Sounds, Ecologies, Musics poses exciting challenges and provides fresh opportunities for scholars, scientists, environmental activists, musicians, and listeners to consider music and sound from ecological standpoints.
Authors in Part I examine the natural and built environment and how music and sound are woven into it, how the environment enables music and sound, and how the natural and cultural production of music and sound in turn impact the environment. In Part II, contributors consider music and sound in relation to ecological knowledges that appear to conflict with, yet may be viewed as complementary to, Western science: traditional and Indigenous ecological and environmental knowledges. Part III features multidisciplinary and interdisciplinary approaches by scholars, scientists, and practitioners who probe the ecological imaginary regarding the complex ideas and contested keywords that characterize ecomusicology: sound, music, culture, society, environment, and nature.
A common theme across the book is the idea of diverse ecologies. Once confined to the natural sciences, the word "ecology" is common today in the social sciences, humanities, and arts - yet its diverse uses have become imprecise and confusing. Engaging the conflicting and complementary meanings of "ecology" requires embracing a both/and approach. Diverse ecologies are illustrated in the methodological, terminological, and topical variety of the chapters as well as the contributors' choice of sources and their disciplinary backgrounds.
In times of mounting human and planetary crises, Sounds, Ecologies, Musics challenges disciplinarity and broadens the interdisciplinary field of ecomusicologies. These theoretical and practical studies expand sonic, scholarly, and political activism from the diversity-equity-inclusion agenda of social justice to embrace the more diverse and inclusive agenda of ecocentric ecojustice.
Arvustused
Sounds, Ecologies, Musics constitutes an important step for ecomusicology outside of music ecocriticism, enlisting cases of transformative critical approaches that aim to cause significant and lasting changes in the field of ecomusicology, and in music studies more generally. * Luca Gambirasio, Ethnomusicology Forum * Sounds, Ecologies, Musics plays an important role in this ongoing development of the field, and will no doubt find receptive readers amongst those seeking to understand better how music and sound studies might respond to global and interlinked crises. The volume is particularly well-suited for teaching purposes, given the self-contained and concise nature of each chapter. * Rowan Bayliss Hawitt, Music & Letters * Sounds, Ecologies, Musics plays an important role in this ongoing development of the field, and will no doubt find receptive readers amongst those seeking to understand better how music and sound studies might respond to global and interlinked crises. The volume is particularly well-suited for teaching purposes, given the self-contained and concise nature of each chapter. It is also a welcome (though only partial) corrective to the diminished space afforded to environmen-tal justice and decolonial work in earlier ecomu-sicology publications. * Rowan Bayliss Hawitt, Music & Letters * Sounds, Ecologies, Musics constitutes an important step for ecomusicology outside of music ecocriticism, enlisting cases of transformative critical approaches that aim to cause significantand lasting changes in the field of ecomusicology, and in music studies more generally. * Luca Gambirasio, Ethnomusicology *
Chapter
1. Diverse Ecologies for Sound and Music Studies
Aaron S. Allen and Jeff Todd Titon
PART I: Music, Sound, Ecologies, and the Natural Environment
Chapter
2. Ecoörganology: Toward the Ecological Study of Musical Instruments
Aaron S. Allen
Chapter
3. "Like the Growth Rings of a Tree": A Socio-ecological Systems
Model of Past and Envisioned Musical Change in Okinawa, Japan
James Edwards and Junko Konishi
Chapter
4. Bat City Limits: Music in the Human-Animal Borderlands
Julianne Graper
Chapter
5. Music, Ecology, and Atmosphere: Environmental Feelings and
Sociocultural Crisis in Contemporary Finnish Classical Music
Juha Torvinen and Susanna Välimäki
PART II: Music, Sound, and Traditional/Indigenous Ecological Knowledges
Chapter
6. Haiti, Singing for the Land, Sea, and Sky: Cultivating Ecological
Metaphysics and Environmental Awareness through Music
Rebecca Dirksen
Chapter
7. Coyote Made the Rivers: Indigenous Ecology and the Sacred
Continuum in the Interior Northwest
Chad S. Hamill/%cnaq'ymi
Chapter
8. Resilient Sounds: Rakiura Stewart Island, Aotearoa New Zealand
Jennifer C. Post
Chapter
9. Relational Capacities, Musical Ecologies: Judith Shatin's Ice
Becomes Water
Denise Von Glahn
PART III: Music, Sound, and Ecologies in Interdisciplinary Perspective
Chapter
10. Biologists, Musicians, and the Ecology of Variation
Robert Labaree
Chapter
11. Recomposing the Sound Commons: The Southern Resident Killer
Whales of the Salish Sea
Mark Pedelty
Chapter
12. The Audible Anthropocene: Sustainable Bridging of Arts,
Humanities, and Sciences Scholarship through Sound
John E. Quinn, Michele Speitz, Omar Carmenates, and Matthew Burtner
Chapter
13. "Things fall apart; the centre cannot hold": Impacts of Human
Conflict on Musispheres
Huib Schippers and Gillian Howell
Chapter
14. Eco-trope or Eco-tripe?: Music Ecology Today
Jeff Todd Titon
Index
Aaron S. Allen is Director of the Environment & Sustainability Program and Associate Professor of Musicology at UNC Greensboro.
Jeff Todd Titon is Professor of Music, Emeritus, at Brown University, where for many years he led the PhD program in ethnomusicology.
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