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
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!
This November 1st will mark the 259th anniversary of the Great Lisbon Earthquake on All Saints Day, 1755, which destroyed a quarter of the city and beget consequential tsunamis and fires. “Radio Terramoto” is a soundwalk research and art project designed to bring this seemingly distant devastation into contemporary consciousness. Based on the idea of listening to sound from a past historical event, “Radio Terramoto” is a traveling audience immersive event. It’s inaugural procession, made up of the creators and audience members, followed a path from the Convento do Carmo down to the River Targus in Lisbon, Portugal. It was also performed this summer in the town of Viseu, Portugal, as part of the Invisible Places, Sounding Cities Symposium in July 2014.
“Radio Terramoto” is a radio transmission from All Saints Day, 1755. We are not sure how or why the forty minutes were recorded, but having been discovered aaccidentallyit has proven to be an important record of the experience of the people caught in the earthquake. We follow our mysterious ghost recorder from the Convento, where people were gathered for mass. The first wave hits and the convent crumbles. As people run to the river, we follow their path as the buildings around us burst into flames and collapse. Upon reaching the river in a panic, we are only to be greeted by the water pulling out, revealing flopping fish and shipwrecks, pulling towards the ocean to fuel the giant wave that would finally overcome our poor recorder. From here, the transmission stops. (To read this summary in Portuguese click here).
The project and research for “Radio Terramoto” asks the question, what can listening to the past reveal about the now, both in artistic practice and scientific research? Its site-based (yet mobile) sound design weaves between the present and the past and is based on research on the earthquake, using documents of first hand experiences and the first seismic and “earthquake”-proof architecture that came after what may be the largest earthquake recorded in history.
For the original “Radio Terramoto” soundwalk in Lisbon, first performed November 1, 2013, we walked with the audience bearing a transmitter; the audience carried radios and cell phones tuned into the specific frequency of the transmission. The soundwalk also included hand-held sculptural octahedra created using a geometric framing system designed by Jake Dotson, assembled as a singular form approximating a Pombaline cage, the first modern earthquake resistant architecture. The radio transmitter, and other key electrical devices were suspended in these 1 foot 3 inch octahetra made of brightly colored sticks of wood held together with friction and tension. The large cage broke apart into the individual octahedra to aid in the transportation of equipment and in providing a visual wayfinding aide for the participants.
Like Maile’s “Passageira em Casa,” a traveling intermedia work that explores the concept of “home,” “Radio Terramoto” changes to be site and context specific with each presentation. When we led a performance in Viseu, Portugal, for example, we began at the Sé de Viseu, moved through the old city center, and ended at a small body of water off the Avenida Emídio Navarro.
Planned future performances of “Radio Terramoto” include a version in Los Angeles that will unite the original team in collaboration with Jesse Gilbert. Gilbert created the program SpectralGL, a cell phone app that enables sound to visually affect the landscape from the video camera as the audience member walks. As Los Angeles has its own fraught relationship with earthquakes, we expect this performance to be particularly resonant and thought provoking.
Images courtesy of the artists and Jennifer Stoever (Viseu shots)
Rui Costa is a sound artist from Lisbon, Portugal. He is a founding member and artistic director of Binaural/Nodar, an arts organization founded in 2004 and dedicated to the promotion of context-specific and participatory art projects in rural communities of the Gralheira mountain range, northern Portugal. Rui has been performing and exhibiting his work since 1998 in festivals, galleries and museums across Portugal, Spain, Italy and the United States and has been collaborating regularly with the Italian vocal performer Manuela Barile and the American intermedia artist Maile Colbert. Rui Costa is also a regular speaker in conferences and gives workshops dedicated to sound art. For more from Binaural/Nodar, please check out the organization’s soundcloud, vimeo, and flickr.
Maile Colbert is a multi-media artist with a concentration on sound and video who relocated from Los Angeles, US to Lisbon, Portugal. She is a regular writer for Sounding Out!
Jeff Cain is an artist, designer, curator and director of the Shed Research Institute a multidisciplinary art, research, curatorial, and design studio in Lincoln Heights, Los Angeles.
CLICK HERE TO DOWNLOAD: The Raitt Street Chronicles: A Survivor’s History
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Listen in as Kevin Cabrera, Nancy Charco, Monica Gonzalez, Jesus Lopez, Javier Morales, Marcus Medina Mendoza, Cynthia Zul, Jasmine Soto, Pablo Montoya, Alex Mendoza, Marilynn Montaño, Robert Salas, and Isabel Marin guide us through the soundscapes of Raitt Street, their neighborhood in Santa Ana. If you are interested in learning more about the Raitt Street Chronicles please listen to this interview with Manny Escamilla, the archivist for the Santa Ana History Room at the Santa Ana Public Library. Also, check out the Raitt Street Chronicles website where you can find narrated photojournals by the authors of this podcast.
This podcast was made possible through different individuals and institutions dedicated to the histories of Santa Ana. The Santa Ana Public Library partnered with Cal State Fullerton’s Grand Central Art Center and the Studio for Southern California History to train teens to collect oral histories from the Townsend/Raitt neighborhood. Project mentors trained youth participants to collect, archive, and share the underreported stories of survival from one the nation’s most at-risk communities. Over the course of 12 months the participants recorded video interviews with survivors of violence. Community impactful projects like this are made possible through the generous support of foundations, corporate sponsorships, and the generosity of individuals who believe in the mission and purpose of such collaborative efforts. This collaboration with Santa Ana Public Library has been fortunate to receive support from a Cal Humanities 2013 Community Stories grant, but additional funding and in-kind support is needed to realize this project, as well as other projects in the works, to their fullest and most positive impactful outcomes.
Manuel “Manny” Escamilla – Is the archivist for the Santa Ana History Room at the Santa Ana Public Library. He received an AA from Santa Ana College in 2006, a BA in History from UC Berkeley in 2008, and is in the first year of his MLIS at UCLA as an Inland Empire LEADS fellow. He has interned the Emma Goldman Papers at UC Berkeley, the Special Collections Department at UCI, and the Chicano Research Center at UCLA. With the aid of a 2008 McNair Scholarship, Manny organized an independent research project at the U.K. National Archives in London. As the archivist for the Santa Ana History Room he has concentrated on increasing the archives collection of historically underrepresented minorities and creating innovative youth outreach programming for the ‘Teen Community Historians.’ As a 2010 Eureka fellow he completed the “Our Lives Our History” project that helped youth volunteers collect 35 oral history interviews of recent immigrants from various states of Mexico. He is currently the Project Director for ‘The Raitt Street Chronicles: A Survivors’ Oral History’ and the upcoming ‘Santa Ana Civic Archive: Connecting Future Leaders to their Community’s Civic Past.’ Additionally he serves as the Programming Chair for UCLA’s Student Chapter of the Society of American Archivists and is an active member of OC REFORMA.
Since earning her PhD in History from the University of Southern California (USC) in 2002, Sharon Sekhon has explored the integration of critical local history into public discourse. Over 2003 – 2005, Sekhon was a Postdoctoral Fellow at the Institute for Multimedia Literacy at the Annenberg Center for Communication at USC. There, she worked with faculty in developing discipline-driven, multimedia scholarship and curricula. She was the Principal Investigator for the Holiday Bowl History Project, a place-based, cross institutional online oral history project on the Holiday Bowl bowling alley in the Crenshaw neighborhood of Los Angeles. Sekhon founded the history organization the Studio for Southern California History (Studio) in 2006. The Studio uses participatory methods to create conversations about our shared spaces across Southern California. The Studio’s work is showcased on the LA History Archive at www.lahistoryarchive.org. In addition, Sekhon has taught in the Department of American Studies at California State University Fullerton since 1999.
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