SEM Newsletter Published by the Society for Ethnomusicology Volume 38 • Number 4 • September 2004 SEM Soundbyte Rayna Green, 2004 By Timothy Rice, SEM President Seeger Lecturer By Tara Browner, University of How is SEM doing on diversity? California, Los Angeles At the annual meeting in Tucson, the President’s Roundtable on Friday after- Rayna Green, curator of the Ameri- noon is entitled “Diverse Voices.” Se- can Indian Program for the National lected panelists and the audience will Museum of American History at the be invited to raise questions about Smithsonian Institution, will present the whether and to what extent diverse Seeger lecture at the 49th annual SEM points of view are being heard at our meeting in Tucson. Dr. Green, a noted annual meetings and in our Journal, and folklorist, writer, and filmmaker, is prob- whether the Society’s membership is as ably most familiar to SEM members as diverse as the cultures, societies, indi- the producer of the groundbreaking viduals, and groups we study. In addi- Smithsonian Folkways recorded collec- tion, I want us to ask such questions as, tions, “Heartbeat: Voices of First Na- what can SEM do, as an institution, to tions Women” (1995), and “Heartbeat make itself more welcoming to diverse II” (1998). But she has also published points of view? What can SEM members widely on aspects of American folklore, do (and what have they been doing) to material culture, foodways, Native develop a diverse pool of applicants for American material culture, performing graduate and undergraduate study and identity, and Native American represen- for jobs in and outside the academy? tations and identity, greatly contribut- Born in Dallas, Texas, on July 18, What can be done to develop hiring ing to our understanding of the history 1942, Green is of Oklahoma Cherokee philosophies and institutional cultures and creative achievements of Native and German Jewish heritage, and while that seek “diverse voices”? What is North Americans. Continued on page 5 being done to develop and encourage local scholars and scholarship and make their achievements known to the mem- bership of SEM? th My sense is that these questions are SEM 50 Anniversary able to present some special panels matters of some urgency for SEM and Meeting: Atlanta 2005 with invited senior speakers. for many, and perhaps most, of our We are also planning some enjoy- members. The Council last year sup- By Bruno Nettl, , 2005 Program able and inspiring entertainment, in- ported devoting significant time at this Committee co-chair cluding a program both humorous and year’s meeting to questions of this sort, sentimental that should consist of songs, and the formation of a standing commit- The Program Committee for the 2005 poems, skits, stories, reminiscences meeting of SEM, in Atlanta (November about the “early days” (broadly de- tee called the “Crossroads Project on th Continued on page 3 17-20), which will celebrate the 50 fined), how they really were, how they anniversary of the founding of SEM, is now seem to us old-timers, and how busily at work planning some special younger colleagues conceive of them. In this issue... events to celebrate and commemorate Everything and anything from the 1 SEM Soundbyte this event and the early years of our Woody Guthrie mode to Blues Broth- 1 Rayna Green, 2004 Seeger Lecturer Society. The formal listing of themes ers, Cheech and Chong, and beyond. 1 2005 SEM 50th Anniversary Meeting will be published in the next Newslet- Let your imaginations run wild, and 4 Call for Proposals ter, but the history of SEM,and of ethno- send your ideas to me. There’s no 5 People & Places in Ethnomusicology musicology, and related subjects will be deadline, but I’d love to hear from you 9 Grants & Fellowships among them, and the committee urges soon. Please contact: Bruno Nettl, School 10SEM 2004 Conference Program members to be prepared to submit of Music, University of Illinois, 1114 23Society for Asian Music interesting abstracts and brilliant panel West Nevada, Urbana, IL 61801 USA; 23SEM Prizes proposals. We hope additionally to be (Email) [email protected]. 24Conferences Calendar 2 SEM Newsletter

The Society for Ethnomusicology and SEM Newsletter Guidelines the SEM Newsletter Guidelines for Contributors Editor, SEM Newsletter Lee, Tong Soon Emory University •Send articles to the editor by e-mail or on a 3.5" disk with a paper copy. Department of Music Microsoft Word is preferable, but other Macintosh or IBM-compatible software 1804 North Decatur Road Atlanta, GA 30322, USA is acceptable. (Tel) 404.712.9481 (Fax) 404.727.0074 • Identify the software you use. (Email) [email protected] Please send faxes or paper copies without a disk only as a last resort. (Website) www.emory.edu/Music •

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ISSN 0036-1291 SEM Newsletter 3

SEM and Diversity extent are we part of the problem? can SEM and its members contribute to What are we doing and what should we its solution? What can and are we doing Continued from page 1 be doing to help solve it? about it in our local institutions and Diversity, Difference, and Underrepre- Second, on gender the signals are how might we influence practices in sentation” testifies to the importance of more mixed. Statistically, it seems that colleges and universities hiring these questions at this moment in our female ethnomusicologists in academia ethnomusicologists for the first time? history. are doing reasonably well once they get Third, an area of diversity that was I hope that at least two things might in. However, as Deborah Wong writes rather finessed in the survey was what come from the discussion in Tucson. in her summary, “Disturbingly, a slightly might be called “job diversity.” All the First, we will learn about “best prac- greater proportion of women (48.3%, questions about employment valorized tices” that have been effective in some vs. 41.2% of all men) don’t teach at all.” university teaching and all other forms institutions and work environments and Do female ethnomusicologists run into of employment were an unmarked cat- that we might apply in our own. Sec- systemic barriers in their training, job egory lumped with students. My sense ond, despite what I assume are our applications, and the tenure process is that this was an artifact of this particu- good intentions, has SEM as an institu- and give up on their ambitions to teach? lar survey, and it can be corrected easily tion remained insensitive to certain is- Or are other factors at work? The data in future surveys. It certainly doesn’t sues of diversity and, if so, what can we don’t speak to these questions, but the reflect the broad range of discussions do to correct that? In other words, I roundtable might. Anecdotal evidence and activities in SEM concerning “pub- hope it will be a “working session” from from our program at UCLA suggests lic sector” work, K-12 education, and so which we will take away “action items” that, in fact, it may be systemic. When forth, but it may be a symptom of a form for ourselves as individuals operating in we looked at the job placements of our of discrimination that we need to work society and in our Society and for SEM’s Ph.D.’s who graduated during the last to correct. governing bodies (the Council, Board, ten years, we were horrified to note that Finally, while the survey suggests and Business office) and operating com- the list of those holding tenure-track that 26% of our members are foreign to mittees, sections, and interest groups. positions was virtually all male. Nearly the U.S., it is silent on their reception The roundtable will also give us an all of the students with non-tenure- and treatment in SEM. I hope the opportunity to follow up qualitatively track or postdoctoral appointments were roundtable will take up this issue with on some of the quantitative data that women. Since there is no reason to stories and anecdotes that will allow us emerged from our 2002 Membership believe that that there is a difference in to improve in this area, if there are Survey, a summary of which Deborah quality between our male and female problems. Wong, Board Secretary, distributed at graduates, these data seem to indicate a I leave you with these preliminary our annual meeting last year. The systemic problem that must be called to thoughts and the hope that you will survey, by the selection of its questions, the attention of the profession as a contribute to the “diverse voices” at the is suggestive of some of the issues whole. If it is a systemic problem, how President’s Roundtable in Tucson. related to diversity that concern us: religion, sexual orientation, nationality, The Sexualities Taskforce of the Society for Ethnomusicology ethnicity, students, gender, and em- ployment type. I can’t address all of these concerns here (not to mention Invites You to Join Our Events at SEM Tucson 2004! others that we might attend to), but let me briefly mention four of them. Contact: First, the ethnic make-up of the Amy Corin Society is rather far from the ethnic [email protected] make-up of the U.S., and this is trou- or bling, I think. It is difficult to interpret Eileen M. Hayes our data because respondents could [email protected] answer in more than one category, but by my count it appears that only about Look for the link to our website at http://www.ethnomusicology.org 10% of our membership falls outside the “non-Hispanic white” category of PLEASE JOIN US FOR OUR OPEN BUSINESS MEETING DURING SEM 2004 the 2000 Census, while the U.S. popu- lation in this category appeared to be Sexualities Taskforce membership is open to all members of the Society. about 24%. The gap is particularly large among African Americans and Hispan- We exist to provide a space where scholars may find likeminded others with whom ics/Latinos/Chicanos. The U.S. popula- to engage in ongoing scholarship and discussion in areas of gender and sexuality in tion in 2002 was 9.6% “Black” but SEM’s music and culture and to encourage future research and scholarship in these domains. is only 2.8% African American. Hispan- ics accounted for 9.5% of the U.S. popu- We are dedicated to supporting the leadership of lesbian, gay, lation but only 1.8% of SEM. This gap bisexual, and transgendered members of the Society and to helping is almost surely indicative of a larger foster a diverse scholarly community. social problem in the U.S., but to what 4 SEM Newsletter

Call for Proposals the discourse network of modernity” We have chosen to organize it into five (Bohlman and Radano). We welcome categories of presentation, which we Music, Performance and Racial proposals for papers, presentations and are tentatively considering sessions; Imaginations—An Interdiscipli- performance from graduate students, however, the modes of presentation are nary Graduate Student Conference activists and practitioners that will fur- necessarily open for discussion and will ther interdisciplinary dialogue examin- partly depend on the proposals we March 4-5, 2005, New York University ing race and ethnicity in any and all receive. Initially the categories are: Work among disciplines such as types of performance. Some possible Theory; Applied work; Technology; performance studies, dance studies, an- themes include: Music, performance Fieldwork; Alternative modes of repre- thropology, ethnomusicology, and mu- and critical whiteness studies; Transna- sentation. sicology testify to the powerful resource tional aspects of ethnic identity; Abstracts should be a maximum of that forms of expressive culture provide Pedagogies of music/performance and 300 words and sent to (Email) in creating a space for crafting, negoti- issues of race and ethnicity; Improvisa- [email protected] by January 2, ating and resisting racialized subjectivi- tion/indetermination:afrological/ 2005. Please list “Spring Conference” in ties. Over the past decade, scholars eurological; Signifyin(g) and significa- the subject heading. Abstracts should writing about music and performance tions; Genealogies of discursive be sent as attachments using either MS have expanded the ways they engage racialization in music, dance, perfor- Word or RTF formats, and names should the issue of race and ethnicity in their mance; Music/Performance and “new be left off the attachment. Acceptance work—moving away more essentialized, ethnicities”; Music/Performance and notification will be sent beginning Feb- static conceptions to dealing with music’s ethnic majorities: dominant or norma- ruary 2, 2005 via email. Panel proposals dynamic role in marking aspects of tive racial and ethnic formations; Com- are also welcome; please send proposal racial and ethnic difference. This shift parative studies of racial formations and for panel abstract with paper abstracts. has resulted from the incorporation of racial imaginations; The inter-constitu- Questions about submissions or the changing formulations of race and tive nature of modalities of race/class/ conference should be sent to (Email) ethnicity from outside of the disciplines gender/sexuality; Music, performance [email protected]. A conference of music as well as the experiences of and alternative modernities; Music and website is forthcoming. researchers in the field. performance as interventions into the Two recent edited collections marked public discourse on race; Performance International Symposium on the presence of these new concerns for works that engage any of the above or Music and Cultural Rights: Chal- race among music scholars: Born and the general theme of conference. lenges and Prospects Hesmondhalgh’s Western Music and Its Please email proposals to Eric Usner Others (1999) and Bohlman and at (Email) [email protected] no later April 7-10, 2005, University of Pitts- Radano’s Music and the Racial Imagi- than October 15, 2004. Email submis- burgh, Pittsburgh, Pennsylvania (2nd nation (2000). The essays in these sions are preferred; however, you may Call for Paper) collections reveal how music as a dis- also send hard copies to: Performance The University of Pittsburgh has re- course and how discourse about music and Racial Imaginations Conference, c/ ceived a grant from the Ford Founda- effect the racialization of Others with- o Eric Usner, New York University, tion to host an international symposium out interrogating the simultaneous Department of Music, 24 Waverly Place, on the topic of music and cultural rights. racialization of the Western Self. In Room 265, New York, NY 10003. This symposium will examine the inter- their introduction, Bohlman and Radano section between cultural rights, the glo- challenge scholars of music and perfor- Pushing Boundaries: Extreme balization of music, and individual and mance to examine how they them- Folklore and Ethnomusicology institutional responsibilities for protect- selves are complicit in perpetuating Conference ing cultural rights. The term “cultural discursive forms of racism. rights” refers to people’s right to partici- While many have begun to heed this April 1-2, 2005, Indiana University, pate in belief systems, rites, customs, critique, this conference seeks to fur- Bloomington, Indiana and other socially maintained practices ther answer the call to examine this This conference is intended for that are rooted in a community’s his- scholarly and disciplinary complicity graduate students in folklore, ethnomu- tory. What kinds of issues are involved while broadening the considerations of sicology, and related disciplines to in discourses about music as a cultural links between race, ethnicity and per- present materials that expand the bound- right? How are these rights defined, formance—not least of all by adding aries of the conference format and the and by whom, especially in the contem- much needed concern for critical white- theoretical orientations of our respec- porary context of globalization? When ness studies to the discussion. We seek tive disciplines. Run and directed by these rights are violated, what kinds of to foster an interdisciplinary space for graduate students, the conference pro- action should we take as scholars, art- this debate and especially encourage vides an opportunity to engage in for- ists, policy makers, media personnel, those approaches that probe the inter- mal discourse with graduate students and activists? The objectives of this sections between music, performance from other universities and programs in symposium are to gain a better under- and the racial imagination—“the shift- our scholarly community. It will focus standing of music as a cultural right ing matrix of ideological constructions on providing a less intimidating envi- within the broader context of human of difference associated with body type ronment for graduate students to present rights and to delineate specific mea- and color that have emerged as part of new and forward-thinking ideas. sures to ensure the protection of cul- tural rights in the future. Continued on page 6 SEM Newsletter 5

Rayna Green ary doctorates in the humanities (Wil- “Afterword” to Te Ata, Chickasaw Story- son College and Gustavus Adolphus teller, American Treasure, (RG and John Continued from page 1 College). She is a founding member of Troutman, University of Oklahoma living as a child in Oklahoma and Texas, the Cherokee Honor Society and Press, 2002); “By the Waters of the learned traditional values and teachings Wordcraft Circle/Indigenous Writers of Minnehaha: Dance and Music, Prin- from both of her grandmothers. She the Americas, and has served as a board cesses and Pageants” in Tsianina received her B.A.(1963) and M.A. (1966) member and advisor to numerous non- Lomawaima, Brenda Child and Marga- in American Literature from Southern profits, such as the Ms. Foundation. ret Archuleta, eds. Remembering Our Methodist University, and during this Rayna Green is a prolific author, Indian School Days. (Phoenix: Heard period was also a Peace Corps Volun- whose books include The British Mu- Museum, 2000). teer in Ethiopia (1964-66). In 1973, she seum Encyclopedia of Native North Summing up the ways in which her earned her Ph.D. in American Studies America (1999), Women in American life experiences have motivated and and Folklore from Indiana University, Indian Society (1992), and Native Ameri- influenced her work, Green remarks becoming the first American Indian in can Women: A Contextual Bibliogra- that, “My Cherokee family moved to the nation to receive a Ph.D in that field. phy (1984); she has edited That’s What Dallas in the 1920’s, coming from Lost Green taught City, Oklahoma. I Folklore at the “The thing that never changes though is the passion both my was raised by my Universities of two grandmoth- Arkansas and grandmothers gave me for preserving and protecting the ers, Cherokee and Massachussetts history and culture of all our people. I take that as an German Jewish (1971-75), and obligation to teach and learn about that history and culture women, who then directed a were best friends. major research just as I have always been taught” Both of those project on Native women had the Americans in science and Native scien- She Said: Contemporary Poetry and Fic- most positive influence on my life. tific traditions for the American Associa- tion by Native American Women (1984) They were both great storytellers, sing- tion for the Advancement of Science and Pissing in the Snow and Other ers, dancers, readers, jokers, and cooks, (1975-1980). She later served as direc- Ozark Folktales (1976). Having pub- and they made me want to be all those tor of a similar program while teaching lished over sixty articles in scholarly things too. So, I make films and write on the faculty of Native American Stud- and popular journals and books, she books and create museum exhibitions ies at Dartmouth College (1980-84). has also produced recordings of Native because those things are really just a From 1984 to the present, Green has American music, and produced, directed, way of telling stories, of singing and been the Director of the American In- and written script for a number of prize- dancing, of using your eyes, your ears, dian Program, Chair of the Department winning documentary films, such as your head and your heart, a way of of Cultural History, and the Historian “Corn Is Who We Are: The Story of making people laugh. I love learning for the American Food and Wine His- Pueblo Food,” “From Ritual to Retail: and creating new things, so I’m always tory Project at the National Museum of Pueblos, Tourism and the Fred Harvey changing what I do. The thing that American History, Smithsonian Institu- Company,” “We Are Here: 500 Years of never changes though is the passion tion, Washington, DC. During this Pueblo Resistance,” and “More Than both my grandmothers gave me for period, Green has also served as a Bows and Arrows: American Indian preserving and protecting the history Visiting Professor at Yale University, Contributions to American Life.” and culture of all our people. I take that George Washington University, and the Her most recent exhibition, for which as an obligation to teach and learn University of Maryland, has held post- she is co-curator, is “Bon Appétit: Julia about that history and culture just as I doctoral fellowships from the Smithso- Child’s Kitchen at the Smithsonian” have always been taught. That’s what nian Institution and the Ford Founda- (2002, National Museum of American makes me happy.” tion, and has been awarded two honor- History). Recent publications include:

People & Places in Election to the Academy has always Academy to conduct interdisciplinary been one of the highest honors in the studies on international security, social Ethnomusicology United States. The Academy has elected policy, education, and the humanities Paul F. Berliner (Northwestern Uni- as Fellows and Foreign Honorary Mem- that draw on the range of academic and versity) and Judith Tick (Northeastern bers the finest minds and most influen- intellectual disciplines of its members. University) have been elected as Fel- tial leaders from each generation, in- The current membership of over 4,500 lows to the American Academy of Arts cluding George Washington and Ben includes more than 150 Nobel laureates th and Sciences. 178 new Fellows and 24 Franklin in the 18 century, Daniel and 50 Pulitzer Prize winners. The new Foreign Honorary Members were Webster and Ralph Waldo Emerson in Academy will welcome this year’s new th elected in 2004 to Academy member- the 19 century, and Albert Einstein and Fellows and Foreign Honorary Mem- th ship. The 202 men and women are Winston Churchill in the 20 century. bers at its annual Induction Ceremony world-renowned leaders in scholarship, Founded in 1780, the unique structure in October at the Academy’s headquar- business, the arts, and public affairs. of the American Academy allows the ters in Cambridge, Massachusetts. Continued on page 8 6 SEM Newsletter

Call for Proposals exploring “New Directions in Music Dabbling or Deepening: With the Studies.” This three-day residential increased interest over the past 20 years, Continued from page 4 conference will be held at the Univer- has world music become a commodity The two-day symposium will bring sity of Cambridge Music Faculty, co- that is best dealt with superficially: bang together 20-25 people including practi- sponsored by the Centre for Research in away on an African drum, improvise tioners, educators, researchers, lawyers, the Arts, Social Sciences and Humani- along the scale of an Indian raga? How funders, policy-makers, curators, indus- ties (CRASSH) and supported by the is the balance between introductions to try executives, and media personnel to British Forum for Ethnomusicology world music and profound immersion discuss cultural rights and music from a (BFE). It will provide an unprecedented into other musical styles and idioms? variety of perspectives. Case studies forum in the UK for graduate students in Method & Organization: When mu- from diverse geo-cultural areas will ethnomusicology to meet, discuss, swap sic travels, what is the most appropriate examine the myriad cultural, economic, ideas and theories, and network with method of handing down or sharing and political forces that shape peoples’ graduates from other disciplines inter- musical knowledge and skills? Does the rights to cultural expression and cul- ested in the relationship between music close relation between a musical tradi- tural products. Presentation formats and culture. There will be space for tion and the way it is handed down aim to be inclusive and will include individual papers, organized panels, form the basis of maintaining traditional roundtable discussions as well as for- and innovative sessions that experi- formats of instruction? Or should music mal papers. The symposium will in- ment with traditional conference pre- be taught in the manner of the new clude both open and closed sessions. sentation and embrace performative, environment? In what way do domi- Abstracts for presentations are in- collaborative, compositional, multime- nant organizational structures dictate vited on the following themes: (1) indi- dia, and film formats. We anticipate modes and organization of instruction? vidual and community entitlement; (2) that a productive forum will be estab- Context, Concepts & Intangibles: globalization; (3) music and cultural lished for graduate students in all areas What is the appropriate context for rights violations; (4) promoting aware- of music research and performance in- forms of music that travel, re-establish ness of music and cultural rights issues; terested in ethnomusicology, with the themselves, and move on again? What (5) safe-guarding music as a cultural aim of pursuing a fully interdisciplinary is the reference of Indian rap, or Ab- right; and (6) alliances and partner- and integrated study of music. original Country & Western music in ships. A call for papers will be published education? And what do we teach in Full and partial funding is available shortly and will be on the CRASSH terms of underlying concepts and intan- for presenters. Abstracts of presenta- website by early September: (Website) gible aspects of music that have trav- tions should be less than 300 words and http://www.crassh.cam.ac.uk/ (deadline eled? sent to Andrew Weintraub, 110 Music for abstracts: January 10, 2005). In the Honoring & Appropriation: With Building, Department of Music, Univer- meantime, if you would like further music on the move, how do we deal sity of Pittsburgh, Pittsburgh, PA 15260; information, or have an idea for a panel, with honoring the traditional owners of (Tel) 412.624.4184; (Fax) 412.624.4186; session or theme, please contact the music? While in many traditions this (Email) [email protected]. Abstracts must Katherine Brown at (Email) krbb2@cam. does not seem to play a role, there are be post-marked by September 13, 2004 ac.uk or Iain Foreman at (Email) great sensitivities with others. Is all and faxed or emailed by September 27, [email protected]. music public human property or do we 2004. take into account the opinions of those 7th International Symposium on who feel the music is part of their New Directions in Music Studies— Cultural Diversity in Music Educa- intangible heritage? National Graduate Conference for tion—“The Local and the Global” This symposium is hosted by the Ethnomusicology Queensland Conservatorium Research November 10 -13, 2005, Brisbane, Centre, Griffith University, Southbank July 8-10, 2005, University of Cam- Australia Campus. The Program Committee seeks bridge, UK The musical landscape and our per- proposals for presentations (papers, but Are you a graduate student in ethno- ception of it has changed drastically emphatically also workshops, concerts, musicology or a related discipline? Do over the past few decades. Local musics multimedia) that address one or you come from a different disciplinary have become global, and many types of more of these issues. Please send an perspective, but your research involves music that have spread globally have abstract of 200-300 words, plus a music? Are you interested in helping taken on significance in local settings. short CV to: CDIME 2005 Program Com- define the future of “music and cultural This has challenged traditional mittee c/o Queensland Conservatorium studies”, in conversation with like- perceptions of coherence between Research Centre, 16 Russell Street, South minded people in a friendly environ- ethnicity, musical aptitude, and prefer- Bank 4101, Queensland, Australia; (Tel) ment? Do you want to explore interdis- ences. The effects of this can be felt in +61.7.3875.6335; (Fax) + 61.7.3875.6262; ciplinary, cross-cultural and collabora- music teaching and learning as well: (Email) [email protected]. Deadline: tive approaches to the world’s music, from professional training in specific October 1, 2004; outcomes will be ad- new theories, new methodologies, and traditions to community music and music vised by December 1, 2004. For more innovative ways of presenting research? in schools. In each of these three settings, information about CDIME, please visit You are warmly invited to participate in a number of key issues are emerging in the (Website) www.cdime-network.com/ the first ever national graduate confer- discourse on current developments: cdime. ence for ethnomusicology in the UK, SEM Newsletter 7

Southern American Music and Shreveport (working title), edited by Kip Lornell and Tracey E. W. Laird The University Press of Mississippi will publish a collection of writings on Shreveport, Louisiana, and its music as part of its series titled “American Made Music.” Each of the editors has spent considerable energy on projects related it moves to the region (Lornell in the book The youmusic Life and Legend of Leadbelly, Harper- is inside you Collins, 1992; DaCapo, 1999; Laird in a forthcoming book Louisiana Hayride: Radio and Roots Music Along the Red River, Oxford, 2004). Still, we feel there is more to say about the significance of this vital southern region. We have proposed to collect the best of what has been written already on the area’s music and culture, to encourage new writing and, in some cases, revisions of already published material. The intended audience will include both academics with an interest in U.S. southern culture and music, as well as the broader public. Contribu- tors include scholars, journalists, musi- cians, producers, and other writers both from within the region and from as far away as Great Britain. The final product will include a variety of styles and lengths. To that end, we wish to invite your submission for consideration. The dead- line is March 15, 2005. This will leave us time to exchange communications with you regarding suggestions or ques- tions, to organize the writings, and to compose framing essays and, possibly, introductions for each piece. The volume is scheduled to appear in 2006. Please communicate your intention to contribute with a working title and brief description by December 31, 2004. For more information, please contact: Kip Lornell (Email) kip@ Fine tune your talent at theuof m gandylornell.net or Tracey Laird (Email) [email protected]. Where opportunities to shine are all around you. Where an amazing faculty has done it all — from Carnegie Hall to the Grammys.® Where a world-renowned musical heritage awaits you.Where aspiring musicians come to sharpen their musical fluency. where the music is music.memphis.edu .

A TENNESSEE BOARD OF REGENTS INSTITUTION · AN EQUAL OPPORTUNITY/AFFIRMATIVE ACTION UNIVERSITY. 8 SEM Newsletter

People & Places of courses on music, film, history, and chair in ethnomusicology. A recipient politics over the past three years as of the Westrup Prize for musicology, he Continued from page 5 Assistant Professor of American Studies. is the local organizer of the upcoming On March 6, 2004, Kimasi Browne, Jonathan Dueck (University of 38th World Conference of the Interna- Assistant Professor of Ethnomusicology Alberta) has accepted a teaching posi- tional Council for Traditional Music, to and Director of the Gospel Choir at tion at the University of Maryland, Col- be held in Sheffield on August 3-9, Azusa Pacific University (APU) in Azusa, lege Park beginning Fall 2004. 2005. Both tutor on a new distance- California, organized and hosted a sym- Nancy Guy (University of California, learning MA in World Music Studies, posium entitled “African Music in the San Diego) was recently promoted to which accepted its first intake in August Church.” The one-day event included a tenured Associate Professor of Music. 2004. keynote address by Akin Euba of the Her book, Peking Opera and Politics in Deborah Schwartz-Kates (University University of Pittsburgh (“Neo-African Taiwan, will be published in Spring of Texas, San Antonio) received a Fac- Music: Continuity and Change in Afri- 2005 by the University of Illinois Press. ulty Research Award from the National can Traditional Music in the 20th Cen- Anthropologist, Judith Lynne Hanna, Endowment for the Humanities for her tury”), presentations by Jacqueline Senior Research Scholar at the Depart- research project on “The Film Music of Cogdell DjeDje of UCLA (“African Per- ment of Dance, University of Maryland, Alberto Ginastera.” She also received formance Practices in the Church: West went to Havana for the “Los Dias de la grant funding from the Pro Helvetia Arts Africa and the African Diaspora”), and Danza” festival, April 23-29, as an Council of Switzerland and the Paul Roberta King of Fuller Theological Semi- ”invitado de honor” (VIP), thanks to the Sacher Stiftung in Basel, Switzerland, nary (“Emerging Streams of African Music Cuban Government (through Ismael S. where Ginastera’s music manuscripts in the Protestant Churches of East Af- Albelo, Specialist in Dance, National are stored. rica”), and a roundtable discussion. Council for the Performing Arts, Minis- The Social Science Research Council During the week preceding the sympo- try of Culture). She delivered a keynote in partnership with the American Coun- sium (March 1-5, 2004), Akin Euba was speech in the theory session on “Chal- cil of Learned Societies is proud to the World Music Scholar-in-Residence lenges to Dance in the 21st Century.” announce the recipients of the 2004 at APU. In addition to teaching courses University of North Texas. Steve International Dissertation Field Research on world music, music theory, and Friedson has received an American Fellowship (IDRF). The 49 fellows composition, he introduced students to Philosophical Society Fellowship to fin- were selected from a very competitive his ideas and theories on Creative Eth- ish a book on “medicine shrines” of the pool of 916 applications. The 2004 nomusicology and Intercultural Musi- Ewe-speaking peoples of the IDRF fellows conducting dissertation cology. Euba also gave a piano recital Guinea Coast of West Africa. Eileen M. research in the discipline of Ethnomusi- and conducted a piano master class on Hayes was recently awarded a Ford cology are: Margarethe Adams (Illinois African Pianism. Unfortunately, on Foundation Post-doctoral Fellowship for – Urbana Champaign): “The Politics of March 29, 2004, Kimasi Browne had a 2004-2005. She will be in residence at Music in Kazakstan”; Andrew Eisenberg stroke but is now recovering at his the University of California-Riverside (Columbia University): “Taarab Music home. where she will continue working on her and the Politics of Ethnic Identity in Lei Ouyang Bryant completed the book, Songs in Black and Lavender: Mombasa, Kenya”; Brett Pyper (New Ph.D. in Ethnomusicology at the Univer- Race and the Politics of Sexual Identity, York University): “Music and the Non- sity of Pittsburgh in April 2004 and has with faculty mentor, Deborah Wong. Racial Imagination: Defining Jazz and accepted a Postdoctoral Fellowship in the Hayes was recently elected to the Board Race in Post-Apartheid South Africa.” Music Department at Macalester College of the College Music Society as the Andrew Weintraub (University of in St. Paul, MN for the 2004-2005 aca- representative for ethnomusicology, Pittsburgh) was recently promoted to demic year. Her dissertation ““New Songs assuming the post previously held by Associate Professor with tenure begin- of the Battlefield”: Songs and Memories Brenda Romero. Eileen can be con- ning September, 2004. His book and of the Chinese Cultural Revolution” is the tacted at (Email) [email protected]. accompanying CD-ROM entitled Power first documentation and analysis of a Cynthia Schmidt will be teaching at the Plays: Wayang Golek Puppet Theater of prominent anthology of Cultural Revolu- College of Music of the University of West Java (co-published by Ohio Uni- tion songs and utilizes original fieldwork North Texas this academic year (2004- versity Press and Singapore University to examine the contemporary memory 2005) for the graduate program in eth- Press) will be available in October, and individual reception of the songs, nomusicology. 2004. and is available online at (Website) http:/ University of Sheffield. Andrew John Vallier has been appointed /etd.library.pitt.edu/ETD/available/etd- Killick has been promoted to senior Ethnomusicology Archive Librarian in 05052004-205332/. lecturer in ethnomusicology. His forth- the UCLA Ethnomusicology Archive, Daniel Cavicchi received the 2004 coming book, tentatively entitled, The effective July 1, 2004. He replaces John R. Frazier Award for Excellence in Quest for Korean Traditional Opera: A Louise Spear who retired from UCLA in Teaching at the Rhode Island School of Study of Ch’anggûk, has been con- June 2003. With Vallier’s appointment, Design. The award, accompanied by a tracted in the Korea University series in the Archive will have three permanent cash prize, is given annually to a mem- Korean Studies. He is also developing staff members: Maureen Russell (Head ber of the faculty who demonstrates a new research interest in the of Cataloging and Archive Operations exceptional ability in fostering student Northumbrian smallpipes. Jonathan Manager), John Vallier (Archivist), and learning. Cavicchi has taught a variety Stock has been awarded a personal Jacqueline Cogdell DjeDje (Director). SEM Newsletter 9

With over a hundred thousand sound 2005-6 American Research Insti- port eight weeks of intensive, advanced recordings, the Archive stands as one of tute in Turkey Fellowships Turkish language study. Application the largest and most respected The American Research Institute in details to be announced. This program ethnomusicological sound archives in Turkey (ARIT) is a non-profit academic is pending acquisition of funding (ap- North America. Its world-class collec- organization founded in 1964 for the plication deadline February 1, 2005). tions include unique non-commercial purpose of supporting research and Applications for ARIT fellowships field recordings and commercially pro- promoting scholarly exchange in Tur- (except the Mellon and Bogaziçi Uni- duced recordings of traditional, folk, key. ARIT maintains two research insti- versity Language Program) must be sub- popular, and art musics from Africa, tutes in Turkey, one in Istanbul and one mitted to ARIT before November 1, Asia, Australia and the Pacific Islands, in Ankara. Both branches consist of a 2004. The fellowship committee will Europe, and the Americas. library, hostel, and administrative of- notify applicants by late January, 2005. fices for the support of American or For further information please con- Canadian based scholars conducting tact: American Research Institute in Grants & Fellowships research in Turkey. ARIT administers a Turkey, University of Pennsylvania number of fellowship programs to sup- Museum, 3260 South Street, Philadel- International Dissertation Field port research and exchange in Turkey: phia, PA 19104-6324; (Tel) 215.898.3474 Research Fellowship (Fax) 215.898.0657; (Email) leinwand@ National Endowment for the Humani- sas.upenn.edu; (Website) http://ccat.sas. The Social Science Research Council upenn.edu/ARIT. and the American Council of Learned ties/ARIT Advanced Fellowships for Societies are pleased to announce the Research in Turkey 2005 competition of the International ARIT/NEH Advanced Fellowships Penn Humanities Forum (Univer- Dissertation Field Research Fellowship cover all fields of the humanities, in- sity of Pennsylvania) cluding prehistory, history, art, archae- (IDRF) program, which is designed to Mellon Postdoctoral Fellowships in the ology, literature, and linguistics as well support distinguished graduate students Humanities 2005—2006, “Word and as interdisciplinary aspects of cultural in the humanities and social sciences Image” history for applicants who have com- conducting dissertation field research Five Mellon Postdoctoral Fellow- in all areas and regions of the world. 50 pleted their academic training. The fel- lowships may be held for terms ranging ships are available for the 2005-2006 fellowships of up to $20,000 will be academic year from the Penn Humani- awarded in 2005 with funds provided from 4 months to a full year. Stipends range from $13,335 to 40,000. ties Forum of the University of Pennsyl- by the Andrew W. Mellon Foundation. vania for untenured junior scholars who The IDRF Program is committed to are no more than eight years out of their ARIT Fellowships for Research in Tur- scholarship that advances knowledge doctorate. key about cultures, societies, aesthetics, The programs of the Penn Humani- ARIT Fellowships are offered for economics and/or polities outside the ties Forum are conceived through yearly research in ancient, medieval, or mod- United States. The program promotes topics that invite broad interdisciplinary ern times, in any field of the humanities work that is relevant to a particular collaboration. The Forum has set “Word and social sciences. Post-doctoral and discipline while resonating across other and Image” as the topic for the 2005- advanced doctoral fellowships may be fields and area specializations. 2006 academic year. Research propos- held for various terms, from 2 to 3 The program is open to full-time als on this topic are invited from a months up to terms of a year. Stipends graduate students in the humanities and variety of theoretical perspectives in all range from $4,000 to $16,000. social sciences—regardless of citizen- areas of humanistic study except educa- ship—enrolled in doctoral programs in tional curriculum-building and the per- Mellon Fellowship for Research in Tur- the United States. Applicants must have forming arts. key by East European Scholars completed all Ph.D. requirements ex- Fellows teach one freshman semi- Post-doctoral fellowships up to cept fieldwork and dissertation by the nar each of two terms. $42,000 stipend, $11,500 for 2 to 3 months periods for time the fellowship begins or by De- plus health insurance. The fellowship research in any field of the social sci- cember 2005, whichever comes first. is open to all scholars, national and ences or humanities, to be carried out in Fellowships will provide support for 9 international, who meet application cri- Turkey by scholars from Bulgaria, Czech to 12 months in the field, plus travel teria. For full guidelines, topic descrip- Republic, Hungary, Poland, Romania, expenses. The fellowship must be held tion, and online application, please visit or Slovakia. (Application deadline for a single continuous period within (Website) http://humanities.sas.upenn. March 4, 2005). the 18 months between July 2005 and edu. Application deadline: October 15, December 2006. 2004. For more information, please Fellowships for Language Study The application has two parts with contact: Jennifer Conway, Associate ARIT together with Princeton Uni- separate deadlines: Part 1 (November 1, Director, Penn Humanities Forum; (Tel) versity plans to offer fellowships to 2004) and (Part 2–November 8, 2004). 215.898.8220; (Email) humanities@sas. support Intensive Turkish Language For further information on application upenn.edu. procedures, visit the IDRF website at Study at Bogaziçi University, for the www.ssrc.org/programs/idrf or contact summer of 2005. Fellowship includes program staff at (Email) [email protected]. scholarship, travel, and stipend to sup- 10 SEM Newsletter Wednesday & Thursday

CONFERENCE PROGRAM

WEDNESDAY, NOV. 3 ACACIA SOUTH From Gaelic Song to Celtic Pop: Nego- tiating the Traditional-Commercial Dia- Pre-Conference Symposium 1B Negotiating Identity across Borders: lectic (I: The Socio-Cultural Context) Ottoman Turkish Musical Legacies Moving Boundaries: The Symbiotic Re- Heather Sparling, York University lationship between Music and Dance in the Balkans (Sponsored by Euro- pean Special Interest Group) 7:30am-7:30pm Stevie Eller Dance The- From Gaelic Song to Celtic Pop: Nego- ater, University of Arizona Chair: Bliss S. Little, Arizona State tiating the Traditional-Commercial Dia- University lectic (II: Musical Analysis) SEM Board of Directors Meeting Chris McDonald, York University 6:30pm -10:00pm Presidential Suite Contemplating Music and the Bound- aries of Identity: Attitudes and Opinions PALO VERDE WEST THURSDAY, NOV. 4 Regarding the Effect of Ottoman Turk- ish Contact on Bulgarian and Mace- 1D Music and Public Space SEM Board of Directors Meeting donian Folk Musics Chair: TBA 8:00am-12:00pm Presidential Suite Karen A. Peters, Independent Scholar Celtic Connections: The Role of the Greek-Turkish Fusion in Crete: The Festival in the Imagined Celtic Commu- Session 1, 8:30am-10:30am Tabachaniotika nity Tullia Magrini, University of Bologna Lisa D. Jenkins, Pennsylvania State Uni- versity UPPER CHOLLA Examining Ottoman Turkish Legacies 1A New Directions in Jazz Studies in Greek National Music 2.5 x 6 Meters of Space: Social Listening in Japan’s Music Coffeehouses Chair: TBA Bliss S. Little, Arizona State University David Novak, Columbia University “Novelty Stuff?” Stuff Smith and Humor “Oh, those Turks!” Music, Politics, and in Jazz Interculturality in the Balkans and Be- May I Make a Request? Live Piano Solos Patrick Burk, University of Pittsburgh yond in the Largest Shopping Mall in Hong Donna A. Buchanan, University of Illi- Kong The New Irreverence? Modern Varia- nois, Urbana-Champaign To Yee-Ming, Chinese University of Hong tions on a Theme by Miles Davis Kong William Bares, Harvard University PALO VERDE EAST 1C Breaking and Entering Boundaries Music Displayed in Parade: Ritualistic Integration or Disintegration? The Im- Aspects of the International Chinese pact of the Civil Rights Movement on Chair: Heather Sparling, York University Lunar New Year Parade in Hong Kong Chan Wai Yin, Chinese University of the Memphis Jazz Tradition Fiddling Around with Old-Time Hong Kong Ray Briggs, California State University, Sherry A. Johnson, York University Long Beach Shumka’sCinderella: “Ukrainian Dance ”Bechetmania”: How New Orleans Jazz Will Never Be the Same Again” Became French Pop Marcia Ostashewski, Niipissing University Andy Fry, University of California, San Diego Thursday SEM Newsletter 11

IRONWOOD Ethnomusicology Archives in the 21st Reflexive Songs and Heated Debates: Century: Ennui or Fever? Maintaining and Transgressing Genre 1E Reclaiming and Redefining Cultural Identities John Vallier, University of California, Boundaries in the Russian-speaking Los Angeles World Chair: Ted Solis, Arizona State University J. Martin Daughtry, University of Cali- The Role of Vocal Timbre And Tech- fornia, Los Angeles The Iquito Idenity Crisis: Ayahuasca nique in The Iconicity Of The Lebanese Songs vs. Los Canarios del Pintuyacu Superstar, Fairouz Esoteric Space Klezmer: The New Jew- Kathryn Metz, University of Texas at Kenneth S. Habib, University of Califor- ish Music Movement Austin nia, Santa Barbara Jeff Naneczko, University of California, Los Angeles Emergent Musical Identities in Children’s Taking the Diva Seriously: Interpretating Soundscapes: Musical Enculturation of the Feminization of Modern Popular PALO VERDE EAST Children in Malaysia Music in Mali Jackie Chooi-Theng Lew, Salisbury Uni- 2C Interactions between Folk and Art Heather A. Maxwell, University of Vir- Music versity ginia Chair: TBA Contemplating Whose Boundaries? Mu- OCOTILLO sic Culture of the Chinese Communities The Commodification of a Folk melody in Sabah, Malaysia 1H Performance/Lecture Demonstration Anthony Potoczniak, Rice University David Wong, University of Sheffield. Sabar: Language Rhythm, Rhythm Lan- “Dear Miss Broadwood”: Uniting Folk Singing, Heterogeneous Identity, and Public guage and Art Music in the First English Folk Self-Representation of a Private Culture Mark E. Sunkett, Arizona State University Music Revival Margarita Mazo, Ohio State University Dorothy de Val, York University COTTONWOOD Session 2, 10:45am-12:15pm The Contemporary Hani Folksongs of Alssil: Dialectical Processes in State- 1F Music and Social Change in South- Sanctioned Minority Folksongs and Re- ern Africa UPPER CHOLLA gional Song Forms of Southwest China Chair: Kenichi Tsukada, Hiroshima City 2A Christian Music and Local identities Gloria Wan, University of British Co- University Chair: Terry Miller, Kent State University lumbia Post Apartheid Autobiographies: The Wayang Wahyu—The Catholic Shadow PALO VERDE WEST Creative Process in Isicathamiya Theatre of Central Java and its Role in Imogen Gunner, University of Limerick 2D Explorations in Historical Ethnomu- the Church Politics of Inculturation sicology Marzanna Poplawska, Wesleyan Uni- Music, Memory, and Place: Linking Women’s versity Chair: Peter J. Garcia, Arizona State Music to Environmental Action in Northern University Kwazulu Natal, South Africa “I Love the Old Time Way”: Religious Global Pop in the Nineteenth Century: Angela Impey, University of Kwazulu Natal Identity, Pentecostal Tradition, and the Transnational Music Making Aboard Role of African American Gospel Music American Whaling Ships in the Pacific Spirit Mediums, Prostitutes and Women in Jamaica Mbira Players: Gender and Tradition in James Revell Carr, University of Califor- Melvin L. Butler, New York University Contemporary Zimbabwe nia, Santa Barbara Claire Jones, University of Washington Praying Identities: Second-Generation The Cultivation of “National” Musics Korean-American Christians and through Transnational Circulation: The Ya Mampela!? Kwaito and the Question T’ongsongkido of Politics in the “New South Africa” Case of Tango Paul J. Yoon, Columbia University Rafi Aliya Crockett, Northwestern University Morgan James Luker, Columbia University ACACIA SOUTH REDWOOD The Brass Band Movement of Nine- 2B Old World Roots and New World teenth-century England: Negotiating the 1G New Trajectories in Ethnomusico- Identities Space Between the Working and Upper logical Research Chair: Donna A. Buchanan, University Classes Chair: TBA of Illinois, Urbana-Champaign Denise Odello, University of California, Santa Barbara The Hyper-Sama‘i: Use of Multimedia Tech- Why Not? Negotiating Old and New nology for Transcription and Analysis World Culture through Basque Ameri- Benjamin J. Harbert, University of Cali- can Song fornia, Los Angeles Allison E. Adrian, University of Minne- sota, Twin Cities 12 SEM Newsletter Thursday

IRONWOOD OCOTILLO PALO VERDE EAST 2E Re-examining the Recent Past 2H Film 3C Music, Agression and Violence in Latin/o America Chair: Carol Babiracki, Syracuse The Dominican Southwest: Crossroads University of Quisqueya Chair: Ana Maria Ochoa, Columbia University Fighting for Freedom on London’s Jazz Director: Martha Ellen Davis, Florida Scene: Race, Nation, and International State University “Play like there’s a gun to your head!” Blackness Violence, Drugs, and Machismo in New Hilary Moore, University of Pennsylvania Lunch Block, 12:30-1:30pm York Salsa ACACIA NORTH Chris Washburne, Columbia University “Pale Hands I Loved Beside the Shalimar”: Memory, Myth, and Loss in SEM Dance Section Meeting Corridos Perrones the Anglo-Indian Imagination MANZANITA Helena Simonnet, Vanderbilt University Nalini Ghuman Gwynne, Mills College SEM Archiving Committee Meeting Music, Violence, and Civil Society in Researching the Chinese Cultural Revo- Brazil lution: Negotiating a Contemporary Frederick Moehn, State University of New Battlefield of Emotions, Memory, Poli- Session 3, 1:45pm-3:45pm York tics, and Identity Lei Ouyang Bryant, University of Pitts- Silencing versus Sounding: Music and UPPER CHOLLA burgh Cultural Policy in the Colombian Armed 3A Music and Fair Use—Advocacy within Conflict COTTONWOOD the Academy and Beyond Ana Maria Ochoa, Columbia University 2F Performance Practice and improvi- Organizer: Jennifer Milioto Matsue, PALO VERDE WEST sation Union College 3D Ethnicity, Ethnography and the Study Chair: TBA Participants: E. Michael Harrington, of Western Opera Belmont University; Fredric Lieberman, Revivalism in North Indian Classical Chair: Kay Shelemay, Harvard University Music: Continuity and Change University of California, Santa Cruz; T.M. Scruggs, University of Iowa David Trasoff, Pomona College The Saami People meet Wagner: The folk Music Scholar Armas Launis’s op- Improvising Bluegrass in the Urban ACACIA SOUTH era “Aslak Hetta” from 1930 Country Erkki Pekkila, University of Helsinki 3B Weddings and Diaspora (Sponsored Jonathan T. King, Columbia University by European Music Special Interest Adorno, Rossini, and Two Ways to Institutionalization and Improvisation: Group) Break a Promise Impacts of Ideology on Folk Music-Art Chair: Mark Slobin, Wesleyan University Paul Chaikin, Brown University Music Boundaries in Finland Jinper Hill, University of California, Los Three Generations of Bulgarian Wed- Responding to Terror: The Politics of Angeles ding Rituals in the Canadian Diaspora: Meaning in John Adams’ “The Death of The Persistence of Semantic Codes in Klinghoffer” REDWOOD the Reconfiguration of Tradition Shayna Silverstein, University of Chicago Irene Markoff, York University 2G Hip-Hop and Electronic Dance Music Double Take: Ethnograpic and Histori- Chair: Kai Fikentscher, Ramapo College “Mnohaya Lita” (Many Years) of Happi- cal Ethnograpic Approaches to Strauss’s ness to Crowned Ukrainian Couples in Salome Share: Creative Strategies and Technol- Chicago Anne L. Seshadri, University of Califor- ogy in a New York City Electronic Music Inna Naroditskaya, Northwestern Uni- nia, San Diego Community versity Thomas Brett, New York University Music at a Philadelphia Jewish Wed- “Made in Japan / Representin’ Wasei”: ding, 1930-1960 Putting Osaka in the Mix Hankus Netsky, New England Conser- Richard C. Miller, University of Wiscon- vatory of Music sin-Madison Marrying the Contemporary and the Soul Train, Unchained: Locating the Authentic in Yiddish music: Solomon “Spirit” in Hip-Hop and SoCalled’s HipHopKhasene Christina Zanfagna, University of Cali- Abigail Wood, Southampton University fornia, Los Angeles Thursday SEM Newsletter 13

IRONWOOD Keeping It Køntri: Country Music, Class, Identity Construction in Tohono and Cultural Hierarchies in Norway O’odham Waila: A Perspective of the 3E Musical Constructions and Decon- structions of Nationhood Kristin Solli, University of Iowa 2003 Waila Festival in Tucson, Arizona Joan Titus, Ohio State University Chair: Nancy Guy, University of Creole Country: New Creolizations of California, San Diego Country & Western in St. Lucia Thirty Minutes Behind the Walls: All- Jerry Wever, University of Iowa Inmate Variety Shows of the Texas The Use of The National Anthem of the Penitentiary System, 1938-1944 PRC in the pre-1997 Hong Kong Popu- Discussant: David Samuels, University Eileen M. Hayes, University of North lar Culture of Massachusetts, Amherst Texas Yu Siu Wah, Chinese University of Hong OCOTILLO Kong PALO VERDE EAST 3H Film Panel (Sponsored by Applied Ch’anggûk Opera as a Showcase for Ethnomusicology Section of SEM) 4C Historical Issues in Indian Music Korean Traditional Music Chair: Matthew Allen, Wheaton College Andrew Killick, University of Sheffield From Africa to India: Sidi Music in the Indian Ocean Diaspora Annamacharya in Annamayya American Feedback: Exploring Nation- Presenter: Amy Catlin, University of Cali- Sindhumathi K. Revuluri, Princeton alism in Jimi Hendrix’s “The Star- fornia, Los Angeles University Spangled Banner” Tamara Roberts, Northwestern University Discussant: Anthony Seeger, University Identity and Innovation: In Search of of California, Los Angeles the “Kathaks” “Third Generation Composers” and Margaret E. Walker, University of Toronto Nationalism in Contemporary Korea Jinmi Huh Davidson, University of North Theorizing Ancient Tamil Ragam Proto- Carolina, Chapel Hill Session 4, 4:00pm-5:30pm types Jayendran Pillay, Hampshire College COTTONWOOD UPPER CHOLLA PALO VERDE WEST 3F Hitting the Groove in Three Moroc- 4A Censorship and Freedom of Expression can Musical Performances 4D Southeast Asian Music in the Chair: Andrew Weintraub, University of Diaspora Chair: Philip Schuyler, University of Pittsburgh Washington Chair: Mercedes Dujunco, New York The Secrets in the Song: Residues of University Gimme The One Who’s Going: Trance, Fascism in Contemporary Fado Groove and Interaction on the Gnawa L. Ellen Gray, Duke University Cambodian Music in the Diaspora: Glo- Ritual Floor bal Flows, Transnational Business, and Timothy Abdellah Fuson, University of Censorship in Music: The Struggle over Imaginings of Home California, Berkeley Freedom of Expression in Zanzibar Kathy McKinley, Carleton University Annemette Kirkegaard, University of A Performance of the Shikhât: Hitting Copenhagen We Long for Our Villages: The Gamelan the Groove in the Course of Seduction Music of Suriname Alessandra Ciucci, City University of Turn Down that Noise! Exploring the Marilyn a. Kielniarz, Creighton University New York Arguments, Images, and Sounds of Music Censorship in the U.S. Going “Glocal”: Lao music in Transna- “Groove” as Polemical Space: Building Megan Rancier, University of Califor- tional Spaces a New Sense of Being Musically Moroc- nia, Los Angeles Adam Chapman, Australian National can University Jeffrey Callen, University of California, ACACIA SOUTH IRONWOOD Los Angeles 4B Music and Dance in the American Discussant: Philip Schuyler, University Southwest 4E Exploring the Boundaries between the “Traditional” and the “Popular” of Washington, Seattle Chair: Brenda Romero, University of REDWOOD Colorado Chair: Harris M. Berger, Texas A&M University 3G Country musics: Contemplating Crossing the Dividing Line: Construct- Boundaries ing a Mexican identity through the Not Your Grandfather’s Music: Tsugaru Viejitos Dance of Mexico in 1930’s Texas Shamisen Blurs the Lines Between Chair: Jerry Wever, University of Iowa Ruth Hellier-Tinocl, King Alfred’s Uni- “Folk,” “Traditional,” and “Pop” Austin City Limits at the, well, Limits of versity Michael Peluse, Wesleyan University Country Music Tracey Laird, Agnes Scott College 14 SEM Newsletter Thursday & Friday

Remixing “Tradition” OCOTILLO Renewing Our Days as of Old: Explor- ing the Orthodox Popular Music Indus- Beverley Diamond, Memorial Univer- 4H Film sity try Colours of Earth from Africa to India: Joel Rubin, Cornell University The Brazilian Berimbau: A Musical Bow Sidi Music in the Indian Ocean Diaspora, Interlacing Tradition, Modernity and A Current Perspective on the Tradi- In the Beginning was Auschwitz: The Identity tional Music of North India Yiddish Music Movement in Post-Unifi- Eric A. Galm, Wesleyan University Director: Shefali Bhushan, Beat of cation Germany as a Racial Discourse India.com Rita Ottens, City University of London COTTONWOOD ACACIA SOUTH 4F New Approaches to Teaching and Afternoon Block, 5:45-6:45pm Learning Tradititional Musics 5B Music and Cultural Tourism ACACIA NORTH Chair: Ellen Koskoff, Eastman School of Chair: Sue Tuohy, Indiana University Applied Ethnomusicology Section Meeting Music The Impact of Cultural Tourism on Negotiating, Displaying and Doing Tra- Evening Block Coco in Pernambuco, Brazil dition: Australian Aboriginal Women’s Room: TBA Daniel Sharp, University of Texas at Performance in Educational Contexts Meeting of the Association for Chinese Austin Elizabeth MacKinlay, University of Music Research (7:30pm) Queensland Displaying Locality for Tourists: Local, Provincial, and National Efforts in Tour- Do Ethnomusicologists Need Learning Welcome Reception, 5:30-7:30pm ism Performances in Guangxi, China Theory? Arizona State Museum, University of Jessica Anderson Turner, Indiana Uni- David G. Hebert, University of Washington Arizona campus (transportation pro- versity vided) A Royal Academy of Black Music? Dan- Recreation as Re-creation: Cultural Tour- ish Rytmisk Musik and the Conservatory ism as a Locus for the Construction of Leslie C. Gay, Jr., University of Tennessee Identity FRIDAY, NOV. 5 Joe L. Williams, Jr., University of Mary- REDWOOD Breakfast Block, 7:30-8:30am land, College Park 4G Representation, Authenticity, and ACACIA NORTH PALO VERDE EAST Ethnographic Truth SEM Publications Advisory Committee 5C Dance, Ethnicity, and Identity Politics Chair: Michael Largey, Michigan State University MANZANITA Chair: TBA SEM Chapters Meeting Ethnographic Museology and the Music Dancing with the Wrong Crowd: Genre Exhibition: A Case Study of the Exhibit CHOLLA LOWER Boundaries and Identity Politics in Elec- “Hye Sounding Phrases-Armenian Mu- Section on the Status of Women Meeting tronic Dance Music sical Heritage” CACTUS AND PRESIDIO CONFER- Luis-Manuel Garcia, University of Chi- Jonathan Ray McCollum, University of ENCE ROOM cago Maryland SEM 2004 and 2005 Local Arrangements Quebradita Politics: Differential Identi- Early Transcriptions of North American and Program Committees Meeting ties and Aesthetics in a Dance-based Indian Music: Mediating Sound to Com- Mexican American Youth Culture posers of Art Music Session 5, 8:30am-10:00am Sydney Hutchinson, New York University Stephanie Webster-Cheng, University of Pittsburgh Performing Whiteness in Ballroom UPPER CHOLLA Dance Persians and Tomahawks: Native Ameri- 5A Constructing Jewish Stars: Jewish Joanna Bosse, Bodoin College can Musical Stereotype and Style (Rep- Music and its Industries resenting the Exotic, Presenting the PALO VERDE WEST Authentic) Chair: Judah M. Cohen, New York University 5D New Perspectives on Western Art James E. Cunningham, Florida University Music Renewing Our Days as of Old: Explor- ing the Orthodox Popular Music Indus- Chair: Joseph S.C. Lam, University of try Michigan Mark Kligman, Hebrew Union College Bimusicality, Western Art Music, and Ethnomusicology Stephen Cottrell, Goldsmiths College Friday SEM Newsletter 15

“Anything Goes only if Nothing is the REDWOOD Participants: Susanne Furniss, University of Basis:” The Study of Meaning in the Paris; Kathleen J. Noss, University of Califor- 5G Tradition and Adaptation in Ritual New Avant-Garde through the Integra- Music I nia, Los Angeles; Jonathan Stock, Sheffield tion of Culture, Performance, and Music University; Gavin D. Douglas, University of Theories Chair: Regula Qureshi, University of North Carolina, Greensboro, Jean Kidula, Douglas C. Wadle, University of Califor- Alberta University of Georgia nia, Los Angeles From Temple to Stage: Chinese Buddhist Session 2, 11:15am-12:15pm Music in Taiwan in the 20th Century Is Classical Music Really Dying in the Taking a Stand? Ethnomusicology and United States? An Ethnographic Per- Li-Hua Ho, University of Sheffield Advocacy spective Chair: Ali Jihad Racy, University of Festivity and the Experience of Duncan Vinson, Brown University California, Los Angeles Postsocialist “Transition”: The Musical IRONWOOD Renewal of “Estonian” Orthodoxy Participants: Simha Arom, University of Jeffers Engelhardt, University of Chicago Paris V; Zoe Sherinian, University of 5E Music, Politics, and Nationalism Oklahoma; David Mc Donald, Univer- Chair: Jonathan Ritter, University of Poet-Singers and the Art of Lamenting sity of Illinois Urbana-Champaign; Dale California, Los Angeles in Lebanese Maronite Funerals A. Olsen, Florida State University; Pauline Guilnard Moufarre, University of Cali- Tuttle, University of Victoria State Socialism and Music: Problems in fornia, Los Angeles the Application of Marxist Principles to Culture SAGEWOOD Lunch Block 12:30-1:30pm Robin Moore, Temple University 5H Drums, Power, Conflict, and Tran- ACACIA NORTH scendence Poetic Negotiations in Song: Vladimir Popular Music Fair Use Symposium Vysotsky in Film and Russian Cultural Chair: David Locke, Tufts University MANZANITA Politics in the Era of Stagnation How Drumming Makes Men in Cuba Society for Asian Music Membership Heather L. Miller, University of Mary- Meeting land, College Park Amy d. Valladares, New York University CHOLLA LOWER Reconsidering the Political History of Silence and Noise: Ideological Back- European Music Special Interest Group Romanian Colinde Before and After the grounds to Ghana’s “Drum Wars” Meeting Ter Ellingson, University of Washington 1989 Revolution 12:30pm-2:30pm Lunchtime option: Sabina Pauta Pieslak, University of Tour to San Xavier Mission Michigan Mimesis and Coding in Yorùbá Bàtá Drumming Michael Marcuzzi, York University COTTONWOOD President’s Roundtable 5F Latin American Popular Music and OCOTILLO Transnationalism “Diverse Voices” 5I Film Chair: TBA Viva la Gaita! : Musical Tradition and GRAND BALLROOM It’s a “Mad Mad” Story: Hearing the Regional Identity in Maracaibo, Ven- Histories of Reggae and Hip-hop To- ezuela 2:15pm-4:15pm gether Presenter: Rob Carrol, University of Wayne Marshall, University of Wiscon- Washington sin, Madison Chair: SEM President, Timothy Discussant and Director: Ken d’Oronzio, Rice, University of Shifting Borders, New Identities: To- Independent California, Los Angeles ward a Mapping of Working-Class Popu- Filmmaker lar Music in the Mexican Diaspora Participants: Samuel Araujo, Uni- Cathy Ragland, City University of New PLENARY SESSIONS versidade Federal of Rio de York Janeiro; Jacqueline Cogdell GRAND BALLROOM (to be con- DjeDje, University of California, The “Internationalization” of Ecuadorean firmed) Popular Music: Myth, Desire, or “Trans- Los Angeles; Kyra Gaunt, New location?” Session 1, 10:15am-11:15am York University; Jean Kidula, Uni- Ketty Wong, University of Texas at Austin Ethnomusicologies: Global Perspectives versity of Georgia; Niloofar Mina, Chair: Michael Tenzer, University of New Jersey City University; British Columbia Marisol Berrios-Miranda; Lester Monts, University of Michigan; Su Zheng, Wesleyan University 16 SEM Newsletter Friday

A Big Problem with the Little Man: The COTTONWOOD Session 6, 4:30pm-6:00pm Society for Ethnomusicology’s Human 6F Identiry and Narritive in Visual Media Logo in an Age of Sports Mascots and UPPER CHOLLA Political Advocacy Chair: Timothy Taylor, University of 6A Crankin’ Up the Stereo- Kevin Miguel Delgado, San Diego State California, Los Angeles University hype: Negotiating Urban Music, Process, Production and Aesthetics in Masculinity and Identity in Tradition: An Inquiry into its Meanings Hindi Film Music Marginalized American Youth Gregory Booth, University of Auckland Cultures and Uses in Ethnomusicological Studies on African Music Chair: Candida Jacquez, Indiana Nick Hockin, Wesleyan University Hong Kong Cultural Identity in TV Com- University mercials PALO VERDE WEST Li Wai Chung, Chinese University of The Chinkees’ Noise: Punk and the Hong Kong Promise of a Better Tomorrow 6D New Directions in Iranian Popular Christi-Anne Castro, University of Cali- Music and Dance (Sponsored by Gender for Sale: The Marketing of Gen- fornia, Los Angeles SEM Special Interest Group for Mu- der Ideals in South Korean Music Videos sic of Iran and Central Asia) Heather A. Willoughby, Wittenberg Uni- True Native Thugz: Transmuting Anger, Chair: Martin Stokes, University of versity Indianizing Rap Chicago Elyse Carter Vosen, The College of St. REDWOOD Scholastica New Directions in Iranian Popular Music 6G Tradition and Adaptation in Ritual Niloofar Mina, New Jersey City Univer- Music II Hebe-Hop, Radical Jewish Culture, and sity the Politics of Enfranchisement Chair: Suzel Ana Reily, Queen’s Judah M. Cohen, New York University Bodily Memory and the Body Re-mem- University, Belfast bers: Locating Iranian American Pop on ACACIA SOUTH the Dance Floor Adaptation and Reinvention: African- American Orisha Worship 6B Controversial Boundaries: Women, Wendy S. DeBano, University of Califor- nia, Santa Barbara Kenneth Schweitzer, Washington Col- Dance, and Spiritual Expression lege (Sponsored by SEM Dance Section) Moving Bodies, Moving Images: Chair: Clara Henderson, Indiana Khordadian and Exile Dance and Music The Mystery of Muted Singers: The University in Iran Transformation of Performance Prac- Farzaneh Hemmasi, Columbia University tice of Ritual Opera in Taiwan Exotic Appropriations: the Perpetually Chiung-Chi Chen, University of Califor- Transformative Personas of Ruth St. IRONWOOD nia, Los Angeles Denis and Madonna Julie Searles, Wheaton College 6E Song Contests, Music Awards, and Get up Stand Up: The Influence of National Identities Cassette Distribution on the Ewe Dance and Gender as Contested Sites in Chair: Cynthia Wong, Columbia Agbadza Funeral Drum Tradition Malawian Presbyterian Churches, 1876-1976 University James Burns, School of Oriental and Clara Henderson, Indiana University African Studies, University of London “Every Way That I Can?” Turkey and the “A Superior Race of Strong Women”: Eurovision Song Contest SAGEWOOD Redefining Self and Community in Tom Solomon, University of Bergen 6H Studies in Latin American Popular American Kathak. Music Sarah Morelli, Harvard University Idol Thoughts: Nationalism in the “Pan- Arab” Vocal Competition Superstar Chair: Gage Averill, New York University PALO VERDE EAST Katherine Meizel, University of Califor- nia, Santa Barbara Punta Rock and Garifuna Transnational 6C Re-Examining Our Ethnomusico- Identity: Musical Transformation, and logical Legacy Who Sounds British This Year? (How the Dialectics of History and Gender in Chair: Laurel Sercombe, University of British Musical Award Ceremonies De- Social Commentary Washington fine British Culture and its Citizens) Oliver N. Greene, Georgia State University Nilanjana Bhattacharjya, Colorado It was 40 Years Ago Today…: A Reas- College Bomba: New Route, New Roots sessment of Mantle Hood’s Atumpan Salvador Ferreras, University of British Kwesi Brown, Bowling Green State Uni- Columbia versity Friday & Saturday SEM Newsletter 17

“Sowing Culture” on Disc: Media, Mi- The New “Old” Style of Hawaiian Hula grants and Musica Ayacuchana in Con- Session 7, 8:30am-10:30am Music: Re-Contextualizing the “Uku- temporary Lima lele” Joshua Tucker, University of Michigan UPPER CHOLLA U’ilani Bobbitt, University of Hawai’i at 7A Ethnomusicology and Advocacy Manoa OCOTILLO Chair: Su Zheng, Wesleyan University 6I Film Piano in Hula Ku’i: Toward an Indig- enous Aesthetic for the Piano Art Under Siege: Exploring the Al-Aqsa Aaron Sala, University of Hawai’i at Musical Enculturation in North India Intifada, Palestinian Nationalism, and Manoa Presenter: Nicolas Magriel, University of Popular Resistance in Amman and London Ramallah Captured Images, Unsilenced voices! David McDonald, University of Illinois, The Re-Voicing of Hula Dancers’ Ap- Afternoon Block Urbana-Champaign propriated Photographs OCTILLO Teri Skillman-Kashyap, University of “White Power” Music Online: Mapping Hawai’i at Manoa Popular Music Section Business Meet- Grievous Terrain in Cyberspace ing (6:30pm-7:00pm) M. Sam Cronk, Indiana University Indigenizing Hawaiian Choral Music: MANZANITA The Impact of Dorothy Kahananui Gillett Ethnomusicology as Advocacy: Address- SEM Student Concerns Meeting (6:00pm- upon the Arranging Style at the ing Cultural Survival through Music via 7:00pm) Kamehameha Schools the Internet Timothy Ho, University of Hawai’i at CHOLLA LOWER Dale A. Olsen, Florida State University Manoa African Music Caucus Meeting (6:00pm- 7:00pm) Kâkâpiya Songpaths: Mapping the In- PALO VERDE WEST CACTUS AND PRESIDIO BOARD terrelationship of Song, Story, Dance, 7D A Place for Nostalgia or Nostalgia of ROOM Identity, and Place through a Ditidaht Song Cycle Place? Explorations of Space and SEM 2004 and 2005 Program and Local Pauline Tuttle, University of Victoria Time in Musics of the Middle East Arrangements Committees Meeting Chair: Brian Karl, Columbia University (3:00pm-5:00pm) ACACIA SOUTH 7B Contemporary Applications for Mu- Looking Out, Looking Back: Nostalgia Evening Block sical Analysis in French Ethnomusi- and Eclecticism in Contemporary Arab cology Music in Cairo OCTILLO Anne Elise Thomas, Brown University Popular Music Section Lecture (7:00pm) Chair: Simha Arom, University of Paris V The Sound of Symbol: Space and Time 6:30pm Dinner option: Trip to L’il Abner’s Polymusic: Singing at the Same Time in in Egyptian Nay Timbre and Style Steakhouse to hear Dean Armstrong the Same Place without Being Together Amy Cyr, University of California, Santa and the Dancehands, Western Swing Dana Rappoport, CNRS-University of Barbara Music (transportation provided as Paris X needed) Place is a Space Where Not Everyone History Considered through Two Cen- 7:30pm Concert: Rhythms of the Can Hear You Sing: The Emergence and tral African Musical Patrimonies Huasteca Submergence of Political Histories in Susanne Furniss, CNRS-University of Crowder Hall, University of Arizona the Music of Emil Zrihan Paris V School of Music Brian Karl, Columbia University Parallels between Musical Dialectology Discussant: Sonia Seeman, University of and Genetics in Gaboon California, Santa Barbara SATURDAY, NOV. 6 Sylvie Le Bomin, Museum National d’Histoire Naturelle IRONWOOD Breakfast Block, 7:30-8:30am 7E Creativity, Appropriation, and Intel- ACACIA NORTH Analysis of an Audiovisual Activity lectual Property Christine Guillebaud, University of Paris X Education Section Meeting Chair: Frederic Lieberman, University MANZANITA PALO VERDE EAST of California, Santa Cruz SEM Editorial Board Meeting 7C Hawaiian Music & Dance: the Poet- Defining Composition, Creativity, and CHOLLA LOWER ics and Politics of Display Ownership: Salsa, Flamenco, Dance- hall, and Indian Popular Music Sexualities Taskforce Meeting Chair: Amy K. Stillman, University of Peter Manuel, City University of New Michigan York 18 SEM Newsletter Saturday

“Copyright” and Politics: Nkrumah and SAGEWOOD ACACIA SOUTH Fante Music in Postcolonial Ghana 7H Continuities and Innovations in 8B Ethnomusicologies: Global Perspectives Kenichi Tsukada, Hiroshima City Uni- Indonesian Music versity Chair: Philip Bohlman, University of Chair: TBA Chicago Copyright Infringement and the Aes- thetics of Dissent: The Case of Listening to an Earlier Java: Aesthetics English Folk Music Studies as a Local Negativland and the Evolution Control and Gender in Old-Style Wayang Ethnomusicology Committee Sarah Weiss, University of North Caro- Jonathan Stock, University of Sheffield Mellissa Morales, University of Califor- lina, Chapel Hill nia, Los Angeles Ethnomusicology, Comparative Musicol- Re-Reading the Instrument: Building Brass ogy, Nationalist Musicology and African Media Involvement in the Case of Bands in North Sulawesi, Indonesia Music Studies: Positions, Tensions and “Enigma” versus “Difang” in Taiwanese Jennifer H. Munger, University of Wis- Resolutions by African Music Scholars Aboriginal Folksong: Colonialist or Col- consin-Madison Jean Ngoya Kidula, University of Geor- laborator? gia Shzr Ee Tan, The Straits Times, Singapore “Isn’t This Nice? It’s Just Like Being in Bali”: Constructing Balinese Music Cul- Aspiring to the Diatonic Just Scale: U COTTONWOOD ture on the Neighbor Island of Lombok Khin Zaw’s Construction of Burmese David Harnish, Bowling Green State Music Theory 7F Ideologies of Class and Power in University Gavin D. Douglas, University of North South Asian Popular Musics Carolina, Greensboro Chair: Peter Kvetko, University of Texas OCOTILLO at Austin 7I Forum PALO VERDE EAST 8C In the Shadow of Superstars: Strate- Anglo-Indian and Goan Aesthetic Power: Ethnomusicology and the Classroom gies, Practitioners and Locations of Jazz and Ballroom Music in Colonial Lesser Prestige Lucknow Organizer: David B. Pruett, Middle Ten- Bradley Shope, St. John’s University nessee State University Chair: Scott L. Marcus, University of California, Santa Barbara Participants: Alison Arnold, North Caro- MTV Killed the Indipop Star: The De- lina State University; Edward Green, mise of Bombay’s Non-Film Music Scene The Call-to-Prayer in Cairo: Aesthetics Manhattan School of Music; David B. and Strategies behind a Community Peter Kvetko, University of Texas at Aus- Pruett, Middle Tennessee State Univer- Endeavor tin sity; Gordon R. Thompson, Skidmore Scott L. Marcus, University of Califor- College; Kari Veblen, University of nia, Santa Barbara The State in Pakistani Popular Music Western Ontario Shemeem Abbas, University of Texas at Coping with the Collapse of Royal Pa- Austin Discussant: Terence Liu, National En- dowment for the Arts tronage: Perspectives on the Institution- Discussant: David Henderson, St. alization of North Indian Classical Music Lawrence University in Present Day Jaipur Max Katz, University of California, Santa REDWOOD Session 8, 10:45am-12:15pm Barbara 7G Reconnections: Archived Musical Memories Re-Embodied in the Field UPPER CHOLLA Other People’s Music? Intertextual Tac- tics for Achieving Success and Maintain- Chair: Daniel B. Reed, Indiana University 8A Perception, Interpretation, and Un- ing Autonomy derstanding “The Boulders are Fighting Each Other Justin Scarimbolo, University of Califor- On the Plain”: Reflections on Song Chair: TBA nia, Santa Barbara Memory Rekindled and Re-embodied in Shinyanga, Tanzania Musical Translation PALO VERDE WEST Robert Walser, University of California, Frank Gunderson, Florida State University 8D Cross-cultural Borrowings and Trans- Los Angeles formations in Western Art Music Archives and Personal Continuity be- tween Preserved and Living Traditions Seeking Spiritual Mentors: Teachers, Stu- Chair: Sean Williams, Evergreen College dents and Religious Beliefs in the Cross- Nikos Pappas, University of Kentucky Cultural Appropriation of Asian Music Modal Implications in Lou Harrison’s Jay Keister, University of Colorado Early Works for American Gamelan Reflections on Reconnections: A Return Jonathon Grasse, University of Califor- to West Africa to Find Konkoba Ethnomusicology on Time: Entrainment nia, Los Angeles Daniel B. Reed, Indiana University Matters in Ethnomusicology Discussant: Gregory Barz, Vanderbilt Rebecca Sager, Independent Scholar University Saturday SEM Newsletter 19

“Classical” Borrowings: Toward a Musi- REDWOOD Texts, Tunes, and Talking Heads: Femi- cal Semiotics of the Exotic nist Ethnography and Cultural Transla- 8G Celebrating Roma Weddings in Eu- Tom Gruning, Independent Scholar rope (Sponsored by European Mu- tion as Multi-Sited Advocacy sic Special Interest Group) Amelia Maciszewski, University of Pitts- The African Impact on Western Art burgh Music: The Case of Steve Reich Chair: Inna Naroditskaya, Northwestern Martin Scherzinger, Princeton University University Problematizing Advocacy in the Milieu of Hindustani Discipleship The Social Everyday Life of Belly Danc- IRONWOOD Regula Qureshi, University of Alberta ing: Roma Rituals amidst Istanbul 8E Korean Music on the Margins Nightlife Discussant: Carol Babiracki, Syracuse Chair: Okon Hwang, Eastern Connecti- Oyku Potoglu-Cook, Northwestern Uni- University versity cut State University ACACIA SOUTH Finding a Niche for the Avant-Garde Finding the Lost Lambs: Wedding cel- 9B Trends in African Musicology: His- outside the Academy: The Experimen- ebrations among the Hungarian Vlach torical Perspectives on Sierra Leonean tal Dimension of Korea’s Fusion Music Gypsies and Romungros Music, African Church Music, and R. Anderson Sutton, University of Wis- Iren Kertesz-Wilkinson, Independent the Responsibilities of African Music consin, Madison Scholar Scholars (Sponsored by African Music Caucus) Popularity of Korean Popular Music Weddings as a Means of Sustaining among Overseas Taiwanese Difference or of Communicating be- Chair: Jacqueline Cogdell DjeDje, Sang Yeon Sung, Indiana University tween Cultures University of California, Los Angeles Ursula Hemetek, University for Music Interpreting Musical Traffic: Influences and Performing Arts, Vienna Themes in Sierra Leonean Music Schol- of Japanese Popular Music on Korean arship Popular Music since the mid-1990s OCOTILLO Abimbola Cole, University of California, Eun-Young Jung, University of Pittsburgh 8H Peformance/Lecture Demonstration Los Angeles

COTTONWOOD Globalizing the Oud: Exploring New Themes in African Church Music Schol- 8F A Nation in Contest: Producing Developments in Contemporary Oud arship during the 1950s-1960s Boundaries of Ethnicity, Gender, Performance Practice Birgitta Johnson, University of Califor- and Belief in Trinidadian Calypso Elia H. Khoury, University of Jordan nia, Los Angeles and Soca Lunch Block, 12:30-1:30pm The Dual Responsibilities (Scholarly and Chair: Gregory Dietrich, University of Humanistic) of African Musicologists Illinois/Carleton Past Presidents’ Luncheon Kathleen J. Noss, University of Califor- Respectability and Reputation in ACACIA nia, Los Angeles Trinidad Carnival Music Crossroads Section Meeting Discussant: Jacqueline Cogdell DjeDje, Hope Munro Smith, California State MANZANITA University of California, Los University, Fresno Association for Korean Music Research Angeles “Watch Out My Children”: Ras Shorty I, Meeting PALO VERDE EAST Nation, and the Poetics of Belief in PALO VERDE WEST 9C Medical Ethnomusicology: Music, Trinidad SEM Council Health, and Healing in Cultural and Timothy Rommen, University of Penn- Clinical Contexts sylvania Session 9, 1:45pm-3:45pm Chair: Benjamin Koen, Florida State Ethno-Political Ideology in Contempo- University rary Trinidad Calypso UPPER CHOLLA Cross-Cultural and Culturally Specific Gregory Dietrich, University of Illinois/ Perspectives on Musical Healing Carleton 9A Advocacy and Ethnomusicology in South Asia Marina Roseman, Indiana University Chair: Zoe C. Sherinian, University of Music as Medical Intervention: Medical Oklahoma Ethnomusicology and HIV/AIDS in Uganda Sound, Agents, Ideology: Advocating Gregory Barz, Vanderbilt University for the Marginalized in South Asian Ethnomusicology Zoe C. Sherinian, University of Okla- homa 20 SEM Newsletter Saturday & Sunday

Physiology and Spirituality:Balancing Music, Race, and Imperialism: The Phil- the Culture and Science of Healing ippine Constabulary Band of the Ameri- Grand Ballroom Benjamin Koen, Florida State University can Colonial Era Mary Talusan, University of California, 4:00pm-5:30pm Discussant: Kay Shelemay, Harvard Los Angeles University SEM Business Meeting 5:45pm-6:45pm IRONWOOD The River of Kings: Ideology and His- tory, Metaphor and Modernity in a Thai Charles Seeger Lecture 9D Indigenous Modernities Royal Musical Chairs: David Samuels, University of Eleanor T. Lipat, University of Califor- “Trad, Rad and Baaaad!: Massachusetts nia, Los Angeles Lead Singer of the Native Punk Rockers, the Meaning- “I Believe You Have My Grandfather In Don’t Happy, Be Worry: Music, Parody, There”: A Dialogue less Vocables, Talks about and Politics in 1990s Serbia the Future of Native Songs, Aaron A. Fox, Columbia University Brana Mijatovic, University of Califor- nia, Los Angeles Pots, and People.” Mimesis, Power, and Pleasure in Miskitu by Expressive Practices: An Historical Per- Discussant: TBA spective SAGEWOOD Rayna Green Amanda Minks, Columbia University 9G Intellectual Property, Ethnomusicology, Curator of the American “Oh Shí Baby, Hold Me Tight”: Anchor- and the Future of Fieldwork Indian Program, National Museum of American His- ing Place and Meaning in Navajo Coun- Chair: Alex Perullo, Bryant College try Bands tory, Smithsonian Institution Kristina M. Jacobsen, Columbia University Intellectual Property and Ethnomusi- cology Indigenous Modernities: A Participant’s Robert S. Meitus, Baker and Daniels Grand Ballroom Observation at the United Nations 9:00pm-11:00pm Waila Dance, featur- Rebecca Fan, Columbia University Ethnomusicologists and Permission ing O’odham Waila Band, Southern Forms: Negotiating Ownership and Scratch COTTONWOOD Rights in the Field 9E Teaching in the Field: Ethnomusi- Alex Perullo, Bryant College cology and the Pedagogy of Travel SUNDAY, NOV. 7 “It Seems to be Getting Worse”: Intellec- Chair: Gregory Barz, Vanderbilt tual Property and the Commodification Breakfast Block, 7:30-8:30am University of Ethnomusicology SEM Board of Directors Meeting Anthony McCann, University of Sheffield From Bali to New Mexico:Teaching, 8:00am -1:00pm Presidential Suite Tourism, and Ethnomusicology EVIADA and the Online Archive: Video- PALO VERDE WEST Victoria Lindsay Levine, Colorado College Based Fieldwork and Ethics in the Digi- SEM Council Meeting tal Domain Towards a Pedagogy of Witnessing: John Fenn, Texas A&M University Ethnomusicology, Service Learning and Session 10, 8:30am-10:30am Social Justice OCOTILLO Eric Usner, New York University 9H Forum UPPER CHOLLA Around the Classroom in 101 (minus 1) Ethnomusicologists at Work, Part IV 10A Voicing Difference: Defining, and Worlds: Semester at Sea and the Peda- Transgressing Boundaries and Ad- gogy of Travel (Sponsored by Applied Ethnomusicol- ogy Section of SEM) vocating Change (Sponsored by Jason Stanyek, University of Richmond Section on the Status of Women Organizer: Miriam Gerberg, Minnesota and Sexualities Taskforce) Discussant: Deborah Wong, University Global Arts Institute of California, Riverside Participants: Dora Hast, Eastern Con- Chair: Maria Johnson, Southern Illinois REDWOOD necticut State University; Terence Liu, University 9F Creating and Contesting Nation and National Endowment for the Arts; Stan Gender and Identity Politics in the Mar- Empire: Musical Narratives in Repre- Scott, Wesleyan University; Anthony gins of Country Music: The Lesbian and sentation, Allegory, and Parody Seeger, University of California, Los Gay Country Music Association and Angeles Shadow Dancing as Engendered Politi- Chair: Sonia Tamar Seeman, University cal Movement(s) of California, Los Angeles Amy R. Corin, Moorpark College Sunday SEM Newsletter 21

Defining Boundaries, Voicing Differ- Nationalism, Andeanism and the Wayno “Come On, Grieve With Me Now”: Ref- ence: Appropriating a Lesbian Voice in Ayacuchano erencing, Reframing, and Re-present- Contemporary Cuban Popular Song Jonathan Ritter, University of Califor- ing Grief through Pop Laments in Toba Susan Thomas, University of Georgia nia, Los Angeles Batak (North Sumatra, Indonesia) Rob Hodges, University of California, Kickin’ Ass & Takin’ Names: Saffire, Nationalism, Social Poetics and Urban Santa Barbara Advocacy and the Boundaries of Bolivian Folkloric Musicians “Uppityness” in Women’s Blues Fernando E. Rios, University of Illinois, Discussant: Tomie Hahn, Rensselaer Maria Johnson, Southern Illinois Uni- Urbana-Champaign Polytechnic Institute versity Discussant: Thomas Turino, University REDWOOD Negotiation of Gender in the Women’s of Illinois, Urbana-Cham- 10F Performative Audition & Interac- Music Network Today: Lesbian, Queer paign tive Performance: Audience-Artist Communication, Co-participation, or Women Identified? IRONWOOD Boden Sandstrom, University of Mary- & Co-agency 10D Festivalization in and of European land Chair: Thomas H. Greenland, University Musical Practices (Sponsored by of California, Santa Barbara ACACIA SOUTH European Music Special Interest Group) Hearing the Listeners & Performing the 10B Arab Music across Boundaries Chair: Timothy J. Cooley, University of Players: Socio-musical Intercourse in (Sponsored by Society for Arab the Jazz Village Music) California, Santa Barbara Thomas H. Greenland, University of Chair: Michael Frishkopf, University of “Rites of Summer”: Space, identity, and California, Santa Barbara Alberta Pop Music Festival in Finland Matthew John Dorman, University of Performing the Apollo Audience Shifting Patterns in Networks of Pan- California, Santa Barbara William Boyer, New York University Arab Music Production Michael Frishkopf, University of Alberta Winners and Losers: Tales from the To Dance or Not to Dance? Adjusting Eurovision Song Contest the Music-Dance Nexus in Post-Giuliani Performing al-Andalus, Remembering Philip V. Bohlman and Martin Stokes, Clubland al-Andalus: Constructing Musical University of Chicago Kai Fikentscher, Ramapo College, New Memory Cultures in Syria and Morocco Jersey Johathan H. Shannon, Hunter College, Festivalization and the Carnivalesque in City University of New York Hungarian Folk Music and Dance Camps Hearing Free Improvisation: Negotiat- Lynn M. Hooker, Indiana University ing Identity and Difference Through the Trance-Music as Fetish: Afro-Celtic Social Act of Listening Imaginings and the Creation of the Festivalization in Poland’s Tatras (and David Borgo, University of California, Sacred America’s Appalachians) Los Angeles Deborah Anne Kapchan, New York Uni- Timothy J. Cooley, University of Califor- versity nia, Santa Barbara OCOTILLO 10G Forum Negotiating Identity through Music: Con- COTTONWOOD temporary Syrian Art Music Gatherings Applying Ethnomusicologists: Impor- Nancy Elizabeth Currey, University of 10E The Spectra of Lament in the Nego- tance of Expertise in Grant Proposals California, Santa Barbara tiation of Identity, Time, and Space and Traditional Music Projects (Spon- Chair: Rob Hodges, University of sored by Applied Ethnomusicology Sec- PALO VERDE EAST California, Santa Barbara tion of SEM) 10C Nationalist Discourse, Social Poet- Lament “Paramousos”: Lament, Music, Organizer: Mark Puryear, National Coun- ics and Popular Musicians in Peru and Gender in Ancient Greek Tragedy cil for Traditional Arts and Bolivia and Modern Practice Chair: Lois Wilcken, La Troupe Chair: Fernando Rios, University of Andrea Fishman, University of Califor- Makandal/City Lore Illinois, Urbana-Champaign nia, Santa Barbara Participants: Lois Wilcken; Juan Dies, Music, Folklore and the Introduction of Popular Music and Individualism in Old Town School of Folk Music; Robert an Afroperuvian Voice into the Peru- Contemporary American Funerals Brown, Center for World Music; Duc Van Nguyen; Terence Liu, National vian National Imagination Kara A. Attrep, University of California, Endowment for the Humanities Javier F. Leon, Tulane University Santa Barbara 22 SEM Newsletter Sunday

Melodies of Ethnicity: Czech-American Dancer as Musician, Musician as Dancer- Session 11, 10:45am-12:45pm Polka Music and “Czechness” Combining Roles in Táncház. Judith Jesse Johnston, University of Michigan Olson UPPER CHOLLA American Hungarian Folklore Centrum 11A Religion, Music, and Healing: Strat- Place and Space in the Music and Imagi- egies for Coping with Cultural nation of Polish Górale from Podhale Fiddlers and Jiggers at the Crossroads: Change in Africa Today Louise Wrazen, York University Métis Musical Performance and Con- temporary Heritage Practice Chair: Susan Hurley-Glowa, Franklin & Levar o Nome da Terra p’ra Fora:Bandas Sarah Quick, Indiana University Marshall College Filarmónicas Performing Place in Portu- gal and Abroad Ati deka metuna xo o “One stick cannot Social And Filmic Enrichment: The Katherine Brucher, University of Michigan build a house” (Ewe Proverb): Rhythm Thokolosi Ran From The Field and Motion in Gahu Gei Zantzinger, Independent Ethno- Music as Territory: The Romani Na- David Locke, Tufts University graphic Filmmaker tional Anthem, Representation, and Transnational Sociopolitical Spaces REDWOOD The Tabanka King, His Court, and the Petra Gelbart, Harvard University Thief: A Study of Afro-Christian Mutual 11F Poster Session Aid Societies and Their Celebrations in IRONWOOD An Interactive DJ Listening Station Cape Verde, West Africa Emily Daus Ferrigno, Wesleyan Univer- Susan Hurley-Glowa, Franklin & 11D Contemplating Boundaries through sity Marshall College Three Composers: Ethnomusicol- ogy, Gender, Composing, Teach- SAGEWOOD Hybridizing Ghanaian Dance: The Jour- ing (Sponsored by Section on the 11G Crossing Boundaries: Exploring ney from Village to National Stage Status of Women and Education Globality and Locality within Al- Steven Cornelius, Bowling Green State Section) gerian, Egyptian, and Israeli Popu- University Chair: Beverly Diamond, Memorial lar Musics University ACACIA SOUTH Chair: James R. Grippo, University of 11B Rewriting the Borders of Chicana/o Straddling Boundaries: Ruth Crawford California, Santa Barbara Music Seeger Roberta Lamb, Queen’s University The Egyptian Culture Industry Meets Chair: Estevan Cesar Azcona, University the World Music Marketplace: Egyptian of Texas, Austin Fluent Boundaries: Discussing Pauline Sha’bi and The Permissibility of Pop Oliveros, Deep Listening, Philosophy James R. Grippo, University of Califor- ¡Que Suena El Mariachi! : Contesting and Practice nia, Santa Barbara Discourses around the Mariachi Sound Angelique von Berlow, York University Russell Rodriguez, University of Califor- Discovering the East by Way of the nia, Santa Cruz Meetings of Two in Kaija Saariaho’s West: The Renascence of Middle East- Music: Boundaries of Contemporary ern/Arab Music in Israel Bailando Por San Lorenzo: Nuevo Western Art Music and Ethnomusicol- Galeet Dardashti, University of Texas at Mejicano Popular Traditional Musics, ogy in Dialogue Austin Ritual Contexts, and Performativity in Kirkko Moisala. Akademi University Bernalillo Fiesta Time When is Music of the World Not World Peter J. Garcia, Arizona State University Discussant: Suzanne Cusick, New York Music? The Case of Algerian Sha’bi University Kathleen Hood, Independent Scholar Chicana Words, Chicana Voices: Musicmaking History COTTONWOOD Songs of Resistance: Politics, Peace, and Candida F. Jaquez, Indiana University 11E Traversing the Border between Popular Music in Contemporary Egypt Music and Dance: Communication, Nasser Al-Taee, University of Tennessee, The Borders of Movimiento Music: Per- Interaction, and Crossovers (Spon- Knoxville forming Culture and Politics in the sored by SEM Dance Section) Chicano Movement OCOTILLO Estevan Cesar Azcona, University of Chair: Judith Olson, American Hungarian 11H Performance/Lecture Demonstration Texas, Austin Folklore Centrum Speaking Without Words: Cretan Dance Hot Peas and Barley-O: Children’s Songs PALO VERDE EAST as Expression, Dialogue, and Commu- and Games from England and Scotland 11C Dislocations: Music and Place in nication Susan Brumfield, Texas Tech University Europe and Diaspora Communi- Maria Hnaraki, Cornell University ties Chair: Katherine Brucher, University of Michigan SEM Newsletter 23

Society for Asian Music melody, rhythm, dance, theater, voice, deposited is to be the version that is instruments, technique, technology, text, read at the conference and may not By Susan Asai, President theory, practice, performers, ideology, exceed twelve double-spaced pages sociology, and analysis. For more infor- (roughly 3,900 words). Candidates are The Society for Asian Music (SAM) is mation, please visit (Website) http:// encouraged to submit four copies of in the midst of some major changes. In asianmusic.skidmore.edu. taped audio or visual examples that will a step toward greater visibility and ac- The Board of Directors of the Soci- be used in the presentation (tape cas- cess to researchers, the Society’s publi- ety for Asian Music include Susan Asai sette for audio examples; North Ameri- cation, Asian Music, joined the recently (President), Gordon Thompson (Vice- can standard VHS format for video) created Music Collection of the J-STOR President), Frederick Lau (Secretary), with a brief explanation of how the database of academic journals. The and Martin Hatch (Treasurer), Randal examples are used in the presentation. Society was simultaneously solicited to Baier. David Harnish, Ann Rasmussen, Administration: This year’s selection sign on with ProQuest in 2003. SAM’s Stephen Slawek, Tong Soon Lee, Sean committee includes Tracey Laird (Chair), board members are waiting to assess Williams, and Philip Yampolsky. The Dan Cavicchi, Gordon Thompson, and the impact of online access of our Editorial Board includes Stephen Slawek Jennifer Milioto Matsue. Entries will be journal on the Society’s individual and (Editor), Martin Hatch (Production Man- judged solely on the content of the institutional membership and are hop- ager up to vol. 35, no. 2 [Spring/Sum- papers, including the use of video and ing that the greater access does not mer]), Randal Baier (Book Review Edi- audio examples submitted. The 2004 negatively affect it. tor), David Harnish (Recording Review Waxer Prize selection committee will A second major change for the Soci- Editor), and Gordon Thompson decide upon a winner by March 15, ety is a transition in the production of (Website Editor). 2005. Asian Music. The Society has handed For further details, please visit the over production to the University of SEM home page at (Website) http:// Texas Press which will now handle SEM Prizes ethnomusicology.org or the PMSSEM membership and subscriptions as well. page at (Website) http://orpheus.tamu. SAM is delighted that Asian Music passed The Lise Waxer Prize edu/pmssem/prize.html. Please direct the scrutiny of evaluators solicited by By Tracey Laird, Agnes Scott College other questions to Tracey Laird at (Email) UT Press before they signed on. SAM [email protected]. board members want to thank Martin The Popular Music Section of the Hatch for his 17 years of unwavering Society for Ethnomusicology will again SEMSEC Dale A. Olsen Prize service as editor and 14 years as trea- award the Lise Waxer Prize for the most By Laurie Kay Sommers, SEMSEC surer. distinguished student paper in the eth- Also newsworthy is Asian Music’s nomusicology of popular music pre- President new editor, Stephen Slawek, who took sented at the SEM annual meeting in The Society for Ethnomusicology over the position one year ago. The Tuscon this fall. The competition in- Society owes Steve a note of thanks for Southeast and Caribbean Chapter is cludes a cash award of up to US$50. All pleased to award the 2004 Dale A. initiating the agreement with University students giving papers on popular mu- of Texas Press to take on the production Olsen Prize to Holly Wissler (Florida sic topics at the upcoming conference State University) for her paper titled of our journal. As a professor at UT, the are encouraged to submit their paper new arrangement will facilitate his job “The Story of an Andean Accordion: for consideration. The winner of last The Qero Community and Musical as editor. year’s prize will be announced during Asian Music is planning to offer a Modernization in the Andes.” the SEM General Business meeting. The Dale A. Olsen Prize is awarded special issue on Asian popular music About the prize: Scholar, teacher, trends. We are hoping to sponsor a pre- annually to the best student paper pre- and musician, Lise Waxer was an sented at the annual SEMSEC meeting. conference symposium on Asian popu- ethnomusicologist whose research on lar music for the 2005 or 2006 pre- The award carries a $100 honorarium. Salsa music was greatly admired in the The prize is named in honor of Dale A. conference symposium at the Society field and whose supportive work as a for Ethnomusicology annual meeting to Olsen, founding member of SEMSEC mentor and colleague inspired the great- and Professor of Ethnomusicology at generate papers on this topic. est loyalty and respect from those around Asian Music is published twice a Florida State University. The award is her. Her untimely death in 2002 was a only given if there is a deserving student year and contains refereed articles, re- shock to those who knew her, and at view essays and reviews of printed and paper that meets the criteria of the the 2002 SEM meeting, the PMSSEM prize. A student is defined as a person audio visual materials. The Society for voted to name the prize in her honor. Asian Music invites all students, re- pursuing an active course of studies in Application: Each prize candidate a degree program. This include persons searchers and scholars to join as mem- must deposit four copies of his/her bers to share their work on China, who are engaged in writing the doctoral paper to the prize committee chair at dissertation, but not those who are Japan, Korea, Central Asia, Southeast the PMSSEM business meeting at the Asia, South Asia, South Asia, the Middle teaching full time while doing so. annual SEM conference and fill in a Wissler’s paper deals with the Qero, East, Asian music in diaspora; tradi- registration form. The time and location tional, contemporary, classical, folk, a Quechua speaking people who live in of the PMSSEM meeting will be listed in a remote region of the southern Peru- court, ritual, religious, political, pop; the conference program. The paper 24 SEM Newsletter vian Andes, and are known for the Conferences Calendar Oct 19-23 maintenance of indigenous traditions American Folklore Society An- such as shamanistic healing, textile pro- 2005 nual Meeting. Renaissance duction, and musical ritual. Up until Hotel. Atlanta, GA. For more last year the Qero community has used information, see (Website) Mar 17-19 their own Andean flutes and drums in st http://afsnet.org/ ritual musical performance. In 2003, at 1 Conference of the Répertoire their request, the Qero community re- International De Littérature Mu- Oct 27-30 ceived their first urban instrument: the sicale—“Music’s Intellectual American Musicological Soci- accordion. While this instrument is not History: Founders, Followers & ety Annual Meeting. Omni new to the Andes, it is to the Qero Fads.” The City University of Shoreham Hotel, Washington, community. The paper explores the New York Graduate Center, DC. For more information, see following: (1) the Qero’s relationship New York. For more informa- (Website) http://www.ams- with the urban world in the context of tion, visit (Website) http:// net.org/annual.html their participation in Qoyllur Riti, the www.rilm.org largest pilgrimage festival in the south- Nov 17-20 eastern Andes, and the underlying is- Mar 31-Apr 3 Society for Ethnomusicology sues for their desired acquisition of the Association for Asian Studies 50th Anniversary Meeting. accordion; (2) how Qero community Annual Meeting. Hyatt Hotel, Sheraton Midtown Atlanta at infrastructure is revealed in the official Chicago, IL. For more informa- Colony Square, Atlanta, Geor- reception of the instrument; (3) the tion, see (Website) http:// gia. For more information, week-long learning process of the single www.aasianst.org/annmtg.htm please visit (Website) http:// musician who was chosen by the com- ethnomusicology.org Aug 3-9 munity to perform the accordion at the th Qoyllur Riti festival; and (4) how this 38 International Council for Nov 30-Dec 4 acquisition of an urban musical instru- Traditional Music World American Anthropological Asso- ment is related to the process of Conference, University of ciation 104th Annual Meeting. mestizaje, indigenous cultural modern- Sheffield, UK. For more infor- Marriott Wardman Park Hotel, ization in the Andes. mation, see (Website) www. Washington, DC. For more infor- ethnomusic.ucla.edu/ICTM/ mation, see (Website) http:// 2005uk/ICTM%20Homepage.html www.aaanet.org/mtgs/mtgs.htm

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

Volume 38, Number 4 September 2004