Ethno job in New Zealand

Lectureship in Pacific Music and World Music and/or Popular Music

https://otago.taleo.net/careersection/2/joblist.ftl?lang=en (job number 1100140)

Please find below details of a position we are advertising at the University of Otago, New Zealand. The appointee will be a specialist in Pacific Music and World Music and/or Popular Music, and will join a flourishing department that offers musical diversity across teaching, research and performance. Otago has developed strengths in the fields of ethnomusicology and popular music at all levels of teaching and in research, and the appointee will help consolidate these areas. Informal enquiries are welcome to Professor Henry Johnson, Head of Department (henry.johnson@otago.ac.nz)

The Lecturer in Music is expected to contribute to the research and teaching efforts of the Department. The appointee will be a specialist in the area of Pacific Music and in addition will also be expected to teach in the area of World Music and/or Popular Music. The Department is strengthening its offerings in these areas and the position requires advanced knowledge of relevant theoretical issues and culture areas. Candidates are advised to assess other areas within the Department to which they might be able to contribute. Administrative duties will be agreed upon in consultation with the Head of Department. A completed PhD is required, as well as proven potential for distinguished scholarship and effective teaching at undergraduate and postgraduate levels. The Department of Music offers undergraduate and postgraduate degrees within a musically diverse curriculum. Pacific music is an established area in the Department, which includes strong links with Pacific Studies and related fields, and the successful applicant would support this field in teaching and research. The successful applicant will also be supportive to colleagues and students across the whole range of the department’s work, willing to participate in interdisciplinary activities in research and teaching, and a good contributor to the strategic and detailed planning of the Department’s work.

CFP: Music and Everyday Life

Music and Everyday Life

2011 Midwest Chapter of the Society for Ethnomusicology Annual Meeting

Bowling Green State University, Bowling Green, Ohio, April 8-10, 2011

Keynote Speaker: Dr. Harris M. Berger, Texas A&M University

The Midwest Chapter of the Society for Ethnomusicology (MIDSEM) will hold its annual meeting April 8-10, 2011. MIDSEM welcomes proposals from SEM members, students, teachers, and anyone working in related fields. Submissions from musicology, music theory, communications, media studies, folklore, performance studies, and popular culture studies are particularly welcomed. Regional SEM meetings offer a unique opportunity for students to present works in progress and gain valuable conference experience and MIDSEM particularly encourages graduate and undergraduate students to submit abstracts. The JaFran Jones Award is awarded annually to the best student paper.

The conference theme for the 2011 meeting will be “Music and Everyday Life.” We especially encourage proposals related to the following themes:

• Portable Music Technologies
• Phenomenological Ethnomusicology
• Music-Making and the Maintenance of Community
• Mediated Performance Technologies (Karaoke, Guitar Hero, DDR, etc.)
• Circulation of Music-Related Commodities

Informal Music Pedagogies

Proposals on other topics relevant to ethnomusicology are also welcome. We welcome submissions for scholarly papers (20-minute presentation, 10-minute discussion immediately following), organized panels of three or four papers, poster sessions, lecture-demonstrations, film/video screenings, or workshops.

Paper proposals should include an abstract of no more than 250 words; panel proposals should include a 250-word abstract for each paper plus a 200-word panel abstract. Please include with your proposal: the name(s) of presenter(s), institutional affiliation, title of presentation, format of presentation (paper, panel, poster, workshop, etc.), A/V equipment requirements, e-mail address, and phone number. These should be sent by e-mail to: Jeremy Wallach, MIDSEM President, jeremyw@bgsu.edu, with the exact subject line: MIDSEM 2011 Proposal Submission.

Deadline: Tuesday, February 1, 2011, 11:59 PM, Eastern Standard Time

The program committee will notify participants of acceptances by February 20, 2011.

Program Committee, MIDSEM 2011: Jeremy Wallach (Chair), Kate Brucher, Sonja Downing, David Harnish, Jesse Johnston, David McDonald, Katherine Meizel, Ruth Rosenberg.

For more information, please contact:

Jeremy Wallach
Associate Professor
Department of Popular Culture
Bowling Green State University
Bowling Green, Ohio 43403-0190
(419) 372-8204
fax (419) 372-2577
jeremyw@bgsu.edu

Premio Otto Mayer-Serra de Investigación Musical/Otto Mayer-Serra Award for Music Research

En castellano abajo
Abaixo em portugûes

CALL FOR SUBMISSIONS

The Otto Mayer-Serra Award for Music Research

The University of California Riverside and the Center for Iberian and Latin-
American Music (CILAM) call for submissions for the Otto Mayer-Serra Award,
given annually for the best unpublished article on Latin American music.

Award

A single, undivided award of 1,500 USD; the award-winning essay will be
published in the Latin American Music Review.

Eligibility

All scholars are eligible to apply, regardless of age, nationality or place of
residence.

Administration

The winner will be selected by a committee of outside reviewers, nominated by
CILAM. The names of the committee members will be made public after a
decision has been reached. The committee’s decision is final and may not be
appealed. If no submission is deemed worthy the prize may not be awarded. The
committee may disqualify any participant who does not meet the requirements
established by this call.

Application process

A completed application will consist of the following:

1. Authors of articles to be considered for the award should submit one
complete copy in word doc or pdf format as an attachment to an email
addressed to Benicia Jacob (benicia.jacob@ucr.edu). Articles should not exceed
40 pages, inclusive of references, illustrations, and musical examples. All
material should be double-spaced, in 12-point Times New Roman Font, with
margins of at least one inch.

2. To allow for the anonymous review of submissions, the author’s name should
appear only in the cover letter, which should also contain the full title of the
submission and all relevant contact information. Authors should avoid
identifying themselves in the manuscript itself (title page, header, notes) or in
the file information.

3. The article must be unpublished and written in Spanish or Portuguese and will
be published correspondingly in either language.
Application deadline: April 15, 2011. The winner of the prize will be notified in
June 2011.

After being notified, the winning author will submit publication-quality musical
examples and illustrations in TIFF (300dpi) and the text in Word format. The
author will be responsible for arranging the corresponding permits for
publication.

The Otto Mayer-Serra Prize for Music Research was sponsored in 2008 by
Instrumenta Oaxaca, Gobierno del Estado de Oaxaca, Fundación para las Letras
Mexicanas, Coordinación de Difusión Cultural UNAM, Instituto Nacional de
Bellas Artes and Pauta.



CONVOCATORIA

PREMIO OTTO MAYER-SERRA DE INVESTIGACIÓN MUSICAL


La Universidad de California Riverside y el Centro para la Música Ibérica y
Latinoamericana (CILAM) convocan a la presentación de artículos para el Premio
Internacional de Investigación Musical Otto Mayer-Serra, otorgado al mejor
artículo sobre música latinoamericana.

Premio

El premio, único e indivisible, consiste en un monto de 1,500 Dólares y la
publicación del texto en la Latin American Music Review/Revista de Música
Latinoamericana.

Bases

El concurso tiene carácter internacional. Podrán participar todos los autores, sin
importar su edad, lugar de residencia o nacionalidad, que en forma individual
presenten un ensayo sobre la música de América Latina.

El ensayo deberá ser inédito y no premiado con anterioridad.

El jurado será nombrado por CILAM y estará integrado por investigadores de
reconocido prestigio internacional. La composición del jurado se hará pública
hasta la emisión del fallo y su decisión será inapelable. Es facultad del jurado
descalificar cualquier trabajo que no cumpla con alguno de los requisitos
marcados por esta convocatoria. El premio podrá ser declarado desierto.

Procedimiento

1. Los trabajos deberán ser enviados en formato Word o pdf, anexos a un correo
electrónico dirigido a Benicia Jacob (benicia.jacob@ucr.edu). El texto deberá
tener una extensión máxima de 40 cuartillas a doble espacio, Times New
Roman, 12 Pts., márgenes no menores de 2.5 cm, incluyendo ejemplos
musicales, gráficos, tablas, referencias y apéndices.

2. Para permitir la revisión anónima de los textos el nombre del autor aparecerá
solamente en el mensaje de correo electrónico, el cual deberá contener también
el título del artículo y todos los datos necesarios para establecer contacto con el
autor. Los autores deberán evitar identificarse tanto en el texto del artículo
como en el documento en general (encabezado, notas, etc.).

3. El texto será enviado en español o en portugués y, de ganar, será publicado
como tal.


La fecha límite de recepción de trabajos es el 15 de abril de 2011. El resultado
del concurso se dará a conocer durante el mes de junio de 2011.

En caso de ser declarado ganador, los gráficos y ejemplos musicales
correspondientes al trabajo deberán ser entregados en formato TIFF (300 dpi) y
los archivos de texto en formato Word. El autor será responsable de tramitar los
permisos de reproducción de música y de gráficos.

El Premio Internacional de Investigación Musical Otto Mayer-Serra fue
patrocinado en 2008 por Instrumenta Oaxaca, Gobierno del Estado de Oaxaca,
Fundación para las Letras Mexicanas, Coordinación de Difusión Cultural UNAM,
Instituto Nacional de Bellas Artes y la revista Pauta.



CONVOCATÓRIA

PRÊMIO OTTO MAYER-SERRA DE PESQUISA EM MÚSICA


A Universidade da Califórnia em Riverside e o Centro para a Música Ibérica e
Latino-Americana (CILAM) abrem uma chamada para a apresentação de artigos
para o Prêmio Internacional de Pesquisa em Música Otto Mayer-Serra, outorgado
ao melhor artigo sobre música latino-americana.

Prêmio

O prêmio, único e indivisível, consiste em uma quantia de 1.500 Dólares e a
publicação do texto na Latin American Music Review/Revista de Música
Latinoamericana.

Bases

O concurso tem caráter internacional. Poderão participar todos os autores, sem
importar idade, residência ou nacionalidade, que de maneira individual
apresentem um ensaio sobre a música da América Latina.

O ensaio deverá ser inédito e não premiado anteriormente.

A comissão julgadora será nomeada pelo CILAM e será integrada por
investigadores de reconhecido prestígio internacional. A decisão da comissão
julgadora será inapelável. Cabe à comissão julgadora desqualificar qualquer
trabalho que não cumpra com os requisitos delineados nesta convocatória. O
prêmio poderá não ser atribuído.

Procedimentos

1. Os trabalhos deverão ser enviados em formato Word ou pdf, anexos a um e-
mail dirigido a Benicia Jacob (benicia.jacob@ucr.edu). O texto deverá ter uma
extensão máxima de 40 pautas em espaçamento duplo, fonte Times New
Roman, 12 Pts., margens não menores do que 2.5 cm, incluindo exemplos
musicais, imagens, tabelas, referências e apêndices.

2. Para permitir a revisão anônima dos textos, o nome do autor aparecerá
somente no corpo do e-mail, o qual deverá conter também o título do artigo e
todos os dados necessários para estabelecer contato com o autor. Os autores
deverão evitar identificar-se tanto no texto do artigo como no documento em
geral (cabeçalho, notas, etc.).

3. O texto será enviado em espanhol ou em português e, caso seja o vencedor,
será publicado como tal.


A data-limite de recepção dos trabalhos é 15 de abril de 2011. O resultado do
concurso será dado a conhecer durante o mês de junho de 2011.

Caso seja declarado vencedor, o candidato deverá enviar as imagens e exemplos
musicais correspondentes ao trabalho em formato TIFF (300 dpi) e os arquivos
de texto em formato Word. O autor será responsável por obter as autorizações
de reprodução de música e imagens.

O Prêmio Internacional de Pesquisa em Música Otto Mayer-Serra foi patrocinado
em 2008 por Instrumenta Oaxaca, Governo do Estado de Oaxaca, Fundação para
as Letras Mexicanas, Coordenação de Difusão Cultural UNAM, Instituto Nacional
de Belas Artes e a revista Pauta.

CFP: Metal

Call for Papers
Heavy Metal: Controversies and Countercultures
Titus Hjelm, Keith Kahn-Harris & Mark LeVine (eds.)

During its forty years of existence heavy metal music has been one of the most controversial genres of popular music. Controversies surrounding alleged (and often documented) sexual promiscuity, occultism and Satanism, and subliminal messages inspiring suicide, have all made heavy metal a target of ‘moral panics’ over popular culture. Within the broad category of ‘heavy metal’ new subgenres keep appearing, continuously challenging the more domesticated and mainstreamed versions, making the genre perpetually topical. In addition, with the deepening of globalisation, the music and culture of heavy metal has spread beyond Europe and North America, challenging cultural norms and raising public debates in new social contexts. Although commercially marginal compared to the heyday of its success in the 1980s, the social impact of heavy metal has hardly lessened.

The aim of this anthology is to analyse the relationship between heavy metal and society within a global context. Adopting a broadly social constructionist approach to the study of moral panics and social movements, the book examines two main themes:

a) Social reactions to heavy metal (i.e. controversy)
b) The construction of heavy metal culture and community in light of these controversies

The first theme looks at how heavy metal has been constructed as deviant and as a social problem. Studies that investigate representations of heavy metal in, for example, the media, the courts, religious literature, and other public arenas are welcomed. Because social problems and moral panics always reflect their social context, discussions of social interests and the social and cultural consequences of claims shed light on not just heavy metal as a genre and subculture, but society in a wider sense.

The second theme examines the construction of heavy metal from the ‘inside’, that is, how fans, musicians, music journalists, etc. create the culture of heavy metal and how that culture interacts with the surrounding social and cultural context. This could include ethnographical studies and studies of fan discourse, for example.

While the majority of chapters will be expected to have a sociological or a cultural studies approach, we welcome contributions from a variety of disciplines, including social psychology, anthropology, history, folkloristics, religious studies, gender studies, etc. Contributions that combine aesthetic/musicological analysis with a discussion of the music's social impact, or that explore how new technologies for production and distribution of music have impacted metal culture are also welcome.

Examples of possible chapters include:

· Heavy Metal and the Threat to Public Order in the Muslim World
· Autobiography and the Making of Heavy Metal Legends
· From National Shame to National Heroes: Lordi and the 2006 Eurovision Contest
· Christian Metal
· Heavy Metal in the US courts
· The Nordic Black Metal Phenomenon

Potential submissions could also include case studies of moral panics over heavy metal, ethnographic studies of heavy metal communities, and studies of fan and artist discourse. We are particularly interested in submissions that discuss heavy metal and society in the Middle East, Asia, South America, East Europe and Russia.

Please submit an abstract of up to 250 words and a short biographical note (see below) to t.hjelm@ssees.ucl.ac.uk<

mailto:t.hjelm@ssees.ucl.ac.uk>

The deadline for submissions is 30 September 2009.

The Editors:

Titus Hjelm is Lecturer in Finnish Society and Culture at University College London. His main areas of expertise are cultural sociology, sociology of religion, social problems, media and popular culture. He is currently working on a book on social constructionism (Palgrave Macmillan, 2010) and editing a volume titled Religion and Social Problems (Routledge, 2009). He is also a member of the internationally acclaimed metal band Thunderstone.

Keith Kahn-Harris is a research associate at the Centre for Urban and Community Research, Goldsmiths College. He is the author of Extreme Metal: Music and Culture on the Edge (Berg, 2006) and writes the blog Metal Jew (www.metaljew.org<http://www.metaljew.org>). He is currently co-writing a book on the British Jewish community since 1990.

Mark LeVine is Professor of modern Middle Eastern history, culture and Islamic studies at University of California Irvine and author and editor of several books, including Heavy Metal Islam: Rock, Resistance, and the Struggle for the Soul of Islam (Random House/Three Rivers Press, 2008 and Impossible Peace: Israel/Palestine Since 1989 (Zed Books, 2009).

Musicology gig in Holland

The Department of Art, Culture and Society at the University of Groningen, the Netherlands seeks a three month popular music teaching replacement for a short-term research sabbatical. The position would begin in April 2010 and last until the end of June 2010. The three courses given during this period include: History of American Popular Music, Popular Music Research Methodologies and Theories, and European Popular Music in Cultural Context. All courses have prepared syllabi, research materials, textbooks, articles, PowerPoint's and exams. The position pays ca. 6000 euros after taxes. One course is taught in English and the other two can be taught in English or Dutch. Two courses meet once per week and the other meets twice per week.

Interested candidates should either have a Ph.D. in ethnomusicology, musicology or cultural studies with an emphasis upon popular music or should be in their final stages of dissertation writing. Interested candidates should contact Kristin McGee at kamcgee32@yahoo.com.

This guy hates the American Musicological Society

This from the Chronicle, by a guy who clearly loathes AMS - of which he is a member. I don´t really know enough about AMS, and have (thank God) thusfar avoided the position of the patronized ethno in a room full of musicologists to be this pissed off at musicologists or to have much of a position at all on AMS, but for the pleasure of those who are and do, you might enjoy the following.

http://chronicle.com/free/v55/i35/35b01001.htm
From the issue dated May 8, 2009
Composed in Hypocrisy. Music, torture, and the drama of American musicology
By ILIAS CHRISSOCHOIDIS

In a rare display of social awareness, the American Musicological Society has publicly denounced the use of music in physical and psychological torture. The core of the March 2008 statement reads, "We, as scholars and musicians who devote our lives to sustaining musical cultures throughout the world, protest the contamination of our cultures by the misappropriation of music as a weapon of psychological torture."

The resolution brings into shocking alignment two unrelated groups, prisoners detained abroad and students of music at home. The former may soon be protected from aural torture now that the American musicology lobby has taken up their cause (albeit with no instrumental accompaniment). More important, American students now have a precedent to decry 20th-century music surveys — with their compulsory exposure to headache-inducing cacophony and traumatic collisions of sonic debris — as academic torture. Assuming that the AMS is serious about banning all forms of music torture, we may soon hear about class-action lawsuits against music departments for aurally abusing our youth.
Before Slavoj Zizek discovers (and critically devours) this tasty nugget of baby-boomer touchiness, let me raise a few points. At first reading, I thought the AMS was defending the integrity of the Western musical canon from evil cultural forces in a continent far, far away. I began to imagine the endless repetition of the opening dissonance in Beethoven's "Ode to Joy" followed by the agonized screams of prisoners: "O Freunde, nicht diese Töne!" ("O friends, not these tones!"). But no. Music-torturers have little use for our beloved German masters, preferring instead vulgar rock 'n' roll and other low types of pop music. (Admit it: Drowning Pool's "Bodies" is superior to Handel's Water Music, Schubert's The Trout, and Ravel's Jeux
d'eau as accompaniment for waterboarding.) I fail to see, then, why the AMS, guardian of highbrow music, and not the American Society of Composers, Authors, and Publishers, a royalties collector, should protest this scandalous abuse of copyrighted material. And it is scandalous. Of all evildoers in the world, American defense agencies appear to favor this practice
the most. According to the Society for Ethnomusicology, "The U.S. government and its military and diplomatic agencies have used music as an instrument of abuse since 2001, particularly through the implementation of programs of torture in both covert and overt detention centers as part of the war on terror." The SEM statement not only preceded that of the AMS by more than a year, but also had the courage to actually point a finger at someone. Nay, it openly demands "that the United States government and its agencies cease using music as an instrument of physical and psychological torture." Such a clear position reduces the AMS announcement — which is written as though music, not human rights, were the chief subject of abuse here — to a humanistic spoof, a platitude masking critical impotence.
Furthermore, the AMS's jurisdiction on this matter is undermined by a sad reality: American musicology today is less entitled than ever to defend music. Envious of her elder sister, literary studies, she has done everything to appear sophisticated and "Freudly" in the past 20 years. The society's annual meetings feel more and more like territory occupied by foreign disciplines. Derrida, Bakhtin, and Adorno are topics more welcome than composers and their work. "Politics," "gender," "sexuality," and related tags are used as rhetorical steroids to boost one's "innovative" profile. You can more easily land a professorship by adopting the latest hermeneutic vogue than by making a discovery or editing a neglected masterpiece. It is a mystery how scholars who push music to the periphery of their discipline pose as agents "sustaining musical cultures throughout the world."
Don't get me wrong. I have nothing against the AMS's noble gesture. To the contrary, I marvel that its busy leaders found the time to pontificate on an issue that is, at best, tangentially related to the society's mission.
But since they have taken the path of moral uprightness, I would have expected them to start a bit lower, like with the little academic tortures their young and vulnerable colleagues experience daily. By torture I mean "trivial" forms of academic distress, like applying for a job or fellowship in full suspicion that it has already been promised to someone else. Or witnessing protégés gather around the new "star" professor in their department until faculty diversity and independent viewpoints become almost impossible.
Or competing in the publication market with the Doktorkinder of editorial-board members, whose submissions are destined for magnanimous treatment. I also think of the eerie silence that greets complaints or reports of abusive behavior — board members' overriding the will of selection committees to promote their own students, senior professors' attacking the work of young scholars who compete with their protégés — or even the AMS's practice of bombarding low-income members (read: unemployed) with gift requests for up to $500, if you please.
Little "tortures" such as those may hardly register in the stratosphere of six-figure tenured salaries, but they have a truly liberating effect on their victims, who begin to recognize the ugly face of a capitalist academy: not a forum of discussion but a supreme court; not a community of peers but a House of Lords; not a space for independent thinking but a training ground for submission to professorial gurus, all sustained by a tenure system that allows political operatives to elbow out original scholars and refashion history according to personal desires.
No doubt this describes academic life in general. But it is felt much more acutely among American musicologists. As a small discipline with minimal influence on the national discourse, musicology is conditioned by a double-edged inferiority complex about European intellectual traditions and larger, more respected disciplines. To prove its upscale intellectuality and academic prestige, the AMS imposes a fixed 25-percent acceptance rate for submissions to its annual meeting and limits each issue of its triannual publication, the Journal of the American Musicological Society, to only three articles — around 150 conference papers and nine articles a year for a 3,600-member society.
Such limited opportunities for professional exposure generate enormous competition and nasty partisanship. Only a few big departments and the occasional network of cultlike warriors can withstand the pressure. Musicologists outside such elite circles can hope to present at their society's national meeting once or twice a decade. Their chances of publishing in the JAMS over the course of their entire careers are next to zero.
Some membership. Some group.
You can see, then, why I find the AMS resolution so pompous. The society condemns outlandish abuses of music and people in remote prisons while it undermines the role of its membership at home. In doing so, the AMS parades in lockstep with other contemporary institutions, for which Enlightenment rhetoric masks the disfigurations of capitalism, and big, idealistic statements muffle the groans of social division and injustice. Still, it's worth asking how people who teach, perform, and study the most harmonious of arts can generate so much discord and hidden resentment among their younger colleagues, who are expected to lick their wounds in dark corners and forever remain silent, because torture, abuse, and violence, in whatever form
and dosage, exist only elsewhere.

Ilias Chrissochoidis is a member of the American Musicological Society.
http://chronicle.com
Section: The Chronicle Review
Volume 55, Issue 35, Page B10

Conference: Sound In Circulation

Sound In Circulation
Columbia Music Scholarship Conference 2009
March 7, 2009
Keynote: Ned Sublette
Ned Sublette is the author of The World That Made New Orleans: From Spanish Silver to Congo Square (Lawrence Hill Books, 2008) and Cuba and Its Music: From the First Drums to the Mambo (Chicago Review Press, 2004; paperback, 2006), and the forthcoming The Year Before the Flood: Music, Murder, and a Homecoming in Louisiana (Chicago Review Press, 2009).
Free and open to the public
10am-6pm, Breakfast and Lunch served
301 Philosophy Hall, Columbia University
Music has been the leading form of creative work circulated through internet networks and as such has enjoyed broad scholarly and public debate in the last few years. The questions of sound in circulation – how authors prepare sound to travel in time and space, how those sounds move through time and space, and how listeners interact with those sounds – are much broader than that of file-sharing or digital media. For this conference will broaden the question about sound in circulation to include many technologies, methods, and practices of circulating sound among specific historical, geographic, and cultural groups.
Three sets of papers include: Jamie Stager, York University (Toronto) Latin Jazz, Improvisation, and Transnational Flow: Hal Crook’s Performance of “Brazil” / Roxanne O’Connell, Roger Williams University Your Grannie’s Gramophone: A Cross-Atlantic Musical Conversation / Shannon Garland, Columbia University The edge of the internet: Chilean music websites and the international world of indie music / Katie Harvey, Tufts University Embalming the Dead: Taping, Tape Trading and the Grateful Dead / Margarita Restrepo, Brandeis University The cost of transmission: Francisco Guerrero and printing in sixteenth-century Spain / Deborah Lubken, University of Pennsylvania Signal, Music, Noise: Interpreting the Sabbath Bell in Nineteenth-Century Philadelphia / Sean Hallowell, Columbia University Adorno contra Girl Talk? The Mashup as Cultural Critique / Maura Klosterman Whatcha Gonna Do With That Beat?: LoopBased Composition and Performance Practices / Madison Moore, Yale University I AM SASHA FIERCE

Musiblogogy / Musiblogogía

Phil at the musicology blog Dial 'M' for Musicology writes that "I've gone all meta and blogged about blogging." And then Ryan Banagale and Drew Massey at another musicology blog, Amusicology: Musicology in 1,000 Words or Less takes it meta-meta and writes about that post. So me writing about it is meta-meta-meta I guess, but I guess that's the nature of this weird economy of hyperlinked quotations that the blogging is built on.

Anyhow, the meat of it is the following, from Phil:

I started this blog thinking that the strange absence of music-scholarly blogs was a temporary condition, and that musicologists, once they had learned about academic blogging by example and could see what could be done in the medium, would start writing their own blogs and a hundred musicoloblogospheric flowers would bloom. Well, that didn't happen. Look at the academic blog wiki list of music-scholarly blogs. Now look at the one for history. Or linguistics and philosophy. Or even Classics and Ancient Languages, for Chrissake. We're getting our asses kicked by Latin.

And more provocatively:

I can't help but think that this is a cultural thing. Just as different parts of the orchestra each have their own micro-cultures, different disciplines within the humanities do too, and the culture of musicology is marked by its almost insane degree of caution and self-limitation. Sorry to be so blunt, but there it is: the other humanities, when they think of us at all (which isn't very often) tend to think of musicologists as something like stamp collectors, fanatically collecting and sorting and classifying stamps without caring about what they're attached to . . .

I usually dismiss this characterization, because it doesn't describe the musicologists whose work I admire. But I don't know. The point and challenge of blogging is to make connections with other parts of the intellectual world, and inasmuch as that challenge has hardly been taken up in the two-and-a-half years since I started this blog, I have to ask if we as a discipline are not actually just happier staying in our corner, playing with our stamps.

The Amusicology folks, for their part, write:

It is true that there are relatively few blogs on that list [the one Phil mentions] (there are a few more here), but I’m not entirely sure the problem is a lack of blogs as much as much as a problem of collating / unifying those blogs that are out there.

They then, very helpfully provide a list, which I'll synthesize here:

• academic blog wiki list of music-scholarly blogs
• AMS bloglist
• Ryan Raul Bañagale and Drew Massey: Amusicology: Musicology in 1,000 Words or Less
• Roger Bourland
• Avior Byron
• Jonathan Bellman, Phil Ford: Dial 'M' for Musicology
• Mark Connor: Contrasting Periods
• Kyle Gann: PostClassic
• Victor Grauer: Music 000001
• Philip Gentry: 2'23
• Nicol Hammond: Singing South African-ness
• Linda Kernohan (Miss Music Nerd)
• Heebie McJeebie: Classical Pontifications
• Michael Monroe: MMmusing
• musicology / matters
• Brent Reidy: musikwissenbloggenschaft
• Alex Ross: The Rest is Noise
• Tim Rutherford-Johnson: The Ramble
• Greg Sandow
• Scott Spiegelberg: Musical Perceptions
• Evan Tobias: Catalysts & Connections (expanding dialogue in music education)
• "People Listen to It" Gabriel Solis and company
• Coyotebanjo: Music, education, history, culture studies
• ionarts Charles T. Downey
• Interesting Music Stuff Colin Homiski
• Popular Songs and Breakfast Foods John Paul Meyers
• Postclassic Kyle Gann
• Renewable Music Daniel Wolf
• SmarterMusic Yuri Broze, Jeff Fowler, Andrew DiMartino, Catherine Cheng Jones
• Zeitschichten is a blog about music in Berlin and elsewhere Matthias Röder
• Wayne Marshall: http://wayneandwax.com/
• Laura E. Cayer: http://songcatchergirl.blogspot.com/
• Kraig Grady: http://anaphoriasouth.blogspot.com/
• Alexandre Enkerli: http://enkerli.wordpress.com/
• Liam McGranahan: http://mashupresearch.blogspot.com
• Victor Grauer: http://music000001.blogspot.com/
• Michael Bakan: http://mailer.fsu.edu/~mbakan/index.html
• Max Peter Baumann: http://maxpeterbaumann-ethnomusicology.blogspot.com/
• Jonathan H. Harwell: http://mesoj.edublogs.org
• Lee Bidgood: Http://blidgood.wordpress.com
• Eliot Bates: http://www.eliotbates.com/blog/
• Maria Ljungdahl (Sweedish): http://maljmusic.blogspot.com/

Plus I figured I'd add some more from (or about) Latin America (esp. Colombia), of, by, or for ethno/musicologists:

• Grupo Independiente de Etnomusicología México (Mexico, Spanish)
• Los Sonidos Invisibles - Ana María Arango (Colombia, Spanish)
• Puro Revolú (Colombia, Spanish)
• Asociación para las Investigaciones Culturales del Chocó (Colombia, Spanish)
• Egberto Bermúdez (Colombia, Spanish)
• Raquel Z. Rivera - Reggaetónica (US/Puerto Rico, English)
• Sydney Hutchinson - Accordion Girl (US/Germany/Dominican Republic, English)
• Ieda's Blog (Brazil, Portuguese)
• Eliécer Arenas Monsalve - El Oído que Seremos
• John Murphy - Music in Brazil (US, English/Portuguese) and John Murphy's Blog (US, English
  

After all that, I want to post one last thought from Amusicology, which seems like a great idea:

Musicology blogs take all shapes and forms, some focus on longer posts, others a tidbit here or there, others still as a place to air research ideas. Perhaps what we need is a meta-blogger willing to spend their days combing other blogs and pulling together all the interesting posts/subjects. The Perez Hilton of musicology, though less profitable and fashionable (in many senses of the word).

Don't look at me, I'm going to be in the boondocks of Colombia for the next few months working, and probably without much internet. But maybe starting to make these lists is the first step...