BULLETIN of the

INTERNATIONAL COUNCIL

for

TRADITIONAL MUSIC

Including second notice for No. 120, April 2012 42nd World Conference in ISSN (Online): 2304-4039 ICTM Shanghai, People’s Republic of China, 2013

Contents

FROM THE SECRETARIAT Announcements — Related ( Sub-Study Transmission; Volksmusik in from the ICTM Organisations: Ecomusicologies Group). den Alpen - Secretariat 2012; 3rd Rothenfels Dance Pages 39-44 Standortbestimmungen Page 2 Symposium: The Variety of Other reports: RILM Report, Pages 51-52 European Dance from 42nd ICTM WORLD CONFERENCE UNESCO News ICTM WORLD NETWORK 1420 to 1820; Participatory Pop: Pages 45-48 IN SHANGHAI, CHINA Audiences, Life Styles and Fan List of National and Regional Second Notice of the next ICTM Culture in 20th Century CALENDAR OF EVENTS Representatives World Conference. Southeast Asia; ESEM Seminar Upcoming events from ICTM Pages 53-54 Pages 3-6 2012; East and West: Ethnic and related organisations ICTM STUDY GROUPS Identity and Traditional Musical ANNOUNCEMENTS Pages 49-50 List of ICTM Study Groups and Heritage as Dialogue between RECENT PUBLICATIONS BY ICTM their Chairs. Announcements — ICTM: 27th Civilisations and . MEMBERS Page 55 Symposium of the ICTM Study Pages 15-18 Group on Ethnochoreology; 19th Echoes from Georgia: Seventeen ICTM AUTHORITIES REPORTS Symposium of the ICTM Study Arguments on Georgian The President, Vice Presidents, Reports from ICTM National Group on Folk Musical ; Etnomuzikologija na Secretary General, Executive and Regional Representatives: Instruments; 11th Symposium razpotju: iz glasbene zakladnice Assistant and Executive Board Australia & New Zealand; of the ICTM Study Group on kosovskih Romov; European Members. Austria; Bulgaria; China; Czech Iconography of the Performing Voices II: Cultural Listening Page 56 Arts; 9th Symposium of the Republic; Denmark; ; and Local Discourse in ICTM Study Group on Ivory Coast; Papua New Multipart Singing Traditions in GENERAL INFORMATION Mediterranean Music Studies; Guinea; Philippines; ; Europe; Les instruments de About the ICTM; Membership; 7th Symposium of the ICTM Slovenia; South Africa; musique dans la tradition Publications; Institutional Study Group on Music and Switzerland; United Kingdom. malgache; Steep Slopes: Music Subscriptions Minorities; 3rd Symposium of Pages 19-38 and change in the Highlands of Pages 57-59 the ICTM Study Group on Reports from ICTM Study Papua New Guinea; Studia Music of the Turkic Speaking Groups: African Musics; Instrumentorum Musicae World; 2nd Symposium of the Historical Sources of Traditional Popularis II; Sung Tales from ICTM Study Group on Music; Mediterranean Music the Papua New Guinea Performing Arts of Southeast Studies; Multipart Music; Highlands; Traditional Musical Asia (PASEA). Round Dances – 19th Century Cultures in Central-Eastern Pages 7-14 Derived Couple Dances Europe – Ecclesiastical and Folk

Bulletin of the ICTM Vol. 120 — April 2012 — Page 1 FROM THE SECRETARIAT

News from the ICTM individual reactions and from this In the period between the most recent greater number of submissions, I am October and April Bulletins, a ballot was Secretariat confident that the Executive Board’s sent to all members who were financial by Svanibor Pettan, decision to make the Bulletin a rich, in 2011 to ratify by simple majority the online-only and free of charge publica- Alterations to the Rules which would Secretary General tion was a big step into the right direc- allow for electronic voting in ICTM Dear Past, Present and tion. Enjoy reading the current reports elections, a decision which was pre- Future Members of the about in Australia & liminary passed by the last General As- ICTM, best regards to all New Zealand, Austria, Bulgaria, China, sembly in St. John’s. A total of 761 bal- from your Secretariat in Czech Republic, Denmark, Hungary, lots were sent, and to date 154 have Ljubljana and thank you for your corre- Ivory Coast, Papua New Guinea, Phil- been received. If you haven’t voted yet spondence and continuous support. ippines, Serbia, Slovenia, South Africa, and intend to do so, please make sure Switzerland and the United Kingdom, you post your ballot by 1 June 2012. As you can read on pages 3-6, prepara- starting on page 19. tions for the 42nd ICTM World Confer- On 23 December 2011 the Secretariat ence (11–17 July 2013, Shanghai) are in Among the Study Group reports, the circulated via e-mail an extraordinary full swing. The five themes determined Secretariat wishes to express a warm round of news called News from ICTM. by the Programme Committee are com- welcome to the first report by the Its main purpose was to announce the plemented by the usual sixth theme, youngest of Study Groups, that on Afri- implementation of credit card payments New Research. The information pro- can Musics. Study Groups have once in the very near future. If you didn’t vided in this issue of the Bulletin is been described as ‘the bloodstream of have the opportunity to read it, you can complemented by the Conference’s own the ICTM’, and since as many as eleven download it directly from here. website at ictm2013.shcmusic.edu.cn, of them are having symposia in 2012, On 20 January 2012 we notified our which will be subject to continuous up- one can conclude that the ICTM’s body members and partners that payment dates. Please note that the deadline for is in good health. with credit cards had been finally en- submission of proposals is 7 September Perhaps the most important new feature abled via PayPal, the world’s leading 2012. It is a pleasure to add that on this related to the ICTM website is that Na- online payment processor. The news occasion we have succeeded in avoiding tional and Regional Committees can was very well received, especially by any time collisions with IASPM’s Bien- now have their own subpages. All Na- our members from Canada and the nial Conference – something which un- tional and Regional Representatives are USA, who had second thoughts about fortunately occurred several times in the now able to post content such as re- paying dues by expensive bank trans- past. ports, news, calls for participation, etc., fers or cumbersome postal money or- As “a non-governmental organisation in and also host their files. At the moment ders. To date, we have received more formal consultative relations with only one such page is online, that of the than 230 payments via PayPal from all UNESCO” and with many of its mem- Australia & New Zealand Regional corners of the world. A small number of bers conducting research related to mu- Committee, and all other National and members have experienced problems sic as a part of the “intangible heritage” Regional Representatives are kindly with the system—ostensibly due to concept, ICTM has a vested interest in invited to consider enriching the ICTM country restrictions—and we are con- being actively involved with the ongo- website with their own content. sidering them on a case-by-case basis. ing processes led by UNESCO. Our ap- The pages for the Yearbook for Traditional In February this year the Secretariat sent plication to UNESCO was successful, Music and the Bulletin of the ICTM were out the customary renewal notices in- and after several years of absence, thoroughly rewritten, to reflect the re- viting members and subscribers to pay ICTM has been elected into the Con- cent changes in access and distribution. their dues and extend their member- sultative Body which will examine the Furthermore, a new section specifically ships for the calendar year 2012. For the 2012 files for the Urgent Safeguarding dedicated to Institutional Subscribers first time, these notices were sent exclu- List, the Best Practices and the requests was created. Study Group entry pages sively via e-mail, so that the renewal for international assistance. Please see were added to the left navigation bar, to process could take place in a faster and Wim van Zanten’s report on pages 47-48 facilitate one-click access from any- more reliable way. So far the response for more detailed information. where in the website. Last but certainly has been very positive, as more than The previous issue of the Bulletin (Vol. not least, the Events section was up- 43% of the membership has already re- 119, October 2011) featured seven re- dated to make it easier to navigate all newed for 2012. ports from National and Regional Rep- the events the ICTM has in store for Wishing you a spring full of scholarly resentatives (Australia & New Zealand, 2012 and beyond. and personal accomplishments, I kindly Azerbaijan, Bosnia and , The work on the ICTM website will con- invite you to read and enjoy the April Canada, , Guatemala and Ire- tinue during 2012, so keep checking 2012 issue of the Bulletin of the ICTM. land), while this issue has fifteen—a www.ictmusic.org for more news. whopping 114% increase. Judging from

Bulletin of the ICTM Vol. 120 — April 2012 — Page 2 ICTM WORLD CONFERENCES 42nd ICTM World Conference 11-17 July, 2013. Shanghai Conservatory of Music, Shanghai, People’s Republic of China.

Second notice and Call for Proposals You are cordially invited to attend the 42nd World Conference of the ICTM which will be held in the summer of 2013 and hosted by the Shanghai Con- servatory of Music. The ICTM World Conference is the leading international venue for the presentation of new re- search on music and dance. Many new initiatives emerge at World Conferences and, perhaps even more crucially, dis- cussion at these meetings helps us to shape our ongoing work. A successful World Conference—like that in St. John's, Newfoundland, in July of 2011— is a truly stimulating place to be. Conference Themes Shanghai is one of the world's most vi- Email: [email protected] brant cities, and the Shanghai Conserva- Telephone: +1 (301) 405-5502 1. Presentation and Representation in Minor- ity Musics and Dance tory is ideally located in the heart of the Fax: +1 (301) 314-9504 old French district, within easy walking A meeting in a with fifty-five distance of a wide range of hotels, res- Local Arrangements officially recognised minority ethnicities taurants, and stores, and with conven- Committee is a perfect opportunity to engage in ient access to metro transportation. further discussions of a theme that has Yang Yan-di (Co-chair) World Conference website: produced some of the most exciting ictm2013.shcmusic.edu.cn Xiao Mei (Co-chair) work in ICTM circles in recent years. We Han Zhong-En (member) understand "minorities" (in the broad Program Committee Luo Qin (member) sense as defined by the ICTM Study Group on Music and Minorities) to be J. Lawrence Witzleben (Chair, USA) Zhao Wei-Ping (member) "groups of people distinguishable from Samuel Araújo (Brazil) Chen Xiao-Yi (member) the dominant group for cultural, ethnic, Dan Bendrups (Australia) Tang Jun-Jie (member) social, religious, or economic reasons." Some suggested topics within this Salwa El-Shawan Castelo-Branco (Por- Li Xiao-Nuo (member) theme include: 1) definitions and treat- tugal) Wu Wei-Xi (member) ment of minorities at various times and Frederick Lau (USA) Huang Wan (secretary) in various places, and the consequences Alvin Petersen (South Africa) Chen Ting-Ting (secretary) for music and dance; 2) presentational Svanibor Pettan (Slovenia) contexts for minorities within private Contact Information and public domains; 3) representation of Xiao Mei (China) 3rd Floor, Rehearsal Center minorities and their music and dance in Contact Information Fenyang Road, No. 20 various media contexts; 4) reflections of Shanghai Conservatory of Music minority-minority relations (as well as J. Lawrence Witzleben Shanghai minority-majority relations) in music School of Music, 2110 Clarice Smith P.R. China and dance; and 5) educational perspec- Performing Arts Center tives and possibilities for betterment University of Maryland Email: [email protected] within the frame of applied ethnomusi- College Park MA 20742-1620 Telephone: +86 (21) 6431-4353, 6431-4028 cology. of America Fax: +86 (21) 64745068

Bulletin of the ICTM Vol. 120 — April 2012 — Page 3 ICTM WORLD CONFERENCES

2. Rethinking, Reconstruction, and Reinvent- others—that can be considered within context, for critical commentary on the ing Musical Pasts this theme. Interactions, syntheses, or role of visual media in research theory This theme addresses the representation conflicts between traditional ways of and method, and other related issues. of historical aspects of cultural practice transmitting music and dance, and the Topics can include any aspect of screen in ethnomusicology and ethnochoreol- modern standardised practices devel- media production and consumption, ogy, and the ways in which researchers oped in conservatories, dance acade- large or small, including soundtracks, engage with history in . It mies, or schools of performing arts are music video, television programming, seeks to open up a discourse on the role also processes deserving of critical and documentary making, visual media in that history plays in informing and in- comparative discussion. applied ethnomusicology, the Internet, and so on. Papers that engage critically fluencing cultural practices, and the 4. Ritual, Religion and the Performing Arts ways in which researchers can use his- with the role of film and television in torical resources for contemporary pur- In many societies, it is hard to find mu- the representation of culture are particu- poses. Papers may also look into how sic, dance, or theatre that is not associ- larly welcome. ated in some ways with either multina- such representations are configured by 6. New Research cultural politics, especially within the tional religious traditions such as Chris- framework of nationalist or regionalist tianity, Buddhism, and Islam, or local- Proposals on new research on other movements, or, alternatively, how they ised belief systems and practices of relevant topics are also welcome. emanate from grassroots movements. communication with the supernatural. While revivalist movements have often The performing arts and ritual combine Abstracts not only in religious rites and ceremo- appeared as ethnographic subjects in Abstracts should be no more than 300 nies, but also in traditions such as thea- ethnomusicology, musical pasts can in- words in length, and written in English tre and dance drama performed specifi- form our research in other ways as well, (papers may be presented in either Eng- cally for deities or in conjunction with investing contemporary practices with lish or Chinese, but all abstracts must be religious festivals. We also look for pa- new meaning. Another dimension of in English). Abstracts that exceed the pers dealing with ritualised aspects of this theme is the intersection of history, 300-word limit will NOT be considered. performance, even in secular contexts, historiography, and performance. In All abstracts should be submitted online in what J. H. Kwabena Nketia has called some countries or regions, new scholar- through the conference website. ship may challenge national (and na- "the manner in which familiar forms tionalist) discourses of origin, continu- and content are reproduced, recreated Following evaluation by the Program ity, or innovation, and tensions between or reenacted so that they become the Committee, authors will be notified of historical accuracy and contemporary focus of aesthetic behaviour." the decision (acceptance, waiting list, or notions of aesthetics or commercial vi- 5. Screening Music and Dance non-acceptance) on their submission by ability are also not unusual. This theme December 2012. is open to papers that discuss the place Film and television play crucial roles in of history in research, as well as particu- the communication and mediation of Proposals lar case studies of musical pasts recon- culture, and their roles have intensified Proposals are invited in the following figured for a contemporary purpose. in the twenty-first century. Researchers of music and dance engage with film categories. The Program Committee 3. Ethnomusicology, Ethnochoreology, and and television in a wide variety of ways, encourages the submission of panel and Education using these media platforms as both roundtable proposals. Seen as both the transmission of knowl- sources of information and vehicles for 1. Individual paper edge from one generation to another the dissemination of findings. Research- and an intergenerational process reach- ers, cultural organisations and commu- Individual paper presentations are 20 ing across cultural formations, educa- nities of cultural practice also engage minutes long to be followed by 10 min- tion can benefit from the multidisciplin- visual media as vehicles for preserving utes of discussion. The proposal must ary approaches to the study of music and transmitting aspects of intangible include a 300-word maximum abstract. and dance that are crucial to fields such cultural heritage. These productions 2. Panel as ethnomusicology and ethnochoreol- occupy a central place in our discipli- ogy. Socio-cultural and political deter- nary practices, as evidenced by aca- Organised panels are 90 minutes (three minants and their implications for edu- demic journal reviews and the inclusion papers, 20 minutes each, followed by 10 cational processes, institutionalisation of of film screenings in successive ICTM minutes discussion) or two hours long music and dance education, national vs. world conferences. This theme invites (four papers, or three papers and a dis- regional policies, establishment of cur- papers that engage in critical and de- cussant). A proposal by the panel organ- ricula or proper instructional codes, scriptive discussions of film, television iser (300 words) as well as one by each transmission processes and techniques, and other screen media in music and individual presenter (300 words each) and generational or regional disputes dance research. It provides opportuni- are required. Where an independently over the legitimacy of knowledge are ties for producers of visual media to submitted abstract appears to fit a just a few issues—among a plethora of discuss their productions in a research panel, the program committee may

Bulletin of the ICTM Vol. 120 — April 2012 — Page 4 ICTM WORLD CONFERENCES suggest the addition of a panelist. The All forms and guidelines for submis- semble genre Jiangnan Silk and Bam- program committee may also recom- sions can be found on the conference boo. You may also encounter music of mend acceptance of only some of the website. the expatriate communities, Chinese papers on a panel. pop song, and sounds from China's numerous ethnic minorities. 3. Film/video session Local Arrangements Shanghai is an international city with a The Shanghai Conservatory of Music, Recently completed films introduced by of more than twenty million. where the 2013 World Conference of the their author and discussed by confer- It is one of the four municipal cities di- International Council for Traditional ence participants may be proposed. rectly under the Central Government in Music will take place, is situated in the Submit a 300-word abstract including China, and one of the nation’s key eco- heart of Shanghai. Since its founding in titles, subjects, and formats, and indi- nomic and cultural centres. For more 1927, it has built up a solid basis for cate the duration of the proposed films/ than a century, it has been a major cross- composition, Chinese and Western-style videos and introduction/discussion. roads between Asia and the West. With performance, and scholarship. Over the 4. Forum/Roundtable many foreign settlements in the first years, it has contributed a great deal to half of the twentieth century and large the transmission of and exchange be- Forum/Roundtable sessions provide expatriate communities in residence tween Chinese and Western music, and opportunities for participants to discuss today, the city has become an interna- student interest now extends also to a subject with each other and with tional metropolis with a great diversity many world musics. During the confer- members of the audience. Sessions of up of cultures. It is a place of choice for ence, we shall provide enough meeting to two hours long should include at people from all over the world who rooms of various sizes for paper presen- least four but no more than five pre- wish to sample its colourful past and its tations and panels, and our Local Ar- senters. We encourage formats that dramatic metamorphosis into today's rangements Committee team will pro- stimulate discussion and audience par- booming trading and cultural hub. vide information on accommodation ticipation. The organiser will solicit po- and cater to all your needs during your sition papers of up to 15 minutes from Walking along the Bund, in the centre of stay. Hotel rooms of different types are each presenter and will facilitate ques- Shanghai, you will find a cluster of ex- being arranged close to the conserva- tions and discussion for the remaining otic architecture, much of it in a variety tory for your convenience. We shall also time. Proposals for forums/roundtables of European styles. You may feel as if offer all delegates three choices for an should be submitted by the session or- you are travelling back in time more excursion: a trip to the "earthly para- ganiser (300 words). than a century, and many of you will dise" of Suzhou, one of China's most probably recognise something familiar, historic canal cities; a Shanghai city derived from your own culture. At the Guidelines for Abstracts tour, including both sides of the same time, Shanghai is a place where Huangpu River, the 88-storey Jinmao Abstracts should include a clear focus of the traditional and the modern are per- Tower, and the historic colonial era the problem, a coherent argument, evi- fectly merged. Apart from its role as a buildings of the Bund; or an outing to dence of the author's knowledge of pre- commercial and entertainment centre Wuzhen, a picturesque setting encircled vious research, and a statement of the abounding with restaurants, boutiques, by two rivers, boasting many well- implications for ethnomusicology, eth- cafés and bars of Chinese and foreign preserved old buildings constructed in nochoreology, and/or related disci- styles, Shanghai also hosts all kinds of the Ming and Qing dynasties. plines. Because abstract review is music from the Western world—classi- anonymous, do not include your name, cal concert music, jazz, and popular In honour of the conference, we shall the names of other panelists, or the music—alongside Chinese traditional organise many fabulous concerts in- names of fellow researchers in the body music, including the famous local en- cluding a special event titled “An East of the abstract. Timeline • First call for proposals: October 2011

• Second call for proposals: April 2012

• Deadline for submission of proposals: 7 September 2012

• Notification of acceptances: December 2012.

The Preliminary Program will be pub- lished in the April 2013 edition of the Bulletin. Entrance to the Campus of the Shanghai Conservatory of Music

Bulletin of the ICTM Vol. 120 — April 2012 — Page 5 ICTM WORLD CONFERENCES

Asia Night,” as well as many unique mer British Consulate, Customs House, 3) Trip to “Earthly Paradise” Suzhou workshops with famous musicians from former Hong Kong and Shanghai Bank, (08:00—17:00) Shanghai, Chinese ethnic minorities, and Fairmont Peace Hotel Shanghai. and other parts of the world. Besides its landmark colonial architec- The journey to Suzhou starts at 8:00 in ture, however, the Bund has a few other the morning. It is about a 90 minute We are confident that your trip to good attractions. After that, we will go drive from Shanghai. Suzhou is a beau- Shanghai will be wonderful and unfor- to visit the Shanghai Grand Theatre and tiful city and has been called the "Venice gettable, and we welcome you heartily the breathtaking architecture of the of the East" because of its network of to our city, and to the 42nd World Con- “Moonboat” (former Saudi Arabia Pa- canals. Its landscaped private gardens ference of the ICTM at the Shanghai vilion, World Expo 2010). Finally, we built from the 6th century BC to the Conservatory of Music! will drive to Mercedes-Benz Arena for Qing Dynasty are world-famous, espe- cially the Zhuozheng Yuan Garden, Excursions — Sunday 14 July dinner. showing why Suzhou has been given 1) One-day urban tour of Shanghai the title of "garden city." In the after- noon, we will visit another famous at- Route A (08:00—17:00) traction, Huqiu (Tiger Hill). In both We will drive in the morning at 8:00 to places, you will breathe fresh air and Nanpu Suspension Bridge and Oriental enjoy a peaceful stay far away from the Pearl TV Tower (Shanghai is known as noise of city life. This excursion will the pearl on the coast of the East China definitely give you an unforgettable Sea) or to the 88-storey Jinmao Tower, memory. after which we will have sightseeing on Excursion 1: One-day urban tour of Shanghai both sides of the Huangpu River, the Lu Jia Zui Central Financial District, the 2) Water Town Tour to Wuzhen (08:00— Yan An Dong Lu Tunnel and The 17:00) Bund—the most famous landmark of Shanghai, nicknamed “Wall Street of In this excursion, we will depart at 8 Far-east Asia.” The highlights of the AM for Wuzhen, a water town that lies Bund are the colonial-era buildings lin- in the far northeast of the Zhejiang ing ing the west side of Zhongshan province, about 90 minutes’ drive from Excursion 3: Trip to “Earthly Paradise” Suzhou Dong Yi Lu, standouts of which include Shanghai. The town is completely encir- the former British Consulate, Customs cled by two rivers—the Dong Shi and a House, former Hong Kong and Shang- smaller tributary, which meet at a T- hai Bank, and Fairmont Peace Hotel junction. On the rivers are numbers of Shanghai. Besides its landmark colonial beautiful bridges. Here you will have architecture, however, the Bund has a the experience of taking a rowing boat few other good attractions. Then we trip, sightseeing some famous attrac- will take a relaxing walk on Nanjing tions along the rivers, including the Dong Road, Pedestrian Street, and the Temple of Guan Yu, Water Market, Yu Garden for sightseeing and shop- Beijing-Hangzhou Grand Canal, and ping. White Lotus Tower. You will undoubt- edly find it to be very picturesque and Route B (08:00— 20:00) relaxing. Wuzhen also boasts quite a We will drive in the morning at 8:00 to few well-preserved old buildings, con- Nanpu Suspension Bridge and Oriental structed in the Ming and Qing dynas- Pearl TV Tower (Shanghai is known as ties. the pearl on the coast of the East China Sea) or to the 88-storey Jinmao Tower, after which we will have sightseeing on both sides of the Huangpu River, the Lu Jia Zui Central Financial District, the Yan An Dong Lu Tunnel and The Bund—the most famous landmark of Shanghai, nicknamed “Wall street of Far-east Asia.” The highlights of the Bund are the colonial-era buildings lin- ing the west side of Zhongshan Dong Yi Lu, standouts of which include the for- Excursion 2: Water Town Tour to Wuzhen

Bulletin of the ICTM Vol. 120 — April 2012 — Page 6 ANNOUNCEMENTS Announcements — ICTM

News on the upcoming Call for Participation: 27th Symposium of the 19th Symposium of the ICTM Study Group on ICTM Study Group on Ethnochoreology Folk Musical Instruments 22–29 July 2012. 20–23 March 2013. University of Limerick, Ireland. Bamberg, Germany. Registration deadline: 31 May 2012. Submission deadline: 1 June 2012.

The ICTM Study Group on Ethnocho- We are glad to announce that the 19th reology will celebrate its 50th year dur- Symposium of the ICTM Study Group ing our upcoming symposium. The on Folk Musical Instruments will take 27th Symposium of the ICTM Study place in Bamberg, Germany. Group on Ethnochoreology will take place at the Irish World Academy of Date: 20-23 March 2013 (arrival: 19 March / departure: 24 March) Music and Dance at the University of pants will keep to the registration Limerick, Ireland, July 22nd -29th, We could win the famous Schwenk & deadline of the symposium (15 August, 2012. Presentations and discussion will Seggelke woodwind instrument work- 2012). focus on two themes: (1) Dance and shop to become the venue of our sym- Topics Place; (2) Dance and Festival. Addi- posium. Please, have a look at the tional details and registration informa- workshop’s website to get an impres- The two main topics of the symposium tion can be found at the symposium sion of what awaits us there. are listed below. For each of them, we website: noted some subitems to suggest a vari- Venue ety of fields related to the main topics. www.ethnochoreologysymposiumlime Please, feel free to add further aspects rick.ie. Schwenk & Seggelke Holzinstrumen- tenbau through submitting your abstract! De- Registration and payment is handled Obere Königstr. 15 spite looking deeply into matters of through the online booking company 96052 Bamberg traditional research areas within Euro- Eventbrite, and is located on the page Germany pean cultures, we strongly encourage 27th Symposium Registration & www.schwenk-und-seggelke.de to take up research questions covering Fees. PayPal and most credit cards can Tel: +49(0)951/225 28 diverse regions and local cultures of be used as payment options. the world. Fax: +49(0)951/208 26 53 Please read all the information pro- Wind Instruments in Regional Cultures vided carefully before making your We could also find a very comfortable (special emphasis is given to reed in- registration and payment. Deadline for and reasonably priced place to stay for struments due to the outstanding registration and payment is 31 May. all of us in a distance of a 15 minutes’ walk crossing the picturesque Old venue of the symposium) The site handles booking for Cap- Town of the world heritage city Bam- • History of regional standards pavilla Student Accommodation on the berg. You may find more information University Campus only. It is highly on the hotel’s website. • Regional ensembles and their social recommend that delegates stay here as functions Accommodation it is very close to the Irish World Acad- emy of Music and Dance where the Hotel Weierich • Inclusion and exclusion of instru- Symposium will be held. Other ac- Lugbank 5 ment types concerning social and commodation options are given on the 96049 Bamberg cultural connotations page Local Organiser’s Information for Germany • Recent developments in construction Participants, where travel information Tel.: +49 (0) 951/91700777 technology and regional distinction is also given. Fax: +49 (0) 951/91700887 www.hotel-weierich.de/Zimmer.html Social Significance of Instrumental Further information is also available on Music Practice the Symposium website. Once the The organising committee could make Symposium programme is completed a long term reservation under the con- • Musicians and teachers of instrumen- it will also become available there. dition that all speakers and partici- tal music and their social status within their communities/societies

Bulletin of the ICTM Vol. 120 — April 2012 — Page 7 ANNOUNCEMENTS

(social evaluation, payment prac- for all your problems in connection • Iconography of dance tice, carrier drafts) with the upcoming symposium. • European visions of Chinese music: • Artistic status issues and politics on From Marco Polo to rococo chinois- the instrumental music market (rep- News on the upcoming erie and beyond ertoires, extra-musical attributes, 11th Symposium of the market control, censorship, the role ICTM Study Group on • Visual packaging and promotion of of reviews) Iconography of the popular music in Asia Methods of research in music iconog- • Status dichotomies regarding in- Performing Arts • strumental music practice (vocal- 26–30 October 2012. raphy instrumental, wind-string, brass- China Conservatory of Music • Papers on other topics related to mu- wood, ensemble-solo...and much (中国音乐学院), Beijing, China. sic iconography will be considered more) Images of Music-Making and Cultural All interested to participate in the Additionally, we welcome any other Exchange between the East and the symposium may contact the chair of brand new research topics. West the study group, Zdravko Blažeković Presentation forms ([email protected]) or the local Besides notated compositions, pre- organizer, 刘 勇 / Liu Yong • Individual paper (standard 20 Min + served instruments, and writings on ([email protected]). 10 Min Q&A) music, images can furnish an abun- dance of information important to mu- Accepted abstracts are available at • Panel (3 or 4 papers) sic history. The symposium Images of web.gc.cuny.edu/rcmi/beijingabstracts Music Making and Cultural Interchanges • Workshop (60 Min) .pdf between the East and the West will pro- • Film presentation (20-60 Minutes) vide scholars of music iconography Language of the conference: English. with a forum to present their views on Deadlines Registration fee: US$ 80.00. exchanges of cultural and musical in- Deadline for abstracts (maximum 250 fluences. The China Conservatory of Music, words + maximum 200 words of bio- founded in 1964, combines music re- For the Chinese scholars, this will be an graphical data): 1 June 2012. search and the performance of Chinese opportunity to get acquainted in more traditional music. It offers degrees in Confirmation of accepted papers: 1 detail with the Western visual sources, musicology, composition, performance July 2012 at the latest. as well as the research methodologies on Chinese instruments, piano, vocal and techniques facilitated by the West- music, and opera, music education, Deadline for registration and accom- ern scholars which are often signifi- conducting, and arts administration. modation: 15 August 2012. cantly different from the Chinese mod- The conservatory has some seventy els. For the Western scholars, on the Keeping to these deadlines is essential professors and eleven researchers. for the success of our symposium. The other hand, the symposium will bring into focus the richness of Chinese ico- organising committee will try to allo- Programme of the upcom- cate funds for special needs such as a nographic sources, their significance in part of travel costs for colleagues from the music history of Asia, and methods ing 9th Symposium of the non-EU countries. Therefore, we need of research facilitated within Chinese ICTM Study Group on your early application in order to or- academia. Mediterranean Music ganize funding and to arrange visa Proposals for papers on the following Studies formalities. topics are invited: 10–12 July 2012. Universidade Nova de Lisboa, Lisbon, All abstracts should be submitted via • Music culture of China and other Portugal. email to all or any of the members of Asian countries reflected in visual the program committee: sources The upcoming 9th Symposium of the ICTM Study Group on Mediterranean Timkehet Teffera: [email protected] • Instruments of the East and West and Music Studies, “Musical Insularity: Bernard Garaj: [email protected] their symbolism reflected in visual How it Favours Conservation, How it arts Gisa Jähnichen: Triggers Innovation” will take place on [email protected] • Scenography and iconography of 10–12 July 2012, hosted by the Instituto Please do not hesitate to ask the pro- music theater (traditional Chinese/ de Etnomusicologia, Centro de Estu- gram committee members any ques- Asian forms, Western opera and mu- dios de Música e Dança, Faculdade de tions arising. We try to find a solution sic theater) Ciências Sociais e Humanas, Universi- dade Nova de Lisboa, Lisbon, Portugal.

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The Symposium’s programme follows. 11:00 The Insularity of Insular Song. Ed 14:45 Dancing with the Heroes: Conserva- Emery (SOAS, ) tion and Innovation in Cretan Perform- Tuesday, July 10 ance. Maria Hnaraki (Drexel Univer- 12:00Lunch Break 10:00Welcome address by Salwa El- sity) Shawan Castelo-Branco (Nova Univer- Session IV - Caroline Bithell, Chair 15:30 Reimagining the island. Caroline sidade de Lisboa, INET-MD) and Mar- Island Identities, between Revival/ Bithell (University of Manchester) cello Sorce Keller (Study Group Chair) Renewal, Diaspora and Tourism 16:15Coffee break Session I - Franco Fabbri, Chair. 14:00 Beyond Insularity and Tourism: Local Jazz Traditions, between Fusion, Popular Music in the Madeira Archipel- 16:45Conclusions – Brainstorming Cosmopolitanism, and Tourism ago. Jorge Castro Ribeiro (Ethnomusi- Session: New Themes and Venues for cology Institute INET-MD Lisbon, Uni- Future Symposia and Colloquia. 10:30 Jazz and Traditional Music in Sar- versity of Aveiro). dinia. Fabio Calzia (Conservatorio di Musica di Cagliari) 14:45 The Xeremies in Mallorca: Between Programme of the upcom- tradition and Modernity, the Modern Day ing 3rd Symposium of the 11:15 Musical Eclecticism and the Pre- Situation of the Majorcan Bagpipes after ICTM Study Group on recession Athenian Ethnic Scene: Frag- its Revival in the 1970s. Cassandre ments of a Salvage Ethnography. Ioannis Music and Dances in Balosso-Bardin (SOAS, London) Tsioulakis (University College, Cork) Southeastern Europe 15:30Coffee Break 17–23 April 2012. 12:00Lunch Break Hotel “Manastir”, Berovo, Macedonia 16:00 A Tough Sound: the Calabrian Lira Session II - Salwa El-Shawan Castelo- (FYROM). from Isolation to Innovation. Goffredo Branco, Chair. Plastino (University of Newcastle) Programme organised by the ICTM Theorising the island: liminality, fluid- Macedonia (FYROM) National Com- ity, contemporary representations and 16:45 A Comparison of Performance Con- mittee. choices text Between Maltese Communities in Malta and Australia. Andrew Pace Tuesday 17 April 14:00 Porous Borders and Liminality: the (University of Manchester) Aegean Islands as Musical Conduit and 17:00 – 19:00Symposium registration Crossroads. Gail Holst-Warhaft (Cornell Thursday, July 12 University) 19:30Opening ceremony. Welcome Session V - Goffredo Plastino, Chair reception with cocktails. Concert of 14:45 “Beam me up, Scotty!” Metaphoric Contested Spaces and Identities: Dias- Dragan Dautovski. and Real Insularity in the Globalised pora, Flux, Awakening Wednesday 18 April World (or: a Sea Star Trek). Franco Fabbri 09:30 Insularity in a Crowded Place: (Università di Torino) 8:30 – 9:00 Opening ceremony of the Music and the Boundaries of Belonging in working sessions of the Symposium. 15:30Coffee break Jerusalem’s Old City. Abigail Wood (Haifa University, Israel) 9:00 – 10:30Morning session 1 16:00 Island Islanded: Decoding the Is- landness of the Otočki Rock. Mojca Piskor 10:15 Processes of Legitimisation of Ori- Topic: Terminology and analytical ap- (University of Zagreb) ental “Piyut” in Israeli Culture as Part of proaches to southeastern European a Project of Social Change. Simona Was- music and dance. 16:45 Island Musecology. Kevin Dawe serman (Open University, Israel) (University of Leeds) A. Theoretical approaches to terminol- 11:00 Nationalism in Cyprus:“Kibris ogy Wednesday, July 11 Türküsü” or “Dillirga”. Songul Kara- Session III - Ruth Davis, Chair. hasanoglu (Istanbul Technical Univer- Chairperson: Anca Giurchescu Jewish and Arabo-Andalus Traditions: sity, Turkish Music State Conservatory) 1. Jane Sugarman, USA Hidden Practices, Lost Trails and Era- 12.00Lunch Break "What's in a word? Theoretical sures approaches to local terminology" Session VI - Gail Holst-Warhaft, Chair 09:30 Singing Beyond the Island: New Facing Contemporaneity: Multiple 2. Naila Ceribašić, Musical Strategies among Iberian Crypto- Identities and Musical Choices “The status of ‘tradition’ in Croa- Jews. Judith Cohen (York University, tian ethnomusicology, and the is- Canada) 14:00 Spanish Flamenco: A Case of sue of Pidgin-English ethnomusi- Musical Insularity and Innovation. Loren 10:15 A Songbook from Alcazarquivir’s cology” Chuse (Berkeley, California) Early 20th Century. Vanessa Paloma (Brandeis University)

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3. Victor A. Friedman, USA 3. Victor A. Friedman, USA A. The multiethnic face of Balkan mu- “Musical terminology and the Bal- “Musical terminology and the Bal- sic in historical recordings (panel) kans Balkan linguistic league” kan linguistic league” Chairperson: Speranţa Rădulescu 10:30 – 11:00Coffee break 15:30 – 15:45Coffee break 1. Susanne Ziegler, Germany 11.00 – 12.30Morning session 2 15:45 – 17:15Afternoon session 2 “Gustav Küppers-Sonnenberg's recordings in Southeast Europe” Topic: Terminology and theoretical ap- Topic: Constructing identities proaches to southeastern European 2. Jakša Primorac, Croatia music and dance Chairperson: Jane Sugarman “Küppers's recordings of Bački Šokci: intercultural aspects of B. Local terminologies 1. Elsie Ivancich Dunin, USA/Croatia “Romani weddings in Macedonia popular and traditional music” Chairperson: Victor Friedman and migrant family contexts” 3. Ivona Opetcheska Tatarchevska, 1. Lozanka Peycheva, Bulgaria 2. Dieter Christensen, Germany Macedonia (FYROM) “What is folk music: examples “Conflict and expressive behavior. “Küppers in Macedonia” from Bulgaria” Observations of a cultural musi- 4. Ardian Ahmedaja, Austria cologist in a Macedonian village, “Albanian recordings in the G. 2. Dimitrije O. Golemović, Serbia 1956” “Naming in Serbian folk singing” Küppers-Sonnenberg 1935–1939 3. Jaynie Aydin and Emir Cenk Ay- collections” 3. Velika Stojkova Serafimovska, Ma- din, Turkey/USA 10:30 – 11:00Coffee break cedonia (FYROM) “A Zeybek wedding: the perform- “The term “voice” – social and/or ance of music, dance, and custom- 11:00 – 12:00Morning session 2 music expression in the rite tradi- ary wedding traditions in a mod- tion (Macedonian case)” ern village in Aydin, Turkey” Topic: History

13:00 – 14:00Lunch 17:15 – 17:30Break B. Music in different Southeast Euro- pean archives 14:00 – 15:30Afternoon session 1 17:30 – 19:00Afternoon session 3 Chairperson: Susanne Ziegler Topic: Terminology and theoretical ap- Topic: Constructing identities proaches to southeastern European 1. Ivanka Vlaeva, Bulgaria music and dance Chairperson: Dimitrije O. Golemović “The puzzle of music plurality in Bulgaria according to the music C. Terminologies and analyses 1. Ana Hofman, Slovenia archives” “Balkan music industries between Chairperson: Selena Rakočević 'already Europe' and 'Europe-to- 2. Malik Sharif, Austria 1. Stephanie Jordan, UK be'” “Performing (against) the Balkans” “The choreography of Mark Mor- 2. Daniela Ivanova-Nyberg, 13:00 – 14:00Lunch ris: some procedures for cho- Bulgaria/USA reomusical structural analysis” “The South Slavic Club activities in 14:00 – 15:30Afternoon session 1 2. Nick Green, UK the North American Midwest: Topic: Crossing national boundaries/ “A consideration of structural Zivio folk dance group repertoire intercultural communication analysis methodology in the con- today” text of Southeast European dance: A. Interpreting interculturality in mu- 3. Gergana Panova-Tekath, Bulgaria/ sic and dance (panel) an example from Banat – Brâul Germany bătrân” terminology “Europe – one and for all: intercul- Chairperson: Dieter Christensen tural communication through the Chairperson: Anca Giurchescu 1. Iva Nenić, Serbia Bulgarian traditional dances” 1. Jane Sugarman, USA “A longing for the other: intercul- "What's in a word? Theoretical 20:00Dinner turality in (post)traditional and approaches to local terminology" Evening event world music scene of Serbia”

2. Naila Ceribašić, Croatia Thursday 19 April 2. Mirjana Zakić, Serbia “Intercultural communication and “The status of ‘tradition’ in Croa- 9:00 – 10:30Morning session 1 tian ethnomusicology, and the is- multicultural context: the place of sue of Pidgin-English ethnomusi- Topic: History Kaval in the musical practice of Serbia” cology”

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3. Selena Rakočević, Serbia 1. Ersen Varli, Ozlem Dogus Varli, 1. Liz Mellish, UK “Multicultural vs. intercultural: Turkey “Performing ethnicities – but dance practice of the village of “The musical production and its whose? Dance performances by co- Svinica (Romania)” psychology of hidden differences located ethnicities in multicultural of religious belief: an Alevi-Bektaşi Banat” 15:30 – 15:45Coffee break district in Trabzon (East Black Sea 2. Onur Sonmez, Turkey 15:45 – 17:45Afternoon session 2 Region, Republic of Turkey) and five strings’ Baglama” “Idealistic (Ulkucu) pop in the con- Topic: Crossing national boundaries/ text of pragmatic usage of music” intercultural communication 2. Dunja Njaradi, Serbia/UK “‘Sheils Belly-dancing, but what is 3. Colin Quigley, USA B. Migrating musics he doing' Čoček dance in the social “Obstacles to a ‘de-nationalised’ poetics of Balkan societies” approach to the music and dance Chairperson: Velika Stojkova Serafi- of Transylvanian string bands movska 3. Zdravko Ranisavljević, Serbia posed by multiple terminologies “Whose dance is Kolo? Kolo in the and concomitant differences in 1. Ganka Cvetanova, Macedonia dance traditions of the , theoretical perspective” (FYROM) Bosniaks and Roma from Serbia “Cultural differences in the Repub- and ” 10:30 – 11:00Coffee break lic of Macedonia: factor of integra- tion or disintegration” 10:30 – 11:00Coffee break 11:00 – 12:30Morning session 2

2. Jelka Vukobratović, Croatia 11:00 – 12:30Morning session 2 Topic: Nation, nationalism, folklore “The new paths and travels of sacralisation singing” Topic: Crossing national boundaries/ intercultural communication B. Folklore sacralisation 3. Ferruh Özdinçer, Turkey Chairperson: Colin Quigley “Traditional dances of the ex- D. Crossing boundaries changed population from Greece to Chairperson: Ana Hofman Gordana 1. Iva Niemčić, Croatia Selcuk, zmir” Blagojević, Serbia “Portraits of professional female dancers” 17:45 – 18:00Break “Dance as an emigrant: intercultural communication by salsa in ” 2. Mehmet Ocal Ozbilgin, Turkey 18:00 – 19:00Afternoon session 3 4. Joško Ćaleta, Croatia “The effects of intermigration be- Miscellanea “Čigova Je 'Vo Pisma? - sing- tween southeastern Europe and ing as an integral part of the south- Anatolia on traditional dances” A. Karagöz shadow theater (panel) eastern European music reper- 3. Dave Wilson, USA Chairperson: Ardian Ahmedaja toire” “Teškoto and national sentiment in Macedonia: ascribing meaning, 1. Z. Gonca Girgin Tohumcu, Turkey 5. Omer Barbaros Unlu, Turkey experiencing tradition” “Communicator behind cloak: “A henna night in Batman in the Karagöz shadow theatre” context of politics, popular culture, 13:00 – 14:00Lunch and dance” 2. Ahmed Tohumcu – F. Merve Eken 14:00 – 16:00Afternoon session 1 Küçükaksoy, Turkey 12:30Departure to “Bachilo” (Sheep- “Sound of identity: the music in fold hut). Traditional Macedonian cui- Topic: Minorities sine from this region the Karagöz shadow theatre” A. Romani musical culture 17:00Returning from “Bachilo” 20:00Dinner Chairperson: Lozanka Peycheva Evening event 18:00 – 19:30Business meeting of the 1. Carol Silverman, USA Friday 20 April ICTM Study Group on Music and “DJs and Balkan Gypsy music: is- Dance in Southeastern Europe 9:00 – 10:30Morning session 1 sues of appropriation and repre- 20:00Dinner sentation” Topic: Crossing national boundaries/ intercultural communication Saturday 21 April 2. Mladen Marković, Serbia “Gypsy magic: filters, influences C. Transnational music and dance 9:00 – 10:30Morning session 1 and consequences on Serbian vio- Chairperson: Naila Ceribašić Topic: Nation, nationalism, folklore lin tradition in the first half of 20th sacralisation A. Nation, nationalism century”

Chairperson: Mehmet Ocal Ozbilgin

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3. Serpil Murtezaoglu, Turkey 11:00 – 12:30Morning session 2 cestors in (re)constructing/ “Romany culture, dance and music reinforcing African-Turkish collec- in Istanbul in the context of social Topic: Organology tive identity: observations from the change” Chairperson: Joško Ćaleta revived calf festival in Izmir Tur- key” 4. Ventsislav Dimov, Bulgaria 1. Abdullah Akat, Turkey “Pan-Balkan musical practices in “The structural changes in the 17:00 – 17:15Break the fields of recorded ethnomusic – process of adaptation of the Black 17:15 – 18:30Final discussion the role of Roma musicians” Sea Kemenche to the changing 16:00 – 16:30Coffee break conceptions on performance” 20:00Closing ceremony

16:30 – 18:30Afternoon session 2 2. Enver Mete Aslan, Turkey 20:30Dinner “The place of Lute, a classical Turk- Farewell Party Topic: Minorities ish , in Elaziğ Monday 23 April and Şanliurfa folk music” B. Other minorities’ cultures 10:00Departure for 3. Marija Šorak, Serbia Chairperson: Margaret Beissenger “The instrumental practice of ‘će- News on the upcoming 1. Aida Islam and Stefanija Leshkova mane’ player Stojan Stojanović: the Zelenkovska, Macedonia (FYROM) life of one marginalised tradition” 7th Symposium of the ICTM Study Group on “Changes in the musical tradition 13:00 – 14:00Lunch as a reflection of the modern Music and Minorities musical trends” 14:00 – 15:30Afternoon session 1 7–12 August 2012. 2. Belma Kurtişoğlu, Bülent Kur- Miscellanea Zefat Academic College, Zefat, Israel. tişoğlu, Turkey C. Different approaches On behalf of the program committee “Hidden Latin in Thrace: and the local organiser I may inform Notyalılar” Chairperson: Belma Kurtişoğlu you that 32 abstract proposals have been accepted. The papers will deal 3. Efthymiou Lampros, Greece 1. Sonja Zdravkova Djeparoska, Ma- with the following themes: “Intercultural examples in Greek cedonia (FYROM) Thrace: Pomaks, ethnic Greeks and “Culture, boundaries and their im- 1. Music and Minority Nationalisms Gagauz sing a Pan-Balkan myth” plementation in the field of dance” 2. Representation of minority musics 20:00Dinner 2. Hale Yamaner Okdan in film and video Evening event “A suggestion of term classifica- 3. Music Education and Cultural Sunday 22 April tion: under the concept of Turkish folk dance education” Identity in Minority Groups. 9:00 – 10:30Morning session 1 3. Branka Kostic Marković, Macedo- 4. Methodology in the Study of Mu- Miscellanea nia (FYROM) sic and Minorities “Polyphonic female group singing B. Music and Dance in Romania: Tra- Costs: There is no registration fee but in Macedonia - or is it a multipart? ditions in Transition (panel) costs of travel and accommodation will (terms and confusion) ” have to be covered by participants. Chairperson: Carol Silverman 15:30 – 16:00Coffee break Local organiser: Essica Marks, Zefat 1. Anca Giurchescu, Denmark/ 16:00 – 17:00Afternoon session 2 Academic College. Romania “How traditional are the “tradi- Miscellanea Language: English. tional dances” in present days Ro- Social Program mania?” D. Music and dance in a fresh interpre- tation There will be offered a welcome recep- 2. Margaret Beissinger, USA tion, evening concerts and an excursion Chairperson: Elsie Ivancich Dunin “Music-making at traditional wed- for free. An additional excursion can be dings in pre- and post-1990 Roma- 1. Rumiana Margaritova, Bulgaria booked. nia” Speranţa Rădulescu, Romania “Saz across the border: mainte- Location “The preservation of traditions as a nance of a Turkish traditional prac- way of rejecting an oppressive so- tice in Bulgaria” Zefat Academic College is situated in cial order” 10:30 – 11:00Coffee the city of Zefat in the very north of break 2. Şebnem Sençerman, Turkey Israel. Located at an altitude of 900 me- “Music and dance of imagined an-

Bulletin of the ICTM Vol. 120 — April 2012 — Page 12 ANNOUNCEMENTS ters (2,953 ft), Zefat is the highest city tion 24 hours a day. Should there be a Two keynote speakers have been in the Galilee and of Israel. Due to its large enough number of people arriv- named: high altitude, Zefat experiences warm ing at the airport at approximately the summers and cold, often snowy, win- same time, the Local Arrangements Professor Nicholas Cook (University ters. Since the sixteenth century, Zefat Committee can arrange transportation of Cambridge) has been considered one of Judaism's from the airport to Zefat as well. Dr. Alexander Djumaev (University of Four Holy Cities, along with Jerusalem, Central Asia) Hebron and Tiberias; since that time, Registration and further information: Numerous abstracts submitted by con- the city has remained a centre of Kab- [email protected]. tributors from 25 countries have been balah, also known as Jewish mysticism. reviewed by Programme Committee Due to its beautiful setting surrounded News on the upcoming (Siddharth Saxena, Firuza Melville, by pine and its mild mid-year 3rd Symposium of the Razia Sultanova from University of temperatures, Zefat has become a ICTM Study Group on Cambridge, Dorit Klebe from Ger- summer holiday resort frequented by Music of the Turkic many, and Janos Sipos from Hungary). Israelis and foreign visitors. Speaking World The Symposium’s Program will consist The college consists of three main 1-2 December 2012. of several different panels on music buildings and our meeting will take Cambridge, UK. of the Turkic Speaking World including place at the main building which has a session on Iran-Turan, a film session, rooms that can accommodate about We are delighted to announce that the ’ music session, newly pub- 100-120 people. The rooms are Third Symposium of the ICTM Study lished books presentations, etc. Focus- equipped with all the technical equip- Group on Music of the Turkic Speaking ing on the theoretical and practical is- ment necessary for academic presenta- World will take place on 1-2 December sues, the Symposium will be illustrated tions. There are coffee break areas and 2012 at the University of Cambridge, by the three evening performances by a dining room. UK. musicians from Azerbaijan, Ka- Accommodation The title of the Symposium is “Popular zakhstan, Kyrgyzstan, Uzbekistan, Culture in Turkic Asia and Afghani- Turkmenistan, Turkey and Afghani- 1. College dormitories – small stan: Performance and Belief” stan, turning into a Symposium- apartments of 2 rooms (two people Workshop. in one apartment), possibility for The popular culture of this area is two beds in the room for couples, unique and contains many specific We look forward to seeing you bathroom in the apartment, refrig- genres. Even though in the past many in Cambridge in December! erator, cooking gas stove. 10 min- traditional forms of music culture had utes walk from the college. USD 40 been adapted to religious purposes, News on the upcoming per person (discount for couples). during later centuries they have taken 2nd Symposium of the Breakfast is not included, but we on a different appearance. Today when ICTM Study Group on can buy products for every apart- the development of TV and radio ment and people will pay some- is global, influencing daily life and Performing Arts of South- thing for that. transforming the original practice of east Asia (PASEA) local performances, music has become 2. Hotels: 14-19 June 2012. an enclave where features of the past Manila, Philippines. Ron Hotel USD 160 (breakfast in- and present are intertwined. Popular cluded) double room, USD 130 music conveys a number of references The 2nd Symposium of the ICTM- single room (for one night). Tel. to previous music and its religions PASEA study group will take place at 972-4-505539493 [email protected] connections, and our task is to focus on the National Commission for Culture et.il. 5 minutes walk from m the such cases. and Arts, which is housed in the In- college. tramuros — the 16th century walled Tel-Aviv Hotel – USD 150 double Papers will address the following city in Manila. The papers, panels, room, USD 120 single room (for themes: lightning presentations by young re- one night, breakfast not included). What is the definition of popular culture at searchers and video presentations will Tel 972-4-6972555 (no e-mail ad- be based on the following themes. dress). 10 minutes walk from the the beginning of the 21st century? What college. role does music play in it? How important THEME I: (RE)PRODUCING SOUTHEAST ASIAN are religions and beliefs in this process? PERFORMING ARTS — TRADITIONS IN THE HERE Travel What are the main forms of music and re- AND NOW ligious connections in 21st century music Delegates should fly to International In the modern world, local traditions performance? Ben Gurion Airport. There is a train are reconstructed in new and myriad from Ben Gurion Airport to Akko sta- ways that are more intelligible when seen in the context of intense interna-

Bulletin of the ICTM Vol. 120 — April 2012 — Page 13 ANNOUNCEMENTS tional movements of peoples, ideas, im- Institutionalizing Southeast Asian Per- ages, technology, and money. The in- forming Arts Traditions in Modern Mul- flux of tourists and foreign workers of ticultural Music Education all types, the infusion of multinational capital, and the diffusion of peoples What political dynamics in Southeast away from the region have all worked Asia propel the inclusion of local musics to situate Southeast Asia as an impor- into mainstream, often Western-based tant nexus in an increasingly intricate — or otherwise “modern” — music network of global exchange. education? What is the role of govern- mental and non-governmental cultural In this symposium, we seek to under- initiatives such as the "School for Living stand the complex pragmatics behind Traditions", the UNESCO Intangible the reconstructions and re- Cultural Heritage (ICH) program and contextualisations of Southeast Asian other educational initiatives vis-a-vis performing arts traditions vis-a-vis the Southeast Asian performing arts? "here and now". In particular, we aim to THEME II: Southeast Asian Bodies, Music, interpret the meanings and motivations DANCE AND OTHER MOVEMENT ARTS behind the initiatives of various agen- cies – from local grassroots communities Focusing on movement arts and their to formal ideological apparatuses such relation to music, dance and theatre, as government and market institutions individual papers and panels will focus – to (re)produce "traditions" at specific on — times and in particular places in South- Movement arts and the Southeast Asian east Asia and the Southeast Asian dias- body, as well as Movement arts, Music, pora. In this context, we consider the Ritual and Theatre. following issues: THEME III: NEW RESEARCH Local Identity Formation Please see our preliminary program and How do Southeast Asian communities local arrangements at the Study Group’s (re)construct their identity through the website. Under Study Group Symposia performing arts, considering the impact click on ‘Symposium 2012’. of globalisation and new contexts? How do performing artists or culture-bearers We will hear evening performances by a mark their distinctiveness amidst Kalingga group, Madrigal Singers, an change in their environment? Acehnese demonstration, and other concerts. An excursion outside of Tourism and Commodification Manila will take us to Tagaytay & Al- The influx of tourists and the cultural fonso to see Tagalog Firewalkers. You performances designed for this clientele are invited to join us for a stimulating pose a number of questions relative to and enjoyable Symposium. the music and dance found throughout See you in Manila! the region. What is the impact of tour- ism on Southeast Asian performing arts? What are the specific effects of tourism on the culture-bearers and their performing arts traditions? What kinds of subjectivities and identities are forged when folk traditions are "staged" into cultural presentations for tourists? What is the impact of global production modes and employment patterns on cultural recreation? What is the role of mass media in the process of promoting tourism? Is there a reduction or redefi- nition of ritual or religious justification of performances put on for tourists?

Bulletin of the ICTM Vol. 120 — April 2012 — Page 14 ANNOUNCEMENTS Announcements — Related Organisations Call for Participation: dance – from the Early to Christine Bayle, Paris, Carles Mas, the end of the Napoleonic era. In par- Barbara Sparti, : A Hit Tune Be- Ecomusicologies 2012 ticular we will investigate the manifold comes a Hit Dance: The Travels of a 30-31 October 2012 styles and dances of the individual Pavane through Italy, the Iberian Pen- New Orleans, United States countries, their social and political con- insula, France and Germany. Deadline for submissions: 16 April 2012 text and historical development. An- other consideration will be the “jour- Karin Fenböck, Vienna: Wien in der Pre-Conference (Live & Virtual) to the neys” of these dance forms, their dis- zweiten Hälfte des 18. Jahrhunderts: AMS/SEM/SMT 2012 Joint Annual persion to other European countries Schmelzpunkt der T anzKulturen? Meeting and their colonies, their reception, fur- Hubert Hazebroucq, Paris: French The AMS Study Group ther development and impact as “cul- Dances in Foreign Descriptions: The and the SEM Special tural ambassadors” or even as political Example of Johann Georg Pasch’s An- Interest Group invite submissions on statements. Finally we will trace the leitung sich bei grossen Herrn Höfen research from any academic field re- travel routes of dancers and dance und anderen beliebt zu machen (1659). lated to any issues of and around masters, their careers in different coun- ecomusicology (ecocritical, ecological, tries, the influence of local dance styles Gerrit Berenike Heiter, Cologne: Ge- of music and/or on their own development and their tanzte Vielfalt der Nationen und ihre sound), which is broadly construed as influence on the local dance culture. Darstellung im französischen Hofbal- lett (Ende 16. Jahrhundert – Mitte 17. the dynamic relationships between The symposium features: culture, music/sound, and nature/ Jahrhundert). environment, in all the complexities of • A series of lectures conveying the Guillaume Jablonka, Asnieres sur those terms. current state of dance research. Seine: Italienisch-französische Tanz- technik auf der europäischen Bühne Please visit this link to see the complete • Workshops inviting you to discover Call for Participation. new stylistic directions. des späten 18. Jh. Alexandra Kajdanska, Gdansk: Von 3rd Rothenfels Dance • Short performances providing new insights. Unterschiedlichen Täntzen: The Diary Symposium: The Variety of Georg Schroeder and the Tradition of European Dance Cul- • A bookstore presenting a rich selec- of Dance Culture in Gdansk in the Sec- ture from 1420 to 1820 tion of dance books, music and re- ond Half of the 17th Century. cordings. 6-10 June 2012 Dora Kiss Muetzenberg, Geneva: The Rothenfels, Germany • Social dance evenings with live mu- Polish Dance: A Comparative Ap- sic to relax and end the day. proach. A conference for amateur and profes- sional dancers and dance historians • And as the highlight of the sympo- Tiziana Leucci, Les Lilas: From Pietro sium a festive ball in the style of the della Valle to Gaetano Gioja: or the Cu- “In Britain, you have the hornpipe, a dance 18th century with period costumes. riosity for the “Others”. The Interest which is held an original of this country. for Indian Dances and Oriental Cus- Some of the steps of it are used in the • All participants are lodged at Burg toms (& Costumes) in Europe (1663– country-dances here, which are themselves Rothenfels so there is ample oppor- 1821). a kind of dance executed with more variety tunity for making acquaintances, and agreeableness than in any part of discussing the lectures, and ex- Milo Momm, Berlin: Katalonien als Europe, where they are also imitatively changing ideas in an informal set- Kreuzungspunkt zwischen Burgund performed, as in Italy, Germany and in ting. und Italien. Ein neuer Blick auf das several other countries” (Giovanni- An- Cervera-Manuskript (1496) unter dem Lectures drea Gallini, 1762). Neigungswinkel des Kulturtransfers. Barbara Alge, Rostock: Die Mourisca In our 3rd Rothenfels Dance Sympo- Marko Motnik, Vienna: Die italien- aus Portugal und ihre Rolle als “Bot- sium the focus will be on the variety of ische Tanzkunst am Wiener Hof und schafterin” seit dem 15. Jahrhundert. European dance culture – from social der Tractatus de arte saltandi von to stage dance and folk to courtly Euangelista Papazzone (c. 1572–75).

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Hannelore Unfried, Vienna: Cotillon: a conference proceedings volume • Accommodation and meals per person die Mazurka wird “German”. containing the lectures for the entire conference

Ana Yepes, Paris: From the Jácara to Conference languages: German and Single room EUR 219.00 the Sarabande. English Double room EUR 190.00 Workshops What to bring: Quadruple room EUR 167.00 Anne Daye, London: The French Con- • comfortable clothing and dance tredanse in England, Scotland and Ire- shoes. Dormitory room EUR 140.00 land. (Students) • for the ball: dressy attire or an 18th Dora Kiss-Muetzenberg, Geneva: The century costume. Polish Dance. Scientific Committee Conference registration Carles Mas, Paris: The Iberian Pavana Barbara Sparti (dance scholar, author EUR 220.00 (regu- EUR 140.00 (stu- by Jaque. lar dents) of numerous publica- tions on Renais- Anna Karin Ståhle, Lindigö: La Escu- sance Dance) ela Bolera. Send your written registration request Prof. Carol G. Marsh (musicologist, to: Hannelore Unfried, Wien: Gestampft, co-author of Musical Theatre at the Geschlagen, Gewählt - Mazurka im Court of Louis XIV) Verwaltung Burg Rothenfels, 97851 frühen 19. Jahrhundert. Rothenfels, Tel. 0049-(0)9393-99999, Jørgen Schou-Pedersen (music pedagogue, Fax. 09393-99997 Nicoline Winkler, Eberbach: Das Rep- dance re- searcher and dance pedagogue) ertoire der Pariser Opernbälle im Email: [email protected] frühen 18. Jahrhundert. Uwe Schlottermüller (editor of Instruction Web: www.burg-rothenfels.de pour dancer, J.G. Pasch: Anleitung sich bei Social Dance Evenings grossen Herrn Höfen und anderen beliebt Registration may be made by mail or zu machen, 1659) Internet. Ingo Günther, Berlin: Der Figurenlän- dler des 18. Jh. Markus Lehner (author of A Manual of Reduced fees for dormitory rooms and Sixteenth-century Italian Dance Steps) conference registration are available for Alan Jones, Paris: Spanish Minuet Im- currently enrolled students under 27 provisation. For further information, please contact and the unemployed.

Jørgen Schou-Pedersen, Copenhagen, Markus Lehner, Mühlfelder Str. 18b, D- Early registration: A 10 euro rebate Uwe Schlotter- müller, Freiburg: Bu- 82211 Herrsching. will be applied to registrations received dapest, Cairo, Peking – On the Road Tel. 0049-(0)8152-5248, Fax. 08152- prior to 6 April 2012. with Dubreil and Delpêch. 981509 Email: [email protected] Cancellation fee: the reduced confer- Short Performances ence registration fee will be charged for Detailed information about the pro- cancellation 7 days or less before the BarockTanzEnsemble contretem(p)s gram, the presenters, and the confer- beginning of the symposium. berlin: Scenes from Lambranzi’s “Cu- ence centre can be found at rieuse Theatralische Tantzschul”. www.burg-rothenfels.de. Terms: The Burg Rothenfels admini- stration assumes no liability for acci- Cracovia Danza, Cracow: “Ballet des Begins on Wednesday, 6 June 2012 dents or injuries sustained during the ” with dinner at 6:30 PM. Registration conference. and check-in from 3 PM Irène Ginger, Hubert Hazebroucq, Location: Burg Rothenfels lies on the Paris: “A Few Metamorphoses of the Ends on Sunday, 10 June 2012 with Main River between Lohr and Minuet”. lunch at 12:30 PM. Wertheim. It can be reached by train (to Lohr, Gemünden, or Wertheim) and Ana Yepes, Paris: Spanish Baroque Part-time enrolment is not possible. Dances. then by bus (at the bus stop “Ber- Registration is limited to 80 partici- grothenfels”); by car (Autobahn A3), Additional features: pants. Prompt registration is recom- take the exit Markt- heidenfeld or mended. Rohrbrunn. Further details and car- • a bulletin board to display informa- pooling information can be found on tion: performances, courses, publica- the Burg Rothenfels website. tions, etc. (bring sufficient copies for distribution)

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Please include in your registration 1903 catering for its own distinct audi- 2012. Travel fare up to a maximum of € ences and specific local markets. 1000, - and accommodation (3 nights) • Name/address/telephone or e-mail will be covered for those who submit- The workshop is part of the project • Symposium number (226) and short title ted a full paper by that date. Papers Articulating Modernity; The Making of will serve as materials for an edited • Your choice of accommodation Popular Music in Twentieth Century volume that is due to be published in Southeast Asia and the Rise of New Audi- 2014. Call for Papers: “Partici- ences hosted by the Royal Netherlands Institute for Southeast Asian and Car- The program committee consists of patory Pop: Audiences, ibbean Studies (KITLV) in Leiden and Henk Schulte Nordholt (KITLV), Patri- Life Styles and Fan Cul- funded by the Netherlands Organisa- cia Spyer (Leiden University), Peter ture in 20th Century tion for Scientific Research (NWO). Keppy (NIOD) and Bart Barendregt Southeast Asia” KITLV Jakarta acts as host for the (Leiden University/KITLV). All inquir- workshop. ies and abstracts can be send to the lat- 10-12 January 2013 ter, at [email protected] Jakarta, Indonesia We aim to address those popular music audiences, the lifestyles, crazes and This workshop focuses on Southeast fashions and the various forms of par- Call for Contributions: Asian popular music and its connec- ticipatory culture that have surfaced Special Issue of the Jour- tion to the emergence of new audiences since the early 20th century and nal for Dance and Somatic recognised by distinct modern and strongly endorse historical approaches. fashionable lifestyles. People through- Practices We solicit papers on the following pos- out twentieth century Southeast Asia, Deadline for submissions: 31 October 2012 sible topics: articulated notions of ethnicity, relig- The Journal of Dance and Somatic ion, class, gender, generation, moder- New musical fashions (dance crazes, • Practices (jdsp.coventry.ac.uk) is ac- nity, nationalism, cosmopolitanism and clothing, slang, youth gangs, associ- cepting contributions for a Special Is- a host of other ‘isms’, in commercially ated with particular genres or artists) produced music intended for mass sue of the Journal dedicated to consumption. Through the consump- • Popular music and the press (the role Transcultural Perspectives on Somatic tion of popular music, social identities of , photographers, de- Practices and Research. signers that have helped to shape are made audible and visible in life Please visit the Journal’s website to particular taste and lifestyles). styles. This allows us to explore from learn more, or download the complete the angle of popular music processes of • Cover bands (from imitation of Call for Papers from this link. social differentiation and social trans- 1960s American rock, cover bands to formation. today’s K-Wave clones, reunion con- ESEM Seminar 2012 – Southeast Asian popular music studies certs, and reality soaps like Idols or Music and Cultural are a burgeoning field with an empha- Akademi Fantasia) Memory in post-1989 sis on the producing side of the spec- • Fan Culture (fan clubs, fanzines and Europe trum. Since the 1990s scholars working fan gatherings, both on and offline) on other geographical areas have 19-23 September 2012 sought to go beyond the traditional • Fandom and gender (from groupies Ljubljana, Slovenia divide within the field of popular cul- to those looking for new glamorous The XXVIII European Seminar in Eth- ture studies between those focusing on role models) nomusicology (ESEM) will take place either producers or consumers. Main- • Antagonisms between consumer- from 19 to 23 September 2012 in Ljubl- stream media are critically interrogated jana, Slovenia and will be hosted by the for the tendency to ridicule particular turned-producer and the established industries (remix culture, piracy and Centre for Interdisciplinary Research sections of the audience, especially and the Institute of Ethnomusicology fans, as passively consuming and in- other forms of creative appropria- tion) of the Scientific Research Centre of the fantile people. Instead, writers such as Slovenian Academy of and Lewis and Jenkins have shows fans to We encourage colleagues to submit Arts. The topic is “Music and Cultural be a determent force in today’s popular papers within the areas of anthropol- Memory in post-1989 Europe.” culture industry that actively engage in ogy, cultural studies, sociology, ethno- reproducing and appropriating, and musicology, history and related fields. For details see Call for Papers. often subvert pop music’s initial mean- Paper proposals, not exceeding 300 ings. We aim to address these and re- words, should be sent to the pro- lated matters in the specific context of gramme committee no later than 30 20th century Southeast Asia, where a April 2012. Once accepted we expect music industry emerged as early as those selected to submit a full draft of about 7.500 words by 1 November,

Bulletin of the ICTM Vol. 120 — April 2012 — Page 17 ANNOUNCEMENTS

Call for Papers: “East and Interaction in the World Musical West: Ethnic Identity and Culture. Traditional Musical Heri- 10. Musical Ethnic Aspects of Modern tage as Dialogue between Conflict Resolution. Civilisations and Cul- 11. Cognitive Musicology - the tures” of the 21st Century. 5-9 September 2012 Deadline for submissions: 15 April Astrakhan, Russia 2012 Submissions deadline: 15 April 2012 Abstracts (maximum 350 characters) The Ministry of Culture of Astrakhan should be submitted along with appli- and the State Folklore Centre “Astra- cant’s full name, affiliation, contact ad- khan Song” calls for participations to dress (postal and electronic), and the upcoming International Sympo- telephone/fax number. sium East and West: Ethnic Identity and Traditional Musical Heritage as Dialogue Please send all abstracts via e-mail to between Civilisation and Cultures”, to be [email protected]. For all other en- held in Astrakhan, Russia from 5 to 9 quires please contact Dr. Helena September 2012. Shishkina telephonically at +8 908 613 78 61. Themes

1. Ethnic Identity of Traditional Cul- tures of East and West in the Mod- ern World: Myths and Reality.

2. Traditional Musical Heritage of East and West: Dialogue between Civilisations and Cultures.

3. Ethnomusicology: Issues of Stud- ies.

4. Myth and Religion in Traditional Cultures of East and West at the Present-Day Stage: Interaction and Penetration.

5. Folklore Historiography. Computer Technologies and Archiving in East and West Traditional Cultures: From the Phonograph to the Digi- tal Camera and Internet Resources.

6. Heritage of Medieval Traditions of East and West in Modern Author's texts.

7. The and Folklore: Issues of Interaction.

8. Folklore Studies and Education. Modern Approaches to Training Specialists in the Field of Folklore and Folklore Studies by Scholars from Various Countries of Europe and Asia.

9. Ensemble Instrumental Perform- ance as a Field of East and West

Bulletin of the ICTM Vol. 120 — April 2012 — Page 18 REPORTS Reports from ICTM National and Regional Representatives Australia & New Zealand Patrick, Stephen (et. al.) Early collections Full story available at of Warlpiri cultural heritage and resulting www.monash.edu.au/news. by Dan Bendrups, Chair of community access needs in remote desert Regional Committee Australia, $530,000 over three years. Austria

1. Regional Committee Led by Warlpiri elder, Steven Wanta by Thomas Nußbaumer, Executive 2012-2013 Patrick, this project will assess collec- Chair of National tions of Warlpiri cultural heritage. It Elections for the 2012- Committee will address the enormous Warlpiri in- 2013 Executive were an- terest in gaining access to their cultural At the 2011 Annual nounced in 2011, with nominations clos- heritage, and using these for local initia- Meeting of Austria’s Na- ing in October. Only one nomination tives that improve youth engagement tional Committee held on May 29, 2011 was received for the position of Chair, with tradition, dialogues across genera- in Vienna a new board composed by and one for the position of Secretary, tions and cultures, and community Thomas Nußbaumer, Regine Allgayer- therefore an election was not required. well-being. Kaufmann, Gerda Lechleitner, Bernd Representative appointments from Brabec de Mori, Ursula Hemetek, IASPM-ANZ, NZMS and MSA were Kartomi, Margaret (et. al.) The changing August Schmidhofer, Hande Sağlam received in due course, with the follow- identity and sustainability of the music- and Gerd Grupe was elected. The term ing results: cultures and worldviews of the Riau Is- of office is scheduled for two years. lands' sea nomads and sedentary Malays, Chair: Dan Bendrups • $330,000 over three years. The 2011 Annual Meeting was held dur- • Secretary: Kirsty Gillespie ing 27-28 May in Vienna (venue: Insti- This project explores the music-cultural tute of Musicology, University of • IASPM-ANZ: Kate Barney identity and related socioeconomic di- Vienna) as a Joint Meeting of the Aus- lemmas of remote Sea Nomads vis-à-vis trian National Committee together with • MSA: Jonathan McIntosh the Muslim Malays in the industrialis- the National Committees of Slovenia, ing Riau Islands. It will further Austra- • NZMS: Brian Diettrich Croatia, and Slovakia. The following lians' awareness of the intercultural con- three panels were held: “Intercultural We thank these members for volunteer- texts in which they work and help Music Psychology”, “Future Challenges ing their services to the ICTM for the maintain Australia's leadership role and in Ethnomusicology 1: Do we need Dis- 2012-2013 period. ongoing engagement with the Asia- ciplining Ethnomusicology?”, “Future Pacific. 2. November 2011 Business Meeting Challenges in Ethnomusicology 2: Field 4. Honour for Margaret Kartomi Research”, and “Future Challenges in The ICTM-ANZ Regional Committee Ethnomusicology 3: University Educa- aims to hold a Business Meeting yearly, The title of Queen has been bestowed tion”. usually in conjunction with an existing upon a Monash University researcher regional music conference. The 2011 for her work in reconstructing the ori- The Austrian members have been active meeting was held at the Musicological gins of the Indonesian province of in participating in several ICTM Study Society of Australia National Confer- Lampung’s traditional musical instru- Group meetings. The local organiser of ence in Perth on 2 December. Minutes ments. Professor Margaret Kartomi the 19th Meeting of the Study Group on form this meeting can be obtained by from the University’s School of Music – Historical Sources of Traditional Music contacting the Chair, Dan Bendrups, at Conservatorium, was invited by the in Vienna, March 6-10, 2012 (conference d.bendrups@griffith.edu.au. Governor of Lampung, Drs Sjachroed- venue: Austrian Academy of Sciences) din ZP, to take the formal title of ‘Ratu was Gerda Lechleitner, board member 3. ARC Success Berlian Sangun Anggun’ which trans- of the Austrian National Committee. In The Regional Committee is proud to lates to ‘Beautiful Queen Jewel’. The the framework of the meeting the Aus- congratulate ICTM members who were title is normally reserved for Lampung trian National Committee organised on successful in gaining Australia Research members and formerly for royalty. 8 March an evening at the Burgenland Council Discovery Project funding in The region of Lampung is found within Croatian Centre (Hrvatski Centar) in 2012. These projects are described be- Indonesia's largest island, Sumatra. Pro- Vienna themed “Living Tradition. A low: fessor Kartomi began researching Lam- performance”. pung traditional music in 1983.

Bulletin of the ICTM Vol. 120 — April 2012 — Page 19 REPORTS

tices of the Lusatian Sorbs in Germany”, as follows:

One notable recent publication is Rosemary Statelova’s book Foreign Culture Up Close: the actual Musical Practices of the Lusatian Sorbs in Germany (2011, Sofia: Institute of Art Studies Publishing House). While studying the “other” may be old hat for Western ethnologists who have inherited the Boasian-Malinowskian tradition of exploring cultures different from one’s own, Bulgarian scholars have traditionally stuck to the Herderian line of investigating the self so as to better understand the “authentic” core of the nation. Statelova’s book is the first Bulgarian monograph to reverse the trend – an Eastern European researcher examining Farewell celebration upon Gerlinde Haid’s (left) retirement. Vienna, 30 June 2011. a Western European “other” – a process which the author skillfully and self- The members of the Austrian National ogy, has retired. On this occasion the reflexively explores alongside the music of Committee give account of the follow- institute organised a big event as this Slavic-speaking minority in Germany. ing activities and publications: farewell celebration including the presentation of the Festschrift Musi- 1. Institute for Musicology at the University of China kalien des Übergangs [Editor’s Note: see Vienna by Xiao Mei (萧梅), Chair October 2011 Bulletin of the ICTM for • In June 2011 Gerhard Kubik has been more details on this volume]. Ursula of National Committee awarded a two years research grant Hemetek has overtaken her duties as There are two authorita- from the Austrian Science Fund the head of the institute since January tive institutions that re- (FWF). Project title: “Individual Histo- 2011. search traditional and ries of East African Musician- folk music in China. One is the Institute Composers”. • Release of a collection of papers enti- tled European Voices II, ed. by Ardian of Traditional Music in China (ITMC); • November 2011: Release of a collec- Ahmedaja, Vienna et. al. 2011 another is the Music Society of China's tion of papers entitled Klangfarbe – (Schriften zur Volksmusik 23). See Minorities (MSCM). Both institutes will Vergleichend-systematische und mu- more on page 51. hold their annual symposia this year. sikhistorische Perspektiven, ed. by Department for Musicology, University Mozar- The 17th Conference of the ITMC will August Schmidhofer and Stefan Jena, teum Salzburg/Innsbruck be held in Xi'an Conservatory of Music Frankfurt a. M. 2011. on 10-15 July 2012. The theme of this • Collection of papers entitled: Volksmu- conference is “Theory, methods and • November 19 2011: Gerhard Kubik sik in den Alpen – Standortbestimmun- practices of regional music research". was appointed Honorary Member of gen. Festschrift für Josef Sulz zum 80. There are five sub-topics: 1) Music cul- the Society for Ethnomusicology in Geburtstag, ed. by Thomas Nußbau- ture of the Yellow River Basin; 2) The Philadelphia. mer, Innsbruck 2011. See more on law of Intangible cultural heritage and page 52. • February 2012: Field-research in the present situation of protection; 3) Northern Uganda by August Schmid- Research of music ; 4) The rela- hofer. Bulgaria tions between traditional music and 2. Institute of Folks Music Research and Eth- by Rosemary Statelova, new technologies; 5) New research. nomusicology at the University of Music and Liaison Officer Performing Arts Vienna The 13th Conference of the MSCM will Angela Rodel, US-born be held in Xinjiang Normal University • In June 2011 Gerlinde Haid, long- ethnomusicologist from on Jul.17-27, 2012. The themes of this standing head of the Austrian Na- the USA living in Bul- conference are: 1) Music of minorities; 2) tional Committee, professor for The- garia while working on Transboundary folk music; 3) Reform of ory and History of Folk Music at the her doctoral thesis (UCLA), has recently music teaching; 4) New research. University of Music and Performing Arts reviewed my new book, “Foreign Cul- Vienna and head of the Institute of ture Up Close: The actual Musical Prac- Xi'an is one of the Four Great Ancient Folks Music Research and Ethnomusicol- Capitals of China, having held the posi-

Bulletin of the ICTM Vol. 120 — April 2012 — Page 20 REPORTS tion under several of the most impor- Searching for the Roots.) Praha: Acade- Yet no formal study has ever been estab- tant dynasties in Chinese history, with mia, 233 pp. lished within the field. more than 3,100 years of history, the city was known as Chang'an before the Jurková, Zuzana – Seidlová, Veronika, Though limited in membership num- Ming Dynasty. Xinjiang is an autono- 2011: “Hare Krishna Mantra in Prague bers, and even though the National mous region of China. It is home to a Streets: the Sacred, Music and Trance.” Committee receives no governmental number of different ethnic groups in- Urban People 2, pp. 195 – 220. support, the activity level is still high. cluding the Uyghur, Han, Kazakh, Hui, Activities The annual programme consists of Kyrgyz and Mongol. More than a dozen three-four membership meetings with • 2-11 April 2011: Daniela Stavělová autonomous prefectures and counties invited guest lecturers. for minorities are located in Xinjiang. participated as a teacher in the IPE- DAM – Erasmus Intensive Program The primary aim of these activities is to Scholars who are interested in tradi- Movement of the Past and Present in create opportunities for researchers to tional and folk music are welcome to the series Seminars for New Ethno- present their material, to generate inter- take part in these two conferences in choreologists, organised by Dance esting discussions and to present the China. For attending the ITMC confer- Studies, Department for Music, Nor- field to insiders and outsiders, old ence please contact [email protected]; wegian University for Sciences and members and potential newcomers in for attending the MSCM conference Technology in Trondheim. Project co- the field and to create interdisciplinary please contact [email protected]. ordinator was Prof. Egil Bakka. networks. For this reason we invite speakers from research institutions as In addition, an International Sympo- • May 2011: International Colloquy for well as freelancers representing differ- sium on Traditional Music in Contem- Ph.D. students of ethnomusicology at ent disciplines. Whenever possible live porary Society will be held in Shanghai the University of Music and Perform- performances during the annual meet- Conservatory of Music on 29 June 2012. ing Arts, Vienna, and Faculty of Hu- ings play an important role in present- The symposium follows after the Execu- manities of Charles University, Prague ing a more expressive aspect of the tive Board meeting of ICTM on 27-28 held in Prague. June, and it will be hosted by the Re- theme. All activities are open to the search Institute of Ritual Music in China • 19-22 May, 2011: Meeting of the ICTM public. Sub-study group of Round Dances – (RIRMC), and the of Mu- The annual themes have covered a vari- 19th Century Derived Couple Dance sic Division E-Institutes of Shanghai ety of topics over the last three years as: -- was hosted by Daniela Stavělová Universities. We are honoured to wel- “From Portuguese to Kroncong and assisted by Dorota Gremlicová come the Executive Board members of from Java Scenes”, “Transcultural flows and the Institute of of the ICTM to the symposium for academic and identity politics in popular music Academy of Sciences of the Czech exchanges with young Chinese scholars. from Post-Soviet St. Petersburg”, ”Bul- Republic. garian song expression”, ”Music and Czech Republic • June 2011: International round table dance of Pan-Balkan and West Euro- Theory and Method in Urban Ethno- pean fusion – the contemporary manea by Zuzana Jurková, musicology. Faculty of of phenomenon in Romania”and ”The Liaison Officer Charles University, Prague. Selected creative meeting between composers In July 2011, the ICTM papers will be published in Urban and a musician who plays shakuhachi”. Executive Board pro- People 2/2012. In 2010 we organised a panel seminar at posed – and, after her the department of Music at the Univer- agreement, appointed - Denmark sity of Copenhagen about different as- pects on fieldwork with the specific goal Zuzana Jurková to the position of Liai- by Lene Halskov Hansen, son Officer for the Czech Republic. to illustrate the theme interdisciplinary Chair of National by bringing together researchers and Zuzana Jurková is an associate profes- Committee others from different disciplines. sor and head of the Institute for Ethno- Ethnomusicology and musicology at the Faculty of Humani- Members of the board have participated ethnochoreology in in ICTM and ICTM related conferences: ties of Charles University, Prague. She is Denmark involves re- co-founder of the ICTM Study Group Eva Fock has participated of the British searchers and students Forum for Ethnomusicology’s confer- Music and Minorities. Recently she has from institutions as well as freelancers also been involved in urban studies. ence in Oxford, 2010. Anca Giurchescu from all over the country, though Co- had a panel presentation with Speranța Publications of ICTM members penhagen is centre of the activities. To- Rădulescu on ”Music and Dance of pan- gether the members represent a variety Balkan (and Mediterranean) fusion: the Tyllner, Lubomír, 2010: Tradiční hudba: of directions around musicology, dance case of the Romanian manea” at the hledání kořenů. (Traditional Music: studies, cultural studies and religion. Symposium of the Study Group on Mu- sic and Dance in Southeastern Europe,

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Izmir, Turkey, 2010, and attended the in Yearbook for Traditional Music. Vol. one of the Best Safeguarding Practices 26th Symposium of the Study Group on 43: 1-36. protected by the UNESCO. Ethnochoreology with the paper “A disputed issue: Contemporising (Safe- • Halskov Hansen, Lene (2009): „De We start our report with the commemo- guarding) the Ritual Căluș (Romanua)” Splittergale på farten i – I spændings- ration of László Dobszay, Hungarian [to be published in 2012], Třest, Czech feltet mellem gårdsang, galskab og member of the ICTM, who passed away Republic. On 23 July 2009 Anca Gi- kultur” i Norsk Folkemusikklag, Nas- in 2011. The following reports were sent urchescu became a Doctor of Letters jonal avdeling av ICTM, nr. 23. Oslo: by colleagues about conferences, an ex- honoris causa of the Roehampton Uni- Novus forlag, pp. 66-78. hibition, current researches, new books published, and a forthcoming DVD. versity, London. • Michael Hauser (2010): Traditional Inuit Songs from the Thule Area. Tran- Sit tibi terra levis. Farewell to László Dobszay scriptions and Investigations of Tradi- (1935–2011) tional Songs from the Thule Area re- by László Vikárius, IM, Head of the Bartók corded by Erik Holtved in 1937 and Mi- Archive chael Hauser and Bent Jensen in 1962, vol. I-II. København: Museum Tuscu- I have never met another such all-round lanum. man in whose everyday work and con- stantly evolving life work scholarship, Hungary art, and pedagogy were so harmoni- ously united – all three with the same by Katalin Kovalcsik, Chair fervour and engagement. His pedagogy of National Committee was a rarity, he could teach anybody at ICTM currently has 11 any level of education no matter how Hungarian members, all little or how much previous knowledge of them have been re- one had on the subject. It is no wonder The contemporary manea phenomenon searchers of the Institute for Musicology that he actually taught on all levels from music school to PhD courses and be- Publications (IM) of the Hungarian Academy of Sci- ences (HAS). Their membership is fi- yond. He never avoided conflicts if he • Fock, Eva (2011): På Tværs af musik. nanced by the HAS. As of 1January 2012 had to defend some cause. His pupils, København: Wilhelm Hansen Musik- the IM has became part of the newly however, always enjoyed his special forlag formed Research Centre for Humanities attention. A family man of seven chil- of the HAS. The IM’s new director is Pál dren, he possessed a gift and passion for • Fock, Eva (2009): ”Multicultural Richter, who is known by the interna- building communities. Pedagogy as he Europe” in Minette Mans: Living in practiced it reached far beyond what is Worlds of Music - A view of tional research community also as the Chair of the XXVI European Seminar in customary. He organized study trips in Education and Values. New York: Hungary and abroad for large groups of Springer, pp. 135-140. Ethnomusicology (ESEM) organised in Budapest in 2010. He also holds the po- his students. These trips were prepared • Fock, Eva (2009): ”Experiences from a sition of the Head of Research Depart- with almost artistic care. He provided High School project in Copenhagen. ment of Folk music, Folk dance and Ar- many of his students with their very Reflections on Cultural Diversity in chive. Professional researches in the Music Education” in Bernd Clausen, field of ethnomusicology in Hungary Ursula Hemetek, Eva Säther, are being carried out in the IM, cooper- EMC (red.): Music in Motion – Diver- ating in certain topics with the House of sity and Dialogue in Europe. Bielefeld: Traditions (Budapest). Transcript Verlag, pp. 381-394. It is a great pleasure and honour for us • Giurchescu, Anca and Rădulescu, that after including the “busó-walking” Speranța (2011): ”Music and Dance of (Hung. busójárás, Croatian: pohod pan-Balkan (and Mediterranean) fu- bušara), an annual celebration of the sion: the case of the Romanian manea” šokci (Croats) living in the town of in Proceedings. Second Symposium of the Mohács, Hungary (held at the end of ICTM Study, pp. 42-52. the Carnival season) on the Representa- tive List of the UNESCO’s intangible • Giurchescu, Anca and Rădulescu, cultural heritage in 2009, in 2011 the tán- Speranța (2011): ”Music, Dance and cház (dance-house) method: a Hungarian Behaviour in a New Form of Expres- model for the transmission of intangible sive Culture: The Romanian Manea“ cultural heritage has been selected as

László Dobszay. (Photo: Andrea Felvégi)

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first opportunities to present their writing the most significant new outline ogy itself is in fact included in his book, scholarly findings in Hungarian or in- history of music in Hungary (Magyar A magyar dal könyve [An anthology of ternational conferences. He kept a lov- zenetörténet [Hungarian music history], Hungarian songs, 1984], directed to- ing eye on his students’ careers and life. 1984, English trans. 1993) since Bence wards a more general public. At the same time, his election as presi- Szabolcsi’s standard book. dent of the Széchenyi Academy of Let- Schola Hungarica, founded in 1969, a ters and Arts in 2008 was an acknow- The reestablishment of the Church Mu- long-standing and a true “school” ledgement of his significance as an im- sic Department at the Liszt Music Acad- for the performance of medieval portant and integrating cultural figure emy (University) in 1990 gave rise to monophony and early polyphony had beyond his scholarship and pedagogy. several series of textbooks, stud- quickly established itself as an interna- ies and anthologies; he himself contrib- tionally acknowledged specialised en- To sum up even the most important of uted to these series by writing and edit- semble not only of what soon became his scholarly achievements is in itself a ing a number of books. His masterly known as “Hungarian Gregorian chant” formidable task. A hangok világa [The introduction to plainchant, A gregorián but also of other special medieval tradi- world of tones, 1964–68], this masterly ének kézikönyve [Handbook of Gregorian tions; it was, however, a workshop of series of introductory books and exer- chant, 1993] written in the form of a contemporary composition, too. The cises for training solfeggio, has made the textbook-cum-anthology addresses the long series of their yearly recordings name “Dobszay” widely known among widest possible readership. He also had brought early liturgical music close to music teachers and students alike into a a decisive role in founding the Hungar- the heart of believers and nonbelievers; “textbook” and a “method,” quite apart ian Church Music Society in 1992 and early monophony and polyphony be- from the real author. Meanwhile he had launching the periodical Magyar Egy- came both familiar and an intriguing left behind his early career as a music- házzene [Hungarian Church Music, new musical world. The project and school teacher to become a folk music 1993–], a journal open for different relig- publication series CAO-ECE (Corpus and plainchant scholar. His monograph ions. Antiphonalium Officii Ecclesiarum Cen- on the Hungarian folk lament (A tralis Europae, 1988–) aimed at recon- siratóstílus dallamköre zenetörténetünkben After his studies in composition and structing the historically changing litur- és népzenénkben [The melodic sphere of musicology at the Music Academy, and gical practice of different centres based the lament style in Hungarian music history at the University in Budapest, he on an intelligent repertory analysis of all history and folk music], 1983) earned taught music appreciation and chamber available sources. The series to which him his title as “candidate” of the Hun- music classes at the Budapest Music several of his students contributed has garian Academy of Sciences while his School Organization. He started teach- become an indispensable research tool. later monumental dissertation on the ing at the Musicology Department of repertory of Gregorian antiphon (Corpus the Music Academy in 1966. At the The three-volume edition of antiphons antiphonarum, 2003) was his thesis for same time, Zoltán Kodály invited him (Antiphonen, 1999), published within the the title “Doctor of Science.” Apart from to join his Folk Music Research Group. prestigious German series Monumenta his enormous scholarly output and his It was there that he received vital im- Monodica Medii Aevi, yet another joint many articles and books of more gen- pulses to his research into folk music undertaking with Janka Szendrei, quite eral interest on music, education, and and then liturgical monophony from the exceptionally presented the research liturgy, he initiated and organised priest and musicologist Benjámin Rajec- results of Hungarian scholars as a scholarly research by creating work- zky (1901–1989). He also found his life- “standard” for international scholarly shops and schools. The various series of long collaborator in all his later projects, work. Its basic idea is the classification publications conceived and edited by Janka Szendrei, there. The three of them of the varied European repertories of him form an integral part of his collaborated on the groundbreaking antiphons as preserved in different achievements; these are basic in Hun- publication, XVI–XVII. századi dalla- types of Hungarian liturgical sources garian and, in certain cases, interna- maink a népi emlékezetben [Hungarian based on a music analytical system in- th th tional musicology. Musicalia Danubi- melodies of the 16 and 17 centuries in spired by systematic folk song research. ana, launched in 1981 under the aegis of the living tradition, 1979]. Apart from Dobszay’s role in the foundation and the Institute for Musicology of the Hun- his interest in folk lament, his most im- organization of the “Cantus planus” garian Academy of Sciences, is not only portant achievement as ethnomusicolo- study group of the International Musi- an important publication series of fac- gist was the establishment of a new ty- cological Society with biannual confer- similes and transcriptions of sources of pology of Hungarian folksongs. His ences mainly in Hungary and proceed- Hungarian music history from the Mid- undertaking is sadly incomplete since ings also published there, made it obvi- dle Ages to the 19th century. It has also only a large first volume could be pub- ous that his Early Music Department at become a symbol of scholarly coopera- lished (Catalogue of Hungarian Folksong the Institute for Musicology in Budapest tion in East-Central Europe akin to types, vol. I, with Janka Szendrei, in had become one of the most important Bartók’s undertaking in folk music re- Hungarian 1989, English trans. 1992), centres for plainchant research world- search. The new comprehensive re- despite his urgent efforts before his wide. search into sources made him capable of death to finalise the missing second volume. Fortunately, much of the typol- His firsthand experience as ethnomusi-

Bulletin of the ICTM Vol. 120 — April 2012 — Page 23 REPORTS cologist of oral traditions was as evident with László Felföldi’s commemoration Current researches of ICTM members in his work as historian as was his un- about one of the first Hungarian ethno- Lujza Tari published a new book derstanding of music from the perspec- choreologists Marián Réthei Prikkel, for Szlovákiai magyar népzene. Válogatás a tive of a composer and performer (a his 140th birth anniversary. According szerző népzenegyűjtéséből (1983-2006) choir conductor and occasional pianist). to the tradition of the Martin meetings, [Hungarian Folkmusic in Slovakia. A His sure and instantaneous judgement the following speakers were the young Selection from the Folkmusic Collected of the value of scholarly concepts, the scholars who had won prizes on the by the Author (1983-2006)], with 2 CDs. quality of a work of music and its per- 2011 submission of the György Martin (Csemadok Művelődési Intézete, formance or of everyday practical ques- Foundation. Five students had papers Dunaszerdahely [Dunajská Streda], tions, the crystal-clear logic of his think- about their investigations on traditional Gyurcsó István Alapítvány Könyvek 49. ing, the precise formulation of ideas and folkdances, folk music instruments and 2010. 370 p.) She will publish her next his beloved Latinisms in his way of ex- folklore revival phenomena. book, containing the Hungarian instru- pression made his utterances unique Virtual Exhibition: Weddings in Eastern Europe mental music collection of Béla Bartók, and unforgettable. with the same publisher in 2012. She A virtual audio exhibition called ‘Wed- He must have been fully aware for organized the scientific program of the dings in Eastern Europe’ has been pub- years that his time was running out and Benjámin Rajeczky Memorial Day, for lished on the DISMARC portal (Dis- he would not be able to realise every- the 110th anniversary of his birth in his covering Music Archives) and thing he had envisaged so he made in- former resident town, Pásztó, on 10 No- Europeana.eu, which is a single access credible efforts to work on his most spe- vember 2011. point to millions of books, paintings, cial topics with unceasing de- films, museum objects and archival re- spite his failing health almost to the last cords that have been digitised through- moment. We shall miss not only the ex- out Europe. Using music, pictures, emplary scholar and the inspiring video and manuscripts, the exhibition teacher but also the humanist thinker compares wedding rituals in Hungary, who was, however, always a musician Lithuania, Poland and Slovenia. who could articulate every moment in music, speech and life with perfect art. Extract from the introduction: ‘In tradi- tional cultures, the wedding was one of the Conferences most important and complex of all social Ferenc [Franz] Liszt Memorial Meeting. ceremonies, with its own music repertoire. For the 200th anniversary of the com- Although wedding ceremonies from Eastern poser’s birth, several programs and con- Europe were essentially similar, local cus- ferences were organized in 2011 that toms varied from region to region, as well as resulted in new researches and publica- from country to country. Ceremonies and tions of his life and compositions. The rituals reflected concerns with longevity, Lujza Tari on the memorial conference of memorial meeting was held in the fertility, prosperity and happiness. Despite Benjámin Rajeczky. (Photo: Gábor Miháltz) building of the HAS, on 5th May with inevitable changes wrought by time, globali- She participated in the work of the in- the participation of the doyen of the sation and industrialisation, remnants of ternational team reconstructing the Hungarian ethnomusicology, Bálint earlier traditions of music and dance are German Gustav Küppers-Sonnenberg’s Sárosi (b. 1925). Professor Sárosi pre- still preserved in Eastern European wedding sound recordings from his collecting sented his new results in the historical ceremonies until today.’ trips in the Balkans and Hungary. The research of the rural instrumental musi- result of the activity of the team is a CD: The exhibition was produced within cians (published in Hungarian: Muzsika Walzenaufnahmen aus Südosteuropa /Wax EuropeanaConnect project by four Euro- 2011. 54 (10): 22-24). Beside him, Lujza Cylinder recordings from Southeast Europe pean sound archives: Institute of Art of Tari had two conference papers about G. Küppers-Sonnenberg 1935-1939. (Ber- the Polish Academy of Sciences (IS- the Hungarian Rhapsodies of the com- liner Phonogramm-Archiv Historische PAN), Research Center of the Slovenian poser in 2011. Klangdokumente/Historical Sound Academy of Sciences and Art (ZRC Documents. Herausgeber der Reihe György Martin Annual Meeting. This re- SAZU), Institute of Lithuanian Litera- Lars Christian Koch & Susanne Ziegler curring meeting is organized by the ture and Folklore (LLTI) and Folk Music BPhA-WA-7, Ethnologisches Museum Hungarian Ethnochoreological Society Archives of the Institute for Musicology, Staatliches Museum Berlin – Preußische and the IM, HAS. In 2011 it was held on Hungarian Academy of Sciences (ZTI). Kulturbesitz 2011.) She wrote an obitu- 23 November at the IM, supported by Our institute has provided 34 audio ary ‘In memoriam Jerko Bezić’ (1929- the Ethnochoreological Committee of samples, 14 photos, and 12 videos illus- 2010) published in Hungarian in the HAS, the Folk music and Folk dance trating the wedding traditions and ritu- Néprajzi Hírek [Ethnographical News] Section of the Hungarian Ethnographi- als in Eastern Europe. Two versions can 2011. 40 (1): 81-83. She permanently cal Society and by the Hungarian Sec- be found here and here. teaches ethnomusicology and transcrip- tion of the ICTM. The program started

Bulletin of the ICTM Vol. 120 — April 2012 — Page 24 REPORTS tion at the Liszt Academy of Music.

Katalin Kovalcsik finished in 2011 the fieldwork of a three-year-long mono- graphic research supported by the Hungarian Scientific Research Found. The title of the research was “The musical life of a Transdanubian village” (in Hungary) focusing on three periods: the times around and during World War II, the socialist period and the times af- ter 1989 with emphasis on the years of the fieldwork. The starting-point was the participant observation of the public and private musical events of the villag- ers comparing them in the local discus- sions with the similar and different events, instruments, genres, songs, dances, participants, etc., of the “older times”. By applying this method she could gain information about the changes of the social stratification of the From right to left: János Sipos and Tahir Aga in the Turkmen desert. (Photo: János Sipos) village, the appearance of the different musical genres, their use and meaning the Kyrgyz folk music relying on his ing and the atmosphere. The mono- in the different social and age groups, extensive Kyrgyz expeditions in 2002 graph series is planned to be continued and the changes of the musical activi- and 2004. Due to the growing interna- by the volumes on motivic analysis of ties. She had more conference papers on tional interest in the comparative re- the dances, and a summary on the his- that research, also presented on the 41st search of the music of the Turkic peo- tory of the ugrós dance type. Another World Conference of the ICTM in St. ples, in 16-18 May 2012 the Musical main line of research is the internet pub- John’s and the celebratory symposium Geographies of Central Asia conference lication of an Ethnochoreology Knowledge- of ICTM in Ljubljana in August 2011. will be organised at SOAS, London, in- base, built of interrelated databases of volving this kind of approach (see here films, dances, manuscripts, dance nota- János Sipos continues his researches in for me). Besides, to his initiation in 2005 tions, motive collection, photos, inform- the huge Turkic speaking area from the ICTM Study Group on Music of the ers and dance music from the collection China to Bulgaria. His earlier mono- Turkic Speaking World was founded in of the Traditional Dance Archive of the graphs in this topic are Kazakh Folksongs Sheffield, UK, and the third meeting of Research Centre for Humanities, with a from the Two Ends of the Steppe the Study Group will be held at Cam- full text database of publications se- (Akadémiai Kiadó, Budapest. 2001. 302 bridge, UK, in 2012 with more than 25 lected from Hungarian ethnochoreolo- p.), Azeri Folksongs – At the Fountain- participants from different countries. gists. The members of the team are Head of Music (same publisher 2004. 623 László Felföldi, János Fügedi, Zoltán p.), The Psalms and Folksongs of a Mystic Report on the Ethnochoreology Research in Karácsony, and Annamária Károlyi Turkish Order (with CD, same publisher the IM. A main focus of the current re- Szőke. 2009. 710 p.) and a book on the Anato- search is the preparation for publishing lian folk music (In the Wake of Bartók in an anthology on “ugrós” (lit. “spring- New books by ICTM members ing”), one of the most important dance Anatolia. European Folklore Institute, A Magyar Népzene Tára XI. – Collec- family in the old stylistic stratum of Budapest. /Bibliotheca Traditionis Eu- tion of Hungarian Folk Music XI. Nép- Hungarian traditional dances, which ropeae 2./ 2000. 350 p.). His Karachay daltípusok 6. – Types of Folksongs 6. monograph will be published in sum- has widely diverse variants as to music, mer 2012, by L’Harmattan Publishing form and social appearance. Following Edited by Mária Domokos. Balassi Pub- House in Budapest. He begun to ex- the first volume of a monograph series lishing House, Budapest. 2011. 1260 p. plore Turkmen folk music in the spring on the subject, Az ugrós táncok zenéje – of 2011, leading a six-week-long expedi- The Music of the Ugrós Dances written by A Magyar Népzene Tára XII. – Collec- tion among Yomut Turkmens living in Katalin Paksa (L’Harmattan, Budapest. tion of Hungarian Folk Music XII. Nép- the Balkan District of Turkmenistan. He 2010. 356 p.), this second volume in- daltípusok 7. – Types of Folksongs 7. has been continuing his research among cludes 70 dances, all Labanotated from Edited by Katalin Paksa. Balassi Pub- the Sufi Alevi/Bektashi and Tahtaji or- films, the scores of the accompanied lishing House, Budapest. 2011. 1216 p. ders in Turkey and made a six-week- music, a short description of the field long expedition among them. Also in research and the circumstances of film- Volumes XI and XII of the series mani- 2011 he began to write a monograph on ing, with photos illustrating surround- fest new and significant results of the

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tional historical references, and with Great War, was awarded the Pitrè prize variants among linguistically related in Palermo in 2010. and neighbouring nations. A Bibliogra- phy and several kinds of musical and Songs from Komiland textual indexes make the volumes com- Edited by Erik Vászolyi-Vasse and Kata- plete. Being a bilingual series, the com- lin Lázár. Reguly Társaság, Budapest. plete text of the volumes (including the 2010. 383 p. folksong texts) is translated into Eng- lish. This is the title of a volume of 103 Komi (Syrjen) folk songs. Despite the work of Száz magyar katonadal. Bartók Béla és a number of Komi researchers dealing Kodály Zoltán kiadatlan gyűjteménye, with Komi folk music in the 20th cen- 1918 – Hundert ungarische Soldatenlie- tury, the collection in the Institute for der. Béla Bartóks und Zoltán Kodálys Musicology recorded in 1960 and 1966 unveröffentlichte Auswahl, 1918. is special. The recordings had been Dokumente und historischer Hinter- made by Eric Vászolyi, linguist; the grund. musical collection is the paragon of his Edited by / Herausgegeben von Szalay linguistic collection, and was given to Olga. Collaborator: Eva Maria Hois. the Institute of Musicology. Eric Balassi Kiadó – MTA Zenetudományi Vászolyi collaborated in creating the Intézet, Budapest. 2010. 662 pages. volume as well; he has written the parts of introducing Komi people and the A rarity: couple “swineherd’s dance” around “One Hundred Hungarian Soldier’s circumstances of fieldwork. Linguistic crossed sticks on the floor. Labanotation by János Songs”. Unpublished collection of Béla annotations of the lyrics is also made by Fügedi. Bartók and Zoltán Kodály (1918), a joint him, and he rendered indispensable critical source edition of Collection of work by the two collectors known even help in notating the songs, as the lyrics Hungarian Folk Music established by by the narrow professional community were written down by him. The work of Béla Bartók and Zoltán Kodály. They by hearsay so far, is published for the Katalin Lázár was the choosing and were prepared in the IM, HAS, with a first time. Bartók and Kodály were musical notation of the songs; 103 songs financial support of Hungarian Scien- commissioned in 1916 by the Music His- of the collection proved to be suitable tific Research Fund. Strophic music ma- torical Centre (Musikhistorische Zen- for publication. She has written also an terial of Hungarian folk music pub- trale) set up under the guidance of essay about Komi folk music and lished here is arranged in musical types, Bernhard Paumgartner within the im- musical comments to all melodies. The according to Pál Járdányi’s musical sys- perial and royal War Ministry to com- volume was published in Hungarian in tem based principally on the melodic pile the material for the Hungarian vol- 2008. However, it was also an aim to contour. After publishing the musical ume of songs for the army. Only the translate it into English and Russian. types descending from high and most Hungarian collection was print-ready With the help of Eric Vászolyi living in times presenting a quintal shift struc- after the appearance of the Austrian Australia since 1968, the authors have ture in volumes VI–X, these two new volume in the series aimed to present translated the book into English and volumes edit those types of the old the soldier’s songs of the of that variant was published in Budapest layer in which the two inner melodic the Austrian-Hungarian Monarchy in 2010. With the help of colleagues lines of the strophe are identical or simi- when the collapse of the Empire inter- dealing with Finno-Ugrian languages, lar to each other, moving at around the rupted the planned work. The section of the authors got acquainted with Niko- same height. The descent of the melody the manuscript with the music got lost. lay Rakin, a Komi man speaking Hun- contour in those types are less pregnant The present publication with music is garian, who could translate the book or dominant. Volume XI comprises 703 the outcome of the reconstructing work into Russian ( , melodies of 28 types (with 270 more in by Olga Szalay. The presented 100 sol- , : « the notes), volume XII presents 793 dier’s songs are complemented with a ...» melodies of 24 types (and 244 more in hundred documents of Austrian- . «», the notes). In the Introduction a detailed Hungarian collaboration between 1915 , 2010). As a result of his review provides the most important and 1918 (letters, messages) as well as selfless work and the application sup- characteristic features of each type, in three music historical studies (by Olga ported by Estonians, it was published in the Tunes (the main corpus) the music is Szalay, Eva Maria Hois and Virág Büky) Russian in Syktyvkar in 2010. accompanied by the texts in their whole and a war historical essay (Ferenc Poll- entity, in the Notes data on the collec- mann). The book published in Hungar- tion, on the performer, on the way of ian and German, which is a novelty for performance, and on earlier publica- those interested in Hungarian folk mu- tions are supplied, together with addi- sic, the Habsburg Monarchy and the

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Forthcoming DVD 2012 the complete bilingual digital edi- partments: the Department of Commu- tion will be released. Some of the essays nication, the Department of Performing Anthology of Hungarian Folk Music – have been rewritten or amended, new Arts and the Arts department, where I complete digital edition audio recordings, notations, maps and work. Within this department we have Publisher: FolkEurópa and HAS photos are enclosed, and thanks to the branch of Fine Arts and the branch Research Centre for the Humanities. computer technology, an advanced of Music and Musicology. Editors in chief: András Lelkes search tool helps to browse in the whole At Music and Musicology we are four (FolkEurópa), Pál Fodor (director of audio and visual material (sound re- ethnomusicologists, all researchers and HAS RCH). Commissioned by Franz cordings, notations, lyrics etc.). The teachers holding PhDs in ethnomusicol- Liszt Academy of Music, Department of DVD will be accompanied by a booklet ogy. We are supported by colleagues Folk Music, edited at HAS RCH Folk and a CD with the audio data as mp3 from the “Ecole Normale Supérieure” Music and Folk Dance Archives. files. This DVD fulfils one of the main (Higher Normal School) of Abidjan and Editor: Pál Richter. objectives of Hungarian folk music re- search: it presents a panorama of the teachers from the “Institut National Authors and editors of chapters: whole Hungarian folk music tradition, Supérieur des Arts et de l’Action Cul- illustrated by essays and selected sound turelle” (the Higher National Institute of • MNA1: Dance Music – György Mar- Arts and Cultural Action), specialists in tin, István Németh, Ernő Pesovár, Ist- recordings, for professionals and ama- teurs as well. music and instrumental practice. We ván Pávai teach music and musicology to ap- • MNA2: Uplands (‘North’) – Lujza Further information of the publications proximately 300 students. After two Tari, László Vikár of the Hungarian ethnomusicologists years of joint training, these students and musicologists can be found on the begin their specialization on their third • MNA3: Transdanubia – Imre Olsvai, websites www.zti.hu and year. All students who took the research Márta Rudasné Bajcsay www.hagyomanyokhaza.hu. route specialise in ethnomusicology, since we encouraged them to work on MNA4: Great Plain – Katalin Paksa, • African music in general and on Ivorian István Németh Ivory Coast music in particular. By Hien Sié, Liaison MNA5: Szilágyság, Kalotaszeg, • Officer Today we have more than thirty stu- Mezőség (‘East 1’) – Bálint Sárosi, Ist- dents in “maîtrise“ (Master 1) and ván Németh I have the honour to “DEA” (Master 2). About ten of them submit my 2011 report as are currently enrolled in Ph.D studies at • MNA6: Székelyföld (‘East 2’) – Bálint ICTM Liaison Officer of the University of Cocody or at French Sárosi, István Németh Ivory Coast for the year universities. All students are preparing 2011. Above all, I want to • MNA7: Moldva and Bukovina – their doctoral thesis in ethnomusicology inform you that my country is gradually Mária Domokos, István Németh and their subjects are all on Ivorian mu- emerging from a long sociopolitical cri- sic. Traditional musical instruments The Anthology of Hungarian Folk Mu- sis that had a strong impact in our work have a main place in these subjects. sic was published on 7 separate albums at the university. Indeed, the year 2011 between 1985 and 2002, by the concep- has seen the closure of universities in- In truth, Ivorian traditional music has tion of György Martin. The series pre- cluding the University of Cocody- not been much researched, and apart sents Hungarian folk music by regions, Abidjan, where I work. This ongoing from the work of us teachers and re- highlights folk music dialects, typical situation (the universities are still not searchers (theses and published papers), genres, songs and customs presented by open) has brought our research activi- only the student work which we super- the best performers. Despite the differ- ties to a halt. Therefore, in terms of re- vise deserves further consideration. ent editors of the volumes (chapters), it search activities during the year 2011, I is the first and most complete series of would like to present on one hand the The “Institut National Supérieur des Hungarian audio recordings that repre- institutional framework in which we Arts et de l’Action Culturelle” sents worthily Hungarian folk music operate, and on the other hand, what In this institute – the only public institu- traditions. Thus the editors have been our students and colleagues have been tion of higher learning of the arts – our planning for a long time to publish the doing. teachings are based around general mu- series as one issue. In 2008 the plan was sicology. From the third year on, how- realised partly: initiated and financed The University of Cocody ever, connections are established be- by the Folk Music Department of Liszt The University of Cocody-Abidjan is the tween the Departments of Music and Academy of Music, a noncommercial oldest university in Ivory Coast. It is Musicology and of African Music, version of the series was merged and divided in many “Unités de Formation et where we help students research on Af- published in Hungarian on DVD, only de Recherches - UFR” (Units of Training rican music. for students. In the last four years the and Research) . The UFR of Information, volumes has been revised, unified and Communication and Art has three de- translated into English, and in June,

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We believe that ethnomusicology in Ivory Coast is a field in full expansion, because the interest shown by teachers and students for this discipline is real. However, it lacks adequate infrastruc- ture to allow it to be effective. The proof is that, although we are working within a Unit Training and Research, we do not have a laboratory of ethnomusicology.

Our immediate plans

• Organise a symposium on endan- gered Ivorian musical instruments

• Inventory the traditional musics and dances from Ivory Coast

• Create an ethnomusicology laboratory to facilitate the work of research in this field in Ivory Coast and sur- rounding area. The Gunge Takwaku dance associated with the female initiation (kraku-bandi) ceremony. Only women who underwent this ceremony are allowed to dance. This requires enormous resources and Dance activities the support of ICTM would be desir- of the Burui Kunai area of the East Sepik province. able. In 2009 IPNGS collaborated with the Melanesian Institute of Arts & Commu- This is the brief report that I can do on 2010 – IPNGS collaborated with the nication at the University of Papua New the life of ethnomusicology in my coun- Dance Studies Department of the Na- Guinea to stage the second lot of Inter- try. tional Institute of Creative Arts & Indus- tries at the University of Auckland in national Dance Day celebrations in the the “Our Dance Stories” research pro- country. The two-day event was took Papua New Guinea th nd ject. The research explored personal life place on the 29 April and the 2 of by Naomi Faik-Simet, stories of participants connected to May and attracted a variety of partici- Liaison Officer dance. Interviews were carried out with pants ranging from students to other various dancers, students, choreogra- performing groups. Performances ad- In the last couple of phers and teachers in three locations; dressed the theme “Inclusive Dance”. years, there has been an Port Moresby, East Sepik and East New increase in the promo- Following the successfully Dance Day Britain. tion of dance and music celebrations in 2009, the IPNGS collabo- activities in the country. 2011 – IPNGS was involved in the 2nd rated with the Expressive Arts Depart- Educational institutions, government, pilot project of the National Cultural ment of the University of Goroka to or- non-government and the business Mapping program coordinated by the ganize the first National Dance Sympo- communities have taken an interest in National Cultural Commission. The sium in Papua New Guinea. The sym- recognizing and supporting various main objective of this exercise was to do posium was held from the 27-29 of April activities associated with maintaining a stock take on all intangible and tangi- 2010 and coincided with the third Inter- and preserving dance and music tradi- ble cultural . The field-trip national Dance Day celebrations in tions. This report shares some of the took place in the Hoskins area of West PNG. This also attracted greater partici- work the Institute of Papua New New Britain province. pation from the student and theatre Guinea Studies (IPNGS) has been doing groups. Presenters were from the Mela- since 2009 in researching Papua New 2011 - Music staff of IPNGS recorded nesian Institute of Arts & Communica- Guinea’s diverse dance and music tradi- and documented the three-day annual tion of the University of Papua New tions, it highlights achievements and Goroka Show in the Eastern Highlands Guinea, Pacific Adventist University, also features works by other music re- province. University of Auckland, Papua New searchers. Music Activities by IPNGS staff Guinea National Commission for UNESCO, National Cultural Commis- Fieldwork Continuation of digitisation of IPNGS sion, Institute of Papua New Guinea 2009 – IPNGS recorded and docu- collections by Balthazar Moriguba and Studies, National Performing Arts mented the complete female initiation Edward Gende. Troupe and the University of Goroka. (kraku-bandi) ceremony in Yangit village

Bulletin of the ICTM Vol. 120 — April 2012 — Page 28 REPORTS

Conference Participation Awards Held at the University of Goroka. 2012. The book discusses issues relating Faik-Simet represented IPNGS and Faik-Simet was awarded a Summer to the study and practice of dance in Papua New Guinea at the 2009 World Scholarship by the NICAI of the Uni- Papua New Guinea and highlights Alliance for Arts Education Summit in versity of Auckland to carry out further concerns of the role of dance as an Newcastle, England. Following this, research on the transmission of knowl- important tool in education and Don Niles and Naomi Faik-Simet par- edge in the gunge takwaku performance also a medium for maintaining cul- ticipated at the ICTM Study Group on associated with the kraku-bandi female tural identity. Music Dance in Oceania’s Symposium initiation ceremony in Yangit village of at the Australian National University in the East Sepik province in 2010. In 2011 Canberra, Australia. Niles presented Faik-Simet was awarded the Westpac results of his work on courting dances Women in Business MRDC (Mineral in the Highlands of Papua New Guinea Resources Development Corporation) while Faik-Simet shared challenges of Public Sector Category award in recog- her work in researching the perform- nition for her work in researching and ance of gunge takwaku associated with promoting Papua New Guinea dance the kraku-bandi female initiation cere- locally and internationally. mony of the Yangit. Niles also had the Other opportunity to share in another presen- tation the importance of maintaining an Deaths of Phillip Lamasisi Yayii (12 June archive. He mainly talked about the 2009) and Tony Subam (25 Dec 2011). IPNGS archive which at present houses the largest collection of Papua New Oliver Wilson (University of Otago, Guinea music materials. New Zealand) concluded dissertation research on recording studios in Port In 2011 Niles attended the ICTM World Moresby in May 2009. Presently writing Conference in St. John’s, Canada. He his thesis. also made a presentation entitled “Cooking Noses,’ ‘Carrying Legs,’ and In 2010, Gabriel Solis (University of Illi- ‘Turning Heads’: Changing Perceptions nois) began collaboration with Univer- Other Publications sity of Goroka. of Courting Dances in the Papua New • Gillespie, Kirsty. Steep Slopes: Music Guinea Highlands. IPNGS Publications and Change in the Highlands of Papua New Guinea. Canberra, 2010, ANU E Faik-Simet also had the opportunity to The IPNGS in the last three years has Press (Editor’s Note: see page 52 for de- participate and presented a paper enti- published two books and one journal: tled “Hybridization of Traditional tails). 1. Druppel, Birgit. Re-counting Knowl- Dance in Papua New Guinea” at the • Rumsey, Alan, and Niles, Don (edi- edge in Song: Change Reflected in Kau- Asia/Pacific International Dance Con- tors). Sung Tales from the Papua New long Music. With accompanying CD. ference in Kuala Lumpur, Malaysia in Guinea Highlands: Studies in Form, 2009. This musical ethnography is a September. Meaning, and Sociocultural Context. base study of the music traditions of Canberra, 2011, ANU E Press. (Editor’s the Kaulong people near the south Note: see page 52 for details). coast of West New Britain, Papua New Guinea. It embodies the de- Launch of CD, Ae tinil wen Lir; Music of scription and structural analysis of Lihir, by Kirsty Gillespie in 2009. traditional Kaulong music.

2. Kulele 4: Occasional Papers on Pa- cific Music and Dance (Don Niles, editor). Articles and reviews by : Hugo Zemp & Christian Kaufmann; Don Niles: Edward Gende; Vida Mohd Anis Md. Nor, Naomi Faik-Simet & Adrienne L. Kaeppler at the 2011 Asia/Pacific Chenoweth & Bruce Hooley, Naomi International Dance Conference in Kuala Faik-Simet; Nigel Champion; Lumpur, Malaysia Balthazar Moriguba; Neil R.Coulter. 2010. Participation by Niles in Linguistic So- Cont-Cho dancer, Don Niles, Naomi Faik-Simet, ciety of Papua New Guinea meeting in 3. Faik-Simet, Naomi and Niles, Don Sophie Naime and Martin Tonny at the launch of Ukarumpa, 2011: “Highlands Sung (editors). A Focus on Dance in Papua "A Focus on Dance in Papua New Guinea: Tales: Interdisciplinary Research on a New Guinea: Papers from the 2010 Papers from 2010 International Dance Day Distinctive Art Form.” International Dance Day Symposium, Symposium Held at the University of Goroka".

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New theses/dissertations on PNG music 4. Christine Muyco, Understanding Bontoc, Mountain Province, Philip- Sibod in the Binanog Music Music- pines (2010) Jones, Jennifer J. 2011. “Dance and Con- dance Tradition of the Panay Bukidnon textualization in the South Pacific Is- (PhD in Philippine Studies, Univer- 5. Tusa Montes did a milestone in lands: Encounters with Adventist Chris- sity of the Philippines, 2008). Philippine history for doing field- tian Faith.” Doctor of Missiology, Fuller work in Ghana, the first Filipino to Theological Seminary. Towards the end of the said decade, in- have done so and wrote a thesis on novative interdisciplinary researches Asante Kete: Lead and Support Drum- Sollis, Michael. 2007. “Musical-lingual that straddled the line between ethno-- ming in Yaw Daniel Okyere’s Palace Interplay in a Papua New Guinea Sung graphy and historiography were made. Ensemble at Mampong, Ghana (2011) Story.” BA (Honours) thesis, Australian These produced landmark books on National University. Philippine music cultural history from 6. Leo Eva Rempola did a contextual music critical work,“Metaphors of The above accomplishments and Oxford University Press such as David Power and Propaganda in Lucino T. achievements in music and dance re- Irving’s Colonial Counterpoint: Music in Sacramento’s Ang Maharlika and Ang search have been overwhelming with Early Modern Manila (2010) and Christi- Bituin Concertos for Piano and Orches- more developments anticipated in fu- Anne Castro’s Musical renderings of the tra (2011). ture. Papua New Guinea is blessed with Philippine Nation (2011). Irving’s book immense cultural diversity and music accounted for the globalised musical Outside of the UP College of Music, and dance contribute significantly in exchange or transculturation between Glenn Stallsmith, current director of maintaining and promoting our cultural Asia and Europe, via Mexico, during Summer Institute of Linguistics in the heritage. The IPNGS is the only cultural the days of the transpacific galleon Philippines, contributed an article, Cre- research institute established by the trade; while Castro discussed the vari- ating Places Through the Soundscape: a government of PNG to conduct research ous forms of musical representations of Kalinga Peace Pact Celebration for the re- on culture in the country and continues Philippine traditional music and dance cently published book Austronesian its work in ensuring that many of our in the context of 20th century Philippine Soundscapes in Performing Arts in Oceania music and dance traditions are pre- cultural politics. Meanwhile, an inde- and Southeast Asia. This was edited by served and accessed for research and pendent effort was made by Fredeliza Z. Birgit Abels for Amsterdam University educational purposes. Campos who did a diachronic study of Press (2011). Ifugao musical instruments in a number Philippines of museums in the Philippines and in Meanwhile, there have been a number the USA for her Master of Philosophy in of relevant local publications in the by José S. Buenconsejo, Music degree at the University of Hong country. Humanities Diliman, a literary Liaison Officer Kong (2012). journal on arts and humanities of the Research and Publication University of the Philippines, published In the Philippines, the following re- a themed issue on Music Hybridity The second half of the searches were done by master students (Volume 7, Issue 1, 2010), with contribu- previous decade saw the in musicology at the UP College of mu- tions from Christi-Anne Castro (Subjec- production of the following doctoral sic: tivity and Hybridity in the Age of Interac- dissertations, submitted to the Univer- 1. Arwin Tan did a cultural historical tive Internet Media), Michiyo Yoneno- sity of the Philippines (UP) and to those thesis titled Evolving Filipino Music Reyes (Salidummay’s Hybridity and Con- in the USA: and Culture in the Life and Works of gregational Singing), Lee Watkins (Brown, Black, Yellow, White: Filipino Musicican- 1. Kristina Benitez, The Maguindanaon Don Lorenzo Ilustre of Ibaan, Batangas ship in Hong Kong and Their Hybridized Kulintang: Musical Innovation, Trans- (2007). Sociability), Mary Talusan (From Rebel formation, and the Concept of Binalig 2. Lilymae Franco-Montano studied Songs to Moro Songs: Popular Music and (PhD Music, University of Michigan flat gong making, Crafting Gongs in Muslim Filipino Protest), Pamela Costes Ann Arbor, 2005). Two Ifugao Communities in Northern Onishi (Kulintang Stateside: Issues on 2. Arsenio Nicolas Musical Exchange in Philippines (2008). Authenticity on Transformed Musical Tra- Early Southeast Asia: the Philippines ditions Contextualized Within the Global/ 3. Oh Mihyun – the first Korean na- and Indonesia, ca. 100 to 1600 CE Local Traffic), and José Buenconsejo tional to research about traditional (Phd Music, Cornell University, (Inland-Coastal Philippine Hybridity: Het- Philippine music – wrote a master’s 2007). eroglossia in Agusan Manobo Music and thesis on Classification of Sarangani Ritua”). 3. Jonas Baes, Modes of Appropriation in Blaan Instrumental Music Repertoire Philippine Indigenous Music: the Poli- (2010). Since revived under the leadership of tics of the Production of Cultural Dif- composer-ethnomusicologist Ramon 4. Christine de Vera wrote An Under- ference (PhD in Philippine Studies, Santos, the Musika Jornal of the UP Cen- standing of Communities of Singers in University of the Philippines, 2004); ter for Ethnomusicology, founded by the Context of a Funeral Ceremony in José Maceda – the “Father of Ethnomu-

Bulletin of the ICTM Vol. 120 — April 2012 — Page 30 REPORTS sicology in the Philippines” – was also The goal of Laon-Laon is cooperation consistent in producing articles. These and resource sharing among its mem- were characteristically quite readerly. bers from the Philippines, Malaysia, Like the Humanities Diliman issue on Indonesia, Myanmar, Taiwan, Japan, music hybridity, volumes 4-8 (2008- Korea, China, Thailand, Cambodia, 2011) of Musika Jornal were all based on Vietnam, and Singapore. Academic themes such as “Theories of Perform- meetings were held in 2008 (Manila), ance in Musics of Asia” (2007-2008), 2009 (Cambodia), and in 2012 (Taiwan). “Music Transmission” (2009), “Music in Upcoming projects of the Laon-Laon are: Media” (2010) and “Music in Ritual” inter-region research exchange, digitiza- (2011). Journal 8 (2012) deals with tion projects, and resource sharing. “Plucked String Music Tradition.” Ricardo Trimillos speaking at 2011 Moreover, Nicole Revel – linguist, an- In addition, the forthcoming 2012 issue Southeast Asian Music Conference thropologist, and folklorist – convened of the Asian Studies Journal (published To inaugurate the doctoral program in an international conference on epics and by the UP Center for Asian Studies) will music in the UP College of Music, an ballads (Songs of Memory) at the Ateneo include ethnomusicological articles by international conference on the general de Manila University last 20-22 January Michiyo Yoneno-Reyes on Plural Moder- theme, “The Impact of Music in Shaping 2011. This was attended by distin- nities as Seen from Salidummay Singing in Southeast Asian Societies” was held on guished scholars from various fields the Northern Philippines, Kanami 2-3 September 2011. Over thirty schol- such as comparative literature, folkloris- Namiki’s Contrasting Traditions of Hy- arly papers were read papers on various tics, , and ethno- bridization: Comparative Study of Two Na- topics, ranging from the diffusion of musicology. Revel has done work, tionaltional Folk dance Companies in the music instruments in Continental among numerous publications, with Philippines, and Jose Buenconsejo’s mu- Southeast Asia, ritual and performance, Palawan epic tultul; she has been re- sic criticism of an extant Filipino film ethnoaesthetics, archiving, to the poli- sponsible for the creation of the unique that used traditional folk materials in tics of representation. multimedia archive of epics and ballads 1941, “Ibong Adarna”. Buenconsejo had from 15 different ethnolinguistic com- also produced a rare video documen- Existing independently from the UP munities in the Philippines. This is Ate- tary of Agusan Manobo rituals, titled College of Music, though it grew out neo de Manila University’s contribution “The River of Exchange”. An accompa- historically from the Department of to Philippine Studies. niment to his book Songs and Gifts at the Asian Music of the same College, later Frontier (Routledge, 2002), Buenconsejo renamed the Department of Music Re- The most important event that will discussed the subject of Agusan Ma- search (now Department of Musicol- happen in Manila in 2012 is the 2nd In- nobo spirit-mediumship in the context ogy), the UP Center for Ethnomusicol- ternational Symposium of the ICTM of the discrepant, material, indigenous- ogy has had its important share of con- Study Group on Performing Arts of settlers socio-cultural relations. tribution to the development of scholar- Southeast Asia (Chair, Patricia Matusky) ship on traditional in music in the Phil- during 14-19 June at the Philippine Na- PhD Programs and Academic Meetings ippines. Formerly under the director- tional Commission on Culture and the Arts building in the “old, walled city” Last year (2011), two doctoral programs ship of José Maceda, the center is cur- of Intramuros, Manila (Editor’s Note: see in music were launched: one at the Uni- rently busy as a team of technicians dig- Study Group’s webpage for more informa- versity of the Philippines Diliman Col- itises the center’s collection of 2,816 tion). Made Hood chairs the program lege of Music and the other at Philip- tapes (90% in reel format, 10% others). committee of the conference, while Feli- pine Women’s University. The program These tapes are valuable field recording cidad Prudente has been assigned Chair at UP is multifaceted due to its nine- of traditional musics from over 60 eth- of Local Arrangements. This committee member faculty who have diverse theo- nolinguistic groups from the Philippines retical backgrounds. The program re- and Southeast Asia. The digitization, quires coursework of one year of core which started in 2008, has finished at subjects (such as world music theoreti- least 60% (file conversion and metadata cal systems and on theories and meth- encoding) of the collection. Twenty per- ods of musicology) and an additional cent of the total digitised material are year of cultural and areal studies (nota- now available online at bly Philippine Studies, which is the www.upethnom.com. Every recording strength of UP being the national uni- comes with field notes and photographs versity). The one in Philippine Women’s and these materials are also being digit- University focuses only on ethnomusi- ised. cology with two ethnomusicologist pro- In addition, Ramon Santos has organ- fessors, Kristina Benitez and Felicidad ised the Laon-Laon, a network of music Ramón Santos reading a paper at 2011 Prudente. archives and other institutions in Asia. Southeast Asian Music Conference

Bulletin of the ICTM Vol. 120 — April 2012 — Page 31 REPORTS is supported by the “Citizens for Cul- The Faculty of Musical Art publishes leagues from the Academy of Arts of ture Manila, Inc.” Themes of the panels proceedings, books and doctoral disser- Novi Sad and the Musicological Insti- of the Symposium are tations. Its list of dissertations in the tute of Belgrade, as well as by a great period 2006-2011 includes the following: number of former students. 1. (Re)Producing SEAsian Performing Arts (Tourism and Commodifica- • Zkić, Mirn (2009). Within the period 2006-2011, the De- tion) – partment for Ethnomusicology of the Faculty of Musical Art conducted the 2. Tuning Systems (Ritual Songs of the Winter Sea- project Dialects of Music and Dance in 3. SEAsian Bodies, Music, Dance and son – Systems of Sound Characters in the Serbia, which was sponsored by the Other Movement Arts Tradition of Southeastern Serbia). Bel- Ministry of Education and Science. One grade, Fakultet muzičke umetnosti. of the main outcomes of that project 4. Philippine Local Identity was the volume : • Rakočević, Selena (2011). Igre plesnih (Serbia: Dialects of 5. Institutionalising SEAsian Perform- struktura. Tradicionalna igra i muzika za Music and Dance), edited by Dimitrije ing Arts Traditions in Modern igru Srba u Banatu u svetlu uzajamnih Golemović and published by the Fac- Multi-Cultural Music Education; uticaja (Interweaving dance structures. ulty in Belgrade in 2011. At the moment, Traditional dance and dance music of the 6. Movement Arts, Music, Ritual, and the second five-year project is taking Banat Serbs in the light of their mutual Theater. place, called Traditional music and dance relationships). Belgrade, Fakultet of multiethnic and multicultural Serbia. It Serbia muzičke umetnosti. is focused on presenting characteristics • Radinović, Sanja (2011). Oblik i reč and current transformations of tradi- by Nice Fracile, Liaison tional music and dance of various eth- Officer (Form and Word). Belgrade, Fakultet muzičke umetnosti. nic, regional and local communities, as a This report presents eth- part of their identity articulations. The nomusicological and We would also like to mention the in- head of the project is D. Golemović, in ethnochoreological ac- ternational scholarly journal for music collaboration with the Faculty of tivities in Serbia within New Sound (Editor-in-chief: Mirjana Musical Art of Belgrade, the Academy the period 2006-2011 Veselinović-Hofman), which is in the of Arts of Novi Sad and a few foreign conducted at the relevant pedagogical recent years published by the Faculty of ethnomusicologists. Musical Art in Belgrade. This journal and research institutions as well as the The Musicological Institute, Belgrade published achievements of Serbia’s tra- publishes studies, analyses, music mate- ditional music and dance scholarship. rials, critiques and reviews in the fields The Musicological Institute was estab- Introductions to the four principal insti- of composition, musicology, ethnomusi- lished in 1948 in Belgrade, as a part of tutions (Faculty of Musical Art and Mu- cology, musical aesthetics, etc. the Serbian Academy of Sciences and sicological Institute in Belgrade, Matica The Department for Ethnomusicology Arts. Since then, this Institute has been Srpska and Academy of Arts in Novi celebrated its 50th anniversary at the collecting, studying and evaluating Ser- Sad) are followed by the notes dedi- Great Hall of the Faculty of Musical Art bian folk, church and art music, both cated to periodical publications, re- in December 2011. Senior members of old and new. search projects, books, CDs, and ethno- the Department, such as Dragoslav De- As reported by its director Danica musicological training introduced in vić, Dimitrije Golemović and Olivera several music schools in Serbia. Petrović, the Institute’s scholars – both Vasić presented the history of the aca- permanent and external researchers – Faculty of Musical Art, Belgrade demic education in ethnomusicology in have over the years produced a plethora Serbia. Their addresses were comple- of valuable publications, including more The Faculty of Musical Art in Belgrade mented by the talks of their younger than thirty monographs, proceedings was founded in 1937 as the Music colleagues Mirjana Zakić and Sanja from scholarly meetings, critical edi- Academy of Belgrade, and in 1973, Radinović, who were talking about the tions of church music, LP-records, along with the name change, it gained activities in the previous decades and audiocassettes and CDs of vintage Or- the status within the Belgrade’s inde- Mladen Marković, whose presentation thodox and traditional music. Peda- pendent University of Arts. Musical included documentation in the form of gogical goals of the Institute’s staff are folklore as a subject was introduced in pictures and video clips. The celebration achieved through lectures at universi- 1949 and the Department for Ethnomu- contained a concert comprising tradi- ties both at home and abroad, and advi- sicology was instated in 1961. Since tional vocal, instrumental and dance sory work with students and young re- then, many students earned their BA, pieces performed by the ethnomusicol- searchers. The results of scholarly work MA and PhD degrees in ethnomusicol- ogy students. Organized by Selena Ra- are presented to the general public in ogy from this department. kočević, Sanja Ranković and Zdravko Serbia and elsewhere also by means of Ranisavljević, the concert was attended exhibitions, radio and television broad- and very well received by the col- casts, summer schools and concerts of

Bulletin of the ICTM Vol. 120 — April 2012 — Page 32 REPORTS the Institute’s choir. Currently, all re- Great Britain, Russia, Lithuania, Slove- , Folk pearls – from traditional to searchers (both musicologists and eth- nia, Hungary, Australia. concert music, Traditional musical instru- nomusicologists) at the Institute are ments and instrumental music in Vojvo- working together on the project titled The aim of the organizers was fulfilled: dina, Folk instrumental melodies in Vojvo- The identity of Serbian music, from local to constructive dialog and exchange of dina) are currently engaging scholars global: traditions, changes and challenges, different views occurred, providing sig- from the Academy of Arts from Novi supported by the Ministry of Education nificant encouragement for develop- Sad, the Musicological Institute from and Science of the Republic of Serbia. ment of methodologies and strategies in Belgrade and the Faculty of Musical Art from Belgrade. The Institute’s journal Matica Srpska, Novi Sad (Musicology) was launched in 2001 in Matica srpska is the oldest literary, cul- The Academy of Arts, Novi Sad order to “contribute to the studying of tural and scholarly institution of the The Academy of Arts was founded in Serbian musical heritage and its presen- Serbian people. It was founded in Pest tation to the local and international Novi Sad in 1974. Thanks to the increas- (Editor’s Note: current day Budapest) in ing attention that the young discipline scholarly audience”, as noted by Melita 1826 and moved to Novi Sad in 1864, Milin, Editor-in-chief. ethnomusicology had been receiving where its publishing activities were both at home and abroad, the Depart- The Musicological Institute (ethnomusi- drastically extended. ment of Music Arts of the Academy cologists Jelena Jovanović, Danka Lajić- The Department for Performing Arts started an ethnomusicological study Mihajlović, Rastko Jakovljević and and Music of Matica srpska launched subgroup in 1993. Lead by Dragoslav Marija Dumnić) initiated and together the first systematic ethnomusicological Dević, the subgroup aimed to train and with the Faculty of Musical Art organ- fieldwork in the region of Vojvodina in form young researchers who will re- ized in November 2011 the international 1983. Dragoslav Dević, Dušan Mihalek, cord, preserve and study traditional conference Musical Practices in the Bal- American ethnomusicologist Mark music of Vojvodina, as well as of other kans: Ethnomusicological Perspectives. Forry and myself, among others, par- areas of Serbia. While at the beginning Program Committee included scholars ticipated in the project. these had a very musicological (music with international reputation such as history) bent, in the last decade signifi- Izaly Zemtsovsky, Jim Samson, Martin Four years later, in 1987, the scholarly cant changes were made and new voca- Stokes, Lozanka Peycheva, Pál Richter, periodical Zbornik Matice srpske za scen- tional subjects have been introduced, Dejan Despić and Danica Petrović. ske umetnosti i muziku (Proceeding of Ma- such as dialectology, oral literature, eth- What follows is the presentation of this tica Srpska on Performing Arts and Music), nochoreology, traditional singing and event by J. Jovanović and D. Lajić- was launched. Edited by Božidar Ko- traditional playing. Nice Fracile and the Mihajlović: vaček, it published scholarly studies, assistants Vesna Ivkov and Vesna Karin other articles and reviews from the are in charge of teaching ethnomusicol- The main goal of the conference was to fields of theatre, film, musicology and ogy. facilitate direct comparisons across a ethnomusicology. range of ethnomusicological approaches Ethnomusicological and ethnochoreo- to Balkan music(s), including those of Matica srpska published a number of logical activities in Serbia within the local researchers and of researchers special editions, two of them in 2006: past five years are well reflected in the working outside Southeastern Europe. following list of publications: • Ilić, L. Sava (2006). Though the principal focus was on , musical practices in the Balkans, contri- • Vasić, Olivera (2007). (Musical heritage of Serbs, butions from scholars who work in , 1 (Folk Šokci and Kraševci in Romania). Com- other fields were also welcome. The ar- dances from southeastern Serbia, book 1). piled by Jelena Jovanović. Novi Sad, eas of interest were issues of diachronic Belgrade, Art Grafik. Matica Srpska, Department for Per- and synchronic, of emic/etic dichotomy, forming Arts and Music, Musicologi- • Ranković, Sanja (2007). paradigms of fieldwork, identity poli- cal Institute of the Serbian Academy . tics, modes of contextualization, objec- of Arts and Sciences. tivistic and subjectivist perspectives and (The vocal tradition of interdisciplinarity. Attention was paid • Fracile, Nice (2006). Lijevča polja and Potkozarje. Folk song as to problems of traditional, popular, ver- , , a part of ). Laktaši, nacular, and to communication between CD1 (Traditional Music of the Serbs of Srpsko prosvjetno i kulturno društvo these levels. The wide range of subjects Vojvodina, Anthology, CD1). Novi “Prosvjeta”. was encouraged by the plurality of Sad, Matica Srpska, Department for scholars` themes and approaches in Performing Arts and Music, Vojvodin- • Ranković, Sanja (2008). Serbia itself. The conference gathered ian Institute for Culture. . more than thirty scholars from different (Basic principles of Balkan countries – Serbia, Macedonia, Several projects in the field of ethnomu- learning folk singing. Monophonic sing- Greece, Bulgaria, Turkey – and from sicology (Cataloguing of digitised material, ing). Belgrade, Zavod za udžbenike i other cultural and scientific zones – Singing and music-making of the Serbs of nastavna sredstva.

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• Golemović, O. Dimitrije (2008). Har/Com edition (with audio CD), playing traditional music are later en- , Lanham, Maryland-Toronto-Plymouth, riched and improved during under- , . 36 (Singing with the UK. graduate and master studies at the Fac- , Ethnologic Library, book 36). Bel- ulty of Musical Arts in Belgrade and at grade, Srpski genealoški centar. Several ethnomusicologists and ethno- the Academy of Arts in Novi Sad. choreologists from Serbia participated • Ivkov, Vesna (2008). Harmonika – život in ICTM Study Group symposia and We believe that while as long as there is moj. 45 godina umetničkog rada Srbo- other international meetings: the 5th interest among students to learn the – Srbe Ivkova (The accordion - my symposium of the Study Group on Mu- musical heritage of multicultural Serbia, life. 45 years of the artistic work of Srbo- sic and Minorities (Prague, Czech Re- as well as for singing and playing tradi- slav “Srba” Ivkov). Belgrade, Beograd- public 2008); the 1st symposium of the tional musical instruments, the number ska knjiga. Study Group on Music and Dance in of ethnomusicologists will increase. This Southeastern Europe (Struga, Macedo- will advance their interest in a more • Vasiljević, A. Miodrag (2009). nia 2008); the 27th Biennial Confer- comprehensive, systematic and pro- e (Folk Songs of Vo- ence of the International Council of Ki- found study of traditional values, and jvodina). Compiled by Dragoslav De- netography Laban (ICKL) (Budapest, also the study of legitimacy, continuity, vić. Novi Sad, Matica srpska, Zavod Hungary 2011); the 18th Symposium of changes, new trends and the process of za kulturu Vojvodine. the Study Group on Folk Musical In- acculturation, then and now. • Ivkov, Vesna (2009). Oj, ojkane, pjesmo struments (Stubičke Toplice, Croatia moja mila (Oj, ojkan, my dear song). 2011); Research, Preservation and Pres- Slovenia entation of Banat Heritage: Current , Gradski muzej. by Mojca Kovačič, Chair of State and Long Term Strategy (Vršac, National Committee • Kostić, Dajana (2009). „ Serbia 2011) and others. Selena Rakoče- ...“ - , vić was the organiser and moderator of The ethnomusicological (“What is Srem and around the panel "History and Perspectives of framework in Slovenia Srem...?” My Srem: customs, songs and National Ethnomusicologies and Ethno- consists of scholars hav- dances“). Stara Pazova, Savez amatera choreologies in the Balkans", which in- ing different back- opštine. cluded ten researchers from five Balkan grounds and which associate ethnomu- countries (Bulgaria, Bosnia and Herze- • Golemović, O. Dimitrije (2009). sicology with other disciplines such as govina, Macedonia, Greece and Serbia). . Valjevo, Društvo za oču- musicology, ethnology and cultural an- This panel was presented at the 2007 vanje srpskog folklora Gradac. thropology, music education and popu- ICTM World Conference in Vienna. Pa- lar music studies. It is mostly covered • Rakočević, Selena (2009). Nova stara pers from this panel were compiled into by institutions such as the Faculty of gradska pesma (New old urban songs. the book Vienna and the Balkans and pub- Arts of the University of Ljubljana and Urban music from Serbia and the Bal- lished by the Bulgarian Academy of Sci- the Scientific Research Centre of the kans). Pančevo, Kulturni centar ence (Sofia, 2008). Slovenian Academy of Science and Arts, Pančeva (CD). however always supported by other Some secondary music schools in Serbia institutions such as the Slovene Ethno- Fracile, Nice (2010). Rumunski folklorni are teaching aspects of ethnomusicology • graphic Museum, the country’s Public biseri (Romanian folklore pearls). Novi and performance of traditional music. Fund for Cultural Activities and the Sad, Biblioteka Matice srpske (CD). For instance, the music school Mokranjac Music Academy of the University of in Belgrade opened the Department for Ljubljana. However, the majority of in- • Ivkov, Vesna (2011). Serbian traditional singing and playing dividuals from different institutional (The first accordion of Vojvo- in 1995, and in 2004 the music school backgrounds are brought together in the dina). Festival narodne muzike Stapar Stevan Mokranjac in Kraljevo established Cultural and Ethnomusicological Soci- 2009. Sombor, Gradski muzej. its Department of ethnomusicology ety Folk Slovenia, which connects which covers both theoretical and prac- • Jakovljević, Rastko (2011). World music scholars, musicians and educators and tical teaching of traditional singing and . , , takes good care of the application of playing of folk instruments such as (World music in Serbia. Traditions, ori- ethnomusicological ideas. Institutions , dvojnice, okarina, gajde, gusle, and gins, development). Beograd, Muzička and societies also cooperate in organis- daire. Another Department of ethnomu- omladina Srbije. ing international ethnomusicological or sicology was established at the music interdisciplinary conferences such as I would especially like to point out the school Petar Konjović in Sombor, where those mentioned below. first ethnomusicological book by a Ser- traditional singing, playing and dancing bian author published abroad: are taught. The music school in Subotica The period between 2006 and 2011 was Golemović, O. Dimitrije (2010). Balkan opened in 2011 its Department for eth- clearly marked by the relocation of the Refrain: Form and Tradition in European nomusicology with an emphasis on Ser- ICTM Secretariat from Australia to Folk Song, Europea: Ethnomusicologies and bian traditional singing. These acquired Slovenia, which took place in the sum- Modrenities, No. 9, Scarecrow Press, Inc.; knowledge and skills of singing and mer of 2011. It was also the first period

Bulletin of the ICTM Vol. 120 — April 2012 — Page 34 REPORTS of operation of the ICTM Slovenia Na- 2010 (Editor’s Note: see Bulletin of the ferent publications, one already released tional Committee and was characterised ICTM Vol. 119, page 53, available online in the journal Traditiones 40/3 (2011), the by the organisation of four important here). other two are planned to be printed in international meetings. 2012.

In the year 2011, the move of the ICTM Secretariat form Australia to Slovenia was marked by the symposium Encoun- ters between Traditional Music and Dance and European Musical Culture in Various Places and at Various Times which took place in Ljubljana. The symposium re- lated traditional music and dance to the legacies of national movements and co- lonialism and to issues such as identity, hybridity, power, conflict, and globalisa- tion. It ended up with useful discussion on how to most efficiently serve and promote the values of the ICTM during the years of its stay in Ljubljana.

The acclaimed exhibition about Slove- nian instrumental music Sounds of Slovenia: from folk musicians to the The international interdisciplinary Avseniks was organised by the Slovene In September 2006 the symposium Eth- symposium "What to Do with Folk- Ethnographic Museum and its curator nomusicology and Ethnochoreology in Edu- lore?" was organized in 2009 to celebrate Igor Cvetko in 2007. Slovenian ethno- cation: Issues in Applied Scholarship took the 75th anniversary of the Institute of choreologist Rebeka Kunej hosted in place in Ljubljana (Editor’s Note: see Bul- Ethnomusicology of ZRC SAZU and 2006 and 2011 meetings of the ICTM letin of the ICTM Vol. 110: 67-69, also on- was also dedicated to the memory of Sub-Study Group on Round dances – line here). The symposium opened and Zmaga Kumer, one of the greatest re- 19th century derived couple dances explained a number of issues and di- searchers of the Slovenian folk song tra- (Editor’s Note: see page 44 for more about lemmas, as well as demonstrated differ- dition who passed away in 2008. The the latest meeting of this Sub-Study Group). ences among national educational poli- symposium brought together research- cies. ers in music, dance, literary folklore, Slovene scholars are also active mem- beliefs and customs, as well as research- bers of the ICTM Study Groups on This symposium also represented the ers of folkloristic disciplinary history Study Applied Ethnomusicology (A. first step towards establishing the ICTM and theory. The symposium was a crea- Hofman, S. Pettan), Ethnochoreology Study Group on Applied Ethnomusi- tive meeting place of different views, (R. Kunej), Folk Musical Instruments (A. cology, thanks to its initiator Svanibor especially between the new folklore ap- Bejtullahu, M. Kovačič, I. Lešnik, S. Pet- Pettan. The Study Group had their first proaches arising from anthropology and tan, U. Šivic), Multipart Music (A. meeting in Ljubljana in 2008, where the cultural studies and those based on the Bejtullahu, U. Šivic), Music and Dance eSymposium Historical and Emerging tradition of analytical and descriptive in Southeastern Europe (A. Bejtullahu, Approaches to Applied Ethnomusicology folkloristics. Papers from the sympo- A. Hofman, M. Kovačič, M. Marty, S. also took place (Editor’s Note: you can sium are being published in three dif- Pettan, U. Šivic), Music and Minorities read the meeting’s report here). The (A. Bejtullahu, A. Hofman, S. Pettan, D. three major themes—History of the Idea Verbuč) and Historical Sources of Tradi- and Understandings of Applied Ethno- tional Music (D. Kunej). musicology in World-wide Contexts; Selected Publications Presentation and Evaluation of Individ- ual Projects with Emphasis on Theory The following list provides only mono- and Method; Applied Ethnomusicology graphs, edited volumes, degree theses, in Situations of Conflict—were dis- and CDs made by Slovenia’s ethnomu- cussed in talking circles by several in- sicologists within the period 2006-2011. ternational scholars from diverse back- For their other publications and full grounds and resulted in the book Ap- bibliographies please search by name at plied Ethnomusicology: Historical and Con- Attendance of Symposium "What to Do with this website. temporary Approaches (ed. by Harrison, Folklore?". From left to right: Marija Klobčar, Mackinlay and Pettan), published in Ingrid Åkesson Periodicals in which Slovene ethnomu- sicologists publish results of their re-

Bulletin of the ICTM Vol. 120 — April 2012 — Page 35 REPORTS search include domestic ones—such as • Šivic, Urša. 2008. Po jezeru bliz Tri- • Verbuč, David. 2007. Glasba in komu- Etnolog, Folklornik, Glasnik SED, Muzik- glava: ponarodevanje umetnih pesmi iz nikacija (Music and Communication), ološki zbornik/Musicological Annual and druge polovice 19. stoletja (Along the B. A. Traditiones—and those from elsewhere lake near Mt. Triglav: the popularisa- (including the Yearbook for Traditional tion of art songs from the second half Discography Music and The World of Music during of the 19th century). Ljubljana: Za- • Golež Kaučič, Marjetka; Klobčar, 2006-2011). ložba ZRC, ZRC SAZU. Marija; Kunej, Drag; Šivic, Urša; Pisk, Monographs and edited volumes Degree Theses: Marjeta; Ramovš, Mirko (eds.). 2007. Regiment po cesti gre (The regiment is • Hofman, Ana. 2011. Staging Socialist • Bejtullahu, Alma. 2006. Glasba na Ko- on the march). Ljubljana: ZRC SAZU, Femininity: Gender Politics and Folk- sovu ob osamosvojitvenih prizadevanjih Založba ZRC. lore Performance in Serbia. Leiden; (Music in during the struggle Boston: Brill. for political independence), M. A. • Golež Kaučič, Marjetka; Šivic, Urša; Kunej, Drago (eds.). 2007. Slovenske • Hofman, Ana and Oto Luthar (eds.). • Hofman, Ana. 2007. Identity Politics ljudske pesmi V. Družinske pripovedne 2011. Zvoki in okusi druge Slovenije: and the Performances of Female Singers pesmi (Slovenian folk songs V. Family vodič po prostorih medkulturnih sreče- in Niško Polje in the Last Third of the ballads). Ljubljana: Založba ZRC, vanj (Sounds and tastes of other Twentieth Century, PhD. ZRC SAZU. Slovenia: a guide to places of intercul- tural encounters). Ljubljana : Založba • Klobčar, Teja. 2011. Jezikovni in muzik- • Juvančič, Katarina (ed.). 2006. Al' že ZRC, ZRC SAZU. ološki pristopi zapisovalcev v zbirateljski spiš? ali Kako uspavamo v Sloveniji (Are akciji OSNP (Transcribers' linguistic you sleeping? Lullabies in Slovenia). • Hofman, Ana (ed.). 2008. Journal of and musicological approaches in the Ljubljana: Kulturno društvo Folk Euro-Mediterranean studies, Porotorož: OSNP collection campaign), B. A. Slovenija, 2006. Center EMUNI, University Centre for Euro-Mediterranean Studies, Vol. 1 • Kovačič, Mojca. 2009. Pritrkavanje – • Klobčar, Marija; Šivic, Urša; Ven- No.1 and 2. etnomuzikološka fenomenologija pojava in dramin, Peter (eds.). 2010. Spejvaj njegova vključenost v slovenski in evrop- nama, Katica: ljudske pesmi Prekmurja • Juvančič, Katarina (ed.). 2006. Al' že ski prostor (Bell chiming: the ethnomu- (Sing to us, Katie: folk songs from spiš?" : študentske raziskave uspavank in sicological phenomenology of the Prekmurje). Ljubljana: Založba ZRC, uspavanja na Slovenskem (Are You practice and its inclusion in Slovenia ZRC SAZU. Sleeping? Student research of lullabies and Europe), PhD. in Slovenia). Ljubljana: Filozofska fa- • Kovačič, Mojca (ed.). 2011. Pritrkavanje kulteta, Oddelek za etnologijo in kul- • Kunej, Drago. 2006. Optimalno predva- (Bell chiming). Ljubljana: Založba turno antropologijo. janje, restavriranje in uporaba prvih slov- ZRC, ZRC SAZU. enskih etnomuzikoloških zvočnih zapisov Kunej, Drago; Terseglav, Marko (eds.). • Kunej, Drago. 2008. Fonograf je dospel! (Optimal playback, restoration and • : prvi zvočni zapisi slovenske ljudske usage of the first Slovenian ethnomu- 2011. Bog daj dobro leto: ljudska pesemska glasbe (The phonograph has arrived: sicological sound recordings), PhD. dediščina Adlešičev (May God grant first sound recordings of Slovene folk you a good year: folksong heritage music). Ljubljana: Založba ZRC, ZRC • Kunej, Rebeka. 2007. Štajeriš na Slov- from Adlešiči). Ljubljana: Založba SAZU. enskem: etnokoreološki in plesno- ZRC, ZRC SAZU. antropološki (The Steierisch in Slove- Kunej, Rebeka; Ramovš, Mirko; • Pettan, Svanibor (ed.). 2008. Applied nia: ethnochoreological and dance- • Ethnomusicology. Muzikološki zbornik/ anthropological perspectives), PhD. Kunej, Drago (eds.). 2008. Slovenske Musicological Annual 44/1. ljudske plesne viže, Bela krajina in Kostel • Strle, Gregor. 2008. Načrtovanje in (Slovene folk dance music, White • Pettan, Svanibor. 2010. Lambada na vzpostavitev glasbenega arhiva pri Glas- Carniola and Kostel). Ljubljana: Za- Kosovu: etnomuzikološki ogledi (Lam- benonarodopisnem inštitutu ZRC SAZU ložba ZRC, ZRC SAZU. bada in Kosovo: ethnomusicological (Planning and establishment of a mu- perspectives). Beograd: Biblioteka XX sic archive at the Institute of Ethno- • Kunej, Drago; Terseglav, Marko; Ko- vek : Knjižara Krug. musicology ZRC SAZU), M. A. vačič, Mojca (eds.). 2009. Pesem sloven- ske dežele (Songs of Slovenia). Ljubl- • Pettan, Svanibor. 2011. Etnomuzikolo- • Šivic, Urša. 2006. Transformacija sloven- jana: Založba ZRC, ZRC SAZU. gija na razpotju : iz glasbene zakladnice skih ljudskih pesmi v nekaterih zvrsteh kosovskih Romov (Ethnomusicology at popularne glasbe v devetdesetih letih 20. • Kunej, Drago; Kunej, Rebeka (eds.). the crossroads: from the musical stoletja (Transformation of Slovenian 2011. Slovenske ljudske plesne viže : treasury of Kosovo Roma). Ljubljana: folk songs in some popular music Prekmurje in Porabje (Slovene folk Znanstvena založba Filozofske fakul- genres in the nineties of the 20th cen- dance music: Prekmurje and the Rába tete (Editor’s Note: see page 51 for tury), PhD. Valley). Ljubljana: Založba ZRC, ZRC more). SAZU.

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• Moličnik, Simona (ed.). 2011. Slovenska at the Music Department of the Univer- zemlja v pesmi in besedi: Za gorami (Slo- sity of Kwazulu-Natal, under the direc- vene land in song and word: over the torship of Dr. Patricia Opondo. At the hills). Ljubljana: RTV Slovenija. School of Music of North West Univer- sity (Potchefstroom) I am assisted in my • Muršič, Rajko; Juvančič, Katarina; Pet- African music modules by the percus- tan, Svanibor; Batelič, Mario (eds.). sionist David Nkosi, who was ap- 2011. Etno. Glasbene poti podolgem in pointed at the beginning of 2012. His počez / Musical Routes: Highways presence here means that students will and Byways. Ljubljana: SIGIC. be able to learn African drumming at an • Šivic, Urša; Terseglav, Marko; Vrčon, advanced level. Recently he gave an Robert (ed.). 2008. Bela Krajina in Kos- introductory concert of his art, ably as- tel: zvočni primeri izvirne ljudske glasbe sisted by Odyke Nzewi and Babodeli (White Carniola and Kostel: a selec- Kutumela. The former is the son of tion of original recordings of tradi- Meki Nzewi, internationally well tional music). Ljubljana: Založba ZRC, known among both ethnomusicologists ZRC SAZU. and music educators alike. We have a National Research Foundation (NRF) – • Terseglav, Marko; Kunej, Drago (eds.). an accredited and funded niche area 2010. Pjevaj mi, pjevaj, sokole: uskoška spearheaded by Hetta Potgieter, entitled Music by South African individuals and pesemska dediščina Bele krajine (Sing to “South African Music Cultures in Ac- groups will feature strongly at the Cape me, sing, falcon: song heritage of the tion”. It has a strong focus on research Town International Jazz Festival, known Uskoks in White Carniola). Ljubljana: into the music-culture of the Tswana as “Africa’s Grandest Gathering” be- Založba ZRC, ZRC SAZU. peoples of the North-West Province. tween the 30 and 31 March at the Inter- • Vidakovič, Jasna, Dovč, Janez, Kus, The Southern African Music Rights Or national Convention Centre in Cape Ana (eds.). 2011. Sozvočja Slovenije/The ganisation (SAMRO) continues to play Town. Organized by ESPAfrika, some Sounds of Slovenia. Ljubljana: Celinka. an important role in funding post- of the headliners will include Dorothy graduate research into African music, Masuku, Zamajobe, Zahara and Unathi. South Africa offering bursaries from honours level Andrew Tracey by Alvin B. Petersen, upwards. To the best of my knowledge, Liaison Officer it is the only non-governmental organi- Switzerland zation that offers financial support spe- African music is a sub- cifically for research into African music. by Raymond Ammann, ject at most of South Af- The National Research Foundation Chair of National rica’s universities and (NRF) also continues to play a pivotal Committee other institutions of role in providing funding for ethnomu- The Swiss Society for higher learning. Differences in approach sicologists to present papers at national Ethnomusicology (CH- relate to kind and not to degree. For and international conferences. EM) is also the ICTM example, at the University of Fort Hare, Switzerland National in Alice in the Eastern Cape Province, Andrew Tracey, the pioneer of African music scholarship in South Africa, turns Committee and counts some 60 mem- there is a strong emphasis on Xhosa bers, most of them living in Switzerland music, since the Eastern Cape is the tra- 75 on the 5 May 2012. The International Library of African Music, based at Rho- (a few live in Germany). We may say ditional home of the Xhosa-speaking that in the last five years we did win peoples of South Africa. The hymn des University in Grahamstown, was founded by him and his father, Hugh. each year approximately five new which is sung at each and every gradua- members. Of course there are always a tion ceremony at this university is Int- Many of us will remember Andrew’s moving keynote address at the ICTM few retirements but the number of simbi ka Ntsikana (Ntsikana’s Bell), by members is growing. Ntsikana (commonly believed by the World Conference in Durban in the year Xhosa to have been a prophet) with ad- 2009. The South African Society for Re- Compared to the number of members, ditional text by the Rev. John Knox search in Music will produce a Feschrift the board is rather large with more than Bokwe, both of whom lived in various in his honour. For more information, 10 persons. However, this is not a dis- periods of South Africa’s troubled colo- please visit www.sasrim.ac.za. advantage as there are friendly senti- nial history. Similarly, at the South Afri- ments in the entire society; most of the can College of Music of the University members know each other from the of Cape Town there is a particular re- times of university and several play search focus on the music of the so- music together. called “Coloured community”. Zulu music traditions are kept alive and well

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The society is rather active with two University of London. The conference, meetings each year. The annual meeting organised and convened by Angela Im- which normally takes place in June is pey of the School of Oriental and Afri- generally combined with a visit to a can Studies, had as its theme, ‘Listening museum’s exhibition on music or a con- for a Change: Environment, Music, Ac- cert or other cultural festivals (2011, tion’. Jennifer Post, one of the speakers, Musée d’Ethnographie of Neuchâtel, wrote of the conference: Exhibition “bruits”). During this annual Attendance at BFE’s 2011 one-day annual meeting the general assembly takes “Presenters from Europe and North conference place. The second annual meeting – we America addressed international themes on bird and whale songs demonstrated call it autumn symposium – takes place ways musicians and their audiences, how he maintains ongoing dialogues in the month of November. Here, the instrument makers and other members of with non-human creatures through mu- members present papers and there the music industry, engage with critical sic. might be a guest speaker (2011 Institut issues related to ecology and environmental change. Paper topics ranged from the für Musikwissenschaft at the university The speakers and paper titles were as management of resources used for musical of Bern). follows: Jennifer Post, ‘Sharing Rose- instrument making to ways we engage with wood, Smuggling Ivory: The Global Together with the Society for Traditional changes in the natural world through And Local Politics of Resource Use and Music in Switzerland (Gesellschaft für recordings and live performance, from Distribution in Musical Instrument die Volksmusik in der Schweiz, GVS) participation in environmental politics, Making’; Kevin Dawe, ‘The Green Gui- the CH-EM publishes a bulletin once a especially among , to tar: Ecology and Criticism in the study year. The bulletin consists of articles reports on ways individuals and of Global Lutherie’; Aaron Allen, from members and non-members. The organisations have been working for change ‘Sounding Sustainable: Stradivari, Na- Bulletin of 2010 contained 11 articles in in order to enhance musical production.” ture ture & Culture’; Stephanie Bunn, three languages. We are most interested ‘Environment, Resonance and Image in in providing a platform for music stu- Especially well attended, the meeting Kyrgyz Oral epic’; Noel Lobley, ‘Record- dents to show their first publication (for revealed that there is broad interest in ing the Sounds of Change in the Central example Bachelor thesis). The Bulletin the study of music and the environ- African Republic’; Joe Browning, ‘Crane of 2011 counts four contributions from ment. This relatively new branch of eth- calls and shakuhachi sounds: tracing students. nomusicology and musicology emerged first in the 1960s with the soundscape changing music-environment relations There are four languages spoken in studies of R. Murray Schafer. In recent in the piece Tsuru no Sugomori’; Henry Switzerland (without counting the years, with increasing concern about Stobart, ‘Sound sensitivity and climate many idioms and dialects) and the environmental changes occurring politics in Bolivia’; Thomas Hilder, Swiss Society for ethnomusicology is around the world, and the impact on ‘Musical Performance, Indigeneity and multilingual – the main spoken lan- opportunities for human to Environment: The Politics of Nature in guages are Swiss German and French. continue their cultural practices, eth- Arctic Europe’; Sian Sullivan, ‘Trance Because of the multilingualism and the nomusicologists have been drawn to Namibia? Juxtapositions of music, strong interactivity and exchange new methods for their contemporary dance and desire in a desert landscape’; among the members, Swiss ethnomusi- studies about music and ecology. Their Catherine Botrill, ‘Carbon Soundings: cology combines several culturally dif- current work is expanding discourses The Response of the Music Industry to ferent approaches to ethnomusicology. on the subject with the integration of ’; Jerome Lewis, Unfortunately, no Swiss Ethnomusi- scientific and additional social scientific ‘Musical change and environmental cologists hold lecturing or teaching po- material, and provides more effective change in Congo : the contrasting sitions in Swiss universities and here is ways to analyse and communicate impact of industrial extraction and con- still need for action. about, and advocate for, current local servation’; Chris Low, ‘Music, land and and global issues and actions. The meet- social change amongst the Kalahari United Kingdom ing, therefore, also offered opportunities KhoeSan’ and Peter Cusack, ‘Sound re- for participants to begin a dialogue cording as Environmental .’ by Carolyn Landau, about making a difference to benefit Former Chair of the British The next BFE conference will be held populations whose musical expressions Forum for from 29 March to 1 April 2012 at the are today so heavily impacted by eco- Ethnomusicology University of Durham, convened by logical change. Simon Mills, with the theme of Per- The British Forum for In the evening, American clarinettist, formance Interaction. The Keynote Ethnomusicology, an naturalist, and philosopher David Roth- Speaker is Professor Bernard Lortat- Affiliate National Committee to the enberg performed an intriguing selec- Jacob and the AGM will take place on ICTM, held its annual one-day confer- tion of pieces for conference participants Saturday 31 March at 4.30 PM. ence on 5 November 2011 in association at SOAS. His duets with recordings of with The Institute of Musical Research,

Bulletin of the ICTM Vol. 120 — April 2012 — Page 38 REPORTS Reports from ICTM Study Groups

African Musics lication and we have selected 12 papers Professor J. H. Kwabena Nketia from that will be published by the end of 23 to 24 September 2011. At the official Compiled by Patricia 2012. The African Musics Study Group opening University officials and the Opondo, Study Group editorial committee includes the follow- Minister of Chieftaincy and Culture Chair & Alvin B. Petersen, ing: Patricia Opondo, Marie Agatha Hon Mr. Alexander Asum-Ahensah ad- Study Group Secretary Ozah, George Worlasi Kwasi Dor and dressed the gathering. The keynote ad- Mission Statement Lois Anderson. dress was delivered by Emerita Profes- sor Mary Esther Kropp Dakubu, and The key function of the African Musics The 5th Annual International Ethno- moving music and dance performances Study Group (AMSG) is to research, musicology Symposium was held from delivered by the Ghana Dance Ensem- promote, preserve disseminate and pro- 21 to 23 of July 2011 at the University of ble. Of special note was the solo musical tect African musics and dance in all Dar es Salam, Tanzania, supported by salute in honour of Emeritus Prof J H their aspects, functions and geographi- the Goethe Institute of Dar es Salaam Nketia performed on the seperewa harp cal locations, in Africa and in the dias- and the U.S. Embassy in Dar es Salaam. by Osei Korankye which was then fol- pora; with a particular emphasis on Scholars and musicians from Kenya, lowed by Prof Nketia addressing the indigenous/traditional African musics Uganda, Tanzania, Ghana, Ethiopia, gathering. The remainder of the confer- in sub-Saharan and diasporic Africa. South Africa, Zimbabwe, Korea, Japan, ence was marked by 40 presenters from and France presented papers. The key- Executive Committee around the world including members of note address was delivered by Emeritus ICTM African Musics Study Group. Patricia A. Opondo, Chair Professor J.H. Kwabena Nketia from The two days were broken up under the Robert Chanunka, Vice Chair University of Ghana, and there were following themes: music and worship, Alvin Petersen, Secretary many different kinds of performances music and language, African art music, including traditional storytelling, choir, Mandy Carver, Treasurer Music and culture, creativity and in- group music and dance by the partici- digenous knowledge systems, music Marie Agatha Ozah, Executive Member pants from Makumira University. There and the diaspora, representation, music Rose Omolo-Ongati, Executive Member were approximately 25 presenters and a and history, music and gender, African Nicol Hammond, Web master and digi- total of 200 in attendance. The symposia music and theory. In the evenings were tal technology assistant are convened by Prof. Mitchel Strumpf memorable performances by Abibib- from the Department of Fine and Per- gromma directed by Ken Kafui; Ghana The African Musics Study Group is forming arts at the University. Dance Ensemble – Artistic Director – pleased to invite submissions for its Benjamin Obido Ayettey; Cape Coast weblog, which, along with the mailing The 7th PASMAE-ISME Regional Con- University Community Choir directed list, serves as a central communication ference was held at the University of by Kofi Ansah; Noyam African Dance site for members. Any items of interest Botswana, Gabarone from 26-30 July Institute directed by Prof. F. Nii Yartey. to members of the Study Group, includ- 2011. The conference theme – Musical A Festschrift in honour of Emeritus Prof ing conference announcements, calls for Arts Education in Contemporary Africa J H Kwabena Nketia is being prepared abstracts, events, descriptions of re- had the following as it’s sub-themes: from the papers presented. search or publications, and similar performance techniques in African Mu- newsworthy items, can be sent to the sic, teacher training and classroom- Conference/Festival Activity in South Africa webmaster, Nicol Hammond, at based musical arts, contexts and content The 6th Annual conference of the South [email protected], and/or of instrumental performance, aesthetics African Society for Research in Music posted directly to the mailing list (see and intonation in indigenous music. (SASRIM) will take place at the below). There were paper presentations, work- shop and concerts. The ICTM African Tshwane University of Technology (Jo- • web address: Musics Study Group is under discus- hannesburg) between the 19th and 21st ictmafricanmusic.blogspot.com sion with the PASMAE Executive in July 2012. Prof. J.H. Kwabena Nketia, partnering to co-host a regional meeting the doyen of African music scholarship mailing list e-mail address: • in the future. (now a nonagenarian) may be the key- [email protected] note speaker, depending on his health As part of Prof. J. H. Kwabena Nketia’s 2011-2012 has been a very busy period and busy schedule. For more informa- 90th birthday celebrations, the Institute for most of our membership, with a host tion, please visit www.sasrim.ac.za. of African Studies at the University of of conferences, workshops and festivals. Ghana, Legon hosted a two day inter- The 5th National Marimba Festival will Our publications sub-committee has national conference embracing the take place At St. Dominic’s in Boksburg, also been busy with our inaugural pub- theme: The Life and works of Emeritus between 23 and the 24 July 2012. It has

Bulletin of the ICTM Vol. 120 — April 2012 — Page 39 REPORTS attracted several marimba ensembles Recently, the Music Section at the De- from all over South Africa in the past. partment of Performing Arts and Film, particularly the ethnomusicology sec- Many cultural arts institutions all over tion, launched its first book entitled, South Africa will be participating in Af- "Ethnomusicology in East Africa: Per- rica Day celebrations, scheduled for 19 spectives from Uganda and Beyond", May. For example, at the School of Mu- edited by Sylvia Nannyonga- Tamusuza sic, North West University and Thomas James Solomon. For more (Potchefstroom) the African Music divi- information about this and its abstract sion will be having a commemorative please visit Google Uganda. concert. The invited keynote speaker will be Prof Meki Nzewi. Conference Activity in the USA

Research Activity in South Africa The Fourth International Symposium on the Music of Africa was held at Prince- The latest edition (Number 36) of the ton University (State of New York) be- publication entitled “The Talking Drum” tween the 2 and 3 March 2012. which is of use mainly to music educa- tors, was released in January 2012. The Directed by Prof. Kofi Agawu, the two- latest journal of SASRIM entitled “Musi- Used with permission of day event featured workshops and con- cus” will be published in late-2012. Dr Kapambwe Lumbwe certs of Yoruba drumming (led by Yo- ruba Master Talking Drummer Bisi Ade- Ms Willemein Fronemann completed • Kuomboka (Lozi people of Western leke) and Ewe drumming (led by her PhD. (Musicology) at the University province) Gideon Alorwoyie, Master Drummer of Stellenbosch on Boeremusiek. A All of these can be accesses on Youtube. and High Priest of the Yewe Cult), a ‘grey’ area in South African ethnomusi- keynote address by Professor Karin Bar- cology, I am sure that this thesis will be Conference/Festival Activity in Nigeria ber, Birmingham University, UK, and in great demand. It is entitled Pleasure lectures on the structure and meaning of Between 22 and 25 April 2012 the Fac- Beyond the Call of Duty: Retrospectives, a variety of African repertories by schol- ulty of Arts, University of Nigeria Perspectives and Speculations on Boere- ars George Dor, Kofi Gbolonyo, Bode (Nsukku) will be hosting the 2012 Inter- musiek. For the full text of her disserta- Omojola, Godfried Toussaint and Polo national Conference and Chinua Achebe tion please visit this link. Vallejo. Events were free and open to the Lectures. One of the themes of the con- public. Festival Activity in Zambia ference is entitled “New Trends in Afri- can Music”. Zambia has much to celebrate in 2012, Historical Sources of since its football team, Chipolopolo (the Between 13 and 18 August the Associa- Traditional Music ‘Big Bullets’) won the African Cup of tion of Nigerian Musicologists will be Nations, snatching victory from the hosting the 11th Annual conference at by Ingrid Åkesson and Susanne Ziegler, Ivory Coast (the ‘Elephants’) in a nail- the same university. The theme will be Study Group Co-Chairs biting penalty shoot-out. “Music Performance in Africa” and the Report on the 19th Meeting of the ICTM Study Zambian traditional ceremonies due keynote speaker will be Prof. Kofi Group on Historical Sources of Traditional Mu- sic, Vienna, Austria, March 6-10 2012 during various months of 2012 (celebra- Agawu. tion of the first fruit) include the follow- Research Activity in Uganda The 19th Meeting of the ICTM Study ing: Group on Historical Sources of Tradi- Nicholas Ssempijja completed his doc- tional Music was held in Vienna, Aus- • Chibwela mushi (Lala people of the toral studies at the Grieg Academy, Dept central province) tria, between 6 and 10 March 2012 of Music, University of Bergen in Janu- thanks to an invitation from the Phono- ary 2012. His dissertation is entitled Lo- • Mutomboko (Lunda people of grammarchiv of the Austrian Academy Luapula province) calising Catholicism through Musical Per- of Science. The conference was made formance: Kampala Archdiocesan Post Pri- possible by the efforts of Gerda Lech- • Lunda lubanza (Lunda people of mary Schools Music Festivals. For more leitner of the Vienna Phonogrammar- Northwestern province) information about his dissertation and chiv, a long-time member of ICTM and abstract please view it directly here. See the Study Group. • Nc’wala (Ngoni people of Eastern also here. province) This meeting centred on two related top- Currently, he is back at Makerere Uni- ics: 1) Historical sources and contempo- • Lwindi Gonda (Tonga people of versity where he is teaching at the De- Southern province) rary fieldwork in ethnomusicology – partment of Performing Arts and Film, relationship, dialogue, mutual benefit • Shimunenga (Ila people of southern School of Liberal and Performing Arts. and 2) Multidisciplinary approaches to Province)

Bulletin of the ICTM Vol. 120 — April 2012 — Page 40 REPORTS the study of historical sources of tradi- One panel of three papers was held on problem and the early Christian musical tional music. The two topics emerged field work among the Croatian minority traditions as an (understudied) starting from the discussions in Vilnius two in Stinatz, Burgenland, during some point for both historical musicology and years ago and reflect a wish to widen the decades, and the archiving of this mate- ethnomusicology. perspectives of the Study Group. The rial as dialogic knowledge production. choice of these topics also reflects the Several papers concerned different roles The sessions were held in the imposing fact that many scholars use field work as and aspects of archival sound record- buildings of the Austrian Academy of well as archival and other historical ings: their use in revival and reconstruc- Sciences in central Vienna; thanks to the sources in their work, and points at the tion of vocal and instrumental traditions technician Johannes Spitzbart every- possibility to reach fruitful results by in Sweden and Tyrol, as a source for an thing ran smoothly. A number of dele- combining methods and concepts within acoustic approach to the tonality of Setu gates also made a visit to the Vienna ethnomusicology with those attached to songs in Estonia, and originally com- Phonogrammarchiv on the Saturday for example folkloristic, historical, ar- mercial 78 RPM recordings as base for a morning, where Gerda and Franz Lech- chaeological, linguist, and text-related Fado archive in Portugal. 78 RPM re- leitner kindly showed localities, data- work. The meeting was also attended by cords were also discussed as a founda- bases and recordings, etc. A business members of the SEM Special Interest tion of a project on early Slovenian meeting was held, and the Study Group Group on Historical Ethnomusicology as sound recordings. members were invited to hold the next a result of contacts made at the 2011 meeting in Aveiro, Portugal, in 2014. An ICTM World Conference in St John’ s. Transcriptions and sheet music were evening at the Burgenland Croatian dealt with, for example, in papers on the Centre in Vienna with music, informa- 36 papers were announced and the relationship between transcriptions/ tion and a delicious meal was very well meeting included participants from Ar- notations made from live performances attended and much appreciated, and the gentina, Austria, Bosnia and Herzego- and transcriptions made from phono- delegates were also invited by the Pho- vina, Estonia, France, Germany, Hun- graph or tape recordings respectively, on nogrammarchiv to a typically Viennese gary, Italy, Latvia, Norway, Portugal, published tune collections as typical Heurigen restaurant with local wine and Slovenia, Sweden, Turkey, the United documents of the time for their creation, food. The Meeting was very successful States and the United Kingdom (Eng- on different Armenian Christian hym- in all aspects, and it was held in a land and Wales). The range of music nals as sources for knowledge of the friendly and constructive atmosphere. cultures discussed included examples move from monophony to polyphony, We again want to thank the organisers from Albania, Cameroon, Croatia, Mon- and Welsh family carol books as a rarely for their great work. golia, Russia, Scotland and Yemen, as accessible source for scholars. well as Armenian and Syriac Christian Some papers reflected in different ways Mediterranean Music chant. Several new participants attended Studies the meeting as well as a number of long- the shaping and establishing of national time members, and most of the sessions scholarship and/or institutions. These by Marcello Sorce Keller, were also attended by listeners from included, apart from the already men- Study Group Chair tioned, the study of East Latvian multi- Austrian universities, both scholars and Report on Mediterranean Mu- part singing as one of the foundations of students. sic Studies Colloquium in post-Soviet Latvian ethnomusicology, Portel (Portugal), December A couple of sessions were held on topic the juxtaposition of many historical 2011 2, multidisciplinary approaches. These sources as a fundament of ethnomusi- included general post-colonial prob- cology in Bosnia and Herzegovina and Who, Where and When lematisation of archives and the discur- Nomadic oral tradition in multi-ethnic On 1-5 December 2011, the Study Group sive nature of representations in collec- Mongolia. Problems attached to the pub- for Mediterranean Music Studies had its tions, the combination of ethnographic, lication of archival material were dis- 19th Colloquium in Portel (Portugal). It linguistic and acoustic approaches to a cussed in a couple of papers, for exam- was devoted to a discussion of “Pan- drum language, possible sources for the ple the issue of selection of sound re- Mediterranean Poetic Competitions and reconstruction of extinct instruments, cordings for publishing, how to visualise their Music: Historical Perspectives and vernacular literacy and musicking as and analyse the problems concerning Contemporary Practice” following upon methods for the study of individual the identities and variations of tunes a welcome suggestion by Ed Emery songbooks, Welsh folk carol texts at a when publishing a song collection, and (SOAS, London). It was co-organised by crossroads of methods, and folk songs as the preparation of a culturally and lin- Marcello Sorce Keller (University of source material for historians. However, guistically heterogeneous collection for a Malta), Salwa El-Shawan Castelo Branco during the sessions we noticed that as- web presentation. Music archives’ rela- (Instituto de Etnomusicologia – Centro pects of both topics turned up in many tionship to the Internet was discussed de Estudos em Música e Dança, Univer- papers, which again showed their close from several aspects during the meeting. sidade Nova de Lisboa) and Paulo Lima relationship. Other issues were field work as thick (Câmara Municipal de Portel), and gen- description, historical sources on music erously sponsored by the “Câmara Mu mainly devoted to text matters as a

Bulletin of the ICTM Vol. 120 — April 2012 — Page 41 REPORTS nicipal de Portel,” also with the support even in highbrow repertoires. Among of “Sistemas do futuro : multimédia, orally transmitted repertoires, where gestão e arte”. they are by far more frequent, musico- poetic duels achieve an intriguing bal- Participants invited to present papers ance of elements: the ritual, the spec- were Maria José Barriga (Universidade tacular, the improvisatory dimension, Nova de Lisboa), Fernando Cabral the active involvement of the audience. (Sistemas do Futuro), Fabio Calzia (Conservatorio di Musica, Cagliari), Ed Ignazio Macchiarella then took over Emery (SOAS, London), Francisco José (“The Indispensable, Irrelevant Ele- Gomes Damasceno (Laboratório de ment: Oral Poetic Duels and Music in Salwa El-Shawan Castelo-Branco and Estudos e Pesquisa em História e Cultu- Sardinian, Corsica and Central Italy)” Marcello Sorce Keller ras — DÍCTIS/CNPq), Paulo Lima explaining how according to nearly all (Universidade Nova de Lisboa), Marco Sardinian, Corsican and Central Italian F. Lutzu (Conservatorio di Musica, oral poets (and their listeners) music is Cagliari-Università di Roma La Sapi- an almost irrelevant or minimal element enza), Ignazio Macchiarella (Università within poetical duels. What really di Cagliari), Nicola Scaldaferri (Univer- counts is rather “pure poetry,” ideas sità degli Studi di Milano), and Marcello and their poetic elaboration within met- Sorce Keller (University of Malta). Dis- ric and style constraints. And yet those cussions about papers and presentation, very representatives of the tradition as well as about future activities of the concede how it is practically impossible Study Group, greatly benefited from the for them to improvise poetically in the contribution of ICTM Vice President absence of music. It is a paradox of Ignazio Macchiarella Salwa El-Shawan Castelo-Branco (Uni- sorts that Macchiarella made use of in versidade Nova de Lisboa). assessing the role of music in the over- all construction of improvisatory poetic A novelty in this Colloquium was that discourse. papers and discussions were given more time than is usually allowed in confer- Francisco José Gomes Damasceno ences, and this slow-pace approach (“Cantadores e Cantorias at the Gate- proved to be productive as well as en- way to the Urban Northeast Brazil: joyable. Also a novelty it was that a few Three experiments”) brought us a con- video documents were presented and tribution from an area geographically commented, in-between papers: Ed Em- remote from the Mediterranean, and Salwa El-Shawan Castelo-Branco and ery presented a document about the yet related to it, as Luso-Brazilian tradi- Francisco Gomes Damasceno Basque Bertsulari, Marco Lutzu one ana- tions in so many ways reveal their con- lytically describing the intriguingly nection to the other areas where ro- complex compositional process of the Sa mance languages are spoken. It was a Repentina, and Marcello Sorce Keller a set of reflections on the musical experi- video-clip of Maltese Għana Spirtu ence of three elderly “repentistas” sing- Pront. The small number of participants ers from Northeastern Brazil whose made it unnecessary to have sessions lives exemplify the multiple aspects governed by a chairperson. We all sat that music assumes in their milieu and around a large table, and presentations how they embody knowledge acquired as well as discussions could be ex- through music-making, and the most tremely informal and spontaneous. intriguing issue at stake here is how the rural space and the urban space of the Maria José Barriga Papers Presented city mark their musical practices.

Marcello Sorce Keller opened the Collo- Fabio Calzia brought us back to Sar- quium by outlining the wide-angle pic- dinia (“Sos Muttos de Carrasecare: ture: poetic and musical competitions Carnival Poetic competitions in Lodine, have existed in many cultures and often a small Village in the central Sardinia”), in different layers of the same culture telling us about Lodine, a Shepard's (“Musical Duels in the Art-Music of the village in the center of the Island where West and in Traditional Practice”); how the 380 inhabitants are connected they may occur in oral environments, in through a complex pattern of . the lowbrow end of literate traditions, or Music and poetry are important for the Paulo Lima

Bulletin of the ICTM Vol. 120 — April 2012 — Page 42 REPORTS life of this community, regulated by con- tive contexts”) revisited the tradition of tinuous challenges based on physical epic singing so famously described by strength as well as vocal and poetical Milman Parry and Albert B. Lord, and skills. His paper described how the explained how nowadays old songs, community is brought together during resulting from formulaic composition, the Carnival Festivals through poetic are often presented in festivals and improvisation. competitions. In this new context they are inevitably transformed, sometimes The first Portuguese contribution was by drastically: formulas disappear, Maria José Barriga (“'Cante ao baldão': A strophic structure is employed, dura- Marco Lutzu Duelling Practice in the Alentejo Re- tion is reduced, the quality of singing gion”); a contributions based on field- per se is emphasised, narratives are work conducted in the lower Alentejo reinvented, and even the accompanying region, between 1995 e 1999 and which, instrument – the Gusle – is often re- although summarised in a publication placed. In sum, the entire symbolic appeared 2003, it still continues as it ex- frame of reference of the performance is amines the practice of the “cante ao reconfigured. baldão” (developed during the XIX cen- tury in a rather contained area of Portu- Ed Emery brought the series of presen- gal) in the broader context of poetic du- tations to an end with a contribution eling across Portugal, the Mediterra- where, in addition to the ethnographic, nean, Brazil and Hispano-America. Also also an historical and literary dimen- Nicola Scaldaferri concerned with the Portuguese region of sion was present. He examined the pos- Alentejo was the contribution presented sibility that in the sonnet, a characteris- by Paulo Lima and Fernando Cabral tically Italian verse form, identifiable (The 'Desafio' Musico-Poetic Practice in continuities could be seen between the Portugal: A Proposal for a Cartography Andalus tradition and the Italian tradi- and Digitalisation”). Theirs was the only tion. He then concluded with a phe- contribution to tackled questions per- nomenology of the sonnet as poetic du- taining to the collection, organisation elling, and also as a manifestation of and use of the information available on "correspondence poetry" (or poetry en- the practice of musico-poetic duelling. tailing the obligation for a response) – Marco F. Lutzu at this point lead us back its conventions, behaviours and as- to Sardinia once again (“Antagonisms sumptions. between Efis and Remo: defining the Sardinian poetic tradition of Sa Repen- Discussion at Large tina”). As it turns out the Repentina is The multi-voiced discussion in-between the less known and studied among the papers and presentations actually fo- professional traditions of Sardinian im- cused on more musical-poetic competi- provised poetry, characterised by a tions across more countries and territo- complex set of metrical and musical ries than the title of the papers would Ed Emery forms. Over the last few decades the indicate. It came out of the discussion remarkably well comprehensible in their number of poets, and consequently of how, however idiosyncratic each for of dynamics to those who share the tradi- public competitions, has been greatly musico-poetic duelling really is, still the tion (either in the role of active perform- reduced. About five years ago the first number of variants they represent is not ers, or as public). The audience knows investigations with an ethnomusicologi- infinite. In other words, very diverse exactly what to expect, knows very well cal approach were carried out and an situations were examined, but a finite what the performer is trying to do, and informal school of 'Repentina' was or- number of them nonetheless exists. A is in a position to assess whether the ganized. Lutzu's contention was that the typology would be possible – contexts, goal is aptly achieved, with prowess and explanation of what the 'Repentina' creativity forms, use of the body, rela- style. really is, can be best seen in the antago- tionship with the audience. Impressive nistic relationship between Efis Caddeo indeed is the number of strict constraints Another observation emerging from pa- and Remo Orrù, the last professional each traditions relies upon, and how the pers, presentation and discussions, is poets still active today. widespread social understanding of that quick wit and humour play a Nicola Scaldaferri (“The singer of tales such constraints insures the comprehen- prominent role in musico-poetic duel- on stage. Transformation of the Albanian sibility and appreciation of perform- ling. Spectators listen with attention and ances. In fact performances based on epic repertories and performances from participation, precisely because in a mat- the traditional settings to the competi- confrontation, rivalry, competition are ter of a few seconds, they know the

Bulletin of the ICTM Vol. 120 — April 2012 — Page 43 REPORTS punchline is coming. Wit and humour in connection to music and poetry have not received, so far, much scholarly attention. In any further study of song duelling that would have to become a central question for analysis. In those traditions where no form of lashing is expected, the climax of the perform- ance requires at least a striking line, a poetic surprising image which the me- lodic context is supposed to emphasise or frame for attention. Finally we came to realise, how many traditions of musico-poetic duelling make use of nonsense syllables, words, or phrases, just like in Balladry (who does not know the refrain: “Parsely, Sage, Ros- mary and Thyme”!). Opening Ceremony. Photo by Alessandro Faralli.

More important it was how the discus- sion, departing from examples pre- Macchiarella, Ignazio (Ed.). 2012. Mul- tices as well as the impact of awards sented in the course of the colloquium, tipart music: a specific mode of musical for the local music will be focused on. at some point progressed towards cru- thinking, expressive behaviour and sound. Evenings with music from the Balkans, cial questions of music-making at Udine, Nota. (ISBN 9788861630925). Italy and Austria as well as workshops large: the definition of the musical ob- and music-making days with folk mu- The book has two contemporary edi- sicians are also prepared. The program ject, piece, or performance, and the tions: an ordinary paper-book and an very concept of “music” itself, not al- can be found in the aforementioned e-book edition, which includes audio website. ways recognised by many actors of the tracks. The introduction section is piv- traditions in question. On this note, oted on the following draft definition that from the angle of musico-poetic of Multipart Music: Multipart Music is Round Dances – 19th competition fundamental issues about any music production with at least two Century Derived Couple music-making in general inevitably intentional sound sequences, regulated Dances (Ethnochoreology emerge, the meeting came to an end, by specific overlapping rules, each of Sub-Study Group) with the perception that theme of this which is performed by both one single by Rebeka Kunej Colloquium turned out to be even person or more persons in unison, who more intriguing and substantial than maintain a distinctiveness of their own, The ICTM Sub-Study Group on anticipated, and will probably deserve within a context of strict interaction “Round Dances – 19th Century De- to be revisited in the future in some and a hierarchical relationship. rived Couple Dances” held its business way or form. meeting in Ljubljana during 2-4 De- Information about the 2010 Sympo- cember 2011, organised by the Institute Possibilities to publish the proceedings, sium, including photos, press review of Ethnomusicology of the Research on paper or electronically, are being and audio recordings of the stages, can Centre of the Slovenian Academy of considered. be found on the web site of the Study Sciences and Arts. Group (www.multipartmusic.org) run Multipart Music by Ignazio Macchiarella. The meeting was attended by Chair of by Ardian Ahmedaja and Ignazio Sub-Study Group Egil Bakka (Nor- The Second Symposium of the Study Macchiarella way), Marianne Bröcker (Germany), Group will be the first ICTM presence Sille Kapper (Estonia), local organiser in Albania. The local organiser is the The work of the ICTM Study Group on Rebeka Kunej (Slovenia), Mats Nilsson Ulysses Foundation based in Tiranë Multipart Music in 2011 has been fo- (Sweden), Helena Saarikoski (Finland) (Albania) and the co-organiser the In- cused on the preparation for the publi- and Jörgen Torp (Germany). cation of the proceedings of the first stitute for Folk Music Research and symposium (Sardinia, Italy, September Ethnomusicology of the University of The participating researchers ex- 2010) and the preparations for the sec- Music and Performing Arts in Vienna changed their findings on 19th Century ond symposium which will take place (Austria). In more than 30 presenta- Couple Dances, and continued work- in Albania, between 22 and 29 April, tions (including films) by colleagues ing on a volume which will feature 2012. The bibliographic information to coming from 20 countries questions of papers by members of this Sub-Study the publication is: multipart music practices as creative Group. processes, their role in religious prac-

Bulletin of the ICTM Vol. 120 — April 2012 — Page 44 REPORTS Other Reports

RILM Report RILM’s organization indexed in the most comprehensive and widely distributed bibliography Originally a pilot project of the Ameri- by Zdravko Blažeković, for music. At its core, RILM is a col- can Council of Learned Societies Executive Editor laborative effort aimed at disseminat- (ACLS), RILM was founded in 1966 at ing the world’s research on music to— For its first forty years, the City University of New York by the and by—the world’s research commu- Répertoire Interna- renowned American musicologist nity. tional de Littérature Barry S. Brook. A man of expansive Musicale (RILM) was a vision who had a hand in the estab- RILM’s Coverage joint commission of the International lishment of all four R Projects—the Association of Music Libraries, Ar- four R Projects, in chronological order Because of its international coverage, chives, and Documentation Centres of their establishment, are RISM the researcher can use RILM to find out (IAML) and the International Musi- (Répertoire International des Sources if someone is working on a similar cological Society (IMS). Though eth- Musicales, 1949), RILM (Répertoire topic anywhere, whether it be in the nomusicological publications have International de Littérature Musicale, U.S., Europe, Brazil, Israel, Japan, or been within its scope since the begin- 1966), RIdIM (Répertoire International Nigeria. Because the abstracts are in ning, we deliberately set about expand- d’Iconographie Musicale, 1971), and English, even if researchers find publi- ing this coverage some fifteen years RIPM (Répertoire International de la cations of interest to them in languages ago, an effort that resulted in both a Presse Musicale, 1981)—Brook imag- they cannot read or publications they large increase in ethnomusicological ined an abstracted and indexed bibli- cannot locate, if they can read English publications in the database and the ography of all significant writings they will learn something about the first major change in our sponsoring about music and related disciplines published research on their topics. organisations since its founding in from all over the world. In other Our database includes abstracts and 1966: At the 2007 meeting in Vienna, words, RILM was to be a tool provid- indexes for over 650,000 publications ICTM’s Executive Board accepted our ing total bibliographic control over the on music research from around the invitation to become RILM’s third world’s research on music. Our mis- world; these can be searched for by sponsoring organisation. And indeed sion remains the same today as it was subscription on the EBSCOhost and the input, interests, and expertise of all when Brook founded it, with the cru- ProQuest platforms. Each record is ICTM members are crucial to ensuring cial difference that—though the ulti- classified by main topic, and includes that RILM meets the changing needs of mate goal of complete global coverage the original-language title, a title trans- the discipline of ethnomusicology in remains elusive—we work to get ever lation in English, full bibliographic in- terms of geographic coverage, sources closer to achieving it. formation, a link to the Internet loca- of publications, classification and in- tion when the material is available on- dexing of topics, and more. Our international scope is made possi- ble by our collaborative UNESCO-style line, abstracts in English in addition to Each of the three sponsoring organiza- structure. The United Nations Educa- any other language received by the tions is represented by four members tional, Scientific, and Cultural Organi- office, and detailed subject indexing. on RILM’s governing Commission In- sation (UNESCO), founded in 1945, Records for publications in languages ternational Mixte. At the Durban con- “promotes international cooperation using non-roman characters (e.g., Rus- ference in 2009 the ICTM Executive among its … member states … in the sian, Japanese, Chinese, Korean) are Board appointed Joseph Peters (Singa- fields of education, science, culture, produced bilingually, and users can pore), Yu Siu Wah (Hong Kong), Rich- and communication.” (Editor’s Note: see search for them with their original ard Kent Wolf (USA), and Maria Eliza- UNESCO Website for more). For RILM, character set. The database currently beth da Silva Lucas (Brazil) to the “member states” are those countries represents research published in 131 Commission Mixte. They are joining that have established national RILM languages coming from 122 countries. representatives of the IMS (Philippe committees; these committees are re- Topics include writings on music of Vendrix, France, CM president; Dinko sponsible for submissions of citations every variety. The major subject areas Fabris, Italy; David Fallows, UK; Chris and abstracts of all works published in included in RILM are the following: Walton, Switzerland) and IAML (James their countries that meet our scope • ethnomusicology P. Cassaro, USA, CM vice-president; guidelines. In this way, the national Richard Chesser, UK; Thomas Leibnitz, committees help to ensure that the • jazz and blues Austria; Martie Severt, The Nether- work of music scholars in their coun- • librarianship lands). tries enters the international discourse on music by being summarised and • music & other arts (dance, dramatic

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arts, literature, visual arts) tion, or in any other form. The main (646 of them electronically available on document types included in RILM are the open Web). • music & related disciplines (acous- the following: tics, aesthetics, archeology, criticism, RILM’s Chronological Coverage linguistics guistics, medicine, phi- articles • Our coverage began with publications losophy, physics, psychology, semiot- issued the year after it was established, ics, sociology) • bibliographies so for many years RILM’s chronologi- • music in liturgy and ritual • cal boundaries were 1967 to the pre- sent. About ten years ago we began an • catalogues • music therapymusicology and his- initiative to extend the chronological tory of music • collections of essays reach of the database back in time, and so far we have done this with confer- • notation • conference proceedings ence proceedings (thanks to a generous • organology, conducting, and voice • critical commentaries to music edi- grant from the Andrew W. Mellon tions Foundation, these are now covered • pedagogy back to 1835) and Festschriften (thanks dissertations and thesis • performance practice • to a generous grant from the National Endowment for the Humanities, these • electronic resources (websites, data- • popular music are now covered back to 1840). bases) • printing, publishing, and legal issues RILM’s editorial database is also made • Festschriften including copyright available to some organizations work- films and recordings of ethnographic ing on their national bibliography. For • reference and research materials • material example, the Department of Music at • theory and analysis Stellenbosch University is working on • iconographies an exhaustive bibliography of publica- Perhaps one of the most important as- • monographs tions on music issued in South African pects of RILM vis-à-vis the world situa- periodicals going back to the mid- tion is its demonstration of a model for • reviews nineteenth century. Our bibliographic close and successful international col- indexing software is used for the or- research-based sound recordings laboration. Projects like RILM and all • ganization of this project, and records (mostly ethnographic) the R projects, which defy international are made available as a part of our on- problems and promote understanding, • research-based video recordings and line database. cooperation, and respect—and indeed films (ditto) are founded on these ideals—are more RILM as Mirror of Current Research on Music important than ever. These ideals are at • technical drawings of instruments All of this demonstrates how RILM the very heart of the RILM project, and reflects the changing world of music as such they are also reflected in data- As of August 2011, our database in- cluded a total of 12,312 journal titles research. What might not be as obvious base policies. is how music research changes RILM. RILM Document Types

RILM material falls into two broad Document type Quantity Description categories: writings and other re- 691 sources produced as an outcome of Core music Flagship journals of music studies; all articles systematic scholarly research, and writ- journals are abstracted and all reviews are cited. ings and other resources that provide important source material (including Secondary 672 Periodicals deemed significant for music stud- but not limited to correspondence, in- music journals ies, which are systematically examined for arti- terviews, obituaries, criticism, confer- cles that fall within RILM’s scope guidelines; ence reports, and biographies). Our these articles are abstracted. coverage is determined only by the work itself without consideration of Tertiary music 603 Journals less oriented toward music scholarship document type or medium: If a publi- journals and not systematically covered. cation meets the above criteria, then it is RILM material, whether it appears in Non-music 10,346 Multi-disciplinary journals that may occasion- a music journal, in another discipline’s journals ally have articles related to music; coverage is journal, in a collection of essays or con- accordingly selective. ference proceedings, on a website, or is published as a monograph, disserta- Fig. 1: Breakdown of RILM’s document types

Bulletin of the ICTM Vol. 120 — April 2012 — Page 46 REPORTS

As our scope guidelines have been re- Typically composed of music scholars able in U.S. libraries, the only way to vised accordingly, so have many spe- and music librarians, the committees ensure their representation in RILM is cific policies and practices. While the are based at major universities, na- with local help. To this end, we would indexing system has remained the tional libraries, and research institutes. like to establish new committees in same, specific indexing policies are Each national committee functions dif- countries that do not actively partici- constantly modified. For example, con- ferently and has different levels and pate at present, and to add contributors cepts that used to be indexed under the types of support, according to local to committees that are not able to keep headword folk music are now found resources and the possibilities of musi- up with their country’s publications. under traditional music, folklore, or spe- cological networking. Some commit- ICTM members are particularly en- cific place names. Culture and music tees are supported by a local host insti- couraged to join the project. Anyone originally sufficed for concepts dealing tution, others by the government or interested in becoming involved is with contextual issues of culture, but local music societies; sometimes the welcome to contact Barbara Dobbs research in this area has evolved into work is entirely voluntary, and some- Mackenzie at [email protected] or many different subspecialties and times the work is partly or fully paid Zdravko Blažeković at methodologies; this headword no for. The motivating force behind these [email protected]. longer adequately represents the field, efforts, however, remains the same: the and now such concepts are indexed desire for the scholarship of each coun- UNESCO Report under a wide range of possible head- try to be well represented in the RILM by Wim van Zanten words, including anthropology, cultural bibliography, and thereby to be dis- policies, cultural studies, politics, sociol- seminated worldwide. 1. Meeting of the Intergov- ogy, syncretism, urban studies, transcul- ernmental Commission of turation, and so on. New headwords All committees rely in varying degrees the 2003 UNESCO Conven- tion in Bali, 22-29 Novem- enter our thesaurus as changes in the on the author-submitted abstract, a ber 2011 discipline dictate. Recently introduced central principle of the RILM opera- headwords include, for example, biog- tion. Many music scholars around the This Committee meeting was the long- raphy studies, colonialism, drugs and alco- world submit abstracts for their publi- est one until now: seven working days hol, diaspora studies, electronica, hip hop, cations as a matter of course as soon as plus one day for the NGO Forum. Even genre studies, geography, identity–collec- they have a new publication, knowing so, several points of the agenda were tive, tourism and leisure, and urban stud- that we will provide worldwide access not discussed because there was not ies. The hierarchy of RILM indexing to information about their work. There enough time. The problems that al- subjects is available at are several ways in which authors can ready became evident in the former subjects.rilm.org. submit information to us, the simplest Committee meetings in Abu Dhabi being to go to RILM’s website click on (2009) and Nairobi (2010) had still not RILM has benefited from being able to “submissions”, and fill out the form. been resolved: because of the many change along with the disciplines it From this location authors can also nomination files for the international serves and with technological advances check the database to make sure all lists (88 in Bali; for 2012 the number of as they come along, resulting in an their publications are represented. Do- files not yet treated is 214), too much ever-more-useful database for music ing so will achieve several goals. It will time and money was spent on examin- researchers. Our usage statistics reflect help the local RILM committees in ing the nominated items, especially for how those doing research on any their work. Having all of one’s publica- the Representative List. This had been musical topic have increasingly come tions abstracted in our database en- a burden for the Secretariat and the to rely on it. Today our database is sures that scholars worldwide know Subsidiary Body, consisting of mem- searched a quarter-of-a-million times about the work that person is doing. bers of the Committee of State Parties. every month by students, scholars, And finally, submitting one’s publica- musicians, and researchers around the tions aids our worthy mission to pro- It was therefore discussed whether the world, a number that is growing vide bibliographic control of music Consultative Body, consisting of 6 in- quickly each year. It has become an scholarship for the research commu- dividual experts and representatives of indispensable tool for musical inquiry nity; the more records are represented 6 NGOs, should be given a more im- and also for scholars to fully document in RILM, the better RILM’s mission is portant role. The Committee´s recom- their work anywhere around the accomplished, and the more useful mendation to the General Assembly of world. RILM is for all music researchers. the convention was favourable to more NGO involvement. However, a great Submission of Bibliographic Records to the The staff at RILM International Center RILM Database minority of State Parties did not agree in New York does its best to add publi- on these issues and it remains to be Over the years the number of partici- cations that are not contributed by the seen what the General Assembly will pating countries that have organised national committees or authors to the decide in June. national RILM committees has grown database, typically adding more than to about fifty; a list is available here. 20,000 records annually. However, be- ICTM was elected in the Consultative cause many publications are not avail- Body for examination of the 2012 files

Bulletin of the ICTM Vol. 120 — April 2012 — Page 47 REPORTS for the Urgent Safeguarding List, the There are more examples, like the tango Best Practices and the requests for in- (Argentina-Uruguay). In the tango film ternational assistance. Altogether there we see much of the traffic in Buenos will be about 20 such files in 2012. Aires, but what about the community involved in tango, what does tango Future meetings mean to them, etcetera? This tango film 1. The General Assembly of the 2003 seems to be the product of an artist, convention is scheduled to meet in who presented his/her own vision on Paris, 4-8 June 2012; it will be pre- tango and was not interested in ceded by a one-day (3 June 2012) whether this was a proper representa- scholarly conference at the Maison tion of the way the community experi- des Cultures du Monde (see this ences tango. This violates the spirit and website for more). requirements of the convention.

2. The 7th Committee meeting I invite you to look carefully at these (7.COM) will take place in Grenada audiovisual materials, especially when and is scheduled for 25-30 Novem- it concerns your own research field. Do ber 2012; it will most probably be these films represent the relation be- preceded by a one-day NGO Fo- tween a community and its living cul- rum. ture in a respectful way? Does this rep- resent the culturally correct flow of 2. Audiovisual materials on the Internet time, according to the community On the UNESCO website (and You- members? Shortcomings could be re- Tube) you may find information on the ported in scholarly articles, and also to items on one of the international lists: the governments involved, so that 232 items of the Representative List these will be corrected. No doubt, (RL), 27 items of the Urgent Safeguard- many films and photographs are fine, ing List and 8 items of the Register of but we should make sure that all Best Practices. In the Bali meeting, 22- audiovisual materials put on the 29 November 2011, the Consultative UNESCO site and YouTube are of the Body has pointed out that submitted highest quality. At the moment this is videos should not be ‘aimed at promot- not the case. ing tourism’ (6.COM/CONF.206-8-EN, p.8, item 24). They recommend supply- ing videos that are supportive to the nomination and used to show ‘what the intangible cultural heritage element is and what its social functions are to- day, and to illustrate its state of viabil- ity.’

Some of the audiovisual materials show clear shortcomings. For instance, I found out that in the film for the In- donesian (RL), the men an- nounced as ´Baduy´ men are in fact not Baduy men. These are other men from outside the Baduy community, trained to play Baduy angklung instruments. It seems that with this nomination for the Representative List the Indonesian government did not ´endeavour to en- sure the widest possible participation´ of the Baduy community, required by the convention. The Baduy have ap- parently not been involved in this part of the nomination process.

Bulletin of the ICTM Vol. 120 — April 2012 — Page 48 CALENDAR OF EVENTS Calendar of Events — ICTM

17-22 April 2012 26-30 October 2012 3rd Symposium of the ICTM Study Group on Music and Dance In 11th Symposium of the ICTM Study Group on Iconography of the Southeastern Europe. Performing Arts.

Location: Berovo, Macedonia (FYROM). Location: Beijing, China.

Read more about the Symposium here. Read more about the Symposium here.

18-22 April 2012 8-11 November 2012 3rd Symposium of the ICTM Study Group on Applied Ethnomusi- 8th Symposium of ICTM Study Group on Maqam. cology. Location: Sarajevo, Bosnia and Herzegovina. Location: Nicosia, Cyprus. Read more about the Symposium here. Read more about the Symposium here. 1-2 December 2012 22-29 April 2012 3rd Symposium of the ICTM Study Group on Music of the Turkic 2nd Symposium of the ICTM Study Group for Multipart Music. Speaking World

Location: Tiranë, Albania. Location: Cambridge, UK.

Read more about the Symposium here. Read more about the Symposium here.

14-19 June 2012 20-23 March 2013 2nd Symposium of the ICTM Study Group on Performing Arts of 19th Symposium of the ICTM Study Group on Folk Musical In- Southeast Asia struments.

Read more about the Symposium here. Location: Bamberg, Germany.

Read more about the Symposium at the Study Group's home page. 10-12 July 2012

9th Symposium of the ICTM Study Group on Mediterranean Mu- 11-17 July 2013 sic Studies. 42nd ICTM World Conference Location: Lisbon, Portugal. Location: Shanghai Conservatory of Music, Shanghai, China. Read more about the Symposium here. Read more on pages 3-6. 22-29 July 2012 27th Symposium of the ICTM Study Group on Ethnochoreology.

Location: Limerick, Ireland.

Read more about the Symposium here.

31 July-2 August 2012 3rd Symposium of the ICTM Study Group on Musics of East Asia.

Location: Hong Kong.

Read more about the Symposium here.

7-12 August 2012 7th Symposium of the ICTM Study Group on Music and Minori- ties.

Location: Zefat, Israel.

Read more about the Symposium here.

Bulletin of the ICTM Vol. 120 — April 2012 — Page 49 CALENDAR OF EVENTS Calendar of Events — Related Organisations

6-10 June 2012 30-31 October 2012 3rd Rothenfels Dance Symposium: The Variety of European Dance Symposium: Ecomusicologies 2012 Culture from 1420 to 1820 Location: New Orleans, United States. Location: Rothenfels, Germany Read more here. Read more on pages 15-16. 1-4 November 2012 10-15 July 2012 Joint Annual Meeting of the Society for Ethnomusicology, American 17th Conference of the Institute of Traditional Music in China Musicological Society, and the Society for Music Theory (ITMC) Location: New Orleans, USA. Location: Xi'an Conservatory of Music, Xi’an, Shaanxi, China. Read more here. Read more on pages 20-21. 10-12 January 2013 17-27 July 2012 Workshop: Participatory Pop: Audiences, Life Styles and Fan Cul- 13th Conference of the Music Society of China's Minorities (MSCM) ture in 20th Century Southeast Asia

Location: Xinjiang Normal University Location: Jakarta, Indonesia.

Read more on pages 20-21. Read more on page 17.

5-9 September 2012 24-28 June 2013 Symposium East and West: Ethnic Identity and Traditional Musical 17th Biennial Conference of the International Association for the Heritage as Dialogue between Civilisations and Cultures Study of Popular Music (IASPM)

Location: Astrakhan, Russia. Location: Gijón, Spain.

Read more on page 18. Read more here.

19-23 September 2012 ESEM Seminar 2012 – Music and Cultural Memory in post-1989 Europe

Location: Ljubljana, Slovenia.

Read more here.

6-11 October 2012 43rd Annual Conference of the International Association of Sound and Audiovisual Archives (IASA)

Location: New Delhi, India.

Read more here.

24-27 October 2012 Annual Meeting of the American Folklore Society

Location: New Orleans, United States.

Read more here.

Bulletin of the ICTM Vol. 120 — April 2012 — Page 50 PUBLICATIONS Recent Publications by ICTM Members Echoes from Georgia: Roma musicians as unique mediators esses of change within everyday prac- between various ethnic, religious and tice and in ethnomusicology. Seventeen Arguments on linguistic groups. Georgian Polyphony Examining this question from the • Znanstvena založba Filozofske Fa- viewpoint of local terminology primar- Edited by Rusudan Tsurtsumia and Joseph kultete Univerze v Ljubljani, Ljubl- ily means considering specific and in- Jordania jana, 2011. dividual concepts of cultural listening This collection is • Paperback, 144 pages, photos, tran- and particularities of local discourse, aimed to those who scriptions. which stimulate analytical attention to the most profound details of the area are interested in • Language: Slovene. Georgian traditional under discussion. ISBN: 978-9612374648. polyphonic singing. • • Böhlau, Vienna (2011) It contains seventeen • Price: EUR 14.90; order directly from works of seventeen the publisher’s website. • 492 pages authors, both foreign • Language: English and Georgian schol- • ISBN: 978-3205787372 ars, written throughout the 20th and • Price: EUR 69.00; order directly from 21st centuries. Eleven of these works the publisher’s website. had been published before (but not in English), and six of the articles were written by contemporary scholars for Les instruments de this collection. Problems of the origins, musique dans la tradition distribution, ethno-cultural interaction malgache with other cultures, identity, scales, By Mireille M. Rakotomalala harmony, issues of vocal and instru- mental polyphony are discussed in This is the second volume in the Vienna these articles. Series in Ethnomusicology, edited by August Schmidhofer. Jointly published • Nova Science Pub Inc (2010) European Voices II: by the Department of Musicology at • Hardcover, 298 pages. Cultural Listening and the University of Vienna and Editions • Language: English Local Discourse in Tsipika, Antananarivo. • ISBN: 978-1608764778 Multipart Singing • Vienna & Antananarivo (2009) • Available from Amazon.com. Traditions in Europe • 196 pages Edited by Ardian Ahmedaja Etnomuzikologija na raz- • Language: French and Malagasy potju: iz glasbene zaklad- Although the fundamental meaning of • ISBN: 978-2912290830 basic terminology is well established • To order a copy, contact the publisher nice kosovskih Romov for every scholarly discipline, many directly. by Svanibor Pettan concepts are often questioned and re- defined. In the case of ethnomusicol- Based primarily on ogy, this process is all too familiar, as the author's field- researchers within the discipline focus work (1983-1991 and on the most diverse of music cultures. after 1999), this book The manifold world views of the re- presents Kosovo in a source persons make the matter more way much removed complex. Such a situation has particu- from the oversimpli- lar significance in the context of multi- fied image domi- part singing, because of its specific nated by the conflict musical aesthetics and vocabularies. between ethnic Al- Moreover, it is accentuated by proc- banians and ethnic Serbs, and portrays

Bulletin of the ICTM Vol. 120 — April 2012 — Page 51 PUBLICATIONS

Steep Slopes: Music and the Balkan and Mediterranean area. Traditional Musical Cul- The second theme Instrumental Melo- change in the Highlands dies and Voice Construction is dis- tures in Central-Eastern of Papua New Guinea cussed in twelve detailed papers em- Europe – Ecclesiastical by Kirsty Gillespie bracing four continents. and Folk Transmission MV-Wissenschaft, Germany (2012). Edited by Piotr Dahlig This book is a • musical ethnography • Paperback, 350 pages, DVD. The texts presented of the Duna people • Language: English. here constitute the harvest of the confer- of Papua New • ISBN: 978-3869914114. Guinea. A people ence “Ethnic Sources • Price: EUR 30,00; order directly from of Traditional Musical who have experi- the publisher’s website. enced extraordinary Cultures in Central- social change in recent history, their Eastern Europe: Ec- musical traditions have also radically clesiastical and Folk changed during this time. New forms Transmission”, organised by the His- of music have been introduced, while torical, Social and Philosophical Sci- ancestral traditions have been altered ences section of the Warsaw Learned or even abandoned. Society (TNW). The conference was held on 7-9 December 2006 in the This study shows how, through Round Table Hall of Staszic Palace in musical creativity, Duna people main- Warsaw. The idea of the gathering was tain tain a connection with their past, to exchange views on the relations be- and their identity, whilst simultane- tween folk musical cultures and eccle- ouslyembracing the challenges of the siastical musical traditions – Orthodox, present. Catholic and Protestant. Sung Tales from the • ANU E Press, Canberra, 2010. Papua New Guinea • Instytut Muzykologii UW, Instytut • Language: English Highlands Sztuki PAN (2009). ISBN: 9781921666421 (Print Version), • Hardcover, 440 pages. • Edited by Alan Rumsey and Don Niles 9781921666438 (Online). • Language: English. • Price: AUD 24.95; print on demand The genres of sung tales that are the • ISBN: 978-8389101860. subject of this volume are one of the or free download from publisher’s • Price: USD 22,00 from Amazon. website. most striking aspects of the cultural scene in the Papua New Guinea High- Volksmusik in den Alpen - Studia Instrumentorum lands. Composed and performed by Musicae Popularis II specialist bards, they are a highly val- Standortbestimmungen ued art form. Edited by Gisa Jähnichen Edited by Thomas Nußbaumer This volume presents a set of interre- The second volume in lated studies by researchers in anthro- Festschrift for Josef the new series of pology, linguistics and ethnomusicol- Sulz’s on his 80th STUDIA INSTRU- ogy, and by a Papua New Guinea birthday. MENTORUM MUSI- Highlander who has assisted with the • Wagner University CAE POPULARIS is research based on his lifelong familiar- Press, Innsbruck dedicated to the ity with one of the regional genres. (2011) themes “Rural” Musical Instruments • ANU E Press, Canberra, 2011. • 320 pages, colour illustrations, DVD with audiovisual in the 21st Century and Instrumental • Language: English. examples. Melodies and Voice Construction. Both • ISBN: 9781921862205 (Print Version), themes were widely discussed during 9781921862212 (Online). • Language: German the 18th Meeting of the ICTM Study ISBN: 978-3703004926 • Price: AUD 24.95; print on demand • Group on Folk Musical Instruments in or free download from publisher’s • Price: EUR 42.00; order directly from Stubičke Toplice, Croatia, held in April website. the publisher’s website. 2011.

In this volume, contributions to the theme “Rural” Musical Instruments in the 21st Century focus regionally on

Bulletin of the ICTM Vol. 120 — April 2012 — Page 52 ICTM WORLD NETWORK

Albania Croatia India Sokol Shupo, Liaison Officer Tvrtko Zebec, Chair of Shubha Chaudhuri, Chair of [email protected] National Committee National Committee [email protected] [email protected] Argentina Silvia Citro, Liaison Officer Cyprus Iran [email protected] Panikos Giorgoudes, Chair of Hooman Asadi, Liaison Officer National Committee [email protected] Australia & New Zealand [email protected] Dan Bendrups, Chair of Ireland Regional Committee Czech Republic Liz Doherty, Chair of d.bendrups@griffith.edu.au Zuzana Jurková, Liaison Officer National Committee [email protected] [email protected] Austria Thomas Nußbaumer, Chair of Denmark Israel National Committee Lene Halskov Hansen, Chair Edwin Seroussi, Liaison Officer [email protected] of National Committee [email protected] [email protected] Azerbaijan Italy Sanubar Bagirova, Liaison Egypt Leonardo D’Amico, Chair of Officer Guihad Sami Daoud, Liaison National Committee [email protected] Officer [email protected] [email protected] Bangladesh Ivory Coast Mobarak Hossain Khan, Chair Estonia Hien Sié, Liaison Officer of National Committee Ingrid Ruutel, Chair of [email protected] [email protected] National Committee Jamaica [email protected] Belarus Olive Lewin, Chair of Elena Gorokhovik, Liaison Finland National Committee Officer Pirkko Moisala, Chair of [email protected] [email protected] National Committee Japan pirkko.moisala@helsinki.fi Belgium Atsumi Kaneshiro, Chair of Anne Caufriez, Liaison Officer France National Committee [email protected] Julien Mallet, Chair of [email protected] National Committee Bosnia and Herzegovina Kazakhstan [email protected] Jasmina Talam, Liaison Officer Saule Utegalieva, Liaison [email protected] Germany Officer Dorit Klebe, Chair of [email protected] Brazil National Committee Kenya Eurides Souza Santos, Chair of [email protected] National Committee Charles Nyakiti Orawo, [email protected] Greece Liaison Officer Irene Loutzaki Kifissias, [email protected] Bulgaria Liaison Officer Republic of Korea Rosemary Statelova, Liaison [email protected] Officer Kwon Oh Sung, Chair of [email protected] Guatemala National Committee Matthias Stöckli, Liaison [email protected] Canada Officer Laos Sherry Johnson, Chair of [email protected] National Committee Bountheng Souksavatd, [email protected] Hungary Liaison Officer Katalin Kovalcsik, Chair of [email protected] China National Committee Latvia Xiao Mei, Chair of National [email protected] Committee Martin Boiko, Liaison Officer [email protected] [email protected]

Bulletin of the ICTM Vol. 120 — April 2012 — Page 53 ICTM WORLD NETWORK

Lithuania Poland Taiwan Rimantas Sliužinskas, Chair Ewa Dahlig, Chair of National Cheng Te-Yuan, Chair of of National Committee Committee Regional Committee risli@delfi.lt [email protected] [email protected]

Macedonia (FYROM) Portugal Tanzania Velika Stojkova Serafimovska, Salwa Castelo-Branco, Chair of Hildegard Kiel, Liaison Officer Chair of National Committee National Committee [email protected] [email protected] [email protected] Thailand Madagascar Romania Bussakorn Binson, Liaison Mireille Rakotomalala, Liaison Marian Lupascu, Chair of Officer Officer National Committee [email protected] [email protected] [email protected] [email protected]

Malaysia Russia Turkey Tan Sooi-Beng, Liaison Officer Alexander V. Romodin, Arzu Öztürkmen, Chair of [email protected] Liaison Officer National Committee [email protected] [email protected] Mexico Carlos Ruiz Rodriguez, Serbia Uganda Liaison Officer Nice Fracile, Liaison Officer James Isabirye, Chair of [email protected] [email protected] National Committee [email protected] Netherlands Singapore Wim van der Meer, Chair of Joseph Peters, Liaison Officer Ukraine National Committee [email protected] Olena Murzina, Liaison Officer [email protected] [email protected] Slovak Republic Nigeria Oskar Elschek, Chair of United Kingdom Richard C. Okafor, Liaison National Committee Tina K. Ramnarine, Chair of Officer [email protected] National Committee [email protected] [email protected] Slovenia Norway Mojca Kovačič, Chair of United States of America Siri Maeland, Chair of National National Committee Harris Berger, Chair of Committee [email protected] National Committee [email protected] [email protected] South Africa Oman Alvin Petersen, Liaison Officer Uzbekistan Khalfan al-Barwani, Chair of [email protected] Alexander Djumaev, Liaison National Committee Officer Spain [email protected] [email protected] Enrique Cámara de Landa, Palau Chair of National Committee Vanuatu Howard Charles, Liaison [email protected] Raymond Ammann, Liaison Officer Officer Sri Lanka [email protected] [email protected] Lasanthi Manaranjanie Kalinga Papua New Guinea Dona, Liaison Officer Vietnam Naomi Faik-Simet, Liaison [email protected] Tô Ngoc Thanh, Chair of Officer National Committee Sweden [email protected] [email protected] Krister Malm, Chair of Peru National Committee Zambia Raúl Romero, Liaison Officer [email protected] Mwesa I. Mapoma, Liaison [email protected] Officer Switzerland [email protected] Philippines Raymond Ammann, Chair of José Buenconsejo, Liaison National Committee Officer [email protected] [email protected]

Bulletin of the ICTM Vol. 120 — April 2012 — Page 54 ICTM STUDY GROUPS

African Musics Music and Dance in Southeastern Europe Chair: Patricia Opondo (South Africa) Chair: Velika Stojkova (Macedonia/FYROM) [email protected], [email protected] [email protected]

Applied Ethnomusicology Music and Dance of Oceania Chair: Klisala Harrison (Canada/Finland) Chair: Denis Crowdy (Australia) klisala.harrison@helsinki.fi [email protected]

East Asian Historical Musical Sources Music and Gender Chair: Zhao Weiping (China) Chair: Fiona Magowan (UK) [email protected] [email protected]

Ethnochoreology Music and Minorities Chair: Felföldi László (Hungary) Chair: Ursula Hemetek (Austria) [email protected] [email protected]

Folk Musical Instruments Music Archaeology Chair: Gisa Jähnichen, (Germany/Malaysia) Chair: Arnd Adje Both (Germany) [email protected] [email protected]

Historical Sources of Traditional Music Music of the Arab World Co-Chairs: Susanne Ziegler (Germany) & Ingrid Åkesson Chair: Scheherazade Hassan (France) (Sweden) [email protected] [email protected], [email protected] Music of the Turkic-Speaking World Iconography of the Performing Arts Co-Chairs: Dorit Klebe (Germany) & Razia Sultanova (UK) Chair: Zdravko Blažeković (USA) [email protected], [email protected] [email protected] Musics of East Asia Maqām Chair: J. Lawrence Witzleben (USA) Chair: Jürgen Elsner (Germany) [email protected] [email protected] Performing Arts of Southeast Asia Mediterranean Music Studies Chair: Patricia Matusky (USA) Chair: Marcello Sorce Keller (Switzerland) [email protected] [email protected]

Multipart Music Chair: Ardian Ahmedaja (Austria) [email protected]

Bulletin of the ICTM Vol. 120 — April 2012 — Page 55 ICTM AUTHORITIES

Adrienne L. Kaeppler Salwa El-Shawan Stephen Wild Svanibor Pettan Castelo-Branco President Vice President Secretary General Vice President USA Australia Slovenia Portugal

Carlos Yoder Samuel Araújo, Jr. Naila Ceribašić Ursula Hemetek

Executive Assistant Executive Board Executive Board Executive Board Member Member Member Argentina/Slovenia Brazil Croatia Austria

Jean Ngoya Kidula Don Niles Timothy Rice Razia Sultanova

Executive Board Executive Board Executive Board Executive Board Member Member Member Member

Kenya/USA Papua New Guinea USA UK

Kati Szego Trần Quang Hải J. Lawrence Witzleben Xiao Mei (萧梅)

Executive Board Executive Board Executive Board Executive Board Member Member Member Member

Canada France/Vietnam USA China

Bulletin of the ICTM Vol. 120 — April 2012 — Page 56 GENERAL INFORMATION

Memberships for individuals About the ICTM • Ordinary Membership: EUR 60.00 • Joint Ordinary Membership (*): EUR 90.00 The International Council for Traditional Music is a Non- Governmental Organisation in formal consultative relations • Student Membership (**): EUR 40.00 with UNESCO. Its aims are to • Emeritus Membership (***): EUR 40.00 further the study, practice, documentation, preservation and • Life Membership: EUR 1,200.00 dissemination of traditional mu- Joint Life Membership (*): EUR 1,500.00 sic — including folk, popular, • classical and urban music — and (*) Joint Memberships are available for spouses who both dance of all countries. To these wish to join. They receive only one set of ICTM publica- ends the Council organises World Conferences, Symposia tions, but otherwise enjoy all other privileges and responsi- and Colloquia. bilities of ordinary members.

The ICTM publishes the Yearbook for Traditional Music, the (**) Individuals may take advantage of Student Member- online Bulletin of the ICTM, and maintains an online Mem- ship rates for a maximum of five years. Proof of student bership Directory. It also supervises the preparation and status will be required. publication of journals and bulletins. (***) Available only to applicants retired from full time work Through its wide international representation the Council which had been members of the ICTM for at least 5 years. acts as a bond among peoples of different cultures and thus serves the peace of humankind. Memberships for organisations Corporate Memberships are available to organisations such Contact information as government departments, regional scholarly societies, radio-television organisations and other corporate bodies International Council for Traditional Music for EUR 250.00 a year. Corporate members receive all the Department of Musicology benefits of an Ordinary membership, plus they have the Faculty of Arts option to select up to three additional individuals who will University of Ljubljana enjoy all the benefits of ordinary members. However, Cor- Aškerčeva 2 porate Members have only one vote at ICTM elections. 1000 Ljubljana Slovenia Institutional Subscriptions to the Yearbook for Traditional Telephone: +1 410 501 5559 Music are available in electronic-only, print+only and E-mail: [email protected] print+electronic formats. See page 59 for more information. Skype: ictmslovenia Supporting memberships All members who are able to sponsor individuals or institu- tions in a soft currency country are urged do so by paying an additional fee of EUR 30.00 for each sponsored member- Membership ship or institution. If the recipient is not named, ICTM will award the supported membership to one or more individu- All memberships to ICTM run from 1 January to 31 Decem- als or institutions in such country. ber, except for Life and Joint Life Memberships (see below).

Members in good standing are entitled to: Modes of Payment

1. Participate in the activities of the Council (such as pre- Remittance payable to the ICTM Secretariat is preferred in senting a paper at a World Conference) euros via Electronic Funds Transfer (aka bank transfer, giro, wire transfer, or SEPA/UPO order). Other currencies and 2. Receive the Council's publications payment methods are accepted (major credit and debit cards, PayPal, cheques), but additional charges may apply. 3. Obtain access to premium website content (such as the ICTM Online Directory). For any questions regarding memberships, please write to [email protected]. 4. Vote in ICTM elections

Bulletin of the ICTM Vol. 120 — April 2012 — Page 57 GENERAL INFORMATION Publications

Yearbook for Traditional volume plus shipping and handling. A Individual ICTM members should di- 10% discount is available for orders of rect relevant announcements or reports Music more than 10 copies of the same volume on activities to their national or regional The Yearbook for Traditional Music (ISSN: shipped to the same address. Please representative or Study Group Chair. 0740-1558) is a refereed scholarly jour- note that the latest issue (currently Vol. ICTM members residing in countries nal which carries essays, reviews, and 43) costs 90.00 EUR (shipping and han- with no official ICTM representation reports in the area of traditional music dling included). may submit reports and announcements and dance research. directly to the Editor. Electronic back issues (via JSTOR): General Editor: Don Niles. institutions may add archival content The Bulletin is primarily a means for (back issues) of the Yearbook for Tradi- communicating ICTM information. The Yearbook was established in 1949 as tional Music to their existing JSTOR However, the Editor will consider in- the Journal of the International Folk Music accounts. Please note that this service is cluding news from international organi- Council, and it is published in English currently available to organisations sations which may be of interest to every December. All ICTM members only. Individual scholars may, however, ICTM members, giving priority to and institutional subscribers in good obtain access through one of JSTOR's UNESCO affiliated organisations. standing receive a copy of the Yearbook participating institutions. To go to the via priority air mail. Yearbook's page at JSTOR's website, Articles will be edited, when necessary, without notification. The latest issue of the Yearbook is Vol. 43 please click here. (2011). For any questions regarding online ac- The submission deadline for the April cess to the Yearbook for Traditional Mu- issue is March 15, for the October issue sic, please contact JSTOR directly. is September 15. All submissions should be sent via e- Bulletin of the ICTM mail to [email protected], in The Bulletin of the International Council any of the following formats: Apple for Traditional Music (ISSN: 0739- Pages, Microsoft Word, Rich Text For- 1390) carries news from the world of mat (RTF), OpenOffice.org (ODT). Ethnomusicology, a calendar of upcom- Back issues ing events, and reports from ICTM Study Groups and ICTM National and Back issues of the printed Bulletin of the Regional Representatives. ICTM (Vols. 1-118) can be ordered di- rectly from the Secretariat at a cost of Editor: Carlos Yoder. EUR 7.70 plus shipping and handling. For your convenience, however, you can The Bulletin was established in 1948 as read and download the last ten year's the Bulletin of the International Folk Music worth of Bulletins directly from the Bul- Council. It is published in April and Oc- letin’s webpage. tober each year, mainly in English but with occasional articles in other lan- guages. The Bulletin is made available online at the ICTM website, and is also Submissions sent directly to ICTM members and in- If you would like to submit original ar- stitutional subscribers via e-mail. It is ticles and/or review materials to be is protected by a Creative Commons BY- considered for inclusion in the next is- NC-SA 3.0 Unported License. sue of the Yearbook for Traditional Music, Submissions please find the full guidelines here. All ICTM National and Regional Repre- Back issues sentatives as well as Study Group Printed back issues of the Yearbook for Chairs should submit articles (reports, Traditional Music are available from the announcements, calls for papers, etc.) ICTM Secretariat, from Vol. 1 (1969) on a regular basis. through Vol. 42 (2010), at 23.00 EUR per

Bulletin of the ICTM Vol. 120 — April 2012 — Page 58 GENERAL INFORMATION Institutional Subscriptions

Institutional Subscriptions to ICTM are available for libraries, institutions and other organisations (including Subscription Agents) who wish to carry the Yearbook for Traditional Music in printed and/or electronic form. All subscriptions run from 1 January through 31 December.

The Council has partnered with JSTOR in the Current Scholarship Program to offer institutions online access to its publica- tions. Electronic-Only and Print+Electronic subscriptions (see below) provide institutional subscribers with online access to the five most recent issues (i.e., 2008-2012) of the Yearbook for Traditional Music. Access will automatically integrate with any JSTOR collection that institutions may already license. Subscription types ICTM offers three different types of Institutional Subscriptions.

ELECTRONIC-ONLY PRINT-ONLY PRINT+ELECTRONIC

Institutional subscribers receive: Institutional subscribers receive: Institutional subscribers receive:

• Online access to the five most re- • A printed copy of the 2012 Year- • A printed copy of the 2012 Year- cent issues of the Yearbook for Tra- book (vol. 44), sent in November/ book (vol. 44), sent in November/ ditional Music (i.e., 2008-2012) via December 2012. December 2012. JSTOR. Price: USD 120.00* per year • Online access to the five most re- Price: USD 100.00 per year cent issues of the Yearbook for Tra- To place your subscription, contact ditional Music (i.e., 2008-2012) via To place your subscription, contact the CTM Secretariat. JSTOR. JSTOR. (*) Price given in USD for coherence only. Subscribers will be billed for EUR 90.00. Price: USD 150.00 per year

To place your subscription, contact JSTOR

Please note that all Institutional Subscribers, regardless of subscription type, receive the Bulletin of the ICTM via e-mail in April and October. Subscription Ordering Information All subscriptions must be prepaid.

Remittance payable to the ICTM Secretariat is preferred in euros via Electronic Funds Transfer (aka bank transfer, giro, wire transfer, or SEPA/UPO order). Other currencies and payment methods are accepted (major credit and debit cards, PayPal, cheques), but additional charges may apply.

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Bulletin of the ICTM Vol. 120 — April 2012 — Page 59