Table of Contents

• General Editor’s Preface by Don Niles
• Guest Editor’s Preface: Special Section on Music and Poverty by Klisala Harrison

Articles

Music and Poverty

• ‘The Relationship of Poverty to Music’ by Klisala Harrison
• ‘“Nobody Should Be Forced to Make a Living by Begging”: Social Exclusion and Cultural Rights of Gāine/Gandharva Musicians of Nepal’ by Pirkko Moisala
• ‘Sound Praxis, Poverty, and Social Participation: Perspectives from a Collaborative Study in Rio de Janeiro’ by Samuel Araújo and Vincenzo Cambria
• ‘Surviving Material Poverty by Employing Cultural Wealth: Putting Music in the Service of Community in Haiti’ by Rebecca Dirksen. See supplementary materials for this article
• ‘Music, Health, and Socio-economic Status: A Perspective on Urban Poverty in Canada’ by Klisala Harrison
• ‘Music and the US War on Poverty: Some Reflections’ by Jeff Todd Titon. See supplementary materials for this article
• ‘Of Lack and Loss: Assessing Cultural and Musical Poverty in Uttarakhand’ by Stefan Fiol

General

• ‘The Saman Gayo Lues Sitting Song-dance and Its Recognition as an Item of Intangible Cultural Heritage’ by Margaret Kartomi. See supplementary materials for this article
• ‘The Limits and Ambivalences of Postcolonial Consciousness in Mbunga’s Church Law and Bantu Music’ by Imani Sanga
• ‘Blood, Thunder, and Drums: Style and Changing Aesthetics of Drumming in Northern Ireland Protestant Bands’ by Ray Casserly
• ‘A Common Motivation—A Specific Style for Each Culture: Towards a Comparison of Wedding Rituals in Morocco’ by Miriam Rovsing Olsen
• ‘Gospel Music in Japan: Transplantation and Localization of African American Religious Singing’ by Waseda Minako
• ‘Music and Dance as Export and Import: A Case Study of Japan in Europe, and Hawai‘i in Japan’ by Adrienne L. Kaeppler
• ‘Musical Movement: Towards a Common Term for Music and Dance’ by Jörgen Torp

Book Reviews

• Arom, Simha, and Frank Alvarez-Péreyre. Précis d’ethnomusicologie. Review by Monique Desroches
• Nannyonga-Tamusuza, Sylvia, and Thomas Solomon, eds. Ethnomusicology in East Africa: Perspectives from Uganda and Beyond. Review by Damascus Kafumbe
• Rumsey, Alan, and Don Niles, eds. Sung Tales from the Papua New Guinea Highlands: Studies in Form, Meaning, and Sociocultural Context. Review by Karl Reichl
• Blau, Dick, Agapi Amanatidis, Panayotis Panopoulos, and Steven Feld. Skyros Carnival. Review by Eckehard Pistrick
• Desroches, Monique, Marie-Hélène Pichette, Claude Dauphin, and Gordon E. Smith, eds. Territoires musicaux mis en scène. Review by Nicolas Prévôt
• Simonett, Helena, ed. The Accordion in the Americas: Klezmer, Polka, Tango, Zydeco, and More!. Review by Michael Silvers
• Jacobson, Marion. Squeeze This! A Cultural History of the Accordion in America. Review by Michael Silvers
• Sparti, Barbara, and Judy Van Zile, with Elsie Ivancich Dunin, Nancy G. Heller, and Adrienne L. Kaeppler, eds. Imaging Dance: Visual Representations of Dancers and Dancing. Review by Tamara Tomic-Vajagic
• Abels, Birgit, ed. Austronesian Soundscapes: Performing Arts in Oceania and Southeast Asia. Review by Brian Diettrich
• Ammann, Raymond. Sounds of Secrets: Field Notes on Ritual Music and Musical Instruments on the Islands of Vanuatu. Review by Yoichi Yamada
• Irving, D. R. M. Colonial Counterpoint: Music in Early Manila. Review by Mercedes Dujunco

Book Notes

A Note from Michael Silvers, Book Notes (Web) Editor

I am excited to introduce the first edition of “Book Notes.” As an online extension of the Yearbook for Traditional Music’s book reviews section, “Book Notes” permits us to increase the number of works we can review, and also provides us with a venue to review works not typically reviewed in the print journal. Aside from the more typical monographs and edited volumes, “Book Notes” may also include reviews of published conference proceedings, special editions of journals, books that take advantage of new media with significant online components, new editions of books, and more. We hope you find “Book Notes” as useful and interesting as we do!

• Ballantine, Christopher. Marabi Nights: Jazz, “Race” and Society in Early Apartheid South Africa. Review by Ryan Koons
• Kondi, Bledar. Death and Ritual Crying: An Anthropological Approach to Albanian Funeral Customs. Review by Kathleen Wiens
• Hayes, Eileen M. Songs in Black and Lavender: Race, Sexual Politics, and Women’s Music. By Alisha Lola Jones

Download the “Book Notes” section of the Yearbook for Traditional Music, Vol. 45 (2013) in PDF format.

Audio Reviews

Africa

• Delicious Peace: Coffee, Music and Interfaith Harmony in Uganda. Review by Suzanne E. Wint

South America

• Colombie: Chants des Llaneros du Casanare / Colombia: Llaneros Songs of Casanare / Colombia: Cantos Llaneros en Casanare. Review by Katrin Lengwinat and Andrés Cartaya
• Robert Lehmann-Nitsche: Walzenaufnahmen aus Argentinien 1905–1909 / Grabaciones en cilindros de Argentina. Review by Morgan Luker

Central Asia

• In the Shrine of the Heart: Popular Classics from Bukhara and Beyond. Review by Richard Wolf
• In the Footsteps of Babur: Musical Encounters from the Lands of the Mughals. Review by Richard Wolf
• Borderlands: Wu Man and Master Musicians from the Silk Route. Review by Chuen-Fung Wong

East Asia

• Corée: L’art du sanjo d’ajaeng par Kim Young-gil / Korea: The Art of the Ajaeng Sanjo by Kim Young-gil. Review by Chan E. Park
• Corée: L’art du sanjo de geomungo par Lee Jae-hwa / Korea: The Art of the Geomungo Sanjo by Lee Jae-hwa. Review by Chan E. Park

South Asia

• Inde: Le chant du mohini attam; Danse classique du Kerala / India: Singing the Mohini Attam; Classical Dance of Kerala.By Rolf Groesbeck

West Asia

• Cute Boy, Charming Girl: Children’s Songs of the Modern Hebrew Nation (1882–1948). Review by Phil Alexander
• Luth arabe / Arab Lute: Omar Bashir; Taqâsîm. Review by Owen Wright

Europe

• Walzenaufnahmen aus Südosteuropa / Wax Cylinder Recordings from Southeast Europe: G. Küppers-Sonnenberg 1935–1939. Review by Dimitrije O. Golemović

Video Reviews

• Rapper: History of the Miners’ Sword Dance of North-east England. Review by Simon Keegan-Phipps
• Freddie Mercury: The Great Pretender. Review by Benjamin J. Harbert
• Samir Kurtov: A Zurna Player from Bulgaria. Review by Svanibor Pettan
• Stori Tumbuna: Ancestors’ Tales. Review by Gabriel Solis
• The Other Side of the Water: The Journey of a Haitian Rara Band in Brooklyn. Review by Melvin L. Butler

Website Reviews

• Growing into Music: Music Enculturation in Music Traditions. Produced by Lucy Durán, Nicolas Magriel, and Geoff Baker (with contributions by Sanubar Baghirova and Michele Banal). Review by Kirk King
• Comhaltas Traditional Music Archive. Produced by Comhaltas Ceoltóirí Éireann. Review by Kathleen Wiens
• Tsikaya: Músicos do interior. Directed by Victor Gama, produced by PangeiArt. Review by Gianpaolo Chiriacò
• Músicos do Brasil: Uma enciclopédia instrumental. Produced by Banco de Música Serviços de Comunicação e Cultura Ltda. Review by José Alberto Salgado e Silva
• Tribal Music Asia: The Music of the Golden Triangle. Produced by Victoria Vorreiter. Review by Kendra Stepputat

Support materials

“Surviving Material Poverty by Employing Cultural Wealth: Putting Music in the Service of Community in Haiti” by Rebecca Dirksen (pp. 45-57)

Colour photos

• Figure 1. The members of Wucamp with the group’s “President” (Theodore Jean Michel, second from the right) and the author, showing off the group’s music single “Pwoje anviwonman” (photo: Kendy Vérilus, 2009)
• Figure 2. Wucamp in action, working alongside a woman from the community to clean up trash in the Port-au-Prince neighbourhood of Bel Air (photo: Rebecca Dirksen, 2009)
• Figure 3. The official Wucamp T-shirt reads, “A clean Haiti is possible” (photo: Rebecca Dirksen, 2009)
• Figure 4. Wucamp-supplied trash bucket is designated “for plastic things” (photo: Rebecca Dirksen, 2009)
• Figure 5. The recording desk at Wucamp’s new recording studio (D29 Records) (photo: Kendy Vérilus, 2010)
• Figure 6. Ricardo, showing off Studio D29’s new microphone (photo: Kendy Vérilus, 2010)

Audio clip

• Wucamp’s music single “Pwoje anviwonman” was released in 2009 in response to accumulating trash in the rappers’ neighbourhood of Bel Air, Haiti

Video clip

The Wucamp rappers explain their social engagement and musical activity.

Video clip also available on YouTube.

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“Music and the US War on Poverty: Some Reflections” by Jeff Todd Titon (pp. 74-82)

Audio examples

1. “Ramblin’ Bill,” composed by William “Lazy Bill” Lucas. Piano and vocal by William “Lazy Bill” Lucas. Recorded June 1969 in Minneapolis, Minnesota, by Jeff Todd Titon
2. “Let Thy Kingdom Blessed Savior,” sung by the congregation at Blair Branch Old Regular Baptist Church, Jeremiah, Kentucky. Recorded 19 February 2006 by Jeff Todd Titon. The hymn was written by John Adam Granade (1770–1807). The words are in the songbook that the song leader has, but none of the other members of the congregation have songbooks. They have learned the tune from oral tradition, and they catch the words from the song leader

Both works are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

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“The Saman Gayo Lues Sitting Song-dance and Its Recognition as an Item of Intangible Cultural Heritage” by Margaret Kartomi (pp. 97-124)

Colour photos

• Figure 3. A Gayo Lokop saman performance at the 2004 Festival of Acehnese Arts in Banda Aceh. A row of thirteen saman artists, wearing embroidered Gayo costumes and headbands with tajuk kepies leaves attached, kneel on their heels and sing a saur (chorus), simultaneously clapping their upper-right chests with their right palms, and left thighs with the backs of their left hands (photo: Iwan Dzulvan Amir, reproduced with permission)
• Figure 4. Motifs embroidered on a kerawang Gayo Lues textile (photo: Rajab Bahri, reproduced with permission)
• Figure 8. Members of the row bent forwards, inclining their torsos and clapping a rhythm on their thighs (2005)
• Figure 9. Members of the row put their headbands on the floor and clapped their hands vertically at lower breast level (2005)
• Figure 10. Members of the row kneeled up and leaned backwards to clapping their left palms on their right palms at lower face level (2005)
• Figure 11. Members of the row crossed their left arms over their hearts (gerlang silang kiri) and clapped their upper-left chests while beating the back of their right hands on their right thighs (2005)
• Figure 14. The rotating gelumang (wave) routine with the odd-numbered men in the lower row alternating with the even-numbered men in the upper row (photo: from Umar Kayam 1985, reproduced with permission)
• Figure 18. Handclapping in a female Acehnese ratôh duek song-dance rehearsal at Universitas Syiah Kuala, with the syahé lead singer on one side (photo: Margaret Kartomi, 2010)
• Figure 19. The geulumbang (Ac.) pose in a male Acehnese rapa’i geleng performance after the players place their rapa’i frame drums on the floor, in Jeuram, Nagan Raya (photo: Iwan Dzulvan Amir, 2010, used with permission)

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