SOCIETYFORETHNOMUSICOLOGYProgramandAbstracts

FRIDAY,March23rd SESSION1:Soundscapes&Environments12:00–2:00p.m(Room137)

NateAsh-Morgan(UniversityofNorthTexas)“TheAcoustemologyofMadina:AReflectionontheSonicSignalsofaSoundscape”

KelseyFuller(UniversityofColoradoatBoulder)“SeeingisBelieving:SámiPoliticalandEnvironmentalActivisminPopularMusicVideos”

ReganHomeyer(UniversityofNewMexico,Albuquerque) "SoundingtheNile:HamzaElDinas‘EthnographicEar’"

DanKruse,MatthewMugmonandBradStory(UniversityofArizona) “Soundscape:TheUA’sRemarkableChimesandEchoes”

SESSION2:RegionalStudiesoftheSouthwestU.S.&Mexico2:15–4:15p.m.(Room137)

AdrienneAlton-Gust(UniversityofChicago)“’Todosmemiran’:DragPerformanceinUndocumentedLGBTQMigrantSpaces”

SalvadorHernandez,Jr.(UniversityofFlorida)“SongsofImmortality:ExploringtheRoleofDeathinMusic”

TeresitaLozano(UniversityofColoradoatBoulder)“TheHolyCoyote:GhostSmugglingCorridosandtheUndocumentedMigrantExperience”

RenataYazzie(UniversityofNewMexico)“IndigenizingArtMusic:AnAnalysisofConnorChee’sNavajoVocablesforPiano”

SESSION3:Transmission,Change,&Diffusion4:30–6:30p.m.(Room137)

BenjaminCefkin(UniversityofColoradoatBoulder)“PlengDiaw:TeachingVirtuosityandCulturalValueThroughThaiMusic’s‘SoloRepertoire’”

RichardMiller(UniversityofNevada,LasVegas)“TranscribingtheNoworTranscribingtheHistory?Understandingthe1928MinzokuGeijutsuDebate”

TachineePatarateeranon(UniversityofNorthernColorado) “OrganologyintheIconographyoftheRamayanaEpicandInstrumentsattheCourtsofSoutheastAsia”

GolrizShayani(UniversityofNorthernColorado)"NoOneWantstoListentoUs:TheChallengesofFemaleIranianMusiciansPerformingWesternClassicalMusic"

SATURDAY,March24th SESSION4:Organization,Production,&DisruptioninContemporaryMusics9:00–11:00a.m.(Room137)

JoshBarbre(UniversityofArizona)“’IKnowYouWantIt’:Howthe‘BlurredLines’CopyrightCaseImpactstheSample-BasedTraditionofHip-Hop”

ZaneCupec(UniversityofColoradoatBoulder)“InterdependenceinCubanBatáDrumming:RománDíazandL’ódáfúnBàtá”

KarenMize(UniversityofDenver)“SafeSpace,Community,andCommunalismintheDenverD.I.Y.PunkScene”

JessicaVansteenburg(UniversityofColoradoatBoulder)“‘NemzetiRockers’MessageofUnityforSzekelerHungariansontheFestivalStage”

KEYNOTELECTURE11:15a.m.–12:15p.m.(CrowderHall)

JohnRoeder(UniversityofBritishColumbia)“ComparingMusicalCyclesAcrosstheWorld”

SESSION5:InvitedRoundtable2:15–3:45p.m.(Room137)

“Ethnomusicology:TheFieldinFlux?”

SEMSessionI:

Soundscapes&Environments

Friday,March23,2018,12:00-2:00p.m.

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1. NateAsh-Morgan,UniversityofNorthTexas

TheAcoustemologyofMadina:AReflectionontheSonicSignalsofaSoundscape

Takingallsoundsintoaccount,thispaperisameditationonthesonicenvironmentofMadinainAccra,Ghana,acommunityoriginallyfoundedbynon-GhanaianMuslimimmigrantswithasteadyinfluxofsettlersfromneighboringregionsandcountries.MadinaisoneofmanyMuslimzongocommunitiesinWestAfrica,forgedthroughaunitedfaithinIslam,whilealsoconsideredaninner-cityarea,situatedinthecapitalofGhana,attractingworkersfromvariousreligiousandtraditionalbeliefsseekingaffordablehousing.ThesoundscapeofMadinacontainsmultiplelevelsofsoniccircuits,withaninitialcallinsearchofaninterestedindividual’sresponse.Soundsofnature,commerce,transportation,developments,entertainment,andreligionspillintotheearsofMadinaresidentsfromallangles.Withsomuchsoundhappeningsimultaneously,interactingwiththesesonicsignalsrequiresanenculturatedear,whichcanreadilyandadeptlysortthroughalitanyofconcurrentsoundsinsearchofsoundsofrelevancetothelistener,elicitinganappropriateandtimelyresponse.BylisteningthroughthesoundsofMadina,anelucidationonavarietyofsonicsignalshelpstorevealculturaltruthsandtrendstotheoutsideobserver,whilethesamesonicsignalsactasimportant,functionalauditorydevicesthroughwhichthisdiversepopulationofWestAfricansinterdepend.

2. KelseyFuller,UniversityofColorado,Boulder

SeeingisBelieving:�SámiPoliticalandEnvironmentalActivisminPopularMusicVideos

ContemporarySámimusicianssuchasSofiaJannok,Ann-MariAndersen,andSlincrazeusepopularmusicandaccompanyingmusicvideostodiscussindigenouspoliticalandenvironmentalconcerns.However,scholarlydiscoursesoftenneglectpopularmusicvideosbySámiartistsinfavorofcommentaryaboutSámifilms.WhilepreviousscholarshiphasnotedtheactivistimpactofbothSámi(andotherindigenous)popularmusicandfilm,aswellasmusicvideosofminoritygroupsprimarilyintheUnitedStates,thereisanabsenceofscholarshipwhichexaminesSámimusicvideosassociopoliticalexpressionsofcontemporaryindigenousactivism.Iaimtodemonstratetherichpotentialforthisareaofstudy,providingexampleanalysesofvideosfromrecentSámiartists.Inthesevideos,Sámiartistsdemonstratetheiractivistcauses,physicalconnectionstoland,andsenseofplaceviamusicandmovingimage.Throughvariousmediaformssuchastheiriconicvocalgenreofjoik,selectiveuseofSámi,Scandinavian,orEnglishlanguages,footageofhistoricenvironmentalprotestsinNorthernScandinavia,andscenicimageryoftheirtraditionalhomelands,popularmusicianscreatemusicvideosthatembodycontemporarySámiactivisms.ThisresearchanalyzesSámimusicvideosthroughthelensesofethnomusicology,filmstudies,andindigenousecocriticism,andconcludesthattheirrepresentationalactivismstrivestorendervisibleandaudibletheyearsofcolonialerasure,exploitation,andsilencingthattheSámihaveexperienced.Furthermore,the

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visualcomponentisessentialtoartists’politicalandenvironmentalmessaging,inthatitassertsconcreteevidencesoftheissuesbeingdescribedordiscussedinthelyrics.

3. ReganHomeyer,UniversityofNewMexico,Albuquerque

SoundingtheNile:HamzaElDinas“EthnographicEar”

Historically,ethnographyhasprivilegedthevisualovertheaural.Assuch,weseeadearthofethnographicaccountsfocusingonthesenses,includingsound.ThisisespeciallytrueinthescholarlyworkonNubianpeoples,anethnolinguisticgroupindigenoustopresentdaynorthernSudanandsouthernEgyptwhooriginatefromtheearlyinhabitantsofthecentralNilevalley.Inthispaper,Ifocusonauditoryperception,positingthatNubianinstrumentalist,singerandcomposer,HamzaElDin,isan‘ethnographicear’(Clifford1986,Erlmann2004)withinNubiansociety.Idefinethe‘ethnographicear’intermsoflisteningpracticeanddevelopalineofargumentthroughanalysisofElDin’s1971composition,“Escalay”(TheWaterwheel).IusetheNileRiverareaasasoundscapeofinterest,takingmytrajectoryfromR.MurraySchafer’shypothesisthatpeoplelistentotheenvironmentandechoitbackthroughexpressiveformssuchaslanguageandmusic(Schafer1977).Theconceptof‘echo’developedinthispaperisnotoneofimitationofsounds,ratheritisthereturnofamaterialresponsetothematerialexperienceoflocalsoundsthemselves.IanalyzeElDin’s‘echoing’oftheNileRiverin“Escalay,”identifyingtheriver’spresenceasindexedthroughcompositionalframing,non-vocalizedspace,andsilenceandconcludebyshowinghowtheworldthatElDincreatesinhismusicisinextricablylinkedtothedailyexperienceoflivinginrelationshiptoariveranditsenvironment.

4. DanKruse,MatthewMugmonandBradStory,UniversityofArizona

“Soundscape:TheUA’sRemarkableChimesandEchoes”

Theconceptofthe“soundscape”,originatedbyCanadiancomposerandmusiceducatorR.MurraySchafer,isawayofexaminingtheroleofsoundsinourlivesinavarietyofenvironments.OntheUniversityofArizonacampus,auniquesoundscapearises48timesdaily.WiththechimingoftheWestminsterQuarters,thecampuscommunityisalertedtothetimeofday.It’safamiliarmusicalexperience,astheQuartershavebeencommonlyheardatchurches,intownsquaresandoncampusesworldwidesincethemid-1700s,andinmillionsofhomes,asachimesequencefordoorbellsandgrandfatherclocks.OntheUAmall,theWestminsterQuarterstakeonasingularacousticalquality,duetoaconfigurationofreflectivesurfaces.Arangeofhighlyvariableechoesandreverberationsprovidesaone-of-a-kindacousticalexperiencethatcontributesmeaningfullytothesoundscapeofthecampus,andtothedailyexperienceofcampuslife.TheWestminsterQuarters’history,andtheiruniqueauralqualityontheUAcampus,wereexaminedbymusicologistMatthewMugmonandSpeech,LanguageandHearingSciencesscholarBradStory.Theresultsoftheirfindings–andtheirmeetingtocomparemusicologicalandacousticalnotes–werechronicledina7-minutedocumentaryfilmproducedbyethnomusicologistDanKruseforArizonaPublicMedia’sArizonaIllustrated.The

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filmalsoincludestheperspectivesoffacultyandstudentswhopondertheubiquitousmelodyanditshistoricalandculturalorigins.This30-minutepanelwillsharethedocumentaryfilm,aswellasreflections–personal,historical,andacoustical–oftheprojectparticipants.

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SEMSessionII:

RegionalStudiesofthe

SouthwestU.S.&Mexico

Friday,March23,2018,2:15-4:15p.m.

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1. AdrienneAlton-Gust,UniversityofChicago

“Todosmemiran”:DragPerformanceinUndocumentedLGBTQMigrantSpaces

Astheneedforsocialjusticemovementsappearsgreaterandmoreevidentthaneverbefore,progressandrealsocialchangerequiresattentiontointersectionalidentitiesandmultiplelevelsofmarginalization.Transgenderwomenofcolor,forexample,areapopulationatextremelyhighriskforviolenceandhatecrimesintheUnitedStates(andelsewhere).Whatcouldmakethemevenmorevulnerable?Whatifimmigrationstatusisalsoafactor,and/orbeingdifferently-abled?Inthispaper,IpresentethnographicresearchIhaveconductedwithagrassrootsnonprofitorganizationthatadvocatesfortherightsofLGBTQmigrantsandpeopleofcolorinPhoenix,Arizona,aborderlandsregion.Composedprimarilyoftransgenderandqueerundocumented(undocuqueer)migrants,thismember-ledorganizationengagesinmultiplesocialjusticeprojects,includinglegaldefense,familyacceptance,andeconomicjustice.ArtandactivismcometogetherintheirQueerArtivism(o)programsandotherevents,usingtheperformingarts—especiallydrag,dance,andtheater—asaplatformtoeducatethecommunityaboutissuessuchastheneedforcomprehensiveimmigrationreformandforracialjusticeinLGBTQrightsmovements.Thisworkisacasestudyofhowpeoplecanuseperformanceandarttonavigatelifeoutsidesystemsofoppression,whilesimultaneouslyworkingtodismantlethosesystems.Basedonparticipant-observation,interviews,andperformanceethnography,Iconcludethattheparticipantsexperienceanevengreaterbenefit.Astheyplacetheirmultiply-marginalizedidentitiesatthecenterofartivismprojects,engagingwiththeperformanceprocessempowersandhealsthecommunityfromwithin.

2. SalvadorHernandez,Jr.,UniversityofFlorida

SongsofImmortality:ExploringtheRoleofDeathinMusic

Asof2010,overtwo-hundredempiricalterrormanagementstudieshavesupportedthenotionthat“deathaffectsuswithoutourconsciousrealization”(Burkeetal.2010:187).Thinkingaboutdeathcanimpacthowindividualsreacttothoseholdingdifferentculturalvalues(Rosenblattetal.1989),approachspirituality(Jongetal.2012),andapproachtheirowncherishedculturalsymbols(Greenbergetal.1995).Inthispaper,whichconstitutespartofmythesis,Isuggestthatterrormanagementtheory(TMT)canhelpwithunderstandingwhyculturalattitudestowardcertainmusicsexistamongdifferentgroupsofpeople.Thistheoryclaimsthatculturalworldviews—eachwiththeirownarrayofexpressivesymbols,includingmusic—areformedasameansofmitigatingdeathanxietybydenyingit,prescribingwaysinwhichindividualscanhopetoacquireliteralorsymbolicimmortality.Iarguethatindividualsplacemorevalueonsymbolsthatdirectlyespousethedeath-denyingtenetsoftheirassociatedworldview,whichisreflectedbymusicsdemonstratingslowratesofstylisticchange.ThroughTMT,IexplorewhythevillagersofSanPedroXicoras,Mexicocontinuetoseekstrictorthodoxywiththeindigenousxuravétcircledance,whichisbelievedtounitethelivingwiththeirdeceasedancestorsand

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thusdirectlyexpressesdeath-denyingbeliefs.Thecorridosonggenrepopularintheregionexhibitssimilarcharacteristicsandpersistence,offeringsymbolicimmortalitybyeulogizinghistoricalfigureswhilealsodemonstratingaslowrateofchange.Thesefindingsareinformedbymyfieldresearchamongthecommunityduringthesummersof2016and2017.

3. TeresitaLozano,UniversityofColorado,Boulder

TheHolyCoyote:GhostSmugglingCorridosandtheUndocumentedMigrantExperience

MexicanimmigrantstotheU.S.,particularlyundocumentedmigrants,arefeelingincreasinglytargetedbyanti-immigrantandxenophobicrhetoricbypoliticalcommentators,media,andmostnotoriously,PresidentDonaldTrump.Feelingsofimposedcriminalidentityhaveledtonewtrendsofcorrido(ballad)performanceandcompositioncenteredonCristeromartyr,SaintToribioRomo,theunofficialpatronofundocumentedmigrants,killedin1928.Cristeroswerepost-RevolutionaryCatholicrebelswholedthe1926-1929-armedrebellion,LaCristiada,againsttheMexicangovernmentinresponsetoanti-clericallawsandmilitaryenforcementtheyfeltsuppressedtheirlibertiesandidentity.Cristeroresistancewasfirstencodedin1920scorridosdepictinggovernmentaloppression,religiouspersecution,martyrdom,andrevolution.Acenturylater,newCristerocorridosdedicatedtoSaintToribiohavebecomevehiclesofreligio-politicalactivismandsurvival,expressingthemesofundocumentedMexicanmigrationandaccountsoftheghostofSaintToribiophusicallyguidingundocumentedmigrantstosafety.Asportrayedinthesecorridos,SaintToribioistheHolyCoyote,ortheholysmuggler,andhisghostappearstomigrantsintransbordernear-deathsituationsthatrequiremiraculousintercession.WhilesomereturninthanksgivingtohisshrineinMexico,undocumentedmigrantsareoftenunabletoreturnandhavethusrecreatedacultureofdevotionandactivismintheU.S.throughcorridocomposition,informinglistenersofhisapparitionsandmiraclesintheirmigrantjourney.DrawingonAméricoParedesandMariaHerrera-Sobek’sanalysisofsmugglingcorridosinimmigrantlore,andJoshuaPilzer’sdiscourseof“survivor’smusic”inwhichlisteningisa“politicalact...capableofinauguratingpoliticalmovementsforsocialjustice”(2015),thispaperexploreshowSaintToribiocorridosportrayundocumentedmigrationasbothreligiousexperienceandmusicalactivismforpotentialborder-crossingsurvivors.Additionally,thispaperdiscusseshowthesecorridosexemplifytheimportantrelationshipbetweenmigrantsandthevalueofpreservingCristeromemoryincontemporarystrugglesagainstsocialinjustices.

4. RenataYazzie,UniversityofNewMexico

IndigenizingArtMusic:AnAnalysisofConnorChee’sNavajoVocablesforPiano

Historicalattemptsbynon-Indigenouscomposerstoproduce“NativeAmerican-inspired”musichaveoftenresultedinstereotypicalmelodies,motifsandinstrumentationthatinaccuratelyportrayedIndigenousmusicalcultures.ExamplesincludecomposerssuchasEdwardMacDowell,FerruccioBusoni,andethnographerslikeFrancesDensmoreandAliceFletcherwho

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perpetuatedtheexoticismofIndigenousmusic.AstheoutcryforIndigenizingmethodologiesacrosstheacademygrowsandtheneedforIndigenousresearchbyIndigenousscholarsintensifies,thispaperexamineshowDiné(Navajo)composerandclassicalpianistConnorCheeexemplifiestheconceptof“Indigenization”throughhisalbumofself-composedmusic,“TheNavajoPiano.”Chee’salbumofNavajovocablesforpianodrawsmelodicandrhythmicinspirationsfromDinécorn-grindingsongs,EnemyWayceremonialsongsandthestylisticinfluencesofClaudeDebussy,thusmixingmusicalexamplesfromtwoDinégenresofpopularandsacredmusicwiththatofawell-knowncomposerofFrenchimpressionisticmusic.BeginningwiththebackgroundoftheIndianistmovementwithinWesternartmusicinthelatenineteenth-centuryandthesimultaneousassimilationattemptsthroughmusicinAmericanIndianboardingschools,thispaperarticulateswhatacontemporaryapproachtoindigenizingartmusicthroughcompositioncouldresemble.BycontextualizingWesternartmusicfortheDinémusicalearandcontextualizingtraditionalDinémusicforthenon-Dinémusicalearinacompositionalstylethatappropriatelyacknowledgestheculturalandmusicalsourcesofeachsub-genre,IconcludethatChee’sapproachtomediatingthiscontroversialmusicalconversationisexactlywhatIndigenous-basedmusicresearchneedsinthismoment.

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SEMSessionIII:

Transmission,Change,&

DiffusionFriday,March23,2018,4:30-6:30p.m.

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1. BenjaminCefkin,UniversityofColorado,Boulder

PlengDiaw:TeachingVirtuosityandCulturalValueThroughThaiMusic’s“SoloRepertoire”

Therepertoireofplengdiaw,orsoloinstrumentalpieces,defycertainnormsofThaiclassicalmusic.Theyarespecifictoindividualinstrumentsandpedagogicallineages,theyareauthored,andtheyarethrough-composed.Theyalsoserveasmarkersofmusicalskill,andeven“Thainess”amongThaimusiciansandaudiences.ThesedistinctiveaspectsofplengdiawpiecesallowforadeeperviewintoelementsofThaiclassicalmusicthatarenotusuallyexplicitlytaughtbyteacherstostudents,inparticular,styleandaestheticvalue.ThispaperexploresthepedagogyoftheplengdiawrepertoirethroughethnographicstudyofThaimusicteachersandstudents.Alongwiththeiruseaspedagogicaltools,Iwilldiscussthecultureoftheplengdiawrepertoireanditsreflectionoflargersocio-ethnicissueswithinThailand,inparticular,thestruggleforculturalhegemonybetweencentralizedThaiandIsanpopulations.

2. RichardMiller,UniversityofNevada,LasVegas

TranscribingtheNoworTranscribingtheHistory?

Understandingthe1928MinzokuGeijutsuDebate

Ethnographictranscriptionhaslongbeenacorepracticeinethnomusicologyandtherelateddisciplinesoffolkloreandanthropology.Debateovertheproceduresofethnographictranscriptionhaverangedfromthetechnicaltothephilosophicaland,inmorerecentyears,thegoalsoftranscriptionhavebeenconsideredagainstthebackdropofotherdebatesoverauthenticityandrepresentation.Asethnomusicologistswelearnthesedebateswithinourowndisciplinaryhistory,butrarelyhavetheopportunitytoseeittakeplaceinotherspheres.Abriefdebateinthepagesofthe1928JapanesefolklorejournalMinzokugeijutsubetweencomposerFujiiKiyomi(1889-1944)andshakuhachihistorianNakazukaChikuzen(1887-1944)providesanexceptionalopportunitytoseeourownpracticesfromtheoutside.FujiiandNakazuka’sargumentoverthegoalsandproceduresforthetranscriptionofJapanesefolksong,althoughinformedtoacertainextentbyearlyWesternfolklorestudies,takesanunusualtrajectorythroughissuesofstyle,sophistication,standardization,andformtoraisethequestionoftemporalityintranscription:Dowecapturethe“now”ofthemusicalsound,ordowefollowthesoundbackthroughhistorytoitsorigins?UnderstandingtheanswersFujiiandNakazukaprovideforthatquestiongivesusanewanglefromwhichtothinkaboutethnographictranscriptionandthepoliticsofrepresentation.

3. TachineePatarateeranon,UniversityofNorthernColorado

OrganologyintheIconographyoftheRamayanaEpicand

InstrumentsattheCourtsofSoutheastAsia

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Inthe178panelsonthegallerywallsofTheEmeraldBuddhatempleinThailand,theworld’slongestpaintingoftheHinduRamayanaepicisdepictedinSoutheastAsia’smodificationofitsmotherculture,India.Sincetheninthcentury,RamayanahasbeenthemostpopularepicandisinfluentialinformingSoutheastAsianpolitics,states,religions,languages,literature,performingarts,andotherculture.Inmusicandtheatricalartsperformance,Ramayanaprovidesthemainmusicrepertoireanddance,alongwithIndianmusicalheritagethatcreatesthemusicalcultureofSoutheastAsia.ThisresearchaimstostudyculturaldiffusionandculturalmodificationofIndianmusicalinstrumentsandtheirfunctionthroughthecomparisonofthescenesintheepicandiconographyinHinduRamayanaandThaiRamakient.TheresultrevealstheinfluencesofIndiancustomsandbeliefsintheroyalcourtofThailand,andthesimilaritiesofmusicalinstrumentsbothintheirorganologyandtheirfunctions.OneexampleofthiscanbefoundinIndianconchshell,shankha,andThaisang.Besidessimilarities,IndianinstrumentmodificationoftheinstrumentsaremadeinThai,Cambodian,andIndonesiancultures.Bycontrast,differencesareuncoveredwithChineseinfluenceinchordophoneandidiophoneinstrumentsofindigenouscultureswithintheSoutheastAsiancontinent.ThroughRamayanaiconographicstudyofthewallpaintingattheEmeraldBuddhatempleinThailand,theculturalheritagesofHindu,Chinese,andSoutheastAsiaareexplicatedanddisclosedinwhathasbecomeapartoftheSoutheastAsiancultureswhichcanbeseentoday.

4. GolrizShayani,UniversityofNorthernColorado

NoOneWantstoListentoUs:TheChallengesofFemaleIranianMusiciansPerforming

WesternClassicalMusic

BeingafemalemusicianunderanIslamicgovernmentisalreadyaconfrontationalsituationbecausewomenaregenerallynotallowedtobeperformers.ItisespeciallytrueforWesternclassicalinstrumentalists,whoarehinderedbyfurtherrestrictionsfromthecurrentinterpretationofShariaLawandwhofaceadeadendinanyattempttogainacceptancefromthegovernmentaswellastheaudienceinacountrywhereWesternmusicculturehasneverbeenestablished.Nevertheless,anumberofIranianwomen,regardlessofgovernmentinterference,continuetoenrollinWesternmusicprogramsatTehranConservatoryofMusic.TheresearchaimstostudytherationalizationandmethodsoftheIraniangovernmentincontrollingandlimitingWesternclassicalrepertoireforIranianwomenstudents,andhowtheserestrictionsimpactthestudent’sdecision-makinginstudyingWesternmusic.AnethnomusicologicalmethodologyhasbeenusedininterviewingfacultyandfemalestudentsattheTehranConservatory.TheresultsindicatethatwomenaredeniedtheopportunitiestoperformWesternclassicalrepertoireundertheIslamicgovernment;however,publicperformancesofIranianfolkmusichavebeenallowedforsomewomeninstrumentalistsallowingthemtocompletetheirdegrees.Additionally,interviewsdisclosethat,formostfemalestudents,thehopeofstudyingWesternclassicalmusicabroadwiththeirfamily’ssupportdrives

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womentopursuetheirpassiondespitetheobstacles.ThisresearchwantstoletthevoiceofthesefemaleIranianmusiciansbeheardandtogarnermoresupportforthem.

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SEMSessionIV:

Organization,Production,&

DisruptioninContemporary

MusicsSaturday,March24,2018,9:00-11:00a.m.

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1. JoshBarbre,UniversityofArizona

“IKnowYouWantIt”:Howthe“BlurredLines”CopyrightCaseImpacts

theSample-BasedTraditionofHip-Hop

Sample-basedhip-hophasbeenacommontargetincopyrightinfringementlawsuitssinceitstransitionintotherecordingstudio.Theseissuesdevelopintolawsuitsonownershipandthelegalitiesofthesamplingtradition.Withthecurrentcourtcase,PharrellWilliams,etalv.FrankieGaye,etal,betweenRobinThickeandPharrellWilliamsandtheMarvinGayeestateovercopyrightinfringement,therulingonthesong“BlurredLines”embodiesanewcontextofownership.TheoriginalverdictisthatThickeandWilliamsareliableofcopyrightinfringementonMarvinGaye’s“GottoGiveItUp”eventhoughtheydidnotsampletherecordingnorusemelodicorlyricalmaterial.Basedonthejudge’sdecision,theGayeestatewasabletoclaimcopyrightinfringementonsoundscaperatherthanmusiccontent.Itcreatesastageofinspirationasintellectualproperty.Hip-hophasalreadybeenthevictimofinfringementcasesinvolvingmusicalcompositioncopyrightandsoundrecordingcopyright.Withthiscurrentverdict,corporations,companies,andsamplingtrollscannowclaiminfringementonlyonthebasisthatthenewmusic“soundsthesame.”Iwillhighlightabriefhistoryofsamplinginhip-hop,examinecopyrightlawandcasesofinfringementinhip-hop,andlookathowthe“BlurredLines”verdictcaninfluencethetraditionandcontroloversample-basedhip-hopaswellastheimplicationsforothermusicgenres.

2. ZaneCupec,UniversityofColorado,Boulder

InterdependenceinCubanBatáDrumming:RománDíazandL’ódáfúnBàtá��

ThispaperseekstohighlightthesignificanceofthecomplexinterplaythatisinherenttothemusicandreligiouspracticeofSantería,throughanexaminationofhowthereligiousbeliefsofSanteríaarerealizedinRománDíaz’sCDcompilationL’ódáfúnBàtá.Bytakingintoperspectiveaspectsofalbumart,albumstructure,poetry,andplayingstyle,IexaminetherelationshipsandprocessesthatunderlieDíaz’sapproachtocreatingmusic.Díazisuniquelypositedasbotha“livingrepository”ofAfro-CubantraditionsandasbeingattheforefrontofcontemporaryCubanmusicinNewYorkCity.IthereforearguethattheinfluenceandproductionofL’ódáfúnBàtárepresentsoneexampleofhowcontemporaryCubancultureisbothmanifestedanddisseminated.Iconcludethattheinteractionsbetweenthesacralizedbatádrums,choir,akpwon(leadsinger),andthespiritualrealmoftheelementalorishasdefinethecentralcontextofstrengtheningandformingsocialnetworksthroughtheSanteríabeliefsystem.UnlikeotheraccountsandanalysesofCubanbatádrummingwhoseenvironmentsfocusontheceremonialspace,thepublicspaceinwhichDíaz’sCDexistsoffersanewperspectiveonSanteríapractice.ThismovetowardspublicspacedoesnotrepresentasecularizationofSantería,butprovidesanexampleofhowDíaz’smusicservestocontestproblematic

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stereotypesofAfricanbasedreligion,andemphasizesSanteríaasalivedreligionthatisconstantlypresentinpractitioners’dailyexperience.

3. KarenMize,UniversityofDenver

SafeSpace,Community,andCommunalismintheDenverD.I.Y.PunkScene

IntheDenverD.I.Y.(do-it-yourself)punkscene,issuesofcommunitysafety,especiallyforthoseofqueeridentities,areparamount.Theseissuesmanifestthemselvesinanumberofways,throughtheenforcementofcommunitystandardsofbehavior,thepromotionofmarginalizedmusicians,thepropagationofinformationalmaterial,andinthemostextremecases,thebanningofcommunitymemberswhohavebeendeemedunsafe.IarguethatininteractingwithfrequentattendeesofDenver’slongestrunningD.I.Y.venue,theSeventhCircleMusicCollectiveor7Casitiscolloquiallyknown,onecanobservethecreationofcommunitysafetyinrealtime;bothinhowcommunityitselffunctionsasaquantifiable,ethicalvalueandinhowitmanifestsitselfasthefulfillmentofabasichumanneed.IfurtherarguethatDenverD.I.Y.punkscreateasenseofcommunityandsafetyforthecommunity’smostmarginalizedmembers,especiallyinspaceslike7C,bysupportingthecreationofmusicthatlyricallyandmusicallyreinforcesthe“safety”ofthespaceasitisbeingperformed.ThiscommunalistapproachtosafetyisanimportantfacetoftheDenverD.I.Y.sceneandwhiletherearestillmanyissuestobeaddressedinthetreatmentofscenememberswhodonotfitthehegemonicmasculineideal,thoseissuesarenotbeingoverlooked.ItisthatcontinuedstrivingforbetterthatmakestheD.I.Yscenesoresilientandwhileprogressisalwaysslowerthanonehopes,theactiveengagementbyscenememberscontinuestopushitforward.

4. JessicaVansteenburg,UniversityofColorado,Boulder

NemzetiRockers’MessageofUnityforSzekelerHungariansontheFestivalStage

TheSzekelerLandisamajority-HungarianregioninTransylvania,whichhasbeenapartofRomaniasince1920,andanobjectofnostalgicgazefromHungaryeversince.Foroneweekeachsummer,yurtssproutfromafieldoutsidethesmallRomaniancityofGyergyószentmiklós/Gheorgheni,asthecrackingofwhipsandthunderofhorses’hoovesresonatesnearanoutdoorstageinpreparationforEMITabor(Transylvanian-HungarianYouthCamp).ThecampaimstostrengthencommunityforyoungTransylvanianHungarians,withdailyhistorical,cultural,andpoliticalpresentations.Participantsarelocal,orfromotherpartsofTransylvania,Hungary,andacrosstheHungariandiaspora.EveningconcertsfeaturerockbandsfromHungary.EMITaboristheonlyfestivalofitskindtoinvite“NemzetiRock”(“NationalistRock”)bandstoitsstage,whosestrongnationalistandirredentistthemeshaveledtocriticismandcensorship.LászlóKürticonceptualizes“reification”ofTransylvaniaasaconcretelocationofspecificculturalidentityintheHungarianimagination.Iconnectthisreificationwithrockmusicasavehicletoexpressamoreextremeformofthisnational

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nostalgia.DrawinguponKatherineVerdery’sdistinctionsbetweentrans-ethnonationalismandtrans-statalnationalism,Isuggestthatfestivalgroundscomprisespaceswherebandsfrompresent-dayHungarymakethetrans-stataljourneytoRomaniatoreify“GreaterHungary”formembersoftheethno-nation.UsingexamplesdrawnfromeventsinvolvingtwoNemzetiRockbands,HungaricaandRomantikusEroszak(RomanticViolence),IshowhowNemzetiRockmusi

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SEMSessionV:

InvitedRoundtable

Saturday,March24,2018,2:15-3:45p.m.

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Ethnomusicology:TheFieldinFlux?

Thefieldofethnomusicologyistransformingwithregardtothejobmarketandchangingnatureofemployment,neededskillsetsandacademictraining,andblurreddisciplinaryboundaries.Infact,aroundtableattherecent2017SEMAnnualMeeting,"TheInstitutionalizationofEthnomusicology:CurrentPerspectives,Challenges,andOpportunities,"(SoundMatters:TheSEMBlog,https://soundmattersthesemblog.wordpress.com/)andfollow-uponlineforumfocusedonexactlytheseissues,andSEMStudentNewshasdevotedtwoissuestosuchthemes—"EthnomusicologyandInter/Disciplinarity"(Vol.7,Fall/Winter2013)and"FindingPathsontheJobMarket"(Vol.12,Spring/Summer2016).Thisroundtableinvitesadiversecadreofscholarstocontinuethisconversationbyofferingtheiruniqueperspectivesonsuchmatters.

TachineePatarateeranon(UniversityofNorthernColorado) “OrganologyintheIconographyoftheRamayanaEpicandInstrumentsattheCourtsofSoutheastAsia”

GolrizShayani(UniversityofNorthernColorado)"NoOneWantstoListentoUs:TheChallengesofFemaleIranianMusiciansPerformingWesternClassicalMusic"

SATURDAY,March24th SESSION4:Organization,Production,&DisruptioninContemporaryMusics9:00–11:00a.m.(Room137)

JoshBarbre(UniversityofArizona)“’IKnowYouWantIt’:Howthe‘BlurredLines’CopyrightCaseImpactstheSample-BasedTraditionofHip-Hop”

ZaneCupec(UniversityofColoradoatBoulder)“InterdependenceinCubanBatáDrumming:RománDíazandL’ódáfúnBàtá”

KarenMize(UniversityofDenver)“SafeSpace,Community,andCommunalismintheDenverD.I.Y.PunkScene”

JessicaVansteenburg(UniversityofColoradoatBoulder)“‘NemzetiRockers’MessageofUnityforSzekelerHungariansontheFestivalStage”

KEYNOTELECTURE11:15a.m.–12:15p.m.(CrowderHall)

JohnRoeder(UniversityofBritishColumbia)“ComparingMusicalCyclesAcrosstheWorld”

SESSION5:InvitedRoundtable2:15–3:45p.m.(Room137)

“Ethnomusicology:TheFieldinFlux?”