Bulletin of the ICTM Vol

Home , Gendang Beleq (dance), Jean Rouch, Pungmul, Srimpi, Zapin

BULLETIN of the

INTERNATIONAL COUNCIL

for

TRADITIONAL MUSIC

No. 122, April 2013 ISSN (Online): 2304-4039

Including Preliminary Programme for 42nd ICTM World Conference in Shanghai, China, 11-17 July 2013

Contents FROM THE SECRETARIAT ICTM Study Group on Music of CALENDAR OF EVENTS Jumbie. Mémoire sociale et Message from the Secretary the Turkic Speaking World. Pages 84-85 musicale dans les steelbands General; Gerlinde Haid Pages 30-35 (Trinidad et Tobago); Sounds of RECENT PUBLICATIONS BY ICTM Secrets. Field Notes on Ritual (1943-2012); Katalin Kovalcsik Announcements — Related MEMBERS (1954-2013). Organisations: El Oído Music and Musical Instruments Pages 2-5 Pensante, new peer-reviewed Bellows and Bows: Historic on the Islands of Vanuatu; Recordings of Traditional Fiddle Soundscape of Bosnia and ICTM ELECTIONS 2013 journal; Annual Conference Journées d’Etude 2013; and Accordion Music Across Herzegovina (CD); Staging Message from the Nomination International Conference Canada; Collection of Papers of Socialist Femininity: Gender Committee; Candidates’ Beyond the East-West Divide: 7th International Symposium Politics and Folklore Statements Rethinking Balkan Music’s "Music in Society"; Flower Performance in Serbia; Štajeriš. Pages 6-11 Poles of Attraction. World: Music Archaeology of Podoba in kontekst slovenskega ljudskega plesa; Svadbene pesme 42nd ICTM WORLD CONFERENCE Pages 36-37 the Americas / Mundo Florido: i običaji Srba u Kikindi i okolini; IN SHANGHAI, CHINA Arqueomusicología de las REPORTS Américas, vol. 1; Historija Tradicionalni plesovi Srba u Preliminary Programme of the Reports from ICTM National muzike u Bosni i Hercegovini; Banatu; Un bruit pieux. Bandas, next ICTM World Conference. and Regional Representatives: Italy in Australia’s Musical musique et fête dans un village Pages 12-29 Belgium; Bosnia and Landscape; Multipart Music. A maltais (Zabbar). ANNOUNCEMENTS Herzegovina; France; Georgia; speciﬁc mode of musical Pages 86-92 Hungary; Japan; Malawi; thinking, expressive behavior Announcements — ICTM: Joint ICTM WORLD NETWORK Malaysia; Mexico; Montenegro; and sound; Music and Healing Meeting of the ICTM National Papua New Guinea; Rituals of Sri Lanka: Their Pages 93-94 Committees of Austria, Italy, Switzerland; Turkey; Ukraine; Relevance for Community ICTM STUDY GROUPS and Switzerland; 20th Venezuela; Vietnam. Music Therapy and Medical Symposium of the ICTM Study Page 95 Pages 38-75 Ethnomusicology; Music and Group on Historical Sources of Memory - UPM Book Series on ICTM AUTHORITIES Traditional Music; Call for Reports from ICTM Study Music Research IV; Musical Papers: 4th Symposium of the Groups: Ethnochoreology; The President, Vice Presidents, Practices in the Balkans: ICTM Study Group on Music Iconography of the Performing Secretary General, Executive Ethnomusicological and Dance in Southeastern Arts; Maqām; Mediterranean Assistant, and Executive Board Perspectives; Muzika 38 Europe; Programme: 3rd Music Studies; Music in the Members. (Journal); Symposium of the ICTM Study Arab World; Music in the Page 96 20 Group on Multipart Music; Turkic Speaking World GENERAL INFORMATION 21 ; Nina, buba Programme: 13th Symposium of Pages 76-83 Pašljo sine; Pa se sliš… About ICTM; Membership; the ICTM Study Group on Pritrkavanje v slovenskem in Institutional Subscriptions; Music Archaeology; Call for evropskem prostoru; Pan Publications by ICTM. Papers: 4th Symposium of the Pages 97-100

Bulletin of the ICTM Vol. 122 — April 2013 — Page 1 FROM THE SECRETARIAT

Message from the (ictm2013.shcmusic.edu.cn) to check memories of many ICTM members, for updates in the Programme, and with gratitude for who they were and Secretary General make sure you arrange your visa, what they did for the Council and for by Svanibor Pettan transportation, and accommodation in ethnomusicology in general. time. Dear members and non- World Network news member friends and ICTM Elections 2013 As much as we regret the losses of sympathisers of the In- One of the very essential democratic some colleagues, we also cherish the ternational Council for standards within the Council refers to enrichment of the ICTM World Net- Traditional Music! elections. With this Bulletin, we are work with colleagues from countries The main focus of this Bulletin is the presenting the very first electronic elec- which for various reasons were not yet Council’s major scholarly event—the tions in the history of our society. represented in the Council. This time, forthcoming 42nd ICTM World Con- Please read the candidates’ statements we proudly announce as many as eight ference, which will take place in on pages 7-11, and follow the voting new Liaison Officers and their coun- Shanghai from 11 to 17 July 2013. instructions on page 6. tries: María Gabriela López Yánez Thanks to the joint efforts of the Pro- (Ecuador), Joseph Jordania (Georgia), The Nomination Committee, led by gramme Committee, the Local Ar- Lisa Urkevich (Kuwait), Robert Cha- convener Stephen Wild, produced a rangements Committee, and the Secre- nunkha (Malawi), Zlata Marjanović ballot with 14 strong candidates: nine tariat, this Bulletin is providing you (Montenegro), Mohammed Adam Su- for the positions of three Ordinary with the Preliminary Programme of laiman Abo-Albashar (Sudan), Marita Members of the Executive Board, three the World Conference, along with sev- Fornaro (Uruguay), and Jerry Rutsate for the position of one Vice President, eral other useful pieces of information (Zimbabwe). Reports from three of and two for the position of President. related to the Conference. The photo- these newly included countries (Geor- Please do not hesitate to contact Execu- graph below demonstrates the mood gia, Malawi, and Venezuela) are pre- tive Assistant Carlos Yoder in case of shared by J. Lawrence Witzleben, Xiao sented in this Bulletin on pages 44, 53, any technical questions related to the Mei, Qin Si, and the author of these and 72 respectively. voting process. lines at the end of the first week of Since the last Bulletin, six new Chairs of January, after completing the first draft Farewell to Gerlinde Haid and Katalin National Committees and one Liaison of the Programme at the Shanghai Kovalcsik Officer were elected, so we take the Conservatory of Music. Those days of opportunity to thank the previous rep- hard work were counterbalanced by Behind us is a period in which the resentatives and welcome their succes- the kind hospitality of our hosts, and world of ethnomusicology has lost two sors. In Denmark, Lene Halskov Han- our shared overall impression is that in remarkable scholars, who left strong sen was succeeded by Eva Fock, in front of us there is a memorable and imprints within their national, re- Hungary Katalin Kovalcsik by János perhaps the biggest World Conference gional, and international realms: Ger- Sipos, in Ireland Liz Doherty by in the history of ICTM. linde Haid from Austria and Katalin Kovalcsik from Hungary. Please read Orfhlaith Ní Bhriain, in Italy Leonardo about them in their respective obituar- D’Amico by Ignazio Machiarella, in Japan KANESHIRO Atsumi by KOMODA ies on pages 4 and 5. Haruko, in Norway Siri Mæland by On a personal note, I considered both Anne Murstad, and in Peru Raúl Ro- not only as respected colleagues, but mero by Efraín Rozas. also as dear friends. Gerlinde Haid included my earliest field recordings (of Finally, three countries have opened my grandmother in her late nineties their sections within the ICTM website: singing the Austro-Hungarian national Bosnia and Herzegovina, Italy, and the Thanks to the efforts of Xiao Mei and Philippines. Representatives of other anthem in the middle of the night) in the LAC on the one hand, and to the countries and regions are cordially in- Barbara Barnard Smith Travel Award the project focused on Kaiserlied, published in Vienna in 2009, while Katalin vited to open their own sections at the on the other, we were able to finan- ICTM website as well. cially support 13 delegates altogether, Kovalcsik edited my first book, and who would otherwise not be able to published it in her respected series Gypsy Folk Music of Europe in Budapest attend the Conference. Please use the World Conference’s website in 2002. Both are kept in the best

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New UNESCO representative Council in a number of different ca- Going from 2/2 to 4/4? pacities over a period of four decades.” UNESCO is an essential part of the of- Totalling 100 pages and 61,302 words, ficial definition of ICTM. The Council’s this is without a doubt the largest Bul- long-term representative in UNESCO, letin of the ICTM ever distributed. Its Wim van Zanten, who excelled at this new online format and the intensified capacity and is subject to immense communication within the Council gratitude from the Council, was re- contributed to the steady growth of cently succeeded by Naila Ceribašić. information which needed to reach the Naila is an ethnomusicologist with membership. In this number you will several publications linked to various find as many as 16 national or regional aspects of the 2003 UNESCO Conven- reports, 6 Study Group reports, and 21 tion for the Safeguarding of the Intan- new publications by ICTM members. gible Cultural Heritage, as well as an Membership Support Therefore, the proposal for turning the Ordinary Member of the ICTM Execu- In an attempt to contribute to member- Bulletin’s metro-rhythmical design tive Board. She has already attended ship development, we urge those of from the current two half-notes (two two experts’ meetings, and proved to you who can afford to support col- heavy issues per year) into four be the right choice for this position in leagues from soft-currency countries to quarter-notes (four lighter issues per the coming years. do so. At the moment you can pay an year) will be discussed at the next Ex- additional 30 EUR fee per year to sup- ecutive Board meeting. Limiting the News on Study Groups port an individual’s ICTM member- reports to a reasonable size of 2.000 Study Groups are usually described as ship, or give a donation to the Barbara words may also be a useful measure to “the bloodstream of the Council”. One Barnard Smith Travel Fund, which is reduce the size of the Bulletin, but it among them, which used to be dor- used to help members attend ICTM would still not be sufficient in meeting mant for several years due to the un- World Conference. The present eco- the growing needs of the Council. fortunate political circumstances in the nomic crisis, felt acutely in some parts given region, is the Study Group on of the world, helped the ICTM Execu- From your Secretariat in Ljubljana, we Music in the Arab World. Thanks to tive Board in reaching the decision to wish you all the very best. See you in the considerable efforts of its Chair, establish a Membership Development Shanghai! Scheherazade Hassan, and the Chair of Fund, which will be implemented LAC Nidaa Abou Mrad, a Symposium through the ICTM website in the near in Ba’abda, Lebanon held in March, future. marked the much-appreciated rebirth of this Study Group. Please see the full New ICTM Brochures report on page 79. As you might already know, the Secre- tariat has printed new ICTM brochures This brings to mind the Study Group and sent copies to ICTM National Rep- on Music and Gender, which could resentatives, Study Group Chairs, and largely benefit from the membership’s Chairs of Local Arrangements Commit- support in bringing it back to a regular tees. Your response was so overwhelm- scholarly schedule. ingly positive that a second batch of Lifetime recognition for Marianne 2.000 brochures had to be commissioned. The content was slightly up- Bröcker dated as the number of the ICTM During the latest Symposium of the World Network members had risen to ICTM Study Group on Folk Musical 85 in the meantime. The brochures can Instruments, which took place in Bam- be ordered directly from the Secretariat berg, Germany in March, the ICTM at no cost, and many copies will be presented Marianne Bröcker—who available at the World Conference in chaired the Symposium’s LAC—with a Shanghai. special award expressing gratitude “for her extraordinary contribution to the

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Gerlinde Haid Institute for Musical Folklore in Inns- ethnologist Hans Haid. This series goes bruck (Director, Prof. Dr. Josef Sulz). beyond the Austrian borders because it (1943-2012) includes Italian and Slovenian Alpine In 1994 Gerlinde Haid earned the posi- by Ursula Hemetek regions and is multilingual. Gerlinde tion of University Professor in History Haid also published in English and and Theory of Folk Music at the Uni- With deep regret we wish to announce Italian and her works on Austrian folk that our dear colleague, teacher and versity of Music and Performing Arts, music have the status of standard friend Gerlinde Haid passed away on Vienna. She also served as Director of works. She was the editor of the insti- the Institute for Folk Music Research 29 November 2012. This happened tute’s Schriften zur Volksmusik series only one year after her retirement in and Ethnomusicology during 1994– and co-editor (together with myself) of 2011. She would still have had so much 2010. klanglese. to give, and we would have needed her This was a time when the institute gentle, inspiring and wise advice in In her academic life she was honoured flourished and many new research in- scholarly as well as human terms. The in 2011 with the Gold Medal for Serv- terests were implemented, which in people who had the privilege to work ices to the Vienna University of Music 2001 finally found expression in the with her will be able to draw from her and the Performing Arts, and the Wal- renaming of the institute to Folk Music gifts, and she will always be with us in ter Deutsch Prize, awarded by the Fed- Research and Ethnomusicology. The the energy of her fieldwork and her eral Ministry of Science and Research staff was enlarged considerably and scholarly legacy. in 2010, and with the Cross of Honour international activities increased. The for Science and the Arts 1st Class, most important activity was the or- awarded by the President of the Re- ganisation of the ICTM World Confer- public of Austria in 2003. ence in 2007 under Gerlinde Haid’s guidance. She was the Chair of the Gerlinde Haid was an outstanding Austria National Committee of ICTM scholar in international and Austrian from 2002 to 2007. The introduction of academia and a wonderful person the focus on Music and Minorities in whom we miss tremendously. Her 1990 as well as the Research Centre for spirit will be with us. European Multipart Music in 2003 was Gerlinde Haid, 1943–2012 possible due to her encouragement as a Adelaida Reyes sent us the following words of comfort: “the burden of grief, wise, inspiring, and loyal director. Gerlinde Haid was born on 19 April when shared, becomes lighter, and the 1943 in Bad Aussee, Styria. After pri- She was a member of several ICTM joy of beautiful memories, when mary school in Bad Aussee she at- Study Groups, even from the very be- shared, is intensified”. tended the Gymnasium at the provin- ginning, when the first meeting of the cial school at Schloss Traunsee in Alt- Study Group “Systematisation of Folk münster, which she completed with her Melodies” of the IFMC took place in university entrance examination in Vienna (22-26 November 1966). Ger- 1961. She went to Vienna to study mu- linde was the organiser of that meeting sic education and German, earning her as research assistant of Walter Deutsch. teaching qualifications in 1965. When Later on she also joined the Study beginning to work as a research assis- Group on Music and Minorities as well tant at the newly founded Institute of as the Study Group on Multipart Mu- Folk Music Research at the Academy of sic. Music and Performing Arts in Vienna, she was inspired by the former director Her numerous publications in German of that Institute, Walter Deutsch, to are unmatched, not only in their style continue her studies in ethnology and of writing. Her primary research inter- musicology. She earned her PhD in ests were the folk music of the Alps 1974. From 1975 to 1989 she served as and Austrian folk music in a social con- General Secretary of the Austrian Volk- text, and her best-known publication sliedwerk. In 1989 she obtained the deals with the Alps: the CD series Mu- position of Assistant Professor at the sica alpina (1–8, 1993–2009) which she published together with her husband,

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Katalin Kovalcsik She learned several dialects of the languages spoken by Gypsies, which (1954-2013) made her communication easier in by László Felföldi their local communities. As a result of her extended Romani studies she pub- On the Roads – At the end of the Road lished several volumes and more than Dr. Katalin Kovalcsik, Hungarian eth- 40 theoretical papers in Hungarian and nomusicologist, romaniologist, univer- other languages. During her career she sity professor, publicist, senior re- drew the conclusion that the study of searcher of the Institute for Musicology the Gypsy traditional culture is not of the Hungarian Academy of Sciences, only a musicological problem for a Chair of Hungary ICTM National well-trained musicologist, but is a Committee, and Ofﬁcer of the Gypsy “destiny” claiming the whole personal- Lore Society, passed away on 30 Janu- ity, all the attention and energy of the ary 2013. researcher.

She discovered while “on the road” that it is not enough to deal with the musical aspect of their lives, one has to broaden the attention to the whole spectrum of their expressive and performing capacities embedded in the socio-cultural contexts. For this purpose she followed the literature in anthropology, sociology and linguistics in relation with Gypsies, and kept close contact with researchers of these disciplines. All these enabled her to develop Katalin Kovalcsik, 1954–2013 a pluralism in methodology for the interpretation and analysis of her ma- She began her carrier in 1978 as teacher terial. Besides, she had to empower of solfeggio and harp, after ﬁnishing herself spiritually so that “a woman her studies at the Liszt Ferenc Music from Budapest” would be accepted by Academy in Budapest. Soon (in 1978) both male and female parts of the she became researcher in the Institute Gypsy communities. These profes- for Musicology of HAS. Her tutor and sional and human endeavours were department leader, Bálint Sárosi, di- recognised in her by everybody who rected her attention to ethnomusicol- got acquainted with her at home and ogy and especially to the music of the internationally. “sinto” Gypsies living in Hungary. Her sensitivity to the existing socio- In the 1980s she widened her scope of cultural problems inclined her to par- research to the musical traditions of the ticipate in the education of Gypsy ex- Eastern European Gypsies by making perts and in the active solution to their ﬁeld works in Czech Republic, Slova- problems. Her message for them and kia, Poland, Romania, Moldavia, for us, published in one of her last blog Ukraine, Yugoslavia, and Greece. posts (titled Gypsy stories about purity and honesty) follows: “the minimum In addition she used the occasions to what we can provide for each other in collect music in Western European all circumstances, is to understand and countries, mainly in Finland and Great to speak out our common wish for Britain. safeguarding the human dignity”.

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Message from the Please include your name in the e-mail Vice President so that it can be checked against the list There is one vacancy for Vice Presi- Nomination Committee of financial members. Your name will dent. Out of the list of three candidates, be deleted from the ballot before the by Gisa Jähnichen, Dan Bendrups, and you must choose one candidate you votes are counted. Stephen Wild wish to vote for. Place the name of the Presented here are the names of candi- Ordinary Members of the Executive candidate under the heading Vice dates for election to the Executive Board are elected for a term lasting un- President. Board nominated by the Nomination til the third Ordinary Meeting of the Candidates Committee, together with their state- General Assembly after their term has ments about themselves and their po- begun (typically 6 years), and are eligi- Ursula Hemetek tential contributions as Board mem- ble for re-election only once. The Presi- Don Niles bers. The names were selected from dent and Vice Presidents are elected for TAN Sooi Beng proposals made by National Commit- a term lasting until the second Ordi- tees, individual members (two from nary Meeting of the General Assembly President different countries for each proposal), after their term has begun (typically 4 There is one vacancy for President. Out and the Executive Board. There was a years), and are eligible for re-election of the two candidates, you must choose very strong response to the invitation only once. one candidate you wish to vote for. for proposals published in the October NOTE. In each category (Ordinary Place the name of the candidate under 2012 Bulletin. The Committee considers Members, Vice President, President) if the heading President. that there is a good representation you vote for more candidates than the among the candidates for regions, spe- Candidates number of vacancies, your ballot will cialisations, and experience. be invalid and your choice/s for that Salwa El-Shawan Castelo-Branco This is the first time voting will be category will not be counted. TRN Quang Hi conducted electronically (by e-mail). There will also be an opportunity to Ordinary Members Example of a complete ballot vote manually in the first few days of There are three vacancies among the Your completed ballot should look like the World Conference in Shanghai, be- Ordinary Members of the Executive this: fore the General Assembly when the Board. Out of the list of nine candi- results of the election will be an- dates, you must choose no more than Ordinary Members nounced. three names of candidates you wish to Name of chosen candidate 1 vote for. List the names of the candi- Name of chosen candidate 2 The deadline for voting by dates you have chosen under the head- Name of chosen candidate 3 e-mail is 30 June 2013 ing Ordinary Members. Vice President Candidates Voting Procedure Name of chosen candidate David Harnish President All members are urged to participate in Henry Johnson the election. Voters must be financial Dan Lundberg Name of chosen candidate members of ICTM in 2013. Please re- Tina K. Ramnarine new your membership for 2013 before Your name you vote if you have not already done Margaret Sarkissian Candidates’ Statements so. Jonathan Stock Razia Sultanova Starting on page 7, you will find state- Your votes should be sent in a Yoshitaka Terada ments for all candidates (ordered by single e-mail message to XIAO Mei category, then alphabetically), detailing [email protected]. their curriculum, involvement with ICTM, and potential contribution to the Council, should they be elected.

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David Harnish Interim Dean, Associate Dean, De- Musicology Australia (2013), Music in partment Chair, professor), back- Art (2010), and New Zealand Journal of United States of America ground with the Council, years of eth- Asian Studies (2006-2009). His more Ordinary Member of the nographic experience, and my exten- recent books include Recentring Asia Executive Board sive international travel record. I (Global Oriental, 2011; co-edited), Cul- I have been interested would be very excited to work with the tural Transformations (Rodopi, 2010; co- in serving on the ICTM Board and the Body to further the mis- edited), The Shamisen (Brill, 2010), and Executive Board for sion and goals of ICTM throughout the Performing Japan (Global Oriental, 2008; many years – since I world. co-edited). As well as undertaking ex- first attended a World Conference in tensive field research in Asia, in New 1995 in Australia. I was attracted to Henry Johnson Zealand his research includes the music and performing arts of New Zea- ICTM because of its international pro- New Zealand file and have attended and presented at land’s Asian diaspora. At the Univer- Ordinary Member of the sity of Otago, he is Co-Director of the every ICTM conference since 1995. I Executive Board greatly enjoy learning about the re- “Asian Migrations Research Theme”. search of colleagues from all over the Henry Johnson is Pro- He is past President of the New world, some who approach music in fessor of Music at the Zealand Asian Studies Society. distinctive and innovative ways. University of Otago, New Zealand. He first became a mem- Dan Lundberg I have organised and chaired sessions ber of ICTM in the late 1980s when Sweden for ICTM conferences and have been based in the UK, and since that time Ordinary Member of the working on Executive and Programme has attended and presented papers at Executive Board Committees for the ICTM Study Group various regional and international on the Performing Arts of Southeast ICTM conferences. In a regional con- Dan Lundberg holds a Asia since its inception several years text, he is also active in the Australia/ PhD in musicology ago. I also have published with the New Zealand Regional Committee, (1994) from Stockholm Yearbook for Traditional Music several and has interests with several ICTM University, for his thesis ‘Music of the times and produced one disc with the Study Groups. As an Executive Board Peach Gardens’ regarding the study of UNESCO series (Auvidis D8272). As an member, Henry would use his broad modal improvisation in Turkish folk ethnomusicologist, I have served with knowledge of ICTM and ethnomusi- and popular music. He has held aca- the Society for Ethnomusicology in cology “to assist in the study, practice, demic appointments at Stockholm many capacities: Council member, Pro- documentation, preservation and dissemi- University (2001-) Gävle University gramme Chair, Chapter President, Pro- nation of traditional music and dance, in- (2004-2007), and Åbo Academy since gramme Committee member, Local cluding folk, popular, classical, urban, and 2011.He is Director of the Archive and Arrangements Committee, and so other genres, of all countries” (ICTM Ob- Library Department of Music Devel- forth. My publications include two jective). opment and Heritage, Sweden, Chair books (Oxford University Press and of the Albin Hagstöm foundation and University of Hawaii Press; another is Henry holds a doctorate from the Uni- Vice Chair of the Sweden ICTM Na- versity of Oxford, a master’s degree in currently under review with Brill) and tional Committee. His current research thirty articles and book chapters with Ethnomusicology from the University projects include “Conditions for music journals and international presses. of London, and was an undergraduate making” at Umeå university (until student at Dartington College of Arts, February 2014) and “Pluralize or polar- To ICTM, I can contribute my adminis- where he took courses in Indian, Indo- trative skills (professional service as ize – ideologies behind music collect- nesian and Japanese music. He has ed- ing” at Svenskt visarkiv (2011-2014). programme chair, arrangements chair, ited, guest edited or co-edited various programme committee member, Coun- journals, including Yearbook for Tradi- He previously participated alongside cil member, etc.; academic positions as tional Music (2005), Perfect Beat (2007), Krister Malm and Owe Ronström in a

Bulletin of the ICTM Vol. 122 — April 2013 — Page 7 ICTM ELECTIONS 2013 research project entitled “Music Media, panel member for African Musicology forming Arts of Southeast Asia, and Multiculture”. Dan Lundberg has or- Online. have presented work at both PASEA ganised numerous national and inter- Study Group meetings to date (Singa- national conferences in ethnomusicol- Margaret Sarkissian pore, Manila). In addition I served as ogy and is the author of several books the Audio Review Editor for the Year- and many articles in the field. He is United States of America book for Traditional Music from 2002 currently President of the European Ordinary Member of the to 2010. I have served in various ca- Seminar in Ethnomusicology (ESEM). Executive Board pacities as an elected and appointed I earned my B.Mus. officer of the Society for Ethnomusicol- Tina K. Ramnarine from King's College, ogy and am currently on the Board of University of London (1983), my M.M. the Society for Asian Music. United Kingdom and Ph.D. from the University of Illi- Ordinary Member of the nois at Urbana-Champaign (1987 and Executive Board Jonathan P. J. Stock 1993, respectively), and am currently United Kingdom/Ireland Tina K. Ramnarine is a Professor of Music at Smith College, Ordinary Member of the musician, anthropolo- Massachusetts, and Chair of the Five Executive Board gist and a Professor of College Ethnomusicology Programme. Music at Royal Holloway University of Jonathan Stock teaches I am particularly interested in the ways London. She has held academic ap- at University College pointments at the Royal College of music is used as a marker of various Cork, Ireland, where Music and Queens University Belfast. kinds of identity (in particular ethnic he is currently Professor of Music and and gender identity). My field research Her interdisciplinary research looks at Head of Department. Previously, he music, performance, globalisation, has concentrated on issues of identity has worked at the Universities of Dur- identity politics and environment. Ex- among minority groups in Malaysia ham, Sheffield, and Sydney. He ac- and among Armenian immigrants in tensive fieldwork in Nordic and Carib- quired additional experience as a panel bean contexts has led to several publi- Toronto and Chicago. I have worked chair at the UK government’s Arts and cations including the books Creating extensively with the Malaysian- Humanities Research Council. His re- Their Own Space: The Development of an Portuguese and Straits-born Chinese search is mostly concerned with the (also called Baba-Nyonya or Per- Indian-Caribbean Musical Tradition (Uni- transformation of the traditional into versity of West Indies Press, 2001), Il- anakan) communities of Malacca, Ma- the modern in East Asia (with two matar's Inspirations: Nationalism, laysia. My book, D'Albuquerque's Chil- books in print on Chinese music), but dren: Performing Tradition in Malaysia's Globalization, and the Changing Sound- he has additional interests in fieldwork scapes of Finnish Folk Music (Chicago Portuguese Settlement, explores the me- methods, research ethics, music educa- University Press, 2003), Beautiful Cos- dium of the tourist show (in which tion, interdisciplinary and collaborative domain I have extensive practical ex- mos: Performance and Belonging in the research, and applied ethnomusicol- Caribbean Diaspora (Pluto Press, 2007), perience as an accordionist). I have also ogy. He also acted for several years as and an edited volume Musical Perform- done research in Japan and on Islamic co-editor and then editor of the journal ance in the Diaspora (Routledge, 2007). popular music in Malaysia. Current The World of Music. projects include new research on the Her current research is on ‘orchestras’ in global perspective, including recent history of Straits Chinese musical cul- Jonathan Stock has been a member of fieldwork in India and the Caribbean. ture in Malacca from the mid-1920s to ICTM for nineteen years, and has pre- the present; life histories of viously served ICTM as a local host Some results were presented at ICTM meetings in Hanoi (2010) and New- Portuguese-Eurasian, Baba, and Malay (Sheffield World Conference, 2005) and foundland (2011). musicians; and the impact of Facebook as Programme Chair (Durban World on the evolving construction of Conference, 2009, this latter role finally She is the UK representative for ICTM Malaysian-Portuguese identity. curtailed due to illness). If elected, he (since 2005). She served on the ICTM will use his energies to sustain and fur- Nominations Committee (2007-09) and I have been a member of ICTM since ther develop the organisation's pre- has been a Chair of the British Forum 1998 and have presented papers at sev- eminent standing as an international eral conferences (Hiroshima, Rio de for Ethnomusicology (ICTM's UK af- forum (at World Conferences, through filiate) and co-editor of the journal Eth- Janeiro, Fuzhou-Quanzhou, and New- Study groups and symposia, in publi- foundland). I am also an active mem- nomusicology Forum. She is an Executive cations, and online) where experts ber of the ICTM Study Group on Per- Board member of SEM and advisory from all around the world meet to

Bulletin of the ICTM Vol. 122 — April 2013 — Page 8 ICTM ELECTIONS 2013 share their very best insights into mu- Yoshitaka Terada cussion on the potentials and rework- sic, dance, and society. ing of public sector and applied eth- Japan nomusicology. Razia Sultanova Ordinary Member of the Executive Board United Kingdom Xiao Mei Ordinary Member of the I am a Japanese eth- China Executive Board nomusicologist trained Ordinary Member of the in North America. Executive Board My main contribution Since 1996, I have been to ICTM has been in working at the National Museum of Xiao Mei is a Professor the role of Coordinator Ethnology in Osaka, Japan, a unique at the Musicology De- of the Study Group on Music of the research institute with a museum partment of Shanghai Turkic Speaking World, organising its which serves as a venue to share re- Conservatory of Music, Director of the First Symposium in 2006 at SOAS, search ﬁndings with the general public Research Institute of Ritual Music in University of London. The papers of through a wide range of activities. My China (RIRMC), and Vice President the First Symposium were published in primary academic and personal con- and Secretary General of the Institute 2009 as Sacred Knowledge: Schools or cerns include the ways in which music for Traditional Music in China. She was Revelations. In 2012 I organised the serves as a site of identity negotiation a founding member of the ICTM Study Third Symposium of our Study Group and human rights struggles for minor- Group on Musics of East Asia and is in Cambridge (the publication of that ity and/or marginalised communities currently Chair of the ICTM China Na- Symposium's book is currently under in Asia and North America. My other tional Committee. She received her preparation). Over the past two years I area of interest is the role of audiovis- M.A and Ph.D in China. As Visiting have been a co-opted member of the ual media not only in preservation, Scholar, she studied in the Phono- Executive Board of ICTM. documentation and promotion of per- grammarchiv (Vienna) in 2000 and the forming arts but as a means of interac- Institute of Social and Cultural An- If I am elected I would continue to tions among diverse groups of people. thropology, University of Oxford in share my professional values and expe- I am currently exploring a possibility 2004. She has been collecting, coordi- rience based on various systems of for a new type of documentary ﬁlm on nating and studying traditional music musical education. I have been work- performing arts based on extensive and ritual music of Hàn and other eth- ing across a wide range of different interviews to open a channel of emo- nic groups in China over a long period academic systems throughout Asia and tive communication between minority of time. She has written, edited, and Europe and understand the complexi- and majority groups and between mi- published many articles and books ties of sustaining a forum for interna- nority groups placed in similar social such as Echo on the Field: The Note on the tional debate, in a variety of different conditions. Anthropology of Music（2001), The institutions and circumstances. Because of my upbringing in Japan, Musical Arts of Ancient China (2004), I am a practitioner of the "bi- academic training in North America Ethnomusicological Fieldwork of the musicality" style of research-performer and teaching/research experiences 20thCentury in Mainland China activity, pioneered by Mantle Hood. As (19001966): Chronicle and Cases (2007). elsewhere, my experiences and per- someone who is an established perspectives are both multicultural and former as well as a researcher, I at- Xiao Mei organised an Asia-Europe intercultural. Working in Japan, I am tempt to represent that particular Training Programme on Preservation keenly aware of the historically condi- viewpoint and its constituency on the of Tradition of ASEF in 2003 and was tioned differences and schism between ICTM Executive Board. responsible for the 2004 UNESCO pro- Asian scholarship and Euro-American gramme concerning digitalisation of If elected I would hope to extend the counterparts. If I am elected to the Ex- audio archives of Chinese traditional geographical capacity of ICTM by ecutive Board, I believe that I can con- music. She has successfully organised bringing its activities to new countries, tribute to the objectives of ICTM by and participated in many international in turn increasing the Council’s mem- participating in discussion toward conferences and music events. As one bership. Through this, we would be meaningful interactions and collabora- of the nominees for Ordinary Member able to enjoy a greater diversity of ex- tion between various types of music of the Executive Board she wishes that perience whilst multiplying the themes scholarship. With my experiences in scholars could share more resources and topics in the scope of study within museum-based activities for the past 17 from and for members of ICTM to be Ethnomusicology. years, I can also contribute to the dis-

Bulletin of the ICTM Vol. 122 — April 2013 — Page 9 ICTM ELECTIONS 2013 used in different cultural exchanges me the opportunity of manifold coop- varied involvements with ICTM would and communication. In this context, eration, which I badly need especially help me to serve the membership as she hopes to promote the diverse mu- for my major topics of research, Music Vice President. I intend to help further sic environment among East Asia coun- and Minorities. ICTM provided a expand and develop ICTM’s role as a tries and bring their geographical ad- chance to learn about different points key international organisation for the vantages into a better academic devel- of view, different approaches and dif- scholarly study of music and dance, opment via ICTM’s platform. ferent research traditions in the world. but also as an advocate for the discus- As the chair of the Study Group on sion of issues that concern our com- ❧❧❧ Music and Minorities I really could bined expertise and interests, such as experience the benefits of these condi- the safeguarding of traditions, cultural Ursula Hemetek tions. As one of the local organisers of diversity, censorship, education, and the 2007 World Conference in Vienna I copyright. While exploring new ways Austria had the pleasure to experience how it to increase ICTM’s involvement and Vice President feels to host “the world of ethnomusi- activities, it is also necessary to cele- Ursula Hemetek, As- cology”. Experiences like these – that I brate the past and continuing work of sociate Professor (ten- owe to the ICTM - have extremely en- the Council by making such work ured), Director of the riched my scholarly as well as my per- available to as wide an audience as Institute of Folk Music sonal life. As I owe so much to the possible. Increased access to this in- Research and Ethnomusicology at the ICTM I am ready to serve the organisa- formation should assist plans for future University of Music and the Perform- tion that I appreciate so much. I have directions. Most importantly, I wel- ing Arts Vienna. 1987 Ph.D. in Musi- enjoyed working in a Board that is come ideas from the membership as to cology, 2001 Habilitation in Ethnomu- characterised by diversity as well as what they would like done to improve sicology. Main focus of research: Music mutual respect. If elected I would try to our organisation. The strength of ICTM and Minorities, including studies in support processes of further democra- certainly rests with its members. I look diaspora and urban ethnomusicology. tization within the ICTM, as well as on forward to encouraging discussion of Research projects on Roma Music, Mu- international public visibility of the your ideas for improvement and work- sic of Burgenland Croats, Music of organisation in close cooperation with ing with you to bring them to reality. Bosnian Refugees, Musical practice of the Secretariat in order to enlarge the immigrant communities in Vienna, Bi- membership. Tan Sooi Beng Musicality. Publications in the field of Malaysia ethnomusicology and Music of Minori- Don Niles Vice President ties, Echoes of Diversity 1996, Und sie Papua New Guinea singen noch immer - die Musik der bur- I have been active in Vice President genländischen Kroaten 1998, Yoruba Chil- ICTM since the 1990s drens’ Songs 1999; Mosaik der Klänge. I joined the IFMC as a serving as Executive Musik ethnischer und religiöser Minder- graduate student in Board Member, Liai- heiten in Österreich 2001, Manifold Identi- 1977. For IFMC/ICTM, son Officer for Malay- ties – Studies on Music and Minorities I have made individual sia, Convenor of the Nominations 2004 (co-editor), Cultural Diversity in and panel presentations at World Con- Committee, Member of the Programme the Urban Area 2007 (co-editor with ferences, served on Programme Com- Committees and Chair of Sessions for Adelaida Reyes), Music and Minorities mittees (Chair, 2004), as co–guest editor ICTM World Conferences and Sympo- in Ethnomusicology: Discourses and Chal- of the 2004 Yearbook, convenor of the sia, Member of the Study Group on lenges from Three Continents 2012 (ed.). 2005 Nomination Committee, Papua Applied Ethnomusicology, and Pro- Chair of the ICTM Study Group on New Guinea’s Liaison Officer (1980–81, gramme Chair of the Study Group on Music and Minorities since 1999, mem- 1991–2008), Yearbook general editor the Performing Arts of Southeast Asia, ber of the organising committee of the (2006–13), and an Ordinary Member of which I helped to initiate. If elected as 39th World Conference of ICTM in the Executive Board (2007–13). I am a Vice President, I will continue to pro- 2007, Executive Board Member of member of the Study Groups on Music mote exchange and diversity among ICTM since 2005 (elected in 2007). and Dance of Oceania and on Folk Mu- members of ICTM, get better represen- sic Instruments. tation and include young scholars from I have been a member of ICTM since non-native English-speaking countries I was honoured and humbled to accept 1989. The ICTM as an international (particularly Southeast Asia) in ICTM, ethnomusicological forum has given the nomination. If elected, I hope my

Bulletin of the ICTM Vol. 122 — April 2013 — Page 10 ICTM ELECTIONS 2013 and create opportunities for them to 5. Strengthening ICTM’s relationship I was born in Vietnam and went to dialogue with scholars of more estab- with international organisations France in 1961 to study musicology lished countries. such as UNESCO, Freemuse, and and ethnomusicology in Paris (Sor- WIPO giving priority to issues such bonne University, School of High Stud- As an activist involved in engaging as: copyright, censorship, educa- ies for Social Sciences, Centre of Stud- local communities in research, per- tion, safeguarding musical tradi- ies for Oriental Music). From 1968 until formance, and organising heritage fes- tions and endangered archival re- 2009 I worked as ethnomusicologist at tivals in Malaysia, I am keen to further sources. the National Centre for Scientific Re- dialogue among ICTM members research (France) attached to the De- garding a more participatory and col- 6. Stimulating debate on the role of music and dance, and of ethnomu- partment of Ethnomusicology (Musée laborative approach to ethnomusicol- de l’Homme, Paris). My research field ogy fieldwork and methodology. sicologists and ethnochoreologists as researchers, educators, cultural is Vietnamese and Asian musics, over- ❧❧❧ administrators, and advocates in tone singing (Tuva, Mongolia, Tibet, promoting respect for cultural di- South Africa). My articles have been versity, social justice, dialogue, published in New Grove Dictionary of Salwa El-Shawan peace, and a sustainable future for Music and Musicians (1980 / 2001) and Castelo-Branco all. New Grove Dictionary of Musical Instru- ments (1984), and several articles on 7. Consolidating and developing Portugal Asian music and Throat Singing. My ICTM membership and activities, President latest article appeared in Music, Lan- especially in Africa, Latin America guage and Human Evolution, edited by Currently Vice Presi- and the Middle East. dent of the ICTM, I Nicholas Bannan, Oxford University I currently hold the position of Profes- have served the ICTM Press, 2012. sor of Ethnomusicology and Director of since 1982 in several the Instituto de Etnomusicologia, Uni- I was born in a family of five genera- capacities: Liaison Officer (1982-1997), versidade Nova de Lisboa, Portugal. I tions of traditional musicians in Viet- Executive Board member (1986 – 2001), have carried out field research in nam. As a musician, I have given more Vice President (1997-2001, and since Egypt, Portugal, Oman and Galicia than 3,000 concerts in 60 countries (fes- 2009), Programme Committee member (Spain) resulting in publications on: tivals, school and public concerts) since and Chair for various Colloquia (1986, cultural politics, musical nationalism 1966. I have published 23 LPs and CDs 1999, 2004) and World Conferences and regionalism, identity, music media, on Vietnamese music, and 4 DVDs on (1985, 1991, 2011), and co-editor of the modernity and music and conflict. I Overtone Singing. Yearbook for Traditional Music (2012). have served as Chair of the Musicology Representing both the Orient and the Department and Vice Chancellor of the If elected, I shall continue to contribute Occident, I am able to make a useful Universidade Nova de Lisboa (1983- to the development of the Council, and efficient contribution to the ICTM 1988; 1995-1997; 2005-2007), President working closely with the Secretariat, in the future. I am glad to serve the of the Portuguese Musicological Asso- the Board and the Membership to- ICTM as long as my health can let me ciation (1996-2006), and Vice President wards the following goals: to do so. of the Society for Ethnomusicology 1. Engaging students more strongly in (2007 – 2009). Honours the activities of the Council. Medal of Crystal from the National 2. Promoting the participation of Na- Trn Quang Hi Center for Scientific Research (France) tional and Regional Representatives in 1995. in the development of the Council. France President Medal Chevalier de la Legion d’Hon- 3. Consolidating ICTM Study Groups neur (Knight of the Legion of Honor and the coordination of their activi- I have been a member from France) in 2002. ties. of ICTM since 1973. 4. Developing closer ties and articulat- Since then, I have par- ing activities with sister societies on ticipated in 15 ICTM the national and international lev- World Conferences. From 1993 to 2004 els. I was Liaison Officer for France, then Executive Board Member since 2005 until now.

Bulletin of the ICTM Vol. 122 — April 2013 — Page 11 ICTM WORLD CONFERENCES 42nd ICTM World Conference 11-17 July, 2013. Shanghai Conservatory of Music, Shanghai, People’s Republic of China.

The Programme Committee of the 11:45 Let Me Understand Your Voice: 10:45 Attraction and Repulsion: Lang 42nd ICTM World Conference is glad From “National Identity,” Research on the Lang's "My Motherland" and the Sino-US to announce the following Preliminary Musical Ecology of Four Minorities in Cold War Legacy. HSU Fang-Yu Programme. Xishuangbanna. ZHANG Yuanli 11:15 Memories and Moving Forward: The Conference’s programming was a IB2 Performing Musical Pasts for South Korean Military Bands and the long and complex challenging process Identity Formation among Chinese Commemoration of the Korean War. which included many adjustments. Individuals. Tasaw Hsin-Chu LU, Heejin KIM Therefore any further changes are both chair. 11:45 Status and Representation of Tradi- kindly and strongly discouraged. 10:15 Nostalgia in Guoyue: Zi-Ming Gao as Diasporic Individual after 1949 in Tai- tion inside the Conservatories: East and Please send any corrections or cancella- wan. TSAI Ho-ju West. Xavier BOUVIER tions to the Programme Chair, J. Law- IB5 Ritual Space and Performance rence Witzleben ([email protected]), to 10:45 Coming Out in the Closet: Girls’ the Conference ofﬁce in Shanghai Generation and Sexual Politics in Gay 10:15 Performance as Art, Performance as ([email protected]), and to the Bars in Taiwan. LAI Yen-fu Ritual: The Safeguarding of Mbira Dza- ICTM Secretariat. vadzimu Music and Performance Practice 11:15 Changes in Amei's Pop Music: The through Shona Traditional Ritual Perform- The most up-to-date Programme will Art of Resistance from Amei to Amit. ances. Claudio CHIPENDO be available at the Conference’s web- PENG Wei-hao site: http://ictm2013.shcmusic.edu.cn. 10:45 Izumo Kagura: Interpretations of 11:45 "The Imaginative China: Nostalgia Japanese Ritual Theatre. Terence LANCA- in Martial Arts TV Original Soundtracks SHIRE Preliminary Programme in 1980s' Hong Kong." CHANG Chia- 11:15 P'ansori in Multiple Ritual Spaces: Thursday, July 11 Hsin Different Performing Spaces of One IA Opening Ceremony (9:00 - 10:00) IB3 Interrogating the Concept of Tradi- Musical Form in a Cross-border Korea- tion China Context. NING Ying 10:00 - 10:15 Tea and Coffee Break 10:15 Early Swedish Music in Deep Water. 11:45 Musical and Human Interaction in IB Paper Sessions (10:15 - 12:15) Cajsa STROMBERG LUND Puppet Plays from Rural Zhejiang: A Per- IB1 Yunnan Xishuangbanna Minority 10:45 Which Past and What's Tradition? formative View. LI Ya Musics Study. LUO Qin, chair. Or, It's Not My History, It's History of IB6 Role and Function of Music in Rit- 10:15 Arrangement and Creation: Two My Moves. Juliette O'BRIEN ual I Changes of Songs in the Jinuo People's 11:15 Thai Music in a Series of Archaeo- Spring Festival “Tèmàokè.” HUANG 10:15 Kirtan Chaunki: Affect, Embodi- logical Dances: An Interpretation of His- Wan ment, and Memory. Janice PROTOPAPAS torical Symbolic Meaning. Kitta 10:45 Song and Dance of the Green Desert: KONGTUK 10:45 Connecting Symbolism, Function, On the Development and Protection of and Difference in a Tibetan Adept's "In- 11:45 Musical Migrations and the Peo- Ethno Minority Music under the Natural terpretative Community": Variations in pling of Japan. Patrick SAVAGE Ecology and Social Ecology. HU Bin Ritual Performance of the Tibetan gCod Damaru Drum. Jeffrey CUPCHICK IB4 Musical Moves in the Cold War 11:15 Listening to Musical Dialogues of Context Three Generations: A Study of Ecological 11:15 Jurema: Sacred Music and Body Fac- Music Culture at Jinghong in Yunnan 10:15 European Musicians in East Asia ing Racism and Sexism in the Northeast of during the Second World War. Kyung- Brazil. Laila ROSA Province. WU Yan book LEE

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11:45 Regeneration and Transcendence Francophone Pacific Islands. Geoffroy ID1 Rethinking, Reconstructing, and through Rituals: The Disruptive Role of COLSON Reinventing the Musical Pasts of the Choral Singing in Twentieth-Century Por- Chinese Diasporic Communities. Tsan- 11:45 On Building Culture Space for the tugal. Maria de Rosário PESTANA huang TSAI, chair Heritage of Chinese Music: The Beijing 16:00 Transnationalism and Everyday IB7 Traditional Asian Music in Con- Music Festival and Taichi Traditional Mu- Practice: Chinatown Theaters of North temporary Contexts sic Award. ZHAO Talimu, XIE Jiaxing, America in the 1920s. Nancy Yunhwa 10:15 “It's the Real Thing": The Market- and LIU Rong RAO ing of an African Identity in a West Afri- IB10 Mediascapes, Musical Diversity, can Dance Class. Elizabeth ROSNER 16:30 Vernacular Cosmopolitanism: Music and Contemporary Theoretical Chal- of the Baba Local-Born Chinese of Pre- lenges 10:45 Isukuti Music: An Academically World War II Malaya. Sooi-Beng TAN Dwarfed Luyia Drum Music beyond the 10:15 Genres and Fields. Timothy TAY- Drumming. Aggrey Nganyi WETABA LOR 17:00 Cultural Capital and New-land Sur- vival: Chinese Dragon Dance Perform- 10:45 "Welcome to the World": Traditional 11:15 The Musical Patrimonies of Bongo ances during the White Australian Policy Music and Audio Recordings for Children. Pygmies from Gabon : Patrimonies under Era. Tsan-huang TSAI Influences. Sylvie LE BOMIN Kajsa PAULLSON 17:30 Cultural Homogeneity, Embodied 11:15 Diversity of Recorded Music Produc- 11:45 Constant Repertoire in Varying Per- Empathy: Reconstructing the Musical tion Practice versus Diversity of Musical formance Contexts: The Case of Djama Pasts amongst Burmese Chinese Peoples Style in Papua New Guinea. Denis Songs among the Youth in Ghana. Devine Worldwide. Hsin-Chun LU GRAGBO CROWDY ID2 Musical Pasts and the Re- IB8 Embodying Concepts and Politics 11:45 The Global Production and Con- imagining of Identity: The Historiog- through Musical Performance sumption of K-Musicals, and the Cultural- raphy of Ethnographic Practice in Mu- 10:15 Embodied Rhythms: Understanding scape of Hallyu. Hee-Sun KIM sic and Related Media. Peter TREAGER, chair. Music Making in a Community with Sidi 12:15 - 13:30 Lunch Drumming as a Case Study. Vibhuti 16:00 19th-century "Malayan Airs" and SHARMA IC Plenary Session: Presentation and the Historiography of Ethnographic Prac- Representation in Minority Music and tice. David R. M. IRVING 10:45 Negotiating Identity in Public Dance (13:30 - 15:30). Ursula HEMETEK, Spaces: Studying Garba in Urban Gujarat, chair 16:30 Re-imaging the Musical Past: Im- India. Niyati DHOKAI 13:30 Sounding History: Research on the ages of European Composers in the Me- Mongolian Instrument "Chor." XU Xin chanical Age. Alan DAVISON 11:15 Separating the Folk Sound from the Folk Body: Hereditary Musicians in In- 14:00 Minorities Becoming Majorities? 17:00 Authenticity and Appropriation in dia's Vernacular Music Industry. Stefan Papua New Guinea Music and Dance Rep- Hollywood Film Scores. Peter TREGEAR FIOL resentations. Don NILES 17:30 Nhạc tài tử: Lost in Translation. Le 11:45 Presenting and Representing Gu- 14:30 Indigenous Representations of Ritual Tuyen NGUYEN rung Music of Nepal. Pirkko MOISALA Performances and Sacred Spaces in Sámi ID3 Rethinking Historical Sources on Cinema: A Case-study of Ofelaš (Path- IB9 Festivals, Arts Policies, and Tradi- Musical Practices finder). Tina K. RAMNARINE tion 16:00 Portrait on the Double Ninth: A 10:15 Hybridizing the Nation through 15:00 Managing Minorities: Representa- Glimpse into the Recirculation of Twelfth- Music and Dance: New Identitary Imagi- tions of South Sulawesi’s Music and Dance Century Literati Music in Eighteenth- naries in Argentine Cultural Policies. Sil- in Indonesia and Beyond. R. Anderson Century Yangzhou. YANG Yuanzheng via CITRO SUTTON 16:30 Hemitonic Pentatonic Scales in Chi- 10:45 Representing Indigeneity Through 15:30 - 16:00 Tea and Coffee Break nese Music in the Past: An Evidence-based Fusion Music and Dance. Liz PRZYBYLSKI Study of Historical Musical Sources. TSE ID Paper Sessions (16:00 - 18:00) Chun Yan 11:15 Musical Transculturation at the 11th Festival of Pacific Arts: A Creative Ap- 17:00 Sound and Music: Embodied Aes- proach to the Sustainability of Tradition in thetics in the Traditional Chinese Zheng. HAN Mei

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17:30 Creating a Tradition: the Qinzheng Fusions in Vietnam. Lonán Ó BRIAIN Music. Khanithep PITUPUMNAK School in Xi’an. SUN Zhuo 17:00 Karna, Symbol of Ancient Heritage: 17:30 YouTube Representations and Recep- ID4 Recontextualizing Tradition How this Ancient Instrument Survives in tion of the Hmong Qeej. Catherine FALK 16:00 Cultural Recovery within a Musick- the Isolation of a Small Village in North Iran, through Religious Rituals. Bahram ID11 (in Chinese) Chinese Ritual Mu- ing Society: Armenian Music in Turkey. sic and Ritualized Performance Burcu YILDIZ OSQUEEZADEH and Roshanak NOURI 16:00 About the Li People's Ritual Music. 16:30 The Place of the Minstrel (Aşık) 17:30 The Techniques and Theory of Guqin LIU Houyu and LIN Riju Şeref Taşlıova in the Minstrel Performance Dapu. DAI Xiaolian 16:30 The Inﬂuence of Traditional Music Genre in Turkey. Armağan ELÇI ID8 Composition, Creativity, and Tra- on the Catholic Religious Service. MA Li 17:00 Musical Historicity and National- dition 17:00 The Dance and Music of Life: An ism: A Case Study on Contemporary Re- 16:00 The Shakuhachi Player Yoshida Seifū Ethno-Musical Study on the Lusheng Representations of a Suﬁ Qawwali Song in and the Formation of New Japanese Music. Dance of the Lahu Ethnic Group in Yun- India and Pakistan. HUANG Pei-Ling Mamiko NAKA nan Province. HUANG Lingfei 17:30 Musical Migrations & Transforma- 16:30 An Investigation of Three Chamber 17:30 Research on Duancun "Yin Yue tions: Contemporary manifestations of Works of George Crumb between 1966 and Hui." WANG Chang Middle Eastern Music in Australia. Jenny 1976. Ang-Cheng Kris HO GAME-LOPATA 17:00 Tradition as a Creative Context of ID12 Film Screenings ID5 Roundtable: Frameworks for the Contemporary Composer. Galina BO- 16:00 Islands of Interpretation: The Cul- Musical Sustainability. Huib SCHIP- DAREVA tural Circuitry of Gambus and Zapin in PERS, chair. Huib SCHIPPERS, Dan Nusantara. George MURER 17:30 Cheng Gongliang and his Qin Mu- BENDRUPS, Keith HOWARD, and Phil HAYWARD, participants sic: Embodied Knowledge and its Musical 17:00 Music of Nan Province: The 100th Expression. LI Juan Anniversary Celebration of Chulalongkorn ID6 Christian Music around the World University. Pornprapit PHOASAVADI 16:00 Inculturation and Catholic Music in ID9 Thai Music in History and Society Indonesia: A Case Study of the Church of 16:00 The Mangkala Traditional Folk Pro- Friday, 12 July the Sacred Heart of Jesus at Ganjuran (Pa- cession Band: Historical Questions on Its IIA Paper Sessions (8:15 - 10:15) roki Hati Kudus Tuhan Yesus Ganju- Movement from Sri Lanka to Middle Thai- ran). WU Peichang land. Nattanit NAKPEE IIA1 Expanding Minority Music: Mi- norities in Sweden in Interaction with 16:30 The Plainchant through Four Hun- 16:30. Lanna Music Iconography in the National and International Music dred Years: Church Music, Religion, and 17th-18th Century. Nithit PANGNOI Scenes. Krister MALM, chair Society of the Old Order Amish People in 17:00 Thai Popular Songs: History and 8:15 Does Transculturation Lead to Im- Lancaster County, Pennsylvania, USA. Singing Skills Development. Nutthan ploding of the Saami-ness of Saami World Yuanyuan SUN VOELKL INKHONG Music? Olle EDSTROM 17:00 Revival and Innovation: The Praise 17:30 Thai Traditional Music for Puppet 8:45 Music, Nusah, and the Old Way of and Worship Music Phenomenon of The Theatre Plays. Kanlayanee SAISUK Singing: The German-Jewish Reform Big Church of Qibao, Shanghai. FANG Bo Movement and the Roots of Ethnomusicol- ID10 Music, Theatre, and Ethnicity in ogy. Anders HAMMARLUND 17:30 Indigenous Worship in African Mainland Southeast Asia Churches: Six Stages of Music Develop- 16:00. The Clarinet in Wayang Kulit Mu- 9:15 Small Pieces of Pie Everywhere: Bal- ment. James R. KRABILL kan Music in Sweden. Jill Ann JOHNSON sic: Solos based on Maharisi, Berjalan, and ID7 New Perspectives on Musical In- Perang. Hamdan Adnan 9:45 Swedish Prison Songs. Dan LUND- struments BERG 16:30 Change in the Pinphat Music En- 16:00 The Suona, a Treasure Bequeathed by semble of the Khmer-Thai Ethnic Group in the Chinese Minority to Cuban Music Cul- IIA2 Action-Research Musical Northeastern Thailand. Chalermsak Ethnography in Graduate Programs of ture. Rolando A. PÉREZ FERNÁNDEZ PIKULSRI Brazil and Portugal. Susana SARDO, 16:30 A Viet Musician on a Hmong Flute: chair 17:00 Hmong Secular Music: Instrumental The Politics of Minority-Majority Musical 8:15 Reengaging Ethnomusicology in the

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Real World; Politico-Epistemological Di- IIA5 Musical Structures and Theories gascar. Cornelia GRUBER mensions of Intercultural Dialogue in the in Central Asia 8:45 Home Video and the Growing Youth Ethnography of Music-Making. Samuel 8:15 The Variations and Deep Structural Violence Culture: The Nigerian Experi- ARAÚJO Analysis of Dolan Muqam. TENG Zhen ence. Frances NNAMANI 8:45 “M362-P7": Between Portugal and 8:45 Structure and Form in the Traditional 9:15 Development of Maasai Chant Music Brazil in the Quest for Ethnomusicological Music of the Transylvania Plaine: Repre- in the Face of New Technology in Kenya. Research Methodology. Ana Flávia sentation in the Context of Performing. Mark Lenini KASII and Aggrey Nganyi MIGUEL Lucian Emil ROSCA WETABA 9:15 Authorship and Collaborative Re- 9:15 Towards a Redeﬁnition of Radīf in IIA9 Music, Ritual, and History in search: Problems and Inquiries in the Con- Iranian Traditional Music. Masato TANI Chinese Minority Music text of a Postgraduate Degree in Music. Pedro MENDONCA 9:45 Methodological Muqam Education. 8:15 The Historical Narrative of the Chui Fikri SOYSAL Chui Qiang Opera of the Bai Minority 9:45 Collaborative Research in Ethnomusi- Ethnic Group in China. QIN Si cology: Narratives of Diversity in Different IIA6 Song and Dance in Ritual Political and Academic Places. Susana 8:15 The Spiritual Politics of the Teueikan 8:45 Five Decades of Song: Kam (Dong) SARDO Song Performance of the Innu People Village Singers and their Personal Experi- (Canada). Veronique AUDET ences of Musical Change. Catherine IN- IIA3 Dance, Choreography, and Mar- GRAM, WU Meifang, WU Pinxian, and tial Arts in Changing Contexts 8:45 Ritualizing Process in the Duige (An- WU Xuegui 8:15 An Exploration of the Re-presentation tiphonal Folk Song Singing) among the and the Contemporization of an Irish Tra- Zhuang Ethnic Nationality in Guangxi. 9:15 Writing the Histories of a Chinese Ritual Music: The Dongjing Tradition of ditional Step Dancing Practice in North XIAO Xuan Southwest China. Helen REES Kerry, Ireland. Catherine FOLEY 9:15 Call a Name: Why the Thaw Tribe of 8:45 From the Malay Court to the Kam- Taiwan Sings Shmayla to Celebrate the 9:45 Inheritance of Faith: The Phenomenon of Yunnan Dongjing (Religious Scripture) pong: Musical Appropriations in Malay- New Year with a Rite of Passage. WEI Xi- sian Martial Arts Accompaniment. Law- nyi Performance. ZHANG Boyu rence ROSS 9:45 Maha Duriyang: The Extra Large IIA10 Music, Ethnicity, and Senses of Place 9:15 Two Choreographies, One National Size Thai Traditional Ensembles. Poonpit Identity: Gaucho Past Times and Afro- AMATYAKUL 8:15 Shaded Origins: On the Roots of a Brazilian Dances in Present-day Uruguay. Minority's Lament Tradition. Marko IIA7 New Perspectives on Music and KOELBL Marita FORNARO Pedagogy in East Asia 9:45 Cultural Dance Surviving in a 8:15 Thinking after Taking Summer School 8:45 Gongs, Sociality, and Shifting Modes Changing World. Michael CLEMENT Ikuta Koto in Geijutsu Daigaku. ZHANG of Economic Exchange in West Sumatra. Yuwen Jennifer FRASER IIA4 Music, Ritual, and Power 9:15 Ati-Atihan Lives. Patrick ALCEDO 8:15 The Invention of Calabanga, Cama- 8:45 Learning Rhythm Patterns through Video Data: The Chinese Dragon Dance rines Sur: Dynamics of Family and Power. 9:45 Sounds of Bulang Mountain: The between Singapore and Hong Kong. Juliet BIEN Musical Construction of Place. Friedlind Kyoko TSUJIMOTO RIEDEL 8:45 Power and Responsibility: Royalty 9:15 Gorgeous Music Audio: Matatu Mu- and the Performing Arts in Ghana. Kwast 10:15 - 10:30 Tea and Coffee Break AMPENE sic and Popularity. LI Chenyu IIB Plenary Session: New Research 9:15 Violence and Ritual of Folia de Reis in 9:45 "It's Easy, Right?" The Struggle to (10:45 - 12:15). Deborah WONG, chair Teach Kugak through Traditional Instru- Southern Brazil. Marcelo LOPES 10:45 Disability Rocks: A Music of Our ments in the ROK's Public School System. Own? An Exploration of Crip Culture. 9:45 A Study of the Music Images in the Hilary FINCHUM-SUNG Anthea SKINNER Pictorial History of the Nanzhao Kingdom. IIA8 Music, Dance, and Technoculture WANG Ling 11:15 World Music from China. MU Qian 8:15 Feedback-Screening. A Methodologi- cal Approach in Dance Research in Mada-

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11:45 Ethnomusicology in Times of Trou- 14:30 The Figuring of Marimba in Semz- IIC7 Creating, Sustaining, and Safe- ble. Timothy RICE aba’s Novel Marimba ya Majaliwa. guarding Musical Communities Imani SANGA 13:30 A Place at the Table: Making Place 12:15 - 13:30 Lunch within Cape Breton’s Traditional Music 15:00 Efforts of Dor, Badu, and Annan in IIC Paper Sessions (13:30 - 15:30) Community. Kathryn ALEXANDER the Transformation of Traditional Music IIC1 Changing Contexts of Philippine Elements into Contemporary Ghanaian 14:00 Creating a Community of Learning. Ritual Musics. JOSÉ BUENCONSEJO, Choral Music. Joshua AMUAH Bryan BURTON chair 13:30 Awaiting the Gift: Context and IIC4 Buddhist Music and Ritual 14:30 Pedagogy of Cultural Sustainability: Meaning of the Music in the Philippine 13:30 The Luxury Interpretation of Zen: A Case Study From the Red River First Misa de Aguinaldo. Maria Alexandra From the Ethnomusicology Aspect. Nations, Alberta, Canada. Michael B. INIGO-CHUA CHENG Kejia MACDONALD

14:00 Nationalism in the Music of the Igle- 14:00 The Comparative Study of Xuanjuan 15:00 Analysing and Repatriating: A New sia Filipina Independiente (Philippine In- Ritual Music in Wuxi and Jinxi. LI Ping Strategy to Safeguard Endangered Abo- dependent Church). Arwin TAN riginal Australian Song Traditions. Sally 14:30 Secular Tunes in Buddhist Vocal TRELOYN 14:30 Responses to Culture Change in the Liturgy. Hwee-San TAN Ritual Practices of Sarangani Blaan: The IIC8 Music, Society, and their Impact 15:00 From Rite to Stage: Liturgical and Case of Instrumental Music Odél (log on Children Para-liturgical Music-Dance of Modern- drum) and Fuglung (two-stringed lute). 13:30 Amplifying the Voice of A Child: The day Taiwan. HO Li-Hua Mi Hyun OH Importance of the Arts Among Children of IIC5 History and Agency in Brazilian Abidjan, Côte d’Ivoire. Ty-Juana TAYLOR 15:00 Visayan Modernity and its Disen- Music chantment of the Mystical Agusan Ma- 14:00 Piano Education and Violence: In- 13:30 Rethining Musical Pasts through nobo Ritual Voice. José BUENCONSEJO vestigation of the Phenomenon of Chinese Mufﬂed Historical Records. Maria Eliza- Children Experiencing Violence during IIC2 (Re)Sounding and (Re)Imag(in)ing beth LUCAS their Piano Education. ZANG Yibing India’s Past: Tradition and History as Musical Constructs on the Indian Sub- 14:00 From a Sound Signal to a Sound- 14:30 Individual Intention and Social continent. Victor A. VICENTE, chair mark: The Recontextualization of "Ber- Pressure: Piano Education in China. WU 13:30 Rethinking the Value of Tradition: rante" in Brazil and its Presence in the Yameng How a Woman Changed the Role of the Music of the Rural Man. Alexander DU- ARTE IIC9 Global-Local Interactions Ghatam on the South Indian Classical Mu- 13:30 Study on the Relationship between sic Stage. ZHANG Xiao 14:30 Animals as Agents in Song: A Miss- Kgal Laox’s Model of Performance and the ing Ontological Link? An Investigation in 14:00 Reinventing the Raga: Traditional Kam People’s Traditional Social Structure. the Western Amazon. Bernd BRADEC DE Sentiment and Sound in Hindi Film Song. YANG Xiao MORI Natalie R. SARAZIN 14:00 When the Local Meets the Global: IIC6 Ritual Song, Dance, and Theatre 14:30 Once Upon a Time in Bollywood: Music in Crouching Tiger, Hidden 13:30 Namadu Ritual Music and Dance of Old Themes as Recent Trends in Contem- Dragon (Ang Lee, 2000). SU Yen-Ying porary Indian Film Music. Victor A. the Bagwere People from Eastern Uganda. VICENTE James ISABIRYE 14:30 Musical Creativity, Globalization, and Spiritual Transformation: Exploring 14:00 Ritual Soundscapes and Ethnic IIC3 Individual Agency and National Processes of Creativity Amongst “Indige- Characteristics: The Huanyuan Ritual of Sensibilities in African Music nous Cosmopolitan” Musicians. Uday the Han Chinese of Central Hunan Prov- 13:30 African Diasporic Musical Rela- BALASUNDARAM tions: A Kenyan Perspective. Donald ince and the “Red” Yao People of South- west China. WU Fan OTOYO 15:00 The SIBOD Way: A Local Ideology’s Response to Global Agents of Change. 14:30 The Development of Lao-Ting 14:00 Towards a Compelling Historiog- Maria Christine MUYCO Shadow Play's Music. QI Jiang raphical Study of the Life and Work of Vi- norkor Akpalu. George DOR 15:00 Ateetee: Arsi Oromo Women’s Sung Prayers in Ethiopia. Leila QASHU

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IIC10 New Music for Traditional Asian ment Collection at Addis Ababa Univer- sic: My Perspectives on the Role of “Mu- Instruments sity, Ethiopia. Cynthia TSE KIMBERLIN sic” in Zaoke (Morning Liturgy). LI Yi- 13:30 Contemporary Compositions In- wen 17:00 African-American-style Gospel spired by Traditional Korean Music: Chiy- Choirs in Beijing's Central Conservatory 17:30 Order and Identity: Interpersonal ong and Arirang. Bohi Gim BAN of Music. Kimasi L. BROWNE Communication in the Ritual Music of the 14:00 In Search of Authenticity: The Hong Gannan Taoist Festival. JIANG Xie IID2 Regional, National, and Transna- Kong Chinese Orchestra at the Cultural tional Perspectives on Musical In- IID5 Roundtable: Minorities, Music, Crossroads. Esther YU struments Powers. Inna NARIDOTSKAYA, chair. 14:30 Modern Representation of Korean 16:00 A Study on the Origin and Histori- Adelaida REYES, Yoshitaka TERADA, Traditional Washing Ritual for the Dead cal Development of the Vietnamese Pipa Gerda LECHLEITNER, Dorit KLEBE, Inna NARODITSKAYA, and Marziet and its Musical Adaptation. Mikyung from Chinese and Vietnamese Historical ANZAROKOVA, participants. PARK Records. Thanh Ha NGUYEN IID6 New Perspectives on Turkish Mu- 15:00 State-sponsored "Ethnic" Orchestras 16:30 The Transition of the Representa- sic tions of Chinese Sizhu Ensembles in the and Multicultural Policy in Singapore. 16:00 The Melodic and the Rhythmic 20th Century: A Study of the Four Pri- Shzr Ee TAN Characteristics of Zeybek Music in Aydin, mary Musical Types in South China. GUO Turkey. Ali Fuat AYDIN IIC11 (in Chinese) Continuity and Shuhui Change in Han and Non-Han Chinese 16:30 The Legacy of Istanbul 2010: Euro- Music Traditions I 17:00 Revisiting the Corneta China: pean Capital of Culture. Leslie HALL 13:30 Performance Onstage and Voices Claiming a Place for Chinese Music in behind the Scenes: Discussing Changes in Cuban Conga Practice. Beth SZCEPANSKI 17:00 Reconstruction of Ottoman 15th Political Functions and Cultural Attrib- Century Maqam Theory. Okan Murat 17:30 Winds of Change: Nationalism and utes of Peking Opera Expressed by Differ- ÖZTÜRK Orientalism of the Taegŭm. Hyelim KIM ent Versions of The Legend of the Red Lan- 17:30 From Vahdet-i Vücud to Vahdet-i tern. ZHOU Le IID3 Reviving, Reconstructing, and Mevcut: A Discussion of the Perception of Reconsidering Traditional Musics 14:00 Art Characteristics in the Accompa- God in Anatolia during the slamic Period, niments of Plucked String Instruments to 16:00 “Há Fado na Mouraria!” Reviving based on the Concepts of Semah and Sema. Musical Pasts and Urban Renewal in One Danxian and Tanci Quyi Music. JIANG Cenk GÜRAY Shan of Lisbon's Historical Quarters. Iñigo SÁNCHEZ IID7 Social and Educational Processes 14:30 The Inheritance Thread of Yi Culture in African Music 16:30 Egle Cetina or The Folkloristic Prac- in Southern Yunnan Reﬂected by the Phe- 16:00 Ewe Culture As Expressed in tice as a Manifestation of a Cultural Iden- nomenon of Hailai "Song Masters." SU Ghana, West Africa: From the Village to tity. Nuša HAUSER Yimiao the Stage. Badu YOUNGE 17:00 The Performance of Scottish Fiddle IIC12 Workshop: The Characteristics 16:30 The Music and Dance Traditions of Music: Or, Living Tradition. Ronnie GIB- and Use of luogujing in Chinese Tradi- Ghana as Total Work of Art: The Interdis- SON tional Percussion Music. PENG Yu ciplinarity of the Musical Arts of Ghana. 15:30 - 16:00 Tea and Coffee Break 17:30 Reconstruction of the Musical Iden- Paschal YOUNGE tity in the Republic of Macedonia. Velika IID Paper Sessions (16:00 - 18:00) 17:00 Integrating African Indigenous STOJKOVA SERAFIMOVSKA Knowledge Systems (AIKS) in Music Edu- IID1 Filling in the Gaps of Religious and Instrumental Music Traditions. IID4 Taoist Music and Ritual I cation in Ghana: A Reality or Mirage? Kimasi L. BROWNE, chair 16:00 The Practice and Heritage of Tai- Cosmas Worlanyo Koﬁ MEREKU wanese Taoist Music. LEE Schu-chi 16:00 "Old-School Worship": An African 17:30 The Embedded Pathway (EP) Ap- American Megachurch Celebrating the 16:30 A Case Study of “Jie Hu Gong” Rit- proach: Music Classroom Processes from Past and Church Traditions through Re- ual and Soundscapes in Pan’an county of Kenya. Evelyne MUSHIRA enactment. Birgitta JOHNSON China Today. LIN Lijun IID8 Traditional Musics in Contempo- 16:30 "A Glimpse into the Past" (1962- 17:00 Zaoke (Morning Liturgy) of Chen- rary Contexts 2012): Documenting the Musical Instru- ghuang (Old City's Temple) and the Mu- 16:00 Superseding the Real? The Dawning

Bulletin of the ICTM Vol. 122 — April 2013 — Page 17 ICTM WORLD CONFERENCES of the Simulacra in Orang Asli Traditional Cyberspace: A Case Study of the Webboard IIIA3 Corporeal Connections: Healing, Music and Dance Performances. Clare in http://www.thaikids.com. Iyared Musical Embodiment, and Kinetic Pat- CHAN BOONYARIT terning in Southeast Asian Performing Arts. Made Mantle HOOD, chair 16:30 Contextual Performance of Teduray IID11 (in Chinese) Continuity and 8:15 The Body Becoming: Mak Yong’s Change in Han and Non-Han Chinese Agong Music and Dance. Rowena Cris- Menghadap Rebab as a Transformative Music Traditions II tina GUEVARA Performance. Patricia HARDWICK 16:00 A Survey on the Current Situation 17:00 Performing Heritage or Cultural of Zhui Zi Drama in Shenze County. LIU 8:45 "Persistent Mutualisms": Observing "Profiteering": Reconceptualizing and Dongxing Transmission in the Symbiotic Relation- Reconstructing Russianness in Southeast ship Between Balinese Dancer and Drum- Alaska. Jonathan JOHNSTON 16:30 A Study of the Affinity between Xin- mer. Made Mantle HOOD tianyou of Northern Shaanxi and Anciant 17:30 Music for the Kazakh Folk Instru- Turk Folksong. NIU Dongmei 9:15 The Body as Musical Embodiment in ments in Contemporary Culture. Umitz- Balinese Performing Arts. Ako MASHINO han DZHUAKOVA 17:00 On the Classification of Chinese Folk Music. SUN Fan IIIA4 Multipart Music Making as Be- IID9 Transmission and Function in havior and Construction Process: Chinese Music IID12 Film Screenings European Perspectives. Ardian AHME- 16:00 Music Education as Identity: The 16:00 Street Is Mine: Identity & Aesthetics DAJA, chair Curriculum Development of Cantonese in Hong Kong’s Bboying Scene. 8:15 "Sound Social Bodies" in the Gascon Opera in Primary and Secondary Schools Alexander HOCHNER Pyrenees: Musical Strategies and Social in Hong Kong. LEE Siu-yan Representations. Jean-Jacques CASTÉRET 17:00 Moon Mistress Rite of the Floral-belt 16:30 Comprehending Guqin Music by Dai. WU Qiao 8:45 Multipart Singing Performances as Means of the Links between Guqin Tech- Interaction of Identities. Ignazio MAC- niques and the System of Guqin Music. Saturday, July 13 CHIARELLA ZHAO Wenyi IIIA Paper Sessions (8:15 - 9:45) 9:15 The Making of the Leader in Multi- 17:00 The Construction of the Qiqin In- IIIA1 Representation of Minorities’ part Music: Experiences in the Border Area strument and its Use in Wuyin Opera. Music and Dance in Festival Contexts. of Albania, Greece, and Macedonia. WANG Ying Adelaida REYES, chair Ardian AHMEDAJA

17:30 Relationship between the Forming of 8:15 Changes in the Presentation of Mu- IIIA5 Music, Theatre, and Dance in Absolute Pitch Ability and the Roles of sics and Dance of the Achang People in Malaysia Yunnan during the Woluo Festival. Gretel Mother Language and Early Music Train- 8:15 Dama Orchestra’s Empress Wu–The SCHWOERER-KOHL ing. LI Xiaonuo and LE Jinghong Musical: Staging Tang Dynasty on a Con- temporary Malaysian Stage. Fung Chiat IID10 Southeast Asian Music and 8:45 Kangdali Mela Festival: Kumaoni Theatre Reunion of Two Cultures through Music LOO and Dance. Cornelia DRAGUSIN 16:00 The Imaginary Space: Intercultural 8:45 The Malaysian Lion Dance: Bridging Exchange through Composition and Per- IIIA2 Music, Taboos and Values: National Unity through Ethnic Instru- formance in Malaysia. Jean PEENY, An- Musical Creativities as a Tool for ments. Fung Ying LOO drew BLACKBURN, and Affendi BIN Shaping New Identities among the Tao RAMLI (indigenous ethnic group of Taiwan). 9:15 Performing Filial Piety through Con- Wei-Ya LIN, chair temporary Theatre Performance. Poh Gee 16:30 New Sonorous Objects: Analyzing 8:15 To Change and not to Change: Recre- LENG Balinese Music Using 3D Modeling and ating Frames for our Identity: Boat Con- Printing. Andrew MCGRAW IIIA6 Politics, Nation, and History in struction Project ‘IPAN-GA NA1001 African Musics 17:00 Di depan dan di belakang kelir (In (Crossing 1001)’ in 2007. Jian-Ping GUO 8:15 Tshikona and Cultural Nationalism: Front of and Behind the Screen): On the 8:45 Musical Creativities as a Tool for A Venda Art Form Past and Present. Concept of "Screen" in Filming Balinese Shaping New Identities. Greg HURWORTH Laina GUMBORESHUMBA Wayang Kulit (shadow puppetry). Hideki ISODA 9:15 Mi-ianuanuwud Songs of the Yami: 8:45 Sifting the Past: Ganda Politics in Creative Identities. Wei-Ya LIN Kawuugulu Clan- and Royal-based 17:30 Thai Classical Music Community on

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Musical Performances. Damascus KA- treme Metal Music. CHU Meng Tze Yugoslav spaces. Ana HOFMAN FUMBE 9:15 Born to Die: A Study of the Rock 14:30 Socialist Music Legacy: Stanisław 9:15 Negotiating the Rebuilding and Rein- Star's Extraordinary Death. ZHAO Fang Moniuszko as a Polish National Prophet in vention of Zambian Musical History Fang the Light of Social Representation Theory. through Kalindula Music. Kapambwe Agnieszka TOPOLSKA LUMBWE IIIA11 (in Chinese) Continuity and Change in Han and Non-Han Chinese 15:00 "If there is something to be changed IIIA7 Religious Music and Culture Music Traditions II in this world, it can only happen through Contact 8:15 Creative Thinking and Construction music" (Jimi Hendrix): Musical Memory 8:15 Music of the Arab-Anglicans in Is- of Crossover in Ethnic Jazz Music: The from Central-Eastern Europe from the An- rael: Dynamics of Ethno-Religious Iden- Case of the “Orbit Folks” Orchestra. CHEN gles of Post-colonial Theories and Psycho- tity. Alex ROSENBLATT Yingduo sociological Theories. Iren KERTES WILK- INSON 8:45 Indigenization and Secularization of 8:45 Changes in EZhou-Paiziluo. CAI Jiz- Christian Hymns Of the Miao Ethnic hou and XU Le IIIC2 Sinmyeong and the Symbolism of Group in Northern Yunnan. HUA Hui Korean Traditional Music. KWON Oh- Juan 9:15 The Vitality of “Yin yue hui” in the Sung, chair Modern Society of Central Hebei Province, 13:30 When do the Villagers Experience 9:15 Presenting the Image of Minority China. QI Yi the Communal Catharsis? The Notion of Christians through Public Performances: A Sinmyeong in a Village Ritual Music. LEE Case Study of the Lisu Farmer Choir in a 9:45 - 10:15 Tea and Coffee Break Yong-Shik Small Village of Yunnan. DIAO Ying IIIB Plenary Session: Rethinking, Re- constructing, and Reinventing Musical 14:00 Sinmyeong in Korean Folksongs. IIIA8 Plucked Strings and the Imagi- Pasts (10:15 - 12:15). Salwa EL- KIM Insuk nation SHAWAN CASTELO-BRANCO, chair 8:15 Strings Can Tell: The Application of 10:15 When Ethnography Meets History: 14:30 Finding Sinmyeong in Korean Pipa Music in the Movies. ZHU Rui Longitudinal Research in Ethnomusicol- Christians:“Isn’t It Pagan to Use Pungmul (Farmers’ Band) in the Church?" Kim ogy. Kay Kaufman SHELEMAY 8:45 Aloha in the Heart: Japanese Slack Myosin Key Guitarists Re-imagine Japanese and 10:45 Rethinking "Past" and Creating Hawaiian Identity. Kevin FELLEZS "Present": Activities of Gagaku Musician 15:00 Sinmyeong in Byeolsingut, a Sha- man Ritual from the Eastern Coastal Re- Shiba Sukeyasu. Naoko TERAUCHI 9:15 Modern Audio-visual Art in Antiq- gion of the Korean Peninsula. KWON Oh- uity: Talking about Film music using 11:15 The Past is our Future! A Narrative Sung GuQin. ZENG Fanzhong Analysis of the Ukulele Story. Gisa IIIC3 Music, Diasporas, and Home- JÄNICHEN IIIA9 Festivals and Celebrations lands 8:15 The Music of the Gangneung Danoje 11:45 Rewriting the History of the Shang- 13:30 Music and History in the Liturgy of Festival in South Korea. ZHONG Fang- hai Municipal Orchestra: “Shanghai West- the Spanish-Portuguese Jews. Essica fang ern Music History” Reconstructed and MARKS Reinterpreted, and Meaning Re-explored. 8:45 A Unique Style of Celebrating Idul TANG Yating 14:00 The Seychellois' Moutya: From Fitri: Sakura Masked Theater-Dance in the Marginalized to Emblematic Music. Indonesian Sumatran Province of Lam- 12:15 - 13:30 Lunch Marie-Christine PARENT pung. Karen THOMAS IIIC Paper Sessions (13:30 - 15:30) 14:30 Music as a "Site of Memory": Ar- 9:15 On the Singing and Dancing of Some IIIC1 Music and Cultural Memory in ticulation of Homeland in the Saharawi Asian Suﬁ Communities and Shamans. “Post-s” Societies, Part I: Theoretical Diaspora in Andalusia, Spain. Sabrina János SIPOS Gaze(s). Ana HOFMAN, chair Maria SALIS 13:30 Germanic Mythology in Music: Cul- IIIA10 Rock Music around the World 15:00 Strategies of Reinterpretation in 8:15 Maya Rock in Contemporary Guate- tural Memory and Conﬂict within the Gome Musical Performances. Barbara Framwork of Modern Globalization. Britta mala. Nanako TAKI HAMPTON SWEERS 8:45 The Imaginary Geneology: Historical Narrative and Poetic Valorization in Ex- 14:00 Music, Memory, and Affect in Post-

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IIIC4 Daoist Music and Ritual II IIIC7 Minorities, Dance, and Ritual IIIC10 Music, Poetry, and Ritual of the 13:30 The Inheritance Thread of Yi Culture 13:30 Performing Minority Indian Dance Silk Road in Southern Yunnan Reﬂected by the Phe- in Malaysia. Premalatha THIAGARAAJAN 13:30 Treasures of Poetry in Jetisu, Ka- nomenon of Hailai "Song Masters." LIU zakhstan. Baglan BABIZHAN Hong 14:00 Domination of National Dance of Minorities as a Result of Cultural Policy in 14:00 Troubadours of the Steppe. Meruert 14:00 Ritual Soundscape as an Expressioni the Soviet Union. Alla SOKOLOVA KURMANGALIYEVA of the Interaction between Two Types of 14:30 Watching Taoist Rites: Observing Ritual Specialists of the Xiangxi Miao Mi- 14:30 A Unique Dancing Room: A Hun- Baiyun Mountain's Taoist Ritual in nority Group of Northwest Hunan and garian Táncház in Cluj/Kolozsvár, Roma- nia, between 1977 and 1983. Csilla Northern Shanxi. SU Yimiao Guizhou Provinces. WEI Yukun KÖNCZEI IIIC11 (in Chinese) Music in East 14:30 Between Ritual Sounds and Relig- Asian Historical Research ious Identity: Discussion of a Case Study 15:00 On Nyau Religion and Ritual among the Chewa People of Malawi. Rob- 13:30 The Forms of Frets on the Gogen- of Taoist Ritual. WANG Dun ert CHANUNKHA Biwa. WEN He 15:00 The Suona Musical Band in Peasant Funerals of Suining Village, Northern Ji- IIIC8 Indigenous Music in Contempo- 14:00 The Differences between Chinese and rary Societies Japanese Zither Performing Styles under angsu Province, China. ZHAO Yanhui 13:30 Revival of Taiwanese Aboriginal the Inﬂuence of Socio-Cultural Environ- IIIC5 Change in Contemporary Ritual Music: Nostalgia, Modernization, and ments. LIN Qiming Music and Dance I Minority Struggling in Music Video Pro- 14:30 Folk Music Documents in Song Dy- 13:30 Continuing Changes in the Music of ductions. Kwok Sun LAM nasty Notes. ZENG Meiyue Taiwanese Folk Religion in Current Gen- 14:00 A Plains Cree Framework for De- eration. LIOU Yanfang IIIC12 Workshop: Tao to Now. Randy scribing Canadian First Nations Gospel RAINE-REUSCH 14:00 Traditional Music in the Contempo- Gift Songs. Carl URION rary Setting among the Akamba People of 15:30 - 16:00 Tea and Coffee Break 14:30 Musical Aesthetics of Indigenous Kenya. John KILYUNGU KATULI Sustainability in Canadian Theatre. IIID Paper Sessions (16:00 - 18:00) 14:30 Prince Paripatra of Nakorn Sawan: Klisala HARRISON IIID1 Music and Cultural Memory in Traditional Siamese Music Compositions “Post-s” Societies, Part II: Local Dy- 15:00 Intangible Cultural Heritage or Poli- and Western Military Brass Bands. Krit- namics ticised Commodity? The Case of Indige- sakorn ONLAMUL nous Musical Cultures of Hainan Island, 16:00 (Re-)Constructing Montenegrin National Cultural Memory through the 15:00 The Deer Dance in Guatemala: A China. YANG Mu Opera Balkanska Carica (Balkan Empress) Struggle Between Preservation and Profa- IIIC9 Music and Language by Dionisio de Sarno-San Giorgio, 1891– nation. Logan Elizabeth CLARK 13:30 Hearing the Message: Identity and 2006. Tatjana MARKOVIĆ IIIC6 The Regenerative Power of Music the Changing Musical and Linguistic Pref- 16:30 National Rock in Hungary and erences in an Eastern Highlands (Papua 13:30 The Role of Music in Disaster-relief Croatia: Comparative Study of the Cases of New Guinea) Christian Church. Neil R. and Post-quake Reconstruction in Sichuan. Karpatia and Thompson. Marko STO- COULTER FU Juan JANOVSKA RUPČIĆ 14:00 Effects of Nasal Words on the Tradi- 14:00 Musical Pathways toward Peace and 17:00 History, Cultural Identity, and Di- tional Chinese Vocal Music. QIAN Rong Reconciliation:"Musicking," Religious versity: From“Turkish Music” to “Musics Traditions, and Interfaith Dialogue. Rob- 14:30 The Study for the Relationship be- of Turkey.” Diler Özer EFE erta KING tween Language Tone and Melody in the 17:30 The Changes in the '90s, Slovenian Dong Minority. ZHAO Xiaonan 14:30 Requiem for Auschwitz as a Global Emigrants and Music. Maša MARTY Peacemaker. Zuzana JURKOVÁ 15:00 The Characteristics and Use of IIID2 Perspectives in African Popular Luogujing in Chinese Traditional Percus- 15:00 Engaging with the 20th Century Musics sion Music. PENG Yu Nationalist Past: Music Ethnography in 16:00 Reinventing Ethnomusicological European Politicized History Writing and Pasts as Seen from a South African Per- Ideological Practice. Kjell SKYLLSTAD spective. Alvin PETERSEN

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16:30 The Musical Enhancement of formation in Taiwan. HSIEH Shoufan 17:00 Joged Nakal: Balinese Social Danc- “Deep” Language in Ugandan Kadongo ing in the Age of Pornoaksi. Elizabeth 16:30 “Back From the Grave”: Pop Culture Kamu. David G. PIER MACY Revivalisms and the Case of the Garage 17:00 Osadeve's "Ekobe" and the Myth of Rock Scene in Tokyo, Japan. Jose NEGLIA 17:30 Tango's Historical Traces and Com- Cross-cultural Development of African plexity. Jörgen TORP 17:00 Regional Popular Music in Indone- Highlife: New Directions in Nigerian- sia as a Spectacle of Excess. Andrew WE- IIID10 Theory, Performance, and His- Ghanian Connections. Ndubuisi NNA- INTRAUB tory MANI 17:30 Sung Narratives, YouTube, and 16:00 A Historical Observation on Stan- IIID3 Experimentation and Innovation Power Reggae Minang: Storytelling Pop dard Pitch in Chinese Traditional Music: A in Chinese Musical Theatre Case Study on the Dasheng Bell in the Stars from West Sumatra, Indonesia. Me- 16:00 Musical-Dramatic Experimentation Song Dynasty. LI Youping gan COLLINS in the Yangbanxi: A Case for Precedence in 16:30 A Preliminary Study of a Charity The Great Wall. John WINZENBURG IIID7 Understanding and Performing Musical Pasts Concert during the Beginning of the Japa- 16:30 Western Musical Arrangements in nese Colonial Period in Taiwan: A Case 16:00 Towards a Historically Informed Taiwanese Operas in Colonial Taiwan: Us- Study of the Taiwan Women’s Charity As- Performance of Chinese Musics from the ing “Chen San Holds a Basin of Water” as sociation. LIANG Hsiang-Yu Past. François PICARD a Case Study. CHEN Wanling 17:00 Farewell My People! Migration, 16:30 The Past of the Musical Past: His- 17:00 The Break with Tradition: Changes Music, and Ritual Performance in the An- torical Reconstruction of Music in Song in Taiwanese Beiguan Opera from 1960 dean Peru Carnival. Renzo Salvador Dynasty China. Lars CHRISTENSEN Onwards. SHIH Yingpin ARONI SULCA 17:00 A Case Study of Language and Pro- 17:30 Putting Theory into Practice: Yu 17:30 The Jewish Aspects of the Portuguese nunciation in Uzagaku Singing Reperto- Huiyong and the Model Opera Azalea Romanceiro. Anne CAUFRIEZ ries. YEH Chiaying Mountain. Yawen LUDEN IIID11 (in Chinese) Roundtable: Me- IIID8 Music and Transmission IIID4 Ritual, Dance, and Shamanism lodic Structures, Ethnic Origins, and 16:00 Three Dimensions and the Laws of Population Migration. WANG Yaohua, 16:00 Dancing for Deities: Religious Gong-che Pu in China's Musical Instru- chair. WANG Zhou, CHEN Xingfeng, Dancing and Two Shaman Traditions of ment Transmission. WANG Xianyan GUO Xiaoli, PENG Yu, participants Asia. Debanjali BISWAS 16:30 Understanding Traditional Chinese IIID12 Film Screenings 16:30 The Sacriﬁce on the Altar: A Study Kung Fu Percussion Music through the 16:00 A Journey Through Landscapes of on the Tianpo (female shamans) of the Transmission Process. Colin MCGUIRE Voice: Contemporary Encounters with Zhuang Ethnic Group in Guangxi. SUN Bolivian Music. Karen CROKE Hang 17:00 A Drum and Gong Musical Genre Retained in the Local Etiquette and Cus- 17:00 Songs of the Forest: Mawaca´s 17:00 Dualistic Opposites or Syncretism? tom of the Jiangnan Area: A Study of Gong Tour to the Amazon. Magda DOURADO Folk Belief Shows in Ritual Soundscapes. and Drum Xiao Paizi of Shaobo in PUCCI TAN Zhi Yangzhou. SHAO Rong Sunday, July 14: Excursions 17:30 The Ritual of Ayahuasca: "Hierofo- 17:30 Passing On: Accordion Music in nia" the União do Vegetal (UDV). Patricia Hong Kong. KWAN Yinyee LIMA Monday, July 15 IIID9 Transmission and Pedagogy in IIID5 Roundtable: Exploring Music in Music and Dance VA Paper Sessions (8:15 - 9:45) China’s New African Diaspora. Su ZHENG, Chair. SUN Yan, ZHANG Luan, 16:00 Dancing the Past, Dancing the Fu- VA1 The Invention of Traditions in MA Chengcheng, Su ZHENG, partici- ture: Transmission and Polycultural Capi- Music and in Ethnomusicology. Man- pants tal in the Paciﬁc Diaspora of Auckland, fred BARTMANN and Evert BISSCHOP New Zealand. Michelle WILLIAMS BOELE, chairs IIID6 Explorations in Asian Popular 8:15 Olympic Morris? Englishness, Brit- Music 16:30 Finding the Lesson in the Field: Re- ishness, Tradition, and the 2012 London 16:00 Development of Indonesian Dangdut search as Pedagogy. Jonathan KRAMER Olympics. Simon KEEGAN-PHIPPS Music Under the Socio-Cultural Trans- and Alison ARNOLD

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8:45 Watching Cows: Invention of Tradi- through the Lambada. Paulo Murilo Agatha OZAH tion and Construction of Identity in the GUERREIRO DO AMARAL and 10:45 Transmission of Japanese Traditional Frisian Folk Music Revival. Evert Francinaldo PAZ Júnior Performing Arts in Schools: Its Advan- BISSCHOP BOELE VA6 Indian Classical Music and Clas- tages in Future Tradition and the Conﬂicts 9:15 Use of Fake Traditions and Other Fake sical Music in India with Traditional Teaching Method. Satomi Materials for Teaching Ethnomusicology. 8:15 Kumar Gandharva and the Reinter- OSHIO Manfred BARTMANN pretation of Hindustani Music. Anubhuti 11:15 Institutionalising and Adjudicating SHARMA VA2 Problematizing Music and its Culture: Children’s Dance Competitions in Presentations 8:45 Hearing the Past: Song Style and His- Bali, Indonesia. Jonathan MCINTOSH 8:15 A Criticism on the Beijing Traditional tory in North India. Meilu HO 11:45 Intangible Heritage? Toward an Music Festival. LIU Yong 9:15 Towards a Musical Identity: Under- Ethnomusicological Approach to Heritage. 8:45 Bad Gigs: Drumming through Prin- standing the Western Classicists in India. Nina GRAEFF cess of China. Deborah WONG Sebanti CHATTERJEE 12:15 - 13:30 Lunch

9:15 Ethnomusicology and Constructiv- VA7 Cultural Heritage, Representation, VC Paper Sessions (13:30 - 15:30) ism: the Construction of What, by What, and Ethnicity in the World of Islam with What Consequences? Johannes BRU- 8:15 Intangible Cultural Heritage and Ille- VC1 Spheres of Negotiation: Religion, SILA gal Gatherings: Reﬂections on the Uyghur Tradition, Cultural Specialists, and Modernity in Taiwan. TSAI Tsungte, Meshrep. Rachel HARRIS VA3 Traditional Musics in New and chair Foreign Contexts 8:45 Representation of Identities: Repre- 13:30 “Peach Blossom Weeps Tears of 8:15 Indian Music in Slovenia through the sentational Distinctiveness of Alevi and Blood": The Negotiation of Cultural Spe- Eyes of a South Asian Reseacher. Lasanthi Sunni Aşıks from Central Anatolia. cialists, Institutions, and Social Change in Manaranjanie KALINGA DONA Hande SAǦLAM Japanese Colonial Taiwan. CHEN Meichen

8:45 Imparting and Inheriting Highland 9:15 "Happy Arabia"? Music in South- 14:00 Tradition in Negotiation: Hakka Bagpiping in New Zealand. Daniel MILO- west Southwest Saudi Arabia and the Issue People’s Wedding Ritual Music in Con- SAVLJEVIC of "Saudiazation." Lisa URKEVICH temporary South Taiwan. FAN Yunching

9:15 Music and Solidarity: The Cultural VA8 Myth, Narrative, and Oral Litera- 14:30 Representations of the Foot-drum in Heritage of Miwa-kai. Alice Lumi SATOMI ture Contemporary Stage Productions of Nanguan-related Performance Genres. VA4 Laments, The Musical Expression 8:15 Stories, Songs, and Emotion: Explor- of Loss and Bereavement: A View from ing the Power of the Sung Refrain in Lihir- Reinhard STRAUB ian Oral Literature (New Ireland, Papua Australia. Stephen WILD, chair 15:00 Appropriation and Articulation: New Guinea). Kirsty GILLESPIE 8:15 Laments in Transition: The Irish In- "Tai-ke" Discourse and the Emergence of ﬂuence on Australian Bush-Ranger Bal- 8:45 Exploring Interconnectedness: Ges- the "Techno Dancing God." Graham lads. Jennifer GALL tural Interaction between Storytellers and DION Audience Members in Suzhou ping-tan. 8:45 Sorrowful Silence and Celebratory VC2 Australian Indigenous Ap- SHI Yinyun Sounds within the Chinese Communities of proaches to Music and Dance: Educa- Three Australian Cities. Nicholas NG 9:15 Survival in the Artistic Form of Mu- tion across Generations and Cultures: sic: Research on Chinese Peddling Songs. Lessons for Cultural Survival in a VA 5 Music, Memory, and Identity in Globalised Age. Aaron CORN, chair Brazil ZHANG Xuan 13:30 Echoing the Southern Cross: The 8:15 Reﬂections of the "Golden Atlantic" 9:45 - 10:15 Tea and Coffee Break Milpirri Festival as a Bridge to Learning in Colonial Music of the Brazilian Interior. VB Plenary Session: Ethnomusicology, Warlpiri Tradition across Generations and Barbara ALGE Ethnochoreology, and Education Cultures. Wanta PATRICK and Yukihoro 8:45 Social Memory: The Play of the Cocos (10:15-12:15). Samuel ARAÚJO, chair DOI from Caiana of Creole in Paraíba, Northern 10:15 Readings of the Aesthetic and Didac- 14:00 Manikay in Transit: The Dynamic Brazil. Eurides SANTOS tic Dynamics of African Indigenous Tradition of Crossing Roper Bar. Samuel Knowledge in Ritual, Music, and Dance: A CURKPATRICK and Aaron CORN 9:15 Musical Identities in the Amazon Southern Nigerian Perspective. Marie

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14:30 A Shared Intention? The Conver- GEREN 15:00 Australian Guitar Music with Viet- gence of Community Music and Recon- namese Cultural Influences. Le-Tuyen 15:00 The Rites and Beliefs Related to Mu- ciliation in Australia. Julie RICKWOOD NGUYEN sic of the Tai Yai Immigrants in Northern 15:00 Singing Knowledge: Tiwi Elders Thailand. Bussakorn BINSON VC9 Representation and Misrepresen- Using Song as an Educational Tool. tation in Film VC6 Change in Contemporary Ritual Genevieve CAMPBELL Music and Dance II 13:30 Music and Racial Stereotypes in American Cartoons. Thomas SOLOMON VC3 Continuity and Change in Chinese 13:30 A Dying Art: Changing Perform- Opera ance Contexts and the Irish Wake Ritual. 14:00 “You Couldn’t Take it Down in Our 13:30 Tradition and Innovation: An At- Narelle MCCOY Scale”: Traditional Song and the Musical tempt in Cantonese Opera Adaptation. Score to C. P. Mountford’s Documentary 14:00 Chèo Lives! Vietnamese Traditional CHOW Sze Sum Films. Anthony Linden JONES Performance in Modern Times. NGUYEN 14:00 "Qinshi" and "Jinghu Yanzoujia": Thuy Tien and PHAM Minh Huong 14:30 Localized or Hybridized Practice: Negotiations between Tradition and Mod- Revival of Cantonese Opera and Peking 14:30 The Influence of Christian, Muslim, ernization in Jinghu Music. LI Huan Opera in the Current Cinema of Hong and Buddhist Revived Religious Groups Kong and China. Carol Ling-yan CHENG 14:30 The Musical Accompaniment and and Communities on Modern Russian Vocal Performance of Wuyin Opera. QI Culture. Elena SHISHKINA 15:00 "O Beloved" and "Kodava Hero": Huimin "Internal Exotics" in Indian Film Songs. 15:00 Regadda: A Local Moroccan Pop John NAPIER 15:00 Between Improvisation and Conven- Music and its Cultural Context. Tony tion: Reconfiguring the Neo-tradition of LANGLOIS VC10 Hierarchies Dominating Dance Luju Opera in Anhui Province of China. Curricula Design, Part 1: Performative VC7 Music and National Sensibilities YU Hui Aspects. Anne Margrete FISKVIT, chair 13:30 From 1893 to the Present: Hawaiian 13:30 The Place of Creativity in Teaching VC4 Nostalgia, Myth, and Ideology in Resistance Music. Kimo ARMITAGE Dance. Anne Margrete FISKVIK European Folk Music 14:00 How Talking About Music Teaches 13:30 The "Old Castle," An Ethnographic 14:00 Traditional Dance as Dance Art. Siri Us to be Canadians: Authenticating Dis- Fairy Tale: Myth or Reality? Athena KAT- MÆLAND courses, Defining Boundaries, and De- SANEVAKI bunking Diversity. Rebecca DRAISEY- 14:30 An Analytical or Pragmatic Ap- 14:00 “Who taught you those Smyrnean COLLISHAW proach to the Teaching of Dance. Marit songs?” Musical Nostalgia for the Greek STRANDEN 14:30 Sounding Place, Hearing Taiwan: A “Lost Homelands.” Basma ZEROUALI Case Study of the 1928 Prize Competition 15:00 Live Music in Teaching Dance. Gro 14:30 Is it a Musical Heritage? Marc- for “Songs of Taiwan.”Madan HO Marie SVIDAL Antoine CAMP 15:00 "Arirang": What Does it Mean for VC12 Issues and Challenges in Ethno- 15:00 Scottish Folk Music and Conceptu- Koreans? SHEEN Dae-Cheol graphic Film and Video Documenta- alisation: A Study of Ideological Construc- tion VC8 Musical Instruments in Cross- tion in the Contemporary Professional 13:30 An Ethnomusicological-television Cultural Perspective Scene. Seán MCLAUGHLIN Experience in Calabar, Nigeria: Ethics and 13:30 Korean Pyeong-jo and Japanese Hyo- Methodological Issues. Leonard D'AMICO VC5 Role and Function of Music in jo (Using the Music Played by Piri and Ritual II Hichiriki). Yunkyong JIN 14:00 It’s Now or Never: A Forward- 13:30 Intermixing/Ritualisation: The Ahead Possibility for Cultural Media 14:00 An Instrument on the India- Search for Aesthetic/Movements in Kavadi Documentation. Alexander DEE Pakistan Border: Reconstructing a Cul- Attam. A. P. Rajaram NIL tural History of the Kamaicha of the Man- 14:30 Documentaries to Introduce an In- 14:00 Music—A Gate to a Cultural Realm. ganiyar of Rajasthan. Shalini AYYAGARI tangible Cultural Heritage Project at Uri SHARVIT UNESCO: A Critical Discussion: Yves 14:30 Comparative Study Of Yunnan Mi- DEFRANCE 14:30 Shifting Thresholds of the Audible: norities' Instruments and East African Listening Closer to Overtone Singing in Folk Instruments. WU Xueyuan 15:00 Rendering Music through Film. Sardinia and Tibet. Mark VAN TON- Charlotte VIGNAU

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15:30 - 16:00 Tea and Coffee Break 17:00 A History-making Year: Zhou Lan- VD7 Tradition and Difference in Japa- ping and his Film scores from 1962-1963. nese Performing Arts VD Paper Sessions (16:00 - 18:00) Edwin W. CHEN 16:00 Rhythms of Difference: Eisā and VD1 Re-examining the Discourse and Multiculturalism in Modern Japan. Matt 17:30 An Imaginary Soundscape of An- Practice of Traditional African GILLAN Musical Arts through a Postcolonial cient China: Zhou Lanping’s Music in Lens. Rose A. OMOLLO-ONGATI, chair Come Drink with Me and Dragon Gate 16:30 Appreciation of Music and Dance 16:00 The Call and Response Construct in Inn. LUO Aimei Performance as Imperial Obligation in Royal Ceremonial Visits of the Ancient African Music: Dialogue. Rose A. VD4 History and Transmission in Japanese Court. Michiko HIRAMA OMOLLO-ONGATI Asian Musics 16:30 Preservation, Evolution, or Distor- 16:00 Reconstructing and Redeﬁning Mu- 17:00 Naniwa-bushi: A Neo-traditional tion? The Africanness in the Practice of sic from the Past: A Balinese Case Study. Narrative Genre in Modern Japan. Alison Peter DUNBAR-HALL and Vaughn TOKITA Adaptations and Arrangements at the HATCH Kenyan Music Festival. Jacqueline Zinale 17:30 This Is Our Music: Maintaining BULLINDAH 16:30 Rethinking the Presence of Gamelan Local Identity in a Japanese Rural Festival. in the Nineteenth-Century World's Fairs. Kirk KING 17:00 The Tradition of African Instrumen- SUMARSAM tal Music Performance at the Kenya Music VD8 Hierarchies Dominating Dance Festival. Malachi Apudo ACHOLA 17:00 Transmission Center Culture: Struc- Curricula Design, Part II: Aspects of turing the Experience of P’ilbong P’ung- Theory. Egil BAKKA, chair 17:30 (Mis)Representation of African Tra- mul Percussion Band Music and Dance in 16:00 Philosophical Discussion on the Hi- ditional Music at the Kenya Music Festi- South Korea. Donna KWON erarchies of Dance Genres. Gediminas val. Wycliffe Omondi OBIERO KAROBLIS 17:30 Whose Flute, Song, Dance, and VD2 History and Practice in Asian Drum is This? Tracing the Tangled Ti- 16:30 Hierarchies in the Teaching of Dance Popular Music betan, Qiang, and Bei Origins of a Musical History. Elizabeth SVARSTAD-LAURITSEN 16:00 When Dead Stars Sing: Rethinking Heritage in Northwest China. CHEN Pan Japan’s Musical Past through the Posthu- 17:00 Political Dimensions in Dance Cur- mous Duet. Shelley BRUNT VD5 Roundtable: Musical Relations riculum Design. Georgiana GORE and Sound Mediation in Colonial-Era 16:30 Music for Ballroom Dance: Thai- East Asia. YAMAUCHI Fumitaka, chair. 17:30 Changing Values in Dance Trans- land's History of Establishment and Songs WANG Ying-fen, Andrew STEEN, mission Systems. Egil BAKKA of Thai-owned Compositions. Kamontam YUNG Sai-shing, LIN Tai-wei, participants VD9 Cross-Cultural Perspectives on KUABUTR Musical Transmission and Reception VD6 Roma Music and Musicians 17:00 “Taiwan Traditional Hip-Hop 16:00 Advocating Traditional Musics Style”: Resignifying Rap as Local Musical 16:00 Music, Place and Identity: Diversity through Musicianship Education. Peter Narrative Practice. Meredith SCHWEIG of Musical Identity among Finnish Roma. FIELDING Kai VIIJAMI ÅBERG 17:30 Musicking Tourism: Music Perform- 16:30 Sketching without Borders: Enescu's ance in Bars and the Tourist Industry in 16:30 Schismogenesis of Ethnic Cultural Violin Sonata No. 3 and the Development Contemporary Lijiang, Yunnan. YANG Capital in Romanian Lautaresca Music. of his Late Compositional Idiom. Henry Shuo Jun'ichiro SUWA STOLL

VD3 From "Green Island" to "Dragon 17:00 Music and Identity (an Example of 17:00 Dance In and Dance Out of the Ar- Gate": Tracing the Great Composer Roma/Gypsy Music from Eastern Europe). chive: Some Reﬂections about Collecting Zhou Lanping’s Life and Work. CHEN Elena MARUSHIAKOVA and Vesselin and Use of Archived Dance Material. Mats Szu-Wei, chair POPOV NILLSON 16:00 Zhou Lanping and the Legendry 17:30 Roma (Cigány) Musicians as Pre- 17:30 Exploring the Impact of Music on "Green Island Serenade." SHEN Tung servers of Non-Roma Traditions in Hun- Refugee Children’s Lives in Western Aus- 16:30 Reexamining the 1950s and 1960s: garian Music and Dance: Recent Social tralia. Andrea EMBERLY and Andrzej Repositioning Taiwan in Mandopop His- and Formal Implications. Judith E. OL- GWIZDALSKI tory. CHEN Szu-Wei SON

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VD10 History, Context, and Perform- 8:45 Musical Objectivity. Ilyas KOJABE- VIA6 Making the Past Serve the Pre- ance in Latin American Musics KOV sent 16:00 Re-contextualizing and Re-creating 8:15 The Pink Floyd Happening: Reflec- 9:15 On the Question of Historical Perio- Traditional Music and Culture in Mexico: tions on a Staged Past. Lars KAIJSER dization of Kazakh Traditional Instrumen- “El Huerto” Cultural Center. Raquel tal Music. Janghaly JUZBAY 8:45 Whose Music? Representations of PARAISO Musical “Others” in 21st Century Fin- VIA3 Zapin and"‘Silent" Dhikr, Ber- 16:30 Son jarocho and the Fandango land. Lari AALTONEN jamu Feasting, Momurinait Sacred Fronterizo: Deploying Traditional, Partici- Chanting, Gong Music, and Dance: Re- patory Art Forms to Confront Contempo- 9:15 Contemporary Compositions Inspired ligion and Ritual in Insular Southeast by Traditional Korean Music: Chiyong and rary Issues. Hannah BALCOMB Asian Performative Genres. Mohd Arirang. Bohi Gim BAN Anis Md Nor, chair 17:00 Symbolic Neutralization or Empha- tization of the Inequality? An Approach 8:15 Ritual of the Qalb: Performative VIA7 Ritual, History, and Moderniza- tion in Indian Music towards Current Musical Practices Sufism in Zapin. Mohd Anis MD NOR 8:15 Anecdotal Traces of the Past and the of Mapuche and Mbyá Young People 8:45 Feasting, Paying Homage, Adjusting History of Hindustani Classical Music. Faced with Historically Troubled Alterity. the Winds: The Berjamu Ritual in the Ma- Naresh KUMAR Irma RUIZ lay Shadow Puppet (wayang kulit) Thea- 17:30 Declaraciones del son/notas acom- ter. Patricia MATUSKY 8:45 Exploring the Many Pasts of the Har- ballabh Festival of Punjab, 1913-2003. pañantes: A Music and Visual Analysis of 9:15 Balancing the Human and Spiritual Radha KAPURIA Selected son jarocho Recordings of the 20th Worlds: Ritual, Music, and Dance among and Early 21st Centuries. Randall KOHL Dusunic Societies in Sabah. Jacqueline 9:15 Research on Ritual Music “Ganga PUGH-KITINGAN VD12 Film Screening Aarti” in Varanasi, India. LIU Xiaoqian 16:00 Sorcerers of Nuomin River: Sac- VIA4 New Musical Perspectives on the VIA8 Negotiation and Ethnicity in rifice Music of Race Muoli Dawoer Colonial Modernity of Shanghai, Southeast Asian Music and Dance Shaman. LIU Guiteng 1880s-1940s: Western Genres in Local 8:15 Performing Ethnicity: Portraying Conditions. Junko IGUCHI, chair Minorities at the Cambodian Cultural Vil- Tuesday, July 16 8:15 The Shanghai Municipal Orchestra lage: Becoming Minorities in the Diaspora. and Cultural Perspectives on the Shanghai VIA Paper Sessions (8:15 - 9:45) Celia TUCHMAN-ROSTA. Settlement. Yasuko ENOMOTO VIA1 Strategies in the Reshaping of 8:45 Gendang Beleq: The Negotiation of a East Asian Musical Traditions. LEE 8:45 Operatic Activities in the Shanghai Music/Dance Form in Lombok, Indonesia. Tong Soon, chair Settlement: Reflections of the Chinese David HARNISH 8:15 Performing Military Knowledge in Community. HUANG Chun Zen Korean Armies: P’ansori and the Late 9:15 Balinese Hybridities: Balinese Music 9:15 Twentieth-Century Music Performed Pedagogy in North America and Japan. Chŏson Military and Social Reforms. by Russian and Jewish Refugees in War- Peter STEELE. KANG Hyeok-Hweon time Shanghai. Junko IGUCHI VIA9 Chinese Opera and Folk Music 8:45 Accommodation and Adaptation of VIA5 New Identities in African Music Chaoxianzu Music in Contemporary South 8:15 Heterogeneous, Evolutive, Syncretic: 8:15 Performance and Identity Construc- Korea. KOO Sunhee An Overview of Three Decades' of Prosper- tion: An Interdisciplinary Approach to the ity in Huju. XU Tiantian 9:15 Constructing and Reinventing China Study of the Bwiti Cult among the Fang Beyond the PRC: Dialects, Instrumental (Gabon). Marie-France MIFUNE 8:45 Analysis of the Musical Features of Music, and Chinese Movies of Post-1949 XiangKun Opera. LUO Yin 8:45 Challenging Structural Violence: The Colonial Hong Kong. YU Siu Wah Effects of Music Education on Health, 9:15 A Comparitive Study of the East VIA2 Historical and Theoretical Dis- Well-being, and Social Development in Mongolian Duandiao and Manhandiao course on Kazakh Traditional Musical South Africa. Laryssa WHITAKER Folk Music. ZHANG Lin Culture. Saida YELEMANOVA, chair 9:15 Re-contextualization of Shona Jak- VIA12 Workshop: Overtone Singing in 8:15 Origins of Music in Kazakh Rites of wara Music. Perminus MATIURE Siberia (Tuva, Mongolia). TRN Quang Passage. Saida YELEMANOVA Hi

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9:45 - 10:15 Tea and Coffee Break VIIA2 Towards Objective Assessment VIIA5 Global Dance Cultures? Repre- and Evaluation of Indigenous African sentation of Dances and Dance Tradi- VIB Plenary Session: Ritual, Religion, Performing Arts at Kenyatta Univer- tions on YouTube. Elina SEYE, chair and the Performing Arts (10:15 -12:15). sity. Wilson SHITANDI, chair Anthony SEEGER, chair 8:15 Home Dancing on YouTube: Explor- 8:15 Towards Objective Assessment and ing Dance and Internet Studies. Anu 10:15 Magic Sound: Mantra, Song, and Evaluation of Indigenous African Perform- LAUKKANEN Musical Instrument of the Healing Perdu- ing Arts at Kenyatta University. Everlyne kunan in Java. TSAI Tsungte MUSHIRA 8:45 Representing Tradition on YouTube. Elina SEYE 10:45 Dhamma Gita Songs: Sacred and 8:45 Refocusing Strategies Towards Objec- Secular Musical Fusion in Buddhist My- tive Assessment and Evaluation of Indige- 9:15 Finnish Folk Dance on YouTube. Petri anmar. Gavin DOUGLAS nous African Dance Performances at Ken- HOPPU 11:15 The Structure and Sonic Expressions yatta University. Aggrey NGANYI VIIA6 Problems of the Existence of of the Funeral Rituals of Han Chinese Liv- Folklore and Oral Tradition in the Mu- 9:15 Pedagogical Implications in the As- ing in the Yangzi River Valley Area. QI sic Space of Kazakhstan. Gulnara sessment and Evaluation of Indigenous Kun KUZBAKOVA, chair African Instrumental Performances at 8:15 Orchestra of Kazakh Folk Instru- 11:45 Sharing and Borrowing Rituals. Su- Kenyatta University. Wilson SHITANDI ments: The Problem of Performance Reper- sanne FÜRNISS VIIA3 Classical Kunqu as History, toire and Instruments. Toizhan YEGIN- 12:15 - 13:30 Lunch Composition, and Social-political Dis- BAYEVA course in Globalized China. Joseph S. VIC Keynote Lecture (13:30 - 15:00). C. LAM, chair 8:45 Revised Versions of the Kazakh Folk Shen Qia (China Conservatory of Mu- 8:15 What Makes a Late 18th-century Songs as New Musical-original Music in sic): "Facing the Aphasic Dilemma: Kunqu Notational Source Seminal? A Kazakhstan’s Culture. Vladimir MAN- When We Try to Put Some of Music Critical Reading of the Prefaces in Ye YAKIN Sound into Proper Words" Tang's Nashuying Qupu. Ho-Chak LAW 9:15 The Modern Interpretation of Per- 15:00 - 15:30 Tea and Coffee Break 8:45 Ethnography and Aesthetic Experi- forming Professional Traditions of the Ka- VID ICTM General Assembly (15:30 - ence in Contemporary Kun Opera Compo- zakhs (using the example of Dauletkerei’s 17:00) sition. Juliane JONES kyui “Kerugly”). Gulnara KUZBAKOVA VIIA7 Mongolia and its Neighbors Wednesday, July 17 9:15 Escorting Miss Jing Home: An Oper- atic Journey of Chinese Politics, Gender, 8:15 “Representing Cultures”: Folk Song VIIA Paper Sessions (8:15 - 9:45) and Heroism. Joseph S. C. LAM of Mongolia, Shanxi, and Shaanxi at the China Man-Han-Diao Art Festival, 2012. VIIA1 New Musical Perspectives on VIIA4 Music and Dance in Some Viet- Colonial Modernity of Shanghai YANG Hong namese Shamanism Rituals. LE Van (1910s-1930s): Local Genres in a Me- Toan, chair 8:45 Staging the Grassland Spirit: Chi tropolis. Joys CHEUNG, chair 8:15 Music and Dance in the Pn Pôông Bulag and Morin Huur (Horse-Head Fid- 8:15 Development of Cantonese Ensemble Ceremony of the Mờng People in Thanh dle) Reform in the People’s Republic of Music (Guangdong Yinyue) in Shanghai, Hóa Province in Central Vietnam. China. Charlotte D'EVELYN 1910s to 1930s: Modernity of a Traditional NGUYEN Bihn Dinh Genre. RUAN Hong 9:15 Performing Transition in Mongolia: 8:45 Music and Dance in the Xên Lẩu Nó Kazakh Musicians and (their) Mongolian 8:45 Recovering the Musical Style and Ceremony of the Thái en People in North- Identities. Jennifer C. POST Philosophy of Li Jinhui’s Popular Songs: eastern Vietnam. Do Thi Thanh NHAN Negotiations and Continuity. HUNG VIIA8 Exploring Conceptual and Geo- Fang-yi 9:15 Music and Dance in Hầu bóng Medi- graphic Boundaries umship Rituals of the Việt People and their 8:15 Senses and Perception/Body-Culture. 9:15 Making Chinese Film Music in Colo- Changes in Modern Life. Ho Thi Hong Joana MASCARENHAS and Clélia nial Shanghai (1930s): Unprecedented DUNG Sounds and Networks in Modernity. Joys 8:45 Generative Audience and Cultural CHEUNG Industry: The Use of Entrainment “Meta” Frequency in the Mirror of the Theory of Entrainment. Diana GRGURIĆ

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9:15 Hornbostel and the Uttermost Sounds 14:00 The "Purest" of Traditions. Jane Style and Characteristics. Tsering Num- of the Earth. Miguel A. GARCIA Freeman MOULIN gyl CI RENG LANG JIE

VA7 Forum: Harmony, Melody, and 14:30 Japanese-American Musicians as 14:00 The Changing Singing Situation: Melharmony. Vanita SURESH, chair. Pioneers of “Japanese” Hawaiian Music. Tibetan Love Songs "Layi" in Qilian Vanita SURESH and Chitravina A. Minako WASEDA County, Qinghai Province, in Contempo- RAVIKIRAN, participants rary Life. LI Yuehong 15:00 Singing the Past, Sounding the Pre- 9:45 - 10:15 Tea and Coffee Break sent, Dancing the Future: Resurrecting 14:30 Nixi Qingwu: Musical Expression of VIIB Plenary Session: Screening Music Historical Hula Repertoire on the Contem- Love among the Tibetans of Yunnan Prov- and Dance (10:15 - 12:15). Dan BEN- porary Concert Stage. Amy STILLMAN ince. MI Pengxuan DRUPS, chair. VIIC4 Music, Dance, and Community 15:00 The Sounds of Shangri La. YANG Xi 10:15 Representation of Taiwanese Abo- in European Folk Music rigines in the Music of the Film Sayon no VIIC7 Women's Music and Women in 13:30 Upper Styrian Big Band Folk: A Kane (1943). LIN Mei Ju Music Case Study of Artistic Research Regarding 13:30 Music in Liminal Spaces: Gendered 10:45 The Dance Market: Selling / Buying the Use of Historical Resources in the Con- of Skills in the Commercial World of Popu- temporary Musical Expression of a Rural Performance in Mumbai’s LGBT Commu- nity. Jeff ROY lar Dance in India. Urimala SARKAR Community in the European Alps. Mi- chael KAHR 11:15 Pushing and Pulling: Documenting 14:00 Female Songs in Northeast Argen- tina. Comparative Research between An- Newfoundland Accordion Histories. Bev- 14:00 Identities in Motion: 50 Years of cient Female Songs and their Modern erley DIAMOND, Kati SZEGO, and Bulgarian Dances within Different Politi- Meaning. Adriana Valeria CERLETTI Meghan FORSYTH cal Contexts. Gergana PANOVA-TEKATH 14:30 Recording a Movement? Aboriginal 11:45 - 13:30 Lunch 14:30 Doing Blackness: On the Relation between Dance, Discourse, and Experience. Women’s Music Recordings and Shifts in VIIC Paper Sessions (13:30 - 15:30) Identity Politics at the Start of the Twenty- Charlotte HYLTÉN-CAVALLIUS VIIC1 Roundtable: ICTM and the First Century. Anna HOEFNAGELS World of Ethnomusicology, Part 1: 15:00 The Quest for the Old Time (starina) 15:00 Juliette Gaultier, Marius Barbeau, ICTM from the Inside. Svanibor PET- in Russian Folk Music Discourse: Scholar- and the (Re)presentation of Historic Sound TAN, chair. Salwa EL-SHAWAN ship, Revival, and Online Communities. Recordings on the 1920s Concert Stage. CASTELO-BRANCO, Svanibor PETTAN, Ulrich MORGENSTERN Anthony SEEGER, Ricardo D. TRIMIL- Judith KLASSEN LOS, Stephen WILD, participants VIIC5 Music, Dance, and the Cosmos VIIC8 Music, Margins, and Crossroads VIIC2 New Perspectives on Chinese 13:30 Srimpi Limo: Dancing the Javanese Cosmos (Ritual Dance and East Javanese 13:30 Transitional Music-Cultures and Music History and Historiography. Worldviews of the Sea Nomad Minority Jonathan P. J. STOCK, chair Mystical Symbolism). Karen-Elizabeth and Settled Malay Majority in the Riau SCHRIEBER 13:30 Enduring Themes, Contrasting Ac- Islands, Indonesia. Margaret KARTOMI counts: A Comparative Approach to the 14:00 The Patient Boy: Worldview and Life Historiography of Chinese Music. Jona- Values of the Jola Bandial People of Senegal 14:00 Ceremony System and Music Inter- pretation of East Ujimqin. LI Jiayin than P. J. STOCK Reﬂected in a chante fable and its Perform- 14:00 Rethinking the Reconstruction of ance. Sheila MACKENZIE BROWN 14:30 Vortex of Musical Identity of the Tang Court Music. ZHAO Weiping 14:30 Studying Kazakh Traditional Song, Koreans in the Yanbian Korean Autono- in the Context of Religious and Mythologi- mous Prefecture, Jilin, China. Byong Won 14:30 Memory and Historiography: A Case LEE Study of the Yangbanxi (Model Works). cal Beliefs. Alya SABYROVA YANG Hon-Lun 15:00 Music, Ritual, and Cosmology of the 15:00 The Musical Crossroads of Vlachs in Desana Group of Upper Niger River, Ama- Northwestern Transcarpathia, Ukraine. 15:00 Discussant: Mercedes DUJUNCO Olha KOLOMYYETS zonas, Brazil. Lillian BARROS VIIC3 Tradition and Invention in VIIC9 Presenting and Teaching Music Oceania VIIC6 Music and Theatre on the Ti- betan Plateau in Africa and the Arab World 13:30 A Night in Honolulu: Inventing 13:30 Research on Tibetan Opera's Music 13:30 Music and Bull Fighting among the Ernest Kaleihoku Kaai. Andrea LOW Abaluhyia of Kenya. Charles NYAKITI

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ORAWO VIID2 Court Music and Ritual in East Turkish Kopuz Revived for the Bağlama. Asia M. Emin SOYDAS 14:00 Formal Traditional Music Education 16:00 The Drones in the Lute Melodies of of Ethiopia: The Case of Yaredic Music. 17:30 The Concept of Freedom in Arabesk Tōgaku and their Implication for the His- Woube KASSAYE Music. Serkan ŞENER torical Development of Tōgaku in Japan. 14:30 A Case Study: Fitting the Western Kwok Wai NG VIID5 History and Aesthetics in Ka- Musical Culture into the UAE. Irena zakh Music 16:30 Reconstructing the Musical Past of MITEVSKA MILEVA 16:00 Orteke—Art of Kazakhs and other the Fifteenth-century Chosŏn Dynasty: Turkic Nationalities. Bayan ABISHEVA 15:00 "Normalizing the Abnormal in the Information Regarding the Music Per- Land Reform Programme": The Effects of formed for the Sacrificial Rite at the Royal 16: 30 The Evolution of Kazakh Musical Polarization and Manipulation of the Local Ancestral Shrine in Eighteenth-century Thinking. Gulnar ABDIRAKHMAN Music Scene. Bridget CHINOURIRI Sources. Anthony LAW 17:00 Features of the Kazakh Musical In- VIIC10 Instrumental Traditions and 17:00 Reconstruction of Imperial Rituals strument “Zhetigen.” Korlan KARTEN- Ensembles in Contemporary China. Gwendoline BAYEVA 13:30 Music Instruments in Ukiyo-e. Ury Cho-ning KAM 17:30 Historical and Theoretical Discourse EPPSTEIN 17:30 Between Two Countries and Across on Kazakh Traditional Musical Culture: 14:00 The Definition and Treatment of the Fourteen Centuries: A Study on the Chi- The Musical Objectivity. Ilyas KOZHABE- Minority Dundun Ensemble Groups and nese Origin of the Japanese Gagaku Mas- KOV the Consequences of their Impact on the terpiece Ran Ryôô. YANG Ming Development of Music and Dance in Yo- VIID6 Folk Musics and Folkloriciza- VIID3 Participation, Autogenesis, tion ruba Land in Western Nigeria. Atinuke Ethnoarts, and Practicality: Ideas and 16:00 Traditional Folk Music Appropria- Adenike IDAMOYIBO Tools that Minority Communities Can Use to Improve their Futures. Brian tion by Venezuelan Pop and Art Musics: A 14:30 The Instrumental Tradition Zhetysu SCHRAG, chair Conceptual Scheme of its History and Pre- (Based on the South-East Region). sent Tendencies. Emilio MENDOZA 16:00 Creating Local Arts Together: Intro- Muptekeev Bazaraly DZHUMAGU- ducing an Applied Ethnoarts Field Man- LOVICH 16:30 The "Rise of Modernity'" in the ual. Brian SCHRAG Transformation of Traditional Music: De- 15:00 Research on the Local Gong and velopment of the Korean Kayagum in 16:30 Sustaining Minority Expressive Drum Music of the Yu Lin Band in the Northeast China. GUAN Bingyang Culture: Facilitation Through Reflective Town of Pine and Cypress, Shennongjia Dialogue. Todd SAURMAN Region. WANG Mengyi 17:00 Musical Life Change through the Process of Urbanization: A Case Study on 17:00 Sustaining Minority Expressive VIIC12 Film Screenings the Xilingol Grassland. YANG Yucheng Culture: Relevant Music and Other Arts 13:30 “Love of the noise, love of the mu- as a Bridge to Development Projects. Mary 17:30 Udmurtian Traditional Singers on sic”: Salvesen and Sankey in the South SAURMAN the Eurovision Song Contest Winners Ped- Pacific Islands. Michael WEBB estal: Traditional Folk Music of Finno- 17:30 Applied Ethnoarts Training for Aca- 14:30 Music of the Minorities of Northern Ugric Nations in the Context of Fusional demic and Field Settings. Robin HARRIS Afghanistan. Razia SULTANOVA Music Festivals and Performances. Helen VIID4 New Directions in Middle East- KÕMMUS 15:30 - 16:00 Tea and Coffee Break ern Music VIID7 Challenges and Successes in VIID Paper Sessions (16:00 - 18:00) 16:00 Ritual of Zâr on the Iranian Border Music Education of the Persian Gulf. Maryam GHARASOU VIID1 Roundtable: ICTM and the 16:00 A Timeline for Music Education World of Ethnomusicology, Part II: 16:30 Cultural Symbiosis and Musical (TME) Study of Selected Repertoire from UNESCO, Scholarly Organisations, Mutualism: Trans-regional Arab Music Teochew Music in Singapore. Joe PETERS and ICTM's Global Impact. Naila Production, the Iraqi Diaspora, and the (Thau Yong Teochew) CERIBAŠIĆ, chair. Naila CERIBAŠIĆ, Music of Oman. Anne Katharine RAS- Jean KIDULA, Colin QUIGLEY, J. Law- 16:30 The Problems of Teaching Kyrgyz MUSSEN rence WITZLEBEN, XIAO Mei, partici- Traditional Art. Rosa AMANOVA pants 17:00 Renaming an Instrument: The Old

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17:00 Who Came to Music Schools to 17:00 Cultivating Inheritors and Transmit- Learn the Cimbalom 100 Years Ago? An ters of Traditional Music through Higher Analysis of the Student Register of the Education. XU Hanmei Royal Academy of Music Budapest. Mineo 17:30 The Thinking of Insider and Out- OTA sider: The Music Education of Xinjiang VIID8 Song, Environment, and Vocal Bole. ZHOU Xian Style 18:00 - 18:15 Tea and Coffee Break 16:00 Konggap—Personal Songs of the Yupno in Papua New Guinea. Raymond VIIE Closing Ceremony (18:15 - 19:30) AMMANN

16:30 The Reappearance of She Ethnic Mi- nority Singing in Different Ecological En- vironments. LAN Xue-Fei

17:00 Patterns in Representations of a Northwest China “Minority” Song Form and Its Singers: Sounds, Images, and Dis- courses of Multiculturalism, Ethnicity, and Place. Sue M. C. TUOHY

17:30 The Disappearing Falsetto: Changes in Vocal Technique of the She People of Eastern China. ZHU Tengjiao

VIID9 Improvisation and Creative Processes 16:00 An Aspect of Korean Jazz: A Com- mon Denominator of Improvisation. Se- ung Min KIM

16:30 Creative Thinking and Construction of Crossover in Ethnic Jazz Music: The Case of the “Orbit Folks” Orchestra. CHEN Yingduo

17:00 Chinese Shadow Play: Improvisation and Collaboration. TANG Lijiang

17:30 Identity, Tradition, and the Produc- tion of Lokal Music in Home-Based Re- cording Studios in Port Moresby, Papua New Guinea. Oliver WILSON

VIID10 Communication, Conventions, and Concepts in Chinese Music 16:00 Why Play Music? Analysis on the Music Cultural Connotation of the Yi Peo- ple’s Buddhist Rituals for Ghost Commu- nication in the Liangshan Area. LU Jufang

16:30 Patterns and Conventions: Intellec- tual Property and Other Legal Issues of Chinese Music Websites. WEN Jingjing

Bulletin of the ICTM Vol. 122 — April 2013 — Page 29 ANNOUNCEMENTS Announcements — ICTM

Joint Meeting of the Main topic: Individual memory – col- other dimensions of social identiﬁca- lective history. Historical sources as a tion? What is the relationship between ICTM National Commit- meeting-place. (the craft of) improvisation, a personal tees of Austria, Italy, and A Call for Papers with more details will version and (the art of) pre- be posted on the Study Group’s web- composition? What kind of music and Switzerland site in June 2013. dance material is used as a point of 31 May–1 June 2013. departure or inspiration for improvis- Mals/Malles Venosta, South Tyrol, Italy. Call for Papers: 4th Sym- ing, and how is it treated? What is the place of virtuosity in local taxonomies The next Annual Meeting of Austria’s posium of the ICTM of improvisation? What kind of train- National Committee will be a Joint ing is characteristic for distinguished Meeting with the National Committees Study Group on Music improvisers, and generally, what is the of Italy and Switzerland, which will and Dance in Southeast- place of improvisation in the process of take place in South Tyrol, the region ern Europe learning within a given music and where the Austrian/Italian/Swiss bor- dance tradition? What kind of ap- der runs. 23-30 September 2014. Belgrade, Serbia. proaches can be employed in analysing The topic of the meeting will be “Music Submissions deadline: 1 November 2013 improvisation? & Space”, with a keynote lecture given We are pleased to announce the Fourth 2. Professionalization of music and by Marcello Sorce Keller and three dance in Southeastern Europe panel sessions (“Social space”, “Virtual Symposium of the ICTM Study Group “Balkan beats”, folk song and dance and/or (inter) cultural space”, and on Music and Dance in Southeastern “Perceptive/acoustic space”). Europe and invite proposals to be ensembles, networks of performing submitted by 1 November 2013. Please venues, certiﬁed education, a variety of Registration is now closed. For more note that in accordance with our aims experts and institutions at national and information please contact Thomas and objectives as an ICTM Study international levels – these are just Nußbaumer, Ignazio Macchiarella and Group, this biennial event is not a gen- some of the phenomena that testify to or Raymond Amman, Chairs of the eral conference but a Study Group the growing professionalization of tra- Austria, Italy, and Switzerland ICTM meeting dedicated to three selected ditional music and dance in Southeast- National Committees respectively. themes which will form the focus of ern Europe. Symposium participants our presentations and discussions. are invited to address in particular 20th Symposium of the economic aspects of professionalization Place and time (payment and other forms of compen- ICTM Study Group on ✴ Belgrade and Petnica Science Center, sation), professionalized transmission Historical Sources of Valjevo. of knowledge (formalisation, stan- Traditional Music ✴ Arrival date - September 23, 2014 dardisation, specialisation, etc.), and professionalized dissemination and ✴ Departure date – September 30, 2014 12-17 May 2014. promotion of the knowledge in society. Aveiro, Portugal. What factors are being used to distin- Themes guish professionals from non- Chairpersons: Susanne Ziegler & In- professionals in this new era? grid Åkesson. 1. Improvisation in music and dance of Southeastern Europe 3. Inter/postdisciplinarity in ethnomu- Local organiser: Susana Sardo, Univer- Ethnomusicologists and ethnochoreo- sicology and ethnochoreology sity of Aveiro, INET-MD. logists have long considered the impor- How do ethnomusicology and ethno- tance of improvisation and/or variabil- Conference Committee: Susanne Zie- choreology correspond to the new, gler, Susana Sardo, Gerda Lechleitner, ity in traditional music and dance. post-disciplinary alliances of today’s Ingrid Åkesson. What values do contemporary actors academia? In order to incite a debate attach to improvisation in Southeastern on the boundaries between Europe? Do such values differ in terms ethnomusicology/ethnochoreology of ethnicity, class, gender, age and/or

Bulletin of the ICTM Vol. 122 — April 2013 — Page 30 ANNOUNCEMENTS and other humanities and social sci- ✴ E-mail address Zdravko Ranisavljević ences, the following topics are pro- ✴ Are you a current member of the Ana Živčić posed: 1) The development of new ICTM? Only abstracts from members Nada Jeftenić fieldwork approaches and the emer- will be considered. gence of new sites for ethnography that ✴ Type of presentation (individual, Where to send the proposals challenge traditional disciplinary paro- media, panel, round table) Proposals should be sent by e-mail to chialism; 2) The emergence of meta- discourses formulated within ethno- ✴ Title both musicology and ethnochoreology that ✴ Technical Equipment Required (PC ✴ Liz Melish, secretary of the ICTM extend to wider scholarship, and vice or Mac, slide projector, audio, other STG on Music and Dance in SEE versa, the domestication of important visual or spatial requirements, other ([email protected]) theoretical trends formulated else- technical requirements) ✴ Naila Ceribašić – Chair of the Pro- where (e.g. identity politics, semiotics, ✴ ABSTRACT TEXT (no more than 300 gramme Committee ([email protected]) biopolitics and the body, post- words) colonialism); 3) The history of ideas in The committee cannot consider pro- ethnomusicology and ethnochoreology, Please label all communications clearly posals received after the deadline of especially in regard to the relationship with your full contact details. It is ex- November 1, 2013. Notification of ac- between local schools of thought and pected that all individual presentations ceptance or rejection will be announced globally dominant trends; 4) The re- and panels will present new insights. by January 31, 2014. If you have a modelling of ethnomusicology/ ethno- Proposals for presentations that were deadline for funding applications for choreology in the direction of a thrill- previously given or have appeared in travel, accommodation, and so on, ing post-disciplinarity rather than a print, or in other formats, will be re- please notify the Programme Commit- coherent “disciplined discipline”. What jected. tee of your deadline date. contributions do Southeastern Euro- PLEASE NOTE THAT PARTICIPANTS Membership pean studies of music and dance make ARE LIMITED TO A SINGLE PRES- to such disciplinary perspectives? ENTATION. Please note that the Programme Com- mittee will only consider proposals by We welcome proposals for individual The Programme Committee reserves members of ICTM in good standing for presentations, panels and round tables the right to accept those proposals that, 2013. Please contact the Chair, Velika that address one or more of these ques- in their opinion, fit best into the Stojkova Serafimovska and/or the Sec- tions and other related issues that arise scheme of the symposium, and that can retary, Liz Mellish for membership of directly from the themes. They are to be accommodated within the time the Study Group. Members may join be sent by e-mail before 1 November frame of the symposium. and submit a proposal at the same 2013. time. Membership application forms Programme Committee LANGUAGES English is the official are available at the ICTM website. For language of the symposium, and only 1. Naila Ceribašić – Chair, Croatia membership questions, contact the ICTM Secretariat. papers to be delivered in English can 2. Sonia Tamar Seeman, USA be accepted. Proposals must be submit- 3. Anca Giurchescu, Denmark/ Presentation formats ted in English. Romania You may present only once during the Proposal format 4. Belma Kurtisoglu, Turkey symposium. Please clearly indicate Please send your proposal by e-mail. 5. Mirjana Zakić, Serbia your preferred format. If members have any questions about the pro- The text should be pasted into the body 6. Velika Stojkova Serafimovska, Ma- gramme, or the suitability of a pro- of the e-mail and also sent as a cedonia Word.doc or Rich Text Format (RTF) posal, please contact the Programme Local Organiser attachment to ensure access. The pro- Chair or a member of the Programme posal should include: Faculty of Music, University of Arts in Committee and ask for assistance. Col- Belgrade, Serbia leagues are advised to bring alternative ✴ Name of person submitting modes of presentation delivery if using Local Organiser Committee: ✴ Institutional affiliation PowerPoint, DVD, or other format in Selena Rakočevic – Chair, e-mail: case of unexpected technical difficulties ✴ Mailing address: [email protected] on the day of presentation. ✴ Phone/Fax number Iva Nenić

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Individual Presentations vidual participants, and indicate the Programme: 3rd Sympo- The Programme Committee will organ- commitment of all participants to at- ise individual proposals that have been tend the symposium. Each panel pro- sium of the ICTM Study accepted into one and a half hour panel posal will be accepted or rejected as a Group on Multipart Mu- sessions. Each presentation will be al- whole. Submit a short summary (one- sic lotted 20 minutes inclusive of all illus- page) of the panel overview, and an trations, audio-visual media or move- individual paper proposal, as de- 16-16 September 2013. ment examples, plus 10 minutes for scribed under Individual Papers above, Budapest, Hungary. for each presenter. All proposals for a questions and discussion. There will be Local Organiser no deviation allowed from this time panel should be sent together. Propos- Institute for Musicology, Research Cen- allotment. A 20-minute paper is nor- als should address one or more aspects tre for the Humanities, The Hungarian mally around 5 pages of double spaced of the established themes of this meet- Academy of Sciences. Budapest, Hun- type. Please submit a one page abstract ing. Total length of a panel will be one gary. (about 300 words) outlining the con- hour (with an additional 20 minutes for tent, argument and conclusion, its rela- comments and responses). Chair of the Local Arrangements tion to the symposium theme you have Roundtables Committee: Lujza TARI. chosen to address, plus a brief bibliography and/or statement of sources, if We also encourage presentations in the Programme Committee form of roundtables. These are sessions appropriate, on a second page. Please Ardian AHMEDAJA, Chair (Austria) that are entirely planned, coordinated, include the type of illustrations to be Ignazio MACCHIARELLA (Italy) and prepared by a group of people, one used in the presentation, such as slides, Žanna PÄRTLAS (Estonia) DVD, video (including format), or of whom is the responsible coordinator. The aim is to generate discussion be- Lujza TARI (Hungary) other materials. tween members of the roundtable who Media Presentations present questions, issues, and/or mate- Websites of the symposium rial for about 5 minutes on the prese- Media presentations should be no www.multipartmusic.org more than 20 minutes in duration. You lected unifying theme of the roundta- will be allotted 10 minutes extra for ble. The following discussion, at the www.zti.hu questions. Your presentation should convener’s discretion, may open into engage critically with the media (video, more general discussion with the audi- Themes CD, DVD, and so on) and key material ence. The total length of a roundtable 1. Scholarly terminology and local for viewing should be preselected. It is will be one and a half hours inclusive musical practice essential that your presentation ad- of all discussion. One of the barriers ethnomusicologists dress one of the three themes. Please Proposals may be submitted for a have to constantly overcome in their submit a one page abstract (about 300 roundtable consisting of up to 10 pre- work is the balancing act between deal- words) outlining content, argument senters, and the structure is at the dis- ing with local practices and trying to and conclusion, the relevance of the cretion of the convener who will chair generalise the focused questions by media presentation to the selected the event. The proposal must explain using scholarly terminology. In addi- theme, plus a brief bibliography and/ the overall purpose, the role of the in- tion to the complex relationship be- or other sources. dividual participants, and signal the tween local and global terminologies, connotations of terms in use change Panels commitment of all participants to at- continuously. Furthermore, different We encourage presentations in the tend the symposium. Each roundtable proposal will be accepted or rejected as sciences inﬂuence each other’s views form of panel sessions. Panel sessions a whole. and consequently their terminologies. are a group of papers that are entirely Questions to be focused on in the dis- planned, coordinated, and prepared by cussions are: How do terms come into a group of people, one of whom is the use in scholarly research? Is there a responsible coordinator. Proposals may model or does every term have its be submitted for panels consisting of ‘own history’? How do their connota- three or four presenters and the struc- tions change? How do other sciences ture is at the discretion of the coordina- inﬂuence this process? And what about tor. The proposal must explain the questions on ‘lingua franca’? What is overall purpose, the role of the indi- the place of local terminology within

Bulletin of the ICTM Vol. 122 — April 2013 — Page 32 ANNOUNCEMENTS this framework? How does terminol- 09:30–11:00 Session I: Scholarly ter- Friday 13 September 2013 ogy influence local musicians’ and minology and local musical practice 09:00–11:00 PANEL: New “tradi- scholars’ perception of music and mu- tions” invented by educated musi- Ulrich MORGENSTERN (Austria), Phonic sic making? cians, scholars and missionaries. Contrast, Harmonic Accents, Rhythm of Chair: Gerda LECHLEITNER (Austria) 2. The role of educated musicians and Texture. Multipart Folk Instrumental missionaries in local music practices. Practice as a Challenge to Musicological Nona LOMIDZE (Austria/Georgia), Schoolmasters, cantors, choir conduc- Terminology. Georgian folk music – changes in tradition tors and other educated musicians through professionalization? Žanna PÄRTLAS (Estonia), Between Local have influenced local practice in many and International, Folk and Scholarly Ter- parts of the world. With regard to mul- Paolo BRAVI (Italy), Training, cultural minology: The Case of Traditional Russian tipart music they have even influenced values and the shaping of the voice in the Multivoiced Singing. the establishment of new traditions. An Sardinian a sa nuoresa choirs. important place is occupied by relig- Larry Francis HILARIAN (Singapore), Cristina GHIRARDINI (Italy), Francesco ious missionaries in this context. As a The Use of Scholarly Terminology and Balilla Pratella and choral singing in Ro- result, in many cases local music has Concepts in the Understanding Local magna. lost its reputation or has been ne- Musical Practices, Through the Perform- glected in favour of newly introduced ance of the Malay-Lute (Gambus). Gerda LECHLEITNER (Austria), Zulu music. Through case studies and theo- recordings from 1908: a conflict between retical approaches, the kind of influ- 11:00–11:30Coffee and Tea Break “tradition” and “modernity” ences these activities have on everyday 11:30–13:00Session II: Individual- 11:00–11:30Coffee and Tea Break musical practice will be examined, fo- ists in company I cusing at the same time on the contexts 11:30–13:00 Session IV: The role of of the objectives and results of the Lujza TARI (Hungary), Researching indi- educated musicians and missionaries work of various protagonists in this viduality in Hungarian instrumental folk in local music practices I process. music. Anda BEITĀNE (Latvia), Who influences 3. Individualists in company Ignazio MACCHIARELLA (Italy), “For whom? Educated musicians and their in- Multipart music as a specific mode of those who have ears to hear”. Individual fluence on local multipart music practice in music making and expressive behav- signatures in Sardinian multipart singing. Eastern Latvia. iour is based on intentionally distinct Enrique CÁMARA DE LANDA (Spain), A and coordinated participation in the Daiva RAČIŪNAITĖ-VYČINIENĖ (Lithua- musician operating in several areas: Rob- performing act by sharing knowledge nia), The impact of education on the prac- erto Scarlato and vocal and instrumental and shaping values. In this process, the tice of sutartinės in the 20th century. polyphony in Argentina today. company members try to promote per- Anne CAUFRIEZ (Belgium), The current sonal goals connected with creation 13:00–15:00Lunch Break practice of “traditional” music on Porto and experimentation during music Santo Island (Madeira). making and the discussions about it 15:00–16:30 Session III: Individual- with community members. A specific ists in company II 13:00–15:00Lunch Break issue within this framework is multi- Fulvia CARUSO (Italy), The “Canzonetta 15:00–16:30 Session V: The role of part music performed by one singer or in lode alla Santissima Trinità” between educated musicians and missionaries by one musician on a single instru- tradition and innovation. in local music practices II ment. The main question to be discussed within this framework is con- Marco LUTZU (Italy), Shaping the ritual. Jean-Jacques CASTÉRET (France), The nected with the kind of position the The role of individual choices in the defini- royal VIth tone’s institutions of transfer: individual and the company have in tion of the musical structure of the Oro Multipart singing and education in tradi- various multipart music traditions. cantado. tional western Pyrenean society.

Preliminary Programme Gianni BELLUSCIO (Italy) and Oliver Renato MORELLI (Italy), Christmas carols GERLACH (Germany), Multipart singing Thursday 12 September 2013 in northern Italy, between printed sources of the Italo-Albanian communities in Cal- and oral transmission. The role of saints, 09:00–09:30Opening Ceremony abria. monks and priests in the diffusion of the Welcome addresses and introduction to repertoire. the contents of the symposium 19:30–21:00Musical evening

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Constantin SECARĂ (Romania), Roma- Sunday 15 September 2013 Programme: 13th Sym- nian Christmas Carols in Byzantine Style. Excursion The Tradition of Monody and Ison (Isok- posium of the ICTM ratema), between Written Sources and Monday 16 September 2013 Study Group on Music Oral Transmission. 09:00–10:30 Session VIII: The role of educated musicians and missionaries Archaeology 16:30–17:00Coffee and Tea Break in local music practices VI 8-10 April 2013. 17:00–18:00General Assembly of the Guatemala City, Guatemala Tamaz GABISONIA (Georgia), The known ICTM Study Group on Multipart Music examples of personal inﬂuence on Georgian The upcoming event is entitled “Cross- ing Borders: Musical Change and Ex- 19:30–21:00Music and Dance musical tradition. change through Time”. The following Saturday 14 September 2013 Zlata Marjanović (Serbia), The ethnomu- is the preliminary programme. sicologist on ﬁeldwork: an educated out- 09:00–10:30 Session VI: The role of sider or compatriot-by-music practice? Monday 8 April 2013 educated musicians and missionaries 09:30-10:30Registration in local music practices III Katalin LÁZÁR (Hungary), Polyphony in the vocal traditional music of peoples with 10:30-10:45Inauguration Pál RICHTER (Hungary), Monophony in Finno-Ugrian languages. Multipart Instrumental Hungarian Folk 10:45-11:15Arnd Adje Both (Ger- Music. 10:30–11:00Coffee and Tea Break many), Keynote address.

Amra TOSKA (Bosnia and Herzego- 11:00–13:00 Session IX: The role of 11:15-11:45Break vina), “Etnoakademik” - Reinterpretations educated musicians and missionaries of music tradition. in local music practices VII 11:45-12:30Matthias Stöckli (Guate- mala), Musical Episodes on Ancient Ma- Guido B. RASCHIERI (Italy), Multipart János SIPOS (HUNGARY), Traces of mul- yan Journeys. music in the contemporary vocal and in- tipart music in some Turkic-speaking strumental tradition of north-western It- communities 12:30-14:15Lunch aly. Eno KOÇO (UK/Albania), Music of the 14:15-15:00Riitta Rainio (Finland), 10:30–11:00 Coffee and Tea Break Albanian Orthodox Church and its local Rattling Tooth Pendants in the North practices European Neolithic Exchange Networks. 11:00–12:30 Session VII: The role of educated musicians and missionaries Kata RISKÓ (Hungary), Towards multi- 15:00-15:45Dorota Popławska and in local music practices IV part music – embourgeoisement and new Anna Grossman (Poland), Musical In- musical ideals in the North-western region struments and Dance Iconography as Ex- Catherine INGRAM (Australia), The roles of Hungarian folk music amples of Intercultural Contacts in Central of individual singers within the Kam peo- Europe during the Bronze and Iron Age. ple’s “big song” choral singing in south- Lana ŠEHOVIĆ-PAĆUKA (Bosnia and western China. Herzegovina), A Bosnian musical adven- 15:45-16:15Break ture of the Hungarian composer Julius Wei-Ya LIN (Austria), The relationship 16:15-17:00Annemies Tamboer (The Gyula Major. between the practices of traditional singing Netherlands), Medieval Pottery Aachen and church hymns in the society of the Tao 13:00–15:00Lunch Break Horns: Identiﬁers of the Pilgrim, Memen- (an indigenous ethnic group in Taiwan). tos of the Religious Experience. 15:00–16:30Final discussion and clos- Ieva PĀNE (Latvia), The inﬂuence of crea- ing ceremony 17:00-17:45Gretel Schwörer, Halle tive persons on the natural course of tradi- (Germany), A Gong Chime Migrating tional multipart singing in the village of from China to Thailand in the 13th or 14th Bārta. Century?

12:30–15:00Lunch Break 18:00-19:30Reception

15:00–17:00Workshop: Yodeling Tuesday 9 April 2013 09:30-12:00Excursion, Sitio ar- 19:00Open end: Informal get- queológico Kaminaljuyú / Archaeological together site of Kaminaljuyú

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12:30-14:15Lunch 14:15-15:00Katrina Kosyk / Carrie L. Dennett (Canada), Winds of Change: An 14:15-17:15PANEL, Vasijas silbadoras Examination of Music and Migration in / Whistling Vessels Pre-Columbian Greater Nicoya

14:15-15:00Arnd Adje Both (Ger- 15:00-15:45Samuel Franco (Guate- many), Introduction: Whistling Vessels mala), Marimba (Guatemala) y Ulimba through Cultures the Times (Malawi)

15:00-15:30Esteban Valdivia (Argen- 15:45-16:15Break tina), "La Voz del Agua": Interrogantes en la difusión de las vasijas silbadoras de agua 16:15-17:45Closing ceremony en la América Prehispánica.

15:30-16:00Break Call for Papers: 4th Symposium of the ICTM 16:00-16:30Vanessa Rodens de Pozuelos (Guatemala) / Gonzalo Sán- Study Group on Music of chez Santiago (Mexico), Las vasijas sil- the Turkic Speaking badoras de Oaxaca y del área maya World 16:30-17:00Arnd Adje Both (Ger- April 2014. many), The Whistling Vessels of Central Ankara, Turkey. Mexico Since its official recognition in 2006 by 17:00-17:15Discussion the International Council for Tradi- 17:45-18:30Concert, Esteban Valdivia tional Music the Study Group on Music (Argentina) of the Turkic Speaking World has met in Europe. Wednesday 10 April 2013 For the first time, in April 2014, the 09:15-10:00Vladimir Lisovoi / Ange- Study Group on Music of the Turkic lina Alpatova (Russia), Scythian Chor- Speaking World will be having its dophones: On the Problems of Comparative Fourth Symposium in the very heart of Music Archaeology. the Turkic speaking world, Ankara. 10:00-10:30Break The hosting organisation will be the International organisation of Turkic 10:30-12:30PANEL, Travelling Music cultures - TÜRKSOY. Dr Sehvar Besi- and Music for Travellers: Archetypes and roglu will be a chair of the local organ- Documentary Evidence of Music Itiner- ising committee. ancy in Ancient Greece. The subject of our Fourth Symposium 10:30-11:00Eleonora Rocconi (Italy), will be: TURKIC WORLD AND Mythical Archetypes. NEIGHBOURS: SIMILARITY AND DIFFERENCES IN MUSIC. 11:00-11:50Donatella Restani / Dan- iela Castaldo (Italy), Alexander the Proposals are welcome: individual pa- Great’s Travels and Musical Encounters. pers, panels, lecture demonstrations, and documentary films. 11:50-12:10Ciro Lo Muzio(Italy), The Western Legacy in Gandharan Instrumen- tarium.

12:10-12:30Discussion

12:30-14:15Lunch

Bulletin of the ICTM Vol. 122 — April 2013 — Page 35 ANNOUNCEMENTS Announcements — Related Organisations El Oído Pensante, new ✴ Editing: Daniela A. González Preliminary programme: ✴ Assistant editors: Bernd Brabec de peer-reviewed journal Friday 24 May, Sorbonne, afternoon: Mori, Matthias Lewy and Ana Flavia El Oído Pensante is a biannual peer- Miguel ✴ Susanne Ziegler: [Title TBA] reviewed journal of free access. Advisory Committee ✴ Marie Hirigoyen Bidart: Comparaison diachronique et synchronique de sources Its aim is to promote the discussion of ✴ Beverley Diamond écrites (sur le) et musicales (de) chant theoretical, methodologicaland episte- ✴ Rafael José de Menezes Bastos basque de la fin du xixe siècle à la fin du mological dilemmas faced by different ✴ Ana María Ochoa xxe siècle : méthodologie, problèmes ren- kinds of music research. Unpublished contrés, résultats. articles in Spanish, Portuguese and ✴ Allan Moore ✴ Diana Alzate, Les archives sonores de English dealing with ethnomusicology, ✴ Timothy Rice anthropology, sociology of music, l’expédition Orénoque-Amazone (1948- ✴ Irma Ruiz popular music studies, musicology, 1950). ✴ Jonathan Sterne and cultural studies, among other dis- ✴ Emeline Lechaux: Mener l’enquête ciplines, are received. ✴ Ulrich Wegner dans les enregistrements d’archives. The first number of El Oído Pensante L’exploration de l’histoire du bwétè au Papers should be original and those (2013) is already online at Gabon par l’analyse musicale. which produce criticism of theoretical ppct.caicyt.gov.ar. paradigms, methodology, transdisci- Saturday 25 May, Sorbonne, morning: plinarity, knowledge validation, re- Annual Conference ✴ Nicolas Prévôt: La quête de la formule search ideologies, representation re- magique : règles du jeu d'un répertoire sources, narrative strategies, ethic and Journées d’Etude 2013 de l'Inde centrale. aesthetic research perspectives, rela- 24-26 May 2013 ✴ Françoise Etay: [Title TBA] tionships during the fieldwork experi- Sorbonne University and Musée du Quai ✴ Karen Nioche: L’analyse musicale de la ence,social and political research sig- Branly (Paris, France) nificance, the researcher’s perceptive danse. Hypothèses et questions. and conceptual baggage, new tech- The annual conference Journées d'Etude ✴ Marie-France Mifune: Analyse de la nologies and their ways of spreading 2013 will take place in Paris from 24-26 performance en contexte rituel. and sharing knowledge, etc., will be May at the Sorbonne University and Saturday 25 May, Sorbonne, afternoon: welcome. the Musée du Quai Branly. Organising committee: Susanne Fürniss, Made- ✴ Alice Tacaille [Title TBA] Since the intention of the journal is to leine Leclair, François Picard. ✴ Stephanie Weisser and Didier Demo- promote critical thought aimed to dis- lin: Analyser les timbres grésillants : The theme is To analyse music, with mantle usual concepts and to open new l’importance d’une approche pluridisci- approaches, papers restricted to ana- three sub-themes: Criteria and valida- plinaire. lysing particular cases will not be action of the musical analysis, Digital ✴ cepted. However, it is expected that devices for musical analysis, and Julien Debove: Présentation et repré- authors bring some cases into the text Transformations and permanences: the sentation des tāna dans la musique hin- in order to support their main ideas. study of a musical language through doustanie. à partir d’enregistrements en Articles and reviews are also received. historical recordings. Invited speakers direct de N. Rajam are Alice Tacaille (Paris Sorbonne Sunday 26 May, Musée du Quai All articles will undergo a peer blind Univ.) and Susanne Ziegler (Berlin); Branly, morning: review process. guest participants at the final roundta- ✴ Jeanne Miramon-Bonhoure: Disposi- ble are Simha Arom and Philippe ✴ Director and editor: Miguel A. tifs d’analyse et stratégies de représenta- Cathé (both from Paris). García tion : les avantages du logiciel iAnalyse ✴ Associate editor: Juliana Guerrero dans la communication des résultats de

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l’analyse. Conference Committee:

✴ Final Roundtable: Simha Arom, Dejan Despić Philippe Cathé, Susanne Fürniss, Jim Samson Madeleine Leclair, François Picard. Katerina Levidou For more information, consult the SFE Ivana Medić website or send a message via e-mail to Melita Milin. [email protected]. Danica Petrović Philip Bullock International Conference Jelena Jovanović Beyond the East-West Katy Romanou Divide: Rethinking Katarina Tomašević Biljana Milanović Balkan Music’s Poles of Sran Atanasovski Attraction 27-29 September 2013 Serbian Academy of Sciences and Arts (Belgrade, Serbia)

The Institute of Musicology of the Ser- bian Academy of Sciences and Arts, the Department of Fine Arts and Music of SASA, and the BASEES Study Group for Russian and Eastern European Mu- sic are jointly organising an international conference to be held in Belgrade in September 2013 under the title Be- yond the East-West Divide: Rethinking Balkan Music’s Poles of Attraction.

Keynote speakers Danica Petrović, Institute of Musicol- ogy of SASA, Belgrade. Danica Petro- vić specialises in the Byzantine foundations of Serbian church music, post- Byzantine Greek-Serbian and Russian- Serbian cultural connections in the 18th century, traditional Serbian folk church chant and the links between Serbian music and European music in the 19th century.

Timothy Rice, University of California, Herb Alpert School of Music, Los An- geles. Timothy Rice specialises in the traditional music of the Balkans, with a special focus on Bulgaria in both the socialist and post-socialist periods. In terms of research themes, he has written, among other things, on musical cognition, politics and music, meaning and music, mass media, and music teaching and learning.

Bulletin of the ICTM Vol. 122 — April 2013 — Page 37 REPORTS Reports from ICTM National and Regional Representatives

Belgium of Hawaii, Fiji, etc.) without forgetting The Museum of Tervuren, exclusively an important European collection of dedicated to Central Africa, divides its by Anne Caufriez, traditional instruments, of which Wim activities into various disciplines: Cul- Liaison Officer Bosmans is responsible for. Except for tural Anthropology, Zoology, Geology, Summary of activities, the European Collection, I was respon- Mineralogy and History. Other than its 2007–2012 sible for all these instruments of the important art collection, it also pos- world in my position as Director of sesses an Ethnomusicology section In Belgium as in many Research at MIM (where we are only comprising some 8000 African musical other countries, Ethno- musicology is accommodated only by a two ethnomusicologists). instruments curated by Jos Gan- zemans, recently replaced by Rémy few institutions. The most important Established in 1877, this museum is Jadinon, who is currently preparing his are the two Federal Museums, the Mu- one of the oldest in Europe. However, a seum of Musical Instruments of Brus- doctorate and the renovation of the new Museum opened its doors to the exhibition halls. As to the University of sels, situated at the heart of the city, public in 2000 in sumptuous premises Brussels (ULB), they offer a thirty hour and the Museum of Central Africa of Tervuren, located on the outskirts of Brussels. These museums are the only ones endowed with the status of scientific institutions and equipped with staff holding university qualifications. Of course there are also other museums in Belgium of very high standards, but these do not operate within a scientific background. The third scientific institution pertinent to our field is the Uni- versité Libre de Brussels (ULB)

The Museum of Musical Instruments (MIM) is the only Belgian institution entirely dedicated to classical and traditional music. It owns around 8500 musical instruments of which over half originate from four continents. It pos- sesses an immense Asian collection of traditional musical instruments originating from India, Indonesia, Korea, China, Japan, Burma, Thailand, and Vietnam among others; of which some Museum of Musical Instruments of Brussels are ancient no longer produced. The (New Art style) overlooking the Mont yearly introductory course on Ethno- abundant African collection originate s not only from the Congo but from des Arts. The other façade of this Mu- musicology by Mrs Stephanie Weiser (a seum overlooks the Place Royale, the specialist on Africa). Unfortunately Western Africa as well. The other part architectural style of which belongs to these latter institutions have not for- of this collection is comprised of in- the Austrian Habsburg dynasty. In warded their report which prohibits struments from North and South 2009 this Museum received the Bel- me from elaborating further on their America (particularly the “Indian col- gium Museums Prize. activities. lection”) and from Oceania (Papuan instruments and those from the islands

Bulletin of the ICTM Vol. 122 — April 2013 — Page 38 REPORTS

End of 2007 2008 the qualification of “Agrégation” for A ten day presentation of Indonesian Throughout this year, Museum of Teaching in Universities, at the Univer- music was organised by MIM in col- Musical Instruments was principally sity of Louvain-la-Neuve, in February. laboration with the Indonesian em- preoccupied with the MIMO project MIM was again invited to participate bassy in Brussels (30 September–8 Oc- (the computerisation of its collections). in a UNESCO-led conference (Music as tober). I was responsible for the scien- The MIMO project had as it main aim a vehicle for peace) which was held at La tific content of these days and pre- to create a unique point of access to Maison des Arts et Métiers in Paris on sented a lecture based on field record- information on the digital resources on 4 April, where I presented a paper on ings which I conducted in Java, Lom- musical instruments in European mu- the state of traditional music. bok and Sulawesi. Three concerts of seums. Prior to this, it did not exist in classical music of Java and Bali were Europe neither a centralised informa- I also represented the Museum on in- performed, including a presentation of tion site to present musical instruments ternational conferences which took the puppet theatre Wayang Kulit. nor a standardised criteria. place in Brazil (meeting of the Brazilian There were also introductory Gamelan Association of Ethnomusicology ABET This project involved eleven of courses for adults, children, and fami- at the University of Alagóas in Maceio) Europe’s great museums of Europe, of lies. This proved to be a success not and in Great Britain (the 38th “Interna- which MIM and the Museum of Ter- only in terms of quality but also in par- tional Ballad Conference” at the Uni- vuren are part. This involved the full ticipation by members of the public. versity of Cardiff) where I presented time of internal staff as well as engag- All the halls of the Museum operated papers. During my stay in Brazil, I ing external collaborators, and the at full capacity, and radio and televi- gave lectures on Portuguese music at process is still ongoing. It is a project sion covered the event. the University of Paraiba. I furthered divided into several stages. The first other researches in Portugal the follow- In November of that year MIM was stage involved photographing each ing summer. My publications had as invited to participate in the UNESCO- musical instrument and cataloguing all subject matter the Polyphonies and the led conference “Music as an Instru- relevant data, such as description, Ballads of Portugal: ment for Intercultural Dialogue” (26 country of origin, population, vernacu- November 2007) to which I went and lar names, organological classification, ✴ “Polyphonies saved by water: the presented a paper in the workshop The social usage, construction materials, representation of tradition in a context of transmission and performance at mode of acquisition, and state of con- micro-locality of Portugal”, Estudos the midst of communities. I also repre- servation. The following stages were de Literatura Oral 13/14 (2008): 73–83. sented the Museum at another constructing audio files and video Portugal: University of Faro. UNESCO-led conference in Beijing (7- clips. ✴ “The Portuguese Ballad and its ex- 47 October), at the ICTM World Con- Parallel to the aforementioned project, tensions in the Mediterranean”, Lusi- ference in Vienna (4-11 July) and at the Wim Bosmans organised a festival of tana 17-18: 51-76. Portugal: Univer- International Ballad Conference of the sity of LIsbon. University of Aberdeen, Scotland (29 traditional music films (from October August–3 September). I also super- to December), principally focussing on The latter publication is a comparative Europe and showing documentaries article which aroused such interest in vised two theses and wrote a long article on the world collection of the from Kosovo, Transylvania, the Czech the Balkans that it was translated into musical instruments at MIM. Other Republic, Switzerland, the Ukraine, Serbo-Croatian and was published and even western Africa. He also or- again in New Sound 30/11 (2007-8): 72- than these collections and research on Indonesian, Mexican and Oceanian ganised an exhibition on the traditional 85, with the collaboration of the Science musical instruments, I also improved musical instruments of Belgium, which Academy of Belgrade. were accompanied by some concerts, the presentation of exhibition halls and 2009 notably a spinet concert, which is one hosted many external guests. The Mu- Within the framework of EUROPALIA, of the most beautiful musical instru- seum also established various agree- which in this occasion adopted China ments of the Belgium countryside (17 ments with the Museum of Portuguese at its theme (EUROPALIA takes place October – 16 November). music at Estoril and the Museum of every two years), and with the collabo- Ethnology of Lisbon (Portugal), which I personally conducted research on Ra- ration of my colleague Claire facilitated further research by myself jah Tagore, the donator of MIM’s first Chantrenne, we organised an Interna- on Portuguese traditional music, which Indian collection in the 19th century, as tional Conference on Chinese and East is my specialist subject. part of preparation for the King of Bel- Asian music having as theme “The fu- gium’s visit to India. I further obtained ture of the past” (18-22 November).

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This conference was held at MIM and The papers presented ranged from the artists, with a particular homage to the assembled well over 50 specialists on preservation of the intangible musical famous Paraguayan guitarist and com- China as well as eminent professors heritage of China (with its slowly dis- poser Augustin Barrios Mangoré (1885- and researchers well known in the ﬁeld appearing traditions) to the manufac- 1944). of East Asian music, including profes- ture of musical instruments. Innovation The Museum organised an event focus- sors from the Beijing and Shanghai in Chinese Musical Narrative, Issues in Conservatories of Music, the Art Uni- Chinese Musical History, New Music in ing on the music of the Balkans based versity of Shandong, the Centre for East China were amongst the most fas- on the collections at its disposal, which was accompanied by concerts (in May) Chinese Studies of Beijing, the Univer- cinating. This conference was comple- sity of Hong Kong, and the University mented by various concerts as well as during which I facilitated the donation of Minzu of Xianzi. Other Asian educa- ﬁlm shows. of around ten traditional musical instruments by the Embassy of Serbia. tional establishments included the MIM was invited to another international conference organised by UNESCO at Boston (USA) having as theme Music and Cultural Diplomacy, which was organised by the Depart- ment of Musicology of Northeastern University, Boston (29 March 2009).

I also facilitated relations between MIM and a university in the Northeast of Brazil (the University of Paraiba in João Pessoa) to allow for academic exchanges. I also gave a lecture at this University on Portuguese music (7 March) and, in 2008, I was invited to the annual conference of ABRALIN and the year after, this organisation’s annual conference was held at this same university (2-6 March 2009), during which I gave a series of lectures (totalling ten hours) on my field work research in Portugal. This collaborative work bore fruit in the visit of Alice Lumi Satomi, professor at the Univer- sity of Paraiba, to Brussels from 1 July 2009 to 29 June 2010. She benefited from a scholarship from the Brazilian government. This collaborative work Chinese instruments in the exhibition hall of the Museum of Musical Instruments of Brussels with Brazilian institutions also enabled University of Tokyo, the University of From 26 August to 11 October we or- the acquisition of a collection of Seoul, and the University of Putra. ganised an exhibition on the Italian musical instruments from the Tupi and Europe and the United States were also field photographs of Alain Lomax Guarani Indians, the negotiations for represented with specialists from SOAS taken during 1954-55, and also a festi- which and subsequent acquisition of (London), Goldsmith College (Lon- val in collaboration with the Cultural which I was responsible for. don), University of Sorbonne (Paris), Centre of Flagey (Brussels) which con- I took part in the ICTM’s World Con- University of Cologne (Germany), sisted of a series of concerts on the tra- ference in Durban, where I presented University of La Sapienza (Rome), ditional Latino-American guitar, of the paper The Ballad, a traditional song of University of Brussels (ULB) and of the Spanish in origin (17 October–29 No- contemporary Portugal. I also attended Community College of Philadelphia, to vember). We were privileged to hear the 39th International Ballad Confer- cite but a few. the works of Spanish composers (such ence organised by the Institute of Art, as Albeniz) and other Latino-American

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Ethnography and Folklore of the Acad- ber,. Presented the paper Saint John Portugal; the conference “Fascinating emy of Sciences of Minsk, Belarus (13- in Portugal : the intertwining relation- oddities, the discovery of musical oth- 18 July), where I presented The different ship between music and plants. erness in the 19th century”, organised ideological symbols of the Portuguese bal- Publications: “Michel Giacometti: Fil- jointly by the Universities of Nice, lad through time. mographia completa”, article plus Rennes, La Sorbonne, at the birth city of Berlioz, La Côte Saint–André (Isère, I presented The relationship between DVD, published in collaboration with the Publico, the RTP and Tradisom, France), where the title of my paper prosody and music in Portuguese tradi- was Incidental musical instruments or tional music during the International Lisbon 2010-11, vol.9 (p.24-35); “The sheer glance fascination. Interdisciplinary Symposium organ- Female Polyphony of Northern Portu- ised by the Institute of Ethnomusicol- gal”, post the 6th Symposium of the Publication of my musical recordings ogy of the Academy of Sciences, Ljubl- ICTM Study Group on Music and Mi- of Madeira “The traditional music of jana (Slovenia) on 24-29 September. norities, Hanoi: The Vietnamese Insti- Porto Santo” (Madeira-Portugal), edited tute for Musicology. in Geneva by the International Ar- 2010 2011 chives of Folk Music of the Museum of A whole day’s workshop was dedi- Ethnography. This work received a In 2011 CIM-CIM, which assembles all cated to the MIMO project on 31 prize from the Regional Portuguese the museums of the world, held its March, during which various partici- Administration, which culminated in a general conference. The first day was pants from different countries came to reception at Madeira on 22 October, held at the Museum of Music in Paris. share their MIMO experience. Publication also of Saint John in Portu- The second day (1 September) was or- gal: the intertwining relationship between On the occasion of the 50th anniversary ganised at MIM in Brussels. This day music and plants”, in Forcalquier 2011, of the independence of the Congo, was dedicated to new museums as well Editions “C’est-à-dire”, with the sup- MIM organised a festival of musical as new projects with participants from port of the French Ministry of Culture films on Africa as well as one on Egypt the American Museum of Phoenix, the (p. 55-64). (end of 2009 – 27 July 2010). Morris Museum of Morristown, the Kunsthistorishe Museum of Vienna, 2012 I was also delegated to attend the fol- the Chopin Museum of Warsaw, the lowing international scholarly meet- Continuation of the MIMO project and University of Edingburgh, he Glinka ings: preparation of other projects. However State Museum of Musical Culture of due to new management and financial 1. The ICTM Study Group on Histori- Moscow and of course from partici- restraints as well as proposed reorgani- cal Sources of Traditional Music, pants from MIM itself. The following sation of the national Museums, some Lithuania, 14–18 April. Presented day was organised by the Museum for projects did not come to fruition and the paper A French ballad’s journey to Central Africa of Tervuren and had most of its scientists profited from this the North-East of Portugal. ”Wind Instruments” as its theme. Par- lull to re-conduct their research work. ticipants came from diverse parts of the 2. The 40th International Ballad Con- world (the Congo Brazzaville, the Other than the usual tasks of a Mu- ference, the Netherlands, 5-10 July. Ivory Coast, South Africa, and France). seum, 2012 was, for me, principally Presented the paper Some aspects of The third day was organised by the dedicated to further research in Portu- water songs of Portugal. Muziekmuseum Vleeshuis of Antwerp. gal and to the writing of two books 3. 6th Symposium of the ICTM Study pertaining to the music of Portugal (La Group on Music and Minorities, Other international conferences at- danse des eaux and Une vie à la source de Vietnam, 19-30 July. Presented the tended were the 5th National Meeting la mémoire). paper Feminine minority of the vil- of ABET, where I had gave a series of lages of Portugal. lectures at the University of Paraíba International conferences attended: (The Filmography of Giacometti) and at 2nd Symposium of the ICTM Study 4. 7th Symposium “Music and Soci- the Federal University of São Paulo Group on Multipart Music (Tirana and ety”, Bosnia and Herzegovina, 28- (The Portuguese–Brazilian resemblances Vlore, Albania), where I presented the 30 October. Presented the paper The and divergences in the romanceiro); the paper The analysis of feminine Portuguese Female Polyphony of Northwest Por- 41st International Ballad Conference voices; 2nd European Forum on Music tugal. organised by the University of Algarve, organised by the European Council for 5. 9th gathering of the Departmental Faro (Portugal), where I presented The Music (Istanbul, Turkey); 42nd Interna- Museum of Ethnology in Provence role of the French anthropologist Michel tional Ballad Conference, organised by (Forcalquier, France), 21-22 Octo- Giacometti in the collecting of folk songs in the University of Hacettepe (Akyaka,

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Turkey), where I presented a paper on terest amongst the younger generation Conferences and Symposia the theme of Atlantic Roots and Routes is on the increase, if concert attendance 8th Symposium of the ICTM Study in Portuguese Traditional Music; I pre- figures are an indicator to go by. The Group on Maqām sented the paper The films of Giacometti: lack of interest and ignorance from an analytical and critical approach at a administrators has meant that the dis- For the first time, Bosnia and Herzego- vina had the honour to organisee a symposium having as its theme “The cipline has been placed in the hands of meeting of one of ICTM’s Study meeting between Ethnomusicology, amateurs which unfortunately has the Anthropology and Visual Culture”, effect of a regression of knowledge Groups. The 8th Symposium of the ICTM Study Group on Maqām was jointly organised by the University of built in this discipline since the sixties. held from 8 to 11 November 2012 at the Lisbon ISCTE and the University of Evora. Academy of Music in Sarajevo. Local Bosnia and Herzegovina organisers were the Academy of Music in Sarajevo and the Musicological Soci- Conclusion by Jasmina Talam, Chair ety of the Federation of Bosnia and It should be noted that staff having a of National Committee Herzegovina. The general topic of the scientific background are on decline at At the meeting of conference was “Historical Traces and the Museum of Musical Instruments of Present Practice in South European Brussels. This institution is the most ICTM’s Executive Music Traditions”, and special topics visited Museum in Brussels, so it has Board held in July of 2012 in Shanghai, the were: had to increase its numbers of staff op- ICTM National Committee of Bosnia erating in the areas of education, pub- 1. Between maqām and mode: the and Herzegovina was officially recog- licity, concert organisation, visitors intermediate realms (Greece, Mace- nised. The acknowledgement of our hospitality and other departments. Be- donia, Bulgaria, Bosnia and Herze- National Committee encourages better ing the “capital of Europe”, Brussels govina, Serbia, Kosovo, Albania internal cooperation and more ambi- has undergone a massive influx of and Central Europe) tourists which has consequently af- tious presence of Bosnian ethnomusicologists abroad. We envision the fol- 2. History of Ottoman music in its fected the Museum. Also of late there expansion in the Mediterranean has been pressure from the state to the lowing activities: projects which will effect that these bodies ought to secure bring together active ethnomusicolo- 3. The role of Sufi brotherhoods for gists from the entire territory of Bosnia a higher percentage of their spending the propagation of the maqām in and Herzegovina, work on the protec- independently. This as a result has had Western Europe and North Africa. tion of intangible cultural heritage in the effect of devaluing research work 8th International Symposium "Music the field of traditional music, prepara- (which is more time consuming) at the in Society" tion and publishing of data about cur- cost of more “visible” activities des- rent researches in ICTM publications, At the same time and place , the 8th tined for public consumption and fund International Symposium "Music in raising. organisation of Symposia of ICTM Study Groups, activation of young re- Society" was held. As in previous The University of Brussels unfortu- searchers in ethnomusicology through years, sessions were organised accord- nately does not provide a full-time various projects, cooperation with ing to the following fields: musicology, course on Ethnomusicology, save for a cultural-artistic societies and local ethnomusicology and musical peda- brief general introduction on the sub- groups from Bosnia and Herzegovina, gogy. ject, which was created by a linguist promotion and popularisation of The two symposia were complemented keen on traditional music. This shows Bosnian and Herzegovinian traditional by the following events: the lack of interest from ULB, whose music, and encouragement and devel- Faculty of Letters however offers a opment of ethnochoreological research. ✴ On 8 November 2012 the vocal- complete course on Musicology. The instrumental ensemble Etnoakademik same can be said of the University of In the first annual report of the ICTM gave a performance at the concert National Committee of Bosnia and Louvain-la-Neuve which offers a hall of the Academy of Music in course in Musicology, but not in Eth- Herzegovina, I would like to give an Sarajevo. overview of the ethnomusicological nomusicology. ✴ activities which were conducted, with On 9 November 2012 an exhibition of traditional Bosnian clothes and a It can be safely said that the last thirty special regards to conferences, sympo- presentation of building traditional years has not witnessed any increase in sia, projects, lectures and publications. instruments were held. In the eve- research in the field of Ethnomusicol- ning, concerts of groups performing ogy in Belgium, yet paradoxically in-

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customs and music originating from France ✴ Marlène Belly & Françoise Etay: A their areas were held. story to laugh: the song as a release of by Susanne Fürniss, social realities. International conference "Vlado Mi- Chair of National ✴ Victor Randrianary: Humour and lošević: Composer, Ethnomusicologists Committee and Pedagogue" popular music. The meaning of the artist The University of Arts of Banja Luka The French Society for Tsiliva's success in Madagascar. held an international conference under Ethnomusicology ✴ Victor A. Stoichiță: "Does this make the name "Vlado Milošević: Composer, (SFE) has the role of you laugh? Pride and derision among Ethnomusicologists and Pedagogue". the ICTM France National Committee. the amateurs of manele in Bucarest. It has now 196 members, mainly re- Scientists from Bosnia and Herzego- Six grants have been given to mem- searchers, university teachers and vina, Serbia, Montenegro, Macedonia, bers, three for fieldwork (Hugo Ferran, other professionals, but also graduate and Ukraine participated at the confer- Elisabeth Rossé, Kati Basset) and three students. The 2012 board was com- ence. for publications (Olivier Féraud, posed of Susanne Fürniss (President), Filippo Bonini, Hassan Tabar). Another Projects and guest lectures Madeleine Leclair (Vice President), Au- financial support has been given to the rélie Helmlinger (Secretary), Claire A significant part of the Tempus project production of the film Simha Arom, iti- Schneider (Treasurer) and ordinary “Introducing Interdisciplinarity in Mu- néraire d’un ethnomusicologue by Jérôme members Christine Guillebaud, Victor sic Studies in the Western Balkans in Blumberg (prod. Le Miroir, Gabriel Stoichita, Julien Mallet, Jean Lambert, Line with European Perspective” is Chabanier). and Pribislav Pitoëff. related to the study of ethnomusicol- The book collection Hommes et Mu- ogy at Sarajevo’s Academy of Music. The annual conference Journées d'E- siques [Men and Music], which is pub- On the second cycle of the studies, the tude in June 2012 was dedicated to the lished in partnership with the Society new subjects Applied Ethnomusicol- theme Social Constructions of Sounding for Ethnology, has released a book by ogy and World Music are introduced, Humour. Organising committee: Chris- Aurélie Helmlinger: Pan Jumbie. Social as well as a new module on Archiving tine Guillebaud, Victor Stoichita. It and musical memory in steelbands [Edi- musical collections within the subject took place in Eymoutiers near Limoges tor’s Note: see page 90]. The release of Ethnomusicological research and and brought together 55 participants has been launched by a steelband con- fieldwork methodology. Besides that, around 10 papers: significant work is being done on the cert at the Salon du livre en Sciences Hu- legacy of Cvjetko Rihtman. The afore- ✴ Marc Benamou: Humoristic procedures maines. The Francophone journal Ca- mentioned activities are conducted in in Javanese gamelan playing. hiers d'Ethnomusicologie is supported by the SFE: each member in good stand- cooperation with Svanibor Pettan (Fac- ✴ Bernard Lortat-Jacob: Ah, what a ulty of Arts, Ljubljana, Slovenia), and laugh to be so competent! ing receives a free copy of this schol- Gerda Lechleitner and other colleagues arly yearbook edited by the Ateliers ✴ Christine Guillebaud: Sound-mix and from Vienna’s Phonogrammarhiv. Dur- d'ethnomusicologie in Geneva and di- ritual sonorization: types of humour in ing the past year, several guest lectures rected by Laurent Aubert. The SFE Kerala. were held at Sarajevo’s Academy of delegates two of the four members of Music related to the field of ethnomu- ✴ Jean Lambert: Voices as instruments or the scientific board (Christine Guille- sicology: About Archiving of Music instrumentalized voices? Egypt, Syria, baud, Jerome Cler). The 2012 edition of Collections by Gerda Lechleitner and Yemen. the Cahiers is dedicated to the topic Christiana Fennesz-Juhasz (Austria), ✴ Talia Bachir-Loopuyt: May Volksmu- "An artist's life". sik be serious? Humour as a legitimation and Musical Choice from the Perspec- The annual Prix Bartók, an award tive of Social Communication by Gi- of a genre. dedicated to the best film on music at sa Jähnichen (Germany/Malaysia). ✴ François Picard: ‘Irreductible music’ the Festival International Jean Rouch and musical humour. has been attributed to Anand Patward- ✴ Clara Biermann: Do we need balls to be han's film Jai Bhim Comrade (India, a good murga? Feminine murga and 184 min.) showing the important role subversion in the Carnaval of Montevi- of poets and their songs in contempo- deo rary India's social and political movement.

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SFE is located in Paris at the Quai From 2003 to 2006 the Japanese Funds- among others) are invited to lead Branly Museum where it has organ- in-Trust for the Preservation and Pro- workshops in Europe and America. ised seven Musical rendez-vous (Le- motion of the Intangible Cultural Heri- clair, Damon-Guillot, Aubert, Prévôt, tage and UNESCO realised in Georgia Early Georgian ethnomusicology Fürniss, Durnig, Mohafez), one round- the project “Safeguarding and Promo- The significance of the scholarly study table (Martinez, Pasqualino, Sanson), tion of Georgian Traditional Polyph- of Georgian folk music was recognised and one film projection (Johanni Cur- ony”, as part of which the newly estab- in the 19th century when the country tet). The majority of these events were lished Centre for Traditional Polyph- was conquered by the Russian Empire, linked directly to the themes of the fol- ony of the Tbilisi State Conservatoire and Georgian folk song together with lowing temporary exhibitions: Nigeria, was technically equipped, a database the Georgian language became a sig- The Masters of Chaos, Human Zoos. of the Conservatoire’s rich audio ar- nificant factor of national identity. Col- chive was created, the practice of field- lecting activities started in the 1870s, The SFE has organised a gamelan- expeditions was revived, and the so- and a few first collections of folk songs concert for the European Association of called lotbarta skola (schools for choir and sacred hymns were published, in- Social Anthropologists in July and has leaders) were created in many regions cluding those for children. In the early started a partnership with the Festival to support the tradition of oral trans- 20th century the founding fathers of People and Music in Cinema in Tou- mission from generation to generation. Georgian classical music Dimitri louse in October where ethnomusi- Araqishvili and Zakaria Paliashvili re- cologists present or comment films on These events were predated by the dis- corded unique examples of folk music music of their field. semination of Georgian folk song in different parts of the country, and across the world which originated in the London based “Gramophone” For more information, please see SFE’s the 1970s thanks to the world tour of website at www.ethnomusicologie.fr. company recorded over 100 songs from the Georgian Folk Song and Dance Georgian folk singers from 1901 to Company Rustavi’ (directed by Anzor 1914. Georgia Erkomaishvili); which aroused interest by Rusudan Tsurtsumia, in studying Georgian polyphonic song. Intensive fieldwork activity continued Director of the Research In 1990, audiences in Tbilisi were as- at the Tbilisi State Conservatoire from Centre for Traditional tonished by hearing Georgian songs 1917 on. Georgian folk scholars, theore- Polyphony of the Tbilisi performed by the Japanese ensemble ticians and composers Grigol State Conservatoire “Yamashiro-Gumi”, which was soon Chkhikvadze, Shalva Aslanishvili, followed by the creation of many Shalva Mshvelidze, Mindia Zhordania, This is the first time ‘Georgian ensembles’ like The Kartuli Kakhi Rosebashvili, Vladimer Akho- Georgia has a chance to introduce the Ensemble (USA), Darbazi and Zari (Can- badze, Valerian Maghradze, Vladimer events going on in traditional music to ada), Maspindzeli (UK), Marani, Irinola Gogotishvili, Evsevi Chokhonelidze, the world ethnomusicological circles; and Jamata (France), Gorani and Mel- Manana Shilakadze, Edisher Ga- therefore I would like to give an ac- bourne Women’s Choir (Australia), raqanidze, and others recorded folk count on the general tendencies of the Doluri (Sweden), etc. songs in different parts of the country, last few years in light of the earlier first on phonograph and later on mag- Fortunately today, in various parts of events which preceded them. netic tapes. The study of this material Georgia—especially on Svanetia and revealed about 20 different dialects, as Georgian traditional music is distin- the mountains of Adjara—old-aged well as diverse forms of expression and guished by its diversity and complex- tradition bearers are still alive, and performance. ity of form in vocal polyphony, and the they have preserved polyphonic forms new millennium started with its recog- of singing developed by their ancestors Western scholars were particularly at- nition — in 2001 UNESCO proclaimed during millennia. They are frequently tracted to the carefully collected and Georgian polyphony as “A Masterpiece visited not only by local ethnomusi- documented examples of a highly de- of the Oral and Intangible Heritage of cologists or city folk ensembles, but by veloped system of polyphony found in Humanity”. This was followed by the amateur groups from various countries Georgia’s relatively small territory. In first International Symposium on Tra- of the world, to study unique folk ex- 1967 French ethnomusicologist Yvette ditional Polyphony held in Tbilisi in amples directly from them. Moreover, Grimaud recorded about 400 folk ex- 2002, which continued the tradition of these folk masters, as well as the repre- amples with Grigol Chkhikvadze; she international conferences held at the sentatives of renowned ensembles kindly donated this collection to the Tbilisi State Conservatoire since the (such as “Anchiskhati”, “Basiani”, Tbilisi State Conservatoire in 2009, 1980s. “Sakhioba”, “Mtiebi”, and “Mzetamze” shortly before passing away. Among

Bulletin of the ICTM Vol. 122 — April 2013 — Page 44 REPORTS other noteworthy foreign scholars is Australia. Jordania’s works are recog- A special mention should be made of German anthropologist and ethnomu- nised internationally, for which he re- the international symposia on tradi- sicologist Siegfried Nadel, whose work ceived the Fumio Koizumi Prize for tional polyphony held in Georgia, “Georgian Song” (Berlin, 1933, based Ethnomusicology in 2009. which occupy special place among the on audio recordings of WW1 prisoners world’s similar scientific forums from Today in Georgia the following institu- in camps made by C. Stumpf and G. the standpoint of its format and the- Schunemann), included many signifi- tions are involved in the study and matic diversity, in relation to the po- cant theses, as well as one on the local popularisation of Georgian folk music: lyphony of the world’s different re- the Georgian Folk Music Department origin of Georgian polyphony. Marius gions. These symposia have allowed Schneider, in his renowned work “His- of the Tbilisi State Conservatoire Georgian ethnomusicologists to get tory of Polyphony” (Berlin, 1935) dedi- (headed by Nato Zumbadze), the involved with international ethnomu- Laboratory of Georgian folk music cates an entire chapter to Caucasian, sicological processes, and arouse an including Georgian, music. Released as (headed by Ketevan Matiashvili), the interest in Georgian polyphony in for- an LP in 1968, “Folk music of the Geor- International Research Centre for Tra- eign scholars. Participants of symposia gians from Turkey” was recorded by ditional Polyphony (headed my my- in Tbilisi included, among others, Di- self, Rusudan Tsurtsumia), the Geor- American anthropologist Peter Gold, eter Christensen and Timothy Rice and the originals recordings were do- gian State Folklore Centre, Interna- (USA), Izaly Zemtsovsky (Russia/ nated to the Tbilisi State Conservatoire tional Centre for Georgian Folk Song USA), Simha Arom (France), Franz Fö- (director Anzor Erkomaishvili), and the in 2012. dermayr and Gerlinde Haid (Austria), State Museum of Georgian Folk Song Polo Vallejo (Spain), Daiva Raciunaitre Ethnomusicology in Georgia today and Musical Instruments (director Re- (Lithuania), Žanna Pärtlas (Estonia), vaz Kotrikadze). The representatives of the Georgian and Susanne Rankin (UK). The 2012 contemporary school of ethnomusicol- Alongside their activities, a large num- Symposium attracted 42 scholars from ogy are, among others, Natalia Zum- ber of folk ensembles and children’s 20 countries, and a large number of badze, Nino Kalandadze, Tamaz Gabi- studios nourish the Georgian folk local and foreign ensembles performed, sonia, Gia Baghashvili, Davit Shughli- movement. The best ensembles, sing- from places such as Australia, United ahsvili, Malkhaz Erkvanidze, Maka ers, and scholars are awarded the An- Kingdom, Canada, and France. Khardziani, Ketevan Baiashvili, and nual National Prize in Folklore insti- Georgia attracts the attention of West- Nino Razmadze. A separate mention tuted by the Georgian State Folklore ern ethnomusicologists because of should be made of Georgian ethnomu- Centre; concerts of traditional music many reasons. Chiefly among them are sicologists Joseph Jordania (one of the are frequently held, as well as evenings the developed structure of its music (a organisers of Tbilisi Symposia and and Festivals of past and contemporary topic of study being researched by head of the International Bureau of the folk singers; and many books, collec- Simha Arom and Polo Vallejo for sev- International Research Centre for Tra- tions of scores, and CDs are published eral years), and the possibility of doing ditional Polyphony) and Nino Tsitsish- every year. fieldwork and accessing very rich vili, both of which reside and work in audio archives.

Appendix by Maka Khardziani, Nino Razmadze, and Maia Kachkachishvili.

Symposia, Conferences, Seminars, Workshops ✴ Biannual International Symposium on Traditional Polyphony, sponsored by the Ministry of Culture and Monuments Protection of Georgia. Held by the Tbilisi State Conserva- toire and the International Centre of Georgian Folk Song. Tbilisi, 2002, 2004, 2006, 2008, 2010, 2012. Pre- Ensemble Amer-Imeri (Georgia), performing at the 5th Symposium on Traditional Polyphony, 2010. pared by the International Research Center for Traditional Polyphony of

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the Tbilisi State Conservatoire.

✴ Annual Scientiﬁc Conference for Young Ethnomusicologists, held by the Georgian Folk Music Depart- ment of the Tbilisi State Conserva- toire with the regional branch of CIOFF. Tbilisi, 2010, 2011, 2012.

✴ Conference dedicated to the 130th anniversary of Dimitri Araqishvili, founder of Georgian ethnomusicology, held by the Georgian Folk Mu- sic Department of the Tbilisi State Conservatoire. Tbilisi, 2003.

✴ Conference dedicated to the 120th anniversary of the famous 20th- century singer and chanter Artem 5th International Symposium on Traditional Polyphony, 2010. Closing concert. Erkomaishvili, held by the Interna- tional Research Center for Tradi- ✴ Conference “Archaic Elements in the American anthropologist and eth- tional Polyphony of the Tbilisi State Ethnoculture of Georgian Moun- nomusicologist Peter Gold, held by Conservatoire. Tbilisi, 2008. tains”, held by the Department of the International Research Center for Ethnomusicology of Ilia Chavcha- Traditional Polyphony of the Tbilisi ✴ Conference “Polyphony: Historical, vadze State University Music Centre. State Conservatoire, 2012. Theoretical and Ethnomusicological Tbilisi, 2012. Aspects”, held by the International Publications ✴ Conference “Georgian Multipart Research Center for Traditional Po- Books lyphony of the Tbilisi State Conser- singing and Medieval European Po- ✴ Tsurtsumia, Rusudan and Joseph vatoire. Tbilisi, 2009. lyphony”, held by the Department of Traditional Church Music of the Tbi- Jordania, eds. Proceedings of the Sym- ✴ Conference dedicated to the 1000th lisi State Conservatoire. Tbilisi, 2012. posium on Traditional Polyphony. Tbi- anniversary of Georgian theologian lisi: Tbilisi State Conservatoire, 2003 ✴ and hymnographer Giorgi Mtats- Seminar “Music of the Wagogo Peo- (Vol.1), 2005 (Vol.2); 2008 (Vol.3); mindeli, held by the Department of ple” (Tanzania), by Spanish ethno- 2010 (Vol.4); 2012 (Vol.5), in Georgian musicologist Polo Vallejo, held by Traditional Church Music of the Tbi- and English. lisi State Conservatoire. Tbilisi, 2009. the International Research Center for ✴ Traditional Polyphony of the Tbilisi Jvania, Tinatin, Tamar Iluridze and ✴ Conference dedicated to the 90th State Conservatoire, 2011. Tamar Kevlishvili, comps. Kartuli anniversary of ethnomusicologist khalkhuri simgheris ostatebi. Samegrelo ✴ Workshops for regional ensembles Otar Chijavadze, held by the Geor- Vol.1 [Masters of the Georgian Folk gian Folk Music Department of the “For the Revival of Georgian Folk Music. Samegrelo Vol.1]. Tbilisi: Tbilisi State Conservatoire,Tbilisi, Music”, held by the State Folklore Sakartvelos Matsne, 2003 (in Geor- Center of Georgia. Different regions 2010. gian). of Georgia, 2009-2010, including the ✴ Conference dedicated to the 80th ✴ release of 11 CDs. Kalandadze, Nino, Lela Urushadze anniversary of ethnomusicologist et. al. Kartuli Khalkhuri Simgheris ✴ Seminar “Circle of the Spirit. Navajo Kakhi Rosebashvili, held by the Ostatebi. Samegrelo Vol.2. Tbilisi: and Tibetan Ways and Wisdom for Georgian Folk Music Department of Sakartvelos Matsne, 2003 (in Geor- the Tbilisi State Conservatoire, Tbi- Living”, by American anthropologist gian). lisi, 2010. and ethnomusicologist Peter Gold, ✴ held by the International Research Gegechkory Lado. Kartuli khalkhuri ✴ Conference dedicated to the 110th Center for Traditional Polyphony of simgheris ostatebi. Samegrelo Vol.3. anniversary of ethnomusicologist the Tbilisi State Conservatoire. Tbi- Expanded by Eka Shoshiashvili, Grigol Chkhikvadze, held by the lisi, 2012. Rusudan Tigishvili, and others. Tbi- Georgian Folk Music Department of lisi: Sakartvelos Matsne, 2007 (in ✴ the Tbilisi State Conservatoire, Tbi- Seminar “I am the spirit of the Earth: Georgian) lisi, 2011. native history and ways of life in America’s high Southwest” by

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✴ Chalisuri Nino, Eka Oniani, et. al. reates of the National Festival of Geor- lisi: Sakartvelos Matsne, 2008 (in Kartuli khalkhuri simgheris ostatebi. gian Folklore, Music and Choreogra- Georgian).

Samegrelo Vol.4. Tbilisi: Sakartvelos phy). Tbilisi: Favoriti, 2006 (in Geor- ✴ Lejava, Tamaz. Ivane Margiani. Tbi- Matsne, 2007 (in Georgian). gian). lisi: Sakartvelos Matsne, 2008 (in ✴ Kvijinadze, Marina, Ucha Pataridze ✴ Garaqanidze, Edisher. Kartuli Georgian).

et. al. Kartuli Khalkhuri Simgheris khalkhuri shemsrulebloba [Performing of ✴ Valishvili, Nana, comp. The Tierd Fes- Ostatebi. Guria Vol.1 [Masters of the Georgian Folk Song].Tbilisi: Intellect, tival of Georgian Chant. Tbilisi: Favor- Georgian Folk Music. Guria Vol.1]. Tbi- 2007 (in Georgian with English iti, 2008 (in Georgian). lisi: Sakartvelos Matsne, 2003 (in summary). ✴ Asieshvili, Baia, comp. Kavsadzeebi Georgian). ✴ Zumbadze, Nato, comp. Garaqanidze (The Kavsadze family). Monography ✴ Jvania, Tinatin. Kartuli khalkhuri sim- Edisher. Selected Works. Tbilisi: with CD. Tbilisi: Favoriti, 2008 (in gheris ostatebi. Guria Vol.2. Tbilisi: Musical Society of Georgia, 2007 (in Georgian). Sakartvelos Matsne, 2004 (in Geor- Georgian). ✴ Mchedlishvili, Ioseb. Mikha jighauris gian). ✴ Shilakadze, Manana. Traditsiuli samu- gundi (Mikha Jighauri’s Choir) with ✴ Gabisonia, Tamaz, Nino Chalisuri, siko sakravebi da kartul chrdilokavkasi- CD. Tbilisi: Favoriti, 2008 (in Geor- et. al. Kartuli khalkhuri simgheris uri etnokulturuli urtiertobani [Tradi- gian). ostatebi. Guria Vol.3. Tbilisi: Sakartve- tional Musical instruments and ✴ Asieshvili, Baia. Telavelebi (Residents los Matsne, 2004 (in Georgian). Georgia-North Caucasian Ethno- of Telavi) with CD (Telavi Group Cultural Relations]. Tbilisi: Caucasian ✴ Sukhiashvili, Magda, and Ekaterine 1939-1970). Tbilisi: Favoriti, 2008 (in House, 2007 (in Georgian with Eng- Sanikidze. Kartuli galobis moamageni. Georgian). Pilimon koridze Vol.1 [Caretakers of lish, German and Russian summary). ✴ Chijavadze, Otar. Kartuli musikaluri Georgian Chants. Pilimon Koridze ✴ Garaqanidze, Giorgi. Kartuli etnomu- folkloris mtsire entsiklopediuri leksikoni Vol.1]. Tbilisi: Sakartvelos Matsne, sikis teatri da misi satskisebi (Georgian (Short Encyclopaedia of Georgian Folk 2004 (in Georgian). Ethnomusic Theater and its Origins), Music). Tbilisi: Favoriti, 2009 (in with DVD. Tbilisi: Petiti, 2008 (in ✴ International Research Center for Georgian). Traditional Polyphony of Tbilisi Georgian). ✴ Tsurtsumia, Rusudan, and Joseph State Conservatoire, Essays on Geor- ✴ Moistsrapishvili, Nato. Kartuli Jordania, eds. Echoes from Georgia: gian Ethnomusicology. Tbilisi: Poly- khalkhuri simgheris ostatebi. Avksenti Seventeen Arguments on Georgian Po- graph, 2005. Megrelidze (Masters of the Georgian lyphony. New York: Nova Science Folk Music. Avksenti Megrelidze). Tbi- ✴ Meskhi, Tamr, and Tamaz Gabisonia, Publishers, 2010. comps. Kartuli khalkhuri musikaluri shemoqmedeba [Georgian Folk Music], including two CDs. Textbook for the Students of Conservatoire Performer Department. Tbilisi: Tbilisi State Conservatoire, 2005 (in Georgian).

✴ Erkomaishvili, Anzor, and Rodonaia Vakhtang. Kartuli khalkhuri simghera. Pirveli ponochanatserebi. 1901-1914 (Georgian Folk Songs. The First Sound Recordings.1901-1914), with four CDs. Tbilisi: Omega Tegi, 2006 (in Georgian and English).

✴ Kvijinadze, Marine. Jokia Meshveliani. Tbilisi: Sakartvelos Matsne, 2006 (in Georgian).

✴ Zumbadze, Nato, comp. and ed. Sakartvelos folkloris erovnuli datvaliereba-festivalis laureatebi (khalkhuri musika da koreograﬁa) (Lau- Participants of the 6th Symposium on Traditional Polyphony, from China, Georgia, USA, and Australia. September 2012, Tbilisi, Georgia.

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✴ Karaia, Raisa. Samurzakanoeli Bulbuli. Tbilisi, 2005 (in Georgian and Eng- Konstantine Chikvatia (Nightingale lish).

from Samurzakano. Konstantine ✴ Khorava, Rusudan, and Gomar Sik- Chikvatia) Recollections. Tbilisi: harulidze, comps. Kartuli khalkhuri Sakartvelos Matsne, 2010 (in Geor- simgheris ostatebi. Samegrelo Vol.3. gian). Collected by Archil Khorava. Tbilisi, ✴ Garaqanidze, Edisher. Kartuli musi- 2007 (in Georgian).

kaluri dialektebi da mati urtiertmimar- ✴ Erkvanidze, Malkhaz, comp. and ed. teba (Georgian Musical Dialects and Members of Trio Kavkasia (USA) with Joseph Kartuli saeklesio da salkhino sagaloblebi. Jordania (Australia/Georgia) and Vaja their Interrelations). Tbilisi: Sakartve- Guruli kilo (Georgian Church and Fes- Gogoladze - leader of the ensemble Shvidkatsa los Matsne, 2010 (in Georgian). tive Chants, Gurian Mode). Transmit- (Georgia, Guria), 2002. ✴ Nakashidze, Nino, comp. Kartuli ted by Dimitri Patarava. Church khalkhuri musikis utskhoeli mkvlevrebi Chant Center of Georgian Patriar- da Shemkreblebi (Foreign Scholars and chate. Tbilisi, 2003.

Collectors of Georgian Folk Music). Tbi- ✴ Shugliashvili, Davit and Malkhaz lisi: Ustari, 2011 (in Georgian and Erkvanidze, eds. Shevistsavlot kartuli English). khalkhuri simghera. Guruli simgherebi ✴ Kalandadze, Nino, and Marina Kvi- (Learn Georgian Folk Song. Gurian jinadze. Traditsiuli musika kartul- Songs). With four CDs. Tbilisi, 2004 abkhazur dialogshi (Traditional Music in (in Georgian and English). Ensemble Saucajas (Lithuania), 2008. the Georgian-Abkhazian Dialog). Tbi- ✴ Shugliashvili, Davit, transcriber and lisi: Triasi, 2011 (in Georgian with compiler. Tertmeti margaliti. Kartuli Russian and English summary). galoba (Eleven Pearls. Georgian Chant) ✴ Gogotishvili, Vladimer. Kartuli Collection of the archive recordings khalkhuri musikis teoriuli sakitxebi of Dimitri Patarava, Varlam Simon- (Theoretical Issues of Georgian Folk ishvili, and Artem Erkomaishvili. Music. Collection of essays). Tbilisi: With CD. Tbilisi, 2004 (in Georgian Publishing House of the Georgian and English).

Academy of Sciences, 2011 (in Geor- ✴ Kalandadze-Makharadze, Nino, gian, Russian and English). comp. Mzev, shin Shemidio (Sun, Come Izaly Zemtsovsky (USA/Russia), Dieter ✴ Chijavadze, Otar. 90. Musikismtsod- Inside). Georgian folk music for chil- Christensen (USA) and Anzor Erkomaishvili (Georgia), 2002. neobis sakitkhebi, sametsniero shromebis dren. With two CDs. Tbilisi, 2004 (in krebuli (Problems of Musicology, Pro- Georgian). chamatserebis mikhedvit (Georgian ceedings of Scientiﬁc Works). Tbilisi: ✴ Moistsrapishvili, Nato, comp. Kartuli State Conservatoire (in Georgian Church Chants, Shemoqmedi School, khalkhuri musika (Georgian Folk Mu- according to Artem Erkomaishvili’s re- with the English summary), 2011. sic). From the Archives of Avksenti cords). Tbilisi: Iota, 2006 (in Georgian ✴ Jordania, Joseph. Why Do People Megrelidze. Tbilisi: Sakartvelos and English) Sing? Music in Human Evolution. Tbi- Matsne, 2005 (in Georgian and Eng- ✴ Kvaliashvili, Marika, trans. and lisi: Logos, 2011. lish). comp. Maro Tarkhnishvili. 50 Kartli- Collections of Georgian Tradi- ✴ Kartuli khalkhuri musika. Guria (Geor- Kakhetian Songs (Collection of scores tional Songs and Chants gian Folk Music. Guria). Artem Erko- from Maro Tarkhnishvili’s repertoire). maishvli’s collection. Tbilisi, 2005 (in ✴ Chokhonelidze, Evsevi, comp. Kar- Tbilisi: Favoriti, 2008. Georgian and English). tuli khalkhuri simgheris ostatebi. Same- ✴ Valishvili, Nana, ed. Osuri khalkhuri ✴ grelo Vol.1 [Masters of Georgian Folk Veshapidze, Levan, comp. Guruli simgherebi (Osetian Folk Songs). Col- Music. Samegrelo Vol.1]. Tbilisi, 2003 khalkhuri simgherebi (Gurian Folk lection of scores based on materials (in Georgian and English). Songs).. Tbilisi: Sakartvelos matsne, from the audio archive of the State 2006 (In Georgian and English). ✴ Chokhonelidze, Evsevi, and Nino Folklore Center. Tbilisi, 2010. ✴ Shugliashvili, Davit, trans. and Kalandadze, comps. Kartuli khalkhuri ✴ Makarashvili, Lela, Nino Kalan- simgheris ostatebi. Samegrelo Vol.2. comp. Kartuli saeklesio galoba, she- dadze, et. al. Aghdgomis sagaloblebi da moqmedis skola, artem ertkomaishvilis simgherebi (Easter Chants and Songs).

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✴ Tbilisi: Sakartvelos Matrsne, 2011 (in Georgian Folk Song, Georgian In- ✴ Audio Studio Expedition Recordings: Georgian and English). stitute at Athens, Hellenic-Georgian Tskhumari, Mestia, Svaneti. Compiler

✴ Erkvanidze, Malkhaz, comp. and ed. Cultural Association “Dioskuria”, Nato Zumbadze. Sound supervisor: Kartuli saeklesio galoba (Georgian Tbilisi, 2005. Archil Kharadze. The State Folklore Church Chunts) in six volumes. Tbi- ✴ Echoes from the Past, Georgian Folk Centre of Georgia. Tbilisi, 2007. lisi: Georgian Patriarchate Centre of Music from Phonograph Wax Cylinders ✴ Tinatin Zhvania, Georgian Folk Songs Church Music, 2002, 2004, 2006, (I). With four CDs. Compilers: Kete- and Chants. Prepared by: Nino 2008, 2011 (in Georgian) van Matiashvili, Nino Kalandadze Naneishvili, Nana Valishvili and

✴ Shugliashvili, Davit, and Zaal Tsere- and David Shugliashvili. Introduc- others. Sound director: Paata Patsu- teli, comps. and eds. Sagaloblebi sation and Editing: Rusudan Tsurtsu- lia. The State Folklore Centre of noto khelnatserta arqividan. mia. Audio Mastering: Archil Kha- Georgia. Tbilisi. Svetitskhovlis skola. Sada kilo. Gadmo- radze. Vano Sarajishvili Tbilisi State ✴ Sandro Kavsadze. Masters of Georgian cemuli dzmebi karbelashvilebis mier Conservatoire, State Department of Folk Song, Unique Recordings. Com- (Sacred Chants from the Archive of Archives and Records Management pilers: Anzor Erkomaishvili, Mikheil Handwritten Scores. Svetitskhoveli of Georgia, Simon Janasha Georgian Kilosanidze and others. With two School. Simple Mode. Vol.1). Transmit- National Museum, State Museum of CDs. International Centre for Geor- ted by the Karbelashvili brothers. Art and Culture of Achara Autono- gian Folk Song. Tbilisi: Sano Studio, Tbilisi: Favoriti, 2012. mous Republic, Ministry of Culture, 2007. Monuments Protection and Sport. ✴ Chkhikvishvili, Mother Marta, and ✴ Artem Erkomaishvili. Masters of Geor- Tbilisi, 2006. Nino Razmadze, comps. Traditional gian Folk Song, Unique Recordings. Georgian Church Hymns, Gelati Mon- ✴ Echoes from the Past, Georgian Folk Compilers: Anzor Erkomaishvili, astery School, from the manuscripts Music from Phonograph Wax Cylinders Mikheil Kilosanidze and others. In- archive of St. Ekvtime (Kereselidze) the (II). With six CDs. Compilers: Kete- ternational Centre for Georgian Folk Confessor, including two self-study re- van Matiashvili, Nino Kalandadze, Song. Tbilisi: Sano Studio, 2007. Nino Nakashidze and David Shugli- cordings. Tbilisi: Petite, 2010 (in ✴ Gigo Erkomaishvili, 1907. Masters of ashvili. Introduction and Editing: Georgian and English). Georgian Folk Song, Unique Record- Rusudan Tsurtsumia. Audio Master- ✴ Shughliashvili , Davit, comp. Geor- ings. Compilers: Anzor Erkomaish- ing: Archil Kharadze. Vano Sarajish- gian Traditional Folk Songs, from the vili, Mikheil Kilosanidze and others. vili Tbilisi State Conservatoire, State repertoire of the Anchiskhati Choir. Tbi- International Centre for Georgian Department of Archives and Records lisi, 2005 (in Georgian and English). Folk Song. Tbilisi: Sano Studio, 2007. Management of Georgia, Simon Audio Albums Janasha Georgian National Museum, ✴ Self-Study Guide of the Georgian Folk Songs. Authors of idea and project: ✴ Harira. Georgian Folk Songs. Megrelian State Museum of Art and Culture of Nana Paliani and Lali Ukleba. Minis- Songs. International Charity Founda- Achara Autonomous Republic, Min- try of Culture, Monument Protection tion “Khobi”, and International Cen- istry of Culture, Monuments Protec- and Sport of Georgia. Tbilisi, 2007. tre for Georgian Folk Song, Tbilisi, tion and Sport. Tbilisi, 2007. 2003. ✴ Echoes from the Past, Georgian Folk ✴ Noko Khurtsia. Unique Recordings. Music from Phonograph Wax Cylinders International Charity Foundation ✴ Khartuli khalkhuri simghera. Erti she- “Khobi”, International Centre for devri (Georgian Folk song. One master- (III). With six CDs. Compilers: Kete- Georgian Folk Song, Tbilisi, 2007. piece). International Centre for Geor- van Matiashvili, Nino Kalandadze, gian Folk Song. Tbilisi, 2004. Nino Nakashidze and Davit Shugli- ✴ Kirile Pachkoria. Unique recordings. ashvili. Introduction and Editing: International Charity Foundation ✴ Kakheti 1952. Tbilisi State Conserva- Rusudan Tsurtsumia. Audio Master- “Khobi”, International Centre for toire Field Expedition Recordings. ing: Archil Kharadze. Vano Sarajish- Georgian Folk Song, Tbilisi, 2007. Compilers: Natalia Zumbadze, Ti- vili Tbilisi State Conservatoire, State natin Zhvania and others. Technical ✴ Polikarpe Khubulava. Megrelian Songs. Department of Archives and Records editor Archil Kharadze. The Interna- International Charity Foundation Management of Georgia, Simon tional Research Center for Tradi- “Khobi”, International Centre for Janasha Georgian National Museum, tional Polyphony of Tbilisi State Georgian Folk Song, Tbilisi, 2007. State Museum of Art and Culture of Conservatoire. Tbilisi, 2005. ✴ Achara Autonomous Republic, Min- Traditional Performance Practice of the ✴ Georgian and Abkhazian Folk Songs. istry of Culture, Monuments Protec- Georgian Folk Music. Evening of (2CDs) International Centre for tion and Sport. Tbilisi, 2008. Kartlian Music. Compiler Natalia

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Zumbadze. Sound supervisor: Archil ✴ Georgian church chant, For learning, held in the IM RCH HAS Haydn Kharadze. The Folklore State Centre “Vespers” and “Matins”, Gelati school Room, 8-10 November, 2012. (link).

of Georgia. Tbilisi, 2008. (3CDs). Georgian Patriarchy Church ✴ Singing as Means of (Ritual) Com- ✴ Andro Simashvili. Audio Studio Expedi- Chant Center. Tbilisi, 2012. munication. Body, Soul, Spirits and tion Recordings. Kakheti – 2007. Com- ✴ Folk Group Shgarida, Dmanisi. Live Supernatural Communication. Pécs, piler Nato Zumbadze. Sound super- Recording. Editorial team: Nana 18-20 May 2012 (link).

visor: Archil Kharadze. With two Valishvili and Tea Kasaburi. Sound ✴ “Régi és új előadási hagyomány a CDs. The Folklore State Centre of supervisor: Archil Kharadze. The népzenében” (Old and New Per- Georgia. Tbilisi, 2008. State Folklore Centre of Georgia. Tbi- formance Tradition in the Folk Mu- ✴ Georgian (Megrelian) and Abkhazian lisi: Sano Studio, 2012. sic) conference. Organised by IM Folk Songs. International Charity RCH HAS & Liszt Ferenc Music Foundation “Khobi”. International Besides, there is a large number of CDs Academy Department of Folk Music, Centre for Georgian Folk Song, Tbi- of the following Georgian Folk Ensem- 19 April 2012 in IM RCH HAS lisi, 2009. bles: Rustavi, Anchiskhati Church Choir, Bartók Room (link).

✴ The Conservatoire Ensemble. Concert Sakhioba, Basiani, Mtiebi, Shavnabada, ✴ Conference of the Hungarian Kodály Recording (December 24, 2006, Con- Didgori, Lashari, Georgika, Jvaruli, Patri- Society in Honor of the 130th Birth- servatoire Grand Hall). Compiler archy Choir of Tbilisi Holy Trinity (Sa- day of Zoltán Kodály, In the Memo- Nato Zumbadze. The Folklore State meba) Cathedral, Mzetamze, Nanina, rial Museum of Zoltán Kodály, Bu- Centre of Georgia. Tbilisi, 2009. Sathanao, Tutarchela, Ialoni, Mdzlevari, dapest, 15-16 December 2012 (link). Aghsavali, Latali, Riho, Imedi, Detsishi, ✴ Aketlebis Ghighini. The Ensemble of ✴ 5 éves a Zeneakadémia Népzene Zedashe, Odila, Sagalobeli, Tsinandali, Upper Aketti. Gurian Songs, Unique Tanszéke (The Folk Music Depart- Bichebi, and others. Recordings (1913-1914). Compilers: ment of the Liszt Ferenc Music Anzor Erkomaishvili, Mikheil Kilo- Hungary Academy was founded 5 years ago) , sanidze and others. International International Ethnomusicology Centre for Georgian Folk Song. Tbi- by SIPOS János, Chair of Symposium. Organised by IM RCH lisi: Sano Studio, 2010. National Committee HAS, 14 June 2012, Budapest (link). ✴ Music of the Caucasian Peoples. From Here's a quick sum- Publications the Phonoarchive of Tbilisi State Con- mary of the work done Books servatoire (Karachaian, Noghaian, by Hungarian ICTM Cherkessian, Abazian, Apkhazian). Pro- members in 2012. All ject Coordinator Giorgi Sabedashvili. members are staff of the Institute of Compilers: Natalia Zumbadze, Kete- Musicology of the Research Centre for van Matiashvili and others. Tbilisi the Humanities of the Hungarian State Conservatoire, Georgian Folk Academy of Sciences (from now on Music Laboratory. Tbilisi: Sano Stu- referred to as as IM RCH HAS). dio, 2010. Conferences in Hungary ✴ Ilia Zakaidze. Georgian Folk Songs. Author and editor of the text: Baia Last year there were several symposia Asieshvili. Compilers: Nana Valish- and conferences in Hungary important vili, Nunuka Shvelidze and others. for ethnomusicologists. Following is a The State Folklore Centre of Georgia. list of those attended by our members: Tbilisi. ✴ In memoriam László Dobszay. 9th ✴ Anzor Erkomaishvili 70 (2 CDs) Inter- Conference of the Hungarian Musi- national Charity Foundation cological Society. Organised by IM “Khobi”. Tbilisi, 2011. RCH HAS, 11–13 October 2012 (link).

✴ Ensemble Gordela 50. International ✴ Memorial Session in Honour of Lelkes, András and Pál Fodor, eds. in Charity Foundation “Khobi”. Minis- György Martin on the Anniversary chief, Anthology of Hungarian Folk try of Culture and Monuments Pro- of his 80th Birthday. Organised by Music – complete digital edition. Bu- tection, International Centre for the Dance Research Group of the dapest: FolkEurópa and HAS Re- Georgian Folk Song, Tbilisi, 2011. Ethnographical Committee of HAS, search Centre for the Humanities.

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Commissioned by Franz Liszt Acad- The author, who knows excellently emy of Music, Department of Folk Mu- booth the Hungarian and Romanian sic, edited at HAS RCH Folk Music and instrumental folk music, introduces us Folk Dance Archives, editor: Pál Rich- to the Hungarian dance music of the ter. multiethnic Transylvania.

The Anthology of Hungarian Folk Mu- Useful information is obtained on folk sic was published on 7 separate albums musical instruments, types of the between 1985 and 2002, by the concep- dance accompany, rhythm and melodic tion of György Martin. The series pre- aspects of the accompaniment and on sents Hungarian folk music by regions, the different types of polyphony. highlights folk music dialects, typical In Hungarian including detailed sum- genres, songs and customs presented by the best performers. The editors maries in Romanian and English lan- have been planning for a long time to guages. publish the series as one issue. In 2012 the plan was realised: the series was merged and published on DVD. The Richter, Pál, ed. Musical Traditions: volumes has been revised, unified and Discovery, Inquiry, Interpretation, and translated into English, and in June Application, XXVI European Seminar 2012 the complete bilingual digital edi- in Ethnomusicology. Budapest: HAS tion was released. Research Centre for the Humanities, 2012. Some of the essays have been rewritten or amended, new audio recordings, The theme of ESEM XXVI was notations, maps and photos are en- “Musical traditions: what methods ex- closed, and an advanced search tool ist for identifying and documenting helps to browse in the whole audio and musical traditions? What distinguishes visual material (sound recordings, no- a set of musical practices as a ‘tradi- tations, lyrics, etc.). The DVD is action’, and how can its boundaries be set companied by a booklet and a CD with in an age of global travel and commu- all audio data as mp3 files. nication?” The papers presented at the conference are now available as a book. Sipos, János and Ufuk Tavkul, A régi This publication has achieved at last a magyar népzene nyomában – A main goal of Hungarian folk music kaukázusi karacsájok népzenéje (The research for over a century now: it Folk Music of the Karachay People), gives a comprehensive picture of the Budapest: IM RCH HAS - L’Harmat- traditional music of the entire Hungar- tan, 2012. ian language territory in sufficient de- tail, in music geographical arrange- In this groundbreaking book readers ment, supplied with introductory stud- may get acquainted with the Caucasian ies and illustrated with good quality fieldwork of János Sipos, and also with audio and some video recordings as the ethnogenesis and folk music styles well. It is now available for academics of the Turkic-speaking Karachay peo- and the interested public abroad as ple. The melody anthology, the musical well. analysis, the Karachay texts and a variety of video in the attached DVDs make this publication enjoyable even for those who cannot read Hungarian. The publication of the book in Turkish is in process. Pávai, István. Az erdélyi magyar népi tánczene (Transylvanian Hungarian Folk Dance Music), Kriza János Néprajzi Társaság, Kolozsvár, 2012.

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Tari, Lujza, Bartók Béla hangszeres magyar népzenegyűjtése (Béla Bartók’s Hungarian instrumental folk music collection). In Gyurcsó István Alapítvány könyvek 52. Dunaszerdahely: Csemadok Művelődési Intézete, 2011 (published in 2012).

Béla Bartók collected Hungarian instrumental folk music in 1906-1914, but his whole collection is released only in this recent publication. Several of these tunes became parts of Hungarian and European music through Bartók, Wei- ner and Kodály's works. This publication is saluting Béla Bartók on his 130th János Sipos and János Fügedi doing field work in Polat (Turkey) birthday anniversary. Bölcsészettudományi Kutatóintézet, István Pávai and Pál Richter collected Tükröződések. Ünnepi tanulmánykötet 2012. folk music and related folk memories Domokos Mária népzenekutató- in Transylvania. zenetörténész tiszteletére (Reflections. Authentic folk music from the Archives Studies in honour of Mária Domokos, of the IM RCH HAS. The whole reper- János Sipos did research work in Trab- ethnomusicologist/musicologist), Bu- tory is included: 650 songs, mostly folk zon (Turkey) in cooperation with dapest: L'Harmattan, 2012. hymns from one Bukovinian singer, Karadeniz Technical University State and seven hours of folksongs and li- Conservatory and in Polat (Turkey) in 40 recent studies in Hungarian appear- turgical songs registered in seven cooperation with Malatya Inönü Uni- ing here for the first time, on the field Moldavian villages from the versity) of folk music, folk dance, folklore, mu- Moldavian Hungarians' oral tradition. sic history and bibliography. Most Among these songs there are 60 origi- Work in ICTM Study Groups Hungarian ICTM members wrote arti- nal Latin liturgical songs having pre- cle in this book. Lujza Tari takes part in the organising served the unique and precious tradi- committee of the Study Group on Mul- New publication and databases on the tional way of group singing with a tipart Music (see pages 32-34) and is Internet style of ornamentation which has re- also active in the Study Groups on His- Pál Richter created the website Style mained unchanged for centuries. torical Sources of Traditional Music hongrois, which is intended to be a con- and on Folk Music Instruments. János Fieldwork stantly improved and expanded forum Sipos is a founding member of the for themes of international interests. László Felföldi conducted fieldwork in Study Group on Music of the Turkic (visit it here) the cities of Nagyecsed and Jászberény, Speaking World, and László Felföldi concentrating on the cultural heritage and János Fügedi took part in the ac- János Fügedi developed the database of the local communities, and joined tivities of the Study Group on Ethno- Néptánc Tudásbázis (Folk Dance database). the fieldwork organised by the ICTM choreology. The Táncok (Dances) section contains Study Group on Ethnochoreology in 414 dance films, while the Motívumok 24-29 May 2012 in Vlčnov (Czech Re- Music award (Motives) section contains 12622 motif public). In 2013 Lujza Tari was given the Hun- descriptions. garian Bence Szabolcsi State award for Katalin Kovalcsik continued her Roma her outstanding activities in musicol- CD research in the frame of the project ogy, music criticism and musical dis- "Mikor Máriához..." ("When the God's "The musical life of a Transdanubian semination. Angel to Mary...") Folk Hymns and Folk- village". songs from Bukovina and Moldavia collected by Mária Domokos. DVD-ROM. Katalin Lázár recorded 49 new games Ed. by István Németh and Olga for the Hungary Game Collection in Szalay. Magyar Kultúra Kiadó – MTA the Institute of Musicology, which currently contains 33608.

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Participation in international confer- Committee. Dr. Komoda will serve as Hamamatsu Museum of Musical In- ences abroad the TOG president as well as the Chair struments, the only public museum in of the Japan National Committee until Japan specialising in musical instru- 1st International Congress on Turkish Augus, 2015, when her term as the ments. Its 3300-piece collection covers Folk Dances organised by the Inönü TOG president expires. musical instruments from all over the Üniversitesi Turgut Özal Kongre ve world. Details about the TOG 64th An- Kültür Merkezi Malatya, Türkey, 10-12 nual Conference will be announced at May 2012 (J. Fügedi and J. Sipos). the TOG website (in Japanese) in the 19th Symposium of the ICTM Study near future. You can also e-mail me for Group on Historical Sources of Tradi- any question about TOG and its activities at [email protected]. I tional Music, Vienna, Austria, 6-10 March 2012 (L. Tari). hope to see some of you in Hama- matsu, Shizuoka this year. Musical Geographies of Central Asia - International Conference, organised by Malawi The Middle East and Central Asia Mu- sic Forum, the Institute of Musical Re- by Robert Chanunkha, search, School of Advanced Study in Liaison Officer association with SOAS, University of On the occasion of my London, 16-17 May 2012 (J. Sipos). appointment as ICTM Liaison Officer for Ma- 1st International Music Studies Sympo- KOMODA Haruko lawi, I would like to sium "Music and Cultural Texture", post an summary of organised by Karadeniz Technical Uni- Dr. KOMODA is a professor of musicol- some of Malawi’s music traditions of versity State Conservatory, 16-19 Octo- ogy at Musashino Academia Musicae. ber 2012, Trabzon, Turkey (J. Sipos). She studied musicology at Tokyo Na- spiritual, historical, and social signifi- tional University of Fine Arts and Mu- cance. "I. Turkic Music Symposium", 14-19 sic, and received her doctorate at Malawi, often called the “warm heart November 2012, organised by the Türk Ochanomizu University in 2001 for her of Africa” because of the friendliness of Ocakları, Ankara Municipality and research on biwa (Japanese pear-shaped its people, is a landlocked country lo- Türksoy, Ankara (J. Sipos). lute). After teaching two years at cated in central southern Africa with Ochanomizu University as an assistant 3rd Symposium of the ICTM Study 96,000 square kilometres of land and professor, she moved to Musashino Group on Music of the Turkic Speaking 22,000 square kilometres of water. The Academia Musicae and took up the World, 1-2 December 2012, population is around 13 million, com- present post in 2005. Her recent publi- Cambridge/UK, organised by Univer- prising 99% Africans and 1% of Asians, cations include: Heike no ongaku [The sity of Cambridge, British Council and Europeans and others combined. The music of the Heike narratives], Daiichi TÜRKSOY (J. Sipos). 99% Africans include people from nine shobō, 2003; Kaiōkyū: Dannoura to Heike main ethnolinguistic groups: Chewa, monogatari [Marine palace: Dannoura and Nkhonde, Lomwe, Ngoni, Nyanja, Japan tale of the Heike], co-author, Miyaisho- Sena, Tonga, Tumbuka and Yao. Each by WASEDA Minako, ten, 2005; and Nihon no katarimono ethnic group has its own musics al- Liaison to ICTM of [Japanese musical narratives], co-author, though there are some cross-influences National Committee Nichibunken sōsho, 2002. She has also between neighbour ethnic groups. Ma- been active in producing CDs and vid- I am pleased to an- lawi is a multilingual society with Eng- eos focusing on biwa music. nounce that KOMODA lish and Chichewa as official lan- Haruko was elected as TOG’s main activities include holding guages. Many Malawians obtain part the new president of an annual conference and publishing of their living from agricultural activi- the Society for Research in Asiatic Mu- the Journal for Research in Asiatic Music ties. Maize is the staple food of almost sic (Tōyō Ongaku Gakkai, TOG) in Sep- (Tōyō Ongaku Kenkyū). TOG will hold every Malawian family and tobacco is tember 2012. TOG assumes the role of its 64th Annual Conference at Shizuoka one of the crops earning about 60% of ICTM Japan National Committee, and University of Arts and Culture in Ha- foreign revenue. Malawi was under thus, the president also takes up a post mamatsu, Shizuoka, on 9-10 November British rule from 1891 to July 1964 as the Chair of ICTM Japan National 2013. Hamamatsu is the location of the when it obtained its independence.

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Some Malawian music traditions rely There are mouth resonated music bows on drums when singing and dancing. also known as nyakatangale among the For example, mbalule drum coordinates Sena people. Traditionally, nsasi and the dance patterns of masked dancers nyakatangale are played by individual of the secret society of the Chewa peo- men for self-expression and entertain- ple. Masked dances, known as gule ment. wamkulu (big dance), are protected cultural expressions of Malawi whose The Amatengo Ngoni people are found in the Mwanza district of southern Ma- functions include moral education and lawi. They depend on agriculture for self-expression. They display skills in Head feathered mask singing, dancing, and mask craftsman- livelihood and they like beer drinking. ship. One of the music instruments which is The masks are amongst the best known commonly used is nkhwendo and it has Malawian visual art forms crafted by a historical account of how the the Chewa people. When travellers are Amatengo Ngoni respected the dead. lucky enough to see masked dancers, In the old days they had a traditional they are oftentimes amazed by the practice of remembering the dead. The quality and craftsmanship of the remembrance function involved sing- Chisukulumwe masks. ing and dancing and nkhwendo was These masks have made the Chewa important because it accompanied the people popular in their quest to reﬂect singing and dancing. Today, apart from serving other functions such as enter- the old lifestyles where survival de- pended on hunting and gathering. We tainment, nkhwendo is taken as a his- have a unique head feathered mask torical object. used by a masked dancer called kapoli as seen above. Valimba Instruments like chisukulumwe and chisekese are played by Amang’anja (also called the Nyanja) and Tumbuka women respectively. Chisukulumwe is rooted in a belief system, it relates to sexuality, and has a clear ritual purpose. The construction and playing of chisukulumwe is regulated by Nsasi Amang’anja concept of gender and sexual practices.

Malawi is also famous for virtuosic valimba (xylophones) playing by the Sena people. Generally three musicians play one valimba which is divided into three sections: soprano, alto, and bass. Nyakatangale The music traditions of Malawi are rich with cultural inﬂuences that include those of the Zulu Ngoni people from South Africa, the Islamic Yao people of Tanzania, and Zimbabweans. As such, the Amang’nja nyakatangale (gourd resonated music bow) and the Chewa nsasi have parallel traditions in South Africa and Zimbabwe respectively. Nkhwendo

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Malaysia during the five day conference (21– 25 The 1st International Symposium on September 2011) with three keynote Ethnomusicology and Ethnochoreol- by TAN Sooi Beng, speakers: Jonathan Hollander, Artistic ogy (ISEE) was held on 27 September Liaison Officer and Executive Director of the Battery 2012. ISEE aimed at bridging the in- The members of ICTM Dance Company in New York, wrote separability of music and dance in the based in the various about his 35 years of formative in- study of the indigenous performing universities of Malay- volvement experiences in dance hy- arts. Music and dance are seen as an sia organised several bridity as a dancer and choreographer; entity which intermingle with and international confer- Dato’ Norliza Rofli, Director General of complement each other. Collectively, ences in 2011and 2012. These confer- the National Department for Culture this Symposium brought together ences have engaged local and interna- and Arts of the Malaysian Ministry of scholars of music and dance which tional scholars in debates regarding Information, Communication and Cul- added to the multiple trajectories in the pertinent issues in the performing and ture, presented the inventive concepts fields of Ethnomusicology and Ethno- visual arts and encouraged young of forging hybrids of multiculturalism choreology. Eight papers were pre- scholars in the arts to present their rein Malaysia as a policy of cultural rep- sented by Gerd Grupe (Kunstuniver- search. resentations for a multicultural nation sität, Graz, Austria), Mohd Nasir state; and Adrienne L. Kaeppler from Hashim (University of Malaya), Babak Universiti Malaya (UM) the Smithsonian Institute in Washing- Nikzat (PhD Candidate, Kunstuniver- Kuala Lumpur ton D.C. (and ICTM President) deliber- sität, Graz, Austria), Mohd Anis Md ated on the dialogics of writing dance Nor (University of Malaya), Gisa Jäh- The Cultural Centre of the University hybridity as a dynamic discourse of nichen (Universiti Putra Malaysia), of Malaya in Kuala Lumpur held two tradition, contemporaneity and fusion. Clare Chan Suet Ching (Sultan Idris international music and dance confer- University of Education), Patricia Ma- ences, namely the 2nd Asia Pacific In- The highlight of APIDC 2011 was the tusky (Grand Valley State University, ternational Dance Conference (APIDC publication of Dancing Mosaic: Issues on Michigan, USA), and Wayland Quin- Dance Hybridity (December 2012), con- 2011) in September 2011 and the 1st tero (PhD Candidate, University of Ma- International Symposium on Ethnomu- sisting of a selection of conference pa- laya). As a highlight of ISEE, a special sicology and Ethnochoreology (ISEE) pers focusing on the practice of per- issue of the Tirai Panggung Journal formance, presentation, and represen- in September 2012. Both conferences (Vol.12/2012) was dedicated to the were co-organised with the National tation of dance. The book covers many publication of the symposium’s papers Department for Culture and Arts, Min- aspects of dance hybridity which reso- through a peer-review process. istry of Information, Communication nates with the current interests in re- and Culture, the MyDance Alliance, searching, performing and writing and World Dance Alliance Asia Pacific. dance hybridity.

The objective of the APIDC 2011 was to benchmark the standard of dance scholarship in the Asia Paciﬁc region based on the theme of Hybridity in Dance focusing on issues such as Dance Researching, Performing, and Writing Old and New Genres. This conference has enabled the Cultural Centre to forge links with international institutions of higher learning in dance and the performing arts through the presence of international and local scholars who are members of ICTM, Congress on Research in Dance, World Dance Alliance-Asia Paciﬁc, Society for Ethnomusicology, and World Alliance for Arts Education – UNESCO . A total of twenty seven papers were presented Convergences in the production of MEDEA (courtesy of the Actors Studio, Kuala Lumpur)

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Universiti Sains Malaysia (USM), business communities. Libraries and changing relationships to these musical Penang museums are collaborating with memories and the subsequent changes schools, universities and teachers to of cultural codes? The School of the Arts of Universiti develop instructional resources that Sains Malaysia hosted a symposium can be used by students, teachers, and Fifteen speakers presented papers on fieldwork related issues, ethnomusi- and festival in March 2011 focusing on the general public. The arts and crea- ‘The Convergence of the Performing tive industries are also seeing a grow- cological analysis, physiological issues and Creative Arts’. This symposium ing convergence with service industries from different historical and educational viewpoints, composition tech- was the second biennial symposium by such as health, education, telecommu- PACIA (acronym for the Performing nications and publishing services niques and audio technology. They Arts Creative Industries in Asia), through creative inputs into these in- spoke about music and memory related to the sampe of Sarawak, music which was initiated by the Deans’ dustries. Council of the Performing and Creative and dance of Laos, Persian radif, Khmer Arts of the Public Universities in Ma- A total of 80 papers were presented in wedding music, bel canto in Malaysia, laysia. It looked at the types of conver- three days. Keynote speakers were musculoskeletal disorders in pianists, gences which have occurred in the David Knight (Middlesex University, jazz in Malaysia, digital music for mu- creative industries and the changing United Kingdom) and Dato Faridah sic education, graphic notation, mysti- roles of the performing arts as they Merican (Kuala Lumpur Performing cism, sound print, acoustics and per- converge with other arts and media. Arts Centre). Selected papers were ception. The keynote speech by Shubha The creative industries include adver- compiled into a book entitled The Con- Chaudhuri (India) focused on “Music tising, architecture, arts and antique vergence of the Performing and Creative as Memory and the Changing Role of markets, crafts, design, designer fash- Arts, Reimagining Methodologies and Tra- Preservation Institutions”. ion, film, interactive leisure software, ditions which was edited by myself, Tan In the May 2012 colloquium, the main music, television and radio, perform- Sooi Beng. The proceedings describe theme was ‘Music + Dance in/as Envi- ing arts, publishing, and software. some of the ways by which convergence is restructuring culture and soci- ronment’. Participants debated issues about how the fast changing sound Even though convergence has occurred ety and the relationship between audi- in the traditional performing arts of ences, producers, and content in Asia environment has created re-structured Asia for centuries, new technologies and Australia. Convergence involves musical experiences among people of various historical, social and ethnic and media today permit the transcen- changes in the methods culture is cre- dence of all kinds of boundaries be- ated and consumed. While conver- backgrounds and influenced their sig- tween forms, styles, content, countries, gence culture can function as a means nificant cultural identity markers. Due to new mobility dimensions, self- disciplines, techniques, performers, to advance the agenda of large corpo- audiences and institutions that pro- rations, institutions or the state, it also positioning often becomes more impor- duce the arts. Collaboration, participa- allows individuals and small groups of tant than the real local placement of tion and agency are key words. Creat- professionals and amateurs to exercise individuals. Self-positioning is represented through distinctiveness, inclu- ing meaning and sharing experiences agency as they engage in alternatives. in performances, new media, design, sion and exclusion of soundscapes and architecture or installation art, become Universiti Putra Malaysia (UPM), movement patterns in multilayered more participatory and collaborative. Serdang relationships among different groups of people (gender, age, socially, ethni- In recent times, performers are collabo- Every year, UPM organises an interna- cally and racially different groups). rating internationally to create new tional colloquium on music research. In Another central question discussed works based on the diverse traditions July 2011, the theme was ‘Music and was which kind of cultural knowledge and contemporary styles of different Memory’. This colloquium focused on represented in music and dance em- parts of the world. With audience par- music as a memory storage that de- bedded in traditional or conservative ticipation, the roles of the performer pends on cultural codes. Musical ex- soundscapes could become obsolete and the audience become interdepend- pressions, production, and distribution and how this knowledge could be pre- ent. New architectural designs of li- serve as means of social, ethnic, gender, served without negative polemics braries and museums illustrate the and individual group memories. How against actual technical developments. converging spaces of arts, heritage and do we situate musical memories in di- Other questions concerned the en- research where collaboration, partici- verse societies? How do we deal with hancement of flexible research methods pation and interaction can take place memorable music and musical memo- for sound environmental categories between the young and old, arts and ries? How do we adjust our steadily

Bulletin of the ICTM Vol. 122 — April 2013 — Page 56 REPORTS and corresponding music and dance the Sound Archive carried out five (INAH) took place from 2008 to 2011 in experiences. more International events entitled the Regional Museum of Guerrero, “Roots, Paths and Historical Encoun- seeking to promote knowledge about Keynote speakers included Mohd. Anis ters” (2008); “Teponastles, shaws and the musical heritage of the State of Md. Nor (Dance) on “Alam Terkem- vihuelas, tunes, rhythms and harmo- Guerrero. Conferences focused on typi- bang Menjadi Guru” (Thy Environ- nies. Musical instruments in traditional cal musical genres of that State: “Sones, ment is Thy Teacher): Metonymic Sig- music” (2009); “Mexico Music for the corridos y chilenas” (2008); “La bola suri- nifiers of Music and Dance in the Ma- World: genres, rhythms and instru- ana y tradiciones de la Costa Chica" lay World; and Gisa Jähnichen (Music) ments” (2010); “Chants and traditional (2009); “El Fandango y sus Variantes” on “Silentium Est Aureum! - Musical dances” (2011); “Conquest dances, mi- (2010); and “African influence in the Choice from the Perspective of Social totes and fandangos” (2012). music of Guerrero” (2011). Communication”. Other paper topics included Hong Kong art music, Ameri- With a series of conferences focused on In 2009, the Society for Ethnomusicol- can contemporary music, Hindustani the importance of sound archives as ogy held its 54th Annual Meeting in classical music, music and theatre of precedent, in 2008 the Fonoteca opened Mexico, entitled “Borderless Ethnomu- Thailand, Sarawak, and China, music its doors to the general public and sicologies”. Plenty of musical research- education, and music piracy. started activities in the capital city. The ers from the international community opening of this National Archive signi- met in this event. Although a lack of Selected papers from the two colloquia fied the fulfilment of a long term prom- attention to the host’s research panels were published by UPM Press in the ise put off for years. The Fonoteca has (e.g., “Ethnomusicology in Mexico”) Book Series on Music Research (includ- excellent facilities equipped with latest characterised the meeting, it was no ing DVD): Music and Memory (Edited technology and specialized preserva- doubt a welcome chance to learn and by Jähnichen, Gisa and Julia Chieng, tion areas. Hopefully, this agency will dialogue with other views and per- 2012, vol 4); and Music + Dance in/as lead the general public to a better ap- spectives. A special mention goes to the Environment (Jähnichen, Gisa and Chin- preciation of sound as cultural value. Charles Seeger Lecture, presented by thaka Meddegoda, 2013, vol 5). recognised professor Steven Feld. In October 2008, ethnomusicologist Mexico Arturo Chamorro carried out an Eth- The topic of musical heritage has nomusicology Conference in Guadala- gained a great deal of importance in by Carlos Ruiz jara University focused on “Acoustic recent years. Since UNESCO promoted Rodríguez, Liaison substitutes of verbal language”. Issues the nomination of Mexico as an Intan- Officer such as “Studies on speech surrogates gible Cultural Heritage Member State, It has been a while in linguistic anthropology”, “Systems musical heritage became a relevant since our last report, of whistling and drumming in ethno- issue in the agenda of Mexican authori- and some important musicology”, “Native categories on the ties. Because of four Mexican musical events related to eth- nonverbal sound communication”, traditions (Mariachi, Voladores, Para- nomusicology have occurred since among others, were the centre of dis- chicos, and Pirekua) have been ac- then. Because of the considerable in- cussions. knowledged as world heritage and terval of time this report will cover, some of them have had “boomerang In November 2008, the Jesús C. Ro- only a few of the most noteworthy ac- effects”, the topic has raised a polemic mero Masterclass (sponsored by the tivities will be mentioned and summa- among musicians, researchers and National Center for Information, rized here. This time we will stress on promoters. Nominations of musical Documentation and Music Research three main issues: conferences, publica- traditions have had more to do with “Carlos Chávez”, CENIDIM) was tions, and education programs. governmental tourism departments chaired by Mexican-American ethno- rather than cultural institutions. As a Meetings, conferences and seminars musicologist Steven Loza. The series of response, a seminar began its activities lectures, entitled “Musicology chal- in 2010, chaired by anthropologist Am- The Sound Archive of the National In- lenges in today’s global world”, gave a stitute of Anthropology and History paro Sevilla (INAH) in collaboration wide account of the new trends in the with musical researchers of the main (Fonoteca del Instituto Nacional de Antro- discipline. pología e Historia) has been carrying out cultural institutions of the country an annual International Forum on Tra- A series of four conferences sponsored (INBA, DGCPI, UNAM). The seminar ditional Music for a few years. Repeat- by the aforementioned National Insti- carries out monthly sessions. Until ing the experience of past conferences, tute of Anthropology and History now, two Colloquia on “Safeguard of

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Musical Heritage in Risk” (2008, 2012) music, 18th- and 19th-century music, ✴ Música maya peninsular. Cantos de la have been held and a couple of publi- and Mexican traditional music. Tierra Blanca [Traditional music of con- cations (mentioned below) turned out temporary mayas] (CD). Comisión form those events. Seminar activities An interesting and ambitious project of Nacional para el Desarrollo de los seek to propose improving public poli- ethnomusicologist Sergio Navarrete Pueblos Indígenas, 2011. and the Centre of Research and Ad- tics related to musical traditions and a ✴ Cantos infantiles y canciones para niños better preservation of musical heritage. vanced Studies in Social Anthropology (CIESAS) called “Ethnography of the indígenas [Indigenous children chants In 2009, ethnomusicologist Miguel Ol- musical cultures of Oaxaca” began ac- and songs] (CD). Comisión Nacional mos, head of the Department of Cul- tivities on 2011.This important project para el Desarrollo de los Pueblos tural Studies of El Colegio de la aims to do a musical ethnography of Indígenas, 2011. Frontera Norte, carried out a Confer- the cultural regions of Oaxaca. This ✴ Gutiérrez, Daniel, ed. Expresiones ence on “Migrant Music”. The meeting State, characterised by its cultural di- musicales del occidente de México attracted well-known Mexican scholars versity, presents a challenge to the [Compilation of ethnomusicological and who stressed on several topics as nearly two dozens of Mexican re- ethnochoreological articles about tradi- “Modernity and musical diasporas”, searchers who take part on it. A first tional music from the States of Jalisco, “Traditional Music in trans-national phase of the project has reached its end Michoacán and Nayarit]. Morelia: contexts”, “Identity of migrant music” (fieldwork, data gathering and sys- Morevallado Editores, 2011. and “Ethnomusicology and migrant tematisation of information) with ✴ Jurado, María Eugenia, and Camilo studies”. promising results. The project is ex- Camacho, eds.. 2011. Arpas de la pected to continue over the next years. Huasteca en los rituales del Costumbre: In October 2010, CENIDIM and the teenek, nahuas y totonacos [Ethnomusi- International Musicological Society Universidad Veracruzana and ethno- cological approach to traditional indige- (IMS) sponsored an International Con- musicologist Randall Kohl carried out nous music of Huasteca region]. ference of Musicology entitled “200 a Conference of Ethnomusicology CIESAS/Secretaría de Cultura del years of music in Latin-America and called “Music, education and cultural estado de San Luis Potosí/FONCA- Caribbean”. For the very first time a development of people” in June 2011. Universidad Autónoma de San Luis CENIDIM academic meeting openly Veracruzana University is one of the Potosí/El Colegio de San Luis AC, held ethnomusicology and historical few in the country that holds constant 2011. musicology under the single label of activity on ethnomusicological matters. “Musicology”. This simple but signifi- ✴ Martínez de la Rosa, Alejandro. Jóve- cant change announced at last some Last year, musicologist Alfonso Padilla nes nahuas danzan su tradición. Memo- new perspectives on the musical re- gave a series of lectures sponsored by ria escénica de una cultura [Documen- the National School of Music of the search of Mexico. The programme retary on nahua young dancers] (CD- flected an open view on music, includ- UNAM, entitled “New trends in Musi- DVD). CONACULTA-Programa de ing popular, traditional, and art music cology and Ethnomusicology”. All who desarrollo cultural para la juventud- under the same academic roof during attended the event were enriched by SECUM, 2011. the wide and deep perspective of this five days. A diversity of speakers as ✴ Oliva, Aurora, and Fernando Híjar. Latin-Americanist professor. Luis Merino, Victoria Eli, Steven Loza, Lienzos de Viento. Luis Hernández, Ub- Gustavo Delgado, José Lezcano, He- Publications aldino Villatoro, Cirilo Meza, Horacio lena Simonett, Desmond Stevens, Mar- Franco [Contemporary music mixing celo Hazan, Michael Birenbaum, Ana The following are a few of the materi- sensibilities of indigenous composers/ Alonso, Julio Estrada, and Lígia Nassif, als which have been issued recently, interpreters and art music flutist Hora- mainly in Mexico City. However, other dealt with a variety of topics: contem- cio Franco] (CD). Chiapas: Puertarbor porary indigenous music, biographies Mexican cultural institutions maintain S.A. de C.V, 2011. on 19th-century composers, philology active publishing on traditional music. ✴ Olmos, Miguel. 2011. El chivo encan- and musical edition, documental col- ✴ Stanford, Thomas. Medio siglo de tado. La estética del arte indígena en el lections, music and cinema, musical grabaciones de campo de música tradi- noroeste de México [Ethnomusicological modernism, identity process on music, cional mexicana [Mexican music compi- approach to traditional indigenous mu- nationalistic aesthetics, linguistic lation of 50 years of recordings of eth- sic and culture of Sonora, Chihuahua methodology on music, organology, nomusicologist Thomas Stanford], (13 and Sinaloa]. Tijuana: El Colegio de la African influence on Latin-American CDs with notes). CONACULTA- Frontera Norte, 2011. Fonoteca Nacional-URTEXT, 2012.

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✴ Las músicas que nos dieron patria. musicological reﬂections about son jaro- ✴ En el lugar de la música. Serie Testimo- Músicas regionales en las luchas de In- cho in Veracruz]. Xalapa: Universidad nio Musical de México, 50 [Book with 5 dependencia y Revolución [Compilation Veracruzana, 2010. CDs, important compilation of articles

of articles about regional music of Mexi- ✴ Y la música se volvió mexicana. Serie about a diversity of topics dealing with can Independence and Revolution Testimonio Musical de México, 51 [Book traditional and popular music in Mex- times]. CONACULTA-Ediciones del with 6 CDs, compilation of articles ico]. INAH, 2008. Programa de Desarrollo Cultural de about traditional music from XIX cen- ✴ Chamorro, Arturo, ed. Lenguajes poé- Tierra Caliente, 2011. tury and the beginnings of XX century]. ticos y musicales en América Latina: ✴ Camacho, Arturo, ed. Memorias del CENIDIM-INBA-INAH- bolero, tango, bossa nova y nueva can- Coloquio El mariachi y la música tradi- CONACULTA, 2010. ción [Inter-disciplinary approaches to

cional de México. De la tradición a la ✴ Tello, Aurelio, ed. La Música en bossa, tango, bolero and Nueva Can- innovación. IX Encuentro de Mariachi México. Panorama del Siglo XX [Impor- ción]. Guadalajara: Centro Universi- Tradicional, agosto 2010 [Proceedings of tant compilation of articles about a di- tario de Arte, Arquitectura y Diseño, a Conference on Mariachi]. Guadala- versity of topics dealing with traditional, Universidad de Guadalajara, 2007. jara: Secretaría de Cultura-Gobierno popular and art music in Mexico]. FCE- ✴ Chamorro, Arturo. La cultura expre- del Estado de Jalisco, 2010. CONACULTA, 2010. siva Wixárika. Reﬂexiones y abstraccio- ✴ Chamorro, Arturo, and Fabiola M. ✴ Híjar, Fernando, ed. Cunas, ramas y nes del mundo indígena del norte de Zúñiga, eds. Sustitutos Acústicos del encuentros sonoros. Doce ensayos sobre Jalisco [Ethnomusicological approach to Lenguaje Verbal [Proceedings of a Con- patrimonio musical de México [Impor- traditional indigenous music and cul- ference held in Guadalajara focused on tant compilation of articles about a di- ture of Jalisco]. Guadalajara: Univer- “Acoustic Substitutes of verbal lan- versity of topics dealing with traditional sidad de Guadalajara, 2007. guage”]. Guadalajara: Centro Univer- and popular music in Mexico]. ✴ Luna, Xilonen, ed. Memoria Sonora sitario de Arte, Arquitectura y CONACULTA-DGCP, 2009. Náayari: Música ceremonial de los coras Diseño-Universidad de Guadalajara, ✴ Luna, Xilonen, and Rubén Luengas. de Nayarit [General view about cora 2010. Yaa, ntaa, chilena… La otra chilena: indigenous people and its ceremonial ✴ Domínguez Prieto, Olivia. Trovadores música de los pueblos mixteco, amuzgo, music] (CD). Comisión Nacional para posmodernos. Músicos en el Sistema de chatino, tlapaneco, nahua, afromestizo y el Desarrollo de los Pueblos Indíge- Transporte Colectivo Metro [Approach triqui (CD). Comisión Nacional para nas, 2007. on urban subway musicians]. UNAM, el Desarrollo de los Pueblos Indíge- ✴ Luna, Xilonen, ed. Arpas Indígenas de 2010. nas, 2009. México [Traditional indigenous harp ✴ Gottfried, Jessica A. Tras los pasos de ✴ Alonso, Marina. La "invención" de la music of yaquis, mayos, guarijíos, huas- Roberto Téllez Girón Olace [Biographi- música indígena de México: antro- tecos, nahuas, totonacos, amuzgos, cal approach to this little known Mexi- pología e historia de las políticas cul- mazatecos, tzotziles and tzeltales peo- can folklorist and musical researcher of turales del Siglo XX [Historical ap- ples] (CD). Comisión Nacional para the ﬁrst mid of XX century]. Puebla: proach to the academic representation of el Desarrollo de los Pueblos Indíge- Secretaría de Cultura del Estado de indigenous music in Mexico]. Buenos nas, 2007. Puebla-FONCA, 2010. Aires: SB, 2008. ✴ Flores Domene, Alfonso. La canción ✴ Huesca Martínez, Helio, ed. Sal- ✴ Martínez Ayala, and Jorge Amós, cardenche. Tradición musical de La La- vaguarda del Patrimonio Musical en eds. Cuatro bocas tiene el arpa… Histo- guna [General view about this peculiar Riesgo [Proceedings of a Conference held ria de la música en Michoacán, vol. II [A mestizo polyphonic music]. Dirección in Puebla focused on “Safeguard of second volume for the history of Music General de Culturas Populares, 2007. Musical Heritage in Risk”]. Puebla: in Michoacan]. Morelia: SECUM, ✴ Kohl, Randall. Ecos de “La bamba”. CONACULTA-Secretaría de Cultura 2008. Una historia etnomusicológica sobre el del Estado de Puebla, 2010. ✴ Stanford, Thomas. Colección Puebla. son jarocho de Veracruz, 1946-1959 ✴ Huesca, Helio, ed. Historia de la Grabaciones de campo de música popu- [Ethnomusicological history of the son Música en Puebla [History of Music of lar tradicional [Compilation of tradi- jarocho of Veracruz]. Xalapa: Instituto Puebla]. Puebla: Secretaría de Cultura tional music from Puebla, recordings of Veracruzano de Cultura, 2007. del Estado de Puebla, 2010. ethnomusicologist Thomas Stanford] (10 ✴ Rodríguez, Félix. Los zoques de Tuxtla. ✴ Kohl, Randall. Escritos de un náufrago CDs with notes). Puebla: Dirección Como son muchos dichos, muchas habitual. Ensayos sobre el son jarocho y de Música-Secretaría de Cultura de palabras, muchas memorias [General otros temas etnomusicológicos [Ethno- Puebla, 2008. view about indigenous zoque music and

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culture from Chiapas]. Tuxtla Gu- on traditional and popular music of ✴ Castillo, Vilka. “La banda en transi- tiérrez, Chiapas: Consejo Estatal para Mexico], Boletín Oﬁcial del INAH 85 ción. Música e identidad en San las Culturas y las Artes de Chiapas, (January-April 2009). Jerónimo Amanalco” [Brass Band in

2007. ✴ “Música tradicional: raíces, trayecto- transition. Music and identity in San ✴ Jardow Pedersen, Max. Música en la rias y encuentros históricos, II” [Pro- Jerónimo Amanalco]. MA diss., Escu- tierra mazahua [Ethnomusicological ceedings of an International Conference ela Nacional de Música, UNAM, approach to traditional music of indige- on traditional and popular music of 2011. nous mazahua people]. Dirección Gen- Mexico], Boletín Oﬁcial del INAH 86 ✴ Herrera, William Alberto. “Hay que eral de Culturas Populares, 2006. (September 2009) defender el blues. Una aproximación

✴ Ramos, Francisco. Los alegres de Terán ✴ “Conocimientos Musicales Tradi- al blues en la Ciudad de México” [General information and testimonies cionales“ [Compilation of ethnomusi- [Let’s defend the blues. An approach to about this famous duet of “norteño” cological articles on indigenous Music of the blues in Mexico City]. MA diss., musicians from northeast Mexico]. Di- Mexico], Culturas Indígenas. Boletín Escuela Nacional de Música, UNAM, rección General de Culturas Popu- de la Dirección General de Investiga- 2011. lares, 2006. ción y Patrimonio Cultural vol 3 no. ✴ Reyes, Lénica. “La Petenera en

✴ Sánchez, Gonzalo. Los artefactos sono- 6 (2011). México: Hacia un sistema de trans- ros del Oaxaca prehispánico [B.A. dis- ✴ “Arqueología Mexicana” [Compila- formaciones” [Petenera Music in Mex- sertation published focused on archeo- tion of articles focused on prehispanic ico: Toward a system of transforma- logical sound artefacts from Oaxaca]. Music in Mexico], La música pre- tions]. MA diss., Escuela Nacional de Oaxaca: Secretaría de Cultura del hispánica vol. 16, no. 94 (November- Música, UNAM, 2011. Gobierno del Estado de Oaxaca, December 2008). ✴ Villicaña, Héctor. “Práctica Musical y 2006. Dissertations and education programs Experiencias Performativas del ✴ Although we still have an unfortu- Mariachi en el Barrio de San Juan de Two institutions keep M.A. programs nate lack of formal academic printed Dios, Guadalajara, Jalisco” [Musical in ethnomusicology: the University of journals specialising on ethnomusi- practice and performance experiences of Guadalajara (UdeG) and the National cology, there have been some efforts Mariachi in Barrio San Juan de Dios, School of Music (UNAM), while the to publish periodicals or proceedings Guadalajara]. MA diss., Universidad latter also offers a PhD in ethnomusi- related to that matter. Following are de Guadalajara, 2010. cology. Several dissertations related to a few of the dossiers that have been ✴ Facio, Ana Violeta. 2010. “Música, ethnomusicology have been presented published. infancia e industrias culturales: un from 2007 to 2011: ✴ “Patrimonio Musical de México” estudio de caso en Zapopan, Jalisco” [Compilation of ethnomusicological arti- ✴ Ruiz, Rafael. “La música en la ciu- [Music, childhood and cultural indus- cles on Musical Heritage in Mexico], dad de México, siglos XVI-XVIII. tries: a case study in Zapopan, Jalisco]. Diario de campo 5 (July-September Una mirada hacia los procesos cul- MA diss., Universidad de Guadala- 2011). turales coloniales” [Music in Mexico jara, 2010. City, XVI to XVIII centuries. A glance ✴ ✴ “Música tradicional y popular en Díaz, Felipe. “La nueva trova en to colonial cultural processes]. PhD México” [Proceedings of an Interna- Guadalajara, Jalisco: inicio y desar- diss., Escuela Nacional de Antro- tional Conference on traditional and rollo del canto como herramienta de pología e Historia (ENAH), 2011. popular music of Mexico], Boletín Ofi- protesta social, 1970-2010” [New trova cial del INAH 77 (January-March ✴ Pelayo, Ivan. “Etnografía del sonido in Guadalajara: beginnings and devel- 2005). musical wixárika: cosmoaudición y opment of chant as a social protest tool]. categorías nativas de afinación, MA diss., Universidad de Guadala- ✴ “Música tradicional y procesos de sonido del xaweri y otros fundamen- jara, 2010. globalización” [Proceedings of an In- tos para la construcción de la música ternational Conference on globalization, ✴ Ocampo, Sergio. “El jazz en Guada- ritual en la cultura indígena del traditional and popular music of Mex- lajara, Jalisco” [Jazz in Guadalajara]. norte de Jalisco” [Ethnography of the ico], Boletín Oficial del INAH 80 MA diss., Universidad de Guadala- musical sound wixárika: cosmoaudition (September 2008). jara, 2010. and native categories for the construc- ✴ ✴ García, Marcela. “Sonidos del Rafue. “Música tradicional: raíces, trayecto- tion of ritual Music among indigenous Articulación de una comunidad Ui- rias y encuentros históricos, I” [Pro- culture of Jalisco], MA diss., Universi- toto del Amazonas colombiano a ceedings of an International Conference dad de Guadalajara, 2011. través de la música” [Sounds of the

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Rafue. Articulation of a Uitoto commu- Escuela Nacional de Música, UNAM, diss., Universidad de Guadalajara, nity from Colombian Amazonia through 2008. 2007.

their Music]. MA diss., Escuela Na- ✴ Torres, José Ramón. “El mercado cional de Música, UNAM, 2010. musical mexicano, calidad de vida y Montenegro ✴ Ruiz, Carlos. “Del Folklore Musical a cultura regional en una economía by Zlata Marjanović, la Etnomusicología en México: es- globalizada” [Musical trade and re- Liaison Officer bozo histórico de una joven disci- gional culture in a globalized economy]. plina” [From musical folklore to ethno- PhD diss., Escuela Nacional de It is a great honour to musicology in Mexico: historical sketch Música, UNAM, 2008. submit my first report as ICTM Liaison Offi- of a discipline]. MA diss., Escuela Na- ✴ Cano, Ernesto. “Los Sonajeros de cional de Música, UNAM, 2010. Tuxpan: un acercamiento etno- cer of Montenegro, for the period from 1994 to 2013. ✴ Picún, Olga. “El candombe y la histórico, etnográfico, organográfico Música Popular Uruguaya. Un estu- y rítmico-melódico del patrimonio Even while there are no governmental dio aproximativo sobre el proceso de dancístico musical del sur de Jalisco” institutions in Montenegro which deal apropiación de la música afro- [Rattle players in Tuxpan: an ethnohis- with the study of traditional music and uruguaya, efectuado por los músicos torical, ethnographic and organographic dance, a great deal of effort, interest populares, durante el periodo dicta- approach]. MA diss., Universidad de and support in this direction is made torial en Uruguay” [Candombe and Guadalajara, 2007. by the Ministry of Culture of Montene- popular Music in Uruguay]. MA diss., ✴ Medina, Pablo. “Kampora: el tambor gro, especially by the selfless commit- Escuela Nacional de Música, UNAM, rarámuri como elemento festivo- ment of Independent Advisor for mu- 2010. ceremonial en la sierra tarahumara” sic activity and music-stage creativity ✴ Delgadillo, Luis Antonio. “El [Kampora drum as a ceremonial element Dobrila Popović. Therefore, ethnomu- Movimiento del Rock Urbano/ in tarahumara culture]. MA diss., Uni- sicology and ethnochoreology in Mon- Rupestre en Guadalajara, Jalisco: versidad de Guadalajara, 2007. tenegro are primarily practised not by

testimonios, identidad y etnografía ✴ García, Hugo Rigoberto. “Los dere- researchers from governmental institu- de un fenómeno de la música popu- chos de autor en la industria fono- tions, but by individual researchers lar de las juventudes mexicanas del gráﬁca del mariachi moderno frente based both in Montenegro and abroad, período 1968-2008” [Urban rock in a los repertorios tradicionales del and by non-governmental organisa- Guadalajara]. MA diss., Universidad mariachi: la perspectiva etnomusi- tions such as the Montenegro Compos- de Guadalajara, 2009. cológica en la legislación del patri- ers Society, the Institute of Musicology ✴ Estudillo, Fermín. “Implicaciones monio intangible de una región” [In- and Ethnomusicology of Montenegro sociales y culturales de la chilena en tellectual rights in phonographic indus- (chaired by composer Marko Rogošić) , Santiago Pinotepa Nacional, Oaxaca, try of Modern Mariachi and traditional and the Montenegrin Cultural Portal contexto y música” [Social and cul- repertories: an ethnomusicological per- Montenegrina (montenegrina.net), ini- tural implications of Chilena Music in spective on intangible heritage legisla- tiated by Vesko Milović. Pinotepa, Oaxaca]. MA diss., Univer- tion]. MA diss., Universidad de Gua- Meetings sidad de Guadalajara, 2009. dalajara, 2007. The international scientiﬁc meeting ✴ Sandoval, Sergio Ángel. “Vida social ✴ Gálvez, Carlos Martín. “La banda Tragom crnogorske muzičke baštine (In y práctica musical en la Nueva Es- sinaloense: símbolo de identidad en the wake of Montenegro’s musical paña y la intendencia de Guadalajara Culiacán, Concordia y El Recodo en heritage) was held in Podgorica on 25 en la segunda mitad del siglo XVIII” el Estado de Sinaloa” [Sinaloense March 2010, organised by the Monte- [Social life and musical practice in Gua- Brass Bands: symbol of identity in Culi- negrin Academy of Sciences and Arts dalajara in the second half of 18th cen- acán]. MA diss., Universidad de (CANU) tury]. MA diss., Universidad de Guadalajara, 2007.

Guadalajara, 2008. ✴ Rivera, Ma. Guadalupe. “Transferen- Among the presenters, who showed ✴ Alegre, Lizette. “Viento arremo- cia simbólica en el ritual dancístico their work on the music tradition of linado: el toro encalado y la ﬂauta de musical de los Concheros en la zona Montenegro, were Dragoslav Dević mirlitón entre los nahuas de la huas- conurbada de Guadalajara, Jalisco” (Serbia), Dimitrije Golemović (Serbia), teca hidalguense” [Mirliton ﬂute [Symbolic transference in dancistic rit- Joško Ćaleta (Croatia), Zlata Marjano- among nahuas of Hidalgo]. MA diss., ual of Concheros of Guadalajara]. MA vić (Serbia), Ardian Ahmedaja (Aus- tria), and Slobodan Jerkov (Montene-

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and musical works of Božidar Ivaniše- of Kotor, Dalmatia, etc). You can read vić) was presented at the Church of the more about the meeting on Holy Spirit of the city of Kotor by the montenegrina.net. author (Goran Ivanišević, son of Boži- dar Ivanišević), Čedo Drašković and The roundtable Značaj tradicionalnih igara i pjesama za folklor Crne Gore myself. The evening was moderated by Miodrag Mićo Miranović. In addition (The significance of the traditional to singing Montenegrin folk songs, songs and dances in the folklore of Montenegro) took place in Cetinje on 2 Božidar Ivanišević was involved in composing and writing, and he was November 2011. Organised by the As- one of the first to deal with transcribing sociation of Montenegrin Folk Ensem- bles, this was the first such meeting Montenegrin folk songs and in this way contributed to rescue many folk organised under the auspices of the songs from certain oblivion. You can Ministry of Culture of Montenegro. read more about the event on The session was attended by Dragan Đurović Mitrov, Dobrila Popović, Lazar montenegrina.net. Božović, Ibis Kujević, Miodrag Mićo The international scientific meeting Miranović, and Vladimir Žutković. In Klapsko pjevanje Crne Gore: putevi i the role of chairmen were Dragica putokazi (Montenegrin klapa singing: Milić, Dragan Đurović Mitov, and Ibis roads and road signs) was held on 29 Kujević. Proceedings from the 2010 meeting Tragom ! crnogorske muzičke baštine (In the wake of July 2011, during the 10th Jubilee In- As a result of the conference it was Montenegro’s musical heritage) ternational Festival of klapa in Perast. The organisers were the International agreed that: gro). In their studies they especially NGO Klapa Festival Perast, Kotor Art, highlighted the vocal (such as church ✴ The meeting was of great importance and the Ministry of Culture of Monte- and klapa singing), instrumental (diple) ✴ Its themes should be emphasised negro. Among the participants were and vocal-instrumental (singing with and profiled as much as possible. Ivana Antović (Montenegro), Zlata gusle) musical tradition of Montenegro. Marjanović (Serbia), and Jakša Primo- ✴ Montenegro has much more to offer The second part of the meeting was rac (Croatia). Slobodan Jerkov (Monte- than what is currently in the reper- devoted to art music from Montenegro, negro) could not attend, but sent his toire of folk ensembles. observed from different aspects and paper to the organisers. ✴ There is a need to quickly establish a through different time periods. Among professional national folk ensemble. the presenters were Ivana Antović ✴ Because the folk ensemble Njegoš, (Montenegro), Miho Demović (Croa- one of the oldest and most distin- tia), Gordana Krajačić (Serbia), Vedrana guished ensembles from the former Marković (Montenegro), Marko Ro- Yugoslavia, is based in Cetinje, it is gošić (Montenegro), Milica Gajić (Ser- logical to establish a national ensem- bia), and Vesna Vučinić (Montenegro). ble there, which should certainly be Articles from this meeting were pub- formed as soon as possible. lished in April 2012, in Burić, Anka, ed. ✴ Protection of folklore should be Zbornik radova sa naučnog skupa „Tragom achieved through a continuous, sys- crnogorske muzičke baštine”, Podgorica, tematic and qualitative research pro- 25. marta 2010. godine. Podgorica: ! ject Crnogorska akademija nauka i umjetnosti, Naučni skupovi, knjiga 111, Od- Kad prošetah Crnom Gorom (When I walked ✴ The Ministry of Culture is trying in jeljenje umjetnosti, knjiga 38, 2012. through the Montenegro – Biography and various ways to support and allocate musical works of Božidar Ivanišević) the most referential representatives You can learn more about the meeting There were discussions about the rich in the area. on montenegrina.net. musical past in the Bay of Kotor, its ✴ The Law on Culture, Article 90, pro- On 18 May 2010, the book Kad proše- klapa practice, as well as of klapa sing- vides that states and municipalities tah Crnom Gorom (When I walked ing as a traditional way of expression should encourage unconventional through the Montenegro – Biography ono that region of the Adriatic Sea (Bay forms of amateur action, and that as

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a special form of encouraging development, the Ministry has introduced a separate category—amateur creativity—at the regular annual tender for financing projects and programs in the field of cultural and artistic ! expression. The international scientific meeting From Manuscript of Ludvik Kuba (Boka Kotorska, 1907) Ludvik Kuba, Pjesme dalmatske iz ✴ Miranović, Milorad Mićo. Narodne Boke, 1907. godine (Ludvik Kuba, Publications pjesme Crne Gore. Muzičko nasljee i Dalmatian songs from 1907) was held Monographs and edited volumes stvaralaštvo Crne Gore (Folk songs of on 4 August 2012 during the 11th In- ✴ Marjanović Krstić, Zlata. Vokalna tra- Montenegro. Musical heritage and crea- ternational Festival of klapa in Perast. dicija Boke Kotorske (Vocal tradition of tivity of Montenegro). Edited by Senad The organisers were the International Boka Kotorska). Podgorica: Udruženje NGO Klapa Festival Perast and Kotor Gačević. Podgorica: Pobjeda a.d., kompozitora Crne Gore, 1998. 2011. Art. ✴ Milošević. Jovan. Zapisi narodnih pje- Preface for a book The meeting focused on the manu- sama iz Crne Gore (Musical transcrip- scripts of Ludvik Kuba (1863–1956), tions of folk songs from Montenegro). Jerkov, Slobodan. Introduction Melo- Czech painter, folklorist, travel writer, Edited by Zlata Marjanović. Podgo- grafski rad Ludvika Kube u Crnoj Gori and professor of the Academy of Arts rica: Udruženje kompozitora Crne (Ludvik Kuba’s melographical work in in Prague. Kuba devoted special atten- Gore, 2000. Montenegro) to U Crnoj Gori (In Monte- negro) by Ludvik Kuba. Edited by Dra- tion to writing down folk songs from ✴ Marjanović, Zlata. Narodne pesme gan K. Vukčević. Podgorica: CID, Bib- the Bay of Kotor (a part of the Monte- Crne Gore po tonskim zapisima i od- lioteka "Svjedočanstva", 7–11, 1996. negrin coast). On his journey from abranim beleškama Nikole Hercigonje Dalmatia to Montenegro at the end of (Folk songs of Montenegro by recordings Articles the 19th century, he was fascinated by and selected notes from the diary of Nik- Articles published in Montene- the Bay, its inhabitants, and its tradi- ola Hercigonja). Podgorica: Institut za gro tional music, so that in 1907 he re- muzikologiju i etnomuzikologiju ✴ Jerkov, Slobodan. “Još jednom o turned and transcribed as much as 161 Crne Gore, 2002. songs. His transcriptions represent a himni (O napjevu ‘Oj, svijetla majska ✴ Ćetković, Gordana. Gradske pjesme iz valuable document of vocal tradition in zoro’)”. Doclea, Časopis za književnost i stare Podgorice (Urban songs from the kulturu year 1, number 3, (May-Jun the Bay of Kotor in the early 20th cen- old city Podogrica). Podgorica: Institut tury, but also an irrefutable testimony 1994). Podgorica: Crnogorsko za muzikologiju i etnomuzikologiju that this vocal tradition has changed društvo nezavisnih književnika i Crne Gore, 2002. little since those days. crnogorski P.E.N. Centar. ✴ Lajić-Mihajlović, Danka. Svadbeni ✴ Jerkov, Slobodan. “Globalna podjela Due to the great involvement of Croa- običaji i pesme Crnogoraca u Bačkoj Crne Gore na pjevačka područja”. tian ethnomusicologist of Jakša Primo- (Wedding Customs and Songs of Mon- Časopis za nauku, kulturu i umjetnost 2 rac and Milan Kovaćević, Executive tenegrins in Bačka). Podgorica: Insti- (2000): 133–139. Podgorica: Dukljan- Director of the Klapa Festival in Perast, tut za muzikologiju i etnomuzikolo- ska akademija nauka i umetnosti. the manuscripts were released from giju Crne Gore, 2004. ✴ Jerkov, Slobodan. “Crnogorci ne- their long home in the archives. ✴ Marjanović, Zlata. Narodna muzika muzikalni samo u udžbenicima (o Speeches were given on the work of Grblja (Folk music of Grbalj). Novi crnogorskom narodnom pjevanju)”. Ludvik Kuba by Slobodan Jerkov Sad: Društvo za obnovu manastira Vaspitanje i obrazovanje, Časopis za (Montenegro), Zlata Marjanović (Ser- Podlastva (Grbalj). Institut za pedagošku teoriju i praksuj 4 (2001): bia) and Jakša Primorac (Croatia). You muzikologiju i etnomuzikologiju 114-117. Podgorica: Zavod za udžbe- can read more about the even on Crne Gore, 2005. nike i nastavna sredstva. montenegrina.net. ✴ Gregović, Nikola. Antologija klapskih ✴ Jerkov, Slobodan. “O socijalnim os- pjesama (Anthology of klapa songs). novama crnogorskog folklora“. Ma- Kotor: self-published, 2006. tica, Časopis za društvena pitanja, nauku i kulturu, year 3, number 11/12

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(2002): 81–188. Cetinje-Podgorica: ✴ Marjanović, Zlata. “Narodna muzika Matica crnogorska Cetinje. seoskih naselja budvanske opštine”.

✴ Jerkov, Slobodan. “Narodne pjesme Budvanska sela: biseri etno-turizma iz Crmnice”. Zbornik radova sa sim- (2009): 231–246. Edited by Lucija Đu- pozijuma „Crmnica, nasljee i rašković. Budva: Copyright: Patent, budućnost“ održanog na Viru 2002.: Beograd: Publikum. 177–183. Podgorica: Udruženje ✴ Jerkov, Slobodan. “Očuvanje Crmničana „Crmnica“. muzičke tradicije Muslimana Crne

✴ Jerkov, Slobodan. “Miodrag A. Vasil- Gore”. Osvrt, časopis za kuluturu, jević kao istraživač muzičkog folk- nauku i društvena pitanja Muslimana lora sjevernog i sjeveroistočnog Crne Gore, year I, number 2 (2010): dijela Crne Gore”. Istorijski zapisi, 133-156. Podgorica: Matica Mus- year LXXVI, number 1–4 (2003): 173– limanska Crne Gore. 182. Podgorica: Organ istorijskog ✴ Jerkov, Slobodan. “Crna Gora moja instituta i Društvo istoričara Crne postojbina”. Muzika, Udžbenik za Gore. crnogorsku dijasporu (2011): 211-257.

✴ Marjanović, Zlata. “Primorju na ve- Podgorica: Centar za iseljenike Crne 75–godišnjice roenja i 50–godišnjice liko znamenje”. Zbornik radova sa Gore. naučnog rada (2003): 7-17. Edited by simpozijuma „Stefan Mitrov Ljubiša u ✴ Jerkov, Slobodan. “Pjesme i pjevanje Dimitrije Golemović. Beograd: Ve- kontekstu mediteranske kulture“ u Peroju”. Zbornik radova Matica des. održanog u Budvi 27. i 28. februara Crnogorska (summer/autumn 2011): ✴ Marjanović, Zlata. “„Neću majko, 2002. godine (2005): 245-283. Edited 203-216. Cetinje-Podgorica: Časopis neću mila, čobanin me ne zanima”. by Lucija Đurašković. Budva: JU za društvena pitanja, nauku i kul- Prilog proučavanju instrumentalne „Muzeji, galerija i biblioteka“, Mu- turu, Matica crnogorska. muzičke tradicije Crnogorskog pri-

zeji – Spomen dom „Stefan Mitrov ✴ Jerkov, Slobodan. “Crnogorski i morja sa Zaleem“. Zbornik radova sa Ljubiša“. srpski muzički folklor”. Vaspitanje i naučnog skupa „Istorija i misterija ✴ Jerkov, Slobodan. “Vasiljevićeva teri- obrazovanje, Časopis za pedagošku teo- muzike, u čast Roksande Pejović” torijalna podela Crne Gore “. Zbornik riju i praksuj 1 (2012): 81-86. Podgo- (2006): 135-143. Edited by Ivana radova sa okruglog stola „Miodrag A. rica: Zavod za udžbenike i nastvna Perković Radak, Dragana Stojanović- Vasiljević, život i djelo“ održanog 2003 sredstva. Novičić, and Danka Lajić. Beograd: Fakultet muzičke umetnosti. (2006): 66–75. Edited by Nenad ✴ Marjanović, Zlata. “Diple Čavorove. Ljubinković and Zorislava M. Vasil- Prilog proučavanju instrumentalne ✴ Marjanović, Zlata. “Prožimanje jević. Beograd: Institut za književ- tradicije zalea Crnogorskog pri- crkvenog i narodnog pevanja na nost i umetnost, Udruženje graana morja”. Zbornik radova sa naučnog Crnogorskom primorju sa zaleem”. „Miodrag A. Vasiljević“. skupa Tragom crnogorske muzičke bašt- Zbornik radova sa naučnog skupa „Dani ✴ Jerkov, Slobodan, and Olivera Dakić. ine, Podgorica, 25. marta 2010. godine Vlade S. Miloševića” (2007): 115-138. “Muzički folklor, Crnogorska (2012): 53-61. Edited by Anka Burić. Edited by Dimitrije Golemović. muzička kultura”. Muzika, udžbenik Podgorica: Crnogorska akademija Banja Luka: Akademija umjetnosti za srednje stručne škole (2006): 29–33, nauka i umjetnosti, Naučni skupovi, Banja Luka, Muzikološko društvo 11–115. Podgorica: Centar za stručno knjiga 111, Odjeljenje umjetnosti, Republike Srpske. obrazovanje. knjiga 38. ✴ Marjanović, Zlata. “Songs iz glasa in Montenegro Seacoast with Hinter- ✴ Marjanović, Zlata. “Narodna muzika Articles published in Serbia, land”. Proceeding of scientiﬁc gathering Grblja (Folk Music from Grbalj)”. Croatia, Bosnia and Herzego- Muzikos kompanavimo principai: Zbornik radova sa naučnog skupa vina, Lithuania „Grbalj kroz vijekove”, Grbalj i Kotor, muzikos archetipai, 8-oji tarptautine ✴ Marjanović, Zlata. “Vokalna tradicija muzikos teorijos konferencija, Vilnius, 11–13. oktobra 2001 godine (2006): Boke Kotorske i Crnogorskog pri- April 23–25, 2008 (2008): 110–115. 473–493. Edited by Miroslav Pantić morja: od pevanja iz glasa do klape”. Editor-in chief and compiler Riman- and Vesna Vučinić. Grbalj and Kotor: Zbornik radova sa meunarodnog sim- tas Janeliauskas. Vilnius: Lithuanian Društvo za obnovu manastira Pod- pozijuma „Čovek i muzika”, Beograd, Academy of Music and Theatre, lastva, Grbalj. 20–23. jun 2001. godine, posvećenog Luthuanian Composers’ Union. profesoru Dragoslavu Deviću povodom

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✴ Marjanović, Zlata. “Kontinuitet i CDs Guinea. This achievement is important razvoj muzičke tradicije Crnogor- Harmonija. More ljubavi (Sea of love). as it makes others aware of the impor- skog primorja sa zaleem, na Budva: Harmonija, 1994. tance of ethnomusicology as a vital primeru grbaljskog pevanja, ali i area of study within the Social Science Miodrag Vasiljević je ipak bio u Bokeljski mornari. Kotorskim ulicama discipline. Having worked for over Grblju!”. Zbornik radova sa naučnog (On the streets of Kotor). Kotor: Bobosre- three decades with the Institute of skupa „Dani Vlade S. Miloševića” cords (CD), 2001. Papua New Guinea Studies, many ap- (2008): 179–196. Edited by Dimitrije preciated Don’s contribution to ethno- World music from Sweden. Music from Golemović. Banja Luka: Akademija musicology research and recognised Montenegro. Ed. Sten Sandhal. Caprice umjetnosti Banja Luka, Muzikološko his award as a milestone achievement Records. CAP 21741, 2004. društvo Republike Srpske. for Papua New Guinea.

✴ Bokeljski mornari. Bokeljske naravi (Na- Marjanović, Zlata. 2011. “U voje- Other achievements include the com- ture of Bay of Kotor residents). Kotor: vanju za folklor: „Psihičko znojenje” pletion of PhD dissertations on Papua Bokeljski mornari, 2005. Nikole Hercigonje”. Zbornik radova New Guinea music by Anthony Lewis „Nikola Hercigonja (1911–2000), čovek, Hamdija Šahinpašić. Muzičko nasljee and Wilson Oli. Lewis research was on delo, vreme“, Povodom 100 godina od Crne Gore (Musical heritage of Montene- music of the Baluan people of Manus njegovog roenja (2011): 183-211. Ed- gro). Podgorica: Montenegro etno art, featuring the garamut while Oli’s fo- ited by Mirjana Veselinović-Hofman Centar za očuvanje i razvoj kulture cused on the production of local music and Melita Milin. Beograd: Muzik- manjina Crne Gore. Ed. Miodrag Mićo in Port Moresby. ološko društvo Srbije. Miranović , 2008. Tribute Articles in ICTM publications Paštrovske pjesme, knjiga prva (Songs of Death of Regis Stella (3 May 1960 – 18 I (Zlata Marjanović) participated in the Paštrovići, Book One). Budva: Budva April 2012): first Papua New Guinean Symposia of the ICTM Study Groups koncert i Multimedia Group doo. Ed. to write a thesis on music, “Forms and on Multipart Music (Vienna, Austria Zoran Ćulafić, 2011. 2008) and on Folk Musical Instruments Styles of Traditional Banoni Music” (Stubičke Toplice, Croatia 2011), and (BA Honours thesis, 1987; UPNG), my papers were published in the corre- Papua New Guinea which he later turned into a book that sponding proceedings: by Naomi Faik-Simet, formed the first in our series Apwitihire: Liaison Officer Studies in Papua New Guinea Music ✴ Marjanović, Zlata. “Cultural listen- (1990). He later obtained his PhD in ing in multipart traditional singing In recent months literature, and wrote numerous novels, on the Northern and Central Monte- Papua New Guinea collections of poetry, and studies on the negro coast and its hinterland”. has seen some devel- development of creative writing in the European Voices II. Cultural Listening opments in academic country. and Local Discourse in Multipart Sing- research on ethnomu- ing Traditions in Europe (2011): 127- sicology. Other activities that have Paul Yabo died in November 2012. Paul 139. Edited by Ardian Ahmedaja. taken place include a National Arts was a member of the seminal Papua Wien: Böhlau Verlag . symposium and various ongoing mu- New Guinea band, Sanguma, and sic and dance research by staff of the composer of some of the pieces which ✴ Marjanović, Zlata. “Ljubo Duletić’s best illustrated their experiments with Diple and Gusle Modulations”. Institute of Papua New Guinea Studies and other researchers. This report cap- STUDIA INSTRUMENTORUM MU- tures some of these achievements and SICAE POPULARIS (2011): 193-204. Edited by Gisa Jähnichen. MV- at the same time pays tribute to some people who have contributed to the Wissenschaft: MV-Verlag. development and study of music in the Dissertations country. Marjanović, Zlata. “Narodna muzika Boke Kotorske i Crnogorskog pri- Achievement morja” (Folk music of Boka Kotorska and In March 2012, Don Niles was awarded Montenegro coast). PhD diss., Faculty of Doctor of Philosophy (PhD) for his re-

Music in Belgrade, 2013. search on music and dance in the Don Niles (foreground) is awarded Doctor of Mount Hagen area of Papua New Philosophy (PhD)

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Papua New Guinean and Western forms.

Activities A national symposium on culture and arts was held in November last year attracting participants from around the country. The symposium was organised by the National Cultural Commis- sion (NCC) and addressed the theme “Harnessing the arts for national development”. One of the main areas of concern was the issue of copyright amongst practicing musicians. As a result of the symposium, the NCC is now working closely with various music artists to ensure the proper en- forcement of the law in protecting their music. Left to right: Alan Rumsey (co-editor and author), Kirsty Gillespie (author), Bernard Minol (official launcher of book), and Don Niles (co-editor and author) at the launching of the book “Sung Tales”, 8 There has also been an increase in August 2012. young peoples’ participation in music and dance performances. This is seen lands region of Papua New Guinea and Switzerland in annual school cultural shows as well provides a comprehensive description as provincial shows. More school stu- of this rare musical tradition. The by Raymond Ammann, dents have taken a keen interest to launch was attended by Alan Rumsey Chair of National learn about their culture by participat- and Kirsty Gillespie. Committee ing in a music or dance performance. As every year the Dissertations Swiss Society for Eth- Announcement Lewis, Anthony nomusicology met The music staff of the Institute of 2011“Becoming a Garamut Drum- twice in 2012. For the Papua New Guinea Studies is currently mer in Baluan Island, Manus Province, annual meeting we travelled in the re- working on a book on Papua New Papua New Guinea”. 2 vols. PhD dis- gion called Toggenburg. The popula- Guinea’s musical instruments. The sertation, Sydney Conservatorium of tion of Toggenburg is proud of their book will contain pictures of various Music, University of Sydney. musical heritage, and many activities musical instruments as well as descrip- —from preservation to the search of tions of these instruments from all Niles, Don new traditions—take place during the parts of the country. Please contact the 2011“Structuring Sound and Move- seasons. Institute if you have pictures to con- ment: Music and Dance in the Mount tribute. Hagen Area.” PhD dissertation, An- For the autumn Symposium we met at thropology and Sociology, University the Hochschule Luzern – Musik for a Publication and Book Launch of Papua New Guinea. workshop on overtone singing, to The book titled “Sung Tales from the which we invited the famous overtone Wilson, Oli Papua New Guinea Highlands: Studies specialist, Trn Quang Hi. The mem- in Form, Meaning and Social Cultural 2011“Ples and the Production of Lo- bers enjoyed that meeting very much Context”, edited by Alan Rumsey and kal Music in Port Moresby, Papua New and are all happy to have learned the Don Niles (Editor’s Note: featured in Bul- Guinea.” PhD dissertation, University first few steps of this particular singing letin of the ICTM 120, April 2012, page of Otago. style. 52) officially launched at the Institute The Bulletin for 2011 that appeared in of Papua New Guinea Studies in 2012 includes, besides contributions August last year. The publication con- from experienced ethnomusicologists, tains various researches by the authors many essay from students. The Society on genres of sung tales from the High-

Bulletin of the ICTM Vol. 122 — April 2013 — Page 66 REPORTS of Ethnomusicology (CH-EM) supports culturation, scene and subcultures in Study Group on Music and Dance in students to publish their essays as arti- musical praxis, change and music in- Southeastern Europe, from 19 to 22 cles in their Bulletin. The annual Bulle- dustry, and popular musics by its theo- September 2012. The concepts of čoček, tin that is produced together with the ries. çiftetelli and similar genres were dis- Society for Traditional music in Swit- cussed to distinguish them in this first The 1st International Turkish Folk Dance zerland includes articles in all the meeting. Some observations were Swiss languages. Congress was held in Malatya between made about the Romani mahalle (quar- 10-12 May 2012, organised by the Min- ter) Sulukule, which was demolished istry of Culture, nönü University, and Turkey in 2012 by the urban renewal project of the Folk Dance Federation of Turkey. the government, and about a touristic by Arzu Öztürkmen, The main theme of the meeting was setting where different dance genres Chair of National “Relationship Between Folk Dance and were performed. Committee, with contributions from Science and Art”, and research was Folk dance competitions presented on subjects such as educa- Merve Eken Küçükaksoy, The past two years continued to be tion in folk dances, the peculiarities Belma Kurtişoğlu, Gonca very productive in Turkey in regards to and showcase products of folk dances Girgin, Ahmed folk dance competitions. Organised by (such as costume and music), and the Tohumcu, and Burcu Yıldız the Ministry of National Education institutionalisation, representation and since 1984, competitions were held in In the last few years, Turkey’s presence staging process of folk dances. A few eight different categories, according to in ICTM happily increased with a new ICTM members presented papers at age and staging approaches (i.e., “tra- generation of young scholars raised in this meeting. ditional way” and “stylised way”). 128 the fields of ethnomusicology and groups participated in the finals. Addi- dance studies, among whom one can Karadeniz Technical University, State cite the contributors to this report. Conservatory organised the 1st Interna- tionally, the Federation of Folk Dance tional Music Studies Symposium between of Turkey established in 2001 organised This report is organised in three sec- 16-19 October 2012. Although it is a folk dance competitions, and 650 folk tions: (1) Conferences, Meetings, Com- newly established conservatory, the dance clubs and about 40.000 dancers petitions, and Festivals on Music and symposium was in broad participation from all age categories have partici- Dance; (2) The Newly Established Art and it was a great activity. Sessions pated since then. Finally, VakSa and the and Musicology Departments; and (3) were separated by main themes, such Ministry of Culture celebrated the 20th A review of selected theses and disser- as oral tradition and cultural memory, anniversary of folk dance competitions tations. cultural memory and social change, by a performance by the winners of all music, ethnography and organology, past competitions. Conferences, Meetings, Competitions, popular culture and music studies, The Federation of University Sports of and Festivals on Music and Dance gender and music, perception and mu- Turkey organised the 5th Dance Mara- sic, folklore studies, dance, theatre and Meetings thon in 2012, including various dance cultural configuration studies, music, The following conferences and meet- genres. The dancers Taha Batu Coşar place and cultural memory, mass me- ings are worth mentioning in the fields and ren Türkkan, supported by Fed- dia communications and popular cul- of music and dance: eration of Dance Sports established in ture, musical and cultural structures, 2006, were able to participate in the The 2nd National Symposium of Hisarlı music education, music, diasporas and finals of World Latin Dances Champi- Ahmet took place on 26-28 May 2011 in ethnicity, and cultural structure and onship held in Italy with 65 competi- Kütahya, organised by the Kütahya performance. The organisation hosted tors from 45 countries. Fine Arts Association. The main theme keynote speakers lhan Başgöz (Indi- of the symposium was “Acculturation ana University and Middle East Tech- Festivals nical University), Martin Stokes (Lon- and enculturation in changing society”, ITU Turkish Music State Conservatory don King’s College), and János Sipos and research was presented on subjects hosts the TANGOTOISTANBUL Festi- such as changing society and music, (Budapest Franz Liszt Music Acad- val since 2004-2005. The festival com- overview of musical traditions, global emy). bines music and dance with work- and local dynamics in music, crossover ITU Turkish Music State Conservatory shops, concerts and performances. peculiarities in local musics, identity in hosted the meeting of the Čoček and music, cultural components in musical The International Contemporary Dance Çiftetelli Sub-Study Group of the ICTM appropriation, musical changes by ac- and Performance Festival (IDANS) has

Bulletin of the ICTM Vol. 122 — April 2013 — Page 67 REPORTS had a very extensive programme since dance competition was organised in formed in the Black Sea Region of Tur- 2007. The festival organisers of Bimeras the framework of the 47th Tekirdağ key. Two publications came out from decided to expand the 6th iDANS fes- Kiraz Festival in June 2012. this institution: Doğu Karadeniz Bölge- tival during the whole season until si'nde Çepniler ve Müzik, by Abdullah May, and presented a programme The Newly Established Art and Musi- Akat (Trabzon: Serender, 2012), and which encompassed not only diverse cology Departments Voice of Women from Anatolia: Identity expressions of contemporary dance but In the past few years, new conservato- and Music of Anatolian Turkoman Women also featured some of the most cutting by Özlem Doğuş Varlı (Oxford: Lam- ries and fine arts faculties have been edge international theatre and trans- established in Turkey, giving music bert, 2011). disciplinary live acts of 2012. iDANS and musicology education. Some of had been deemed worthy of funding Selected dissertations defended in Turkey these also include folk dance depart- by the Culture Programme of the ments, like Giresun University State Berna Kurt Kemaloğlu (2012). The European Commission, becoming the Conservatory. However, the conserva- Politics of Folk Dance Staging in Tur- first festival from Turkey to receive tories in Adıyaman and Batman Uni- key: Discourses and Aesthetic Ap- such prestigious support. versities, both located in the Eastern proaches. The dissertation analyses the staging politics of folk dances in rela- The 5th International Body Music Fes- regions of Turkey, exist only “on pation to historical, political and social tival took place in Istanbul from 9 to 14 per”, as they have not yet accepted any context in Turkey. In this study, consid- October 2011, hosted by the Babil As- student. Karadeniz Technical Univer- ering ideological and aesthetic compo- sociation. The IBMF features contem- sity (KTU) State Conservatory in Trab- nents, discourses and approaches shap- porary and traditional Body Music zon is one of the active ones, having ing the folk dance scene in a historical presented in concerts, workshops, three departments: Musicology, Music, continuum between the national con- teacher trainings, lecture- and Performing Arts. Although only struction period and the mid 1980s are demonstration, body music open-mic, the Musicology Department is func- analysed. family matinee, and in-school assembly tioning since 2011, it offers training in programs. The festival was founded by both historical musicology and ethno- Zeynep Gonca Girgin Tohumcu musicology. Artistic Director Keith Terry and is a (2012). Cultural Production, Bodily project of Crosspulse, an Oakland- As a new conservatory, it is perhaps Exchange, Identity Transition: “9/8” based non-profit arts organisation useful to mention studies and activities Romani Dance of Turkey. The disserta- dedicated to the performance, record- performed at the KTU State Conserva- tion focuses on the iterative cultural ing and education of cross-cultural tory. Under the leadership of Abdullah productions, bodily exchanges, and rhythmic arts. The IBMF is produced in Akat, the first local music archive on identity transformations via Romani the San Francisco Bay Area every two Eastern Black Sea region (Karadeniz dance that has been popularised since years, and by international partners in Music Archive or KARMA) has been the end of the 1990s in Turkey. the interim years. opened, featuring old recordings, Burcu Yıldız (2012). Cultural Memory, The ITU Turkish Music State Conserva- books, scores and ethnographic data of Identity and Music: Armenians of Tur- the fieldworks on the region. This pro- tory celebrates the International Dance key. The dissertation focuses on Arme- ject, supported by the Turkish Scientific Day on 29 April every year, where dif- nian music making practices in Turkey ferent dance genres are performed on and Technological Research Associa- in relation to the contexts of cultural tion (TUBITAK), will be modelled after different stages. memory and identity. The aim of the the Berlin Phonograph Archives in dissertation is to address the historical The Performance Ensemble “Ekin” building up their database of recorded ethnography of Armenian musicking (Crop) of the Dance Department of Ege documentation. Akat also developed a practices in Turkey and the ruptures University State Turkish Music Con- new type of kemençe (an instrument that transform cultural memories of servatory was established in 1989, and used in the Black sea region of Turkey) musicking and contexts for meaning participated in the Side 12th Interna- to be particularly used in orchestras. making. tional Art and Culture Festival in 2012. KTU State conservatory has partici- Ahmet Tohumcu (2012). The Cultural The 26th Golden Karagöz Folk Dance pated in the ERASMUS International Meaning of “Makam” in The Musics of Competition was held in Bursa in July Student Exchange programme, and Turkey after 1980. This study focuses 2012, where dance groups from differ- ongoing fieldwork activities are taking on the changing process, the structure, ent countries performed in different place, where both faculty and students perception and cultural meanings of parts of the city. A similar international conduct fieldwork on the music per- makam altered by the influence of mod-

Bulletin of the ICTM Vol. 122 — April 2013 — Page 68 REPORTS ernisation and globalisation in 20th berg's Five Pieces for Orchestra, as to- stitutions such as Sergey Prokofiev century. nal and atonal samples respectively, Donetsk State Musical Academy and during fMRI (functional magnetic Antonina Nezhdanova Odessa State F. Merve Eken Küçükaksoy (2012). resonance imaging) registration, where Musical Academy, offering different Expression of Cultural Identity brain activations were examined. kinds of scientific and educational ac- through Music: Cultural Performances tivities in ethnomusicology. in Kemaliye (Eğin). In this dissertation, Mümtaz Hakan Sakar (2007). Woman the author debates the expression of in rock music in the example of Özlem The leading research institution of cultural identity at performances in Tekin: gender, ethnicity, hegemony. Ukraine is the M. Rylsky Institute of Kemaliye (Eğin), a town in the out- This work aims to understand popular Art Studies, Folklore and Ethnology skirts of the city of Erzincan, which is music from the view of gender and of Ukrainian National Academy of nowadays a conspicuous place for live- focuses on a woman rock star’s experi- Sciences, which covers main folk and liness during the summer season. ences in the male-dominant rock music art disciplines. The history of the Insti- scene of Turkey. tution starts in the 1920s, with its estab- Zeynep Günsür Yüceil (2007). Mod- lishing and further functioning of dif- ernization through Dancing Bodies in ferent ethnographic, anthropological Turkey. The study aims to explore the Ukraine and ethnological commissions, among first thirty years of State Ballet Institu- by Olha Kolomyyets, them two most influential for Ukrain- tions of Turkey. It is based primarily Liaison Officer ian ethnomusicology: the Ethnographic upon the interviews of Turkish ballet’s Since this is the first Commission and the Cabinet of subjects and critics’ reviews, mostly Ukrainian report in 7 Musical Ethnography headed by Kly- published in journals and newspapers years, it is divided into ment Kvitka. Since 1994 and after of the time. a few parts to present Ukraine’s independence, a new period ! Serap Akdeniz (2011). Musical Prac- the current situation of ethnomusicol- in the history of the Institution began. tices of Izmir Yamanlar Alevi Immi- ogy in Ukraine as comprehensively as Nowadays the research at the Institu- grants in the Context of the Alevi possible. tion is conducted by seven depart- Musical Revival. This study explores ments: fine arts, theatre studies, cinema In this Bulletin I would like to pay at- the ritual and non-ritual musical prac- studies, culture and ethnic arts studies, tention to the main ethnomusicological tices of Alevi immigrants who mi- professional and folk art of foreign centres, their research, educational ac- grated from the Central and Eastern countries, folklore, and Ukrainian eth- tivities, and their most important pub- Anatolia to the Yamanlar District, Izmir nology centre. Fundamental research of lished newsletters, journals, collections in the context of the ‘Alevi music re- the Institute is carried out in the areas of articles and materials that reflect the vival’. of historical and ethnographical studies main tendencies of the institutions. of culture and ethnic history of the Aykut Barış Çerezcioğlu (2011). Ex- Ukrainian people; studies of ethnic There are currently a number of re- treme Metal Scene on Global Context: minorities of Ukraine within the searchers in Ukraine involved with Izmir Extreme Metal Scene. The study present-day cultural processes; topical ethnomusicological studies at different analyses the Izmir Extreme Metal theoretical issues of professional-art institutions, the most active of them Scene by highlighting the importance history and folklore; ethnic culture and being: the Ukrainian National Tchaik- of connectivity concept on globalisa- art of foreign countries, history and ovsky Academy of Music, Maksym tion in the evaluation of local-global tendencies of their present-day devel- Rylsky Institute of Art Studies, Folk- dynamics of music scenes. opment; present-day folk studies: his- loristic and Ethnology of Ukrainian tory, theory, innovative tendencies. The Başak Çallı (2011). Impact of tonal and National Academy of Sciences, Kyiv issues of research areas are discussed atonal music on brain: an fMRI study. National University of Culture and in the official publication of the Insti- This dissertation is an interdisciplinary Arts, Ivan Franko Lviv National Uni- tute, the scientific journal Folk Art and study of the relationship between mu- versity, Mykola Lysenko National Ethnology. sic and emotion where distinct disci- Musical Academy, the Ethnology Insti- plines such as neurology, radiology tute in Lviv of the Ukrainian National and musicology were integrated. In Academy of Sciences, the Institute of this study, fifteen right-handed female Arts at Rivne State Humanitarian Uni- non-musician subjects aged 25-48 were versity, Kharkiv State Academy of Cul- made to listen to Bach's Concerto for ture, Ivan Kotliarevskyy Kharkiv State Two Violins in D Minor and Schön- University of Arts. and some other in-

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which situated at the Ukrainian Na- is in the area of ethnomusicological tional Tchaikovsky Academy of Music: theory, Ukrainian folk music, and eth- the Scientific Research Laboratory of noorganology. It should be noted that Music Ethnology and the Department in the process of training ethnomusi- of Musical Folkloristics. Both centres cologists great attention is paid to per- were established in early 1990s after forming of traditional Ukrainian vocal the country’s independence, on the and instrumental music. wake of national revival and as a result The theoretical studies of Kyiv re- of reorganisation of the earlier centres which dealt with Ukrainian folk music searchers concern such fields of eth- studies at Kyiv State Conservatory nomusicology as musical language and systems in folklore, regional and genre (like the Cabinet of folk music art, which had functioned since 1965). The stylistics. Very important directions are Heads of the Kyiv Laboratory were musical arealogy and folk archaic’s Yevhen Yefremov (1992-1993), Myhaylo mapping. Khay (1993-2002), and Iryna Klymenko Another important feature of Kyiv eth- (since 2002). nomusicological centre is concentrating on native traditional music: native folk Folk Art and Ethnology, academic journal of the The main directions of the Laboratory’s music is still “alive” and needs to be M. Rylsky Institute of Art Studies, Folklore and activities are: fieldwork and recording Ethnology of Ukrainian National Academy of of folk music materials (mainly in Pol- recorded and studied as deep as possi- Sciences. issia and Naddniprianshchyna re- ble. The main ideas about this direction of Ukrainian ethnomusicology can be Lviv’s Ethnology Institute was estab- gions); archive handling and preserv- lished in 1992 and is a quite active eth- ing of audio collections, including elec- followed in the report of past ICTM nological centre working in the areas of tronic cataloging; transcribing of folk Liaison Officer of Ukraine, Olena ethnography, folklore, arts, museum, texts and melodies; theoretical studies Murzina, in the Bulletin of the ICTM 107, October 2005. urban and gender studies. Among the of folk music; issuing CD’s with tradi- major achievements of the institute is a tional Ukrainian music; and perform- Since 1998, the main publication of the fundamental 4-volume study, Ethno- ing reconstructed local musical tradi- two aforementioned institutions has genesis and Ethnic History of Inhabitants tions. The main research area of the been Problems of Music Ethnology. Issues of the Ukrainian Carpathian Region. Re- Laboratory during 1996-2006 was the have been dedicated to theory of searchers of the Institute also discuss project “Folk music culture of Ukraine: musical folklore; the questions of folk different urgent problems of Ukrainian traditions and modern functioning”, music’s genres and styles; ethnoor- ethnology on the pages of the regular since 2007 the activity of collaborators ganology; methods and pedagogy; and Institute’s scientific journal Ethnological of the Laboratory has concentrated on applied methods of ethnomusicology. Notebooks. the area of “Ethnic music of Naddni- prianshchyna and Polissia regions: the Nowadays, researchers and lecturers of However, the most visible result and mechanisms of formation of regional these centres (Bohdan Lukaniuk, Iryna basis for the further development of traditions”. Since 1993 the Laboratory Dovhaliuk, Vasyl Koval, Yuriy Rybak, Ethnomusicology in Ukraine are pro- has collaborated with the Department Lina Dobrianska, Larysa Lukashenko, duced by institutions dealing with both of Musical Folkloristics at Kyiv Na- and myself) are concentrated mainly scientific and educational activities. tional Musical Academy, the Labora- on the area of traditional folk music They are usually connected through tory being its scientific, methodological and ethnic history of Halychyna and people who work both as scientific col- and practical basis. Volyn’ regions, and teach ethnomusi- laborators and as teachers within the cological disciplines for BA and MA same institution (if sometimes at dif- The Department of Musical Folkloris- students. The main research trends are: ferent departments). Currently, there tics was established in 1993. Under the regular field work, archiving collected are institutions of that kind in the cities scientific guidance of Olena Murzina, records, ethnomusicological studies, of Kyiv, Lviv and Rivne. Yevhen Yefremov, Mykhaylo Khay, conference and publishing activity. Rayisa Husak and Iryna Klymenko, a Kyiv number of post-graduate students are Since 2006 the yearbook Ethnomusic has In Kyiv, the capital of the country, there doing their research at the Department. been published. Each volume is dedi- are two interconnected centres, both of The main specialisation of the students cated to a particular theme or to an important event or personality in the

Bulletin of the ICTM Vol. 122 — April 2013 — Page 70 REPORTS history of Ethnomusicology (e.g., Vol.6 Oleksandr Kozarenko), which since was dedicated to the 100th Anniver- 2004 offers a specialisation in ethno- sary of the theory of music- musicology for students of BA and MA ethnographic transcription; and Vol. 7 levels. The specific characteristics of to Oskar Kolberg). their ethnomusicological programme is researching of world folk music traditions with a special accent on Oriental music, besides native folk music. This direction is conducted by myself, Olha Kolomyyets. World culture studies is of great importance for Ukrainian scholars, as historically it could not be implemented in full because of political, social and others objective circumstances. Currently, Ukrainian ethnomusicologists are members of international organisations and take part in international conferences more inten- Problems of Music Ethnology, journal of the sively. Many colleagues from abroad Kyiv Laboratory of Music Ethnology and the Department of Musical Folkloristics. Vol.3 offer a great assistance in the process of integration, such as Antoniy Po- Rivne tochniak, Mariya Sonevytsky, and The Department of Musical Folklore Ethnomusic, Yearbook of the Department of Adriana Helbig of Pittsburgh Univer- Musical Folklore Studies and the Research sity. at Rivne Institute of Art—another Laboratory of Musical Ethnology of M. Lysenko Ukrainian ethnomusicological cen- Lviv National Musical Academy. Ethnomusicologists teaching at the tre–—concentrates more on performing Lviv National University publish their One of the oldest departments of the skills. The Department was established researches in the yearly Visnyk of the in 1996 (head: Roman Dzvinka) as a Lviv University is the Filaret Kolessa Lviv University, one of the most re- Department of Ukrainian Folkloris- continuation of the Department of spected research collections in Ukraine tics at the Faculty of Philology. Headed Folklore and Folk Singing, which had (in the series Art Studies and Series by Vasyl Ivashkiv, the Department was existed since 1989. At the Department Philology). founded in 1939 by famous Ukrainian students can study different kinds of solo and ensemble traditional singing, researcher and one of the founders of Thus, regardless of a serious economic mostly of the Polissia region, and prac- Ukrainian ethnomusicology, Filaret and political crisis in Ukraine that has tice playing traditional musical in- Kolessa. The Department existed until an obvious impact on scholarly activi- struments such as bandura, lira, and 1947 and was closed by the Soviet re- ties, Ukrainian researchers continue to others. Students record the material for gime, which was opposed to any re- develop the basic ideas of the founding practical studying mostly by them- search of national and ethnic area. The fathers of Ukrainian ethnomusicology, selves during regular fieldwork in the Department was reopened in 1990 and and responding to the current trends of region. Lately, theoretical studies are was witness to a revival of scholar re- studies on world music and oral tradi- becoming increasingly intense at the search on the eve of Ukraine's inde- tional studies. It is a task which de- Department, and both teachers and pendence. Since then the students have mands great efforts, courage, and dedi- researches have worked on the com- specialized in history and theory of cation. Therefore, my next report will plex scientific theme “Ethnomusical ethnomusicology, and the main inter- be about the main personalities of Culture of Western Ukraine”. ests of its scholars and lecturers are modern Ukrainian ethnomusicology, history of folkloristics, interaction of their conference activity and published Lviv literature and folklore, and problems of studies. ethnomusicology. In Lviv there are a few institutions dealing with ethnomusicological stud- The most recent unit dealing with folk- ies which share common activity and lore studies and ethnomusicology in lecturers/researchers: the Research the Lviv National University is the Laboratory of Musical Ethnology and Faculty of Culture and Arts (Dean: Department of Musical Folkloristics at

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Mykola Lysenko Lviv National Musical knowledge gap, even for the Venezue- González Queipo and Dianora Richard Academy, and Filaret Kolessa De- lan, who are not organised in an asso- de Mora (Las Décimas de los Paraujanos. partment of Ukrainian Folkloristics ciation dedicate to our topic. Some- Música e historia oral del Pueblo Añú. and Folklore Studies Laboratory at the times we do not even know each other, Maracaibo, 2010) takes us to an indige- Faculty of Philology of the Ivan Franko in spite of being only a few scholars in nous group and analyses under an his- Lviv National University, as well as an the country. However, we are dis- torical, semiotical, and anthropological ethnomusicological specialisation at persed across the whole territory, and view the symbolism in the Hispanic the Faculty of Culture and Arts of the are not fully aware of our activities be- poetic form décima, adopted by the Añú same University. All these institutions cause of restricted availability, insuffi- for their music. are mostly theory-oriented and, unlike cient dissemination, little amount of the Kyiv and Rivne centres, offer stu- edited materials, and little promotion. About traditional music culture in the Eastern part of Venezuela we can find a dents a rather limited range of per- Nevertheless, there has been a high forming practices of traditional music. quality productivity in the last few pioneering work by Sonia García (Tra- years. The focus of all ethnomusi- diciones de la isla de Coche: Diversión ori- The Department of Musical Folklore cological research has been on inside ental. Caracas: Imp. Miguel Ángel Studies at Mykola Lysenko Lviv Na- García e Hijo, 2009) about musical phenomena, which is very necessary tional Musical Academy was founded because of the relatively little updating street theatre pieces in Christmas time by Bohdan Lukaniuk in 1991, and be- of the pioneering works done by Aretz and in festival form, where she gives came one of the first of its kind in East- very important data concerning his- and her husband Luis Felipe Ramón y ern Europe. Within a year, and due to Rivera since the 1960s. Venezuela is torical hypotheses, describes different persistent efforts by Prof. Lukaniuk, extraordinarily rich in intact folk music elements on what makes a Diversión, the Research Laboratory of Musical and presents never before accessible traditions, with an enormous diversity Ethnology also gained official status., resulting from 500 years of transcul- chronological information about con- which resulted in the Department and turation between traditions of indige- tents, groups, and authors of the Festi- the Laboratory sharing researches and nous, African and Spanish roots. val since 1972. In a larger geographic topics for research, mostly about the area, Rafael Salazar (Oriente de polo a development of ethnomusicology in Unfortunately, for about 10 years there polo. Caracas: BCV, 2010) emphasises the Halychyna region during the 20th has been no specialised institution on historical aspects, music genres, and and 21st centuries. Founders of Ukrain- dedicated to folk music research in the specific performers of the region, ac- ian ethnomusicology, such as Stanislav country. Universities where musicol- companying it with 2 CDs with record- Liudkevych, Yaroslav Shust, Volo- ogy, education, or music is taught, only ings of traditional and popular musi- dymyr Hoshovskyy and others, occasionally focus on this area. I will cians. worked at these centres during differ- furnish a first review about recent ent periods. books, academic thesis, CD and video We can find also research about music production. cultures in the Northern Central part of Venezuela Venezuela. On the one hand there is a Books remarkable publication about the by Katrin Lengwinat, dance festival joropo, because of being a We have seen published some very Liaison Officer first attempt to integrate the perspec- good books on ethnomusicological tives of traditional musicians and aca- Until 1995, Venezuela subjects during the last decade. Refer- demic researchers in one homogeneous was represented in ring to cultures in Western Venezuela, work. Edited by myself, Katrin Leng- ICTM by a National there is an excellent study by Carlos winat (Estudios en torno al Joropo Cen- Committee, Chaired Suárez (Los chimbángueles de San Benito. tral. Caracas: Fundación Sojo, 2009) , it by Isabel Aretz. The last Caracas: FUNDEF, 2004) of the Afro- contains 15 studies about characters, country report for Venezuela was pub- Venezuelan festival of St. Benedict, history, dance, present performances, which includes history of the festival, a lished in this Bulletin (in Spanish) in lyrics, and relations between joropo, April 1994, featuring the ethnomusi- detailed analysis of the ensemble of fandango and baroque music style. On cological activities of a single institu- seven different drums, flute, maracas the other hand there is another study tion, FUNDEF (Foundation of Ethno- and singing, transcriptions of each one by Sonia García about a local tradition musicology and Folklore), until 1992. of the diverse tunes, very good photos, of dancing devils in Corpus Christi a CD with 56 music examples, and an (Diablos danzantes de Naiguatá. Caracas: Therefore, more than 20 years have outstanding design. Another study Imp. Miguel Ángel García e Hijo, passed since the last report – a large made by Ernesto Mora Queipo, Jean

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2007), analysing all religious and mate- 2005, where we can find a biographical poration process of the Western violin rial aspects and collecting information review of her life and work, as well as in Andean popular traditions. about some leaders of the brotherhood. chapters about ethnomusicological re- Finally we have a beautiful edition and search, phenomenology, instruments, Audio production a thorough research about a local Afro- musical regions, aboriginal, folk music There has been a considerable produc- Venezuelan St. John’s Festival by and mesomúsica, a term and concept tion of ethnomusicological discs and Zuleyma Escala Muñoz and Rafael adopted from her Argentine teacher audiovisuals, very needed because of Fernández Villegas, Los Negros Kimbán- Carlos Vega. the loss of previous works on LP, cas- ganos. Una fiesta de San Juan en Lezama. sette or VHS. Very few materials are Caracas, 2995, sponsored by the private Academic theses digitalised, and done mostly by private company Ypergas. Since it is not yet possible In Venezuela initiatives. The Centro de la Diversidad to obtain a doctorate in ethnomusicol- Cultural (Editor’s Note: Centre for Cul- To close the book review section, men- ogy, musicologists must look for either tural Diversity) is concluding a project tion must be made of four books re- a broader framework of focus, or go from 2006 under the coordination of lated to national geographic views. abroad. It is therefore admirable that in Carlos García Carbó, titled Venezuela There is an extraordinary and critic the last two years we can count two Plural, which comprises 100 compact study by David Guss about Race, Eth- outstanding graduations in anthropo- discs, dedicated in its majority to tradi- nicity and Nationalism as Cultural Per- logical area. The first is Rosa Iraima tional music recorded in the field and formance, translated from English (El Sulbarán’s work about rituality in documented in the older archives of estado festivo. Raza, etnicidad y nacional- popular religiosity in Andean villages INIDEF/FUNDEF. Specialists from all ismo como representación cultural, Cara- (“La Ritualidad en las Manifestaciones over the country were given the task of cas: FUNDEF, 2005), where the author Musicales Religiosas de los Pueblos del Sur selecting the materials, but unfortu- analyses in five case studies the cul- del Estado Mérida. Estudio Comparativo nately the CDs (to date about 50) lack tural transformation, due to either en Etnología Religiosa y Antropología de valuable and necessary information commercialisation, camouflage of La Música”, PhD diss., Mérida, Univer- provided by the researchers. business interests, race or politics. An- sidad de Los Andes, 2012), and the sec- other work by Rafael Salazar (Vene- ond is by Matthias Lewy, about the García Carbó has also published two zuela, Caribe y música. Caracas: areruya and cho'chiman rituals, the re- additional titles: one with Smithonian CONAC, 2003) considers processes of Folkways Recordings in 2011 (La Sar- sult of a three year period of field re- miscegenation in some genres of the search among the Pemón in Gran Sa- dina de Naiguatá ¡Parranda! Venezuelan Venezuelan Caribe. The interesting bana, “Die Rituale areruya und cho'chi- Carnival Music) and another with point here is the historical viewpoint, PDVSA in 2006 (Memoria musical de man bei den Pemón (Gran Sabana, Vene- seldom used in contemporary Vene- zuela)”, PhD diss., Freie Universität Paria), which features a 32-page book- zuelan works, and the recognition of Berlin, 2011. (link to dissertation). let and 16 tracks with field recordings musical regions. This study is accom- Alongside structural analysis, the spe- illustrating the large diversity of this panied by 2 wonderful CDs with field most northern oriental region. cific particularities of Pemón cosmol- recordings from Oswaldo Lares. A ogy are described with the help of third interregional publication was From the Western side of Venezuela, in Amerindian perspectivism theory. Fur- made by Daría Hernández and Cecilia a nearly isolated region on the Andes, thermore, there is also an outstanding Fuentes (Fiestas tradicionales de Vene- we have two very valuable documents master thesis by Nina Hurtado about zuela. Caracas, 2012), a greatly ex- recorded by Rosa Iraima Sulbarán in aboriginal music instruments of 10 panded Spanish/English bilingual re- 2011, one from the traditional violin ethnic groups living along the Amazon issue of an earlier work originally pub- repertoire of Sixto Rivas (Expresiones basin, in an amazing multimedia for- lished by the Foundation and Cigarette musicales antiguas de los pueblos del sur mat: “Instrumentos musicales indígenas Company Bigott. It is a description of del estado Mérida) and another with del Amazonas venezolano”, MA thesis, traditional festivals and other occa- popular religious chants (Los romances Universidad Central de Venezuela, sions, considering also musical instru- de Mucutuy). 2006. Finally, another master thesis by ments and clothing. To conclude, I María Ríos Rondón (“El Violín en Mé- Video production would like to mention a book about rida. Una mirada etnohistórica reconstru- theoretical and applied items of Vene- Video production has increased and ida a través de los propios violinistas me- zuelan ethnomusicology by Isabel has been recognised as an attractive rideños”, MA thesis, Universidad de los Aretz (†2005): La etnomúsica venezolana medium to communicate research re- Andes, 2010) is dedicated to the incor- del siglo XX. Caracas: OPSU/CNU, sults on traditional music. There is a

Bulletin of the ICTM Vol. 122 — April 2013 — Page 73 REPORTS considerable production by the private company Bigott, where Pierina de An- gelis, Enrique Blein, and Cecilia Fuen- tes produced between 2008 and 2009 products on topics such as festivals of the summer and winter cycles, the joropo from the centre of the country, or the devil dances in Corpus Christi. Also more informal products can be observed, like in the case of Alvany Guédez and Oscar Quevedo, students of musicology at the University of Arts (UNEARTE), who documented a historical and field experience about a carnival funeral tradition, and up- loaded their results to Youtube (Sobre el Entierro de la Sardina - España y Vene- zuela). Cấp sắc ceremony in the Then of the Tày ethnic group in Na Rì district, Bắc Cạn province. I will shortly extend information about these items and others, like university 2. Workshop on “Inventory of Ca trù 7. Conference on “Incorporating tradi- and non-governmental organisations. cultural heritage in 2012”, held by tional music heritage in tourism – If you are interested in more informa- VIM in May 2012. reality and solutions”, held by VIM tion or any product, don’t hesitate to 3. Workshop on “Inventory of the in December 2012. contact me. heritage of Đờn ca tài tử music and Publications song in 2012”, held by VIM in June 1. VÕ Trờng K, NGUYN Tn Nhì, Vietnam 2012. Thanh Hin and TRN Thanh Bình. by PHẠM Minh Hng, 4. Conference/Workshop “Develop- Tài tử artists write about the art of Chair of National ing Effective Methodologies to Đờn ca tài tử. Hà Ni: Vietnamese Committee Document Intangible cultural heri- Institute for Musicology, 2011. 248 tage Elements in Viet Nam”, organ- In 2012 the Executive pages. ised by VIM in cooperation with the Board of ICTM recog- 2. Proceedings of the international confer- International Information and Net- nised me as the Chair ence “The art of Đờn ca tài tử and working Centre for Intangible Cul- of the ICTM Vietnam styles of improvisation”. Hà Ni: tural Heritage in the Asia-Pacific National Committee. This is a great Vietnamese Institute for Musicol- Region, under the auspices of honour for me. Following is a sum- ogy, 2011. Vietnamese and English UNESCO (ICHCAP), 2-6 July 2012. mary of the most important research, versions, 400 pages. 5. In November 2012, VIM organised publications, conferences, and projects 3. Inventory of the art of Đờn ca tài tử in a class to teach Ca trù cultural heri- related to the conservation, the devel- 2010. Hà Ni: the Vietnamese Insti- tage by senior folk artists, to im- opment and the popularisation of tra- tute for Musicology, 2011. 611 prove the students’ ability of Ca trù ditional music, implemented by the pages. Vietnamese Institute for Musicology performance in 14 Vietnamese 4. Đờn ca tài tử from the research angle. (VIM) in 2011 and 2012. provinces. Hà Ni: Vietnamese Institute for 6. Conference on “Conservation and Musicology, 2011. Conferences and workshops promotion of Then art in the present 1. Conference “Writing the document stage”, held by VIM and the De- 5. DVD Ca trù-Vietnamese Cultural of Then singing of Tày, Nùng, and partment of Culture, Sports and Heritage, in Vietnamese and Eng- Thái ethnic groups in Vietnam”, Tourism of Lng Sn province, in lish, presenting an overview of held by VIM in May 2012. November 2012. Then is a synthetic Vietnamese Ca trù heritage. performing art, including religious Furthermore, VIM publishes a quar- belief, music and dance of Tày, terly scientific bulletin, in Vietnamese Nùng and Thái groups. and English, featuring the activities of

Bulletin of the ICTM Vol. 122 — April 2013 — Page 74 REPORTS the Institute, including scientiﬁc reports about ﬁeldwork, papers presented at national and international conferences, etc.

Collection and fieldwork Fieldwork for collecting audio and video materials of traditional music of ethnic groups in Viet Nam is one of the main activities of VIM. In 2012, the following ﬁeld trips were conducted:

✴ Safeguarding folk music, including musical forms of Ví, Đúm, Trống quân Databank of the Vietnamese Institute for Musicology (military drum) and Mc Liên- Thanh Đ performing arts, in Ninh 3. Ca trù in different performance envi- the Vietnamese Institute for Musicol- Xá commune, Thun Thành district, ronment is a research project on Ca ogy. Bc Ninh province. trù (a musical form that has been recognised as intangible cultural ✴ Folk music of the Thái and Lào eth- heritage in need of urgent safe- nic group in the Ching s com- guarding by UNESCO in 2009) in mune, Đin Biên Đông district, Đin the environments of worship, Biên province. chamber, rituals and performance ✴ Cấp sắc ceremony in the Then of the stage. The project consists of 117 Tày ethnic group in Na Rì district, pages, conducted by NGUYN Thy Bc Cn province. Tiên. Research 4. Music in performing art of Việt people Showroom for Vietnamese traditional musical In 2012, the Vietnamese Institute for in Thanh region is a research project instruments Musicology accepted and conducted on the special characteristics of mu- the following research projects: sic in the performing art of Viet Awards people in the Thanh region. It sug- The book Collection of Vietnamese 1. Hát văn thờ in Ha Noi (Mediumship gests some directions of promoting musical works – Author and Works (Vol. rituals for worship) is an intensive and conserving these musical val- 1), published by VIM, was awarded the research on music of Hát văn thờ, ues in present society. This project special prize from the Association of conducted by H Th Hng Dung. was conducted by Đ Th Thanh Vietnamese Musicians, as the book of This music is associated with Tứ Nhàn. the year 2012 in research, theory and Ph religious activity, which is im- criticism. bued with Vietnamese cultural Databank characteristics. Listed above were some of the typical 2. Trống quân Đức Bác [Duc Bac military In 2012, a wealth of documents, audio activities that the Vietnamese Institute drum] on the Fatherland, conducted and video tapes (dating back to 1958) for Musicology conducted in 2011 and have been gradually digitised, and by PHM Minh Hng, is a research 2012. In the future it is hoped that the project on comprehensively study- stored in the data bank of VIM. Institute will have more opportunities to introduce our work in Viet Nam, ing a traditional performing art. It Showroom for Vietnamese traditional is of many ancient cultural and and we look forward to having a musical elements. It is also a quite musical instruments chance to cooperate with other ICTM special component of Xoan singing, In 2012, VIM opened a Showroom for members around the world. a heritage which has been recog- Vietnamese Traditional Musical In- nised as the intangible cultural heri- struments, where visitors can not only tage in need of urgent safeguarding experience the musical instruments of by UNESCO. 54 ethnic groups in Viet Nam, but also enjoy several traditional and folk musical acts performed by the artists of

Bulletin of the ICTM Vol. 122 — April 2013 — Page 75 REPORTS Reports from ICTM Study Groups

Ethnochoreology Establishing a Sub-Study Group of up for questions and discussions based Movement Analysis? on our video clip, our analysis, our by Siri Mæland, Sub- On 10 November the question on “Es- concepts, etc. The aim for the video clip Study Group Secretary tablishing a Sub-Study Group on and the presentation is to bring up re- Minutes from the for- Movement Analysis” was put to the flections, questions and problems con- mation of the Sub- participants. After introducing our- nected to movement analysis, and Study Group on selves, the group really felt that we had music-dance relationships or dynam- Movement Analysis, a lot to talk about, and really wanted to ics. ICTM Study Group on meet in the spring 2013. It was agreed On the basis of our discussions, we Ethnochoreology, 8-10 November 2012. upon that a Sub-Study Group on- hopefully will establish a shared lan- The first meeting took place as part of Movement Analysis should be estab- guage despite our different movement the Memorial Session in honour of lished, and we were again invited to systems, share our competence, and György Martin on the anniversary of Budapest. The time of the future meet- hopefully solve some of our difficul- his 80th birthday in the Institute for ing will be agreed via Google. ties. Musicology of the Research Group on From the session at the Motion Capture Humanities of the Hungarian Acad- An aim for the next meeting will also laboratory, it was clear that the tech- emy of Sciences of Budapest, and as be to decide how to advance with the nology system needs to be elaborated a part of a Hungarian-Norwegian col- group. laboration with 3D technology in re- bit to suit our dance analysis interests. cording dance and dance analysis. The project is not yet being funded, so János Fügedi invited us to Budapest, there is nothing the Sub-Study group and was happy to organise a meeting On 8 November the Memorial Session could take advantage of in this early once more. It was decided that we will had a Hungarian part, and on 9 No- stage. try to meet in the spring, tentatively vember an English part. Several mem- early May, from Friday to Sunday. We After the group of 18 people had pre- bers of the Study Group on Ethnocho- shall have to coordinate with the Sub- sented themselves it became clear that reology shared their papers in these Study Group on Fieldwork. We will we were using a lot of different move- Sessions; FELFÖLDI László, Egil Bakka, use Goodle to coordinate ourselves. ment analysing systems - some clearly FÜGEDI János, Colin Quigley, and connected to an institution or a dance VARGA Sándor. Unfortunately Anca A special thanks to the organisers, Giurchescu was not able to come. At tradition, others more international as Laszlo Felföldi and János Fügedi! the afternoon of 9 November the group Labanotation. The group had also dif- was invited to visit the Motion Capture ferent "attacks" to the analysis; struc- Iconography of the laboratory of the Computer and Auto- tural, aesthetical, microrythmical, etc., Performing Arts but members also share some similar mation Research Institute of the Hun- by Zdravko Blažeković, interests. garian Academy of Sciences - STAPS. Study Group Chair We got a really good impression of It was decided that the next meeting After being dormant their work, because of a preexisting would focus on two themes: Music project they have initiated with for more than a dec- Dance Relationships and Dynamics; ade, the Study Group Hungarian-Norwegian dance archives and Theoretical and Practical on the Iconography of based on Hungarian-Norwegian fund- Thoughts. The aim for the meeting is to the Performing Arts has been reconsti- ing. We were presented for two differ- create discussions over the themes, and tuted and with the symposium “Im- ent kinds of motion capture systems, make a foundation for the group. ages of Music-Making and Cultural suits and cameras. Since the project has Exchanges between the East and the not yet been funded, we were very Each participant shall present a short West”, organised by the China Conser- lucky to watch and join the pre-plans video clip of a dance. They shall then vatory of Music in Beijing (27–31 Octo- for the project. shortly present the main focus and the ber 2012), it reestablished continuity of analysis and concepts based on this its meetings (Editor’s Note: the pro- particular focus (music-dance relation- gramme of this Symposium was published ships or dynamics). We will then open in the previous issue of this Bulletin).

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LUO Yong from the China Conserva- nial of World War I, and appropriately, Bosnia and Herzegovina to hold its 8th tory was the Chair of the Local Ar- it will start on Armistice Day 2014 and Symposium in this interesting country. rangements, and he made a great effort close on 13 November 2014. Papers are The Symposium took place from 8 to 11 to attract to the conference a large invited concerning visual sources November 2012 at the Academy of number of scholars and graduate stu- about military bands and musicians in Music of the University of Sarajevo, in dents from Chinese universities. The the times of war and peace of all peri- conjunction with the 8th International conference hosted 56 participants, ods. among them 26 from China, Hong Symposium “Music in Society”. The Kong and Taiwan, what was a particu- Maqām general topic of the Symposium looked larly impressive number considering at “Maqām: Historical Traces and Pre- by Jürgen Elsner, Study that the research on music and dance sent Practice in South European Music iconography has not been the most Group Chair Traditions”. That included sub topics active field of research among Chinese The 8th Symposium of on relations between maqām and mode, scholars. The conference featured a the ICTM Study Group on the influence and the expansion of keynote presentation by Richard Lep- on Maqām held in Ottoman music in the Mediterranean pert on “Music and Western Social Or- Sarajevo area, as well as on the role of Sufi der: Ancient World and Early Modern brotherhoods for the dissemination of World”. The participants had also the In previous meetings of the ICTM pleasure to enjoy two concerts of stu- Study Group on Maqām, some funda- the maqām. A small circle of enthusiasts dents of traditional music and theatre mental problems of the maqām phe- arrived in Sarajevo, yet, there were al- at the China Conservatory and a visit nomenon as well as many historical together twelve contributors, nine from to the Yungang grottoes (5th-6th cen- aspects of corresponding regional mu- abroad representing institutions and tury AD) near Datong, Shanxi prov- sic traditions have been described and individual research conducted in Fin- ince, which are particularly rich with discussed. The results of these efforts land, Germany, Malaysia, Serbia, representations of musical instruments. have extended and deepened consid- Slovenia, Tunisia and Turkey, the re- The next symposium of the study erably the knowledge and the under- maining being from Bosnia and Herze- group is planned for the fall of 2014. It standing of the maqām phenomenon. govina. Of course, this small circle—en- will be organised by the Istituto per i Nevertheless, it cannot be ignored that larged by students and some interested beni musicali in Piemonte, in Turin, multifarious personal, local and re- participants—could not cover the excit- with Cristina Santarelli as the local or- gional traditions and their history, con- ing dimensions of the topic. Neverthe- ganiser and co-chair of the Programme structive foundations and mutual rela- less, the contributions offered new in- Committee. The general theme of the tions are not yet sufficiently investi- sights and knowledge on some aspects conference will be “Neoclassical Re- of the influence of Ottoman music cul- verberations of Discovering Antiq- gated and recognised. In spite of all ture in the Mediterranean region and uity”, and we are hoping to examine its specified contributions to several top- following facets: (1) The impact of ar- ics, many facts are left uncertain, sup- especially in parts of the Balkans. There chaeological explorations at Pompeii posed, speculatively suggested or even exist historical developments and re- and Herculaneum: New visions of an- unknown. The continuous evolution cent occurrences in the realm of music cient musical life and myth; (2) Music and discontinuous practice of personal, culture which seem to wait for their of ancient Egypt and North Africa in local and regional music traditions ac- discovery and investigation. the Western art; (3) Antiquity on the cording to the maqām principle, the ma- First, the presentation of Gisa Jäh- operatic stage; and (4) Musical impres- terials of the corresponding music in sions by the visual artists on the grand nichen (Malaysia/Germany) started a situ have not yet been studied pre- tours. Colleagues from Asian countries principal approach to the maqām phe- cisely. The scientific acquisition shows who want to join the conference can nomenon in an interregional transfer large gaps of knowledge and under- focus their presentations on music- and use of modern media. Speaking standing due to lack of an intensified making in Asia seen by travellers and about the “Maqām Principle in Periph- actual discussion asking for details. collectors. eral Cultures” based on her Southeast This is true not at least for the music Members of the Study Group are also Asian experiences, she aims at defining cultures of South European countries invited to join the conference which various degrees of awareness in music especially for the Balkans. will be organised by the Research Cen- making and elemental understanding ter for Music Iconography at the Therefore, it has been an excellent op- of the maqām principle recognising its Graduate Center, City University of portunity for the Study Group on distinctiveness under today’s social New York, entitled “Sounds of Wars Maqām to be invited by the Academy and cultural conditions. Some other and Victories: Images of Military Musi- contributions followed a similar ap- cians on Battlefields and Promenades”. of Music in Sarajevo and the Musi- This conference will mark the centen- cological Society of the Federation of proach. Their authors described and

Bulletin of the ICTM Vol. 122 — April 2013 — Page 77 REPORTS discussed developments, changes and guitar, shed light on some peculiarities lowed a problem the other way round. experiments of traditional genres at of the maqāms, especially of the Hijaz The invasion of Bosnia and Herzego- present time in which new context maqām, that were not yet discovered. vina by the Austro-Hungarian Empire emerges from socio-cultural changes. in 1878 after the Russian-Turkish war Jasmina Talam (Bosnia and Herzego- Another group of researchers dealt confronted the Oriental musical heri- with historical aspects. A first section vina) evaluated the recovery and tage grown up in the Ottoman period commercialisation of the traditional, in referred to the late Middle Ages and with the new Western musical culture. general maqām-bound Muslim genre the beginning of modern European Cultural imposition through the colo- history respectively. Murat Okan Öz- ilahy, handed down in her country. nisers took place in various areas, Possessing originally a personal con- türk (Turkey) gave a voluminous lec- among them through military bands of fessional character, the ilahy as well as ture on the shu`be concept as a means the Austro-Hungarian army. of classification in the Ottoman makam the ancient kasida have been transformed into a Western style, using theory of the 15th century based on Risto Pekka Pennanen (Finland) drew modern technology and presented at two treatises, the Kitab-i Edvar of Hizir in his presentation “A Hundred Years concert halls and stadiums for fun to bin Abdullah (1441) and the Risale-i of Makams and Modes in Bosnian Musiki of Kirsehirli Yusuf (1411). Öz- Commercial Recordings” an interesting thousands of people thus remodelling the genre, which is left for diverging türk describes speculative reinterpreta- picture of features and consequences of evaluation. Jasmina Huber (Germany) tion and systematisation of historical keeping and transmitting traditional facts by the four lately developed music by technical media by records dealt with the introduction of the Se- phardic Jerusalem rite in Belgrade at shu`bes Yekgah, Dugah, Sikah and from the beginning of the 20th century the end of the previous century and the Chargah and the tetrachordal ar- onwards. There can be observed West- rangement that he compares with the ernisation widely identified with mod- musical challenges the performers of the newly installed rite had to face. It is fourth-based system of the Musica en- ernisation. Since the 1980s, re- the increasing repertoire of liturgical chiriadis being stated 500 years ago. The orientalisation shaped another yet spe- music based on maqām and its special vicissitudes in the region of today’s cial result of media transmission: note- Slovenia from the 15th to the 17th cen- for-note imitations of recorded pieces, subtleties which only very few members of the community can handle. The turies were characterised by its situa- peculiarly of taksims, became a rela- case was exemplified by an analysis of tion as a borderland between East and tively common feature in performance West. Franc Križnar (Slovenia) pointed replacing traditional creativity. the liturgical hymn “Nishmat kol hay”, out how the Ottoman influences on the executed constantly at the Shabbat A third research field looks at the morning prayer. After the destruction Western world oriented musical culture may keep some traces till today. musical influence of the Ottoman Em- of Yugoslavia, a similar socio-cultural pire on North-African countries. situation led to the starting point for Three scholars focused on the devel- Mahmoud Guettat (Tunisia) aimed reconstruction and reaffirmation of opment of musical traditions during high from the universalism of Muslim traditional customs and values in Vo- the last two centuries. Ali Fuat Aydin musical culture as constructing a far jvodina. Vesna Ivkov (Serbia) called (Turkey) lectured together with his col- reaching link between India and Spain the participants’ attention especially to league on “The Melodic Characteristics having created fundamental features the regeneration of religious life of Greek Rebetika Music”, the music of that were enriching Istanbul’s appear- strengthened by immigrants of Muslim one and a half million Greek people re- ance as a the splendid cultural centre countries. Oriented to the maqām- migrated from Turkey to Greece since from the 16th century onwards. bound adhan practice of the Egyptian 1850. Their musical heritage that Achievements connected to it gained Azhar University, the structure of adopted some Turkish appearances great success in music and arts leaving adhan in Vojvodina and the conditions such as the use of instruments like bou- impressive after-effects in the countries and methods of its transmission were zouki and bağlama or the way melody conquered. As Tunisia is concerned, discussed. A quite different and reconstruction using the maqām system this is true for the theoretical and the freshing approach to the maqām heri- changed considerably with the applica- practical realm of music culture. Jür- tage in Bosnia and Herzegovina was tion of Western harmonic progressions. gen Elsner’s (Germany) contribution demonstrated by musician and re- Comparing dromos, the theoretical fun- shed light upon one aspect of the Ot- searcher Damir Imamović (Bosnia and dament of Rebetika, with maqām, the toman influence in dealing with the Herzegovina). His analytical reconsid- author tried to outline the correspond- relation of the Algerian bashraf to its eration of the traditional Sevdah from ing similarities and differences. To supposed Turkish model. It concerns a the perspective of a creative performer, some extent, Fatima Hadžić and Lana rather intricate problem that cannot be supported by practice examples on his Pacuka (Bosnia and Herzegovina) fol- solved easily. Thus the description was

Bulletin of the ICTM Vol. 122 — April 2013 — Page 78 REPORTS limited to the presentation of a so far Study Group Chair was discussed Mediterranean Studies, Vol. 21, no. 2, complete list of Algerian bashrafs, of asking for corresponding proposals 2012 (link), edited by Philip Ciantar notations and analyses of some pieces which should be processed during the and Franco Fabbri. It collects a selec- emphasising tonal-melodical character- next Symposium. tion of papers presented at the 8th istics, rhythmic periods and formal Symposium of the Study Group (Uni- Our high gratitude was expressed to- construction. versity of Malta, 1-4 July 2010) devoted ward the host and his assistants for to the theme “Musical Translations A business meeting was held during their great efforts to organise best con- Across the Mediterranean.” the conclusion of the 8th Symposium ditions for scientific exchange and a of the Study Group. The agenda con- creative atmosphere, last but not least Also in preparation for the end of this tained several items, first the evalua- for an enchanting concert of students year is a special issue of the Island Stud- tion of previous and current activities. performing wonderful local songs and ies Journal (link), which collects a selec- The Symposium was judged as very for a beautiful evening reception sup- tion of papers presented at the Sympo- useful especially concerning the distri- plied with local music. sium on “Musical Insularity” held in bution of music culture over a wide Lisbon, 10-12 July 2012 and hosted by area, the ways of importation, adop- Mediterranean Music the Instituto de Etnomusicologia, Cen- tion, creativity and existence in appar- Studies tro de Estudos de Música e Dança ently peripheral regions. The presenta- by Marcello Sorce Keller, (INET-MD), Faculdade de Ciências tions were interesting and released Study Group Chair Sociais e Humanas, Nova Universi- lively and partly critical discussions. dade de Lisboa. This issue of ISJ will be During the year 2013, For instance, there was a claim to focus edited by Ruth F. Davis and Marcello more on musical sound appearances Mediterranean Music Sorce Keller. and its constructive core, the maqām Studies will be mostly active on the publica- principle. Of course, this demand can- We are of course making plans for tion front. Our website not be rejected but at the same time it is 2014, most probably a Symposium. necessary to clarify the context, to em- (mediterranean-music-studies.com), More information will follow in the which until now has been an informa- bed knowledge of structures in their next ICTM Bulletin. cultural meanings and the way of how tive tool about our Study Group’s ac- these meanings affect human thinking tivities, is beginning to host reviews. Music in the Arab World in general. Though this Symposium We are very keen on publishing re- drafted a wide view on the context views of Audio and Video documents, by Scheherazade Hassan, rather than on structural details of inclusive of multimedia examples. To Study Group Chair maqām, the very principle of maqām this end, Michael A. Figueroa (PhD Report on the Study might be of importance for the coun- Candidate in Ethnomusicology, Uni- Group meeting of the tries adjacent to the Mediterranean or versity of Chicago) has hopped aboard Music in the Arab in particular to the Balkans. In the fu- as Editorial Assistant. The first review World, Ba’abda, Leba- ture, detailed studies have to be con- to open this new section is by Caroline non, 20-21 March 2013. ducted to detect and substantiate his- Bithell, who discusses Hugo Zemp's The ICTM Study Group on Music in torical, social and cultural links. The 2010 documentary Polyphony of Ceriana the Arab World held its meeting on 20- maqām principle dominates some kind (link). Anyone wishing to submit 21 March 2013 at the Antonine Univer- of music production as the revival of documents for review is invited to sity in Hadath-Ba’abda, Lebanon in the Muslim musical traditions makes evi- write to me at my new e-mail address: frame of the annual meeting of its dent. The place of the Symposium con- [email protected]. Higher Institute of Music, and jointly tributed well to the discussion: passing with it. The topic of the meeting was the Great Mosque in Sarajevo at the A volume of contributions presented at “The Situation of Music in the Arab time of the evening prayer we could the 2008 Cambridge Colloquium World in the new Millennium”. 15 pa- hear the adhan first chanted in maqām (“Musical Exodus: Al-Andalus and its pers were presented in Arabic, French Hijaz and then in maqām Rast. Jewish Diasporas”) is expected to ap- and English. pear this year on Scarecrow Press, with Furthermore there was information on Ruth F. Davis as editor. The Director of the Higher Institute of membership, on edition of the proceed- Music, Abou Mrad, welcomed the par- ings and on a proposal for the next Within a few weeks, we also expect to ticipants. He was followed by the dean meeting to be held possibly in Turkey. have a special issue of the Journal of of the Antonine University; father Finally, the necessary election of a Germanos, who described the role and

Bulletin of the ICTM Vol. 122 — April 2013 — Page 79 REPORTS activities of the Higher Institute of Mu- Maria Rijo (Portugal/England) “Re- traditional style which he regarded as a sic within the university. Scheherazade visiting Tradition in the New Millen- sign of decline. Hassan thanked the Lebanese hosts nium: Historical Overview and Com- and expressed her regret as to the ab- parative Analysis of the Process of There followed the presentation of sence of some researchers who were Change in the Notion of Tradition in Abou Mrad, (Lebanon), “The Semiotic Indicators of Musical Acculturation”. unable to attend for budget reasons or the Maghreb and Mashriq” correlated for fear of the regional political insta- musical change with socio-political He mentioned the urgency in describ- bility. change and compared the changes in ing and classifying the different elements of hybridity in the Arabic traditional renderings in Tunisia and She gave a brief summary of the aims Lebanon, suggesting it as a new turn- musical language proposing to ap- and activities of the ICTM and its ing point in the history Arabic music proach it through an analytical proce- Study Groups, and went through the dure of a semiotic-maqāmist nature, heritage. Kathleen Hood’s (US) “Syr- history of the Study Group on Music in ian Druze Music in the New Millen- adapted to the methods of literary the Arab world, its origins and aims, nium” referred to the rich musical tra- criticism. and mentioned that organising meet- dition among the Druze in Syria with ings in the Arab world, to make the Musical education its local dance genres, Arab sung tradi- Most of the Lebanese contributions of interaction between local researchers tions, music influenced by the media musicians-musicologists dealt with and those coming from abroad possi- and new lyrics inspired by political ble, has always been an aim for this musical education in the context of a events, either in the support of the society under a highly western influ- Study Group. However, the political events in Syria or against them, that ence. They revealed striking examples and the economic situations in the form now part of a repertoire per- Arab world since 2003 were hardly of how musical education in the Arab formed in weddings and funerals. helpful and made many tentatives for a world in general, through its institutes meeting almost impossible. Ahmad al Hamadani (Lebanon), “The with their western teaching methods, Husseini Processions of the Lebanese transformed local style. They all re- Regional upheavals, displacements of Shi’a in the Last Three Decades: the vealed a strong awareness of the vita l population Form and Identity Crisis”, followed the importance of transmitting local and A number of papers were dedicated to development of the musical discourse mashreqi “Arab Oriental” traditions and the issue of regional war and upheav- of the Lebanese Shi’a community, style in all levels of musical teaching. als and their effect on music and its which seems to be heavily influenced Boushra Bechealany’s (Lebanon) pa- practices. by the Iraqi sessions of lamentation. per on “The State of Musical Education Evrim Hikmet Ogut’s (Turkey) “Sing- Jean Lambert (France) “Music and in Lebanon in a Context of Overshad- ing in Limbo: the Musical Practices in Revolutionary Changes in Yemen” pre- owing Local Musical Traditions” criti- the Chaldean-Iraqi Church in Istanbul” sented the transformation of musical cised the acculturation and westernisa- dealt with the use of church music by a practices in Yemen since 2000 pointing tion in teaching musical practices in community in a migration process fo- to the events of 2011 and 2012 which Institutes and media spread in Leba- cusing on their musical choir that per- opened the way to the exchange be- non, in diverting Lebanese children forms religious traditions of different tween different categories of popula- from their traditions. regions of Iraq. Scheherazade Has- tions and between the multitude gen- Celine Waked “Learning the ‘Oud in san’s (Iraq/France) paper “The Iraqi res of the rich Yemeni music. Maqām Between the Inside and the the Arab Mashreki musical tradition: a Outside” explored the effects of the Abdulwahab Redha Benabdallah Didactic Modelization” treated the difficult period of wars, sanctions, (Algeria/France) “Ornamental Style in problem of ‘oud teaching in Lebanon massive emigration, and sectarian the Nawba as an Indicator of Decline in academia and defended a “transmis- strife on the practice of the Iraqi maqām the Practice of Algerian Art Music Dur- sive initiation among teachers”. M today, both within Iraq and in the dif- ing the Last Forty Years” studied the Amer Didi (Lebanon) on “Teaching of ferent diasporas. Jumanah Hassan’s ornamental codes of the repertoire and ‘Oud in Lebanon and its Problematic” (Iraq/US) “Iraqi music in the Twenty- indicated that through the European questioned the role of an instrument First Century” presented the way Iraqi influence of tonal harmony and the which under western influence and musicians in the US diaspora make use excessive importance given to tech- fascination in technical issues now of the musical heritage of the Iraqi nique, ornamentation appears today as speaks a language in which does not maqām in their multi-genre perform- either highly impoverished or over- belong. Ghassan Sahhab (Lebanon), in ances. loaded, giving birth to a non- “Problems of Teaching the Qanun in

Bulletin of the ICTM Vol. 122 — April 2013 — Page 80 REPORTS the Academic Context in Lebanon”, ing, that it was not possible to visit this cember 2012 at the University of Cam- showed the devastating Western influ- important foundation, situated in a bridge, UK. ence in teaching Arab instruments that different geographical location. appears in the excessive importance “Popular Culture in Turkic Asia and given to the use of transcription, in the Mustapha Said (Egypt), Director of the Afghanistan: Performance and Belief” Foundation for Archives and Research was the subject of our three day event use of western teaching methods of violin or other instruments, and in ne- on Arabic music, in his paper “Arab at the Faculty of Asian and Middle glecting to transmit Arabic musical Music Archiving and Research Foun- Eastern Studies, University of Cam- dation Between Heritage Preservation bridge, UK. The event took place start- forms. Arab instruments are thus turned away from their initial role of and Internal Development” questioned ing with a roundtable revolving transmitting the secrets of traditions to the extent to which contemporary mu- around "The Study of Turkic Lan- sicians should learn from commercial guages at the University of Cam- insist on the primacy of technical performing capacity. recordings and to what extent imitating bridge", where the representatives of details of old recording should be pur- the Turkish, Azerbaijani, and Kazakh M. Hayyaf al Yasin’s paper on “The sued. Embassies, and Deputy of the General Traditional Popular Songs in Northern Secretary of Türksoy (Ankara) actively A special session of the Institute of Mu- Lebanon, as Socially and Educationally participated in a discussion. The fol- Performative” argued that tradition sic was devoted to present the contents lowing days, 1–2 December, were filled can and should continue to be trans- of the new volume of the University’s with a tight programme within which annual journal RTMMAM, Revue des mitted to the young which would participants from 15 different countries strengthen ties between different gen- Traditions Musicales des Mondes Arabe et (USA, UK, Germany, Norway, Italy, erations and develop a natural trans- Méditerranéen this year dedicated to Hungary, the Netherlands, Bulgaria, “Sémiotiques et psychocognition des mission. He then gave a most moving Russia, Azerbaijan, Uzbekistan, Ka- demonstration of the results of his ef- monodies modales”. zakhstan, Turkey, Afghanistan, and forts to teach traditional music at four A general closing discussion was fol- Iran) gave their papers and contributed educational institutions in North Leba- lowed by a very interesting and origi- at discussion sessions. Our presenters, non, by presenting four year-old chil- nal concert in which a Levantine orato- exploring various ritualistic practices dren who without difficulties could rio was performed. Based on the seven in contemporary soundscape, deliv- sing popular traditional songs. last words pronounced by Christ, as ered papers on popular culture in the they appear in the four bibles, they are Turkic speaking world, religion and Archiving and documentation performed with well known Syriac, music, improvisation as major music An interesting session was devoted to Maronite, Byzantine and Coptic chants quality, cultural preservation, the issue the archiving and documentation of and with music from the Arab Oriental of national identity at the time of Arabic Music. A documentary film re- Art Music. Accompanied by instru- globalisation. vealed to us the existence in Lebanon mental improvisations, the Oratorio of “The Foundation for Arab Music On the first day of the Symposium, the was performed by the ensemble of Archiving and Research AMAR” estab- keynote address entitled “Western Mu- classical Arab Music of Antonine Uni- lished in 2009 with the aim of preserv- sic as World Music” was given by versity. The concept and direction are ing and disseminating traditional Arab Nicholas Cook (University of Cam- of Nidaa Abou Mrad who played the Music. The foundation seeks to en- bridge) and was followed by ten pa- violin, accompanied by qanun with two courage the educational transmission pers. On the second day the keynote chanters. and practice of Arabic traditional mu- address “The Theory and Practice of sic and aims at its dissemination and at Cross-Cultural Musical Creation: From Music in the Turkic Recent Uzbek to other Ethnic Projects” promoting public awareness of its Speaking World richness. Since its establishment, the was given by Peter Wiegold (Brunel foundation succeeded in acquiring by Razia Sultanova, University), followed by seven papers some 5000 records and 6000 hours of Study Group Co-Chair and the screening of two films, by John recordings on reel, digitalised in its Baily (“Return of the Nightingales: The The 3d Symposium Afghanistan National Institute of Mu- modern studio and conserved in its and Workshop of the archive. While expanding its collec- sic”), and by Keith Howard and Misha ICTM Study Group tions through acquisitions, the founda- Maltsev (“Siberia at the Centre of the on Music of the Turkic tion organises concerts, lectures and World: Music, Dance and Ritual in Speaking World was held on 1-2 De- seminars. It is with regret, seen the Sakha-Yakutia”). very compact programme of the meet-

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The workshop-concert at the 10th- successful in presenting different gen- ture in Turkic Asia and Afghanistan: century Chapel of Jesus College was a res of traditional music from Ka- Performance and Belief’, has been cho- significant addition to our symposium, zakhstan, Turkey, Afghanistan and Az- sen very timely as it touches upon little where four groups of authentic per- erbaijan. Moreover, I would like to ex- known aspects of our huge geographic formers from Afghanistan, Azerbaijan, press my delightedness and gratitude region. Bringing together researchers Turkey and Kazakhstan sang and per- for the hospitality provided by Profes- from East and West to the University of formed with the help of their tradi- sor Geoffrey Khan and Professor Char- Cambridge was very important for tional instruments. The concert con- les Melville from the Faculty of Asian enriching Western scholarship in cluded with a cross-cultural workshop and Middle Eastern Studies, specifi- Turkic studies and vice versa. Thus, the on improvisation conducted by the cally for that wonderful closing cere- Symposium has become a step in British composer Peter Wiegold. mony reception in Pembroke College. bridging the gap and has served for the Thank you again for including me in mutual benefits. I express my deepest The new initiative was to not only in- the symposium, and for creating a gratitude to all organisers of this event vite ethnomusicologists and musical productive platform for cultural ex- and find their activities in introducing performers to our Symposium- change in which strongly held opinions Turkic studies into the circle of scien- Workshop, but also bring three com- about important issues in contempo- tific interests of University of Cam- posers to the mix (Peter Wiegold, Aziza rary popular Turkic culture could be bridge very important and successful”. Sadykova, and Hossein Hadisi), and shared openly, honestly and respect- even an artist (Elena Tchibor), whose Tom Solomon (Professor of Music fully. It was an honour and privilege to exhibition "Musical Instruments of the be part of this unprecedented meeting Grieg Academy, Department of Music, Turkic speaking World" was displayed of scholars and musician from different University of Bergen, Norway): “Fol- during the event. The Symposium's lowing the conference theme ‘Popular parts of the world”. closing ceremony was a dinner at the Culture in Turkic Asia and Afghani- 14th-century Old Library of Pembroke János Sipos (Hungarian Academy of stan: Performance and Belief’ many of College. The outcome is going to be a Science, Budapest, and Chair of ICTM the papers focused on musical articula- book publication with the best papers Hungary National Committee): “First tions of the intersection between popu- of the Symposium and a CD with a of all I would like to say thank you to lar culture and religion, including recording of the Symposium-Workshop organisers of our Symposium. Also, my mass-mediated musical expressions of performance. For more information on gratitude extends to the University of both majority and minority religious our Symposium, please, see Cambridge, the British Council, and groups. Examples included papers dis- www.ames.cam.ac.uk. Türksoy, who sponsored our event. It cussing diverse musical forms such as was a very good idea to bring musi- music videos from Turkey and rap mu- One thing that needs to be mentioned, cians to perform at our concerts. A con- sic from southern Siberia. Other papers is that our Symposium and workshop ference without music is like a pond focused on contemporary appropria- could now have taken place, were it without water! During our Symposium tions and re-significations of traditional not for the support and financial suste- we enjoyed music from different parts music, such as modern interpretations nance of the University of Cambridge, of the Turkic speaking world, it was of traditional Azerbaijani music, the British Council and Türksoy. also interesting to meet our colleagues use of Sufi devotional ritual as music Comments by some of our participants from Cambridge University, both eth- therapy for troubled teenagers in Ka- nomusicologists and non- zakhstan, and a Kazakh musician's use Angelika Jung (Director, Galerie Mani, ethnomusicologists, who could advise of a traditional instrument in new Weimar, Germany): “I am writing to in the general area of study. I think popular musical arrangements”. express my deep gratitude to Cam- small symposia, like the one we had in bridge Central Asia Forum for all the Cambridge, are more productive than Saida Yelemanova (Kazakh National hard work involved in organising the large ones. Here we had a chance to University of Arts, Astana): “To me the international symposium on Popular spend the whole day together, listening main purpose of the Symposium was a Culture in Turkic Asia and Afghani- collective ‘brainstorm’ of such an im- to papers, exchanging ideas, having a stan: Performance and Belief. Like meal together, enjoying concerts, etc.”. portant issue to ethnomusicology as many other participants I was really popular culture. I think this was impressed with the excellent pro- Alla Bayramova (Director of the State achieved in two ways: to mark the gramme of the Symposium, along with Museum of Musical Culture of Azer- study of the subject and to stimulate the friendly and open-minded atmos- baijan, Associate Professor of Western the most appropriate approaches to it. phere created there. The concert- University, Baku, Azerbaijan): “The The organisers managed to bring to workshop at Jesus College was very topic of the Symposium, ‘Popular Cul-

Bulletin of the ICTM Vol. 122 — April 2013 — Page 82 REPORTS this forum the most serious and inter- and talk with almost everyone who esting of authors. We learned that there had attended there (performers, musi- is a positive process of increasing cians and academic scholars), some- knowledge about the musical culture thing which is all too rare at most aca- of the Turkic Asia in a joint attempt to demic conferences. The inclusion of an research it from the ‘outside’ and ‘in- artist exhibition, ﬁlm screenings, and side’. Because most of Turkic Asia is various impromptu events (both the post-Soviet ‘mainland’ (which has musical and cinematic) were guaran- become open in recent years) I think teed to deliver insight into that rich that this symposium is a signiﬁcant and colourful world of Afghan, Azeri, milestone in the development of con- Uzbek, Turkish, and Kazakh music to- temporary ethnomusicology of the East day. and West”.

Giovanni De Zorzi (University Ca Foscari of Venice, Italy): “I was de- lighted to participate in the third Sym- posium of the ICTM Study Group on the Music of the Turkic Speaking World, which was centred on the subject of Popular Culture in Turkic Asia and Afghanistan: Performance and Be- lief. I think it is very important and stimulating to meet scholars, colleagues and friends from all over the world who are working on the different aspects of these beautiful musical traditions. It was also efﬁcient for my students: on 4 December (the day after my return from the Symposium) I delivered a lecture in the University Ca Foscari of Venice on Musical Traditions of Islamic Area, with our topic being the Uzbek Tajik Shashmaqom. As I was equipped with all new insights from our Symposium, the lecture turned into productive discussion with lots of questions and insights”.

Aziza Sadykova (composer, Uzbekistan/Germany): ”The invitation to participate in this Symposium provided me with a great opportunity to meet leading scholars in the ﬁeld of Turkic speaking world studies. The lectures on Azeri Rap, Suﬁ Music, Zikr, Bukharan Shashmaqom and Contem- porary music in Turkey, have been of a real interest for me as a performer and composer. The organisers ensured that anyone attending the symposium had a good opportunity to relate to some portion of the events and lectures. In addition there was possibility to meet

Bulletin of the ICTM Vol. 122 — April 2013 — Page 83 CALENDAR OF EVENTS Calendar of Events — ICTM

4-7 April 2013 2013 Joint Annual Meeting of the British Forum for Ethnomusicol- ogy and ICTM-Ireland

Location: Queen's University Belfast, United Kingdom.

Read more about the Symposium on page 11.

8–12 April 2013 13th Symposium of the ICTM Study Group on Music Archaeology

Location: Guatemala City, Guatemala.