Published by the Society for Ethnomusicology

Volume 39 Number 3 May 2005

Inside1 SEM Soundbyte1 SEM 50 LAC Update4 Encomium for Mantle Hood5 A Year of Anniversaries6 Leo Sarkissian African Music Library6 EVIA Digital Archive Receives Funding6 People & Places8 Obituary: Dr. Kishibe Shigeo10 Dale Olsen Awarded Guggenheim

Memorial Fellowship10 Conferences & Workshops11 Conferences Calendar

SEM Newsletter

SEM SoundbyteBy Timothy Rice, SEM President

On Aging and Anniversaries

A few years ago, while hiking overthe lava flows on Hawai’i’s Kilaueavolcano, I was amazed to realize that Iwas walking on earth younger than Iwas. It is almost equally surprising torealize that our Society, celebrating its50th anniversary this year, is also youngerthan I am. It didn’t dawn on me whenI entered graduate school in 1968 thatthe discipline to which I would devotemy professional life was just a teenager.At the time it already seemed to me

were alluding to the phrase that Marga-ret Mead used in her book title, Comingof Age in Samoa. Mead was discussingthe transition from adolescence to adult-hood, and we likewise were alluding tothe maturation of the society, and byextension, the field of inquiry. Theethnographic approach used by Ameri-can scholars was beginning to be wellestablished as a mode of inquiry. Like-wise, by 1980 most major institutionstaught courses in ethnomusicology.Even SEM was becoming a mature schol-arly organization.” Setting aside for themoment what she might have meant by“even SEM,” the slogan accords prettywell with my current view of the history

What are the signs ofour vigor as a disciplineand as a Society today?

venerable, well es-tablished, and nec-essary. Only laterdid I realize that ithadn’t yet “come ofage.” This rite depassage was not rec-ognized and celebrated for another de-cade, when in 1980, at our 25th anniver-sary meeting, hosted by Indiana Univer-sity, the motto was “coming of age.”

A couple of years ago I emailed RuthStone, the program committee chairthat year, and asked her what she couldrecall about their choice of that slogan.She replied, “The meeting in 1980 wasthe 25th anniversary of SEM, and we

of our field, al-though I amtempted to tweakit slightly with thefollowing sugges-tion: ethnomusi-cology “came of

age” in 1978, two years before our 25th

anniversary.I say this because 1978 saw the

publication of five works that, while notprecisely seminal, exemplified the trendsthat Ruth and her committee had iden-tified and that foreshadowed modes ofdiscourse, and themes and issues, thatwere to become commonplace in thequarter century since then.

1. Paul Berliner’s The Soul of Mbira, thefirst frequently cited book-length musi-cal ethnography that combined anthro-pological and musicological approachesand that was written by someone trainedin a music department, not an anthro-pology department, pointed the way toa trend that has exploded into a rapidlygrowing catalog of similar books sincethen.

2. Frank Mitchell’s autobiography, Na-vaho Blessingway Singer, edited byDavid McAllester and Charlotte Frisbie,was a harbinger of growing interest inreporting on the lives of individual

Continued on page 3

SEM 50 LAC UpdateBy Tong Soon Lee, Emory University

The SEM 50 Local ArrangementsCommittee is continuing its preparationfor the 50th anniversary conference ofthe Society for Ethnomusicology in At-lanta, November 16-20, 2005. Ongoingplans are being made to prepare for themusical performances and events at theconference hotel and at Emory.

The structure of the pre-conferencesymposium is gradually shaping up andhere is a tentative outline of the day.The pre-conference theme is “Race andPlace: Invoking New Music Identities”and will be held on Wednesday, No-vember 16, 2005. With a focus onexpressive traditions, half of the daywould be devoted to different modes ofmusical, religious, and broader socialexpressions of identities in the southernregions. An example of a focused topicis a critical examination of the prevail-ing black/white division that dominatesmuch of current discourses on race,using musical examples from the Southas case studies. The format is yet to beconfirmed but would include videoshowing and roundtable discussions.The second half of the pre-conferenceconsiders the theme broadly in theformat of paper presentations and dis-cussions. We are currently working onorganizing a shape-note singing eventin between the two parts of the sympo-sium. More details on the pre-confer-ence symposium will be announced inthe September newsletter.

There is no call for papers for thepre-conference. Presenters at the pre-conference would include an interdisci-plinary group of faculty from Emoryand other universities and colleges inthe local area, as well as SEM members.The SEM 50 Local Arrangements Com-mittee extends a very warm welcome toall SEM members to the pre-conferenceand hopes that the informal arena wouldbe congenial to forming new researchideas and partnerships.

2 SEM Newsletter

The Society for Ethnomusicologyand

the SEM NewsletterEditor, SEM NewsletterTong Soon LeeEmory UniversityDepartment of Music1804 North Decatur RoadAtlanta, GA 30322, USA(Tel) 404.712.9481(Fax) 404.727.0074(Email) semnews@emory.edu(Website) www.emory.edu/Music

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SEM Newsletter 3

musicians and of the potential for creat-ing collaborative representations ofknowledge gained from working withothers.

3. Bruno Nettl’s edited collection, EightUrban Musical Cultures, pointed to anexpanded, modern idea of the placeswhere ethnomusicologists conduct theirstudies and to the popular and quotid-ian musical genres that have come toengage us.

4. Hugo Zemp’s article in Ethnomusi-cology, “‘Are’Are classification of musi-cal types and instruments,” signaled thethen-new and now-routine method-ological centrality of gathering “insiderknowledge” of musical theory, termi-nology, and native taxonomies of mu-sic.

5. Kenneth Gourlay’s article in Ethno-musicology, “Towards a reassessmentof the ethnomusicologists’ role in re-search,” critiqued the possibility of ob-jective observation in ethnomusicologyand the notion that we are engaged ina scientific project, and argued for whatis now taken for granted, namely thatthe socially and historically positionedobserver has a crucial effect on what isstudied and on the results that arereported.

These five publications from 1978define, to a rather large extent, thecurrent shape of our field, which, likemany an adult, has changed little andprobably not fundamentally since then,although, to be sure, new themes andissues have continued to emerge duringthe last quarter century.

If we came of age about 25 yearsago, where are we today in the life cycleof our academic discipline? To pressthe metaphor perhaps further than Ishould, are we in the prime of life or arewe beginning to show our age? Do ouryounger members still find ethnomusi-cology as fresh and full of promise as Idid more than thirty years ago? Whatare the signs of our vigor as a disciplineand as a Society today? Here are at leasta few.

First, new themes, fresh shoots froma mature trunk as it were, have beenemerging over the last 25 years. Genderas a locus of study is now well estab-lished. We are engaged with develop-ing realities on the ground, such as

globalization, nationalism, transnation-alism, media and the music industry,migration, deterritorialization, nostal-gia, war, and disease. The materiality ofsound is inspiring some thought-pro-voking new work.

Second, our influence in NorthAmerican universities is growing, mani-fested, for example, in an ever-increas-ing number of graduate programs inethnomusicology. In 1968, I countedseven such programs; today there aremore than twenty, and a new one seemsto come on board every few years. Atthe same time, more of us are bringingthe good news of ethnomusicology toliberal-arts colleges, state universities,and community colleges, where we aredoing an effective job of turning stu-dents on to the joys of ethnomusicologyand increasing the quality and quantityof applicants to our graduate programs.Since even today only a small percent-age of U.S. colleges and universitieshave an ethnomusicologist on the fac-ulty and since someday they all will, weremain a growth industry—a sure signof vigor and potential growth.

Third, within SEM the relatively re-cent flowering of the Sections for Ap-plied Ethnomusicology, the Status ofWomen, Education, and the Genderand Sexualities Taskforce reflects ourcommitted engagement beyond theacademy with the societies in which welive. The resurgence of interest inregionally based Special Interest Groupsin the last few years means that we arereaching outward, beyond the U.S., andencouraging scholars from many partsof the world to participate in our confer-ences and publications.

These are but a few signs of a livelydiscipline and a sprightly Society ready-ing itself to celebrate its 50th anniver-sary. I am sure I have left out manyother signs of life, and so I am lookingforward to the reflections and presenta-tions that will contribute to my under-standing of our field and that will ani-mate our 50th anniversary annual meet-ing, hosted by Emory University laterthis year (November 16-20) in Atlanta. Ihope you will join me, our colleagues,students, new members and local schol-ars, music educators, and musicians ina conversation about our past, present,and future and help us raise a toast (sto-let perhaps) to the life of our Societyand to the important roles we continueto play in the lives of our societies.

SEM SoundbyteContinued from page 1

Crossroads ProjectThe Crossroads Project (SEMCommittee on Diversity, Dif-ference and Under-represen-tation) invites you to join ourevents at SEM Atlanta 2005.

Our mission is to create newopportunities for conversationsthat make a difference withinour Society, in our home insti-tutions, in the fields where weconduct and share our researchand scholarship, and in re-cruiting and retaining studentsof color, women, internationalmembers, people with disabili-ties, and, perhaps most impor-tantly, native ethnographers.

We invite the various commit-tees, special interest groupsand even individual membersto co-sponsor specific work-shops, panels, and forums dur-ing our annual and regionalmeetings or at your home in-stitutions that address diver-sity, multiculturalism, and otherrelevant issues. Members arewelcome to join our yahoogroup by sending a messageto (Email) semcrossroads-subscribe@yahoogroups.com.

All SEM members are wel-come to our open businessmeeting and to our open fo-rum session at SEM 2005 con-ference in Atlanta. For moredetails, please visit the Societyfor Ethnomusicology confer-ence website at (Webmail)www.ethnomusicology.org.You can make a differencein ethnomusicology withthe Crossroads Project.For more information, pleasecontact Kyra Gaunt, Chair,Crossroad Project at (Email)kyra.gaunt@nyu.edu.

4 SEM Newsletter

Mantle Hood—ethnomusicolo-gist, scholar, composer, performer,mentor, professor, novelist, filmmaker, and thinker—graduated PhiBeta Kappa in music from UCLA in1951 with a B.A.; in 1952 from UCLAwith a M.A.; and in 1954 from theUniversity of Amsterdam with a Ph.D.,cum laude, where he studied withJaap Kun st. He returned to UCLA asan Instructor in 1954, became Assis-tant Professor in 1956, Associate Pro-fessor in 1959, Professor in 1962,and Professor Emeritus after his re-tirement in 1974. Since leaving UCLAhe has taught at the University ofMaryland, Baltimore County; YaleUniversity; Indiana University; TheQueen’s University of Belfast; Cen-tral Academy of Music, Beijing; TheAcademy of Arts, Cairo; Universityof Massachusetts; Florida State Uni-versity; and West Virginia Univer-sity. He has held innumerable fel-lowships throughout his academicyears and has received many awards,the most notable being honors fromthe Indonesian government: the con-ferral of the title “Ki” (“Venerable”)in 1986 and membership into theDharma Kusuma (Society of NationalHeroes) in 1992.

Although he was not one of themembers of the team of correspon-dents beginning in 1953 that led tothe development of the Society forEthnomusicology fifty years ago in1956 (see Ethno-Musicology News-letters Nos. 1-5), Mantle Hood con-tributed to the program of the firstofficial annual meeting of the newlyformed Society for Ethnomusicol-ogy on September 5, 1956 by pre-senting a paper titled “Training andResearch Methods in Ethnomusicol-ogy,” in which he described UCLA’sprogram and explained his approachto the study of ethnomusicology(published in Ethnomusicology News-letter No. 11, September 1957). Be-ginning in 1954, he devoted all his

time with Laurence Petran and others todeveloping one of the first universityethnomusicology programs in the UnitedStates at UCLA; he eventually foundedthe famous Institute of Ethnomusicol-ogy in 1960 with funds from the FordFoundation and the University of Cali-fornia. Over the years literally hun-dreds of students have been trained byHood, and the list of M.A. and Ph.D.students he has guided as major profes-sor reads like a “who’s who” ofethnomusicology, dozens of whom havefounded their own programs inethnomusicology at major universitiesand colleges throughout the world.Hood has also served SEM as councilmember, President, Seeger lecturer, andpresenter, among many other duties.

My contact with Mantle Hood camerather late in the scope of his UCLAtenure, beginning in the fall of 1970 andending in the spring of 1973. As one ofhis last Ph.D. students, I had the uniqueopportunity to learn from his nearlytwenty years of experience at UCLA andin the field. I also learned about themany experiences that had gone on inSchoenberg Hall before my time, fromthe “formative years,” through the “goodold days,” to the final epoch. Alwaysthe consummate brain stormer, inspirer,and mentor in the Wednesday after-noon seminars, ethnomusicologyclasses, rehearsals, and in private dis-cussions, Dr. Hood stretched our imagi-nations and thinking processes in manyways: musically, culturally, socially,psychologically, mechanically, artisti-cally, and humanly.

Above all, he taught us about theimportance of music as communica-tion, as he wrote in 1961 (from anundated brochure of the Institute ofEthnomusicology, UCLA): “In this latterhalf of the Twentieth Century it maywell be that the very existence of mandepends on the accuracy of his commu-nications. Communication amongpeoples is a two-way street: speaking

and listening, informing and beinginformed, constructively evaluatingand welcoming constructive criti-cism.” More than ever, today we arein dire need of the accuracy ofhuman communication. If only we(i.e., humanity) could make moremusic, I often tell myself, colleagues,and students, there would be muchless strife in our world. If only wecould tell others (i.e., communicatearound the world and at home)about the beauty of music, therewould be so much more healingthan killing.

As a tribute to Mantle Hood Iwould like to quote from anotherindividual whom I also consider tobe synonymous with the best inmusical artistry and human nature—Pablo Casals (from an undated wallplaque purchased in Puerto Rico in1997):

I am a person first, an artistsecond. As a person, my firstobligation is to the welfare ofmy fellow people. I will en-deavor to meet this obligationthrough music—the meanswhich God has given me—sinceit transcends language, politicsand national boundaries. Mycontribution to world peace maybe small, but at least I will havegiven all I can to an ideal I holdsacred.This emphasis upon music as

communication, human understand-ing, and world peace, not onlythrough musical performance, butalso through research, teaching, andother forms of dissemination, is oneof the greatest gifts Mantle Hood hasgiven to ethnomusicology. Dr. Hoodis 87 years old and is in Bali with hisentire family at the time of this writ-ing. He is indeed a man to admire inso many ways—his energy and en-thusiasm is boundless, and his devo-tion to ethnomusicology is profound.

SEM Honorary MemberMantle HoodBy Dale A. Olsen, Florida State University

SEM Newsletter 5

A Year of AnniversariesBy Bruno Nettl, University of Illinois

SEM was founded on November 18,1955, exactly fifty years ago, to the day,of our Atlanta meeting—well, sort of.The founding was actually more gradual.The four founders first met to discussapproaching interested parties about anewsletter in 1952, and the first “annualmeeting” actually took place in 1956.Still, as we’re living in a ten-base math-ematical culture, we are right to cherish1955.

But this is also a year of otherimportant anniversaries in the history ofethnomusicology. In 1955, the foundersmight have done well to note thatexactly fifty years earlier, in 1905, thereappeared an article by Erich M. vonHornbostel titled, “Die Probleme dervergleichenden Musikwissenschaft.” It’sthe first publication that sets out to talkabout ethnomusicology (in an earlierincarnation and with a different name,to be sure) as a field of research, and itbegins by saying, “A young specialty ofan [established] discipline has the obli-gation, to justify its existence.” Theword “Probleme,” in this case, didn’tmean issues of theory and methodol-ogy, but rather, the fundamental ques-tions that the field proposed to study.And Hornbostel, somewhat surprisingly,tells us that these are the discovery ofthe origins of music, and of universalsexplaining the fundamental human aes-thetic of music; and that only throughcomparative study of the world’s mu-sics can these questions be addressed.

The article was originally a lecturegiven, on March 24, 1905, to the Viennachapter of the Internationale Musikge-sellschaft, a predecessor of the Interna-tional Musicological Society (IMS), andwhile I have no information on the wayit was conceived (or received), I canimagine the older music scholars ofVienna (maybe the distinguished GuidoAdler and Eduard Hanslick as well asearly ethno insiders Robert Lach andRichard Wallaschek among them) invit-ing the 28-year old Hornbostel, living inBerlin but maybe visiting relatives in hisnative Vienna, to explain to them what

he was about, and why he was listeningto all this strange music.

The article ranges widely over thekinds of methods and theories for whichHornbostel later became famous, but itends on an essentially aesthetic note,telling us that “the rapid spread ofEuropean culture will devour the lastremnants of foreign song and speech.We must save what can be saved...,”predicting the cultural grey-out to whichAlan Lomax later referred pessimisti-cally. For Hornbostel, the railroad, theautomobile, and the then yet unrealizedwidespread use of aircraft waiting in thewings, were principal villains. ButHornbostel too was looking back, not-ing Alexander J. Ellis’s “pioneering”article of 1885, “On the Musical Scalesof Various Nations” (which, I wouldargue, set both methodological andideological precedents for our field),and on this basis he designates Ellis as“Vater der vergleichenden Musikwis-senschaft....” If we accept this land-mark, then we can consider ethnomusi-cology to be celebrating its 120th anni-versary this year. It’s interesting to seehow much we’ve changed; and maybealso to what extent Hornbostel’s “prob-lems” still play a role in our work.

And finally, as Charles Seeger re-minded us in 1956, in Ethno-MusicologyNewsletter no. 6 (p. 1-2), we should alsomark the 75th anniversary of the found-ing of the predecessor of SEM. In 1930,the Gesellschaft zur Erforschung derMusik des Orients (Society for the Studyof the Music of the Orient [i.e., Asia andthe Middle East]) was founded—explic-itly neither national nor international,but centered in Germany. Changing itsname to Gesellschaft für vergleichendeMusikwissenschaft in 1933 (and begin-ning in that year publication of thejournal, the tri-lingual Zeitschrift fürvergleichende Musikwissenschaft—thatran only until 1935 but directly pre-cedes Ethnomusicology), it soon suc-cumbed, as neither its subject matternor its leadership were deemed accept-able by the Nazis. As Seeger describedit, in 1935 the assets of the society wereturned over to the small, strugglingAmerican Society for Comparative Mu-sicology, among whose leaders were

Seeger, Helen H. Roberts, GeorgeHerzog, and Henry Cowell. But thissociety, too, fell apart; as Seeger wrote,“none of the officers ...had the heart,time, or experience to keep it alive” (p.3).

Why then did it take a decade afterwar’s end to establish a successor to thatsociety founded 75 years ago, in 1930?In the late 1930s, just before World WarII and again immediately after, bothanthropology and musicology (the lat-ter because of an unprecedented influxof Europeans escaping Holocaust andwar) began to flourish mightily. Was itbecause ethnomusicology was particu-larly affected by the aftermath of theHolocaust, the McCarthy era, the begin-ning of the Cold War? Was it that thenature of fieldwork had to change in thelast throes of colonialism and the com-ing of the neocolonial era? That wedidn’t know how to deal with the world’smusics in the face of overdue andincalculable social and political changes?Or was it just random individual pro-clivities? There’s a lot of history to bestudied as we celebrate and remember,but also try to recapture the landmarksof our ever-lengthening strand of intel-lectual and institutional history.

References

Ellis, Alexander John. “On the MusicalScales of Various Nations.” 1885. Jour-nal of the Society of Arts 33:485-527

Hornbostel, Erich M. von. 1905. “DieProbleme der vergleichenden Musik-wissenschaft.” Zeitschrift der interna-tionalen Musikgfesellschaft 7(3):85-97

Seeger, Charles. 1956. “Past Organiza-tion.” Ethno-Musicology Newsletter 6:1-3

SEM 1955-2005

6 SEM Newsletter

The Leo SarkisianLibrary of AfricanMusic

Washington, D.C., Jan. 5, 2005. Voiceof America’s Library of African Music, arare collection of indigenous Africanmusic has been named the Leo SarkisianLibrary of African Music.

Sarkisian, 84, internationally knownVOA broadcaster, musician and ethno-musicologist, amassed the collectionduring nearly 50 years of traveling andrecording music in Africa. He inter-viewed musicians and compiled aunique collection that reflects thecontinent’s broad heritage of traditionaland popular music. The collectionincludes recordings presented to himboth by African radio stations and ordi-nary Africans for broadcast on his long-running VOA radio show, Music Timein Africa. Thanks in part to suchcontributions, his personal collectiongrew to include more than 10,000 reel-to-reel tapes, plus records, cassettes,and CDs. The collection also includesseveral hundred tapes of original MusicTime in Africa broadcasts along withscripts, reference books on African his-tory, culture, music and literature, Afri-can music periodicals, journals of theSociety for Ethnomusicology, and pub-lications of the International Consor-tium of African Music.

“For decades, Leo’s broadcasts onVOA have established him as an ambas-sador of goodwill to the people ofAfrica,” said VOA Director David S.Jackson., during a dedication ceremonyat the Voice of America, Dec.14, 2004,attended by members of the AfricanDiplomatic Corps, representatives fromthe Library of Congress, the SmithsonianInstitution, the International Consor-tium for African Music, Department ofState and many friends. “His collectionis an international treasure for anyonestudying African music and culture, andwe’re proud to make it available toscholars and researchers.”

Sarkisian first visited Africa as amusic director for a Hollywood record-ing company in 1958. Five years later,at the invitation of Edward R. Murrow,then director of the U.S. InformationAgency, Sarkisian joined the Voice ofAmerica. He has been on the air eversince.

The Leo Sarkisian Library of AfricanMusic will not only conserve archivalmaterials for research and scholarship,but also establish a website to serve theneeds of VOA programmers, academicscholars, and researchers. The library islocated at VOA headquarters in theCohen Building, 330 IndependenceAve., SW, Room G108. The Voice ofAmerica, which first went on the air in1942, is a multimedia internationalbroadcasting service funded by the U.S.government through the BroadcastingBoard of Governors. VOA broadcastsmore than 1,000 hours of news, infor-mation, educational, and cultural pro-gramming every week to an estimatedworldwide audience of more than 100million people. Programs are producedin 44 languages, including English.

People & PlacesGage Averill’s Four Parts, No Wait-

ing: A Social History of American Bar-bershop Harmony (Oxford UniversityPress, 2003) won the 2003 Irving LowensAward for Best Book from the Societyfor American Music, the 2004 Alan P.Merriam Prize of the Society for Ethno-musicology for the most distinguished,published English-language monographin the field of ethnomusicology, andwas named an “Outstanding AcademicTitle for 2004” by Choice, the reviewmagazine of the American Library Asso-ciation

Kyra D. Gaunt, Associate Professorat New York University, is pleased toannounce that her book The GamesBlack Girls Play: Learning the Ropesfrom Double-Dutch to Hip-hop will bereleased by New York University Pressin the fall of 2005. She recently com-pleted an essay for publication in avolume edited by Michael Eric Dysonand Sohail Daulatzai devoted to thetenth anniversary of the 1994 release ofIllmatic, a hip-hop classic by rapperNas due later this year. Her most recentresearch is entitled “Beyond the Bling:Sisters, Ciphers, and Artistic Skill.” Itexplores the revolutionary contributionsof Toni Blackman (U.S. Cultural Spe-cialist and Ambassador of Hip-hop forthe U.S. State Department and founderof D.C.’s Freestyle Fellowship), a fe-male emcee who specializes in teaching

EVIA Digital ArchiveReceives Funding

A team of ethnomusicologists fromIndiana University and the University ofMichigan recently received a third grantfrom the Andrew W. Mellon Founda-tion to continue development of theEthnomusicological Video for Instruc-tion and Analysis (EVIA) Digital Archive.The $759,000 grant has been supple-mented by additional support from bothuniversities bringing the project total to$988,000.

Based out of the IU Archives ofTraditional Music and the University ofMichigan’s Duderstadt Media Center,the project focuses on preservationneeds for original field video record-ings of music performances from aroundthe world and on providing high qualityinternet access to scholars and to teach-ers. Since 2002, co-principal investiga-tors of the project Ruth M. Stone, direc-tor of the IU Ethnomusicology Institute,and Lester Monts, Senior Vice Provostfor Academic Affairs at the University ofMichigan, have been developing theArchive with a team of ethnomusicolo-gists, video and computer technolo-gists, programmers, librarians, archi-vists, intellectual property rights spe-cialists, and graduate assistants fromboth universities.

To date the project has made archi-val copies of nearly 150 hours of invalu-able field recordings which depositing

scholars are currently annotating to pro-vide detailed background informationand analyses.

In addition to refining the tools andsystems created under the previousgrant, this new grant will add another150 hours of field recordings to thearchive and will create a sustainabilityplan as well as detailed user profileswhich will be the basis for furtherapplication and system development.The EVIA Digital Archive is currentlythe only project of its kind which col-lects, copies, annotates, and preservesethnomusicological video materials onthe web for use by educators, research-ers, and musicians on a global scale. Formore information about the Ethnomusi-cological Video for Instruction andAnalysis Digital Archive, visit (website)http://www.indiana.edu/~eviada.

SEM Newsletter 7

the art of freestyling or improvising inthe performance frame known as a“cipher”. Toni and Kyra have beencollaborating to transform hip-hop fromthe practical and the academic realms.Kyra has been touring community col-leges sharing Toni’s ideals about for-warding discipline as well as freedom inhip-hop emceeing. She and Toni willbe collaborating at McGill University’s“Improvising in the Arts/ImprovisingBetween the Arts” Conference, June 3-5, 2005 sponsored by Eric Lewis. RobertO’Meally, Ingrid Monson, Bill Dixonand Amiri Baraka are among the otherselect participants at this intimate event.

Judith Lynne Hanna (University ofMaryland, College Park) was an “invitadode honor” (VIP) of the Cuban Govern-ment in Havana for the April 2004 “LosDias de la Danza” (“Seven Days ofDance Festival”). She was asked topresent an hour-long keynote addressto the theory sessions on “The Chal-lenges for Dance in the 21st Century.”Recent publications include “The FirstAmendment, Artistic Merit and Nudityin Minnesota: Dance, Criminal PublicIndecency and Evidence,” MinnesotaLaw and Politics Web Magazine (2004,www.lawandpolitics.com [click on MN& then web magazine]), “ApplyingAnthropological Methods in Dance/Movement Therapy Research,” in R.F.Cruz and C.R. Berrol, eds., Dance/Move-ment Therapists in Action: A WorkingGuide to Research Options (Charles C.Thomas Publishers, 2004), “To Tap intothe Meaning of Movement,” MovementNews (Laban/Bartenieff Institute ofMovement Studies), 29(1)(2004);“Taleh’s Solo Concert—Her KuchipudiGraduation,” Dancer (October 2004),“Dancing to Celebrate and HelpWomen,” Dancer (December 2004);“Social Dance,” “Dance Classes,” and“Performing Arts Audiences,” in G.S.Cross, ed., Encyclopedia of Recreationand Leisure in America (CharlesScribner’s Sons, 2004), “Cuban Danceon Street, Stage and Page,” Dance Crit-ics Association News (Fall 2004), “RastaThomas, Prodigal Son,” Dancer (Janu-ary 2005), “Dance and Religion (Over-view),” in L.J., ed., The Encyclopedia ofReligion (2nd edition) (Macmillan Co.,2005). Hanna served as an expert courtwitness in exotic (striptease) dance casesin which governments in North Caro-lina, Connecticut, New Jersey, Ohio,

California, and Florida wanted to in-fringe upon dancers’ freedom of ex-pression.

David G. Hebert (SEM member since1993) recently completed his Ph.D. inMusic under Patricia Shehan Campbellat the University of Washington, Seattle.His dissertation, sponsored by the Ja-pan Ministry of Education, was the firstethnography among participants in theworld’s largest music competition. Davidhas taught music courses for MoscowState University (Russia) and TokyoGakugei University (Japan), and cur-rently works in Auckland as Head ofMusic for New Zealand’s largest tertiaryinstitution, Te Wananga O Aotearoa.

The Indiana University Archives ofTraditional Music and the Archive ofWorld Music at Harvard University havebeen awarded a $348,441 grant fromthe National Endowment for the Hu-manities for a collaborative researchand development project designed tocreate best practices, examine existingbest practices and test emerging stan-dards in the digital preservation of criti-cally endangered archival audio record-ings. It is the second-largest grantamount among the NEH’s most recentawards for research and developmentprojects. The “Sound Directions: Digi-tal Preservation and Access for GlobalAudio Heritage” project will: (1) De-velop best practices and test emergingstandards for audio preservation in thedigital domain; (2) Produce digital au-dio preservation packages that areinteroperable-that can be exchangedand read by each other’s preservationrepositories; (3) Establish at each uni-versity digital audio preservation sys-tems that will enable this work to becarried into the future; (4) Preservecritically endangered, highly valuable,unique field recordings of extraordi-nary national interest. Project partnersinclude the Indiana University DigitalLibrary Program and the Office for In-formation Systems at Harvard Univer-sity. To learn more about the SoundDirections project, or to send us com-ments, please visit (Website) http://www.dl ib . indiana.edu/pro jects/sounddirections/.

Anne Dhu McLucas was honoredwith the Society for American MusicDistinguished Service Citation, given inrecognition of her “manifest, long-stand-ing, and deep commitment to bettering

our community of the lovers of Ameri-can music”

The graduate students at New YorkUniversity are making tracks in ethno-musicology. Eric Usner, Bill Boyer, anda critical mass of our other studentshosted a highly successful interdiscipli-nary graduate student conference en-titled Music, Performance, and RacialImaginations on March 4-5, 2005 (see[Website] http://www.nyu.edu/gsas/dept/music/mpri/). The featured key-note speakers were Professors DeborahWong (UC-Riverside) and PhilipBohlman (U of Chicago) and the chairs/discussants for this remarkable eventincluded Greg Tate, George Lewis,Sherrie Tucker, Juan Flores, Jason King,Deborah Kapchan, and MichaelBeckerman. In other news, JoyceHughes recently returned from her field-work studying bhangra in India fundedby a Fulbright-Hays Doctoral Disserta-tion Research Abroad Fellowship (2003-4) and is currently working towardscompleting her dissertation. MichaelBirenbaum-Quintero received aFulbright IIE Fellowship for dissertationfield research in Cali, Colombia and healso received the NYU President’s Ser-vice Award for bringing his colloborators,Grupo Naidy, to NYU for their first tourin the U.S. Thomas Brett received theShortell Holtzer Fellowship for disserta-tion writing (2004-5). Rachel Lears iscurrently participating in an intensiveprogram to learn video production tocomplement her interests in Latin Ameri-can music. Wynn Yamami performedtaiko drumming in the opening cer-emonies at the 2004 U.S. Open in Ten-nis. Daniel Neely received the Dean’sDissertation Fellowship and is well onhis way to completing a definitive eth-nography of Jamaican mento music.Melvin Butler will be defending hisdissertation on transnationalism inPentacostal music focusing on Haiti,Jamaica, and Brooklyn, New York. Wewant to congratulate Melvin on becom-ing the Thurgood Marshall DissertationFellow, a postdoctoral position atDartmouth College (2004-5). This fall,he will join the music faculty at theUniversity of Virginia as an AssistantProfessor.

Continued on page 10

8 SEM Newsletter

ObituaryDr. Kishibe Shigeo (1912-2005)

By Steven G. Nelson, Department ofJapanese, Hosei University, Tokyo

The pre-eminent Japanese scholarof East Asian music history, Dr. KishibeShigeo, passed away on January 4,2005, at the age of 92. Dr. Kishibe wasProfessor Emeritus of the University ofTokyo, and Honorary President of theToyo Ongaku Gakkai (Society for Re-search in Asiatic Music). In a careerspanning more than seven decades, Dr.Kishibe produced an enormous body ofwork that closely reflects the develop-ment of musicology in Japan during thistime, especially in the fields of Asianand Japanese music history.

Kishibe Shigeo was born in the KandaJinbôchô district of Tokyo on June 6,1912, as the sixth child and second sonof Kishibe Fukuo and his wife Kayo.Fukuo was an educator, the founder ofa well-known kindergarten, and a writerof children’s literature. The youngShigeo seems to have been first ex-posed to music as a singer of children’ssongs in his father’s stories and plays,making his first record and stage ap-pearance at the age of 9 (by traditionalAsian count), and his first radio appear-ance at the age of 14. At junior highschool, which under the pre-war sys-tem corresponded roughly to present-day senior high school, he was fasci-nated by Asian history. This fascinationwas fostered at Musashi Senior HighSchool, where he developed an interestin the study of history and its methods.It was also at this time that he first metthe senior scholar of Japanese and Asi-atic music history, Tanabe Hisao (1883–1984), and avidly read Tanabe’s Tôyôongakushi [History of Asiatic music,1930].

In April 1933, he entered the Divi-sion of Asiatic History of the Faculty ofLetters, Tokyo Imperial University (fore-runner of the post-war University ofTokyo), where he studied under IkeuchiHiroshi (1878–1952), a specialist inKorean and Manchurian history. Histwofold interest in Asiatic history andAsiatic music culminated in a graduatethesis on the modal systems of thepopular music (suyue) of the ChineseSui and Tang dynasties (late 6th to early10th centuries).

He graduated in1936, a year thatproved to be decisiveto him as a scholar.First, he publishedwhat he regarded ashis first academic pa-per, “Biwa no engen”[“The origin of the EastAsian lute”] in the re-spected journal of ar-chaeology, Kôkogakuzasshi. Second, to-gether with the writerand scholar of Islamicmusic history, IidaTadasumi (1898–1936), he proposedthe formation of a newacademic society forthe study of Asiaticmusic. This attractedthe support of Tanabe,Tanaka Shôhei (1862–1945), Hayashi Kenzô(1899–1976), TakiRyôichi (1904–83),and several otherscholars, and resultedin the founding in thesame year of the TôyôOngaku Gakkai (So-ciety for Research inAsiatic Music). Kish-

well as with more popular theatricaland instrumental forms, especially inChina. In 1941 he married Sasaki Yori,a Yamada-school koto and shamisenplayer with the professional nameMichiga, and their three children wereborn in the following four years. In1944 he published his first collection ofessays, Tôa ongaku shikô [Essays on thehistory of music in East Asia], and thewar ended in 1945, without him beingconscripted.

Although he had already taught atsenior high school from the early 1940s,and part-time as a lecturer in Asian andJapanese music history from the mid-1940s, it was not until July 1949 that hewas appointed to the position of Asso-ciate Professor at the Faculty of LiberalArts of the University of Tokyo. Heremained at this university for much ofhis career, reaching the rank of Profes-sor in 1961, and mandatory retirementin 1973. In June of the same year, hewas honored with the title of EmeritusProfessor. On retirement from the Uni-

ibe played an important role in activitiesof the Society from its inception, andpublished several articles and reports inits first issues. These and other earlypublications demonstrate both a solidcommand of the historical sources avail-able for research on the music of EastAsia—both documentary and icono-graphical in nature—and a strong aware-ness of the development of the field ofcomparative musicology in Europe, es-pecially Germany.

In the period leading up to andduring the Second World War, Kishibe’sresearch was supported by scholar-ships from the Imperial Academy andthe Keimei Foundation, which was thenactive in colonial research. He partici-pated in two research tours to the Asianmainland, the first to Korea (then aJapanese colony) in summer 1941 andthe second to China in summer 1943.On both tours he came in contact withsurviving elements of the ancient courttraditions of both countries, namely theaak of the Yi dynasty in Korea and theyayue of the Chinese Qing dynasty, as

Recent photograph of Dr. Kishibe by Takei Kôichi

SEM Newsletter 9

versity of Tokyo, he took up a post asProfessor at Teikyô University, a posi-tion he held until March 1994. Through-out this time, he lectured at many otheruniversities and music colleges in To-kyo and other parts of Japan, includingTôkyô Geijutsu Daigaku (Tokyo Na-tional University of Fine Arts and Music,1952–79), Sôai Women’s University (laterSôai University, Ôsaka, 1959–87), NiigataUniversity (intensive courses, 1965–84),Hirosaki University (intensive courses,1970–79), Waseda University (Tokyo,1973–82), and shorter times at manyothers. He also worked as a researchfellow at the Tokyo National ResearchInstitute of Cultural Properties (1952–65). It may not be too much to say thatthrough this broad teaching experiencehe has exerted a guiding influence onthe majority of Japanese scholars work-ing in the fields of Japanese and Asianmusic history.

It did not take long for Kishibe’sreputation to spread internationally af-ter he made his first trip to the UnitedStates in 1957–58. There he taught asVisiting Professor at UCLA, HarvardUniversity, and the University of Ha-waii, and in addition lectured at severaluniversities in the southern states. Whilein the United States, he attended his firstinternational conference, the annualgeneral meeting of the Society for Eth-nomusicology held in Chicago in De-cember 1957. He also lectured as Vis-iting Professor at the University of Wash-ington (Seattle) and Stanford Universityin 1962–63. On this trip he was accom-panied by his wife, who taught Yamada-school sôkyoku during the visit, and hischildren. Later, in 1973–74, he lecturedfor another semester at the University ofHawaii, where he was accompanied byhis daughter Momoyo, who is also anoutstanding koto and shamisen player.

In addition to these appointments asVisiting Professor, Kishibe held advi-sory positions with other overseas insti-tutions involved in music research, suchas the Berlin International Institute forComparative Music Studies and Docu-mentation (from 1964) and the Bombay(Mumbai) National Centre for the Per-forming Arts (from 1971). His profile asan international scholar in various world-wide scholarly networks, such as theInternational Folk Music Council (nowknown as the International Council forTraditional Music), the InternationalMusicological Society, the Society for

Ethnomusicology, brought with it anapprobation that culminated in 1986with his successful nomination for Mem-ber of Honour of the International Mu-sic Council, a truly rare feat for a musi-cologist.

Needless to say, his research andteaching have also been widely recog-nized in Japan. His two-volume studyof the music institutions of Tang-dy-nasty China, Tôdai ongaku no rekishitekikenkyû, Gakusei-hen [A historical studyof the music of the Tang dynasty: Musicinstitutions, 1960–61] was awarded theJapan Academy Prize in May 1961. Theexcellence of the work was also ac-knowledged by the University of To-kyo, which conferred the degree ofDoctor of Philosophy on him in Decem-ber of the same year. He served asPresident of the Tôyô Ongaku Gakkaiduring two periods, the first in 1978–80and the second in 1984–93. In 1982 hewas invested with the Japanese Orderof the Rising Sun, Third Class.

While Dr. Kishibe’s central researchtheme was the music culture of theChinese Tang dynasty, and his centralmethodology essentially historiographi-cal in nature, he also undertook field-work on the contemporary musical prac-tices of many regions in Asia, includingKorea, India, Iran, and the Philippines.In the post-war period, his fieldwork onChinese music tended to be limited toTaiwan, Hong Kong and Singapore untilthe early 1980s, when he made a num-ber of trips to mainland China, espe-cially the western areas of the countrythat are associated historically with Tangculture and the ancient Silk Road. WithinJapan, Dr. Kishibe undertook fieldworkon surviving traces of performance tra-ditions of historical significance, suchas the Tsukushi-goto tradition and thevariant Ikuta-school tradition of kotomusic of the Tsugaru region (Aomoriprefecture, northern Honshû). He alsostudied regional folk performing arts onmany occasions. From the early 1980’she has traveled extensively throughoutthe country in an untiring search forsurviving examples of the Chinese zitherqin, and records of those who playedthe instrument and passed down itstradition during the Edo (1603–1868)and modern periods. The results of thisquest can be seen in his last majorpublication, Edo jidai no kinshimonogatari [Tales of the qin players ofthe Edo period, 2000].

To his students, Dr. Kishibe alwaysstressed the importance of having prac-tical experience of performing the mu-sic that they were studying. Long be-fore there was any talk of “bimusicality”he himself was learning a variety ofgenres with origins in widely differinghistorical periods. He learned the mouth-organ shô and reed-pipe hichiriki of thegagaku ensemble in the pre-war years,the nôkan (nô flute) in the 1950s,nagauta over a span of many yearsfrom the 1940s, and the relatively minorshamisen-accompanied vocal genreitchû-bushi in the 1960s. He was alsoone of very few people who studied theChinese qin with Robert Hans van Gulik(1910–67). Moreover, his sympathy forperformance was stimulated in his ev-eryday life, in which he had constantcontact with performance at the highestlevel. His wife, an eminent performerof Yamada-school sôkyoku, assumedthe title of 2nd generation Fujii Chiyogain 1964. She in turn passed this title onto their daughter Momoyo (now 3rd

generation Fujii Chiyoga) on her retire-ment. Like Dr. Kishibe, his wife hasbeen recognized by the government,with the investiture of the Order of theSacred Treasure, Fourth Class, in 1992.Clearly there must have always been astrong sense of mutual respect andsupport for a single household to pro-duce a musicologist and musicians ofsuch distinction.

Dr. Kishibe is survived by his wife,three children, and two grandchildren.His two-volume study of the musicinstitutions of Tang China, Tôdai ongakuno rekishiteki kenkyû, Gakusei-hen [Ahistorical study of the music of the Tangdynasty: Music institutions, 1960–61]was issued in a reprint edition in Febru-ary 2005 by the Ôsaka publishing houseIzumi Shoin. A companion volume in-cluding many of his other importantarticles on Asian music history, Tôdaiongaku no rekishiteki kenkyû, Zokukan[A historical study of the music of theTang dynasty: Continued] is currentlyin press. This will include substantialcommentary in English. Inquiries shouldbe addressed to the publisher at (Email)izumisyo@silver.ocn.ne.jp.

10 SEM Newsletter

Conferences and Work-shopsAsian Music and Education

June 16-19, 2005, Seoul, Korea

The College of Korean Music atChung Ang University will host a con-ference and a series of workshops onAsian music and ethnomusicology.Workshops will be held from June 16-19, 2005 and the conference is schedulefrom June 17-19, 2005. The conferencethemes are: (1) Music of the Silk Road;(2) Present and Future in TeachingTraditional Music of Asian Cultures; (3)

Dale A. OlsenAwarded GuggenheimMemorial Fellowship

A Distinguished Research Professorof Ethnomusicology at Florida StateUniversity, Dale A. Olsen (Ph.D., 1973,UCLA) has been awarded a 2005—2006Guggenheim Memorial Fellowship forresearch in Vietnam and the completionof a book tentatively titled “Farewell tothe Past!”—Popular and Pop/Rock Mu-sic, Memory Politics and Willed Amne-sia in Vietnam. In his book Olsensuggests that memory politics and itsmany facets in Vietnam since reunifica-tion in 1975, and Vietnam’s doi moipolicy in 1986 and the country’s conse-quent embracing of capitalism, bothconcurrently influence, affect, and drivethe musical expressions and prefer-ences of Vietnam’s young people andthe Vietnamese music industry. Conse-quently, they affect the socialistgovernment’s and people’s attitudesabout music, aesthetics, and morals. Toprove his hypothesis, Olsen specificallylooks at the ways doi moi and capital-ism have affected and influenced themusic and musical lives of the Vietnam-ese youth in Hanoi, Ho Chi Minh City,and other Vietnamese urban areas. He

specifically focuses on the time periodfrom 1990 to 2005. As former Directorof FSU’s Vietnam International SummerProgram, Olsen spent the summers of2002 and 2004 in Vietnam. TheGuggenheim Memorial Fellowship willenable him to spend the summer of2005 and Spring semester 2006 in Hanoiand Ho Chi Minh City.

Olsen’s most recent book, The Chry-santhemum and the Song: Music,Memory, and Identity in the South Ameri-can Japanese Diaspora, was publishedin December 2004 by the UniversityPress of Florida. His 2002 book, Musicof El Dorado: The Ethnomusicology ofAncient South American Cultures, willbe available in a paperback edition inJune 2005 from the same press.

Brenda Romero (University of Colo-rado, Boulder) is the 2004 recipient ofSociety for American Music’s Sight andSound award. The award will subventDr. Romero’s work on a compact discthat recovers the early music of NewMexico, delineating through the songselections, an outline of the region’shistory beginning in 1598.

T.M. Scruggs presented the secondannual Lise Waxer Endowed Lecture atYork University, Toronto in November,2004. The talk was entitled “Music andCuba’s (Re)Insertion into a Corporate-dominated Global System.” The lecturewas broadcast on the university’s radiostation where Lise once hosted a worldmusic show.

Lisa Urkevich (American Universityof Kuwait) is completing her secondyear of Fulbright research in the Ara-bian Peninsula and will continue herwork as a Visiting Professor at theAmerican University of Kuwait.

Continued from page 7 Free Topics. For more information,please contact the host for this event:Professor Chun In-Pyong, College ofKorean Music, Chung Ang University,456-780 Anseong-si, Gyeonggi-do, Ko-rea; (Tel) +82.31.670.4728 or +82.2.401.2228; (Fax) +82.31.676.9232 or +81.11.9775.3459; (Email) peacemusic@gmail.com

3rd Korean Traditional MusicWorkshop for Overseas Musicolo-gists

June 13-July 2, 2005, Seoul, Korea

A tentative schedule for the work-shop is now available at (Website)www.kofo.or.kr (click on “Press Room”and select “Notice”). Please note that aninternational conference on Koreanmusic and dance will be held on July 1,2005 under the auspices of the Associa-tion of Korean Traditional Music, andworkshop participants are invited toattend the conference. For more infor-mation, please contact Ms Yong Eun-Jin, Program Officer, Culture and ArtsDepartment, Korea Foundation; (Tel)+82.2.3463.5615; (Fax) +82.2.3463.6075;(Email) ejyong@kf.or.kr.

The Atlanta History Center’s BlackWorld Music Series

September 16-17, 2005, Atlanta,Georgia

On September 16 – 17, 2005, theAtlanta History Center’s African Ameri-can Initiative will host its second BlackWorld Music Series program. This an-nual event celebrates the history andevolution of African music throughoutthe world. The Black World MusicSeries features panel discussions, a stu-dent forum, hands-on workshops,children’s activities, a documentary filmseries, food and arts vendors, and liveperformances that illustrate black music’ssignificant contributions to world cul-ture.

The Atlanta History Center is locatedon 33 acres in the heart of Atlanta’sBuckhead district and includes: one ofthe Southeast’s largest history muse-ums; a research library and archives thatannually serves more than 10,000patrons; two historic houses illustratingover a century of Atlanta’s history; atwo-acre midtown campus which housesthe Margaret Mitchell House & Mu-seum; and a series of gardens unique in

SEM Newsletter 11

Conferences Calendar2005Jun 13-17

The College Music Society In-ternational Conference. Uni-versity of Alcalá de Henares’sAula de Música, in Alcalá deHenares (Madrid), Spain. Formore information, please visit(Website) http://www.music.org

Jun 24-28Post-Colonial Distances: TheStudy of Popular Music inCanada and Australia. Memo-rial University, St. John’s, New-foundland. For more informa-tion, contact Beverley Diamond:(Email) bdiamond@mun.ca

Aug 3-938th International Council forTraditional Music WorldConference, University of Shef-field, UK. For more informa-tion, see (Website) www.ethnomusic.ucla.edu/ICTM/2005uk/ICTM%20Homepage.html

Aug 24-2821st European Seminar in Eth-nomusicology (ESEM). Uni-versity of Cologne, Germany.For more information, contactRuediger Schumacher, Univer-sitaet zu Koeln, Musikwissen-schaftliches Institut 50923,Koeln, Germany; (Tel) +49.221.470.2249 or 221.470.2339; (Fax)+49.221.470.4964; (Email)ruediger.schumacher@uni-koeln.de

Oct 19-23American Folklore Society An-nual Meeting. RenaissanceHotel, Atlanta, GA. For moreinformation, see (Website)http://afsnet.org/

Oct 27-30American Musicological Soci-ety Annual Meeting. OmniShoreham Hotel, Washington,DC. For more information, see(Website) http://www.ams-net.org/annual.html

Nov 17-21Society for Ethnomusicology50th Anniversary Meeting.Sheraton Midtown Atlanta atColony Square, Atlanta, Geor-gia. For more information,please visit (Website) http://www.ethnomusicology.org

Nov 19-22Middle East Studies Associa-tion Annual Meeting. MarriottWardman Park Hotel, Wash-ington, DC. For more informa-tion, see (Website) http://fp.arizona.edu/mesassoc/

Nov 30-Dec 4American Anthropological As-sociation 104th Annual Meet-ing. Marriott Wardman ParkHotel, Washington, DC. Formore information, see (Website)http://www.aaanet.org/mtgs/mtgs.htm

2006Mar 16-19

Joint conference of the Societyfor American Music and theCenter for Black Music Re-search. Chicago, Illinois. Formore information, see (Website)h t t p : / / w w w . a m e r i c a n -music.org/.

Apr 6-9Association for Asian StudiesAnnual Meeting. Marriott Ho-tel, San Francisco, CA. Formore information, see (Website)ht tp://www.aasianst .org/annmtg.htm

both design and horticultural presenta-tion in the metropolitan area.

For more information about the BlackWorld Music Series, please contact theprogram coordinator, Antoine Haywoodat (Tel) 404.814.4023. For additionalinformation about the Atlanta HistoryCenter, please visit (Website) www.atlantahistorycenter.com.

Items for sale at theSEM Business Office

• A Manual for Documentation,Fieldwork and Preservation forEthnomusicologists (2001) ToppFargion, Janet (ed.) $6.00 SEMmembers/$12.00 non-members

• Hugo Zemp Are’are Music andShaping Bamboo. Video tapeseries, 3 parts w/ study guide(1993). $49.95 SEM members/$69.95 non-members

• John Blacking’s Domba. Videotape series w/guide. $30.00 SEMmembers/$50.00 institutions andnon-members

• Ten-Year Journal Index Volumes21-30, 1977-86. $8.00

• Special Series No. 4, AndrewToth Recordings of the Tradi-tional Music of Bali and Lombok(1980). $15.00

• Special Series No. 6, RichardKeeling, ed. Women in NorthAmerican Indian Music: Six Es-says (1989) $10.00

• SEM ceramic mug (cobalt bluewith gold lettering) $6.50

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12 SEM Newsletter

SEM NewsletterThe Society for EthnomusicologyIndiana UniversityMorrison Hall 0051165 East 3rd StreetBloomington, IN 47405-3700

Volume 39, Number 3May 2005

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2006 (cont’d)Oct 18-22

American Folklore Society An-nual Meeting. Hyatt RegencyMilwaukee, Milwaukee, Wis-consin. For more information,see (Website) http://afsnet.org/

Nov 2-5American Musicological Soci-ety Annual Meeting. CenturyPlaza Hotel, Los Angeles, CA(jointly with the Society forMusic Theory). For more infor-mation, see (Website) http://www.ams-net.org/annual.html

Nov 14-19Society for EthnomusicologyAnnual Meeting. Honolulu,Hawai’i. For more information,please visit (Website) http://www.ethnomusicology.org

2007Mar 1-4

Joint conference of the Societyfor American Music and theMusic Library Association.Pittsburg, PA. For more infor-mation, see (Website) http://www.american-music.org/.

Mar 22-25Association for Asian StudiesAnnual Meeting. Marriott Ho-tel, Boston, MA. For moreinformation, see (Website)ht tp://www.aasianst .org/annmtg.htm

Nov 1-4American Musicological Soci-ety Annual Meeting. HiltonConvention Centre, QuebecCity, Canada. For more infor-mation, see (Website) http://www.ams-net.org/annual.htm