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EN October 2013 ECOMUSICOLOGY NEWSLETTER!OCTOBER 2013 Ecomusicology Newsletter Discussion: Music in the Contents Anthropocene Features Discussion: Music in the by Nathan Currier Anthropocene, 1-2 Nathan Currier Currier responds to an earlier Ecomusicology Newsletter The Study of the Music & Culture of article and previews a longer article for our next issue. the Environmental Crisis, 3 & 20-23 Juha Torvinen & Andreas Engström “In some cases our work might have direct relevance to Previews environmental problems,” Marc Perlman noted in “Ecology and Ecomusicologies 2013, 4-5 Ethno/Musicology: The Metaphorical, the Representational, and the Dan Bendrups Literal” in this Newsletter 1, no. 2 (October 2012). “In other cases the relevance could be very indirect, or indeed conjectural; but I suspect Music, Nature, Place: A New Book that in most cases our ultimate concerns are environmentalist ones.” Series, 6 In my own case, it might be because of its direct relevance that my Sabine Feisst & Denise Von Glahn perspective is quite distinct from this literature: I have spent much Of Ecomusicological Interest at time in recent years outside of music dealing with fine points of AMS Pittsburgh, 7 climate science and policy. Climate change is central to the fate of the Aaron S. Allen biosphere, as well as to the economic, political, cultural and moral basis of society. Yet traditional environmentalism (i.e. the social Of Ecomusicological Interest at SEM Indianapolis, 8-9 movement emerging from the 1960s) has thus far found it di$cult to Kate Galloway adequately come to terms with this epic environmental problem. Climate science is itself a discipline full of internal upheaval, Reviews controversy, and complexities of communication. In “Music in the Ecomusicology in the News, 10 Anthropocene” (forthcoming in this Newsletter) I consider climate Michael Silvers science within Earth System Science (ESS), the ESS relationship with Expanding Ecomusicology, 11 Gaia theory, and these in light of C.P. Snow’s “two cultures” concept Andrew Mark of the split between science and the humanities. Perlman also noted, “Just as ecologists argue that biodiversity Music & Environment Symposium, increases the robustness of an ecosystem, we have argued that 12-13 musical diversity will strengthen human culture, rendering it less Hollis Taylor & Andrew Hurley vulnerable to future threats.” I certainly agree. And just as in climate Teaching Ecomusicology policy, where it is clear that the Western developed powers will need Active Listening via Soundwalks, to lead the way and carry the economic burdens of mitigation, so if 14-15 we wish to see musical diversity survive, we in the West need to Aaron S. Allen undergo a massive and rapid internal transformation. Western culture’s conception of its own history, therefore, is likely to be vital Performance and Place Approaches to Place in Recent Field to the survival of much that surrounds it. Focusing on Western Recordings, Part 2, 16-19 culture, my paper is devoted to issues that could be constructive in Tyler Kinnear working towards a less negative outcome for planetary diversity (biological and cultural). I consider the period when both ecology and Contributors musicology were beginning, and when the so-called “common Biographies, 24 Editorial Board, 24 practice period” was ending. I examine the intersections of these, VOLUME II, NUMBER 2! PAGE 1 ECOMUSICOLOGY NEWSLETTER!OCTOBER 2013 connecting Mahler’s music and environmentalism that have Nathan Currier is an American Haeckel’s science, in order to informed much ecocritical composer. He studied at Jui!iard and explore how these fields might be thinking, including the field of Peabody, was the Leonard Bernstein drawn together around a cohesive ecomusicology, and the short list Fe!ow in composition at Tanglewood, and philosophical position. of examples above already also holds a Diploma with First Prize "om the Royal Conservatory of Belgium. Ecomusicology fuses two well- constitutes a powerful His compositions have been heard at defined fields: environmentalism impediment to ameliorating the prestigious venues, "om Avery Fisher Ha! and ethno/musicology. I advocate climate crisis. To highlight the at Lincoln Center to the Philharmonie in for a further fusion more deeply di&erent thinking in “Music in the Berlin, and he is a winner of many prizes invested in science as “ecology + Anthropocene,” I end by looking and awards, such as the Rome Prize, musicology.” I suspect that, when at one of these problems, likely to Gu#enheim, American Academy of Arts we get serious about trying to save be among the greatest & Letters’ Academy Award, National ourselves from the extraordinary controversies of the century: Endowment for the Arts, Fulbright, risks ahead, the underlying geoengineering. For Mahler and NYFA, Fromm, Ives, Barlow, and problems within traditional Haeckel, Goethe’s Faust was a ASCAP awards and prizes. environmentalism in dealing with work that was particularly The topic of Currier's largest musical climate will become readily formative; I interpret its ending as work is Gaia theory, which views the Earth as a single self-regulating entity. His apparent, and a large-scale shift a direct adumbration of massive oratorio Gaian Variations was will take place. By way of example, geoengineering. Intriguingly, this premiered at Avery Fisher Ha! by the I would briefly note some of the analysis might provide a good Brooklyn Philharmonic for Earth Day following problems: 1) a refusal to vehicle for a more nuanced 2004. Currier has more recently become recognize that GHG emissions discussion of human agency within involved with Gaia theory itself, co- reductions alone are increasingly the biosphere than is now authoring with NASA scientist Paul D. unlikely to stabilize global mean prevalent in geoengineering Lowman (the first geologist to join NASA, surface temperature at levels that discourse. All the while, I seek to and later a founder of comparative can dependably preserve the world highlight Faust’s unique closeness planetology) a chapter of the book we are familiar with; 2) the desire to the evolution of the Western Chimeras and Consciousness (MIT to eliminate all aerosol pollution European tradition of classical Press, 2011). When NASA celebrated the negative forcings as quickly as music, suggestive of a role that 50th year of its exobiology program, a passage "om their chapter “Life's possible; 3) the desire to this art might yet play. EN Tectonics” (concerning the role of life and decommission nuclear power water on tectonics here on earth) was read plants right away; 4) an in the opening keynote address. exaggerated faith, with insu$cient Currier is also active in climate quantitative analysis, in the science. He has been a member of Al Gore’s capacity of an intermittent Climate Project since 2007 and became “renewable” energy source like Senior Climate Advisor and methane wind power (large-scale harvesting specialist for Public Policy Virginia. He of wind would alter wind has spoken at Columbia University, New patterns); 5) a lack of York University, and UNICEF acknowledgment that near-term Headquarters at the United Nations, radiative forcing declines from among many others, and has presented to about 1,000 people on climate change. Since non-CO2 components of the last year he has been writing about climate climate system should be issues for Hu'ngton Post, and recently separated out and done right away served as a panelist for a segment of Gore's to improve the probability of “24 Hours of Reality” which live-streamed avoiding near-term tipping points; to a viewership of 8.5 mi!ion. and 6) an out of hand opposition to all geoengineering. Such attitudes grow from basic precepts of traditional VOLUME II, NUMBER 2! PAGE 2 ECOMUSICOLOGY NEWSLETTER!OCTOBER 2013 The Study of the Music & Culture of the Environmental Crisis Interview with Aaron S. Allen by Juha Torvinen & Andreas Engström JT&AE: First a personal question: why Combining both the professional and personal ecomusicology? elements is what I find to be the intellectual and AA: Because that’s how we’re going to save the individual challenges of ecomusicology. In essence, world, right? Ironic hyperbole aside, there are both it’s di$cult to connect these di&erent fields professional and personal reasons for my (environmental studies and music) in rigorous, engagement with ecomusicology. robust, and intellectually sound ways. My Ph.D. Professionally, I do think it’s of profound studies at Harvard did not allow me to pursue importance that scholars of human culture ecomusicology, but after I graduated I was contribute to understanding, and when possible, fortunate to get involved with the founding of the alleviating environmental crises. We all have a role Ecocriticism Study Group of the American to play, and even if the usual approach to Musicological Society and the Ecomusicology environmental concerns is a scientific one, Special Interest Group of the Society for humanists must not step aside entirely. We can Ethnomusicology. The professional stimulation help to understand history, to communicate combined with my personal background and a e&ectively, to empower emotionally, to raise desire to do something meaningful, even if only in consciousness, to revel in beauty, to give attention our relatively obscure world of music studies, to subjects previously ignored, and so on. As I and meant that I put a lot of time and energy, gladly, others have argued, the environmental crisis is into ecomusicology. Honestly, I don’t think that it fundamentally a crisis of culture; scientific will ever become mainstream, and that’s okay (and approaches are central to the problems and neither ethnomusicology nor musicology will solutions, but so are humanistic approaches. become mainstream either!). I do think, however, On the personal side, I think ecomusicology that ecomusicology can be very gratifying for those was a natural progression for me given my who engage in it and those who benefit from it.
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