The Contributors

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The Contributors John Blacking, Department of Social Anthro- William P. Malm, School of Music, University of pology, The Queen's University of Belfast. For- Michigan, Ann Arbor. merly chairman of the African Studies Pro- Lindy Li Mark, Department of Anthropology, gramme at the University of the Witwaters- California State University, Hayward. rand, Johannesburg, South Africa. Elizabeth May, writer and editor, has taught Kuo-huang Han, Department of Music, North- ethnomusicology and Western music at Ameri- ern Illinois University, DeKalb. can and Australian universities and in Ameri- Mantle Hood, Senior Distinguished Professor of can public schools. Ethnomusicology, University of Maryland, Bal- timore. David P. McAUester, Department of Anthro- pology and Music, Wesleyan University, Middle- Trevor A. Jones, Department of Music, Monash town, Connecticut. University, Clayton, Victoria, Australia. Atta Annan Mensah, formerly Head of the De- Adrienne L. Kaeppler, Anthropologist at the partment of Music, Dance, and Drama, Ma- Smithsonian Institution, Washington, D.C. kerere University, Kampala, Uganda, is now on the Faculty of Education, University of Cape Margaret J. Kartomi, Department of Music, Coast, Cape Coast, Ghana. Monash University, Clayton, Victoria, Austra- lia. David Morton, Department of Music, Universi- ty of California, Los Angeles. Cynthia Tse Kimberlin, formerly School of Ethnic Studies, San Francisco State University, Bruno Nettl, School of Music, Division of Eth- Fulbright Fellow in Ethiopia, Department of nomusicology, University of Illinois, Urbana. Music, University of Ife, Nigeria. Dale A. Olsen, Department of Music, Florida Lorraine D. Koranda, formerly on the staff of State University, Tallahassee. the University of Alaska, is currently teaching Josef M. Pacholczyk, Department of Music, in Saratoga, California. University of Maryland, Baltimore. Alfred Kwashie Ladzekpo and Kobla Ladzekpo, Abraham A. Schwadron, Department of Music, School of Music, California Institute of the Arts, University of California, Berkeley. Valencia. Kwashie: Dance Department, Uni- versity of California, Los Angeles. Kobla: De- Bonnie C. Wade, Department of Music, Univer- partment of Music, University of California, sity of California, Berkeley. Los Angeles. Ella Zonis Mahler, author of Classical Persian Kang-sook Lee, College of Music, Seoul National Music (Harvard University Press, 1973) has University, South Korea. lectured and taught widely. .

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Cerebration Or Celebration David Mcallester
Cerebration or Celebration David McAllester Until recently the place of performance in a liberal arts education was hardly a matter of debate where the arts of liberal arts were concerned. Performance in the arts has been considered distinctly second class, infra dig, base, common, and popular, at least from the time of the ascendency of the German university system, that enormously influential prototype of "civi- lized" education all over the world. No doubt, Plato's mistrust of the arts as unreal ("the shadow of a shadow") but nevertheless able to disrupt ration- ality lies behind the purdah they have enjoyed so widely and so long. This was not always the case. Some of our "Old Ones" in Greece and China considered performance in music, poetry, and sometimes even paint- ing and dance to be necessary parts of a proper education. Traces of this wisdom remain with us to this day. Mao Tse-Tung and Emperor Hirohito are honored for their poetic skill, as are not a few South American generals and presidents. The North European-Platonic blight has not been quite universal in its effects, but we need to remember how low we have fallen: dance relegated to "phys. ed.," performance confined to conservatories granting degrees in "science" rather than in "arts" and elsewhere denied academic credit. This state of affairs is all the more strange when one reflects on the in- sistence upon performance in other areas of liberal knowledge. Proficiency in languages is measured by fluency; the physicist must show his skill in the laboratory; anthropologists and geologists, as other examples, earn their spurs in their field work.
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"Recent Development of Ethnomusicological Studies in Indonesia After Kunts Visits in 1930'S" Abstract
"Recent Development of Ethnomusicological Studies in Indonesia after Kunts Visits in 1930's" By Triyono Bramantyo (ISI Yogyakarta, Indonesia) Abstract It was a remarkable effect scientifically that soon after the late Kunst visits in Indonesia during the early 1930s that the development of non-Western music studies all over the world had had become so quickly developed. The name Jaap (or Jacob) Kunst is always associated to the study of the gamelan music of Indonesia for since then, after one of his PhD students, so-called Mantle Hood, completed his study on the topic of “The Nuclear Theme as a Determinant of Patet in Javanese Music” in 1954, the gamelan studies and practice has become developed throughout the world best known universities. Accordingly, in the USA alone there are now more than 200 gamelan groups have been established. The ideas and the establishment of ethnomusicology would not be happened if Jaap Kunst, as an ethnologist, had never been visited Indonesia in his life time. His visit to Indonesia was also at the right time when the comparative musicology have no longer popular amongst the Western scholars. His works have become world-widely well known. Amongst them were written whilst he was in Indonesia; i.e. the Music of Bali (1925 in Dutch), the Music of Java (originally in Dutch in 1934, last English edition 1973), Music in New Guinea (1967), Music in Nias (1939), Music in Flores (1942) and numerous other books, publications, recordings and musical instruments collections that made Jaap Kunst as the most outstanding scholar on the study of Indonesian musical traditions.
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067609-SEM News
SEM Newsletter Published by the Society for Ethnomusicology Volume 39 Number 3 May 2005 SEM Soundbyte were alluding to the phrase that Marga- SEM 50 LAC Update ret Mead used in her book title, Coming By Timothy Rice, SEM President of Age in Samoa. Mead was discussing By Tong Soon Lee, Emory University the transition from adolescence to adult- On Aging and Anniversaries hood, and we likewise were alluding to The SEM 50 Local Arrangements Committee is continuing its preparation A few years ago, while hiking over the maturation of the society, and by th the lava flows on Hawai’i’s Kilauea extension, the field of inquiry. The for the 50 anniversary conference of volcano, I was amazed to realize that I ethnographic approach used by Ameri- the Society for Ethnomusicology in At- was walking on earth younger than I can scholars was beginning to be well lanta, November 16-20, 2005. Ongoing was. It is almost equally surprising to established as a mode of inquiry. Like- plans are being made to prepare for the realize that our Society, celebrating its wise, by 1980 most major institutions musical performances and events at the 50th anniversary this year, is also younger taught courses in ethnomusicology. conference hotel and at Emory. than I am. It didn’t dawn on me when Even SEM was becoming a mature schol- The structure of the pre-conference I entered graduate school in 1968 that arly organization.” Setting aside for the symposium is gradually shaping up and the discipline to which I would devote moment what she might have meant by here is a tentative outline of the day.
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CURRICULUM VITAE Made Mantle Hood, BA MA Dr. Phil
CURRICULUM VITAE Made Mantle Hood, BA MA Dr. Phil Universiti Putra Malaysia Department of Music Faculty of Human Ecology Phone +6011 2190 8050 Email: [email protected] ________________________________ Summary: • Assoc. Prof. of Ethnomusicology, Universiti Putra Malaysia (2012- present) • Research Fellow, Melbourne University (2011-2013) • Lecturer in Ethnomusicology, Monash University (2005-2011) • UNESCO-enDorsed ICTM InDonesian Liaison Officer • Research Grants (2005-2014) - AUD$41,785 • German AcaDemic Exchange Service (DAAD) scholarship recipient (2002-04), University of Cologne • 16 current anD past MA/PhD graduate supervisions • Languages: English, InDonesian, German anD Balinese Education: 2014 – GraDuate Supervision Training, CADe, UPM 2013 – Certificate in Basic Learning and Teaching, CADe, UPM 2007 – Level II GraDuate Supervision Training (HDR), Monash University 2005 – Dr Phil, ethnomusicology, University of Cologne, Germany 2001 – MA ethnomusicology, University of Hawaii, USA 1992 – BA ethnomusicology, University of Maryland, USA Scopus Publications 2016 – ‘Notating Heritage Musics: Preservation anD Practice in ThailanD, InDonesia anD Malaysia. Malaysian Music Journal. 5(1): 54-74. 2015 – ‘Sustainability Strategies Among Balinese Heritage Ensembles’. Malaysian Music Journal. 3(2): 1-12. Made Mantle Hood 2014 - Sonic Modernities in the Malay World: A History of Popular Music, Social Distinction, and Novel Lifestyles. BarenDragt, B. (eD). review in Wacana Seni Journal of Arts Discourse, Universiti Sains Malaysia Press, Vol. 3. 97-101. 2014 - (with Chan, C. anD Tey, M.). "Acoustic Control, Noise Measurement anD Performance Ambition: Issues SurrounDing Noise Exposure for Musicians". Advances in Environmental Biology 8(15), p. 51-56. 2010 – "Gamelan Gong GeDe: Negotiating Musical Diversity in Bali’s Highlands". Musicology Australia, vol. 32 no. 1, 69-93.
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Ethnomusicology Archive Open Reel Tape Collection
http://oac.cdlib.org/findaid/ark:/13030/kt6b69s042 No online items Finding Aid for the Ethnomusicology Archive Open Reel Tape Collection Processed by Ethnomusicology Archive staff.. Ethnomusicology Archive UCLA 1630 Schoenberg Music Building Box 951657 Los Angeles, CA 90095-1657 Phone: (310) 825-1695 Fax: (310) 206-4738 Email: [email protected] URL: http://www.ethnomusic.ucla.edu/Archive/ © 2012 The Regents of the University of California. All rights reserved. Finding Aid for the 2008.03 1 Ethnomusicology Archive Open Reel Tape Collection Descriptive Summary Title: Ethnomusicology Archive Open Reel Tape Collection Collection number: 2008.03 Repository: University of California, Los Angeles. Library. Ethnomusicology Archive Los Angeles, California 90095-1490 Abstract: Physical location: Paper index at Ethnomusicology Archive; tapes stored at SRLF Access Collection is open for research. Publication Rights Some materials in these collections may be protected by the U.S. Copyright Law (Title 17, U.S.C.) and/or by the copyright or neighboring-rights laws of other nations. Additionally, the reproduction of some materials may be restricted by terms of Ethnomusicology Archive gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks. Transmission or reproduction of protected items beyond that allowed by fair use requires the written permission of the copyright owners. The nature of historical archival collections means that copyright or other information about restrictions may be difficult or even impossible to determine. Whenever possible, the Ethnomusicology Archive provides information about copyright owners and other restrictions in the finding aids. The Ethnomusicology Archive provides such information as a service to aid patrons in determining the appropriate use of an item, but that determination ultimately rests with the patron.
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Sonia Tamar Seeman [email protected] Ernest and Sarah Butler School of Music MBE 3.204 1 University Station E3100 University of Texas, Austin Austin TX 78712-0435 (512) 471-2854 I. ACADEMIC HISTORY 2002-2004 Post-Doctoral Faculty Fellowship, University of California, Santa Barbara. 2002 Ph.D. in Ethnomusicology. University of California, Los Angeles. Dissertation: “’You’re Roman!’ Music and Identity in Turkish Roman Communities”. Prof. Tim Rice; Prof. Jihad Racy, co-chairs. M. A. in Ethnomusicology. University of Washington. Three Master’s Thesis Papers: “Continuity and Transformation in the Macedonian Genre of Chalgija: Past Perfect and Present Imperfective”; “Analytical Modes for Variant Performances of Kuperlika”; “Music in the Service of Prestation: The Case of the Roma of Skopje, Macedonia.” Prof. Christopher Waterman, chair. BA in Music History/Musicology with High distinction. University of Michigan. A.Awards and Honors Fall 2009 Walter and Gina Ducloux and Dean’s Fellowship 2009-2010 Fellowship, Humanities Institute, University of Texas, Austin 2007-2008 Fellowship, Humanities Institute, University of Texas, Austin 2006-2007 Fellowship, Center for Women’s and Gender Studies, University of Texas, Austin. 2002-2004 Post-Doctoral Visiting Faculty Fellowship; University of California, Santa Barbara. 2001 Ki Mantle Hood Award, Best Student Paper. Southern California Chapter, Society for Ethnomusicology. 2000-2001 Collegium of University Teaching Fellows, University of California, Los Angeles. 1999-2000 Graduate Division Dissertation Year Fellowship, University of California, Los Angeles. 1999-2000 Jewish Community Scholarship Award. 1991-1994 Graduate Fellowship, School of Music, University of California, Los Angeles. B.Research Grants; Projects Summer 2010 College of Fine Arts Summer Research Grant, University of Texas, Austin.
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Front Matter
ETH NOMU $ 10 LOGY JOURNAL OF THE SOCIETY FOR ETHNOMUSICOLOGY NOW INDEX VOLUMES I-X 1953-1966 Society for Ethnomusicology , University of Illinois Press are collaborating with JSTOR to digitize, preserve and extend access to Ethnomusicology www.jstor.org SOCIETY FOR ETHNOMUSICOLOGY, INC. Board of Directors President: Mantle Hood, Institute of Ethnomusicology, University of Califor- nia, Los Angeles, California 90024 Past President: David P. McAllester, Laboratory of Ethnomusicology, Wes- leyan University, Middletown, Connecticut 06457 First Vice-President: Klaus Wachsmann, Institute of Ethnomusicology, Uni- versity of California, Los Angeles, California 90024 Second Vice-President: Gertrude P. Kurath, Dance Research Center, 1125 Spring Street, Ann Arbor, Michigan 48103 Secretary: Theodore C. Grame, Dept. of Music, Yale University, New Haven, Connecticut 06520 Treasurer: William P. Malm, School of Music, University of Michigan, Ann Arbor, Michigan 48105 Directors-at-large: Nicholas M. England, Dept. of Music, Columbia Univer- sity, New York, New York 10027; J. H. Kwabena Nketia, Institute of African Studies, University of Ghana, Legon, Ghana. Council: Term ending 1967: Robert A. Black, Rose Brandel, K. P. Etzkorn, Frank J. Gillis, Theodore C. Grame, Mieczyslaw Kolinski, Jan LaRue, Alan Lomax, George List, David P. McAllester, Roxane McCollester, Norma McLeod, Wil- liam P. Malm, Wilton Mason, Nadia Chilkovsky Nahumck, Bruno Nettl, Sirvart Poladian, Gustave Reese, Barbara B. Smith, Klaus Wachsmann. Term ending 1968: Willem Adriaansz, William K.Archer, Samuel P. Bayard, Judith O. Beck- er, Viktor M. Beliaev, David L. Burrows, Dieter Christensen, Zygmunt Estrei- cher, Edith Gerson-Kiwi, Charles Haywood, K. G. Izikowitz, Shigeo Kishibe, Barbara L. Krader, Juana de Laban, Jose Maceda, J.
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Problems of the Panerusan Mantle Hood
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University of Nigeria Research Publications SAM, Kenneth Iheanyi Chukwu Author PG/MA/93/14892 Taxonomy of Igbo Musical Instruments: An Organological Case Study of Ihitte-Uboma Title Instrumental Resources Arts Faculty Music Department September, 1999 Date Signature 'TASONORIY OF IcnO Rll!SlC'Al, INS'I'HlIMENI'S: AN ORGAN01,O<;ICAI, CASE ST1ll)Y 017 IIIIT'rE-IIBOMA INSTRIIMEN'I'AL H ESO1 I RCES Salmitted in Partial F~~lfillrnentof the Requirements Far- the Award of the Dcgrce of MASI'ERS OF ARTS (h1.A.) AFRICAN MlJSICO1,OCY (With a Stress in.Organology). DEPARTMENT OF MIJSIC, IINIVERSITY OF NIGERIA, NSIIKKA SAM KENNE'I'II IIIEANYI CIIIJKWU PWW9/93/ry e?t 1999 APPROVAL PAGE ( SUPERVISOR INTERNAL, EXAMINER ?. llead of Department. 'T'o my late dear father. Nze Okuakaji ltinocent Chr~kwu(1.O.C.) And My beloved mother, Mrs Grace Onyeberechi Chukwu And 'QIIOTES' By lis~eningto the sspcecl~.cries and lau&ter of otlms, we learn what they think and how they feel. (Roger Kamien) Traditional musical instruments are information sources that help to express feelings of a people and the nceded explanations on how these inform, can be effectively diseniinated by the culture- owner. (Sam C hukwu) Table of Contents CONTENTS: PAGE ix X xii .. Xlll xiv xvi xvii xviii xlx XX CHAPTER ONE: Geography, Historical and Socio-cultural background Origin of the lgbo in Ihitte-Uboma : Origin of Ihitte-Uboma Socio-cultural relations in Ihitte-Uboma : Iwa-akwa festival : Mbom-uzo festival : Religion Music activities in Ihitte-Uboma : Samples, types and categories of musical groups : CHAPTER TWO: Literature review : Curt Sachs and Eric Von Hornbostel's classifications: Jaap Kunst's observations : W.
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