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ABSTRACTS International Council for Traditional Music 37Th World Conference Fuzhou & Quanzhou, China 4–11 January 2004

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ABSTRACTS International Council for Traditional Music 37Th World Conference Fuzhou & Quanzhou, China 4–11 January 2004 ABSTRACTS International Council for Traditional Music 37th World Conference Fuzhou & Quanzhou, China 4–11 January 2004 This book contains abstracts of the presentations to be made at the 37th World Conference of the International Council for Traditional Music. Although not originally prepared by the authors for publication, they are included here to provide an introduction to their papers. All abstracts are presented here in English, regardless of the language to be used during the Conference. Information about the language used in the presentation itself can be found in the program. Some abstracts have been edited slightly to read more easily in English. I take full responsibility for this, but regret any changes in content or errors which may have arisen during this process. I also apologize for any missing diacritical marks or special letters which did not transmit well via email. Organization. Abstracts are arranged alphabetically according to the author’s family name (surname) followed by personal name, i.e., the normal order for names in countries such as China, Japan, Korea, Vietnam, etc. If the author originally sent me their name in this order, the name is presented in that way without any intervening punctuation. If the author’s name was originally in the form of personal name followed by family name, it is inverted here with a comma following the family name to mark the inversion. The spelling of names follows what was sent to me; however, names here are never written in all capital letters and never include commas, except to indicate inversion. I have tried very hard to follow these rules consistently and adhere to the personal preference of the author concerned, but I apologize for any unintentional errors. Finding an abstract may take a bit more hunting, but hopefully it will end up being a learning experience, rather than a frustration. The format for the listings here is as follows. The first paragraph consists of the author’s name, country of residence or institution, and email address (if available) in angle brackets. The second paragraph is the title of the paper, panel, roundtable, or workshop. If the presentation is a panel, roundtable, or workshop, the title is preceded by this word. The third and following paragraphs consist of the abstract itself. Where there are joint authors, cross-references are included to assist locating their abstracts. Because plans change and authors may be unable to attend, some of the papers abstracted here may not be presented at the Conference. Furthermore, there may be some presentations that are not included here. Any new abstracts will be made available separately at the time of registration for the Conference. Acknowledgments. I’d like to thank the members of the Program Committee, listed below, for their great efforts during the past two and a half years leading up to the present conference—reading, evaluating, and commenting on the almost five hundred abstracts submitted have not been easy tasks. In the preparation of the book of abstracts in English, Lee Tong Soon surpassed his role as a member of the Program Committee in bravely undertaking and checking translations of Chinese language abstracts. Raymond Ammann also clarified some other questions of translation. In preparing the book of abstracts in Chinese, Lin Zhida and the teachers and students of the Foreign Languages Institute in Fujian Normal University took on the enormous 1 task of translating and checking all the English language abstracts. Through their tremendous efforts, all of these people contributed greatly to the books of abstracts in their present form. Vincent Palie, Balthazar Moriguba, Rhett Niles, and Eric Niles helped in verifying various details. The Institute of Papua New Guinea Studies and the Papua New Guinea National Cultural Commission provided an environment for this work to be undertaken. Finally, the authors of these abstracts cooperated in countless ways. Thank you to everyone for your patience, attention to detail, and contributions. Don Niles Chair 37th ICTM World Conference Program Committee 37th ICTM World Conference Program Committee: Don Niles, Papua New Guinea (Chair) Steven Feld, U.S.A. Anca Giurchescu, Denmark Margaret Kartomi, Australia Lee Tong Soon, U.S.A. Anthony Seeger, U.S.A. Tsao Penyeh, China, Hong Kong (HKSAR) Wang Yaohua, China 37th ICTM World Conference Local Arrangements Committee: Wang Yaohua, China (Co-Chair) Tsao Penyeh, China, Hong Kong (HKSAR) (Co-Chair) Lin Zhida, China (Office Director) 2 ABSTRACTS International Council for Traditional Music 37th World Conference Fuzhou & Quanzhou, China 4–11 January 2004 Ahmedaja, Ardian, Austria <[email protected]> Musical Instruments and Musical Systems in Albanian Traditional Music The musical instruments of traditional Albanian music can be divided into regional and cross-regional. Regional instruments are important witnesses of regional musical features, including the musical system. One of these instruments is a double flute named cula diare, which is played solo. It corresponds to the multipart singing and pentatonic system of the South, where it is played. The North, on the other hand, is “ruled” by the diatonic system and the phenomenon known as maqam, as well as homophonic singing. Such differences between North and South make the use of cross-regional instruments difficult. Nevertheless, folk musicians manage it in very proficient ways, as can be illustrated by the llautë, a string instrument. This is usually part of an instrumental ensemble composed of a violin, a clarinet, a llautë, and a little drum named dajre or def. This ensemble plays instrumental and dance music and accompaniments, as well homophonic songs in the North and multipart songs in the South. The rearrangement necessary to conform with the mentioned musical systems is not very difficult to achieve for the violin and the clarinet, as they are melodic instruments. The llautë is mostly a “harmony” instrument. Its “harmony” consists mainly of two tones, which are played as fifths or fourths, giving the melody in the North the necessary liberty to play with the characteristic intervals of the diatonic system and maqams. On the other hand, this makes a very useful doubled drone for the pentatonic multipart songs of the South. Examination of musical examples with the corresponding transcriptions helps to understand these different connections between the musical instruments and musical systems within traditional Albanian music. Aksaranukrow, Sek, Thailand, see Sumrongthong, Bussakorn, Thailand, & Sek Aksaranukrow, Thailand Alaszewska, Jane, Japan <[email protected]> Preservation as a Force for Innovation: The Japanese Cultural Property Law and Its Impact on the Japanese Performing Arts The last fifty years has witnessed the launch of several preservation programs aimed at the protection and promotion of traditional ways of life as counter to the perceived globalizing of cultural systems. Such schemes have been introduced at local, national, and international levels. Although many of these schemes interact with music traditions, surprisingly little research has been done concerning the impact of such intervention on performance practice. The Asia-Pacific region has produced several national-level preservation schemes. This paper will begin with a brief survey of legislation relating to musical heritage in this region, followed by a detailed case-study drawn from the Japanese Performing Arts. The paper will take as its focus Chichibu Yataibayashi, a festival drumming 3 tradition, designated an Important Intangible Folk Cultural Property by the Japanese Culture Ministry in 1979. In the second half of this paper I will explore the role of the Cultural Property Law in promotion of this tradition at a national level, and how, by providing performance and teaching opportunities outside the traditional performance context, preservation programs can ironically act as a force for change. Ammann, Raymond, Vanuatu <[email protected]> Musical Instruments as Insights into Traditional Belief and Social Systems in Vanuatu In the Melanesian archipelago of Vanuatu, there are a large variety of traditional musical instruments. In most parts of Vanuatu, wooden slit-drums are still frequently used, and they show a wide diversity in size, form, in playing technique, and in symbolism. These idiophones are used to send messages and to musically highlight certain moments during ceremonies. Large wooden slit-drums and their sounds are vital features of every important ceremony. In Vanuatu, ceremonies connect the myriad facets of society and can be seen as a concentration of information on the people’s belief and social system. Consequently the role of the drum in such ceremonies designates many aspects of the local culture. In this paper, the role of some drum types in ceremonies will be examined and explained in relation to their cultural context. April, David Thatanelo, South Africa <[email protected], [email protected]> From Sacred Spaces to the Stage: Processes of Theatricalizing Sacred African Dance Rituals with Reference to Two South African Dance Works This paper describes and analyses the dance works of two South African choreographers. In Tranceformations (1991) by Sylvia Glasser, a dance based on Bushman or San rock art and trance dancing, this ritual journey explores the images and transformations visualized and experienced by the medicine men or shamans while in trance. While Nomkhubulwana (2001) concerns a ritual that emphasizes women in
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