This is a revised version of the introductory and conclusive part of the Charles Seeger Memorial Lecture, presented 7 November 1987 at the Thirty-Second Annual Meeting of the Society for Ethnomusicology, at the Rackham School for Graduate Studies, University of Michigan, Ann Arbor. The main part of the Lecture was the American Premiere of the film Yootzing and Yodelling, and the World Premiere of Head Voice, Chest Voice. Parts of the additional text printed in small letters have been read in an earlier version at the 1st International Workshop on Visual Anthropology, organized in Marseille, 1-4 June 1987 by the Institut Mediterraneen de Recherche et de Creation, under the auspices of the "Commission on Visual Anthropology" of the International Union of Anthropological and Ethnological Sciences. I M y aim here is not to discuss the history, trends, problems, and scholarly status of film in ethnomusicology, nor the implications, for our discipline, of theoretical and practical work carried out in visual anthropology. Steven Feld, who kindly introduced me today, did this already 11 years ago, and his article in our journal remains the largest and most important reflection on visual communication in ethnomusicology (Feld 1976). These last years, my main concern has been making films rather than writing about them. So I consider that the two films which I will present to you this evening should not illustrate a written text read from this rostrum, but be the main point of the lecture. Let me introduce, and afterwards conclude, the film-lecture with a few spoken words about my personal experiences in making and in showing films. There are many different ways to film music, depending on the type of music and the main focus of the filmmaker. For myself, I follow one rule: to respect the music and the musician. This means to me: to film a music piece, and to edit it, in its entirety.-to keep music performance free from voice-over narration, and to translate song texts with subtitles.
