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Volume 45 Number 1 January 2011

nC2 Goes to Middle Contents School, by Patricia Shehan Campbell : 2010 SEM Honor- “No more to ask”, by “A.” ... more on p. 14 “Listen to the falls, and sighs, and ary Member, by R. Anderson Sutton trills of the cantor’s .” This was Ethan Chessin’s opening ques- Judith Omans Becker joined the Obituary: Theodore C. Grame, by tion to a group of 26 twelve- and faculty of the School of at the Constantine Grame thirteen-year-old students enrolled in University of Michigan as an Assistant Theodore Grame, a pioneer in the North Park Middle School in Professor in 1972, expanding the the field of Ethnomusicology, passed Pico Rivera, CA ... more on p. 11 offerings in ethnomusicology ... more away on February 21, 2010. Mr. on p. 4 Grame was born in the Bronx on Jan- People and Places uary twenty-eighth, 1930. A prodigy at Judith Cohen, Deborah Wong, the piano ... more on p. 8 Laurie Kay Sommers, Tormod W. Welcome to SEM/CORD in Phila- Anundsen, Robin Harris, Brian delphia, by Carol Muller Schrag, Brita Heimarck, Jeff Titon, Candida Jaquez ... more on p. 3 The 2011 Joint Annual Meeting of the for Ethnomusicology (SEM) Summer Programs and the Congress on Research in Certifica- (CORD) will take place in the tion Workshop in Peda- city of Philadelphia ... more on p. 16 gogy; Summer Institute in Ethnomusi- cology and Global ; Center for Newsletter Updates, by Henry World Music ... more on p. 5 Spiller, SEM Newsletter Editor Announcements Last year, the SEM Board of Di- rectors directed that the SEM News- Joint Panel Ideas for 2012 Meet- letter be distributed electronically. The ing; Ethnomusicology Forum; Seek- current issue reflects some changes ing Field and Studio Recordings ... more on p. 3 Judith Becker to the Newsletter’s format to make navigating easier ... more on p. 11 Conferences Calendar Weapons of Mass Instruction, by Call for Contributions Gage Averill, SEM President: “A ... more on p. 15 (Copy)Right to Sing the ” ICTM Study Group “ of Music in Mediterranean ” 2011 Annual Meeting of SEM, Phila- Like many ethnomusicologists, Website ... more on p. 14 delphia, Call for Proposals I’ve spent lots of time trying to sort through the confusing layers of com- ... more on p. 17 mon law, case law, and statutory laws that establish and regulate copyright as it bears on sound recordings and compositions. ... more on p. 9 Prizes Alan Merriam Prize; Robert M. Stevenson Prize; Kunst Prize; Prize; Ida Halperin Fellowship; Klaus Wachsmann Prize; Nahumck Prize; Section Prizes; Chapter Prizes ... more on p. 6 “Board’s-eye view” of the membership meeting at SEM 2010 in LA (photo: Tomie Hahn) Internet Resources Ethnomusicology Sites The Society for Ethnomusicol- American Folklife Center ogy and the SEM Newsletter The SEM Website http://www.loc.gov/folklife/ http://www.ethnomusicology.org Editor, SEM Newsletter British Forum for Ethnomusicology Henry Spiller The SEM Discussion List: SEM-L Department of Music http://www.bfe.org.uk University of California To subscribe, send email message One Shields Avenue British Library Sound Archive to: [email protected]. Davis, CA 95616, USA http://www.bl.uk/wtm (Tel) 530.752.2603 (Fax) 530.752.0983 EDU. Leave subject line blank. Type (Email) [email protected] the following message: SUBSCRIBE http://cadensa.bl.uk SEM-L . 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 SEM Newsletter tion in 2011 on musical practices of forward to more time for research People and Places (a selection of) African immigrants in writing and music-making. Judith Cohen () Norway. The dissertation combines a Candida Jaquez (Chair, Music is the first recipìent of the Kluge Foucaultian perspective on discourse Department, Scripps College) has Foundation’s Fellowship, with ethnographic observations and been named Director of the Hu- which she will take up at the Library performance analyses, linking the manities Institute at Scripps College of Congress in the spring and sum- micro-level of musical practices with beginning in the Fall of 2010 through mer. Specifically, she will work on a macro-level of political and cultural 2013. Scripps College is part of the Lomax’s Spanish recordings, which discourse. The dissertation is written Claremont Colleges, located in south- she’s been editing for several years, in English, and he hopes to publish ern California. along with other material in the hold- and present his findings in SEM Marcia Ostashewski is the first ings related to Lomax’s work in Spain conferences and/or publications in ethnomusicologist to be awarded She will coordinate this work with the 2011/2012. a Fulbright Visiting Research Chair followup fieldwork she’s been con- Robin Harris has been appointed in Canadian Studies Center at the ducting over the years in the villages the Associate Coordinator of the Jackson School for International where he did his recordings. World Arts program at the Graduate Studies, University of Washington Deborah Wong (University of Institute of Applied (GIAL) (2010-2011). California, Riverside) was recently in Dallas, Texas. Robin is completing David Ewenson is a recording named President of the Board of her PhD in ethnomusicology (Uni- engineer who is looking to get out Directors for the Alliance for California versity of Georgia, Athens), and will of the studio and record in the field. Traditional Arts, a major non-profit or- join Brian Schrag (UCLA, 2005) in He has some good gear, recording ganization that provides advocacy, re- GIAL’s faith-based applied EthnoArts knowledge, and great interest in all sources, and connections for folk and program. things musical. He can be reached at traditional artists. She has served on Brita Heimarck (Boston Uni- (email) [email protected]. ACTA’s Board since 2004. versity) is the new President for the Gage Averill, Dean of Arts at Uni- Laurie Kay Sommers (Inde- Northeast Chapter for the Society for versity of British Columbia and Presi- pendent Consultant) announces Ethnomusicology (NECSEM). She dent of SEM, has been nominated for the publication of “Hoboken-Style: will serve for a two-year term (2010- a Grammy in the category of “ Meaning and Change in Okefenokee 2012). Her home institution, Boston notes” for the Library of Congress re- Sacred Harp Singing” in the online University, will host the NECSEM cording Alan Lomax in Haiti, 1936-37. multimedia journal, Southern Spaces, 2011 annual meeting on April 2, 2011. The box set has also been nominated at (website) http://southernspaces. Jeff Titon (Brown University) has for a second Grammy in the cat- org/2010/hoboken-style-meaning- begun a three-year phased retirement egory of “best historical album.” The and-change-okefenokee-sacred-harp- from Brown University, teaching one Grammy Award Ceremony will take singing semester per year through spring place in on February 13. Tormod W. Anundsen (University 2013, while retaining his dissertation of Oslo) will finish a PhD disserta- advisees to their degrees. He looks

Announcements joint panels proposals will emerge as Seeking Field and Studio individual initiatives from among our Recordings of Any Traditional Joint Panel Ideas for 2012 Meeting memberships. Because such initia- World Music in New Orleans tives take time to work out, we are Multicultural Media seeks field issuing this informal notice well in by Bonnie C. Wade and studio recordings of advance, in hopes that you will think world music for digital download As Chair of our Program Commit- ahead. Be creative and communicate release. They have potential distri- tee for the meeting in 2012 of SEM, with colleagues across our fields! bution to over 140 download sites SMT and AMS, I have begun thinking around the world. Some technical together with my counterparts about Ethnomusicology Forum editing and mastering services various means of taking this opportu- The British Forum for Ethnomu- available for reasonable charge nity to further communication among sicology is pleased to announce two if recording is not finalized. See our members on issues and topics of new developments with respect to (website) http://www.multicultural- mutual interest. (We thought imme- its journal, Ethnomusicology Forum media.com for more information; diately of studies of (published by Routledge). In Septem- submit inquiries to Mark Green- various sorts, cognitive approaches ber 2010, Simone Krüger of Liverpool berg, Curator/Producer, at (email) to analysis, music at a particular time John Moores University joined Lau- [email protected] in multiple cultures around the globe, dan Nooshin as co-editor, and start- and to (email) support@worldmu- music in ritual, to mention just a few.) ing in 2011 the journal moves to three sicstore.com. We have the sense that in this time of issues per year. For further details, intellectual flows, it is quite likely that please go to www.bfe.org.uk/Journal.

SEM Newsletter  Buddhism, later looking also at links Judith Becker: 2010 with Sufism, and published in her SEM Honorary Mem- book Stories (1993). From the late 1980s through the ber 1990s and to the present, Judith has by R. Anderson Sutton devoted her research energies to the issue of music and and, Judith Omans Becker joined the more broadly, music and neurosci- faculty of the School of Music at the ence, resulting in her Deep Listen- University of Michigan as an Assistant ers book (2004) which won the Alan Professor in 1972, expanding the Merriam Prize, and her most recent offerings in ethnomusicology initiated study, a paper presented just weeks there by William P. Malm, directing ago at the 2010 SEM meeting in the Javanese gamelan ensemble, Los Angeles. She offered some of and building a graduate program her findings on music and cognition attracting students with diverse as the Seeger Lecturer at the 2003 interests. Over her nearly forty years SEM meeting in Miami. In addition on the faculty, she mentored a large to these prestigious indications of her coterie of graduate students, hosted scholarly accomplishments, Judith numerous visiting artists, served in Judith Becker has won various awards. Those from various administrative capacities, and the University of Michigan include consistently maintained an active and of Music in 1966 and began direct- a Citation of Merit Award (School of productive research agenda, result- ing the Michigan Javanese gamelan Music, 2003), Glen McGeogh Col- ing in three single-authored books, ensemble in 1968. The following year, legiate Professorship (Musicology, four co-edited volumes, and numer- she and Pete went to Java, where 2000), Faculty Recognition Award ous articles. She has consistently Judith conducted doctoral research (1995), John D’Arms Distinguished conducted pioneering research, often on gamelan music for her PhD in Graduate Mentoring Award (1995), challenging prevailing assumptions Far Eastern Studies, awarded in and Rackham Research Partnership and arguing convincingly for rethink- 1972. Her dissertation (expanded (1992), as well as numerous awards ing fundamental aspects not only of and published as Traditional Music for research and publication subven- music in Southeast Asia (her regional in Modern Java in 1980) is a truly tion. She has also won research and specialties being Indonesia and original study of changes in Javanese teaching grants from Fulbright, the Burma), but of music more gener- gamelan music and includes a fresh National Endowment for the Humani- ally—tackling issues relating to mode, perspective on the question of the ties, and the Social Science Re- oral tradition, musical cognition, mu- Javanese modal concept of pathet, search Council. sic and trance, among others. a topic that had figured prominently Beyond her research contribu- During her undergraduate years in scholarly discourse on Javanese tions, which alone would assure her at the University of Michigan, she music, including major work by Jaap a place as one of the preeminent majored in piano, graduating in 1954 Kunst (1934/1949/1973) and Mantle ethnomusicologists of the 20th century with a Bachelor’s of Music. In 1958, Hood (1954). (and 21st), Judith has given gener- she traveled to Burma where her From the mid-1970s through the ously of her time and her wisdom husband, Alton L. (“Pete”) Becker, 1980s, Judith pursued a number of in administrative capacities, for the was assigned a Fulbright teaching important research projects, resulting Society for Ethnomusicology, the position. While Pete studied Burmese in publications of lasting significance. Association for Asian Studies (AAS), language, Judith focused on music, She and Pete worked together on and the University of Michigan. Her learning to play the Burmese arched a rigorous application of linguistic service to SEM began in 1972 with harp ( ) and delving into analysis to positing a theory of musi- saung gauk the first of three terms on the Execu- Burmese musical theory. After return- cal structure in the Javanese genre tive Board and has included serv- ing from Burma, she began graduate srepegan, (published in the Journal ing as program chair for the SEM studies at the University of Michigan, of , 1979, and later national meeting (1975), as local earning a Master’s in Southeast debated in Asian Music, 1983). She chair (1987), and as Asian Studies in 1964. Her paper, also coordinated and co-edited the Council member for five terms. For “The Anatomy of a Mode,” based translation of numerous theoretical the AAS, she served on the Executive on her musical study in Burma, won works on Javanese music by Java- Board and the Southeast Asia Coun- the Charles Seeger prize in 1967 nese -scholars, resulting cil, and as Chair of the Southeast and was published two years later in a monumental 3-volume Karawi- Asian Translation Committee. At the in (one year after tan: Source Readings in Javanese Ethnomusicology University of Michigan, she chaired her insightful overview of percussive Gamelan and Vocal Music (1984, the Musicology Department of the patterns in the music of Southeast 1987, 1988). And at the same time School of Music, directed the Center Asia). She began teaching courses she began work on her controversial for Southeast Asian Studies, and was in ethnomusicology in the School theory of the relationship between Javanese performing arts and Tantric Continued on page 8  SEM Newsletter ship in ethnomusicology that focuses Summer Programs on transformations as music travels Smithsonian Folkways Certifica- throughout the world, and (2) to tion Workshop in World Music facilitate the development of teach- Pedagogy ing strategies for incorporating this focus into both music curricula and Jun 27-Jul 1 the curricula of related University of Washington disciplines. The use of new technolo- gies in music production, research, Featuring artist-, culture- and pedagogy will be addressed bearers, and experienced teach- throughout the institute. We welcome ers on developing ways of teach- applications from specialists in ethno- ing-learning culture through , musicology, music scholars outside stories, movement and dance experi- the field of ethnomusicology, and ences, and instrumental music. Fac- academics in related disciplines. The ulty roster includes Marisol Berrios- application deadline is March 1, 2011. Miranda, Shannon Dudley, Kedmon The daily sessions will be led Mapana, Peter Park, Christopher by three principal faculty from Wes- Questions about the institute may be Roberts, Leon Garcia, Amanda Soto, leyan—Mark Slobin, Su Zheng, and addressed to the institute manager, Patricia Shehan Campbell. For more Eric Charry (institute director)—and Stephen Stuempfle, Executive Direc- information, see (website) http://www. six visiting lecturers. Case studies tor, SEM, Indiana University, Morrison folkways.si.edu/tools_for_teaching/ include: traditional and contemporary Hall 005, 1165 E. 3rd St., Bloom- workshops.aspx. For registration in- and its Asian-Ameri- ington, IN, 47405-3700, Telephone: formation, contact (email) michikos@ can diaspora (Su Zheng); Eastern (812) 855-8779, (email) semexec@ u.washington.edu. European Jewish and indiana.edu. its circuitous routes through North Summer Institute in Ethnomusicol- America and the rest of the world Center for World Music Programs ogy and Global Culture (Mark Slobin); West African Mande Abroad 2011 string, percussion, and vocal music The Center for World Music is Jun 20 – Jul 1, 2011 riding the world music wave to Paris pleased to announce its Programs and New York, around the globe, Wesleyan University Abroad 2011: cultural tours and and back (Eric Charry); Indonesian hands-on workshops in Indonesia, transplanted to North Wesleyan University’s Music Africa, China, Turkey, and Peru. America and Europe and used in Department, in collaboration with the Indonesian Encounters 2011 novel ways (Sumarsam, Wesleyan, Society for Ethnomusicology, is offer- (June 13-July 4): a two-week “hands- and Maria Mendonça, Kenyon Col- ing a two-week National Endowment on” workshop in Bali, a Payangan lege); American hip hop transformed for the Humanities Summer Institute Festival of Music and Dance, and a in contemporary African contexts with the theme “Ethnomusicology one-week Performing Arts Tour of (Alex Perullo, Bryant College); the and Global Culture.” Aimed primarily Central Java. Cost $1,995 (airfare not Australian didjeridu taken up in new at college and university teachers, included). Directors/guides: Wayan contexts around the world (Peter with three slots reserved for graduate Tubek and Dr. Lewis Peterman. Hadley); routes of Haitian, Jamaican, students, the institute will take place African Encounters 2011 (July and African American at Wesleyan’s campus in Middletown, 28-August 19): a two-week work- and related expression (Melvin Butler, Connecticut, from June 20 to July 1, shop at a seaside resort on the Gulf University of Chicago); and race, gen- 2011. Stipend support will be pro- of Guinea and a five-day tour of the der, and transatlantic exchanges in vided for all of the 25 NEH Summer cultural highlights of Southern Ghana. blues, gospel, and of the Scholars selected. Cost $1,995 (airfare not included). US and UK (Maureen Mahon, New The aim of this institute is twofold: Directors and guides����������������: Alidu Alhassan York University). (1) to introduce college/university and John Gabriel. teachers to new and recent scholar- Full details are available at (web- site) http://semneh11.wesleyan.edu/. Continued on page 8

SEM Newsletter  Playing Across a Divide and and analyze it into modes of Prizes Remains of Ritual are very differ- behavior understood function- The following prizes were an- ent books and they thus highlight ally, structurally, cognitively, nounced at the SEM general mem- the broad reach of strong ethnomu- so that it can be replicated bership meeting on November 13, sicological scholarship. Brinner’s and put to use in books, CDs, 2010, in Los Angeles. Congratula- Playing Across a Divide challenges and videos, may make things tions to all winners! established modes of more recognizable, thus in our field, and Friedson’s Remains more satisfying, but it turns Alan Merriam Prize of Ritual is a classic ethnography what is there into a totality focused on a set of musical/ritual that overlooks that which is by Deborah Wong practices. One draws on a dazzling away. Claiming to understand The Alan Merriam Prize recog- array of interpretive methods and more than it does, this stable nizes the most distinguished English- the other deploys dazzling writing to ground gives way under the language monograph published in the draw the reader into a world of ritual sedimented weight of dancing field of ethnomusicology. It is award- music. Both are outstanding works of gods. A glance from the side, ed annually to a book published in the scholarship. a fleeting glimpse of that which previous two years; books published As one moves on the periphery, is in 2008 and 2009 were considered prize commit- much more in keeping with the for the 2010 prize. Twenty-nine books tee mem- phenomenon at hand, though it were nominated in 2010, addressing ber noted, will never be as comforting as traditional and popular from Friedson’s the cold discourse of certainty. the Caribbean, Asia, Africa, the Mid- Remains of This furtive vision, productive dle East, and the Americas. Twenty of Ritual is “one of understanding, is found in- these books were written by men and of the most between the being-there and nine by women, and eleven presses beautifully being-away of trance dancing. were represented. Many of the books written works To access such a world re- included CDs, DVDs, or multimedia in our field.” quires more than ethnography, websites. Friedson’s more than ethnomusicology; The committee (Deborah Wong careful atten- it calls for an ontomusicology [Chair], Jonathan Ritter, Eliot Bates, tion to his own position and subjec- that engages music as ritual and Jacqueline DjeDje) decided to tivity within the research project is and ritual as music. Such an recognize two authors this year as striking and strategic. He never strays ontology moves us out of an co-winners of the Alan Merriam Prize: far from the gritty and often bloody interiority that projects a vision Benjamin Brinner, for Playing Across details of Ewe ritual praxis and he of certainty and into a world a Divide: Israeli-Palestinian Musical writes from a place of matter-of-fact that calls the body to recognize Encounters (Oxford University Press, respect and deep, sustained engage- itself in the contours of musical 2009) and Steven M. Friedson, for ment. Drawn from fifteen years of experience. Remains of Ritual: Northern Gods in research on Ewe shrines in Ghana, a Southern Land (University of Chi- he focuses on a particular region Remains of Ritual is the second cago Press, 2009). dense with mediums, and through it book in a trilogy of books Friedson traces the history of how deities from plans on musical experience and the Muslim north of West Africa were African ritual: the first was Danc- brought south. On the face of it, this ing Prophets: Musical Experience book is about trance dancing and in Tumbuka Healing (1996), and he everything that makes it work, includ- is currently working on the third and ing music—lots of music—and the final book. We await it eagerly. complicated interpersonal politics of Brinner’s mediums and patrons. In significant book, Play- ways, this book is about the experi- ing Across ence of the sacred. The following a Divide: passage from the book illustrates Israeli-Pales- Friedson’s lucid and rhythmic critical tinian Musical writing. He writes (11-12): Encounters, A danced existence is, by addresses its very nature, always on musicking the move, a coming and a that reaches going, a continual leaving across and approach. Arresting this impossible movement in order to gain differences. Benjamin Brinner and Steven Friedson The complexi- (photo: Alan Burdette) control over it, to categorize Continued on page 7  SEM Newsletter Prizes the Israeli-Palestinian conflict, these musicians are starting continued from page 6 from the beginning and show- ties of the material demanded that ing by example the beauty and he deploy more than one approach, mutual benefit of placing trust and he handles this with a sure hand in one another—for music mak- and deep empathy. Playing Across ing relies on particular kinds of a Divide deals with borders of many trust, the knowledge that one kinds—physical, social, and more. can count on other members of The environment he describes is an ensemble to work together utterly defined by some of the most toward a common goal. Such contested borders in the world. Brin- trust is of the utmost impor- ner attends closely to the decidedly tance if the Israeli-Palestinian non-haphazard flows of musics and conflict is to be resolved. musicians, across and along these borders. His study is a trenchant cor- Playing Across a Divide and rective to scholarship that has some- Remains of Ritual are significant times invoked Appadurai and Slobin’s achievements. We congratulate Ste- “-scapes” too casually as a way to ven Friedson and Benjamin Brinner, Kay Kaufman Shelemay receives the Kunst sidestep a more precise analysis of co-winners of the 2010 Alan Merriam Prize from Frederick Moehn (photo: Alan exactly how musical practices cir- Prize. Burdette) culate (and how they don’t). Playing Across a Divide makes clear just how Robert M. Stevenson Prize musicology written by a member of important musicians’ movements can the Society for Ethnomusicology and be, stylistically and physically. by Tomie Hahn published within the previous year Brinner offers an ambitious new The Robert M. Stevenson Prize (whether in the journal Ethnomusi- methodology, including a strikingly honors ethnomusicologists who are cology or elsewhere). The Society original integration of Will Straw’s also by encouraging will make every effort to draw upon theory of scene, Becker’s art worlds, research on their work, as well as the language expertise of the mem- and Granovetter’s social network composers who work with ethnomu- bership to evaluate submissions in analysis. One of Brinner’s key contri- sicological research materials in their languages other than English. Serv- butions is his consideration of large- creative work. This year, the prize ing on this committee was a pleasure systems approaches while remaining was adjudicated by Christopher Adler, for two reasons: First, because my attentive to the specifics of individual Jody Diamond, and Munir Beken. summer reading included a number musicians’ lives, so the individual is The committee is pleased to award of rich and inspiring articles, and sec- continually kept within view as Brin- Andrew Clay McGraw for his article, ond because I got to work with great ner guides us through a systematic “Radical Tradition: Balinese Musik colleagues; allow me to acknowledge analysis of an ever-shifting social Kontemporer” published in the Winter the work of Sarah Morelli, Katherine structure. Brinner provides sustained 2009 issue of Ethnomusicology. Schofield, and Gabriel Solis on the attention to a large body of ethno- McGraw presents a nuanced ethno- committee. musicological scholarship and to graphic portrait of a subcultural scene We received a number of excel- musicians’ micro-decisions, showing in modern Bali whose practitioners lent nominations, among which five how a turn of phrase or the introduc- participate in transnational creative or six were truly outstanding. One of tion of a motive offers a window on a and ethnomusicological flows. He them, however, clearly met the crite- vision of a society that could be—and moves beyond grand narratives of rion of the Jaap Kunst Prize, which sometimes is—shaped by connection cultures in contact to reveal how new recognizes the most significant article rather than zero-sum conflict. As Brin- compositions arise from the complex published by a member of the Society ner writes (326), interactions of individual experience for Ethnomusicology in the previous These musicians are not, in and local institutional authority. In year, and that was “The Power of themselves, the solution to addition, he has introduced a useful Silent Voices: Women in the Syrian the fundamentally intractable theoretical framework for consider- Jewish Musical Tradition,” by Kay Israeli-Palestinian problem, ing intercultural misunderstanding Kaufman Shelemay, and published but if a solution is to be found, and miscommunication which is often in Music and the Play of Power in the to be implemented and to absent from studies of cross-cultural Middle East, North Africa and Central last, it will only hold if there is music. Asia, edited by Laudan Nooshin. a modicum of mutual respect Focusing on the Syrian Jewish and an envisioning of ways to Kunst Prize paraliturgical hymn tradition pizmon- live together. […] Rather than im, and engaging James Scott’s idea confronting directly the pain, By Frederick Moehn of “public” and “hidden” transcripts, inequities, claims, and counter- The Jaap Kunst Prize recognizes Shelemay aims to expose “the inti- claims that scar both sides in the most significant article in ethno- Continued on page 12 SEM Newsletter  Obituary: Theodore Summer Programs Judith Becker C. Grame continued from page 5 continued from page 4 Beijing and Beyond 2011 (July founding director of the Center for by Constantine Grame 13-August 4): focus on guqin perfor- World Performance Studies. mance. Visits to Taoist sanctuaries The pioneer ethnomusicologist Retired since 2008, Judith shows and historical sites, and perfor- Theodore Grame passed away on no signs of withdrawing from her mances of traditional music. Cost February 21, 2010. Mr. Grame was engagement with our field and our $3,695 (airfare included). Directors born in the Bronx on January 28, society. Looking back, we marvel at and guides: Wang Peng and Jia Wu 1930. A prodigy at the piano as a her exceptional ability to guide and Xuan. Coordinators: Juan-Juan Meng child, he attended DeWitt Clinton mentor, all the while diligently re- and Dr. Alexander Khalil. High School and the Manhattan searching and publishing books and Istanbul and Beyond (January School of Music, graduating with de- articles that, without exception, are 2-12, 2011): visits to museums and grees in piano and choral . fresh and original in topic and ap- palaces, fasil music, mehter band Soon after graduation he received a proach, and written with the combina- music, whirling dervishes, an Otto- choral conducting fellowship to the tion of wisdom, clarity, and polish that man banquet, shopping in the Grand Tanglewood in Boston make them a joy to explore the first Bazaar. Cost $2,695 (airfare includ- where he had the opportunity to work time and to go back through again ed). Tour guides: Kamil Güller and Dr. with Charles Munch and Leonard and again as we cite her work and Lewis Peterman. Bernstein and to study with renowned seek inspiration for our own. It is not Andes and Beyond 2011 (June choral conductor Hugh Ross. After an exaggeration to conclude this too- 3-June 19): a two-week workshop in studying musicology with Gustav brief biography by saying that Judith Cusco, with guest artist demonstra- Reese, he taught ethnomusicology Becker has been the consummate tions and visits to major Incan ruin at Yale University, Wesleyan Univer- ethnomusicologist—teacher, advi- sites, including Machu Picchu. A third sity, the University of Pittsburgh, the sor, research scholar, performer, and week includes the dance festival University of Rhode Island, and many administrator—doing it all, and with of Pentecost in the Incan village of other institutions of higher learning. polish and humility. She is richly de- Ollantaytambo. Tiered cost. Director He was a member of the Council of serving of the special honor bestowed and guide: Dr. Holly Wissler. SEM from 1961-1969, and Secretary upon her at the 2010 SEM meeting For additional information and for the Society from 1964-1969. His in Los Angeles. Congratulations Ibu on-line application forms, please visit contributions were numerous—over Judith yang kami hormati dan yang the Center’s website at http://cen- forty articles in such publications as kami cintai (‘whom we honor and terforworldmusic.org/tours/tours. Ethnomusicology, the Encyclopedia whom we love’), on being awarded html or contact Lewis Peterman at Britanica, the Grove Dictionary of the 2010 honorary Life Membership (email) [email protected] or Music and Musicians, Dictionary of in the Society for Ethnomusicology. at (phone) 619-440-7046. Contemporary Music, Encyclopedia International, Funk and Wagnall’s Standard Reference Encyclope- as Minister of Music at the Church on dia, The Musical Quarterly, Music the Bayou (Presbyterian) in Tarpon Educator’s Journal, and Journal of Springs. In 1988 he founded the the American Guild of Organists. His Tarpon Operetta Company, an edu- book credits are Ethnic Broadcast- cational programme for children and ing in the United States (1980) and teens which allowed participants the America’s Ethnic Music (1976). He opportunity to experience opera and conducted field-work in Iceland, Ire- operetta from a performer’s perspec- land, Scotland, Norway, Tunisia, Mo- tive and instilled a life-long love for rocco, Puerto Rico, and in the urban and devotion to the performing arts in United States, including New York, many members. Over the years, Mr. Providence, Pittsburgh, and Tarpon Grame adapted for young perform- Springs, where he was responsible ers such masterworks as The Magic for initiating a renewed appreciation Flute, Hansel and Gretel, The Mi- and perpetuation of the community’s kado, and other classics. The Tarpon Greek cultural , which con- Operetta ultimately evolved into the tinue to thrive today. He created notes New Century Opera, an opera com- and theoretical design for exhibitions pany of adults which still performs in at the American Museum of Natural Tarpon Springs directed by his son History; the Brooklyn Public Library; Theodore C. Grame Constantine. He is survived by his Peabody Museum, Yale University; wife Kathleen Monahan, his sons Ter- Davison Art Center, Wesleyan Uni- the late 1970s and entered semi- rence and Constantine, his grandson versity. He moved to Tarpon Springs retirement, home-schooling his son Leif, his daughter-in-law Monica, and with his wife, Kathleen Monahan, in Constantine. In the 1980s he served his cousin Pierce McLennan.

 SEM Newsletter the Historical Recording Coalition for archival standards is both pos- Weapons of Mass In- Access and Preservation (HRCAP) to sible and necessary because struction request that the US Congress inject analog preservation methods some sanity into the copyright situa- are no longer viable. But provi- “A (Copy)Right to Sing the Blues” tion regarding historical recordings. sions of the copyright law in- By Gage Averill, SEM President Let’s set the stage. Writing for the tended to curb file sharing and SEM Board, Suzanne Flandreau of piracy threaten pre-emptive Like many ethnomusicologists, the Center for Black Music Research preservation copying of at-risk I’ve spent lots of time trying to sort has drafted the following background sound recordings before they through the confusing layers of com- statement, which appears on the have deteriorated. Providing mon law, case law, and statutory laws SEM website and is called the “SEM access to sound recordings, that establish and regulate copyright position statement on copyright and except on-site in a repository, as it bears on sound recordings and sound recordings.” is also legally questionable. compositions. You may commiserate Ethnomusicologists have Archivists, researchers and with this if you’ve thought of includ- educators are unsure about the ing contemporary or historical sound utilized recordings for study, re- search, and teaching since the legality of making digital pres- recordings in books you’ve published, ervation copies and of sharing or if you’ve tried to determine how invention of the earliest record- ing technologies. They make digital copies even for research much you might owe to copyright and educational uses. holders for the permission to reprint their own recordings as part of , or if you’ve wondered about the their and consult The current inadequacies of legality of playing commercially re- recordings in archives made federal copyright law make this corded music at a conference paper by previous generations of eth- situation even worse. Record- or even in your classroom! Confusion nographic researchers. They ings made before 1972 are not reigns even among publishers—one also make use of commercially covered by federal law: they press might be willing to publish your issued recordings of popular are in copyright limbo—cov- recordings of historic Papua New and ethnic music, including ered only by applicable state Guinea string bands without rights those in now-obsolete formats. laws (usually anti-piracy laws) clearances (if the rights holders are Because of the restrictions and and common law, which grants impossible to track down)—another inadequacies of current US copyright in perpetuity. Cur- won’t touch it. One library will stream copyright law, access to these rently there is no public do- their recordings en masse to stu- recordings is often difficult and main for these recordings: the dents—others will require in situ lis- sometimes impossible. earliest date that any pre-1972 tening in a library audiovisual centre. The difficulty is especially recordings will enter the public Crazy, isn’t it? acute with commercial record- domain is 2067, no matter And it gets only more complicated ings because so many of them when they were made. as you move away from the North are no longer available through The difficulties in digitally American entertainment industry. common vendors: ethnomusi- preserving legacy recordings Around the world, indigenous people cologists must either seek out and making them available in are asserting their right to control and use older recordings on- digital form to legitimate users cultural inheritance and there is an site in libraries and archives, for research and teaching are ever-growing patchwork of transna- collect older recordings from obvious under the current law. tional agreements on intellectual and specialty vendors in high- Therefore, the Society for cultural property along with overlap- priced collectors’ markets (and Ethnomusicology joins the As- ping and contradictory laws of various maintain playback equipment sociation for Recorded Sound . In other words, if you have themselves), or rely on com- Collections, the Music Library to deal with cultural ownership on a mercial reissues of the record- Association, the Society for global scale, as most ethnomusicolo- ings they need. But according American Music, the Ameri- gists do, welcome to a world of hurt! to a study by Tim Brooks can Library Association, the So in a series of columns to start out commissioned by the National Popular Culture Association, this year’s President’s Column, I’ll Recording Preservation Board, the Association of Moving Im- discuss copyright and cultural/intel- only 14% of “legacy” com- age Archivists, the International lectual property rights as they affect mercial recordings have been Association of Record ethnomusicologists, with an eye to reissued. (See: Survey of Reis- Collectors, and the Society of what we might be able to do to influ- sues of US Recordings. Wash- American Archivists in support- ence the situation. ington, DC: Council on Library ing the initiatives of the His- In this issue of the Newsletter, I’d and Information Resources, torical Recording Coalition for like to share why the SEM Board has August 2005.) Access and Preservation that teamed up with the Association for Preservation of fragile early request Congress to address Recorded Sound Collections (ARSC) recordings is also a concern. the copyright situation of sound and other groups in a coalition called Digital copying according to Continued on page 10 SEM Newsletter  Weapons of Mass In- historical sound recordings for future tion and public access, and the effect generations, and (3) to assert the upon the economic interests of rights struction right of archives and libraries to make holders.’” continued from page 9 digital copies available for teaching If you feel that your research or recordings with a view to and for research. Seems so reason- teaching has been adversely affected erasing their unique copyright able and obvious—how could anyone because you have not been able to status and applying federal argue for continuing to cover pre- acquire copies of pre-1972 record- copyright law retroactively to 1972 recordings under a Byzantine ings, or if you agree that preservation recordings made before 1972. set of state laws and common law? of heritage recordings using digital But in the realm of copyright, logic best practices is actually jeopardized The Society also recommends is often kept at bay, with the enter- by the current legal situation, please that the copyright law be tainment industry undermining even send in your written testimony. The amended to make it clear that bland and centrist reforms. Library of Congress does listen to it is permissible for libraries So what can we do? As we ethnomusicologists: the earlier testi- and archives to make digital noted above, SEM has entered into mony of an ethnomusicology gradu- preservation copies of rare a broad-based coalition (HRCAP) ate student at sponsored by and endangered recordings bringing together archivists, scholars, the National Recording Preservation before they have deteriorated, librarians, and collectors to advance Board is quoted in the Board’s most and that it is permissible for this agenda. But you can help individ- recent summary report … we urge all repositories to provide remote ually as well, at least if you’re reading of our members who are concerned access to digital copies of this before is January 31, 2011. As I to have a clearer picture of pre-1972 sound recordings for research wrote to the listserv last month, “HR- recording rights to write individually. and teaching. CAP has already had some success More information and instructions with Congress, which has recently for entering testimony can be found So the goals of the coalition are requested information from the Copy- at (website) http://www.copyright.gov/ simple: (1) to make sure that pre- right Office about the effects of ex- docs/sound/. The deadline for public 1972 recordings (remember, we’re tending federal law to cover pre-1972 comments is January 31, 2011.” not talking about the copyright on recordings. Congress authorized the compositions, but are dealing instead Copyright Office to launch a public In the end, this is only a small with the tangible recordings of them) inquiry soliciting ‘written comments skirmish in the fight for humane, are covered under federal copyright from all interested parties regarding egalitarian, and effective approaches laws and that they have a reason- federal coverage of pre-1972 sound to the problem of how to safeguard able date by which they will enter recordings. Specifically, the Office reasonable rights for cultural creators public domain, (2) to secure the right seeks comments on the likely effect while recognizing the needs of the to digitally copy and preserve fragile of federal protection upon preserva- public and the academy to dissemi- nate, educate, research, parody, and engage creatively with the works (works that, while produced as a part of a commercial industry, also have a public use value that transcends their commercial or exchange value). It will also be important to determine where and when more broadly social and cultural claims to music can be legally protected. Ethnomusicologists, who are in regular contact with musicians and their communities worldwide shouldn’t remain on the sidelines when it comes to matters of cultural ownership and intellectual property. Whether in North America or around the world, more voices need to be at the table where these issues are being debated and resolved. With all of the ferment in the U.S. and globally around these issues, this is a great Kedmon Mapana and others dance at the Shona Dance Workshop led by Julia Chigamba time to stop singing the blues about with the ensemble Masanga Marimba at the SEM 2010 Annual Meeting, Wilshire Grand copyright and get involved in the fight. Hotel, Los Angeles (photo: Alan Burdette)

10 SEM Newsletter offering but also to Mexican Ethnomusicol- mariachi, Tex-Mex con- ogy Goes to Middle junto, Malay folk and story, Afro-Cuban tresillo and School “Toques de Tuiros,” and a By Patricia Shehan Campbell Maori waiata, as taught/facili- tated by Mary Alfaro, Aman- “Listen to the falls, and sighs, and da Soto, Jackie Chooi-Theng trills of the cantor’s singing.” This Lew, Sarah Bartolome, and was Ethan Chessin’s opening ques- Ann Clements, respectively. tion to a group of 26 twelve- and In half-hour sessions, the thirteen-year-old students enrolled in young instrumentalists were the North Park Middle School band in all ears, and were showing Pico Rivera, CA, on the Wednesday their respectable skills as morning preceding the SEM meet- singers and players—both ing in Los Angeles. He prompted by ear and via notation. By their attentive listening to recordings, middle school standards, and within thirty minutes, the young they were an impressive lot players of clarinet, flute, sax, trumpet, of young musicians, and trombone, and tuba were playing an reflected the careful training of “Ashrei Ha’am,” a by their music teacher, Ron Ethan Chessin, musician and teacher and the popular in the klezmer band he children of the North Park Middle School (photo: Sarah Wakefield, a frequent col- directs at the University of Washing- Bartolome) laborator with Frank Heuser ton. They sight-read, then listened, of the UCLA faculty of music (and then played numerous times, as he host to the 2010 meeting’s education Newsletter Updates encouraged them to “make it sound activities). By Henry Spiller, SEM Newsletter more Jewish.” By 9 AM, the young The excursions of Education Sec- adolescents had gotten the melody, Editor tion members to schools was begun the ‘ooms’ and ‘pahs’, and the me- as an annual event in 1994 at the Last year, the SEM Board of lodic slides, and the SEM members Milwaukee meeting, but was never Directors directed that the SEM in attendance at the session were up before linked to a single school site Newsletter be distributed electroni- dancing the . At the lunch break, so that one student group (the middle cally while maintaining a format that one of the boys remarked that he school band) could be offered a can be easily printed. The current “had fun playing music far from the diversity of music-culture experiences issue reflects some changes to the Stamitz Concerto” they were learning over an intensive four-hour block of Newsletter’s format to make navigat- in their band class, and that he was time. In this configuration, educators ing easier: “really curious about the music of the could travel together to observe one Jewish people” and would be “looking another’s sessions at the school, • The front page is an extended up more klezmer” on the internet. and to participate in the music-mak- table of contents, and most In the spirit of bringing to life ing with the young students. Former everything on it is a hyperlink aspects of the SEM Strategic Plan, work by educators in a scattering of upon which readers can click to “Ethnomusicology goes to Middle schools were arranged on Fridays, be taken directly to the article in School” was organized as a pre- thus removing educators from the question. conference event intent on realizing SEM meeting itself, while this year’s • Readers can click on the “contin- several goals: (1) creating greater arrangement as a pre-conference ued on page n” links in multipage awareness and understanding in the event allowed an extra day’s engage- articles to nagivate directly to the public sphere of ethnomusicological ment in “world music pedagogy” appropriate page. perspectives, (2) increasing ethno- and full participation in the meeting • Additional hyperlinks (in blue text) musicology’s contribution to civic life, proper. Because the aims of the SEM will take readers to URLs or email and (3) strengthening K-12 educa- Strategic Plan are well-tuned to public addresses mentioned in the text. tion in ethnomusicology. The event sector and community service, this brought together efforts of the SEM pre-conference school event favor- This issue also reflects a new board, the Education Section, and ably reflected three of the four major advertising policy adopted by the UCLA as host institution, to engage aims. “Ethnomusicology Goes to Board of Directors at their November youth in knowing musical cultures Middle School” will likely be continued meeting in Los Angeles: beginning beyond those they learn at home, as a featured public service event in with this issue (45-1), the Newsletter in their school studies, and through future meetings, even as other public will no longer accept advertising. mediated influences. Students of sector and education-based activity We hope these changes will the North Park Middle School band by SEM members will increase the enhance the members’ experience played, sang, listened, and/or danced relevance of the Society to the com- reading the Newsletter. to not only Ethan Chessin’s klezmer munities that surround us.

SEM Newsletter 11 Prizes It uses a variety of methodologies Beginning this year, all submis- but is still basically concerned with sions for the Seeger Prize must be continued from page 8 issues at the core of the discipline-- made in electronic format. For the mate knowledge that women acquire what is musicality? How do people guidelines, visit the SEM website of musical traditions in which they do engage with various tools to be (www.ethnomusicology.org) and not obviously participate” (270). musical alone and together? How do select Prizes/Seeger Prize and follow “What recourse do scholars have musical practices (broadly construed) the instructions. Submissions must be when there’s apparently no musical mediate important cultural values received by November 17, 2010. performance by women, public or within a society and produce encul- private,” Shelemay asks? tured social networks? Nahumck Prize With careful and detailed analysis We would therefore like to award of musical sound and texts, Dr. Miller’s article an Honorable By Carol Babiracki and drawing on years of in-depth field Mention. I am happy to learn that Dr. The Nicholas and Nadia Nahumck research, she concludes that Syr- Miller won the Richard Waterman prize committee, consisting of Carol ian women in this tradition “perceive Junior Scholar Prize for this article Babiracki (chair), Sydney Hutchinson, themselves to be privy to knowledge and we look forward to reading more and Michelle Kisliuk, have selected and bearing responsibility for prac- on this research in the future. Mustafa Avci (New York University) tices that cannot survive without as this year’s winner of the Nahumck them”; and that they have “fashioned Charles Seeger Prize Prize for his research proposal a powerful role for themselves within ““Köçeks: Male Belly Dancers in Tur- a space that is ideologically sanc- by Tomie Hahn key.” The committee found his project tioned and consistent with community The Charles Seeger Prize recog- fascinating and innovative. We expect notions of modesty” (288). nizes the most distinguished student it to make a significant contribution Among the comments my col- paper presented at the SEM Annual to an under-studied area, the rela- leagues on the committee wrote re- Meeting the previous year. This year tionship between movement and the garding this article are the following: forty papers were submitted. There transmission of music, a consider- “A penetrating and thoughtful dis- were many excellent papers and I ation often lacking in the theorization cussion of how to excavate significant am happy to say that the wide range of pedagogy. women’s presences in segregated of theoretical topics and area studies male traditions that appear to exclude bodes well for the future of our field. Ida Halperin Fellowship them.” “... substantial depth and ap- One paper moved the committee. plicability across the discipline.” “... Using archival footage, fieldwork, By Klisala Harrison a depth of ethnographic research and interviews this paper reveals The purpose of the Ida Halpern behind it and a level of rigor that is how a percussion tradition historically Fellowship and Award is to help clearly the kind of standard I think we associated with peasant farmers is support research on Native Ameri- would like to hold up in defining our employed for protest and used “as can music of the United States and discipline.” “... opens up some useful a sonic marker of dissent” in South Canada and to recognize the publica- theory and language for thinking and Korea. This year’s Charles Seeger tion of said research. writing about women’s participation in Prize is awarded to Katherine Lee for The recipient of the 2010 Ida the arts in many places.” “... a fluently her presentation “P’ungmul, Politics, Halpern Fellowship & Award is Chris- written piece of great depth ethno- and Protest: Drumming During South topher Scales. This year’s recipi- graphically.” Korea’s Democratization Movement.” ent, selected from five applications There’s more. We were also very and by the prize’s committee, which excited about Kiri Miller’s article, consisted of Charlotte Frisbie, Elyse “Schizophonic Performance: Guitar Carter Vosen, and Klisala Harrison as Hero, Rock Band, and Virtual Virtuos- chair, has proposed a continuation of ity,” published in the Journal of the his research on Native American and Society for American Music Canadian popular music—research One committee member noted that is wide-ranging in scope and that the article is “timely in a way that sophisticated in conceptualization. our discipline has often striven to be, The awardee’s objective to investi- yet … digs into some of the central gate contemporary Aboriginal music questions in ethnomusicology in gen- in North America, focuses on practical eral in a way that is cogent and points musical realities in the 21st century, in directions I find interesting.” and skilfully negotiates intellectual It is “an exemplary, detailed challenges of ethnicity, and ethnography of a new world that “tradition” in an effort to consider raises important new questions about broader issues of indigeneity, aes- “authenticity” in performance and the thetics and modernity in the global relationship of amateurs and fans to Tomie Hahn present the Seeger Prize tp economy. their idols and rock culture generally.” Katherine Lee (photo: Alan Burdette) Continued on page 13 12 SEM Newsletter Prizes the sounds all spatially organized be- The Female Accordionist in Domini- tween the left and right channels, and can Meringue Tipico.” World of Music. continued from page 12 supplements this with odds and ends 50(3):37-56, 2008. In 2006, Klisala Harrison was of timbral color. In effect, Suzano Lise Waxer Student Paper Prize awarded the Ida Halpern Fellowship defies his “correctors” and transforms (Popular Music Section): Andrew for her proposal, “Northwest Coast the pandeiro into an entire rhythm Mall. “Lost in the Sound of Separa- First Nations Song and the Cana- section, and more: into a soundscape tion: Mainstreams and Undergrounds dian West Coast Powwow Style in in and of itself. at a Christian Rock Festival. Vancouver, British Columbia’s Inner With Suzano, the pandeiro’s City.” There is a prize component for expressive power and sonic char- Chapter Prizes the award as well: if the fellowship acter are always already shaped James T. Koetting Prize (NEC- recipient publishes a work as a result by a creative technological process SEM): Garrett Field. “From Threat- of the fellowship research, a prize is of working and reworking recorded ened by Modernity to Reinvented by awarded. Klisala has published her sounds on a digital audio workstation. Modernity: The History of the History research in an article entitled “Sing- Tambourine and workstation—nature of Indian (1980- ing My Spirit”: Aboriginal Music for and culture—become inextricably en- 2006).” Well-being in a Canadian Inner City. tangled and reworked, human agency Hewitt Pantaleoni Award (MAC- In MUSICultures vol. 36 (2009), pp. is foregrounded, and a revolutionary SEM): Maria Guarino. “’So They 1-21. instrument practice emerges that Aren’t Always This Angelic?’ An negotiates between emotions and Ethnographic Study on Being and programmed responses, humans and Klaus Wachsmann Prize Becoming an All Saints Choirboy.” machines, free will and corporate JaFran Jones Award (MidSEM): By Paul D. Greene control. In the words of bassist Mario Tanya Lee. “Playing Together in the The purpose of the Klaus P. Maura, “Before Suzano, percussion City that Works: Chicago and the Wachsmann Prize is to recognize a was something else.” Suzano’s inno- Legacy of the Folk Revival.” publication that advances the field of vation is at the same time an inter- Ki Student Prize through presentation of vention in discourses of musical and (SCCSEM): Catherine Appert. “On new data and through use of innova- political control. Further, with Suzano, Hybridity in African Popular Music”; tive methods in the study of musical an innovation in organology asserts Honorable Mention: Joshua Brown. instruments. We received many truly a new masculinity capable of engag- “Real Encounters with Imagined wonderful submissions, so the work ing productively with a complex and Communities at the Ash Grove.” of the 2010 Committee, comprised evolving political context. Suzano in Thelma Adamson Prize (SEM- of Theodore Burgh, Nancy Groce, effect invokes Ogum, a Yoruba deity NW): Kimberly Cannady. “The Great Henry Johnson, and Paul Greene, who, in his Afro-Brazilian manifes- Nordic Night: Imagining Authenticity was challenging. tation, is god of fire, iron, war, and at Womex 2009.” Our winning publication focuses technology. Joann W. Kealiinohomoku on a tambourine, the pandeiro, and Now that the 2010 SEM confer- Award for Excellence (SEMSW): how this seemingly simple instru- ence is concluded, go to your book- Ben Dumbauld. “Music and Collec- ment, in the hands of Marcos Suza- case, or wherever it is that you store tive Identity within the U.S. Chinese no, is transformed into an entire drum your issues of Ethnomusicology, Christian Church.” kit. Situate yourself in 1980s Brazil. and pick up issue 53(2). Starting on T. Temple Tuttle Prize (Niagara Traditional Afro-Brazilian percus- page 277 you’ll find an article titled Chapter): Rachel Muehrer. “Ennan- sion is being reduced, in “A Carioca Blade Runner, or How gaenyumya” Playing Techniques of recordings, to a mere “perfume”: Percussionist Marcos Suzano Turned the ennanga of Buganda, Uganda.” insubstantial and formulaic. Witness the Brazilian Tambourine into a Drum Dale Olsen Prize (SEMSEC): music producers of the major record Kit, and Other Matters of (Politically) Robin Harris. “Revitalization and labels, pushing this rhythmic perfume, Correct Music Making,” by the 2010 Sustainability: New horizons for the relying heavily on imported pop mod- Wachsmann Prize winner, Frederick Siberian epos of olonkho.” els, and “correcting” musicians that Moehn. Vida Chenoweth Student Paper deviate from them through language Prize (SEM-SP): Christina Hough. such as “No, it’s too busy, it’s too full. Section Prizes “Obscured Hybridity: The Kurdish- Is there a way of playing the rhythm Richard Waterman Junior ness of Turkish Folk Song.” with fewer notes?” Now enter Suzano Scholar Prize (PMSSEM): Kiri Miller. The Marnie Dilling Prize (NCC- who, in sexually-charged language, “Schizophonic Performance: Guitar SEM): Tony Dumas. “(Re)Locating defies establishment practice. Loos- Hero, Rock Band, and Virtual Virtuos- Flamenco: A Northern California Case ening the thick skin of his pandeiro, ity.” Journal of the Society for Ameri- Study.” he records a deep, powerful sound, can Music. 3(4):395-429, 2009. Lise A. Waxer Prize (NECSEM): resulting in the “corrective” question, Marcia Herndon Prize (Gender Micah Hendler. “I am a Seed of “Man, what is that? There is already a and Sexualities Section): Sydney Peace: Music and Israeli-Arab Peace- drummer.” Suzano records and layers Hutchinson. “Becoming the Tiguera: making.” five different tambourine tracks, with

SEM Newsletter 13 Call for Contributions ICTM Study Group “Anthropology of Music in Mediterranean Cul- tures” Website By Marcello Sorce Keller

The new website of the ICTM From A., our anonymous belletrist, we get yet another birthday poem, an acrostic in terza Study Group “Anthropology of Music rima, perfect for nC2’s third birthday! Hip-hip! Hip-hip! Hip-hip! in Mediterranean Cultures” (http:// From A.: “It has always been very reasonable to presume that the people among whom we do www.ictmusic.org/group/anthropolo- fieldwork a) are living their lives normally before we arrive, and b) will continue to do so after we gy-music-mediterranean-cultures) will leave. One day I could no longer make such leaps of faith.” be ready and visible before the end of —Jesse Samba Wheeler the 2010. It is meant as the continua- tion, in spirit, of Tullia Magrini’s elec- tronic journal “Music & Anthropology” which remains visible as a document << no more to ask. >> in the history of the Study Group. “Music and Anthropology” has been in existence for fifteen years, and “HOW CAME THIS SQUARE TO BE THIS BARE AGAIN?” now a website is needed that is better “All those once here ‘in situ’ now are gone—” tailored to the present needs of the Study Group. One significant novelty “PART’D BE OUR SKEIN, SHALL EVER MEET THE TWAIN. is its name, Mediterranean Music Studies (MMS), which is meant to PACK UP THE TOWN, THE ‘DRIFTERS’ HAVE WITHDRAWN. indicate that, although the anthropo- logical approach is surely prevalent in YON EFFIGY, TAKE DOWN—WRAP UP THAT MASK— the Study Group, other approaches BE FLEET, YE WAYWORN! ANCHORS WEIGH AT DAWN!” to Mediterranean music are also welcome, from history, psychology, geography, pedagogy, etc.—no one is “Insouled before, here ghosts take up the task. excluded. MMS is not a periodical but, Reverberating isle, ere’t quiesced— rather, a location permanently open There was for them, alas, no more to ask. to publish suitable scholarly contribu- tions as they become available with a rapidity that periodicals do not allow. Hands clasped, they shrugged their shoulders, then regressed, Research articles will be located Decaying descants in their sated wake.” in a peer-reviewed section, based on initial editor screening and refereeing “ATOP WHITECAPS WE’LL COURSE OUR QUONDAM GUESTS— by at least two anonymous referees. The Editorial Board of MMS is made up of Philip Bohlman, Martin Stokes, YEA, WE’LL PRECEDE! IN NEW CLIMES HOMES WE’LL MAKE, Ruth Davis, Franco Fabbri, and Mar- NOT JUST TO LIVE, AND DIE—BUT ALSO TELL— cello Sorce Keller as General Editor. ONFIDE WHAT WE KNOW, THIS SAGACIOUS ACHE— Mediterranean Music Studies is C very eager to consider research ar- ticles that rely on multimedia comple- 2 US THEM JOIN, AND THEN—AGAIN—FAREWELL!” ments. We wish to receive research articles in Mediterranean ethnomu- sicology, , and popular music that take advantage of multi- media (sound and video), as well as of the possibility to incorporate links to external websites. Photographs are, of course, no problem at all. Please, send contributions to Mar- cello Sorce Keller at (email) mskel- [email protected].

14 SEM Newsletter more information, see (website) information, see (website) http:// Conferences Calendar http://folksa.wordpress.com/ performa.web.ua.pt/ 2011 Mar 28 - 31 May 20 - 22 International Conference: and the Moving Image VI, Jan 13-15 Musics of Israel: Identities, Ideolo- NYU Steinhardt, NY. For more Red Strains: Music and Commu- gies, Influences, University of Lon- information, see (website) http:// nism outside the Communist Bloc don, Senate House, Malet Street, steinhardt.nyu.edu/music/scoring/ after 1945, British Academy, Lon- London WC1. For more informa- conference/ don, UK. For more information, tion, see (website) http://www. see (website) http://redstrains. music.sas.ac.uk/ Jun 27-Jul 1 blogspot.com/ Smithsonian Folkways Certifica- Mar 29 - Apr 2 tion Workshop in World Music Jan 21-22 Society for Pedagogy, University of Wash- Third Biennial Symposium on 71st Annual Meeting, Seattle, WA. ington School of Music, Seattle, Latin American Music, Tucson, For more information, see (web- WA. For registration informa- AZ. For more information, see site) http://www.sfaa.net/sfaa2011. tion, contact (email) michikos@ (website) http://www.u.arizona. html u.washington.edu edu/~sturman/CLAM/CLAMhome. html Apr 1 - 2 Jun 6-10 Music, Gender, and , Crossroads: Greece as an Inter- Feb 3-5 Cornell University, Ithaca, NY. For Cultural Pole of Musical Thought : Sun- more information, see (website) and Creativity, Aristotle University coast Research http://www.musicgenderglobaliza- of Thessaloniki, Greece. For more Symposium (SMERS) VIII, Center tion.org/ information, see (website) http:// for Music Education Research info.mus.auth.gr (CMER), University of South Flori- da, Tampa, FL. For more informa- Apr 2 Jul 13-19 tion, contact (email) davidw@usf. Annual Meeting of the Northeast ICTM 41st World Congress, St. edu Chapter for the Society for Ethno- John’s, Newfoundland, Canada. musicology (NECSEM), Boston For more information, see (web- Feb 25-27 University. For more information, site) http://www.mun.ca/ictm2011/ CTM Ireland Annual Conference, see (website) http://www.necsem. Magee College, University of Ul- org Sep 8 - 10 ster, Derry/Londonderry, UK. For Second Biennial Euro-Mediter- more information, see (website) Apr 7-10 ranean Music Conference, Univer- http://www.ictm.ie/ British Forum for Ethnomusicol- sity of Cyprus, Nicosia. For more ogy Annual Conference, University information, contact (email) smith. Feb 25-27 College Falmouth, Tremough [email protected] and Germany after Campus, Cornwall, UK. For more the Holocaust, Dickinson College, information, see (website) http:// Sep 15 -17 Carlisle, PA. For more information, www.bfe.org.uk/annualconference. The Soundtrack of Conflict: The contact (email) DickinsonCollo- html Role of Music in Radio Broadcast- [email protected] ing in Wartime and in Conflict Apr 11-12 Situations, University of Göttingen, Mar 9-13 Negotiating ‘the West’ Germany. For more information, Annual Conference, International Music(ologic)ally, Utrecht Universi- see (website) http://www.uni-goet- Association for the Study of Popu- ty, Utrecht, Netherlands. For more tingen.de/en/195842.html lar Music, U.S. Chapter (IASPM- information, see (website) http:// US), Cincinatti, OH. For more www.uu.nl/EN/faculties/Humani- Sep 22-25 information, see (website) www. ties/congres/negotiatingthewest/ Feminist Theory and Music 11 iaspm-us.net Pages/default.aspx (Eleven): Looking Backward and Forward (20th Anniversary), Mar 17-19 May 18 - 22 School of Music, Herberger Forum on Music and Christian 40th Annual Meeting of American Institute for Design and the Arts, Scholarship Annual Meeting, Society, The Arizona State University, Tempe, Wheaton College, Wheaton, IL. Musical Instrument Museum, AZ. For more information, contact For more information, see (web- Phoenix, AZ. For more informa- (email) [email protected] or site) http://www.fmcs.us tion, see (website) http://www. (email) [email protected] amis.org Mar 25-26 Nov 17-20 Mediating Culture: Experience, May 19 - 21 Joint Annual Meeting of SEM and Harmony, and Discord, Indiana PERFORMA’11, Department of CORD, Philadelphia, PA University, Bloomington, IN. For Communication and Art, Univer- sity of Aveiro, Portugal. For more SEM Newsletter 15 SEPTA trains run every thirty minutes ue to be updated through to the start Welcome to SEM/ to and from the airport. You can also of the Pre-Conference Symposium CORD in Philadelphia take a cab, but that will cost a little For information on the history By Carol Muller, Chair of Local Ar- more, about $30 each way. of West Philadelphia see (website) The pre-conference symposium http://www.archives.upenn.edu/ rangements Committee on Music, Dance, and Civic Engage- histy/features/wphila/history/his- ment will be hosted by the Music tory_tc.html. November 16-20, 2011 Department who work in partnership In addition, we plan to showcase with the internationally recognized the rich variety of musical ensembles The 2011 Joint Annual Meeting Netter Center for Community Partner- from Penn and other local colleges of the Society for Ethnomusicology ships at the University of Pennsyl- and universities through the course of (SEM) and the Congress on Re- vania. This event will take place on the Annual Meeting. search in Dance (CORD) will take Wednesday, November 16, 2011, in The Joint Local Arrangements and place in the city of Philadelphia, with the Music Building. We will arrange Program Committee and the ethno- the ethnomusi- musicology cology program program at at the University the University of Pennsylva- of Pennsylva- nia as the core nia are busy host. Most of preparing for the meeting’s a large and program ses- vibrant meet- sions, plenary ing of SEM sessions, recep- and CORD in tions, and per- Philadelphia. formances will We are look- be held inside ing forward to the Sheraton lively debates, Philadelphia City rich conver- Center Hotel. sations, and The Sheraton is new ways of close to a wide connecting, variety of histori- musically, cal, cultural, and technologi- musical venues and opportunities, small group visits to some of the sites cally, and virtually with members in and Philadelphia is a walk-able city we have partnered with, mostly com- and well beyond the United States. with many distinctive neighborhoods. munities of faith, some neighborhood Philadelphia is not only the city of Getting to the hotel from the schools, and engage in conversa- brotherly and sisterly love, but also a airport is relatively cheap and easy: tions about our work with community place rich with research and musical SEPTA regional rail will take you right partners. possibility. Come one, come all. to University City station or further For an introduction to the possibili- on into Center City and close to the ties of publicly accessible, web-based Sheraton. The Philadelphia airport archives of this work, see (website) Note: the Call for Papers for the 2011 is not far from the center of the city. http://www.sas.upenn.edu/music/ Joint Annual Meeting of SEM and westphillymusic. This site will contin- CORD appears on pp. 17-21.

Philadelphia skyline. Visible are Center City with the Comcast Center on the left bank of the Schuylkill River and the 30th Street Station with the Cira Centre on the right (photo: Massimo Catarinella, Wikimedia Commons)

16 SEM Newsletter The Society for Ethnomusicology – 2011 Annual Meeting Call for Proposals

The 2011 Joint Annual Meeting of the Society for Ethnomusicology and the Congress on Research in Dance will be held on November 17-20, 2011, at the Sheraton Philadelphia City Center Hotel in Philadelphia, hosted by the University of Pennsylvania. For information on all meeting arrangements and for updates, please visit www.ethnomusicology.org and select “Conferences.”

The theme for the 2011 meeting will be Moving Music / Sounding Dance. Proposals are encouraged on the following topics:

1) Where Music Meets Dance 2) Advocacy and Outreach 3) Health and Healing 4) Interculturalism 5) Hybridity 6) Local Philadelphia Communities

Proposals on these topics will be given priority by the Program Committee. SEM sections, special interest groups, committees, and other constituent units are encouraged to sponsor organized sessions on or relevant to these topics, though the Program Committee will not give extra weight to sponsorship. Proposals on any other topics relevant to the field of ethnomusicology are also welcome. The online and postmark deadline for submission of all proposals is March 14, 2011.

In conjunction with the Annual Meeting, the University of Pennsylvania will present on November 16, 2011, a Pre-Conference Symposium on “Music, Dance, and Civic Engagement.”

Proposals for the Annual Meeting are invited in nine categories, as outlined below. All proposals must include a proposal form and an abstract. When submitting a proposal, first select one of the following forms:

1. Individual Presenters Form for single papers, performances or lecture-demonstrations, film/video programs, poster (media) sessions, and workshops (participatory).

2. Organized Sessions Form for organized panels, roundtables, films/video programs, and workshops (participatory).

PROPOSALS TO BE SUBMITTED ON THE INDIVIDUAL PRESENTERS FORM

1. Single Papers: Individual paper presentations are 20 minutes long and are followed by 10 minutes of discussion. 2. Performances or Lecture-Demonstrations: Up to one hour long.

SEM Newsletter 17 3. Film/Video Programs: One recently completed or in-progress film or video program up to two hours long. Sessions may include an introduction and discussion time. Submit title, subject, and information on an introduction/discussion. 4. Poster (Media) Sessions: Display stations will be set up in a room where presenters can exhibit work in a variety of media and remain on hand during scheduled two-hour periods for discussion. Displays might include posters, audio-visual presentations of research, instrument building, as well as written work made available in a form suitable for informal presentation in a table-top display. Special display requirements (e.g., computer and audio/visual equipment) will be the responsibility of the presenter. Displays should be designed with consideration for the other presenters in the room. The abstract for Poster (Media) Sessions should describe the subject, purpose, and physical/audible characteristics of the display, as well as the audio/visual equipment or table space required. 5. Workshops (participatory): Informal, interactive hands-on session on one topic (e.g., music performance, dance, recording technology) for a maximum of two hours.

PROPOSALS TO BE SUBMITTED ON THE ORGANIZED SESSIONS FORM

6. Organized Panels. Organized panel sessions are 90 minutes or two hours long. A 90-minute panel consists of three papers. A two-hour panel consists of either four papers or three papers plus a discussant. Each presentation (a paper or a discussant’s formal response) will be 20 minutes long, followed by 10 minutes of questions and general discussion. The Program Committee reserves the right to suggest the addition of a panelist when an independently submitted abstract appears to fit a panel. (Those interested in a more flexible format with more participants may want to consider proposing a roundtable.) Proposals for organized panels should be submitted by the panel organizer. Include the panel abstract (describing the rationale for the panel as a whole) and abstracts for the individual papers. The panel abstract is particularly critical to the Program Committee’s evaluation. 7. Roundtables: Roundtable sessions provide opportunities for participants to discuss a subject with each other and with members of the audience. Sessions of up to two hours long should include four to five presenters. We encourage formats that stimulate discussion and audience participation. The organizer will solicit position papers of up to 10 minutes from each presenter and will facilitate questions and discussion for the remaining time. Proposals for roundtables should be submitted by the session organizer and must include an abstract outlining the purpose/agenda and organization of the session, as well as the anticipated contributions of each participant (unnamed in the abstract). The organized session form provides a separate space where participants and their institutional affiliations should be listed. 8. Films/Videos: Multiple presenters of recently completed or in-progress films, video programs, or excerpts, together extending up to two hours. Sessions may include introductions and discussion time. Submit titles, subjects, and information on an introduction/discussion. Also indicate the exact duration of each proposed film, video program, and/or excerpt. The organizer must describe the overall subject of the session. List the participants and their affiliations in the space provided in the organized session form, not in the abstract. 9. Workshops (participatory): Informal, interactive hands-on session on one topic (e.g., music performance, dance, recording technology) for a maximum of two hours. The organizer must submit an abstract describing the subject of the session. List between two and five session leaders and their affiliations in the space provided in the organized session form, not in the abstract.

18 SEM Newsletter SUBMISSIONS, REQUIREMENTS, AND DEADLINES

About Abstracts: Abstracts should demonstrate a clear focus or statement of the problem, a coherent argument, knowledge of previous research, and a statement of the implications for ethnomusicology. If submitting an abstract proposal online, carefully observe these and other instructions given on the website. If submitting a hard-copy abstract proposal by post, please use single-spaced type and, separate from the body of the abstract, include the presenter’s name and institutional affiliation (for organized session abstracts, the session organizer’s name) and the paper title (for session abstracts, the name of the session).

All abstracts must comply with the following requirements:

• Abstracts should appear as a single paragraph. • Abstracts over 250 words will be automatically disqualified. • Abstracts identifying presenters, fellow researchers, or other participants will be automatically disqualified. • Abstracts must be submitted online or postmarked by March 14, 2011.

Limit on the number of presentations: SEM policy specifies that, during the regular sessions of the Annual Meeting, an individual may participate in ONLY ONE of the following ways:

• Give one paper (individually or as part of an organized panel) • Act as a discussant for a panel • Participate in one roundtable, workshop, performance, or lecture-demonstration • Present one film/video program • Participate in one poster session

In addition, an individual may chair ONE panel, roundtable, or workshop. Therefore, an individual may submit ONLY ONE abstract proposal. (Organizers of panels may submit an individual presenter abstract as well as the panel abstract.)

SEM membership and pre-registration fees: Following SEM policy, all participants whose proposals have been accepted for the program must be SEM members and must pre-register for the meeting by August 1. This requirement also applies to those who have agreed to be waitlisted. Guest speakers at sessions sponsored by SEM constituent units must be SEM members and must pre-register for the meeting. If necessary, sections should arrange to use their dues to cover membership and registration fees for their guest speakers. Any presenter who has not purchased an SEM membership and pre-registered for the meeting by August 1 will be deleted from the program.

Notification of acceptance: SEM members whose proposals have been accepted will be sent pre-registration information around June 8. If by June 27 you have not received a message

SEM Newsletter 19 from the Program Committee indicating whether or not your abstract was accepted, please contact Drew Norris, SEM Conference Coordinator, at Indiana University Conferences at [email protected].

Cancellations and no-shows: No-shows inconvenience the chair, discussant, fellow panelists, and audience members. Participants who discover that they are unable to attend the meeting should notify the Program Committee Chair and [email protected] immediately. SEM policy does not permit anyone other than the author to read a paper. Pre-registration cancellations made after September 6 will not qualify for a refund.

Special requests: Please indicate potential scheduling conflicts to the Program Committee Chair. If notified in advance, the Program Committee will attempt to accommodate requests, but cannot guarantee a particular time slot.

Charles Seeger Prize: Students interested in having a paper considered for the Charles Seeger Prize should consult the guidelines on the SEM website (www.ethnomusicology.org) under “Prizes.”

Video Streaming/Conferencing. The 2011 Annual Meeting will include live online video streaming of select panels from a dedicated room throughout the conference. In addition, plans are under development for videoconferencing between panels of scholars in Philadelphia and at a remote site. See www.ethnomusicology.org for updates.

Submission and Contact Information

For online submissions of proposals: Go to www.ethnomusicology.org and select “Conferences.” Submission deadline: March 14, 2011.

For postal submissions of proposals: Telephone the SEM Business Office at (812) 855-6672 to request a form for postal submissions. Postmark deadline: March 14, 2011. Submit form and abstract to: Indiana University Conferences Attn: SEM 2011 ABSTRACT SUBMISSION 801 North Jordan Street Bloomington, IN 47405, USA

For general conference questions: [email protected] or (800) 933-9330 (within U.S.) or (812) 855-4661 (outside U.S.).

For questions to the Program Committee Chair (not for submission of proposals) and for cancellations: [email protected].

Deadlines

March 14 Online submission and postmark deadline for all SEM 2011 proposals. June 8 Notifications of acceptances sent with pre-registration information. August 1 Deadline for receipt of pre-registration and SEM membership fees from

20 SEM Newsletter individuals whose proposals were accepted or waitlisted. September 6 Deadline for presenter cancellation and refund of pre-registration fees from SEM members whose proposals were accepted (minus a $35 handling fee). October 14 Deadline for registration cancellation refund for non-presenters (minus a $35 handling fee).

SEM 2011 Program Committee

Gregory Barz, Chair (Vanderbilt University) Monica Hairston (Center for Black Music Research) Juniper Hill (University College Cork) Sarah Morelli (University of Denver) Barley Norton (Goldsmiths, University of London) John-Carlos Perea (San Francisco State University) Christopher Washburne (Columbia University)

Information on Joint Meeting with the Congress on Research in Dance

For the 2011 Joint Annual Meeting of the Society for Ethnomusicology and the Congress on Research in Dance, individuals should submit proposals to the society of which they are a member. Individuals who are members of both SEM and CORD should submit to only one society. Each society’s Program Committee will review its proposals. The above guidelines and requirements apply to proposals submitted to SEM. For information on submitting proposals to CORD, please see http://www.cordance.org/.

SEM Newsletter 21