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Back to the Roots of Sound/Music and Environmental Sustainability City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2015 Ecomusicology: back to the roots of sound/music and environmental sustainability Tiffany Challe Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/883 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Ecomusicology: back to the roots of sound/music and environmental sustainability by Tiffany Challe A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2015 ii © 2015 TIFFANY CHALLE All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the dissertation requirement for the degree of Master of Arts. Professor Sophia Perdikaris ____________ ________________________ Date Thesis Advisor Professor Matthew K. Gold ____________ _________________________ Date Executive Officer THE CITY UNIVERSITY OF NEW YORK iv Abstract Ecomusicology: back to the roots of sound/music and environmental sustainability by Tiffany Challe Advisor: Professor Sophia Perdikaris We are currently living in the midst of a global warming crisis, and running against the clock to counter the rapid depletion of natural resources in an increasingly technology-run world. The first step toward sustainability is to care for our world that is full of vibrant ecosystems and that we must work together to preserve. While the visual arts have served as a cogent platform for the environmental movement, this paper will argue that sound and music have been vastly overlooked in sustainability topics. Place-making music can capture a place’s unique spirit and connect listeners with their local ecologies. Therein lies the potential of Ecomusicology, an emerging field, which considers the interconnections between music, culture, and nature. It presents exciting potential in raising awareness about critical environmental issues through music’s lens, bridging the many gaps between arts and sciences, nature and culture, human and nonhuman sound worlds, and considering music and sound in supporting sustainability through the concept of aesthetics. This thesis will ask what musical genres are conducive to spreading ecological awareness and what are the artist’s and audience’s roles in that respect? Sustainability of the technology used toward music-making, awakening people to their natural acoustic surroundings, community-based music to keep endangered indigenous cultures alive, and presenting artists’ works that conveys climate change through music are innovative ways forward that contribute to our holistic understanding of the interplay of environment and people in times of acute climate change. A music video for the song “Without You” is presented in conjunction with this thesis, to highlight my fieldwork on sustainability topics in Barbuda, W.I. v ACKNOWLEDGEMENTS First of all, I would like to thank my parents for supporting me throughout my educational endeavors. I am forever indebted to them for being the perfect role models in every sense of the word. I would also like to express my gratitude to my advisor, Professor Sophia Perdikaris without whom this thesis and my field research conducted on the island of Barbuda, would not have been possible. Her openness to interdisciplinary work in sustainability topics has inspired me so much and the nature of my thesis has stemmed from her outlook. I was able to combine all of my passions into a single project: music, psychology, and the environment. My travels have also lead me to see some beautiful parts of this world and have inspired me to care deeply for wildlife and the ecosystems that connect us all. A special gratitude goes out to the Muiscas, the indigenous peoples of Sogamoso, Colombia, who invited me into their world to show me the harmony that can exist between people and the Earth—an experience that has touched me on a spiritual level and one that I wish more people could have to fully realize the harmful impact the Western world has on these landscapes that are meant to sustain us. Finally, I would like to thank my fiancé, Raul E. Campiz, for having stood by my side these past two years of my graduate studies, supporting me, engaging me in stimulating conversations and challenging me to keep thinking critically about environmental issues. I hope to continue on this wonderful journey I have embarked upon because there is so much more to learn about the topics addressed in this thesis. vi Table of Contents List of Illustrations and Figures .................................................................................................... vii INTRODUCTION......................................................................................................................... 1 Chapter 1. Visual Arts and the Environmental Movement ...................................................... 3 The philosophy of aesthetics and ethics in art ........................................................................ 3 Land Art and Photography: a brief overview of visual environmental art ......................... 4 Land Art ................................................................................................................................... 5 Environmental Photography .................................................................................................... 9 Chapter 2. Soundscapes and the Power of Music .................................................................... 12 Ecomusicology ......................................................................................................................... 12 Concepts, areas of interest and approaches related to Ecomusicology .......................... 13 Music making and the environment .................................................................................. 22 Artist/audience's role in music and sustainability ................................................................ 26 Musical genres and environmental awareness ..................................................................... 32 Musical Analysis of lyrical folk songs: Sailing up My Dirty Stream by Pete Seeger and This Land is your Land by Woody Guthrie ........................................................................... 35 Musical analysis of instrumental music: Beethoven's Pastoral Symphony and John Luther Adams' Songbirdsongs ............................................................................................................ 41 Philosophy and psychophysiology of music ......................................................................... 42 Innovative musical works that convey climate change ........................................................ 49 Chapter 3. Combining Visual Art, Music, and Sciences ......................................................... 51 Barbuda ArcGIS Music and Art Project .............................................................................. 51 CONCLUSION ........................................................................................................................... 54 APPENDIX A .............................................................................................................................. 56 REFERENCES ............................................................................................................................ 57 vii List of Illustrations and Figures ILLUSTRATION 1 ROBERT SMITHSON, SPIRAL JETTY, 1970. LONG-TERM INSTALLATION, ROZEL POINT, BOX ELDER COUNTY, UTAH. © HOLT SMITHSON FOUNDATION/LICENSED BY VAGA, NEW YORK, NY ........................... 7 ILLUSTRATION 2 NANCY HOLT SUNTUNNELS, © LINDSAY DANIELS ........................ 7 ILLUSTRATION 3 WALTER DE MARIA, THE LIGHTNING FIELD, 1977. LONG-TERM INSTALLATION, WESTERN NEW MEXICO © 2015 THE ESTATE OF WALTER DE MARIA. COURTESY DIA ART FOUNDATION, NEW YORK. PHOTO: JOHN CLIETT8 ILLUSTRATION 4 CHINSTRAP PENGUINS ON ICEBERGS LOCATED BETWEEN ZAVODOVSKI AND VISOKOI ISLANDS IN THE SOUTH SANDWICH ISLAND. 2009 © SEBASTIÃO SALGADO/AMAZONAS IMAGES, COURTESY OF THE ARTIST ....... 10 ILLUSTRATION 5 SCENE FROM SIBERIA'S YAMAL PENINSULA 2011. © SEBASTIÃO SALGADO/AMAZONAS IMAGES, COURTESY OF THE ARTIST................................... 11 ILLUSTRATION 6 LUDWIG VAN BEETHOVEN, PASTORAL SYMPHONY (SYMPHONY NO.6), OP, 68, NO.11 .................................................................................. 45 ILLUSTRATION 7 LUDWIG VAN BEETHOVEN, PASTORAL SYMPHONY (SYMPHONY NO 6), OP. 68, NO.43 .................................................................................. 46 FIGURE 1 CIRCULAR RELATIONSHIP OF 'NATURE', 'CULTURE', AND 'ART' .............. 35 FIGURE 2 SCREENSHOT OF THE ARCGIS BARBUDA STORY MAP (JUNE 2014) ......... 52 FIGURE 3 SCREENSHOT OF THE ARCGIS BABUDA STORY MAP (JUNE 2014) ............ 52 FIGURE 4 SCREENSHOT OF THE ARCGIS BARBUDA STORY MAP (JUNE 2014) ......... 53 1 INTRODUCTION In a rapidly technology-run world, people are not only cut off from nature or the ‘wilderness’, but work actively to degrade it by depleting resources such as forests, soil, animals without effective mechanisms to replenish. Through unsustainable practices, Western society
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