Suchergebnisse

Correspondence of Mr. Luis G. Herrera and Mr. José M. Gómez, president and Secretary of the Vicente Guerrero Club in Villa Unión, Sinaloa; Gen. Martín Espinosa, Mr. Pablo Pandeli and Mr. Manuel L. Portillo, President and Secretary of the Manuel A. Salazar Club in Concordia, Sinaloa; Mr. Francisco de la Mora and Mr. Antonio González V., President and Secretary of the Sinaloa Democratic Party, Rosario chapter; Mr. E.A. Rodríguez and Mr. Leovigildo Robles, President and Secretary of the Sinaloa Democratic Party, Chametla chapter; Mr. Emilio Ontiveros, Mr. Jorge Apodaca, Mr. José M. Vega, and others from the Sinaloa Democratic Party, Choix chapter; Mr. F.B. Blancarte and Mr. Francisco N. Romero, Vice President and second Secretary of the San Ignacio Political Liberals Club in San Ignacio, Sinaloa; Mr. Y. Ibañez and Mr. Enrique López from the Sinaloa Democratic Party, Mazatlán chapter; Mr. Manuel C. y López hijo and Mr. Juan Beltrán, President and Secretary of the Mocorito Liberal Club; Mr. Cleofas Rojo, President of the Colonel Solís Club; Mr. Víctor S. Zamorano, President of the Alvaro Obregón Central Club in Mazatlán, Sinaloa; Mr. Joaquín Silva Jr. and Mr. José Isunza, President and Secretary of the Sinaloa Democratic Party of Guasave; Mr. Pedro López, President of the Belisario Domínguez de Escuinapa Club of Hidalgo; Mr. Alejandro Vega from the Benito Juárez Liberal Club in El Fuerte; Mr. Ignacio M. Vidal; Mr. Fortunato López and Mr. Crispín Montoya, President and Secretary of the Carlos Gámez Political Club; Mr. Adelaido Gómez y Beltrán, Mr. Ernesto Gautier, Mr. Guillermo Vidales, Mr. Fernando Torreblanca; Mr. Cleofiro Beltrán and Mr. Eduardo Domínguez, President and Secretary of the Miguel Hidalgo Political Club from Los Mochis, Sinaloa; Mr. Idelfonso Andrade, President of the Independent Union and Progress Independent Club; Mr. José Altamirano, Mr. Herminio Ramos, Mr. Juan Brambila and Mr. Encarnación Gómez of Tlacapan, and Gen. Alvaro Obregó, concerning the endorsements of people, clubs, and political parties to his presidential candidacy and to the candidacy of Gen. Angel Flores for Governor of the State. Printed flyer titled "Of interest to the public", dated Feb, 16, 1920 in San Francisco, California. / Correspondencia entre los Srs. Luis G. Herrera y José M. Gómez, Presidente y Secretario del Club Vicente Guerrero de Villa Unión, Sin.; Gral. Martín Espinosa, Srs. Pablo Pandeli y Manuel L. Portillo, Presidente y Secretario del Club Manuel A. Salazar de Concordia, Sin.;, Srs. Francisco de la Mora y Antonio González V., Presidente y Secretario del Partido Democrático Sinaloense sección Rosario; Srs. E.A. Rodríguez y Leovigildo Robles, Presidente y Secretario del Partido Democrático Sinaloense sección Chametla; Srs. Emilio Ontiveros, Jorge Apodaca, José M. Vega y otros del Partido Democrático Sinaloense sección Choix; Srs. F.B. Blancarte y Francisco N. Romero, Vicepresidente y segundo Secretario del Club Político Liberales de San Ignacio de San Ignacio, Sin.;, Srs. Y.Ibañez y Enrique López del Partido Democrático Sinaloense sección Mazatlán; Srs. Manuel C. y López hijo y Juan Beltrán, Presidente y Secretario del Club Liberal Mocoritense; Sr. Cleofas Rojo, Presidente del Club Coronel Solís; Sr. Víctor S. Zamorano, Presidente del Club Central Alvaro Obregón de Mazatlán, Sin.; Srs. Joaquín Silva Jr. y José Isunza, Presidente y Secretario del Partido Democrático Sinaloense de Guasave; Sr. Pedro López, Presidente del Club Belisario Domínguez de Escuinapa de Hidalgo; Sr. Alejandro Vega del Club Liberal Benito Juárez de El Fuerte; Sr. Ignacio M. Vidal; Srs. Fortunato López y Crispín Montoya, Presidente y Secretario del Club Político Carlos Gámez; Srs. Adelaido Gómez y Beltrán, Ernesto Gautier, Guillermo Vidales, Fernando Torreblanca; Srs. Cleofiro Beltrán y Eduardo Domínguez, Presidente y Secretario del Club Político Miguel Hidalgo de Los Mochis, Sin.; Sr. Idelfonso Andrade, Presidente del Club Independiente Unión y Progreso; Srs. José Altamirano, Herminio Ramos, Juan Brambila y Encarnación Gómez de Tlacapán y el Gral. Alvaro Obregón, relativa a adhesiones de clubes, personas y partidos políticos a la candidatura del Gral. Alvaro Obregón para Presidente de la República y al Gral. Angel Flores para Gobernador del estado. Volante impreso titulado "De interés para el público", fechado el 16 de febrero de 1920 en San Francisco, Cal., que pasó a Hemeroteca (planero 1, cajón 1, carpeta 1, folder 14).

COPY RIGHT -- Competence-Competence in the face of illegality in Contracts and arbitration agreements -- TABLE OF CONTENTS -- INTRODUCTION -- CHAPTER I DEFINITION OF THE SUBJECT -- A. Initial Focus and Questions -- B. The Range of Questions Seeking Answers -- C. The Historical Setting in Commercial Arbitration -- D. The Historical Setting in Investment-Treaty Arbitration -- E. Corruption in Cross-Border Commercial Life -- F. The Intersection between Corruption and Law -- CHAPTER II THE MEANING OF "ILLEGALITY" -- A. Overview of the Problem of Illegality in Its Different Forms -- 1. Overtly illegal contracts -- 2. Illegality and lack of assent -- 3. Illicit contracts and public versus private parties -- 4. Illegality ab initio versus ex post -- B. Circumstances of the Illegality -- 1. Initial awareness of the illegality by all parties -- 2. Subsequent awareness of the illegality by all parties -- 3. Illicit intention and awareness of one party -- 4. Reliance on the illegality as claim or defence -- 5. Contracts of bribery versus contracts arising out ofbribery -- C. Suspicion of Illegality versus Knowledge or Obviousness of Same -- 1. Maintaining impartiality and equal treatment -- 2. Dilatory tactics and allegations of illegality -- 3. Mutual denial of illegality -- D. Initial Attempts at Definitions of "Corruption"and "Bribery" -- E. International and Transnational Efforts to Define "Bribery" -- F. The Temporal Dimension of Illegality -- G. Different National Legislative Approaches to the Definition of Illegality -- 1. "Facilitation payments", "speed money" and "grease payments" -- 2. Differences in the definition of elements of corrupt conduct -- 3. Differences in the dividing line between corrupt and non-corrupt intermediaries -- H. Illegality and Investment Arbitration.

The introduction summarizes the key topics of the themed issue "Access to Waxes – The Collections from the Arab World of the Berlin Phonogramm-Archiv (BPhA)" and its contributions. It discusses the ethical, legal, and technical considerations involved in making these culturally significant but also sensitive recordings from the Arab world accessible to the public, especially in the context of ongoing debates around "decolonization" and cultural restitution.

This paper contextualizes the "Access to Waxes" workshop and publications within the broader context of the ongoing debates in ethnomusicology and related disciplines about the ethics and politics of historical sound recordings, archives, acoustic memory, cultural rights, intellectual property, musical repatriation, and access. Selected initiatives on the topic spearheaded by the two major scholarly societies focusing on the transdisciplinary study of music, the ICTMD and the Society for Ethnomusicology, are referred to. The contribution also critically evaluates the categorization and labeling of music in archives (like the term "Arab/Arabic music") and emphasizes the need for a critical study of historical sound recordings like the collections of the Berlin Phonogrammarchiv. This would involve collaboration with source communities and local institutions ideally leading to the development of shared research practices and creating the conditions to access, revitalize, and sustain their musical heritage.

The number of collections of music from the Arab world housed in the Berlin Phonogramm-Archiv (BPhA), 30 in all, is impressive, as is the great number of wax cylinders. In the beginning, Arab music was not the main concern of the Berlin Phonogramm-Archiv; there were a small number of collections of music from the Arab world until 1918, but even then, extensive research was being done (see Hornbostel's 1906–7 article on Tunisian music). Recordings made in German prisoner-of-war camps during World War I augmented the holdings. Fieldwork in Arab countries peaked around 1930, with recordings made by Robert Lachmann as the leading figure and several other scholars associated with the Berlin School of Comparative Musicology. This article presents an overview of the BPhA's collections from the Arab world, their status and content, and highlights their specific features compared to its collections from other regions of the world. Based on the historical documents associated with the collections (correspondence, publications), information will also be given about the collectors, their backgrounds, motivations, and fieldwork.

The 102 cylinders recorded by Hans Helfritz in Yemen in 1930–31 and held by the Berlin Phonogramm-Archive represent a precious asset for the study of music of this country. They are the first large number of recordings of Yemenite music carried out in the field, just before the beginning of the first commercial recordings in Aden a few years later. Unlike the Aden recordings, Helfritz's represent mainly popular musical genres from the different tribes from the Highlands and Hadramawt, soldiers' songs, work songs, women's songs, and Jewish songs. As a first approach to this collection, I re-documented an anthology of a dozen of these recordings. I brought together as much information as possible from different sources in order to contextualize this music and its collection: Helfritz's biography, his books, his two main travels to Yemen and how he recorded music, and some considerations about Helfritz's contribution to the knowledge of Yemenite music. I consider the ambiguities of his orientalist vision and approach as an explorer more than as a musicologist, which contributed to the form and content of the collection itself. Finally, I bring up a few ethical considerations about these "captured sounds" and the future of this collection.

For some years now, there has been an intense and controversial debate about the relationship between the culture of memory and research into the consequences of colonialism, on the one hand, and the Holocaust, on the other. Michael Rothberg's concept of multidirectional memory and Nathan Sznaider's contribution to the debate on the vanishing points of memory ("Fluchtpunkte der Erinnerung") provide only a few of several examples. Using the recordings of the German-Jewish composer and ethnomusicologist Brigitte Schiffer, made at the oasis of Siwa in the Sahara in 1932/33, as a case study, the article reflects on the implications of this debate for dealing with the so-called Berlin School of comparative musicology. Beyond that, the article asks how the complexity of competing memory discourses affects current approaches and efforts of decolonizing archives and identifies perspectives and strategies for how to handle such collections today, especially regarding the chances and challenges of so-called recirculation.

Of the multidisciplinary cohort of scholars associated with the Berlin Phonogramm-Archiv in its formative decades, it is Robert Lachmann (1892–1939) who, in his approach to fieldwork and the importance he attached to it, comes closest to adopting the methods of classic ethnomusicology. In April 1935, having been dismissed from his post in the Prussian State Library under the Nazi racial laws, he took up a temporary appointment at the newly founded Hebrew University of Jerusalem with a mission to create an Archive of Oriental Music. He brought with him copies of his entire collection of some 500 wax cylinder recordings held in the Berlin Phonogramm-Archiv. Between 1935 and 1938, Lachmann made 956 recordings on metal disc documenting musical traditions of different "Eastern" communities of Palestine. His writings from this period, however, relied predominantly on research carried over from his Berlin years. The most substantial, and the first to be completed, is his monograph Jewish Cantillation and Song in the Isle of Djerba (Gesänge der Juden auf der Insel Djerba) based on his fieldwork in Djerba in 1929. In this contribution, I argue that Lachmann's pioneering study of this Tunisian Jewish community provided the methodological blueprint for much of his work in Palestine. I focus on his series of 12 radio programs, entitled "Oriental Music," transmitted by the Palestine Broadcasting Service between November 1936 and April 1937. The programs, which feature different groups living in or around Jerusalem, were illustrated by live studio performances by local musicians and singers, simultaneously recorded onto metal disc. In successive lectures, Lachmann presents fundamental ideas about the nature and evolution of musical practices and systems that are explored more fully in his Djerba monograph.
Thwarted by inadequate finances and lack of institutional support, Lachmann's work was cut short by his premature death in May 1939 and it fell to his former student, Edith Gerson-Kiwi, to pick up the threads of his project. His collecting activities, together with the comparative vision that informed them, laid the foundations for the work of subsequent generations of ethnomusicologists.

An Introduction to the issue "Music Making and Music Research in the Asia-Pacific Region in Times of COVID-19".

This contribution describes collaborative research designed and implemented by a team of three scholar-teachers: two of us in Indonesia and one in Virginia. After a year in quarantine, each of us was challenged by the inability to continue our own ethnographic research projects on religious culture in Indonesia and the limitations on international collaboration effected by the corona pandemic. Using zoom meetings for planning and 'virtual ethnography' as a method of data collection, our collaborative research investigates the challenges presented by the pandemic among practitioners of Islamic music and Qur'anic arts, and educators in Indonesia's Islamic universities. Three focused group discussions (FGD) in April and May 2021 brought together diverse voices on the effects of the corona pandemic on Islamic music, Qur'anic arts, and the social rituals where they normally occur. Open-ended questions allowed FGD participants to share their perspectives on the effects of the past year's quarantine protocol on the social, cultural, economic, artistic, and ritual aspects of daily life in Indonesia, and the various innovations and best practices that have developed during these challenging times. In addition to collecting qualitative data from community individuals, our FGDs also allowed various scholars and practitioners to converse with one another. The geographic and institutional breadth of our research team is extended by the variety of invited participants in our FGDs. They are artists, religious leaders, and academics from the areas of Jakarta, Yogyakarta, Surakarta, Semarang, Malang, Bandung, Medan, Padang, Banda Aceh, and Manado. Through this series of conversations and with innovative, collaborative research methods we are rethinking the parameters of ethnography at the intersection of society, culture, religion, gender, and the arts in Indonesia in the time of the corona pandemic.

This contribution details methodological adaptations of face-to-face ethnographic and participatory research approaches for the digital realm and examines emergent ethical concerns. It developed while a research team in Melbourne considered the implications of COVID-19 lockdown for their research on social connection through intercultural music engagement. Pursuing the proliferation of online music activity aimed at maintaining social bonds during the physical distancing of the first months of the pandemic, the team turned to digital platforms as the field of research. Projects included observation of audience engagement with YouTube music broadcasts during COVID-19 lockdown and a participatory action research project exploring asynchronous multitracking performance. The pandemic underlined the world's increasing interconnectedness, where social ties can span the local to the global. Through an appraisal of the research and consideration of existing discourse about online research approaches and decolonizing methodology, the article also examines the implications of global interconnectedness for interdisciplinary inquiry and the study of different cultural identities and their music and dance practice.

This essay centers on the sound- and music-based methodologies of the Marshallese Educational Initiative (MEI) in terms of "community-driven research" that began in the first year of the COVID-19 pandemic when the virus was taking a massive toll on the community. The MEI is a nonprofit based in Springdale, Arkansas, which is home to the largest diasporic Marshallese community in the continental US. The first part analyzes the MEI's COVID-19 informational materials on their website from an audiovisual perspective. Although mitigating the day-to-day consequences of COVID-19 took a necessary priority, the MEI educational programmers were determined to examine the long-term consequences of social distancing (as community disenfranchisement) in a transpacific context and the negative media representation of Marshallese regarding COVID-19 cases. Consequently, they came up with a project called "Songs of Our Atolls," that would facilitate intergenerational communication and combat negative stereotyping. The second part explores the "Songs" project from its inception to grant application to realization through the activism of Marshallese youth musicians (MARK Harmony). Based on interviews and my remote participation, I examine the studio-based outreach to elders through which the band engaged in conversations and intergenerational learning (through songs) in ways that maintained social proximity while keeping physical distance in culturally appropriate ways. The third part offers a critical assessment of potential directions for the "Songs" project, including bidirectional learning, that dovetails with part one of the essay, whereby the band would work on collaborative public service announcements with other youths and elders, which is a method inspired by Youth to Youth in Health (an organization in the Marshall Islands). My conclusion sums up the ethical importance of paying attention to sound and music in terms of communal health and situating these transpacific forms of culturally appropriate information dissemination and intergenerational learning in the broader diaspora.

In-person interactions were drastically altered in the unincorporated territory island of Guåhan (Guam) and the Commonwealth of the Northern Mariana Islands during the height of the COVID-19 pandemic in 2020. This article seeks to investigate how lålai (CHamoru chant) and music making are resurgent forms of sound-based cultural practices that can be understood as "narrative medicine." The latter has the potential to be a model for musical sensemaking, whereby Indigenous storytelling maintains connections among kin and heals from colonial trauma. Critically reflecting on a community grant film project entitled, "Tåhdong Marianas: Storytelling Across the Marianas," I explore how a young group of Indigenous CHamorus use the medium of film to adapt to the situation of COVID-19 while calling into question conventional parameters of fieldwork. I analyze how the privileging of work done by and for Indigenous people actively foregrounds the sonic potential of narrative medicine by focusing on the sensory experiences of island peoples to music in ways that undo the epistemic violence of Indigenous knowledge erasure and extraction.

The COVID-19 pandemic demands a re-examination of the ethics and practicality of research that relies on in-person interaction. After eight months of a planned year of on-site dissertation fieldwork researching the musical life of Toyama City, Japan, I returned to the US at the end of March 2020 due to the pandemic. I continued to correspond with local contacts, but even within a single city, not all are evenly connected online. I began carefully analyzing online materials to supplement my prior in-person experience and ongoing correspondence. Interpreting such media, representing different groups, demands careful attention to its varying production and engagement contexts. Furthermore, recordings and other online materials differ from the events they represent. In spite of these limitations, researchers already familiar with the events depicted may be able to tease out subtle clues indicating local sentiment, even from afar. In this article, I conduct a close reading of two videos posted on YouTube in 2021 as the pandemic continued to impact public music making in Toyama City: (1) a message and musical performance from chindon-ya performers scheduled to appear at the cancelled 2020 and 2021 National Chindon Competition in Toyama City and (2) a video of a lion dance performed as part of the 2021 Yatsuo Hikiyama Festival, which resumed in 2021 following its cancellation in 2020. This analysis demonstrates the potentials and limitations of ethnographically informed close reading and explores how prior in-person experiences with musical communities might inform subsequent close readings of online media depicting those communities.