話說自從上回「百歲醫生訓練法」遭到小 Zoe 「我病，所以我哭」打敗之後，我們夫妻倆又與這個小傢伙奮戰了將近兩個禮拜 (前情請看有女萬事足以及小 Zoe 不舒服了兩篇)。但是情況不但未見好轉，反而這位小格格連白天原本長長的睡眠時間都越來越短，真的是從「晚上不睡覺、白天不起床」演變為「晚上不睡覺、白天照哭鬧」，讓我們夫婦真的是很頭大。
本姑娘又來啦！
今天終於到了一個月回診之期，要去見 Zoe 的小兒科醫生。自認已經試過各種方法讓小女健康、安靜又乖巧新手父母，準備好好的烤問這位醫生，到底小 Zoe 身體有沒有問題，或是這位醫生到底查不查得出是什麼問題？
小兒科診所的外觀（今日大風，此照片為兩週前拍的）
好啦，到了診所，照例量了身高體重之後，又等了約 5 分鐘，這位布雪醫生 (Boucher, MD) 才搖搖晃晃的進來。
（以下為部分對話的中文概譯）
本人：醫生啊，我們家小孩哭鬧越來越厲害了，本來是晚上才哭，現在連白天也開始哭了。我們藥也都吃了，按摩也做了，尿布也換了，飯也認真吃了，但是還是不知道為何情況越來越嚴重……我們之前有點擔心不知道是不是奶水不足，還多準備了配方奶，可是她也不太吃…..（以下省略數分鐘…）
布雪：嗯…你們家小孩長得很多啊！短短一週，就又長了一磅多…* 其實一定是吃得很夠的，你們絕對不用擔心吃不飽的問題，也不需要去買配方奶。
*（註）小 Zoe 出生時為 7 磅 13 盎司，目前為 10 磅 10.5 盎司，也就是說，四週的時間長了約 1300 公克。
本格格可是越來越大隻了！！
本人：是喔… 可是她晚上哭鬧的問題怎麼辦呢？吃藥也不見明顯改善，而且她睡眠時間越來越少…
老爸，別亂說，我偶而也還是有睡的啦！（在安全座椅上睡著也算嗎？）
布雪：睡眠時間越來越少是正常的，目前四週大的嬰兒每天約睡 10 到 15 個小時，根據個別的情況有所不同。你也不能強迫他們睡，他們想睡就會睡了。所以是正常的。
本人：可是，一般新生兒不是一天要睡 20 個小時左右嗎？
布雪：那是剛出生….你的小孩已經四週大了，所以是正常的…
本人：可是她都一直哭…
布雪：哭就是他們的現在的工作啊，小嬰兒就是會哭。他們覺得無聊會哭，有需求會哭，餓了會哭，有時候想哭也會哭，所以這是很正常的…
本人：可是她看起來很痛苦喔，腳一直蹬，手也會亂抓，臉上還露出痛苦的表情…
本格格真的哭的很慘，慘到不願意見人...
布雪：每對父母都覺得他們小孩哭的時候看起來很痛苦…不用擔心，那很正常….
本人：那哭太久會不會有問題呢，她可以哭超過兩個小時呢….
布雪：每個小孩都不一樣，就讓她哭。要讓她哭多久，其實取決於父母可以忍受多久…況且，有在哭，就代表還在呼吸，不是嗎？
本人：她的臉上還長了一些紅疹子，還越來越多…
布雪：那是嬰兒常見的疹子，也是正常的，不用理會它…
本人：（很不死心的）妳都一直說正常，可是小孩子就是一直哭…到底需不需要作進一步的檢查呢？
布雪：（帶著微笑）不用擔心，我們的工作就是判斷正不正常，如果我覺得需要進一步檢查，一定馬上就會作。倒是我看你這麼憂慮，可能反而是父母會需要醫生了…（說笑的口吻）..
本人：那她到底有沒有可能會是腸絞痛 (Colic) 呢？
布雪：所謂的腸絞痛，在我看來，其實就是「嬰兒未知原因啼哭」的代名詞罷了。所有的藥物，其實都只能很有限的舒緩症狀，而且這些症狀一段時間之後就會自然消失，所以那很正常，不用擔心。可以試試找出讓小孩感到舒服的作法，例如吹風機、吸塵器的聲音…我的一個朋友，她小孩一直哭，哭到受不了，她就把小孩丟著去洗澡，沒想到小孩一聽到水聲，立刻停止哭泣；另一個例子，是一個爸爸，開著車跑到另一個城去買咖啡，小孩也就很滿意的不哭……
本人：(很微弱的…) 可是小孩還吐奶…
布雪：吐奶更正常啦…常常有小孩到這邊吐得我衣服都濕了呢…
本人：(還在掙扎…) 有個醫生說她可能有鵝口瘡…
布雪：這個完全沒有問題，她好好的。對了，你們不要再讓 Zoe 戴手套了，小兒科醫生們都討厭這項產品。應該要讓小孩子把自己的手露出來，一方面讓他們手可以自由活動，方便探索這個世界；另一方面，他們也會自己用手安慰自己。
本人：他們會抓傷臉…
布雪：沒有關係，就讓他們自己好。就像疹子一樣，新生嬰兒需要讓自己的皮膚適應這個世界，這世界有太多的東西對他們而言都是嶄新的。所以就讓他們自己體會、調適。寧願他們有抓傷，也不要把他們的手綁住 (本人後來想想，這還真有些哲理…)。抓傷也不用擦藥，自己就會好…好啦，可愛的小 Zoe ，可以跟爸爸回家啦，妳看爸爸多擔心妳啊….
本人：(只能說) 多謝啦，醫生。
布雪：bye bye，下個月見！
最後，本人只能垂頭喪氣的 (但心裡還是因為小孩沒什麼事而高興) ，提著安全座椅，帶著小格格冒著強風，在零下 11 度的溫度下，回到了家中。
好吧，看來跟小 Zoe 作息的奮戰，還要繼續下去……
Tags: Baby Dr., Colic, Pediatricics, 嬰兒, 嬰兒哭鬧, 嬰兒漲氣, 嬰兒睡眠, 小兒科, 美國, 腸絞痛, 食道逆流
這是一段由 Deane H. Dickason 在 1931年用 16 釐米攝影機所拍攝的中國北京的紀錄片，名為 Ghosts of Empire – Peking (暫譯：北京 – 帝國餘魂)。裡面記錄了在 1930 年代北京的日常生活，內容包括市集、街道清掃、理髮、溜鳥等等…當然，這段記錄片所呈現的，是一個西方凝視下的中國，一個透過西方殖民之眼所看到的中國。撇開這個更為嚴肅的議題，至少可以在其中看到一些「片段的真實」。
Peking – Ghosts of Empire 1931
不過，影片中更為吸引我的，是中間有一段一個單獨的街頭藝人的偶戲表演（4’14″ – 5’19″）。影片中可以清楚的看到，該名藝人肩挑扁擔，前方吊著的是一布圍的木製小型四角棚舞台，並由一根木頭支撐。扁擔後挑的像是一個鐵籠，裡面裝的應該就是戲偶道具等等。這個形貌，和李斗在《楊州畫舫錄》中的描述相當類似：
「……又圍布作房，支以一木，以五指運三寸傀儡，金鼓喧闐，詞白則用叫顙子，均一人為之，為之肩擔戲。……」（卷十一 – 虹橋錄下 – 39 條）
雖然在影片中無法聽到是否有金鼓喧闐，也沒有辦法聽到其「叫顙子」的聲響為何，但其影片中的表演，的確像是肩擔戲模樣。（事實上，既然由一人操演，如何能夠金鼓喧闐，也令人好奇。或許可以從中國四川的「被單戲」或是湖南的「肩擔戲」表演中看出）
看了這段影片，不由令人聯想台灣布袋戲的歷史，不知早期布袋戲藝人「一人口白、雙手撐偶」的街頭演出，是否也就是類似這等模樣？
＃題外話，目前所知，台灣的布袋戲發展到 1930 年代末的皇民劇時期，就已經出現用唱片播放，使用歐美古典音樂與日本音樂的形式了。也由於吸收了人劇的表演形式、劇目與音樂，也早已形成劇團制度。像影片中這樣的表演形式，在1930年代的台灣可能極少或甚至不復存在。而台灣一些早期的紀錄片中，不知有否紀錄相關的影像…（至少最早由日人高松豐次郎在1907年所拍攝的《台灣實況の紹介》內應該是沒有的）如果有任何識者知道相關訊息，也煩請告知…
這段影片來自 Youtube 上的 The Travel Film Archive 頻道，裡面有關於世界各地，攝於 1900 到 1970 年代的紀錄片，有興趣的朋友也可以過去看看。其官方網站為
http://www.travelfilmarchive.com/。
這個頻道中關於東亞的影片還有：
Forbidden City 1940s
Peking – The Imperial City 1930
Manchukuo (Manchuria) 1938
Shanghai 1947
Hong Kong, Gateway To China, 1938
Hong Kong – Franconia Around the World, 1930s
Tibet – Land of Isolation 1934
Bits of Life In Japan 1920s
Japan – The Island Empire 1932
Japan In Cherry Blossom Time 1932
Siam To Korea 1931
其它的影片，可以自行到該頻道搜尋、觀看。
Tags: 20世紀初期, budaixi, Chinese theater, documemtary, 中國, 中國戲曲, 偶戲, 布袋戲, 日本, 民國時期, 紀錄片, 街頭藝人, 韓國, 香港
Tufts University
Part-Time Position in African Traditional Performing Arts Instructor
The Department of Music at Tufts University announces a part-time position as an undergraduate instructor of African traditional performing arts (primarily song, instrumental music, and dance) to teach performance ensemble courses that culminate in performances by students. We seek an expert teacher/performer of African traditional performing arts with extensive familiarity with the perspectives of born-in-the-tradition culture-bearers. Excellence in performance and teaching of performance is required. Experience in teaching and performing with beginning students in the African traditional performing arts is preferred. The successful candidate must show promise for successful collaboration with members of the full-time, tenured-track faculty of the Music Department, particularly those whose area of expertise is the ethnomusicological study of traditional African performance arts from Ghana.
Review of applications begins February 5, 2010 and continues until the position is filled. Please send a cover letter, CV, three letters of recommendation, and documentation of recent performances (such as audio or video recordings, program notes or other writings) to African Traditional Performing Arts Search, Department of Music, Perry and Marty Granoff Music Center, Tufts University, 20 Talbot Avenue, Medford, MA, 02155.
Tufts University is an Affirmative Action/Equal Opportunity employer.
We are committed to increasing the diversity of our faculty. Members of underrepresented groups are strongly encouraged to apply.
Tags: Job announcement, part-time, Tufts University, 兼任, 民族音樂學
Here is the information of a composer-in-residence fellowship at this year’s soundSCAPE Festival in Maccagno, Italy. It comes with a commission, plus travel expenses, accomodation, and meals. See the link below:
http://www.soundscapefestival.org/cir.html
Tags: composer, fellowship, 作曲獎助, 助學金, 獎學金
常聽人言，「有女萬事足」。古往今來許多大大小小的故事、例證，似乎也反覆提升了這句話的強度。就在 09 年末一個大雪紛飛的日子，我們也終於加入了「有女」的行列。有女在家，可述說的事情萬萬千千，淚水、汗水、笑到流口水的事件也如「滔滔江水，綿延不絕」。不過，這篇就專門來談談「萬事足」的部分吧。
本小姐來到世上的第一天，我可要好好觀察你們
當然，在讀者諸君往下讀之前，我要先強調，有了小女的確為我們帶來心理上無限的滿足，也有非常的歡樂喜悅，無庸置疑。（Zoe，有文為證，有了妳我們真的很滿足！）
全家福
不知道其它「有女」階級是不是都感到「萬事足」，但我想至少目前為止我們都是「睡眠不足」、「時間不足」，這兩天更被嚴重的擊潰防線，讓我們也「自信心不足」！
拍勢啦...
從小女誕生的前一天起，連續五小時以上的睡眠就已經頭也不回，悄悄地離我們遠去了… 由於生產過程相當艱辛（此篇留待後續），從午夜開始一直到隔天下午小女「面世」之前，就幾乎沒有打盹的時間。等到萬苦千辛的媽媽將小女生出來之後（嚴格地說，是挨了一刀後，由醫師抓出來的），想說可以好好休息一下了吧？NO NO NO，我們待的不只是全美排得上名的 Baby-Friendly 醫院（醫院官網說全美只有 44 間，不過今年好像有新增不少），也是母嬰同室並強力鼓勵母乳親餵的醫院。（以學術用語來說，就是以新生兒需求為中心取向的醫院，哈）因此，推到房間後，除了看看寶寶，護士幫寶寶洗了第一次澡後，立刻就問：「要不要餵寶寶？」好吧，誰能說不要呢？偏偏在一旁乾著急的老爸全不具備這項重要事業的基本條件，就這樣，剛剛才挨了一刀的老婆大人，貢獻出了營養豐富的初乳。自此以後，我們的生活就陷入了：「哺乳 – 換尿布 – 逗寶寶兼傻笑兼拍照 – 逗太嚴重導致哭泣後的安撫 – 哄寶寶睡覺」的循環當中。
肚子餓了！快開飯！
吃飽了就要痛快的玩！
玩累了，就該滿足地睡啦！
由於醫院要求「基本上」要每兩個小時餵一次，所以我們家小女無論日夜，好像都一直在吃吃吃。雖然我們已經將哺乳時間偷偷地調整為 3 小時一次，但每次 30 分鐘左右的「用餐時間」，15 到 30 分鐘的「餐後娛樂」，加上「起床氣」與「睡前盧」的時間，我們中間可用來睡覺的時間可就寥寥可數了。幾天下來，不要說什麼讀書大業、博士論文，就連去辦理一些生活瑣事都找不到時間，我家太座的月子大業，也因此就縮了不少水。在這樣的情況下，我們夫婦倆每天都處於睡眠不足的狀態，也都沒有足夠的時間處理其它事情。心裡只能一方面慶幸現在是寒假期間，還不用去工作；另一方面就想著：所有的人、書都鼓勵說，這樣的日子撐幾個月就過去了，我們就跟大家一樣，撐一撐就行了。
看我這麼可愛，你們還不撐著點？
然而，經過幾天的操練，兩對熊貓眼在對視許久後，終於決定祭出百歲醫生訓練法，強調「是寶寶搬去跟我們住」，而不是「我們搬去跟寶寶住」，開始制定一套生活常規作息表，試圖取回一些我們自己的生活空間。我們訂定了每四小時用一次餐的時間表，讓我們家小格格照著這個時間表作息。前幾天進展十分順利，白天基本上一切正常，小女很少哭鬧，照著作息吃、玩、睡，除了晚上偶而使使小性子以外，美好的光明似乎就在眼前。看著記錄本上 3 am – 7 am – 11 am – 3 pm – 7 pm – 11 pm 的用餐記錄，我們的嘴角都不自覺地浮起了得意的笑容。為人父者還大聲宣稱，「百歲醫生真有效，還我時間！」
哼哼...有你們想的那麼容易嗎？
誰知，就在昨天，峰迴路轉，我們家聰明的小靈精似乎察覺了父母的意圖，這個從小就有主見的孩子（真的是從小！），決定絕地大反撲！首先，Zoe 進行了晚上不睡覺運動，到了晚上就瞪著大眼睛，難以哄睡。即使入睡，睡眠也很淺，往往我們前腳離開她的房間，後腳哭聲就來。嬰兒的哭聲真的是最佳的武器，為人父母者，未能有不心酸不忍者。或許是抗議我們前兩天為訓練而讓她在黑暗中哭了幾十分鐘後入睡的舉動，Zoe 更採取了「哭不停」政策。千萬不要低估小孩子的能力，書上寫什麼哭 15 到 45 分鐘均屬正常，我們家小格格可奉送一倍有餘的時間。這一政策相當有效，大大地動搖了我們的信心，讓我們開始擔心是不是身體有什麼不適？開始尋找可能的原因。這時，Zoe 更進一步的使用「我要更常吃」的招數，將我們的辛苦建立的常規徹底擊碎。比較起前幾天井井有條的作息表，現在的作息記錄可說是慘不忍睹。這位小格格在取得了吃飯的主導權後，再使用一招「只有睡在父母中間才要睡」的絕招，將我們打得丟盔棄甲，潰不成軍。小格格至此大獲全勝，心中得意之情溢於言表，這點可以從她得逞後嘴角不時浮現的微笑得到印證。
哈哈，微笑不給你們看，我要得意的大笑！
誰說「有女萬事足」？本人第一個敲他的頭。有女很幸福是事實，我們夫婦倆也都很快樂、滿足。但是，是不是真能萬事足，就還要看接下來我們反攻戰役的結果了！
好啦，爸比媽咪，讓我說聲對不起！你們辛苦了...接下來還有幾十年，你們就多擔待啦！
更多 Zoe 的文章，請至熊鳥同巢部落格觀看！
Call for Submissions:
Current Musicology invites submission of new research in the fields of historical musicology, ethnomusicology, music theory, popular music studies, media and technology studies, cultural studies, music education, and related fields, in keeping with a long tradition of interdisciplinary publication in all fields of musicology. The editors especially encourage submissions from graduate students and other scholars early in their professional careers.
Please write to the editors at current-musicology@columbia.edu to submit manuscripts or to ask specific questions. For more details see our website:
http://music.columbia.edu/~curmus/
Current Musicology is a leading forum for research in all areas of music scholarship, seeking to reflect the breadth and diversity of approaches and topics that characterize contemporary music research.
CM was founded in 1965 by graduate students at Columbia University as a semiannual review that would primarily serve the needs of musicologists who are about to undertake, are presently engaged in, or have recently completed their graduate studies.
Tags: Current Musicology, 徵稿, 當代音樂學, 轉貼
MUSIC AND MONEY: Examining Value in Music
Columbia Music Scholarship Conference 2010
The Columbia Music Scholarship Conference invites graduate students to submit abstracts to be selected for presentation at our seventh annual meeting, which will take place on March 6, 2010 at Columbia University. We are soliciting proposals from scholars active in all fields related to the academic study of music. If relevant to the conference topic, proposals are also welcome from scholars in other disciplines within the humanities and social sciences, and from students in the fields of arts administration and music education.
The current global economic crisis has significantly impacted the financial health of institutions devoted to the production, dissemination, study, and performance of music, as it has also affected individual artists and arts organizations as a whole. This situation, coupled with the dramatic restructuring of the recording and publishing sectors in the wake of information age advances, makes a discussion of music’s relationship to economics particularly pertinent. How does economics affect musical activity, and how does musical activity affect economics? In what ways can the value of music be understood and measured, both quantitatively and qualitatively? Studies of the complex relationship between music and economics could encompass multiple approaches focusing on a wide range of historical periods, cultures, societies, and various forms of musical activity, including composition, publication, distribution, performance, consumption, and mechanical reproduction. Historical, biographical, sociological, textual, philosophical and ethnographic methodologies, to name just a few possibilities, have much to contribute to these studies.
Possible topics include, but are not limited to, the following:
changing sources of musical patronage; reflections of monetary and economic issues in the content of musical works; the nature and value of celebrity; the relationship of musical activities to socio-economic structures in different times and places; socio-economic status of musicians; the place of musical and other artistic institutions in economic theories; music and class distinctions; music and globalization; cultural critiques of music’s relation to finance and business; relationships between the music industry and non-musical, even non-artistic, industries; connections between the economic value of music and related explorations of its cultural, historical, political, and/or aesthetic value.
Proposals/Abstracts: Abstracts of 250 words, including a title, should be submitted electronically by December 11, 2009 to:
musicandmoney2010@gmail.com. Please include your name and contact information in your email only, and attach the abstract as a Word, text, or .pdf file. The committee will select papers anonymously.
All scholars who submit abstracts will be notified of the committee’s decision by December 22, 2009.
Tags: CFP, Columbia University, conference
::: CFP : Special issue of Dancecult: Journal of Electronic Dance Music Culture ( http://dj.dancecult.net )
::: Title: Producing EDM
::: Guest Editor: Dr. Eliot Bates (University of Maryland, College Park)
::: Deadline for completed submissions: May 1, 2010
The third issue of Dancecult, the open-access peer-reviewed journal on electronic dance music cultures, will focus on producers and the production of electronic dance music.
::: Producers and production is broadly conceived to include:
The production/creation/composition of dance music in recording studios Visuals production (e.g. VJing, liquid lights) The development, use, and transformations of technologies, musical instruments, software, interfaces, and computer hardware related to dance music and visuals production Event production and organization
::: A constellation of theoretical questions motivate the production of the present volume:
What is production, and how does electronic dance music production relate to creative work and production in other musical styles and cultural contexts?
Revisiting Negus and DuGay’s expression “cultures of production / production of culture,” what exactly is produced in EDM production?
Also, what are the cultures of EDM production?
To what extent are emergent genres fruitfully analyzed as a product of changing sociotechnological systems?
How are different forms of virtuality (virtual communities, online distribution, social media) affecting the situatedness of production?
We encourage the submission of articles that deal with topics of production in geographically and/or generically diverse milieus. In addition to feature articles and interviews, we encourage submissions of shorter, deeply ethnographic works with a strong multimedia component to the From the Floor section. These could include, for example, a studio production ethnography, a study of the organization of a single event, or a focused analysis of an online community of EDM producers.
Besides this special issue, we also welcome submissions of articles related to any aspect of electronic dance music cultures.
::: About Dancecult:
Dancecult is a peer-reviewed, open-access e-journal for the study of electronic dance music culture (EDMC). A platform for interdisciplinary scholarship on the shifting terrain of EDMCs worldwide, the journal houses research exploring the sites, technologies, sounds and cultures of electronic music in historical and contemporary perspectives. Playing host to studies of emergent forms of electronic music production, performance, distribution, and reception, as a portal for cutting-edge research on the relation between bodies, technologies, and cyberspace, as a medium through which the cultural politics of dance is critically investigated, and as a venue for innovative multimedia projects, Dancecult is the forum for research on EDMCs.
Tags: Call for paper, Electronic Dance Music Culture, 徵稿, 線上音樂學 期刊, 電音舞曲文化
PhD Studentships at City University London (UK)
Deadline: 25th January 2010
Applications from ethnomusicologists welcome
http://www.city.ac.uk/research/resdegrees/studentships.html
Tags: City University, PhD program in musicology/ethnomusicology, studentship
CALL FOR PAPERS
The Pacific Review of Ethnomusicology (PRE) is seeking submissions for its 15th volume, scheduled for publication in Spring 2010. This peer- reviewed publication, now celebrating its 25th anniversary, is edited and managed by graduate students in the Department of Ethnomusicology at the University of California, Los Angeles.
We welcome submissions not only from our colleagues in ethnomusicology and systematic musicology, but also from those in allied disciplines such as musicology, anthropology, dance ethnology, cultural studies, folklore, sociology, law, and area studies. Contributions must be intellectually rigorous and pertinent to the field of ethnomusicology.
PRE is currently accepting contributions in English, Spanish, and Portuguese. We particularly encourage work that takes advantage of the journal’s online multimedia capabilities (audio, photo, video).
Beginning this year, PRE also will accept documentary videos for peer- reviewed publication on its website.
Text-based submissions should be sent via e-mail in Microsoft Word (.doc) format, with media clips included as separate attachments. We also accept files on CD-R and DVD. It is the contributor’s responsibility to obtain permissions for any copyrighted materials.
For complete submission guidelines, please visit PRE online at: http://www.ethnomusic.ucla.edu/pre/
The deadline for submissions is January 4, 2010. Please contact us as soon as possible if you are interested in submitting an article for review or have any questions.
E-MAIL: pre@ucla.edu
ADDRESS:
Pacific Review of Ethnomusicology
UCLA Department of Ethnomusicology
2539 Schoenberg Music Building
Box 951657
Los Angeles, CA 90095-1657
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