British Journal of EthnomusicologyEDITORIAL POLICY AND SUBSCRIPTIONS ‘THE BRITISH JOURNAL OF ETHNOMUSICOLOGY is a refereed journal published annually by the INTERNATIONAL COUNCIL FOR TRADITIONAL Music UK CHAPTER (ICTM(UK)). In principle, the Journals intended to carry articles and reviews by scholars presently or formery based inthe British Isles, as wel as responses to these items by scholars from anywhere. INFORMATION FOR CONTRIBUTORS will be found on the inside back cover. MEMBERSHIP SUBSCRIPTIONS are by calendar year. Members will receive one issue Of the Journal and two issues of the ICTM(UK) Newsletter each year. Members may also receive special mailings relating to the Annual Conference and the Annual One-Day Conference, and new members will be sent a copy of the ICTM(UK) Constitution, The ‘Newsletter carries news of events and institutions, reports on conferences, information on ‘members’ interests and activities, and shorter or less formal scholarly communications than found in the Journal. To receive mailings on schedule, members must be paid up by the beginning of the calendar year. (All overseas mailings will be sent by air mail at no extra charge.) ‘Subscription rates for either 1992 or 1993 are as follows: Individual: £12 Institutional: £15 Students resident in the UK: £6 ]Unemployed residents of the UK: £6 Payment must be in UK pounds sterling, payable to ICTM(UK), in the form of either a cheque drawn on a UK-based bank or an International Money Order. (Any other payment ‘costs us £6.50 to deposit!) Please send payment io | Membership Secretary ICTM(UK), Centre of Music Studies, School of Oriental and African Studies, Thornhaugh St., London WCIH OXG, England. Back numbers of the Journal (with Newsletters) will be available at the original subscription rate. Back issues of most numbers of the now superseded Bulletin (through 1990) are sil available; enquire to the above address. ‘All other correspondence involving the Journal (including books and recordings for review) should be sent to the Editors, British Journal of Ethnomusicology, Centre of ‘Music Studies, School of Oriental and African Studies, Thormhaugh St, London WC1H OXG, England. lease note that ICTM(UK) is organizationally, financially and editorially independent of its international parent body, the ICTM.British Journal of Ethnomusicology Editorial Board: John Baily David Hughes Carole Pegg Richard Widdess International Council for Traditional Music, UK Chapter volume 1 1992Published by International Council for Traditional Music, UK Chapter, c/o Centre of Music Studies, School of Oriental and African Studies, Thomhaugh Street, Russell Square, London WC1H OXG © Intemational Council for Traditional Music, UK Chapter, 1992 ISSN 0968-1221 Printed by Hobbs the Primers of SouthamptonBritish Journal of Ethnomusicology volume 1 Editorial preface CONTENTS Contributors to this issue ARTICLES Nick Gray David W. Hughes Carole Pegg Jonathan Stock Martin H. Stokes Carol Tingey Inén Kertész- Wilkinson Keith Swanwick “Sulendra”: an example of petegak in the Balinese ‘gendér wayang repertory ‘Thai music in Java, Javanese music in Thailand: two case studies Mongolian conceptualisations of overtone singing (xdémii) Contemporary recital solos for the Chinese two- stringed fiddle erhu ‘The media and reform: the saz and elektrosaz in urban Turkish folk music Musical instrument or ritual object? The status of the kettledrum in the temples of central Nepal Genuine and adopted songs in the Vlach Gypsy repertoire: a controversy re-examined Music education and ethnomusicology 1992 7 31 55 89 103, ul 137 (continued)REVIEWS OF BOOKS ‘Arom, African polyphony and polyrhythm (Roger Blench) Aubert et al., Voix: Cahiers de musiques traditionnelles ‘Mondes en musiques (Carole Pege) Baily, Music of Afghanistan (Neil Sorrell) Blasdel & Kamisango, The shakuhachi: a manual for learning; Kitahara et al., The Encyclopedia of Musical Instruments: the shakuhachi (David W. Hughes) Farhat, The dastgah concept in Persian music (Ruth Davis) Farrell, Indian music in education (Richard Widdess) Firth & McLean, Tikopia songs: poetic and musical art of a Polynesian people of the Solomon Islands (Carole Pege) Hamilton, The Irish flute player's handbook (Nollafg Ni Fhionghaile) Sutton, Traditions of gamelan music in Java: musical pluralism and regional identity (David W. Hughes) ubert, REVIEWS OF RECORDINGS Bénin: Rhythmes et chants pour les vodun (Roger Blench) Turkmenistan: la musique des bakhshy (Carole Pegg) Dagar Duo: Raga Behag; Masters of raga: the King of Dhrupad: Ram Chatur Mallik in Concert; Masters of tala: Pakhawaj solo Raja Chatrapati Singh; Ustad R. Fahimuddin Dagar: Raga Kedar; Zia ‘Mohiuddin Dagar, rudra vina: Raga Yaman (Richard Widdess) Japon: L’ épopée des Heike (Junko Ueda: satsuma-biwa) (David W. Hughes) us 146 17 148 449 151 152 154 155 158 158 159 161 EDITORIAL POLICY AND SUBSCRIPTIONS..............inside front cover NOTES TO CONTRIBUTORS. ++ inside back coverCONTRIBUTORS TO THIS ISSUE Roger Blench, an independent researcher and consultant, has researched the relationship between music and speech in central Nigeria, Visiting Fellow in Social Anthropology, London School of Economics. Ruth Davis lectures in ethnomusicology in the Faculty of Music, Cambridge University. Her doctoral esearch concerned Tunisian classical music. Nollaig ni Fhionghaile holds an MMus in ethnomusicology, a teaching diploma in Irish tradi tional music, and has taught music though K6daly methods. ‘She performs and researches Irish twaditional music and is currently teaching itn the Arain Islands. Nick Gray studied music and anthropology at Cambridge before studying Balinese music, especially gendér wayang, from 1987-89 with Pak Wayan Loceng in Sukawati and at the ‘Akademi Seni Tari Indonesia (now STS in Denpasar. He formed the British gendér wayang ‘group Segara Madu ("Sea of Honey") in 1991. - 31 Nethercote Ra, Tackley, Oxford OXS 3AW. David Hughes, current chairman of ICTM(UK), is Lecturer in Euhnomusicology and Chairman of the Centre of Music Studies atthe School of Oriental and African Studies (University of London). His principal research area is Japan, but Southeast Asia increasingly commands his attention, - Centre of Music Studies, SOAS, Thomhaugh St, London WC1H OXG. Carole Pegg, formerly a professional musician and singer, took her BA and PhD in Social Anthropology at Cambridge. She now leczures on the anthropology of music there and is @ salt ‘member of the Mongolia and Inner Asia Studies Unit. She specializes in Mongolian traditional ‘music and dance in relation to ethnicity and identity. - Dept of Social Anthropology, Cambridge University, Cambridge. [Nell Sorrell lectures in music at York University, England. His major pu nese gamelan and onthe sang. Jonathan Stock originally trained as a bassoonist at Birmingham School of Music. After wo years tutoring the Malaysian National Youth Orchestra he took his MA and PhD degrees at York and Belfast respectively. He now holds a British Academy Rescarch Fellowship, analyzing. ‘eastem Chinese regional opera, - Dept of Music, Durham University, Durham DHT SRL, Martin Stokes has been pursuing an interest in Turkish music since 1981 as @ musician and later asa research student, He received his DPhil from Oxford in 1989 and currently teaches. ‘ethnomusicology and social anthropology at the Queen's University, Belfast. His book, The ‘arabesk debare: music and musicians in modern Turkey, will appear from Oxford University Press in 1992. - Dept of Social Anthropology, Queen's University of Belfast, Belfast BT7 INN. Keith Swanwick is Professor of Music Education atthe Insitute of Education (University of London) and Chairman of the UK Council for Music Education and Training. [Nepal has been Carol Tingey's area of research since 1984. Her annotated catalogue of Amold 'Bake's Nepalese fieldwork materials appeared in 1985; her 1990 doctoral thesis treated the music cof the damditalor-musician caste. A Leyerhulme Fellow atthe School of Oriental and African Studies (University of London), she is working on women's ritual music at the Kathmandu court, the Newar diphi singing tradition, and the shawm music of the Newar jugi case, along with ‘comparable traditions in North India. ~ § Church Lane, Newington, Sitimgboume, Kent ME9 M. Richard Widdess is Senior Lecturer in Ethnomusicology with reference to South Asia at the ‘School of Oriental and African Studies (University of London). Irén Kertész Wilkinson, bom and raised in Hungary, received her Piano/Music and Theory ‘Teaching Diploma at the Music Teacher Training Faculty of Franz Liszt Music Academy in Buda- pest, In 1973 she moved to London, working as a private piano teacher and music teacher in ‘various primary schools. She gained the MMus in ethnomusicology at Goldsmiths” College (niversity of London) in 1986 and is completing a doctoral thesis there on Vlach Gypsy song. ‘while lecturing par.-time. - Flat 3, 57 Arbuthnot Road, London SE14 SNP. fons are on Jay-