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ACMR Newsletter http://acmr.info/ Association for Chinese Music Research 中國音樂研究會通訊 Volume 20, number 1 May 2014 MESSAGE FROM THE PRESIDENT Membership Dues Spring greetings meeting also appears in this issue if you to the ACMR were unable to join us. community! I hope you enjoy I encourage all of our members (old and this latest issue new) to take the time to read the tribute of the ACMR to one of our founding members, Rulan Newsletter; our Chao Pian, in commemoration of her newsletter team passing late last year. I look forward to has been work- celebrating her contributions to our com- ing hard to munity when we gather in Pittsburgh this compile infor- fall. Lei Ouyang mation that will Bryant be useful and Our two established prizes (Rulan Chao engaging to our Pian and Barbara Barnard Smith) continue members. As always, we encourage eve- to receive numerous submissions and I ryone to regularly submit updates on their will announce the 2014 winners this fall at research and scholarship. Please continue our annual meeting. As discussed at the to let our Newsletter Editors know of any 2013 meeting, a new student travel prize items you would like to see appear in our (Ruby Chao Yeh Student Travel Award), Inside this issue: newsletter. is under development. More news will be coming out shortly regarding this new I greatly enjoyed our gathering in Indianap- prize. olis for our 2013 annual meeting in con- Announcements, junction with the Society for Ethnomusi- Finally, the ACMR officers are finalizing 2 prize winners cology. It was a pleasure to meet old and the constitution and bylaws and will be new colleagues and provide the oppor- contacting you shortly for your input and People and places tunity for us to come together to discuss eventually to bring the documents to the 3-4 Recent work our shared research interests. Congratu- membership for a vote. lations to the 2013 Prize winners Helen Member profile: Rees and Adam Kielman; abstracts for Best wishes to everyone in the coming 3 Mei Han their winning paper and article appear in months and keep your eyes out for more this newsletter. An overview of the 2013 updates from ACMR. Rulan Chao Pian: 5-7 In Memoriam Field report: 9-11 Elise Anderson ACMR 2014 2013 ACMR meeting report 12-13 The 2014 annual ACMR meeting will be http://www.indiana.edu/~semhome/2014/ held in conjunction with the 59th Meeting of index.shtml the Society for Ethnomusicology, Novem- About ACMR 13 ber 13-16 in Pittsburgh, PA. For more in- http://acmr.info formation, please visit the ACMR and SEM Upcoming 14 websites. conferences Vol. 20, no. 1 ACMR Newsletter Page 2 People and Places AnnouncementJohn Winzenburg of 2014 presented Yeh Student a three Travel-part Award workshop Gloria Wong is serving as the first president of the Competitionseries titled “New Sounds in Choral Music of China” at Sound of Dragon Society. The society was founded in the International Choir Festival “San Juan Coral” in San 2013 and is dedicated to the production of Chinese mu- Juan, Argentina in August 2013. sic festivals in Vancouver, BC, Canada. The festival show- cases ensembles performing in traditional instrumental Joys H. Y. Cheung has taken up a Research Assistant genres, as well as those performing contemporary and Professor position at the Department of Music, Chinese improvised works. The first Sound of Dragon festival University of Hong Kong, since August 2013. takes place May 9 to 11, <www.soundofdragon.com>. 2013 ACMR Prize winners Rulan Chao Pian Prize Barbara Barnard Smith Prize Helen Rees, UCLA Adam Kielman, Columbia University “Intangible Cultural Heritage in China Today: “Xiandai Minyao: ‘Modern Folk’ in Guangzhou” Policy and Practice in the Early Twenty-First Century” (Presented at the SEM 2012 annual meeting in New Orleans) In Music as Intangible Culture Heritage: Policy, Ideology, and Practice in the Preservation of East Asian Traditions, edited This paper examines a developing independent music by Keith Howard, 23-54 (Farmham, England: Ashgate, scene in Guangzhou as a site for understanding the in- 2012) tertwined roles of the local, the national, and the global in contemporary China. From Wanju Chuanzhang’s self- While Japan and South Korea promulgated their well- described “island mix” of poppy, Latin-infused music known laws for the protection of cultural properties sung in the Min subdialect spoken on Nan’ao Island to starting in 1950 and 1962 respectively, the People’s Mifen Yuedui’s blend of folk-rock and caidiao opera, the Republic of China was a late bloomer in this regard. It bands I discuss collectively refer to their music as xian- was primarily China’s successful participation in dai minyao (modern folk). I focus on these bands’ use of UNESCO’s three proclamations of “Masterpieces of local dialects in their lyrics, which, by counteracting the Oral and Intangible Heritage of Humanity” (2001, pro-Mandarin language ideologies of the state, performs 2003, 2005) that heralded the country’s sudden em- an alternative vision of the role of the local in China’s brace of UNESCO-style intangible cultural heritage modernity. Highlighting the ways that these musicians (ICH) protection, along with a new enthusiasm for tra- deploy dialects incomprehensible to most of their urban ditional arts. This essay sets out the recent rush of na- cosmopolitan audience, I argue that sung language com- tional, provincial, local, and private initiatives aimed at municates the affective dimensions of place even when preserving and promoting these traditions; it also ex- the referential channel is scrambled. Then, demonstrat- amines the rhetoric and vocabulary used to discuss ing some ways that the transnational genres these musi- ICH. In addition, via case-studies of ritual music, music cians draw upon come to have a “feelingful iconic” sig- of the Naxi ethnic minority, and the seven-string zither nifying relationship to particular regions in China, I ex- qin, it investigates what is actually happening on the amine how and why these bands express home as an ground, and how far top-down initiatives actually affect affective space rather than as a geographic one. Consid- everyday practice. The essay concludes by suggesting ering xiandai minyao within the context of the shifting several interlocking factors at play in producing the contours of a Chinese postsocialist modernity that is current situation: nationalism and a desire for interna- distinct yet fluidly connected to both local and transna- tional prestige; the rise of the market economy, includ- tional processes, I argue that the negotiation of the ing tourism; the conceptual linkage between China’s local within the global ecumene is not a top-down pro- nascent environmental and heritage preservation move- cess controlled from Beijing, but a complex, multi- ments; and a sense of nostalgia at a time of tremendous layered process that happens in part through the social change and cultural dislocation. sounds of music and the sounds of language. Vol. 20, no. 1 ACMR Newsletter Page 3 Announcement Ningbo University College for Arts, China and Music Academy of Krakow, Poland has recently announced a new Ph.D. program in Musicology. The program is the first joint musicology program of its kind in China, offering three concentrations in historical musicology, cultural musicology and analytical musicology. Doctorate students will spend two years in China and one year in Poland for their course work, which will be taught jointly by professors in both China and Poland. Each student will also be assigned two advisors, from China and Poland respectively. English will be the official teaching language. Full scholarships are available for qualified applicants. For information please contact Ningbo University College of Arts at [email protected]. Recent Publications Tse Chun-Yan 謝俊仁. “《大還閣琴譜》與古琴律制的轉變” [Dahuange Qinpu and Changes in Intonation Practice of the Chinese Seven-String Zither, Guqin]. 《中國音樂學》Musicology in China 2013/2: 34-39. Tse Chun-Yan, and Wong Chun-Fung. “Sound Analysis of Longitudinal Vibrations of Qin Strings.” In The Legend of Silk and Wood: A Hong Kong Qin Story, 96-105. Hong Kong: Hong Kong Heritage Museum, 2014. John Winzenburg. “Heteroglossia and Traditional Vocal Genres in Chinese-Western Fusion Concertos.” Perspectives of New Music 51/2 (Summer 2013), 101-140. John Winzenburg. “Review Essay: Two Studies on Chou Wen-Chung – Peter M. Chang, Chou Wen-Chung: The Life and Work of a Contemporary Chinese-Born American Composer and Eric Lai, The Music of Chou Wen-chung.” Asian Music 45/1 (Winter/Spring 2014), 145-54. Member Profile: Mei Han Mei Han (Ph.D., the University of British Columbia) is currently the Visiting Assistant Professor in Asian Music and Culture at Kenyon College, Ohio. Her fields of study include traditional and contemporary music for the Chinese zheng, a multi-stringed long zither, and that of the Dong ethnic group in Southwest China. Her research interests span other East Asia long zithers and contemporary music influenced by East Asian philosophies. Recent publications include “Ga Pic Pac and the Marriage Customs of the Dong” in Music, Dance and the Art of Seduction, ed. Frank Kouwenhoven and James Kippen (Delft: Eburon Publishers, 2013) and entries for the New Grove Dictionary of Musical Instruments (forthcoming). In March 2014, she was invited by Nanjing Arts Institute to present a lecture entitled “Macrocosm through Microcosm: An Exploration of Aesthetic Duality of Sheng 聲 and Yin 音 in Zheng’s Traditional Practice and its Renewal in Contemporary
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