In 1984 a group of Dutch ethnomusicologists and performing artists joined forces to establish a society, the Nederlandse Vereniging voor Etnomusicologie ‘Arnold Bake’. Since 1986 it has functioned as the Netherlands Committee for the International Council for Traditional Music (ICTM). The members of this society meet on a regular basis, and a modest newsletter, Etnomusicologen Nieuwsbrief, containing short papers and reports, keeps them informed about the various activities that take place. Much has happened in our field since 1984, and not only in Holland. The rise of world music may be considered one of the major developments in the musical life of today’s multi-cultural cities. Should the present-day ethnomusicologist remain a passive observer of these developments or should he participate, play an active role? Like many of our colleagues abroad we often wonder whether we should simply replace the term ethnomusicology by musicology, and world music by music.
By choosing the title Oideion; The performing arts world-wide, we obviously avoid the issue of terminology and wish to emphasize that the scope of Oideion is broader than music alone. It also includes dance and theatre from different parts of the world. Although Oideion aims at making the work of Dutch scholars accessible to a readership outside the Netherlands, it is by no means restricted to Dutch scholars.
The Oideion Journal appeared only 3 times and at irregular intervals. Below are the OCRd scans of it.
Table of contents:
HANNE M. DE BRUIN: ‘Texts’ and the authors of an oral tradition
MARJOLIJN VAN ROON: From Bandung to Berlin: The correspondence between Jaap Kunst: and Erich Moritz von Hornbostel, 1923 to 1936
BOUDEWIJN WALRAVEN: Stirring sounds: Music in Korean shaman rituals
SIMON COOK: Parallel versions of tembang Sunda melodies in different tunings
CLARA BRAKEL-PAPENHUYZEN: Historical visual documents of Javanese theatre and dance; An evaluation of their usefulness
MARJOLIJN VAN ROON: Ethnomusicology in the Netherlands; The pioneers
WIM VAN ZANTEN: Ethnomusicology in the Netherlands, 1960 – 1995; Some general trends
PETER VAN AMSTEL AND HUIB SCHIPPERS: World music and music education in the Netherlands
MARJOLIJN VAN ROON: Jaap Kunst, government musicologist; An unusual incident in the colonial political history of the Netherlands East lndies
FRANK KOUWENHOVEN: Ate Doornbosch: a lifetime dedicated to Dutch folk songs; Four decades of ‘Onder de groene linde’
ROKUS DE GROOT: The concept of extended modality in recent works by Ton de Leeuw
BART BARENDREGT: Written by the hand of Allah; Pencak silat of Minangkabau, West Sumatra
PAULA R. Bos: Reviving the foi meze; Vanishing music in Rowa (Flores, Indonesia)
HENRICE M.VONCK: The music of the North Balinese shadow play; The dramatic function of gender wayang in Tejakula
AMRIT GOMPERTS: Tunings, tone systems and psychoacoustics of Sundanese, Javanese and Balinese music
WIM VAN ZANTEN: Notation of music; Theory and practice in West Java
EMMIE TE NIJENHUIS: Traditional techniques of composition in South Indian music; Preliminary research
REMBRANDT F. WOLPERT: Toward a practical grammar of togaku
ANTOINET SCHIMMELPENNINCK AND FRANK KOUWENHOVEN: Female folk singers in Jiangsu, China
MARJOLIJN VAN ROON: Three thousand years old, but very alive: the guqin; An interview with Dai Xiaolian
MARK VAN TONGEREN: A Tuvan perspective on throat singing
ETHNOMUSICOLOGICAL COLLECTIONS IN THE NETHERLANDS
KI MANTLE HOOD: The musical river of change and innovation; The fourth John Blacking Memorial Lecture, ESEM, Rotterdam, 14 September 1995
EVERT BISSCHOP BOELE: Teaching a multimusical soundscape; Non-Western music in Dutch basic education teaching materials
JEROEN DE KLOET: To seek beautiful dreams; Rock in China
JAN VAN BELLE: Dafsaz in Tajik Badaxshan; Musical genre and rhythmic pattern
HANNE M. DE BRUIN: What practice? Whose practice?
MATTIIEW ISAAC COHEN: Details, details: Methodological issues and practical considerations in a study of Barikan, a Cirebonese ritual drama for wayang kulit
HAE-KYUNG UM: Food for body and soul; Measuring the dialectics of performance