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2006 - American Studies Association Words: 195 words || 
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1. Lauter, Paul. "Songs of Innocence and Songs of Experience" Paper presented at the annual meeting of the American Studies Association, <Not Available>. 2020-02-22 <http://citation.allacademic.com/meta/p113973_index.html>
Publication Type: Conference Paper/Unpublished Manuscript
Abstract: I came to Berlin in the mid-70s as part of a women's studies network to teach texts like Toni Morrison's Sula--an extraordinarily obscure book for most of my students. I had no theory at all about "internationalization" and the like. I just wanted to bring the word about African-American women writers to students who were unlikely to have encountered them. When I returned, after the Wall had fallen, I was lecturing to an auditorium filled with teachers and the idea was still to bring to them ideas about minority writers in the US and a little theory--about canon formation, not internationalization, transnational flows of ideas, American hegemony, and the like. Yet, in both situations I was well aware of the politics of American power--after all, I had been in a leadership position in the anti-(Vietnam) war movement, had been a peace secretary for the American Friends Service Committee, and had written the SDS pamphlet encouraging young men to be conscientious objectors. What I want to talk about is the disconnect between what I knew about power and international politics, on the one hand, and my teaching practice, on the other.

2010 - ISME World Conference and Commission Seminars Pages: unavailable || Words: 2370 words || 
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2. Wu, Yueyue., Zhang, Qiong. and Ling, Xiaoying. "Carrying Forward and Developing Traditional Folk Songs in Primary and High School: Hua-Yao Folk Songs" Paper presented at the annual meeting of the ISME World Conference and Commission Seminars, China Conservatory of Music (CC) and Chinese National Convention Centre (CNCC), Beijing, China, Aug 01, 2010 Online <PDF>. 2020-02-22 <http://citation.allacademic.com/meta/p405413_index.html>
Publication Type: Full Paper
Review Method: Peer Reviewed
Abstract: Hua Yaol folk song is the star of Chinese traditional folk music. Created by the Hua Yao people, it mirrors of Hua Yao people’s life style of hunting and farming; positive activities as a basis for their abundant folk songs handed down from generation to generation. This paper was based on sorting of the Hua Yao folk song and identifying artistic traits. The intention was to collect and utilize local resources of music courses to form a music course system with local and folk features as a way to help students understand the value of folk music and to develop an aesthetic idea of music included folk music and modern music. The paper provided an educational model of carrying forward and developing traditional music culture for schools as the leading action in the process.

2016 - Association for Jewish Studies 48th Annual Conference Words: 351 words || 
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3. Yoreh, Tzemah. "The Heart of Love: Structure and Meaning in the Song of Songs" Paper presented at the annual meeting of the Association for Jewish Studies 48th Annual Conference, Hilton San Diego Bayfront Hotel, San Diego, CA, Dec 18, 2016 <Not Available>. 2020-02-22 <http://citation.allacademic.com/meta/p1159116_index.html>
Publication Type: Individual Paper Proposal
Review Method: Peer Reviewed
Abstract: As early as the second century of the common era readers of the Song of Songs have been divided into two camps: those who understood it as a collection of love songs between a shepherdess and her paramour and those who understood it as an allegory for God’s relationship with Israel. This either / or understanding of the book is a methodological heuristic, a residue of dichotomous thinking that blocks consideration of the Song of Songs from more nuanced perspectives. In this paper, I will attempt to show how the allegorical reading of the book accurately captures one of the intentions of the author (but definitely not the only intention), and that the way in which he conveys it is through the parallel structure of the book.

Why would this way of reading the book be revealed through the structure? The Song of Songs is full of phrases and concepts that appear twice or four times, rather than three or five times. This datum would imply the author or compiler of this book organized his book with some parallelism or symmetry in mind. The atypical reciprocity between the male and female lover evident in the repeated phrase, I am to my lover and my lover is to me (Song of Songs 2:16; 6:3), is also evidence of this parallel construction.

The techniques of parallelism and symmetry serve to highlight ideas through repetition, but these literary structures also reveal additional facets of the text. In this paper I will endeavor to demonstrate that the Song of Songs was organized in a partly parallel and partly symmetric structure and that it is only through reading the pairs of passages together that one can fully appreciate that the author intended. I will claim that the careful reader is asked to conceive of the male lover as God and the female lover as Israel on many occasions, though that was not the only goal of the author. I will argue that ultimately the Song of Songs is a re-reading of the Creation myth of Genesis 1-11, accessible through an understanding of the book’s structure.

2006 - American Studies Association Words: 427 words || 
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4. Tachi, Mikiko. "Localizing Protest Songs: American Folk and Topical Songs in Japan in the 1960s and the 1970s" Paper presented at the annual meeting of the American Studies Association, Oct 12, 2006 <Not Available>. 2020-02-22 <http://citation.allacademic.com/meta/p114438_index.html>
Publication Type: Conference Paper/Unpublished Manuscript
Abstract: My paper examines the ways in which Japanese folk singers and activists localized American topical songs and folk songs of protest in the 1960s and the 1970s. Songs that were “topical” in the U.S. and those that protested against U.S. domestic and foreign issues were reinterpreted and remade into songs that addressed the issues in Japan. Drawing sources from testimonies and memoirs of Japanese folk singers and fans and activists, recordings, song lyrics, and newspaper and magazine articles on the issues and the music, this paper reveals the process by which Japanese folk singers and activists made meanings of American folk songs and used them in their social movements.
American folk songs were imported to Japan in the early 1960s, and they soon became popular mostly among middle-class young men and women. During the early period of the importation, American folk songs were primarily commercial, depoliticized music that were consumed as part of American popular culture; newly emerged Japanese folk singers copied and imitated American “originals.” Toward the late 1960s, however, Japanese folk singers began to focus on political songs and started making songs in Japanese; folk songs were both politicized and localized by the end of the 1960s and the early 1970s.
The paper is directed by two major questions. First, how did Japanese folk singers and fans make American topical songs “topical” and relevant to them? For example, among the songs that were translated into Japanese and widely appreciated in Japan were “Little Boxes,” “Waist Deep in the Big Muddy,” and “Masters of War.” Testimonies and memoirs will reveal how Japanese folk singers and audiences understood the American topical songs that had initially emerged from U.S. issues, and adapted them to fit their ideas of the Japanese situations. Japanese’ memories of World War II will also be discussed particularly in regard anti-Vietnam War songs.
Second, why did the Japanese activists pick American folk music as opposed to other genre in expressing their dissent? In particular, the role of the image of “protesting American folk singers” as exemplified by widespread image of Joan Baez attending a demonstration will be discussed in relation to the Japanese activists’ ways of borrowing American idioms in their struggle for the anti-nuclear, anti-military, and student movements (especially concerning the ratification of the Treaty of Mutual Cooperation and Security). Altogether, this study not only clarifies the localization process of American folk music in Japan but also serves as a case study to underscore the flexibility of the meanings of cultural products as they cross borders.

2010 - ISME World Conference and Commission Seminars Pages: unavailable || Words: 1717 words || 
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5. Akuno, Emily. "What’s in a Song? Exploring the Analytical-Creative Learning Process in Indigenous Kenyan Children’s Songs" Paper presented at the annual meeting of the ISME World Conference and Commission Seminars, China Conservatory of Music (CC) and Chinese National Convention Centre (CNCC), Beijing, China, Aug 01, 2010 Online <PDF>. 2020-02-22 <http://citation.allacademic.com/meta/p397304_index.html>
Publication Type: Workshop/Demonstration
Review Method: Peer Reviewed
Abstract: Past research on indigenous Kenyan children’s songs focused on content and its usage for music and cultural education (Akuno, 1997; Andang’o, 2009). These songs were found to be a rich source of information for the acquisition of music knowledge and development of skills, proving to be useful material for multi-cultural education. They were found to be particularly useful in enhancing learning in environments with learners of mixed-cultures. Song, as a phenomenon, is recorded to be a powerful tool for communication. As music, it is a catalyst for behavior change. Abundant in children’s daily experiences, it is an accessible tool for education. Following the development of the Rhythm-Interval Approach (Akuno, 1997) for teaching music to 6 – 8 years old children, this workshop proposes to explore the analytical-creative learning process inherent in children’s music performance as a tool for facilitating transformative education. The principles behind the process are drawn from qualities of indigenous children’s songs. They are explored, leading to a 5-step procedure that uses the song material for skill and concept development. It is aimed at encouraging and enhancing learners’ participation in listening, performing, and creating music through the application of what they derive from the experience of music.

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