I begin this essay with an apology, addressed to the Society for Ethnomusicology President Gregory Barz:
I am sorry that I interrupted your opening remarks at least year’s SEM Business meeting. In the moment that I chose to make my intervention, I underestimated the pain that it has clearly caused you. Furthermore, I have come to realize that it was unskillful of me to locate my frustration and anger with you as an individual. The affective release of my voice in that moment could have been better directed towards positive change in a time of great need for many of us. I fully intend to work towards doing better in the months to come, urging anyone who occupies the office of President of this organization to use the power and standing inherent in this position office to take direct steps to address the harms many of its members are experiencing.
Because my intervention arose so quickly and unpredictably—for readers outside of the Society for Ethnomusicology who may not know, I stood up and yelled “You’re a hypocrite!” then left the meeting—it seems worthwhile to explore my actions in a more thoughtful space of written discourse. I want to clarify that my sonic interruption was not premeditated; as I explain below, it arose out of a deep anger and longing for justice. As SEM 2019 convenes in November in Bloomington, Indiana on November 7th, I hope that my disruptive event can be better understood as a call to collective inquiry into the structural factors that constrain our Society from functioning in a healthy way.
Indeed, I am already encouraged by steps that have been taken since the meeting—by President Barz and others—to address some of these concerns. And in the aftermath of this intervention, I have been heartened by the positive and supportive responses I have received from friends and colleagues. Although I had to leave the room in that moment, something meaningful remained just outside.
Some backstory: This was the first time I had attended a business meeting; at previous conferences, they had always seemed like a formality that did not concern me. Serving on the Committee for Academic Labor, the Ethics Committee, and as Chair of the Improvisation Section, however, helped me to understand the importance of these formal structures and rituals for the health of our Society. I attended in 2018, therefore, with a sense of curiosity and a longing for positive change, particularly in regard to some of the work coming out of the committees on which I was serving. This longing also arose from a sense of frustration at the lack of receptivity to new ideas by Board leadership—as experienced through a pattern of poor communication around implementation of this work between committees and Board—as well as what I perceived to be a lack of transparency and accountability among Board leadership.
Much of this frustration stemmed from the Board’s failure to implement a minor procedural proposal put forward by the Ethics committee nearly two years prior: that the committee be restructured to be elected rather than appointed. After the first deadline to put the amendment to the full membership passed without comment from the Board, we had to expend a great deal of energy even to receive acknowledgement that our proposals had been received. By the time the committee met again, we had been through over a year of exhausting back-and-forth by email with nothing actually getting done.
Then, in the weeks leading up to the 2018 meeting, a member publicly came forward about experiences of sexual abuse by a now-deceased ethnomusicologist who had served as a senior member of SEM during his lifetime. As a member of the Ethics Committee, I witnessed the email exchange in which her requests for space to address this at the 2018 meeting were first accommodated, then revoked at the last minute; she was finally allowed space to speak in a confusing, unmoderated, ad-hoc session to which the Board assented only after the conference was already underway.
So, when President Barz chose to begin his opening remarks with a paean to civility, lamenting how conflict over social media was causing us to lose our ability to engage in healthy discourse as a unified Society, I became concerned. Many in the audience were aware that both the sexual assault allegation and another credible allegation of ethical misconduct by SEM leadership had been circulating on Facebook in previous months. I heard President Barz’s remarks as a use of his prominent position in SEM to categorize these complaints as “noise.” As Mark Brantner points out in his thoughtful critique of John Stewart’s 2010 “Rally to Restore Sanity,” the idea that sanity operates through “indoor voices” is a deeply ingrained assumption for many.
But in the wake of recent upheavals in the status quo, catalyzed by movements like #blacklivesmatter and #metoo, many hear these “indoor voices” as signifiers of an oppressive status quo. Others have written about the problems inherent in invoking civility in the face of dissent: In a recent piece for The Atlantic, Vann Newkirk argues that in many cases, “the demands for civility function primarily to stifle the frustrations of those currently facing real harm” (2018). In Vox, Julia Azari points out that “Civility is not an end on its own if the practices and beliefs it upholds are unjust” (2018). In these cases, calls for civility came in response to calls by those whose voices are met with silence by the prevailing order.
And allow me to state in no uncertain terms: many of us in the field are currently facing real harm. Since earning my doctorate in Ethnomusicology just over a year ago, I spent eight months without health insurance and now qualify for the federal Supplemental Nutrition Assistance Program. I’ve strongly considered leaving the Society many times over the past year.
I’m also aware that my personal experience is only the tip of the iceberg: so many peers and colleagues have left the Society altogether because of sexual harassment, abuse of power by senior members or advisors, and economic precarity, experienced alone or in horrific combination. These harms are also compounded for my peers who do not share my positionality as a heterosexual, cisgender, white-presenting man with a U.S. passport and a bourgeois class background.
As President Barz continued to speak, my concern—which had lodged itself as a feeling of discontent somewhere in my stomach area—began to rise into my chest as anger, particularly when President Barz began to invoke his authority as a champion of democratic practice within the Society to justify his call to civility. If he truly believed in consensus-building and democracy, I thought, certainly he wouldn’t have opposed an effort to increase democratic accountability on the Ethics Committee. This contradiction generated my experience of what woman of color feminist Sara Ahmed calls “feminist snap” in 2017’s Living a Feminist Life. She described “feminist snap” like this in a May 2017 blogpost:
It is only when you seem to lose it, when you shout, swear, spill, that you have their attention. And then you become a spectacle. And what you brought out means you have to get out. When we think of such moments of snap, those moments when you can’t take it anymore, when you just can’t take it anymore, we are thinking about worlds; how worlds are organised to enable some to breathe, how they leave less room for others. You have to leave because there is nothing left; when there is nothing left.
In other words, I noticed that I seemed to be losing it. In that moment, I drew on my background as an improvising musician to decide how to relate to this intense energy. After exchanging incredulous glances with two colleagues sitting nearby, I decided that I couldn’t sit quietly and let my toxic feeling fester throughout the meeting—I needed to leave, but I didn’t want to leave without registering to people in the room why I had to leave, and there was no space in the official meeting to do so. At the same time, I was aware of the risks inherent in this strategy—especially because I have witnessed how the sound of my voice—a man’s—snapping like this can itself be a trauma trigger for anyone who has been shouted down in a meeting, or otherwise. Thus, the material nature of the spectacle here was different from that described by Ahmed in that it carried with it a timbre of patriarchal violence. Oddly enough, the worlds that I felt were being organized to make it difficult to breathe still afforded me the air for this particular form of breathed expression: a fiery shout. And that sound brought unintended consequences.
I had wanted there to be no doubt that my departure was a response to President Barz’s remarks, but the power arrangement in the room meant that it would have been difficult to offer a lengthy articulation of my reasoning, given that any utterance would have been received as disruptive and that I did not have access to sound amplification in the large room. (I am reminded here of R. Murray Schafer’s point in The Soundscape : “A man with a loudspeaker is more imperialistic than one without because he can dominate more acoustic space” (1977:77). Schafer’s sexist assumption that only men speaking through loudspeakers is worth noting—as I see it, both men’s and women’s voices could transmit imperialistic sound in this way, but a “snap response” would also be gendered.)
Within a few seconds, I settled on the form my move would take: stand up, shout something concise, and leave the room. The words “You’re a hypocrite!” flowed spontaneously from there—words grounded in my direct experience of the disconnect between Dr. Barz’s present remarks and previous actions. Immediately upon leaving the room, an adrenaline rush flowed out of my body and I staggered towards a nearby bench, where I collapsed to catch my breath.
Again, I regret that these remarks focused on President Barz as an individual. Had I more time to think through what I would have stated, perhaps “This is unacceptable,” “These actions are hypocritical,” or “Please don’t ignore us” would have been what came out. And yet, by this point, the sound of this intervention had already been determined by the immediate constraints of the situation: had I chosen to sound in a way that was coded as “civil”, I literally would not have been heard by more than a few people in the room.
Even after this intense incident, my experience of the conference in Albuquerque was very positive overall. SEM is full of brilliant emerging scholars asking extremely important questions; it was especially encouraging to see more attention being brought to the imperatives of decolonization and anti-racism. At the same time, in order for these inquiries to be truly productive, we still need to turn our analysis towards the ways in which the status quo of our governance practices unintentionally reproduce systems of oppression and create harm. Tamara Levitz, in her recent article “The Musicological Elite,” sheds light on how this has been the case within an adjacent academic organization, the American Musicological Society. She writes, “My premise is that musicologists need to know which actions were undertaken, and on what material basis, in building their elite, white, exclusionary, patriarchal profession before they can undo them.” (2018:43). Despite some evident wishful thinking to the contrary, SEM reproduces harm in similar ways and would benefit from similar institutional self-reflection.
By yoking itself to the project of the North American university system, the Society for Ethnomusicology has created strong incentives for members to go along with what Abigail Boggs, Eli Meyerhoff, Nick Mitchell, and Zach Schwartz-Weinstein call the “Modes of Accumulation” of these institutions. We must urgently turn towards critical institutional self-examination to consider how we can change our practices to resist complicity with these forms of professionalized domination and control.
In order to do so, we need better mechanisms for dissent and communication, especially when we have the rare opportunity for face-to-face communication. We must address what seems like an increasing tension between preserving the institutions of tenure-track music academia and the broader needs of the Society’s full membership. Crucially, Ahmed turns to listening as a key methodological practice for locating “feminist snap”:
To hear snap, one must thus slow down; we also listen for the slower times of wearing and tearing, of making do; we listen for the sounds of the costs of becoming attuned to the requirements of an existing system. To hear snap, to give that moment a history, we might have to learn to hear the sound of not snapping. Perhaps we are learning to hear exhaustion, the gradual sapping of energy when you have to struggle to exist in a world that negates your existence. Eventually something gives.
In this case, listening for the silences—and silencing—that preceded this instance of “snap”may be useful. To my ear, they index the “sound of not snapping”: the unanswered emails, averted eye contact, unreturned phone calls—these are the sounds of a snap to come. These silences are empowered by our collective reliance on a discourse of “civility,” propped up by formal procedures like Robert’s Rules of Order, that deems certain types of sounds and communication to be out of bounds. Indeed, as Hollis Robbins has observed, “Under Robert’s Rules, silence equals consent.” Listening for feminist snap would require a commitment to naming these silences—and allowing space for them to be spoken into.
I sincerely hope that my moment of becoming a spectacle can spark more productive conversations and deeper listening. Still, the magnitude of the challenges that we face to align our governance practices with shared institutional values will require creative solutions. I am confident that our experience and training as listeners can bring us to a fuller engagement with democratic processes—and that this can lead us towards productive solutions. This work is already being done by many groups and individuals within the Society, such as the Committee for Academic Labor, the Crossroads Committee, the Disability and Deaf Studies Special Interest Group, the Diversity Action Committee, the Ethics Committee, the Gender and Sexualities Task Force, the Gertrude Robinson Networking Group, the Section on the Status of Women, and many others. I am confident that members of these groups are actively working to build spaces that allow for us to listen into the structural and cultural changes we desperately need.
In the meantime, I remain committed to seeking out collaborative solutions to the challenges we face. Please feel free to reach out to me by email with any feedback you feel compelled to share. Furthermore, if you would like to contact the Ethics Committee about any issues of ethical import to the Society, you may do so here. Anonymous submissions are also possible through this portal.
I’d like to close this essay with an apology, as well—addressed to all of my peers who have experienced harm or abuse through their involvement with SEM: I am truly sorry that I have not done more to work towards redress for the harms that you have experienced. I am also deeply sorry that I have not done more to examine how my own desire to see projects through in this community has led me to ignore signs of harm taking place. I’ve had the good fortune of being able to express this to a few of you in person, and I am tremendously grateful for the opportunity. For anyone else who would like to reach out, I will commit to listening. For us to do better, I need to do better.
Thank you for taking the time to read this statement—I look forward to continuing our work together to create a sustainable future for the practice of ethnomusicology.
Featured Image: “I Broke a String” by Flickr User Rowan Peter (CC BY-SA 2.0)
Alex W. Rodriguez is a writer, improviser, organizer, and trombonist. He holds a PhD in Ethnomusicology from UCLA, where his research was based on fieldwork conducted in Los Angeles, California from 2012-2016, Santiago, Chile from 2015-2016, and Novosibirsk, Siberia in fall 2016. Alex is currently based in Easthampton, Massachusetts, USA.
REWIND! . . .If you liked this post, you may also dig:
becoming a sound artist: analytic and creative perspectives–Rajna Swaminathan
Sounding Out Tarima Temporalities: Decolonial Feminista Dance Disruption–Iris C. Viveros Avendaño
On Whiteness and Sound Studies–Gustavus Stadler
Canonization and the Color of Sound Studies –Budhaditya Chattopadhyay
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