From the Editor
2023; University of Illinois Press; Volume: 67; Issue: 3 Linguagem: Inglês
10.5406/21567417.67.3.01
ISSN2156-7417
Autores Tópico(s)Evaluation and Performance Assessment
ResumoVolume 67, issue 3 of Ethnomusicology presents the work of authors and reviewers on a variety of topics, theoretical orientations, and methodologies of interest to contemporary ethnomusicologists. The first three articles share a common emphasis on the intersections between music pedagogies, philosophies, and teaching traditional musics. The issue opens with “Teaching Talent: Beginning and/as Method in Two American Violin Studios.” In this essay, Lindsay Wright theorizes the idea of musical beginnings and investigates how concepts of talent shape learning before a young violinist places her bow to her instrument. Wright also draws the readers’ attention to the usefulness of microethnography, which she uses to document and analyze beginning violin lessons. In “Government-Mandated Coolness: Education Policy, the Koto, and Music Teacher Retraining in Japan,” Garrett Groesbeck explores the growing literature and pedagogical practices that ethnomusicologists, K–12 music educators, and performers have developed to teach hōgaku in classroom music in Japan. Groesbeck links these new methods of teaching traditional music in classroom settings to economic, political, and social movements that emerged in Japan over the course of the late 20th and early 21st centuries. Luca Bussotti and Laura Nhaueleque describe the ways that the music and dance of Amakhuwa tufo groups in northern Mozambique have passed down traditional knowledge in “The Hidden Music of a Hidden People: The Case of Amakhuwa of Northern Mozambique.” Nhaueleque's experiences as an Amakhuwa woman provide her with a deep understanding and access to practitioners in tufo groups and popular musicians who draw their influences from this traditional music and dance. Bussotti and Nhaueleque place their discussion of Emakhuwa music and world view within the larger framework of the politics of Mozambique's post-colonial nation-state.The second set of articles in this volume examine different aspects of the relationships between localized music and global popular music. The authors examine the publics that coalesce around performers, the social meanings of performances, recordings, and memes, and the dynamics that shape the flow of knowledge within global networks. In “Rímur in the Nuclear Age: Sveinbjörn Beinteinsson and Icelandic Traditional Music,” Kimberley Cannady examines why Sveinbjörn Beinteinsson's performances of Icelandic traditional vocal music, or kveða music, resonated for participants in Reykjavík's 1980s punk scene. His distinctive performance style influenced later performers, including the popular post-rock band Sigur Rós's collaborations with kveða musician Steindór Andersen. Cannady argues that Sveinbjörn Beinteinsson's performances helped Icelanders consolidate a distinctive identity as they navigated a period of rapid transition from an isolated, rural past to a globally connected present. Nadia Chana theorizes the formation of what she calls “ugly publics” through an analysis of performances and interviews given by Inuk singer Tanya Tagaq and Greenlandic mask dancer Laakkuluk Williamson Bathory. Chana considers the ways that their collaborative performances, which take place in concert halls typically situated in affluent, predominantly settler communities, challenge audience members to confront their own dominant positions through the transient formation of an ugly public. The final essay in this issue, “Networking Global Hip Hop Knowledges: The CIPHER Method,” presents a public scholarship project on mapping hip-hop knowledge. The research team, J. Griffith Rollefson, Warrick Moses, Jason Ng, Patrick Marks (aka Pataphysics), Steven Gamble, and Ophelia McCabe (aka 0phelia), includes scholars and hip hop performers. In this article, they theorize the notion of “gems,” the smallest units of hip-hop knowledge that are localized to specific hip hop communities. Through a series of linked case studies, the CIPHER team maps gems onto a global hip hop consciousness. In addition to adding to the larger body of ethnomusicological literature on hip hop, the CIPHER project offers a model of collaborative ethnography and publicly engaged scholarship that is yet to be widespread in North American university settings.This issue contains a rich array of book reviews. Jonathan P.J. Stock reviews Shih-Ming Li Chang and Lynn E. Frederiksen's Chinese Dance: In the Vast Land and Beyond. Stock notes, “Chinese dance remains little encountered or researched outside Chinese-speaking parts of the world,” and that this work is a welcome contribution to the field. Denise Gill's Melancholic Modalities: Affect, Islam, & Turkish Classical Musicians was co-winner of the Society for Ethnomusicology's 2019 Ruth Stone Prize for most-distinguished English language monograph in the field of ethnomusicology, published as an author's first book. Michael O'Toole draws attention to three major contributions of Gill's book: an exploration of melancholic modalities, rhizomatic analysis, and bi-aurality in the context of Turkish classical music. Mukaddas Mijit reviews Soundscapes of Uyghur Islam by Rachel Harris. Harris provides readers with perspectives on Uyghur musical and spiritual practices and the ways in which Chinese authorities have censored and curtailed Uyghur cultural life. In his review of Music of Azerbaijan: From Mugham to Opera, George Murer notes that Aida Huseynova posits that these two genres stand in for Azerbaijani mugham and European genres, such as opera or ballet, that composers and performers have integrated in Azerbaijani musical practices. Miranda Crowdus reviews Sarah Ross's A Season of Singing: Creating Feminist Jewish Music in the United States. Ross traces the development of a feminist Jewish singer-songwriter scene from the 1960s to the present. Nicholas Tochka delves into the history of Albanian popular song through the lens of Festival of Song (Festivali i Këngës), a festival created by the socialist state and continues as a competition to pick Albania's Eurovision song contestants in Audible States: Socialist Politics and Popular Music in Albania, which is reviewed by Matthew Knight. David Kaminsky reviews Dean Vuletic's Postwar Europe and the Eurovision Song Contest, a history of the Eurovision Contest. Vuletic's work is part of the EU-backed research project, “Eurovision: A History of Europe through Popular Music,” conducted 2013–25. This issue contains one film review. Armaghan Fakhraeirad reviews The Female Voice of Iran, a documentary film directed by Andreas Rochholl. The film profiles fourteen Iranian singers from different backgrounds and combines interviews, performance footage, and elements of fiction to tell the story of women who find ways to sing despite prohibitions against women performing in public.This issue marks a transition among the journal's review editors. We welcome Sarah Morelli to the editorial team as Book Review Co-Editor. I congratulate Melvin Butler on his new position as president-elect of the Society for Ethnomusicology. I thank him for his editorial work, and I look forward to working with him in his new position. Review editors, Andrew Mall, Donna Kwon, and Jennie Gubner, continue to provide excellent work. Assistant Editor Abby Rehard provides crucial work on the journal at every stage of the process, and I thank the editorial board for reviewing essays and providing guidance. Finally, Society for Ethnomusicology Executive Director Stephen Stuemple and President of the Board Tomie Hahn have continued to provide unwavering support for the journal.As usual, I remind our readers to continue to submit their work to the journal and be willing to review articles in a timely manner. Those of us working on the journal value your expertise, not only as authors, but also as peer reviewers. I also remind authors that the Scholarly Publishing Collective, the new platform that houses recent issues of the journal, supports embedded audio and video and color photography (although the print version is still black and white). If you have questions about the journal, please contact me at ethnomusicologyeditor@gmail.com.
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