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Announcements Our Back Pages News Volume 52, Number 1 Winter 2018 Doing Ethnomusicology vs. Being Ethnomusicology Gregory Barz, SEM President come an ethnomusicologist.” I stood back and watched our The title of my first column as SEM President might seem discipline performed and regenerated from one generation overly theoretical at best, detached and irrelevant at worst. to the next as a processual development—one can be Being ethnomusicology (or, by extension, being an ethno- ethnomusicology only by first doing ethnomusicology (see musicologist) is all too frequently conflated with doing eth- Nettl 2005: 197 and 423 for further elaboration on doing nomusicology, engaging in the practice of our profession ethnomusicology). and trade: ethnography, fieldwork, research design, and so on. But conversations that occur outside Some might rightly argue, however, that the normative “doing” spaces at our annual who we are as ethnomusicologists (what SEM meetings—paper panels, round- we represent to other people, other dis- tables, SIGs, Seeger Lecture, Council and ciplines, other institutions) frequently has Board meetings—continue to challenge nothing to do with doing ethnomusicology. me to consider the ways I consume, listen, Owning, espousing, and being what we react, and respond to how others partici- practice has had everything to do, how- pate in the production of ethnomusicologi- ever, with what we value and pass along as cal knowledge. The circulation of ideas that received knowledge in our discipline. I was occurs in the corridors, hotel rooms, eleva- reminded last week of an ongoing source tors, concert venues, and local watering of amusement typically experienced by my holes during our conferences underscores departmental colleagues when we serve the many passions that we as ethnomusi- on university-wide committees in which we cologists espouse, passions that reflect not are frequently presented with arguments only on the products of our praxis (papers, framed by colleagues that are prefaced books, articles), but, perhaps more inter- with a peculiar phrase with which I am estingly, on the development of ethnomu- sure most are familiar: “As an historian…” sicological thought, or even an evolution of The amused glances that my colleagues ideas that contributes to an understanding and I shoot across the meeting rooms at of who we are as a disciplined community. each other are grounded in the assumption of disciplined identities frequently adopted by our colleagues; one can A few months ago, at the SEM Annual Meeting in Boulder, speak as an historian, one can be an historian. Being an I approached a group of undergraduates attending our ethnomusicologist? (British Forum for Ethnomusicology conference for the first time (I’ll hold off on commenting on colleagues openly discussed such issues in a recent 2010 the value of the undergraduate presence at our meetings conference titled Doing Ethnomusicology, hosted by the for a future column): “So, Mr. President, since I registered Institute for Music Research at the University of London.) at this conference and got a name tag, does that mean I’m now an ethnomusicologist?” To which a graduate stu- Ethnomusicologists are more and more frequently collabo- dent at the same institution as the undergraduate hastily rators and partners with individuals, institutions, commu- interjected, “No, you have to do stuff. You first have to take nities, and colleagues. And it is only in this collaborative courses, you have to take doctoral exams, and then you aspect of the SEM online statement “What is Ethnomusi- have to do fieldwork and write a dissertation. Then you be- cology?” does the ethnomusicologist [continued on page 6] Features Announcements News Our Back Pages President’s Column SEM 2018 Annual Meeting Chapter News SEM Publications SEM 2017 Honorary Members New SEM Newsletter Editor Institutional News Conference Calendar SEM at the Beijing ICTM Forum Fellowships and Grants Advertisements SEM 2017 Prizes Member News Internet Resources The Society for Ethnomusicology, SEM Newsletter James Cowdery, Editor, SEM Newsletter SEM Membership RILM, CUNY Graduate Center The object of the Society for Ethnomusicology is the ad- 365 Fifth Avenue, New York, NY 10016 vancement of research and study in the field of ethnomu- [email protected] sicology, for which purpose all interested persons, regard- less of race, ethnicity, religion, gender, sexual orientation, SEM Newsletter is a vehicle for the exchange of ideas, or physical ability are encouraged to become members. news, and information among the Society’s members. Its aims include serving the membership and Society at Readers’ contributions are welcome and should be sent to large through the dissemination of knowledge concerning the editor. the music of the world’s peoples. The Society, incorporat- ed in the United States, has an international membership. The Society for Ethnomusicology publishes the SEM Newsletter four times annually in January, April, July, and Members receive free copies of the journal and the September, and distributes issues free to members of the newsletter and have the right to vote and participate in the Society. activities of the Society. _______________ Back issues, 1981 to present [volumes 14-18 (1981- Student (full-time only) (one year) ................................$40 1984), 3 times a year; vols. 19-32 (1985-1998), 4 times a Individual (one year) year] are available and may be ordered at $2 each. Add • Income $25,000 or less ........................................... $60 $2.50/order for postage. • Income $25,000-$40,000 .........................................$75 • Income $40,000-$60,000 ......................................... $85 Address changes, orders for back issues of the SEM • Income $60,000-$80,000 ......................................... $95 Newsletter, and all other non-editorial inquires should be • Income $80,000 and above .................................. $105 sent to the Business Office, Society for Ethnomusicology, Indiana University, 800 East 3rd Street, Bloomington, IN, Spouse/Partner Individual (one year) ...........................$35 47405. [email protected]. Life membership .......................................................$1400 Spouse/Partner Life ................................................. $1600 Sponsored (one year, including postage) ..................... $50 Society for Ethnomusicology Overseas postage (one year) .......................................$15 Board of Directors For institutional memberships, please visit the University Gregory Barz (President) of Illinois Press website. Blair School of Music, Vanderbilt University Nashville, TN 37212-3499 Anne K. Rasmussen (Past President) Guidelines for Contributors Music Department, College of William and Mary Email articles and shorter entries for consideration to the Williamsburg, Virginia 23187-8795 SEM Newsletter Editor. Michael Bakan (Secretary) Copy deadlines: Summer Issue (15 June) College of Music, Florida State University Winter Issue (15 Dec.) Fall Issue (1 Sep.) Tallahassee, FL 32306-1180 Spring Issue (15 Mar.) Donna Lee Kwon (Treasurer) School of Music, University of Kentucky Lexington, KY 40506 Advertising Rates The Newsletter accepts digital files (e.g., jpg) for advertis- Judith Gray (First Vice President) ing. American Folklife Center, Library of Congress Washington, DC 20540-4610 Full page: $200 1/3 page: $60 Elizabeth Tolbert (Second Vice President) 2/3 page: $145 1/6 page: $40 Peabody Institute of the Johns Hopkins University 1/2 page: $110 Baltimore, MD 21202 Maria Mendonca (Member-at-Large, Prizes) Ethnomusicology: Back Issues Kenyon College Ethnomusicology, the Society’s journal, is currently Gambier, OH 43022 published three times a year. Back issues are available through the SEM Business Office, Indiana University, 800 Brenda M. Romero (Member-at-Large, Groups and Pro- East 3rd Street, Bloomington, IN, 47405-3657; 812-855- fessional Development) 6672; [email protected]. University of Colorado Boulder Boulder, CO 80309 § ISSN 0036-1291 § 2 SEM 2017 Honorary Members Stephen Blum In Autobiography of Red, the Canadian poet Anne Carson writes: “adjectives seem fairly innocent additions, but look again. These small imported mechanisms are in charge of attaching everything in the world to its place in particular- ity. They are the latches of being.” In honoring Stephen Blum today, allow me to explore the following two adjec- tives: learned and generous. Learned. To read through Stephen Blum’s vitae is a hum- bling experience. Doing so is a tour de force in which, line after line, it is possible to browse a phenomenal archive of knowledge built by a genuine interest in knowing. He has a tireless drive to learn. Those of us who know Stephen Blum can attest that it is rare to see him at any talk or presentation without a notebook and a pen in his hands. Learning is a passion, a quest, a love. And his is a creative knowledge. It suffices to think of how he is able to interweave Tolstoy’s story of Haji Murad to make a compelling argument about the centrality of the voice and the power of song in his Hearing the Music of the Middle East. For someone like me, a product of a Montessori education, his way of knowing has been inspirational for more than two decades now. The second adjective is generous. Stephen Blum’s knowl- edge doesn’t collect dust, and his archive is not a passive storehouse. Those of us who have had the privilege of be- ing his students and participating in his seminars—which spanned such wide-ranging topics as maqam,
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