BULLETIN of the INTERNATIONAL COUNCIL for TRADITIONAL

No. 127, January 2015 ISSN (Online): 2304-4039

CONTENTS

From the Secretariat Reports of an Identity; İzmir Zeybek Oyunlari; Pax Sonoris VII/2013; Serbian Traditional Sing- Message from the Secretary General. ICTM Reports from ICTM National and Regional ing Accompanied by the Gusle: The Gus- Seeks Audio Reviews Editor for the Year- Representatives: Australia and New lars’ Practice as a Communication Process; book for Traditional Music. Zealand; Austria; China; Czech Republic; Silloin tanssittiin tangoa: Tanssikansan Pages 2-4 Georgia; Ghana; Iran; ; Laos; kertomaa 1900-luvulta; Sound World of New Guinea; Switzerland; ; Tan- Music of the Turkic Peoples: Theory, His- In Memoriam zania; . tory, Practice; Vocal Tradition of Jasenica Pages 8-21 Fayzulla M. Karomatli (1925-2014). Robert Region in View of Ethnogenetic Processes. Günther (1929–2015). Reports from ICTM Study Groups: Ap- Pages 35-36 Page 5 plied ; Iconography of the Performing Arts; Mediterranean Music General Information 43rd ICTM World Conference in Studies; Multipart Music; Music and Dance ICTM World Network; Study Groups; Ex- Astana, in Southeastern Europe; Music and Gender; ecutive Board, Secretariat, Membership Music of the Turkic-speaking World. Notice from the Programme Committee. Information; Publications by ICTM. Pages 22-31 Notice from the Local Pages 37-44 Committee. Other reports: Grove Music Online. Page 6 Pages 32-33

Announcements Calendar of Events Call for Papers: 1st Symposium of the Page 34 ICTM Study Group on African . Call for Papers: Symposium of the ICTM Featured Publications by ICTM Study Group on Ethnochoreology’s Sub- Members Study Group of Movement Analysis. No- Music and Minorities from Around the tice: 21st Meeting of the ICTM Study World: Research, Documentation and In- Group on Historical Sources of Traditional terdisciplinary Study; Around Musics — Music. Écouter le monde; Engendering Perform- Page 7 ance: Indian Women Performers in Search

Bulletin of the ICTM Vol. 127 — January 2015 — Page 1 FROM THE SECRETARIAT

Message from the Secretary As reported in the October 2014 Bulle- World Network tin, Co-Chair of the Programme Com- General The Council currently has official rep- mittee Razia Sultanova and I accepted resentation in 100 countries and re- by Svanibor Pettan the kind invitation by the ICTM Liai- gions, a new record reached during son Officer for Kazakhstan, Saule The end of a calendar 2014. As many as 13 new countries en- Utegalieva, to take part in an interna- year gives me a pleasant riched our World Network of National tional symposium in Almaty, the old opportunity to look and Regional representatives in the capital of Kazakhstan. We would like back into the past past year (Algeria, Cameroon, Cape to encourage all delegates going to As- twelve months and comment on some Verde, Chile, Costa Rica, Cuba, tana in July to also visit Almaty, either of the most important developments for Ghana, Kyrgyzstan, Mozambique, before or after the World Conference. ICTM. In general, 2014 was a very suc- Puerto Rico, Tajikistan, Turkmenistan, The two cities, however, are quite dis- cessful year in the nearly seven decades and Yemen), and several reports from tant from each other (Kazakhstan is of the Council’s life. The total number these countries have already been pro- the 9th largest country in the world), of members and subscribers on the last duced for the Bulletin. A special wel- but fortunately flight connections are day of 2014 was 1,330, surpassing the come is warmly extended to Kisito Es- frequent. figures of 2013, the year of the largest sele (Cameroon), Nasser Al-Taee recorded World Conference. On our latest visit to Astana in De- (Oman), and Olga A. Pashina (), cember 2014 we were able to work on the newest Liaison Officers to join our Preparations for the 2015 the conference programme, to interact World Network. World Conference with professors, staff members, and A few changes in the leadership of The 43rd ICTM World Conference (As- students, to discuss open issues with tana, Kazakhstan, 16-22 July 2015) will ICTM National and Regional Commit- officials in charge, to select conference tees also occurred during 2014, the break new ground in many respects. It rooms at the University, to visit ac- most recent being Marc-Antoine Camp will be the first World Conference in commodation facilities, and to finalize , in a country with a ma- replacing Raymond Ammann as Chair various strategies for the full success of of the National Committee for Switzer- jority of Muslim population, in a terri- the Conference. Expressions of grati- tory of the former , and in land, and Mikko Vanhasalo replacing tude go the Co-Chairs of the Local Ar- Jarkko Niemi as Chair of the National a city less than twenty years old. rangements Committee, Aiman Mus- Committee for Finland. The Executive Board of ICTM held its sakhajayeva and Saida Yelemanova, annual meeting at the conference and their team, in which a special co- Study Groups venue, the Kazakh National University ordinating role has been given to The years between biennial ICTM of Arts, in July 2014. The meeting was Fatima Nurlybayeva. Please find more World Conferences are usually marked accompanied by the international semi- important information about the Con- by intense Study Group activities. The nar “Performance in Oral and Written ference on page 6 of this Bulletin. past year was no exception, with 16 Cultures”. While in Astana, the Execu- Study Groups (out of 18) holding tive Board had the chance to discuss scholarly meetings in different parts of many issues with the Local Arrange- the world (read more on pages 38-48 of ments Committee. After receiving a the October 2014 Bulletin, and on record number of proposals, the Pro- pages 22-31 of this Bulletin). The two gramme Committee has accepted more Study Groups that didn’t hold sympo- than five hundred papers, panels, film sia in 2014 will do so in 2015 (see Cal- sessions, workshops, and roundtables. endar of Events on page 34), so we are Together with our respected hosts, we very glad to see our Study Groups very much look forward to a large and showing such clear signs of good health. memorable ICTM World Conference in Meeting of the World Conference LAC. In addition, during 2014 two Study- 2015! Astana, December 2014. From left to right: Saida Yelemanova, Fatima Nurlybayeva, Groups-in-the-Making held symposia in Svanibor Pettan, Galia Akparova, Razia Astrakhan, Russia and Valladolid, Sultanova. . Congratulations go to Elena

Bulletin of the ICTM Vol. 127 — January 2015 — Page 2 FROM THE SECRETARIAT

Shishkina and Enrique Cámara de Landa, their respective hosts, for or- ganizing them. Cenk Güray and his team in Ankara, Turkey, also deserve special public gratitude for hosting a Joint Symposium of two Study Groups.

A few changes in the leadership of Study Groups also occurred during 2014, the most recent being Alexander Djumaev replacing Jürgen Elsner as Chair of the Maqām Study Group, and Razia Sultanova replacing Dorit Klebe and Razia Sultanova as Chair of the Study Group on Music of the Turkic- speaking World. Once again, our grati- tude go to all previous and current Study Group Chairs. Closing session of the Joint Symposium of the ICTM Study Groups on Maqām and Finally, the Secretariat organized and on Music in the Arab World, Ankara, December 2014. From left to right: Jürgen carried out, in December 2014, the Elsner (Chair of Maqām Study Group, Virginia Danielson (session Chair), Düsen electronic elections for one of our Study Kaseinov (Secretary General of Türksoy), Scheherazade Hassan (Chair of Music in Groups, and gladly offers to assist the Arab World Study Group), and Cenk Güray (Chair of Local Arrangements other Study Groups in the same way. Committee of the Joint Study Group Symposium. Photo by Svanibor Pettan.

Publications views with distinguished scholars whose title of the event, envisioned and work marked the Council will be fea- hosted by Estelle Amy de la Bretèque, During November 2014, the latest issue of the Yearbook for Traditional Music tured in forthcoming Bulletins. is “Between Speech and : Liminal Utterances”. (Vol. 46/2014) was published and dis- A systematic effort has been made to tributed to members and subscribers in document all ICTM-related publica- The first Joint SEM/ICTM Forum (13- good standing. This was the first vol- tions, including the Yearbook and its 16 September 2015, Limerick, Ireland) ume with Kati Szego as General predecessors, the Bulletin, and proceed- is unique in its idea to bring together Editor. The Guest Editor of the 2014 ings from Study Group Symposia and the world's two principal associations of Yearbook was J. Lawrence Witzleben, Colloquia. To date, the complete run of ethnomusicologists around a topic of Programme Chair of the Shanghai the Bulletin of the IFMC/ICTM is shared interest. The topic itself, World Conference (2013), and as it is available online, as well as tables of “Transforming Ethnomusicological customary, most articles in the volume contents for more than 30 Yearbooks, Praxis through Activism and Commu- originated from papers presented at all Colloquium-related publications, nity Engagement”, and the consider- that conference. and many Study Group proceedings. able number of proposals being re- ceived both testify to the shared im- Following the sustained expansion of Preparations for 23rd ICTM portance given by engaged scholarship the Council, an additional volume of Colloquium and the Bulletin of the ICTM was pub- Joint SEM/ICTM Forum worldwide. The Joint Forum is co- lished in January 2014, bringing the chaired by the Presidents of SEM and Preparations for two additional major ICTM, Beverley Diamond and Salwa frequency of the publication to three ICTM scholarly gatherings to be held times a year. El-Shawan Castelo-Branco, and co- in 2015 are well under development. hosted by Colin Quigley and Aileen In my opinion, the interviews with The 23rd ICTM Colloquium (the only Dillane. One day of this historical event JHK Nketia and Trần Văn Khê (both kind of ICTM meeting based on indi- will be shared with the third major published in the April 2014 issue) were vidual invitations) is scheduled to take association of ethnomusicologists, the important highlights, and more inter- place in May in Nanterre, France. The European Seminar in Ethnomusicology.

Bulletin of the ICTM Vol. 127 — January 2015 — Page 3 FROM THE SECRETARIAT

UNESCO and Sister Societies nomusicologist Fayzulla Karomatli had to resolve any queries regarding sub- The definition of ICTM points out to passed away in the previous month. missions and their preparation for pub- its status as a non-governmental or- Renowned German scholar Robert lication. Günther passed away in early January ganization in formal consultative rela- Applicants for the Audio Reviews 2015. On page 5 Alexander Djumaev tion with UNESCO. In 2014, the Editor position should be ICTM mem- and Ricardo Trimillos share some Council was elected into the new bers in good standing, and have a thoughts about Karomatli and Gün- Evaluation Body of the Intergovern- demonstrated interest and involvement ther, respectively. mental Committee of the 2003 Conven- with ethnographic sound recordings. tion on Intangible Cultural Heritage. With very best wishes and regards to Experience in editing is an asset. Insti- Congratulations to Naila Ceribašić, all, at the beginning of an extraordinar- tutional support is important for possi- Executive Board member and ICTM’s ily rich ICTM year of 2015! ble postal, email, fax, and telephone representative at UNESCO, for her expenses. efforts in this direction. ICTM Seeks Audio Reviews Anyone wishing to undertake this im- The Secretariat’s systematic efforts to Editor for the Yearbook for portant service to the ICTM member- widen the Council’s contacts with sister Traditional Music ship should send a statement of interest societies were reported in previous is- and CV to the General Editor Kati The Yearbook for Traditional Music sues of the Bulletin. In 2015, there will Szego ([email protected]) by 15 March requires an Audio Reviews Editor to be an ICTM panel at the joint IAML/ 2015. IMS Congress “Music Research in the replace Byron Dueck, who will be step- Digital Age”, to be held in New York, ping down from this position in July USA, in June, and representatives of 2015. The Audio Reviews Editor is re- the International Musicological Society, sponsible for soliciting, coordinating, the International Association for the and editing up to 24 reviews of audio Study of , the Interna- recordings for each Yearbook, totalling tional Association of Music Libraries, c. 8000 words. Reviews are then sent to the International Committee for Muse- the General Editor by a specified dead- ums and Collections of Musical Instru- line. The Audio Reviews Editor will ments, and the World Dance Alliance further assist in liaising with reviewers are expected to join a roundtable dis- cussion during the Astana Conference. From the ICTM Online Photo Gallery ICTM and the Internet Several major Internet-related devel- opments were made in 2014: the com- pletely renovated Online Membership Directory was launched in March, the ICTM mailing list (aka “listserv”) was started in August, and a new Online Photo Gallery curated by the Secretar- iat was created in January. Many other improvements to the ICTM website testify to the Council’s commitment to make information and resources avail- able for all members and subscribers.

Farewells Members of the Executive Board, the Secretariat, and Programme and Local Arrangements While completing and distributing the Committees of the 2015 ICTM World Conference. Astana, Kazakhstan. July 2014. Photo October 2014 Bulletin, we were not by Trần Quang Hải. Visit gallery. aware that the well-known Uzbek eth-

Bulletin of the ICTM Vol. 127 — January 2015 — Page 4 IN MEMORIAM

Robert Günther (1929–2015) by Ric Trimillos

I am saddened to share news of the passing of Robert Gūnther, ethnomusi- cologist emeritus at the University of Cologne, on he morning of 4 January 2015. He was assistant professor when I was a Fulbrighter at the University of Cologne in 1964-66, and we have main- tained a close friendship ever since. I just visited him and his wife Ellen last Fayzulla M. Karomatli 16 December (see photo). (1925-2014) Robert lived a productive and con- structive life that touched so many of by Alexander Djumaev us and did much for international un- Fayzulla M. Karomatli (Fayzulla Mu- derstanding and for ethnomusicology, zaffarovich Karomatov, 14 December sometimes in ways not always recog- 1925–18 September 2014) was one of nized. In 1997 he was visiting ethnomu- the founders of ethnomusicology in sicologist at the University of Hawai‘i . In 1950-1954 he was a and initiated the University of Cologne graduate student at the Moscow State Gagaku Ensemble (Japanese court mu- Conservatory with Soviet musicologist sic) in collaboration with our UHM Victor M. Beliaev as mentor. For four gagaku teacher, Masatoshi Shamoto, in decades he headed various music folk- 2000. He was a good friend and an un- lore expeditions in many regions of failingly generous host. I will miss him Uzbekistan, and in neighbouring repub- greatly. lics of Kazakhstan, Turkmenistan, and Tajikistan. Karomatli published several books and more than 200 articles on traditional and Tajikistan. His last project (Music Heritage of Uzbek People) spans 12 vol- umes, which remain unpublished.

He was member of various international music organizations, including ICTM, where he was Co-Chair of the Study Group on Maqām from its foundation until 2011.

For more information about the life and work of Fayzulla M. Karomatli, please see his obituary online (in Eng- lish, in Russian).

Ricardo Trimillos (centre) with Robert Günther (right) and his wife Ellen (left) at the Günthers’ home in Rodenkirchen, Germany, December 2014.

Bulletin of the ICTM Vol. 127 — January 2015 — Page 5 WORLD CONFERENCES 43rd ICTM World Conference 16-22 July 2015 Kazakh National University of Arts, Astana, Kazakhstan.

Notice from the Programme Committee The decisions regarding the acceptance or rejection of proposals to the 2015 ICTM World Conference were commu- nicated via e-mail to all proposers on 29 December 2014, along with two im- portant questions which must be an- swered by 1 February 2015:

1. The conference lasts a full week with a day for excursions in the middle. I plan to attend (indicate only one): The building of the Kazakh National University of Arts, venue of the 43rd ICTM World Conference. a) most or all of the week-long con- ference tion will not be included in the final ✴ Torgay Hotel conference programme. You may regis- b) only the first three or four days of ✴ Korsar Hotel ter to the Conference from this web- the conference;= ✴ Daniyar Hotel page. c) only the last three or four days of ✴ KazNUA student hostel If you submitted a proposal but have the conference Based on communications between the not yet received a letter of acceptance/ LAC, the ICTM Secretary General, d) My plans have changed, and I will rejection, please check whether your e- and the Kazakh Ministry of Foreign not be able to attend the confer- mail service mistakenly classified the Affairs, there will be a special visa re- ence letter as ‘spam’ or ‘junk mail’. If you gime for the delegates of the World still cannot locate the letter, please 2. Papers and presentations may be Conference. Participants with accepted contact the Programme Committee. delivered in English or Russian. I proposals will be sent further details plan to deliver my paper (indicate via e-mail. only one): Notice from the Local For up-to-date additional local ar- Arrangements Committee a) in English rangements information, please visit We are glad to inform that specially- the Conference website at b) in Russian appointed buses will take delegates www.ictmusic.org/ictm2015. If you have not already done so, please from the following accommodation fa- answer these questions to cilities to the Conference venue at regu- [email protected] by 1 lar intervals: February 2015. ✴ King Hotel

Please be aware that you must also ✴ Tengri Hotel register to the conference by 15 ✴ Hotel Kazzhol April 2015, otherwise your presenta- ✴ Hotel Oasis

Bulletin of the ICTM Vol. 127 — January 2015 — Page 6 ANNOUNCEMENTS Announcements — ICTM

Call for Papers: 1st Local Arrangements Committee: Please contact the Sub-Study Group Patricia Achieng Opondo (Chair), Le- Secretary Siri Maeland by 2 March Symposium of the ICTM bogang Sejamoholo, Nhlakanipho 2015 at [email protected] if you Study Group on African Ngcobo, Jose Alberto Chemane, Lin- are interested in joining or getting Musics dani Phumlomo, Thabile Buthelezi, more detailed information about the and Thulile Zama. symposium. 30 September-3 October 2015 Durban, South Africa Submissions deadline: 31 March 2015 Call for Papers: Symposium Notice: 21st Meeting of the of the ICTM Study Group ICTM Study Group on We are pleased to announce the 1st Symposium of the ICTM Study Group on Ethnochoreology’s Sub- Historical Sources of on African Musics, as a sister event to Study Group of Movement Traditional Music the 10th Annual African Cultural Analysis 9-13 March 2016 Calabash to be held in Durban, South Paris, France Africa from 30 September to 3 October 8 June 2015 Athens, Greece 2015 at the University of KwaZulu- The Study Group on Historical Sources Submissions deadline: 2 March 2015 Natal. of Traditional Music will hold its 21st Symposium from 9 to 13 March 2016 in For the past 9 years, the African Music The second symposium of the ICTM Sub-Study Group of Movement Analy- Paris. The local host will be the the and Dance Program at the University Museum National d’Histoire Naturelle, of KwaZulu-Natal has hosted a local sis, a section of the ICTM Study Group on Ethnochoreology, will be held in MNHN. A full Call for Papers will be folklore event titled “African Cultural Athens, Greece, on 8 June 2015, at the included in the April 2015 Bulletin of Calabash”. The event includes staging the ICTM. of folk life, performances, workshops, National and Kapodistrian University of Athens. Maria I. Koutsouba will be and African cuisine. the host. We welcome contributions on the fol- The meeting will focus on two themes: lowing topics: “Music Dance Relationships” and “Dy- ✴ Transnational Diasporic cultures namics: Theoretical and Practical ✴ Packaging heritage Thoughts Connected to Movement Analysis”. ✴ African bows, fiddles, harps, guitars A selection of papers will be included Each participant will be expected to in a publication. show a short video clip of a dance, fol- lowed by a presentation of the main Deadline for submissions of abstracts theme and the analysis and concepts (up to 300 words) is 31 March 2015. based on this particular theme (music- Proposals should be sent via e-mail to dance relationships or dynamics). [email protected] and in- Questions and discussions will follow clude a short biographical note of up to the presentation. The aim of the format 100 words. is to bring up reflections, questions, Programme Committee: Patricia and problems connected to movement Achieng Opondo (Chair), Marie analysis, music-dance relationships Agatha Ozah, Rose Omolo Ongati, Ana and/or dynamics. Flavia Miguel, Jorge Castro Ribeiro, and Eduardo Luchuge.

Bulletin of the ICTM Vol. 127 — January 2015 — Page 7 REPORTS Reports from ICTM National and Regional Representatives

Australia and New Zealand during a series of conferences and sym- International Conferences posia that included international gath- by Julie Rickwood, Regional representation at international erings such as International Music Secretary of Regional conferences was notable in 2013 and Council’s World Forum on Music, Committee 2014. Attending international confer- Ecomusicologies Group (see below), ences is often difficult given the dis- Regional and Sustainable Futures; regional gath- tances that usually have to be trav- Committee erings such as IASPM-ANZ and Asian elled. This proved less the case for the Executive 2014-2015 and Pacific Community Music Network; 2013 ICTM Conference held in Shang- The inaugural Chair, Dan Bendrups, and national gatherings such as the hai, China. Thirty Australian and three and inaugural Secretary, Kirsty MSA and Music Council of Australia. New Zealander members represented Gillespie, announced their withdrawal Various members of the ICTM Re- the region, including plenary speakers from the Executive Committee due to gional Committee (ICTM-RC) at- Anthea Skinner and Jonathan McIn- other commitments. Their significant tended and/or presented at a number tosh. The conference also prompted the contributions to the Regional Commit- of these events. consideration of an Indigenous/Post- tee since 2009 were acknowledged at The business meeting focused on possi- colonial Study Group which the re- the 2013 business meeting in Brisbane. ble future directions for the ICTM-RC, gional committee continues to endorse. As a result the positions were an- the 2013 ICTM Conference which was Despite the greater distance, a good nounced as vacant and nominations well represented by members, and the representation of members also at- called. Changes also occurred in rela- processes for the selection of represen- tended and presented at the 2013 tion to the representative roles from tatives and the nominations and elec- IASPM Conference in Spain. regional organizations with Katelyn tion of the new Chair and Secretary. Brisbane being the venue for a number Barney and Jonathan McIntosh step- of international and regional confer- ping down from their positions. Their The 2014 meeting was held in Dunedin ences in late 2013 meant that many contributions were also given fitting immediately after the NZMS Confer- members attended and/or presented at appreciation. In due course the new ence and during the IASPM-ANZ Con- regional and international conferences. Executive Committee was decided and ference at Otago University. Many A substantial cohort of ICTM members now comprises: members of the ICTM-RC presented at either of these conferences. participated in the symposium “Eco- ✴ Chair: Henry Johnson systems and Ecocriticism”, convened by The business meeting focused on news- ✴ Secretary: Julie Rickwood Dan Bendrups, Donna Weston, and letters and business meetings, the role Huib Schippers at the Queensland Con- ✴ NZMS: Brian Diettrich of the ICTM-RC, and a proposal for a servatorium. This symposium was the ✴ IASPM-ANZ: Shelley Brunt symposium on traditional music to be second international meeting of the ✴ MSA: Aaron Corn included in the programme for the Ecomusicologies Group, a research clus- IASPM-ANZ Conference at the School We thank these members for volunteer- ter consisting mainly of AMS and SEM of Music of the Australian National ing their services to the ICTM for the members with an interest in ecomusi- University in 2015. 2014-2015 period. cology. ICTM-RC representation in- Minutes for both these meetings can be cluded Donna Weston, Dan Bendrups, Business Meetings, 2013 and obtained by contacting the Regional Julie Rickwood, and Kirsty Gillespie as 2014 Committee’s Chair, Henry Johnson, or presenters, and Robin Ryan observing. The November 2013 meeting was held Secretary, Julie Rickwood. The final planning meeting of the sym- in Brisbane at the Queensland Conser- posium included discussion amongst vatorium of the Griffith University, the ICTM members (both regional and

Bulletin of the ICTM Vol. 127 — January 2015 — Page 8 REPORTS elsewhere) about the possibility of de- new pathways to keeping these musics cepted as “”, thus making a veloping as an area of strong. valuable and sustained contribution to special interest within the Council. the evolving definition of the term it- This work presents the first in-depth, This meeting served as a useful precur- self. standardized, replicable tool for gaug- sor to any future development in this ing the level of vitality of music genres, In order to appreciate folk-music com- direction. The Ecomusicologies Confer- providing an invaluable resource for the petitions in the alpine regions in their ence in 2014 included presentations by creation and maintenance of interna- fullest possible context, perspectives Robin Ryan and Julie Rickwood. tional cultural policy. It will enable were offered through comparison with Major Publications those working in the field to effectively examples from competitions in Ireland demonstrate the degree to which out- and Sweden. side intervention could be of tangible Musicologist Peter M. Krakauer benefit to communities whose musical (Salzburg) gave the keynote address on practices are under threat. Significant music and competition. Presentations for both its insight and its utility, Mu- by Dieter Ringli (Zurich) and Raymond sic Endangerment is an important con- Ammann (Luzern/Innsbruck) referred tribution to the growing field of applied to folk-music competitions in Switzer- ethnomusicology, and will help secure land, those by Walter Deutsch the continued diversity of our global (Vienna) and Walter Meixner (Inns- musical traditions. bruck) to folk-music competitions in Austria, and those by Manfred Seifert Austria (Marburg) and Maša Marty (Bern) to by Thomas Nußbaumer, Bavarian and Slovenian folk-music Chair of National competitions, respectively. The valuable Committee contributions by Sandra Joyce (Limer- Music Endangerment: How Language ick) and Dan Lundberg (Stockholm) International showed the Irish and Swedish dimen- Maintenance Can Help (Oxford: Ox- Symposium “Folk sions of the symposium’s topic. The ford University Press, 2014) by Cather- Music & Competition”, symposium was led by Thomas ine Grant offers a new practical ap- October 2014 Nußbaumer, and the proceedings will proach to assessing, advocating, and In October 1974 the very first Alpine assisting the sustainability of musical be published in 2016. Folk Music Competition took place. Its genres, in response to the increased creator, Josef Sulz, is also the founder International Symposium focus on the protection of intangible “Transmission of Traditional of the Institute for Musical Folklore cultural heritage across the world. Music: Models and Methods”, (today’s Department of Music Ethnol- Drawing upon relevant ethnomusi- November 2014 ogy) at the University Mozarteum cological research on globalization and Salzburg in Innsbruck. On the occasion The Institute of Folk Music Research musical diversity, musical change, music of the 40th anniversary of the Alpine and Ethnomusicology of the University revivals, and ecological models for sus- Folk Music Competition, this year’s of Music and Performing Arts Vienna tainability, Grant systematically cri- symposium of the Austrian ICTM Na- together with the UNESCO Working tiques strategies that are currently em- tional Committee (Innsbruck, 21-22 Group Vienna addressed an important ployed to support endangered musics. October 2014) was dedicated to the issue, which might not always gain She then constructs a comparative history of folk-music competitions in large attention in ethnomusicological framework between language and mu- the alpine countries, their configura- discourse: the transmission of tradi- sic, adapting and applying the meas- tions of appearance and presentation, tional “musics” in their various forms. ures of language endangerment as de- as well as the evaluation criteria which veloped by UNESCO, in order to iden- Musics of the world vary in itself, but form their foundations. These assess- tify ways in which language mainte- also in the way they are transmitted. ment criteria also reveal what, from nance might (and might not) illuminate Traditional music was and is often year to year, is understood and ac- linked to oral tradition. Oral tradition,

Bulletin of the ICTM Vol. 127 — January 2015 — Page 9 REPORTS

China by Xiao Mei (萧梅), Chair of National Committee

The China National Committee of ICTM is pleased to report some exciting schol- arly activities by its members, particu- larly regarding the publication of vol- umes by members of the Committee.

Qiao Jianzhong, president of the As- sociation of Traditional (a corporate member of ICTM) pub- lished in 2014 Hope: Oral History on a Keynote speaker Max Peter Baumann and Ursula Hemetek, during Symposium of the Farmer Guarding a Folk Music Asso- Austrian ICTM National Committee. Photo: Otgoonbayar Chuluunbaatar, October 2014 ciation for 28 Years (Central Compila- the informal passing-on of music, how- strations complemented theoretical tion & Translation Press). The “oral ever, seems to face major changes in elaborations. history method” was used in this book, some communities. Formal, systema- as told directly by Lin Zhongshu, and A panel discussion on future prospects tized, and institutionalized ways of since the interviewers had overlapping followed, focusing on the transmission transmitting music (“imparting music”) contact with Lin, different narrations of traditional music in the higher edu- are gaining significance. are supplemented and extended with cation sector. The participants (both additional footnotes. To better reflect The ways in which different communi- ethnomusicologists and music educa- relevant people, events, and things, the ties meet the described scenarios are tors) discussed how to define and create book is illustrated with 171 photos manifold, as the conference papers a space for traditional music within quoting books, newspapers, business showed. Transmission of music can be universities in theory and practice. cards, inscriptions, chronicles, notes an integral part of a musical culture. The symposium came to an end with a and other data collected by Lin over Simultaneously musical cultures adapt musical evening in the Croatian Centre the years. styles of transmitting traditional music in Vienna, where the transmission of or even develop new strategies. Qiao Jianzhong also edited in 2014 music and dance was once again practi- Chinese National Music Geography: Jin Max Peter Baumann gave a keynote cally demonstrated to the participants. Shan Region on the Loess Plateau address about “Glocal Sounds” and The proceedings of this Symposium (Jiangsu Literature and Art Publishing their tradition, negotiation, and com- will be captured by a volume to be House). This book includes more than munication, presenting a transcultural published in the Spring of 2015. 240 photos and illustrations, and is perspective on music and transmission. accompanied by 3 audio CDs, 2 DVDs,

International speakers elaborated dif- and behind-the-scenes footage from ferent musical expressions and the ways field recordings. of transmitting them. Insights were Xu Xin, lecturer at the China Conser- given to Anatolian, Burgenland- vatory of Music, published in 2014 Croatian, Japanese, Austrian, Slova- Echos of the Steppe: the Sound kian and Roma musical styles. Ethnography of Chor in Inner Mongolia Delegates presented views and perspec- (Shanghai: Shanghai Musical Press). tives arising from theory as well as Bowed chor and the vocal chor’in guul their practical educational and musical are two popular kinds of chor music in experience. Practical musical demon- Inner Mongolia. Chor refers to “har-

Bulletin of the ICTM Vol. 127 — January 2015 — Page 10 REPORTS mony” or “many sounds”, as both ✴ The Volume of Traditional invited to all the courses, especially to styles have a similar sound structure, Chinese Music, edited by Xiao Mei the summer schools. i.e., a high-pitch melody combined with and mainly contributed by Liu For further information please visit this a drone bass sounding simultaneously. Guiteng, a book discussing the sha- website, or contact Zuzana Jurková and Due to their special sound-producing manic traditions of ethnic groups in /or Veronika Seidlova. methods, they also have formed special Northeast China, including the Mon- sound concepts of the chor and corre- golian, Manchu, Daur, Oroqen, and sponding expressions among Mongolian Ewenki peoples Georgia society. This book attempts to repre- ✴ Music and Trance in Chinese Popu- by Rusudan Tsurtsumia, sent the unique world of chor sound lar Belief, with contributions by 17 Director of the closely connected to the sentimental, writers, is the result of five years of International Research historical, and cultural significance of fieldwork, reviewing music and Centre for Traditional Mongolian people. trance across China, representing 12 Polyphony of the Tbilisi State Conservatoire Yang Xiao, associate professor of Si- case studies of Han, Mongolian, Yi, chuan Conservatory of Music, edited in Miao (Hmong), Yao, and Zhuang [Editor’s note: the following report was 2014 Oral History of Guqin Players in peoples, and including a general sur- abridged in agreement with the edito- Sichuan (SDX Joint Publishing Com- vey of the music of the spirit-medium rial rules of the Bulletin. The full re- pany). The guqin, a plucked seven- in the provinces of Guangxi and port can be found online at the Georgia string Chinese of Yunnan section of the ICTM website]. the family, has been played for On 22-26 September 2014 the Tbilisi two thousand years, and has tradition- Czech Republic State Conservatoire hosted the 7th ally been favoured by scholars and lite- by Zuzana Jurková, International Symposium on Tra- rati as an instrument of great subtlety Liaison Officer ditional Polyphony. Despite the fact and refinement. Because of the differ- that the Tbilisi Symposia are quite ence in geography, culture, and lineage The ethnomusicological popular among ethnomusicologists from in China, many different guqin schools programme at Charles different countries, wider circles know developed over the centuries. University Prague, Fac- little about them. Thus in this report I ulty of Humanities, is substantially ex- The Oral History of Guqin Players in will discuss the history of its founda- panding, thanks to new members of the Sichuan is divided into two parts: the tion and its distinctive peculiarities. faculty, Adelaida Reyes and David Ver- oral history of twenty guqin players of buč, and visiting colleagues. In the The International Symposium on Tra- Sichuan, and five memoirs by Sichuan summer semester we offer 14 courses, ditional Polyphony was founded by the guqin players. The purpose of this book eight among them in English. Tbilisi State Conservatoire and the is to describe the destiny of Chinese International Centre for Georgian Folk traditional music from the republican Four courses will take place in May and Song, and it is patronized by the Presi- period to Modern China, and to inter- June in the form of a summer school. dent of Georgia and provided with fi- pret and draw links between the music Especially attractive to international nancial support by the Georgian Minis- of the country, regions, and individuals. students is the Little Summer try of Culture and Monuments Protec- School for Romani Music(s), run- The Research Institute of Ritual tion. The Symposium is organized by ning in connection with the interna- Music (RIRMC, Corporate Member of the International Research Centre for tional Romani Khamoro music festival ICTM) is the leading university re- Traditional Polyphony of Tbilisi State (main lecturers: Zuzana Jurková and search institute of humanities and so- conservatoire (IRCTP). Speranţa Rădulescu), and the interna- cial sciences in China. In 2014 they tional summer school Jewish Cul- The symposium is a wonderful rostrum published: tures Through Their Musics (main for all interested in general and specific ✴ Vols. 8 and 9 of Da Yin, an academic lecturer: Kay Kaufman Shelemay). In- issues of traditional music: theoretical, journal focusing on research of Chi- ternational students, including those in musical-aesthetic and social aspects, nese traditional ritual music the Erasmus programme, are sincerely the genesis of polyphony, methodology of its recording and acoustic methods

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Roundtables are an inseparable part of the symposium. They are dedicated to themes suggested by participants. At the 2014 Symposium the roundtable “Let’s Talk About Drone” was held on the initiative of Joseph Jordania, and the speakers were Izaly Zemtsovsky (USA/Russia) and Alma Kunanbaeva (USA/Kazakhstan). This form of musical expression is widespread in Georgia, and it turned out that discus- sion on this theme was an interesting challenge, because, as Zemtsovsky United Georgian Ensembles sings “Khasanbegura” at the closing gala concert. Tbilisi, noted, “Anthropologically speaking, the September 2014 problem of drone is so fundamental and for study, problems of regional styles ony. Susanne Ziegler’s presentation important, that it exceeds the borders and musical language, sacred and secu- “Georgian Recordings Made in German of ethnomusicology and ”. lar polyphony, interrelation of polyph- Prison Camps 1916-1918”, together In my opinion, the advantage of the ony and instrumental music, historical with Nino Nakshidze, announced the Tbilisi symposia is that besides Geor- recordings of traditional music, etc. recent publication of the book Echoes gian, Abkhazian, Ossetian, and From the Past: Georgian Prisoners’ At the 7th Symposium we were famil- Chechen (Kists from the Pankisi Recorded on Wax Cylinders in iarized with new “centres of polyph- Gorge) polyphony, the event offers live Germany 1916-1918, jointly published ony”: Slovaks from Serbia (Gordana performances of the world polyphonic by the Berlin Phonogramm-Archiv and Blagoević, Serbia), Georgian Jews from traditions, such as those of Austria, the Tbilisi State Conservatoire. Vienna (Nona Lomidze, Austria/ Bulgaria, Corsica, Latvia, Lithuania, Georgia), Chechens from the Pankisi I would like to note that papers focus- and the Ukraine, and those of the the Gorge (Nino Razmadze, Georgia), and ing on general theory and musical- Amis and Basque peoples. Georgians residing outside Georgia aesthetics have had a shift in popular- Particularly touching was the case of (Giorgi Kraveishvili, Georgia). Other ity at the symposia. Seven papers on the Ukrainian ensemble “Korali”, which presentations were concerned with Sar- those topics were presented at the 2012 could not come to Georgia due to the dinian (Renato Morelli, Italy) and Symposium, while only three were dis- political situation, but the ensemble’s modern Lithuanian polyphony (Daiva cussed at last year’s symposium: Caro- director Ludmila Zborovskaya and her Račiūnaitė-Vyčinienė, Lithuania), as line Bithell’s “Polyphony as Tool and daughter Mariana fascinated the audi- well as the history of Abkhazian choral Trope: Theorizing the ‘Work’ of Po- ence with the performance of Ukrainian singing (Marina Kvizhinadze, Georgia). lyphony in the 21st Century”, Tamaz traditional two-part songs. One of the most memorable presenta- Gabisonia’s “Semiotic Dimensions of tions of the 2014 Symposium was Drone in Traditional Music”, and Nino A very interesting project was pre- “Concerning an Article in Musical Tsitsishvili’s “Love Song, Collective sented at the 2014 Symposium: the Quarterly Vol. 47 (1961): Comments on Cultures, and Sexual Taboos”. functioning of folklore under modern North American Indian Polyphony Half conditions. The most typical way for its Concerning publications, participants a Century Later” by Bruno Nettl, who transformation is by being included in of the 7th Symposium received the bi- participated from Illinois via Skype. ’ work, but contemporary lingual volume with the proceedings of composers rarely follow this path any In addition to issues of world polyph- the previous symposium. Proceedings more. On 25 September, the Grand ony, Georgian polyphony was the focus and booklets of all symposia to date Hall of the Conservatoire hosted of a significant share of the presenta- are available from this webpage (in “Georgian Motives”, a joint concert of tions. Besides Georgian scholars, Simha Georgian). the Georgian folk ensemble “Didgori” Arom, Polo Vallejo, and Kae Hisaoka and the State Choir of Latvia, where presented papers on Georgian polyph- they performed the works of modern

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Latvian composers with authentic ex- Ghana the theme “Arts Education in 21st amples of Georgian polyphony. I think Century Africa: Towards a Holistic by Daniel Avorgbedor, this was an interesting experiment rep- Artistically Literate Citizenry in Liaison Officer resenting cultural dialogue on the one the Arts—Dance, Media Arts, Mu- hand, and a new possibility of coopera- Since the appointment sic, Theatre & Visual Arts”. Key- tion between folk song and contempo- of an ICTM Liaison note speakers were J. H. K. Nketia rary ’s thinking on the other. Officer for Ghana in and the Ghanaian performer- mid-2014, a newly-formed working scholar and ICTM member Paschal The following films were screened at committee has been actively engaged in Younger (Ohio University, Athens). the 7th Symposium: Polyphonia: Alba- reactivating local interest in ICTM. nia’s Forgotten voices by Eckehard Pis- 2. The African Theatre Association One positive outcome of this ongoing trick and Bjorn Reinhardt (Germany), held its annual conference on 9-12 Su Concordu by Renato Morelli (Italy), effort is the constitution of a proposal July 9 2014 at the School of Per- for a panel session with four individual and fragments from the unfinished film forming Arts, University of Ghana, presenters for the 2015 ICTM World Swiss Yodelling: 30 Years Later by Legon under the theme “African Conference in Astana. Hugo Zemp (France). Theatre, Performance and the The past few months have been marked Academy”. John Collins, prolific At the closing gala concert, all partici- author and well-known scholar on pating ensembles performed polyphony by significant professional and intellec- tually stimulating music-related activi- Ghanaian popular music, served as one after another, but the pinnacle of ties, in which prospective members of keynote speaker. the concert was the performance, by all the local committee were involved, di- the concert’s participants, of 3. A third conference originally rectly or indirectly. For example: “Khasanbegura”, one of the highest scheduled to be held at the Univer- points of Georgian polyphony. This 1. The West African Sub-Regional sity of Cape Coast on 3-6 Septem- experiment by Anzor Erkomaishvili, a Chapter of the Pan African Society ber 2014 was postponed due to renowned representative of a traditional for (PASMAE), reports of Ebola in the region. The dynasty of singers, was to structure the in collaboration with the National conference, with the theme of song as an alternation of choir and Executive of the Performing Arts “Memory, Power, and Knowledge trios. Five trios from different ensem- Teachers’ Association of Ghana in African Music and Beyond” will bles would present different variants in (PATAG) held a conference on 10- take place in 2015. the final stanza, and the unity of their 14 June 2014 at the University of The end of 2013 was marked in a sig- variations created a cosmic sound effect Education of Winneba, focusing on nificant way through a productive re- which provoked sincere enthusiasm in the audience.

While the Tbilisi symposia are indeed among the most important events of Georgian ethnomusicological life, it should be noted that many other inter- esting events took place in 2014. Infor- mation about these events can be ob- tained in the Bulletins of the IRCTP from this website (in Georgian).

For more photos of the Symposium, please visit the ICTM Online Photo Gallery.

Participants of the symposium dedicated to the works of J.H.K Nketia. December 2013. Photo by Daniel Avorgbedor

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flection on the works of J. H. K. Nketia. A three-day symposium spon- sored the Historical Society of Ghana and hosted by the University of Ghana campus ran from 9 to 12 December 2013 under the theme “Reminiscences of a Nonagenarian’s Lifelong Encounter with Tradition and Innovation in Con- temporary Contexts of Music in Ghana”. The three themes concerned:

1. Researchers, educators, composers, arrangers, choreographers;

2. Highlife , promoters, pro- ducers of Popular Music Genres;|

3. Hiplife artists and producers. First group of ethnomusicology students at the University of Arts in Tehran to be graduated Finally, a growing international pres- by the end of 2014/early 2015. Photo by Mohammad R. Azadehfar ence continues to qualify and diversify the music scene in Ghana, including seas. My colleagues and I discussed the music, for international students and the active sponsorships by NGOs and situation, and with the help of the scholars based in Tehran. The courses local and foreign government agencies. ICTM Secretariat and in consultation include learning structural elements of with our financial advisers we were able Iranian music as well as improvisation Iran to find a solution that enables Iranian by practically learning the Iranian by Mohammad R. members to join ICTM by paying their (santür). Some Azadehfar, Liaison membership dues in euros to the Iranian institutes have already agreed Officer Saman Bank of Iran. to cooperate in presenting these courses. For more information, please In spite of many limitations, pro- Even though Iran is the visit this webpage. target of many eco- grammes in ethnomusicology are estab- nomical sanctions, the pursuit of cul- lished as in two Iranian universities, Finally, we have been encouraging Ira- tural activities is, thankfully, scarcely and we are expecting the graduation of nian students and scholars to partici- affected by them. our first generation of Master’s stu- pate in the 2015 ICTM World Confer- dents by the end of 2014 and early ence in Astana, and we expect the The ICTM is practically unknown to 2015. number of Iranian ICTM members to scholars and students in Iran. I gave rise to an acceptable quantity by early Our libraries are very poorly stocked, several lectures and speeches, and set 2015. up a huge mailing list to introduce the but several scholars have already re- Council’s aims and goals regarding tra- sponded positively to my request, and ditional music and dance from the sent us copies of their publications. whole world. With effort and a bit of Thanks to Timothy Rice and Razia luck, I was able to draw the interest of Sultanova, among others, who have music students and local researchers, dedicated their publications to improve but before I had the chance to enjoy the ethnomusicology library of the this success, an odd problem became University of Arts in Tehran. I hope apparent. Interested people simply more scholars will send their valuable could not pay their membership dues books in the near future. to ICTM, because all Iranian banks are “Iranian Music through Action” is the under international sanctions, effec- title of two open courses on Iranian tively cutting all links with banks over-

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Ireland There is much work being undertaken cultural, and artistic pinnacle was on rare manuscripts and other sources reached. Many unique traditions date by Daithí Kearney, of Irish traditional music at the mo- back to this era, such as the lam Chair of National ment, and for researchers with a par- tangvai, lam phouthay, lam salavanh, Committee ticular interest in Irish traditional mu- khap ngum, and khap phoun, among The Annual Conference sic, the Irish Traditional Music Archive others. of ICTM Ireland is has opened a new Special Collections Nearly seven centuries have passed quickly approaching and we are looking Room, which gives online Intranet pub- since Chao Fa Ngum established Lan forward to welcoming delegates to lic access to ITMA’s entire special col- Xang, and yet Laos’s extensive and Dundalk in the historical Oriel region lection of original sheet music (almost fascinating treasure of music still re- of the northeast of Ireland. In Galway 4,000 items) and to its special collec- mains mostly unknown, partly because tion of historic digitized sound record- last year Martin Stokes, King Edward of lack of documentation, and partly Professor of Music at Kings College ings, including cylinders and 78s (over because of a shortage of in-depth music London, presented a wonderful keynote 1,000 items). analysis when Laos was being ravaged that explored changing contexts for We look forward to welcoming dele- by wars instigated by foreign powers. ethnomusicological study with reference gates to our various events and for re- Starting with the Siamese invasion of to his experiences in Istanbul. search over the coming months. 1778, the burned Vientiane suffered This year we are delighted to be wel- devastating damage. The “Greater coming Christopher Smith, Professor Laos Thailand” ideology robbed Laos of much of its cultural and musical heri- and Chair of Musicology and director by Bountheng tage, as well as of talented artists who of the Center at the Souksavatd, Liaison were forcefully relocated to Bangkok to Tech University School of Music Officer to present the keynote. The conference, serve in the Royal Palace. There was which will be hosted by the Section of Ethnomusicology is a also a period when Lao people were Music at Dundalk Institute of Technol- subject that is still new forbidden to learn their own mother ogy from 27 February to 1 March 2015 and exotic to Laos. In addition to the language, and from playing the khen, a is themed “Tracks Less Travelled”. basic knowledge of music (e.g., music musical instrument symbolic of Laos. theory and solfège) studies in ethnomu- In parts of Northeastern Thailand, Lao Over the past few months another vol- sicology require a vast understanding of people were prohibited from saying ume of our journal Ethnomusicology neighbouring fields, such as cultural they were, in fact, Lao. Ireland has been edited by Liz Doherty anthropology, linguistics, musicology, The ancient cultural heritage of the and Tony Langlois. Coinciding with the foreign languages, sociology, psychol- Lao people, and their bearers, suffered relaunch of our website, the journal will ogy, archaeology, and acoustics. present a range of material that reflects greatly through the brutal years of war current research in Ireland and also In a number of neighbouring countries, in the wake of colonialism and imperi- reflects our international network. despite the presence of experienced alism. Nowadays, all that remains is scholars and, particularly in Vietnam kept and preserved with utmost respect We are also looking forward to the first where a strategy for our discipline has in the consciousness of the people. Joint SEM-ICTM Forum, “Trans- existed for many decades, pioneers like For our part, after many years of doing forming Ethnomusicological Praxis Tô Ngọc Thanh still stop at one indi- fieldwork in remote villages, making through Activism and Community En- vidual subject, therefore not developing interviews, and recording veteran art- gagement”, that will be held in Limer- a whole study. ick City from 13 to 16 September 2015. ists of 49 ethnic minorities in the Lao The Local Arrangements Committee What about the situation in Laos? community, we have collected precious will be led by Colin Quigley and Aileen Laos is a multi-ethnic country, a nation information regarding both musical Dillane. The European Seminar in which since the dawn of time has been instruments and the background of Ethnomusicology (ESEM) will also celebrated as a land of rich, traditional traditional music. From this work we overlap with the Forum for one day. arts, full of diversity and character. arrived at the notion that specific During the Kingdom of Lan Xang measures must be taken to preserve at (1354-1707), an absolute economical, all costs the rapidly diminishing

Bulletin of the ICTM Vol. 127 — January 2015 — Page 15 REPORTS musical heritage. The majority of our cording equipment to accurately meas- subjects are of advanced age and in ure the sounds that human ears occa- by Naomi Faik-Simet, poor health, and many we met only on sionally cannot perceive, or computer Liaison Officer a few occasions before their sudden types that can aid the researchers in passing, without finishing their stori- music duplication, system migration, The second part of the es—a source of constant distress for us. step transfer, etc. year was filled with Moreover, orally-transmitted traditions dance and music activi- Through the current situation and in are being lost because the younger gen- ties, with the country my own personal experience, in order erations lose interest in the skills and hosting the 5th Melanesian Festival of to extricate the impasse of human re- arts of their ancestors, being often un- Arts and Culture that took place from sources, of the ideology in Laos’s mod- aware of their own traditional music, the 28 June to 11 July. Organized by ern research discipline now and in the and preferring newer values such as future, Laos needs to take action on the Papua New Guinea’s National Cultural electronic music and vibrant dances Commission, the two-week festival following affairs at once: coming from overseas. promoted the theme “Celebrating Cul- 1. To establish the study of inductive tural Diversity” and showcased a vari- I believe Laos should therefore be more reasoning at the Laos National ety of traditional and contemporary concerned with education, especially in Academy of Music, to equip the ethnomusicology, for the purpose of dances from the region. There were basic knowledge for students. Cre- approximately three thousand partici- creating human resources. However, ate for them an environment in pants from Fiji, Vanuatu, Solomon Is- there are currently only a few individu- which they can test themselves lands, New Caledonia, Timor-Leste, als who are properly educated (at for- through essays directly related to Australia (Torres Straits), and Indone- eign music institutions) to be able to the topic of traditional music. This take on this great responsibility. Be- sia (West Papua). Being the host coun- will be an important stepping stone try, Papua New Guinea had the largest cause of that, Laos will not be capable in creating human resources for the number of participants, totalling about of training ethnomusicologists in the future of ethnomusicological educa- two thousand. short term, as for many years music tion. education in Laos has catered exclu- The festival provided the occasion for sively to the performance industry. 2. To gather (officially and/or unoffi- interaction and sharing of cultures cially) scholars educated at foreign through the many dance expressions In Laos, many projects on ethnomusi- music academies, Lao ethnologists, and performances. Fiji’s contemporary cology are unfortunately infeasible, due sociologists, and linguists, who are VOU dance company was one of the in part to lack of funding and partly to dedicated to the collection, re- highlights which promoted the unique lack of competent researchers. However, search, and teaching of ethnomusi- at the project Encyclopedia of Laos technique of contemporary Pacific cology, and establish an Institute of dance. Other popular performances National Instruments, under my super- Music Research within the Na- include the Fiji firewalkers, the Solo- vision, we have confidently applied tional Academy of Music, true to mon Islands panpipe dancers, Papua knowledge on ethnomusicology acquired the ideal of the modern world. New Guinea Baining fire dance and in Vietnam. traditional dances from Vanuatu, the The most prominent resource is the Kanaks of New Caledonia, the Torres application of recording methods fol- Strait island dancers of Australia, the lowing A. J. Ellis’ cent-based system. colourful dancers from Timor-Leste and Many Lao musicians with a will to re- the vibrant dancers from Indonesia’s search frequently cowered themselves West Papua province. These perform- behind the tempered pitch system, thus ances connected the relationship in regrettably producing distorted record- language, culture, and history among ings of traditional tunes. In general, the the participants and brought out a true aforementioned researchers can only Melanesian spirit. rely on their own experience in a con- servative way. They study by them- selves, unaware of use of modern re-

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The festival performances were docu- Conference/Symposium We look forward to more activities in mented by staff of the Institute of The ICTM Study Group on Music and the new year and take this time to wish Papua New Guinea Studies. Dance of Oceania held its 8th Sympo- everyone a prosperous 2015! Dance Workshop sium in Madang, in collaboration with the annual conference of the Linguistic Switzerland Another great dance activity was the Society of Papua New Guinea. This by Raymond Ammann, 2014 National Dance Workshop held at took place on 17-19 September. Don the University of Goroka in the Eastern outgoing Chair of Niles, Edward Gende and myself, from National Committee, Highlands province. The workshop was the Institute of Papua New Guinea held from 8 to 11 September and ad- and Marc-Antoine Studies, gave presentations at the con- dressed the theme “Promoting Cultural Camp, incoming Chair ference. Development Through Dance”. It was a The Swiss Society for collaborative activity between the In- Madang Show Ethnomusicology (CH- stitute of Papua New Guinea Studies The Madang Show is an annual event EM), which forms the and the Creative Arts and Communica- organized by the Provincial Govern- ICTM National Com- tion Strand of the University of ment to maintain and preserve the tra- mittee of Switzerland, Goroka. The workshop was a practical ditional heritage of the people. Niles organized its first meet- way forward after the 2010 National and Gende recorded and documented ing on 31 May 2014 in Dance Symposium in Goroka. traditional music and dance perform- Geneva, participating in the celebration of the 30th anniversary of the Ateliers It was held in three parts: paper pres- ances during the show on 13 and 14 entations, practical dance workshops, September. d’ethnomusicologie. In the most inter- national city of Switzerland, Laurent and interactive discussion sessions. Milne Bay Kenu and Kundu Aubert has set up and fostered music Each of the sessions targeted specific Festival areas, namely Understanding Dance in and dance activities through concerts, The Milne Bay Kenu and Kundu Festi- festivals, courses, and publications, par- Papua New Guinea, Dance Adaptation val is another annual event which was and Creativity, Creativity and Aesthet- ticularly of compact discs and the initiated by the National Cultural yearly Cahiers d’ethnomusicologie. ics of Dance Techniques, Dance in the Commission to preserve, protect, and Education Curriculum, and Reposito- There are currently more than fifty promote the cultures of the Milne Bay ries and Accessing of Archival Dance music courses offered at the Ateliers, people. It was held from 7 to 9 Novem- and participants from some of these Materials. ber. Traditional performances associ- courses performed during the celebra- We were fortunate to have Mohd Anis ated with kundus (slit-) and ca- tions and gave insights into the musical Md Nor and Marcia Lloyd as guests of noes were documented by Niles and diversity cultivated at this unique insti- the workshop. Anis opened the work- Balthazar Moriguba. tution. shop with a keynote presentation fo- Ganige River Festival On 15 November 2014 the CH-EM held cused on his personal and professional experience in reviving the traditional The Ganige River Festival was held this its annual meeting in Lucerne. The board members were re-elected for a Malay zapin dance. His presentation year in the village of Ganige, Kerowagi, contextualized the guiding aims of the in the Highlands of Papua New Guinea further term of four years and Marc- Antoine Camp was elected the new workshop in creating and ensuring the from 27 to 29 November. The aim of continuity of traditional dance in and the festival was to promote peace and president. The members warmly through education. Lloyd led a creative unity in the community. Distinctive thanked the outgoing president, Ray- mond Ammann, for his work during workshop which was explored by par- dance and music performances from the ticipants in three parts: (a) the Brain- Highlands of Papua New were show- the last two terms. Although ethnomu- sicology has a weak institutional pres- Dance, (b) one part of a creative dance cased as part of the event. Faik-Simet lesson, and (c) creating a dance pattern documented the traditional perform- ence in Switzerland, Ammann made using symbols for movement. This was ances. sure that there was a lively exchange by scholars and persons interested in appreciated by all participants. ethnomusicology, especially between the different language regions of the

Bulletin of the ICTM Vol. 127 — January 2015 — Page 17 REPORTS country. Several projects of current The Tajik musical culture is diverse, Arts have continued to support the research were presented at the meeting and the diversity of genres, styles, and Soviet models, and thus created hybrid in Lucerne: Miguel Angel García repertoires has their own historical models, where European and indige- showed excerpts from his audio-visual roots. nous musical instruments are employed documentation on Afro-Cuban ritual in concerts. For example European- In the twentieth century, European music and dance; Brigitte Bachmann- style concert music such as estrada cultural models were introduced when Geiser reported on her iconographic were based on local folk songs and na- Tajikistan became part of the Soviet project on ; András Bodroky tionalist sentiments. Union. The aim was to introduce and showed his investigation into a 17th promote cultural enlightenment among Before the introduction of European century dulcimer from the Berne re- the indigenous peoples, and had influ- models, music treatises were written gion; Christine Zurbrügg presented her ences on local , and developed. Despite the fast flow of documentary film on female yodellers performance, and pedagogy. Arabization in the Persian world, in Vienna (Orvuse on Oanwe: Wiens musical treatises were still written in letzte originale Dudlerinnen). Some of The concept of orchestras and choirs, Farsi/Tajik along with Arabic. these contributions will be published in , and the tempered the yearly bulletin of the CH-EM, tuning system were introduced. Special- The first treatise written in Persian was which will be available in the Spring of ized elementary and high music schools, Danishnoma, of Abū Alī ibn Sīnā (980- 2015. music colleges, conservatories, and in- 1037), also known as Avicenna. Based stitutes of arts were opened. The Tajik on these musical treatises and the de- Tajikistan opera and ballet were established and velopment of the Persian/Tajik music the first Tajik opera Shurishi Vose’ system historically, the structure can by Faroghat Azizi, [Revolt of Vose’], written by Sergei be classified into three tune systems: Liaison Officer Balasanyan, was performed in 1939. 1. Haft parda (seven fret), in pre- The presence of ICTM The first Tajik ballet Du Gul [Two Islamic times in Tajikistan was offi- flowers], written by Alexander Lentskiy, cially established in was performed in 1941. Since their es- 2. Duvozdah parda / duvozdah maqom 2014, when I was appointed Liaison tablishment, these institutions pro- (twelve fret), from the end of Officer by the Executive Board of duced 50 operas, 30 ballets, several twelfth century until the end of the ICTM. I am a Tajik musicologist who symphonies, musical dramas, concerts eighteen century has conducted research in a broad with different musical instruments, 3. Shashmaqom (six maqoms), from range of musical styles and genres of quartets and quintets, chamber music, the end of the eighteenth century Tajik musical culture, and who has many cycles of vocal music, etc. until today published numerous books and articles Adopting the European musical mod- in both Tajik and international aca- 4. Chormaqom (four maqoms), well els, however, diminished the traditional demic journals. spread in the mountainous region forms of musical performances and of Tajikistan Research in Tajikistan is conducted in pedagogy. Before the introduction of the fields of musicology, folk music, the European models, Tajik classical It should be noted that Tajik classical, (maqomot, shashmaqom, and professional music was transmitted traditional and professional music and other related maqoms), profes- orally. The Soviet Union’s cultural pol- (maqomot and falak) have their own sional and traditional music (falak, icy introduced the European notation schools, systems, methods and ways of na’t, maddoh, and ashula), and epic system, replacing in music schools the development. One of these systems is music and songs such as qissa, gurghuli, traditional oral system of transmission the ustod-shogird. Like other forms of and shohnomakhoni. Many scholarly ustod-shogird [teacher-disciple], a peda- classical music in the East, these genres works have been published based on gogy which was in practice to transmit were taught, learned and transmitted the activities of Tajik composers, both music and musical knowledge for dec- orally. Today, there is a tendency in the in Russian and Tajik languages. Some ades in the region. educational system of Tajik musical of these works are scheduled to be institutions to strengthen and develop Tajik musical institutions such as the translated into English to introduce this system. The Tajik National Con- National Conservatory and Institute of their work to international audiences.

Bulletin of the ICTM Vol. 127 — January 2015 — Page 18 REPORTS servatory brings composers, musicians, University, Dhow Countries Music funded by the European Development professors of music, and cultural ex- Academy (DCMA, Zanzibar), Baga- Fund Support to Culture in Tanzania, perts together and engages in teaching moyo College of Arts (TASUBA) and will involve the construction of a Cul- young generation not only European Luhija (Bukoba) were tural Heritage Centre at Makumira. models but reviving the classical and represented. Keynote lectures were When completed the centre will carry traditional Tajik music. It is working given by two noted scholars of African out research, music documentation, and together with 200 other musical educa- music, Meki Nzewi and Gerhard Kubik. preservation work, as well as promotion tional institutions as a network to The department is now in preparation of local music and dance through train- teach and train all aspects of tradi- for the next symposium in 2015. The ing and performances. For more infor- tional and professional music and to dates will be announced soon on the mation contact the project manager revive musical systems that were un- website of the University of Dar es Sa- Randall Stubbs at [email protected]. dermined during the time of the Soviet laam. For more information and up- Recent publications by cultural policy. dates contact the current coordinator Tanzanian scholars focusing Kedmon Mapana. on the Tanzania Music Education Workshop ✴ Clark, Msia Kibona. “The Struggle by Imani Sanga, Liaison On 1-2 August 2014, Dhow Countries for Hip Hop Authenticity and Officer Music Academy (DCMA) organized Against Commercialization in Tan- In this report I highlight and hosted a Music Education Work- zania”. The Journal of Pan African major events related to shop aiming at training music school- Studies 6 (2013): 5-21 traditional music of teachers. Sixty participants from Un- ✴ Mapana, Kedmon. “Enculturation Tanzania, broadly defined, that have guja, Pemba, mainland Tanzania, and discontinuities in the musical experi- taken place since last year. Some of as well as USA, Canada, and ence of the Wagogo Children of Cen- them are annual events hence inter- Spain gathered at DCMA to discuss tral Tanzania”. In The Oxford Hand- ested persons should plan to attend issues related to bringing world music book of Children’s Musical Cultures, similar events next year. I also list re- traditions into school music pro- edited by Campbell, P.S. and T. cent publications by Tanzanian scholars grammes, and developing methods and Wiggins, 510-526. Oxford: Oxford concerning various aspects of the music materials for teaching these music tra- University Press, 2013. ditions in schools. Key lectures were of Tanzania. ✴ Mapana, Kedmon. “Transitions in given by Patricia Campbell from the the Social Functions of the Muheme International University of Washington and Frank Ethnomusicology Symposium Music Tradition of the Wagogo Peo- Gunderson from Florida State Univer- ple of Dodoma, Tanzania”. Interna- The Department of Fine and Perform- sity, both leaders in the field of World tional Journal of Humanities and ing Arts at the University of Dar es Music in schools. Other presenters in- Social Science 3 (2013): 161-168 Salaam organized and hosted the 8th cluded DCMA Academic Director ✴ Ndomondo, Mathayo, Imani Sanga annual International Ethnomusicology Mitchel Strumpf, Donald Otoyo, and and Mitchel Strumpf, eds. Readings Symposium that took place on 17-18 Beatus Nsiima (a PhD student at the in Ethnomusicology: A Collection of July 2014, addressing various aspects University of Dar es Salaam). The Papers Presented at Ethnomusicology on the study of African music and mu- workshop was financially supported by Symposium 2013. Dar es Salaam: sic education in Africa. The symposium the Swiss Embassy in Dar es Salaam. featured paper presentations, a choral Department of Fine and Performing Traditional Music and Dance workshop, and live music performances, Arts, 2014 Preservation and Promotion in and was attended by participants from ✴ Omar, Shani. “Hip Hop Music as a Northern Tanzania Austria, Ethiopia, Finland, Germany, Youth Medium for Cultural Struggle Kenya, Malawi, Mayotte Islands, South In February 2014 the Department of in Zanzibar”. The Journal of Pan Africa, Spain, USA, and . All Music at Tumaini University Makumira African Studies 6 (2013): 133-155 in Arusha began to implement a three- local major music schools, colleges, and ✴ Sanga, Daines. “Traditional Dances year project titled “Traditional Music universities including Tumaini Univer- and Bongo Fleva: A Study of Youth and Dance Preservation and Promotion sity Makumira (ARUSHA), Dodoma Participation in Ngoma Groups in in Northern Tanzania”. The project,

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Tanzania”. Swahili Forum 20 (2013): of Friends of Vietnam Cultural Heri- Nùng, and Thái ethnic groups in 67-84 tage (FVH) Tuyên Quang (Vietnamese Northern

✴ Sanga, Imani. “Postcolonial Archival ✴ The first national Đờn ca tài tử Fes- mountainous provinces) Fever and the Musical Archiving of tival 2014 ✴ Collecting and restoring of Hò chèo

African Identity in Selected Paintings ✴ The national Ca trù Festival 2014 ghe (Work-song on a rowing boat) by Elias Jengo”. Journal of African and Nói thơ Bạc Liêu (Bac Lieu Cultural Studies 26 (2014): 140-154 CD and DVD products poem recitation), two endangered ✴ CD set Đờn ca tài tử in Southern traditional musical heritages of Vietnam collection

✴ CD set Vietnamese sunken fret gui- Research ✴ Sanga, Imani. “The Figuring of Post- solo 20 principal repertoires of In 2013 and 2014, VIM implemented colonial Urban Segmentarity and Đờn ca tài tử by Tài tử artist Thiện the following seven research projects: Marginality in Bongo Fleva Music in Vũ ✴ Dar es Salaam, Tanzania”. IRASM: ✴ CD Unrequited/perpetual love, intro- “Some issues in Quan họ” by Le Van International Review of the Aesthet- ducing the singing and playing of the Toan ics and Sociology of Music 44 (2013): two master Ca trù artists of Vietnam ✴ “Hanoi tune, the process of aesthetic 385-405 ✴ DVD Đờn ca tài tử, traditional mu- perception” by Dương Viết Á. ✴ Sanga, Imani. “The Limits and Am- sic of southern Vietnam in Vietnam- ✴ “Traditional notation methods and bivalences of Postcolonial Conscious- ese and English versions, introducing issues of Vietnamese traditional mu- ness in Mbunga’s Church Law and an overview of Vietnamese Đờn ca sic notation” by Nguyễn Bình Định Bantu Music”. Yearbook of Tradi- tài tử heritage ✴ “Đao musical instrument of Khơ mú tional Music 45 (2013): 125-141 With the support of International In- ethnic group” by Tạ Quang Động formation and Networking Centre for Vietnam ✴ “Recitative art in Ca trù” by Nguyễn Intangible Cultural Heritage in the Hiền Đức by Phạm Minh Hương, Asia-Pacific Region under the auspices ✴ “Some solutions to improve the pres- Chair of National of UNESCO (ICHCAP), VIM has re- ervation of traditional music at the Committee stored audio documents of traditional Vietnamese Institute for Musicology” music dating to the mid-twentieth cen- In 2013 and 2014, the by Đặng Hoài Thu tury. They were compiled into nine Vietnamese Institute CDs to present Vietnamese traditional ✴ “Similarities and Differences in folk for Musicology (VIM) music in the twentieth century. These music of Thái and Lào ethnic group focused on disseminat- CDs are expected to be released by in Vietnam and Laos” by both Viet- ing Vietnamese traditional musical ICHCAP in 2015. namese and Lao researchers heritages, organizing festivals and per- formances of traditional music, and In addition to the activities for heritage Conferences producing audio CDs. Among the ac- popularization, the main activities of ✴ Seminars on Then arts, a kind of tivities were: VIM in 2013 and 2014 involved field- ritual performing arts of Tày, Nùng work, conference organization, train- performances and Thái ethnic groups in Vietnam- ings, art teaching, scientific research, ese Northern mountainous provinces ✴ A cycle of concerts of Vietnamese and regular publications. ✴ Conference on “Preservation and traditional music with explanations, Promotion of Southern Đờn ca tài tử to introduce musical instruments to Fieldwork art” held in Bạc Liêu province, a students at universities, colleges, and In the past two years, VIM conducted province in Southern Vietnam vocational schools, and to children the following fieldwork collection trips: and the elderly ✴ Conference on “Bài chòi folk art in ✴ Collection of Bài Chòi folk art in , the Current Situa- ✴ A programme to introduce touristic nine provinces in Central Vietnam tion and Preservation” organized in products of the Institute and a cul- ✴ Collection of Then art, a kind of rit- Bình Định province, a province in tural exchange with the Association ual performing arts of the Tày, Central Vietnam

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✴ International conference “The train- Activities by Trần Văn Khê Vietnamese Traditional Music and ing of Music Composing in the cur- Trần Văn Khê, former ICTM Vice Theatre” in French and English. rent period” held in Hanoi with the President and current Honorary Mem- For more information the work and life participation of Vietnamese and in- ber of ICTM, at 93 years of age contin- of Trần Văn Khê, please read the in- ternational composers who give lec- ues to be active in Vietnam, engaging terview published in Bulletin of the tures in music composing in the following activities: ICTM 125 (April 2014): 7-8.

Training and Teaching ✴ Holding “periodic activities” at his

✴ Teaching Ca trù singing at the vil- home, lecturing on Vietnamese tradi- lage communal house in Hải Dương tional music and performing arts province ✴ Being a Special Adviser to the

✴ Training about Bài chòi heritage Committee which successfully in- scribed Đờn ca tài tử music and song ✴ Opening courses to transmit intangi- in southern Vietnam into UNESCO’s ble cultural heritage including Then Representative List of the Intangible singing and Đờn ca tài tử to the staff Cultural Heritage of Humanity of VIM taught by folk artists ✴ Giving talks and lectures to students, Regular publications both at home or at institutions of ✴ Six volumes of the Bulletin of Viet- primary, secondary, an university namese Institute for Musicology levels, about Vietnamese traditional music, how to preserve it, dissemi- ✴ The book Hanoi Tune: The Process of Aesthetic Perception by Dương nate it, promote it, etc. Viết Á. ✴ Welcoming research teams European, Asian, and American countries and ✴ Brochure on Đờn ca tài tử heritage presenting “General Characters of These are some of the activities that the Vietnamese Institute for Musicol- ogy conducted in 2013 and 2014. A From the ICTM Online Photo Gallery number of additional activities related to traditional music were conducted by other organizations and individuals in Vietnam. These are listed below.

In the future, we hope to have more chances to cooperate with the members of ICTM around the world in studying traditional and other countries in Asia.

The Vietnam Institute of Culture and Arts Studies In cooperation with the Bắc Ninh Pro- vincial Department of Culture, Sports and Tourism, the Vietnam Institute of Culture and Arts Studies (VICAS) has researched, recorded, filmed, restored, and transcribed traditional Quan họ songs and some features of Quan họ Traditional Kazakh musical instruments exhibited at the Kazakh Museum of Folk Musical Instruments. Almaty, Kazakhstan. June 2014. Photo by Svanibor Pettan. Visit gallery. cultural activities.

Bulletin of the ICTM Vol. 127 — January 2015 — Page 21 REPORTS Reports from ICTM Study Groups

Applied Ethnomusicology Practice: Thoughts, Theories and Tra- lenges of the strategies and achieve- jectories from Sub-Saharan Africa”. ments of the Fort Hare ethnomusicol- Introduction Impey’s keynote, funded by the Local ogy approach, Germaine Gamiet added by Klisala Harrison, Arrangements Committee, greatly en- insights into the impact of the Study Group Chair hanced critical thinking on applied UNESCO Convention of the Depart- ethnomusicology for development and ment’s work, and David Manchip The ICTM Study in Africa. Overall, the more than 30 added a practical example of the inte- Group on Applied Ethnomusicology presentations showed a high level of gration of traditional material (which met for a highly stimulating Fourth scholarship while forging new directions has suffered increasing marginalization) Symposium in South Africa, from 30 for applied ethnomusicology research into a jazz-ensemble project. June to 4 July 2014. Due to generous and practice. arrangements by the Local Arrange- Highlighting work at the University of ments Committee, chaired by Bernhard In keeping with the warm, collegial, Kwazulu-Natal in Durban, Patricia A. Bleibinger, about 50 participants from and highly participatory spirit of the Opondo gave detailed insights into the Africa, Europe, North and South Study Group, this report is a collabo- successful work of her Applied Ethno- America, Australia, and Asia moved rative effort offering additional detail musicology master’s programme. A between the venues at the University of on the academic programme and local wonderful example of the outcome of Fort Hare in East London, the univer- arrangements. Congratulations to the the Durban programme was featured: sity’s main campus in Alice, a Hogs- presenters and to the truly helpful or- Nhlakanipho Ngcobo’s research film Y- back conference facility in the ganizers for a very successful meeting! Tjukutja ANC! This documentary on Amathole Mountains, and the song repertoire of the African Na- The Academic Programme Grahamstown. tional Congress combined ethnomusi- by Britta Sweers, Study cological research with documentary The academic programme focused on Group Secretary and filming skills. Jerry Rutsate’s pa- several themes, most prominently ap- per offered a Zimbabwean perspective plied ethnomusicology and institutions, The symposium pro- on the handling of musical archives and especially formal organizations, but vided a particular in- cultural heritage deprivation relation- also new research and applied work via sight into the strong activism and ships. This Zimbabwean study revealed digital media. This programme and its multi-layered reflection processes of a highly pragmatic approach within a applied activities—including a lecture- applied work on the African continent. complex political and economic situa- workshop-performance on umngqokolo The opening panel “Institutional Ac- tion that calls for further international overtone singing as Xhosa cultural heri- tion in Response to Social Demands” attention and reflection. tage by Dave Dargie as well as various by South Africa-based Diane Thram, applied activities organized by Local Brett Pyper, and Valmont Lane pre- Other international papers showed that Arrangements—would not have been sented a detailed analysis of two “na- applied ethnomusicology has started to possible without the guidance of the tional” South African Arts festivals. move to an increasingly theorized level Programme Committee in which I was Similarly, Mandy Carver highlighted that self-reflects on practice and assisted by Anthony Seeger, Samuel the complex challenge of South African method. For example, Klisala Harrison Araújo, Britta Sweers, and Bernhard school music-textbook publications, (Finland/Canada), who had to present Bleibinger. The symposium was special which must deal with problematic via Skype due to a temporary but seri- also in that it featured the first-ever school situations, as well as with a still- ous illness, reflected on the systematic keynote lecture for the Study Group, lingering colonial heritage. research of values and its role in the given by Angela Impey (School of Ori- The symposium also offered insights practice of applied ethnomusicol- ental and Asian Studies, University of into the work of the Fort Hare De- ogy—an idea that re-surfaced in other London) and titled “Mainstreaming partment. While Bernhard Bleibinger papers. Similarly, Gregory Barz (USA) Musical Knowledge into Development added an important view by addressing provided a rich overview of the chal-

Bulletin of the ICTM Vol. 127 — January 2015 — Page 22 REPORTS the relation of medical ethnomusicology to applied ethnomusicology. Ana Flávia Miguel (Portugal) reflected on the sig- nificant applied research methodologies developed by the Brazilian Musicultura Group, here exemplified in a project undertaken with Cape Verde immi- grants in Lisbon. Theoretization was also apparent in Klaus Näumann’s (Germany) ethnomusicological analysis of music competitions. Mai Li (USA) added perspectives on the Intangible Cultural Heritage debate.

The symposium provided insight into several fascinating case studies, such as Nepomuk Riva’s reflection on some- times conflicted interests of the differ- ent participating groups in intercultural co-teaching seminars at the Humboldt- University in Berlin. Marie-Christine Parent (Canada) reflected on her com- plex role expectations during her field- work on the , commissioned by the Ministry of Culture. Łukas Smo- luch (Poland) addressed the challenges Music students at the University of Fort Hare performed in a together with of revival from written collections in participants in a community-outreach project. the case of Oskar Kolberg’s material. Boyu Zhang (China) likewise presented Holtzman, and Emily J. Rothchild, groups, and to the role of archives and fascinating insights into applied ethno- presented a well thought-out panel on applied ethnomusicology within institu- musicological community work in community service learning in universi- tions and interdisciplinary contexts. China. Deise Oliveira Montardo (Bra- ties. The panel highlighted activist Also expressed was a need to exchange zil) provided important insights from work with hiphop musicians, and pro- relevant teaching programmes and cur- her applied work in the Amazon region, vided insights into issues of gender, ricula. and Jennifer Newsome (Australia) pre- religion, and ethnicity affecting inter- Local Arrangements sented an extremely sobering analysis locutors and researchers. of her work with Australian Aboriginal by Bernhard Bleibinger, The high quality of many papers con- communities. Chair of LAC tributed to the dedicated commitment The symposium further indicated that in a final discussion. For example, the The symposium started digital media increasingly facilitates multiple directions presented raised the in the morning of 30 applied work. This was apparent in the need to (re-)address the questions of June after a brief wel- presentation of Jocelyn and Zachary how to define applied ethnomusicology, come by Klisala Harrison, Britta Moon (USA), who added a fresh per- and of how to place related approaches, Sweers, and myself in the new Fort spective on Zimbabwean music in on- such as socially engaged ethnomusicol- Hare Music Department in East Lon- line material. Michael Hajimichael ogy, management work, etc., into this don. At the welcome reception on the (Cyprus) analysed the work with TV as academic field. Other important ques- first evening entertainment was pro- a medium in applied ethnomusicology. tions related to the establishment or vided by a marimba band, consisting of Finally, Carol Muller (USA), together expansion of better exchange and dia- music students and players from a for- with her students Nina Ohman, Glenn logue between the different research mer community outreach project. The

Bulletin of the ICTM Vol. 127 — January 2015 — Page 23 REPORTS band, trained by Jonathan Ncozana, The last day of the symposium led the Iconography of the performed original and arranged delegates to Grahamstown, where An- musical items, which showcased results drew Tracey introduced them to the Performing Arts of applied work at the Department. African Musical Instruments (AMI) by Zdravko Blažeković, factory and Diane Thram gave a Study Group Chair The late afternoon event on the second guided tour through the International day, after fruitful presentations and The Study Group on Library of African Music (ILAM). Af- intense discussions, was a sunset boat Iconography of the Per- terwards, symposium delegates had a trip on the Nahoon River in East Lon- forming Arts held its 12th Symposium, chance to attend the National Arts don, which offered delegates an oppor- titled “Neoclassical Reverberations of Festival in Grahamstown. tunity for relaxed talks and networking Discovering Antiquity”, at the Archivio while enjoying South African dishes The symposium was made possible di Stato in Torino, Italy, on 6-9 Octo- and wines. through financial support received from ber 2014. The symposium was organ- the National Arts Council, the Univer- ized by the Istituto per i Beni Musicali On day three, the Study Group trav- sity of Fort Hare’s International Affairs in Piemonte in Torino and its presi- elled through Frontier Country to the and Institutional Advancement De- dent, Cristina Santarelli. Fort Hare main campus in Alice, the partments. alma mater of famous politicians like The symposium examined the influ- Nelson Mandela and Julius Nyerere, Local arrangements were planned and ences of the eighteenth-century discov- and the former workplace of Desmond organized by the Local Arrangements eries of Herculaneum and Pompeii and Tutu. After a brief visit to the old Mu- Committee, consisting of myself (logis- their subsequent archaeological excava- sic Department and a walk through the tics; fundraising), David Manchip (IT, tions on the understanding and recep- campus, the group had a guided tour equipment and symposium venues), tion of Mediterranean antiquity during to the ANC Archives and the collection Germaine Gamiet (symposium venues, the neoclassical period. of Xhosa artefacts at NAHECS. The stationary, venues and catering, regis- Chronologically, distant cultures from main event of the day, Angela Impey’s tration desk), Jonathan Ncozana (ma- millennia ago returned again in the keynote address, took place after a tea rimba band and bow making work- early nineteenth century in new forms break in the exquisite De Beers Gallery shop), and Mkhululi Milisi and affecting all aspects of European life for African Arts at Fort Hare. The af- Gwyneth Lloyd (registration desk). and refreshed literature, theatre, music, ternoon was reserved for individual Dave Dargie was the good spirit that visual and decorative arts. New meth- walks to waterfalls, gardens, and in- supported all of us. ods of archaeological and historical re- digenous forests in Hogsback. In the I would like to thank all colleagues of search also penetrated methods of evening, a workshop was offered at the the Study Group who were part of the scholarly investigations and changed Fort Hare Hunterstoun Conference Programme Committee or who came to scholarly discourse. It was therefore Centre in Hogsback, where delegates South Africa as delegates. The atmos- truly appropriate to focus on the Euro- could learn how to make and play in- phere during the symposium was ex- pean reception of Greek, Roman, and digenous musical bows from the East- ceptionally collegial and inspiring. Egyptian antiquity, examine the reflec- ern Cape. The Hunterstoun Conference tions which antiquity provided in Centre has a particular history for European arts and culture through the Hogsbackians aware of a friendship be- early decades of the nineteenth century, tween its former owners, the Wilson and study how neoclassical aesthetics family, and J.R.R. Tolkien (who was replicated its source from two millennia born in South Africa). The famous an- before. It was most appropriate to work thropologist and specialist in Xhosa on these subjects in Italy, which over- culture, Monica Hunter-Wilson, also whelmed European travellers on grand used to live and work in Hunterstoun. tours with her own history, beauties, Day four concluded with a farewell and monuments, and who for centuries dinner organized by Local Arrange- was a mediator of the knowledge of ments. Greek culture and arts. But also to meet in Torino, the home of the most

Bulletin of the ICTM Vol. 127 — January 2015 — Page 24 REPORTS influential Egyptologists since the early of nineteenth-century scenographers in mark on the direction of research and nineteenth century and of Museo their readings of antiquity on the opera profoundly influenced our knowledge. Egizio, one of the most important stage (Giuseppe Borsato and Francesco Mercedes Viale Ferrero wrote European collections of Egyptian art. Bagnara in Venice, Antonio Basoli in countless books and articles on the his- Bologna, Alessandro Sanquirico in Mi- tory of opera scenography from the Another reason why this conference lan), showed how they understood an- seventeenth to the nineteenth century. was particularly timely is that in 2014 cient instruments (lyre reconstructed There is hardly any Italian scenogra- we celebrated the 250th anniversary of for the production of Boito’s Nerone), pher who has not found their place in Winckelmann’s Geschichte der Kunst and in particularly examined Metasta- her writings and hardly any Italian des Althertums, which appeared in sio’s studies of Roman urban design of opera theatre whose history she has not Dresden in 1764. Winckelmann revolu- the Palatine Hill and Galli Bibiena’s examined. For the conference she pre- tionized the understanding of stylistic staging of his libretto La Clemenza di pared the first keynote lecture “The changes in Greco-Roman art and Tito. One group of papers was dedi- Last Day of Pompeii as Imagined by deeply influenced archaeological stud- cated to reflections of antiquity in Alessandro Sanquirico, or How to Re- ies. His appreciation of ancient master- painting and sculpture (Mariano For- build Pompeii in Order to Destroy It”. pieces repeatedly quoted in early travel tuny i Marsal, Lawrence Alma-Tadema, Elena Ferrari Barassi on the other books, in turn made these sculptures Antonio Canova, Albert Moore, Jean- hand left her mark with her studies of more easily accessible to generations of Auguste-Dominique Ingres), and in medieval organology, but even more so travellers in Italy. But not only to music (Mendelssohn, Verdi, Saint- establishing in Italy the research of them—his concept of “edle Einfalt und Saëns, Spontini, and Strauss). Several visual sources for music, and providing stille Grösse” (noble simplicity and papers were concerned with the idea of a methodological model for generations quiet grandeur) put the excessive com- antiquity embedded in nineteenth- of future scholars of music iconography. plexities of Baroque aesthetics to rest, century theatre architecture in Faenza, She belongs to the founding generation and it did not go unnoticed by Gluck Mantua, and Lisbon and in decorative of the Répertoire International d'Ico- in his operas, or without influence on arts (maioliche from Castelli in Ab- nographie Musicale (RIdIM) project, Forkel’s understanding of the gradual rizzo). All this was networked into a and through the decades of her teach- evolution of stylistic changes in his All- wider context by papers on the role of ing career in Cremona she guided her gemeine Geschichte der Musik of 1788– music within general art, and on his- students to produce countless catalogue 1801. torical and antiquarian issues. records for artworks in Italian collec- The symposium had a homogeneous tions and a most detailed manual for It was our greatest honour to celebrate programme of thirty-three presenta- structuring data for cataloguing music at the conference two grandes dames of tions which examined the main influ- iconography on paper cards. She gave music and theatre scholarship, each of ences which moved neoclassical artists. the second keynote lecture “Iconogra- whom made in their own way a deep A group of papers presented directions phy of Iconography: Dance in Ancient Roman Representations, Canova’s Works and Their Engraved Reproduc- tions”.

The conference was superbly organized by Cristina Santarelli, and the staff of the Istituto, Sabrina Saccomani, Vitto- ria Bovolo, and Claudio Brosio. They deserve our most sincere gratitude for their work.

The next conference will be hosted in 2016 by the Centro Studi per la Ricerca Documentale sui Teatro e il

Participants of the 12th Symposium of the ICTM Study Group on Iconography of the Melodramma Europea of the Fondazi- Performing Arts. Torino, October 2014. one Cini in Venice, with its director

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Maria Ida Biggi serving as the local faut méditerraniser la musique’: Nietz- Music beyond the Mediterranean” and organizer and Co-Chair of the Pro- sche and the Mediterranean Turn”, Gary Tomlinson gave a virtuosic and gramme Committee. Loren Chuse’s, “El Duende Flamenco: appreciative summary and response to Magic, Mysticism and Marketing”, the presentations as a whole. At the Torino symposium, Cristina Ruth F. Davis’s, “Jacob Bsiri and the Santarelli was elected Vice Chair of the The symposium closed with a business Festival of Miracles: Homage to a Mu- Study Group. meeting whose main item was Marcello sician Turned Healer”, John C. Frank- Sorce Keller’s announcement of his in- lin’s “Kinyras: The Divine Lyre”, Ol- tention to step down as Chair after Mediterranean Music iver Gerlach’s “Magic Dance and Its seven years of service. His proposal Studies Para-liturgical Function in Southern- that Ruth Davis, who had served Italian Arbëreshë Communities”, Gail by Ruth Davis, Study alongside him as Vice Chair, should Holst-Warhaft’s “The Dark Magic of Group Chair, and succeed him, was unanimously ac- Lament”, Nadia Incoronata Inserra’s Salvatore Morra cepted. Ruth spoke appreciatively of “From Folk to World and to New Age: Marcello’s energetic and inspired lead- The Study Group on Alessandra Belloni’s Tarantella Ritual ership and his many achievements over Mediterranean Music in the US”, Sonia Kieser’s “The Influ- the past seven years, not least in re- Studies held its tenth ence of Tarantism on the Music Scene orientating and reinvigorating the symposium “Mysticism, in the Italian Region of Salento”, Teo- study group after the Levi Foundation Magic and Supernatural dora Konach’s “Samodivi: Thracian withdrew its support in 2007, securing in Mediterranean Mu- Mythology in the Bulgarian Epics”, new venues (most notably in Malta and sic” on 27–29 June 2014 Jacomien Prins’s “Girolamo Cardano: Portugal), attracting new members, in the Lightfoot Room of St John’s The Passions and the Power of Music”, and establishing the Mediterranean College Divinity School, University of Claudio Rizzoni’s “From Devotional Music Studies web journal. The study Cambridge. The event brought together Singing to Ritual Crisis: Music as Ex- group members thanked Marcello two dozen researchers from eight coun- perience of the Sacred in Present Day heartily for his sterling work as Chair. tries to consider from multidisciplinary Naples”, Miriam Rovsing Olsen’s “Ac- Returning to the present symposium, perspectives significant aspects of the tions of Magic in some Wedding Ritu- the members thanked Stefano Cas- relationship between music-making and als (Morocco)”, Marcello Sorce Keller’s telvecchi for his thoughtful and good- esoteric practices in the Mediterranean. “How Musically Magic is the Mediter- humoured organization and his genial The symposium was hosted and organ- ranean: Musings on the Survival of contributions as chair of most of the ized by Stefano Castelvecchi, a Fellow Healing Rituals in Modern Times”, and panel sessions. Ruth Davis spoke of the of St. John’s College, supported by Francesco De Zorzi’s “Between Ecstasy need to expand the Study Group’s ex- Ruth Davis and Marcello Sorce Keller. and Choreography: The Ceremony of ecutive according to ICTM protocol, The programme committee consisted of Samâ in the Ottoman-Turkish Mevlevi including the appointment of a new Stefano Castelvecchi, Ruth Davis, Mi- Tradition and its Development”. The Vice Chair and a Secretary/Treasurer, chael A. Figueroa, Goffredo Plastino, legendary documentary La taranta and the need to encourage wider par- and Marcello Sorce Keller. (1962), directed by Gianfranco Min- ticipation of colleagues from North Af- gozzi with Ernesto de Martino as an- The symposium opened with welcom- rica and the eastern Mediterranean. thropological consultant, music record- ing addresses by Stefano Castelvecchi The discussion turned to the problem ings by Diego Carpitella, and commen- and Marcello Sorce Keller, and contin- of finding appropriate venues for pub- tary by Salvatore Quasimodo, provided ued with panel presentations and inter- lishing papers presented at the sympo- the focal point of a plenary discussion active discussions. The presentations sia and the separate issue of the future on the second day, followed by a recep- included Cassandre Balosso-Bardin’s of the web journal. Oliver Gerlach of- tion courtesy of the Faculty of Music in “Demons, Saints and Xeremies: The fered to advise on possibilities for an the Old Music Room of St John’s Col- Use of Bagpipes in Mallorcan Para- interactive web format and arrange- lege. Allan Marett expanded the sym- Liturgical Ceremonies”, Linda Bar- ments are currently underway to trans- posium’s geographical, cultural, and wick’s “Magic and Mysticism in Con- fer the content of the web journal es- conceptual horizons with his keynote temporary Practice of the Garfagnino tablished by Marcello Sorce Keller to “Mysticism, Magic and Supernatural in Maggio”, Francesco Del Bravo’s “‘Il the main ICTM website.

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Participants of the Seminar in Tallinn, September 2014. From left to right: Ardian Ahmedaja, Žanna Pärtlas, Ulrich Morgenstern, Susanne Fürniss, Anda Beitāne, Ignazio Macchiarella, and Enrique Cámara de Landa.

The Study Group discussed possible the organization, for which we all are case for a new comprehension of multi- themes and venues for future symposia. very grateful. part music from the viewpoint of Suggestions included the University of musical behaviours and their underly- While preparations for the event were Naples “L’Orientale”/ Conservatorio di ing concepts as opposed to concentrat- underway, contacts with ICTM Secre- Musica “San Pietro a Majella” (hosted ing primarily on musical constructions. tary General Svanibor Pettan helped us by Dinko Fabris and Salvatore Morra) Susanne Fürniss asked the question to understand and decide that a semi- and the Centre des Musiques Arabes et “What is a part?” based on her own nar would be the more suitable format Méditerranéennes in Sidi Bou Said, research and on experiences in the de- for this meeting. Every speaker was Tunisia. velopment of a typology of polyphonic given 90 minutes to lead a discus- techniques by a group of French eth- sion—instead of giving a lecture—on a nomusicologists led by Simha Arom. Multipart Music topic connected with the main theme. Žanna Pärtlas examined questions on by Ardian Ahmedaja, The distribution of the abstracts and heterophony both from the viewpoint Study Group Chair texts with contents and questions of of musical thinking and conceptualiza- previewed discussions in the prepara- A report on the First tion as well as that of musical texture tory period led, amongst other things, Seminar of the ICTM and sound realization. Ulrich Morgen- to exchanges of literature in languages Study Group on Multipart Music. Mul- stern evoked discussions on termino- other than English between the partici- tipart Music: theoretical approaches to logical clarifications of styles of instru- pants, enriching the content of the dis- terminology (19-20 September 2014) mental multipart music performed by cussions in Tallinn. follows. soloists and related phenomena with The order of the discussions suggested recourse to both ethnomusicology and One of the issues discussed during the by the local organizer followed the idea to historical musicology. Anda Beitāne business meeting of the Third Study of going from general to specific views concentrated her approach on concepts Group Symposium (11-17 September (see programme and abstracts on the of harmony, discussing divergences be- 2013, Budapest, Hungary) was the idea Study Group website). Ardian Ahme- tween local and scholarly terminologies by Ignazio Macchiarella to organize a daja concentrated the approach on the as well as the influence of methods and colloquium on theoretical approaches identification of terms assigned to con- terminology of musicology on ethnomu- connected with the terminology in re- cepts on a philosophical basis, meaning sicological studies. search on multipart music. Its necessity the investigation of concepts, concep- was reinforced in several other state- The seminar was characterized by an tual systems, and their labels. Enrique ments because of the different meanings unusually intensive dialogue, in which Cámara de Landa induced discussions applied to the term “multipart music” another contribution distributed before from an historical perspective of the (and others connected with it) in both the seminar, “Tracking Relational research about the perception and use scholarly literature and Study Group Spaces on Record: A Multipart Per- of several terms as well as about view- symposia. Žanna Pärtlas from the Es- spective on the Analysis of Popular points on music-making and expressive tonian Academy of Music and Theatre Music” by Alessandro Bratus, who behaviour. Ignazio Macchiarella put the in Tallinn assumed responsibility for could not be present, was also included.

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Starting out from questions on termi- Society and the Estonian Academy of In addition to working sessions and nology, the discussions frequently con- Music and Theatre. special presentations, the evenings were centrated on the research approaches filled with concerts, workshops, and towards multipart music. One of the Music and Dance in informal get-togethers with music- general observations was a discrepancy Southeastern Europe making and dancing. One full week of between the research perspectives con- paper presentations and critical discus- nected principally with the “sound by Burcu Yıldız, Alexander Markovic, sions explored a myriad aspects of par- product” and those of the coming into and Dunja Njaradi ticipants’ academic interests in music being of multipart music as a process. The Fourth Symposium of the Study and dance in Southeastern Europe. In The role of all individuals involved and Group on Music and Dance in South- total, 56 papers were presented. The the dynamics of the behaviour between eastern Europe was held from 24 Sep- Programme Committee (Anca them are gaining in importance in re- tember to 1 October 2014 at the Fac- Giurchescu, Sonia Tamar Seeman, search, while auditory and visual ulty of Music in Belgrade, where the Belma Kurtişoğlu, Velika Stojkova analysis are rarely as a tool for investi- opening ceremony took place, while all Serafimovska, Mirjana Zakić, and Naila gations. In addition, the diversity of working sessions and accompanying Ceribašić, Chair) arranged them into research traditions in different countries events were located in the pleasant en- 21 sessions centred around the three and different languages was experienced vironment of the Petnica Science Cen- main themes of the symposium: profes- and was found to be particularly en- ter near Valjevo, Serbia. sionalization in music and dance (25 riching for the discussions. papers), improvisation in music and The local arrangements committee, dance (17 papers), and inter/post- According to the participants’ opinion, chaired by Selena Rakočević, put spe- disciplinarity in ethnomusicology and the seminar as a new format proved to cial emphasis on the work of sisters ethnochoreology (14 papers). They are be very efficient and therefore it will be Ljubica and Danica Janković, pioneers addressed below by Burcu Yıldız, used again in the future work of the of dance research in Serbia whose anni- Alexander Markovic, and Dunja Study Group alongside colloquia and versaries were celebrated this year. The Njaradi, respectively, young members symposia. guest of honour was Olivera Vasić, pro- of the Study Group who were invited Part of the programme was a perform- fessor emeritus of ethnochoreology at by the Chairs to provide closing reflec- ance of the women’s choir Verska the Faculty of Music, and successor to tion on the symposium’s themes. naase’ from Värska in Southeastern the Janković sisters. During the symposium, professionali- Estonia, which presented songs and zation was the most popular theme. dances from local practices of the Seto minority in an impressive way.

On behalf of the participants, special thanks go to Žanna Pärtlas and the Estonian Academy of Music and Thea- tre in Tallinn for an exemplary organi- zation, creating such an inspiring at- mosphere for work and providing at the same time insights into the life of the Academy and local traditions in the country, including local delicacies dur- ing the breaks and the reception.

I also wish to thank Žanna Pärtlas for taking on the task of editing the pro- ceedings, which are to be published in Res Musica, the peer-reviewed year- book of the Estonian Musicological Participants of the 4th Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe. Petnica, Serbia, September 2014.

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Several papers debated growing trends interconnections, treating both similar- vidual practices within communal ex- in the professionalization of traditional ity and difference in practices associ- pectations for participatory expressive music and dance in Southeastern ated with music and dance in the re- forms. Discussions focused not just on Europe, focusing particularly on the gion. the analysis of forms and possibilities professionalized transmission of knowl- but also pointed to how improvisational Throughout the week, papers also fo- edge and institutionalization of practices are embedded in larger socio- cused on multiple aspects of music and musical/dance practice. Many discus- political contexts. Various papers illus- dance improvisation, using case stud- sions focused on professional folk or- trated the importance of conceptualiz- ies drawn from diverse Southeastern chestras and dance ensembles from dif- ing improvisation as a cultural process, European contexts. “Spontaneity”, ferent regions and countries, particu- and not just product, in ways that “creation in the moment”, “creative larly state-sponsored or national en- point to how social values, political and freedom”, “virtuosity”, and “variabil- sembles and institutions. Several papers economic exigencies, historical change, ity” were some terms deployed to con- considered how those state ensembles and cultural and aesthetic politics ceptualize improvisation as a distinc- recreated their own “traditional” or shape improvisational practices. tive phenomenon. Several papers also “national” folk dances and songs and considered how improvisation relates to During the symposium several impor- organized the transmission of accumu- underlying musical and dance struc- tant issues relating to the question of lated knowledge through choreographed tures or forms, and proposed models to interdisciplinarity were raised. From and staged presentations. Discussions better understand how basic elements the outset it was clear that many of the on this topic with comments and con- (melodic patterns, kinetic motifs, etc.) symposium participants deploy differ- tributions from various countries em- might be arranged, or combined, in ent, often quite distinct methodologies phasized the role of educated profes- flexible (but patterned) ways to impro- and methodological perspectives. This sionals as the most prominent promot- vise within culturally accepted struc- variety of approaches begs the question ers of cultural heritage. tural boundaries of music and dance of disciplinary boundaries, and several Several key questions raised the issue of practices. papers and panels explored the conven- setting standards for professionalism in tions, traditions and discourses of both From these discussions broader ques- theoretical, economic, pedagogical, and ethnomusicology and ethnochoreology tions were also raised about improvisa- performance practice. How do we define from this perspective. As in previous tion as a sociocultural phenomenon in professional and amateur? Why and meetings, the question of disciplinary Southeastern Europe. Presentations how some people and institutions have boundaries was also raised as a way of questioned how improvisational prac- been chosen to represent professional- searching for the balance between mu- tices interact with notions of “tradi- ism, while others have not? Who de- sic and dance scholarship within ICTM. tion”. The plethora of academic per- termines the standards of professional- There is little doubt that the impor- spectives on what constitutes “tradi- ism? What is the role of music educa- tance of these issues is increasing and tion” highlighted the need to be critical tion in the process of professionaliza- and reflexive of how our scholarship tion? Presenters also considered various From the ICTM Online Photo approaches folk culture in terms of commercialization strategies of profes- Gallery authenticity, continuity, and “purity”; sionals, the transmission of professional for example, some presentations ex- skills across generations and profes- plored various ways in which improvi- sional institutions, and the develop- sation has long been seminal for articu- ment of communication apparatuses in lating—and changing—music/dance the process of professional production. practices. One of the main conclusions from vari- Improvisation was also examined as a ous papers and workshops presented at powerful means of constituting the po- this symposium concerns the need for sition of individuals vis-à-vis larger so- more collaborative fieldwork and com- Fatima Nurlybayeva of the Local cial collectives. Papers probed the ways parative studies in Southeastern Euro- Arrangements Committee of the 2015 that music/dance improvisation allows pean music and dance, to better under- ICTM World Conference, hard at work. for personal expressive freedom, or al- stand complex historical and regional Astana, Kazakhstan. December 2014. ternatively moulds (or constrains) indi- Photo by Svanibor Pettan. Visit gallery.

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ICTM may expect many other discus- Music and Gender London). Subject to their agreement to sions and challenges in the future. have their names placed in nomination, by Susan Thomas, an online vote of the membership will Another interesting topic raised during Study Group Secretary be held. the symposium by several young col- The business meeting of leagues is the question of the role of A motion was made and seconded to the ICTM Study Group ethnomusicology and ethnochoreology constitute the Operating Procedures on Music and Gender as academic disciplines. The issue of Committee with the following slate: was held on 13 November 2014 in our scholarly engagements with our Pittsburgh, USA, presided over by Barbara L. Hampton informants, colleagues, and the wider Barbara L. Hampton, Study Group Eileen Hayes public was problematized in several Chair. presentations. Some of the questions Susan Thomas raised included: What is our role and Greetings were made to all members in Elizabeth Tolbert responsibility as scholars in the age of attendance and to ICTM Secretary Deborah Wong austerity? How do we represent our General Svanibor Pettan. Pettan also The motion was passed unanimously. informants within academic work and greeted the members. The Chair asked The Operating Procedures Committee for various policy engagements? How that a motion be made to approve the will report back to the membership do we write “good” or “good enough” agenda; it was approved unanimously. scholarship, to use terms that Pro- with the completed Operating Proce- gramme Chair Naila Ceribašić sug- The floor was opened for nominations dures six months in advance of the next for Chair. Hampton was nominated, gested during our closing ceremony? meeting for its perusal. At the next These and many other questions re- and as there were no other nomina- meeting the Operating Procedures will ceived many tentative answers ranging tions, a vote was taken, and Hampton be presented for approval to the full from theoretical discussions on situated was elected to the position of Study membership present and voting. Group Chair. The Chair will serve for knowledge to the call for engaged eth- It was reported that an abstract for a two years, at which time elections will nomusicological and ethnochoreological session to be sponsored by the Study be held for Chair, and the mandate praxis. These and many other issues Group had been submitted to the 43rd after that second election, and all sub- discussed in the week-long symposium ICTM World Conference, to be held in sequent terms for Chair, will be for in Petnica really set the foundations for Astana, Kazakhstan in July 2015. If four years, subject to any revisions ne- some interesting discussions in the fu- accepted, it will be a“brainstorming cessitated by the new Operating Pro- ture. session” entitled “Theorizing Gender in cedures. Ethnomusicology” and will be led by The floor was opened for nominations Marko Kölbl, Pirkko Moisala, Susan for Secretary/Treasurer. Susan Thomas Thomas, Elizabeth Tolbert, and Bar- was nominated, and as there were no bara L. Hampton. This format permits other nominations, a vote was taken, the participation of all members of the and Thomas was elected to the posi- Study Group who are present. The an- tion. She will serve a four-year term nouncement of its acceptance or rejec- subject to any revisions necessitated by tion will be made in December 2014. the new Operating procedures. The Chair asked that all members try to attend and participate in this ses- It was decided by acclamation that, sion. given the international membership of ICTM and of the Study Group, the A vote was taken on two invitations for position of Vice Chair should be held the 2016 meeting: (1) Ljubljana, Slove- by a member from another continent. nia and (2) Bern, Switzerland. It was Nominations were placed for Rachel decided by vote that the 2016 meeting Harris (School of Oriental and African will be held in Bern, Switzerland, with Studies, University of London) and thanks to Britta Sweers. Shzr Ee Tan (Independent Scholar,

Bulletin of the ICTM Vol. 127 — January 2015 — Page 30 REPORTS

There was no old business. For new Co-Chair’s Report Elections business the Chair reported that the Sultanova reported about eight years of Sultanova explained details about the next business meeting will be held in long efforts to improve both the quality forthcoming elections for the Study Astana, Kazakhstan, at a time to be and reach of the Study Group in vari- Group and asked members to vote via assigned by the World Conference Pro- ous directions, such as encouraging the new electronic system, announced gramme Committee. As soon as that is students and scholars to join the group at the meeting by an e-mail from the known, it will be announced to the and actively participating in ICTM ICTM Secretary General Svanibor Pet- members by e-mail and at the website. World Conferences. Sultanova empha- tan. sized that one the important aims in There being no further business, the Members’ announcements meeting was adjourned by acclamation. this group is encouraging and organiz- ing the members’ publication about the Richard K. Wolf reported a new possi- bility for publication of scholarly arti- Music of the Turkic- music in Turkic-speaking world. In this regard Galina Sychenko explained the cles written in various languages to be speaking World effort which has taken place for publi- translated and published in English. He by Mohammad R. cations, particularly in the Russian asked members and their colleagues to Azadehfar, Study Group language, in Novosibirsk. send outstanding articles to the new Secretary journal, which title and publisher will Treasurer’s announcements be soon announced. The business meeting of Saida Yelemanova announced the suc- Mohammad R. Azadehfar informed the Study Group on cess of the growing membership of the participants about the establishment of Music of the Turkic-speaking World Study Group. These days more col- a new organization called Centre for was held in Istanbul on 19 April 2014. leagues joined ICTM during the 4th Music Studies in the World of Islam The meeting was called to order by the Symposium and more efforts in this (CMSWI) in Tehran. Some other mem- Study Group’s Co-Chair, Razia Sul- direction will help to raise attendance bers announced recent publications of a tanova, at 9:45 a.m. There were 31 to the ICTM 43d World conference. members in attendance. number of journals and books.

Next meeting From the ICTM Online Photo Gallery The Study Group will have its next business meeting during the ICTM 43rd World Conference in Astana in 2015.

There being no further business, the meeting was adjourned at 10:45 a.m.

Traditional music in Lombok following the 3rd Symposium of the Study Group on Performing Arts of Asia. Lombok, Indonesia. June 2014. Photo by Tsung-Te Tsai. Visit gallery.

Bulletin of the ICTM Vol. 127 — January 2015 — Page 31 REPORTS Other Reports

Grove Music Online ✴ 152 revised or newly commissioned edited by Walter A. Clark, and The articles. Grove Dictionary of , by Zdravko Blažeković, edited by Jonathan Cross. The updat- ICTM representative on The September update included: ing of entries at Grove Music Online the Advisory Panel to ✴ Another 301 new articles from the concerning Southeastern Europe, coor- Grove Music Online second edition of The Grove Diction- dinated by Jim Samson, is nearly fin- ary of American Music, including On 5 November 2014, a day before the ished, and the first articles belonging to annual conference of the American Mu- articles on Latino music, New Or- this thematic block will be online on 7 sicological Society/Society for Music leans music, megamusical, rock December 2014. Finally, the Grove Mu- musical, and street performers; biog- Theory in Milwaukee, the Grove Advi- sic committee of the Society for 17th- sory Panel—formed by representatives raphies of Koko Taylor, Jean Ritchie, Century Music, headed by Amanda Carl Stalling, and Weird Al Yanko- from each of the eight main scholarly Eubanks Winkler, submitted its rec- vic; and new article on bands, in- music societies—met with Deane Root ommendations for updates, revisions, (Grove’s editor-in-chief), Anna-Lise cluding Green Day, Heart, and Yo la and new entries concerning this area of Tengo. Santell (editor of the Grove Music On- interest, and the Grove staff is prepar- line and Oxford Reference), and mem- ✴ 99 new articles from the second edi- ing them for commissioning. tion of The Grove Dictionary of bers of Grove’s Editorial Board Philip The initial specification of requirements V. Bohlman, Jonathan Cross, Honey Musical Instruments, including arti- for the new platform is completed and Meconi, and John H. Roberts. This was cles on The Abel Hammer Company, the work has begun on its design. In an occasion for the members of the Agwara, Ahlberg & Ohlssons In- progress is also the preparation of data advisory panel to be informed about strument AB, and AlphaSphere. for the migration, which includes sup- recent developments at Oxford Music ✴ 171 articles revised or newly commis- plying more robust metadata to images Online and to discuss some current sioned, including articles on synaes- and music examples to improve their issues. thesia, Giralomo Frescobaldi, and searching and standardization for link- medievalism. During 2014 two updates were made to ing with other biographical websites. Grove Music Online. The March up- Updating existing entries and produc- The new platform will have a better date included: ing new ones is the major effort by search engine and a new taxonomy Grove’s editorial office. All eligible which will provide a more precise ✴ 339 new articles from the second edi- authors of the entries included in the search for concepts related to popular tion of The Grove Dictionary of 2001 edition have been contacted to music and non-Western musics. American Music, edited by Charles work on updates, but 46 percent of Hiroshi Garrett, published in Octo- Along with the second update in 2014, articles are still orphaned. ber 2013. Some highlights of this Grove Music Online launched a new update include biographies of Bob The two most editions (The Grove Dic- partnership for multimedia articles Dylan, Antonín Dvořák, Charles tionary of American Music and The with Alexander Street Press and the Mingus, Charles Seeger, and Joan Grove Dictionary of Musical Instru- Naxos library. The linking to images Tower; new articles on electronic in- ments) will together produce about and videos, however, will be fully im- struments, free jazz, and the music of 18,000 new and revised articles, which plemented with the release of the new Hawaii. will be loaded to the website upon platform. completion of the new editorial and ✴ 113 new articles from the second edi- In 2015 Grove is planning to release its user platform scheduled to be released tion of The Grove Dictionary of first e-books on jazz adopted from the in the fall of 2016. Two additional ma- Musical Instruments, including arti- The Grove Dictionary of American jor thematic editions are in the plan- cles on English organ builder John Music. Later on will follow titles on ning stage: The Grove Dictionary of Avery, instrument inventor David film music, and possibly series on opera Latin American and Iberian Music, Sawyer, and the washboard. which might be coordinated with Sat-

Bulletin of the ICTM Vol. 127 — January 2015 — Page 32 REPORTS urday Matinee Broadcasts from the Metropolitan Opera.

In November 2014 the second edition of The Grove Dictionary of Musical In- struments came out in print, edited by From the ICTM Online Photo Gallery Laurence Libin. The edition appears in Grove’s new print format, with larger typeface, and it is produced in five vol- umes. About half of the fifth volume is an index, which eliminates the need for the huge number of see references printed in the 1984 edition. The printed text is sparsely illustrated. Im- ages from the 1984 edition could not have been used since there was no re- cord of copyright preserved from that time and new images were not included in the edition. As entries will appear in Grove Music Online, it has been planned to include images which authors have already submitted with articles to the online version of entries. Hitomi Mori presenting how to teach and play the koto (a Japanese zither). International Symposium “Transmission of Traditional Music – Models and Methods”, Vienna, Austria. The members of the Advisory Panel 22 November 2014. Photo by Otgoonbayar Chuluunbaatar. Visit gallery were ensured about Grove’s commit- ment to keep the content current and relevant. The editorial office indicated interest to work more closely with the scholars in the field and hear sugges- tions for new entries, updates, and re- visions for under-represented areas of scholarship or geographic regions. Grove is not only interested in updat- ing individual entries, but also in bring- ing forward the thinking behind new concepts, ideas, and areas of knowl- edge. If you would like to revise arti- cles, serve as peer reviewer, or have suggestions for new ones, please either contact me ([email protected]) or the Grove editorial office ([email protected]).

Participants of the sessions of the First International Symposium on Traditional Polyphony. Tbilisi, Georgia, September 2002. Front left to right: Simha Arom, Trần Quang Hải, Timothy Rice, Joseph Jordania. Unknown photo credit. Visit gallery

Bulletin of the ICTM Vol. 127 — January 2015 — Page 33 CALENDAR OF EVENTS Calendar of Events ICTM ★ 30 Sep-4 Oct 2015: 1st Symposium of the ICTM Study Group on African Musics ★ 30 Jan 2015: Conference of the ICTM National Location: Durban, South Africa Committee for Bosnia and Herzegovina, “Women Read more on page 7 as Carriers of Folk Music Practices in Bosnia and Herzegovina” ★ 9-13 Mar 2016: 21st Symposium of the ICTM Location: Sarajevo, Bosnia and Herzegovina Study Group on Historical Sources of Traditional Read more about the Conference here Music Location: Paris, France ★ 20-22 May 2015: 23rd ICTM Colloquium “Be- Read more on page 7 tween Speech and Song: Liminal Utterances” Location: Nanterre, France ★ 9-16 Jul 2016: 29th Symposium of the ICTM Read more about the Colloquium here Study Group on Ethnochoreology Location: Retzhof Castle near Graz, Austria ★ 8 Jun 2015: 20th Symposium of the Study Group Read more about the Symposium here. on Folk Musical Instruments Location: Luang Prabang, Laos Related organizations Read more in Bulletin of the ICTM 124, p11 ★ 21-26 Jun 2015: IAML/IMS Congress “Music ★ 10-13 Jun 2015: Symposium of the ICTM Study Research in the Digital Age” Group on Ethnochoreology’s Sub-Study Group of Location: New York, USA Movement Analysis Read more about the Congress here. Location: Athens, Greece Read more on page 7

★ 2-5 Jul 2015: Joint Conference of France and UK ICTM National Committees Location: Paris, France Read more in Bulletin of the ICTM 126 page 10

16-22 Jul 2015: 43rd ICTM World Conference. Location: Astana, Kazakhstan. Read more about the World Conference here.

★ 17-21 Aug 2015: 14th Symposium of the Study Group on Location: Biskupin, Poland Read more in Bulletin of the ICTM 126 page 12

★ 13-16 Sep 2015: Joint SEM-ICTM Forum: Trans- forming Ethnomusicological Praxis through Activ- ism and Community Engagement Location: Limerick City, Ireland Read more about the Forum here

Bulletin of the ICTM Vol. 127 — January 2015 — Page 34 PUBLICATIONS Featured Publications by ICTM Members

Music and Minorities from Around Musics — Écouter Engendering Performance: Around the World: le monde Indian Women Performers Research, Documentation DVD box set of 12 previously in Search of an Identity and Interdisciplinary Study unpublished films. Paris: French Society Urmimala Sarkar Munsi and for Ethnomusicology (SFE) and La Ursula Hemetek, Essica Marks, and Bishnupriya Dutt. London: SAGE, Huit, to be released in March 2015. Adelaida Reyes, eds. Cambridge: 2010. Hardcover, 332 pp. ISBN English and French subtitles. 36 EUR Cambridge Scholars Publishing, 2014. 9788132104568. 55 GBP. Purchase. (discounted price till 29 March 2015) Hardback, 218 pp., 43 images and plus shipping and handling. Purchase. The book is a com- music examples. ISBN 9781443866200. prehensive critical 47.99 GBP. Purchase. Finding out how a young Congolese history of women per- woman experiences her first ritual, The articles in formers in Indian hearing the singing and playful voices this double- theatre and dance of of old pipers in the Calabrian moun- blind peer- the colonial and post- tains, discovering gorgeous initiatory reviewed ed- colonial periods. Its Fulani dances of Niger’s Wodaabe, wit- ited volume underlying premise is that one cannot nessing with amusement the difficult are based on evaluate performance in the Indian collaboration between a New-York papers pre- context without looking at dance and jazzman and a Malian griot, and even sented at the theatre together, unlike the course following a musicologist’s adventures in the 2012 Study Group Symposium in taken by traditional scholarship. Issues Namibia... Around Musics - Écouter le Zefat, Israel. of sexuality and colonialism, and cul- Monde contains 12 rare films praised at ture and society come together in this As in previous volumes where interests influential international festivals, in- study to provide a holistic account of of the host country have been well rep- cluding Jean Rouch Festival in Paris. women performers in India. resented, the current volume attends to Jewish themes. Geographically, the İzmir Zeybek Oyunlari book’s subjects and authors come from four continents, emphasizing the global Mehmet Öcal Özbilgin. Izmir: E.Ü. Devlet Türk Müziği Konservatuvarı, scope of music and minorities. The methodological approaches range from 2012. 156 pp.. In Turkish. ISBN 9789754839807. To purchase, contact musical analysis in the educational con- text to the cultural studies approach. the editor. In both subject matter and perspective, This book aims to therefore, this book represents the record the variety of broad range of modern ethnomusicol- instruments, dances, ogy today. music, and local per- formance styles of the zeybek cultural com- munities in Izmir to- day. By including both direct and indi- rect aspects of dance and music culture (clothing, religious ceremonies, and

Bulletin of the ICTM Vol. 127 — January 2015 — Page 35 PUBLICATIONS entertainment), the book offers a versa- This book is focused This is the first tile and integrated approach to the cul- on singing accompa- monograph devoted to ture of Izmir. The main reason for writ- nied by the gusle as the sound world of the ing this book is to form a supplemen- the most recognizable music of Turkic peo- tary edition which will support the form of epic expres- ples of Central Asia, theoretical courses on zeybek dances in sion. It is based on a in connection with the Turkish Folk Dances Departments rich and valuable ar- geographical condi- of the State Conservatories of Turkish chive as well as field recordings allow- tions of their habitat, history, types of Music. ing for both diachronic and synchronic economy, and language practice. research perspectives. The book is the result of more than 10 Pax Sonoris VII/2013 years of work by the author, and it Elena Shishkina, ed. Astrakhan, 2013. Silloin tanssittiin tangoa: includes sonograms, melograms of 226 pp. ISSN 2222-4343. In Russian Tanssikansan kertomaa sounds, sounds ranks. and musical and English. To purchase, contact the 1900-luvulta fragments from kyuis and sazs for Ka- editor. zakh kyl-kobyz and dombra as well as Helena Saarikoski, ed. Helsinki: Turkmen . The seventh issue of Partuuna, 2014. In Finnish and the journal Pax Swedish. 336 pp. ISBN 9789526777757. Sonoris contains arti- 36 EUR. Purchase. Vocal Tradition of Jasenica cles from the 2nd Region in View of The book is a Congress “East and collection of written Ethnogenetic Processes West: Ethnic Identity oral history materials Jelena Jovanović. Belgrade: Institute of and Traditional about twentieth- Musicology, 2014. Paperback, 740 pp., Musical Heritage as a Dialogue of Civi- century popular maps, trans. In Serbian with summary lizations and Cultures” which was held couple dance and in English. ISBN 9788680639147. To in Astrakhan in September 2013. The music culture in purchase, contact the publisher. journal considers modern challenges Finland, the so-called “pavilion dance and issues of musical folklore studies, Through an culture”. The material is based on an ethnography, ethnomusicology, philol- interdisciplinary inquiry conducted by the Finnish ogy, lingua-folklore and dialect studies, approach, the author National Museum in 1991. Saarikoski and academic musical studies. elaborates on the selected and edited narratives of 87 vocal tradition of the writers who tell about dances in their Serbian Traditional Singing Šumadija region in youth. The book also contains a Central Serbia, with Accompanied by the Gusle: methodological afterword (57 pages) by an emphasis on vocal the author. The Guslars’ Practice as a practices which were Communication Process kept in the area until the 1970s or Sound World of Music of Danka Lajić Mihajlović. Belgrade: 1980s. The meeting and overlapping of Institute of Musicology, 2014. the Turkic Peoples: Theory, elements of two different musical, Paperback, 504 pp., photos, ill., trans. History, Practice cultural, and linguistic idioms are explained using the methods and In Serbian with summary in English. Saule Utegalieva. Moscow: Kompozitor, techniques of melogeography, proving ISBN 9788680639130. To purchase, 2013. Hardback, 528 pp., examples, ill. that there is a correspondence between contact the publisher. In Russian. ISBN 9785425400581. 30 ethnomusicological, linguistic, and USD. Available directly from the (partly) also ethnological researches in publisher or the author. this region.

Bulletin of the ICTM Vol. 127 — January 2015 — Page 36 GENERAL INFORMATION ICTM World Network

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

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

Algeria Bulgaria Czech Republic Maya Saidani Rosemary Statelova Zuzana Jurková Liaison Officer Liaison Officer Liaison Officer

Argentina Cameroon Denmark Silvia Citro Kisito Essele Eva Fock Liaison Officer Liaison Officer Chair of National Committee

Australia and New Canada Ecuador Zealand Judith Klassen María Gabriela López Yánez Henry Johnson Chair of National Committee Liaison Officer Chair of Regional Committee Cape Verde Estonia Austria Mário Lúcio de Sousa Žanna Pärtlas Thomas Nußbaumer Liaison Officer Liaison Officer Chair of National Committee Chile Ethiopia Azerbaijan Juan Pablo González Timkehet Teffera Sanubar Bagirova Liaison Officer Liaison Officer Liaison Officer China Finland Bangladesh Xiao Mei Mikko Vanhasalo Mobarak Hossain Khan Chair of National Committee Chair of National Committee Chair of National Committee Costa Rica France Belarus Susan Campos Fonseca Susanne Fürniss Elena Gorokhovik Liaison Officer Chair of National Committee Liaison Officer Côte d’Ivoire Georgia Belgium Sié Hien Joseph Jordania Anne Caufriez Liaison Officer Liaison Officer Liaison Officer Croatia Germany Bosnia and Tvrtko Zebec Dorit Klebe Herzegovina Chair of National Committee Chair of National Committee Jasmina Talam Chair of National Committee Cuba Ghana Laura Delia Vilar Álvarez Daniel Avorgbedor Liaison Officer Liaison Officer

Bulletin of the ICTM Vol. 127 — January 2015 — Page 37 GENERAL INFORMATION

Greece Kuwait Mozambique Irene Loutzaki Lisa Urkevich Luka Mukhavele Liaison Officer Liaison Officer Liaison Officer

Guatemala Kyrgyzstan The Netherlands Matthias Stöckli Munira Chudoba Evert Bisschop Boele Liaison Officer Liaison Officer Liaison Officer

Hungary Laos Nigeria János Sipos Bountheng Souksavatd Richard C. Okafor Chair of National Committee Liaison Officer Liaison Officer

India Latvia Norway Shubha Chaudhuri Anda Beitāne Bjørn Aksdal Chair of National Committee Liaison Officer Chair of National Committee

Indonesia Lebanon Oman Made Mantle Hood Nidaa Abou Mrad Nasser Al-Taee Liaison Officer Liaison Officer Liaison Officer

Iran Lithuania Palau Mohammad Reza Azadehfar Rimantas Sliužinskas Howard Charles Liaison Officer Chair of National Committee Liaison Officer

Ireland Macedonia Papua New Guinea Daithí Kearney (FYROM) Naomi Faik-Simet Chair of National Committee Velika Stojkova Serafimovska Liaison Officer Chair of National Committee Israel Peru Essica Marks Madagascar Efraín Rozas Liaison Officer Mireille Rakotomalala Liaison Officer Liaison Officer Italy Philippines Ignazio Macchiarella Malawi José Buenconsejo Chair of National Committee Robert Chanunkha Liaison Officer Liaison Officer Japan Poland Komoda Haruko Malaysia Ewa Dahlig Chair of National Committee Tan Sooi-Beng Chair of National Committee Liaison Officer Kazakhstan Portugal Saule Utegalieva Mexico Salwa El-Shawan Castelo- Liaison Officer Carlos Ruiz Rodriguez Branco Liaison Officer Chair of National Committee Kenya Charles Nyakiti Orawo Mongolia Puerto Rico Liaison Officer Otgonbayar Chuluunbaatar Mareia Quintero Rivera Liaison Officer Liaison Officer Republic of Korea Sheen Dae-Cheol Montenegro Romania Chair of National Committee Zlata Marjanović Constantin Secară Liaison Officer Liaison Officer

Bulletin of the ICTM Vol. 127 — January 2015 — Page 38 GENERAL INFORMATION

Russia Tajikistan Vietnam Olga A. Pashina Faroghat Azizi Phạm Minh Hương Liaison Officer Liaison Officer Chair of National Committee

Serbia Tanzania Yemen Danka Lajić-Mihajlović Imani Sanga Jean Lambert Chair of National Committee Liaison Officer Liaison Officer

Singapore Thailand Zambia Joseph Peters Bussakorn Binson Mwesa I. Mapoma Liaison Officer Liaison Officer Liaison Officer

Slovakia Turkey Zimbabwe Bernard Garaj Arzu Öztürkmen Jerry Rutsate Chair of National Committee Chair of National Committee Liaison Officer

Slovenia Turkmenistan Mojca Kovačič Shakhym Gullyev Chair of National Committee Liaison Officer

South Africa Uganda Alvin Petersen James Isabirye Liaison Officer Chair of National Committee

Spain Ukraine Enrique Cámara de Landa Olha Kolomyyets Chair of National Committee Liaison Officer

Sri Lanka United Kingdom Lasanthi Manaranjanie Keith Howard Kalinga Dona Chair of National Committee Liaison Officer United States of Sudan America Mohammed Adam Sulaiman Beverley Diamond Abo-Albashar Chair of National Committee Liaison Officer Uruguay Sweden Marita Fornaro Ingrid Åkesson Liaison Officer Chair of National Committee Uzbekistan Switzerland Alexander Djumaev Marc-Antoine Camp Liaison Officer Chair of National Committee Vanuatu Taiwan Monika Stern Tsai Tsung-Te Liaison Officer Chair of Regional Committee Venezuela Katrin Lengwinat Liaison Officer

Bulletin of the ICTM Vol. 127 — January 2015 — Page 39 GENERAL INFORMATION Study Groups

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

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

African Musics Music Archaeology Chair: Patricia A. Opondo Chair: Arnd Adje Both

Applied Ethnomusicology Music and Dance in Southeastern Europe Chair: Klisala Harrison Chair: Velika Stojkova Serafimovska

Ethnochoreology Music and Dance of Oceania Chair: Catherine E. Foley Chair: Kirsty Gillespie

Folk Musical Instruments Music and Gender Chair: Gisa Jähnichen Chair: Barbara Hampton

Historical Sources of Traditional Music Music and Minorities Co-Chairs: Susanne Ziegler & Ingrid Åkesson Chair: Ursula Hemetek

Iconography of the Performing Arts Music in the Arab World Chair: Zdravko Blažeković Chair: Scheherazade Hassan

Maqām Music of the Turkic-speaking World Chair: Alexander Djumaev Chair: Razia Sultanova

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

Multipart Music Performing Arts of Southeast Asia Chair: Ardian Ahmedaja Chair: Patricia Matusky

Bulletin of the ICTM Vol. 127 — January 2015 — Page 40 GENERAL INFORMATION Executive Board

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

Salwa El-Shawan Castelo-Branco Don Niles Stephen Wild President Vice President Vice President Portugal Papua New Guinea Australia

Samuel Araújo, Jr. Naila Ceribašić Jean Kidula Mohd Anis Md Nor Executive Board Member Executive Board Member Executive Board Member Executive Board Member Brazil Croatia Kenya/USA Malaysia

Jonathan P.J. Stock Razia Sultanova Kati Szego Terada Yoshitaka Executive Board Member Executive Board Member Executive Board Member Executive Board Member UK/Ireland UK Canada Japan

Trần Quang Hải J. Lawrence Witzleben Xiao Mei (萧梅 ) Saida Yelemanova Executive Board Member Executive Board Member Executive Board Member Executive Board Member France USA China Kazakhstan

Bulletin of the ICTM Vol. 127 — January 2015 — Page 41 GENERAL INFORMATION Secretariat

The Secretariat is the body responsible for the day-to-day opera- tions of the ICTM, and the main channel of communication be- Contact information tween the Council’s governing body—the Executive Board—and its International Council for Traditional members, subscribers, partners, and affiliates. Music The Secretariat comprises the Secretary General and the Executive Assistant, who are both appointed by the Executive Board for an Department of Musicology initial period of four years. Faculty of Arts University of Ljubljana Aškerčeva 2 1000 Ljubljana Slovenia

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

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

Bulletin of the ICTM Vol. 127 — January 2015 — Page 42 GENERAL INFORMATION Membership Information

The International Council for Traditional Music is a schol- (***) Available only to applicants retired from full time arly organization which aims to further the study, practice, work who have been members of the ICTM for at least five documentation, preservation, and dissemination of tradi- years. tional music and dance of all countries. To these ends the Council organizes World Conferences, Symposia, and Collo- Memberships for organizations quia, and publishes the Yearbook for Traditional Music and Corporate Memberships are available to institutions, the online Bulletin of the ICTM. libraries, regional scholarly societies, radio-television organi- As a non-governmental organization in formal consultative zations, and other corporate bodies. Corporate Members relations with UNESCO and by means of its wide interna- are able to choose the number of individuals they would like tional representation and the activities of its Study Groups, to attach to their Corporate Membership (a minimum of the International Council for Traditional Music acts as a four). These “Corporate Related Members” enjoy the same bond among peoples of different cultures and thus contrib- benefits as full Ordinary Members, i.e., participation in the utes to the peace of humankind. Council’s activities, voting in elections, receipt of publica- tions, and access premium website content.

Membership Institutional Subscriptions to the Yearbook for Tradi- All ICTM memberships run from 1 January to 31 Decem- tional Music are available in electronic-only, print-only, and ber, except for Life and Joint Life Memberships (see below). print+electronic formats. Please visit this page for more information. Members in good standing are entitled to:

1. Participate in the activities of the Council (such as pre- Supporting memberships senting a paper at a World Conference). All members who are able to sponsor individuals or institu- 2. Receive the Council’s publications. tions in a soft-currency country are urged do so by paying an additional fee of EUR 30.00 for each sponsored in- 3. Obtain access to premium website content (such as the divdidual or institution. If the recipient is not named, ICTM Online Directory). ICTM will award the supported membership to one or more 4. Vote in ICTM elections. individuals or institutions in such countries.

Memberships for individuals Payment methods ✴ Ordinary Membership: EUR 60.00 Remittance payable to the ICTM Secretariat is preferred in ✴ Joint Ordinary Membership (*): EUR 90.00 euros via Electronic Funds Transfer (aka bank transfer, ✴ Student Membership (**): EUR 40.00 giro, wire transfer, or SEPA/UPO order). Other currencies and payment methods are accepted (major credit and debit ✴ Emeritus Membership (***): EUR 40.00 cards, PayPal, cheques), but additional charges may apply. ✴ Life Membership: EUR 1,200.00 For any questions regarding memberships, please write to ✴ Joint Life Membership (*): EUR 1,500.00 [email protected]. (*) Joint Memberships are available for spouses who both wish to join. They receive only one set of ICTM publica- tions, but otherwise enjoy all the other privileges and re- sponsibilities of Ordinary Members.

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

Bulletin of the ICTM Vol. 127 — January 2015 — Page 43 GENERAL INFORMATION Publications by ICTM

Yearbook for Traditional Music Bulletin of the ICTM The Yearbook for Traditional Music is a refereed scholarly The Bulletin of the International Council for Traditional journal which carries essays, reviews, and reports in the area Music carries news from the world of traditional music and of traditional music and dance research. dance, a calendar of upcoming events, and reports from ICTM Study Groups and ICTM National and Regional Rep- ISSN (Print): 0740-1558 resentatives. ISSN (Online): 2304-3857 ISSN (Online): 2304-4039 General Editor: Kati Szego. Editor: Carlos Yoder. The Yearbook was established in 1949 as the Journal of the International Folk Music Council. It is published in English The Bulletin of the ICTM was established in 1948 as the every November. All ICTM members and institutional sub- Bulletin of the International Folk Music Council. Until its scribers in good standing receive a copy of the Yearbook via April 2011 issue (Vol. 118), the Bulletin was printed and priority air mail. posted to all members and subscribers. Starting with its Oc- tober 2011 issue (Vol. 119), the Bulletin became an The latest issue of the Yearbook is Vol. 46, corresponding to electronic-only publication. the year 2014. The Bulletin of the ICTM is made available through the ICTM’s website in January, April, and October each year. It can be downloaded free of charge, and all are encouraged to redistribute it according to the Creative Commons BY-NC- SA 3.0 Unported License, which protects it.

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

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

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

Bulletin of the ICTM Vol. 127 — January 2015 — Page 44