SEM Newsletter Published by the Society for Ethnomusicology Volume 37 • Number 4 • September 2003 SEM Soundbyte “Body Special Events at Mi- Judith O. Becker, Meets the Bored” ami 2003 SEM, CMS, Seeger Lecturer 2003 By Ellen Koskoff, SEM President ATMI Joint Meeting By Deborah Wong, Secretary, SEM Board of Directors OK, let’s face it—over the past few By Alan Burdette and the Local years, our annual meeting/mating ritual, Arrangements Committee Judith O. Becker will present the Body Meets the Board, where the Board th The 2003 Annual Meeting of the Seeger lecture at the 48 annual SEM and the general membership come to- Society for Ethnomusicology (SEM) will meeting in Miami. Her presentation, gether (usually over a dinner hour) to be heldBiscayne jointly, October Bay, 2-5,Miami with The titled “Trancers and Deep Listeners,” ask questions, raise issues, and air prob- College Music Society (CMS) and the will be taken from her forthcoming lems, has not been working. Finding an Association for Technology in Music book, Deep Listeners: Music, Emotion audience has been getting harder and Instruction (ATMI), and it promises to and Trancing (Indiana University Press, harder. Occasionally, to provide a quo- be an unforgettable gathering of minds in press). rum, people have been rounded up at Prof. Becker is especially known for and music. In addition, the participants the last minute as ringers . . . . Last year, her scholarship on the musics of South- will enjoy the luxurious Inter-Continen- at Estes Park, only two people showed east Asia, particularly the gamelan mu- tal Hotel on the coast of Biscayne Bay in up (and even one Board member was sic of Central Java. More broadly, she is downtown Miami, an ideal location to missing)! known for her efforts to theorize music experience sights, tastes, and sounds Perhaps the topics we selected for as behavior and for her willingness to that make Miami like no other place in discussion have been too ho-hum? Per- search widely for the intellectual and the world. haps dinner with a friend or prospective methodological tools to yield new in- The programs of SEM, CMS, and employer was more important? Per- sights. haps, in this age of instant communica- ATMI will be excellent, with numerous papers, panels, lecture-recitals, perfor- Becker has a long and notable asso- tion, this meeting has outlived its useful- ciation with the University of Michigan ness? mances, demonstrations, workshops, and joint sessions relating to a multitude in Ann Arbor. Not only did she receive Last Spring the Board decided it was Continued on page 4 time to try something new. Starting this Continued on page 3 Fall we will sponsor a “President’s Roundtable,” where three or four mem- bers selected by the Board will discuss an important issue that is of major con- cern to our members. We have chosen the topic, “The SEM and Political Advocacy,” for our first Roundtable. Each speaker will have Continued on page 3 Inside this issue 1 SEM President’s Soundbyte 1 Special Events at Miami 2003 1 Judith Becker: 2003 Seeger Lecturer 5 SEM 2005, Atlanta 6 Grants & Fellowships 7 SEM Section News 7 Center Receives Grant 8 People & Places in Ethnomusicology 9 Announcements 10 Call for Papers 12 Miami 2003 Conference Program 2003 Charles Seeger Lecturer, Professor Judith O. Becker (University of Michigan, 23 Conferences Calendar Ann Arbor), at the SEM Meeting in Estes Park, October 2002 (Photo by Daniel Neuman) 2 SEM Newsletter

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Editor, SEM Newsletter • Send articles to the editor by e-mail or on a 3.5" disk with a paper copy. Microsoft Word Lee, Tong Soon is preferable, but other Macintosh or IBM-compatible software is acceptable. Emory University Department of Music • Identify the software you use. 1804 North Decatur Road Atlanta, GA 30322, USA • Please send faxes or paper copies without a disk only as a last resort. (Tel) 404.712.9481 (Fax) 404.727.0074 (Email) [email protected] Advertising Rates Copy Deadlines (Website) www.emory.edu/Music Rates for Camera Ready Copy Full Page $200 March issue ...... January 15 The SEM Newsletter The SEM Newsletter is a vehicle for exchange 2/3 Page $145 May issue ...... March 15 of ideas, news, and information among the Society’s 1/2 Page $110 September issue...... July 15 members. Readers’ contributions are welcome and 1/3 Page $ 6 0 January issue ...... November 15 should be sent to the editor. 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SEM Soundbyte tirement; organizing, developing, and of music from around the globe, and teaching music courses via technology; will have numerous opportunities to Continued from page 1 music, memory, and nostalgia; ethno- hear regional Florida and Caribbean twenty minutes to present his or her graphic methods in historical musicol- music and performers. Moreover, mu- views and the rest of the time will be ogy/historical methods in ethnomusi- sicians from The Florida State Univer- taken up by questioning and discussion. cology; and many others. The program sity, the University of Miami, and Florida The President will act as moderator. committee has created a truly joint con- International University will participate There have been some precedents ference that will bring our societies in the annual meeting. for this kind of President’s session. The closer together as musicians, folklorists, Plan to arrive early and join two now-famous “Logoistics” panel, for ex- music ethnographers, music historians, unique outings designed specially for ample, where we debated the pros and music theorists, composers, academics, this conference. On the afternoon of cons of the SEM logo and its many thinkers, performers, scholars, teachers, Wednesday, October 1, the Local Ar- incarnations was set up by former Presi- educators, researchers, and everything rangements Committee has coordinated dent, Kay Kaufman Shelemay, and there else we do and care about. The annual a Miami tour especially for musicians, have been others like this in the past. Charles Seeger lecture will be delivered musicologists and music enthusiasts. Get But, Body Meets the Board has contin- by Judith Becker, Professor at the Uni- to know this vibrant city’s diverse neigh- ued on, despite these innovations, get- versity of Michigan, Ann Arbor. The borhoods, each one distinctive in its ting smaller and smaller with each pass- preliminary conference program is in- history and development. As you dis- ing year. cluded in this issue of the SEM Newslet- cover areas including Downtown, Mi- This new version of the President’s ter and a current version can be found ami Beach, Little Havana, Coconut Roundtable will take the place of Body on the conference website (http:// Grove, Coral Gables, Overtown, and Meets the Board. It will be scheduled www.iuconferences.indiana.edu/ Little Haiti, you’ll see that the musical during regular conference hours against sem2003). terrain of Miami extends far beyond the other panels, and will be structured just Special events of the conference Caribbean popular music for which it is like any other session (three or four include a ticketed banquet with Cuban so well recognized. Highlights will in- presenters and a moderator/discussant), cuisine prepared by the skilled chefs at clude Tobacco Road (Miami’s oldest with plenty of time for questions at the the Hotel Inter-Continental. This will be ), several of the city’s unique end. What makes it somewhat different followed by a Cuban flan and coffee churches, and the famous musical scene from a regular panel, however, is that reception hosted by Florida State Uni- on Miami Beach. This tour has been the topic and presenters will be selected versity (Tallahassee, Dean Jon Piersol) customized especially for us by Dr. Paul by the Board and position statements during which several performers from George (MA & PhD, Florida State Uni- will not be vetted by the Program Com- FSU will provide music. This will be versity), a native Miamian who has been mittee. followed by salsa dance instruction and giving tours of the area for more than 15 Now, if any of you are already get- a salsa dance sponsored by FSU featur- years. He currently conducts over 35 ting nostalgic for Body Meets the Board, ing Miami’s Charanga Típica Tropical, a tours of southeast Florida in affiliation remember that the Body already meets well-known and highly recorded Cuban with the Historical Museum of Southern the Board during the annual Business charanga ensemble. Participants can Florida. Dr. George has taught at Florida Meeting and any problems, questions, also hear performances of many types State University, Florida A & M Univer- or items for discussion can still be raised there. And you can always contact any member of the Board at any time with your concerns or questions. If any of you wish to propose a topic to discuss on a President’s Roundtable, just let us know and we will consider it. And, if this doesn’t work, we can always go back to the good old days. Hope your summer has been going well. See you all soon in Miami!

Miami 2003 Continued from page 1 of topics, concepts, and issues, such as music from Miami as a cultural cross- roads; composers, performers, music, dance, and other musical occasions from around the world; teaching music theory from a multi-cultural perspective; how to succeed in the musical academic world, from interviewing through re- The lobby at Hotel Inter-Continental, Biscayne Bay, Miami (Photo by Alan Burdette) 4 SEM Newsletter

Judith O. Becker Continued from page 1 all three of her academic degrees from UM but she has also taught there since 1985. She is Professor of Musicology/ Ethnomusicology and was named Glenn McGeoch Collegiate Professor of Musi- cology in 2000. She is known as an insightful mentor and has drawn gradu- ate students from far beyond her re- gional specialization; she received the first-ever John D’Arms Distinguished Graduate Mentoring Award in 1995 after being nominated by her past and present students. She is currently the Director of the Center for Southeast Asian Studies at the University of Michigan. Becker’s collaborations with her husband, the linguist A. L. Becker, are a model for interdisciplinary partnerships. Several generations of graduate stu- View of Biscayne Bay from Hotel Inter-Continental (Photo by Alan Burdette) dents in ethnomusicology, anthropol- ogy, and linguistics at UM benefited sity, Florida Atlantic University, and the sion to the gallery is included, and you from studying with both of “the Beckers,” University of Miami. are invited at your leisure to peruse the inspired by their attention to language, After the tour, you can join a special holdings which include paintings, iron performance, and to language-as-per- outing for a Haitian dinner and musical work, and wooden sculptures by Hai- formance as part of their distinctive performance on Wednesday, October tian artists. In the courtyard, Jude intellectual imprint. 1. Experience a taste of the Haitian Tegenus will head a battery of drums Becker’s pathway into ethnomusi- diaspora in Miami by joining this unique and singers performing a variety of cology was unusual. From 1958 to 1961, group excursion for an evening of art, Vodou music, interspersed with folk Becker lived in Burma after her husband food, and music. Your first stop will be songs accompanied by guitar. After the received a Fulbright fellowship to teach the colorful Taptap-Haitian Creole Res- chartered bus departs at 10:30 pm, taxi English in the Shan highlands. Newly taurant—a fixture of Haitian cuisine in service will be available for those wish- married and a recent college graduate Miami Beach. Surrounded by striking ing to dance on into the early morning with a degree in piano performance, murals painted by local artists, you will hours. Becker suddenly found herself four dine with friends on traditional Haitian If you are interested in , the hundred miles from the nearest piano, specialties from entrees like conch (lanbi conference includes a special half-day so she studied the Burmese harp. She kreyòl), grilled fish, barbecued chicken workshop on Wednesday, October 1 describes the experience of living in (poul boukannen), seasoned fried pork that will examine the successes and Burma as “life-changing”: it was her first chunks (griyo), and side preparations of challenges of integrating and teaching exposure to another culture and to a plantains, rice and beans. Served family jazz and improvisation in undergradu- non-western musical system. She came style, your meal will also include a ate music degree programs. The pre- back from to the U.S. with the keen mango-green salad and malanga frit- conference theme, “Are We Really In desire to learn more about Southeast ter. A tasty vegetarian entrée is also The Mix? Integrating Jazz & Improvisa- Asian musics. She began graduate study available. The restaurant boasts a bar tion into Music Degree Programs,” will at UM in Southeast Asian Studies and (drinks and dessert not included in meal be addressed in four separate sessions also studied ethnomusicology with Wil- prices) offering among their wide selec- including a keynote address & panel liam Malm, who had been hired as the tion many tropical, fresh squeezed fruit discussion, lecture demonstration, an first ethnomusicologist in the Depart- juices and punches, Barbancourt rum, interactive breakout session (two ses- ment of Musicology; she and Mark Slobin Prestige beer, and kola. Fresh baked sions to run concurrently), and a brief were Malm’s first graduate students. desserts and sorbets may be ordered off closing general session. While she was still working on her the menu, along with a special roast of More information and registration master’s degree, UM bought a Javanese coffee from the Jakmel region of south- for the conference and special events gamelan and Malm asked her to direct it. ern Haiti. Following dinner at 8 p.m., can be found on the conference website The university brought in Hardjo Susilo we will proceed to a lively concert of at (Website) http://www.iuconferences. from UCLA and Becker studied inten- Haitian singing, drumming, and danc- indiana.edu/sem2003. sively with him, learning enough to lead ing at the Jakmel Art Gallery, Culture the ensemble. After finishing her M.A. Center, and Caribbean Backyard, home in 1968 (with a thesis on the Burmese of Papa Loko and Loa Mistik. Admis- harp), Becker enrolled in the UM doc- SEM Newsletter 5 toral program in Southeast Asian Stud- Increasingly interested in the Never afraid to take intellectual ies, and she and her husband went to sedimented, imbricated ritual histories chances, Becker is now working at the Java in 1969 after he received a Ford of gamelan music and their implications crossroads of the sciences and the hu- Foundation fellowship. She spent two for Javanese cultural coherence, she manities. Her work is still unquestion- years doing dissertation research in cen- immersed herself in esoteric historical ably that of an ethnomusicologist. Al- tral Java, studying the practice, theory, texts and offered a daring, speculative ways succinct, considered, and care- and history of gamelan music. She ritual history of central Javanese gamelan, fully researched, her work has matured eventually published a revised version positing a Tantric Buddhist symbolic in significant and striking ways. Her of her dissertation as her first book, base that has become interpolated with research trajectory has taken her from titled Traditional Music in Modern Java: other beliefs and practices over the in-depth ethnographic work to a fasci- Gamelan in a Changing Society (Uni- centuries. In Gamelan Stories: Tantrism, nation with the workings of the auto- versity Press of Hawaii, 1980). As the Islam and Aesthetics in Central Java nomic nervous system (ANS) and its role title suggests, the book addresses (Arizona State University Press, 1993; in, for, and through culture. This year’s gamelan not as a museum piece or as a revised edition, in press), Becker drew Seeger lecture will address some of the bastion of traditionality but as a musical on etymological evidence, art history, very deepest relationships between practice that absorbs, reflects, and gen- aesthetic theory, oral history, and court music, culture, and the human body. erates Javanese ideas of modernity and dance choreography. She outlined nationalism. Ranging between close multiple Javanese explanations for the examinations of musical works and music aesthetic and spiritual bases of gamelan SEM 2005, Atlanta theory, Becker offered detailed life his- music and posited the presence of both tories of several notable musicians and Tantric Buddhist and Sufi belief in con- By Bruno Nettl, Program Committee a nuanced consideration of the very temporary theories of musical meaning Co-chair nature of musical innovation and its and function. relationship to cultural and political Gamelan Stories also paved the way The SEM meeting of 2005, to be held change, thus opening the way for a new for her current work. Becker has done in Atlanta, Georgia, will mark the 50th kind of scholarship on gamelan music. research on music and trance since the anniversary of the founding of the Soci- In the years around the publication mid-1980s and Gamelan Stories traced ety for Ethnomusicology, which took of her first book, Becker wrote two of Javanese theories of trance and medita- place in Boston on November 18, 1955. her most well-known essays, both fo- tion through both Buddhism and Islam. Judith McCulloh and Bruno Nettl have cused on the relationships between In the mid-1990s, Becker embarked on been appointed co-chairs of the Pro- Javanese musical structures and cultural an ambitious comparative project to gram Committee, with Nettl particularly worldview. “A Musical Icon: Power and examine the relationship between trance responsible for the part of the program Meaning in Javanese Gamelan Music,” and music in several very different mu- that celebrates the founding of the Soci- published in The Sign in Music and sical traditions, from the Sufis of north ety and its history, along with associated Literature, ed. Wendy Steiner (Univer- India, to Balinese trancers, to Sri Lanka, subject matter such as the history of the sity of Texas Press, l981) and “Time and to American Pentecostals. She views field of ethnomusicology and its rela- Tune in Java,” in The Imagination of this research as an extension of her tionship to other disciplines. Reality: Essays in Southeast Asian Co- earlier work on cultural coherence, but Appropriate announcements and herence Systems, ed. by A.L. Becker and draws on a wider array of critical tools. calls for papers will be forthcoming Aram Yengoyan (Ablex Publishing Com- Delving deeply into neuroscience, later. But while serious attention will be pany, 1979), exemplified her efforts to Becker is now focused on the relation- paid to matters of history and scholar- show how musical structures were both ships between culture and biology, and ship, a session (perhaps an evening) of reflective and generative of the deepest she works within the framework of entertainment involving the founding cultural understandings of the world. biological phenomenology in her forth- and history of SEM is also contemplated. Profoundly influenced by the work of coming book, Deep Listeners: Music, We seek submissions of songs, poems, Clifford Geertz, she focused on method- Emotion and Trancing. As she puts it skits, other musical, literary, and dra- ologies for theorizing the cultural co- (in the prospectus for her book), matic genres, orations, choruses—and herence and particularity of gamelan who knows, even operas and orato- music, and these two articles have been While the sciences of biology and neuro- rios—to provide humorous, sentimen- influential in disciplines far beyond eth- science are central to explaining the tal, histrionic, or spectacular representa- nomusicology. phenomenon of trancing, trance as in- tions of where we came from and how Although she is arguably best known ner experience cannot be understood we got here (all of this broadly defined). for her interpretive work, Becker over- entirely within a scientific framework. We make this announcement early saw a massive translation project in the Phenomenological issues such as trance in order to give members time to engage 1980s that brought a large number of as a special kind of subjectivity are ad- in this special kind of creativity. Sub- primary written works on Javanese dressed here. My object is to ‘save the missions (i.e., descriptions or plans, or gamelan into English. The resulting phenomenon’ and to make trancing both finished products—confidentiality is three-volume work, Karawitan: Source legitimate and comprehensible within a guaranteed) may be sent to Bruno Nettl Readings in Javanese Gamelan and secular humanistic framework while at (Email) [email protected] any time Vocal Music, edited by Judith Becker acknowledging the special gnosis of until the spring of 2005. We look and Alan Feinstein (1984, 1987, 1988), trancing that cannot and need not be forward to hearing from you! remains a scholarly monument. explained. 6 SEM Newsletter

tation-Year Fellowships. Anyone who CALL FOR APPLICATIONS is registered for a doctorate at a North Asia Pacific Performance Exchange Program (APPEX) American university, is in good standing UCLA Center for Intercultural Performance (CIP) there, and has completed all formal Deadline for submissions degree requirements except the disser- July to August 2004 — Bali, Indonesia For APPEX 2004: December 10, 2003 tation at the time of full application is July to August 2006 — Los Angeles, CA For APPEX 2006: December 10, 2005 eligible to apply. In no case will an award be made to a candidate who at The Asia Pacific Performance Ex- shared accommodations, and meals the time of final decision on the year’s change (APPEX) is an international for the duration of the residency. awards has not completed all require- artists residency program that pro- Who should apply? Traditional and ments other than the dissertation. AMS motes cross-cultural dialogue and contemporary performing artists from awards are not intended for support of interdisciplinary exploration; devel- Asia and the United States are invited early stages of research; it is expected ops rigorous strategies for art making to apply. Special care will be given in that a fellowship recipient’s dissertation that reflect the nuances of cultural the selection process to ensure a will be completed within the fellowship differences; and fosters new ways to balance across disciplines. Artists who year. Any submission for a doctoral create, combine, and interpret artistic are active in the community as educa- degree in which the emphasis is on expressions. tors, artistic directors, and cultural musical scholarship will be eligible. AMS APPEX is a six-week intensive workers are encouraged to apply. Fellowships will be awarded solely on residency. For five days a week, art- APPEX 2004 and 2006 are made the basis of academic merit. Winners ists will engage in all-day master possible by a grant from the U.S. will receive a 12-month stipend, cur- classes, studio workshops, experi- Department of State Bureau of Educa- rently set at $14,000 and Fellowships are mentation, and collaborative projects. tional and Cultural Affairs, and the intended for full-time study. Deadline: On weekends and evenings, partici- Ford Foundation. For application January 15, 2004. For more information pants will be introduced to the vi- information, contact (Tel) 310.206. and application forms visit (Website) brant arts and culture context of the 1335; (Fax) 310.825.5152; (Email) http://www.ams-net.org/awards.html. host city through specially planned cip@arts. ucla.edu; or visit (Website) field trips and concerts. Each Fellow www.was. ucla.edu/cip/appex. National Humanities Center will be provided with travel expenses, Fellowships 2004-2005 The National Humanties Center of- Grants & Fellowships ship—enrolled in doctoral programs in fers 40 residential fellowships for ad- the United States. vanced study at the Research Triangle International Dissertation Field Applicants must have completed all Park of North Carolina. Applicants must Research Fellowships (IDRF) Ph.D. requirements except the field- hold doctorate or have equivalent schol- work component by the time the fellow- arly credentials, and a record of publica- Dissertation Fellowships for the ship begins or by December 2004, which- tion is expected. Both senior and Humanities and Social Sciences ever comes first. Fellowships will pro- younger scholars are eligible for fellow- The Social Science Research Council vide support for 9 to 12 months in the ships, but the latter should be engaged and the American Council of Learned field, plus travel expenses. The fellow- in research other than the revision of a Societies are pleased to announce the ship must be held for a single continu- doctoral dissertation. Fellowships are 2004 competition of the IDRF program, ous period within the 18 months be- for the academic year (September which is designed to support distin- tween July 2004 and December 2005. through May). Scholars from any nation guished graduate students in the hu- Applications must be received by and humanistically inclined individuals manities and social sciences conducting November 10, 2003. Please note that from the natural and social sciences, the dissertation field research in all areas application procedures have changed. arts, the professions, and public life, as and regions of the world. 50 fellow- For further information, visit (Website) well as from all fields of the humanities, ships of up to $20,000 will be awarded http://www.ssrc.org/programs/idrf or are eligible. Most of the Center’s fellow- in the year 2004 with funds provided by contact IDRF program staff at (Email) ships are unrestricted. The following the Andrew W. Mellon Foundation. [email protected]. designated awards, however, are avail- The IDRF program is committed to The IDRF would like to encourage able for the academic year 2004-05: 3 scholarship that advances knowledge ethnomusicologists to apply to the pro- fellowships for scholars in any human- about cultures, societies, aesthetics, gram. An IDRF representative will be istic field whose research concerns reli- economies and/or polities outside the available at the 2003 SEM Annual Meet- gion or theology; 3 fellowships for young United States. The program promotes ing in Miami to answer questions from scholars (up to 10 years beyond receipt work that is relevant to a particular interested students. of doctorate) in literary studies; a fel- discipline while resonating across other lowship in art history or visual culture; a fellowship for French history or cul- fields and area specializations. Alvin J. Johnson AMS 50 Disserta- ture; a fellowship in Asian Studies. The program is open to full-time tion Fellowships graduate students in the humanities and Deadline: October 15, 2003. Forms and The American Musicological Society social sciences—regardless of citizen- instructions may be obtained from holds an annual competition for Disser- (Website) http://www.nhc.rtp.nc.us. SEM Newsletter 7 SEM Section News

Applied Ethnomusi- Volunteers may teach at any level— and contact them with this information K-12—and in any facet of the music and other details. cology Section Dis- curriculum: general, band, orchestra, SEM/CMS members interested in play Table in Miami and chorus. In the past, SEM Education participating in the Ethnomusicology in Section volunteers have taught Chinese the Schools: Miami 2003, should com- Seeks Submissions luogu music in concert band, Latino plete the form found on the Education The SEM Applied Ethnomusicology dances for elementary school children, Section web page under “Ethnomusi- Section will host a table in the display music reading for elementary keyboard cology in the Schools: Miami 2003”and area (as we did at Estes Park in 2002). class, and much more. Share your return copies to both Bryan Burton All SEM members involved in applied or special expertise with a very excited and (Education Section Chair) and Carolyn public sector work who wish to exhibit eager audience! This outreach project Fulton (Project Local Liaison) at the information or publications are wel- has brought school children into con- addresses provided on the form. Those come to place their wears there. If you tact with culture-bearers, authors of major interested in the project, but uncertain have brochures, audio visual and print teaching texts, and specialists in all of their schedule at the conference, are publications to display, contact (Email) areas of world musics. encouraged to complete the form not- [email protected]. Please send a As a result of past projects, some ing that they are unsure of time and date specific description of what you would participants have developed long-term of participation, then send a follow-up like to display and your contact infor- professional relationships with schools email giving suggested date and time for mation so that we can assure that there and individual teachers in addition to participation at a later date. In any will be enough space for everyone. If establishing curricular partnerships as event, please send information no later you are selling your publications, plan an ongoing consultant for the school. In than September 1, 2003. to spend some time at the table as well. other cases, several host teachers have The Education is looking to a very entered graduate study with the SEM successful conference and a great out- volunteer. Volunteer contributions have reach project. The Education Section Ethnomusicology in had a significant impact on the musical Forum will again host presentations the Schools: Miami lives of both the children and host featuring educational applications of teachers. ethnomusicology. Members interested 2003 The Miami-Dade County Schools in participating in this forum should All members of CMS and SEM are have been asked to provide transporta- submit a 250 abstract of the proposed invited to join the SEM Education Sec- tion to and from the host school. In the presentation and a brief vita to Bryan tion as it takes its annual “Ethnomusicol- event transportation plans go awry, sev- Burton at (Email) [email protected], ogy in the Schools” outreach project eral Education Section members will no later than September 1. The Section’s into the Miami—Dade County Schools have cars in Miami to help in this area to planning and review committee will during the joint conference in Miami: facilitate participation in the Project. select presentations for the forum and volunteer to teach at least one class at a The Section’s local liaison will match notify successful applicants as quickly public school while at the conference! volunteers with a host school and teacher as possible after the deadline.

Center for Popular mercially disseminated from the six- mented natural disasters, battles, politi- teenth through the early twentieth cen- cal events, tragic accidents, and other Music Receives Grant turies. Broadsides normally contained aspects of daily life. Because much of to Digitize Broadsides only lyrics, as simple text was much the song material printed on broadsides easier and cheaper to typeset and print was topical in nature, they provide source The Center for Popular Music at than was musical notation, according to materials not only for the examination Middle Tennessee State University has Paul Wells, the director of the Center for of the creation and consumption of received a grant of $46,636 from the Popular Music. “They were sold to popular song in the United States, but National Endowment for the Humani- people who were not affluent enough for research into a broad spectrum of ties to support the cataloging and digi- to own a piano or who were not musi- American culture. They are of interest tization of the Kenneth S. Goldstein cally literate,” Wells said. “Broadsides to scholars in many disciplines includ- Collection of American Song Broad- offer a window into the musical tastes of ing folklore, musicology, social and sides. The Goldstein Collection, ac- a different class of people than those cultural history, , and quired by the Center in 1994, consists of who were buying sheet music of the sociology. approximately 3,300 broadsides, and is same period.” Most of the items in the The Goldstein collection was put one of the largest such collections in the Goldstein collection date from the nine- together over a period of eight to ten country. Song broadsides (sometimes teenth century. years through some very active, aggres- called “song sheets”) were a common Numerous older traditional ballads sive collecting on the part of the late and inexpensive medium through which were printed in broadside form, as were Kenneth Goldstein, one of the country’s popular songs and ballads were com- contemporary narrative songs that docu- leading folklorists. Goldstein headed 8 SEM Newsletter the program in folklore at the University because that is the only place where the Yogyakarta, Indonesia, from September of Pennsylvania for many years, and style of music that she wants to play is 2003 through March 2004. He recently recognized the importance of broad- being performed or the 1950s doo wop received tenure and promotion to Asso- sides in his own study of American and fan who makes a strict rule with her ciate Professor at the University of Cali- Canadian folksong. husband and children not to be dis- fornia, Riverside. In carrying out the grant-funded turbed during her nightly listening ses- Julie Strand, a doctoral candidate in project, Center staff will scan each item sion with her old 45s and LPs. A ethnomusicology at Wesleyan Univer- in the Goldstein collection, enhance member of the music faculty since 1996, sity, is currently conducting field re- existing bibliographic records to add Berger earned his Ph.D. in folklore/ search in the Bobo-Dioulasso region of the full text of the song lyrics and ethnomusicology from the Indiana Uni- Burkina Faso, West Africa, funded by a provide subject access, convert existing versity in 1995. His book, Metal, Rock, grant from the Fulbright-Hays Doctoral database records into the proper format and Jazz: Perception and the Phenom- Dissertation Research Abroad Program. for entry into the OCLC/WorldCat sys- enology of Musical Experience was pub- She is investigating xylophone tradi- tem, and create a website that will lished in 1999. Berger has also written tions in the region, focusing on the permit access to the collection via the or co-authored numerous articles and Sambla ethnic group and the surrogate Internet. reviews. He is the co-editor of Global language system that is an intrinsic part The project was designed and the Talk, Local Pop, an edited volume ex- of their xylophone performance prac- grant proposal written by Lucinda amining issues of language choice in tice. She has been in Burkina since Cockrell, the Center’s archivist, and Mayo popular music around the world that is October and hopes to remain until Spring Taylor, former Coordinator of Research due out in August 2003. He is active in 2004. She can be contacted at (Email) Collections at the Center. This project the Society for Ethnomusicology and in [email protected]. will serve as the first step in a larger plan 1996 founded the Popular Music Sec- The Music Department of Royal to digitize and present materials from tion within the organization. In 1997 Holloway, University of London is de- the Center’s extensive holdings through Berger founded the Ethnography / lighted to announce the appointment of the Internet, making them more acces- Theory Working Group at Texas A & M. Tina Ramnarine as the department’s sible to scholars and members of the Tim Cooley is beginning his second second lecturer in Ethnomusicology. general public. year as Assistant Professor of ethnomu- She will take up this post in September, For more information, contact Paul sicology at the University of California, from her position at the School of An- Wells or Lucinda Cockrell at the Center Santa Barbara, after serving there for thropological Studies, Queen’s Univer- for Popular Music, Box 41, Middle Ten- several years as a lecturer. Last winter sity Belfast. Her research areas include nessee State University, Murfreesboro, he spent time in Poland completing Scandanavia and the Carribean. TN 37130; (Tel) 615.898.2449. research for a book on Tatra Mountain The Social Science Research Council music-culture (forthcoming, Indiana in partnership with the American Coun- University Press), and for an instruc- cil of Learned Societies is proud to People & Places in tional video for dances from this region. announce the selection of 50 fellows Ethnomusicology Recent publications include “Theoriz- from a pool of 824 applicants in the 2003 ing Fieldwork Impact: Malinowski, Peas- International Dissertation Field Research South, June 23, 2003. College Sta- ant-Love, and Friendship” in the British Fellowship (IDRF) competition. The tion. Harris M. Berger, an associate Journal of Ethnomusicology 12:1(2003), newest IDRF fellows conducting disser- professor of music at Texas A&M Uni- and “Migration, Tourism, and Global- tation research in the discipline of Eth- versity, has been named the first recipi- ization of Polish Tatra Mountain Music- nomusicology are: Jennifer Fraser (Illi- ent of the Crawley Family Foundation Culture” in European Meetings in Eth- nois, Urbana Champaign): “Containing Faculty Development Endowment in nomusicology 9 (2002). Together with Diversity: State Institutions, Musical aes- Music. The $10,000 Fellowship will sociologist Jon Cruz (Culture on the thetics, and the Performance of Ethnicity support Berger’s research project exam- Margins, Princeton 1999), Cooley is in West Sumatra, Indonesia” and Clara ining how people grapple with eco- engaged in an ongoing project actively Henderson (Indiana): “The Spiritual, nomic and social forces in order to make combining sociological and ethnomusi- Sensual, and Corporeal Dimensions of music a part of their lives. James and cological methods and theories to issues Presbyterian Women’s Dance in South- Mary Crawley of Norman, Oklahoma involving music, technology, politics, ern Malawi.” For more information on endowed the fellowship because of their and globalization. the IDRF program and its fellows, please belief in the need for a strong program Jonathan Dueck completed his doc- visit (Website) www.ssrc.org. The re- in the fine arts at Texas A&M. Regarding toral studies with a dissertation on “An ceipt deadline for the 2004 IDRF compe- his research, Berger notes that the eco- Ethnographic Study of the Musical Prac- tition is November 10, 2003. nomic and social forces which impinge tices of Three Edmonton Mennonite Lisa Urkevich (Boston University) on music making range from family Churches” at the University of Alberta, has received a Fulbright grant to under- responsibilities to financial constraints under the supervision of Regula Qureshi. take research in Kuwait during the 2003- to the availability of venues and other He will lecture and work at the Centre 04 academic year. Urkevich, who pre- likeminded musicians. At the heart of for Ethnomusicology at the University viously lived in and did research on the this struggle is the individual, such as of Alberta starting Fall 2003. musical culture of Saudi Arabia, will also the jazz pianist who leaves work early to René T. A. Lysloff has been awarded be lecturing in the Arabian Gulf region. drive two hours to play a distant city a Fulbright grant for field research in SEM Newsletter 9

Announcements ity. Timba is a Cuban popular dance “Performing Images, Embodying music that emerged in the late 1980s. Race”: Exhibition & Gallery Talk th Today it enjoys a broad following on the ICTM 37 World Conference October 15-December 12, 2003, island, largely due to elements that are Rescheduled for January 4-11, Wesleyan University 2004 distinctly local in character. The paper focuses on the activities of timba musi- From October 15 through December The 37th World Conference of the cians now living in Miami and examines 12, 2003, Wesleyan University’s International Council for Traditional the changes that occur in their music as Davison Art Center will present “Per- Music (ICTM) will be held from January they work to connect with new audi- forming Images, Embodying Race: 4-11, 2004, in Fuzhou and Quanzhou, th ences at local and international levels. The Orientalized Body in Early 20 - China. For further information, please Judges for this year’s prize consisted Century U.S. Performance & Visual contact Don Niles, ICTM Program Com- of the 2003 SEMESEC Program Commit- Culture.” The exhibition offers a critical mittee Chair, Institute of Papua New tee: Laurie Sommers, Valdosta State view of how print-media Guinea Studies, Box 1432, Boroko 111, University (chair); Chris Goertzen, Uni- images of real and imagined Chinese, Papua New Guinea; (Fax) 675.325.0531; versity of Southern Mississippi; Larry Japanese, and Asian American (Email) [email protected] or visit Crook, University of Florida; and Steve performance supported racial ideology. (Website) http://www.ethnomusic.ucla. Grauberger, Alabama Center for Tradi- Robert G. Lee (Brown University) and edu/ictm. tional Culture (an additional program Mari Yoshihara (University of Hawai’i) committee member, Joyce Jackson of will give a gallery talk on October 15 at Lara Greene: 2003 Dale Olsen Prize LSU, was unable to participate in the 7pm. For more information on this Recipient prize judging process). Papers are judged event, please contact Rob Lancefield at By Laurie Sommers, 2003 SEMSEC by both written and oral presentation the Davison Art Center, Wesleyan Uni- Program Committee Chair, SEMSEC according to the following criteria: (for versity, 301 High Street, Middletown, CT06459; (Tel) 860.685.2500; (Email) Secretary/Treasurer written presentation) clarity of problem statement, knowledge of previous re- [email protected]; (Website) It is my pleasure to announce Lara search, organization, coherence of ar- www.wesleyan.edu/dac. Greene of Florida State University as the gument, originality of research, and con- winner of the 2003 Dale Olsen Prize for tribution to the field of ethnomusicol- New Directions in the Study of the best student paper presented at the ogy; (for oral presentation) effective use Musical Improvisation SEMSEC chapter meeting, held from of time; oral communication skills; orga- February 28-March 1 in Tarpon Springs. nization, and effective use of handouts April 1-4, 2004, University of Illinois The award carries a $100 honorarium. and AV if applicable. Thanks to all those at Urbana-Champaign Greene’s paper, “Pa’ que sepa la yuma who submitted papers and congratula- A conference, “New Directions in entera: Cuban Popular Dance Music and tions to Lara Greene! the Study of Musical Improvisation,” the Process of Globalization,” considers will be held from April 1-4, 2004, on the the case of timba as it undergoes the campus of the University of Illinois at transition from local to global popular- Urbana-Champaign. Sponsored by the Division of Musicology (with an orga- 10 SEM Newsletter nizing committee consisting of William include abstracts of approximately 500 tional affiliation and mailing address, Kinderman, Bruno Nettl, and Gabriel words and bibliography for 20-min pa- telephone and fax numbers, and e-mail Solis), it will consist of invitational lec- per presentations (8-10 pages), theme- address. The abstract/proposal must tures and papers as well as perfor- based panel presentations, workshops, indicate whether the presentation is an mances and workshops, and participa- or lecture-demonstrations/perfor- individual paper or a complete panel tion from scholars in related disciplines. mances. Expanded papers may be presentation and if a/v equipment is Its purpose is to examine recent re- submitted for consideration for publica- needed. Complete panel proposals must search and practice, focusing on three tion in the anthology, Movement include abstracts for each individual themes—improvisation and creative (R)evolution Dialogues: Contemporary presenter. processes, political and social processes, Performance In and Of Africa, and/or All program participants must pay and educational processes—within web-based publication. Send submis- full conference registration and 2004 which the interrelationships of histori- sion to: Joan D. Frosch, Assistant Chair, NAES membership dues. Send abstracts/ cal, global, and contemporary reperto- Dept. of Theatre and Dance, Co-Direc- proposals to Prof. Ashton W. Welch, ries and the methods of studying them tor, Center for World Arts, College of Department of History, Creighton Uni- may be explored. The conference and Fine Arts, University of Florida, PO Box versity, Omaha, NE 68178-0001; (Tel) all of its sessions will be open to all; no 115900, Gainesville, FL 32611-5900 402.280.2884; (Fax) 402.280.1454; registration (except for signing in) will U.S.A; (Tel) 352.392.2038 ext. 207; (Fax) (Email) [email protected]. For be required. For further information, 352.392.5114; (Email) [email protected]. more information about the conference contact Bruno Nettl at (Email) b- edu; (Website) www.arts.ufl.edu/cwa. and NAES, visit (Website) http:// [email protected], from whom a prelimi- www.ethnicstudies.org. nary program and some local informa- 2004 National Association for tion will be available by late summer. Ethnic Studies Conference—”The Conference on Interdisciplinary Activist Impulse in Ethnic Studies: Musicology (CIM) Safeguarding Rights in Eras of April 15-18, 2004, Graz, Austria Insecurity” Call for Papers CIM04, the first Conference on Inter- April 1-3, 2004, Philadelphia, Penn- disciplinary Musicology, will be held in Movement (R)evolution Dialogues: sylvania Graz, Austria from April 15-18, 2004. It Contemporary Performance In The National Association for Ethnic will be a forum for constructive interac- and Of Africa Studies (NAES) invites abstracts/propos- tion between and among subdisciplines als for papers, panels, workshops, or of musicology such as acoustics, com- February 11-14, 2004, University of media productions from people in all puting, cultural studies, education, eth- Florida, Gainesville disciplines and interdisciplinary areas nomusicology, history, psychology, and Movement Revolution Dialogues of the arts, business, social sciences, theory/analysis. We will especially pro- seeks to construct a firm and inclusive humanities, science and education. mote collaborations between the sci- foundation for the development of schol- The 32nd annual national conference ences and humanities, and interdiscipli- arly and critical attention to contempo- will create a lively forum for the discus- nary combinations that are new, un- rary performance, particularly dance, in sion of issues related to activism con- usual, creative, or otherwise especially and of Africa. Framed by the live cerning race and ethnicity, including, promising. All abstract submissions will performance of the 2001 laureates of but not limited to the following: Anni- be anonymously peer-reviewed by in- Sanga: The Fourth African and Indian versaries: Brown vs. the Board of Edu- ternational experts. The deadline for Ocean Choreographic Competition, and cation (50 years); Civil Rights Act (40 abstract submission is October 31, 2003. exchanges among artists from across the years); Center for Puerto Rican Studies The conference is hosted by the continent (including dancers and cho- (30 years); peace movements world- European Society for the Cognitive Sci- reographers from Senegal, Burkina Faso, wide; student activism; preserving sup- ences of Music [(Website) http:// South Africa, Madagascar, Cote d’Ivoire, port for the arts and humanities; geno- musicweb.hmt-hannover.de/escom] and the United States, and more), the confer- cides; Native American, African Ameri- the Department of Musicology, Univer- ence and planned publication seek to can and Jewish reparations; protest films; sity of Graz [(Website) http://www- undergird the power of Africa’s Move- transgressive music; labor and ethnicity; gewi.uni-graz.at/muwi]. The various ment (R)evolution on its own terms. As environmental racism; indigenous rights; subdisciplines of musicology are repre- conference and festival, Movement protest laws; biochemical warfare and sented by the conference’s participating (R)evolution Dialogues: Contemporary race; grass roots activism in ethnic com- societies. Performance In and Of Africa is de- munities; Black-Jewish alliances for ac- Graz is an ideal location for a confer- signed to serve as a catalyst for deepen- tion; ethnic feminist movements; reli- ence on interdisciplinary musicology. ing the artistic and scholarly exchange gious activism; theory and activism; the Its three universities include depart- on contemporary performance and to protection and growth of Ethnic Studies ments of musicology (covering histori- provide a forum for the voices of the programs. cal and systematic musicology); compo- artists of Africa to lead the way. Please 250-word abstracts/proposals should sition, music theory, music history and postmark or email submissions by No- be submitted by October 15, 2003, which conducting; music education; ethnomu- vember 3, 2003. Submissions will be relate to any aspect of the conference sicology; aesthetics; early music and accepted in English or French and should theme, with the participant’s institu- performance practice; jazz research; elec- SEM Newsletter 11 tronic music and acoustics; and commu- Michigan shoreline and downtown Chi- Alexander von Humboldt to the United nication technology. cago, with its vibrant cultural life and States in 1804 at the invitation of Presi- CIM04 is not only about the many many musical opportunities. dent Thomas Jefferson, the Graduate subdisciplines of, and approaches to, The focus of ICMPC8 is interdiscipli- Center of the City University of New the study of music—it is also about nary discussion and dissemination of York will host an interdisciplinary con- direct interaction between scholars with new, unpublished research relating to ference devoted to Humboldt and his contrasting backgrounds who come to- the field of music perception and cogni- legacy on October 14-16, 2004. The gether to solve common problems tion. The conference will have relevance principal focus will be Humboldt’s ac- emerging from that study. It is about the for university and industry researchers tivity in, relationship to, and impact on collaborative collection of convergent and graduate students working in psy- the Americas, but all proposals will be evidence. It is about climbing walls and chology, music theory and composi- considered. Areas of interest include crossing bridges. Welcome to CIM04! tion, psychophysics, music performance Humboldt’s scientific work and publica- For more information, contact Richard and education, music therapy and mu- tions, political ideas and advocacy of Parncutt, conference director at (Email) sic medicine, neurophysiology, ethno- human rights, paintings, travel writing, [email protected] or visit (Website) musicology, developmental psychology, friendships, as well as his fame, image http://gewi.uni-graz.at/~cim04. linguistics, artificial intelligence, and and influence in various parts of the computer technology. Americas. 8th International Conference on Submissions are invited for: (1) spo- Proposals for papers should consist Music Perception and Cognition ken papers, (2) poster presentations, (3) of: (a) a concise (300 words or less) demonstration papers, and (4) sympo- abstract with title, and (b) a cover letter August 3-7, 2004, Northwestern sia. The deadline for submissions to indicating the author’s professional University, Evanston ICMPC8 is December 1, 2003. Spoken affiliation(s) and contact information. We are pleased to announce that the papers, posters, conference proceed- Proposals may be sent to the Program 8th International Conference on Music ings, and publications will be in English. Committee, Humboldt Conference by Perception and Cognition (ICMPC8) will Details of submission format, proce- (Email) [email protected], by mail be held at Northwestern University in dure, and deadlines can be found on the c/o the Bildner Center, The Graduate Evanston, Illinois, USA, August 3-7, 2004. conference webpage at (Website) Center/CUNY, 365 Fifth Avenue, Suite The biennial ICMPC is the world confer- www.northwestern.edu/icmpc/. 5209, New York, NY 10016-4309, or ence on music psychology and related Northwestern University is located (Fax) 212.817.1540. Deadline for re- disciplines. on the west coast of Lake Michigan. The ceipt of proposals is February 1, 2004. The 2003 ICMPC conference follows beautiful township of Evanston is the Decisions will be made by April 1, 2004. meetings of the music perception and first suburb north of the Chicago city For more information, visit (Website) cognition research community in Kyoto, limits, just 12 miles north of downtown. www.humboldtconference.org. Japan (1989), Los Angeles, USA (1992), The Chicago area is served by two major Liege, Belgium (1994), Montreal, Canada airports (O’Hare and Midway), making (1996), Seoul, South Korea (1998), Keele, travel to and from the conference con- SEM Silent Auction III U.K. (2000), and Sydney, Australia (2002). venient and easy. The conference venue Are you out of shelf space? Too ICMPC8 will be sponsored by the Soci- and local lodging sites are conveniently many copies of the same books and ety for Music Perception and Cognition located, with public transportation in CDs? When did you last use those (SMPC). Other participating societies and out of Chicago and surrounding books nicely stacked up in that include: the European Society for the areas readily available using the “El” corner? Cognitive Sciences of Music (ESCOM), (elevated train system). The 3rd SEM Silent Auction is the Asia-Pacific Society for the Cogni- Visit the ICMPC8 website or contact coming soon, so save those books, tive Sciences of Music (APSCOM), Aus- the conference chair, Scott D. Lipscomb journals, CDs, cassettes and bring tralian Music & Psychology Society at (Email) [email protected]. them with you to Miami! You are (AMPS), the Japanese Society for Music We look forward to welcoming you to strongly recommended to bring the Perception and Cognition (JSMPC), the Evanston in August 2004! items with you. If, however, you Korean Society for Music Perception have too many items, please con- and Cognition (KSMPC), and the Argen- Humboldt 2004 Bicentennial: An tact Lara Greene at (Email) tine Society for the Cognitive Sciences Interdisciplinary Conference— [email protected] for ship- of Music (SACCOM). ICMPC8 will be ”Alexander von Humboldt: From ping information. Please do not hosted by the Northwestern University the Americas to the Cosmos.” ship boxes before September 15, School of Music, with faculty affiliated Celebrating the 200th anniversary of 2003. with NU’s Music Cognition, Music Edu- Alexander von Humboldt’s epochal jour- All proceeds from the auction cation, and Music Technology programs ney of exploration of Central and South help to defray costs of student par- serving as members of the conference America, and his visit to the United ticipation at the next annual meet- organizing committee. The venue for States ing. You’ll contribute to a good ICMPC8 is the School of Music at North- cause as you clear up your room, so western University [(Website) music. October 14-16, 2004, The Graduate why wait? Start setting aside your northwestern.edu]. In view from the Center, City University of New York items for donation now! conference site are the beautiful Lake In commemoration of a visit from 12 SEM Newsletter Cultural Crossroads The 48th Annual Meeting of the Society for Ethnomusicology (with CMS & ATMI) Hotel Inter-Continental, Miami, Florida October 1-5, 2003 Program of SEM Panels and Events

WEDNESDAY, OCT 1 Meeting of the SEM Board of Directors, Films 10:00 am-5:00 pm. Presidential suite DEERING Pre-Conference Workshop The following videos, DVDs and films will be screened in the Deering Room “Are We Really In The Mix? Integrating in rotation from Thursday to Sunday (showing times to be announced in the Jazz & Improvisation into Music Degree registration packet). Programs.” Sponsored by The Interna- tional Association for Jazz Education • Radical Harmonies and The College Music Society. Times • Children’s Singing Games from Zimbabwe and location of the workshop to be announced. • Flamenco and the Sacred: Pilgrimage and Pagentry in Andalusian and Gypsy Bus tour of Miami, 2:30-5:00pm Catholicism For musicians, musicologists, and music • Guatemala Holy Week Processions: Constructing Identity Through Perfor- enthusiasts conducted by Dr. Paul mance George. The tour will cover Down- town, Miami Beach, Little Havana, Co- • Processionals, Parades and Marching in the African Diaspora conut Grove, Coral Gables, Overtown, • The Feast of the Saints Cosma and Damiano in Riace: Musical performance and Little Haiti, and the bus will depart and a Changing Rite within an Intercultural Tradition of Southern Italy from and return to the hotel. • of Kenya: Bridging the Gap between the City and the Village. Haitian Dinner and Musical Performance, 6:00pm-12:00am • Guria, Gossip, and Globalization: Crisscrossing Discourses on Presenting At the Taptap-Haitian Creole Restaurant Socially Marginal North Indian Musicians to the Mainstream and Jakmel Art Gallery, Culture Center, and Caribbean Backyard. Bus service • Papá Liborio: El Santo Vivo de Maguana (in Spanish) will depart from and return to the hotel.

Creed Jam, an Alternative or the Same Channeling ‘Popular’ Sentiment Through THURSDAY, OCT 2 Thing? A Timbral Investigation Music? A Korean Case Study Kara Attrep, UC Santa Barbara Hillary Finchum-Sung, UC Berkeley Session 1, 8:30am-10:30am FLAGLER DUPONT BAYFRONT A Emerging Genres and the Formation of Musical Nostalgia for Past Regimes Grain of the Voice: Vocal Timbre and Popular Music Chair: J. Martin Daughtry, UCLA Cultural Aesthetics Chair: Bradley Shope, Indiana U. A Nostalgia of Laughter: Musically Re- Chair: Cornelia Fales, UC Santa Barbara Emerging Genres, Constructing Identi- claiming the Soviet Past Timbral Mimesis and Popular Culture: A ties: The Anglo-Indian Role in the J. Martin Daughtry, UCLA Case Study of Kurt Cobain’s Voice in the Celebration of Popular Music in the Other Early 20th Century Music, Memory and Nostalgia: Inter- preting Meaning in Chinese Revolution- Matthew Dorman, UC Santa Barbara Bradley Shope, Indiana U. ary Songs Vocal Timbre in Islamic Calls to Prayer A Popular Genre in the Beginning: Dansi Lei Ouyang Bryant, U. of Pittsburgh Across Cultures in Dar es Salaam’s Interwar Years It’s Three A.M. - Do You Know Where Eve McPherson, UC Santa Barbara Alex Perullo, Indiana U. Your Partner Is? Dancing The Quadrille Features of Americanness in Post-9/11 Now It Has A Name: Americana and the In North Sulawesi Commercial Popular Music Creation of Genre Jennifer Munger, U. of Wisconsin-Madi- Katherine Meizel, UC Santa Barbara John Fenn, Indiana U. son Thursday, October 2 SEM Newsletter 13

“Oh How I Miss That Old Gang of Mine”: Multiculturalism and World Musics: DUPONT Memory and Homoeroticism in Barber- Current Perspectives to Consider in For- Music and Social Movements shop Performance? mulating New Peadagogical Directions Chair: Angela Impey, U. of Natal Richard Mook, U. of Pennsylvania Milagros Agostini Quesada, Kent State U.-Tuscarawas Continuation and Expansion of Protest TUTTLE Music Traditions in the United States as Responsible Ethnomusicology: Syria’s Observed through Anti-War Demon- Forum: Applied Ethnomusicology: Eth- Case for Advocacy, Agency, and Dia- strations of Fall 2002-Winter 2003 nomusicologists at Work Part III logue Megan Lancier, UCLA Chair: JillAnn Johnson, U. of Washington Nancy Currey, UC Santa Barbara Presenters: Alice Egyed; Peter Daven- Azibuye Emasisweni: Linking Music port, Microsoftt; Robert Walser, UCLA; Teaching with a Socially Responsible Documentation to Environmental Ac- JillAnn Johnson, U. of Washington Curriculum: The Consequences of Pub- tion in Northern KwaZulu, Natal lic School Politics Angela Impey, U. of Natal GUSMAN Maria Pondish Kreiter, Pennsylvania State, Conshohoken Politics as Devotion: Rashtriya Kirtan Genre Revivals: Old Music in New Bottles and Indian Nationalism before 1947 Chair: Matthew Allen, Wheaton College Transforming Music Programs to Care Anna Schultz, U. of Illinois Disappearing Childhood: A Case Study Isabel Barbara O’Hagin, U. of Michigan of Hongkong Children’s Songs (Yi Goh) TUTTLE Ming Toy-Yee Authenticity and the Politics of Repre- sentation: ‘Textualization’ and Recon- The Representation and Re-interpreta- Session 2, 10:45am-12:15pm textualization tion of Thumri Chair: Margaret Sarkissian, Smith College Lalita du Perron, SOAS, U. of London BAYFRONT A New Canon Formation and Iconic Rep- Music Editions Based on Oral Tradi- Ettuniram of the Syrian Orthodox ertories tions: Issues of Authenticity and Repre- Church: Music in Transition Chair: Joseph Schloss, Tufts U. sentation Joseph Palackal, CUNY Constructing Memory, Inviting owner- Brita Renee Heimark, U. of Calgary The Concept of Rytmisk Musik: African ship and the Belarusan Beat: Concepts Music for the Royal Fireworks: First American Music, Discursive Practices, and Compilations in Post-X Popular Nations Performance at the Visit of Eliza- and Danish Identity music beth II to Winnipeg Leslie Gay Jr., U. of Tennessee Maria Paula Survilla, Wartburg College Byron Dueck, U. of Chicago CRANDON The Boom From the Canon: Construct- Tuk Music and Modern Barbadian Iden- ing History on the Hip-Hop Dance- tity Liupai: The Ebb and Flow of Traditions Floor in China, Japan, and Korea Sharon Meredith, U. of Warwick Joseph Schloss, Tufts U. Chair: Philip Flavin, UC Berkeley GUSMAN Constructing Liupai (Schools) of Chi- “What So Proudly We Hail’d”: Perform- National Issues in Ethnomusicology. The nese Solo Instrumental Music ing Meaning in The Star-Spangled Ban- ner Slovenian Case Yu Siu-Wah, Chinese U. of Hong Kong Mark Clague, U. of Michigan Chair: Svanibor Pettan, U. of Ljubljana Ryûha: The Construction of Tradition in Arranging the Nation in Slovenian Musi- Japanese Music FLAGLER cal Practices Philip Flavin, UC Berkeley Technological Mediations and Musical Mari Arko, UC Berkeley Experience Finding the “Flow”: The Ryu Canon and Slovenian Ethnomusicology between Chair: Eliot Bates, UC Berkeley New Ryu Folk Music Research and Anthropology Susie Lim, UC Berkeley Bi-musicality and Middle Eastern of Music Musemes in Electronica Music Svanibor Pettan, U. of Ljubljana Discussant: Fred Lau, U. of Hawai’i at Eliot Bates, UC Berkeley Manoa National Ideology and Music Education: “I Like Scratchy Records” vs. “It’s Not Experiences from Slovenia BAYFRONT B Preservation Quality”: Issues of Sound Albinca Pesek, U. of Maribor Articulating a Clear Moral Vision and Recording Technology in Ethnomusico- Socially Responsible Pedagogy for Mul- logical Fieldwork ticultural Music Education Dan Sharp, U. of Texas, Austin Chair: Maria Pondish Kreiter, Drum Machines and the Shaping of Pennsylvania State, Conshohoken 1980s Musical Experience Thomas Brett, NYU 14 SEM Newsletter Thursday, October 2

CRANDON Session 3, 1:45pm-3:45pm TUTTLE Música Latina, Miami Crossroads Writing It Down: Transcriptions in the Chair: Paul Austerllitz, Brown U. BAYFRONT A Representation of Musical Experience Chair: Sandra Graham, UC Davis Festejo, Cajón, and Hybridity: The Mu- Music, Religion, and Identity in Africa sic of Afro-Peru in Cuban Miami Chair: Ruth Stone, Indiana U. What’s the Score? Interpreting Theodore Seward’s Transcriptions of the Fisk Jubi- Mario Rey, East Carolina U. The Ge is in the Church: Music, Identity, lee Spirituals Balada at the Crossroads: Latin-Ameri- and Resistance Among the Dan of Cote Sandra Graham, UC Davis can in Miami d’Ivoire Daniel Party, U. of Pennsylvania Daniel Reed, Indiana U. Phenomenology and Transcription Jonathan Glasser, U. of Michigan, Ann Pa’ que Sepa la Yuma Entera (So that the My Children Must Know About HIV/ Arbor Whole World Knows): Cuban Popular Aids!: Music, Memory, and Identity in Dance Music and the Process of Global- Uganda Khyal as Property: Power Considerations ization Gregory Barz, Vanderbilt U. in the Transcription of North Indian Classical Songs Lara Green, Florida State U. Music and the Construction of Identity Among the Abayudaya of Uganda Nicolas Magriel, SOAS, U. of London GODFREY Jeffrey Summit, Tufts U. Preservation, Renewal, Appropriation: Workshop: Uzbek Women’s Music for Authenticity in the Japanese Minyo Tran- Dutar and Voice Discussant: Philip Bohlman, U. of Chi- scriptions of Fujii Kiyomi (1899-1944) Razia Sultanova, U. of London cago Richard C. Miller, U. of Wisconsin FLAGLER BAYFRONT B GUSMAN Popular Music in the Middle East Linking Research, Teaching, and Perfor- Performing the Nation, Performing Au- Chair: Martin Stokes, U. of Chicago mance thenticity: Africanness, Tourism, and Chair: Sylvia Parker, U. of Vermont Cultural Icon or Cultural Strip-Mining? Folkloric Spectacle in the Caribbean Performers as Researchers: Exploring Issues of Intention and Reception in the Chair: Julian Gerstin, Sonoma State and Partnership Music of Natacha San Jose State U. Keith Howard, SOAS, U. of London Atlas Brian Karl, Columbia U. “Deep Knowledge” and “Tourist Rhythms”: The Politics of Representing Sounding Apart Together: Ruth Crawford America So Beautiful: The Politics of Afro-Cuban Drumming in Post-Revolu- Seeger and Charles Seeger; in Irangeles tionary Cuba Music Education and Ethnomusicology Ann Lucas, UCLA Katherine Hagedorn, Pomona College Roberta Lamb, Queen’s U. Exotic To Whom? Orientalizing the Artists, Scholars, and the Politics of The Scottish Experiment: Incorporating Orient Representation in Haitian Diaspora Per- Traditional Music into Higher Education Laith Ulaby, UCLA formance Anne Dhu McLucas, U. of Oregon Discussant: Martin Stokes, U. of Chicago Lois Wilcken, La Troupe Makandal/ City Lore Lunch Block, 12:30pm-1:30pm DUPONT Endemic Species of Caribbean Island CRANDON Performing Memory Dance Chair: Carol Babiracki, U. of Syracuse Meeting of the Program Committees for Susanna Sloat, Independent Scholar SEM 2003 and 2004 Performing Identity: Music, Memory, and Community in the Oral Epics (kade) Ethnographic Transcription and Music GODFREY of the Badagas, South India Ideology: The Politics of Cultural Rep- resentation in Haitian Art Music Claire Martin, UCLA Meeting of the Local Arrangements Com- Michael Largey, Michigan State U. mittees for SEM 2003 and 2004 Memorializing Uzbek Music in Afghani- stan CRANDON MARTI Razia Sultanova, U. of London Towards an Ethnomusicology of the Meeting of the SEM Archiving Commit- Soundtrack tee Phonographic Anthologies: Mix Tapes, Memory, and Nostalgia Chair: Kenneth Prouty, Indiana State U. RAPHAEL & MICHELANGELO Serge Lacasse, Université Laval, and Andy Jazz for breakfast, Ie-ie-ie for lunch and Bennett SEM Section on the Status of Women Funk for Dinner: Antropophagia in the Business Meeting Dashed Dreams Framed in Music: Modern Brazilian Cinematic Soundtrack Doomed Romance Sadly Recalled in the Andrew Kaye Shanghai Opera The Luohan Coin Jonathan Stock, U. of Sheffield Thursday, October 2 SEM Newsletter 15

Bound in Bollywood: Musical Coding, Protestant Vibrations? Reggae, Rasta- GUSMAN Sonic Authenticity and Representation farianism and Conscious Evangelicals Authenticity in Folkloric Representa- in Hindi Film Song Timothy Ronmen, U. of Pennsylvania tions Natalie Sarazin, UVA Chair: Kevin Delgado, San Diego State FLAGLER Can You Tell Me How to Get to Sesame U. Street? Music, Desire, and Attraction Folkloric Music as Simulacrum: Techni- Andrea Emberly, U. of Washington Chair: Jeremy Wallach, Bowling Green cal Proficiency, Authenticity, and State U. Hyperreality in the Performance of Afro- From “Keeping Your Head Above Wa- Cuban Iyesa Music ter” to “Movin’ on Up”: Representing Relieving Stress, Resisting Desire: African American Urban Culture through Gendered Exchange at Jakartan Dangdut Kevin Delgado, San Diego State U. Performances Theme Songs for “Good Times” and The Kalevala on Screen: Music and “The Jeffersons” Jeremy Wallach, Bowling Green State U. National-romantic Framing of an Early Kenneth Prouty, Indiana State U. Imaging the Gender of Jazz: All-Girl Finnish Folkloric Film Bands on Film, 1928-1946 Erkki Pekkila GODFREY Kristen McGee, U. of Chicago Globalization Imagined, the Nation Rep- Workshop: Learning Cuban Batá: Trans- Musical “Cuteness” as Women’s Narcis- resented: A Study of the Ensemble of mitting Rhythms and Meaning Within an sism and Men’s Fetishism Folk Instruments in Post-Soviet Oral Tradition Junko Nishimura, U. of Chicago Kazakhstan Kenneth Schweitzer Noriko Toda, Harvard U. DUPONT BAYFRONT B CRANDON The State and Institutional Culture in Powerful Nostalgia: Recontextualizing Latin America Mode, Musicianship, and Composition the Past Chair: Robin Moore, Temple U. Chair: Scott Marcus, UC Santa Barbara Chair: Tim Cooley, UC Santa Barbara !Ya no retrocedo!: Seeking Alternatives How to Spin a Good Horo: Melody, Arousing Nostalgia—Moving Interviews to Afro-Peruvian Institutional Represen- Mode and Musicianship in the Compo- Tomie Hahn, Rensselaer Polytechnic tations sition of Bulgarian Dance Tunes It’s Not Easy Being Green: Re? Learning Monica Rojas, U. of Washington Donna A. Buchanan, U. of Illinois, Ur- bana-Champaign Irish Music in Japan La bomba de hoy: Authenticity and Sean Williams, Evergreen College Subversion in Puerto Rican Folk Music Patriarchino Chant: A Repertory on the Playing with the Past: Thelonious Monk Carlos Alamo-Pastrana, UC Santa Bar- Borderline of Written and Oral Tradi- and The Contemporary Jazz Scene bara tion Paola Barzan Gabriel Solis Progressive Politics and Inadvertent “Can You Make it Look Old?” Fender Cultural Crisis in Early 1960s Havana The Grand and Majestic: Ujo in P’ansori “Relic” Guitars and the Politics of Nos- Robin Moore, Temple U. Performance talgia Ju-Yong Ha Jon Cruz TUTTLE GODFREY The Ethnomusicology of Musical Insti- tutions Workshop: The Argentine Tango and Session 4, 4:00pm-5:30pm Chair: Uli Sailer, New York U. the Pedagogy of Music Theory and Culture Creativity and the Work Concept: An BAYFRONT A Ethnographic Reassessment from the Kristen Wendland, Emory U. Music in Religious Experience Part I: Rehearsal Room BAYFRONT B Cultural Cross Roads—Communities of Laura Lohman, American Research Cen- Faith ter in Egypt Out of the Box and into the Field: Music Chair: Philip Bohlman, U. of Chicago Teacher Education on the Move Wealth Anxiety and Class Identity: A Chair: Kathy Robinson, Eastman School “Fighting Fire with Fire:” Pentecostal Study of Philanthropy and Western Art of Music Transcendence, Musico-Spiritual War- Music Institutions in New York City fare and Transnationalism in Haitian Uli Sailer, New York U. Local Excursions to a Living Culture “Heavenly Army” Churches Patricia Campbell, U. of Washington Melvin Butler, New York U. Wesleyan Theses and Dissertations on South Indian Karnatak Tala: References Musical Journeys in Ghana, West Africa The Power of Enchantment: Holy Week and Cross-references within a Unique Carol Richardson, U. of Michigan in Southeast Brazil Body of Scholarship Passage to Kimberley: Finding the Real Suzel Ana Reily, Queen’s U., Belfast Anna Falkenau, Wesleyan U. Diamonds Kathy Robinson, Eastman School of Music 16 SEM Newsletter Thursday, October 2 / Friday, October 3

Afternoon Block, 5:45-6:45pm The Layering of Text in Dagbamba Jack à l’Opéra: “Jazz” in Interwar France Music Andrew Fry, UC San Diego BAYFRONT A Steven Cornelius, Bowling Green State Jazz in Brazil: Authenticity and Univer- U. Society for Asian Music, Members’ Re- sality in the Music of Hermeto Pascoal ception and Meeting Singing Baamaya: The Role of the Andrew Connell, James Madison U. Praise Singer in Traditional Dagbamba FLAGLER Music After Django: French Jazz Historiogra- phy and the American Jazz Narrative African Music Caucus Meeting Habib Iddrisu, Bowling Green State U. Donald James, U. of Chicago GUSMAN Musical Relations Between Dance and Percussion Ensemble Music in Dag- GUSMAN Meeting of the Special Interest Group bamba Performance Arts for Dance Musical Hybridity, Authenticity and “Pol- David Locke, Tufts U. lution” GODFREY Encountering Different Perceptions of Chair: Andrew Weintraub, U. of Student Reception, Sponsored by the Historical Significance in Field Research Pittsburgh Student Concerns Committee Among Dagbamba Drummers Questions about Hybridity and Authen- John Chernoff ticity in the Promotion of a National MARTI Cultural Heritage in Modern Mongolia SEM Development Committee Meeting FLAGLER Peter Mark, Indiana U. Forum: Teaching Applied Ethnomusi- RAPHAEL & MICHELANGELO The Troublesome Tämbur Technique of cology Nur Mämät Tursun: Playing it Like the Applied Ethnomusicology Section Chair: John Fenn, Indiana U. Gypsy Kings, Playing it Like the Chinese Presenters: Portia Maultsby, Indiana Rachel Harris, SOAS, U. of London Evening Block, 7:00pm-8:00pm University; Jeff Todd Titon, Brown Uni- versity; Becky Miller, Brown University; Cultural Crossroads in Korean Catholi- BAYFRONT B Judith Cohen, Hampshire College cism: Youndo, the Chant for the Dead Popular Music Section Keynote Address Youngmin Yu, UCLA Discussant: Gage Averill, New York U. Popular Music, Heritage, 2nd Urban Re- Exploring The Role of New Composi- generation DUPONT tion in Validating The ‘Authenticity’ of British Gamelan Performance Sara Cohen, U. of Liverpool Musical Crossroads: Songs in a Strange Land Maria Mendonca, Independent scholar RAPHAEL & MICHELANGELO, 7:00- Chair: Tina Ramnarine, Royal Holloway, 11:00pm U. of London CRANDON Meeting of the Association for Chinese Long Way From Home: South Africa, Riding the ‘Korean-Wave’: Pop Music Music Research Jazz, and Exile in New York in the 1960s for a New Korea, Pop Music for a New Asia Brett Pyper, New York U. MARTI Chair: Keith Howard, SOAS, U. of London SEM Audio-Visual Publications Com- The African American Music Experience Korean Hip-Hop for a “New Genera- mittee Business Meeting in Underground Britain: A Brief History tion”: Seo Taiji’s Classroom Ideology of Northern Soul Eun-Young Jung, U. of Pittsburgh Kimasi L. Brown, Asuza Pacific U. FRIDAY, OCT 3 Bounded Variation? Music Television Home in the Diaspora? Imperial Lega- and its Aesthetics in South Korea cies and the Politics of Musical Creativ- R. Anderson Sutton, U. of Wisconsin- Breakfast Block, 7:30am-8:30am ity Madison MARTI Tina Ramnarine, Royal Holloway, U. of London K-Wave Fansites in China Ethnomusicology Editorial Board Meet- Rowan Pease, SOAS, U. of London ing Country and Creole: The Integration and Creolization of US Country & West- Global Movement of K-Pop Among Lo- ern into St.Lucian Society cal and Overseas Taiwanese Session 5, 8:30am-10:30am Jerry Weaver, U. of Iowa Sang Yeon Sung, Indiana U.

BAYFRONT A TUTTLE GODFREY Music and Meaning in Dagbon International Jazz: Cultural Disjunctures Stylistic Portraits in Improvisation, Spon- Chair: Steven Cornelius, Bowling Green and the Search for Authenticity taneous Composition, and Variation State U. Chair: Donald James, U. of Chicago Chair: Stephen Blum, CUNY Graduate British Jazz? Imitation, Innovation, and Center the Search for Authenticity Hillary Moore, U. of Pennsylvania Friday, October 3 SEM Newsletter 17

Performance Styles of a Bukharian Singer The South-Grappelli Recordings of the “In Search of a Lost Chord”: Putting Evan Rapport, CUNY Graduate Center Bach Double Violin Concerto Nostalgia and Memory to Work in Re- Ben Given, Yale U. discovering Joe Sgro and the South Hariprasad Chaurasia and Nityanand Philly “Gharana” of Jazz Guitar Haldipur: Stylistic Differences within a At the Nexus of Gospel, Blue and Bop: Stephen Slawek, U. of Texas, Austin Gharana The Forging of a Memphis Jazz Sound Carl Clements, CUNY Graduate Center Ray Looking for an Echo: Doo-wop and the A. Briggs, California State U. Oldies Circuit ¡Lo tuyo no rima na’!: Current Trends in John Runowiscz, New York U. Salsa Vocal Improvisation Billie Holiday’s Café Society Repertoire Benjamin Lapidus, John Jay College of Jonathon Bakan, York U. CRANDON Criminal Justice, CUNY DUPONT Korean Ppongjjak: Authenticity and the Discussant: Stephen Blum, CUNY Gradu- Politics of Representation ate Center International Cultural Marketing and the Chair: Okon Hwang, Eastern Connecticut Politics of Representation State U. BAYFRONT B Chair: Mick Moloney, NYU From Nightingale to Crow: The Change A Memory for Semblance Touring and Being Toured: An Applied of Vocal Timbre of the Contemporary Chair: Ron Emoff, Ohio State University Approach to (Re)presenting African In- Popular Song Singers in South Korea dians A Folkloric Re-envisioning of the Span- Byong Won Lee, U. of Hawai’i at Manoa Amy Caitlin-Jairazbhoy, UCLA ish Era in the Philippines Lee Seng Kang’s The Song of Hope: Christi-Anne Castro, Pomona College “Did You Hear? They Are From India!” Music and Identity Politics in Contem- The Problem With The Gypsy Origin in porary South Korea “Negritude” on Marie-Glante: The Sub- World Music surreal and Looking Back on an Out-of- Nathan Hesselink, Illinois State U. Mina Girgis, UC Santa Barbara the-Way Place Ppongjjak and the Culture of Korean Ron Emoff, Ohio State U. Noise at the Source of the Signal: Pro- Folk Music and Dance Transmission ductive Miscommunications in the US- Centers “Pygmy Song” and BaAka Lives: The Japan Circulation of Experimental Music Impact of a Globally Imagined Iconicity Donna Lee Kwon, UC Berkeley David Novak, Columbia U. Michelle Kisliuk, U. of Virginia GODFREY Pilgrimage and Nostalgia: Taiko at TUTTLE Gender, Musical Authority, and Authen- Manzanar Belief, Ideology, and Aesthetics ticity Deborah Wong, UC Riverside Chair: Elizabeth Tolbert, Peabody Chair:Su Zheng, Wesleyan U. Conservatory Women and Powwow Music: Tradition The Aesthetics of Spectacle in Hindi and Innovation Session 6, 10:45am-12:15pm Film Anna Hoefnagles, Augustana U. College Jamie Jones, U. of Chicago BAYFRONT A Courtney, Kurt, and the Authorship of Dynamic Symmetry and Holistic Asym- Music in Religious Experience Part II: Live Through This: Representations of metry in Navajo Yeibichai Songs Theoretical Cross Roads—Believing Gender in the Construction of Rock Bodies Joshua Veltman, Ohio State U Music Authenticity Chair: Carol Mueller, U. of Pennsylvania Wayang Sasak, the Shadowplay of Elizabeth Keenan, Columbia U. Towards a Theory of Trance Conscious- Lombok, Indonesia: Music, Perfor- Victory Dance: Relevance, Roles, and ness mance, and Negotiations with Religion Memory in the Ceremonies of the Kiowa Judith Becker, U. of Michigan, Ann Ar- and Modernity Black Leggings Military Society bor David Harnish, Bowling Green U. Addie deHilster, U. of Oklahoma Where Divine Horsemen Ride: The GUSMAN Rhythm of the Crossroads BAYFRONT B Reunions and “Oldies” Circuits Steven M. Friedson, U. of North Texas Forum: Bridging Modes of Thought in Chair: Stephen Slawek, U. of Texas, Ethnomusicology and Music Theory Music, Possession and the Racialized Austin Chair: Allyn Reilly, Ohio U. Body in America All I Want for Christmas Is My Tiger Presenters: Frank Gunderson, Florida Richard C. Jankowsky, U. of Chicago ‘Combo’ Cordion”: Competition and State U.; Sumarsam, Wesleyan U.; Accommodation with Rock and Roll at Michael Tenzer, U. of British Columbia; FLAGLER the End of the Accordion’s Golden Age Mark Lochstampfor, Capitol U.; Fred Jazz at the Boundaries in America Maus, U. of Virginia; and Allyn Reilly, Chair: Jonathon Bakan, York U. Marion Jacobson, New York U Ohio U. 18 SEM Newsletter Friday, October 3 / Saturday, October 4

Lunch Block, 12:30pm-1:30pm Revisiting the in The Quest for Freedom in Asian Ameri- Fremont, California can Jazz-based Music GUSMAN Lorraine Sakata, UCLA Susan Asai, Northeastern U. Iranian Music Research Group Business Discussant: Mark Slobin, Wesleyan U. Playing Out: Jazz/Creative Music and Meeting the Afro-Asian Connection FLAGLER Loren Kajikawa, UCLA CRANDON Historical Ethnomusicology Association for Korean Music Research After sa-i-ku: Korean Angelenos and Chair: Katherine Butler Brown, SOAS, Business Meeting Black Music since the Rodney King U. of London Uprising BAYFRONT B Fact, Fiction, and Faction: Writing Cul- Mina Yang, San Francisco Conserva- tory of Music SEM Crossroads Project meeting (Com- ture into Music History mittee on Diversity, Difference, and Katherine Butler Brown, SOAS, U. of All the way from the Slums of Shaolin: Underrepresentation) London East Asiaphilia in African American Hip- Social Division Re-presented in Cer- Hop MARTI emonial Music of Huizhou: A Historical Ellie Hisama, CUNY SSRC Opportunities for Research Sup- approach in Ethnomusicology port, Social Science Research Council Qi Kun, Chinese U. of Hong Kong GUSMAN Freedom in Jazz and Rap RAPHAEL & MICHELANGELO If ‘The Past is a Foreign Country,’ How Do We Get There? Ethnomusicological Chair: Niko Higgins, Columbia U. Music and Fair Use Forum Approaches to Past Music Practices? Freedom, Jump Arts, and Practice Friday Afternoon: Free Time Gillian Rodger Theory: What is Free about Free Jazz? Niko Higgins, Columbia U. The Use of Life History Materials (Biog- Friday Evening Block raphy and Autobiography) in an Ethno- Rhyme and Reason: The Art of Freestyle BAYFRONT B, 7:00pm-8:00pm graphic Musical Context Rap Christian Amigo, UCLA Cheryl L. Keyes, UCLA Popular Music Section Business Meet- Berlin Free Improvisation Initiative: ing DUPONT Between Noise and (N)ostalgia Embodied Self/Embodied Other: Scott Currie, New York U. SATURDAY, OCT 4 Ethnicity, Class, and Dance in the Ameri- cas We Hear Ya Talkin’: Audience-artist Breakfast Block, 7:30am-8:30am Chair: Joanna Bosse, Bowdoin College Dynamics in Jazz Performance I Want to Get Ethnic: White Salsa Thomas H. Grunland, UC, Santa Bar- GUSMAN Dancers and the Pursuit of Ethnicity, bara Sexuality and Liberation Sexualities and Les/Bi/Gay/Trans Con- CRANDON cerns Committee Business Meeting Joanna Bosse, Bowdoin College Authenticity in the Andes Welldone, Ladies! You too, Lavaliers! MARTI Chair: Robert Carroll, U. of Washington Politics of Quadrille Performance in 19th SEM Publications Advisory Committee Century Martinique Cultural Embarrassment and Transna- tional Theft: Andean Folkloric Music Meeting Dominique O. Cyrille, Lehman College – and Bolivian National Sentiment CUNY RAPHAEL & MICHELANGELO Fernando Rios, U. of Illinois, Urbana- Social Dance and the Birth of Swing Education Section Business Meeting Champaign Howard Spring, U. of Guelph “Sowing Culture” On Disc: Music, Me- Bailando Salsa in the Living Room, How dia and the Place of Contemporary Session 7, 8:30am-10:30am We Learned to Dance and to Live Ayacucho BAYFRONT A Marisol Berrios-Miranda, UC Berkeley Joshua Tucker, U. of Michigan Andean Music and Tourism in San Di- Return to Afghanistan: Reports on a TUTTLE Musical Reawakening ego: A Tale of Two Tinkus Chair: Mark Slobin, Wesleyan U. Encounters Beyond the Pale: At the Ellen Weller, UCSD Intersection of African- and Asian-Ameri- Afghan Women’s Domestic Music Be- can Musical Cultures Re-claiming Colombia: The Politics and fore and During the Taliban Period Chair: Mina Yang, San Francisco Poetics of an Andean Music Festival Veronica Doubleday, Goldsmith College Conservatory of Music Melissa Morales, UCLA Music in Kabul after the Taliban John Baily, London U. Saturday, October 4 SEM Newsletter 19

GODFREY The Performance of Revisionism in CRANDON Forum: Affirmative Actions: Strategies Northern Thailand: New Agendas and Revisiting the Ethnomusicological Past: for Inclusiveness, Mentoring, Recruit- Reconstituted Hilltribe Tourism Mapping, Collecting, and Dance Schol- ment and Retention Stephen Pixley, Wesleyan U. arship Chair: Kyra Gaunt, New York U. It’s All Happening at the Zoo: Inventing Chair: TBA Presenters: Lester Monts, U. of Michigan; and Contesting Sundanese “Tradition” Mapping Musics: the Problem of Geog- Charles Keil, Stacy Blake-Beard, in West Java, Indonesia raphy in Early Ethnomusicology Simmons School of Management; Sylvia Henry Spiller, Kenyon College Sarah Quick, Indiana U. Hurtado, U. of Michigan DUPONT ‘[And] dance for God’s sake...:’ Dance RAPHAEL & MICHELANGELO Scholarship Within the First Thirty Years Gendered Performance and Power of the Society for Ethnomusicology Education Section: Open Forum Chair: Jennifer M. Matsue, Union Col- Clara Henderson, Indiana U. lege Joint Session: Chopin Ballroom, The Science and Ecstasy of Encounter: 8:30am-10:45am Bodies, Voice, Religion, and Nation: Corsican Lament and French Folklorists Weaving the Musical Tapestry of Miami I Rethinking Women, Music, and Islam (1830-1900) Panelists (1 hour): Carolyn J. Fulton, Anne Rasmussen, The College of Will- Ruth Rosenberg, U. of Pennsylvania Florida International U. and D. F. Gordon iam and Mary Rohlehr, U. of West Indies Intersections of Gender and Technol- GODFREY Performance of ‘Aires Tropicales’ by ogy in Lucumí Ritual Drumming President’s Roundtable Paquito D’Rivera Amy Valladares, New York U. Chair: Ellen Koskoff, Eastman School of Featuring performers from the U. of Cen- Music (President, SEM) Iwali: The Child-Queen Dance in Ogoja tral Florida: Keith Koons, Nora Lee Southeastern Nigeria García, Sherwood Hawkins, Julie Fox, BAYFRONT B, 10:15am-12:15pm Maria Agatha Ozah, U. of Pittsburgh and Gene Berger Listening to Theories of Music Lecture-recital: Music by Cuban Com- TUTTLE Chair: René T.A. Lysloff, UC Riverside posers: Works by Orlando Garcia and Popular Religion and Musical Authen- Teaching Music Theory Through Music Aurelio de la Vega ticity Practice Kathleen L. Wilson, Levine School of Chair: Ted Solis, Arizona State U. Bonnie Wade, UC Berkeley Music, and Max Lifchitz, U. at Albany The Shakuhachi as Spiritual Tool: A Africanizing Music Theory Japanese Buddhist Instrument in America Martin Scherzinger, Eastman School of Session 8, 10:45am-12:15pm Jay Keister, U. of Colorado Music Kathak Yoga: Combining Dance, Musi- Using and Delimiting Music Theory BAYFRONT A cianship and Meditation Through an Fred E. Maus, U. of Virginia Indian Art in the West Competition, Musical Virtuosity, and the Worlding Music Theory Body Sarah Morelli, Harvard U. René T.A. Lysloff, UC Riverside Chair: Louise Meintjes, Duke U. Contagious Vices: Nan-Kuan and a Chi- Dueling Bandas: Honor through Music nese Popular Religious Imagination Lunch Block, 12:30pm-1:30pm at Despiques in Portugal D.J. Hatfield, William & Mary Katherine Brucher, U. of Michigan, Ann GUSMAN Arbor GUSMAN SEM Student Concerns Committee Busi- Ngoma Song and Dance and the Disin- Teaching at the Intersection of Ethno- ness Meeting tegrating Body musicology and Film CRANDON Louise Meintjes, Duke U. Chair: Sue Tuohy, Indiana U. Sounding and Imaging: Voices and Society for Arab Music Research Busi- “Dis”course and “Disc”course in the ness Meeting Hip-Hop DJ Battle Counter Voices in African Film Mark Katz, Peabody Conservatory Ruth Stone, Indiana U. RAPHAEL & MICHELANGELO, 12:15pm- The Empowering Voice of Music in 1:45pm FLAGLER African American Cinema SEM Council Meeting Cultural Tourism and Exhibition Culture Gloria Gibson, Indiana U. Chair: Stephen Pixley, Wesleyan U. Contextualizing and Analyzing Chinese Ethnomusicology and Cultural Tourism: Film and Music Cause and Effect? Sue Tuohy, Indiana U. Heidi Feldman, San Diego State U. 20 SEM Newsletter Saturday, October 4

Masquerading Machismo: La India and GODFREY Session 9, 1:45pm-3:45pm the Staging of Chusmeria on the Salsa Forum: Collaboration Between Pro- Scene BAYFRONT A ducer/Recordist and Record Label: Chris Washburn, Columbia U. TheDiffusion of Musical Knowledge via Representing Blackness: From Mahalia Recording Sales Discussant: TBA to Motown Chair: Atesh Sonneborn, Smithsonian Chair: Eileen Hayes, U. of North Texas TUTTLE Institution Voices of Women in Gospel: Resisting Presenters: Daniel Sheehy, Smithsonian Representations Issues in Electronic Dance Music Institution; Anthony Seeger, UCLA; Ri- Melonee Burnham, Indiana U. Chair: Kai Fikentscher, Ramapo College chard Burgess, Smithsonian Institution Feeling The Music: Movement, Embodi- Reformulating Tradition and Redefining ment, and House Music at Bang The BAYFRONT B Meaning: The Rhythm and Blues Aes- Party thetic in the “Rock ‘n’ Roll” Era The Musical Invocation of Nostalgia and Farzi Hemmasi, Columbia U. Portia Maultsby, Indiana U. Memory Diva Delight: Theorizing House Music Chair: T.M. Scruggs, U. of Iowa Making Music at Motown: Production and House Divas The Limits of Generational Memory: Processes & Issues of Representation Carmen Mitchell, Brooklyn College The Case of the Epstein Brothers Charles Sykes, Indiana U. The Chocolate City Legacy: Race & Class Joel Rubin, City U., London Regionality, Class, Political Economy in Detroit Techno Invoking a Tragic Past: Old Taiwanese and the Transformation of the Memphis Songs in the Service of Contemporary Sound Beverly May, NYU Election Politics Robert Bowman, York U. Network Effects: The Internet and the Chinese Rave Scene Nancy Guy, UC San Diego FLAGLER John von Seggern “Easily Slip Into Another World”: Dream- Contested Terrains of Representation States and Nostalgia in New York City’s and Place in Local Popular Musics GUSMAN Balkan-Influenced Jazz/Improvisational Chair: Mercedes Dujunco, NYU Forum: Pathways from the Ph.D.: On Music Tamar Barzel, U. of Michigan Black Music in a Multicultural Colombia the Job Market in Academia Michael Birenbaum Quintero, NYU Chair: David Pruett, Florida State U. Not Such a Buena Vista: Nostalgia, Presenters: Kay Kaufman Shelemay, Myopia and the B.V. Social Club Phe- Chaoyu Gequ: An Unpopular Chinese Harvard U.; Benjamin Koen, Florida nomenon Outside and Inside Cuba Popular Music State U.; Michael Bakan, Florida State T.M. Scruggs, U. of Iowa Mercedes Dujunco, NYU U.; Sarah Weiss, Florida State U.; Ellen Koskoff, Eastman Conservatory National Belonging, Mento Musicians, BAYFRONT A&B, 4:00pm-5:30pm and Reggae Music CRANDON SEM Business Meeting Daniel Neely, NYU Orientalism and ‘Asian-ness’ in the West BAYFRONT A&B, 5:45pm-6:45pm Uprocking at the Dollar Jam: Spinning Chair: J. Lawrence Witzleben, Chinese Trancers and Deep Listeners an Alternative Record of Hip-Hop in U. of Hong Kong Brooklyn Charles Seeger Lecture by Judith Becker, In the Time of Alaturka: Tracing Alterity Kyra Gaunt, NYU U. of Michigan, Ann Arbor in Turkish Musical Discourse DUPONT John Morgan O’Connell, Brown U., U. of GRAND BALLROOM, 7:00pm-10:00pm Limerick Theorizing Oppression, Hegemony and Cuban banquet, dessert reception, and Cultural Identity in Women’s Perfor- Representing the Authentic: Tak Shindo’s salsa dance featuring Charanga Tîpica mance “Exotic Sound” and Japanese American Tropical. Chair: Ingrid Monson, Harvard U. History W. Anthony Shepherd, Williams College Evening Block, 7:00pm-8:00pm “Coerced to Praise”: Women’s Dancing and Dictatorial Politics in Malawi (1964- Transnational Histories in South Asian MARTI 1994) Performance SSRC Opportunities for Research Sup- Lisa Gilman, York U. Nilanjana Bhattacharya, Cornell U. port, Social Science Research Council Rarely Heard Voices: Music, Gender Escape from Eden: “Liu Qi-Chao and the and Violence in Intercultural Theatre Power of Names” RAPHAEL & MICHELANGELO Klisala Harrison, York U. Alexander Khalil, U. of California SEM Chapter Coordinators’ Meeting Sunday, October 5 SEM Newsletter 21

SUNDAY, OCT 5 DUPONT Below the Radar: Gate-Keeping and the Revisiting the Ethnomusicological Past: Maintenance of Authenticity in the Old- Breakfast Block, 7:30am-8:30am Scholars and Composers Time Revival Community Amy Wooley, College of William and Meeting of the SEM Board of Directors Chair: Ruth Davis, U. of Cambridge Mary 8:00 am-12:00 noon. Presidential Suite Colin McPhee’s Tabuh-tabuhan as Mod- ernist Interpretation of Balinese Gamelan CRANDON RAPHAEL & MICHELANGELO, 7:00am- Ethan Lechner, UNC, Chapel Hill 9:00am Musical Crossroads: Cosmopolitan Iden- SEM Council Meeting Re-Presenting George Herzog’s study of tities Piman Indian Music Chair: TBA J. Richard Haefer, School of Music, ASU “That’s My Life Up There:” Identity, Session 10, 8:30am-10:30am Salvaging Culture: Ethnographic Model- Genre and the “Real” in a Cambodian- ling and Marius Barbeau’s 1927 Nass American Hip Hop Group BAYFRONT A River Field Trip Alan Williams, Brown U. Rom Identity and Representation: Mu- Gordon E. Smith, Queen’s U. sical Practice in Changing Social, Politi- Senegalese Salsa: The Representation of cal and Market Contexts Exploring the Ethnographic Past: Rob- Cosmopolitan Identities Chair: Sonia Seeman, UC Santa Barbara ert Lachmann’s Musical Documentation Timothy Mangin, St. Lawrence U./Co- of Palestine lumbia U. Dialectics of Representation: Musical Ruth Davis, U. of Cambridge Practice at the Nexus of Power and Hip-hop in Jamaica: Representing the Aesthetic Expression Local through International Sound TUTTLE Sonia Seeman, UC Santa Barbara Wayne Marshall, UW-Madison Globalization & Cultural Exchange: Arab Music and the Politics of Representa- Music in the Modern Age Don’t Call it World Music. I Don’t Know tion: Bulgarian/Turkish/Romani Saxo- Chair: Kathleen Hood, Independent Scholar What to Call it but it’s the Music of My phonist Yuri Yunakov World Quality of Arab Music in the Era of Mass Carol Silverman, U. of Oregon Jeffrey Callen, UCLA Productions for Competing Satellite On Being Roma in Ukraine: Musical Broadcasts GODFREY Identity in a Transcarpathian Gypsy Sami Asmar, UCLA Community Poster Session in Applied Ethnomusicology From Beneath this Cedar of Lebanon: Adriana Helbig, Columbia U. A Virtual Museum: The Graciela Gutierrez The Music of Fairuz in America World Instrument Collection Kenneth Habib, UC Santa Barbara Discussants: Jane Sugarman, SUNY at Martha Fabrique Stony Brook; and Michael Beckerman, Globalizations of Suti Music: World Poster Group: Issues in the Develop- NYU System, World Music System & Social ment of Multicultural Education Network Theory FLAGLER Organizer: J. Ric Alviso, California State Michael Frishkopf, U. of Alberta Race and Musical Authenticity U., Northridge Radio Sawa: Winning Arab Hearts and Chair: Eric Usner, New York U. Practice, Practice, Practice: World Music Minds? The Search for Authenticity in Nazi Education and How an Ethnomusicolo- Kathleen Hood, Independent Scholar Germany: The Jewish Culture League gist Got to Carnegie Hall and the “Dangers” of Cultural Appro- Joan Zaretti, Carnegie Hall GUSMAN priation Pekalai Kancet! (“Learn to Dance!”): An Lily Hirsch, Duke U. The Politics of Gate-Keeping: Authen- ticity and (Sub)Cultural Identities in ‘Anti- Instructional Dance Video Project in Music and Race in Early 20th Century Popular’ Musics Sarawak, Malaysia Vienna: Viennese Jews and the Cre- Chair: Kai Fikentscher, Ramapo College Gini Gorlinski, Northwestern U. ation of Modern Viennese Identity Extreme Noise Terror: ‘Aesthetics of Música Para Los Niños: Song and Games Eric Usner, New York U. Badness’ as a Punk Gate-Keeping Strat- for Children Authenticity, Representation, and egy Barbara O’Hagin, Central Michigan U. Blackface Minstrel Shows in an Angela Rodel, UCLA The Florida Music Train: Teaching Mu- Adirondack Foothills Hamlet “House Music”: The Most Popular Mu- sic of the Cultural Crossroads Susan Hurley-Glowa, Franklin & sic in America? Laurie Sommers, Valdosta State U. Marshall Kai Fikentscher, Ramapo College The Musical Quilt: Connecting Cultural Strategic Minstrelsy: Les Têtes Brulées Resources of the School Community to and the Claim for Black Modernism Productive Misreading of Aesthetics: Creative Music and Communities in Los the Music Classroom Dennis Rathnaw, U. of Texas, Austin Angeles Maria Kreiter, Pennsylvania State U.- Charles Sharp, UCLA Conshohocken 22 SEM Newsletter Sunday, October 5

Joint Session: Chopin Ballroom, “Tziganes sans frontières”: The “Festival Music and Power: The Struggle Be- 8:30am-10:55am de Musique Tsigane” and the Marketing tween Religious Tendencies in Weaving the Musical Tapestry of Miami of Gypsy Memory in France Ameneh Youssefzadeh, CNRS, The II: Mana-Zucca Preeta Samarsan, Eastman School of French Society of Ethnomusicology Music Panelists (1 hour): Carolyn J. Fulton, Performing Against Silence: Celebrat- Florida International U.; and W. D. ing Women and Music in Iran DUPONT Hardin, and Robert B. Dundas, Florida Wendy DeBano, UC Santa Barbara International U. X Conversations about One Thing: The Subversion and Counter-subversion: Lecture-recital: “Muse Over Miami”: Role of Analysis in Popular Music Stud- Power, Control, and Meaning in the Songs and Piano Works of the Legend- ies New Iranian Pop Music ary Mana-Zucca Chair: Derek Pardue, University of Laudan Nooshin, Brunel U. Nanette Kaplan Solomon, Slippery Rock Illinois, Urbana-Champaign U. and Colleen Neubert, Slippery Rock U. Discussant: Mark Butler US Government’s Use of Popular Music in its Media Campaign in Iran: An Lecture-recital: Selected Works by Mana- Tracking Beats and Representing Charts: Ethnomusiclogical Exploration Zucca: Composer/Cultural Icon of Mi- An Analysis of Brazilian Rap Niloofar Mina, New Jersey City U. ami Society Derek Pardue, U. of Illinois, Urbana- Robert Dundas, Florida International Champaign CRANDON U. and Max Lifchitz. SUNY Albany Love in the Country: Production, Recep- American Potluck tion, and the Structure of Brazilian Música Chair: Cathy Ragland, CUNY sertaneja Performance A Voice to Explode the Heads of Aliens: Session 11, 10:45am-12:45pm Alex Dent, U. of Chicago Slim Whitman, Webb Pierce, and Other BAYFRONT A “An English Kind of Equivalent’: Inno- Lost Aesthetics of in 1952 Gypsy, Sinti, Roma: Performing Other, vation and Tradition in Sixties British Tracey Laird, Agnes Scott College Songwriting Performing Self Drum and Bugle Corps: Lacunae in Gordon Thompson, Skidmore College Chair: Lynn Hooker, U. of Richmond American Musical History Django’s Children: Gypsy Crossings in I Flow Like a River When I Deliver”: Aaron Keebaugh, U. of Florida European Jazz Defining and Mapping Rap’s Verbal A Middle Ages for America: Song/ David Malvini, Independent Scholar Styles Politics/Praxis in the Rural South Felicia Miyakawa, Indiana U. Authentic/Exotic/Erotic: Gypsiness and Kiri Miller, Harvard U. Gender in the Hungarian Folkdance TUTTLE Revival Sitting In: Authenticity, Status, and the Maintenance of Social Boundaries Lynn Hooker, U. of Richmond Authenticity, Authority and Authorship in Samba, Son and Desi Music through Performance Practice in the “Gitana Soy”: The Articulation of Gypsy Chair: Jonathan Ritter, UCLA Country Music Community Identity in Spanish Flamenco The Authoring of Brazil in the Ascen- Amy Corin, Morepark College Loren Chuse, Independent Scholar dancy of Samba BAYFRONT B Discussant: Michael Beckerman, NYU Jesse Wheeler, UCLA Intersections of Music Theory and Eth- Desi Sounds and Festival Grounds: Au- FLAGLER nomusicology thenticity, Identity, and Musical Syncre- Chair: Brenda Romero, U. of Colorado Musical Memories of Loss and Trauma tism at a South Asian-American Festival at Boulder Chair: Daniel Avorgbedor, Ohio State U. Kevin Miller The Social Model Theory of Disability in Slavery’s Past in the Musical Present: Soundtracking Cuba: The Political the Case of Composer Richard Wagner Ritual and Memory in the Moroccan Economy of Cinematic Representation Alex Lubet, U. of Minnesota Gnawa Lila Sathya Burchman, Wesleyan U. Tim Abdellah Fuson, UC-Berkeley Four Essential Topic Areas in World Discussant: Jonathan Ritter, UCLA Music Theory Memories of Empire, Mythologies of the Jonathon Grasse,UCLA Soul: Fado Performance and the Shap- GUSMAN ing of Saudade Panpipes as an Instrument of Learning: Lila Ellen Grey, Duke U. Music in Contemporary Iran: Official Broadening the Cultural Praxis of ‘Music Policies and Strategies of Resistance Fundamentals’ Revenge, Regret and Redemption in the Chair: William Beeman, Brown U. Paul Humphreys, UCLA Corridos of Terminal Island Prison In- mates Discussant: Brenda Romero, U. of Colo- J. Ricardo Alviso, Cal State U., Northridge rado at Boulder SEM Newsletter 23

Conferences Calendar lege of the Holy Cross, Worces- tralia. For more information, ter, Massachusetts. For more pleae visit (Website) www.arts. 2003 information, contact Lynn monash.edu.au/music/SIMS Oct 8-12 Kremer, Conference Co-Chair; 2004/. American Folklore Society An- 12 Allen Hill Road, Princeton, nual Meeting. Hyatt Regency, MA 01541. Oct 13-17 Albuquerque, NM. For more American Folklore Society An- information, see (Website) nual Meeting. Little America http://afsnet. org/annualmeet/ 2004 Hotel, Salt Lake City, UT. For Jan 4-11 more information, see (Website) Oct 17-19 37th World Conference of the http://afsnet.org/annualmeet/. Midwest Popular Culture Asso- International Council for Tradi- ciation/Midwest American Cul- tional Music (ICTM). Fuzhou & Nov 19-22 ture Association Annual Meet- Quanzhou, China. For more Middle East Studies Association ing. Marriott Minneapolis City information, see (Website) Annual Meeting. Hyatt Re- Center, 30 S. 7th St., Minneapo- http://www.ethnomusic.ucla. gency, San Francisco, CA. For lis, MN 55402; (Tel) 612.349. edu/ICTM. more information, see (Website) 4000; (Fax) 612.332.7165; http://fp.arizona.edu/mesa (Website) www.marriotthotels. Feb 11-14 ssoc/. com/mspcc. For more infor- Movement (R)evolution Dia- mation, see (Website) http:// logues: Contemporary Perfor- Nov 11-14 www.niu.edu/mpca. mance In and Of Africa. Con- American Musicological Soci- ference on Contemporary Afri- ety Annual Meeting. Sheraton Nov 5-9 can Dance. University of Florida, Hotel, Seattle, Washington Society for Music Theory 26th Gainesville. For more informa- (jointly with the Society for Annual Meeting. Madison, WI. tion, see (Website) http:// Music Theory). For more infor- For more information, see www.arts.ufl.edu/cwa or con- mation, see (Website) http:// (Website) http://www.society tact Joan D. Frosch, Assistant www.ams-net.org/annual.html. musictheory.org. Chair, Dept. of Theatre and Dance, Co-Director, Center for Nov 17-21 American Anthropological As- Nov 6-9 World Arts, College of Fine Arts, rd Middle East Studies Association University of Florida, PO Box sociation 103 Annual Meeting. Annual Meeting. Hilton An- 115900, Gainesville, FL 32611- San Francisco Hilton Towers, chorage & Egan Convention 5900 U.S.A.; (Tel) 352.392.2038 San Francisco, CA. For more Center, Anchorage, AK. For ext. 207: (Fax) 352.392.5114; information, see (Website) more information, see (Website) (Email) [email protected]. http://www.aaanet.org/mtgs/ http://fp.arizona.edu/mesa mtgs.htm. ssoc/. Mar 5–7 Association for Asian Studies Nov 13-16 Annual Meeting. Town & Coun- 2005 American Musicological Soci- try Resort, San Diego, CA. For Oct 19-23 ety Annual Meeting. Hyatt Re- more information, see (Website) American Folklore Society An- gency Hotel, Houston, Texas. http://www.aasianst.org/ann nual Meeting. Renaissance For more information, see mtg.htm. Hotel. Atlanta, GA. For more (Website) http://www.ams- information, see (Website) net.org/annual.html. Mar 10-14 http://afsnet.org/. Society for American Music 30th Nov 19-23 Annual Conference. Cleveland, Nov 19-22 American Anthropological As- Ohio. For more information, Middle East Studies Association sociation 102nd Annual Meet- see (Website) http://www. Annual Meeting. Marriott ing. Chicago Hilton Towers, american-music.org. Wardman Park Hotel, Wash- Chicago, IL. For more informa- ington, DC. For more informa- tion, see (Website) http:// Jul 11-16 tion, see (Website) http:// www.aaanet.org/mtgs/mtgs. Symposium of the International fp.arizona.edu/mesassoc/. htm Musicological Society, Mel- bourne, co-hosted by the Inter- Nov 21-23 national Council for Traditional Continuities and Change: A Music, International Society for Celebration of Balinese Music, the Study of Popular Music, and Theatre, and Dance. The Col- Musicological Society of Aus- 24 SEM Newsletter

Miami Beach (Photo by Alan Burdette)

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

Volume 37, Number 4 September 2003