Ethnomusicology 2000: Vol 44 Index

5 Pages·2000·0.88 MB·English

VOL. 44, No. 3 ETHNOMUSICOLOGY FALL 2000
Index to Volume 44
A in the Late 1940s and the 1950s,” 3:376-
Africa: “Meter and Grouping in African Mu- 407
sic: A View from Music Theory,” by Dav- The Barbershop Singer: Inside the Social
id Temperley, 1:65-96 World of a Musical Hobby, by Robert A.
Africa: Folk Music Aitas (multimedia publi- Stebbins, rev. by Gage Averill, 2:341-343
cation), by Leonardo D'Amico and BARZ, GREGORY F., rev. of Tanzanie:
Francesco Mizzau (eds.), rev. by Paul Chants des Wagogo et des Kurita (re-
Neeley, 1:174-176 cording), 2:348-350
“Annual List of Dissertations and Theses,” by BERRIOS-MIRANDA, MARISOL, rev. of Lis-
Jennifer C. Post, 1:155-160 tening to Salsa: Gender, Latin Popular
APARICIO, FRANCES R., Listening to Salsa: Music, and Puerto Rican Cultures, by
Gender, Latin Popular Music, and Pu- Frances R. Aparicio, 2:336-339
erto Rican Cultures, rev. by Marisol Ber- Bewaare—They Are Coming: Dagaare
rios-Miranda, 2:336-339 Songs and Dances from Nandom, Gha-
AUSTERLITZ, PAUL, “Birch-Bark Horns and na (recording), rev. by Roger Vetter,
Jazz in the National Imagination: The 2:352-354
Finnish Folk Music Vogue in Historical The Big Drum Ritual of Carriacou, by Lor-
Perspective,” 2:183-213 na McDaniel, rev. by Rebecca S. Miller,
Australia: “Nitmiluk: Place and Empower- 1:172-173
ment in Australian Aboriginal Popular “Birch-Bark Horns and Jazz in the National
Music,” by Chris Gibson and Peter Dun- Imagination: The Finnish Folk Music
bar-Hall, 1:39-64 Vogue in Historical Perspective,” by Paul
AVERILL, GAGE, rev. of The Barbershop Austerlitz, 2:183-213
Singer: Inside the Social World of a Mu- Bolivia: “Dueling Landscapes: Singing Places
sical Hobby, by Robert A. Stebbins, and Identities in Highland Bolivia,” by
2:341-343 Thomas Solomon, 2:257-280
Azerbaijan: “Azerbaijanian Female Musicians: BONFIGLIOLI, CARLO, Fariseos y Mata-
Women's Voices Defying and Defining chines en la Sierra Tarabumara, rev. by
the Culture,” by Inna Naroditskaya, Brenda Romero, 3:527-528
2:234-256; recordings from, rev. by Jean “Bridging Contexts, Transforming Music:
During, 3:529-538; recordings from, rev. The Case of Elementary School Teacher
by Inna Naroditskaya, 3:539-544 Chihara Yoshio,” by Joanna T. Pecore,
Azerbaijan, recordings from: rev. by Jean 1:120-136
During, 3:529-538; rev. by Inna Nar- “Briefly Noted: Special Issues of Journals;
oditskaya, 3:539-544 Reference Works; Performance Instruc-
“Azerbaijanian Female Musicians: Women’s tion Manuals; Music Anthologies” (re-
Voices Defying and Defining the Cul- view article), by Victoria Lindsay Levine,
ture,” by Inna Naroditskaya, 2:234-256 2:343-347
BROWNER, TARA, “Making and Singing
B Pow-wow Songs: Text, Form, and the
The Bahamas: Islands of Song (recording), Significance of Culture-based Analysis,”
rev. by Robin D. Moore, 2:354-356 2:214-233
BALLANTINE, CHRISTOPHER, “Gender, Mi- BUCHANAN, DONNA A., rev. of Song of the
grancy, and South African Popular Music Crooked Dance: Early Bulgarian Tradt-
BD!
552 Ethnomusicology, Fall 2000
tional Music 1927-42 (recording), “Exoticizing Discoveries and Extraordinary
2:350-352 Experiences: ‘Traditional’ Music, Moder-
nity, and Nostalgia in Malta and Other
Cc Mediterranean Societies,” by Paul Sant
CAPWELL, CHARLES, rev. of Indian Music Cassia, 2:281-301
and the West, by Gerry Farrell, 2:334- Exploring the World of Music (video), rev.
336 by John Murphy, 1:180-182
CASSIA, PAUL SANT, “Exoticizing Discover-
ies and Extraordinary Experiences: ‘Tra- F
ditional’ Music, Modernity, and Nostalgia Fariseos y Matachines en la Sierra Tarabu-
in Malta and Other Mediterranean Societ- mara, by Carlo Bonfiglioli, rev. by Bren-
ies,” 2:281-301 da Romero, 3:527-528
“Confronting the Social: Mode of Production FARRELL, GERRY, Indian Music and the
and the Sublime for (Indian) Art Music,” West, rev. by Charles Capwell, 2:334-336
by Regula Burckhardt Qureshi, 1:15-38 Finland: “Birch-Bark Horns and Jazz in the
“The Construction of a Diasporic Tradition: National Imagination: The Finnish Folk
Indo-Caribbean ‘Local Classical Music’,” Music Vogue in Historical Perspective,”
by Peter Manuel, 1:97-119 by Paul Austerlitz, 2:183-213
Crete: “Manhood and Music in Western
Crete: Contemplating Death,” by Tullia G
Magrini, 3:429-459 GAUNT, KYRA D., rev. of Plenty of Good
Cuba in Washington (recording), rev. by Women Dancers (video), 2:359-361
Robin D. Moore, 2:354-356 “Gender, Migrancy, and South African Pop-
“Current Bibliography,” by Jennifer C. Post, ular Music in the Late 1940s and the
1:137-145; 3:491-504 1950s,” by Christopher Ballantine,
“Current Discography,” by Laurel Sercombe, 3:376-407
1:146-152; 2:321-326; 3:505-509 GERSTIN, JULIAN, rev. of Nationalizing
“Current Films and Videos,” by Barbara Rose Blackness: Afrocubanismo and Artistic
Lange, 1:153-154; 2:327-328; 3:505-509 Revolution in Havana, 1920-1940, by
Robin D. Moore, 2:331-334
D GIBSON, CHRIS, and PETER DUNBAR-HALL,
D’AMICO, LEONARDO, and FRANCESCO “Nitmiluk: Place and Empowerment in
MIZZAU (eds.), Africa: Folk Music Altas Australian Aboriginal Popular Music,”
(multimedia publication), rev. by Paul 1:39-64
Neeley, 1:174-176
Dolly and the Inkspots (video), rev. by Jay- H
endran Pillay, 2:357-359 HAST, DOROTHEA E., rev. of The JVC/
“Dueling Landscapes: Singing Places and Smithsonian Folkways Video Anthology
Identities in Highland Bolivia,” by Tho- of Music and Dance of Europe, vol. 1-
mas Solomon, 2:257-280 2 (video), 1:177-179
DURING, JEAN, rev. of recordings from Az- HICKS, MICHAEL, Sixties Rock: Garage,
erbaijan, 3:529-538 Psychedelic, and Other Satisfactions,
rev. by Sharon Carla Hochhauser, 3:524-
E 526
Enchanting Powers: Music in the World’s HOCHHAUSER, SHARON CARLA, rev. of Séx-
Religions, by Lawrence E. Suilivan (ed.), ties Rock: Garage, Psychedelic, and Otb-
rev. by Amnon Shiloah, 1:166-169 er Satisfactions, by Michael Hicks,
Ethnomusicology: “Interconnectedness in 3:524-526
Ethnomusicological Research,” by Ger- HOOD, KI MANTLE, “Ethnomusicology’s
hard Kubik, 1:1-14; “Ethnomusicology’s Bronze Age in Y2K,” 3:365-375
Bronze Age in Y2K,” by Ki Mantle Hood, The Hundred Thousand Fools of God, by
3:365-375 Theodore Levin, rev. by Slawomira
“Ethnomusicology’s Bronze Age in Y2K,” by Zerariska-Kominek 1:163-165
Ki Mantle Hood, 3:365-375
Index 553
I Videos,” 2:427-328; “Current Films and
India: “Confronting the Social: Mode of Pro- Videos,” 3:505-509
duction and the Sublime for (Indian) Art The Language You Cry In (video), rev. by
Music,” by Regula Burckhardt Qureshi, Ruth M. Stone, 3:545-546
1:15-38; “T. N. Rajarattinam Pillai and Latcho Drom (video), rev. by Carol Silver-
Caste Rivalry in South Indian Classical man, 2:362-364
Music,” by Yoshitaka Terada, 3:460-490 Let Jasmine Rain Down: Song and Remem-
Indian Music and the West, by Gerry Farrell, brance among Syrian Jews, by Kay Kauf-
rev. by Charles Capwell, 2:334-336 man Shelemay, rev. by Israel J. Katz,
Indo-Caribbean: “The Construction of a Di- 3:513-517
asporic Tradition: Indo-Caribbean ‘Local LEVIN, THEODORE, The Hundred Thou-
Classical Music’,” by Peter Manuel, 1:97- sand Fools of God, rev. by Slawomira
119 Zeranska-Kominek, 1:163-165
“Interconnectedness in Ethnomusicological LEVINE, VICTORIA LINDSAY, “Brietly Not-
Research,” by Gerhard Kubik, 1:1-14 ed: Special Issues of Journals; Reference
In the Course of Performance, by Bruno Works; Performance Instruction Manu-
Nettl with Melinda Russell (eds.), rev. by als; Music Anthologies” (review article),
Hafez Modirzadeh, 3:517-520 2:343-347
In the Time of My Fourth Great-Grandfa- Listening to Saisa: Gender, Latin Popular
ther... : Western Sisaala Music from Music, and Puerto Rican Cultures, by
Lambussie, Ghana (recording), rev. by Frances R. Aparicio, rev. by Marisol Ber-
Roger Vetter, 2:352-354 rios-Miranda, 2:336-339
LIVINGSTON, TAMARA E., rev. of The Social
History of the Brazilian Samba, by Lisa
The JVC/Smitbsonian Folkways Video An- Shaw, 3:521-524; rev. of The Mystery of
thology of Music and Dance of Europe, Samba, by Hermano Vianna, 3:521-524
vol. 1-2 (video), rev. by Dorothea E.
Hast, 1:177-179 M
MAGRINI, TULLIA, “Manhood and Music in
K Western Crete: Contemplating Death,”
KATZ, ISRAEL J., rev. of Spanish-Portugese 3:429-459
Synagogue Music in Nineteenth-Centu- “Making and Singing Pow-wow Songs: Text,
ry Reform Sources from Hamburg, by Form, and the Significance of Culture-
Edwin Seroussi, 1:170-171; rev. of Let based Analysis,” by Tara Browner, 2:214-
Jasmine Rain Down: Song and Remem- 233
brance among Syrian Jews, by Kay Kauf- Malta: “Exoticizing Discoveries and Extraor-
man Shelemay, 3:513-517 dinary Experiences: ‘Traditional’ Music,
KEIL, CHARLES, rev. of Musicking: The Modernity, and Nostalgia in Malta and
Meanings of Performing and Listening, Other Mediterranean Societies,” by Paul
by Christopher Small, 1:161-162 Sant Cassia, 2:281-301
Kenya: “Polishing the Luster of the Stars: “Manhood and Music in Western Crete: Con-
Music Professionalism Made Workable in templating Death,” by Tullia Magrini,
Kenya,” by Jean Kidula, 3:408-428 3:429-459
KIDULA, JEAN, “Polishing the Luster of the MANUEL, PETER, “The Construction of a
Stars: Music Professionalism Made Work- Diasporic Tradition: Indo-Caribbean ‘Lo-
able in Kenya,” 3:408-428 cal Classical Music’,” 1:97-119
KONONENKO, NATALIE, Ukrainian Min- “The Many Faces of Improvisation: The Arab
strels: And the Blind Shall Sing, rev. by Taqdsim As a Musical Symbol,” by Ali Ji-
Carl Rahkonen, 2:339-341 had Racy, 2:302-320
KUBIK, GERHARD, “Interconnectedness in Maori Music, by Mervyn McLean, rev. by
Ethnomusicological Research,” 1:1-14 Barbara B. Smith, 2:329-331
McDANIEL, LORNA, The Big Drum Ritual
of Carriacou, rev. by Rebecca S. Miller,
L 1:172-173
LANGE, BARBARA ROSE, “Current Films and McLEAN, MERVYN, Maori Music, rev. by
Videos,” 1:153-154; “Current Films and Barbara B. Smith, 2:329-331
554 Ethnomusicology, Fall 2000
“Meter and Grouping in African Music: A fessionalism Made Workable in Kenya,”
View from Music Theory,” by David Tem- by Jean Kidula, 3:408-428
perley, 1:65-96 POST, JENNIFER C., “Current Bibliography,”
MILLER, REBECCA S., rev. of The Big Drum 1:137-145; “Annual List of Dissertations
Ritual of Carriacou, by Lorna McDaniel, and Theses,” 1:155-160; “Current Bibli-
1:172-173 ography,” 3:491-504
MODIRZADEH, HAFEZ, rev. of Jn the Course Pow-wow: “Making and Singing Pow-wow
of Performance, by Bruno Nettl with Songs: Text, Form, and the Significance
Melinda Russell (eds.), 3:517-520 of Culture-based Analysis,” by Tara
MOORE, ROBIN D., Nationalizing Black- Browner, 2:214-233
ness: Afrocubanismo and Artistic Revo-
lution in Havana, 1920-1940, rev. by
Julian Gerstin, 2:331-334; rev. of The QURESHI, REGULA BURCKHARDT, “Con-
Bahamas: Islands of Song (recording), fronting the Social: Mode of Production
2:354-356; rev. of Cuba in Washington and the Sublime for (Indian) Art Music,”
(recording), 2:354-356 1:15-38
MURPHY, JOHN, rev. of Exploring the
World of Music (video), 1:180-182
Musicking: The Meanings of Performing R
and Listening, by Christopher Small, rev. RACY, ALI JIHAD, “The Many Faces of Im-
by Charles Keil, 1:161-162 provisation: The Arab Taqdsim as a Mu-
The Mystery of Samba, by Hermano Vianna, sical Symbol,” 2:302-320
rev. by Tamara E. Livingston, 3:521-524 RAHKONEN, CARL, rev. of URrainian Min-
strels: And the Blind Shall Sing, by Na-
talie Kononenko, 2:339-341
N ROMERO, BRENDA, rev. of Fariseos y Mata-
NARODITSKAYA, INNA, “Azerbaijanian Fe- chines en la Sierra Tarabumara, by
male Musicians: Women’s Voices Defying Carlo Bonfiglioli, 3:527-528
and Defining the Culture,” 2:234-256;
rev. of recordings from Azerbaijan,
3:539-544 S
Nationalizing Blackness: Afrocubanismo SERCOMBE, LAUREL, “Current Discogra-
and Artistic Revolution in Havana, phy,” 1:146-152; “Current Discography,”
1920-1940, by Robin D. Moore, rev. by 2:321-326, “Current Discography,”
Julian Gerstin, 2:331-334 3:505-509
NEELEY, PAUL, rev. of Africa: Folk Music SEROUSSI, EDWIN, Spanish-Portugese Syn-
Altas (multimedia publication), by Le- agogue Music in Nineteenth-Century
onardo D'Amico and Francesco Mizzau Reform Sources from Hamburg, rev. by
(eds.), 1:174-176 Israel J. Katz, 1:170-171
NETTL, BRUNO, with MELINDA RUSSELL SHAW, LISA, The Social History of the Bra-
(eds.), In the Course of Performance, zilian Samba, rev. by Tamara E. Living-
rev. by Hafez Modirzadeh, 3:517-520 ston, 3:521-524
“Nitmiluk: Place and Empowerment in Aus- SHELEMAY, KAY KAUFMAN, Let Jasmine
tralian Aboriginal Popular Music,” by Rain Down: Song and Remembrance
Chris Gibson and Peter Dunbar-Hall, among Syrian Jews, rev. by IsraelJ . Katz,
1:39-64 3:5135-517
SHILOAH, AMNON, Enchanting Powers:
Music in the World’s Religions, by
P Lawrence E. Sullivan (ed.), 1:166-169
PECORE, JOANNA T., “Bridging Contexts, SILVERMAN, CAROL, rev. of Latcho Drom
Transforming Music: The Case of Elemen- (video), 2:362-364
tary School Teacher Chihara Yoshio,” Sixties Rock: Garage, Psychedelic, and Otb-
1:120-136 er Satisfactions, by Michael Hicks, rev.
PILLAY, JAYENDRAN, rev. of Dolly and the by Sharon Carla Hochhauser, 3:524-526
Inkspots (video), 2:357-359 SMALL, CHRISTOPHER, Musicking: The
Plenty of Good Women Dancers (video), Meanings of Performing and Listening,
rev. by Kyra D. Gaunt, 2:359-361 rev. by Charles Keil, 1:161-162
“Polishing the Luster of the Stars: Music Pro-
Index 555
SMITH, BARBARA B., rev. of Maori Music, “T. N. Rajarattinam Pillai and Caste Rivalry in
by Mervyn McLean, 2:329-331 South Indian Classical Music,” by Yoshi-
The Social History of the Brazilian Samba, taka Terada, 3:460-490
by Lisa Shaw, rev. by Tamara E. Living-
ston, 3:521-524 U
SOLOMON, THOMAS, “Dueling Landscapes: Ukrainian Minstrels: And the Blind Shall
Singing Places and Identities in Highland Sing, by Natalie Kononenko, rev. by Carl
Bolivia,” 2:257-280 Rahkonen, 2:339-341
Song of the Crooked Dance: Early Bulgart-
an Traditional Music 1927-42 (record-
ing), rev. by Donna A. Buchanan, ¥
2:350-352 VETTER, ROGER, rev. of Bewaare—They
South Africa: “Gender, Migrancy, and South Are Coming: Dagaare Songs and Danc-
African Popular Music in the Late 1940s es from Nandom, Ghana (recording),
and the 1950s,” by Christopher Ballan- 2:352-354; rev. of In the Time of My
tine, 3:376-407 Fourth Great-Grandfather. .. : Western
Spanish-Portugese Synagogue Music in Sisaala Music from Lambussie, Ghana
Nineteenth-Century Reform Sources (recording), 2:352-354
from Hamburg, by Edwin Seroussi, rev. VIANNA, HERMANO, The Mystery of Sam-
by IsraelJ . Katz, 1:170-171 ba, rev. by Tamara E. Livingston, 3:521-
STEBBINS, ROBERT A., The Barbershop 524
Singer: Inside the Social World of a
Musical Hobby, rev. by Gage Averill, WwW
2:341-343 Wayang Golék: Performing Arts of Sunda
STONE, RUTH M., rev. of The Language (West Java) (video), rev. by Andrew N.
You Cry In (video), 3:545-546 Weintraub, 3:547-549
SULLIVAN, LAWRENCE E. (ed.), Enchanting WEINTRAUB, ANDREW N., rev. of Wayang
Powers: Music in the World’s Religions, Golék: Performing Arts of Sunda (West
rev. by Amnon Shiloah, 1:166-169 Java) (video), 3:547-549
T ¥
Tanzanie: Chants des Wagogo et des Kuria Yoshio, Chihara: “Bridging Contexts, Trans-
(recording), rev. by Gregory F. Barz, forming Music: The Case of Elementary
2:348-350 School Teacher Chihara Yoshio,” by
Taqdsim: “The Many Faces of Improvisation: Joanna T. Pecore, 1:120-136
The Arab Taqasim As a Musical Symbol,”
by Ali Jihad Racy, 2:302-320 Z
TEMPERLEY, DAVID, “Meter and Grouping ZERANSKA-KOMINEK, SLAWOMIRA, rev. of
in African Music: A View from Music The Hundred Thousand Fools of God,
Theory,” 1:65-96 by Theodore Levin, 1:163-165
TERADA, YOSHITAKA, “T. N. Rajarattinam
Pillai and Caste Rivalry in South Indian
Classical Music,” 3:460-490