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Intertextuality in Protest , will examine performance . Scholars in the “the types and uses of intertextuality seen visual and performing and humani- in protest music around the world, using ties are increasingly adopting language antinuclear music as a case study” (ix). and methodologies from the fields of With its unassuming translations of , , and sus- Japanese terms, clear signposting, and tainability studies. The two collections helpful conclusion sections following under review follow this intellectual each chapter, The Revolution Will Not Be pursuit by broadly addressing the ecol- Televised serves as a wonderful introduc- ogy of music, music communities, and tion into Japanese protest music performance contexts across musicol- for all audiences. Manabe writes in a ogy, , and sound studies manner fit for undergraduates, although by taking a case study approach. the length of the book might make it Sustainable Futures for Music Cultures: unmanageable for a single semester. An Ecological Perspective approaches the Chapter 3, “ in the Antinuclear concept of music culture, developed by Movement: Motivations, Roles, and Jeff Todd Titon and Mark Slobin among Risks,” could best serve as an excerpted other foundational ethnomusicologists, introductory piece for use in a classroom. as an of networked and inter- As with many Oxford University Press connected social, cultural, economic, titles, the monograph is paired with a biological, and geospatial agents and very useful companion website with factors that shape musical vitality and active links to many , live protest diversity. Schippers and Grant are con- videos, and governmental reports men- cerned with the health, diversity, and tioned throughout Manabe’s writing. resilience of musical cultures in the increasingly globalized 21st century. The collection takes a comparative approach, addressing musical and the Sustainable Futures for Music ecology of music cultures across tradi- Cultures: An Ecological tions, geographic regions, and diasporic Perspective. 2016. Ed. Huib Schippers community mobilities. As Schippers out- and Catherine Grant. Oxford: Oxford lines in the introductory chapter, “Sound University Press. 392 pp. Futures: Exploring the Ecology of Music Current Directions in Sustainability,” the authors’ central Ecomusicology: Music, Culture, objective is: . 2016. Ed. Aaron S. Allen and Kevin Dawe. New York: Routledge. To contribute to mapping and un- derstanding the complex forces KATE GALLOWAY acting in and on present-day music Wesleyan University cultures and specific music practices, both philosophically and as a basis There is a growing body of work for planning interventions that are addressing music and sustainability, and effective and reflect the wishes of ecological approaches to music and the communities that own, create, Book Reviews / Comptes rendus de livres 137

develop, perform, transmit, dissemi- data and research findings in each case nate, and value the music. (4) study, highlighting and interpreting how each author connected their work to The collection is the central out- the project’s music culture and domains come of a five-year international framework. Australian Research Council Linkage The contributing authors of the Grant, which funded a collaborative Sustainable Futures for Music Cultures are comparative research network devoted concerned with sustaining music cultures to developing and testing methodologies that are potentially under threat in the and approaches to music sustainability immediate present, rather than trying to in a global context. The nine case stud- resurrect past extinct music traditions. In ies presented include: Mexican Mariachi his opening chapter, Schippers outlines (Patricia Shehan Campbell), Ghanaian the five domains of musical sustainabil- Ewe dance-drumming (James Burns), ity developed by the research collective: Amami shima uta from Japan (Philip 1) Systems of learning music; 2) Musi- Hayward), Korean samulnori (Keith cians and communities; 3) Contexts and Howard), Hindustani North Indian clas- constructs; 4) Regulations and infra- sical music (Huib Schippers), Vietnamese structure; and 5) Media and the music ca trù (Håkan Lundström), Indigenous industry. In all nine case studies, authors yawulyu songs from Central Australia use this framework as the organizational (Linda Barwick), Balinese (Peter structure for their essays, and provide a Dunbar-Hall), and Western opera (John background section at the outset of the Drummond). Schipper’s introductory chapter to contextualize the music cul- chapter outlines the methodology of the ture for a readership whose familiarity research project, drawing on material with, or expertise in, the music tradition from his contribution to The Oxford Hand- and geographic region varies. book of Applied Ethnomusicology (2015). The The clarity and detail of Schippers’s next chapter by Grant surveys current and description and analysis create a narra- historical sustainability methods and ini- tive where the reader can trace tiatives used by musicians, communities, how each domain is applied in distinctive NGOs, and international organizations to ways to each case study. By modeling “protect, maintain, and stimulate musi- their methodology in such a way, read- cal diversity” (15). The nine individual ers can envision how they could apply case study chapters follow. Throughout this framework to their own fieldwork these essays, the contributing authors site and community. The immediate map out key factors of musical sustain- benefit of applying these domains to ability and identify practical strategies for diverse case studies is that the research how scholars, community members, and team and the audience for this collection institutions can aid in the prevention of can understand each individual domain, music culture endangerment or extinc- however they can also observe how the tion. Schippers and Grant conclude the domains operate together as a network volume with a final chapter that presents within the ecosystem of a music cul- comparative analysis generated from the ture. In each case study, the contributing 138 MUSICultures 44/2

author outlines the factors that impact ethnomusicology seminars. It is a par- musical sustainability and how local ticularly welcome addition, with applied technological developments, infrastruc- ethnomusicology and public tural challenges, socio-economic change, seminars increasing in number. Sustain- educational system shifts, and the loss of able Futures for Music Cultures contributes prestige, among other social, geographic, new approaches to the study of the and cultural circumstances, contribute ecology of music, providing a nuanced to the decline of certain music cultures. methodological framework that makes By reading across different case studies – examining music cultures from an eco- a benefit of using the same structure for logical perspective more concrete and each case study chapter – the audience comparative. for this collection is encouraged to make Current Directions in Ecomusicology: connections and observe that the same Music, Culture, Nature is the outcome causes in different contexts do not lead of a series of discussions, publications, to the same effects. and events that took place during the This volume is an excellent exam- foundational years of the American ple of community-focused scholarship. Musicological Society Although the authors have developed Study Group and the Society for Eth- a model and set of tools to understand nomusicology Ecomusicology Special musical sustainability in cross-cultural Interest Group. These include the “Col- perspective, and work towards devel- loquy: Ecomusicology” in the Journal of oping the appropriate interventions to the American Musicological Society (2011), maintain musical vitality, they advise cul- sponsored panels and special sessions ture workers to collaboratively develop exploring the intersections between solutions with the community rather music, place, and the environment at the than dictating their own fixes, making annual meetings of the American Musi- assumptions, or ignoring the commu- cological Society (AMS) and Society for nity’s needs. They have provided a set of Ethnomusicology (SEM), four success- tools and methods that are intended to be ful interdisciplinary “Ecomusicologies” “adapted and applied to serve communi- conferences (in as a pre- ties in shaping their musical futures on conference to the joint meeting of the their own terms, in the ways they wish, American Musicological Society, Society and in collaborations and partnerships for , and Society for Ethno- they choose” (334). And these commu- musicology (AMS/SMT/SEM) in 2012; nities participate in the music culture at Queensland Conservatorium, Griffith in varied ways through a combination University, Brisbane, Australia in 2013; of ownership, creation, development, at the University of North Carolina, performance, transmission, dissemina- Asheville in 2014; and at Westminster tion, and as participatory audiences that College, Princeton in 2016), and determine aesthetic and cultural value. the ongoing publication of the Ecomusi- The articles all employ accessible cology Review (formerly the Ecomusicology writing styles, and could be adopted for Newsletter), among other initiatives. These upper-level undergraduate and graduate events featured scholarly presentations Book Reviews / Comptes rendus de livres 139 that, if included, would have diver- actively used in science and technology sified the collection’s contents and studies (ecomedia) and environmental challenged some of the artificial socially humanities (, greenwash- constructed binaries – nature/culture, ing, traditional ecological knowledge) to human/nonhuman, rural/urban – that music. In her essay on Maggi Payne’s and some essays in the volume continue to Laurie Spiegel’s nature-inspired pieces, support. Current Directions in Ecomusicol- Sabine Feisst analyzes the important role ogy does, however, unite in conversation women have played in electronic com- divergent scholars from across musicol- position and how technology should not ogy, ethnomusicology, and sound studies be reductively approached simply as a to address ongoing conversations con- cause of environmental degradation, as cerning the intersections among music, it can be used in inventive and affective sound, culture, and the environment in ways to communicate environmen- the past and present. tal issues. Denise Von Glahn addresses The collection’s essays are organ- the intersections between bioregional- ized into four sections, or as Allen and ism, feminism, and the representation Dawe refer to them, directions: 1) of place in the covert environmen- Ecological (Alice Boyle and Ellen Water- tal messages of Libby Larsen’s work. man, Margaret Q. Guyette and Jennifer Together, these two chapters from the C. Post, Robin Ryan, Jeff Todd Titon); “Textual Directions” section illustrate 2) Fieldwork (Anthony Seeger, Helena how ecofeminism can convey the links Simonett, Kevin Dawe, Andrew Mark, between place, environment, music, and Maria Sonevytsky and Adrian Ivakhiv); identity politics. An important essay in 3) Critical (James Rhys Edwards, W. the “Critical Directions” section is Travis Luke Windsor, Alexandra Hui, Travis Stimeling’s “Music, Television Advertis- Stimeling, Mark Pedelty); and 4) Textual ing, and the Green Positioning of the (David Ingram, Eric Drott, Sabine Feisst, Global Industry,” which applies Denise Von Glahn, Aaron S. Allen). Top- detailed media analysis to reveal music’s ics addressed include central role in selling the science and and studies, contemporary technology behind greener , music, popular idioms, traditional music, connecting Appalachian identity to musicalities and biomusic, the the energy sector, branding the green material culture of music and sustain- and fossil fuel energy industries, and ability practices, the representation and greenwashing environmentally harmful expression of environmental politics and energy resources and their use. trauma, the role of audiovisual media in The “Fieldworks Directions” sec- the communication of environmental tion in Current Directions in Ecomusicology rhetoric, and the politics of listening, – along with the scholarship of Michael among other areas of music scholarship. Silvers (2015, 2016) – illustrates how Each section contains essays that the role of the non-human environment speak across the fields of musicology, has always been a part of ethnomusi- ethnomusicology, and sound stud- cology. Together, these contributions ies, applying key theoretical concepts challenge us to reconsider our under- 140 MUSICultures 44/2

standing of ecomusicology as a new ideas, methodologies, and case studies. subfield, since many of its key concepts Allen and Dawe write, “We believe that were have long been central to ethno- identifying [these connections] ... is of musicology’s intellectual history. An central importance to illustrating the important essay here is Helena Simon- contributions of the authors and of the ett’s “Of Human and Non-human : of ecomusicology” (5). However, Indigenous Music Making and Sentient they do this to an unnecessary extreme Ecology in Northwestern Mexico,” that takes away from the readability of which applies traditional ecological the individual essays and their ability to knowledge (TEK) and methodologies stand on their own. This ongoing exer- developed by indigenous studies, eth- cise of cross-referencing also diminishes nomusicology, and the environmental the reader’s opportunity to make their humanities to illustrate how ways of own connections between the essays. knowing place through sound and the Although it was the editors’ intention operations of nature are embedded in to create a dialogue among the authors, the rural Northwestern Mexican com- their ideas, and their case studies, this munities where she conducted her attempt at integration and cohesion fieldwork. makes the volume more difficult to use The subject of Current Direc- in pedagogical practice, which the edi- tions in Ecomusicology is less unified in tors consider to be one of the central comparison to Sustainable Futures for aims of the collection. Music Cultures because it did not result The publication of these two from a large-scale, methodologically volumes adds to the many ecomusico- integrated, collaborative research pro- logical journal articles published over ject, and each essay is a peek into the the last few years, and signals a need to author’s work at the intersection of move past asking the questions, “What music, culture, and nature. It is best to is ecomusicology?” and “How can we regard Current Directions in Ecomusicology apply the language of ecology and sus- as an attempt at surveying the state of tainability to music cultures?” Scholars the field; however, ecomusicology has invested in the ecology of music and advanced considerably in breadth and its geospatial connections need to con- the sophistication of scholars’ interdis- tribute varied voices, perspectives, and ciplinary approaches since this volume methodologies to further diversify this was first conceived. area in order to remain broad, and avoid Unlike Sustainable Futures for Music the formation of canons within the sub- Cultures, where the individual chapters field. Both are useful volumes because can stand on their own as assigned course they illustrate the breadth of possible readings, it is much more difficult to applications of ecological analysis of do so with Current Directions in Ecomu- music and performance communities, sicology because of the cross-referencing and signal future directions outside between chapters that was mandated the purview of each volume. A sup- by the editors, who felt it necessary plementary website accompanies each to rein in and connect the divergent collection, allowing for the inclusion Book Reviews / Comptes rendus de livres 141 of audiovisual materials, extensive scholars, both volumes are welcome research data, interview and fieldwork additions to the because these materials, and multimodal publication accessible essays and their interdisci- formats that enhance the essays. plinary topics contribute to current Sustainable Futures for Music Cultures conversations taking place in the vari- and select contributions from Cur- ous areas of music studies as well as the rent Directions in Ecomusicology push the broader field of environmental humani- boundaries of what a viable research ties. subject is in music studies, expand- ing the idea of the global environment to include all human and non-human REFERENCES agents, rather than focusing exclusively on the natural world and tropes of Allen, Aaron S., Daniel M. Grimley, environmentalism. These two volumes, Denise Von Glahn, Holly Watkins, however, do not cover or exhaust all and Alexander Rehding. 2011. Col- of the possible research into the role loquy: Ecomusicology. Journal of the music plays in environmental activism, American Musicological Society 64 (2): the dynamics of music sustainability, 391-424. and the musical representations of the Schippers, Huib. 2015. Applied Ethno- non-human world in the contemporary musicology and Intangible Cultural global environment. The bibliographic Heritage. In The Oxford Handbook of references for the entire volume, Applied Ethnomusicology, 134-156. including those that accompany the Ed. Svanibor Pettan and Jeff Todd introductory essay co-authored by Allen Titon. Oxford: Oxford University and Dawe, reveal the work of scholars Press. in other areas of ecomusicology, and Silvers, Michael. 2015. Birdsong and a point to possible directions for future about a : research. By being transparent about and the Mediation of Traditional the limitations of their collections, the Ecological Knowledge in North- editors of these two collections inform eastern Brazil. Ethnomusicology 59 scholars invested in ecomusicology (3): 380-397. of the wealth of work still to be done. ———. 2016. From Nightingales to These two volumes only scratch the Muni Birds and Beyond: Ecomu- surface of an emergent area of contem- sicology, Academic Branding, and porary inquiry. Lineages of an Ecological Ethno- The scholarship presented in both musicology. Unpublished paper of these volumes will lead to more delivered at the 2016 Society for socially engaged scholarship in the Ethnomusicology Annual Meeting disciplines of musicology, ethnomusi- (61st), Washington, D.C. cology, and sound studies. Due to the current lack of engagement with music and sound in research and pedagogy by non-music