Based on recent ethnographic work, we explore the ways in which transnational cosmopolitan music crosses, creates, and reinscribes borders as it is performed by Palestinian Arab wedding musicians in northern Israel. While Palestinian nationalism and the hard political borders between Israel and its neighbouring states frame immediate questions of identity and mobility, in describing their musical practices, musicians turn to a complex, interleaved series of geographies that highlight past and contemporary processes of musical flow. On one hand, they foreground the continuing relevance of the historic al-Sham region as an area of shared musical practice, identifying with the jabali (“mountain”) musical style of the elevated region that marks the borderlands between today’s Lebanon, Syria, and Israel. On the other hand, they embed this regional style within a series of micro- and macro-geographies, from detailed knowledge of the subtle differences in tempo and style between neighbouring Galilee villages to connections with the wider Arabic-speaking world via old and new media. While recent research on music in the Middle East has often foregrounded the role of music in constructing and reinforcing national identities, this research illustrates how transnational flows continue to shape the experience and imagination of musical borderlands in the region.

In this article, I address collecting and re(p)(m)atriation as research orientations. I draw on examples from Métis music to situate the impact of collection-oriented research, to interrogate my own practice as a Métis-music scholar, and to point to possibilities for the future. In presenting a history of collecting alongside an overview of re(p)(m)atriation, I offer readers an opportunity to meditate on the pervasiveness of collection-oriented research and how we might create a new ethnomusicology—meditations encouraged through poetic expressions. I suggest that twenty-first century ethnomusicology needs to turn towards rematriation, not only as an act of returning artifacts, but also as a way of orienting our work as scholars.

浪花節は19世紀末から20世紀半ばに大衆的な人気を誇った日本の音楽的な語りのジャンルである。日本人労働移民によってハワイにもたらされ、後には日本の浪曲師がハワイ巡業を行うようになり、ハワイの日系社会でも人気を確立した。本論はハワイにおける浪花節の盛衰をたどり、移植された音楽ジャンルが日本と日系ディアスポラの文化的架け橋として機能し、いかにハワイ日系人のアイデンティティの支えとなっていたか、また国境を超えた人々と文化の往来を促していたかを明らかにする。また戦争という不可抗力によって、いかに音楽文化の運命が翻弄されうるかを描き出す。

Naniwa-bushi is a genre of Japanese musical storytelling which enjoyed its greatest popularity from the late nineteenth to the mid-twentieth century. Brought to Hawai‘i by Japanese immigrants and later by itinerant Japanese performers, it soon found popularity in the diaspora community. This paper traces the rise and fall of naniwa-bushi in Hawai‘i and demonstrates how a transplanted musical genre functioned as a cultural bridge between Japan and its diaspora, helping immigrants sustain their identity and motivating trans-border flows of performers and culture. It also highlights the powerful impact of war that changed the destiny of a musical culture.

Les relations commerciales entre les habitants du Golfe Persique et ceux de Zanj ou Afrique orientale sont très anciennes: n'oublions pas non plus que Mascat et Zanzibar étaient liés par une union politique de 1690 environ jusqu'à 1861. On a souvent parlé de l'influence arabe sur les peuplades de la côte est d'Afrique; on a beaucoup moins parlé des conséquences de la présence de minorités importantes d'Africains dans les principautés arabes du Golfe.

La musique arabe de Kuwait, de Bahrain et de la Côte des Pirates n'est pas sensiblement influencée par les musiques africaines: la seule exception notable concerne les danses de guerres normalement appelées ardha à Bahrain, ayala sur la Côte des Pirates; les mélodies, les textes et les danses sont indiscutablement d'origine béouine mais l'influence africaine est sensible dans les rhythmes produits par le groupe de joueurs de tambour qui danse entre les deux rangs de chanteurs arabes.

Investigations made in the Soli area of Zambia during 1968 yielded songs in a number of different languages. There were songs in Soli, songs in Lenje, songs in a mixture of these two languages, songs in Karanga (one of the Shona group of languages of Rhodesia), and songs in Ndebele (one of the Zulu group of languages found in Rhodesia and South Africa).

The Central Australian aborigines make remarkable use of slight pitch alterations in their singing. It was this feature of their music which prompted me to make a more accurate and detailed study of the scales used in the songs I have already transcribed from T. G. H. Strehlow's collection of recordings.

The method used to determine the accurate frequency of all notes was as follows. An audio oscillator type A57321 was warmed, then plugged through a speaker alongside which another speaker reproduced the required notes from the recording. (The speed of the turntable was checked before use.) Each note of the chosen verse was taken separately and repeated until the note produced by the oscillator corresponded to it. Here some error could occur, as it was impossible to have the two notes sounding together for any length of time. It was therefore necessary to sound one and immediately follow it by the other.

Twelve years ago during the IFMC conference at Copenhagen, Arnold Bake gave an excellent paper on Nepalese folk music, which unfortunately appeared in the Journal of the IFMC only as a short summary. But even this brief summary shows the very complicated situation arising from the fact that in Nepal two communities, the Nevari and the Nepali, have lived together for two hundred years, each preserving more or less intact its own language and separate musical tradition as well as its own hierarchy of castes. These castes, because of their social separation, continue to keep pure their separate traditions. Hence, one cannot understand the different styles of Nepalese music in their cultural context without taking into account the caste system and its effect on the music.

The scientific exploration of musical instruments of non-European peoples and of European folk music instruments began in the second half of the nineteenth century and was intensified in this century. The purpose of its initial phase was to make some kind of inventory in order to have the necessary scientific sources at hand, which would serve as a basis for further investigations of musical instruments. Field research among the world's most varied peoples has yielded even more data concerning a substantial number of new instruments, which hitherto have remained unknown.

As in all the countries of West Africa where Islam has left its mark, and where powerful chiefs held—or still hold—authority, many griots are to be found in Senegal. Whether they be historians, genealogists or musicians, they are in most cases professionals who together form a well-defined caste. The roles they play are manifold: as historians and genealogists they are the storehouses of the records of a country that has disdained the written language; as musicians, they are present at festive and solemn occasions alike. A griot may be attached to a prince's court, and be a member of his household; or he may be independent and able to charge for his services as he chooses.

Caught up in the life of African society, where intense rivalries excite tribes, clans and families, the griots have always aroused feelings of fear or contempt. More than one enmity, more than one dispute, has originated in the indiscretion of a griot. Their caste, like those of the blacksmiths, the ropemakers, the weavers, etc., is one of the lowest in the hierarchy.

Zambia is, for administrative purposes, divided into eight provinces: the Northern, the Luapula, the Western, the Northwestern, the Eastern, the Central, the Southern, and the Barotse. Linguistically, it is divided into four main language groups: the Bemba, the Nyanja, the Tonga, and the Lozi. The language groupings coincide to a great extent with the provinces, with the Bemba-speaking people spread over the Northern, Luapula, Western, and parts of the Central provinces. The Nyanja speakers are in the Eastern Province, the Tonga speakers in the Southern and parts of the Central provinces, and the Lozi speakers in Barotse Province. The Northwestern Province is occupied by a group of tribes whose lingua franca is usually regarded as Luvale-Mbunda.

The study of song texts by scholars in various fields has taken many directions. Some of those directions have been the result of particular disciplinary methodology such as literary history and criticism, history, folklore, anthropology, linguistics, and musicology. Others have been the result of peculiarities of a language, such as the problems of song in tone languages. This article is an introduction to and analysis and reinterpretation of some of the approaches to the study of song texts which seem at this time to present fruitful avenues for future research.