SEM Newsletter Published by the Society for Volume 41 Number 2 March 2007

Octaviana Trujillo, Yaqui mask maker and Becoming Ethnomusi- Cross-Cultural Dance dancer Mercedes Maldonado, and Yaqui pas- cologists Resources Celebrates cola dancers. The evening activities included observances of the Day of the Dead traditions By Philip V. Bohlman, SEM President 25th Anniversary at the Guadalupe Yaqui cemetery. Cultural translation is the disciplinary By Joann W. Kealiinohomoku In keeping with the seasonal ritual theme, vernacular of the everyday for ethnomusi- Pegge Vissicaro (President of the CCDR Cross-Cultural Dance Resources (CCDR) cologists. It provides the context for tran- Board of Directors and Interim Chair of celebrated its 25th anniversary (1981-2006) scription, the ways we listen to oral tradition the ASU Department of Dance) arranged with an open house at its new headquarters and inscribe it as text. It opens languages and memorials for the dance scholars who passed in the (ASU) De- metalanguages that realize the ethnographic away during the past year: Selma Jeanne Co- partment of Dance during the 38th annual moment, making it possible to communicate hen, Nadia Chilkovsky Nahumck, Katherine Congress on Research in Dance (CORD) with our colleagues in the fi eld, discursively Dunham, and Dunham’s biographer Joyce conference. The conference (November 2- and musically. Translation affords power, and Aschenbrenner. 5, 2006) was hosted by CCDR and the ASU it appropriates power from others. It creates Highlights of the conference included Department of Dance on the ASU campus common languages, sometimes on the terms more than 50 papers and several workshops in Tempe, Arizona. The CCDR headquarters of those who perform styles and repertories presented by members of CORD and relocated to ASU from Flagstaff, Arizona; the in their mother tongue, often only after CCDR. Steven Feld gave a stimulating talk Flagstaff facility will continue to serve CCDR compromising the origins and originality of about dance and sound. Elsie Dunin and Al- as a research center and will house some of another’s music. In my column in this issue legra Fuller Snyder were honored by CORD the CCDR collections, including the Gertrude of the SEM Newsletter (see p. 4), I refl ect on for their “Outstanding Contributions to Kurath and Eleanor King Archives. the everydayness of cultural translation for Dance Research.” The CCDR open house, A pre-conference meeting on November ethnomusicologists, asking how it is possible mentioned above, attracted a crowd that 2, 2006, was held at the world famous Heard to differentiate those modes of translation spilled over into the hallway. On Saturday Museum and featured Yaqui scholar Dr. that create understanding from those that Continued on page 5 unleash misunderstanding. Ethnomusicolo- gists, I believe, engage in cultural translation more often than many; it may well be the case, indeed, that our diverse methods of translation determine who we are by drawing us together to share musics and ideas about music in representational languages that are both common and separated by dialects. Resolving the differences between these languages may be impossible, but pursuing the methods that help us do so are part and parcel of the responsibility that accompanies becoming ethnomusicologists.

Inside

1 Becoming Ethnomusicologists 1 Cross-Cultural Dance Resources Cel- ebrates 25th Anniversary 3 SEM Prizes and Awards Addendum 3 Announcements 3 Fieldworkers of the World, Write! 7 Obituaries 7 Erratum Elsie Dunin (CCDR Vice-president) and Pegge Vissicaro (CCDR President) present gifts of 9 Calls for Submissions appreciation to Yaqui pascola dancers following their performance in the yard of the Heard 11 Conferences Calendar Museum (the pascola “manager” looks on). Photo: Susan Cashion 2 SEM Newsletter

The Society for Ethnomusicology and SEM Newsletter Guidelines the SEM Newsletter Guidelines for Contributors Editor, SEM Newsletter Henry Spiller Department of Music • Send articles to the editor by e-mail or on a disk with a paper copy. Microsoft Word is University of California preferable, but other Macintosh or IBM-compatible software is acceptable. One Shields Avenue Davis, CA 95616, USA • Identify the software you use. (Tel) 530.757.5791 (Fax) 530.752.0983 • Please send faxes or paper copies without a disk only as a last resort. (Email) [email protected] (Website) music.ucdavis.edu Advertising Rates Copy Deadlines Th e SEM Newsletter Rates for Camera Ready Copy March issue ...... January 15 The SEM Newsletter is a vehicle for exchange of ideas, news, and information among the Society’s mem- Full Page $200 May issue ...... March 15 bers. Readers’ contributions are welcome and should be 2/3 Page $145 September issue ...... July 15 sent to the editor. 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Announcements fellowships are awarded to PhD candidates SEM Prizes and Awards to conduct dissertation research in India for Addendum: Nahumck RIPM: Retrospective Index to Music up to eleven months. Senior fellowships are Fellowship Periodicals awarded to scholars who hold the PhD degree RIPM: Retrospective Index to Music Periodicals for up to nine months of research in India. By Judy Mitoma (website: www.ripm.org) announces the The AIIS also welcomes applications for its performing and creative arts fellowships Th e Nadia and Nicholas Nahumck Fel- release of a newly-designed website with from accomplished practitioners of the arts lowship was established “to help support much new content including: all issues of of India. The application deadline is July 1, research on a dance-related subject and its the journal Periodica Musica (in a searchable 2007. For more information and applica- subsequent publication.” Th is year’s prize is pdf format); all introductions—treating tions, please contact the American Institute awarded to Louise Meintjes for her project, over 100 music journals—in RIPM’s 205 of Indian Studies, 1130 E. 59th Street, Chi- titled “Dust of the Zulu: Performing Man- volumes (click “Titles Indexed” / journal cago, IL 60637, (telephone) 773-702-8638, hood in the Post-Apartheid Struggle.” Dust title / “Complete Introduction”); all annual (email) [email protected], (website) www. of the Zulu will off er the fi rst book-length RIPM reports presented to the General As- indiastudies.org. analysis of the aesthetics of ngoma song and semblies of IAML and the IMS. In 2007 dance, along with a chronicle of the lives of visit (website) www.ripm.org for a preview members of a community team of singer- of the new RIPM: Online Archive of Music Laura Boulton Senior Fellowship 2007- dancers from Uthuli IweZulu (Dust of the Periodicals (full-text, browsable), the essential 2008 Zulu), a ward within the Mchunu chiefdom complement to RIPM: Retrospective Index to Application deadline March 15, 2007 of KwaZulu-Natal. Ngoma performance is Music Periodicals (1800-1950). fundamentally an expression about Zuluness The Laura Boulton Senior Fellowship and masculinity. Th e practice celebrates, has been established through the Laura American Institute of Indian Studies Boulton Endowment to provide $15,000 comments upon, and shapes local senses of Fellowships manhood. Th e ways that men and women for a semester-long fellowship to a senior formulate contemporary Zulu masculinity Application deadline July 1, 2007 scholar in the fi eld of ethnomusicology. The on the ground, as well as the ways that men The American Institute of Indian Studies fellowship is awarded every other year for the and boys perform their gender experiences, (AIIS) announces its 2007 fellowship compe- purpose of research in ethnomusicology. We are the pivotal issues that connect aesthetics tition and invites applications from scholars to politics in this book. who wish to conduct research in India. Junior Continued on page 6

Fieldworkers of the methods, and future of ethnomusicology what we loathe. It is about where we are and from the trenches—from “the fi eld.” where we fi nd ourselves going. It is concerned World, Write! What exactly ethnomusicologists mean by with who we are, whom we meet, and how by Jesse Samba Wheeler (UCLA), currently “the fi eld” is itself a topic open to discussion these meetings change us. It will bridge the in Brasília and debate. It is as varied as the locations experiencing and the interpreting, thick life we visit and the issues we research—for and thick description. nC (“In Situ”) is a new fi eldwork column these are two of the very elements that give 2 Grad students nC2—gather your tales written by graduate students from “the fi eld” from the fi eld, expound upon the issues for ethnomusicologists everywhere. Gradu- with which you think your fellow ethnomu- ate students currently conducting fi eldwork sicologists also contend, philosophize about will share and discuss the issues they face nC —the Newsletter’s the gaps between theory and experience, in this friendly fi eldwork forum moderated 2 and submit! Submissions may take almost by a fellow graduate student (Jesse Wheeler, new student column on any form—prose, poetry, musical notation, graduate student representative to the SEM fi eldwork experiences drawing, etc., as long as they can be rendered Council). We plan to include one or more in print within the SEM Newsletter’s techni- communications from graduate students in cal limitations. Contributors should aim for future issues of the SEM Newsletter. 500-700 words, and agree that works may Extended fi eldwork is an activity all eth- it character. This column will welcome any be edited if necessary (the moderator will nomusicologists have done, are doing right interpretation of the concept of “the fi eld,” work together with the contributors when now, or will do in the future. Many graduate from the traditional to the heterodox, from the possible). students currently are engaged in fi eldwork for widely accepted to the polemical. A guideline Calling all camponeses!* Send your submis- the fi rst time and are experiencing fi rst-hand is that “the fi eld,” at its most fundamental, sions to the moderator, Jesse Samba Wheeler, the kinds of issues that ethnomusicologists compels ethnographers to engage “the UCLA student and a graduate student contemplate in the classroom. We are in a other”—though how the other is defi ned and representative to the SEM Council, (email) position that is uniquely conducive to refl ec- encountered is just as open to question. [email protected] (and please cc Henry Spiller, tion—on ourselves, the discipline, and the This forum will be a fi eld-eye vision SEM Newsletter editor, [email] hjspiller@ theories and methodologies we will eventually exploring what we, as graduate students, do, ucdavis.edu). help to craft at home. This column gives us what we observe, what we think, what we say, the opportunity to comment on the theory, what we face, what we fear, what we love, and * literally, “fi eldworkers” in Portuguese 4 SEM Newsletter

Becoming Ethnomusicologists On Cultural Translation By Philip V. Bohlman, SEM President

As a scholar and performer of music from confl uence of the aesthetic, political, and skewed toward the self. Appropriation, in the Holocaust, I fi nd myself frequently in the ethical dimensions of music. Together, they contrast, often led to the eventual elimination position of translating the untranslatable. give shape to ethnomusicology as an act of of the gap, once the other was stripped of her Together with my cabaret ensemble, the New cultural translation. identity. Inescapably for ethnomusicologists, Budapest Orpheum Society, I explore the Theories of translation no longer as- music cultures of European Jewish commu- sume as a point of departure that the goal nities dispersed by modernity and destroyed of translation is to supplant an original text by the Holocaust (see, e.g., New Budapest with another text that replicates it in most if Should we understand our Orpheum Society 2002). We seek to sound not all ways (cf. Apel and Kopetzki 2003 and voices silenced long ago, just as we seek to Schulte and Biguenet 1992). The very notion acts of translation as en- re-sound them in ways that are meaningful for of an original text, anchored in authenticity counter? Or as appropria- audiences whose own experiences lie at vastly and authority, has itself been thrown into different distances from the Holocaust. question. For many of us who came of age tion? As performers, we muster a musically as musicians in the Western art music tradi- multilingual past—Jewish broadsides from tion, the orthodoxy of the Urtext has given this paradox bears the weight of ethical and Vienna, sentimental ballads for the Yiddish way, perhaps slowly and grudgingly, to the moral imperatives. stage, lieder for the cabaret stage by Arnold heterodoxy of performance practices and Such imperatives are all the more reason Schoenberg and Viktor Ullmann, pioneer reception history that undergo processes of to take cultural translation very seriously and songs in Hebrew by the few who managed change. The impossibility of establishing the to search for the means and methods that to emigrate. Our audiences, perhaps those fi rst version of a song or style in oral tradition, respect both author and reader, both original who experience us in synagogues, may have too, has disappeared from our ethnomusico- performers and those who listen and perform intimate memories of the songs we perform logical activities as performers. at a distance. For Paul Ricoeur the moral in the original languages or dialects, simply, In the literature about translation and imperative necessitated a process and path evoking the voices of the past. Just as often, by translators about their art and craft, we for translation that followed a hermeneuti- our audiences, perhaps those warmed by increasingly witness a distinction between cal detour. The detour at once expands the food and drink at the Café Sabarsky in New two types of translation. Paul Ricoeur distance between the original object and its York City, fi nd themselves drawn to the (1913-2005), whose philosophical work is representation, and leads one into neighbor- aesthetic subversion of Hanns Eisler and inseparable from his passion for translating, ing territory, from which new and different Bertolt Brecht. articulated a set of two paradigms in his perspectives are possible. Ricoeur most fully At each stage of performance and of the posthumous book, On Translation (2006). articulated the journey of cultural translation performative process, we are compelled by The fi rst of these he described as a “literal in his 1992 Oneself as Another, which espoused paradigm,” in which two texts, similar in a hermeneutic strategy of imposing distance form and structure, but different in language, on both self and other, hence transforming The very notion of an come to occupy the space formerly occupied the distance into the space in which self and by only one. Ricoeur referred to the second other communicate in the same languages. original text, anchored in as an “ontological paradigm,” whereby he As ethnomusicologists, however, we must means to open the possibility that a second ask ourselves whether speaking another’s authenticity and authority, work of art may represent the fi rst by entering language does not also instantiate the other in has itself been thrown into a very different formal and aesthetic realm. one’s own image, creating the illusion of ex- The distinction between the two paradigms changing identities, but ultimately construct- question results from the ways we understand the ing the other and enforcing her otherness transformation of identity across the distance through asymmetrical political encounters (cf. separating a work of art and its translation. Bachmann-Medick 1997 and Hammerschmid the moral imperative of translation—breath- Translational decisions may close the distance, and Krapoth 1998). The moral imperative of ing life into the past, transforming texts in or they may widen it. translation further results from the ideologi- one language to another, evoking beauty Ricoeur’s paradigms lead us to a paradox cal dimensions of its historiography. Naomi in counterpoint to horror. In one way or in ethnomusicology. Should we understand Seidman reminds us that the translation of another, this performative process is well our acts of translation as encounter? Or as religious texts invests translation with po- known to ethnomusicologists. The many appropriation? Encounter, even in its colo- litical and ethical intent (Seidman 2006). For acts of translation we undertake acquire nialist history, was meant to close the gap example, translating the Bible in its multitude their unity because they are shaped at the between self and other, clearly with power of versions, from the Vulgate to Martin Luther SEM Newsletter 5

to the King James Version to Martin Buber It goes without saying at this point, then, those separated from us across the fi ssure of and Franz Rosenzweig, historically opens that ethnomusicologists concern themselves encounter. Cultural translation is fundamental and closes the space of “Jewish-Christian with performative translation. We are per- to the moral imperative that guides us as we difference.” Walter Benjamin sounds the haps distinct among those who daily grapple choose to become ethnomusicologists. necessity of ethical intent at the center of with cultural translation in the ways we bring his writings on translation: “the language of performance to translation. For the textual Works Cited a translation can—in fact, must—let itself translator it may often be radical enough to go, so that it gives voice to the intentio of the admit to the many possible meanings within Apel, Friedmar, and Annette Kopetzki, eds. original not as reproduction but as harmony, a given text. For the ethnomusicologist the 2003. Literarische Übersetzung. 2nd ed. as a supplement to the language in which it changing nature of the musical text, with Stuttgart: J. B. Metzler. expresses itself, as its own kind of intentio” its implicit recognition that new texts and Bachmann-Medick, Doris, ed. 1997. Über- (Benjamin 1992: 79). textual forms are constantly taking shape, setzung als Repräsentation fremder Kulturen. Cultural translation is for ethnomusicolo- challenges our practices as performers. The Berlin: E. Schmidt. gists especially complex. Translation requires “musical work” may be so fl uid and malleable active negotiation between multiple symbol for us that it loses all primacy as object in Benjamin, Walter. 1992. “The Task of the systems, and we are called upon to enact our interpretation of it. We restore life to it Translator.” In Schulte and Biguenet, translation as musicians, ethnographers, by performing it in a time-space with new Theories of Translation, pp. 71-82. literary scholars, and cultural theorists—that audiences and meanings. Hammerschmid, Beata, and Hermann is, through the many disciplinary roles we The fi rst three practices lead, I believe, in- Krapoth, eds. 1998. Übersetzung als assume. I want to suggest that the acts of eluctably toward the fourth and fi nal practice, kultureller Prozeß: Rezeption, Projektion translation that constitute the process of ethical translation. Ultimately, translation und Konstruktion des Fremden. Berlin: E. becoming ethnomusicologists fall into four for ethnomusicology does not close the gap Schmidt. sets of practices (or paradigms, to borrow between self and other, but rather helps us New Budapest Orpheum Society. 2002. Danc- from Ricoeur), which are at once distinct explore the ethical implications of why such ing on the Edge of a Volcano: Jewish Cabaret, and overlapping. Popular, and Political Songs, 1900-1945. 2 The fi rst of these practices we might call CDs. Cedille Records CDR 90000 065. transcriptional translation. Our concern here is for understanding the degree to which Ricoeur, Paul. 1992. Oneself as Another. Trans. music is a text, at one level containing its own Ethical translation allows by Kathleen Blamey. Chicago: University selfness, at another level embedded in a set of for oppositional meanings; it of Chicago Press. contexts. Transcription may be either literal or ______. 2006. On Translation. Trans. by Ei- ontological, but it is not haphazard. Its rigors seeks not to level difference leen Brennan. London and New York: require that we learn certain procedures, all but rather to validate the Routledge. of which we must apply to help us realize a Schulte, Rainer, and John Biguenet, eds. 1992. version of the text so we and others can use voices of difference Theories of Translation: An Anthology of it by experiencing it as music. Transcription Essays from Dryden to Derrida. Chicago: might rely on scientifi c methods and tech- Press. nologies for the reproduction of sound, but it is also highly personal. The second practice contains a set of a gap exists at all. To a certain degree, ethical CCDR Celebrates 25th An- approaches we can call representational translation totally turns the threadbare con- translation. Of course, ethnomusicologists cepts of translation searching for authenticity niversary are all aware of music’s representational para- and Urtext on their heads. Ethical translation continued from page 1 dox—the claims that music cannot represent allows for oppositional meanings; it seeks evening, November 4, 2006, an exhibition anything other than itself. As ethnographers not to level difference but rather to validate and performance celebrated the centenary and musicians performing in traditions ac- the voices of difference; it does not ask of a of the late Eleanor King, an original mem- quired as mother tongues and those learned translation that it be like anything else. ber of the Humphrey/Weidman modern as foreign languages, ethnomusicologists also Taken as a whole for ethnomusicology, dance company, the fi rst dancer to create recognize that music cannot remained impris- these four practices of cultural translation a university dance program that was not oned by an immutable selfness, occupying an remind us that the stakes for encountering part of a physical education department (at internal world to which new and different and representing the musics of others are very University of Arkansas, Fayetteville), and a meanings can never accrue. Music does not high. Getting the translation right is not just two-time Fulbright scholar to study Japanese represent (or fail to represent) because of a matter of fl eshing out a repertory or fi lling and Korean dance cultures. Three of King’s some agency of its own, but rather because in the historical gaps; each act of translation dances were performed for the event by An- those who experience music assume the asks more of us than simply transferring fi eld drea Seidel of the International University, subject positions that transform the object, recordings to archival storage or CDs that Florida, and Elizabeth Ahearn of Goucher music, by translating its many, rather than its circulate on a global marketplace. Cultural College, Maryland. As noted above, CCDR few, meanings. translation makes it possible for ethnomusi- cologists to sound and re-sound the music of houses the Eleanor King archives. 6 SEM Newsletter

Announcements The Fourth Korean Traditional Music viewing sessions of noh performances on Workshop for Overseas Musicologists video with discussion on the history, literary continued from page 3 and musical aspects of noh. There will be a June 18 through June 30, 2007 fi nal public recital on August 3, 2007. encourage proposals for research projects National Center for Korean Traditional Perform- The program is led by director and head that are archival in nature. Research for the ing Arts, Seoul, Korea instructor Richard Emmert. Noh master and Boulton Senior Fellowship can be conducted The Fourth Korean Traditional Music internationally renowned performer Akira at any institution(s), but preference will be Workshop for Overseas Musicologists will Matsui will again join us for the fi nal week given to proposals involving materials held be held by the National Center for Korean of training. Noh musician Mitsuo Kama will at Indiana University. The Senior Fellow will Traditional Performing Arts (NCKTPA) for once again give daily individual drum lessons be expected to give, during the fellowship two weeks from June 18 through June 30, for the full three weeks. James Ferner will be period, a public lecture on research fi ndings. 2007. The workshop will be conducted at the head music assistant and lead general classes Following the fellowship period, a report shall NCKTPA, located in Seocho-dong, southern in noh music; Jubilith Moore will be the head be submitted to the director of the Archives Seoul. The program will include lectures on dance and chant assistant. of Traditional Music. Korean traditional music and dance and studio The rigorous program is geared particu- Fellows who reside outside the United workshops in Korean traditional performing larly to those with performance training in States can apply for a travel supplement to arts, including instruction in playing tradition- theater, dance and/or music, but it is open to cover the cost of traveling to a research site al musical instruments. Details of the 2007 all interested persons. Applicants must send a if they would otherwise have diffi culty being workshop, along with an application form, will resume and written narrative describing their a Senior Fellow. A special request should be be posted by February 15, 2007 at (website) interest in and reasons to study noh. Send submitted along with the proposal for the www.ncktpa.go.kr. The 2005 schedule is avail- applications to: Noh Training Project 2007, travel supplement. able for download via http://www.ncktpa. Waller Hall, Indiana University of Pennsyl- The selection committee is composed of go.kr/eng/down/2005WorkshopSchedule. vania, 401 South Eleventh St., Indiana, PA four ethnomusicologists, one from Indiana doc. The NCKTPA will cover the cost of 15705 USA, (telephone) 724-357-2548, (fax) University and three others chosen from participants’ accommodation and food; 724-357-7899. major institutions where ethnomusicology participants are responsible for their own For details about tuition fees and dead- is taught. airfare and transportation to and from the lines, including the early registration discounts Applicants for the fellowship should airport. through March, as well as housing arrange- submit a proposal of approximately fi ve Scholars and doctoral candidates in the ments in Indiana, PA, please see our webpage pages describing the research to be carried fi elds of musicology and ethnomusicology at http://www.nohtrainingproject.org, which out during the grant period, and specifying who are interested in Korean music, excluding also has photos from last summer’s NTP. the semester during which they propose Korean citizens, are eligible for the workshop. You may also address inquiries to NTP 2007 to conduct the research. They should also The number of participants is limited. To producing director David Surtasky at (email) submit a curriculum vitae and list names of apply, submit an application and a CV by [email protected]. two recommenders. The completed applica- e-mail or fax. For more information, please tion should be sent as an electronic attach- contact Lee Baewon at (email) eric@ncktpa. East Asia Ethnography Dissertation ment to Director Daniel Reed, Archives of go.kr, (telephone) +82-2-580-3054, or (fax) Workshop Traditional Music, (email) reedd@indiana. +82-2-580-3055. edu. Questions concerning the applications May 4-5, 2007 should be directed to Daniel Reed at the email Noh Training Project (NTP) Center for East Asian and Pacifi c Studies, Uni- address above, or (telephone) 812-855-8634. versity of Illinois, Urbana-Champaign, IL Applications must be received by March 15, July 16 through August 3, 2007 Application deadline March 2, 2007 2007. An announcement of the award will The Noh Training Project’s annual sum- be made in May, 2007. mer intensive noh program in the United States The University of Illinois Urbana-Cham- Laura C. Boulton traveled the world will be held July 16 through August 3, 2007, paign and Indiana University Title VI National recording music and making fi lms for fi fty hosted by Indiana University of Pennsylva- Resource Center Consortium (IL/IN NRC years from 1929-1979. She collected high nia in Indiana, Pennsylvania (one hour from Consortium) announce a summer disserta- quality audio recordings, fi lms, still photos ). Complete information on the tion workshop in the fi eld of East Asian and musical instruments. She compiled fi eld Noh Training Project is available at (website) ethnography and invite applications from notebooks, correspondence, catalogues, http://www.nohtrainingproject.org. doctoral students in anthropology and related newspaper clippings, and unpublished The Noh Training Project, now in its disciplines who are writing ethnography- manuscript material. The Laura Boulton Col- 13th summer, is a three-week intensive, per- based dissertations. lection resides at the Archives of Traditional formance-based training in the dance, chant, This workshop is designed to enable Music and the Mathers Museum at Indiana music, and performance history of Japanese students just beginning to write as well as University; at the Center for Ethnomusicol- noh drama. As in the past, the Noh Training those who are more advanced in their writ- ogy at ; at the Archive Project 2007 will involve fi ve to six hours ing to engage in intensive discussions with of Folk Culture at the ; daily of group and private lessons in the chant faculty and each other. Possibilities for creat- and at the Human Studies Film Archives, (utai), dance (shimai) and musical instruments ing continuing networks among interested Smithsonian Institution. (hayashi) of noh, with twice-weekly evening students and faculty will also be explored. Each student will be given time to present a SEM Newsletter 7 chapter from his/her work in progress, and lead to publication in media of all types, faculty members will then respond to the both commercial and non-commercial; un- Obituaries presentation. derwrite new works of art, music, or fi ction; Emeke “Tony” Nwabuoku The workshop will begin after breakfast involve academic research; contribute to the Emeka “Tony” Nwabuoku, who was a on Friday, May 4, and conclude at noon theoretical development of archival science; long-time member of the Society for Ethno- on Saturday, May 5. Eight students will be explore practical possibilities for processing musicology, died October 1, 2006, one month selected for participation, and they will be ethnographic collections in the Archive of shy of his 68th birthday, as a result of com- mentored at the workshop by three faculty Folk Culture or elsewhere in the Library of plications arising from prostate surgery. from the Consortium universities: Dr. Sara Congress; develop new means of providing Until his death, he was a professor Friedman, assistant professor, anthropology, reference service; support student work; ex- emeritus at the University of Benin, Benin Indiana University; Dr. Roger Janelli, profes- periment with conservation techniques; and City, , where he had taught since sor, folklore and ethnomusicology, Indiana support ethnographic fi eld research leading 1983. Between 1980 and 1983, he taught at University; and Dr. Karen Kelsky, associate to new Library acquisitions. the Ahmadu Bello University, Zaria, Nigeria; professor, anthropology and EALC, Univer- An application consists of: prior to that, he taught at Columbia University, sity of Illinois. • A narrative, 750-1500 words long, de- Rutgers, The State University of New Jersey, All application materials must be received scribing the proposed project and its and Queens College, among others. by Friday, March 2, 2007. The application potential products and audiences. A pioneer in ethnomusicology, chore- consists of two items: (1) a current CV, and • A budget and proposed time-frame in ography, dance education, and musicology (2) an 8-10 page double-spaced dissertation which to undertake research (typically in Nigeria, he was among the fi rst twenty proposal or an 8-10 page excerpt from the for periods of one to three weeks). African scholars to obtain doctorates in dissertation in progress. Participants will be • A resume or statement of previous ethnomusicology from western universities selected on the basis of their submitted ma- experience. (EdD 1979, from Rutgers). His doctoral terials and the potential for useful exchanges • Names, addresses, and phone numbers thesis, A Field Study of Music as Cultural and among them. Selected participants will submit of three referees who can attest to the Educational System: The Case of the Aniocha Ibos the chapter or other excerpt to be examined applicant’s professional work and quali- of Bendel State of Nigeria, was considered an at the Workshop no later than April 15, 2007. fi cations to undertake the project. authoritative work on the subject. In later The Consortium will cover transportation Please do not submit photographs, years, he conducted comparative research in costs (maximum $500) to Champaign, IL as videotapes, CDs, or any physical material. the concepts of music and dance among 25 well as housing for two nights and meals. Because of security measures at the Library, different Nigerian and West African ethnic Submit application materials to: IL/IN US Mail and Federal Express may be delayed groups, presented papers before the African NRC Consortium 2007 Summer Disserta- for over one month and sensitive media Studies Association, the International Council tion Workshop, Center for East Asian and such as photographs may be damaged or de- for Traditional Music, and the Music Society Pacifi c Studies, 230 International Studies stroyed. Therefore, we strongly recommend of Nigeria (MUSON), and wrote many other Building, 910 S. Fifth St., Champaign, IL that applications be submitted as Word- or scholarly works, in addition to teaching and 61820. Questions may be directed to Anne WordPerfect-formatted documents, attached producing dozens of major and minor dance Prescott, Associate Director, Center for East to an email with the subject line “[your last dramas. Asian and Pacifi c Studies (EAPS), (telephone) name] Parsons 07 application.” Address He is survived by his wife of more than 217-244-4601, (email) [email protected]. the email to the Parsons Fund Committee, 45 years, Unoma Victoria Nwabuoku, and (email) [email protected]. You may also fax eight of his nine children. His fi rst child, The Gerald E. and Corinne L. Parsons all materials to (fax) 202-707-2076. For ques- daughter Anthonia, predeceased him in Fund Award tions, address your query to the Chair of the December 2004. Parsons Fund Committee at the email address Application deadline March 30, 2007 or fax number listed above, or (telephone) Pauline Tuttle The Parsons Fund Committee for the 202-707-5510. Gerald E. and Corinne L. Parsons Fund for Please review all application materials Pauline Tuttle passed away January 17, Ethnography at the Library of Congress prior to submitting them to the Center to 2007, after living with cancer for over a year. invites applications for awards granted dur- ensure that all the necessary elements are Despite her illness, she continued to work ing the Spring of 2007. The committee is included. Incomplete applications will not be on her many research and documentation composed of the professional staff of the considered. In the past, successful applicants projects, including a video annotating project American Folklife Center (AFC). The dead- have consulted with AFC staff members prior that was part of the EVIA Digital Archive line for award submissions this year is March to submitting their applications. project at Indiana University and the Univer- 30, 2007. Awards typically are between $400 sity of Michigan. and $1500. Pauline received her PhD in ethnomu- The purpose of the Parsons Fund is to Erratum sicology at the University of Washington make the collections of primary ethnographic Th e story on Henrietta Yurchenco in the in 2002 with the dissertation The Hoop of materials housed anywhere at the Library of last issue of the SEM Newsletter (41[1]:7) Many Hoops: The Integration of Lakota Ancestral Congress available to the needs and uses of mistakenly reported that her autobiography Knowledge and Bah’ Teachings in the Performative those in the private sector. Awards may be (Around the World in 80 Years, A Memoir) was Practices of Kevin Locke. made either to individuals or to organizations published in 1984; the correct publication in support of specifi c projects. Projects may date is 2003. 8 SEM Newsletter

SEM Newsletter 9

Calls for Submissions recording review editor for the journal The practices of music, radio, fi lm, and television, World of Music. He is associate professor of and the commercial engineering of sound in The Culture of AIDS: Hope and Heal- ethnomusicology and anthropology at the social environments such as shopping and the ing Through the Arts in Africa Blair School of Music, Vanderbilt University, workplace. Proposals can consider the legal Nashville, TN (USA). and cultural implications of innovations in Edited by Gregory Barz (African Soundscapes The volume’s projected publication date technology and business practices, such as the Series, Temple University Press, Gregory Barz, is late 2007 or early 2008. The completed impact on the political economy of sound and general editor) manuscript will be submitted for publication notions of sound and sound-based products Many people on the African continent review in spring, 2007, to Temple University as property. We also encourage papers that dance their disease and sing for life in their Press’s African Soundscapes Series. explore sources of innovation in sound and response to AIDS, a pandemic that has deep Please contact the editor via email (Greg- music (especially from communities and/or cultural effects on individuals, communities, [email protected]) with proposals for business enterprises defi ned by ethnicity, race, and nations. The response (and responsibility) work to be included in The Culture of AIDS or region), as well as those focusing on the of the arts is signifi cant and path-breaking as in Africa. (The editor currently is on leave transnational circulation of sound-related individuals and communities make meaning in South Africa, so email is the best way to technologies and business practices. out the effects the disease has on their lives. reach him.) Proposals should be no more than 500 The arts contribute to localized medical in- words and be accompanied by a short CV. terventions, therapeutic and palliative care, British Postgraduate Musicology Deadline for submissions is March 31, 2007. and provide essential information regarding (BPM) The program committee includes David Su- testing, care, and treatment of both HIV isman, Susan Strasser, Philip Scranton, and and AIDS. www.bpmonline.org.uk Roger Horowitz. Travel support is available The Culture of AIDS in Africa is a proposed Submission deadline May 7, 2007 for those presenting papers at the confer- volume of essays drawing on contempo- ence. To submit a proposal or to obtain rary scholarship related to the roles of the British Postgraduate Musicology (BPM), an more information, contact Carol Lockman, arts—music, dance, drama, the visual arts, independent peer-reviewed journal run Hagley Museum and Library, PO Box 3630, and other forms of expressive culture. In by postgraduates for postgraduates, seeks Wilmington DE 19807, (telephone) 302-658- addition to soliciting new scholarship on the submissions for Volume 9, which will be 2400, ext. 243, (fax) 302-655-3188, (email) proposed topic, previously published materi- published later this year. BPM is published [email protected]. als related to “the culture of AIDS” will be annually online, is available free of charge, considered for inclusion in the volume. Other and is read by hundreds of scholars around the world. BPM is an excellent opportunity to Symposium: “Music of America and creative responses (previously published or the Sea” new poetry, transcriptions of interviews, gain experience in the publishing process and translations of recorded or unpublished get that fi rst publication under your belt! June 9, 2007, Mystic Seaport, Mystic, CT Submissions may be on any subject within song texts, artworks in all media, etc.) will Submission deadline March 10, 2007 also be considered.The volume will provide all fi elds of musicology. Articles should be a forum for refl ection on the role of the up to 4,000 words in length; we also welcome Mystic Seaport invites proposals for arts in the very necessary interdisciplinary, reviews and responses to recent secondary papers in history, folklore, literature, ethno- interactive, and interdependent worlds in literature, conferences and events (up to 2,000 musicology, or other appropriate disciplines which AIDS exists today in Africa, so this words), as well as announcements, letters, that address any aspect of music or verse of call for submissions is targeted at scholars, and event listings. the sea or inland waters from the Age of Sail performing artists, activists, government of- Please email submissions (most common through the present day for the 28th Annual fi cials, community leaders, NGOs, and those document types are accepted) to editor@ Symposium “Music of America and the Sea.” working at the grassroots. bpmonline.org.uk, by May 7, 2007, or see Topics of interest may include shipboard The editor, Gregory Barz, is co-editor of (website) www.bpmonline.org.uk for further work songs, songs of maritime or other trades, two volumes of essays: Mashindano! Competi- details. seafaring cultures and cultural change, ethnic- tive Music Performance in East Africa (Mkuki na ity and ethnic infl uences, cultural exchanges, Nyota, 2000), and Shadows in the Field: New Sound in the Era of Mechanical Repro- ballad and broadside traditions, technology, Perspectives for Fieldwork in Ethnomusicology duction regional interests, and popular culture. Audio- (Oxford, 1997). In addition, he is the author visually illustrated presentations are welcome. November 2-3, 2007, Hagley Library, Wilming- of three books: Singing for Life: HIV/AIDS Papers selected must be submitted in fi nal ton, DE and Music in (Routledge, 2005), Music form by May 7, 2007. Graduate students are in East Africa: Experiencing Music, Expressing Submission deadline March 31, 2007 encouraged to submit proposals. Speakers will receive lodging and meals and free admission Culture (Oxford, 2004), and Performing Religion: For the conference, “Sound in the Era Negotiating Past and Present in Kwaya Music of to the festival weekend. Submit proposals of Mechanical Reproduction,” the Center and a brief CV or resume to: Dr. Glenn Tanzania (Rodopi, 2003). He has engaged for the History of Business, Technology fi eld research in Uganda, , Tanzania, Gordinier, attn: Symposium, Williams-Mystic and Society invites proposals for empirically Program, Mystic Seaport, 75 Greenmanville and South Africa. He is also the general edi- based historical papers that analyze sound tor of the African Soundscapes book series Ave., Mystic, CT 06355-0990, (email) glenn. in commercial, technological, and legal en- [email protected]. published by Temple University Press and vironments since the late 19th century. Our served as African music editor for the New principal interest is in papers that explore the Grove Dictionary of Music and Musicians and as integration of sound with the commercial 10 SEM Newsletter

Summer at Eastman 2007

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Conferences Calendar more information contact Sean Wil- Mar 25-27 liams, (email) williams@evergreen. 2007 A Bob Dylan Symposium: “High- edu Mar 1-4 way 61 Revisited: Dylan’s Road from Joint conference of the Society for Minnesota to the World.” University Apr 20-22 American Music and the Music of Minnesota-Minneapolis. For Midwest Chapter of the Society Library Association. Pittsburg, more information, contact Colleen for Ethnomusicology (MIDSEM) Pennsylvania. For more informa- Sheehy, (email) sheeh001@umn. Annual Meeting. Indiana State tion, see (website) http://www. edu University in Terre Haute. For american-music.org/ more information, contact (email) Mar 30-31 [email protected] Mar 9-10 Rocky Mountain and Southwest Annual meeting of the Forum on Chapters of the Society for Ethno- Apr 21 Music and Christian Scholarship. musicology Annual Meeting. School Tenth Annual Graduate Students Yale Sacred School of Music. For of Music, Arizona State University, in Music Symposium (GSIM 10), further information see (website) Tempe, AZ. For more information, “Theorizing Performance/Per- http://www.fmcs.us/ contact J. Richard Haefer, (email) forming Scholarship.” CUNY [email protected] Graduate Center’s Segal Theatre. Mar 10 For more information, contact Harvard Graduate Music Forum Mar 30-31 Megan Jenkins, (email) mbjenkins@ Interdisciplinary Graduate Stu- Niagara Chapter of the Society for gmail.com dent Music Conference: “Music Ethnomusicology Annual Meeting and Crisis.” , (held jointly with the Allegheny Jun 6-10 Cambridge, Massachusetts. For Chapter of the American Musico- Feminist Theory and Music 9 more information, contact Jona- logical Society). Indiana University Biannual Conference: “Speaking than Kregor, (email) kregor@fas. of Pennsylvania in Indiana, Penn- Out of Place.” Montreal, Quebec, harvard.edu sylvania. For more information, Canada. For more information, see contact Carl Rahkonen, (email) (website) http://www.music.mcgill. Mar 16-17 [email protected] ca/ftm9/ University of Toronto Music Graduate Students’ Association Mar 30-Apr 1 Jun 9 Mid-Atlantic Chapter of the Soci- Symposium: “Music of America and Annual Conference: “Is this it ety for Ethnomusicology Annual the Sea.” Mystic Seaport, Mystic, all?: Questioning received truths Meeting. College of William and CT. More more information, con- in music.” For more information, Mary, Williamsburg, Virginia. For tact Glenn Gordinier, (email) glenn. see (website) (http://uoftmgsa. more information, see (website) [email protected] com/index.asp http://www. macsem.org Jun 28-30 Mar 22-25 Apr 13-14 Meeting of the Study Group on Association for Asian Studies Ethnomusicology in the World: Anthropology of Music in Medi- Annual Meeting. Marriott Hotel, Building on the Laura Boulton terranean Cultures: “Cosmopolitan Boston, Massachusetts. For more Legacy. Archives of Traditional Cities and Migrant Musics.” Fon- information, see (website) http:// Music, Indiana University, Bloom- dazione Ugo e Olga Levi, Venice. www.aasianst.org/ ington, Indiana. For more informa- For more information, contact tion, contact Daniel Reed, Director, Marcello Sorce Keller. (email) Mar 23-25 Archives of Traditional Music, [email protected] University of Minnesota School (email) [email protected] of Music Graduate Student Sym- Jul 4-11 posium. For more information, Apr 18-21 39th World Conference of the In- contact (email) ujivesubmissions@ British Forum for Ethnomusicology ternational Council for Traditional gmail.com Annual Conference. International Music. Vienna, Austria. For more Centre for Music Studies, Newcastle information, see (website) http:// Mar 24 University (UK). For more infor- www. ictm2007.at/ 7th Annual Conference of GAM- mation, contact (email) Goffredo. MA-UT, the Graduate Association [email protected] Jul 5-8 of Music and Musicians at UT: Fifth Biennial International Con- “Sight and Sound: The Visual Apr 20-22 ference on Music Since 1900. Imagination in Music.” University Pacifi c Northwest Chapter of the University of York, UK. For more of Texas at Austin. For further Society for Ethnomusicology An- information, see (website) http:// information, contact (email) am- nual Meeting. The Evergreen State music.york.ac.uk/icmsn2007 [email protected] College, Olympia, Washington. For Continued on page 12 12 SEM Newsletter

Conferences Calendar For more information, see (website) plinay Conference: “The Voice of http://afsnet.org/ the People: The European Folk Continued from page 11 Revival, 1760-1914.” University Oct 24-28 of Sheffi eld, Sheffi eld, UK. For Jul 15-17 Society for Ethnomusicology 52nd more information contact (email) 2007 College Music Society Inter- Annual Meeting, Columbus, Ohio. folkrevival@sheffi eld.ac.uk national Conference, Bangkok and For more information see (website) Ayuthaya, Thailand. For more infor- http://www.ethnomusicology. Nov 15-18 mation see (website) http://www. org/ College Music Society 2007 Annual music.org/Thailand.html. Conference (in conjunction with Nov 1-4 ATMI). Little America Hotel, Salt Aug 3-9 American Musicological Society An- Lake City, Utah. For more infor- Music in the World of Islam. Assilah, nual Meeting. Québec Convention mation, see (website) http://www. Morocco. For more information, Centre/Hilton Québec, Québec music.org/SaltLakeCity.html see (website) http://www.mcm. City, Canada. For more information, asso.fr/site02/music-w-islam/con- see (website) http://www.ams-net. gresen.htm 2008 org/ Oct 22-25 Aug 15-19 American Folklore Society Annual Third Conference on Interdisciplin- Nov 2-3 Meeting. Hyatt Regency Louisville, ary Musicology. Tallinn, Estonia. Conference: “Sound in the Era of Louisville, Kentucky. For more For more information, see (web- Mechanical Reproduction.” Hagley information, see (website) http:// site) http://www.oicm.umontreal. Library, Wilmington, Delaware. For afsnet.org/ ca/cim05 more information, contact Carol Lockman, (email) clockman@ Nov 6-9 Oct 17-21 Hagley.org American Musicological Society An- American Folklore Society Annual nual Meeting. Renaissance Nash- Meeting. Hilton Québec, Québec Nov 7-9 ville Hotel, Nashville, Tennessee. City, Canada (jointly with the Folk- Centre for Nineteenth-Century For more information, see (website) lore Studies Association of Canada). Studies International Interdisci- http://www.ams-net.org/

SEM Newsletter The Society for Ethnomusicology Non-Profi t Organization U.S Postage Indiana University PAID Morrison Hall 005 Bloomington, Indiana 1165 East 3rd Street Permit No. 2 Bloomington, IN 47405-3700

Volume 41, Number 2 March 2007