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Max Neuhaus, R. Murray Schafer, and the Challenges of Noise

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University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE Megan Elizabeth Murph University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2018.233 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Murph, Megan Elizabeth, "MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE" (2018). Theses and Dissertations--Music. 118. https://uknowledge.uky.edu/music_etds/118 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Megan Elizabeth Murph, Student Dr. Donna Kwon, Major Professor Dr. Michael Baker, Director of Graduate Studies MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE _____________________________________ DISSERTATION _____________________________________ A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Fine Arts at the University of Kentucky By Megan Elizabeth Murph Lexington, Kentucky Co-Directors: Dr. Donna Kwon, Professor of Ethnomusicology and Dr. Ron Pen, Professor Emeritus of Musicology Lexington, Kentucky 2018 Copyright © Megan Elizabeth Murph 2018 ABSTRACT OF DISSERTATION MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE In this dissertation, I analyzed Max Neuhaus’s (1939-2009) and R. Murray Schafer’s (b. 1932) commentary and work regarding noise, its control, and its relationship with the environment from the 1960 to the 1980s. Both Neuhaus and Schafer as well as those more directly involved with noise abatement research and policy were responding to the challenges and possibilities that noise posed in the latter twentieth century. In this project, I delved into these substantial links and argued that responding to and engaging with noise abatement policies was a key impetus to much of their work, which scholarship has yet to critically examine. Inspired by the listening strategies that Neuhaus and Schafer set forth, I also considered ways in which music educators and social activists might approach sound, becoming aural advocates or activists when working in their communities. The works selected for analysis reflected contemporaneous studies held in the USA and Canada investigating the psychological and physiological impact of noise on humans, animals, and their landscape. Just as these investigations grew into the 1970s, new attention developed towards acoustic ecology and public sound art, both fields dealing with the relationship between sounds, living beings, and the environment. Neuhaus’s works analyzed include the Listen series (1966-76), his New York Times op-ed piece titled “BANG, BOOooom, ThumP, EEEK, tinkle" (1974), and the Emergency Vehicle Siren Redesign project (1978-1989). These Neuhaus projects provided an alternative to the movement towards acoustic ecology put forward by his contemporary, Schafer. Analyses of Schafer and the World Soundscape Project’s (WSP) publications included Ear Cleaning (1967), The Book of Noise (1970), and A Survey of Community Noise Bylaws in Canada (1972). Featured were primary sources from the Max Neuhaus Papers (Columbia University Rare Book and Manuscript Library), newspaper reviews, and clippings. Also included were interviews with artists/associates of Neuhaus from his performance career (Phil Orenstein) and his Sirens project (Ray Gallon, Owen Greenspan, Herr Lugus, Julia Prospero, and Wolfgang Staehle) as well as Schafer's fellow WSP collaborator, Hildegard Westerkamp. Keywords: Max Neuhaus, R. Murray Schafer, Noise, Soundwalks, Sound Art, Ecomusicology Megan Elizabeth Murph______________ _ June 13, 2018____________________ ___ MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE By Megan Elizabeth Murph Dr. Donna Kwon___________________ Co-Director of Dissertation Dr. Ron Pen________________________ Co-Director of Dissertation Dr. Michael Baker Director of Graduate Studies June 13, 2018 ACKNOWLEDGEMENTS This project would not have been possible without the support from mentors, institutions, friends, and family. I am so grateful for my committee’s tireless investment to the dissertation. Dr. Ron Pen, Dr. Lance Brunner, Dr. Kevin Holm-Hudson, and Professor Dima Strakovsky were incredibly knowledgeable, helpful, and encouraging during my research and writing process. Dissertation chair, Dr. Donna Kwon, was my rock. She kept me uplifted and focused. Dr. Kwon challenged me to ask questions, have an open mind, find courage, and enjoy my work. I appreciate not only her dedication to meeting me and reading my work regularly, but also her willingness to laugh, eat, and play music together. I will keep these memories with Dr. Kwon very close to my heart. Throughout the dissertation process, I was fortunate to acquire “unofficial mentors,” whom I must acknowledge. The highlight of my week for the past few years has been playing mbira and singing with Dr. Tom Turino. What comes with these weekly jams are conversations and laughs that have touched me in the most positive way. Tom makes the best coffee, has the best stories, and the best porch to tell them on. I thank him for always being willing to listen to my new ideas, rants about politics, and cries for academic reform. Sarah Suhaldolnik is one of my best friends and the sister who kept having musicological faith in me. I thank her for being willing to process personal and professional endeavors. I must shout out to John McCluskey, a UK alum (Go Cats!), whose dissertation served as my model for completing such a project. I am grateful for his wit, encouragement, and shared experiences. Frequently, I thought of my past professors and the methods they taught me, channeling their energy during the research and writing process. The professors who have touched my life in the most powerful ways iii include Dr. Paul Elwood, Dr. Laurie McDowell, Dr. Jan Herlinger, Dr. Brett Boutwell, Dr. Allison McFarland, and Dr. Diana Hallman. Without the help from libraries and archives, plus willing individuals to be interviewed, I could not have conducted this research. Many thanks to the Columbia University’s Rare Book and Manuscript Library for allowing me to access the Max Neuhaus papers for the past years and helping me find hidden materials. Similarly, the University of Kentucky’s Interlibrary Loan division was excellent at obtaining dozens of items, even finding things I did not know existed. UK’s Fine Arts Library was unbeatable and so supportable. I am beyond grateful to Daniel Naas for helping me with all things “techy,” Paula Hickner for ordering all the books I requested, and Christopher Little for helping me search for items. They are the best music library team anyone could ask for! I am grateful for Barry Truax’s willingness to give me access to his database and the World Soundscape Project’s website, as well as his willingness to answer my questions via email. All of the artists and individuals I interviewed were beyond flexible and supportive of this project. I am so thankful for the opportunity to speak with Hildegard Westerkamp, Ray Gallon, Owen Greenspan, Herr Lugus, Julia Prospero, and Wolfgang Staehle. Additionally, the support from the family and loved ones of Max Neuhaus and R. Murray Schafer were extraordinary. I appreciate the conversations over the years and encouragement from Silvia Neuhaus as well as Laura Neuhaus Hansen. Through these women, I have learned much about Max. Likewise, I am grateful for the correspondence with Eleanor James and updates regarding Murray. iv Over the last few years, I have had the opportunity to present at many international, national, and regional conferences regarding Neuhaus, Schafer, and noise. These conferences include the Society for American Music, American Musicological Society’s South-Central Chapter, the Dimensions of Political Ecology, and Sounding Out the Space: An International Conference on the Spatiality of Sound. The conversations that came out of and the feedback I received at these conversations were invaluable. Most importantly, I met incredible scholars and friends. For example, at Sounding Out the Space, I was lucky enough to meet Ella Finer and Jacob Downs, who’s research and kindness has made a lasting impression on me. To my friends who took the time to read my dissertation and meet with me to discuss it, y’all are extraordinary, especially Isaac Maupin and Andrew Depew.
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