SEM Newsletter - c.ymcdn.com · Volume 40 Number 3 May 2006 SEM Newsletter Inside 1 Becoming Ethnomusicologists 1 Special Events at SEM 2006 Hawai‘i 3 Announcements 3 People & Places

Published by the Society for Ethnomusicology

Volume 40 Number 3 May 2006

SEM Newsletter

Inside1 Becoming Ethnomusicologists1 Special Events at SEM 2006 Hawai‘i3 Announcements3 People & Places3 Grants & Fellowships6 Encomium for Gerard Béhague10 Conferences Calendar

The following performances andworkshops are tentatively planned forour 2006 annual conference in Hawai‘i:

• International Shakuhachi Masters Con-cert, featuring Riley Lee and guests(Wednesday evening, November 15)

• Aunty Genoa Keawe at the Marriott(Thursday evening, November 16)

• Honoring our Elders: A Concert byHawai‘i’s National Heritage Fellows(Friday evening, November 17)

• Appreciating Hawaiian Movement:Hula Workshop for Ethnomusicolo-gists presented by Vicky HoltTakamine (date and time to be an-nounced)A graduate of Kame-

hameha Schools, Vicky HoltTakamine received her BA& MA in Dance Ethnologyfrom the University ofHawai‘i. In 1975, she gradu-ated as kumu hula (masterteacher of Hawaiian dance)through the ‘üniki rituals ofhula from Maiki Aiu Lake,and she is the founder andkumu hula of Pua Ali‘i‘Ilima, a school of tradi-tional Hawaiian dance. Inaddition, she teaches hulaat UH Manoa and LeewardCommunity College. Sheis an advocate for the pro-tection of native Hawaiianrights, the natural environ-ment of Hawai‘i and Ha-waiian cultural resources,and co-founded numerousorganizations that carry outthis mission. In 1997, sheco-founded ‘Ilio’ulaokalani,a coalition of traditionalpractitioners committed toprotecting their Hawaiiancustoms and traditions, andserves as the po’o (Presi-dent) and inspirationalleader of this organization.

• Solomon Islands Music and DancePerformance (Saturday evening, No-vember 18 at the banquet; see photoon page 12)

• The Dixie Hummingbirds in Concert(Sunday evening, November 19)For more information on the confer-

ence, please visit (website) http://www.indiana.edu/~semhome/2006/index.shtml.

Special Events at SEM 2006 Hawai‘i

Vicky Holt Takamine

Becoming Ethnomusi-cologistsBy Philip V. Bohlman, SEM President

With reflections on nationalism andmusic (page 4-5), I continue my columnon the critical issues we engage as webecome ethnomusicologists. Whereasmany scholarly disciplines put suchissues at arm’s length, treating them asif they were too extreme to belong totheir own contemplative practices, eth-nomusicologists encounter them wher-ever we look, not only in the propa-ganda of the nation-state, but also in thelistening practices of the everyday.

Nationalism shapes music-makingin ways we approve, even embrace, butit also reveals the ways in which musicacquires power and mediates power inways we must approach with criticalscrutiny.

As “Becoming Ethnomusicologists”unfolds as my regular contribution tothe SEM Newsletter, its path will passthrough more rather than fewer criticalissues of our discipline. The path wefollow as we become ethnomusicolo-gists is indeed very challenging, buttherein lies its rewards, for ourselvesand those journeying with us.

As we become ethnomusic-ologists, each of us recognizesthe ways in which we con-front nationalism as a con-dition and context for musicin our own world.

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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) [email protected](Website) www.emory.edu/Music

The SEM NewsletterThe SEM Newsletter is a vehicle for exchange

of ideas, news, and information among the Society’smembers. Readers’ contributions are welcome andshould be sent to the editor. See the guidelines forcontributions on this page.

The SEM Newsletter is published four timesannually, in January, March, May, and September,by the Society for Ethnomusicology. Inc., and isdistributed free to members of the Society.

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SEM MembershipThe object of the Society for Ethnomusicology

is the advancement of research and study in thefield of ethnomusicology, for which purpose allinterested persons, regardless of race, ethnicity,religion, gender, sexual orientation, or physical abil-ity are encouraged to become members. Its aimsinclude serving the membership and society at largethrough the dissemination of knowledge concern-ing the music of the world’s peoples. The Society,incorporated in the United States, has an interna-tional membership.

Members receive free copies of the journaland the newsletter and have the right to vote andparticipate in the activities of the Society. Life mem-bers receive free copies of all publications of theSociety. Institutional members receive the journaland the newsletter.Student (full-time only) (one year) ............. $30Individual/Emeritus (one year)

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*Donated membership for individuals and in-stitutions in soft-currency countries. Send spon-sorship letter with dues ($35) and postage (either$10 Surface rate or $25 airmail) to the SEM BusinessOffice.

Ethnomusicology: Back IssuesThe Society's journal, Ethnomusicology, is cur-

rently published three times a year. Back issuesare available through the SEM Business Office,Indiana University, Morrison Hall 005, 1165 East 3rd

Street, Bloomington, Indiana 47405-3700; (Tel)812.855.6672; (Fax) 812.855.6673; (Email)[email protected].

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To subscribe, address an e-mail mes-sage to: [email protected]. Leave the subject line blank. Typethe following message: SUBSCRIBE SEM-L yourfirstname yourlastname.

SEM Chapter Websites

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http://www.macsem.orgMid-West Chapter

http://www.wku.edu/midwestsem/Niagara Chapter

http://www.people.iup.edu/rahkonen/NiagaraSEM/NiagaraSEM.htm

Northeast Chapter

http://web.mit.edu/tgriffin/necsem/Southwest Chapter

http://www.u.arizona.edu/~sturman/SEMSW/SEMSWhome.html

Southern California Chapter

http://www.ucr.edu/ethnomus/semscc.html

Southeast-Caribbean Chapter

http://otto.cmr.fsu.edu/~cma/SEM/SEMSEC02.htm/

Ethnomusicology Sites

American Folklife Center

http://lcweb.loc.gov/folklife/

British Forum for Ethnomusicology

http://www.bfe.org.ukBritish Library National SoundArchive

International Music Collection:http://www.bl.uk/collections/sound-archive/imc.html

Catalog:http://cadensa.bl.uk

Ethnomusicology OnLine (EOL)

Free, peer-reviewed, multimedia Webjournal. For more information, pointyour browser to:

http://umbc.edu/eol (home site)EthnoFORUM, a.k.a. ERD (inactive)

Archive at: http://www.inform.umd.edu/EdRes/ReadingRoom/Newsletters/EthnoMusicology/International Council for Tradi-tional Music

http://www.ethnomusic.ucla.edu/ICTM

Iranian Musicology Group

http://groups.yahoo.com/group/iranian_musicology

Music & Anthropology

http://www.muspe.unibo.it/period/MAhttp://research.umbc.edu/eol/MA/index.htm

Society for American Music

www.American-Music.orgUCLA Ethnomusicology Archive

http://www.ethnomusic.ucla.edu/archive

SEM Newsletter 3

AnnouncementsEOL Editor Search

The Board of Directors of EOL (Eth-nomusicology Online) welcomes appli-cations for the position of Editor. EOL,published since 1995, is an indepen-dent, peer-reviewed multimedia jour-nal at (website) http://umbc.edu/eol.

The ideal candidate would be asenior scholar with editing and multi-media experience. Applications for thepositions of Review Editor, Webmaster,and Assistant Editor are also invited.Please send applications to Jeff Titon(email) [email protected].

Speaking of Music Wins MLAaward

The annotated bibliography Speak-ing of Music: Music Conferences, 1835-1966 has won the Music LibraryAssociation’s prestigious Vincent H.Duckles Award for the best music re-search tool published in 2004.

Speaking of Music documents over6,000 published papers on musical top-ics that were presented at 496 confer-ences held between 1835 and 1966.The book includes music-related itemsfrom conferences devoted to nonmusi-cal topics such as psychology or folk-lore, and it fully covers meetings de-voted exclusively to music. Each entryincludes a bibliographic citation andsummary; detailed indexes are orga-nized by topics and authors, as well asby conference locations and sponsors.Reflecting myriad currents of thoughtfrom the mid-nineteenth to the mid-twentieth century—the heyday of Ro-manticism, the advent of Modernism,the rise and fall of Marxism, and theemergence of multiculturalism, to namejust a few—the book provides a win-dow on intellectual history through theprism of music.

The award was presented at theMusic Library Association’s annual con-ference in Memphis, Tennessee. Theorganization, which celebrates its 75th

anniversary this year, is devoted tomusic librarianship and all aspects ofmusic in libraries. At the presentation ofthe award, Speaking of Music was de-scribed as “a bibliography that baresnew paths for the history of musicalscholarship as a field of study.”

Speaking of Music is published byRILM (Répertoire International deLittérature Musicale), a print and onlinedatabase that provides citations andabstracts for music-related writings pub-lished from 1967 to the present. Thebook, produced with the support froma generous grant by the Andrew W.Mellon Foundation, is part of RILM’songoing retrospective project, whichcovers publications issued before 1967.Thanks to a major grant from the Na-tional Endowment for the Humanities,work has just begun on the next volumein the retrospective series, which willcover Festschriften published before1967. Other recent RILM publicationsinclude How to Write about Music: TheRILM Manual of Style.

Webcast of Lecture by NorikoManabe

Noriko Manabe’s article “Globaliza-tion and Japanese Creativity: Adapta-tions of Japanese Language to Rap” wasrecently published in Ethnomusicology(vol. 50, no. 1, 2006:1-36). A webcast( h t t p : / /www.aa a r i . i n f o / 0 6 - 0 2 -03%20Manabe.htm) has been made outof her lecture on this subject at CUNY’sAsian American/Asian Research Insti-tute, which contains soundclips of ex-amples given in the article. The 45-minute long lecture has been dividedinto seven segments (correspondingpages in the journal article and musicalexamples given in each segment are inparentheses below):

(1) History of social context of Japaneserap (p. 1-5 in article)

(2) Problems of rhyming in Japanese;rappers’ rhyming techniques (p. 5-11; musical examples: Fig. 1, “Code0117”, p. 10; “RIP Slyme,” p. 11)

(3) Rhyming; Rhythmic issues (pp. 11-15; musical examples: “SlowLearner,” p. 11; “Laid in Japan,”p.12; “Uwasa no shinsou,” p. 13)

(4) Rhythmic techniques (p. 15-20; “Fightthe Power,” p. 16; “Ue o muitearukoo,” footnote 35; “StandbyTune,” p. 18; “Nai,” p. 20)

(5) Rhythmic techniques (pp. 20-26;“Shinjitsu no dangan,” p. 22; “Wel-come 2 My Room,” p. 25)

People & PlacesSvanibor Pettan (University of

Ljubljana, Slovenia) is Visiting AssociateProfessor at the University of Illinois atUrbana-Champaign for the Spring se-mester in 2006. He teaches two gradu-ate courses: Music of Minorities: Romaand Their Musical Worlds and Music inConflict Management: Issues in AppliedEthnomusicology. In Fall 2006 (Sep-tember 21-25), he will be hosting thesymposium “Ethnomusicology andEthnochoreology in Education: Issuesin Applied Scholarship” in conjunctionwith the ICTM’s Executive Board meet-ing at the Slovene Ethnographic Mu-seum in Ljubljana.

(6) Japaneseness in rap (pp. 26-30;“Kousha-the Latter,” p. 26-27; videoof interview with rap group SchaDara Parr)

(7) Summary, videoclip of undergroundclub performance

In addition to providing a summaryof the journal article, the webcast alsoincludes videoclips of interviews andperformances, and there are more ex-tensive handouts on the site.

Grants & FellowshipsAmerican Institute of IndianStudies Fellowship Competition2006-2007

The American Institute of IndianStudies is a cooperative, non-profit or-ganization of 52 American colleges anduniversities that supports the advance-ment of knowledge and understandingof India, its people, and culture.

Applications to conduct research inIndia may be made in the followingcategories:

Junior Research Fellowships. Avail-able to doctoral candidates at U.S. uni-versities in all fields of study. JuniorResearch Fellowships are specificallydesigned to enable doctoral candidatesto pursue their dissertation research inIndia, and to establish formal affiliationwith Indian universities and Indian re-search supervisors. Awards are avail-able for up to eleven months.

Continued on page 7

4 SEM Newsletter

At almost the same moment the Mayissue of the SEM Newsletter appears,one of the most spectacular displays ofnationalism and music will be takingplace in Athens: the 51st AnnualEurovision Song Contest. Staged eachMay in the country of the previousyear’s winner, the Eurovision SongContest—the “Eurovision” in com-mon parlance—is inseparable from na-tionalism in competitive and complexforms. A national entry finds its way tothe finals, the “Grand Prix,” in Mayafter a series of local, regional, andnational competitions, which differ fromcountry to country. At the Grand Prixitself, the winner is chosen by tallyingthe votes submitted by telephone call-ers to a committee at the national broad-casting company. Perhaps there is noother witness to the pervasive presenceof nationalism at the Eurovision than itshistory, which has consistently articu-lated and framed critical moments ofpolitical change in Europe, from theEast-West divide in the Cold War to theexpansion into Eastern Europe, theMediterranean, and beyond today, whenover forty countries compete. Thestakes, politically and musically, arevery high. Eurovision winners (andlosers) have embarked on the path tostardom, and political struggle, mostrecently Ukraine’s Orange Revolutionin 2005, has tied its fortunes, such asacceptance in the European Union, tothe Eurovision’s musical message.

petitive edge. New and old regionalalignments are struck, as Ireland andthe UK give each other the bulk of theirvotes, but so too do Turkey and Greece,or the countries of Southeastern Eu-rope. For nations with much to gain—since 2001, all winners have been in theeast of Europe, in one way or another—the politics of music are critical; forthose with little to gain—France, Ger-many, Spain, and the UK automaticallyreach the finals because of the financialpower of their broadcasting networks—the shift of musical politics has led to anaesthetic collapse.

Music and nationalism intersect inways both powerful and perplexing,and it is hardly surprising that ethnomu-sicologists have long felt themselvescompelled to unravel and understandthese ways. As we look at the history ofour field, the paradigmatic momentshave been marked by a concern for theformations of the nation-state and theirimpact on music. Herder’s theories offolk song (e.g., Herder 1773) accompa-nied the rise of Enlightenment national-ism no less than Rabindranath Tagore’sturn to song to fold Hindu and Bengalinationalism together a century and ahalf later (Bakhle 2005 explores othermodels of music in the shaping ofmodern Indian nationalism). From Fin-land to Indonesia musical fragmentsconjoined to give voice to the epics ofmodernity in the service of the nation-state (cf. Ramnarine 2003 and Weintraub2004). It is no less surprising thattheorists of nationalism—notable amongthem, Benedict Anderson—haveequated the performance of music withthose “unisonant” moments in whichthe nation performs itself (Anderson1991).

The institutions of ethnomusicologi-cal practice, in other words, academiesof science or universities dependent onpublic funding, not only connect ethno-musicologists to the nation, but alsopotentially transform them into actorsin the construction of the state itself.Ethnomusicologists have participatedin the collection of national repertories,the musical monuments to the nation.They argue for and against the mean-ings of authenticity and canon, for andagainst the musical evidence that sup-plies the narratives for national history.For ethnomusicologists, too, the stakesare high. As we become ethnomusi-cologists, each of us recognizes theways in which we confront nationalismas a condition and context for music inour own world.

In the post-colonial and post-ColdWar eras there has been an explosion ofinterest in and literature on nations andnationalism, and ethnomusicologists

Becoming EthnomusicologistsOn Nationalism: In Search of a Third Way

By Philip V. Bohlman, SEM President

...the shift of musical politicshas led to an aesthetic collapse.

There is, nonetheless, another sideto the overt presence of nationalism atthe Eurovision: It may be celebrated bysome, but it is disdained by others.Nationalism, so the criticism of com-mentators such as the BBC’s TerryWogan complain, cheapens the music,stripping it of those qualities necessaryto create internationally significant popu-lar song. Songwriters, arrangers, andperformers seemingly have license todo anything that will give them a com-

As in the Eurovision SongContest, competitive forcesembrace nationalism whenit is theirs, and they turnagainst it with vengeancewhen it is not.

The many responses to the presenceof nationalism in the Eurovision are buta microcosm of the contradictory waysin which music expresses the nation inthe twenty-first century. We all recog-nize the ways in which nationalismdemands a love-hate subject position inthe politics of our own era. We applaud“emerging nationalism” under theright circumstances, but reject it underthe wrong circumstances. Eastern Eu-ropean nationalism symbolized free-dom to the West during the Cold War,while it has become demonized by theWest when it slid into struggle over thespoils of the Cold War. South Americannationalism is celebrated in high places,until, as in the present turn toward moresocialist democracies, it follows some-one else’s rules. As religious nation-alism proliferates, so too does an ac-companying anxiety about the difficul-ties of containing it with political na-tionalism. As in the Eurovision SongContest, competitive forces embracenationalism when it is theirs, and theyturn against it with vengeance when itis not.

SEM Newsletter 5

have increasingly contributed substan-tially to it. In so doing, ethnomusicolo-gists have begun to depart from theprevious directions musical scholarsemploy to address national music.

Traditionally, scholars have arguedthat music mobilized the nation fromopposing positions. Historical musi-cologists have customarily concentratedon élite practices, tracing music’s im-pact on the nation from the top-down.As it emerged in the nineteenth century,musical nationalism both bolstered asense of cultural and political unique-ness, and presaged the brutality of worldwar and genocide in the twentieth cen-tury. Hardly any study of Germannationalism, for example, avoidsWagner, opera, and the conjunction ofthe two in competing narratives of mythand racism (see, e.g., the essays inApplegate and Potter 2002). Just asopera was a critical site for nationalism,so too was folk music, which becamethe prized domain of folk-song scholar-ship and comparative musicology. Folksong mobilized the nation no less pow-erfully than opera, but did so from thebottom-up. National repertories sym-bolized the ways in which historicalnarratives arose from past myth andresponded to the politics of modernity.Folk music, encountered in this way,realizes the nation as if it had alwaysalready existed, the product of a singlelanguage and religion, the reflection ofa stereotyped people frozen in time.The belief in the authenticity of suchnarratives easily translated into a beliefin the authority of the nation.

Ethnomusicologists seek a third wayto navigate the cartographic complexi-ties of music and nationalism. Ratherthan a bidirectionality determined bymovement between hierarchical socialstrata, the ethnomusicological way chartsa shifting landscape, in which musicaland national identities continuouslyfulfill multiple subject positions. Al-ready from its point of departure, thethird way disposes of the assumptionthat the nation-state is no more nor lessthan an invention of Western moder-nity. The nationalisms with which weconcern ourselves often take shape af-ter rejecting the teleology of Europeancolonialism or American imperialism.The music of such nationalisms, there-fore, may give voice to the powerlessand recognize the political legitimacy ofthe stateless. The multiple nationalismsof the third way do not simply abutpolitical borders, rather the musics thatmobilize them cross and dismantle bor-ders, undermining their ability to con-tain those denied the power of thenation. Along the third way, ethnomu-sicologists encounter musics that per-mit new forms of coexistence and na-tional hybridity, the very possibility thatreligious nationalism, rather than politi-cal nationalism, might be the commonculture of regional and linguistic mi-norities. The third way might trace theroutes that mobilize resistance to themost hegemonic and repressive formsof nationalism.

As we watch the 51st EurovisionSong Contest on May 18-20, the realityof multiple nationalisms in music willbe undeniable. There will be fans,scholars, and politicians alike who willwish it away. There will be those whodismiss nationalism because it amuses,and those who turn away because itprojects visions of the future that areunsettling. And, of course, there will bethose who would prefer that theEurovision just be about music. In thelargest popular-music competition inthe world, why isn’t it possible for thebest song to win, regardless of nationaland musical politics? Such persistentdesire to strip music of nationalismnotwithstanding, flags will fly in theAthens auditorium in which this year’scompetition is staged, and the finalvoting will reveal yet again the transfor-mation of the Old Europe to the New, ofthe old nations to the new. As ethno-

musicologists, however, we recognizethat the 51st Eurovision is not simply onemore product of unremitting national-ism. It is, instead, an ethnographicmoment through which various histo-ries and musical styles pass; theEurovision marks the transitions thatform from the confluence of multiplenationalisms. It is with those transitionsthat the third way now begins.

Works Cited

Anderson, Benedict. 1991. ImaginedCommunities: Reflections on the Ori-gins and Spread of Nationalism. 2nd

ed. London: Verso.

Applegate, Celia, and Pamela M. Potter,eds. 2002. Music and German Na-tionalism. Chicago: University ofChicago Press.

Bakhle, Janaki. 2005. Two Men andMusic: Nationalism in the Making ofan Indian Classical Tradition. NewYork: Oxford University Press.

Herder, Johann Gottfried. 1773. Vondeutscher Art und Kunst. Hamburg:Bode.

Ramnarine, Tina K. 2003. Ilmatar’sInspirations: Nationalism, Globaliza-tion, and the Changing Soundscapesof Finnish Folk Music. Chicago: Uni-versity of Chicago Press.

Weintraub, Andrew N. 2004. PowerPlays: Wayang Golek Puppet Theaterof West Java. Athens: Ohio UniversityResearch in International Studies;Singapore: Institute of Southeast AsianStudies.

Ethnomusicologists seek athird way to navigate thecartographic complexities ofmusic and nationalism.

Along the third way, ethno-musicologists encounter mu-sics that permit new forms ofcoexistence and national hy-bridity, the very possibilitythat religious nationalism,rather than political nation-alism, might be the commonculture of regional and lin-guistic minorities.

6 SEM Newsletter

Gerard BéhagueBy Donna A. Buchanan, University ofIllinois at Urbana-Champaign

Our Society, Latin American studies,and the University of Texas at Austinlost one of its most powerful and vi-brant presences when Gerard HenriBéhague left us on June 13, 2005 after afierce, year-long battle with lung can-cer. Optimistic, confident, vigorousand urbane until the last days of his life,the tenacity and determination withwhich he combated this disease werenot unlike the indomitable spirit thatcharacterized his teaching and scholar-ship throughout his career. A pioneerin the ethnomusicological study of SouthAmerican traditional and art musics,popular music, and in formulating an“ethnography of performance” approachto the study of ritual and other musicaloccasions, Dr. Béhague’s academic ac-complishments and contributions to ourdiscipline are epic in stature: AssociateEditor of the Yearbook for Inter-Ameri-can Musical Research from 1969–77;Editor of the Ethnomusicology jour-nal,1974–78; founder and editor of therenowned Latin American Music Re-view from its inception in 1980; SEMPresident, 1979–81; a member of theBrazilian Academy of Music; the firstnon-Brazilian to be awarded the title ofCommander of the Order of Rio Brancofor his contribution to cultural studies inthat country; holder of two prestigiousendowed chairs at the University ofTexas; and chairman of the Departmentof Music there between 1980 and 1989.

Dr. Béhague’s life was as cosmo-politan as his scholarship. Born inMontpellier, France on November 2,1937, he spent his youth in Rio deJaneiro, where he undertook his initialmusical training in piano, composition,and music theory at the University ofBrazil’s National School of Music andthe Brazilian Conservatory of Music. Hethen completed the equivalent of aMaster’s diploma in Musicology at theSorbonne in Paris, before returning tothe Americas to pursue doctoral work inthe same field with the renowned Gil-

bert Chase at Tulane University, NewOrleans, receiving his Ph.D. in 1966with a specialization in Latin Americanmusic.

As an immigrant himself, he seemedparticularly attuned to questions of iden-tity formation and socio-cultural change,especially as they pertained to the trans-Atlantic interplay of ethnic musical in-fluences in American expressive forms.Indeed, his dissertation, “Popular MusicCurrents in the Art Music of the EarlyNationalistic Period in Brazil, circa 1870–1920,” marked the beginning of a life-long engagement with discourses ofpopular culture, nationalism, ethnicity,and identity across the Andean region,Brazil, and the Caribbean. One of theworld’s foremost experts in the musicand choreography of Afro-Braziliancandomblé, among his most influentialpublications are the singular textbook,Music in Latin America: An Introduc-tion (Englewood Cliffs, NJ: Prentice-Hall, 1979), the award-winning mono-graph Heitor Villa-Lobos: The Search forBrazil’s Musical Soul (Austin, TX: Uni-versity of Texas Press, 1994), and twoedited collections, Music and BlackEthnicity: The Caribbean and SouthAmerica (New Brunswick, NJ: Transac-tion Publishers, 1994) and PerformancePractice: Ethnomusicological Perspec-tives (Westport, Conn.: GreenwoodPress, 1984), whose introduction re-mains one of the most cogent state-ments on the performance ethnographymethodology as espoused by the so-

called “Texas Folklore School.” Fluentin French, Portuguese, Spanish, andEnglish, he read broadly across theliterature, and his own publications wereoften multicultural initiatives directed,in part, at bringing the research ofinternational scholars to the attention oftheir North American colleagues. TheLatin American Music Review, in par-ticular, whose groundbreaking tri-lin-gual format remains a unique forum forintercultural exchange, greatly facili-tated communication between LatinAmerican music specialists worldwide.

Perhaps Gerard’s most extraordinaryachievement, however, was thementoring of his graduate students, theresults of which now occupy academicposts all over the U.S. and beyond, andtogether comprise a substantive pres-ence within ethnomusicology and re-lated disciplines.

When I saw him in May, a few weeksbefore his death, at a surprise party inhis honor attended by about forty of hiscurrent and former advisees, one of thefirst things he expressed to me was hisconcern for his students. Despite hisincreasingly ill health, he was still de-voted to engaging with his manyadvisees regularly—they were clearlyvery much on his mind. This wastypical; even when most beleagueredby administrative duties, which wasthroughout much of the decade in whichI studied with him, Gerard showed usrepeatedly that we, his students, werehis principal commitment. The intellec-tual sparring matches that characterizedmy many independent studies with himwere fundamental to my professionaldevelopment, for they taught me howto think, analytically and interpretively,around and beneath the edges of ap-pearances; how to challenge the statusquo; and how to formulate probing,perspicacious questions. A brillianteditor, his razor-sharp intellect coulddetect the smallest contradiction, thetiniest breach of logic in one’s reason-ing. Even now, the incisive criticalvoice that sounds in my head as I writesometimes takes on the persona of apetite, energetic and debonair man with

SEM Honorary Member

SEM Newsletter 7

graying hair and glasses, pipe and brief-case in hand, and the model that heprovided (perhaps minus the pipe andbriefcase) is one that I have tried toemulate in my own teaching.

Once, while still a Master’s student,at one of the very first SEM conferencesI attended, I encountered Dr. Béhaguein the corridor as I tried to slip out of theproceedings between the Seeger Lec-ture and the General Business Meeting(at that time the business meeting usu-ally followed the lecture, rather than theother way around.) “Donna, where areyou going?” he asked me with seemingastonishment. “Aren’t you staying forthe Business Meeting?” When I de-murred, muttering something about“long” and “unbelievably boring,” helaughingly responded, “Why? This isthe most important and exciting part ofthe conference—THIS is the Society!This is where everything happens!”

Gerard Béhague loved ethnomusi-cology, and he truly loved this Society,business meeting and all. The immensejoy that he took from his profession wasperhaps only matched by his passionfor ice cream, his keen prowess on thesquash court, and his extraordinary zealand ability on the dance floor. At the2003 SEM meeting, when I asked him,with a Festschrift in the back of mymind, if he had given any thought toretiring, he looked genuinely takenaback. “No,” he replied simply, “Whyshould I? I love what I do.”

On November 2, just two weeksbefore the gala 2005 meeting, GerardBéhague would have turned 68. Thusit seems particularly fitting that thisHonorary Membership, a well-deservedbelated birthday memorial that I believewould have meant a great deal to him,was conferred at our annual confer-ence, among his peers, and in the 50th

anniversary year of the Society to whichhe dedicated his intellectual life.

Note from the author: My sincere thanksto Deborah Schwartz and Tom Turinofor their valuable commentary on thisessay.

Senior Research Fellowships. Avail-able to scholars who hold the Ph.D. orits equivalent. Non-U.S. citizens arewelcome to apply if they are teachingfull-time at U.S. colleges and universi-ties. Senior Fellowships are designedto enable scholars in all disciplines whospecialize in South Asia to pursue fur-ther research in India, and establishformal affiliation with an Indian institu-tion. Short-term awards are availablefor up to four months. Long-term awardsare available for six to nine months. Alimited number of humanists will begranted fellowships paid in dollarsfunded by the National Endowment forthe Humanities.

Senior Scholarly/Professional Devel-opment Fellowships. Available to es-tablished scholars who have not previ-ously specialized in Indian studies andto established professionals who havenot previously worked or studied inIndia. Senior Scholarly/ProfessionalDevelopment Fellows are formally af-filiated with an Indian institution.Awards may be granted for periods ofsix to nine months.

Senior Performing and Creative ArtsFellowships. Available to accomplishedpractitioners of the performing arts ofIndia and creative artists who demon-strate that study in India would enhancetheir skills, develop their capabilities toteach or perform in the U.S., enhanceAmerican involvement with India’s ar-tistic traditions, and strengthen theirlinks with peers in India. Awards willnormally be for periods of up to fourmonths, although proposals for periodsof up to nine months can be consid-ered.

Fellowships for U.S. citizens arefunded by the National Endowment forthe Humanities (also available to per-manent residents); the Bureau of Edu-cational and Cultural Affairs of the UnitedStates State Department and the Councilof American Overseas Research Centersunder the Fulbright-Hays Act of 1961, asamended; and the Smithsonian Institu-tion. Some fellowships for non-U.S.citizens and artists can be funded fromthe AIIS Rupee Endowment in India.Fellowships for six months or more mayinclude limited coverage for depen-dents.

The deadline for application is July1, 2005. For application and furtherinformation, please contact AmericanInstitute of Indian Studies, 1130 East 59th

Street, Chicago, Illinois 60637; (tel)773.702.8638; (email) [email protected]; (website) www.indiastudies.org.

Rockefeller Foundation BellagioStudy and Conference Center

Throughout its history, the Rock-efeller Foundation has supportedwomen and men who advance knowl-edge in an effort to explain and addressthe root causes of suffering and in-equality, and to foster improved liveli-hoods through support for artistic, so-cial and cultural expressions. Equallyimportant, the focus of the Foundation’swork is global, both in its application ofknowledge and in support of thoseseeking to improve economic and so-cial well-being.

The Bellagio Study and ConferenceCenter gives such aspirations a home.The Center offers two programs—theindividual residency program and theconference and team program—thatencourage critical thinking and creativeresponses to some of the most pressingissues of our time. Each year, theFoundation welcomes approximately140 residents and 50 conferences to theCenter.

The individual residency offers schol-ars, artists, writers, musicians, scientists,policymakers, and development pro-fessionals from around the world anopportunity to pursue ideas and engageothers in their work. Freed from day-to-day demands, participants in the resi-dency program have the time and spacenecessary to think, write and create.

The conference and team programprovides organizations and networkswith “convening power,” the ability tobring together individuals for intenseperiods of discussion, debate, and col-laboration around significant issues andproblems within a given field or acrossdisciplines. It is this atmosphere ofshared intellectual inquiry and delib-eration that generates breakthroughideas and innovative strategies.

Deadline for applications must bepostmarked by August 1, 2006. Formore information, please visit (website)http://www.rockfound.org/AboutUs/SpecialPrograms/Bellagio.

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Fulbright Scholar Program

The traditional Fulbright ScholarProgram sends 800 U.S. faculty andprofessionals abroad each year. Grant-ees lecture and conduct research in awide variety of academic and profes-sional fields. The Fulbright Program issponsored by the United States Depart-ment of State, Bureau of Educationaland Cultural Affairs. Under a coopera-tive agreement with the Bureau, theCouncil for International Exchange ofScholars (CIES) assists in the adminis-tration of the Fulbright Scholar Programfor faculty and professionals. Deadlinefor applications: August 1, 2006. Formore information, please visit (website)http://www.cies.org/us_scholars/us_awards or write to Council for Inter-national Exchange of Scholars, 3007Tilden Street, NW, Suite 5L, Washing-ton, DC 20008-3009; (tel) 202.686.4000(Email) [email protected]

Wenner-Gren Foundation forAnthropological Research Indi-vidual Research Grants

Grants for amounts up to $25,000 forDissertation Fieldwork and Post-Ph.D.Grants, and $40,000 for the RichardCarley Hunt Postdoctoral Fellowshipsare available for basic research in allbranches of anthropology. Dissertationand Post-Ph.D. grants are made to seedinnovative approaches and ideas, tocover specific expenses or phases of aproject, and/or to encourage aid fromother funding agencies. The RichardCarley Hunt Postdoctoral Fellowshipsare given to aid the write-up of researchresults for publication. The foundationparticularly invites projects employingcomparative perspectives or integratingtwo or more subfields of anthropology.Grants cover research expenses directlyrelated and essential to the project (i.e.,travel, living expenses during fieldwork,equipment, supplies, research assis-tance, and other relevant expenditures).Aid is not provided for salary and/orfringe benefits of applicant, tuition, non-project personnel, travel to meetings,institutional overhead, or institutionalsupport. Low priority is given to disser-tation write-up or other support forwriting (except under the Hunt Fellow-

ship), publication assistance, and filmor video-making (unless inherent to theresearch project). Expenses incurredprior to the effective date of an awardwill not be covered. There are twodeadlines each year, May 1st and No-vember 1st. Under the November 1st

deadline, funding will be available thefollowing July 1st. Applicants shouldmeet the most appropriate deadline fortheir research plans. A formal applica-tion must be submitted. Those inter-ested in receiving an application cancontact the foundation to have the ap-propriate forms mailed to them, or (ifthey know their eligibility) individualscan download the forms directly from(website) http://www.wennergren.org/programsirg.asp. Please note that ap-plication forms have been revised; formsdated prior to year 2005 cannot beaccepted. For more information, pleasecontact Wenner-Gren Foundation, 470Park Avenue South, 8th Floor, New York,NY 10016-6819; (tel) 212.683.5000; (fax)212.683.9151

International Dissertation FieldResearch Fellowships

The International Dissertation FieldResearch Fellowship (IDRF) programprovides support for social scientistsand humanists conducting dissertationfield research in all areas and regions ofthe world. The program is administeredby the Social Science Research Councilin partnership with the American Coun-cil of Learned Societies. Funds areprovided by the Andrew W. MellonFoundation.

The IDRF awards enable doctoralcandidates of proven achievement andoutstanding potential to use their knowl-edge of distinctive cultures, societies,languages, economies, polities, and his-tories, in combination with their disci-plinary training, to address issues thattranscend their disciplines or area spe-cializations. The program supportsscholarship that treats place and settingin relation to broader phenomena aswell as in particular historical and cul-tural contexts.

Standard fellowships will providesupport for nine to twelve months in thefield, plus travel expenses. Individualawards will be approximately $20,000.In some cases, the candidate may pro-pose fewer than nine months of over-seas fieldwork, but no award will be

given for fewer than six months. Dead-line for applications are normally in theFall (November). For more informa-tion, please visit (website) http://www.ssrc.org/programs/idrf/ or writeto Social Science Research Council, 810Seventh Avenue, New York, NY 10019;(tel) 212.377.2700; (fax) 212.377.2727;(email) [email protected].

ACLS Fellowships Program

The American Council of LearnedSocieties (ACLS) invites research appli-cations in all disciplines of the humani-ties and humanities-related social sci-ences. Appropriate fields of specializa-tion include but are not limited to:anthropology, archaeology, art and ar-chitectural history, economic history,film, geography, history, languages andliteratures, legal studies, linguistics,musicology, philosophy, political sci-ence, psychology, religion, rhetoric andcommunication, sociology, and theaterstudies. Proposals in the social sciencefields listed above are eligible only ifthey employ predominantly humanisticapproaches (e.g., economic history, lawand literature, political philosophy).Proposals in interdisciplinary and cross-disciplinary studies are welcome, as areproposals focused on any geographicregion or on any cultural or linguisticgroup. The ultimate goal of the projectshould be a major piece of scholarlywork by the applicant that will take theform of a monograph or other equallysubstantial form of scholarship. ACLSdoes not fund creative work (e.g., nov-els or films), textbooks, straightforwardtranslation, or pedagogical projects.

ACLS Fellowship

ACLS Fellowships are intended assalary replacement to help scholarsdevote six to twelve continuous monthsto full-time research and writing. AnACLS Fellowship may be held concur-rently with other fellowships and grantsand any sabbatical pay, up to an amountequal to the candidate’s current aca-demic year salary.

The Fellowship stipend is set atthree levels based on academic rank: upto $30,000 for Assistant Professor andcareer equivalent; up to $40,000 forAssociate Professor and career equiva-lent; and up to $50,000 for full Professor

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and career equivalent. ACLS will deter-mine the level based on the candidate’srank or career status as of the applica-tion deadline date. Approximately 20fellowships will be available at eachlevel.

ACLS/SSRC/NEH International andArea Studies Fellowships

In order to encourage humanisticresearch in area studies, special fundingby the National Endowment for theHumanities and the ACLS has been setaside for up to ten ACLS/SSRC/NEHInternational and Area Studies Fellow-ships to be designated among the suc-cessful applicants to the central ACLSFellowship competition. Scholars pur-suing research and writing on the soci-eties and cultures of Asia, Africa, theMiddle East, Latin America and theCaribbean, Eastern Europe, and theformer Soviet Union will be eligible forthese special fellowships.

Application must be made to theACLS Fellowship Program and all re-quirements and provisions of that pro-gram must be met, with the additionsthat an International and Area StudiesFellow must be either a U.S. citizen or apermanent resident who has lived inthe U.S. continuously for at least threeyears by the application deadline, andmust submit a final report to both NEHand ACLS. Designation of the ACLS/SSRC/NEH International and Area Stud-ies Fellows will be made by the ACLS.Deadline for applications is normally inthe Fall (September). For more infor-mation, please visit (website) http://www.acls.org/felguide.htm.

Charles A. Ryskamp Research Fellow-ships

The Charles A. Ryskamp ResearchFellowships support advanced assistantprofessors and untenured associate pro-fessors in the humanities and relatedsocial sciences whose scholarly contri-butions have advanced their fields andwho have well designed and carefullydeveloped plans for new research. Thefellowships are intended to providetime and resources to enable thesefaculty members to conduct their re-search under optimal conditions.

Ryskamp Fellowships are intendedto support an academic year of research(nine months), plus an additionalsummer’s research (two months) if jus-

tified. Fellows have three years to usethe funds awarded them, and consider-able flexibility in structuring their re-search time: the nine-month period maybe taken as one continuous leave, ordivided into two single-semester leaves;the two months of summer researchmay be taken before, after, or betweenthe semesters of the year’s leave. Fel-lows are permitted and indeed encour-aged to spend substantial periods oftheir leaves in residential interdiscipli-nary centers, research libraries, or otherscholarly archives in the United Statesor abroad. If personal circumstancespreclude extended absence from theirhome campuses, applicants need todemonstrate that they will be releasedfrom all academic and administrativeresponsibilities, and that continual resi-dence at home will successfully ad-vance their projects in other ways—through access to particular colleagues,for example, or to valuable researchcollections.

Applicants must hold the Ph.D. orequivalent and be employed in tenure-track positions at degree-granting aca-demic institutions in the US, remainingso for the duration of the fellowship.U.S. citizenship or permanent residencyis not required, and previous supportedresearch leaves do not affect eligibilityfor the Ryskamp Fellowship. Deadlinefor application is normally in the Fall(September). For more information,please visit (website) http://acls.org/rysguide.htm

Frederick Burkhardt ResidentialFellowships for Recently TenuredScholars

The Frederick Burkhardt ResidentialFellowships support long-term, unusu-ally ambitious projects in the humani-ties and related social sciences.Burkhardt Fellowships are intended tosupport an academic year (normallynine months) of residence at any one ofthe national residential research centersparticipating in the program. Such anenvironment, beyond providing freetime, encourages exchanges across dis-ciplinary lines that can be especiallyhelpful to deepening and expandingthe significance of projects in the hu-manities and related social sciences.

The Burkhardt Fellowship Programis open to recently tenured humanists.An applicant must be employed in a

tenured position at a degree-grantingacademic institution in the U.S., remain-ing so for the duration of the fellowship.U.S. citizenship or permanent residencyis not required, and previous supportedresearch leaves do not affect eligibilityfor the Burkhardt Fellowship.

Applications are invited that extendthe frame within which research isplanned in ways that will encourageconceptualizing and bringing to comple-tion projects of wide scope and highsignificance.

Proposals should show evidence ofsignificant preliminary work alreadycompleted, and a plan of work, typi-cally in the five-year range, to be carriedout. Assurance will be required fromthe administrative leadership of thescholar’s home institution (Dean, Pro-vost, President, or other appropriateperson) that the applicant is an espe-cially promising member of its humani-ties faculty, and that the institution isprepared to make its own contribu-tions—beyond providing normal fringebenefits during the fellowship year—toassist the scholar in bringing the projectto completion.

Deadline for application is normallyin the Fall (September). For moreinformation and a list of participatingresidential research centers, please visit(website) http://acls.org/burkguide.htmor write to American Council of LearnedSocieties, 633 Third Avenue, New York,NY 10017-6795; (tel) 212.697.1505; (fax)212.949.8058.

The Leverhulme Trust ResearchFellowships

Fellowships are intended to supportexperienced researchers, particularlythose who are or have been preventedby routine duties from completing aprogram of original research. The Fel-lowship is open to all fields for researchperiods between 3 and 24 months, andprovides research expenses over andabove normal living costs and/or acontribution towards reasonable re-placement teaching costs or loss ofearnings. Applicants should be resi-dent in the United Kingdom. The nextround of competition will open in Sep-tember 2006 with a closing date in mid-November 2006. For more information,visit (website) http://www.leverhulme.org.uk/grants_awards/grants/research_fellowships/.

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Conferences Calendar2006

Aug 25-Sep 1ICTM Study Group Music andMinorities meeting. HotelHorizont-Golden Sands, Varna,Bulgaria. For information,please visit (website) http://www.ethnomusic.ucla.edu/ICTM.

Oct 18-22American 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, Cali-fornia (jointly with the Societyfor Music Theory). For moreinformation, see (website) http://www.ams-net.org/

Nov 14-19Society for EthnomusicologyAnnual Meeting. Honolulu,Hawai‘i. For more information,please visit (website) http://www.indiana.edu/~semhome/2006/index.shtml.

Nov 15-19105th Annual Meeting of theAmerican Anthropological As-sociation. San Jose ConventionCenter, San Jose, California. Formore information, see (website)http://www.aaanet.org

Nov 19-21The ICTM Study Group on theMusics of Oceania (SGMO).University of Hawai‘i. Begin-ning immediately after the SEMconference, the SGMO meet-ing focuses on “Pacific Strings”and recent Pacific research. Formore information, please con-tact Raymond Ammann (email)[email protected] Jane Moulin (email) [email protected].

2007

Mar 1-4Joint conference of the Societyfor American Music and theMusic Library Association.Pittsburg, Pennsylvania. Formore information, see (website)h t t p : / / w w w . a m e r i c a n -music.org/.

Mar 22-25Association for Asian StudiesAnnual Meeting. Marriott Ho-tel, Boston, Massachusetts. Formore information, see (website)http://www.aasianst.org/

July 4-1139th World Conference of theInternational Council for Tradi-tional Music. Vienna, Austria.For information, see (website)http://www.ictm2007.at/

Oct 17-21American Folklore Society An-nual Meeting. Hilton Québec,Québec City, Canada (jointlywith the Folklore Studies Asso-ciation of Canada). For moreinformation, visit (website)http://afsnet.org/

Nov 1-4American Musicological Soci-ety Annual Meeting. QuébecConvention Centre/HiltonQuébec, Québec City, Canada.For more information, see(website) http://www.ams-net.org/

2008

Oct 22-25American Folklore Society An-nual Meeting. Hyatt RegencyLouisville, Louisville, Kentucky.For more information, see(website) http://afsnet.org/

Nov 6-9American Musicological Soci-ety Annual Meeting. Renais-sance Nashville Hotel, Nash-ville, Tennessee. For more in-formation, see (website) http://www.ams-net.org/

Alvin H. Johnson AMS 50 Disserta-tion Fellowships

The American Musicological Society(AMS) makes available four disserta-tion-year fellowships each year. Any-one who is registered in good standingfor a doctorate at a North Americanuniversity, and has completed all formaldegree requirements except the disser-tation at the time of full application, iseligible to apply. AMS awards are notintended for support of early stages ofresearch: it is expected that a fellowshiprecipient’s dissertation will be com-pleted within the fellowship year. Anysubmission for a doctoral degree inwhich the emphasis is on musical schol-arship will be eligible.

The AMS President, with confirma-tion by the Board of Directors, main-tains a fellowship committee of at leastfifteen respected musicologists fromwhom three judges, through a system ofrotation and replacement, are chosenby the chair of the committee in any oneyear. Although the membership of theFellowship Committee will be madepublic (and is widely representative offields of study), the individual judgesfor the competition in any one year arenot identified. Application must besubmitted online via the AMS website.

The Alvin H. Johnson AMS 50 Fel-lowships are awarded solely on thebasis of academic merit. Winners re-ceive a twelve-month stipend, currentlyset at $16,000. Fellows may elect toaccept the award on an honorary orpartly honorary basis (thus freeing scarceresources for others). The fellowshipsare intended for full-time study. Anequivalent major award from anothersource may not normally be held con-currently or consecutively unless theAMS award is accepted on an honorarybasis. Fellowhips are for one year andare not deferrable or renewable. Thereare no provisions for the payment oftuition: it is hoped that graduate schoolswill provide tuition fellowships or waiv-ers. The winners are selected in theSpring, announced in the Summer issueof the AMS Newsletter, and given for-mal recognition at the Annual Meetingand Awards Presentation of the Society.Deadline for application: January 15,2007. For more information, please visit(website) http://www.ams-net.org/ams50.html.

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12 SEM Newsletter

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

Volume 40, Number 3May 2006

Non-Profit OrganizationU.S Postage

PAIDBloomington, Indiana

Permit No. 2

Youth of the SolomonIslands was one of themost impressive groupsat the 2004 Festival ofPacific Arts, held in Palau.A similar group willperform as part of SEMbanquet on November 18,2006 (Photo by WilliamFeltz, East-West Center)