BULLETIN

of the

INTERNATIONAL COUNCIL for TRADITIONAL MUSIC

ICNo.T 131, April 2016M ISSN (Online): 2304-4039

CONTENTS

From the Secretariat Performing Arts of Southeast Asia Music: Style and Spectacle From the 1970s (PASEA). to the 2000s; Into The Mix: People, Places, Message from the Secretary General. Processes; Listening to China's Cultural Search for the next General Editor of the Pages 8-9 Revolution; Performing Nostalgia: Yearbook for Traditional Music. Reports Migration Culture and Creativity in South Pages 2-4 Albania; Songs of the Empty Place: The Reports from ICTM National and Regional Memorial Poetry of the Foi of the Southern 44th ICTM World Conference (2017) Representatives: Australia & New Zealand; Highlands Province of Papua New Guinea Azerbaijan; Bosnia and Herzegovina; Third Notice and Call for Proposals. Egypt; Ghana; Japan; Lithuania; Slovenia. Pages 24-25 Pages 5-7 Pages 10-22 General Information Announcements Calendar of Events ICTM World Network; Study Groups; 5th Symposium of the ICTM Study Group Executive Board, Secretariat, Membership Page 23 on Music and Dance in Southeastern Information; Publications by ICTM. Europe. 1st Joint Symposium of the ICTM Featured Publications by ICTM Pages 27-34 Study Group on Mediterranean Music Members Studies and the International Musicological Society. 9th Symposium of the ICTM Multipart Music: Personalities and Study Group on Music and Minorities. Educated Musicians in Traditional 29th Symposium of the ICTM Study Practices; Music in Art 50 1-2: Neoclassical Group on Ethnochoreology. Call for Reverberations of Discovering Antiquity; Proposals: 21st Symposium of the ICTM An Audiovisual Exploration of Philippine Study Group on Musical Instruments. 4th Music: The Historical Contribution of Symposium of the ICTM Study Group on Robert Garfias; Global Glam and Popular

Bulletin of the ICTM Vol. 131 — April 2016 — Page 1 FROM THE SECRETARIAT

Message from the Study Group news Richard K. Wolf (chair), Anna Schultz, Natalie Sarrazin, Peter Kvetko, and The number of ICTM Study Groups Secretary General Robbie Beahrs, contained paper recently rose to twenty-one! The presentations, panels, concerts, and by Svanibor Pettan newest is the Study Group on film presentations. The keynote speaker Music and Allied Arts of Greater Next ICTM World was Stephen Blum. South Asia. Its approval by the Conference Executive Board (the formal From the Mission Statement of the new As you will see on the endorsement will take place at the ICTM Study Group: “We encourage Third Notice and Call Board meeting in Limerick in June collaborative and comparative work for Proposals (pages 5-7), preparations 2016) was based on a successful with colleagues across the region and for the 44th World Conference, with international conference held on 4-6 areas connected through geographical which the Council will mark its 70th March 2016 at Harvard University and contiguity, diaspora, trade, and the anniversary in 2017, are in full swing. on the required procedures handled by Internet. We wish to promote the acts the initiator and host of the event, of doing and making—whether that The Local Arrangements and Richard K. Wolf. The conference involves performing, dancing, compos‐ Programme Committees remind you brought together more than sixty ing, drawing, or any other relevant that the Call for Proposals is open researchers working in and beyond the form of participation—as integral parts until 30 September 2016. Please bounds of South Asia, extended to the of scholarly study. We strive toward make sure to send your proposals in western and central parts of the world's inclusiveness with regard to scholarly time. The Executive Board will have largest continent. Participants came approaches and participation”. its regular annual meeting in late June from Canada, Germany, the 2016 at the conference site, the The webpage of the new Study Group Netherlands, Pakistan, Russia, Sri University of Limerick's Irish World is already online at the ICTM website, Lanka, United Kingdom, and United Academy of Music and Dance. The so please consider reading more about States. The conference attracted a wide meeting will be followed by a one-day this exciting development there. range of topics and theoretical symposium titled “The Contributions orientations, with contribu‐tions by In an attempt to register the existence of Ethnomusicology and scholars at varying stages of their of Study Group publications and to Ethnochoreology to Vernacular Music careers. The event, organized by a contribute to their scholarly strength, if and Dance Education in 3rd Level program committee consisting of needed, the Executive Board invites all Institutions”. Study Group Chairs to send their manuscripts to the Secretariat for pre‐ publication approvals, as stated in the Guidelines on ICTM Publications.

Among the many Study Group Sympo‐ sia scheduled to be held in 2016, let me single out the 1st Joint Symposium of the ICTM Study Group on Mediterra‐ nean Music Studies (STG-MMS) and the International Musicological Society (IMS), in Naples, Italy, from 21 to 26 June. Co‐organized by the Chair of STG-MMS Ruth Davis and the Presi‐ dent of IMS Dinko Fabris, this scholar‐ ly gathering can be seen as a continua‐ tion of ongoing efforts aimed at Richard K. Wolf (right) performing with David Nelson during the 60th Annual strengthening cooperation between Meeting of the Society for Ethnomusicology. Austin, Texas, USA. 4 December 2015. ICTM and its sister societies. Another Photo by Svanibor Pettan. joint event, still in development, in

Bulletin of the ICTM Vol. 131 — April 2016 — Page 2 FROM THE SECRETARIAT which ICTM will join forces with IMS Chinese, French, Hindi, Russian, and and the International Association of Spanish languages which we believe Music Libraries, Archives and Docu‐ will be key in helping the Council reach mentation Centres (IAML), will be fellow researchers of music and dance presented in the near future. in various parts of the world. The most recent version of the ICTM brochure The rich year of 2016 will also feature a (in English) is available online here; new ICTM Colloquium. Envisioned by please contact the Secretariat if you Xiao Mei and John Lawrence would need copies of them sent to you. Witzleben around the theme “Plucked Lutes of the Silk Road”, it will bring Conclusion invited specialists from all over the Our distinguished and very active world to Shanghai between 20 and 23 member Elsie Ivancich Dunin recently October. Detailed information about received the National Folk Organiza‐ this Colloquium can be found in the tion’s Preserving our Heritage Award January 2016 issue of the Bulletin, and for a lifetime of work and achievement online. in folk dance and folk arts. Let me Search for General Editor Elsie Ivancich Dunin receiving the extend congratulations to two National Folk Organization’s remarkable colleagues who were In the previous issue of the Bulletin, Preserving Our Heritage Award. Santa awarded the 27th Koizumi Fumio Prize the notices “Search for the next Clara, USA, 11 March 2016. Photo for Ethnomusicology in 2015: Otanazar Secretary General” and “Search for a provided by Allegra Snyder. Matyakubov and Margaret Kartomi new Book Reviews Editor of the (you can read more in the report of Yearbook for Traditional Music” were the past representatives, the Council Waseda Minako on page 18). published. In this issue you can find warmly welcomes the new ones. the notice “Search for the next General Finally, let me share with you the news Call to translate ICTM brochure Editor of the Yearbook for Traditional about the passing of Michael Hauser, Music”. The current General Editor, A part of ICTM’s definition states that one of the pioneers of ethnomusicolo‐ Kati Szego, will complete her mandate “as a non‐governmental organization in gical research in Greenland. The re‐ with Vol. 49 (2017), and so it is the formal consultative relations with cordings of indigenous people, collected right time to announce the search for UNESCO and by means of its wide and commented on by him and Poul her successor. Please see the complete international representation and the Rovsing Olsen and published by the notice on page 3. activities of its Study Groups, the Danish Folklore Archives as Tradition‐ International Council for Traditional al Songs of Greenland, made a lasting World Network changes Music acts as a bond among peoples of impact on me and surely many other The ICTM World Network of National different cultures and thus contributes ethnomusicologists. Our gratitude also and Regional Representatives experi‐ to the peace of humankind”. It is clear goes to the late Ghanaian colleagues enced a few changes in representation from the almost seven decades of the Nii Yartey, Nana Danso Adbiam, in the most recent period. Henry Council’s existence that this sentence is Ebenezer Laing, and Nissio Fiagbedzi, Johnson finished his term as Chair of far from being just an attractive presented by Daniel Avorgbedor on the Australia and New Zealand Region‐ phrase. For example, ICTM World pages 17-18. al Committee, and was succeeded by Conferences have been held on both Catherine Grant. At the National sides of the Iron Curtain, in non‐ Committee for Finland, Mikko aligned and neutral countries, etc. Vanhasalo was succeeded by Anti-Ville Guided by a wish to increase the sense Kärjä, and the Chair of the National of ICTM’s “internationality”, the Committee for Ireland, Daithí Kearney, Secretariat calls for volunteers to was succeeded by Lonán Ó Briain. translate the contents of the Along with expressions of gratitude to ICTM brochure into Arabic,

Bulletin of the ICTM Vol. 131 — April 2016 — Page 3 FROM THE SECRETARIAT

Search for the next ✴ Prepare PDF files according to layout. It will be an asset if the Gene‐ JSTOR specifications and upload to ral Editor has prior experience working General Editor of the their site with a graphic designer. Yearbook for Traditional Requirements The General Editor is appointed by Music and is responsible to the Executive A General Editor should have the Board. The initial appointment is for a Kati Szego, the General Editor of the following experience and qualifications: period of three years, which may be Yearbook for Traditional Music, has ✴ ICTM membership in good standing extended. A written report to the informed the Executive Board that she and a commitment to ICTM’s Board is required of the General Editor will be stepping down after publication mandate at every Board meeting (annual) sum‐ of the 2017 Yearbook. The Executive marising the contents of the previous Board has established a committee to ✴ Fluency in spoken and written En‐ volume, progress on the current find a new General Editor. This comm‐ glish, the language of the Yearbook volume, and plans for next year’s ittee consists of Salwa El‐Shawan ✴ Prior experience in academic editing volume (including the appointment of Castelo‐Branco, Don Niles, Svanibor ✴ Intimate familiarity with Microsoft guest editors). If not a member of the Pettan, and Kati Szego. Word, particularly its use for editing Executive Board, the General Editor Work of the General Editor ✴ Strong organizational and communi‐ may attend and participate in Board cation skills, as well as the ability to meetings, but not as a voting member. The General Editor is responsible for meet and enforce deadlines all aspects of the preparation of the Further Information and Yearbook for Traditional Music for In addition a General Editor should Submissions of Interest publication. These include: have access to: Interested members should contact the ✴ Communicate with authors regarding ✴ A reliable communications infras‐ present General Editor, Kati Szego, for submissions to the Yearbook tructure, involving Internet access, further details about this work. Formal ✴ Initially evaluate all submissions email, telephone, fax and courier applications must be submitted to the services; most communications are ICTM Secretariat no later than 15 ✴ Solicit referees’ reports on September 2016 and labelled “YTM submissions conducted through email ✴ Software and hardware as necessary Editor’s position”. The Committee will ✴ Work with authors on revisions to make recommendations to the Board, their articles to prepare them for to do the required work which will then make an appointment. publication ✴ Human resources with the following software skill sets: ✴ Appoint and supervise the work of the review editors - Adobe Photoshop or similar, for preparation of bitmap images ✴ Liaise with any guest editors regard‐ ing requirements for publication and - Adobe Illustrator or similar, for oversee their editing of articles preparation of vector graphics

✴ Copyedit articles and reviews to - Microsoft Excel or similar, for ensure they conform to Yearbook preparation of charts standards - Finale or similar, for preparation of ✴ Apply Yearbook styles to final text musical examples

✴ Liaise with the ICTM Secretariat - Adobe InDesign or similar, for page regarding the layout of each volume layout and preparation of PDF files and the preparation of PDF files for - Adobe Acrobat or similar, for printing modification of PDF files ✴ Check printer proofs and give final In most instances, the General Editor approval for printing in November will prepare files for final formatting by a professional with expertise in graphic

Bulletin of the ICTM Vol. 131 — April 2016 — Page 4 WORLD CONFERENCES 44th ICTM World Conference 13-19 July 2017 Irish World Academy of Music and Dance, Limerick, Ireland

Third Notice and Call for Proposals

You are cordially invited to attend the 44th ICTM World Conference, which will be held from 13 to 19 July 2017 at the Irish World Academy of Music and Dance in Limerick, Ireland.

The venue is located right on the banks of the River Shannon in a scenic and environmentally friendly campus. The Academy recently celebrated its twenti‐ eth anniversary and is home to a vari‐ ety of undergraduate and postgraduate courses that relate to the study and practice of music, song, and dance in a variety of scholarly, applied, education‐ al, arts practice, festive arts, and clinic‐ Main building of the Irish World Academy of Music and Dance, the venue of the al contexts. 44th ICTM World Conference. Photo by Irish World Academy of Music and Dance . During the conference, the 70th anni‐ versary of the Council will be Local Arrangements Committee Conference Themes celebrated. Catherine Foley (Co-Chair) 1. 70 Years of ICTM: Past, Present and Future Programme Committee Colin Quigley (Co-Chair) Jennifer de Brún 2017 marks the 70th anniversary of our Mohd Anis Md Nor (Co-Chair) Aileen Dillane organization. Begun in 1947 in the Stephen Wild (Co-Chair) Aoife Granville aftermath of the Second World War, Anne von Bibra Wharton Sandra Joyce the International Folk Music Council Miguel A. García (IFMC)—later changed to Internation‐ Níall Keegan David Harnish al Council for Traditional Music—was Mats Melin Níall Keegan one of the international organizations, Orfhlaith Ni Bhríain Jean Kidula with UNESCO and its affiliates, formed Colin Quigley Conference website to re-establish networks of artists, scho‐ lars, scientists, and educators that had Svanibor Pettan (ex officio) Visit the conference website to learn been disrupted by war. IFMC/ICTM Susana Sardo more about local arrangements, has tended to represent the small or J. Lawrence Witzleben including travel, accommodation, and marginalized performance traditions other helpful information. rather than the great and elite tradi‐ tions, aligning the Council with issues of human rights, citizenship and social justice.

Bulletin of the ICTM Vol. 131 — April 2016 — Page 5 WORLD CONFERENCES

✴ What has been the impact of the ✴ What do we imagine for our legacies cance in both ethnomusicological and Council’s work on music and dance when in the hands of those who will ethnochoreological research after a pe‐ studies in general and on ethnomu‐ inhabit unknown futures? riod in which they often played a sub‐ sicological and ethnochoreological sidiary role. Long-established methods 3. Ethnomusicology, studies in particular? and techniques of analysis in both fields Ethnochoreology and Digital are being modified, extended, and per‐ ✴ What has been the impact of the Humanities notions of “folk music/dance” and haps superseded as new technologies The field of digital humanities (DH) “traditional music/dance” on the and methodologies suggest new possi‐ was officially founded with a manifesto discursive construction of expressive bilities. The historical shift in both ratified in 2010 in Paris, defining digit‐ behaviour, scholarly research, and fields from their early preoccupation al humanities as a “transdiscipline, the ways disciplines, fields of study with sound and movement analysis to a embodying all the methods, systems, and institutions are configured? primary attention to “context”, as vari‐ and heuristic perspectives linked to the ously understood, may have run its ✴ What may be the Council’s future digital within the fields of humanities course. Re-theorization of both music directions for example in relation to and the social sciences”. The institu‐ and dance practice has attempted for regional conflicts, environmental tionalization of DH currently comprises some time now to transcend, or at least change, and large-scale migration? 196 specialized research centres, based mediate that gap and bring these per‐ in 24 countries, according to the 2. Legacy and Imagination in spectives into conversation. There Music and Dance observatory for digital humanities, seems to be an opportunity at this time Centernet. The knowledge that has Legacy is a concept that both reaches to revisit the place of music analysis been produced from this perspective fo‐ back to the past and looks forward to and/or movement analysis in ethno‐ cuses mainly on using digital tools and the future. In our research we have musicology and ethnochoreology. resources to facilitate access to infor‐ long interrogated the processes of con‐ mation—as well as to process it—re‐ ✴ What possibilities might be present‐ tinuity, transmission, and change; in sulting in the creation of archival plat‐ ed by technologies such as motion effect the formation of legacies left to forms. In view of this development it is capture and others? us from our forebears. We ask as well, important to know where ethnomusico‐ ✴ Might we investigate music and how are they being treated in our logy and ethnochoreology are situated dance as a unitary phenomenon? present(s)? But we might also ask, how in the context of DH. What might analysis reveal about are legacies created for future genera‐ this question? tions? Legacies may be constituted in ✴ To what extent is the quantitative multiple forms, including, for example, perspective of DH compatible with ✴ Might the vast quantity of music the material, aural/oral, and corporeal; the qualitative profile of ethnomusi‐ and dance documentation now avail‐ they may be so constituted in many cology and ethnochoreology? able and their increasing sophistica‐ tion revitalize possibilities for compa‐ ways, through physical, social, or per‐ ✴ Does the adoption of the methods of rative study? formative practices, for example. Lega‐ DH relegate the sensitive and emo‐ cies might be found in the intellectual, tional dimensions of music and danc‐ 5. Music, Dance, Religious artistic, and spiritual domains of life, as ing to a second level of analysis? Politics and Religious well as many others. Processes of hu‐ ✴ How can ethnomusicology and ethno‐ Policies man imagination are implicated in all choreology contribute towards a Music, dance, religion, and politics are three of these stages of legacy creation. “prudent technology” in the man‐ endemic in human societies, and very ✴ What pasts do we imagine such lega‐ agement of knowledge about music frequently are strongly interlinked. cies to represent, preserve, maintain, and dance in the context of DH? This theme invites educators‐scholars‐ or pass on? performers to contextualize music and 4. Exploring Music Analysis dance as these relate to enforced or ✴ What do we imagine we are leaving and Movement Analysis in changing religious ideologies concerning for those to come as we create our Ethnomusicology and legacies, either personal or collective? Ethnochoreology music and the performing arts and cope with state and religious interventions. Analyses of music–sound and moving– The foundation here is that state and bodies respectively are regaining signifi‐

Bulletin of the ICTM Vol. 131 — April 2016 — Page 6 WORLD CONFERENCES religious politics and policies either Following evaluation, authors will be should be submitted by the session endorse, subvert, and/or attempt to notified of the Programme Committee’s organizer (300 words). control the expressions and narratives decision in December 2016. embodied in the performing arts for 1. Individual paper their own purposes. Often, music and To submit your proposal, dance are connected to a matrix of be‐ Individual papers should be 20 minutes please visit this page liefs enmeshed within the fabric of lo‐ long and followed by 10 minutes of dis‐ cal, national, or global religious prac‐ cussion. The proposal must include a tices, but then the ideology changes 300-word maximum abstract. and state or religious institutions exert 2. Panel Timeline pressures upon practitioners to make ✴ First notice: October 2015 adjustments to fit this new ideology. Organized panels are 90 minutes (three papers, each 20 minutes, followed by 10 ✴ Second notice and call for proposals: ✴ How, precisely, do music and dance minutes of discussion) or 120 minutes January 2016 interact with religious politics and long (four papers, or three papers and a ✴ Third notice and call for proposals: policies, on a micro– or a macro– discussant). A proposal by the panel April 2016 scale? organizer (300 words) as well as one by ✴ Deadline for submission of proposals: ✴ What are the artistic results of reli‐ each individual presenter (300 words 30 September 2016 gious nationalism in hierarchical or each) are required. Where an indepen‐ more egalitarian societies? dently submitted abstract appears to ✴ Notification of acceptances: fit a panel, the programme committee December 2016 ✴ Can ethnomusicology or ethnochore‐ may suggest the addition of a panellist. ology play a positive role in support‐ The Preliminary Programme will be The programme committee may also ing music and dance and their prac‐ published in the April 2017 Bulletin. re‐commend acceptance of only some of titioners endangered by religious the papers on a panel. politics or policies? 3. Film/video session 6. New Research on Other Topics Recently completed films introduced by their author and discussed by confer‐ Although the Programme Committee ence participants may be proposed. hopes that the themes announced above will encourage members to con‐ Submit a 300-word abstract including titles, subjects, and formats, and indi‐ sider new ways of conceptualizing their cate the duration of the proposed films research data, we also recognize that or videos and introduction/discussion. some delegates will want to present re‐ search results that do not fit with any 4. Forum/Roundtable of the announced themes. This broad Forum/Roundtable sessions provide heading is included to accommodate opportunities for participants to discuss these scholars. a subject with each other and with Abstracts members of the audience. Sessions of up to two hours long should include at Abstracts should be no more than 300 least four but no more than five pre‐ words in length, and written in English senters. We encourage formats that sti‐ (papers may be presented in either mulate discussion and audience parti‐ English or Gaelic, but all abstracts cipation. The organizer will solicit posi‐ must be in English). They should indi‐ tion papers of up to 15 minutes from cate the theme under which they are each presenter and will facilitate ques‐ submitted. tions and discussion for the remaining time. Proposals for forums/roundtables

Bulletin of the ICTM Vol. 131 — April 2016 — Page 7 ANNOUNCEMENTS Announcements — ICTM

5th Symposium of the arrangements information (such as poster session around the themes of (1) travelling to Naples and a list of Dance and the Senses and (2) Dancing ICTM Study Group on recommended accommodations) are and Dance Cultures in Urban Music and Dance in available at this webpage. Contexts. Southeastern Europe For further, ongoing information, Further information about the sympo‐ please visit the Study Group’s website. sium can be found at the Study Group 2–8 May 2016 website. Blagoevgrad, Bulgaria 9th Symposium of the The 5th Symposium of the ICTM 4th Symposium of the Study Group on Music and Dance in ICTM Study Group on ICTM Study Group on Southeastern Europe will take place on Music and Minorities 2–8 May in Blagoevgrad, Bulgaria. Performing Arts of 4–8 July 2016 More than 50 papers will be presented Rennes, France Southeast Asia (PASEA) under the themes of (1) Music and The 9th Symposium of the Study 31 July–6 August 2016 Dance in Southeastern Europe in Post‐ Group on Music and Minorities will be Penang, Malaysia 1989; (2) Representations of Music and held on 4–8 July 2016 at the Université Dance in Audiovisual Ethnographies in The 4th Symposium of the ICTM Southeastern Europe; and (3) Myth, Européenne de Bretagne, Rennes, Study Group on Performing Arts of France. Ritual and Interpretations in/of the Southeast Asia (PASEA) will take Music and Dance in Southeastern The preliminary programme of the place from 31 July to 6 August 2016 at Europe. symposium and important local the School of the Arts, Universiti Sains arrangements information (e.g., travel, Malaysia (USM), Penang. Further information about the sympo‐ accommodation) are available at this sium can be found at the Study Group Further information about the sympo‐ webpage. website. sium, including the Preliminary Pro‐ For further, ongoing information, gramme, presenters and their abstracts, 1st Joint Symposium of please visit the Study Group website. Local Arrangements information (including registration, accommodation, the ICTM Study Group 29th Symposium of the and travel, etc.) can be found at the on Mediterranean Music USM website. ICTM Study Group on Studies and the Ethnochoreology 5th Symposium of the International Musicolo‐ ICTM Study Group on gical Society 9–16 July 2016 Graz, Austria Musics of East Asia 21–26 June 2016 The 29th Symposium of the ICTM Naples, Italy 25–27 August 2016 Study Group on Ethnochoreology will Taipei, Taiwan The 1st Joint Symposium of the Study take place on 9–16 July at Retzhof Group on Mediterranean Music Studies Castle, an education centre near Graz, The 5th Symposium of the ICTM and the International Musicological Austria. Details regarding registration, Study Group on Musics of East Asia Society will be held on 21–26 June 2016 travel and accommodations can be will be held at the Academia Sinica in Naples, Italy. found at this webpage. and the Taipei National University of the Arts in August 2016, where the The preliminary programme of the The programme will feature papers, symposium and important local panels, a media presentation, and a

Bulletin of the ICTM Vol. 131 — April 2016 — Page 8 ANNOUNCEMENTS tenth anniversary of the Study Group’s From the ICTM Online Photo Gallery foundation will be celebrated.

Further information about the sympo‐ sium can be found at the Study Group’s website.

Call for Proposals: 21st Symposium of the ICTM Study Group on Musical Instruments The New Pendo Group of Chamwino Village performing at the Chamwino Arts 5–8 April 2017 festival. Dodoma, Tanzania, July 2015. Photo provided by Imani Sanga. Sarajevo, Bosnia and Herzegovina Submissions deadline: 15 July 2016

The 21st Symposium of the ICTM Study Group on Musical Instruments will be held on 5–8 April 2017 at the Academy of Music of the University of Sarajevo, Bosnia and Herzegovina, hosted by the ICTM National Commit‐ tee for Bosnia and Herzegovina. There are three themes for the symposium: (1) Musical Instrument Makers Between Local Quality and Global Market; (2) Permissibility of Instru‐ mental Sound in Society; and (3) New Research. Christiane Fennesz-Juhasz, Birgit Hübener, Gerlinde Haid, Ursula Hemetek, Further information about the sympo‐ and Regine Allgayer-Kaufmann, during the 37h ICTM World Conference. sium, including the full Call for Propo‐ Vienna, Austria, July 2007. Photo provided by Svanibor Pettan. sals, can be found at this webpage.

The BALTICA festival’s grand concert in Rēzekne, Latvia. July 2015. Photo by Reinis Oliņš.

Bulletin of the ICTM Vol. 131 — April 2016 — Page 9 REPORTS Reports from ICTM National and Regional Representatives

Australia & New Zealand 2003 Convention for the Safeguarding Azerbaijan of the Intangible Cultural Heritage. by Jared Mackley- This will be discussed further amongst by Sanubar Baghirova, Crump, Secretary members over the coming year. Draft Liaison Officer Regional Committee minutes for this meeting, distributed among RC members, can be obtained In the last decade, a New appointments to by contacting the RC Chair (Catherine process of revival of the positions of Chair Grant) or the RC Secretary (Jared traditional music has occurred in and Secretary were made during the Mackley-Crump. Azerbaijan, resulting in a growing Business Meeting of the Australia & number of musical events and publica‐ New Zealand (ANZ) Regional International Conferences tions. I will report on the latest of Committee (RC), held at the end of Regionally, the end of 2015 provided them. 2015 during the conference of the three opportunities for members of the International Association for the Study The Monuments of Intangible Cultural RC to meet up and present their: the of Popular Music (IASPM)–ANZ. Heritage of Azerbaijan and Ertogrul aforementioned IASPM–ANZ confer‐ Catherine Grant (incoming Chair based Javid (Baku: Çaşıoğlu, 2011) is a ence in Canberra, the conference of the at Griffith University, Brisbane) and 13-volume collection of examples and Musicological Society of Australia (held Jared Mackley-Crump (incoming sources on Azerbaijani traditional at the Sydney Conservatorium of Music Secretary based at AUT in Auckland) music and oral literature, edited and in its centenary year), and the confer‐ will be joined by three new representa‐ published by the National Academy of ence of the New Zealand Musicological tives of our regional sister organiza‐ Science of Azerbaijan and the State Society, which was held at Victoria tions: Narelle McCoy (IASPM–ANZ), Theatre Museum. This edition is an University in Wellington. Conferences Brigitta Scarfe (Musicological Society invaluable document about the history for each of these sister organizations of Australia), and a representative from of traditional culture and music of the will again be held in 2016—IASPM in the New Zealand Musicological Society Azerbaijani people and other ethnic Mackay, Queensland, MSA in yet to be nominated. groups living in Azerbaijan. Adelaide; and NZMS at a location yet The new executive committee members to be announced. Volume 1 features sections on music wish to thank outgoing Chair Henry and wedding customs of such ethnic Given that meeting up at conferences is Johnson, Secretary Julie Rickwood, and groups as the Turkic-speaking generally limited to one or two other members for their significant Terekeme and the Persian-speaking instances per year, the RC has recently contribution to the RC and for their Tat and Talysh. The volume contains initiated a closed Facebook group to assistance in the handover period. lyrics of ashiq [editor’s note: a mystic allow members to share news and items bard, balladeer, or troubadour] songs of interest, stimulate discussion, and Business Meeting 2015 and sheet music performed since the remain in contact with each other The 2015 business meeting focused on late nineteenth century to the 1930s. throughout the year. Membership of the future direction of the RC, which Of particular significance are the both the ANZ Regional Committee and the new Executive Committee will materials written in the 1930s by the Facebook Group are open to any work towards refining and solidifying Alisahab Huseynov, a tar performer ICTM members who reside or have an over the next two years. The possibility and connoisseur of mugham who gave interest in the region. If you would like was also raised of the RC adopting an information about mughams, mugham to join us, please contact the Secretary. advocacy role in addressing the failure performers, and cited lyrics that used by the governments of Australia and to be sung in the mugham repertoire. New Zealand in ratifying UNESCO’s

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The materials included in Volume 2 are pedia of Azerbaijani Mugham (Baku: The magazine where the article is memoirs by the great Azerbaijani Şərq-Qərb Publishing House, 2012) featured includes the CD Mugham of mugham singer Jabbar Garyaqdi oglu [editor’s note: featured in Bulletin of Azerbaijan curated and compiled by (1881–1944) and by the tar performer the ICTM 128, pp. 31]. This edition is Sanubar Baghirova. Seven of the nine Suleyman Mansurov (1872–1955). Both a revised and expanded version of the tracks on the CD were recorded by manuscripts contain precious informa‐ encyclopedia by the same name Baghirova in Baku. The musicians tion on mughams and dastgahs, published in 2008 in Azeri (Muğam featured—both singers and instrument‐ mugham performers, and the lyrics ensiklopediyası, Baku, compiler Tariel alists—are current stars of mugham, sung to various pieces of mugham Mammadov, available online). Both some of whom recognized worldwide repertoire. editions were published under the (Alim Qasimov, Ramiz Quliyev, patronage of the First Lady of Fargana Qasimova, Gochag Askarov) Volumes 3 to 8 feature lyrics of more Azerbaijan Mehriban Alieva, a while others (Miralam Miralamov, than forty ashiq dastans [editor’s note: UNESCO Goodwill Ambassador. Elnur Mikayilov, Gülyanaq traditional epics or romantic tales] and Mammadova) are known mainly in dozens of ashiq melodies performed The Mugham Dictionary, a new refe‐ Azerbaijan. The release of the CD was within those dastans. These materials rence text written in both Azeri and sponsored by the Ministry of Culture were collected by the folklorist Huseyn English, was published in 2013 (İzahlı and Tourism of Azerbaijan. Iskandarov in the 1930s. The art of the muğam lüğətu, Baku, compiled and ashiqs is syncretic, and cannot be ima‐ edited by Tariel Mammadov, available Significant among the recent CD gined beyond its components: lyrics online). The edition is supplemented releases available outside of Azerbaijan (both poetry and prose), singing, and with 4 CDs with mugham recordings is the series Traditional Music of instrumental accompaniment with the performed by different generations of Azerbaijan, published by the Italian saz lute. Therefore the publication of Azerbaijani musicians from the early label Felmay Records from 2011 to these oral literary monuments is of twentieth century to the present day. 2013, with the financial support of the interest not just for specialists in Ministry of Culture and Tourism of A few articles on Azerbaijani tradition‐ literature, but also for musicologists Azerbaijan. This series features seven al music were published recently specializing in the art of ashiqs. compact discs covering all genres of abroad. “A Guide to the Music of the traditional Azerbaijani music: mugham, One weakness of the edition might be Fire Country: Mugham from Azerbai‐ the art of ashiqs, instrumental music, the lack of definite citations of titles jan” by Simon Broughton (Songlines folk songs, and dance tunes. and catalogue numbers of published 93, 2013) overviews the essence of manuscripts, and in some cases mugham, discusses historical centres of The first three volumes in the series information on sources and informants mugham performance in the nineteenth (Gochag Askarov: Mugham, Nazaket from whom the materials were century, the current tendencies in Teymurova: Mugham, and Caravan of recorded. mugham culture, and performers who Mugham Melodies) present the genre of represent Azerbaijani mugham on the mugham with all its varieties, and Another important recent publication world stage today. introduce new artists for Western is the Russian edition of the Encyclo‐ listeners, such as Nazaket Teymurova,

Three volumes in the CD series Traditional Music of Azerbaijan, published from 2011 to 2013.

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Gülyanaq Mammadova, Rovshan in modern culture, the milieus they Bosnia and Herzegovina Mammadov, Aliaga Sadiev (tar), represent and address, the forms of Shirzad Fataliev (balaban), Munis their professional activity, historical by Jasmina Talam, Sharifov (kemancha), Mirjavad Jafarov origins of their art, and finally focuses Chair of National (oud), and others. The fourth CD on ashiq poetry and music. Committee (Ramiz Guliyev: Dialogues with the I would like to conclude with a report This report covers the Tar) is the first release by “the about a recent joint concert by French period between 2013 patriarch of Azerbaijani tar jazz vocalist Pierre de Trégomain and and 2016. Since its foundation in 2012 performance” in Western Europe, while renowned Azerbaijani mugham singer until the present day, the ICTM the fifth CD (Music and Poetry of Gochag Askarov. National Committee for Bosnia and Azerbaijani Ashiq) gives Western Herzegovina (NC) has been part of listeners a rare opportunity to listen to De Trégomain went to Baku to study many significant activities organized in contemporary Azerbaijani ashiqs. mugham vocal technique with Askarov, cooperation with the Academy of and following three weeks of daily prac‐ The sixth CD (Azerbaijani Love Songs) Music in Sarajevo and the Musicologic‐ tice, de Trégomain was able to perform compiles 16 favourite songs of the al Society of Bosnia and Herzegovina the mughams Rast, Bayati‐Shiraz and Azerbaijani people, five of which were (MSB&H). Bayati‐Kurd. A concert was quickly written by professional composers, organized, where the two vocalists, On 14 November 2013, the Academy of while the rest eleven represent original accompanied by Elnur Mikayilov Music, the Academy of Sciences and folk songs. The last CD (Rhythms of (kemancha), Kamran Karimov Arts of Bosnia and Herzegovina, Azerbaijani Dances) includes 17 pieces (naghara), and Zulfuqar Ismayilov MSB&H and the NC organized a that cover all genres of Azerbaijani (tar), performed mugham and jazz‐ conference which celebrated several dance music: collective male dances, mugham, a genre that emerged in the important anniversaries: 65 years of female lyrical ones, a variety of 1970s in Azerbaijan and which juxta‐ ethnomusicology in Bosnia and wedding dance music, the circle folk poses techniques of improvisation of Herzegovina, 60 years of musicology in dance “Yally”, vigorous melodies to both styles. What made me pay special Bosnia and Herzegovina, 15 years of accompany the rite of zorkhana, etc. attention to this concert was that these MSB&H, 10 years of the Institute for These seven CDs constitute the first two vocalists—one raised in the Musicology, and the first anniversary of comprehensive anthology of traditional European jazz tradition and another in the NC. music of Azerbaijan published world‐ classical mugham culture—managed to By organizing a scholarly event our wide. The repertoire was recorded reconcile, and not merely juxtapose, wish was to emphasize the development specifically for this release, with the these two different musical grammars. of musical science in the country, as exception of a few pieces. All CDs are They seemed to understand each other well as highlighting its significance in accompanied by liner notes, informa‐ perfectly on stage as if they had been the education of younger people. The tion about the performers and track performing together for years. The aim was to remember the important descriptions, in both English, French, concert left an indelible impression musicologists and ethnomusicologists and Azeri. The producer of the project, with its degree of artistry and spiritual who affected the development of compiler, and author of all texts in completeness. musicology and ethnomusicology in English and Azeri is Sanubar Bosnia and Herzegovina and abroad. Baghirova. We also wanted to reflect on the work Among a humble number of English of various experts on the affirmation of publications by Azerbaijani authors is art and traditional music in Bosnia and the article “‘The One Who Knows the Herzegovina, as well as on the preser‐ Value of Words’: The Aşıq of vation of intangible cultural heritage, Azerbaijan” by Sanubar Baghirova, with special attention given to the published in the Yearbook for legacies kept by the Institute for Musi‐ Traditional Music 47 (2015). The cology of the Academy of Music, article discusses the social status of the University of Sarajevo. ashiq in Azerbaijani society, their role

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Tvrtković; “Nada Ludvig-Pečar: A Contribution to the Research into Women’s Composing in Bosnia and Herzegovina” by Ivan Čavlović; “The Basic Features of Composer Anđelka Bego-Šimunić’s Opus” by Amra Bosnić and Naida Hukić; “Research of Ethnomusicological Context in Bosnia and Herzegovina Through the Work of Folklorists Mira Fulanović-Šošić, Dunja Rihtman-Šotrić, Jasna Spaić and Ankica Petrović” by Tamara Karača Beljak and Jasmina Talam; and “Carriers of New Research in Ethno‐ musicology and Musicology of Bosnia and Herzegovina” by Amra Toska.

The conference “Women as Bearers of Promotion of books released within the “InMusWB” Tempus Project. Sarajevo, Bosnia and Herzegovina, 23 September 2014. Photo by Jasmina Talam. Folk Musical Practice in Bosnia and Herzegovina” was held on 30 January Members of the NC authored several a large number of experts from the 2015 at the Academy of Music in works published within the Tempus fields of ethnomusicology, musicology, Sarajevo. A volume of collected papers project “Introducing Interdisciplinarity music pedagogy, and ethnology. was published, featuring the following in Music Studies in the Western articles: “Čičak Janja, a Folk Singer The results of both projects were Balkans in Line With the European from Kupres” by Cvjetko Rihtman; collected in a book published in Perspective” (InMusWB). The “Narration Through Song as Part of November 2014 carrying eleven articles following books were presented during the Female Traditional Musical Ex‐ and dedicated to women who contri‐ an event which took place at the pression in Bosnia and Herzegovina” by buted significantly for the development Rectorate of the University of Sarajevo Jasmina Talam; “Woman as Source of music and science: “Jelena Dopuđa: on 23 September 2014: Solfeggio: and Carrier of the Continuity of Life and Work” by Miroslava History and Practice (Senad Kazić), Sevdalinka” by Amra Toska; “Musical Fulanović Šošić; “Manuscript Legacy of Musical Forms and Styles With the Creativity of Women: Wedding Songs the Ethnochoreologist and Choreo‐ Analyses of Musical Piece (Ivan in the Area of Žepče and its Surround‐ grapher Jelena Dopuđa” by Selena Čavlović), Folk Musical Instruments in ings” by Kristina Čustonjić; “Women Rakočević; “Jelena Dopuđa: Pioneer of Bosnia and Herzegovina (Jasmina as the Main Participants in the Ethnochoreology in Bosnia and Herze‐ Talam), Soundscapes: View on the Lazarice Processions in Bosnia and govina” by Dragica Panić Kašanski; Vocal Phenomena of Bosnia and Herzegovina” by Ivana Rosić; “The “Female Identity as a Primary Subject Herzegovina (Tamara Karača Beljak), Role of the Woman in Preserving the in Constitution of Music Life in and the first volume of the Anthology Vocal Musical expression in Kraljeva Austro‐Hungarian Sarajevo” by Lana of Piano Music in Bosnia and Sutjeska” by Lejla Džambazov; “The Paćuka; “Bahrija Nuri Hadžić: The Herzegovina, edited by Maja Ačkar Bunch of Lyrical Oral Songs in the First Lulu and the Ultimate Salome” Zlatarević. Memories of Srebrenica Returnees” by by Fatima Hadžić; “Contribution and Nirha Efendić; “Women as Bearers and During 2014, two important projects Importance of Elly Bašić in the Devel‐ Keepers of Intangible Cultural Her‐ were realized: the celebration of the opment of Music Pedagogy and Ethno‐ itage: Contribution to the Gender 110th birthday of Jelena Dopuđa, the musicology (1945-1990)” by Senad Discussion” by Dragica Panić; and “A first Bosnian ethnochoreologist, and the Kazić; “The Role and Importance of Feature on Radio and for the Radio— project “Women as Carriers of the Folk Selma Ferović in the Development of Ljubica Berak: The Song is My Musical Practice in Bosnia and Musical Pedagogy in Bosnia and Temple” by Tamara Karača Beljak. Herzegovina”. These activities gathered Herzegovina” by Valida Akšamija- Along with the volume of papers a CD

Bulletin of the ICTM Vol. 131 — April 2016 — Page 13 REPORTS was published, presenting archival works that may harm the general taste mances, learning opportunities, diverse recordings of women’s singing recorded of the people, especially in the official musical styles and contexts. between 1953 and 2013. TV and radio stations”, to apply Much has already been written about modern (Western) orchestration Finally, the National Committee is the commercialism of media music and theories to traditional and folk musics, organizing a folklore seminar and work‐ video clips, including the use of sexual to study “the best means to preserve shop on 15-16 April 2016, aimed at titillation for profit and the negative folk music in all Arab countries and, leaders of cultural, artistic, and folklore implications for society, gender roles, after accurate recordings, information societies as well as primary school and traditional values. Critics and and possible notation, to exchange teachers. The event aims to spread citizens alike rail against the vulgar those between Arab countries to con‐ theoretical and practical knowledge lyrics and trite melodies that threaten solidate [an] Arab entity”, to “ensure about traditional music and dance of their values. Musicians, writers, that musical traditional groups in Arab Bosnia and Herzegovina. academics, television presenters have countries play precisely the units of all been caught in this net, some sent heritage from authentic resources like to prison, while others have chosen Egypt accurate scores”, and for “new works of exile. At the same time, marketability modern composers [to] pertain [to] and by Kristina Nelson, ultimately prevails over moral and be inspired by our musical heritage”. Liaison Officer aesthetic concerns, and determines The complete lists of recommendations media access to particular music In the absence of any can be found in the Reports section of traditions, while, since the mid 1990s, contribution from Egypt issues 82 (April 1995) and 86 (April the role of the Internet in facilitating for over 20 years (the 1993) of the Bulletin of the ICTM. exposure across class boundaries to a last report appeared in the 1995 The aforementioned reports attest to wide range of music is critical in Bulletin), this report should serve to long–standing efforts to define musical opening the gates to unregulated present an overview of the contempo‐ taste. Such efforts and attitudes feed exposure of a wide range of music. rary musical landscape in Egypt, its into a growing, post‐2011 climate of challenges, opportunities, and achieve‐ Urban pop music (shababi/sha3bi), xenophobia, moral policing, and nation‐ ments, including assessing the degree to with its mainstream media presence al security fears, of which recent which the recommendations by govern‐ and Western instruments is edging out governmental efforts to legally enforce ment‐organized international and local community oral traditions. standards set by the Musicians Syndi‐ national conferences and seminars from Although some Cultural Palaces offer cate is the result. In November 2015, 1989 to 1994 have been implemented. choral singing and instrument training, after years of policing the eligibility of However, filling in the blanks on the the prestige, popularity, and the lure of musicians to perform in public places, Egyptian music scene over the last 21 stardom and financial gain that West‐ Ahmed al Zend, Justice Minister, years (and especially, taking into ern and Arab pop musics inspire, moti‐ granted powers of arrest to three account the changes since 2011) is too vate most students to opt for guitar officers nominated by the Syndicate daunting a task for the scope of this and electric keyboard (org) lessons over Head. Based on a law amended in report, so I can only “tag” some issues Arabic lute (a close second), or any 2003, the ruling gives these officers the and include links for further reading other classical or folk instruments. right to conduct searches and arrests, and discussion. accept complaints and reports from Folk music is at risk. The illiteracy and The last two Bulletin reports focused citizens, collect information on the low social status of the “folk” exclude on listing the recommendations from suspects, and send reports directly to them from the serious art world and the second and third Conferences on the prosecution. the mainstream media, relegating their Arabic Music (Cairo, 1992 and 1994). music to an annual Ramadan nostalgia At the same time, a bird’s‐eye view of In addition to reiterated calls for the for roots, an interlude to amuse the music scene in Egypt since 2011, establishment of ethnomusicology tourists after a day of sightseeing, and especially in Cairo, gives the impression departments in three of Egypt’s as part of some quaint but backward of an irrepressible and energetic sound‐ universities and for improving music tradition having little relevance and scape that crosses class and main‐ education in Egypt, we read of calls to value to the development of a modern stream media boundaries with perfor‐ legally prohibit “all awful musical nation‐state. Understandably, tradi‐

Bulletin of the ICTM Vol. 131 — April 2016 — Page 14 REPORTS tional performers, even financially suc‐ music traditions, such as the beloved The Upper Egypt Chorale represents a cessful ones, have been increasingly songs of Sayed Darwish, Sheikh Imam, departure from established approaches reluctant to pass on their skills and or Ismail Yassin. to music education: inspired by the knowledge to a younger generation. teaching of Sister Celeste, a generation While audiences for the Arabic music of children and young people in the Al Two organizations are committed to programme at the Cairo Opera House Minia province have become exposed to reversing this trend: El Mastaba Center are substantial, however much revered the rich history of Egyptian songs. for Egyptian folk Music and Makan. in theory and enjoyed in practice, Arab Through performances and touring, the They promote and produce the music art music does not figure in school choir creates new audiences for this of the bands under their umbrellas (see music programmes, and interested music, not only in their home villages, their websites for lists of releases), tour young people must find their own but also in the larger urban centres of their musicians abroad, organize music teachers and learning opportunities in Cairo and Alexandria. Since the mid festivals (Bab el Shams in Alexandria the Cairo Conservatoire at the Acade‐ 1990s, two educational resources have and WANAS in Cairo), engage their my of Arts, Bayt el Oud (a lute school opened up at the Cairo Opera House: musicians in collaborations with other founded by Iraqi exile and oud virtuoso the Talents Development Centre and musicians and other genres, and boast Nassir Shamma), Dom Tak Cairo the Music Library, where students and extensive archives of audio and visual Rhythm House, and from individual aficionados can access a comprehensive material available to researchers world‐ teachers. The five branches of the collection of Egypt’s musical past. wide. El Mastaba is unique in its Kythara Music Institute in Cairo, and efforts to reintroduce this music into its the Cairo Music Centre (affiliated with Ahmed El Saedi, principal conductor original communities, bringing musi‐ The Royal College of Music, London) and music director of the Cairo Sym‐ cians back to their local communities, offer instruction on both Arab and phony Orchestra, presents a concert and reconvening artists who had given Western instruments. series of Arab composers, titled “Sound up their art in the face of market‐driv‐ of Egypt”. Orchestral and choral com‐ Global music traditions are making en keyboard bands. El Mastaba, whose posers integrate elements of Arab mu‐ their way into the curricula of foreign genesis is in the Canal Zone, continues sic and instruments into their compo‐ language schools through American and to programme regular concerts of local sitions, and successfully perform their English textbooks but the teaching bands in that area, as well as weekly music abroad, although in Egypt, the resources rarely feature Egyptian music concerts in their performing space in music is neither widely performed nor traditions, nor do they offer teacher Cairo (the al Dammah Theatre). appreciated by the general public. training. Nayer Nagui, founder and conductor of Educational policies continue to put the arts at the bottom of the totem pole: most schools’ arts programmes consist of memorizing songs for an end‐ of‐year concert or Broadway musical. Where there is music education in the schools, it is generally characterized by a focus on Western traditions. In this environment, it is perfectly natural for a prominent supporter of the arts to dream of “a piano in every village school”. The music young people buy, download, and listen to—mahraghanat, aghani habta (“low‐brow songs”), poli‐ tical songs, rock, heavy metal, sha3bi/ shababi songs—is regularly criticized in the press as degraded and vulgar. Nor do teacher training courses expose students to the rich heritage of Egypt’s Outdoor concert venue in Giza, Egypt. December 2015. Photo by Svanibor Pettan.

Bulletin of the ICTM Vol. 131 — April 2016 — Page 15 REPORTS the Cairo Celebration Choir, presents a Makan, Rawabet, El Ghouri, Darb Links for further reading programme of European classical mu‐ 17/18, Townhouse Gallery, Culture The popular and successful D-Caf sic, as well as his arrangements of fa‐ Resource (Al Mawred al Thaqafi) and Festival contributes to increase expo‐ mous Egyptian works by Sayed El Warsha present music performances sure of Arab and international arts, Darwish and Gamal Abdel Rahim. A at home and abroad, as well as promot‐ mostly to elite and educated audiences. number of composers coming from the ing new bands. As the oldest civil orga‐ European orchestral tradition (e.g., nization working with oral music tradi‐ In the summer of 2011, Afropop re‐ Ahmed Atef, Hisham Gabr, Nader tions, El Warsha founded a school for searched and produced five pro‐ Abbassi) also contribute to film scores, stick dancing in Mallawi, and has a his‐ grammes on a wide range of Egyptian expanding Egyptians’ exposure to this tory of researching traditional arts for music traditions for English‐speaking genre through the medium of cinema. its programme, bringing in students audiences (mostly in the United States) from outside Cairo and touring abroad Religious music (inshad dini, ibtihalat), Policing music – recent incidents: link in a cabaret format. Like El Warsha flourishing in both rural and urban 1, link 2, link 3, link 4, link 5 and the Upper Egypt Chorale, El contexts and largely disseminated Mastaba has established two schools in New bands – rock and jazz drawing on through affordable cassettes, boasts the Canal Zone where students learn to Egyptian heritage: link impressive audiences (Yassin al play traditional instruments and Tuhami’s audiences of 30-40,000 rival One artist’s critique and solutions to rhythms, the repertoire of local songs those of pop star Mohamed Mounir), the standards of new music: link and dances, and are offered opportuni‐ while retaining many elements of the ties for performance and participation Mahraganat: link 1, link 2, link 3 “art” music tradition, such as impro‐ in El Mastaba’s professional troupes. visation, modes and rhythms. Music and mobile phones: link The new Suheil Cultural Centre offers Aghani habta (so-called “low-brow” percussion lessons to Nubian children New production spaces and training songs), a standard soundscape for taxis on Suheil Island, Aswan. The Nile opportunities for non–mainstream and microbuses, also depend on the Project, now in its third year, brings artists: link1, link2, link 3 cassette industry for dissemination, and together a wide range of musicians and Nationalist music: link are in demand in lower–class, urban genres (folk, jazz, urban pop) from neighbourhood weddings and cafés. countries that share the Nile for local Electronic music releases: link and international performances and Mahraganat, an electronic mix of hip Songs of the New Arab Revolutions workshops on water issues. hop and shababi leaves behind the long‐ (2012), initiated by Michael Frishkopf, standing lyrics of love and heartbreak Although folklorists have a long history is a collaborative documentary film by to tackle economic and political issues, in Egypt, most of their research is text‐ members of the Society for Arab Music and has become the favourite music of based, and ends up on the shelves of Research and members of the (regular‐ lower to middle class young Egyptians, libraries and archives, with little prac‐ ly updated) Facebook group Songs of crossing over from lower class weddings tical value in enhancing the status of the New Arab Revolutions. and birthdays to media contexts and their subjects and contributing to the international music festivals. This continuity of traditions. Egyptian article discusses the Mahraganat genre, ethnomusicologist Mohamed Omran’s tracing its development and the comprehensive study of Gypsy music of challenges it faces from individual the Delta covers 30 years of research, critics and official bodies. but remains outside the canon of ethnomusicological research, accessible A flowering of new non-governmental only to those interested scholars who cultural organizations and initiatives is can read Arabic. The Music Education expanding the role of older institutions Faculty of Helwan University briefly in offering increased opportunities for offered training in ethnomusicology new constituencies to participate in under the direction of the late music. El Mastaba Centre for Egyptian ethnomusicologist Martha Roy. Folk Music, Culture Wheel/El Saqia,

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Ghana The session concluded with a round of Kofi Anyidodo (Department of English, questions and answers. UG), a celebrated poet, presented this by Daniel Avorgbedor, year’s lecture titled “Colonial Legacy In early January 2016 the Department Liaison Officer and the Challenge of Self–Naming”. of Music, School of Performing Arts, The lecture was dedicated to the life, The last few months were UG Legon held a joint composers’ music, and philosophy of the pioneer enriched with some im‐ workshop with two guests from the Ghanaian composer Ephraim Amu. portant musical and other intellectual Department of Composition of the activities in Ghana, most of which were Royal Conservatory of The Hague, Obituaries located and hosted by the University of Netherlands. It is an ongoing collabo‐ Nii Yartey (1946–2015), Associate Ghana (UG). Unfortunately, among rative programme which attracts Professor of Dance (retired), UG, form‐ these there were also significant losses, participants from other universities in er Artistic Director of the National as summarized in the obituaries below. Ghana. This year’s workshop was led Dance Company (until 2006). Artistic by Martijn Padding, Head of the In early December 2015 the African Director and Choreographer of the Department of Composition of the Regional Intellectual Property Organi‐ Ghana Dance Ensemble (1976–1993) Royal Conservatory. zation, in partnership with UG organiz‐ and founder of the Noyam African ed the two‐day workshop “Intellec‐ In September 2015 the Ghana National Dance Institute. He held many posi‐ tual Property and Technology Trans‐ Symphony Orchestra, in collaboration tions as artist‐in‐residence in several fer”. A session of the workshop, chaired with ICTM member Moses Nii‐Dortey international settings. Yartey’s research by well‐known scholar on Ghanaian engaged in a historic recording project: interests focused on the creation and popular music John Collins, built on “The National Symphony Orchestra development of contemporary African the theme of a previous workshop titled Plays Ghanaian Classics”. The session dance in Ghana. Yartey was honoured “Copyrights and Contracts in the Per‐ and its forthcoming CD release featur‐ locally and internationally, including a forming Arts Industry”. Participants of ed a wide range of musicians and styles Grand Medal (Civil Division) in 2000 the workshop were awarded certificates across the indigenous, neo‐traditional, for his contributions to the develop‐ at the conclusion of the sessions. and popular genres. ment of choreography in Ghana.

In November 2014 a jazz workshop On 28 January 2016 the Ephraim Amu Nana Danso Adbiam (1953–2014), was organized and conducted by local Memorial Lecture was held at the founder and conductor of the Pan‐ jazz pianist Victor Dey and visiting Ghana Academy of Arts and Science. African Orchestra, composer and scholar and guitarist Colter Harper. cultural activist who encouraged the

Creative session focusing on Ghanaian indigenous musical elements with guest composers from the Royal Conservatory of The Hague. Legon, Ghana. January 2016. Photo by Daniel Avorgbedor.

Bulletin of the ICTM Vol. 131 — April 2016 — Page 17 REPORTS creative employment and refinement of ✴ Ampene, Kwasi Frank, Akosua edge, Wisdom, and Artistry”. Afri‐ African musical idioms and musical Adomako Ampofo, Godwin K. Adjei, can Music Vol. 9 No. 4 (2014): 7-35. instruments in the context of the and Albert K. Awedoba, eds. ✴ Nii-Dortey, Moses. “Folk Opera and staged orchestral music tradition. Discourses in African Musicology: the Cultural Politics of Post‐Inde‐ Abiam was in the process of re‐envi‐ J.H. Kwabena Nketia Festschrift. pendence Ghana: Saka Acquaye’s sioning the orchestra as the “Accra Ann Arbor: University of Michigan ‘The Lost Fishermen’”. In The Symphony Orchestra”, with the sup‐ Press, 2015. Politics of Heritage in Africa: port of well-known Ghanaian televan‐ ✴ Amuah, Joshua (with E.O. Acquah, Economies, Histories, and gelist Mensah Otabil of the Interna‐ J.F. Annan, and J. Tsemafo–Arthur) Infrastructures, edited by Derek tional Central Gospel Church. Abiam “A Synchronic Study of Semantics in Peterson, Kodzo Gavua, and Ciraj also created a junior division of the Selected Akan Choral Compositions Rassool. Cambridge: Cambridge orchestra called Pan‐African Youth in Ghana”. Journal of Music and University Press, 2015. Orchestra (PAYO), which is conducted Dance Vol. 5 No. 4 (2015): 16-23. by his son Kweku Danso. ✴ Amuah, Joshua and Timothy Andoh. Japan Ebenezer Laing (1931–2015), a “Creative Composition and the botanist and one of few classically‐ Indigenous Knowledge System in by Waseda Minako, Secretary of National trained accomplished pianists who also Ghana: Models From the Life and played classical guitar and oboe, and Compositions of Nana Afua Abasa”. Committee served as organist for the Anglican International Journal of Music and Koizumi Fumio Church at UG. He was a former Pro‐ Performing Arts Vol. 2 No. 2 (2014): Prize Winner 2015 Vice Chancellor, Dean of the Faculty of 53–69. I am pleased to report that Otanazar Science, Head of the Department of ✴ Collins, John. E.T. Mensah the King Matyakubov and Margaret Kartomi Botany, and founding member of the of Highlife Anthology. 60‐page book‐ have received the 27th Koizumi Fumio African Academy of Sciences. His musi‐ let accompanying a 4‐CD Tempos Prize for Ethnomusicology. cal interests include quantitative ana‐ compilation album. London: lyses of highlife, a local popular music RetroAfric, 2015. This prize was established in 1989 to genre. Laing chaired a session of the ✴ Collins, John. A Comprehensive commemorate Koizumi’s lifelong devo‐ three‐day symposium in the honour of Study of the Music Sector: Abridged tion to ethnomusicology and to honour JHK Nketia reported in the January Final Report. Accra: MUSIGA, 2015. individuals and organizations who have 2015 issue of the Bulletin of the ICTM. made significant contributions to the ✴ Collins, John. “Ghanaian Popular field. You can visit this page to learn Nissio Fiagbedzi (1931–2015), former Performance: A Century of Changing more about the prize (including a list Senior Lecturer in the Department of Urban Spaces, Venues and Identi‐ of past awardees) and this page to Music at UG, scholar and cultural ties”. In The Performing Arts in learn more about Koizumi himself. expert on the Ewe, accomplished Africa: Ghanaian Perspectives, edit‐ pianist and associate of the late ed by A. Asiedu, E.J. Collins, F. Otanazar Matyakubov was awarded Ebenezer Laing profiled above. His Gbormittah and F. Nii-Yartey, 43– the prize “in recognition of his contri‐ monographs include An Essay on the 57. Oxford: Ayebia Clarke, 2014. bution to ethnomusicology through Nature of the Aesthetic in the African ✴ Dor, George. “Exploring Indigenous historical research on Central Asian Musical Arts (2005) and Form and Interpretive Frameworks in African musics,” while Margaret Kartomi was Meaning in Ewe Song: A Critical Music Scholarship: Conceptual awarded the prize “in recognition of Review (2009), in addition to numerous Metaphors and Indigenous Knowl‐ her contribution to clarifying diversity essays and book chapters. edge in the Life and Work of Hesino of Southeast Asian music cultures from Selective bibliography of recent Vonorkor Akpalu”. Black Music historical, music‐stylistic and organolo‐ gical viewpoints.” publications focusing on Ghana Research Journal (forthcoming) ✴ Dor, George. “Ephraim Amu’s The award ceremony will be held in ✴ Agawu, Kofi V. The African Imagination in Music. Oxford: ‘Bonwere Kenteŋwene’: A Celebra‐ Tokyo on 26 May 2016. Oxford University Press, 2015. tion of Ghanaian Traditional Knowl‐

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Summer School on Japanese Lithuania problems and perspectives of the Traditional Musical Instruments regionalization of the Lithuanian by Rimantas singing tradition, from the early works Seiha Hōgaku-Kai announces the newly Sliužinskas, Chair of by Jadvyga Čiurlionytė (1938) to the developed International Summer School National Committee twentieth and twenty-first centuries. on Japanese Traditional Musical Instruments. The first programme of its The international Many‐sided aspects of contemporary kind, the summer school will feature ethnomusicological ethnomusicology tightly related to English language courses in shakuhachi conference “Regional issues of regional folklore were discus‐ (vertical bamboo flute), koto (zither), Investigations of Musical Folklore” was sed during the conference. Žanna shamisen (three‐stringed plucked lute) held at the Conference Hall of the Pärtlas (Estonian Academy of Music and Japanese traditional singing. Seiha State Parliament in Vilnius on 2–5 and Theatre, Tallinn, Estonia) discus‐ Hōgaku‐Kai is an organization part of December 2015. The conference was co‐ sed the relict structures of scales in seto the Seiha (Ikuta) school of koto, the organized by the State Parliament’s traditional songs from Southeast largest koto school in the world. Council for the Protection of Ethnic Estonia, analysing the shepherd tune Faculty members include koto Culture and the Lithuanian Academy “Kar’ahääl”. Kata Riskó (Hungarian performer and Seiha Director Yasuko of Music and Theatre. The organiza‐ Academy of Sciences, Budapest) ex‐ Nakashima, shamisen performer tion committee was chaired by Lithua‐ plored the changes in the male dances Kazuko Nakashima, koto performer nian ethnochoreologist Dalia of Northern Hungary, namely the Satoshi Okuda and shakuhachi Urbanavičienė. verbunk, as a result of contemporary performer Christopher Yohmei Blasdel. folk revivalism. Nana Mzhavanadze Virginijus Jocys, Chairman of the (Ilia State University, Tbilisi, Georgia) The summer school will be held in Council for the Protection of Ethnic investigated one articulation pheno‐ Tokyo for from Monday through Culture, stressed the importance of the menon in the music of the Georgian Sunday, 8–14 August 2016. The pro‐ declaration of the year 2015 as “The region of Svaneti. Jürgen Schöpf gramme consists of group and private Year of [Lithuanian] Ethnographic (Vienna University, Austria) compared lessons for individual instruments, as Regions”, and emphasized the need for the physically similar single‐tone pipe well as afternoon sankyoku ensemble protecting these historical regions ensembles ditlhaka in Botswana and classes and an evening lecture series on through legislation, for Lithuanians skudučiai in Lithuania. Japanese music. residing at home or abroad and for national communities residing in the Liliya Barankevich (Belarusian State Students can take the complete course country. Academy of Music, Minsk) discussed as full‐time students (100,000 yen) or Lithuanian folk songs recorded during take individual lessons/classes of their Vida Savoniakaitė (Lithuanian their fieldwork expedition to Ostrovets choice (5,000 yen per lesson/class). Institute of History, Vilnius) followed in the Grodno region (2011). Iryna with a presentation about theoretical Teplova (Rimsky‐Korsakov State Registration to the International Sum‐ approaches to regional research in mer School on Japanese Traditional Conservatory, St. Petersburg, Russia) Central and Eastern Europe, where the shared her research on the folk music of Musical Instruments will be open from culture of ethnographic regions has 4 April to 15 July 2016. Late registra‐ North Russia found in collections and been the target of research for a archives, from the first regional scien‐ tions may be accepted any time after number of decades. Her colleague the deadline, with a 10% surcharge. tific fieldwork expeditions by the Song Vytautas Tumėnas also discussed the Commission of the Imperial Russian Registration is done entirely online. For characteristics of the systemic develop‐ Geographical Society (1886) up to the more details, please refer to the official ment of the conception of Lithuanian website of summer school. present day. Her colleague Inga ethnographic regions. Alma Korolkova presented her work on the Ragauskaitė (PhD student at the musical forms of lamentation culture in Lithuanian Academy of Music and the traditions of Northwest Russia, and Theatre) presented the issue of regiona‐ Irina Popova discussed the theoretical lism as a process leading from ethno‐ and practical issues of notation in the genesis to self‐comprehension. Daiva Vyčinienė gave a wide overview on the

Bulletin of the ICTM Vol. 131 — April 2016 — Page 19 REPORTS

zither) in the Aukštaitija, Žemaitija, and Suvalkija regions.

Other Lithuanian institutions doing research in ethnomusicology were also represented in the conference programme. Rūta Žarskienė (Institute of Lithuanian Literature and Folklore, Vilnius) discussed instrumental music‐ making in the Žemaitija region as conservatism/continuation of tradition; Laura Lukenskienė (Kaunas City Museum) presented unknown aspects of kanklės performance in the Suvalkija regional style; and Lina Laurinavičiūtė‐ Petrošienė (Klaipėda University) ex‐ plored the sociocultural context of Shrove Tuesday calendar folk songs.

Folk dancing evening with the folk group “Laukis”. Vilnius, Lithuania, 4 December Some poster sessions were presented as 2015. Photo by R. Junevičius. well: “The Ways of Saving Traditional Music Culture of Slobodian Ukraine in context of recordings by traditional lity and dynamics in the structure of the 21st Century” by Iryna Romanyuk accordionists of the Vologda region. song stanzas in the Ukrainian reper‐ (Kharkiv, Ukraine); “The Song of the toire. Finally, Tatiana Kaplun (Odessa Fatherland: An Investigation of Ewelina Grygier (Institute of Art of the National A. V. Nezhdanova Academy Functions From Some Latvian Folk Polish Academy of Sciences, Warsaw, of Music) investigated gender aspects Songs” by Kristīne Rotbaha (Riga, Poland) raised the rhetorical question of the study of the Old Believer Latvia); “Frequency Directory and “Do street musicians still play urban tradition in communities from the Regional Publications of Ukrainian folklore?”, focusing her presentation on Odessa region. Song Folklore” by Liudmila Jefremova the case of the streets of Vienna. (Kiev, Ukraine); and “Jambic Gustaw Juzala (Institute of Archaeolo‐ The main trends of contemporary Septenarius Formula in the Ritual gy and Ethnology, Polish Academy of Lithuanian ethnomusicology were Song Folklore of Ukrainians, Sciences / Department of Romanic reflected in the presentations by Belarusians, Lithuanians, and Poles” Philology, Vilnius University) shared scholars from the the conference’s host, by Irina Klimenko (Kiev, Ukraine). the results of his research on the folk‐ the Academy of Music and Theatre lore of the highlands near the Tatra Vilnius. Dalia Urbanavičienė reflected The concert “Tai genelio margumai”, mountains, Podhale region, Poland. on the characteristics of regionalism in which presented the full spectrum of Lithuanian ethnochoreology; Evaldas regional Lithuanian folklore, was also A team of five Ukrainian Vyčinas portrayed the Aukštaitija included in the programme. Among the ethnomusicologists from the National region as an example of exceptional performers were the folk ensembles P. I. Tchaikovsky Music Academy traditional instrumental music; Gaila “Verpeta” (Kaišiadorys) and “Seklyčia” (Kiev) participated in the conference. Kirdienė compared the fiddling style of (Kėdainiai), accordion player A. Margaryta Skazhenyk and Oleh the Dzūkija region to those of the Mieliauskas, drummer K. Streikus Korobov discussed the interdisciplinary Lazdijai (Lithuania) and Seinai– (Zarasai), R. Garsonienė and a group research of traditions of the Middle Punskas (Poland) regions; Jūratė of young drummers and accordion play‐ Polissya region. Anna Kolomytseva Petrikaitė discussed poetry and song ers (Utena), and A. Batavičius, who presented the results of her research on from the Suvalkija region; and finally, performed on several wind and bellows Ukrainian cumulative songs, emphasi‐ Rytis Ambrazevičius discussed his musical instruments. Georgian folk zing the issues of regional parallels, and research on the peculiarities of the singer Nana Mzhavanadze and the Anastasiia Mazurenko discussed stabi‐ tunings of the kanklės (a Lithuanian ensemble “Volodar” (Ukraine)

Bulletin of the ICTM Vol. 131 — April 2016 — Page 20 REPORTS presented examples from their regional A series of guest lectures at the Ethno‐ with Imago Sloveniae, a renowned folklore. musicology Programme of the Depart‐ cultural foundation which organizes one ment of Musicology of the University of of the most prominent annual music A folk‐dancing evening was also part of Ljubljana, hosted by Svanibor Pettan, festivals in Slovenia, “Nights in the Old the programme, with performances by provided us with a variety of relevant Ljubljana Town”. Thanks to this young ethnomusicologists from the topics. Alongside local scholars and partnership, the NC has successfully Lithuanian Academy of Music and musicians, the international presenters brought together music and dance Theatre and the folk group “Laukis”. included Engelbert Logar and Kendra research with the performative domain On the last day of the conference, an Stepputat (Austria), Tamara Karača‐ in the scope of the festival. The NC excursion to the Dzūkija National Park Beljak, Ivana Gojmerac, and Jasmina enriches the event by organizing an was organized, where conference Talam (Bosnia and Herzegovina), international multidisciplinary sympo‐ participants enjoyed Advent folk songs Steven Brown (Canada), Nada Bezić, sium and one or more concerts every and round‐games in the village of Naila Ceribašić, Joško Ćaleta, and year. The organizing team consists of Marcinkonys, heard stories about Lidija Nikočević (Croatia), Thomas Teja Klobčar, Mojca Kovačič, Svanibor every‐day life in the Dzūkai region, and Hilder (Germany), Arun Mishra Pettan (Chair), and Carlos Yoder. met the 90‐year‐old local folk singer (India), Kei Saito and Yusuke Wajima Consequently, in 2012 Slovenian re‐ Birutė Tamulevičienė. (Japan), Saida Yelemanova searchers and performers participated (Kazakhstan), Aswin Shrestha (Nepal), We hope that our ethnographic regions in a roundtable and concert (titled Daniel Winfree Papuga and Thomas will continue to strive in the future, “Whither Accordion?”) focusing on the Solomon (Norway), Vesna Ivkov and that their folk traditions will accordion. In 2013, the topic of the (Serbia), Subhangi Herath and continue both in Lithuania and symposium and two outdoor concerts Lasanthi Manaranjanie Kalinga Dona worldwide. was “Music and Protest in Various (Sri Lanka), Karin Eriksson and Parts of the World”. The following Ann-Sofie Öman (Sweden), Xavier year, the symposium “Music and Slovenia Bouvier and Marcello Sorce Keller Otherness” brought together scholars (Switzerland), Wei-Ya Lin (Taiwan), by Mojca Kovačič, who presented their research from John Christian (UK), and Dane Chair of National various academic disciplines and Harrison and John Vallier (USA). A Committee professions. “Otherness” was addressed special case of international cooperation from both a theoretical point of view Ethnomusicological was the visiting professorship of Tsai and through the musical activities of activities in Slovenia are Tsung‐Te from Taiwan in October people with special needs, members of rich and diverse. In this report I will 2013. ethnic minorities, elderly people, and discuss those activities following my Several international symposia were carriers of unusual vocal and instru‐ previous report, published in the April held in Slovenia since 2012. First we mental expressions. The keynote 2012 issue of the Bulletin. hosted the 28th European Seminar for speaker was Ursula Hemetek. In May 2014, the ICTM National Ethnomusicology, titled “Music and Perhaps the most inspiring and thema‐ Committee for Slovenia (NC) partici‐ Cultural Memory in Post‐1989”. Many tically diverse of these multidisciplinary pated in a joint meeting with the international scholars presented the symposia was that of 2015, which National Committees for Austria and ways by which current musical forms focused on the broad topic of “Music Italy (Pulfero, Italy). A detailed report address past events and how the strate‐ and Ecology”. The theme of the symp‐ on the meeting was published in the gies of reshaping and re‐narrating the osium coincided with an increased October 2014 issue of the Bulletin. In musics from the past function in the interest in sound, perception, and space recent years we have noticed closer dominant discourses of the present. in the international research discourse. cooperation among the members of the Since the coming of the ICTM Secreta‐ Issues discussed in the symposium in‐ NC from different institutions or work‐ riat to Slovenia in 2011, the NC— cluded religious sounds, political, ing environments. Slovenia represents a which is embedded in the Cultural and immigrant, urban, and rural sound‐ rather small research space, so mutual Ethnomusicological Society Folk scapes, the environmental sustainabili‐ cooperation and direct contacts with Slovenia—strengthened its cooperation ty of music festivals, sound ecology, colleagues from abroad are essential.

Bulletin of the ICTM Vol. 131 — April 2016 — Page 21 REPORTS music heritage politics, and zoomusico‐ logy among many others. The keynote speakers were Marcello Sorce Keller, Huib Schippers, and Kjell Skyllstad. The project “Sound Cabin”, co‐ organized by Ana Hofman and Mojca Kovačič, was carried out during the symposium and festival as part of the international project “City Sonic Ecology: Urban Soundscapes of Bern, Ljubljana, and Belgrade” (funded by Swiss National Science Foundation). The sound experiences of Ljubljana’s locals and visitors were recorded, including stories by participants of the symposium. Participants of the Symposium “Music and Ecology”. Ljubljana, Slovenia, August In 2016, the NC will co-organize the 2015. Photo provided by Mojca Kovačič. first symposia of the two newly‐formed Study Groups on Audiovisual Štajeriš: Podoba in kontekst Hoyer trio on the popularity of polka Ethnomusicology and on Musics of the slovenskega ljudskega plesa [The music in the United States. Slavic World. štajeriš: Form and context of a Ana Hofman’s book Glasba, politika, Slovenian folk dance] by Rebeka Kunej In 2014, a concert, press conferences, afekt: Novo življenje partizanskih pesmi and Pa se sliš... Pritrkavanje v and a documentary film were dedicated v Sloveniji [Music, politics, affect: New slovenskem in evropskem prostoru [Bell to the 80th anniversary of the Institute lives of partisan songs in Slovenia] chiming in Slovenian and European of Ethnomusicology ZRC SAZU, where (2015) engages with music and cultural spaces] by Mojca Kovačič. Both several ICTM members are employed memory in the post-Yugoslav societies. publications have already been as researchers. This report provides Hofman was also guest editor of the presented in Bulletin of the ICTM 122 also a good opportunity for Volume 29 of the journal Southeastern (April 2013). congratulating Slovenian Europe (2015), where issues on memory ethnochoreologist Mirko Ramovš and The year 2014 marked the appearance politics in post-Yugoslav contexts were ethnomusicologist Julijan Strajnar on of a volume co-edited by Drago Kunej addressed. their recent 80th birthdays. and Urša Šivic, Trapped in Folklore? In 2015, Svanibor Pettan co‐edited Studies in Music and Dance Tradition On 28 May 2016, the Cultural and with Jeff Todd Titon The Oxford and Their Contemporary Transforma‐ Ethnomusicological Society Folk Handbook of Applied Ethnomusicology tions, featured in Bulletin of the ICTM Slovenia (the underlying organization (featured in Bulletin of the ICTM 129), 123 (October 2013). The 2014 issue of that manages the NC) will celebrate its the major publication with worldwide the journal Traditiones, edited by 20th anniversary in the coastal city of views and experiences in this growing Drago Kunej, was dedicated to findings Izola with workshops, an exhibition, a field. Kosovo through the Eyes of Local on recently‐digitized old gramophone roundtable, a press conference, the pre‐ Romani (Gypsy) Musicians (featured records of Slovenian music. Rebeka sentation of its new CD Contemporary in Bulletin of the ICTM 128) is another Kunej and Drago Kunej co-authored Traditional Music in Slovenia III, and 2015 publication by Pettan, the newest the monograph Glasba z obeh strani: a concert. volume in the audiovisual series of the Gramofonske plošče Matije Arka in Society for Ethnomusicology. In the following section some recent Hoyer tria [Music from both sides: and most representative publications Gramophone records of Matija Arko by Slovenian ICTM will be mentioned. and Hoyer Trio] (2016) where they In 2012, two monographs based on discuss the work and influence of the doctoral dissertations were published:

Bulletin of the ICTM Vol. 131 — April 2016 — Page 22 CALENDAR OF EVENTS Calendar of ICTM Events

ICTM ★ 25-27 Aug 2016: 1st Symposium of the ICTM Study Group on Audiovisual Ethnomusicology ★ 21-23 Apr 2016: 5th Symposium of the ICTM Study Location: Ljubljana, Slovenia Group on Music of the Turkic-speaking World ★ Location: Almaty, Kazakhstan 30 Sep 2016: Deadline for submissions of proposals to the 44th ICTM World Conference ★ 2-8 May 2016: 5th Symposium of the ICTM Study Submit a proposal Group on Music and Dance in Southeastern Europe ★ Location: Blagoevgrad, Bulgaria 5-9 Oct 2016: 5th Symposium of the ICTM Study Group on Applied Ethnomusicology ★ 17-20 May 2016: 13th Symposium of the ICTM Location: Cape Breton, Canada Study Group on Iconography of the Performing Arts ★ Location: Venice, Italy 13-15 Oct 2016: 1st Symposium of the ICTM Study Group on Musics of the Slavic World ★ 19-21 May 2016: 9th Symposium of the ICTM Location: Ljubljana, Slovenia Study Group on Music and Dance of Oceania ★ Location: Guam, USA 20-23 Oct 2016: 24th ICTM Colloquium Location: Shanghai, China ★ 21-26 Jun 2016: 1st Joint Symposium of the ICTM ★ Study Group on Mediterranean Music Studies and the 27-31 Oct 2016: 14th Symposium of the ICTM International Musicological Society Study Group on Iconography of the Performing Arts Location: Naples, Italy Location: Xi’An, China

★ : 21st Symposium of the ICTM ★ 4-7 Jul 2016: 4th Symposium of the ICTM Study 5-8 Apr 2017 Group on Multipart Music Study Group on Musical Instruments Location: Singapore Location: Sarajevo, Bosnia and Herzegovina

★ 4-10 Jul 2016: 9th Symposium of the ICTM Study Group on Music and Minorities 13-19 Jul 2017 Location: Rennes, France 44th ICTM World Conference Location: Limerick, Ireland ★ 9-16 Jul 2016: 29th Symposium of the ICTM Study Visit the conference website Group on Ethnochoreology Location: Retzhof Castle near Graz, Austria

★ 13-16 Jul 2016: 9th Symposium of the ICTM Study Related organizations Group on Music and Gender ★ 2-3 Dec 2016: 21st Musica vulgaris and musica Location: Bern, Switzerland artificialis: The Social and Artistic History of Musical Instruments ★ 31 Jul-6 Aug 2016: 4th Symposium of the ICTM Location: Vienna, Austria Study Group on Performing Arts of Southeast Asia Location: Penang, Malaysia

★ 25-27 Aug 2016: 5th Symposium of the ICTM Study Group on Musics of East Asia Location: Taipei, Taiwan

Bulletin of the ICTM Vol. 131 — April 2016 — Page 23 PUBLICATIONS Featured Publications by ICTM Members Multipart Music: Music in Art 50 1-2: An Audiovisual Explora‐ Personalities and Neoclassical tion of Philippine Music: Educated Musicians in Reverberations of The Historical Contribu‐ Traditional Practices Discovering Antiquity tion of Robert Garfias

Pál Richter and Lujza Tari, eds. Zdravko Blažeković, ed. New York: Terada Yoshitaka, ed. Osaka: National Budapest: Institute of Musicology RCH Research Center for Music Museum of Ethnology, 2016. HAS, 2015. Paperback, 540 pp., colour Iconography, 2015. Paperback, 350 pp., Paperback, 124 pp. ISBN photos, transcriptions, DVD. ISBN photos, transcriptions. ISSN 1522-7464. 9784906962419. To obtain a copy, 9789634160168. To obtain a copy, Annual subscription: 160/50 USD contact the editor. contact the editors. (institutions/individuals). Subscribe. This book is a report This volume collects This volume collects of the international the proceedings from selected papers symposium with the the 3rd Symposium presented at the 12th same title, held at the of the ICTM Study Symposium of the National Museum of Group on Multipart ICTM Study Group Ethnology in Osaka, Music, held in on Iconography of Japan on 19 May Budapest, Hungary the Performing Arts, 2014, to commemorate the occasion of in September 2013. It includes articles held at the Istituto Robert Garfias being awarded the from Ulrich Morgenstern, Larry Francis per i beni musicali in Piemonte, Turin, Koizumi Fumio Prize for Hilarian, Lujza Tari, Ignazio 6–9 October 2014. Ethnomusicology for 2013. The book Macchiarella, Enrique Cámara de contains Garfias’s own reflections on It includes articles by Paola D’Alconzo, Landa, Fulvia Caruso, Gianni Belluscio his fieldwork in 1966, and essays by Elena Ferrari-Barassi, Merdeces Viale and Oliver Gerlach, Nona Lomidze, Ramon Santos, Michiyo Yoneno–Reyes, Ferrero, Maria Ida Biggi, Gabriella Paolo Bravi, Cristina Ghirardini, Usopay H. Cadar, and Fukuoka Shota Olivero, Diana Blichmann, John Z. Gerda Lechleitner, and Anda Beitāne, which examine the content and method McKay, Anna Maria Ioannoni Fiore, among others. Daiva Račiūnaitė- of Garfias’s documentation and the Francesca Cannella, and Maria Teresa Vyčinienė, Anne Caufriez, historical contributions and future Arfini. Jean-Jacques Castéret, Renato Morelli, applications of the documentation in Constantin Secarãm Pál Richter, Amra relation to Philippine music research, Toska, Lana Šehović Paćuka, Guido music education, preservation of Raschieri, Ieva Pāne, We-Ya Lin, traditional performing arts, and impact Tamaz Gabisonia, Zlata Marjanović, on local communities. Katalin Lázár, János Sipos, and Kata Riskó. It is prefaced with an essay by Svanibor Pettan and a welcome address by Attila Paládi-Kovács.

Bulletin of the ICTM Vol. 131 — April 2016 — Page 24 PUBLICATIONS

Global Glam and Popular Into the Mix: People, musical revolution had on ordinary citizens, as well as political leaders. Music: Style and Places, Processes

Spectacle From the 1970s Jennifer Cattermole, Henry Johnson, Performing Nostalgia: to the 2000s and Oli Wilson, eds. Dunedin: Migration Culture and International Association for the Study Ian Chapman and Henry Johnson. New of Popular Music (Australia/New Creativity in South York: Routledge, 2016. Hardcover and Zealand Branch), 2015. Paperback, 86 Albania e-book, 300 pp. ISBN 97801138821767. pp. ISBN 9780975774762. 85 GBP. Purchase. Eckehard Pistrick. London: Routledge, The chapters in this 2015. Hardcover, 248 pp., photos, This book is the first volume engage with trans. ISBN 9781472449535. 65 GBP. to explore style and the theme of “mix”, Purchase. spectacle in glam referring literally to popular music mixing stages in the In this study of performance from the production of migration music in 1970s to the present recorded music as post‐socialist Albania, day, and from an well as all manner of Eckehard Pistrick international musical hybridities and encounters, and identifies links perspective. Approaching glam music the fluid nature of musical meanings between sound, space, performance and style broadly, and and experiences. They offer case study emotionality, and using the glam/glitter rock genre of the analyses underpinned by historical, mobility in perform‐ early 1970s as a foundation for case ethnographic or critical enquiry, or ance, provides new insights into the studies and comparisons, the volume theoretical discussions addressing music controversial relationship between engages with subjects that help in production and hybridity related sound and migration, and sheds light defining the glam phenomenon in its topics, and are both regional and on the cultural effects of migration many manifestations and contexts. Its international in orientation. processes. Central to Pistrick’s performers are characterized by their approach is the essential role of flamboyant and theatrical appearance emotionality for musical creativity (clothes, costumes, makeup, hairstyles), Listening to China's which is highlighted throughout the they often challenge gender stereotypes Cultural Revolution volume: pain and longing are discussed and sexuality (androgyny), and they not as a traumatizing end point, but as Laikwan Pang, Paul Clark, and Tsan- create spectacle in popular music a driving force for human action and as Huang Tsai, eds. New York: Palgrave performance, fandom, and fashion. The a source for cultural creativity. In Macmillan, 2016. Hardcover and e- essays in this collection comprise addition, the study provides an book. ISBN 9781137463579. 69.99 USD. theoretically-informed contributions overview about the current state of a Purchase. that address the diversity of the rarely documented vocal tradition in world’s popular music via artists, Bringing together the Europe that is a part of the mosaic of bands, and movements, with special most recent research Mediterranean singing traditions. It attention given to the ways glam has on the Cultural refers to the challenges imposed onto been influential not only as a music Revolution in China, this practice by heritage politics, the genre, but also in fashion, design, and musicologists, dynamics of re-traditionalization and other visual culture. historians, literary musical globalization. In this sense the scholars, and others book constitutes an important study of discuss the music and the dynamics of post-socialism as seen its political implications. Combined, from a musicological perspective. these chapters paint a vibrant picture of the long-lasting impact that the

Bulletin of the ICTM Vol. 131 — April 2016 — Page 25 PUBLICATIONS

Songs of the Empty Place: From the ICTM Online Photo Gallery The Memorial Poetry of the Foi of the Southern Highlands Province of Papua New Guinea

James F. Weiner and Don Niles. Canberra: ANU Press, 2015. Paperback, 187 pp. ISBN 9781925022223. 28 AUD. Free download and purchase.

This book contains the transcriptions, translations, and descriptions of the Fieldwork expedition to Vlčnov, Czech Republic. May 2012. Photo provided by songs Weiner Daniela Stavělová recorded during anthropological research for 31 months between 1979 and 1995 amongst the Foi people of Papua New Guinea. The texts of women’s sago songs (obedobora), men’s ceremonial songs (sorohabora), and women’s sorohabora are included. Men turn the prosaic content of women's sago songs into their own sorohabora songs, which are performed the night following large-scale inter-community pig kills. The songs are memorial in intent, Kyrgyz girl and her grandfather. Kyrgyzstan, 2012. Photo by János Sipos. commemorating the lives of men who are no longer living, usually by naming the places the deceased inhabited during his lifetime. Niles considers these Foi genres in relation to those of neighbouring groups, highlighting aspects of regional performance styles. Consideration is also given to the poetic devices used in Papua New Guinea songs. Eighteen recordings illustrating the Foi genres discussed in this book are available for download.

Socialising during the 20th Symposium of the Study Group on Musical Instruments. Luang Prabang, Laos. June 2015. Photo provided by Gisa Jähnichen.

Bulletin of the ICTM Vol. 131 — April 2016 — Page 26 GENERAL INFORMATION ICTM World Network

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

Afghanistan Botswana Cuba Ahmad Naser Sarmast Tomeletso Sereetsi Laura Delia Vilar Álvarez Liaison Officer Liaison Officer Liaison Officer

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

Algeria Bulgaria Czech Republic Maya Saidani Lozanka Peycheva Zuzana Jurková Liaison Officer Chair of National Committee Liaison Officer

American Samoa Cameroon Denmark Kuki Motumotu Tuiasosopo Kisito Essele Eva Fock Liaison Officer Liaison Officer Chair of National Committee

Argentina Canada Ecuador Silvia Citro Judith Klassen María Gabriela López Yánez Liaison Officer Chair of National Committee Liaison Officer

Australia and New Cape Verde Egypt Zealand Mário Lúcio de Sousa Kristina Nelson Catherine Grant Liaison Officer Liaison Officer Chair of Regional Committee Chile Estonia Austria Jacob Rekedal Žanna Pärtlas Bernd Brabec de Mori Liaison Officer Liaison Officer Chair of National Committee China Ethiopia Azerbaijan Xiao Mei Timkehet Teffera Sanubar Bagirova Chair of National Committee Liaison Officer Liaison Officer Costa Rica Finland Bangladesh Susan Campos Fonseca Antti-Ville Kärjä Sayeem Rana Liaison Officer Chair of National Committee Liaison Officer Côte d’Ivoire France Belgium Sié Hien Susanne Fürniss Anne Caufriez Liaison Officer Chair of National Committee Liaison Officer Croatia Georgia Bosnia and Tvrtko Zebec Joseph Jordania Herzegovina Chair of National Committee Liaison Officer Jasmina Talam Chair of National Committee Bulletin of the ICTM Vol. 131 — April 2016 — Page 27 GENERAL INFORMATION

Germany Italy Malawi Dorit Klebe Serena Facci Robert Chanunkha Chair of National Committee Chair of National Committee Liaison Officer

Ghana Japan Malaysia Daniel Avorgbedor Tsukahara Yasuko Tan Sooi-Beng Liaison Officer Chair of National Committee Liaison Officer

Greece Kazakhstan Malta Irene Loutzaki Saule Utegalieva Philip Ciantar Liaison Officer Liaison Officer Liaison Officer

Guam & Northern Kenya Mexico Marianas Charles Nyakiti Orawo Carlos Ruiz Rodriguez Michael Clement Liaison Officer Liaison Officer Liaison Officer Republic of Korea Mongolia Guatemala Sheen Dae-Cheol Otgonbayar Chuluunbaatar Matthias Stöckli Chair of National Committee Liaison Officer Liaison Officer Kuwait Montenegro Hungary Lisa Urkevich Zlata Marjanović János Sipos Liaison Officer Liaison Officer Chair of National Committee Kyrgyzstan Morocco Iceland Munira Chudoba Lhoussain Simour Guðrún Ingimundardóttir Liaison Officer Liaison Officer Liaison Officer Laos Mozambique India Bountheng Souksavatd Luka Mukhavele Shubha Chaudhuri Liaison Officer Liaison Officer Chair of National Committee Latvia The Netherlands Indonesia Anda Beitāne Evert Bisschop Boele Made Mantle Hood Liaison Officer Liaison Officer Liaison Officer Lebanon Nigeria Iran Nidaa Abou Mrad Richard C. Okafor Mohammad Reza Azadehfar Liaison Officer Liaison Officer Liaison Officer Lithuania Norway Iraq Rimantas Sliužinskas Bjørn Aksdal Scheherazade Q. Hassan Chair of National Committee Chair of National Committee Liaison Officer Macedonia Oman Ireland (FYROM) Nasser Al-Taee Lonán Ó Briain Velika Stojkova Serafimovska Liaison Officer Chair of National Committee Chair of National Committee Palau Israel Madagascar Simeon Adelbai Essica Marks Mireille Rakotomalala Liaison Officer Liaison Officer Liaison Officer

Bulletin of the ICTM Vol. 131 — April 2016 — Page 28 GENERAL INFORMATION

Papua New Guinea Spain Uganda Naomi Faik-Simet Francisco J. García Gallardo James Isabirye Liaison Officer Chair of National Committee Chair of National Committee

Peru Sri Lanka Ukraine Efraín Rozas Lasanthi Manaranjanie Olha Kolomyyets Liaison Officer Kalinga Dona Liaison Officer Liaison Officer Philippines United Arab José Buenconsejo Sudan Emirates Liaison Officer Mohammed Adam Sulaiman Virginia L. Danielson Abo-Albashar Liaison Officer Poland Liaison Officer Ewa Dahlig United Kingdom Chair of National Committee Swaziland Keith Howard Cara Stacey Chair of National Committee Portugal Liaison Officer Salwa El-Shawan Castelo- United States of Branco Sweden America Chair of National Committee Ingrid Åkesson Beverley Diamond Chair of National Committee Chair of National Committee Puerto Rico Mareia Quintero Rivera Switzerland Uruguay Liaison Officer Marc-Antoine Camp Marita Fornaro Chair of National Committee Liaison Officer Romania Constantin Secară Taiwan Uzbekistan Liaison Officer Tsai Tsung-Te Alexander Djumaev Chair of Regional Committee Liaison Officer Russia Olga A. Pashina Tajikistan Vanuatu Liaison Officer Faroghat Azizi Monika Stern Liaison Officer Liaison Officer Serbia Danka Lajić-Mihajlović Tanzania Venezuela Chair of National Committee Imani Sanga Katrin Lengwinat Liaison Officer Liaison Officer Singapore Joseph Peters Thailand Vietnam Liaison Officer Bussakorn Binson Phạm Minh Hương Liaison Officer Chair of National Committee Slovakia Tunisia Bernard Garaj Yemen Chair of National Committee Anas Ghrab Jean Lambert Liaison Officer Liaison Officer Slovenia Turkey Mojca Kovačič Zambia Chair of National Committee Arzu Öztürkmen Mwesa I. Mapoma Chair of National Committee Liaison Officer South Africa Alvin Petersen Turkmenistan Zimbabwe Liaison Officer Shakhym Gullyev Jerry Rutsate Liaison Officer Liaison Officer

Bulletin of the ICTM Vol. 131 — April 2016 — Page 29 GENERAL INFORMATION Study Groups

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

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

African Musics Music and Dance in Southeastern Europe Chair: Patricia A. Opondo Chair: Velika Stojkova Serafimovska

Applied Ethnomusicology Music and Dance of Oceania Chair: Klisala Harrison Chair: Brian Diettrich

Audiovisual Ethnomusicology Music and Gender Chair: Leonardo D’Amico Chair: Barbara L. Hampton

Ethnochoreology Music and Minorities Chair: Catherine E. Foley Chair: Ursula Hemetek

Historical Sources of Traditional Music Music Archaeology Co-Chairs: Susanne Ziegler & Ingrid Åkesson Chair: Arnd Adje Both

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

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

Mediterranean Music Studies Musical Instruments Chair: Ruth Davis Chair: Gisa Jähnichen

Multipart Music Musics of East Asia Chair: Ardian Ahmedaja Chair: Terauchi Naoko

Music and Allied Arts of Greater South Musics of the Slavic World Asia Chair: Elena Shishkina Chair: Richard K. Wolf Performing Arts of Southeast Asia Chair: Patricia Matusky

Bulletin of the ICTM Vol. 131 — April 2016 — Page 30 GENERAL INFORMATION Executive Board

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

Salwa El-Shawan Castelo-Branco Don Niles Razia Sultanova Portugal Papua New Guinea UK President (2013-2017) Vice President (2013-2017) Vice President (2015-2019)

Samuel Araújo, Jr. Naila Ceribašić Catherine E. Foley Marie Agatha Ozah Brazil Croatia Ireland Nigeria/USA EB Member (2011-2017) EB Member (2011-2017) EB Member (2015-2017) EB Member (2015-2017)

Jonathan P.J. Stock Kati Szego Tan Sooi Beng Terada Yoshitaka UK/Ireland Canada Malaysia (寺⽥ 吉孝) EB Member (2013-2019) EB Member (2011-2017) EB Member (2015-2021) Japan EB Member (2013-2019)

Trần Quang Hải J. Lawrence Witzleben Xiao Mei (萧梅) France USA China EB Member (2011-2017) EB Member (2015-2021) EB Member (2013-2019)

Bulletin of the ICTM Vol. 131 — April 2016 — Page 31 GENERAL INFORMATION Secretariat

The Secretariat is the body responsible for the day-to-day operations of ICTM, and is the main channel of communication Contact information between the Council’s governing body—the Executive Board—and International Council for Traditional Music its members, subscribers, partners, and affiliates.

The Secretariat comprises the Secretary General and the Executive Department of Musicology Assistant, who are both appointed by the Executive Board for an Faculty of Arts initial period of four years. The current Secretariat has been based University of Ljubljana at the University of Ljubljana, Slovenia, since July 2011, with Aškerčeva 2 Svanibor Pettan as Secretary General and Carlos Yoder as 1000 Ljubljana Executive Assistant. Slovenia

Phone: +1 410 501 5559 E-mail: [email protected] Skype: ictmslovenia Website: www.ictmusic.org Facebook: www.facebook.com/ictmusic Flickr group: www.flickr.com/groups/ictmusic

Svanibor Pettan Carlos Yoder Secretary General Executive Assistant Slovenia Argentina/Slovenia

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

Bulletin of the ICTM Vol. 131 — April 2016 — Page 32 GENERAL INFORMATION Membership Information

The International Council for Traditional Music is a (***) Available only to applicants retired from full time scholarly organization which aims to further the study, work who have been members of the ICTM for at least five practice, documentation, preservation, and dissemination of years. traditional music and dance of all countries. To these ends the Council organizes World Conferences, Symposia, and Memberships for organizations Colloquia, and publishes the Yearbook for Traditional Corporate Memberships are available to institutions, Music and the online Bulletin of the ICTM. libraries, regional scholarly societies, radio-television organizations, and other corporate bodies. Corporate As a non-governmental organization in formal consultative Members are able to choose the number of individuals they relations with UNESCO and by means of its wide would like to attach to their Corporate Membership (a international representation and the activities of its Study minimum of four). These “Corporate Related Members” Groups, the International Council for Traditional Music enjoy the same benefits as full Ordinary Members, i.e., acts as a bond among peoples of different cultures and thus participation in the Council’s activities, voting in elections, contributes to the peace of humankind. receipt of publications, and access premium website content. Membership Institutional Subscriptions to the Yearbook for All ICTM memberships run from 1 January to 31 Decem‐ Traditional Music are available in electronic-only, ber, except for Life and Joint Life Memberships (see below). print-only, and print+electronic formats. Please visit this page for more information. Members in good standing are entitled to:

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

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

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

Bulletin of the ICTM Vol. 131 — April 2016 — Page 33 GENERAL INFORMATION Publications by ICTM

Yearbook for Traditional Music Bulletin of the ICTM

The Yearbook for Traditional Music is a refereed scholarly The Bulletin of the International Council for Traditional journal which carries essays, reviews, and reports in the area Music carries news from the world of traditional music and of traditional music and dance research. dance, a calendar of upcoming events, and reports from ICTM Study Groups and ICTM National and Regional ISSN (Print): 0740-1558 Representatives. ISSN (Online): 2304-3857 ISSN (Online): 2304-4039 General Editor: Kati Szego. Editor: Carlos Yoder. The Yearbook was established in 1949 as the Journal of the International Folk Music Council. It is published in English The Bulletin of the ICTM was established in 1948 as the every November. All ICTM members and institutional Bulletin of the International Folk Music Council. Until its subscribers in good standing receive a copy of the Yearbook April 2011 issue (Vol. 118), the Bulletin was printed and via priority air mail. posted to all members and subscribers. Starting with its October 2011 issue (Vol. 119), the Bulletin became an The 2015 issue the Yearbook (Vol. 47), was published in electronic-only publication. November 2015. The Bulletin of the ICTM is made available through the ICTM’s website in January, April, and October each year. It can be downloaded free of charge, and all are encouraged to redistribute it according to the Creative Commons BY-NC-SA 3.0 Unported License, which protects it.

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

Online Membership Directory

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

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

Bulletin of the ICTM Vol. 131 — April 2016 — Page 34