ESEARCH, RECOVERY, DOCUMENTATION, CONSERVATION
and dissemination of the ethnomusicological heritage.
the Culture-Education-Research Programmes.
to achieving MDG 2 – target 3, and MDG 8 – targets 16, 18.
RHYTHMS, STYLES, STRUCTURES, RITES,
interviews, 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.
O A R D O F P A T R O N S
moral patronage of the Musiké project is entrusted by a
Board of Patrons currently being drawn up and consisting
in established members of society who subscribe to the ideas
and practices of the Project and support it morally. Current
members of the Board are:
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
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:
d’Ethnomusicologie; Curator, Dept. of Ethnomusicology, Musée
d’ethnographie, Geneva, Switzerland.
Professor of Musicology and Ethnomusicology, Antrhropology, and
University, Nashville, USA.
of Extra European Performing Arts Studies, Leiden
University (NL); and Director, Codarts
Research, Rotterdam Conservatory of Music, The Netherlands.
musician, singer and ethnomusicologist. Founder and director of
Mbira Academy, Totnes Devon, UK.
musician, Paris, France.
associate, Dept. of Music at the School of Oriental and African
University of London, UK; Chair, «Study group for the Music of the
Arab world», ICTM.
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.
A. JAIRAZBHOY (°) Professor
Emeritus, Ethnomusicology Department, UCLA,
Los Angeles, USA.
Lecturer at the Tokyo College of Music; President of the International
Shakuhachi Kenshu-kan Chicibu School and Nerima School, Tokyo, Japan.
of Ethnomusicology, University of Toronto, Canada.
KOOPMAN Conductor, msuicologist, Amsterdam, Netherlands.
Professor of Ethnomusicology, John
Jay College and The Graduate Cetnter, City University of New York,
Professor Emeritus of Music and Anthropology, School
of Music, University of Illinois, USA.
Emeritus of Music and Anthropology, University of Ghana, Accra;
Professor of Music, UCLA, Los ageles, USA.
conductor and composer, Bellaterra, Spain.
Professor Emeritus of Music, University
of California, Santa Cruz (UCSC), USA.
QUANG HAI Dept.
of Ethnomusicology, Musée
de l’Homme, Paris, France.
Associate Professor of Music, Yale
University, New Haven, USA.
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
Musiké is structured along intercultural lines and incorporates
four areas of activity: Concerts ~ Multimedia publications ~ Periodicals
and Web sites.
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.
The multimedia series is composed of printed works containing a
DVD. The individual volumes cover authors, aspects and issues of
ethic and traditional music, but are not limited to those presented
in the concert events sector. The series enables a more detailed
examination of the themes and an in-depth analysis of the specifics,
similarities and differences between the individual musical worlds.
International Journal of Ethnomusicological Studies
peer-reviewed journal [210 x150mm, pp. 160], (ISSN 1824-7199).
[1, I, 1]
~ Music & Ritual, ed.
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
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
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
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.
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.
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 Sprituality, eds.
Ian Russell and Frances Wilkins
Montero Diaz, Danza de Tjeras through Modernity and
Nicholas Ng, ‘I love the starry sky at night-time’:
Singing and Signing in the Buddha’s Light International Association,
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
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
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
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
The on-line version (ISSN 1824-7180) will be available soon at
web site, together with all data in the series subject to amendment
(biographies, bibliographies, discographies, etc.) regularly updated.
INTERNATIONAL GEOGRAPHIC FOCUS