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, and blog contributor Heidi Xiaorong Yuan has translated it into Chinese. 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).
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.
The SEM conference is almost here! Hopefully you remembered to register, found a hotel roommate to save you some green, and have already read the program book cover to cover out of excitement for this mid-semester vacation.
Since we all have to make up our minds about what events we plan to attend while in DC at the SEM conference, Jennie and Heather are here to make it easier for you! We’ve listed below a few events/meetings/panels we plan to attend as well as updates on a few events that have been sold out. We encourage you to go through the program and take advantage of as many opportunities as you can! More details on specific performances can be found here.
**Quick update: Thank you to those who have suggested more great things for us to see and participate in during SEM. We’ve added these suggestions (in purple).**
I am currently on a very short vacation at home, and, certainly I’m not the only one who feels this way, but it is tough to budget two weeks worth of time with friends and family before turning around and starting back again at school.
Since its inception, I have been an avid and enthusiastic reader of the “Parenthood and Ethnomusicology” blogs. A father of a three-year-old and a PhD Candidate, I have found great comfort and a sort of virtual camaraderie with the others in our field who, like me, are continually in the process of figuring out how to be both parents and ethnomusicologists.