Applying Ecomusicology to Foreign Language Education
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Utopian Ecomusicologies and Musicking Hornby Island
WHAT IS MUSIC FOR?: UTOPIAN ECOMUSICOLOGIES AND MUSICKING HORNBY ISLAND ANDREW MARK A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ENVIRONMENTAL STUDIES YORK UNIVERSITY TORONTO, CANADA August, 2015 © Andrew Mark 2015 Abstract This dissertation concerns making music as a utopian ecological practice, skill, or method of associative communication where participants temporarily move towards idealized relationships between themselves and their environment. Live music making can bring people together in the collective present, creating limited states of unification. We are “taken” by music when utopia is performed and brought to the present. From rehearsal to rehearsal, band to band, year to year, musicking binds entire communities more closely together. I locate strategies for community solidarity like turn-taking, trust-building, gift-exchange, communication, fundraising, partying, education, and conflict resolution as plentiful within musical ensembles in any socially environmentally conscious community. Based upon 10 months of fieldwork and 40 extended interviews, my theoretical assertions are grounded in immersive ethnographic research on Hornby Island, a 12-square-mile Gulf Island between mainland British Columbia and Vancouver Island, Canada. I describe how roughly 1000 Islanders struggle to achieve environmental resilience in a uniquely biodiverse region where fisheries collapsed, logging declined, and second-generation settler farms were replaced with vacation homes in the 20th century. Today, extreme gentrification complicates housing for the island’s vulnerable populations as more than half of island residents live below the poverty line. With demographics that reflect a median age of 62, young individuals, families, and children are squeezed out of the community, unable to reproduce Hornby’s alternative society. -
Full Volume 22
Ethnomusicology Review 22(1) From the Editors Samuel Lamontagne and Tyler Yamin Welcome to Volume 22, issue 1 of Ethnomusicology Review! This issue features an invited essay along with three peer-reviewed articles that cover a wide range of topics, geographical areas, methodological and theoretical approaches. As it seems to be a characteristic of ethnomusicology at large, this variety, even if it has become an object of critical inquiry itself (Rice, 1987, 2007; Laborde, 1997), has allowed the discipline, by grounding itself in reference to the context of study, to not take “music” for granted. It is in this perspective that we’d like to present this volume, and the variety of its contributions. In his invited essay, Jim Sykes asks what ramifications of the Anthropocece, understood as a socio-ecological crisis, hold for the field of music studies and the politics of its internal disciplinary divisions. Drawing upon scholars who assert that the Anthropocene demands not only concern about our planet’s future but also critical attention towards the particular, historically situated ontological commitments that engendered this crisis, Sykes argues that music studies both depends on and reproduces a normative model of the world in which music itself occupies an unproblematized metaphysical status—one that, furthermore, occludes the possibility of “reframe[ing] music history as a tale about the maintenance of the Earth system” (14, this issue) urgently necessary as anthropogenic climate change threatens the continuation of life as usual. By taking seriously the material and discursive aspects of musical practice often encountered ethnographically, yet either explained away by “the worldview embedded in our disciplinary divisions or . -
Sem{Studentnews}
SEM{STUDENTNEWS} An official publication of the Society for Ethnomusicology MUSIC EDUCATION AND ETHNOMUSICOLOGY Welcome! A Letter from the Editor 1 SEM Reports 2 The State of the Field 4 Dear SEM 6 Diverging Paths, Common Goals 8 An Ethnomusicologist from Mars? 9 Legitimizing Culture-Specific Learner Practices 11 Disrupting the Paradigm 13 The Renewed Challenges to “Bi-Musicality” 14 Tools of the Trade 16 Volume 11 | Fall/Winter 2015 Volume World Music and Cultural Knowledge 17 Growing the Next Generation of Tango Musicians 19 Harmonizing Ethnomusicology and Music Education: A Conversation with Patricia Shehan Campbell 20 Join your peers by ‘liking’ us on Music Education and Ethnomusicology: A Resource List 23 Facebook, and get Our Staff 26 the latest updates and calls for submission! cover image provided by kozzi.com Ethnomusicology through Teaching Greetings again from the SEM education and ethnomusicology— with Patricia Shehan Campbell Student News staff. This volume two historically divided career and (University of Washington) who brings together the old and new in research paths in most music suggests a combination of trainings our staff. We have had a few programs. As many of us build —ethnomusicology and music “retirements” from the newsletter, student careers around novel education together—is a valuable with more to come shortly. We are research foci and developing new and attainable solution. The other pleased to introduce four new staff concepts for the study of music, side of the coin—music education contributors— Eugenia -
“Ecomusicology,” Grove Dictionary of American Music, 2Nd Ed
Ecomusicology By: Aaron S. Allen Allen, Aaron S. “Ecomusicology,” Grove Dictionary of American Music, 2nd ed. (Oxford University Press, 2013). Reproduced by permission of Oxford University Press: https://doi.org/10.1093/gmo/9781561592630.article.A2240765 ***© 2013 Oxford University Press. Reprinted with permission. No further reproduction is authorized without written permission from Oxford University Press. This version of the document is not the version of record.*** Abstract: Ecomusicology, or ecocritical musicology, is the study of music, culture, and nature in all the complexities of those terms. Ecomusicology considers musical and sonic issues, both textual and performative, related to ecology and the natural environment. Keywords: ecomusicology | ecocritical musicology | ecocriticism Article: Ecomusicology, or ecocritical musicology, is the study of music, culture, and nature in all the complexities of those terms. Ecomusicology considers musical and sonic issues, both textual and performative, related to ecology and the natural environment. Interest in ecomusicology has paralleled increasing environmental concern in North America since 1970, a period of greening in academia when environmental studies developed in the physical, natural, and social sciences as well as the humanities. The term “ecomusicology” gained currency in the decades around 2000 in North American and Scandinavian academic circles. Early uses of it (e.g., Troup) reflected scientific ecology, i.e. interrelationships among organisms and their physical environments. -
8.201 Kinnear
Introduction to Special Issue: “Sound, Environment, and Action” TYLER KINNEAR Amid the daunting realities of our time, the work of artists may prove to be more important than ever. —John Luther Adams, “Global Warming and Art”1 As I write in Vancouver, Canada, several news items in British Columbia are relevant to this special issue of Music & Politics. There are proposals to construct new fossil fuel projects, such as the Northern Gateway pipeline and the Woodfibre LNG (liquid natural gas) export facility, as well as to expand existing infrastructure, including the Trans Mountain pipeline and the Fraser Surrey Docks, Roberts Bank, and Texada Island coal-handling facilities.2 Other projects pertain to outdoor tourism, like the new Sea to Sky Gondola and the Jumbo Glacier Resort.3 In addition to economic initiatives, there is recent change to the status of an iconic species, the humpback whale,4 and regulations concerning the management of agricultural land, fish habitat, and provincial parks.5 For the bidding companies, the provincial and federal governments, and a percentage of the general population, these business proposals tout economic opportunities and a secure natural environment.6 Yet some British Columbia residents, including First 1 John Luther Adams, “Global Warming and Art,” Musicworks 86 (Summer 2003): 9. 2 “Northern Gateway Project,” accessed May 9, 2014, http://www.enbridge.com/NorthernGatewayProject.aspx; Brent Jang, “B.C. on track to have Woodfibre LNG project running by 2017: Clark,” The Globe and Mail, May 6, 2014, http://www.theglobeandmail.com/news/british-columbia/woodfibre-lng-project-to-be-running-by-2017-premier- -
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. -
Ecomusicology: Ecocriticism and Musicology
Colloquy Ecomusicology: Ecocriticism and Musicology AARON S. ALLEN Since the 1970s, interest in the relationship between humanity and the natural environment has emerged throughout the academy. Today, professional soci- eties and degree programs exist for environmental fields in biology, chemistry, economics, history, and literature, among many others. These fields have led to understanding the world we inhabit—and to remediating some of the mis- takes we have inflicted on the planet. Consider just a few of their contribu- tions: respect for the great webs of biodiversity, with the concomitant realization that much of life on earth is going extinct, quickly; new hybrid technologies and energies that can fuel civilization by the renewable power of the sun; accounting techniques that incorporate externalities, i.e., pollution, into life-cycle costs and the bottom line; connections between physical envi- ronments and cultures’ past successes and failures; and stories that teach us about humanity’s diverse places in nature. Environmental work has bur- geoned in the sciences, but all academic fields have been greened, including the humanities.1 At least since Ancient Greece, thought about music has considered rela- tionships between music and nature. And as environmental awareness has be- come more widespread, an increasing number of musicological works have engaged with these subjects.2 Some of the aims of this new (if not always ex- plicitly named) ecomusicology resonate with concerns expressed in previous centuries—how art reflects, relates to, or relies on nature. Yet as we witness the impacts of climate change, species loss, deforestation, pollution, and resource exploitation, and as we see how so many other intellectual disciplines have contributed to both causes and solutions, we must ask: 1. -
Musical Vitalities
Musical Vitalities Ventures in a Biotic Aesthetics of Music Holly Watkins Th e University of Chicago Press Chicago and London Th e University of Chicago Press, Chicago 60637 Th e University of Chicago Press, Ltd., London © 2018 by Th e University of Chicago All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations in critical articles and reviews. For more information, contact the University of Chicago Press, 1427 E. 60th St., Chicago, IL 60637. Published 2018 Printed in the United States of America 27 26 25 24 23 22 21 20 19 18 1 2 3 4 5 ISBN- 13: 978- 0- 226- 59470- 5 (cloth) ISBN- 13: 978- 0- 226- 59484- 2 (e- book) DOI: https:// doi .org/ ./ chicago/ . Library of Congress Cataloging-in-Publication Data Names: Watkins, Holly, 1972– author. Title: Musical vitalities : ventures in a biotic aesthetics of music / Holly Watkins. Description: Chicago ; London : Th e University of Chicago Press, 2018. | Includes bibliographical references and index. Identifi ers: LCCN 2018017934 | ISBN 9780226594705 (cloth : alk. paper) | ISBN 9780226594842 (e-book) Subjects: LCSH: Music—Philosophy and aesthetics. | Nature in music. Classifi cation: LCC ML3845 .W27 2018 | DDC 781.1/7—dc23 LC record available at https://lccn.loc.gov/ Th is paper meets the requirements of ANSI/NISO Z39.48– 1992 (Permanence of Paper). Introduction Music is the art of enlivening sounds. Music transforms the acoustic results of material excitation— of keys striking hammers, bows traveling across strings, columns of air vibrating in larynxes— into signs of excitation unbounded, de- personalized, writ large. -
Multicultural Perspectives Through Music & Sustainability Education
Sustainability Education Multicultural Perspectives through Music & Sustainability Education Roger Coss Humanity has recently steered itself Barlow, 2005). However, explicit discussion briefly summarize Reimer’s synergistic into an era of environmental instability on the role of music education is being philosophy of music education—specifical- where the earth is ravaged of its natural largely neglected. What are the roles and ly his discussion of the feeling dimension resources, where the biodiversity of living responsibilities of music educators in ad- of music—and demonstrate how the field organisms is decreasing everyday, and dressing the impending ecological crisis? of multicultural environmental education where a rapidly growing human popula- The purpose of this article is to discuss is increasingly recognizing the role of emo- tion has become a driving factor in an implications for the relationship of music tions in teaching and learning. Utilizing impending ecological crisis (Rockström et education to education for sustainability Reimer’s philosophy, I will conclude with a al., 2009; Steffen et al., 2011). Research within the framework of multicultural discussion of music education in education is increasingly focusing on the roles and education.1 Bennett Reimer’s (2003) syn- for sustainability through a multicultural responsibilities of public schooling in ergistic philosophy of music education perspective. addressing this crisis (Cassell & Nelson, provides a conceptual lens through which 2012; Nelson, 2010; Orr, 2004; Stone & to make this connection in a way that not Multicultural only keeps to the integrity of music edu- Environmental Education cation as a discipline, but also addresses Roger Coss is a K-12 educator issues in multicultural education. -
Current Directions in Ecomusicology Music, Culture, Nature
Order your copy today at www.routledge.com/9781138062498 Current Directions in Ecomusicology Music, Culture, Nature Edited by Aaron S. Allen and Kevin Dawe 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 interdisciplinary 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, material sustainability and environmental crisis, familiar and unfamiliar sounds, local places and global warming, birds and mice, hearing and listening, biomusic and soundscape ecology, and more—engage with conversations in the various realms of music study as well as in environmental studies and cultural Routledge – April 2017 – 314 pages studies. As with any healthy ecosystem, the field of ecomusicology Hb: 978-1-138-80458-6 is dynamic, but this edited collection provides a snapshot of it in a £95.00 / $148.00 formative period. Each chapter is short, designed to be accessible Pb: 978-1-138-06249-8 to the nonspecialist, and includes extensive bibliographies; some £36.99 / $49.95 chapters also provide further materials on a companion website: http://www.ecomusicology.info/. An introduction and interspersed editorial summaries help guide readers through four current directions—ecological, fieldwork, critical, and textual—in the field of ecomusicology. -
Within Ethnomusicology, Where Is Ecomusicology? Music, Sound, and Environment* Jeff Todd Titon**
Etnomüzikoloji Dergisi Ethnomusicology Journal Yıl/Year: 3 • Sayı/Issue: 2 (2020) Within Ethnomusicology, Where Is Ecomusicology? Music, Sound, and Environment* Jeff Todd Titon** Abstract Does ethnomusicology have a role to play in the conversations swirling around the current environmental crisis? By virtue of our training and experience as ethnomusicologists, do we have skills, knowledge, and exper- tise that gives us credibility in the embattled public sphere? Do we have standing, as ethnomusicologists, to contribute any wisdom to policy-ma- king about the environment? Ethnomusicologists who have engaged with ecomusicology do bring to these conversations an understanding of sound, music, nature, culture and the environment. Ecomusicology as a field coa- lesced about ten years ago as the ecocritical study of music. Borrowing from literary ecocriticism, musicologists examined relationships among composers, compositions, nature, and the cultural production of music. Directly after the publication of a manifesto in the Journal of the American Musicological Society in 2011, ecomusicology attracted scholars worldwide not only from musicology but also from ethnomusicology, or- ganology, acoustics, anthropology, and ecological science. Ecomusicology also attracted composers, performers, journalists, and environmental acti- vists with interests in music. At the first ecomusicology conference, in 2012, the wide variety of approaches to this new field were on display. Wit- hin a few years, the definition of ecomusicology had expanded to become the study of sound, music, culture, nature, and the environment in a time of environmental crisis. More recently, ecomusicologists have begun to explore the “eco-” prefix, not as ecocriticism but as ecology. Ever since William K. Archer’s pioneering observations about music and ecology in 1964, ethnomusicologists and musicologists have propsed an ecological fra- * Etnomüzikoloji Dernei-Türkiye tarafından çevrimiçi olarak düzenlenen II. -
Intersections of Ethnomusicology and the Environmental Humanities
UNIVERSITY OF CALIFORNIA Santa Barbara Listening to Landforms: Intersections of Ethnomusicology and the Environmental Humanities A Thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Music by Brian Alexander Karvelas Committee in charge: Professor Timothy Cooley, Chair Professor David Novak Professor David Pellow December 2019 The thesis of Brian Alexander Karvelas is approved. ____________________________________________ David Pellow ____________________________________________ David Novak ____________________________________________ Timothy Cooley, Committee Chair October 2019 Listening to Landforms: Intersections of Ethnomusicology and the Environmental Humanities Copyright © 2019 by Brian Alexander Karvelas iii ACKNOWLEDGEMENTS I give thanks first to my committee members, Timothy Cooley, David Novak, and David Pellow for their patience, their encouragement, and their generative engagement with my writing. I give thanks to all my fellow students their insight and friendship and support. To the American Indian and Indigenous Collective, Margaret, Alesha, and Candace for cultivating such a vibrant space in which I continue to learn and grow as a scholar and, more importantly, as a person. I hold deep gratitude for Mia Lopez and her family members, who have shown such kindness to me as a newcomer on their ancestral land, and from whom I continue to learn about reciprocity and about listening. I give thanks to my dear Magnolia, for her willingness and ability to help me organize and refine my thoughts and inspirations. I give thanks to my family, my father and mother and my brothers for their love and guidance; it is from them that I first learned how to care about people and about the earth. I give thanks to the earth, to the California soil on and of which I was born, and which has continued to nourish me and shelter me and provide me with the means to live.