DOCSLIB.ORG

SEM Annual Meeting, 2010, Los Angeles Weapons of Mass In- Struction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Volume 44 Number 3 May 2010 Metro Center, allowing access to pub- SEM Annual Meeting, lic transportation links throughout the Inside 2010, Los Angeles city (including Metro trains from the 1 SEM Annual Meeting, Los By Tara Browner, Chair, Local Ar- Los Angeles World Airport or Union Angeles rangements Committee Station to the meeting). A local area 1 Weapons of Mass Instruction small-bus transport system known 3 People and Places The Society for Ethnomusicology as DASH gives attendees the oppor- 6 nC2 will hold its 55th annual meeting in tunity to explore downtown LA with 9 BFE Annual Conference Los Angeles, November 11-14, 2010, ease, although quite a few attractions 11 Dan Sheehy named Director of with a pre-conference honoring of are within walking distance, includ- Center for Folklife and Cultural the life and work of Nazir Jaraizbhoy, ing the new Grammy Museum (three Heritage cosponsored by the UCLA Depart- blocks from the hotel), Nokia Theater, 11 Calls for Participation ment of Ethnomusicology and the Los Angeles Theater, and of course 13 Announcements SEM South Asia Performing Arts Walt Disney Concert Hall. Further 14 Conferences Calendar sub-group, on November 10. The afield, but directly down Wilshire Blvd, meeting’s theme is a celebration of is a cluster of museums including the the 50th anniversary of the founding Peterson Automobile Museum, Arts Weapons of Mass In- of the Ethnomusicology Institute and and Crafts Museum, and the famed program at UCLA. While the primary Page Museum, home of the La Brea struction location of the meeting is the Wilshire Tar pits. Finally, one of the metro By Gage Averill, SEM President Grand Hotel in downtown Los Ange- lines leaving from the 7th Street les, the department plans a reception, Center runs directly through central “The Day We Fall Is Not the Day banquet, and evening concert on the Hollywood and ends at Universal We Sink”: Cultural Repatriation in UCLA campus November 13. Studios theme park and CityWalk, a Haiti After the Quake Los Angeles in early November venue with restaurants, theaters, and usually has excellent weather, with concerts. In an odd twist of fate, my trip to daytime highs in the mid 70s, and Multicultural from its beginnings, Haiti in mid-January was postponed cool but temperate nights. Rain at this the heritage of Los Angeles can be when the remote broadcast I was time of year is rare, but not unknown. enjoyed through excursions to China- helping to set up from the Port-au- Our hotel, the Wilshire Grand, is lo- town, Koreatown, and Little Tokyo, all Prince Jazz Festival for CIUT-FM in cated only a block from the 7th Street Toronto fell apart. I was also intend- Continued on page 8 ing to do preliminary legwork for the repatriation of the Alan Lomax in Haiti 1936-37 box set. The repatriation effort had garnered the support of the Green Family Foundation, based in Miami, and had become a Clinton Global Fund project for 2010. But fate intervened, the ground shook, and devastation ensued. In the agonizing weeks after Janu- ary 12, amidst searches for friends, a long line of media interviews, com- memorative events and the pure fran- tic busyness intended to counter the shock and anxiety, I had the chance to wonder what had become of the repatriation project. But each time this thought cropped up, I dismissed the project as trivial in comparison to the needs of the wounded and displaced. Los Angeles Skyline Continued on page 4 Ethnomusicology Sites Internet Resources The Society for Ethnomusicol- American Folklife Center ogy and the SEM Newsletter The SEM Website http://www.loc.gov/folklife/ http://www.ethnomusicology.org Editor, SEM Newsletter British Forum for Ethnomusicology Henry Spiller The SEM Discussion List: SEM-L Department of Music http://www.bfe.org.uk University of California To subscribe, send email message British Library Sound Archive One Shields Avenue to: [email protected]. Davis, CA 95616, USA http://www.bl.uk/wtm (Tel) 530.757.5791 (Fax) 530.752.0983 EDU. Leave subject line blank. Type (Email) [email protected] the following message: SUBSCRIBE http://cadensa.bl.uk SEM-L yourfirstname yourlastname. Christian Musicological Society of India The SEM Newsletter http://www.thecmsindia.org The SEM Newsletter is a vehicle for ex- SEM Applied Ethnomusicology Section change of ideas, news, and information among Ethnomusicology OnLine (EOL) the Society’s members. Readers’ contributions http://www.appliedethnomusicology.org are welcome and should be sent to the editor. http://umbc.edu/eol (home site) See the guidelines for contributions on this page. SEM Chapter Websites The SEM Newsletter is published four times Mid Atlantic Chapter International Council for Traditional annually, in January, March, May, and Septem- Music ber, by the Society for Ethnomusicology. Inc., and http://www.macsem.org is distributed free to members of the Society. http://www.ictmusic.org/ICTM Back issues, 1981-present [Vols. 14-18 Mid-West Chapter (1981-84), 3 times a year; Vols. 19-32 (1985- http://sem-midwest.osu.edu/ Iranian Musicology Group 1998), 4 times a year] are available and may be http://groups.yahoo.com/group/iranian_ ordered at $2 each. Add $2.50/order for postage. Niagara Chapter musicology Address changes, orders for back issues of http://www.people.iup.edu/ rahkonen/ the SEM Newsletter, and all other non-editorial Music & Anthropology inquiries should be sent to the Business Office, NiagaraSEM/NiagaraSEM.htm Society for Ethnomusicology, Indiana University, http://www.muspe.unibo.it/period/MA Morrison Hall 005, 1165 East 3rd Street, Bloom- Northeast Chapter ington, IN, 47405-3700; (Tel) 812.855.6672; (Fax) http://www.necsem.org http://research.umbc.edu/eol/MA/index. 812.855.6673; (Email) sem@ indiana.edu. htm Northwest Chapter (SEM-NW) Smithsonian Institution Websites SEM Membership http://www.music.washington.edu/eth- The object of the Society for Ethnomusicol- http://www.folkways.si.edu ogy is the advancement of research and study in no/semnw.html the field of ethnomusicology, for which purpose Southeast-Caribbean Chapter http://www.festival.si.edu all interested persons, regardless of race, ethnici- ty, religion, gender, sexual orientation, or physical http://otto.cmr.fsu.edu/~cma/SEM/ http://www.folklife.si.edu ability are encouraged to become members. Its SEMSEC02.htm/ aims include serving the membership and society Society for American Music at large through the dissemination of knowledge Southern California & Hawai`i Chapter www.American-Music.org concerning the music of the world’s peoples. The Society, incorporated in the United States, has an (SEMSCHC) UCLA Ethnomusicology Archive international membership. http://www.ucr.edu/ethnomus/semscc. http://www.ethnomusic.ucla.edu/ar- Members receive free copies of the journal and the newsletter and have the right to vote and html chive participate in the activities of the Society. Life Southern Plains Chapter members receive free copies of all publications University of Washington Ethnomusi- of the Society. Institutional members receive the http://katchie.com/semsouthernplains/ cology Archive journal and the newsletter. Pages/SEMsouthernplains.html http://www.music.washington.edu/eth- Student (full-time only) (one year) .............. $40 Southwest Chapter no/index.php?page=archives Individual/Emeritus (one year) income $25,000 or less ........................... $60 http://www.u.arizona.edu/~sturman/ income $25,000-$40,000 ......................... $75 SEMSW/SEMSWhome.html income $40,000-$60,000 ......................... $85 income $60,000-$80,000 ......................... $95 SEM Newsletter Guidelines income $80,000 and above ................... $105 Spouse/Partner Individual (one year) ......... $35 Guidelines for Contributors Life membership ..................................... $1200 Spouse/Partner Life ................................ $1400 • Send articles to the editor by email or on a disk with a paper copy. Micro- Sponsored* (one year) ................................ $57 soft Word is preferable, but other Macintosh or IBM-compatible software is Institutional membership (one year) ......... $115 Overseas postage (one year) ..................... $22 acceptable. *Donated membership for individuals and institutions • Identify the software you use. in soft-currency countries. Send sponsorship letter with dues ($35) and postage (either $10 Surface rate or $25 • Please send faxes or paper copies without a disk only as a last resort. airmail) to the SEM Business Office. Advertising Rates Copy Deadlines Ethnomusicology: Back Issues The Society’s journal, Ethnomusicology, is Rates for Camera Ready Copy March issue ..................January 15 currently published three times a year. Back is- Full Page $200 May issue ....................... March 15 sues are available through the SEM Business Of- fice, Indiana University, Morrison Hall 005, 1165 2/3 Page $145 September issue.................July 15 East 3rd Street, Bloomington, IN 47405-3700; 1/2 Page $110 January issue ...........November 15 (Tel) 812.855.6672; (Fax) 812.855.6673; (Email) 1/3 Page $60 [email protected]. 1/6 Page $40 ISSN 0036-1291 Additional charges apply to non-camera-ready materials. SEM Newsletter in Haiti. The threesome began to marranos, or judaising sects) in south People and Places investigate the condition of musi- Italy. He currently is working on the Hugo Zemp is pleased to an- cians in Port-au-Prince following the songs of some marrano Jews from nounce that his total film work of catastrophe and to determine how north Calabria who a few decades fifteen films is on the way to be best to provide support to them in ago moved to Israel. distributed in the USA by Documen- the near future. For more informa- Peter Hoesing is presently finish- tary Educational Resources (DER), tion on Makandal’s ongoing work in ing field research in Uganda as a in Watertown, MA. His latest films on this sphere see (website) http://www. Fulbright-Hays Fellow. West African village music (the four- makandal.org. Greg C. Adams is a musician, film seriesMasters of the Balafon) Brent V.
Recommended publications
  • Interview with Frisner Augustin—3/24/1982 East 96Th Street, East Flatbush, Brooklyn, New York

    Interview with Frisner Augustin—3/24/1982 East 96Th Street, East Flatbush, Brooklyn, New York

    Interview with Frisner Augustin—3/24/1982 East 96th Street, East Flatbush, Brooklyn, New York Frisner’s Life in Haiti L: This is an interview with Frisner Augustin, Master Drummer from Haiti. First, I just want to get the facts—the day that you were born, where you were born… F: Okay, the day I born is one, three, forty-eight, right? So, I born in Port- au-Prince. But my mother born in Port-a-Prince, but my grandmother born in Jacmel. L: Is that your mother’s mother? F: My grandmother, yeah. But my father born in Port-au-Prince, but, you know, my father’s father born in Léogane. I come from two parent, you know, two pärent—parent or pärent, I don’t know. Because, you know, English is not my language. But in my country they speak Creole. But everybody try to speak French. You’re supposed to go to school to speak French. But my parent don’t have any money to push me very good in big school, and I try to learn by some friend. But, in Haiti, my father, you know, time I got to be about six years old, and my father left my mother, and, you know, my mother can’t help me to push me in school. Okay, I got all my parent, my uncle play drum and be travel lot. He go to St. Thomas, St. Croix, Puerto Rico, and New York and go back to Haiti, St. Vincent and go back to Haiti. And soon I grow up, I say, I want to learn how to play drum.
  • Black Brooklyn Renaissance Digital Archive Sherif Sadek, Akhnaton Films

    Black Brooklyn Renaissance Digital Archive Sherif Sadek, Akhnaton Films

    Black Brooklyn Renaissance (BBR) Digital Archive About the Digital Archive CONTENTS This digital archive contains 73 discs, formatted as playable DVDs for use in compatible DVD players and computers, and audio CDs where indicated. The BBR Digital Archive is organized according to performance genres: dance, music, visual art, spoken word, community festival/ritual arts, and community/arts organizations. Within each genre, performance events and artist interviews are separated. COPYRIGHT Black Brooklyn Renaissance: Black Arts + Culture (BBR) Digital Archive is copyright 2011, and is protected by U.S. Copyright Law, along with privacy and publicity rights. Users may access the recordings solely for individual and nonprofit educational and research purposes. Users may NOT make or distribute copies of the recordings or their contents, in whole or in part, for any purpose. If a user wishes to make any further use of the recordings, the user is responsible for obtaining the written permission of Brooklyn Arts Council (BAC) and/or holders of other rights. BAC assumes no responsibility for any error, omission, interruption, deletion, defect, delay in operation or transmission, or communications line failure, involving the BBR Digital Archive. BAC feels a strong ethical responsibility to the people who have consented to have their lives documented for the historical record. BAC asks that researchers approach the materials in BBR Digital Archive with respect for the sensibilities of the people whose lives, performances, and thoughts are documented here. By accessing the contents of BBR Digital Archive, you represent that you have read, understood, and agree to comply with the above terms and conditions of use of the BBR Digital Archive.
  • October 1-3, 2017 Greetings from Delta State President William N

    October 1-3, 2017 Greetings from Delta State President William N

    OCTOBER 1-3, 2017 GREETINGS FROM DELTA STATE PRESIDENT WILLIAM N. LAFORGE Welcome to Delta State University, the heart of the Mississippi Delta, and the home of the blues! Delta State provides a wide array of educational, cultural, and athletic activities. Our university plays a key role in the leadership and development of the Mississippi Delta and of the State of Mississippi through a variety of partnerships with businesses, local governments, and community organizations. As a university of champions, we boast talented faculty who focus on student instruction and mentoring; award-winning degree programs in business, arts and sciences, nursing, and education; unique, cutting-edge programs such as aviation, geospatial studies, and the Delta Music Institute; intercollegiate athletics with numerous national and conference championships in many sports; and a full package of extracurricular activities and a college experience that help prepare our students for careers in an ever-changing, global economy. Delta State University’s annual International Conference on the Blues consists of three days of intense academic and scholarly activity, and includes a variety of musical performances to ensure authenticity and a direct connection to the demographics surrounding the “Home of the Delta Blues.” Delta State University’s vision of becoming the academic center for the blues — where scholars, musicians, industry gurus, historians, demographers, and tourists come to the “Blues Mecca” — is becoming a reality, and we are pleased that you have joined us. I hope you will engage in as many of the program events as possible. This is your conference, and it is our hope that you find it meaningful.
  • Ii WOODY GUTHRIE

    Ii WOODY GUTHRIE

    ii WOODY GUTHRIE THIS COLLECTION PRESENTS FOR THE FIRST TIME the full range of material Woody Guthrie recorded for the United States government, both in song and the spoken word. This publication brings together two significant bodies of work – the songs and stories he recorded for the Library of Congress, and the material he created when hired to write songs for the Bonneville Power Administration. There have been records released in the past of the Library of Congress recordings, but this collection is the first time that the complete and unedited Library of Congress sessions have been released. The songs from those recording dates have been available in the past – notably from Elektra and from Rounder – but we offer here the full body of work, including the hours of Woody Guthrie talking and telling his story. TO THE LIBRARY OF CONGRESS AND BPA RECORDINGS, we have also added material which Woody recorded for governmental or quasi-governmental efforts – some songs and two 15-minute radio dramas for the Office of War Information during the Second World War and another drama offered to public health agencies to fight the spread of venereal disease. WOODY GUTHRIE AMERICA N RADICA L PATRIOT by Bill Nowlin Front cover photo: marjorie mazia and woody guthrie in east st. louis, missouri. july 29, 1945. Inside front and inside back cover photo: woody, “oregon somewhere” on the coast in oregon. this is the only known photograph of woody guthrie during the time he spent touring with the bpa. ℗ 2013 Woody Guthrie Foundation. © 2013 Rounder Records. Under exclusive license to Rounder Records.
  • Society for Ethnomusicology Abstracts

    Society for Ethnomusicology Abstracts

    Society for Ethnomusicology Abstracts Musicianship in Exile: Afghan Refugee Musicians in Finland Facets of the Film Score: Synergy, Psyche, and Studio Lari Aaltonen, University of Tampere Jessica Abbazio, University of Maryland, College Park My presentation deals with the professional Afghan refugee musicians in The study of film music is an emerging area of research in ethnomusicology. Finland. As a displaced music culture, the music of these refugees Seminal publications by Gorbman (1987) and others present the Hollywood immediately raises questions of diaspora and the changes of cultural and film score as narrator, the primary conveyance of the message in the filmic professional identity. I argue that the concepts of displacement and forced image. The synergistic relationship between film and image communicates a migration could function as a key to understanding musicianship on a wider meaning to the viewer that is unintelligible when one element is taken scale. Adelaida Reyes (1999) discusses similar ideas in her book Songs of the without the other. This panel seeks to enrich ethnomusicology by broadening Caged, Songs of the Free. Music and the Vietnamese Refugee Experience. By perspectives on film music in an exploration of films of four diverse types. interacting and conducting interviews with Afghan musicians in Finland, I Existing on a continuum of concrete to abstract, these papers evaluate the have been researching the change of the lives of these music professionals. communicative role of music in relation to filmic image. The first paper The change takes place in a musical environment which is if not hostile, at presents iconic Hollywood Western films from the studio era, assessing the least unresponsive towards their music culture.
  • Drummer, Give Me My Sound: Frisner Augustin

    Drummer, Give Me My Sound: Frisner Augustin

    Fall–Winter 2012 Volume 38: 3–4 The Journal of New York Folklore Drummer, Give Me My Sound: Frisner Augustin Andy Statman, National Heritage Fellow Dude Ranch Days in Warren County, NY Saranac Lake Winter Carnival The Making of the Adirondack Folk School From the Director The Schoharie Creek, had stood since 1855 as the longest single- From the Editor which has its origins span covered wooden bridge in the world. near Windham, NY, The Schoharie’s waters then accelerated to In the spirit of full dis- feeds the Gilboa Res- the rate of flow of Niagara Falls as its path closure, I’m the one who ervoir in Southern narrowed, uprooting houses and trees, be- asked his mom to share Schoharie County. fore bursting onto the Mohawk River, just her Gingerbread Cookie Its waters provide west of Schenectady to flood Rotterdam recipe and Christmas drinking water for Junction and the historic Stockade section story as guest contribu- New York City, turn of Schenectady. tor for our new Food- the electricity-generating turbines at the A year later, in October 2012, Hurricane ways column. And, why not? It’s really not New York Power Authority, and are then Sandy hit the metropolitan New York that we couldn’t find someone else [be in loosed again to meander up the Schoharie area, causing widespread flooding, wind, touch, if you’re interested!]. Rather, I think Valley to Schoharie Crossing, the site of and storm damage. Clean up from this it’s good practice and quite humbling to an Erie Canal Aqueduct, where the waters storm is taking place throughout the entire turn the cultural investigator glass upon of the Schoharie Creek enter the Mohawk Northeast Corridor of the United States oneself from time to time, and to partici- River.
  • Haitian Narrative the Personal Becomes National the National Becomes Personal

    Haitian Narrative the Personal Becomes National the National Becomes Personal

    Haitian Narrative The Personal becomes National The National Becomes Personal Karen F. Dimanche Davis 4 November 2016 Hope College, Holland, Michigan HAITI – AYITI Florida, 600 miles Cuba, 70 miles Jamaica, 130 miles “Ayiti”--mountains L’UNION FAIT LA FORCE! This is also the national motto of the Republic of Benin, in West Africa, the homeland of most Haitians Jarre Trouée Roi Ghézo 1818 Wisdom Tales • Anancy, Bouki & Malice, Ti-Jean, and Br’er Rabbit • How to maintain morality yet survive life’s threats. • As Haitian stories/histories become national meta-myth, they encompass references to: – the revolutionary founding of the nation (1791-1804) • “L’union fait la force!” • Bois Caiman – rural community identity (the spirit of konbit) – service to the African lwas (spirits or energies) – US military & corporate imperialism – The Duvalier dictatorship’s state terrorism – deforestation, soil erosion, hurricanes, and flooding – mass exodus of farmers to city, Port- au-Prince – Le Tremblement, 2010 earthquake, Goudou-Goudou Danticat references Haitian values: • Konbit: Importance of family, group, community, not individuals • Importance of reputation and respect • Mountains beyond mountains (pa pi mal) • Thriving farm market economy (carrots, plantains, pigeon peas, calabash, cocoa, coffee • The importance of family stories, wisdom tales • Building sturdy, beautiful cement block houses • Local foods: snapper, sweet potatoes, salt cod, plantains, cassava bread • Natural herbal medications • Ingenuity to “out-fox” oppression (Trickster) • Pride in public appearance (neat, clean, pressed) Danticat references Haitian history: • Jean-Bertrand Aristide • Invasion/control by U.S. Marines 1915-1934, forced labor (re-ensavement) • Resistance by Cacos • Stories, murals, songs recall Petion, Dessalines, Toussaint, Charlemagne, etc.
  • Brooklyn Rediscovers Cal Massey by Jeffrey Taylor

    Brooklyn Rediscovers Cal Massey by Jeffrey Taylor

    American Music Review Formerly the Institute for Studies in American Music Newsletter Th e H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XXXIX, Number 2 Spring 2010 Brooklyn Rediscovers Cal Massey By Jeffrey Taylor With the gleaming towers of the Time Warner Center—Jazz at Lincoln Center’s home since 2004—gazing over midtown Manhattan, and thriving jazz programs at colleges and universities throughout the world fi rmly in place, it is sometimes diffi cult to remember when jazz did not play an unquestioned role in the musical academy. Yet it wasn’t until the early 1990s that jazz was well enough entrenched in higher education that scholars could begin looking back over the way the music was integrated into music curricula: Scott DeVeaux’s frequently quoted “Construct- ing the Jazz Tradition” from 1991 is a prime example.1 The past thirty years have seen an explosion of published jazz scholarship, with dozens of new books crowd- ing shelves (or websites) every year. The vast majority of these texts are devoted to the work of a single fi gure, with Duke Ellington and Louis Armstrong leading as popular subjects. But a few scholars, DeVeaux and Ingrid Monson among them, have noted the essential roles of musicians who worked primarily in the shadows, as composers, arrangers, accompanists, and sidepeople. Without these artists, whose contribution often goes completely unacknowledged in history books, jazz would have taken a very different path than the one we trace in our survey courses.
  • National Heritage Fellowships

    National Heritage Fellowships

    2020 NATIONAL HERITAGE FELLOWSHIPS NATIONAL ENDOWMENT FOR THE ARTS I 2020 NATIONAL HERITAGE FELLOWSHIPS Birchbark Canoe by Wayne Valliere Photo by Tim Frandy COVER: “One Pot Many Spoons” beadwork by Karen Ann Hoffman Photo by James Gill Photography CONTENTS MESSAGE FROM THE ACTING CHAIRMAN ...........................................................................................................................................................................................4 MESSAGE FROM THE DIRECTOR .............................................................................................................................................................................................................5 A BRIEF HISTORY OF THE NEA NATIONAL HERITAGE FELLOWSHIPS .........................................................................................................................................6 2020 NATIONAL HERITAGE FELLOWS William Bell .................................................................................................................................................................................8 Soul Singer and Songwriter > ATLANTA, GA Onnik Dinkjian ....................................................................................................................................................................... 10 Armenian Folk and Liturgical Singer > FORT LEE, NJ Zakarya and Naomi Diouf ............................................................................................................................................
  • Liner Notes, Lomax Collection

    Liner Notes, Lomax Collection

    Alan Lomax spent his life in transit, documenting folk music from across the United States, Great Britain, Spain, Italy, North Africa, the Soviet Union, and the Eastern Caribbean. Featured here are sixteen selections from Lomax’s U.S and international field- recording collections — including four previously unreleased songs and one previously unreleased version — from his collections at the Library of Congress’ American Folklife Center, recorded between 1947 and 1982. Introduced by a paean to America’s greatest folk hero, John Henry, and concluding with one of the country’s most enduring lullabies, the compilation combines ballads, blues, dance tunes, and sacred songs from around the U.S. with a Gaelic ode, Galician alborada (dawn song), Genoan chorale, Grenadan Shango ritual, Trinidadian calypso, and the ashug bardic music of Azerbaijan. Here is a view of the Lomax collection in all of its breadth, joy, and dignity. In 2004 the American Folklife Center at the Library of Congress acquired the original recordings and photographs, library, manuscripts, and research materials that had been assembled by Alan Lomax over the course of six decades, uniting them with the recordings made by Alan and his father, John A. Lomax, for the Library from 1933 to 1942. Fred McDowell Como, Mississippi September 1959 1. John Henry “Bama” (W.D. Stewart), “22” (Benny Will Richardson), and prisoners Recorded at Parchman Farm (Mississippi State Penitentiary). Late November/early December, 1947. “Bama” was one of the most prolific prison singers, with the exception of Lead Belly, that Alan Lomax ever encountered. He recorded not only work songs and field hollers, but also unaccompanied blues ballads, tall-tales, and toasts.
  • Spring 2014--All Grants Sorted by State

    Spring 2014--All Grants Sorted by State

    National Endowment for the Arts FY 2014 Spring Grant Announcement State Listings Project details are as of April 16, 2014. For the most up to date project information, please use the NEA's online grant search system. Included in this document are Art Works grants, State & Regional Partnership grants, and Research: Art Works grants. All are organized by state/territory and then by city, with the exception of the State & Regional Partnership grants which appear at the top of each state. Click the state or territory below to jump to that area of the document. • Alabama • Kentucky • Ohio • Alaska • Louisiana • Oklahoma • American Samoa • Maine • Oregon • Arizona • Maryland • Pennsylvania • Arkansas • Massachusetts • Puerto Rico • California • Michigan • Rhode Island • Colorado • Minnesota • South Carolina • Connecticut • Mississippi • South Dakota • Delaware • Missouri • Tennessee • District of Columbia • Montana • Texas • Florida • Nebraska • Utah • Georgia • Nevada • Vermont • Guam • New Hampshire • Virginia • Hawaii • New Jersey • Virgin Islands • Idaho • New Mexico • Washington • Illinois • New York • West Virginia • Indiana • North Carolina • Wisconsin • Iowa • North Dakota • Wyoming • Kansas • Northern Marianas Islands Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Page 1 of 228 Alabama Number of Grants: 5 Total Dollar Amount: $841,700 Alabama State Council on the Arts $741,700 Montgomery, AL FIELD/DISCIPLINE: State & Regional To support Partnership Agreement activities. Auburn University Main Campus $55,000 Auburn, AL FIELD/DISCIPLINE: Visual Arts To support the Alabama Prison Arts and Education Project. Through the Department of Human Development and Family Studies in the College of Human Sciences, the university will provide visual arts workshops taught by emerging and established artists for those who are currently incarcerated.
  • Music in Haiti: an Annotated Bibliography and Research Guide

    Music in Haiti: an Annotated Bibliography and Research Guide

    MUSIC IN HAITI: AN ANNOTATED BIBLIOGRAPHY AND RESEARCH GUIDE by William B. Stroud, B.A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Music with a Major in Music May 2015 Committee Members: Kevin Mooney, Chair Ludim Pedroza John Schmidt COPYRIGHT by William B. Stroud 2015 FAIR USE AND AUTHOR’S PERMISSION STATEMENT FAIR USE This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, William B. Stroud, refuse permission to copy in excess of the “Fair Use” exemption without my written permission. ACKNOWLEDGEMENTS Foremost, I would like to thank Dr. Kevin Mooney for his continued support throughout the thesis development and writing process. Without his guidance, none of this would have been possible. I would also like to thank the rest of my thesis committee: Dr. Ludim Pedroza and Dr. John Schmidt for their insight, dedication, and encouragement. My gratitude also extends to my parents, Bill and Judy Stroud, for their perseverance through what has been a non-linear collegiate trajectory. iv TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ..............................................................................................