Congratulations to UIUC Musicology doctoral student Jessica Hajek, who received Honorable Mention from the 2015 LACSEM Student Paper Prize (sponsored by the Latin American and Caribbean Music Section) for her paper “‘¡Y Ahora! ¿Y Ahora?’: Alibabá in Santo Domingo Carnival and the Emergence of a Performance Genre,” presented at the 60th Annual Meeting of the Society for Ethnomusicology at the University of Austin, TX.
Congratulations to musicology students Tara Hatfield and Thornton Miller, winners of recent Graduate College research travel competitions!
Tara, who is working on the intersections between hip-hop, environmentalism, and social identity in Tanzania, has been awarded a Graduate College Masters Project Travel Grant to pursue thesis research in Arusha, Tanzania.
Thornton is working on a PhD dissertation on cultural exchange between the USSR and the UK during the Cold War, with special attention to the work and agency of Benjamin Britten. He has been awarded a Graduate College Dissertation Travel Grant to pursue doctoral research in Moscow and St. Petersburg.
The School of Music was one of only two units on campus to receive two research travel awards from the Graduate College this fall.
▪The Bruno and Wanda Nettl Distinguished Lecture in Ethnomusicology▪
Performing Blackness: Black Gospel Music in the Netherlands
Portia K. Maultsby, Laura Boulton Professor Emerita of Ethnomusicology
Department of Folklore and Ethnomusicology
Since the 1990s, African American gospel music has become a global phenomenon. Its popularity across national, cultural, racial, ethnic, and religious boundaries has resulted in the proliferation of gospel choirs throughout the world. In this new context, Black gospel music is used in diverse ways and serves multiple functions, giving rise to localized meanings and performance expectations. Although African American expatriates occasionally serve as choir directors, many choirs are led by non-African American musicians. With varying success, some directors strive to preserve “original” performance aesthetics and, often, the rituals associated with African American worship settings. Yet others reference black gospel music as inspiration to create localized religious expressions.
As a case study, my presentation will focus on Edith Casteleyn, the Euro-Dutch director of four choirs in the Netherlands performing what she describes as “authentic” Black American gospel music. Specifically, I will examine the processes for translating and negotiating differences in the musical values, cultural practices, religious orientations, and social conventions distinguishing African American and Dutch societies, and the way these differences impact the teaching, performance, and reception of gospel music in this new context.
Friday, September 16, 2016
Music Building Auditorium
1114 W. Nevada St., Urbana, IL 61801
Free and open to the public
Thursday, September 15 (4 PM, Lucy Ellis Lounge – FLB 1080)
Mike Silvers (Assistant Professor of Ethnomusicology, UIUC)
Brazilian Carnauba Wax at the Dawn of Recorded Sound
Congratulations to musicology doctoral student Putu Hiranmayena for being awarded the best student paper at the 4th Symposium of the ICTM Study Group on the Performing Arts of Southeast Asia! See the abstract below.
“Putting the “game” in Gamelan: Improvising Gamelan as Praxis in Public Charter Schools
For the past seventeen years, the Museum School of San Diego has incorporated Balinese gamelan into their core curriculum. In 1999, Dr. Alex Khalil and the late Robert E. Brown of the Center for World Music, designed courses for students in America to experience music as children do in Bali: within their daily lives. The school has housed gamelan angklung, gender wayang, gong kebyar, and occasionally “tarian” or dance. Guest artists such as I Nyoman Wenten (CalArts) and I Made Lasmawan (Colorado College) have participated in residencies at the museum school among other established artists. While students learn gamelan by the traditional “maguru panggul” or teaching through the mallet, teachers have utilized other methods to accommodate the diverse learning styles. I began as instructor in fall of 2013 and have employed improvisatory methods (Conduction) in search of a way to engage kindergarteners through game, not as a critique to traditional methods but as augmentation of such practices. This paper discusses the utilization of shared experiences across established cultural processes as the conduit for artistic praxis and preservation of creative agency. I argue that improvisatory “games” in the context of American kids gamelan not only stimulate creativity, but offer students a multi-sensorial experience that equips them with tools for which the pedagogical methods of gamelan are based upon. In doing so, I hope to highlight problems with my own positionality and advocate for improvisation in classrooms, as byproducts of cross-cultural contact.
The School of Music is happy to welcome the ensemble Pradhanica for their residency 31 January-2 February. Experts in Kathak dance and Hindustani music, the members of the group have each taken a unique path to finding their voice in Indian music. We look forward to attending their concerts and workshops, and to working with them in our classes!
Pradhanica residency schedule
Sunday, 31 January
|4-5.30 pm||“Introduction to Kathak and Pradhanica.” Demonstration/Workshop open to the public.||McKinley Presbyterian Church (809 South 5th St, Champaign 61820)|
Monday, 1 February
Kathak masterclass for dance students. Limited spaces for non-dance majors available. Contact Dr. Macklin (firstname.lastname@example.org) if interested.
Krannert Dance Studio (DRK), 2nd floor of Krannert Center for Performing Arts
|10-10.50 am||Members join MUS 167, Improvisation II. Other students and faculty welcome to join- contact Dr. Macklin if interested.||Smith Memorial Room (Smith 220)|
Tuesday, 2 February
|7.30-9.30 pm||Concert. Open to the public.||Smith Recital Hall (Smith 114)|
This residency is made possible by support from the following units
Frances P. Rohlen Visiting Artists Fund/ College of Fine and Applied Arts
College of Fine and Applied Arts, Center for World Music
College of Fine and Applied Arts, Department of Dance
School of Music, Divisions of Musicology, Music Education, Wind, Brass & Percussion, and Jazz Studies
School of Music, University of Illinois Annual Fund
College of Liberal Arts, Center for South Asian & Middle Eastern Studies (CSAMES)
University of Illinois SPICMACAY
Congratulations to Professor Gabriel Solis for being awarded a National Endowment for the Humanities Fellowship for his book project, “Music, Race, and Indigeneity in Australia and Papua New Guinea.”
This book investigates the ongoing history of musical alliances and affiliations between indigenous artists and activists in Australia and Papua New Guinea, and their counterparts in the African Diaspora. Through the media of singing voices and dancing bodies, this project charts the critical ways that indigenous-Diasporic musical intersections have shaped the politics of race and indigeneity for more than a century.
“With these grants, the National Endowment for the Humanities continues its 50-year tradition of supporting excellence in the humanities,” said NEH Chairman William D. Adams. “From scholarly books and humanities programs on college campuses to new digital humanities resources and preservation efforts at local museums, the projects receiving funding today will reach deeply into communities and expand access to our shared cultural heritage.”
NEH, an independent federal agency that funds high-quality projects in fields such as history, literature, philosophy, and archaeology, awards grants three times a year for top-rated proposals examined by panels of independent, external reviewers. This round of grants supports projects that will strengthen the nation’s cultural fabric and identity. (From http://www.neh.gov/news/press-release/2015-12-14)
Learn more by visiting the Illinois News Bureau.
Come see UIUC Musicology graduate students and faculty present at the Socitey for Ethnomusicology conference in Austin, Dec. 3-6.
THURSDAY DEC. 3, Session 2
2G Room 416AB
Music and Visibility Politics
*Sponsored by the Latin American and Caribbean Music Section
11:15 “¡Y Ahora! ¿Y Ahora?”: Alibabá in Santo Domingo Carnival and the Emergence of a Performance Genre
Jessica Hajek, University of Illinois at Urbana-Champaign
THURSDAY DEC. 3, Session 3
3D Room 414
The Politics of Memory
1:45 Armenian Elegies: Commemorative Heritage and the Politics of Remembrance in Bulgaria’s Armenian Diaspora
Donna Buchanan, University of Illinois at Urbana-Champaign
2:15 Articulating the Ineffable in Pontic Greek Memory: Vioma and Arothymia in Parakathi Singing
Ioannis Tsekouras, University of Illinois at Urbana-Champaign
THURSDAY DEC. 3, Session 3
3I Room 602
Cartographies of Transmission: Historical Ethnomusicology, Transnationalism, and Musical Labor in the Pacific
*Sponsored by the Historical Ethnomusicology Section
Chair: Gabriel Solis, University of Illinois at Urbana-Champaign
2:45 Marlene Cummins’s Koori Woman Blues: Racialization, Indigeneity, and Historical Ethnomusicology in the Black Pacific
Gabriel Solis, University of Illinois at Urbana-Champaign
SUNDAY DEC. 6, Session 11
11A Salon D
The “I” in Idol: Musical Fandom and Self-Fashioning
9:00 Fanning the Flames of Stardom: Fans and Idols in Cantonese Opera in Hong Kong since the 1980s
Priscilla Tse, University of Illinois at Urbana-Champaign
From Dec. 3-6 at The Companion Gallery, open from 3-8 pm:
1st SEM Sounding Board
“Dry Signals” (soundscape installation)
Michael Silvers, University of Illinois at Urbana-Champaign
Read the profile of musicology doctoral student Rick Deja, featured on the front page of the Graduate College at UIUC for his Fulbright-Hays Doctoral Dissertation Research Abroad Fellowship.