POPULAR MUSIC Popular Music Volume 39, Issue 1 February 2020 Music 39/1 Iii the Contributors

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02611430_39-1_02611430_39-1 11/03/20 12:13 PM Page 1 Popular POPULAR MUSIC Popular Music Volume 39, Issue 1 February 2020 Music 39/1 iii The Contributors

Articles FEBRUARY 2020 FRANÇOIS RIBAC AND 1 Popular music and the Anthropocene PAUL HARKINS MARK PEDELTY, 22 Field to Media: applied ecomusicology in the REBECCA DIRKSEN, Anthropocene TARA HATFIELD, YAN PANG AND ELJA ROY MATT BRENNAN AND 43 The cost of music KYLE DEVINE ELIOT BATES 66 Resource ecologies, political economies, and the ethics of audio technologies in the Anthropocene ELODIE A. ROY 88 ‘Total trash’. Recorded music and the logic of waste PHILIPP KOHL 108 Scales of sustain and decay: making music in deep time KATE GALLOWAY 121 The aurality of pipeline politics and listening for nacreous clouds: voicing indigenous ecological knowledge in Tanya Tagaq’s Animism and Retribution

Reviews 145

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VOL. 39 NO. 1

February Issue Editors: SARAH HILL, Popular FRANÇOIS RIBAC and PAUL HARKINS Music

Contents

iii The Contributors

Articles FRANÇOIS RIBAC 1 Popular music and the Anthropocene AND PAUL HARKINS MARK PEDELTY, 22 Field to Media: applied ecomusicology in the REBECCA DIRKSEN, Anthropocene TARA HATFIELD, YAN PANG AND ELJA ROY MATT BRENNAN AND 43 The cost of music KYLE DEVINE ELIOT BATES 66 Resource ecologies, political economies and the ethics of audio technologies in the Anthropocene ELODIE A. ROY 88 ‘Total trash’. Recorded music and the logic of waste PHILIPP KOHL 108 Scales of sustain and decay: making music in deep time KATE GALLOWAY 121 The aurality of pipeline politics and listening for nacreous clouds: voicing indigenous ecological knowledge in Tanya Tagaq’s Animism and Retribution

Reviews ADAM DE PAOR-EVANS 145 This Must Be The Place: an Architectural History of Popular Music Performance Venues, by Robert Kronenburg

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ELLIS JONES 146 Popular Music in the Post-Digital Age: Politics, Economy, Culture, and Technology, edited by Ewa Mazierska, Les Gillon and Tony Rigg CHRIS WOODS 149 This is Not a Remix: Piracy, Authenticity and Popular Music, by Margie Borschke PETE DALE 151 Punk Crisis: The Global Punk Revolution, by Raymond A. Patton JAMES PEACOCK 154 Working for the Clampdown: The Clash, the Dawn of Neoliberalism and the Political Promise of Punk, edited by Colin Coulter ALAN O’CONNOR 156 An Encyclopedia of Political Record Labels, by Josh MacPhee VERONICA SKRIMSJÖ 158 Mute Records: Artists, Business, History, edited by Zuleika Beaven, Marcus O’Dair and Richard Osborne ANTHONY FUNG 159 Hong Kong Cantopop: A Concise History, by Stephen Chu JULIANA GUERRERO 161 Musicians in Transit. Argentina and the Globalization of Popular Music, by Matthew B. Karush KENNY FORBES 163 Music, Memory and Memoir, edited by Robert Edgar, Fraser Mann and Helen Pleasance MARTIN CLOONAN 165 Adult Responses to Popular Music and Intergenerational Relations in Britain, c.1955–1975, by Gillian A.M. Mitchell

The Contributors

ELIOT BATES is an ethnomusicologist and technology studies scholar who researches recording production and the social lives of musical instruments and studio technologies. A UC Berkeley graduate and ACLS New Faculty Fellow, he is currently an Assistant Professor of Ethnomusicology at the Graduate Center at the City University of New York. He has authored two books: Digital Tradition: Arrangement and Labor in Istanbul’s Recording Studio Culture (Oxford University Press, 2016) and Music in Turkey: Experiencing Music, Expressing Culture (Oxford University Press, 2011), and with Samantha Bennett coedited Critical Approaches to the Production of Music and Sound (Bloomsbury, 2018). He is also a performer and recording artist of the 11-stringed oud.

MATT BRENNAN is Reader in Popular Music at the University of Glasgow, where he is Director of the Interdisciplinary Music Industries Research Group and Convenor of the MSc Music Industries degree. He has served as Chair of the UK and Ireland branch of the International Association for the Study of Popular Music (IASPM). His book When Genres Collide (Bloomsbury) was named as one of Pitchfork’s ‘Favourite Music Books of 2017’ and won the 2019 IASPM Canada Book Prize. He makes music under the pseudonym Citizen Bravo.

KYLE DEVINE is Head of Research and Associate Professor in the Department of Musicology at the University of Oslo. His publications include Decomposed: The Political Ecology of Music (MIT Press, 2019) and Audible Infrastructures: Music, Sound, Media (Oxford University Press, 2020).

REBECCA DIRKSEN is Assistant Professor of Ethnomusicology at Indiana University and is a founding member of the Diverse Environmentalisms Research Team. Working across the spectrum of musical genres in Haiti and its diaspora, her research concerns cultural approaches to development, crisis, and disaster; sustainability, diverse environmentalisms, and ecomusicology; and applied/engaged/activist scholarship. Dirksen is the author of After the Dance, the Drums Are Heavy: Carnival, Politics, and Musical Engagement in Haiti (Oxford University Press, 2020).

KATE GALLOWAY is Lecturer in Music at Rensselaer Polytechnic Institute. She specialises in North American musical environmentalisms, expressions of Indigenous modernities and ecological knowledge in the sonic arts. Her monograph Remix, Reuse, Recycle: Music, Media Technologies, and Remediating the Environment examines how and why contemporary artists remix and recycle sounds, musics, and texts encoded with environmental knowledge. Her work is published in Ethnomusicology, MUSICultures, Tourist Studies, Sound Studies, The Oxford Handbook of Hip Hop Music and Music in the Role-Playing Game: Heroes and Harmonies. She has forthcoming essays in The Oxford Handbook of Music and Advertising, American Music and Nuclear Music: Sonic Responses to War, Disaster, and Power.

iii

PAUL HARKINS is a lecturer in music at Edinburgh Napier University. His research is about the history and uses of sampling technologies and his book Digital Sampling (Routledge) was published in 2019. Other research interests include copyright, mash-ups and the music industries. Academic publications include articles in Popular Music, Popular Music & Society, IASPM@Journal, Journal on the Art of Record Production and Reseaux. He worked for PRS For Music and as a music publisher before becoming a lecturer and has contributed articles to Product magazine, The Scotsman newspaper and The Conversation website.

TARA HATFIELD is a PhD student in Musicology at the University of Illinois at Urbana– Champaign. Her research interests include music as it relates to the environment, community advocacy and the production and sharing of knowledge.

PHILIPP KOHL is a postdoctoral researcher at LMU Munich where he teaches classes in Russian and comparative literature. He earned his PhD degree in comparative literature from HU Berlin. His research focuses on non-human time in literary and media history.

YAN PANG is a composer, choreographer, and scholar. She received her PhD in Music with a minor in Theater Arts & Dance at the University of Minnesota. Her publications include Cool Math for Hot Music, All About Music and Basic Music Technology (co-authored with Guerino Mazzola et al.) by Springer.

MARK PEDELTY, Professor of Communication Studies and Anthropology, University of Minnesota, is the author of Ecomusicology: Rock, Folk, and the Environment (Temple University Press, 2012) and A Song to Save the Salish Sea: Musical Performance as Environmental Activism (Indiana University Press, 2016). Pedelty explores intersec- tions between music, communication and environment through field-based research and in his work as a producer, director and composer for Ecosong.net, a collaborative that makes music videos for and with environmental non-profit organisations.

FRANCOIS RIBAC is a composer of musical theatre and a sociologist, senior lecturer at the University of Burgundy, Laboratoire Cimeos. His research focuses on (popular) music and record reproduction, cultural expertise and how performing arts and music are facing ecological challenges. He has edited (with Joëlle La Marec) a special issue about Music and Science and Technology Studies for the Revue d’Anthropologie des Connaissances. His last book (with Catherine Dutheil-Pessin) is La Fabrique de la programmation (La Dispute, 2017). He has written seven operas, music for TV and silent movies. His records have been published by No Man’s Land (Germany) and Musea (France).

ELJA ROY is a PhD candidate in the Department of Communication Studies at the University of Minnesota. She studies environmental communication with an empha- sis on ecocinema. Her research explores the role of video production in shaping environmental films through case studies.

ELODIE A. ROY is a media and material culture theorist based in Newcastle, UK. She is the author of Media, Materiality and Memory: Grounding the Groove (Ashgate/ Routledge, 2015) as well as further publications engaging with phonography as a

technology of memory; sensory materialities; and collecting, archiving and discard- ing in physical and digital realms. She is currently preparing a monograph on shellac in visual and sonic cultures. Her forthcoming publications also include the edited book Phonographic Encounters: Mapping transnational cultures of sound, 1890–1945, with Eva Moreda Rodriguez (Routledge, 2021).