AMRC Journal Volume 27

American Music Research Center Journal American Music Research American Music Research Center Journal Volume 27 • 2018 Volume 27 2018 Volume American Music Research Center Journal Volume 27 • 2018 Guest Editor Brenda M. Romero Guest Student Editor Kelsey A. Fuller Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder The American Music Research Center Thomas L. Riis, Director Stephanie Bonjack, Faculty Head, Howard Waltz Music Library Eric J. Harbeson, Special Collections Librarian Sister Mary Dominic Ray, O. P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus Robert Shay, Dean, College of Music Eric Hansen, Editorial Assistant Editorial Board C. F. Alan Cass Tom C. Owens Susan Cook Katherine Preston Paul Laird Laurie Sampsel Victoria Lindsay Levine Ann Sears Kip Lornell Jessica Sternfeld Portia Maultsby Joanne Swenson-Eldridge Nancy Newman Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25 per issue ($28 outside the U.S. and Canada) Please address all inquiries to Eric Hansen, AMRC, 288 UCB, University of Colorado, Boulder, CO 80309-0288. Email: [email protected] The American Music Research Center website address is www.colorado.edu/amrc ISBN 1058-3572 © 2018 by Board of Regents of the University of Colorado Information for Contributors The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and proposals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be submitted, together with a brief cover letter, either in email attachment to [email protected] in paper copy via surface mail to AMRC Journal Editor, College of Music, University of Colorado Boul- der, 301 UCB, Boulder, CO 80309-0301. All musical examples, figures, ta- bles, photographs, etc., should be sent at first as separate low resolution jpegs rather than embedded in the text. All figures should be accompanied by a list of captions. Their placement in the paper should be clearly indicated (e.g., <Example 1. IN THIS PLACE>) If a manuscript is accepted for publication by the editorial committee, the author will be asked to supply a brief biographical paragraph and an email attachment with the revised text. The preparation of final copy in electronic form will require the following: abstract of no more than 200 words; article text in MSWord including endnotes and appendices (preferably as a .doc or .docx file). All references should be included in the notes; no separate bibliography is required. Musical examples and figures for final production should be high resolution (at least 300 dpi) images. Contributors are responsible for obtaining permission to reproduce any material for which they do not hold copyright and for including the appropriate acknowledgments in the article text. In general the AMRC Journal follows the formats and guidelines of the Jour- nal of the Society for American Music and The Chicago Manual of Style, 16th ed. (Chicago: University of Chicago Press, 2010). For further instructions on footnotes, bibliography, discographic references, etc., please consult this volume or the editor. Contents Special Issue World Music Theories Introduction BRENDA M. ROMERO ........................................1 The Project Description KELSEY A. FULLER ..........................................5 Meaning, Melody, and YouTube in Irish and Tibetan Traditional Musics MASON BROWN. 7 “Lao Duang Duen” Lost in Translation: A New Perspective on the Southeast Asian Classical Arts BENJAMIN PONGTEP CEFKIN ................................25 North of “the West”: Analytical Perspectives on Swedish Folk Music and Sámi Joik KELSEY A. FULLER .........................................41 Min’yo- and Bluegrass: Finding Common Ground in Folk Traditions from Two Different Worlds DANIEL OBLUDA ...........................................59 We Can Sing It Without Doing It: Gender Contestation Among Nigerian and South African Women in Music RUTH OPARA ..............................................77 A Western Perspective on Music from Guanacaste, Costa Rica, and Cuban Batá Drumming MEI-MEY SEGURA-WANG ....................................95 Musical Dialogues: Arabesk and Hindi Film Music as Mediators of Aesthetic Discourses ALEXANDRA SISO .........................................111 Contributors to this Issue ....................................119 Brenda M. Romero Introduction American music exists not only in the realm of sound, but as a cultural intel- lectual legacy of a discipline that was born in Europe in the late 19th century and blossomed in the United States to help shape music and humanities scholarship worldwide. Ethnomusicology took on this moniker in the United States during the early part of the 20th century, but only following the ground- breaking fieldwork innovations a German immigrant, Franz Boas, introduced to his anthropology students when he asked them to collect not only textiles and other material artifacts, and cultural artifacts like myths and stories, but also to record the music of a given population. Roger Sanjek writes of Boas’s activist nature: A victim of anti-Semitic affronts while a student in Germany, Boas abhorred any linkage of group ancestry with feelings of superior- ity; he actively opposed such popular views on the basis of his understanding of the race-language-culture non-equation. In a commencement address to African-American students at At- lanta University in 1906, Boas stressed the social, not biological, causes of Black subordination in the United States, and urged appreciation of the iron-age civilizations existing in Africa before European contact “cut short” their cultural advance.1 The emphasis on Native American musical cultures in studies formative of the discipline called “comparative musicology” also illuminates the foundation of ethnomusicology as defined by various scholars shaped by Boas, his student George Herzog (1901–83), and for Bruno Nettl (born in Prague in 1930), an im- portant figure of the next generation. Nettl arrived in the U.S. at the age of 10, when his parents sought asylum after fleeing Germany in 1939. As certainly as they were caught up in the turbulence of those times, the central founders 2 American Music Research Center of the discipline of ethnomusicology responded to 20th century politics as they reflected on the results of forced migrations and their subsequent impact on identity formations facilitated by expressive culture. The themes of migra- tion, asylum from political and religious oppression, and identity and hybrid formations expressed through music and the arts overall, have affected many generations of United States citizens in all walks of life, and have constituted the elixir from which democracy is distilled. Another result of the wondrous mix and match that is the fabric of democratic American societies is a push to diversify university curricula to further expli- cate our similarities and differences. I wondered how to use comparison to help achieve the production of such new knowledge. Following on the heels of early comparative and systematic musicologists and taking my cue from one of Professor Nettl’s top students, I modeled my first course in this realm on Dr. Victoria Levine’s very contemporary “Comparative Music Theory” ap- proach with undergraduate music majors at the Colorado College, which fo- cused on transcription to a large extent. I take this opportunity to thank her for her guidance at that juncture. It has finally led to this volume of articles, but there is more to the story. Highlights of my teaching career are almost synonymous with my participa- tion in the College Music Society (CMS). As a board member I was privy to many excellent conversations about music teaching among scholars across all music disciplines. I am particularly proud to have founded and hosted the CMS Summer Institute on the Pedagogies of World Music Theories (IPWMT) as a bridge between ethnomusicology and music theory. I worked closely with Dr. Paul Humphreys (Loyola Marymount University) and Dr. Jonathon Grassé, composer-ethnomusicologists who had developed a new curriculum for ethnomusicology when it became a department at UCLA in 1989. With office support from CMS and in-kind and financial support from the College of Mu- sic and University of Colorado’s IMPART award,2 I hosted the IPWMT, a five- day workshop for music professors across the US (one from Singapore), first in summer 2005, and again in 2007 and 2010, and there is an open possibility of continuing the IPWMT in the future. Faculty presenters included ethnomusicologists Dr. Victoria Levine (Colorado College); Dr. Sarah Morelli (University of Denver); Dr. Kwasi Ampene (then at University of Colorado Boulder [UCB], now at University of Michigan); Dr. Jay Keister (UCB); systematic musicolo- gist Dr. John Hajda (University of California, Santa Barbara); and composer- ethnomusicologists Dr. Paul Humpreys (Loyola Marymount University, Los Angeles); Dr. Jonathon Grassé (California State University, Dominguez Hills); Dr. Michael Tenzer (University of British Colombia), and myself, Introduction 3 I believe my greatest pedagogical accomplishment is the development of the World Music Theories courses that grew out of the IPWMT. In fall 2009, I be- gan teaching a doctoral seminar so titled, exploring comparison

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