Archive | Technology RSS for this section

Workshopping the Derry Soundscape: Mobile technologies as Creative Tools for Third Age Adults

interviewing poetry readers

ActsofSonicInterventionThis April forum, Acts of Sonic Intervention, explores what we over here at Sounding Out! are calling “Sound Studies 2.0″–the movement of the field beyond the initial excitement for and indexing of sound toward new applications and challenges to the status quo.

Two years ago at the first meeting of the European Sound Studies Association, I was inspired by the work of scholar and sound artist Linda O’Keeffe and her compelling application of the theories and methodologies of sound studies to immediate community issues.  In what would later become a post for SO!, “(Sound)Walking Through Smithfield Square in Dublin,” O’Keeffe discussed her Smithfield Square project and how she taught local Dublin high school students field recording methodologies and then tasked them with documenting how they heard the space of the recently “refurbished” square and the displacement of their lives within it.  For me, O’Keeffe’s ideas were electrifying, and I worked to enact a public praxis of my own via ReSounding Binghamton and the Binghamton Historical Soundwalk Project.  Both are still in their initial stages; the work has been fascinating and rewarding, but arduous, slow, and uncharted. Acts of Sonic Intervention stems from my own hunger to hear more from scholars, artists, theorists, and/or practicioners to guide my efforts and to inspire others to take up this challenge.  Given the exciting knowledge that the field has produced regarding sound and power (a good amount of it published here), can sound studies actually be a site for civic intervention, disruption, and resistance?

Acts of Sonic Intervention began  with “Listening to and Through Need” by Assistant Director at Binghamton University’s Center for Civic Engagement, Christie Zwahlen, who argues that any act of intervention must necessarily begin with self-reflexivity and examination of how one listens.    Last week, artist/scholar Luz María Sánchez gives us the privilege of a behind-the-scenes discussion of her latest work, detritus.2/ V.F(i)n_1–1st prize winner at the 2015 Biennial of the Frontiers in Matamoros, Mexico —which uses found recordings and images to break the deleterious silence created by narco violence in Mexico. Next week, we will close with from artist, theorist, and writer Salomé Vogelinwho will treat us to a multimedia re-sonification of the keynote she gave at 2014’s Invisible Places, Sounding Cities conference in Viseu, Portugal, “Sound Art as Public Art,” which revivified the idea of the “civic” as a social responsibility enacted through sound and listening.  Today, Linda O’Keeffe catches us up with her newest public project, a pilot workshop with older people at the U3A (University of the Third Age) centre in Foyle, Derry, “grounded in an examination of the digital divide, social inclusion and the formation of artists collectives.”

–JS, Editor-in-Chief

In 2014, the Irish Research Council funded a project that looked to increase the access of older people to creative opportunities while at the same time generating interest in research examining the social implications of sound, music, and performance produced by older people. The project ran over a 9-month period and included a two-week workshop with a group of third age adults based in Derry, Northern Ireland. This fulltime workshop consisted of training three people aged between 65-70 in the area of gesture based audio technologies on iOS devices.

My initial impetus behind the project was to find different ways to engage older adults with technologies outside of the typical education programs which focus on internet training and learning how to use communication applications like email and VOIP software. I designed the workshop to introduce the participants to a range of audio-based applications designed specifically for an iPad. They learned how to use digital audio recorders, including the different file types associated with sound quality, such as compressed audio mp3 and mostly uncompressed audio WAV (windows audio video format). For clarity, I organized the audio applications into three distinct types: audio editing apps, gesture based performance apps and sound synthesis apps.

Participants working with Auria and Dropbox // Photo by author

Participants working with Auria and Dropbox // Photo by author

Learning sound production, I felt, would offer elder people a different kind of value than basic workplace digital skills, something perhaps even more important for third age adults, what Fisher and Specht describe as a “positive sense of future” in “Successful Aging And Creativity In Later Life” (459).   Training in digital activities such as multi-track editing, performance and synthesis applications, the use of digital audio recorders, soundscape recording, using cloud based applications for sound sharing, and mastering finished works of sound offered more than just a “skill” for workshop participants, it also held out a new sense of purpose, a means to continue engaging with community, continued intellectual stimulation, and the possibility of a new period of productivity in their lives.

Work Shopping Sound

One of the key components to the workshop involved talking about sound and sound art, and discussing the kinds of art made from sound, including work made for radio. Such conversation presented difficulties for people who were largely unfamiliar with fine art, a problem compounded by the fact that, as an emerging art form, sound is not always visible in mainstream cultural spaces.

To ease the transition, I centered our early discussions on important sounds in the participants’ lives: sounds remembered and now lost, the difference between rural and urban soundscapes, and unique perhaps for this particular group, the sounds of civil war. All of the participants had lived in Derry most of their lives and experienced some aspect of the violence within Northern Ireland; through our conversations, sound became an interesting way to memorialize and process this event. We then discussed how these soundscapes could be documented, changed and presented as works of art. Later, workshop conversation consisted of listening to sound art pieces. This helped the group get a sense of the potential of sound as an expressive art form.

Sound as Process

During the workshop, I emphasized the process and practice of sound making over the technology required to undertake the production of their art works. In this way, by focusing on an artistic concept, the technology just became the means in which they could be creative. Each participant was given a digital audio recorder (Zoom), which they brought home to record sounds they found interesting. Every meeting, the group discussed how–through the act of recording and listening–their perception of familiar sounds was being altered. They began also to experiment when recording, using their voices – singing – reading poetry etc. in different spaces, getting close up to sounds – exhaust pipes in cars, for example—and placing the microphone in unusual places such as a neighbours pig shed. Gradually, participants began to think of the sounds they collected as being part of a larger project and they became much more selective about what they would record. In addition, the group began to critique the sounds they recorded as well as sharing their sounds using Dropbox folders. These recordings became the basis for their final works; even if their sounds were eventually altered beyond recognition, the sounds inspired their artistic concepts.

The first Saturday of the two-week workshop included a soundscape recording day in Derry city. Each participant was asked to walk the city, recording sounds they found interesting. What emerged during the sound walks was unexpected. Members of the group began to engage with spaces and people, interviewing some, asking others to make sounds. For example, two participants went into a music store and asked the staff to sing or play an instrument so that they could record these sounds. They also went to the main cathedral in Derry and had the bells rung especially for them and a trainee organist play some traditional organ music. One participant, a poet, had different people read lines from a selection of his poems. He stated later that he was hoping to collect the sounds of women, children and men, as well as the multiple accents of Derry people, because his poetry was about Derry and therefore Derry should be its voice. I had not anticipated this engagement with community and space when I designed the workshop.

Participants recording water feature, Photo by author

Participants recording water feature, Photo by author

During the focus group discussion after the sound walk, each participant talked primarily about how the recorder allowed them access to sounds and people. The technology acted as an interface between them and a sound that they wanted; it gave them the confidence to approach strangers, because they felt they were working on something important.

Gesture Based Performance Applications

Still from Auria, a gesture based performance app

Still from Auria, a gesture based performance app

In addition to conversation and artistic process, the first week of the workshop introduced participants to three applications: Auria audio editor, TC11 gesture based performance app and Animoog (a music synth app designed for iPad). A number of papers argue that it is the complexity of software applications, including the internet, which proves difficult to older users. Overlapping and contrasting colours are defined as difficult to engage with and can be distracting to users whose vision is in any way impaired through ageing. The Auria editor is as complex visually as most computer DAW’s, with one key difference: all interactions are gestural. This simple difference meant that each of the users found engaging with the application less difficult than if they had to deal with a mouse, keyboard, shortcuts and OS’s (see figure).   Animoog synthesis applicationNone of the participants felt that the screen and its multiple windows were so difficult that they could not engage. In fact, we had initially worked with a much simpler audio editing app, Hokusai, which they felt was too simple in its design and usability. By the end of the two-week workshop, the participants had produced at least one complete work of sound, with some creating up to 4. Selected works were compiled in a CD that was launched in November 2014 at the U3A in Derry.  Listen to a sampling below.

.

Track Two: “Made in Belfast” by Sam Burnside, read by John Dunlop

Track Four: “The Haunted Valley,” by Florence Forbes

.

In a final focus group discussion, the participants all responded very positively to the experience while offering suggestions about future workshops. Most agreed that the digital audio recorders allowed them to open their ears to the possibility of working with sound, but from an ethnographic perspective. The recorders allowed the participants engage actively with people and spaces in a way that had not been anticipated, empowering them with a sense of purpose, and allowed them give voice to both their creative ideas and the voices and soundscapes of Derry. In addition, the iPADs and audio recorders allowed them a sense of technological and creative mobility; they could access sounds on the move, place and share them in the cloud, perform/compose and edit in different spaces.

Participants working with their iPads, Photo by the author

Participants working with their iPads, Photo by the author

Working on this project altered a number of preconceptions I had inadvertently brought with me about older peoples’ capabilities, even though my proposed project challenged other assumptions about aging. For example, I chose some of the audio applications for their simple design, mostly because previous research had highlighted older adults’ limitations in regards to the digital, based on principles of design, where technology is often shaped for a younger, often male, user. The participants in this workshop proved they could learn and even be creative with complicated applications such for synthesis  and sophisticated editing. Even though I have written about older peoples use of audio technologies dating back to the 1940s–and how they developed sophisticated hacked mechanisms in order to broaden their sound/media sphere (O’Keeffe 2015)–I failed to consider that my participants would also have a contemporary relationship to mobile technologies. Yet all three participants, in varying degrees, used some form of mobile technology, from tablets to android phones. But what was evidenced through our conversations was the limited way in which they used their tech. After the workshop, most talked about buying and using audio applications or recording technology for creative or documentary use.

The author, recording sounds in the workshop

The author, recording sounds in the workshop

Prior to the workshop, I myself rarely used iPad audio apps; for me, it required thinking differently about mobility and sound design, and it was only on seeing the very creative ways in which the participants used the iPad that I started to rethink how IOS apps could support my sound practice. Following from this project, I am now in the process of developing a performance collective with third age adults. We will examine ways in which sounds can be assigned meaning and then used in a performance setting. The project will take about a year to complete and the hope is that, when finished, the performance collective will continue, with a tool kit to sustain their practice.

Featured Image: “Workshop participant interviewing poetry readers,” photo by Author

Linda O Keeffe isis a lecturer in sound at Lancaster Institute of Contemporary Art.  She is also secretary to the Irish Sound Science and Technology Association and editor of the Interference Journal.  She has several papers and book chapters published and due for release in the fields of sound studies.  Her practice is concerned with an exploration, both academic and creative, of the ways in which sound alters our experience of different spaces. Her art training was within the sculpture department of IADT under the tutelage of Finola Jones. She completed a Masters in Virtual Reality in NCAD with Kevin Atherton, and just finished a PhD in sociology in NUIM. Her research examined the urban of Dublin city soundscape as socially and technologically co-constructed. She has composed for dance, theatre, quartets, and new instrument performers, installed sound installations for commissions in Ireland, China and Holland, and has had radio works performed both nationally and internationally. In 2008 she was mentored under Eric Leonardson in Chicago, a sound artist and performer. More recently, she was commissioned by Resonance FM to create a work for radio for the 2013 Derry city of culture event. In November 2014 Linda had a solo exhibition  called “Spaces of Sound and Radio Spaces” for the Limerick Sculpture Centre,  a creative realization of her PhD research.She will be releasing an album next year with the composer Tony Doyle on spatialisation and sonified memories with Farpoint Recordings, her third album. You can find her at www.lindaokeeffe.com.

tape reelREWIND! . . .If you liked this post, you may also dig:

Of Sound Machines and Recording, Sharing that Transcends Time and Space–Maile Colbert

Audio Culture Studies: Scaffolding a Sequence of Assignments–Jentery Seyers

“We wanted to tell stories about sound”: Opening Ears Through the “Everything Sounds” Podcast–Craig Shank and George Drake Jr.

Heads: Reblurring The Lines

Primus Luta "Heads"

I don’t intend to discuss the “Blurred Lines” case in this post. There are plenty of folk already committing thoughts on the ruling. While the circumstances of the recent Thicke/Williams/Gaye case are not explicitly about sampling, they are indicative of the direction sample/copyright litigation can go in the future.  When samples from a composition infringe upon the copyrights for the song, it is dangerous territory. Rather than focus on those dangers however, I’d like to exemplify possibilities of a more open (and arguably the intended) interpretation of copyright laws, by doing something I should have done seven years ago – put out my project Heads (dropping on April 1st, 2015).

My position has not changed from previous writings on sample laws – transformative sampling produces original work. My intent here is to present an artist’s statement on Heads that illustrates how transformative sampling and derivatives of it require broader interpretation; they should be legally covered as original compositions.

heads

Cover art for Proto-Heads project from 2009

I’ve kept Heads in the vaults since 2007 while continuing from its artistic direction, all the while doing little tinkerings to convince myself it wasn’t done yet (it was).  I had been pursuing analog technologies I swore would be the finishing touches it needed, to convince myself it wasn’t ready yet (it was). Then I lost 4TB of files in a quadruple hard drive killer power surge. The last Heads masters were among the 500GB that survived.

The project was born in response to comments made by Wynton Marsalis, dismissing hip-hop and denying its connection to the legacy of black music.

It’s mostly sung in triplets. So what? And as for sampling, it just shows you that the drummer has been replaced by a loop. The drum – the central instrument in African-American music, the sound of freedom – has been replaced by a repetitive loop. What does that tell you about hip-hop’s respect for African-American tradition? – Wynton Marsalis

I was offended as both a hip-hop and jazz head, so I set out to produce a body of work that showed the artistic originality of sampling and tied the practice to black musical traditions.

Prior to the analog experiments, I was modeling a series of digital Open Sound Control (OSC) instruments based on the monome, starting with a sampler but expanding into drum machines synthesizers and other noise makers. Together I called them the Heads Instruments. 95% of the composition work on Heads began with these instruments, all of which were built around the concept of sampling.

The title Heads, comes from the musical head, which is a fundamental part of the jazz tradition. The head is the thematic phrase or group of phrasings that signify a song; heads can be comprised of melody, harmony and/or rhythm. Jazz musicians use the head as a foundation for improvisation, a traditional form including the alternating of head and solo improvisations . Often times in jazz, the head comes from popular songs re-envisioned through improvisation in a jazz context, such as John Coltrane’s famous refiguring of “My Favorite Things” from The Sound of Music. In addition to being covers, these versions are transformations of the original into a different musical context. The Heads Instruments were designed specifically as instruments that could perform a head in a transformative manner.

Hip-hop attacks itself. It has no merit, rhythmically, musically, lyrically. What is there to discuss? – Wynton Marsalis

Tony Wynn

I was a bit annoyed at Marsalis, just how much is illustrated by the opening track of Heads, “Tony Wynn,” eponymously named after the contemporary jazz saxophonist, who, like Marsalis, feels that hip hop is not music. In it a character berates his friend for bringing up Wynn’s position. On the surface the song talks trash, but musically it makes layers of references.

First, the song’s format (down to the title) is a nod to the Prince tune “Bob George.” In his song, Prince parodies a character berating a girlfriend for being with Bob George. The voice of the character in “Tony Wynn” and some of his comments come straight from Prince’s song, but the work as a whole is not a direct cover of “Bob George.”

Tony Wynn

“Tony Wynn” is undeniably influenced by the Minneapolis sound, that eclectic late 1970s and early 80s scene that blend of funk, rock, and synthpop, but how the track arrives there is complicated. It does contain a Prince sample, but not from “Bob George.” The sample is played in a transformative manner, chopping a new riff different from the source material. It also includes a hit from another song, a sample of only one note, yet one identifiable as signature. The drums are ‘played’ in what could be described as the Minneapolis vibe. You can also hear a refrain that mimics yet another song. All of these sampled parts create a new head, to which I added instrumental embellishments with co-conspirator Dolphin on bass, synth, and the killer Prince-esque guitar solo.

The track represents a hodgepodge of Prince influences, but because those influences are so varied, none can be individually identified as the heart of “Tony Wynn.”  Furthermore, at the bridge all of the samples get flipped on each other, some re-sampled and performed anew. Nothing can be pinned down as an infringement on technicalities, without taking into account the full context of the transformation.  While “Tony Wynn” is heavily influenced by Prince, it is not a Prince song.

Rap Rap Rap

The second track on Heads,”Rap Rap Rap,” features Murda Miles and Killa Trane. I chose its title and head to reference the 1936 Louis Palma song “Sing Sing Sing,” made popular by the Benny Goodman Band. Coming out of the big band era, the song is closer to a traditionally composed Western standard, the heavy percussions however distinguish it. While you will find no samples of sound recordings from any version of “Sing Sing Sing” in “Rap Rap Rap,” it still represents the primary sample head used.

The opening percussive phrases are influenced by rhythmic hand games—an important but often overlooked precursor to hip hop discussed in Kyra Gaunt’s The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop.  Here the rhythm sets the pace before charging into the head with a swing type of groove as the two featured artists, Murda Miles on trumpet and Killa Trane on sax, call out the head. What distinguishes these horns however, is that they are both sample based.

The song’s head is still based on “Sing Sing Sing,” but for the dueling horn parts the samples come from the recordings of Miles Davis and John. While Davis and Coltrane played together at a fair number of sessions, these samples come from two divergent sources from their individual catalogs. I chopped, tuned and arranged them for performance so that they could play in tune with the head.

The opening half of “Rap Rap Rap” sees both sticking to the head with little flourishes, but at the half way mark, the accompaniment changes to a distinct hip-hop beat still firmly rooted in the head. The two horns shift here as well, trading bars in a way that nods to both jazz and rap. The phrasing of the sample performance itself mimics a rapping cadence here, bridging the gap between the two traditions.

La Botella

The head for next track “La Botella” (The Bottle), uses a popular salsa motif as the head, accentuated by a son influenced percussive wall of sound. The percussions vary from live tracked percussions to percussion samples to percussive synthesis. I performed many of the percussive sounds utilizing the Heads Instruments sequencer, which lends itself to the slightly off—while still in the pocket—swing.

The format of this particular head allowed for an expanded arrangement, through which I nod to the Afro-Cuban influence in the African American tradition, from jazz to hard soul/funk to rock and roll. Son evolved from drumming traditions that have their own forms of the head.  There is a duality in these two traditions that pairs a desire for tightness with a looseness in spirit, and this tension continues into musics influenced by them. The percussions on “La Botella” carry that duality.  The collective drums sound as an instrument, while each individual drum can be aurally isolated.

The actual samples in the song come from vocal bits of The Fania All-Stars, but the true Fania mark I emulate on “La Botella” is the horn section. They sound nowhere near as good—let’s just get that out of the way—but the role they play comes directly from the feel of a classic Fania release. Could the horns actually be attributable to a single source? I doubt it, but more importantly, they operate only as a component of the song itself, placing this inspiration in a different musical context.

Sound Power

“Sound Power” fully embraces ‘sound’ as a fundamental musical object. Sounds in and of themselves can be understood as heads. The primary instrument I used on “Sound Power” is the sound generator of the 4|5 Ccls Heads Instrument. 4|5 Ccls is an arpeggiator modeled after John Coltrane’s sketches on the cycle of fifths. I tend to think of such sounds in relationship to the latter Coltrane years when he was using his instrument as a sound generator, clustering notes together and condensing melody.

Similarly, arpeggiators group notes into singular phrases which can be interpreted as heads. The head on “Sound Power” does not push the possibilities to the extreme, as Coltrane did; it remains constrained within a rhythmic framework.  However, it shows the power of sound as fundamental. All of the drums, percussive elements, bass and harmonies flow from the head, accentuated by heavyweight vocal chops from the Heads Instrument scratch emulator.

Come Clean

The intro to “Come Clean” marks a turning point in the album. The first four tracks present are technical feats to illustrate the point. “Come Clean” doesn’t slack off. Musically this track is the closest to the “Blurred Lines” case; notably, other than the intro, it contains no sample. It’s head, however, comes from the Jeru the Damaja song “Come Clean” produced by DJ Premier. I did an extensive breakdown on the technical details of “Come Clean” on Avanturb a few years ago; my online installation shows how (and for how long) I have been contemplating this track. But to paraphrase the sample here, the true power of music is helping the listener realize the breadth of their own existence in this universe. My use of the song is very intentional, and I deliberately change its themes for the album.

For “Come Clean,” I worked with percussionists Zach and Claudia who studied in the Olatunji line of drumming. They noted the physical timing challenges getting used to the song’s unique head, but, once they locked in, the head held its own. That exemplifies the power of this means of composing – new original ideas which can push music’s possibilities.

As an artist, I advocate for the interpretation of copyright laws so that someone cannot sue because three notes of a song appear in one they own, or because a sound from the recording the record company convinced the artist to sign over to them for pennies was repitched and played into a melody.  I know that arriving to music via these methods can push the traditions further, everything copyright laws were written to encourage. If we don’t change the way we think about copyright, the ability to create in this manner will be lost in litigation.

Heads comes out on April 1, 2015

Primus Luta is a husband and father of three. He is a writer and an artist exploring the intersection of technology and art, and their philosophical implications.  He maintains his own AvantUrb site. Luta was a regular presenter for Rhythm Incursions. As an artist, he is a founding member of the collective Concrète Sound System. Recently Concréte released the second part of their Ultimate Break Beats series for Shocklee.

tape reelREWIND!…If you liked this post, you may also dig:

“SO! Reads: Jonathan Sterne’s MP3: The Meaning of a Format”-Aaron Trammell

“Remixing Girl Talk: The Poetics and Aesthetics of Mashups”-Aram Sinnreich

The Blue Notes of Sampling– Primus Luta

Sound at SCMS 2015

5006172191_777fce90d3_b

Each March one brave Sounding Out! author takes on the task of wading through the catalog of the annual conference of the Society for Cinema & Media Studies (SCMS), to produce a curated guide for scholars interested in sound and its intersection with media. For several years now, SCMS has been both widening its intellectual scope and becoming one of the primary venues for scholars working in sound, and so making sense of the rich and noisy expansion of the field in this context takes a pretty keen ear.

This year we are extremely happy that that ear belongs to Alyxandra Vesey of the University of Wisconsin, Madison. Vesey is not only a leading feminist sound theorist, a radio host, and an editor at our peer website Antenna, but she is also one of the people behind the recent special issue of Velvet Light Trap on Sound, which is sure to become a landmark in the field in years to come.

We asked her to begin with some thoughts on what this year’s offerings at the Montreal conference (held March 25 to 29) tell us about sound scholarship these days. Some food for thought for conference attendees as they contemplate the best place for an oven-warm Montreal bagel on a cold winter morning, or work up the courage to try out some rusty French in la belle province

— Special Editor Neil Verma

In a recent essay for this site, Robin James situated Dove’s #SpeakBeautiful Twitter campaign within larger histories of patriarchal conventions that moderate “women’s literal and metaphoric voices to control their participation in and affect on society, ensuring that these voices don’t disrupt a so-called harmoniously-ordered society” (2015).

That line came back to me as I began assembling a list of relevant panels, workshops, presentations, and events for sound studies scholars at this year’s SCMS Conference. Of course, the field of film and media studies has been concerned about the voice since the works of Michel Chion, Kaja Silverman, Michele Hilmes and Roland Barthes, many of whose ideas have been revived in recent years, including in a recent issue of Velvet Light Trap, which pursued the voice through a variety of contexts.

VLTBut that legacy alone can’t explain the diversity of interest in the subject at SCMS this year; Montreal’s conference might signal the year of the voice in media studies.

Wednesday’s itinerary features “Hearing Voices, Songs, and Speech.” The panel is chaired by Kyle Stevens, who will also present research on the functions of voice-over in representations of suicide and women’s sexuality. Dolores McElroy’s research on Judy Garland, Patrik Sjoberg’s exploration of documentaries’ dubbing and lip sync practices, and Liz Greene’s work on pop music’s signification of middle-aged nostalgia rounds out the proceedings. On Saturday, “The Voice in Transition” includes presentations from chair Jennifer Fleeger, Sarah Wright, Tom Whittaker, and Christine Ehrick on opera in Italian film, silent cinema, dubbing in Spanish film, and Niní Marshall’s film comedies. “Hear and There: The Politics of Sound” include two compelling presentations: Cassie Blake and Tessa Idlewine’s work on female voiceover in theatrical trailers and Allison McCracken’s discussion on auditions and essentialism on NBC’s The Voice.

Heightened interest in podcasting also appears to be symptomatic of interest in the voice. The first day of the conference includes an entire panel on the subject. Chaired by Andrew Bottomley, “Podcasting: A Decade into the Life of a ‘New’ Medium” includes presentations from Brian Fauteux on podcast aesthetics and satellite radio, Andrew Salvati on historiography in Dan Carlin’s Hardcore History, and Kelli Marshall on WTF host Marc Maron.

However, scholarly inquiry around podcasts may have as much to do with the interest in radio and the medium’s extensions online. On Thursday, Doron Galili and Gabriel Paletz will chair “A Paragon of Intermedial Adaptation: The War of the Worlds in Radio, Film, and Social Media,” exploring the program’s long afterlife alongside a co-authored paper by Neil Verma and Jennifer Stoever and respondent Timothy Corrigan. This event occurs simultaneously with a workshop on radio production cultures chaired by Bottomley and featuring participants Shawn VanCour, Tom McCourt, and David Uskovich. Friday afternoon winds down with a workshop chaired by Jason Loviglio entitled “The Problem of the Radio Canon” that includes Debra Rae Cohen, Bill Kirkpatrick, Kate Lacey, and Elena Razlogova. And on Saturday Jennifer Wang will chair “Fringe Time: Gender and Crossover Programming in the U.S. Radio-TV Transition” with presentations on soap opera’s transitional moment, ethnicity and diet-oriented programming, and discourses around liveness in wrestling from Elana Levine, Jennifer Lynn Jones, and Kate Newbold.

Saturday’s radio studies panels also touch on three other areas of interest for sound studies scholars: technological affordances, historical interventions, and identity politics. To that first point, Wednesday includes Tim Anderson’s presentation on musicians and the professional economies of social networking and Andrew deWaard’s discussion on big data’s influence over ownership in the recording industries. Saturday evening’s “Stream Engines: Streaming Services and Media Distribution” promises to deliver some compelling original research as well. Jeremy Morris and panel chair Devon Powers will co-present a paper on curation and digital music services. Eric Harvey will explore how streaming services become sites of commerce, an extension of his and Maura Johnston’s “Loose Change” series for Pitchfork.

In terms of historiography, Wednesday’s “Music Screens, Music Stars, Music Scenes” is at the top of my list. Chaired by Charlotte Howell, who will also present original research on Atlanta’s public access program The American Show, the panel includes Kristen Alfaro’s work on the Fales Library’s nightclubbing collection, Matt Stahl’s research on royalty reform for R&B artists in the mid-1980s, and Brad Stiffler’s study on TV Party and cable access in the 1970s.

Saturday afternoon includes “Historicizing Music and Transmedia” with presentations from Kyle Barnett, Kevin John Bozelka, chair Landon Palmer, and myself on Jazz Age-era media convergence, post-war publishing and recording practices, The Beatles’ relationship with United Artists, and playlist production as extensions of feminist activism. During that time, Morgan Sea of Tranzister Radio will also participate in a panel with Alexandra Juhasz on trans women’s AIDS media activism. If I could be at two places at once, I would.

scms1

This brings us back to questions of identity and how sound signifies larger representational strategies. On Thursday, Jack Curtis Dubowsky chairs “Sound Tracks,” which features presentations from Monique Bourdage, Carl Laamanen, and Rembert Hueser about gender and taste on Playboy after Dark, Her and acousmêtre, the music of La Chinoise, and queer musical signification. I’m also looking forward to seeing Ryan Powell’s presentation on “Queer Aurality in Seventies Gay Art Porn.” Thursday’s panels conclude with “Screening Instability: Genders, Genres, and Soundscapes of Cinematic Modernization in 1960s Mexico,” which includes Brian L. Price’s work on rock ‘n’ roll films in the country, chair Francisco Flores-Cuante’s analysis of masculinities in Viento Negro, and Carolyn Fornoff’s discussions on musical interludes. And on Friday, I plan to attend “She Bop on Screen: Girls, Popular Music, and Visual Media” with original research from Mary Kearney, Norma Coates, Morgan Blue, and Diane Pecknold on the gendering of post-war teen media, the Disney Channel and pop girlhood, and tween pop in the public sphere.

Finally, there are a number of special events for sound scholars to enjoy. Those interested in sound’s immersive potential should take time out on Friday night to visit the Satosphere Dome, which harnesses the potential of 360-degree screen projections, complex speaker system, and environmental sound to place visitors within a large-scale work of art.  The official meeting of the Sound Studies Special Interest group (SSSIG) is Wednesday, 3/25, from 2-3:45pm in Les Voyageurs, Lobby Level.  The official meeting of the Radio Studies Scholarly Interest Group (RSSIG) will be Saturday, 3/28, from 9:00-10:45 pm, in Les Voyageurs 2, Lobby Level.  In addition to SIG business, the RSSIG will also share an update from the Radio Preservation Task Force and will host award-Winning WireTap producer Mira Burt-Wintonick, who will present ideas on storytelling and sound design in the golden age of podcasting. How do you make your stories stand out in a sea of audio content? What’s different about producing for radio vs. podcasts? How do you create a signature sound? Part listening party, part discussion, this session aims to explore a variety of new sonic trends and possibilities in radio production.

mtBut considerations for the voice also lead us to listen for silences and absences. In that regard, I’m reminded of Neil Verma’s desire “to see future presenters using sound in innovative ways to think about objects and events well outside the perimeter of sound studies, drawing experimental modes of listening in to the conference experience and challenging how scholarship itself is fashioned and displayed” at the end of his “Sound at SCMS 2013” post. This appeal brings to mind Pauline Oliveros’ concept of deep listening, which describes how the music heard in a live or recorded context cannot be reduced to composition without critical attention toward the intersection of producers, listeners, and their shared environment (Rodgers 2010). Such interests seem to influence certain panels’ and participants’ work, particularly “Historicizing Technical Standards and Practices in Film Sound,” “Sounding the Interactive Documentary: Non-fiction, New Media, and the Problem of Immersion,” and James Deaville’s “Music and Sound in Film Trailers: A Preliminary Ethnographic Study of Producers and Consumers.”

Yet I wonder how we could harness sound as a resource for developing pre-existing scholarly approaches and fields. How might we “use sound” in production and industry studies research not only of radio, but in scholarship around other areas and sectors where the image still has primacy? What can sound teach us about precarity and other bedrock concepts within those discourses?

Furthermore, how can we “use sound” as a political intervention? As a field, we know how to analyze sound for the purposes of academic critique. But sound’s relationship to activism is underrepresented at this conference. I’m heartened by Morgan Sea and Jonathan Sterne’s participation in workshops on trans women’s media activism and disability studies. But I want consideration for how to use sound as resources to challenge institutions and ideologies that advance the violent force of intersectional discrimination, civil rights violations, widening class division, surveillance, eroding labor rights, and geopolitical conflict.

In addition, how can we “use sound” to teach? Wednesday concludes with “Participatory Pedagogy” a workshop and networking event about issues related to teaching gender and media. How can we use sound not only to enter into discussions amongst ourselves, but as a resource in the classroom?

Nick Couldry argues that the role of the voice hinges upon the cultural and political value assigned to it, which “involves particular conditions under which voice as a process is effective, and how broader forms of organization may subtly undermine or devalue voice as a process” (2). A number of presentations, panels, and workshops take up the voice as a resource for inquiry. Others will be raising them to ask questions of sound, music, and aurality’s influence in shaping media technologies, texts, representational strategies, and reception practices. And, as always, there are silences and absences we must recognize and address.

Let’s listen. Let’s raise our voices as well.

Alyxandra Vesey is a feminist media scholar who uses industry and production studies approaches to explore the relationship(s) between gender, labor, and music. Her dissertation analyzes identity and music-based intermediary practices in post-network television. Her work has appeared in Antenna, Flow, In Media Res, The Moving Image, Cinema Journal, Studies in French Cinema, and Saturday Night Live and American TV. She is also an editor for Antenna and The Velvet Light Trap. As an extension of her scholarship, she is also a contributor to Bitch Magazine, a volunteer for Girls Rock Camp Madison, and the host of WSUM 91.7 FM’s “Feminist Music Geek Presents…”

Featured image: “Feux d’artifice au port du vieux Montréal” by Flickr user Emmanuel Huybrechts, CC BY 2.0

"Queen Elizabeth" by Flickr user Robert Anthony Provost, CC BY 2.0

“Queen Elizabeth” by Flickr user Robert Anthony Provost, CC BY 2.0

Jump to WEDNESDAY, MARCH 25, 2015
Jump to THURSDAY, MARCH 26, 2015
Jump to FRIDAY, MARCH 27, 2015
Jump to SATURDAY, MARCH 28, 2015
Jump to SUNDAY, MARCH 29, 2015

WEDNESDAY, March 25

Session A 10 – 11:45 a.m.

A11. Sound and Music
Chair: Michael Baumgartner, CLEVELAND STATE UNIVERSITY
Ian Kennedy, WAYNE STATE UNIVERSITY, “Visual Music and the Enactive Theory of Musical Perception”
Mark Durrand, SUNY-UNIVERSITY AT BUFFALO, “On Seeing and Hearing in Sergio Leone’s Once Upon a Time in the West (1969)”
Summer Kim Lee, NEW YORK UNIVERSITY, “‘Too Much Exposure’: The Paranoia of Race in Gothic Orientalism”
Michael Baumgartner, CLEVELAND STATE UNIVERSITY, “Expanding the Horizon on Film Music Studies: Jean-Luc Godard’s Use of Music in His Films as a Counter-model to the Music in the Mainstream Film Tradition”

Session C 2:00 – 3:45 p.m.

C1. The Spoilage of America Garbage, Junk, and Audiovisual Noise in US Film and TV
Chair: Allison Rittmayer, NORTHWESTERN STATE UNIVERSITY OF LOUISIANA
Michael Rowin, UNIVERSITY OF FLORIDA, “Noise and Spectatorship in Lynch’s Films”
Tania Darlington, SANTA FE COLLEGE, “From Hill Street to Farmington: The Station House as Symbol of Urban Neglect in Television Police Procedurals”
Jacob Agner, UNIVERSITY OF MISSISSIPPI, “Salvaging The Counselor: Watching Cormac McCarthy’s Really Trashy Movie”
Allison Rittmayer, NORTHWESTERN STATE UNIVERSITY OF LOUISIANA, “‘Deswamped and Denuded, and Derivered’: Some Aspects of the Southern Gothic in Rural Noir Landscapes”

C11. Hearing Voices, Songs, and Speech
Chair: Kyle Stevens, BRANDEIS UNIVERSITY
Dolores McElroy, UNIVERSITY OF CALIFORNIA-BERKELEY, “In Extremis: An Inspirational Reading of Judy Garland and The Man That Got Away
Patrik Sjoberg, KARLSTAD UNIVERSITY, “Your Tongue in My Mouth: Lip Synch, Dubbing, Ventriloquism, and the Othering of Voice in Documentary Media”
Liz Greene, DUBLIN CITY UNIVERSITY, “Listening, Singing, and Dancing to Pop Songs in Film: The Sound of Middle-aged Nostalgia”
Kyle Stevens, BRANDEIS UNIVERSITY, “‘I Had No Thoughts at All’: Voice-over, Suicide, and Women’s Sexuality”

Session D 4:00 – 5:45 p.m.

D11. Music Screens, Music Stars, Music Scenes
Chair: Charlotte Howell, UNIVERSITY OF TEXAS AT AUSTIN
Kristen Alfaro, NEW YORK UNIVERSITY, “Screens of Punk, Punks of Screen: Video History and the Nightclubbing Collection at the Fales Library, New York University”
Matt Stahl, UNIVERSITY OF WESTERN ONTARIO, “We Have Paid a Price to Sing This Music: Aging R&B Stars’ Struggle for Reparations and Royalty Reform in the US Recording Industry, 1984–2004”
Brad Stiffler, UNIVERSITY OF MINNESOTA, “Anti-antinetwork TV: TV Party and the (Un)popular Avantgarde on 1970s Cable Access”
Charlotte Howell, UNIVERSITY OF TEXAS AT AUSTIN, “Symbolic Capital and Cable Access: Production Discourse of The American Music Show
Sponsor: Sound Studies Scholarly Interest Group

D18. Podcasting: A Decade into the Life of a “New” Medium
Chair: Andrew Bottomley, UNIVERSITY OF WISCONSIN-MADISON
Brian Fauteux, WILFRID LAURIER UNIVERSITY, “Blog Radio: Satellite Radio and the Aesthetics of Podcasting”
Andrew Salvati, RUTGERS UNIVERSITY, “Podcasting the Past: Historiography and Interactivity in Dan Carlin’s Hardcore History
Kelli Marshall, DEPAUL UNIVERSITY, “Transmedia Storytime with Your Host Marc Maron”
Sponsor: Radio Studies Scholarly Interest Group

Session E 6:00 – 7:45 p.m.

E11. Hear and There: The Politics of Sound
Chair: Allison McCracken, DEPAUL UNIVERSITY
Jim Knippling, UNIVERSITY OF CINCINNATI, “Vicissitudes of Normativity in Non-diegetic Film Music: 1940–1975”
Tim Bell, INDIANA UNIVERSITY, “White Jazz: Music and Fantasies of English Modernity in The Avengers (1961–69)”
Cassie Blake and Tessa Idlewine, ACADEMY FILM ARCHIVE, “Better Seen than Heard: The Anomaly of Female Voiceover in Theatrical Trailers”
Allison McCracken, DEPAUL UNIVERSITY, “Blind Auditions and Vocal Politics: Enacting and Exposing Vocal Essentialism on NBC’s The Voice
Sponsor: Sound Studies Scholarly Interest Group

Wednesday Individual Papers of Interest

A5. Asha Tamirisa, BROWN UNIVERSITY, “Aurality, Virtuality, and the Feminization of Technological Space in Her

A10. Lindsay Affleck, UNIVERSITY OF CALIFORNIA-LOS ANGELES, “‘100 Dollars a Day Plus Expenses’: Richard Diamond as Radio Shamus and Hollywood Telefilm Production”

A17. Anna Dimitrova, UNIVERSITY OF PITTSBURGH, “Polyphonic Soundscape in the Dardenne Brothers’ Film Lorna’s Silence

A18. Tim Anderson, OLD DOMINION UNIVERSITY, “Time for Brand Practice: Networking Finances and the ‘Social Musician’”

C6. Kara Fagan, UNIVERSITY OF IOWA, “Dancing on Ice, Falling out of the Gender Script: Sonja Henie’s 20th Century Fox Musicals and the Feminization of Figure Skating”

Spring-Serenity Duvall, SALEM COLLEGE, “When Gen X Icons Grow Up: Celebrity, Aging, and (Trans) national Canadian Identity in the Careers of Alanis Morissette and Sarah McLachlan”

D5. Veronica Fitzpatrick, UNIVERSITY OF PITTSBURGH, “The Also at Work in Every Intended Something: Belief, Belonging, Sound of My Voice, the East

D12. Joseph Pfender, NEW YORK UNIVERSITY, “The Lifespan of Circuits: Cinematic Experimentalism in the Chaotic Music of Louis and Bebe Barron”

D16. Rachel Kahn and Marc Rose, SOLOMON R. GUGGENHEIM MUSEUM AND UNIVERSITY OF PORTSMOUTH, “Music Video Art House: An Auteurist Study of the Music Video Production Company”

E12. Jing (Jamie) Zhao, CHINESE UNIVERSITY OF HONG KONG, “Problematizing a ‘Desirable’ Queer Media Culture: A Study of the Chinese Reality Talent Shows Super Girls, The Voice of China, and Your Face Sounds Familiar

E20. Andrew deWaard, University of California-Los Angeles: “New Gatekeeper Same as the Old Gatekeeper: Big Data, Big Content, and the Continued Concentration of Ownership in the Music Industry”

"MetrOoo Montréal" by Flickr user Éole Wind, CC BY-NC-SA 2.0

“MetrOoo Montréal” by Flickr user Éole Wind, CC BY-NC-SA 2.0


THURSDAY, March 26

Session F 9:00 – 10:45 a.m.

F11. Composing Narratives: The Role of Music in Film and Television
Chair: Paula Musegades, BRANDEIS UNIVERSITY
Paula Musegades, BRANDEIS UNIVERSITY, “The Sounds of Shangri-La: Romantic Exoticism in Lost Horizon
Sheri Chinen Biesen, ROWAN UNIVERSITY, “Blues, Smoke, and Shadows: Jazz in ‘Musical’ Noir Films”
Reba Wissner, MONTCLAIR STATE UNIVERSITY, “‘I Am Big—It’s the Pictures that Got Small’: Franz Waxman’s Scores for the Big and Small Screens: Sunset Boulevard (1950) and The Twilight Zone’s ‘The Sixteen Millimeter Shrine’ (1959)”
Georgia Luikens, BRANDEIS UNIVERSITY, “Singing Suburbia, Seeing Suburbia: Leonard Bernstein’s Trouble in Tahiti and the Operatic Teleplay”

Session G 11:00 a.m. – 12:45 p.m.

G7. A Paragon of Intermedial Adaptation: The War of the Worlds in Radio, Film, and Social Media
Chair: Doron Galili, STOCKHOLM UNIVERSITY
Co-Chair: Gabriel Paletz, PRAGUE FILM SCHOOL
Gabriel Paletz, PRAGUE FILM SCHOOL, “Book to Broadcast and across Media: Orson Welles’s Strategies of Adaptation”
Doron Galili, STOCKHOLM UNIVERSITY, “War of the Worlds, Mass Media Panic, and the Coming of Television”
Jennifer Stoever-Ackerman, SUNY-UNIVERSITY AT BINGHAMTON, “Invading Auditory Practice: On the War of the Worlds and #WOTW75”
Respondent: Timothy Corrigan, UNIVERSITY OF PENNSYLVANIA
Sponsor: Radio Studies Scholarly Interest Group

G12. Sound Tracks
Chair: Jack Curtis Dubowsky, ACADEMY OF ART UNIVERSITY
Monique Bourdage, UNIVERSITY OF MICHIGAN, “‘You Don’t Appreciate True Musical Genius’: Negotiating Gender and Musical Taste on Playboy after Dark
Carl Laamanen, OHIO STATE UNIVERSITY, “Her and the Technological Acousmêtre”
Rembert Hueser, GOETHE UNIVERSITY FRANKFURT, “Easy Listening in Godard’s La Chinoise
Jack Curtis Dubowsky, ACADEMY OF ART UNIVERSITY, “Queer Monster Music”
Sponsor: Sound Studies Scholarly Interest Group

G21. Workshop: Sound Work Radio Production Cultures
Chair: Andrew Bottomley, UNIVERSITY OF WISCONSIN-MADISON
Workshop Participants:
Shawn VanCour, NEW YORK UNIVERSITY
Tom McCourt, FORDHAM UNIVERSITY
David Uskovich, ST. EDWARD’S UNIVERSITY
Sponsor: Radio Studies Scholarly Interest Group

Session H 1:00 – 2:45 p.m.

H12. Historicizing Cinema’s Sounds and Color
Chair: Andrew Horton, UNIVERSITY OF OKLAHOMA
Benjamin Wright, UNIVERSITY OF TORONTO, “The House that Zimmer Built: Romantic Minimalism and Group Style in Contemporary Film Music”
Julie Hubbert, UNIVERSITY OF SOUTH CAROLINA, “Records, Repertoire, and Rollerball (1975): The Hi-Fi Movement and the New Hollywood Soundtrack”
John Belton, RUTGERS UNIVERSITY, “Man, God, and Kodachrome: The Beginnings of a Color Vernacular”

Session I 3:00 – 4:45 p.m.

I11. Historicizing Technical Standards and Practices in Film Sound
Chair: Katherine Quanz, WILFRID LAURIER UNIVERSITY
Michael Slowik, SAN DIEGO STATE UNIVERSITY, “The Curious Case of Myrna Loy: Voice, Ethnicity, Impersonation, and Early Synchronized Sound Technology”
Eric Dienstfrey, UNIVERSITY OF WISCONSIN-MADISON, “Prints and the New Power Regulations: New Data on the 1938 Academy Curve”
Katherine Quanz, WILFRID LAURIER UNIVERSITY, “The Aesthetic Impact of the National Film Board’s Sound Technology After 1956”
Kevin Donnelly, UNIVERSITY OF SOUTHAMPTON, “Progressive Rock, Technology, and Film in the 1970s”
Sponsor: Sound Studies Scholarly Interest Group

Session J 5:00 – 6:45 p.m.

J11. Screening Instability Genders, Genres, and Soundscapes of Cinematic Modernization in 1960s Mexico
Chair: Francisco Flores-Cuautle, WICHITA STATE UNIVERSITY
Brian L. Price, BRIGHAM YOUNG UNIVERSITY, “Rock and Roll Films and the Development of Mexican Counterculture”
Francisco Flores-Cuautle, WICHITA STATE UNIVERSITY, “Hyperbolic Masculinity and Effeminacy in Viento Negro (Dark Wind)”
Carolyn Fornoff, UNIVERSITY OF PENNSYLVANIA, “Musical Interludes in Mexican Melodrama: Crafting a Sonic Space of Exclusion”
Ignacio Sanchez Prado, WASHINGTON UNIVERSITY IN ST. LOUIS, “A Hero and the Monsters of Modernity: Wrestler Cinema as Popular Cosmopolitanism”
Respondent: Sergio de la Mora, UNIVERSITY OF CALIFORNIA-DAVIS

Special Event 7:30 p.m.

Wind from the Middle East: An Evening of Music and Film
Location: La Vitrola, 4602 Boulevard Saint-Laurent
The Middle East Caucus presents an evening of entertainment and discussion, featuring a performance by local Montreal musicians Sam Shalabi (playing oud) and Stefan Christoff (on electric guitar). Following the musical performance, there will be a presentation by Negar Mottahedeh, Associate Professor of Literature at Duke University, and author of Displaced Allegories: Post-Revolutionary Iranian Cinema. Professor Mottahedeh’s talk is titled “Le Vent Nous Portera: of lovers possessed, times entangled, and bodies carried away,” and will be accompanied by a video projection.
Metro: Station Laurier or a short taxi ride from the conference hotel.
Sponsored By: Middle East Caucus and supported by SCMS

Thursday Individual Papers of Interest

F6. Zachary Campbell, NORTHWESTERN UNIVERSITY, “The Audiovisual Otherwise: Valences of Media as Political Figurations”

F7. Denise Mok, UNIVERSITY OF BRITISH COLUMBIA, “Transnational Agencies and Auras: Performance and Star Power in Transatlantic Film Performances in Early Sound Cinema”

F8. Theo Stojanov, CONCORDIA UNIVERSITY, “Manufactured Soundscapes: Recycled Media, Sound Archives, Materiality”

G10. Anupama Kapse, QUEENS COLLEGE-CUNY, “Autobiographies of Dissent: Memories of Screen Acting in the Early Sound Film”

G11. Colin Burnett, WASHINGTON UNIVERSITY IN ST. LOUIS, “The Vernacular of Rhythm: How the Language of Postwar Film Culture Elaborated on a Musical Analogy”

H8. Jane Stadler, UNIVERSITY OF QUEENSLAND, “Sonic Disturbance: Film, Phenomenology, and the Threshold of Acoustic Experience”

H11. Anne Jerslev, UNIVERSITY OF COPENHAGEN, “David Lynch and Haptic Audio-Visuality in Crazy Clown Time”

H18. Ryan Powell, INDIANA UNIVERSITY, “Queer Aurality in Seventies Gay Art Porn”

I4. James Deaville, CARLETON UNIVERSITY, “Music and Sound in Film Trailers: A Preliminary Ethnographic Study of Producers and Consumers”

J7. Katherine Spring, WILFRID LAURIER UNIVERSITY, “Film Music and Moral Rights in Hollywood’s Early Sound Era”

"Place des Arts" by Flickr user Logan Charlot, CC BY-NC-SA 2.0

“Place des Arts” by Flickr user Logan Charlot, CC BY-NC-SA 2.0


FRIDAY, March 27

Session K 9:00 – 10:45 a.m.

K22. Dis-locating Sound
Chair: Lutz Koepnick, VANDERBILT UNIVERSITY
Co-Chair: Nora M. Alter, TEMPLE UNIVERSITY
Nora M. Alter, TEMPLE UNIVERSITY, “Shocking Sounds: Surrealism, Songs, and the Essay Film”
Jennie Hirsh, MARYLAND INSTITUTE COLLEGE OF ART, “Transmissions of Fascism: Advertising Architecture through the Ente Radio Rurale Poster Campaign”
Kenneth White, STANFORD UNIVERSITY, “Reason and Passion: Joyce Wieland, Pierre Vallières, and Cold War North American Avant-garde Cinema”
Lutz Koepnick, VANDERBILT UNIVERSITY, “Sounds without Frontiers, Cinemas without Screens”
Sponsor: Sound Studies Scholarly Interest Group

Session M 2:15 – 4:00 p.m.

M2. She Bop on Screen Girls, Popular Music, and Visual Media
Chair: Diane Pecknold, UNIVERSITY OF LOUISVILLE
Mary Kearney, UNIVERSITY OF NOTRE DAME, “Getting Girls to Rock: Gendering Rock ‘n’ Roll in US Teen Media, 1956–1966”
Norma Coates, UNIVERSITY OF WESTERN ONTARIO, “Dangerous Representations: Empowered Teen Girls, the Monkees, and ‘The’ Monkees”
Morgan Blue, UNIVERSITY OF TEXAS AT AUSTIN, “Disney Channel’s Pop Girlhood”
Diane Pecknold, UNIVERSITY OF LOUISVILLE, “Spectral Cityscapes and the Tween Pop Public Sphere”
Sponsor: Sound Studies Scholarly Interest Group

M8. Workshop: The Problem of the Radio Canon
Chair: Jason Loviglio, UNIVERSITY OF MARYLAND
Workshop Participants:
Debra Rae Cohen, UNIVERSITY OF SOUTH CAROLINA
Bill Kirkpatrick, DENISON UNIVERSITY
Kate Lacey, UNIVERSITY OF SUSSEX
Jason Loviglio, UNIVERSITY OF MARYLAND
Elena Razlogova, CONCORDIA UNIVERSITY
Sponsor: Radio Studies Scholarly Interest Group

Special Event 9:00 – 9:30 p.m.

Satosphere: 360-Degree Spherical Screen with 157 Speakers
Location: Société des Arts et Technologies, 1201 Boulevard Saint Laurent, 3rd Floor
Channeling the techno-utopianism of Expo 67, the Satosphere Dome is a state-sponsored, permanent environment dedicated to large-scale moving image and sound experimentation. With a screen that is eighteen meters in diameter (that’s 60 feet!), you can sit back—or literally lie down—on the couches and ponder a distinct mode of spectatorship, immersion, and art. An experience of audio-visual envelopment not to be missed!
Metro: St Laurent
Directions: From conference hotel—a 15 minute walk from the hotel. Walk east on René-Lévesque and turn left (north) onto Boulevard Saint Laurent.
Sponsor: Concordia University

Friday Individual Papers of Interest

K13. Alan Pike, EMORY UNIVERSITY, “The Genrefication of Prison Films in the Early Sound Era”

K14. Thomas Dorey, YORK UNIVERSITY, “Pop-up Paratext: Film Directors, Music Videos, and Paramediality”

L9. Eileen Rositzka, UNIVERSITY OF ST. ANDREWS, “Corpographic Coordinates: Zero Dark Thirty, United 93, and the Sound of Vision”

L12. Lilya Kaganovsky, UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN, “Socialist Realist Sound”

M6. Vanessa Chang, STANFORD UNIVERSITY, “From Playback to Play: Gestural Invention and Digital Music”

M7. Michael B. Gillespie, OHIO UNIVERSITY, “‘Ne me quitte pas’: 9/11, Civic Pop, and Sonic Historiography”

"18/07/12" by Flickr user Thien, CC BY-NC-ND 2.0

“18/07/12″ by Flickr user Thien, CC BY-NC-ND 2.0


SATURDAY, March 28

Session N 9:00 – 10:45 a.m.

Meeting
Radio Studies Scholarly Interest Group
Room: Les Voyageurs 2, Lobby Level

N8. The Voice in Translation
Chair: Jennifer Fleeger, URSINUS COLLEGE
Sarah Wright, ROYAL HOLLOWAY-UNIVERSITY OF LONDON, “Locating the Voice in Silent Cinema: Pablo Berger’s Blancanieves
Jennifer Fleeger, URSINUS COLLEGE, “Tito Schipa, Italian Film Sound, and Opera’s Legacy on Screen”
Tom Whittaker, UNIVERSITY OF LIVERPOOL, “‘Being’ Woody Allen: Dubbing, Vocal Performance, and Stardom in Spanish Film”
Christine Ehrick, UNIVERSITY OF LOUISVILLE, “Voice, Gender, and the Soundscapes of Buenos Aires in the Comedy of Niní Marshall, 1937–1947”

Session O 11:00 a.m. – 12:45 p.m.

O6. The Public Good Goes to Market: North American Public Service Media and the Marketplace in the Digital Convergence Era
Chair: Christopher Cwynar, UNIVERSITY OF WISCONSIN-MADISON
Jason Loviglio, UNIVERSITY OF MARYLAND, “NPR Listens: Psychographics, Audience Measurement, and the Privatization of Public Service Radio”
Kyle Conway, UNIVERSITY OF OTTAWA, “Policy beyond the Nation-State; or, Why the French Didn’t Watch Canada’s Little Mosque on the Prairie
Christopher Cwynar, UNIVERSITY OF WISCONSIN-MADISON, “Social Service Media?: Assessing the CBC and NPR’s Engagement with Social Media Platforms”
Respondent: Laurie Ouellette, UNIVERSITY OF MINNESOTA
Sponsor: Radio Studies Scholarly Interest Group

O11. The Sonic Impact of Scale Local and National Radio in “the 1960s”
Chair: Darrell Newton, SALISBURY UNIVERSITY
Josh Glick, YALE UNIVERSITY, “Soundscapes of South Los Angeles: Radio and the Voices of Resistance”
Darrell Newton, SALISBURY UNIVERSITY, “Being of Color in Britain: Identity, 1960s Radio, and West Indian Immigration”
Eleanor Patterson, UNIVERSITY OF WISCONSIN-MADISON, “We Are Not Reviving a Ghost: Reconfiguring Radio Drama in Post-network Era United States”
Alexander Russo, THE CATHOLIC UNIVERSITY OF AMERICA, “Musical Storytelling to a Fragmented Nation: American Top 40 and Cultural Conflict”
Sponsor: Radio Studies Scholarly Interest Group

Session P 1:00 – 2:45 p.m.

P7. Fringe Time: Gender and Crossover Programming in the US Radio-TV Transition
Chair: Jennifer Wang, INDEPENDENT SCHOLAR
Elana Levine, UNIVERSITY OF WISCONSIN-MILWAUKEE, “Picturing Soap Opera: Daytime Serials and the Transition from Radio to Television”
Jennifer Wang, INDEPENDENT SCHOLAR, “Resuscitating the Wife Saver: Gender, Genre, and Commercialism in Postwar Broadcasting”
Jennifer Lynn Jones, INDIANA UNIVERSITY, “Signal Size: Gender, Ethnicity, and Diet Episodes in the Radio-TV Transition”
Kate Newbold, NORTHWESTERN UNIVERSITY, “‘Now the Booing Is Done in Soprano’: Wrestling, Female Audiences, and Discourses of Liveness in the Radio-to-TV Transition in America, 1940–1953”
Sponsor: Radio Studies Scholarly Interest Group

P10. Historicizing Music and Transmedia
Chair: Landon Palmer, INDIANA UNIVERSITY
Kyle Barnett, BELLARMINE UNIVERSITY, “Popular Music Celebrity, Jazz-age Media Convergence, and Depression-era Transmedia”
Kevin John Bozelka, AUSTIN COLLEGE, “Everything on the Pig but the Squeal: Artist/ Publishers and Recordings in the Post-WWII American Entertainment Industry”
Landon Palmer, INDIANA UNIVERSITY, “All Together Now: The Beatles, United Artists, and Transmedia Conglomeration”
Alyxandra Vesey, UNIVERSITY OF WISCONSIN-MADISON, “Mixing in Feminism: Playlists, Networks, and Counterpublics”
Sponsors: Radio Studies and Sound Studies Scholarly Interest Groups

P12. Workshop: Trans Women’s Media Activism Digital Interventions and HIV/AIDS
Chair: Marty Fink, GEORGIA INSTITUTE OF TECHNOLOGY
Workshop Participants:
Morgan Page, MCGILL UNIVERSITY
Morgan Sea, TRANZISTER RADIO
Bryn Kelly, INDEPENDENT SCHOLAR
Alexandra Juhasz, PITZER COLLEGE
Sponsor: Media Literacy & Pedagogical Outreach Scholarly Interest Group

Session Q 3:00 – 4:45 p.m.

Q18. Workshop: Something Good? The Sound of Music at Fifty
Chair: Desirée Garcia, Arizona State University
Workshop Participants:
Steven Cohan, SYRACUSE UNIVERSITY
Caryl Flinn, UNIVERSITY OF MICHIGAN
Sean Griffin, SOUTHERN METHODIST UNIVERSITY
Adrienne L. McLean, UNIVERSITY OF TEXAS AT DALLAS
Desirée Garcia, ARIZONA STATE UNIVERSITY

Q22. New Approaches to Music and Film Theory and History
Chair: Lea Jacobs, UNIVERSITY OF WISCONSIN-MADISON
James Buhler, UNIVERSITY OF TEXAS AT AUSTIN, “Toward a Theory of the Part-talkie”
Lea Jacobs, UNIVERSITY OF WISCONSIN-MADISON, “Rethinking the Sync: Adorno, Eisler, and Eisenstein”
Jeff Smith, UNIVERSITY OF WISCONSIN-MADISON, “Paying the Piper at Paramount: Budgets, Shooting Schedules, and the Score for Midnight (1939)”
Andrew Johnston, NORTH CAROLINA STATE UNIVERSITY, “Chromatic Rhythms and Display Memories”

Q23. Stream Engines: Streaming Services and Media Distribution
Chair: Devon Powers, DREXEL UNIVERSITY
Jeremy Morris and Devon Powers, UNIVERSITY OF WISCONSIN-MADISON AND DREXEL UNIVERSITY, “Now Streaming: Control, Content, and Curation in Digital Music Services”
Blake Hallinan, INDIANA UNIVERSITY, “‘My Context Is My Query’: Algorithmic Flow as Emergent Entertainment Paradigm”
Eric Harvey, WEBER STATE UNIVERSITY, “Listening Like a Platform: The Reorganization and Intensification of Streaming Music Commerce”
Chris Baumann, STOCKHOLM UNIVERSITY, “It’s Not TV, It’s Netflix: On Streaming Netflix, Technological Obsolescence, and the Cultural Status of a Medium”

Session R 5:00 – 6:45 p.m.

R11. The Acoustic 1930s: Global Film Sound Technique and Aesthetic from Silent to Sound
Chair: Ling Zhang, UNIVERSITY OF CHICAGO
Kathryn Kalinak, RHODE ISLAND COLLEGE, “New Means of Enormous Power: Soviet Film Music in the 1930s”
Charles O’Brien, CARLETON UNIVERSITY, “Film Sound and Dubbing Technique”
Jeremy Barham, UNIVERSITY OF SURREY, “When Is a Musical Film Not a Film Musical?: Diegetic and Generic Complexity in Germany’s First Sound Films”
Ling Zhang, UNIVERSITY OF CHICAGO, “The Comic Soundscape and Audiovisual Heterogeneity: Yuan Muzhi’s Scenes of City Life (1935) and Street Angel (1937)”
Respondent: James Lastra, UNIVERSITY OF CHICAGO

R12. Sounding the Interactive Documentary: Non-fiction, New Media, and the Problem of Immersion
Chair: Michael Baker, SHERIDAN COLLEGE
Co-Chair: Randolph Jordan, SIMON FRASER UNIVERSITY
Michael Baker, SHERIDAN COLLEGE, “Bear 71, Popular Music, and the Problem of Immersion”
Randolph Jordan, SIMON FRASER UNIVERSITY, “The Soundscapes of Mobile Periodization in Stan Douglas’s iOS app, Circa 1948
Milena Droumeva, SIMON FRASER UNIVERSITY, “Curating Everyday Life: Smartphones and Interactive Documentary as Daily Practice”
Respondent: Andrew Utterson, ITHACA COLLEGE
Sponsor: Documentary Studies Scholarly Interest Group

Special Event 8:00 – 9:30 p.m.

Experiments in 3D: Norman McLaren
Location: Henry F. Hall Building, Concordia University, 1455 boulevard de Maisonneuve Ouest, Room H-110
Please refer to Montreal vicinity map on page 32 for location. Join us for a screening of four recently restored stereoscopic and stereophonic shorts by renowned Scottish-Canadian animator and experimental filmmaker Norman McLaren. The evening will also feature a new documentary about McLaren’s musical compositions entitled Norman McLaren: Animated Musician, with its director Donald McWilliams in attendance. A brief question period will follow the screening with the National Film Board filmmakers, researchers, and McLaren collaborators who formed the restoration team.

Films to be screened in 3D:
Around Is Around, directed by Norman McLaren, 1951 (3D animation)
Now Is the Time, directed by Norman McLaren, 1951 (3D animation)
O Canada, directed by Evelyn Lambart, 1952 (3D animation)
Twirligig, directed by Gretta Ekman, 1952 (3D animation)
Norman McLaren: Animated Musician, directed by Donald McWilliams, 2014 (documentary live action)

Metro: Guy-Concordia
Directions: From the conference hotel—15 minute walk from the hotel. Walk west on René-Lévesque and then turn right on MacKay St. until you come to boulevard de Maisonneuve. The Hall Building will be on the north and west side of de Maisonneuve and MacKay.
Sponsors: Concordia University, McGill Institute for the Study of Canada, and the National Film Board

Saturday Individual Papers of Interest

N7. Yeidy Rivero, UNIVERSITY OF MICHIGAN, “The Original Miami Sound Machine: The Emergence of Miami as a Production Center for the US and Latin America”

Christopher Westgate, JOHNSON & WALES UNIVERSITY, “Passion Points for Latin@ Pop Music: Heat, Hits, and the Emotion of Economics”

P17. Ioana Uricaru, MIDDLEBURY COLLEGE, “No Melo—Music and Minimalism in Recent Romanian Cinema”

Q4. Andrew Ritchey, UNIVERSITY OF IOWA, “Trompe l’oreille: Dislocations of Sound and Sense in a Partly Québécoise Family of Recorded Sound Works by Michael Snow”

R7. Kathy Fuller-Seeley, UNIVERSITY OF TEXAS AT AUSTIN, “Becoming Benny: Jack Benny’s Production of a Radio Comedy Persona, 1932–1936”

Lauren Sklaroff, UNIVERSITY OF SOUTH CAROLINA, “The Hilarious Sophie Tucker: Humor, Womanhood, and the Dynamics of Delivery”

R20. Victoria Simon, MCGILL UNIVERSITY, “Anybody Can Be a Musician: Transparency and the Discursive Construction of Touch in Interfaces for Music Composition”

"Montreal skyline from McGill University" by Flickr user slack12, CC BY-NC-ND 2.0

“Montreal skyline from McGill University” by Flickr user slack12, CC BY-NC-ND 2.0


SUNDAY, March 29

Session S 9:00 – 10:45 a.m.

S16. Speaking of Sound: Historical Studies in Sound Practices and Technologies
Chair: Matthew Perkins, UNIVERSITY OF CALIFORNIA-LOS ANGELES
Meredith Ward, NORTHWESTERN UNIVERSITY, “The Sound Industry Lays the Golden Egg: Noise, Electroacoustical Research, and the Adjustment to Film Sound”
Casey Long, UNIVERSITY OF WISCONSIN-MADISON, “First Thing I Learned . . . Is When to Say Ain’t: Dialect in 1930s Hollywood”
Jennifer Psujek, WASHINGTON UNIVERSITY IN ST. LOUIS, “‘Free to Do Anything’: Fight Club (1999), Indiewood, and the Composite Score at the Turn of the Twenty-first Century”
Matthew Perkins, UNIVERSITY OF CALIFORNIA-LOS ANGELES, “Sound Work: The Acquisition of Sound Labor and Division Thereof at Vitaphone and Warner Bros., 1925–1931”
Sponsor: Sound Studies Scholarly Interest Group

Session T 11:00 a.m. – 12:45 p.m.

T11. Sound, Technology, and Auditory Knowledge
Chair: Alejandra Bronfman, UNIVERSITY OF BRITISH COLUMBIA
Workshop Participants:
Axel Volmar, MCGILL UNIVERSITY
Carolyn Birdsall, UNIVERSITY OF AMSTERDAM
Anthony Enns, DALHOUSIE UNIVERSITY
Alejandra Bronfman, UNIVERSITY OF BRITISH COLUMBIA

Session U 1:00 – 2:45 p.m.

U3. Workshop: What Can Disability Studies Do for Media Studies?
Chair: Bill Kirkpatrick, DENISON UNIVERSITY
Workshop Participants:
Elizabeth Ellcessor, INDIANA UNIVERSITY
Mara Mills, NEW YORK UNIVERSITY
Tasha Oren, UNIVERSITY OF WISCONSIN-MILWAUKEE
Jonathan Sterne, MCGILL UNIVERSITY

U12. Music Structures and Affect
Chair: Britta Hanson, UNIVERSITY OF SOUTHERN CALIFORNIA
Katherine Reed, UNIVERSITY OF FLORIDA, “Between Grace and Nature: The Tree of Life’s Musical Dialogic Process and Formal Structure”
Phoebe Macrossan, UNIVERSITY OF NEW SOUTH WALES, “Constructing Glee’s Sung-through Musical Narrative through Spontaneity and Verisimilitude”
Christopher Culp, SUNY-UNIVERSITY AT BUFFALO, “‘This Isn’t Real, but I Just Wanna Feel’: Musicals, Television, and the Queer Ineffable Passage of Time”
Britta Hanson, UNIVERSITY OF SOUTHERN CALIFORNIA, “Music as Rhetoric in Contemporary Documentaries”

U18. Discontinuous Colonial Modernities of Media Film and Radio in British Malaya and Portuguese Southern Africa
Chair: Peter Bloom, UNIVERSITY OF CALIFORNIA-SANTA BARBARA
Co-Chair: Nadine Chan, UNIVERSITY OF SOUTHERN CALIFORNIA
Ines Cordeiro Dias, UNIVERSITY OF CALIFORNIA-LOS ANGELES, “Discourses of Urban Modernity in Portuguese Colonial Cinema”
Nadine Chan, UNIVERSITY OF SOUTHERN CALIFORNIA, “Cinematic Afterlives: Films of the Malayan Emergency at the Transition from Empire to Independence”
Peter Bloom, UNIVERSITY OF CALIFORNIA-SANTA BARBARA, “Learning the Speech of Counterinsurgency as National Allegory: BBC Radio and Instructional Propaganda Film during the Malayan Emergency”
Respondent: Peter Limbrick, UNIVERSITY OF CALIFORNIA-SANTA CRUZ
Sponsor: Middle East Caucus and Radio Studies Scholarly Interest Group

Sunday Individual Papers of Interest

T7. Keir Keightley, UNIVERSITY OF WESTERN ONTARIO, “Tin Pan Alley Goes Silent: Two Films about the Music Industry in 1919”

T13. Roger Almendarez, NORTHWESTERN UNIVERSITY, “Radio Arte—The Formation of a Mediated, Local Latina/o Identity in Chicago’s Pilsen Neighborhood”

"Youppi ! (31 / 365)" by Flickr user Jacques Fournier, CC BY-NC-ND 2.0

“Youppi ! (31 / 365)” by Flickr user Jacques Fournier, CC BY-NC-ND 2.0

Of Sound Machines and Recording, Sharing that Transcends Time and Space

S1040027

This is the conclusion to a two-part post by SO! regular writer Maile Colbert.  Read Part One from Monday, January 12th here.

As we are primarily a visual culture, no longer connected to what environments can tell us through sound, we’ve lost aural acuity once central to the dynamic of our lives.

From what we have just begun to see, it appears that ancient human beings had learned well the lessons imparted by natural sounds. Their lives depended as much (if not more) on their ability to hear and understand the audio information imparted by their surroundings as those given by visual cues. –Bernard Krause, Ph.D The Soundscape Newsletter 06, June, 1993

Birth 

All newborns emerge with the same cry, it is near impossible to distinguish one from another, even as a mother. This could be for many reasons and serve many purposes. Should something happen to a birth mother, the indistinguishable cry may help draw attention from another. It could be that, considering niche effect (in which animals adapt their calls to a frequency less populated by other environmental sounds), aside from biological reasons, a newborn’s cry is shaped by the wombscape from whence it came, and I speculate that generally speaking one wombscape is similar to another. Primarily what a fetus is hearing is low frequency. So it would serve that they would have an instinct to initially call out in a high frequency range. The baby then develops its cry according to its surrounding, such as a household in the city versus a country, a household with other children or not, a household with constant media sound.

My daughter has the most incredible earsplitting high frequency bark when she wants attention. If this doesn’t work (such as when “Baby, Mama has to wash the garden manure from her hands before she picks you up”), she’ll roll into a gritty horrific low growl that sounds like she’s being strangled. One of these always works, and I often wonder about these sounds’ relationship to the white noise (her specific mix in a more mid-range involving pink noise and a “rain on roof” recording) that has been a constant since her birth, and is still used for naps, some feedings, and bedtime.

 

Sound Machines and Noise

From my late pregnancy insomnia, to creating a calming environment in the labor room at the hospital, to keeping a consistent calming environment in the recovery room, to using that sound as a signal that it is time to calm, time to sleep…a sound machine has been a constant already in my daughter’s new world. It started with an app in Paris, at a festival during my third trimester, my waddling condition wouldn’t allow me to walk around much nor meet friends for drinks, etc. So I choose to stay in the hotel room and read. The fetal babe wasn’t in the mood to read, kicking and dancing, perhaps excited from the music at the festival. For a little while I played with her, her kicking in response to my pokes and prods. But soon I knew we both needed to both settle down. I was always fascinated by my parents’ sound machine as a child, it seemed something magical. I found and downloaded an app that allowed you to create your own mix, and so it began.

But recent research poses the question of whether a sound machine can actually affect hearing development. Some researchers have questioned if prolonged exposure to consistent sound could affect auditory pathways to the brain. I wonder what then of infants who grow up near, say, the ocean…or like my mother near a stream and small waterfall, a constant sound in her childhood and soundtrack to her memories from then. Or near a busy road or even walkway. Of course I want the babe to grow up to enjoy and focus on a varied soundscape. But at certain points, the noise has been a lifesaver! It’s been especially useful now combatting construction sounds, as babies tend to focus on background sounds, most likely for survival:

.

Of course it is very important to be aware of the strength of the sound a baby is exposed to, all too easy for our very visual culture to ignore. Even a sound machine with the volume too high, or the proximity too close, could reach decibels over 80, a threshold that could cause the tiny hair cells in the ear needed for hearing to die. As we lose these, we start to lose our hearing. The amount of energy in a sound doubles with even just a three decibel climb. If any sound makes it difficult to hold a regular conversation, chances are it’s past this threshold and could be doing damage. Our world is in many ways getting increasingly louder. As our cities grow, its sounds grow, and we are exposed to more constant and louder soundscapes. Will an accidental evolution be for us to adapt to losing our hearing? For me of course, this is a very bleak thought.

 

Death

Your words are preserved in the tin foil and will come back upon the application of the instrument years after you are dead in exactly the same tone of voice you spoke in then. . . . This tongueless, toothless instrument, without larynx or pharynx, dumb, voiceless matter, nevertheless mimics your tones, speaks with your voice, speaks with your words, and centuries after you have crumbled into dust will repeat again and again, to a generation that could never know you, every idle thought, every fond fancy, every vain word that you chose to whisper against this thin iron diaphragm.

-Edison’s Ars Memoria, concept for the phonograph

Kauai O'O

Kaua’i `O’o, extinct since 1987

A recorded sound transcends time. It allows a listener to share a space and perspective with the recordist. It allows a future people to hear the songs of people passed, and of their shared past. It allows for an extinct bird to call into the future, for a child to hear that bird and wonder, and question, and to have that question affect her future and therefore perhaps the future of others. I often think about what soundscapes or sound I have experienced that my daughter might not have the opportunity to experience when she’s older. Already since my childhood growing up in part in Hawaii, three birds I knew, I had heard, that my mother grew up with, that her father grew up with, that his parents grew up with (and so on)…are no longer calling in the wild. But what the world and I can share with her and her generation, can give her, can leave her, are recordings.

Kaua’i `O’o: http://macaulaylibrary.org/audio/6031

Po’ouli: http://macaulaylibrary.org/audio/5125

Hawaiian Crow: http://macaulaylibrary.org/audio/13434

The library I am constantly creating, shaped by my choice and perspective…where to hit start, when to stop, where to point the mic, what equipment to use, how to frame this aural moment that captured me and invoked the desire to save and to share.

I think of this very often these days, as a friend and great soundscape ecologist and composer has passed. Steve Miller (www.stevemiller.net ) left a wealth of music, sound, and writing that his daughter and family can share. His daughter will be able to put on headphones and share a space her father formed with his perspective, his choices, his interests. A sharing active with him.

A sharing that transcends time and space.

 

The artist and her daughter in the studio, Image by JS

The artist and her daughter in the studio, Image by JS

 .

Future Memory, for Odette

Sound has a hold over my daughter in a way I wasn’t quite expecting. It’s almost a punch line that the daughter of two parents that work with and study sound would have such sensitivity. The smallest sounds can pull her from sleep, can pull her from eating. They can be a character for her, making her laugh, cry, yawn, widen her eyes in amazement.

It was only natural my partner and I decided to make an album as a gift to our daughter. We had wanted to do the same marking our history together years back, and had various sound recordings and unfinished ditties in a library marked “Future Memory.”  The idea behind it was an aural coming together of our history and feelings expressed and translated through sound and song. We realized, of course, in many ways this was Odette’s history as well, and she our future.

The album became Future Memory, for Odette, a lullaby album in dedication and celebration to her, and including sounds from her growing in the womb, soundscapes we hope will be a part of her life, and in recording them in some way ensuring that, a score written for her while I was in labor from a friend, songs her father and I began and finished together during the stages of pregnancy, birth, and her first year, and collaborations and contributions in sound and music from family and friends would be her legacy.

This is her first song:

Dedicated to Odette Helen, and to the family, daughter, and memory of Steve Miller

“Future Memory, for Odette” to be released in 2015 through Wild Silence (www.wild-silence.com ). A dedication album to a new born daughter…a mix of her parents’ recorded and shared sounds, memories, hopes, and dreams towards a future with her. Sounds of her womb-scape, birth, and first year…music in collaboration with friends and family across oceans and land…an album of lullabies for Odette.

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!

tape reelREWIND! . . .If you liked this post, you may also dig:

On Sound and Pleasure: Meditations on the Human Voice– Yvon Bonenfant

This Is Your Body on the Velvet Underground– Jacob Smith

Sound Designing Motherhood: Irene Lusztig & Maile Colbert Open The Motherhood Archives– Maile Colbert

 

%d bloggers like this: