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Abst4-Racts of Teditededhe 39Th WORLD CONFERENCE Of Abstracts of the 39 th WORLD CONFERENCE of the International Council for Traditional Music 4-11 July 2007 Vienna / Austria Abst4-racts of teditededhe 39 th WORLD CONFERENCE of the July 2007 Vienna/Austria ICTM 2007 – Vienna Book of abstracts 3 Contents Themes of the conference 4 Alphabetical listing of abstracts by presenter’s family name 5 Panels and abstracts listed by numerical order of the session 151 4 Book of abstracts ICTM 2007 – Vienna Themes of the conference 1. Cosmologies and their relation to music and dance Cosmologies and music/dance structures are related to each other. In particular we would like to know how music and dance articulate cosmologies; cosmologies are shaped by performances, and we would like to understand the different interpretations that come to life through performances. Further, how are worldviews related to gender-specific musics and dances? Can we perceive the communication process in some performance of cosmologies in gender terms as having distinct male and/or female characteristics? 2. National and regional traditions of ethnomusicology and ethnochoreology There have been many different approaches to the study of music and dance in departments of music, in departments of anthropology and in conservatories all over the world. In some traditions the studies have been object-oriented, and in other ones more process-oriented. What is the role of documentation and preservation in these different traditions? How do they deal with the music and dance memory of the world? We also invite contributions that reflect on the role of fieldwork, the integrity of scholarship and the ethical practices in the different traditions. 3. Popular music and dance and new technologies How is technology in general, and the internet and mobile phones in particular, used in relation to music and dance, and mainly in urban settings? How does this relate to the social characteristics of the users; how do the users actually behave at home, in internet-cafés and other places with respect to music, ring- tones for hand-phones, and dance on the internet? Further, how do the home studios produce music and dance on cassettes, CDs, V-CDs, DVDs and the internet; what is the influence of the available technology on the produced music and dance, and how do they distribute these products? Last but not least, how do these activities contribute to the image of the music and dance groups concerned, and the wider social groups to which they belong? 4. Transmission of music/dance through informal and formal education This is an important topic for many schools, NGOs, governments, and also for teachers in an informal setting, who are faced by new technological developments and a fast growing availability of music and dance from all over the world. In particular we seek contributions that discuss the choices to be made between oral transmission, transmission via written documentation and transmission via the ‘new orality’ of audio recordings, V-CDs, DVDs, internet, etc. What choices should be made between this variety of possibilities? What are the policies and their realisations with respect to music and dance education? 5. New research Current and ongoing research that the author wishes to bring to international attention but does not fall into one of the main themes of the conference may be submitted. ICTM 2007 – Vienna Book of abstracts 5 Alphabetical listing of abstracts by presenter’s family name - Lari AALTONEN (Finland) see Pekko KÄPPI (session 6.3 C) - Kai ÅBERG (Finland) see panel sessions 7.1 A – 7.2 A - Suraya AGAYEVA (Azerbaijan), session 1.4 D On the relations of cosmology and music in the medieval Turkic treatises In all ages the science of music had various stages and kinds of development. In the 15 th century, because of the wide spread of Sufism in the Ottoman Turkey, cosmology becomes the main trend in the theory of music. The study of the manuscripts on music and on Sufi’s history as well as the other medieval written sources showed that the majority of authors of the treatises on music of that period were the members of Sufi orders. In this paper a comparative analysis of the features of Sufi philosophy, Mevlevi dervishes’ ritual dances with the innovations wrought to musical theory by Turkic medieval authors are given. The philosophical roots of musical cosmology reflected in their works are also examined. In the paper it is also revealed that the tendency of medieval authors to relate all musical phenomena (origin of music, maqam , instruments, etc) with Nature’s phenomena (the movement of planets, the constellations of the Zodiac, the cycle of day and night, etc) is not always successfully reflected in the texts of treatises—there are some confusions in the statements, omissions or lack of illustrations. In the paper some of the theoretical statements about cosmological, biological and musical correlations are supported by examples of drawings and schemes from the manuscripts. - Ardian AHMEDAJA (Austria) see panel sessions 3.2 A and 5.4 D - Bjørn AKSDAL (Norway), session 2.4 B From peasant fiddle to national symbol: A cultural-historic perspective on the Norwegian Hardanger fiddle up to 1900 The Norwegian Hardanger fiddle is probably a descendant from Medieval North European fiddles, which from recent research we believe existed in Norway well into the 17 th century. In the Hardanger area in the Western fjords these small and rather curved peasant fiddles were at latest from around 1650 6 Book of abstracts ICTM 2007 – Vienna equipped with resonant strings, and during the 18 th century they were gradually developed into an instrument of a more violin-like shape, often with carved heads, bearing rich decorations on the body and the fingerboard and having 2-6 sympathetic strings. Around 1900, 150 years later, the Hardanger fiddle had become one of the most important symbols of Norwegian nationalism, disseminated to many parts of southern Norway and even to Norwegian immigrants in the USA. It was not only the instrument itself which was now very strongly focused, but even the fiddler, the old repertory, and all the myths and stories which went with the Hardanger fiddle were suddenly regarded as an important and very central part of the Norwegian cultural heritage. In my paper I will first give a short overview of the early history of the Hardanger fiddle up to the late 1700s. In this period the old peasant fiddles developed to what was around 1800 known throughout Norway as the Hardanger fiddle. Secondly, I will look into the further modernization of the instrument which took place in Telemark in the mid-19 th century and discuss how the Hardanger fiddle gradually captured the central position it had achieved during the 19 th century. - Barbara ALGE (Austria), session 1.3 F Cosmology through cosmetic: Shaping popular imaginary of the Moor in the Portuguese Bugiadas dance drama Contrary to Spain and Latin-America, Portugal has been neglected in the anthropological and musicological study of the mourisca dance drama. The doctoral thesis I am working on aims at an understanding of the ‘system’ of the Portuguese mourisca dances by searching for the ethnologic variable of the ‘imaginary of the Moor’. The thesis research is based primarily on personal fieldwork on a multi-situated terrain in Portugal since 2003, on collection of the research of local ethnographers, as well as scientific studies on the mourisca dance drama from other countries. This paper focuses on the mourisca dance drama called Bugiadas that took place on St. John’s day in Sobrado (near Porto) in 2005. It is an example for the Portuguese mourisca type based on a local legend and its performance has never been interrupted. The dances are divided into Dança dos Bugios, composed by masked men and women, and Dança dos Mourisqueiros, composed by unmarried men. I will demonstrate how the local and national imaginary of the Moor is expressed in dance, music and costume and how imaginary is manipulated by what will be called and explained ‘religious cosmetic’ creating a certain vision of the world, that is, a certain cosmology. Religious cosmetic is in this case composed by the legend or imaginary— despite the parallel action of Moors and Christians, the Christians finally win through divine intervention; time—the combat takes place on St. John the Baptist’s day; space—the action is always connected to religious places; and socio-cultural context—the schematic structure of the dances is involved in a Portuguese religious feast with national and regional characteristics. Photos and video examples from personal fieldwork will be used for illustration. ICTM 2007 – Vienna Book of abstracts 7 - Elena ALKON (Russia), session 7.2 G Anthropomorphism and music thinking: Modal archetypes as symbols of male/female opposition There is the universal type of musical thinking that can be determined as mythological. It unites myth, symbol and ritual in a triad and is characterized by the great importance of continuity. The main distinction of this type is the prevalence of ‘continual signs’ as spaces (fields) between sounds which I defined as mode acoustical fields . This term implies the acoustical bounds in which the intonation is identified with definite structural-functional element of modal pattern (larger, smaller, equal or whole). It is significant that ‘larger’ and ‘smaller’ are the main modal functions in contrast to tonal functions of non- mythological (or realistic) music thinking such as ustoy and neustoy (in Russian terminology). M. Hood has come to a conclusion that all known modal systems are characterized by special arrangement of small and large intervals. To my mind, that is the appearance of binarity and asymmetry in modal thinking which according to J.
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