: The Problem of Musical 2:30 “Act normal—that’s crazy enough”! Musica Vernácula from a Queer Migration Teaching and Learning Early Music Chicana/Latina Perspective Erkki Pekkilä, University of Helsinki in the Dutch Conservatory System Kailan Rubinoff, University of Chair: Antonia Garcia-Orozco, California Waikiki Ballroom – Salon 3 Alberta State University at Northridge 15F Musical Pathways: Refiguring Roma 2:00 Malaguena Salerosa: Remembrance Identity in the 21st Century Europe Milo II of a Queer Musical Childhood; or, (Sponsored by the European Music 15I Politics and Music in African Ameri- Was Connie Frances Singing To Special Interest Group) can Culture Me? Chair: Brana Mijatovic, Christopher Chair: TBD Wanda Alarcon, Jotazine Newport University 2:00 “No Race, No Creed, No Color”? 2:30 Chelo y Paquita: Gender Queer 2:00 “Bellydancing our way into an Accounting for the IWW’s Lack of Movements of Bolero Music Islamized Europe”: The Anti- Diversity Before the First World Deborah Vargas, University of Manele Campaign and the Roles War California at Irvine of Scholarship in Romanian Indig- Michael A. Figueroa, Northwest- enous Politics ern University Sabina Pauta Pieslak, University of Michigan 44 SEM Newsletter Sunday, November 19, 2006

2:30 Instruments of Power: Brass Bands Call for Submissions residence twice at Indiana University in the Streets of New Orleans Continued from page 9 during 2006, where he will deliver lec- Matt Sakakeeny, Columbia Uni- tures about his fellowship research. chestrates ritual, and mediates social versity The Archives of African American politics. Dedicated to the study of Music and Culture at Indiana University ordinary architecture, Perspectives in 3:00 Truth in Music: Doo-Wop Group has begun a new online music initiative Vernacular Architecture, the scholarly Name Ownership and Oldies Cir- to further its mission of black arts edu- refereed journal of the Vernacular Ar- cuit Performance Practice cation and promotion. “Black Grooves” chitecture Forum, invites submissions was launched on June 1 to kick off John Michael Runowicz, New York of articles that explore the ways the University Black Music Month 2006 and is a new built environment constructs the every- website that provides information on day. The editors encourage the submis- Milo I new releases and reissues in gospel, sion of articles employing cross-disci- blues, jazz, funk, soul, rhythm & blues, 15J Music of Northern Europe plinary methodologies and engaging hip hop, and other popular genres, as Chair: TBD topics within and beyond North America. well as classical music composed or We are particularly interested in articles performed by black artists. To read the 2:00 Swedish Folk Music and Dance: that incorporate fieldwork as a compo- complete press release and view the Two Parallel Rivers That Some- nent of the research. premier issue, please visit (website) times Meet 2 All manuscripts should conform to www.blackgrooves.org. Mats Nilsson, University of Goth- the Chicago Manual of Style. Contribu- The Social Science Research Council enburg tors agree that manuscripts submitted to in partnership with the American Coun- the PVA will not be submitted for pub- cil of Learned Societies is proud to 2:30 Strategies of Survival: Traditional lication elsewhere while under review announce the recipients of the 2006 Music, Politics, and Music Educa- by PVA. Two hard copies of the manu- International Dissertation Research Fel- tion Among Two Minorities in Fin- script and photocopied reproductions lowship (IDRF). The 52 fellows were land of the illustrations should be sent di- selected from a very competitive pool Pirkko Moisala, Abo Akademi Uni- rectly to each of the two editors. Please of 1,212 applications. The 2006 IDRF versity feel free to direct any inquiries to either fellows conducting dissertation research editor via email: Howard Davis, Associ- in the discipline of Ethnomusicology 3:00 The Transformative Experience of ate Professor of Architecture, 110 are: Ryan Skinner (Columbia Univer- Transgressing Comfort Zones: Gerlinger Hall, 1246 University of Or- sity): “Sound and Subjectivity: Music, Pedagogical Techniques from egon, Eugene, Oregon 97403-1246; Modernity, and Mògòya in Postcolonial Outward Bound and Finnish Folk (email) [email protected]; Louis Bamako” and Anna Stirr (Columbia Music Education P. Nelson, Assistant Professor of Archi- University): “Negotiating Nepalipan: Juniper Hill, University of Califor- tectural History, School of Architecture, Migration, Gender and Nation in Nepali nia at Santa Barbara Campbell Hall, University of Virginia, Music and Language.” Charlottesville, VA␣ 22904-4122; (email) Dr. George Dimitri Sawa is presently [email protected]. working on a musical and socio-cul- Bob Brown’s Gift to tural dictionary of Kitab al-Aghani ( Book of Songs) of al-Isbahani (d. 967). Book University of Illinois People & Places of␣ Songs is␣ a monumental ethnographi- The University of Illinois at Urbana- cal document in 10,000 pages on the Champaign has received a major gift The Indiana University Archives of lives and works of medieval poets and from the estate of Robert E. Brown, who Traditional Music (ATM) has awarded musicians.␣ For his research on medi- passed away in November 2005 (see Hugo Zemp the 2005-2006 Laura Boulton eval Arabic music history,␣ Dr. Sawa␣ has SEM Newsletter 40/2, March 2006:6-7). Senior Fellowship for his research pro- been honored with the Life Achieve- The gift includes musical instruments posal entitled, “Balafon Music of the ment Award from the Egyptian Ministry from Indonesia, India, Turkey, and Af- Senufo People: 45 years of audio and of Culture in Cairo in November 2005. ghanistan, recordings and books, Ba- visual documentation (1961-2006).” As Other recipients include the classical linese paintings, artifacts, and several Boulton Fellow, Zemp will (1) archive Aleppo singer, Sabah Fakhry, and the properties, including a seven-acre edu- his Senufo field collections, consisting Saudi singer and composer, Muhammad cational compound in Bali called “Flower of audio and video recordings, photo- Abdo. Mountain” in Payangan, near the town graphs, and documentation, at the ATM; Andrew Weintraub (University of of Ubud. The Center for World Music, (2) conduct research using his and other Pittsburgh) will conduct research on founded by Bob Brown, and most re- ATM field collections on the subjects of dangdut music and performance in cently located in San Diego, will also Senufo balafon performance, musical Indonesia during Fall 2006, under the move to the University of Illinois and concepts, and linguistics; and (3) pub- auspices of a Fulbright Senior Scholars will be known as the Robert E. Brown lish the results of this research in Re- Award. His study will focus on the Center for World Music. For more sound, while also making an English- social meanings of class, Islam, national information, see (website) http:// language version of his film Siaka: un identity, and gender in contemporary www.news.uiuc.edu/news/06/ musician africain. Zemp will be in Indonesia. 0721gift.html. SEM Newsletter 45

Holly Wissler, Ph.D. candidate in Ultimo Ayllu Inca,” (2005). The book ethnomusicology, Florida State Univer- covers a 50-year-span of articles on the sity (FSU), was awarded a Fulbright Q’eros community with contributions Hays Doctoral Dissertation Research mostly by Peruvian scholars, in the Abroad Award for her doctoral research areas of social organization, ecology, in Peru, 2006-2007. The prestigious ideology, cultural expression (music, prize, valued at more than $24,000, will textiles) and change. enable Wissler to conduct research for her dissertation, “Musical Tradition and Change in the Quechua Community of Q’eros, Peru” on site in Peru for one SEM Section for Status of Women Mentoring year. Wissler will spend extensive time Program for Women both in the city of Cusco and in the remote Quechua community of Q’eros By Klisala Harrison and Susan Thomas recording, transcribing, translating, and This past year, the SEM Section for issues, or you are an established analyzing the Q’eros’ indigenous pre- Status of Women (SSW) launched a scholar that can offer advice, please Spanish Conquest music, as well as Mentoring Program for Women in visit the SSW page of the Society for looking at musical modernization. She ethnomusicology. The mentoring pro- Ethnomusicology website, where in- will also meet with Peruvian scholars gram is a response to requests for formation on the mentoring program and conduct archival research. strategies to help female ethnomusi- will be available shortly. The website “The Q’eros have become the em- cologists overcome obstacles to pro- offers ideas and guidelines for the blematic culture-bearers of indigenous fessional success. Scholars typically establishment of new mentoring rela- Andean culture in southeast Peru,” says face obstacles to success when their tionships as well as suggestions for Holly in her interview with FSU News academic interest or voices, cultural facilitating informative and support- (http://www.fsu.edu/news/2006/05/31/ identity, sexuality, or age challenges ive communication. Potential men- wissler.award/). “I feel that the docu- institutional norms. ␣ For women, such tors and mentees are encouraged to mentation of the music of Q’eros is obstacles can compound a profes- fill out a short survey, which will be important for both Andean and sional context where child-rearing used to help interested parties locate ethnomusicological scholarship. In the responsibilities and a history of patri- a mentoring partner whose experi- midst of modernization and change, the archy may make achieving tenure and ence and interests most closely match Q’eros people understand the value of promotion more difficult than for male their own. The SSW hopes that this documentation of their rituals for their colleagues. electronic means of matching needs own future generations, so this work is The Mentoring Program represents to capability can nurture mentoring not only for the world of academia, but the culmination of many years of relationships that are diverse in terms for the Q’eros people themselves. My discussion in SEM on the challenges of focus, duration, and intensity, but wish is to represent them as honestly facing women ethnomusicologists and center on mutual respect and trust. and best possible.” the importance of mentoring relation- The establishment of the Mentoring Holly has intermittently lived and ships throughout the academic ca- Program for Women coincides with worked in Peru for 25 years as a trek reer. SSW thanks all SEM members, the 10th Anniversary of the SEM Sec- guide in the Andes mountains (as well male and female, who have contrib- tion for the Status of Women. Both as seven years in the Himalayas of uted to the ongoing dialogue. At SEM events signify much hard work done Nepal). She received her Master of Atlanta, 75-80 people participated in a by SEM members on professional Music in Flute Performance (1998) and mentoring workshop organized by issues for women in ethnomusicol- Master of Arts in Music History (1999) Elyse Carter Vosen and Klisala ogy and academe in general, such as both from the University of Idaho. In Harrison, that featured the mentoring mentoring. The women’s section has addition to her research this coming research of Dawn Avery, but that also actively supported ethnographic, year, Holly is producing an ethnographic highlighted stories, wisdom, and “les- historical and theoretical scholarship video documentary about the Q’eros’ sons learned” from senior female fac- on women and musical performance. musical rituals for educational use. The ulty: Amy Ku’uleialoha Stillman, Senior scholars and faculty who production entitled “Joyfully We Cry: Roberta Lamb, Kay Kaufman contributed to the foundation of the The Musical Rituals of Q’eros, Peru,” Shelemay, and Tara Browner. At Mentoring Program for Women will will be available in three languages: mentoring forums sponsored by SSW be honored at a reception that cel- Quechua, Spanish and English. Wissler’s at SEM Pittsburgh 1997, Toronto 2000, ebrates the SSW’s 10th Anniversary at field footage in Q’eros from 2003-2007 and Estes Park 2002, other tenured the 2006 conference in Honolulu, will provide the bulk of the documen- women faculty identified issues and Hawai‘i. The reception, which will tary. Holly has also recently published strategies for addressing professional follow immediately the November 17 the article “Musical Tradition and Change challenges raised by gender, sexual- business meeting, is open to all inter- in Q’eros’ Two Principal Festivals of the ity, culture, research interest and age. ested parties as well as SSW mem- Year: Qoyllurit’i with Corpus Christi, If you are a woman seeking bers, past and present. and Carnival” in Peru’s National Insti- mentoring on particular professional tute of Culture book entitled “Q’eros, El 46 SEM Newsletter

The Fès Forum: Giv- to incorporate traditional Gnawa instru- ments into pop, received an overwhelm- ing a Soul to Global- ing response at the Champ de Course. ization Among the Sufi groups, the Al Boussairi Ensemble for Religious Songs was fea- By Lara Pellegrinelli, University of tured at Volubilis, a nearby archaeo- Richmond logical site with dazzling Roman ruins.

th A total of eight other ensembles—from Currently in its 12 year, the Fès Casablanca, Fès, Ouazzane, and Festival of World Sacred Music in Mo- Bejjaâd—performed at the Dar Tazi rocco presents a wealth of concerts. gardens as a part of the festival’s after With as many as four per day in a total hours “Sufi Nights” series. of seven venues, it is impossible to take Certainly, the music alone could everything in. This past summer’s make Fès a worthwhile trip for ethno- mainstage events at the Bab Makina musicologists, whether those whose (June 1-5, 2006), a beautifully adorned work focuses specifically on North Afri- th 19 Century gate to the royal palace, can traditions or others who might be ranged from a historical performance interested in an international festival’s titled “Mozart and the Spiritual Concert” struggles to bridge the global and the by Les Arts Florissants and William local; the free events have been added Christie to the Afro-pop stylings of Malian to the festival’s offerings over the course superstar Salif Keita. Daily afternoon of several years as concessions to a local concerts took place in the intimate population priced out of the big ticket Members of the Sufi brotherhood Tariqa Batha Museum courtyard, where artists venues, originating an infrastructure for including Hassan Haffar, a muezzin Aïssaouia process into the Dar Tazi public performances where an indig- gardens (June 6) from Aleppo, and award-winning clas- enous concert tradition did not exist. In sical Azerbaijani singer Aygun Baylar, the shadow of the publicity generated of panelists spoke in French, some in displayed impressive vocal abilities. by the musical events but of equal English, with simultaneous translations While these performances tended to interest is the annual Fès Forum. Cre- provided in those two languages. be geared towards Westerners and elite ated at the suggestion of the World This was, to quote Skali, not an Moroccans—the audiences were domi- Bank, a major festival sponsor, the Fo- academic forum, but a place for the nated by Europeans—free concerts rum is now in its 6th year and held lively exchange of ideas and the build- largely attended by locals provided during the first five of festival’s eleven ing of bridges between East and West. wonderful opportunities to hear both days. This year’s theme, “Giving a Soul “Time does not allow for the academic regional popular music and local Sufi to Globalization,” provided a spring- debate we would enjoy,” he stated. brotherhoods. The Moroccan band Jil board for discussion centering on con- “This is not a festival of words, but of Jilala, stars of 1970s and among the first cerns related globalization and Islam. action and catalytic change,” sentiments In the process, the Forum presented a echoed by a number of speakers. The challenge to scholars to be more en- Forum did not include any significant gaged on the stage of world politics. discussion involving its musical con- Like the afternoon concerts, the Fo- text, simply referring to the common rum took place in the Batha Museum goal of “harmonies.” courtyard, its extensive gardens provid- Despite repeated dismissals of aca- ing an exquisite backdrop. Shaded by demia, the Fès Forum shared a great a centuries-old Barbary oak and ser- deal conceptually with the kinds of enaded by its resident choir of birds, issues being addressed in contempo- panelists for the morning sessions pre- rary scholarship. The starting point for sented individual statements in turn; the discussions was an acknowledge- they included the directors of various ment of the tensions caused by global- NGOs, politicians, business leaders, film- ization and the serious need for this makers, and journalists, a few scholars process to consider spirituality, that among them. Following the afternoon “economics, finance, the material and concert, the Forum reconvened for a the secular, are intricately related to the second panel. Festival founders values and ethos we often associate Mohamed Kabbaj, an economist and with spirituality and religion.” Each day the current governor of Casablanca, focused on a different topic: spiritual and Faouzi Skali, an anthropologist, values and the economy; wealth and provided remarks to open the Forum, poverty; Islam and globalization; for- while Katherine Marshall, counselor to giveness; and spirituality and ecology. the President of the World Bank, pre- Several themes emerged, connecting Audiences gather for a free concert at sided over the meetings. The majority the Bab Boujiloud (June 7) the sessions: the fear of delocalization SEM Newsletter 47 and difference, the perils of a strictly walkable communities that offer social Nov 3-5 financial capitalism that fails to secure diversity and recognize spiritual needs. 50th Annual Meeting of the Ca- the future survival of all, the rise of The Forum was, in fact, a festival of nadian Society for Traditional Fundamentalism as a reaction to mate- words in a very positive sense: diverse Music / Société Canadienne rialism, and the crises in religion be- voices made for wide-ranging and some- pour les Traditions Musicales. cause of the changing societal roles of times eye-opening conversations. More Carleton University, Ottawa, women. The discussion was necessar- of the action at Fès appears to take place Ontario, and the Canadian ily challenged by the plurality of mean- behind the scenes, through the estab- Museum of Civilization, ings for terms like spirituality and capi- lishment of networks that build alli- Gatineau, Quebec. For more talism. ances across sectors, bridging the mate- information, see (website) Panelists debated how Islamic life rial, sacred, and secular realms of which www.yorku.ca/cstm. relates to media images and the domi- the panelists spoke, thereby creating an nant political discourse, expressing con- intellectual diaspora (for example, the Nov 19-21 cern about the role of the media in the Forum recently led to the foundation of The ICTM Study Group on the homogenization of Islam in “public” the Institute for Intercultural Diplomacy Musics of Oceania (SGMO). (i.e. Western) discourses while there is and the publication of a volume of University of Hawai‘i. Begin- a lack of alternative resources to bridge essays titled The Path of Hope by Le ning immediately after the SEM gaps in understanding. Examples Rochet in 2005). conference, the SGMO meet- abounded of the equalizing influence Given the breadth of the panels and ing focuses on “Pacific Strings” of technology and education as a means the larger context of the festival in and recent Pacific research. For for transforming society. Voicing dis- which they are placed, it felt especially more information, contact tress at the imminent dangers of climate ironic that the Forum excluded music, Raymond Ammann (email) change, panelists called for the fair only paying it lip service as a pleasant [email protected] treatment of all in the world’s market- excuse for the gathering and a romantic or Jane Moulin (email) moulin place, especially in equitable payment model for cultural accord. Perhaps @hawaii.edu. for raw materials. Many questioned music’s marginalization is related to the how to deal with the past in terms of Festival’s own failure to acknowledge 2007 responsibility, forgiveness, and remem- how it is implicated in the broader Feb 16-17 brance in the wake of these tensions issues of globalization: its divided audi- Michigan Interdisciplinary Mu- and even open conflict. ences, programming, and other ramifi- sic Society’s Bi-annual Gradu- Particularly noteworthy in their com- cations of its economic and cultural ate Music Conference. Univer- ments were filmmaker Wim Wenders, practices within the city of Fès and sity of Michigan, Ann Arbor. economist Jacques Attali, and land de- Morocco more broadly. For more information, please veloper Jonathan Rose. Wenders, whose In any case, the Forum may be an visit (website) http://www. film Land of Plenty was screened at the arena in which we as scholars of music umich.edu/~mmts/. festival, questioned how wealth and and culture should attempt to make our poverty could exist in such close quar- presence felt, our voices heard, to dem- Mar 1-4 ters and “for the rich not even to see the onstrate our abilities, and those of the Joint conference of the Society vast gap between them, the misery musical traditions in which we are en- for American Music and the beside the $50 million yacht.” Speaking gaged, to participate in action and cata- Music Library Association. on another emergent theme, rootless- lytic change. More information on the Pittsburg, Pennsylvania. For ness, as he does in his work Millen- Fès Festival of World Sacred Music and more information, see (website) nium, Attali sought to distinguish be- the Fès Forum can be found at (website) http://www.american- tween three different groups and their www.fesfestival.com. music.org/. colliding visions of place: “wealthy glo- bal nomads,” whom he defined as mov- Mar 22-25 ing at will; “migrants” who move be- Association for Asian Studies cause of raw need or in a desperate Conferences Calendar Annual Meeting. Marriott Ho- search for jobs and opportunity (a large 2006 tel, Boston, Massachusetts. For and fast-growing group), and “virtual more information, see (website) nomads” who live the life of movement Nov 2-5 http://www.aasianst.org/ and adventure largely vicariously, American Musicological Soci- through imagination and often envy. ety Annual Meeting. Century July 4-11 Rose focused his attention on the eco- Plaza Hotel, Los Angeles, Cali- 39th World Conference of the logical impact of suburban sprawl, call- fornia (jointly with the Society International Council for Tradi- ing it “America’s worst contemporary for Music Theory). For more tional Music. Vienna, Austria. contribution to the world.” In an effort information, visit (website) For more information, please to create a sustainable future and heal http://www.ams-net.org/ visit (website) http://www. the rupture between man and nature, ictm2007.at/ Rose spoke of the possibilities for creat- ing liveable, environmentally friendly, 48 SEM Newsletter

2006 Seeger Lecturer Silver Jubilee Anniversary Medal by the of “just plain Adrienne” make her many King of Tonga for her contributions to contributions to our discipline and to Continued from page 3 Tongan culture. the broader study of the Pacific all the Researchers and practitioners of In addition to her interests in the more meaningful. Pacific genres assert the inseparability Pacific, Dr. Kaeppler has studied and For the 2006 Seeger Lecture, of sound and movement, of music and performed Asian music and dance. Japa- Adrienne Lois Kaeppler brings years of dance. Kaeppler is an American scholar nese genres include nagauta shamisen, stewardship and a wealth of experience _ who brings research expertise in both gagaku (as sho player and kagura “back home” to Hawai‘i, where the _ dance ethnology and ethnomusicology dancer), and Nihon Buyo/Bando-ryu. ethnomusicological focus continues to to the Region, reflected in her volume She has also been active in music and be on the Asia Pacific Region and on the on the study of hula pahu (1993) and dance of Korea, e.g. ajeang and court communities that allow us to do our the co-edited Garland Encyclopedia dances, and of the Philippines, e.g. work. volume on Australia and the Pacific rondalla and pangalay. Islands (1998). For all her serious accomplishments, In addition to serving the scholarly Adrienne is also mitmensch and homo community, she proactively shares her ludens. She has a quick sense of humor research with the lay public. Notable is and an enthusiasm for participation. Polynesian Dance (1983), prepared for Two incidents capture the combination a community organization. It features of those two qualities: (1) she chal- simplified notations of both movement lenged Jerzy Grotowsky’s understand- and sound for eight dances. In 2004, ing of Asian tradition with good-hu- Kaeppler co-edited the anthology, Songs mored diplomacy at an international _ and Poems of Queen Salote [of Tonga], workshop in Poland, and (2) instigated which has been distributed to public a co-ed, bi-cultural pillow fight at a schools throughout the Kingdom of Japanese inn during a UH Gagaku Study Tonga. In 1997, she was awarded a Residency there! For me, such glimpses

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Volume 40, Number 4 September 2006