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POPULAR MUSIC Popular Music Volume 39, Issue 1 February 2020 Music 39/1 Iii the Contributors 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 FEBRUARY 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 Cambridge Core ® For further information about this journal MIX Paper from please go to the journal website at: responsible sources cambridge.org/pmu FSC® C007785 39 1 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.8, on 27 Sep 2021 at 02:42:10, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S026114302000001X 02611430_39-1_02611430_39-1 11/03/20 12:13 PM Page 2 Editorial Group Notes for contributors martin cloonan (Co-ordinating Editor) barbara lebrun Typescripts should be submitted online by following the instructions at http://journals.cambridge.org/ nanette de jong keith negus pmu. Paper typescripts are no longer required. Typescripts should be double spaced with margins of at dai griffiths (Book Review Editor) john street least 1 ’’. Notes, bibliographies, appendixes and displayed quotations must also be double spaced. The sarah hill (Co-ordinating Editor) editors can only consider contributions written in English. Authors should not submit multiple or further articles if a decision is pending on an article already submitted. Articles should not normally exceed 10,000 Founding Editors words but shorter papers are welcome. A cover page should be submitted with the article, containing the david horn author’s name and postal address, telephone number, fax number and email address. An abstract between richard middleton 100 and 150 words must be submitted which gives an informative and precise account of the paper. Papers will not be accepted for publication without an abstract. International Advisory Editors Tables, graphs, diagrams, music examples, illustrations and the abstract must be included in one document Christopher Ballantine (South Africa) Deborah Pacini Hernández (USA) Nicole Biamonte (Canada) David Hesmondhalgh (UK) with the article and should not be submitted as separate files. Table headings should be typed above the Alf Bjo¨rnberg (Sweden) Shuhei Hosokawa (Japan) table in the form ‘Table 1. The musical categories’. Other captions should be typed double spaced in the same Barbara Bradby (Ireland) Helmi Järviluoma (Finland) style on separate sheets. Tables, Figures (which include photographs) and music examples should each be Sara Cohen (UK) Bruce Johnson (Australia) consecutively numbered through the article and their approximate positions in the text noted in the margin Anne Danielsen (Norway) Claire Levy (Bulgaria) of the typescript. Figures and music examples should, if possible, be supplied in a form suitable for direct Nicola Dibben (UK) Toru Mitsui (Japan) reproduction. Photographs must be well contrasted black and white glossy prints, ideally measuring Franco Fabbri (Italy) Allan Moore (UK) 8’’× 6’’. Cross-references in the text to figures, etc. should be in the form ‘(see Example 1)’, etc. MP3 sound Murray Forman (USA) Rajko Mursˇicˇ (Slovenia) files may be submitted to accompany a paper on the online version. Héctor Fouce (Spain) Zhang Qian (China) Simon Frith (UK) Motti Regev (Israel) Permissions. Contributors are responsible for obtaining permission to reproduce any material in which Juan Pablo González (Chile) Anjali Roy (India) they do not hold copyright and for ensuring that the appropriate acknowledgments are included in their Lucy Green (UK) Hyunjoon Shin (Korea) typescript. Authors of articles published in the journal assign copyright to Cambridge University Press Line Grenier (Canada) Geoff Stahl (New Zealand) Jill Halstead (Norway) Martin Stokes (UK) (with certain rights reserved) and will receive a copyright assignment form for signature on acceptance of Stan Hawkins (Norway) Peter Wicke (Germany) the paper. © Cambridge University Press 2020 Headings. The article title and subheadings should be typed using initial capitals only for the first word Popular Music is an international multi-disciplinary journal covering all aspects of the subject - from the formation and any proper names. of social group identities through popular music, to the workings of the global music industry, to how particular pieces of music are put together. The journal includes all kinds of popular music, whether rap or rai, jazz or rock, Notes should be kept to a minimum and numbered consecutively through the text with raised numbers from any historical era and any geographical location. Popular Music carries articles by scholars from a variety of outside punctuation. Type the notes on separate sheets at the end of the article. disciplines and theoretical perspectives. Each issue contains substantial, authoritative and influential articles, topical pieces, and reviews of a wide range of books. Some issues are thematic. The editors also welcome polemical pieces Bibliographical references. References must be arranged alphabetically under author(s) name(s) and then for the ‘Middle Eight’ section of the journal. Contributors should consult the ‘Notes’ on the inside back cover. in chronological order if several papers by the same author are cited. Surname should precede author’s Articles and any other material not related to reviews should be submitted online at cambridge.org/pmu. Any initials: in respect of co-authors, the initials should precede surname. The full title of the paper must be queries relating to submissions may be addressed to [email protected]. Material for review should given together with first and last page numbers. Book titles should follow the new style noting that the be sent to Dai Griffiths, email dmgriffi[email protected]. publisher as well as place of publication is now required. Subscriptions Popular Music (ISSN 0261-1430) is published four times a year in February, May, October and Hebdige, D. 1982. ’Towards a cartography of taste 1935-1962’, in Popular Culture: Past and Present, December. Four parts form a volume. The subscription price (excluding VAT) for Volume 39 which includes print ed. B. Waites, T. Bennett and G. Martin (Milton Keynes, Open University Press), pp. 194-218 and electronic access to institutional subscribers is £454 (USA, Canada and Mexico $774); print only for individuals is £75 (USA, Canada and Mexico $115). Single parts cost £110 (USA, Canada and Mexico $180). An online only Fairley, J. (ed.) 1977A. Chilean Song 1960-76, (Oxford, Oxford University Press) price is available to institutional subscribers for £390 (USA, Canada and Mexico $653). EU subscribers (outside the 1977B. ‘La neuva canción chilena 1966-76’, M. Phil. thesis, University of Oxford UK) who are not registered for VAT should add VAT at their country’s rate. VAT registered subscribers should provide their VAT registration number. Orders, which must be accompanied by payment, may be sent to a Green A. 1965. ‘Hillbilly music: source and symbol’. 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