Ya-Hui Cheng is an assistant professor of Music at Fort Valley State University in Fort Valley, Georgia. She holds a Ph.D. in Music Theory from Florida State University. At FVSU, Dr. Cheng teaches World Music Culture, Music Theory I, II, III and IV, Form and Analysis, and other core and upper level music courses. Her dissertation (2008), “The Harmonic Representation of the Feminine in Puccini­­­­­­­­­­­­­­­” was the winner of the National Opera Association Dissertation Award for the 2006 – 2008 biennium. Her dissertation research has been published by VDM Verlag (2009) under the title, Puccini’s Women: Structuring the Role of the Feminine in Puccini’s Operas. In this book, she brings a unique perspective to the discussion of Puccini’s female characters as representing a trajectory in both the development of the composer’s style and his engagement with notions of the feminine and exoticism. Dr. Cheng has presented at regional and national conferences. Her article on Puccini’s “Tosca” is currently in press for The Opera Journal.

Maribeth Clark is a musicologist who received a PhD in music from the University of Pennsylvania in 1998, an MA in music literature from the University of North Carolina at Chapel Hill in 1990, and a BM from Rice University in 1988.  Most of her research has focused on French opera and ballet of the nineteenth century; however, she has begun work on representations of nature in music as well as music in circus performances and wild west shows during the early decades of the twentieth century in the US.  She has taught at New College of Florida, a small, public, experimental liberal arts college in Sarasota since 1998, serving as chair of the Division of Humanities from 2004-2006 and associate provost from 2006-2010.  She has published articles in Journal of Musicology, Musical Quarterly, and 19th-Century Music.

Amber R. Clifford-Napoleone earned a BA and MA in History from Central Missouri State University, a terminal MA in Museum Science from Texas Tech University, and a Ph.D. in American Studies from the University of Kansas. She teaches Anthropology at the University of Central Missouri, where she also serves as Curator of Museum Collections.  A scholar of music scenes and the anthropology of gender, Dr. Clifford-Napoleone is currently working on a an international study of queer fans of heavy metal, and serves on a committee planning a scholarly society for heavy metal studies.  She lives in Missouri with her partner and their three dogs.

Kathleen Costello received a Ph.D. in Spanish with a concentration in Caribbean literature and culture from The University of Iowa in 2005.  Since 2005 she has been an assistant professor of Modern Languages & Cultures at St. John Fisher College in Rochester, NY.  Her research has focused on the Spanish Caribbean, and she has published primarily on the intersections between twentieth-century fiction and Caribbean popular music.  Her current research examines popular music produced in Spain and the role of an Afro-Caribbean musical aesthetic in the construction of transnational Hispanic identity. She has travelled extensively in the Spanish-speaking world, living for extended periods of time in Santiago, Dominican Republic and Bogotá, Colombia.

Danielle Fosler-Lussier is assistant professor of Musicology at the Ohio State University School of Music. Her main research interest is music as a site of international political contact and exchange, including cultural diplomacy. She is the author of Music Divided: Bartók’s Legacy in Cold War Culture (University of California Press, 2007), which explored the impact of international political pressures on musical preferences and values during the early cold war years (1948-56). Her next book project, now in progress, describes U.S. government sponsorship for musical performances abroad during the cold war and the international relationships created by these performances; she has been awarded an NEH Fellowship for this project in 2011-12. Fosler-Lussier’s research on music and cold war cultural politics has also been supported by fellowships from the American Musicological Society, the American Council of Learned Societies, the International Research and Exchanges Board, the Eisenhower Foundation, and the Mershon Center for International Security Studies.

Luis-Manuel Garcia is a PhD candidate in Ethnomusicology at the University of Chicago. With the support of a James C. Hormel Dissertation Fellow in Lesbian and Gay Studies, he is currently completing his dissertation project entitled, “Can You Feel It, Too?: Affect and Intimacy at Electronic Dance Music Events,” which focuses on the “techno” scenes of Paris, Berlin, and Chicago. He is preparing a postdoctoral research project on “techno tourism,” focusing on trans-national mobility, class, and gentrification in Berlin’s dance music scenes. (personal blog here)

Peter J. García is associate professor at California State University Northridge. He completed his Ph.D. in ethnomusicology at the University of Texas at Austin in 2001. His research specialization includes the U.S. Southwest Borderlands music-cultures including Native-American, Chicana/o, Euro-American, Afro-American, and “new mestizo” immigrant and indigenous communities. García’s teaching assignments include Understanding World Cultures Through Musics and Music from a Global Perspective. García’s publications engage decolonial theory, third world feminism, ritual studies, border consciousness (gnosis), multi-sited, auto, and anti -ethnography, the political economy of music. His original monograph Decolonizing Enchantment: Echoes of Nuevo Mexicano Popular Musics is “in press” with the University of New Mexico Press and forthcoming Fall 2011. Dr. García is also co-editing Performing the U.S. Latino Borderlands with Drs. Arturo Aldama and Chela Sandoval, which is forthcoming with Indiana University Press. This work theorizes third-world diasporic Indigenous, Afro-Cuban, Chicana/o, and Latina/o cultural performances including music, dance, street theater, and spoken word within the United States. Dr. Garcia is also co-editor of the Greenwood Encyclopedia of Latino Popular Culture (2004). García is currently faculty advisor and director of the CSUN Mexican (Latin/o) Music Ensemble- a student performing group that explores Latina/o musical styles, genres, and repertoire through original arrangements providing concerts, recitals and cultural performances for the local Latina/o and Chicana/o communities.

Jeremy Grimshaw is an assistant professor in the School of Music at Brigham Young University and the founding director of BYU’s Balinese ensemble, Gamelan Bintang Wahyu. His writing on contemporary American music has appeared in various scholarly publications, including The Musical Quarterly and American Music. He is the author of Draw a Straight Line and Follow It: The Music and Mysticism of La Monte Young, forthcoming from Oxford University Press in September 2011. He also authored a work of creative non-fiction, The Island of Bali Is Littered With Prayers.

Anthony Kwame Harrison is an associate professor of Sociology and Africana Studies at Virginia Tech, where he teaches classes on popular music, black aesthetics, and cultural anthropology.  Kwame holds a Ph.D. in Anthropology from the Maxwell School of Citizenship and Public Affairs at Syracuse University. He is author of Hip Hop Underground: The Integrity and Ethics of Racial Identification (Temple University Press 2009) and a founding member of the Bay Area underground hip hop group Forest Fires Collective. Kwame is also an Associate Editor for the Journal of Popular Music Studies and in his spare time enjoys uphill jogging and downhill skiing.

Kathleen Higgins is professor of philosophy at the University of Texas at Austin.  Her the main areas of research are continental philosophy, aesthetics, philosophy of music, and philosophy of emotion.  She has written As Human as We Sound:  The Limits and Potentials of Musical Universality (Chicago, forthcoming 2012), Comic Relief: Nietzsche’s Gay Science (Oxford, 2000), What Nietzsche Really Said (with Robert Solomon, 2000), A Passion for Wisdom (Oxford, 1997), A Short History of Philosophy (with Robert Solomon, Oxford, 1996), The Music of Our Lives (1991), and Nietzsche’s Zarathustra (1987), which Choice named an outstanding academic book of 1988-1989. She has edited or co-edited several others on such topics as German Idealism, aesthetics, ethics, erotic love, and non-Western philosophy. She has been a Resident Scholar at the Rockefeller Foundation’s Bellagio Study and Conference Center and a Visiting Fellow at the Australian National University Philosophy Department and Canberra School of Music. She is a frequent Visiting Professor at the University of Auckland.

Mary Ellen Junda

Max Katz is an assistant professor of ethnomusicology at the College of William and Mary. He received his Ph.D. in Music from the University of California, Santa Barbara in 2010.  His current research concerns the North Indian city of Lucknow, focusing on an extended family of hereditary sarod and sitar players with long roots in the city.  Katz’s broader research interests include Hindustani music, jazz music, Marxist theory, postcolonial theory, and popular culture.  His research has been funded by Fulbright-Hays, the American Institute of Indian Studies, and the American Musicological Society. Katz teaches courses in the Department of Music at the College of William and Mary that are cross-listed in Anthropology, American Studies, and Africana Studies, including Music of India, Worlds of Music, History of Jazz, Race and Music, and American Popular Music.  His hobbies include playing jazz guitar, practicing taiji, and riding his motorcycle when the weather is nice.

Jennifer W. Kyker is assistant professor of ethnomusicology at Eastman School of Music and the University of Rochester.  She received her PhD from the University of Pennsylvania, where her dissertation explored music, morality, and politics in postcolonial Zimbabwe, through the songs of guitarist and vocalist Oliver Mtukudzi.  Among her past and current research interests are music at the post-funerary rite of kurova guva, the role of women mbira musicians, and issues of musical migration and circulation, including Zimbabwean and Brazilian musical diasporas.  She has received both Fulbright and Fulbright-Hays doctoral fellowships in support of her research, and was honored as a Dean’s Scholar at the University of Pennsylvania.  In addition to her work in ethnomusicology, Jennifer is the founder and director of the nonprofit organization Tariro, which works to educate and empower teenaged girls in Zimbabwean communities affected by HIV/AIDS (www.tariro.org).

Heather MacLachlan (Ph.D., Cornell, 2009) is an assistant professor of ethnomusicology at the University of Dayton in Dayton, Ohio.  She teaches world music classes and directs the UD Javanese gamelan ensemble.  She has published on a variety of topics (including American country music and music pedagogy).  Her main research focus, to date, is music-making among Burmese populations, both inside Burma and in the diaspora.  Her book, Burma’s Pop Music Industry: Creators, Distributors, Censors, is forthcoming from the University of Rochester Press.  She recently began a new research project called “Singing Out!” that focuses on the LGBT choral movement in the United States.

James Makubuya was born in the region of Buganda in south central Uganda. He came to the United States in 1986 and earned a Masters degree in Western music and a PhD in ethnomusicology. He is currently an associate professor at Wabash College and makes frequent trips back to Uganda to do fieldwork in the musical traditions of East Africa. An accomplished instrumentalist, dancer and choreographer, he has studied with several master musicians from various East African musical traditions. Though the endongo is his primary musical instrument, he is also proficient on several others, including the adungu, akogo (thumb piano), ndingidi (tube fiddle), madinda (log xylophone), and in various East African dance drum styles. He has performed nationally and internationally with the New York-based African Troubadours, the Kayaga of Africa and the Kiyira Ensemble, and he has arranged traditional music for the Kronos Quartet, with which he performed in concert on the endongo. Before coming to the US he was the artistic director of CACEMCHO, Uganda’s 150-voice national choir, which he led in several successful international tours, including a concert and mass celebrated by Pope John Paul II in St. Peter’s Basilica in Rome. Makubuya performed on the soundtrack to the movie Mississippi Masala and several television movies and documentaries, and he has released three CDs, including The Uganda Tropical Beat I, Taata Wange and Watik, Watik: Music from Uganda.

Daniel Margolies is professor of History at Virginia Wesleyan College. He received his M.A. and Ph.D. from the University of Wisconsin-Madison and his B.A. from Hampshire College.  His research examines globalization and empire, legal and musical spatiality, migrant transnationalism, and sustainability in conjunto, Appalachian, Cajun, and Mongolian music.  He has been a Fulbright Senior Scholar/Lecturer at Sogang University in Korea, a Visiting Scholar at the Center for the Study of Law and Society at the University of California, Berkeley, and a Faculty Fellow at the American Center for Mongolian Studies in Ulaanbaatar.  Professor Margolies’ new book is Spaces of Law in American Foreign Relations: Extradition and Extraterritoriality in the Borderlands and Beyond, 1877-1898 (University of Georgia Press, 2011).

Elizabeth Hellmuth Margulis (Ph.D. Columbia) is a music theorist who uses empirical methods to investigate questions about listener perception and experience. Her work, published in journals ranging from Music Theory Spectrum and Journal of Music Theory to Human Brain Mapping, Annals of the New York Academy of Sciences, and Review of General Psychology has investigated expectation, silence, repetition, and, most relevant to this institute, bimusicalism. She serves on both the Executive Board of the Society for Music Theory (SMT) and the Board of Directors of the Society for Music Perception and Cognition (SMPC). Formerly a core faculty member in the music cognition program at Northwestern University, she is currently Associate Professor at the University of Arkansas.

Rebekah Moore is a doctoral candidate in ethnomusicology with a minor in museum studies at Indiana University. In 2008 she moved to Bali, Indonesia to complete twenty-four months ethnographic research in preparation for her dissertation, “Indie Music in post-bomb Bali: Participant Practices, Scene Subjectivities.” In the dissertation, she explores music-related practices, such as rehearsals, performances, recording sessions, album production, promotion, and tours as the conduits by which core ideals of social and musical difference are created and shared. Rebekah received her Bachelor of Arts in music from the University of North Carolina, Greensboro and Master of Arts in music with a concentration in ethnomusicology from the University of Maryland. Other research interests include indigenous rights and popular music, with a focus on Sámi music in Finland; the relationship between independent and national recording industries in Southeast Asia; the role of the Internet in shaping current music industry praxis; and popular music and issues of social justice. Today Rebekah continues to live in Bali while completing her dissertation, working as a freelance copywriter and within the music industry in music journalism, event organization, and band management.

Ali Coleen Neff is a writer, documentarian, musician and doctoral candidate in the UNC-Chapel Hill Communication Studies program with a graduate concentration in Cultural Studies (UNC) and graduate minors in Anthropology (UNC) and African and African American Studies (Duke University). Her current dissertation fieldwork is focused on sound, materiality and political imagination in emergent women’s musical movements in urban Senegal. Research areas include: popular music, material culture, anthropology of sound, critical ethnography, spatial materialism/Spinozist ontology, postcoloniality, African and African American cultural studies.

Sarah Quick currently teaches at Winthrop University (and other colleges in the Carolinas) as an adjunct professor. She holds a Ph.D. in Social-Cultural Anthropology (Indiana University 2009) with a minor in ethnomusicology. Her dissertation Performing Heritage: Métis Music, Dance and Identity in a Multicultural State considered Métis identity and public performances in relation to the heritage industry in Canada. This summer and the next she will revisit her doctoral research in order to video-document and reconstruct traditional Native fiddle dances. Recently, her research interests have expanded into thinking about how heritage is conceived through the slow and local food movements in the South. She regularly performs at the All-Local farmer’s market in Columbia, SC as a fiddler.

Jesus Ramos-Kittrell is currently assistant professor of music history at Southern Methodist University. Previously, he served as joint faculty of Ethnomusicology and Latin American studies at Tulane University and as a Visiting Scholar at the Lozano Long Institute of Latin American Studies of The University of Texas. His work focuses on religious culture in New Spain and popular music studies in Latin America, especially how sacred music in New Spain served as a mattress for the molding of social meanings and perceptions in relationship with the political and economic landscape of the early modern Hispanic world. Some of his other academic interests include Latin American colonial studies, music and early modern religious culture, issues of representation and identity in Latin American expressive culture, transnational cultural formations, and cultural citizenship. (on academia.edu)

Daniel Reed is associate professor in the Department of Folklore and Ethnomusicology, and affiliated faculty in African Studies, at Indiana University. He is the author of Dan Ge Performance: Masks and Music in Contemporary Côte d’Ivoire, co-winner of the Amaury Talbot Prize from the Royal Anthropological Institute of London. He is also co-author, with Gloria Gibson, of the CD-ROM Music and Culture of West Africa: The Straus Expedition, and author of numerous articles and museum catalog entries on Ivorian music and masks. His current research projects include a study of Ivorian immigrant performers in the U.S. in the context of globalization, and a study of transnationally organized HIV/AIDS edutainment campaigns in Francophone Africa.

K. Denea Stewart-Shaheed grew up in Texas with dreams of elsewhere. She received her doctorate in English Literature from the University of Houston and has taught at the college level for a number of years. She has attended both the Callaloo and Voices’ Writing Workshops. A lover of music, Ms. Stewart likes to push the boundaries between literary form and melody in her work. She believes the journey of the ancestors is never done and that to tell a story is to reclaim the past while simultaneously re-shaping the future. She is currently working on a novel entitled Honey.

Mina Yang is currently an assistant professor of musicology at the Thornton School of Music at the University of Southern California.  She has written extensively on music and politics, Asian American music, and music and postmodernism.  Her first book, California Polyphony: Ethnic Voices, Musical Crossroads (University of Illinois Press, 2008), examines the intersection of racial politics and music in the Golden State.  She is currently completing a manuscript on classical music in the postmodern age.

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Ethnomusicology and Global Culture

A National Endowment for the Humanities Summer Institute

June 20 – July 1, 2011
Music Department, Wesleyan University

Middletown, Connecticut

http://semneh11.wesleyan.edu

Dear Colleague,

The Society for Ethnomusicology (SEM) and the Wesleyan University Music Department are pleased to announce our collaboration for the first National Endowment for the Humanities (NEH) Summer Institute in ethnomusicology. We will provide stipend support for the participation of twenty-two faculty from universities, four-year colleges, and community colleges, and three full-time graduate students. Three principal faculty from Wesleyan (Mark Slobin, Su Zheng, and Eric Charry) and six visiting lecturers will lead the daily sessions.

What happens when music travels across the globe? What kinds of transformations take place? How has recent technology facilitated such transformations? These are some of the key questions that will challenge us as we look at case studies from around the world. The aim of this institute is twofold: 1) we will introduce college/university teachers to new and recent scholarship in ethnomusicology that focuses on transformations as music travels throughout the world, and 2) we will facilitate the development of teaching strategies for incorporating this focus into both music curricula and the curricula of related humanities disciplines. The use of new technologies in music production, research, and pedagogy will be addressed throughout the institute.

We welcome applications from specialists in ethnomusicology, music scholars outside the field of ethnomusicology, and academics in related disciplines. The intellectual and pedagogical perspectives presented in this institute will provide each of these three constituencies with a deeper and broader understanding of how the world’s peoples creatively use music and related forms of expressive culture, and will encourage both new research agendas and approaches to humanities teaching.

Institute Theme

We focus on two key areas of the global environment that have occupied ethnomusicologists: the movement, migration, and subsequent new uses of musics around the world, especially in recent decades; and new uses of technology in the production, dissemination, distribution, and consumption of music, and in music research and teaching. Daily sessions will offer rich case studies of a diverse array of musical traditions that in one way or another have crossed borders and boundaries. A smaller number of sessions will explore the broader implications of the case studies, engaging with theoretical issues common to ethnomusicology and the humanities as a whole. In both types of sessions, the role of technology in research and pedagogy will be a constant presence. Evening workshops will give participants a more intimate hands-on experience with some of the musical traditions and technologies discussed during the day.

Terms such as “diaspora,” “transnational,” and “globalization,” all referring to the movement of people, ideas, and cultural practices, have figured strongly in work in the humanities of the past few decades. Ethnomusicologists have contributed much to deepen understanding of how people cope with their new surroundings, specifically how they use music to address some of their needs and aspirations. But these terms can sometimes be used haphazardly, resulting in obscuring rather than clarifying dynamic processes of the circulation of peoples and their creative endeavors. Furthermore, new migration patterns coupled with internet technologies have demanded new ways of investigating, thinking about, and understanding the flow of people and ideas around the world.

Our institute faculty has done some of the most significant on-the-ground research into what happens to musical traditions when they travel, and they offer a wealth of data and interpretive and theoretical insight. During the institute, they will present diverse and compelling case studies that involve musics on the move, transplanted traditions, and the interface of technologies with current research and pedagogy. Through these case studies and additional sessions for theoretical reflection, we will offer institute participants an in-depth look at recent and innovative developments in ethnomusicology; discuss diverse theories, methods, and practices involved in such developments; and identify paths for further exploration.

The expertise represented by our faculty and lecturers will give participants an expansive perspective on ethnomusicological thought and practice. Case studies include: traditional and contemporary music of China and its Asian-American diaspora; Eastern European Jewish folk music and its circuitous routes through North America and the rest of the world; Indonesian gamelans (orchestras) transplanted to North America and Europe and used in novel ways; West African string and percussion music riding the world music boom to Paris and New York, around the globe, and back; American hip hop transformed in contemporary African contexts; the Australian didjeridu (trumpet) taken up in new contexts around the world; routes of Haitian, Jamaican, and African American religious music and related expression; and issues of race and gender in the popular music of the US and UK.

Institute Schedule

The daily schedule of the two-week institute will consist of a two-hour morning and two-hour afternoon session led by the principal faculty and visiting lecturers. (A few afternoons each week will be devoted to smaller breakout sessions and consultations.) Discussion will continue with communal lunches and dinners. Evenings will include ensemble demonstrations/workshops, film screenings, and visits to Wesleyan’s World Musical Instrument Collection. There will be sufficient study time for participants to read, write, and consult with faculty while the institute is in session, especially during the one weekend. Participants will also be encouraged to contribute to an institute blog and e-mail listserv.

The institute faculty will provide a reading list well in advance, and the readings will either be made available electronically through Wesleyan’s online network or sent directly to the participants. We will ask participants to provide daily responses to assigned readings and to formulate a final research project that will initially be presented on the last day of the institute and formally submitted in October.

We will ask participants to provide daily responses to assigned readings and to formulate a final research or pedagogical project that will initially be presented on the last day of the institute and formally submitted in October.

Each participant will be asked to produce the following three items:

1) A presentation to the institute faculty and participants at the conclusion of the institute based on their research/pedagogical project carried out over the course of the two weeks.

2) A brief evaluation (1-2 pages) of the quality and effectiveness of the institute. Due July 15, 2011.

3) A final report (2-4 pages) on the significance and impact of the institute on one’s professional development as a scholar/teacher, including a summary of one’s institute project. The report should be accompanied by any related bibliographies, syllabi, or curricular materials prepared during the institute.  Due October 15, 2011.

Institute Faculty and Staff

A. Principal Faculty

Eric Charry (Institute Director), Associate Professor, Music Department, Wesleyan University, specializes in music of West Africa, improvisation, jazz, and contemporary popular music. His publications include the book Mande Music, entries in encyclopedias and dictionaries, numerous articles and book chapters, and a forthcoming book he is editing on rap in Africa. He is a past Chair and Director of Graduate Studies of the Music Department.

Mark Slobin, Richard K. Winslow Professor of Music, Wesleyan University, is one of the most prolific and respected scholars in the field. He has authored or edited over one dozen books, including Tenement Songs (1983) and Fiddler on the Move (2001), both of which won ASCAP-Deems Taylor Awards. His most recent books are Global Soundtracks: Worlds of Film Music (2008) and A Very Short Introduction to Folk Music (2010). He is a past president of SEM and the Society for Asian Music, past editor of Asian Music journal, and past Chair of the Music Department. He is the Series Editor for American Musicspheres at Oxford University Press.

Su Zheng, Associate Professor, Music Department, Wesleyan University, specializes in gender and music, music in Asian America, and traditional and contemporary music of East Asia. She is a Visiting Professor of the Shanghai Conservatory of Music, as well as a Special Researcher of the Anthropology of Music Division, E-Institutes of Shanghai Universities. Her publications include the recent book Claiming Diaspora: Music, Transnationalism, and Cultural Politics in Asian/Chinese America, entries in encyclopedias and dictionaries, and numerous articles and book chapters. She is the current Chair of the Music Department, past Director of Graduate Studies in Music, and past Chair of East Asian Studies at Wesleyan.

B. Visiting Lecturers

Melvin Butler, Assistant Professor, Music Department, University of Chicago, has published extensively on the intersection of Pentecostalism, popular culture, and music in Haiti, Jamaica, and the US.

Peter Hadley (PhD, Wesleyan University) teaches at Wesleyan, University of New Haven, and Central Connecticut State University. He is currently preparing a book on the global dispersion of the didjeridu.

Maureen Mahon, Associate Professor, Music Department, New York University, is the author of Right To Rock: The Black Rock Coalition and the Cultural Politics of Race. Her current research on the music and legacy of black women in rock examines the intersection of gender, race, sexuality, and music production.

Maria Mendonça, Luce Assistant Professor in Asian Music and Culture, Kenyon College, has extensive experience as a researcher and teacher of Indonesian gamelan music. She teaches in both the music and anthropology departments at Kenyon and is working on a book manuscript titled Globalization and Gamelan: Communitas, Affinity and Other Stories.

Alex Perullo, Assistant Professor, Bryant College, has expertise in music and internet technology and hip hop in Tanzania. His book Sounds of the City: Popular Music, Creative Practice, and Tanzania’s Music Economy will be published by Indiana University Press in 2011.

Sumarsam, Adjunct Professor, Music Department, Wesleyan University, is one of the most highly respected Javanese gamelan artists, dalangs (puppet master), and scholars. He is the author of Gamelan: Cultural Interaction and Musical Development in Central Java.

C. Institute Staff

Stephen Stuempfle (Institute Manager), Executive Director, Society for Ethnomusicology, has extensive experience in organizing museum exhibitions, educational program series, and academic conferences. His role in the institute will be to assist with communications, the selection of participants, logistics and finances, and evaluation and dissemination of results.

Wesleyan University

Wesleyan University, established in 1831, is a premier liberal arts college with over 2,700 undergraduates and 300 graduate students. The Music Department, with 16 full-time and over 30 private lessons teachers has an intimate relationship with ethnomusicology, dating from the very origins of the field. The late Wesleyan anthropology professor David McAllester was one of the co-founders of SEM in 1955, as well as a co-founder of the World Music Program at Wesleyan. Both McAllester and current Wesleyan professor Mark Slobin served as president of SEM.

SEM annual meetings took place at Wesleyan in 1963, 1975, and 2008. This last meeting brought over 1,000 student and professional ethnomusicologists to Wesleyan for four days of paper presentations and ten concerts (http://sem2008.blogs.wesleyan.edu). Wesleyan’s ethnomusicology program is one of the oldest in the country, with undergraduate and MA ethnomusicology theses dating from the 1960s and the first PhD granted in 1971. Wesleyan graduates are teaching ethnomusicology at universities, colleges, and conservatories throughout the United States and around the world.

SEM’s journal, Ethnomusicology, was published by Wesleyan University Press from its inception until 1971. Wesleyan’s performance study groups, directed by full- and part-time ensemble coaches as well as occasional graduate students, span a broad spectrum of the world, including West Africa, South India, Indonesia, Eastern and Western Europe, China, Japan, Korea, the Caribbean, and North America. Wesleyan’s World Music Archives is one of the oldest and most robust in the country, with extensive materials deposited from its faculty and graduate students. It is housed in the excellent Olin Library, which contains close to one million volumes and offers students access to a dazzling array of scholarly databases in the arts, humanities, and social and natural sciences. Wesleyan’s World Musical Instrument Collection is one of the most extensive in the country. Since 2003, the Virtual Instrument Museum (www.wesleyan.edu/vim/) has served as an online showcase for many of the instruments in the collection, with audio and video demonstrations, and full text descriptions.

Stipend and Housing

NEH Summer Scholars will receive a $2,100 stipend (an amount stipulated by the NEH), which should cover their travel expenses, living expenses during the two weeks of the institute, and books and other research costs. We have arranged housing for all of the participants in a single spacious brick tudor-style residence hall (with a kitchen) located in the heart of the campus at the rate of $22 per night for single rooms. We have not yet finalized meal plans, but the first week we may be utilizing the excellent array of restaurants on nearby Main St., with an option of a meal plan at the Usdan University Center the second week. Participants are free to make alternative housing arrangements. For further details, see http://semneh11.wesleyan.edu/housing. All participants will be responsible for finalizing their own housing arrangements and for making their housing payments. The first installment of the stipend ($1,050) will be paid upon arrival, and a second installment will be paid during the second week of the institute. Some out-of-pocket expenses may be incurred. Participation in all sessions is mandatory. Individuals who leave early will be required to return unused portions of their stipends.

Application and Logistics

Application instructions can be downloaded from http://semneh11.wesleyan.edu/application. Applications and all supporting documents must postmarked no later than March 1, 2011, and sent to Stephen Stuempfle (project manager) at the address provided below. See application instructions for additional details. Successful applicants will be notified on April 1, 2011.

Please note that the most important part of the application is the essay. The essay should include your reasons for applying to this institute, your relevant personal and academic information, your qualifications to participate in the institute and how you will contribute to it, and what you hope to accomplish at the institute and with your specific research/teaching project.

We look forward to hearing more about your interest in the SEM-Wesleyan University Summer Institute. Should you have any questions, please feel free to contact Stephen Stuempfle at the below email address or telephone number.

Sincerely,

Eric Charry, Institute Director

Associate Professor

Music Department

Telephone: (860) 685-2579

Email: echarry@wesleyan.edu

For further information, please contact:

Stephen Stuempfle, Institute Manager
Executive Director, Society for Ethnomusicology
Indiana University, Morrison Hall 005
1165 E. 3rd St.
Bloomington, IN  47405-3700
Telephone: (812) 855-8779
Email: semexec@indiana.edu

Ethnomusicology and Global Culture is supported by a grant from the National Endowment for the Humanities. Any views, findings, conclusions, or recommendations expressed in this program do not necessarily reflect those of the National Endowment for the Humanities.

November 19, 2010

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NEH SUMMER INSTITUTES

FOR COLLEGE AND UNIVERSITY TEACHERS

APPLICATION INFORMATION AND INSTRUCTIONS

Summer Institutes for College and University Teachers are offered by the National Endowment for the Humanities to provide college and university faculty members (and a small group of graduate students) with an opportunity to enrich and revitalize their understanding of significant humanities ideas, texts, and topics.  These study opportunities are especially designed for this program and are not intended to duplicate courses normally offered by graduate programs.  On completion of an institute, participants will receive a certificate indicating their participation.  Prior to completing an application to a specific institute, please review the letter/prospectus from the institute director (available on the institute’s website, or as an e-mail attachment) and consider carefully what is expected in terms of residence and attendance, reading and writing requirements, and general participation in the work of the project.

Institutes are for 25 Summer Scholars, and provide intensive collaborative study of texts, topics, and ideas central to undergraduate teaching in the humanities under the guidance of faculties distinguished in their fields of scholarship.  Institutes aim to prepare participants to return to their classrooms with a deeper knowledge of current scholarship in key fields of the humanities.

ELIGIBILITY

These projects are designed primarily for teachers of American undergraduate students.  Qualified independent scholars and those employed by museums, libraries, historical societies, and other organizations may be eligible to compete provided they can effectively advance the teaching and research goals of the institute. Applicants must be United States citizens, residents of U.S. jurisdictions, or foreign nationals who have been residing in the United States or its territories for at least the three years immediately preceding the application deadline. Foreign nationals teaching abroad at non-U.S. chartered institutions are not eligible to apply.

Please note: Up to three institute spaces are reserved for current full-time graduate students in the humanities.

Applicants must complete the NEH application cover sheet and provide all the information requested below to be considered eligible.  An applicant need not have an advanced degree in order to qualify. Adjunct and part-time lecturers are eligible to apply.  Individuals may not apply to study with a director of an NEH Summer Institute who is a current colleague or a family member.  Institute selection committees are advised that only under the most compelling and exceptional circumstances may an individual participate in an institute with a director or a lead faculty member who has guided that individual’s research or in whose previous institute he or she has participated.

Please note: An individual may apply to up to two projects in any one year (NEH Summer Seminars, Institutes or Landmarks Workshops for Community College Faculty), but may participate in only one.

SELECTION CRITERIA

A selection committee reads and evaluates all properly completed applications in order to select the most promising applicants and to identify a number of alternates.  (Institute selection committees typically consist of three to five members, usually drawn from the institute faculty and staff members.)  While recent participants are eligible to apply, selection committees are charged to give first consideration to applicants who have not participated in an NEH-supported Seminar, Institute or Landmarks Workshop in the last three years (2008, 2009, 2010).

The most important consideration in the selection of participants is the likelihood that an applicant will benefit professionally.  This is determined by committee members from the conjunction of several factors, each of which should be addressed in the application essay.  These factors include:

1.  quality and commitment as a teacher, scholar, and interpreter of the humanities;

2.  intellectual interests, in general and as they relate to the work of the institute;

3.  special perspectives, skills, or experiences that would contribute to the institute;

4.  commitment to participate fully in the formal and informal collegial life of the institute;

5.  the likelihood that the experience will enhance the applicant’s teaching and scholarship;

When choices must be made among equally qualified candidates, several additional factors are considered.  Preference is given to applicants who have not previously participated in an NEH Summer Seminar, Institute, or Landmarks Workshop, or who significantly contribute to the diversity of the institute.

STIPEND, TENURE, AND CONDITIONS OF AWARD

Individuals selected to participate in two-week projects will receive $2,100.  Stipends are intended to help cover travel expenses to and from the project location, books and other research expenses, and living expenses for the duration of the period spent in residence.  Stipends are taxable.  Applicants to all projects, especially those held abroad, should note that supplements will not be given in cases where the stipend is insufficient to cover all expenses.

Institute participants are required to attend all meetings and to engage fully as professionals in the work of the project.  During the project’s tenure, they may not undertake teaching assignments or any other professional activities unrelated to their participation in the project.  Participants who, for any reason, do not complete the full tenure of the project must refund a pro-rata portion of the stipend.

At the end of the project’s residential period, participants will be asked to submit online evaluations in which they review their work during the summer and assess its value to their personal and professional development.  These evaluations will become part of the project’s grant file and may become part of an application to repeat the institute.

APPLICATION INSTRUCTIONS

Before you attempt to complete an application, please obtain and read the “Dear Colleague Letter” here. The letter contains detailed information about the topic under study, project requirements and expectations of the participants, the academic and institutional setting, and specific provisions for lodging and subsistence.

All application materials for the “Ethnomusicology and Global Culture” institute must be sent to the institute manager at the below address.  Application materials sent to the Endowment will not be reviewed.

CHECKLIST OF APPLICATION MATERIALS

A complete application consists of three copies of the following collated items:

• the completed application cover sheet,
• a detailed résumé, curriculum vitae, or brief biography, and
• an application essay as outlined below.

In addition, it must include two letters of recommendation as described below.

The application cover sheet

The application cover sheet must be filled out online at this address:

https://securegrants.neh.gov/education/participants/

Please fill it out online as directed by the prompts. When you are finished, be sure to click on the “submit” button. Print out the cover sheet and add it to your application package.  At this point you will be asked if you want to fill out a cover sheet for another project.  If you do, follow the prompts and select another project and then print out the cover sheet for that project.  Note that filling out a cover sheet is not the same as applying, so there is no penalty for changing your mind and filling out cover sheets for several projects.  A full application consists of the items listed above, as sent to a institute director or institute manager.

Résumé

Please include a detailed résumé, curriculum vitae, or brief biography (not to exceed five pages).

The Application Essay

The application essay should be no more than four double spaced pages.  This essay should include any relevant personal and academic information.  It should address reasons for applying; the applicant’s interest, both academic and personal, in the subject to be studied; qualifications and experiences that equip the applicant to do the work of the institute and to make a contribution to a learning community; a statement of what the applicant wants to accomplish by participating; and the relation of the project to the applicant’s professional responsibilities.

• Applicants to institutes may need to elaborate on the relationship between institute activities and their responsibilities for teaching and curricular development.

Reference Letters

The two referees may be from inside or outside the applicant’s home institution.  They should be familiar with the applicant’s professional accomplishments or promise, teaching and/or research interests, and ability to contribute to and benefit from participation in the institute.  Referees should be provided with the director’s description of the institute and the applicant’s essay.  Applicants who are current graduate students should secure a letter from a professor or advisor.  Please ask each of your referees to sign across the seal on the back of the envelope containing the letter.  Enclose the letters with your application.  As an alternative to including reference letters with your application, you may ask your referees to email their letters by March 1, 2011, to the institute manager at semexec@indiana.edu.

SUBMISSION OF APPLICATIONS AND NOTIFICATION PROCEDURE

Completed applications for the “Ethnomusicology and Global Culture” institute should be mailed to the institute manager at the below address, postmarked no later than March 1, 2011.

Stephen Stuempfle, Institute Manager
Executive Director, Society for Ethnomusicology
Indiana University, Morrison Hall 005
1165 E. 3rd St.
Bloomington, IN 47405-3700

Successful applicants will be notified of their selection on Friday, April 1, 2011, and they will have until Tuesday, April 5 to accept or decline the offer.

Once you have accepted an offer to attend any NEH Summer Program (NEH Summer Seminar, Institute or Landmarks Workshop), you may not accept an additional offer or withdraw in order to accept a different offer.

EQUAL OPPORTUNITY STATEMENT

Endowment programs do not discriminate on the basis of race, color, national origin, sex, disability, or age.  For further information, write to the Equal Opportunity Officer, National Endowment for the Humanities, 1100 Pennsylvania Avenue, N.W., Washington, D.C. 20506.  TDD:  202/606‑8282 (this is a special telephone device for the Dea

Each weekday will consist of a 2-hour session in the morning (10am-12:00pm) and a 2-hour session in the afternoon (2:00pm-4:00pm).

Musics Dispersed I: Multiple Diasporas of Eastern European Jewish music (Mark Slobin)

Eastern European Jewish folk music provides the complex example of a music that evolved in one of the Jews’ many diasporas, moved to another (North America), then cycled back to Europe and around the world over the last 30 years, operating both as “heritage” and as a “world music” for Jews and non-Jews. Slobin (2000a, 2002), Lausevic (2008), and Robertson (2010) will serve as primary texts.

Musics Dispersed II: Asia and Asian America (Su Zheng)

Several music genres (Chinese operas, Asian American jazz, taiko, new compositions, and diasporic pop) from Asia and Asian America will be comparatively studied to critically examine how immigration, travel, and transnationalism have triggered crisis and new opportunities for musicians and communities to invent and claim their own voices on community, national, and international stages. We will closely look at some of the musical means by which Asian and Asian American musicians and communities have been constructing their cultural identities. The session will also explore how creative diasporic individuals deploy conventional boundaries, such as East-West, in creating and popularizing their music products. Zheng (2010) and Wong (2004) will serve as primary texts.

Musics Dispersed III: The Mande World, Paris, and New York (Eric Charry)

Musical artists from Mali, Senegal, and Guinea (all part of the 13^th-16^th century Mande or Mali empire) have had an extraordinary global presence. The symbolism and legacy of the Mali empire remains compelling to this day, and musical artists from this region have been trend-setters for the rest of Africa, creating musical genres that are both highly innovative and deeply rooted. We will examine the various historical layers and geographic interactions, from the most local to the global, to see how traditions dating back many centuries have been shaped to speak to the contemporary lives of Africans, at home and abroad, as well as non-Africans. Of special concern will be the ease with which boundaries such as old (traditional) and new (modern), Africa and Europe/USA, local and global, and popular and elite can so easily be blurred. Charry (2000, forth.) will serve as the primary texts.

Musics Dispersed IV and V: Javanese Gamelan (Sumarsam, Maria Mendonça) + evening gamelan workshop

The Javanese gamelan ensemble has travelled outside Indonesia via several networks. As the research interest of one of the founding fathers of ethnomusicology, Jaap Kunst, the presence of a set of gamelan in universities has almost become emblematic of the discipline of ethnomusicology. From the wax cylinder recordings of gamelan at the 1893 World’s Columbian Exposition, Javanese gamelan has maintained a constant and influential presence in the world music industry.  Most overwhelmingly though, the global pervasiveness of gamelan is demonstrated in the many hundreds of ensembles and performing groups which exist outside Indonesia, in locations as varied as the US, Britain, the Netherlands, the Czech Republic, South America, Australasia, Taiwan and Japan, to name but a few.  Unusually, only a few of these gamelan cultures (e.g. Surinam and Singapore) have developed as the result of migration of Indonesians. Instead,  and in contrast with many other traveling music cultures, gamelan outside Indonesia is largely powered by performers with no ethnic or obvious cultural ties to Indonesia.

Whereas gamelan has become an object of fascination outside Indonesia, European music has long been Indonesia’s ‘significant other.’ Its presence in the archipelago can be thought to represent a ‘Western’ sense of beauty and order and cultural superiority.

In these two sessions, we will explore how gamelan has become enmeshed and reinterpreted in a variety of new cultural and geographical contexts, from experimental composition to prison reform.  We will also investigate the presence of European music in Indonesia, paying special attention to the incorporation of European brass band in gamelan ensembles. In all these situations, the development of the migrating music has been guided by a complicated interplay between presentations and perceptions of the particular  music in question and the ways in which these connect with local interests and ideologies. Mendonça (2010) and Sumarsam (1995, 2004) will serve as the primary texts.

Musics Dispersed VI: Traveling Instruments (Peter Hadley, Eric Charry,) + evening didjeridu demonstration

The didjeridu (long trumpet) and jembe (drum) have travelled extensively outside their ancestral homelands in aboriginal Australia and western Africa, respectively. Some similarities in their receptions and usages are uncanny; the many differences are equally instructive. We will examine what these instruments symbolize, how they have been appropriated and embraced around the world, and the economic and cultural impact back home, stimulating new interest. Hadley (2008) and Charry (1996, 2000) will serve as the primary texts.

Musics Dispersed VII: Transatlantic Exchanges:  African American Music and Musicians in Motion (Maureen Mahon)

There is a long and celebrated history of black American musicians going to Europe in search of greater artistic freedom and far less restrictive racism than was typical in the United States. While long-term moves to Europe have became more rare since the 1960s, many post-civil rights era black musicians still make it a point to perform in Europe because they find appreciative audiences and well-paying opportunities with more consistency there than in the United States. This is especially true for musicians who fall outside the conventional black music genres that dominate in the US.  In this session we will consider the transatlantic musical exchanges that have occurred as black American musicians have taken advantage of creative opportunities in Europe. We will focus on the American Folk Blues Festival tours of Germany in the 1960s; the experiences of African American gospel vocalist Madeline Bell and her collaborations with British vocalist Dusty Springfield in London in the 1960s; and the 2004 Daughters of Soul that featured six African American women vocalists and played at three European jazz festivals. Working from these historical and ethnographic examples, we will discuss the impact of these movements of people and music on the creative work and professional profile of the African American musicians and the impact of their musical presence on their local counterparts.  We will consider the extent to which Europe was and is a “safe” space in which African American musicians can escape the racialization that shapes their professional and personal experiences in the United States and the ways in which their race and nationality matter in Europe.  We will attend to the local meanings of race, gender, and genre in these European contexts, particularly the ways African American musicians profit and suffer from Europeans’ fascination with a black musical other, the ways ideas about black masculinity and black femininity are produced and challenged through music, and the different ways definitions of and expectations for musical genres influence their experiences. Throughout, we will be attentive to the different forms of music-centered writing–ethnography, biography, and critical historical writing–to document and analyze these processes.

Musics Dispersed VIII: Music, Identity, and Spirit Work in Haiti, Jamaica, and their Diasporas (Melvin Butler)

This session will examine the musical and social landscapes of Haiti and Jamaica, paying particular attention to the intersections of music, identity, and various forms of spiritual and political worship and power. To what extent does music making facilitate an effective response to social misery caused by natural, political, and/or socioeconomic catastrophes? How can music sustain transnational linkages between the Caribbean and the United States? How can music facilitate the policing of boundaries between local and foreign, holy and worldly, church and dancehall, and human and divine? Highlighting the cultivation of long-distance national identities and the migration of sound and practice to and from the Caribbean region, we will also explore the extent to which the musical practices of Caribbean peoples constitute a form of resistance in the face of local and global oppression.

New Technologies I and II: Online communities, videoconferencing, archiving, video annotation, new pedagogical techniques (Alex Perullo, Eric Charry)

The recordings that scholars made as they traveled around the world in the early 20^th century set into motion new ways of understanding and archiving expressive culture. Today, new technologies remain key to both scholarly research and pedagogy and artistic expression, especially as it has become easier and easier for artists to acquire and use them. These two sessions will allow participants to interact and engage with the most recent forms of technology and user interfaces, including do-it-yourself music production. In the morning session we will examine some of the innovative ways that ethnomusicologists use technology to improve the process and transmission of their research, look at the most recent advances in recording and video technology and web applications, and explore new media technology that is being used to present research findings, including the EVIA Digital Archive and the Virtual Instrument Museum. In the afternoon session, we will look at new uses of technology in Africa. The role of music videos in Kenya and Tanzania will serve as a case study to show how this medium has provided debate about morality, ethics, and identity in eastern African society. We will also examine the transformations occurring due to the influence of piracy and the ease with which people can manipulate and trade digital files. In both the morning and afternoon sessions, we will explore the role that technology plays in influencing the ways that we present and hear music.

Theoretical Considerations: Multiple Homes (Su Zheng, Mark Slobin, Eric Charry, Melvin Butler, Maureen Mahon, Maria Mendonça, Alex Perullo)

The increase in migration and refugee flow, greater travel possibilities for musicians, and the arrival of instantaneous media such as YouTube have upset earlier models of musical transformation. We will examine how standard “homeland-diaspora” approaches or simple “globalization” analyses are shifting towards an appreciation of how musicians and their audiences can imagine themselves more fluidly than before. These  sessions, spread out during the two weeks in order to incorporate the visiting lecturers, will serve as the focal points for the Institute theme “Ethnomusicology and Global Culture.” They will consist of a combination of directed discussion by the faculty, assimilating the case studies presented throughout the Institute, and participant presentations, based on their areas of expertise. Works studied throughout the Institute, as well as others, such as Comaroff and Comaroff (2009) and Ramnarine (2009), will serve as the primary texts.

We have arranged housing for all of the participants at 200 Church St., a single spacious brick tudor-style residence hall (with a kitchen) very conveniently located on the campus, at the rate of $22 per night for single rooms. We will not be using any university dining services, but an excellent array of restaurants, mostly clustered around Main St., are within easy walking distance. The residence hall is near the corner of Church and High Sts. toward the southeastern corner of the campus. Participants are free to make alternative housing arrangements.

LOCAL LINKS

Wesleyan campus map

Google restaurant map (200 Church is near High St.)

Restaurant listing (Guide to Middletown)

Olin Library

Freeman Athletic Center

Ethnomusicology and Global Culture

A National Endowment for the Humanities Summer Institute

June 20 – July 1, 2011
Music Department, Wesleyan University

Middletown, Connecticut

Principal Faculty

• Eric Charry (Director), Mark Slobin, Su Zheng, Wesleyan University

Guest Lecturers

• Melvin Butler, Peter Hadley, Maureen Mahon, Maria Mendonça, Alex Perullo, Sumarsam

The Society for Ethnomusicology and the Wesleyan University Music Department are pleased to collaborate for a National Endowment for the Humanities Summer Institute in ethnomusicology. We will provide stipend support for the participation of twenty-two faculty from universities, four-year colleges, and community colleges, and three full-time graduate students. Three principal faculty from Wesleyan and six guest lecturers will lead the daily sessions over the course of two weeks.

What happens when music, people and media move across the globe? What kinds of transformations take place? How has recent technology facilitated and impacted such transformations? These are some of the key questions that will challenge us as we look at case studies from around the world, introducing the selected NEH Summer Scholars to new and recent scholarship and developing teaching strategies for incorporating this focus into the curricula of both music and related humanities disciplines.

We welcome applications from specialists in ethnomusicology, music scholars outside the field of ethnomusicology, and academics in related disciplines.

For further information contact:

Ethnomusicology and Global Culture is supported by a grant from the National Endowment for the Humanities. Any views, findings, conclusions, or recommendations expressed in this program do not necessarily reflect those of the National Endowment for the Humanities.

Core Faculty

Eric Charry (Institute Director), Associate Professor, Music Department, Wesleyan University, specializes in music of West Africa, improvisation, jazz, and contemporary popular music. His publications include the book Mande Music, entries in encyclopedias and dictionaries, numerous articles and book chapters, and a forthcoming book he is editing on rap in Africa. He is a past Chair and Director of Graduate Studies of the Music Department.

Mark Slobin, Richard K. Winslow Professor of Music, Wesleyan University, is one of the most prolific and respected scholars in the field. He has authored or edited over one dozen books, including Tenement Songs (1983) and Fiddler on the Move (2001), both of which won ASCAP-Deems Taylor Awards. His most recent books are Global Soundtracks: Worlds of Film Music (2008) and A Very Short Introduction to Folk Music (2010). He is a past president of SEM and the Society for Asian Music, past editor of Asian Music journal, and past Chair of the Music Department. He is the Series Editor for American Musicspheres at Oxford University Press.

Su Zheng, Associate Professor, Music Department, Wesleyan University, specializes in gender and music, music in Asian America, and traditional and contemporary music of East Asia. She is a Visiting Professor of the Shanghai Conservatory of Music, as well as a Special Researcher of the Anthropology of Music Division, E-Institutes of Shanghai Universities. Her publications include the recent book Claiming Diaspora: Music, Transnationalism, and Cultural Politics in Asian/Chinese America, entries in encyclopedias and dictionaries, and numerous articles and book chapters. She is the current Chair of the Music Department, past Director of Graduate Studies in Music, and past Chair of East Asian Studies at Wesleyan.

Guest Faculty

Melvin Butler, Assistant Professor, Music Department, University of Chicago, has published extensively on the intersection of Pentecostalism, popular culture, and music in Haiti, Jamaica, and the US.

Peter Hadley, (PhD, Wesleyan University) teaches at Wesleyan, University of New Haven, and Central Connecticut State University. He is currently preparing a book on the global dispersion of the didjeridu.

Maureen Mahon, Associate Professor, Music Department, New York University, is the author of Right To Rock: The Black Rock Coalition and the Cultural Politics of Race. Her current research on the music and legacy of black women in rock examines the intersection of gender, race, sexuality, and music production.

Maria Mendonça, Luce Assistant Professor in Asian Music and Culture, Kenyon College, has extensive experience as a researcher and teacher of Indonesian gamelan music. She teaches in both the music and anthropology departments at Kenyon and is working on a book manuscript titled Globalization and Gamelan: Communitas, Affinity and Other Stories.

Alex Perullo, Associate Professor, Bryant College, has expertise in music and internet technology and music economies in East Africa. His book Live from Dar Es Salaam: Popular Music and Tanzania’s Music Economy will be published by Indiana University Press in 2011.

Sumarsam,University Professor of Music, Music Department, Wesleyan University, is one of the most highly respected Javanese gamelan artists, dalangs (puppet master), and scholars. He is the author of Gamelan: Cultural Interaction and Musical Development in Central Java.