International Musicological Society (IMS)

First Conference of the Study Group on the Global History of Music

Music in the Pacific World: Change and Exchange Through Sound and Memory

Taipei, Taiwan / Online, 14-17 October 2021

 

Conference Program

 

All times are local for Taipei, Taiwan (UTC+8)

NB TWN = Taiwan


Thursday, 14 October 2021

 

09.30-09.45: Opening Ceremony. Words of welcome by Jen-yen Chen (conference co-organizer, live), David R. M. Irving (conference co-organizer, recorded), and Fumitaka Yamauchi (chair, Graduate Institute of Musicology, National Taiwan University, live)

 

10.00-12.00: Individual Papers, Session 1

Intersections and Cross-Cultural Encounters I

chair: Michael Webb

 

Chun Chia Tai, California, USA (TWN-15). The Intersection of Blackness and Indigeneity in Taiwan: Aljenljeng Tjaluvie (Abao)’s Aboriginal Gospel Song “Thank You”

 

Joyce Chen, New Jersey, USA (TWN-12). An Early Instance of Cross-Cultural Musicking: Critiquing the Decolonial Framework through the Lens of Dutch Formosa

 

Mélodie Michel, Mexico (TWN-13). Coloniality of Sound and the Pacific Encounter

 

Sierriana Terry, North Carolina, USA (TWN-12). The Anime Network: Black and Japanese Musical Exchanges in Japanese Anime

 

13.30-13.45: Words of welcome by David R. M. Irving (conference co-organizer, live) and Jen-yen Chen (conference co-organizer, live)

 

14.00-16.00: Individual Papers, Session 2

Circulation and Migration of Music Materials I

chair: Brian Diettrich

 

Jennifer Cattermole, New Zealand (TWN+4). Convergence, Transference and Innovation: The Development of Traditional Maori Musical Instruments


Laura Case, Australia (TWN+3). “Savages in general, are not sensible to the tone of string instruments”: The Violin as a Medium of Cross-cultural Exchange Between Indigenous Australians and Europeans

 

Ying-fen Wang, Taiwan (TWN+0). The Reception and Indigenization of Harmonica in Colonial Taiwan

 

Yuiko Asaba, UK (TWN-7). Cultivating the Trans-Pacific Imagination: Migration and the Circulation of the Bandoneón Between China and Japan, 1930s-1940s

 

19.00-21.00: Individual Papers, Session 3

Circulation and Migration of Music Materials II

chair: David R. M. Irving

 

Kim F. Rockell, Japan (TWN+1). Rondalya Interrupted: Early Flows, Asia-Pacific Distribution and Semiotic Clusters

 

Antonio Baldassarre, Switzerland (TWN-6). Beyond the Material: Imagining and Fabricating Colonial Cultural Identity in Seventeenth- and Eighteenth-Century “biombos” from New Spain

 

Ma. Patricia Brillantes Silvestre, Philippines (TWN+0). La Orquesta de Dalagas of Pandacan: Charting the Rise of the Filipina Musician and the Transmigration of the Harp into Filipino Popular Music Through Manila’s Newspapers in the Second Half of the 19th Century

 

Qingfan Jiang, Connecticut, USA (TWN-12). Chinese Origin and European Progress: Music, Universal History, and the French Mission in China, 1687–1793

 

Friday, 15 October 2021

 

10.00-12.00: Individual Papers, Session 4

Musical Diffusion, Migration and Diaspora

chair: Arwin Quiñones Tan

 

Ryan Gourley, California, USA (TWN-15). Phonographic Homeland: Russian Records Across the Pacific Region

 

Hsiao-En Yang, Taiwan (TWN+0). A Filipino Migrant Musician in Taiwan: Ben Rigor and His Jazz Identity

 

Alan Maddox, Australia (TWN+3). Music, Place and Identity in the British Penal Settlement on Norfolk Island


Michael Webb, Australia (TWN+3). Song, Solidarity and Sovereignty in Kanaky New Caledonia, 1975-1990

 

14.00-16.00: Special Session

Sound Knowledge: Onto-Epistemological Explorations in the Western Pacific Island World

team research project directed by Birgit Abels

chair: Birgit Abels

 

19.00-20.30: Plenary Session

The World’s Largest Ocean in Global Music History: Interpretive and Conceptual Challenges Across Disciplines

invited speakers: David Armitage (USA), Dan Bendrups (Australia), James Revell Carr (USA), Frederick Lau (Hong Kong), 

respondents: Yuiko Asaba (UK), Hannah Hyun Kyong Chang (UK), Qingfan Jiang (USA), Yuanyu Kuan (Taiwan)

chair: Ma. Alexandra Iñigo Chua

 

21.00-23.00: Individual Paper Session 5

Performing Arts and Fluid Sensibilities

chair: Hannah Hyun Kyong Chang

 

Fritz Schenker, New York, USA (TWN-12). Forming a Pacific Ocean Jazz Economy

 

Birgit Abels & Sebastian Hachmeyer, Germany (TWN-6). Sound Knowledge of Moana: Performing Arts in Micronesia and the Fluidic Sensibilities Inherent in Oceanic Connection

 

Matteo Gallo, France (TWN-6). The Pathway of Kaneka Music, Through Space and Time

 

Brenda Marina Ayala Estrada, Mexico (TWN-13). Sayonara vatos locos! We are Living La Vida Loca through Hip-Hop: The Chicano Subculture in Japan

 

Saturday, 16 October 2021

 

10.00-12.00: Individual Paper Session 6

Trans-Pacific Networks of Performances

chair: Makoto Harris Takao

 

José Manuel Izquierdo König, Chile (TWN-11). Early Latin American Encounters with Japanese Performing Arts: The Satsuma Company of Acrobatics and Music (1871–1873)

 

Amanda Harris, Australia (TWN+3). Trans-Pacific Networks and Festivals of Music and Dance, 1965–1973

 

Boris Hei Yin Wong, Hong Kong (TWN+0). Representing Asianness Through Band Sound: Performances by the Singapore Armed Forces Band in International Military Tattoos

 

Hee-Sun Kim, Korea (TWN+1). Multi-faceted Meanings of the “Modernization of Traditional Korean Music” Through Musical Travels Across the Pacific Ocean

 

14.00-15.30: Individual Paper Session 7

Circulation and Transformation of Musical Genres

chair: Yuiko Asaba

 

John Gabriel, Australia (TWN+3). Pirates, Petroleum, and Prelapsarian Fantasy: The South Pacific in the Musical Imaginary of Weimar Republic Germany

 

Tokiko Inoue, Japan (TWN+1). Reception, Transformation, and Localization of Opera Repertoire in the Pacific Rim in the Early 20th Century

 

Alexandra Leonzini, UK (TWN-7). Short, Dark, and Evil: The Orientalization of Japan in North Korean Revolutionary Opera

 

19.00-20.30: Individual Paper Session 8

Musical Exchanges in Hybrid Cultures

chair: Alan Maddox

 

Travis Seifman, Japan (TWN+1). Ryukyuan Uzagaku Court Music: High Ritual Traditions from Ming/Qing Entertainment Culture

 

Alexander M. Cannon, UK (TWN-7). Exploring Daoist Approaches to Music Expression in Contemporary Vietnamese Music for Diversion


Geoffrey Colson, France (TWN-6). Hīmene Tahiti: History and Key Drivers of a Creative Musical Synthesis in French Polynesia

 

2100-2200: Gabriel Solis, Keynote Lecture

Singing the Black Pacific: Global Music History and the Challenge of the Pacific

chair: Jen-yen Chen

 

Sunday, 17 October 2021

 

10.00-12.00: Roundtable 1

History, Social Experience, and Local Memory from the Late-19th Century: Towards a Decolonization of Philippine Music Historiography

chair: Ma. Alexandra Iñigo Chua

 

Ma. Alexandra Iñigo Chua, Philippines (TWN+0). Danza Habanera to Danza Filipina: Transcultural Hybridity in Nineteenth-Century Global Modernity

 

Arwin Quiñones Tan, Philippines (TWN+0). Music as Social Capital: The Impresarios of Manila’s Musical Scene of the Late Nineteenth-Century

 

Isidora Miranda, Philippines (TWN+0) or Tennessee, USA? (TWN-13). Zarzuela to Sarsuwela and the Rise of the Middlebrow

 

Jose Semblante Buenconsejo, Philippines (TWN+0). The Zarzuela in Cebu: The Aesthetics of Piux Kabahar’s Sarsuyla or Dulang Hinonihan (1917-1929)

 

14.00-15.30: Individual Paper Session 9

Intersections and Cross-Cultural Encounters II

chair: Jose Semblante Buenconsejo

 

Brian Diettrich, New Zealand (TWN+4). The Sea-Openings of Waamataw: Reimagining the Sung Histories of Ocean Places

 

Amanda Hsieh, Hong Kong (TWN+0). Listening to German-Japanese Relations through Felix Weingartner’s Die Dorfschule (1919)

 

Hui-Ping Lee, Japan (TWN+1). The Pan-Asianisms of Fumio Hayasaka (1914–1955) and Akira Nishimura (b. 1953)

 

19.00-20.30: Roundtable 2

Musics and Trans-Pacific Relations During the Cold War

chair: Diau-Long Shen

 

Diau-Long Shen, Taiwan (TWN+0). Unallied Double Musical Propaganda of “Free China”


Hye-Jung Park, Texas, USA (TWN-14). Solidarity Across the Color Line: Sonic Representations of Blackness in Cold War China


Min-erh Wang, UK (TWN-7). Music as Political Commitment: A Case Study of the Reception History of Pablo Casals in Japan, Taiwan, and China in the Early Cold War

 

David Wilson, Illinois, USA (TWN-13). Entangled Footwork: Revolutionary China’s Local Performances in the Global Cold War

 

20.30-20.45: Closing Ceremony

 

Contact us:  
 imsglobalhistory2021@gmail.com