Abstracts - Indiana University Conferences

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Abstracts
ATMI, CMS, SEM Annual Meeting 2003
Abdel-Gawad, Riad
Thousand Oaks, California
Sufi Egyptian Instrumental Music
Acosta, Camilo Simon Bolivar Symphony Orchestra, Caracas
CMS
The Usefulness of Alberto Ginaster's Pampeana No. 1 for Various College
Teaching Settings
CMS
Today’s Arab artists and scholars trace their lasting musical ancestry, artistry,
theory, and pedagogy from the Old Arab Maqam School. The following study of
the Egyptian local tradition aims to describe historical and direct sources as a
means to recognize continuity and coherency of principles of, and systems of
training in the Old Arab Maqam School. The Arabic treatises by ancient authors
epitomize the theory, practice, and philosophy of the Maqam School. The Maqam
School also inherits an earlier layer of musical ancestry from past millennia. The
Old Arab Maqam-School moreover coheres Egypt’s regional aesthetics of Quranic
text cantillation and sacred chant genres and its indigenous musical art. The
School’s values and teaching subdivide threefold: first, improvisatorial artistry,
second, maqam teachings, and third, oral transmissions. Knowledge and skills
impart in continuity between mentor and student that keeps vibrant the musical
tradition of Arabs. A contemporary historiography also introduces one of the
masters of the Old School that gives fresh approaches to, and new wellsprings for
perspectives in theory, craft in composition, and virtuosity in performance.
See Tabor, Michelle - The Usefulness of Alberto Ginaster's Pampeana No. 1 for
Various College Teaching Settings
Adamenko, Victoria
University of West Florida
CMS
Ethnography of Modernism: Schoenberg and Mythological Thought
When teaching history of modernism, Schoenberg's twelve-tone technique and his
theoretic views, ethnographic approach may be fruitful in understanding the role
of this part of twentieth-century culture. Although scholars have emphasized the
dualism of Schoenberg's thought, the composer himself tends to search for a
mediator between the opposites. First, I will illustrate how his definition of tonality
grows to an all-embracing category and thus functions as a mediator between
different types of pitch organization. Second, I will compare this mediation to the
one of the traditional functions of myth: it helps to reassert the notion of unity. In
archaic societies, the shaman is the one who recreates a unity of a ritual object,
which had been previously disassembled and is consequently assembled in a new
order. In modern society, where art assumes some of the function of an archaic
ritual, the artist substitutes for the shaman in the tasks of the "healing reunification"
and reanimation. The transformation of Schoenberg's musical language from tonal
to atonal to twelve-tonal has a task similar to that of an initiation ritual in an archaic
society. Just as the elements of the unconscious in Schoenberg's early works
resembles the ritual dismemberment, the "new body" gained by the shaman
parallels the "new form," the twelve-tone method introduced by Schoenberg. If we
understand this, we can better evaluate the transformations in our own culture.
Part II: Performance of Compositions
Lunja Nahawand - Lunja is an instrumental genre; nahawand names an ancient
Muslim city - and the piece’s maqam and chief pitch class tetrachord. The Western
violin’s (kamanjah or kaman) strings tune to the following pitch levels: IV-F, III-C,
II-F, and I-Bb. Two performance versions of Lunja Nahawand comprise first, for
solo violin, second, for MIDI sampled-piano on tape and violin.
Sama’i Saltanah Yakah - Sama’i is also an instrumental genre; as well, sama’i
means “audible” or “acoustical.” Saltanah yakah names the piece’s maqam saltanah furthermore signifies a state of musical inspiration - yakah additionally
specifies a pitch level.
When teaching history of modernism, Schoenberg's twelve-tone technique and his
theoretic views, ethnographic approach may be fruitful in understanding the role
of this part of twentieth-century culture. Although scholars have emphasized the
dualism of Schoenberg's thought, the composer himself tends to search for a
mediator between the opposites. First, I will illustrate how his definition of tonality
grows to an all-embracing category and thus functions as a mediator between
different types of pitch organization. Second, I will compare this mediation to the
one of the traditional functions of myth: it helps to reassert the notion of unity. In
archaic societies, the shaman is the one who recreates a unity of a ritual object,
Individual Abstracts
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October 1-5
Abstracts
which had been previously disassembled and is consequently assembled in a new
order. In modern society, where art assumes some of the function of an archaic
ritual, the artist substitutes for the shaman in the tasks of the "healing reunification"
and reanimation.
In this video, the featured musicians include trained school pupils, college students
as well as the professional musicians residing in the villages in Kenya. The
instruments range from the traditional rhythmic and ageless instruments such as the
nyatiti (8-stringed lyre of the Luo tribe) to the mwazindika (a large drum of the
Taita tribe).
The transformation of Schoenberg's musical language from tonal to atonal to
twelve-tonal has a task similar to that of an initiation ritual in an archaic society.
Just as the elements of the unconscious in Schoenberg's early works resembles the
ritual dismemberment, the "new body" gained by the shaman parallels the "new
form," the twelve-tone method introduced by Schoenberg. If we understand this,
we can better evaluate the transformations in our own culture.
Ahn-Kwon, Songtaik
Hanyang University, Seoul, Korea
Music Theory Pedagogy: An International Perspective
Alamo-Pastrana, Carlos University of California, Santa Barbara
SEM
La bomba de hoy: Authenticity and Subversion in Puerto Rican Folk Music
Bomba music has usually been thought of in Puerto Rico as a folkloric musical
tradition that on many occasions has been dangerously close to extinction.
Originally brought over by African slaves who worked along the coastal regions
of Puerto Rico, bomba music has remained a marginalized musical genre used
primarily by working poor Blacks and celebrated during special occasions
identified by the state. Through the use of the Institute of Puerto Rican Culture
(ICP) and its standards of performance, the state has attempted to define what
constitutes legitimate bomba music, musicians, and its performative elements
(Davila, 1997). As a result, conflict has arisen between those who define
themselves as traditionalists of bomba and younger newcomers to this musical
genre. In this paper, based on ethnographic fieldwork with bomba musicians and
dancers, I aim to understand how it is that youth/young adult bomba groups
actively engage in resisting traditional claims of authenticity established by the
state through the use of new performance models while maintaining some fidelity
to historical precedent. Through the use of subversive contestations to the state
such as refusing to wear uniforms and reconfigurations of the use of space and
style, these young bomba musicians and dancers engage in a form of residual
culture that seeks to remove bomba music from a formal and folklorized musical
genre and into a more commercial and popular form of music in Puerto Rico
(Williams, 1977). In carrying out these practices of resistance these young
musicians and dancers believe that bomba music can continue to survive in a
competitive and global market. Without these tactics, bomba’s future remains
uncertain.
CMS
See Neff, Severine - Music Theory Pedagogy: An International Perspective
Akombo, David Otieno University of Florida
SEM
Folk Music of Kenya: Bridging the gap between the City and the Village.
This proposal is for a recently completed video for an unlimited audience, dealing
with the folk music of Kenya. The video is extracted from the annual Kenya music
festivals whose participants range from kindergarten children to the university
students. The festival is open to all schools. The video situates itself in the theme
of "The survival of Cultural Traditions in a Changing World". It is a practical
introduction to the search and preservation of Kenya’s cultural heritage and it will
enable the audience to view the cultural performance outside of their cultural
contexts, and help to generate some questions touching on issues such as the
viability of the art in a semi-commercial enterprise as opposed to the context in
which it is culturally performed. The video will also give a glimpse of the diverse
traditional and improvised repertoire of the Kenyan people.
Kenya's music scene is rich and diverse, with musical styles ranging from lullabies
to popular music. One can find a diverse tapestry of traditional rhythms and
instruments combined in endlessly creative fashion.
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Abstracts
Alburger, Mark
Vacaville, California
CMS
What You Can Do with a Career in Music: Career Options Outside of Music
Teaching and Performance
In this paper, based on the experiences of the Chilean musician, composer and
exile Quique Cruz, I examine the use of biography and autobiography as an
ethnographic technique, in order to posit the individual as a locus for the play of
both personal and cultural forces. And also and as a strategic narrative and artistic
technique used by Quique himself to situate his life story and musical career within
a larger cultural narrative of the 1970s Chilean “social dream,” which ended with
the Chilean military coup of September 11, 1973.
See Lamkin, Kathleen - What You Can Do with a Career in Music: Career Options
Outside of Music Teaching and Performance
Alviso, J. Ricardo
California State University, Northridge
SEM
Revenge, Regret and Redemption in the Corridos of Terminal Island Prison
Inmates
By placing Quique’s musical biography within descriptive historical and
musical/artistic contexts, I demonstrate his connection to specific critical moments
and persons (musicians and artists) in Chilean history. In this way—and taking my
cue from anthropologists L.L. Langness (1965, 1981), and Lawrence C. Watson
and Maria-Barbara Watson-Franke (1985), I posit Quique’s musical life history as
a “cultural document” that extends beyond the idiosyncratically personal to
illuminate aspects of the relationship between the individual and his culture.
Among inmates at Terminal Island Federal Correctional Institution, music and
songwriting is an essential ingredient in coming to terms with sadness, anger, and
loss. Latino songwriters often use traditional Mexican song genres, particularly the
corrido, to tell their story and comment upon social conditions that contributed to
their incarceration, especially the United States' "War on Drugs." In this paper I
will discuss the influence of the corrido on music and memory. I will share texts
and transcriptions that I collected over the course of a year of fieldwork in this
prison. I will show the ways in which music provides a critical tool for inmates to
express sentiments and viewpoints that would otherwise be inappropriate or
dangerous. And I will ultimately show that, for some songwriters, music leads
them toward reflection, reconciliation, and redemption so that they may move on
and live full and productive lives inside and outside of prison.
Arrigotti, Jacopo
Universita Degli Studi di Padova
SEM
The feast of the Saints Cosma and Damiano in Riace. Musical performance
and a changing rite within an intercultural tradition of Southern Italy
In the dry landscape of the jonian coast of Calabria, is laid the village of Riace (600
people). Every year in September is held here a three-day feast in honour of the
two saints, Cosma and Damiano. The cult of the two holy doctors, who lived in the
region of Cilicia (Turkey) in the 4 century a.D. has been brought to Calabria
around 1000 a.d by Byzantine monks.
Amigo, Cristian University of California, Los Angeles
SEM
The Use of Life History Materials (Biography and Autobiography) in an
Ethnographic Musical Context
The rite is divided into three phases: waiting for the procession, outgoing
procession, returning procession.
In anthropology, individual life history materials (biographies, autobiographies,
diaries) have been used by such diverse figures as Alfred L. Kroeber, Margaret
Mead, Robert Redfield, Edward Sapir, Gregory Bateson and Clyde Kluckhohn.
However, in the history of anthropology and ethnomusicology, biography has been
downplayed as a disciplinary resource. This is due, in part, to a lack of
development of theoretical and evaluative tools; and also, to the long-standing and
discipline-defining focuses on the basic unit of “culture,” an orientation which has
made it institutionally difficult to assess the role of particular individuals and their
relationship to “culture.”
Three main social groups take part at the rite: 1) the local community, under the
guide of the Church; 2) pilgrims coming from the mountains of the hinterland; 3)
Roma communities, coming from all Calabrian provinces.
The unique symbol of the saints is then the pivot for at least three main ritual
structures, which are expressed in a variety of performative activities.
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Singing is a priority in pilgrms’ ritual. The pilgrimage ends in the main church, in
front of the statues. Music-based performances are the very fmal act of the
pilgrimage.
Asmar, Sami
University of California, Los Angeles
SEM
Quality of Arab Music in the era of Mass Productions for Competing Satelitte
Broadcasts
The Rorna community is characterised by tarantella dancing. Secular dancing,
vehicle for social meanings, but also sacred dance in front of the saints, which
involves altered states of consciousness.
The modern popular music of the Arab World evolved over nearly a century. With
the end of the cultural rule of the Ottoman Empire, the newly independent Arab
nations accepted European arts along with new technologies that allowed the
establishment of national radio stations followed by television transmission as well
as recording studios and private production companies. The new media brought
music to practically every home and popularized star singers that would otherwise
not reach beyond their country prior to radio broadcasts. The recording industries
forced fundamental changes to the music by shortening the traditional long suites
of performances to songs of decreasing lengths. Radio stations intent on not losing
the attention of audiences with new choices on the radio dial also encouraged the
modernization of music. The concept of modernization often causes heated debates
in the circles of Arab musicologists. Modernizers added Western instruments to
traditional takht ensemble while purists longed for the genres of classical poetry
sung with emphasis on vocal skills and demonstrations of musical modes.
Modernization took a quantum leap with the introduction of American-style music
videos, called video clips. Worldwide reaching Arab satellite television channels
amplified the competition to fill airtime and star-search programs thrust scores of
new performers into music videos of synthesized sounds and dance rhythms. Art
was often sacrificed for entertainment by telegenic performers. This paper
describes the changes in the quality of Arab music in the era of satellite broadcasts
in stiff competition for audiences of all ages and musical tastes.
A study that is based on the musical and performative texture during the rite, both
secular and sacred, reveals anthropological relevances: continuity and contiguity,
but also conflict and transformation, of relations that govern the three main groups
as well as smaller groups included in the main ones.
Asai, Susan
Northeastern University
The Quest for Freedom in Asian American Jazz-based Music
SEM
The socio-political dimension of Asian American music is rooted in Black
nationalism of the 1 960s and its cultural arm, free jazz. The continuing social,
economic, and political exigencies of people of Asian descent in the U.S., have
moved many Asian Americans to turn toward their Asian heritage and musically
frame aspects of their cultural past within an African American creative form.
Through the lens of Black nationalism and free jazz, a study of Asian American
jazz- based music narrates the connection of this music to African American
culture and politics. The rise of the Asian American political movement in the late
1 960s through the 1970s parallels the development of an Asian American sound
that began in earnest in the 1 970s. Asian American activists involved in the
movement realized the need for cultural forms that would provide a means to
express their newly emerging identity. Artists within Asian American communities
responded to the growing political consciousness. Many musicians turned toward
free jazz artists Albert Ayler, Cecil Taylor, Eric Dolphy, John Coltrane, Ornette
Coleman, musicians from the Association for the Advancement of Creative Music
(AACM), and others for inspiration and guidance. The musical openness and
collective improvisation of free jazz gave voice to a people in quest for freedom,
providing a model for Asian Americans. This paper explores the influence of free
jazz, both politically and stylistically, in shaping many Asian American musicians’
approach toward their music, and the work of two artists will be presented to
illustrate these influences.
Atkins, Carl J Rochester Institute of Technology
Processionals, Parades and Marching in the African Diaspora
SEM
Processionals, parades and marching, and the pageantry associated with these
activities, have long been an integral part of the music-making and dance activities
of people of color around the world. From traditional ceremonial parades and
processions in Africa, to parade and processional activities in New World colonies;
from the brass and funeral bands in cities like New Orleans, to the modern day
phenomenon of the historically Black college marching band, people of African
descent have combined music, motion, and pageantry in interesting and sometimes,
unique ways. The documentation and comparison of these activities and their role
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Abstracts
in the societies that spawned and often nurtured them has not been the subject of
a distinct and widely circulated effort.
especially singers, is not without controversy. A recent example of this is the
controversy that has arisen among fans of the popular 1990s band Pearl Jam and
the currently popular band Creed. Scott Stapp, the lead singer of Creed, has been
accused (by not only fans but also music critics, radio DJs and others) of sounding
too much like Eddie Vedder, Pearl Jam's lead singer. This paper, through the use
of timbral analysis, will show the similarities and differences between Vedder's and
Stapp's voices and will explore the implications of the marketing and selling of
singers who sound alike. In particular, I will focus on the possibility that not only
is there a “natural” resemblence between Vedder’s and Stapp’s voices but also that
the similarities in their voices may be intensified by record producers through
deliberate, artifical means. This intensification is, if nothing else, a useful
marketing tool.
The goal of the present investigation is two-fold: to provide a comprehensive overview of the global involvement and influence of people of color in parade,
marching and processional activities and, to answer the question, “Should specific
examples of present-day marching, parade and processional activities among
people of African descent be seen as products of Western acculturation or of an
African cultural imperative?”
The methodology involved will include (1) investigation and analysis of
processional, parade and marching activities found in selected West African
societies, (2) tracing African processional, parade and marching activities via the
African diaspora through Islamic northeast Africa to Turkey and Europe, (3)
analyzing the affects of the Atlantic Slave Trade on the spread of certain African
processional, parade and marching activities in the New World, (4) comparing the
characteristics of African marching, parade and processional activities with those
of various non-African cultures and societies encountered in the diaspora, and
investigating the affect they had on each other, and (5) exploring the culture of the
historically Black college marching band as an example of a possible present-day
manifestation of an African cultural imperative. This will be accomplished through
case-studies of the Florida A & M Marching Band, and the Grambling State
University Marching Band.
Baily, John
University of London
Music in Kabul after the Taliban
Based on a month's fieldwork in October 2002 I found plenty of evidence of music
making. Despite all this positive activity heavy censorship of music in Afghanistan
remains. Within Kabul, there is a complete ban on women singing on radio and
television, and in theaters. Outside Kabul much stricter censorship is imposed by
local fundamentalist commanders and a grenade attack on a wedding and severe
beatings of musicians near Kabul are reported. Few musicians venture outside the
capital to play at weddings.
It is anticipated that this effort will provide insights into various historical, global
manifestations of African parade and processional activities and their cross-cultural
influences. However, it is also my belief that, through investigating this history and
the resulting activities in various geographic and cultural settings, a link can be
established between a number of contemporary processional and parade practices
in the West and many traditional African practices.
Against this background of sometimes violent opposition to music we can
understand the dilemmas facing musicians returning from Pakistan. Many come
from the Kucheh Kharabat, Kabul's musicians' quarter. Radio Afghanistan employs
about 30, offering a small monthly salary. Most music broadcast by Radio
Afghanistan and Kabul TV is archival; there seems to be very little recording of
new songs. The musicians employed by the radio station actually earn their living
from playing at weddings.
Attrep, Kara
University of California, Santa Barbara
SEM
"Creed Jam, an Alternative or the Same Thing?: A Timbral Investigation"
The future of music in Kabul is quite unpredictable. Traditional musicians want to
rebuild the Kharabat, bring master musicians back from abroad, and train new
generations in the arts of the Kabuli ghazal and classical rubab playing. Others,
often amateurs from educated backgrounds, are more interested in the instruments
of western popular music, and with modernising and westernising Afghan music.
The marketing of similar sounding bands and singers has become commonplace
in the American music industry. Of course musicians have always been influenced
by one another and in some cases tried to imitate and emulate one another for
aesthetic reasons. However, this propensity toward similar sounding performers,
SEM
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Abstracts
This all raises some interesting dilemmas for those wishing to help the people of
Afghanistan re-establish their music culture.
My paper examines the unusual features that mark Holiday’s repertoire from this
time period (1939- 1941), and argues that the introduction of these features can be
linked to the prolonged political crisis of the Depression era and World War 2.
Employing conceptual frameworks developed by political theorist Antonio
Gramsci, my paper suggests that the changes Holiday introduced into her repertoire
after 1939 can best be understood as a creative response to a moment of musical
conjuncture, a moment of musical possibility that was itself rooted in the broader
conjunctural crisis of the l930s- 1940s.
Bain, Reginald University of South Carolina
ATMI
Numerussonorus: Using Max/MSP to Explore the Compositional Potential of
Number Sequences and Deterministic Algorithms
The paper will open with a brief discussion of the concept of numerussonorus, or
"sounding number," a term borrowed from Renaissance theorist Zarlino. Mappings
of number sequences to musical parameters have a long history. As such, the
demonstration portion of this presentation will begin with a set of historical
examples: musical mappings such as soggetto cavato, Guido d^(1)Arrezo^(1)s text
setting algorithm from his "Micrologus," and the Musical Dice Game generally
attributed to Mozart. The basic principles of algorithmic composition will be
discussed, and the author will take the audience on a tour of the Max/MSP patch
library he has created to allow students to explore the compositional potential of
a variety of number sequences and deterministic algorithms. Examples will include
mappings of well-known natural constants like pi, e and phi, as well as
deterministic algorithms based on fractals, the Doppler equation, the logistic
equation, and Lorenz Attractror, among others.
Bakan, Jonathon
York University
Billie Holiday's Café Society Repertoire
Bakan, Michael B.
The Florida State University
CMS
Rhythm-a-ning: Participation-centered learning and the teaching of complex
rhythms in the world music classroom
In the teaching of undergraduate world music survey classes, coping with the
myriad rhythmic complexities inherent in different music traditions can present
vexing pedagogical challenges. It is one thing to describe in words how, say, "West
African polyrhythm" or "Balinese interlocking" works and use recordings or video
examples to illustrate one's points. It is quite another thing, however, to place
students inside the experience of polyrhythm or interlocking, to provide them with
a pathway to encountering these largely alien and abstract rhythmic ideas not as
passive music-listeners and recipients of information, but as active, engaged
musical performers . In my own experience, this kind of embodied, performancecentered learning - in which the students actually "do" polyrhythms, interlocking,
and the like, rather than just hearing them done or hearing about them - has
generated more student interest and excitement about both music itself and music
as culture than any other learning mode.
SEM
Critics and commentators have long noted the occurrence of an important shift in
the repertoire and performance style of jazz singer Billie Holiday after her
recording of the controversial song “Strange Fruit” in 1939. Holiday introduced
“Strange Fruit” into her act at the beginning of a 2-year engagement at the New
York nightclub known as Café Society. Café Society was notable, not only for
being Manhattan’s first prominent jazz club with a strict policy of racial
integration, but also for being a favored nightspot of New York’s left-wing artistic
and intellectual circles. “Strange Fruit,” which was composed by Communist Party
activist Abel Meeropol, was well suited to the audience at Café Society. A
powerful song of protest against the practice of lynching, “Strange Fruit” was an
immediate success, and soon became Holiday’s best-selling recording.
This workshop is devoted to a practical illustration of several accessible,
classroom-appropriate, group performance exercises. Workshop participants will
be encouraged to take part actively as a "mock class" of world music students.
Each exercise highlights some fundamental rhythmic principle that underlies the
multi-part rhythmic complexity of its associated musical style. In particular, the
musics to be addressed are Balinese gamelan, Ghanaian highlife, salsa, and blues.
I will conclude with a demonstration of how to extend the core performance
exercises into vehicles for collective student improvisation experiences.
Following the success of “Strange Fruit,” Holiday recorded a number of striking
and unusual songs, including her own composition “God Bless’ the Child,” and
several songs composed by pianist Irene Kitchings.
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Abstracts
Barnes, Gail
University of South Carolina
Digital Video and Teacher
CMS
remembering and memorializing by reconstituting memory in song texts,
introducing different ways of understanding medical interventions, and ensuring
continuity through musical memory. “The Memory Project,” a recent initiative, is
a highly effective tool used by NGOs such as NACWOLA, the National
Community of Women Living with HIV/AIDS, a Ugandan NGO devoted to and
run by HIV+ women. Members of NACWOLA and other faith- based
organizations provide counseling, emotional support, and practical assistance.
Many women now create child-specific Memory Books that include sections on
parent’s favorite song(s), important rituals, rites of passage, and music associated
with clans and ethnic groups of the mother. In addition, song texts concerning
HIV/AIDS as well as hymns and choruses are woven into individual Memory
Books for didactic reasons—to educate children to avoid exposure to the virus,
coping with issues related to mother-to- child transmission of the virus, and to
provide details on how to locate a child’s home village, grandparents, and extended
family—all contribute to a musically informed identity. In this paper I will also
focus on the contributions of musical performances to individual and communal
understandings of and transitions in memory by women in faith-based communities
for whom performances function as a process of “re memorying” and a means for
communicating changes in behavior and conceptualizing the virus and disease for
children and family members.
Digital technology is a training tool for both pre-service and in-service teachers.
Current technology allows teacher educators to record teaching labs digitally and
create an electronic teaching portfolio. The components of this digital portfolio can
be structured to meet the criteria for both INTASC (Interstate New Teacher
Assessment and Support Consortium) for undergraduates and NBPTS (National
Board of Professional Teaching Standards) for inservice teachers.
Barry, Nancy H.
University of Oklahoma
Scenes from an Interview: Dramatizations and Workshop
CMS
This workshop provides proactive strategies for addressing difficult situations that
typically arise during the interview process. A series of dramatic vignettes
depicting "do's and dont's" in difficult interview situations are featured. Examples
for entry-level and mid-to-late career stages include:
*The ride from the airport (addressing inappropriate questions and dealing with the
"hidden agenda")
*The research/teaching presentation (putting your "best foot forward"-relating to
students and colleagues)
*The lunch interview (addressing "casual" probes into why you are interested in
leaving your current position)
*The interview with the Chair/Dean (pitfalls to avoid)
*The career-change interview (due to family responsibilities, you have not been in
a full-time college music postion before)
The dramatizations serve as a tool to stimulate discussion. Each vignette is
followed by opportunities for questions and interaction from workshop
participants.
Barzan, Paola Universita di Padova
SEM
Patriarchino chant: a repertory on the borderline of written and oral
tradition
Barzel, Tamar University of Michigan
SEM
"Easily Slip Into Another World': Dream-States and Nostalgia in New York
City's Balkan-Influenced Jazz/Improvisational Music"
In the 1990s and 2000s, an important current in New York City’s
jazz/improvisational music scene has been the turn toward Balkan and Eastern
European musics. U.S.-trained composer/improvisers collaborate with a handful
of European immigrants to present music rooted in jazz but with Bulgarian,
Macedonian, Serbian, or other Eastern European influences. Advertising materials,
CD packaging, and textual clues such as song titles reveal an attendant engagement
by musicians, promoters, (and, presumably, audiences) with two facets of the
Western imaginary: first, an associative, nostalgic dream-state that correlates with
Barz, Gregory Vanderbilt University
SEM
"My Children Must Know About HIV/Aids!: Music, Memory, and Identity
in Uganda"
Memory work influences and guides the expressive culture of many HIV+ women
in Uganda today. Among East African faith-based NGOs (non-governmental
organizations), musical performances and memory books represent processes of
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Abstracts
stereotypes of old Eastern Europe; and second, an exotic state of wildness and
abandon associated with the “Gypsy” of the Western imagination. Long a fixture
in rock, European classical music, and the bohemian pantheon, the exotic “Gypsy”
is the more familiar of the two tropes. Equally significant in jazz is musicians’
ongoing interest in creating musical dream-states. Stereotypically associated with
the hackneyed use in films of a whole tone scale to convey a dream sequence,
dream-states are evoked in Balkan-influenced jazz/improvisational music through
particular musical strategies, such as using small, clinking rattles and bowing the
edge of a cymbal to produce an otherworldly voice. What is the relationship
between such musical strategies, the nostalgia that suffuses the promotional
materials for the music, and the cultural context of musical production? Informed
by two years of fieldwork, attendance at performances, and interviews with New
York City musicians, this paper analyzes excerpts drawn from contemporary
Balkan-influenced jazz/improvisational music to engage with this question.
Bates, Eliot
University of California, Berkeley
Bi-musicality and Middle Eastern Musemes in Electronica Music
This case study suggests new ways of studying sampling-based popular music
forms, by situating the act of sampling in a field of learning, selection, and
manipulation processes. It also challenges the utility of terms such as “fusion,”
terms that miss the diversity of ways in which musicians develop familiarity with
multiple styles of music.
Becker, Judith University of Michigan
Towards A Theory of Trance Consciousness
The theory of consciousness developed by the neuroscientist Antonio Damasio in
his book The Feeling of What Happens. Body and Emotion in the Making of
Consciousness, provides, I believe, a model upon which one can begin to
hypothesize about trance consciousness in a way that integrates what we know
about trance phenomenology with what we know about neurophysiology. Bringing
the phenomenology of the trancer, the first-person experience of communion with
special spirits or deities or God into dialogue with biological models of
consciousness makes imaginable the unimaginable, makes speakable the
unspeakable.
SEM
Electronica can be viewed as a mode of working with recorded sound, and the
artists who create this music grapple with varying degrees of familiarity with
musical traditions they incorporate into the mix. If the primary instrument of
electronica is, loosely speaking, “the studio,” then these artists, to some extent,
develop bi-musical practices with the musics they appropriate and adapt to their
primary studio musicality.
%Emotion is key to understanding Damasio’s theory of consciousness as it is key,
I believe, to understanding the relationship between trance consciousness and
music. The brain nuclei primarily concerned with homeostasis are closely
interconnected with those concerned with emotion. This suggests that homeostasis
of the body and the production of emotion are conjoined. This is the basis for the
assumption that emotions are basic to survival and adaptation.
Some artists (such as Dead Can Dance) never developed musicianship skills with
Middle Eastern instruments, but hired professionals to record and perform them.
Some simply used records or samples from the Orient. Others attained a substantial
degree of musicianship with particular instruments over a lengthy period of time,
though their learning technique and resulting musicianship was idiosyncratic.
Darnasio posits a two-layered theory of consciousness, “core” consciousness and
“extended” consciousness and I explore its implications for a theory of trance
consciousness. I am suggesting that while trancing, core consciousness is
unaffected, but that the autobiographical self, extended consciousness, is
temporarily replaced by a trance persona, a trance consciousness. I propose that the
analgesic properties of trancing may be a result of the substitution of the trance
persona for the autobiographical self, the self who normally ascribes discomfort to
itself. Damasio’s theory links both forms of consciousness to emotion, placing
emotion at the center of our sense of self If this is so, then the emotions of trancing,
emotions in part aroused by music, may play a central role in the production of
trance consciousness.
For all these artists, exotic musemes comprised the most characteristic aspects of
their compositions. In their own ways, they developed progressively more intricate
ways of incorporating and engaging with Middle Eastern musemes, suggesting that
some form of learning process took place during their compositional career.
However, the net result of an increasing familiarization did not result in these
artists creating Middle Eastern music, and I wish to explore this distinction.
SEM
8
October 1-5
Abstracts
Benedict, Cathy Kassell New York University
Chasing Legitimacy: The National Music Standards
CMS
The research involved both ethnographic work, notably, interviews and analysis
of web sites, and musicological analysis. One objective of the project is to measure
the extent to which the selection of songs, and their actual sounds relate to users’
description of the music and of its effects. Approached from the theoretical angle
of polytextuality, these preliminary results should point to the importance of
studying a practice that is neglected despite its social significance.
This session seeks to examine the status of music education as a marginalized
society and postulates that the National Music Standards are a byproduct of larger
forces and powerful assumptions. In order to better understand how these forces
influenced the development and adoption of the Music Standards document, I will
first examine the Music Standards through a theoretical framework provided by the
critical theorists Paulo Freire, Henry Giroux, and Michael Apple.
Bennett, Barbara
University of California, Riverside
CMS
Teaching Music Theory from a Cross-Cultural Prospective - A Report from
Year Three in the Field
I will then compare and contrast the National Music Standards to the National
Mathematics, Language Arts, Science, and History Standards in order to examine
the ways in which those National Standards reflect a paradigm shift in the
educational climate while ours seem bound by more traditional parameters.
This paper is conceived of as a field-report from the third year of a project in what
might be called "applied ethnomusic-theory". At our California university, an
existing course in "Harmony" has been reconceived to fit the needs of a diverse
student population which has partly resulted from the recently enacted antiaffirmative action legislation. Two questions informed the restructuring of this
course: "how does one provide students from diverse backgrounds with the basics
of a language which allows them to communicate with themselves and others about
music writ large?" and "how can we as teachers invite students - most of whom are
performers - to think critically about Blacking's 'socially organized sound', a form
of behavior in which they all participate". The challenge has been to locate
hegemonic structural theories in a relational and thus socially derived context in
which cultural biases are located within structural theories. The challenge has also
been to show that the social disproves any notion of the natural.
Based on the perspective of the critical theorists and the analysis of the documents,
I will then make suggestions that reflect a pedagogical and philosophical stance
found in the current educational climate, while at the same time maintaining the
full integrity of music education.
Bennett, Andy University of Surrey
Phonographic Anthologies: Mix Tapes, Memory, and Nostalgia
SEM
As illustrated by Nick Hornby’s High Fidelity (1995) and the release of its
cinematographic adaptation (Frears 2000), the practice of assembling personal
collections of music (“mix tapes”) is now a prominent activity among music fans
around the world. However, there has been very little interest in this aspect of
music fandom by scholars (Herlyn and Overdick 2002). Mix tapes could be
defined as anthologies of recorded pieces of music made by individuals on
recordable carriers (cassette tapes, CD-R’s, MP3’s, etc.). Also known as
“compilations,” these anthologies typically reflect their compiler’s tastes, interests,
moods, etc. As such, mix tapes form an important part of the compiler’s biography,
being a statement of lifestyle (Chaney 1996) and, thus, a means by which
compilers present themselves to others. They can also act as a communication tool
between individuals belonging to what could be described as “compilation
communities”. Within such communities, the art of producing and comparing mix
tapes constitutes a form of cultural capital (Bourdieu 1984). The proposed paper
will present the results of a preliminary study on these “phonographic anthologies”.
After a discussion of the goals and intentions of the course, we contend with its
real effects, interviewing current and former students regarding its successes and
failures in meeting the needs of a punk skateboarder who pounds out Beethoven
between classes and 360s to those of a Korean student who wishes to study
Pansor'i. These discussions/interviews contend with concerns about commonlanguages, standards, and the notion of a musical education, traditionallyconceived of as being total and complete, which must now impossibly encompass
a great deal of the known world.
9
October 1-5
Abstracts
Benson, Cynthia
Bowling Green State University
Is Technology an Effective Teaching Tool?
ATMI
salsa dancing as a social activity in working class Puerto Rican families—a
perspective on dance that has been thus far ignored in the academic literature. Far
from the nightclub or ballroom where many people today are going to dance, and
perhaps to learn salsa for the first time, I learned salsa listening to recorded music
at “Viernes Social” (Social Friday) or weekend gatherings in our home or in
family/friends’ houses. In this context of ‘bailando salsa en la sala’ people of
different genders, race and ages (unlike a club) interact; and through the joyful and
playful experience of dancing they learn many codes of social conduct, not just
courtship. Such dancing is also a means of cultural affirmation and transmission,
particularly for Puerto Ricans in the diaspora. I will demonstrate these kinds of
learning and affirmation using videos of ballroom salsa instruction and videos from
my own family gatherings in Puerto Rico, Florida, and Seattle. While my
examples speak specifically to a Puerto Rican experience, I will discuss ways in
which they are generalizable for other Latino and Caribbean peoples who
experience their roots (and routes) through social dancing.
As extra time, energy and money are invested into using technology, outcome of
student learning is a concern. Do students learn more effectively and efficiently
with technology? How does technology affect student attitude? What are students
learning with technology they could not otherwise? This presentation discusses the
research literature designed to determine if students are learning with technology
and the results of a study completed by the presenter on the effects of instructional
media on student piano practice and performance achievement. The results from
and implications of this review on using technology in music teaching and how this
information can be practically applied to instruction is included in the presentation.
Benson, Cynthia
ATMI
The Effects of Synchronized and Non-Synchronized Music Software on
Student Achievement in Sight-Reading
Bhattacharya, Nilanjana
University of California, San Diego
Transitional Histories in South Asian Performance
The purpose of this study was to investigate the effects of synchronized
(accompaniment automatically follows player) and non-synchronized
(accompaniment does not follow player) software on student achievement in sight
reading. Students enrolled in group piano courses were divided into three groups:
synchronized software, non-synchronized software, and no software. Each group
was presented the same sight-reading excerpts. The effects of the software or no
software were assessed with the following dependent variables: correct notes,
correct rhythm, steady tempo, expression, and time spent learning excerpt. The
electronic poster will include demonstrations of these software programs, video
clips of students using the software, student performances of sight-reading
examples, and the results and implications of this study.
Early twentieth-century Indian dancer and musician Uday Shankar performed
extensively throughout Britain and New York in the 1920’s. Trained as a painter
rather than as a dancer, he devised his own style of choreography and conveyed to
curious audiences his unique vision of modern Indian culture. After returning to
India in the 1930’s, he focused on innovating Indian arts to accommodate the needs
of a growing nationalist movement and a modern, independent Indian state. These
attempts to define an authentic Indian culture against that of the colonizer were
often based on the ideas of British Orientalist thinkers.
British Asian Underground musicians during the 1990’s also struggled to define
their identities as 2nd-generation South Asians against mainstream English
culture—in many of the same ways. Uday Shankar and early nationalist thinkers’
attempts to define “Indianness” and Indian culture during the 1920’s and 1930’s
actually resurfaced in a nearly identical guise during the 1990’s, as the Asian
Underground struggled to differentiate their identity from that of their British
popular music counterparts. As if to underscore this connection, members of the
Asian Underground even adopted Uday Shankar’s son, the pioneering 1970’s
Indian fusion musician Ananda Shankar, as their aesthetic patriarch. My paper
focuses on the continuities of experience that connect Uday Shankar with
Berrios-Miranda, Marisol
SEM
"Bailando Salsa in the Living Room, How We Learned to Dance and to Live"
During the last decade, salsa dancing has acquired an international popularity that
is unprecedented in the history of Latin music. In the course of this
internationalization stereotypes of Latin music and dance as hot, sexy, and exotic
(Aparicio 1998) have been reproduced and amplified. In this paper I will contrast
such exoticized depictions of salsa with my own (and my peers’) experience of
SEM
10
October 1-5
Abstracts
contemporary musicians. As I recount the similar ways in which these musicians
transgress accepted political and cultural boundaries, I reconsider our perception
of globalization as a recent phenomenon.
Bidner, Sara
Southeastern Louisiana University
Preparing the Next Generation of K-6 Music Teachers
ultimately the self and other—are encoded in style and embedded in aesthetic
disposition. Within a Peircian semiotic framework, I suggest that specific dance
movements, such as hip action, shoulder and arm movements, and rapid footwork
are perceived by White Americans as signifiers of sexuality and liberation and
strategically encapsulate essentialist notions about Latin American ethnicity. This
paper traces the stylistic transformation of salsa dancing from one significant point
of introduction—U.S. dance clubs that cater to a mixed constituency of Latinos and
non-Latinos—to its adoption among White dancers and performance in
predominantly White venues.
CMS
See Trinka, Jill - Preparing the Next Generation of K-6 Music Teachers
Bilderback, Barry
Linnfield College
CMS
Bowker, Barbara E.
William Rainey Harper College
The Many Facets of Community College Music Education
How do community college students differ from conservatory or university music
students, if at all? Do they have different goals and career objectives? How do the
diverse backgrounds in music that community college students bring with them
affect how they learn? What about retention issues compared to conservatory or
university music students? Are community college music students more or less
likely to graduate and continue in music fields of study? How are community
college missions changing with increased diversity and with changes in
technology? How are these missions changing as some community colleges begin
to offer four-year degree programs? Will the profile of the community college
student change too? Are community college faculty given adequate budget and
administrative support to educate their students appropriately? And how do
community colleges serve their communities through music and the arts?
Bosse, Joanna Bowdoin College
SEM
"I Want to Get Ethnic: White Salsa Dancers and the Pursuit of Ethnicity,
Sexuality and Liberation"
Throughout the Twentieth Century, White Americans have been fascinated by
Latin American dance and music styles, leading to the romanticization of Latin
Americans, and their expressive forms, into exotic caricatures. Since the
introduction of the tango into North American polite society, Latin American
dances have been mined for their inclusion in U.S. popular culture and
subsequently transformed into versions considered more suitable to the aesthetic
disposition of the U.S. mainstream. Though this stylistic transformation of Latin
American genres into North American popular forms has received noteworthy
attention from scholars using concepts such as “domestication,” “tinge,” and the
more problematic “whitening,” and “whitewashing,” these ideological constructs
mask the complexities of the process and gloss over a complicated reality that begs
more detailed study.
Our discussion of these questions begins with brief presentations from two highly
successful programs. Dr. Sue Epstein teaches at Miami-Dade College, which is the
largest college in the United States, serving as a gateway to education for many
students from diverse backgrounds, and which has just added a 4-year
baccalaureate degree in education. Dr. Manuel Prestamo heads Oklahoma City
Community College?s acclaimed Cultural Awareness Series and Arts Festival
Oklahoma, whose many events feature distinguished artists, and enhance the local
quality of life while also raising the level of international awareness and
understanding of those served.
These examples launch our discussion of the myriad issues facing the fastest
growing segment of American higher education, the community college. We
eagerly welcome any and all who would like to participate!
Based on an ethnographic case study of White salsa dance/music devotees from the
Midwest United States, this paper examines why stylistic transformation occurs
and illuminates how prevailing conceptions of race, ethnicity, physicality—and
CMS
11
October 1-5
Abstracts
Bowman, Robert
York University
SEM
Regionality, Class, Political Economy and the Transformation of the Memphis
Sound
Bowyer, Don
University of Alabama in Huntsville
CMS
Teaching Music on the Internet: The Fifth Generation of Computer-Assisted
Instruction in Music
The story of Stax Records is about as improbable and unforeseeable as any tale
could possibly be. Started in Memphis, Tennessee by a white country fiddler
named Jim Stewart who, by his own admission, originally knew next to nothing
and cared even less about black music, in the 1960s Stax Records developed a
readily identifiable sound that defined the very possibilities of southern soul music.
Virtually from the beginning and during an era of de jure segregation, Stax
Records was racially integrated in the studio, in the front office and, by the midway point of its history, at the level of ownership. By any logic that one can call
forth, musicologically and sociologically Stax Records simply shouldn’t have been
possible.
The earliest examples of Computer-Assisted Instruction (CAI) in music were
created for university mainframe computers between 1967 and 1975. The second
generation of CAI music software began with the introduction of the first
microcomputers in 1978. The third generation began in 1981 with the introduction
of 16-bit computers and the definition of the Musical Instrument Digital Interface
(MIDI) standard. The subsequent development of the multimedia computer, with
CD-ROM, larger hard disk, enhanced graphics display, better sound quality, and
faster computer processor, brought on the fourth generation of CAI music
software.
The music produced by Stax Records between 1960 and 1968 became known as
the “Memphis Sound”—a blues-gospel hybrid sound with pop, rock, and country
influences. A signifier of southern soul, the “Memphis Sound” had limited appeal
north of the Mason-Dixon line, where the “Motown Sound” had cross-cultural
appeal. This situation began to change around 1968 when Al Bell, co-owner and
former black DJ, reconfigured the creative staff to include producers and arrangers
from the north for the purpose of broadening and diversifying the sound. This
paper will examine how Al Bell transformed the original Stax aesthetic into a new
sound that resonated among both southern and northern blacks and crossed over
into the mainstream.
Brand, Manny Hong Kong Baptist University
CMS
Dragons in the Music Classroom: Political and Philosophical Subtexts in
Chinese School Music Textbooks
Bowman , Judith
Duquesne University
Placing A Degree Program On-Line
While China's school music education teaches musical understanding and skills,
it also serves an ideological function. In this presentation the song lyrics in Music,
the most widely used children's music education textbook series in China, are
analyzed in terms of Confucian ideals, nationalistic content, and communist
ideology. This study's methodological approach is grounded in semiotics, the study
of symbols and signs, such as language and visual and verbal cues found in a
culture. Such symbols communicate social and political knowledge, norms, and
expectations to members of a culture.
CMS
Therefore, this presentation will include an:
(1) introduction to Music, the government approved music text used in most of
the PRC's 70,000 primary and secondary schools;
See Williams, David A. - Placing A Degree Program On-Line
(2) explanation of the ideological messages found in these Chinese school music
texts; and
(3) examination of specific song lyrics reflecting Confucian ideals, nationalistic
content, and communist ideology.
12
October 1-5
Abstracts
There are some that view China as an exotic mystery and a threatening foe. An
understanding of the symbols and ideological characteristics of music education
might contribute to a demystification of China so that greater understanding and
respect can be achieved within the membership of the world's music education
communities. While this presentation focuses on the ideological content of school
music materials from one particular country, it more broadly examines the
innumerable messages found in school curricular materials used in shaping and
producing a particular ideology.
Brett, Thomas New York University
Drum Machines and the Shaping of 1980s Musical Experience
exploring the notion of a “Memphis Jazz Sound” during the “golden age” of
Memphis jazz, 1940-1970, a period of prolific activity which produced a number
of musicians who went on to record with such jazz luminaries as Miles Davis, Max
Roach, Art Blakey, Eric Dolphy, and Horace Silver.
The argument presented here has a three-fold purpose: (1) to debunk the myth that
jazz is solely a phenomenon of a few select cities (i.e., the commonly cited New
Orleans Chicago-Kansas City-New York model); (2) to examine the ways in which
the Memphis jazz community co-existed with and within other musical
communities in the city; and (3) to define the formulation of a “Memphis Jazz
Sound” that may have resulted from the confluence of musical experiences enjoyed
by Memphis jazz musicians.
SEM
The 1980s were watershed times for technological-aesthetic innovation in the
American popular music industry, witnessing a shift from old—school “play your
instrument”—style music making towards a “program your machine” approach.
Two technological developments in particular were responsible for this shift:
MIDI, a protocol for synthesizers to communicate with one another, and the drum
machine. Although they have existed in various forms since the late 1950s, drum
machines came into their own in the 1980s with the advent of machines such as the
Linn Drum and the Roland TR-808 Rhythm Composer. These units, and many
others like them, lead musicians to new methods of composing, new sounds, and
to new musical structures. In a cybernetic feedback loop linking the technology to
the senses, drum machines also led to new conceptions of the body though
“cyborg” or “posthuman” drumming capabilities, and prompted musicians to
theorize about musical time in terms of “mechanical” versus “human” feel.
Drawing on interviews with New York music producers and session musicians as
well as archival research, in this paper I trace a history of drum machines and
examine how they shaped the production and experience of 1980s popular music.
Briscoe, James R.
Butler University
Tania León's A Scourge of Hyacinths: A Multi-Cultural Dynamic
CMS
Born in Havana in 1943, Tania León is a US composer who has served as Revson
Fellow and New Music Adviser to the New York Philharmonic, guest conductor
of the Gewandhausorchester Leipzig and the American Composers’ Orchestra, and
as artistic director of the annual festival Sonidos de las Americas. Her family
heritage is African, French, Spanish, and Chinese.
Briggs, Ray A California State University, Long Beach
SEM
At the Nexus of Gospel, Blue and Bop: The Forging of a Memphis Jazz Sound
International criticism has recognized Tania León for her multi-cultural leanings.
The Nigerian writer Wole Soyinka, a Nobel Prize recipient, wrote the play on
which León based her opera of 1984, A Scourge of Hyacinths. The work severely
criticizes totalitarian cruelty generally and in Nigeria by implication. This paper
views the composer’s multi-culturalism in the light of this major work. In a recent
interview, León suggested both the African and Cuban musical sources of A
Scourge of Hyacinths, with its “marked rhythms that trace to Africa, but with
relationship to Cuba, to tigo drumming….merging is part of my idiom from day
one.” Tania León identifies Yoruba tribal drumming as dominant in the Cuban
idiom and important in the opera.
This paper discusses the jazz tradition of Memphis, Tennessee and the sound
identity associated with the city. Memphis, a city with an impressive musical
heritage rooted in blues, gospel, rhythm and blues/rock and roll and soul, has been
the subject of many scholarly studies, yet very few works have documented the
existence of a vibrant jazz tradition. This paper seeks to fill this lacuna by
The force of the drama also owes much to the Western operatic tradition, as
examples of an aria and scene structure will show. The work draws upon a dense
chromaticism and dissonance in León’s expressionist voice. This idiom provides
a mounting intensity and leads to the climax of the work near the end, at the
execution of the main character. Overarching these elements of multiple cultures,
13
October 1-5
Abstracts
significantly, is the unique artistry whereby the composer forms an integrated new
dynamic.
Brown, Christopher M Northwestern University
Using Flash to Help Teach Jazz Improvisation
I will firstly show how musical stories in Indo-Persian texts operate, not as
purveyors of literal “facts”, but as “fictional” constructions that convey more
important cultural truths about music and its relationship with state and society.
I will then demonstrate how a culturally informed reading of these stories can be
used to challenge the prevailing understandings of political and social history. In
doing so I will present an ethnomusicological paradigm for writing music history
that integrates musical and wider questions, and brings music in from the margins
of historical debate.
ATMI
While visiting this online workshop, students are able to go online and receive
aural practice in learning heads of standard jazz tunes, blues accompaniment
patterns, jazz scale patterns, and riffs they can use while soloing. This is taken from
the aural teaching methods many jazz educators use in teaching improvisation. The
teaching of jazz heads by ear and emphasis on the use of chordal patterns - both to
help learn improvisation -- are a major part of the site.
Browne, Kimasi L.
Asuza Pacific University
SEM
The African American Music Experience in Underground Britain: A Brief
History of Northern Soul”
This presentation will show you how to construct the three main concepts I used
on the site. Flash can be intimidating at first because it has a different graphic
interface than other programs. But as with any complex software one needs to
focus on the capabilities that will assist in accomplishing the desired task. On the
jazz improvisation site there are four interactive sections “Arps”, “Heads”, “Riffs”
and “Scales” that provide interactive experiences to students.
Brown, Katherine Butler
Cambridge University
Fact, fiction, and faction: writing culture into music history
In the early 1960s, records by African Americans began being broadcast from
pirate ships anchored off England’s shores. These ships played songs by the
Supremes, Sam Cooke, the Marvelettes, and others. The songs became popular
with British youth cultures like the Mods and the Rockers. In the early 1970s, soul
fans in the north of England demanded rarer and more obscure versions of this
music. Many underground clubs opened in the UK and created a dance culture and
market for dealers and collectors of these hard to find recordings. This culminated
in the 1980s with many of these soul clubs closing and subsequent revivals of the
movement that continue in the present. This movement was dubbed "Northern
Soul" in 1970. British soul fan's reception of this music has evolved into "the
experience of identity"(Frith 1996:11). In this paper I argue, these predominantly
white British working class youth continue to exhume and consume this once
commercially-dead African American music, and thus, have produced a new
music-culture endowed with history, community, economy, and affective
experience. While several studies have examined the influence of African
American music on "above-ground" popular culture in Britain (Small 1987; Jones
1988), this paper addresses the scarcity of ethnomusicological studies that focus
on the underground phenomenon of Northern Soul (Hollows and Milestone 1998;
Chambers 1985). Using CDs and video footage I will trace the history of Northern
Soul from 1962 to 2002. This study is based on my ethnographic fieldwork in
England, Wales, and the Republic of Ireland.
SEM
Ethnomusicologists have long argued that music uniquely illuminates its political,
social, and cultural world. Similarly, the discipline of cultural history reveals how
cultural artifacts can be powerful mediators of important political and social
phenomena previously obscured from historical debate. Theoretically, the music
of the past should therefore be a revelatory lens through which to view wider
historical processes. Recently, ethnomusicologists have indeed begun studying
past musical cultures in their own right. Yet in the field of Mughal studies in
which I work, historians “disdain” our historical work as “marginal” (1). Why?
Because we have not applied our understandings of music’s mediatory power to
our writing of history. Based on my research on Mughal India, in this paper I will
demonstrate that music can indeed be used to change history – if we reintegrate
cultural questions into our reading and writing of the past. Our historical
approaches have been diminished by inappropriate face-value readings of primary
texts, and the unquestioning adoption of debatable secondary historical paradigms.
14
October 1-5
Abstracts
Brucher, Katherine
University of Michigan, Ann Arbor
Dueling Bandas: Honor through Music at Despiques in Portugal
SEM
are fondly remembered by the youth of the Cultural Revolution above all for the
powerful impact they had, and continue to have, in people’s emotional lives.
In northern and central Portugal, bandas filarmónicas (civic wind bands) make or
break their reputations at concerts called despiques. I will argue that when bandas
filarmónicas perform at despiques, they participate in a musical honor culture.
Bands establish their musical reputations, but furthermore, they assert the social
importance of their hometown or village. Despiques are typically part of secular
entertainment during patron saint festivals. Two bandas filarmónicas perform on
separate bandstands and alternate playing a variety of marches, classical, popular
and folk music composed or arranged for banda filarmónica. Although the
concerts are not officially competitions between the two bands, they are highly
competitive in nature. Audience members and musicians anticipate despiques,
especially between rival bands. Afterwards, the concerts are discussed for days
(sometimes for months and years) in terms of which band won or lost.
Participating musicians and spectators measure this by how well the bands played
and by the audience’s response to their performances. In my paper, I will draw on
ethnographic data from my fieldwork and from historical material preserved by
bands to explore how the honor culture of the despique plays out in musical and
social terms.
Scholars in the social sciences have argued that the political events of one’s youth
are most significant in shaping our cultural memories and social identities. In this
paper, I will demonstrate how and why such politically motivated songs trigger
such a compelling sense of nostalgia in the memories of the youth of the Cultural
Revolution. Additionally, I will suggest that the multiplicity of meanings that grew
out of these songs effectively subverted the state’s effort to produce a certain kind
of identification for model citizens.
Buchanan, Donna A
University of Illinois, Urbana-Champaign
SEM
How to spin a good Horo: Melody, Mode and Musicianship in the
Composition of Bulgarian Dance Tunes
Since at least the nineteenth century, Bulgarian musicians, as soloists and in small
groups, have accompanied community dances with spontaneously improvised,
“spun-out” tunes called horo-s on indigenous instruments. Although such tunes
comprise the backbone of traditional instrumental repertory even today, the
theoretical principles governing certain aspects of their construction remain largely
unexamined. Based on fieldwork conducted during summer 2002 with professional
folk musicians residing in Sofia, this paper extends previous scholarship by Mark
Levy, Timothy Rice, and the present author concerning the creative process
surrounding horo composition. While earlier studies examine the indigenous
theory informing the organic development of a horo’s motivic and phrase structure,
my current analysis explores 1) the nature of indigenous horo categories; 2) links
between instrumental horo-s and pre-existing song models; and 3) factors
governing musicians’ choice of rhythmic material, register, ornamentation, and
mode as they improvise.
Bryant, Lei Ouyang
University of Pittsburg
SEM
Music, Memory and Nostalgia:
Interpreting Meaning in Chinese
Revolutionary Songs
Despite fervent efforts to educate and mobilize the masses in the Chinese Cultural
Revolution, the individual reception of revolutionary music often strayed greatly
from its original political intentions. At times, music and dance provided an outlet
from traumatic times as well as a tool for group participation and defining one’s
identity.The Cultural Revolution was a time of heightened and spirited political
activity, particularly for the generation that came of age during this tumultuous
period; this intensity may help to explain why today the songs evoke such powerful
and emotional memories.
Regarding the latter, I am particularly interested in problematizing the relationship
of horo modality to Turkish makam. Just how makam should be understood in a
Bulgarian context remains a contentious issue that has received little musicological
attention; between 1944 and 1989 socialist politics discouraged native and nonnative scholars alike from investigating such Ottoman Turkish influences, and even
today, many view the topic with ambivalence. My research suggests, however, that
instrumentalists employ scale types resembling Turkish makamlar freely, as a key
feature of horo improvisation, and that modulation to and between these makam
Based on fieldwork conducted in China and the United States, I will analyze the
variety of meanings developed through an anthology of revolutionary songs and
examine how these meanings vary in the collective and cultural memories of
different generations. Contradicting their intended goal, I contend that the songs
15
October 1-5
Abstracts
-like modes is a conscious decision guided by previously unexplained
compositional precepts. My objective is to demonstrate these principles and their
implication for cross-cultural musical analysis.
Bugallo, Helena State University of New York at Buffalo
Conlon Nancarrow and his Influences
Burkett, Eugenie
Shenandoah University
ATMI
Beyond the Talking Head: Multimedia Interactive Projects for Elementary
Music Methods
Current research suggest that technology is (1) not modeled by university
education faculty as a viable teaching tool, and (2) not being used by recent
graduated of teacher education programs to implement music education standards.
There is a need to adapt and develop curricula that enable educators to establish
their classrooms and organize instructional priorities in an efficient and cohesive
format. This presentation will delineate the foundations and processes underlying
custom designed computer-based multimedia instructional programs: multimedia
PowerPoint presentations, video analyses of peer presentations, and interactive
Web-based multimedia software with digital video presentations of teaching
scenarios. The presentation will include a brief summary of the research tools, an
overview of the crafting of the multimedia instruments, and a discussion of
effective approaches for the use of multimedia technology in undergraduate music
education classes.
CMS
See Williams, Amy - Conlon Nancarrow and his Influences
Burchman, Sathya
Wesleyan University
Soundtracking Cuba: The Political Economy of Cinematic
SEM
Music has provided a central text in many non-Cuban cinematic narratives of
Cuban nationhood. Such representations have engaged a discourse of authenticity
with soundtracks that represent essentialized notions of what it means to be Cuban.
These images and soundtracks have affected both foreign imaginings of Cuba and
Cuban imaginings of self with very real consequences. This paper examines the
intertextual narrative between soundtrack and visual sequence in Wim Wenders’
1999 documentary film “Buena Vista Social Club” and compares it to prerevolutionary (before 1959) Hollywood film soundtracks of Cuba.
Burnim, Melonee
Indiana University
Voices of Women in Gospel: Resisting Representations
SEM
Those familiar with the African American gospel music tradition are aware of the
longstanding historical presence of women in gospel music that continues to this
day. Mahalia Jackson and Clara Ward recorded the first million-selling gospel
records, and Arizona Dranes and Sallie Martin pioneered distinctive gospel piano
styles. Women have been and continue to be choir directors of repute,
instrumentalists, owners of music publishing companies and radio announcers. In
the history of gospel music women have been neither invisible, nor silent.
The pre-revolutionary Hollywood films I analyze depict Cuba as an enchanting,
exotic, and voluptuous background for American plots to unfold. “Buena Vista
Social Club” uses documentary realism to depict Cuba as a dilapidated relic with
a curatorial agenda of documenting cultural artifacts before they are lost forever.
Although quite different, both constructions fueled tourism in Cuba and
consequently stimulated a market for culture with foreign desires and expectations
that have shaped local cultural production. These filmic formulations of
“cubanidad” have been sites of articulation where identity is negotiated between
outsider description and insider ascription. The paper highlights the political and
economic implications of representation and draws attention to the merits of an
interdisciplinary approach to the study of music.
On the surface, the medium of music appears to be a gender equalizer, a language
through which women could communicate without barriers. To the contrary, this
paper indicates that women’s high visibility, power and authority in gospel music
provides no assurance that the gospel terrain is a level playing field. What exists
on the surface as victorious presence and power actually obscures the battles either
fought and won, or averted, that allowed women to rise to positions of renown.
In order for their voices to be heard, women of gospel music constantly confronted
prevailing images of themselves and of their music which stereotyped and
restricted them. Their challenge was against representations of who they were and
16
October 1-5
Abstracts
Butler, Melvin Lloyd
New York University
SEM
"Fighting Fire with Fire:" Pentecostal Transcendence, Music0-Spiritual
Warefare and Transnationalism in Haitian "Heavenly Army" Churches
what they were capable of doing as women, on the one hand, and who they were
and what their capabilities were as musicians on the other. This paper will
foreground the voices of pioneering women of gospel as a critical lens to
understanding the complex dynamics of race and gender that define this African
American musical genre.
In this paper, I discuss the role of music as a powerfully expressive form that
reinforces a Biblically— informed cosmology and facilitates spiritual
transcendence and ecstatic experience in Haitian Pentecostal church services. I
contend that, through musico—spiritual transcendcnce, Haitian Pentecostals find
not simply a temporary ‘‘escape but, rather, a means of consistently accessing the
divine power to survive by waging warfare against adversarial spiritual farces
contributing to social misery in local and transnational spaces.
Burns, Kristine H.
Florida International University
CMS
How to Make Your Wife Listen: Gender Issues in Music Technology
Advertising
"You'll capture her every fancy as well as her attention when you turn on the Fisher
440-T stereo receiver." As the description continues, the reader's wife will be so
captivated by the receiver that she will forget about everything else, quiet down,
and enjoy listening to the music.
In independent ‘‘heavenly army’’ churches, participants deploy a powerful arsenal
of musical weaponry, using Pentecostal ‘‘point songs” (chan pwen), lament songs
(plent-s intense bodily movement, and traditional instruments (i.e., graj, senbal,
tambouren, and batri ) to ‘‘heat up’’ (chofe) the spiritual atmosphere and invoke
divine manifestations. Through this transcendent musico—spiritual “work,’ the
heavenly armies, comprised of ‘‘gifted’’ Spirit—filled pr also express opposition
to state— sanctioned religious folk practices (e.g.. Vodou) and compete with
annual Carnival and Rara events. The notion of spiritual warfare resonates with an
ethos of militarism in Haitian culture.
This paper presents an overview of the main issues associated with gender in recent
music technology publications. In general, gender-biased advertisements tend to
fall into three main categories: advertisements with sexual overtones that are aimed
at both men and women; "humorous" advertisements with sexual overtones aimed
exclusively at a male audience; and advertisements that are overtly sexist,
misogynist, or discriminatory.
This paper also deals with the ways in which Haitian Pentecostals respond to local
and global hegemonies. Spiritual power, along with the musical practices through
which Pentecostals gain access to it, is linked to the power to resist religious,
socio-econonmic, and political forces that Impact Pentecostals’ everyday lives. The
use of Haitian musical forms such as konpa and indigenous instrumentation
articulate a form of cultural nationalism that contributes towards broader efforts to
elevate Haiti’s position within the global hierarchy of nation-states. However, I
contend that Haitian Pentecostals’ musical and religious practices not only take the
form of ‘‘local’’ resistance to global cultural hegemonic forces, but also oppose
these hegemonies on their own transnational ‘‘turf’ so to speak. That is, through
transcendent musical and religious practices, Haitian Pentecostals self-identify with
a transnational “community of practice and attempt to fight one form of
transnationalism with another.
This paper will include present visual examples of all three categories from the past
thirty years.
Both consumer and "pro-sumer" (professional/consumer level) magazines from the
last two decades have been examined; advertisements in publications such as Mix,
Remix, Pro Sound News, EQ, and Keyboard were scrutinized. In addition, a
recently completed comprehensive study of one of the most popular such
publications, Electronic Musician, includes complete list of the types and numbers
of gender-biased advertisements found.
17
October 1-5
Abstracts
Callen, Jeffrey University of California, Los Angeles
SEM
Don't call it world music. I don't know what to call it but it’s the music of my
world
socially- conscious teaching that ideally transfer to thoughtfttl teaching designs and
deliveries in the public school teaching positions for which these students strive.
The songs of Hoba Hoba Spirit (Casablanca, Morocco) fuse gnawa, cha’abi and
other Moroccan musical styles with rock and roll, reggae and a little bit of punk.
Working outside the boundaries created by the Western music industry and local
music producers, an increasing number of musicians from the global South are
turning the defining concepts of both locally produced popular music and the
World Music phenomenon on their head. Not content to produce music that fits the
narrow horizons of local music producers or to act as raw material or exotic
scenery (visual or aural) for the Western market, they struggling to create their own
music. During the last decade, an often under-recognized subtext to the resistance
to the globalization of culture has been a reinvigorated interest in cultural exchange
that does not follow the center-periphery model implicit in the World Music
phenomenon but moves along the fissures and fault lines between the
“peripheries.” This presentation will look at the efforts of a growing number of
musicians in one country on the “periphery,” Morocco, to create music that reflects
the world they live in: a world that is rooted in local tradition and enmeshed in
webs of connection that make hip-hop, reggae and salsa as much a part of their
world as cha’abi, melhoun and gnawa.
Campbell, Patricia Shehan
University of Washington
CMS
Music in Bulgaria: Collaborative Moments for Teaching a Musical Culture
Campbell, Patricia
"Local Excursions to a Living Culture"
This paper will examine songs from the musicals of Will Marion Cook (18691944) and offer an analytical perspective on the complexities surrounding AfricanAmerican theater at the turn of the twentieth century. Beneath the surface, a
"minstrel mask" metaphor produces its mixture of accommodations and strategies
that give Cook's compositions their peculiar energy and historical contingency. The
ultimate purpose of masking lies in the deceptive coping strategy as revealed by the
folk:
See Rice, Timothy - Music in Bulgaria: Collaborative Moments for Teaching a
Musical Culture
Carter, Marva Griffin Georgia State University
Removing the 'Minstrel Mask' in the Musicals of Will Marion Cook
Since the early 1830s, African Americans have been portrayed as comic stage
figures in the popular entertainment tradition known as minstrelsy. The
instrumentalists Tambo and Bones, the ragged Southern plantation darky, and the
overdressed Northern city dandy are all masked characters perpetuating stereotypic
images of the black American. Childlike grins, rounded eyes, rollicking laughter,
a penchant for watermelon and chicken, razor fights, and coon dialect are only a
few of the caricatures on the stage. The contradictions between these stage
representations of African Americans and the grim realities of racism are
poignantly addressed in Paul Laurence Dunbar's poem "We Wear the Mask."
SEM
This presentation discusses the integration of a locally-living culture, the Yakama
Indians, into a music teacher education program. The University of Washington’s
Minority Affairs and School of Music have collaborated in an ongoing “cultural
immersion” project that supports university students’ short-term residencies at
schools on the Yakama reservation. Students teach assigned musical units in a local
reservation school whose population is 75% Yakama and 20% Chicano (mostly
migrant workers), as part of their methods course training. Students perform their
own music at tribal schools and pow-wow gatherings, and live locally with families
on and surrounding the reservation. They are exposed to Yakama drumming and
singing expressions in teaching sessions, and engage in dancing through
participatory pow-wow experiences. These short-term immersion experiences for
undergraduate students raise questions regarding repertoire, transmission, and
CMS
Got a mind for white folks to see 'Nother for what I know is me.
Cook is apart of a crusade to remove the minstrel mask from the musical stage that
includes: the use of realism, verbal weapons, double-consciousness, and universal
themes. The ultimate purpose in unmasking the musicals of Will Marion Cook is
to convey the various means African Americans reveal the truth about themselves
and others in their pursuit of social justice and equality.
18
October 1-5
Abstracts
Casey, Don
DePaul University
The Professor As Administrator
CMS
paper addresses these issues in an African-Indian community in India, where Sidi
faqirs have toured their sacred Sufi performances for centuries, most recently by
invitation to cultural festivals, five-star hotels and the West. Does touring sacralize
non-sacred spaces rather than secularizing celebrations of their African merchantsaint? Billing themselves quite secularly as “African Tribal Dancers” or “Zulu
Dancers.” Sidis retain and reinvent traits and memories, often imagined, of their
African origins through Swahili soundbytes and African-inspired costumes,
makeup, music and movements. These “exotic” performers often surprise Indian
audiences backstage with their fluency in local languages. This paper concerns a
collaborative project between Sidis and Scholars (Catlin-Jairazbhoy and Alpers,
eds. Rainbow Publishers-AWP 2003) for developing knowledge and materials
about the Sidis (“Sidi CDs” and cassettes) and the African and sacred elements of
their music, including a “revival camp” for the disappearing Sidi musical bow
malunga. Sidis are now distributing these materials in India, as they did among
British audiences during the first Sidi tour abroad in Fall 2002, and European and
American tours are planned in the near future. The paper is intended to generate
discussion about the politics of such forms of cultural intervention, the implications
and future history of touring Sidi sacred materials abroad, and the effects of
tourism on Sidi pilgrimage sites and communities in communalism-tom Gujarat.
See Green, Richard - The Professor As Administrator
Castro, Christi-Anne
Pomona College
A Folkloric re-envisioning of the Spanish era in the Philippines
SEM
The imperialist venture of the U.S. in the Philippines ended three centuries of
Spanish rule and began the transition from one colonial power to another. The
Americans promoted as a national hero Jose Rizal, who had been martyred by
Spanish authorities, to help vilif the Spaniards and to elevate Rizal’s message of
reform over revolution, a lesson against further rebellion over U.S. incursions.
Despite American efforts at negation, the Spanish colonial inheritance today
remains evident in the collective imagining of the Filipino self and nation; and,
ironically, the widely read novels of Rizal have contributed to a nostalgia for the
Spanish past, even though they were intended to criticize colonial rule. For many,
Rizal’s Maria Clara is the epitome of Filipino femininity and a symbol for the
racially hybrid nation. The daughter of a Filipina and Spanish friar, she stirs in the
imagination an age of grace and stability that stands in contrast with the
dislocations of modernity. Hence, the popular nicknaming of a repertoire of
Spanish-derived folkioric music and dance as “Maria Clara” seems apt. This paper
will examine how nostalgia for a re-imagined Spanish past pervades Filipino
foildoric presentations, both in consort and in contrast with State nationalist
posturings. I will take into account Susan Bennett’s observation that the
performance of nostalgia is less rooted in reverence for “traditions” than in the
aspirations of contemporary cultural power brokers to stabilize modern political
identities for self-serving ends (1996) and the persistence of endo-hegemony in
Filipino performative representations of self.
Chernoff, John
SEM
Encountering Different Perceptions of Historical Significance in Field
Research among Dagbamba Drummers
The drumming music of the Dagbamba of northern Ghana articulates a determined
self-consciousness about history. Music is a nexus for relating history to
community and family relationships. The nucleus of major Dagbamba musical
styles is a historical epic, performed biannually in important towns. The epic is the
source of proverbial praise-names that link individual Dagbamba to one another
and to chieftaincy lineages through public praise-drumming and singing and
through public dancing to rhythms also derived from praise-names. Drummers are
both interlocutors and musicians at social gatherings like funerals or weddings,
which are organized to show people's family relationships in both contemporary
and historical focus. Dagbamba drummers face many difficulties learning a vast
amount of information in order to fulfill their social role. They reach significantly
different standards, and those with greater interest in learning specialize in various
areas of knowledge. Western scholars have discussed many characteristics of how
oral traditions of knowledge are transmitted and maintained, and Dagbamba
Catlin-Jairazbhoy, Amy University of California, Los Angeles
SEM
Touring and Being Toured: An Applied Approach to (Re)presenting Afican
Indians
One hallmark of applied ethnomusicology is the use of ethnomusicological tools
in non-academic settings. Another is to deliberately influence materials and
societies researched, often collaboratively as in Participatory Action Research. This
19
October 1-5
Abstracts
Clague, Mark University of Michigan
SEM
What So Proudly We Hail'd: Performing Meaning in The Star-Spangled
Banner
drummers have many such institutionalized and customary arrangements. During
long-term research on Dagbamba drumming, I noticed many differences between
Dagbamba and Western historiographies, between what Dagbamba consider worth
knowing about themselves and the types of historical knowledge that Westerners,
including me, have assumed to be significant and have worked to learn. My
presentation will describe how I encountered such issues in field situations and
how I and my collaborators among Dagbamba drummers attempted to interpret or
work through our differences.
When Jimi Hendrix stepped on a distortion pedal during his rendition of the StarSpangled Banner at Woodstock on August 17, 1969, he touched off an ideological
controversy about the appropriate manner of performing the U. S. national anthem.
Yet, while Hendrix’s realization is probably the tune’s most infamous, it is but one
of many. Hendrix’s Woodstock performance connects to a long-established
tradition of arranging the anthem for popular performances that extends back
through such composers as Igor Stravinsky, Duke Ellingon, John Knowles Paine,
Dudley Buck, and Louis Moreau Gottschalk. Hendrix also reinvigorated this
tradition, helping to inspire recent recordings by such artists as Charlie Daniels,
Stevie Ray Vaughan, Bela Fleck, Whitney Houston, Carla Bley, and U2.
Chuse, Loren Independent Scholar
SEM
"Gitana Soy": The articulation of Gypsy Identity in Spanish Flamenco
Flamenco music is the result of a centuries-long symbiosis between lower-class
urban Andalusians and gitanos (Gypsies). Since its emergence in the midnineteenth century, flamenco has been associated with marginalized social groups
and social spaces. This marginalization has given way recently to enhanced
prestige and a large, diverse audience in Spain. Flamenco is at once Spanish,
Andalusian, and gitano. The Gypsy element looms large in flamenco performance,
due in part to stereotypical imagery concerning Gypsiness that has its origin in
romanticism. The Gypsy ethos associated with flamenco foregrounds values of
freedom, spontaneity, passion and tragedy.
Placed in context, such arrangements and performances intersect with everyday
questions of just who is an American and how should an American behave. Each
performance makes an implicit claim to American identity and may extend its
definition by suggesting a confluence of an overarching Americanness and various
subcommunity identities. Hendrix, for example, claimed the right to perform the
anthem as a black American as well as a member of a psychedelic youth
counterculture. By giving voice to the Star-Spangled Banner, Hendrix enacted his
identity as an American in sound. Rather than violent, Hendrix’s performance is
sensitive to and depicts Key’s text. While Hendrix’s intent remains a subject for
some speculation, other composers have made explicit political claims in their
reworkings of America’s national song.
Although these stereotypical notions are central to the promotion of flamenco in
recording, film and tourist industries, there is a real and important gitano
component that is central to flamenco. Gitano performers articulate, and in their
performances "enact" a strong sense of being Gypsy that functions as a powerful
site of tradition and at the same time as an important and meaningful marker of
contemporary social identity. Drawing on my research on women flamenco singers
and on Nuevo Flamenco fusions I examine the gitano expression in flamenco song;
the ways in which gitanismo is articulated through texts, musical style and song
performance. I consider the significance of these expressions within flamenco as
they articulate a uniquely gitano identity. Finally, I demonstrate the sophistication
of this articulation (its ironic and contradictory role) in the representations of
Gypsiness by flamenco performers whose work spans the stylistic continuum from
traditional to innovative forms of flamenco today.
Clark, Frank Georgia Institute of Technology
ATMI
Lights, Camera, Action: Alternate MIDI Controllers and Lessons Learned
This demonstration provides an overview of successes, failures, and suggested
practices for incorporating alternative MIDI controllers into performance. The
controllers to be showcased include interactive light, video, graphic, color, motion,
amplitude, temperature, and proximity devices. Now, more than ever, alternative
MIDI controllers can easily, affordably, and reliably be incorporated into
traditional and non-traditional performance. The demonstration also documents
lessons learned and "failures to be avoided." Like all instruments, alternative MIDI
devices have limitations, weaknesses, and quirks. These need to be understood,
20
October 1-5
Abstracts
Coe, Judith
University of Colorado-Denver
Top Ten Lists: Mediating Conflicting Methodologies
documented, and disseminated. The demonstration concludes with suggested
performance practices, specific implementations, and recommended paths for
exploration. The commercial and non-commercial systems to be considered include
the Infusion System I-CubeX, the DIEM (Danish Institute of Electroacoustic
Music) Digital Dance System, OptiMusic Interactive and Reflective Lights,
STEIM I
See Sturman, Janet - Top Ten Lists: Mediating Conflicting Methodologies
Cohen, Sara
University of Liverpool
Popular Music, Heritage, and Urban Regeneration.
Clements, Carl City University of New York
SEM
Hariprasad Chaurasia and Nityanand Haldipur: Stylistic Differences within
a Gharana
SEM
This lecture will focus on tourism in order to explore connections between popular
music and the city. Music has always played an important part in tourism. It may
be a tourist attraction in its own right (as, for example, with the Mozart festival in
Salzburg and Gamelan tours in Indonesia) but it also plays a significant role in
tourist activities more generally, influencing, for example, tourists' perceptions and
experiences of places. This lecture will discuss a growing but as yet little studied
area of interface between music and tourism which is tourism based on visits to
locations that are significant to the lives and work of popular musicians. In
particular it will draw upon ethnographic research on Beatles tourism in the city of
Liverpool. The Beatles became a symbol of modern, global culture and have been
judged to be the music and musicians ‘of the millennium’, but at the same time
they have also been closely connected with the culture and economy of one
particular city. The case of Beatles tourism in Liverpool will be used to explore
popular music’s role and significance in urban regeneration and the
institutionalization and heritigisation of rock/pop music within Western European
and North American cities.
This paper will address some aspects of convergence and divergence of two
dominant styles of bansuri playing in contemporary Hindustani music. The first
style, here represented by Nityanand Haldipur, is that of the late Pannalal Ghosh
(1911-1960), the founder of modern Hindustani classical bansuri playing. The
second is that of Hariprasad Chaurasia (b. 1938), who, though probably inspired
by Ghosh’s playing, developed his style independent of his distinguished
predecessor. Both Ghosh and Chaurasia have trained a number of noted students,
and seem to represent distinct stylistic lineages. Technically, however, both styles
exist within the Maihar gharana.A comparison of Haldipur and Chaurasia is of
particular interest as both are students of Annapurna Devi, daughter of Ustad
Allaudin Khan. Despite this fact, their approaches to bansuri playing are in some
ways dramatically different, as evidenced by flute design (six-hole versus sevenhole), pacing, emphasis on tradition versus innovation, types of compositions,
embellishment, articulation, and use of rhythm. This paper will explore some of
these stylistic choices, and consider the affiliations, both within and external to the
Maihar gharana, that they may reflect.
Conkling , Susan
Eastman School of Music
CMS
Preparing Doctoral Students for their Roles as Teachers in Higher Education
The primary mode of investigation will be analysis of transcriptions of
performances by Nityanand Haldipur and Hariprasad Chaurasia. The observations
drawn from this analysis will be supported by statements made by writers, critics,
and the artists themselves, as well as reference to authorities on Hindustani
classical music (such as Bhatkhande, Paluskar, and Ali Akbar Khan), historical
documents, and discussion of technical aspects of the instruments.
CMS
See Henry, Warren - Preparing Doctoral Students for their Roles as Teachers in
Higher Education
21
October 1-5
Abstracts
Conlon, Paula University of Oklahoma
Creek-Seminole Stomp Dance in Oklahoma
SEM
(turtle rattles worn on the women’s lower legs to accompany the men’s singing)
for the past three years, at both indoor winter social dances and the outdoor private
Green Corn Ceremony held each summer. The impetus for my work with the
Talahvse Ceremonial Grounds stems from our mutual desire to aid in the
transmission of information about this rich tradition. This paper looks at the
position that the Talahvse Ceremonial Grounds holds in the Oklahoma stomp
dance community, and discusses the results of our collaboration in relationship to
the Native American music class that I teach at the University of Oklahoma.
If you ask someone what Native American event they most expect to find in
Oklahoma, they are likely to say “powwow,” which is certainly prevalent in this
state. However, a number of tribes now situated in Oklahoma do not participate
in powwows, and a balanced class will include information about their traditions.
This research looks at contemporary Creek/Seminole stomp dancing in Oklahoma,
comparing these dances with historical accounts, both in Oklahoma (Howard,
1984) and in the eastern United States where the stomp dance originated
(Densmore, 1956), along with a discussion of recent studies (Jackson and Levine,
2002). This vibrant tradition is under-represented in the published literature, and
merits further study. The focus of this paper is on the author’s work with the
Talahvse Ceremonial Grounds of the Mvskoke/Creek Nation, whose stomp
grounds are just outside of Cromwell, Oklahoma. The ideal way to learn about
something is to actively participate, and I have had the privilege of shaking shells
(turtle rattles worn on the women’s lower legs to accompany the men’s singing)
at both indoor winter social dances and the outdoor private Green Corn Ceremony
held each summer. This paper looks at the position that the Talahvse Ceremonial
Grounds holds in the Oklahoma stomp dance community, and their role in the
preservation of stomp dancing into the twenty-first century. The paper concludes
with a discussion of the incorporation of the results of this research into the
teaching of my Native American music class at the university.
Conlon, Paula University of Oklahoma
Native American Stomp Dance in Oklahoma
Connell, Andrew
James Madison University
SEM
Jazz in Brazil: Authenticity and Universality in the Music of Hermeto Pascoal
Is there a Brazilian jazz? Most U.S. jazz histories note the influence of bossa nova
on jazz during the 1 960s and the fusion work Brazilian emigres such as Airto
Moreira and Flora Purim in the 1 970s, yet few suggest that this music may have
a narrative history of its own. Moreover, Brazilian musicological literature rarely
mentions instrumental music (known in Brazil as mi instrumental brasileira)
beyond references to choro (a traditional instrumental genre) as a canonical stage
in the evolution of Brazilian popular music. Yet during my field research in Rio de
Janeiro and S Paulo, I uncovered an instrumental music scene whose rich
collection of personal and historical narratives evidence a continuing interplay of
local and metropolitan musical styles and ideas.
In this paper I focus on the noted multi-instrumentalist, composer, and bandleader,
Hermeto Pascoal. During my interviews with local musicians, Hermeto’s music
and idiosyncratic persona were commonly cited as being “authentic.” For these
instrumentalists, Hermeto serves as a kind of “reference,” a standard bearer of both
uncompromising musical vision and genuine Brasilianness (brasilidade). However,
Hermeto frequently declares that his music is universal and thus unconstrained by
nationalist ideologies or geographic boundaries. Bringing together these seemingly
conflicting viewpoints, I examine the way that Hermeto’s appropriation of choro,
northeastern styles, jazz harmonic language, free improvisation, natural and
electronic sounds reflects a uniquely personal conceptual vision that is at once
individual, local, national, and universal.
CMS
If you ask someone what Native American event they most expect to find in
Oklahoma, they are likely to say “powwow,” which is certainly prevalent in this
state. However, a number of tribes that were forcibly removed to Indian
Territory/Oklahoma do not participate in powwows, and their voices should also
be heard. This research examines contemporary Native American stomp dancing
in Oklahoma, comparing these dances with historical accounts, both in Oklahoma
(Howard, 1984) and in the eastern United States where the stomp dance originated
(Densmore, 1956). The focus of this research is on the author’s work with the
Talahvse Ceremonial Grounds of the Mvskoke/Creek Nation, whose stomp
grounds are just outside of Cromwell, Oklahoma. The ideal way to learn about
something is to actively participate, and I have had the privilege of shaking shells
22
October 1-5
Abstracts
Connors, Carla Tallahassee, Florida
Straight Talk on New Notes: Composers and Performers Together
CMS
What appears initially to be an uncomplicated invitation to “come on up and pick
(or sing) a song” is but one facet of an intricate process through which authenticity
within this community is established, membership within the “signifying social
system” (Walser; 1993) of country music is earned, and critical social roles and
identities are initially negotiated, continually reconfigured, and periodically
contested. Analysis of this performance practice reveals much about core values
embedded within country music culture as well as ways through which enactment
of those values assists in the formation and maintenance of community boundaries.
See Zaimont, Judith Lang - Straight Talk on New Notes: Composers and
Performers Together
Conway , Colleen
University of Michigan
CMS
The Role of Music Teacher Education in Assisting the Beginning Music
Teacher
Sara Thornton and others have urged the analysis of the “distinction systems of
popular culture” (Thornton, 1995:163). Through presentation and discussion of
events experienced during ethnographic research from 1996 to 2002 within the
“distinction system” that describes country music culture, and that gained through
personal performance experience during the 1970s and 1980s, this paper explores
these values and processes, focusing upon the intricate social “dance” of sitting-in.
Recent research on beginning music teacher mentoring and induction has suggested
that school district-sponsored programs for beginning teachers rarely meet the
content-specific needs of the beginning music teacher. The purpose of this
workshop will be to present possibilities for higher education involvement in
beginning music teacher mentoring and induction. Issues to be addressed will
include: funding; university teaching load; the ability to maintain continuity into
the field (with the mobility of new teachers as well as university professors);
professional development school options, and music education reform through
induction support. Issues concerning preservice preparation for the first years of
teaching will also be addressed. Participants will be encouraged to interact so that
a dialogue regarding these important issues may be initiated within the College
Music Society.
Cornelius, Steven
The Layering of Text in Dagbamba Music
Scholars in the West have long been fascinated by the talking lung-a drums of the
Dagbamba people of northern Ghana. With good reason. By imitating the
inflections and rhythms of speech, members of the drummer’s clan (lung-si) can
beat out a range of language that runs from generations-old proverbs to the slang
of modern life. But drumming constitutes just one layer of language use in
Dagbamba music. Flute players also bring out language through their choice of
song-derived melodies. If this use of language seems less mysterious to the
outsider, the social meanings being conveyed can be equally broad and incisive.
Corin, Amy
Moorpark College
SEM
Sitting In: Authenticity, Status, and the Maintenance of Social Boundaries
through Performance Practice in the Country Music Community
Many an unknown country performer has gained entry to a local performance
community through “sitting in” with other musicians, while more established
country musicians and singers have, through time, employed this practice as a
vehicle for ongoing negotiation of authenticity, status, and maintenance of
visibility within a community of performers and fans. A tacit, but highly
structured, clearly understood code of behavior has developed around the practice
of “sitting in” and of publicly recognizing and welcoming visiting musicians and
singers when they “drop in” on another band or performer.
SEM
Yet, while drums and flutes constitute two independent language layers that are
simultaneously brought forth in musical performance, additional strata are also
common. In a traditional performance of the funeral dance bamaya, for example,
male (baanga) and female vocalists (lung-pagba) chant out the social histories and
lineages of the dancers.
This paper examines the four-part layering, or “linguistic counterpoint” as it were,
of bamaya. First, I offer a brief introduction to bamaya in which I place the genre
into a historical and contemporary context. Next, I outline the various knowledge
23
October 1-5
Abstracts
bases from which each of these four classes of musicians/verbal artists draws
musical information. Finally, and with an eye on the social aggregate of a bamaya
performance, I examine the range and nature of what each of these groups is
actually saying and how their language affects both performers and audience.
time. Syria has been designated as an “axis” of evil by the George W. Bush White
House; Syrian musicians cannot get visas to come to the United States; the
Immigration and Naturalization Service demands registration of foreign nationals
including Syrians, but some of those who voluntarily register are thrown in jail
indefinitely with no charge of wrong doing; and the Unites States Government is
on the verge of making a unilateral, pre-emptive strike on Iraq. It is a tough time
to be an ethnomusicologists.
Cruz, Jon
SEM
"Can you make it Look Old?": Fender "Relic" Guitars and the Politcs of
Nostalgia
This paper explores a number of complex ethical issues that confront contemporary
One of the meanings of nostalgia is "homesickness," the longing to return to a
place deeply missed. An ironic feature of social and cultural transformation
wrought by modernity is that cultural places and spaces can actually disappear;
they are uprooted by "development." Nostalgia under such conditions becomes a
longing that can never "truly" be appeased; the actual return to a missed "place"
cannot be obtained, for it is "gone." Under modernity, longing for a "past" seems
a powerful cultural feature, a condition perhaps guaranteed by the constant erosion
of social change.
ethnomusicologist: 1. Documentation when the processes and results are
problematic in
Attempts to appease the desire to "return" to what once was, is now a major field
for corporate product development. This paper examines the recent phenomenon
of corporate "reissues" of "vintage" instruments in general, and will focus on the
Fender guitar company's line of "relic" guitars. Fender's "relic" line of guitars
features a return to early, high-quality craftsmanship, but with the peculiar twist of
producing brand new instruments that appear quite convincingly to have been well
used. They must display all the apparent signs of years of service; the "relic,"
though brand new, must appear off the production line as if it had forty to fifty
years of wear. Treating "relicing" as a cultural refraction, this paper examines
"corporate nostalgia work" as it is constituted through public relations and ad copy,
guitar fan discourse, and testimony of "relic" owners in order to bring into light the
relations linking manufactured responses to nostalgia and music, desire and
longing, and political and aesthetic memory work of cultural moments of the past.
Based on fieldwork conducted in Syria from 1997-2001 and activities in the United
States since return to the USA, this presentation documents the struggles of an
ethnomusicologist to negotiate politics “in” and “of’ “the field”. This
documentation urges ethnomusicologist to embrace their roles in advocacy, agency
and dialogue.
Syria and the United States 2. Palestinian and Kurdish question in the field and
abroad
3. Should the Society of Ethnomusicology as a whole, or any part thereof, want to
make a stand at home and / or abroad?
Currie, Scott
New York University
Berlin Free Improvisation Initiative: Between noise and (n)ostalgia
Throughout its history, and especially during the Cold War, Berlin has occupied
a liminal position between East and West, with significant implications for the
development of independent jazz scenes in the divided city, linked by boundarycrossing media and intermittent state policies allowing limited artistic exchange.
In the decade or so since reunification, these scenes have been brought and held
together at this cultural crossroads in an uneasy coexistence, within which the
unresolved tensions of incomplete assimilation manifest themselves both in the
socio-aesthetic disjunctures that still divide improvising musicians, and in the
strategies they employ to bridge them. Based on ethnographic data gathered during
an extended period of participant-observer research within a collective association
Currey, Nancy University of California, Santa Barbara
SEM
Responsible Ethnomusicology: Syria's Case for Advocacy, Agency, and
Dialogue
For an ethnomusicologist who lived and worked in Syria, this is a deeply troubling
SEM
24
October 1-5
Abstracts
of musicians, this paper will explore the main social and stylistic movements
structuring the contemporary Berlin free-improvisation scene, from the eroding
dominance of established East-German free-jazz artists to the increasing influence
of younger West-German Geräuschmusik players. The conflicts and confluences
among these that have emerged in concerts organized by the Berlin Free
Improvisation Initiative will receive particular attention, as will the endeavors of
its members to transcend longstanding socio-cultural divisions in spontaneous
musical performance, and the ultimate significance of these efforts.
Cynthia McGregor and Susan Piagentini,
Music Educator's Web Authoring Tools
as formal opening of the Queen’s balls (Guilcher 1969). As an essential part of the
French aristocratic education, perfect rendition of the contredanse also became a
mandatory aspect of the planters’ training, though they lived away from court.
Much to the colonists’ dismay however, the mulatoes appropriated the dance soon
after it was introduced in Martinique, and made it an integral part of their political
discourse of race and cultural identity.
My paper focuses on the semiotics of social dance in Martinique at the turn of the
19th century. It examines quadrille as a kinesical and musical expression of power
at a moment of violent confrontation and complex transition in the Caribbean.
Based primarily on recent archival and historical research carried out in France and
in Martinique, my paper will further elucidate the genesis of a dance that
influenced the [Antilleans’] ways of shaping the world (Guilbault 1985).
Northwestern University
ATMI
The Music Educator's Web Authoring Tools, is a public site for the music educator
that offers key tutorials and templates in applications such as Dreamweaver, Flash,
and QuicktimePro. The site offers step-by-step guidelines to achieve a specific
goal (such as creating an interactive listening guide) so that music educators can
efficiently create materials for their students. Our templates include a library of
images, which can be used as buttons or roll-overs, as well as interactive exercises
that can be edited to create other projects such as simple drag and drop sequences
using Flash. Instructors and students can go to the site and learn about specific
interactive features in these web-based applications without being weighed down
by the entire program.
Daugherty, James F.
University of Kansas
Transforming Music Education: Creating Alternatives
See Reichling, Mary - Transforming Music Education: Creating Alternatives
Daughtry, J. Martin
A Nostalgia of Laughter: Musically Reclaiming the Soviet Past
SEM
In the post-Stalinist Soviet Union, the quasi-underground figure of the guitarwielding "bard" was cherished by university students, intelligentsia, and millions
of others who participated in the substantial gray area separating official music
from outright dissidence. During this period, bards' performances created, in Izaly
Zemtsovsky's words, "islands of freedom," virtual places where individuals could
communicate their uncensored feelings.
Cyrille, Dominique O. City University of New York
SEM
"Welldone, Ladies! You too, Lavaliers! Politics of Quadrille Performance in
19th Century Martinique"
The Revolution that abruptly ended the French monarchy in the late 1780s, also
generated great turmoil in the Caribbean. To most born-free mulatoes in the French
colonies, the revolutionary motto "Freedom, Equality, Fraternity" seemed a
promise that their dreams of freedom and equal rights with the European-French
was about to come true. These notions, however, were foreign to the white
plantation owners, true rulers of Martinique since 1635. Their safety and personal
fortunes depended on clearly defined socio-racial barriers separating them from the
black populations.
Despite the evaporation of the authoritarian "sea" that made those islands
meaningful, bards continue to perform their intimate songs in concert halls, clubs,
kitchens and around campfires throughout Russia and the émigré world. In this
paper, I draw upon collaborative work with bards based in Russia and California
to illuminate the musical and cultural transformations that their songs have
undergone in the post-Soviet era. In particular, I argue that post-Soviet bards have
largely replaced the implicitly oppositional dimension of their songs with an
explicitly nostalgic one.
The end of the 18th century also coincided with the rise of the French contredanse
CMS
25
October 1-5
Abstracts
Proceeding from Svetlana Boym's contention that nostalgia is characterized by a
longing "for a home that no longer exists or has never existed" (2001:xiii), I first
explore a number of the virtual "homes" that contemporary bards musically evoke.
I then propose that the bards complicate received notions of nostalgia (in particular
its links to sadness and the idealization of the past) by adopting a playfully ironic
stance, one that allows for the creative reclamation of the Soviet past while
avoiding its sanctification.
writers might refer to musical styles to represent a particular characteristic they
witnessed, or recall specific ensembles (orchestra) or genres (opera) to portray the
ineffable.
Davidson, Jinmi
University of North Carolina at Chapel Hill
Davis, Mary Ellen
University of Florida
Papá Liborio: el santo vivo de Maguana
The results are genuinely stirring accounts of the war, brought to life in a way that
combines what was for the soldiers an object of simple beauty with their most
traumatic experiences.
CMS
Davidson, Marilyn
American Orff-Schulwerk Association
"Papá Liborio" documents the historical development and current devotion to
Olivorio Mateo, "Papá Liborio," the greatest messianic leader of the Dominican
Republic, from the early 20th century during the period of transition from a
precapitalistic to a capitalistic society. The work views Liborio as both a peasant
leader in political-economic context and spiritual leader and healer. Music
associated with the region and specifically with Liborio is featured: "palos" (longdrums) associated with the regional brotherhood of the Holy Spirit, "salves" (the
sung Salve Regina), and the "comarca," accordion music probably derived from the
"carabiné" social dance which Liborio used in his healing rituals.
CMS
Davis, Jim
SUNY-College at Fredonia
The Great Opera of Death: Musical Imagery in Civil War Writings
CMS
De Bano, Wendy
Peforming Against Silence: Celebrating Women and Music in Iran
For the majority of young men who eagerly enlisted in 1861 the War Between the
States meant a time of harmless adventure with friends, the chance to show off in
a uniform to the folks at home. All were quickly disabused of this romantic notion
following the terrible carnage of the war?s first major engagements. The horrific
reality of post-Napoleonic combat was beyond the comprehension of most
Americans, and soldiers found themselves in situations for which they were
intellectually and emotionally unprepared.
SEM
The Fourth Annual Jasmine Music Festival, a weeklong event sponsored by and
for women in contemporary Iran, highlights the dynamic processes whereby
musicians and audiences articulate multiple identities. This festival celebrates the
resilience and dedication of leading musicians who have continued to be musically
active, despite many post-Revolutionary restrictions regarding female performers.
The festival’s recent emergence also reflects significant social and cultural changes
in Iran since Khatami was elected. I will argue that this festival provides a unique
space for Iranian women to establish important socio-cultural networks, to
articulate individual and collective identities, and to share and contest their visions
of the future.
Letters, diaries, and memoirs of the time reveal how these men struggled to
verbalize the hellish maelstrom surrounding them. Though often possessing only
a rudimentary education, soldiers resorted to some truly poetic descriptions, and
would draw upon music as an effective source of imagery. Many of these men used
simple metaphors to describe specific sounds, such as the ?singing? of bullets.
Others show a remarkable degree of sophistication, employing musical images to
capture the overwhelming cacophony of an entire battle. In such instances these
SEM
By exploring the many modes of social inclusion and exclusion framing this
festival, it becomes clear that complex social and cultural issues were negotiated
26
October 1-5
Abstracts
at almost every stage of the festival’s planning and implementation. Seemingly
insignificant choices about concert refreshments and more fundamental decisions
about musical style were all important articulations of notions of music, self, and
society.
of members perform the Victory Dance and Scalp Dance to honor the veteransdoes this dynamic form a commemoration of traditional gender roles that may be
misunderstood by outsiders? This paper will seek to answer these questions, and
also to document the oral histories of members of Black Leggings as well as those
of their relatives and supporters.
Based on research conducted in Tehran during the summer of 2002, this work
contributes to studies on expressive culture, music and gender, Iranian musics, and
Muslim performers. Many publications documenting the music of Iran often
present it as a male domain and rarely focus exclusively on female musicians. By
examining this music festival and its multivalent symbols and meanings this paper
contributes to studies that examine the relationships between gender, ethnicity and
power as they are expressed in, around, and through musical performance.
de la Vega , Aurelio
California State University
Composers on Traditional and Art Music: A Cultural Synthesis
Dekaney, Elisa Macedo Syracuse University
CMS
Research in Ethnomusicology and Its Contribution to Music Education:
Preparing Music Educators to Teach World Music
Since the Tanglewood Symposium music educators from all over the United States
have been making the effort to incorporate music from cultures other than
American into the public school music curriculum. In an attempt to implement this
need, a number of songbooks and other classroom materials were published. Some
of these educational resources lacked information about the cultural context in
which the featured songs were originally conceived and performed.
Disappointingly, a few of these sources failed to adequately portray the music of
other peoples. It has been through partnerships between music educators and
ethnomusicologists that advancements in the area world music curriculum have
been in fact possible. Researchers in the areas of Music Education and
Ethnomusicology have collaborated in several works. Through these collaborations
music educators in the United States have been presented with quality material
accessible to the public school music curriculum.
CMS
See Torres-Santos, Raymond - Composers on Traditional and Art Music: A
Cultural Synthesis
deHilster, Addie
SEM
Victory Dance: Relevance, Roles, and Memory in the Ceremonies of the
Kiowa Black Leggings Military Society
The Kiowa Black Leggings Military Society is a revived descendant of the Plains
warrior societies of the pre-reservation era. Today this society is made up of
Kiowa veterans of the United States military, and it still shares many of the same
features connected with the historical warrior society of the same name (Meadows
1995). The biannual ceremonies of the Black Leggings Society not only honor
veterans and celebrate Kiowa traditions, but participate in the vital process of
making and remembering oral history through activities such as the Turn Around
Dance which combines the re-enactment of a battle from the nineteenth century
with interpolations by the present-day members who tell their own war stories,
adding them to the tribe’s cultural memory. Drawing on my interviews with
members of the Society and their families, I will explore the connection between
the performance of memories and the social organization of Black Leggings
ceremonials in respect to gender-differentiated roles. How are female veterans
honored since only males can be members of Black Leggings? Female relatives
The discussion of issues such as authenticity, tradition, and culture by
ethnomusicologists and music educators has opened numerous performance
possibilities while performing music from various cultures. Music educators and
children around the nation are now able to experience world music in a more
respectful and appropriate way thanks to the scholarship in ethnomusicology and
music education. Such scholarship has also made possible the redesign of
undergraduate and graduate curricula in music education with a program that best
helps music educators to implement the National Standards for Arts Education. It
is now feasible to offer courses in world music through a Music Education
perspective because of the increasing number of classroom materials available.
The purpose of this paper is to examine and analyze selected literature available to
music educators in the area of world music. The analysis of these resources will
provide guidelines for selection of appropriate teaching material that considers
27
October 1-5
Abstracts
music from various cultures in their original contexts.
following from Frankfurt School techniques of musical analysis, have mistakenly
interpreted the genre’s musical features as homogenizing tastes and de-culturating
listeners. I argue that semiotic inquiry into reception and interpretation of generic
features yields a different reading – that música sertaneja enacts a critique of
Brazilian approaches to modernization, and both shapes and responds to
transforming urban rural relations in a fast-liberalizing Brazil.
Delgado, Kevin San Diego State University
SEM
Folkloric Music as Simulacrum: Technical Proficiency, Authenticity, and
Hyperreality in the Performance of Afro-Cuban Iyesa Music
Tracing its roots back over 150 years, the Matanzas Iyesa cabildo [ritual
association] is the last site of West African Ijesha culture in the Americas and is
regarded as a small sub-group of the more widely-known Santeria religion.
Existing as a lived tradition in this single locale, the Iyesa tradition is often
characterized as old but withering and endangered.
Dickinson, Stefanie C. University of Georgia
Liszt's Songs: An Ongoing Quest to Meld Tone and Text
CMS
Although Franz Liszt is primarily thought of as a composer for piano, he was quite
a prolific song composer. Throughout his career, he composed over 70 songs in at
least 6 different languages. Many of these songs remain little-known even today.
It should not be surprising to learn of the extent of Liszt's song repertoire, however,
when one considers his compositional aesthetic. From several French philosophers
of his day, Liszt adopted the idea that all forms of art are intrinsically related. This
influence first became evident in his song transcriptions and later in his symphonic
poems. However, his lifelong progress in merging music and literature can best be
seen in his songs, many of which are revisions or recompositions of earlier songs.
Musicians within the Matanzas cabildo do not participate in the Cuban folklore
industry, a state sponsored system of patronage that produces a large number of
well-trained musicians with a high degree of technical proficiency and versatility.
In folkloric presentations of Afro-Cuban sacred music, Iyesa songs and rhythms
are sometimes used for instrumental variety, reduced to a single, polished musical
number. Following the work of Eco and Baudrillard, I argue that folkloric
renditions of Iyesa music may be viewed as a performed simulacrum – a simulated
sign (or, in my view, performance) of the real that comes to take on a “real” life of
its own; a copy that becomes the original. I argue that postmodern simulation
occurs in the consumption of folkloric performances and recordings of Iyesa music
as the technical execution of the “copy” (folkloric) often exceeds that of the
“original” (source/lived/non-folkloric). Virtuosic folkloric renditions of Iyesa
music can acquire hyperreal status by making the “original” expressions of the
culture disappointing by comparison for some listeners. While simulation is
necessary in performances of extinct genres, what does simulation do to a tradition
struggling to survive?
I will argue that the more Liszt revised a text's setting, the closer he reached his
ideal. This paper will examine Liszt's progress through three settings of "Was
Liebe sei?" ["Whatever is Love?"]. The three versions of the short four-line poem
portray the text in progressively deeper and more mature ways by altering phrase
structure and presenting varying degrees of melodic and harmonic closure at
cadence points.
Donner, Philip International Centre of Chamber Music, Kuhmo
Netcasting as a method of authoring music educational material
Dent, Alex
University of Chicago
SEM
“Love in the Country: Production, Reception, and the Structure of Brazilian
música sertaneja Performance”
The author presents a package of netcasting authoring tools for production of
music educational study material. The presenter has developed a framework for the
preparation of music education material by utilizing free of charge pieces of
software provided by RealNetworks. These have been complemented with a set of
utilities developed by the author. These tools are being used to train music and
virtual university teachers in preparing material for distance education. The paper
focuses on the knowledge construction process which seems to be a necessary
Since democratization in 1985, an ultra-popular form of Brazilian Country Music
employing electric instruments, romantic themes, and versions of popular
American Country hits, has captured an increasing share of the national market.
Interpretations of this growing popularity in both the academy and the media,
ATMI
28
October 1-5
Abstracts
condition for the success of nationwide information society programs.
curtailed. Yet under the Taliban women’s frame drums were openly sold in Kabul.
So to what extent did women make music? My assessment will be based on an
analysis of women’s genres, with a presentation of documented evidence from the
Taliban period.
Dorman, Matthew
SEM
Timbral Mimesis and Popular Culture: A Case Study of Kurt Cobain's Voice
in the Other
Dreisbach, Tina Spencer
Hiram College
CMS
Who Blew Out the Flame?: Rediscovering the Great Mildred Bailey
Songbook
With the 1991 release of the album Nevermind, the American grunge band Nirvana
catapulted to international fame, an achievement that led to numerous awards
including “best album of the 90s”(Spin Magazine), “Artist of the Decade”—Kurt
Cobain (Rolling Stone Magazine), and a Grammy in 1995 for “Best Alternative
Music Performance.” As a result, Nirvana’s style became a model for myriad
groups in America and beyond, and Cobain’s voice served as archetype for the
raspy, melancholic, detached sound of grunge. But some view as unscrupulous
imitation what others call influence. To fans of rock and grunge, imitation is
inauthentic, or at least subject to question, particularly if the performer is imitating
somebody else’s voice. Critics of Nirvana imitators usually single out those
perceived to sound like Cobain, those for whom Cobain’s voice serves not as a
model to learn from, but as a sound to copy or mimic. Of the alleged imitators,
Gavin Rossdale of Bush is arguably the best-known. In this paper, I compare the
vocal spectra of Kurt Cobain and Gavin Rossdale, in order to correlate acoustic
features to perceptual discourse. Most words and phrases that critics use to
characterize Cobain’s voice constitute perceptual observation—that is, they state
how the listener hears the sound. The problem is, the terminology is unclear,
which often leads to vague arguments or incoherent conclusions. With this study,
I seek to contribute to a small but growing body of knowledge that may be used to
enhance dialogue and debate about sound in popular culture.
The brilliant and neglected artist Mildred Bailey (1903-1951) was the first female
big band vocalist. Hired by Paul Whiteman in 1929, she was known to millions in
the 1930s and 40s when she collaborated with jazz immortals on over 200
recordings. Bailey and her husband, xylophone virtuoso Red Norvo, perfected a
distinctive brand of "subtle swing" with classically-trained arrangers Eddie Sauter
and Alec Wilder. This paper traces Bailey's career and details recent attention to
her work.
Part Coeur d'Alene, Bailey was influenced by tribal song, vaudeville, and blues.
She sang in west coast speakeasies until introduced to Whiteman by her brother Al
Rinker (of The Rhythm Boys) and his friend Bing Crosby. Bailey and Norvo
toured with their own band from 1936 to 1938. His delicate mallet work
complemented her clear, sweet tone and refined phrasing and diction. Their
partnership resonated widely: they introduced producer John Hammond to the
young Billie Holiday and, in 1935, hosted Benny Goodman as he formed his first
small group at their house in Queens.
Bailey's fame evaporated with her premature death at the dawn of the LP era,
which might have kept her art before the public. Yet those she
influencedCrosby, Sinatra, Clooney, Bennett - sustained her reputation as
a "singer's singer". A modest Mildred Bailey revival seems underway with the
release of a major compilation of her work for Columbia Records and several
recent scholarly articles.
Doubleday, Veronica
SEM
Afghan Women's Domestic Music Before and During the Taliban Perod
Afghan women’s domestic music is based on singing and playing the frame drum.
In times of peace their music-making was an important form of entertainment and
a vehicle for the transmission of basic musicality to the next generation. It also has
ritual functions connected with the marriage process. Since 1978 war, disruption
and political instability have severely restricted all musical activity. Censorship of
music culminated in the repressive atmosphere of the Taliban regime (1995-2001),
when musical instruments were publicly destroyed and women’s rights severely
29
October 1-5
Abstracts
du Perron, Lalita
The representation and re-interpretation of thumri
Dueck, Byron University of Chicago
SEM
Music for the Royal Fireworks: First Nations Performance at the Visit of
Elizabeth II to Winnipeg
SEM
Thumri is one of the most popular vocal genres of North Indian (Hindustani) art
music. Its origin and historical development remain the subject of some debate, but
it is widely documented to have reached its peak at the nineteenth-century court of
Wajid Ali Shah of Lucknow. As the political and musical milieu of India changed
when India moved into the twentieth century and towards modernity, thumri found
itself in a new performance environment. Although in earlier times thumri was the
genre favoured by courtesans, it is now performed as well as patronised by the
middle classes.
Music for the Royal Fireworks: First Nations Performance at the Visit of Elizabeth
II to Winnipeg
Dujunco, Mercedes
New York University
Chaoyu Gequ: An Unpopular Chinese Popular Music
As economic and political reforms took off and ushered in an era of unprecedented
economic growth and cultural liberalism in China in the 1990s, a space opened up
for music that has wide appeal and that would bring in profits to cash-starved
government-run and independent record production companies. A few truly
homegrown and innovative popular song styles sprang up during this period, but
for the most part, mainland Chinese popular music basically consisted of imitations
of Gangtai yinyue -- easy listening, middle-of the-road style popular music from
Hong Kong and Taiwan. Of the local imitations besides those in Mandarin
Chinese, those from the Cantonese-speaking city of Guangzhou in Guangdong
Province and the Minnan-speaking cities of Xiamen and Quanzhou in southern
Fujian were the most successful.
Thumri texts tend to be romantic, and the genre is more accessible than other
classical forms. This accessibility conceals the skill and experience needed to
render thumri with appropriate pathos and emotionalism. The genre’s persisting
association with the courtesan culture of days gone by remains problematic.
Contemporary performers either avoid singing thumri, or explore its emotional
potential with the justification that the love story implicit in the text is actually
about the divine lovers Radha and Krishna. The long-existing ambiguities between
the erotic and the divine in Indian art tend to be overlooked in favour of a more
solidly devotional interpretation.
My paper traces the changes in the performance context of thumri with the help of
video material, and shows how the lyrics of the genre have been updated to reflect
its new performance status. The modern and revised representation of the genre no
doubt holds the key to its continuing popularity.
In Chaozhou in eastern Guangdong, a local version of Gangtai yinyue called
Chaoyu gequ came into being in the 1990s but has remained far less well-known.
It is a form of tongsu yinyue or popularized music in that it was produced and
developed with substantial government support and disseminated by means of the
government-controlled media instead of naturally catching on among the public (cf.
Jones 1992). However, musics that are categorically classed as tongsu yinyue are
not necessarily unpopular and some have turned out to be quite well-liked by a lot
of people. But this was not the case with Chaoyu gequ within the Chaozhou region
where the audience preferred the popular music of neighboring southern Fujian.
This paper explores the possible reasons why Chaoyu gequ was unsuccessful and
focuses on how the language of song lyrics combines with music to create
authenticity and thereby could “make” or “break” a popular music style, thus
realizing or undermining the agenda of its proponents.
Dudley , Shannon
University of Washington, Seattle
CMS
Teaching Trinidad Carnival Music: Cross-cultural Encounters Between
Ethnomusicology and Music Education
See Fung, Victor C. - Teaching Trinidad Carnival Music: Cross-cultural
Encounters Between Ethnomusicology and Music Education
SEM
30
October 1-5
Abstracts
Duling, Ed
Scenes from an Interview: Dramatizations and Workshop
Emberly, Andrea
Can You Tell Me How to Get to Sesame Street?
CMS
See Barry, Nancy - Scenes from an Interview: Dramatizations and Workshop
Dundas, Robert B.
Weaving the Musical Tapestry of Miami
In this paper I will explore the global entity of pop culture as it is manifested in the
lives of children, focusing on television programming which integrates music,
dance, and entertainment and targets an audience of preschool children.
Specifically, I will consider the global popular music sensation of Sesame Street
as an example of children’s programming that use the pretence of multiculturalism
as a platform for the global broadcast of a universal children’s culture. Exploring
the use of music within the program, I will present how Sesame Street both
influences distant locals while at the same time itself is influenced globally as it
integrates elements of multiculturalism into its programming. My main focus will
be on the global vision of syncretism created by the producers of the program, the
Children’s Television Workshop (CTW). I will examine how music is used as a
central element in the series, and how music becomes a focus in the CTW’s
syncretic formula that relies upon the idea of a universality of children’s needs, that
children (no matter culture or ethnicity) all need the same basic education.
Examining the CTW’s construction of a believed universality of children’s culture,
I will explore how music is used as a tool to bind children in a multicultural pop
culture. Sesame Street, as it is broadcast worldwide in hundreds of languages and
formats, is the hub of children’s pop culture and represents what researchers,
marketers, and even parents, believe children need to succeed in the rapidly
developing global village.
CMS
See Fulton, Carolyn J. - Weaving the Musical Tapestry of Miami
Eberle Fink, Katherine The University of Iowa
Video Conference Technology
ATMI
The presentation introduces Video Conferencing as a technology for the
transmission of music in formal teaching settings. The presenter will describe
video conferencing, equipment needs, internet connections, personnel
requirements, list advantages and disadvantages of this technology versus older
distance learning technologies. Ideas for schools to locate other music educators
will also be provided.
Emberg Purse, Lynn
Duquesne University
Craft and Creativity: Developing a Pedagogy of Music Technology
ATMI
Emoff, Ron
Ohio State University
SEM
"Negritude" on Marie-Glante: The sub-surreal and looking back on an outof-the-way place
When teaching complex technological tools in an arts program, there is a tendency
to let the acquisition of technical skills drive the curriculum while neglecting the
artistic training that the tools are meant to support. A profile of the core courses
in Duquesne University's Music Technology degree program illustrates a
pedagogical approach that embraces both craft and creativity, with an emphasis in
the acquisition of sophisticated technological skill sets as a means to an artistic
end. The underlying concepts and strategies of this approach, including course
design and assessment, will be presented through a profile of core Music
Technology courses as well as examples of student work.
SEM
On Marie-Galante, a small island in the French Antilles, there are two pervasive
modes of public musical performance. One such practice, gwo ka drumming, bears
clear resemblance to post-slavery era drumming in the French Antilles. The other
practice, kadril, is an accordion-based dance music highly replicative in part of
colonial-style dance parties. Through each of these musical practices, MarieGalantais enact, discuss, and display often heated sentiments about the slave era,
their imagination and longing for (or desire to disconnect themselves from) Africa,
current French “citizenship,” and other issues important to them. Histories of these
musical practices on the island themselves are often contested among musicians
and others.
31
October 1-5
Abstracts
Epstein, Susan Miami-Dade College
Aimé Césaire, in beautifully surrealist terms, has written of “négritude” to convey
something of bemg Black in a diasporic milieu. This presentation concerns ways
in which people on the French département Marie-Galante imaginatively perform
their engagement (and sometimes their refusal to engage) with global events,
histories, and conflicts. Marie-Galantais express both overtly and in more
dramatically encoded ways that they inhabit, and have long inhabited, an almost
surreal domain of their own—a postcolonial non-nation.
See Bowker, Barbara E. - The Many Facets of Community College Music
Education
Everett, William
University of Missouri - Kansas City
CMS
Eppink, Joseph A.
The College of Saint Rose
CMS
Web-Based Portfolios: Research in Reflective Thinking, Semester Growth in
Learning, and the Effect on Student Attitudes
Do web-based portfolios promote reflective thinking? Can students discuss their
growth over a semester via the web-based portfolio? Moreover, can reflective
thinking be used as a strategy for a more holistic assessment and does it affect the
attitudes of students in a music course? Reflective thinking encourages the
examination of coursework in order to recognize patterns and connections in
learning. The ability to reflect upon progress and learning is central to student
success.
The purpose of this session is to examine a research study that used student created
web-based portfolios. The study examined the effect on attitudes and selfperceived growth in music learning. Participating students were non-music majors
enrolled in the course, Basic Music for the Elementary Classroom Educator.
Fabrique, Martha
Our Lady of the Lake University
SEM
A Virtual Museum: The Graciela Gutierrez world Instrument Collection
Graciela Gutierrez, a native of the small town of Benavidez, Texas, had an
unusually adventurous spirit. She lived most of her adult life in Madrid, Spain,
from whence she traveled to over 150 other countries (including parts of Africa,
the Middle East, South Asia, East Asia, Indonesia, South America, the Caribbean,
Mexico, the Soviet Union, and many parts of Europe). Her passion for music,
shown by her lifelong profession as a music teacher (BME, OLLU, 1949),
prompted her to collect local instruments from the various places she visited. As
a young, Hispanic woman in the 1960s, such extensive travel was certainly
extraordinary and offers a strong role model for young women today. The
instrument collection of this remarkable individual is currently housed in the
OLLU Music Department, where it has been catalogued as a virtual museum and
thus is available as an online resource. This poster session will present a computer
laptop slideshow of the virtual museum including biographical information, views
of the instruments with Graciela’s notes as well as my own research, and sound
examples of instruments. In addition, documentation of the technological process
used to catalogue the collection in this virtual format will be presented.
The quasi-experimental study employed both quantitative and qualitative research.
Pre- and post-test surveys were administered in addition to a final discussion
interview between the student and researcher. Students in the control group were
evaluated through traditional methods including paper-pencil exams. Students in
the treatment group were assessed through alternative assessment strategies
including rubrics, reflective thinking, and the construction of a web-based
portfolio.
This session will include a discussion of the web-based portfolios. Examples of
these student web-based portfolios will be presented. Responses from the
discussion between the student and researcher will be examined illustrating a
significant difference.
CMS
32
October 1-5
Abstracts
Falkenau, Anna Wesleyan University
SEM
WESLEYAN THESES AND DISSERTATIONS ON SOUTH INDIAN
KARNATAK TALA: REFERENCES AND CROSS-REFERENCES
WITHIN A UNIQUE BODY OF SCHOLARSHIP
sonic tourism of commercial world music. In some places, ethnomusicological
research is explicitly utilized by State folklore efforts to promote cultural tourism.
Using the case study of Chincha, Peru (and other international examples), I will
discuss the impact of ethnomusicological tourism on specific local music and
dance traditions and the people who perform them. In the late 1970s, rural Chincha
was visited by numerous travelers—including artists, ethnographers, folklorists,
and ethnomusicologists—interested in finding the so-called “back regions” of
Afro-Peruvian music. The work of these scholars and artists paved the way for the
development of Chincha as a site for the construction of both national memory and
the tourist trade. Today, Chincha has become a staged authenticity stop for cultural
tourists en route from Lima to Machu Picchu, and the community’s music and
dance traditions are the major cultural commodity. I will conclude with some
reflections about the possibility of sustainable ethnomusicological tourism.
Indian Karnatak Tala. These studies were influenced, inspired and shaped by two
distinguished South Indian percussionists, T. Ranganathan (Artist-in-Residence at
Wesleyan University 1963-1970; 1975-1987) and V. Raghavan (Artist-inResidence at Wesleyan University 1970-75; 1987-2001) and by the great South
Indian flutist T. Viswanathan (Artist-in-Residence and later Adjunct Professor of
Music at Wesleyan University 1966-2002). As a whole, these works represent a
unique body of literature since they are the most substantial and coherent
contribution on this subject to emerge from a single Western academic institution.
In my presentation I will focus on the development of the understanding of the
concept of mora (cadential cross-rhythmic design) in order to demonstrate how
these studies influenced each other over time. All were written at Wesleyan
University under the guidance of three ‘gurus’. This raises the interesting issue of
the creation of graduate documents as a ‘gurukula’ (understood in a wider sense
as lineage). As I will show, the result of this is an intricate web of references,
cross-references and influences. My critique thereof will illuminate a fascinating
process of cross-fertilization in the thinking and understanding of South Indian
rhythmic theory between student and student and student and teacher. I will also
discuss how research methodology changed from an emphasis on an individual
musician to an attempt to widen the research context.
Feldman, Heidi San Diego State University
Ethnomusicology and Cultural Tourism: Cause and Effect?
Fenn, John
Texas A&M
Now It Has A Name: Americana and the Creation of Genre
To look at the popularization of a music is often to look at factors contributing to
the rise of a style or genre within certain social, cultural, and historical contexts.
In this paper I take a slightly different approach in order to examine a
contemporary musical category: Americana. Introduced—and trademarked—as a
radio format/airplay chart in 1994 by industry trade magazine The Gavin Report,
Americana instantaneously took on important meanings as a genre of popular
music. These meanings arose in the interaction between discourses of roots
authenticity and market building, and served to establish Americana as a genre
home for misfits from mainstream formats such as Country or Adult
Contemporary. Crossover success of many artists aside, Americana came to
symbolize an alternative to Top 40 slickness while it enabled Top 40 sales.
SEM
Do ethnomusicologists unknowingly create cultural tourism in our research
locales? If ethnomusicologists do create cultural tourism, what are our
responsibilities to the communities we transform into tourist sights and sounds?
The multiple styles of roots-based musics falling under the Americana rubric had
pre-existed the format by years, even decades. However, the new format provided
a brand name, and an economically promising one at that. I will investigate
Americana as a particular instance of genre emerging around pre-existing musical
styles, with emphasis on understanding the aesthetic construct, cultural
contextualization, and marketing viability that genre labels carry. A central issue
I will consider is the slippery conceptual connection between the radio format facet
and the musical genre facet of Americana, looking specifically at how one informs
In the 1980s, after a decade of describing the harmful impact of tourism on
developing communities, anthropologists reluctantly began to admit their uneasy
kinship with (and similarity to) tourists. In fact, anthropology creates, preserves,
and mobilizes many tourist sights such as archeological monuments and culturally
distinctive locales. A similar relationship exists between ethnomusicology and the
SEM
33
October 1-5
Abstracts
of the occupation. The second genre, sometimes termed ch’angjak kugak, is newly
composed music derived from traditional music. Contemporary music specialists
strive for ch’angjak kugak’s incorporation into Koreans’ everyday lives through
discourse, promotion, and image. Although sin minyo appealed to the aesthetic
tastes of the time, ch’angjak kugak requires listeners to suspend their existing
musical preferences and support the music out of cultural pride.
the other and the ways that relationships between the two facets delineate
popularization of a music or, in this case, set of musics.
Fikentscher, Kai
Ramapo College
"House Music": The Most Popular Music in America?"
SEM
Despite its acceptance and adaptation into general popular culture in Europe (and
elsewhere), house music has, more or less consistently since its emergence in the
mid- 1 980s, been consistently relegated to the margins of the American popular
music scene. With a strong “sub cultural’ followings in certain urban locales,
especially on the part of gay communities, house music in the U.S. continues to be
ignored by the main media outlets, such as television, radio, and the major
recording companies, and meets with consistent opposition by local and national
political and legal parties. Participants in the house music scene have adapted to
this dire scenario, and put in the place tightly woven networks serving the interests
of independent recording companies, DJs, promoters, vinyl pressing plants and
distributors, journalists, retailers and dancers. This paper summarizes a decade-plus
of participant-observer fieldwork in the house scene of New York City, examining
how local politics, global economics, and culture-specific dynamics have
contributed to currently constitute what has been described as a full-blown crisis
or a struggle for survival. Audio examples will be included.
This paper aims to examine the significance of rhetoric in the construction of a
musical genre. The genres in question emerged at times of great change and
uncertainty in South Korea, answering a call for a distinct expression of Korean
sentiment while offering a sonic link to Korean roots.
Fischer, Martha
University of Wisconsin-Madison
American Art Song: Our Strength is Our Diversity
See Fulmer, Mimmi - American Art Song: Our Strength is Our Diversity
Flavin, Philip University of California, Berkeley
Ryûha: The construction of tradition in Japanese music
SEM
Ryûha as a concept in the traditional Japanese arts, particularly the performing arts,
has a long and venerated history, and many of today's established performers lay
claims to their art, and hence authenticity, through their membership to specific
ryûha. In spite of the emergence of new performing traditions, particularly in
sôkyoku-jiuta, none of these new "schools" have been given the name of ryû.
Some, such as the Seiha Hogakkai or Miyagi group, acknowledge their derivation
from earlier traditions, while others, such as the Sawai Sôkyoku-in, apparently have
no immediate affiliation with a particular tradition. Why should this be? What does
the term "ryûha" mean? What are the implications of belonging to a specific ryûha
and how does this clarify our present understanding of the term?
Finchum-Sung, Hilary University of California, Berkeley
SEM
"Channeling 'Popular' Sentinment Through Music? A Korean Case Study"
Changes in Korea relegated indigenous music to a cultural inconsequentiality.
Despite this, some believed that a Korean essence (uri ch4 ngso) or spirit (uri
ch4 ngsin) could be expressed only through court or folk music idioms, and this has
inspired the emergence of new genres.
This paper looks at two genres of music that developed at separate times in South
Korea’s modern history and for diverse reasons. Both genres look/ed to folk or
court music for structural or thematic inspiration, and both sought (or still seek)
popular acceptance as expressions of a Korean spirit. The first of these, sin minyo
(new folk song), appeared in the 1930s and offered the public an indigenous
popular music distinct from Japanese enka. It struck a nostalgic chord through use
of minyo (folk song) style and provided a means for escape from the harsh realities
CMS
I will explore the concept of ryûha from the indigenous Japanese perspective, with
careful explanations of the different terms used by the Japanese in their discussions
of different performing traditions as well as the social and musical implications of
the terms. The meaning of ryû, for example, normally designates as specific body
of musical works seen as the foundation of the specific tradition; for the koto, a
group of pieces commonly referred to as kumiuta and tsukemono, and for the
34
October 1-5
Abstracts
shamisen, shamisen kumiuta. The term kei has geographical connotations, and in
spite of having a distinct musical style, the Kyûshû musicians are never referred
to as a specific ryûha, but as the Kyûshû-kei. How do the newer "schools" define
themselves in relationship to the established ryû and what terms do they use in
doing so?
embellishment. A discussion of the context of developed motive forms in relation
to Hildegard's prose follows.
Fournier, Karen
University of Wisconsin Oshkosh
CMS
Criticism, Conformity, and Change: Disciplinary Revision in Light of the
Structure and Strictures of Academia
Follet, Diane
Muhlenberg College
CMS
In his recent text, Decentering Music (2003), Kevin Korsyn argues that the field
of music is in a state of crisis, born both from the polarization that exists in the
competing areas of music theory and musicology and from internal squabbles in
both disciplines about the "proper" approach to the study of music. Korsyn's
description of music scholarship, similar to that articulated by Joseph Kerman
almost two decades ago, posits a set of scholarly camps that differ radically in their
conception of musical meaning and in their approaches to its discovery. Motivated
by their drive to demonstrate the superiority of their perspective on musical
meaning, scholars have constructed elaborate models and idiosyncratic lexicons
designed, according to Korsyn, to add a scholarly "air" (and thereby a legitimacy)
to their work. Korsyn's observations about music scholarship find their parallel in
studies of the academy undertaken in other scholarly arenas (notably in sociology,
literary theory, and history to name just a few), where various models have been
constructed to represent the structure of the scholarly community. The most
convincing of these, in the author's view, conceives scholarship as a form of
"commodity" that must be sold by its creator and purchased by the scholarly
community to ensure scholarly success. This Marxist model of scholarship,
advanced by the sociologist Robert K. Merton, will form the basis for the current
paper, which will examine the state of music scholarship with the following
questions in mind: How do we practice our work and why? What truly motivates
us in our question for musical understanding? And (a question not tackled by
Korsyn), how does academia evolve, given the limitations it imposes on its
participants?
Forrester, Sheila
Mississippi State University
CMS
Identifying Motives by their Syllables and Neumes in Hildegard's Ave Maria
The twelfth-century collection of seventy-seven chants that comprise Hildegard's
Symphonia employ intricate motivic manipulations, many of which are hidden,
obtained only through analysis. When the cycle first became the object of study in
1870, musicologists began codifying melodic motives, a practice that would
become the norm. While some theorists regard the music as patchwork or
centonate in construction (Bronarski, 1922), others consider it formulaic (Bent,
1980; Cogan, 1990), or derivative, as in contrafactum (Fassler, 1998). What all
seem to bear in common is the idea that the melodic motive is the single most
important generative element in Hildegard's compositions. Drawing upon the
hexachordal research of Gaston Allaire (1972) and Andrew Hughes, (2000; 1972),
the approach taken here contrasts with the modal research of Pfau (1990) and the
motivic approach of Bronarski and Cogan.
Many questions about Hildegard's compositional process and the extent to which
motives function in the construction of melody remain, as does the criteria for
determining "root" from developed motives. This paper begins to address these
questions and utilizes a technique that identifies apparent motives from their
neumes and by their solmization syllables. The scandicus and clivis are shown to
constitute a motive in the facsimiles of Hildegard's responsory Ave Maria. By
tracking these neumes and their solmization syllables, one discovers a number of
sophisticated variations: transposition, retrograde, mirror inversion and
Fox, Julie
University of Central Florida
Aires Tropicales, by Paquito DeRivera
CMS
See Koons, Keith - Aires Tropicales by Paquito DeRivera
35
October 1-5
Abstracts
Frazier, Bruce H.
Western Carolina University
Computer Resources for Film Composers: Catching the Hits!
ATMI
tact that gods do not generally grant interviews to ethnographers, what kind of
access ca we have to such worlds? How do we retrieve ways of
being—in—the—world so radically different from our own horizons? This paper
offers one possibility of understanding such nodal existences. a way in—between
the modes of being—there and being— away, a place where the flesh of the spirit
is made manifest in the rhythm of the crossroads, an ancient rhyme of West Africa.
. .. . . ..
Fry, Andrew
SEM
Jack à l'Opéra: "Jazz" in Interwar France
In this hands-on session, participants will use MoTU's Digital Performer
sequencing software to synchronize music to digital video. Tutorial activities
include importing movies, spotting hits, creating markers, searching tempos, and
building a tempo and meter map.
Frazier, Bruce H.
Western Carolina University
Getting Started with Digital Video using iMovie
ATMI
When the Paris Opéra needed some jazz in 1931, Jack Hylton’s British band was
the obvious choice. Re-embodying, then assimilating, Paul Whiteman records, this
new “King of Jazz” and “His Boys” had toured Europe to great acclaim — a
success lost to recent scholarship focussing on (black) jazz as a site of primitivism.
Mistaken for Americans, however, the band’s popularity began to wane as
resistance to US dominance mounted. Now they were often criticised for their
“standardization” of a “dehumanised” musical “formula.”
A beginner's tutorial for creating a digital movie using Apple's iMovie. Topics in
this demonstration session include video and audio capture, basic video editing
techniques, adding transitions and titles, working with audio, and exporting the
completed movie.
Frego, David
Friedson, Steven M
University of North Texas
Where Divine Horsemen Ride: The Rhythm of the Crossroads
CMS
Two seemingly paradoxical alternatives conspired to dethrone Hylton. On the one
hand, bands such as Ray Ventura et ses collégiens offered a “national” jazz with
great nostalgic appeal. On the other, African-American performers found support
from the influential historian Hughes Panassié and his more or less racial
distinction between “hot” (black) and “straight” (white) jazz. Audiences learned
to perceive in both new models a depth and authenticity in contradistinction from
the Hylton “product”: an ironic turn given his constant shadowy presence as
musical influence or commercial facilitator.
SEM
In the Brekete shrines of West Africa ancient rhythms move bodies in spectacular
ways. The power of repetition inscribed in a soundscape of welcome and praise
calls northern gods to posses their devotees. These divine horsemen, so goes the
trope, ride their mounts. In the blink of an eye a person can become seized.
Captured by their capacity to he taken, those possessed never know they are being
ridden. They are no longer aware of their bodily existence for they are no longer
themselves. It is not they who dance hut Kunde the hunter, or Ablewa his wife,
Sanya the first—born, or Bangle the soldier. Embodiments of virtuosity, these gods
are virtuosos of being—there. Costumed in swirl dig saturated colors, they (lance
themselves into existence. And as long as the gods are there someone must always
he leaving. What is a being-there for a deity is always already a being-away for a
devotee.
My paper considers these events as an early moment in the global circulation of
recorded music, borrowing a model from Bruno Latour to understand its influence
as neither all pervasive nor altogether resistible. I also look again at distinctions
between “black” and “white”, “folk” and “commercial” musics, whose origins may
lie in a critical blindness to actual production circumstances. In the process, I argue
for a jazz history that is more complicated — more multi layered — than we
sometimes wish it to be.
If the people having such experiences can tell us nothing about it, and given the
36
October 1-5
Abstracts
Fulmer, Mimmi
American Art Song: Our Strength is Our Diversity
CMS
will take place by students during the Survey of World Music class (spring 2003
term) at Florida International University creating a primary research web-based
project for this panel presentation.
"Musical Cross-Currents: The Caribbean Connection" American radio, commonly
present in remote island homes stretching across the Caribbean, were frequently
"tuned-in" to the sounds emanating from the United States. Aspiring young
Caribbean artists frequently wanted to "hear" and then assimilate the new sounds
into their local musical scene. The romance and exoticism of the Caribbean, where
the rhythmically intense African and melodically inspired European "musics" first
collided and then blended, also inspired composers of classical, popular and jazz
genre as well as performers "up north" to incorporate musical ideas and motives
from "down in the islands" culminating in the cross-flow and interchange of ideas.
An eminent researcher and scholar of Caribbean music and literature will present
a historical perspective on this cross-flow of ideas.
Composer William Bolcom was quoted as saying that " . . . some quintessential
American style has yet to be distilled . . . I figure we're still finding the DNA that
makes our culture ours. . . ."
The objective of this presentation is to explore what we mean by the term
American art song, and to discuss whether defining a quintessential style is
possible or even desirable. The diversity of culture on which Americans pride
themselves leads to a sprawling range of artistic endeavor. This makes it a
challenge for performers to market American music, since the listener has not way
to be sure what to expect. Without a central unifying style, is American art song
doomed to be a past without a future? Is it a loose canon?
In this presentation, we will briefly discuss styles associated with American
composers, and the issues involved in assuring that the best of American music
assumes a secure place in the musical future. We will then perform songs of Foster,
Flanagan, Barber, Dubiel, Cage, Babbitt, Bosch, and Hoiby.
"Mana-Zucca-Giselle Zukerman: Her Jewish-Influenced Compositions and
Children's Songs" Called a "fixture of Miami culture," (1887-1981) and pillar of
the Jewish community, Zuckerman studied with Feruccio Busoni. Her works
include concertos, symphonies, chamber music, and vocal music which were
performed by all of the great concert artists of her time. She is, however, perhaps
best remembered through her Jewish-inspired vocal music and songs expressly
written for children. Excerpts will be discussed and performed.
We wish to suggest as a metaphor for American style a number of varying acts all
happening under a sheltering big tent, with room for all. Better yet, why not a
series of small tents, all close enough for the interested listener to stroll from one
to another? Perhaps what listeners can expect is that the essence of American
music is its diversity.
Fulton, Carolyn J.
Fung , C. Victor
CMS
Teaching Trinidad Carnival Music: Cross-Cultural Encounters Between
Ethnomusicology and Music Education
CMS
This presentation explores both the tensions and the common ground that unfolded
when an ethnomusicologist and a music educator collaborated on a book project.
The ethnomusicologist wrote the book, Carnival music of Trinidad, based on
fieldwork and participation in Trinidadian musical culture. The music educator
designed an accompanying manual with activities appropriate for music classes of
various age levels, based on pedagogical considerations and national standards in
music education. The activities in the educator's manual were designed to promote
learning of general musical concepts as well as specific characteristics of carnival
music in Trinidad. This led to a dialogue between the two authors about how best
to reconcile their priorities. Issues of concern included transcription (the
representation of musical sound in written notation), "adult" content, and the need
Miami is a restless, steaming, sprawling multicultural milieu with "humanly
organized sounds" emanating across the sub-tropical city from countries and
cultures of every continent. Each newly arriving immigrant culture struggles to
maintain and preserve the musical and cultural traditions from the homeland while
resisting the merging of the musical present and contributing to musical future of
the cities soundscape.
"Mapping the Miami Soundscape" Borrowing the term "Soundscape," from
Shelemay, a macro mapping of Miami's cultures, traditions, and annual festivals
37
October 1-5
Abstracts
Gaunt, Kyra
New York University
SEM
Uprocking at the Dollar Jam: Spinning an Alternative Record of Hip-Hop in
Brooklyn
to create tools for teachers who may not be familiar with Trinidadian musical
idioms. The two presenters will share their perspectives on what these negotiations
revealed about the relationship between ethnomusicology and music education, and
will model selected teaching exercises to demonstrate the issues at stake.
In Hip Hop America Nelson George writes that the South Bronx "was a cauldron
of vibrant, unnoticed, and quite visionary creativity born of its racial mix and its
relative isolation. It was within its boundaries that the expressions we associate
with hip-hop -- graffiti art, break dancing, MCing, and mixing -- all have roots
(1998, 10). Many are familiar with the mid-1970s alliance between DJs and b-boys
in the Boogie Down Bronx, but few have heard of a concurrent alliance between
DJs and uprockers in Brooklyn. DJ and dancer Ralph Casanova aka DJ King
Uprock and others from Brooklyn tell a story of hip-hop in Brooklyn that revolves
around a dance known as uprocking dating back to 1968. It developed from a
combination of salsa, the hustle, freestyling, burns and jerks and its elements can
be found in the South Bronx practice of breakdancing, according to King Uprock.
Along with his former crew The Dynasty Rockers, Casanova teaches and regularly
throws a Dollar Jam with the Greater Ridgewood Youth Council in Queens. Their
February 22, 2003 Jam flyer read: "Battles start at 5pm." At the Dollar Jam, youth,
young adults, and veterans participate in a communal form of hip-hop practice that
is an antidote to the dominant consumptive modes surrounding contemporary hiphop. This paper explores the musical and social play between simultaneous
"records" of hip-hop where the Bronx (on the one) and Brooklyn (on turntable two)
spin a mix of hip-hop historiography or a politics of music, representation, and
place.
Fuson, Tim Abdellah
SEM
Slavery's Past in the Musical Present: Ritual and memory in the Moroccan
Gnawa lila
In this paper, I will examine the way music gives form to the memory of a
historical past in the Moroccan Gnawa lila ceremony. The practices of the Gnawa
are recognized by Moroccans to be among the most effective for the treatment of
spirit-related illnesses. A distinguishing factor in this efficacy is the fact that the
Gnawa’s spiritual and genealogical forbears were slaves of West African origin.
The experiences of slavery, abduction, and the breaking of family and community
ties, while having passed out of the Gnawa’s living memory, are brought back into
the present through song, music and dance in the lila. Feelings of uprootedness,
disempowerment, and being taken by forces beyond one’s control, are as familiar
to today’s Gnawa as they were to their slave forbears. The songs that express these
feelings connect people across time and space.
Ritual studies scholar Catherine Bell has written that the process of ritualization
allows participants to develop a degree of “ritual mastery”, a full inculcation of the
symbolic schemes that structure the ritual field. Because, as I will show,
musicking (singing, playing, dancing and hearing) is the primary experiential
modality of the lila, I suggest that the Gnawa’s ritual mastery is achieved by
developing a musical competence. The lila, then, opens a musical space in which
the Gnawa remember and ritualize the sense of rupture left by slavery. By
reappropriating the memory of slavery in a ritual context, the Gnawa make that
experience meaningful and empowering in the musical present.
Garcia, Nora Lee
Gay, Leslie
University of Tennessee
SEM
The concept of rytmisk musik: African American music, discursive practices,
and Danish identity
Same as above
Geers, Douglas University of Minnesota
Turnstile
CMS
CMS
Turnstile is a work for violin with computer-generated sounds which contrasts
moments of "interior" and "exterior" experience, plunging the listener into an
auditory environment of samples which have been abstracted to varying degrees
38
October 1-5
Abstracts
Gigante Klingenstein, Beth
Valley City State University
Digital Portfolios for Faculty Evaluation, Tenure, and Promotion
and contrasting supple melodic lines and soft textures with boisterous rhythms and
crunchy sound colors. The piece juxtaposes and connects musical moments,
immersing the solo violin in a dreamlike accompaniment of processed samples.
Written for Maja Cerar, 1999.
ATMI
SEM
This Poster Session will demonstrate the creation of a digital portfolio for purposes
of faculty evaluation, tenure and promotion. The presenter is a faculty member of
a nationally recognized leader in the use of technology, which now requires faculty
to submit all tenure and promotion requests in digital form.
African American filmmakers have envisioned cinema as a vehicle for exposing
social ills, imparting cultural knowledge, and providing representations of African
Americans that help dispel one-dimensional, stereotypical images. These
filmmakers also have recognized music as a significant element of African
American culture and have understood the power of music as a communicative
device. A primary theme in my courses is that music in film not only imparts
cultural knowledge, but it also may reflect and reinforce socio-political issues
found in the film narrative.
The presenter will share her recent tenure evaluation, which was submitted in a CD
ROM format. The CD includes digital information on Employment Data,
Effectiveness of Instruction and Primary Responsibilities, Professional Growth and
Scholarly Activities, Service to the University and Community, Attitude towards
Students, and Professional Goals. The CD format allows a great deal of
information to be accessed in a fashion, which is logical and easy to navigate. The
digital format is particularly effective for use in evaluations of music faculty since
audio-visual representations of performances, ensemble work, and conducting can
easily be incorporated.
Gibson, Gloria Indiana University
"The Empowering Voice of Music in African American Cinema"
This paper will examine three films: Spike Lee’s Do the Right Thing (1986), Haile
Gerima’s Bush Mama (1976), and Michelle Parkerson’s Gotta Make this Journey:
Sweet Honey in the Rock (1983). These films address issues pertaining to women’s
identity, social displacement, and political awareness within the context of the
cultural history of African Americans. Music, in each of these films, whether
narrative or documentary, serves a vital role in articulating socio-political
perspective. For example, Spike Lee’s thematic infrastructure evokes culturespecific images through a synthesis of folk and contemporary elements derived
from everyday experiences. Lee uses African American music as a communicative
device that reveals aspects of historic and contemporary experiences of African
Americans and their political reactions to those experiences.
Giles, James
CMS
New Piano Music by Stephen Hough, Lowell Liebermann, and Augusta Read
Thomas
These three works, which were written for and premiered by James Giles last
spring, are important additions to the solo piano repertoire. A comparison reveals
vastly different styles from three musicians of the same generation (they are each
around 40 years old). For many composers of this generation, the pendulum has
swung decidedly back to a music that is more accessible, although not necessarily
tonal. The gestures of virtuoso piano writing and the methods of motivic
development place these works in the tradition of Romantic piano music. This
assertion is borne out by the conventional forms: Hough has written a suite,
Liebermann a sonata, and Thomas two etudes. Yet when used imaginatively, these
structures still have currency for composers in the early twenty-first century.
Through an analysis of scenes from Lee, Gerima and Parkerson’s films, this paper
illustrates the role of music in African American film as a voice that frames and
examines crucial issues within African American communities.
In discussing the respective compositional approaches it is instructive to note the
contexts in which they write. Hough is a busy concert pianist who writes
transcriptions and delightful salon music for his own use; Liebermann is one of the
most often commissioned composers today and has never held a teaching post; and
Thomas is the composer-in-residence for the Chicago Symphony and a professor
39
October 1-5
Abstracts
at Northwestern University. A composer's institutional affiliation or lack thereof
does not determine their style, but there may be a correlation between composers'
styles and whether they ultimately enter academia or not.
advantage for selling Gypsy musical products. Packaged with a flair of amateur
anthropology” reminiscent of the era of Victorian explorers, recent films and
musical records have problematized the epistemological interest in the
geographical roots of the Gypsies by further othering “the others from within”
(Pettan 2001).
Gilman, Lisa
Texas A&M
SEM
"Coerced to Praise": Women's Dancing and Dictatorial Politics in Malawi
(1964-1994)"
Using fieldwork experience as the manager for Divana” (a group of Rajasthani
musicians featured in Latcho Dram), and through a close look at the different
Gypsy commercial musical anthologies available. I will examine the impact of the
industry’s sudden interest in the repertoire of Rajasthani communities on these very
musicians. In addition to shedding light on the mechanics of the world music
industry’s appropriation of an epistemological discourse and its packaging for
public consumption, this paper also raises questions pertinent to applied
ethnomusicology such as representation and mediation.
After Malawi attainted independence from British colonial rule in 1964, Dr.
Hastings Kamuzu Banda imposed a single party totalitarian system of government.
All people of “African origin” were required to belong to the Malawi Congress
Party (MCP) and as members were required to participate in party activities. One
of the more salient aspects of the political culture that evolved during his rule
(through 1994) were the frequent orchestrations of party functions at the national,
regional, and district levels. As MCP members, all women in Malawi were
required to participate in these events as dancers and singers of praise for the party
and its leader. Each woman was forced to own a uniform made of fabric decorated
with images of the president's face, attend regular rehearsals, and perform at
functions that occurred in their locales or sometimes at regional or national centers.
The coerced use of women as praise singers and dancers effectively created a
hegemonic political culture shrouded in a climate of fear. Based in ethnographic
and archival research, this paper examines how the Banda government exploited
women’s dancing bodies as a strategy to establish and sustain authoritarian control.
In ensuring that all women were regularly prepared to perform praise, the party
effectively exercised control of women’s voices, bodies, mobility, and ultimately
even their personal relationships all within rhetoric about the promotion of
“traditional culture.”
Givan, Ben
Yale University
SEM
The South-Grappelli Recordings of the Bach Double Violin Concerto
Among the earliest known jazz interpretations of Bach’s music are two 1937
recordings of the Concerto for Two Violins in D minor featuring the American
Eddie South and the Frenchman Stéphane Grappelli as soloists. Recorded in Paris
with accompaniment by guitarist Django Reinhardt, the discs represent not only an
intersection of musical genres, but furthennore an encounter between performers
of diverse nationalities and ethnicities.
Girgis, Mina
SEM
"Did You Hear? They are from India!" The Problem With The Gypsy Origin
in World Music
A classically-trained Aflican-American artist who turned to jazz out of economic
necessity, South continued to occasionally perform classical works, often
presenting them while adopting a consciously exoticized “gypsy” persona.
Reinhardt’s cultural trajectory was in some respects the reverse of South’s; the
guitarist was a Manouche gypsy who gravitated toward American jazz, only rarely
acknowledging his own ethnic identity explicitly, though it was reflected in his
musical language.
World music’ is a Western commercial genre defined by the “otherness” of its
musical actors (Erlmann 1993, 1996; Feld 2000; Frith 2000). The incorporation of
Roma groups in world music circuits has been used to introduce additional exotic
aspects. In adopting the linguistic theory of the Gypsies Indian origin, I claim that
the world music’ industry relies on the quality of otherness as a competitive
The Bach recordings were planned and overseen by the record producer and jazz
critic Charles Delaunay, son of the post-cubist painter Robert Delaunay and raised
among France’s elite high-art community during the inter-war period. In this
intellectual milieu, Bach’s music was the focus of two distinct aesthetic ideologies
(Taruskin 1993), both of which, I argue, are manifested by the South-Grappelli
40
October 1-5
Abstracts
Gorlinski, Gini Ohio University
SEM
Pekalai Kancet! ("Learn to Dance!"): An Instructional Video Project in
Sarawak, Malaysia
recordings. At one level, the recordings present an artisanal Bach whose music can
readily be assimilated into vernacular musical idioms like jazz or European gypsy
music. But at the same time, they reflect a conception of Bach’s art as a
transcendent, universal site where disparate other musical traditions could be
engaged on neutral terms.
Glasser, Jonathan
University of Michigan, Ann Arbor
Phenomenology and Transcription
Multi-cultural education has become a global buzz word, as more and more
institutions strive to diversify the content of their arts programs and curricula.
However, educators -- whether at the primary, secondary, or post-secondary levels
-- continue to struggle with a lack of adequate, ethnographically accurate, and
sensitive introductory teaching materials, especially for practical instruction. As a
contribution to the multi-cultural pool of teaching aids focusing on artistic
production, as opposed merely to provision of documentary information, this
poster session presents the results of a collaborative effort in Sarawak. Malaysia,
with Kenyah dancer, Rose Awing Belaré. The intention of the collaboration was
to create an instructional dance package that would he suitable for use in
educational settings, both in Malaysia and abroad. The core component of the
package is a DVD (VCD for Southeast Asia) featuring a 5-minute solo dance, an
11-minute group dance, a brief explanation of the occasions for dance, as well as
detailed demonstrations of nine basic dance movements. Supplementary materials
include a booklet offering an ethnographic overview of the Kenyah peoples of
Malaysian and Indonesian Borneo, a description of the contexts and styles of
Kenyah dance, photographs, a bibliography and discography, suggested exercises
and activities, and additional directions for executing the steps. The final element
of the package is a music CD, approximately 30 minutes in length, for dance
practice. All of the materials in the poster session will be displayed alongside other
contributions from the Applied Ethnomusicology Section of SEM.
SEM
Transcription has had a long and varied life within ethnomusicology: a central
practice for much of the discipline’s history, transcription is today viewed by many
as an antiquated research tool made nearly obsolete by recording technology and
the turn away from analyses of musical structure. Although transcription is no
longer de rigueur in ethnomusicological studies, the debates surrounding it since
the 1950’s offer an important resource for exploring our understanding of music
and perception. Using recent conceptualizations of the hearing process as an
interplay between the acoustic and perceptual worlds, we can discern some of the
limits of the earlier transcription debates:advocates of automatic transcription have
tended to emphasize the acoustic world over the perceptual world in which the
concept of music resides, while advocates of aural transcription have at times held
to a reified notion of musical essence, ignoring the highly variable ways of hearing
between people, places, and periods of time. Some discussions of transcription
have begun to recognize, celebrate, and explore this subjective character and
potential. When the transcription process is fully acknowledged as a part and
reflection of the perceptual world, it can be an important and communicable tool
not only in exploring the individual listening process within culture, but also in
exploring questions of spatialization of time, visualization of sound, and other
aspects of intersense modalities. A phenomenological approach to transcription
may well play a valuable and practical part in understanding relationships between
music and cognition
Gonzalez-Palmer, Barbara
The State University of New Jersey
Performing Contemporary Music
Graham, Sandra
University of California, Davis
SEM
What’s the Score? Interpreting Theodore Seward’s Transcriptions of the Fisk
Jubilee Spirituals
One of the obvious pitfalls in doing historical ethnomusicology is relying on score
analysis as an aid for imagining how the music sounded. This is especially true
with regard to early transcriptions of folk spirituals in America, which were often
made by either amateur musicians or by trained musicians unfamiliar with folk
music. Theodore Seward, a church musician who was hired in 1872 to transcribe
the spirituals as sung by the Fisk Jubilee Singers (Nashville, Tennessee), has been
criticized by modern scholars such as Dena Epstein as well as contemporaneous
auditors for his failure to faithfully reproduce the sound of the spirituals. Despite
CMS
See Helton, Jonathan - Performing Contemporary Music
41
October 1-5
Abstracts
Grasse, Jonathon
Four Essential Topic Areas in World Music Theory for Musicians
this failure, I argue that a close analysis of Seward’s transcriptions reveals stylistic
connections to folk song, as well as interesting information about what a white,
middle-class audience would have found novel about this music in 1872. In
considering Seward’s transcriptions of the Jubilee Songs as a representation of his
training and ideology, as well as a strategy for creating an ideology about the
spirituals, I demonstrate ways in which such scores might be repositories of useful
ethnographic knowledge.
Grasmick, David
Cal Poly University, Pomona
Digital Video Editing and DVD Authoring
Including aspects of non-Western music systems in a college music theory course
is an idea best approached with methodology designed in consideration of all
constituents - student, teacher, and musical traditions alike. Specific dimensions
of a limited number of music cultures made relevant for music majors and
presented by an instructor capable of handling the materials are minimum
requirements. Importantly, there is no single textbook adequate for the task,
though attempts have been made. In view of the author's curricular development
at UCLA's Department of Ethnomusicology, this presentation delivers four
essential topic areas designed to assist in meeting the needs of student, teacher, and
the required respect for diverse music traditions. Tuning theory, improvisation,
formal structure, and organology create a collective web of topics connecting with
a trained musician's curiosity about global music traditions. Clarifying aspects of
each of these four areas act toward dispelling erroneous myths and prejudices,
encouraging intellectual consideration of musical cultures, and offering a broader
scope of historical, theoretical, and practical concerns for music students.
ATMI
Wouldn’t it be great to learn how to take a set of VHS tapes that you or your
school already own and digitize just the sections of those tapes that you use in class
to a DVD or CD so you could go to any section of them with just a touch of a
button. While you’re at it why not add pictures and digital audio to enhance those
sections of the VHS tape with your own or other materials. Believe it or not this
isn’t that difficult with iMovie and iDVD.
Grasse, Jonathon
Four Essential Topic Areas in World Music Theory
Gray, Lila Ellen Duke University
SEM
Memories of empire, mythologies of the soul: fado performance and the
shaping of saudade
SEM
Including aspects of non-Western music systems in a college music theory course
is an idea best approached with methodology designed in consideration of all
constituents - student, teacher, and musical traditions alike. Specific dimensions
of a limited number of music cultures made relevant for music majors and
presented by an instructor capable of handling the materials are minimum
requirements. Importantly, there is no single textbook adequate for the task,
though attempts have been made. In view of the author’s curricular development
at UCLA’s Department of Ethnomusicology, this presentation delivers four
essential topic areas designed to assist in meeting the needs of student, teacher, and
the required respect for diverse music traditions. Tuning theory, improvisation,
formal structure, and organology create a collective web of topics connecting with
a trained musician’s curiosity about global music traditions. Clarifying aspects of
each of these four areas act toward dispelling erroneous myths and prejudices,
encouraging intellectual consideration of musical cultures, and offering a broader
scope of historical, theoretical, and practical concerns for music students.
CMS
In the early 1800's fado developed in Lisbon as an expressive sung lament with
originary narratives linked to prostitution, the traffic in slaves, the musical legacy
of the Arabs and the colonial "Discoveries." Currently, on the world music market
and in local Portuguese contexts, fado is often represented as the "voice" of
Portugal or the "soul" of Lisbon. Fado (fate) is intimately linked to the sentiment
of saudade (sweet longing which hurts). In the world of fado aficionados and
singers in Lisbon, to sing fado, to feel saudade, is to belong through creative
remembrance and soulful hearing. Drawing on materials collected during eighteen
months of field research in Lisbon, and by foregrounding the process through
which one learns to be a singer and a listener, I examine the relationship between
contemporary fado performance and the shaping of saudade, thus forging links
between musical expression, the shaping of memory and place and ideas of
authenticity or "soul." I ask what it means to participate in a genre whose ethos
depends on imaginaries of a soul which is intimately bound to a particular place
and the densely woven fabric of histories, memories and national myths which call
42
October 1-5
Abstracts
Greene, Lara Florida State University
SEM
Pa' que Sepa la Yuma Entera (So that the Whole World Knows): Cuban
Popular Dance Music and the Process of Globalization
that place into being. I link fado sounds, lyrics and styles to the remembering of
Lisbon geographies and to post-colonial desires which recall an empire lost.
Finally, I examine some of the trasformations of the poetics of saudade which
occur when via the world music market, fado travels as Lisbon's soul and
Portugal's memory.
Globalization is well recognized among ethnomusicologists as a potent agent for
musical change. While earlier considerations of this phenomenon elicited doubt
and warnings of “cultural greyout” (Lomax 1968), newer research has celebrated
the variety of hybrid genres shaped by increased global ties and recognized the
significance they take on at the local level (Guilbault 1993; Averill 1997; Cooley
2001). In this paper, I ask what is involved when such music is groomed for
consumption at the international level. Is it simply re-absorbed by the genres from
which it borrows and to which it is akin, or is there a place for it in the global
landscape?
Green, Jonathan
Sweet Briar College
CMS
Green, Richard Pennsylvania State University
The Professor As Administrator
Timba is popular dance music from Cuba that emerged in the later 1980s as a
fusion of son, funk, jazz, and rock. International in scope but decidedly Cuban in
style, this music is broadly popular on the island, largely due to a number of
elements that are distinctly local in character. Thus far, timba has a small following
outside Cuba, as its musicians have limited access to promotion and touring
opportunities. Many timba musicians have left Cuba to pursue international
exposure more actively, and a number of them have settled in Miami. After a brief
introduction to the music, I will examine the activities of timba musicians in Miami
as they work to connect with new audiences at local and international levels.
CMS
At some point in our lives as music professors we will all be asked to assume
administrative responsibilities, perhaps as a department chair or in a similarly
challenging position. None of us has been trained personally or professionally to
meet these stressful challenges. This session is intended for those members who
are currently in administrative positions and for those who are contemplating
assuming such a role. Through the discussion of case studies, we will address some
of the issues that often cause consternation among administrators, such as the
management of difficult but necessary conversations with faculty, the setting
priorities and reaching consensus, and the care a feeding of adjunct faculty.
Grunland, Thomas H. University of California, Santa Barbara
We hear ya talkin': Audience-artist dynamics in jazz performance
While contemporary jazz ethnography (Berliner, 1994; Monson, 1996; Such, 1981)
has done a commendable job of relating sociocultural aspects of jazz to its specific
musical manifestations, unfortunately much of this fieldwork has focused on
musicians and their improvised ‘art’-ifacts at the expense of ‘significant
others’–the audience.
Green, Richard
Pennsylvania State University
CMS
CMS Advocacy Committee Panel: Advocating Music Theory, Musicology,
and Ethnomusicology
See Harding, Tayloe - CMS Advocacy Committee Panel: Advocating Music
Theory, Musicology, and Ethnomusicology
SEM
In this paper, based on six months of fieldwork in New York City, I reorient the
ethnographic lens towards activities taking place on the other side of the
microphones. Akin to Racy’s ecstatic feedback model (1991), I suggest that active
listeners are an integral and indispensable component of jazz performance.
Focusing on the ‘parlor jazz’ scene hosted by Marjorie Eliot in her home on Sugar
43
October 1-5
Abstracts
Hill, Harlem, where an intimate and noncommercial atmosphere attracts a loyal and
enthusiastic group of jazz ‘ears,’ I present evidence–collected through numerous
formal and informal interviews with Marjorie, her musicians, and regular
attendees–of a tight-knit, symbiotic microcommunity deeply immersed in musical
and social dialogue.
subjugation. One commentator maintains that the song’s history--including its
translation and use as a Japanese military song during W.W.II; and its
disparagement under Chiang Kai-shek’s Nationalist government-- mirrors the
plight of the Taiwanese people.
Music plays a vital role in Taiwanese electoral politics. While politicians
sometimes commission new songs, old Taiwanese songs are frequently employed.
In this paper, I take “Flowers in the Rain Night” as a starting point for my
investigation of the invocation through song of nostalgia and tragic memory in
contemporary Taiwanese politics.
I argue that audience-performer interactions are crucial for enabling an atmosphere
of transcendence and communitas (Turner, 1969) in the ritual enactment of jazz.
By ‘breaking the fourth wall’ to include the audience as participants and coperformers, I hope to offer a more encompassing and meaningful way to interpret
improvised musical performance. Listening to the listeners ultimately challenges
ethnomusicologists in particular and social scientists in general to critically
reexamine our roles as actors and as audience when we take to the stage of
fieldwork.
Gutnik, Tatiana Durham, North Carolina
Ha, Ju-Yong
City University of New York
The Grand and Majestic: Ujo in P'ansori Performance
One of the most challenging terms to understand in p’ansori performance is the
term jo. The challenge comes out of multiple layers of meaning and various usages
of the term among traditional Korean musicians and scholars. Beyond the
complexity of its usage, jo can most comprehensively be explained as a collection
of “melodic ideas.” Of the various types of jo in p’ansori performance, however,
ujo presents the greatest challenge. I will argue that the best way to begin to
understand the theoretical principles created and developed by musicians is to
examine ways in which these principles are exemplified in actual practice, thus
defining ujo from the perspective of performance practice. The research for this
paper is based on fieldwork in Seoul, Korea, during the summers of 2001 and
2002. Interviews were conducted with p’ansori singers who represented younger
performers and mature professionals, including Shin Young-hee, Park Song-hee
and Song Sun-seop, distinguished and honored as Intangible Cultural Assets.
CMS
Guy, Nancy
SEM
"Invoking a Tragic Past: Old Taiwanese Songs in the Service of
Contemporary Election Politics"
At the close of a rally held on the eve of the December 2002 Taipei mayoral
election, former President Lee Teng-hui led a crowed of 20,000 in singing
“Flowers in the Rainy Night.” The lyrics, told from the perspective of a fallen
young woman, are somber and fatalistic: “Flowers in the rainy night. . . fall to the
ground blown by wind and rain... Once the flowers have fallen, they cannot be
revived.. . my future has lost its brightness and promise. . .“ As widely predicted,
the Taiwan-born candidate for whom the former President campaigned lost the
election to the Hong Kong-born incumbent.
The plan of this paper is to consider three crucial respects in which ujo differs from
the other primary mode, namely kyemyonjo, used in p’ansori. These are ujokil, an
anhemitonic pentatonic mode; sikimsae, the performance practice subtleties such
as melodic ornamentation, flexibility of pitch and vibrato; and sung’um, a term that
encompasses natural vocal talent and technique, aesthetic expression, and
appropriateness, including jo itself. These three respects are interconnected and
interdependent, and focus on imyon, the “picture within” or the dramatic situation,
and how that is interpreted in p’ansori performance. Multiple levels of meaning of
jo and ujo, as well as their interrelationships, are all uniquely observable in the
performance of p’ansori, whose performers achieve the “ultimate voice” or tugum.
Composed in 1934 during Taiwan’s Japanese colonial period, “Flowers in the
Rainy Night,” like many “old Taiwanese songs” (lao Taiyu ge), is typically
experienced as tragic. Appearing shortly after the election, several writings suggest
that through this song, Taiwanese remember and “feel” their common history of
SEM
44
October 1-5
Abstracts
Habib, Kenneth University of California, Santa Barbara
SEM
From Beneath This Cedar of Lebanon: The Music of Fairuz in America
marbles and / piracies and it's / spring / when the world is puddle-wonderful / the
queer / old balloonman whistles / far and wee / and bettyandisbel come dancing
/ from hop-scotch and jump-rope and / it's / spring / and / the / goat-footed /
balloonMan whistles / far / and / wee / Tumbling-hair / Tumbling-hair picker
of buttercups
/ violets / dandelions / And the big bullying daisies
/
through the field wonderful w / ith eyes a little sorry / Another comes
/ also
picking flowers / l(a / l(a / le / af / fa / ll / s) / one / l / iness / who(is?are)who
/ who(is?are)who / (two faces at a dark / window)this father and his / child are
watching snowflakes / (falling & falling & falling) / eyes eyes / looking(alw /
ays)while / earth and sky grow / one with won / der until(see / the)with the /
bigger much than biggest
/ (little is)now(dancing yes for)white
/
ly(joy!joy!joy!)and whiteliest all / wonderings are silence is becom / ing each /
truebeautifully / more-than-thing ( / & falling &) / EverychildfatheringOne
The music of the superstar singer, Fairuz, has been a vital means for many ArabAmericans to maintain, negotiate and reconstruct their relationships with their
ancestral homes in the Middle East. Fairuz has been a powerful musical and social
force in her native Lebanon and the larger Arab world for some fifty years. As
Arabs have immigrated to the United States, her role in defining identity for them
to varying degrees has evolved with the adaptation of this music culture to their
new home. Directly coupled with this development is the purposeful orientation
of certain Fairuz albums toward different Arab audiences in the Middle East and
the United States. In cooperation, she and her fans have fostered a symbiotic
cultural relationship whereby Fairuz has become a vehicle for the assertion of
identity and tradition. In addition, since many within these diaspora communities
maintain close ties with family and friends “back home,” there has been a complex
cultural exchange between the United States, Lebanon and other Arab nations via
the conduit of the Arab-American diaspora. This paper analyzes the production
and consumption of Fairuz’s music in the United States and examines the ways in
which this music factors into the construction of home. In this light, it investigates
the special musical significance of two particularly important albums: The Arabs’
Ambassador and Fairuz in America. Further, it elucidates issues of cultural
interconnectedness through music and addresses the interaction of local and global
forces in the negotiation of cultural identity.
Habib, Kenneth
four poems of e. e. cummings (1993-1994)
Haefer, J. Richard
Arizona State University
Re-Presenting George Herzog's study of Piman Indian Music
SEM
While a student of Franz Boas at Columbia University, George Herzog spent the
summers of 1927 and 1929 in central Arizona working with Thomas Vanyiko as
his major Piman informant. A summary of this field material formed the Piman
basis of his dissertation comparing Pueblo and Piman music styles. Although best
known for his Amerind music studies, his work with Piman language materials and
cultural concepts concerning music are far more innovative and important. In
addition to recording songs on wax cylinders, Herzog wrote phonetic
transliterations of most song texts with occasional spoken versions, and for most
of them what he terms a “meaning” or an “explanation” as well.
CMS
After much anticipation of composing a song cycle of poems by E. E. Cummings
(1894-1962), I delved into the Cummings anthology and was drawn deeply into the
unique and evocative style. I was particularly taken with the depth of expression
achieved, in part, through the highly visual approach to text arrangement and the
great freedom toward the creation, combination and reformation of words. I have
endeavored to reflect these characteristics in measure and bring out musical
features inherent to the poems, which appear below as Cummings wrote and
arranged them.
Now nearly a century later it is possible to review his materials diachronically
(through over a century of documented Piman song research) and synchronically
(across a wide spectrum of Piman song genres). I focus my re–study on some 150
songs found within the Piman “Creation Myth” examining Piman “song language,”
the intertextuality of deriving song texts from the texts of the myth itself, and the
hypertextuality of producing “pairs of songs” within the myth cycle.
in Just- / in Just- / spring when the world is mud- luscious the little / lame
balloonman / whistles far and wee / and eddieandbill come / running from
45
October 1-5
Abstracts
Hagedorn, Katherine
Pomona College
SEM
"Deep Knowledge" and "Tourist Rhythms": The Politics of Representing
Afro-Cuban Drumming in Post-Revolutionary Cuba
Hagen, Sara L. Valley City State University
ATMI
Tracing the Development of a Required CD ROM Portfolio: Issues of
Philosophy, Integration, Product, and Assessment
In Santería, as in many other Afro-Caribbean religious traditions, musical
performance is essential to communicating with deities, known as orichas. Each
oricha "owns" particular songs, dances, and rhythms that are used to call it to earth
in the context of a toque de santo, or sacred drumming ceremony. I am particularly
interested in the batá drumming associated with Santería ceremonies, as the batá
rhythms are said to "speak" to the orichas in their own language. But in postRevolutionary Cuba, where some aspects of Afro-Cuban religious performance
have been transformed into folkloric spectacle, and other are being
recontextualized for use in performing arts schools, how does the repertoire of
rhythms change from one context to another? Who determines the repertoire in
each case, and what factors motivate those choices? For one drummer, the patterns
taught to students in performing arts contexts are nothing more than "tourist
rhythms"—easy to play and learn. For another, ritually significant batá drumming
is performed only during toques de santo, because that is the sole context that
requires the "deep knowledge" and more complicated rhythms of the orichas. For
the same drummer, folkloric drumming is evocative but not ritually powerful or
complex because the drums aren't speaking to the orichas. I will rely on recent
fieldwork conducted in Havana and Los Angeles with batá drummers from all
three contexts to examine the politics of representing batá drumming in postRevolutionary Cuba.
Since Valley City State University became a laptop university in 1996, the faculty
has worked to create discipline specific applications for the use of technology. The
presenters will discuss their creative use of technology throughout the music
curriculum, including Music History projects utilizing composing and digital
notation, creating PowerPoint and web page presentations, developing a partially
on-line class through the use of Blackboard, and using the internet for class
research projects. Also of interest will be the philosophical underpinnings of a
required CD ROM portfolio, its structure, requirements, and assessment
procedures, as well as faculty development and preparation to meet this challenge.
Hahn, Tomie
Renseleer Polytechnic
Arousing Nostalga - moving interviews
During interviews an interesting conflation of time transpires in which an
informant’s past experiences are ushered forward into the present. I find that, on
occasion, interviewing is a process of guiding informants through memories of past
experiences—arousing nostalgia.
To illustrate how nostalgia emerges during an interview I will draw upon two
contrasting contexts—interviews within a Japanese dance setting and interviews
with American composer Pauline Oliveros. Nostalgia reveals itself in audible and
visible ways in both settings. In the Japanese dance field site, memories recalled
are deeply physical: recovering embodied dance movements, drawing upon
emotional memory to articulate gestures, and the memories of teachers within the
dance lineage. Kinetic nostalgia is intertwined with dance narratives and embodied
memories.
Hagen, Sara L. Valley City State University
ATMI
A Demonstration of Completed Student CD ROM Portfolios in Music
has worked to create discipline specific applications for the use of technology.
Students are now required to complete a digital CD ROM portfolio to graduate,
which must pass assessment procedures. This poster session will demonstrate
students' work with technology throughout the music curriculum in completed CD
ROM portfolios, including Music History projects utilizing composing and digital
notation, creating PowerPoint and web page presentations, mentoring junior high
school students in the preparation of original opera, and using the internet for class
research projects.
SEM
When seventy-year old Oliveros recounts stories from her past, her demeanor,
voice, and gestures reveal images and experiences from an earlier time unfurled in
the present. In a sense, she performs nostalgia through storytelling. The
sensibilities of the sentimental not only inform the present, they reflect and reshape
the past from the vantage point of her current life. I have noticed that as Oliveros
recalls moments from early childhood, such as performing accordion at rodeos in
Texas, she links these memories with her current Deep Listening practice.
46
October 1-5
Abstracts
When nostalgia arises it problematizes some aspects of the interview
process—how does an ethnographer engage with this visceral, sentimental state?
How is nostalgia interpreted? Once an interview elicits sensitive, emotional, and
deeply psychological issues, what are the ethnographer’s responsibilities?
theorists, musicologists, and ethnomusicologists and teachers of each might help
to more efficiently sustain music through a more comprehensive knowledge of the
study of their sub-disciplines.
Harnish, David Bowling Green State University
SEM
Wayang Sasak, the Shadowplay of Lombok, Indonesia: Music, Performance,
and Negotiations with Religion and Modernity
Hainsworth, David
The University of Texas at Austin
ATMI
Also on panel: Brian Heller Minneapolis College, Perpich Center Arts High
School and Minneapolis College of Arts & Design; Daniel Hosken California
State University, Northridge; John Lamar - Berklee College of Music; Charles
Paul Menoche Central Connecticut State University
Managing Music Technology Computer Labs: Models, Problems, Challenges,
and Strategies for Finding Solutions
The history, story content and music elements of wayang Sasak, the shadow puppet
theatre of Lombok, have been contested over the past few decades. Originally
popularized to help spread an early form of Islam in the 18th century, it later
became problemized as a distraction from Islam due to its depicted images, preIslamic ritual practices, and associated alcohol consumption. While Lombok has
become increasingly Islamic and leaders have scrutinized the performing arts, the
regional government has sought to control and direct the arts to achieve an
Indonesian standard and empower the national. Meanwhile, citizens in Lombok
have gradually modernized and become media-savvy, and traditional arts like
wayang Sasak have had trouble finding audiences. Puppeteers and musicians have
thus had to negotiate pressure from Islamic leaders (who decry the ritualistic
elements), conditional support from the government (which wants to manipulate
the form), and decreasing audiences who view the arts today solely as a source for
leisure and entertainment.
This panel will address many of the unique challenges facing music technology
professionals, in instructional or staff positions, whose duties include managing
multi-user and multi-purpose music technology labs. Rather than focus on the
establishment of such facilities (e.g., grants, budgets, and setup), which has been
covered in earlier presentations and publications, the discussion will concentrate
on the related to keeping a lab successfully running after it has been created and its
doors opened. As such labs have become the norm rather than the exception in
recent years, these issues are of great importance to instructors, computer
professionals, and music schools and departments responsible for their current and
future success.
This presentation will explore how the current environment has developed and how
practitioners have responded to this series of pressures. It will also explicate the
aesthetic elements—music, puppet characterization, performance processes,
etc.—and the role of migrant Balinese to illustrate how wayang Sasak has
combined Javanese and Balinese influences into a unique realization of Sasak
ethnicity that is now undergoing transition and re-negotiation. The presented
topics are based on new research; apart from Judith Ecklund, the regional
government, and myself, little work has been conducted on wayang Sasak.
Harding, Taylor
Valdosta State University
CMS
CMS Advocacy Panel: Advocating Music Theory, Musicology, and
Ethnomusicology
The College Music Society's Advocacy Committee will present a Panel discussion
that will feature representatives of these three vital music sub-disciplines. This
collection of panelists will include: (1) a music theorist, Kristin Wendland; (2)a
musicologist, Richard Green; (3) an ethnomusicologist, Ricardo Trimillos; and
(4) a member of the Society's national Committee on Advocacy that is versed in
the year 2000 music discipline advocacy reports, chair and moderator, Tayloe
Harding.
The primary objectives of the panel will be to illuminate the specific concerns held
about professors of Music theory, musicology, and ethnomusicology more
succinctly for the membership of the Society, and then to reveal ways that
47
October 1-5
Abstracts
Harnish, David Bowling Green State University
CMS
The Latino Connection: Community Partnerships between Latino Musicians
and Academe
(e) Scope of Exclusive Rights in Nondramatic Musical Works: Compulsory
License for Sampling Sound Recordings.”
See O'Hagin, Isabel - The Latino Connection: Community Partnerships between
Latino Musicians and Academe
Harris, Rachel University of London
SEM
The Troublesome Tämbur Technique of Nur Mämät Tursun: playing it like
the Gypsy Kings, playing it like the Chinese.
Harringon, Michael
Belmont University
CMS
Copyright Abuse And Un-Fair Use In Contemporary World Music, Hip Hop,
and R and B: How New Legal Rulings Are Changing The Rules Of Rap
Working with exile Uyghur musicians - hailing from both the former Soviet states
and from the Uyghur homeland of Chinese Xinjiang - at the Smithsonian Silk Road
festival in July 2002, I was party to some spirited exchanges between the musicians
on the subject of what was and what was not ‘Uyghur music’. The influential
Xinjiang-based musician Nur Mämät Tursun and the new virtuoso style he has
promoted on the tämbur lute formed one memorable topic of conversation. Uyghur
musicians from Kazakhstan held that his style had been ‘polluted’ by the
techniques of the Chinese pipa. Musicians from Xinjiang refuted this argument.
Nur Mämät, they argued, had borrowed flamenco guitar techniques which he had
learned by listening to recordings by the Gypsy Kings.
On December 17, 1991, Judge Kevin Thomas Duffy ruled that rapper Biz Markie’s
unauthorized use of samples from the music of Gilbert O’Sullivan constituted
copyright infringement. Duffy’s decision cast a chilling effect on the development
of rap and sampling, but may have been inevitable especially in light of the
defendants’ ill conceived two-pronged rationalization for Biz Markie’s borrowing that O’Sullivan did not own copyright in his song, “Alone Again (Naturally),” and,
failing a successful outcome of that argument, that it was common practice in the
late 80’s/early 90’s music industry to simply sample without permission.
Based on recent fieldwork in Xinjiang and Kazakhstan, this paper discusses
attitudes to, and trends in musical change amongst the Uyghur diaspora. The study
of diaspora is very much at the forefront of contemporary ethnomusicology
(Schulze, Stokes, & Campbell 1996; Shelemay 1998). One recent study discusses
the anxieties of the Tibetan exile community about the ‘musical pollution’ of
Tibetan traditions within Tibet under Chinese rule (Diehl 2002). Similarly, I will
argue, amongst Uyghur exiles, stylistic developments are hotly debated and
resisted, and these debates are inextricably interlinked with the current political
situation.
This presentation will discuss the troublesome, but improving, state of affairs in
rap/hip hop and sampling in both the U. S. and internationally, describe the
similarities and differences between the copyright of a musical composition versus
the copyright in the sound recording, how these differences have evolved with
respect to past historical borrowings, paraphrasing, interpolations and
infringements, how fair use is and should be employed in determining whether the
copyright of one composition or recording infringes another, and present a
balanced means and model of assessing issues of infringement, interpolation,
parody, quotation and fair use/fair dealing. In addition, the presentation will
examine recent legal rulings involving George Clinton, the Beastie Boys, NWA
and others, and outline strategies in dealing with the litigational and transactional
issues pertinent to contemporary hip hop and R & B and put forth solutions to the
sampling, licensing and fair use conundrums that presently exist. Finally, the
presenter, a music expert witness recognized in United States federal court, and
experienced in copyright infringement matters involving artists such as Lauryn Hill
& The Fugees, Mystikal, George Clinton, 2 Live Crew, the Dixie Chicks and
others, will outline his proposal for a new compulsory license for sampling sound
recordings amendment to addition to the U. S. Copyright Act - “17 U. S. C. ß 115
Harrison, Klisala
York University
SEM
"Rarely Heard Voices: Music, Gender and Violence in Intercultural
Theatre"
First Nations theatre company Urban Ink Productions commissioned the play Rare
Earth Arias in 2002. Urban Ink asked six women living on Vancouver, Canada’s
economically depressed Downtown Eastside to each write “spoken word arias,”
which were then workshopped and performed by twelve other women. Musician
Katherine Harris composed and performed vocal music; one of the writers, Leith
48
October 1-5
Abstracts
Harris, created lyrics.
limits and possibilities of voice. Nan-kuan vocals pull single syllables across long
musical phrases, in effect rendering the lyrics unintelligible, while foregrounding
the voice as the medium of an authentic and efficacious sentiment (ch’ing). In
comparison, popular religious practices on Taiwan tend to render language and
other symbolic media unintelligible, the better to extend relationships through
contagious means. The use of nan-kuan in Taiwanese popular religious practices
thus suggests that musical form itself serves to make specific models of social
relationships durable and compelling, pointing out new directions for research on
Chinese musics and religious practice.
The resultant production combines operatic singing and gendered (often
stereotypic) concepts of opera with Taiwanese, South African and African
American vernacular song. The goal? To give voice to what Urban Ink’s director,
Marie Clements, calls “the rare voice”—in other words, to express perspectives
that are heard rarely or usually are not part of hegemonic discourses. Rare Earth
Arias deals with perspectives of women (including Native women) living in
poverty on Vancouver’s Downtown Eastside, particularly in light of missing
women and numerous murders. This paper is a dialogue between seven women
who created Rare Earth Arias, whom I interviewed, and myself: an
ethnomusicologist and Classical musician who finds certain rare voices inside of
her. Our conversation addresses tensions of representing the rare voice using
culturally diverse vernacular songs together with opera in the play.
Hawkins, Sherwood
CMS
I argue that the ways in which rarely heard voices are presented, particularly how
marginality and privilege intersect in the presentation, have implications for
whether and how the perspectives are heard by society. This paper offers a unique
contribution to ethnomusicology. Music in theatre that addresses gender and
violence has been little studied.
Hast, Dorothea Eastern Connecticut State University
Lilt a Tune, Dance a Reel: Irish Traditional Music in the Classroom
Hedden, Debra Gordon University of Northern Iowa
InTime Technology Project: Enhancing Music Teacher Preparation
The InTime project is a federally-funded collaborative effort by the 25 institutions
in the Renaissance Schools to undertake the establishment and development of the
InTime Technology Project, one that provides a veritable library of preK-12 online
videos demonstrating the use of technology in the classroom. InTime consists of
resources that are illustrations of theory into practice, presenting real teachers in
real classrooms teaching real children. These videos are used to guide preservice
teachers through observations of the following: (a) a variety of lesson plan
examples; (b) specific content; (c) classroom management; (d) teacher behavior;
(e) student behavior; (f) student and teacher interaction; (g) use of technology in
the classroom; (h) appropriateness of classroom activities; (i) active classroom
learning; (j) quality of instruction; (k) teacher modeling; (l) teacher directives; and
(m) comparisons of lessons, teaching quality, and student learning. The InTime
Project includes a view of the conceptual model, particularly the integration of the
INTASC Standards, as well as the links to teacher planning, delivery, and
curricular inclusions for preK-12 students with respect to those standards. Through
the use of a video, a demonstration will provide a model of instruction for
preservice teachers in terms of particular observation guides, questions guiding
subsequent discussion, the level of adaptation for future classrooms, and the
specific manner in which it has been successfully utilized in methods courses. The
CMS
See McCarthy, Marie - Lilt a Tune, Dance a Reel: Irish Traditional Music in the
Classroom
Hatfield, DJ
The College of William and Mary
SEM
Contagious voices: nan-kuan and a chinese popular religious imagination
This essay considers how musical form may constitute important dimensions of a
Chinese popular religious imagination. While the relationship between Chinese
music and popular religious life has long attracted scholarly attention, most of this
work has either examined the role of theater in the dissemination of hagiography
or the use of music in framing and providing the tempo for ritual. I examine nankuan, a southeast Fujianese / Taiwanese musical genre for voice accompanied by
a small ensemble of string and woodwind instruments. Nan-kuan explores both the
CMS
49
October 1-5
Abstracts
session is designed to serve as a model of instruction in music education courses
that can be utilized in a variety of ways at a variety of levels.
examines the ways private and staged performance is used in articulating personal,
group, and collective identities among Gypsy groups in Uzhhorod. Based on
fieldwork among Gypsy musicians and dancers in the Uzhhorod National Roma
Theater and among Gypsy television and festival performers in Uzhhorod, this
study analyzes the relationship between musical practices and the political
mobilizations of Gypsies in Uzhhorod and looks at the role that international
NGOs have begun to take on in promoting local Gypsy culture and a “new Roma
identity” in Ukraine. Consideration is given to the ways in which regionalized
Gypsy ideologies converge and attempt to be converted into an institutionalized
“Roma culture” and a meaningful Roma identity in a post-Soviet system.
Heimarck, Brita Renee University of Calgary
SEM
Music Editions Based on Oral Traditions: Issues of Authenticity and
Representation
Western tradition has prioritized literacy, even in the field of music. This has
created a strong impetus for ethnomusicologists to transcribe non-Western music
studied in oral traditions. While debate about transcription methods has been an
ongoing part of the discipline (Ellingson in Myers, 1992), scholarly editions of
non-Western music are still relatively rare. In this paper, I will investigate some of
the crucial issues that arise when a scholar attempts to consolidate the many
versions that may exist in an oral tradition into a useful, scholarly edition. First,
one must question whether this kind of representation is appropriate or beneficial,
and if so, for whom? Another issue is that of making a critical edition from
multiple versions of a given piece. Over the years master musicians may develop
or alter their repertoire. If the transcriber has access to multiple versions of certain
pieces, how does she decide which version to publish in its entirety, and which to
include only as variants? How best to indicate places where notes, phrases,
harmonies, or embellishments might occur in different ways? Additional issues
include different tunings, special acoustical properties, mallet techniques, and
pentatonic vs. chromatic scales. In this exploration of authenticity and
representation in music editions I will investigate these concerns, using Balinese
shadow play music as a case study. As a broader spectrum of Western society
becomes interested in listening to, studying, and performing world music, music
editions of non-Western traditions may become a more important focus of the
discipline of ethnomusicology.
Helton, Jonathan
Performing Contemporary Music
CMS
The performance of contemporary music is not embraced by the majority of
professional performing musicians today. It is, however, the art of our time that
speaks to us perhaps most insightfully. This session will include the performance
of two contemporary works for saxophone and piano: Holy Roller by Libby
Larsen, and the Sonata for alto saxophone and piano by William Albright. The
performance, along with introductory comments and demonstrations, will (1)
illustrate the extreme difficulty found in much contemporary concert music, (2)
reveal some of the challenges faced by performers, (3) make reference to the
influence of jazz in contemporary concert music, and (4) raise questions regarding
the relevance of contemporary concert music to today's audiences. The proposed
works, both standard contemporary repertoire for the saxophone, provide ample
material with which to demonstrate these points. The individual parts are very
challenging; the ensemble difficulties are many; both works include elements of
jazz in a contemporary context.
Helbig, Adriana Columbia University
SEM
"On Being Roma in Ukraine: Musical Identity in a Transcarpathian Gypsy
Community"
Hemmasi, Farzi Columbia University
SEM
Feeling The Music: Movement, Embodiment, and House Music at Bang The
Party.
The post-communist socioeconomic transformation has had a dramatic effect on
the lives of Gypsies in Uzhhorod, the administrative capital of Transcarpathia,
Ukraine. This presentation focuses on the diachronic construction of Gypsy
identity in Uzhhorod both under Soviet rule and later in independent Ukraine and
Bang the Party (BTP), a “party” or club night in Brooklyn, New York, is a weekly
house music event that features an extremely diverse group of attendees, who
perform a variety of popular dances and movement styles. I combine a discussion
of origins of, and connections between, music and dance styles encountered at
50
October 1-5
Abstracts
BTP, investigating links between rhythm and dance as observed at the party as the
expressive, externalized embodiment of sound. While other authors on “club
cultures” (e.g. Gilbert and Pearson 2000 and Malbon 2001) and related topics (such
as capoeira, c.f. Downey 2002) have commented on issues relating to music and
movement, this paper contributes to the study of contemporary urban social dance
by focusing on specific practices and voices from the dance floor and the
participants’ connections to related genres and aesthetics of disco and hip-hop, as
contextualized within the local histories of New York City. Through dance and
discourse on the subject, party participants raise a complicated set of issues
connecting rhythmaticity, (sub-)cultural affinity, and racialized notions of dancing
ability. Based on several years of participation in, and observation of BTP, this
essay also explores the ways dancers differently transmute musical sound and texts
into performances of culturally informed identity and memory.
present to contemporary ethnomusicologists to consider this interface.
Henry, Warren University of North Texas
CMS
Preparing Doctoral Students for their Roles as Teachers in Higher Education
An extraordinary number of DMA and Ph.D. music graduates begin new
appointments at colleges and universities without ever having received any
instruction in how to teach. This fact belies a common assumption that good
teachers are born, not made. Furthermore, it reinforces the assumption that, in
collegiate institutions, good teaching is limited to transmission of content, relying
solely on intellectual or performance skills. Courses in music pedagogy do exist,
but these are normally devoted to specific instrumental or vocal techniques and the
repertoire that employs those techniques. Accountability for student understanding
is seldom a consideration.
Henderson, Clara
Indiana University
SEM
‘[And] dance for God’s sake...:’ Dance Scholarship Within the First Thirty
Years of the Society for Ethnomusicology
This panel brings together professors who have developed courses aimed
specifically at DMA and Ph.D. students, offering opportunities to think critically
about teaching in higher education and to respect teaching as an art that can be
developed and improved. The goals of the session are to:
Dance scholarship holds a somewhat enigmatic position in the academy drifting
and finding a home among various disciplines under which it tends to become
subsumed. Within the field of ethnomusicology in the United States, for example,
dance scholarship has been called a “step-child” (Hanna 1992: 315), and its
presence in the SEM Journal has been variously described as both “family
member,” and “honored guest” (Nettl 2001: 4). It is because of their conviction of
the interdependence of dance and music, that some members of the Society for
Ethnomusicology have influenced the incorporation of dance scholarship into the
heart of ethnomusicological discourse. Despite their efforts dance scholarship
continues to occupy a rather marginal position within the SEM even though the
dance and ethnomusicology connection has been periodically discussed in journal
articles and conference papers since the inception of the Society. In this paper I use
material gleaned from SEM board minutes, early Newsletters and Journal articles,
and the writings of select ethnomusicologists, to investigate the interdependence
of dance and music in ethnomusicological discourse and in SEM publications
during the first thirty years of the Society’s history (approximately 1953-1983) and
at specific moments thereafter. I also briefly consider the influence of institutional
relationships and conferences in bringing together ethnomusicological and dance
scholarship. Finally, I discuss the perspectives particular SEM members bring to
the notion of the interdependence of music and dance and the challenge they
-Discuss the benefits to doctoral students of formal instruction in how to teach
-Demonstrate ways in which learning to teach at the collegiate level might be
accomplished
-Focus on preparing future faculty for the campuses of tomorrow, including
dealing with student diversity, using technology to enhance instruction, assessment
strategies, and employing active and collaborative means of instruction.
-While research and creative work are important facets in the careers of music
professors, teaching (and the concomitant responsibility for student understanding)
retains a central place in the professor's daily activities. Doctoral programs must
acknowledge the centrality of teaching in higher education and fulfill their
responsibilities to ensure that students are prepared for the full range of work in
higher education as scholars, performers, and teachers.
51
October 1-5
Abstracts
Hesselink, Nathan
Illinois State University
SEM
Lee Seng Kang's The Song of Hope: Music and Identity Politics in
Contemporary South Korea
so much, I quickly read nearly all of her published poems, including these three,
which are all from her book, The Darkness In My Pockets. Lillian's Chair, the
frontpiece to the book, is a poem Ms. Cabral wrote after the death of a close friend.
The second song is a setting of a single line from House of the Poet. The last song
is a setting of Poem of Wednesday, which includes some of my favorite lines from
all of Ms. Cabral's poetry; lines that conjure up film noir and Raymond Chandler,
but applied to quite a different world; lines like, "Wednesday when the week sags
like a wet washline/ Wednesday with its clocks always turned to the walls."
Released in 1998, Lee Seng Kang’s [Yi Saenggang] CD The Song of Hope was as
bold in its stated goals as it was in its multiple underlying themes. An officially
recognized master of the taegûm, or Korean transverse bamboo flute, Lee has since
the 1970s also been at the forefront of collaborative efforts with musicians and
styles outside of the traditional realm. This CD continues in this vein, celebrated
in the program notes as giving new meaning to the idea of “Korean music” in the
late twentieth century. The release represented the first recorded example of the
fusion of Korean traditional music, Western jazz, and Korean popular songs. The
“hope” here was for a broader, more inclusive approach to Korean-ness that flew
in the face of official academic and governmental policies.
Heuser, David University of Texas at San Antonio
The Way of the Animal Powers
The Way of the Animal Powers is for six percussionists, all playing instruments
with skin heads. I wanted to create a unified percussion ensemble where the kinds
of instruments played by the group would be made of the same material. The Way
of the Animal Powers is part of a trio of percussion sextets which operate under
this principle. The other two works are for all wood instruments, and all metal
instruments.
Musically the piece deals with issues of mythology and ritual, which have
influenced my music from time to time for some time now. I find these influences
difficult to portray in strictly instrumental works, particularly since I wish also to
remain true to other artistic instincts which I think are important (and perhaps
necessary) for my music. That being said, writing for percussion gives one
probably the easiest ensemble with which to evoke feelings of ritual, mythology
and all their correlating concepts.
To further complicate matters, however, the featured Korean popular songs were
from the ppongjjak (teuroteu) repertoire that hail from a colonial past. While today
such music may be viewed by the general populace with an unproblematic
nostalgia, the songs’ historical and musical materials are nonetheless very much
rooted in the Japanese occupation of the early twentieth century (an awareness Lee
hints at with his choice of album title, a liberation song popular in the colonial
period). This paper will address the musically creative strategies employed by Lee
in his struggle to accommodate the “foreign” (i.e., the Euro-American and
Japanese) while at the same time safely asserting a distinctively older Korean
identity.
CMS
Higgins, Niko Columbia University
SEM
Freedom, Jump Arts, and Practice Theory: What is Free about Free Jazz?
Performers Together
The Darkness In My Pockets
The trope of “freedom” permeates American and African American history,
ideology, and musical practice, and is especially pervasive in jazz and free jazz.
Based on fieldwork with Jump Arts, a New York City musician-run organization
devoted to the performance of multidisciplinary improvisation, my paper analyzes
how freedom operates in the practice of free jazz improvisation, most specifically
how it relates to the interaction between the individual and ensemble. Free jazz
improvisers are concerned with a type of “free” agency as it relates to different
musical and social structures, such as musical form (harmonic, melodic, metric
CMS
I met the work of poet Olga Cabral while looking for words for a women's choir
piece, and the text I chose for that piece, her poem Woman Ironing, appealed to me
CMS
52
October 1-5
Abstracts
form) and social interaction (within the Jump community and “mainstream” music
culture). As recent studies on jazz in ethnomusicology have shown, improvisation
is not just the voice of individual agency, but also a more collective and interactive
form of agency. How is the ideology of freedom imagined and practiced by free
jazz musicians? What is free about free jazz? Using the theoretical framework of
practice theory, specifically the work of anthropologist Sherry Ortner, I unravel
ideas that show how freedom exists as the ideological link between individual and
collective, and agency and structure, and how practice theory is a useful
ethnomusicological tool for conceptualizing the social aspects of musical
improvisation. I show how musicians are invested in the constructed idea of
freedom and how free jazz and this freedom ideology mutually sustain one another
through performance.
making music, they do not explain why the Nazis insisted that the Jewish Culture
League perform only Jewish music when, in the rest of Germany, Jewish music
was considered undesirable. Based on examination of statements, letters, and
essays by ideologues of the Nazi regime, I propose that this apparent contradiction
in Nazi policy stems from the Nazis’ search for authenticity, making their objection
not that Jews played music, but that they degraded “German” music, rendering it
inauthentic. In this way, Nazi Germany serves as a shocking example of the
dangers inherent in the multivalency of the concept of cultural appropriation.
Hirshfield, Russell
Western Connecticute State University
The Evolution of Olivier Messiaen's Musical Style, 1929-1944
The piano works of Olivier Messiaen (1908-1992) are an enormous contribution
to the literature for the instrument. By the close of the Second World War
Messiaen emerges as the leading French composer of his time. The innovations in
his piano music result, in part, from the adaptation of many different characteristics
? Debussy's music, Hindu rhythms, birdsong, modal harmony and religious
symbolism ? that develop into a unique compositional language.
Hill, Twyla J. Wichita State University
CMS
The Effects of Music Education on Family Dynamics and Economics in Hong
Kong Culture: A Survey on Private Music Instruction in the Western
Classical Tradition
See Oi Yan Yau, Eugenia - The Effects of Music Education on Family Dynamics
and Economics in Hong Kong Culture: A Survey on Private Music Instruction in
the Western Classical Tradition
An exploration and presentation of the diverse influences that inspired Messiaen
during his formative years will aid in the analysis of selected piano works from the
time period which encompasses his earlier, major efforts, 1929-1944. The
evolution of Messiaen's musical style is traced through analysis of excerpts from
selected Preludes (1929), and movements from the Vingt Regards sur l'EnfantJésus (1944), works that highlight the innovations in harmony, rhythm, timbre and
form. Although they are less significant contributions to the literature, excerpts
from Fantasie Burlesque (1932) and Pièce pour le Tombeau de Paul Dukas (1935)
and Rondeau (1943) are reviewed in order to increase our understanding of the
composer's continuing advances. Messiaen's changing historical position, from a
post-impressionist to a leader of the avant-garde is illustrated through the study and
performance of his compositions in a lecture-recital. The focus of the investigation
leads to a greater understanding of Messiaen's influential role as the leading French
composer in the generation following Debussy.
Hirsch, Lily
Duke University
SEM
The Search for Authenticity in Nazi Germany: The Jewish Culture League
and the "Dangers" of Cultural Appropriation
The purging of Jews from Germany’s musical life was predicated on the Nazi
truism that the music of the “Nordic race” was superior to that of the Jews and that
the continued influence of music deemed “Jewish” would somehow pollute the
music of the true German people. However, after a series of debates, the Jews were
allowed to continue making music within their own separate organization, the
Jüdischer Kulturbund or Jewish Culture League, provided that the choice of music
for the Jewish audiences of the League was “Jewish,” or a composition by a Jewish
composer. The question this paper addresses concerns the motivation for the Nazis’
support of the Jewish Culture League. Although authors such as Erik Levi, Michael
Kater, Michael Meyer, and Martin Goldschmidt cite propaganda and potential
unrest as motivating factors in the Nazis’ decision to allow Jews to continue
CMS
53
October 1-5
Abstracts
Hisama, Ellie City University of New York
SEM
All the way from the slums of Shaolin: East Asiaphilia in African American
Hip-Hop
participants continue to embrace the teachings of the Drum and criticize the music
made by these female musicians. Many issues are inherent in the debate about the
role of women in powwow music, such as the definitions of “tradition” and gender
roles, and how these are applied to contemporary events. In this paper I explore the
teachings around powwow music to identify the primary reasons for the restriction
of female participation in music-making, and I highlight the ways in which people
are contesting these teachings. Drawing from fieldwork interviews with male and
female powwow musicians, argue that the traditional roles assigned to women in
Native society are changing, forcing a reconsideration of what constitutes
“tradition” in Native American powwow practices.
This paper examines the widespread fascination with East Asian culture in recent
hip-hop by African Americans. The Wu-Tang Clan, a rap group comprising nine
African American men from Staten Island, has built a phenomenally successful
career over the last decade by forging an identity based on Orientalist views of East
Asia. Incorporating sonic samples from martial arts films and quotes from
centuries-old texts on Asian war strategy, the Wu-Tang Clan has led the way for
other black rappers in representing the Orient. In the Wu-Tang Clan’s song
“Protect Ya Neck” (1993), the projects of Staten Island become “the slums of
Shaolin.” Over the past decade, male and female rappers such as Jeru the Damaja,
Foxy Brown, Afu-Ra, and Cappadonna have integrated elements of East Asian
culture into their music, CD covers, videos, and lyrics, manufacturing an Asiaphilic
trend in hip-hop to which a sizeable segment of black consumers responds.
Hoekman, Timothy
The University of Florida
Performers Together
This desire for a mysterious Orient in these examples can be related to Orientalist
trends in pop and postmodern music of the 1980s, in which the Orient is
represented as a traditionally passive and mystical force (Hisama 2000). Yet it also
diverges from these earlier models by tapping into a stream of East Asiaphilia
evident in black popular culture at large. This paper argues for the complexity of
black Orientalist musical expressions in American hip hop, ranging from a benign
interest in learning about the Oriental Other to a virulent anti-Asian racism.
Hoefnagels, Anna
Augustana University
Women and Powwow Music: Tradition and innovation
Hood, Kathleen Independent Scholar
"Radio Sawa: Winning Arab Hearts and Minds?"
SEM
Radio Sawa’s news director, Mouafac Harb, reportedly told the Los Angeles Times
that “winning hearts and minds cannot happen before winning ears” (Efron, Sonni.
2002. “Reaching Arabs via Airwaves.” Los Angeles Times. Aug. 26. A1, A6).
Radio Sawa began broadcasting in March 2003 in various Arab countries. It is also
available via satellite and streams live on the internet at www.ibb.gov/radiosawa.
Like the Voice of America broadcasts, Radio Sawa is produced by the
Broadcasting Board of Governors, an arm of the United States government. This
new radio station is on the vanguard of American cultural imperialism, attacking
the Arab world on two fronts: first, it tries to win the hearts of young Arabs with
its seductive alternation of Arab and Western pop tunes; second, it attempts to win
their minds with news broadcasts dismissed by some as US propaganda.
SEM
Many traditional practices are evident at Native American powwows, including the
gender-specific dance categories and stylized dancing, and the male-dominated
musical performances. According to some powwow musicians and teachers of
Native culture, women are restricted from striking the big drum used at powwows,
and may only sing in a supportive capacity to the male performers, and at specific
places in the songs. Various explanations are cited for these restrictions, with
people primarily indicating that “tradition” dictates these rules. However, some
gender-based conventions in powwow music practices are being challenged
through the creation of mixed-sex Drums and all-women Drums (Hatton, 986). Yet
despite the progress made by female powwow musicians, many powwow
CMS
This paper will investigate the phenomenon of cultural imperialism, specifically
“media imperialism” (Boyd-Barrett 1977). It also looks at cultural politics as
practiced by the US government in its relationship with the Arab world. In
particular, this paper is informed by Timothy Mitchell’s Colonizing Egypt (1988),
which examines the effectiveness of colonizing powers as being directly related to
54
October 1-5
Abstracts
Howard, Keith University of London
Performers as Researchers: Exploring Partnership
the successful separation and control of body and mind. Radio Sawa can be seen
in this light, as a tool in the US government’s attempt at controlling the Arab mind
via music, which goes hand in hand with their proposed efforts to control Iraqi
Arabs physically by warfare.
This paper explores strategies for empowering performers as researchers, focusing
on recent collaborative work with three Zimbabwean, Iranian, and Nepalese
musicians. These represent distinct traditions, but have much in common: they
have international reputations as performers, they live and work primarily in
Europe, and none has a PhD. The project, undertaken within the AHRB Research
Centre for Cross-Cultural Music and Dance Performance, addresses the distinction
increasingly made in Britain between teaching and research in funding in which,
put simply, academics are expected to research but performers to teach. This
approach has a number of dangers, not least that performance, as a primary
location of ethnomusicological research, becomes relegated to a second-rate
position in the academy.
Hooker, Lynn Indiana University
SEM
Authentic / Exotic / Erotic: Gypsiness and Gender in the Hungarian
Folkdance Revival
In the Hungarian folk revival known as the táncház [dancehouse] movement,
Hungarian Roma (Gypsies) are both privileged informants and exotic Others. The
(mostly male) musicians of the revival rely on rural Rom musicians, especially
those from Transylvania, as preservers of traditional Hungarian repertoire and
style. Although táncház rhetoric centers on tropes of authenticity and nationality,
its musical informants’ Otherness only magnifies their masculine authority.
How can performers work as equal partners in the research endeavour? In this
project, each performer chose repertory to record and publish. Chartwell Dutiro,
an expert Shona mbira player, trained European and American musicians, Toraj
Kiaras, a classical singer, worked with Iranian musicians resident in Europe, and
Yarjung Gurung selected fellow Nepalese ritualists to work with. Graduate
students and ethnomusicologists were then invited to work alongside the three,
building accounts that analyse and document the materials. In my report, I will
assess what has happened so far, and suggest potential developments. The project
is ongoing, forming a central part of the Research Centre, which is in itself a
collaborative project between SOAS University of London, the University of
Surrey, and Roehampton University of Surrey, and is funded by the Arts and
Humanities Research Board.
A particularly potent case study for the racial contradictions of the táncház is the
tsingarlas [Gypsy csárdás], the only táncház dance dialect with women’s solo parts.
In appropriating the tsingarlas, non-Rom women enact female Gypsiness through
erotic and exotic stereotypes of emotional and bodily abandon, liberating
themselves from the male lead through this masquerade (see Butler 1990, Tonkin
1992). The Gypsy mystique, including its erotic elements, is crucial to the
commodification of Rom music and musicians not only within the táncház but also
on stage and on the international concert circuit. Yet the fluid interactions between
Rom and Hungarian, musicians and dancers, local tradition and transnational scene
constantly undermine that commodity.
Drawing on fieldwork in Hungary and North America, in this paper I first examine
the authentic/exotic/erotic signification of Gypsiness in the táncház and on stage.
Second, I discuss how Rom musicians both affirm the táncház’s aesthetic of
authenticity and challenge it through their musical borrowings, both local and
global. Finally, I focus on two choreographers, a Hungarian man and a Rom
woman, who place the tsingarlas in a transnational spectrum of “classical” Gypsy
dance.
SEM
Humphreys, Paul
SEM
Panpipes as an Instrument of Learning: Broadening the Cultural Praxis of
'Music Fundamentals'
Panpipes are found in many regions of the world and fashioned from a variety of
materials, principally bamboo, wood, and clay. The science of chemistry has
contributed yet another viable and widely available medium for the cottage
manufacture of these instruments: polyethylene tubing, available at finer hardware
stores everywhere. Panpipes (easily constructed from a basic kit of materials
consisting of cut lengths of PETE tubing, wooden dowels, cross brace, and yarn)
55
October 1-5
Abstracts
Iddrisu, Habib Bowling Green State University
SEM
Singing Baamaya: The Role of the Praise Singer in Traditional Dagbamba
Music
are especially useful in the context of a "music fundamentals" class insofar as they
allow ordered pitch collections not only to be played, but to be visually
represented. Theoretical topics such as interval and melodic inversion--well
reinforced through performing and composing varisa exercises as employed in the
vocal pedagogy of South Asia--are thus realized in the process of their
presentation. Moveable plugs, moreover, allow for the discovery and exploration
of intervals and scales that fall outside the tempered system. In this paper, I draw
upon these and other examples from my own teaching experience to show that the
activity of building and playing panpipes provides a tactile point of reference for
students of music fundamentals. This allows them to acquire broad-based
theoretical and practical musical knowledge while also gaining preliminary
acquaintance with culturally distinct repertoires of music.
In the Dagbamba dance genre known as baamaya, the work of a praise drummer
(lung-a) is often paralleled by that of a praise singer (baanga). As with the lung-a,
the baanga’s art lies in his ability to present the many proverbs and family histories
of his community in a musical and cogent fashion.
Baanga recitations are generally delivered in a chant or rap-like way that, while
based in Dagbon singing styles, is melodically short of full-blown song. Only
occasionally will the baanga use a known melody.
Within baamaya, from before midnight until dawn, the baanga is expected to
motivate dancers by singing – sometimes to them alone, at other times to the
community at large – of important events in the dancers’ various family lineages.
Through the course of an evening the baanga may praise the same dancer a dozen
or more times. In each instance he must say something new.
Hurley-Glowa, Susan
Franklin & Marshall College
SEM
Authenticity, Representation, and Blackface Minstrel Shows in an
Adirondack Foothills Hamlet
It is well documented that blackface minstrel shows survived in isolated, rural,
white communities until well into the 20th century. Musicologist Charles Hamm
has written about such shows in Upstate Vermont within recent memory. In this
paper, I will explore the minstrel show tradition in a small town in far upstate New
York. Blackface minstrelsy was extremely popular through the early decades of
the 20th century in this lumbertown, but gradually lost favor in the 1940s. Recent
research suggests that a young urban music teacher with good intentions and an
interest in local history deliberately revived the minstrel show tradition in the mid1950s, drawing on the ‘authentic” experiences of community elders who took part
in earlier shows in an historical reconstruction. These revived shows prospered
until the mid-1970s as an annual community variety show event, although they
were no longer performed in blackface. While blackface shows are always hurtful
and demeaning, numerous scholars in recent years have explained that racism alone
does not explain the minstrel show’s popularity; they have served a variety of
functions to their white audiences. Foremost amongst these is the concept that
putting on blackface enables actors to reflect and comment on their own culture,
in this case, in what seems to be a time-honored (or even authentic) manner. Based
on ethnographic interviews with living participants in combination with a study of
existing scripts, scores, and photographs, I intend to explore the meaning, structure,
and function of these shows in the context of Adirondack community life.
Building from recently conducted interviews and my own experience growing up
as a baamaya dancer in the Tamale area, this paper investigates the baanga
tradition. I discuss notions of baanga training and presentation. By exploring text,
I demonstrate the means by which the baanga uses his knowledge of family
histories in order to inspire his dancers to give their best. Finally, I discuss how the
baanga uses these histories to build a bridge between the performers and audience.
Isaacson, Eric Indiana University
Enhancing College Teaching with The Digital Music Library
CMS
Variations2: The Indiana University Digital Music Library project is a major
research initiative being carried out under a four-year NSF grant. Its goal is to
establish a second-generation digital library testbed system for music, which will
provide on-demand audio; high-resolution scanned score images; symbolically
encoded score files; and tools to enable music instructors to use these resources to
enhance classroom teaching and student activities, and to support distance learning.
The project is multidisciplinary, involving researchers from music, information
science, law, computer science, university libraries, and information technology
56
October 1-5
Abstracts
services. This presentation focuses, however, on how Variations2 can enhance
teaching and learning.
Olivier Messiaen. A performance of the complete Rain Tree Sketches will follow
the lecture.
The origin of the Rain Tree Sketches traces back to Takemitsu's percussion trio
Rain Tree (1981), which was based on a description of a raintree in Kenzaburo
Oe's short novel "Clever Rain Tree" (1980). The two artists inspired one another
and eventually each created their own Rain Tree series in their medium. Rain Tree
is used as a metaphor of water circulating in the cosmos, and Takemitsu employed
Messiaen's modes of limited transposition in order to construct the pitch collections
evocative of cosmic imagery.
Instructional uses are supported through an application that integrates a number of
functions currently available only in separate programs:
media player
score image viewer, capable of synchronizing with audio
music notation editor
Takemitsu's goal as an artist was to expand the possibilities of music and express
himself through creation of a universal musical language. This lecture recital shows
how this expressive goal is realized in the Rain Tree Sketches.
digital timeliner for creating form diagrams tools for annotating scores, notation,
and diagrams with text, analytical symbols (e,g., figured bass, roman numerals),
and shapes (circles, boxes, lines)
Jacobson, Marion
New York University
SEM
All I want for Christmas is My Tiger ' Combo 'Cordion : Competition and
Accommodation with Rock and Roll At the End the Accordion's Golden Age
in America
templates for posing questions and evaluating answers
the ability to save, retrieve, share, and submit lessons
Use of Variations2 will (1) enhance students' active engagement with music by
making it easier to practice critical listening skills and by integrating visual, aural,
and tactile activities, and (2) enhance teaching by putting music library resources
at the instructor?s fingertips and providing tools to access and use them to
facilitate, rather than frustrate, effective face-to-face teaching. The presentation will
describe and demonstrate both aspects of the project.
Isshiki, Tomoko
Fort Lee, New Jersey
The Cosmic Metaphor of Toru Takemitsu's Rain Tree Sketches
The piano accordion succeeded in becoming the most popular of musical
instruments in America of the 1940s, 50s, and 60, spreading to local communities
through the “accordion studio system” (a national network of instrument
manufacturers, teachers, and small-businesspeople). As rock and roll climbed to
commercial success, the accordion industry fought back. Threatened by the
Beatles’ ominous appearance on the Ed Sullivan Show and the skyrocketing sales
of guitars and keyboard instruments, accordion instructors refused to teach their
students rock, dismissing its artistic value and positing that it was a fad.
CMS
Despite these views, some accordion industry leaders were aware of the
significance of rock as a musical genre. Not only did they advocate appropriating
rock into the accordion repertoire, but one manufacturer/promoter of accordion
playing seized opportunity to improve the instrument and encourage more dynamic
and popular performances. Resulting from this effort was the Tiger Combo
‘Cordion, designed manufactured by the Pancordion Co. in Long Island City,
Queens. I present the Tiger Combo along with other innovations in the “accordion
world” as a response to the cultural takeover, rupture and reappropriations of rock
and roll in white ethnic culture. The accordion—long situated at the crossroads of
One of the most influential Japanese composers in the late twentieth century, Toru
Takemitsu (1930-1996) created a unique musical language by integrating the
disparate musical traditions of East and West. This lecture/recital will investigate
the metaphor behind Takemitsu's last two solo piano pieces, Rain Tree Sketch
(1982) and Rain Tree Sketch II (1992). The lecture explores the interaction of ideas
between Takemitsu and his novelist friend Kenzaburo Oe, the Nobel Prize winning
author whom inspired Takemitsu to composer the Rain Tree series. An analytic
overview of the piano pieces will also be given which indicates the influence of
57
October 1-5
Abstracts
genres— offers a unique window into an little-understood cultural juncture that
occurred in the process of making and popularizing rock music at mid century.
scope, I then examine the ramifications and the role of this Otherness in structuring
authenticities while writing jazz history and its effect on the space between the
French and American jazz scenes by drawing on my own fieldwork in Paris in
2002.
Jacoby, Marc VanderCook College of Music
ATMI
Using Macromedia's Director and SequenceXtra to create interactive
educational material for the web
Jankowsky, Richard C. University of Chicago
Music, Possession and the Racialized Body in Tunisia
Macromedia's Director is a popular development tool useful for building user
interactivity complete with animation, audio and graphics. Until recently its ability
to handle MIDI data was limited to output through QuickTime and some input
features that were platform dependent. Now with SequenceXtra, the multimedia
developer has the tools available to control all aspects of MIDI input and output
and develop applications for internet delivery. This is powerful for music educators
and developers who would like to take full advantage of the strengths MIDI has to
offer. Marc Jacoby will demonstrate the use of these tools in the context of on-line
content development and the special requirements of internet delivery.
For centuries, North Africa has been a destination for countless displaced
sub—Saharan Africans, most of whom were captured slaves forced across the
Sahara. In Tunisia, the sub—Saharan body has signified a distinct and powerful
otherness, whether in the supposed societal threat, the black community posed in
the eyes of certain Tunisian elites, or in the potency its members were assumed to
have in their workings with the spirit world. In this paper, I explore the
performance of stambeli, the trance and spirit possession music of the black
community in Tunisia. Stambeli fuses local Tunisian beliefs with those imported
from sub— Sahara, invoking without apparent contradiction a remarkable diversity
of personalities, ranging from sub— Saharan spirits and North African Muslim
saints to the Prophet Mohammed, his muezzin (caller to prayer) Bilal, and, above
all, God. Based on fieldwork in Tunis in 201 and 2002, this paper explores what
it means to be a trancing or possessed stambeli body in Tunisia. Such bodies have
been construed as a problem in Tunisian society, not only through the debate over
the tolerance for the performing (sub— Saharan ) African, body, but also through
its supposed corruption of the white, Arab bodies that also participate. Stambeli
practitioners, like the black spirits in their pantheon, are ascribed a variable amount
of both sameness and difference, a relationship they must continually negotiate
through performance. At a broader level, I suggest that the performance of stambeli
encouraged simultaneously the integration AND marginalization of the subSaharan body vis-á-vis Tunisian society.
James, Donald University of Chicago
SEM
After Django: French Jazz Historiography and the American Jazz Narrative
With some notable exceptions - Django Reinhardt, Stephane Grappelli, and Michel
Petrucciani - it has historically proven quite difficult for French jazz musicians to
crack the American scene and, as a result, forge themselves a spot in jazz history.
Moreover, the musicians who have made their way into the great narrative ofjazz
history (Pierre Michelot, for instance) have performed at the margins of the
American scene, known only as sidemen.
This paper seeks to address the reasons for the exclusion of French musicians from
the jazz canon using Django Reinhardt’s American career as a comparative model.
Using nationalisms and authenticities as theoretical guideposts, I argue that the
Exotic in Reinhardt’ s Roma heritage as well as his “outsidership” as a guitarist
paradoxically afforded him “différance”, in the full Derridean sense, that defined
his career in America and allowed access to commercial venues inaccessible to the
“more traditional” French musicians.
Jones, Jaime
The Aesthetics of Spectacle in Hindi Film
SEM
The phenomenal popularity of Hindi films throughout India and the South Asian
diaspora is matched by a near-complete disavowal of the form by India’s educated
elite, and a concomitant tendency, among Western scholars, to condemn its
ubiquitous music-scenes as too Westernized, too commercial, too conventional.
I plan to draw specifically on French jazz histories written by André Hodeir and
Ludovic Tournés and also some correspondence of French jazz critic Charles
Delaunay to identify the specifities behind Reinhardt’ s successes. Broadening the
SEM
58
October 1-5
Abstracts
In this paper, utilizing Richard Dyer’s formulation of musical-as-utopia as well as
more recent work that expands JL Austin’s concept of performativity, I examine
the very conventions that tend to delimit the structure, placement, and content of
film songs, and I attempt to locate not only how but what these songs/scenes
perform. I suggest that the accumulation of metaphor through image, sound, and
movement which characterizes the conventional-spectacular music scene of
“Bollywood” cinema leaves the gap between utopian fantasy and modern reality
open, recognizable. Something more can be communicated via the breaking out
and through of the actual conventions which allow such metaphors to do their
work. Through close analysis, I seek to reveal the individual aspects that comprise
the aesthetic excess of the music-scene. I attempt to provide not only a reading of
a particular film or song, but also a framework for the investigation of any
multivalent, heavily consumed medium.
revolutionary contribution to 20th century Korean popular culture. Seo’s music is
not a simple appropriation of rap as it is known in the U.S, where it often addresses
racial, political, and economic marginality. Seo’s rap deals with a different kind of
marginality: the cultural struggles of Korean youth against a repressive government
educational system supported by the “older generation” (gisungsedae). While the
older generation stressed that becoming academically superior was the only way
to survive in a competitive modern world, it is ironic that the pressure to succeed
at any cost drove some students to despair, depression, and even suicide. Based on
interviews with audiences and analyses of sound, text, and video--including the
provocative 1994 song “Kyosil Idea” (“Classroom Ideology”)--I will discuss the
new generation’s cultural ideology as it is embedded in late 20th century Korean
culture.
My study is informed by the careful study of numerous Hindi films produced over
the past twenty-five years (although my paper will focus on no more than two), and
by preliminary fieldwork which I plan to conduct in Pune and Mumbai over the
summer of 2003.
Kajikawa, Loren
Playing Out: Jazz/Creative Music and the Afro-Asian Connection
Jorgensen, Estelle
Indiana University
SEM
The expression “playing out” refers to the jazz practice of organizing solos and/or
compositions without regard to traditional chord changes or scales. In “playing
out” musicians refuse conventional ideas about the way music is supposed to go,
substituting instead alternative forms of organizing sound and, consequently, of
embodying identity. This paper explores some the contexts in which African
American and Asian American jazz musicians have chosen to “play out.”
CMS
In this paper, I examine the ways in which popular music articulated the rise of a
“new generation” (shinsedae) in Korea during the 1990s. This generation,
comprising those born after 1970, found its representative voice in Seo Taiji, who
succeeded in adapting rap music to Korean culture.
For about two decades now, the San Francisco bay area has been home to a group
of Asian American jazz musicians. Originally inspired by the black-nationalist
movements of the 1960s, they sought to make audible a uniquely Asian American
approach to music. While their approaches to music making are varied, one aspect
that cuts across generation, cultural background and taste has been a sustained
interest in collaborating with musicians from the Association for the Advancement
of Creative Music (AACM). AACM musicians, many of who have pursued
Eastern spiritual and musical concepts, have reciprocated this interest
enthusiastically.
In 1992, Seo organized the group “Seo Taiji and Boys” and released his first
album, “Nan Arayo” (“I Know”), which instantly shifted mainstream popular
music away from slow, sentimental ballad music toward faster, dance-oriented
genres including rap. Seo’s stylistic mixing and sampling techniques, sensational
visual presentation, and persuasive lyrics have been viewed by many as the most
These musicians display a desire to transgress racial boundaries, to break free of
the stereotypes that are mapped onto their performing bodies. While African
American musicians struggle against a canonized version of black masculinity
propagated by jazz traditionalists, Asian American artists create their music against
the void of cultural invisibility. Yet, how aware have these groups been of one
Jung, Eun-Young
SEM
Korean Hip-Hop for a "New Generation": SEO Taiji's "classroom idoleogy
59
October 1-5
Abstracts
another’s predicaments? By what criteria can we evaluate their accomplishments?
This paper combines ethnography, anecdotal writing and music criticism to address
these and other questions.
Kamstra, Darin
Aurora Borealis
University of Illinois
Palestine, Atlas reached international attention through the polyglot musical
practices of the early technopop collective Transglobal Underground. Though
Atlas’ singing in Arabic is one of the elements that had most connected her to the
group’s ideological interest in a transglobal, unified world, her extroverted bellydancing on stage was also an element of spectacle that has continued to provide for
much continued recognition of her music in the world music market. Beyond the
issue of how she uses dance to deploy her gender, her engagement with an Arabic
cultural heritage is fundamental to Atlas’ project. This employment of Arab
cultural markers is meant to signify a political discourse. Atlas sees herself as
embodying an effort to reverse, close, and heal a false division between Arabic and
Jewish cultural practice—a division that opened due to historical
circumstances.Judgments about the value of her appropriations depend on the
position of the listener. Her attempts to elide political differences by way of
cultural and spiritual transcendence can be read by some as liberatory, or even as
contemporary liberal hybridity’s well-meaning yet ultimately poor cultural
stereotyping. But by others, it can be seen also as merely an example of cultural
trespass or crude striptease.
CMS
I had the pleasure of viewing the northern lights twice while growing up and
attending college in eastern Washington State. Aurora Borealis was inspired by my
desire to aurally represent this breathtaking spectacle. The two occurrences of the
northern lights that I witnessed were completely different; four sections in Aurora
Borealis portray these separate events.
The first section represents the beginnings of the phenomenon, which gradually
develops across the sky. Various sources of white noise represent a broad spectrum
of light: bass drum played with swirled brushes, ocean drum, sandpaper blocks,
sizzle cymbal, and shaker. The second section symbolizes the first type of display
that I witnessed: what would best be described as curtains of multi-colored light
seemed to pulsate and shift along the northern horizon. To portray this, a group of
metal instruments alternates with a group of wooden instruments, each with its own
pulsating and shifting pattern. This material returns in the fourth section, which
fades away rather quickly at the end, much like the northern lights themselves.
Katz, Mark
Peabody Conservatory
Discourse and "Disc"course in the Hip-Hop DJ Battle
DJ battles are competitions in which turntablists—hip-hop musicians who use
phonographs and mixers as musical instruments—showcase their physical and
rhetorical virtuosity.
The third section simulates the other form of the northern lights that I witnessed:
a moving stream of white light. This stream began on the northeast horizon and
gradually increased in length. In time, the stream passed almost directly overhead,
flowed off towards the northwest horizon, and ultimately formed a continuous
band across the sky. The music simulates this phenomenon by passing an everlengthening line of notes from one player to another through the ensemble.
Physical virtuosity is demonstrated through the complexity and novelty of the
turntablist’s moves, which fall into two main categories: scratching and beat
juggling. Scratching involves changing the speed and direction of the disc and
fading the sound on and off. Beat juggling requires DJs to isolate and repeat
discrete passages on different discs, alternating between multiple turntables. Both
practices may be accompanied by “body tricks,” which impose an added level of
difficulty. Examples include spinning (oneself) in between beats, or moving discs
with the hands behind the back or with other body parts.
Karl, Brian
Columbia University
SEM
Popluar Music of the Arabic World? Iconicity, Intention, and Reception in
the Cultural Appropriations of Natacha Atlas
Rhetorical virtuosity is displayed by the manipulation of pre-recorded vocal
fragments into a discourse about themselves and their competitors. In an extension
of signifying, a mode of discourse rooted in African-American oral culture,
performers mine the vast body of rap records to locate their own names or
Aspects of kitsch, exoticism, and nostalgia inform the public image of Natacha
Atlas, a musical performer of complicated geo-cultural origins. Born in Belgium
to a Jewish father who traces his own roots to Egypt and Morocco by way of
SEM
60
October 1-5
Abstracts
monikers as well as appropriate phrases, juxtaposing them so as to tout their own
skills or “dis” the other DJs (i.e., own name + boast or competitor’s name + insult).
Keebaugh, Aaron
Drum and Bugle Corps: Lacunae in American Musical History
This paper will explore how battling turntablists use the technologies of sound
reproduction to make music and, in the words of renowned DJ Rob Swift, “prepare
for combat” (Rob Swift, interview with author, 2001). Audio examples and video
clips from battles will supplement the discussion.
Drum and Bugle Corps was born in church basements, American Legion posts, and
Veterans of Foreign Wars (VFW) halls in post-World War II America. Throughout
its short yet expansive history, this unique activity has been a source of musical
entertainment and enlightenment for several generations of spectators. Drawing
from numerous articles, interviews, and field research; this paper will focus on the
historical developments of corps activity as well as the social constructs of the
participants and audience members. Furthermore, I will show how the Drum and
Bugle Corps evolved due to socio-economic pressures, media relations, popular
tastes, and the effects on the governing principles and organization at large.
Kaye, Andrew Albright College
SEM
Jazz for Breakfast, Ie-ie-ie for Lunch and Funk for Dinner: Antropophagia
in the Modern Brazilian Cinematic Soundtrack
Brazilian musics, like most American musics, are based on long-term processes of
fusion and assimilation of diverse multicultural elements. At least since Oswald
de Andrade’s manifesto of 1928, Brazilian cultural criticism has liked to refer to
this process as antropophagia--literally, cannibalism, but metaphorically
suggesting self-renovation through the consumption of cultural differences. Longterm historical analysis of Brazilian music helps illuminate the real and fascinating
trajectories of anthropophagic process, and the author has already demonstrated,
in a previous paper, how print sources such as the Jornal do Brasil can help us
trace these processes decade-by-decade, and even year-by-year. In this paper, the
author will focus on changes in the Brazilian cinematic soundtrack from the 1950s
to the present, in an attempt to show how soundtrack history reifies the broader
changes suggested in other kinds of historical sources, such as Brazilian
newspapers and magazines (for example, Veja), and data from recorded music
sales over time. These sources show the progressive impact made by Englishlanguage popular musical idioms, which are palpable by the mid-1960s, and
increasingly reflected in the Brazilian musical diet of the subsequent decades. Can
similar changes be noted in film soundtracks over time? The author will discuss
soundtrack trends in general, and focus on three well-known films from the period
under consideration: Orfeu Negro (1959), Bye Bye Brazil (1979) and Cidade de
Deus (2002).
SEM
A large bulk of the literature dedicated to the Drum and Bugle Corps activity has,
until recently, been concerned only with the pedagogical and performance values.
While the corps’ evolution and productive ethos has had significant influence on
high school and college-level marching bands, the study of such a musical
phenomenon should not only be limited this single perspective. It is my greatest
hope, therefore, that the historical, sociological, and functional aspects will serve
as avenues for future research into this unique genre that has for too long been
neglected in American musical history.
Keenan, Elizabeth
Columbia University
SEM
Courtney, Kurt, and the Authorship of Live Through This: Representations
of Gender in the Construction of Rock Music Authenticity
The debate surrounding the authorship of Hole’s Live Through This – which began
shortly after the album was released in 1994 and continues today in discussions
about the band and its singer, Courtney Love – presents an opportunity to examine
the role of gender in discussions of rock music authenticity. Live Through This,
a successful major-label album, challenged some of the roles for women in rock
music by positing that women could be both commercial stars and still maintain
rock music authenticity. In the case of Hole, however, journalists and fans have
constructed a counter-discourse of Hole’s inauthenticity, based on the behavior of
Hole singer Courtney Love, that has become the accepted version of the story.
This discourse relies on the assumption that authenticity and authorship are
fundamentally connected, and that Courtney Love and Hole – despite receiving
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October 1-5
Abstracts
writing credits for the album – were not responsible for its authorship, but that
Courtney Love’s husband Kurt Cobain wrote the music.
associations with religious practices have greater resonance with Westerners than
do current musical practices in the source country.
The idea of “authenticity” has been a key concept in both academic and journalistic
accounts of popular music, especially within the discussion of rock music. Rock
music – even when commercially successful – is often defined as “authentic,”
subcultural, and artistic, but women have seldom been seen as bearers of
authenticity in the genre of rock music. Through the case of Hole, this paper
examines the ways music industry executives, the band itself, journalists, and fans
all participate in the representation of rock music authenticity and the ways these
discourses of authenticity are inherently gendered.
Keyes, Cheryl L
Rhyme and Reason: The Art of Freestyle Rap
This paper will examine an aspect of hip-hop verbal culture called “freestyle.”
Freestyle or freestylin’ can be defined as an extemporaneous recitation of
unrehearsed or improvised rhymes performed in a live context. As a vibrant part
of the underground rap music scene, freestyle sessions unfold as either open mike
verbal battles between dueling emcees or as “cyphers,” a semi-to-full circle of three
or more rappers who “feed off’ of the momentum of each other’s rhymes. Artists
who perform freestyle assert that the art of this practice is not measured by one’s
ability to recite rhymes in a fluent manner but to rhyme about an immediate
situation in the most coherent, unique yet stylized poetic manner. When an artist
masters freestyle rap, s/he garners distinction, merit, and above all street credibility
in the underground world of hip-hop.
Keister, Jay
University of Colorado
SEM
The Shakuhachi as Spiritual Tool: A Japanese Buddhist Instrument in
America
The Japanese shakuhachi flute currently leads a dual existence. Presently, the
shakuhachi functions as an important mainstay of Japanese traditional music in
solo and ensemble performances alongside the koto (zither) and the shamisen
(lute). Unlike these other instruments, the shakuhachi has a historical association
with Zen Buddhism made famous by monks of the now defunct Fuke sect who
once used the instrument as an aid to meditation. While the Buddhist associations
with the instrument are implicit and relegated to history in Japan, many North
American players who have appropriated the instrument consciously use the
shakuhachi as a tool of meditation and as a way of articulating Buddhist
philosophy.
While there has been much scholarly work on rap music and various regional and
international hip-hop music scenes, there is still minimal study of underground hiphop music, particularly the art of freestylin’. With such well-known freestyle
venues from coast-to-coast including Washington Square Park and the itinerant
Lyricist Lounge open mike sessions of New York City and Project Blowed of
South Central Los Angeles, this paper presents a synthesis of fieldwork data from
similar live contexts. As such, the discussion will draw specifically from feedback
interviews with artists and excerpts from video documentation in examining the
learning process and aesthetics of improvised rhymes.
This paper examines how the shakuhachi is being recontextualized in the West in
a way that reifies its Buddhist background and articulates differences between
musical and religious practice. This use of shakuhachi as a meditation device for
“blowing Zen” has raised debate among players and teachers in the West about the
proper interpretation of the Japanese tradition. While some remain skeptical and
assert that the shakuhachi is first and foremost a musical instrument (gakki), some
players go so far as to reject its “entertainment” function and call for a return to its
“original” function as a spiritual instrument (hoki). This study demonstrates to
ethnomusicologists the kinds of transformations that can occur in Western
appropriations of Asian musical instruments. In this case, the instruments historical
SEM
Khalil, Alexander
Escape from Eden: "Liu Qi- Chao and the Power of Names"
SEM
Since immigrating to the United States in 1984, Chinese multi-instrumentalist Liu
Qi-Chao has changed the Chinese character he uses to represent his stage name,
pronounced “Qi”, three times. An examination of the conditions under which Liu
changed his stage name, and his reasons for doing so, reveal his personal struggle
against the boundaries, both hostile and protective, that surround him as a “world
musician” living in the United States. During a series of interviews, Liu explained
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October 1-5
Abstracts
to me how, through his stage names, he identified himself first as a keeper of
tradition for the Chinese immigrant community, then as a jazz improviser filled
with the mystical power of the Orient, and finally as a unique individual. Using his
unique strategy of renaming, or “re-characterizing” himself, Liu has managed to
negotiate and re-negotiate his identity in such a way that he can live not between,
but within more than one musical world. In Liu’s experience, concepts of
authenticity do not afford him the opportunity to adapt to, or be influenced by, his
musical surroundings. Instead, they demand that he remain a true representative of
his own musical tradition. In this paper I challenge this concept of authenticity. I
liken the situation of immigrant musicians to that of being in a Garden of Eden;
they may not partake of certain types of knowledge without losing their privileged
status. This study is vital towards understanding the dynamic nature of
hybridization in music and aims to develop a broader, more inclusive concept of
authenticity.
Khannanov, Ildar
Oklahoma City, Oklahoma
development. By locating the study in the genre of praise songs prevalent among
lyre and lute communities as well as herders and nomads I will first outlining two
parameters of defining music and suggest two approaches to anthologizing the
history of African indigenous music.
Finally, I will highlight the advantages and constraints of using methodologies
rooted in historical musicology and music ethnography in presenting the history
of African music and/or the history of music in Africa.
Kilstofte, Mark Furman University
A Past Persistence
A Past Persistence was commissioned by the Aurora Brass Quintet for its
performances at the Sixth International Festival of Brass in Verona, Italy. Clearly
a throwback to the music of the Renaissance, the work's stylistic appropriations are
further betrayed by a notational preference for long note values, the near-absence
of ties and, in the initial phrases, the lack of bar lines.
CMS
The piece begins with an extensive introduction during which the material forming
the basis of the composition slowly unfolds. Following this prolonged (and
intensified) clausula vera, the ensemble dives headlong into a rhythmic romp
inspired by chanson in general and musique mesurée à l'antiquein particular.
Notable throughout are the many pauses designed to exploit the resonance of the
halls in which the premiere performances took place. This homophony is
interrupted by the hoquet-ishness [sic] of the central section, another confluence
of the antiquated and modern. Here pulse is maintained by a variety of special
effects such as foot shuffling and mute clanging. The "hiccups" build to a unison
climax and a return to the opening where, in conclusion, the introductory fragments
are retooled to fit the mood and tempo of the dance. The work is dedicated to
friend and colleague, Gary Malvern.
Kidula, Jean
SEM
History of African music and the history of music in Africa: Historical
musicology or/and musicological ethnography.
Ethnomusicologists have traditionally written ethnographies on the music of Africa
and historians on African use music reports as primary sources for cultural
histories. More recent ly, attempts have been made to document the history of
music in Africa by moving away from studies reported in the ethnographic present
or by studying popular and other music genres that have counterparts in the rest of
the world. Very few anthologies exist that document the development of style in
African music. This lack presents interesting problems for researchers and
teachers of indigenous musics of Africa, which have impacted other genres that
intersect with international styles in terms of the historical identity of the pieces.
Kisliuk, Michelle
University of Virginia
SEM
"Pygmy Song" and BaAka Lives: the impact of a globally imagined iconicity
One response is to examine the purpose and /or place of music and/in history.
This paper will therefore examine the concept of music and/or song as a carrier of
historical event, against the notion of music and song as representatives of stylistic
CMS
Central African “pygmies” and their music have been icons of a dialectical
antiquity/modernity, and of either a utopian or a “savage” nostalgia in many
spheres (see Kisliuk 1991, Bradford and Blume 1992, Feld 1996) including
63
October 1-5
Abstracts
Klingenstein, Beth Gigante
Valley City State University
ATMI
Tracing the Development of a Required CD ROM Portfolio: Issues of
Philosophy, Integration, Product, and Assessment
popular film, music (e.g. Herbie Hancock, Zap Mama, Deep Forest), in the minds
of missionaries, as well as for scholars, writers, and adventurers (e.g. Cohn
Turnbull, Jean-Pierre Hallet, Louis Sarno, Alan Lomax, Robert Farris Thompson).
This paper explores the implications of this iconicity in the lives of particular
BaAka, using as a primary example a troupe of a BaAka invited in 2001 to
“collaborate” with Alonzo King’s Lines Ballet based in San Francisco (I
accompanied the performers and their non-BaAka managers on part of the tour).
A second example focuses on an extended family of BaAka from a relatively
isolated area in the northern Republic of the Congo (whom I last visited in 2001),
and the impact of a missionary who “earns stripes” by ostensibly converting
BaAka to evangelical Christianity. I describe the lived details as well as the
rhetoric that surrounds and contextualizes these examples. The paper concludes by
questioning the implications of researching with, teaching the song forms of, and
writing about the lives and music of “forest people” under the cloak of such a
heavy global imaginary which continually reinscribes an edenic (or a “savage”)
nostalgia.
Klemenc, Mari Arko
Arranging the Nation in Slovenian Musical Practices
has worked to create discipline specific applications for the use of technology. The
presenters will discuss their creative use of technology throughout the music
curriculum, including Music History projects utilizing composing and digital
notation, creating PowerPoint and web page presentations, developing a partially
on-line class through the use of Blackboard, and using the internet for class
research projects. Also of interest will be the philosophical underpinnings of a
required CD ROM portfolio, its structure, requirements, and assessment
procedures, as well as faculty development and preparation to meet this challenge.
Koons, Keith
CMS
SEM
Today there are many manifestations of Slovenian music popularly considered
“folk” or “national” (ljudska or narodna), from revival groups who perform on
historically reconstructed instruments to Alpine dance music ensembles. However,
vocal music occupies a special place in the repertoire of Slovenian music. In the
tiny population of 2 million, there are over 2,000 organized choirs. At the core of
this contemporary Slovenian choral repertoire are arrangements of folk songs, the
composition and performance of which date back to the late 19th century.
Koons, Keith
Born in Havana, Cuba, clarinetist/alto saxophonist/composer Paquito DeRivera has
become one of the most well known crossover artists in the music field today. His
numerous appearances as classical clarinet soloist with symphony orchestras, rave
reviews as a jazz and Latin artist on both clarinet and saxophone, and appearances
on the David Letterman, Regis and Kathie Lee, and Sunday Morning shows are
just part of his diverse experience in the music field. Since his defection from Cuba
in 1980, DeRivera has taken command of his role as cross cultural ambassador,
creating and promoting a multinational style that moves from Mozart to bebop to
Latin. He has served as co-director of the United Nation Orchestra, a post formerly
held by his mentor, Dizzy Gillespie, as well as touring with his own quintet and coleading the “Caribbean Jazz Project” with Dave Samuels and Andy Narell.
This paper presents Slovenian choral singing and the central position granted to
folk song arrangements in light of early Slovenian ethnomusicology. Based on
archival and field research, I examine the forces which directed the organized
collection of Slovenian folk songs beginning in the late 19th century, the
motivations for creating choral arrangements of these folk songs particularly in the
early 20th century, and the process of forming a national canon of folk song
arrangements. I show that these forerunners of Slovenian ethnomusicology had a
profound effect on current Slovenian musical practices as well as national
perception – issues of mounting importance in the young independent state.
CMS
64
October 1-5
Abstracts
Aires Tropicales, a seven-movement work for quintet, was commissioned by the
Aspen Quintet and premiered in New York City in 1994. The movements are as
follows: Alborada, a slow introduction; Son with an ostinato Latin bass line in the
bassoon and horn; Habanera, a trio movement for oboe, clarinet and bassoon in the
style of Ravel; Vals Venezolano, a lively Venezuelan waltz; Dizzyness, an homage
to the late, great Dizzy Gillespie; Afro, which begins with a flute solo, followed by
an energetic, rhythmic six-eight dance over an African ostinato; and Contradanza,
an upbeat Cuban dance honoring Ernesto Lecuona.
Performance by the Pegasus Wind Quintet (University of Central Florida)
Kreiter, Maria Pennsylvania State University, Conshohoken
SEM
The Musical Quilt: Connecting Cultural Resources of the School community
to the Music Classroom
Historically, school music programs have selected cultural musics derived from the
major groups identified in basal series resources and MENC publications.
Individual schools and instructors often ignore the ethnic enclaves found within the
greater school community as a source for possible classroom instruction.
The creative teacher stretches to draw upon regional resources and community
groups to design a cultural immersion project which seeks to identify cultures
within an individual community and examine the influence it has on other cultures
regarding its history in the community. Such a project teaches students about the
identified culture from a variety of instructional, critical and musical perspectives.
Kopplin, David California State Polytechnic University - Pomona
CMS
Kramer, Timothy
Cycles and Myths
Trinity University
As a model, this project’s intent is to showcase not only a written summary of the
project through action research, but also disclose a more detailed description of the
various components used in music, history and integrated arts. Included in these
curricular activities are lessons for the music instructor based upon researched
resources, data-driven evidence of student learning and examples of studentcentered cultural quilts.
CMS
Cycles and Myths was commissioned by the SOLI chamber ensemble and
premiered in March of 1996 in San Antonio. This piece presents a number of cyclic
ideas that occur with literal and varied repetition. Connections are made between
the individual players of the ensemble through similarities of timbre and gesture.
A driving, rhythmic theme begins the work and coordinates all the motives
assigned to each player in each cycle. The myths, which occur between cycles, are
essentially character variations where each soloist stakes their own musical
territory and presents material specifically assigned to their instrument. In this way,
connections are made between repetition (cycles) and development (myths),
between recognition and contrast. This work also contains many references - both
through quotation and imitation - to other works with this instrumentation. These
distinct musical styles are heard against the backdrop of cycles of similarity.
In conclusion, within each school and community lies a wealth of cultural
resources to be identified and brought into the formal music classroom. Such
innovative instructional techniques may challenge the traditional structure of music
(and classroom) curricula, however, defining the role of indigenous musics in the
music classroom and teaching the music and artistic culture of the ethnically
diverse populations demand creativity.
Kreiter, Maria Pondish Pennsylvania State University, Conshohoken SEM
Teaching with a Socially Responsible Curriculum: the Consequences of
Public School Politics"
Multicultural education enables students to function competently within the myriad
cultures of a society. Such a definition implies the study of diverse cultures for the
purposes of understanding and tolerance. Multicultural education can also be a
process, strategy or perspective that, in its fullest expression, implies a complete
65
October 1-5
Abstracts
reformation of an educational system to give all students, regardless of background
or ability, a full and complete education.’
Communal Lands. Performed on field tapes by children aged three to seven, the
songs come through aural tradition, passed down for at least five generations.
Before European education was imposed on Shona-speaking society, singing
games served as the core curriculum for children’s enculturation, imparting values
and survival skills. Included are counting and naming games for memory,
dexterity games for kinesthetic development, choosing and chasing games for
building community relationships.
Teachers who embrace multiculturalism in their classrooms are inherently sensitive
to the demographics of home school climate, providing meaningful musical
experiences to children in a comfortable, familiar manner. These educators: (1)
encourage social cohesion through skilled teamwork, ensemble work and
scholastic challenges; (2) respect diversity through a broad lens, educating students
and the community with carefully selected holistic pedagogy, planting seeds of
tolerance while under public scrutiny; and (3) challenge students to think critically
about their own music education and promote transferable learning to their other
academic subjects and their lives in general.
Krishtal, Mikhail
Durham, North Carolina
CMS
Despite a teacher’s best efforts to craft the science of teaching a socially
responsible pedagogy, there remains no guarantee that music-making will generate
mass public cultural understanding. Subsequently, music educators should seek a
path to teach to multiculturalism, being careful to address the needs of the music
program while serving as the public outreach program for the school.
Kreutzer, Natalie
University of Idaho
Children's Singing Games from Zimbabwe--a DVD
Kun, Qi
Chinese University of Hong Kong
SEM
Social Division Re-presented in Ceremonial Music of Huizhou: A Historical
approach in Ethnomusicology
Huizhou prefecture is an area bordering three provinces: Jiangxi, Zhejiang and
Anhui. Impressed by the rich lineage culture, I visited Huizhou five times (July
1999 - August 2000). A rich and populated area south of the Yangtze River,
Huizhou has developed a highly sophisticated lineage culture. Such a development
has created a system of lineage subdivisions that differentiates between “big
surnames” and “small surnames.” Since 1999, I launched the project “The
Interaction of Class and Ceremonial Music in Huizhou’s Lineage Culture (1911 to
1949).”
SEM
A 15-minute introduction and 45-minute guided tour of a DVD of 19 children’s
games for use by music and multicultural education teachers at pre-school and
primary level. Each song includes: (1) a narrative of cultural context; (2) video
footage of children performing the games, without commentary; (3) video footage
of the games with voice-over instructions and commentary; (4) Shona text spoken
by a native speaker, (5) transcription of song in Western notation with audio
performance by native speakers. The project evolved from my comparisons of
childhood education in the United States and in Zimbabwe. In the States,
movement is a marginal aspect of curricula. The physical response to music
prevalent in Zimbabwe culture is not reinforced for many children of European
descent. Recent neurobiological discoveries reflected in the literature on cognition
point to movement as an important component of brain development. Singing
games emerge as elegant remedial education for children in the United States.
My paper is an attempt to illustrate the interaction between big and small surnames
social subdivisions and ceremonial music in Huizhou. I will focus on the music
culture in sacrificial ceremonies from early 20th Century to 1949. Rather than
approaching the music from a structural perspective, I pay more attention to the
cultural symbolism of music and stress its significance as a transmitter of social,
political, dialectal, religious and cultural meanings. As part of the ritual
performance, ceremonial music in Huizhou not only re-presents the subdivisions
and differences within the community, but also exerts a strong influence upon its
clan and kinship system.
The songs, collected during my 1992-93 fieldwork on children’s song acquisition,
come from the pre-colonial “pasichigare” repertoire of the central Nharira
66
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Abstracts
In short, to interpret music in history and to interpret history through music, both
have become meaningful tasks in ethnomusicological investigation. In the course
of analyzing the interaction between ceremonial music and social division in local
history, I also attempt to re-present local history through music.
music fandom by scholars (Herlyn and Overdick 2002). Mix tapes could be
defined as anthologies of recorded pieces of music made by individuals on
recordable carriers (cassette tapes, CD-R’s, MP3’s, etc.). Also known as
“compilations,” these anthologies typically reflect their compiler’s tastes, interests,
moods, etc. As such, mix tapes form an important part of the compiler’s biography,
being a statement of lifestyle (Chaney 1996) and, thus, a means by which
compilers present themselves to others. They can also act as a communication tool
between individuals belonging to what could be described as “compilation
communities”. Within such communities, the art of producing and comparing mix
tapes constitutes a form of cultural capital (Bourdieu 1984). The proposed paper
will present the results of a preliminary study on these “phonographic anthologies”.
The research involved both ethnographic work, notably, interviews and analysis
of web sites, and musicological analysis. One objective of the project is to measure
the extent to which the selection of songs, and their actual sounds relate to users’
description of the music and of its effects. Approached from the theoretical angle
of polytextuality, these preliminary results should point to the importance of
studying a practice that is neglected despite its social significance.
Kwon, Donna Lee
SEM
Ppongjjak and the Culture of Korean Folk Music and Dance Transmission
Centers
This paper investigates the seemingly incongruous but welcome practice of singing
ppongjjak songs at regional transmission centers of Korean folk expressive culture.
Called “junsoogwan” or “transmission buildings,” these centers were established
as part of the government’s system of cultural preservation set in motion in the
early 1960’s. Junsoogwan are usually built in the village or locality that a given
style is believed to have been developed. As a result, going to the junsoogwan for
a week-long training session is just as much about learning specific rhythms or
dance movements as it is about immersing oneself in a realm where the landscape,
sights, sounds and smells of “folk” life are felt to be more authentic and real. It can
be said that the participants of these junsoogwan have created a unique culture
where, in general, items or customs that are considered “native” or “folk” are
encouraged while that which is considered “foreign” are not. Though not part of
the official curriculum of the junsoogwans I visited from 1999 to 2002, the
enthusiastic singing of popular songs such as ppongjjak is perplexing not only
because it is considered a “popular” as opposed to “folk” genre but because it is
widely acknowledged as having Japanese colonial origins. In examining how to
interpret this unusual practice of ppongjjak, I will explore its role as “play” within
the structure of the training session and, more specifically, as part of the process
of “orientation” through which points of commonality and “otherness” are
negotiated and “played” out.
Lacasse, Serge Universite Laval
Phonographic Anthologies: Mix Tapes, Memory, and Nostalgia
Laird, Tracey Agnes Scott College
SEM
A Voice to Explode the Heads of Aliens: Slim Whitman, Webb Pierce, and
Other Lost Aesthetics of Country Music in 1952
In the 1996 science fiction comedy Mars Attacks, a boy stumbles upon the only
viable weapon against the devastating onslaught of alien invaders—the soaring
falsetto of Slim Whitman singing “Indian Love Call.” Whitman first recorded
“Indian Love Call” in 1952 at the Shreveport radio station KWKH after hours,
reinterpreting a tune from the 1920s operetta Rose Marie, and highlighting the
“shooting star” technique of his steel guitarist, Hoot Rains. Singing style,
accompanimental gesture, choice of material, and even recording locale, belong to
an era of country music when aesthetics were open-ended.
SEM
Webb Pierce’s vocal style also translates only with effort across the decades to ears
attuned to a more modern country sensibility. In other words, Mars Attacks might
have amused as well if Pierce’s sharp honky-tonk voice, supported by another
innovative steel guitarist, Bud Isaacs, had protected Earth’s inhabitants. The
potential for amusement springs from a disjuncture between certain qualities in the
music and a modern aesthetic sensibility. It may be this disjuncture that accounts
for the delay in official recognition of Webb Pierce as a critical player in country
As illustrated by Nick Hornby’s High Fidelity (1995) and the release of its
cinematographic adaptation (Frears 2000), the practice of assembling personal
collections of music (“mix tapes”) is now a prominent activity among music fans
around the world. However, there has been very little interest in this aspect of
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October 1-5
Abstracts
Lamkin, Kathleen
University of La Verne
CMS
music history: Pierce was not memorialized as a member of the Country Music
Hall of Fame until 2001, a decade after his death, despite the fact that the 1952
recording of “Wondering” began a string of successful releases that make him the
eminent country music recording artist of the 1950s. Both Webb Pierce and Slim
Whitman represent an aesthetic of 1950s country music that is now lost.
For musicians of the 21st century are the traditional career paths offered by the
musical academy too narrowly focused? Who are the music students who would
benefit from a broader variety of career choices? How can faculty mentor these
students into careers outside the traditional fields of music? How can our
institutions assist students in finding out about career options? What are the
answers - career placement and counseling services, internships and or service
learning, guest speakers, curriculum changes? A panel of CMS Regional Chapter
Presidents presenting views from their regional meetings this past spring will
address these questions and others. Following the reports from the regional
chapters there will be time for questions from the audience and further discussion.
Lamb, Roberta Queen's University
SEM
'Sounding Apart Together': Ruth Crawford Seeger & Charles Seeger;
American Music Education & Ethnomusicology
Charles Seeger's music composition treatise (1923, 1930, 1994) outlines his
principles of "dissonant counterpoint," characterized as "sounding apart together."
I explore the "sounding apart together" of Ruth Crawford Seeger and Charles
Seeger in music education, which appears to follow a complementary pattern
similar to that found in their music theory and composition (Greer, 1999; Nicholls,
1990; Rao, 1997; Strauss, 1995; Tick, 1990) and their theories of singing
style/transcription (Tick 1999). Ruth apparently influenced Charles in music
education. The cooperation among progressive educators and musicologists formed
another "sounding apart together" during the 1940s-1950s. While Ruth taught
music and made folk song collections, Charles, other musicologists, and folklorists
advocated for the inclusion of American folk music and non-European musics in
American education, 1940-1953 (the years when Charles Seeger headed the Music
Division of the Pan American Union and the years during which music education
was central to that division). The Seegers' pursuit of a living folk music tradition
was a subtle blending of modernism and folk idiom, recognizing what the folk
idiom had to offer modernist values in music and education. Locating their
interests on the edges of musicology, music theory, and music education, I identify
a social "dissonant counterpoint" that becomes logical and meaningful in the
context of "sounding apart together." This subtlety may have been lost in
scholarship accentuating the differences between the ultra modernist music and
folk music traditions. I trace the Seegers' ideas and attempt to demonstrate the
value of this subtle "dissonant counterpoint" for ethnomusicology and music
education.
Lamkin, Kathleen (University of La Verne), moderator and CMS Regional Chapter
Presidents: Mark Alburger (Vacaville, California), Pacific Central; Barry
Bilderback (Linnfield College), Pacific Northwest; Sam Magrill (University of
Central Oklahoma) South Central; William Everett (University of Missouri Kansas City), Great Plains; Diane Follet (Muhlenberg College), Northeast;
Jonathan Green (Sweet Briar College), Mid-Atlantic; Keith Koons (University of
Central Florida), Southern; David Kopplin (California State Polytechnic University
- Pomona), Pacific Southern; James Perone (Mount Union College), Great Lakes;
and Elizabeth Schauer (Alamosa College), Rocky Mountain
Lapidus, Benjamin
SEM
¡Lo tuyo no rima na’!: Current Trends in Salsa Vocal Improvisation
This paper presents some of the creative developments in soneos, the vocal
improvisation techniques for Afro-Cuban son-based musics, commercially referred
to as salsa. Scholars such as Peter Manuel and Christopher Washburne have
outlined the basic premises of vocal improvisation in salsa, both stressing phrasing
that adheres to clave and use of recurring and stock motifs. Recent recordings and
live performances feature competitive dueling vocal improvisations that do no not
adhere solely to Latin American poetic structures such as décimas or coplas.
Instead singers use both short and long-forms, complex melodies, tongue twisters,
and vocalized percussion, all seamlessly blended with laid-back phrasing and
clever insults. Strict adherence to clave-based phrasing is often jettisoned and the
68
October 1-5
Abstracts
Lechner, Ethan University of North Carolina, Chapel Hill
SEM
Colin McPhee’s Tabuh-tabuhan as Modernist Interpretation of Balinese
Gamelan
singer can’t repeat stock phrases; paramount in such exchanges is the unspoken
law of not repeating oneself. Calling himself “El dueño del soneo” (the boss of
vocal improvisation), the Puerto Rican singer, Carlos “Cano” Estremera, remains
at the forefront of such innovations. As he is always up for a good duel, the results
have been recorded both legally and illegally and spread throughout the world by
salsa fans. Using video footage and audio examples from El Cano’s “matches” in
Puerto Rico and examples from Cuba and New York, this paper will outline
specific techniques and concepts used by the best vocal improvisers in today’s
salsa as well as examine how they prepare themselves and what they see as
valuable qualities for a successful vocal improviser in the genre.
As a composer and writer, Colin McPhee acted as an ambassador of Balinese
culture to the West. After living in Bali during the first few years of the 1930s,
McPhee returned to the United States in 1935 and composed his celebrated Tabuhtabuhan, a showpiece of gamelan idioms in the guise of a concerto for two pianos.
I interpret McPhee’s musical description of Bali as part of a larger project to
present the island as a home of values corresponding to those contemporary among
many Western composers. His article “The Absolute Music of Bali,” from the
same years as Tabuh-tabuhan, makes some fairly explicit connections between
Balinese aesthetics and American ones of the 1930s, for instance the impersonal
nature of expression, an emphasis on “pure form,” and on the central importance
of rhythm. I read Tabuh-tabuhan as a similar effort to connect Bali and the US,
with the sounds of gamelan transmitted as peculiarly Modern. The cultural
doubleness of the work is apparent, for instance, in its juxtaposition of dissimilar
blocks of material, evocative of both a technique associated with Stravinsky and
the Kebyar style of gamelan; and in its polyrhythms, which are simultaneous
features of gamelan, Modernism, and Jazz (as McPhee himself remarks in his notes
to the 1960 score). This paper discusses McPhee’s presentation of a combined
Modernist and Balinese style and ideology for insight on Tabuh-tabuhan itself and
as a proposed method of analyzing other hybrid compositions.
Largey, Michael
Michigan State University
SEM
Ethnographic Transcription and Music Ideology: The Politics of Cultural
Representation in Haitian Art Music
In the period after the U.S. occupation of Haiti from 1915 to 1934, Haitian
composer and amateur ethnographer Werner Anton Jaegerhuber's (1900-1953)
interest in the songs of the Haitian peasantry was part of a larger debate about the
utility of peasant culture to the Haitian nation. By transforming the rough hewn
music of Haitian farmers into a product suitable for the piano parlor, Jaegerhuber
sought connections with the peasantry that would transform not only the peasants'
social and economic relationships with Haitian elite classes, but also Haiti's
political relationships with foreign powers, especially the United States. As a
cultural worker on the forefront of the burgeoning tourism industry in the 1940s,
Jaegerhuber found an outlet for his compositions that could demonstrate the value
of Haitian peasant culture to Haitian audiences and would pique the interest of
foreign tourists during their brief visits to the "pearl of the Antilles."
Lee, Byong Won
University of Hawaii, Manoa
SEM
From Nightingale to Crow: The Change of Vocal Timbre of the
Contemporary Popular Song Singers in South Korea
In this paper, I draw upon Bambi Schieffelin's and Rachel Doucet's work on
"language ideology" in which they claim that a language's orthography is the result
of competing ideologies of power vying for control through different
representations of language. Similarly, the transcription of musical sound into a
visual format is a potent venue for debates about Haitian national identity and
reflects different political positions of competitive ideological groups within
Haitian society. Jagerhuber's "music ideology" was clearly expressed through his
ethnographic transcriptions of Haitian peasant song in which African and European
cultural influences were assigned specific musical notations.
The emergence of the contemporary popular song began during the Japanese
annexation (1910- 45), which brought a new dimension to vocal style in Korea.
The melodic contour, rhythm, expression and the vocal quality of these early
popular songs were strongly influenced by the Japanese popular songs of that time.
The prevailing vocal quality was clear, slightly nasalized and polished voice, which
is still strong in present Japanese enka and kayokyoku singing. The early popular
song singers in Korea adopted the Japanese style of vocal quality as well as other
aspects of Japanese popular songs, and this vocal quality dominated in South Korea
until the mid-1960s.
69
October 1-5
Abstracts
Currently, most of the old Japanese-influenced elements, except vocal timbre,
continue in that early style of popular song genre called ppongjjak. But
conspicuous change in vocal timbre from the polished to the strong husky quality
began in the mid-1960s. This period coincides with the return from the United
States of the Korea-born Las Vegas entertainer Patty Kim, who was one of the
leading popular song singers in South Korea at that time. Her rich and powerful
husky voice impressed many popular song singers in South Korea, and at present
the majority of Korean popular song singers stress this strong husky quality. A
few singers with polished vocal quality occasionally surface, but their fame quickly
disappears. This paper presents a historical survey of the vocal timbre in
ppongjjak, and examines how it is related to the strong, raspy, buzzing or husky
timbre of Korean traditional music.
Lee, Chinchun Chi-sun Tampa, Florida
THGIRBLA .W
more recent electroacoustic and computer music, not to mention Hollywood
American composer Henry Brant to more recent electroacoustic and computer
music, not to mention Hollywood’s preoccupation with “surround sound.” Shortly
after the advent of electronic music in the late nineteenth century came tools for
projecting sound into space around audiences: consider Pierre Schaeffer’s
Potentiometre d’Espace, for example, which allowed players to point their arms in
the direction from which sound should be heard in a concert hall. More recent
advances in this area include attempts to graphically draw spatial trajectories of
sound on a computer and to dynamically control such trajectories in real time with
various controllers.
Lentini, James Wayne State University
Montage, for piano trio
CMS
Montage is a three-movement composition that highlights the capabilities of the
piano trio ensemble, in addition to providing virtuosic solo passages for each of the
instruments. The first movement (Moderato con forza) begins with an aggressive
introduction from which most of the musical materials that follow are derived. The
second movement (Larghetto espressivo) is lyrical in nature, offering many solo
passages beginning with the violin followed by the cello and piano. These passages
are then combined and developed for the remainder of the movement. The final
movement (Allegro con fuoco) utilizes two main themes (one accented and intense,
the other melodic) which recur in varied forms that are expanded and developed
for the duration of the piece.
This composition is in memoriam of my mentor, Professor William Albright. He
was a great composer, organist and teacher. His works have been performed and
commissioned worldwide. It was a great pleasure and joy to be his student at the
University of Michigan.
Unfortunately, he passed away on September 17, 1998 at the age of 54. His death
is definitely a great loss in music world.
The piece starts with the East Asian restraint that symbolizes the sadness upon his
death, while also alluding to the meditative and mysterious side of the man himself.
The middle section reflects his outer personality and his signature compositional
style - interesting, spectacular and unpredictable! The music develops through both
smooth and contrasting moments. The ending recapitulates the sadness from the
beginning; this represents the shock of suddenly loosing someone so important.
P.S. The title is the retrograde of W. Albright. Representing the unpredictability of
life!
Leider, Colby University of Miami
Surrounded by Sound: Multidimensional Control of Musical Space
While Montage would not be considered a tonal work in the traditional sense, there
are clear pitch centers, scales, and harmonies which serve as structural pillars for
the piece. Much of the harmonic and melodic material in the first movement is
based on a six-note scale (rhythmically a sextuplet) first played by the violin and
cello (the notes A, Bb, C, D, Eb, and F). Permutations of the sextuplet group
appear throughout the first movement, yielding several other important motives.
CMS
The second movement offers contrast from the outer movements with its lyric
character, and by its pseudo-tonal harmonic structure. It begins with a modal scale
played by the violin (phrygian on C# with a missing A), by quickly shifts to a more
non-traditional set of pitches. The juxtaposition of modal and non-modal tonalities
characterizes the movement, which presents a struggle between the two harmonic
The musical potential inherent in enveloping audiences in virtual acoustical spaces
has engaged composers and musicians for centuries, from before the antiphony of
Gabrieli to the complex spatial textures of American composer Henry Brant to
CMS
70
October 1-5
Abstracts
Lim, Susie
Finding the "Flow": The Ryu Canon and New Ryu
backgrounds.
The source material for the final movement is primarily derived from an octatonic
scale, which is symmetrical eight-note pattern of alternating hole and half steps (the
notes C, D, Eb, F, F#, G#, A, and B, for example). The interval of a minor sixth
(the first two notes played by the piano) also plays an important role in this
movement, as do several other short, accented motives.
The placement of sanjo (solo instrumental genre) into the academy in 1959
changed the practice of Korean instrumental music forever. Lifted from its low
association with the kisaeng (women entertainers), sanjo was established as an
"Intangible Cultural Asset" by the Korean government in the 1960s. As is widely
recognized, its elevation in status was a domestic response to multiple factors for
the need to preserve the traditional arts in the immediate post-Japanese colonial and
post-Korean War period.
Some aspects of the materials described above appear in all three movements,
unifying the musical language of the work as a whole.
The title is a reference to the rapid shifts in character and motive interplay that
exemplify the compositional process utilized in this piece. For example, some
sections introduce brief motives in succession, mush like the technique used in film
where several pictures or images are flashed quickly on the screen. These brief
musical ideas serve as a basis for development and structure, and in the essence
determine the over all form of each movement.
In this paper I shall explore the musical effects of the elevation of sanjo and
responses of musicians to the inevitable tension between the need for preservation
and desire for individual creativity. I will draw on my field research (2001) to
consider the management of variant styles of articulating the form and the gradual
process of the canonization of sanjo as a musical genre.
The paper will have two focuses: terminology (Sino characters ryu, or “flow,” and
ryup'a, or “branch-flow”) by which the styles and performers have been identified
since the 1960s, and performers themselves. Primary attention will be paid to
Hwang Byungki (or Hwang Byongki), a renown kayagum (12-stringed zither)
performer and composer for the instrument, to comment on the process of
validation of change in an ever-hardening system instituted for preservation and its
implications for the future of Koran traditional music.
Montage was commissioned for the Essex Trio by arts patron James Persons.
Leon , Tania
Composers on Traditional and Art Music: a cultural synthesis
SEM
CMS
Cultural Synthesis
Lindman, Carolynn
San Francisco State University
CMS
Fifty Years of an International Perspective Through the International Society
for Music Education
Lifchitz, Max State University at Albany
CMS
Music by Cuban Composers: Works by Orlando Garcia and Aurelio de la
Vega
See Oliva, Giacomo - Fifty Years of an International Perspective Through the
International Society for Music Education
See Wilson, Kathleen - Music by Cuban Composers: Works by Orlando Garcia
and Aurelio de la Vega
71
October 1-5
Abstracts
Locke, David
Tufts University
SEM
Musical Relations Between Dance and Percussion Ensemble Music in
Dagbamba Performance Arts
communication to relativize the work concept that has been at the foundation of
musicological research for over a century. Musicians regularly use vocal and
gestural communication to clarify and supplement a notation that can neither fully
nor unambiguously represent musical sound. Contrary to the work concept, which
elevates composers as creative musicians and views performers as re-creators, this
ethnography demonstrates how the ambiguities and biases of notation require that
performers be intensely creative musicians simply to read and respond to notated
music. It reveals that the assumptions and values of the work concept misrepresent
the actual practices sustaining the nineteenth-century orchestral repertory – the
repertory with which the concept is understood to have developed. As a result, it
urges us to question further the work concept’s application to culturally and
chronologically distant repertories and traditions – whether within
ethnomusicology, “new” musicology, or the long-standing repertories of historical
musicology (Stock 1998, Randel 1992). Moreover, it encourages musicologists in
particular to exercise greater reflexivity, as it exposes the validity of the knowledge
and values gained through their performance training but often separated from their
research by the institutional requirements of the discipline
I will argue that analytic insight is gained by considering the musical features of
dance in relation to percussion ensemble music. My discussion of the subject will
address the following topics.
- aesthetic value—stylish public performance of personality (the self) within a
community setting (family, group) and with cognizance of tradition (relationship
of present and past)
- genre and form—group dances: sections, like a medley or suite (Takai, Tora,
Baamaya), and individual dances: episodes, several minutes of individual display
(Salma, Nakohiwaa)
phrases—movement sequences, i.e., basic steps, linked to musical passages, i.e.,
basic themes
- meter—equi-durational units within time span; multiple simultaneous meters;
displaced meters
Lubet, Alex
University of Minnesota
CMS
The Social Model Theory of Disability in the Case of Composer Richard
Wagner
- polyrhythm—multiple rhythms in dance movements (such as center-of-gravity,
path-in-space, transference-of-weight, gestures of extremities and torso), in relation
to parts in the percussion ensemble (specifically, sayelum rattle, support and
leading gung-gong bass drums, support and leading lunga squeeze drum)
Among interdisciplines which explore identity and Otherness, Disability Studies
is among the newest and most provocative. Its central theoretical premise is that
disability is a social construction emanating from biological impairment, analogous
to gender and sexual anatomy. Disability is understood primarily as a sociocultural
liability to be addressed via social policy and cultural transformation, rather than
an individual's malady to be corrected medically. While the idea that societies bear
principal responsibility for the inequities of the lives of the racial and/or sexual
Other is largely a given, the idea that this also true of people with disabilities has
been slow to gain acceptance, even among many " Progressives", unable to
imagine that accommodations in policy and technology may be a more appropriate
address of the problems of biological impairment than often futile and overly
heroic " cures".
- accent—interaction of moments of emphasis in dance and percussion
Lohman, Laura American Research Center in Egypt
SEM
Creativity and the Work Concept: An Ethnographic Reassessment from the
Rehearsal Room
While ethnographic methods have been applied to Western classical music most
notably through the broad study of representative institutions (Kingsbury 1988,
Nettl 1995), numerous benefits emerge from their use in a more focused way to
examine a recurring event within those institutions. Based on an ethnographic
study of orchestral rehearsal, this paper uses close analysis of musicians’
Disability studies in music are in their infancy; ethnomusicology is their natural
location. My presentation will introduce an ethnomusicology of disability through
72
October 1-5
Abstracts
a consideration of composer Richard Wagner: I will demonstrate this symbiosis of
great potential: the value of musical ethnography to the understanding of the social
construction of disability and the application of social model disability theory to
the understanding of music. Critical issues will be the encoding of race and gender
in Wagner's music dramas as manifestations of contemporaneous German thought
and the composer's historical position vis-à-vis the idea of Modernism. I will
conclude by addressing the application of disability theory to the study of popular
musical culture.
Lucas, Ann
America so Beautiful: The Politics of Popular Music in Irangeles
composers and contemporary music, Argentine composer Alicia Terzian has
written over seventy compositions, including orchestral and stage works, choral
and chamber music, songs and piano pieces. In addition, she has created several
electronic works involving dancers and/or actors and compositions for various
instruments and tape. Terzian has been awarded the Mozart Medal of 1995, as well
as prizes from the French and Armenian governments.
Following in the path of her renowned teacher, Alberto Ginastera, Terzian’s
musical style and development has encompassed the nationalistic idioms of her
native country as well as the experimental trends of our time. Mixed media works
and those incorporating Argentine dance rhythms share significant places in her
oeuvre.
SEM
Aspects of kitsch, exoticism, and nostalgia inform the public image of Natacha
Atlas, a musical performer of complicated geo-cultural origins. Born in Belgium
to a Jewish father who traces his own roots to Egypt and Morocco by way of
Palestine, Atlas reached international attention through the polyglot musical
practices of the early technopop collective Transglobal Underground. Though
Atlas’ singing in Arabic is one of the elements that had most connected her to the
group’s ideological interest in a transglobal, unified world, her extroverted bellydancing on stage was also an element of spectacle that has continued to provide for
much continued recognition of her music in the world music market. Beyond the
issue of how she uses dance to deploy her gender, her engagement with an Arabic
cultural heritage is fundamental to Atlas’ project. This employment of Arab
cultural markers is meant to signify a political discourse. Atlas sees herself as
embodying an effort to reverse, close, and heal a false division between Arabic and
Jewish cultural practice—a division that opened due to historical
circumstances.Judgments about the value of her appropriations depend on the
position of the listener. Her attempts to elide political differences by way of
cultural and spiritual transcendence can be read by some as liberatory, or even as
contemporary liberal hybridity’s well-meaning yet ultimately poor cultural
stereotyping. But by others, it can be seen also as merely an example of cultural
trespass or crude striptease.
For this lecture-recital, I will perform two early piano works that reveal her
distinctive combination of traditional idioms and contemporary techniques of the
time. These pieces are: Toccata (1954), a brilliant, yet sophisticated work which
Terzian wrote as a student, which features an ingenious combination of tonality,
bitonality, and a harmony based on ever-changing perfect fifths; and Juegos para
Diana, a children’s piece in the tradition of Federico Mompou’s Scenes d’Enfants.
Each work has an immediate appeal of character and rhythm?an ingenuousness that
belies its sophisticated structure.
Lysolff, Rene T.A.
Worlding Music Theory
Speaking broadly, it is safe to say that the history of ethnomusicology is intimately
bound up in the history of recording technology. It is also perhaps safe to say that
the history of Western music theory is intimately bound up in the history of
musical notation. In other words, for ethnomusicologists, the musical “text” has
traditionally been the audio recording (or the live event) while, for the Western
music theorist, it has been the score. Furthermore, while music theorists have
focused on pushing the limits of Western musical knowledge, ethnomusicologists
have reflexively explored other musical epistemologies and the societies that gave
rise to them.
Lucia, Margaret
Shippensburg University
CMS
Tradition and Innovation: The Music of Argentine Composer Alicia Terzian
This historical divergence between the two fields has had profound implications
for the kinds of questions they each pose in doing the work of musical analysis.
I argue in this paper that ethnomusicology has no single “music theory” as a
Composer, musicologist, conductor and tireless champion of Latin American
SEM
73
October 1-5
Abstracts
Magriel, Nicolas
SEM
Khyal as property: power considerations in the transcription of North Indian
classical songs.
coherent sub-discipline. It may be because music theory for ethnomusicologists
means studying not only the structure and meaning of music but also the nature of
musical community (music in or as culture). At the same time, we might say that
ethnomusicology has many theories of music. After all, it is concerned with the
diversity of musics in existence throughout the world. Yet, ethnomusicologists all
too often limit the scope of their research to the particularities of a particular genre,
style, or region. The question is: how might music theory be reconfigured to
transcend the discursive exuberances and deficiencies inherent to Western and nonWestern music study?
Short songs in dialects of Hindi are the basis for improvisation in khyal, the
principal genre of contemporary North Indian classical vocal music. Khyal songs
are not defined by written representations, but are transmitted orally, committed to
memory, and re-created through performance.
During the twentieth century several collections of khyal songs were published for
pedagogical and archival purposes. This development was largely catalysed by the
Independence movement and the widespread perception of a need to reclaim
India’s cultural identity. Songs which had been the closely guarded property of
hereditary musicians were brought into the public domain. Musicians from the
emerging middle classes gained not only the power of access to the repertoire, but
also the power exerted by literacy itself. The written word gave a stamp of alleged
authenticity to song compositions, shifting the locus of musical authority.
Maciszewski, Amelia
SEM
Guria, Gossip, and Globalization: Crisscrossing Discourses on Presenting
Socially Marginal North Indian Musicians to the Mainstream
In this paper and accompanying video, I present my most recent fieldwork in North
India (January-February 2003), in which I explore the network of crisscrossing
discourses regarding the politics of representing North India’s tawaif-s (courtesans)
and their performance as “culturally authentic” icons of Indian tradition that
embody music, memory, and nostalgia. Through an examination of direct and
reported speech, oral and musical performance, exhortative speech, and debate, 1
analyze the dialectic emergent in these discourses. This dialectic pushes and pulls
from several perspectives, namely 1) that of the proactive nonprofit organization
Guria Sevi Sansthan’s agenda to empower socially marginalized women musicians
and entertainers to fight forced prostitution, 2) the simultaneous curiosity and
discomfort on the part of the mainstream (members of the press, elite musicians,
and music presenters) regarding the incongruity between the notalgia about the
tawaif-s as a symbol of India’s courtly past and the present-day reality of forced
prostitution and 3) the mainstream’s aggravated unease vis-a-vis my role in the representation ol a “negative” aspect of Indian “culture” and “tradition” globally.
Entangled in this juxtaposition of voices is the ongoing negotiation of rapport
among the musicians, Guria’ s leader, and myself regarding my/our re-presentation
of tawaif-s and their musical culture globally.
The majority of contemporary khyal is performed by literate musicians who are
able to consult published texts. Many singers keep their collections of song lyrics
in treasured notebooks which they carry everywhere. How has the power of
literacy affected the music itself?
In our work on khyal songs, we are endeavouring to make a collection of
transcriptions based on the readily verifiable evidence of commercial disc
recordings. By accurately documenting specific instances of song performance, we
in small measure return power to aural reality. The present paper will survey the
power of transcriptions, the power to transcribe and the powers which have shaped
written representations of khyal songs.
74
October 1-5
Abstracts
Magrill, Sam
University of Central Oklahoma
CMS
francophone West African countries and the appropriation of African diasporic
music by Africans. Additionally, the body of work on globalization and
transnational urbanism centers on First World cities. This paper addresses this lack
of scholarship through an examination of salsa in Dakar, Senegal.
Malvini, David Independent Scholar
Django's Children: Gypsy Crossings in European Jazz
Since the 1940s Latin American music has played a vital role in Senegal’s popular
music scene. Senegalese musicians first imitated the tango, bolero, paso doble,
son, and pachanga. However it was the Cuban son that prevailed as the dominant
genre and formed the basis for a Senegalese style of salsa. In the 1970s, salsa was
combined with jazz, rhythm and blues, and local Senegalese popular styles such
as sabar (indigenous drumming) to create the fusion music mbalax. Today salsa
in Senegal exists as a distinct style performed by such groups as Africando and
Orchestra Baobab and as the hybrid genre known as salsa mbalax that features
sabar.
SEM
Now legendary is the Parisian collaboration of Gypsy guitarist Django Reinhardt
and violinist Stephane Grappelli, who as the Quintette "The Hot Club of France"
pioneered a style of performing popular songs which perhaps stands as Europe's
greatest contribution to jazz. Although their style remains current, an unexplored
aspect of The Hot Club's inimitable style is their reliance on the perception of the
tropes of Gypsiness, especially virtuosity, deep expressiveness, and an overall
seductive quality to the sonic experience—indeed, from contemporary accounts it
appears that the temperamental and passionate Django was the leader, practically
and spiritually, of the Quintette. Yet because these Gypsy tropes can be common
to jazz generally, we shall focus on the impact of an element not so found in
American jazz of the 1930s and 1940s: the elevation of string instruments to
soloistic roles, what we shall argue is the legacy of the Hungarian-Gypsy primas
tradition. We shall next consider the vibrancy of Django's legacy on the current
Hot Jazz scene, also known as "Musique Manouche" in France or "Sinti jazz" in
Germany, both expressions directly referring to the darkness of Gypsy skin.
Director Tony Gatlif's film “Swing” and guitarist Bireli Lagrene's two recent
"Gypsy projects," covert tributes to Django, will be compared as manifestations of
Django's original music, which to our knowledge was never marketed solely as
"Gypsy jazz." Clearly at stake in this musical marketing is that "Gypsy" as a
signifier has become a powerful ingredient for the distribution of this style of
music.
What are the musicological features that characterize Senegalese salsa? In what
ways does Senegalese salsa represent Dakaroise cosmopolitan attitudes? I argue
that Senegalese salsa is a national style reflecting local and global cosmopolitan
identities. I analyze Senegalese salsa performances and music based on fieldwork
conducted in Dakar nightclubs, interviews with musicians and fans, and my
experiences as a performer with salsa mbalax groups.
Marshall, Wayne
University of Wisconsin, Madison
SEM
Hip-hop in Jamaica: Representing the Local through International Sound
What does it mean for Jamaican youths to express themselves primarily through
hip-hop—including African-American accents, the distinctive flows or rhythms of
rap, and “gangsta” clichés—yet still claim to be “keeping it real” in “representing”
Jamaican reality? Empowered by and critical of American economic and political
power, hip-hop offers Jamaicans a complex and contradictory cultural product for
continued creative invention. By probing Jamaicans’ ambivalence about hiphop—simultaneously bemoaned as another symbol of U.S. cultural hegemony and
celebrated as a musical prodigal son—we can learn a great deal about the way that
particular Jamaicans perceive and negotiate their relationship to the U.S. and to
Jamaica. How do factors such as class, race, age, and religion influence an
individual’s embrace or rejection of hip-hop as an authentic idiom? How have the
mass media, now largely imported from the U.S., or new patterns of migration
affected hip-hop’s resonance among Jamaicans? Might a focus on Jamaica’s
Mangin, Timothy
St. Lawrence University, Columbia University SEM
Senegalese Salsa: The Representaion of Cosmopolitan Identities
Ethnomusicological studies of salsa have tended to concentrate on issues of
identity in the Americas and the Caribbean. Little research focuses on salsa in
75
October 1-5
Abstracts
longstanding relationship to hip-hop challenge the prevailing story of rap music?
Considering the thirty-year conversation between dancehall and hip-hop, a history
pervaded by popular narratives of origins, migrations, and constant exchange,
Jamaica constitutes a critical site for examining hip-hop’s significance outside of
the U.S. The contemporary interplay between hip-hop and dancehall, from
Kingston to New York and back again, highlights music’s crucial role in the
imagination and projection of such concepts as Jamaican, not to mention (African)American, culture and nation.
Maus, Fred E. University of Virginia
Using and Delimiting Music Theory
Maultsby, Portia
Indiana University
SEM
Reformulating Tradition and Redefining Meaning: The Rhythm and Blues
Aesthetic in the "Rock 'n' Roll" Era
One response is to legitimize other musics, adding them to the content of theory
courses. This can be valuable, but it is misleading unless conjoined with critical
contextualization of the discourse of music theory.
The migration of millions of African Americans from the rural south to the nation’s
industrial centers during the World War II era altered the demographics and the
character of life in urban America. Within the boundaries of de facto segregated
communities, African Americans adapted to urban life by transforming their rural
traditions into new expressions. In this context, black musicians created a bluesjazz-hybrid and a jazz- jubilee- and blues-oriented quartet style categorized as
rhythm and blues. This music embodied the spirit of city living and the sounds of
new technologies. By the mid-1950s, a new generation of African American
musicians had reformulated the content and aesthetic parameters that defined the
pre-1950s rhythm and blues tradition. Expressing their own experiences, aesthetic
priorities and cultural values, they replaced the blues text with teen-oriented lyrics,
introduced elements of black gospel music to the vocal quartet style (later known
as doo-wop), and replaced the shuffle or “jump” rhythm a new beat labeled “rock
‘n’ roll” by the music industry.
While music theory may seem effective in legitimizing "classical music," some
scholars have argued that it offers an inadequate approach even for the music for
which it was created. Music theory abstracts from performances, addressing
qualities attributed to "works"; and it offers a narrowly normative account of
musical experience. Several scholars (Brett, Cusick, Maus, Guck and others) argue
that these misrepresentations constitute a masculine defense against crucial aspects
of musical life that are incompatible with hegemonic masculine self-images.
Introducing concepts of music theory and methods of musical analysis, focusing
on a canon of European "art music," music theory courses carry strong evaluative
messages. They legitimize one tradition of music as rational and, at least implicitly,
deny this to other musics. They endorse an ethnocentric hierarchization, congruent
with the idea that one kind of music deserves intrinsic study, while other musics
can be studied only contextually or practically.
Conclusions for pedagogy are not simple. An honest approach to pedagogy of
music theory, for "its own" European musics as well as in extensions beyond,
should combine training in concepts and skills with a more skeptical commentary,
somehow using music theory while insisting on its limitations. This requires a very
different style from ordinary theory pedagogy, with its emphasis on terminology,
rules, and drill.
The rhythm and blues styles of the second generation of black performers moved
from the margins to the mainstream of the American society under the labels of
“pop” and “rock ‘n’ roll.” This form of cross-cultural marketing assigned new
meanings to both traditions and obscured the connection of the l950s styles to
earlier rhythm and blues tradition. This paper will examine the innovations of the
1950s generation of rhythm and blues musicians that broadened the aesthetic
parameters of this tradition and simultaneously redefined the sound of mainstream
American popular music.
SEM
May, Beverly New York University
The Chocolate City Legacy: Race & Class in Detroit Techno
SEM
Racial and class issues have heavily influenced the creation andevolution of
Techno music, a sub-genre of electronic dancemusic that evolved out of Chicago
House and emerged in Detroit duringthe 1980's as a form of "Black" music: it was
created byAfrican-Americans, for an African-American audience, within
anAfrican-American socio-cultural heritage and mileu, and it containeddistinct
African-American musical elements. However, Techno's was alsoheavily
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Abstracts
influenced by prior white and/or European artists and musicalmovements,
including Germany's Kraftwerk and many "industrial" and"electro-pop" groups of
the 1980's.
relate to music and contexts for music making over time. The major genres will
then be introduced: dance tunes, step dance, set dance, and songs in the Irish and
English languages. This introduction will be followed by an overview of musical
instruments in the tradition. Audio and audio-visual examples of the instruments
will illustrate how they are played, how they sound, and instructional strategies for
presenting them to students. This material will include listening charts.
Techno became enormously popular with European audiences from its earliest
releases, and soon morphed into a global genre associated with European producers
and the predominantly white Rave scene. These changes, in turn, influenced the
genre's form and subsequent evolution,diminishing the subsequent public
awareness and influence of the genre'sAfrican-American roots.
After the instrument survey, examples will be presented of the dance tunes
themselves-jigs, reels, and hornpipes. We will focus on their structure and
distinctive rhythms by listening, clapping, and teaching a dance such as Fallai
Luimni (The Walls of Limerick). The dance will be accompanied by the presenters.
The last section of the workshop will introduce Irish singing traditions.
Ornamentation and performance practice will be discussed as participants listen to
two versions of the same song and then learn to sing the song themselves.
Some Techno scholars, such as Simon Reynolds and Bill Brewster, have tended
to cover Techno's racial and class evolution from a Eurocentricstandpoint, while
others have implied but not explicitly analyzed the music's complex AfricanAmerican racial and cultural heritage, such as Dan Sicko. My research attempts to
clarify the impact and role of the music's socio-cultural heritage on its form, impact
and evolution.
McCord, Kimberly
ATMI
Using MIDI Instruments for Reaching Children With Special Needs
McCarthy, Marie
University of Maryland
CMS
for Music Education
Children with special needs are often a challenge for music educators to include in
their classes and ensembles. Music educators are often not even sure if disabilities
impact music learning and understanding. Under current federal law (Individuals
with Disabilities Act of 1990) music educators are expected to include children
with disabilities in their music classes. Observing children create music using
music technology is a powerful way to understand how their disabilities impact
them musically. A variety of children with disabilities will be discussed with
supporting video clips and MIDI files. MIDI instruments such as the SoundBeam
and DrumKat are used along with keyboard synthesizers and software to help reach
children musically.
McCarthy, Marie
CMS
This presentation falls under the "Music Education" category in the CMS Call for
Program Participation. The session addresses how Irish traditional music and dance
can be presented in the K - 12 classroom. Our focus in this
demonstration/workshop will be interdisciplinary: through our presentation of
particular music and dance forms, we also illustrate other aspects of Irish culture
from both an historical and a contemporary perspective. The session will include
lecture, listening, and hands-on activities.
McGee, Kristin University of Chicago
Imaging the Gender of Jazz: All-Girl Bands on Film, 1928-1946
This paper investigates a number of “all-girl” bands featured in music films from
the late 1920s to the 1940s, which have until now, been mostly forgotten and
seldom viewed since their initial releases (Tucker 2000, Rosetta Records 1990,
Jezebel 1986). All-girl bands first appeared during the 1920s in short-subject films
and later, in the forties, as Soundies, three-minute music films played in mini-film
The workshop will begin with an overview of the nature and scope of Irish
traditional music, including a brief background of political and social issues as they
SEM
77
October 1-5
Abstracts
boxes strategically positioned in ballrooms, theatres, cafes and hotels (Terenzio
1995). The various feminine representations of all-girl bands reveal a range of
gendered assumptions put forth by the industry through the revolutionary medium
of soundfilm including the cult of “white” womanhood, the patriotic service girl
and the “hot” and glamorous jazz band director. The few extant reviews of the
original, pioneering all-girl musical films betray the double burden experienced by
women musicians who performed in the public domain from the 1920s on. The
industry’s obsession with female attractiveness and the more damaging assumption
that good-looking women or “ringers” were not capable of playing professionally
further perpetuated the notion that all-girl music was merely a novelty, a gimmick
or a commercial ploy. In the early days of soundfilm, many of those all-girl bands
presented on film also performed in theatres as openers to feature-length films.
Phil Spitalny and his Hour of Charm Orchestra, for example, opened for several
Paramount features in New York City, including Artists and Models (1937)
starring Jack Benny and featuring Louis Armstrong in a musical cameo, while Ina
Ray Hutton and her Melodears provided the overtures in New York for a
Hollywood adaptation of Marie Antoinette (Buckley 1989). The number of all-girl
bands performing live in theatres both before talkies and after in the 1930s suggests
that their role as professional musicians was firmly established prior to their
assumed “novelty” appearances in short subject films in the 1930s and 1940s.
education in teaching traditional music. Included are the problems of balancing
respect for tradition with the need to innovate, the acceleration of change required
by the commercial world, and the ability of academia to respond to the multidimensional aspects of an oral tradition when brought into an institutional
framework. The paper will end with a consideration of whether such programs
could work similarly with U.S. institutions—and whether that is a desirable goal.
McLucas, Anne Dhu
University of Oregon
O Brother: The Creative Use of Film in Teaching Oral Traditions
Ever since the film 'Amadeus' created an unprecedented interest among college
students in the music of Mozart, music teachers have been aware that popular films
can entice university students into learning about a new topic. The film by the
Coen brothers, 'O Brother, Where Art thou' provides the opportunity to create a
course on another topic that has not been at the forefront of popular courses since
the 1970s-American folk music.
Just as with 'Amadeus,' 'O Brother' must be used judiciously and with supplemental
material to show which of the many performance in the film are traditional and
which are 'show business,' but the very act of teaching students how to tell the
difference and where to look to find the original performances can be instructive.
Since the film itself provides a form of context around the music, it is a good
starting point for teaching how oral tradition connects with work, religion, political
action, entertainment, and commercial recording. By using comparisons to both
documentaries and other commercial films, one can also show the uses of music
in film and the ways in which it is manipulated to tell a story. Most valuable,
however, is to have students take on as projects a closer look at each one of the
kinds of music in the film-their genres, their context, their original performer(s),
and their collection history.
McLucas, Anne Dhu
SEM
The Scottish Experiment: Incorporating Traditional Music Into Higher
Education
The interplay of oral and written music and traditional, popular and art music, has
been an ongoing feature of Scottish musical life since the 17th century. In the 20th
century this interchange reached new heights and entered the arena of commercial
music in the wake of the folk revival of the 60s and 70s, which is in some sense an
ongoing phenomenon in Scotland. Two major, prestigious institutions of higher
education in Scotland, and many smaller ones, have played an important role in the
late 20th and early 21st centuries in joining research to the practice and promotion
of Scottish traditional music: the School of Scottish Studies at the University of
Edinburgh, and the Royal Scottish Academy of Music and Dance in Glasgow.
After an intensive period of visiting classes, interviewing faculty, students,
administrators, alumni, and outside observers (as a Fulbright Distinguished Scholar
in 2002-03), I have formed a picture of a vibrant interchange of research,
performance, and commerce, which brings up fascinating issues of the role of
CMS
This presentation will give a sampling of how such a course is taught and what
kinds of projects can help students gain an understanding of the process of
collecting and studying folk music.
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Abstracts
McPherson, Eve
Vocal Timbre in Islamic Calls to Prayer Across Cultures
SEM
where unemployment figures are amongst the highest across the nation, how might
“isigqi” – “power” understood as an aesthetic principle – translate into “amandla”
– “power” accumulated in the world of social practice and institutions? The
particular form of masculinity forged in ngoma might be an increasingly important
resource for young men, given the postapartheid circumstances against which they
struggle. Yet the valorization of this form of the young male body also plays a
critical role in the undoing of the body through sickness and injury.
This study begins with the premise that cultural aesthetics govern the production
of vocal sound, especially since the voice has communicative capabilities that
transcend language. If this is true, then a cultural aesthetic claimed by its adherents
to span political borders ought to prescribe common features in music whose
cultural context may be otherwise vastly different. This paper is a case study in the
use of vocal timbre analysis as a method of isolating and examining acoustic
details whose production may respond to the expectations inspired in listeners by
such an aesthetic. Difficulties associated with analyzing vocal timbre begin with
ethnomusicologists who may be insensitive to subtle but culturally salient acoustic
details which define a genre or aesthetic to listeners indigenous to the music. This
paper presents a case study of a method which attempts to skirt such problems by
isolating a collection of acoustic features that correlate with broad indigenous
characterizations of sound. Specifically, I will compare samples of the Islamic call
to prayer as recited by mu’adhdhin from Middle Eastern and North African
cultures. This comparison provides an interesting case study for several reasons:
(1) its acoustic presence defines Islamic communities; (2) it is recited in Arabic
regardless of the local language; (3) religious texts note that there is a preferred
vocal sound. Using spectrographic analysis, this study seeks to establish whether
uniform acoustic features unite the call to prayer across cultures, and whether those
features correspond to an express pan-Islamic ideal.
Meintjes, Louise
Duke University
Ngoma song and dance and the disintegrating body
Meizel, Katherine
Timbre as a Conveyor of Meaning in Cross-Cultural Lullabies
Issues of meaning in music have long been at the forefront of musicological and
ethnomusicological research, though a paradigmatic approach has been elusive.
The goal of this study is to identify and explore meaning-bearing elements within
examples of one cross-culturally functional genre of music: the lullaby. Previous
research has shown that lullabies share acoustic and affective characteristics across
cultures to an astounding degree. One premise of this paper is that the generic
restrictions imposed by contextually-sensitive and goal-oriented music produces
similar vocal features, which in meeting the requirements of the genre, transmit
meaning more easily than more “free-form” music. I will include timbral analysis
of lullabies sung by both mothers and fathers, comparing renditions sung normally
to their infants with renditions of the same song sung by parents with no baby
present. Spectral components of these examples will be related to findings in
previous studies addressing timbral considerations in emotional speech. As a case
study, this paper will contribute to a model of meaning in music, and of emotion
in the context of singing.
SEM
This paper examines the forging of an expressive masculinity in Zulu ngoma song
and dance performance, in contemporary rural KwaZulu-Natal, South Africa.
When definitive features of responsible and proper Zulu manhood are acutely
difficult to sustain in contemporary KwaZulu, how do young men negotiate a
pathway into mature adulthood within the community? I use the practice of ngoma
song and dance as a prism into the world of this question.
Mendonca, Maria
Independent Scholar
SEM
Exploring The Role of New Composition in Validating The 'Authenticity' of
British Gamelan Performance
The notion of ‘authenticity’ in performance, a charged concept in any context,
takes on complex dimensions when applied to Javanese gamelan performance in
Britain, a performance culture which is not a consequence of the activity of a
migrated Javanese minority, and is comprised overwhelmingly of people with no
ethnic or cultural ties to Indonesia.
Based on ethnographic research around one song and dance team and drawing on
South Africanist masculinity debates, I analyze the virtuosity of individual display
and the quality of collective singing. In a community sited at the center of the
continent’s HIV/AIDS epidemic, in a region historically ravaged by violence,
SEM
79
October 1-5
Abstracts
The majority of Javanese gamelan groups in Britain play a mixture of traditional
Javanese and new British repertory, in different proportions. Not all players value
the creation and performance of new repertory to the same extent (or indeed, at all).
However, even those who are strongly disinterested in new composition for
gamelan appear to recognize its importance in providing “a bridge between musical
cultures,” a point of connection which not only balances programs but also attracts
audiences and promoters.
government's creation of a cultural heritage scheme that teaches tuk in schools will
also be considered.
This role is reinforced at the supercultural level. In trying to ascertain where
gamelan performance fits in the British cultural mosaic, arts funding agencies
appear to have come up with a rationale for its support: as long as the performance
of traditional Javanese repertory acts as a stimulus for the creation of music for a
British context, then it has funding viability. As such the development and
performance of new composition provides British gamelan performance with a
major part of its “authenticity,” if not in terms of how it views itself (players can
be divided on this point) then in terms of how it is perceived by others.
Meredith, Sharon
University of Warwick
Tuk Music and Modern Barbadian Identity
Mickey, Maud Northwestern University
CMS
for Music Education
Milburn, Ellsworth
Entre nous
CMS
Entre nous, for violin, cello, and piano, is in two movements. The first is marked
"Slowly, flexibly; agitated." The second is marked, simply, "Fast."
Each movement follows somewhat classical models in terms of structure and
proportion. The first movement is a modified ABA form, beginning and ending in
a quiet and atmospheric manner, while the middle section is dramatic and intense.
The second movement is relentlessly fast, and is in the shape of a slightly
asymmetrical rondo, with the A sections returning almost literally to provide aural
pillars in the structure of the piece.
The harmonic and melodic vocabulary is based on a 10-note scale, which, in the
whole and in its subgroups and transpositions, allows for exploration of contrasting
consonant and dissonant sonorities.
Entre nous was commissioned by the Music Teachers National Association and the
Pennsylvania Music Teachers Association. It was given its premiere by the
Kandinsky Trio at Susquehanna University on November 8, 2002.
SEM
Tuk, one of the Caribbean family of fife and drum musics, is today promulgated
as the indigenous music of Barbados, and officially considered an essential part of
modern Barbadian identity. It is presented to tourists as part of cultural shows, is
played at official functions, and is taught in schools as part of a national cultural
heritage scheme. Traditionally, however, tuk was associated with the black
working classes and therefore looked down on by other quarters of society,
particularly as it was closely associated with the village rum shop. This led to tuk
being derided and, coupled with the social developments of the twentieth century
and the replacement of live entertainment with jukeboxes, radio and television, tuk
went into decline. By the time Barbados gained independence from Britain in
1966, tuk had almost disappeared.
Miller, Kevin University of California, Los Angeles
SEM
Desi Sounds and Festival Grounds: Authenticity, Identity, and Muscial
Syncretism at a South Asian-American Festival
In this paper I examine the adoption of tuk as part of the creation of a post-colonial
national identity rich in the heritage of the majority black population. Its inclusion
in Cropover, Barbados' version of carnival, and the development of an annual tuk
competition will be examined, as well as tuk's place in tourism. The role of Wayne
Willock, a non-working class practitioner, who has significantly contributed to the
revival and recontextualization of tuk, will be discussed. Reasons behind the
Hunlock Creek, Pennsylvania
This paper examines the emerging trends of music production and consumption
among South Asian-Americans, and queries the relationship between such musical
activities and the formation of a “hyphenated” cultural identity. Self-described as
desis, South Asians in North America must negotiate between their cultural origins
80
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Abstracts
in India or Pakistan and the larger multicultural setting of the United States or
Canada. Perhaps not surprisingly, the music of the younger, second generation of
South Asian-Americans reflects this tension between cultural and national identity
through various styles of music that couple South Asian genres with the now
global pop genres of hip hop and house, among others. Inseparable from the
discourse surrounding the emergence of these new musical forms is the issue of
authenticity, which is held in tension with the expectations of both South AsianAmerican and mainstream audiences. The case study for this paper is Artwallah,
a multimedia arts festival of the South Asian diaspora that has occurred annually
in Los Angeles since 1999. The ideological space created at the festival
encourages an inherently “hybrid” style of artistic expression, and the participants
at Artwallah 2002 may represent an emerging genre of South Asian-American
music distinct from related models of Indo-pop music in urban India and the UK.
As this new "Desi-American" music searches for its voice, it both reflects and
contributes to a maturing transnational identity among people of South Asian
heritage in the complex sociopolitical context of North America.
Subsequently I present a preliminary case study of interactions between folk music
enthusiasts and lifelong “traditional singers” in southern Georgia, showing how
these singers actively co-opt and subvert the stereotypes of linked authenticity and
backwardness.
Miller, Richard C.
University of Wisconsin
SEM
Preservation, Renewal, Appropriation: Authenticity in the Japanese Minyô
Transcriptions of Fujii Kiyomi (1899-1944)
The act of transcribing involves aesthetic choices regarding the selection of musical
features to transcribe as well as their representation on paper. These choices
provide clues to the underlying conception of an authentic identity, which may
range from very local to supranational, and from class-specific to universal. In
Japan, the transcription of traditional music has historically taken place in service
of three goals, all of which relate to notions of an authentic identity: the
preservation of a changing repertoire, the renewal of a flagging tradition, and the
appropriation of musical practices for use in other genres. Although the goals of
preservation, renewal, and appropriation are often grounded in very different
constituencies, their linkage via authenticity at times enables simultaneous
movement toward all three goals in spite of the significant disjunctures between
them. Indeed, in some instances a single person may deliberately strive to
accomplish all three goals. In this paper I consider one such person, Japanese
composer Fujii Kiyomi (1899-1944). By comparing the minyô (folksong)
transcriptions he created in the late 1920s for the journal Minzoku geijutsu [Folk
Performance] and the anthology Sekai ongaku zenshû [Complete Collection of the
World’s Music] with his work as a composer of solo and choral music in the
western classical tradition, I suggest that Fujii located the key to developing a
unified Japanese national identity in the preservation and revitalization of diverse
local identities.
Miller, Kiri
Harvard University
SEM
A Middle Ages for America: Song/Politics/Praxis in the Rural South
At the end of the nineteenth century, music critics and composers bemoaned the
absence of an authentically American folk music that could serve as the basis for
American art music. By the end of the twentieth century, however, American folk
music was well-established in pop culture media outlets and well-documented in
national archives and American music history books. In this paper I focus on the
cultural construction of the rural South in an effort to understand the conceptual
genesis of American folk music.
After only a few generations of settlement, isolated Southern communities were
“discovered” by local-color journalists, song collectors, and middle-class female
education workers who described their inhabitants as “our living ancestors”—a
trope long reserved for the “primitives” studied by anthropologists. Their music
was conceived as racially pure—unsullied by urban immigration or the institution
of slavery—yet organically adapted to the American landscape. I explore the
strategies writers and filmmakers have used to create a timeless past for America,
a “middle ages” projected upon life in isolated Appalachian valleys and Southern
swamplands. Examples are drawn from early twentieth-century writings as well
as films like Deliverance, Songcatcher, and O Brother, Where Art Thou?
Miller, Terry E. Kent State University
Ballroom Dance As Anacronism and Parody
CMS
Participatory ballroom dance-not the exhibitions seen on television-primarily takes
place at studio- or organization-sponsored events. Having studied ballroom dance
for seven years and participated in numerous events sponsored both by Fred
Astaire, Inc. and the United States Amateur Ballroom Dancers Association
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Abstracts
(USABDA), I wish to raise questions about these events, the behaviors
encountered, and their meanings. I conclude that these events retain both
anachronistic aspects of the balls held as long ago as the eighteenth century but,
through mimicry and reinterpretation of the original behaviors, have also taken on
aspects of parody.
political activists within and outside Iran. In these discussions the new station is
often criticized for its emphasis on Iranian and Western popular musics.
This paper examines the musical implications of this change in format. The current
discourse about radio Farda's popular music policy will be used to explore
contemporary Iranian views of the status of Iranian popular music and musicians.
The radio’s evolving play list and its listeners feedback will be examined in an
exploration of its audience’s musical taste.
In Europe and the United States well into the twentieth century ballroom dance was
primarily reserved for what was left of the aristocracy and for members of the elite
society that developed following the Industrial Revolution. Socially, wealthy
families were expected to offer thé dansant and diner dansant for members of their
social and business circles. In contemporary America, however, ballroom dancing
is primarily offered in the context of competitions in which participants are
expected to dress appropriately-including in tails and evening gowns-but dance
with numbers on their backs while cheered on by onlookers as if at a sporting
event. By combining the formal dinner and dance, one of whose components was
"social competition" characteristic of upper class behavior, with "athletic
competition" characteristic of the middle and lower classes, these events take on
aspects of both mimicry and parody of upper class behavior. They are
anachronistic in that the behavior parodied is no longer practiced to any extent by
the upper classes.
Ming, To Yee
SEM
Disappearing Childhood: A Case Study of Hongkong " Children's Songs"- "
Yi Goh"
Hong Kong “children’s songs”—” Yi Goh” (Q*) is no longer a genre for a 5-yearold child though its literally suggests it. While Yano suggests that Japanese enka
is nostalgic for Japanese people, causing memories of their nation, hometown and
various kinds of love, Hong Kong “Yi Go” seems to revitalize the listeners to
cherish childhood memories. In the case of Hong Kong, the production of “Yi
Goh” is geared for the taste of adults rather than that of the children. Childhood
appeal becomes an artifice catering for a wider market. The selling point of
children song is to provide a sense of irretrievable childhood, albeit brief and
illusionary. In recent television program for children, the language of popular
songs has been heavily appropriated. In terms of musical presentation, promotional
strategy, lyrics, accompaniment and soundtrack production, Hong Kong “YE Goh”
has become a highly hybridized form, mixing elements of popular genres and local
children song tradition. I will focus on the interrelationship between “Yi Goh” of
Hong Kong and the local popular music industry. In particular, I will highlight the
various guises of childhood appeal in the songs. Examples of how childhood is
distorted will be presented. Genuine childhood has been displaced and manipulated
by the dominance of popular music language.
Mina, Niloofar New Jersey City University
SEM
US Government's Use of Popular Music in its Media Campaign in Iran: An
Ethnomusiclogical Exploration
On December 19, 2002, the US Government launched a 24-hour radio station
addressing Iran from the headquarters of America’s Radio Free Europe/Radio
Liberty in Prague. The new station, Radio Farda (tomorrow), features a popular
music format interrupted by news and political commentaries. Radio Farda is part
of a new US initiative to promote America's image in the Middle East. To reach its
intended audience, the station has recruited young Iranians from Iran to develop a
play list. Radio Farda’s use of Iranian popular music as its core attraction is in
recognition of the significance and power of popular music in contemporary Iran
where musical restrictions remain in place.
Mitchell, Carmen
Brooklyn College
Diva Delight: Theorizing House Music and House Divas
Radio Farda replaced Radio Free Europe’s popular Iranian station, Radio Azadi
(liberty), that featured 10 daily hours of news and cultural programing. The change
in American radio's format has been publicly criticized by Iranian intellectuals and
SEM
My research explores the mediation of racialized sexualities and gender within
house music. Whereas many sources on house music note that this music formed
in Chicago, Illinois, as a contemporary dance music text with primarily gay African
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Abstracts
Moehn, Frederick
Stony Brook University
Racing Brazilian Music
American and Latino men at the helm, I explore the historical formations,
articulations, and dissemination of house music with a focus on the African
American female performer, commonly known as the house diva (a descendant of
the disco diva to the extent that house is the musical offspring of disco).
Brazilian musicians often claim that they are able deftly to absorb and mix styles
in large part because of the country’s history of racial mixing. The trope of
miscegenation locates national cultural production precisely in race while it
simultaneously obscures the essentialist assumptions underpinning such discourse.
Race is important for its very “erasure.” A parallel discursive current, however,
implicitly posits a continuum in which certain specifically racialized musical
characteristics are representative of authentically Brazilian expression. Prominent
musicologist José Ramos Tinhorão, for example, once derided bossa nova as not
authentically national because the white youths of Rio de Janeiro could not feel “in
their own skin, the rhythmic asymmetry of the blacks,” the latter exemplified by
samba. More recently, percussionist Marcos Suzano argued that highlighting the
bass frequencies of his pandeiro (tambourine) gave him access to a more “Afro”
and, hence, more “Brazilian” sound in his music (1999, personal interview).
Although specific case studies have addressed the theme of race in Brazilian music,
the topic has not received the level of theorization that it merits. Without
advocating a monolithic approach to the topic, I argue for a critical insertion of race
into a Brazilian music scholarship that seeks to synthesize various case studies and
perspectives as part of a broader comparative critique of the intersections between
music, race and nation. In doing so, I also reflect on my position as a North
American observer, thereby referencing the complex comparative impulse that has
long characterized Brazilian reflections on race.
In this paper, I aim to address the following questions: In what ways can the
African American woman as house diva be centered within and beyond gay club
cultures? How can one place the performance and articulation of the diva as a
racialized and gendered icon in house music within the continuum of African
American music? What is the relationship between technology and gender within
that continuum? Through an examination of the use of digital technologies in house
music, the construction of race, gender, and sexuality as “other” will be explored.
Miyakawa , Felicia
Indiana University
SEM
"I Flow Like a River When I Deliver": Defining and Mapping Rap's Verbal
Styles”
Rap devotees distinguish rappers by their flow, the musical application ofthe
rapper's skills to a poetic line. Each rapper hones an idiosyncraticflow style
comprised of phrasing, rhyme scheme, rhythmic play, timbre, andaccents. Flow
styles have changed dramatically since rap's early days andcontinue to be the locus
of some of rap music's most daring experiments,yet flow styles can also be a
measure of authenticity and allegiance torap's history. As music theorist Adam
Krims has argued, flow styles markboth geographic and personal styles, and also
help define genericboundaries. In many ways the history of rap music's maturation
andgeographic expansion can be told through the history of flow styles.
Monson, Linda George Mason University
CMS
Ross Lee Finney's Creative Use of Aspects of Tonality Within a Twelve-Tone
Framework
Album reviews, fan communications, and scholarly readings of rap all speak
knowingly of flow yet defining the term is a slippery task. This paper argues for
a broad, inclusive definition of flow as the combined effectsof rhythmic play,
rhyme scheme, phrasing, accents, timbral manipulation, and pitch inflection. Using
examples by KRS-One, Run-DMC, the Beastie Boys, Nelly, and DMX, I will
identify distinguishing features of several flow styles and will illustrate new ways
of mapping flow. These examples will also demonstrate how understanding flow
greatly facilitates the telling of rap's history, allows for recognition of the
individual artistry of rap musicians, and enhances our appreciation of the dynamic
interaction between lyrics and accompanying musical tracks.
SEM
Goals: This lecture-recital illustrates how American composer Ross Lee Finney
(1906-1997) creatively incorporated aspects of tonality within his dodecaphonic
compositions through the use of tonal centers, lyrical and expressive melodies,
symmetrical hexachords, synthetic scales, and chord clusters. His melodies feature
scalar passages and triadic harmonies, arising from sets comprised almost
exclusively of steps and thirds.
Methodology: The compositional approach of Ross Lee Finney's Variations on a
Theme by Alban Berg is demonstrated via explanation and theoretical analysis,
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Abstracts
followed by a complete performance of this solo piano work. Finney maintains a
tonal center of G minor throughout this dodecaphonic work. Composed in 1952,
Finney's Variations are based on the opening theme of Berg's Violin Concerto.
rock necessitates not only acknowledging the value of students’ experiences, but
drawing upon such experiences as course content. Success in this venture demands
that both teachers and students rethink their concepts of music and of authority. As
punk rock ideals foster the notions of energy in community, so the practice of the
classroom needs to rely on the students as much as the instructor in forming
creative energy. In its best moments, this approach to punk generates a productive
anarchy. A classroom that allows students to claim their own authority in their own
ideas, while offering them the tools, intellectual and musical, to create new
concepts of music, its uses, and its meanings.
Finney's creativity in combining aspects of tonality within his twelve-tone
compositions is explored further through analysis and performance of brief
excerpts of Finney's three pedagogical works for piano: 24 Inventions (1956,
revised 1971), 32 Piano Games (1968), and Youth's Companion (1981). These
collections of delightful short pieces with descriptive titles combine traditional
forms with contemporary harmonies and hold great appeal for the young pianist
and composer. Improvisation, tonal clusters, bi-chordal sections, and free
repetitions are some of the contemporary devices introduced. Some of the pieces
are distinguished by Finney's use of a single hexachord, rather than an entire
twelve-tone set.
Mook, Richard University of Pennsylvania
SEM
Oh How I Miss That Old Gang of Mine: Memory and Homoeroticism in
Barbershop Performance
Conclusions: Finney's approach to twelve-tone music is appealing and accessible
to music students and to audiences alike. It is particularly useful for introduction,
analysis, and application of the dodecaphonic style for classes in music theory,
20th century music history, applied piano instruction, keyboard skills, and music
appreciation.
The purpose of this paper is to re-examine how memory and nostalgia have shaped
the homoerotics of barbershop performance in Philadelphia. Scholars have only
recently explored the roots of this nostalgic genre in African-American culture,
commercial entertainment, and the early recording industry, and the importance of
this complicated and dynamic history for current barbershop repertories and
performance practices (Abbott, 1992; Henry, 2001; Averill, 2003). Anthropologists
have recently drawn metaphorical connections between the social closeness and
"harmony" that characterizes barbershop groups and the musical harmony of
barbershop singing (Averill 1999, 2003; Garnett, 1999). Using evidence from
fieldwork conducted with the Sounds of Liberty Barbershop Chorus in
Philadelphia and archival research, this paper will document that both this
musical/physical closeness in barbershop performance and the lyrics of many
barbershop songs reference an otherwise forgotten aspect of barbershop's history.
They cite the urban, working-class, male communities of the early 20th century,
especially "gangs", in which men often engaged in same-sex intimacy and pleasure
while performing and defining their masculinities relative to one another. By
contextualizing and analyzing the gestures and song interpretation of a recent
barbershop performance, this paper will show how, through this nostalgic musical
practice, barbershoppers engage a rich tradition of male intimacy that defines their
hobby, even as they forget the history of that tradition.
Montague, Eugene
CMS
Anarchy in the Ivory Tower: An Approach to Punk Rock in the Music
Curriculum
Teaching a course on punk rock within a music curriculum poses several
interesting problems. To cite a few: punk, as a genre, dismisses what are generally
considered musical skills; punk demands a rebellious attitude to authority,
including that of a college professor and, in practice, punk includes a plethora of
small bands and ‘zines that escape the radar of most textbooks and publications.
This paper will give an account of a class on punk offered through the Music
Department of the University of Central Florida. In doing so, it suggests solutions
to the problems described above, while recording both the positive and negative
effects of introducing anarchy to the ivory tower.
In particular, the paper discusses students’ relationships to the course music,
comparing these to courses in the classical canon. The context of a class in punk
84
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Moore, Hilary University of Pennsylvania
SEM
British Jazz?: Imitation, Innovation, and the Search for Authenticity
by the mid-1960s. The paper notes that the 1950s had been associated with
corruption, inequality, and vice, yet gave rise to amazingly vibrant musical life.
The 1960s, by contrast, witnessed the emergence of a much more egalitarian
society with fewer racial barriers, more educational opportunities, and many free
social services, yet one that suffered a process of musical impoverishment virtually
from the outset.
Ken Colyer, a British Cornet player, joined the Merchant Navy in 1951 in the hope
of reaching his jazz Mecca. After more than a year of sailing the world, he docked
in Alabama, jumped ship, and boarded the Greyhound bus for New Orleans. Over
the next month, he played, recorded, and formed friendships with George Lewis,
Kid Howard, and many others. However, having outstayed his visa he was jailed
for over a month, before being deported back to Britain. The poetic drama of his
pilgrimage caught the imagination of the British musical public and a band greeted
him on the peer, awaiting his leadership. After devoting the rest of his life to the
reproduction of “true” New Orleans jazz, he died a pauper.
Morales, Melissa
SEM
Re-claiming Colombia: The Politics and Poetics of an Andean Music Festival
Aguadas in Andean Colombia, this ethnography looks at how the people of a
nation in conflict musically express, question, negotiate and redefine their cultural
identities. Considerably distinct from folk festivals in other Andean countries, folk
music festivals in Colombia have evolved into largely urban-centered, corporatesponsored events where mostly conservatory-trained musicians compete for
significant cash prizes, recording contracts and national prestige.
In this paper, I consider the motivations behind Colyer’s passionate dedication to
a music so foreign to his own background. I also draw connections between race
and class as imaginative categories within the British jazz community. Finally, I
question Colyer’s belief that no European can equal or surpass the brilliance and
depth of America’s jazz legacy. While his humility may not have been misplaced
for the 1950s, it surely is now?
Therefore, the convergence of oral and written, traditional and modern, local and
transnational on a festival stage cause creative and political tensions among
participants, audience and judges-who year after year embark on a quest for
meaning, reaffirmation and opportunity-to the extent that even the terms
“traditional music” and “folklore” are considered problematic.
Moore, Robin Temple University
SEM
Progressive politics and inadvertent cultural crisis in early 1960s Havana
Exploring the history that brought hundreds of emigrant performers to Miami, this
paper examines early political decisions by Cuban revolutionary leaders and their
impact on music making. While well intentioned, most had disastrous results.
They included the outlawing of casino gambling, an industry which had heavily
subsidized performance. As a result of this alone, virtually all cabarets and major
hotels faced bankruptcy within the first nine months of 1959. Other decisions
included the creation of minimum and maximum wages for musicians which
outraged well known artists and resulted in their departure; the abolition of
copyright, viewed as exploitative, which led to a similar exodus of composers and
the registering of fewer songs; the closure of neighborhood dance halls and private
societies (sociedades de recreo) in an attempt to break down barriers of
segregation; and the nationalization of record labels, throwing production into
disarray and soon leading to a radical drop in LPs for sale. Such actions in
conjunction with sharp declines in tourism after the Bay of Pigs invasion decimated
Cuba’s entertainment sector and made it entirely dependent on government support
More broadly, as music festivals are spaces where notions of authenticity,
modernity, tradition and “progress” are articulated and contested in and through
music, this paper looks at current performative and stylistic trends, which are
organized in thematic categories: a) the increasing ‘academization’ of Andean
music in Colombia;
b) the symbolic significance of Colombians’ attempts to sophisticate both the
musical and lyrical content of once traditional forms into alternative products
(“propuestas”); and c) the perceived higher value of foreign cultural practices
(“extranjerismo”). This paper’s discussion is framed in light of the literature on
Latin American modernity and global cultural flows, attempting to delve into the
discursive positions from which contemporary Andean musical practices stem.
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Morelli, Sarah Harvard University
SEM
Kathak Yoga: Combining Dance, Musicianship and Meditation Through an
Indian Art in the West
lyrics, and cross-cultural references in the lyrics (from Biblical quotations to
references to African unity). Linguistic structuralism is applied to selected lyric
and is defined as the belief that codes, signs, and rules govern all social and
cultural practices, including communication and literature. This coding makes the
specific language used culturally loaded. In Jamaica, certain language is used to
explore issues of religious faith (Rastafarianism), African identity, and cultural
awareness. This study decodes some of this loaded language and identifies its
cultural ramifications.
In his article, “The Ecology of Indian Music in North America,” Daniel Neuman
cites several factors lending to the persistence of Indian classical music in the
West, including the music’s technical virtuosity, improvisatory nature, and
religious significance, symbolically exemplifying the “spiritual East” (1984: 14).
These features also mark the music’s associated dance form, Kathak, and in
particular, “Kathak Yoga,” an innovative technique combining technical difficulty
and spiritual appeal, which aids in the mastery over tal (rhythm) necessary for
improvisational dancing.
Moskowitz, David V.
University of South Dakota
CMS
Jamaican Song Lyrics As Multicultural Signifiers: Cultural Identity in
Reggae
Developed by Kathak master Chitresh Das over the last 30 years of teaching in the
San Francisco Bay Area, Kathak Yoga demands that a dancer produce the most
basic musical elements necessary for dance accompaniment. The dancer must
recite the theka (syllables representing a tabla player’s most basic marking of the
pulse of a particular rhythmic cycle), and sing the lehara, (a cyclic melody serving
the same function), while simultaneously dancing rhythmically complex
compositions utilizing footwork, turns, hand gestures and facial expression.
The proposed lecture is an interdisciplinary discussion of the use of song lyrics as
cultural signifiers in the music of Jamaica (employing elements of structuralism).
The most visible exponent of Jamaican popular music in the 1960s and 1970s is
reggae. Reggae music itself is an amalgam of disparate influences both in musical
style and in language use. The Jamaican case study will include discussion of the
use of patois in reggae lyrics, and cross-cultural references in the lyrics (from
Biblical quotations to discussion of repatriation to Africa to overt calls for African
unity). Selected musical examples will be employed to illustrate reggae style and
lyrical content. In Jamaica, certain culturally coded language is used to explore
issues of religious faith (Rastafarianism), African identity, and cultural awareness.
This coding makes the specific language used "loaded." This paper decodes some
of this loaded language and identifies its cultural ramifications.
Kathak Yoga was developed out of artistic necessity particular to life in the
diaspora and in response to the challenges of teaching Kathak in a Western context.
Although primarily for riyaz, or concentrated individual practice, it is now
beginning to appear on stage even in the most traditional settings. This paper
examines Kathak Yoga’s development and explores the performative and
discursive strategies employed in rendering this innovation “authentic” and
“traditional.”
SEM
Munger, Jennifer
SEM
It’s Three A.M. - Do You Know Where Your Partner Is? Dancing The
Quadrille In North Sulawesi
The proposed lecture is an interdisciplinary discussion of the use of song lyrics as
cultural signifiers in Jamaican popular music in the period spanning 1960 to 1980.
The most visible exponent of Jamaican popular music during this time is reggae.
Reggae music itself is an amalgam of desperate influences both in musical style
and in language use. The Jamaican case study will include discussion of general
Jamaican history (where it applies), general reggae style, use of patois in reggae
Late at night on January weekends in villages all over the Minahasa regency of
North Sulawesi, Indonesia, announcers shout out to residents to find partners for
the Katrili (quadrille) dance. No longer the 17th century French figure of four
couples, the Minahasan dance square is formed by as many people as can find a
partner. How have contemporary Minahasan villagers transformed this social
dance, brought by Dutch colonizers, into a means of expressing themselves? I
argue that colonial nostalgia plays an important role in the integration of the
Moskowitz, David
University of South Dakota
Song Lyrics as Identiy Signifiers: a Jamaican Case Study
86
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Abstracts
quadrille into the Minahasan repertoire. If, as Rosaldo (1989) suggests, colonizers
are nostalgic for that which they have destroyed, how is colonial nostalgia felt and
expressed by the colonized? One would expect them to focus on a pre-colonial
past, and indeed, many Indonesian cultural practices from the colonial era have
been effectively erased by the central government. However, Minahasans not only
perform quadrille for themselves; they also display it to outsiders as a unique
marker of Minahasan identity. There are two reasons for this: the first is that they
do not consider the changes brought about by the colonial regime to have been
uniformly destructive. More importantly, quadrille and the colonial past represent
nostalgia for a future based on Western democratic ideals, which, according to
Minahasan commentators, seem to have been forgotten by the Indonesian
government.
awareness of its African heritage in Jamaica’s cosmopolitan centers but stressed
an equally strong European influence that influenced the way Festival adjudicators
judged competition. Many performers found that their particular “nationalist”
approach to mento did not match official expectations and were forced to question
Festival policy. This conflict between official ideology and grass roots beliefs
turned some mento musicians away from Festival competition in the late 1960s and
early 1970s.
In the 1970s, however, a mento -influenced sub-style of reggae called “mento
reggae” emerged that fulfilled some of the officially sanctioned expectations about
traditional mento, but gave artists greater musical freedom to incorporate new ideas
and sounds. Mento reggae created a sense of national belonging different from that
promoted by the National Festival for the Arts. Using a historical method that uses
fieldwork observations and interviews as the basis for interpreting archival
information, I will examine the re-interpretation of mento in reggae to show the
how these national conflicts over race and class created at independence have been
addressed in music.
Nasreddin-Longo, Ethan
Newfane, Vermont
CMS
Teaching Music Theory from a Cross-Cultural Prospective - A Report from
Year Three in the Field
See Bennett, Barbara - Teaching Music Theory from a Cross-Cultural Prospective A Report from Year Three in the Field
Neal, Jocelyn University of North Carolina at Chapel Hill
Neff, Severine University of North Carolina at Chapel Hill
CMS
This panel will familiarize Americans with the curricular and pedagogical
approaches of Korean and Russian institutions. Faculty and graduates of Moscow
State Conservatory, Moscow, Russia, and Hanyang University, Seoul, Korea, will
present short papers. They will discuss the teaching of the western theoretical
legacy and the original folk and classical traditions of their nations. An American
theorist will respond to the matters raised by the panelists. A general discussion
will follow.
Neely, Daniel New York University
National Belonging, Mento Musicians and Reggae Music
SEM
Severine Neff, moderator of the panel, will give a brief history of the foreign
institutions under discussion. Ildar Khannanov, a graduate of Moscow State
Conservatory and the University of California at Santa Barbara, and currently an
Assistant Professor of Theory at Oklahoma City University, will give an overview
of theoretical instruction in Soviet and post-Soviet Russia. In particular, he will
engage unique approaches to solfege based on Russian folk song. Mikhail Krishtal,
currently a doctoral student in composition at Duke University and a graduate of
and former Assistant Professor of Theory at Moscow State Conservatory, will
critique the Soviet system of music education for its failure to motivate personal
Jamaica introduced a new cultural policy with independence in 1962 intended to
present, preserve and, more importantly, legitimate Jamaica’s African heritage.
This policy helped foster a stronger sense of national belonging among Jamaica’s
black majority (especially through the National Festival of the Arts) but produced
conflicting opinions about the meaning of Africa in Jamaican culture that are still
at the root of nationalist discourse today.
The National Festival of the Arts’ description of mento music helped raise
CMS
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responsibility for study, especially the analytic study of acknowledged
masterworks. He will argue his points by focusing on the Soviet-sanctioned
harmony book by I. Dubovsky, S. Evseev, I. Sposobin and V. Sokolov, commonly
known as the brigade text
provocative musics; they engage one another in animated discourse. They execute
creative projects, in any medium, in response to select compositions; with these
projects, they identify and transmute the prevailing energies of a given work.
Respected as intelligent assayers of music, they are challenged to shape their own
critical-responsive worlds from scratch; and they generate original musical, verbal,
and visual texts in honoring this charge.
Tatiana Gutnik. currently a doctoral student in composition at Duke University and
a graduate of Moscow Conservatory, will contend that pedagogy in counterpoint
suffered during the Soviet regime, since its study is more difficult to reduce to
formulaic substance than harmony. She, however, sees the text Polyphony by
Victor Fraionov as the exception and argues that it is Russia’s most impressive,
recent publication on counterpoint. Songtaik Ahn-Kwon, Associate Professor of
Music at Hanyang University in Seoul, will describe her University’s curriculum
in Korean theory and European harmony, counterpoint, and form. She will give
special emphasis to the different pedagogical traditions in the study of western and
Korean theory. Jinmi Davidson, a doctoral student in musicology at the University
of North Carolina at Chapel Hill, will comment on the recent Korean trend to turn
away from European studies toward the study of Korean theory, aesthetics, and
instrumentation. Jocelyn Neal, an Assistant Professor of Theory at the University
of North Carolina at Chapel Hill, whose expertise is American country music, will
both summarize and critique the issues raised by the panel.
Nelson, Mark Wesleyan University
A Holistic Experimental Sound-Art Curriculum
Confronted with fundamental underlying questions:
* Who are you?
* How can you use sound to explore and articulate your identity?,
students are emboldened to forge their own sonic investigations of fundamental
human concerns. The multiplicity of political, aesthetic, spiritual, literary, and
psychological issues that emerges in their original compositions is often
breathtaking to them and me. By sharing some of their work, I hope to
demonstrate the transforming power of this curriculum.
Neubert, Colleen
Slippery Rock University
CMS
Muse Over Miami: Songs and Piano Works of the Legendary Mana-Zucca
CMS
See Solomon, Nanette Kaplan - Muse Over Miami: Songs and Piano Works of the
Legendary Mana-Zucca
The premises of my experimental sound-art curriculum for students of disparate
musical backgrounds are simple. Since
Nishimura, Junko
Musical "Cuteness" as Women’s Narcissism and Men’s Fetishism
(1) numerous 20th-century composers sparked dramatic transformations of our
understanding of music's purposes and possibilities; and as
(2) basic sound-recording and -processing equipment makes it possible for
anyone with a modicum of encouragement and guidance to create vivid,
substantive music, a critical engagement with the work of 20th-century iconoclasts,
coupled with the opportunity to undertake one's own sonic explorations, can
promote the life-changing growth and intellectual acuity that liberal-arts
institutions seek to nurture.
"Cute" girls are more popular among Japanese men than “sexy" girls. "Cuteness"
as a value standard by which men estimate women serves as an important index of
body formation for women who have internalized the male gaze. The patriarchal
Japanese music industry tends to standardize female singerson the basis of
"cuteness," and the female body as well as her music is commercialized through
this standardization. In a contradictory turn of events, however, the
commercialization of the female singer intended for male consumershas produced
the female consumer. aiko, for example, as a representative of Japanese female
singers who emphasize "cuteness," is supported by fans of both sexes. Why would
a "cute" singer who is strategically designed to satisfy the male gaze gain
My class assignments spur students to become probing, articulate listeners as well
as imaginative and fearless composers. They read seminal texts; they listen to
SEM
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Norton, Sean
Hampshire College
SEM
Articulating Cultural Identity in Traditional Khmer-American Music
popularity among women? Is this because these women identify the
commercialized singer with their body image, thus satisfying the desire of “others’
(men)” that equals their own self-desire? Is sisterhood or homosexual bodily
intimacy experienced between the singer and female audience? It can be said that
while men's fetish adherence to a "cute" singer is based on female objectification,
women's narcissism is paradoxically satisfied by the self-objectification achieved
through the male gaze. Thus, the duplication of the objectified female body can be
observed in the musical phenomenon represented by aiko as a "cute" singer. I will
look not only at her musical features but alsoher bodily attributes such as "voice,"
"behavior" and "utterances" in order to examine J-POP's musical "cuteness" from
the gender perspective.
Khmer-American musicians in New England arrived as refugees in the early 1980s
in the wake of the Vietnam War and the atrocities of the Khmer Rouge regime.
Coping with staggering emotional trauma, Khmer-Americans have focused on the
transition from life in a largely rural agrarian society to a capitalist economy and
on rebuilding core cultural institutions, particularly Theravada Buddhism.
Traditional music has also been a site of revival, and today Khmer-Americans
perform several vernacular styles, notably mohori (entertainment music), and
phleng kar (wedding music).
Anthropologists writing about the Khmer diaspora have concentrated on the
politics of cultural reconstruction and paradigms of unification, underscoring the
value refugees place upon establishing indigenous traditions in the U.S. However,
this focus has often de-emphasized conflict within the Khmer community, reifying
static models of cultural identity. Khmer music scholarship has been primarily
concerned with salvaging what remained of musical knowledge after the Khmer
Rouge era and on the sophisticated practices of Cambodian court musicians.
Vernacular traditions inside and outside Cambodia have been documented, but
little has been revealed about the cultural context of this music and its relationship
to the court tradition. In this paper, I will compare Khmer vernacular music in
New England with recordings of court musicians in Cambodia who perform
vernacular music with the techniques of court music, thus highlighting previously
unexamined regional variety. I will also contextualize this musical analysis within
the wider discourse of Khmer culture, providing an opportunity to demystify static
views of an evolving Khmer-American identity.
Nooshin, Laudan
Brunel University
SEM
Subversion and counter-subversion: Power, Control, and Meaning in the
New Iranian Pop Music
In May 1997, Mohammad Khatami was swept to power in a historic landslide
victory in Iran’s presidential elections. Since 1997, Khatami has initiated a series
of reforms in which the most far-reaching have been in the cultural domain. One
of the most remarkable changes is that after almost 20 years in which all pop music
was officially banned, there has been a gradual relaxing of government policy and
certain types of pop music have now become legal again, including a new brand
of local pop, heavily promoted by the Government broadcasting organization.
Particularly interesting is the fact that more recently, and for the very first time in
Iran, young people are making their voices heard through the emergence of an
independent and grass-roots popular music, something only made possible by the
relaxation in government restrictions.
Novak, David Columbia University
SEM
Noise at the source of the Signal: US-Japan Circuits of Experimental Music
Drawing on fieldwork carried out in Iran in the Summers of 1999, 2000 and 2002,
this paper will consider the implications of the post-1997 changes and trace the
various attempts to control pop music and its meanings. The paper will explore the
ways in which music and the discourses around music have served as an arena for
playing out some of the most contested issues of nationhood, identity and power
in Iran and ask what happens when a form of cultural resistance is appropriated by
those against whom the resistance was originally directed.
How do we expand our notions of politics, place, and expressive culture when we
travel with a recording in its transnational distribution? As contemporary global
distribution networks further separate sounds from their spatial and historical
sources, popular music circulations increasingly reflect the imagination of place,
criteria of performative “liveness,” and practices of reception in collecting and
exchanging recordings. This paper traces the US-Japan circulation of experimental
music within the larger frameworks of popular music industries, revealing the
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multiple layers of intercultural communication and miscommunication that develop
flexible histories of translocal music scenes. It is concerned with the ways in which
esoteric musical subcultures lucidly articulate the critical concerns surrounding
globalization, as underground margins in different sites attempt to both partake in
and evade pervasive contexts of nationalisms, marketplaces, essentialist cultural
identities and social histories of locality. In the shifting circuits of experimental
music that connect Japan with the US, discourses of genre in “independent,”
“underground,” “outsider,” and “avant-garde” scenes intersect with broader global
cosmopolitan practices of subcultural naming and scene identity, the documentkeeping network of record collecting, the spread of independent media, and new
technologies for creating and exchanging musical objects.
O'Hagin, Isabel Barbara
Musica Para Los Ninos: Song and Games for Children
O'Connell, John Morgan
Brown University, University of Limerick
SEM
In the Time of Alaturka: Tracing Alterity in Turkish Musical Discourse
Transforming Music Programs to Care
This talk concerns the appropriation of a European musical discourse (It. alla
turca; Tr. alaturka) in Turkey during the nineteenth century. Representing the
percolation of European cultural practices into the Ottoman Empire over the past
two centuries, the talk will show how native culture bearers manipulated this
discourse to suit (and to validate) contemporary prejudices concerning taste. In this
respect, the paper traces the diachronic manifestation of difference in Turkish
musical discourse at four different historic moments. That is, it examines the
construction of alterity in Austrian Opera during the 1780s (In the Time of alla
turca); in Ottoman military music during the 1850s (In the Time of alabanda); in
Turkish art music during the 1920s (In the Time of alafranga); and in Turkish
popular music during the 1990s (In the Time of arabesk). Principally informed by
postcolonial criticism, the talk will map the various articulations of alaturka in
Turkish musical discourse showing the ways in which native conceptions of
difference were defined according to the precepts of western prejudice and
deployed according to the strategic interests of an ever-changing political elite. In
this way, traces of the alaturka polemic persist today in Turkish popular
imagination.
Latinos constitute the largest minority group in the school-age population, and, in
2003, have surpassed African Americans to become the largest overall minority.
Our nation’s mosaic is definitely shifting and this challenges notions of how we
view ourselves and educate our youth in this new century. Yet, as the numbers
increase, more Latino students fail in our school systems than other minority
groups. As music educators vested in multicultural education, we ask how our
music programs will change to meet these challenges? In order for this
transformation to take place, it will require that we become engrossed in fostering
caring relationships with our students, immersing ourselves in care, the ultimate
reality of life (Heidegger, 1962). What kind of approaches and what type of music
curricula should we design to improve the success rate of not only Latino students,
but for all students? We ask what would our schools look like if all students had
a chance to be nurtured and cared for; if all students had the right to succeed. We
can reconstruct our own reality based on socially responsible pedagogy, and by
expanding our parameters and thinking about what music is or which musics really
matter. This reconstruction could include strengthening our parental and
community relationships by inviting them to join the dialogue, exploring ways to
involve community musicians into our school programs (K-12 and beyond), and
the inclusion of their voice in curricular design. By doing so, we will begin to
understand the meaning of music in people’s lives.
SEM
This poster session will feature traditional children’s songs and games from
Mexico and border states. A selected repertoire (i.e.. finger plays/chants. singing
games, and lullabies) and their variants will be highlighted. Teaching strategies that
help to build a cultural context in the classroom will be shared, in addition to ideas
of how to involve your local community. Participants will learn about the many
resources available when teaching multicultural musics. Information regarding
fusion characteristics in recorded music for children will be discussed as will the
importance of maintaining cultural traditions.
90
SEM
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Abstracts
Central Michigan University
CMS
The Latino Connection: Community Partnerships between Latino Musicians
and Academe
emphasis on money and status rather than talent and creativity. Also, children
resent parental sacrifices made for musical training and feel economic pressure due
to the obligation to repay parents. In consequence, children develop strained
relationships with parents. A survey of Hong Kong private piano instructors is used
to explore the effects of a competitive society in combination with traditions of
filial obligations and the economic rewards of music instruction. The objectives of
this paper are to discuss (1) materialistic motivation for musical learning - due to
the social prominence and high income of trained piano teachers, students pursue
music instruction more for materialistic rewards than aesthetics; (2) materialistic
motivation for musical teaching - due to the importance of music certifications,
teachers tend to teach to the test rather than teach meaningful concepts and
techniques; and (3) strained family relationships - some children resent parents'
insistence on music lessons and their filial obligation to repay their parents'
investment.
A collaborative partnership between university faculty (music educators and
ethnomusicologists), a cultural arts agency (Sofia Quintero Arts and Cultural
Center), and Latino musicians in Toledo, Ohio was developed to better inform nonLatinos of the inherent rich musical culture offered. Through observation of
musical events (following a year's life-cycle) and subsequent interviews with
Latino musicians and community leaders, we examined the role the musical arts
play in celebrating heritage, preserving oral and musical traditions, constructing
identity, and effecting personal life styles. We also sought to identify the varieties
of Latino musics in Northwest Ohio within their sociocultural contexts. We found
that contemporary tex-mex and conjunto styles were the most popular musical
styles, yet fluid and ever-changing innovations reveal a syncretism with
mainstream popular youth music and other musical styles such as salsa and
cumbia. We found that Latino musicians use traditional music to express their
ethnic identity and to create a sense of community within the host culture. Our
discussion will include issues such as: (a) the involvement of culture bearers in
local communities, (b) collaborative partnerships in the community, and (c) the
development of a theoretical rationale (Banks and other) for a curricular design that
encompasses other voices. We believe that the planning, shaping, and delivery of
multicultural music education curricula at all levels should contribute to a
meaningful understanding of cultural diversity through the arts. By doing so we
will better maintain both musical traditions and their contemporary evolutions in
their authentic cultural contexts.
Ohlenbusch, Grace
University of Central Arkansas
ATMI
Beyond the Talking Head: Multimedia Interactive Projects for Elementary
Music Methods
Current research suggest that technology is (1) not modeled by university
education faculty as a viable teaching tool, and (2) not being used by recent
graduated of teacher education programs to implement music education standards.
There is a need to adapt and develop curricula that enable educators to establish
their classrooms and organize instructional priorities in an efficient and cohesive
format. This presentation will delineate the foundations and processes underlying
custom designed computer-based multimedia instructional programs: multimedia
PowerPoint presentations, video analyses of peer presentations, and interactive
Web-based multimedia software with digital video presentations of teaching
scenarios. The presentation will include a brief summary of the research tools, an
overview of the crafting of the multimedia instruments, and a discussion of
effective approaches for the use of multimedia technology in undergraduate music
education classes.
Oi Yan Yau , Eugenia Southwestern College
CMS
The Effects of Music Education on Family Dynamics and Economics in Hong
Kong Culture: A Survey on Private Music Instruction in the Western
Classical Tradition
Hong Kong has a unique mixture of social and familial values, combining highly
competitive Western values with traditional Chinese filial obligation. Education in
Western classical music contributes significantly to Hong Kong cultural diversity.
The professional teaching of private piano lessons is considered a consistently
well-paid career in Hong Kong society. The high status of private music instructors
combined with the mixture of Chinese and Western values has resulted in an
91
October 1-5
Abstracts
Oliva, Giacomo M.
University of Nebraska-Lincoln
CMS
for Music Education
refined. Written as a coda for his radio opera based on Federico Garcia Lorca's play
"Bodas de Sangre", "Rainbow Theorem" uses the rich colors of the piano to create
a mysterious kaleidoscope of sound.
This session is presented in commemoration of the 50th anniversary of the
International Society for Music Education (ISME) and in recognition of the lasting
relationship over many years that ISME has enjoyed with the College Music
Society. The session will address the context in which music is taught in various
countries and the relevance this might have for preparing teachers in the United
States for the diversity and musical plurality found in today's schools. At the core
of this presentation will be ISME's beliefs that the music of the world's cultures,
seen individually and as a unit, should play a significant role in the field of music
education, broadly defined, and that a minimal background in understanding a
selection of music of the world's cultures should be part of all teacher education
curricula. Participants will also have an opportunity for a dialogue with the four
panelists, all of whom are well acquainted with ISME's work.
Ozah, Marie Agatha
IWALI: The Child-Queen dance in Ogoja Southeastern Nigeria
This paper focuses on the Iwali a term that literary means “Queen” but also refers
to a unique genre of musical tradition practiced by the Bekwara and lyala peoples
of Ogoja in Southeastern Nigeria.
The purpose of the Iwali is to celebrate the ideals of womanhood and the person
selected is trained to become the model girl, the model woman. The selection
process begins early, approximately when the girl is four years old. Once identified
as the queen, the young girl is given a horsetail, the symbol of authority. By virtue
of this symbol, the Iwali is implicitly admitted into the community of elders.
Beauty and artistic excellence are considered among the ideals of womanhood and
these are reflected in the selection and training of the Iwali, who in later life is
expected to be the most beautiful woman and best dancer in the village. In the
1970s, the Iwali dance, under the drive by the State government to promote the
cultural heritage of the then Cross River State, gained international reputation when
it was first performed in London.
Oshima-Ryan, Yumiko Carleton College
CMS
From a New Generation of Japanese Composers: Sunao Isaji (b. 1968)
Sunao Isaji, recent winner of Japan’s prestigious Akutagawa Composition prize
has emerged as one of the most exciting talents of a new generation of Japanese
composers. He freely overturns the previous generation’s idea of exploring
"crossing points" between Japanese and Western, between modern and traditional.
Instead, he explores the juxtaposition of disjunctive elements in quick succession
to create a unique new sound, both wild and sensitive. He compares his work to the
"hayagawari" of Kabuki theatre in which one character, with the help of stage
hands, swiftly transforms from one role into another.
In this paper, I will discuss the central role of music and dance in the selection
processes of the Iwali, her life as queen, as well as how dance and the song
repertoire enrich the ritual and performance practice of this music genre. The paper
will also explore how Iwali is transmitted and preserved, and the changes in these
processes as a result of political and economical factors especially from the latter
part of the twentieth century to the present. The work contributes to studies of
music and dance as expressions of gender roles and social class and how they
inform the aesthetic dispositions of the dance.
This presentation examines two recent works: "Nanban Yakyoku" ( 2001) and
"Rainbow Theorem" (2001). A percussion ensemble piece, "Nanban Yakyoku"
("Foreigner's Nocturne"), features the mischievous collision of sounds: from a
chorus of Japanese folk tunes to an audio tape of broadcast television. It also
employs unique juxtapositions of instrumentation - the modern keyboard
harmonica imitates the sound of the traditional Sho from Gagaku (Japanese court
music dating back to the 8th century), together with Swiss cow bells, Thai gongs,
and Javanese angklung, etc.. The solo piano composition "Rainbow Theorem",
presented in a live performance, offers a contrasting kind of work - serious and
SEM
92
October 1-5
Abstracts
Palackal, Joseph
Ettuniram of the Syrian Orthodox Church: Music in Transition"
SEM
Pardue, Derek University of Illinois, Urbana-Champaign
SEM
"Tracking Beats and Representing Charts: An Analysis of Brazilian Rap"
The system of classifying melodies in an eight-weekly cycle in the liturgy of the
Syrian Orthodox churches, known as oktochos (‘eight voices’), took final shape
in Syria and Palestine by the eighth century. As a result of the ecclesiastical
relation between a section of the St. Thomas Christians of South India and the
Antiochean Church, the system came to be introduced in Kerala, progressively
from 1751 to 1876. Since then, this strictly vocal, monodic, and mostly syllabic
style of music has taken a life of its own in its new home, where it is designated as
ettuniram or ettur~gam, meaning ‘eight colors.’ Since the 1960s, the melodies of
ettuniram are sung both in the original Syriac (West Syriac) texts and in their
translations in Malayalam, the local language. Although oktochos has received
scholarly attention in the past (Cody 1982), the theory and practice of ettuniram
have virtually been unexplored. In this paper, I examine the application of the
concept of ‘color’ to an aggregate of musical characteristics intended to generate
aesthetic and emotive effects in the practitioners. The equivocal use of niram and
r~gam may have relevance in exploring the early stages in the development of the
concept of r~g in Indian art music. Ettuniram appears to be a rare example of a
musical system that has explicit theory (as opposed to implicit theory in folk music
traditions), and yet falls outside the classical music discourses in India.
In urban Brazil, similar to other global hip-hop centers, rap’s sound is usually best
captured as an engineered art form – a result of careful production rather than live
performance. Over the last five years, hip-hoppers have become more divided on
the issue of how to represent “reality,” which is explicitly linked to the process of
transforming shantytowns into places of productive citizenship. In this paper,
“Tracking Beats and Representing Charts” I investigate the local discourses and
structures that rap producers employ in their efforts to articulate specific sound
compositions to distinct ideologies vis-à-vis innovative musical sub-genres.
Palmer, Anthony F.
Boston University
Parker, Craig B.
Kansas State University
The Symphonies of Ellen Taaffe Zwilich
CMS
Miami-born (April 30, 1939) and raised Ellen Taaffe Zwilich ranks among the
most esteemed and most performed American composers. The first woman to earn
a doctorate in composition from Juilliard (1975), she became the first woman to
win the Pulitzer Prize in Music (1983) with her Symphony No. 1: Three
Movements for Orchestra. Recipient of numerous prestigious awards, her works
have been commissioned, performed, and recorded by many major American
orchestras and chamber ensembles. In 1995-99, Zwilich occupied the first
Composer's Chair in the history of Carnegie Hall. Named 1999 Composer of the
Year by Musical America, she is currently Frances Eppes Professor of Music at
Florida State University.
CMS
Parakilas, James
Bates College
This paper examines Zwilich's four symphonies (1982, 1985, 1992, and 1999),
unique works which represent Zwilich's own homages to and transformations of
symphonic tradition. Like her other orchestral works, the symphonies reflect her
philosophy that "there are no second-class citizens in the orchestra . . . everybody
in the orchestra is a virtuoso, and part of my orchestral writing is writing that gives
everyone something they can sink their teeth into." The importance of each
symphony in her career development and critical reaction to each will be noted.
Zwilich's typical stylistic traits (including panchromaticism, lengthy pedal points,
ostinatos based on interlocking thirds, and angular melodic lines) will be identified,
as will elements which give each symphony its own creative personality.
Representative samples from each symphony and excerpts from the author's
interviews with the composer will be played to enhance the author's own
observations and conclusions.
CMS
93
October 1-5
Abstracts
Party, Daniel University of Pennsylvania
Balada at the crossroads: Latin-American pop music in Miami
SEM
interested in gaining a better understanding of such a service and its instructional
advantages.
Balada is the pan-Latin-American music por excelencia. A hybrid of Italian and
French love songs, Mexican bolero romántico, and African-American R&B
ballads, balada is the only musical genre to enjoy a strong fan base and media
presence in every Spanish-speaking nation–a position it has consistently
maintained for over thirty years.
Pease, Rowan University of London
K-Wave Fansites in China
Supported by a significant presence on satellite and local broadcasting networks,
‘K-wave’ or ‘Korea-wave’ hit China in the late 1990s. Dance and hip-hop bands
like H.O.T. achieved album sales of over 400,000 and began to feature in popular
dramas as well as music shows. ‘K-wave’ continues to enthral Chinese teenagers
and, not surprisingly, South Korean agencies have capitalised on this success to
promote trade and tourism.
In the 1980s, production of baladas was increasingly centralized, converging on
Miami from disparate locations throughout Latin America. This consolidation not
only involved the migration of the genre’s star performers but also of an entire
support industry. Miami thus found itself playing host to composers,
photographers, hair stylists, labels, etc. Centralization in Miami resulted in a
homogenization of local styles; turning balada into what García Canclini would
consider a global symbolic product. Today it is very difficult to distinguish
between a Mexican balada and an Argentinean or Venezuelan one.
While music producers attribute the success of ‘K-wave’ to high production values
and carefully groomed stars, cultural commentators credit the music’s “Koreanness,” “being neither American nor Japanese,” and “being conservative but
trendy.”
Drawing on fieldwork in Santiago de Chile I study how listeners perceive and
value the transformation of Chilean baladista Myriam Hernández following her
immigration to Miami–a transformation that included her physical appearance as
well as her musical style. More broadly, I explore how listeners/consumers
understand the changes that have occurred within the genre in the past twenty
years. Finally, I theorize about the implications of having a U.S. city, Miami
specifically, as the production center of a Latin-American musical genre.
Fans use Chinese websites to share enthusiasm and information (in July 2002,
there were 46 million Internet users in China, 53% under 25 and 45% using chat
sites). I have been researching the ‘Korea-wave’ phenomena through fan-sites and
chat rooms, exploring tastes, regional cultural flows, and government and industry
attitudes. I have become increasingly wary, since the Internet presents all the risks
and benefits of armchair ethnomusicology, and others besides. Chat rooms offer
anonymity and the possibility of observing undetected, and this raises significant
ethical issues. Despite the apparent universality of Internet platforms, my being of
a different generation poses as many problems as my coming from a different
culture. To participate, one must learn conventions of names, buzzwords, icons and
taglines.
Paul Menoche, Charles Central Connecticut State University
ATMI
Enhancing Instruction Through the Delivery of Audio Over the Internet:
Digital Audio Reserves as a Collaborative Project Between Libraries and
Music Departments
In this paper, I discuss how the Internet is used by ‘K-wave’ fans, how they discuss
musical tastes, and the practical and ethical problems raised by this type of
research.
The specialized music resources housed library collections are crucial tools for
successful music teaching, scholarship, and study. It is important to include music
in digital library initiatives that help to create a "library without walls." One of the
most common music-related library digital projects is the development of a digital
audio reserves system as an alternative to the traditional reserves desk. After a brief
overview and demonstration of a representative digital audio reserves project, the
presentation will explore and discuss issues of importance to music faculty
SEM
94
October 1-5
Abstracts
Pekkila, Erkki University of Helsinki
SEM
The Kalevala on screen: Music and national-romantic framing of an early
Finnish folkloric film
historical examples of recursive music and on ways in which recursive structures
might be used in new compositions. The paper details the multi-level structure of
the third movement of Ruth Crawford's 1930 Diaphonic Suite for Solo Flute and
examines the pedagogical implications of composing recursive etudes. The paper
will conclude with a challenging assertion that music history also exhibits a
tendency toward recursive periodicity.
In 1920 The Kalevala Society, a Finnish promotional folklore organization, had an
ethnographic film made called “The Wedding in Poetic Carelia”. The silent film
was shot in a Carelian village and directed by A.O. Väisänen, one of the prominent
ethnomusicologists of his time. For the film A. Launis, who was both an
ethnomusicologist and a composer, wrote a score, which included among others
a lullaby, a lament, and a dance melody. The film and its score were regarded as
genuine descriptions of the people of the Kalevala. However, both were
representations in many ways. The film was shot on a stage setting where the
scenes were acted out and its music largely originated from two earlier operas by
Launis. My paper deals with the problem of authenticity from the point of view of
framing, this meaning a set of metacommunicative premises guiding one’s
interpretation. Behind the film score a number of devices of this sort can be found,
including the two operas by Launis, a theater play by Kivi, the written Kalevala by
LOnnrot, and finally, the rune songs themselves. What makes the issue more
complicated is the fact that Launis was also a field worker who had collected
hundreds of folk songs on to a phonograph, transcribed and published them, and
had even written a doctoral dissertation on the rune singing. Consequently the
purpose of the film seems to have been to provide the viewers with some
metacommunicative signs of authenticity rather than to provide authenticity itself.
Perone, James E.
Mount Union College
Recursive Structures in Music
Perone, James E.
Mount Union College
CMS
Perullo, Alex
Indiana University
SEM
A Popular Genre in the Beginning: Dansi in Dar es Salaam's Interwar Years
During the 1920s and 1930s, Dar es Salaam, Tanganyika (now Tanzania) became
a center for many musical styles. Due to the pervasiveness of gramophone
recordings, the sounds of European, Indian, Arabic, and American music were
heard in shops and homes. Several clubs featured ballroom dancing, jazz music,
and traditional music and dance. Within this mixture of sounds, cultures, and
practices emerged a new genre: dansi. Dansi combined elements of Western music
and performance (tuxedos, jazz melodies, and foreign instruments) with local
music (traditional drums and rhythms). It became a significant style of popular
music because it enveloped and assimilated characteristics of the city in new ways.
CMS
Ever since the Middle Ages, composers and theorists have shown interest in
mathematical patterns in music. The utilization of mathematically based patterns
in musical analysis and composition include such diverse examples as: isorhythmic
motets, Schillinger's use of interference patterns, Information Theory as an
analytical tool, and Bartók's use of the Golden Section.
In this paper, I examine the early years of dansi and discuss its importance for
Africans migrating to and living in Dar es Salaam. I argue that, dansi, along with
another genre taarab, represented the beginning of a popular music scene in the
city. Like other parts of Africa during the interwar years, popular music formed
through an interest in music more in-line with urban lifestyles. In the case of Dar
es Salaam, dansi appeared through the collision of multiple cultures, and grew in
importance due to local residents interest in music that symbolized their urban
experiences. It is within this historical period that I discuss dansi to comprehend
the formation of the genre and its importance in building an urban, popular culture.
For the past two decades, considerable attention has been given to recursive
structures in the form of fractals. Such recursive structures as the Koch curve, and
the Mandelbrot set, with its bug-like shape replicated on many levels of structure,
became the popular mathematical icons of the late 1970s and the 1980s. This paper
will provide an introduction to the concept of recursion, and will then focus on
95
October 1-5
Abstracts
Pesek, Albinca University of Maribor
National Ideology and Music Education: Experiences from Slovenia
Pinzino, Mary Ellen
Come Children Sing Institute
A New Multimedia Software Paradigm for Music Educators
SEM
Music education has the potential to bring together the seeminglyopposing
interests of national culture and multicultural worldviews. In contrast to the older
approach that emphasized the development of musical abilities through the study
of classical and to a much smaller extent folk music, the two being sometimes
related, new developments in Slovene music education testify to the holistic
interest in music as a universal phenomenon. In addition to the increased use of
domestic folk music and musics of the world, one should notice the use of music
in general as a tool to promote positive values and overcome negative traits such
as racism, nationalism, xenophobia, sexism, and homophobia. This paper critically
examines three selected projects, in which the interest of national ideology in
safeguarding Slovenia’s own folk music heritage is successfully met by the
intention to broaden knowledge and abilities by using “foreign” resources.
This demonstration will present a new integrated multimedia software tool for
Music Educators. The CD-ROM based package integrates audio with text and
graphic viewing capability within a single standalone software application. An
integrated data base system indexes multiple parameters for cross-reference
searching of more than 800 songs for children. Each song is directly linked to a
graphical representation of the notation and a midi performance of the score. Key
technical features include a music educator focused interface, compatibility on Mac
and Windows platforms, the ability to print any score through standard platform
resources, and the ability to build and print compilations of songs for classroom
use or performance. Designed for teachers of preschool, elementary and children's
chorus, this new software application offers a multimedia system paradigm for
libraries of music for instrumental and vocal solos, ensembles, and music education
series books.
Pettan, Svanibor
University of Ljubljana
SEM
Slovenian Ethnomusicology between Folk Music Research and Anthropology
of Music
Pixley, Stephen Wesleyan University
SEM
The Performance of Revisionism in Northern Thailand: New Agendas and
Reconstituted Hilltribe Tourism
Slovenian ethnomusicology developed in close proximity to the important centres
of both comparative musicology (Austria) and folk music research (Hungary), yet
it fully embraced the paradigm of folk music research only. Such a development
was determined by national ideology and care for Slovene cultural identity in the
context of multinational states. During the past decade of political independence,
following the disintegration of S.F.R. Yugoslavia and prior to the likely inclusion
of Slovenia into the European Union, Slovenian ethnomusicology is characterized
by two tendencies: one seeking continuation of (Slovenian) folk music research as
determined by “national interests” and the other trying to broaden the scope of
ethnomusicological research through the holistic anthropological perspective. This
paper points to intricate connections between these two tendencies and their
reflections in topical and methodological aspects. It is structured in a comparative
manner in order to point to the important relations between the developments and
personalities in Slovenia and abroad.
ATMI
Erik Cohen has brought attention to the disproportionate power structure of
hilltribe tourism, with Thai-owned trekking companies imposing themselves on
villages and reaping nearly all the profits. This paper examines two unusual cases,
in which alternative agendas are pressed, and music is the central activity on
display. The first is of an entire village hired by its NGO overseer to perform at
feasts for trekkers, who are told their visit is not touristic but philanthropic and
educational. While this NGO does profit-share, its message of concern about
trekking exploitation masks the exploitative dynamic of a development agency
brokering those under its care, and illustrates latent touristic tendencies underlying
hilltribe development work. The second case is a village that had once epitomized
the artiface of the jungle trek. Cohen’s fieldwork in the 1970s witnessed a
community aggressively preserving the appearance of authenticity, “lest the
tourists lose interest and stop coming” (1983). During my own recent fieldwork,
Laota was deemed “spoiled” in the estimation of trekking companies, and was
being passed over in favor of more impoverished locales. A single family,
however, had reinvented tourism on its own terms, with a non-invasive homestay,
educational musical demonstrations, and a focus on the visable results of
96
October 1-5
Abstracts
development. This depiction deliberately contradicted trekking’s normal primitivist
narrative, and had the hidden agenda of countering Laota’s image as a village
grown wealthy through narcotics. My analysis focuses on the ways that musical
performance acts both symbolically and structurally within these alternative
tourism examples.
pain for she and I, as well as our two young children. It took us time, but the next
year was a time of healing and I found my relationship with God stronger and more
precious than ever. This piece celebrates that healing and renewal. It was inspired
by the following scripture from the book of Micah:
"With what shall I come before the Lord,
and bow myself before God on high?
Shall I come before him with burnt offerings,
with calves a year old?
Will the Lord be pleased with thousands of rams,
with ten thousands of rivers of oil?
Shall I give my firstborn for my transgression,
the fruit of my body for the sin of my soul?"
He has told you, O mortal what is good;
and what does the Lord require of you
but to do justice, and to love kindness,
and to walk humbly with your God?
Micah 6:6-8
Poole, W. Gerard
SEM
Flamenco and the Sacred; Pilgrimage and Pagentry in Andalusian and Gypsy
Catholicism
This presentation will focus upon three Catholic rituals in which Flamenco features
prominently: The first will be the singing of the devotional Saeta (sung in the
Flamenco style since the turn of the 19th century) at Holy Week in Sevilla, Spain.
The second will be the Gypsy pilgrimage to the city of St. Maries-de-la-Mer in
southern France, where the Spanish Rumba is the predominant musical rhythm in
which the Gypsies sing to St. Sarah “la Kalí” (the Dark One). The third will be the
festival known as “El Rocio” which is celebrated in honor of the Virgin Mary as
“the Mother of Andalusia” at an ancient pre-Christian site outside of Sevilla.
The piece is in four sections. The first depicts some of the tension and sadness of
remembered pain. The next is a slower and lyrical song of yearning. This is
followed by a short percussion interlude utilizing some interesting timbres and
effects. The final portion of the piece is a dance, which evokes the joy of
reconciliation.
The presentation will begin with a short history of the three celebrations and situate
them within the framework of the greater Catholic pilgrimage system. This will be
followed by footage of all three celebrations from the video taken this spring. The
footage will include interviews with the well-known singer and Flamencologist,
Alfredo Arrebola PhD.
Prestamo, Manuel
Oklahoma City Community College
The goal of this project is to provide an indication as to whether Flamenco Deep
Song continues to be, or has ceased to be, influenced by its sacred elements. The
investigation looks into the contemporary, rather than the historical, relationship
between Flamenco and present day sacred practice, which in turn, will reflect on
the broader issue of art in transition from the sacred to the secular.
Prechtl, Brian
What is Good
Grace College
CMS
See Bowker, Barbara E. - The Many Facets of Community College Music
Education
CMS
What is Good is a piece that celebrates life and the joy of walking with God. I
wrote this piece following a difficult period in my life. The previous year. my wife
and I had lost a child very late in her pregnancy. It was a difficult time of loss and
97
October 1-5
Abstracts
Procopio, Mary Michigan State University
SEM
Transculturation in the Cuban Diaspora: Musical and Cultural Identity in
the Lansing Cuban Community
gain employment and to succeed financially. In this study, I discuss how Cubans
living in the Lansing area use music to demonstrate their idea of Cuban culture,
examine the cultural reciprocity that has taken place here between Cubans and
other ethnic groups, and explore the relationship between musical and cultural
identity within this community. I argue that while Cubans in Lansing do not
demonstrate their "Cubanness" through festivals or community-sponsored events,
there is still a strong presence of Cuban culture in this area, and that Cubans here
have found the means to retain their identity through music and culture even as
they are assimilated into American society.
One of the major challenges that diasporic communities must contend with is the
attempt to retain their identity, both as individuals and collectively, even as they
assimilate and integrate into a new society. In his book Modernity at Large:
Cultural Dimensions of Globalization, Arjun Appadurai examines assimilation and
isolation in diasporic communities in regards to identity, and challenges us to
understand how these two social phenomena intersect. Identity, he argues, is based
on constructions of the imagination that are influenced by issues within a given
community. The language barrier that today’s immigrants face results in numerous
problems that require them to become “Americanized” by their need to learn
English, attend U.S. schools and simultaneously adopt U.S. customs in order to
gain employment and to succeed financially. In this study, I discuss how Cubans
living in the Lansing area use music to demonstrate their idea of Cuban culture,
examine the cultural reciprocity that has taken place here between Cubans and
other ethnic groups, and explore the relationship between musical and cultural
identity within this community. I argue that while Cubans in Lansing do not
demonstrate their “Cubanness” through festivals or community-sponsored events,
there is still a strong presence of Cuban culture in this area, and that Cubans here
have found the means to retain their identity through music and culture even as
they are assimilated into American society.
Prouty, Kenneth
Indiana State University
SEM
From ‘Keeping Your Head Above Water’ to ‘Movin’ on Up:’ Representing
African American Urban Culture Through Theme Songs for "Good Times"
and "The Jeffersons"
In this paper, I engage in a musical and textual analysis of the theme songs for two
television situation comedies during the 1970s and early 1980s, “The Jeffersons”
and “Good Times.” Although their productions shared a common origin, these
programs painted strikingly different portraits of African American urban life
during the post Civil Rights Era. While “The Jeffersons” was often viewed as
something of a parody, a “fish-out-of-water” tale of African Americans living
within the world of white wealth, critics and audiences frequently lauded “Good
Times” as a more authentic representation of urban black culture, despite assertions
to the contrary by a number of individuals involved with the show’s production.
In particular I will explore how these brief, but memorable musical vignettes
represent a worldview particular to each show. Underlying themes of perseverance
(in the case of “Good Times”) and upward mobility (in “The Jeffersons”) are
articulated not only through lyrical content, but also in specific historicallyconstructed musical references. I further argue that each song is dialogic not only
with the content of the programs themselves, but also with the production of each
show, the subjects of authenticity and race relations within the sit-com genre
(specifically “All in the Family,” which inspired both programs), and with
divergent representations of and perceptions about African American urban culture
in American society.
Procopio, Mary
Michigan State University
CMS
Transculturation in the Cuban Diaspora: Musical and Cultural Identity in the
Lansing Cuban Community
One of the major challenges that diasporic communities must contend with is the
attempt to retain their identity, both as individuals and collectively, even as they
assimilate and integrate into a new society. In his book Modernity at Large:
Cultural Dimensions of Globalization, Arjun Appadurai examines assimilation and
isolation in diasporic communities in regards to identity, and challenges us to
understand how these two social phenomena intersect. Identity, he argues, is based
on constructions of the imagination that are influenced by issues within a given
community. The language barrier that today's immigrants face results in numerous
problems that require them to become "Americanized" by their need to learn
English, attend U.S. schools and simultaneously adopt U.S. customs in order to
98
October 1-5
Abstracts
Pyper, Brett
New York University
SEM
Long Way From Home: South Africa, Jazz, and Exile in New York in the
1960s
education. Campbell has pointed out that in music education, the lines between
“multicultural” and “global” have been blurred. At present, multicultural and world
musics are similar in scope. In the current controversy between those seeking to
provide a unifying philosophy for the music education profession as reflected in
the works of Elliott, Jorgensen, McCarthy and Reimer, the concept of
multiculturalism has been embraced. The similarities and differences in the writers’
social interpretation of the concept can be better understood if addressed in light
of Kincheloe’s and Steinberg’s categories of multiculturalism. In her analysis of
these five categories, Morton suggests that the approaches inherent to critical
multiculturalism would be more conducive to begin articulating a clear moral
vision and conceptual framework for multicultural music education.
New York City has long been recognized as a primary node of transatlantic
musical connections, and the particular significance of Harlem in the South African
cultural imaginary has been well documented (e.g. Coplan 1986, Erlmann 1991,
Ballantine 1993). Yet until the 1960s, relationships between African-American and
black South African artists were on the whole rather distant, mediated both by the
American entertainment industry and dissemination through the British
Commonwealth. This was particular salient in the case of one of the most striking
manifestations of African-American influence on black South African culture: the
urban black jazz scenes that had by the 1950s become emblematic of African
modernity, cosmopolitanism, and political self-assertion. Though jazz music had
acquired local audiences since the 1920s and soon incorporated a variety of
neotraditional African popular musics into its stylistic vocabularies, there is little
evidence of direct contact between the originators of jazz and other American
popular styles until 1960. When the Sharpeville massacre of that fateful year put
an end to the political and cultural optimism of the 1950s, many of South Africa’s
jazz luminaries were performing on Broadway, and New York soon became a
rallying point for a generation of exiled South African musicians. In this paper,
drawing on archival research in and around New York City, I sketch the particular
sociomusical art worlds in which such figures as Miriam Makeba, Hugh Masekela,
and Abdullah Ibrahim established themselves during the 1960s, tracking the
musical and political alliances that emerged from their presence in the Big Apple.
Quick, Sarah
Indiana University
SEM
Mapping Musics: the Problem of Geography in Early Ethnomusicology
This paper examines geography as an epistemological principle that has had lasting
implications for ethnomusicology’s practice.
In it I ask, how do
ethnomusicologists conceive of geography in formulating their objects of study?
That is, is there a geographic consciousness that guides their choice of subjects and
analysis? By a ‘geographic consciousness,’ I mean to consider not only what
people study in space, but also how their imagination or theories of spatial relations
feed into their methodologies for studying what they study. My hypothesis is that
the kinds of geographies studied are directly related to both the methods and
theories used to study them.
Here I will examine ethnomusicology’s ‘geographic consciousness’ in the early
stages of its disciplinary chronology before ‘ethnomusicology’ became a named
discipline. Recent accounts of this earlier period divide it into at three orientations-comparative musicology, anthropological interests in music, and folk
revivals/search for national musics—which all then feed into the
‘ethnomusicology’ of the next phase (Myers 1992; Sadie 2001). I analyze the
geographic consciousness within each of these three orientations through an
examination of particularly key figures within them. I then consider where these
orientations converge and diverge in their geographic practices/premises.
Especially significant is how geographic consciousness connects to conceptions of
temporality or historical frameworks. Finally, I point to the implications that a
geographic consciousness has to disciplinary practices within ethnomusicology.
Quesada, Milagros Agostini
Kent State University, Tuscarawas
SEM
Multiculturalism and World Musics: Current Perspectives to Consider in
Formulating New Peadagogical Directions
As a response to the urgent call by distinguished music educators for a path to a
socially responsible pedagogy, it is the purpose of this presentation to address
current understandings of related concepts and philosophies underlining them,
mainly, the concept of multiculturalism in music education. Multiculturalism in
schools has been based on the notion that the curriculum should serve the diverse
population of the United States and develop in students an understanding of
cultural elements in countries across the world. Some in the field of education
argue that the latter properly belongs in the area of international and global
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October 1-5
Abstracts
Quintero, Michael Birenmaum New York University
Black Music in a Multicultural Colombia
SEM
nation. Notting Hill Carnival has been variously viewed as a noisy spectacle, as a
site of conflict or as a display of Black Power. 2002 seems, nevertheless, to have
marked a turning point in public perceptions of this musical spectacle. Mas
featured prominently in the Queen’s Jubilee celebrations. Calypsonians performed
at the Victoria and Albert Museum. Are these signs that Caribbean musics have
found a place in the national imagination? In this paper, I will examine how
Caribbean-British musicians question the borders of Britishness and how their
diasporic sensibilities intersect with a sense of belonging in Britain.
World music is usually seen as produced in the global South for consumption by
educated, affluent consumers in the North. In 1991, the embattled government of
Colombia ratified a “multicultural, pluriethnic” federal constitution, sparking a
newly pluralist cultural policy which markets the cultural products of
Afrocolombian and other marginalized groups to artistic and intellectual sectors not
only in the North, but in Colombia itself. These domestic consumers aspire to a
kind of cosmopolitanism, common in Latin America, which values the
consumption of the products (cultural and otherwise) of the North. But with the
legitimization, via Northern multiculturalism, of the cultural products of the Third
World, Latin American elites are put in the awkward position of looking to the
North for Culture only to find the North looking back! This new development
paradoxically maps cosmopolitan modernity onto those same black and indigenous
Colombian populations which have historically been viewed as an impediment to
the nation’s Eurocentrically-conceived project of modernity.
Rancier, Megan University of California, Los Angeles
SEM
"Music is Just One Way to Peace": Protest Music Traditions in Los Angeles
During the 2002-2003 Anti-War Movement
Ever since the wealth of “protest songs” that burst out of the American antiVietnam War movement, the protest music scene in the United States has
experienced a relative decline, both in terms of popularity and of identity as a
unified assemblage of artists working towards a common goal. However, the
immense reactions of American protestors to the threat of a U.S.-led war against
Iraq have indicated that traditions of protest remain vibrant in the American
consciousness. I would argue that musical expressions of dissent in particular have
re-emerged into the forefront of major anti-war protest events, encompassing
extremely diverse genres– such as traditional Korean gong ensembles, recreations
of Aztec drumming and dance, old-time fiddling, and hip hop– and building on the
foundations laid down by a previous generation. Based on my ethnographic work
executed during a series of anti-war demonstrations in Los Angeles and San
Francisco, California, and interviews with performers of political (anti-war) music,
my paper examines the place, value, and/or effect of musical performance in the
practice and ethos of political protests against the war with Iraq. In addition, my
paper reflects back on the musical traditions that arose from the anti-Vietnam War
era and makes observations on how protest music traditions have changed in the
thirty years separating these two anti-war movements.
Using ethnographic case studies from both popular (champeta) and traditional
(currulao and chirimía from the Pacific coast) Afrocolombian genres which have
been effected by these dynamics, I aim to depict the agendas of a state feigning
legitimacy in an increasingly fragmented and ungovernable nation, and an
artist/intellectual class searching for class distinction. This paper provides an
alternative example of globalization in which cultural capital is transnational while
the commodity itself (music) stays put. Here, even the supposedly anti-colonialist
doctrine of multiculturalism has taught the South to colonize itself.
Ramnarine, Tina
SEM
Home in the Diaspora? Imperial Legacies and the Politics of Musical
Creativity
Notions of diaspora raise problematic questions about the borders of belonging and
about the national imagination. Caribbean communities in Britain have contributed
to pushing against the borders of the ‘national’ through their musical practices.
While musical events such as dancehall or chutney have been viewed as
‘alternative’, ‘hidden’ spaces in which collective community solidarities can be
expressed, London’s Notting Hill Carnival has provided one of the most prominent
public forums for debates centred on the politics of imperial legacies, race and
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October 1-5
Abstracts
Rao, Nancy
SEM
Contextualizing Early Chinese American Music: Its Relation with Chinese
American Civil Rights Movement
sorts of creative invention. Ways in which Malakov utilizes formulae during
performances, his techniques of elaboration upon core ideas, the relationships of
melody and text to poetic meters, and rhythmic considerations (especially in
connection with ideas of “free” rhythm) are investigated. I discuss his treatments
of hymns, prayers, and canonical texts in relation to Jewish practices of nusah( (a
prayer style that involves the combination of motives that undergo different
amounts of variation) and the generally more virtuosic cantorial art form, or
h(azzanut. Other points of consideration, especially regarding Malakov’s CD and
notation projects, are the use of on-the-spot arrangements, general attitudes that
may owe something to the current environment of New York City, and
ramifications of notating and recording his repertoire.
From 1870 to 1930 Cantonese opera was the most important music activity for
Chinese communities in the United State. The scarcity of evidence for Chinatown’s
music life from its early period, however, makes the reconstruction of its history
difficult, an important reason that studies dealing specifically with the early history
of Chinese American music are still noticeably lacking. Seeking a history for the
music of Chinese Americans—in some ways fighting for those sonorities and
images that would threaten to disappear irretrievably—is an urgent necessity.
In this paper, I will discuss the repertoire and performers popular during this time,
reconstructed from news accounts, advertisement of over a thousand playbills, and
advertisement of phonographs in the Chinese newspapers published in New York
City and San Francisco, as well as historical recordings. The paper will address the
following questions: what were these theaters actually like? How did they compare
to the Cantonese troupes performing in Canton and south east Asian regions? Who
were the performers, what were their levels of virtuosity, and what performance
adjustments did they make for the mode of life of Chinese in America? And what
can we learn about the sophistication of their audiences and their changing tastes?
In addition I will explore the relation between the different characteristics of opera
performances and their adjustment to local tastes. This will be done through a study
of oral history and personal papers, for example, the ways in which central themes
of the repertory are linked to the bachelor society’s surrogate love and romance.
Rapport, Evan City University of New York
Performance Styles of a Bukharian Singer
Rasmussen, Anne
The College of William and Mary
SEM
Bodies, Voices, Religion, and Nation: Rethinking Women, Music, and Islam
While the Western imagination hides the Muslim woman under a black cloak, and
scholarship confines women to a sphere of segregated interiority, my work
describes professional female reciters of the Qur’ân as well as performers and
producers of Islamic music who work, with voice and body, as beneficial agents
of Indonesian religion and nation.
I propose that the prominence of women in Islamic public life may be closer to the
origins of Islam rather than a distortion of or variation on a more “authentic” Arab
version of the religion. I take my cue for this thesis from recent works by scholars
of Southeast Asia who challenge the assumption, promoted by previous scholars
that Arab Islam is normative. Despite the religion’s authoritative origins, it is
important to remember, I argue, supported by Muslim feminists Ahmed, Mernissi,
Malti-Douglass, and Mooallem, that the secondary and tertiary tenets that decorate
the framework of the faith (particularly those effecting women) are based in
cultural practice and not in original doctrine. By accepting this premise we open
ourselves up to understanding Indonesian Islam as “authentic” rather than
“unusual.” As described in my earlier works, musical performance is the advocate
and not the adversary of Islam in the Indonesian context and much of this
performance is made by women. Speaking to the conference theme of the politics
of representation and authenticity, this paper maps contemporary Indonesianist
perspectives and controversies onto assumptions about the trio: women, music, and
Islam.
SEM
This paper explores variation techniques in the sacred music of Bukharian Jews
(mostly from Uzbekistan and Tajikistan), approached through analysis of the styles
of Izro Malakov, one prominent member of the immigrant community of Queens,
New York. In addition to serving as h(azzan (cantor) at Beth Gavriel Synagogue
in Rego Park, Malakov is an accomplished singer of genres and forms such as the
Tajik-Uzbek shash maqâm, haqqoni, and popular traditional Jewish wedding
songs. His cultural activities also involve producing CDs and compiling notations
of Bukharian melodies. These many genres and the contexts in which they are
performed call for different kinds of flexibility and approaches that reflect various
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October 1-5
Abstracts
Rathmell, Robert
Hillsdale College
Motivic Transformation...
CMS
censored media, they were able to negotiate not only local and government
restrictions, but also a global market. As musicians and agents of new media, Les
Têtes Brulées were able to co-opt local and global images and sounds to comment
on, reinforce, or confound competing and conflicting discourses of musical and
media use.
Benjamin Britten's Nocturnal, op. 70 for guitar is atypical of the variation genre in
that the theme-John Dowland's Ayre for voice and lute, "Come, heavy sleep"arrives adapted to its purpose at the end of the set, following the developmental
processes of the variations. Presented in this inverted order, Dowland's theme
harmonizes Britten's disparate motives into a momentary unity, restores each to its
original diatonic context, and places the music directly in relation to Dowland's
poetry. Whereas Philip Rupprecht's voice leading analysis (Journal of Music
Theory, 1997) emphasized the "uncertainties" of the tonal organization and the
opposition of simultaneous and contrasting pitch centers in the first variation, this
analysis draws the listeners' attention to the clarifying power of the theme. It
identifies principal motives and follows transformational paths back into the theme
to consider the fullness of associations between the music and the first verse of the
poetry, included as a preface to Britten's composition. Character markings at the
beginning of each variation enhance the associative potential of the music,
facilitating not only clear apprehension of the broader musical design but also
connections between the affect of each variation and elements of the verse.
Britten's classicism here finds expression in the scope of the work rather than a
technique of voice leading and aligns the Nocturnal with a distinguished idealist
tradition: harmony as a consonant relation of diverse parts, and the artwork as
striving to rejoin its source in the idea.
I will show how a contemporary, non-Western band can negotiate performance
technologies using techniques I refer to as strategic minstrelsy. Les Têtes Brulées
carefully construct an identity situated firmly in a Black modernism, arguably a
stage written out of the European history of Africa from Victorian colonialism to
post-modernity. The conscious use of technology, the media, and images of the
body maximize the possibilities that represent a perhaps neglected, or un-examined
modernity.
Reed, Daniel
Indiana University
SEM
"The Ge is in the Church: Music, Identity, and Resistance Among the Dan
of Cote d'Ivoire"
During the past 50 years, many Africans have “Africanized” Christianity by
incorporating indigenous music, dance and in some cases beliefs into their worship
services. In Man, Côte d’Ivoire, Catholics of Dan ethnicity have formed choirs that
set Christian lyrics to indigenous Dan songs and rhythms. Included in these choirs’
repertoires are adaptations of music used in the performance of Ge--an indigenous
religious enactment involving masked dancers and music. This music, called getan,
is the element of Ge performance that attracts spiritual energy to the human realm.
Getan is taught by masked Ge spirits in boys’ initiation; as such, for many
practitioners of Dan religion, getan is central to what it means to be Dan. That
getan is performed in the Church means, for them, that the Ge spirit itself has
entered the church, which they view as a kind of resistance to French colonial
attempts to abolish local cultural and religious practice. For choir members
themselves, however, this music, adapted with Christian lyrics, no longer attracts
indigenous spirits but the Holy Spirit. Dan choir members assert that the use of this
music in the Church enables them to express their Christian faith in a form
compatible with their identities as Dan people. This paper, based on ethnographic
research conducted in the I 990s, will explore the multiple interpretations and
related identity conflicts surrounding the use of this music in Catholic worship, and
demonstrate that music is central to the negotiation of religious and ethnic identity
for Dan people today.
Rathnaw, Dennis
University of Texas, Austin
SEM
Strategic Minstrelsy: Les Têtes Brulées and the Claim for Black Modernism
This paper examines the popular music genre bikutsi as a site of interaction
between music, politics and the Cameroonian media. Bikutsi has long been
associated solely with the Beti region of Cameroon, and as such considered a
marginal music patronized by the “villageois.” Nevertheless, after Paul Biya, a
Beti and bikutsi fan, assumed the presidency in 1982 and inaugurated the
Cameroon Radio and Television, bikutsi acquired the importance of a national
music and global phenomenon.
In order to understand the practice of bikutsi as an experience mediated by politics
and internal and external consumption, I focus on Cameroon’s most successful
bikutsi group, Les Têtes Brulées. What is most striking about Les Têtes Brulées
is not their music, but their carefully cultivated appearance, and how under state-
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Abstracts
Reichling, Mary
University of Louisiana at Lafayette
CMS
the local population invests heavily in the production of Holy Week through an
intense collective dramatization. The theatrical display moves between masses,
processions, and enactments of the passion, each accompanied by a specific
musical repertoire, encompassing choral works by colonial composers, locallycomposed dirges, and collective singing. Today, however, locals fear that their
celebration is being corroded by a progressive clergy, who see it as out-dated and
elitist, and as a hindrance to the church’s current project.
While some teachers view the status quo in music pedagogy as an imperative,
many are open to change, dissatisfied with the ordinary, and eager to embrace new
ideas. The panel looks at what it means to transform music education and how we
might go about doing it. It includes and encourages audience participation.
1. An Overview of Transforming Music Education. What might music education
be like, what could its effects be on the people comprising it and the communities
in which it occurs? Transforming music education calls for principles that can be
interpreted and practiced in different ways. These are suggested with implications
arising from problems of gender, world views, and music making.
This paper focuses on the orchestration of Holy Week in Campanha, looking at the
role of music in the promotion of heightened - or ‘enchanted’ (Reily) - experiences
amongst participants. Enchantment - the musical mode of religious ritual
orchestration - creates a highly charged experiential realm, in which devotees
visualize the truths of their religious tenets: thus, it constitutes a powerful medium
for forging religious commitment. Going one step further, I will argue that
enchanted experiences can be strong forces in motivating collective action. In
Campanha the power of enchantment is being harnessed to establish Minas Gerais
as a final stronghold of traditional Catholicism, in an effort to confront the threat
of the modern church to local heritage.
2. Focus on Ways of Thinking. If we are truly interested in transforming music
education, it is necessary to break out of the ties that bind and restrict our thinking
both at theoretical and practical levels. Suggestions are offered along with the
challenge to music educators to raise their expectation and look beyond the
ordinary.
Repp, Richard Georgia Southern University
Adapting Home Surround Sound Systems for Teaching Purposes
3. Focus on Ways of Being. A broad view of music education can be directive and
liberative, didactic and dialogical. It calls for both inspiration and imagination.
"Being" refers to human beings, living things cannot be standardized. Music
education is explored holistically addressing these concepts.
Many of us have chosen to incorporate a surround sound system into our home
entertainment centers. Unfortunately, many schools do not yet have the capability
to mix in a multi-speaker environment. A working solution is to adapt a home
surround system for teaching. The demonstration features a home surround system
with a Digi 001 interface to produce an environment which allows surround sound
mixes. The system is also portable enough to bring into the classroom occasionally
for demonstrations. Also featured will be demonstrations of pieces produced for
surround sound, in both electro-acoustic and popular styles, discussions of how to
achieve some of the surround effects both for live performance and recorded
pieces, and anecdotes of experiences of using the technology to demonstrate
surround sound to students.
4. Focus on Ways of Acting. Acting involves teaching and learning, but also
leadership, music making, and music taking. Our mass-mediated, informationdriven, multicultural world demands that for music to be transformative, it also has
to translate into practical plans and policies involving collective action,
inclusiveness, leadership, and cooperation.
Reily, Suzel Ana
Queen's University Belfast
The Power of Enchantment: Holy Week in Southeast Brazil
ATMI
SEM
During the colonial period, Holy Week became the main event of the annual
calendar in the mining towns of southeast Brazil. Embodying the memory of the
gold era, Holy Week continues to be central throughout the region, constituting an
emblem of local identity. In Campanha (MG), where this project was undertaken,
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October 1-5
Abstracts
Repp, Richard Georgia Southern University
The Search for an Academic Position in Music Technology
the past two decades, Afro-Peruvian music is gradually replacing música criolla
as a banner for Peruvian-American urban identity, reflecting a diverse heritage
transplanted into a new multicultural context.
ATMI
More academic positions in music technology, or with a component of technical
skills, appear in the job listings every year. Because the discipline is relatively new,
often advisors are unaware of the procedures necessary to gain employment and
the special needs of the technology-centered academic. Topics discussed include
types of jobs available, duties associated with positions, sources for job listings,
discussion of tenure and promotion procedures unique to music technology,
interviewing and demonstrating technical skills to employers, planning for facilities
management, and budgeting. The discussion is geared to students or newer faculty
seeking employment at entry level status.
Reuter, Rocky J.
Capital University Conservatory of Music
Using Pro Tools as a Creative, Composition Tool
Concomitantly, the cajón emerges as a symbolic affirmation of the Peruvian
diasporic history. Despite strong currents of resistance to Cuban influences,
syncretisms have developed synthesizing Afro-Peruvian and Afro-Cuban secular
and sacred traditions. The presentation will explore the promotion of AfroPeruvian idioms as an expressive resource for the construction of a place-identity,
and its significance in the evolving intercultural aesthetics related to the discourse
of the "Cubanization" of a pan-Latino culture. Reflecting the complexities of the
immigrant experience, these adaptive expressions function as cultural symbols of
a displaced national identity, and enhance the sector's status within the regional
Hispanic hierarchy of historically distinct and socio-economically stratified
diasporic communities in South Florida.
ATMI
Rice, Timothy University of California-Los Angeles
CMS
Music in Bulgaria: Collaborative Moments for Teaching a Musical Culture
Pro Tools is the industry-standard software/hardware solution for professional
digital audio recording studios. However, this cross-platform software provides an
extremely useful tool for composers who want to create digital musique concrète
compositions using digital audio, with the option of including MIDI and/or
software synthesizers. This session will demonstrate how your students (of any
age) can use Pro Tools Free and its substantial manipulation tools to create original
compositions on a computer without any additional substantial hardware purchase,
whether at home or in your music lab. In addition, other available Pro Tools
configurations will be discussed. The demonstration session may be followed by
a hands-on training session if a computer lab is available and time allows.
The work worlds of ethnomusicologists continue to converge into a realm known
as "world music", and a pedagogy of world music is emerging as a result of the
confluence of concerns of trained music-scholars and instruction and curriculum
specialists. Their combined efforts have the potential for revolutionizing the nature
by which young people come to understand music, education, and culture in
university (and K-12) settings. The session will be co-presented by "one of teach",
a music-scholar (whose pioneering fieldwork in Bulgaria has shed considerable
light on that musical culture's traditional and changing expressions) and a
curriculum and instruction specialist (whose work in the formulation of world
music experiences for children, adolescents, and teachers has been guided by a
concern for developmentally appropriate materials and methods). Both have an
understanding of the other's work, too, including the ethnomusicologist's interest
in cognitive processes of musical learning and the educator's experiences in a
research exchange program in Bulgaria. Their collaboration is an attempt to
demonstrate the possibilities for shared work in the search for pedagogical
experiences of musical integrity that are sensitive to the cultural context of the
music's origin and that of the classrooms in which it is taught. Several songs and
dances will be featured as exemplar of resources for teaching the music of
Bulgaria, but the greater intrigue may be in noting the process by which music
Rey, Mario
East Carolina University
SEM
Festejo, Cajón, and Hybridity: The Music of Afro-Peru in Cuban Miami
The Peruvian immigrant community in Miami endeavors to assert an identity
predicated on the homeland musical culture that is distinct from other Hispanic
sectors in South Florida. This paper examines Peruvian immigrant music-making
vis-à-vis the Cuban musico-cultural hegemony, and the shifting preferences of
second-generation Peruvian-Americans who devalue Andean traditions and favor
technocumbia or Anglo pop. Gaining local popularity is the Perú Negro repertoire.
Largely derived from "invented" traditions and disseminated throughout Peru over
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October 1-5
Abstracts
professionals can come together in ensuring that students grow in their
understanding of a rich musical culture.
music technology, what, if any, are the key arguments to be made for choosing one
platform over another?
Richardson, Carol
Musical Journeys in Ghana, West Africa
Rios, Fernando University of Illinois, Urbana-Champaign
SEM
Cultural Embarrassment and Transnational Theft: Andean Folkloric Music
and Bolivian National Sentiment
SEM
This paper will explore the issues involved in bringing undergraduates to authentic
musical experiences in musical cultures different from their home musical culture.
The University of Michigans Global Intercultural Experience for Undergraduates
program (GIEU) supports faculty sponsors to take undergrads on 3-4 week summer
study trips. Our trips to Ghana, West Africa have allowed us to study various forms
of traditional music with local teacher/performers and ensembles, and have offered
rich opportunities for expanding participants’ musical frames of reference. The
more challenging aspects of these interactions will be explored here, including
learning in the aural tradition, traditional teacher/learner roles, and the intricacies
of traditional teaching methods.
Andean folkloric music, a musical style that prior to 1966 was more visibly
performed in Buenos Aires and Paris (primarily by Argentine musicians in both
sites) than in Bolivia, has functioned as the foremost Bolivian ‘national music’
since the late 1960s. In direct response to both Andean folkloric music’s relatively
recent ‘nationalization’ and to the transnational performance of this musical style
by non-Bolivian musicians, deeply felt and long-held urban Bolivian sentiments
regarding ‘embarrassment’ over national identity and the transnational ‘theft’ of
national patrimony have become so commonly evoked that Bolivian ‘national
music’ has become a primary site for their elicitation in public discourse. In this
paper, based on historical research conducted via dissertation fieldwork (in Bolivia,
Argentina, and France) and archival work (of the 1936-1985 period via Bolivian
newspapers), I will first contextualize the historical significance of these ubiquitous
sentiments of ‘cultural embarrassment’ and ‘transnational theft’ within the Bolivian
experience. Next, I will trace how and why these sentiments have become so
strongly linked to ‘Bolivian’ musical practices. The main goal of this presentation,
however, will be to argue that, as well as to explain why, this case is an especially
clear illustration of how ‘national sentiment’ (Smith 1971) not only consists of
feelings of ‘national pride’ but is also constituted by, and in the Bolivian case
significantly so, often-overlooked feelings of ‘national embarrassment’ (Herzfeld
1997).
Riley, Carole
Duquesne University
ATMI
Innovative Practice Techniques for Secondary Piano Using Blackboard 5.5
Participants will learn the dynamics of blackboard 5.5, graduate assistants and
mentors teaching using MIDI classroom of 16 Kawais. Three primary innovations
will be presented.
Riley, Raymond
Alma College
Macs vs. PCs: Does Platform Really Matter?
ATMI
Rissman, Maurice Nick Lamar University
Cycling Through Polyrhythms
This presentation attempts to sort out the myths and hype from the facts when
comparing the Windows and Mac platforms for a broad range of applications in
music technology. Hardware, software, motherboards, sound cards, USB audio,
and virtual instruments are all the topics of this closeup look at Mac and PC
solutions for music technology needs. Now that the dust seems to have settled with
Apple’s anything but smooth transition to Mac OS X, it seems an appropriate time
to revisit the state of the “platform wars”. Did Apple fall asleep at the wheel and
let the Windows OS gain the upper hand in what has always been a key market
segment for Apple? Considering the wide range of applications now available in
CMS
The formal study of polyrhythms (2:3, 3:4, 3:4:5 etc.) often begins in the typical
four semester undergraduate theory cycle. Polyphonic instrumentalists are--no
doubt--introduced to the rhythms prior to this. Commonly, the rhythms are taught
with the aid of mnemonic rhymes and through the use of sub-divisions. Mnemonic
rhymes help students memorize the sound of specific rhythms but, unfortunately,
do nothing to reveal the rhythmsÆ mathematical mechanics; students are unable
to determine the patterns of unfamiliar rhythms. The use of sub-divisions--the least
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October 1-5
Abstracts
common denominators shared by the separate parts of a polyrhythm--guarantees
that students will calculate and accurately perform any polyrhythm. However, a
sub-divided polyrhythm is difficult to integrate into the actual composition at hand,
particularly if the polyrhythm is super-metrical (exceeds the length of a beat). The
author of this paper suggests teaching and understanding polyrhythms in a new
way: wrapping the sub-divisions around on themselves so that they form repetitive
cycles and thus, mimic the motions of gears rather than a linear index; oral
counting of the sub-divisions is unnecessary and thus, the polyrhythm is more
easily integrated into the composition at hand. The process is easily demonstrated,
learned, and becomes a valuable reference tool while motivating students to
explore ever more complex polyrhythms.
Robinson, Kathy
"Passage to Kimberley: Finding the Real Diamonds"
Robbins, Scott Converse College
Just Like Job
Participants share general/choral music lessons centered on South Africa’s
Curriculum 2005 classroom goals for music with more than 2500 students and their
teachers in public and private elementary/secondary schools in Galeshewe.
This presentation discusses the issues involved in incorporating music teaching and
learning experiences in an unfamiliar culture to professional development
programs for in-service music educators.
The University of Rochester, the Eastman School of Music, and selected public
and private schools in the South African township of Galestiewe have collaborated
on a 6-8 week cultural immersion project (Umculo!: Kimberley) bringing
experienced choral/general music teachers to teach, live among and learn from
people in an unfamiliar culture known for its rich indigenous musical traditions.
CMS
Composed for Keith Jones, Christopher and Kelly Vaneman, Kenneth Law, and
Melanie Taylor, Just Like Job was commissioned by the South Carolina Music
Teachers Association and the Music Teachers National Association and premiered
at the 2001 SCMTA annual conference.
Teachers join school, community and church choirs to learn traditional choral
music and to share knowledge of western choral traditions with groups preparing
these pieces for competition. They have unlimited opportunities to participate in
music and cultural events led by Galeshewe’s students, teachers and community
musicians in the role of cultural translators.
The title of the work comes from Maya Angelou's poem of the same name, which
provides the text for the piece. As is the case with Job in the Old Testament, the
narrator in Angelou's poem makes a transition from despairing to trusting in the
power and promises of God. The musical work reflects this, as the opening section
has a plaintive, desolate character, which gives way to the faster, more exuberant
ending.
This cultural immersion experience raises questions about transmission, traditional
roles of teachers and learners and developing culturally relevant teaching in South
Africa and the US.
Rodel, Angela University of California, Los Angeles
SEM
"Extreme Noise Terror: 'Aesthetics of Badness' as a Punk Gate-Keeping
Strategy"
Given the nature of the poem, it seemed appropriate that this work incorporate
gestures reminiscent of the blues, gospel, and rock. Sometimes (maybe not often)
this is subtle, as in the beginning of the piece, when the long, dreary melodic lines
of the cello and oboe suggest the spirit of the blues. Other times, the incorporation
of other musical styles is quite blatant, as in the tenor's Smokey Robinson-styled
falsetto, or the way the muted piano becomes like a drum set, or the Bo Diddleystyle harmonic/rhythmic progressions that occur. Musically, I tried to cast a wide
net, hoping that a "classical" work which uncompromisingly presented pop music
allusions (or is it a pop work which uncompromisingly utilizes classical
techniques?) might be of appeal to a larger audience.
SEM
Over the past few years, a genre called "extreme hardcore" has been steadily
gaining popularity in the underground punk scene. With its lightning-fast tempos,
screamed vocals and almost total lack of melody, this genre raises questions about
how the concepts of “bad” and “good” music, as well as “music” and “noise” are
employed as “gate-keeping strategies” by cultural insiders in the struggle to create
musical meaning and value. In this paper, I explore the “aesthetics of badness” in
extreme hardcore punk, arguing that punks deliberately cultivate an image of
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Abstracts
Rohlehr, Gordon
University of the West Indies
musical “badness” as a way of attempting to retain control over punk sounds and
images. Extreme hardcore can be seen as the latest development in an ongoing
struggle by underground punks to resist commodification by the commercial
mainstream. The aesthetics of badness in punk encompasses two distinct yet related
issues: “badness” defined as a low-level of technical proficiency and “badness” on
a more purely aesthetic level. Drawing on theories of the culture industry and mass
commodification developed by Theodor Adorno, Jacques Attali and Pierre
Bourdieu among others, I will investigate the way extreme hardcore manipulates
aesthetics as a way to resist appropriation by the mainstream and to retain
“underground authenticity.” Finally, I will explore whether such an aesthetic
strategy can ever be anything but oppositional “position taking” in the Bourdieu’s
sense, or whether such art has the potential to foment actual social change.
See Fulton, Carolyn J. - Weaving the Musical Tapestry of Miami
Romero, Brenda
University of Colorado-Boulder
Intersections of Music Theory and Ethnomusicology
CMS
The intersection of music theory and ethnomusicology is emerging as a point of
great potential for expanding the canon in college music teaching. Addressing the
ethnomusicologist's desire for cultural contextualization and congruence as well as
the theorist's concern for concepts and structural coherence, this panel focuses on
various aspects of these intersections. Ethnomusicologists teach not only budding
ethnomusicologists, who in turn study musical cultures as scholars, but also young
musicians who can benefit from studying musical practices and concepts drawn
from a variety of cultures. In this manner ethnomusicology has the potential to
enrich musical application and practical musical training. The presentations focus
on the usefulness of studying the theoretical principles of varying world music
cultures as a tool to build practical musicianship skills; a course design that
explores ways of bringing "world music" into the music theory classroom; and on
specific ways in which the activity of building and playing panpipes provides a
tactile point of reference for enlarging the cultural base of a course in music
fundamentals.
Rodger, Gillian University of Wisconsin, Milwaukee
SEM
“If ‘The Past is a Foreign Country,’ How do we get there? Ethnomusicological
Approaches to Past Music Practices.”
In researching music practices and cultures of the past, I found myself, in many
ways, faced with a similar set of problems as the researcher contemplating
fieldwork. I needed to understand the people and their customs, the musical form
in which I was interested, and the performance practices employed in it. Before
embarking on my own research, I made a thorough study of existing works on the
topic/culture/practice. But, in beginning my own research I could not then transport
myself to the “field” to see how my observations compared to those of my
scholarly predecessors. In historical work, and particularly in work where there is
no extant tradition, researchers need to construct their “field” from surviving, often
fragmentary records, and also depend on our predecessors to know where to locate
those pieces of evidence, and for our overall view of our “field.” Our inability to
experience the “field” in person means that any gaps in earlier scholarship are less
likely to be noticed.
Romero, Brenda
University of Colorado-Boulder
CMS
This paper will explore approaches drawn from ethnomusicology to suggest ways
in which historical research can construct a richer “field” by seeking alternate
sources of evidence. Using examples drawn from my own work in popular
American entertainment of the mid- to late-nineteenth century, I will show how a
“whole culture” approach that actively seeks to locate what is missing changes our
views of what is known now about this history. I will discuss the range of the
primary sources on which I rely in my own work to suggest broader applications
of ethnomusicology in historical music research.
CMS
Rommen, Timothy
University of Pennsylvania
SEM
Protestant Vibrations? Reggae, Rastafarianism and Conscious Evangelicals
The globalization of reggae continues to engender a wide range of highly poignant
reinscriptions and reinterpretations of reggae’s sound and of Rastafarian thought.
One of the most compelling of these has been the negotiation of Rastafarian and
Christian ideologies within the context of Protestant reggae hands/artists. The
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October 1-5
Abstracts
application of Rastafarian thought, dress, and language to the evangelical concerns
of Protestants - at times paradoxical, at others ingenious - signals an important
moment of inter-religious contact that opens a window onto the complexities and
multiple meanings that attach to music and to religious systems as they travel
between the local and the global. Reading against the teleological grain of reggae’s
globalization, this paper analyzes music by Christafarfi (United States). Sherwin
Gardner (Trinidad and Tobago), and Stitchie (Jamaica), thereby situating the
discussion between reggae’s transnational growth on the one hand and the
historical proliferation of evangelical Protestantism on the other. It is in the
interstices of the centrifugal expansion of reggae and the constant, centripetal flow
of religious ideology- both centered on Jamaica-that I will argue for a significant
connection between popular culture and the sacred and for a reconsideration of the
ways that the Rastafarian elements within reggae might he understood in new,
global and local contexts.
the task. Moreover, I argue that the activities of nineteenth-century folklorists are
an often forgotten but critical parts of our discipline’s history, and demonstrate
how their works prefigure the pursuits of ethnomusicologists in the twentieth
century and beyond.
Rubin, Joel
Cornell University
SEM
"The Limits of Generational Memory: The Case of the Epstein Brothers"
Taking off from the social historian Tamara Hareven’s concept of generational
memory (The Search for Generational Memory: Tribal Rites in Industrial Society,
1978), this paper looks at issues of memory and nostalgia as it relates to oral
history and the present. From 1990-200001 conducted fieldwork among American
Jewish wedding instrumentalists (“klezmer”) born between 1910 and 1930. This
largely forgotten generation of musicians forms an important bridge between the
Yiddish-speaking past of the Eastern European Jews and the development of new
cultural movements -- in particular the klezmer revival -- in the present. My main
informants, the Epstein Brothers (National Heritage Fellowship 1998), had lived
in South Florida since the 1970s, where they served in the present a mostly elderly
community of European and American-born Jews at condominium villages,
community centers and synagogues. In the process, their lives centered around the
past via their memories, constantly reminiscing, reliving and reinterpreting events
that had taken place 60 and even 70 years earlier. This paper explores Jewish
modes of memory and memorialization and how they relate to ethnomusicology,
drawing on the works of Yerushalmi (Zakhor: Jewish History and Jewish Memory,
1982), Steinsalz (Talmud fuer Jedermann, 1995) and others.
Rosenberg, Ruth
University of Pennsylvania
SEM
The Science and Ecstasy of Encounter: Corsican Lament and French
Folklorists (1830-1900)
This paper describes how the funeral laments traditionally improvised by Corsican
women (voceri) were collected, published, and annotated by French scholars
during the nineteenth century. While la poésie populaire of France’s provincial
regions had long inspired Romantic novelists, it was only in 1852 that the French
government encouraged the systematic collection of its regional folksongs by
publishing a set of guidelines. As the field of folklore established itself in France
at mid-century, far-flung and under-assimilated regions of the nation became the
subjects of numerous collections and the testing ground for various approaches to
the analysis of popular song traditions. On the island of Corsica, perceived as an
exotic backwater of French civilization, local notables as well as cosmopolitan
travelers sought out and transcribed expressions of female grief.
Ruippo, Matti Sibelius Academy
ATMI
Creating new combinations of teaching methods and technologies in music
studies and training
The presenter has produced study contents to university and high school studies as
well as to teacher training. These contents at least partially use information and
communication technology (ICT) to support learning and transmission. The main
reasons to utilize ICT are: it helps and motivates composing and other musical
productivity, it increases the variety of study possibilities and it is a method to act
in a network. To overcome problems we have to make various solutions and
combinations - both pedagogial and technical. In presentation the presenter will
describe the outcomes of four different projects in details.
These textual representations of the Corsican voceru and its performers illustrate
the ambiguous relationship between what Johannes Fabian has called the science
and “ecstasy” of collecting that characterized this early kind of folklore in France.
In this paper, Fabian’s theory of collected objects as mediators of ethnographic
knowledge allows me to consider collections of voceri for what they reveal about
attitudes toward popular song at a time when historical musicology had disavowed
these “vulgar traditions” and the field of ethnomusicology did not exist to take up
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October 1-5
Abstracts
Runowicz, John New York University
Looking for an Echo: Doo-wop and the Oldies Circuit
SEM
on the conditions and practices of non-profit opera organizations in New York City
and the role of large-scale, individual philanthropy. Using my own research and the
few relevant sociological studies, I explain the motivations of large-scale donors
and their structural function within board-governed non-profit organizations. My
work highlights the involvement of WAM institutions in the (re)production of
social status, and the role of arts philanthropy in soothing anxieties associated
wealth and in affirming a positive upper-class identity. From the standpoint of
cultural economics, I explore the financial dependence of non-profit arts
institutions on large-scale donors, and stress the extent to which: 1.) such
institutions are “owned” by elites, and 2.) institutional arts policy in the US is an
extension of the needs of arts organizations’ (financial) constituencies. Finally, my
argument also challenges the myth of altruism that underlies philanthropy.
Doo-wop is a style of American vocal group music that emerged in 1950s and
early 1960s. Using Billboard charts as a measure, this initial period of popularity
was short-lived and marginal compared to other styles of the time. However, even
before doo-wop singers and songs stopped charting consistently they found new
life as objects of nostalgia. By the end of the 1960s an “oldies” circuit had started
to take shape that has continued to give doo-wop singers work to the present day.
Now the terms “doo-wop” and “oldies” are very often used interchangeably to
market performances by the musicians of that era and, according to oldies radio
polls, doo-wop songs are more popular now than ever. The oldies circuit – a fluid
network of singers, background musicians and promoters – provides entertainment
for an aging but devoted audience that, judging from the success of recent PBS
fundraisers, still continues to make its presence felt. Based on interviews with
oldies circuit participants and my 16 years of experience performing with them, I
will outline the history and nature of a community where making music is almost
always framed as a nostalgic event. What I’ve found however, both backstage and
on-stage, is that this is much more than a trip down memory lane. The
performance of doo-wop is inextricably bound up with issues of race, class, gender
and commerce. This paper is part of a preliminary study of the relationship of
music, nostalgia and these issues.
Sakata, Lorraine
Revisiting the Music of Afghanistan in Fremont, California
The Music of Afghanistan was never inextricably tied to geography, but rather to
culture, a culture of an ethnic, religious or social group, or of a nation. The many
ethnic groups inhabiting Afghanistan have always shared their musical culture with
that of their neighbors in Pakistan, Iran, Turkmenistan, Uzbekistan, and Tajikistan.
The classical music of North India, the Hindustani tradition, played an enormous
part in formulating the musical style associated with Afghan classical music and
later, that of the state-run radio station, determining a radio style that was
eventually adopted as the musical style of Afghanistan.
Sailer, Uli
New York University
SEM
Wealth Anxiety and Class Identity: A Study of Philanthropy and Western Art
Music Institutions in New York City
During the Soviet invasion of Afghanistan, a great number of Afghans emigrated
out of Afghanistan to Pakistan, India, Iran, and parts of Europe and the United
States. For Afghan musicians and their audiences residing outside of Afghanistan,
their music is largely dependent on their memory of music in Kabul from the
1970s, the music that was heard in public and private concerts, and heard on Radio
Afghanistan.
In the past decade, heeding poststructuralist and ethnomusicological perspectives
and concerns, historical musicology has increasingly sought to look outside the text
to address the meanings Western art music (WAM) holds for its audiences. In this
pursuit, the social, economic and institutional realities of musical performance have
rarely been considered. Studies of institutions addressing these issues have played
a marginal role vis-à-vis mainstream research focusing on textual and even
contextual analyses, and they have exclusively adopted a historical perspective.
This neglect of WAM’s contemporary “outside life” limits our understanding of
a relevant and crucial discourse about meanings and aesthetics.
A large population of these Afghan émigrés now resides in California’s East Bay
Area where they share an Afghan culture epitomized by the activities of the
residents of Fremont, California, dubbed “Little Kabul” by journalists. My revisit
to Afghanistan and its musical culture takes me to Fremont, where the
community’s musical activities speak to patterns of immigration, issues of identity,
and the development of a musical style that may or may not find a parallel in
Afghanistan itself.
My paper offers an ethnographic study of WAM institutions, with particular focus
SEM
109
October 1-5
Abstracts
Salavuo, Miikka
University of Jyvaskyla, Finland
ATMI
Building a model of a comprehensive network-based music-learning
environment.
a different message than mainstream musical culture. It opened doors for women
musicians, producers, sound and light technicians and for new women-owned
recording companies, such as Olivia Records and women-oriented shows. Pioneers
like Cris Williamson, Bernice Johnson Reagon, Margie Adam and Linda Tillery
recall the frustrations and the triumphs of finding women sound engineers and
other professionals in a completely male-dominated industry.
The purpose of the presentation is to describe a model of a comprehensive
network-based music-learning environment, complemented with conventional
objects. It consists of different network-based modules and tools but also physical
artifacts, such as people or musical instruments, which are connected to each other
in different ways. The functions and the purposes of these modules are grounded
on learning theories and conceptions on learning and music education. The claim
is that by connecting these modules in a defined but flexible system we can create
an environment that fosters distributed expertise, collaboration as well as
contextual, self-directed and creative music learning. Part of this environment
already exists in various institutions including University of Jyvaskyla, Finland.
Salmon, John University of North Carolina-Greensboro
Additionally, the film highlights the whole infrastructure that made possible the
recording, production, and dissemination of the work of these talented performers.
Radical Harmonies movingly illustrates how the Women's Music movement
changed the lives of countless women.
Sarrazin, Natalie
SEM
Bound in Bollywood: Musical Coding, Sonic Authenticity and Representation
in Hindi Film Song
CMS
In Bollywood film, specific visual codes represent character or situational
authenticity. Such codes utilize particular cinematographic techniques as well as
other established conventions that construct and present character and place. The
formation of sonic representations within the Bollywood film song genre however,
is less understood. Previous scholarly work discusses the narrative conventions
used in Hindi film song and examines their contextualization within the film and
their resultant constructions of meaning. In this paper, I focus on specific musical
formations, and Bollywood’s use of these sonic formations to establish and
legitimize representations such as caste, class, gender and place.
Performers Together
Sandstrom, Boden
Documentary Film: Radical Harmonies
SEM
Radical Harmonies chronicles a women's music cultural movement which resulted
in a revolution in the roles of women in music and culture. The movement gave
birth to an alternative industry that changed women and music forever. During the
early 1970s a convergence of cultural feminism and the radical politics of lesbianseparatists created the philosophy and space necessary for a new genre of
music–Women’s Music–to bloom. This music became the embodiment and
expression of this woman-to-woman creativity, and expression of a lesbian and/or
feminist aesthetic.
The film song genre, with its own unique and constantly evolving aesthetic, draws
simultaneously on familiar conventions from pan- and non-Indic genres and styles
which are subsequently fused to an image. I propose that the resulting musical
conventions are situated between established codes derived from both Indian and
Western musical genres, and that these codes intentionally convey a vague,
indeterminate quality, capable of multiple representations and interpretations. The
resulting sonic-image, however, must resonate not only Bollywood’s ideals, but
with viewer expectations and with what may ultimately be rejected as an
“inauthentic” representation.
Through festival and performance footage, interviews, and archival material, the
film delves into the rich and beautiful history of women creating a cultural life
based in a commitment to diversity, personal integrity, feminism and women
loving women. In its heyday, during the 1970s and 80s, Women's Music offered
With the help of musical analysis, I identify relevant musical aesthetics from
various genres and styles, and discuss the formation of musical codes and their
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October 1-5
Abstracts
application to specific tropes that successfully represent the sonic-image in Hindi
film. Using examples from films, I will demonstrate how these sonic conventions
legitimize an image while simultaneously remaining open to multiple
interpretations capable of transcending regional and cultural boundaries.
Satterwhite, Marc
Spiky Epiphanies
University of Louisville
immanently aesthetic (music theory), and as historical (musicology), and as living
practice (composition), and, more recently, as an anthropological object (new or
critical musicology). While ethnomusicology does not ignore aspects of musical
structure altogether, its music-theoretical aspirations are limited.
This presentation has two parts: First, through a critical inquiry into the work of
leading ethnomusicologists, I examine the epistemological and political limits of
ethnomusicological music analysis. Second, within the tilted transnational context
of drastic economic inequality today, I demonstrate various music-theoretical
strategies that may contribute to political solutions (the devolution of power; the
alleviation of inequality; the un-standardization of cultural products, etc.) on the
terrain of African music. For example, using Nyungwe panpipe music and Shona
mbira music as examples, I show how African music revises our understanding of
perceptions of meter and rhythm in general. I show how a consideration of African
music informs the way Westerners hear Western music no less than the way
Africans hear African music (or indeed the way either hears music of the other).
This is not a case of localizing the reach of ostensibly "universal" theories, as it is
to Africanize those theories that go as universal.
CMS
Matthew Kube-McDowell, the teenage son of two of my oldest and closest friends,
uttered the phrase "spiky epiphanies" during a visit in the summer of 2000. I didn't
think to inquire if he coined it himself or if he was quoting, but I immediately filed
it away mentally as a title for a future composition.
In this piece I have attempted to capture the rapturous quality that "epiphanies"
conjures up for me, with a liberal dose of edginess to provide the "spiky" part. The
first idea is a jumpy set of chords in the two stringed instruments, chords that will
return frequently in various guises. These chords are the first part of a slow
introduction, with several contrasting moods, which then gives way to an extended
fast section. Midway during this section, the piano plays a chorale over repeated
patterns in the strings. Most of the remainder of the piece combines this chorale
idea with material from earlier in the piece.
Schloss, Joseph Tufts University
SEM
The Boom From the Canon: Constructing History on the Hip-Hop DanceFloor
Schauer, Elizabeth
Alamosa College
CMS
There are five to ten songs that hip-hop deejays across the United States always
play to accompany b-boying (better known as breakdancing) – and all of them are
funk songs that predate the emergence of hip-hop music.
Scherzinger, Martin
Africanizing Music Theory
For those who see hip-hop as a wild, anarchic expression of youthful abandon, this
may seem odd. Could these rebellious teenagers really be so conservative that they
insist on dancing to the exact songs that brought the form to life thirty years ago?
In a word, yes. As DJ E-Rok puts it, “…It’s almost like old folk songs handed
down from generation to generation.” (DJ E-Rok, interview with author, 2000)
SEM
There is a tendency in our music-scholarly practices (buttressed in the form of
institutions) to keep indigenous African music in a state of excluded cultural
conformity. The sub-disciplines of music scholarship adopt different methods,
which simultaneously uphold different repertoires. African music is approached via
the anthropological tenets of ethnomusicology while western music is regarded as
In this paper, based on ten years of ethnographic research in various hip-hop
communities in the United States, I suggest that this group of songs can be
profitably analyzed as a canon, with all that the term implies. Moreover, I argue
that hip-hop deejays strategically invoke the power of such canons as a conscious
performance strategy, and that their audiences understand and respond to them as
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Abstracts
Schultz, Anna University of Illinois
SEM
Politics as Devotion: Rashtriya kirtan and Indian Nationalism before 1947
such. The fact that the canonization process is embodied in the relationships
between deejays and their audiences can illuminate the ways in which larger
aesthetics are defined by specific, situated, musical negotiations. In short, in order
to apply recent analyses of canonicity to hip-hop, I will be inverting them. Where
the literary theorist asks, “how have social forces shaped the canon?”, I ask “what
can the canon tell us about the social forces at play in this community?”
Partha Chatterjee argues that historians of anti-colonial nationalism focus on the
‘material’ realm of the State and neglect the equally important ‘inside’ realm of arts
and spirituality. He explains that colonized elites turn to the autonomous ‘inside’
when they are divested of power in the ‘material’ realm, and asserts that
nationalists negotiate between the two arenas to fashion a nation that is both
indigenous and ‘modern’. Hindustani music represented the ‘inside’ for preIndependence Indian nationalists, who institutionalized the music through schools
and conferences, ‘systematized’ it through scholarship and notation, and objectified
it through staged performances.
Schuler, Nico Texas State University-San Marcos
CMS
Towards an Intra-Disciplinary, Methodological Globalization of Teaching
Music - From a World Music Perspective
At American universities and colleges, music is very often taught without including
non-Western music, by just focusing on Western music. But in reality, Western
music relates, especially since the late 1800s, quite often to certain styles and
genres of non-Western music, and non-Western music also developed in new
forms that include elements of Western music. Furthermore, in the electronic age,
processes of musical globalization and cross-cultural exchange are part of our
everyday-life and are irreversible. Finally, the development of Western popular
music - which is dominating today's musical life - was, and is, strongly influenced
by non-Western music. For these reasons, a perspective of world music should
dominate and influence our teaching and understanding of music.
This paper explores the ‘spiritual’ world of nationalism in the pre-Independence
era from the perspective of Marathi rashtriya kirtan, a solo temple genre that
combines song, storytelling, and nationalist discourse. Rashtriya kirtan provides
a foil to the reformism of Hindustani music, since it was nationalist without being
appropriated and ‘modernized’ by the cosmopolitan elite. As Brahmans, rashtriya
kirtankars shared caste status and Hindu-centric discourse with cosmopolitan
nationalists, but unlike nationalist elites, rashtriya kirtankars did not negotiate
between the ‘spiritual’ and ‘material’ realms. Instead, they redefined politics as a
devotional exercise of the ‘inside’.
Based on major revisions of the music curriculum at a mid-size American
university, this presentation will provide practical examples of how the inclusion
of music from non-Western cultures will contibute to the study of music in a
college music curriculum, in which different music disciplines are strongly related
to each other ("integrated curriculum") - for instance performance, history, theory,
pedagogy, etc., and their sub-disciplines. The presentation will make suggestions,
how traditional (Western-oriented) methodologies can be expanded to meet the
needs of a global view on music. The presentation will furthermore show how such
a curriculum will contribute to the globalisation of teaching music, and how it may
eventually lead to the development of a global theory of music.
In this paper, I argue that rashtriya kirtankars were independent nationalist leaders
who sporadically aligned themselves with cosmopolitan nationalists at points of
intersecting interests. I also discuss how kirtankars used the devotional context of
their performances to transform politics into devotion, and how the orality of kirtan
represented autonomy from the colonial implications of written media.
Schwartz , Elliot
Bowdoin University
Cultural Synthesis
The presentation will outline this curriculum and provide practical suggestions on
handouts.
CMS
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October 1-5
Abstracts
Schweitzer, Kenneth
Washington College
SEM
Learning Cuban Batá: Transmitting Rhythms and Meaning Within an Oral
Tradition
environments by assembling and customizing existing parts. The software supports
the persistent storage of the student’s work on a server so that instructors can view
the completed exercises. This library implements a number of design patterns for
the creation of the user interface and manipulation of sound that can apply to a
wide range of similar applications. The presenters will explain the design and
implementation of this class library and demonstrate its use in creating music
learning environments.
This lecture/demonstration investigates Santería, a rich spiritual and musical
tradition inherited by Miami, in the wake of the 1959 Cuban Revolution. In this
oral tradition, the best venue for learning drum rhythms, songs and dances is the
toque de santo, the ritual performance venue. While formal one-on-one lessons are
offered throughout Cuba and Miami to cultural outsiders, it is during ritual
performances that their meanings and uses are experientially apprehended through
the body. This presentation focuses on the sacred batá drum and illustrates the
active mechanisms, within the musical system, that enable drummers to teach and
learn the oral tradition. Transmission of rhythms and meanings is achieved through
the use of vocables, physical contact, playing each other’s drums and, most subtly,
through aspects of the musical structure. Supported by drummers from the Miami
religious community, our presentation extracts sections from the musical liturgy
and, with the aid of transcriptions, isolates key musical moments that hold the key
to understanding the process of transmission. Our examples range from excerpts
of oro seco, a portion of the ritual where the drums play without song, to the
guemilere, where drummers, soloist, chorus and dancers interact. While drummers
fulfill their primary charge of supporting the singers and dancers, they
simultaneous engage in teaching and learning scenarios that often proceed without
the awareness of others.
Scott, Stan
Wesleyan University
Scruggs, T.M. University of Iowa
SEM
"Not Such a Buena Vista: nostalgia, myopia and the B.V. Social Club
phenomenon outside and inside Cuba"
The 1997 CD launched the Buena Vista Social Club phenomena, which soon
encompassed a popular film and near-constant international touring by various
members of the original ensemble since. In this paper I examine how concepts of
nostalgia and memory are key ingredients of the content and packaging of the
project for consumption outside of Cuba, as well as important aspects of the music
and the project’s reception inside Cuba. I first offer a critical overview of the
claims of discovery by musician Ry Cooder, his role as purported culture broker,
and the (further) myopia from the U.S. that passes over both contemporary Cuban
popular music and politics for an undetermined, but decidedly pre-Revolutionary
imaginary. I note how within the repertoire some of the same concepts promoted
off the island overlay much of the music’s already encoded longing and nostalgic
memory within Cuban culture. I then turn to the place of this music and its foreign
promotion within Cuba. I draw from the field fortuity of my being with two of the
five principal musicians of the project in their hometown in eastern Cuba just after
the Havana recording sessions. I situate their music within the framework of a nonhomogenous Cuban musical culture and regionally dictated generational dynamics.
I examine how attitudes laden with a certain type of nostalgia encumber the capital
city Havana’s, and therefore much of the nation’s view of eastern Cuba, and ways
in which this myopia intersects with the promotional campaign of the project off
the island.
CMS
See McCarthy, Marie - Lilt a Tune, Dance a Reel: Irish Traditional Music in the
Classroom
Scott D. Lipscomb and Jonathan A. Smith,
ATMI
Building Music Learning Environments in Flash
The use of interactive multimedia instructional materials provides great potential
for a significantly enhanced learning experience, particularly in the music
classroom. A software class library and a collection of reusable components were
created using Flash’s ActionScript, making it easy to quickly create new learning
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Abstracts
Seaton, Douglass
The Florida State University
Credo for a Critic: Deception and Deconstruction in Verdi's Otello
CMS
has been largely in the hands of non-Roma, and who daily experience the effects
of political repression, economic exploitation, and social stigma. This debate
evokes the following questions. How can we maintain critical and ethical
consideration of representation that effectively diagnoses the power mechanisms
that deprive those who are represented from participation in those very
representations? Yet how to do so without condemning all representation to
suspicion, thereby depriving our consultants of their voice (cf. Ortner 1995;1997)?
Examination of Iago's "Credo" scene in Verdi's Otello demonstrates how the music
enacts aspects of Iago's character and role. Documents surrounding the opera and
analysis of the music, interpreted via the critical methodology of deconstruction,
illumine the expressive workings of the scene and can serve as an example for
teaching music students about deconstructive criticism. Iago is the archetypal
deceiver. Two musical features of his "Credo" also enact deception. The first is the
conventional deceptive cadence. Another is displacement of rhythm at the
beginning of the act.
Sharp, Charles University of California, Los Angeles
SEM
"Productive Misreading of Aesthetics: Creative Music and Communities in
Los Angeles"
Even more interesting is another role for Iago. The librettist referred to Iago as a
critic. In fact, he acts as a deconstructive critic, a term Verdi would not have
known, but a concept he understood.
The Los Angeles creative music scene draws on such diverse and seemingly
disparate influences as free jazz, punk rock, and Twentieth-century concert music.
While all these styles have some overlap in terms of their aesthetics, each can be
characterized by their outsider status. The creative music scene has come into
existence in the intersections of these outside scenes. Using Pierre Bourdieu’s
concepts, this paper will first illustrate how this outsider status serves as cultural
capital within a field of cultural production. The diversity of the influences can be
seen as a series of strategic alliances between musical scenes, which occurs, in
many cases, both locally and globally; however, these alliances may not be without
a price. I will examine the differences in aesthetics among the overlapping styles,
which can be seen to revolve around different concepts of individual and
community. I argue that through creative misreading or re reading of these
aesthetics, a wholly different notion of community becomes apparent. While the
multiple alliances provide the tangible benefits of venues and audience, they also
illustrate a practical application of the notion of outsiderness: The creative music
scene can be seen as a community characterized by heterogeneity, which is almost
contradictory to the notion of community. More mobilizing than a sub-culture,
which is bound to a mainstream culture, creative music suggests the possibility of
creative communities that are able to redefine and transform their influences.
Deconstruction teases out from a text its unstated, suppressed meanings, revealing
depth and complexity within the work. Iago's villainy demonstrates deconstruction,
turning Otello's and Desdemona's virtues into weaknesses: Otello's success as a
man of action leads him to unconsidered reaction; Desdemona's innocence
becomes fatal naiveté. Deconstruction acts in the music, as well. The ornamental
turn at the scene's beginning emerges as source of ugliness. The orchestral unison
cadential phrase that opens the "Credo" is reinterpreted as harmonically unstable.
Study of this scene offers insight into how Verdi used music to enact dramatic
process. In addition, the opportunity to illustrate critical deconstruction
simultaneously through clear components of the opera's plot and audible features
of the music makes this scene an eminently teachable one.
Seeman, Sonia University of California, Santa Barbara
SEM
"Dialectics of Representation: Musical Practice at the Nexus of Power and
Aesthetic Expression"
Post-modernist critiques of representation seek to disclose the problematics of
power and structural inequality (Marcus, Fischer, Clifford; Rosaldo). Application
of such theoretical lenses in ethnomusicology (Waterman; Guilbault; Turino)
discloses both representation and authenticity as problematic categories. Engaging
in this debate is of central concern for Roma communities for whom representation
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Sharp, Dan
SEM
I like scratchy records vs. "It's not preservation quality": Issues of sound
recording technology in ethnomusicological fieldwork
back of the curtain." Although devoted to Latin jazz, Shindo was repeatedly called
upon to "represent the authentic" during the postwar years by serving as the
"Japanese musical advisor" for such Hollywood films as Sayonara and A Majority
of One. (My research reveals that he actually composed much of the "Japanese"
music in these films.) This experience encouraged Shindo to become a devoted
student and, eventually, teacher of Japanese traditional music. Several of his
albums from the 1950s and 60s—combining elements of Japanese music with the
big band style—received renewed attention in the 1990s as part of the
"exotica/lounge" revival. As Shindo put it: "Everyone is looking for a style. So
in my case, I decided being Oriental, I had something I should draw upon and so
I decided to go `exotic sound.'" While analyzing the strands of race and music in
Shindo's career, I will discuss Japanese American musical life in prewar Los
Angeles and in the internment camps. This paper is based on interviews with
Shindo and on research at the Japanese American National Museum, the B.Y.U.
Film Music Archives, and the Warner Bros. Archives.
The history of ethnomusicology is bound up with the advent of sound recording
technologies. Sound recordings have traditionally been considered to be
transparent, objective documents that facilitate the scientific analysis of nonwestern musical styles.
In the last two decades, reacting to the questions posed in Clifford and Marcus’
“Writing Culture,” anthropologists have scrutinized the ethnography as a text and
its power in the act of writing the ‘Other.’ Yet musical ethnographies don’t consist
only of words and pictures – they are based on sounds as well. Therefore, while
many have addressed issues of power surrounding textual and visual
representation, few have transposed these questions to sound recording.
This paper is a historiographic study of fieldwork advice written by the principal
figures within ethnomusicology, including Curt Sachs, Bruno Nettl, Mantle Hood,
Charles Keil, Steven Feld, Helen Myers and others. It focuses specifically on their
perspectives concerning recording equipment in the field setting. Heated debates
surrounding lo-fi vs. hi-fi equipment, and recording techniques that require
differing degrees of intervention by the ethnographer reveal contested values
regarding the discipline itself.
Shope, Bradley Indiana University
SEM
Emerging Genres, Constructing Identities: The Anglo-Indian Role in the
Celebration of Popular Music in the Early 20th Century
Beginning in the 1910s, the presence of sound technology, sheet music, railway
transport, and convent schools greatly contributed to the popularization of
Dixieland, jazz, swing, waltz, foxtrot and Hollywood War film music among a
number of small communities in Lucknow, India. This paper will address the
manner in which this American and European jazz and ballroom music emerged
in this city in the first half of the 20th century by highlighting the character of its
celebration within the Anglo-Indian population, defined here as those of both
Indian and British descent. To this end, I will connect the manner in which the
music was supported and sustained by Anglo-Indians to larger social issues such
as the music curriculum in convent schools, performances in railway station dance
halls, the availability of instruments, sheet music and fashion magazines, as well
as the radio and gramophone technology available at the time. For the AngloIndian community, its performance was an important factor in the construction of
a bounded sense of identity among an otherwise ambiguously defined group. The
nature of their enthusiastic celebration of the music contributed to its dissemination
among other communities in Lucknow. This presentation will draw from fieldbased individual oral histories taken from elderly interviewees to outline the
character of this development, the social and historical circumstances under which
By questioning "objective" documentary realism within sound recording during
fieldwork, I argue that fieldworkers should acknowledge that, just as a camera
shoots from a point-of-view, a tape recorder captures sound from a positioned
point-of-audition.
Sheppard, W. Anthony Williams College
SEM
Representing the Authentic: Tak Shindo's "Exotic Sound" and Japanese
American History
The composer and arranger Tak Shindo (1922-2002) had an extraordinary career
that offers a window into the Japanese American musical experience. Interned by
the U.S. government during World War II, he began his musical studies through
the camp's programs. He decided, following the war, that he "couldn't go up and
... direct an all-Caucasian band" but that he could "write professionally and stay in
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it arose, and the emergence of an aesthetic and style in its performance that were
uniquely Luckauvi.
Siskind, Paul
State University of New York-Potsdam
CMS
Selections from Even More Epigrams and A Few More Epigrams, for
Middle/High Voice and Piano
Silverman, Carol
"Music and the Politics of Representation:
Saxophonist Yuri Yunakov"
hese songs are drawn from an on-going collection of settings of short,
epigrammatic poetry. There is no single unifying theme to the poetry selected;
rather, I was attracted to the terse, often quirky nature of the poetry that lent itself
to a wide variety of stylistic settings. The songs thus range in mood from reflective
to jaunty to boisterous, although the settings tend on the whole to be more dramatic
than lyrical. Individual singers may choose to project this sense of variety, or they
may conversely choose to present a more singular perspective, such as songs
relating to a specific topic or settings of a specific poet.
SEM
Bulgarian/Turkish/Romani
Through a case study of the musical life history of Yuri Yunakov, this paper
investigates how musical performances are strategies in personal and political
identity politics. I also examine personal politics as embedded in wider historical
factors; for Roma in general, these include economic necessity, political and
cultural repression, and the trafficking in stereotypes. Throughout his life,
Yunakov has negotiated multiple identities: Turkish, Bulgarian, Romani, Gypsy,
and American. His musical styles have encompassed the above plus Greek,
Armenian, Albanian, and Macedonian. Born in a poor neighborhood in Haskovo,
Bulgaria, Yunakov learned the local Turkish repertoire and style in family contexts
but was forced to change his Muslim name to a Slavic name in order to succeed as
a professional boxer. He apprenticed to a Bulgarian musician, boldly broke into the
competitive "wedding music" scene, was recruited by Ivo Papazov, and became the
most famous saxophone player in Bulgaria. After emigrating
Siskind, Paul A. State University of New York-Potsdam
Performers Together
Slawek, Stephen
SEM
In Search of a Lost Chord: Putting Nostalgia and Memory to Work in
Rediscovering Joe Sgro and the South Philly "Gharana" of Jazz Guitar
to America in 1994, he learned numerous other styles, "discovered" he was
Romani, and became part of the "world music" circuit. Yunakov's life trajectory
illustrates how, through and with music, he mediated the tension between supposed
binaries such as majority/minority, official/unofficial, authentic/traditional,
pure/fusion, socialism/postsocialism, insider/outsider, exotic/familiar, and
local/transnational. Critiquing not only the functionalist premise that music reflects
culture but also the notion that music is part of culture, I argue that music shapes
identity. Via music, performers rethink and negotiate who they are in relation to
patrons, audiences, kin, and themselves. Music, then, is a representational practice
which articulates personal politics.
CMS
Reunion is one manifestation of nostalgia’s power at work in musical life. The
performance of my reunited rock band, The Contemplations, at a high school
reunion in September 2002 initiated a chain of reconnections that led me back to
a long neglected guitar instructor and to the discovery of a regional nexus of jazz
guitarists in the Philadelphia, Pennsylvania region. This paper is an initial report
of recent field research on the community of jazz guitarists trained by two Italian
American master musicians of South Philadelphia, Joe Sgro and the late Dennis
Sandole. Sandole has received attention in jazz literature, as he was one of John
Coltrane's teachers. Sgro, however, has been neglected by jazz historians despite
the fact that he was responsible for developing an innovative guitar style that drew
heavily on his classical violin background and interest in jazz pianists Art Tatum
and Oscar Peterson. My research has revealed a loosely constructed brotherhood
of guitarists from South Philadelphia that involves community, music and religious
practice similarly to the sociomusical phenomenon known as gharana in Indian
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Abstracts
music. My presentation will elucidate Sgro's approach to jazz improvisation and
will demonstrate the ways that the Philly guitar scene resembles and differs from
the gharana concept. Lastly, I will reflect upon the roles nostalgia and memory
played in the research process, particularly in regards to the agendas of concerns
and sentiments displayed by Sgro and his former students in interviews I conducted
as part of this project.
Sloat, Susanna Independent Scholar
Endemic Species of Caribbean Island Dance
ourselves from old preconceptions and "marketing concerns" and to aspire to a
music beyond labels.
A word about my piano-radio improvisations: the concept might seems naïve, even
crude, in today's high tech environment, but these improvisations often prove to be
uniquely expressive and engaging. I try to connect with any and all given material,
integrating and developing musical "objets trouvées" into a new music of the
moment.
SEM
Smith, Gordon E.
Queen's University
SEM
Salvaging Culture: Ethnographic Modelling and Marius Barbeau’s 1927 Nass
River Field Trip
Just as water boundaries encourage endemic species of flora and fauna on islands,
so can they lead to collections of distinctive island dances. In the Caribbean, dance
forms proliferate in both sacred and social contexts, though some are no longer
common outside of folkloric performances. In Cuba, Puerto Rico, and the
Dominican Republic, dances have links to European and African antecedents that
can be similar, but each location's endemic dances, when seen as representations
by folkloric troupes of national identity, reveal substantial differences. Cuba shows
a great profusion of dances and dance complexes, Puerto Rico a consolidation of
them, and the Dominican Republic has unique somewhat Europeanized dance
forms to strongly African rhythms in folk Catholic settings. Using three specific
performances—by Cuba's national folkloric troupe in New York, by a group
performing largely for tourists in San Juan, Puerto Rico, and by a New York
Dominican group saluting a Dominican folklorist—this paper will examine the
distinctiveness and complexities of each nation's spectrum of dance within its
specific cultural contexts. Historical and political circumstances, including
relationships with the United States, will be explored to some extent, but the focus
will remain on the dances themselves as seen at specific performances, on their
varying proportions of African and European influences, on performance styles
adopted, and on the ideas of history and identity projected.
Smart, Gary
University of North Florida
American Pluralism
In the summer of 1927, Marius Barbeau led a field trip to Arrandale on the Nass
River in northwestern British Columbia to record the music of the Tsimshian
people. On this trip Barbeau invited Ernest MacMillan, then Principal of the
Toronto Conservatory of Music to accompany him. In this paper, I examine
ethnographic modelling in Barbeau’s work, including ideas and strategies of
particpant/observation, informants, collaborators, documentation, authenticity, and
reflexivity. I illustrate with discussion of Barbeau’s and MacMillan’s accounts of
the fieldtrip, the Tsimshian song transcriptions, and the engaging visual account of
the trip in the silent film titled Saving the Sagas. Barbeau’s mission of salvage
ethnography, as it is known sometimes known, was driven by both his education,
and the mandate of the Anthropology Division of the Geological Survey of Canada
(later the National Museum of Canada), for which Barbeau worked as an
ethnologist for nearly forty years. Collection, preservation, exhibitions, and other
public presentations, were part of the GSC mandate, and Barbeau was a crucial
player in the process of its implementation. Through discussion of different
ethnographic dimensions, Barbeau’s 1927 Nass River field trip may serve as a
telling example of his approach and ideas toward fieldwork and documentation,
and of ways of constructing culture through ethnography.
CMS
This diverse program of improvised music utilizes a pluralistic mix of
contemporary musical materials, styles and techniques.
Today's American musician has at hand a wealth of rich, meaningful material and
an abundance of distinguished models. It seems to me we now only need to free
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Soares, Luciana
State University of New York-Potsdam
CMS
Chiquinha Gonzaga: The Controversial Life and Career of a Brazilian
Woman
have had with Thelonious Monk and his music since the 1980s, in order to ask how
the discourses of history and memory can explain—but also be reinterpreted in
light of a fundamental aspect of jazz performance—the personalization of
repertoire. Drawing on systematic ethnographic work with jazz musicians and
informal work with listeners, conducted from 1998 to the present, this paper
focuses on the connection between performances of Monk’s music and discourse
about the past surrounding those performances. Centrally, this paper argues that
jazz musicking often involves a series of negotiated engagements with various
pasts—individual and collective—and that the variety of these engagements
explodes rigidly drawn distinctions between history and memory.
As
ethnomusicologists have suggested recently regarding such themes as identity and
hybridity, ethnographic work on musical engagements with the past can be
valuable in understanding history and memory as they suffuse other aspects of life
in America.
Throughout Brazilian music history, there has been a substantial contribution of
musical scores of all types by a category of composers who, because of their
gender, were relegated to lower positions in society. These women, while fulfilling
the duties and responsibilities required of their employment, managed to add a
significant amount of original music to the overall musical output of Brazil.
This presentation focuses on the life and music of one particularly noteworthy
Brazilian woman: Francisca (Chiquinha) Gonzaga (1847-1935), a composer and
pianist born in Rio de Janeiro, was influential in the creation of a new class of
musicians who dared to flout the norms of a conservative society. Already at
eleven years of age, she turned to composing popular dance music, marking the
beginning of a controversial yet fascinating life and career. Despite the difficulties
imposed by the strongly patriarchal Brazilian society who criticized her vigorously,
Chiquinha Gonzaga managed to become the most popular composer of her time.
She was also the first woman to conduct an orchestra in Brazil.
Solomon, Nanette Kaplan
Slippery Rock University
CMS
Muse Over Miami: Songs and Piano Works of the Legendary Mana-Zucca
Gonzaga's musical output encompasses hundreds of waltzes, polkas, tangos,
lundus, fados, habañeras, and many other salon genres of the day. However, much
of this repertoire has been forgotten and left aside for many years. This lecture is
intended to rectify this neglect in a small way. To that end, I will also exemplify
on the piano the various dance genres and unique characteristics of selected works.
The exciting and propulsive rhythms of Latin American dance have provided
fertile ground for American composers of art music in the twentieth century. From
Gershwin's Cuban Overture, Copland's Danzons Cubanos and El Salon Mexico
to the recent tango craze fired by the popularity of Astor Piazzolla, the Latin
influence has maintained its allure for several generations, and has become one of
the "lingua francas" of contemporary compositional vocabulary.
Solis, Gabriel University of Illinois, Urbana-Champaign
SEM
Playing with the Past: Thelonious Monk and The Contemporary Jazz Scene
This lecture-recital will explore piano works by three prominent contemporary
American women- Ruth Schonthal, Tania Leon, and Emma Lou Diemer, which
were inspired by either temporary residences in various Latin American countries
(Schonthal- Mexico, Diemer- Argentina) or in the case of Leon- her own Cuban
origins.
Scholars of African American music have often interpreted jazz as a kind of
collective memory, noting its importance as a system of conserving the past to
people with limited access to institutional history. While such work has been
valuable, much can be gained by investigating specific cases closely, critically
engaging the substantial work on history and memory in the disciplines of history,
anthropology and African American studies, and attending to the different ways the
process of engaging the past may be glossed—including history, memory, and
nostalgia. This paper probes the engagements jazz musicians, critics and listeners
Schonthal, born in 1924, in Hamburg, Germany, fled with her family to Mexico
City in 1941 to escape the Nazis; while there she studied composition with Manuel
Ponce before moving to the United States in 1946, and supported herself in Mexico
by playing the piano in nightclubs. In her 1961 work Fiestas y danzas, Schonthal
creates a musical reminiscence of her sojourn in Mexico. A slow lyrical "Fiesta"
is followed by three danzas, a borrachera (drinking song), another danza, and a
final brilliant borrachera, all of which capture the essence of Mexican rhythms,
melodies and harmonies. This colorful work exploits the full range of piano
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Abstracts
sonorities. Schonthal claims that the work is "a tribute to Mexican music and the
contagious spirit of joie de vivre of its people, both of which had impressed and
influenced me while I lived there. The music, which combines Latino folk-like
melodies and rhythms along with bitonality, is meant to exude a kind of blissful
intoxication."
Sommers, Laurie
Valdosta State University
SEM
The Florida Music Train: Teaching Music of the Cultural Crossroads
This poster presentation will use a recently completed unit from the Florida
Heritage Education and Folklife Programs to address 1) issues of authenticity and
“translation” of folkioric and ethnomusicological concepts to audiences of K-12
educators and 2) musical diversity in Florida through a multicultural curriculum
module conceptualized as an imaginary train ride from the predominantly AngloCeltic and African American cultural communities of North Florida, through the
Greek community of Tarpon Springs, to South Florida and Key West (represented
by Seminole,Cuban. Mexican, Jewish, and Haitian music). The display will include
a hand-out on issues involved in creating this model, including selection of
repertoire and how the techniques and methods of public sector folklore and
ethnomusicology came into play; a CD which will provide audio component (4’
of table space); graphics on ethnic and musical diversity in Florida (5’ of wall
space). The Florida Music Train is the first music unit in the state’s heritage
education series and is based primarily on field recordings dating from the WPA
through the 1990s which reflect the efforts of public folklorists and
ethnomusicologists over a 50-year period. The Music Train addresses the theme
“migration to Florida” through 5 lesson plans, graphics, a poster, and a compilation
CD of folk and traditional music from Florida, complete with extensive recording
notes
Born in 1943 in Cuba of French, Spanish, African, Chinese, and Cuban descent,
Tania Leon earned degrees from the National Conservatory in Cuba and New York
University. She has led a diverse career in conducting and composing, and was
instrumental in the development of the Dance Theater of Harlem. Leon wrote
Momentum , her first piano piece, in 1984 on commission from the International
Congress of Women in Music. It represents a synthesis of American, Latin and
international styles. The work combines quasi-serial tone rows, with touches of
Latin dance rhythms, stride piano and blues in, as one reviewer stated, "a thick,
moody jumble".
Emma Lou Diemer (b. 1927) has had a distinguished career as a composer of
music for the concert hall as well as for schools and churches. Her essentially NeoClassic style is characterized by driving rhythmic energy, motivic development,
ostinati and shifting accents. One of her most recent piano works is Sonata no. 3,
published in 2001, the third movement of which is entitled "Tango Fantastique",
and was influenced in part by a stay by the composer in Argentina, where she
frequented tango concerts and films. According to the composer, Tango
Fantastique is by turns percussive and rhythmic, lyrical and expressive, quiet and
meditative, as it reflects the many moods of the new century. It is a romanticized
expression of the tango, a bit "kinder, gentler" than the aggressive, pseudo-violence
that the dance can depict. The tango rhythm pervades the movement; In addition
to the urgent rhythmic sections, there are freer more expressive passages, that
nonetheless keep the "tango" feel, as well as jovial circus music. One of the devices
the composer uses for contrast is a section where the strings are dampened in evenmetered ostinatos- to evoke the sounds of Latin percussion and create a fantasy
world far from the violent tango.
Sonnenschein, David
Northeastern University
Innovations in On-Line Music Appreciation
Music Appreciation is seen as an important means to reveal great works of art to
students who have had only casual experiences with it if any. Not expecting these
students to be capable of reading musical notation, the suggested approach focuses
on attaining music cognition by auditory perception. A courseware packet was
created and used for an on-line music appreciation course. This packet was
originally designed as a hybrid, interactive, multimedia/CD-ROM program.
Current trends in distance learning seem to coalesce around modular designs of
learning material. The advent of MP3 compression technology created the
possibility to design learning modules in place of courseware packets. These
learning modules are posted on the Web and users can download select modules
in accordance with personal preferences. The main advantage of this innovation
is that modules represent a dynamic approach whereas courseware packets are by
necessity static in nature.
After a brief discussion of the background of the composers and the Latin traits
that infuse these works, the proposer will perform them in their entirety
(approximately 25 minutes of music). Since the musical culture of Miami shares
many of the features of the music of Cuba, Mexico, and Argentina, the site of the
CMS 2003 annual conference will be a serendipitous venue for the presentation of
these compelling and exciting works.
ATMI
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Spiller, Henry Kenyon College
SEM
It’s All Happening at the Zoo: Inventing and Contesting Sundanese
"Tradition" in West Java, Indonesia
and social dancers, in particular musicians' responses to the commercial and
aesthetic demands resulting from changes in social dance. The Lindy hop, a dance
of African American origin characterized by a high degree of physical vigour and
a new driving rhythm, became wildly popular during this period. Jazz musicians,
whose livelihoods depended on meeting the requirements of dancers, responded
with a music that much better complemented the new dance. The musical
consequences defined jazz performance for the next twenty years. This enduring
and widespread popularity of the Lindy hop and Swing as a part of American
mainstream popular culture was the result of the exploitation and revalorization
of stereotypes of the black body in the case of the Lindy hop, and of African
American musical practice in the case of Swing. In both cases, the space for black
expression greatly expanded.
In the heart of Bandung, the capital city of West Java, Indonesia, and the center of
Sundanese culture, lies the Bandung Zoo. For the past thirty years, the Zoo has
sponsored “cultural performances” on Sundays, including bimonthly ketuk tilu (a
form of Sundanese men’s improvisational dance) events. As is the case with some
of the once-common-but-now-rare Javanese fauna on exhibit, ketuk tilu’s presence
in the zoo saves it from extinction; the price of this salvation, however, is
domestication.
In this paper I demonstrate how the Zoo’s domestication of ketuk tilu capsulizes
a wider dialogue about "invented tradition," "authenticity," and competing
meanings of Sundanese music and dance. First, I outline how ketuk tilu events
once created a framework for men to explore Sundanese masculinity by providing
a "safe space" in which they could behave in otherwise unacceptable ways. Next,
I discuss how the Zoo events diverge from this framework. In keeping with a larger
Indonesian government project of transforming regional forms into national "high"
art forms, the intent is to "preserve" ketuk tilu’s "good" qualities while eliminating
its seamier elements. The effect is to transform ketuk tilu into an "invented
tradition" in which its original meaning—exploring masculinity—is covered by a
new one—emblematizing Sundaneseness. Finally, I explore how Zoo visitors,
upon encountering these sanitized ketuk tilu performances, recuperate the original
meanings. I argue that by insisting on the trenchant protocols of old-fashioned
events, such as choosing songs and dancing, and eschewing rigid style restrictions,
these audiences resist the domestication of Sundanese dance. In doing so, they
negotiate what it means to be "authentically" Sundanese in a changing Indonesia.
Spring, Howard University of Guelph
Social Dance and the Birth of Swing
Spurgeon, Alan L.
The University of Mississippi
The American Play Party
Play parties were folk song, dance and game all in one. The term meant both the
activity and the party where it took place. Popular in rural America from about
1850 to 1940, they occurred because of the prohibition against dancing by
fundamentalist Christian religious groups. They were usually held in homes. The
first recorded play party was in northern Arkansas in 1836 and the last was also in
Arkansas in 1956. They existed throughout the eastern and southern United States
but continued longest in the Ozark and Appalachian Mountains.
Participants sang the songs without instrumental accompaniment since instruments,
especially the fiddle, were associated with dancing. The text often indicated the
movements, which resemble simplified square dance movements. A game was
often included.
SEM
Early sources include journal articles by Ames (1911), Wolford (1917), and
Randolph (1929), a single book by Botkin (1937), a few recorded sources from the
Library of Congress and the University of Arkansas as well as the CBS television
program "The Search" (1954). I interviewed over 40 people who participated in
play parties as youngsters. They taught me songs, movements and games and
discussed experiences at play parties. Elementary school music teachers use them
today as authentic folk activities because of their acceptance by fundamentalist
religious groups.
A new style of jazz began to take shape at the end of the 1920s in New York City
and was fairly well established by 1932. The stage was set for the shift to this new
style, which came to be known as “swing”, by developments in media technology,
the accessibility of previous performance practices via recordings and live
performance, and the types of venues that sprang up in New York during the
1920s. But the most direct factor was the dynamic relationship between musicians
CMS
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This paper will discuss the play party emphasizing the Ozark mountain region
where most of my field-research took place. I will show videotape clips of
interviews as well as a play party taped by CBS-TV in 1954.
Stem, Erich
After Rain
This presentation draws from the course "Sounding and Imaging" that focuses on
reading film music in relation to other modes of filmic presentation and in relation
to African societies and musics. For this presentation, I will focus on one method
for the analysis of film and film music that focuses on different forms and sites of
representation. The African films, which I will consider here, emanate from two
sources: first, the Hollywood film industry and, second, independent African
filmmakers. Music is embedded in the fabric of the film, and it is the construction
of the musical voices and the interpretation by filmmakers and audiences that are
of interest here.
CMS
After Rain (2001) is comprised of two movements; Night and Journey and
Celebration.
The first movement, Night, is tranquil in nature, slowly evolving one theme to two
other related motives expressed in the solo passages of the piano and violin.
Towards the end of the piece, each motive and supporting gesture is heard
concurrently, creating a new sound while preserving the identity of each idea.
Journey and Celebration takes the meditative atmosphere created in Night and uses
a steady pulse and unaltered melodic theme to guide the gradual and sometimes
sudden changes in texture, harmony, and rhythm. The transformation that occurs
from one expression of the 'unaltered' theme to the next is achieved by separately
introducing a change in a particular element (e.g. timbre or rhythmic gesture) in
each of the instruments as the piece progresses. The result of this transformation
leads to a dramatic section, creating a sense of celebration during the final
moments of the piece.
Issues ranging from conquest and triumphalism to counter voice and counter gaze
will center my analysis of a selection of films, beginning with African Queen
(1951), made by the legendary filmmaker John Huston in Hollywood, and
juxtaposed with other films such as Quartier Mozart (1992), by African filmmaker
Jean-Pierre Bekolo.
Stuessy, Joe
Southwest Texas State University
Collegiality As a Factor in Faculty Evaluation
In these litigious times, administrators and faculty must understand the appropriate
(and legal) use of collegiality as a factor in faculty evaluation. The courts have
consistently held collegiality to be a legitimate criterion in evaluating faculty
members for tenure and/or promotion. Courts have warned that considerations of
collegiality must not be used as a pretext for discrimination.
Collegiality need not be explicitly stated as factor in evaluation guidelines. In fact,
the AAUP specifically discourages using collegiality as a separate factor,
preferring that it be integrated into the traditional considerations of teaching,
research, and service. Nor should faculty and administrators blur the lines between
collegiality and congeniality.
Even though both movements were originally conceived with no specific purpose
or program in mind, the titles of the work were later given to convey ideas dealing
with struggle, resolution, and finally, a new beginning. This concept took on a
more important meaning to me as I composed the work during a time of renewed
patriotism in our country in 2001.
Stone, Ruth
Indiana University
Sounding and Imaging: Voices and Counter Voices in African Film
SEM
I think of collegiality as a continuum that extends from the "warm-and-fuzzy"
individual to the genuine troublemaker. I think it is wise to include only about 25%
of the continuum as non-collegial, reserving this term for those who
demonstratively hinder the music unit's pursuit of its mission. By elimination, then,
there is a wide spectrum of collegial behaviors that allows for people who are shy,
introverted, "all business," very private, or even vociferous in their advocacy of
ideas.
Film weaves its powerful spell in a world where film industries--whether based in
Hollywood, Hong Kong, or New Delhi--feed our imaginations. The Hollywood
group has access to infinitely more resources for making and distributing any given
film when compared to what is available to a filmmaker from Africa. Yet despite
these inequalities, a lively and creative group of African filmmakers work and
thrive both in Africa and in the former colonial powers, particularly France.
CMS
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Sturman, Janet University of Arizona
Faculty units should discuss specific behaviors as they relate to teaching, research
(performance), and service and predetermine what they believe to be collegial and
non-collegial behaviors. They must avoid the temptation to define collegiality as
conformity with the behaviors favored by the faculty's leaders. The irony is that
when this extreme is approached, the appearance of a collegial environment may
become the exact opposite.
Sturman, Janet University of Arizona
Janet Sturman (University of Arizona), Brenda Romero (University of Colorado,
Boulder), Judith Coe (University of Colorado, Boulder), and James Parakilas
(Bates College)
This panel will compare individual and disciplinary attitudes towards musical
canons, including how we develop them, and how our approach influences the
ways we teach music in our university programs. As we attempt to broaden our
curricula: 1) What are the pros and cons of reifying specific musical pieces, and the
corresponding creators and practices as "best"?, and 2) How can we accommodate
competing methodologies to optimally serve our students?
SEM
Ethnomusicologists have long recognized a fundamental difference of approach
that distinguishes their work from that of their colleagues in Music History and
Criticism: ethnomusicologist aim to explain people by studying music, while
historical musicologists aim to explain music pieces and styles by way of
recognizing people at various points in time. The ethnomusicological emphasis on
holistic and ethnographic study prohibits simple responses to requests for a list of
the top ten songs that any students of Mexican history should know, or a specific
selection from of music from India to parallel a Beethoven symphony. While it
may be tempting to dismiss such requests as naïve, it is argued here that we must
not simply ignore them. This presentation acknowledges the ongoing discussions
by Bergeron, Bohlman, Cook, and others, regarding musical canons. The
presentation will explore both specific and general responses based on teaching
experiences that include efforts to integrate world music into a sequence of
introductory music literature courses for first year music majors, as well as
collaborating with other faculty in Latin American studies to position music as a
more visible component of the curriculum in that program. While these efforts are
on-going, the greatest successes to date have resulted from balancing discussion
of specific works with comparative study of the processes of defining musical
literature, exploring not just rationale and mechanics, but also the resulting pros
and cons, of reifying (in some cases, deifying) specific musical performances,
pieces and their creators as "best."
CMS
Janet Sturman begins by considering how ethnomusicologists should respond to
requests to identify for any musical practice "the ten songs (or pieces of music) that
all students become acquainted with?" † Trained to more to focus on genres,
traditions, and contexts, even on key performers or creators, rather than individual
works, ethnomusicologists are apt to find these requests exasperating. By drawing
on teaching experiences at the University of Arizona that include efforts to
integrate world music into a sequence of introductory music literature courses for
first year music majors, as well as collaborating with faculty in Latin American
studies to position music as a more visible component of the curriculum in that
program, she proposes ways to balance discussion of specific works with
comparative study of the processes of defining musical literature.
Calling his contribution, "Ethnomusicology to the rescue?", James Parakilas
examines how musicology has turned to ethnomusicology to globalize courses and
curricula. Too often, he notes these requests result in material "that simply extends,
and therefore fits, the canonic and normative paradigms of classical music: bring
in the sitar to show that there is 'classical music' around the world, or bring on the
global freak show—the Tibetan monks, the Tuvan throat singers—to show what
musical capacities the Western tradition fails to exploit. Doing battle with
parochialism requires more than that: it requires challenging the paradigms that
shape such requests." To meet that demand, Parakilas calls for collaboration of
musicologists, ethnomusicologists and popular music scholars to jointly create
courses, textbooks, and curricula comparisons and more importantly, to develop
a new comparativity, finding topics and methodologies that allow cross-cultural
comparisons that are neither invidious nor leveling, but are instead discriminating
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Sultanova, Razia
London University
Memorializing Uzbek Music in Afghanistan
and provocative.
In her segment of the panel, called "The Integrated Musicology program and the
Top Ten," Brenda Romero will draw upon her experience with just such
collaboration at University of Colorado Boulder where the faculty is attempting to
provide an integrated program for its musicology graduate students. She reports
that the need to align conflicting methodologies is clearly visible in the course
requirements, as well as in the entrance and qualifying exams the students must
take to enter or exit the program.† Romero will review the model UC Boulder is
following and will share input from students and professors about what is working
and what is not.
In the lands of modern Uzbekistan – formerly known as Transoxana, the tradition
of musical instrument making, alongside other forms of transmision of traditional
culture – poetry, architecture, book miniature, arts and crafts, has always possessed
the status of refined culture and captured the eternal beauty of traditional art.
The principal musical instruments represented by Tar, Dutar, Nai, Karnai and
Quobuz, have carried a profound symbolical meaning, rooted in mythology and
history of the region. Their use accompanied both happy and sad times, occasions
of birth and death and occupied a distinct and valued place in people's everyday
lives.
Judith Coe will also address values and practice in her examination of the conflicts
that arise at the University of Colorado at Denver between the Music Performance
program and the Music & Entertainment Industry Studies Department (MEIS). She
notes that "the performance of popular/commercial music has a number of
characteristics which must be taken into account by teachers and presents some
conflicts within the framework of a more traditional, conservatory-based musical
training and assessment system." Among the concerns she identifies is the
distinction between the experience-based evaluation of a popular/commercial
music performance (i.e.,' real world') and an educationally-driven assessment (as
part of an academic course, an ensemble, or applied lessons). Her presentation will
focus on evaluation and assessment of popular /commercial music and will discuss
salient elements involved in the evaluation of popular/commercial music
performance, given conflicting methodologies.
Stusek, Steven University of North Carolina-Greensboro
Globalisation and commercialisation of the arts has spelt out profound changes
affecting all aspects of the musical world. Nowadays use of electronic amplifiers
is becoming a prerequisite of every celebration and concert taking place. The
altered instruments lose their charm along with quality of the sound, quickly
becoming the fast-food equivalents in the world of culinary art.
Only a determined effort into researching the past glorious meaning of each
instrument, careful observation of their production processes and recording of
detailed conversations with the old instrument makers (video demonstration: Dutar
making by famous Ryzhon-aka Khojakhonov) can return the true and disappearing
over time understanding of the values of authentic musical art and its role in history
of the civilisation of the Great Silk Road.
CMS
Summit, Jeffrey Tufts University
SEM
Music and the Construction of Identity Among the Abayudaya of Uganda
Performers Together
SEM
The Abayudaya, a community of approximately 600 people of Bantu origin living
in villages surrounding Mbale in Eastern Uganda, are practicing Jews. They are
developing musical/liturgical traditions that are creating a pan-ethnic Jewish
identity, one that bridges the five Bantu language/ethnic groups that make up their
community--Baganda, Basoga, Bagisu, Bagwere and Banyole. This common music
of worship and para-liturgical celebration is the primary factor that increasingly
causes the Abayudaya to see themselves as one people. Yet even as this overarching repertoire develops, much Abayudaya music remains rooted in local Bantu
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musical forms and styles. Their introduction of Hebrew, Jewish themes and context
shapes, and in some cases transforms, this traditional music. I will examine how
this code-layering (Slobin 1992) presents a complex, and sometimes conflieting,
set of identity markers that negotiate among the Abayudaya’ s religious and ethnic
identities. I also consider how the Abayudaya understand their developing Hebrew
literacy and adoption of Jewish musical traditions from North America as a means
to authenticate their Jewish expression and affirm their status as members of the
world Jewish community.
Sung, Sang Yeon
Indiana University
Global Movement of K-Pop Among Local and Overseas Taiwanese
Sung, Stella
Night Bloom
CMS
n 2000, the Jacksonville Museum of Modern Art and the Jacksonville Symphony
Orchestra (Jacksonville, FL) joined together in commissioning composers to write
new musical to compositions to match artworks in the collection of the
Jacksonville Museum of Modern Art. NIGHT BLOOM is a work by artist
Memphis Woods (1978), and depicts the organic growth of a flowering plant. The
musical work, NIGHT BLOOM, is based upon the concept of the process of
growth, and each instrument is an integral in that process.
SEM
Survilla, Maria Paula
Wartburg College
SEM
Constructing Memory, Inviting ownership and the Belarusan Beat: Concepts
and compilations in Post-X Popular music
This paper examines the phenomenon of hallyu (Korean Wave, Trend or Wind)
that is currently popular in East Asia, focusing on local and overseas Taiwanese.
The term hallyu refers to Korean popular culture, disseminated primarily through
the mass media, as it enjoys broad popularity outside of Korea. It includes Korean
television dramas, movies, fashion and popular music.
Since rock first became a staple of the Belarusan contemporary music scene in the
198os, it has been treated in local political and social discourse as a locus for the
exploration of Belarusan identities. By the early 1990S rock was a synergist for
independence and since 1994, due in part to the restrictive policies of
Lukashenka’s presidency, Belarusan rock has been linked to new generation
engaged in their own brands of activism. Some bands have overtly connected their
music to activism while others fear that their music might be marginalized if
associated with a “national” cause.
Focusing on Taiwan demonstrates not only the popularity of Korean popular music
in contemporary Taiwanese society but also the complex issues involved in the
importation of cultural products, the relationship between indigenous and foreign
musical forms, and the global movement of popular music. Connected to hallyu are
issues about the presence of Japanese and Western popular music in Taiwan, of
Taiwanese music in the PRC, and of rap music in South Korea. Hallyu, then, is
much more complex than a simple importation of Korean popular culture. It is
movement back and forth between the United States and South Korea, South Korea
and Taiwan, overseas Korean and overseas Taiwanese, and overseas Taiwanese
and local Taiwanese. Population mobility and the rapid development of the mass
media have resulted in these multi-directional musical flows.
This paper explores a consolidation of intent amongst musicians in Belarus since
1998 that suggests that the musicians, rather than the mechanisms of cultural
critique, are presenting an overt public stance that targets their audiences according
to clearly articulated ideas about a modern Belarusan identity. Rather than avoiding
the canons of national tradition, these musicians are producing a modern canon that
reinvents the past and offers a real-time construction of cultural memory. This
trend invites debate about authenticity and representation since bands openly
borrow from iconic repertoire linked to the past, to the intelligentsia, and to the
Belarusan diaspora. Independent musicians and longstanding Belarusan bands
collaborate as the Belarusan Music Alternative (BMA) offering concept albums
and concert performances that combine diverse musical styles according to themes
of language, citizenship, and common everyday experience. The new trend, to
invite ownership not according to memory as nostalgia, but according to the
construction of relevance as modern memory will be explored through selections
Through this study I demonstrate that globalization is not just a one-way movement
but rather multi-dimensional, the result of migration, cultural importation and
exportation and the mass media dissemination of cultural forms.
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Abstracts
from cooperative albums dating from 1998, 2001, and 2003.
Sutton, R. Anderson
SEM
Bounded Variation? Music Television and its Aesthetics in South Korea
principles of post-disciplinary hybridity in the arts and offer an early glimpse at the
model’s successes and at the challenges it will face in the future.
A decade after MTV’s international station blurb declared “One world, One image,
One channel,” (1993) the configuration of music television in Asia has grown
markedly more complex. In South Korea, as of July 2001, the tens of millions of
cable TV subscribers have access not only to a variety of video and live music
shows on the government-sponsored channels (e.g., KBS, Arirang), but also to four
full-time (24-hour, 7-days a week) music television stations. Two of these stations
are Korean branches of multi-national broadcasting companies (MTV Korea and
Channel [V] Korea) and two are locally owned and managed (M-Net and Kmtv).
Based on interviews with Korean music industry personnel (producers, VJs,
musicians), music and popular culture critics, and a sample of music television
viewers, complemented and informed by extensive personal viewing of these
stations on four visits from September 2000 to November 2002, this paper offers
an interpretation of the broadcast content and its implications for Korean popular
music aesthetics. The intense competition between the four full-time stations has
yielded remarkably little contrast among them, each seeming merely to present its
own variation on a gradually evolving model of what music television can or
should be offering its viewers. The paper considers Korean music television
content within the context of demographic profiles of viewers, market forces,
trends in the wider world of Korean and international popular music, local
discourses of authenticity (both “musical” and “national”), and the limits of
transnational cultural transmission.
Sykes, Charles Indiana University
SEM
Making Music at Motown: Production Processes & Issues of Representation
Ethnomusicologists have long been concerned with questions of the ways in which
local contexts give shape to musical traditions and systems of music making. One
of our primary challenges has been to arrive at a definition of a given music
concept based upon indicators of socio-cultural influences within the local
environment. The challenge of concept definition can be quite daunting when the
setting for music making is a multi- track commercial recording studio, where
music making can be driven by record sales markets and the state of the music
industry, and where technology affords the potential for decision makers to control
the nature and quality of the performance artifact - the recording.
This paper looks at the music and music making processes employed by Motown
Record Corporation, a black-owned record company headquartered Detroit,
Michigan in the creation of the Motown Sound. By the mid-1960s Motown’s
company sound concept, commonly known as the “Motown Sound,” had proven
successful in achieving an international consumer base, across racial and cultural
lines. What are the components of the Motown sound? Who were the contributors
and decision makers in the creation of a company sound concept? What are some
ways in which the city of Detroit, as local context, served as the environment in
which decisions were nurtured and the sound was shaped? These questions provide
the framework for exploring issues of representation in the configuration of the
“Motown Sound.”
Peter V. Swendsen
ATMI
Music technology in higher education: different models, common issues and
future trends
Tabor, Michelle
Tallahassee, Florida
CMS
The Usefulness of Alberto Ginaster's Pampeana No. 1 for Various College
Teaching Settings
With programs in music technology now located throughout the country, it seems
timely to assess the different approaches to the subject found at these programs.
We will present findings on the differences and similarities between some of the
leading programs in this field. These findings are the result of interviews conducted
by the authors with professors at each institution. In a broader context, we will
explore arts technology as the potential hub for a more unified student creative
practice and technology-based pedagogy can foster what some have called a “postdisciplinary” approach to the arts. Our paper will excavate the fundamental
This presentation consists of an initial lecture, followed by a performance of the
rarely-heard Pampeana No. 1 (1947) for violin and piano. The lecture is intended
to demonstrate the many possibilities for various types of college teaching settings
inherent in this piece. The Pampeana is particularly useful in many types of music
courses, such as music in general studies, music appreciation, history, analysis,
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October 1-5
Abstracts
etc., for two main reasons. First this short work is easily heard in its entirety.
Second, the piece encompasses a wide spectrum of musical elements that
illuminate various concepts. Because this composition dates from Ginastera's early,
overt, nationalistic period and his music is usually dramatic and obvious, the
elements of this work are clear and can be easily conveyed to all levels of students.
of American dominance in popular song composition (especially in the 1950s and
early 1960s), British songwriters suddenly found a ready market for their work.
While many scholars have focused on the work of Lennon and McCartney (e.g.,
Mellers 1973, Kozinn 1995, and Everett 1999 and 2001), numerous other
songwriters contributed to the wealth of music composed largely in London in the
mid 1960s: John Carter, Geoff Stephens, Les Reed, Mitch Murray, and others had
numerous hit songs in this era. However, these songwriters had a problem:
whereas they often sought to be identifiable as British songwriters, their models
were American. Even Lennon and McCartney early in their careers expressed an
interest in emulating Jerry Goffin and Carole King. British songwriters needed to
establish a musical dialect that was consistent with the genres of rock and pop
established by American performers and, at the same time, recognizably British.
Following are some specific concepts related to the Pampeana which are discussed
in the lecture. What nationalism in music means and how it can be expressed (both
in general and in Latin America). Extramusical, cultural and sociological issues
such as how the region of the pampas, immigration from Europe, the creation of
a unique culture, and the gauchos (Argentine cowboys), contributed to a unique
folklore that gave rise to the Malambo, a dance that makes up the second, Allegro,
part of the Pampeana. The first part of the Pampeana (Lento e liberamente
ritmato), which is contemplative and expresses feelings this region evokes, serves
as a tool for learning about improvisatory music. Other factors for study include
the two cadenzas, the subtitle "Rhapsody," and the use of the pitches of the open
strings of the guitar ("guitar chord") as a symbol of nationalism. In conclusion, this
composition, which encompasses contrasting moods from quiet contemplation to
explosive drama, is a rich resource for various teaching settings.
This paper examines selected songs and complements these analyses with
interviews with the composers.
Thompson , Donald
University of Puerto Rico
Taylor, Jack A. Florida State University and University of North Carolina
ATMI
John J. Deal, University of North Carolina, Greensboro
A National Survey of Undergraduate Training in Music Technology: Reports
from First- and Second-year K-12 Music Teachers
The findings of a national survey on college training in music technology of
beginning (first- and second-year) music teachers are reported in this presentation.
Of special interest are the experiences these students received in learning how to
use technology--and also in learning how to incorporate technology within various
music learning environments.
Cultural Synthesis
Thurmaier, David
Central Missouri State University
Rock Music, Rock Progressions, and Theory Pedagogy
CMS
The study of popular music has recently garnered much attention in music theory
circles. Numerous scholars have contributed analytical writings that highlight the
richness and diversity of popular music. Given this current interest, the time seems
right to consider its place in the core undergraduate theory curriculum.
Thompson, Gordon
Skidmore College
SEM
An English Kind of Equivalent': Innovation and Tradition in Sixties British
Songwriting
I would like to propose bringing rock music into the aural skills classroom through
harmonic dictation using what I call rock progressions . These progressions capture
a great majority of rock music from the 1950s to today. Additionally, they were
chosen because of their frequency in the literature, their ability to describe many
types of music, and because their nomenclature can be easily taught to students. In
British popular music in the 1960s exuded originality and excitement: the bright
instrumental timbres, the impassioned voices, and an attention to the craft of
songwriting marked a new kind of British musical identity. Indeed, after decades
CMS
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Abstracts
my presentation, I define and provide examples of six progressions—from artists
such as the Beatles and the Police—and explain their applicability to harmonic
dictation in the classroom. By figuring out the bass line in conjunction with the
quality of a given chord in rock music, the student acquires another method to
reinforce harmonic skills already taught for classical music.
apply to music technology as well as to generic computer courses. The focus will
be on a set of concepts and skills that are independent of specific software,
equipment, or platforms. Side-by-side comparison of general and music technology
syllabi and suggestions for assessing the proposed concepts and skills will be
included.
Tingler, Stephanie
University of Georgia
Liszt's Songs: An Ongoing Quest to Meld Tone and Text
Trimillos, Ricardo
University of Hawaii
CMS
CMS Advocacy Panel: Advocating Music Theory, Musicology, and
Ethnomusicology
CMS
See Dickinson, Stefanie - Liszt's Songs: An Ongoing Quest to Meld Tone and
Text
Titus, Pamela University of Central Florida
Aires Tropicales by Paquito DeRivera
CMS
Trinka, Jill
University of St. Thomas
CMS
Torres-Santos , Raymond
Leaders in four music education organizations have collaborated to: (1)
recommend a program of study for undergraduate music education students in
active music-making approaches to teaching K-6 music and (2) determine how the
professional K-6 music educator can help effect change in music teacher education
curricula. The purpose of this panel presentation is to present a work-in-progress
by leaders from the American Orff-Schulwerk Association (Marilyn Davidson);
the Organization of American KodAly Educators (Dr. Jill Trinka); the Dalcroze
Society of America (Dr. David Frego), and the MENC Society for Music Teacher
Education (Dr. Sara Bidner). A desired outcome of the session is to communicate
with collegiate colleagues about ways these organizations can continue to work
toward the goal of preparing music education students in active music-making
approaches to teaching K-6 music. The session will include:
CMS
Distinguished panelists will discuss how traditional and art music have been
impacted by each other to the point of enriching both experiences. Emphasis will
be given to the neglected contribution of traditional music into the music of the
Western civilization since its beginning. Today the commonalties are more evident
but there are many musical antecedents which have resulted in a surprising cultural
gestation.
Train Adams, Robert
University of Montevallo
Apples and Oranges: Basic concepts in computer proficiency
! A demonstration of types of active music-making in the K-6 curriculum.
ATMI
! An overview of musical and pedagogical skills needed to teach active musicmaking approaches that address the National Standards.
As assessment of computer proficiency becomes a requirement of state and
regional agencies, courses in music and arts technologies may be required to
incorporate more non-arts oriented content. This paper proposes a basic set of
computer concepts and skills that demonstrates basic computer proficiency in the
context of an introductory undergraduate computer course. This set is intended to
! A summary of research about past practices in general music education
! An examination of current trends in theory and practice, course requirements,
field experience, reflective practice, specific methodologies, classroom
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Abstracts
management, conducting research in the classroom, technology, and assessment.
educational system in Taiwan attempt to make better adaptation to multi-cultural
society and provide a better learning environment for all students. The result,
however, can be both positive and negative. With the number of Asian students
studying in United States increasing, strategies for success in dealing with this
multi-cultural student population become more imperative. Therefore, plagiarism
and citation of sources, expression of independent ideas, teacher-student
interaction, ESL, and orientation to American higher education should be
examined, and evaluated. I will provide examples for strategies for dealing with
these issues and problems.
! Recommendations for changes in music education curricula to ensure musically
and pedagogically successful K-6 student teachers and first-year teachers.
! Suggestions for incorporating recommended content into music education degree
programs: establishing expectations of prospective teachers; ensuring that students
gain requisite knowledge and skills for teaching K-5 music; communicating with
colleagues about curricular changes, and assisting methods instructors
inexperienced in K-5 active music-making approaches.
! A question-answer segment with session attendees.
Tucker, Joshua University of Michigan
SEM
Sowing Culture On Disc: Music, Media and the Place of Contemporary
Ayacucho
Tsai, I-Hsuan University of Cincinnati
CMS
Learning in Different Cultures: A Comparison of Education in Taiwan with
Education in the United States
Through a discussion of one highland Peruvian genre, this paper explores the role
of media networks in enabling constructions of self, society, and the relation
between the two in a societal context defined by fragmentation and physical
dispersal. I will explore how musicians, listeners and especially intermediaries
such as DJs and producers in Ayacucho and Lima use Ayacuchano huayno to
debate ideas about contemporary Ayacucho. Many recent media ethnographies
underplay the crucial role of media networks and agents in bringing to audiences
the material representations they use to think their selves and their cultural context.
These agents circulate representations of Ayacucho that respond to local notions
of cultural and musical authenticity, historically elaborated by elite intellectuals
acting as folklorists. Such authoritative ideas have been challenged by the rise of
a market-oriented, Lima-based style fusing huayno with Bolivian and EuroAmerican pop idioms. In creating and circulating such high-profile hybridities,
producers and musicians continually create and recreate alternate visions of
contemporary Ayacucho. These are taken by some sectors of Ayacuchano society
to better represent their place in an increasingly urban, globalized Andean world.
However, as most artists and recording studios are located in the capital, the new
hybrid style largely comes home through a limited series of media channels. Thus
current debates about Ayacucho and Ayacuchanos’ positionality in contemporary
Peru are largely being waged in the mediated space that both separates and links
provincial Ayacuchanos and capitaline migrants; I will illuminate the way in which
such spaces are conformed by media agents.
This paper illuminates the differences between Asian educational methods,
particularly Taiwanese, and American methods, thereby providing American
teachers with information that can positively affect pedagogy in courses that
include Asian students. My experience as a pre-college student in Taiwan and postsecondary education in the United States has prompted serious inquiry into the
pedagogical dilemma faced by many college instructors.
Through case studies and my own experiences in both cultures, as well as courses
in pedagogy and teaching and tutoring students from a variety of cultures, I found
several differences:
1. how teachers are perceived in each culture;
2. educational goals;
3. students' attitudes and expectations in measuring outcomes, and
4. learning styles.
Examples include the role of rote memorization, critical and independent thinking,
and research and writing styles. The changes in the last few years in the
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Abstracts
Tuohy, Sue
Indiana University
"Contextualizing and Analyzing Chinese Film and Music"
SEM
Primary sources for this paper will include the video clips for: Amr Diab and
Angela Demetrio- "Ana Bahebak Aktar" (1999, Greece), Hisham Abbas-"Nari
Narein" (2000, India), Amr Diab (Featuring Sandman)- "Wala Alla Bali" (2002,
USA), Nawa El-Zughbi- "Tool Omri" (2001, Cuba), and Hakim and Olga Tanon"Ah Ya Albi" (2002, Puerto Rico). In addition to analyzing these music videos, I
plan to incorporate media sources including: interviews, reviews, press releases
and web sites. Such texts place these artists and their work into a popular discourse
and help explicate and unpack aspects of national and intercultural dynamics.
Additionally, I will include data collected from Arab and Arab-American
consumers of these artists' music about their perceptions of these clips.
The course "Chinese Film and Music: Sounds and Images" focuses on feature
films--those produced in China from the 1930s to the present as well as Hollywood
films--that center on music and musicians as their central topic. Taught within
departments of Folklore and Ethnomusicology and East Asian Studies, the course
is designed as a means both to introduce and apply ethnomusicological
perspectives to the analysis of film and to provide a basic introduction to Chinese
society and music.
This presentation will focus on two related issues central to the class:
contextualizing and analyzing Chinese films 1) within the social-historical
conditions of their production; and 2) in relation to the conditions portrayed in the
films. This dual focus attends to materials available for understanding the
ideological and social contexts that influenced the creation of films and film music.
It brings into the analysis information about the technological resources available
at the time of production and film/music production techniques. The focus
simultaneously allows for an examination of representations of Chinese society and
music--whether historical or contemporary--within the films themselves.
Selections from Chinese films from 1935-2000 will be analyzed as examples.
Usner, Eric
New York University
SEM
Music and Race in Early 20th Century Vienna: Viennese Jews and the
Creation of Modern Viennese Identity
The presentation also will address problems encountered in locating appropriate
primary and secondary sources about Chinese film music as well as in teaching
about films from a part of the world that few students have studied previously.
Music for Viennese Jews was “the entrance art to assimilation” (to invoke Leon
Botstein’s cogent description) and early 20th Century Viennese musical life is
unimaginable without the contributions of Viennese Jews. In the officially more
tolerant atmosphere of Franz Josef’s rule (1867-1918)--though one still suffused
with a morphing anti-Semitism--Viennese Jews labored within the city’s key
cultural institutions as conservatory professors, conductors, composers, and
musicians and were patrons who helped insure the vitality of the city’s musical
culture.
Ulaby, Laith
Exotic To Whom? Orientalizing the Orient
The decay of the Habsburg Empire effected a crisis of identity as a once dominant
imperial power was reduced to a geo-politically marginal state by the emergence
of nationalism in Central Europe. As Vienna’s role as the nerve center of an empire
vanished, musico-cultural hegemony was one last remnant of power that the former
city could wield. Thus, conceptions of modern Viennese identity became in part,
increasingly bound to the city’s claims to a living musical heritage.
SEM
One of the recent trends to emerge from the Arabian Gulf and Egyptian pop music
factories over the last few years has been the strategic matching of Arab singers
with non-Arab singers and/or the appropriation of foreign popular song styles, such
as salsa, hip-hop or techno, that are fused with a standardized Arab popular style.
The immense popularity of these songs has been supported and propelled by the
production of video clips, which are widely viewed on television and purchased in
stores all over the Arab world. These clips reveal a variety of insights into Arab
perspectives of their own and foreign cultures.
This paper examines “classical music” as a social practice within the context of
early 20 century Vienna. Out of this period the musico-cultural basis of a modern
Viennese ethnic identity emerges, one whose complex socio-cultural politics and
processes I reveal through the frames made possible by critical race theory, in
particular, studies of whiteness. Drawing upon memoirs, archival work and
interviews, I render less opaque the role Viennese Jews played in the musical life
of the city and their consequent role in fashioning an emergent modern Viennese
identity—one that held (a false) promise of inclusion.
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Abstracts
Valladares, Amy
New York University
SEM
Intersections of Gender and Technology in Lucumí Ritual Drumming
Veltman, Joshua
SEM
Dynamic Symmetry and Holistic Asymmetry in Navajo Yeibichai Songs
This paper will attempt to understand Afro-Cuban performance theory through
local conceptualizations. Lucumí (or Santeria) drumming is a practice in which
men have historically created elite groups, specializing in virtuoso ritual
technologies. My interest is in how this religion determines ideological categories
of gender, and how music thereby becomes the exclusionary technological domain
of males.
Witherspoon and Peterson (1977) find the aesthetic principles of dynamic
symmetry and holistic asymmetry woven throughout Navajo religion, cosmology,
language, and material arts. After explaining these principles, this paper
demonstrates that they also underlie Navajo music, specifically the Yeibichai song
and dance form that occurs as part of the Nightway ceremonial. Analysis of several
recorded Yeibkhai songs in terms of melodic and rhythmic features, motivic
repetition, large-scale structure, and vocal timbre supports this claim. Descriptions
of the Yeibichal dance from the fieldwork of Francis (1997) reveal that the
structure and symbolism of the associated physical motions are also congruent with
these principles. Finally, some specific aesthetic links among Yeibichai songs,
drypaintings, and woven compositions are discussed.
Calling the spirits is considered ministry to Afro-Cuban religious community. This
is achieved through correct musical performance, and the creation of a sense of
multiple temporality. Changes in rhythmic structures (between a stable fixed-time
element and improvisations), are physically and emotionally experienced by
participants. Ritual drummers conceive of techniques and technology through
which humans and spirits talk to each other using musical sound.
Cultural anthropologists like Reichard (1950) often shy away from detailed
analysis of music, perhaps for lack of musical training or confidence, but this study
presents one instance of a fine-grained ethnomusicological analysis that reveals the
specific ways in which music is integrally woven into the fabric of a culture.
However, this musical practice (not necessarily the theories from which the
practice has evolved), and the status and privilege it affords, remains the exclusive
domain of men. “Pollution” of consecrated drums focuses on localized religious
doctrine about female bodies. Based on my attendance of public rituals in Havana
and New Jersey as a participant, interviews with male and female initiates about
their conceptual bases of gendered ritual ideas, and discussions with musicians
about their music-making, this paper will examine the intersection of issues of
gender and technology within a folkloric tradition. I will engage these practices in
a dialogue with feminist theories, issues of ethnographic integrity, gender, and
race, in which I hope to problematize the gendered constructions of access to
“universal truths” (cf. Barthes) in Lucumí rituals.
Velazquez , Ileana Perez Williams College
Flora Invernal
von Seggern, John
Professional Musician and Producer
Network Effects: the Internet and the Chinese Rave Scene.
Since the first raves were held in Beijing in 1995, a sizable electronic dance music
scene has grown up in the People’s Republic of China. Clubbing has become a
popular activity among a significant segment of the country’s growing urban
middle class, and anindigenous culture of Chinese DJs, MCs, producers and
promoters has emerged.
CMS
In this presentation, I will point to some specific ways in which increasing Internet
usage among participants in this scene has contributed to its rapid growth
nationwide. In a country where public access to traditional mass media is strictly
controlled by the government, the Internet has played a crucial role by providing
members of the dance community with a viable alternative communications
channel as well as a site for constructing new group identities. More generally, as
Chinese clubbers are using the Net to organize and promote their activities, as they
are exposed to new ideas and lifestyles through the widespread use of email and
chat rooms. As new opportunities for independent entrepreneurship and wealth
The piece relates to the kind of energy in nature that is not visible to our eyes. This
piece evokes the energy hidden in flowers and vegetation during the winter. This
"hidden life" is waiting to be awakened. Flora Invernal is about the life that is not
perceptible to us which exists and is waiting for the right time to be manifested.
SEM
130
October 1-5
Abstracts
creation emerge, there is increasing evidence of specific ways in which the Internet
can act to reduce government control over the Chinese population.
Ward-Steinman, David San Diego State University
Brancusi's Brass Beds (Quintet No. 2)
Bearing in mind Attali’s idea of music as prophecy, what kind of messages about
the future of modern China might we see emerge in places such as the main
dancefloor at Club Rojamin in Shanghai, where on any given weekend more than
a thousand clubbers might typically be found dancing to a mix of electronic beats
from all over the world?
Brancusi's Brass Beds was commissioned by the Bowling Green Brass Quintet of
Bowling Green State University, Ohio, and was composed over a two-month
period in 1977. In 1980 it won First Prize in the Kansas Brass Quintet's national
composition contest, and was subsequently recorded by the I-Five Brass Quintet
for Crystal Records. The title was taken from a furniture store sign in Hollywood,
the juxtaposition of Brancusi (evoking the sculptor) with "brass beds" being too
tempting to resist.
Wallach, Jeremy
SEM
Relieving Stress, Resisting Desire: Gendered Exchange at Jakartan Dangdut
Performances
CMS
The opening Monologues find the players widely separated onstage, playing
independently except for the trumpets, which are paired throughout.
Whether they are performing in a smoky, darkened nightclub, at a wedding
celebration in a cramped urban backyard, or before thousands of revelers at a large
outdoor festival, women performers of dangdut music interact in complex ways
with their largely male audiences. These interactions primarily revolve around the
practice of saweran, the presentation of monetary offerings to singers during the
course of their performance. In this paper I argue that saweran has value not only
as a conspicuous display of wealth but also as an index of personal restraint: the
male patron rewards the singer and the musicians for providing an opportunity to
publicly demonstrate the capacity to resist succumbing to dangdut’s sensual
temptations. I further contend that saweran at dangdut concerts is an example of
gendered role playing that illustrates the tensions in Indonesian working class life
between village-based conceptions of complementary female and male power on
the one hand, and urban culture’s tendency to commodify (and thus remove agency
from) female sexuality on the other.
Doubling Up brings the players physically closer as different pairings in octave
doublings are explored.
The paper concludes with a comparison between dangdut performances by
working class Jakartan women and the (often highly sexualized) choreographed
dance routines set to Western pop music performed by Jakartan middle class
female students--performances which are never accompanied by monetary
offerings from the audience. Such a comparison illuminates the central role of
class distinction and the perception of economic necessity in local evaluations of
performances by women in urban Indonesia.
The physical staging of Brancusi's Brass Beds mirrors its compositional structure,
and is an integral part of the performance. Musically and physically there is a
progression from maximum differentiation to tight clustering in the center; the
process is then reversed as the players complete the arch.
The middle movement, Clustering, is the keystone of the work and the first to be
composed. It is a long slow movement in which the harmonies are tightly
compressed into tone clusters.
Rondo-Vous? is an ABACA rondo in which the C-section is a complex polymetric fugue on all the themes of the quintet. The players must maintain their own
tempo and pulse, ignoring each other until the rendez-vous point for the final
reprise of the A-theme.
The Epilogue is a condensed retrograde variant of the opening Monologues. The
players are more widely dispersed this time, and the trumpets are offstage.
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October 1-5
Abstracts
Washburn, Christopher Columbia University
SEM
"Masquerading Machismo: La India and the Staging of Chusmeria on the
Salsa Scene"
Foucault. In The Order of Things: An Archaeology of the Human Sciences,
Foucault explored the epistemes—cultural complexes regulating the acquisition
and organization of knowledge—that have underlain the discourse of the various
periods of European history. Although Foucault was concerned with Europe, a
Foucauldian epistemological approach offers unique advantages in identifying and
distinguishing the contributions of Nahua musical style to the music of early
colonial Mexico.
The fluidity of identity construction is interrogated through the performances of
salsa star La India's racialized and gendered body. This paper focuses on India's
ambiguous manipulation of her stage(d) selves, caught in the negotiations between
the affect of machismo and the excess of chusmería (Muñoz 1999), offering a
critical rereading of certain controversial events in the singer's career. These
incidents foreground the insidious imperative incumbent on the Latina female body
to perform within a set of overly determined stereotypes. Here, La India is
reconsidered for her radical abruption within a male-dominated music industry.
A Nahua epistemological system can be detected in a propensity towards what
James Lockhart has called cellular or modular organization—a distinctive way of
understanding and organizing various modes of discourse. This cellular/modular
episteme can be demonstrated in cosmology, cosmogony, political organization,
visual arts, and the discursive complex formed by literature, music, and dance.
Her presence on the salsa scene transcends preoccupation with simplistic binaries
that fail to articulate the multiple modes of gendered subjectivity. The female
viewpoint, unusual in the genre of salsa, certainly produces a displacement of the
agency inherent in the gaze from man to woman, but at the same time it is brought
to function as a kind of parodic overdubbing of an otherwise exclusively
monologic mode of enunciation. The effect of this doubled perspective is to
institute a boundary-crossing dialogue between subversive cultural theatre and
hegemonic discourse, which breaks down the pretense and fixed allotment of
precoded social identities. Moreover, India’s ambiguous material embodiment of
Latino/a sexual politics on stage offers us a reprieve from the now stale
essentialism versus constructivism debates that have long surrounded feminist
stories of self-formation.
Application of an epistemological approach to cellular/modular organization in
Nahua culture allows the identification of some distinctive stylistic features of early
colonial Mexican polyphony as evidence of native influence.
Weast, Wade State University of New York at Fredonia
CMS
Successfully Mentoring Faculty in Music: a Road Map from Search to
Retirement
Mentoring systems for junior faculty members are in place at various levels in our
higher educational system. Yet an alarming number of new faculty fail in one or
more of the critical areas of scholarship, teaching, and service in their early careers.
A successful search does not automatically yield a successful colleague, as criteria
for searches are different from criteria for promotion and tenure. New faculty face
a daunting array of intellectual, cultural, and professional challenges, and while
others have described successful mentoring strategies to address problems related
to general academic issues, this paper focuses on addressing problems specific to
new music faculty. A constructivist approach to establishing a comprehensive
mentoring system is described - from design to implementation and assessment for an entire faculty. This mentoring model is shown to exist as a continuum,
where a recurring cycle of assistance and support is established and maintained
between all members of the academic community. A successful faculty mentoring
system is prepared to address each stage of an academic's career, from the search
process to retirement. Implementing this system must also be adopted and
supported by both the faculty and administration, and a clear understanding of how
Watkins, Timothy
Rhodes College
SEM
The [Mexican] Order of Things: A Foucauldian Approach to Music in
Colonial Mexico
Although the encounter between European and Nahua (Aztec) cultures had
profound musical consequences, composed polyphonic music from early colonial
Mexico has often been viewed as simply an extension of Iberian musical culture.
Partly because there is so little specific information available regarding Nahua
music of the period, scholars have been unwilling to attempt identification of
possible Nahua contributions to this music.Given the paucity of information
regarding specifics of Nahua musical style in the sixteenth century, other sources
of evidence must be sought. One heretofore ignored possibility for the
development of such evidence lies in a methodology developed by Michel
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October 1-5
Abstracts
to assess it must be established. Addressing the well-being of faculty is a necessary
requirement for a School of Music to realize its mission.
which is able, even in the fastest - inhuman - (i.e., birdlike) passages to produce
sculpted phrases and articulations perhaps not possible by live interpreters.
Webster, Peter R.
20 Years of MIDI – Part I
Weller, Ellen
Andean Music and Tourism in San Diego: A Tale of Two Tinkus
ATMI
This two-part series spotlights MIDI and its 20 year history. In Part 1, we chronicle
the history of MIDI to the present day by featuring an historical overview of MIDI
and its applications to music teaching. It will be noted that MIDI’s first impact on
music teaching was in its role as a “sound producer.” Key MIDI initiatives will be
reviewed: General MIDI, Standard MIDI Files, General MIDI 2, and others. Part
II will focus on MIDI’s importance as a “controller” of sonic events which can be
viewed both physically (through external MIDI controllers) and virtually (through
virtual routing of MIDI events within the software environment). We will
demonstrate several new ways that MIDI is being used in software today, featuring
innovative approaches that blend digital audio with MIDI data.
Welbourne, Todd
Messiaen's Birds: Modeling from the Source Material
San Diego has become increasingly dependent on tourism to maintain its economic
vitality. Much of its allure stems from its proximity to Mexico, and promoters
heavily market the city’s glorious Spanish/Mexican history, keeping connections
to Mexican culture safely in the past. Musicians have eagerly stepped forward to
play their part in entertaining the more than ten million annual overnight visitors.
While the symbolic signature of Mexican musical culture in San Diego is still the
Mariachi ensemble, other Mexican and Latin American genres are becoming
increasingly common. A band called “Tinku” performs what it calls “Music of the
Andes” to appreciative crowds in Historic Old Town and the San Diego Wild
Animal Park. Their eclectic repertoire includes traditional music of Bolivia, Peru,
Argentina, Venezuela and Cuba, as well as popular tunes from Greece and the
United States, played on instruments including Andean sampoñas and Cuban
timbales. Complicating their cultural identity is the fact that Tinku’s musicians are
Mexican, and only the leader has ever been to South America. It would be easy to
be critical of their commercialized performance, invoking the condemning term
“fakelore,” being concerned by the apparent lack of authenticity, and perhaps
pointing out that the performers are not “culture bearers.” However, from the
paradigm of cultural tourism and its stakeholders, Tinku is highly successful, and
delivers several unspoken political messages about identity, exploitation and the
nature of travel and authentic experience.
CMS
The culmination of Olivier Messiaen's fascination with bird song comes in the
monumental 7-volume Catalogue d'Oiseaux for piano solo (1956-58), his largest
piano work, and one of the largest works in the entire piano repertoire. Each of the
pieces is a musical description of a specific location in France, the birds found in
that region, even the time of day. Messiaen says, "I tried to copy exactly the song
of a bird typical of a region...I am personally very proud of the accuracy of my
work" . He invites performers of this music to "take a few walks in the forest, in
the springtime, especially early in the morning, to familiarize (oneself) with the
models." For those living in France this may be possible, but for the rest of us
access to these "models" has been limited. In preparing for a recent performance
of volume one I located recordings (as well as photos) of the European birds
portrayed and was able to match specific passages with specific calls and allowed
this information to influence the interpretation of relevant passages. By comparing
the different available recorded performances of the passages with the actual
recorded bird songs one can best judge the character of the interpretations and how
these relate to notational problems inherent in representational music. In addition
I have recorded "idealized" versions of the passages using a Yamaha Disklavier
SEM
Wendland, Kristen
Emory University
CMS
CMS Advocacy Committee Panel: Advocating Music Theory, Musicology,
and Ethnomusicology
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October 1-5
Abstracts
Wendland, Kristin
Emory University
SEM
The Argentine Tango and the Pedagogy of Music Theory and Culture
Country & Western into St. Lucian society. Called ‘Mizik Manmay Lakai’
(‘Home-Children Music’) or ‘Wèstun’, the music is a modern creole taste that has
spread island-wide beyond its previously typical rural / elder-generation
strongholds. Western has been part of the St. Lucian soundscape since early
periods of the music’s commercial dissemination in North America. Particularly
popular still, to the point of standardization, is a repertoire from the classic honkytonk era, curated for its suitability for St. Lucia’s unique creolized dance style or
for the storytelling in the songs, oftentimes both.
Most tango publications to date focus on its historical, sociological, and cultural
aspects. In this paper I propose an interdisciplinary and cross-cultural approach to
music theory pedagogy that draws on the relationship between gesture and sound
to illuminate both the music and the context of its culture, using tango as a case
study.
Audience participation is critical to this hands-on session. By translating the
music’s essence into dance movement, sound, emotions, theoretical knowledge,
and cultural experience become one. Participants will be able to literally feel this
union for themselves when they follow my dance demonstrations.
I situate the growth of Country & Western music in St. Lucia in the context of
ongoing struggles of decolonization and post-colonial identity formation, and
analyze the phenomenon in terms of new dimensions of creolization. The
universality of Western is being utilized to bring elements of rural non-commercial
Afro-St. Lucian storytelling dances out of their marginal existence vis-à-vis other
more dominating Caribbean popular music forms. St. Lucian Western dancing is
getting to be something St. Lucians are known for, just as they are for their
creolized versions of European-originated country and court dances of the Kwadril
(quadrille) complex. Western dance competitions and festivals abound as
highlights of the already widespread Western dance scene. Musical creolization of
Western lags the creolizing of the dancing, but has begun, and the first
underground hits utilized storytelling (listwa) in French Creole. I analyze what is
at stake in the process of this new creolization.
First, I will demonstrate how metric and rhythmic patterns in the tango music
translate into basic steps and figures of the social dance and signify traits of the
Argentine milonguero (as well-seasoned tango dancers are called). These basic
steps include the quarter note pulse (marcato, the solid beat to which tango is
walked), eighth-note subdivision (corrida, the quicker “running” step), and
sixteenth-note syncopations (síncopa, a more playful subdivision of the beat).
Next I will demonstrate how the relationship between tango music and dance is
evident in the phrase structure. The academic “8-count basic” pattern is ideal for
this, because it physically describes the normal 4-bar groups and 8-bar phrases in
the music.
Wheatley, Susan
Indiana University of Pennsylvania
The Legacy of Gunild Keetman
Although the milongueros I have danced with in Buenos Aires do not adhere to an
academic structure, they do translate the essence of phrases into gestures within
their stylized improvisation. Mastery of the basic social dance vocabulary is
essential to both leader and follower in order to communicate their movements
through the music. I will explore how tango is indeed a “conversation without
words” and so portrays an important trait of the Argentine social fabric.
Gunild Keetman (1904-1990) composed over 50 dance pieces in the early
twentieth century. Her career began in 1924 when she read about Carl Orff,
Dorothea Günther, and the much-advertised Güntherschule for music and dance
located in Munich, Germany. Within two years she and 18-year-old dancer Maja
Lex enrolled in the school. Together, they would become composer and
choreographer, forming the Tanzgruppe Günther, a unique dance company that
would win 1st place in the 3rd-German-Dance-Congress with their award-winning
Barbarischen Suite.
Wever, Jerry University of Iowa
SEM
Country and Creole: The Integration and Creolization of US Country &
Western into St.Lucian Society
From 1928-43, Keetman composed dozens of dance suites, created for dancers
who accompanied themselves in a percussion ensemble made up of instruments
fashioned in the likeness of African and Indonesian xylophones and including
This paper ethnographically examines the integration and creolization of U.S.
CMS
134
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Abstracts
Wickstrom, Fred
University of Miami
CMS
One Teacher's Approach to the Music of Miami's Multicultural Musical
Heritage
recorders. Several performances were staged throughout Europe until 1944 when
the school was closed in as a result a bombing raid during WWII. Keetman?s
persona as a composer is presently overshadowed by her later work as music
educator. After the war, she and Carl Orff were responsible for developing the
Orff-Schulwerk, a music education method for children.
However, when one finally is acquainted with Gunild Keetman and her dance
suites, the legacy of her talents as a composer comes into sharp focus. Her
compositions contribute greatly to the repertoire available for percussion
ensembles as well as material suitable for choreography as period pieces from the
modern dance era of the early 1900s. In fact, Keetman?s dance compositions are
so unique that they stand as the only examples of modern dance repertoire set
exclusively for percussion ensemble.
Wheeler, Jesse University of California, Los Angeles
The Authoring of Brazil in the Ascendancy of Samba
One focus of the University of Miami's course "Miami's Multicultural Musical
Heritage" and this presentation is a hands on approach that involves non-music
majors in the making of music. As a percussionist, the presenter's main strength is
rhythm. This Clinic, Demonstration, Workshop will involve the audience in the
making of music, primarily using percussion skills, that they hopefully can pass on.
Specific areas that will be explored include: the pulse of music and it's
subdivisions; the interaction of Music and Dance, Call and response, Textures
(with emphasis on polyrhythms; Clave, the clue, where it came from, how to find
it, how to use it; easy Tumbao; unique scales; and the integrated Latin rhythm
section by the numbers.
SEM
Wilcken, Lois La Troupe Makandal
SEM
Artists, Scholars, and the Politics of Representation in Haitian Diaspora
Performance
Samba has played a central role in the writing of the Brazilian nation. Both a
cultural product and a producer of culture, samba provided a central symbol around
which a nation searching for an identity could coalesce. As a music of African,
European and indigenous roots, it was experienced as the ideal musical component
of a modernist movement concerned with finding value in Brazil's creole
"authenticity." Theories of cultural anthropophagy and extreme miscegenation
located the Brazilian essence in its social reproduction of the biological diversity
of its tropical environment. Merely a local musical style of Rio de Janeiro in 1917,
samba made the transition to national symbol within forty years. This paper
examines the role samba played in the unification of the nation, and how it
enunciated a vision of brasilidade, or "Brazilianness," founded on a mestiço
modernity. With samba's ascendancy this version of brasilidade became
"authentic,” while other identities and musics were outdetermined. It is clear that
though still a national symbol today, samba is no longer heard as a voice of current
identities. This paper proposes that a Spinozian "fear of the multitudes" prompted
the state to support and codify samba, and asks: At what cost to the music its
hegemony? It argues that a shift in authorship opened a cleavage between music
and the people, both precipitating musical innovation and heralding the repression
of the future military dictatorship.
Ethnomusicologists have reflected increasingly on the cultural representations they
produce in print, but to a somewhat lesser degree on those representations they
produce by way of live and mediated public performances. Our positions as
producers and presenters afford a privileged, albeit less than detached, perspective
for the study of backstage performance politics. This essay will address how the
stunning and dynamic performances of Caribbean music and dance companies
often conceal aesthetic, ideological, and philosophical differences among those
who make performances happen including artists, directors, producers, and
especially scholars. As a New York City-based Haitian company worked during
the Fall-Winter 2002-03 season on a three-part performance series, the conflicts
that arose among participants illuminated how differently artists, producers, and
scholars may perceive what is at stake in cultural performances for a general
audience. The experience generated the questions that drive this study: How and
why does artistic conflict brew among people claiming the same cultural roots?
Can and should the scholar/producer stay above the fray? Were the areas of
contention unique to this case a function of the group’s Afro-Caribbean identity?
Because I was the producer of this performance series, I gathered the
documentation necessary to tell its behind-the-scenes narrative including post-
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Abstracts
Williams, Amy Northwestern University
Conlon Nancarrow and his Influences
performance interviews with the artists, the volunteers who worked on the series,
and several members of the public. I also include a reflexive mini-study of my
own investment in the series.
CMS
This lecture-demonstration focuses on recent transcriptions by the BugalloWilliams Piano Duo of the remarkable Studies for Player Piano by AmericanMexican composer, Conlon Nancarrow (1912-1997). Nancarrow's voluntary
isolation from the larger musical world, coinciding with his emigration to Mexico
in 1940, encouraged his own rigorous exploration, through a massive personal
record collection, of world, classical and jazz music. The presentation centers on
five Studies (#4, #6, #9, #14 and #19), selected for the diversity of compositional
techniques utilized and the range of influences converging in them: temporal
canons (Josquin and Ockeghem), isorhythmic ostinatos (Stravinsky and African
music), polyrhythmic superimposition (Cowell, Ives and Indian music), complex
contrapuntal textures (Bach and jazz), traditional forms (blues, arch), pitch rows
(Bartok and Webern), and so on. The ability to isolate individual voices and speeds
(not possible with the recordings of the player piano) reveals the simplicity of
many of Nancarrow's ideas as well as the complexity of his realizations. Intriguing
performance and interpretational issues are raised by the transcriptions, which are
illustrated live with examples from these five exemplary Studies. The lecturedemonstration combines aspects of analysis, performance and musicology to
present Nancarrow as an unlikely American pluralist, whose varied influences
coalesce into an impressive and highly original body of work.
Williams, Alan Brown University
SEM
That's My Life Up There: Identity, Genre and the "Real" in a CambodianAmerican Hip Hop Group
Popular music scholarship has often situated hip hop music within a nexus of
political subversion and subaltern identity formation. Seasia, a trio of CambodianAmerican musicians from Lowell, Massachusetts reflects, extends and challenges
this position. Tricia Rose posits hip hop as African-American identity expression,
only slightly modified by class and geography. As part of an Asian diasporic
community, the members of Seasia embrace hip hop less for its representation of
the American white/black racial dichotomy, than for the functions of most postrock and roll popular music – youth rebellion, vague challenges to authority, and
the conscious construction of individual identity. Sidestepping the ongoing
discourse of the "real," Seasia equally embraces pop and gangsta rap, white and
black, N'Sync and Eminem as well as Tupac and Biggie Smalls.
When George Lipsitz writes about diasporic populations and "new social
movements," he positions these cultural actors at a distance from state power. As
participants in a Cambodian Masters cultural exchange program, Seasia challenges
this argument by redefining "state power," using their association with Amnesty
International to enrich their own cultural capital. Seasia has twice traveled to
Cambodia where they have collaborated with surviving traditional Khmer
musicians, expanding their conception of hip hop as a musical genre, and
transforming a locally centered formulation of "Cambodian-American" to one that
reflects Arjun Appadurai's conception of a global ethnoscape, incorporating both
Cambodia and America. For Seasia, "real" experience and identity is located
somewhere in Phnom Penh, the Detroit of 8 Mile, and the streets of Lowell.
Williams, David A.
University of South Florida
Placing a Degree Program On-Line
CMS
The face of education is changing. Present trends point to a new paradigm in
teaching/learning situations, complete with a shift from what has been termed
"broadcast learning" to "interactive learning." Entire universities are "on-line". It
is possible in some states to attend a full time distance learning "e-high school".
There are even on-line classes for elementary aged students. Music education is
just beginning to experiment with learning at a distance and this session will
document the experiences at two universities as they change complete degree
programs to distance learning formats.
The Schools of Music at Duquesne University in Pittsburgh, and the University of
South Florida in Tampa are both in the process of placing their masters programs
in music education in "at a distance" teaching/learning formats. This session will
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Abstracts
overview the work that is on-going at these two institutions. The main objective of
this presentation is to document the experiences of creating at-a-distance degree
programs in music, and to share this information with the profession.
other conservatories, the Leipzig Conservatory was to integrate theory and practice
offering a balanced curriculum designed to educate well-rounded musicians.
Mendelssohn also sought to build a faculty of international artists and teachers that
would attract an international student body. Mendelssohn was successful in
convincing Friedrich August II to dedicate funds from the estate of a Leipzig
lawyer who had died in 1839 for the establishment of the conservatory, and the
first students matriculated in 1843. Unfortunately Mendelssohn’s short tenure as
the institution’s director ended with his premature death in 1847. The conservatory
became a model institution as its graduates went on to found important
conservatories, including several in the United States, based on Mendelssohn’s
vision and educational ideals. Mendelssohn’s vision remains relevant in the current
array of issues that shape reform in higher music education in an international
context.
This session will explore this work beginning with the inception of the concept,
through course development and implementation. Results of completed courses
will be examined, including the observed effects on student learning, and reactions
from students and faculty. The session will conclude with a look at future plans for
the continued development of course work and an overview of what has been
learned.
Williams, J. Kent
University of North Carolina-Greensboro
ATMI
A Multimedia Introduction to Octatonic Theory and Bartók’s Octatonic
Practice
Williams, Sean Evergreen College
It's Not Easy Being Greem: RE? Learning Irish Music in Japan
This session will demonstrate a suite of multimedia documents designed
specifically for introducing music majors to the “octatonic” collection of pitch
classes and to four pieces based on that collection. During the initial, theoretical,
stage the demonstration will proceed from more familiar to less familiar music
theoretical concepts. The presenter will show Flash movies to illustrate various
ways of conceiving and representing octatonic collections as well as basic
properties of such collections. The demonstration will continue with analyses of
four pieces from volume IV of Béla Bartók’s Mikrokosmos. These analyses
enable the audience to see and hear how various properties of an octatonic
collection are exploited in specific pieces.
Williams, Kenneth T.
The Ohio State University
Mendelssohn's Vision for Music Education
During the early years of Japan's Meiji Restoration (1868-1912), the political chaos
engendered by the abolishment of the shogunate occurred simultaneously with the
abrupt opening of the country to foreign influences and trade, including foreign
music. In addition to inviting numerous foreign "experts" to serve as teachers and
cultural ambassadors, the Japanese also imported sheet music, musical instruments,
and entire genres. Among those genres were the strophic song forms of the British
Isles and the United States. Using newly-composed Japanese lyrics, Irish melodies
became fixtures of Japanese classrooms. In Japan today, some people fondly
remember and can easily recall the lyrics and melodies of these songs.
CMS
As part of the British and American folk revival in the 1960s and 70s, "new
traditional" groups began to tour Japan. In the past five years, numerous Irish and
Irish-American groups have toured Japan with increasing frequency. Kyoto alone
has at least three Irish-themed pubs with weekly sessions, and other cities in the
Kansai area regularly feature Irish instrumental music at pubs. The initially
decontextualized performance of Irish vocal music in Japanese schools has given
way to a recontextualized -- and largely instrumental -- type of performance in
newly "Irish" settings. This paper includes an examination of the role of Irish
instrumental and vocal music in contemporary Japan, its appeal to young Japanese
musicians and listeners, and the ways in which Meiji-era nostalgia feeds into the
current upswing in Irish music's popularity.
Felix Mendelssohn, known primarily for his contributions as a composer,
conductor and pianist, made significant contributions to music education in the
middle of the nineteenth century in founding and directing one of Europe’s most
important conservatories, the Leipzig Conservatory. The documents relating to
Mendelssohn’s efforts to raise funds for the new institution and to establish its
faculty and its curriculum reveal a clear and practical vision for music education.
In founding the conservatory, Mendelssohn envisioned an institution that was
fundamentally different from peer institutions in other European cities. Unlike
SEM
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Abstracts
Wilson, Kathleen L.
Levine School of Music
CMS
Music by Cuban Composers: Works by Orlando Garcia and Aurelio de la
Vega
Wong, Deborah University of California, Riverside
Pilgrimage and Nostalgia: Taiko at Manzanar
You would think that Asian Americans would be the last to draw on the power of
nostalgic practices: the anger of the Asian American movement would seem to
preclude any wistful look back. Asian American involvement with taiko (Japanese
drumming) materialized at exactly the same historical moment that the ‘Asian
American’ was assertively constituted as not Other. Yet taiko is a transnational
phenomenon with a curious histoiy in Japan as a ‘nostalgia product’ (nosutarujii
shôhin) that has a particular affective weight for the ‘new Japanese’ (shin
Nihonjin), or the third postwar generation.
A lecture-recital by soprano and musicologist, Kathleen L. Wilson, noted for
research in 20th Century Latin American Art song, with a well-known Latin
American composer/pianist, Max Lifchitz, will focus on the works of two
important Cuban composers living in the U.S: Orlando Garcia and Aurelio de la
Vega. Similarities between the two composers include having been educated and
having taught in the U.S., writing extensively for orchestral, chamber, solo, and
electronic media, and using extended techniques in their compositional styles.
Included in the program will be a short piano work titled Recuerdos de otra musica
para piano and a newly-commissioned work for voice and piano titled, Voces en
la distancia, by composer, professor at Florida International University in Miami
and Fulbright Scholar, Orlando Garcia. Also featured will be various songs for
piano and voice, and piano work Homenagem, by internationally-known Cuban
composer Aurelio de la Vega. Both composers have been invited to attend the
lecture-recital in Miami.
I will address taiko in the annual ‘pilgrimage’ to Manzanar, one of the Japanese
American internment camps in Southern California. Whereas taiko is a nostalgia
product in Japan, Japanese American taiko is doubly constructed as a practice
imbued with a longing for roots, heritage, and authentic culture and,
simultaneously, as a kind of politicized Asian American cultural work focused on
reparations and redress. These apparently contradictory purposes came head to
head in the pensive project of playing taiko at Manzanar. I will focus on the taiko
group to which I belong and will consider the ways that our participation in the
2003 pilgrimage drew on the nostalgic, originary power of taiko even as we
contributed to the commemorative gestures of memorializing injustice. This
presentation is thus about reminiscence, memory, and
Wolek, Nathan Northwestern University
ATMI
Music technology in higher education: different models, common issues and
future trends
Woodard, Kathryn
Hunter College
CMS
Music in the Ottoman Imperial Harem: The Life of Leyla Hanimefendi
With programs in music technology now located throughout the country, it seems
timely to assess the different approaches to the subject found at these programs.
We will present findings on the differences and similarities between some of the
leading programs in this field. These findings are the result of interviews conducted
by the authors with professors at each institution. In a broader context, we will
explore arts technology as the potential hub for a more unified student creative
practice and technology-based pedagogy can foster what some have called a “postdisciplinary” approach to the arts. Our paper will excavate the fundamental
principles of post-disciplinary hybridity in the arts and offer an early glimpse at the
modelMs successes and at the challenges it will face in the future.
SEM
Leyla Hanimefendi (1852-1936) was an influential figure in Ottoman music circles
during the nineteenth century as a composer and collector/transcriber of historic
Ottoman music. Raised and educated in the Imperial Harem at Cýraðan Palace as
a lady-in-waiting to daughters of Sultan Abdülmecid, she witnessed the growing
presence of Western music in the Ottoman court in Constantinople and was trained
in both Turkish art music and Western music. Leyla Hanimefendi's life and musical
training shed light on a neglected part of nineteenth-century music history. Her
own memoirs serve as a primary source and provide a rare glimpse at life in the
Imperial Harem and at the cosmopolitan nature of the Ottoman court that looked
both East and West for its cultural influences during the nineteenth century. The
presenter will discuss Leyla Hanimefendi's importance within the context of
Turkish music history and will provide examples of her compositions.
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Abstracts
Wooley, Amy The College of William and Mary
SEM
"Below the Radar: Gate-Keeping and the Maintenance of Authenticity in the
Old-Time Revival Community"
This paper examines the impact of sa-i-ku on Korean-Angeleno hiphoppers in the
decade since the riots. I question how young Korean Angelenos, who are mostly
first- and 1.5- generation Americans, have negotiated the complex racial terrain of
post-1992 Los Angeles in their construction of a viable Korean-American identity;
how black music, hiphop in particular, inflects their understanding of and
identification with African American culture even in light of the conflicts that were
characterized reductively by mainstream media as black versus Korean; and how
their cultural practices—specifically, the production and consumption of
music—have changed as a result of the riots. Using the watershed event of the
1992 uprising as a historical framework, this paper considers how music is
implicated in the dynamic process of constructing race and identity in
contemporary America.
The current old-time music revival has its roots in the 1 970s counterculture
movement, and before that, the New Lost City Ramblers, founded in 1959 as a
response to the popular folk revival. In this paper, I will look at the old-time music
revival as a continual act of cultural rebellion. I will be discussing the ways in
which revival communities are uniquely self-aware in their quest for not only the
uncommodified (or precommodified) and therefore authentic, but also the
uncommodifiable. The current revival began in the 1 990s, populated by a growing
number of folk, punk and metal expatriates, who have reinvigorated old-time by
bringing a new rawness and distinct distaste for the romanticization, which
characterizes the larger commercial revival. Drawing upon my fieldwork in the
old-time community, I will look at the different periods of the old-time revival,
motivating factors, and the use of recordings as sacred text in the construction and
maintenance of authenticity. Finally, I will examine gate keeping mechanisms
employed, ranging from the “folk police” to (re)inclusion of “non politicallycorrect” materials to specific performance and recording practices designed to
guard against mainstream commodification and resultant corruption, and to
maintain outsider status. Audio and video examples will be provided.
Younker, Betty Anne
The University of Michigan
CMS
Content versus Pedagogy: Realizing, Applying, and Transferring Content
Across Silos in Present and Future Contexts
Within the core curriculum, all music students acquire historical and theoretical,
and at some universities, pedagogical, and philosophical knowledge. This
knowledge is disseminated or shared within classroom settings and taught by
individuals who construct syllabi at the individual level. Thus possibilities of
dialogue between students and professors across courses are often minimal at best.
Yang, Mina
San Francisco Conservatory of Music
SEM
After sa-i-ku: Korean Angelenos and Black Music since the Rodney King
Uprising
When discussions do occur among faculty, the focus tends to be on content rather
than aspects of pedagogy including the realization, application, and transfer of
content across disciplines and in new contexts. Is the latter important and if so,
why? Additionally how might collaborative efforts in formal and informal settings
enhance realization application, and transfer?
The 1992 acquittal of the police officers charged with the brutal beating of Rodney
King sparked a wave of interethnic violence throughout Los Angeles. In African
American communities, anger against the police and the judicial system was
transferred and redirected against local, predominantly Korean storeowners,
inciting mass looting and arson of neighborhood businesses.
John-Steiner (2000) refers to intellectual and artistic collaboration, as
“interdependence of thinkers in the co-construction of knowledge” (p. 3). Her
premise is that learning and thinking is a social process, hence much influenced by
social constructivism, (e.g., Vygotsky, 1978). While studies have focused on the
role of collaboration in music teaching and learning (e.g., Hamilton, Murphy, and
Thornton, 2002), the number is small.
The first day of rioting, April 29, christened in Korean as sa-i-ku, marked a turning
point in the lives of Korean immigrants. Abandoned by the police and city officials
as their livelihoods went up in smoke and suddenly thrust into the national
spotlight, Korean Americans were forced to confront painful realities concerning
their place in American society and their relationships with other racial and ethnic
groups.
The purpose of this paper is two-fold: (1) to examine current learning theories as
found in the psychology literature with a focus on application and transfer, and (2)
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Abstracts
to offer alternative approaches based on collaborative models for the realization,
application, and transfer of content as found in core curricular.
complex system of criteria is at work in music of the literati (the repertoire of seven
stringed zither qin) determined by the notation, the repertoire, the great masters
who established a pai and the region in which a particular pai is widespread. Music
of the plucked lute pipa operates within a system similar to that of the qin.
Youssefzadeh, Ameneh Centre National de la Recherche Scientifique SEM
Music and Power: The Struggle Between Religious Tendencies in Iran
Except for the qin, pipa and zheng, a solo repertoire for other Chinese instruments
like the two-stringed bowed lute erhu, the mouth organ sheng and dizi was
developed in the early to mid 20th century. With the establishment of music
conservatories in China in the 1950s, the concept of liupai has become better
known among performers. To most instrumentalists, it is viewed as crucial to the
development of performance traditions. In this paper, I will examine the cultural
and historical contexts of liupai construction in Chinese solo instrumental traditions
of the last century. Issues of social maintenance and symbolism will also be
addressed.
More than two decades after the establishment of the Islamic Republic of Iran the
struggle between "reformers" and "conservatives," today's principal religious
factions, continues to affect the social, political, economical and cultural life of the
country. Music, as well as the institutions in charge of its control and supervision,
are naturally involved in this conflict. Thus, even the Ministry of Culture & Islamic
Guidance (Vezârat-e farhang va ershâd-e eslâmi) has to negotiate with other
political authorities that sometimes can disregard its decisions and/or
authorizations.
Yu, Youngmin University of California, Los Angeles
SEM
Cultural Crossroads in Korean Catholicism: Youndo, the Chant for the Dead
The status of music itself is still the object of controversy and continues to remain
ambiguous. For instance, although the official policy states that women are not
allowed to sing in front of a male audience unless as members of a choir, Ayatollah
Khâmeneï (the Guide of the Revolution) has declared that: "as long as the voice of
women is not arousing (tahrik âmiz), no restrictions are applied. The very fact that
the singing is done by a woman does not make it automatically illicit." This
statement, which represents a radical change, has yet to be put into practice.
Korean church music clearly demonstrates westernization. Masses and worship
services in every church are filled with Western hymns, regardless of
denomination. However, the Korean Catholic Church still has an old tradition of
indigenously Korean music, Youndo, meaning a prayer for the dead. Korean
Catholics chant this prayer during the mourning period before a funeral Mass, on
the way to the burial, and at the burial. Youndo is an excellent example of the
reconciliation of Korean tradition and Catholic belief: it sets the text of Catholic
belief to a traditional Korean tune, and embodies the combined Catholic and
Korean concepts of death. It gives performative expression to what Geertz terms
"a multiplicity of complex conceptual structures."
This paper aims to show to what degree music is regulated by the authorities, as
well as how its regulation depends on whether those who hold the reins of power
in the country happen to be "reformers" or "conservatives."
Yu, Siu Wah
Chinese University of Hong Kong
Constructing Liupai (Schools) of Chinese Solo Instrumental Music
SEM
Based on recent fieldwork in Korea and Los Angeles, this paper charts a critical
juncture in the transmission of Youndo. For the first time, a chant-book has been
published that employs Western notation, and there is pressure from the Seoul
archdiocese for the traditional Korean chanting style to be changed to a
westernized singing style. This process appears to represent westernization of the
chant. Older people, the majority in chanting groups, dislike the change, but
younger people welcome the new chant. This may provide an opportunity to spread
the tradition to a younger generation, so that transmission may continue more
efficiently and permanently.
On a general level, all Chinese instrumental music can be grouped under two main
pai (an abbreviation of liupai, literally “flowing and distributing” meaning
“schools”): the northern and the southern pai. When examining the solo
instrumental traditions, the criteria for distinguishing one pai from another vary
from instrument to instrument. For example, various pai in bridged zither zheng
music are classified by regions. In the transverse bamboo flute dizi music, it is
more common to group pai under names of renowned performers. A more
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Abstracts
Long a cultural crossroads in the reconciliation of Korean tradition with Catholic
belief, Youndo itself may now be at a cultural crossroads of a different sort: that
between different generations of believers.
Zaimont, Judith Lang University of Minnesota
Panel Abstracts
Alviso, J. Ric
California State University, Northridge
Issues in the Development of Multicultural Education Materials
CMS
In this poster session, jointly sponsored by the Applied Ethnomusicology and
Education Sections, world music and dance education materials will be displayed
which reflect a variety of approaches in the relationship between research and
teaching. Issues that will be focused on and discussed include: research methods,
authenticity, theoretical frameworks, collaboration, pedagogical techniques and
strategies, and community involvement. Each presenter will display materials and
discuss how the techniques and methods public and applied ethnomusicology came
into play, in addition to techniques and strategies for replication and
implementation by multicultural music educators.
Seminar, Announcement , Open Q & A, and Recital to provide the underlying
rationales for and presentation of two New CMS Initiatives. Both Initiatives have
been formulated for the purpose of strengthening and widening idiomatic
andpersuasive performance of newer music.
The Initiatives are:
[1] Formation of The CMS Players. A roster of CMS Performer members - all
dedicated proponents of new music - who agree to perform works by CMS
composers at the national conference within a given 3-year period.
Beeman, William
Brown University
Music in Contemporary Iran: Official Policies and Strategies of Resistance
[2] Creation of the "My Idiom" Composers Registry. Web-based 200-word guides
to the essentials of each composer's style, specifically the performance lineage that
best suits this music. Information also on genres and scope of each composer's
catalogue, with links to other sites containing sound samples and score excerpts
available on the web. searchable.
Since the establishment of the Islamic Republic of Iran in 1979, its government has
placed severe restrictions on the production and consumption of music in Iran.
These include restrictions on women’s participation in public musical performance,
and restrictions on public performance and use of many styles of recreational and
popular musics.
Seminar Participants - Composers
Paul A. Siskind, The Crane school of music, SUNY-Potsdam
David Heuser, The University Of Texas at San Antonio
Judith Lang Zaimont, CMS Board Member in Composition, University of
Minnesota, Scholar of the college of Liberal Arts 2002-2005
In recent years these official policies have been strongly opposed and actively
resisted by many Iranians, especially the youth. In response to an ever growing
public demand for change, president Khatami and his reformist government have
engaged in an internal power struggle to relax some of the restrictive official
policies.
Seminar Participants - Performers
Steven Stusek, The University of North Carolina at Greensboro
Timothy Hoekman, The Florida State University
Carla Connors, Tallahassee, Florida
John Salmon, CMS Board Member in Performance, University of North Carolina,
Greensboro
Panel Abstracts
This panel will explore the consequences of the music policies of Islamic
Republic of Iran on the contemporary music culture of Iran under the current
reformist political climate. Panelists will explore the government’s musical
policies and the Iranian public’s strategies of resistance. Individual papers will
discuss aspects of women’s musical participation in the public arena, the current
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Abstracts
status and meanings of popular music in contemporary Iran, and the US
Government’s use of young Iranian’s interest in popular music in its media
campaign in Iran.
The theatricality and enchantment of Holy Week among Catholics in Campanha,
the musico-spiritual warfare of a “Heavenly Army” church in Port-au-Prince, and
the multivalent deployment of Rastafari symbols at Protestant dancehall concerts
in Port of Spain all constitute poignant reminders of the fluid phenomenological
and discursive terrains that prevail at religio-cultural crossroads throughout Latin
America and the Caribbean. The presenters in Part I of this panel concern
themselves with these culturally charged spaces by considering the ways that music
contributes to communal religious experience and to the forging of new cultural
intersections in Brazil, Haiti, and Trinidad and Tobago.
Blum, Stephen City University of New York
Stylistic Portraits in Improvisation, Spontaneous Composition, and Variation
This panel aims to discuss performance styles that involve improvisation or
spontaneous composition, approached by analyzing the practices of one or two
performers. We hope to draw attention to a number of different ways to think about
the unique characteristics of individual musician’s styles in these musics as well
as broader considerations of studying flexible music in general. What sorts of
choices are made by musicians during performance (iterations of musical materials,
forms of interaction with audience and other performers, impact of different
venues), as well as outside of performance contexts (building repertoires,
pedagogical resources, cultural motivations)? Evan Rapport explores variation
techniques in the singing styles of Izro Malakov, a prominent Bukharian Jewish
singer of Queens, New York. Carl Clements compares the playing styles of two
prominent bansuri musicians, Hariprasad Chaurasia and Nityanand Haldipur, with
reference to ideas of lineage and gharana. Benjamin Lapidus discusses the
innovative vocal improvisations of the Puerto Rican salsa singer Carlos “Cano”
Estremera within the context of competitions. All of these papers pay particular
attention to parameters and boundaries of flexibility, genre-specific aesthetics and
categories, and defining elements of highly varied repertoires. However, given the
many differences between these styles, we also intend this panel to be a forum for
highlighting different analytical frameworks in studying flexible musics.
The presenters in Part II of this panel shift the focus from communities of faith to
believing bodies, investigating the inscription of sub-Saharan religious systems on
racialized bodies in Tunisia, the rhythm of the crossroads as a means of
approaching trance at Brekete shrines in West Africa, and the intersections between
ethnomusicology and neuroscience glimpsed in the experiences of both deep
listeners and trancers. Each of these papers focuses on the means through which
religious experience is inscribed upon individual bodies—means as varied as transSaharan religious practice, the relationship between divine horsemen and their
devotees, and physiology. Part II of this panel, thus, opens onto the global, yet
deeply personal, crossroads between music, belief, and culture.
Bosse, Joanna Bowdoin College
Embodied Self/Embodied Other: Ethnicity, Class, and Dance in the Americas
In keeping with the conference theme, Cultural Crossroads, this panel proposes
four papers all of which address the role of dance in constructing ideas of race,
class, the self, and other in cross-cultural contexts. All dance genres represented
on the panel—Salsa, Quadrille, and Lindy hop—have been the object of
appropriation, claimed by competing social groups as markers of social identity,
and as such have become sites for the contestation of meaning, authenticity, and
the politics of representation and ownership. Studying specific historical moments,
each of the authors address the various ways that dance, as a special type of
embodied expression of race, class, and ethnicity, becomes the medium by which
conceptions of the self and perceptions of others are constructed, disputed, and
ultimately transformed. This panel engages different semiotic processes of
performance in seeking to understand how dance movements and contexts provide
spaces to generate cultural affinities, challenge stereotypes, and in some cases
reproduce hegemonic structures. Furthermore, the panel addresses the mutually
Bohlman, Philip
Music in Religions Experience Part I: Cultural Cross Roads - Communitites
of Faith
The deeply religious metaphor of the crossroads—itself a creative response to
cultural rupture and violent dislocation—provides the unifying trope for this panel
proposal. It also highlights an absence in the suggested thematic content for the
conference, an absence that this panel’s proposed theme, “Music in Religious
Experience,” seeks to redress.
Panel Abstracts
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Abstracts
transformative relationship of music and dance, musician and dancer, suggesting
that the social effects of dance music must be understood in connection to the
bodily movement to which it is inextricably bound. With a rich variety of
historical and ethnographic case studies from the Americas, the contributions to
this panel provide a diversity of analytic perspectives, and a multiplicity of subject
positions that challenge conventional assumptions about the relationship of
scholars to their research.
Three of the papers look at notions of social knowledge. Cornelius looks at the
different ways in which instrumentalists and vocalists use language to tell a variety
of stories in which the content may be historical or contemporary, serious or comic.
lddrisu looks at the role of a special type of verbal specialist (the baanga) and
demonstrates how this singer’s extensive recitations on familial lineage strengthen
social fabric. Chernoff investigates the decisions the Dagbamba make in
prioriti/ing their social knowledge.
Cooley, Tim
Powerful Nostalgia: Recontextualizing the Past
Both lddrisu (who was born into the Dagbamba drummer’s clan) and Chernoff
address the issue of musical knowledge and training as well as notions regarding
the priorities that practitioners place on the transmission of information across
generations.
One quality of nostalgia is that the object of desire or longing can never be
obtained. Perhaps then the transient temporal quality of musicking makes it the
ideal locus for the expression of nostalgic urges and its often imaginative
recontextualization of the past. In this panel we offer for discussion very different
examples of the ways nostalgia intersects with music to provoke new meanings for
the past. First we consider the evocation of nostalgia in ethnographic fieldwork.
Then with interpretations of nostalgia in two case studies, we see how history is
actively argued in present-day music performance in sometimes startling ways.
Finally a critique of the manipulation of nostalgia by an iconic American musical
instrument manufacturer questions how cultural moments from the past are bought
and sold. Our collective objective is to identify nostalgia as a driving force in
cultural production and to seek new ways to account for the contradictions and
caprice of musical renderings of the past-in-the-present.
Both Locke and Chernoff investigate the nature of musical meaning. Locke
accomplishes this through the analysis of musical sound Chernoff examines the
gulf between Western and Dagbaniba thought.
Dujunco, Mercedes
New York University
Contested Terrains of Representation and Place in Local Popular Musics
Discussions about power involving the musics of developing societies and small
communities outside the American mainstream frequently place them in opposition
to the dominant, globalizing institutions of the West, particularly those of the U.S.
Cultural imperialism is a constant theme running through numerous accounts of the
Western appropriation and transformation of local or indigenous popular musics
into highly profitable international commodities, with only an occasional mention
of the active agency and strong resistance posed by the music practitioners.
Cornelius, Steven
Music and Meaning in Dagbon
This panel offers four papers on separate but inter—related topics regarding the
musical culture of the Dagbamba (Dagomba) people of northern Ghana. Each
paper addresses notions of musical meaning and content. Yet, each approaches
these issues from a different perspective.
In comparison, few studies look at the hegemonic practices of groups and low-level
political entities within local communities themselves and the strategies adopted
by the subdominants to counter, subvert or sidestep them. The four papers featured
in this panel present case studies of local popular musics from Colombia, China,
Jamaica, and the U.S. and depict their implication in local power plays as parties
jostle for control over knowledge, identity, legitimacy and, directly or indirectly,
market access. Each one illustrates a scene of tension and contestation over the
production of meaning and the representation of place, the ultimate outcome of
which can be unpredictable. Individually, they show how the local mirrors the
Locke and lddrisu both focus on the relation between music and dance. But, where
Locke investigates the manner in which rhythmic groove affects movement, lddrisu
studies the process by which singers use historical recitation as a means to inspire
dancers to perform at their best.
Panel Abstracts
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Abstracts
global and, taken together, lend credence to Jocelyn Guilbault’s remark (1993:34)
about global culture as a “contested terrain where there are only locals engaged in
battle over transnational markets.”
an ongoing project in the analysis of vocal timbre: that whatever language is used
to characterize a music genre or culture, whatever level of discourse is employed
to represent a micro or macro feature of performance, ultimately the descriptive
object can be found in the sound itself. In regard to music, Roland Barthes asks
“Are we reduced to the dilemma of either the predicable or the ineffable?” The
papers in this panel will attempt to demonstrate that what has been “condemned to
the adjective” or consigned to the ineffable can in fact be found in the details of
spectral analysis. The project from which these case studies are drawn is designed
to link broader cultural phenomena with specific acoustic features. Four papers
examine issues of meaning, transnationalism, and the popular music industry in
terms of the results of digital analysis of representative music. The purpose of the
panel is to demonstrate a method of analysis that attaches visible features of sound
to the disciplinary constructs we devise to understand musical sound that may be
only vaguely and intuitively perceived.
Emoff, Ron
A Memory for Semblance
On this panel we shall evoke unique methods of and reasons for performing
nostalgia. Varied poetics of performative expression reveal the degree to which
constructions of self in the present draw heavily upon sounds, moments,
movements, and spaces from other often distant times and places.
In the Philippines, appropriation of the name for a musical genre from a colonialera literary personality contributes vitally to the stabilization of political identities
and the persistence of “endo-hegemony.” Such appropriation, however, veils its
own aspects of culture brokerage and self-interest. Central African Republic
BaAka performance has sometimes come to embody a market nostalgia for a
utopian or even “savage” past. BaAka have entered, and continue to enter into our
imaginaries as living iconicity of a more pure or “primitive” past with which we
have lost touch. BaAka themselves have come to occupy a place for us, and
perhaps among themselves as well, in between modernity and antiquity. On MarieGalante, a small island in the French Antilles which is a département of France,
people nostalgically recall elements of the slavery era to perform their own
particular desires and repulsions associated with slavery, and to make sense of a
current situation often yet mired by the absence of nationhood. Taiko practice, a
transnational performance phenomenon coined a “nostalgia project” in Japanese,
combines reminiscence, memory and activist sentiment. Taiko practice takes on
particularly special significance among Asian Americans in an annual performance
at one of the Japanese American internment camp sites in Southern California.
Fenn, John
Texas A&M
Teaching Applied Ethnomusicology
The past decade has seen a surge of interest in applied ethnomusicology, especially
among graduate students clamoring for jobs beyond the research-and-publish focus
of academia. The 1992 special issue of Ethnomusicology entitled Music in the
Public Interest” initiated discussions about how ethnomusicological training can
impact the world, and these have grown steadily louder. Major rerelease projects
of historic field recordings by Alan Lomax and others--as well as new projects by
entities such as Smithsonian/Folkways-- have brought ethnomusicologists into the
commercial fold as series editors, project directors, and culture brokers. And recent
annual SEM meetings have witnessed an expanding Applied Ethnomusicology
Section, with poster sessions, paper panels, and packed section meetings signaling
growing interest in the notion of applying ethnomusicology.
Such a groundswell of interest highlights increased need for training applied
ethnomusicologists. Graduate students are demanding more courses at institutions
around the United States, and their teachers are responding with new and exciting
curricula. Undergraduate students are able to take advantage of applied training as
well in some departments, and individuals outside academia continue to train
colleagues and interns “on the job’ at public institutions around the country. This
forum presents an opportunity for interested parties to get together and discuss
strategies, issues, and frameworks pertaining to training of applied
Fales, Cornelia University of California, Santa Barbara
Grain of the Voice: Vocal Timbre and Cultural Aesthetics
Vocal music often occupies a privileged place in music cultures, perhaps because
it provides a medium not only for textual communication, but also for the
nonlexical, but equally powerful expression underlying most vocal interchange.
This panel consists of a series of case studies that illustrate the central premise of
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ethnomusicologists. The participants will present short overviews of courses
offered, approaches used, or issues encountered in teaching applied
ethnomusicology. We will then move into a moderated discussion between
participants, respondant, and audience.
committees, in teaching and learning, and in scholarship and outreach. This
conversation is aimed at learning powerful strategies for faculty search and tenure
committees, graduate admissions, the retention and inclusion of minority faculty
and students (i.e., ethnic minorities, women, sexual orientation, indigenous
performers and scholars, etc.), and concerning the practice and discourse of
community in our production of music, knowledge, and power.
Fikenstscher, Kai
Ramapo College
Issues in Electronic Dance Music
The intention of the conversation is to grasp what is at stake if things proceed in
a predictable manner; how can each of us make a difference in our institution or
community; and what breakthroughs are possible relative to inclusion and
mentoring. Join us for this conversation with experts from other fields as well as
our own. Participants in the audience will have the opportunity to share their
successes.
Over the past quarter of a century, electronics have helped redefine the production
and consumption of dance music on a global scale. Known more often by aplethora
of stylistic terms such as house, techno, or rave music, and less often by the
overarching label electronica, contemporary dance music and its sites ofproduction
and consumption have only recently attracted the attention of ethnomusicologists.
This panel is comprised of four presentations whose authors focus onvarious
aspects that help define many of the often interrelated strands of contemporary
dance music, such as race, class, gender and the construction andmaintenance of
(sub)-cultural identities and affinities. These examinations are part of a larger and
growing discourse within ethnomusicology on the relationshipsbetween musical
style, social and cultural identities, and technologies of dance and music (including
electronics, the internet, and the human body).
Hayes, Eileen University of North Texas
Representing Blackness: From Mahalia to Motown
Throughout the history of African American music, constructions of race and
gender have served to define and delimit performance spaces, modes of production,
and even marketing strategies. The meanings embodied in such genres as gospel
music and rhythm and blues have shifted according to historical period,
performance context and function. On the one hand, women artists like Mahalia
Jackson, Willie Mae Ford Smith and Lucie Campbell fought against stereotypical
representations of their chosen music, its associated aesthetic values, and their
status as professionals. On the other hand, in the studios of Motown and Stax
records, performers, producers and record company executives forged musical
partnerships and hammered out distinctive sounds that simultaneously reinforced
and confronted prevailing notions of black popular music. As a result, musical
practices and aesthetic values long associated with African Americans moved into
the mainstream popular music lexicon. This panel proposes to examine both
intercultural and intracultural dynamics of race and gender in the construction and
representation of blackness in African American gospel and popular musics.
Gaunt, Kyra
New York University
Affirmative Actions: Strategies for Inclusiveness, Mentoring, Recruitment
and Retention
The SEM Crossroads Project (The Committee On Diversity, Difference And
Under-Representation) was broadly conceived to identify strategies for the
inclusion of under-represented groups and group interests in the activities and
operation of the Society and our public and academic spheres of activity and
engagement. This forum launches a series of ongoing conversations at meetings
sponsored by The Crossroads Project.
By the fall of 2003, the U.S. Supreme Court will be hand down a decision that may
end the use of Affirmative Action in admissions (Gratz vs. Bollinger). Whether
these policies are sustained or struck down, the foreseeable future in
ethnomusicology is somewhat predictable: inadequate searches; departing faculty
and students of color; disdained sexual orientations; cynicism and resignation in
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Hood, Kathleen Independent Scholar
Globalization & Cultural Exchange: Arab Music in the Modern Age
progenitors of national performing traditions. This panel explores the space
between marketing and identity, this latter as the dialectic of display and
displacement. Finally, we consider the ethics of studying such long-exploited
Others.
The incorporation of the Arab world into the world economic system in the modern
age has had a profound influence on Arab music of all types, whether secular or
sacred. Although globalization with regard to music has been explored in such
works as Timothy Taylor’s Global Pop (1997), this panel examines how
globalization operates specifically in the context of Arab music, while offering new
perspectives on the concept of globalization. Asmar’s paper explores how
broadcast technologies caused fundamental changes in the musical form and
content of Arab music and led to the phenomenon of the star singer. Habib’s paper
looks at one such star singer, Fairuz, and investigates how her music mediates the
cultural identity of Arab-Americans. His paper also illustrates the two-way nature
of cultural flows in the modern age. While helping to define “home” for these
immigrants, Fairuz’s music is also transformed by virtue of her production of
albums directed at the Arab-American community. Frishkopf, in his paper on
Egyptian Sufi singer Shaykh Yasin al-Tuhami, deconstructs the concept of
“globalization.” He argues against the idea of globalization as a homogenizing
force, and examines the heterogeneous reality of globalizations, or as he calls them,
“global flows.” Furthermore, he breaks down these global flows into two
types—economic/technological flows and cultural flows—that have contrastive
effects on the music. Finally, Hood’s paper on Radio Sawa considers cultural
exchange between the US and the Arab world. In this case, music is not a benign
force, but a tool of cultural imperialism.
Howard, Keith University of London
Riding the 'Korean-Wave': Pop Music for a New Korea, Pop Music for a New
Asia
At the start of the new millennium, Korean popular culture suddenly became
fashionable throughout East Asia and Southeast Asia. This panel tracks the
‘Korean-wave’ or ‘K-wave’ pop music phenomenon, exploring its local
development during the 1990s, its resistance to domination by multinational record
companies, and the ways in which it has been able to tap into the multidimensional components of Asia’s globalization.
Why Korea? We first explore local dimensions. Starting in 1992, Seo Taiji and
Boys led a revolution against the corporate ‘star system’ that favoured sentimental
ballads (characterised as “unremarkable” in the first edition of The Rough Guide),
promoting dance-oriented genres including hip-hop and rap. They politicised music
at a time of declining censorship and rapid democratization, creating a cultural
ideology for the ‘new generation’. As satellite and cable television broke the state’s
media monopoly, pop musicians began to tap into new technology, catering, as will
be discussed through an analysis of local and trans-national discourses of
authenticity, for the new demands of music television. None of this need be unique
to Korea, and the expanding ‘Korean-wave’ may simply suggest that Korea has
leapt ahead of its neighbours in the development of popular music. To explore this
more broadly, we take two case studies, first discussing Internet fansites and chat
rooms in mainland China—virtual meeting places for fans to share their passions
anonymously—and then looking at the complex issues involved in the importation
and enjoyment of Korean popular culture in Taiwan.
Hooker, Lynn Indiana University
Gypsy, Sinti, Roma: Performing Other, Performing Self
Ideas of “Gypsy passion” have entranced audiences around the world for centuries
through music, dance, and now film. “Gypsiness” potently combines virtuosity,
passion, and sensuality, generating a stereotypical yet elusive Otherness. Grasping
the true sources of this Otherness can prove an endless task.
In this panel, we investigate the rich contradictions of Gypsiness in three case
studies: Gypsy Jazz, the Hungarian folk revival, and Spanish flamenco. In France
and Germany, Gypsy (or Sinti) Jazz is a quintessential hybrid. Both Hungary and
Spain appropriated the Gypsy as national emblems, ironically generating an
identity crisis. The trope of “Gypsiness” allows certain artists to trade both on
politically incorrect images of the Other and on their role as “authentic”
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Hwang, Okon Eastern Connecticut State University
Korean Ppongjjak: Authenticity and the Politics of Representation
This panel proposes to examine jazz in various (Other) geographic and cultural
contexts outside of the United States - namely the UK, France and Brazil - in
seeking to identify some ways in which jazz music is authenticated in places where
different regional and historical specificities constantly compete for authentic
status, or more simply, the ways in which local musicians connect themselves, and
see themselves connected, to the grander narrative ofjazz history.
Since its inception in the late 1920s, ppongjjak (or tueroteu [trot]) has enjoyed a
loyal following in South Korea. A popular song genre named curiously after the
onomatopoetic representation of its accompaniment (duple meter modeled on the
fox "trot"), ppongjjak's success has largely been credited to its aesthetical world
view, a perspective that has resonated with the Korean pathos of han (sadness or
suffering).
Specifically, presenters will address the role of innovation and the appropriation
of local musics as competing methods of authenticating jazz, anti-American
sentiments and fortification of alternative nationalist jazz musics in Latin America
and Europe, and the (re)writing ofjazz history as voices from the periphery
continue to force jazz musicians, critics and scholars to broaden the idea of the
authentic in jazz.
Ppongjjak has, nevertheless, been part of a complex history due to the genre's close
connection to Japanese enka and, by default, resentment related to the colonial
period. Early ppongjjak songs during the Japanese occupation were favored by
educated Koreans and considered trendy and stylish. By the 1960s, however, these
songs were regarded by some as boorish. Moreover, some songs were deemed to
exhibit more than a tolerable amount of Japanese influence, and were consequently
banned by the Korean government. In the 1980s, a “Ppongjjak Debate" emerged
among Korean intellectuals that aimed to legitimate the genre's enduring popularity
by claiming its origin to be Korean. Indeed, some even labeled ppongjjak as
"traditional popular song.
Johnson, Jill Ann
Applied Ethnomusicology: Ethnomusicologists at Work, Part III
In recent years the field of ethnomusicology has expanded beyond the realm of
traditional academic teaching jobs. The need for ethnomusicological expertise has
been increasingly acknowledged by libraries, museums, archives, historical
associations, arts councils, the publishing industry, concert-producing
organizations, funding agencies, as well as extensive uses on the World Wide Web.
In addition, the roles and projects in many different academic departments have
changed to include the need for our expertise.
This panel examines ppongjjak's multifarious existence in Korea in relation to the
Japanese legacy. Themes addressed include: 1) whether Koreans have had an
active or passive approach to colonialism; 2) whether the activities of musicians
and composers have been in sync with governmental or cultural policies; 3) how
a tension between "us/Korean/traditional" and "them/other/Japanese/foreign" has
manifested itself; and 4) how the meaning of ppongjjak continues to evolve.
This forum, sponsored by the Applied Ethnomusicology Section, will focus on the
topic of career possibilities for ethnomusicologists by looking at individuals who
are active in applying technology to applied ethnomusicological work. At the 2001
SEM conference the format for this forum panel was introduced and reinforced at
the 2002 SEM. It continues on in this proposal. Each year we hope to continue to
cover an ever-broadening range of applied work that ethnomusicologists find
themselves doing. The forum is structured with short, 15-minute presentations
from four ethnomusicologists who work in the applied arena. The presentations
will be followed by moderated discussion about these and other career possibilities
and the challenges, in and outside of the field, when pursuing this kind of work.
James, Donald University of Chicago
International Jazz: Cultural Disjunctures and the Search for Authenticity
Debates regarding the authentic and the authoritative in jazz music - what is inside
and what is outside the jazz canon - have continued to be at the center of the
struggle to write both effective jazz criticism and jazz scholarship in the U.S. The
situation becomes that much more complicated in investigating jazz cultures and
jazz scenes in places outside of the U.S. As a result of its success on an
international front jazz music has become central to nationalist, modernist,
postmodernist, and globalization discourses in various locales around the globe.
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Kreiter, Maria Pondish Pennsylvania State University, Conshohoken
Articulating a Clear Moral Vision and Socially Responsible Pedagogy for
Multicultural Music Education
Japanese performing arts, such as sôkyoku-jiuta, boast an equally imposing number
of different ryûha, each of which is thought to be a distinct artistic form. The
performance of sanjo on the Korean kayagum likewise has numerous schools each
claiming authenticity in earlier established forms.
Changing community and classroom dynamics, increasing pressures from political
agendas, and emerging nations and ethnicities altering the cultural map are but a
few of the forces placing pressures on music education in the ongoing debate over
the substance of multicultural music education curriculum and pedagogy. Recent
research and scholarly presentations identify disturbing reactions among children
to events surrounding 9/11 (Campbell) and calls for the creation of a socially
responsible pedagogy which will generate cultural understanding through sensitive,
global, and dynamic music-making (De Quadros). Questions continuing to rise
from these discussions include: To what extent do political agendas impact
multicultural music education curriculum? Do these political influences dictate
which cultures we teach and how these cultures are presented? Are we truly
inclusive in multicultural curriculum and pedagogy or are do we ignore major
cultural populations within our own country? Who defines the music(s) of a
cultural and which music(s) most reliably represent the culture in the classroom?
What is the most appropriate role, if any, of such professional organizations as The
Society for Ethnomusicology in developing a socially responsible pedagogy for
multicultural music education?
In spite of a shared understanding in the Far East of the underlying meaning of
liúpài, this word has taken on different connotations in each of the three countries.
This panel proposes an exploration of the respective manifestations of this concept
and how it has shaped and influenced the concept of tradition within each country.
In examining how the meaning of liúpài has unfolded within each culture, we also
seek to understand and suggest future venues of research, in this instance, how the
perception of music and a musical tradition evolves in different cultures, yet still
subscribes to a shared concept.
Lysloff, Rene T.A.
Listening to Theories of Music
This interdisciplinary panel explores some of the limits and possibilities of music
theory as a field of study. Drawing from different musical interests and
backgrounds, our three papers examine several broad intellectual, ideological, and
pedagogical problems issues inherent to musical analysis constrained by
conventional discursive practices. We offer strategies for opening up music theory
to reverse some of its disciplinary and disciplining gestures so that analysis might
account for both historical and cultural contexts. We want to propose other music
theories—ones that are reflexive, that break free of canonical constraints, and that
show us not only how to see music but also how to hear it.
This panel approaches these issues through an overview of current perspectives to
consider in formulating pedagogical directions, an examination of an
ethnomusicologist’ s struggles to negotiate politics in relation to the study of a
particular culture, and a call for transforming music curricula to foster caring
relationships with our students of all cultures and backgrounds through increased
community involvement.
Lim, Susie
Liupai: The Ebb and Flow of Traditions in China, Japan, and Korea
Monson, Ingrid
Harvard University
Theorizing Oppression, Hegemony and Cultural Identity in Women's
Performance
[liúpài, ryûha, ryup'a]: for centuries, these two Chinese characters have occupied
a significant place in the construction and perception of schools of thought in
China, Japan, and Korea. Liú; to flow, to wander, a branch, a division, and p'ài, a
faction, a tributary; when combined, these two words create a compound that
customarily signifies a school of thought or artistic practice. Solo Chinese musical
forms, most notably the qin and the zheng, have ancient and well-established
traditions, each referred to as a specific liúpài, or school of performance. The
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This panel explores relationships between music and oppression, which are central
to a growing literature on women's performance in ethnomusicology. In situations
characterized by social inequities, power relations are often articulated, enforced,
resisted and subverted through performance.
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Drawing from examples across the globe (United States, Canada, Malawi and
Korea), the panel explores performances as potential sites for liberation as well as
oppression. Each paper focuses on a specific context in which performances get
used strategically in situations of gender oppression, violence, and/or political or
cultural hegemony. Because musical performances are symbolically laden, they
provide marginalized women opportunity to voice their opinions or act (through
song, costume/dress, movement and/or symbolic gesture) in ways that may
challenge established social or legal systems. At the same time, people in dominant
positions of power sometimes recognize the expressive and transformative
possibilities for musical performance, and thus exploit female artists for strategic
ends. Whether motivation for performance is oppressive, libratory or a combination
of both, women can also perform in conformance with hegemonies while
simultaneously manipulating performance for their own ends, such as expressing
themselves, building identities, dealing with trauma and/or subverting power
structures. Such contradictory acts of agency open up directions for theorizing
music performance that encompass not just binary categories, but multifarious,
complex and else wise politically fertile subject positions.
The presenters in Part II of this panel shift the focus from communities of faith to
believing bodies, investigating the inscription of sub—Saharan religious systems
on racialized bodies in Tunisia, the rhythm of the crossroads as a means of
approaching trance at Brekete shrines in West Africa, and the intersections between
ethnomusicologv and neuroscience glimpsed in the experiences of both deep
listeners and trancers. Each of these papers focuses on the means through which
religious experience is inscribed upon individual bodies-means as varied as
trans—Saharan religious practice, the relationship between divine horsemen and
their devotees, and physiology. Part II of this panel, thus. onto the global, yet
deeply personal, crossroads between music, belief, and culture.
Pardue, Derek University of Illinois, Urbana-Champaign
X Conversations about One Thing: The Role of Analysis in Popular Music
Studies
“Music analysis” is a term marked by multiple meanings and long histories. It is
both deeply entrenched and polemically divisive within the discipline of
musicology. The position and practice of popular music studies raises questions
that speak to foundational debates within musicology as a whole.
Muller, Carol University of Pennsylvania
Music in Religious Experience Part II: Theoretical Cross Roads -- Believing
Bodies
Taken as a generalization, music analysis has gradually disappeared from a
methodological toolkit increasingly geared towards social interpretation and
political representation. In its place, popular music scholars have made use of a
number of theories from literary criticism and cultural studies in their efforts to
approximate musical meaning and human musicality. And for good reasons. The
strong association between “music analysis” and “the Western art tradition” can
cause many scholars to cringe from the colonial overtones all too resonant in
operating relations of power throughout the history of musicology. In addition,
many popular music scholars have argued simply that “conventional” music theory
is structurally ineffective in explaining musical meaning.
The deeply religious metaphor of the crossroads — itself a creative response to
cultural rupture and violent dislocation— provides the unifying trope for this panel
proposal. It also highlights an absence in the suggested thematic content for the
conference, an absence that this panel’s proposed theme, ‘Music in Religious
Experience,” seeks to redress.
The theatricality and enchantment of Holy Week among Catholics in Campanha.
the musico—spiritual warfare of a ‘‘Heavenly Army’’ church in Port—au—Prince,
and the multivalent deployment of Raslatari symbols at Protestant dancehall
concerts in Port of Spain all constitute poignant reminders of the fluid
phenomenological and discursive terrains that prevail at religio—cultural
crossroads throughout Latin America and the Caribbean. The presenters in Part I
of this panel concern themselves with these culturally charged spaces by
considering the ways that music contributes to communal religious experience and
to the forging of new cultural intersections in Brazi, Haiti, and Trinidad and
Tobago.
Panel Abstracts
For researchers interested in music that is transmitted orally and aurally, does the
business of social representation of music and music-making preclude such
analytical endeavors? More particular to popular music studies, is there anything
at the level of sound that marks commercial success or failure, genre crossover or
“roots” performance, “resistance” or “sell-out”? These questions are by no means
new and the above statements do not represent all popular music scholarship.
However, the role of music analysis does require continual reflection to ensure that
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Pruett, David Florida State University
Pathways from the Ph.D.: On the Job Market in Academia
musical sound, a modality of human achievement similar to language, body
movement, and image, is appreciated for its specific qualities and not completely
subsumed into discussions of general sociality.
The SEM Student Concerns Committee organized its second roundtable at the
2002 SEM Annual Meeting, a student development panel entitled “Pathways to the
Ph.D.: The Graduate School Experience.” The positive response to the panel
demonstrated the imperative for creating a dialogue among students and faculty to
address the more practical concerns of a career in academia. The Student Concerns
Committee has therefore organized another roundtable to meet this demand, this
year, however, comprised of faculty. This roundtable comprises four faculty, each
at a different stage in his/her career, who will discuss their experiences and offer
advice in the following areas: constructing a résumé, applying for jobs, the formal
interview, surviving the first year, and acquiring tenure. The roundtable is designed
to provide graduate students with the skills necessary to create a positive
experience while on the job market, one that will lead to an equally successful
professional career in ethnomusicology.
Pettan, Svanibor
University of Ljubljana
National Issues in Ethnomusicology. The Slovenian Case
Folk music was given an important role in the nation-building processes in several
parts of the world. Consequently, many ethnomusicologists continue to be seen by
the larger population as specialists whose principal role is to care for the survival
of the given national heritage. This panel focuses on historical connections between
the actual musical practices and the ethnomusicological approaches in Slovenia,
a tiny central European country at the crossroads of Germanic, Romanic, Slavic
and Ugric influences. How did political changes and the inclusion of Slovenia into
various multinational states in historical perspective (Austria-Hungary,
Yugoslavia) influence the activities of Slovenian ethnomusicologists? What is the
impact of national ideology alike in present-day Slovenia, on the eve of joining the
European Union, and how is it reflected in contemporary research and education?
Ritter, Jonathan
Authenticity, Authority and Authorship in Samba, Son and Desi Music
The participants in the panel represent views from both inside and outside and
belong to the realms of ethnomusicology and music education. Mari Arko Klemenc
considers the formation of a national canon in arranging folk songs for choirs from
the 19th century on. Svanibor Pettan traces historical changes in Slovene
ethnomusicology with special regard to the familiarity of its carriers with the
developments abroad. Albinca Pesek analyzes the presence of national issues in
music education and evaluates the reception of multicultural topics in a country
that is considered predominantly monoethnic.
Authenticity, authority, and authorship have long been contested symbolic capital
in the formation of national and transnational identities. Brazilian samba, South
Asian-American "Desi" music, and Cuban son have each, in their own way,
negotiated and traversed issues of identity and authenticity. The three papers
presented in this panel strive to sharpen our understanding of how music-making
participates in a politics of identity construction and representation. We recognize
the sites and rites of performance as loci where the will-to-meaning of individuals
and collectives is articulated, contested and affirmed. The hybridity inherent to
Desi-Americans, Cubans and Brazilians finds truth of representation in music.
Samba was for decades felt by many to be the authentic voice of “brasilidade,” but
seems to be losing currency; non-Cuban film soundtracks depicting “cubanidad”
have operated as sites of articulation where identity is negotiated between outsider
description and insider ascription; and “Desi music” is the new voice of a
population just beginning to define “Indian-Americanness.”
This panel offers an additional insight into Slovene ethnomusicology and music
education through an exhibition of the historically important and most recent
books, periodicals, audio and video recordings.
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Robinson, Kathy
Out of the Box and into the Field: Music Teacher Education on the Move
Romero, Brenda
University of Colorado at Boulder
Intersections of Music Theory and Ethnomusicology
This panel presentation describes three university programs designed to bring
music teachers and teacher-prospects into musical and social interactions with
cultures different from their own. Music teacher education departments at the
University of Washington, the University of Michigan and The Eastman School of
Music have developed cultural immersion programs in three world communities
including, the Yakama Indian in Washington state, Cape Coast in Ghana and the
Kimberley community in South Africa. Expanding teachers’ musical and social
frames of reference which facilitate development of culturally relevant curricula
and instructional strategies in our schools is the goal of these experiences. Issues
arising from these interactions including transmission, oral -aural learning,
repertoire and pedagogical transformation will be explored.
The intersection of music theory and ethnomusicology is emerging as a point of
great potential for expanding the canon in college music teaching. Addressing the
ethnomusicologist's desire for cultural contextualization and congruence as well as
the theorist's concern for concepts and structural coherence, this panel focuses on
various aspects of these intersections. Ethnomusicologists teach not only budding
ethnomusicologists, who in turn study musical cultures as scholars, but also young
musicians who can benefit from studying musical practices and concepts drawn
from a variety of cultures. In this manner ethnomusicology has the potential to
enrich musical application and practical musical training. The presentations focus
on the usefulness of studying the theoretical principles of varying world music
cultures as a tool to build practical musicianship skills; a course design that
explores ways of bringing "world music" into the music theory classroom; and on
specific ways in which the activity of building and playing panpipes provides a
tactile point of reference for enlarging the cultural base of a course in music
fundamentals.
Rodel, Angela University of California, Los Angeles
The Politics of Gate-Keeping: Authenticity and (Sub)Cultural Identities in
'Anti-Popular' Music
This panel examines the SEM theme of "Authenticity and the Politics of
Representation" from the rather unorthodox viewpoint of "subcultural" insiders. In
these papers, we investigate how musicians working in non-commercialized
musical genres whose musical characteristics are nevertheless in part derived from
popular music genres such as jazz, electronic music, punk and folk attempt to
defend and define their identities against the mainstream music industry (as well
as against other non-mainstream musical communities) by employing various
"gate-keeping" strategies, i.e. musical and extra-musical means to define
community boundaries. In opting (or being forced) out of the mainstream of
popular culture, musicians often adopt creative methods to establish "underground
authenticity" and cultural identities. Examining these marginal music communities
and the dynamics of their quite different relationships to the commercialized music
industry raises the question of whether we, as ethnomusicologists, need to
reexamine the way we use terms like "subculture" and "popular music."
Sager, Rebecca Independent Scholar
Performing the Nation, Performing Authenticity: Africanness, Tourism, and
Folkloric Spectacle in the Caribbean
At least since the 1930s, African-derived performance traditions of the Caribbean
have occupied center stage of the hotly contested ideologies of nation, race, and
religion. Many Caribbean genres feature complex and contested understandings of
cultural issues, especially as they unfold in specific performance contexts. The
papers in this panel explore four such contexts.
The first paper examines religious drumming in Cuba’s Conjunto Folklorico
Nacionál. Founded in the early 1960s to promote the "raceless" and "classless
"ideologies of the newly victorious Cuban Revolution, all the while celebrating
Cuba’ sAfricanness, the troupe now finds itself negotiating an increasingly
important tourist scene.
Similarly, in 1949 Haiti’s government founded La Troupe Folklorique Nationale
to demonstrate the independence and vitality of Afro-Haitian performance
traditions.
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This troupe has inspired many others, both inside and outside Haiti. The second
paper examines the challenges of "performing Vodou" outside Haiti by the New
York-based La Troupe Makandal. Tensions within Makandal throw into sharp
relief the difficulties of "performing the nation" for non-nationals.
imaginary place suggestive of “Balkan-ness,” disembodied from history but
wrapped in a nostalgic frame of an Eastern European culture now past.
Seeman, Sonia University of California, Santa Barbara
Rom Identity and Representation: Musical Practice in Changing Social,
Political and Market Contexts
In the third paper, the dances in specific performances of Puerto Rican, Dominican,
and Cuban folkloric groups illustrate the challenges that communities on islands
and in the diaspora face in asserting Hispano-African island identities through
dance.
Historically denied access to the institutions that maintain control over political,
social and economic spheres, Rom communities have tended to invest much of
their expressions of self and community into cultural practices to assert their
existence. Such musical and social struggles have been ongoing within Roma
communities. However, recent changes in political, social and economic spheres
since the 1990s have heightened the importance of Rom musical expression for
negotiating new terrain. In these changing circumstances, how are Roma presenting
themselves vis a vis their own communities and the larger non-Roma world? And
as scholars and advocates, how are we challenged to seek new epistemological
approaches and paths to understanding?
The fourth paper examines the work of Haitian composer Werner Jaegerhuber,
who, in the 1940s and 1950s, worked to transform the African-derived songs of
Haiti’s poor farmers into music palatable to the Haitian elite and to European
tourists. Jaegerhuber’s attempts to blend African and European music seem to
prefigure the challenges of performing the nation faced by the folkloric troupes of
the first three papers.
Scruggs, T.M. University of Iowa
The Musical Invocation of Nostalgia and Memory
To study such changes demands a reinvestigation of the dialectical relationship
between musical practice and representations of self and communal identity. This
panel explores these issues in light of three divergent Rom musical complexes:
Bulgarian-Turkish Rom musical practice in US diaspora; Turkish Rom musical
practice seeking access to world music networks; Transcarpathian Rom musical
expressions of local identity in the Ukraine in relation to emergent NGO
discourses. Each paper focuses on distinct segments of musical negotiation in
historical and contemporary contexts at the intersection of individual, group,
national, and transnational networks. In addition to arguing for an expanded
understanding of Rom musical practices, the papers and discussion intend to
contribute to ethnomusicological and anthropological theoretical considerations of
representation and contested values of “authenticity”.
This panel critically examines music’s ability to encode memory and nostalgia. The
papers draw from four differing geo-cultural areas and approach the topic from
diverse angles, united by an attempt to more fully understand how music can evoke
a past that is, to varying degrees, both real and imagined. A central goal of the
panel is to investigate the ways in which music is used to attempt to bridge the unbridgeable gap of time: how music can work to encase the filtered remembrance
of a past historical moment, and key the longing for aspects of a given historical
place and sensed existence. Music can be a potent organizing tool to maintain what
Maurice Halbwachs refers to as “collective memories” (1992) that maintain social
identity through historical continuity, examined here in the paper on elder Jewish
communities in South Florida. Often, though not always or wholly, nostalgic
memory is transfigured with an idealized, palliated valuation. For example, the
concept of a more pleasant past existence, with connotations of wishes for a nonconflictive present, informs the Buena Vista Social Club project’s marketing
outside Cuba. However, music’s invocation of a sense of longing that references
a negatively perceived past can also be deliberately utilized for very contemporary
social purposes, as examined in the paper on Taiwanese lao Taiyu ge. The panel
further considers the analytical deconstruction of musical material that erects an
Panel Abstracts
Shope, Bradley Indiana University
Emerging Genres and the Formation of Popular Music
Numerous scholarly studies have documented musicians, recordings, and
performances to better understand the characteristics of the popularization of
musical genres. This panel will address 1) the manner in which a style of music can
emerge within a particular social and cultural landscape, and 2) the social, cultural,
152
October 1-5
Abstracts
Sonneborn, Atesh
Smithsonian Institution
Collaboration between Producer/Recordist and Record Label: The Diffusion
of Musical Knowledge via Recording Sales
and political circumstances that give rise to popular music. We will investigate
these issues by discussing four distinct geographic areas and time periods. Each of
the four papers tie the development of a genre to a particular political, economic,
and social framework, and at the same time investigate the idea and meaning of the
term “popular.” While we discuss popular music in contrasting contexts, each
identifies the emergence of popular music to better understand the formation and
maintenance of popular culture. Beginning in Lucknow, India during the 1930s
and 1940s, Brad Shope discusses the popularization of jazz and ballroom music
among a minority community of Anglo-Indians. In Dar es Salaam, Tanzania, Alex
Perullo documents the formation of a popular genre, dansi, within a developing
urban environment during the 1920s and 1930s. In Korea, Hilary Finchum-Sung
examines the recent re-emergence and popularization of two forms of folk and
traditional Korean music. Finally, John Fenn discusses the creation and
disappearance of Americana in the United States.
What elements are needed to successfully produce an album, identify a recording
label and promote a musical sound recording (from field, concert or studio) into the
global capitalist marketplace? Record labels are a vital avenue of music
dissemination. The panel will discuss key factors fostering successful collaboration
with contributors (e.g. artists, producers, recordists, noteswriters, etc.) from the
perspective of a record label, and the fundamental considerations and processes of
creatmg a recording for sale to the public. Issues will include cultural significance,
recording quality, advocacy, intellectual property rights, audience demographics,
packaging, distribution mechanisms, marketing, economic stretagies and other
considerations. This forum is planned as the first of two such events, a 2004 panel
will be comprised of experienced contributors and their understandings as
emergent from working with a record label.
Slobin, Mark Wesleyan University
Return to Afghanistan: Reports on a Musical Reawakening
Stokes, Martin University of Chicago
Popular Music in the Middle East
From 1966 to 1977, the chair and the three panelists were the only western scholars
to conduct extensive fieldwork in Afghanistan, which had only just begun to admit
foreign researchers. Beginning in 1978, the country fell into a 23-year cycle of
violence, culminating in the American incursion of 2001 that has at least
temporarily brought Afghanistan back into the family of nations. A huge
percentage of the population moved into refugee camps in neighboring Iran and
Pakistan, or became emigres in Europe and the US. The Taliban period (19962001) was particularly hard on music.
Residing in a region with a rich history of traditional music, popular music in the
Middle East is an often-neglected topic of ethnomusicological inquiry. Its strong
connections to Westernized aesthetics and modern developments often feed this
bias. It is, however, popular music’s displacement of traditional musics that has
perhaps done the most to marginalize its study in the ethnomusicological literature
on the Middle East. But it is this domination of popular music in the region and its
connection to modern developments that make its study essential to understanding
music in the Middle East. It exercises an immense amount of influence on societies
in the region while also bringing this region to the eyes and ears of a mass audience
throughout the world. As the most common type of music consumed by audiences
in the Middle East, it also provides the most important site to explore music’s
relationship with regional, national and global forces. The purpose of this panel is
to investigate the many important issues that popular music research in the Middle
East addresses. Each of these papers looks at a different issue regarding popular
music at various geographical and musical sites within the Middle East. These
papers address some of the most important issues in ethnomusicology today. The
importance of these topics demonstrates the many gains that come from seriously
considering popular music’s position in the Middle East.
The panelists have been actively keeping in touch with this unfolding story and
will speak to the ethnomusicology of trauma and loss, deterritorialization, and
tentative recovery. They will report on the situation in Afghanistan itself and on a
newly resurgent interest in music among Afghan-Americans. Our own work has
new relevance and we are working on projects of restoration and distribution, while
also trying to help in the reconstruction of a music culture that has been as badly
damaged as any in recent history, but which shows real signs of continuity.
Panel Abstracts
153
October 1-5
Abstracts
Stone, Ruth
Indiana University
Music, Religion, and Identity in Africa
ample time for discussion. Resources for teaching--bibliographies, filmographies,
and references to on-line resources, including those created for or used within our
classes—will be shared with session participants.
In this panel the presenters address issues of music, religion, and identity in historic
and contemporary African contexts. Each paper raises critical issues related to the
performance of identity and the positionality assumed by music within religious
social institutions. Reed addresses identity conflicts surrounding the introduction
of an indigenous form of religious music into Catholic services among the Dan of
Côte d’Ivoire. Barz introduces memory work and memorialization among HIV+
women associated with Muslim and Christian faith-based communities in Uganda
and suggests that music passes along issues of identity to children, most of whom
will become orphaned at very early ages. Summit focuses on the Abayudaya
(Jewish people) of Uganda in order to present the use of music in the negotiation
of Abayudaya religious and ethnic identity. The panel concludes with a response
from Philip Bohiman who will raise issues concerning identity formation within
musical and religious contexts.
Van Buren, Thomas
Center for Traditional Music and Dance
International Cultural Marketing and the Politics of Representation
As ethnomusicologists become increasingly involved in assisting musicians and
artists in touring and promotion, they are faced with significant issues concerning
presentation and representation. These include issues of creating a viable product
while retaining authenticity, fair compensation for artist and management alike,
and the production of marketing materials and a performance that provides a wellrounded view of the music in its cultural context. The presenters in this session will
provide very different approaches in the negotiation of these difficult issues: from
the perspective of ethnomusicologists who work oii a relatively small scale with
a select group of musicians to that of an international cultural marketing firm with
offices in Colorado and Italy that has assisted indigenous peoples around the world
in international cultural marketing.
Tuohy, Sue
Indiana University
Teaching at the Intersection of Ethnomusicology and Film
Yang, Mina
San Francisco Conservatory of Music
Encounters Beyond the Pale: At the Intersection of African- and AsianAmerican Musical Cultures
This panel addresses issues involved in teaching about film and film music within
ethnomusicology. It grows out of the panelists' research on film music and our
experiences teaching film courses within an ethnomusicology program. As
teachers, each of us brings different perspectives and objectives to our courses on
African, African American and Chinese film. And as panelists, we focus on focus
on different aspects in our explorations of film and music. Uniting the papers,
however, is a concern for using ethno musicological approaches in the examination
of film and for teaching ethnomusicology through film.
From its earliest days, American music has evolved out of the collision of various
subcultures that are often politically and socially distinct, even antagonistic, with
one another. The dynamics of black/white musical interactions and power plays has
been explored extensively in other studies. This session expands the discussion by
bringing into focus the various ways in which African- and Asian-American
musicians and fans regard and influence one another, engage in aesthetic and
political discourses about race and music, and place such discourses in the broader
context of American life.
While representation and mediation increasingly have been the subject of ethno
musicological theory in recent decades, teaching about feature films brings these
issues to the forefront of attention. Panelists will examine these issues through
concepts such as interplay of voices and counter voices as well as the relation of
filmic representations to other forms of representation of society and music.
Presenters also will discuss topics such as methods for analyzing film music, the
poetics and politics of film music production, and technical and pedagogic
problems in teaching about/with film music.
As Deborah Wong (2000) has observed, Asian American emulation and
performance of African American music are loaded with political implications
regarding the (mis)representation of race and (in)authentic cultural expression. The
papers in this session consider these issues from varying angles, examining the
aesthetic and political dimensions ofjazz and hip-hop as practiced at the
intersection of African- and Asian American musical cultures.
Presenters will illustrate their points with film clips, and the session will allow
Panel Abstracts
154
October 1-5

Abstracts - Indiana University Conferences

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