SEM Newsletter Published by the Society for Ethnomusicology Volume 41 Number 4 September 2007 SEM 2007—Columbus, Becoming Ethnomusi- Ohio cologists By Margarita Mazo, Chair, Local Arrange- By Philip V. Bohlman, SEM President ments Committee The present installment of “Becoming The 52nd Annual Meeting of the Society Ethnomusicologists” (see p. 4) contains a for Ethnomusicology, hosted by The Ohio set of reflections on the first theme of the State University (OSU), is rapidly approach- upcoming 52nd Annual Meeting of the So- ing, and the Local Arrangements Committee ciety for Ethnomusicology: “Music, war, and (LAC) is excited about greeting SEM mem- reconciliation.” My reflections interpolate a bers in Columbus, Ohio, from Wednesday, third concept into the theme—peace—which October 24, through Sunday, October 28, Monday, October 8, you will benefit from the is the critical stage that allows us to transform 2007. Based on the number of abstracts the early registration discounted rate of $150. war into reconciliation. Few ethnomusicolo- gists would question that employing these Program Committee received, it promises to Program be a well-attended meeting. The natural envi- concepts as the theme for a conference rons of Columbus, as peaceful and beautiful The program assembled by the SEM recognizes a common concern for peace as they appear in the bright autumn colors of Program Committee, chaired by Margaret and reconciliation. Examining all three con- the Midwest, are perhaps less alluring than Kartomi (Monash University, Australia), cepts’ interrelations, however, might reveal the mountains and ocean that surrounded us is rich and meaningful, and will appeal to unexpected ways in which they are more during last year’s conference in Hawai`i; thus, a broad range of scholarly interests. The similar than different. The primary question, we look forward to devoting ourselves fully events will kick off Wednesday morning, therefore, might be whether war and peace to intellectual discoveries and discussions, October 24, with a special pre-conference do not in some way depend on each other. diverse music and dancing, and good food. Symposium—“New Directions in Cognitive The music of war and peace might well be “Music, War and Reconciliation,” the motto Ethnomusicology”—organized by the LAC. present in more ways and in more musical of SEM 2007, will resonate with diverse pas- The topic of this year’s pre-conference has practices than we realize. The moment we sions, empathies, and with symbolic celebra- emerged as an area of growing interest among move beyond war and peace to reconcilia- tions through several activities. ethnomusicologists and is a special focus of tion, we also recognize that ethnomusicol- To register for the meeting, complete the OSU program in cognitive ethnomusicol- ogy might engage with regional and global the registration form, available on the ogy. OSU was the first school in the nation conflict in new ways, and might even further meeting website (http://www.indiana. to launch such a programmatic focus as an disengage reconciliation from the vicious edu/~semhome/2007/registration.shtml). institutional undertaking in 1999. cycle of war and peace that shows few signs If your registration is received on or before Continued on page 24 of coming to an end.
Inside 2007 Charles Seeger ally-chartered foundation affiliated with the 1 SEM 2007—Columbus, Ohio Library of Congress. He is currently board 1 Becoming Ethnomusicologists Lecturer: Bill Ivey chair of WPLN, Nashville Public Radio, and 1 2007 Charles Seeger Lecturer: Bill Ivey The Society for Ethnomusicology is is completing a book about the public interest and America’s cultural system. 3 nC2 pleased to welcome Bill Ivey as the 2007 3 People and Places Charles Seeger Lecturer at its 52nd Annual From May 1998, through September 3 Calls for Submissions Meeting in Columbus, Ohio. Bill Ivey is 2001, Ivey served as the seventh chairman of 7 Appreciating Hawai`ian Movement the Director of the Curb Center for Art, the National Endowment for the Arts (NEA), 7 Eight SEM Members Attend Conference Enterprise, and Public Policy at Vanderbilt a federal cultural agency. Following years of in Dominican Republic University, an arts policy research center with controversy and significant budget cuts, Ivey’s 9 Pre-Conference Symposium Preliminary offices in Nashville, TN, and Washington, DC, leadership is credited with restoring Congres- Program and is president of the American Folklore sional confidence in the work of the NEA. 10 52nd Annual Meeting Preliminary Pro- Society for 2006 and 2007. He also serves Ivey’s Challenge America Initiative, launched gram as Senior Consultant to Leadership Music, in 1999, has to date garnered more than $19 29 Society for American Music Announces a music industry professional development million in new Congressional appropriations New Journal program, and chairs the board of the National for the Arts Endowment. 31 Conferences Calendar Recording Preservation Foundation, a feder- Continued on page 27 SEM Newsletter
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Introducing nC2 from the field, in the field, to the field, of This issue of the SEM Newsletter includes the field, about the field, against the field, the debut of a new column: nC2 (“in situ”), betwixt the field, concerning the field, to- a column about fieldwork, written by gradu- ward the field, out of the field, beyond the ate students directly from “the field” (widely field, through the field, via the field, up to construed). the field, despite the field, for the field, due to the field, in place of the field, (un)- The driving force behind nC2 and its first moderator is Jesse Samba Wheeler, a newly- like the field, afterC the field,2 into the minted PhD who was until recently himself a graduate student at UCLA and a graduate What constitutes a field site?n Are sites located, based somewhere? Or is the singular “some- where” too limiting to describe the contours of our field sites? We can get a richer sense of “the student representative to the SEM Council. field” if we shift focus away from sites’ geographic locations and onto their peculiar multi-dimen- For the inaugural column, Jesse has selected sionality. Ulf Hannerz’s “habitats of meaning” (Transnational Connections: Culture, People, an evocative essay by Kirsty Gillespie, whose Places. London: Routledge, 1996)—discursive and territorial spaces in which epistemological field is defined more by relationships than histories, experiential knowledge, and deep cultural orientation interface and compose matrices for physical boundaries. The essay gives voice comprehension of the world around us—may bring useful texture to the concept of “the field.” At to the often unacknowledged emotional times they may be shared with others, as understanding ebbs and flows in and out of mutuality; dimension of fieldwork. they may also be quite idiosyncratic, making identity of perspectives seem unattainable. In the following piece, Kirsty Gillespie addresses the locations and relationships, the latter We hope that nC2 will become a regular feature of the Newsletter, and look forward to often marked by great inequality, that define the field site. “Moving” evokes the “unfirm” aspects publishing more ruminations about the field of fieldwork’s outward and inward planes: spatial diffuseness, changing conditions, and emotional involvement. —Jesse Samba Wheeler from graduate students in situ. Fieldworkers of the world, write! <
Becoming Ethnomusicologists On War, Peace, and Reconciliation By Philip V. Bohlman, SEM President
Meine Mutter wird Soldat, My mother is going to be a soldier images of the acts of killing that make up the da zieht sie Hosen an mit roten Quasten dran. and wear pants adorned with red tassels. everyday. Again, musical styles collapse, for Dann kriegt sie gleich ein Schießgewehr, She’ll get a rifle right away, example, in the trailer for the video advertising da schießt sie hin und her, so she can shoot wherever she wants, the CD, Live in Iraq, which opens with the dann kommt sie in den Schützengrab’n, then she’ll jump into the trenches, expansive lyricism of the slow movement of da fressen sie die schwarzen Rab’n, where they’re eating black ravens, the Mozart Piano Concerto, K. 433, which meine Mutter wird Soldat. my mother is going to be a soldier. introduces rather than masks the violence of the rapping that follows. Hanns Eisler, “Kriegslied eines Kindes”/”A Child’s Song of War” Music of the Iraq War raises questions of From the Zeitungsausschnitte/Newspaper Clippings (1926) ownership and meaning, questions posed in previous wars, but insufficiently resolved by I hold my tears till im underwater any war. In “Holdin My Breath,” the singer So yall don’t never see me cryin and his enemy occupy the same space, or Holdin my breath till I can resurface nearly so, forcing the singer to hold his But I can feel myself dyin breath in order not to be detected. The song itself, nonetheless, realizes the uncanniness 4th25, “Holdin My Breath,” track 4, Live from Iraq (2005) of occupying the same space, in which only one of the occupants will survive. Rapping the song forestalls death, but it sustains war This summer, while preparing to record Cabaret in Exile, collectively transform (see Pieslak 2006). a CD with the New Budapest Orpheum the extraordinary into the ordinary. The The topoï of war have become crucial to Society, the cabaret ensemble for which I twentieth-century wars that generate exile the longer narratives of music history. They serve as Artistic Director, I came to the dis- and genocide become a collective chronicle, historicize war through their repetition and turbing realization that the topoï of war lie capable of absorbing any and every style of the ways they remind us of war in the past, at the heart of every song my ensemble will music. Eisler sets the child’s voice in modern- thus giving it a place in the present. In the record. Each song responds to war. Each song ist tones, inflecting the singer’s innocence. quotidian performances of “The Star Spangled compels the listener to respond to war. Each Songs by Abe Ellstein and Moses Milner from Banner” at American sporting events or of the song contributes its voice to the narrative Yiddish film in the 1930s, also arranged for “Radetzky March” to mark the beginning of counterpoint that unfolds as the stretto of the CD, are hardly less cloying than Viktor a new year by the Vienna Philharmonic, we modern history. Ullmann’s 1944 Yiddish art songs, Březulinka, experience specific wars, specific historical Music has never been a stranger to war, op. 53, composed in the concentration camp moments of struggle, in these cases, the War of but it is in the twentieth century that music at Terezín. Genre and form elide in order not 1812 or the victory of the Austro-Hungarian has come in so many ways to respond to the to obscure the everyday conditions of rendered Empire in northern Italy, respectively. Music everyday presence of war. The epigraph with by war’s insistent presence. A new directness makes explicit the ways in which war redraws which I begin these reflections on one of the accrues to the music of war, bearing witness the edge of empire. In American music history central themes of the 52nd Annual Meeting to the tragedy of a modernity that spares it was war, again the specific recalibration of of the Society for Ethnomusicology serves as virtually no one (cf. New Budapest Orpheum empire in World War I, that brought James witness to that everydayness, but then searches Society 2002). Reese Europe and his “Hell Fighters” military for ways of critical intervention. “A Child’s The music of war is not marginal. It is jazz band to Europe, opening the space for Song of War” is one of a series of songs by the not a special circumstance in which music jazz as a direct consequence of war. great composer and social critic, Hanns Eisler provides solace to a beleaguered few, elsewhere The global spread of jazz should also serve (1898-1962), called Newspaper Clippings, in the world. Music responds to the silence as a reminder that the shifting musical ter- composed in 1926, whose texts were taken that follows war by making it audible. The rains that form as empires and nations enter from the personal columns of newspapers, music of war insists that we not attribute it into conflict might also seem to open spaces intentionally blurring the boundaries between to the conditions inhabited by anonymous for peace. The shift of register between war art and life. Music lends the child’s voice a others. It is the quality of everydayness that and peace in music might well be realized naïve profundity, so much so that by the end is so striking in the second epigraph at the again as gradual, again more ordinary than of the song, the singer’s mother lies critically beginning of this column, a song rapped extraordinary. I, too, shift registers as I turn wounded in the field hospital, serenaded by by 4th25, a hip-hop group constituted of briefly to music and peace, but do soby the child’s martial coda, “trara tschindra.” American soldiers serving in Iraq. Circulat- exploring the space between war and peace. Like “A Child’s Song of War,” the other ing songs and videos produced “live in Iraq,” I consider a single historical moment from songs in this CD project, entitled Jewish 4th25 musters disturbing audio and visual countless instances in which the music of war and peace collapse in upon each other, the SEM Newsletter
American Civil War of the 1860s, with that in mind that ethno- in which the music of war and musicologists have the potential peace became one, engendering to make the real difference that one of the most intensive pro- reconciliation demands. The ductions of music in American fissures opened by war and the history. spaces formed at the edge of From the outset, the prolif- empire and nation respond to eration of song in the American reconciliation when an agency Civil War proceeded so fero- is mobilized that strives to close ciously that it is hardly surprising them, or rather more to the that songs for the North and the point of reconciliation, to heal South were sometimes the same, them. Such healing becomes but more often covers of each possible when musicians them- other. Thematically, songwriters selves, assuming the active and and publishers needed only to activist role of individuals who substitute texts or translate mean- engage directly with war and ing. The most stable elements peace, seek to endow music in all Civil War songs were the with the power to transcend the images of the North and South everyday. As we seek musically charged with sacred mission. to set reconciliation in motion, Patriotic songs, cast as songs of that transcendence makes it pos- war, were frequently sacred, and sible for individuals who engage sacred songs acquired secular texts with music to move beyond a and functions. Both sides in the history in which the music of war sent their soldiers to war with war and peace collapse in upon hymnbooks, and usually these each other. The very spaces were the same hymn collections, in which ethnomusicologists with the necessary few variants. actively engage with the most The musical encounter between powerful presence of music that self and other, therefore, was ex- crosses boundaries and opens traordinarily blurred, but so too new processes of exchange was the distinction between war between individuals and col- and peace (see Stout 2006). lectives alike are those that will We witness this in two of enable the transcendence of a the most enduring anthems of reconciliation that can remain the Civil War, “The Southrons’ inchoate no longer. Chaunt of Defiance” (1861) and Figure 1. Julia Ward Howe, “The Battle Hymn of the Republic” (1862) the “Battle Hymn of the Repub- lic” (1862) (see Figure 1). How powerfully the Iraq War might have begun by the time Works Cited such songs sanctify war and sacrifice. From its of the meeting. That it has not surprises no 4th25. 2005. Live from Iraq. 4th25 Music relatively humble beginnings as a poem in the one reading this column only a month before Group LLC (825346973524). Atlantic Monthly, Julia Ward Howe’s “Battle the meeting itself. We are all left wondering New Budapest Orpheum Society. 2002. Hymn of the Republic” emerged from the what the music of reconciliation might sound Dancing on the Edge of a Volcano: Jewish Civil War as an anthem of enormous popu- like, and what might lead more rapidly to its Cabaret, Popular, and Political Songs, 1900- larity, which would enter Christian worship sounding in the early twenty-first century. 1945. Chicago: Cedille Records. in the United States and remain a stalwart As ethnomusicologists we might also ask reminder of the national mission engendered whether the music of reconciliation does not Pettan, Svanibor, ed. 1998. Music, Politics, by the war. Hymnbooks and bandbooks alike differ from that of war and peace, indeed, in and War: Views from Croatia. Zagreb: retranslated the sacred and secular sounds some crucial ways. Reconciliation marks a Institute of Ethnology and Folklore of the Civil War for the war of salvation at departure from the everyday that constitutes Research. home and abroad in the expanding American so many of the topoï of war and peace. There Pieslak, Jonathan. 2006. “Sound Targets: empire (see Sousa 1890). is a substantial reformulation of a subjectivity Music and the War in Iraq.” Paper If the music of war and peace so often determined by the repetitive sameness of style delivered at the 51st Annual Meeting cohabit the spaces of difference and conflict, and genre. Whereas the music of war and of the Society for Ethnomusicology, does it become possible to speak of a music of peace realized the extraordinary as ordinary, Honolulu, Hawai`i, 16-19 November. reconciliation? Reconciliation might well be just the opposite occurs when music makes Sousa, John Philip. 1890. National, said to contain topoï of its own. Some of these a radical break with what has been, thus Patriotic and Typical Airs of All Lands. identify conflict; others stake out alternatives launching the possibility of becoming truly Philadelphia: H. Coleman. to conflict. When the 2007 SEM Program extraordinary. Committee joined reconciliation to war as a The subjectivity at the heart of a music of Stout, Harry S. 2006. Upon the Altar of the theme for the Columbus meeting, it surely reconciliation requires a new agency, and it is Nation: A Moral History of the Civil War. did so with the hope that reconciliation in New York: Viking. SEM Newsletter
The Centre for Intercultural Musicology at Churchill College presents An International Symposium and Festival on COMPOSITION IN ASIA Dates: Featuring: 5-10 August 2008 Composers’ Sessions, Venue: Scholarly Sessions, Churchill College University of Cambridge and Live Concerts Cambridge CB3 0DS England The event will comprise three sections 1. Scholarly sessions on topics pertaining to History, Style, Performance, Aesthetics, Social Context, Reception, Marketing, Publishing, Pedagogy, and Contacts with Other Cultures of the World. Proposals for papers must be submitted in the form of a 300 word abstract. 2. Special sessions will be available for composers to discuss their works, illustrated with live and/or recorded examples. 3. Live concerts will feature the works of Asian composers (including non-Asians using Asian resources) as well as performances of Asian traditional music. Funds available to the organizers are very limited. Therefore, all participants are expected to provide their own funds in respect of local and international travel as well as for board and lodging. Lodging will be available at Churchill College and details of the cost will be communicated to you at a later date. Application Surname: ______
First Name: ______
Institution: ______
Address: ______I am interested in attending and would ______like to present: ___ A Composers’ Session Telephone: ______A Scholarly Session ___ A Live Concert E-mail: ______Attend as a listener only
For scholarly sessions, please send title and abstract of your paper, and for live concerts please send your programme. Please remit your application for participation not later than 1 February 2008. Registration fees will be £100.00, payable in cash upon arrival. Please mail your application to: Akin Euba Andrew W. Mellon Professor Department of Music University of Pittsburgh Pittsburgh, PA 15260 Phone: (412) 624-4199 A Bridge Across USA Fax: (412) 624-4186 From Pittsburgh to Cambridge Alternatively please e-mail the information to: This event is supported by the project [email protected] A Bridge Across: Intercultural Composition, Performance, Musicology of the University of Pittsburgh SEM Newsletter Appreciating Hawai`ian a graduate of the Kamehameha Schools, as- sisted by several of her students. Takamine Movement: Hula Work- was the ideal performer and teacher to trans- shop for Ethnomusicol- mit traditional Hawai`ian cultural knowledge to scholars from diverse backgrounds and ogists at SEM 2006 cultures as she daily negotiates both traditional by Amy R. Corin, Co-Chair, SEM Section and academic terrains, having graduated as on the Status of Women kumu hula through the ‘üniki rituals of hula from the revered kumu hula Maiki Aiu Lake as On November 17, 2006, a beautiful well as earning both bachelor’s and master’s Friday Honolulu afternoon, the excitement degrees in dance ethnology from the Univer- was palpable as a group of nearly 100 eager sity of Hawai`i. She is the founder and kumu participants crowded into the Waikiki Beach hula of Pua Ali`i `Ilima, a school of traditional Marriott Ballroom Salon I, to take part in the Hawai`ian dance, and in addition teaches hula workshop collaboratively sponsored by hula at University of Hawai`i at Manoa and the Society for Ethnomusicology’s Section Leeward Community College. In 1997, as an on the Status of Women (SSW) and the activist and advocate for the protection of na- SEM Dance Section. The workshop, en- tive Hawai`ian rights, the natural environment titled “Appreciating Hawai`ian Movement: of Hawai`i, and Hawai`ian cultural resources, Hula Workshop for Ethnomusicologists,” Takamine co-founded the `īlio`ulaokalani, introduced by SEM SSW co-chair, Klisala a coalition of traditional practitioners com- Harrison, and Dance Section Chair, Clara mitted to protecting Hawai`ian customs and Henderson, provided an opportunity for traditions. Today, Takamine continues to attendees to become participants in and serves the `īlio`ulaokalani, as, po`o, (president) acquainted with some of the origins and and inspirational leader. traditions of one of Hawai`i’s most famous Immediately following a short welcoming and simultaneously most misrepresented ceremony during which, in adherence with music and dance traditions. Hawai`ian protocol, University of Hawai`i Our kumu hula (master teacher) for the Vickie Holt Takamine demonstrates the ipu professor Fred Lau presented our special event was the gracious Vicky Holt Takamine, during the SEM 2006 Hula Workshop guest with a lei, participants were treated to Continued on page 28
Eight SEM Members The three keynote speakers were the The 2007 conference papers will yield Cuban musicologists María Teresa Linares a book with enclosed CD, just as the 2005 Attend Conference in and Danilo Orosco and the Puerto Rican merengue conference resulted in El merengue Dominican Republic sociologist Ángel Quintero Rivera. Featured en la cultura dominicana y del Caribe, co-edited musicians were the legendary Dominican by Martha Ellen Davis by Darío Tejeda, director of the Instituto Johnny Pacheco of the Estrellas de Fania de Estudios Caribeños, and Rafael Emilio On April 13-15, 2007, eight SEM mem- (Fania All-Stars), the Cuban pianist Cucho Yunén, director of the Centro León (2006, bers attended an international conference on Valdés, and the Dominican Cuco Valoy. The 596 pp., ISBN 99458519-7-7). For further “El Son y la Salsa en la Identidad del Caribe” Dominican local ensembles, Sonia Cabral y information see (websites) www.inec.org.do, (Son and Salsa in Caribbean Identity) in the los Científicos del Son (from Villa Mella) www.centroleon.org.do/congreso, or contact elegant Centro León of the E. León Jiménes and Son Santiaguero (from Santiago) also (email) [email protected]. company in Santiago de los Caballeros, the performed. second city of the Dominican Republic. The SEM attendees were (in alphabetical order) Martha Ellen Davis, Sydney Hutchinson, Ben- jamin Lapidus, Noriko Manabe, Peter Manuel, T.M. Scruggs, Susanna Sloat, and Angelina Tellaj. Davis, Hutchinson, Lapidus, Manabe, Manuel, and Scruggs delivered papers. The conference, organized by the non- governmental organization, the Instituto de Estudios Caribeños, was the second in a series of three biannual conferences entitled “Música, Identidad y Cultura en el Caribe” (Music, Identity, and Culture in the Carib- bean), each with a genre of popular music of the Hispanic Caribbean as its topic. The first conference in 2005 focused onmerengue ; Some of the SEM Members attending Dominican conference: (l to r) Sydney Hutchinson, the third and final conference, in April 2009, Martha Ellen Davis, Susanna Sloat, Peter Manuel, Noriko Manabe will address the bolero. SEM Newsletter
SOCIAL SCIENCE RESEARCH COUNCIL Dissertation Proposal Development Fellowship (DPDF)
The Social Science Research Council is actively recruiting senior faculty from doctoral degree-granting programs at US universities to identify research fields and serve as research directors for the 2008 Dissertation Proposal Development Fellowship (DPDF) program, funded by the Andrew W. Mellon Foundation. Research directors will lead groups of 12 graduate fellows in two workshops (scheduled for May 29 – June 1, 2008 in St Louis and September 11-14, 2008 in Milwaukee) that frame summer predissertation support for graduate students chosen in five different research fields. These research fields refer to subdisciplinary and interdisciplinary domains with common intellectual questions and styles of research. These may come out of emergent fields, be constituted around geographic regions not traditionally mapped by current funding structures, or emerge from novel ways of encour- aging comparative and interdisciplinary work, including a focus on specific kinds of sources. Research fields can be topical in focus, transnational in scope, or comparative. Research directors should be tenured and experienced supervisors of thesis research. Each research director will receive a stipend of $7,500; student fel- lows will receive up to $5,000. The DPDF program invites teams of two tenured faculty to submit joint pro- posals for research fields for the 2008 fellowship program. The application is available through the SSRC’s application portal, http://applications.ssrc.org/. Proposals submitted by two faculty at different institutions and, as relevant, different fields should describe the relevance of the research field, the kind of graduate students who might be recruited, and the kinds of activities that would be entailed in each of the two workshops, along with a short bibliography and curricula vitae of the two research direc- tors. Applications are must be submitted via the application portal by October 2, 2007. More information about the program may be found at: http://programs.ssrc.org/dpdf. Please direct any questions to program staff at [email protected]. SEM Newsletter
52nd Annual Meeting Pre-Conference Symposium New Directions In Cognitive Ethnomusicology
Preliminary Program
Recent developments in cognitive sciences have seen the emergence of new paradigms that emphasize the integrated relationships between mind and body, acknowledge the importance of individual experience in understanding human cognition, and revise the understanding of the relationship between inherited and acquired traits in the formation of human capacities. With the increased interest of cognitive sciences in music studies, these trends clearly offer a chance Wednesday, Oct 24 for ethnomusicology to become a fully-fledged partner in new interdisciplinary inquiry and an opportunity to re-examine some enduring disciplinary beliefs and practices. The Symposium explores new opportunities and challenges posed for Wednesday, 8:00am–8:25am ethnomusicology by these developments. The symposium also aims to expand and deepen understanding between cognitive and more traditional subfields of our discipline. To facilitate the dialogue, distinguished ethnomusicologists whose work Registration, Coffee does not involve approaches and methods of the cognitive sciences will serve as respondents. Each of the four sessions is anchored by a position paper by the session’s chair to discuss current theoretical considerations on a given theme. All Wednesday, 8:25 am–8:30am presenters and observers are encouraged to take an active part in discussions throughout the Symposium. Welcome by Dr. Mellasenah Morris Coffee break (10 min.) of Communications and Interactions in Musicking Wednesday, 8:30am–9:40am Wednesday, 12:10pm–1:00pm Martin Clayton, Open University, Milton Ethnomusicology and Cognitive Sciences Response and Discussion Keynes, UK
8:30 Ethnomusicology and Cognitive Sci- 12:10 Response to Morning Sessions 5:00 Intermodal Imagery and the Trans- ences: Theoretical Perspectives Anthony Seeger, UCLA mission of Instrumental Music Udo Will, Ohio State University Gina Andrea Fatone, Bates College 12:30 Open Discussion 9:10 Nonlinear Dynamic Applications of 5:30 An Attempt to Explain the Relation of World Music Systems Wednesday, 1:00 – 2:30 Music and Dance: Ana’s Paradox Adriana Fernandes, Universidade Federal Erik Teixeira, University of New Lunch Mexico de Goias, Brazil Wednesday, 2:30pm–4:10pm Coffee break (10 min.) Coffee break (10 min.) Music, the “Cultural Brain” and Body Wednesday, 6:10pm–7:00pm Wednesday, 9:50am–12:00 noon 2:30 Music, the ‘Cultural Brain’ and the Response and Discussion Music and Language: Cognitive Processing Body: Towards a New Understanding of the Relationships between Culture 6:10 Response to Afternoon Sessions 9:50 Music and Language: The Domain-spe- Jeff Titon, Brown University cific and General Aspects of Music and Human Biology Judith Becker, University of Michigan and Language Processing and the 6:30 Open Discussion and Closing of the Working of the Brain 3:10 Acoustical, Perceptual, and Cognitive Symposium Ian Cross, University of Cambridge, UK Aspects of Ganga Singing Wednesday, 7:00pm–9:00pm 10:30 Phonology and Singing: Linguistic Pantelis N. Vassilakis, DePaul Uni- Grammar as a Structuring Context for versity Dinner Expressive Vocal Performance 3:40 Decoding Russian Lament in the Brain Wednesday, 9:00pm – 10:30pm Tyler Bickford, Columbia University and Body Concert: Hindustani Classical Music 11:00 The Role of Pitch in the Processing of Margarita Mazo, The Ohio State Uni- Tonal Languages: New Evidence on versity Hans Utter (OSU), sitar the Connection between Language and Music Coffee break (10 min.) Utpola Borah (American Institute of Indian Studies, Gurgaon, Haryana, Nicholas Poss, The Ohio State Univer- India), voice sity Wednesday, 4:20pm–6:00pm Music, Movement, and Entrainment 11:30 The Origins of Music and Musical Universals: Perspectives of Cognitive 4:20 Music, Movement and Entrainment: Ethnomusicology A General System Dynamics’ View Joseph Jordania, University of Melbourne 10 SEM Newsletter
52nd Annual Meeting Preliminary Program
9:30 Wrestling with Some (Em)body 9:30 National Patrimony Community Michelle Kisliuk, University of Virginia Heritage Family Tradition: Filipino Stakeholders Navigating Cultural Thursday, Oct 25, 2007 Rights at the 1998 Smithsonian Governors D Folklife Festival 1E [P] Festivals, Governments, and Civil Thursday, 7:00am–8:00am Ricardo Trimillos, University of Hawai‘i Society [M] PC/LAC Meeting Discussant: D. Sonneborn, Smithsonian Legislative B Folkways Recordings Thursday, 8:30am–10:30am 1C [P] Music and Revolution in Latin America and the Caribbean 8:30 Building a World Music Constitu- Judicial Room ency from the Grassroots: The San Chair: Fernando Rios, Independent Scholar Francisco World Music Festival 1A [P] Music and the War in Iraq Mark DeWitt, Independent Scholar Chair: Jonathan Pieslak, The City College, 8:30 Urban Music in the Mexican Revolu- CUNY tion 9:00 Arts + Inner City = Gentrification? Leonora Saavedra, UC Riverside Klisala Harrison, York University 8:30 Live From Iraq: 4th25 and Soldier Rap 9:00 The Bolivian Revolutionary National- 9:30 The Korean Kugak Festival: Creating Jonathan Pieslak, The City College, ist Project and the Folklorization of a New Old Music CUNY Indigenous (Amerindian) Andean Keith Howard, SOAS Music 9:00 An American Soldier’s iPod: Layers Fernando Rios, Independent Scholar Governors E of Identity and Situated Listening in Iraq 9:30 300 New Radio Stations in 4 Years: A 1F [P] “Genuine Worship,” “Full-On Pos- Lisa Gilman, University of Oregon Critical Appraisal of Recent Musical session,” and “Right Singing”: Theology, Initiatives of the Bolivarian Revolu- Religious Ideology, and Musical Ontology 9:30 Soundscapes of Captivity in the tion in Venezuela in the Twenty-First Century “Global War on Terror” T.M. Scruggs, University of Iowa Chair: Jeffers Engelhardt, Amherst College Suzanne Cusick, New York University 10:00 The Prayer: Haitian Vodou’s Sweet Discussant: Philip Bohlman, University of 10:00 Music’s Instrumentality in War and Drama of Resistance Chicago Recovery Lois Wilcken, La Troupe Makandal/City 8:30 “We Have Come Here to Meet God”: Martin Daughtry, New York University Lore Creating Space for Theological and Ideological Transformation through Legislative A Governors C “Genuine” Worship 1B [P] Music and Cultural Rights: Access, 1D [P] Beholding Moves: Practicing Embodi- Monique Ingalls, University of Pennsyl- Use, Representation, and Ownership ment, Ethnography, and Research vania
Chair and Discussant: Andrew Weintraub, Discussant: Katherine Hagedorn, Pomona 9:00 Embodied Ontologies: Interiority, University of Pittsburgh College Exteriority, and “Authenticity” in 8:30 Accessing Archival Resources: A Key 8:30 Dancing with Fred and Ginger: Movie Oricha Possession Performance to Reclaiming the Right to Know Musicals and the Transmission of Katherine Hagedorn, Pomona College History Embodied Knowledge 9:30 Religious Ideology as Musical Ontol- Amy Ku’uleialoha Stillman, University Allison Robbins, University of Virginia ogy: The Ideal of Right Singing in of Michigan 9:00 The Body Articulate—Dance Nota- Estonian Orthodox Christianity 9:00 UNESCO and Cultural Rights: Chi- tion and Ethnography Jeffers Engelhardt, Amherst College na’s Qin Music in the 21st Century Tomie Hahn, Rensselaer Polytechnic Bell Yung, University of Pittsburgh Institute SEM Newsletter 11
House A 9:00 The Absence of Spirit: Afghanistan, Legislative B 1G [IP] Music, Space, Place, and Environ- Music, and War 2C [F/V] Gongs and Trombones ment (1) Louise Pascale, Lesley University Michael Tenzer, University of British Chair: TBA 9:30 Pax Mevlana: Mevlevi Music and Columbia the Reconciliation of Islam and the 8:30 The Chitlin Circuit: The Embodiment West Co-presenter: Sylvia L’Ecuyer, CBC Radio of Jazz in Physical Space and Social Victor Vicente, University of Maryland and Université de Montreal Action Colter Harper, University of Pittsburgh 10:00 Bosnian Sevdalinka as a Symbol of Governors C Cultural Unity and Survival 2D [P] Modal Theorists and the Treatises 9:00 “Beautiful Voice” Narratives of Is- Heather Laurel Peters, York University tanbul: Localizing Discourse on the They Write: Methods, Influences, and the Islamic Call to Prayer Viability of Their Works Over Time Eve McPherson, UC Santa Barbara Thursday, 10:45am–12:15pm Chair: Scott Marcus, UC Santa Barbara Judicial 9:30 Music, Place, and Environmental 10:45 Mashaqa’s 1840 Treatise on the East- Concerns of Kazakh Herders in 2A [P] Betwixt and Between: Explorations ern Arab Modal System: A History of Western Mongolia of Place, Space, and Identity the Manuscript Propelling Motiva- tions and Aspects of Continuity and Jennifer Post, Middlebury College Chair: Elizabeth Macy, UCLA Change in a Modal Tradition 10:00 Syriac Chants in South India: The 10:45 Music, Place, and Liminal Space in Scott Marcus, UC Santa Barbara Local-locus Continuum in Music Post-Katrina New Orleans Joseph Palackal, Christian Musicological Elizabeth Macy, UCLA 11:15 Cross-cultural Translation: Textual Society of India Considerations in Interpreting a Nine- 11:15 Hip Hop In Between: Place and teenth-Century Arabic Treatise on House B Identity in Senegalese Immigrant Hip Music Hop Tess Pooper, UC Santa Barbara 1H [IP] Musical Identity, Migration, Exile, Catherine Appert, UCLA and Diaspora (1) 11:45 The Concept of Mugham as a Chair: TBA 11:45 Ni aquí ni allá: Liminality in Perfor- Metaphor of [Azerbaijani] Creative mances of Cuban Timba Thinking 8:30 Ascending the Canadian Stage: Dance Lara Greene, Florida State University Inna Naroditskaya, Northwestern Uni- and Cultural Identity in the Indian versity Diaspora Legislative A Meera Varghese, University of Alberta Governors D 2B [P] Knowing Music, Making Dance: 9:00 “Pure” India in Pittsburgh: Ritual Interactive Networks and Motivations 2E [P] Cuba: Orthodoxy and Sacred Tradi- and Musical Practices of Diasporic among Musicians and Dancers tions Indians in Pittsburgh Chair: TBA Chair: Michael Marcuzzi, York University Yuko Eguchi, University of Pittsburgh 10:45 Baraka in Motion: Co-enunciation and 10:45 Presentation to the Drums: Presenting 9:30 “Reminding” and “Materializing” the its Display in the Moroccan Gnawa New Ideas Ecuadorian Nation in Madrid Lila Michael Marcuzzi, York University Ketty Wong, University of Kansas Tim Abdellah Fuson, UC Berkeley 11:15 Rethinking Aná: Challenging the 10:00 “La Casa del Chamamé”: New Tradi- 11:15 Gender Roles and Female Agency in Exclusive Status of an Afro-Cuban tion in Southern Chile Folkloric Courtship Dance Networks Drum Deity Gregory Robinson, University of Penn- (or What I Learned about Being a Kevin Delgado, San Diego State Uni- sylvania Woman from Dancing the Panama- versity nian Tamborito) Executive Francesca Rivera, University of San 11:45 Transculturation in Cuban Cajon Cer- Francisco emonies: Grounds for a Reconsidera- 1I [IP] Music, War, and Reconciliation (1) tion of “Syncretism” in Afro-Cuban Chair: TBA 11:45 The Selection of Tradition Through Culture Interaction Between Performers: An Nolan Warden, Malcolm X College 8:30 Transnational Music as Propaganda: Analysis of the East Javanese Dance RTLM Radio and the Rwandan Beskalan Putri Malangan Genocide Christina Sunardi, UC Berkeley Jason McCoy, Florida State University
Key: [P]=Panel; [IP]=Independent presentations; [F/V]=Film/video presentation; [F/W]=Forum/Workshop; [F/R]=Forum/Roundtable; [M]=Meeting (Room TBA) 12 SEM Newsletter
Governors E 11:45 Starting from Nowhere: Popular 2:30 “Electric Guitar” in a Folk Tradition: 2F [IP] Music Commercialisation, Markets, Music in Cambodia after the Khmer An Urban Musical and Tourism Rouge Priwan Nanongkham, Kent State Uni- Stephen Mamula, Manhattan College and versity Chair: TBA Rhode Island College 3:00 The Pin Pia Players of Chiang Mai 10:45 Investment Tourism and the Rise of and Lumpoon Provinces: Summary New Cultural Festivals in Chaozhou, Thursday, 12:30pm–1:30pm of Field Work in Northern Thailand, South China 1967-1971 Mercedes Dujunco, Bard College [M] Audio Visual Committee Gerald Dyck 11:15 Korean Wave in Japan vs. Japanese [M] Archiving Special Interest Group Wave in Korea: Marketing Strategy Governors C and Collaboration in Competing [M] Dance Section Meeting 3D [P] Mediating Group Interactions: Four Popular Music Industries Ethnographic Case Studies Eun-Young Yung, University of Pitts- Thursday 1:30pm–3:30pm Chair: Benjamin Brinner, UC Berkeley burgh Judicial 1:30 The Challenges of Mediating In- 11:45 In the Face of Industri: Alternative teraction in Cross-cultural Wayang Populisms in Indonesian Musik Kon- 3A [F/R] Trends and Trajectories in the Ethnomusicology of South Asia Performances temporer Benjamin Brinner, UC Berkeley Christopher J. Miller, Wesleyan University Chair: Carol Babiracki Participants: Richard Wolf, Harvard 2:00 The Arrangement and Engineering of House A University; Margaret Walker, Queen’s Individual Musicianship and Group 2G [IP] Music, Space, Place, and Environ- University; Laura Leante, Open University; Interaction in Contemporary Turkish ment (2) Zoe Sherinian, University of Oklahoma; Recordings Peter Kvetko, Northeastern University; Eliot Bates, UC Berkeley Chair: TBA Katherine Brown, University of Leeds 2:30 The Iranian Music Revolution Has 10:45 Okeikoba: Lesson Places as Sites for Been Uploaded: Technologically Me- Negotiating Tradition in Japanese Legislative A diated Interactions at the Intergalactic Music 3B [P] Poles of Definition: Negotiating Iranian Music Festival Jay Keister, University of Colorado, Gender and Sexuality as East and West Farzaneh Hemmasi, Columbia Univer- Boulder sity Discussant: Elizabeth Tolbert, Peabody Insti- 11:15 Sodadi di São Francisco: Landscapes and tute of Johns Hopkins University 3:00 Horizons of Performative Possibility: Nostalgia in Cape Verdean Songs 1:30 To Make Ourselves Complete: Technology Style and Identity in En- Susan Hurley-Glowa, Franklin & Mar- counters Between Musical Groups shall College Stowitts, the Javanese Theatre, and American Masculinities Joshua Duchan, University of Michigan, Henry Spiller, UC Davis Ann Arbor House B 2H [IP] Musical Ontologies (1) 2:00 Camp Reclamation and the Problem Governors D of American Orientalism Chair: TBA 3E [P] Gender, Education, and Music Tradi- Mitchell Morris, UCLA tions 10:45 Prophets in the Plateau: Songs from Spirit and the Ontology of Power 2:30 Traditional Essences in Modern Con- Discussant: Roberta Lamb, Queen’s Univer- Chad Hamill, University of Colorado, texts: Musical Portrayals of Uzbek sity, Canada Boulder Femininity Tanya Merchant, UC Santa Cruz 1:30 “He leads she follows?”: Gender Teaching and Tradition in Górale Executive Performance Ensembles Outside Legislative B 2I [IP] Music, War, and Reconciliation (2) Poland 3C [P] Shifting Perspectives on Fieldwork in Louise Wrazen, York University Chair: TBA Thailand 2:00 Las Chicas Topolino and Music: Chair: Terry Miller, Kent State University 10:45 Anti-war Music: A Case Study from Gender Education Culture? Texas Emma Rodríguez Suárez, Syracuse Justin Patch, University of Texas 1:30 Doing Fieldwork in Thailand 35 Years Later University Terry Miller, Kent State University 11:15 Music and Narratives from Sierra 2:30 HI-FI Voices: Challenging Traditions Leone’s War: The Refugee AllStars through Community Radio and “Bobo Bele” (Big Belly) 2:00 Fieldwork in Northern Thailand: Two Jenni Veitch Olson, University of Wis- Cynthia Schmidt, University of Iowa Generations, Two Perspectives Andrew Shahriari, Kent State University consin, Madison SEM Newsletter 13
Governors E Executive Legislative B 3F [P] Listening to Brazil 3I [IP] Music, War, and Reconciliation (3) 4C [F/V] Joyfully We Cry: The Music of Q’eros, Peru Chair: Suzel Reily, Queen’s University, Chair: TBA Belfast Holly Wissler, Florida State University 1:30 Banal Militarism and Online Musical 1:30 Consuming Carmen: US Audience Culture Governors C Reception of Brazilian Music in the Matthew Sumera, University of Wisconsin, 1940s Madison 4D [IP] Musical Identity, Change, Class, and Kariann Goldschmitt, UCLA Nationalism (1) 2:00 Poetics and the Performance of 2:00 Listening to Gilberto Gil Violence in Israel/Palestine Chair: TBA Frederick Moehn, Stony Brook University David A. McDonald, University of Illinois 3:45 Patriotism, Emotion, Empire: Gunka Urbana-Champaign and Constructions of the Nation In 2:30 The Carnival Stage: Audience Partici- Early 20th Century Japan pation and Singing as Transformative 2:30 Qawwali and Sufi Popular Music in Sarah McClimon, University of Hawai`i Musical Encounter the Age of Hindu and Muslim Fun- Carla Brunet, UC Berkeley damentalism 4:15 Reconciling the Chinese Cultural Peter Manuel, John Jay College and CUNY Revolution on the Western Classical 3:00 Diasporic Listening and the Sonic Graduate Center Stage Politics of Brasilidade in the United Eric Hung, Westminster Choir College of States 3:00 “Raise what’s left of the flag for me”: Rider University Jason Stanyek, New York University Sectarianism, Reconciliation, and Irish Rebellion Themes in Popular 4:45 “A Pillar of Democracy”: How House A Music Culture Colinde Sounded Change in Postso- Ann Morrison Spinney, Boston College 3G [IP] Music, Space, Place, and Environ- cialist Romania ment (3) Sabina Pieslak, University of Michigan Thursday, 3:45pm–5:15pm Chair: TBA Governors D Judicial 1:30 Thin Walls: An Ethnography of My 4E [IP] Shifting Perspectives in Music Eth- 4A [F/W] EVIA Digital Archive Information Apartment Building nography Ben Tausig, New York University Session Chair: TBA Alan Burdette, Indiana University 2:00 Changing Place, Saving “Face”: Afro- 3:45 The Bean Dance: Ethnographic Re- Guyanese and the Manipulation of Legislative A flections on a Woodland Indian Song Performance Space in Kweh Kweh Genre Ritual Performances 4B [P] Institutionalization on the Ground: Jason B. Jackson, Indiana University Gillian Richards-Greaves, Indiana Uni- Musical Change in Process versity, Bloomington Chair: Lillie Gordon, UC Santa Barbara 4:15 Seeing the Sounds of the Gamelan: Visual Imagery in Descriptions of 2:30 “Rio is fundamental”: Musical Ge- 3:45 “We will be serving tea and ta’miyya”: Gamelan Music ography in Brazilian Instrumental The Discursive Formation of a Music Nancy Lutz, Southern Illinois University Music Venue in Cairo Edwardsville Andrew Connell, James Madison Uni- Lillie Gordon, UC Santa Barbara versity 4:45 Expanding Victor Turner’s “Liminal- 4:15 Shifting Sands of Patronage: The ity” in the Ethnographic Analysis of 3:00 The Mexican Son, Why There Then? Reorganization of Institutional Prac- Mayan Marimbistas Where Now? tices among the Mangniyar Musical Jack Forbes, University of Florida Raquel Paraiso, University of Wisconsin, Community of Western Rajasthan Madison Shalini Ayyagari, UC Berkeley Governors E House B 4:45 Legitimizing the Lessons: The Effect 4F [IP] Music Recording Practice of Institutionalization on the Practice 3H [IP] Musical Ontologies (2) Chair: TBA of Diasporic Art Forms in the New Chair: TBA Homeland 3:45 Reviving Oral Tradition of Musical Niyati Dhokai, University of Alberta Performing in Age of Mechanical 1:30 Works, Not-works, and the Otherness Reproduction: An Experiment of of the Ottomans Korean Activist Musical Play Robert Labaree, New England Conserva- Yu Jun Choi, UC Riverside tory Key: [P]=Panel; [IP]=Independent presentations; [F/V]=Film/video presentation; [F/W]=Forum/Workshop; [F/R]=Forum/Roundtable; [M]=Meeting (Room TBA) 14 SEM Newsletter
4:15 Implied Listening Subjects and Dis- Legislative A obedient Uses of New Sonic Media in 5B [P] Technologies and Traditions: Mass the New York City Subway System Mediated Musical Peregrinations in the Bill Bahng Boyer, New York University Modern Arab World
House A Chair: Laith Ulaby, UCLA 4G [IP] Music, Space, Place, and Environ- 8:30 From Henna Night to Recording ment (4) Studio and Back Again: Blurred Boundaries and Shifting Identities Chair: TBA in Tunisian Popular Song 3:45 The Symbiosis between the Ghanaian Ruth Davis, Corpus Christi College, Ewe’s Biological Environment and Cambridge Ewe Music Culture George Dor, University of Mississippi 9:00 Islamic “Pop” Music Videos on Pan- Arab Satellite Channels 4:15 Constructing Identities of Space and Friday, Oct 26, 2007 Patricia Kabala, UC Santa Barbara Place in the Fiddle Tradition of the Shetland Isles Friday, 7:00am–8:00am 9:30 Mass Media and Music in the Arab Meghan Forsyth, University of Toronto Persian Gulf: State Owned Radio [M] Ethics Committee Broadcast Strategies 4:45 “Filling in the pocket” – Queen City Ruth Ulaby, UCLA [M] Careers and Professional Development Funk of Cincinnati, Ohio Committee Regina Sewell, UCLA 10:00 Patterns in Musical and Literary Consumption and Production in the [M] Chapters Arab Diaspora of North America House B Michael Frishkopf, University of Al- 4H [IP] Musical Ontologies (3) [M] Publications Advisory Committee berta Chair: TBA [M] LAC/PC Legislative B 3:45 “Things aren’t good!”: The Ethics of 5C [P] National and Transnational in Film Ndau Performance and a Critique of Friday, 8:30am-10.30am Music Studies Aesthetics Judicial Tony Perman, University of Illinois, Ur- Chair: Mark Slobin, Wesleyan University bana-Champaign 5A [P] Interpreting Ewe Music and Dance: Contemporary Challenges 8:30 Music in Indonesian Historical Films: 4:15 Faith, Reason and Emotion: At the Reading Nopember 1828 Chair: Daniel Avorgbedor, The Ohio State Sumarsam, Wesleyan University Nexus of Music and Religious “Ex- University perience” in Contemporary American Christianity 8:30 Situating the “Uprooted”: New Con- 9:00 Tamil Film Music: Sound Process and Herbert Geisler, Concordia University, Irvine texts of Ewe Music and Dance—The Meaning in a Popular Music Genre Urban Evidence of South India Joseph Getter, Wesleyan University Executive Daniel Avorgbedor, The Ohio State University 4I [IP] Music, War, and Reconciliation (4) 9:30 “Good neighbors” in Motion: Musi- cal Transformation in Disney’s The Chair: TBA 9:00 The Oral Literature of a Female Dance-drumming Club in Southern Three Caballeros 3:45 Music and War in Former Yugoslavia: Eweland Eric Galm, Trinity College Reflections from a Distance James Burns, Binghamton University Svanibor Pettan, University of Ljubljana Governors C 9:30 Akan names Ga language and Ewe 5D [P] Harnessing Place: Linking Perfor- Music: Urban Performance Realities mance Identity in American Country Thursday, 7:00pm–8:00pm in Contemporary Accra Ghana Musics Gavin Webb, University of Ghana, [M] South Asian Performing Arts Interest Legon Chair: Jennie Noakes, University of Penn- Group sylvania 10:00 Are you Deaf? Where is the Center? [M] Crossroads on Diversity, Difference and Understanding Music Conceptualiza- 8:30 “Hillbilly Revolution”: Reclaiming Re- Under-Representation Project tions and the Processes of Reinven- gional Stereotype and Rearticulating tion and Revitalization in Ewe Dance Home in the Kentucky Coalfields [M] Society for Arab Music Research Research Jennie Noakes, University of Pennsyl- Jill Crosby, University of Alaska vania [M] Latin American Music Special Interest Group SEM Newsletter 15
9:00 Music in/from Round Peak: Old-time 9:30 The Managers, the Managed, and the 9:00 The Rebbe in the Digital Age: Trans- music at the Authenticating Locus Unmanageable: Negotiating Values at mitting a Lubavitch Nigun in a new James Ruchala, Brown University the Buenos Aires International Music form Fair Mark Kligman, Hebrew Union College 9:30 The Fruits of Solitude: Country & Morgan Luker, Columbia University Western Yodeling on the New Eng- 9:30 VCD Culture: Music for a Goddess land Frontier House A in a Video-tech World Clifford Murphy, Brown University Amy Catlin-Jairazbhoy, UCLA 5G [IP] Music, Space, Place, and Environ- 10:00 You Can’t Say if You Haven’t Been!: ment (5) 10:00 Engineer, Performer, Producer: Ne- Implications of Different Spaces of Chair: TBA gotiations of Constructed Elements Bluegrass Performance of Sound and Performance in a Jazz Jonathan King, Columbia University 8:30 Sound Landscapes: Carving Musical Recording. Environments in Rajasthani Wor- Steve Treager, University of Maryland Governors D ship Natalie Sarrazin, SUNY College at Friday, 10:45am-12:15pm 5E [P] Contexts of Performance: Negotiated Brockport Spaces and Transformative Expectations Judicial in the Study of Music and Dance 9:00 Is Northumbrian Piping a Music of Place? 6A [F/W] From Local Community to the Chair: Ian Alex Perullo, Bryant University Global Marketplace: Critical Skills for Neil Killick, University of Sheffield 8:30 When Men Dance Like Women: The Applied Ethnomusicologists Negotiation of Gender and Perfor- House B Chair: Miriam Gerberg, Minnesota Global mance Space in Égwú Àmàlà Arts Institute Marie Agatha Ozah, University of 5H [IP] Ethnomusicologies: Examples of Participants: Doris Dyen, Rivers of Steel Pittsburgh Shifting Perspectives in the Field (1) National Heritage Area; Julie Throck- Chair: TBA 9:00 Léwoz a fanm Women’s Léwoz: Notions morton-Meunier, Rivers of Steel National of Gender and Sexuality in a Guade- 8:30 Fieldwork or Field Play? Musicality Heritage Area loupean Traditional Dance Form and Performance Study in Contem- Dominique Cyrille, Lehman College, porary Musical Ethnography Legislative A CUNY J. Lawrence Witzleben, University of 6B [P] Making Space for Place within Global Maryland, College Park Discourses 9:30 Redefining the Notion of Dance through the Music of Presbyterian 9:00 Sailors’ Journals and Ethnohistorical Discussant: Mark Miyake, Indiana Univer- Women in Southern Malawi Methodology: The Past as an Ethno- sity musicological “Field” Clara Henderson, Indiana University 10:45 Samba-Reggae: A Neighborhood In- James Revell Carr, UC Santa Barbara 10:00 Dance without Sweating: Social Space stitution or a Cross-Cultural Musical and Performance Practice in Tanza- 9:30 Demystifying the Popular: Towards Genre? nian Popular Music an Ethnomusicology of Mainstream Colleen Haas, Indiana University Commercial Music Ian Alex Perullo, Bryant University 11:15 Locating a Zhuang Scenic Spot: Re- David Pruett, Middle Tennessee State defining Space and Power through University Governors E Performance at a Chinese Tourist 5F [P] Musical Practices and Cultural Policies: 10:00 Genre Theory at the Intersection Site Ethnomusicologies of Musical Manage- of Ethnomusicology and American Jessica Anderson-Turner, Indiana Uni- ment Popular Music Studies versity Fabian Holt, University of Roskilde Discussant: Anthony Seeger, UCLA 11:45 The World at Your Doorstep: Produc- ing Global Festivals in Local Spaces 8:30 Making Musical “Cents” of Post- Executive Socialist Market Reforms: A Broader Sunni Fass, Indiana University Look at the Mediaization of Agricul- 5I [IP] Digital Communities and Musical tural Song Repertoires in Ukraine Experiences (1) Legislative B Adriana Helbig, Columbia University Chair: TBA 6C [F/W] Routes to Tenure 9:00 Remembering the Songs Forgetting 8:30 Imagining Politics, Popular Music and Chair: Thomas Porcello, Vassar College the Singers: Violence and “Multicul- Remixing: YouTube, Remediation and turalism” in Turkey Protest Songs Melissa Bilal, University of Chicago J. Meryl Krieger, Indiana University
Key: [P]=Panel; [IP]=Independent presentations; [F/V]=Film/video presentation; [F/W]=Forum/Workshop; [F/R]=Forum/Roundtable; [M]=Meeting (Room TBA) 16 SEM Newsletter
Governors D 11:15 “The Language of Nature”: Music as Legislative A 6D [IP] Ritual, Politics, and Healing Historical Crucible for the Methodol- 7B [P] Music and the Politics of Identity in ogy of Folkloristics Southeastern Europe Chair: TBA Matthew Gelbart, Boston College Chair: Jane Sugarman, SUNY Stony Brook 10:45 So That They May Rest in Peace: 11:45 What Goes Around Comes Around: Burial and Mourning in Naryn City, The Return of Comparative Musicol- 1:30 Srbija: Sounds Global: New Serbian Kyrgyzstan ogy and the Study of Recordings Politics and the Musical Branding of Maureen Pritchard, The Ohio State Stephen Cottrell, Goldsmiths College, Serbia University University of London Brana Mijatovic, Christopher Newport University 11:15 Music and the State: Government Efforts to ‘Develop’ Sasak music in Executive 2:00 (Trans)nationalism in Bosnian Ilahiyas Lombok, Indonesia 6H [IP] Digital Communities and Musical (1990-2005) David Harnish, Bowling Green State Experiences (2) Mirjana Lausevic, University of Min- University nesota Chair: TBA 11:45 Let My People Sing: Music and Pesach 10:45 Musicians vs. A Dangerous Machine: 2:30 The Rhythm of the Street: Music as Metaphor and Healing Modality for Live Theater and The Prospect Of Activism and Social Change in Post- Drug and Alcohol Recovery at Beit Virtual Orchestra Technology War Kosova T’Shuvah Thomas Brett, Emmanuel College Jane Sugarman, SUNY Stony Brook Amy Corin, Moorpark College 11:15 The Podcast Ethnography: Presenting 3:00 Bulgarian Romani Music and Euro- Governors E Sound, Enabling Dialogue pean Politics: Dilemmas of Capital- Rebekah Moore, Indiana University ism 6E [IP] Music Commodification, Marketing, Carol Silverman, University of Oregon Patronage, and Tourism (1) Chair: TBA Friday, 12:30–1:30 Legislative B [M] Special Interest Group for European 7C [P] Suficize That! The Creation of Sufi 10:45 The Value of Music: Two Case Studies Music of Music-As-Property Musics in the Global Marketplace Marc Perlman, Brown University [M] Special Interest Group for the Music of Chair: Jonathan Shannon, Hunter College Iran and Central Asia CUNY 11:15 A Bailar Pindín! The Musical and Commercial Transfiguration of a [M] Section of the Status of Women 1:30 Suficized Musics of Syria at the In- Panamanian Rural Music Genre tersection of Heritage and The War Melissa Gonzales, Columbia University [M] Applied Ethnomusicology Section on Terror Jonathan Shannon, Hunter College House A [M] Editorial Board CUNY 6F [IP] Gender and Music (1) [M] Special Interest Group for Medical Eth- 2:00 Sufi Nights/Sufi Daze: Sacred Tour- Chair: TBA nomusicology ism and Musical Happenings Deborah Kapchan, New York University 10:45 Poila Jaana Paam: Lok Dohori and [M] Society for Asian Music Women’s Honor in a Changing Nepal 2:30 From Sacred to Staged and Back Anna Marie Stirr, Columbia University Friday, 12:45pm–2:45pm Again: The Accommodation of Newcomers in Moroccan Religious 11:15 Dear Mr. Jesus, Just Don’t Ask Me [M] SEM Council Music What It Was: 80’s Pop Songs, Child John Schaefer, University of Texas at Abuse, and Acoustic Memories of Friday, 1:30pm–3:30pm Austin Sexual Violation Jenny Olivia Johnson, New York Uni- Judicial Room 3:00 A Tale of Four Sheikhs: Local Sufi versity 7A [F/R] Ethnomusicologists at Work Responses to the Fes Festival of World Sacred Music House B Chair: Kathleen Van Buren, University of Maria Curtis, University of Texas at Sheffield Austin 6G [IP] Ethnomusicologies: Examples of Shifting Perspectives in the Field (2) Participants: Michael Bakan, Florida State University College of Music; The- Chair: TBA resa Allison, UC San Francisco; Michael Rohrbacher, Shenandoah University; 10:45 Toward a “New Organology”: Musi- Benjamin Koen, Florida State University cal Instruments and Material Culture College of Music Theory Allen Roda, New York University SEM Newsletter 17
Governors C 2:00 Religion, the Grotesque, and Death 3:00 “Ñungi Noss (They Are Enjoying)”: 7D [P] Intertwined Histories, Multiple Com- Metal The Importance of Enjoyment to munities: Musical Articulations of “Rus- Matthew Unger, University of Alberta Gambian Children’s Music Making sianness” Abroad Lisa Huisman Koops, Case Western Re- 2:30 Until Our Ears All Bleed: Poetics serve University Chair: Jonathan Dueck, University of of the Grotesque in International Maryland Extreme Metal Executive Benjamin Harbert, UCLA Discussant: Mark Slobin, Wesleyan Uni- 7I [IP] Musical Ontologies (4) versity 3:00 F*** the USA: Cosmopolitanism’s Chair: TBA 1:30 Remembering “Katiusha”: Struggle Furious Face for Identity Among Russians in New Jesse Samba Wheeler, UCLA 1:30 Exploring the Aesthetic of iki in York During the Cold War Japanese Music Natalie Zelensky, Northwestern Uni- House A Kelly Foreman, Wayne State University versity 7G [IP] Gender and Music (2) 2:00 Musical Ontology of the Naqshbandi 2:00 Playing in Church: A Mennonite Flut- Chair: TBA Order of Eastern Iran ist on the Limits of Inherited Binaries Stephen Blum, CUNY Graduate Center and Performed Humility 1:30 Emansipasi or Siwanataraja: Compet- Stephanie Krehbiel, Independent Scholar ing Discourses Used to Empower Co-presenter: Amin Khalilian, Arts Uni- Female Musicians in Bali versity, Tehran 2:30 Diasporic Articulations or How to Sonja Downing, UC Santa Barbara Sing Russian/Mennonite 2:30 The Process of Music Perception and Meaning Construction in Speech Jonathan Dueck, University of Mary- 2:00 Songs of the King’s Wives: Power, about Music land Gender and Performance in a Yoruba Festival Hsin-Wen Hsu, Indiana University, Bloomington Governors D Bode Omojola, Mount Holyoke College 7E [P] The Art of Listening 2:30 Working In The Red Light Zone: 3:00 Being, Transcendence and the Ontol- ogy of Music Chair: Jennifer Woodruff, Duke University Hollywood Depictions of Recording Studio Practice and Mythology Roger W. H. Savage, UCLA Discussant: Thomas Porcello, Vassar Col- Alan Williams, University of Massachu- lege setts, Lowell Friday, 3:45 pm–5:15 pm 1:30 You Can’t Listen Alone: Dance Lis- 3:00 Marginal Feminine Musicianship in Judicial tening and Sociality in a Vernacular Kerala, South India: Singing for Status South African Jazz World 8A [P] Intersections of the Traditional and from Subaltern Locations Brett Pyper, New York University the Popular in African American Music Kaley Mason, University of Alberta Chair: Jennifer Ryan, University of Penn- 2:00 “Wait ’til the beat drops”: Listening sylvania Lessons Among African-American House B Girls in Durham, NC 7H [IP] Ethnomusicologies: Examples of 3:45 “The Spirit is all over me”: Charismatic Jennifer Woodruff, Duke University Shifting Perspectives on the Field (3) Worship and the Soul Sermon Jennifer Ryan, University of Pennsylva- 2:30 The Art of Listening: Television Chair: TBA nia Ads and Perceptions of Listening 1:30 Synchronizing Science and Ethnogra- Practices phy in Ethnomusicology: It is about 4:15 A Message in Our Music—Philly Joyce Kurpiers, Duke University Time Soul The Nation of Islam and Black Power Rebecca Sager, Independent Scholar Governors E Dana Hall, University of Illinois, Urbana- 2:00 The Home/Field (dis) advantage: Champaign 7F [P] Unsettling Music: Rage, Distortion, Re-politicizing Fieldwork at Home Transgression, and the Grotesque 4:45 From “Do the Rump” to “Get It Neal Matherne, University of Alabama Crunk”: Continuities between Mis- Chair: Jonathan Ritter, UC Riverside at Birmingham sissippi 1:30 Hobos Stole My Gamelan! The 2:30 “Tweens,” Kidz Bop, and Childhood William Lee Ellis, University of Mem- Karmic Repercussions of Transgress- Music Consumption phis ing Tyler Bickford, Columbia University Andrew McGraw, University of Rich- mond
Key: [P]=Panel; [IP]=Independent presentations; [F/V]=Film/video presentation; [F/W]=Forum/Workshop; [F/R]=Forum/Roundtable; [M]=Meeting (Room TBA) 18 SEM Newsletter
Legislative A 4:15 The “Juremeiras” of Xambá Nation’: 4:15 Devi Possession as Regional Expres- 8B [P] Redefining the Boundaries: Women’s Religion, Music and Power. sion: The Commercialization of Musical Performance in Latin America Laila Rosa, CLACS/NYU/Universi- Jaagar in Garhwali Video Compact dade Federal da Bahia Discs Chair: Hope Munro Smith, CSU Fresno Stefan Fiol, University of Illinois ,Urbana- 4:45 The Only Cool Song is the Protest Champaign 3:45 Women in Pan: the Steelband as Cul- Song: Brazilian Popular Music during tural Capital for Women in Trinidad the 1960s 4:45 Pop-Folk and the Production of Hope Munro Smith, CSU Fresno Irna Priore, University of North Carolina Nationalism: Economy, Media, and at Greensboro Music in Post-Communist Bulgaria 4:15 The Gendered Guitarrón: Women Plamena Kourtava, Florida State Uni- in the Masculine Musical Space of versity Chilean Poesía Popular. Governors D Emily Pinkerton, University of Texas 8E [F/R] The Ethnographic Thesaurus: A at Austin Controlled Vocabulary for Ethnomusicol- House A ogy 8G [IP] Gender and Music (3) 4:45 Women and Exclusion in Rap Cu- bano Chair: Catherine Hiebert Kerst, American Chair: TBA Folklife Center, Library of Congres Talia Wooldridge, York University 3:45 Transgression and Obscenity: Re- Participants: Michael Taft, Catherine claiming Female Space through Legislative B Hiebert Kerst, American Folklife Center, Popular Music and Media Library of Congress; Tim Lloyd, American 8C [F/V] Soul of Sound: Hindustani Music Dennis Rathnaw, University of Texas Folklore Society; Jill Ann Johnson, Univer- at Austin as Resolution of Religious Conflict in sity of Washington, Seattle India 4:15 Confronting the Gap: Theorizing Michiko Urita, University of Washington Governors E Hindustani Music and the Disappear- 8F [IP] Music Commodification, Marketing, ing Songstress Governors C and Patronage (2) Regula Qureshi, University of Alberta 8D [IP] Musical Identity, Change, Class, and Chair: TBA 4:45 From Lamenting to Praying: Music, Nationalism (2) Grief, and Shifting Realities in Leba- 3:45 Solving Contradiction: The Place Chair: TBA nese Funerals of Commodified Gnawa Music in Guilnard Moufarrej, Independent Scholar 3:45 The “Folk” and Soviet Realism in Moroccan National Identity Christopher Witulski, University of the Sound Design of Odna (Alone, House B 1931) Florida Joan Titus, Ohio State University 8H [IP] Musical Transplantation, Cultural Exchange, and Reconciliation Chair: TBA 3:45 South African Choral Cantorial Mu- sic: Transplantation from the 1990’s South African Migration to the Orthodox Jewish Community of Melbourne Kerrin Hancock, Monash University
4:15 Guinean Drumming in Germany: Cultural Exchange and Pedagogy Vera Flaig, University of Michigan
Executive 8I [IP] Musical Identity, Migration, Exile, and Diaspora (2) Chair: TBA 3:45 Music, Identity, and Afro-Venezuelan Culture: The Dynamics of a Contem- porary Tradition as Manifested in the Central Coastal Region Daniel Nunez, University of Colorado at Boulder SEM Newsletter 19
4:15 “All Poles” or What is Disco Polo? Legislative A 9:00 Sounds of the Past Selling the Fu- Poland and Polishness from Grass 9B [P] Technologies, New Authenticities, and ture roots Perspectives. World Music Circulation Jayson Beaster-Jones, University of Chi- Renata Pasternak-Mazur, Rutgers Uni- cago versity Chair: Gustavo Azenha, Barnard College Governors D 4:45 Khmer American Musicians and 8:00 Power, Technology, and Authenticity Cambodian Cultural History in the Transnational Mediation of 9E [P] Improvising Tradition: The Jazz Sean Norton, Center for New Americans “Funk Carioca” Avant-Garde in Historical and Ethno- Gustavo Azenha, Barnard College graphic Perspective
Friday, 6:00pm–7:00pm 8:30 Bytes and Bites: Global Ghettotech Chair: TBA [M] African Music Section and the Postcolonial Hipster 8:00 Improvising Structure and Anti- Wayne Marshall, University of Chicago Structure: Ritual Community and Friday, 6:00pm–8:00pm Transcendence in Creative Music 9:00 Ethnomusicology and the Study of Performance Small Sound [M] Popular Music Section Scott Currie, New York University René Lysloff, UC Riverside 8:30 The Changing Early Shape of an 9:30 File Under Import: Musical Distor- Avant-Garde in Jazz tion Exoticism and “Authenticité” Eric Charry, Wesleyan University David Font-Navarrete, University of Maryland 9:00 Milford Graves and the Afro-Univer- sal Healing Power of Sound Legislative B Paul Austerlitz, Sunderman Conservatory 9C [P] Who’s Listening? The Politics of of Music Aurality in Urban Spaces 9:30 “We Better Start Controlling Our Discussant: Louise Meintjes, Duke Uni- Own Destiny”: Locality Community versity Ownership and Genre in the New York Lofts 10:15 Making Mali Kunkan: Performance Michael Heller, Harvard University Piracy and the Production of Musical Saturday, Oct 27, 2007 Liveness in Contemporary Bamako Ryan Skinner, Columbia University Governors E Saturday, 7:00am–8:00am 9F [P] Musical Identity, Transformation, 10:45 Soundly Placed Subjects: Resonant [M] Long Range Planning Committee and Mestizaje in the Borderlands: An Voices and Spatial Politics in Mom- Examination of Mexican and Chicano(a) basa Kenya [M] Education Section Genres in the US and Mexico Andrew Eisenberg, Columbia University Chair: Russell Rodriguez, UC Santa Cruz [M] Student Concerns Committee 11:15 A Sound-Body Politic: Making Claims 8:00 “Die Cowboy Die”: Politics and Iden- on Public Space Through Sound Saturday, 8:00am–10:00am tity in Son Jarocho-Rock Fusion Matt Sakakeeny, Columbia University Alexandro Hernandez, UCLA [M] Education Section Forum Governors C 8:30 La Mujer Mariachi: Feminist Perspec- Saturday, 8:00am – 10:00am 9D [P] Metapragmatic Approaches to the tives in Mariachi Performance Study of Music Leticia Soto, UCLA Judicial Room Chair: Ingrid Monson, Harvard University 9A [F/R] Response and Responsibility: On 9:00 The Preservation and Dissemination of the Son Huasteco the Presidential Leadership of Academic 8:00 Reflexive Calibration in an Improvised Jorge Herrera, UCLA Societies Performance of Aboriginal Gospel Chair: Philip Bohlman Music 9:30 Archival Research on Early Mexican- Byron Dueck, Columbia College Chicago Participants: Charles Atkinson, Ohio State American Music in California Lauryn Salazar, UCLA University; Michael Browles, Pennsylvania 8:30 The Metapragmatics of “Crack Mu- State University; Bill Ivey, Vanderbilt sic” University Laurence Ralph, University of Chicago
Key: [P]=Panel; [IP]=Independent presentations; [F/V]=Film/video presentation; [F/W]=Forum/Workshop; [F/R]=Forum/Roundtable; [M]=Meeting (Room TBA) 20 SEM Newsletter
House A 9:00 Blurriness and the iPod Strategies and Nor-tec in the Age of 9G [IP] Notions of Musical Identity Justin Burton, Rutgers University Digital Reproduction Alejandro Madrid, University of Illinois Chair: TBA Saturday, 10:15pm–12:15pm at Chicago 8:00 Narratives of Survival and Stability Judicial 8:30 Huapango.com.mx: The Re-appro- in the Performance of Traditional priation of Son Huasteco’s Power Georgian Polyphonic Songs 10A [F/R] Merging Two Disciplines: Gradu- for Social Commentary and the In- Andrea Kuzmich, York University ate Studies that Blend Ethnomusicology ternet with Education Kim Carter-Muñoz, University of Wash- 8:30 “New Mulan Prose”: Composing a Chair: Amanda Soto, University of Wash- ington Revolutionary Tanci Ballad ington Stephanie Webster-Cheng, University of 9:00 Listening to the Andes Online: Instant Pittsburgh Participants: Claire Connell, University of Messaging Internet Intimacy and the Washington; Patricia Campbell, University Construction of Musical Cyber-Pub- 9:00 Re-traditionalizing “Popular” Islam of Washington; Shannon Dudley, Univer- lics from Peru as a Means of Cultural Critique in sity of Washington Josua Tucker, University of Texas at Moroccan Popular Music Austin Jeffrey Callen, Independent Scholar Legislative A 9:30 Recreating a New Identity of Paki- 10B [P] Race, Gender, and the Heuristics of Governors C the Musical Body stani Music: A War Against Islamic 10D [P] Listening in the Urban Soundscapes Extremism Chairs: Michael Birenbaum Quintero, New of Modern Japan Karim Gillani, University of Alberta York University and David García, Chairs: David Novak, Columbia Univer- University of Chapel Hill, North sity and Lorraine Plourde, Columbia Carolina House B University 9H [IP] Musical Interaction, Class, Gender, 10:15 On Industrious Ants and Fiddling Discussant: Veit Erlmann, University of and Nationalism (1) Grasshoppers: Musical Bodies Labor- Texas, Austin Chair: TBA ing Bodies and the Myth of the Lazy Native 10:15 The Distinctive Sound of the Japanese 8:00 “This is fun!”: Interaction and Com- Michael Birenbaum Quintero, New York Train? Composing Soundscapes of munity in Irish Music Session University Global Cities Sheaukang Hew, University of Oklahoma David Novak, Columbia University 10:45 Representations of Primitivism Black- 8:30 Sounding Community: Musical ness and the White Female Body as 10:45 Gamescapes: Virtual Travel and Affiliations in an Arab-Indonesian Nation in Chano Urueta’s Al son del Sonic Re-Imaginings of Place in Wedding mambo (1950) Pico-Pico Music Birgit Berg, Brown University David García, University of Chapel Hill, Chris Tonelli, UC San Diego North Carolina 9:00 Modernization of the Dhol Tradi- 11:15 Disciplining the Ear in Tokyo tion in Post-Independence Indian 11:15 Simulating Orientalism and Gender in Lorraine Plourde, Columbia University Punjab Transnational Contexts: From Little Gibb Schreffler, UC Santa Barbara Egypt to MTV Governors D Kristin McGee, University of Groningen 9:30 A Tale of Two Lions and the South 10E [P] Musical Revolution, Revolutionary Music: Music and Conflict in the Persian- African Musical Imaginary, Or Why 11:45 Women on Stage: Sex Appeal, Porno ate World De La Rey Will Not Become the Next Lyrics and the Male Gaze in Islamic Mbube. West Sumatra Chair: Stephen Blum, CUNY Nicol Hammond, New York University Jennifer Fraser, Oberlin College Discussant: William Beeman, University of Minnesota Executive Legislative B 10:15 Peace and War: Context and Strategy 9I [IP] Musical Interaction, Class, Gender, 10C [P] Cybercommunities, Reticulated in Kurdish Music and Nationalism (2) Translocal Communities, and Social/ John O’Connell Technological Networks Chair: TBA Chair: Alejandro Madrid, University of Il- 11:45 Fashionable Music: The Impact of 8:30 Learning to Participate: Transforma- linois at Chicago the Revolution of 1979 on Musical tive Musical Experience at Chicago’s Bahram Osqueezadeh, UC Santa Bar- Discussant: René Lysloff, UC Riverside Old Town School of Folk Music bara Tanya Lee, University of Illinois at Ur- 8:00 Finding an Aura in the Underground: bana-Champaign Cybercommunities Hybrid Marketing SEM Newsletter 21
12:15 Music and Postwar Reconciliation in 11:45 Representing Afropop: Mamadou Saturday, 12.30pm–1:30pm Tehran: Pop Mourning with Abdol Konté and the Global Influence of [M] Special Interest Group for Historical Reza Helali Africa Fête Ethnomusicology Gay Breyley, Monash University Patricia Tang, Massachusetts Institute of Technology [M] Gender and Sexualities Task Force Governors E 10F [P] Word, Sound, and Power Among House B [M] Association for Korean Music Re- African Hunters and Kings 10H [IP] Music, Place, and Environment (6) search Chair: Frank Gunderson, Florida State Chair: TBA University Saturday, 1:30pm–2:15pm 10:15 The Politics of Aesthetic Centraliza- [M] Investment Advisory Committee Special 10:15 Dancing the Hunt: The Heroic tion: Jazz, Policy and Place in Paris Event Aesthetics of Dozo Song and Social Donald James, University of Chicago Activism in Northwestern Côte d’Ivoire 10:45 Sonic Landscape, Landscaped Sound: Saturday, 2:00pm-4:00pm Joseph Hellweg, Florida State University Egyptian Landscape and Sound in [M] SEM Business Meeting Hollywood and Egyptian Cinemas 10:45 Performing Authority: The Symbolic Chui Wa Ho, Indiana University Saturday, 4:15pm-5:30pm Utility of the Drum and the Spear in Interlacustrine Kingship 11:15 Culture of Water: Music and Rituals Charles Seeger Lecture Peter Hoesing, Florida State University in San Mateo del Mar Veronica Pacheco, UCLA Bill Ivey, Vanderbilt University 11:15 Royal Musician Deziderio’s Song “Federalism”: Contesting Historic 11:45 Organological Longings: Building Political Decisions in Twentieth- Harpsichords and Feeling Nostalgic Century Buganda, Uganda in the 1960s-70s US Damascus Kafumbe, Florida State Uni- Jessica Wood, Duke University versity Executive 11:45 “We will leave signs!”: Unpacking and Interpreting the Song Praxis of 10I [IP] Musical Interaction, Performance Nineteenth Century Elephant Hunt- Practice, and Transmission ing Associations (Bayege) Within the Chair: TBA Greater Sukuma Region of Western Tanzania 10:15 “It Should Be a Little Bit Dirty”: The Frank Gunderson, Florida State Uni- Primacy and Function of Style in the versity Music of Luzern’s Carnival Sunday, Oct 28, 2007 Paul Hartley, University of Illinois at House A Urbana-Champaign Sunday, 7:00am–9:00am 10G [IP] Music, Modernity, Transnationalism, 10:45 “Curving” Revisited: The Manipula- [M] SEM Council and Globalization tion of Phrase Ambiguity in Adowa Chair: TBA Master Drum Patterns Sunday, 8:30am – 10:30am David Kaminsky, Independent Scholar 10:15 Identity, Image and Globalization: Judicial Room College Rock Competitions in 11:15 “Playing for change”: The Reconstitu- 11A [P] Rhythm, Tradition, and Innova- Delhi tion of Performance Practice in Con- tion: Jazz and Improvisation in Cuba, Hans Utter, The Ohio State University temporary Zulu Maskanda. India, Peru Kathryn Olsen, University of KwaZulu- 10:45 Sounds from “Mars”: Marseillais Natal, South Africa Chair: Julian Gerstin, Keene State College/ Hip-Hop Marlboro College 11:45 “You Wanna Battle?!”: Breakdancing, Andaiye Qaasam, University of Penn- 8:30 George Gershwin and Wayne Shorter sylvania Conflict, and Aesthetics in Hip-Hop Visual Media Are from La Victoria: Gabriel Alegría and the Development of Afro-Peru- 11:15 Singing New Places, Singing New Abigail Lyng, University of Illinois at vian Jazz Lives: Japanese Latino Music in Urbana-Champaign Transnational Perspective Javier Léon, Tulane University Shanna Lorenz, University of Pittsburgh
Key: [P]=Panel; [IP]=Independent presentations; [F/V]=Film/video presentation; [F/W]=Forum/Workshop; [F/R]=Forum/Roundtable; [M]=Meeting (Room TBA) 22 SEM Newsletter
9:00 Jazz Jugalbandi and Fusion: A Coher- 9:30 “Calypso Island:” Music Migration Governors E ence in All Systems and Regional Sound in the Bahamas 11F [IP] Musical Border Crossing, Fusion, Katharine Cartwright, Northwest Vista Timothy Rommen, University of Penn- Crossover (1) College sylvania Chair: TBA 9:30 Translating Clave: Jazz Experimenta- 10:00 “Island in the Sun:” Bahamian Mu- tion from an Afro-Cuban Perspec- sicians at Home and Abroad in the 8:30 Point of Departure: Rhythm Section tive 1950s and 60s Interaction, Recording, and the Jazz Julian Gerstin, Keene State College/Marl- Fred Ferguson, Bahamas Ministry of Event boro College Tourism Nathan Bakkum, University of Chicago 9:00 “Hybrid Music,” Jazz and Goan 10:00 Jazz Rumba and the Evolution of Governors C Improvisation in Ritual Batá Drum- Musicianship in Early Indian Film ming 11D [P] Music and Place in Latin America Song Bradley Shope, St. John’s University Ken Schweitzer, Washington College Chair: Andrew Connell, James Madison University 9:30 This Song Represents My Heart: Per- Legislative A 8:30 Same Place Which Culture?: The formances of Cultural Plurality and 11B [P] Musical Politics in Argentina Role of Nationalist Stereotypes in the Hybrid Voice of Teresa Teng Meredith Schweig, Harvard University Chair: Jane Florine, Chicago State Univer- the Musical Life of Arica Chile sity Eduardo Wolf, Indiana University House A Discussant: Robin Moore, University of 9:00 Rethinking the “Cradle of Afro-Cu- 11G [IP] Music and Dance Texas at Austin ban Culture” 8:30 The Di Tella Institute: Development Rebecca Bodenheimer, UC Berkeley Chair: TBA Funds Cold War Strategies and the 9:30 “Reminding” and “Materializing” the 8:30 The Bean Dance: Musicological Re- Politics of the Musical Avant-Garde flections on a Woodland Indian Song in Argentina (1961-1971) Ecuadorian Nation in Madrid Ketty Wong, University of Kansas Genre Eduardo Herrera, University of Illinois at Victoria Lindsay Levine, Colorado College Urbana-Champaign 10:00 Arcoverde Brazil: How a City without 9:00 The Contra Gesture and the Value of 9:00 The Dangers of Staging Folk Mu- Memory became a Wellspring of Musical Tradition Opposition in Spanish Flamenco sic: Argentina’s Dirty War and the Steven Mullins, University of Colorado Cosquín National Folklore Festival Daniel Sharp, Bowdoin College Jane Florine, Chicago State University 9:30 Anatomy of the Ensemble, With and Governors D Without the Dancer 9:30 Disciplining the Popular: Conflict 11E [P] Musical Reconciliations from Four Judith E. Olson, American Hungarian and Contradiction in an Argentine Regions of Uganda Folklore Centrum Anti-Conservatory Conservatory of Popular Music Chair: David G. Pier, Graduate Center of the 10:00 Working In The Red Light Zone: Michael O’Brien, University of Texas City University of New York Hollywood Depictions of Recording at Austin 8:30 Music and Reconciliation in the IDP Studio Practice and Mythology [Internally Displaced Persons] Camps Alan Williams, University of Massachu- Legislative B in Northern Uganda setts, Lowell 11C [P] Jump in the Line: Music, Tourism, and Gregory Barz, Vanderbilt University Exchange in the Northern Caribbean House B 9:00 Exporting Africa: the Christian Music Chair: Kenneth Bilby, Center for Black Music 11H [IP] Music, Race, Ethnicity, and Iden- of Uganda’s AIDS Orphan villages tity (1) Research, Columbia College Lydia Boyd, New York University Chair: TBA 8:30 “Music Comes Out Happy When We 9:30 Coffee Music and the Commodifica- Smile”: Tourism Tercentenary and the tion of Peace in Eastern Uganda 8:30 La Danza de las Diablas? Race, Gender, Calypso Turn Jeffrey Summit, Tufts University and Local Identity in Afro-mestizo Daniel Neely, New York University Communities of Mexico’s Costa 10:00 Reconciliations of the Traditional Chica 9:00 Waves of Sound: Twentieth-Century and the Creative in Competition Alex Stewart, University of Vermont Haitian music and its Caribbean Dance Pieces of Western Ugandan Connections. Performance Groups 9:00 Sonic Treasures in a Land of Gold Matthew Smith, University of the West David G. Pier, Graduate Center of the and Diamonds: An Overview of the Indies, Mona / Duke University City University of New York Music of the Sakha in Siberia Robin Harris, International Council of Ethnodoxologists SEM Newsletter 23
11:45 Indian Dynasties, Music Connoisseur- ship, and Cross-Cultural Encounters c.1450-1550: Debating Approaches to the Social History of Musical Pasts Katherine Brown, University of Leeds Co-presenter: Allyn Miner, University of Pennsylvania
House A 12E [IP] Musical Identity, Migration, Exile, and Diaspora (4) Chair: TBA 10:45 “Kentucky”: Erasing and Reinscribing Race and Geography in Post-WWII Country/Bluegrass Music Anna Schultz, University of Minnesota
11:15 The Power of Sonic Symbols: Music and Race in Alcohol Advertising Kara Attrep, UC Santa Barbara
House B 12F [IP] Music, Race, Ethnicity, and Iden- tity (2) 9:30 A Family Affair: The Third National Governors D Festival of Choro, in São Pedro, Bra- 12C [IP] Musical Identity, Migration, Exile, Chair: TBA zil and Diaspora (3) Eric Murray, Kent State University 10:45 World Music Versus Neo-Nazi Propa- Chair: TBA ganda: The Role of Music in a Local Conflict Situation 10:00 “The Sonic Color Line:” The Tax- 10:45 Rebuilding Jerusalem: Music and onomy of Race and Vocal Timbre Britta Sweers, Hochschule für Musik und Identity among Recent Immigrants Theater Rostock (Germany) in the United States in Israel Nina Sun Eidsheim, UC San Diego Abigail Wood, SOAS, University of 11:15 Musical Racial Triangulation: A His- London torical Perspective Sunday, 10:45am–12:15pm Tamara Roberts, Northwestern Univer- 11:15 “Diasporic Identity Politics: Trans- sity Legislative A formation In/Through Chinese-Ca- 12A [IP] Music Commodification, Marketing, nadian Music” 11:45 New Worlds to Gain: Jefferson Patronage, and Tourism (3) Kim Chow-Morris, Ryerson University, Airplane, Race, and Revolutionary Toronto Rhetoric in 1960s Rock Chair: TBA Patrick Burke, Washington University in 10:45 This is My Solo, Man: Issues of Im- Governors E St. Louis provisation and Authorship in the 12D [IP] Musical Border Crossing: Fusion, Music of Charles Mingus Crossover (2) Mike Anklewicz, York University Chair: TBA 11:15 Improvising Beyond the “Classical”: 10:45 Acoustic Archaisms and the Poetics Fusion Musicians in Chennai, India of Georgian Folk-Fusion Niko Higgins, Columbia University Lauren Ninoshvili, Columbia University
Legislative B 11:15 Reconstructing the Romany Trail 12B [F/V] Wayang Imaginasi: Heri Dono, Through Song: Indo-Flamenco Sutanto, and the Art of Community Fusion and Romany Diasporic Con- sciousness Jody Diamond, Dartmouth College Sonia Gaind, University of Texas at Austin
Key: [P]=Panel; [IP]=Independent presentations; [F/V]=Film/video presentation; [F/W]=Forum/Workshop; [F/R]=Forum/Roundtable; [M]=Meeting (Room TBA) 24 SEM Newsletter
SEM 2007—Columbus, Ohio SEM members, Hans Utter and Utpola Borah, Attention All Presenters who both are extensively trained in traditional Continued from page 1 New This Year: gharanas and have performed extensively in The Symposium’s focal point is an explo- LCD Projectors in Every Room India and Europe. On Thursday, October 25, ration of new challenges and opportunities the remarkable OSU Jazz Ensemble, led by that ethnomusicology is facing vis-à-vis some SEM will provide an LCD projector Ted McDaniel and featuring Shawn Wallace, recently developed paradigms in the cogni- in each session room. There will be tech- will play during an evening reception hosted tive sciences. The symposium also aims to nicians on site who can respond to any by the OSU School of Music. The reception expand and deepen understanding between equipment problems during presentations. will begin right after the Host Program (please cognitive and more established branches of In addition, please be aware that we will see the registration form) and will be followed ethnomusicology. To facilitate their dialogue, have a “Speaker Prep” room, set up with by the first of a series of dance workshops. Jeff Titon and Anthony Seeger, two distin- exactly the same equipment that is in the This first workshop, led by Terry and Sara guished ethnomusicologists whose research session rooms. A trained technician will Miller (Kent State University), is to learn does not focus on theories and methods of be available in the Speaker Prep room to ballroom dances. During lunch on Friday, cognitive sciences, will serve as respondents. help you to learn how to use the neces- October 26, several students of Jihad Racy will There will be plenty of time for open discus- sary equipment prior to your presentation. present a concert of Middle Eastern music in sions, and everyone in attendance will have We hope that these facilities will alleviate honor of their beloved teacher. The concert an opportunity to participate actively. If you any issues that are not technical in nature will touch upon several aspects of our motto are interested in or simply curious about and enable a smooth delivery of your “Music, War and Reconciliation.” Friday cognitive ethnomusicology, you will not presentation. Please reserve some time evening will feature two dance workshops want to miss this event. Registration for the for self-training in the Speaker Prep room and a salsa party. Lucy Long (Bowling Green Symposium is $20. A preliminary program as soon as you arrive. State University) and several terrific Ohioan for the Symposium is on p. 9 of this issue old-timers will lead a work-shop on old-time of this Newsletter. There will be no paper sessions on Sat- music and dance. Later in the evening there On Thursday, the general SEM program urday afternoon. After lunch, buses will take will be a salsa dance party with the outstanding will begin. In all, there will be over a hun- us to the OSU School of Music’s Weigel Hall Columbus-based salsa jazz band Yumbambé dred paper sessions, panels, film and video on the main OSU campus, where the rest of led by Eric Paton, whose performances presentations, workshops, and roundtable Saturday activities will take place, beginning have been hailed throughout the country; discussions that will cover a wide range of with the Business Meeting at 2:00 pm. After see (website) http://www.yumbambe.com/ SEM members’ research. Multiple panels will the Business Meeting, Bill Ivey (Vanderbilt be dedicated to such themes as Music, War University), president of the American Folk- and Reconciliation; Music, Space, Place, and lore Society, will deliver the Charles Seeger Environment; Gender and Sexuality; Digital lecture, followed by a showcase of the OSU Communities and Musical Experiences; Shift- Ethnomusicology Lab research projects. ing Perspectives in Ethnomusicology; Musical Before the evening performances, we will Ontologies; and Music Commodification and offer a specially catered banquet in Campus Globalization, among others. In addition, Southgate, a dynamic urban entertainment there will be single panels, such as Music and center newly developed to integrate the the War in Iraq; Music and Cultural Rights: campus and the city. The well-recognized Access, Use, Representation, and Ownership; Columbus chef Suzanne Buck will cater Beholding Moves: Practicing Embodiment, this elegantly served dinner. (A vegetarian Ethnography, and Research; “Genuine option is available; you should request this Worship,” “Full-On Possession,” and “Right option before October 8.) The OSU Steel Pan Singing”: Theology, Religious Ideology, and Orchestra, led by Lennard Moses and Ken Musical Ontology in the Twenty-First Cen- Archer, will provide the music. The banquet tury; Betwixt and Between: Explorations of ticket is $40 (see registration form). If you Professor Chan Park will perform pansori Place, Space, and Identity; Unsettling Music: prefer a less expensive meal, there are plenty following the Saturday banquet at the SEM Annual Meeting Rage, Distortion, Transgression, and the of small restaurants and cafes around the Grotesque, to name a few. To take advantage School of Music. The evening will close with for more information about this group. In of having four academic society presidents a concert of Korean, Russian, and African preparation for the salsa party, Robin Moore congregated at the same meeting, there will music by OSU faculty and students. There will (University of Texas) will teach us some steps be a special forum/roundtable discussion be buses to and from campus. Although the that we can continue to practice during the on Response and Responsibility: On the Lab Research Projects presentation and the party. The Moore workshop has been initi- Presidential Leadership of Academic Soci- concert are free, registration for these events ated and partially supported by the SEM eties, chaired by Philip Bohlman, with the is required, as seating is limited. Please check Dance Section, Chaired by Clara Henderson participation of Charles Atkinson (Ohio State your registration form. (Indiana University). Those who seek more University), Michael Browles (Pennsylvania Special Events—The LAC has sched- contemplative activities may choose to attend State University), and Bill Ivey (Vanderbilt uled several special events, concerts, and a unique performance by Korean Buddhist University). The complete preliminary pro- dance workshops during the meeting. On monks from Seoul who will present chants gram appears on pp. 10-23 of this Newsletter, Wednesday, October 24, at 8:30 pm, a concert and dances of Young San Ceremony. The as well as on the meeting’s website. of Hindustani classical music will feature two performance will start at 7:00 pm at Weigel SEM Newsletter 25
Hall on campus, which you can reach by car, camp. The performance will begin at 7:00 and registration packet in exchange for a taxi, or public transportation. For more details pm in the Black Box Theater, Wexner Center, minimum of eight hours of work. If you are about the group and the concert please see a on campus. The performance is presented by interested in serving, please email Margarita leaflet in your registration package. the OSU Melton Center for Jewish Studies Mazo at [email protected]. On Saturday, October 27, right after the in cooperation with the OSU Ethnomusicol- Scheduling Private Parties—For banquet, you are invited to a special concert ogy Program. A reception will follow the private parties, receptions, reunions, etc. in Weigel Hall by OSU students and faculty. performance. please contact Leanna Jadwisiak, Catering A performance of Korean pansori by Profes- There are many other events of interest Coordinator at the Hyatt on Capitol Square, sor Chan Park will be followed by Russian to SEM members going on in Columbus (phone) 614-365-4585 or (email) ljadwisiak@ village music and chant sung by Margarita during the meeting; see the sidebar on this hyatt.com to reserve room and catering. Be Mazo’s Slavic Ensemble Rusalka. The concert page for some ideas. sure to mention that you are requesting space will end with Daniel Avorgbedor’s African Interviews—A limited number of rooms in conjunction with the SEM conference. Ensemble with two guest performers. Buses at the Hyatt on Capitol Square will be available Try to make these arrangements as soon as will be provided for all Saturday’s events on for job interviews during the meeting. Meet- possible. campus. ing room reservations for on-site interviews Columbus and the Meeting Site(s) Finally, if you can stay in Columbus must be submitted by October 8. Please Columbus, Ohio, is the 15th largest city in through Sunday evening, you will be well see the meeting website or contact Jennifer the US and one of the fastest growing metro rewarded by a unique opportunity to hear Gentry, the SEM conference coordinator, areas in the Midwest. Known in the nineteenth and interact with the President of our Soci- at (email) [email protected], for rules century as the Buggy Capital of the World, the ety, Philip Bohlman, and his wife Christine or to reserve a room. Job candidates are city is now a major industrial center. The city Wilkie Bohlman, who will perform Viktor invited to sign up at the job interview desk and its environs boast of several important Ullmann’s final work for stage, a monodrama for available interviews. institutions of higher learning, most of all for speaker (Phil) and piano (Christine), set Student Assistants—The LAC invites The Ohio State University (website: http:// to Rainer Maria Rilke’s Die Weise von Liebe und students to assist in meeting rooms or in other www.osu.edu), the largest single-campus Tod des Cornets Christoph Rilke / The Ballad of ways. The Society will waive the registration university in the US (about 60,000 students) Love and Death of Cornet Christoph Rilke, which fees of thirty student volunteers, each of and a world-class public research university. he composed in the Terezín concentration whom will receive an official name badge A thriving global city of 1.6 million people from all over the world, Columbus offers a Other Columbus Divertissements variety of musical and cultural experiences, which appeal to a broad range of interests • The Columbus Carnatic Music Association will present a vocal concert by Gayathri Venkataraghavan with and tastes. The city hosts the Ohio State Fair Akkarai Subbulakshmi on violin and Manoj Siva on mridangam on Saturday, October 27, 6:00 pm, at the Upper every summer, the International Festival, Arlington Center; see (website) http://www.columbuscarnaticmusic.org/ for mor information. international electronic music and women’s • Every evening, October, 24–27 8:00 pm, and 28 October, 2:00 pm, the Columbus Jazz Orchestra will col- laborate with Aminah Robinson in Jazz Plays Art: A Fusion of Sight and Sound at the Southern Theatre. Single music festivals, among others. Asian, Latino, tickets will go on sale August 27, 2007. Please call the box office at (phone) 614-294-5200 or consult (website) African, Korean, Irish, Oktoberfest, Italian, http://www.jazzartsgroup.org/ for more information. Indian festivals, to name a few, are annual • The Lettermen, conducted by Albert George Schram, will lperform on October 26-27, 8:00 pm, in the Ohio celebrations of the cultural heterogeneity Theatre (next door to our hotel). Check (website) http://www.columbussymphony.co/ for the program’s content. and changing demographic patterns of the • At the Martin Luther King Jr. Arts Complex, downtown, you can hear and see Otis Sallid’s Gospel! Gospel! metropolitan area. Columbus hosts one of the Gospel! on October 25-26. Browse (website) http://www.kingartscomplex.com/home.htm for other events US’s largest Somali immigrant populations, at the Complex. and there about 21,000 Asian Indians in Co- • A Cartoon Exhibition and Festival of Cartoon Art is part of a conference on October 26-27. The Cartoon lumbus who actively support Hindustani and pre-conference is co-sponsored by the Library and Project Narrative of The Ohio State University Department of English that will be held the afternoon of October 25. For more infor-mation, see (website) http://cartoons. Carnatic musical traditions. For a quick over- osu.edu/FCA2007/site/. view of Columbus’s expansive demographic, • Although Wexner Center for the Arts, OSU Multicultural Center, and the Columbus Music Hall have cultural, and artistic environment, start with not anounced their schedules as of this writing, there is a good possibility that they will have some first-class these links: http://experiencecolumbus. performances during our meeting. For further information about Columbus theaters, concerts, performances on October 24-28 consult (website) http://www.tickco.com/cities/columbus_ticket_brokers.htm. com; http://www.columbusarts.com/ and • The James Thurber House, on Jefferson Avenue downtown—immortalized in “The Night the Ghost Got In” http://www.columbusart.com/artscene/ and other stories—is the restored childhood home and museum of one of Columbus’s wittiest natives. menupage.html • Wit of an edgier sort is offered by 2 Co’s Cabaret, located in the Short North. Hotel—The conference hotel is the Hyatt • The National Hockey League has just published its schedule for the next season, and in case those who want on Capitol Square, at 75 East State Street, at to experience the Columbus Blue Jackets playing at home the weekend of our meeting should get a ticket as early as possible; contact (phone) 614-431-3600 or (website) http://bluejackets.nhl.com/. the corner of Third Street, one block from • The beautiful Columbus Zoo and Aquarium, located on the Scioto River northwest of the city, plays host to High Street, Columbus’s main north-south more than 2.5 million visitors each year. Famous for its success in breeding cheetahs and lowland gorillas and artery. Ours will be the only conference at for having the country’s largest collection of reptiles, the Zoo’s newest attraction is Manatee Coast, a mangrove the hotel, so we will have the undivided at- waterway habitat for three manatees, along with various fish and turtle species. See (website) http://www. colszoo.org/. tention of the friendly staff of this cozy yet • Ohio’s Center of Science and Industry (COSI), which in 1999 opened its new home on the downtown river- modern hotel with all the usual amenities front in a building designed by Arata Isozaki, features eight “Learning Worlds” that offer hands-on activities to (spacious rooms, 24-hour gym, lounge, mas- make science understandable and fun, a seven-story high Extreme Screen Theater and a 230-seat planetarium. sage services, internet availability, etc.). Most For more information, see (website) http://www.cosi.org/. of the conference activities will take place at Continued on page 30 26 SEM Newsletter
NEW CD RELEASE Songs of the African Coast: Cafe Music of Liberia
Yarngo Music is proud to announce the release of Songs of the African Coast: Cafe Music of Liberia. This unique recording includes music recording in the late 1940’s in Liberia by the noted ethnomusicologist Arthur Alberts.
Arthur Alberts recorded music throughout Africa and in 1950 released the landmark 78 rpm set Tribal, Folk and Cafe Music of West Africa. The music on this release included a mix of genres as well as detailed notes by leading academics. The recording showed the intricate connections between African and American music.
This CD includes some of the music from that 1950 release as well as six compositions never previously released. This recording includes some the best known musicians from Liberia at the time including Howard B. Hayes, Malinda Jackson Parker, and the Greenwood Singers. Also included on this CD are extensive notes on the music and six beautiful photos taken by Arthur Alberts of the artists and never before seen by the public.
The compositions in many cases sounds almost like Calypso, or even early Jazz, and clearly illustrate the ties between American and African music. The 18 tracks on the CD were recorded live and have a warm feeling almost as though the listener is with the musicians as the music is being played.
The importance of these recordings has been underscored many times in recent years. Martin Scorsese cited the work of Arthur Alberts in his documentary The Blues. Mickey Hart, of the Grateful Dead, and the Library of Congress released in 1998 a selection of work entitled The Arthur S. Alberts Collection: More Tribal, Folk and Café Music of West Africa.
COPIES AND AUDIO SAMPLES NOW AVAILABLE AT:
WWW.CDBABY.COM (www.cdbaby.com/cd/arthuralberts)
WWW.YARNGOMUSIC.COM SEM Newsletter 27
Bill Ivey Continued from page 1 Prior to government service, Ivey was director of the Country Music Founda- tion in Nashville, TN. He twice was elected board chairman of the National Academy of Recording Arts and Sciences. Ivey holds degrees in folklore, history, and ethnomusi- cology, as well as honorary doctorates from the University of Michigan, Michigan Tech- nological University, Wayne State University, and Indiana University. He is a four-time Grammy Award nominee (Best Album Notes category), and is the author of numerous articles on US cultural policy and folk and popular music. His newest book, Arts, Inc.: How Greed and Neglect Have Destroyed Our Cul- tural Rights will be published by the University of California Press in 2008.
Calls for Submissions Continued from page 1 Bill Ivey (photo by Daniel Dubois, courtesy Vanderbilt University) welcome; interdisciplinary work is especially encouraged. For more information, including about Music: A Style Sheet by the Editors of is a limit of one contributed submission submission guidelines, please visit (website) 19th-Century Music (Berkeley: University of per lead author. All submissions must be www.umich.edu/~mmts, or send an inquiry California Press, 1988). Contributors are received by December 1, 2007. Please submit to (email) [email protected]. responsible for obtaining all permissions to abstracts (up to 500 words) to Dr. Patrick quote extracts or to reproduce photographs. Smith, Paper Presentation Coordinator, at repercussions Submissions are welcome at all times of the (email) [email protected]. Paper presenta- This journal invites submissions in the year. Review will normally be completed tions should be no more than twenty-five field of music as most broadly conceived. within three months of receipt. Please send minutes in length. The Experiencing Villa- repercussions provides a forum for critical and submissions to: repercussions, Department of Lobos Festival also welcomes proposals innovative work within and between the sub- Music, 107 Morrison Hall #1200, University from soloists and ensembles to perform disciplines of musicology, ethnomusicology, of California, Berkeley, CA 94720-1200, or work(s) by Villa-Lobos. Each solo performer and music theory, as well as other disciplines (email) [email protected]. or ensemble will be allotted twenty minutes. outside of music. There are no set formats Please submit two copies of your proposal for contributions; we welcome submissions Experiencing Villa-Lobos: An Interna- and two copies of a CD of your performance from a full range of critical and method- tional Festival of the work(s). The material will not be ological perspectives, including those of an March 27 - 29, 2008, Virginia Commonwealth returned. The proposal should include on unconventional or polemical nature. We also University, Richmond, VA a separate sheet the performer(s)’ name, consider proposals for reviews of scholarly address, phone number, email address, publications, recordings and events. Submission deadline: December 1, 2007 abridged CV as well as the title and duration Prospective contributors should submit This conference will bring together of the submitted composition(s). Proposals either two (2) copies of their manuscripts interested scholars to discuss recent develop- from ensembles should include names of by mail, or one copy by electronic mail, to ments in Villa-Lobos research and explore all performers, as well as a contact person’s the attention of the submissions editors. new ways of reading and hearing music by address, phone number, email address, and Submissions are reviewed anonymously, so this composer. Possible topics include: new the title and duration of the submitted authors should include a separate cover sheet analytical approaches; Villa-Lobos’ relation- composition(s). Please mail materials to: Dr. with contact information and remove any ship to American and European contempo- Sonia Vlahcevic, Experiencing Villa-Lobos identifying information from pages within raries; biographical discoveries; questions Festival, VCU Department of Music, 922 the submission. All submissions must be in of genre; text setting, text origins, literary Park Avenue, PO Box 842004, Richmond, Microsoft Word (or a compatible format) and influences; performance practice; recusancy VA 23284-2004. All materials must be re- double-spaced, including footnotes, quota- and political controversy; and reception of ceived by December 1, 2007. Please note: tions, and extracts. repercussions follows the Villa-Lobos’ music since his death in 1959. Solo presenters selected agree to pay the style guidelines given in the Chicago Manual of The festival will include concerts (featuring festival registration fee by March 1, 2007. Style, 15th ed. (University of Chicago Press, Cuarteto Latinoamericano and pianist Sonia Performers in small ensembles selected 2003). For other style matters, contributors Rubinsky), master classes, paper presentation agree to pay the festival registration fee by should consult D. Kern Holoman, Writing sessions, and a round-table discussion. There March 1, 2007. The Villa-Lobos Festival can Continued on page 28 28 SEM Newsletter
Hula Workshop nC2 Continued from page 7 continued from page 3 a demonstration of one specifically male It is as though we are sitting on the veranda of the wooden house back dance, a discussion of traditional Hawai`ian at Kenny’s place. We talk through my list and one by one, sometimes directly, instruments, and a beautiful demonstration sometimes circuitously, the answers come. But today we are spacious in our of hula by University of Hawai`i at Manoa professor Jane Freeman Moulin. We listened approach, conscious of each other’s fragility. A question of a relative arises, as an impromptu dialogue unfolded between and at the next we are discussing softly those relatives who transported Rich- Takamine, anthropologist Adrienne Kaep- ard home for burial in the specially chartered plane. I write down the names pler, and a Cook Islands resident regarding of each of the men, women and children. I write down Richard’s name, as if he differences in movement and meaning of the were a living passenger. I find that I cannot conceive of it any other way. Cook Islands hura from the Hawai`ian hula. Then participants, both eager and reluctant, I say, “I should’ve been there.” Kenny doesn’t respond. got to our feet to learn a traditional hula. While we danced, Takamine accompanied Kirsty Gillespie ([email protected]) is a final-year PhD student in the Research movements on a traditional gourd idiophone, School of Humanities of the Australian National University. Her doctoral thesis addresses musi- the ipu, and shared experiences of life on the cal continuity over rapid social change in the compositions of the Duna people of Papua New Pacific Rim of Fire that resonate through Guinea. She is planning a research project that explores empowerment in songs by Papua New Hawai`ian mythology, theology, and dance. Guinean women. A thousand thanks to her for this contribution. She spoke of an earthquake she experienced on the island of Maui and expressed the is a column by graduate students currently engaged in ways in which such life encounters inform fieldwork that proposes to explore all aspects of the “field.” her understanding of the dance. Takamine See vol. 41, no. 2 of the Newsletter for a full description and and her advanced students demonstrated the C the original call for submissions. challenging and intricate hula movements, 2 which most in attendance agreed took a far nStudents interested in contributing to this column should send an email to its greater amount of skill to perform than we host, Jesse Samba Wheeler ([email protected]), and the Newsletter editor, had initially assumed. Henry Spiller ([email protected]). The hula we experienced told a story of Fieldworkers of the World, Write! Pele, the volcano goddess. As we danced, we sang an accompanying chant that referred to the danced movements mimicking experien- tial realities, the motions of an old woman, video recording” is one in which the event(s) movements of the earth, and the fluidity Calls for Submissions filmed have not been altered in any way and of lava. The workshop culminated with an Continued from page 27 appear on the original video tape exactly as opportunity for participants to demonstrate make available no travel monies to present- the ethnographer recorded them and in ex- their newly acquired skills before an audience ers. Maximum length of time for presenters actly the same sequence in which they were of fellow participants. will be twenty minutes. Late submissions will recorded. Because the EVIA Digital Archive We thank Vicky Holt Takamine, her not be considered. Please contact Festival is a kind of scholarly publication, depositor’s gracious student assistants, and our host Administrative Director, John Patykula at completed annotations will go through a peer university organizers for providing partici- (email) [email protected] with any questions, review process. Depositors may request a pants with a truly energizing and enlighten- or consult (website) http://www.pubinfo.vcu. tenure and promotion review DVD specifi- ing opportunity that we will not forget for edu/artweb/music/villa_lobos/index.html cally created by our programmers for tenure years to come. and promotion committees. As a special project for the 2007 SEM EVIA Digital Archive Project Candidates whose applications are ac- cepted will receive a $2,000 honorarium conference in Columbus, Ohio, the SSW will Submission deadline: February 18, 2008 co-sponsor a tenure workshop in collabora- upon completion of their annotations by tion with the Careers and Professional De- The Ethnomusicological Video for the designated deadline. The EVIA Digital velopment Committee. Please check the SEM Instruction and Analysis (EVIA) Digital Archive will provide travel to the Summer website for program schedule information. Archive project seeks applications from Institute as well as food and accommodation This will be a workshop designed to satisfy scholars in the fields of ethnomusicology, during the Institute. an expressed and critical need for many SEM folklore, anthropology, and dance studies Those interested in applying should members whether affiliated or unaffiliated wishing to become participants in the project complete the application form available at with either section or committee. The SSW and depositors to the archive. Participation (website) http://www.indiana.edu/~eviada. also invites all SEM members to attend our entails submitting approximately ten hours Applications should be accompanied by a SSW business meeting held annually during of original, unedited, field video recordings five-minute video sample on VHS cassette the SEM conference. This year we will elect for inclusion in the Archive, and a commit- or miniDV. The sample should contain a a new co-chair and begin planning panels ment to annotate this collection during an cross-section of the best video footage of and proposals for SEM 2008. Please plan on intensive two-week Summer Institute to be the proposed ten hour collection. Applica- attending our meeting and in participating in held in Bloomington, Indiana, from June tions should be postmarked by February 18, our lively and important discussions. 14-27, 2009. An “original, unedited, field 2008. Successful candidates will be notified SEM Newsletter 29
Assistant or Associate Professor of Music Hampshire College, an independent, innovative liberal arts institution and member of the Five College consortium, is accepting applications for an Assistant or Associate Professor of Music in the areas of jazz and contemporary improvisation. We are seeking candidates who are active musicians to teach jazz and contemporary improvisation in both classroom and ensemble settings. The successful candidate will also be expected to teach a two-semester core music theory sequence that integrates jazz, popular music, and tonal theory. Our unique Music Program offers students the opportunity to study, compose, and perform traditional and contemporary classical music, popular music, world music, jazz/ improvised music, computer music, and experimental music in an interdisciplinary liberal arts context. The successful candidate will have at minimum a Masters degree in music with significant professional experience. The candidate should have an established reputation with a record of performances, recordings, and/or publications. College level teaching experience is preferred. This position involves substantial student advising responsibilities. Hampshire College is committed to building a culturally diverse intellectual community and strongly encourages applications from women and minority candidates. Position begins July 1, 2008. We offer a competitive salary and benefit program. Application review will begin on October 15, 2007 and continue until the position is filled. Applicants should submit a letter of interest describing teaching and professional experience, cur- riculum vita, a list of course proposals, a small portfolio of scores/CDs, and a brief example of scholarly publication (if applicable) to: Jazz & Contemporary Music Search Committee School of Humanities, Arts and Cultural Studies Hampshire College 893 West Street Amherst, Massachusetts 01002
hr.hampshire.edu
Hampshire College is an equal opportunity institution, committed through diversity in education and employment. by April 14, 2008, and at that time will be and Michael Broyles on musical modernism given instructions for submitting their video Society for American and Leo Ornstein; George E. Lewis on Pa- materials for immediate digital ingestion and Music Announces New mela Z; and Suzanne Robinson on John Cage archiving. Before submitting an application in New York, as well as reviews of books, please read carefully in the application the Journal recordings, and multimedia items. This issue Annotation/Deposition Process of the in- The Society for American Music (SAM) is available for free at (website) http://jour- gestion process, the Summer Institute, and and Cambridge University Press are delighted nals.cambridge.org/SAM. The second issue, the time commitment involved. If you have to announce the launch of the Journal of the due to be published in May, will feature Leta any questions about the application process Society of American Music (JSAM), an inter- E. Miller on racial segregation and the San please contact the project at (email) eviada@ national, interdisciplinary, peer-reviewed Francisco Musicians’ Union, Laurie Stras indiana.edu or (phone) 812-856-1323. Appli- journal dealing with all aspects of American and the Boswell Sisters, and Benjamin Givan cation forms should be submitted by email music and music in the Americas. The jour- on McCoy Tyner and “Bessie’s Blues.” The ([email protected]) and by regular mail. nal is the official organ of SAM; the journal third issue, due to be published in August, Hard copies of the form and video sample American Music is no longer affiliated with will feature Teresa Magdanz on “Sobre las tapes must be postmarked by February 18, the Society. olas” and cultural synecdoche of the past, 2008, and mailed to: EVIA Digital Archive According to JSAM editor Ellie M. Hisa- Renee Lapp Norris on opera and blackface Project, 2009 Depositor Applications, Her- ma (Columbia University), the journal will minstrelsy, and Abigail Wood on the multiple man B. Wells Library E951, 1320 E. 10th St. publish work by a healthy mix of established voices of American klezmer. Bloomington IN 47405. and emerging authors. “We welcome writing SAM members receive the journal auto- The EVIA Digital Archive project is a that considers American music within its local matically. If you would like a free sample copy, joint effort of Indiana University and the and global contexts. Research in American please contact (email) journals@cambridge. University of Michigan to establish a digital music has changed considerably since the first org. If you would like to become a member archive of annotated ethnographic field video. issue of American Music was published in 1983. of SAM, or if you are interested in contribut- Based in the Archives of Traditional Music, I intend to guide the journal into interdisci- ing an article to JSAM, please visit (website) the EVIA Digital Archive is designed to plinary and transnational directions.” http://www.american-music.org. preserve original, unedited, video recordings The inaugural issue (February 2007) and make them easily accessible for teach- features articles by Christopher Reynolds on ing and research, providing an alternative to Gershwin’s Porgy and Bess; Denise Von Glahn physical archives. 30 SEM Newsletter
SEM 2007—Columbus, Ohio Continued from page 25 the hotel, except for the events on Saturday afternoon, when we will move to the OSU main campus. Further information about the hotel is available at (website) http://capitol- square.hyatt.com/hyatt/hotels/index.jsp. (See the sidebar for alternative hotels.) As we described in detail in the Winter Newsletter, the Hyatt is close to many inter- esting Columbus attractions, including the beautifully restored Ohio Theater (now the home of the Columbus Symphony Orches- tra), the Arena/Entertainment District (home Daniel Avorgbedor and his African Music Ensemble will perform following the Saturday banquet of the NHL’s Columbus Blue Jackets). Within at the SEM Annual Meeting walking distance is the North Market (shop- ping and dining district) and the Short North distance from the hotel, so car transportation the ticket prices early if you are on a budget. (Columbus’s answer to SoHo and Greenwich or taxi would be necessary. Those attendees The airport is located ten minutes east of Village). It is only a few miles further north who prefer to dine close by would be well downtown. Please see the hotel transportation along High Street to the main campus of The advised to look for places in the Short North, website for cost and most convenient ways: Ohio State University. South of the hotel is a few blocks north of our hotel, or in German http://capitolsquare.hyatt.com/hyatt/ho- the restored nineteenth-century Southern Village and the Brewery District (where beer tels/services/transportation/index.jsp. Theater as well as German Village, where drinkers may find several microbreweries with If you travel by bus, the Greyhound you can find several microbreweries. good restaurants attached), a few blocks south station is located one block away from the Where and What to Eat—It is often of our hotel. Of course, the City Mall, which hotel. For more detail please see the meeting said that Columbus is the junk food capital is accessible directly from the hotel’s lobby, website. To help you to find driving directions of the world. You might indeed find more has a few good restaurants for all tastes. A on the Web, the hotel’s address is 75 East McDonalds and Pizza Huts per square inch list of local restaurants around the hotel and State Street, Columbus, Ohio 43215. Before than in many other metropolitan cities. And, near the OSU campus will be available on departing, one should find out about pos- yes, some of the better known fast food com- site, but those interested in getting familiar sible road repairs and detours by contacting panies, such as Wendy’s, White Castle, Rax, with some of them in advance can check (phone) 614-645-PAVE or consulting the and others have their corporate headquarters out the following websites: http://www. road construction information at (website) in our fair city, and the city often serves as theshortnorth.com/Restaurants.htm and http://www.pavingtheway.org. a launching test market for many new such http://tinyurl.com/26up6l. For food places Within the city, public transportation is outlets. At the same time, Columbus boasts of near the campus consult http://www.south- provided by Central Ohio Transit Authority some of the better known high cuisine estab- campusgateway.com/ and http://studentaf- (COTA, [phone] 614-228-1776 or [website] lishments, such as Handke’s Cuisine (Owned fairs.osu.edu/diningresources.asp. http://www.cota.com). The Downtown Link and run by Helmut Handke, a world famous Transportation to Columbus—Locat- runs up and down High Street from the Short award-winning chef) and Lindy’s in German ed literally in the “heart of Ohio,” Columbus North to German Village, but check the bus Village, Rigsby’s and l’Antibes in the Short is easy to reach by air, bus, or by automobile. schedule for weekends on the web. Exact North, and the Prefecture on Bethel Road, Columbus is a hub for America West Airlines, change is often required on public transporta- not to mention a large choice of high-end and is served by most other major carriers. tion. Taxi service is provided by Yellow Cab, Chinese, Japanese, Vietnamese, Thai, Greek, You should not have any problem finding a (phone) 614-444-4444), Northway Taxicab, Turkish, Italian, and Spanish restaurants. convenient flight to the Port Columbus In- (phone) 614-299-4118) and members of the Some of the best ones are not within walking ternational Airport. As always, start watching Independent Taxicab Association of Colum- bus, (phone) 614-235-5551). Alternative Hotels Special Needs—If you have special If you are looking for an alternative hotel within one mile from the Hyatt on Capitol needs or require assistance from the LAC, Square, consider the following possibilities: please contact Margarita Mazo at (email) [email protected] as soon as possible • Double Tree Guest Suites, 0.2 miles from the Hyatt about your situation. For student assistance (phone) 614-228-4600; (website) http://www.doubletree.com/en/dt/hotels/index.jhtml?ctyhocn=CMHSBDT with housing please contact OSU graduate • Holiday Inn Columbus—City Center, 0.21 miles from the Hyatt students Tracie Parker at (email) parker.499@ (phone) 614-221-3281; (website) http://www.ichotelsgroup.com/h/d/hi/1/en/hotel/cmhet?_requestid=579331 osu.edu or Abel Stewart at (email) stew- • Westin Columbus, 0.32 miles away from the Hyatt [email protected] or [email protected]. (phone) 614-228-3800; (website) http://www.starwoodhotels.com/westin/property/overview/index. html?propertyID=1045 For complete information about the con- • Courtyard by Marriot—Downtown, 0.45 miles away from the Hyatt ference, and to register, consult the Meeting (phone) 614-228-3200; (website) http://www.marriott.com/hotels/travel/cmhcy-courtyard-columbus-downtown/ home page at (website) http://www.indiana. • Red Roof Inn Columbus Downtown, 0.59 miles away from the Hyatt edu/~semhome/2007/index.shtml. (phone) 614-224-6539); (website) http://www.redroof.com/reservations/inn_details.asp?innNumber=262 SEM Newsletter 31
FACULTY POSITION IN MUSIC UNIVERSITY OF PITTSBURGH The Department of Music of the University of Pittsburgh invites applications from candidates of exceptional potential for a junior-level, tenure-track faculty position to begin September 1, 2008, pending budgetary approval. Position: Assistant Professor in Ethnomusicology Qualifications: Ph.D. by June 2008; evidence of scholarly promise and demonstrated excellence in teaching; strength in popular music studies. Duties: Teach undergraduate courses and graduate seminars in Ethnomusicology, including but not limited to undergraduate survey courses on world music, undergraduate survey courses on American popular music and/or global popular music, culture-area-specific undergraduate courses and graduate seminars, and graduate theory and methodology courses in Ethnomusicology; direct theses and dissertations; conduct research and publish; participate actively in the profession; share in administrative responsibilities. We seek a scholar whose geo-cultural expertise complements the current faculty. Areas of particular interest include music of Latin America, South Asia, or Eastern Europe. Specialization in popular music, possibly with global or transnational focus, is preferred, but other areas of specialization will be considered. We seek a scholar who can work across sub-disciplines within the department and with colleagues elsewhere in the University. The Department of Music offers the B.A. degree within a liberal arts curriculum and M.A. and Ph.D. degrees in ethnomusicology, historical musicol- ogy, and composition and theory, with additional strengths in jazz studies and intercultural musicology. The graduate program provides students with instruction in the histories, methodologies, theoretical frameworks and analytical techniques of the subdisciplines, and encourages interaction across subdisciplines. Further information is available at the Department’s Website: http://www.pitt.music/. Through this appointment, the Department seeks to strengthen its relationship across the university with other outstanding departments in the humanities and social sciences, and with university pro- grams such as Cultural Studies, Film Studies, and Women’s Studies, as well as the University Center for International Studies with its five renowned Title VI centers funded by the U.S. Department of Education: Asian, Latin American, Russian and East European, West European and the European Union, and International Business. Candidates should submit a letter of application, a curriculum vitae, sample writings, and three letters of reference to: Dr. Andrew Weintraub, Chair Ethnomusicology Search Committee Department of Music University of Pittsburgh Pittsburgh, PA 15260 (412) 624-4126 In order to ensure full consideration, applications must be received by November 5, 2007. The University of Pittsburgh is an Affirmative Action, Equal Opportunity employer. We particularly invite applications from women and members of minority groups under-represented in academia.
Conferences Calendar Association Conference. Kansas Centre/Hilton Québec, Québec City, MO. For more information, City, Canada. For more information, 2007 see (website) http://www.mpcaaca. see (website) http://www.ams-net. org/ or contact Gary Burns, (email) org/ Sept 14-16 [email protected] Music, Justice, and Gender. Syracuse Nov 2-3 University. For more information, Oct 17-21 Conference: “Sound in the Era of contact Eileen Strempel at (email) American Folklore Society Annual Mechanical Reproduction.” Hagley [email protected] Meeting. Hilton Québec, Québec Library, Wilmington, Delaware. For City, Canada (jointly with the Folk- more information, contact Carol Oct 11-14 lore Studies Association of Canada). Lockman, (email) clockman@ 12th International CHIME Confer- For more information, see (website) Hagley.org http://afsnet.org/ ence, “`I Sing Who I Am.’ Iden- Nov 2-4 tity, Ethnicity and Individuality in Oct 24-28 51st Annual Meeting of the Ca- Chinese Music,” School of Music, Society for Ethnomusicology 52nd nadian Society for Traditional University College, Dublin, Ireland. Annual Meeting, Columbus, Ohio. Music / Société Canadienne pour For more information, see (website) For more information see (website) les Traditions Musicales. “Making http://home.wxs.nl/~chime http://www.ethnomusicology. Sound Connections: Live, Mediated org/ and Virtual Music Communities.” Oct 12-14 University of Alberta Department Midwest Popular Culture Associa- Nov 1-4 of Music and the Canadian Centre tion and Midwest American Culture American Musicological Society An- nual Meeting. Québec Convention Continued on page 32 32 SEM Newsletter
Conferences Calendar Culture Industries.” Goldsmiths Apr 13-14 College, University of London. Hearing Israel: Music, Culture and Continued from page 31 For mre information, see (website) History at 60. University of Virginia. for Ethnomusicology, Edmonton, http://www.thebfe.org.uk/section. For more information, contact Joel Alberta. For more information, see php?id=122 Rubin at (email) joelrubin@virginia. (website) www.yorku.ca/cstm edu or James Loeffler at (email) Nov 7-9 Nov 15-18 [email protected] Centre for Nineteenth-Century College Music Society 2007 Annual Aug 3-8 Studies International Interdisci- Conference (in conjunction with North Atlantic Fiddle Convention plinay Conference: “The Voice of ATMI). Little America Hotel, Salt 2008: Crossing Over. Memorial the People: The European Folk Lake City, Utah. For more infor- University, St. John’s, Newfound- Revival, 1760-1914.” University mation, see (website) http://www. land and Labrador. For more of Sheffield, Sheffield, UK. For music.org/SaltLakeCity.html information, see (website) www. more information, contact (email) mun.ca/nafco2008 [email protected] Nov 30-Dec 2 IASPM-ANZ 2007 Annual Confer- Oct 22-25 Nov 9 ence. University of Otago, Dune- American Folklore Society Annual Middle East and Central Asia Music din, New Zealand. For more in- Meeting. Hyatt Regency Louisville, Forum, sponsored by University formation, contact Dan Bendrups, Louisville, Kentucky. For more of London, School of Advanced (email) dan.bendrups@stonebow. information, see (website) http:// Study, Institute of Musical Re- otago.ac.nz afsnet.org/ search. Senate House, University of London. For more information, 2008 Nov 6-9 contact Valerie James at (email) American Musicological Society An- Mar 27-29 [email protected] nual Meeting. Renaissance Nashville Experiencing Villa-Lobos: An In- Hotel, Nashville, Tennessee. For ternational Festival, Virginia Com- Nov 10 more information, see (website) monwealth University, Richmond, British Forum for Ethnomusicol- http://www.ams-net.org/ ogy Annual One-Day Confer- VA. For more information, contact ence: “Ethnomusicology and the Patrick Smith, (email) psmith7@ vcu.edu
SEM Newsletter The Society for Ethnomusicology Non-Profit Organization U.S Postage Indiana University PAID Morrison Hall 005 Bloomington, Indiana 1165 East 3rd Street Permit No. 2 Bloomington, IN 47405-3700
Volume 41, Number 4 September 2007