ESEM

You are warmly invited to attend the National Graduate Conference for Ethnomusicology

Doing Ethnomusicology: Implications and Applications

Stewart House, University of London
20 – 22 September 2010

To register and for further details, go to http://music.sas.ac.uk/imr-events/imr-conferences-colloquia-performance-events/national-graduate-conference-for-ethnomusicology.html

British Forum for Ethnomusicology (BFE) at University College Falmouth, Tremough Campus, Cornwal

7-10 April  2011

On Monday 11 and Tuesday 12 April 2011, the Musicology Departments of Utrecht University, and Royal Holloway, University of London, will jointly host a conference at Utrecht University addressing ‘the West’ in music(ologic)al production and consumption.

The theme: Negotiating ‘The West’ Music(ologic)ally

The ICTM Germany has a new website. It is so new that it cannot yet be found by google, so I thought it is worth it to announce it here: http://ictm-deutschland.de/

The website seems to be in German only and informs about the national comittee's purpose, past and present including old and new publications.

The Folkwang Universität der Künste looks for a W 2 professor in musicology (systematic musicology or ethnomusicology). For details see http://www.folkwang-uni.de/home/hochschule/aktuell/stellenausschreibunge...

The deadline for the abstract submissions is coming closer. It's April 15! For detals see the call for papers.

Echoes from Georgia: Seventeen Arguments on Georgian Polyphony

Edited by RUSUDAN TSURTSUMIA and JOSEPH JORDANIA

Focus on Civilizations and Cultures – MUSIC SERIES

Nova Science Publishers, Inc.

New York

CONTENTS

Preface vii

From the Reviewers ix

Telemark University College, Rauland, Norway

The Master’s Program in Traditional Arts offers focus areas in folk music and folk art (wood, textile, metal, folk art painting etc.) and provides a foundation of knowledge for students interested in a variety of careers. The program is characterized by a unique combination of theoretical and practical coursework, in which the student’s own creative work is at the core of the curriculum. The structure of the program ensures essential areas are covered, while allowing flexibility for students to pursue different personal and professional interests. The theoretical part is concentrated to the first semester and focuses on methodology, aesthetics, cultural theory and communication theory with particular emphasis on the challenges related to the study and dissemination of traditional art. This course prepares the students for the work on the master project, where combination of theoretical and practical elements is central.

Hochschule für Musik und Theater Hannover   Emmichplatz 1   30175 Hannover

Prof. Dr. Phil. Bohlman
Prof. Dr. Raimund Vogels

 Center for World Music
Besucheradresse:
Seelhorststraße 3

Telefon +49 511 31 00 – 7631
Telefax +49 511 31 00 – 7642
e-mail: raimund.vogels@hmt-hannover.de

Call for Papers

We are pleased to announce the publication of Re-counting Knowledge in Song: Change Reflected in Kaulong Music by Birgit Drüppel. This book was officially launched at the Institute of Papua New Guinea Studies by Dr Jacob Simet, Executive Director, National Cultural Commission, on 16 November 2009.

Re-counting Knowledge in Song is a musical ethnography that is a base study of the music traditions of the Kaulong people near the south coast of West New Britain, Papua New Guinea. It embodies the description and structural analysis of traditional Kaulong music in its vocal, instrumental, and vocal-instrumental forms, song and dance celebrations (singsing) being the largest events which establish and strengthen family and trade relationships. Historical events, such as the colonialisation by Germans and Australians, and the consequent advancement of the Catholic Mission, had a lasting influence on traditional culture and music. In particular, the mission was the most influential, facilitating the penetration of non-Kaulong cultural elements into Kaulong tradition. By adopting Christianity, the Kaulong reacted to a new, broader world view which is translated into music. Traditional singsing became less important and lost some of their meaning, while trade contacts with the neighbouring coastal area (Kaul speakers) became frequent and resulted in the adoption of local coastal singsing, as well as singsing from indirect trading partners in Kilenge (singsing tumbuan) and Siassi (singsing sia). New music genres such as kwaia (Christian choir music) developed and, after national independence, stringbands formed which play popular music at state celebrations and sosol (social gatherings).