My name is Jeremy Reed and I am presently serving as the Chair of the Student Union of the Society for Ethnomusicology. I am writing to you, the student populous of SEM, on behalf of the Student Union to present a call for nominations (including self-nominations) for the Executive Committee positions of Vice-Chair and Treasurer/Secretary. These positions offer a fantastic opportunity for students to become involved in the Student Union and, by extension, the SEM at large. The responsibilities for each position are as follows:
SEM’s “Disciplinary Intervention for a Practice of Ethnomusicology” statement was created by the SEM Council subcommittee and published on the SEM blog Sound Matters on May 5, 2017. The SEM Student Union Blog is proud to support the ideas and ideals of this statement. Blog editor Ana-María Alarcón-Jiménez has translated the document into Spanish, blog contributor Heidi Xiaorong Yuan has translated it into Chinese, and Nil Basdurak has completed a translation in Turkish. Please click the links below to find the original statement and the translations. Signatures are still welcome. The list of signers will be published in Sound Matters. We are anxious to include as many translations here in the blog as we can, so if you’d like to contribute with a translation, please send us an email (email@example.com).
Intervención disciplinaria para la práctica de la etnomusicología
Disciplinary Intervention for a Practice of Ethnomusicology
Disciplinary Intervention for a Practice of Ethnomusicology_Turkish_ Nil Basdurak
(for the English version of this introduction go to Student News)
Para muchos de nosotros, el trabajo de campo es una de las partes más emocionantes del proceso de investigación etnomusicológico. Nos preparamos para el trabajo de campo por adelantado, encuadrándolo en propuestas de investigación, diseñando cuestionarios para diferentes tipos de entrevistas, aprendiendo idiomas, haciendo contactos preliminares, preparando viajes, y leyendo, escuchando y viendo material relevante. Sin embargo, estar en “el campo”, o “en el terreno”, como llamaremos a este espacio a lo largo de este post, casi siempre significa remodelar, reformular y adaptarse a las relaciones y circunstancias socio-musicales que encontramos, y de las cuales aprendemos poco a poco, en el día a día. ¿Cómo ha sido la experiencia de estudiantes de etnomusicología con este aspecto particular de la adaptación in situ y qué impacto ha tenido esto en su investigación?
The Ten Tracks Project
The Ten Tracks Project is an invitation to both listen and visualize ethnomusicology students’ research projects. Limited to ten sound and/or audiovisual files, Ten Tracks Project participants are challenged to create a playlist to introduce their listeners into a glimpse of the sounds, performers, audiences, dances, and/or performing spaces that they are writing, thinking, and learning about.
- Playlist author: Ana María Alarcón Jiménez
- Where do you study? Universidade Nova de Lisboa, Portugal
- Fieldwork Location: Galicia, Northwestern Spain
- Research title: Spatializing Galician Music at the International Festival of the Celtic World.
- Why are these ten tracks on your list?
By Xiaorong Yuan (Heidi), Kent State University
As ethnomusicologists, we spend our professional time in the classroom or preparing to teach. However, what we teach, how we teach, and why we teach ethnomusicology to different levels of audiences and students has become an issue that needs to be discussed. In 2016, at the annual SEM meeting in Washington, D.C., several panels and papers had insightful discussions about pedagogy that ethnomusicologists use and address when they are teaching. This report selects three panels related to ethnomusicological pedagogy: the roundtable panel “Music Pedagogy for the 21st Century”, “Global to Local Music Outreach”, and “World Music Pedagogy Workshop”, which highlight the diverse possibility of teaching ethnomusicology in a variety of environments and methodologies.
Hello dear readers, this is Liza. Today I’m introducing the first entry in a new series called Responding, a space where ethnomusicology graduate students react to papers or panels they attended at Society for Ethnomusicology annual conferences. I love the energy and excitement generated at SEM conferences, and I imagined this series as a way to continue the rich, generative conversations we have over a few short days throughout the rest of the year. Here is our first contribution, by Heather Strohschein.
I can’t believe six months have already passed since SEM 2016. I’ve been going to SEM conferences since . . . oh jeez . . . it’s been over ten years . . . (trying not to think about how old I am). I haven’t made it to every single conference since my very first in 2005, but every time I go, I’m reenergized by the plethora of ideas, the multitudinous approaches to research, and the multisyllabic words I need to look up at the end of the day.
This year, Liza suggested writing about a specific paper or papers that really stood out. This is a great way to keep the ideas and inspiration of SEM fresh in our minds as well as keeping a conversation going regarding these ideas. I saw and heard some fantastic papers this year, but the one that got me thinking the most was presented by Trevor Reed from Columbia University on the first day of the conference. His paper was titled “On the Generativity of Letting Culture Die.” No colon! I was immediately intrigued.
A year and a half ago we published our last contribution for the project “In Discipline: Talks from the European Side.” Since then, we have had the idea of generating a dialogue between professors and students, as a way to channel or to start to channel students’ ideas, needs, and preocupations in a horizontal and inter-generational kind of way. The contribution below, written by the Catalan Anthropologist Josep Martí, is thus what we hope to be the first step of an ongoing conversation. Josep Martí’s text has been written in Catalan (top), and it has been translated into English (bottom), continuing our effort to make this blog, and the In Discipline project, multilingual.
Dr. Josep Martí is a Scientific Researcher at the Milà i Fontanals Institute (Barcelona), which makes up part of the Spanish National Research Council, otherwise known as “CSIC.” He has conducted fieldwork in different European countries, in Japan, and most recently in Equatorial Guinea. His research interests include, as reflected in his numerous publications, the anthropology of the body, the anthropology of music, and popular culture.
My name is Jeremy Reed and I am presently serving as the Chair of the Student Union of the Society for Ethnomusicology. I am writing to you, the student populous of SEM, on behalf of the Student Union to present a call for nominations (including self-nominations) for the Executive Committee position of Member-at-Large. Continue reading
The Executive Committee of the Student Union of the Society for Ethnomusicology would like to express its strong support for ongoing unionization drives by graduate workers across the United States. Graduate students at many public universities continue to enjoy the benefits of union representation and the recent NLRB reversal of the 2004 Brown decision paves the way for those at private institutions to unite and have the benefits and protections of collective bargaining rights. We believe that the statuses of ‘student’ and ‘worker’ are not mutually exclusive, and so we call on university administrations to allow those organizing to decide the issue of unionization for themselves in a fair and expedient manner.
Student Union of the Society for Ethnomusicology
Jeremy Reed, Chair
Indiana University, Bloomington
Ana-María Alarcón-Jiménez, Vice-Chair
Universidade Nova de Lisboa (Portugal)
Liza Munk, Secretary/Treasurer
University of California, Santa Barbara
Juan Carlos Meléndez-Torres, Member at Large
About a year ago, Greek teacher and musician Athena Katsanevaki responded to a call we sent through the ICTM email list, as we were looking for ethnomusicology student groups all arround the world. Dr. Katsanevaki told us that she, together with her students, and some residents from Vertiskos (Thessaloniki, Greece) had recently concluded a research project, and that they wanted to share it in our blog.
The post that you are reading now has been taken shape for a while. This is a rich and in depth post with written, audovisual, and sonic components. The publication starts with an introduction written by Dr. Katsanevaki, followed by participant students’s texts (in both Greek and English languages) on their exeriences as part of the Vertiskos Project. The videos and sound files are all embedded at the end of the post. Dr. Katsanevaki has also written a text to contextualize the music, the place, and, all in all, the Vertiskos Project. This text, which includes a map, can be found twice throughout the post (at the end of the introduction and at the right side of the videos) in a purple button entitled “The Vertiskos Project in Context“. In this way, the reader can choose when to access the material presented in this section. We encourage you to read, listen, watch, and send them your feedback.