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Cet article aborde la relation entre l’étude des musiques populaires et l’ethnomusicologie depuis un point de vue institutionnel et historique, avec une réflexion spécifique sur le contexte britannique où, depuis une vingtaine d’années, s’est affirmée l’hégémonie de la « nouvelle musicologie ». On évoquera également l’émergence des Sound Studies, qui embrasse des significations et une dynamique particulière au sein de ce contexte. Le statut épistémologique de l’ethnographie continue à faire l’objet de débats, révélant par la même occasion les limites de l’affirmation de Nicholas Cook selon laquelle « nous sommes tous devenus des ethnomusicologues ». Le sujet de l’ethnographie nous offre un point d’accroche intéressant dans la relation en constante évolution entre l’ethnomusicologie et les popular music studies.-------The article discusses the relationship between Popular Music Studies and ethnomusicology from an institutional and historical perspective, with specific reference to the UK and the “New Musicology” hegemony that has prevailed over the last couple of decades. It discusses, too, the arrival on the scene of Sound Studies, which has specific meanings and dynamics in this context. The epistemological status of ethnography continues to be debated however, revealing the limits of Cook’s (apparently) playful claim that “we are all (ethno)musicologists now”. The question of ethnography is useful to consider as the relationship between ethnomusicology and popular music studies continues to evolve.

Dictionnaire de la Méditerranée, sous la direction de Dionigi Albera, Maryline Crivello et Mohamed Tozy, en collaboration avec Gisèle Seimandi, Actes Sud, 2016, 1694 p., ISBN 978-2-330-06466-2., Imprimés, Dicomed-135, DicoMed : Dictionnaire de la Méditerranée

How has “the migrant crisis” affected musicology? What “edges” now appear, with what implications for musicology’s persistent call to historicize? This article suggests these have been more persistent questions than the current language of “crisis” might suggest. Taking some examples with the ongoing Syrian war as a backdrop, the implications of Mieke Bal’s injunction to “remember with” are explored as a route to thinking through the dilemmas of activism and compassion.

The current sense of crisis in the study of migration and music calls out for a broader contextualisation. The study of migrant culture, for a while, sat comfortably with a structural-functionalist culture concept emphasizing boundedness and stasis, figured as ‘transitional’, ‘adaptive’, evidence of ‘modernisation’ or ‘westernisation’. An orientation towards hybridity in the 1980s began to shake some of these certainties, even it kept others (the normative framework of the nation-state) in place. The article argues that work on refugees and diasporas at around the same time departed from them more radically. The current moment is one in which the final vestiges of language about migrant culture as ‘adaptive’ have been swept away, and in which the populist evocation of a migrant crisis at our gates has posed unsettling challenges. The article explores the tensions in the current literature between an emphasis on migrant creativity and survival, between mobility and motility, and between identity and citizenship.

In western Iberia, mechanisms that explain the transition from endorheic to exorheic continental-scale drainage reorganisation are foreland basin overspill, headwards erosion and capture by an Atlantic river, or a combination of both. To explore these controls we have investigated the Portuguese sector of the Douro River, the site of drainage re-organsation. The Douro River routes downstream through weak sedimentary infill of the Douro Cenozoic Basin (Spain), after which the river cuts down through granitic and metamorphic rocks cut by active fault zones (NE Portugal), before reaching the Atlantic coast. We investigated the drainage reorganisation using an integrated remote sensing, field survey and geochronological approach applied to Pliocene-Quaternary fluvial sediments and landforms. The older drainage record is documented by a series of high and intermediate landform levels comprising 1) a high level (1000-600 m) faulted regional fluvial erosion surface, the North Iberian Meseta Planation Surface (NIMPS); 2) an inset level (650-600 m altitude) comprising a broad fluvial surface formed onto a large ENE-WSW depression that overlies resistant ProterozoicandPaleozoic bedrock and 3) an inset (500450m) fluvial surface. The younger drainage record comprises an entrenched fluvial strath terrace sequence of up to 9 levels (T9 = oldest positioned at 246-242 m above the modern river base (a.r.b); T1 = youngest positioned at 17-13 m a.r.b.). Levels T1 and T3 display fault offsets where the cross active NNE-SSW fault zones. The three lowest terrace levels (T1-T3) were dated using optically stimulated luminescence (OSL) techniques using Quartz-OSL and post infra-red stimulated luminescence (pIRIR). Results ranged from 39-12ka (T1), 57ka (T2) and >360ka (minimum) (T3). Fluvial incision rates of the younger (terrace) drainage record were quantified and temporally exptrapolated to model the ages of the high to intermediate elevation levels of the early drainage record. Integration of incision data with fault zone derived crustal uplift values informs on the timing of the endorheic to exhoreic drainage reorganization. We interpret the NIMPS to be part of the endorehic Douro Cenozoic Basin drainage divide erosion. The inset wide fluvial surface at 650-600 m altitude represents the overspill level in the area of the Mesão Frio ridges (drainage divide with the Atlantic drainage). Development of the exhoreic ancestral Douro valley is documented in the 500-450 m fluvial surface with our age and uplift modelling suggesting this became established during the upper Pleistocene (3.6 Ma) through to the Early Pleistocene (1.8 Ma). The entrenched river terrace sequence spans the Pleistocene, developing via spatial and temporal variations in rock strength, uplift and cyclic cool climate variability as the river adjusts to the Atlantic base level.

Many if not most societies believe that good music produces good citi- zens. In the Western tradition, we have been familiar with the idea since the time of Plato. The idea is an enduring one, certainly very much alive today. Many societies, over history, and across the world, have also believed that good music needs to be in the hands of the right people, because the dangers of bad music are obvious to them. Music can lead people astray; it can upset the natural order of things. Whose job is it to appoint the musicians, though? Who is to regulate what they do? The picture Plato paints is, as many have noted, an authoritarian one (Nussbaum 2003). It relies on the intellectual elites, and strong rulers. It relies the willingness of these elites, of these rulers, to purge the republic of its artistic troublemakers, and to censor those who displease them.

This study of Maftirim, a paraliturgical musical suite sung by men in Istanbul synagogues on Saturday afternoons, is a valuable addition to a growing literature on the cultural life of minorities in Ottoman Turkey and the modern Turkish Republic. Music, Maureen Jackson shows, has been vitally important to Jewish community life and to its sense of a past and a future. It also mediates the community's relations with its neighbors, in particular Istanbul's Greeks, Armenians, and the Muslim majority. Reading about Maftirim, we learn important things about the cultural and political choices the Ottoman and early Republican Turkish minorities faced; about recreational life in Istanbul's coffee shops, meyhanes, and gazinos; and about the religious politics and ersatz cosmopolitanism of Recep Tayyip Erdoğan's Turkey today. This book is elegantly written, deeply researched, and beautifully illustrated. It achieves a great deal in its five short chapters.Recent years have seen growing scholarly interest in …