ECOMUSICOLOGY NEWSLETTEROCTOBER 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 difficult 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,

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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 Juiiard 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 Feow 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 different 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 Guenheim, 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 insufficient 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 Huffington 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 miion. and 6) an out of hand opposition to all geoengineering. Such attitudes grow from basic precepts of traditional

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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 difficult to connect these different 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 effectively, 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. background in both environmental studies and music. I was born on a rural farm, and after JT&AE: Ecomusicology started to gain growing up there, in Key West, Florida (an island currency in the decades around 2000. However, that is the southernmost city in the USA), on the explicitly ecocritical music has been composed Gulf Coast of Mississippi, and in New Orleans, I and performed for about a half of a century. had a first hand knowledge of profoundly beautiful Why didn’t music scholars wake up earlier to and threatened environments. As an undergraduate environmental concerns? student at Tulane, I told my advisor that I wanted AA: I’d like to respond to that question in two to declare a joint BA in music and BS in ways. First, to agree with it and answer directly: environmental studies; he responded, “Why? So There are a variety of reasons that music scholars you can play your flute out in the swamp?” Neither did not pursue explicitly environmental agendas. the flute nor swamps were of particular interest to One is that the environmental crisis (as, we might me, but his response of incredulity combined with say, distinct from an awareness of and/or sarcasm encouraged me to seek out connections connection to the environment) has been a subject that were meaningful and not at all frivolous. of concern for only a few decades; there are of When it came time to choose a path after college, course important precedents, but many major I decided that I needed a break from my years of upheavals in the way humans relate to the world environmental activism, so I followed my interests changed in the second half of the twentieth in musicology. Continued on p. 20 ...

VOLUME II, NUMBER 2 PAGE 3 ECOMUSICOLOGY NEWSLETTEROCTOBER 2013 Previews Ecomusicologies 2013: Ecosystems & Ecocriticism Queensland Conservatorium, Grifth University 22-23 November by Dan Bendrups

Symposium Theme The Ecomusicologies 2013 symposium is a featured event within the IMC World Forum, aiming to attract the interest of scholars, musicians, composers and others who may not have yet had an opportunity to engage with this emerging field of critical enquiry. The symposium theme ‘Ecosystems and Ecocriticism’ is intended as a starting point for discussions about music in the context of different kinds of ecosystems and critical contexts. The theme of the IMC World Forum, ‘Sustaining Music, Engaging Communities’ aligns with the aims and objectives of many scholars in the field of ecomusicology. For more information about the IMC World Forum, including information about other conferences and events, please see: worldforumonmusic.org.

Virtual Participation In addition to a number of online presentations, the live paper sessions in the symposium will be streamed online. A URL for access to the live streaming will be circulated via the Ecomusicologies email list a week before the symposium.

Location The Queensland Conservatorium (140 Grey St, South Brisbane, Queensland, 4101) is located in the lush subtropical parklands of South Bank, adjacent to South Brisbane train station and the Cultural Centre bus station. It is situated in the heart of Brisbane’s arts precinct, with theatres, concert halls, libraries and museums all within walking distance. South Bank offers a range of activities and amenities (including a free sand-bottomed swimming pool, rainforest walk, bars, restaurants, cinema) and is easily accessible on public transport from any part of Brisbane. For more information about the location, see: www.visitsouthbank.com.au.

Where to Go on Arrival The Friday sessions will be held in room 1.39, on the ground floor of the conservatorium building. Ecomusicologies symposium attendees should proceed directly to room 1.39 for registration between 9-9.30am (a short welcoming address will be made at 9.20). The first paper session will commence at 9.30am. The online Saturday session will be held in the Boardroom, room 3.46 on the third floor of the Conservatorium building, overlooking the main foyer.

Performances and Other Activities Registered delegates will have access to all of the events and performances that have been scheduled as part of the IMC World Forum on Music on the Friday. A detailed schedule of IMC World Forum events can be found at worldforumonmusic.org. Any particular suggestions for performances or other activities will be announced at the commencement of the symposium.

Contact Information Should you have any other questions or concerns, please feel free to contact the symposium convenor, Dan Bendrups, at d.bendrups@griffith.edu.au.

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Ecomusicologies 2013: Schedule

Friday 22 November (Queensland Conservatorium, room 1.39) 9.00-9.30: Registration, Welcome 9.30-11.00: Session 1: Ecology, Expression and Mediation 1. Jennifer C. Post Traditional Ecological Knowledge, Mobile Pastoralism and Musical Expression in Mongolia 2. Raj Shobha Singh Katajjaq: Between Vocal Games, Place and Identity 3. Gabriele Hadl Eco Media Literacy: Sound Recording and Video Production in Media Education for Sustainability

11.00-11.15: Coffee Break

11.15-12.45: Session 2: Perspectives on Composition 1. Robert W B Burrell Becoming, Interspecies-consciousness-transfer, live performance with electro-acoustics and music composition. 2. Jane Hammond A Cuckoo in Tamworth: Eco-composition in Regional Australia 3. Toby Gifford, Vanessa Tomlinson and Nora Farrell Sounding the Con

12.45-2.00: Lunch break (includes time for exploring the sound garden installation)

2.00-3.30: Session 3: Theories and Methodologies 1. Ely Rosenblum Music in The Medium: An Ecomusicological Analysis of Field Recordings 2. Philip van Hout Uncaging Sonic Rhizomes: Finding a Methodology for Sound Ecology Research 3. Keith Johnson ‘Our climate quickens our sensibility…’: Montesquieu’s Contribution to a Theory of Listening in Eighteenth-Century England

4.00-5.00: Coffee break, Shifting Nature installation (Leah Barclay)

5.00-6.00: Session 4: Musicking and Deep Ecology 1. Michael Golden The Music In and Of Ecology 2. Donna Weston The Deep Ecology of Music Festivals

Evening: Various activities offered in the wider IMC World Forum program See worldforumonmusic.org for current program details

Saturday 23 November (Boardroom, room 3.46) 9.30-11.00: Session 5: Virtual Presentations 1. Matt DelCiampo A Place to Call Home: Broad Resonances from Local Places within Contemporary Popular Music 2. Alex Smith From the Planet to the Marimba: The Self-sustainability and Artistic Voice of Matt Kazmierski and Planet Marimba 3. Mark Pedelty Environmentalist Music Video and the Thoreauvian Singularity

11.00-11.15: Coffee break

11.15-12.15: Session 6: Ecomusicology and Performance 1. Julie Rickwood Harmony to the Earth: A critical examination of the repertoire of Ecopella 2. Kirsty Gillespie Musical Landscapes of Lihir: Exploring the Relationship of Performance and Place in a Museum Exhibit

12.15-12.30: Closing, future planning

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Music, Nature, Place: A New Book Series

by Sabine Feisst & Denise Von Glahn

In fall 2012 Indiana Since the launch of the twenty proposals for University Press launched the book series, the first volume monographs and edited book series Music, Nature, Place. has appeared: Denise Von volumes and projects in various The series is a forum for Glahn’s Music and the Skiful stages of completion. They multidisciplinary scholarship Listener: American Women focus on music in Brazil, that focuses upon the Compose the Natural World, Canada, Cascadia, Iceland, intersections of music, nature, which showcases three Mongolia, and North America. and place. It includes generations of American They address climate change, monographs and edited women composers, from Amy environmentalism, volumes that employ a wide Beach to Emily Doolittle, ecofeminism, bioacoustics, and array of methodologies and exploring nature through animal studies. They also addresses a broad range of music. Further volumes include include studies on experimental topics, concerns, and traditions. an English adaptation and musical traditions, performance It traverses boundaries between expansion of musicologist Árni ecology and musicians classical, popular, and folk Heimir Ingólfsson’s including Sharon Abreu, Henry musics and between musicology authoritative study of Icelandic Brant, Chalifour, Claude and other disciplines. Music, composer Jón Leifs whose Debussy, Michael Hurwicz, Jón Nature, Place welcomes studies works are thoroughly inspired Leifs, and Dana Lyons. that treat urban and rural issues by Icelandic folksong, We are pleased to see such a and conditions, and crossovers landscapes and other natural vivid response to Music, Nature, between science and the phenomena (Reykjavík 2009). Place. This is undoubtedly humanities. It explores Anthropologist Mark Pedelty is evidence of the rapidly growing different modes of thought that preparing a monograph on the interest in ecomusicology. As are enabled by music. Books in role of activist musicians and the field continues to develop the series vary in scope, and the musical movements in through individual efforts, volumes will contain a sustaining place. Focusing on scholarly conferences, bibliography, music examples, musical activists based around interdisciplinary symposia, photographs, graphics, the Salish Sea of the USA and workshops, round tables, companion websites and links Canada, Pedelty is examining documentary films, multi- that enhance the treatment and environmentalist musicians on media performances, reach of the work. Indiana both sides of the border, community initiatives, and University Press has recruited including Dana Lyons, of university courses, it is our goal the two of us as editors, and we Bellingham, Washington and that the series will respond and are supported by an Editorial the Raging Grannies of reflect the central position Advisory Board, including Victoria, British Columbia. His music plays in grounding us Aaron Allen, Kevin Dawe, perspective from outside the within our place, wherever that Tracey Laird, Jennifer Post, and confines of more traditional may be. The editors invite Jeff Todd Titon who will use music scholarship testifies to interested scholars to contact their wide-ranging expertise the spirit of interdisciplinarity them with their ideas for and experience to help in the that is the essence of this projects. evaluation of proposals. series. We have received almost EN

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Of Ecomusicological Interest at AMS Pittsburgh

by Aaron S. Allen

In addition to a variety of individual papers that focus the ecomusicological conversation and hold or hint at ecomusicological interest, there are intersect with other fields, the ELR will examine also five full sessions, one outing, and one business musical sound as environmental communication, meeting at AMS Pittsburgh 2013. emphasizing popular music, live performance, and The Thursday morning outing is actually visual musics. connected to the Thursday evening session, but both Two sessions that promise some interesting could be enjoyed independently. The AMS discussions are on Saturday morning (unfortunately Ecocriticism Study Group is sponsoring an outing to scheduled during the same time). “The Gendered tour the Phipps Conservatory and Botanical Soundscape” is an alternative-format session that will Gardens, a large Victorian greenhouse set amidst include Andra McCartney (who is also on the Schenley Park, one of Pittsburgh’s largest Saturday afternoon “Nightingale” panel) and Deep greenspaces. All are welcome to attend; meet at the Listening advocate Pauline Oliveros. “Music in the conference hotel just before 9am to take public Age of Animanities” includes two papers that will transit to the conservatory, where we can have lunch engage with animal studies. at the eco- and health-conscious Café Phipps. We On Saturday afternoon, “The Nightingale” will return to the conference hotel in time for session will use the voice of the nightingale as the Thursday afternoon sessions. Participants should touchstone for a broader discussion about our ways bring $40 cash; no advance registration is necessary, of listening to nature and about the limitations of but contact Helena Spencer, [email protected], traditional discourse about human aesthetic identity. ESG Outings Coordinator, with questions or to just The panel will feature three human and one (virtual) let her know you plan to attend. avian participants. The ESG evening session , “From Landscapes to Even if you are (or were) not able to attend Cityscapes: Shaping the Sonic Geography of Place,” Ecomusicologies 2013 in Brisbane, Australia (see pp. will offer some intellectual and sonic reflections on 4-5 in this issue), the events in Pittsburgh should still Pittsburgh, and other locales, that should connect stimulate a lot of ecomusicological discussion! nicely with the Thursday morning outing. Through EN the lense of sonic geography, the session will address the theme of energy to consider how music and Ecomusicology Dance Card: communities envision themselves in relation to place AMS Pittsburgh 2013 through their music. The papers will consider Thursday, November 7 soundscapes, popular music, country music, and 9am-12:45pm, ESG Outing to Phipps sonic representations of Pittsburgh. Conservatory & Botanical Gardens On Friday evening, the ESG Business Meeting 8-11pm, ESG Session, “From Landscapes will include an election for a new chair and planning to Cityscapes” for future events. After the meeting, many ESG folks will surely stick around for the Ecomusicology Friday, November 8 Listening Room. This second edition of the ELR will 5:30-6:30pm, ESG Business Meeting build on the engaging and well-attended session of 8-11pm, Ecomusicology Listening Room the same name held in New Orleans (see www.ecosong.org); the 2012 ELR addressed Saturday, November 9 ecomusicological questions in a general manner 9am-12pm, The Gendered Soundscape without a specific approach. This year, in order to 9am-10:30, Music in the Age of Animanities 2-5pm, The Nightingale

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Of Ecomusicological Interest at SEM Indianapolis

by Kate Galloway

The 2013 meeting of the Society for presentations, including, “The Evolutionary History Ethnomusicology will be held November 14-17 in of Human Musicality: Empirical Approaches,” Indianapolis, and there is an array of scholarly Aniruddh Patel (Tufts University); Mediating Social activities and presentations that will be of interest to Uncertainty: Music as Communicative Social scholars engaging in ecomusicological inquiry. With Interaction” Ian Cross (University of Cambridge); presentations ranging from ecotourism, issues of and “Cultural Evolution of Music” (Patrick Savage, cultural and environmental heritage, environmental Tokyo University of the Arts). trauma, and the return of a new and engaging version For those interested in the role of technologies in of the Ecomusicology Listening Room, this sonic ecology, the session “Technologies and conference is positioned to be a stimulating event. Remixes” features the presentations “Where Does The business meeting for the Ecomusicology Special this Cable Go?: Guitar Amplifiers, Instrumentality, Interest Group will take place 7:30-8:30pm in and Sonic Ecology” by David VanderHamm evening of Thursday, November 14, in the Marriott (University of North Carolina, Chapel Hill) and Ballroom 1. In this meeting we intend to continue “Remix<->Culture: A “Fair Trade” Approach to the conversation concerning pedagogy, community Remixing Field Recording” by Daniel Sharp (Tulane outreach and inter-university collaborations, University). interdisciplinary collaborations, and the future for The conference highlights a number of current the field of ecomusicology, including potential future studies concerning organology and instrument symposia and collaborative publication production that deal with issues of environment and opportunities. sound technologies. Presentations that speak to this The second incarnation of the “Ecomusicology work include the session “Seeking the Future in the Listening Room: Ecocriticism, Popular Music” Past: Vocal and Instrumental Musicians in Mongolia organized by the audiovisual director: Mark Pedelty and Inner Mongolia” featuring the presentation by (University of Minnesota) and chairs Justin Burton Jennifer Post (University of Western Australia) (Rider University) and Michael Baumgartner “Performing the Past, Present, and Future: (Cleveland State University), sponsored by Popular Contemporary Kazakh and Tuvan End- blown Flute Music Section, features contributions by Laurie Production and Use in Bayan Ölgii, Mongolia” and Allman, Bell (Museum of Natural History of the session “Organology and Instrument Specialists” Minnesota), Amanda Belantara (independent artist), with a presentation by Lauren Flood (Columbia Krista Dragomer (independent artist), Craig Eley University), “Build Your Own Plague: Biological (Penn State University) and Jared Fowler (Los Modeling, Sound Technologies, and Experimental Angeles Harbor College), Rebekah Farrugia and Musical Instruments.” Kellie Hay (Oakland University), Ali Colleen Neff An ongoing popular theme in ecomusicologically (University of North Carolina ), The Baay Fall Order relevant research is the study of soundscapes and of Mouride Sufi Islam, and Peter McMurray and sonic geography, and this area of inquiry is well Hannah Lewis (Harvard University). represented at the 2013 SEM meeting. The session The session “Music and Evolution” chaired by “Nature, Ecotourism, and Soundscape,” chaired by Judith Becker (University of Michigan) and Jennifer Post (University of Western Australia) Sponsored by the Cognitive Ethnomusicology features the presentations “Parks as Musical Special Interest Group, engages with important Playgrounds: Co-Performance, Ecotourism, and the issues concerning the convergence of evolutionary Sonic Geographies of National Parks Arts thought, expressive culture, and musicality, with Initiatives” by Kate Galloway (Memorial University

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of Newfoundland), “Thoreau's Ear” by Jeff Titon engagement with applied ethnomusicological (Brown University), and “Walking to Tsuglagkhang: practices. Social advocacy through ecomusicological Exploring the Function of a Tibetan Soundscape in work is highlighted in the session “Varieties of Northern India” by Danielle Adomaitis (independent Popular Music I” in the presentation “Viking Metal scholar). The panel “Raising Voices, Reclaiming and Rainbow Warriors: Faroese Popular Music, Spaces: Antinuclear Soundscapes in Contemporary Whaling, and Conflicting Epistemologies” by Joshua Japan and Korea” chaired by Noriko Manabe Green (Memorial University of Newfoundland). The (Princeton University) and sponsored by the Popular panel “Sustainability, Social Policy, and Local Music Section, Japanese Music Special Interest Culture” continues the important discussion Group, and the Society for Asian Music, includes the regarding forms of sustainability in musicology timely presentations “The Spaces We'll Go: The inquiry, including engaging presentations by Michael Evolving Roles of Music in Antinuclear Silvers’s (University of Illinois at Urbana-Champaign) Demonstrations and Concerts in Post-Fukushima “Fortaleza's Two Forrós: Tradition, Capitalism, and Japan” by Noriko Manabe (Princeton University), Musical Sustainability in Northeastern Brazil”, Sally “Sounding Against Nuclear Power in Post-Tsunami Treloyn’s (The University of Melbourne) Japan” by Marie Abe (Boston University), “Project “Repatriation, Cultural Maintenance and Innovation Fukushima! Music, Sound, Noise, and the Public in the Kimberley Region of Northwest Australia”, Perception of Nuclear Power in Post-3.11 Japan” by and Leslie Gay, Jr.’s (University of Tennessee) David Novak (University of California, Santa “Rapping as Social Policy: Danish Immigrants and Barbara), and “Songs of Complaint and Speeches of Århus Rap Akademiet.” Protest in a Grassroots Movement of South Korean I look forward to the many fruitful discussions Radiation Sufferers” by Joshua Pilzer (University of that will be fostered during and following this SEM Toronto), all of which engage with the intersections meeting! between environmental violence, trauma, EN soundscapes, and expressive culture. I continue to see many potential collaborative methodological moments between the Ecomusicology Dance Card: Ecomusicology Special Interest Group and the SEM Indianapolis 2013 Sound Studies Special Interest Group. Notably, the panel “Auto Sound in the Urban Space: Taipei, São Thursday, November 14 Paulo, Bangkok” sponsored by Sound Studies Special 8:30-10:30am, Music and Evolution Interest Group, which engages with issues of urban 10:45am-12:15pm, Varieties of Popular Music I soundscapes, “noise pollution,” and the acoustic 1:45-3:45pm, Ecomusicology Listening Room ecologies of everyday urban environments through 1:45-3:45pm, Seeking the Future in the Past the presentations “Sound-politics in São Paulo, 4-5:30pm, Technologies and Remixes Brazil: Youth and ‘Pancadões’,” by Leonardo Cardoso 7:30-8:30pm, Ecomusicology SIG meeting (University of Texas at Austin), “Filtered Soundscapes: The Translation of Sound into Urban Friday, November 15 Noise in Taipei, Taiwan” by Jennifer Chia-Lynn 8:30-10:30am, Organology and Instrument Hsieh (Stanford University), and “Audiophilia, Specialists Ideology, and the Automobile: Sound Installation 10:45am-12:15pm, Nature, Ecotourism, and Garages in Bangkok” by Benjamin Tausig (New York Soundscape University). 1:45-3:45pm, Raising Voices, Reclaiming Spaces Lastly, the conference features a number of 4-5:30pm, Auto Sound in the Urban Space presentations that engage with the confluence of 4-5:30pm, Sustainability, Social Policy, and Local ecomusicologically-oriented thought and social Culture justice initiatives. The intersection between ecomusicology and social justice is just one possible way in which our work can look towards potential

VOLUME II, NUMBER 2 PAGE 9 ECOMUSICOLOGY NEWSLETTEROCTOBER 2013 Reviews Ecomusicology in the News

by Michael Silvers Every month or so, I come The article neglects to discuss any nature? Is it hopelessly diluted by across an article published in a relationship between birdsong and it?” In his contribution to the major American newspaper or music. series, Anthony Tommasini points magazine of interest to those of us Alex Ross’ review of John out the irony that orchestral music who do work in ecomusicology. Luther Adams’s “Become Ocean” loses its natural acoustic qualities These news pieces tend to be of ran in the New Yorker on July 8, when performed outdoors because three (or four) types: articles on 2013. It includes a discussion of of the need for amplification. He bioacoustics and animal Adams’s body of work and his also complains that the music communication (birdsong is a environmentalism. Ross also “must compete with nearby traffic frequent topic), concert or album describes the environmental noise and the loud chirping of the reviews of work by composers symbolism audible in the music birds that nestle in the courtyard’s concerned with or inspired by the itself: “Like the sea at dawn,” tree.” natural environment, articles writes Ross, “it presents a A New York Times review of the about David Rothenberg, and an gorgeous surface, yet its heaving children’s book, Listen to the Birds: array of other related topics, motion conveys overwhelming An Introduction to Classical Music including thought-pieces on music force.” (June 5, 2013), teaches about music performed outdoors, on the “Finding Nature, Rage, Waves and composers by examining science of sound, and so on. The and Mountains in Modern works that were inspired by birds pieces I have encountered American Symphonies,” an NPR and birdsong. The book includes represent a range of genres and story from August 29, 2013, facts about Mozart’s pet bird, styles, from art music to rock features works (with streaming which liked to sing a motive from music. In this non-exhaustive audio) like Alan Hovhaness’s the third movement of his Piano survey, I highlight some of the Symphony No. 60, “To the Concerto No. 17, and compares a more relevant articles from this Appalachian Mountains,” and composer’s skills to those of a past summer. (My apologies for Aaron Jay Kernis’s “Symphony in bird. the inordinate number of Waves.” If nothing else, these articles references to The New York Times, There is an excellent video suggest broad general interest in which seems to feature from June 2, 2013, about David and awareness of music’s ecomusicology-related pieces more Rothenberg playing the clarinet relationship with nature. On a than other publications.) with cicadas on The New York Times related note, the Chicago A June 10, 2013, piece from website. Symphony Orchestra programmed The New York Times reports on A May 17, 2013, songwriting an entire summer series on Australian male lyrebirds that sing essay in The New York Times, symphonic works inspired by and dance simultaneously during a written by Rennie Sparks, explores rivers (covered by the Chicago mating ritual; according to one the woodpecker’s acute sense of Tribune, among other newspapers). study, they have four distinct hearing. Sparks also describes how As part of their festival, they held “songs” with four distinct “dances.” the woodpecker helped inspire her a daylong symposium in May, at A June 30, 2013 piece on to craft a new song. which I had the honor to speak, birdsong, also from The New York An introduction to a series of along with Jerome Delli Prisco, Times, examines parallels between reviews of art alfresco, from The senior adviser for the U.S. Army the acquisition of birdsong and New York Times on July 18, 2013, Corps of Engineers' Institute for human language, and suggests the asks: “Is art made better by Water Resources; historian David two are only marginally related. nature? Does it compete with Blackbourn; and John Briscoe,

VOLUME II, NUMBER 2 PAGE 10 ECOMUSICOLOGY NEWSLETTEROCTOBER 2013 scholar of water resources and environment. They had chosen of a larger discussion, which economic development. I was the topic because it was relevant includes the mainstream media, surprised to learn that the CSO to contemporary concerns about the Chicago Symphony Orchestra, Rivers Festival organizers were the world and because rivers and and others. unaware of ecomusicology or the water are common themes in a EN current academic discourse great deal of music. Indeed, surrounding music and the ecomusicologists are but one part Expanding Ecomusicology: Exploring Sonic Culture & Environmental Change Memorial University, St John’s Newfoundland, Saturday 28 September 2013 by Andrew Mark Roughly 30 participants gathered in St. John’s propagation underwater and their work developing Newfoundland on the last weekend of September a method for recording snow precipitation over to share papers on ecomusicological possibilities. ocean waters using hydrophones. Meghan Forsyth’s Instead of running across campus, or even from paper (Memorial University) on the Îles-de-la- one room to another, it was a relief to spend the Madeleine (islands) uncovered the manner in which entire day as a collective. All gathered were grateful fisheries, boat motors, and general environmental to Kate Galloway for organizing a symposium influences impacted the local music scene and which brought together a variety of Canadian fiddling culture and also how these musical musics, presenters, and themes. environmental encounters were marketed and Josh Green (Memorial University) put consumed locally and abroad. Janice Tulk’s paper indigenous knowledge into stark contrast with (Cape Breton University) offered a detailed account Greenpeace ethics with his paper on Faroese of the importance of the company mill whistle for islanders and the expression of their whaling the town of Corner Brook Newfoundland and how practices through music and musicians. Raj Shobha understandings of this soundmark brought out Singh’s paper (York University) contrasted Tanya issues of class and local identity. Kate Galloway Tagaq and Evie Mark’s differing constructions of (Memorial University) presented a paper on how identity and place making through Katajjaq throat bioregions can effect compositions, offering two singing. Ellen Waterman’s paper (Memorial examples: the first of how interviews with locals University) offered a case study of Gordon about shipwrecks are repurposed in Kati Agócs Monahan’s experimental art piece, Aqueaoliean work, and the second detailing St. John’s Harbour Harp, that while seeking to work with nature, Symphony which utilizes coordinated boat horns. failed to account for its unpredictable physical Andrew Mark’s paper (York University) discussed power, and in subjective failure brought into close opportunities for ecomusicology within the question the successful purposing of romantic and growing interest in environmental studies towards remote experiences of outdoor sound art. After the issues of melancholy, mourning, memory, and loss. morning paper sessions, Andra McCartney Greg Bruce’s (Memorial University) paper explored (Concordia University) led attendees on a semi- in detail what would be required of musical guided soundwalk. Midway through the walk, we instrument industries in order to produce both broke up into small groups to walk through the socially and environmentally ethical woodwind local farmers market, reconvening at the end. The instruments. In closing, Andra McCartney offered post-walk discussion offered the chance to share an illuminating keynote presentation on how R. our observations, including the political nature of Murray Schafer’s promotion of an idealized neutral our various listening practices. After a soundscape is in fact a highly subjective and complementary lunch, physicist Len Zedel privileged reading of what one ought to enjoy and (Memorial University) and his research assistant consume as natural. Richard Alonge discussed the properties of sound EN

VOLUME II, NUMBER 2 PAGE 11 ECOMUSICOLOGY NEWSLETTEROCTOBER 2013

Music and Environment Symposium University of Technology, Sydney, Australia, 26 April 2013 by Hollis Taylor & Andrew Hurley

Music is a broad church, and University of Technology, Sydney Didgeri-don’ts: Confronting limiting the topic to music + on 26 April 2013. Sustainability Issues,” environment scarcely narrows the The keynote address, entitled ethnomusicologist Robin Ryan field. The entanglement of the The Music of Place, was delivered by asked what kind of role can the nature-culture continuum is improvising violinist and didgeri-doo might play in increasingly recognized, and instrument maker Jon Rose. Rose rethinking our environment. She environmental sounds figure in took us on a tour of his outback compared the sustainability of sound sculptures, installations, and performances and installations, various highly sought-after “didj” compositions. Academic discourse including The Great Fences of trees and questioned whether, relating to the ecology of sound, Australia, The Kite Project, The should they succumb to global or ‘green music’ (often in relation Ball Project, and Wreck. Sounds warming, eucalypt sonorities could to the preservation of an and images from his homemade be satisfactorily replaced by environment's sonority), is on the Relative Violins included the alternative recyclable materials. increase. Music is pertinent to a Aeolian Doubleneck Violin (whose Music, landscape, host of environmental sail catches the wind of the nearby architecture, and design. transformations: social, economic, Hawkesbury River), the Tromba Tony Mitchell contemplated political, cultural, and Mariner (this one Rose played in the articulation between Icelandic technological, while the river), and the Double-piston, music and psychogeographic environmental changes can be Wheeling-neck Violin (“As I landscape. Alyssa Critchley heard in music and soundscapes. pushed it along, and depending on illuminated some initial soundings In popular music, the notion the speed, you got the sense of not from her PhD project into of place has been of particular how long is a piece of music but of alternative performance spaces in interest. Labels such as the how far is a piece of music.”). Sydney. Calling on a theoretical ‘Seattle’, ‘Liverpool’, ‘Perth’, or Music and environmental basis including New Materialism, ‘Dunedin’ sound have come to activism. she pondered the effects that function as almost genre-like Brent Keogh explored the physical space might have on the distinctions relating to place-based development of the ecology trope, concert-going experience and music. Factors such as travel, the ways in which it has been looked at how performance also immigration, and the virtual utilized in contemporary discourse impacts on the uses to which these proximity of the Internet can on musical sustainability, and the spaces are put, including as influence music. Musical, social, limitations of applying naturalistic domicile. and technological forms are tropes to support the conservation Music and its technological affected by the economic of human cultural forms. The environment. environment, as evidenced by Australian composer Henry Tate Eve Klein gave an elegant changes in cultural industries, such (1873-1926) often concerned inquiry into the ways in which the as the record industry meltdown, himself with how composers could record medium has been and the current global financial articulate an Australian voice in progressively “tidied up” to crisis. The political environment music. In her paper, Christine progress towards a hyperreal can also have an impact on the Mercer presented Tate’s romantic sound environment and probed content and type of musical ideas regarding clouds and their some of the implications for endeavours: sound is never colors, discussing what was listeners and musicians. Claire neutral. Inspired by these themes, nationalistic about clouds in the Coleman turned her analytic focus the Music and Environment way Tate described and used them to a new model of music Symposium was held at the in this work. In “Didgeri-doos and production and marketing: crowd-

VOLUME II, NUMBER 2 PAGE 12 ECOMUSICOLOGY NEWSLETTEROCTOBER 2013

funding. She presented a case lost its political value, but became Ethnography, field study of one of the most tainted by it. recordings, and birdsong. successful proponents of this Music, memory, and place. Ros Dunlop gave an overview model and traced some of the John Scannell gave an of the traditional musical controversies. excellent paper that approached instruments of East Timor and Music and politics. the topic of place from without: their place in the social and In its capacity to transform how can music be associated with cultural mores of East Timorese space, music has the power to “non-place”? He undertook a society. Hollis Taylor spoke on the induce both mental and physical contextual reading of the politics of dividing the human and discomfort. Catherine Hoad Bacharach/David song, “Do you nonhuman, demonstrating how explored the manner in which know the way to San Jose?” to the sonic achievements of some music torture works to recreate unpack how it was a paean to songbirds put pressure on the and reclassify environments. Dario place written from within a non- concept and definition of music. Martinelli presented a paper on place. He also demonstrated the Talking about music never environmentalism and animal nostalgic value in the song; by the quite suffices. Two concerts rights in The Beatles’ repertoire. time it was written, San Jose illuminated the symposium. He detailed songs that manifest would not have been in the state Guitarist/composer Le-Tuyen love for nature, those that address imagined by Hal David. Nguyen gave a lecture/concert specific ethical issues, and those Music, acoustic ecology, entitled “Ambience from the that use nature or animals as and soundscape studies. Vietnamese central highlands: metaphors for more general Bruce Johnson’s provocative Nature, Gong Music and the concepts. Ian Collinson performed paper on “Music and Cognitive Gods.” The performance included an analysis of Bruce Springsteen’s Ecology” often argued against the compositions inspired by later work and discerned a new grain of the dominant discursive Vietnam’s mystical landscapes, the politicization within it, which he mode. He suggested that English tone color of gongs, and sacred contrasted with Springsteen’s is not the language best equipped ceremonies. A highlight was earlier work. He also pondered to discuss the sonic world, since Farewe to the Mountain Forest, why Springsteen might be able to English thinks best in the visual. Nguyen’s composition dedicated “get away with it” in the US Another thoughtful comment to the last Javan rhinoceros killed environment, where less well- from Johnson was, “A jazz solo is in Nam Cat Tien National Park. known musicians might meet not an expression of what I think To conclude the event, greater resistance. Two papers musically; it is what I think renowned Australian composer contemplated the impact of the musically.” Luke Sharp and Liz and political activist Martin political environment on music in Giuffre explored how power is Wesley-Smith presented three Germany during the twentieth forged in the acoustic riveting multi-media pieces that century. Peter Tregear turned his environment of the Montreal focus on human rights issues in attention to the Zeitoper genre of metro through the “dou dou dou,” East Timor, Iraq, and West Papua. the Weimar era and examined the signal heard at the moment The composer was at the some of this music that National the train doors close. They argued computer (sound and images), Socialist ideologues loved to hate. for it to be understood as both a with Ros Dunlop on clarinet and Andrew Hurley used an analysis of short musical piece that provides bass clarinet. The deeply moving Thomas Brussig’s novel Wie es the desired authoritative and memorable concert asked leuchtet to explore how some communication and also as an fundamental questions about popular music quickened the audio marker that reflects the power, privilege, and human rights. social movement opposed to the sonic environment of the metro A selection of the symposium East German communist state, when the trains are functioning papers will be published in the but also how the fall of the Wall properly. open access Journal of Music meant that such music not only Research Online (www.jmro.org.au/ index.php/mca2). EN

VOLUME II, NUMBER 2 PAGE 13 ECOMUSICOLOGY NEWSLETTEROCTOBER 2013 Teaching Ecomusicology Active Listening via Soundwalks

by Aaron S. Allen Composer and soundscape Tyler Kinnear and Andra completely. Just make sure you artist/scholar Hildegard McCartney, two expert soundwalk don’t end up heading down any Westerkamp (1974/2001) defines a leaders who have opened my ears potentially dangerous or soundwalk as “any excursion to this remarkable exercise.) distracting paths! (Dead ends can whose main purpose is listening to Acoustic ecologists and be useful, and interesting, but they the environment.” I would add soundscape artists have long used can also be distracting.) Try to plan that only slightly secondary soundwalks to engage audiences. for a mix of urbanized and less purposes are listening to one’s self In essence, as the group leader, or urbanized places (i.e. “built and one’s fellow humans. Most even as a solo participant, you environment” and “natural importantly, however, soundwalks function as a composer, designing environment”), because the encourage active listening. a sonic experience for yourself and contrasts can often be quite This remarkably simple yet others. In my opinion, however, interesting. potentially profound exercise can what is most important is not the The introduction of the be used pedagogically. It’s a great sonic creation, or even the journey, soundwalk to your group should way to get a class outside, in good but the ultimate reflections and take just a few minutes. Explain weather or not, and can be done conversations that result. briefly your conception of a repeatedly for comparative A soundwalk exercise itself soundwalk to the group. You purposes. Soundwalking could take place comfortably in might emphasize that the goal is encourages group bonding either a 50- or 75-minute class, but active listening: both to one’s self through a shared, active 90 minutes is ideal. After some and to one’s environment. That experience, and it can be related initial planning, a soundwalk can environment constitutes to a variety of intellectual pursuits unfold in a three-part structure: everything, not just “nature” but in music study (for majors and introduction, walk, discussion. also other people, the built non-majors) and in environmental Before the actual soundwalk environment, and non-human and social studies. This brief essay itself, however, the first thing to sounds. Let your group know that will provide an overview and consider is your planning. It’s a an individual’s reactions and outline of soundwalking intended simple point, but: know your feelings to those sounds are as to provide newcomers an initial environs! Where will you be? On important as any “objective” starting point. Feel free to vary campus, elsewhere? In familiar observations, and that these your own efforts based on your territory, a new location? needs and desires; certainly Regardless, check out the consider following up with further area in advance. If you readings if you want to expand on cannot physically walk and Ecomusicology 101 it (see the web resources at the listen yourself, then do end of this article). But even some reconnaissance work neophytes can engage a class (or via Google Maps or any other group, or yourself something similar. You can alone!) with ecomusicological either plan a specific route ideas through this interesting and to follow, have some flexible accessible exercise. (For advice options within a basic here, I’m grateful to my colleagues framework, or improvise

VOLUME II, NUMBER 2 PAGE 14 ECOMUSICOLOGY NEWSLETTEROCTOBER 2013 subjective, personal emotions will temperature and other climatic lead to further discussion. Or you be the subject of discussion at the conditions that can impact might make (or encourage) some end of the soundwalk. fatigue. Sometimes, less is more; specific connections yourself, for The most important thing to sitting can also lengthen a walk example: “Did you notice how do in the introduction, however, is while not making it so strenuous. sound X interacted with sound Y?” to let your group know that there The ensuing discussion is Or “Why do you think that sound are two basic ground rules: No where you, as a leader, will need to Z stood out / was so hard to talking (unless there’s an both continue being a curator and notice?” Or “Did you notice any emergency) and no walking in composer while also taking a back patterns or relationships among front of the leader (you). The idea seat to the ideas and opinions of sounds on our walk?” Then you is to proceed in silence; by not others. This is the challenge for all might consider some changing talking, either in idle chatter or teachers in leading a discussion, of dynamics, such as “Did you notice commenting on sounds heard, one course, but realize here that the how your own listening changed really focuses on listening. Yes, it benefits of soundwalking are over time?” And of course, you is sometimes odd to walk in a intensely personal, so participants might build the discussion to silent group in a public place, but should have the opportunity to discuss bigger ideas: What does the rewards of focused listening reflect on, and ideally share, their that sound mean? What does it and the discussion that ensues are experiences. You might emphasize indicate about the state of our worth it. Of course, if someone is free speech or brainstorming; world / our place in the world / our in danger or distress, then don’t try to direct the discussion relationships with each other? breaking the silence is certainly too much, because the important A group soundwalk is not an warranted. But there’s no good aspect is to allow individual everyday experience, but it can reason for group members to dash experiences to become attune us to pay more attention to out in front of you, because you’ve meaningful, even if they are our everyday experiences. And planned the route and need to set different from other experiences. eventually, soundwalking can a pace that keeps everyone You might start generally: “What become a regular, personal together. While recording devices did you hear?”—and see what experience; as Westerkamp notes, can offer an interesting way to bubbles up. Of course, one “Wherever we go we will give our preserve, analyze, and document potential problem with such an ears priority.” This exercise can be soundwalks, be sure that the open-ended question is the approached quite simply as an technology is not a distraction. Of response that simply tries to introduction for all sorts of course, tell your participants to recount every place walked and listeners with all sorts of turn off their cell phones! every sound heard! Depending on backgrounds because, even if you For the walk itself, make sure the group, or just for the sake of are already an active listener, not to go too fast. Stop making it clear, you might start hearing how others listen can be occasionally to just listen. There’s instead with a variation on that mind- and ear-opening. And doing no need to keep moving question: “What do you think/feel that matters for understanding our constantly, and occasionally about something you heard?” sonic world—and each other. stopping to sit, listen and just be For the discussion, model can be focal points of the event. patient listening yourself, and give Web Resources: Stopping allows participants to your participants an opportunity Andra McCartney: feel comfortable and focus on to collect their thoughts before soundwalkinginteractions.wordpress.com their listening. Try to find some you contribute your own Hildegard Westerkamp: interesting sounds, be they bird observations. You might ask about www.sfu.ca/~westerka/writings.html habitats, running water or extremes: “What was the [loudest/ Ecomusicology Bibliography: sonorous trees, or traffic, softest/most unusual/most www.ecomusicology.info/resources/ machinery or other humans. Plan common] you heard?” These little bibliography/ for the walk to be about 30-60 things could start connections minutes; be sure to consider the between experiences that could EN

VOLUME II, NUMBER 2 PAGE 15 ECOMUSICOLOGY NEWSLETTEROCTOBER 2013 Performance & Place Approaches to Place in Recent Field Recordings

Part 2 (of 3)

by Tyler Kinnear Documentation and the Artistic Act. contact microphone against the surface of a Ferris Sculptor and sound artist Scott Sherk claims that wheel, capturing its self-produced squeaks and the distinction between art and documentation is no groans (see CD 1, Track 2). Overall, these longer clear in the context of contemporary field “performative” moments are rare, and stand out as recording.1 Sherk asserts that the only difference unusual on an album that aims to document locations between the two is intention.2 A common way for under the rubric of environmental disrepair. artists to voice their aims is through supplemental materials, such as liner notes and images. Listeners Reporting from the Soundscape. also bring their own ideas and interpretations. At “When faced with irresolvable issues on this scale, times listener reception and artist intention align; in how can an individual artist, or any concerned citizen, other instances they are incongruous. What are the respond? My answer has been to inform myself as far as is repercussions of experiencing a field recording possible, but also to listen to the small voices, to the differently than the artist intends? In what ways does environment itself, to those whose personal knowledge of the area goes back generations, to those on the front line documentation serve artistic purposes? How does and to those whose lives have been changed forever by artistic expression inform documentation? Part 2 of events over which they had no control. The Chernobyl this series turns to Peter Cusack’s Sounds om recordings represent my aural journey.” Dangerous Places (80-pages, 2xCD, ReR Peter Cusack, Sounds om Dangerous Places 5 MEGACORP and Berliner Künstlerprogramm des DAAD, 2012) in order to consider some of the ways Cusack uses field recording as a methodology for in which documentary field recordings position the studying place, which he refers to as “sonic listener in a real-world context while also inviting journalism.”6 Sonic journalism is based on the them to engage recorded environmental sound on understanding that sound carries information about a aesthetic terms. specific location. This entails not only the sounds Sounds om Dangerous Places is part of Cusack’s heard in a given space, but also the ways in which ongoing project that explores places facing major inhabitants experience and interpret them.7 Cusack environmental damage as a result of human activity. 3 augments the recordings with written commentary, CD 1 (37 tracks) investigates the Chernobyl research findings, track descriptions, and images.8 Exclusion Zone and surrounding communities. CD 2 These supplemental materials offer contextual (39 tracks) charts oil fields outside Baku, Azerbaijan, information that sonic footage alone may not and various locations in the UK, including two provide. Certain passages of writing help to assure nuclear power stations and one of London’s largest that the field recordings retain the artist’s intended landfills.4 The majority of recordings are stationary; meaning when played back in a different setting. For that is, where the recordist is not moving and the example, the text accompanying “Cuckoo and microphone is directed towards a particular sound radiometer” reads: “It is an ironic juxtaposition of source. On several recordings, Cusack deliberately sounds as both allude to sudden eviction. Cuckoos makes sounds. This includes strumming the strings pirate other birds’ nests, ejecting the eggs and chicks, of a defunct piano and walking on glass bottles and and radiation forced the evacuation of all Pripyat books. There is one instance where he places a residents. In Ukrainian folklore the cuckoo’s call

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counts the years of one’s life.”9 This connection stations (both in southeast England) center on between bird and radiometer would go unnoticed energy. However, the oil fields feature a rich without knowledge of the behavior of an adult cacophony of metallic sounds, while the power cuckoo and Ukrainian folklore. In essence, the text, stations present slightly nuanced, broadband drones. combined with field recordings, has the potential to Sounds om Dangerous Places also invites listeners to reshape the imagination of those with a different note changes in a particular environment over time mental image of Chernobyl (e.g., an abandoned town (or a lack thereof). Such is the case with the two no longer sustaining life). “oilfield soundwalks” (CD 2, Tracks 4 and 9). Cusack groups recordings according to location Recorded six months apart, the acoustic and sound type. For CD 1, these are as follows: environment sounds unchanged: both recordings Chernobyl’s wildlife; Pripyat; Samosel villages; consist entirely of the groans and squeaks of oil Sounds of work, electricity, and radiometers; and derricks.12 Svatlana Tsalko.10 CD 2 features similar categories, although this is not explicitly stated: nature (animals, When a “Dangerous” Place Becomes natural phenomena), industry (nuclear power plants, Appealing. oil derricks), and culture (music making, change “The main issue for me after experiencing the oil-fields ringing). Although these groupings are helpful in was the extreme dichotomy between my aesthetic pleasure explaining the “types” of sounds present, the at seeing and hearing this place and the knowledge that it meaning that we associate with these categories may was extremely polluted, created health problems for the change in light of the real-world contexts in which local people, had a major impact on Azerbaijan’s social and political system, the structure of its economy and exerted a sounds are heard. For example, several of the wider, global, effect in terms of oil supply.” “nature” tracks showcase the resiliency of non- Peter Cusack, interview with Angus Carlyle 13 human organisms to nuclear disaster. This is notable in Chernobyl recordings that feature abundant Although the locations visited are highly animal activity, such as “Dawn chorus” (Track 15) and polluted, on-site field recordings do not typically “Chernobyl frogs” (Track 37). Other recordings replicate these conditions. For example, the highlight the socio-economic dimensions of sites in shoreline outside Baku is contaminated with oil, but disrepair. This includes power demands to maintain the track “Caspian sea wash” sounds no less than operations (“Power cable crackle” CD 1, Track 3), pristine. (The same could be said for the “nature” construction (“Sarcophagus work” CD 1, Track 20 recordings made in and around Chernobyl.) and “Oil work tune 1” and “2” CD 2, Tracks 2 and 3), Additionally, certain sounds may come across as and social establishments (“Bar, Friday night, acoustically interesting while the source itself is Chernobyl town,” CD 1, Track 13). There are also controversial. For instance, the four “Methane flow” recordings that capture some of the impacts of recordings (CD 2, Tracks 28-31) present a series of catastrophic events on local residents, ranging from quasi-pitched sounds—pressurized gas flowing expressions of that which is lost (“Oh My Beloved through pipes. Focusing on pitch relations, rather Village, Stovpyagi village” CD 1, Track 20) to the than on methane as a subject, the listener’s thoughts political implications of post-disaster situations shift away from the environmental complexities of 11 (“Official secrets” CD 2, Track 23). this sound source to its musical qualities. (There is Cusack compiles recordings in such a way that current debate over the possibility of a sudden Arctic invites listeners to make connections between methane release as a result of climate change.) 14 The locations that may otherwise seem unrelated. In danger here (in a journalistic sense, not an artistic some instances the correlation is one of cause-and- one) is that sonic footage from “dangerous” places effect, such as the use of radiometers in Chernobyl may come across as bucolic instead of bringing and Snowdonia, UK, a Chernobyl fallout site in attention to real-world circumstances. North Wales. In other cases, two or more locations One of the few sound types on Sounds om support related markets while their sonic profiles are Dangerous Places that directly communicates danger is markedly different. For example, the Caspian oil the radiometer (i.e. Geiger counter). The device fields and the Bradwell and Dungeness nuclear power functions as a tool for measuring an otherwise

VOLUME II, NUMBER 2 PAGE 17 ECOMUSICOLOGY NEWSLETTEROCTOBER 2013 invisible threat. In the opening recording on the The former is set in motion by the bulk movement album, “Radiometer, Kopachi,” we hear the quivering of air; the latter creates an electronic pulse when an beeps of a radiometer, the wind in the distance, and ionizing event is detected. Cusack reading aloud radiation levels. The level gradually rises and then falls, creating a sense of Conclusion. intensification, followed by relief (i.e. the higher the Sounds om Dangerous Places is a personal number the greater the threat). However, not all of compendium of sounds gathered from locations that the “radiometer” recordings portray a sense of have faced major environmental damage (with the danger. Several tracks de-emphasize the meaning exceptions of the Bradwell and Dungeness nuclear associated with the device, namely those that feature power stations, which are currently stable but have the radiometer in the foreground with another the potential to inflict catastrophic damage). sound. These range from birdsong to a window hinge Simultaneously, it is a conversation piece about squeaking in the wind. In my own experience, these global issues concerning energy sourcing and recordings take on musical qualities, primarily in resource extraction, and their impacts on local terms of rhythmic interplay between sources. For communities and ecosystems. With the album, example, with “Radiometer squeaky hinge, potentially unforeseen connections between distant Opachichi village” (CD 1, Track 33) the sounds are at places emerge. Also noted is the seeming fixity of a similar volume and are perceived as spatially certain acoustic locales. However, more often, sound proximate—both are heard in the front left-center challenges the typical envisioning of places in channel. This interaction between two inanimate environmental disrepair, from Chernobyl as a haven objects falls short of synergy when I remind myself for wildlife to the Caspian oil fields as an ongoing that Cusack intends them to be heard as performance of percussive machinery. From the information. In this sense, the squeaky window hinge perspective of journalism, a challenge is that field and radiometer are both reactive to outside stimuli. recordings from “dangerous” places may be

Bibi-Heybat oil field, Azerbaijan. Image reproduced by kind permission of Peter Cusack.

VOLUME II, NUMBER 2 PAGE 18 ECOMUSICOLOGY NEWSLETTEROCTOBER 2013 misinterpreted (such as methane sounding 6. For more information, see: www.sounds-om- aesthetically interesting or a bird and mechanical dangerous-places.org/sonic_journalism.html (accessed August device interacting in a musical way), or suggest 16, 2013). environmental, economic, and/or political conditions 7. In this line of thought, Cusack’s work is not that are not true to fact. Artistically, some of dissimilar from the World Soundscape Project (WSP), a multidisciplinary team of soundscape researchers based at Cusack’s recordings immerse us in a real-world Simon Fraser University in Burnaby, British Columbia in context; others take us to a space of imaginative the 1970s. Cusack applies some of the same tools as those listening. Although intention and reception do not used by the WSP for collecting data, namely soundwalks, always align in field recording, the so-called field recordings, and interviews. However, where the “collapse” between documentation and art may in WSP projects focus on soundscapes in change (as a result fact be an opening whereby artists at once share of growing noise pollution, among other factors), Cusack personal experience through sound but also stimulate explores soundscapes already redefined by human action. public discourse around particular locations. For 8. In a recent interview with Cathy Lane, Cusack Cusack, this entails inviting us to revisit our explains: “I do a lot of research and the only way to get impressions of “dangerous” places, while thinking that across is to talk or write about it. I want to be able to about the connections (including our own) to energy communicate the research because the projects are not demands and contaminated environments. about sound, sound is a way to illustrate and to give insight into what’s happening in a place like Chernobyl. Sound will tell you quite a lot, but it won’t give you radiation Notes. statistics, or other factual information, so you need to give 1. Scott Sherk, “Phonography: Art or that verbally. Images also help, sometimes the sound and Documentation,” Field Notes 3 (2012); 15. Available at the images give you a total different message, which in www.gruenrekorder.de/fieldnotes (accessed August 12, 2013). itself is interesting. So I like using all those media because 2. Sherk arrives at this by comparing recent when they act together they give you a fuller picture.” developments in phonography to the history of Cathy Lane and Angus Carlyle eds., “Peter Cusack,” in photography. In the Field, The Art of Field Recording, Axminster, UK: 3. Cusack is among several artists that have explored CRiSAP, 2013, 195. the abandoned buildings of Chernobyl and the oil fields in 9. Cusack, 27. Azerbaijan. For example, Jacob Kirkegaard’s Lucier-esque 10. Ibid., 18–19. Samosel villages comprise of the Four Rooms (2008, Touch) presents the formant current inhabitants of the Chernobyl area, many of whom frequencies captured by recording ambience in a former were residents prior to the disaster. Svatlana Tsalko is a public venue in Chernobyl, playing it back while re- poet and folklorist living near Chernobyl. recording, and repeating the process multiple times. 11. The concepts of “apocalypse” and “nostalgia” Photographer Edward Burtynsky’s multi-part series Oil surface in Cusack’s work. The former resonates with the investigates the global market of oil, from extraction (oil overall theme of the album, and the latter with recordings fields), to production (refineries), to consumption of local residents. Readers interested in “apocalypse” and (highways). Burtynsky’s series features images of the same “nostalgia” as they pertain to ecocritical topics may wish oil fields in Azerbaijan as documented by Cusack. to consult Alexander Rehding’s article “Ecomusicology 4. Track listings and audio excerpts are available at between Apocalypse and Nostalgia,” Journal of the American www.sounds-om-dangerous-places.org/book.html (accessed Musicological Society 64/2 (2011): 409–414. August 16, 2013). The majority of tracks are between one 12. Both tracks consist of excerpts from longer walks, and two minutes in duration. However, some are as brief with the original order of sound events preserved. Cusack, as 0’16” (“Methane flow 1”), while others exceed 58. 8’00” (“Oilfield soundwalk 2”). The recordings span 13. Angus Carlyle ed., “An Interview with Peter multiple trips to certain locations; Cusack visited Cusack,” in Autumn Leaves: Sound and the Environment in Azerbaijan in March and October 2004, and Ukraine in Artistic Practice, Paris: Double-Entendre, 2007, 81. May 2006 and July 2007. Several recordings on CD 2 were 14. Nafeez Ahmed, “Why the jury’s still out on the made in the 1990s. These include “Plane deer” (Track 15) risk of Arctic methane catastrophe,” The Guardian, and “Bradwell nuclear power station” (Track 37). September 5, 2013. www.theguardian.com/environment/earth- 5. Peter Cusack, Sounds om Dangerous Places, ReR insight/2013/sep/ 05/jury-out-arctic-methane-catastrophe-risk- MEGACORP and Berliner Künstlerprogramm des real (accessed September 7, 2013). DAAD, ReR 3&4 and LC-02677 (Book and CD) 2012, 18. EN

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... Continued om p. 3, Interview with Allen, by Torvinen & Engström century. It’s taken, perhaps, some time for those JT&AE: It seems to me that always when a changes and the resulting concerns to filter into the new branch of research emerges it appears first relatively isolated world of music scholarship. as a unified, even harmonious field with a Another reason might be institutional, in that common goal. However, soon the branch starts universities have long struggled to reward and dispersing into diferent competing schools. encourage inter-, cross- and trans- disciplinary work. Environmentaly oriented music scholars have Although I don’t have the data to substantiate the already used at least two seemingly paralel following claim, I might hypothesize that a terms “environmental ethnomusicology” and significant reason music scholars didn’t wake up to “ecomusicology,” and for example Professor environmental issues is the perception of politics. Mark Pedelty has stated that ecomusicology has Musicology in Europe and the United States in the so far been concerned mostly with classical early part of the twentieth century was conservative music (which is actualy not quite true in a and tried to develop its status as a legitimate European context). Do you think there is (or wil scientific pursuit worthy of status as an academic be) some kind of factioning in ecomusicology? discipline (and hence as a university department or What would it be like? Or have the faculty). As a result, change has been slow. The split environmental crises become so ubiquitous that (in the United States at least) between historical they wil unite music scholars in a common musicology and ethnomusicology—which I think is cause? tremendously unfortunate and counterproductive— AA: I have a dual hope for ecomusicology: first shows some of that conservativism, as does the that it does not fracture, but second that it fuses history of the “new musicology” in the past few with many other realms of scholarly inquiry so that it decades. But I think many music scholars have been doesn’t become stale, isolated, or irrelevant. Those concerned not to represent themselves too two hopes are apparently contradictory, and politically. Environmental issues are nothing if not achieving them will be a challenge. And even if the political—and here we see the cultural status of name “ecomusicology” is not used, the approaches environmental issues as well. The openness of are what matter, be they of soundscape studies and/ ethnomusicology and the groundwork laid by the or environmental ethnomusicology and/or anything “new musicology” have both contributed to clearing else related but with a different name. the ground for ecomusicology. I’ve been attending environmental conferences Second, I’d like to disagree, if I may, with the since the mid 1990s and music conferences since the premise of the question and say that thinkers have late 1990s. At most environmental conferences I get long made connections between music (or sound), a sense of sharing ideas, dialogue, and pursuing the environment (or nature, however its construed), common goals; at most music conferences I get a and human society/culture—even if not as an explicit sense of privacy, monologue, and independence. Both ecomusicology. Consider, for example, in Western cultures are admirable and have their places and culture, the ancient Greek “Harmony of the benefits and failings. Balancing the two would be Spheres,” or medieval treatises on the status of bird tricky, but I do think that the common cause will be song and musicians who imitate it, or 18th-century enough to unite ecomusicology scholars to a engagements with the natural, or Romantic significant degree. fascination with nature, etc. This is to say nothing of I might also add that before there was an the rest of the world, where in some cases, as in Asia, explicitly named ecomusicology (be that a recent there is a long written tradition of such connections, affair, as in the past few years, or one that dates back while in other cases there may be oral traditions and to the first reference to the word that I’ve found, present understandings (rather than “scholarship” from the 1970s), we had soundscape studies. per se) and musicking (rather than “compositions”). Ecomusicology is both an umbrella term that could So while I do see some barriers to the contemporary encompass soundscape studies and it’s also a development of ecomusicology, I also understand it tributary, or descendent, of it. (Of course, these are as a longer, if not explicitly named, tradition. just names, methodologies, and the people associated

VOLUME II, NUMBER 2 PAGE 20 ECOMUSICOLOGY NEWSLETTEROCTOBER 2013 with them, for as I mentioned previously, I think understandings and new perspectives on material that something like ecomusicology, or soundscape that has both been well cultivated and may not studies if you want, has been going on for a long otherwise be well known. Here, we can find the time.) That’s when we consider ecomusicology wonder, allure, and need for not just ecomusicology holistically, as any study of sound/music and nature/ but all scholarly inquiry in general: as understanding environment and culture/society. But when an the past through the continual reflections of our own element of the environmental or ecological activist is time. On the other hand, that could lend to the combined, I think that’s where there is something perception that ecomusicology is just a way to clearly ecomusicological, something that clearly reinterpret, yet again, the same old material; as such, identifies ecomusicology as something contemporary ecomusicology could be seen as a fad. I hope not! It’s and different. up to all of us to produce rigorous and meaningful Literary ecocritics and environmental historians work that works against such criticism. still, after decades of their fields being well Regarding Beethoven: I wrote an article entitled established (if not mainstreamed), are still having “Symphonic Pastorals” [Green Letters: Studies in arguments about defining their fields. (The same Ecocriticism 15 (2011): 22-42] that considered various goes for ethnomusicology, at least in the United symphonies from the long nineteenth century, and States.) I think it’s a natural evolution in any field to Beethoven’s Sixth was central to it. I took an argue about it and push at its boundaries. If not, then ecocritical approach, drawing on the pastoral (a the field becomes moribund. We can think of it in favorite topic among ecocritics), to argue that even the same way we might think about ecological stasis: an apparently “mute” or “textless” genre like the it doesn’t exist, as nature is always changing. There’s symphony can express conceptions of nature. a constant struggle in nature, and the only constant Furthermore, those conceptions changed between is change. So I hope there will be arguments about composers and throughout time. The streams and branches in ecomusicology as much as I ecomusicological approach here is not one concerned also hope there will be a way for it to become so much with activism or environmental crisis; another tool in not just the music scholar’s toolbox rather, it is one concerned with historical but also part of the more general study of the conceptions of nature—and that approach cultural crisis of the environment. contributes to the understanding function that cultural scholars can contribute to confronting the JT&AE: One interesting aspect of environmental crisis. ecomusicology derives fom its relevance for music history. As I see it, ecomusicology is not JT&AE: Ecomusicologists ofen emphasize only an approach for finding out some ecocritical the activist nature of their field. What forms things hiding in music. Ecomusicology is also, could this type of activism take in contemporary even mainly, a new way to hear music, any Western society? Isn't ecomusicology a close music, as the context of environmental crises relative or even a branch of cultural musicology justifies ecocritical listening of any music and since it emphasizes the cultural conditions of justifies negotiation of ecocritical messages even musicking and political consequences of any in music that is not ecocritical as such or even in music scholarly work? cases where composer’s/performer’s intentions AA: Absolutely, I see ecomusicology as resulting are not ecocritical as such. You are yourself also a from cultural musicology and its willingness to Beethoven scholar. How do you see the relevance engage with difficult subjects, such as race, politics, of ecomusicology to music of previous centuries, gender, sexuality, and power. As for the forms of as e.g. with Beethoven’s Pastoral symphony? activism, consider the perhaps trite saying: Indeed, the ecocritical approach has relevance knowledge is power. Understanding is certainly a for both current and historical musics, and explicitly fundamental type of activism, and closely related to and otherwise unacknowledged environmental works it is empowerment. Consider a parallel with and contexts. On the one hand, the historical feminism: scholarly research, teaching, and ecomusicological approach can provide different dissemination on feminism can empower

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participants, readers, and especially students. They alternative materials for making a violin bow can learn about past injustices, discover role models, that are more environmental fiendly? And how and realize that each of us could participate in the is the violin "community" reacting to this? Is cultural change afoot. The same could be said for there any awareness at al about the serious ecomusicological work in research, teaching, and situation or the alternatives? dissemination. There are a number of scholars (e.g. AA: The use of wood for musical instruments is Mark Pedelty, Andrew Mark, Catherine Botrill) potentially sustainable and environmentally whose work is either explicitly or tangentially responsible. For example, some of the best spruce ecomusicological, and whose ideas connect not only used to make violin soundboards is grown in a with scholars and students but also with practicing sustainable, culturally specific, and historically rich musicians (of modestly local and profoundly global way, and so there are models for responsible and reach) and music venues, all of whom could make a renewable materials use. [See my “‘Fatto di Fiemme’: difference and spread the word to make issues of Stradivari’s Violins and the Musical Trees of the environmentalism and sustainability more Paneveggio,” in Invaluable Trees: Cultures of Nature, mainstream, understood, accessible, and accepted. 1660-1830, eds. Laura Auricchio, Elizabeth Mark Pedelty in particular has thought long and hard Heckendorn Cook, and Giulia Pacini, 301-315 about the potentials and pitfalls of such efforts. Part (Oxford: SVEC, 2012).] There are alternatives for of the challenge is to maintain the beauty, bows, such as graphite and carbon fiber, but neither inspiration, fascination, and emotion of music while are renewable (being made from minerals and/or not weighing it down with too much gloom and petroleum). Wood is an ideal medium, but the violin doom and, at the same time, connecting music and community—performers, teachers, luthiers, and musicking to issues much bigger than ourselves. archetiers—must decide to do the right thing, because pernambuco is currently not a sustainable JT&AE: How could we make ecomusicology choice for professional quality bows. The more common in the field of music research? International Pernambuco Conservation Initiative, Would it be a desirable goal if we could some day an organization comprised primarily of archetiers talk about "an ecological turn" of music and luthiers, is indeed searching for responsible and research? sustainable solutions. But by and large, the concern AA: I do think it would be a good thing to some remains (as far as I understand it) absent from the day refer to the ecological turn. But my hope is that performance community. Performers are aware of such a turn would become just another aspect of alternatives, but almost in the same breath those cultural research and thinking. I also hope that alternatives are refuted as not good enough. Players, ecomusicology does not become another academic especially professionals, want the best tool for the silo in which its practitioners talk only with each job, and to them, pernambuco makes for the best other. And of course to make ecomusicology another tool. As awareness increases, and as a younger, more tool in the toolbox and to prevent such isolation, sustainability-minded generation comes of age, my ecomusicology must become more common. Apart hope is that the situation will change. And of course, from launching an ad campaign (which I actually do I hope that ecomusicological work can help not think would work, nor do I think it would be an understand the situation, disseminate ideas and appropriate thing to do), I think that the best ways stories about it, and aid in ameliorating it. to make ecomusicology more common are to be patient, to do good work, and to keep publishing, JT&AE: In terms of material for instruments teaching, talking, and sharing ideas. and equipment, the environmental impact could be significant: what about hardware like JT&AE: You are presently doing research on electrical instruments, amplifiers, speakers, and the violin, and the material for its bow is usualy more specialized tools and equipment, is there taken fom the pernambuco tree. The situation any awareness from the music and art world? In for this tree is, fom an environmental the more commercial field, like mobile phones, perspective, deeply troubled. Are there any companies are constantly being watched, by

VOLUME II, NUMBER 2 PAGE 22 ECOMUSICOLOGY NEWSLETTEROCTOBER 2013 media at least, for filling the requirements of being environmental friendly as well as providing decent working conditions. But what about this art equipment, which in its totality may not be of such minor concern? AA: Well, in this question and in the previous, I have to say: make sure you check out the book that I’m co-writing with Kevin Dawe and Jennifer Post! We’re going to be addressing these very issues. You’re absolutely correct that there are significant impacts from the technology that’s used to support all sorts of musical endeavors, from performing and recording to listening and distributing. Music is perhaps perceived as an unambiguous good: making and appreciating music is part of what makes us human, and while it may or may not be uniquely human, it sure feels good. So finding faults with the infrastructure of music is a difficult pill to swallow. I cannot speak authoritatively about the general Aaron S. Allen is Associate Professor of Musicology at the perceptions in the arts world about these material University of North Carolina at Greensboro. He serves on the environmental concerns with regard to music faculty committee for the Environmental Studies Program. As instruments and technologies, but I can say that UNCG’s Academic Sustainability Coordinator, he works to increase and improve sustainability education across the curriculum. anecdotally they are of no significant concern to After earning a B.A. in music and a B.S. in environmental musicians and listeners. And that’s something that studies from Tulane, Allen received his Ph.D. in music from bothers me greatly. We do need to raise awareness of Harvard with a dissertation on the nineteenth-century Italian these issues, be they our gadgets’ energy use (which reception of Beethoven. He is a 2012 Fellow of the American contributes to global warming) or the source of the Academy in Rome. Allen co-founded and chaired the Ecocriticism Study Group of materials (e.g. endangered trees or rare earth the American Musicological Society and the Ecomusicology Special minerals obtained through exploitative child labor). Interest Group of the Society for Ethnomusicology. His conference The social and environmental movements that have presentations include venues in music scholarship (AMS, SEM), brought attention to the materials in our phones and interdisciplinary studies (19th-Century Studies Association), and other technology are slowly gaining ground, and environmental studies (American Society for Environmental History, Association for the Study of Literature and Environment, some corporations are starting to take notice and Association of Environmental Studies and Sciences). make changes. We need to do the same with musical His publications include encyclopedia entries on ecomusicology instruments and technologies. and on sustainability for Grove and on climate change for Music EN in American Life. Allen organized and contributed to the seminal ecomusicology colloquy in the Journal of the American Musicological Society. He has published reviews and essays in Originally published in Finnish as “Musiikintutkimus environmental studies publications, such as the Journal of ja kulttuurinen ympäristökriisi” [The Study of the Music & Environmental Studies and Sciences and the edited collection Culture of the Environmental Crisis], Musiikin Suunta Environmental Leadership: A Reference Handbook (Sage). XXXV, no. 1 (2013): 49-54. Allen’s ecocriticism essay on nineteenth-century symphonies appeared in Green Letters, while another ecocritical essay on Subsequently published in Swedish as “Ekomusikologi Canadian musician Bruce Cockburn is in the edited volume Rock —för att förstå vår omvärld” [Ecomusicology: In Order to Politics (Ashgate). An early version of his research on the Understand the World around Us], Nutida Musik no. 1 connections between sustainability, wood for music instruments, (2013): 32-35. and environmental history appeared in the edited volume Invaluable Trees (Oxford/SVEC). Allen is currently co-editing Published here in English with thanks to the editors of (with Kevin Dawe) a Routledge Research guide on ecomusicology Musiikin Suunta and Nutida Musik. and is co-authoring (with Kevin Dawe and Jennifer Post) a book entitled The Tree that became a Lute: Musical Instruments, Sustainability and the Politics of Natural Resource Use (Illinois UP).

VOLUME II, NUMBER 2 PAGE 23 ECOMUSICOLOGY NEWSLETTEROCTOBER 2013 Contributors Biographies Aaron S. Allen is Associate Professor of Musicology and Academic Sustainability Coordinator at the University of North Carolina at Greensboro. He co-founded and chaired the AMS ESG and SEM ESIG. Nathan Currier is an American composer. He studied at Juilliard, Peabody, and the Royal Conservatory of Belgium. His compositions have been heard at prestigious venues, and he is a winner of many prizes and awards. Currier is also active in climate science research, communication, and advocacy. Dan Bendrups is an ethnomusicologist and Senior Lecturer at the Queensland Conservatorium, Griffith University, Brisbane, Australia. His primary research is on the music of Easter Island (Rapanui). He is currently working on a study of popular music festivals and environmental engagement in Australia. Andreas Engström is a Swedish musicologist, music and art critic, and editor based in Berlin. He is editor-in-chief of the Swedish journal Nutida Musik, which specializes in contemporary music and sound art. Engström’s research is on new music theatre and sound art, both Western and non-Western. Kate Galloway is a SSHRC Postdoctoral Fellow in musicology/ethnomusicology at Memorial University’s Research Centre for the Study of Music, Media and Place. She is the current chair of the Society for Ethnomusicology’s Ecomusicology Special Interest Group. Andrew W. Hurley is a senior lecturer at The University of Technology, Sydney. He holds a PhD in German Studies, and has published widely on jazz and popular music in Germany. Sabine Feisst is Associate Professor of Music History and Literature at Arizona State University. Her research interests focus on the music of the twentieth and twenty-first centuries, including the music of Arnold Schoenberg, exile studies, improvisation, experimental music, film music and ecocriticism. Tyler Kinnear is a Ph.D. student in Musicology at the University of British Columbia. His research focuses on conceptions of nature in music of the twentieth and twenty-first centuries. Andrew Mark is an Environmental Studies PhD candidate at York University. He holds an M.A. in ethnomusicology. His research concerns musicking to resist urbanization and gentrification in rural spaces. Michael Silvers is an Assistant Professor of Musicology at the University of Illinois at Urbana- Champaign. His research concerns music, drought, and cultural sustainability in northeastern Brazil. Hollis Taylor is a Chancellor’s Postdoctoral Research Fellow at the University of Technology, Sydney. She researches the vocalizations of the Australian pied butcherbird and the superb lyrebird. Hollis is webmaster of www.zoömusicology.com. Juha Torvinen is adjunct professor of musicology at the Universities of Helsinkin and Turku, Finland. He is vice-chair of the Finnish Musicological Society. In 2012, Torvinen organized the first ecomusicology session at the Symposium of Finnish Musicologists and led the first ecomusicology course in Finland. Denise Von Glahn is Professor of Musicology and Director of the Center for Music of the Americas at the Florida State University. She has written The Sounds of Place: Music and the American Cultural Landscape (2003), and Music and the Skiful Listener: American Women Compose the Natural World (2013).

Editorial Board Aaron S. Allen (Co-Editor) Tyler Kinnear Maja Trochimczyk Kevin Dawe Andrew Mark Denise Von Glahn Sonja Downing Mark Pedelty (Co-Editor) Sabine Feisst Michael Silvers

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