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Current Directions in Ecomusicology Current Directions in Ecomusicology This volume is the first sustained examination of the complex perspectives that comprise ecomusicology—the study of the intersections of music/sound, culture/society, and nature/environment. Twenty-two authors provide a range of theoretical, methodological, and empirical chapters representing disciplines such as anthropology, biology, ecology, environmental studies, ethnomusicology, history, literature, musicology, performance studies, and psychology. They bring their specialized training to bear on interdisciplin- ary topics, both individually and in collaboration. Emerging from the whole is a view of ecomusicology as a field, a place where many disciplines come together. The topics addressed in this volume—contemporary composers and traditional musics, acoustic ecology and politicized soundscapes, mate- rial sustainability and environmental crisis, familiar and unfamiliar sounds, local places and global warming, birds and mice, hearing and listening, bio- music and soundscape ecology, and more—engage with conversations in the various realms of music study as well as in environmental studies and cultural studies. As with any healthy ecosystem, the field of ecomusicol- ogy is dynamic, but this edited collection provides a snapshot of it in a formative period. Each chapter is short, designed to be accessible to the non- specialist, and includes extensive bibliographies; some chapters also provide further materials on a companion website. An introduction and interspersed editorial summaries help guide readers through four current directions— ecological, fieldwork, critical, and textual—in the field of ecomusicology. Aaron S. Allen is Associate Professor of Musicology at the University of North Carolina at Greensboro, USA, where he is also director of the Envi- ronmental and Sustainability Studies Program. A fellow of the American Academy in Rome, he earned a Ph.D. in music from Harvard after earn- ing a B.A. in music and B.S. in environmental studies from Tulane. He has published on campus environmental issues, Beethoven, and ecomusicology. Kevin Dawe is Professor of Ethnomusicology and Head of the School of Music and Fine Art at the University of Kent, UK. He has degrees in music, biology, and anthropology. His publications include the single-authored books The New Guitarscape (2010) and Music and Musicians in Crete (2007) as well as edited collections. Routledge Research in Music 1 Music, Science, and the 7 Music in Films on the Rhythmic Brain Middle Ages Cultural and Clinical Authenticity vs. Fantasy Implications John Haines Edited by Jonathan Berger and Gabe Turow 8 Popular Music in a Digital Music Economy 2 Bodily Expression in Problems and Practices for a Electronic Music Service Industry Perspectives on a Reclaimed Tim J. Anderson Performativity Edited by Deniz Peters, 9 Music, Performance, and the Gerhard Eckel, Andreas Realities of Film Dorschel Shared Concert Experiences in Screen Fiction 3 Vocal Music and Ben Winters Contemporary Identities Unlimited Voices in East Asia 10 The Modern Percussion and the West Revolution Edited by Christian Utz and Journeys of the Progressive Frederick Lau Artist Edited by Kevin Lewis and 4 Musical Performance and the Gustavo Aguilar Changing City Post-industrial Contexts 11 Preserving Popular Music in Europe and the United Heritage States Do-it-Yourself, Do-it-Together Edited by Fabian Holt and Edited by Sarah Baker Carsten Wergin 12 Opera in a Multicultural World 5 Liveness in Modern Music Coloniality, Culture, Musicians, Technology, Performance and the Perception of Edited by Mary I. Ingraham, Performance Joseph K. So, and Roy Moodley Paul Sanden 13 Current Directions in 6 Masculinity in Opera Ecomusicology Gender, History, & New Music, Culture, Nature Musicology Edited by Aaron S. Allen and Edited by Philip Purvis Kevin Dawe Current Directions in Ecomusicology Music, Culture, Nature Edited by Aaron S. Allen and Kevin Dawe First published 2016 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2016 Taylor & Francis The right of the editors to be identified as the author of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging in Publication Data Current directions in ecomusicology : music, culture, nature / edited by Aaron S. Allen and Kevin Dawe. pages cm. — (Routledge research in music ; 13) Includes bibliographical references and index. 1. Ecomusicology. I. Allen, Aaron S. II. Dawe, Kevin. ML3799.3.C87 2015 780'.0304—dc23 2015015168 ISBN: 978-1-138-80458-6 (hbk) ISBN: 978-1-315-75293-8 (ebk) Typeset in Sabon by codeMantra Contents 1 Ecomusicologies 1 AARON S. ALLEN AND KEVIN DAWE PART I Ecological Directions 17 AARON S. ALLEN AND KEVIN DAWE 2 The Ecology of Musical Performance: Towards a Robust Methodology 25 W. ALICE BOYLE AND ELLEN WATERMAN 3 Ecomusicology, Ethnomusicology, and Soundscape Ecology: Scientific and Musical Responses to Sound Study 40 MARGARET Q. GUYETTE AND JENNIFER C. POST 4 “No Tree—No Leaf”: Applying Resilience Theory to Eucalypt-Derived Musical Traditions 57 ROBIN RYAN 5 Why Thoreau? 69 JEFF TODD TITON PART II Fieldwork Directions 81 AARON S. ALLEN AND KEVIN DAWE 6 Natural Species, Sounds, and Humans in Lowland South America: The Kĩsêdjê/Suyá, Their World, and the Nature of Their Musical Experience 89 ANTHONY SEEGER 7 Of Human and Non-human Birds: Indigenous Music Making and Sentient Ecology in Northwestern Mexico 99 HELENA SIMONETT vi Contents 8 Materials Matter: Towards a Political Ecology of Musical Instrument Making 109 KEVIN DAWE 9 “Keepin’ It Real”: Musicking and Solidarity, the Hornby Island Vibe 122 ANDREW MARK 10 Late Soviet Discourses of Nature and the Natural: Musical Avtentyka, Native Faith, and “Cultural Ecology” after Chornobyl 135 MARIA SONEVYTSKY AND ADRIAN IVAKHIV PART III Critical Directions 147 AARON S. ALLEN AND KEVIN DAWE 11 Critical Theory in Ecomusicology 153 JAMES RHYS EDWARDS 12 Nature and Culture, Noise and Music: Perception and Action 165 W. LUKE WINDSOR 13 Aural Rights and Early Environmental Ethics: Negotiating the Post-War Soundscape 176 ALEXANDRA HUI 14 Music, Television Advertising, and the Green Positioning of the Global Energy Industry 188 TRAVIS D. STIMELING 15 Pop Ecology: Lessons from Mexico 200 MARK PEDELTY PART IV Textual Directions 213 AARON S. ALLEN AND KEVIN DAWE 16 Ecocriticism and Traditional English Folk Music 221 DAVID INGRAM 17 The Peasant’s Voice and the Tourist’s Gaze: Listening to Landscape in Luc Ferrari’s Petite symphonie intuitive pour un paysage de printemps 233 ERIC DROTT Contents vii 18 Negotiating Nature and Music through Technology: Ecological Reflections in the Works of Maggi Payne and Laurie Spiegel 245 SABINE FEISST 19 Musical Actions, Political Sounds: Libby Larsen and Composerly Consciousness 258 DENISE VON GLAHN 20 New Directions: Ecological Imaginations, Soundscapes, and Italian Opera 273 AARON S. ALLEN Glossary of Keywords 287 Contributors 293 Index 299 This page intentionally left blank 1 Ecomusicologies Aaron S. Allen and Kevin Dawe WHAT IS ECOMUSICOLOGY? The question deserves a succinct answer, such as: Environmental studies plus music/sound studies equal ecomusicology. Our conceit, however, is that one plus one equal more than two: There is no one ecomusicology but many eco- musicologies constituting a dynamic field. One may wander this field leisurely to explore its interesting and relevant areas, or one might prefer to head in a particular direction. Twenty-two authors provide nineteen brief essays, some of which continue with further resources in an online supplement (http:// www.ecomusicology.info/cde). As your “field guides,” the editors of Current Directions in Ecomusicology (CDE) provide a volume introduction, which continues throughout the book in four directions (fieldwork, ecological, crit- ical, and textual), plus a glossary, all of which provide a map of the territory as we find it circa 2015. However, the observer effect is surely valid here: Our collective commentaries of the field will change the lay of the land. Rather than just a collection of separate vignettes that provide exemplary content, this volume provides a map to navigate this complex field. Four basic points cohere CDE: 1) We emphasize making connections between the authors and essays in this volume and between the topics of ecomusicology and other fields and disciplines. 2) As in any healthy ecosystem, diversity provides strength and resiliency, and we have endeavored to include various perspectives and divergent views. 3) The environment (nature)—its study via the science of ecology and/or the interdiscipline of environmental studies—is central to ecomusicology as a branch of music/sound studies, the disciplines of which are usually in the arts and humanities. 4) And rather than a dis- cipline or
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