SEM Newsletter Published by the Society for Ethnomusicology Volume 42 Number 4 September 2008 2008 Charles Seeger the world, including Japan, Korea, Okinawa, Conversations the Philippines, Mexico, Romania, Turkey, Lecturer: Robert Garfias Mozambique, Guatemala, Honduras, Belize, By Deborah Wong, SEM President By Hiromi Lorraine Sakata Burma, Costa Rica, Nicaragua and Zimbabwe, mastering the languages of many of these Women and Music in Cross-Cultural Perspective, The Society for Ethnomusicology has places. His vast collection of documentary edited by Ellen Koskoff, was published by invited Robert Garfias, Professor of Anthro- films and sound recordings (both field and the University of Illinois Press in 1987. In pology at the University of California, Irvine, studio recordings of visiting artists and others this column, I talk with Ellen and three SEM to be the 2008 Charles Seeger Lecturer for its who visited the Seattle area) is deposited in members who have organized special events 53rd Annual Meeting at Wesleyan University, the University of Washington Ethnomusicol- for the SEM annual meeting at Wesleyan Middletown, CT. Robert Garfias is Past- ogy Archives. In addition to his teaching University that will commemorate the twenty- President of the Society for Ethnomusicol- and research activities, he spent fifteen years first anniversary of the book’s publication. ogy (1985-87) and is a well-known academic, working on public policy with advisory boards A roundtable and reception co-sponsored by public arts policy activist, and an early maker at the National Endowment for the Arts, the the Section on the Status of Women (SSW) of documentary music films. Smithsonian Institution, and with local and and the Gender and Sexualities Taskforce Garfias has degrees in anthropology state arts agencies. (GST) will give SEM members the chance to and ethnomusicology from San Francisco honor the contributors to Women and Music State University and UCLA, respectively. and to consider how ethnomusicology might He is credited with the establishment of the contribute more searchingly to gender and University of Washington ethnomusicology sexuality studies. As is typical of the SSW and program in 1962 when he was recruited GST, their focus is on where we are now and to the University as a faculty member in where we could be. the School of Music. From his beginnings Women and Music in Cross-Cultural Perspective as the lone ethnomusicologist teaching an is no longer the only book of its kind, but it undergraduate survey course, a graduate was the first. Ellen Koskoff drew together seminar, and leading a gagaku performance fourteen scholars whose work, side by side, group, he developed a graduate ethnomusi- provided an unapologetic framework for cology program with three full-time faculty considering how music relates to cultur- positions and a great number of rotating ally-produced gender asymmetries. I look at distinguished visiting artists, and established my dog-eared copy of the book and reread sound and film archives; he left the program sentences by Ellen Koskoff that I underlined to become a university administrator both at (with considerable excitement) when I first the University of Washington (Vice Provost) read her introduction to the book: and The University of California, Irvine Music performance can… be an (Dean of the School of Arts). active agent in inter-gender relations, Throughout his career, he conducted transforming, reversing, or mediat- field research in more than a dozen areas of ing conflict between the sexes. At the heart of most gender (and other) Inside Robert Garfias relations are notions of power… (Koskoff 1987: 9) 1 2008 Seeger Lecturer: Robert Garfias His interest in Japanese music and cul- Twenty-one years later, many ethnomusi- 1 Conversations ture has remained paramount throughout cologists routinely address gender relations. 3 53rd Annual Meeting Local Arrange- his career. He has been a regular adjunct Levering attention to women in music has ments faculty member of the National Museum deeply resituated ethnomusicologists’ un- 4 nC2 of Ethnology in Osaka since 2003. In 2005, derstanding of gender. On the other hand, 7 Calls for Participation Robert Garfias was recognized for his long- serious ethnomusicological work on music 9 53rd Annual Meeting Preliminary Pro- standing scholarly work on Japanese music, and sexuality remains scattered. If attention gram specializing in Japanese court music, gagaku. to gender has gone from unusual to expected, 27 McAllester Recordings in National Reg- He was awarded the Order of the Rising sustained work by ethnomusicologists on istry Sun, the highest honor that the Japanese sexuality and music is still unusual. Taking 27 People and Places government can bestow on a non-Japanese, a moment to consider how key scholarship 31 Announcements in a special ceremony where the award was 31 Conferences Calendar presented by the Emperor of Japan. Continued on page 6  SEM Newsletter

The Society for Ethnomusicology and SEM Newsletter Guidelines the SEM Newsletter Guidelines for Contributors Editor, SEM Newsletter Henry Spiller Department of Music • Send articles to the editor by email or on a disk with a paper copy. Microsoft Word is University of California preferable, but other Macintosh or IBM-compatible software is acceptable. One Shields Avenue Davis, CA 95616, USA • Identify the software you use. (Tel) 530.757.5791 (Fax) 530.752.0983 • Please send faxes or paper copies without a disk only as a last resort. (Email) [email protected] (Website) music.ucdavis.edu Advertising Rates Copy Deadlines The SEM Newsletter Rates for Camera Ready Copy March issue...... January 15 The SEM Newsletter is a vehicle for exchange of ideas, news, and information among the Society’s mem- Full Page $ 2 0 0 May issue...... March 15 bers. Readers’ contributions are welcome and should be 2/3 Page $ 1 4 5 September issue...... July 15 sent to the editor. 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Smithsonian Institution Websites through the SEM Business Office, Indiana University, html Morrison Hall 005, 1165 East 3rd Street, Bloomington, In- http://www.smithsonianglobalsound.org diana 47405-3700; (Tel) 812.855.6672; (Fax) 812.855.6673; Southeast-Caribbean Chapter http://www.folkways.si.edu (Email) [email protected]. http://otto.cmr.fsu.edu/~cma/SEM/ Society for American Music ISSN 0036-1291 SEMSEC02.htm/ www.American-Music.org Ethnomusicology Sites UCLA Ethnomusicology Archive American Folklife Center http://www.ethnomusic.ucla.edu/archive http://lcweb.loc.gov/folklife/ SEM Newsletter  53rd Annual Meeting: Local Arrangements Committee Welcome and Events By Eric Charry, Local Arrangements Com- mittee Chair, SEM08 The SEM08 Local Arrangements Com- mittee and Wesleyan University are honored to host the 53rd annual meeting of SEM, Wesleyan University: Fayerweather on the left (housing Beckham Hall) and the October 25-28, 2008 (Saturday through Tues- Usdan University Center on the right (photo: Bill Burkhart) day) in Middletown, Connecticut. Drawing on our five decades of pioneering involvement and graduate students. And Wesleyan’s Mark Middletown (located 25 minutes south of with music scholarship and performance Slobin and renowned Film Studies depart- Hartford, 35 minutes north of New Haven, from around the world, we are mustering ment chair and scholar Jeanine Basinger will and 2 hours by car from New York or Boston) the unique resources of our faculty, student present a special workshop on Hollywood is not very accessible by public transporta- body, facilities, and 21st-century technological film music. An “All Concert Pass” (available tion from either Hartford/Bradley airport (a capabilities to present, along with the Program for purchase in advance or at registration) 35-minute drive) or the New York airports Committee, Indiana University Conferences, will allow access to all of the concerts and (a 2-hour drive). We suggest that attendees and the SEM Business Office, a truly distinc- the feature film. pool resources for getting here via the ride tive and inspiring meeting. Conference attend- In lieu of a sightseeing tour or field trip, share finder. ees will be welcomed by a beautiful campus the second day of the conference (Sunday, Campus dining facilities will be open specially wrapped in the breathtaking colors October 26) will feature an afternoon recre- for lunch on Saturday and Monday, but not of New England fall foliage. We have many ation session using Wesleyan’s full outdoor for dinner. We suggest that attendees eat unusual, quirky, and unprecedented offerings fields and indoor facilities. We will provide dinner at the wide variety of restaurants on this year and expect that SEM members will lunch to entice all to participate or simply Main St., a 5- to 10-minute walk from the get to know each other and the range of our to watch and picnic. We suggest that people conference site. field like never before! either dress informally for the morning paper Conference registrants will be able to sign We are organizing and eagerly anticipat- sessions or bring a change of clothes for the up at the SEM registration desk for free Wes- ing an exciting one-day preconference on afternoon recreation. We invite everyone to leyan campus guest wireless internet access, Friday, October 24 (Toward a 21st-Century participate in outdoor softball and soccer as so feel free to bring your laptops. A campus Ethnomusicology), which will include visiting well as indoor ping pong, basketball, squash, computer lab will be open with limited hours scholars from China, Indonesia, and Africa yoga and tai chi classes, swimming, and for printing and internet access. discussing issues of pressing concern in their ice skating (bring your own skates). Please Finally, we expect that the reception and own countries. With a touch of innovative visit our website (see above) to form or join party scenes will be somewhat different this technology and some luck, we will connect teams. In the event of rain, we will make year because we are using two hotels and with our counterparts around the world via use of the indoor facilities and also arrange neither of them is the site for the daily and webcasting and videoconferencing for a impromptu music making sessions at the evening activities. In lieu of the standard global discussion and some music sharing. Usdan Center conference site. Shuttles will receptions and private parties, we encour- All preconference and conference activi- be available to bring participants back to the age publishers, schools, and others to con- ties will take place on the Wesleyan campus, conference hotels to change and then return sider sponsoring one of our many concerts, which will be on fall break during our meeting. for the business meeting, Seeger lecture, and providing food and drink before, during Full and updated information on all activities evening concerts. intermission, or after the event. Because the described below is available on Wesleyan’s We are using two conference hotels daily and evening schedules are so packed conference website: sem2008.blogs.wesleyan. because the closest one, the Inn at Middle- with activities, we anticipate that the primary edu. Conference arrangements and program town (a 10-minute walk from campus), has gathering points for socializing and relaxing information is posted on the SEM website: fewer than 100 rooms. The other hotel, The will be the evening concerts, with some lasting www.ethnomusicology.org. Crowne Plaza in Cromwell, is a 10-minute until midnight and attendees moving back We are offering a series of ten concerts drive to campus. Although we are providing and forth among our neighboring concert featuring more than 70 SEM members who shuttle buses and vans throughout the day spaces. Dedicated spaces for receptions are have volunteered to participate. This will be and evening between Wesleyan and the two also available. the first time for many of us to hear our col- hotels, we recommend using the ride share The Local Arrangements Committee and leagues perform. We have had an overwhelm- finder on the SEM conference website so Wesleyan community look forward to meeting ingly positive response and invite members that attendees may share rental cars and have our colleagues and friends and providing an who have not yet signed up to perform to do more flexibility. Attendees have open access extraordinary atmosphere to gather, debate, so before the September 30 deadline (please to Wesleyan’s parking lots, but parking right at contemplate, and shape the future of our use Wesleyan’s conference website above). We the conference site may be difficult at certain discipline. are also offering a diverse array of music and times during the day. Lots within a 5-minute dance workshops featuring Wesleyan faculty walk should be readily available.  SEM Newsletter

Objectivity is one of the braided aims of our writing, and we take pains to mitigate the impact of our presence on the subject we study. But what about the impact ethnography has on us? Reflexive ethnography, in which the glare of the interpretive lamp pulls the ethnographer out of the shadows and onto the page, has given us both the permission and the tools to delve into the dual impact of the relationships we form in the field. Our reflections on these interactions not only organize the theorizing that follows fieldwork, but also, especially the voice that defies the objectivizing censor, account for ethnography’s beauty—perhaps the best bulwark against forgetting, “[e]verything we are as human beings ... reduced to a lost book floating in the universe” (Behar 2003: 37). In this edition two different kinds of field relationship are represented. In Stephanie Conn’s account we see how close a relationship can be for both sides, despite “demographic distance,” and we are left to consider the nuances of the ethnomusicologist’s role. A way of overcoming another kind of “distance” is offered in the anonymous contribution. —Jesse Samba Wheeler

Reference Behar, Ruth. 2003. “Ethnography and the Book that was Lost,” Ethnography 4(1):15-39.

<< Between you and me, dear . . . >> by Stephanie Conn Christmas Island, Nova Scotia / Toronto, Ontario, Canada March 2004 / June 2008

When we’re lucky, a byproduct of our work is enduring friendship with a collaborator in the field, developed not only because of, but also in spite of the work we do there. It poses the question of how much to “play scholar” during our interactions, and how much to let our heart be our guide. While living on Cape Breton Island, I would visit Peter, a Gaelic singer, a couple of times per week. He is a font of information on songs and stories, language and local history, but mainly he’s a wonder- ful person, and great company. Outwardly the community is quite conservative, but in private Peter is opinionated and outspoken. You know something good is coming when he leans in, fixes an intense glare on you, and says, “Between you and me, dear …” Peter is 90 years old, strong and striking, impeccably dressed for every visit in a crisp white dress shirt. He lives in a tall white house at the end of a long driveway, the house where he was born. A collec- tion of faded red sheds is scattered around the yard, like a motionless herd of cattle. He still maintains the land with a little help from neighbours—and the moral support of his two dogs. Now and then he com- plains of a stiff knee, but dismisses it lightly as strain from driving the tractor. It is my last visit before moving back to Toronto. By now I have not only learned quite a bit more about the place of songs within this community, but also honed my skills at nursing a few stiff drinks over day-long conversations. When I arrive, Peter throws more wood into the stove, even though the house is already stifling hot. “There’s plenty of wood, dear. I just split up an old barn door yesterday.” Today, Peter wants to play his violin for me. He hauls out the case from under his chesterfield. “Real lizard-skin leather,” he says, stroking the case. “A man gave it to me in Boston in 1951. But I haven’t played it in a long time ...” He takes out the fiddle, puts it to his chest and starts to play. Despite SEM Newsletter 

the shaking of his hands and the scratchy sound of the bow, his fingers are true on the fingerboard, and there is a swing in his strokes, making it easy to imagine him, playing for a party 70 years ago. I compli- ment his style. “Thank you, dear,” he says quietly. “I could play all right, in my day.” Next, Peter plays a Gaelic song. I recognize the air and begin to sing along: “Och mar a tha mi, ‘s mi nam aonar ...” To my dismay, this prompts him to hand me the fiddle. “Here, you know the air. You play it.” I protest that I cannot, I have never played the violin, but he is insistent. “You’ll pick it up soon enough.” Somehow, willed by this forceful 90-year-old, I manage to scratch out some semblance of the melody. It is hideous, but Peter nods silently, approvingly. “You’ll pick it up soon enough. You should keep at it. You might be having a down day, maybe you’re a little bit depressed, maybe things aren’t go- ing your way. So you go to the violin, or the piano or a songbook. Go through it—just for yourself, doesn’t matter how it sounds. And you’ll find your whole attitude is changed. Music can have a powerful effect.” We sit and contemplate this truth for a moment, but then Peter stands up abruptly to put away the fiddle. He makes tea as usual—tarry Cape Breton tea that stews for fifteen minutes or more. For the first time he pours mine into the china cup and saucer that belonged to his late wife. “Since it’s your last visit for a while.” Hours later when it is time to leave, he hugs me with a force that nearly knocks me off-balance. In the doorway, over the din of barking dogs, we talk about our plans to meet again in the summer. As I make my way down the long drive I fumble for a notepad and recorder, having been hesitant to break the mood of our visit to act as a scholar. But then I stop the car short and wave to him as he stands in the doorway. I’ll remember the facts somehow, or I’ll call him for a reminder. I drive out through the woods, singing a Gaelic song.

“Mòran Taing!” to Stephanie Conn, a PhD student in Ethnomusicology at the University of Toronto studying Gaelic singing in Cape Breton. Current interests include memory, and the tension between orality and literacy. She’s a singer and a former radio producer.

<< A Birthday limerick for nC2, on the theme of relationships >>

In situ a student putative Sweet nothings declined in the dative. When Advisor did warn, “It’s write up, or be lorn!” He beat pen into plow and went native. —Anonymous

Hip hip! to Anonymous! It feels great to be 1! (And we meant no pun!)  SEM Newsletter

Conversations Canada, with cross-appointments to Women’s Lorraine Sakata, Carolina Robertson, Jennifer Continued from page 1 Studies and Faculty of Education. We had the Post, and Esther Rothenbusch Crookshank. following conversation by email. I look forward to hearing from these scholars enables new arenas of research can make all as well as from the Roundtable’s respondents the difference. Deborah Wong: Tell me about the special and members of a newer generation of The four SEM members who talk with me events you’ve planned for the annual SEM queer-theory influenced scholars. I would below have all addressed gender and sexuality meeting at Wesleyan University. pose the question this way: What was feminist in their research and in their advocacy work Eileen Hayes: FEM@21 will take place ethnomusicology? How can we circumvent for a long time. Ellen Koskoff has served as during the regular business meeting of the the containment that our subfield seems to President of SEM. She is Professor of Ethno- Section on the Status of Women, Monday, be experiencing? What is the relationship of musicology and Director of the World Music October 27, 7:30-9:30 PM. Look for an an- that containment to the graduation rates of Certificate and Ethnomusicology Diploma nouncement in the conference bag or fold- women doctoral candidates and the tenure Program at the Eastman School of Music in ers. The Roundtable, “FEM@21: Gender rates of women faculty? Is feminist ethno- Rochester, NY. Eileen M. Hayes, Amy Corin, Studies in Ethnomusicology Come of Age,” musicology “working” the way we hoped it and Roberta Lamb have each been involved uses the 21st anniversary of the publication might twenty years ago? These are just some with SEM’s Section on the Status of Women of Women and Music as a launch pad for a of the questions that interest me and I hope and Gender and Sexualities Taskforce for discussion about feminist ethnomusicology. a lot of other SEM members as well. some years. Amy R. Corin teaches in the De- 2007 marked the twentieth anniversary of Deborah Wong: What impact do you partment of Music and Dance at Moorpark the founding of the Association for Feminist think Women and Music in Cross-Cultural College in California. She is the Co-chair of Anthropology, a section of the American Perspective has had on ethnomusicology and the SSW and the Secretary/Treasurer for the Anthropological Association. While we had ethnomusicologists? SEM Southern California Chapter. Eileen M. hoped that our events would coincide, this Ellen Koskoff: Since the publication of Hayes is Associate Professor of Music at the year is as good as any to look forward as well my book in 1987, gender and sexuality have University of North Texas and the Co-chair as back. Ellen Koskoff has lent her support to become major topics in music ethnography of the SSW. Roberta Lamb is Associate Pro- the project from the beginning. A number of and these issues have been largely integrated in fessor and Chair of Undergraduate Studies in the volume’s contributors have agreed to join some way or another into most monographs, the School of Music at Queen’s University in us: Jane Hassinger, R. Anderson Sutton, H. Continued on page 28

The Section on the Status of Women and the Gender and Sexualities Taskforce announce the kick-off of a fund-raising drive to support: FEM@21: Gender Studies in Ethnomusicology Come of Age A Critical Assessment of Where We Have Been and Where We Are Going Monday, October 27, 2008, 7:30-9:30 p.m. Reception to follow, 9:30-10:30 p.m. All are welcome!

The 21st anniversary of the 1987 publication of Ellen Koskoff’s Women and Music in Cross-Cultural Perspective provides a launch pad for a discussion of gender studies in ethnomusicology before and after that landmark volume. In addition to gender & ethnomusicology scholars writing today, a number of the volume’s contribu- tors will deliver brief remarks. A generous gift from an anonymous donor provides the seeds of a travel fund established to facilitate the participation of emerita faculty and independent scholars taking part in the event. In the spirit in which the initiative was conceived, the Fundraising Committee suggests donations of $21 + one dollar for each year after Society members have come of age. Those under the age of 21, are encouraged to send a dollar for each year between your current age and your anticipated “date of emancipation.” Give generously, give 21often, and thank you! Checks should be made payable to SEM with “FEM@21” written in the comment line. Send your check by October 4th to:

SEM Business Office Indiana University, Morrison Hall, 005, 1165 East 3rd Street, Bloomington, Indiana 47405 SEM Newsletter 

Calls for Participation important issues such as the value and impact uwaterloo.ca/soundinlands.shtml for a flyer of music and arts education and the urgency and submission information. New GRAMMY Foundation® Grant of preserving our rich cultural heritage. For Cycle more information, please visit (website) College Music Society 2009 Interna- www.grammyfoundation.com. Established tional Conference Deadline: October 1, 2008 in 1957, The Recording Academy® is an The GRAMMY Foundation® Grant organization of musicians, producers, en- July, 2009, Croatia Program, generously funded by The Record- gineers and recording professionals that is Deadline: September 2, 2008 ing Academy®, currently in its 21st year, has dedicated to improving the cultural condition awarded more than $5 million to more than and quality of life for music and its makers. The College Music Society is pleased 200 noteworthy projects. The Grant Program Internationally known for the GRAMMY® to announce its 2009 International Confer- administers grants annually to organizations Awards. the Recording Academy is respon- ence in Croatia. The conference will take and individuals to support efforts that advance sible for professional development, cultural place in early- to mid-July and span multiple the archiving and preservation of the music enrichment, advocacy, education and hu- locations within the country, ending in the and recorded sound heritage of the Americas man services programs. In its 50th year, the beautiful medieval city of Dubrovnik. The for future generations, as well as scientific Academy continues to focus on its mission program will include scholarly discourse research projects related to the impact of of recognizing musical excellence, advocat- and the presentation of new music by CMS music on the human condition. Recipients ing for the well-being of music makers and members, interaction with regional scholars are determined based on criteria such as ensuring music remains an indelible part of and performers, and guided sightseeing op- merit, uniqueness of project, and the ability our culture. For more information about The portunities. The Program Committee has to accomplish intended goals. Academy, please visit (website) www.grammy. now issued a Call for Program Participation Recognizing the richness of collections com. and a Call for Scores with Performance. Both held by individuals and organizations that may calls may be accessed at (website) www.music. not have access to the expertise needed to org/Croatia.html. The submission deadline Sound in the Lands II (Mennonite Mu- for each is September 2, 2008. create a preservation plan, last year the Grant sic Across Borders) Program expanded its granting categories to include planning grants for individuals June 4-8, 2009, Conrad Grebel University Col- Regulated Liberties: Negotiating and small- to mid-sized organizations. The lege / University of Waterloo, Canada Freedom in Art, Culture, and Media: First Rethinking Art Studies (REARS) planning process—which, for example, Deadline: February 1, 2009 might include inventorying and stabilizing a Conference collection—articulates the steps to be taken Sound in the Lands II—a Festival/Con- August 20-22, 2009, University of Turku, to ultimately archive recorded sound mate- ference of Mennonites & Music, scheduled Finland rials for future generations. The planning for June 4 - 8, 2009 at Conrad Grebel/Univer- grant category provides funds for archiving sity of Waterloo, Canada—will explore Men- Deadline: December 1, 2008 consultants and experts and other resources nonite music across borders and boundaries. A sequel to the highly successful 2004 event, Freedom is a heavily charged notion with for planning. a vast conceptual width. Yet, the question The Foundation also has opened up grant- Sound in the Lands II is both festival with multiple concerts, performances, workshops, of freedom and its regulation remains inad- ing in the area of scientific research to proj- equately studied in the field of art, culture and ects conducted as work toward an advanced and an academic conference with papers and presentations which address issues of media. Research has often relied conceptually degree. While projects still must demonstrate on dichotomies and concentrated on revealing scientific rigor, the Foundation believes that Mennonite-rooted peoples and their music making locally and globally. In harmony with different kinds of power structures and forms this addition will open the program up to of oppression, which tends to simplify the many more worthwhile projects undertaken Mennonite World Conference in Paraguay (July, 2009), Sound in the Lands II seeks to complex nature of freedom and constraint. by students at the graduate level. The conference is dedicated to rethinking To download an application, visit (web- expand musical horizons, integrating global, cross-cultural, and newer fusion of music with cultural power in new inventive ways not site) www.grammyfoundation.com/grants. based on a dichotomous logic of domination Deadline to apply is October 1, 2008. For more familiar Mennonite traditions. As voices converge we may find vibrant exchanges that and resistance. The concept of “regulated more information about grant applications, liberties” denotes a more complex relation- contact Kristin Murphy at (phone) 310-392- help redefine “Mennonite music” today. The sense of “borders” in music refers not only to ship of negotiation between the dominant 3777 or (email) [email protected]. and its subjects. The GRAMMY Foundation® was geographical and cultural borders but also to those of style, genre, aesthetics, and various The aim of the conference is to relate art, established in 1989 to cultivate the under- culture, and media to questions concerning standing, appreciation and advancement other diversities within Mennonite people today. Emphasis will be placed on musical freedom, emancipation, and resistance. The of the contribution of recorded music to overall conference topic disperses on the theo- American culture. The Foundation accom- and cultural dialogue, including a wide array of musical genres and exchanges between retical fields of subjectivity, social structures, plishes this mission through programs and and representation. The conference provides activities that engage the music industry and and among all Mennonite-rooted, Mennonite- affiliated persons, both globally and locally. a forum for the development of innovative cultural community as well as the general and creative research concerning tempo- public. The Foundation works in partnership As well, we will sing together in four parts and more, a cappella and with all manner of ral/spatial dimensions, genres and identity year-round with its founder, The Recording production in art, culture, and media. Academy®, to bring national attention to instruments! See (website) http://grebel. Continued on page 8  SEM Newsletter

Calls voice for African music research. Through its various guest speakers will contribute a range juxtaposition of the historical and the theo- of different theoretical perspectives on a more Continued from page 7 retical, the indigenous, the popular and the contemporary understanding of music and Eve Kosofsky Sedgwick, and Angela “Western,” it intends to reflect the diversity of global culture. John Tomlinson, Professor McRobbie are confirmed keynote speakers. African musics and the research they inspire. of Cultural Sociology and authority on the The conference is organized by School of The Journal features regular reviews with lead- cultural aspects of the globalization process, Art Studies, University of Turku, Finland ing African musicians and composers, both will deliver the keynote address. (website) http://www.hum.utu.fi/laitokset/ resident on the continent and in the diaspora. Submissions are invited on any aspect of taiteidentutkimus/en/. Reviews of books, music, and compact discs the theme with papers that seek to explore The conference organising committee are also featured. Contributions addressing newer issues relating to this subject, including, invites proposals for panels and individual any aspect of music on, or from, the Afri- but by no means limited to, the following: papers. Possible topics may include (but are can continent are welcomed. All material is (1) musical traditions in transformation; (2) not limited to) the following: subject to rigorous peer review. For details music, place and identity; (3) new centers • How have the concepts of freedom and on how to submit a paper to Muziki, visit and peripheries?; (4) music, mediation and emancipation been employed in the (website) www.informaworld,com/rmuz. tourism; (5) new approaches to ethnographic context of art, culture, and media? Please submit articles to Mr. George T. King, enquiry and research methods. Abstracts • In what ways do culture and art regulate Department of Art Hisotry, Visual Arts and (approximately 300 words) for paper pre- conduct in (neo)liberal regimes and Musicology, University of South Africa, PO sentations lasting twenty minutes should be vice versa? Box 392, UNISA Press, Pretoria 0003, South submitted by November 30, 2008. Film shows • How do culturally-sanctioned represen- Africa, (email) [email protected], or to Prof. and performances may also be proposed, as tations impose hegemonic identities? Chris Walton, Music Department, Univer- may pre-formed panels or workshop sessions, • In what ways should genres be sity of Pretoria, Lynnwood Road, Hillcrest, for which a longer abstract (approximately (re)thought in art? Are they regulating Pretoria 0002, South Africa, (email) chris. 1,000 words) with named speakers should regimes? [email protected]. be submitted. • Under what circumstances does resis- The Annual BFE Conference will be held tance take place, and is it necessarily 2009 Annual Conference of the British in Liverpool (UK), a buzzing musical city conscious and intentional? Forum for Ethnomusicology: Music, that celebrated its 800th birthday in 2007 and • In what ways are subjects produced Culture, and Globalization continues celebrations as European Capital both as objects of regulatory norms of Culture 2008. Liverpool is renowned for Deadline: November 30, 2008 and as agents capable of resisting these its vibrant music culture and the Beatles, norms? The Annual Conference of the British football, maritime heritage, arts and culture, • How does embodiment work as a Forum for Ethnomusicology (BFE) will be shopping, and exciting nightlife, and there will corporeal nexus for several axis of held from April 16–19, 2009, and hosted by be time during the conference to explore its power, as a gendered, racialized, and the Popular Music Studies Unit at Liverpool fabulous attractions. There will be a confer- sexualized signifier of multiple regula- John Moores University, UK. This four-day ence dinner and party on Saturday evening, tory norms? conference seeks to generate new perspectives and a themed night and a range of live music • How could the role of institutions and and understandings on the interrelatedness performances are also planned. economy be conceptualized in new and of music, culture, and globalization through Detailed information on all aspects of productive ways? stimulating interdisciplinary and intercultural the conference can be found on the BFE conference website, http://www.bfe2009. Abstracts (200–300 words) for twenty- theoretical dialogues, and thereby moving net, or obtained directly from Dr Simone minute papers as well as proposals for beyond those conceptualizations that are Krüger, BFE 2009 Conference Organizer, two-hour panels should be submitted as an already established in ethnomusicology and at (email) [email protected]. email attachment to (email) [email protected] by other music-related disciplines. To this end, December 1, 2008. Please use your surname as the document title. Abstract should be sent in the following format: (1) title, (2) presenter(s), (3) institutional affiliation, (4) email, (5) abstract. Panel proposals should include (1) title of the panel, (2) name and contact information of the chair, (3) abstracts of the presenters. Presenters will be notified of acceptance by January 15, 2009. For more information, contact (email) [email protected].

Muziki—Journal of Music Research in Africa Deadline: Open Muziki—Journal of Music Research in Wesleyan University: Javanese gamelan workshop with faculty member Sumarsam Africa—seeks to establish a unified African (standing in center) in World Music Hall (photo: Nick Lacey) SEM Newsletter  53rd Annual Meeting Ethnomusicology Beyond Disciplines Preliminary Program Saturday, Oct 25, 2008 8:30 YouTube as a Dueling Ground: 9:30 Music, Dance, and Research on the Creative Forms of Resistance to Gov- YouTubosphere Saturday, 8:00am-12:00pm ernment-Constructed Singaporean Wayne Marshall, Brandeis University National Identity [M] Board of Directors Meeting Sheau-Kang Hew, University of Okla- 1B [P] The Idea of Innovation: Three Case Saturday, 8:00am-10:00am homa Studies [M] Education Section Forum 9:00 “’Cuz My Name Is on My Earrings”: Chair: TBD Seeing and Reading the Chongalicious 8:30 Roscoe Mitchell: Innovations in Saturday, 8:30am-10:00am Phenomenon of South Florida Composition and Performance Strat- 1A [P] YouTube: The Sites and Sounds of Lara Greene, Florida International egies Viral Video University Evan Rapport, Eugene Lang College & The New School for Jazz and Contempo- Chair: TBD rary Music 9:00 The Slits: Punk Rock, Innovation, Preconference Symposium and Gender Toward a 21st-Century Ethnomusicology Jason Oakes, The Cooper Union 9:30 Yo soy la plena borinqueña: Angel Preliminary Program Luis Torruellas and the internation- In this preconference symposium we look forward and attempt to map out issues for an ethnomusicol- alization of his Plena ogy that functions on a more global scale. We intend to open up the umbrella of ethnomusicology and Benjamin Lapidus, John Jay College of bring to a broader audience the concerns of both younger and more established scholars primarily working Criminal Justice, CUNY in their home countries outside North America and Europe. We do this in two ways. Firstly, we are inviting scholars from China, Indonesia, and Africa to participate in person. Secondly, via the internet, 1C [F/R] Pitfalls in the Study of Music and we are setting up a truly global symposium of unprecedented scale in our field. In addition to webcasting Violence the proceedings and enabling individual viewers to communicate with us, we are designating several sites Sponsored by the Special Interest Group on Music and each in China, Indonesia, and Africa where students and professionals can gather to participate and Violence and the Section on the Status of Women interact in real time. With Wesleyan as a hub, we plan to link groups who would not otherwise converse Chair: Joshua Pilzer, Columbia University with each other. We will make preliminary papers available online several weeks before the preconference, and set up Participants: Ana Maria Ochoa, Colum- blogs for discussion. The preconference will consist of international panels discussing issues of concern from bia University; Jenny Johnson, New York their own perspectives. In four separate panels (China, Indonesia, Africa, and Plenary) we will discuss University; Suzanne Cusick, New York the following topics (additional topics will come from our panelists). Musical performances will be heard University; Matthew Sumera, University throughout the day from our various locations. of Wisconsin, Madison; Joshua Pilzer, Columbia University 1. Music Education (schools and colleges) 5. New forms of musical performance 2. Preservation of cultural heritage (museums, archives) 6. Diasporic connections 1D [F/R] Medical Ethnomusicology, Mu- 3. Cultural tourism 7. Video and film sic, and Spirituality: Unity in Diversity 4. Music historical and theoretical research Approaches to Social Transformation, Healing, and Health 7:00pm-9:00pm Friday, Oct 24, 2008 Sponsored by the Association for Medical Ethnomu- 7:00am-9:00am Plenary session sicology Special Interest Group Chair: Benjamin Koen, Florida State Uni- China (+ 12 hours time difference) Other Events on Friday versity 9:30am-11:30am 3:00pm-4:00pm Participants: Gregory Barz, Vanderbilt Indonesia (+11 hours time difference) University; Oliver Greene, Georgia State [M] PC/LAC Meeting University; Sally Treloyn, Charles Darwin 1:00pm-3:00pm University; Michael Naylor, Visions & 4:00pm-10:00pm Vibrations International; Benjamin Koen, Africa (+7 hours-Nairobi; +4 hours-Dakar [M] Board Meeting Florida State University time difference)

Key: [P]=Panel; [IP]=Independent presentations; [F/V]=Film/video presentation; [P/W]=Panel/Workshop; [F/R]=Forum/Roundtable; [L/D]=Lecture-Demo [M]=Meeting 10 SEM Newsletter

1E [F/R] American Sabor: Curating a Mu- tal in a South Indian Film Industry 10:15 Trance Training: The Ensaio in Can- seum Exhibit about Latino Music Kaley Mason, University of Chicago domble Initiatic Ritual Kathleen O’Connor, University of Texas Chair: Marisol Berrios-Miranda, University 9:30 Women and their Work: Social at El Paso of Washington Relations, Musical Production, and Participants: Michelle Habell-Pallan, Uni- Agency among Contemporary North 10:45 Musical Time, Movement, and Inter- versity of Washington; Francisco Orozco, Indian Courtesans action in Afro-Dominican Religious University of Washington; Leonard Brown, Amelia Maciszewski, Independent Scholar Performance Northeastern University; Marvette Perez, Daniel Piper, Brown University Smithsonian Institution 1I [F/R] Ethnomusicologists at Work: The Wesleyan Connection 11:15 Exu as Alabê: Transforming Quim- banda Performance and Challenging 1F [P] Music from Turkey in the “Dias- Sponsored by the Applied Ethnomusicology Section pora” Religious Hierarchies in Southern Chair: Miriam Gerberg Minnesota Global Brazil Chair: Ursula Hemetek, Institute for Folk Mu- Arts Institute Marc Gidal, Harvard University sic Research and Ethnomusicology Presenters: James Cowdery, Editorial Direc- 8:30 Music from Turkey in Germany tor, RILM Abstracts of Music Literature; 2B [P] Modernization, Identity, Media, and the Music of Iran and the Caucasus Dorit Klebe, Universität der Künste Maggie Holtzberg, Massachusetts Cultural Berlin Council; Dennis Waring, Waring Music; Sponsored by The Special Interest Group for the Jody Cormack, Wesleyan University World Music of Iran and Central Asia 9:00 TurkFest and Music Among the Turk- Music Archives; Judith Cook Tucker, World ish Diaspora in Seattle Chair: Tanya Merchant, University of Cali- Music Press/The Connecticut Folklife fornia, Santa Cruz Münir Beken, University of California, Project, Inc Los Angeles 10:15 Shirin Navazi 1J [P] What Makes It National? Popular Piruz Partow, no affiliation 9:30 Strategies of Musical Production Music and National Movements in the and Marketing in Vienna’s Turkish 10:45 ‘Flowers of Persian Song and Music,’ Middle East and Central Asia Diaspora The Golha Radio Programs Hande Saglam, Institute for Folk Music Sponsored by The Special Interest Group for the Jane Lewisohn, School of Oriental and Research and Ethnomusicology Music of Iran and Central Asia African Studies 1G [P] Islam and Music in Indonesia I 11:15 Rebels, Women, and Minorities: The Chair: TBD Surprising Faces of Azerbaijan’s Na- Chair: Sumarsam, Wesleyan University 8:30 Retuning Nationalism: Popular Music tional Folklore 8:30 How Changes in Cosmological, Re- and Uyghur Identities in Northwest Anna Oldfield Sanarslan, University of ligious and Socio-Political Thought China Wisconsin, Madison Transformed the Female Song-Dance Chuen Fung Wong, Macalester College Phô in West Aceh 11:45 Opera Composed into the Social 9:00 Beyond Singing in Uzbek: National- History of Modern Azerbaijan Margaret Kartomi, Monash University izing Estrada in Uzbekistan Inna Naroditskaya, Northwestern Uni- 9:00 Morality and its Discontents: Islam Tanya Merchant, University of California, versity and Dangdut in Indonesia Santa Cruz Andrew Weintraub, University of Pitts- 2C [IP] Dancing Transformation I 9:30 Politics of Resistance and Struggle in burgh the Protest Songs of Lebanese Singer Chair: TBD 9:30 The Muslim Sisterhood: Transnation- Gassan Rahbani 10:15 The Óbu-Ányiyá Égwú Ámálá En- al Feminism(s), and the Particularity Guilnard Moufarrej, California State semble: the Living Dancing Among of Indonesia University, Sacramento The Living Dead Anne Rasmussen, The College of William Marie Agatha Ozah, University of 1K [F/V] Music for a Goddess and Mary Pittsburgh Amy Catlin-Jairazbhoy, University of 1H [P] Advocating and Theorizing Musi- California, Los Angeles; Nazir Jairazbhoy, 10:45 Dancing in Opposition: Muchongoyo, cians’ Agency in South Asia: Strategies, University of California, Los Angeles Emotion, and the Politics of Perfor- Sites, and Unequal Relations in Musical mance in Southeastern Zimbabwe Production Saturday, 10:15am-12:15pm Tony Perman, University of Illinois at Chair: Kaley Mason, University of Chicago 2A [P] Musical Interaction and Time in Afro- Urbana-Champaign 8:30 A Venue of Her Own: Locating Latin Religious Performance 11:15 At the Intersection of Ethnography Agency in the Courtesan’s Salon Sponsored by the Special Interest Group for Latin and Hollywood Film: Ballroom Dance Regula Qureshi, University of Alberta American and Caribbean Music and the Transformation Trope Joanna Bosse, Bowdoin College 9:00 Producing Cinematic Songs: Musical Chair: Marc Gidal, Harvard University Agency, Innovation, and Social Capi- Discussant: Katherine Hagedorn, Pomona College 11:45 Something the Old Folks Wanted James Ruchala, Brown University SEM Newsletter 11

2D [P] Perspectives on Contemporary Sami 11:15 Are We Ready to Be Chinese? De- 10:45 Grassroots in Concrete Cracks: Lo- Music constructing “Just Because You Are cal Networking in New York’s Jazz Here,” the Theme Song Celebrating Community Chair: Beverley Diamond, Memorial Uni- the 10th Anniversary of the Hong Tom Greenland, Independent Scholar versity Kong Reunion with China 10:15 “Breathing New Life into Our Old Mun Tak Ada Chan, The Chinese Uni- 11:15 Performing Music/Performing Musi- cian: Cooperation, Competition, and Songs”: The Use of Archival Resourc- versity of Hong Kong es in the Creation of Contemporary Professional Identities in the Popular Sami Music. 11:45 The Battle Over Deng Lijun Music Scenes of Salvador, Brazil Richard Jones-Bamman, Eastern Con- Eric Hung, Westminster Choir College of Jeff Packman, University of Toronto Rider University necticut State University 11:45 Musicians Between Genres and Cul- 10:45 More Dangerous Liaisons? In- 2G [P] De-centering “Jazz” tures: Blues Revivalists in Northern digenous Music and Classical Art California Zydeco Forms Chair and Discussant: Ingrid Monson, Har- Mark DeWitt, Independent Scholar Beverley Diamond, Memorial University vard University 10:15 Tierra Improvisada: Jazz Strategies and 2J [P] The Shadow of Western Influence: 11:15 (Un)Expected Sounds: Cross-Cultural Jazz Subjectivities in Argentine Folk The Impact of Western Practice on Musi- Listeners’ Perceptions and “Projection” Tango Repertoire cal Composition, Theory, Education, and Ainslie Durnin, Memorial University Michael O’Brien, University of Texas Performance in Japan and Korea 11:45 Singing Sacred Stones: Music, Spiritu- at Austin Sponsored by the Society for Asian Music ality, and Ecology in Europe’s Arctic 10:45 Vital Transformation: Race and Genre Chair: Noriko Manabe, CUNY Graduate Fringes in Fusion Music Center/International Research Center Tina Ramnarine, Royal Holloway Univer- Kevin Fellezs, University of California, for Japanese Studies sity of London Merced 10:15 The Evolution of Japanese Songwrit- ing in Western Genres 2E [P] Identifying Hindi Film Music: Re- 11:15 Bifocality and the Jazz Musics of Noriko Manabe, CUNY Graduate Thinking Eclecticism Ahmed Abdul-Malik and Al McKib- Center/International Research Center for bon Sponsored by the Popular Music Section Japanese Studies Mark Lomanno, University of Texas at Chair: Bradley Shope, St. John’s University Austin 10:45 The Strange and Terrible Saga of the 10:15 The Bombay Cabaret: Access, In- Japanese Tetrachord fluence and Eclecticism(?), 1940s- 2H [P] Sacred Texts, Agents and Contexts Richard Miller, University of Wisconsin, 1950s Chair: Gage Averill, University of Toronto Madison Bradley Shope, St. John’s University at Mississauga 11:15 Making Music-Making Kids: Politics, 10:45 The Other Side of Eclecticism: Co- 10:15 Circulating Divinities: The Sound and Heritage, and Education in 21st Cen- lonialism, Ethnicity, and Values in the Sound-Objects of Devotion tury Japan Composition of Hindi Film Music Jaime Jones, Columbia College Chicago Shawn Bender, Dickinson College Gregory Booth, University of Auckland 10:45 “No Heartaches in Heaven”: Agent, 11:45 Exploiting the Tension between the 11:15 Eclecticism as Creative and Symbolic Song, Context Transnational and National Spheres Expression of Situation Byron Dueck, The Open University, UK in Korean Hip-hop Anna Morcom, Royal Holloway University Donna Kwon, Lawrence University, Con- of London 11:15 “Straight to Heaven”: Music, Ritual servatory of Music and Performance in Yoruba Church- 2F [IP] Politics and Musical Histories in es 2K China Vicki Brennan, University of Vermont 10:15 [L/D] Ways We Learn From Each Other: Sharing Vocal Performance Chair: TBD 2I [P] Overlooked and Under the Radar: and Pedagogy Techniques Between 10:15 Down with the Tao?: Hushed Influ- Musical Journeymen and -women World Music and Western Art Mu- ences on Jiangnan Sizhu sic Kim Chow-Morris, Ryerson University, Chair: Rebecca Miller, Hampshire College Wolodymyr Smishkewych, Indiana Uni- Toronto 10:15 Unnoticed but Ubiquitous: the Work versity of Journeymen Musicians in Late- 10:45 Revolution = Innovation + Experi- Nineteenth-Century America mentation? Tasks and Roles of the Katherine Preston, The College of William Chinese Zither Reform Committee during the Chinese Cultural Revolu- and Mary tion Tsan-huang Tsai, The Chinese University of Hong Kong Key: [P]=Panel; [IP]=Independent presentations; [F/V]=Film/video presentation; [P/W]=Panel/Workshop; [F/R]=Forum/Roundtable; [L/D]=Lecture-Demo [M]=Meeting 12 SEM Newsletter

11:15 [F/V] Gamelan Sekaten in Sura- 2:30 Gwoka Festival: Representation of a 3E [P] Opening Up Queer Musical Spaces karta Musical Tradition Sponsored by the Gender and Sexualities Taskforce Keith Rollinson, Resonance Media; Marie Hélène Pichette, Université de Chair: Henry Spiller, University of Califor- Sumarsam, Wesleyan University Montréal nia, Davis Saturday, 12:30pm-1:30pm 3:00 Intersections of Music, Sovereignty, 1:30 All These Poses, Such Beautiful Poses: and Federal Indian Law: Native [M] Long-Range Planning Committee Articulations of Queer Masculinity in American Music Performance at the the Music of Rufus Wainwright Finger Lakes GrassRoots Festival of [M] Special Interest Group for the Study of Matt Jones, UCA / UVA Music and Violence Music & Dance Susan Taffe, Cornell University 2:00 Covering the Track, (Un)covering [M] Audio Visual Committee Gender: P.J. Harvey, Björk, and The 3C [IP] Music and Violence Rolling Stones’ “Satisfaction” [M] Archiving Special Interest Group Stephanie Doktor, University of Georgia Chair: TBD [M] Dance Section 1:30 Sounds of the Saffron Revolution: 2:30 Fan Fiction “Bandom Ate my Face”: Music and Violence On the Streets Online Fan Fiction, Homoerotic Saturday, 12:30pm-2:30pm and On the Web Subtexts, and the Performance of Queerness [M] SEM Council Gavin Douglas, University of North Carolina at Greensboro Ross Hagen, University of Colorado at Saturday, 1:30pm-3:30pm Boulder 2:00 Geographies of the Body: Music, Vio- 3A [IP] Drumming lence, and Manhood in Palestine 3:00 Time, Space, and Sexuality in the Post-Soviet Gay Disco Chair: TBD David A. McDonald, Bowling Green State University Stephen Amico, John Jay College, 1:30 Fuerte y Suave, Macho y Hembra: CUNY Rhythm, Pitch, and Gender Sym- 2:30 El Pistolero, El Cantante y El Muerto: bolism in Afro-Cuban Iyesá Drum- Who’s Killing Regional Mexican Sing- ming ers and Other Stories Poster Sessions Kevin Delgado, San Diego State Uni- Catherine Ragland, Empire State College/ versity State University of New York There will be four poster sessions. These 2:00 Gender Dynamics in Korean Drum- 3:00 Hidden Localities - The Role of Child- sessions and their presenters are listed ming: Perspective of “Resistance” of hood Memories in the Sound Works below; exact scheduling information Korean Women Drummers of Beiruti Artists of the Lebanese TBD. Yoonjah Choi, CUNY Graduate Center War Generation Thomas Burkhalter, University of Bern, 2:30 Rhythmic Theology: Khol Drumming Poster Session 1: Using Creative Com- in Chaitanya Vaishnava Kirtan Switzerland puter Technology to Cultivate Global Music Appreciation Eben Graves, Tufts University 3D [IP] Popular Music in Asia I Sharon Graf, University of Illinois at 3:00 Preserve the Old while Creating the Springfield; Brian Pryor, University of Chair: TBD New: Cross-cultural Fusion as Col- Illinois at Springfield laborative Ethnography in a South 1:30 Un-rapping the MDA Rap Video: Korean Percussion Genre Hip-Hop, Kitsch and the State in Poster Session 2: Alaska’s Festival of Native Arts: A Balance Between Musical Nathan Hesselink, University of British Singapore Innovation and Tradition Columbia Shzr Ee Tan, School of Oriental and African Studies, University of London Paul Krejci, University of Alaska, Firbanks 3B [IP] Music Festivals 2:00 Almost Forgotten Genre: Cantonese Poster Session 3: On Your Skin: F*** Chair: TBD Pop Songs of 1960s Hong Kong Frederick Lau, University of Hawaii at the USA and the Ethnography within 1:30 Festival Production as Advocacy and Music Protest Manoa Cultural Critique: The Case of South Jesse Samba Wheeler, University of Africa’s Klein Karoo National Arts 2:30 Global Exoticism and Modernity: The California, Los Angeles Festival Case of “Chinked-out” Music Poster Session 4: Decoding the Song: Brett Pyper, New York University & Wits W. Anthony Sheppard, Williams College University, Johannesburg Historical and Computational Analysis 3:00 “Toraja People Do Not Have a Word of Chant 2:00 Mariachi Festivals in the United States: for Love”: Popular song, emotion, and Matthew Wright, University of Victo- Commercialization and the Politics of economic development in Eastern ria; Giorgos Tzanetakis, University of Representation Indonesia Victoria; Andrew Schloss, University Lauryn Salazar, University of California, Andy Hicken, University of Wisconsin, of Victoria Los Angeles Madison SEM Newsletter 13

3F [P] Music and Cultural Policy in the Age Globalization and Tradition 2:30 [L/D] Music as Message: Youth of Neoliberal Multiculturalism Mitsuko Kawabata, University of Mi- Perspectives from Mali to Virginia ami Heather Maxwell, University of Vir- Chair: Javier León, Indiana University ginia 1:30 The Paradox of Empowerment: Tra- 3:00 Beyond the Bling of Hip-hop’s Mi- ditional Music Between Stewardship sogyny: Why Male Emcees Amplify Saturday, 3:45pm-5:15pm and Ownership Difference and How Ciphers May Set Us Free Marc Perlman, Brown University 4A [P] The Virtual and the Visceral: Mediated Kyra Gaunt, Baruch College–CUNY Musicalities 2:00 From the Cajón to “Condor Pasa”: Cultural Patrimony and Peruvian 3I [P] Bands and the Performance of Sponsored by the Popular Music Section Cultural Policy Place I Chair: Kiri Miller, Brown University Javier León, Indiana University Chair: Charles Keil, State University of New 3:45 Virtual Virtuosity: Guitar Hero and 2:30 What Diversity Gets Done: Music York, Buffalo (Emeritus) Schizophonic Performance and Policy After Multiculturalism 1:30 Identity, Status and Performance Kiri Miller, Brown University Morgan Luker, Columbia University Practice in the Ritual of British Band 4:15 Recontextualizing for and by a Global 3:00 Cultural Patrimony as a Tourist Draw: Contesting Audience: An Online Community for Public and Private Sponsorship of Richard Jones, University of Hudders- Hawaiian Music Musicians in Arcoverde, Brazil, 1995- field Paula Bishop, Boston University 2005 2:00 Through the Barricade: The Geopoli- 4:45 “No More Real Life”: Virtualizing Dan Sharp, The College of William and tics of Protestant Marching Bands in Live Music Performances in Second Mary Northern Ireland Life Diana Atkinson, Queens University 3G [IP] Theory and Methodology Trevor Harvey, Florida State University 2:30 Second Line Beats on Second Line Chair: TBD Streets: How New Orleans Brass 4B [P] Undergirding and Undermining Gen- 1:30 Being Sneaky in the Field: The Ethics Bands Negotiate Space through the der Ideologies through Musical Perfor- of Recording Surreptitiously “Second Line” Parading Tradition mance: The Politics of Representation Ryan Jordan, The Ohio State University Julie Raimondi, University of California, Sponsored by the Gender and Sexualities Taskforce Los Angeles 2:00 Ethnomusicology as Discipline in Chair: Boden Sandstrom, University of Ethnographic Research on Music and 3:00 The New Orleans Brass Band and Maryland Identity the Accumulation of Authenticity 3:45 Gender, Collaboration, and Represen- Timothy Rice, University of California, Matthew Sakakeeny, Tulane University tation: The Life of “Gypsy Queen” Los Angeles Esma Redzepova 3J [P] New Traditions, Old Innovations: Carol Silverman, University of Oregon 2:30 Cultural Capital Today Making Music “Folk” after Czechoslo- 4:15 Mujer y Flamenco: Women Guitarists Timothy Taylor, University of California, vakia Los Angeles Challenging Exclusion/Reclaiming Chair: Lee Bidgood, University of Virginia Tradition 3:00 Phenomenology of Finland-Swedish Loren Chuse, Independent Scholar Musical Lives Discussant: Timothy Cooley, University of Califor- nia, Santa Barbara Pirkko Moisala, Helsinki University 4:45 The Regal, Stately, and Enchanting 1:30 Czech Bluegrass Gospel: Singing Faith African American Voice 3H [IP] Gendering Musical Performance and Identity in Bohemia Jenni Veitch-Olson, University of Wis- Male Lee Bidgood, University of Virginia consin, Madison

Chair: TBD 2:00 Prameny/Sources: Local “World 4C [P] New Perspectives in Southeastern Music” in Moravia 1:30 Experiencing Uncertainty in Malian European Popular Music and Jazz Wasulu Hunters’ Music Performance Jesse Johnston, University of Michigan and Hunting Chair: Plamena Kourtova, Florida State 2:30 What is Folk Music and Who University Cullen Strawn, Indiana University Cares? Joe Feinberg, University of Chicago 3:45 Croatian Hard Rock, Musical Patrio- 2:00 Performing Masculinity in Ireland tism, and Debates over Free Speech and the United States 3K between Eastern Europe and North Sean Williams, Evergreen State College 1:30 [L/D] Mbira-Making Demonstration America 2:30 Challenge of the Contemporary Kevin Nathaniel Hylton, Independent Ian MacMillen, University of Pennsyl- Argentine Malambista: Confronting Musician vania

Key: [P]=Panel; [IP]=Independent presentations; [F/V]=Film/video presentation; [P/W]=Panel/Workshop; [F/R]=Forum/Roundtable; [L/D]=Lecture-Demo [M]=Meeting 14 SEM Newsletter

4:15 Kaval-politan Jazz: Cosmopolitan Shrine of Sidi `Ali Zayn al-Abidin 4:15 Celestial Voices: Agency, Sanctuary Selfhood, Collaboration, and Modern Michael Frishkopf, University of Al- and Outburst in Religious Choral ‘Magic’ in Paradox Trio’s Gambit berta Performance in Nigeria Ryan McCormack, University of Texas Olabode Omojola, Mount Holyoke Col- 4:15 Of Mirrors and Frames. Thoughts at Austin lege on Music and Architecture through 4:45 The Power of Imitation in Music Idol: the Prism of Ethnographic Film- 4:45 From “Praise Chorus” to “Worship Popular Music, Media Markets, and making: Perspectives at the Iranian Music”: The Politics of Musical the Politics of Identity in post-Com- Zurkhâneh Naming within US Evangelical Con- munist Bulgaria Federico Spinetti, University of Alberta temporary Worship Plamena Kourtova, Florida State Uni- Monique Ingalls, University of Pennsyl- 4:45 The Changing Nature of Polysemics, versity vania Portability, and Proxemics in the Con- 4D [F/R] Compositions, Copyright Law, and struction of Alevi/ Village Bektashi 4K [F/V] Creating Ombak: Tuning a Balinese Creative Commons: Between Creativity Rituals and Ritual Space Past and Gamelan Gong Kebyar and Economic Benefits of Music Present Irene Markoff, University of Alberta Jane Piper Clendinning, Florida State Sponsored by the Popular Music Section University; Wayne Vitale, Gamelan Sekar Chair: Alex Perullo, Bryant University 4H [F/R] Towards a Socially Just Paradigm Jaya; Elizabeth Clendinning, Florida State University Participants: Jane Florine, Chicago State for Fieldwork in the United States University; Michael MacDonald, Univer- Chair: Carol Muller, University of Penn- Saturday, 5:30pm-7:00pm sity of Alberta; Gabriel Solis, University sylvania of Illinois at Urbana-Champaign; Alex Pe- Reception rullo, Bryant University; Reebee Garafalo, Participants: Christine Dang, University of Pennsylvania; Glenn Holtzman, University Saturday, 6:00pm-8:00pm University of Massachusetts, Boston of Pennsylvania; Nina Ohmann, University Reception Dance Party – Klezmer, African/ 4E [P] Exotic and Familiar: Musical and of Pennsylvania; Emily Zazulia, University Reggae/Funk of Pennsylvania Spiritual Recontextualizations Saturday, 7:00pm-8:00pm Chair: Marc Perlman, Brown University 4I [IP] World Religions and Indigenous [M] Special Interest Group for South Asian 3:45 Singing Nature: Music and Identity Beliefs Performing Arts in a Contemporary Druid Grove Chair: TBD Julia Cook, University of Virginia [M] Crossroads Project on Diversity, Differ- 3:45 The Inuit-Missionary Encounter: ence, and Underrepresentation 4:15 Redefining What a Jew Means in This Total Christian Conversion or Ne- Time gotiation of Belief Systems? Saturday, 7:30pm-9:30pm Joel Rubin, University of Virginia Mary Piercey, Memorial University of [M] Popular Music Section Newfoundland 4:45 Taiwanese America Meets Taiwan Saturday, 8:00pm-9:00pm Through Independent Rock Music 4:15 Music and Indigeneity in Baptist and Performances Pentecostal Congregations in Coch- W1 New England Contradance Wendy Hsu, University of Virginia abamba, Bolivia Co-sponsored by the Dance Section Eric Jones, University of Illinois at Ur- 4F [F/R] Cultural Variations? Case Studies bana-Champaign Saturday, 8:00pm-10:00pm of “Overlooked” Musical Traditions from 4:45 Spiritual Symbiosis: The Jesuit, the Ghana [M] Association for Chinese Music Re- Medicine Man, and the Power of search Chair: Trevor Wiggins, Dartington College Song of Arts, UK Chad Hamill, Northern Arizona Uni- [M] Society for Arab Music Research Participants: Trevor Wiggins, Dartington versity College of Arts, UK; Daniel Avorgbedor, [M] Latin American & Caribbean Music Ohio State University; Gavin Webb, School 4J [IP] Choral performance and spiritual Special Interest Group experience For International Training; Jill Crosby, Saturday, 9:00pm-12:00am University of Alaska Anchorage; Frank Chair: TBD C1 Javanese Wayang Kulit Denyer, Dartington College of Arts, UK 3:45 A Different Voice, a Different Song: The “Natural” Voice, Community Saturday, 9:30pm-10:00pm 4G [P] Music and Architecture in Islam Choirs and World Song in the UK C2 European-North American Chair: Michael Frishkopf, University of Caroline Bithell, University of Manches- Alberta ter, UK Saturday, 10:00pm-12:00am 3:45 Ritual of Veneration, Architecture of C3 Irish Music Special Interest Group Veneration: The Hadra and Mosque- SEM Newsletter 15

Reveal and Guide Different Aesthetic Aaron Fox, Columbia University; Jeff Attitudes towards Timbre Titon, Brown University Pantelis Vassilakis, DePaul University 5F [F/R] Ethnomusicologists and UNES- Sunday, Oct 26, 2008 5C [P] Narrators and Narrations of Nation- CO’s Proclamation of the Masterpieces Sunday, 7:00am-8:00am alism: Musical Flows through Trans/na- of the Oral and Intangible Heritage of [M] Publications Advisory Committee tional Currents Humanity (2001-2005) Chair: Christi-Anne Castro, University of Chair: Salwa El-Shawan Castelo-Branco, [M] Chapters Meeting Michigan, Ann Arbor Universidade Nova de Lisboa, Instituto de Etnomusicologia [M] Education Section Business Meeting 8:30 Singing the Philippine Nation to the World Participants: Anthony Seeger, University [M] Careers & Professional Development Christi-Anne Castro, University of Michi- of California, Los Angeles; Adrienne Committee gan, Ann Arbor Kaeppler, Smithsonian Institution; Ignazio Macchiarella, Independent Scholar; Carlos [M] LAC/PC Meeting 9:00 Singing, Listening and Silence: Multi- Sandroni, Centro de Convencoes UFPE Cultural Voicing and the Turkish Sunday, 8:30am-10:00am State 5G [P] Yiddish and Hasidish: Teaching, 5A [P] Ethnomusicology and the Political Sonia Seeman, University of Texas, Transmission, and the Institutionalization Dimensions of Sound Praxis. Theoreti- Austin of the Affinity and the Heritage cal and Practical Issues of an Ongoing 9:30 Children of the World in Harmony: Chair: Amanda Scherbenske, Wesleyan Participatory Research Project in Rio de Performing National Identities in an University Janeiro, Brazil International Context 8:30 Yiddish Song Translation as Perfor- Chair: Samuel Araujo, Federal University of Lauren Holmes, Yale University mance, Pedagogy, and Postvernacu- Rio de Janeiro larity 5D [P] Popular Music History and the 8:30 Notes on the Political Dimensions Body Shayn Smulyan, Brown University of Sound Praxis Samuel Araujo, Federal University of Rio Sponsored by the Gender and Sexualities Taskforce 9:00 Themes and Genres in Contemporary Hasidic Women’s Song de Janeiro and by the Popular Music Section Chair: Kariann Goldschmitt, University of Asya Vaisman, Harvard University 9:00 Participatory Research, Ethnomusi- California, Los Angeles cology and Social Change: The Case 9:30 From the Catskills to the Carpath- of the “Musicultura” Group in Rio 8:30 “Fable: Once upon a time, there was ians: Authority and Authenticity in de Janeiro, Brazil a stripper who could sing. The end.” the Transmission of Klezmer Vincenzo Cambria, Wesleyan University Burlesque, the Eroticized Female Amanda Scherbenske, Wesleyan Uni- Form, and Desire in Popular Music, versity 9:30 Musicultura: Researching and Ar- Past and Present chiving Sound and Image From a Rachel Devitt, University of Washington 5H [F/R] Ethnomusiconomies in Mexico Socially Interested Point of View 9:00 Choreographing the Black Bourgeois: Sponsored by Program Committee Chair for SEM Sinesio Jefferson Andrade Silva, Grupo 2009 Musicultura/Federal University of Rio Masculinity and Sincerity in Live Chair: Brenda Romero, University of Colo- de Janeiro Performances of the Orioles Philip Gentry, University of California, rado at Boulder 5B [P] Auditory Perception, Acoustics and Los Angeles Participants: TBD Culture 9:30 Doing the Bossa Nova: Bodies and 5I [P] Prisms of Past and Present: Explora- Chair: John Hajda, University of California, Spectatorship in a “Latin” Dance tions in Thumri Santa Barbara Craze Kariann Goldschmitt, University of Cali- Sponsored by the Special Interest Group for South 8:30 Musical Listening fornia, Los Angeles Asian Performing Arts Cornelia Fales, Indiana University Chair: Regula Qureshi, University of Al- 9:00 Classifying Timbre: A Sound-based 5E [F/R] Beyond Advocacy berta Approach to Organology Sponsored by the Applied Music Section 8:30 Thumri: Female Voice Across the John Hajda, University of California, Chair: Jeff Titon, Brown University Centuries Santa Barbara Utpola Borah, Archives and Research Cen- Participants: Erica Haskell, Brown Uni- tre for Ethnomusicology(ARCE), Ameri- 9:30 Acoustic Differences in Instrument versity; Jeffrey Summit, Tufts University; Construction and Performance Maureen Loughran, Brown University; can Institute of Indian studies (AIIS) Practices among Musical Traditions

Key: [P]=Panel; [IP]=Independent presentations; [F/V]=Film/video presentation; [P/W]=Panel/Workshop; [F/R]=Forum/Roundtable; [L/D]=Lecture-Demo [M]=Meeting 16 SEM Newsletter

9:00 Poetics and Performance: The 6B [IP] Ethnomusicological Canons? 11:15 Women and Music in Dagbon: Ne- Intersection of Text and Music in gotiation of Tradition, Gender, and Thumri Chair: TBD Artistic Expression Hans Utter, The Ohio State University 10:15 The Advantages of an Undisciplined Katharine Stuffelbeam, University of Discipline: The Paradoxical Potential California, Los Angeles 9:30 Dance, Gesture, and Song: Finding of a Lack of an Ethnomusicological Thumri in Kathak Canon in Latin America 11:45 For Ireland I Would Tell Her Name: Margaret Walker, Queen’s University, Carolina Santamaria Delgado, Pontificia Gendering Biography in Irish Tradi- Kingston Universidad Javeriana tional Music Studies Tes Slominski, New York University 5J [P] Islam and Music in Indonesia II 10:45 Demystifying the Popular: Towards an Ethnomusicology of Mainstream 6E [IP] Ethnomusicology and Film I Chair: David Harnish, Bowling Green State Commercial Music University David Pruett, Middle Tennessee State Chair: TBD 8:30 Tensions between Adat (custom) University 10:15 Reinterpreting the Socialist-Real- and Agama (religion) in the Music of ist Image of Slovak Folklore: The Lombok 11:15 Marimbas Orquestas: Counter-Nar- Ethnomusicology of the Film Rodná David Harnish, Bowling Green State ratives to Guatemalan Musical Na- zem tionalism and Lacunae in Guatemalan Jadranka Vazanova, CUNY, RILM University Musicology International Center 9:00 Authentic Islamic Sound?: The Arab Jack Forbes, University of Florida Idiom in Indonesian Islamic Expres- 10:45 Fightin’ Words: Solkattu, the Devada- sion 11:45 The Cultural Relativism of Henry si, and Conflict in Two Tamil Film Cowell: A Closer Look Birgit Berg, Voice of America Songs Ethan Lechner, University of North Fugan Dineen, Wesleyan University 9:30 Islam, State, and Javanese Wayang Carolina at Chapel Hill Kulit and Gamelan 11:15 Cultural Heritage and Musical Inter- Sumarsam, Wesleyan University 6C [IP] Musical Spaces textuality of “Jiangjun Ling” in Wong Fei Hung Films Chair: TBD 5K Po-wei Weng, Wesleyan University 10:15 Spectacle and Performance in the 8:30 [F/V] The Cultural Interface of New York City Subway System 11:45 Trailing Images: Hula and Theater Christian Music in Kerala, India Bill Bahng Boyer, New York University Advertising in Hawai‘i Joseph Palackal, Christian Musicological Jane Moulin, University of Hawaii Society of India 10:45 Confronting the King: Music, Mobili- zation, and a March through Miami 6F [IP] Reconfiguring Canon in Music Edu- Sunday, 10:15am-12:15pm Laura Emiko Soltis, Emory University cation 6A [IP] Aesthetics, Voice and Identity 11:15 Liminality at Play: Pilgrimage and Mu- Chair: TBD Chair: TBD sical Improvisation in the Dominican 10:15 An Avant-Garde Proposal for Inter- Republic 10:15 “Using Your Voice Like a Horn”: cultural Music Education in Mandate- Scat Singing and the Fuzzy Rhetoric Angelina Tallaj, CUNY Graduate Era Palestine of Vocal Practice Center Brigid Cohen, UNC Chapel Hill Lara Pellegrinelli, Independent Scholar 11:45 Tourists and Pilgrims, Concerts and 10:45 Decolonizing Education in Kenya: A Rituals: Fuzzy Boundaries between 10:45 The Grain of the Ventriloquist: Lis- Case Study of the Secondary School the Sacred and the Secular in Wutai tening to Fito Paez in Cuban Popular Music Curriculum Shan Buddhist Music Song Everett Igobwa, York University, Canada Beth Szczepanski, Ohio State University Susan Thomas, University of Georgia 11:15 Hope in Uganda: An Instance of 11:15 Chayanankupaq—“So that the 6D [IP] Gendering Musical Performance Music in HIV/AIDS Education Sound Arrives”: Spirit Essence that Female Emily MacKinnon, University of British Manifests in a Singing Technique in Columbia Chair: TBD Q’eros, Peru 11:45 Resituating the Western Canon Holly Wissler, Florida State University 10:15 Gender and Genre Onstage: Chang- ing Perceptions and Participations of through Pedagogy and the Theoretical 11:45 Talking Yazoo in Kalamazoo:Voices Women Musicians in Tunisia Frame in the United States, the United in the Performance and Construction Alyson Jones, University of Michigan Kingdom, and the People’s Republic of Blues Identities in a Contemporary of China Musical Community 10:45 Voices of “Tradition”: The Role of Kimasi Browne, Azusa Pacific University Jonathan Hill, Western Michigan Uni- Women’s Music in Gujarat, India versity Niyati Dhokal, University of Alberta SEM Newsletter 17

11:45 Golden Melody Award: Genre Cat- egorization and Institutionalization of “Ethnic Music” in Taiwan Hsin-wen Hsu, Indiana University

6H [P] Representations of Indianness in Latin American Music Chair: Fernando Rios, Vassar College Discussant: Robin Moore, University of Texas at Austin 10:15 Parallel Stories. Resignification of Pre- Columbian Icons in Ricardo Castro’s Atzimba and the Teatro Nacional in Post-Revolutionary Mexico Alejandro Madrid, University of Illinois, Chicago 10:45 The Sad Indian Cries Through His Kena: Andean Folkloric-Popular Music, the Yaraví, and Indigenous Stereotyping in Bolivia, Argentina and France Fernando Rios, Vassar College 11:15 América de los indios: The Border- Middletown, CT; Wesleyan is in the foreground (photo: courtesy American Aerials Photos) lands of Indigeneity in Chicana/o Popular Musics 6G [IP] Dancing Transformation II 10:45 Ritual Anamnesis: Music and Memory Estevan Azcona, University of Texas in Orisha Possession Trance at Austin Chair: TBD David Font-Navarrete, York University 10:15 Samba de Raiz: “Roots” and the 6K [F/V] African Underground: Democracy Search for Brazilian Authenticity in 11:15 Narrativity and Selfhood in Mayo- in Paris—A documentary film series the Pagodes of Rio de Janeiro Yoreme Mortuary Rituals screening and panel discussion about hip Beto Gonzalez, University of California, Helena Simonett, Vanderbilt University hop music as a voice for immigrant youth Los Angeles 11:45 Shabbat Shalom: Music, Prayer, and in the infamous parisian suburbs during the 2007 french presidential elections 10:45 Tracing the Steps of the Haitian Méri- Transcendence in Jewish Worship ngue: Contredanse Transformations Sarah Van Doel, MMC Recordings/Tufts Magee McIlvaine, Nomadic Wax; Benjamin in Haiti University Herson, Nomadic Wax Michael Largey, Michigan State University 6I [IP] Ambiguities of National and Inter- Sunday, 12:30pm-1:30pm 11:15 From Mambo to Salsa: Dancing national Recognition [M] Ethics Committee Across Generational Divides Chair: TBD Juliet McMains, University of Wash- [M] Special Interest Group for European ington 10:15 Moving Towards Plurality: Effects Music of World Music Recognition upon 11:45 Köçeks: Male Belly Dancers in Con- Central American Garifuna Com- [M] EVIA Digital Archive Board & Deposi- temporary Turkey munities tor Meeting Mustafa Avci, New York University Amy Frishkey, University of California, Los Angeles [M] Special Interest Group for Medical Eth- 6H [IP] Music and Spirituality I: Transcendent nomusicology Experience 10:45 UNESCO’s Policy on Intangible Cultural Heritage and Intercultural Chair: TBD [M] Special Interest Group for the Music of Dialogue Toward Peace Through Iran & Central Asia 10:15 Religious and Musical Expressions of Music the Ga in Their Quest for Spiritual Susan Asai, Northeastern University [M] Society for Asian Music Membership Perfection Meeting Clarence Henry, The Henry Center for 11:15 Symposium on Music as a Means of Multicultural Education and Global Intercultural Dialogue Sunday, 12:30pm-3:30pm Research Brenda Romero, University of Colorado at Boulder Lunch/Recreation

Key: [P]=Panel; [IP]=Independent presentations; [F/V]=Film/video presentation; [P/W]=Panel/Workshop; [F/R]=Forum/Roundtable; [L/D]=Lecture-Demo [M]=Meeting 18 SEM Newsletter

Sunday, 4:30pm-6:00pm 7C [P] Music at Café Society: Race, Class, and 7F [P] Authenticity, Hybridity, and Cultural Gender at New York’s First Integrated Identity in Folk Musics of the Mari- [M] Business meeting Nightclub times Sunday, 6:15pm-7:15pm Chair: Jonathan Bakan, Ryerson University Chair: Peter Toner, St. Thomas University Seeger Lecture 8:30 Swinging the Classics: Hazel Scott and 8:30 An Inconvenient Authenticity: Mass Sunday, 7:30pm-8:30pm Hollywood’s Racial-Musical Matrix Media, Music and Irish Cultural Kristen McGee, University of Groningen Identity in New Brunswick [M] African Music Section Daniel Downes, University of New Bruns- 9:00 Café Society and Female Physicality wick, Saint John Sunday, 8:00pm-9:00pm Monica Hairston, Center for Black Music W2 South Indian solkattu with David Nelson Research, Columbia College Chicago 9:00 Global Forms of Music and Local Meaning: A Discussion of Bluegrass 9:30 Cafe Society and the construction of W3 Javanese Gamelan with Harjito Music in the Maritimes “America’s Classical Music” Daniel Andrews, University of New Sunday, 9:00pm-12:00am Jonathan Bakan, Ryerson University Brunswick C4 African Music Section 7D [IP] Music and Healing 9:30 “Authentic” Identities and Hybrid Sunday, 9:30pm-10:30pm Musics among the Irish in New Chair: TBD Brunswick W4 Shape Note Singing with Neely Bruce 8:30 The Icaros of Neo-Traditional Peru- Peter Toner, St. Thomas University and Tim Eriksen vian Shamanism in Western Locales Nicholas Menache, Graduate Center of the 7G [IP] Popular Music in Asia II Sunday, 9:00pm-12:00am City University of New York C5 South Asian Performing Arts SIG Chair: TBD 9:00 Songs for the Body: Tradition and 8:30 Pay to Play: Economies of Live Per- Sunday, 9:30pm-1:00am Change in Maori Healing formance in Japan C6 Southeast Asian followed by Gamelan Lauren Sweetman, University of Toronto Lorraine Plourde, Columbia University Klenengan 9:30 Time to Break Away: Altered States 9:00 Resurrecting the Immortal: The of Consciousness as Medical Inter- Posthumous Duet in Japan vention in the Skiffle Bunch Steel Or- Shelley Brunt, University of Otago chestra of San Fernando, Trinidad Jeffrey Jones, Florida State University 9:30 Lingering Influences from the Japa- nese Occupation on Music of Palau Monday, Oct 27, 2008 7E [P] Biography in African Music Scholar- Sarah McClimon, University of Hawaii ship: A Tribute to Two West African Monday, 7:00am-8:00am Master Musicians 7H [P] Displacing the ‘Western’ in ‘Western Art Music’ [M] Student Concerns Committee Chair: Jacqueline Cogdell DjeDje, University Monday, 8:30am-10:00am of California, Los Angeles Chair: Eric Usner, New York University 7A [F/R] Rewind and Fast Forward: Perspec- 8:30 Salisu Mahama: Performance Style, 8:30 The Hidden West: Reflections on the tives on the History of Ethnomusicology Identity, and Globalization Postcolonial Perspective in the Work of George List Jacqueline Cogdell DjeDje, University of Yara El-Ghadban, Université de Montréal California, Los Angeles Chair: Peter Ermey, Indiana University 9:00 Western Art Music in Uganda: A 9:00 From Culture as Theory to Culture Music of the Other? Discussant: Ruth Stone, Indiana University as Practice: Musical Biography and Suzanne Wint, University of Chicago Participants: Jessie Wallner, Indiana Uni- Individual Creativity in 20th Century versity; Fredara Hadley, Indiana University; African Music Scholarship 9:30 Maintaining the Center: Western David Lewis, Indiana University Jesse Ruskin, University of California, Art Music as a Viennese Cultural Practice Los Angeles 7B [F/R] Gamelan Cudamani US Tour of Eric Usner, New York University Odalan Bali 9:30 A Great Man Has Gone Out: The Funeral of Ghanaian Xylophonist 7I [F/R] Theorizing Musical Celebrity Chair: Judy Mitoma, University of California, Kakraba Lobi Across Disciplines: Singing Celebrities Los Angeles Brian Hogan, University of California, and Their Publics Los Angeles Participants: Dewa Putu Berata, Gamelan Chair: Lila Ellen Gray, Columbia University Cudamani; Emiko Susilo, Gamelan Cuda- mani; Wayne Vitale, Gamelan Sekar Jaya; Participants: Christine Yano, University I Made Bandem, Institute Seni Indonesia, of Hawaii; Virginia Danielson, Harvard Denpasar, Bali; I Wayan Dibia, Institute University; Lila Ellen Gray, Columbia Seni Indonesia, Denpasar, Bali University; Keir Keightley, University of Western Ontario SEM Newsletter 19

7J [F/R] Teacher-Nexus-Teacher (TNT!): 11:45 “Mombasa, Mother of the World”: 8E [P] Decentering the South Asian Art Creating and Sharing Global Music Re- Hadrami Voices in a Kenyan Swahili Music Canon sources for Classrooms and Communi- Town ties Andrew Eisenberg, Columbia University Chair: Jim Sykes, University of Chicago 10:15 Voices, Bodies and Musical Com- Sponsored by the Education Section 8C [IP] Localism and the Business of Mu- modities in the Nepali Folk Music Chair: Atesh Sonneborn, Smithsonian sic Industry Folkways Anna Stirr, Columbia University Chair: TBD Participants: Patricia Shehan Campbell; 10:45 Banter and Bricolage at the Burial Rita Klinger; Dan Sheehy; Philip Yam- 10:15 Revisiting the Local Record Industry: Chamber: The Dueling Fakir in Sufi polsky the Formation of Digital Collectives in Cameroon Bangladesh 7K [F/R] President’s Roundtable: SEM and Dennis Rathnaw, University of Texas Bertie Kibreah, University of Chicago American Imperialism at Austin 11:15 Sound and Sociality: On Cultural Chair: Deborah Wong, SEM President, Uni- 10:45 The Motown/Stax Problem Geography, Musical Migration, and versity of California, Riverside Andrew Flory, Shenandoah University Multicultural History in Sri Lanka Jim Sykes, University of Chicago Presenters: TBD 11:15 “Localism and Diversity”: The FCC’s 11:45 Virtuosity To Be Sold Abroad: John Monday, 10:15am-12:15pm Unfolding Plan for Low-Power FM Broadcasting McLaughlin’s ‘Floating Point,’ Fusion, 8A [P] On Theory in Ethnomusicology: Steven Cornelius, Bowling Green State and the ‘New’ India Three Concepts University Niko Higgins, Columbia University Chair: Michael Birenbaum Quintero, New 11:45 Beyond Preservation? The Musical 8F [IP] Tradition and Innovation I York University Loss and Media Representation of Chair: TBD Discussant: Jairo Moreno, New York University Itinerant Performers in the Central 10:15 Tradition and Innovation in the 10:15 Rethinking “Musicking”: Toward a Himalayas Bansuri Compositions of Pannalal Political Epistemology of “Music” Stefan Fiol, University of Illinois at Ur- Ghosh Michael Birenbaum Quintero, New York bana-Champaign Carl Clements, CUNY Graduate Center University 8D [P] Musical Festivities: Constructing 10:45 Musical Liberation? Musical Change, 10:45 Aurality and the Hearing Body: Phe- Place, Identity, and Spirituality in Public Continuity, and National Identity in nomenology as a Politics of Sensibil- Settings Ghanaian Music Surrounding the ity Sponsored by the Society for Arab Music Research Liberation Amy Cimini, New York University and the Special Interest Group for the Music of Iran and Central Asia Aja Wood, University of Michigan 11:15 Soundscape, Technological Media- 11:15 Santurce/San Mateo de Cangrejos: tion, and the Sonorous Objects of Chair: Mark Slobin, Wesleyan University 400 Years of Musical Crossroads in Ethnomusicology 10:15 The Architectonics of the Senator Puerto Rico Ivan Goff, New York University National Cultural Extravaganza of Uganda Shannon Dudley, University of Wash- 8B [IP] Musical Intersections David Pier, Graduate Center of the City ington Chair: TBD University of New York 11:45 Symbolic and Social Power: The Gnawa in Morocco 10:15 Aldine Kieffer, Southern Gospel, and 10:45 Returning to Diaspora: Songs for the Pilgrimage to Djerba, Tunisia Christopher Witulski, University of Hillbilly Music: The Case of “The Florida Grave on the Green Hillside” Ruth Davis, University of Cambridge Stephen Shearon, Middle Tennessee State 11:15 Music and Procession in Public Festi- 8G [IP] Performing Identity University val Spaces: The Case of Mahashivratri Chair: TBD 10:45 Psychobilly: Nostalgia through Sub- in India 10:15 Ikari Taiko Group and Buraku Identity culture Ann Lucas, University of California, Los in Osaka, Japan Kim Kattari, University of Texas at Angeles; Nazir Ali Jairazbhoy, University Yoshitaka Terada, National Museum of Austin of California, Los Angeles Ethnology 11:15 Examining the Impact of Caribbean 10:45 The Maintenance of Multi-Layered Music on the Development of Pana- Identities: Music and Language in manian Música Típica Guadeloupe Sean Bellaviti, University of Toronto Ryan Durkopp, University of Pittsburgh

Key: [P]=Panel; [IP]=Independent presentations; [F/V]=Film/video presentation; [P/W]=Panel/Workshop; [F/R]=Forum/Roundtable; [L/D]=Lecture-Demo [M]=Meeting 20 SEM Newsletter

11:15 Pamyua and the Poetics of “Tribal 8J [P] Instruments and Interfaces: Rethink- Women”: Pearl Primus’s Fango Funk” ing Musical Production and Control Tamara Levitz, CUNY Graduate Jessica Bissett, University of California, Chair and discussant: Thomas Porcello, Vas- Center Los Angeles sar College 2:30 Aural Ethnography as Experimental 11:45 Ca Trú: High Culture and National 10:15 Saying as Playing: The Recitation of Music: Brenda Hutchinson’s “West Heritage in Vietnam Tabla Bols as an Alternate Mode of 4th Street Quintet” Bretton Dimick, University of Michigan Performance Louise Chernosky, Columbia University Allen Roda, New York University 8H [IP] Urban Musics in the 20th Century 3:00 The Voice as Original Instrument: 10:45 Country Noise, City Spaces: Reread- The Aesthetic of Joan La Barbara Chair: TBD ing the Organology of Dominican Bernard Gendron, University of Milwau- 10:15 “Health to you, Marko, with your Bou- Merengue Típico kee-Wisconsin zouki!”: Spoken Interaction among Sydney Hutchinson, New York Univer- Musicians in Historic Recordings of sity 9B [P] Place, Performance, and Community Greek Urban and Rural Musics in Irish Music Michael Kaloyanides, University of New 11:15 Instrumental Anxiety and Bureau- cratic Theories of Listening Chair: Sean Williams, Evergreen State Col- Haven Ben Tausig, New York University lege 10:45 The Reed from Rumi to Gibran in 1:30 No Place, No Where: Identity and the Song of the Lebanese Superstar 8K [L/D] Sakoa Dede: Transformations Place in the regional music of Sliabh Fairouz in Hip Life Music and Dance Scene of Aughty Ken Habib, California Polytechnic State Ghana Tim Collins, Centre for Irish Studies, Na- University, San Luis Obispo Isaac Akrong, York University tional University of Ireland, Galway 11:15 Politics and Aesthetics Beyond Dual- 2:00 Place, Space, and Advocacy: Com- ism: Brazilian Popular Music in the Monday, 12:30pm-1:30pm haltas Ceoltóirí Éireann and the Sixties and the Subject of Signifying [M] Investment Advisory Committee Geography of Irish Traditional Music Practice in the Public Sphere Alvaro Neder, Universidade Federal do [M] Applied Ethnomusicology Section Lauren Weintraub Stoebel, City University Estado do Rio de Janeiro / Centro Federal of New York, Graduate Center de Educação Tecnológica [M] Association for Korean Music Re- search 2:30 Blacks, Irish, and the Antebellum Cre- 11:45 Spanish Popular Music during the Late ole World of William Sidney Mount Franco Dictatorship (1965-1975) [M] Special Interest Group on Irish Music Christopher Smith, Texas Tech School of Daniel Party, Saint Mary’s College Music [M] Gender and Sexualities Taskforce 8I [IP] Song 3:00 Transplanting the Local: Reflections [M] Historical Ethnomusicology Special on a Donegal Fiddler Chair: TBD Interest Group Dorothea Hast, Eastern Connecticut State 10:15 Strange Bedfellows: Aliens and Con- University stituents in the Ritual Musicking of [M] Development Committee the Logooli. 9C [P] African (Ghanaian) Art Music: Chal- Jean Ngoya Kidula, University of Georgia [M] Editorial Board lenges and Directions Sponsored by the African Music Section 10:45 Oran Ionndrainn: Remembering Monday, 12:45pm-1:30pm Chair: Kofi Agawu, Princeton University Gaelic Song in Frances Tolmie’s C7 Karnatak Music with Balu and David ‘Songs of Skye’ Nelson 1:30 Tonality as Colonizing Force in Af- Dorothy de Val, York University, Toronto rica Monday, 1:30pm-3:30pm 11:15 El Trovo Alpujarreño: Three Conflicts Kofi Agawu, Princeton University in Search of a Voice 9A [P] Experimental Subjects: Women in the 2:00 Aburukusu: The Challenges of a Andrew Rosenfeld, Mount St. Mary’s New York Avant-Gardes Ghanaian Musician and his Orches- University Sponsored by the Gender and Sexuality Taskforce tra (The Africkana FolkRhythmic Orchestra) 11:45 Who’s Making Canadian Music, Eh? Chair: Benjamin Piekut, Columbia Univer- Oforiwaa Aduonum, Illinois State Uni- Publicly Funded Music in Contem- sity porary Canada 1:30 Murder by Cello: John Cage meets versity Parmela Attariwala, University of To- Charlotte Moorman 2:30 Amu’s “Bonwere Kentewene”: A ronto Benjamin Piekut, Columbia University Celebration of Ghanaian Traditional Knowledge, Wisdom, and Comple- 2:00 The Transmutation of the African mentary Artistry Body in the Invention of “Black George Dor, University of Mississippi SEM Newsletter 21

3:00 Piano Music of Africa and the African 9F [IP] Jazz Aesthetics: Musical and Social 2:30 Advocacy in Music Performance Diaspora Processes Production William Chapman Nyaho, Independent Alison Booth, Auckland University of Chair: TBD Concert Pianist Technology 1:30 Non-Interaction in Jazz Improvisa- 9D [IP] Genocide tion 3:00 Learning from Our Elders: Charles Ben Givan, Skidmore College Seeger and Advocacy Chair: TBD Bell Yung, University of Pittsburgh 1:30 Music of the Rwandan Genocide: 2:00 M-Base: Emphasizing Originality in Three Songs by Simon Bikindi Jazz in the 1980’s 9I [IP] On the Lives of Musical Instruments Jason McCoy, Florida State University Matthew Clayton, Harvard University I 2:00 Recovering From a Void: Indigeneity 2:30 The Paradox of Freedom: Jazz and Chair: TBD and Music in Post Genocidal Cam- Social Transformation in Pittsburgh 1:30 Erhu as Violin: An Identity Crisis bodia during the 1960s of China’s Representative Musical Stephen Mamula, Rhode Island College Colter Harper, University of Pittsburgh Instrument 3:00 Randy Weston: Preserving African Shuo Zhang, University of Pittsburgh [IP] Prisons Roots through Jazz Composition and 2:00 Innovation and the Chinese Guzheng, Chair: TBD Performance 1942 to the Present Jason Squinobal, University of Pitts- 2:30 Ethnomusicological Vérité: Filming Ann Silverberg, Austin Peay State burgh Musicians in Louisiana and California University State Prisons 9G [IP] Bands - Military and Beyond 2:30 When an ‘Improved Instrument’ Benjamin Harbert, University of Califor- Becomes the Sole Bearer of the Tradi- nia, Los Angeles Chair: TBD tion: The change from Jinashi to Jinuri 3:00 “It’s Lonesome, It’s Lonesome”: 1:30 The [Pan]demonium of the Pande- Shakuhachi and Revival/Resistance Imprisonment and Liberation in Fort moniacs: Searching for the U.S. Navy Kiku Day, School of Oriental and African Sill Apache Song Steel Band Studies, London Thomas Aplin, University of California, Andrew Martin, Inver Hills Community College 3:00 ‘A Rich, Velvet Voice’: The Legendary Los Angeles Past and Contentious Present of the 2:00 Music of the Other: Observations on Kazakh Kyl-kobyz 9E [IP] Musical Spectacle: Disney Transcriptions of Western Military Megan Rancier, University of California, Chair: TBD Music from the Late Edo Period Los Angeles 1:30 When East Meets West: Walt Disney Justin Hunter, University of Arkansas 9J [IP] Rethinking Chant World, Authenticity, and the Reifica- 2:30 Parading Respectability: Creating tion of Kumidaiko Cultural Meaning in Christmas Band Chair: TBD Benjamin Power, University of California, Competitions in Cape Town, South 1:30 Remembering the Song: Rethinking San Diego Africa Orality and Improvisation in Chant Sylvia Bruinders, University of Cape 2:00 It’s a Small Worldview (After All): Traditions Representation? or Stereotype? in a Town/ University of Illinois Dániel Péter Bíro, University of Vic- “Cultural Experience” at the Magic 3:00 The Vietnam Effect: A New Theory toria Kingdom Regarding Social Dynamics and the 2:00 Sensory Geometry for the Buddha Sue Tuohy, Indiana University Evolution of the United States Drum Name Chant in Chinese Pure Land and Bugle Corps Daily Service [IP] Musical Spectacle: Sport Dennis Cole, Kent State University Alan Kagan, University of Minnesota Chair: TBD 9H [IP] Musical Advocacy I [IP] Facilitations: On the Uses of Video 2:30 Oooooohhh Campione! RAWK and by Researchers and Performers the Internet Construction of Football Chair: TBD Supporter Identity through Song 1:30 Preserving the Past, Performing the Chair: TBD Benjamin Pachter, University of Pitts- Present: Blues Tourism as Activism 2:30 Images of Ritual Life and Cultural burgh Robert Fry, Vanderbilt University Identity in the Music and Video 3:00 Olympic Performances: Mass-medi- 2:00 To Be or Not To Be (an Advocate)?: Productions of Akhu Choedrag, a ated and Participatory Displays of The Challenging Relationship be- Monk of Kumbum Monastery China tween Advocacy and Research Jonathan Kramer, North Carolina State James Cunningham, Florida Atlantic Muriel Swijghuisen Reigersberg, Roehamp- University University ton University, London, UK

Key: [P]=Panel; [IP]=Independent presentations; [F/V]=Film/video presentation; [P/W]=Panel/Workshop; [F/R]=Forum/Roundtable; [L/D]=Lecture-Demo [M]=Meeting 22 SEM Newsletter

3:00 Music, Mourning and Social Practice 4:45 Locating Sacred Power: Bali’s “Au- 10C [IP] Jewish Music in Transition in a Mi’kmaq Community: Two Case thentic” Gamelan Gong Beri Chair: TBD Studies Bethany Collier, Cornell University Gordon E. Smith, Queen’s University 10:15 Judeo-Spanish Music in the Heart of 5:15 “My Gift, My Trade”: Negotiating the Initiative of Restitution of the 9K Commerce in Canadian Gospel Mu- Tradition sic Jessica Roda, Université de Montréal/Paris 1:30 [P/W] Talking Turkey: An Educator’s Mark Laver, University of Toronto Perspective on Ethnomusicology for IV Sorbonne Children and Youth 10B [P] Festivals and the Politics of Identity in 10:45 The Piyut Craze: The Popularization Sarah Bartoleme, University of Wash- Latin America I: From the Local/Regional of Religious Mizrahi Songs in the ington to the National/Transnational Israeli Public Sphere 2:30 [P/W] The EVIA Digital Archive Sponsored by the Latin American Section Galeet Dardashti, University of Texas Project Workshop: New Resources Chair: Jonathan Ritter, University of Califor- 11:15 “That’s how you make it Jewish”: Dis- for Teaching, Research, Archiving nia, Riverside courses of Jewish Music in Tzadik’s and Fieldwork 3:45 Creative Agency in the Mountains: Radical Jewish Culture Series Alan Burdette, EVIA Digital Archive Jeff Janeczko, University of California, Project The Zacán Artistic Festival of the P’urhépecha People, Mexico Los Angeles Ruth Hellier-Tinoco, University of Win- Monday, 3:45pm-5:45pm 10D [P] Performing Sufism: Music and Sufi 10A [IP] Music and Spirituality II: Intersec- chester, UK Spirituality tions of the Sacred and the Secular 4:15 Una Forma de Pensar y de Sentir: Chair: Natalie Sarrazin, SUNY College at Traditional Music, Intimate and Of- Chair: TBD Brockport ficial, in Aisén, Chile 3:45 Sounds of the Human World: Glo- Gregory Robinson, University of Penn- 3:45 Sublimating the Sufi?: Sonic Imaging balising New Buddhist Music as an sylvania of Qawwali in Hindi film Expression of Spirituality Natalie Sarazin, State University of New Hwee-San Tan, University College 4:45 Reading History, Performing Carib: York College at Brockport Dublin The Santa Rosa Festival and Politics of Amerindian Identity in Trinidad 4:15 Dancing With American Sufis 4:15 Rock of Ages vs. the Age of Rock: Amelia Ingram, Wesleyan University John Galm, University of Colorado Musical Expressions of Heart, Mind and Soul in University-based Christian 5:15 The ‘Vencedores de Ayacucho’ Fes- 4:45 Divine Ecstasy in Rhythm and Tone: Communities tival: Reclaiming a Regional Identity Some Sonorous Details in the Music Herbert Geisler, Concordia University after the War in Peru of Nustrat Fateh Ali Khan Irvine Jonathan Ritter, University of California, Brian Hulse, College of William and Riverside Mary 5:15 Modes of Mystic Motion: The Aes- thetics of Movement in Devotional Music Victor Vicente, University of Maryland, College Park

10E [P] Techniques of Consumption: Re- thinking Kids and Commercial Music Sponsored by the Popular Music Section Chair: Jennifer Woodruff, Columbia Uni- versity Discussant, Charles Keil, Columbia University 3:45 Media Consumption as Social Orga- nization in a New England Primary School Tyler Bickford, BornToGroove.com 4:15 “Mandela Went to China . . . and India too”: The Impact of Media on Wesleyan administration buildings (North College). (photo: Bill Burkhart) Children’s Musical Cultures in South Africa Andrea Emberly, University of Wash- ington SEM Newsletter 23

4:45 “I was like . . .”: Girls Reframing 3:45 Jaan Pehechaan Ho and the Trans- 4:45 White Noise/Black Noise: Examining Hip Hop Identity Politics through cultural Ghost World of Bollywood Race in Mountain Music Movement, Gesture, and Melodic Film Music Jennie Noakes, University of California, Reference Dave Novak, Columbia University Riverside Jennifer Woodruff, Duke University 4:15 Re-Mediating Voice and Place in an 10K [F/V] African Underground: Democra- 10F [P] Musical Advocacy: Can One Per- Oklahoma Music Scene cy in Dakar —a documentary film screen- son Make a Difference? Amanda Minks, University of Okla- ing and panel discussion about hip-hop, homa Sponsored by the African Music Section and the youth and social change in Senegal Applied Ethnomusicology Section 4:45 Proletarian Dreams and Bourgeois Benjamin Herson, Nomadic Wax; Magee Chair: David Locke, Tufts University Fantasies: Musical Telenovelas and McIlvaine, Nomadic Wax the Mediation of Subjectivity in 3:45 A Recipe for One-Person Musical Contemporary Lima Monday, 7:30pm-9:30pm Advocacy Joshua Tucker, University of Texas Erica Azim, Independent Scholar [M] Section on the Status of Women: FEM@21: Gender Studies in Ethnomu- 4:15 Giving-Back by Supporting Tradi- 10I [IP] Ethnomusicology and Film II sicology Come of Age tional Experts Chair: TBD David Locke, Tufts University Monday, 8:00pm-9:00pm 3:45 “Sing To Me a Little”: An Introduc- W5 Afro-Brazilian Dance with Gleide 4:45 Making a Difference – Treading tory Investigation into the Function Cambria Lightly of Song in Egyptian Musical Film Alan Tauber, Independent Scholar Margaret Farrell, CUNY Graduate Co-sponsored by the Dance Section Center 10G [P] The Marginal in the Mainstream: W6 Peking opera percussion with Po-wei Regional and Micro-Historical Studies in 4:15 Seeing Music, Hearing Movies: The Weng North Indian Classical Music Afterlives of South Indian Film Songs Monday, 8:00pm-10:00pm Chair: Aditi Deo, Indiana University, Bloom- Sindhumathi Revuluri, Harvard Uni- W7 Hollywood film music with Mark Slobin ington versity and Jeanine Basinger 3:45 Modern Style, Synthetic Style, or 4:45 Bringing ILAM into the 21st Century: Monday, 9:00pm-12:00am Bengali Style? : An Examination of Implications of IP Agreements and Khyal Vocal Music in Bengal Copyright Law for Audio-Visual C8 Latin American and Caribbean Music Jeffrey Grimes, University of Texas at Archives SIG Austin Diane Thram, International Library of Monday, 9:00pm-11:00pm African Music 4:15 The Bhatkhande Effect: Rupture and C9 East Asian Music Continuity in the Sitar of Lucknow 5:15 Musical Performance, Identity, and Max Katz, University of California, Nostalgia in Two Contemporary Thai Monday, 9:30pm-10:30pm Santa Barbara Films [M] Section on the Status of Women/Gen- 4:45 Staging Hindustani Music: Natya Pamela Moro, Willamette University der & Sexualities Taskforce FEM@21 Sangeet in the Marathi Musical Drama Reception Katyar Kalajaant Ghusali 10J [P] Community, Memory, Identity: Mod- Aditi Deo, Indiana University, Bloom- ern Constructions of Race and the Past Monday, 10:00pm-11:00pm ington in Old-Time and Bluegrass Musics C10 Middle Eastern Music 5:15 From Muslim to Hindu Hegemony Chair: Barbara Taylor, University of Califor- in North Indian Classical Music: The nia, Santa Barbara Assumption of Performing Roles by Discussant: Jeff Titon, Brown University Hindu Musicians in Maharashtra 3:45 Marketing the Past vs. Playing in Justin Scarimbolo, University of California, the Present at a Southern California Tuesday, Oct 28, 2008 Santa Barbara Bluegrass Festival Tuesday, 7:00am-9:00am Jacob Rekedal, University of California, 10H [P] Appropriation and Re-mediation [M] SEM Council Riverside Chair: Amanda Minks, University of Okla- Tuesday, 8:00am-1:00pm 4:15 The Ninth Life of the Banjo: Black homa Banjo as a Revival Within a Revival [M] SEM Board Discussant: Amanda Weidman, Bryn Mawr Barbara Taylor, University of California, Santa Barbara

Key: [P]=Panel; [IP]=Independent presentations; [F/V]=Film/video presentation; [P/W]=Panel/Workshop; [F/R]=Forum/Roundtable; [L/D]=Lecture-Demo [M]=Meeting 24 SEM Newsletter

Tuesday, 8:30 –10:30 AM 9:00 Darshan: Spiritual Aspect of Hindu- 11F [P] Festivals and the Politics of Identity stani Music in Latin America II: Multiculturalism, 11A [P] Contesting Genre in Indonesia Ethnicity, and the Struggle to Define the and on the World Stage Michiko Urita, University of Washington Regional/National Sponsored by the Popular Music Section 9:30 Echoes: Continuity and Change Sponsored by the Latin America Section Chair: Brent Luvaas, University of California, amongst the Psaltes of the Patriarchal Church of Constantinople Chair: Ruth Hellier-Tinoco, University of Los Angeles Alexander Khalil, University of California, Winchester, UK 8:30 ’Dangdut Is the Best’: Popular Mu- San Diego 8:30 Performing Race: Afro-Mexicans sic, Genre Ideology, and the Middle and Multiculturalism in Oaxaca’s Class 10:00 Praise and Glory from Dawn to Dusk: Guelaguetza Festival Jeremy Wallach, Bowling Green State Music in Common Life and Common Alexander Stewart, University of Ver- University Prayer at Weston Priory Maria Guarino, University of Virginia mont 9:00 Genre Problems: Musical Hybridity 9:00 Expressing Communal Cooperation in Indonesia 11D [IP] Tradition and Innovation II in Trinidad and Tobago’s Panorama R. Anderson Sutton, University of Wis- Chair: TBD Competition consin, Madison Hope Munro Smith, California State 8:30 Experimenting and Experiencing: 9:30 ’Scaling an Ocean of Sound’: World- New Traditional Music Composi- University Chico ing Music in Yogyakarta tions 9:30 Politics of Musical Style in Chile’s René Lysloff, University of California, Pornprapit Phoasavadi, Chulalongkorn “14th” Region: Copihue Chile and Riverside University Pittburgh’s 52nd Annual Folk Festi- val 10:00 The Dislocation of Indonesian Indie 9:00 Facing “This tempest that blows in Emily Pinkerton, University of Pitts- Pop our direction:” Preservation Through Brent Luvaas, University of California, Innovation in 19th and Early 20th- burgh Los Angeles Century Egyptian Music 10:00 Performing Diversity and Unity in Tess Popper, University of California, Panamanian National Folk Festivals 11B [IP] On the Lives of Musical Instru- ments II Santa Barbara Francesca Rivera, University of San Francisco 9:30 Korean Military Band Musicians: Har- Chair: TBD bingers of New Musical Practices 11G [P] Irish Music in the 21st Century: 8:30 Where Rhythm and Melody Meet: Heejin Kim, University of Illinois at Oral Tradition in a Media Age Exploring Further Dimensions of Urbana-Champaign African Music Through the Xylo- Chair: Mick Moloney, New York University phone 10:00 TBA 8:30 Radio Éireann’s Mobile Recording Julie Strand, Wesleyan University / Tufts 11E [IP] Musical Advocacy II Unit and Its Influence on Irish Music University Chair: TBD Traditions 9:00 The Ukrainian Bandura: a Metaphor Helen Gubbins, University College, Cork 8:30 Traditional Village Music and Social of Freedom in Individual Expression Status in Post-Soviet Russia: The Case 9:00 “Gaelic Roots” and Irish-American and Collective Unity of Krasny Zilim Musical Community Laurie Semmes, Appalachian State Maria Roditeleva-Wibe, Central Wash- Sally Sommers-Smith, Boston University University ington University 9:30 Title: ‘Songs of Erin’: Voice and 9:30 Cultural Advocacy and the Reinven- 9:00 Fair Trade Beverage Music: Identity Harping in the Twentieth Century tion of the Bagpipes in Terras de Politics and Technological Mediation Miranda do Douro, Portugal Helen Lyons, University College, Dublin in a Global Moral Economy Susana Moreno Fernández, Universidade Rebecca Dirksen, University of California, 10:00 Traditional Irish Music in the 21st Nova de Lisboa Los Angeles Century: Networks, Technology, Tradition 11C [IP] Music & Spirituality III: Sacred 9:30 Performing for Change: Spoken Scott Spencer, New York University Song Word, Performance Art, and Activism Chair: TBD in Asian America 11H [IP] Music, Minorities and Displace- Lei Ouyang Bryant, Skidmore College ment 8:30 The Hidden Transcripts of Sacred Song in a South African Coloured 10:00 Music and Foster Care in the Republic Chair: TBD Community of Georgia 8:30 Music’s Instrumentality in the Lives Marie Jorritsma, University of South Brigita Sebald, University of California, of Montagnard Refugees in North Africa Los Angeles Carolina Alison Arnold, North Carolina State University SEM Newsletter 25

9:00 Creating Ethnic Sound: Music of [IP] New Tools for Visualizing Music 10:45 Reclamation and Reinscription: the Korean Minority Composers in Authenticating Huasteco Identity China Chair: TBD in Music and Dance by Mestiza and Sunhee Koo, University of Hawaii at 9:30 New Tools for Visualizing Musical Indigenous Performers Manoa Timing Kim Carter Muñoz, University of Wash- Matthew Wright, University of Victoria ington 9:30 Chowtal International: Bhojpuri Folksong of Mirzapur (India), the 11K 11:15 Of Mimicry and Woman: Female Mas- Caribbean, and Fiji culinities in Mariachi Performance Peter Manuel, John Jay College/CUNY 8:30 [P/W] The African Sound in Village Letitia Soto, University of California, Graduate Center Traditions, Highlife, and Jazz Los Angeles Royal Hartigan, University of Massachu- 10:00 Wild Gypsies and Special Needs: setts, Dartmouth; Abraham Adzenyah, 11:45 Renewing Identities in the Afro-Mexi- Barriers to Learning Minority Music Wesleyan University can Musical Traditions of the Costa among Czech Teachers Chica Petra Gelbart, Harvard University 9:30 [P/W] The Ancient Asian Harp Raquel Paraíso, University of Wisconsin, Bo Lawergren, Hunter College; Tomoko Madison 11I [P] Experiments in Political and Expres- Sugawara, CUNY Graduate Center sive Freedom: Case Studies from Eastern Tuesday, 10:45am-12:45pm 12C [P] Bands and the Performance of Europe Place II 12A [P] Transcending Boundaries: Spiritual- Chair: Alma Bejtullahu, Institute Pjeter ity and Musical Experience from Haitian Chair: Katherine Brucher, DePaul Univer- Bogdani Vodou to Hip Hop to Black Gospel sity 8:30 Georgia United by Song: New Ap- 10:45 Intercultural Music Transmission in Chair: Rebecca Sager, Independent Scholar proaches to Composing with Folk the History of New Zealand Brass Music Material 10:45 Transcendence through Aesthetic Bands Lauren Ninoshvili, Columbia University Experience: Diving a Common David Hebert, Sibelius Academy/Boston Well-spring under Conflicting Hai- University 9:00 Musical Experimentation and Social tian and African American Religious Communication in the Popular Music Systems 11:15 ‘Jiggin’ It’ with the Ballykeel Loyal of Georgia, from Folk to Hip-hop Rebecca Sager, Independent Scholar Sons of Ulster: The Pursuit of Hap- Nino Tsitsishvili, Monash University piness and the Meaning of Loyalty in 11:15 The Vodou Kase (Drum Break) as Mo- an Ulster ‘Blood-and-Thunder’ Flute 9:30 “Yeah, yeah, this is what ya call da ment and Means of Transcendence: Band real music”: Intercultural Aesthetics Explorations in New York Temples Gordon Ramsey, Queens University in Afro-Ukrainian Hip-Hop and Dance Classes Adriana Helbig, University of Illinois at Lois Wilcken, La Troupe Makandal/City 11:45 Bands, the Performance of Place, and Urbana-Champaign Lore Communal Sentiment in Small-Town Brazil 10:00 Between Market Economics and 11:45 Wyclef Jean’s Redemption Song: Suzel Reily, Queens University Politics: Innovations in Music-Making Religion and Transnational Migration Practices in Kosova in Haitian Hip Hop 12:15 A Banda da Terra: Locality and Musi- Alma Bejtullahu, Institute Pjeter Bog- Elizabeth McAlister, Wesleyan University cality in Rural Portugal dani Kate Brucher, DePaul University 12:15 Stepping Out On Faith: Pentecostal- 11J [IP] Localizing Western Opera ism and the Performance of Tran- 12D [P] Cultural Persuasion or Cultural scendence in Haiti and the United Invasion: The Politics of American Chair: TBD States Popular Musics in the Contemporary 8:30 European Opera as Ethnic Music: Melvin Butler, University of Virginia Middle East Nationality and Opera in Nineteenth- Century Chicago 12B [P] Discourses of Gender, Authentic- Chair: Farzaneh Hemmasi, Columbia Uni- versity Katie Graber, University of Wisconsin, ity, and Identity in Regional Music of Madison Greater Mexico Discussant: Ted Swedenburg, University of Ar- kansas 9:00 Rossini on the Bosphorus: Translating Sponsored by the Latin American Section Opera in the Ottoman Empire Chair: Leticia Soto, University of California- 10:45 Radio Sawa and the Sound of Con- Joseph Alpar, CUNY Graduate Center Los Angeles sumer Diplomacy Discussant: Michelle Habell-Pallan, University of Beau Bothwell, Columbia University Washington

Key: [P]=Panel; [IP]=Independent presentations; [F/V]=Film/video presentation; [P/W]=Panel/Workshop; [F/R]=Forum/Roundtable; [L/D]=Lecture-Demo [M]=Meeting 26 SEM Newsletter

11:15 Between Iraq and a Hard Place: Ira- Minstrelsy in Nineteenth-century 11:15 Folkloric Resources and the Legitima- nian Youth, American Popular Music Newfoundland tion of Innovative Arranged Record- and the Perils of Representation Kelly Best, Memorial University ings in Turkey Farzaneh Hemmasi, Columbia University Eliot Bates, University of California, 11:15 Imagining Blackness: Alternative Berkeley 11:45 The Coming of the Americans: Perspectives in the Music of Brazilian Ambivalence and Acculturation in blocos afro 11:45 Rumberos, Repertoire and a Turn to- Moroccan Krista Kataneva, University of Texas at wards the Folkloric “Espectáculo” Brian Karl, Columbia University Austin Rebecca Bodenheimer, University of Cali- fornia, Berkeley 12E [P] The Motion of Musical Metacul- [IP] On the Lives of Musical Instruments tures: Discourse, Global Capitalism, and III 12J [P] Sound Business: Music Matters in Performance Contemporary Urban Political Econo- Chair: TBD mies Chair: Paul Schauert, Indiana University 11:45 Harmonic Convergence: Finding Discussant: Daniel Reed, Indiana University Meanings in the Five-String Banjo Chair: Jelani Mahiri, University of California, Santa Cruz 10:45 Metacultural Answers to Modernity’s Jonathan King, Columbia University 10:45 Shifting Economies of Play: Cultural Questions, or “Here’s What We’re 12:15 Decadent Instruments and Unmarked Missing”: Learning to Dance, Play, Production, Historical Transforma- Subjects: New England Harpsichord- tion, and the Politics of Aesthetics in and Sing the Musical Middle East in Making and the Revival of Old World America Bumba-Meu-Boi , a Brazilian Musical Heritage Drama Anthony Guest-Scott, Indiana University Jessica Wood, Duke University Jelani Mahiri, University of California, 11:15 Staging Africa: Meta/Culture, Tour- Santa Cruz ism and the Representation of Gha- 12H [P] Local Experiments: Decentering naian Music and Dance the Global Avant-Garde 11:15 (Re)Sounding Survival: Sungura Music and Urban Livelihood in Zimbabwe Paul Schauert, Indiana University Chair: Andrew McGraw, University of Richmond Duncan Allard, University of California, 11:45 Metacultural Intermediaries and the Berkeley Business of Rock Discourse Discussant: John Szwed, Columbia University William Hagood, Indiana University 11:45 “Bangin’ for Christ”: Money, Morality, 10:45 The Sonic Arts Union: Homemade and the Evangelical Hustle in Gospel Electronic Music and the American Hip-Hop 12F [P] Ethnographic Advocacy and the “Tinkering” Tradition Christina Zanfagna, University of Cali- Performance of Public Health in Africa Andrew Raffo Dewar, New College, Uni- fornia, Los Angeles Chair: Austin Okigbo, Indiana University, versity of Alabama Bloomington 12:15 Sounding Imaginative Empathy: 11:15 Indonesian Experimentalisms and the Chindon-ya’s Musical Economies on Discussant: Judah Cohen, Indiana University, Cartography of Aesthetic Authority the Streets of Osaka, Japan Bloomington Christopher Miller, Wesleyan University Marié Abe, University of California, 10:45 Song and Community in a South 11:45 Decentering the Non-Western Avant- Berkeley African Zulu HIV/AIDS Struggle: Garde: Experimental Folk Sounds Drawing Theory from Local Context from Asia 12K in an HIV/AIDS Discourse Andrew McGraw, University of Rich- Austin Okigbo, Indiana University, 10:45 [L/D] Tones, Language, and Music: mond The Role of Tonal Inflection in Tai- Bloomington wanese Art Songs 11:15 Not a Band Aid: Ghanaian Afro Roots 12I [P] Profaning the Folk Hui-Ting Yang, Troy University; Margaret Musician Rocky Dawuni Empowers Chair: Rebecca Bodenheimer, University of Jackson, Troy University Locals with his Musical Activism California, Berkeley 11:45 [L/D] Intra-Asian Classical Cross- Sherri Canon, Los Angeles Trade-Techni- Discussant: Bonnie Wade, University of California, over: Japanese hardware (instru- cal College Berkeley ments) & Indian software (raga) 11:45 Young and Wise in Ghana: A Musical 10:45 Performing Tradition and Selling T M (Tim) Hoffman, Keio University Response to AIDS Seduction: The Staging of a He- Angela Scharffenberger, Indiana University, reditary Musician Community from Bloomington Rajasthan, India Shalini Ayyagari, University of California, 12G [IP] Imagining Blackness Berkeley Chair: TBD 10:45 “The Darkies” and “The St. John’s Amateur Minstrels” - Blackface and SEM Newsletter 27

McAllester Recordings of contemporary genres in which he was whom he recorded in 1957 performing the also interested. The collection is housed at full Shootingway ceremony. Ray Winnie’s included in 2007 Nation- Wesleyan University, where it is the core of recording was done primarily as a demon- al Recording Registry the World Music Archives. stration for David, not as an official healing The Archives have been in touch with the ceremony, so David next decided to seek out by Alec McLane National Recording Preservation Board at an occasion for the real event. This led to his recording in June of 1958 of Diné Tsosi The World Music Archives is very pleased the Library of Congress for several months, performing a full ceremony for a relative of to announce that one of our collections has trying to identify a suitable collection among both Ray Winnie and Frank Mitchell, Albert made the 2007 National Recording Registry. David McAllester’s huge body of recorded G. Sandoval. Please go to (website) http://www.loc.gov/ material. With the help of Charlotte Frisbie, The Shootingway, Na’at’oyee, is a ma- rr/record/nrpb/ and click on the link to who collaborated with David on the book jor Navajo curing ceremony which can be the 2007 registry. Among celebrities such as Navajo Blessingway Singer: The Autobiography of performed in a one-night, five-night, or full Fiorello LaGuardia, Michael Jackson, Ronald Frank Mitchell, 1881-1967 (Tucson: University nine-night version. Extremely popular, the Reagan, and Kitty Wells you will find the of Arizona Press, 1978), we focused on the Shootingway has numerous branches, can be following entry: Shootingway ceremony, for the reasons either Male or Female, and it can be performed Navajo Shootingway Ceremony Field detailed above. with a wide variety of associated rituals, sand Recordings representing the David Here is a little bit more background, much paintings and the like, all of which are negoti- McAllester Collection (Recorded by of it taken from what Charlotte sent to the ated by the patient, that person’s family, with David McAllester 1957-1958) Library of Congress in preparation for this the singer when that person is hired. If it is What may be the only recordings of announcement: performed in its fullest, nine-night version, this deeply sacred Navajo healing ceremony McAllester’s most complete work on and if the patient chooses to also add the were recorded by ethnomusicologist David the ceremony was “Shootingway: An Epic optional Fire Dance or Corral Dance on the McAllester in Arizona in the late 1950s and Drama of the Navajos,” in Southwestern last night, it is viewed as perhaps the most includes the nine-day ceremonial event as well Indian Ritual Drama, Charlotte J. Frisbie, ed. complex of all of the curing ceremonies. as detailed discussions about preparations, (Albuquerque: UNM Press, 1980). In 1957- The singing is accompanied by an inverted procedures, sacred paraphernalia, as well as 58 he took a sabbatical from Wesleyan and basket drum and drumstick of plaited yucca the reciting of all of the prayers and singing traveled to the Southwest on a Guggenheim leaves. At present, Navajos in some parts of of all of the songs in order. In addition to the grant. Most of his work involved recording the reservation call it “Lightningway” rather Shootingway recordings, McAllester’s collec- Navajo music, including a film of Frank than Shootingway. tion includes eight different versions of the Mitchell’s Blessingway ceremony, a copy of The ceremony, from the Holyway group, lengthy Blessingway ceremony, several other which is held in Wesleyan’s Special Collections addresses specific Holy People and is aimed at traditional ceremonies, and many examples and Archives. That led to his meetings with other Navajo singers, including Ray Winnie, exorcising evil, attracting good, and restoring the suffering person. People who diagnose Navajos who are sick or suffering will often People and Places in Postcolonial Bamako, Mali.” Funded by recommend Shootingway to treat illness/ the Charlotte W. Newcombe Foundation of sickness attributed to lightning, thunder, or Frederick Moehn (Assistant Profes- Princeton, New Jersey, the Newcombe Dis- snakes (sometimes also bears) and arrows sor of Music, Stony Brook University, and sertation Fellowship is the nation’s largest with troubles manifesting themselves in a Outgoing Book Review Editor for Ethon- and most prestigious such award for PhD number of ways including gastrointestinal, musicology ) was awarded Howard Founda- students addressing ethical and religious ques- chest, and lung diseases. tion Fellowship for 2008-09. The Board of tions in the humanities and social sciences. The World Music Archives holds the Administration of the George A. and Eliza Since its inception in 1981, the Newcombe 23 original tape reels recorded during the Gardner Howard Foundation awarded eleven Fellowship has supported more than 1,000 Diné Tsosi ceremony as well as a set of 16 fellowships of $25,000 each for the 2008- doctoral candidates. For more information, tape reels of the Ray Winnie ceremony. In 2009 academic years. The eleven recipients, visit (website) http://www.woodrow.org/fel- addition, we have made masters and listen- representing the fields of Music (Composi- lowships/religion_ethics/index.php. ing copies of both ceremonies on reel and tion, Performance, Musicology), Playwriting, cassette, respectively. Copies of the Ray and Theatre Studies, were selected from Victoria Lindsay Levine (Professor of Winnie recording have also been deposited this year’s outstanding group of applicants. Music, Colorado College) has received a fel- in the archives of Diné College, in Tsaile, Concurrently with the Howard Foundation lowship from the National Endowment for Arizona, one of 30 tribal colleges chartered Fellowship, he will be a visiting scholar at the the Humanities for the 2008-09 academic year. by the Navajo Nation, spread over Arizona, Center for the Study of Ethnicity and Race The fellowship will support her work on a Utah, and New Mexico. at Columbia University 2008-09. monograph about music, ceremonialism, and While the World Music Archives wel- social networks among Woodland Indians of comes visitors to the library to listen to these The Woodrow Wilson National Fellow- eastern Oklahoma. She is co-authoring the recordings, because of the sensitive nature of ship Foundation has announced that Ryan book with ethnologist Jason Baird Jackson the content we are unable to accept requests Skinner (PhD candidate in music at Colum- (Associate Professor of Ethnomusicology for copies from the public. For more infor- bia University) is among the 29 Charlotte and Folklore, Indiana University); the book mation, visit (website) http://www.wesleyan. W. Newcombe Doctoral Dissertation Fel- represents the culmination of collaborative edu/libr/srhome/srdir.htm or contact Alec lows for 2008 for work on his dissertation research begun in 1998. McLane at (email) [email protected]. “Artistiya: Popular Music and Personhood 28 SEM Newsletter

Conversations themselves and their power directly, revealed models at that. The excitement at that time Continued from page 6 their needs in less obvious and usually more was palpable and each time I return to the subtle ways. They had to. volume, for me, it remains so. collections, textbooks, and discussions of the When I returned to academia in the 1980s, Eileen Hayes: The Koskoff volume is field. What we have now is a far more holistic much of the work I read initially missed find- the cornerstone of contemporary studies and balanced picture of music making in a ing this gendered level of nuance and subtlety. in gender and ethnomusicology. Of course, variety of cultures and the sense that gender My history, first as an American woman and there were individual essays on women and has become a “normal” analytic category. then coming to ethnomusicology after liv- music published earlier, but Women and Music This is all to the good! ing and working as a woman in the Semitic in Cross-Cultural Perspective has a special place Middle East, had taught me that women’s in the stories we tell ourselves about ourselves, experience, both culturally and musically, and our intellectual lineage as scholars of ... gender has become a “nor- has gendered and cultured dimensions that ethnomusicology and gender. It’s difficult differed sometimes drastically from male to assess a book’s impact once it has been mal” analytic category experience. These experiences, in the main, accorded “foundational” status, a description were grossly overlooked in the ethnomusi- that at times is akin to the kiss of death. But cological scholarship and there seemed to like music listening, the impact of the volume What has not seemed to happen (and I’m be no theory or perspectives from which to varies from individual to individual depending not sure why, exactly) is that ethnomusicol- address or redress this in ethnomusicology on one’s social location. For scholars of my ogy has not developed its own, disciplinary- at that time. Enter Women and Music in Cross- generation, it was the first and only book we specific theory of gender and sexuality that Cultural Perspective and it was a very exciting had on gender and ethnomusicology. I can- can work for all (or many) of the different moment for those of us who had been not overemphasize how excited the women musical cultures in which we live and work. looking for a way to approach writing about graduate students of our department at the Although much has been done within his- gender and music. If we were already writing torical musicology through the essentially about gender or women, it was a wonderful western genealogies of literary criticism and moment to be able to read, in one volume, cultural studies, ethnomusicology has been the collected works of scholars doing similar The Koskoff volume is the more cautious about asserting a “field theory studies and to engage in a dialogue: to know of gender.” Indeed, historical musicology that other women in the field were engaged cornerstone of contempo- has been so successful that many younger in this level of scholarship. rary studies in gender and ethnomusicologists have begun to switch I suspect that this was the first collection over to more musicological methods, giving of writing in ethnomusicology that allowed ethnomusicology rise to the notion that historical musicologists us, as women writing about women, music, and ethnomusicologists have at last come and culture, to glimpse how our sister scholars together. I’m not so sure this is the case, worked. While there still was not an extraor- University of Washington were—and this is especially for those who still do “traditional” dinary amount of transparency regarding twenty years ago—at the prospect that H. fieldwork. Perhaps this is due to our own process in the writing of the time, it gave us Lorraine Sakata was going to teach a course disciplinary genealogies (cultural anthropol- a sense of how to be female ethnomusicolo- on gender and music. We had read her book ogy and performance studies), where one gists both in the field and in the writing as Music in the Mind, but in our naiveté and ar- is less likely to make general, cross-cultural well. We finally had models, and exemplary rogance, we could not believe that she knew statements that together can be wrapped up anything about gender. I see how funny that as a “theory.” is now. Graduate students today read Women Amy Corin: Let me explain in a bit of a and Music against the backdrop of the institu- roundabout personal way why, and perhaps tionalization of feminism in the academy and how, Women and Music in Cross-Cultural Perspec- widespread acceptance of gender studies in tive had such an impact on my development the music disciplines. That’s the “a” side of as an ethnomusicologist. I grew up in an era the record. The “b” side is that our subfield when the lives of American women were no longer connects to a feminist movement considerably more restricted than they are outside of academia, if it ever did. now. In fact, women in my mother’s genera- Deborah Wong: I first read Women and tion could not have their own credit cards Music a few years after it came out. I had just among other indignities. I remember quite finished my doctoral research in Thailand clearly that my mother shocked the women and was trying to find a way to say that I in our neighborhood when, in the early 1960s, was addressing a deeply patriarchal system she returned to university to earn her master’s of ritual music. Women and Music gave me a degree and then went back to work. It seems way to do that. It helped me to see that much I was a feminist before I even knew what it ethnomusicological work up to that point had meant. But growing up in that American era focused on male traditions of musicking, with also meant that throughout my childhood I little acknowledgment of the reasons why that observed other women all around me who, might be. Most importantly, the book allowed while deprived of an avenue to express me to think of research as cultural critique. SEM Newsletter 29

Did any particular essay or argument in the Women and Music in Cross-cultural Perspective. As Roberta Lamb: Yes, I remember my quip, book influence you in a special way? Eileen says, Carolina Robertson’s chapter was “21, coming of age,” in the SSW business Amy Corin: Two very different articles so important—to see that there was a place meeting in 2007, but Eileen Hayes turned the caught my attention immediately. Karen in ethnomusicology for LGBTQ studies! quip into reality through superb organization. Petersen’s work on women-identified music But the introduction was the most important I don’t think we wanted consensus on mean- in the United States was groundbreaking, to me: contemplating the ways that gender ing! We imagined all kinds of possibilities, unpacking gendered attitudes about rock could influence music in society and music like the 15-year-old girl who can hardly wait and popular music that had been considered could affect gender; analyzing the forms and to turn 21 to be free from all restrictions, sacrosanct until that time while exploring practices as confirmation of gender norms, and like the older woman who can barely an equally gendered and clearly well-earned resistance or subversion, or liberation. I keep remember what 21 felt like, so why don’t I feel feminist response. I still refer often to Ellen returning to that introductory essay and empowered yet? To me the coming of age is Koskoff ’s article about Lubavitcher Jewish mining it for more of its riches. I bring it being able to get together in this FEM@21 women in New York. I can remember how into music education seminars. Think about roundtable and share where we’ve been, what captivating it was first time I read the title of music education this way. What happens? that article; “The Sound of a Woman’s Voice: The introduction is always fresh. Gender and Music In a New York Hasidic Deborah Wong: Do you think gender Community.” “The Sound of a Woman’s studies and sexuality studies have come of ... “coming of age” offers Voice?”—wow! Who writes like that? It’s age in ethnomusicology? simply beautiful. Ellen Koskoff: I do believe that we have harbingers of possibility: Eileen Hayes: Carolina Robertson’s come of age since my book was first pub- the phrase portends that a chapter drawn from her fieldwork in northern lished, in the sense that we have gone through Ghana, Andean Argentina, and Washington, a period of healthy growth, exploration, and venture more hopeful and DC had a direct bearing on my work. Dr. the formation of basic ideas about gender, complete might be around Robertson’s account of her participant ob- sexuality and music. But now we must come servation with a lesbian-feminist chorus in of age in a different way: we must become the corner DC influenced my subsequent investigations independent and begin to develop new into the role of music in lesbian and gay com- theoretical paradigms for examining gender, we’ve done, where we are going, and all those munity formation. Likewise, Karen Petersen’s sexuality, and music that allow for more fluid- messy things we love to play with—change, essay—and here’s that word again—is foun- ity (no pun intended). We need new models flexibility, interaction, negotiation—in music dational to my own attempts to come to terms that allow for change, flexibility, interaction, making and gendering. with the interactions of gender, race, sexuality, negotiation—all those things we normally talk Ellen, it seems to me you are correct and music through social interaction, analyses about in music making but often forget when that the disciplinary genealogies produce a and the written word. talking about gender, where most things seem cautious approach. I understand this through to reduce to binary contrasts. That’s what I’m music education as performance studies, ... we must become indepen- hoping the next generation can do. And this, where we are “reproducing” and “replicat- too, will be all to the good, for both gender ing,” conserving and maintaining. There are dent and begin to develop studies and for ethnomusicology! good reasons. It pays to be cautious when Amy Corin: Has gender studies come of you could be ruining someone else’s children new theoretical paradigms age? I really do not know. Let me be a bit pro- or someone else’s traditions. It makes more for examining gender, sexu- vocative here and say that I hope that gender sense to be asking, “What is happening here?” studies has not yet truly come of age. Now, let than wrapping it in theory. ality, and music me tell you why I say this. I think of coming Eileen Hayes: To my way of thinking, of age as a reaching of maturity, or perhaps coming of age offers harbingers of possibil- Roberta Lamb: I feel like the interloper a time when some folks lose their sense of ity: the phrase portends that a venture more in this discussion, because my disciplinary wonder and become a bit too mature—too hopeful and complete might be around the base is music education. Yet it is because jaded. Those who know me know that I will corner. I am not sure this is the case for gen- of Women and Music in Cross-Cultural Perspec- probably never come of age in that sense. I der and sexuality studies in ethnomusicology. tive that I have been able to join you. Every wish for us, and our subdisciplines, the same What we can say is that FEM@21 will be a chapter had an impact—I could more easily continued sense of wonder. As I see it, it is rare opportunity for different generations find the relationship between ethnomusico- in this manner that we as scholars of gender of scholars to meet and discuss our future logical practices and music education than studies, in all of our branches, will continue to as a disciplinary subfield. I hope everyone I could find it in historical musicology. It grow, innovate, ask questions that matter, and comes. became apparent to me that education is a not lock ourselves into inflexible theoretical transmission of culture, so studying music paradigms. May we continue to mature, come Reference education practices as ethnomusicology of age, and age gracefully! became increasingly important, and that cul- Eileen Hayes: Coming of age is a Ellen Koskoff. 1989. “An Introduction to ture, ethnomusicology and education are all clever formulation for marketing purposes Women, Music, and Culture,” in Women and gendered. It took me more than a decade to and I thank Roberta Lamb for it, but I’m Music in Cross-Cultural Perspective, 1-24. New put that thought together, but it did start from not sure if we arrived at a consensus about York: Greenwood, p. 9. what it means! 30 SEM Newsletter

Ethnomusicology at EASTMAN SCHOOL OF MUSIC

Eastman’s gamelan Lila Muni in performance

The Master of Arts degree in Ethnomusicology exposes students to the history and methodology of the discipline, while preparing them for future study, teaching, and public sector opportunities. Students may enter the program from a wide variety of undergraduate majors, including music, anthropology, cultural studies, and religion. Given the strengths of the Eastman faculty, students can concentrate on the musics of India, Indonesia, Southern Africa, and the United States.

ADMISSIONS DeADlINe DeceMber 1

800 388 9695 or 585 274 1060 [email protected] www.esm.rochester.edu/musicology SEM Newsletter 31

Announcements as is participation in the Institute community. ethnomusicology.org). Please note that this Fellows are expected to present their work-in- reduction cannot be combined with any Radcliffe Institute Fellowships 2009-10 progress and to attend other fellows’ events. other discounts. Applications must be postmarked by October Deadline: October 1, 2008 1, 2008. For more information, visit (website) Plateau Music Project Website The Radcliffe Institute for Advanced http://www.radcliffe.edu. Call or email for Gerald Roche, Qinghai Normal Univer- Study at Harvard University awards approxi- an application: Radcliffe Application Office, sity (China)/ Griffith University (Australia), mately 50 fully funded fellowships each year. 8 Garden Street, Cambridge, MA 02138, reports that the Plateau Music Project, based Radcliffe Institute fellowships are designed to (phone) 617-496-1324, (fax) 617-495-8136, in Xining, capital of China’s Qinghai Province, support scholars, scientists, artists and writers (email) [email protected]. now has a website: www.plateaumusicproject. of exceptional promise and demonstrated org. The site’s purpose is to describe and accomplishment, who wish to pursue work SEM Member Discount at Smithsonian promote the work of the Plateau Music Proj- in academic and professional fields and in the Folkways Recordings ect, an organization of grass-roots culture- creative arts. Applicants must have received workers seeking to document, archive, and their doctorate or appropriate terminal degree Through a special arrangement, Smithson- disseminate the diverse musics of the Tibetan by December 2007 in the area of the pro- ian Folkways Recordings is now offering Plateau. The blog features mp3 samples of posed project. Radcliffe welcomes proposals SEM members a 20% discount on the pur- recordings (with contextual information), from small groups of scholars who have chase of any CD or Tshirt. Visit (website) project history and developments, and links research interests or projects in common. www.folkways.si.edu to browse Smithson- to external collections curated by project The stipend amount is $70,000. Fellows ian Folkways products and to place an or- members, at such sites as Digital Himalaya receive office space and access to libraries der. You may also place an order by calling (http://www.digitalhimalaya.com/). The and other resources of Harvard University. 888-FOLKWAYS (365-5929) or 202-275- site is updated weekly. Future plans include During the fellowship year, which extends 1143, if you are calling from outside the posting videos of musicians and music. Most from early September 2009 through June 30, US. To obtain the discount code, visit the of the content is trilingual: English, Tibetan, 2010, residence in the Boston area is required Members’ Area on the SEM website (www. and Chinese.

Conferences Calendar tion, visit (website) http://www. iugte.com/projects/Conference. mpcaaca.org php 2008 Oct 10-12 Oct 25-28 Sep 11-14 Islam and Popular Culture in In- Society for Ethnomusicology 53rd International Congress: “East donesia and Malaysia, University Annual Meeting, Wesleyan Universi- And West: Ethnic Identity And of Pittsburgh, Pittsburgh, PA. For ty, Middletown, CT. For more infor- Traditional Musical Heritage As more information, contact Andrew mation, see (website) http://www. A Dialogue Of Civilizations And Weintraub at (email) anwein@pitt. indiana.edu/~semhome/2008/in- Cultures,” Astrakhan Oblast. For edu dex.shtml more information, contact (email) [email protected] Oct 16-19 Nov 6-9 13th International CHIME Con- American Musicological Society Sep 14-18 ference: Music & Ritual in China Annual Meeting. Renaissance International Conference on Mu- and East Asia, Bard College, An- Nashville Hotel, Nashville, TN. sic Information Retrieval, Drexel nandale-on-Hudson, NY. For more For more information, see (website) University in Philadelphia, PA. For information, visit (website) http:// http://www.ams-net.org/ more information, visit (website) home.wxs.nl/~chime) or contact http://ismir2008.ismir.net Professor Mercedes DuJunco at Nov 11-14 (email) [email protected] IV Meeting of the Brazilian As- Sep 25-27 sociation for Ethnomusicology 12th Annual Conference on Holi- Oct 22-25 (ABET), Maceió, Alagoas, Brazil. days, Ritual, Festival, Celebration, American Folklore Society Annual For more information, see (website) and Public Display, Bowling Green Meeting. Hyatt Regency Louisville, www.musica.ufrj.br/abet/ State University, Bowling Green, Louisville, Kentucky. For more OH. For more information, contact information, see (website) http:// Nov 14-16 Jack Santino at (email) jacksantino@ afsnet.org/ Annual meeting of the Canadian hotmail.com Society for Traditional Music/So- Oct 24-28 ciété Canadienne pour les Traditions Oct 3-5 International Conference: “Per- Musicales (CSTM/SCTM), Saint Midwest Popular Culture As- forming Arts Training Today,” Mary’s University, Halifax, Nova sociation and Midwest American Bovec, Slovenia. For more informa- Culture Association Conference, tion, visit (website) http://www. Continued on page 32 Cincinnati, OH. For more informa- 32 SEM Newsletter

Conferences Calendar Mar 19-22 more information, visit (website) Society for American Music 35th http://www.csaus.pitt.edu or con- Continued from page 31 Annual Conference, Marriott City tact (email) [email protected] Scotia, Canada. For more informa- Center Hotel, Denver, CO. For tion, contact Heather Sparling at more information, see (website) Apr 20-22 (email) [email protected] www.american-music.org Third International Conference: “Gender at the Crossroads: Multi- Nov 20-22 Mar 20-21 disciplinary Perspectives,” Center India and the World: The Perform- Neapolitan Postcards: The Can- for Women’s Studies. Eastern Medi- ing Arts, Amsterdam, Netherlands. zone Napoletana as Transnational terranean University, Famagusta, For more information, contact Subject, Manhattan, NY. For more North Cyprus. For more informa- (email) conference@musicology. information, contact Joseph Sci- tion, visit (website) http://cws.emu. nl orra at (email) joseph.sciorra@ edu.tr/GCR2009 qc.cuny.edu May 21-23 2009 Apr 3-4 Fourth Annual Tamil Studies “The Train Just Don’t Stop Here Conference: Home, Space and the Jan 9-12 Anymore”: An Interdisciplinary “Other,” University of Toronto. For 7th Annual Hawaii International Colloquium on the Soundscapes more information, visit (website) Conference on Arts & Humani- of Rural and Small-Town America, ww.tamilstudiesconference.ca ties, Hilton Hawaiian Village Beach Millikin University, Decatur, IL. For Resort & Spa, Honolulu, HI. For more information, contact Travis May 27-31 more information, contact (email) Stimeling at (email) tstimeling@ Feminist Theory and Music [email protected] or millikin.edu (FTM10), University of North Car- visit (website) http://www.hichu- olina, Greensboro, NC. For more manities.org/cfp_artshumanities. Apr 16-18 information, contact Elizabeth htm Seventh Annual Meeting, Cultural L. Keathley at (email) elkeathl@ Studies Association (U.S.), Marriott uncg.edu (at the Plaza), Kansas City, MO. For

SEM Newsletter The Society for Ethnomusicology Non-Profit Organization U.S Postage Indiana University PAID Morrison Hall 005 Bloomington, Indiana 1165 East 3rd Street Permit No. 2 Bloomington, IN 47405-3700

Volume 42, Number 4 September 2008