From the first time Phillip C. McGraw, Ph.D.—better known as “Dr. Phil”—appeared on the Oprah Winfrey Show in 1998, dropping lines like, “My dad used to say, boy, don’t let yer alligator mouth overload yer hummin’ bird ass,” I was hooked. That accent! That no-nonsense, Southern sauce! From what fount of otherworldly knowledge did Phil drink? An insecure teen, gnawing and thrashing my way through high school’s convoluted social milieu (not to mention the murky waters of multiraciality), Dr. Phil’s frank, accented approach to life’s difficulties appeared as a god-send. It didn’t matter much what Dr. Phil was actually saying or whether his words when strung together formed logical thoughts, it was more the way he said things that affected me so. His deep, sing-songy lilt—preachy and avuncular—brought to mind a grandpappy smoking a pipe, whose wisdom was drawn from a hard day’s farmin’, not a god-forsaken textbook.
With Oprah’s endorsement, the Cult of Phil grew fast and strong. Dr. Phil became a national figure–the corporate media’s version of a public intellectual and my own personal hero. His daytime talk show provided him with a regular platform from which to dispense more of that golden, “Texan-dipped” advice, as The New York Times put it. Selling over 2 million copies, his 2003 classic Self Matters began the onslaught of McGraw-family oeuvre, including several by his wife, Robin, and son, Jay–the face of Phil’s teen self-help brand. Not just a sage, Dr. Phil’s commitment to the McGraw family brand let us know he walked the walk. As evidenced by Dr. Phil’s opening credits, which feature behind-the-scenes glimpses of Mr. and Mrs. McGraw canoodling and his smiley next of kin, this family was for real. They loved and laughed together while cross-promoting each other’s book projects. Teenage Me wondered, did white people get better than this?
Today, Dr. Phil’s star, and my admiration for him, have faded significantly, but one thing remains the same. Ever since I can remember, my older sister and I have communicated almost exclusively via over-the-top, celebrity impersonations and Dr. Phil became a particular mainstay; even now, we religiously observe the maintenance of the Phil “voice.” Pre-Phil, I can recall my sister addressing me in a raspy, befuddled tone startlingly akin to the Keanu Reeves of yesteryear. Not soon after Bill and Ted’s Excellent Adventure became a permanent piece of our home VHS library, Reeves’ trademark method of delivering lines amidst staggered, nonsensical pauses became an obsessive, sisterly tick. “Dude, shut the door when you pee” she might say, staring blankly at me and cocking her head abruptly to the side.
The use of certain impersonations shifted with the ebb and flow of popular culture’s somewhat predictable tide, depending on whose video was “TRL’s” most requested or whose face most frequently graced the cover of TV Guide. I rehearsed George Herbert Walker Bush’s famous “thousand points of light” campaign ad in front of the stained glass mirror adjacent to the family room television; after that, it was all about Phil Hartman’s witty and endearing impersonation of Bill Clinton.
It went on that way until Dr. Phil’s shit blew up, and everything became solidified–as if, finally, my sister and I had found our one true voice. With age, I came to understand that Phil wasn’t the prophetic genius I’d hoped he was and that our compulsive Phil-talk was an oddity, to say the least. I began to wonder why, even as adults, we continued to embarrass ourselves in public and take such pains to text each other in mock-“Texan” (thank goodness for smart phones’ “add word” function).
It’s actually quite common for people to adopt alternate voices or speech patterns. Take, for example, child-directed speech (“babytalk”) or pet-directed speech. Both are customized forms of vocal communication or “prosodic modification,” which, while differing dramatically from normative adult speech in their intonation and grammatical structure, are considered customary forms of address. In fact, cross-linguistic studies show that babytalk and pet-directed speech are common across other European languages, Japanese and Mandarin Chinese. As such, parents and pet owners can rest well knowing that prosodic modification of the child and dog varieties are nearly universal human ticks. Unfortunately, research into child- and pet-directed speech didn’t provide much insight into the unique phenomenon of “Phil-talk.” I had hoped to find other accounts in the literature, a history of similar episodes that might lift the shroud of tomfoolery, explain it away as all too common or evidence of psychological disorder x, y or z, something treatable with an esoteric name.
While at this point in my life Phil-talk is more or less an asinine charade, it continues to function as a key component of our familiar vernacular. Interestingly, when re-visiting the many impersonations that have come to define our adolescent years (the Keanu years, the Bush Sr. years, the Phil years), one thing becomes clear: all the voices we’ve adopted have been those of white, male, cultural standard-bearers (Ironically, Keanu Reeves also happens to be Hapa, though I never knew as much. His breakout role as “Ted” helped to popularize the “California dude” archetype). Additionally, I should note, that at no time did any female impersonations enter my repertoire. If you’re going to gain a voice, better make it a male one, no? The racial and gender dissonance that Phil-talk begets drives the urge to perform it.
From an early age, my mother would tell me tales of her sacrifice—how hard she worked when she came to this country and how difficult life could be in 1960s post-war South Korea—all in a voice with barely a shred of mispronunciation or foreign intonation. My father, a second-generation Swiss-Italian American, scrupulously corrected her syntactical missteps and any other vocal nuances that sounded un-American. It was important to my mother to succeed as an American, and most importantly, that her children succeed too. The pressure I felt to make her content was borderline unbearable. When I started doing the voices, it made my mother happy. She sometimes tried joining in, attempting to mimic key Phil phrases like, “You have gawt to get reee-al,” but to no avail. “You do it better than me,” she’d say, “…my accent.”
When I was young, people looked at me and asked, “what are you?” OR “where are you from?” “America,” I would say. “I’m an American.” These questions were provoked by the racial ambiguity of my mixed-race heritage–the hint of Asianness that marked me as something else. I could not change the shape of my eyes, the contour of my cheeks or the fact that my mother was Korean. But, I could try my hardest to act and sound like an American. Phil-talk became a way to obscure the Asianness, to prove beyond a shadow of a doubt that I did, in fact, belong.
Rather than being merely a childhood performance of celebrity impersonations, I have come to think these various chapters were actually an attempt to perform sonic whiteness. Whether it was Keanu’s California dude cadence, George Bush Senior’s waspy nasality, or Phil’s prolonged Texan twang, I tried to perform in what Aja Martinez defines as “white voice” in her article “‘The American Way': Resisting the Empire of Force and Color-Blind Racism” (593). She talks about Latino/a students using a “white voice” at school because they equate it with the voice of higher education, but I am really using it here as an explicit racial performance. As a a half Korean, half Euro-American teen girl (now woman) who decides to very literally adopt the voice of a White, 50-something, Texan, TV psychologist, “white voice” was the name of the game, and people loved it–especially my Korean immigrant mother.
For Asian Americans in particular, a people whose national belonging has been culturally questioned and legally denied, accents substantiate and make audible what the eye sees as un-American. In Shilpa Dave’s recently published Indian Accents: Brown Voice and Racial Performance in American Television and Film, she explores accents as they relate to cultural citizenship, national belonging and “the allocation of power.” Someone with an accent is “designated as an outsider to the dominant culture,” writes Dave. In contradistinction to “foreign” sounding accents, Southern accents are a classic symbol of American cultural belonging, like apple pie for the ears.
Would Phil’s wisdom sound as powerful or palatable without the accent? His appeal stems not only from his sometimes entertaining “Phil-isms” (e.g. “You can’t hide the sunrise from a rooster”), but from all that he and his voice signify. A white, male doctor giving advice on TV is hardly noteworthy, but Phil’s recognizably Southern accent separates him from the pack and softens the blow of his often severe advice.Phil’s accent (and his ringing endorsement from Oprah, long a trendsetter for the white middle class) have a way of diminishing racial and class barriers and cleverly marketing his advice as “good ol’ common sense” that everyone can get behind. Though Southern African American vernacular is often represented, negatively, as “improper” or evidence of inferior educational attainment, a White doctor using many of the same linguistic nuances is considered “charming” and “folksy.” One of the reasons people listen(ed) to Phil is because he’s a good, moustachioed Southern doctor that’s gunna tell it to ya straight, ya’ll. This kind of cultural capital is hard to manufacture. This, I figured wrongly, was what I stood to gain, not considering for a moment all that might be lost.
Constantly searching for ways to be seen, heard, and accepted within an American system of racial binarism that privileges whiteness, denigrates blackness, and locates yellowness somewhere in a No Man’s Land of racial categorization, sound’s flexibility has always seemed to me like a means to belonging. Furthermore, as a multiracial, Korean/White woman, even no man’s land can seem out of reach. As Michael Omi notes in the Introduction to The Sum of Our Parts: Mixed-Heritage Asian Americans, within the historical and political context of the United States, (the “one-drop rule,” eugenic fears of racial intermixing, anti-miscegenation laws, etc.) multiracial identities have consistently been “contained, disregarded, [and] denied.” Multiraciality disorients and confuses insofar as it can discredit entrenched signifiers which make race perceptible to the eye and ear.
Previously on Sounding Out!, I discussed my identification with Nas and the rap world as both a move towards color and the formation of an authentic, multiracial self. A move in the opposite direction, experimenting with “white voice,” functions as another attempt to navigate America’s system of racial identification, albeit in a much more problematic vein. After years of Phil-talk and vocal impersonations of the white male variety, I am finally putting a stop to the charade. However earnest (or subconscious) an attempt to belong, the loss of time spent mimicking Phil represents an era of racial silencing that is somewhat difficult to stomach. Despite the amusement it has brought to friends and family, I am putting the voice to rest in service of getting real.
Featured image: “Dr. Phil” by Flickr user House Committee on Education and the Workforce Democrats, CC BY-NC-ND 2.0.
Christie Zwahlen is the Assistant Director at Binghamton University’s Center for Civic Engagement, where she has worked for four years to develop, expand and promote community engagement opportunities for students, faculty and staff. Previously, Christie worked for two years as an AmeriCorps VISTA, designing Service-Learning courses in conjunction with faculty at Thiel College and as the Coordinator of the Bridging the Digital Divide Program at Binghamton University. Christie earned her Master’s Degree in English and a Graduate Certificate in Asian & Asian American Studies from Binghamton University in 2009. She is currently enrolled in the English PhD program at Binghamton University.
As we read of the decisive Republican victories in the 2014 midterm elections we also hear that Taylor Swift has sold 1.29 million copies of her 1989 album in just a week. Does Swift’s landslide triumph, the biggest selling album of her career in a year when no other artist has sold a million copies at all, have any political implications? Or is popular culture, even at its most wide reaching, cut off now from any such significance? At least, there would be some political meaning in that.
Swift, arguably the most image-savvy popular musician since Madonna and Dolly Parton, won’t be of any direct use to us in figuring out the answer to the questions her success raises. But indirectly, she’s telling us a lot. “New money, suit and tie, I can read you like a magazine,” she sings about a potential conquest in one of her great new songs, “Blank Space.”
That’s her forte: decoding cultural (and commercial) categories and skipping between them. Parton, her predecessor in crossing from country to adult pop back in the 1970s, brought the power ballad to Nashville with “I Will Always Love You” and stressed the commonality, regardless of politics, of working women with “9 to 5.” Madonna’s deft self-framing created an insurgent position on the singles charts for women that hadn’t been there before. Swift seeks the modern feel of Top 40, the big, casual audience of adult pop, the intense allegiances of country fans—and by all indications she’s built that coalition.
If we can learn to think about how music reaches people as subtly as Swift does, we’ll have a better chance of seeing its political role in our lives. Increasingly since the late 1960s, the most popular songs have reached listeners through music formats. By that I mean, and have written a book about, the radio-defined multiplication of the mainstream into separate channels. Some, like Top 40 and adult contemporary, are spaces of crossover. Others, like country, rock, and R&B, are defined a bit disingenuously as genre spaces. But all care less to cohere musically than demographically—to secure listeners of a certain age, gender, race, or income for advertisers. That may appear crass, but the diversifying effect is that groups of people who lack a dominant political voice (minorities, women, lower income people) become the majority target audience—music must find a style, and message, which speaks to them first. I chose to call my book Top 40 Democracy in recognition of the way that formatting blurs politics and culture in the service of delivering hit singles, just as politicians since Reagan have learned to blur the two to promote policy changes. Radio programmers are sound studies experts: everything about what listeners are to hear has to be understood, implicitly, before they tune in—DJ and promotions tone of voice, acceptable singing styles, production glosses, song length, beats, and much more. The result is an intensified normality, a mainstreaming that works to make whoever is being addressed feel utterly central.
There are real limitations to Top 40 democracy, though, especially if you make a contrast with the other radio-impelled format that has impacted politics: the rightwing populism of talk radio. Hit songs, which seek the widest possible listenership, blur their meaning by definition: everybody can sing “Shake It Off” in response to an adversity. Such numbers are unlikely to provide a conduit for anger against the economic inequities produced by globalization, since their format position as global hits, winners in the big flow, is sealed in sonically. They’re one part rarefied human (diva), one part hipster subculture (really club culture, chopped syncopations), one part the subsuming of both in a New Economy entrepreneurial merger ratified by synthetic, rhetorically multicontinental production glosses – the specialty of the man Swift worked on with “Shake It Off,” Max Martin, for example, responsible for 18 number one songs since his emergence with Britney Spears in the late 1990s.
But if that’s globalization as apolitical free trade zone, you might consider the flip side to that cushioning of identity: Top 40 hits, if unlikely to produce anger against capitalism, are equally unlikely to provide a conduit for anger against immigrants: from Black Eyed Peas to Bruno Mars and Rihanna (and now, in a way, with Swift’s format immigration), pop has long been home for performers with complicated origins. When I wrote a chapter on Elton John, whose links to the British Invasion gave him thirty straight years of Top 40 hits from 1970-1999, I became fascinated by how a British Invasion became globalization, by how closeted sexuality overlapped with other forms of airbrushed identity.
The genius, and curse, of the commercial-cultural system that produced Taylor Swift’s Top 40 democracy win in the week of the 2014 elections, is that its disposition is inherently centrist. Our dominant music formats, rival mainstreams engaged in friendly combat rather than culture war, locked into place by the early 1970s. That it happened right then was a response to, and recuperation from, the splintering effects of the 1960s. But also, a moment of maximum wealth equality in the U.S. was perfect to persuade sponsors that differing Americans all deserved cultural representation.
Since that time, as corporate creativity has favored elites, the groups of people courted by formats have been pushed to put hope in exceptional individuals rather than breakout scenes: another of Taylor Swift’s iconic antecedents is Michael Jackson, the most popular and least representative star of all. It may be that we responded so ecstatically to Beyonce’s last album because in creating a set of songs and videos around her marriage and family she was giving us a symbolic collective, however circumscribed. Pop music democracy too often gives us the formatted figures of diverse individuals triumphing, rather than collective empowerment. It’s impressive what Swift has accomplished; we once felt that about President Obama, too. But she’s rather alone at the top.
Featured Image by Flickr User Eva Rinaldi
Eric Weisbard is the author of Top 40 Democracy: The Rival Mainstreams of American Music (University of Chicago Press), organizes the EMP Pop Conference, and is an Assistant Professor of American Studies at the University of Alabama.
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SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig. You’re welcome!
Shizu Saldamando’s solo multimedia exhibition OUROBOROS explores the social dynamics and physical codes integrated within contemporary group dancing and civic participation. OUROBOROS represents the ancient symbol of revolutionary cycles, rebirth, and circle dancing. The show, opening at South of Sunset–an exhibition and performance space in Echo Park, Los Angeles, run by Elizabeth DiGiovanni and Megan Dudley–will include a selection of large-scale, photorealistic works on paper documenting the intimate social interactions observed within LA’s dance club scene, as well as recent video work. South of Sunset is pleased to premiere her most recent video, a juxtaposition of footage of traditional Japanese dancers at an Obon festival and punk rockers in a mosh-pit at a show in East LA.
Even as her recent interview with NPR Latino amplifies the “quiet radical politics” of her work, the sonics of Shizu’s work are loudly resonant. Her pencil and ink drawings, glittery gilt paintings, and video pieces reverberate with the sights and sounds of the two California cities she has called home–San Francisco and Los Angeles–the three cultures that have profoundly shaped her–Mexican, Japanese, and American–and the myriad voices, favorite bands, and energy of the friends she photographs out at dance clubs and concerts while “documenting the vibe” of LA music subcultures.
The exhibit runs from November 12th to December 3rd 2014; the gallery is open on Sundays 1 – 4 pm through November 23 (and by appointment).
Featured image: Ozzie and Grace, 2014, Shizu Saldamando, colored pencil and spray paint on paper, 25 x 32 inches.
Shizu Saldamando (b. 1978, San Francisco) is a multidisciplinary artist based in Los Angeles. A graduate of UCLA (BA, 2000) and CalArts (MFA, 2005), she has been the subject of recent solo exhibitions at the Vincent Price Art Museum (Los Angeles, 2013), Moore College of Art and Design (Philadelphia, 2012), and Steve Turner Contemporary Art (Los Angeles, 2010). Saldamando’s work has also been included in influential group exhibitions including Portraits of the Encounter at the Smithsonian National Portrait Gallery (Washington DC, 2011), Audience as Subject at Yerba Buena Center for the Arts (San Francisco, 2010), and Phantom Sightings: Art After the Chicano Movement at Los Angeles County Museum of Art (Los Angeles, 2008).
Hot on the heels of the American Musicological Society and Society for Music Theory’s joint annual meeting in Milwaukee, the Society for Ethnomusicology will hold its 59th Annual Meeting in Pittsburgh, November 13-16, 2014, hosted by the University of Pittsburgh. SEM is arguably one of the conferences most hospitable to sound studies, and several panels feature strong papers.
On Wednesday, Nov. 12, the “Music and Labor” pre-conference symposium features some fascinating papers of interest to sound scholars and includes a keynote address by Dr. Marcus Rediker, Distinguished Professor of Atlantic History at the University of Pittsburgh. With panels titled “(Re) Conceptualizing Music and Labor,” “The Labor of Music in Transitioning Economies,” “Art as Work: Defying Capitalist Hegemony and National Narrative through Musical Activism and Creative Adaptation,” and “Transformation of Music Labor Regimes in Socialist and Post-Socialist Southeastern Europe,” even the papers that aren’t especially sound studies-related have the potential to demonstrate deft interdisciplinary approaches that would be applicable (and fruitful) in sound studies research.
One of the first sound studies events of the conference program is the annual meeting of the Sound Studies Special Interest Group. Dr. Allen Roda, Jane and Morgan Whitney Research Fellow at the Metropolitan Museum of Art in New York City, and I are currently co-chairs of the SIG; anyone interested in sound studies will not want to miss our meeting on Thursday, November 13 at 12:30-1:30 PM in the Duquesne Room. This year’s meeting will mark the SIG’s 6th anniversary since it was formed in 2009. The group now has over 100 members and is represented on several panels at the 2014 conference in Pittsburgh. One co-chair seat will become vacant this year, and the group will hold elections to fill this position at the meeting; we also plan to discuss plans for more visibility online and among the academic community.
Before the meeting, come early to the 8:00-10:30 AM session in that same room to catch Molly McBride’s paper, “The Sounds of Humor: Listening to Gender in Early Barn Dance Radio,” or see a whole sound studies panel titled “Auditory Histories of the Indian Ocean: Hearing the Soundworlds of the Past” in the Alleghany Room.
If you can’t make those early panels on the first day, the convention boasts numerous, high-quality sound studies sessions, many of which convene simultaneously. There have been several sound studies-related panels and individual papers at past meetings, but the number of high-quality papers is certainly trending in favor of more sound studies.
Also, the last several annual meetings have featured a soundwalk hosted by the Sound Studies SIG. This year is no different; however, rather than having a guided walk around the host city, this year’s soundwalk will be self-guided. Using the Twitter hashtag #semsoundwalk, participants will listen to Pittsburgh, the acoustic environment of the conference itself, the coffee shop where they stop for refreshment, or wherever they happen to find themselves between 1:15 – 6:00PM on Friday, Nov. 14. Be sure to follow the hashtag – even if you’re not in Pittsburgh – to “listen” along with conference participants.
I am delighted to see that this year’s conference unites the SEM’s commitment to the study of world musics and cultures and sound studies, particularly in panels such as “Auditory Histories of the Indian Ocean: Hearing the Soundworlds of the Past,” “Contemplating Voice in Cross-Cultural Perspective,” and “Regulating Space, Regulating Sound: Musical Practice and Institutional Mediation in São Paulo, Brazil.” This year also highlights the SEM’s strong interdisciplinary bent and makes even more room at the epistemological table for the examination of technoculture and its implications for sound studies and the larger ethnomusicological community.
Because of the sheer volume of sound studies activities, rather than listing my “picks” for the conference, I’ve listed most of the relevant papers and sessions, leaving the hard decision up to you. In fact, there are so many genuine sound studies panels and papers (or papers on closely related topics) its easy to see why the blurry line that demarcates “sound studies” from “music studies” seems blurriest at SEM. For those who cannot attend the conference, some of this year’s panels will be live-streamed. The Special Interest Groups for Sound Studies and Ecomusicology are also co-hosting a roundtable on Saturday morning. For more information about the conference and to catch the live-streamed sessions, visit the conference website at http://www.indiana.edu/~semhome/2014/.
Michael Austin is Assistant Professor of Media, Journalism, and Film and coordinator of the Interdisciplinary Studies Program in the School of Communications at Howard University where he teaches courses in music production, sound design for film and audio production. He holds a Ph.D. in Humanities – Aesthetic Studies (with a specialization in Arts and Technology) from the University of Texas at Dallas and music degrees from UT-San Antonio and UT-Austin. He is also affiliated with the Laboratoire Musique et Informatique de Marseille, an audio/music technology and informatics lab in Marseille, France, and is co-chair of the Society for Ethnomusiciology’s Special Interest Group for Sound Studies.
Featured image: “Musician” by Flickr user Joanna, CC BY-NC 2.0
WEDNESDAY, November 12
8:00 am – 8:00 pm
Ballroom 3, Wyndham Grand Pittsburgh Downtown Hotel
Pre-Conference Symposium: “Music and Labor”
THURSDAY, November 13
8:30 – 10:30 am
“The Sounds of Humor: Listening to Gender on Early Barn Dance Radio,” Molly McBride, Memorial University of Newfoundland
Session: Auditory Histories of the Indian Ocean: Hearing the Soundworlds of the Past
“Wonders and Strange Things: Practices of Auditory History before Recorded Sound,” Katherine Butler Schofield, King’s College London
“Notes in the Margins: Sumatran Religious Hybridity and the Efficacy of Sound, “ Julia Byl, King’s College London
“Contact, Contestation and Compromise: Sound and Space in 19th-Century Singapore,” Jenny McCallum, King’s College London
“A ‘Wayang of the Orang Puteh’?: Theatres, Music Halls and Audiences in High-Imperial, Calcutta, Madras, Penang and Singapore,” David Lunn, King’s College London
10:45am -12:15 pm
Sterling 3 Room
“Sounding Neoliberalism in the Richmond City Jail,” Andrew C. McGraw, University of Richmond
“The Color of Sound: Timbre in Ralph Ellison’s Invisible Man,” Sydney A. Boyd, Rice University
12:30 – 1:30 pm
Special Interest Group for Sound Studies
1:45 – 3:45 pm
Sterlings 1 Room
“Radio Archives and the Art of Persuasion: Preserving Social Hierarchies in the Airwaves of Lima” Carlos Odria, Florida State University
Ft. Pitt Room
Session: Mediated Musics, Mediated Lives
“Uploading Matepe: The Role of Online Learning Communities and the Desire to Connect to Northeastern Zimbabwe,” Jocelyn A. Moon, University of Washington; Zachary Moon, Independent Scholar
“Staging Overcoming: Disability, Meritocracy, and the Envoicing of Dreams,” William Cheng, Dartmouth University
“As Time Goes By: Car Radio and Spatiotemporal Manipulations of the Travel Experience in 20th-Century America,” Sarah Messbauer, University of California, Davis
“’How Can We Live in a Country Like This?’ Music, Talk Radio, and Moral Anxiety,” Karl Haas, Boston University
Sterling 3 Room
Session: Oxide and Memory: Tape Culture and the Communal Archive
Oxide and Memory: Tape Culture and the Communal Archive
“Magnetic Tape, Materiality, and the Interpretation of Non-Commercial Cassette and Reel-to-Reel Recordings from Quebec’s Gaspé Peninsula,” Laura Risk, McGill University
“Family Sense and Family Sound: Home Recordings and Greek-American Identity,” Panayotis League, Harvard University
“The Memory of Media: Autoarchivization and Empowerment in 1970s Jazz,” Michael C. Heller, University of Massachusetts, Boston
“Reimagining the Community Sound Archive: Cultural Memory and the Case for ‘Slow’ Archiving in a Gaspesian Village,” Glenn Patterson, Memorial University of Newfoundland
4:00 – 5:30 pm
Sterlings 1 Room
Panel: Contemplating Voice in Cross-Cultural Perspective
“The Gravest of Female Voices: Women and the Alto in Sacred Harp,” Sarah E. Kahre, Florida State University
“Re-sounding Waljinah: Aging and the Voice in Indonesia,” Russ P. Skelchy, University of California, Riverside
“Katajjaq: Between Vocal Games, Place and Identity,” Raj S. Singh, York University
Sterlings 3 Room
Session: Rumors, Sound Leakages and Individual Tales: Disruptive Listening in Zones of Conflict
“From the Struggle for Citizenship to the Fragmentation of Justice: Reflections on the Place of Dinka Songs in South Sudan’s Transitional Justice Process,” Angela Impey, School of Oriental and African Studies (SOAS), University of London
“Internet Rumors and the Changing Sounds of Uyghur Religiosity: The Case of the Snake Monkey Woman,” Rachel Harris, School of Oriental and African Studies (SOAS), University of London
“The Cantor and the Muezzin’s Duet at the Western Wall: Contesting Sound Spaces on the Frayed Seams of the Israel-Palestine Conflict,” Abigail Wood, University of Haifa
Session: Historiography, Historicity, and Biography
“A Sonic Historiography of Early Sample-Based Hip-Hop Recordings,” Patrick Rivers, University of New Haven
“Biography as Methodology in the Study of Okinawan Folk Song,” Kirk A. King, University of British Columbia
“Sounding the Silent Image: Uilleann Piper as Ethnographic Object in Early Hollywood Film,” Ivan Goff, New York University
FRIDAY, November 14
7:00 – 8:00 am
Special Interest Group for Voice Studies
8:30 – 10:30 am
Commonwealth 1-2 Room, live streaming
Session: Sound Networks: Socio-Political Identity, Engagement, and Mobilization through Music in Cyberspace and Independent Media
*Sponsored by the Popular Music Section and Special Interest Group for Sound Studies
“Technological Factors Conditioning the Socio-Political Power of Music in Cyberspace,” Michael Frishkopf, University of Alberta
“Cyber-Mobilization, Informational Intimacy, and Musical Frames in Ukraine’s EuroMaidan Protests,” Adriana Helbig, University of Pittsburgh
“Countering Spirals of Silence: Protest Music and the Anonymity of Cyberspace in the Japanese Antinuclear Movement,” Noriko Manabe, Princeton University
“Living (and Dying) the Rock and Roll Dream: Alternative Media and the Politics of ‘Making It’ as an Iranian Underground Musician,” Farzaneh Hemmasi, University of Toronto
Sterling 1 Room
Session: Affective Environments and the Bioregional Soundscape
*Sponsored by the Special Interest Group for Ecomusicology
“’Landscape is Not Just What Your Eyes See’: Battery Radio, the Technological Soundscape, and Sonically Knowing the Battery, Kate Galloway, Memorial University of Newfoundland
“Re-sounding Caribou: Musical Posthumanism in Being Caribou,” Erin Scheffer, University of Toronto
“Cold, Crisp, and Dry: Inuit and Southern Concepts of the Northern Soundscape,” Jeffrey van den Scott, Northwestern University
Discussant, Nancy Guy, University of California, San Diego
“The Sound of Affective Fact,” Matthew Sumera, University of Minnesota
1:15 – 6:30 pm
Soundwalk: A Sonic Environmental Survey of the SEM Annual Meeting
*Sponsored by the Special Interest Groups for Sound Studies and Ecomusicology. Follow the walk on Twitter: #semsoundwalk
(Meet in Wyndham Grand main lobby at 1:15pm. Reconvene in lobby at 6:00)
1:45 – 3:45 pm
Session: Strident Voices: Material and Political Alignments
*Sponsored by the Special Interest Group for Voice Studies
“Registering Protest: Voice, Precarity, and Assertion in Crisis Portugal,”Lila Ellen Gray, University of Amsterdam
“Quiet, Racialized Vocality at Fisk University,” Marti Newland, Columbia University
“’The Rough Voice of Tenderness’: Chavela Vargas and Mexican Song,” Kelley Tatro, North Central College
Discussant: Amanda Weidman, Bryn Mawr College
4:00 – 5:30 pm
Session: Celebratory Sounds and the Politics of Engagement
“Creating Zakopower in Postsocialist Poland,” Louise J. Wrazen, York University
“Merry-Making and Loyalty to the Movement: Conviviality as a Core Parameter of Traditionalism in Aysén, Chile,” Gregory J. Robinson, George Mason University
“Sounding the Carnivalesque: Changing Identities for a Sonic Icon of the Popular,” Michael S. O’Brien, College of Charleston
SATURDAY, November 15
8:30 – 10:30 am
Sterlings 1 Room
Roundtable: Sound Studies, Ecomusicology, and Post-Humanism In/For/With Ethnomusicology
*Sponsored by the Special Interests Groups for Ecomusicology and for Sound Studies
P. Allen Roda, The Metropolitan Museum of Art
Jennifer Post, University of Arizona
Mark Pedelty, University of Minnesota
Michael Silvers, University of Illinois at Urbana-Champaign
Ben Tausig, Stony Brook University
Zeynep Bulut, King’s College London
10:45 am – 12:15 pm
Benedum Room, live streaming
Musical Instruments, Material Cultures, and Sound Ecologies
“Bulgarian Acoustemological Tales: Narrativity, Agrarian Ecology, and the Kaval’s Voice,” Donna A. Buchanan, University of Illinois at Urbana-Champaign
Sterling 1 Room
Session: Theorizing Sound
“Water Sounds: Distance Swimmers and Ecomusicology,” Niko Higgins, Columbia University
“Telephone, Vacuum Cleaner, Couch: Senses and Sounds of the Everyday in Postwar Japan,” Miki Kaneda, Boston University
Discussant: Benjamin Tausig, Stony Brook University
SUNDAY, November 16
8:30 – 10:30 am
Session: Regulating Space, Regulating Sound: Musical Practice and Institutional Mediation in São Paulo, Brazil
*Sponsored by the Latin American and Caribbean Section
“Music under Control? São Paulo’s Anti-Noise Agency in Action,” Leonardo Cardoso, University of Texas at Austin
“Music Producers in São Paulo’s Cultural Policy Worlds,” Daniel Gough, University of Chicago
“’Small Universes’: The Creation of Social Intimacy through Aesthetic Infrastructures in São Paulo’s Underground,” Shannon Garland, Columbia University
Discussant, Morgan Lurker, Reed College
“Hear What You Want: Sonic Politics, Blackness, and Racism-Canceling Headphones,” Alex Blue, University of California, Santa Barbara
“Sound and Silence in Festivals of the French Revolution: Sonic Analysis in History,” Rebecca D. Geoffroy-Schwinden, Duke University
10:45 am – 12:15 pm
Session: Sounding Nations
“Building the Future through the Past: The Revival Movement in Iranian Classical Music and the Reconstruction of National Identity in the 1960s and the 1970s,” Hadi Milanloo, Memorial University of Newfoundland
“Sounding Citizenship in Southern Africa: Malawian Musicians and the Social Worlds of Recording Studios and Music Education Centers,” Richard M. Deja, University of Illinois
“Unity in (Spite of) Diversity: Tensions and Contradictions in Performing Surinamese National Identity,” Corinna S. Campbell, Williams College