SEM Newsletter Published by the Society for Volume 42 Number 2 March 2008

Conversations car today, I hope my iPod wouldn’t have, at and carefully than the last, always address- By Deborah Wong, SEM President that moment, anything particularly embar- ing the biggest and most pressing issues in rassing on it (like the two Donna Summer ethnomusicology, always in the most erudite Today was a good day, full of the things that I especially love). terms. Those columns will surely be cited that an ethnomusicologist might do. This is my first column written as the and quoted and may well become definitive I started the morning by walking for SEM President and it’s taken me some statements on some significant matters, from exercise in my neighborhood (as I do almost months to decide what purpose and tone I interdisciplinarity, to cultural translation, to every morning), plugged into my iPod. want this column to have. I have big shoes to cosmopolitanism and beyond. I’ve only had an iPod for a year and half fill: Past President Phil Bohlman’s columns Several months ago I walked through but it has become a treasured belonging; it were gems, each one written more beautifully Midwestern woods on a hot early autumn reacquainted me with the pleasures of lis- Continued on page 4 tening. My 30G video iPod is always nearly full, bursting at the seams, stuffed full of podcasts, from my own collection, and Florida. Over the past two decades, he friends’ mixes, free stuff from the iTunes Stephen Stuempfle has assisted a variety of arts and historical store, and materials for my classes. Today named SEM’s First Full- organizations and has taught courses on I listened to one of my own playlists as I Time Executive Director folk and popular culture at the University of walked, all high-energy tracks—the Yoshida Pennsylvania and the University of Miami. brothers, Youssou N’Dour, Chuck Berry, the The Society for Ethnomusicology is He is the author of The Steelband Movement: On Ensemble, James Brown, Yoko Noge, pleased to announce the appointment of The Forging of a National Art in Trinidad and Molly Magdalain, the Persuasions, Alison Stephen Stuempfle as the first full-time Ex- Tobago (University of Pennsylvania, 1995), Krauss, the Carolina Chocolate Drops, and ecutive Director. Officially starting on January and has written about Caribbean for several pieces that my taiko group is working 28, 2008, Steve comes to the SEM Business several journals and encyclopedias. He is on. Thirty minutes of this put me in a great Office with many years of experience in the also co-editor, with Sandra Pouchet Paquet mood. A few weeks ago, long-time friend non-profit sector. The SEM Business Office and Patricia J. Saunders, of Music, Memory, and fellow ethnomusicologist Nancy Guy Resistance: Calypso and the Caribbean Literary told me she recently got an iPod and that Imagination (Ian Randle, 2007). she’s been walking around “high as a kite” Steve will be leaving the Historical Mu- on music. Listening for pleasure, listening seum of Southern Florida in Miami, where in the way that many people listen—just he has worked for the last twelve years. Since to enjoy the sounds, just to feel good as a 2000, he has been their Chief Curator with result of those sounds, just to listen without responsibilities for the direction of research accountability—oh, what a guilty secret, what projects; archival and object collections; a source of contentment, satisfaction, and and exhibition programs related to the his- delight. My iPod is surely evidence of my tory and cultural traditions of South Florida own musical idiolect—it’s an artifact of my and the Caribbean. He has curated several music life and it’s as unique as a fingerprint exhibitions, including Caribbean Percussion but is bound up with guilt, pride, and more. Traditions in Miami (1997); Calypso: A World It’s very close to the bone. If I were hit by a Music (2004), with Ray Funk; and Visions of the Caribbean (2005), with Dawn Hugh and Rebecca Smith. Steve replaces Alan Burdette, who served Inside as the half-time Executive Director of SEM 1 Stephen Stuemplfle Stephen Stuempfle from 2000-2007. Alan Burdette has assumed 1 Conversations the directorship of the Archives of Tradi- 3 Calls for Sumbissions will remain at Indiana University, which has tional Music at Indiana University and will 3 Announcements provided office space, technology support, continue in his position as Executive Director 5 nC2 and part-time clerical staff support to SEM of the EVIA Digital Archive Project. Steve 7 SEM 2008—53rd Annual Conference since 1988. can be reached at Morrison Hall 005, Indiana 11 People and Places Steve received a PhD in folklore from University, Bloomington, IN 47405-2501, 11 Conferences Calendar the University of Pennsylvania and has (phone) 812-855-8779, (fax) 812-855-6673, conducted field research in Trinidad, Texas, (email) [email protected].  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 email 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 The 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 $ 2 0 0 May issue...... March 15 bers. Readers’ contributions are welcome and should be 2/3 Page $ 1 4 5 September issue...... July 15 sent to the editor. See the guidelines for contributions on this page. 1/2 Page $ 1 1 0 January issue...... November 15 The SEM Newsletter is published four times annually, 1/3 Page $ 6 0 in January, March, May, and September, by the Society for 1/6 Page $ 4 0 Ethnomusicology. Inc., and is distributed free to members of the Society. Additional charges apply to non-camera-ready materials. Back issues, 1981-present [Vols. 14-18 (1981-84), 3 times a year; Vols. 19-32 (1985-1998), 4 times a year] are available and may be ordered at $2 each. Add $2.50/order for postage. Address changes, orders for back issues of the SEM British Forum for Ethnomusicology Newsletter, and all other non-editorial inquiries should be Internet Resources sent to the Business Office, Society for Ethnomusicology, http://www.bfe.org.uk Indiana University, Morrison Hall 005, 1165 East 3rd Street, The SEM Website Bloomington, Indiana 47405-3700; (Tel) 812.855.6672; British Library National Sound Archive (Fax) 812.855.6673; (Email) sem@ indiana.edu. http://www.ethnomusicology.org SEM Membership The SEM Discussion List: SEM-L International Music Collection: The object of the Society for Ethnomusicology is http://www.bl.uk/collections/sound-ar- the advancement of research and study in the field of To subscribe, address an email message to: ethnomusicology, for which purpose all interested per- [email protected]. EDU. chive/imc.html sons, regardless of race, ethnicity, religion, gender, sexual orientation, or physical ability are encouraged to become Leave the subject line blank. Type the following Catalog: members. Its aims include serving the membership and message: SUBSCRIBE SEM-L yourfirstname http://cadensa.bl.uk society at large through the dissemination of knowledge concerning the music of the world’s peoples. The Society, yourlastname. Ethnomusicology OnLine (EOL) incorporated in the United States, has an international SEM Applied Ethnomusicology Section membership. Free, peer-reviewed, multimedia Web jour- Members receive free copies of the journal and the http://www.appliedethnomusicology.org nal. For more information: newsletter and have the right to vote and participate in the activities of the Society. Life members receive free copies SEM Chapter Websites http://umbc.edu/eol (home site) of all publications of the Society. Institutional members EthnoFORUM, a.k.a. ERD (inactive) receive the journal and the newsletter. Mid-Atlantic Chapter Student (full-time only) (one year)...... $40 http://www.macsem.org Archive: http://www.inform.umd. edu/ Individual/Emeritus (one year) EdRes/ReadingRoom/Newsletters/Ethno- income $25,000 or less...... $60 Mid-West Chapter / income $25,000-$40,000...... $75 http://sem-midwest.osu.edu/ income $40,000-$60,000...... $85 International Council for Traditional income $60,000-$80,000...... $95 Niagara Chapter Music income $80,000 and above...... $105 Spouse/Partner Individual (one year)...... $35 http://www.people.iup.edu/ rahkonen/ http://www.ictmusic.org/ICTM Life membership...... $900 NiagaraSEM/NiagaraSEM.htm Iranian Musicology Group Spouse/Partner Life...... $1100 Northeast Chapter Sponsored* (one year)...... $35 http://groups.yahoo.com/group/ira- Institutional membership (one year)...... $105 http://web.mit.edu/tgriffin/necsem/ Overseas surface mail (one year)...... $10 nian_musicology Overseas airmail (one year)...... $25 Southwest Chapter Music & Anthropology *Donated membership for individuals and institutions in soft-currency countries. Send sponsorship letter with http://www.u.arizona.edu/~sturman/ http://www.muspe.unibo.it/period/MA dues ($35) and postage (either $10 Surface rate or $25 SEMSW/SEMSWhome.html airmail) to the SEM Business Office. http://research.umbc.edu/eol/MA/in- Ethnomusicology: Back Issues Southern California Chapter dex.htm The Society’s journal, Ethnomusicology, is currently published three times a year. Back issues are available http://www.ucr.edu/ethnomus/semscc. Smithsonian Institution Websites through the SEM Business Office, Indiana University, html Morrison Hall 005, 1165 East 3rd Street, Bloomington, In- http://www.smithsonianglobalsound.org diana 47405-3700; (Tel) 812.855.6672; (Fax) 812.855.6673; Southeast-Caribbean Chapter http://www.folkways.si.edu (Email) [email protected]. http://otto.cmr.fsu.edu/~cma/SEM/ Society for American Music ISSN 0036-1291 SEMSEC02.htm/ www.American-Music.org Ethnomusicology Sites UCLA Ethnomusicology Archive American Folklife Center http://www.ethnomusic.ucla.edu/archive http://lcweb.loc.gov/folklife/ SEM Newsletter 

Calls for Submissions what ways have they changed or adapted to submit panel sessions of a maximum of 120 the changing times and historical circum- minutes (including discussion); in this case, an Music and Ritual in China and East stances? What ritual purpose or function do abstract of about 300 words should detail the Asia (13th International CHIME Con- they serve now in this day and age marked focus of the panel as a whole, with abstracts ference) by intense market capitalism and increasing of 100-200 words for each contribution. globalization? How are state agents dealing Submission deadline: April 15, 2008 The deadline for submission of abstracts is with or coming to terms with the persistence April 15, 2008. The 13th annual conference of CHIME of religious practices amidst such changes? Abstracts should be sent to Prof. Mer- (the European Foundation for Chinese Music How are meaningful forms of beliefs and cedes DuJunco, with cc to Frank Kouwen- Research) will be held October 16-19, 2008, rituals (re)-produced in response to modern hoven. For more information, please contact hosted by the Music Program of Bard College, and postmodern life? This conference will Professor Mercedes DuJunco, Bard College Annandale-on-Hudson, NY. This four-day revisit and reexamine the powerful roles of Music Program, P.O.Box 5000, Annandale- conference aims to explore the complex and religious traditions and ritual practices and on-Hudson, NY 12504-5000, USA, (phone) diverse intersections between music and ritual their convergences with music in East Asia. 845-758-6822, ext. 6294, (fax) 845-758-7896, in Chinese and other East Asian contexts. It Papers and (especially) panels addressing or (email) [email protected]. For more seeks to bring together international scholars the theme of the conference (while referring information on CHIME, contact Frank working on East Asian from various to sufficiently specific research) are explicitly Kouwenhoven at the CHIME Office at (e- disciplinary perspectives to discuss and ex- encouraged. The conference will tackle the mail) [email protected]. For a more elaborate plore the big picture of the relationship of following major sub-themes (in arbitrary or- conference announcement see the CHIME music and ritual in this region, historically as der): (1) Ritual operas and theater; (2) Musical website at http://home.wxs.nl/~chime or well as in the present age. Ritual as understood rites and cosmology; (3) Music in rituals for Bard College’s website at http://music.bard. here is any performed act separated from the the dead; (4) The commodification and secu- edu/html/home.html. flow of common, everyday experience and larization of ritual music and dance; (5) The imbued with a special significance in that it is transformative power of music; (6) Music, intended to and has the power to transform gender, and ritual; (7) (Music, ritual and heal- Musica Humana the states of being of the participants. Given ing; and (8) Performance rites and practices. the great upheavals and radical social and Participation is open to anyone interested in Submission deadline: May 31, 2008 political transformations in China and other East Asian music and ritual. CHIME mem- The Korean Institute for Musicology is East Asian countries such as Korea, , and bers can participate for a reduced registration pleased to announce a new publication: Musica Vietnam during the 20th century, how have fee. Abstracts of approximately 300 words are Humana, a peer-reviewed journal printed in traditional and folk musics in these countries now invited for twenty-minute presentations English, which will be published twice a year. managed to retain their ritualistic nature? In on the conference theme. Proposers may also Continued on page 6

Announcements Southern Plains Chapter of SEM Music will be added in 2008 and also will Founded require a separate fee. All of these sources American Institute of Indian Studies The Southern Plains Chapter of SEM will be searchable together. A full launch of Fellowship announces its founding in January 2008. The the site is planned for early 2008. Application deadline: July 1, 2008 chapter includes members in the states of Texas and Oklahoma. A conference (open The American Institute of Indian Stud- Updating Grove Music Online theme) is planned for April 2008. For more in- ies (AIIS) announces its 2008 fellowship OUP has undertaken an ambitious formation, contact Eileen M. Hayes at (email) competition and invites applications from program of publishing specific new Grove [email protected] or Robin Moore at scholars who wish to conduct their research ‘spin-off ’ dictionaries. A new six-volume (email) [email protected]. in India. Junior fellowships are awarded to edition of AmeriGrove is underway. A Dic- PhD candidates to conduct research for their tionary of Early Music and a new edition of dissertations in India for up to eleven months. Oxford Music Online the Dictionary of Musical Instruments are also Senior fellowships are awarded to scholars Oxford University Press (OUP) is incor- in the works. These will appear in print, and who hold the PhD degree for up to nine porating Grove Music Online into a broader all of the material—both new articles and months of research in India. The AIIS also initiative to be called Oxford Music Online revisions of existing ones—will be added welcomes applications for its performing and (OMO). With a subscription to Grove, OMO to Grove Music Online. Editor Laura Macy is creative arts fellowships from accomplished will also provide access to The Oxford Dictionary particularly interested in developing Grove’s practitioners of the arts of India. The ap- of Music and The Oxford Companion to Music. coverage of non-western musical traditions plication deadline is July 1, 2008. For more For a separate subscription, the site will also and, with the help of Grove Advisory Panel information and applications, please contact include Colin Larkin’s Encyclopedia of Popular representatives Andy Sutton and Stephen the American Institute of Indian Studies, 1130 Music as well as (ultimately) other music re- Wild, will be meeting with members of the E. 59th Street, Chicago, IL 60637, (phone) sources from OUP and partner publishers. ethnomusicology community over the com- 773-702-8638, (email) [email protected], Richard Taruskin’s Oxford History of Western ing year to discuss potential new projects. (website) www.indiastudies.org. Continued on page 8  SEM Newsletter

Conversations Continued from page 1 afternoon with an ethnomusicologist friend and his two dogs, and we talked non-stop about listening to music, making music, and SEM. He encouraged me to think adventur- ously about this column. One of the things I like best about being an ethnomusicologist is learning how to think about music (and how to think about thinking about music) from other people. I’m so thoroughly shaped by the ethnographic impulse that I’m pretty sure none of my thoughts or feelings about music are in fact my own; my days are full of encounters with people who make music, and who talk about music, and the ongoing pleasures of these interactions mean that it’s all intersubjective in the end, and I’d have it no other way. I hope this column can have Deborah Wong performing taiko (photo: Henry Spiller) the character of a blog or a wiki, with all their of Women and the Gender and Sexualities in the middle of his third day on the job as attendant immediacy and interaction. I want Taskforce. I also found follow-up email notes SEM’s new Executive Director. He was keen this space to reflect dialogue, and probably to from Jim Kippen and several of his graduate to talk about several initiatives, and just hear- enact it. It may not always be polished, but it students because I had just returned from ing his voice on my answering machine made will be polyvocal. a lively week at the University of Toronto me feel good. The very sound of his voice This morning (as I do every morning) where I had seen their vibrant ethnomusi- conveyed so many different things—ideas, I spent several hours reading and answer- cology scene from the inside. I then turned plans, competence. It put the cap on my day. ing email about SEM matters. By the time to email notes from Tim Cooley about the It summed up months of discussion between you read this, we will have a new SEM-L galley proofs for the 2nd edition of Shadows Board members, and then the interviews, and moderator because Brana Mijatovic, the in the Field. This landmark book is about to the excitement and anxiety of expanding the moderator since 2005, is now teaching in reappear, updated and expanded, and the Executive Director position from a half-time Prague and passed the baton because she moment of truth has arrived—this is it, last to a full-time job—and it comes down to this, won’t have regular internet access. Seeing chance to make any changes or corrections. a new voice on my answering machine, and colleagues move on to new opportunities By then the morning was gone, and I went the sound of that voice delighted me. is always good news, so looking for a new off to UCR where I spent several hours with But the day isn’t over. I still have an hour’s moderator is a good thing; in fact, it’s part of one of my graduate students, Jake Rekedal, drive ahead of me to a taiko rehearsal, an the process of moving SEM members into who is preparing for his MA exams. We talked hour during which I’ll try once and for all positions of responsibility where they can about bluegrass and his deepening engage- to memorize a particularly challenging new have an effect and make a difference, and ment with ethnography. I had just read one piece. Everyone else in the group has already that’s always good news. Anthony McCann of his essays from last year, an assignment for memorized it, and I’m courting humiliation just accepted the position, and it felt great an anthropology seminar in which he offered if I haven’t by the time I get there. The day to read the notes that immediately came in an ethnographic profile of a material object, comes down to this: I need to get it together so from other Board members, congratulating one of his mandolin picks. I had enjoyed the I don’t hold the group back. The big concert him on the appointment. I read and answered way he moved from the pick to the aesthetics is less than three weeks away. I’m stressed but several notes about plans for the next SEM of picking, and from there to address a kind the fact is, I can’t wait to get to rehearsal. of network theory of how bluegrass musi- This was a pretty typical good day, Listening for pleasure, lis- cians are connected. Our talk ranged from marked by the socialities that can shape a summation of the 1980s ‘writing culture’ an ethnomusicologist’s daily life, from the tening in the way that many movement in anthropology to questions baseline activities of making music to the far- about the ways that ethnomusicology has flung intellectual and bureaucratic networks people listen—just to enjoy and hasn’t offered new ways to think about (sustained through several media) that create the sounds ... oh, what a ethnographic research and writing. After that, the sum total of a scene, or really scenes, that I spent several hours in a faculty meeting, then drive ethnomusicology as a field. I’m fairly guilty secret chatted with my colleagues Jonathan Ritter certain that there’s no such thing as a typical and René T.A. Lysloff, and then spent several ethnomusicologist. I’m also sure that the meeting at Wesleyan University, including the hours writing recommendation letters for links between our days and conversations 21st anniversary (the coming of age!) of the ethnomusicologists (ranging from graduate amount to something useful and larger than 1987 publication of Ellen Koskoff ’s Women students to junior colleagues to peers)… and ourselves. I’ll try to bring some of those and Music in Cross-Cultural Perspective, to be by then, the afternoon was gone. conversations into view here. I have lots of celebrated with a roundtable and a recep- When I got home, I found a message ideas. Let me know if you have some, too, tion organized by the Section on the Status on my phone from Steve Stuempfle, calling at (email) [email protected]. SEM Newsletter 

An SEM-L thread in January probed the ethical and moral concerns of ethnographic fieldwork. Privilege, power, communication, and difference were contemplated in the divergent contexts of ethnomusicology at home and abroad. A fundamental problematic was the “self vs. other” dichotomy, which plays out analogically in our fields of research as “here” vs. “there,” “participant” vs. “observer,” and “emic” vs. “etic,” all of which we strug- gle to bridge, yet maintain separate in theory, method, and practice. How do we deal with these conundrums? One strategy may lie in ethnomusicol- ogy’s acceptance of the ineluctable krasis (“mixing” in Pythagorean philosophy) of the musical world; as a human condition, embracing this state can bring about harmonia. In this contribution, Beto González interrogates how the concepts of “nativeness,” “alterity,” and “ethnomusicology-at- home” encounter the street-level challenges, some personal, that come with (the privilege of) navigating the “there.” —Jesse Samba Wheeler

<>

by Beto González Rio de Janeiro, Brazil, January 2008 ...It’s been 27 years since I lived in São Paulo. Growing up in the US, I have always worn my “Brazilian-ness” on my sleeve. In recent years I spent my summers (winters in the southern hemisphere) in Brazil, laying the foundations for a year of extended fieldwork. I imagined that living in Brazil would be an exciting year for me. A return to my parents’ homeland and the country of my childhood, getting more in touch with my heritage. Now, living in Rio de Janeiro, I have never felt so out of place. The noise, the crowds, the pollution, the crime… They irritate, terrify, and overwhelm me at times. I have always lived in big cities, but Rio is intense, to say the least. There are some things I just can’t understand, or don’t remember ever being like this in São Paulo when I lived there as a kid. Has the country changed so much? Or is it that I have changed? When I vent to friends about my predicament, their reactions are mixed. The expats (from various countries) find Brazil a “quirky” place. Just like that. They seem to get a kick out of the carioca (“of Rio”) idiosyncrasies that drive me so crazy. Like the fact that bus drivers here seem to want to knock down the passengers purposefully, or that honking is a citywide pastime, or that people seem to enjoy music at a volume just past the physical capacity of the speakers, or that it is expected that, at some point during my stay, I will get robbed, it’s just a matter of time… My Brazilian friends can sometimes sympathize, but most don’t really want to hear about it. They think I am “complaining with my belly full” as the popular saying goes. After all, they remind me, you don’t have to live here. When I tell people about my research on samba, they have interesting reactions. Some wonder if I am an heir to a fortune. They wonder what I mean when I say that the research is my work. “And who pays for it?” they ask. “Who is Ful- bright?” It is sometimes hard to convince someone any differently. Never mind that my parents are immigrants to the US whose parents were immigrants to Brazil. My father, the youngest of fourteen brothers, went to the US in the late 1960s with $60 in his pocket, his plane ticket financed in part by the sale of my Italian grandmother’s refrigerator. Just being a university student, especially in a doctoral program, is enough for people to assume I come from a wealthy family. Does it matter? Should it matter? My friend Rafael, perpetual samba aficionado, has a different reaction. He simply laughs at the thought that the US government is more inclined to give research grants to study his cultural patrimony than the Brazilian government. Ev- ery time I see him at our regular Wednesday night samba, he fills my glass, then clicks it with his and shouts: “Research!!” “Valeu meu véi!” to Beto González, a PhD candidate in ethnomusicology at the University of California, Los Angeles. His dissertation research is on “roots” samba in Rio de Janeiro. In 2007 Beto was awarded a Fulbright-Hays Dissertation Research Grant.  SEM Newsletter

Calls for Submissions and Service, submit (1) a letter detailing the Conference) will be held November 6-8, 2008 nominee’s qualifications for the award, (2) in Carrollton, GA. The conference’s keynote Continued from page 3 the nominee’s vita, and (3) additional relevant speaker will be Dr. Lynne Tatlock, Hortense Musica Humana is devoted to the study of documentary materials. Scholars may be at & Tobias Lewin Distinguished Professor in music as the mental, communicational, and any career stage, as long as they satisfy the Arts & Sciences at Washington University sociocultural product of human activities. It purpose of the award. All nominations must in St. Louis. We welcome submissions from sets its sights on an integrated and comprehen- include the name and contact information scholars in all areas of the humanities, includ- sive approach rather than committing itself of the nominator. Nominations for these ing foreign languages and literatures, English, to a specific, specialized and focused area of categories may be made only by CORD philosophy, theater, art history, music, and study. The journal aims to aid communication members, but the nominees themselves need cultural studies. Papers may be read in English, among scholars from diverse fields and thus not be CORD members. In the category of German, Spanish, or French. Conference invites contributions from various perspec- Publication, CORD members and publish- participants will be encouraged to expand tives and critical methodologies including, but ers may submit nominations. Submit a letter and revise their papers for submission to a not limited to, empirical sciences, linguistics specifying the original contribution that the special issue of JAISA: The Journal of the As- and semiotics, sociology and anthropology, work makes, together with three copies of sociation for the Interdisciplinary Study of the Arts. intellectual history and cultural theory, as the work (these may be requested from the For individual paper proposals please submit well as aesthetics and philosophy. We also publisher). Nominations and all supporting a one-page abstract in English, German, hope that the journal will provide a venue materials must be received by March 15, Spanish, or French by May 1, 2008, along with for a transcontinental exchange of ideas 2008. Send email nominations and materials contact information, to Dr. Gary Schmidt and a fostering of research collaboration. as well as inquiries to [email protected] and at (email) [email protected]. For panel The editorial board, which includes Philip [email protected]. Send three copies of proposals please submit abstracts and con- Bohlman, Ian Cross, Robert Gjerdingen, published materials to Nancy Lee Ruyter, tact information for all speakers, name and Hermann Gottschewski, Christian Kaden, Dance Department, MAB 300, University of contact information for panel moderator, and Jean-Jacques Nattiez, Hee-sook Oh, and California, Irvine CA 92697-2775. panel title. Early submissions are welcome, Uwe Seifert, reflects our aspiration to be especially for panel proposals. an international journal in every sense. The Masculinities, Femininities and More inaugural issue is expected to appear in 2009, (Interdisciplinary Conference on Gen- Neapolitan Postcards: The Canzone and the deadline to be considered for the first der in the Humanities) Napoletana as Transnational Subject issue is May 31, 2008. Article contributions should be written in English and submitted Submission deadline: May 1, 2008 Submission deadline: May 1, 2008 as MS Word documents via email. A detailed Masculinities, Femininities and More, an The John D. Calandra Italian American guideline for paper submission will be posted Interdisciplinary Conference on Gender in Institute (Queens College, CUNY, USA) and soon on the Korean Institute for Musicology’s the Humanities sponsored by the Department the International Centre for Music Studies website, http://musicologykorea.org. For of Foreign Languages and Literatures of the (Newcastle University, UK), in collaboration further information, please contact Professor University of West Georgia (23rd Annual with the Archivio Sonoro della Canzone Na- Youn Kim, Musica Humana’s editor-in-chief, at (email) [email protected].

Nominations for Congress of Research in Dance (CORD) 2009 Awards Submission deadline: March 15, 2008 The Congress on Research in Dance (CORD) is seeking nominations for its 2009 awards in four categories: Outstanding Con- tribution to Dance Research; Outstanding Leadership in Dance Research; Outstanding Service to Dance Research; and Outstand- ing Publications Relating to Dance Research (published 2006 or later). The CORD awards were established to recognize scholarly excel- lence, motivate further research, and bring the work of the award recipients to the at- tention of the scholarly world at large. The awards contribute not only to the visibility of the individuals and works honored, but also to the visibility of dance research and to the continuing drive for excellence in dance scholarship. To make a nomination in A Neapolitan Postcard the categories of Leadership, Contribution, (source: http://www.oldstratforduponavon.com/naples.html) SEM Newsletter 

SEM 2008—53rd Annual The conference theme for the 2008 meet- postmark deadline for submission of SEM ing will be “Ethnomusicology Beyond Disci- proposals is March 15, 2008. Meeting plines.” Topics will include the following: The Pre-Conference Symposium, to be held on Friday, October 24, will be devoted October 25-28, 2008 1. Ethnomusicology and Advocacy to the theme “Toward a 21st Century Eth- Wesleyan University, Middletown, CT 2. Musical Innovation and Experimenta- nomusicology.” tion The SEM 2008 Program Committee The Society for Ethnomusicology will 3. De-Centering the Western Art Music consists of Gregory Barz (Vanderbilt Uni- hold its 53rd annual meeting, Saturday, Oc- Canon versity), Fabian Holt (University of Roskilde), tober 25, through Tuesday, October 28, 2008, 4. The Ethnomusicology of Film Terry Miller (Kent State University), Robin in Middletown, CT, hosted by Wesleyan Uni- 5. Music and Spirituality Moore (The University of Texas at Austin), versity. All conference events will take place 6. Overlooked Musical Traditions Sarah Weiss (Yale University) with Jeffrey on the campus of Wesleyan University. A. Summit (Tufts University) as chair. For The annual Charles Seeger lecture will Proposals on any other topics relevant further questions about the program for be delivered by Robert Garfias, Professor to the field of ethnomusicology are also SEM 2008, please contact Jeffrey A. Sum- of Anthropology at the University of Cali- welcome. Please note: Paper copies of the mit at (email) [email protected] or fornia, Irvine. He is a former president of submission forms will not be included in the (phone) 617-627-3242. SEM, founded the ethnomusicology program SEM Newsletter this year. Abstract proposals The SEM Local Commit- at the University of Washington and has should be submitted using the online submis- tee consists of Jennifer Caputo (Wesleyan served as Dean of the College of Fine Arts sion forms available at (website) http://www. University), Eric Galm (Trinity College), at UCI. In addition to decades of research indiana.edu/~semhome/2008/index.shtml Michael Veal (Yale University), Su Zheng in diverse areas such as Korea, Romania, Those without internet access who (Wesleyan University), with Eric Charry Burma, Mexico, and Turkey, he has made require a paper copy of the submission (Wesleyan University) as chair. For questions numerous documentary films, recordings, form may contact the SEM Business Office about local arrangements, contact Eric Charry and radio programs. at (phone) 812-855-6672 or (email) sem@ at (email) [email protected]. indiana.edu to obtain a copy. The online and Continued on page 9 poletana (RAI, Naples, ), announce a two- repertoires. In Argentina, artists adapted • the Neapolitan in literature and day conference dedicated to the Neapolitan Neapolitan melodies to the tango’s rhythms, film song. The conference will be held in Manhat- as did Carlos Gardel with his 1931 hit song • issues concerning documentation and tan on March 20-21, 2009. The organizers see “Como se canta en Nápoles.” Over the archiving this conference as a unique opportunity to course of the twentieth century, singers and • new approaches to the Neapolitan song address the relatively unknown transnational such as Charles Aznavour, Count in Italy. aspects of the Neapolitan song. Basie, Enrico Caruso, Mario Merola, Elvis The canzone napoletana has been one of Presley, Caetano Veloso, Frank Zappa, and The symposium organizers will entertain the first international popular musics of the others would record and further disseminate suggestions of panel discussions with con- modern era, traveling beyond the city of the Neapolitan song internationally. temporary performers, film screenings, and Naples and the borders of Italy. Its success Suggested paper topics include, but are performances. The deadline for submissions was due, to a large degree, to Italian immi- not limited to: is May 1, 2008. grants in the New World who composed, The official language of the conference performed, recorded, sold, and consumed • critical biographies of , lyri- will be English. Papers should last no longer the music in the forms of sheet music, cists, and performers such as Francesco than twenty minutes, including audio and vi- rolls, 78 rpm recordings, and performances. Pennino, Gilda Mignonette, Jimmy sual illustrations. Abstracts (up to 250 words, Classic songs such as “Core ngrato” (1911), Rosselli (to name but three) plus a note on audio-visual requirements, “Senza Mamma” (1925) and “A cartulina • the Neapolitan song as a source of and a brief curriculum vitae) should be sent, ‘e Napule” (“Neapolitan Postcard,” 1927) “ethnic identity,” outside of Italy by email as Rich Text Format (.rtf) files, by were composed and introduced in New • the role of aesthetics, taste, and nos- May 1, 2008, to both Goffredo Plastino at York City; the Piedigrotta Neapolitan Song talgia (email) [email protected] and Festival was held also in Harlem during the • gendered readings of the Neapolitan Joseph Sciorra at (email) joseph.sciorra@ 1920s. The histories of composers and sing- song qc.cuny.edu, to whom other enquiries may ers like Francesco Pennino (1880-1952) and • cultural and economic histories of the also be addressed. Abstracts should clearly Gilda Mignonette (1890-1953) have been recording industry, publishing houses, display the knowledge of previous research all but lost. and neighborhood stores and should indicate theoretical perspectives. During this era of mass immigration, the • the transnational relationships vis-à-vis Abstracts will be evaluated anonymously larger American public was also consuming the Neapolitan song between Naples, through peer review and authors may expect the Neapolitan song at the same time Ital- New York, Buenos Aires, and other to be advised of their acceptance or other- ian immigrants were victimized as racialized points in the Italian diaspora wise by August 1, 2008. The conference will others. In addition, non-Italian immigrant • old and new “contamination” and “hy- result in a publication of refereed essays from performers added Neapolitan songs to their bridization” of the genre papers delivered.  SEM Newsletter

Announcements manifestation at the University of North York City, NY (Weekend workshop, 7 pm Continued from page 3 Carolina, Greensboro, May 27-31, 2009 (US April 4 to 4 pm April 6); fee $275. Berkeley, CA (Weekend workshop, 7 pm April 11 to To ensure that articles not covered by Memorial Day is the previous weekend). 5 pm April 13); fee $225. Buenos Aires, one of these print works are also kept up to Typically the conference includes scholarly Argentina (outside the city) (eight-day resi- date, we are embarking on a major, multiyear papers from a variety of disciplinary and dential mbira camp, April 19 to April 26); program of updating the bibliographies and interdisciplinary perspectives as well as fee $750. Lower fee for residents of South works-lists of all the articles in the dictionary. performances, demonstrations, and panel America only, please inquire. Berkeley, CA We will approach this by categories of entries, discussions. A formal call for participation (eight-day residential mbira camp, 12 noon perhaps by chronological and geographical will appear later this spring. Please direct July 12 to 12 midnight July 19); fee $800. boundaries. This would not preclude making questions to Elizabeth L. Keathley at (email) Zimbabwean co-teachers will be Mai Jenny other necessary updates, but it would guar- [email protected]. Muchumi and Patience Chaitezvi, subject antee that over a certain period of time, a to visa approvals. Berkeley, CA (eight-day concentrated effort would be made to update Mbira Workshops residential mbira camp, 12 noon July 26 to 12 all entries within a particular group. (Please The non-profit organization MBIRA has midnight August 2); fee $800. Zimbabwean note: there will be a modest remuneration scheduled a series of workshops offering co-teachers will be Mai Jenny Muchumi and for all of this work. Although we invite con- immersion in traditional Shona mbira music Patience Chaitezvi, subject to visa approvals. tributors to send new bibliography, works, of Zimbabwe. All levels, from first-time be- Berkeley, CA (eight-day residential mbira or minor revisions at any time, we will not ginner to advanced, are welcome, and high camp, 12 noon August 9 to 12 midnight commission unpaid work.) quality Zimbabwean instruments are available August 16); fee $800. Zimbabwean co-teach- How the ethnomusicology community to use or buy at each workshop. Vegetarian ers will be Mai Jenny Muchumi and Patience can help: If you are a contributor, does OUP meals are included, and sleeping bag space Chaitezvi, subject to visa approvals. have your contact details? If you move, please is available at most workshops. Workshop More information and details about all send your new contact details to grovemu- payments, made payable to MBIRA, should these workshops is available at (website) www. [email protected]. (Please do not send address be sent to PO Box 7863, Berkeley, CA 94707- mbira.org. For more information, contact updates directly to Laura Macy.) In the next 0863. Workshop fees make all MBIRA’s work Erica Azim at (email) [email protected] or year, contributors will be receiving a call for possible, including supporting 135 traditional (phone) 510-548-6053. updating of their articles, with a schedule of musicians in Zimbabwe, and eleven instru- updates attached. Although online updating ment makers. is in many ways more flexible than book Global Music Archive (GMA) publishing, it carries its own complexities The Wilson Music Library, in conjunc- and scheduling demands. We must be able to tion with the Blair School of Music and the plan updates—their size and content—well in Heard Libraries at Vanderbilt University, are advance, and for this reason, timely response pleased to announce a new digital archive, the to commissions is essential. Please notify us Global Music Archive (GMA). The GMA’s as soon as possible if you cannot make the primary mission is to provide access to sound proposed deadline. Also, if you would rather recordings and images of indigenous music not undertake the work of updating your from communities in Africa and the Americas. articles, we invite you to recommend another Founded in 2003 by Gregory Barz, Associate scholar, perhaps a recent PhD in your field, Professor of Musicology (Ethnomusicology) to do the work. It has been nearly ten years at Vanderbilt University, and Dennis Clark, since the last articles were commissioned for former director of the Wilson Music Library, The New Grove, second edition, and a new the GMA recently launched its first database generation of scholars has come of age. In in a series of databases, the Digital Collection order for Grove to continue to represent the of East African Recordings which contains very best of music scholarship, we need to over 2,000 discrete musical performances draw on new scholars and their work. Laura recorded by an East African musicologist, Macy would be very grateful if the senior Centurio Balikoowa. The archive website members of the community would bring Photo: Alex Weeks and the Digital Collection of East African younger scholars and their areas of expertise (source: http://commons.wikimedia.org/ Recordings can be accessed at www.global- to her attention. If you have thoughts about wiki/Image:Mbira_dzavadzimu_1.jpg) musicarchive.org. Real Player is required to areas of Grove that are in particular need stream the sound files. Sound files vary in of development, please share your thoughts Workshop schedule: Friday Harbor, WA length from 45 seconds to 1 hour. Enhance- either directly with Laura Macy at (email) (Weekend workshop, 7 pm March 7 to 5 pm ments to the database and additional sound [email protected], or with Andy Sutton March 9); fee $225, or one day/2 evenings files will continue to be added to the archive. or Stephen Wild. fee $125. Seattle, WA (Weekend workshop, Questions and comments can be directed to 7 pm March 14 to 5 pm March 16); fee $225. the Director of the Wilson Music Library, FTM10, Spring 2009 Holyoke, MA (Weekend workshop, 7 pm Holling Smith-Borne, at (email) holling. [email protected]. The international conference Feminist March 28 to 4 pm March 30): fee $275. New Theory and Music will appear in its 10th SEM Newsletter 

SEM 2008 stracts over 250 words will not be a whole. While the individual abstracts accepted. are necessary, the overall panel abstract Continued from page 7 Poster (Media) Sessions: Display is the linchpin of the panel. The SEM 2008 Conference Website is at stations will be set up in a room where • A 250-word maximum abstract for each http://www.indiana.edu/~semhome/2008/ presenters can exhibit work in a variety of presenter. Abstracts over 250 words index.shtml. The Online Abstract Submission media and remain on hand for scheduled two- will not be accepted. Form is available at (website) http://www.in- hour periods for discussion. Displays might Forums/Roundtables: Forum/Round- diana.edu/~semhome/2008/abstract.shtml. include posters, audio-visual presentations table sessions provide opportunities for par- The Complete Call for Papers Guidelines can of research, instrument building, as well as ticipants to discuss a subject with each other be found at (website) http://www.indiana. written work made available in a form suit- and with members of the audience. Sessions edu/~ethmusic/documents/SEM2008_ able for informal presentation in a table-top of up to two hours long should include at least call_for_presentations_12_19_07.pdf or wall display. Special display requirements four but no more than five presenters. We All proposals must include two compo- (e.g., computer equipment and monitors) encourage formats that stimulate discussion nents—the proposal form and an abstract. will be the responsibility of the presenter. and audience participation. The organizer will When submitting your proposal, first select Displays should be designed with the other solicit position papers of up to 15 minutes the appropriate form. Note that two types of presenters in the room in mind. Proposals from each presenter and will facilitate ques- forms are used for submitting proposals: must include: tions and discussion for the remaining time. • “Individual Presenters Form” for • The Individual Presenters Form Proposals for forums/roundtables should single papers, performances or lecture- • A 250-word maximum abstract describ- be submitted by the session organizer and demonstrations, film/video programs, ing the subject, purpose, and physical/ must include: poster (media) session and workshops audible characteristics of the display as • The Organized Sessions Form (participatory) proposals. well as the audio/visual equipment, wall, • A 250-word maximum abstract outlining • “Organized Sessions Form” for or- or table space required. Certain special the purpose/agenda and organization ganized panels, forums/roundtables, display equipment may be the responsi- of the session, as well as the anticipated workshops (participatory), and films/ bility of the presenter. Abstracts over contributions of its members. Abstracts videos (the film or video itself is the 250 words will not be accepted. over 250 words will not be accepted. presentation). Workshops (participatory): Informal, Workshops (participatory): Informal, Please note that poster (media) presen- interactive hands-on session on one topic (e.g. interactive hands-on session on one topic (e.g. tations are welcome and that presenters music performance, dance, recording technol- music performance, dance, recording technol- may set up their presentations on their own ogy, etc.). The presenter must submit: ogy, etc.). The organizer must submit: laptops in the poster presentation area at the • The Individual Presenters Form (if led • The Organized Sessions Form (more conference. by one person) than one but no more than 6 session • A 250-word maximum abstract describ- leaders) Proposals to be Submitted on the “In- ing the subject. Abstracts over 250 • A 250-word maximum abstract describ- dividual Presenters Form” words will not be accepted. ing the subject. Abstracts over 250 words will not be accepted. Single Papers: Individual paper presen- Note: This year, we are providing the tations are 20 minutes long and will be fol- Proposals to be Submitted on the “Or- ganized Sessions Form” option for Forum/Roundtables organizers lowed by 10 minutes of discussion. Individual to moderate an on-line discussion with Fo- Organized Panels: Organized panel paper proposals must include: rum/Roundtable participants and interested sessions are 90 minutes or two hours long. • The Individual Presenters Form SEM members leading up to their session A 90-minute panel consists of three papers. • A 250-word maximum abstract. Ab- at the conference. Details will follow after A two-hour panel consists of either four stracts over 250 words will not be proposals are accepted. papers or three papers plus a discussant. accepted. Films/Videos: Recently completed or Each presentation (a paper or a discussant’s Performances or Lecture-Demon- in-progress films or video programs up to formal response) will be 20 minutes long strations: Up to one hour long. Proposals two hours long. Sessions may include an followed by 10 minutes of questions and must include: introduction and discussion time. Submit general discussion. Panel abstracts will be • The Individual Presenters Form titles, subjects, and formats, and indicate the evaluated individually as well as collectively. • A 250-word maximum abstract. Ab- exact duration of the proposed films/videos The program committee reserves the right to stracts over 250 words will not be and introduction/discussion. The organizer suggest the addition of a panelist where an accepted. must submit: independently submitted abstract appears to Film/Video Programs: Recently com- • The Organized Sessions Form pleted or in-progress films or video programs fit a panel. (Those interested in a more flex- ible format with more participants may want • A 250-word maximum abstract describ- up to two hours long. Sessions may include ing the subject and a list of participants. an introduction and discussion time. Submit to consider proposing a forum/roundtable.) Proposals for organized panels should be Abstracts over 250 words will not be titles, subjects, and formats, and indicate the accepted. exact duration of the proposed films/videos submitted by the panel organizer and must and introduction/discussion. Proposals include: must include: • The Organized Sessions Form Instructions for Abstracts • The Individual Presenters Form • A 250-word maximum abstract de- Abstracts should demonstrate a clear • A 250-word maximum abstract. Ab- scribing the rationale for the panel as focus or statement of the problem, a co- Continued on page 11 10 SEM Newsletter

Collegiate students, teachers, advanced high school students, amateur musicians… Explore WORLD MUSIC and IMPROVISATION through hands-on performance.

African Drumming Workshop Non-Jazz Improvisation/ Balinese Gamelan Workshop July 14-18/Monday-Friday, Creative Music Making July 14-18/Monday-Friday, 6:30-9:30 p.m. July 14-18/Monday-Friday, 9 a.m.-noon Bob Becker 1:30-4:30 p.m. Clay Greenberg Discussion of basic structural principles Bill Cahn In-class performance and instruction on found in many West African drum A simple, practical pedagogy for Balinese gamelan angklung, beleganjur, ensemble traditions: cyclic repetition; free-form improvisation that expands and joged bumbung instruments, taught rhythmic ambiguity; conversation. musicianship at any level of performance through the aural learning traditions of Drum families and varieties of experience, Creative Music Making is for Bali. In addition to demonstrations and construction methods. Basic hand and anyone who plays a , lessons on the specifi c playing techniques stick techniques. Social aspects of music regardless of the particular instrument or of all the instruments in the gamelan, in African cultures. the level of prior musical experience. students will receive introductions to the Professional Development Hours: 15 vocal chanting known as kecak, and to the Professional Development Hours: 15 cultural context for music in Bali. Tuition: $990/1 credit (CRN 15925); Tuition: $990/1 credit (CRN 16080); Professional Development Hours: 15 $350/noncredit (CRN 15911) $350/noncredit (CRN 15911) Tuition: $990/1 credit (CRN 16129); $350/noncredit (CRN 16112)

These Institutes can be taken individually or for a combined price of $650 (noncredit) for all three, or $550 (noncredit) for two.

www.esm.rochester.edu/summer [email protected] 585-274-1400 or 1-800-246-4706 01.08

Ethnomusic_ESM_SumSess08.indd 1 1/15/08 11:06:09 AM SEM Newsletter 11

SEM 2008 Submissions, Requirements, and Dead- Charles Seeger Prize should consult the lines guidelines in the January 2008 issue of the Continued from page 9 Proposal submissions: Abstract pro- SEM Newsletter or on the SEM website (www.ethnomusicology.org). herent argument, knowledge of previous posals should be submitted using the online research, and a statement of the implica- form at www.ethnomusicology.org (follow the tions for ethnomusicology. Do not include links to the abstract-submission site), available the names of any participants in the body after January 15, 2008. The deadline for on- People and Places of the abstract. If submitting a hard copy line submissions is March 15, 2008. David G. Hebert abstract proposal by mail only, please format If you do not have Internet access, (SEM member since your abstract as follows: Abstracts should be you may contact the SEM Business office 1993) has accepted a new position as Profes- typed, single spaced. Include your name and at (phone) 812-855-6672 or (email) sem@ sor of Music with the Sibelius Academy in institutional affiliation (for session abstracts, indiana.edu to obtain a paper copy of the Helsinki, starting August 2008. The position the session organizer’s name) and the title of form. Mail your form and abstract to the entails thesis supervision in , your paper (for session abstracts, the name address listed below, postmarked by March jazz studies, and folk music/ethnomusicology. of the session). 15, 2008. He will continue to supervise doctoral dis- Address for submissions: Online: sertations for Boston University as an online Guidelines http://www.indiana.edu/~semhome/2008/ Master Lecturer. Recent research and creative Abstracts must not exceed 250 words. index.shtml; Postal mail: Indiana University activities are described on his professional Abstracts over 250 words will not be accepted. Conferences, Attn.:SEM 2008 Abstract Sub- blog at (website) http://sociomusicology. Abstracts must appear as a single paragraph. mission, 801 N. Jordan Ave., Bloomington, blogspot.com. Because abstract review is anonymous, do IN 47405 USA. not include your name, the names of other Deadline for submissions: All submis- Longtime SEM member Alma B. Ku- panelists, or the names of fellow research- sions must be submitted online or postmarked nanbaeva was recently decorated by the ers in the body of the abstract. Abstracts by the published deadline—March 15, 2008— Russian state into the order of Catherine identifying presenters or other participants or the abstract will not be reviewed. the Great for her “personal contribution to will not be accepted. Charles Seeger Prize: Students inter- Kazakh-Russian friendship and collabora- ested in having a paper considered for the tion.”

Conferences Calendar Mar 20-23 Mar 28-30 CDIME-NINE (ninth international Niagara Chapter of the Society for 2008 conference on Cultural Diversity Ethnomusicology Annual Meet- ing. York University, Toronto. For Mar 8 in Music Education). University more information, contact Michael Northern California Chapter of the of Washington’s School of Music, Marcuzzi at (email) marcuzzi@ SEM (NCCSEM) Annual Meeting, Seattle, Washington. For more yorku.ca Cal State East Bay, Hayward, CA. information, see (website) www. For more information, contact cdime-network.com/cdime Mar 29-30 Guilnard Moufarrej at (email) Midwest Chapter of the Society [email protected] Mar 26-29 42nd annual ARSC Conference, for Ethnomusicology (MIDSEM) Annual Meeting. Eastern Michigan Mar 14-15 Stanford University, Palo Alto, University, Ypsilanti, MI. For more Exploring Alliances in Musical Per- CA. For more information see information, contact Randal Baier formance and Music and Scholar- (website) http://www.arsc-audio. at (email) [email protected] ship, University of Toronto Music org/conference/ Graduate Student Association, Apr 4-5 University of Toronto. For more Mar 27-28 and Musicology information, contact Colleen Mid-Atlantic Chapter of the Society Society Conference, University of Renihan at (email) colleenlydia@ for Ethnomusicology (MACSEM) Cincinnati, College-Conservatory yahoo.com Annual Meeting, Columbia Uni- versity, New York, NY. For more of Music. For more information, contact Tom Kernan at (email) ccm. Mar 15 information, contact Aaron Fox [email protected] Pacific/Northwest Chapter of the at (email) aaf19@COLUMBIA. Society for Ethnomusicology An- EDU Apr 12 nual Meeting. Asian Centre Room Northeast Chapter of the Society 105, University of British Columbia, Mar 27-29 for Ethnomusicology (NECSEM), Vancouver BC. For more infor- Experiencing Villa-Lobos: An In- Amherst College, Amherst, MA. mation, contact Paddy Sandino ternational Festival, Virginia Com- For more information, contact Lisa at (email) road2renxing@yahoo. monwealth University, Richmond, Lawson Burke at (email) mburke@ co or Deirdre Morgan at (email) VA. For more information, contact frc.mass.edu [email protected] Patrick Smith at (email) psmith7@ vcu.edu Continued on page 12 12 SEM Newsletter

Conferences Calendar Past, Present and Future, Gradu- Oct 25-28 ate School of the College of Arts Society for Ethnomusicology 53rd Continued from page 11 and Humanities, Bangor Univer- Annual Meeting, Wesleyan Universi- Apr 13-14 sity, Wales. For more information, ty, Middletown, CT. For more infor- Hearing Israel: Music, Culture and contact Shelly Ocsinberg at (email) mation, see (website) http://www. History at 60. University of Virginia. [email protected] or mor- indiana.edu/~semhome/2008/in- For more information, contact Joel [email protected] dex.shtml Rubin at (email) joelrubin@virginia. edu or James Loeffler at (email) Jul 15-18 Nov 6-9 [email protected] Fourth Conference on Interdis- American Musicological Society An- ciplinary Musicology (CIM08), nual Meeting. Renaissance Nashville May 14-17 Thessaloniki, Greece. For more Hotel, Nashville, Tennessee. For Fourth International Congress of information, see (website) http:// more information, see (website) Qualitative Inquiry, University of web.auth.gr/cim08/index2.htm http://www.ams-net.org/ Illinois at Urbana-Champaign. For 2009 more information, see (website) Aug 3-8 Mar 20-21 http://www.icqi.org North Atlantic Fiddle Convention Neapolitan Postcards: The Can- 2008: Crossing Over. Memorial zone Napoletana as Transnational Jun 12-15 University, St. John’s, Newfound- Subject, Manhattan, NY. For more Looking Back/Moving Forward, land and Labrador. For more information, contact Joseph Sci- Society of Dance History Scholars information, see (website) www. orra at (email) joseph.sciorra@ 31st Annual Conference, Skidmore mun.ca/nafco2008 qc.cuny.edu College, Saratoga Springs, NY. For more information, contact (email) Oct 22-25 May 27-31 [email protected] American Folklore Society Annual Feminist Theory and Music Meeting. Hyatt Regency Louisville, (FTM10), University of North Car- Jun 25-26 Louisville, Kentucky. For more olina, Greensboro, NC. For more Religion, Faith, Spirituality: An information, see (website) http:// information, contact Elizabeth Interdisciplinary and International afsnet.org/ L. Keathley at (email) elkeathl@ Postgraduate Conference on the uncg.edu

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

Volume 42, Number 2 March 2008