Академический Документы
Профессиональный Документы
Культура Документы
of the
ICTM
INTERNATIONAL COUNCIL
for
TRADITIONAL MUSIC
C O N T E N T S
From the Secretariat Performing Arts of Southeast Asia Music: Style and Spectacle From the 1970s
(PASEA). to the 2000s; Into The Mix: People, Places,
Message from the Secretary General.
Processes; Listening to China's Cultural
Search for the next General Editor of the Pages 8-9
Revolution; Performing Nostalgia:
Yearbook for Traditional Music.
Reports Migration Culture and Creativity in South
Pages 2-4 Albania; Songs of the Empty Place: The
Reports from ICTM National and Regional Memorial Poetry of the Foi of the Southern
44th ICTM World Conference (2017) Representatives: Australia & New Zealand; Highlands Province of Papua New Guinea
Azerbaijan; Bosnia and Herzegovina;
Third Notice and Call for Proposals. Pages 24-25
Egypt; Ghana; Japan; Lithuania; Slovenia.
Pages 5-7
Pages 10-22 General Information
Announcements ICTM World Network; Study Groups;
Calendar of Events
5th Symposium of the ICTM Study Group Executive Board, Secretariat, Membership
Page 23 Information; Publications by ICTM.
on Music and Dance in Southeastern
Europe. 1st Joint Symposium of the ICTM Pages 27-34
Featured Publications by ICTM
Study Group on Mediterranean Music
Members
Studies and the International Musicological
Society. 9th Symposium of the ICTM Multipart Music: Personalities and
Study Group on Music and Minorities. Educated Musicians in Traditional
29th Symposium of the ICTM Study Practices; Music in Art 50 1-2: Neoclassical
Group on Ethnochoreology. Call for Reverberations of Discovering Antiquity;
Proposals: 21st Symposium of the ICTM An Audiovisual Exploration of Philippine
Study Group on Musical Instruments. 4th Music: The Historical Contribution of
Symposium of the ICTM Study Group on Robert Garfias; Global Glam and Popular
which ICTM will join forces with IMS Chinese, French, Hindi, Russian, and
and the International Association of Spanish languages which we believe
Music Libraries, Archives and Docu will be key in helping the Council reach
mentationCentres (IAML), will be fellow researchers of music and dance
presented in the near future. in various parts of the world. The most
recent version of the ICTM brochure
The rich year of 2016 will also feature a
(in English) is available online here;
new ICTM Colloquium. Envisioned by
please contact the Secretariat if you
Xiao Mei and John Lawrence
would need copies of them sent to you.
Witzleben around the theme Plucked
Lutes of the Silk Road, it will bring Conclusion
invited specialists from all over the
Our distinguished and very active
world to Shanghai between 20 and 23
member Elsie Ivancich Dunin recently
October. Detailed information about
received the National Folk Organiza
this Colloquium can be found in the
tions Preserving our Heritage Award
January 2016 issue of the Bulletin, and
for a lifetime of work and achievement
online.
in folk dance and folk arts. Let me
Elsie Ivancich Dunin receiving the extend congratulations to two
Search for General Editor
National Folk Organizations remarkable colleagues who were
In the previous issue of the Bulletin, Preserving Our Heritage Award. Santa awarded the 27th Koizumi Fumio Prize
the notices Search for the next Clara, USA, 11 March 2016. Photo for Ethnomusicology in 2015: Otanazar
Secretary General and Search for a provided by Allegra Snyder.
Matyakubov and Margaret Kartomi
new Book Reviews Editor of the
(you can read more in the report of
Yearbook for Traditional Music were the past representatives, the Council
Waseda Minako on page 18).
published. In this issue you can nd warmly welcomes the new ones.
the notice Search for the next General Finally, let me share with you the news
Call to translate ICTM brochure
Editor of the Yearbook for Traditional about the passing of Michael Hauser,
Music. The current General Editor, A part of ICTMs denition states that one of the pioneers of ethnomusicolo
Kati Szego, will complete her mandate as a nongovernmental organization in gical research in Greenland. The re
with Vol. 49 (2017), and so it is the formal consultative relations with cordings of indigenous people, collected
right time to announce the search for UNESCO and by means of its wide and commented on by him and Poul
her successor. Please see the complete international representation and the Rovsing Olsen and published by the
notice on page 3. activities of its Study Groups, the Danish Folklore Archives as Tradition
International Council for Traditional al Songs of Greenland, made a lasting
World Network changes Music acts as a bond among peoples of impact on me and surely many other
The ICTM World Network of National dierent cultures and thus contributes ethnomusicologists. Our gratitude also
and Regional Representatives experi to the peace of humankind. It is clear goes to the late Ghanaian colleagues
enced a few changes in representation from the almost seven decades of the Nii Yartey, Nana Danso Adbiam,
in the most recent period. Henry Councils existence that this sentence is Ebenezer Laing, and Nissio Fiagbedzi,
Johnson nished his term as Chair of far from being just an attractive presented by Daniel Avorgbedor on
the Australia and New Zealand Region phrase. For example, ICTM World pages 17-18.
al Committee, and was succeeded by Conferences have been held on both
Catherine Grant. At the National sides of the Iron Curtain, in non
Committee for Finland, Mikko aligned and neutral countries, etc.
Vanhasalo was succeeded by Anti-Ville
Guided by a wish to increase the sense
Krj, and the Chair of the National
of ICTMs internationality, the
Committee for Ireland, Daith Kearney,
Secretariat calls for volunteers to
was succeeded by Lonn Briain.
translate the contents of the
Along with expressions of gratitude to
ICTM brochure into Arabic,
JSTOR specications and upload to ral Editor has prior experience working
General Editor of the their site with a graphic designer.
Yearbook for Traditional The General Editor is appointed by
Requirements
Music and is responsible to the Executive
A General Editor should have the
Board. The initial appointment is for a
Kati Szego, the General Editor of the following experience and qualications:
period of three years, which may be
Yearbook for Traditional Music, has
ICTM membership in good standing extended. A written reportto the
informed the Executive Board that she
and a commitment to ICTMs Board is required of the General Editor
will be stepping down after publication
mandate at every Board meeting (annual) sum
of the 2017 Yearbook. The Executive
Fluency in spoken and written En marising the contents of the previous
Board has established a committee to
volume, progress on the current
nd a new General Editor. This comm glish, the language of the Yearbook
volume, and plans for next years
ittee consists of Salwa ElShawan Prior experience in academic editing
volume (including the appointment of
CasteloBranco, Don Niles, Svanibor Intimate familiarity with Microsoft
guest editors). If not a member of the
Pettan, and Kati Szego. Word, particularly its use for editing Executive Board, the General Editor
Work of the General Editor Strong organizational and communi may attend and participate in Board
cation skills, as well as the ability to meetings, but not as a voting member.
The General Editor is responsible for
meet and enforce deadlines
all aspects of the preparation of the Further Information and
Yearbook for Traditional Music for In addition a General Editor should Submissions of Interest
publication. These include: have access to:
Interested members should contact the
Communicate with authors regarding A reliable communications infras present General Editor, Kati Szego, for
submissions to the Yearbook tructure, involving Internet access, further details about this work. Formal
Initially evaluate all submissions email, telephone, fax and courier applications must be submitted to the
services; most communications are ICTM Secretariat no later than 15
Solicit referees reports on
conducted through email September 2016 and labelled YTM
submissions
Software and hardware as necessary Editors position. The Committee will
Work with authors on revisions to make recommendations to the Board,
to do the required work
their articles to prepare them for
which will then make an appointment.
publication Human resources with the following
software skill sets:
Appoint and supervise the work of
the review editors - Adobe Photoshop or similar, for
preparation of bitmap images
Liaise with any guest editors regard
ing requirements for publication and - Adobe Illustrator or similar, for
oversee their editing of articles preparation of vector graphics
Liaise with the ICTM Secretariat - Adobe InDesign or similar, for page
regarding the layout of each volume layout and preparation of PDF les
and the preparation of PDF les for - Adobe Acrobat or similar, for
printing modication of PDF les
Check printer proofs and give nal
In most instances, the General Editor
approval for printing in November
will prepare les for nal formatting by
a professional with expertise in graphic
Svanibor Pettan (ex ocio) lars, scientists, and educators that had
Visit the conference website to learn
been disrupted by war. IFMC/ICTM
Susana Sardo more about local arrangements,
has tended to represent the small or
J. Lawrence Witzleben including travel, accommodation, and
marginalized performance traditions
other helpful information.
rather than the great and elite tradi
tions, aligning the Council with issues
of human rights, citizenship and social
justice.
What has been the impact of the What do we imagine for our legacies cance in both ethnomusicological and
Councils work on music and dance when in the hands of those who will ethnochoreological research after a pe
studies in general and on ethnomu inhabit unknown futures? riod in which they often played a sub
sicological and ethnochoreological sidiary role. Long-established methods
3. Ethnomusicology,
studies in particular? and techniques of analysis in both elds
Ethnochoreology and Digital
What has been the impact of the are being modied, extended, and per
Humanities
notions of folk music/dance and haps superseded as new technologies
The eld of digital humanities (DH)
traditional music/dance on the and methodologies suggest new possi
was ocially founded with a manifesto bilities. The historical shift in both
discursive construction of expressive
ratied in 2010 in Paris, dening digit
behaviour, scholarly research, and elds from their early preoccupation
al humanities as a transdiscipline,
the ways disciplines, elds of study with sound and movement analysis to a
embodying all the methods, systems, primary attention to context, as vari
and institutions are congured?
and heuristic perspectives linked to the ously understood, may have run its
What may be the Councils future digital within the elds of humanities course. Re-theorization of both music
directions for example in relation to and the social sciences. The institu and dance practice has attempted for
regional conicts, environmental tionalization of DH currently comprises some time now to transcend, or at least
change, and large-scale migration? 196 specialized research centres, based mediate that gap and bring these per
in 24 countries, according to the
2. Legacy and Imagination in spectives into conversation. There
Music and Dance observatory for digital humanities, seems to be an opportunity at this time
Centernet. The knowledge that has
Legacy is a concept that both reaches to revisit the place of music analysis
been produced from this perspective fo and/or movement analysis in ethno
back to the past and looks forward to
cuses mainly on using digital tools and musicology and ethnochoreology.
the future. In our research we have
resources to facilitate access to infor
long interrogated the processes of con What possibilities might be present
mationas well as to process itre
tinuity, transmission, and change; in ed by technologies such as motion
sulting in the creation of archival plat
eect the formation of legacies left to capture and others?
forms. In view of this development it is
us from our forebears. We ask as well,
important to know where ethnomusico Might we investigate music and
how are they being treated in our
logy and ethnochoreology are situated dance as a unitary phenomenon?
present(s)? But we might also ask, how
in the context of DH. What might analysis reveal about
are legacies created for future genera
this question?
tions? Legacies may be constituted in To what extent is the quantitative
multiple forms, including, for example, perspective of DH compatible with Might the vast quantity of music
the material, aural/oral, and corporeal; the qualitative prole of ethnomusi and dance documentation now avail
cology and ethnochoreology? able and their increasing sophistica
they may be so constituted in many
ways, through physical, social, or per tion revitalize possibilities for compa
Does the adoption of the methods of
formative practices, for example. Lega rative study?
DH relegate the sensitive and emo
cies might be found in the intellectual, tional dimensions of music and danc 5. Music, Dance, Religious
artistic, and spiritual domains of life, as ing to a second level of analysis? Politics and Religious
well as many others. Processes of hu Policies
How can ethnomusicology and ethno
man imagination are implicated in all
choreology contribute towards a Music, dance, religion, and politics are
three of these stages of legacy creation.
prudent technology in the man endemic in human societies, and very
What pasts do we imagine such lega agement of knowledge about music frequently are strongly interlinked.
cies to represent, preserve, maintain, and dance in the context of DH? This theme invites educatorsscholars
or pass on? performers to contextualize music and
4. Exploring Music Analysis
dance as these relate to enforced or
What do we imagine we are leaving and Movement Analysis in
changing religious ideologies concerning
for those to come as we create our Ethnomusicology and
Ethnochoreology music and the performing arts and cope
legacies, either personal or collective?
with state and religious interventions.
Analyses of musicsound and moving
The foundation here is that state and
bodies respectively are regaining signi
religious politics and policies either Following evaluation, authors will be should be submitted by the session
endorse, subvert, and/or attempt to notied of the Programme Committees organizer (300 words).
control the expressions and narratives decision in December 2016.
embodied in the performing arts for
1. Individual paper
their own purposes. Often, music and
Individual papers should be 20 minutes To submit your proposal,
dance are connected to a matrix of be
long and followed by 10 minutes of dis please visit this page
liefs enmeshed within the fabric of lo
cal, national, or global religious prac cussion. The proposal must include a
tices, but then the ideology changes 300-word maximum abstract.
and state or religious institutions exert Timeline
2. Panel
pressures upon practitioners to make
Organized panels are 90 minutes (three First notice: October 2015
adjustments to t this new ideology.
papers, each 20 minutes, followed by 10 Second notice and call for proposals:
How, precisely, do music and dance minutes of discussion) or 120 minutes January 2016
interact with religious politics and long (four papers, or three papers and a Third notice and call for proposals:
policies, on a micro or a macro discussant). A proposal by the panel
April 2016
scale? organizer (300 words) as well as one by
Deadline for submission of proposals:
What are the artistic results of reli each individual presenter (300 words
30 September 2016
gious nationalism in hierarchical or each) are required. Where an indepen
more egalitarian societies? dently submitted abstract appears to Notication of acceptances:
t a panel, the programme committee December 2016
Can ethnomusicology or ethnochore
may suggest the addition of a panellist.
ology play a positive role in support The Preliminary Programme will be
The programme committee may also
ing music and dance and their prac published in the April 2017 Bulletin.
recommend acceptance of only some of
titioners endangered by religious
the papers on a panel.
politics or policies?
3. Film/video session
6. New Research on Other
Topics Recently completed lms introduced by
their author and discussed by confer
Although the Programme Committee
ence participants may be proposed.
hopes that the themes announced
Submit a 300-word abstract including
above will encourage members to con
titles, subjects, and formats, and indi
sider new ways of conceptualizing their
cate the duration of the proposed lms
research data, we also recognize that
or videos and introduction/discussion.
some delegates will want to present re
search results that do not t with any 4. Forum/Roundtable
of the announced themes. This broad
Forum/Roundtable sessions provide
heading is included to accommodate
opportunities for participants to discuss
these scholars.
a subject with each other and with
members of the audience. Sessions of
Abstracts
up to two hours long should include at
Abstracts should be no more than 300
least four but no more than ve pre
words in length, and written in English
senters. We encourage formats that sti
(papers may be presented in either
mulate discussion and audience parti
English or Gaelic, but all abstracts
cipation. The organizer will solicit posi
must be in English). They should indi
tion papers of up to 15 minutes from
cate the theme under which they are
each presenter and will facilitate ques
submitted.
tions and discussion for the remaining
time. Proposals for forums/roundtables
Announcements ICTM
arrangements information (such as poster session around the themes of (1)
5th Symposium of the
travelling to Naples and a list of Dance and the Senses and (2) Dancing
ICTM Study Group on recommended accommodations) are and Dance Cultures in Urban
Music and Dance in available at this webpage. Contexts.
Southeastern Europe For further, ongoing information, Further information about the sympo
please visit the Study Groups website. sium can be found at the Study Group
28 May 2016
website.
Blagoevgrad, Bulgaria
9th Symposium of the
The 5th Symposium of the ICTM
ICTM Study Group on 4th Symposium of the
Study Group on Music and Dance in
Southeastern Europe will take place on Music and Minorities ICTM Study Group on
28 May in Blagoevgrad, Bulgaria. Performing Arts of
48 July 2016
More than 50 papers will be presented Rennes, France Southeast Asia (PASEA)
under the themes of (1) Music and
The 9th Symposium of the Study 31 July6 August 2016
Dance in Southeastern Europe in Post
Group on Music and Minorities will be Penang, Malaysia
1989; (2) Representations of Music and
held on 48 July 2016 at the Universit
Dance in Audiovisual Ethnographies in The 4th Symposium of the ICTM
Europenne de Bretagne, Rennes,
Southeastern Europe; and (3) Myth, Study Group on Performing Arts of
France.
Ritual and Interpretations in/of the Southeast Asia (PASEA) will take
Music and Dance in Southeastern The preliminary programme of the place from 31 July to 6 August 2016 at
Europe. symposium and important local the School of the Arts, Universiti Sains
arrangements information (e.g., travel, Malaysia (USM), Penang.
Further information about the sympo
accommodation) are available at this
sium can be found at the Study Group Further information about the sympo
webpage.
website. sium, including the Preliminary Pro
For further, ongoing information, gramme, presenters and their abstracts,
Local Arrangements information
1st Joint Symposium of please visit the Study Group website.
(including registration, accommodation,
the ICTM Study Group and travel, etc.) can be found at the
29th Symposium of the
on Mediterranean Music USM website.
ICTM Study Group on
Studies and the
Ethnochoreology 5th Symposium of the
International Musicolo
916 July 2016 ICTM Study Group on
gical Society
Graz, Austria Musics of East Asia
2126 June 2016
The 29th Symposium of the ICTM
Naples, Italy 2527 August 2016
Study Group on Ethnochoreology will Taipei, Taiwan
The 1st Joint Symposium of the Study take place on 916 July at Retzhof
Group on Mediterranean Music Studies Castle, an education centre near Graz, The 5th Symposium of the ICTM
and the International Musicological Austria. Details regarding registration, Study Group on Musics of East Asia
Society will be held on 2126 June 2016 travel and accommodations can be will be held at the Academia Sinica
in Naples, Italy. found at this webpage. and the Taipei National University of
the Arts in August 2016, where the
The preliminary programme of the The programme will feature papers,
symposium and important local panels, a media presentation, and a
The BALTICA festivals grand concert in Rzekne, Latvia. July 2015. Photo
by Reinis Oli.
The materials included in Volume 2 are pedia of Azerbaijani Mugham (Baku: The magazine where the article is
memoirs by the great Azerbaijani rq-Qrb Publishing House, 2012) featured includes the CD Mugham of
mugham singer Jabbar Garyaqdi oglu [editors note: featured in Bulletin of Azerbaijan curated and compiled by
(18811944) and by the tar performer the ICTM 128, pp. 31]. This edition is Sanubar Baghirova. Seven of the nine
Suleyman Mansurov (18721955). Both a revised and expanded version of the tracks on the CD were recorded by
manuscripts contain precious informa encyclopedia by the same name Baghirova in Baku. The musicians
tion on mughams and dastgahs, published in 2008 in Azeri (Muam featuredboth singers and instrument
mugham performers, and the lyrics ensiklopediyas, Baku, compiler Tariel alistsare current stars of mugham,
sung to various pieces of mugham Mammadov, available online). Both some of whom recognized worldwide
repertoire. editions were published under the (Alim Qasimov, Ramiz Quliyev,
patronage of the First Lady of Fargana Qasimova, Gochag Askarov)
Volumes 3 to 8 feature lyrics of more
Azerbaijan Mehriban Alieva, a while others (Miralam Miralamov,
than forty ashiq dastans [editors note:
UNESCO Goodwill Ambassador. Elnur Mikayilov, Glyanaq
traditional epics or romantic tales] and
Mammadova) are known mainly in
dozens of ashiq melodies performed The Mugham Dictionary, a new refe
Azerbaijan. The release of the CD was
within those dastans. These materials rence text written in both Azeri and
sponsored by the Ministry of Culture
were collected by the folklorist Huseyn English, was published in 2013 (zahl
and Tourism of Azerbaijan.
Iskandarov in the 1930s. The art of the muam ltu, Baku, compiled and
ashiqs is syncretic, and cannot be ima edited by Tariel Mammadov, available Signicant among the recent CD
gined beyond its components: lyrics online). The edition is supplemented releases available outside of Azerbaijan
(both poetry and prose), singing, and with 4 CDs with mugham recordings is the series Traditional Music of
instrumental accompaniment with the performed by dierent generations of Azerbaijan, published by the Italian
saz lute. Therefore the publication of Azerbaijani musicians from the early label Felmay Records from 2011 to
these oral literary monuments is of twentieth century to the present day. 2013, with the nancial support of the
interest not just for specialists in Ministry of Culture and Tourism of
A few articles on Azerbaijani tradition
literature, but also for musicologists Azerbaijan. This series features seven
al music were published recently
specializing in the art of ashiqs. compact discs covering all genres of
abroad. A Guide to the Music of the
traditional Azerbaijani music: mugham,
One weakness of the edition might be Fire Country: Mugham from Azerbai
the art of ashiqs, instrumental music,
the lack of denite citations of titles jan by Simon Broughton (Songlines
folk songs, and dance tunes.
and catalogue numbers of published 93, 2013) overviews the essence of
manuscripts, and in some cases mugham, discusses historical centres of The rst three volumes in the series
information on sources and informants mugham performance in the nineteenth (Gochag Askarov: Mugham, Nazaket
from whom the materials were century, the current tendencies in Teymurova: Mugham, and Caravan of
recorded. mugham culture, and performers who Mugham Melodies) present the genre of
represent Azerbaijani mugham on the mugham with all its varieties, and
Another important recent publication
world stage today. introduce new artists for Western
is the Russian edition of the Encyclo
listeners, such as Nazaket Teymurova,
Three volumes in the CD series Traditional Music of Azerbaijan, published from 2011 to 2013.
was published, presenting archival works that may harm the general taste mances, learning opportunities, diverse
recordings of womens singing recorded of the people, especially in the ocial musical styles and contexts.
between 1953 and 2013. TV and radio stations, to apply
Much has already been written about
modern (Western) orchestration
Finally, the National Committee is the commercialism of media music and
theories to traditional and folk musics,
organizing a folklore seminar and work video clips, including the use of sexual
to study the best means to preserve
shop on 15-16 April 2016, aimed at titillation for prot and the negative
folk music in all Arab countries and,
leaders of cultural, artistic, and folklore implications for society, gender roles,
after accurate recordings, information
societies as well as primary school and traditional values. Critics and
and possible notation, to exchange
teachers. The event aims to spread citizens alike rail against the vulgar
those between Arab countries to con
theoretical and practical knowledge lyrics and trite melodies that threaten
solidate [an] Arab entity, to ensure
about traditional music and dance of their values. Musicians, writers,
that musical traditional groups in Arab
Bosnia and Herzegovina. academics, television presenters have
countries play precisely the units of
all been caught in this net, some sent
heritage from authentic resources like
Egypt accurate scores, and for new works of
to prison, while others have chosen
exile. At the same time, marketability
modern composers [to] pertain [to] and
by Kristina Nelson, ultimately prevails over moral and
be inspired by our musical heritage.
Liaison Ocer aesthetic concerns, and determines
The complete lists of recommendations
media access to particular music
In the absence of any can be found in the Reports section of
traditions, while, since the mid 1990s,
contribution from Egypt issues 82 (April 1995) and 86 (April
the role of the Internet in facilitating
for over 20 years (the 1993) of the Bulletin of the ICTM.
exposure across class boundaries to a
last report appeared in the 1995
The aforementioned reports attest to wide range of music is critical in
Bulletin), this report should serve to
longstanding eorts to dene musical opening the gates to unregulated
present an overview of the contempo
taste. Such eorts and attitudes feed exposure of a wide range of music.
rary musical landscape in Egypt, its
into a growing, post2011 climate of
challenges, opportunities, and achieve Urban pop music (shababi/sha3bi),
xenophobia, moral policing, and nation
ments, including assessing the degree to with its mainstream media presence
al security fears, of which recent
which the recommendations by govern and Western instruments is edging out
governmental eorts to legally enforce
mentorganized international and local community oral traditions.
standards set by the Musicians Syndi
national conferences and seminars from Although some Cultural Palaces oer
cate is the result. In November 2015,
1989 to 1994 have been implemented. choral singing and instrument training,
after years of policing the eligibility of
However, lling in the blanks on the the prestige, popularity, and the lure of
musicians to perform in public places,
Egyptian music scene over the last 21 stardom and nancial gain that West
Ahmed al Zend, Justice Minister,
years (and especially, taking into ern and Arab pop musics inspire, moti
granted powers of arrest to three
account the changes since 2011) is too vate most students to opt for guitar
ocers nominated by the Syndicate
daunting a task for the scope of this and electric keyboard (org) lessons over
Head. Based on a law amended in
report, so I can only tag some issues Arabic lute (a close second), or any
2003, the ruling gives these ocers the
and include links for further reading other classical or folk instruments.
right to conduct searches and arrests,
and discussion.
accept complaints and reports from Folk music is at risk. The illiteracy and
The last two Bulletin reports focused citizens, collect information on the low social status of the folk exclude
on listing the recommendations from suspects, and send reports directly to them from the serious art world and
the second and third Conferences on the prosecution. the mainstream media, relegating their
Arabic Music (Cairo, 1992 and 1994). music to an annual Ramadan nostalgia
At the same time, a birdseye view of
In addition to reiterated calls for the for roots, an interlude to amuse
the music scene in Egypt since 2011,
establishment of ethnomusicology tourists after a day of sightseeing, and
especially in Cairo, gives the impression
departments in three of Egypts as part of some quaint but backward
of an irrepressible and energetic sound
universities and for improving music tradition having little relevance and
scape that crosses class and main
education in Egypt, we read of calls to value to the development of a modern
stream media boundaries with perfor
legally prohibit all awful musical nationstate. Understandably, tradi
tional performers, even nancially suc music traditions, such as the beloved The Upper Egypt Chorale represents a
cessful ones, have been increasingly songs of Sayed Darwish, Sheikh Imam, departure from established approaches
reluctant to pass on their skills and or Ismail Yassin. to music education: inspired by the
knowledge to a younger generation. teaching of Sister Celeste, a generation
While audiences for the Arabic music
of children and young people in the Al
Two organizations are committed to programme at the Cairo Opera House
Minia province have become exposed to
reversing this trend: El Mastaba Center are substantial, however much revered
the rich history of Egyptian songs.
for Egyptian folk Music and Makan. in theory and enjoyed in practice, Arab
Through performances and touring, the
They promote and produce the music art music does not gure in school
choir creates new audiences for this
of the bands under their umbrellas (see music programmes, and interested
music, not only in their home villages,
their websites for lists of releases), tour young people must nd their own
but also in the larger urban centres of
their musicians abroad, organize music teachers and learning opportunities in
Cairo and Alexandria. Since the mid
festivals (Bab el Shams in Alexandria the Cairo Conservatoire at the Acade
1990s, two educational resources have
and WANAS in Cairo), engage their my of Arts, Bayt el Oud (a lute school
opened up at the Cairo Opera House:
musicians in collaborations with other founded by Iraqi exile and oud virtuoso
the Talents Development Centre and
musicians and other genres, and boast Nassir Shamma), Dom Tak Cairo
the Music Library, where students and
extensive archives of audio and visual Rhythm House, and from individual
acionados can access a comprehensive
material available to researchers world teachers. The ve branches of the
collection of Egypts musical past.
wide. El Mastaba is unique in its Kythara Music Institute in Cairo, and
eorts to reintroduce this music into its the Cairo Music Centre (aliated with Ahmed El Saedi, principal conductor
original communities, bringing musi The Royal College of Music, London) and music director of the Cairo Sym
cians back to their local communities, oer instruction on both Arab and phony Orchestra, presents a concert
and reconvening artists who had given Western instruments. series of Arab composers, titled Sound
up their art in the face of marketdriv of Egypt. Orchestral and choral com
Global music traditions are making
en keyboard bands. El Mastaba, whose posers integrate elements of Arab mu
their way into the curricula of foreign
genesis is in the Canal Zone, continues sic and instruments into their compo
language schools through American and
to programme regular concerts of local sitions, and successfully perform their
English textbooks but the teaching
bands in that area, as well as weekly music abroad, although in Egypt, the
resources rarely feature Egyptian music
concerts in their performing space in music is neither widely performed nor
traditions, nor do they oer teacher
Cairo (the al Dammah Theatre). appreciated by the general public.
training.
Nayer Nagui, founder and conductor of
Educational policies continue to put
the arts at the bottom of the totem
pole: most schools arts programmes
consist of memorizing songs for an end
ofyear concert or Broadway musical.
Where there is music education in the
schools, it is generally characterized by
a focus on Western traditions. In this
environment, it is perfectly natural for
a prominent supporter of the arts to
dream of a piano in every village
school. The music young people buy,
download, and listen tomahraghanat,
aghani habta (lowbrow songs), poli
tical songs, rock, heavy metal, sha3bi/
shababi songsis regularly criticized in
the press as degraded and vulgar. Nor
do teacher training courses expose
students to the rich heritage of Egypts Outdoor concert venue in Giza, Egypt. December 2015. Photo by Svanibor Pettan.
the Cairo Celebration Choir, presents a Makan, Rawabet, El Ghouri, Darb Links for further reading
programme of European classical mu 17/18, Townhouse Gallery, Culture
The popular and successful D-Caf
sic, as well as his arrangements of fa Resource (Al Mawred al Thaqa) and
Festival contributes to increase expo
mous Egyptian works by Sayed El Warsha present music performances
sure of Arab and international arts,
Darwish and Gamal Abdel Rahim. A at home and abroad, as well as promot
mostly to elite and educated audiences.
number of composers coming from the ing new bands. As the oldest civil orga
European orchestral tradition (e.g., nization working with oral music tradi In the summer of 2011, Afropop re
Ahmed Atef, Hisham Gabr, Nader tions, El Warsha founded a school for searched and produced ve pro
Abbassi) also contribute to lm scores, stick dancing in Mallawi, and has a his grammes on a wide range of Egyptian
expanding Egyptians exposure to this tory of researching traditional arts for music traditions for Englishspeaking
genre through the medium of cinema. its programme, bringing in students audiences (mostly in the United States)
from outside Cairo and touring abroad
Religious music (inshad dini, ibtihalat), Policing music recent incidents: link
in a cabaret format. Like El Warsha
ourishing in both rural and urban 1, link 2, link 3, link 4, link 5
and the Upper Egypt Chorale, El
contexts and largely disseminated
Mastaba has established two schools in New bands rock and jazz drawing on
through aordable cassettes, boasts
the Canal Zone where students learn to Egyptian heritage: link
impressive audiences (Yassin al
play traditional instruments and
Tuhamis audiences of 30-40,000 rival One artists critique and solutions to
rhythms, the repertoire of local songs
those of pop star Mohamed Mounir), the standards of new music: link
and dances, and are oered opportuni
while retaining many elements of the
ties for performance and participation Mahraganat: link 1, link 2, link 3
art music tradition, such as impro
in El Mastabas professional troupes.
visation, modes and rhythms. Music and mobile phones: link
The new Suheil Cultural Centre oers
Aghani habta (so-called low-brow percussion lessons to Nubian children New production spaces and training
songs), a standard soundscape for taxis on Suheil Island, Aswan. The Nile opportunities for nonmainstream
and microbuses, also depend on the Project, now in its third year, brings artists: link1, link2, link 3
cassette industry for dissemination, and together a wide range of musicians and
Nationalist music: link
are in demand in lowerclass, urban genres (folk, jazz, urban pop) from
neighbourhood weddings and cafs. countries that share the Nile for local Electronic music releases: link
and international performances and
Mahraganat, an electronic mix of hip Songs of the New Arab Revolutions
workshops on water issues.
hop and shababi leaves behind the long (2012), initiated by Michael Frishkopf,
standing lyrics of love and heartbreak Although folklorists have a long history is a collaborative documentary lm by
to tackle economic and political issues, in Egypt, most of their research is text members of the Society for Arab Music
and has become the favourite music of based, and ends up on the shelves of Research and members of the (regular
lower to middle class young Egyptians, libraries and archives, with little prac ly updated) Facebook group Songs of
crossing over from lower class weddings tical value in enhancing the status of the New Arab Revolutions.
and birthdays to media contexts and their subjects and contributing to the
international music festivals. This continuity of traditions. Egyptian
article discusses the Mahraganat genre, ethnomusicologist Mohamed Omrans
tracing its development and the comprehensive study of Gypsy music of
challenges it faces from individual the Delta covers 30 years of research,
critics and ocial bodies. but remains outside the canon of
ethnomusicological research, accessible
A owering of new non-governmental
only to those interested scholars who
cultural organizations and initiatives is
can read Arabic. The Music Education
expanding the role of older institutions
Faculty of Helwan University briey
in oering increased opportunities for
oered training in ethnomusicology
new constituencies to participate in
under the direction of the late
music. El Mastaba Centre for Egyptian
ethnomusicologist Martha Roy.
Folk Music, Culture Wheel/El Saqia,
In November 2014 a jazz workshop On 28 January 2016 the Ephraim Amu Nana Danso Adbiam (19532014),
was organized and conducted by local Memorial Lecture was held at the founder and conductor of the Pan
jazz pianist Victor Dey and visiting Ghana Academy of Arts and Science. African Orchestra, composer and
scholar and guitarist Colter Harper. cultural activist who encouraged the
Creative session focusing on Ghanaian indigenous musical elements with guest composers from the Royal Conservatory of
The Hague. Legon, Ghana. January 2016. Photo by Daniel Avorgbedor.
Bulletin of the ICTM Vol. 131 April 2016 Page 17
R E P O R T S
creative employment and renement of Ampene, Kwasi Frank, Akosua edge, Wisdom, and Artistry. Afri
African musical idioms and musical Adomako Ampofo, Godwin K. Adjei, can Music Vol. 9 No. 4 (2014): 7-35.
instruments in the context of the and Albert K. Awedoba, eds. Nii-Dortey, Moses. Folk Opera and
staged orchestral music tradition. Discourses in African Musicology: the Cultural Politics of PostInde
Abiam was in the process of reenvi J.H. Kwabena Nketia Festschrift. pendence Ghana: Saka Acquayes
sioning the orchestra as the Accra Ann Arbor: University of Michigan The Lost Fishermen. In The
Symphony Orchestra, with the sup Press, 2015. Politics of Heritage in Africa:
port of well-known Ghanaian televan Amuah, Joshua (with E.O. Acquah, Economies, Histories, and
gelist Mensah Otabil of the Interna J.F. Annan, and J. TsemafoArthur) Infrastructures, edited by Derek
tional Central Gospel Church. Abiam A Synchronic Study of Semantics in Peterson, Kodzo Gavua, and Ciraj
also created a junior division of the Selected Akan Choral Compositions Rassool. Cambridge: Cambridge
orchestra called PanAfrican Youth in Ghana. Journal of Music and University Press, 2015.
Orchestra (PAYO), which is conducted Dance Vol. 5 No. 4 (2015): 16-23.
by his son Kweku Danso.
Amuah, Joshua and Timothy Andoh. Japan
Ebenezer Laing (19312015), a Creative Composition and the
by Waseda Minako,
botanist and one of few classically Indigenous Knowledge System in
Secretary of National
trained accomplished pianists who also Ghana: Models From the Life and
Committee
played classical guitar and oboe, and Compositions of Nana Afua Abasa.
served as organist for the Anglican International Journal of Music and
Koizumi Fumio
Church at UG. He was a former Pro Performing Arts Vol. 2 No. 2 (2014):
Prize Winner 2015
Vice Chancellor, Dean of the Faculty of 5369.
Science, Head of the Department of I am pleased to report that Otanazar
Collins, John. E.T. Mensah the King
Botany, and founding member of the Matyakubov and Margaret Kartomi
of Highlife Anthology. 60page book
African Academy of Sciences. His musi have received the 27th Koizumi Fumio
let accompanying a 4CD Tempos
cal interests include quantitative ana Prize for Ethnomusicology.
compilation album. London:
lyses of highlife, a local popular music RetroAfric, 2015. This prize was established in 1989 to
genre. Laing chaired a session of the commemorate Koizumis lifelong devo
Collins, John. A Comprehensive
threeday symposium in the honour of tion to ethnomusicology and to honour
Study of the Music Sector: Abridged
JHK Nketia reported in the January
Final Report. Accra: MUSIGA, 2015. individuals and organizations who have
2015 issue of the Bulletin of the ICTM. made signicant contributions to the
Collins, John. Ghanaian Popular
Nissio Fiagbedzi (19312015), former eld. You can visit this page to learn
Performance: A Century of Changing
Senior Lecturer in the Department of more about the prize (including a list
Urban Spaces, Venues and Identi
Music at UG, scholar and cultural of past awardees) and this page to
ties. In The Performing Arts in
expert on the Ewe, accomplished learn more about Koizumi himself.
Africa: Ghanaian Perspectives, edit
pianist and associate of the late ed by A. Asiedu, E.J. Collins, F. Otanazar Matyakubov was awarded
Ebenezer Laing proled above. His Gbormittah and F. Nii-Yartey, 43 the prize in recognition of his contri
monographs include An Essay on the 57. Oxford: Ayebia Clarke, 2014. bution to ethnomusicology through
Nature of the Aesthetic in the African
Dor, George. Exploring Indigenous historical research on Central Asian
Musical Arts (2005) and Form and
Interpretive Frameworks in African musics, while Margaret Kartomi was
Meaning in Ewe Song: A Critical awarded the prize in recognition of
Music Scholarship: Conceptual
Review (2009), in addition to numerous
Metaphors and Indigenous Knowl her contribution to clarifying diversity
essays and book chapters. of Southeast Asian music cultures from
edge in the Life and Work of Hesino
Vonorkor Akpalu. Black Music historical, musicstylistic and organolo
Selective bibliography of recent
Research Journal (forthcoming) gical viewpoints.
publications focusing on Ghana
Dor, George. Ephraim Amus The award ceremony will be held in
Agawu, Ko V. The African
Bonwere Kentewene: A Celebra Tokyo on 26 May 2016.
Imagination in Music. Oxford:
tion of Ghanaian Traditional Knowl
Oxford University Press, 2015.
Folk dancing evening with the folk group Laukis. Vilnius, Lithuania, 4 December Some poster sessions were presented as
2015. Photo by R. Juneviius. well: The Ways of Saving Traditional
Music Culture of Slobodian Ukraine in
context of recordings by traditional lity and dynamics in the structure of the 21st Century by Iryna Romanyuk
accordionists of the Vologda region. song stanzas in the Ukrainian reper (Kharkiv, Ukraine); The Song of the
toire. Finally, Tatiana Kaplun (Odessa Fatherland: An Investigation of
Ewelina Grygier (Institute of Art of the
National A. V. Nezhdanova Academy Functions From Some Latvian Folk
Polish Academy of Sciences, Warsaw,
of Music) investigated gender aspects Songs by Kristne Rotbaha (Riga,
Poland) raised the rhetorical question
of the study of the Old Believer Latvia); Frequency Directory and
Do street musicians still play urban
tradition in communities from the Regional Publications ofUkrainian
folklore?, focusing her presentation on
Odessa region. Song Folklore by Liudmila Jefremova
the case of the streets of Vienna.
(Kiev, Ukraine); and Jambic
Gustaw Juzala (Institute of Archaeolo The main trends of contemporary
Septenarius Formula in the Ritual
gy and Ethnology, Polish Academy of Lithuanian ethnomusicology were
Song Folklore of Ukrainians,
Sciences / Department of Romanic reected in the presentations by
Belarusians, Lithuanians, and Poles
Philology, Vilnius University) shared scholars from the the conferences host,
by Irina Klimenko (Kiev, Ukraine).
the results of his research on the folk the Academy of Music and Theatre
lore of the highlands near the Tatra Vilnius. Dalia Urbanaviien reected The concert Tai genelio margumai,
mountains, Podhale region, Poland. on the characteristics of regionalism in which presented the full spectrum of
Lithuanian ethnochoreology; Evaldas regional Lithuanian folklore, was also
A team of ve Ukrainian
Vyinas portrayed the Auktaitija included in the programme. Among the
ethnomusicologists from the National
region as an example of exceptional performers were the folk ensembles
P. I. Tchaikovsky Music Academy
traditional instrumental music; Gaila Verpeta (Kaiiadorys) and Seklyia
(Kiev) participated in the conference.
Kirdien compared the ddling style of (Kdainiai), accordion player A.
Margaryta Skazhenyk and Oleh
the Dzkija region to those of the Mieliauskas, drummer K. Streikus
Korobov discussed the interdisciplinary
Lazdijai (Lithuania) and Seinai (Zarasai), R. Garsonien and a group
research oftraditions of the Middle
Punskas (Poland) regions; Jrat of young drummers and accordion play
Polissya region. Anna Kolomytseva
Petrikait discussed poetry and song ers (Utena), and A. Bataviius, who
presented the results of her research on
from the Suvalkija region; and nally, performed on several wind and bellows
Ukrainian cumulative songs, emphasi
Rytis Ambrazeviius discussed his musical instruments. Georgian folk
zing the issues of regional parallels, and
research on the peculiarities of the singer Nana Mzhavanadze and the
Anastasiia Mazurenko discussed stabi
tunings of the kankls (a Lithuanian ensemble Volodar (Ukraine)
presented examples from their regional A series of guest lectures at the Ethno with Imago Sloveniae, a renowned
folklore. musicology Programme of the Depart cultural foundation which organizes one
ment of Musicology of the University of of the most prominent annual music
A folkdancing evening was also part of
Ljubljana, hosted by Svanibor Pettan, festivals in Slovenia, Nights in the Old
the programme, with performances by
provided us with a variety of relevant Ljubljana Town. Thanks to this
young ethnomusicologists from the
topics. Alongside local scholars and partnership, the NC has successfully
Lithuanian Academy of Music and
musicians, the international presenters brought together music and dance
Theatre and the folk group Laukis.
included Engelbert Logar and Kendra research with the performative domain
On the last day of the conference, an Stepputat (Austria), Tamara Karaa in the scope of the festival. The NC
excursion to the Dzkija National Park Beljak, Ivana Gojmerac, and Jasmina enriches the event by organizing an
was organized, where conference Talam (Bosnia and Herzegovina), international multidisciplinary sympo
participants enjoyed Advent folk songs Steven Brown (Canada), Nada Bezi, sium and one or more concerts every
and roundgames in the village of Naila Ceribai, Joko aleta, and year. The organizing team consists of
Marcinkonys, heard stories about Lidija Nikoevi (Croatia), Thomas Teja Klobar, Mojca Kovai, Svanibor
everyday life in the Dzkai region, and Hilder (Germany), Arun Mishra Pettan (Chair), and Carlos Yoder.
met the 90yearold local folk singer (India), Kei Saito and Yusuke Wajima
Consequently, in 2012 Slovenian re
Birut Tamuleviien. (Japan), Saida Yelemanova
searchers and performers participated
(Kazakhstan), Aswin Shrestha (Nepal),
We hope that our ethnographic regions in a roundtable and concert (titled
Daniel Winfree Papuga and Thomas
will continue to strive in the future, Whither Accordion?) focusing on the
Solomon (Norway), Vesna Ivkov
and that their folk traditions will accordion. In 2013, the topic of the
(Serbia), Subhangi Herath and
continue both in Lithuania and symposium and two outdoor concerts
Lasanthi Manaranjanie Kalinga Dona
worldwide. was Music and Protest in Various
(Sri Lanka), Karin Eriksson and
Parts of the World. The following
Ann-Soe man (Sweden), Xavier
year, the symposium Music and
Slovenia Bouvier and Marcello Sorce Keller
Otherness brought together scholars
(Switzerland), Wei-Ya Lin (Taiwan),
by Mojca Kovai, who presented their research from
John Christian (UK), and Dane
Chair of National various academic disciplines and
Harrison and John Vallier (USA). A
Committee professions. Otherness was addressed
special case of international cooperation
from both a theoretical point of view
Ethnomusicological was the visiting professorship of Tsai
and through the musical activities of
activities in Slovenia are TsungTe from Taiwan in October
people with special needs, members of
rich and diverse. In this report I will 2013.
ethnic minorities, elderly people, and
discuss those activities following my
Several international symposia were carriers of unusual vocal and instru
previous report, published in the April
held in Slovenia since 2012. First we mental expressions. The keynote
2012 issue of the Bulletin.
hosted the 28th European Seminar for speaker was Ursula Hemetek.
In May 2014, the ICTM National Ethnomusicology, titled Music and
Perhaps the most inspiring and thema
Committee for Slovenia (NC) partici Cultural Memory in Post1989. Many
tically diverse of these multidisciplinary
pated in a joint meeting with the international scholars presented the
symposia was that of 2015, which
National Committees for Austria and ways by which current musical forms
focused on the broad topic of Music
Italy (Pulfero, Italy). A detailed report address past events and how the strate
and Ecology. The theme of the symp
on the meeting was published in the gies of reshaping and renarrating the
osium coincided with an increased
October 2014 issue of the Bulletin. In musics from the past function in the
interest in sound, perception, and space
recent years we have noticed closer dominant discourses of the present.
in the international research discourse.
cooperation among the members of the
Since the coming of the ICTM Secreta Issues discussed in the symposium in
NC from dierent institutions or work
riat to Slovenia in 2011, the NC cluded religious sounds, political,
ing environments. Slovenia represents a
which is embedded in the Cultural and immigrant, urban, and rural sound
rather small research space, so mutual
Ethnomusicological Society Folk scapes, the environmental sustainabili
cooperation and direct contacts with
Sloveniastrengthened its cooperation ty of music festivals, sound ecology,
colleagues from abroad are essential.
13-16 Jul 2016: 9th Symposium of the ICTM Study Related organizations
Group on Music and Gender 2-3 Dec 2016: 21st Musica vulgaris and musica
Location: Bern, Switzerland artificialis: The Social and Artistic History of
Musical Instruments
31 Jul-6 Aug 2016: 4th Symposium of the ICTM
Location: Vienna, Austria
Study Group on Performing Arts of Southeast Asia
Location: Penang, Malaysia
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