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EthNoise! coming announcements for 2015-2016

Welcome to EthNoise!: The Music, Language, and Culture Workshop.

EthNoise! is a student-run workshop based in the Department of Music which provides a forum for graduate students and guest speakers to present and discuss ongoing research. We meet on Thursday afternoons from 4:30-6pm approximately every other week during the quarter.

A few updates for the coming academic year 2015-2016:

The new student coordinators are Michael Allemana (allemana@uchicago.edu), Joseph Maurer (jmmaurer@uchicago.edu), and Ameera Nimjee (ameeran@uchicago.edu).

Please send us an email with any questions or interests regarding the workshop–especially if you’re interested in attending, presenting, or participating as a respondent to a paper.

The fall quarter schedule will be coming later this summer!

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April 30 – Margaret Walker at EthNoise!

Please join us on Thursday, April 30 for a workshop co-sponsored by SASI (South Asian Sound Initiatives): Margaret Walker will give a talk entitled “From Salaam to Pranaam: The Sanskritization of North Indian Dance.” Please find an abstract below.

In preparation for the discussion, Margaret encourages us to read in advance her recent chapter in The Oxford Handbook of Musical Revival. (Please check your email for the password and link or email nchana@uchicago.edu).

As always, we will meet from 4:30-6pm in Goodspeed 205. Our workshop is open to the public and all are welcome.

 

From Salaam to Pranaam: The Sanskritization of North Indian Dance

There is an unquestioned and widely disseminated understanding about the performing arts of India. Ancient, devotional, sacred, they have, in spite of various foreign influences, global dispersion, and individual creativity, remained faithful to their roots in Hindu ritual. Recent research in a number of classical dances tells a different story, however, showing this accepted history to be a creation of the 20th-century national revival, when music and dance were gentrified and Sanskritized so they could be detached from their roots in the 18th and 19th-centuries and accepted by the rising middle class as national treasures. My research has specifically focused on investigating this type of revisionist history in the dance genre now called kathak, the classical dance of North India. While the reading I’ve suggested covers the larger socio-historical context of the revival, my presentation will focus further on some of the actual changes in repertoire and performance practice that took place as kathak moved into the public arena as new, ancient marker of Independent and bourgeois Indian identity.

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April 23 – Lauren Eldridge at EthNoise!

Please join us on Thursday, April 23 for a presentation and discussion with Lauren Eldridge. The talk is entitled “Racing Genre: Choral Performances of an Authentic Haiti.” Please find an abstract below.

As always, we will meet at 4:30pm in Goodspeed 205. Our workshop is open to the public and all are welcome.

 

Racing Genre: Choral Performances of an Authentic Haiti

Art music composed by people of Haitian descent has a long legacy throughout the diaspora, but several recent performances have recently fired the imaginations of listeners, challenging them to consider their relationship to Haiti. This presentation examines the performative tensions that arise within these spaces, and in the discursive zone between two mutually constitutive genres: mizik klasik and foklò. Highlighting the role of these genres in two performances of “N’ap Debat,” a choral composition by Sydney Guillaume that holds as its subject the 2010 earthquake in Haiti, I argue that musicians and their audiences are engaging in complex contests of meaning regarding the authenticity of the music and the identities of those present. They are, in this sense, both “racing” against genre and “racing” the actual genres by deploying an array of social strategies to recompose both nation and self. Mizik klasik (roughly, “classical music”) encompasses Western European-style art music. Foklò denotes a wide range of expressive practices that include depictions of Haitian history and Vodou. Since the early twentieth century, composers of mizik klasik have incorporated references to foklò into their work. Meanwhile, the principal patrons of foklò have been cultural elites trained in mizik klasik. The performances reviewed in this presentation, one in Michigan and one in Mirebalais, challenge auditors toward more nuanced understandings of authenticity. By racing (against) genre, musicians and their audiences take part in a performance at the crossroads of group identity and self.

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April 9 – Ibby Grace and Michael Bakan at EthNoise!

Please join us Thursday, April 9 for “Thinking in Music”: A Dialogue between Autistic Self-Advocate Ibby Grace and Ethnomusicologist Michael Bakan. Please find the abstract below.

In preparation for the discussion, Michael Bakan encourages you to read his recent article in Ethnomusicology: “‘Don’t Go Changing to Try and Please Me': Combating Essentialism Through Ethnography in the Ethnomusicology of Autism,” which will serve as a prelude to the discussion.  (Please check your email for the password and link or email nchana@uchicago.edu).

We will meet from 4:30-6:00pm in Goodspeed 205. As always, our workshop is open to the public and all are welcome.

 

“Thinking in Music”: A Dialogue between Autistic Self-Advocate Ibby Grace and Ethnomusicologist Michael Bakan 

“I sort of ‘think in music’ in the same way Temple Grandin says she ‘thinks in pictures,’” writes the Autistic scholar, professor, activist, and musician Dr. Elizabeth J. “Ibby” Grace. “Sometimes in order to think, I structure the thoughts into [something] more like music, or they do themselves like that….This enables me socially in ways I would have no chance of access to without [music]….”

What does it mean to “think in music” from an Autistic perspective? How can music enable social efficacy and reciprocity on the part of neurodivergent individuals, especially those who may find other modes of communicative expression and exchange—speaking, conversational interaction, and gestural communication foremost among them—to be not only challenging but positively disenabling? How is music employed to “harmonize” language and the self in the experiential world of an Autistic person who describes herself as one who thinks not in words or in pictures, but rather in music?

These are some of the questions that were addressed in a series of online dialogues between Ibby Grace and the ethnomusicologist Michael Bakan over the course of a six-month period in 2014. The transcripts of these dialogues form the basis of a chapter on Grace in Bakan’s forthcoming book, “Speaking of Music: Conversations with Autistic Thinkers.” This EthNoise session provides an opportunity for Grace and Bakan to engage in a live dialogue of reflection and exploration centered on the documented record of their previous online exchanges. The format will involve Bakan presenting selected passages from the online dialogue transcripts of the book and inviting Grace to respond to and comment upon them. This will open up avenues for further discussion between the two presenters, and in turn with the other workshop participants.

“Speaking of Music” is not a book about dialogues or based on dialogues; it is a book of dialogues. Here that book’s dialogical and agentive priorities will be extended to encompass the intertextuality of the actual work with both the collaborative partners responsible for its creation and a community of scholars and activist thinkers—the EthNoise community—that is ideally positioned to critically engage with and advance the larger project of an ethnomusicology of autism and neurodiversity.

 

Michael Bakan is Professor of Ethnomusicology and Head of World Music in the College of Music at Florida State University.

Elizabeth J. Grace is Assistant Professor of Disability and Equity in Education in the College of Education at National-Louis University.

 

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April 3 – MIDSEM Dry Runs at EthNoise!

Please join us on Friday, April 3 for a workshop in which Mili LeitnerJoe Maurer, and Thalea Stokes will present their panel of papers in preparation for the Midwest Chapter of the Society for Ethnomusicology (MIDSEM) conference. Please see below for abstracts.

Please note the room and time change: 12:00 – 1:30pm in JRL 264. We look very much forward to seeing you!

 

PANEL ABSTRACT
“Owning Music, Owning the Nation”
How does the regulation and control of national music impact identity formation among a country’s disparate groups of people? This panel addresses such questions of music, nation, and ownership from three geographically diverse perspectives, drawing upon the panelists’ recent fieldwork, historical documents, and media sources. The panel investigates these core questions and draws attention to the challenges faced by peoples attempting to claim ownership of national culture in the modern nation-state. The first paper examines patriotic songs of the U.S., focusing on articulations of Americanness in recent songs from the Tea Party Movement within the context of debates regarding the proper performance of previous generations’ nationalist music. The second paper explores the political struggle over ownership of Mongolian throat-singing between China and Mongolia sparked by UNESCO’s delineation of cultural rights. The third paper examines Israeli state-sponsored musical institutions’ renegotiation of their portrayal of the nation since the 1990s, using the rise of Musika Shachorah (“black music”) as a case study to illustrate the nation’s attempts to representation racial diversity. Together, the papers address questions of belonging and cultural ownership that serve as vital sites of inquiry into nationalist identity construction in the modern global community.
 
“Negotiating National Identity through American Patriotic Song in the Tea Party Era” (Joe Maurer)
Who may sing the United States’ patriotic songs, and in what manner? During the 2012 U.S. presidential election, two candidates (Herman Cain and Rick Santorum) took their campaign theme songs from Krista Branch, a singer associated with the populist Tea Party Movement. Those songs, “I Am America” and “Remember Who We Are,” demonstrate a marked difference from the patriotic songs of previous generations. Rather than focusing on land and patriotic symbols like the national flag, this most recent type of song articulates an ideological conception of “us” and “them,” illustrating the suggested beliefs and qualities required in a performer (and consumer) of patriotic song. This stylistic turn is especially significant in light of recent controversies regarding the performance of older patriotic music. In April 2006, “Nuestro Himno,” a popular new Spanish-language rendition of the “Star Spangled Banner,” attracted criticism from President George W. Bush, who noted that “people who want to be a citizen of this country ought to learn English. And they ought to learn to sing the anthem in English” (New York Times 2006). A linguistic controversy arose once more in 2014, this time around a multilingual rendition of “America the Beautiful” sung in a Coca-Cola advertisement during the Super Bowl. These incidents and their context in the new milieu of American nationalist music point to important questions of ownership and belonging. This paper addresses these questions of musical Americanness and their significance in light of the recent political success of the Tea Party Movement.
 
“Whose Throat-Singing?: UNESCO Awarding Khoomei as a Chinese Intangible Cultural Heritage” (Thalea Stokes)
In 2009–2010, the People’s Republic of China sent a myriad of applications for the rights to intangible cultural heritage artifacts to UNESCO. Among the applications was one claiming the Mongolian art of throat-singing (Khoomei) as belonging to China’s intangible cultural heritage. When the decision to award China with the rights to Mongolian throat-singing became publicly known, outrage among Mongolians in China, Mongolia, and elsewhere ensued. In the following year, Mongolia sent an application to UNESCO for the same artifact and was subsequently awarded rights; however, the France-based NGO categorized the art as Khoomei rather than “Mongolian throat-singing,” thereby creating a distinction of sorts. How is Khoomei used by China and Mongolia to make claims about their national identities, and what are the deeper motivations behind these claims? How is it, through the mediating global entity UNESCO, that Khoomei has come to represent both China and Mongolia? What is Chineseness and Mongolianness, and how does Mongolianness necessarily represent Chineseness? This paper, aided by prior fieldwork and current research, discusses how China uses cultural artifacts of its ethnic minorities to project an image of a culturally unified and harmonious state on the global stage, an image that is negotiated and disputed by outside actors. The paper will use the dispute of who owns Khoomei as a case study to illuminate the politics of state ownership of music and the translation to state control of a people, their history, and their culture.
 
“Composing racial diversity in Israel” (Mili Leitner)
Israel’s early years saw the conscious creation of a national popular music canon, facilitated by state sponsored institutions such as Kol Israel, the Music Inspectorate and IDF (Israeli Defence Forces) radio (Regev & Seroussi, 2004). Israel, as is common for the modern nation state, negotiated its identity through its cultural products, and seemingly defined itself as Ashkenazi and European. In the 1990s, an explosion of independent broadcasters established themselves in Israel, capitalizing on the newly available media of cable television channels and Internet radio stations. Their ability more accurately to represent and reflect the rapidly diversifying demographic makeup of Israel was evident in their economic success, and state-sponsored music institutions were forced to react by incorporating musical representations of non-Ashkenaz groups into their institutions’ output. I explore the rise of Musika Shachorah (“black music”) and its reception by African and Latino migrant worker communities and Ethiopian Israelis, as a case study of ethnically non-normative genres being incorporated into the Israeli mainstream. This super-genre, which includes Hebrew-language hip-hop, reggae and soul, gained traction as the nation’s black community expanded rapidly during the 1990s and 2000s. Musika Shachorah has been taken up by Ashkenazi Israelis, re-circulated into state-sponsored media such as IDF radio, and transformed to suit the national agenda as artists like Subliminal rap about Zionism and Jewish pride. Thus a new, diverse, state-sanctioned Israeli nation identity is emerging, illustrating the power of music and its commercial nature to bring about tangible changes in the nature of Israeliness.

 

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April 2 – Andrea Harris Jordan at EthNoise!

Please join us this Thursday, April 2 for a presentation and discussion with Andrea Harris Jordan. The talk is entitled “House Around Irish Music: Past and Present in Discourses of Irish Music from the Nineteenth to Twenty-First Centuries” Please find an abstract below.

As always, we will meet at 4:30pm in Goodspeed 205. Our workshop is open to the public and all are welcome.

 

Abstract
In this Ethnoise! talk, I will be giving a big picture look at some of the themes of my dissertation and a closer look at some of the case studies in it, in preparation for my defense later in the month. Traditional music and song occupy a vibrant field of cultural production in Ireland in the twenty-first century. Musicians, performers, singers, dancers are all more publicly visible than ever before, however music and song in Ireland have a long history of relevance, enjoyment and celebration. From the late eighteenth century to the present, intellectuals, culture brokers, and scholars have presented particular and varied perceptions of the past through music and song, both performatively and through discourses surrounding traditional music. Individuals, particularly intellectuals in nineteenth-century Ireland made use of the past to construct their ideologies of what Irishness meant in their society. Today, musicians and scholars of traditional music contextualize their own music making and practices in light of both more distant nineteenth-century musical pasts and more recent events, histories, practices and memories. 

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Spring 2015 Schedule

April 2Andrea Harris Jordan – “House Around Irish Music: Past and Present in Discourses of Irish Music from the Nineteenth to Twenty-First Centuries”

April 9: Ibby Grace & Michael Bakan – “‘Thinking in Music’: A Dialogue between Autistic Self-Advocate Ibby Grace and Ethnomusicologist Michael Bakan”

April 23Lauren Eldridge – “Racing Genre: Competitive Authenticities in Haitian Summer Music Camps”

April 30Margaret Walker – “From Salaam to Pranaam: The Sanskritization of North Indian Dance”

May 28: Meredith Aska McBride – “The Problematic City: Representing Chicago, Instrumentalizing Music Education”

 

Unless otherwise noted, all workshop meetings are on Thursdays at 4:30pm in Room 205, Goodspeed Hall, University of Chicago campus.

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March 19 – Monica Hairston O’Connell at EthNoise!

Please join us on March 19 for a paper and discussion with Monica Hairston O’Connell. The paper is entitled “The CBMR and Archival Authority” Please find an abstract below.

As always, we will meet at 4:30pm in Goodspeed 205. Our workshop is open to the public.

 

Abstract       

In the 1970s when Samuel Floyd Jr. began his research, he found that anthologies, secondary sources, and reference works that abound for the art music of Western culture simply did not exist for black music. His own scholarly career relied on his ability to pioneer such research and help build the institutional infrastructure that would spark and then foster the expansion of a necessarily interdisciplinary subfield of music scholarship. Floyd founded the Center for Black Music Research in the wake of Civil Rights and Black Arts movements and during a time of activism by black composers and pioneering scholars. These pioneers allied themselves with the CBMR to pursue activities that would bring the music of black composers and the study of music of the African Diaspora into the mainstream. 
 
Established in 1990 and opened in September of 1992, the CBMR Library and Archives “supports the research, performance, and educational activities of the CBMR and of other institutions and individuals by providing a comprehensive research collection covering all aspects of black music in the United States, Africa, and other parts of the African diaspora.”  The CBMR Archives provide an useful starting point for theorizations of the archive that seek to acknowledge the practical necessity for many culturally-specific repositories of finding appropriate balance between canon building and displacement or disruption; between the creation of acknowledged and authoritative space in the academy and the kind of “ubiquitous archival authority” that can generate social change.

 

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March 6 – Regula Qureshi at EthNoise!

Please join us on Thursday, March 6 for a discussion with Regula Qureshi about her ongoing work translating a nineteenth-century Urdu music treatise, Ma’dan-ul-Musiqi (Mine of Music). See below for a brief note about the project from Prof. Qureshi.

As always, we will meet at 4:30pm in Goodspeed 205. Our workshop is open to the public and all are welcome.

*     *    *

Discovering a Mine of Music (Ma’dan al Musiqi 1956), is a barely explored 19th c. treatise of Indian music that challenges the translator with its Persianized Urdu, and its multivocal use of Persian, Hindi and Sanskrit. 

 
Written by a Lucknow courtier who also held a British colonial post this highly syncretic work is modeled on musicological treatises of past centuries while richly chronicling current oral tradition oral traditions and musical practices in Sanskrit and Persian interpretive frames. It is also a connoisseur’s personal chronicle of the courtly musical life cut off by the British destruction oft he Lucknow Court while also contributing to their  agenda to make classical cultural knowledge accessible through vernacular texts. Part of this effort was the 1925 publication of the treatise   (Hindustan Press), through local  Muslim efforts.
 
I look forward to outline the challenge of this work, in the hope to receive critiques and ideas in a open-ended EthNoise! discussion.

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February 26 – Will Faber at EthNoise!

Please join us tomorrow, February 26 for a paper and discussion with Will Faber. The paper is entitled “Acid Diversions: Race, Memory, and Mediation on the UK Dancefloor” Please find an abstract below.

As always, we will meet at 4:30pm in Goodspeed 205. Our workshop is open to the public.

 

Abstract       

The racialized borders of electronic dance music in Britain are routinely contested by musicians, dancers, and critics alike. Often framed as interlocking debates over subgenre, ethics, and history, I argue that these decades-long dialectics of inclusion and exclusion actively participate in the making and unmaking of race, both on and off the dance floor; and in turn help to assemble the very meaning of electronic dance music. Building on my ethnographic work with musicians and dancers in London, I engage their accounts of belonging, ownership, and value by focusing this paper on the ways that two relatively high-profile events are interpreted and mobilized by my interlocutors: the 25th anniversary celebration of Warp Records at Tate Britain in 2013, and Mark Leckey’s film installation Fiorucci Made Me Hardcore at the Serpentine Gallery in 2011.  Both events foreground the work of memory, trafficking in existing tropes of “1990‘s rave nostalgia” and playing across representations of individual and collective experience.  Furthermore, I discuss how these events intervene on existing histories of electronic dance music by creating critical environments in which musical practices often regarded as peripheral to electronic dance music- namely, reggae sound systems, northern soul, and working-class brass bands- are in turn placed at their narrative-historical center. Moving out from the space of the gallery and back to the studio and dancefloor, I conclude by considering the ways that groups of electronic dance music producers have in turn assembled complementary and competing ideas of their own musical past.

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