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::  Hachijô-daiko drumming session on an ôadiko drum,
performing a Se-mon Koduki song. Izu islands, Japan,
20th century. Featured in the DVD accompaying the
Musiké journal Analysing East Asian Music, edited by
Simon Mills (SOAS)
[see below].








The Musiké Project

and dissemination of the ethnomusicological heritage.

Under the Culture-Education-Research Programmes.

Addressing the SDGs 4 and 16.

pictures, films, reflections, intuitions, thoughts and visions on ethnic, root, world and traditional music are the focus of this project.

Musiké's purpose is to research, recover, document and conserve the world’s ethnomusicological heritage and to disseminate it across a wide audience by means of concerts, books, CDs, CD-ROMs, DVDs, periodicals and web sites dedicated to the subject. In this way it is possible to provide a contribution towards a better understanding of cultural diversities and a greater tolerance between peoples, thanks to a deeper understanding of musical traditions and in virtue of the meta-historical values of human existence of which music is among the principal bearers.


The moral patronage of the Musiké Project is entrusted by established members of society who subscribe to the ideas and practices of the Project and support it morally.
The Patron of the Musik
é Project is


I N T E R N A T I O N A L  S C I E N T I F I C  A N D   C U L T U R A L

A D V I S O R Y   B O A R D

The ethnomusicological line of Musiké is guaranteed by a scientific and cultural advisory board currently being drawn up, composed of influential international exponents of the cultural and academic world. Current members of the Board are:

LAURENT AUBERT    Director, Ateliers d’Ethnomusicologie; Curator, Dept. of Ethnomusicology, Musée d’ethnographie, Geneva, Switzerland.

GREGORY BARZ     Associate Professor of Musicology and Ethnomusicology, Antrhropology, and Religion, Vanderbilt University, Nashville, USA.

JOEP BOR    Professor of Extra European Performing Arts Studies, Leiden University (NL); and Director, Codarts Research, Rotterdam Conservatory of Music, The Netherlands.

MASSIMO BRAY    General Director Treccani, Istituto dell'Enciclopedia Italiana, Rome, Italy, Cofounder of the international music festival Notte della Taranta, Salento, Italy.

CHARTWELL DUTIRO     Composer, musician, singer and ethnomusicologist. Founder and director of Mhararano Mbira Academy, Totnes Devon, UK.

KUDSI ERGÜNER    Composer, musician, Paris, France.

SCHEHERAZADE HASSAN    Research associate, Dept. of Music at the School of Oriental and African Studies (SOAS), University of London, UK; Chair, «Study group for the Music of the Arab world», ICTM.

KEITH HOWARD    Director, AHRC Research Centre for Cross-Cultural Music and Dance; Professor, Dept. of Music at the School of Oriental and African Studies (SOAS), University of London, UK.

NAZIR A. JAIRAZBHOY  (°)  Professor Emeritus, Ethnomusicology Department, UCLA, Los Angeles, USA.

KAORU KAKIZAKAI   Musician; Lecturer at the Tokyo College of Music; President of the International Shakuhachi Kenshu-kan Chicibu School and Nerima School, Tokyo, Japan.

JAMES KIPPEN     Head, Dept. of Ethnomusicology, University of Toronto, Canada.

TON KOOPMAN     Conductor, msuicologist, Amsterdam, Netherlands.

PETER L. MANUEL    Professor of Ethnomusicology, John Jay College and The Graduate Cetnter, City University of New York, USA.

BRUNO NETTL    Professor Emeritus of Music and Anthropology, School of Music, University of Illinois, USA.

J.H. KWABENA NKETIA    Professor Emeritus of Music and Anthropology, University of Ghana, Accra; Professor of Music, UCLA, Los ageles, USA.

JORDI SAVALL     Musician, conductor and composer, Bellaterra, Spain.

JOHN M. SCHECHTER    Professor Emeritus of Music, University of California, Santa Cruz (UCSC), USA.

TRAN QUANG HAI    Dept. of Ethnomusicology, Musée de l’Homme, Paris, France.

SARAH WEISS     Associate Professor of Music, Yale University, New Haven, USA.

Musiké is not aimed solely at anthropologists, ethnomusicologists and sociologists but also and primarily towards musicians, connoisseurs, students and music lovers in general. This is a wide spectrum project with an accurate and natural balance between educational values and musical enjoyment.

Musiké is structured along intercultural lines and incorporates four areas of activity: Concerts ~ Multimedia publications ~ Periodicals.


Concert performances are held in concert halls and other appointed locations, at festivals and at related international meetings. Live video and digital recordings of the events, incorporating interviews with composers, musicians and performers are used for the production of the multimedia series. Concerts are envisaged whose proceeds will go to humanitarian and charitable organisations and research.

The theme of the first cycle of concerts will be organological and by means of a comparative methodology will contrast the different instruments from within the same family – each with its own scales, notation, structure, repertoire, spatial and temporal conceptions, aesthetics, peculiarities and symbology – and, by the same token, will disclose, bring to light and portray the cultures lying behind their individual expression. A comparison of instruments but also a collation of different cultures.

Charmed Flute Concert
The Charmed Flutes concert interconnects diversity and celebrates unity in one single breath, eight flutes from the four climates of the planet perform on the world stage on the same evening. Expert musicians from the different cultures of origin of the selected instruments — specifically, bansuri, C-flute, dizi, ney, quena, shakuhachi, suling and tambin — are invited to present their unique instrument, perform a selection of their repertoire, and collectively engage in a structured improvisation.
See the Periodical section below for the related
Charmed Flutes Musiké Journal.

Cave 3.0 Opera
Cave 3.0 is a contemporary multidisciplinary opera integrating live performance and hologram in an innovative theatrical language. It is a production depicting the creation and development of human consciousness as perceived and narrated throughout different epics around the world.
Visit the website for more information.



Musiké. International Journal of  Ethnomusicological Studies
Yearly peer-reviewed journal - ISSN 1824-7199.

Submission Guidelines


[1, I, 1]
  ~   Music & Ritual, ed. Keith Howard

Keith Howard and Yarjung Kromchai ~ Tamu with Simon Mills, Ritual, Music and Life in Tamu Shamanism

Carole Pegg, Tuning in to Place: Emergent Personhood in a Multi-sensory Khakas Shamanic Ritual

Byron Dueck, 'Suddenly a Sense of Being a Community': Aboriginal Square Dancing and the Experience of Collectivity

Diane Thram, Music and Healing: Sites of Power in the Rituals of Xhosa healers/Diviners and the Zion Church in South Africa

Mark Hobart, Damp Dreams: Some Problems with Dance in Bali

Margaret Kartomi, Aceh's Body Percussion; From Ritual Devotional to Global Niveau

Cheng Yu, China's Xi'an Guye: Ritual and Performance Contexts

Lam Ching-Wah, Recreating music and Dance in Confucian Rituals

Tony Langlois, Representations of Ritual in Moroccan Music Video

Anne Caufriez, Female Poliphony and Ritual for Cereal Growth in North Portugal

With CD ~ € 25 | £ 18 | $ 32


[2, I, 2] 
~  Sounds of Identity. The Music of the Afro-Asians, ed. Shihan De Silva Jayasuriya

Amy Catlin-Jairazbhoy, From Sufi Shrines to the World Stage: Sidi African Indian Music, Intervention and the Quest for 'Authenticity'

Shihan De Silva Jayasuriya, Music and Memories: Oral Traditions from and Indian Ocean Island

Aisha Bilkhair Khalifa, Spirit Possession and its Practices in Dubai (UAE)

Leila Ingrams, African Connections in Yemeni Music

Gaila Sabar ~ Shlomit Kanari, Between the Local and the Global: African Musicians in Israel

Ali Jihad Racy, The Life History of the Lyre: The Tanburah of the Gulf Region

€ 25 | £ 18 | $ 32


[3, II, 1]  ~  Networks & Islands. World Music & Dance Education, ed. Ninja Kors

Ninja Kors, Islands, Networks and Webs: Current Issues in Today's Debate

Huib Schippers, A Synergy of Contradictions: The Genesis of a World Music & Dance Centre

Keith Howard, Performing Ethnomusicology: Exploring How Teaching Performance Undermines the Ethnomusicologist Within University Music Training

Patrica Campbell, Ethnomusicology, Education and World Music Pedagogy: Across the Pond

Mark Slobin, The Wesleyan Way: World Music in an American Academic Structure

Michelle Boss Barba ~ Amanda Soto, Enriching or Endangering: Exploring the Positive and Negative Effects of Recontextualizing Mariachi Music for Use in K-12 Schools

Lee Higgins, Participation, the Workshop, and the Welcome

Laurien Saraber, Negotiating Dutch Dance: The Changing Landscape of Dance in The Netherlands

€ 25 | £ 18 | $ 32


[4, II, 2] 
~ Analysing East Asian Music. Patterns of Rhythm and Melody, ed. Simon MIlls

Jane Alaszewska, Two Different Beats to a Single Drum: An Analysis of Old and New Stiles of Hachijô-daiko

Stephen Jones, Living Early Composition: An Apppreciationj of Chinese Shawn Melody

Eleni Kallimopoulou ~ Federico Spinetti, An Analysis of the Uyghur on Ikki Muqam: Aspects of Melody and Form in the Segha Suite

Simon Mills, Playful Patterns of Freedom: Hand Gong Performance in Korean Shaman Ritual

With DVD ~ € 25 | £ 18 | $ 32


[5/6, III, 1]  ~ Sacred Singing and Musical Spirituality,
eds. Ian Russell and Frances Wilkins

Fiorella Montero Diaz, Danza de Tjeras through Modernity and Migration.

Nicholas Ng, ‘I love the starry sky at night-time’: Singing and Signing in the Buddha’s Light International Association, Sydney.

Richard Widdess, Dapa: Dancing Gods, Virtual Pilgrimage and Sacred Singing in Bhaktapur, Nepal.

Davide Torri, Shamanic Traditions and Music Among the Yolmos of Nepal.

Simone Tarsitani, Melodic Analysis of the Performance of Islamic Hymns in Harar, Ethiopia.

Emmanula Kavvadia, Aspects of Stylistic and Musical Diversity in Religious Music in two Jewish Communities in Greece.

Marin Marian-Balasa, The Musical Experience of the Sacred and the Concept of Hierophony.

Mary Low, Singing Prayers in Secret: The Gaelic Hymn Rann Roimh Urnaigh (rune before prayer) and its Introductory Note.

Ian Russell, Between the Sacred and the Secular: Vernacular Performance in a North-East Scottish Coastal Community.

Frances Wilkins, Percenter-led Praise in Northern Scottish Congregations.

Sara M. Ross, How Does one Sing to a God who isn’t the Lord? Sacred Singing in American-Jewish Feminism.

€ 25 | £ 18 | $ 32


[7, IV, 1]  ~ Charmed Flutes, ed. Sahlan Momo

Øystein Kristiansen, Why Mmusic

Alisa Nadezhkina, The Symbolism of the Flute. A Key to Revelation

Yiming Zou, Old Flutes and New Tunes. The Use of Traditional Flutes in Popular Modern Music

Anders Larsen, The Mythological Breathe. Inflating Meaning into Being

€ 25 | £ 18 | $ 32

The journal is distributed worldwide through libraries, bookshops, specialist music shops, and by subsciption to individual and academic institutions, ethnomusicological and anthropological archives, or can be from us.



TIMELINE    2006-2026

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