BULLETIN

of the

INTERNATIONAL COUNCIL for TRADITIONAL

ICNo. T130, January 2016M ISSN (Online): 2304-4039

CONTENTS From the Secretariat 29th Symposium of the ICTM Study Group Calendar of Events on Ethnochoreology. Message from the Secretary General. Page 36 Search for new Book Reviews Editor of the Pages 9-11 Featured Publications by ICTM Yearbook for Traditional Music. Search for Announcements — Other the next Secretary General. Organizations Members Pages 2-4 Andalucía en la Música: Expresión de 6th International Conference of Dance comunidad, construcción de identidad; 44th ICTM World Conference (2017) Research Forum Ireland. 32nd European Seminar in Catalogue Raisonné of the Balinese Second Notice and Call for Proposals. Palm-Leaf Manuscripts with Music Page 12 Notation; Die Lieder der Richtigen Pages 5-8 Menschen; Os Ritmos da Roda: Tradição e Reports Announcements — ICTM Transformação no Samba de Roda; Reports from ICTM National and Regional Sudamérica y sus Mundos Audibles: 24th ICTM Colloquium: “Plucked of Representatives: Austria; Czech Republic; Cosmologías y Prácticas Sonoras de los the Silk Road: The Interaction of Theory Georgia; Germany; Italy; Malta; Pueblos Indígenas; The Fighting Art of and Practice, From Antiquity to Montenegro; The Netherlands; Puerto Rico; Pencak Silat and its Music. Contemporary Performance”. New ICTM Spain; Swaziland; Taiwan; Tanzania; Pages 36-37 listserv for Latin America and the United Kingdom; Caribbean. News: 1st Symposium of the General Information ICTM Study Group on Audiovisual Pages 13-29 Ethnomusicology. Call for Papers: 13th Reports from ICTM Study Groups: African ICTM World Network; Study Groups; Symposium of the ICTM Study Group on . Executive Board, Secretariat, Membership Iconography of the Performing Arts. Call Information; Publications by ICTM. Pages 30-31 for Papers: 14th Symposium of the ICTM Pages 36-46 Study Group on Iconography of the Other reports: “Infinities” of a higher order. Performing Arts. Programme: 5th RILM Music Encyclopedias. Symposium of the ICTM Study Group on Pages 32-35 Music of the Turkic-speaking World. News:

Bulletin of the ICTM Vol. 130 — January 2016 — Page 1 FROM THE SECRETARIAT

Message from the The latest issue of the Yearbook for While writing about the SEM-ICTM Traditional Music (vol. 47/2015) was Forum in the previous Bulletin, I fail‐ Secretary General published and distributed on time last ed to express heartfelt and well‐de‐ by Svanibor Pettan November, and three issues of the served gratitude to Colin Quigley and Bulletin of the ICTM reached you in Aileen Dillane, Co-Chairs of the event’s Happy New Year 2016! January, April, and October 2015. Local Committee. To‐ On behalf of the gether with their team at the Irish I realized that two important bits of Executive Board and World Academy of Music and Dance, information were not mentioned in the the Secretariat I would they convinced all of us present that last Bulletin of 2015, so I would like to like to thank all our members and Limerick will be the optimal choice for draw attention to them in this, the first subscribers for their inspiration and celebrating the Council’s seventieth Bulletin of 2016. support in 2015. birthday during the 44th ICTM World First, four colleagues with a strong de‐ Conference in 2017. If you wish to The past twelve months were filled dication to the Council’s aims ended learn more about the Forum, see the with activities: the 43rd ICTM World their mandates in the Executive Board: report by Marcello Sorce Keller on Conference in Astana, Kazakhstan, the Stephen Wild, Vice President from pages 32-34. 1st SEM-ICTM Forum in Limerick, 2011 to 2015, Jean Kidula, elected Ireland, the 23rd ICTM Colloquium in The Council’s growth continues, espe‐ Executive Board member from 2009 to Nanterre, France, and three Study cially in four parts of the world where 2015, and Mohd Anis Md Nor and Groups Symposia—African Musics we wish to increase membership and Saida Yelemanova, co-opted Executive in Durban, South Africa, Music scholarly interaction. Judging from Board members from 2013 to 2015. All Archaeology in Biskupin, Poland, and Patricia Opondo's report (on pages four left strong imprints in the govern‐ Musical Instruments in Luang 30-31) and from the additions of ing body of the Council and deserve Prabang, Laos. Botswana and Swaziland to our World our gratitude: Stephen Wild for his Network, Sub‐Saharan Africa is At the end of 2015, the Council count‐ invaluable wisdom and experience, increasing its active presence in ICTM. ed a total of 1429 members and sub‐ Jean Kidula for the considerably The same can be said for Oceania. scribers, a new record. Our World increased presence of African scholars Thanks to the initiative of Vice Presi‐ Network also increased by 12% in the in ICTM, Saida Yelemanova for the dent Don Niles, American Samoa, past twelve months, encompassing at World Conference in Astana, and Guam, Northern Marianas, and (after a the moment a total of 112 countries Mohd Anis Md Nor for giving a sono‐ short period of absence) Palau are now and regions. rous voice to dance scholars. present in the World Network (see pages 39-41). A trustworthy indicator of positive ICTM developments in Latin America is the establishment of an ICTM Listserv that will serve colleagues in that part of the world (on page 10). Finally, Eastern Europe is getting new prominence in the Council thanks to the 1st Symposium of the Study Group on Musics of the Slavic World, to be held in August 2016.

Join me in welcoming our new national and regional representatives: Kuki Motumotu Tuiasosopo (American Samoa), Tomeletso Sereetsi (Botswana), Michael Clement (Guam & Northern Marianas), Serena Facci (Italy), Simeon Adelbai (Palau),

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Francisco J. García Gallardo (Spain), announcement “Search for the next for publication. Final reviews are sent and Cara Stacey (Swaziland). From Secretary General” on page 4, and if to the General Editor by 1 July of each this group, the new Chair of the Na‐ interested, do not hesitate to contact year. tional Committee for Spain, Francisco either our President Salwa El-Shawan Applicants for the Book Reviews Edit‐ J. García Gallardo, and the new Liai‐ Castelo-Branco or myself about any is‐ or position should be ICTM members son Officer for Swaziland, Cara Stacey, sue associated with this position. Both in good standing, and have a demons‐ give their first reports in this Bulletin, of us will be glad to support this im‐ trated interest and involvement with on pages 24 and 25, respectively. In portant search in the best way we can. ethnomusicological and ethnochoreo‐ addition to Swaziland, the activities in logical publications in English and at Malta (by Philip Ciantar, pages 18-19) Search for new Book least one other language. Experience in and Puerto Rico (by Mareia Quintero Reviews Editor of the editing English is an asset. Institutional Rivera, pages 22-24) are presented for support is important for possible post‐ the first time in a Bulletin. Yearbook for Traditional al, email, fax, and telephone expenses. Music As far as ICTM scholarly gatherings Anyone wishing to undertake this im‐ are concerned, the Secretariat welcomes The Yearbook for Traditional Music portant service to the ICTM member‐ gathering invitations from poten‐ requires a Book Reviews Editor to ship should send a statement of inter‐ tial hosts of the 45th World Con‐ replace Sydney Hutchinson, who will be est and CV to the General Editor, Kati ference, to be held in 2019. If interest‐ stepping down from this position in Szego ([email protected]) by 15 March ed, please first consult the relevant July 2016. The Book Reviews Editor is 2016. memorandum and then contact me responsible for soliciting, coordinating, with any questions you might have. and editing up to 15 reviews of books for each Yearbook, totalling c. 8000 As is typical of non-conference years, words. He or she will also coordinate 2016 will be particularly rich with ac‐ with and oversee the work of the Book tivities of Study Groups. To date, the Notes Editor. The Book Reviews Edit‐ Council has never experienced 16 Study or will further assist in liaising with Group Symposia in a single year, and reviewers to resolve any queries regard‐ an extraordinary contributor to this ing submissions and their preparation new record is the Study Group on Iconography of the Performing Arts, which will organize two symposia in 2016: in Venice, Italy in May and in Xi’An, China in October (read more on page 11, and also the Calendar of Events on page 42).

Also in 2016, a new ICTM Colloquium will be held at the Shanghai Conserva‐ tory of Music on the theme of plucked lutes of the Silk Road. A detailed des‐ cription of the event is available on pages 9 and 10.

To conclude, during the 2017 World Conference I plan to thank you all for giving me the unique opportunity to serve the Council for a period of six years as Secretary General, and to express my very best wishes to my suc‐ Excursion during the 2005 ICTM World Conference. Chatsworth House, Derbyshire, UK. cessor. Please read the detailed August 2005. Photo by Svanibor Pettan. Visit the ICTM Online Photo Gallery.

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Search for the next ed in the budget. The applicant should 9. Liaising with members, promoting secure the appropriate institutional the development of the World Net‐ Secretary General support and space for his/her office and work of National and Regional The Executive Board was informed by the storage of ICTM materials. A con‐ Representatives; our Secretary General, Svanibor tribution by the host institution toward 10. Managing the finances of the Pettan, that he would like to step the cost of the Secretariat is highly de‐ Council in accordance with the down in 2017, following the World sirable. Candidates should be prepared budget approved annually by the Conference in Limerick, when he will to hold the office for a four-year term EB; have been in office for six years. The that may be extended by mutual con‐ Executive Board has appointed a sent of the Secretary General and the 11. Managing membership and sub‐ Search Committee consisting of Salwa Executive Board. scriptions and collecting dues; El-Shawan Castelo-Branco (Chair), The main responsibility of the 12. Representing the ICTM and its Stephen Wild, and Anthony Seeger to ICTM Secretary General is to policies to the membership and to solicit and evaluate proposals for the ensure that the following tasks are next Secretary General and headquar‐ other national and international completed in a timely and organization, including UNESCO; ters of the ICTM Secretariat. efficient manner with the help and 13. Responding to queries for informa‐ The Secretariat is the body responsible support of the Executive tion about the ICTM and its acti‐ for the day-to-day operations of ICTM, Assistant and student help and/or vities; and is the main channel of communica‐ other assistance: tion between the Council’s governing 14. Acting on all ICTM business in a 1. Organizing EB meetings, the Gen‐ body—the Executive Board (EB)—and timely fashion and with great tact‐ eral Assembly, and the Assembly its members, subscribers, partners, and fulness. of National and Regional Represen‐ affiliates. The Secretariat comprises the tatives and producing minutes of Secretary General and the Executive Further Information and all meetings; Assistant, who are both appointed by Submission of Proposals the EB for an initial period of four 2. Organizing and administering the years. election of members and officers of For more information, interested mem‐ the EB; bers should e-mail Salwa El-Shawan Requirements: The applicant should Castelo‐Branco They may also find it be a scholar of international standing, 3. Organizing World Conferences in useful to consult the current Secretary an active member of the ICTM, and an cooperation with the Programme General, Svanibor Pettan, for further experienced administrator. The candi‐ and Local Arrangements Commit‐ details about how the Secretariat is date should have been an EB member tees; currently run. Candidates for the new for at least one term, and have had ex‐ Secretary General should email a CV 4. Executing or facilitating the execu‐ perience organizing ICTM scholarly and a letter of application to the chair tion of the decisions of the EB and meetings or Study Groups. The pros‐ of the ICTM search committee by 1 reporting annually to the EB the pective Secretary General and his/her June 2016, demonstrating their qualifi‐ results of these actions; staff should be fluent in spoken and cations to carry out the responsibilities written English as well as the language 5. Maintaining the Membership and conditions outlined above. of the location of the Secretariat. The Directory; Secretary General must be available to travel internationally 3-5 times per 6. Ensuring regular communication year. The Executive Assistant is requir‐ with the membership via the ed to travel internationally once per Bulletin and other means; year. 7. Assuring the printing and distribu‐

The position of Secretary General is tion of the Yearbook; honorary, although a salaried assistant 8. Managing the ICTM website; may be employed. Also, a travel allow‐ ance for the Secretariat may be includ‐

Bulletin of the ICTM Vol. 130 — January 2016 — Page 4 WORLD CONFERENCES 44th ICTM World Conference 13-19 July 2017 Irish World Academy of Music and Dance, Limerick, Ireland

Second Notice and Call for Proposals You are cordially invited to attend the 44th ICTM World Conference, which will be held from 13 to 19 July 2017 at the Irish World Academy of Music and Dance in Limerick, Ireland.

The venue is located right on the banks of the River Shannon in a scenic and environmentally friendly campus. The Academy recently celebrated its twenti‐ eth anniversary and is home to a vari‐ ety of undergraduate and postgraduate courses that relate to the study and practice of music, , and dance in a variety of scholarly, applied, education‐ al, arts practice, festive arts, and clinic‐ Main building of the Irish World Academy of Music and Dance, the venue of the al contexts. 44th ICTM World Conference. Photo by Irish World Academy of Music and Dance During the conference, the 70th anni‐ versary of the Council will be Local Arrangements Committee one of the international organizations, celebrated. with UNESCO and its affiliates, formed Catherine Foley (Co-Chair) to re-establish networks of artists, scho‐ Programme Committee Colin Quigley (Co-Chair) lars, scientists, and educators that had Mohd Anis Md Nor (Co-Chair) Jennifer de Brún been disrupted by war. IFMC/ICTM Stephen Wild (Co-Chair) Aileen Dillane has tended to represent the small or Anne von Bibra Wharton Sandra Joyce marginalized performance traditions rather than the great and elite tradi‐ Miguel A. García Níall Keegan tions, aligning the Council with issues David Harnish Mats Melin of human rights, citizenship and social Níall Keegan Orfhlaith Ni Bhríain justice. Jean Kidula Conference Themes ✴ Colin Quigley What has been the impact of the Council’s work on music and dance Svanibor Pettan (ex officio) 1. 70 Years of ICTM: Past, Present and Future studies in general and on ethnomu‐ Susana Sardo sicological and ethnochoreological J. Lawrence Witzleben 2017 marks the 70th anniversary of our organization. Begun in 1947 in the studies in particular? aftermath of the Second World War, ✴ What has been the impact of the the International Council notions of “folk music/dance” and (IFMC)—later changed to Internation‐ “traditional music/dance” on the al Council for Traditional Music—was discursive construction of expressive

Bulletin of the ICTM Vol. 130 — January 2016 — Page 5 WORLD CONFERENCES

behaviour, scholarly research, and man imagination are implicated in all been produced from this perspective fo‐ the ways disciplines, fields of study three of these stages of legacy creation. cuses mainly on using digital tools and and institutions are configured? resources to facilitate access to infor‐ ✴ What pasts do we imagine such lega‐ mation—as well as to process it—re‐ ✴ What may be the Council’s future cies to represent, preserve, maintain, sulting in the creation of archival plat‐ directions for example in relation to or pass on? regional conflicts, environmental forms. In view of this development it is ✴ What do we imagine we are leaving change, and large-scale migration? important to know where ethnomusico‐ for those to come as we create our logy and ethnochoreology are situated 2. Legacy and Imagination in legacies, either personal or collective? in the context of DH. Music and Dance ✴ What do we imagine for our legacies ✴ To what extent is the quantitative Legacy is a concept that both reaches when in the hands of those who will perspective of DH compatible with back to the past and looks forward to inhabit unknown futures? the qualitative profile of ethnomusi‐ the future. In our research we have 3. Ethnomusicology, cology and ethnochoreology? long interrogated the processes of con‐ Ethnochoreology and Digital tinuity, transmission, and change; in ✴ Does the adoption of the methods of Humanities effect the formation of legacies left to DH relegate the sensitive and emo‐ us from our forebears. We ask as well, The field of digital humanities (DH) tional dimensions of music and danc‐ how are they being treated in our was officially founded with a manifesto ing to a second level of analysis? ratified in 2010 in Paris, defining digit‐ present(s)? But we might also ask, how ✴ How can ethnomusicology and ethno‐ are legacies created for future genera‐ al humanities as a “transdiscipline, choreology contribute towards a embodying all the methods, systems, tions? Legacies may be constituted in “prudent technology” in the man‐ and heuristic perspectives linked to the multiple forms, including, for example, agement of knowledge about music the material, aural/oral, and corporeal; digital within the fields of humanities and dance in the context of DH? and the social sciences”. The institu‐ they may be so constituted in many 4. Analysis tionalization of DH currently comprises ways, through physical, social, or per‐ and Movement Analysis in 196 specialized research centres, based formative practices, for example. Lega‐ Ethnomusicology and in 24 countries, according to the cies might be found in the intellectual, Ethnochoreology artistic, and spiritual domains of life, as observatory for digital humanities, Centernet. The knowledge that has Analyses of music–sound and moving– well as many others. Processes of hu‐ bodies respectively are regaining signifi‐ cance in both ethnomusicological and ethnochoreological research after a pe‐ riod in which they often played a sub‐ sidiary role. Long-established methods and techniques of analysis in both fields are being modified, extended, and per‐ haps superseded as new technologies and methodologies suggest new possi‐ bilities. The historical shift in both fields from their early preoccupation with sound and movement analysis to a primary attention to “context”, as vari‐ ously understood, may have run its course. Re-theorization of both music and dance practice has attempted for some time now to transcend, or at least mediate that gap and bring these per‐ Catherine Foley and Colin Quigley performing during the Closing Ceremony of the spectives into conversation. There 43rd ICTM World Conference. Astana, Kazakhstan. 22 July 2015. Photo provided seems to be an opportunity at this time by Kazakh National University of Arts. to revisit the place of music analysis

Bulletin of the ICTM Vol. 130 — January 2016 — Page 6 WORLD CONFERENCES and/or movement analysis in ethno‐ and ethnochoreology.

✴ What possibilities might be present‐ ed by technologies such as motion capture and others?

✴ Might we investigate music and dance as a unitary phenomenon? What might analysis reveal about this question?

✴ Might the vast quantity of music and dance documentation now avail‐ able and their increasing sophistica‐ tion revitalize possibilities for compa‐ rative study? Han Mei performs in a workshop during the 42nd ICTM World Conference. Shanghai, China. July 2013. Photo provided by Shanghai Conservatory of Music. Visit the ICTM 5. Music, Dance, Religious Online Photo Gallery. Politics and Religious Policies ✴ Can ethnomusicology or ethnochore‐ 1. Individual paper Music, dance, religion, and politics are ology play a positive role in support‐ Individual papers should be 20 minutes endemic in human societies, and very ing music and dance and their prac‐ long and followed by 10 minutes of dis‐ frequently are strongly interlinked. titioners endangered by religious cussion. The proposal must include a This theme invites educators‐scholars‐ politics or policies? 300-word maximum abstract. performers to contextualize music and 6. New Research on Other 2. Panel dance as these relate to enforced or Topics changing religious ideologies concerning Organized panels are 90 minutes (three Although the Programme Committee music and the performing arts and cope papers, each 20 minutes, followed by 10 hopes that the themes announced with state and religious interventions. minutes of discussion) or 120 minutes above will encourage members to con‐ The foundation here is that state and long (four papers, or three papers and a sider new ways of conceptualizing their religious politics and policies either discussant). A proposal by the panel research data, we also recognize that endorse, subvert, and/or attempt to organizer (300 words) as well as one by some delegates will want to present re‐ control the expressions and narratives each individual presenter (300 words search results that do not fit with any embodied in the performing arts for each) are required. Where an indepen‐ of the announced themes. This broad their own purposes. Often, music and dently submitted abstract appears to heading is included to accommodate dance are connected to a matrix of be‐ fit a panel, the program committee these scholars. liefs enmeshed within the fabric of lo‐ may suggest the addition of a panellist. The program committee may also re‐ cal, national, or global religious prac‐ Abstracts tices, but then the ideology changes commend acceptance of only some of and state or religious institutions exert Abstracts should be no more than 300 the papers on a panel. words in length, and written in English pressures upon practitioners to make 3. Film/video session adjustments to fit this new ideology. (papers may be presented in either English or Gaelic, but all abstracts Recently completed films introduced by ✴ How, precisely, do music and dance must be in English). They should indi‐ their author and discussed by confer‐ interact with religious politics and cate the theme under which they are ence participants may be proposed. policies, on a micro– or a macro– submitted. Submit a 300-word abstract including scale? titles, subjects, and formats, and indi‐ Following evaluation, authors will be ✴ What are the artistic results of reli‐ cate the duration of the proposed films notified of the Programme Committee’s gious nationalism in hierarchical or or videos and introduction/discussion. decision in December 2016. more egalitarian societies?

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4. Forum/Roundtable ✴ Deadline for submission of proposals: The University of Limerick is located 4 Forum/Roundtable sessions provide September 2016 kilometres from Limerick City, which is opportunities for participants to discuss ✴ Notification of acceptances: easily accessible. Shannon Airport is a subject with each other and with December 2016 just 25 kilometres from the university. There are direct airport buses connect‐ members of the audience. Sessions of The Preliminary Programme will be ing both Shannon and Dublin airports up to two hours long should include at published in the April 2017 Bulletin. least four but no more than five pre‐ with the university. Shannon, whilst senters. We encourage formats that sti‐ Local Arrangements more convenient, normally requires mulate discussion and audience parti‐ travellers to connect through Paris or The host city of Limerick is a compact cipation. The organizer will solicit posi‐ London for onward travel. Flight con‐ and accessible city with lots on offer for tion papers of up to 15 minutes from nections to the US are excellent from visitors. Built on the banks of the ma‐ each presenter and will facilitate ques‐ Shannon. Flight connections from jestic river Shannon, Limerick’s origins tions and discussion for the remaining Dublin are excellent to Europe, and date from at least the 812 Viking set‐ time. Proposals for forums/roundtables travel from Dublin to Limerick con‐ tlement. In the twelfth century, the should be submitted by the session venient by both bus and rail. city was redesigned by the Normans organizer (300 words). and this architecture is represented in The Irish World Academy of Music St. John’s Castle, a major tourist at‐ and Dance was established at the Uni‐ The period for submitting traction in the city today. In medieval versity of Limerick in 1994 with the proposals to the 2017 times, Limerick was the seat of the creation of the first Chair of Music. conference will begin on 15 Kingdom of Thomond, which gives its Under the direction of its Founder and February 2016. Notifications name to the city’s rugby stadium. Director, Mícheál Ó Súilleabháin, it has grown from its initial formation as a will be sent via e-mail. Limerick City and its surrounding centre for postgraduate research in areas in the West of Ireland provide music and dance to an academy com‐ many opportunities for encountering Timeline prised of two undergraduate pro‐ traditional music and dance. It is con‐ grammes, eleven taught postgraduate ✴ First notice: October 2015 venient to some of the heartlands of programmes and two PhD tracks. En‐ Irish traditional music. It is home to ✴ Second notice and call for proposals: compassing a wide range of specializa‐ significant numbers of new immigrants January 2016 tions from Irish traditional music and whose musical traditions have become ✴ Third notice and call for proposals: dance to classical strings, ethnochoreo‐ a feature of cultural life in the region. April 2016 logy, ethnomusicology, chant and ritual song, community music, , and among others, it has in excess of 300 students from over 30 different countries. The Irish World Academy works closely with a network of international scholarship through its visiting world‐renowned scholars, ex‐ ternal examiners and co-supervisors and through its shared research and teaching programmes across the globe. It also engages with , singers and dancers locally, nationally, and internationally. Not surprisingly, inter‐ cultural exchange and interaction in music, song and dance is an increasing Bruno Nettl’s presentation at the 7th International Symposium on Traditional Polyphony. phenomenon. Tbilisi, Georgia. September 2014. Photo provided by Rusudan Tsurtsumia. Visit the ICTM Online Photo Gallery.

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24th ICTM Colloquium: ancient melodies, and images of musical in this seminar. In fact, in ancient instruments; these studies have become times, while still a young type of musi‐ “Plucked Lutes of the Silk an important basis for research on an‐ cal instrument, the plucked travel‐ Road: The Interaction of cient Chinese and music led from the Mediterranean area to Theory and Practice, From exchange history. However, is there a Japan, and from the subcontinent of possibility that we can put document‐ South Asia to the islands of Indonesia. Antiquity to Contemporary ary conclusions aside and stress the By spreading to different regions in Performance” concrete cultural performances from Asia, even in periods of historical tur‐ 20-23 October 2016 nations along the Great Silk Road by bulence, and absorbing the cultural Shanghai, China relating the macroscopic properties of wisdom of various civilizations, plucked culture to the live details? Perhaps in lutes are now a Human culture includes much music this we can perceive the cultural nature family that features lutes of many dif‐ that is not isolated but rather interact‐ and depth of the historical term “the ferent shapes, each abundant in nation‐ ionally constructed. The Silk Road (in Great Silk Road” based on real living al features. the generalized sense that also includes music. the Ancient Tea Route, Maritime Silk As an instrument played while being Road, and Fur Road) provides many Plucked lutes, of which the East Asian held in the hands, is the lute’s wide‐ examples of this phenomenon, as found (biwa in Japan) is a notable exam‐ spread development related to the sing‐ in the various and colourful civilizat‐ ple, are chosen as an original and ing and playing traditions of nations ions stretching from China and other charming motif of the Great Silk Road along the Great Silk Road? In the road parts of East Asia to the Mediterran‐ ean sea and beyond. Nowadays, human conflicts are becoming increasingly fierce among countries, religions, and even individuals. It is necessary to look back into the fortune, wisdom, and merit that the Silk Road brought us from the past. Drawing on our exper‐ ience of the way that the cultures have developed, we can improve communi‐ cation and understanding through mus‐ ic cultures and, even further, bring smiles of peace to all the lands connect‐ ed by the Silk Road.

Religious, literary, and artistic studies about the Great Silk Road in the past usually focused on its history and arch‐ aeology, including decorative patterns of bronze, inlaid jade, frescoes and coloured paintings, grottoes, carvings, and Bianwen scriptures (Buddhist “transformation texts”). In terms of music and dance, relevant studies are mainly about the restoration of dancing accompanied by music, adaptations of

Bulletin of the ICTM Vol. 130 — January 2016 — Page 9 ANNOUNCEMENTS of exchange that includes grasslands, tice (in solo, accompanying, and Svanibor Pettan, ICTM Secretary deserts, and oases, how did the features ensemble contexts) General (University of Ljubljana) of the lutes of different nations evolve? Anne Rasmussen (College of William 4. Lutes in the daily life and celebrat‐ Was the process of indigenization com‐ and Mary) ions of people of the Great Silk pleted by just one generation or over Razia Sultanova (Cambridge Universi‐ Road several generations? It seems difficult ty) to trace back the answers to such ques‐ 5. Aesthetics, improvisation, and J. Lawrence Witzleben, Programme tions, but it is worth imagining these composition Chair (University of Maryland) through historic literature and icono‐ Richard Wolf (Harvard University) In accordance with ICTM’s guidelines logy. Therefore, we will invite scholars Xiao Mei, Local Arrangements Co‐ for Colloquia, all participants in this from different regions and nations to Chair (Shanghai Conservatory of seminar will be invited. Participants discuss these issues. The colloquium Music) will be scholars whose research focus will include live music performances Zhao Weiping (Shanghai Conservatory and specialization relate to lutes of the featuring lutes from different regions, of Music) Great Silk Road, as well as performers nations, and periods. When partici‐ of various lute types from the region. pants experience both academic New ICTM listserv for Scholars from different countries and presentations and musical performan‐ from different disciplines will present Latin America and the ces, scholars can put aside their precon‐ their respective studies together and ceptions and develop new insights that Caribbean share them with performers; this will they can apply to their research, while The ICTM Liaison Officers from Latin enable the colloquium to develop a performers can get a better sense of American and Caribbean countries are unique framework with great potential how their music is presented and inter‐ pleased to inform the ICTM communi‐ for academic importance. Those who preted by scholars. Bringing together a ty that, in October 2015, we successful‐ are interested in attending the Collo‐ diverse assembly of distinguished schol‐ ly launched the listserv quium as observers should contact Xiao ars and performers will provide new Ictmlatinamericaribe, in order to Mei via e-mail. insights to both groups, and will help facilitate communications between to bridge the gap between them that ethnomusicologists and members of Colloquium date exists in many of our cultures. ICTM in the regions where we live and 20-23 October 2016 work. Ictmlatinamericaribe prioritizes This is why we stress the music and communications in the languages of the playing of the lute, exchanges and in‐ Colloquium site countries it represents. Anyone inter‐ teractions between the subject and the ested in joining the listserv may send music itself, and features found in Shanghai Conservatory of Music, an email request to the list coordinator, studies of contemporary performance Shanghai, China. Jacob Rekedal. practice. By centring on the pivotal Colloquium Language juncture of music and performance, we will include the shape, performance English, with Chinese and Russian as skills, musical scales and melodies of auxiliary languages. Simultaneous in‐ lutes, playing and singing, and perfor‐ terpretation will be provided by the mance contexts and musical life related LAC. to the lute, as well as discussions of its music trajectories and social history. Programme Committee

1. History of lutes Stephen Blum (Professor Emeritus, City University of New York) 2. Instrument-making processes for Virginia Danielson (New York Univer‐ lutes: from myths to reality sity, Abu Dhabi) 3. Technical characteristics, playing John Morgan O’Connell (Cardiff Uni‐ techniques, and performance prac‐ versity)

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News: 1st Symposium of cipation, can be found on the Study News: 29th Symposium of Group’s website. the ICTM Study Group on the ICTM Study Group on Audiovisual Ethnomusi‐ Call for Papers: 14th Ethnochoreology cology Symposium of the ICTM 9-16 July 2016 Greater Graz Area, Austria 26-28 August 2016 Study Group on Iconogra‐ Ljubljana, Slovenia phy of the Performing Arts The ICTM Study Group on Ethnochor‐ Submissions deadline: 31 January 2016 eology will hold its 29th Symposium 27-31 October 2016 from 9 to 16 July 2016. Hosted by the The ICTM Study Group on Audiovisual Xi’an, China Institute of Ethnomusicology at the Ethnomusicology would like to remind Submissions deadline: 15 March 2016 all ICTM members to submit their abs‐ University of Music and Performing tracts for the Study Group’s 1st sympo‐ Besides notated compositions, instrum‐ Arts Graz (Kunstuniversität), the sium, which will be held in Ljubljana, ents, and writings on music, images can symposium will take place at Retzhof Slovenia from 26 to 28 August 2016. also furnish an abundance of informa‐ Castle, an educational centre located in During the symposium, a workshop tion important for music history. The the southern Styrian wine region near about filming on fieldwork will be given conference, titled “Images of Music‐ Graz, Austria. Making and Its Trans‐Cultural Ex‐ by the Italian ethnomusicologist and Further, regularly updated information changes” will provide scholars of music film-maker Renato Morelli. about the symposium, including infor‐ iconography with a forum to present mation about travel, accommodation, Further information about the sympo‐ their views on exchanges of cultural registration, the post-symposium excur‐ sium, including the full Call for Parti‐ and musical influences. cipation, can be found on the Study sion, etc. can be found on the sympo‐ Group’s website. Further information about the sympo‐ sium website. sium, including the full Call for Parti‐ Call for Papers: 13th cipation, can be found on the Study Group’s website. Symposium of the ICTM Study Group on Iconogra‐ Programme: 5th Sympo‐ phy of the Performing Arts sium of the ICTM Study 17-20 May 2016 Group on Music of the Venice, Italy Turkic-speaking World Submissions deadline: 1 February 2016 21-23 April 2016 The symposium titled “Decoration of Almaty, Kazakhstan Performance Space: Meaning and Ideo‐ logy” will focus on visual programmes The preliminary programme of the 5th and decorations of spaces in which mu‐ Symposium of the ICTM Study Group sical performances occur and the self‐ on Music of the Turkic-speaking World representation of audiences attending is now available at the Study Group’s performances. All types of performance website. venues and performances which include The symposium will mark ten years music should be considered, including since the Study Group’s establishment, concerts and music theatre, religious and is titled “From Voice to Instrum‐ ceremonies, contemporary popular mu‐ ent: Sound Phenomenon in Traditional sic events, urban spectacles, pageants, Cultural Heritage of the Turkic‐ and parades. speaking World”. Further information about the sympo‐ sium, including the full Call for Parti‐

Bulletin of the ICTM Vol. 130 — January 2016 — Page 11 ANNOUNCEMENTS Announcements — Other Organizations

6th International 32nd European Seminar in Conference of Dance Ethnomusicology Research Forum Ireland 20-25 JSeptember 2016 22-26 June 2016 Sardinia, Italy New York, USA Submissions deadline: 28 February 2016 Submissions deadline: 30 January 2016 The 32nd European Seminar in Dance has always been a site for revo‐ Ethnomusicology (ESEM) will be held lutionary ideas in motion. To commem‐ from 20 to 25 September 2016, in orate the centennial of Ireland’s 1916 Cagliari and Santu Lussurgiu (Sardinia, Easter Rising, Dance Research Forum Italy) hosted by the Department of Ireland (DRFI) invites participation in History, Cultural and Territorial its 6th biennial conference. This inter‐ Heritage of the University of Cagliari disciplinary conference aims to explore and by the Community of Santu themes related to rebellion in terms of Lussurgiu. movement and performativity. For more information, please visit the For more information, please visit the seminar’s home page. conference’s home page.

Community of Living Chapey (with ICTM member Catherine Grant) perform at Buddhist festival “Bon Kathin”, Wat Kul Totoeung, Kandal province, Cambodia. 24 November 2015. Photo: Community of Living Chapey. Visit the ICTM Online Photo Gallery.

Bulletin of the ICTM Vol. 130 — January 2016 — Page 12 REPORTS Reports from ICTM National and Regional Representatives

Austria traditions. The following presentations delighted with bands of Schrammel were based on different kinds of music and Alpine folk music from by Bernd Brabec de instruments and ensembles as well as Austria, the trio “Nepoţii Iancului” Mori, Chair of National on theoretical issues and concepts (Transylvania) and the “Janusz Committee connected with the phenomenon of Prusinowski Kompania” (Poland). multipart music and interferences European voices IV: The main guidelines of all activities between playing, singing, and dancing were the particular role by creative Symposium and in this framework (see programme). individuals in folk music traditions in Concerts Performances and accompaniment on Europe, and the importance of The Research Centre for European reconstructed string and wind ensembles cultures, which often goes Multipart Music of the Institute for instruments from Ancient Greece beyond regional boundaries. They will Folk Music Research and (cithara, aulos) as well as on , be made visible also in a forthcoming Ethnomusicology of the University of Raffele, hurdy-gurdy, jew’s harp, publication. More information can be Music and Performing Arts Vienna Hardanger fiddle, violin, historical found at the website of the event. organized the symposium “European double-reed pipes, double flutes, Voices IV” from 27 to 29 November bagpipes from several European areas, 50 years of the Department of 2015. Almost 30 speakers from 17 accordions, and Schrammel guitar, Folk Music Research and countries and numerous participants revealed in the first concert of the Ethnomusicology from various Austrian institutions symposium some of the potentialities of discussed questions regarding multipart multipart music on solo instruments for The Department of Folk Music music performed on solo instruments the large general public. Participation Research was founded in 1965, one of and in small ensembles, dominated by in the “66th Wiener Kathreintanz” in the first research departments of the the fiddle in Central and the second evening allowed participants former Viennese Musikakademie, Central-Eastern Europe. to experience a ball in Vienna, and today’s University of Music and enjoying music by well-known bands Performing Arts. The following short The keynote address by Oskár Elschek from Austria and elsewhere in Europe. report was provided by department (Slovakia) provided an historical In the closing concert, the public was Chair Ursula Hemetek. overview on regional forms of these

Participants of the international symposium and concerts “European Voices IV”. Vienna, November 2015. Photo provided by Bernd Brabec de Mori.

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A Centre for Austrian Folk 2012, Ulrich Morgenstern has held a Czech Republic Music tenured professorship for history and In the beginning, work at the theory of folk music. by Zuzana Jurková, department adhered to the so-called 50 Years of Research Liaison Officer “Viennese school” of folk music The celebration planned to mark the At Charles University research, with scholarly work and department’s 50th anniversary Prague, the programme curriculum content concentrating on attempted to do justice to its colourful of ethnomusicology vocal and instrumental folk music from and eventful history, portraying and summer schools is expanding. In Austria. During the 1980s Rudolf reflecting upon what had been achieved addition to their regular summer cours‐ Pietsch established research on as well as on that which remains to be es on Romani and Jewish music, as instrumental folk music styles and done. Some of the department’s current well as methodological classes with re‐ practical approaches in teaching which staff belong to the third generation of nowned international lecturers, a new have remained important to this day. researchers after Walter Deutsch—who summer school on Music and Youth In 1994, with Gerlinde Haid as chair, was himself present as a witness of the Cultures will be offered for local and the department cultivated a critical department’s history. The items on the international students in June 2016. orientation towards cultural celebration’s programme aimed to draw The course, which will last for 10 days, developments in society, thus an arc across generations, to emphasize will be taught by faculty member successively expanding both the fields a diversity of themes, and—as it is David Verbuč, who will also be joined of research covered and the spectrum of usual in the methods of field research by guest lecturer Luis-Manuel Garcia methods employed. typical of this discipline—to involve (a specialist in electronic dance music views both from within and without. cultures), and by several local parti‐ International Research Institution Prominent foreign colleagues (Oskár cipants from various Czech youth mu‐ Elschek, Philip Bohlman, Svanibor sic cultures. The students will attend A new thematic area that rose to Pettan) were in attendance to provide lectures, engage in discussions with the prominence was the music of the latter. guests, and explore and study Prague’s minorities, and international vibrant and diverse music venues and cooperative relationships were The programme included musical scenes. For any inquiries about the intensified. In 2001, Ursula Hemetek contributions by current and former summer school, please contact David completed her habilitation thesis in students, a film portrait of the Verbuč via e-mail. ethnomusicology. The Austrian department, and presentations of the Universities Act was passed in 2002, most recent publications. A core Georgia and the impact of these developments component, the result of intensive can be seen in the addition of research by the department, was the by Rusudan Tsurtsumia, “Ethnomusicology” to the name of the exhibition “50 Years of the Department director of the Inter‐ department in the same year. of Folk Music Research and national Research Ethnomusicology”. This presentation Centre for Traditional The Research Centre for European reflected the department’s Polyphony of the Tbilisi Polyphony (Chair: Ardian Ahmedaja) characteristics and the emphases of its State Conservatoire was established in 2003, and the work: teaching, theses and department, still led by Gerlinde Haid, The book of proceedings from the 7th dissertations, field research, archival International Symposium on continued to develop into an work, research projects, publications, internationally-recognized research Traditional Polyphony (22-26 cooperative projects and relationships, September 2014) was published institution. events, and of course a tabula personae recently; the book was prepared by the featuring the individual protagonists of In 2007, the department hosted the International Research Centre for these areas. 39th ICTM World Conference. On 1 Traditional Polyphony (IRCTP) of the January 2011, Gerlinde Haid handed For further information please visit the Tbilisi State Conservatoire, with over the leadership of the department website of the 50th anniversary. Rusudan Tsurtsumia and Joseph to Ursula Hemetek, who was thus able Jordania as editors. to take over a well-tended field. Since

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This is the seventh volume of the pub‐ lication, issued regularly since 2002. The editors believe that this fact em‐ phasizes the significance of the sympo‐ sia for ethnomusicological circles world‐ wide, as it is not exclusively oriented towards Georgian or well-known tradi‐ tional polyphonies. Participants from different countries have been introduced to the unique polyphonic cultures of the Ainu (2010), Kiang/Tibet (2012), Taiwan (2014), and Nuristan/Afghanistan (2014); and with the peculiarities of polyphonic manifestation in monodic instrumental cultures (2014).

At the last symposium a special theme Impromptu concert in Uplistsikhe, part of the cultural programme of the 7th was dedicated to migrations and the Symposium on Traditional Polyphony. Tbilisi, Georgia, September 2014. Photo polyphony of ethnic minorities. provided by Rusudan Tsurtsumia. Therewith many interesting papers were dedicated to the polyphonies of Nettl’s participation in one session via Minorities, Traditional Polyphony, Baltic, Mediterranean, and Central Skype: “Concerning an Article in Cultural Policy and State Borders”. Musical Quarterly (vol.47, 1961): European countries. The hosts were The introductory letter to the proceed‐ Comments on North American Indian also delighted by the interest shown in ings provides a complete picture of the Polyphony a Half Century Later”. This Georgian polyphony by foreign event held on 22-26 September 2014. collaboration continued after the scholars. Like previous volumes, it is a bilingual symposium, as Dr. Nettl kindly hosted edition of 555 pages accompanied by a The book of proceedings from the 1st and gave advice to Nino Razmadze, a DVD with corresponding audio and symposium includes the very interest‐ young employee of the IRCTP. ing article “Polyphony as Way of video material. In the book of proceedings of the 7th Creating and Thinking: the Musical The collection of all seven volumes of symposium the papers are grouped by Identity of Homo-Polyphonicus” by the Tbilisi Symposia on Traditional the following themes: General Theory Izaly Zemtsovsky (Russia/USA), fol‐ Polyphony represents a significant and Musical‐Aesthetic Aspects of lowed by research on the acoustic source for scholars and performers of Polyphony, Regional Styles and nature of Georgian song carried out by polyphony. Online versions of the Musical Language of Polyphony, a group of Japanese scholars under publications are accessible on the Polyphony in Instrumental Music, Oohashi Tsutomu’s direction. This website of the International Research Polyphony in Sacred Music, and theme acquired particular meaning Centre for Traditional Polyphony of Traditional and Professional Music. after the world-renowned scholar Simha Tbilisi State Conservatoire. Arom (France) started intensive The special theme of the 7th sympo‐ research on the syntax of Georgian sium, “Traditional vocal polyphony In conclusion, let us inform you that chord system together with Polo and national minorities”, united papers the IRCTP is already preparing the 8th Vallejo (Spain). on the polyphony of the Slovaks from Symposium to be held on 26-30 Serbia, Georgian Jews from Vienna, September 2016 at Tbilisi State In the April 2013 issue of the Bulletin peoples of Nuristan, Amis, Abkhazian, Conservatoire. The Call for Papers of the ICTM (#122, pp. 44-50) we and Yi people of Taiwan. This theme is with the enclosed registration form has wrote about the geographically wide touched upon in the very first paper of already been sent, and it is also range of participants attending the the book, Joseph Jordania’s “National available on IRCTP’s website. Tbilisi symposia. We would now like to add that we were honoured by Bruno

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Germany under her guidance. Ernst Schusser and The first section of the second day had Eva Bruckner from the Folk Music been dedicated to activities in Latin by Dorit Klebe, Chair of Archive of Upper Bavaria [Volks‐ America, but due to a last-minute National Committee musikarchiv Bezirk Oberbayern] in cancellation, the section featured only The Germany National Bruckmühl, spoke about their collect‐ one presentation by Klaus Näumann Committee (NC) held ion and documentation, and about how (Cologne), who discussed the Vene‐ its annual assembly and and dances from their archive are zuelan state programme “Alma Lla‐ symposium on 6-7 November 2015 at interpreted by people of their region in nera”, created out of national motiva‐ the Centre for Popular Culture and new ways. The role of the speakers tions in order to collect, preserve, and Music [Zentrum für Populäre Kultur themselves, that is, to motivate people utilize traditional music. It was follow‐ und Musik (ZPKM)] in Freiburg, by to make music according to their skills, ed by a lecture by Michael Blass and invitation of its Executive Director was put in practice as they encouraged Christian Koehn (Hamburg) about the Michael Fischer and organized by Dorit the participants of the symposium to digitalization of the Wilhelm-Heinitz Klebe. sing along. Heidi Christ and Armin Collection of traditional music at the Griebel from the Research Centre for University of Hamburg. Below is the report on the symposium Franconian Folk Music The following section was dedicated to by the NC Vice Chair, Klaus [Forschungsstelle für fränkische the question of collecting, preserving, Näumann. Volksmusik] in Uffenheim, together and utilizing works outside of institu‐ with Jürgen Schöpf (Vienna) gave a The Centre for Popular Culture and tional or governmental influences. Music is a research institution at the presentation about Franconian music Ernst Kiehl (Quedlinburg) presented manuscripts, their origin, authors, and University of Freiburg. More familiar is his research on “Maintenance of Folk‐ former uses and functions. Schöpf con‐ its former designation as the Deutsches lore in a Changing Social Environment centrated on the two-volume Sheet Volksliedarchiv (DVA), founded by With Examples From the Eastern Harz Music for Josef Neff [Notenbuch für John Meyer in 1914. However, in April Mountains”, following the division of 2014 it was renamed, with an aim to Joseph Neff], whereas Heidi Christ and Germany (1945), the reunification Armin Griebel outlined the digitaliza‐ extend the areas of research, for (1990), until the present day. Marie tion of their collection for the public. example to pop music and musicals. Braune (Halle) presented her work on The topic of the 2015 symposium, The third section focused on activities the barely-investigated nomadic singing “Collecting, Preserving, Utilizing: in sub-Saharan Africa. Nepomuk Riva traditions of the Bakhtiyari women in Music Traditions and Their Innovative (Berlin) presented “Marius Schneider’s Iran, whose songs are rich with symbol‐ Potential” was chosen in consultation Mysterious Research on Music From ism and knowledge about their culture, with the host to take into account the Cameroon”, explaining that Schneider history, social life, and myths. Christ‐ decades-long specifics of this had not conducted research within the ian Diemer’s (Weimar) paper, “Utiliza‐ institution. cultural context of Cameroon, and that tion of Traditional Music by the Dorit Klebe and Michael Fischer warm‐ instead his publications were based on Ukrainian Civil Society and Ukrainian ly welcomed the participants to Frei‐ recordings among Cameroonian colonial Ethnomusicology” took into account burg. Fischer opened the symposium soldiers during World War II. Moritz the special political circumstances in with a speech that explained the re‐ Nagel (Berlin) spoke about the German the region, pointing out that tradition‐ naming of the institute and outlined late-nineteenth-century researcher al music, in spite of its national import‐ the new challenges and tasks. Rudolf Betz, the first European to stu‐ ance, is often quite hybrid (with Rus‐ dy and learn the Duala drum language sian, Soviet, and even Anglo-American The first and part of the second of Cameroon. A paper by Brigitte pop influences), a fact either lamented sections were dedicated to speakers Bachmann‐Geiser (Bern, Switzerland) or ignored by Ukrainian musicologists. from musical archives, who portrayed discussed an ancient Catholic tradition, The sixth section was also devoted to the activities of their institutions. the “Bättruef (Alpsegen) in den music archives and their significance. Susanne Schedtler (Vienna, Austria) Schweizer Alpen”, and marked the end Marko Deisinger (Vienna, Austria) gave a presentation on the topic “The of the first day. Vienna Volksliedwerk: From Input to discussed “The Vienna Photogram Output”, referring to the institution Archive: A Music Collection as a

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Bulwark Against Modernity”. Driven 5. Edda Brandes presented her first collaboration between the NCs for by the fear that “high art music” was project “CLANG: the new music Switzerland, Austria and Germany, at in decay, from 1927 music autographs sharing service”. the University of Lucerne, Switzerland. of famous (e.g., Bach, The dates will be 18-19 November Overall, the symposium made clear Brahms) were photographed, whereas 2016, and the Call for Papers will be how different the collection, preservat‐ the works of contemporary composers circulated in the spring of 2016. For ion, and utilization of music and dance were not. Agnieszka Zagozdzon further information, including an ex‐ in time and space can actually be. The (Hannover) gave the last presentation panded version of this report, please contributions in toto clearly showed of the symposium discussing “The visit the country page of the Germany that motivations (e.g., national, reli‐ Music Division of the US Library of National Committee. gious, group-identity) and the means of Congress and Its Role as a Preserver of implementation (public, institutional‐ the Broadway Musical Tradition”, us‐ ized, or private) differ greatly in each Italy ing the musical Annie Get Your Gun individual case. Disparate is also the by Ignazio as an example of how the performance form of preservation of collected mate‐ Macchiarella, outgoing practice of musicals constantly changed rials, including manuscripts, scores, Chair of National over the decades, because of progres‐ pictures or audio media (e.g., wax Committee sing technologies and changing listen‐ cylinders, LPs), aural transmission, and ing habits. The 2015 conference of the ICTM due to current technological develop‐ National Committee for Italy was held On 7 November the Annual Assembly ments often a digital form, including from 29 to 30 September in Venice, at was held from 9:05 to 10:15, opened the dissemination over the Internet. the Istituto Interculturale di Study and chaired by Dorit Klebe. The most Furthermore, it became clear that in Musicali Comparati [Intercultural essential information is summarized many cases collected and preserved institute of comparative music studies], below. materials are not abandoned nor for‐ Fondazione Cini, Isola di San Giorgio, 1. In the 2016 elections for Chair and gotten. Instead, they are taken up and or IISMC for short. Vice Chairs of the NC, Tiago de re-contextualized by younger profes‐ Fourteen papers focused on different Oliveira Pinto will chair the elect‐ sional and non-professional singers and aspects of contemporary research con‐ ion commission, assisted by Chris‐ musicians. ducted by Italian ethnomusicologists, toph Meinel. A second poll worker The good atmosphere during the an‐ both at home and abroad, and these has yet to be found. The election nual meeting of the NC is particularly were interestingly debated by the at‐ will be carried out in the form of thanks to the hospitality of the hosting tendees (every paper was followed by absentee voting. institution, the Centre for Popular twenty minutes of discussions, as 2. In 2016 the annual symposium of Culture and Music in Freiburg. On scheduled in the programme). As the the NC will be held for the first in behalf of all members of the NC, the opening discussion, Giovanni Giuriati, cooperation with the ICTM NC for participants from other ICTM NCs Guido Raschieri, Claudio Rizzoni, and Switzerland. The host organization (Austria, Switzerland), and the other Simone Tarsitani offered a detailed will be the University of Lucerne participants, we want to express our picture of the IISMC’s intense work on (Switzerland), upon the invitation deep gratitude to Michael Fischer, cataloguing and digitization of their by the Chair of the Switzerland Executive Director of ZPKM, and all large archive. Then, Dina Staro dealt NC, Marc-Antoine Camp. his colleagues who contributed in the with peasant traditional dances within areas of organization, catering, technol‐ the Northern Italy urban context; 3. The publication of the proceedings ogy, etc. We also want to thank all our Mauro Balma proposed an update of of the 2014 annual symposium at members who travelled to Freiburg and his extended research on vocal music in the Hochschule für Musik Franz to all the speakers who made a signifi‐ the Aosta valley; and Oliver Gerlach Liszt Weimar will be financed by cant contribution to a successful con‐ presented his methodological reflections Pinto. ference in this beautiful city. for a history of multipart music. 4. The publication of the proceedings The next Annual Symposium will be The afternoon session was opened by of the 2010-2013 symposia should held in the form of a colloquium, in the Vladimiro Cantaluppi discussing the be finished soon.

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Laouto and the cultural relationship The NC’s general assembly also met Department at the School of Perform‐ between Crete and Venetia, followed during the two-day event, to discuss ing Arts (University of Malta), where I by the presentation of the documentary the current state of the NC and future presently teach, and by the Institute of Sacri Monti by Nicola Scaldaferri and initiatives. Inter alia, it was decided Maltese Studies within the same Lorenzo Pisanello about three moun‐ that the 2016 meeting will be held in university. tain pilgrimages in three Mediterranean Palermo. Together with the Internet An important event held annually in regions. Paola Barzan followed with her page on the ICTM web site, the Malta is Għanafest, a three-day festival research on the traditional repertories Committee proposed strengthening its organized by the Malta Council for of Polesine (an area situated between own page on Academia.edu, where Culture and the Arts comprising folk the lower stretches of the Adige and Po several texts in Italian, English, and and traditional music from Malta and Rivers) which were recorded by Sergio German already appear. the Mediterranean. The latest festival Liberovici in the 1950s. After Ignazio Following the three-year rotation prin‐ was held from 12 to 14 June 2015 at Macchiarella’s paper on rhetoric dis‐ ciple for Committee members’ roles and the Argotti Gardens in Floriana. The courses about the song “Bella ciao” in responsibilities, Serena Facci was elect‐ event was supported by the Malta the Italian media, Marco Lutzu dealt ed new Chair of the National Commit‐ CHOGM Task Force in anticipation of with recent contexts of the launeddas tee, starting from 1 January 2016. the Commonwealth Heads of Govern‐ tradition, focusing above all on new ment Meeting (CHOGM), held in music experiences by new generations Malta from 27 to 29 November 2015. of players. The latter paper was an Malta Indeed, the latest Għanafest took the introduction to a music performance, by Philip Ciantar, dimension of a world music festival presented by IISMC, by two young Liaison Officer featuring performances on instruments virtuoso players from Sardinia: Andrea I am pleased to report from different Commonwealth countries Pisu (launeddas) and Vanni Masala for the first time about like the African kora by Jali Diabate, (organetto). The duo, an unusual con‐ the diverse activity of and the Indian sitar by the California‐ figuration in traditional scenarios, folk and traditional music in Malta and based Ashwin Batish. Celtic offered a taste of their ability to use ongoing academic activity in this do‐ music was represented for the first time the potentiality of their instruments in main. On a general note, I start by say‐ in the festival by the Scottish folk mutual interaction. ing that most of the events are sup‐ Rura. Along with this line-up of inter‐ The second day of the meeting was ported by a cultural policy that aims to national musicians the festival also in‐ opened by Renato Morelli, who updat‐ promote cultural tourism, given that cluded Maltese folk musicians perform‐ ed his research on historical sources Malta economically relies heavily on ing għana (pron. āna), Malta’s folk mu‐ regarding some devotional practices the touristic sector. Such policy is sup‐ sic, together with local popular musi‐ (Lodi spirituali) dating back to the ported by initiatives taken by local cians and singers such as Corazon Council of Trent, followed by Angelo councils, village band clubs, and the Mizzi, Walter Vella, Dominic Galea, Rusconi’s paper which proposed some Malta Council for Culture and the and the Allegria Dance Company. For significant examples of parodies of Arts. There is ongoing activity of Mal‐ more information about Għanafest visit liturgical singing from the Alpine area. tese folk singing sessions that take this website. The last two papers also concerned place in village bars, especially on A traditional celebration that attracts making: Giuseppe Sunday mornings. Village band clubs hundreds of Maltese to the picturesque Giordano analysed some examples of are important organizations, not only fishing village of Marsaxlokk is that of Gregorian practices in the oral and musically but also socially and cultur‐ Saint Gregory (“San Girgor”), celebrat‐ written traditions from Sicily, while ally. The organization of outdoor cele‐ ed annually on the first Wednesday fol‐ Maria Rizzuto discussed some points of brations in honour of village saints de‐ lowing Easter Sunday. During this her research on the liturgical singing of pends strongly on these band clubs and open‐air celebration, għana musicians Coptic communities in Rome. The final the extensive voluntary work that club perform for all those present alongside act of the conference was an open members are involved in. Academic in‐ the merriment of people cooking and roundtable on a number of issues which terest in Maltese folk and traditional eating on the beach, and others who arose during the meeting. music is supported both by the ethno‐ might decide to take the first dip in the musicology programme of the Music

Bulletin of the ICTM Vol. 130 — January 2016 — Page 18 REPORTS sea of the year. As in past years, għana living Christmas village which brought a milestone in the study of Maltese ins‐ spirtu pront (that is, improvised għana together a nativity scene, featuring lo‐ truments, both for the comprehensive singing) was also the main attraction cal craftsmanship and biblical re‐enact‐ survey it includes as well as for the for all those present at the event. ments as well as the participation of broad historical and sociocultural organett ensembles. During this four‐ framework against which her work is Għana singers and guitarists were also teen‐day event, Gozitan accordion set. central to the annual agricultural fes‐ players perform traditional folk tunes tival of Imnarja which is held annually A significant academic contribution for and Christmas melodies to the accom‐ on 29 June. During this traditional fes‐ Maltese music studies this year was an paniment of the zafvafa [friction drum], tival, exhibits of local crafts, produce, MMus dissertation by Juan Sebastian guitar and tambourines. Organett en‐ wine, and cooking blend with the sound Correa Caceres called “Beyond Arte‐ sembles are also very active during the of għana and night-long picnics, all facts: Music in Prehistoric Malta”. spontaneous carnival in the village of attracting thousands of Maltese and Correa Caceres’s work, conducted Nadur, which in 2015 was held from 13 tourists to the Buskett Woodlands under my supervision, investigates a to 17 February. In other localities in where this festival is held. This year, range of prehistoric artefacts found in Gozo, such as Xagħra, organett music the festival also included the partici‐ Malta and the possibility of these being accompanies a carnival dance known as pation of a local Maltese wind band the earliest sound-producing devices on the kumittiva (a Maypole dance) during playing traditional Maltese marches, as the Maltese islands. Such investigation carnival days. well as the re-enactment of a four‐ takes into consideration the acoustic teenth‐century Imnarja celebration. features of some of Malta’s pre-historic temples, caves, and burial sites. Other Another thriving folk music activity is ongoing research at the University of that which occurs in Gozo, Malta’s sis‐ Malta is that on Maltese wind bands ter island. Several Gozitan villages hold and folk music in Gozo. folk festivals all year round. One such event is the Qala International Folk Festival, held at the village of Qala in Montenegro Gozo. The 2015 edition of the festival by Zlata Marjanović, was spread over three days, from Fri‐ Liaison Officer day 18 and Sunday 20 September. The On 25 June 2015 the festival, organized by the Qala Local book Pjesme dalmatske Council and the Qala Menħir Folk iz Boke Ludvika Kube Group, included performances by Ite ad (1907. g) [Dalmatian Joseph Band, the Menħir folk group, songs from Boka by Ludvik Kuba other local Gozitan folk groups, and From an academic point of view, 2015 (1907)], authored by Jakša Primorac folk troupes from Siekieracy (Poland) saw the publication of a book called and Zlata Marjanović, was presented in and Puglia (Italy). The festival also in‐ Musical Instruments of the Maltese Perast. The main part of the book re‐ cluded a public talk on the archaeology Islands: History, Folkways and Tradi‐ views Kuba’s manuscripts, followed by of the village and the traditional Mal‐ tion by Anna Borg Cardona, published four-part original arrangements of tese dinner was held in the village main by the Fondazzjoni Patrimonju Malti. Kuba’s songs for modern klapa vocal square. Other events in which Gozitan Borg Cardona’s book presents an intri‐ groups, produced by distinguished folk music played a seminal role, main‐ guing survey of Maltese organology composers. ly through Gozitan organett music that considers not only what is conven‐ (accordion folk music), were the tionally recognized as a musical instru‐ At the same event, the third issue of Bethlehem f’Għajnsielem [Bethlehem in ment (such as the bagpipe or friction the journal Lirica, featuring compo‐ Għajnsielem] and the Nadur carnival. drum), but also other sound-producing sitions by Boka authors of the twen‐ In 2015 the seventh performance of the devices used for the effects they create tieth century, was also presented. Bethlehem f’Għajnsielem was held, and in various functional contexts, ranging twenty tumuli of land in the village of from magic and religion to everyday Għajnsielem were transformed into a life and games. Borg Cardona’s book is

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Musical evening dedicated to undergraduate students of ethnomusi‐ doctoral candidate Miranda Lakerveld cology and ethnochoreology from presented “Traditional Opera and the Branko Zenović Belgrade and Banja Luka participated Ongoing Dialogue Between Cultures”, On Sunday 15 March 2015, at the in the camp. The rich, diverse, and well and in the meeting of November 2015 thought-out programme was a chance Memorial Home “Crvena Komuna” of Bob van der Linden presented his Bake to gather and consider the musical tra‐ Petrovac na Moru, a musical evening biography. ditions and practices of many coun‐ was held to commemorate the 80 years tries. In only three days, the investiga‐ In order to bring together ethnomusico‐ since the birth and 10 years since the tion of the tradition of rural and urban logists who are actively performing re‐ death of Montenegrin and style in Kolašin and surrounding vil‐ search, the Bake Society has started to conductor Branko Zenović. Zenović lages, resulted in more than 210 giga‐ cooperate with Hanze University of studied music at the Music Academy in bytes of recorded audiovisual material. Applied Sciences Groningen to create a Belgrade, and from 1963 worked at Please visit this website to learn more meeting place where research can be Radio Montenegro, carrying out nu‐ about the event. presented and discussed amongst merous duties and tasks, including Dutch ethnomusicologists, anthropolo‐ chief editor of the music programme, The Netherlands gists of music, cultural musicologists, acting conductor of the orchestra, and by Evert Bisschop Boele, and related researchers. The first meet‐ chief music producer. His best-known Liaison Officer ing took place on 30 May 2015 in compositions are Lost Steps (Yu Song Utrecht. It attracted some 25 resear‐ choice for Europe, Belgrade 1966) and In this report I am chers from across the country from va‐ Moma Primorkinja (Days of Yu pop happy to share some of rious disciplines, who listened to and music, Opatija 1974). Zenović was also the developments con‐ discussed four presentations on current the initiator of the first pop music fes‐ cerning ethnomusicology research, by Wim van Zanten (The tivals in Montenegro (Titograd 1965). and related disciplines in the Nether‐ Validity of Visual Representations of Please visit this website to learn more lands over the past two years. Music of the Baduy Minority Group in about the event. As described in the country report of West Java, a preview of his plenary early 2014, ethnomusicology in the Ethno Camp paper given at the 43rd ICTM World Netherlands has led a rather fragment‐ Conference in Astana), Echa Iye (Mu‐ The first Montenegrin “Ethno Camp” ed life in the past decades. The Bake sic and Migration: The Role of Net‐ was held in Kolašin from 1 to 6 August Society for the Study of Performing working and Transcultural Capital for 2015, organized by the Centre for Cul‐ Arts Worldwide and the department of West African Musicians in the Nether‐ ture Kolašin, the Cultural Society musicology at the University of lands), Mimi Mitchell (Jaap Schröder, Mijat Mašković, the Centre for the Amsterdam are the two main junctions The Springtime of a New Sound), and Study and Revitalization of Traditional where ethnomusicologists find each Jaco van den Dool (Learning With the Dances and Songs, and supported by other. A short description of the situa‐ Body: Investigating the Link Between the Ministry of Culture of Montenegro. tion and recent activities at the Univer‐ Musical Interaction and the Acquisition sity of Amsterdam can be found in the of Musical Knowledge and Skills). The second half of this report. In forthcom‐ second meeting is planned to take place ing reports I hope to be highlighting in February 2016, also in Utrecht. It is other places of ethnomusicological hoped that participation will steadily importance in the Netherlands. grow and the frequency eventually will The Bake Society (as an aside: a book be twice a year. on Arnold Bake is currently prepared A small delegation of four active Dutch

by Bob van der Linden) organizes ICTM members was present at the First Ethno Camp in Kolašin, meetings twice a year in which not World Conference in Astana, in July Montenegro, 2 August 2015. Photo by only performances and workshops are 2015. Wim van Zanten, honorary mem‐ Zlata Marjanović. programmed but also ethnomusicolo‐ ber of ICTM, presented in a plenary gical research may be presented. For Ethnomusicologists, ethnochoreologists, session “The Validity Of Visual Repre‐ example, in the May 2015 meeting, professors, specialists, postgraduate and sentations Of Music Of The Baduy

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Association), and Floris Schuiling (notational cultures, jazz music world‐ wide). The appointment of an addition‐ al Assistant Professor of Cultural Musi‐ cology is expected in spring 2016. Doc‐ toral candidates include Wouter Capitain, Iye Echa, Noriko Ishida, Mimi Mitchell, and Juan David Montoya Alzate.

Cultural musicologists at the musico‐ logy department offer BA and MA courses about various past and present musics of the world (Middle East, Southern Africa, Indonesia, Mediter‐ The Netherlands’ delegation at the 43rd ICTM World Conference. July 2015. Photo provided by Evert Bisschop Boele. From left to right: Wim van Zanten, Bernard Kleikamp, ranean, Russia, Western Europe), Liesbeth Nijssen, Evert Bisschop Boele. about issues of music’s globalization, musical articulations of identity and Minority Group In West Java”. presented his research on music at exertions of power, musical knowledge Liesbeth Nijssen discussed the subject cremations and the “funerary DJ”. The systems, and postcolonial theory. Lec‐ of her ongoing doctoral research, symposium highlighted the possible turers and doctoral candidates carry “Soviet Cultural Policies Pertaining To contribution of ethnographic research out research in several of those realms. Khakas Post-Soviet Revivalist Folk to policy debates in music education A focal point of research is the Univer‐ Music Making”. I delivered a paper on and music participation—in a sense a sity of Amsterdam research group my current research on shanty choirs in form of “applied ethnomusicology”. “Music and Culture” at the Amster‐ the Netherlands (“Singing Like a Sail‐ dam School for Cultural Analysis or: Some Theoretical and Methodologi‐ Highlighted: Musicology at the (ASCA), chaired by Barbara Titus. cal Remarks on Studying a Dutch University of Amsterdam The department commits itself to the Shanty Choir”). Bernard Kleikamp was further digitization and accessibility of I would like to give some current infor‐ present with a stand for his company, the sound archive of the Jaap Kunst mation on the state of affairs at the PAN Records. Collection, curated by Titus. The musicology section of Amsterdam department has started to incorporate Not only do ethnomusicologists meet to University. The ethnomusicological workshops on a Balinese Semar discuss amongst peers, but many of branch of the musicology department Pagulingan gamelan in its regular BA‐ them work in multidisciplinary sur‐ in Amsterdam prefers to present itself education. roundings in which they actively advo‐ as “cultural musicology”. Senior staff cate ethnomusicology’s particular con‐ members include Barbara Titus (con‐ The department has partners in var‐ tribution to broader fields of music stu‐ temporary South African music, ious countries. It participated in dies and studies of culture. An example post-colonial theory, musical knowledge Deutsche Forschungsgemeinschaft’s of this was the symposium on ethno‐ systems; co-editor of The World of research group “Music Moves: Musical graphic music research in Dutch society Music (New Series)), Anne van Dynamics of Relation, Knowledge and organized at the yearly conference for Oostrum (music from the Middle East, Transformation”, chaired by Birgit Research in Arts Education and Arts Music and Islam; member of ICTM Abels (Georg-August-Universität Participation, Utrecht, 23-11-2015. I Study Groups on Maqām and on Music Göttingen) [2013-2014], and in the discussed Dutch shanty choirs, Irene in the Arab World), Lila Ellen Gray International Balzan Prize Founda‐ Stengs (Meertens Institute, Amster‐ (anthropology of music, sound, and the tion’s project “Towards a Global His‐ dam) did so for sing-along culture in senses, urban cultural studies, Portu‐ tory of Music”, chaired by Reinhard Dutch schlager music after the death of guese Fado, southern Europe; convenor Strohm (University of Oxford) [2015‐ singer André Hazes in 2004, and of the Music and Sound Interest Group 2016]. It has had long-term institu‐ Martin Hoondert (University Tilburg) of the American Anthropological tional collaborations with Georg‐

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August‐Universität Göttingen (Birgit Puerto Rico mic. Ferreras sees improvisation in Abels), Royal Holloway – University of bomba as a stylistic catalyst for change, by Mareia Quintero London (Henry Stobart), the Institut which relates to both tradition and in‐ Rivera, Liaison Officer Seni Indonesia Yogyakarta, Indonesia – novation. After analysing transcriptions Ethnomusicological Department (Citra In the last decades, of contemporary solo drumming impro‐ Aryandari), and the Amsterdam Con‐ traditional music in visation, he concludes that the genre servatoire through an educational Puerto Rico has expanded its presence “is experiencing its most explosive pe‐ minor in World Music Studies. in the country’s cultural scene. From riod of expansion and renewal to date” debates around legislation and public (p.3). In January 2014, the department orga‐ policies for its promotion, to education‐ nized an international conference on Finally Quintero A. (2015) examines al and creative initiatives generated by Cultural Musicology, in honour of the how the patterns of traditional drum‐ retirement of Wim van der Meer. Con‐ musicians and other cultural agents, ming and dancing improvisation in traditional music evolves in new set‐ tributions were delivered by, amongst bomba music are incorporated in the tings and formats. It has also gained others, Birgit Abels, Tim Taylor, soneos or vocal improvisations by po‐ renewed attention as a subject of aca‐ Nicholas Cook, Richard Widdess, pular singer Ismael Rivera (“Maelo”). demic research. Following the seminal Edward Herbst, Lakshmi Subramanian, He examines in historical perspective Sarah Weiss, Katherine Butler work done in the 1970s and 1980s by the music developed by Rafael Cortijo ethnomusicologists Héctor Vega Druet, Schofield, Simone Mahrenholz, Dard and Maelo in the 1950s and 1960s, and Luis Manuel Álvarez, and Emanuel Neuman, and Barbara Titus. About their transition from community per‐ Dufrasne‐González, among others, a 140 participants took part in the con‐ formers to television broadcasting stars younger generation has been engaged in ference, of which about 30 presented. whose music broadly circulated in the An edited volume with chapters based studying traditions such as jíbaro international circuits of an emergent music, and bomba in relationship to the on conference papers is currently pre‐ . island’s socio-cultural processes and pared. In August 2015, the department historical contexts. A historical approach to local music co-organized the symposium “The Past tradition, and an interest in critically is a Foreign Country” at the Utrecht Improvisation in traditional and popu‐ examining the available sources for Early Music Festival offering a shared lar music has been one of the elements Puerto Rican traditional music history intellectual and musical platform for that have drawn more interest in re‐ are found in the works of Allende‐ ethnomusicologists and historically in‐ cent scholarship. Bofill-Calero (2013) Goitía (2010) and Viera (2015). formed performers. In November 2016, examines improvisation in jíbaro music, Allende recently published a critical in collaboration with Stichting Irama, originally a rural tradition that encom‐ edition of Fernando Callejo’s Música y Amsterdam, a conference on “Global passes diverse variations of seises, músicos puertorriqueños in the cente‐ Gamelan” is planned within the Inter‐ aguinaldos, and other genres. It is most nary of its original appearance in 1915, national Gamelan Festival Amsterdam, commonly based on trovador singing, while Viera has analysed and contrib‐ with a pre-seminar at the Institut Seni and an ensemble of guitar, cuatro (a uted to make accessible the John Alden Indonesia in Yogyakarta in August Puerto Rican small guitar similar to Mason collection of recordings (1914‐ 2016. In spring 2017, in collaboration the lute), and minor percussion instru‐ 1915). Their work examines the role with Institut Seni Indonesia and the ments, which usually include bongo music has played in the construction of Universitas Gajah Mada Yogyakarta, and güiro (gourd scraper). Improvisa‐ Puerto Rican historical imagination “Global Ethnomusicology in the 21st tion in décima (a ten-line strophe), as and discourses on race and the nation. Century” will be organized. well as melodically on the cuatro, cons‐ titutes the heart of jíbaro music. Abadía Rexach (2015) and R. Rivera (2010) explore the contemporary prac‐ On the other hand, Ferreras (2005) tice of bomba in relation to racial dyna‐ focuses on drum improvisation in mics and processes of racial and ethnic bomba music, an Afro-Puerto Rican identification both in the island and genre where the solo drummer has to the diaspora. Abadía Rexach refers to follow the dancer’s movements in a ve‐ the emergence of a new bomba move‐ ry rich and complex interactive dyna‐ ment, in which she recognizes forms of

Bulletin of the ICTM Vol. 130 — January 2016 — Page 22 REPORTS disrupting the hegemonic idea of the González, Ramón López, Tony Institute for Music Research of Puerto Puerto Rican mestizo. R. Rivera pro‐ Mapeyé, and Ángel G. Quintero con‐ Rico and the Caribbean. While last poses the concept of mythologies of tributed with historical essays on the October, the InterAmerican University liberation to examine the ways in corresponding genres. The project in‐ organized the First Forum of Puerto which categories of class and race ope‐ cluded also the release of eight DVDs Rican Musical Studies. That same rate in the cultural practices of Puerto and CDs, documenting performances, month the 32nd edition of the Music Rican and other Caribbean diasporic lectures and workshops on each of the Education Forum, organized by the populations in New York, such as traditional genres, as well as the re‐ Conservatory of Music of Puerto Rico, bomba and Dominican palos, to articu‐ cording of a life performance of was dedicated to traditional jíbaro late narratives of social justice and libe‐ Cepeda’s jazz compositions based on music. Recent studies on Puerto Rican ration through music. Rivera’s ethno‐ the four traditional genres. Other re‐ traditional music, the organizing effort graphy of young Puerto Rican musi‐ cognized Puerto Rican jazz musicians, by educators and researchers, as well as cians in New York dialogues with pre‐ such as saxophonists Miguel Zenón and a vibrant scene of community perform‐ vious studies by Juan Flores, Roberta David Sánchez, have been exploring ances and educational initiatives, are Singer, and Ruth Glasser, among traditional Puerto Rican music as a encouraging signs for the development others, about music as a strong identity vital source for their creative work. A of a more cohesive academic scene that resource for the Puerto Rican diaspora. recent release of a children’s music CD enables the creation of formal academic based on traditional genres, by the en‐ offerings in ethnomusicology, as well as A sound interest in developing new semble Viento de Agua (2015), is a the continuous strengthening of local tools and settings for traditional music great example of how contemporary musical practices. education and diffusion is one of the practitioners are creatively working to‐ most visible trends in the work of con‐ References wards the diffusion of local traditional temporary practitioners. The last de‐ music in the new generations. ✴ Abadía-Rexach, Bárbara I. “¡Salu‐ cade has seen the creation of university dando al Tambor! El Nuevo Movi‐ courses on traditional instruments or Even though there are no formal aca‐ miento de la Bomba Puertorrique‐ genres. Recognized interpreters such as demic offerings on ethnomusicology in ña”. PhD diss., The University of Orlando Laureano, Nelie Lebrón Puerto Rico, or professional organiza‐ Texas at Austin, 2015. Robles, and Ricardo Pons, among tions to promote research on tradition‐ ✴ Allende-Goitía, Noel. De Margarita others, who are also college professors, al music, this year has been particular‐ al Cumbanchero. Vida musical, ima‐ have been innovative in their ly productive in the development of ginación racial y discurso histórico approaches to formal instruction of academic spaces for its advancement. en la sociedad. San Juan: Ediciones traditional music as well as the incor‐ In March 2015, the Conservatory of Puerto, 2010. poration of traditional music languages Music of Puerto Rico hosted the First to training. This con‐ Symposium of Theory, Musicology, and cern has also produced scholarly work Ethnomusicology, coordinated by its such as Hernández (2009) and P. Rivera (2013).

Practitioners have engaged in signifi‐ cant educational efforts, including a re‐ newed attention to documentation as well as to the introduction of tradition‐ al music in elementary and secondary curriculum. Jazz trombonist and com‐ poser William Cepeda, for example, de‐ veloped a project that included the publishing of four books on the tradi‐ tional genres of bomba, plena, jíbaro music, and danza (Cepeda 2013). Re‐ searchers such as Emanuel Dufrasne‐ Bomba Music in Puerto Rico. Photo by Ricardo Alcaraz.

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✴ Bofill-Calero, Jaime O. Improvisation de música latinoamericana y caribe‐ revival en la música tradicional de in Jibaro Music. A Structural Analy‐ ña 26 (2010): 3–26. Andalucía”; and three general papers

sis. PhD diss., The University of ✴ Viera Vargas, Hugo René. “La colec‐ sessions. Arizona, 2013. ción John Alden Mason (1914-1915). Other activities also took place during ✴ Callejo Ferrer, Fernando. Música y Una documentación sonora para el the conference, such as launchings of músicos puertorriqueños. [Critical estudio de la cultura musical puerto‐ publications, a concert, and a session edition by Noel Allende Goitía]. San rriqueña”. Musiké. Revista del Con‐ honouring the ethnomusicologist Ra‐ Juan: Ediciones Clara Luz, 2015. servatorio de Música de Puerto Rico món Pelinski (1932-2015). Among them ✴ Cepeda, William. La Música de 4 (1/2015): 8–54. were the Musical audiovisual collection Puerto Rico: raíces y evolución. La ✴ Viento de Agua. Sonidos Primarios. MusiCam (Enrique Cámara et al., Uni‐ Música Jíbara, La Plena, La Bomba, San Juan, 2015. versidad de Valladolid, 2015); and a La Danza. San Juan: Casabe Record, dossier by TRANS 19/2015 (the peer‐ 2013. Spain reviewed journal of SIBE) about Music and Transborder Relationships. ✴ Ferreras, Salvador E. “Solo Drum‐ by Francisco J. García ming in the Puerto Rican Bomba: Gallardo, Chair of A good number of scholars and stu‐ An Analysis of Musical Processes National Committee dents participated in the conference, and Improvisational Strategies”. mostly from Spain and Portugal. Most The annual general PhD diss., The University of British papers dealt with music revival and re‐ assembly of SIBE‐ Columbia, 2005, lated themes, and were followed by a Sociedad de Etnomusi‐ ✴ Hernández, Néstor. “Implicaciones lively discussion. More information can cología (the ICTM National Committee educativas en la didáctica instrumen‐ be found online here, here, and here. for Spain), was held on 28 November tal del cuatro puertorriqueño: expe‐ 2015, during the event “Jornadas SIBE riencias de vida y musicales de ejecu‐ 2015”. Swaziland tantes virtuosos destacados”. PhD by Cara Stacey, Liaison diss., University of Puerto Rico, The Working Group of Musical Tra‐ Officer 2009. ditions [Grupo de Trabajo en Tradi‐

✴ Quintero Rivera, Ángel G. ¡Saoco ciones Musicales] of SIBE, together The field of research in Salsero! o el swing del Sonero Ma‐ with Aula de Música of the Universi‐ music and dance in yor. Sociología urbana de la memo‐ dad de Valladolid (Spain) organized Swaziland has been ria del ritmo. Caracas: Fundación “Jornadas SIBE 2015”, an academic sparsely inhabited editorial El perro y la rana, 2015. meeting on 27-28 November 2015, ti‐ throughout recent decades. A glance at tled “El estudio de las tradiciones mu‐ this sphere of study in the past reveals ✴ Quintero Rivera, Mareia. “Debates sicales contemporáneas: aproximaciones very little published material but a identitarios y capital simbólico: Po‐ al revival” [The Study of Contempora‐ more substantial recorded archive. líticas culturales en torno a la música ry Musical Traditions: Approaches to Percival Kirby described the various tradicional puertoriqueña”. Latin Revival]. instruments of Swaziland after his American Research Review 48 fieldwork in the first half of the (Special Issue/2013): 30–49. The meeting was coordinated by Su‐ twentieth century in his publication sana Moreno (University of Valladolid) ✴ Rivera, Pablo Luis. “Orígenes cultu‐ Musical Instruments of the Native and included two keynote speakers: rales y desarrollo de la bomba puer‐ Races of South Africa (reproduced Caroline Bithell (University of Man‐ torriqueña”. PhD diss., Centro de recently as Musical Instruments of the chester, UK) and Enrique Cámara Estudios Avanzados de Puerto Rico Indigenous People of South Africa) and (University of Valladolid); two round y el Caribe, 2013. numerous examples of Swazi instrum‐ tables: “Las celebraciones musicales ✴ Rivera, Raquel Z. “Bomba puertorri‐ ents can be viewed in his collection at como elemento de desarrollo socioeco‐ queña y palos dominicanos en Nueva the University of Cape Town. David nómico y cultural” (with the partici‐ York: de diásporas y mitologías de la Rycroft’s research into musical bows pation of Salwa El‐Shawan Castelo‐ liberación”. Boletín Música. Revista and vocal music in Swaziland was Branco, Universidade Nova de Lisboa, disseminated through his articles on Portugal) and “Formas y procesos de

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Nguni polyphony and southern African Bibliography of the Tainan National University of friction chordophones, as well as Arts (TNNUA), was attended by over ✴ Kirby, Percival. Musical Instruments through his substantial recorded ar‐ of the Native Races of South Africa. 200. It addressed recent developments chive, housed at the British Library Oxford: Oxford University Press, in ethnomusicology and the extrinsic Sound Archive. Since Rycroft’s field‐ 1934. deformation and qualitative change of work in the late 1960s and early 1970s dance studies in Taiwan. During the ✴ Kirby, Percival. Musical Instruments little has been published on Swazi mu‐ conference, I noticed a sudden surge in of the Indigenous People of South sic and dance specifically. A recording research papers focusing on modern Africa. Johannesburg: Wits project, funded by the Alliance Chinese music. The conference was a University Press, 2013. Française, titled “Traditional Music of huge success and brought scholars to‐ Swaziland” [Chants des Swazi] was ✴ Rycroft, David. “Nguni Vocal gether from many universities, includ‐ released in 2009, featuring notable Polyphony” in Journal of the ing undergraduate and graduate stu‐ traditional instrumentalists from International Folk Music Council 19 dents, and members of the RC’s Exec‐ around this small country. (1967): 88–103. utive Committee. Therefore it also pro‐ ✴ Rycroft, David. “Friction vided a significant and valuable plat‐ Since 2013, I commenced a doctoral Chordophones in South-Eastern form to share knowledge and experi‐ study (through the University of Cape Africa” in The Galpin Society ence in practice relevant to ethnomusi‐ Town) focusing on the makhoyane Journal 19 (April 1966): 84–100. cology and dance studies of Taiwan. gourd-resonated musical bow, and this ongoing research has been presented at Discography As Chair of the RC’s Executive Comm‐ regional and international conferences. ✴ Various artists. Swaziland: Chants ittee, I actively undertake international During this research project, an des Swazi. VDE Gallo. VDE academic exchanges. Among the invit‐ enfsemble of traditional CD-1283, 2009. ed scholars who visited Taiwan in 2012 instrumentalists and singers was were previous ICTM President ✴ Gogo Mphila & Phayinaphu Mcina. initiated, and this group, called Adrienne Kaeppler, and current Sec‐ Akuna’ nkomo, 2014 (bandcamp). “Bashayi Bengoma” [The Song retary General Svanibor Pettan. These ✴ Bashayi Bengoma. Bashayi Beaters], has performed at different activities gave members of ICTM an events and festivals in Swaziland. Bengoma, 2015 (bandcamp). opportunity to have first‐hand experi‐ ence in Taiwan’s current ethnomusico‐ There is no music department at the Taiwan logy development, and provided an op‐ University of Swaziland (UNISWA) by Tsung-Te Tsai, portunity to interact and conduct aca‐ but there are active practitioners, edu‐ Chair of Regional demic exchanges with RC members. cators, and arts organizations outside Committee of the tertiary environment who help to In 2012 the Tainan National University support local musicians. The Swaziland Over the past three of the Arts set up academic exchange Traditional Music Association is one years, members of the programmes with the University of such organization existing under the ICTM Regional Com‐ Ljubljana (Slovenia), for exchanging Swaziland National Council for Arts mittee for Taiwan (RC) actively par‐ students and faculty members between and Culture. Though inactive until re‐ ticipated in local regional conferences, the two institutions. In the second year cently, this association has been reviv‐ ICTM Study Group symposia, and of our partnership with University of ed by two researchers, Vusi Sibandze ICTM World Conferences. Ljubljana, we started a professor ex‐ and myself. As acting coordinators for change programme in order to promote The RC held its general assembly and this umbrella organization, we have or‐ international understanding through third biennial conference on 23 Novem‐ ganized performances, CD releases, and educational and cultural exchanges. ber 2012 in Tainan. The conference, educational workshops with traditional Svanibor Pettan taught two courses, musicians from around the country. titled “Ethnomusicology in Taiwan” titled “Musics of the World” and and co-organized by the RC, the “Seminar in Ethnomusicology”, for one Graduate Institute of Ethnomusicology, month at the Graduate Institute of the Department of Chinese Music and Ethnomusicology of TNNUA. In Research Centre for Asia-Pacific Music addition, Lasanthi Manaranjaine

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Kalinga Dona gave a workshop and The RC held its biennial general postgraduate students presented their concert of North Indian music at assembly on 13 November 2014 at studies covering a diverse range of to‐ TNNUA. National Kaohsiung Normal University. pics. After the conference, we received Made Mantle Hood, who is currently good feedback from participants with Over 30 members of the RC attended teaching ethnomusicology at University many saying that the conference was the 42nd ICTM World Conference (11 Putra Malaysia, was keynote speaker in beneficial to them as it provided an -17 July 2013, Shanghai), including its the opening ceremony at the Cross‐ opportunity to improve their knowl‐ Chairperson and Vice Chair, professors Strait Conference on Musicology on 14 edge in the fields of musicology and and graduate students from National November 2014. Hood spent three ethnomusicology. We believe that dis‐ Taiwan University, Taipei National weeks lecturing at the Graduate Ins‐ cussions during conferences help deepen University of the Arts, Tainan National titute of Ethnomusicology at TNNUA. our understanding of the meaning of University of the Arts of Taiwan, etc. His fruitful lectures gave postgraduate music in different societies. At that conference there were 19 pa‐ students profound experience and As Chair of the RC of a third term, my pers presented by five professors and values. aims are to continue encouraging young fourteen postgraduate students. Dis‐ Another reason for gathering the scholars to engage in the scholarly acti‐ cussions focused on music from various general assembly of the RC was to vities of ICTM. I will also strive to angles, but largely relating to the de‐ elect a new Chair and Vice Chair. build a platform for academic exchange velopment of different musical genres in Twenty‐seven members of the RC between young and experienced scho‐ Taiwan, such as extreme metal music, voted, choosing to re-elect the Chair lars on various research topics, mandopop, Hakka wedding music, and Vice Chair for an additional four methods, and results. Nanguan music, crossover music, film years. The current members of the music, charity music, gay music, and Executive Committee of the ICTM Indonesian Dangdut music in Taiwan. Tanzania Regional Committee for Taiwan are: Other papers discussed Matatu Music, by Imani Sanga, Liaison Catholic Music at Ganjuran, Sufi Tsai, Tsung-Te, Chair (Tainan Officer Qawwali Song in India and Pakistan, National University of the Arts) This report includes Healing Perdukunan in Java, and Mar‐ Lee, Schu-Chi, Vice Chair (Taipei information about the tial Arts TV Original Soundtracks in National University of the Arts) major events related to 1980s’ Hong Kong. The academic Chen, Ching-Yi, Secretary (Tainan traditional music and dance to be held achievements from Taiwanese pre‐ National University of the Arts) in 2016 in Tanzania, highlights from senters received the attention of inter‐ Shih, De-Yu (National Cheng Kung various music departments in Tanza‐ national scholars. Anthony Seeger told University) nia, and a list of recent publications by me that “I did not expect that many Gao, Ya-Li (National Chiao Tung scholars concerning the music of people from one institute to present University) Tanzania. papers which brought unique pers‐ Chao, Chi-Fang (Taipei National pectives, and topics are original. That University of the Arts) Upcoming events in 2016 is not easy”. The ICTM World Confer‐ Tsai, Bing-Heng (National Taiwan ence in Shanghai also set a new record University of the Arts) The Department of Creative Arts at for the largest number of people from Chu, Meng-Tze (Tainan National University of Dar es Salaam will Taiwan gathered for an international University of the Arts) organize its 10th Ethnomusicology conference. Sun, Chun-Yen (Chinese Culture Symposium from 14 to 16 July 2016 at University) the University of Dar es Salaam. The On 4 June 2014, Jonathan Stock, a Chen, Szu-Wei (National Taiwan main theme will be “Ethnomusicologi‐ member of ICTM’s Executive Board, University) cal Practices in Africa: Past, Present was invited to give a lecture at and Future”. The coordinator of the TNNUA for the students of the In 2015, around 20 members of the RC symposium Kedmon Mapana welcomes Graduate Institute of Ethnomusicology. attended the 43rd ICTM World Con‐ submission of abstracts from interested His talk focused on “Contemporary ference (16- 22 July 2015, Astana, Ka‐ members for paper or roundtable pre‐ Research Trends in Western Ethno‐ zakhstan). At this conference, many sentations. musicology”.

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The Chamwino Arts Centre will hold Troupe in Denmark”. Her research is ✴ Sanga, Imani. “Musical Figuring of the 8th Wagogo Music Festival from 22 supervised by Frank Gunderson. Desire and Identity in Semzaba’s to 23 July 2016 at the village of Novel Marimba ya Majaliwa”. Inte‐ Edwin Anderson Mwakibete, a doctoral Chamwino village in Dodoma. This an‐ rnational Review of the Aesthetics candidate at the University of Dar es nual festival, as has been for the past and Sociology of Music 46 (2/2015): Salaam, is researching “Artistic and seven years, will feature performances 401–421. Economic Challenges Facing Musicians of music and dance by various groups in the Contemporary Tanzanian from the Wagogo communities in Industry”. His research United Kingdom Dodoma. Again, interested members is supervised Mathayo Ndomondo. by Keith Howard, are welcome to contact the coordinator Liaison with ICTM of Kedmon Mapana. Recent publications by scholars National Committee

Highlights from music on the music of Tanzania Astana was the first departments ✴ Clark, Msia Kibona. “Gendered Re‐ time that the British presentations Among Tanzanian Forum for Ethnomusico‐ The Dhow Countries Music Academy Female Emcees”. In Hip Hop and logy (BFE), the ICTM National in Zanzibar hosted the conference Social Change in Africa: Ni Wakati, Committee for the UK, held a high tea “Music, Power and Knowledge in edited by Msia Kibona Clark and at an ICTM Conference. For some African Music and Beyond” from 10 to Mickie Koster, 144–169. London: years, the BFE has held high teas at 13 June 2015. The conference—spon‐ Lexington Press, 2014. conferences of the Society for Ethno‐ sored by the Volkswagen Foundation musicology. It was felt that the time through the Department of Music of ✴ Clark, Msia Kibona. “The Role of was right to strengthen ties of BFE to Hildesheim University, Germany, and New and Social Media in Tanzanian ICTM. attended by music scholars from Hip Hop Production”. Cahiers around the world—explored the nexus d’Etudes africaines 4 (216/2014): Holding a British High Tea in Central between memory, power, and know‐ 1115–1136. Asia is not easy, given the challenges of ledge in the music of Africa and its ✴ Mkallyah, Kassomo. “Tanzanianiza‐ transporting scones, Cornish cream and various diasporas. It also featured a tion and Practice of Indigenous Mu‐ strawberry jam across several thousand number of performances of the music of sic Traditions in Church Worship in miles. Tea was easily sourced from our Zanzibar. Dar es Salaam”. International Journ‐ Kazakh hosts, but in place of scones al of Humanities and Social Science and trimmings, we had to substitute In 2015 the Department of Music at 5 (2/2015): 156 –168. some delicious biscuits from Fortnum Tumaini University Makumira, Arusha and Masons. This actually had an introduced a two-year Diploma in Music and a one-year Certificate in Music in addition to its usual BA in Music programme.

Members of staff in the music section of the Department of Creative Arts at the University of Dar es Salaam who are undertaking doctoral training are doing research on various aspects of the music of Tanzania.

Jenitha Kameli, a doctoral candidate at Florida State University, is researching “The Fetishization and Appropriation of Kisukuma Music and Dance from Tanzania by the Danish Utamaduni Participants of the BFE High Tea during the 43rd ICTM World Conference. July 2015, Astana, Kazakhstan. Photo provided by Keith Howard.

Bulletin of the ICTM Vol. 130 — January 2016 — Page 27 REPORTS unforeseen bonus, since I am reliably Vietnam ✴ Co-organizing the 2015 Sub-regional informed by somebody close to the Meeting for Intangible Cultural Her‐ by Phạm Minh Hương, ICTM Secretariat that one biscuit tin itage Safeguarding in Asia Chair of National is now in the process of being trans‐ with International Information and Committee formed into the body for a guitar. Networking Centre for Intangible However, somewhere between Heath‐ The Vietnamese Cultural Heritage in the Asia-Pacific row and Astana, customs (or was it a Institute for Region” under the auspices of customs dog?) took a fancy to explor‐ Musicology (VIM) is UNESCO (ICHCAP) ing the case in which the tins of bis‐ a state agency whose Performances cuits were being shipped, and opened main function is to coordinate and im‐ ✴ some to check that they really were plement projects related to Vietnamese Monthly performance of Vietnamese British biscuits being sent to Astana, traditional musical heritage. In 2015, traditional music for visitors of the rather than anything more potent. the Institute carried out fieldwork, col‐ Institute and the general public ✴ Performing at the “Festival of Around 100 ICTM conference delegates lected data, performed Vietnamese tra‐ ditional music home and abroad, held ASEAN Cultural Expressions 2015” attended the High Tea. The event gave international and national conferences in Malaysia, 14-21 October 2015 us the chance to underline the historic‐ al close relation between the ICTM and related to Intangible Cultural Heritage ✴ Performing at the “ASEAN Youth in general and musical heritage in par‐ BFE—both were set up in London, and Camp” in the Philippines, 23 one of the board members of both in ticular, and released CDs and DVDs of November–1 December 2015 Vietnamese traditional music. their early years was Maud Karpeles— Publication of CDs and to celebrate the number of mem‐ Some accomplishments of VIM in 2015 ✴ The CD Dạt nước cánh bèo [Ferns bers from one organization who attend follow below. floating in water], which consists of the conferences of the second organi‐ zation. BFE announced its bi-annual Fieldwork great Xẩm songs (a Vietnamese tra‐ ditional musical genre normally sung book prize (for monographs published ✴ Collecting data about two-part sing‐ by troubadours) performed by late in 2014 and 2015), its upcoming one‐ ing of the Nùng ethnic group in Cao day and annual conferences, and the Bằng, a mountainous province in folk artist Hà Thị Cầu, the most renowned Xẩm singer of Vietnam. journal set up and edited by BFE, ✴ The CDs set “”Cultural sounds: the Ethnomusicology Forum, now pub‐ ✴ Collecting data about Then, a ritual lished by Taylor and Francis. Please performance art of Tày, Nùng, and spirit of Vietnam”, funded and co‐ produced by the International Infor‐ see the BFE website for more details. Thái peoples in Hà Giang, a moun‐ mation and Networking Centre for The BFE High Tea at Astana was, it is tainous province in Northern Intangible Cultural Heritage in the hoped, the first of many such events, as Vietnam Asia-Pacific Region under the aus‐ the two organizations build a closer, ✴ Collecting data about Hò khoan Lệ pices of UNESCO (ICHCAP). The Thuỷ of the Việt people in Quảng mutually supporting, relationship. set contains recordings of Vietnamese Bình, a province in traditional music from the last Scholarly meetings century

✴ Organizing the international confer‐ Transmission and training ence “Bài chòi folk art in Vietnam ✴ Creating courses on folk singing and and similar types of art in the world” dancing for the public in Ninh Bình in Bình Định and Quảng Ninh, the two most tour‐ ✴ Organizing the international confer‐ istic provinces, to disseminate Viet‐ ence “Preservation and promotion of namese traditional music via tourism the values of Then heritage of Tày, ✴ Creating courses on performance of Nùng, Thái peoples in Việt Nam” in drums and music in the Nam Giao Tuyên Quang offering ritual, taught by folk artists from the Thanh Hoá province

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Publications

✴ Three volumes of the Bulletin of the Vietnamese Institute for Musicology

✴ Proceedings of the “International conference Bài chòi folk art of Viet‐ nam and similar types of art in the world” in both Vietnamese and English

✴ The book The Introduction of 130 Traditional Musical Instruments Exhibited at the Vietnamese Institute for Musicology

The Vietnam Institute of Culture and Arts Studies and ICTM member Nguyễn Thị Mỹ Liêm have also made remarkable contributions to the “Congratulations for new house”: a two-part singing style of Vietnam, of the the Nùng ethnic group. Photo provided by Phạm Minh Hương. field of Vietnamese traditional music. Some of their achievements are listed Publications in Sài Gòn (present-day Ho Chi below. Minh City Conservatoire) ✴ The cultural region of Ví, Giặm Vietnam Institute of Culture Nghệ–Tĩnh. Hanoi: Traditional Cul‐ ✴ Compiling and teaching two pro‐ ture Publishing House & Vietnam grammes of performance of musical and Arts Studies Institute of Culture and Arts Stu‐ instruments in the Đờn ca Tài tử fieldwork dies, 2015 genre, for both professional and amateur participants. ✴ Collecting data about the Kỳ Yên ✴ The preservation and promotion of festival at Mỹ Phước village’s com‐ the values of folk songs in the con‐ In conclusion, the activities listed munal house where locals worship temporary society (in the particular above aim to provide some information Nguyễn Đức Cảnh, in Long Xuyên case of Ví, Giặm folk songs of Nghệ– on the activities related to Vietnamese city, An Giang province. The field‐ Tĩnh). Hanoi: Traditional Culture traditional music carried out by organi‐ work was conducted by Bùi Thị Hoa Publishing House & Vietnam Insti‐ zations and individuals related to tute of Culture and Arts Studies, ICTM in Vietnam. We hope to have ✴ Examining and collecting data about chances to cooperate with all ICTM the current status of Xòe folk art of 2015 members who are interested in study‐ the Thái ethnic group, Phong Thổ ✴ Lê Thị Hoài Phương. Portraits of ing the traditional music of Vietnam district, Lai Châu province. The pro‐ Folk Artists of Ví, Giặm Nghệ–Tĩnh. and of other countries in Asia. ject was carried out by Phan Mạnh Hanoi: Theatre Publishing House, Dương 2015

✴ Collecting data about performing Nguyễn Thị Mỹ Liêm styles of Then in Văn Quan district, Lạng Sơn province. The project was ✴ Operating the National Target Pro‐ executed by Nguyễn Thị Hiền gramme to collect repertoires of Bát

✴ Collecting data about the local Ngự and Cửu Nhĩ of Đờn ca Tài tử festival at Cao Đài village’s com‐ from repertoires provided by two re‐ munal house, Cao Đài ward, Mỹ puted folk artists of Đờn ca Tài tử, Thành commune, Mỹ Lộc district, namely Nguyễn Văn Thinh and Võ Nam Định province. The project was Văn Khuê, who used to teach at the carried out by Trần Thị Thuỷ National School of Music and Drama

Bulletin of the ICTM Vol. 130 — January 2016 — Page 29 REPORTS Reports from ICTM Study Groups

African Musics that will serve the Study Group from Participation in the 43rd ICTM July 2015 to June 2019. by Patricia A. Opondo, World Conference Study Group Chair The North American Branch continues We had a strong African presence at under the able leadership of Marie The year 2015 saw the Astana conference, with almost 30 Agatha Ozah (Co-Chair), Damascus remarkable growth for presentations on Africa. We also had a Kafumbe (Co-Chair), and Patricia the ICTM Study Group very vibrant business meeting where we Tang (Secretary). It held its inaugural on African Musics. The ICTM Secreta‐ finalized the Study Group’s constitu‐ symposium at Duquesne University, riat conducted successful online elect‐ tion. Pittsburgh in 2014, hosted by Marie ions for the new Executive Committee Agatha Ozah, and the next Symposium The presentations at the World Confer‐ (EXCO); at the Business Meeting in is being planned for 2016. A new UK ence can be summarized as follows: Astana we were able to finalize changes Branch has recently been established, to the draft constitution, and we 1. Two Africa-specific panels: “Perfor‐ lead by Amanda Villepastour (Chair), proudly have a constitution in place. mance, Power and Identity: Case Trevor Wiggins (Vice-Chair), and Gaio The Treasurer vacancy was finally fil‐ Studies from Ghana” and de Lima (Student Liaison). led and a Publications Coordinator “Tradition and Modernity in post established. From 29 September to We wish everyone well, and look for‐ African Music” 3 October the University of KwaZulu‐ ward to vibrant years ahead as the 2. A roundtable discussion on “Afri‐ Natal’s African Music Project hosted Study Group grows from strength to can Musics in Higher Education: the inaugural Study Group’s Sympo‐ strength. Experiences and Challenges” sium, which dovetailed with the 10th Anniversary celebrations of the African Listserv and webpage 3. A film session with ethnographic Cultural Calabash, a folk life event I am happy to report that we finally film-makers from Ivory Coast and held on campus. A new Branch of the have two breakthroughs from our pre‐ the South Africa Study Group was established in the vious communication challenges, so 4. An exciting workshop session UK. I take this opportunity to congra‐ going forward we hope for an easier tulate our members for these great dialogue amongst our members. First, 5. Finally, other papers were inte‐ strides, and especially those who ex‐ we have moved the Study Group’s grated into other sessions, provid‐ tended themselves to carry leadership pages out of the restrictive Google ing comparative, global perspect‐ portfolios to drive these various initia‐ Groups, and aligned them with other ives tives. Study Group pages hosted by the This broad involvement certainly ICTM website. This new setup will New Officials marks growth in our participation at make it easier for us to share infor‐ the main scholarly ICTM event, and After the online elections in June 2015, mation among members. Please submit we hope to continue to grow in the following were elected into office: materials to Alvin Petersen, our web‐ strength to ensure similar participation Patricia Achieng Opondo (Chair), site administrator. The Secretariat has during the 44th World Conference in Amanda Villepastour (Vice Chair), and also recently set up a listserv for the Limerick in July 2017. I want to take George Worlasi Kwasi Dor (Secretary). Study Group membership. The address this opportunity to thank ICTM for all Subsequently during the Study Group’s is: [email protected]. the sponsored delegates and contribu‐ business meeting in July, the following tions made towards travel and subsi‐ were nominated into the following posi‐ dized membership fees. This support is tions, Sylvia Bruinders (Treasurer), extremely valuable, especially for mem‐ Alvin Petersen (Website Administra‐ bers from soft currency countries, who tor), and Elina Seye (Publications Co‐ otherwise may have never been able to ordinator). This completes the EXCO attend a World Conference.

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University of KwaZulu-Natal hosts inaugural Study Group Symposium and 10th African Cultural Calabash Festival

The African Music Project at the Uni‐ versity of KwaZulu-Natal (UKZN) hosted the inaugural African Musics Study Group Symposium and the 10th Annual African Cultural Calabash, from 29 September to 3 October 2015. The two events brought together al‐ most 150 scholars, artists, and docu‐ mentary film-makers with an interest in Africa and the Diaspora. The sym‐ posium had three themes: (1) African Bows, Harps, Fiddles, Guitars; (2) Packaging Heritage; and (3) Trans‐ national Diasporic Cultures; spanning three days and including 44 paper pre‐ sentations, 12 workshops, and two do‐ cumentary films. Visit this website to see the full programme.

The symposium attracted artists and Volunteers of the inaugural symposium of the Study Group on African Musics. researchers from Botswana, Cape Durban, South Africa, September 2015. Photo provided by Patricia Opondo. Verde, Germany, Ghana, Hungary, Kenya, Mozambique, Nigeria, Portugal, a renewed appreciation of pan-African teacher, Bro. Clement Sithole in recog‐ Sierra Leone, Turkey, Uganda, USA, unity in diversity by featuring artists nition of his contributions in preserving and Zimbabwe. Delegates from music such as Tomeletsi Sereetsi (Botswana), this instrument which he learnt at the departments of all the major South ZviriMudeze (Zimbabwe), Jembeken feet of Princess Constance Magogo, the African universities (University of Cape (Mozambique/South Africa/USA); mother of Honorable Mangosuthu Town, University of Witswatersrand, Zippy Okoth (Kenya), Ngalanga Buthelezi. Bro. Clement was honoured University of Pretoria, Uni‐ Ensemble (Mozambique/South Africa), during the opening ceremony with the versity, and UKZN) were also in atten‐ and Praise Zinhuku (Zimbabwe). screening of a documentary film on his life (produced by a team from the dance. The keynote speaker was emeri‐ South Africa was represented by tus professor and ICTM Honorary UKZN Applied Ethnomusicology Docu‐ Madosini, the grand dame of Xhosa mentation and Archival section) and Member JH Kwabena Nketia, Umrube and Uhadi bows, and by other Ghanaian ethnomusicologist and with the launch of the book Brother South African bow researcher‐perform‐ composer who is considered to be Clement Sithole: A Musical Biography ers such as Dave Dargie, and Cara by Astrid Treffry-Goatley. We were Africa’s premier musicologist. Stacey. UKZN’s own Bro. Clement very proud to be able to bring this Sithole performed on an old Zulu The African Cultural Calabash is an prestigious international symposium to indigenous instrument, the annual folklife event curated and pro‐ Durban to dovetail with the 10th an‐ umakhweyana gourd‐resonated bow, duced under the umbrella of the Ap‐ niversary celebrations of the African and UKZN postgraduate student plied Ethnomusicology section of the Cultural Calabash. African Music and Dance division of Nozuko Nguqu proved to be a the School of Arts at UKZN. This pan‐ Maskandi star in her own right. We African show came at the backdrop of bestowed a Lifetime Achievement xenophobic disturbances, and provided Award to UKZN’s umakhweyana bow

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“Infinities” of a higher Salwa El-Shawan Castelo-Branco, and of conflicting interests among real com‐ ESEM President Britta Sweers. The munities seldom attracts attention; order University of Limerick and its Irish and, finally, inasmuch as even socially by Marcello Sorce World Academy of Music and Dance dysfunctional communities exhibit posi‐ Keller provided the venue, and turned out to tive traits (organized crime is a marvel‐ be an ideal location for the Forum. lous binder of extended families, the This is report on the Sandra Joyce (Director of the Aca‐ Crips and the Bloods have much to SEM/ICTM Forum demy), Aileen Dillane, and Colin teach about group loyalty). For all “Transforming Ethno‐ Quigley (Co‐Chairs of the Local such reasons I expected the Forum musicological Praxis Arrangements Committee) deserve would be like venturing through a Through Activism and Community applause and gratitude for their im‐ minefield while, in reality, it turned out Engagement”, in cooperation with the peccable organization and hospitality. to be a rather tranquil and pleasant European Seminar in Ethnomusicology, promenade. It appears that ethnomusi‐ University of Limerick, Ireland, 13-16 The Forum, consisting of seven cologists make up a pretty civilized September 2015. thought‐provoking invited plenary ses‐ “community”, where disagreement is A challenging theme sions, six plenary paper sessions, and only expressed in the mildest possible ten paper sessions paired to be con‐ terms. I find myself in a peculiar position in comitant, centred on the challenges of writing this report, right after SEM transforming ethnomusicological Keywords President Beverley Diamond published “praxis” (a relatively anodyne term if Most papers I found remarkably good. hers in the September 2015 issue of the taken in its narrow sense) through Those which in my perception were less SEM Newsletter. Writing a second re‐ “activism” and “community engage‐ so, still contained points of substantial port is both an advantage and a risk. I ment”—two concepts which, on the interest. Questions and answers follow‐ do have a term of comparison to gauge contrary, are not anodyne in the least. ing presentations, and further discus‐ my own experience of the Forum, but I They radiate powerful philosophical, sion at the conclusion of every session, am challenged to match the sensitive political and ideological overtones that were often as engaging as the papers observations Beverley Diamond expres‐ could make a potentially explosive mix. themselves. It is worth noticing that sed. What may perhaps get me out of Especially so, if one considers how the speakers represented Australia (4), trouble, is to provide the point of view word “activism” often associates with Brazil (4), Canada (4), Colombia (1), of a non-participant observer; one who endeavours that are not necessarily Finland (1), Ireland (4), Japan (1), was not involved in the preparation of praiseworthy (not all activists are as Malaysia (1), New Zealand (1), Norway the event, who did not present a paper, admirable as anti-fascist Carlo Levi, or (1), Slovenia (2), South Africa (1), did not chair any session and remained endearing as feminist Gloria Steinem). Spain (1), UK (7), and USA (23). (mostly) silent throughout. And the term “community”, although Obviously, conference participation can Conceiving a Forum to bring together Rayond Williams once observed it ne‐ be affected by trivial factors such as ICTM and SEM was quite a worth‐ ver seems to be unfavourably coloured, distance, cost, academic calendar, etc. while première. The vicinity of the 31st is nonetheless problematic too. For one Unsurprisingly, however, the predomi‐ European Seminar in Ethnomusicology, thing, because it is often used so that nant number of presenters came from overlapping with the Forum for one we are lead to think communities exist English-speaking countries: SEM is day, was an added bonus and convinc‐ where they actually do not (are, for predominantly American, and ethnom‐ ed me I did not want to miss this tri‐ example, the scholarly, the broadcast‐ usicology has been academically more ing, the gay “communities” really plet. The perception of how unusual an successful, and uninterruptedly so, for event this was appeared tangible with such—that is, Gemeinschaften—in the a longer time in anglophone countries. the active presence of SEM President sense intended by Ferdinand It is therefore hard to say, on the basis Beverley Diamond, ICTM President Tönnies?); and also because the danger of this sample, whether the drive to‐

Bulletin of the ICTM Vol. 130 — January 2016 — Page 32 REPORTS wards ethnomusicological “activism” (Wertfreiheit) was not argued against not quite come out explicitly, but only and “community engagement” reso‐ (like Marxist social scientists used to remained somewhat looming in the air, nates more strongly in some countries do), but just eluded. Today, in a less is to what extent ethnomusicology itself than in others, perhaps in those ex‐ idealogical age, with no all‐encompas‐ wishes to be characterized by interven‐ periencing, massive immigration, en‐ sing systems of thought in the way, I tion and activism, sort of absorbing the demic poverty, or conflict. wonder whether such a fundamental philosophy as well as the experience of issue, pertaining to the very nature of social work and music therapy. While I find it impossible in this short knowledge, might become the object of report to do justice to all presenters It truly was a brain-storming exper‐ renewed debate. In any case, we can and discussants, I can at least mention ience to follow, day after day, the un‐ only be happy that contemporary eth‐ the impressive range of keywords, and folding of the Forum; indeed an event nomusicology rejects the detached at‐ practice-oriented concepts, that came worthy of a “thick description” like titude of Robert Lach who, at the be‐ to the foreground: justice, indigeneity, Clifford Geertz used to advocate. For ginning of the twentieth century col‐ ethical practice, ecology, collaborative instance Tony Seeger’s lecture about lected songs in a prisoners-of-war ethnography, decolonization, cultural what we can learn from applied anthro‐ camp, without apparently any inten‐ empowering, social transformation, pology, made me aware of how much tion to do anything at all to ease the appreciative inquiry, social inclusion, the problem-solving attitude originally condition of what he referred to as critical ethnomusicology, mediation, held only by sociology has gained “human material”. service of justice, deconstruction, cul‐ ground (it was in the wake of the tural stigmas, soundscapes, cultural Fundamental questions French and the industrial revolution sustainability, policy, anti-violence that sociology was born, with the futurity, refugee, building community The “philosophy” of applied ethnomu‐ awareness of a rapidly evolving world, relationships, psychosocial work, eco‐ sicology was clearly the leitmotiv of the in need of intervention and social musicology, ethics, negotiation of mu‐ Forum all along. Indeed applied ethno‐ engineering). Only later, and somewhat sical knowledge, social transformation, musicology, as we know it, is actually reluctantly was such attitude adopted pedagogical inclusivity, appreciative the accepted diction for what the by anthropology; it is now pervasive inquiry, epistemic power games, in‐ Forum’s theme more explicitly articu‐ and gives the social sciences a common clusive music education, repatriation, lated as “transforming ethnomusicologi‐ platform they once did not share. The community service, community the‐ cal praxis through activism and com‐ thought also crossed my mind, of how rapy, rehabilitation through music. munity engagement”. The presence of other “musicologies” only show mini‐ Svanibor Pettan and Jeff Todd Titon, mal inclination towards activism and In this voyage through ideas and inter‐ who gave so much momentum to this engagement. My perception is that, ventionist projects I found much to be line of engaged form of research, was unlike them, ethnomusicology has al‐ fascinated about, and many papers ex‐ therefore propulsive throughout. A few ways had the potential to change the pressed attitudes I could easily empa‐ voices occasionally expressed misgiv‐ world, and today we feel more strongly thize with. Also, intriguingly, a some‐ ings, about how “applied” ethnomusi‐ than ever that it should. The know‐ what refined and decanted resonance of cology can really be, to what extent ledge it produces is, by its very nature, what was more positive about the should it be, and in what areas its ap‐ disruptive of all forms of accepted wis‐ “1968 spirit” was definitely there. To plication might exert more impact. I dom. So, actually, one question coming be sure, public intellectuals of those was reminded here of what Bertrand up at this point is why has it not had days long past, such as Erving Russell once wrote: “I do not believe more impact already. To mention one Goffman, Ronald David Laing, and that we can decide what sort of con‐ thing, even within the relatively small Ivan Illich would have felt quite duct is right or wrong except by refer‐ territory of musical scholarship, it has comfortable among us in Limerick. It ence to its probable consequences”. A not had impact on the fundamental also came to my mind how the old way of saying that without careful con‐ narratives of Western music history. tenet of classical social science, formu‐ sideration of possible results, not neces‐ And in the larger scenario of the con‐ lated by Max Weber, that the search sarily all positive, any course of action temporary music scene, “world music”, for knowledge, indeed the production of may become blind “actionism”, rather as we know it, does not appear to have it, should take place in airtight separa‐ than well-focused “activism”. A further grown out of ethnomusicological prac‐ tion from value judgements question which, so far as I recall, did

Bulletin of the ICTM Vol. 130 — January 2016 — Page 33 REPORTS tice—or it would be quite a different substantial event. There were more RILM Music Encyclopedias thing. than fifty ESEM papers, plus the invit‐ by Tina Frühauf, ed “John Blacking Lecture” given by As I go on musing on all that, I realize Répertoire International Mícheál O Súilleabháin, founder of the the Forum gave me an even more acute de Littérature Musicale Irish World Academy of Music and and painful perception than I had be‐ (RILM) Dance. O Súilleabháin touched upon, fore—if that is possible—of what a among other things, one form of acti‐ RILM has been messy place the world really is. Vol‐ vism ethnomusicology has largely over‐ expanding. In December 2015 RILM taire once wrote that, sooner or later, looked: convincing the world of music launched the first of a series of new we shall all have to leave it—just as that the Western tradition deserves to products: RILM Music Encyclopedias, messy as we found it! Obviously most be studied in relation to its place in the a full-text compilation of 41 seminal ethnomusicologists feel otherwise. Their wider context of world musics—some‐ contributions during this event show titles published from 1775 to the pre‐ thing music historians are rather sent, the majority of which are not that we not only progressively discover reluctant to do. available anywhere else online. RILM new ways of gaining knowledge, we Music Encyclopedias comprises nearly discover new forms of knowledge as I hope readers of this report will not 80,000 pages with approximately well, and also new strategies for think I lost my mind if, as a last re‐ putting knowledge to good use. mark, I mention mathematician Georg 165,000 entries, providing comprehen‐ sive coverage of the most important Cantor, who in the late nineteenth cen‐ disciplines, fields, and subject areas, Conclusion tury developed the theory of transfinite including popular music, opera, quantities. He proved that “infinities” The idea of joint conferences has been instruments, blues, gospel, world music, successfully practised many times. This (like we find in the natural numbers, rational numbers, etc.) are not equal. recorded sound, and women composers. Forum brought about a variant, as it Its contents span multiple countries, Some of them are more “infinite” than was not simply getting together two cultures, and languages (including others. I would like to use that as a societies but, rather, a select represen‐ English, German, French, Italian, metaphor, to suggest that each one of tation of both. The idea of overlapping Dutch, and Greek) and it is designed as conferences, on the contrary, as we had the associations that came together in Limerick has, in and of itself, infinite an extensive global resource that meets it this time with ESEM, probably de‐ the teaching, learning, and research growth potential. But when they come serves more testing. Overlapping does needs of the international music com‐ together, each of their idiosyncratic present the advantage of vicinity, with‐ munity. It is the world’s only cross‐ “infinities” gives substance to another out diluting the idiosyncratic atmos‐ searchable collection of music encyclo‐ phere each scholarly society develops. sort of “infinity” which is of a much higher order. That is why my personal pedias. RILM Music Encyclopedias is It is intriguing indeed that, although available via EBSCOhost. the three major ethnomusicological wish, one I sensed to be widely shared, associations which came together in is that this Forum should not remain a For the ethnomusicologist RILM Music Limerick share part of their member‐ one-off event. Encyclopedias holds a number of trea‐ ship, the atmosphere they generate sures, reflecting the diversity of the remains distinctive—probably a result product overall. It contains most of the of their history. On Wednesday 6 Sep‐ updated second edition of The Garland tember, the day when the SEM/ICTM Encyclopedia of World Music, and the Forum overlapped with ESEM, a second edition of The Concise Garland smooth transition into a European am‐ Encyclopedia of World Music, which, bience took place, shifting the discus‐ due to its decided emphasis on Asian sion towards a different theme, and yet musical traditions, has complementary in a way, an extension to that of the content. There are reference works Forum: “Making a Difference: Music, highly valuable for those who focus on Dance and the Individual”. It was too musical traditions in the United States, bad that many ICTM and SEM mem‐ including the Encyclopedia of Ameri‐ bers could not stay on for this other can Gospel Music, which covers this

Bulletin of the ICTM Vol. 130 — January 2016 — Page 34 REPORTS topic in its entirety from its historical For further details on the full title list titles that should be added in future foundations in post-Colonial America visit www.rilm.org/encyclopedias. updates. You participation can shape to today; this title is the definitive the future of the product, ensuring that Searching the full title list can unearth work on the subject and fills a gap in a it is a highly valuable tool for your unforeseen information, impossible to field that has had only sporadic re‐ research. We truly hope that all of you find in print versions, which are only ference documentation. The Encyclo‐ will be part of this effort. selectively indexed. One example is pedia of the Blues is of similar value; research on a topic as broad as blues often gets lumped together with “Mozart and the world”. With what jazz, folk, or gospel, and it is rare to countries has Mozart been associated see it stand on its own as an encyclo‐ and in what way? The Advanced pedic subject, and this title clearly fills Search screen of RILM Music Encyclo‐ a gap by offering multifaceted coverage pedias offers a selection by Entry Type in one place. Another highlight is (that is Subject Entry, Name Entry, Eileen Southern’s Biographical Dictio‐ Geographic Entry, Work Entry, and nary of Afro-American and African Front/Back Matter). Now, imagine Musicians, which is the first single yourself doing a preliminary search, comprehensive volume of its kind; its entering Mozart into the keyword coverage is not limited to the United search box, and narrowing it down by States and Africa, but also considers Geographic Entry in order to find musicians from Canada, South Ameri‐ information on your research topic. ca, and Europe. For those whose re‐ You will find the entry “Middle East”, search is concerned with specific na‐ written by Jane Prendergast for the tional contexts, the Historical Dictio‐ Encyclopedia of Music in the 20th nary of the Music and Musicians of Century (2013), and you will learn that Finland provides a rare feat. The “Fairuz had a wide repertoire including breadth and quantity of the entries Mozart, flamenco, Balkan folklore and cannot be matched by more general Latin American rumbas.” After this sources. There is very little overlap start, your appetite for “Mozart” and with other encyclopedias, with the ex‐ the “Middle East” has been awakened, ception of a few composer entries and and you proceed to further searches on the Finnish musical elements discussed this particularly topic—you will find in Grove’s Finland article. The second six more entries and you will find more edition of Wolfgang Suppan’s once you narrow your search down to Steirisches Musiklexikon contains specific countries. “Mozart” and “Asia” information not found anywhere else holds 27 results, many of which from (e.g., information on Styria’s dynastic encyclopedias commonly not consulted musical families) and provides solid by ethnomusicologists, but still highly entries on the music life in individual valuable as this search reveals (e.g. the cities. For researchers interested in po‐ Dizionario e bibliografia della musica of pular culture, Das Gothic- und Dark 1836 and A Dictionary of Music and Wave-Lexikon proves the ultimate Musicians [A.D. 1450–1889] of 1895). source on Goth. Goth music and cul‐ ture are commonly buried in reference In the years to come, the RILM Music works on youth culture and counter‐ Encyclopedias will continue to grow. culture; this was the first German RILM will add new titles annually so encyclopedia to cover the subject in that the collection encompasses a rich depth, considering performers, styles, diversity of lexicographical efforts in and concepts, and remains the only music. With that in mind, we welcome one. suggestions from ICTM members about

Bulletin of the ICTM Vol. 130 — January 2016 — Page 35 CALENDAR OF EVENTS Calendar of Events

ICTM ★ 31 Jul-6 Aug 2016: 4th Symposium of the ICTM Study Group on Performing Arts of Southeast Asia ★ 9-13 Mar 2016: 21st Symposium of the ICTM Study Location: Penang, Malaysia Group on Historical Sources of Traditional Music. Location: Paris, France ★ 25-27 Aug 2016: 5th Symposium of the ICTM Study Group on Musics of East Asia ★ 4-7 Apr 2016: Annual Conference of the British Location: Taipei, Taiwan Forum for Ethnomusicology (UK ICTM NC) Location: Chatham, Kent, UK ★ 25-27 Aug 2016: 1st Symposium of the ICTM Study Group on Audiovisual Ethnomusicology ★ 21-23 Apr 2016: 5th Symposium of the ICTM Study Location: Ljubljana, Slovenia Group on Music of the Turkic-speaking World Location: Almaty, Kazakhstan ★ 5-9 Oct 2016: 5th Symposium of the ICTM Study Group on Applied Ethnomusicology ★ 2-8 May 2016: 5th Symposium of the ICTM Study Location: Cape Breton, Canada Group on Music and Dance in Southeastern Europe Location: Blagoevgrad, Bulgaria ★ 13-15 Oct 2016: 1st Symposium of the ICTM Study Group on Musics of the Slavic World ★ 17-20 May 2016: 13th Symposium of the ICTM Location: Ljubljana, Slovenia Study Group on Iconography of the Performing Arts Location: Venice, Italy ★ 20-23 Oct 2016: 24th ICTM Colloquium Location: Shanghai, China ★ 19-21 May 2016: 9th Symposium of the ICTM Study Group on Music and Dance of Oceania ★ 27-31 Oct 2016: 14th Symposium of the ICTM Location: Guam, USA Study Group on Iconography of the Performing Arts Location: Xi’An, China ★ 21-26 Jun 2016: 1st Joint Symposium of the ICTM Study Group on Mediterranean Music Studies and the Related organizations International Musicological Society Location: Naples, Italy ★ 22-26 Jun 2016: 6th International Conference of Dance Research Forum Ireland ★ 4-7 Jul 2016: 4th Symposium of the ICTM Study Location: New York, USA Group on Multipart Music Location: Singapore ★ 20-25 Sep 2016: 32nd European Seminar in Ethnomusicology ★ 4-10 Jul 2016: 9th Symposium of the ICTM Study Location: Sardinia, Italy Group on Music and Minorities Location: Britanny, France

★ 9-16 Jul 2016: 29th Symposium of the ICTM Study Group on Ethnochoreology Location: Retzhof Castle near Graz, Austria

★ 13-16 Jul 2016: 9th Symposium of the ICTM Study Group on Music and Gender Location: Bern, Switzerland

Bulletin of the ICTM Vol. 130 — January 2016 — Page 36 PUBLICATIONS Featured Publications by ICTM Members

Andalucía en la Música: Catalogue Raisonné of the Die Lieder der Richtigen Expresión de comunidad, Balinese Palm-Leaf Manu‐ Menschen: Musikalische construcción de identidad scripts with Music Notation Kulturanthropologie der Francisco José García Gallardo and Tilman Seebass, ed. Munich: Henle, indigenen Bevölkerung im Herminia Arredondo Pérez, eds. 2015. Hardcover, 309 pp. ISBN Ucayali-Tal Sevilla: Centro de Estudios Andaluces, 9783873281554. 198 USD. Purchase. Bernd Brabec de Mori. Innsbruck: 2014. Paperback, 248 pp., colour This is the first Helbling Academic Books, 2015. photos. ISBN 9788494233203. In ethnomusicological Paperback, 781 pp., DVD. ISBN Spanish. 15 EUR. Purchase. publication by 9783990353707. 98 EUR. Purchase. This book introduces Répertoire This book about us to the different International des vocal music, its musical cultures that Sources Musicales history and exist in Andalusia, in (RISM), edited by anthropological a variety of times and former ICTM Exec‐ implication unites in different contexts, utive Board member Tilman Seebass. broad musical to reveal what kind of The volume is dedicated to the palm‐ ethnography from the identity is expressed leaf manuscripts (lontars) from Bali. Yine, Asháninka, Amin Waki, Shipibo‐ in Andalusian music. Music lontars are described in this Konibo, Kakataibo, Iskobakebo, and catalogue from collections in Indonesia, This work intends to approach the Kukama-Kukamiria indigenous groups the Netherlands, Switzerland, and the ways in which Andalusian culture is of the Peruvian rainforest, featuring United States. seen and has built itself through music detailed transcriptions, translations and and how it is interpreted and repre‐ audio and video material (on the in‐ sents “the Andalusian” beyond its bor‐ cluded DVD), with an anthropological ders: in the opera, the romanticism and and ethnohistorical analysis of the modernism, the Carnival music of mentioned people and their music. Cádiz, the music of the Andalusian churches and cathedrals since the Mid‐ dle Ages, Flamenco, música cofrade of the twentieth century, la copla, the Andalusian cadence, and Andalusian rock.

Bulletin of the ICTM Vol. 130 — January 2016 — Page 37 PUBLICATIONS

Os Ritmos da Roda: Sudamérica y sus Mundos The Fighting Art of Pencak Tradição e Transformação Audibles: Cosmologías y Silat and its Music no Samba de Roda Prácticas Sonoras de los Uwe U. Paetzold and Paul H. Mason, Nina Graeff. Salvador: EDUFBA, Pueblos Indígenas eds. Koninklijke Brill NV, 2016. Hardback, 450 pp. ISBN 2015. Paperback, 164 pp., trans. ISBN Bernd Brabec de Mori, Matthias Lewy, 9789004308749. 135 EUR. Purchase. 9788523214371. In Portuguese. 28 and Miguel A. García, eds. Berlin: BRL. To purchase, contact the Ibero-Amerikanisches Institut Fighting arts have publisher. Preußischer Kulturbesitz and Gebr. their own beauty, This volume deals Mann Verlag, 2015. Paperback, 272 pp. internal philosophy, with one of the oldest ISBN 9783786127574. 34 EUR. and are connected to Afro‐Brazilian Purchase. cultural worlds in meaningful and traditions, the samba Estudios Indiana Vol. important ways. de roda (circle 8 unites essays Combining approach‐ samba) from concerned with es from ethnomusicology, ethnochoreo‐ Recôncavo da Bahia, various aspects of logy, performance theory and anthropo‐ proclaimed as “Oral sound perception and logy, the distinguishing feature of this and Intangible Cultural Heritage of sound production book is that it highlights the centrality Humanity” by UNESCO in 2005. among indigenous of the pluripotent art form of pencak people in South America, with a Based on two fieldwork trips in 2010, silat among Southeast Asian arts and foreword by Anthony Seeger. By the book is the result of the author’s its importance to a network of analysing sonic or musical ethnographic ethnomusicological master thesis. While traditional and modern performing arts material, contributors discuss anthr‐ dedicating also a sub-chapter for dance in Southeast Asia and beyond. analysis, it focuses on musical and opological issues like ontologies, pers‐ especially rhythmic analysis of audio‐ pectivism, and animism, as well as visual recordings from different sources interactions between humans and and epochs. Therefore, it brings up non-humans, or the construction of the theories and analytical methods for the Other in Lowland South America, the study of African music still barely Andes, and Mesoamerica. disseminated within Afro-Brazilian music research.

Bulletin of the ICTM Vol. 130 — January 2016 — Page 38 GENERAL INFORMATION ICTM World Network

The ICTM World Network is composed of individuals (Liaison Officers) and representatives of organizations (National and Regional Committees). All act as links between the Council and the community of individuals and organizations involved with traditional music and dance in their country or region.

Afghanistan Botswana Cuba Ahmad Naser Sarmast Tomeletso Sereetsi Laura Delia Vilar Álvarez Liaison Officer Liaison Officer Liaison Officer

Albania Brazil Cyprus Ardian Ahmedaja Deise Lucy Montardo Nefen Michaelides Liaison Officer Chair of National Committee Liaison Officer

Algeria Bulgaria Czech Republic Maya Saidani Lozanka Peycheva Zuzana Jurková Liaison Officer Chair of National Committee Liaison Officer

American Samoa Cameroon Denmark Kuki Motumotu Tuiasosopo Kisito Essele Eva Fock Liaison Officer Liaison Officer Chair of National Committee

Argentina Canada Ecuador Silvia Citro Judith Klassen María Gabriela López Yánez Liaison Officer Chair of National Committee Liaison Officer

Australia and New Cape Verde Egypt Zealand Mário Lúcio de Sousa Kristina Nelson Henry Johnson Liaison Officer Liaison Officer Chair of Regional Committee Chile Estonia Austria Jacob Rekedal Žanna Pärtlas Bernd Brabec de Mori Liaison Officer Liaison Officer Chair of National Committee China Ethiopia Azerbaijan Xiao Mei Timkehet Teffera Sanubar Bagirova Chair of National Committee Liaison Officer Liaison Officer Costa Rica Finland Bangladesh Susan Campos Fonseca Mikko Vanhasalo Sayeem Rana Liaison Officer Chair of National Committee Liaison Officer Côte d’Ivoire France Belgium Sié Hien Susanne Fürniss Anne Caufriez Liaison Officer Chair of National Committee Liaison Officer Croatia Georgia Bosnia and Tvrtko Zebec Joseph Jordania Herzegovina Chair of National Committee Liaison Officer Jasmina Talam Chair of National Committee Bulletin of the ICTM Vol. 130 — January 2016 — Page 39 GENERAL INFORMATION

Germany Italy Malawi Dorit Klebe Serena Facci Robert Chanunkha Chair of National Committee Chair of National Committee Liaison Officer

Ghana Japan Malaysia Daniel Avorgbedor Tsukahara Yasuko Tan Sooi-Beng Liaison Officer Chair of National Committee Liaison Officer

Greece Kazakhstan Malta Irene Loutzaki Saule Utegalieva Philip Ciantar Liaison Officer Liaison Officer Liaison Officer

Guam & Northern Kenya Mexico Marianas Charles Nyakiti Orawo Carlos Ruiz Rodriguez Michael Clement Liaison Officer Liaison Officer Liaison Officer Republic of Korea Mongolia Guatemala Sheen Dae-Cheol Otgonbayar Chuluunbaatar Matthias Stöckli Chair of National Committee Liaison Officer Liaison Officer Kuwait Montenegro Hungary Lisa Urkevich Zlata Marjanović János Sipos Liaison Officer Liaison Officer Chair of National Committee Kyrgyzstan Morocco Iceland Munira Chudoba Lhoussain Simour Guðrún Ingimundardóttir Liaison Officer Liaison Officer Liaison Officer Laos Mozambique India Bountheng Souksavatd Luka Mukhavele Shubha Chaudhuri Liaison Officer Liaison Officer Chair of National Committee Latvia The Netherlands Indonesia Anda Beitāne Evert Bisschop Boele Made Mantle Hood Liaison Officer Liaison Officer Liaison Officer Lebanon Nigeria Iran Nidaa Abou Mrad Richard C. Okafor Mohammad Reza Azadehfar Liaison Officer Liaison Officer Liaison Officer Lithuania Norway Iraq Rimantas Sliužinskas Bjørn Aksdal Scheherazade Q. Hassan Chair of National Committee Chair of National Committee Liaison Officer Macedonia Oman Ireland (FYROM) Nasser Al-Taee Daithí Kearney Velika Stojkova Serafimovska Liaison Officer Chair of National Committee Chair of National Committee Palau Israel Madagascar Simeon Adelbai Essica Marks Mireille Rakotomalala Liaison Officer Liaison Officer Liaison Officer

Bulletin of the ICTM Vol. 130 — January 2016 — Page 40 GENERAL INFORMATION

Papua New Guinea Spain Uganda Naomi Faik-Simet Francisco J. García Gallardo James Isabirye Liaison Officer Chair of National Committee Chair of National Committee

Peru Sri Lanka Ukraine Efraín Rozas Lasanthi Manaranjanie Olha Kolomyyets Liaison Officer Kalinga Dona Liaison Officer Liaison Officer Philippines United Arab José Buenconsejo Sudan Emirates Liaison Officer Mohammed Adam Sulaiman Virginia L. Danielson Abo-Albashar Liaison Officer Poland Liaison Officer Ewa Dahlig United Kingdom Chair of National Committee Swaziland Keith Howard Cara Stacey Chair of National Committee Portugal Liaison Officer Salwa El-Shawan Castelo- United States of Branco Sweden America Chair of National Committee Ingrid Åkesson Beverley Diamond Chair of National Committee Chair of National Committee Puerto Rico Mareia Quintero Rivera Switzerland Uruguay Liaison Officer Marc-Antoine Camp Marita Fornaro Chair of National Committee Liaison Officer Romania Constantin Secară Taiwan Uzbekistan Liaison Officer Tsai Tsung-Te Alexander Djumaev Chair of Regional Committee Liaison Officer Russia Olga A. Pashina Tajikistan Vanuatu Liaison Officer Faroghat Azizi Monika Stern Liaison Officer Liaison Officer Serbia Danka Lajić-Mihajlović Tanzania Venezuela Chair of National Committee Imani Sanga Katrin Lengwinat Liaison Officer Liaison Officer Singapore Joseph Peters Thailand Vietnam Liaison Officer Bussakorn Binson Phạm Minh Hương Liaison Officer Chair of National Committee Slovakia Tunisia Bernard Garaj Yemen Chair of National Committee Anas Ghrab Jean Lambert Liaison Officer Liaison Officer Slovenia Turkey Mojca Kovačič Zambia Chair of National Committee Arzu Öztürkmen Mwesa I. Mapoma Chair of National Committee Liaison Officer South Africa Alvin Petersen Turkmenistan Zimbabwe Liaison Officer Shakhym Gullyev Jerry Rutsate Liaison Officer Liaison Officer

Bulletin of the ICTM Vol. 130 — January 2016 — Page 41 GENERAL INFORMATION Study Groups

ICTM Study Groups are formed by ICTM members sharing a common area of scholarly study. Their general provisions are defined by the Memorandum on Study Groups, and may be further governed by their own bylaws.

Study Groups organize symposia and meetings, and publish their own works.

African Musics Music and Dance in Southeastern Europe Chair: Patricia A. Opondo Chair: Velika Stojkova Serafimovska

Applied Ethnomusicology Music and Dance of Oceania Chair: Klisala Harrison Chair: Brian Diettrich

Audiovisual Ethnomusicology Music and Gender Chair: Leonardo D’Amico Chair: Barbara L. Hampton

Ethnochoreology Music and Minorities Chair: Catherine E. Foley Chair: Ursula Hemetek

Historical Sources of Traditional Music Music in the Arab World Co-Chairs: Susanne Ziegler & Ingrid Åkesson Chair: Scheherazade Hassan

Iconography of the Performing Arts Music of the Turkic-speaking World Chair: Zdravko Blažeković Chair: Razia Sultanova

Maqām Musical Instruments Chair: Alexander Djumaev Chair: Gisa Jähnichen

Mediterranean Music Studies Musics of East Asia Chair: Ruth Davis Chair: Terauchi Naoko

Multipart Music Musics of the Slavic World Chair: Ardian Ahmedaja Chair: Elena Shishkina

Music Archaeology Performing Arts of Southeast Asia Chair: Arnd Adje Both Chair: Patricia Matusky

Bulletin of the ICTM Vol. 130 — January 2016 — Page 42 GENERAL INFORMATION Executive Board

The Executive Board consists of a President, two Vice Presidents, and nine Ordinary Members elected by the Council’s membership. The Executive Board may additionally co-opt up to three Ordinary Members.

Salwa El-Shawan Castelo-Branco Don Niles Razia Sultanova Portugal Papua New Guinea UK President (2013-2017) Vice President (2013-2017) Vice President (2015-2019)

Samuel Araújo, Jr. Naila Ceribašić Catherine E. Foley Marie Agatha Ozah Brazil Croatia Ireland Nigeria/USA EB Member (2011-2017) EB Member (2011-2017) EB Member (2015-2017) EB Member (2015-2017)

Jonathan P.J. Stock Kati Szego Tan Sooi Beng Terada Yoshitaka UK/Ireland Canada Malaysia (寺⽥ 吉孝) EB Member (2013-2019) EB Member (2011-2017) EB Member (2015-2021) Japan EB Member (2013-2019)

Trần Quang Hải J. Lawrence Witzleben Xiao Mei (萧梅) France USA China EB Member (2011-2017) EB Member (2015-2021) EB Member (2013-2019)

Bulletin of the ICTM Vol. 130 — January 2016 — Page 43 GENERAL INFORMATION Secretariat

The Secretariat is the body responsible for the day-to-day operations of ICTM, and is the main channel of communication between the Council’s Contact information governing body—the Executive Board—and its members, subscribers, International Council for partners, and affiliates. Traditional Music The Secretariat comprises the Secretary General and the Executive Assistant, who are both appointed by the Executive Board for an initial Department of Musicology period of four years. The current Secretariat has been based at the Faculty of Arts University of Ljubljana, Slovenia, since July 2011, with Svanibor Pettan as University of Ljubljana Secretary General and Carlos Yoder as Executive Assistant. Aškerčeva 2 1000 Ljubljana Slovenia

Phone: +1 410 501 5559 E-mail: [email protected] Skype: ictmslovenia Website: www.ictmusic.org Facebook: www.facebook.com/ictmusic Flickr group: Svanibor Pettan Carlos Yoder www.flickr.com/groups/ictmusic Secretary General Executive Assistant Slovenia Argentina/Slovenia

The University of Ljubljana, host institution of the current ICTM Secretariat.

Bulletin of the ICTM Vol. 130 — January 2016 — Page 44 GENERAL INFORMATION Membership Information

The International Council for Traditional Music is a (***) Available only to applicants retired from full time scholarly organization which aims to further the study, work who have been members of the ICTM for at least five practice, documentation, preservation, and dissemination of years. traditional music and dance of all countries. To these ends the Council organizes World Conferences, Symposia, and Memberships for organizations Colloquia, and publishes the Yearbook for Traditional Corporate Memberships are available to institutions, Music and the online Bulletin of the ICTM. libraries, regional scholarly societies, radio-television As a non-governmental organization in formal consultative organizations, and other corporate bodies. Corporate relations with UNESCO and by means of its wide Members are able to choose the number of individuals they international representation and the activities of its Study would like to attach to their Corporate Membership (a Groups, the International Council for Traditional Music minimum of four). These “Corporate Related Members” acts as a bond among peoples of different cultures and thus enjoy the same benefits as full Ordinary Members, i.e., contributes to the peace of humankind. participation in the Council’s activities, voting in elections, receipt of publications, and access premium website Membership content. All ICTM memberships run from 1 January to 31 Decem‐ Institutional Subscriptions to the Yearbook for ber, except for Life and Joint Life Memberships (see below). Traditional Music are available in electronic-only, print-only, and print+electronic formats. Please visit this Members in good standing are entitled to: page for more information. 1. Participate in the activities of the Council (such as presenting a paper at a World Conference). Supporting memberships 2. Receive the Council’s publications. All members who are able to sponsor individuals or institutions in a soft-currency country are urged do so by 3. Obtain access to premium website content (such as the paying an additional fee of EUR 30.00 for each sponsored ICTM Online Directory). indivdidual or institution. If the recipient is not named, 4. Vote in ICTM elections. ICTM will award the supported membership to one or more individuals or institutions in such countries. Memberships for individuals

✴ Ordinary Membership: EUR 60.00 Payment methods

✴ Joint Ordinary Membership (*): EUR 90.00 Remittance payable to the ICTM Secretariat is preferred in ✴ Student Membership (**): EUR 40.00 euros via Electronic Funds Transfer (aka bank transfer, giro, wire transfer, or SEPA/UPO order). Other currencies ✴ Emeritus Membership (***): EUR 40.00 and payment methods are accepted (major credit and debit ✴ Life Membership: EUR 1,200.00 cards, PayPal, cheques), but additional charges may apply. ✴ Joint Life Membership (*): EUR 1,500.00 For any questions regarding memberships, please write to (*) Joint Memberships are available for spouses who both [email protected]. wish to join. They receive only one set of ICTM publications, but otherwise enjoy all the other privileges and responsibilities of Ordinary Members.

(**) Individuals may take advantage of Student Membership rates for a maximum of five years. Proof of student status will be required.

Bulletin of the ICTM Vol. 130 — January 2016 — Page 45 GENERAL INFORMATION Publications by ICTM

Yearbook for Traditional Music Bulletin of the ICTM The Yearbook for Traditional Music is a refereed scholarly The Bulletin of the International Council for Traditional journal which carries essays, reviews, and reports in the area Music carries news from the world of traditional music and of traditional music and dance research. dance, a calendar of upcoming events, and reports from ICTM Study Groups and ICTM National and Regional ISSN (Print): 0740-1558 Representatives. ISSN (Online): 2304-3857 ISSN (Online): 2304-4039 General Editor: Kati Szego. Editor: Carlos Yoder. The Yearbook was established in 1949 as the Journal of the International Folk Music Council. It is published in English The Bulletin of the ICTM was established in 1948 as the every November. All ICTM members and institutional Bulletin of the International Folk Music Council. Until its subscribers in good standing receive a copy of the Yearbook April 2011 issue (Vol. 118), the Bulletin was printed and via priority air mail. posted to all members and subscribers. Starting with its October 2011 issue (Vol. 119), the Bulletin became an The 2015 issue the Yearbook (Vol. 47), was published in electronic-only publication. November 2015. The Bulletin of the ICTM is made available through the ICTM’s website in January, April, and October each year. It can be downloaded free of charge, and all are encouraged to redistribute it according to the Creative Commons BY-NC-SA 3.0 Unported License, which protects it.

For more information about submissions, and how to access or purchase back issues, please visit the Bulletin’s home page. The full collection of past Bulletins can be browsed and downloaded from this page.

Online Membership Directory The Online Membership Directory is a rich, comprehensive, and secure repository of information about the Council’s constituency, and a powerful research tool for members. It is available to ICTM members in good standing at the following address: www.ictmusic.org/online-membership-directory.

For more information about submissions to the Yearbook, and how to get back issues (both in print and electronic form), please visit the Yearbook’s home page.

Bulletin of the ICTM Vol. 130 — January 2016 — Page 46