WEEK 1 

January 4 | Welcome and Introductions

• Welcome, Introductions, and Syllabus 
• About the UW Ethnomusicology Archives

January 6 | On Music

Before class, upload your reflection about the following and be prepared to discuss. 

• Spitzer, Michael. 2021. “1. Voyager” and “2. Cradle and All.” The Musical Human: A History of Life on Earth. London: Bloomsbury (50 pp).  
• Rice, Timothy. 2013. “4. The Nature of Music.” Ethnomusicology: A Very Short Introduction. Oxford University Press (20 pp). 
• Rice, Timothy. 2013. “5. Music as Culture.” Ethnomusicology: A Very Short Introduction. Oxford University Press (13 pp). 

Optional                                                                      

• Timothy Rice. 2017. “3. Reflections on Music and Meaning (Links to an external site.).” Modeling Ethnomusicology. New York: Oxford University Press. 

WEEK 2 

January 11 | On World Music & Ethnomusicology 

Be prepared to discuss:

• Bohlman, Philip V. 2002. “1. In the beginning… myth and meaning in world music.” World Music: A Very Short Introduction. Oxford University Press (22 pp). 
• Bohlman, Philip V. 2002. “2: The West and the world.” World Music: A Very Short Introduction. Oxford University Press (23 pp).
  • The Demonstration Collection of E.M. Von Hornbostel and the Berlin Phonogramm-Archiv. Folkways Records, Streaming Audio. 

Optional 

• Nettl, Bruno. 2015. “What Are the Great Discoveries of Your Field? Informal Comments on the Contributions of Ethnomusicology.” Muzikološki Zbornik 51 (2). Ljubljana: University of Ljubljana, Faculty of Economics: 165–74. 
• Rice, Timothy. 2013. “1. Defining ethnomusicology.” Ethnomusicology: A Very Short Introduction. Oxford University Press (10 pp). 
• Rice, Timothy. 2013. “2. A bit of history.” Ethnomusicology: A Very Short Introduction. Oxford University Press (15 pp). 
• Wong, Deborah. 2014. “Sound, Silence, Music: Power.” Ethnomusicology 58 (2). Bloomington: University of Illinois Press: pp. 347–53. 

January 13 | On Ethnomusicology & Archives

Special Guest: Dr. Laurel Sercombe (Ethnomusicology Archivist and Affiliate Professor, UW Ethnomusicology), will be presenting on ethnomusicology roots and its codependence on archives. 

Be prepared to discuss:

• Landau, Carolyn & Topp Fargion, Janet. 2012. “We're all Archivists Now: Towards a more Equitable Ethnomusicology.” Ethnomusicology Forum, 21:2 (15pp)
• Toelken, B., 1998. “The Yellowman Tapes, 1966-1997.” The Journal of American folklore, 111(442), pp.381–391
• Seeger, Anthony. 2018. "Archives, Repatriation, and the Challenges Ahead." The Oxford handbook of musical repatriation, New York, New York: Oxford University Press (16 pp).

Optional: 

• Seeger, A. 1986. “The Role of Sound Archives in Ethnomusicology Today.” Ethnomusicology 30 (2). Champaign, IL: Society for Ethnomusicology, Inc: 261–76. doi:10.2307/851997

WEEK 3 

January 18 |  On Ethnomusicology & (de)Colonization 

• Brown, Danielle. June 12, 2020. “An Open Letter on Racism in Music Studies: Especially Ethnomusicology and Music Education.” https://www.mypeopletellstories.com/blog/open-letter
  • Averill, Gage, et al. August 20, 2020. “Open Letter from SEM Past Presidents on Racism.” SEM Website: https://www.ethnomusicology.org/news/522613/Open-Letter-from-SEM-Past-Presidents-on-Racism.htm
• Tuck, E. and K.W. Yang. “Decolonization is not a metaphor.” In Decolonization: Indigeneity, Education & Society Vol. 1, No. 1, 2012 (40 pp.)

Optional 

• Gunderson, Frank and Bret Woods. 2018. "Pathways toward Open Dialogues about Sonic Heritage: An Introduction to The Oxford Handbook of Musical Repatriation" The Oxford Handbook of Musical Repatriation. Oxford University Press (14 pp)
• Robinson, Dylan. “Hungry Listening” (partial, pp. 37-62, 72-73). Hungry Listening: Resonant Theory for Indigenous Sound Studies. Minneapolis: University of Minnesota Press (2020): https://alliance-primo.hosted.exlibrisgroup.com/permalink/f/kjtuig/CP71329180670001451 (28pp)

January 20 |  On Archives & (de)Colonization 

• Ketelaar, F.C.J. 2002. “Archival Temples, Archival Prisons: Modes of Power and Protection.” Archival Science 2 (3). Dordrecht: Kluwer Academic Publishers: 221–38.
• Christen, K., 2012. Does information really want to be free? Indigenous knowledge systems and the question of openness. International journal of communication, p.2870-2893: https://www.kimchristen.com/wp-content/uploads/2015/07/christen6.2012.pdf
• Procter, Alice. “Museums and colonialism.” BBC HistoryExtra. July 10, 2020.

Optional 

• Beaulieu, Kathryn, Briana Bob, Sheree Bonaparte, Steve Crum, Amelia Flores, Alana Garwood-Houng, David George-Shongo, et al. 2007. Protocols for Native American Archival Materials: https://www2.nau.edu/libnap-p/protocols.html
  • Bolcer, John. "The Protocols for Native American Archival Materials: Considerations and Concerns from the Perspective of a Non-Tribal Archivist." Easy Access 34, no. 4 (January 2009): 3-6. http://northwestarchivistsinc.wildapricot.org/resources/Documents/EAvol34issue4_Jan2009.pdf
  • O'Neal, Jennifer R. (2015) ""The Right to Know": Decolonizing Native American Archives," Journal of Western Archives: Vol. 6 : Iss. 1 , Article 2: https://digitalcommons.usu.edu/westernarchives/vol6/iss1/2
• Perullo, Alex. 2018. Digital Repatriation: Copyright Policies, Fair Use, and Ethics.” The Oxford Handbook of Musical Repatriation. Oxford University Press (18 pp)

WEEK 4

January 25

Special Guest: Dr. Edward Herbst

• Lancefield, Robert C. 2018. “Musical Traces’ Retraceable Paths: The Repatriation of Recorded Sound (Links to an external site.)." The Oxford Handbook of Musical Repatriation. Oxford University Press (21pp)
• Jaakola, Lyz and Timothy B. Powell. 2018. “The Songs Are Alive”: Bringing Frances Densmore’s Recordings Back Home to Ojibwe Country (Links to an external site.)." The Oxford Handbook of Musical Repatriation. Oxford University Press (14pp)
  • Frances Densmore Audio Online at the Library of Congress: https://www.loc.gov/audio/?all=true&fa=contributor:densmore,+frances (Links to an external site.)
• Thram, Diane. 2018. "Music Archives and Repatriation: Digital Return of Hugh Tracey’s “Chemirocha” Recordings in Kenya (Links to an external site.)." The Oxford Handbook of Musical Repatriation. Oxford University Press (25pp)
  • About ILAM: https://www.ru.ac.za/ilam/ 
  • ILAM recordings on Smithsonian Global Sounds: https://tinyurl.com/uwlibs-ilam (Links to an external site.)

January 27 

Before class, upload your reflection about the following and be prepared to discuss. 

• Diamond, Beverley and Janice Esther Tulk. 2018. “Rethinking Repatriation and Curation in Newfoundland: Archives, Angst, and Opportunity (Links to an external site.).” The Oxford Handbook of Musical Repatriation. Oxford University Press (19pp)
  • “Back on Track” Publication Series: https://www.mun.ca/mmap/research_pub/back_on_track/ (Links to an external site.)
• Iyanaga, Michael. 2018. “Musical Repatriation as Method (Links to an external site.).” The Oxford Handbook of Musical Repatriation. Oxford University Press (20 pp)
  • Bake Restudy (Links to an external site.). 1984. Apsara Media for Intercultural Education (61 min)
• Herbst, Edward. 2018. "Bali 1928 Music Recordings and 1930s Films: Strategies for Cultural Repatriation (Links to an external site.)." The Oxford Handbook of Musical Repatriation. Oxford University Press (23 pp)
  • https://bali1928.net/ (Links to an external site.)

Optional

• “The Language You Cry In.” San Francisco, CA: California Newsreel (1998): https://alliance-primo.hosted.exlibrisgroup.com/permalink/f/kjtuig/CP71325348450001451 (Links to an external site.) (53min)

WEEK 5

February 1 

• Johnson, Birgitta J. 2018. “Mountain Highs, Valley Lows: Institutional Archiving of Gospel Music in the Twenty-First Century (Links to an external site.).” The Oxford Handbook of Musical Repatriation. Oxford University Press (20pp).
  • GALA finding aid: https://oac.cdlib.org/findaid/ark:/13030/kt2j49q27r/ (Links to an external site.)
  • GALA Recordings: https://archive.org/search.php?query=subject%3A%22DjeDje%2C+Jacqueline+Cogdell%22&page=2 (Links to an external site.)
• Averill, Gage. “Repatriating the Alan Lomax Haitian Recordings in Post-Quake Haiti (Links to an external site.).” The Oxford Handbook of Musical Repatriation, 1st ed. Oxford University Press (23pp)
  • Lomax, Alan, Lyttleton, Elizabeth, Polinice, Révolie, Wood, Anna Lomax, Harold, Ellen, Davis, H. P, and Averill, Gage. 2009. Alan Lomax in Haiti. San Francisco, CA: Harte Recordings. Boxset available in UW Libraries. Recordings also available here: https://open.spotify.com/album/5pk7ctis9jUGMWs7UK0JEC (Links to an external site.)
  • 2017 presentation by Gage Averill at the Library of Congress:https://www.youtube.com/watch?v=cK-4BUyKGhk 
• Breaden, Craig and Laura Wagner. 2018. “Bringing Radio Haiti Home: The Digital Archive as Devoir de Mémoire” The Oxford Handbook of Musical Repatriation. Oxford University Press (18 pp)
  • Radio Haiti Archive at Duke university: https://repository.duke.edu/dc/radiohaiti (Links to an external site.)

Optional

• Flory, Michael, Alan Lomax, and Forrestine Paulay. 2008. Global Jukebox. Watertown, MA: Documentary Educational Resources (DER). (Links to an external site.)
• Flory, Michael, Alan Lomax, and Forrestine Paulay. 2008. Michael Flory Interview. Watertown, MA: Documentary Educational Resources (DER). (Links to an external site.)
• Vallier, John. 2018. “Preserving the Past, Activating the Future.” In Ethnomusicology, 1st ed., II: 307–17. Routledge. 

February 3 

Before class, upload your reflection about the following and be prepared to discuss. 

Guest: Dr. Juliana Cantarelli Vita (Assistant Professor of Music Education, University of Hartford)

• Emberly, Andrea and Jennifer C. Post. 2018. "Sharing John Blacking: Recontextualizing Children’s Music and Reimagining Musical Instruments in the Repatriation of a Historical Collection (Links to an external site.)." The Oxford Handbook of Musical Repatriation. Oxford University Press (24pp)

• • Blacking, John. 1974. “How Musical Is Man? Seattle: University of Washington Press (Links to an external site.).
  • Audio examples from How Music is Man? (Links to an external site.) 
• Roberts, J. Christopher, and Patricia Shehan Campbell. 2018. “Teachers as Agents of the Repatriation of Music and Cultural Heritage (Links to an external site.).” The Oxford Handbook of Musical Repatriation. Oxford University Press (20pp)
  • Children’s Music on Smithsonian Global Sounds. (Links to an external site.)

• Jason McCoy. 2018. “Memory, Trauma, and the Politics of Repatriating Bikindi’s Music in the Aftermath of the Rwandan Genocide (Links to an external site.)” The Oxford Handbook of Musical Repatriation. Oxford University Press (18 pp)
  • Bikindis songs: https://bikindiresearch.com/song-recordings/ (Links to an external site.)

WEEK 6 

February 8

Before class, upload your reflection about the following and be prepared to discuss. 

Guest: Dr. Kate Mullen (Indiana University, Archives of Traditional Music (Links to an external site.) and Manchester Digital Music Archive (Links to an external site.)).

• Ramzy, Carolyn M. 2018. “Repatriating an Egyptian Modernity: Transcriptions and the Rise of Coptic Women’s Song Activism (Links to an external site.).” (16 pp)
• Ingram, Catherine. “’Each in Our Own Village’: Creating Sustainable Interactions between Custodian Communities and Archives (Links to an external site.).” The Oxford Handbook of Musical Repatriation. Oxford University Press (16 pp)
• Ozment, Elizabeth Whittenburg. 2018. “The Politics of Repatriating Civil War Brass Music (Links to an external site.).” The Oxford Handbook of Musical Repatriation. Oxford University Press (18 pp)

Optional

• Topp Fargion, Janet. 2019. “Archiving in a post-custodial world: an audiovisual perspective (Links to an external site.)." Global Field Recordings. Adam Matthew. UK (9pp)
  • World and Traditional Music Collection at the British Library: https://www.bl.uk/collection-guides/world-and-traditional-music (Links to an external site.)
  •  (Links to an external site.)British Library Sounds: https://sounds.bl.uk/ (Links to an external site.)

February 10

Before class, upload your reflection about the following and be prepared to discuss. 

Guest: Joe Kinzer (Senior Curatorial Assistant in the Archive of World Music, Harvard University (Links to an external site.))

• Koch, Grace. 2018. “We Want Our Voices Back”: Ethical Dilemmas in the Repatriation of Recordings (Links to an external site.).” The Oxford Handbook of Musical Repatriation. Oxford University Press: (20 pp)
• Sweetman, Lauren E., and Kirsten Zemke. 2018. “Claiming Ka Mate: Māori Cultural Property and the Nation’s Stake (Links to an external site.).” The Oxford Handbook of Musical Repatriation. Oxford University Press: (22 pp)
• Toner, Peter G. 2018. “Yolngu Music, Indigenous (Links to an external site.) ’Knowledge Centers’ and the Emergence of Archives as Contact Zones (Links to an external site.).” The Oxford Handbook of Musical Repatriation. Oxford University Press (22 pp)

Optional

• Moyle, Richard. 2018. “The Banning of Samoa’s Repatriated Mau Songs (Links to an external site.).” The Oxford Handbook of Musical Repatriation. Oxford University Press (12 pp).
  •  (Links to an external site.)Iain Murray.  (Links to an external site.)"The Mau movement Samoan Independence." https://commonslibrary.org/mau-movement/ (Links to an external site.) 

WEEK 7 

February 15

Before class, upload your reflection about the following and be prepared to discuss. 

Guest: Danica Miller (Associate Professor of American Indian Studies, UW Tacoma, and Co-Director for UW’s Center for American Indian and Indigenous Studies). 

• Aaron Fox. “The archive of the archive: The secret history of the Laura Boulton Collection.” The Routledge Companion to Cultural Property. Routledge (2017): https://doi-org.offcampus.lib.washington.edu/10.4324/9781315641034 (Links to an external site.) (14pp)
• Gray, Robin R. R. “Repatriation and Decolonization: Thoughts on Ownership, Access, and Control (Links to an external site.)." The Oxford Handbook of Musical Repatriation. Oxford University Press (2018) (14 pp)
• Reed, Daniel B. 2018. “Reflections on Reconnections: When Human and Archival Modes of Memory Meet (Links to an external site.).” The Oxford handbook of musical repatriation, New York, New York: Oxford University Press (13 pp)

Optional

• Carver, Kyle, and Purcell, Ryan. 2002. Kennewick Man: An Epic Drama of the West (Links to an external site.). New York, NY: Filmakers Library. 
• Riffe, N. Jed, and Linda Hunt. 2002. Who Owns the Past? (Links to an external site.) Berkeley, CA: Berkeley Media. 

February 17

Before class, upload your reflection about the following and be prepared to discuss. 

Guest: Alan Burdette (Director, Archives of Traditional Music, Indiana University)

• Gunderson, Frank. “’Boulders, Fighting on the Plain”: A World War I–Era Song Repatriated and Remembered in Western Tanzania (Links to an external site.).” The Oxford Handbook of Musical Repatriation. Oxford University Press (16 pp)
• Trevor Reed. 2018. “Reclaiming Ownership of the Indigenous Voice: The Hopi Music Repatriation Project (Links to an external site.).” The Oxford Handbook of Musical Repatriation. Oxford University Press (2018) (28 pp)
• Treloyn, Sally; Martin, Matthew Dembal, and Rona Goonginda Charles. 2018. “Moving Songs: Repatriating Audiovisual Recordings of Aboriginal Australian Dance and Song (Kimberley Region, Northwestern Australia) (Links to an external site.).” The Oxford Handbook of Musical Repatriation. Oxford University Press: (15 pp)

WEEK 8 

February 22

Before class, upload your reflection about the following and be prepared to discuss. 

• Diettrich, Brian. 2018. "Returning Voices: Repatriation as Shared Listening Experiences (Links to an external site.)." The Oxford Handbook of Musical Repatriation. Oxford University Press (18 pp)
• Lobley, N., 2012. “Taking Xhosa Music out of the Fridge and into the Townships (Links to an external site.).” Ethnomusicology forum, 21(2), pp. 181–195.
• Woods, Bret. 2018. “Traditional Re-Appropriation: Modes of Access and Digitization in Irish Traditional Music (Links to an external site.).” The Oxford Handbook of Musical Repatriation. Oxford University Press (28 pp)

February 24

Before class, upload your reflection about the following and be prepared to discuss. 

• McMurray, Peter. 2018. “After the Archive: An Archaeology of Bosnian Voices (Links to an external site.).” The Oxford Handbook of Musical Repatriation. Oxford University Press (28 pp)
• Mengel, Maurice. 2018. “New Folk Music as Attempted Repatriation in Romania (Links to an external site.).” The Oxford Handbook of Musical Repatriation. Oxford University Press (16 pp)
• Nannyonga-Tamusuza, Sylvia, and Andrew N Weintraub. 2012. “The Audible Future: Reimagining the Role of Sound Archives and Sound Repatriation in Uganda (Links to an external site.).” Ethnomusicology 56 (2): University of Illinois Press: 206–33.

In-Class 

• Cooke, Peter. 2015. “A Response to Sylvia Nannyonga-Tamusuza and Andrew N. Weintraub's "The Audible Future: Reimagining the Role of Sound Archives and Sound Repatriation in Uganda.” (Links to an external site.) Ethnomusicology 59 (3): University of Illinois Press: 475–79.
• Nannyonga-Tamusuza, Sylvia, and Andrew N. Weintraub. 2015. “A Response to Peter Cooke’s Response (Links to an external site.).” Ethnomusicology 59, no. 3 (2015): 480–82.

WEEK 9 

March 1

Before class, upload your reflection about the following and be prepared to discuss. 

Guest: Judith Gray (Reference Specialist at the Library of Congress, American Folklife Center)

• Gray, Judith. 2018. "Audiovisual Archives: Bridging Past and Future. (Links to an external site.)" The Oxford handbook of musical repatriation, New York, New York: Oxford University Press (12pp)
  • Kim, E Tammy. “The Passamaquoddy Reclaim Their Culture Through Digital Repatriation. (Links to an external site.)” The New Yorker, January 30, 2019 (8 pp)
• Perullo, Alex. 2018. Digital Repatriation: Copyright Policies, Fair Use, and Ethics (Links to an external site.).” The Oxford Handbook of Musical Repatriation. Oxford University Press (18 pp)
• Schweitzer, Ivy. 2019.  “Introduction: the future lives of indigenous archives” (1-18 pp.). Afterlives of Indigenous Archives: Essays in Honor of “The Occom Circle.” Hanover, New Hampshire : Dartmouth College Press.  (Links to an external site.)
• Shapreau, Carla. 2018. “Bells in the Cultural Soundscape: Nazi-Era Plunder, Repatriation, and Campanology (Links to an external site.).” The Oxford Handbook of Musical Repatriation. Oxford University Press (28 pp)

March 3 

Before class, upload your reflection about the following and be prepared to discuss. 

• Sakata, Hiromi Lorraine, Laurel Sercombe, and John Vallier. 2018. "Radio Afghanistan Archive Project: Averting Repatriation, Building Capacity (Links to an external site.)." The Oxford handbook of musical repatriation, New York, New York: Oxford University Press (12 pp).
• Hands-on audio/video/film preservation workshop with Andrew Weaver, UW Libraries' Media Preservation Librarian. 

WEEK 10 

March 8 | Final Projects and Presentations

March 10 | Final Projects and Presentations

Voices of the First People honors the life and work of Vi Hilbert by making accessible audio and video that are part of her collection in the Archives. 

“We stand on the lands of the Coast Salish peoples, whose ancestors have resided here since Time Immemorial. Many Indigenous peoples thrive in this place—alive and strong.”  UW Burke Museum

“Radical simply means 'grasping things at the root.'" Angela Davis, 1989

"There is no document of civilization which is not at the same time a document of barbarism." Walter Benjamin, 1940

Sensei Keiji Yagi was one of the outstanding musicians of the Ikuta school of koto playing. Here he is assisted by the no less outstanding Ms. Kayoko Hashimoto. These tracks were recorded in 1968 while Yagi was visiting artist at UW.