SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig. You’re welcome!
The first annual Sounding Board sound exhibit was held at The Companion Gallery in Austin, Texas on December 3 – 6, 2015, as part of the 60th anniversary meeting of the Society of Ethnomusicology (SEM). In the promotional literature for the show, the curator, Leonardo Cardoso (Texas A&M), described its objective: to give students, ethnographers, ethnomusicologists, and any “sound-minded” people an opportunity to share research and contemplate fieldwork from different perspectives. Cardoso hoped that SEM Sounding Board would “stimulate dialogue between ethnomusicology and other fields, especially sound studies, sound art, ecomusicology, anthropology, and media studies.” He also sought to facilitate interaction between the local community in Austin and SEM scholars who traveled to attend the conference.
I spoke with Cardoso about this exhibit on several occasions. When I asked him why name the exhibit “Sounding Board”?, he told me that Veit Erlmann (University of Texas Austin), described once described his role as a mentor as someone to bounce ideas off of, like a sounding board. In a similar way, Cardoso’s vision for the first annual SEM sound art exhibit was to create opportunities for scholars and local people to meet and discuss sound, ethnography, art, and fieldwork in an open context, and learn from each other while interacting in that space. He designed Sounding Board as a place where “ideas are amplified” and scholars and community members can make fruitful connections because they have an opportunity to reflect and discuss research with people from different backgrounds.
In his invitation to SEM attendees, Cardoso described Sounding Board as
[eight] sound works that probe into sonic in-placements (water and wind), sonic displacements (the telephone, the radio, and the microphone), sonic emplacements (the acoustic territories of urban Taiwan, the Brazilian hinterlands, and West Texas), and sonic mix-placements (in Mexico City).
This collective sound exhibit showcases the creative work of scholars attentive to the spatial, acoustemological, and ethnographic potential of sound. SEM SOUNDING BOARD challenges distinctions between sound-as-episteme and sound-as-performance, sound-as-ethnography and sound-as-art.
Interactive, Immersive, Ethnographic Sound Art
The playfully engaging work, Pool of Sound, welcomed me to the interactive SEM Sounding Board exhibit. As soon as I walked into The Companion Gallery, I noticed the eye catching 1st Annual SEM Sounding Board poster near a studio monitor on a stand, facing another monitor, placed directly across from it, about 20 feet away. A large illuminated circular area gleamed in between the silent speakers. When I moved into the light, I suddenly heard the clear sounds of gently rushing water, but only for an instant, then there was silence again, as soon as I stood still. As I turned and stepped towards one of the speakers I heard the rushing water return. The gurgling sound mirrored my movement and when I stopped, the sound of the water stopped.
Lina Dib (Rice University) created the piece, with an
enchanted zone [that] literally becomes a pool of sound where sound becomes substance, something to be physically and playfully encountered. In other words, sound with this installation becomes palpable, sound is made (in)to matter. The larger the visitors’ gestures, the louder and stronger the sound of water becomes.
Dib cites Jean-Luc Nancy in her work’s description, understanding her piece as an embodiment of Nancy’s observation in Listening that sound envelops the listener: “Sound has no hidden face; it is all in front, in back, and outside inside, inside-out.”
While experimenting with the intersections of sound and gesture in Dib’s Pool of Sound, I noticed someone sit down at an antique-looking wooden desk across the gallery, pick up an old school, land line telephone, dial a number, and start writing on a notecard. The person at the desk was experiencing Schizophone, Calling Son Jarocho, a installation by Craig Campbell (University of Texas Austin) and collaborators, Julian Etienne, Juan-Pablo Gonzalez, and Cameron Quevedo. When the person hung up and left, I sat down, braced the phone between my ear and shoulder and listened to a dial tone.
I dialed a few numbers and started to hear a conversation through the receiver: musicians were speaking in Spanish, discussing certain subtleties of a Son Jarocho performance. I felt like I was eavesdropping. I dialed another number and the sounds of Son Jarocho music flooded my ear. This installation provides numerous sound bytes of field recordings related to Son Jarocho music of Mexico. Each recording is described on a notecard that gives ethnographic descriptions of the situation. Campbell also asks the listener to participate in the piece by filling out a card to leave a record of their experience. The artist says that his “work builds on R. Murray Schafer’s ‘schizophonia’ to signal the profound but also banal experience of listening to recorded sound. The schizophone recruits the telephone–a mundane, though now largely residual technology–to frame and structure an encounter with archival recordings.”
A few feet away from the Schizophone desk, a poster stand held a flyer for the piece Wind Noise by Marina Peterson (Ohio University). A pair of headphones clung to the stand.
When I put the headphones on I expected to hear some cinematic blowing, or the soft sound of a summer breeze. Instead, I heard a familiar, dreaded, thumping noise. Peterson’s work indulges in a recording taboo: the clipping, dull thud of wind hitting an unprotected microphone.
As I listened, I thought about noise and how to define it. Usually, this thudding sound would bother me and I would cut out chunks of recordings to get rid of it. But in the context of a sound art exhibit, I found myself examining this noise, and listening to it as art. This reinterpretation of sound in relation to space reminded me of David Novak’s discussion of “Noise” as a genre in the context of Japanese music coffeehouses in his article, “2.5 meters of space: Japanese music coffeehouses and experimental practices of listening.” Peterson discusses her work as an exploration of technology, mediation, and the microphone. She describes these recordings as
an effort to reveal the microphone as technology by disrupting it. Wind noise is sound as touch – this is the sound produced by touching the microphone, whether by finger, breath, or air. These recordings do not capture the sound of wind, but the sound wind makes on the microphone. The sound the microphone makes when touched by wind.
In a recessed corner of the gallery I saw a music stand with a piece of paper on it. I didn’t know if it was part of the Sounding Board installation, or just a piece of equipment, set aside. As I stepped up to the stand to read the paper, I unexpectedly stepped into a chamber of sound. A Holosonics AudioSpotlight AS-24i directional speaker, mounted on the ceiling, beamed a column of music into that area, which a listener can hear only when directly below the speaker.
The piece is called Resting Place, by Michael Austin (Howard University). In the description of this work Austin states:
Resting Place is based on the old cowboy song ‘Bury Me Not on the Lone Prairie.’ Not only does this work confront listeners with thoughts of mortality and final resting places, it embodies the wide open spaces of my childhood home and serves as a place of peace and relief for the here and now.
Austin grew up in the countryside of the Texas Panhandle, and his work intends to bring a piece of that Texan soundscape to a corner of the gallery. I could hear the sounds of birds, wind, and water combined with chant and meditative, drone music; they were all sounds that would usually communicate rest and peace. Unfortunately, I had a difficult time entering that relaxed frame of mind because the recording of the Texan soundscape often clipped, which disrupted my concentration on the calming aspects of the field recording. Composers such as Annea Lockwood and Janet Cardiff use binaural microphones to capture nature sounds up close and create an intimate surround sound experience for the listener; although I am fascinated by the concept of creating a “soundscape chamber” by using a hyper directional speaker, I would love to hear the details of Austin’s field recordings through a nice pair of headphones.
Resting Place and Wind Noise invite contemplation as the listener receives sound. In contrast, the broadcasting sound piece by Tom Miller (Berkeley College) is intensely interactive. In Radio Texas International, a Micro Radio Station in the Austin Wavescape, Miller creates an experience where it is possible to broadcast sound and listen to recordings.
Resting Place and Wind Noise invite contemplation as the listener passively receives sound. In contrast, the broadcasting sound piece by Tom Miller (Berkeley College) is intensely interactive. In Radio Texas International, a Micro Radio Station in the Austin Wavescape, Miller creates an experience where it is possible to broadcast sound and listen to recordings. Miller explains that for this piece he
operate[s] a low power Mini FM Micro Radio station in the gallery… Tuning to open frequencies, a legal micro power transmitter broadcast[s] to receivers distributed within a 200-foot radius as a hyperlocal, pop-up intervention into the FM band. Using headsets, listeners will tune the radio dials seeking to locate the signal interspersed with the music, religious broadcasts, news, foreign language programming and static of the local radio wavescape.
In the video of his work you can hear several different ethnographic recordings that are broadcasted by Miller in the gallery, and at the same time intertwine with the sounds of local radio stations in Austin. Besides broadcasting field recordings, Miller also aired live interviews and music throughout the three-day exhibit. I was delighted to have the chance to play some traditional Irish music on the air for Radio Texas International.
雜 (dza) is a piece by Yun Emily Wang (University of Toronto) and Wendy Hsu (Dept. of Cultural Affairs, City of Los Angeles), who created a work that inhabits a cardboard box. The artist Zimoun often uses percussive elements to explore acoustics and cardboard, but in 雜 (dza), Wang and Hsu employ the box as a resonator to amplify and combine sounds emitted from headphones playing loops. The listener is asked to put their head in the box to hear a cacophony of intermingled field recordings that create a decontextualized soundscape of Taiwan.
The artists explain that “These composed loops recontextualize the sonic materiality of the informal economy and quotidian life exemplified at a Taiwanese night market, and interact with the spatial and sonic elements of the venue and its role within the emerging art-as-enterprise share economy.
There were two pieces of interactive, ethnographic sound art that integrated both audio and visual elements of fieldwork in Mexico City, and Brazil. Dry Signals by Michael Silvers (University of Illinois Urbana – Champaign) invites the auditor to “touch the screen” and listen to field recordings. The touchscreen of the laptop displays an image of a painting of a small town surrounded by mountains, near water.
I put the headphones on and touched a part of the image of the town that caught my attention: a traditional forró trio standing on the porch of small pink house (no.8). In the headphones I immediately heard the rhythmic music produced by the musicians playing the drum, the accordion, and a triangle.
Silvers describes the inspiration for Dry Signals as an exploration of
the sounds of drought in northeastern Brazil. From trickling reservoir spillways… to the music and shuffling feet of dance parties in dusty fields, these sounds tell stories of labor, birds, politics, agriculture, plants, mass media, corruption, water, and the quotidian experience of life in the semi-arid Brazilian hinterlands.
The artists take advantage of touchscreen technology to give the viewer a chance to curate their own soundtrack of their experience of the painting. There is no lag in the experience of touching, listening and viewing the village and surrounding landscape. Even though the field recordings are not uniform in sound quality, I enjoyed the experience of hearing an ethnographic audio record of a small town in northeastern Brazil, by touching an image of it.
Anthony Rasmussen (UC Riverside) provides an opportunity to peek in on urban street scenes filmed throughout Mexico City in his work, El Caracol: A Stroll through Space and Time in Mexico City.
Some of the most compelling scenes in the 20 minute loop of video and audio depict street protests in Mexico City which are accompanied by ambient sounds from the field recording, combined with subtle music, and seemingly unconnected background conversation.
The artist explains that
the video element consists of footage captured while walking through various sites in Mexico City and represents the phenomenological ‘present’. The audio element provides a counterpoint to the visual; as the loop begins the audio corresponds to the action on screen, but with increasing frequency (based on the ‘Fibonacci Spiral’) the contemporary sounds will be ‘ruptured’ by historical recordings of Mexico City that drift further back in time.
I particularly enjoyed the sections where the connection between the audio and the video was unclear. Toby Butler’s article “A walk of art: the potential of the sound walk,” traces the efforts of different artists and their uses of the sound walk in their work, but he does not describe any endeavors like Rasmussen’s, where ethnographic footage is the prime source of the walk. I wondered about the position of peering through the hole to watch Rasmussen’s field recording of Mexico City, and I realized that at times, gazing through the hole gave me the sense that I was the ethnographer gathering footage.
“always more sound to experience”
I visited the Sounding Board exhibit several times while attending the SEM conference. Every time I left I felt like there was always more sound to experience. I wanted to hear all of the numerous field recording of Son Jarocho material presented by Campbell’s Schizophone; Miller’s Radio Texas International changed every time I listened and I wondered what ethnographic material I might encounter the next time I tuned in. I never tired of Lina Dib’s Pool of Sound because it gave me the chance to perform the gurgling of water, using gesture. Apart from the evocative expressions of ethnology as art, Sounding Board converted The Companion Gallery into an interactive playground of sound.
The live performances in the gallery on Friday night brought the ethnographic sound art to life. When I listened to at least twenty members of the Comunidad Fandango of Austin perform and dance Son Jarocho music in the gallery on Friday evening, I began to make connections to the field recordings that I heard in Schizophone. When Bruno Vinezof and Forró de Quintal took the stage to play forró music from northeastern Brazil, I could feel the groove of the drum that was merely suggested in the field recording that I had listened to in Dry Signals. It was a unique pleasure to observe and participate in these musical traditions with my body, after having encountered them earlier through headphones as sound art.
When I spoke with Cardoso he was especially grateful to the Son Jarocho community of Austin, who volunteered to participate in the show by gathering in The Companion Gallery for a Fandango. He emphasized the grassroots aspect of this community music making event which came about because Cardoso knows the group and their passion for Son Jarocho music.
Cardoso plans to expand the variety of works and disciplines involved in next year’s Sounding Board to include media studies, literature, film, and the visual arts. As SEM 2016 will be meeting in Washington DC and co-hosted by Smithsonian Folkways Recordings (and George Washington University), this should not only be possible, but especially exciting.
Featured image: Lina Dib’s “Pool of Sound” by Matt Morris
Jay Loomis is a composer, a performer, and a graduate student in ethnomusicology at Stony Brook University with a particular interest in transnationalism, soundscapes, improvisation, wind instruments, and electronic music. He hosts a radio show called “Face the Music,” and recently curated a sound installation called “SOUNDREAMS” at Stony Brook University, which used geo-located sounds and music strategically placed around the university campus which people heard by using a smart phone app called Recho. Jay hand crafts Native American and other kinds of flutes, and leads flute making workshops in local libraries and schools. He plays a variety of wind instruments from around the world. He recently led workshops in a contemporary music festival in Cuenca, Ecuador (FIMAC: Festival Internacional de Musica Academica Contemporanea). Participants in Jay’s workshops arranged music and created flutes as a practical way to examine how indigenous music making practices and pre colonial instruments can contribute to the world of contemporary academic music.
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November 14th through 17th mark the 58th anniversary of the Society of Ethnomusicology’s (SEM) annual meeting, this year at the Indianapolis Marriott Downtown in Indianapolis, Indiana. SEM has some pretty big Sound Studies shoes to fill at this summit. Previous events, like the 2012 AMS/SEM/SMT “Megaconference,” featured a pre-conference symposium on ecomusicology, while the 2011 SEM/CORD conference encouraged the use of sound as an “epistemological filter” and invited ruminations on embodied sound(s). After two epic years of sound at SEM this year’s program seems oddly muted. There are far less sound studies panels and events and no organized soundwalks as of yet (Although there is a paper on soundwalks! And stay tuned, as there’s been buzz on the Sound Studies SIG forum).
Some of the sound-specific themes that emerged in previous years will continue to be explored in Indianapolis. There will be a familiar panel on listening as configured both as an epistemology and a mode of musical participation as well as some panels (see “Raising Voices, Reclaiming Spaces” and “Nature, Ecotourism, and Soundscape”) which consider space and the environment through a sonic lens. In particular, sound in urban environments will receive some special attention in the Sound Studies Special Interest Group-sponsored panel “Auto Sound in the Urban Space: Taipei, São Paulo, Bangkok.” Finally, voice is theorized through a panel on voice and embodiment and the pre-conference symposium on Music and the Global Health.
Since the conference is smaller and there is no explicit theme (such as SEM 2010’s hyper-sonic “sound ecologies”) the discipline might seem to be only marginally engaged with Sound Studies scholarship this year. Perhaps Sound Studies scholarship has simply grown more integrated, or “more diffuse and multivalent,” as a fledgling field. As thinking through sound becomes more common in the methodological toolbox of the ethnomusicologist and as ethnomusicologists begin to acknowledge what sound studies can offer the discipline, sound studies no longer must exist in a vacuum. To this point, a soundscape composition by Shumaila Hemani will be played during the R.L. Stevenson Prize Concert on Friday. If that’s not enough, the newly-launched Sound Matters: the SEM blog reflects a movement to attenuate distinctions between sound and music. So while there may be fewer papers on sound, this is a good thing at the conference for music scholarship. After all, ethnomusicologists have been concerned with sound since Merriam’s tripartite sound-behavior-concept model and we aren’t stopping anytime soon.
Please comment to let SO! know what you think–both before and after SEM 2013. If we somehow missed you or your panel in this round up, please let us know!: firstname.lastname@example.org
Yun Emily Wang is a PhD student in Ethnomusicology at the University of Toronto, where her project explores how people living in diaspora make meaning through listening to sounds of music, speech, and everyday life.
Thursday, November 14
IC Music, Emotion and Trance, Indiana Ballroom A-B
Chair: Ruth Stone, Indiana University
“Axé, Vibration, and Religious Work: Conceptualizing Musical Contributions to Batuque and Umbanda Religions in Southern Brazil ,” Marc Gidal, Ramapo College of New Jersey
“Mhongo’s Moving Meanings: Semiotics, Spirituality, and the Emotional”
“Possibilities of Ndau Drumming of Zimbabwe,” Tony Perman, Grinnell College
“Tears, Anger, and Their Dangers: Investigating the Emotional Effects of Sung Poetry in the Gojjam Highlands of Ethiopia,” Katell Morand, University of Washington
“Crying Is Good for You”: Affective Heart Responses to Vocal Expressions of Sadness and Grief ,” Margarita Mazo, Ohio State University
Chair: Ricardo Trimillos, University of Hawai‛i at Mānoa
“Singaporean Hinduism: Tamil Drumming, Ethics and Labor in the Air-Conditioned Nation,” Jim Sykes, University of Pennsylvania
“Sound Stories: SOUNDWALK and the Urban Fantasy,” Catherine Provenzano, New York University
“Resilient Sounds, Changing Atmospheres: A Sonic Exploration of the Urban Transformation of the Mouraria Quarter in Lisbon (Portugal),” Inigo Sanchez, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa
“Nonstop to La Raza: Music and Mass Transit in Mexico City,” León. F. García Corona, University of California, Los Angeles
Chair: Jennifer Kyker, Eastman School of Music
“Using Big Data to Examine the Effect of Environment on Listening Habits,” Daniel Shanahan, Ohio State University
“The Promise of Listening: Sound Knowledge among Sufi Muslims in Secular France,” Deborah Kapchan, New York University
“Leisure and Listening in São Paulo’s Aural Public Sphere: The Case of the SESC-SP,” Daniel Gough, University of Chicago
Sound Studies SIG Indiana Ballroom C-D
Ecomusicology Listening Room: Ecocriticism, Popular Music, and the Audiovisual, 3F Santa Fe Roundtable
Director: Mark Pedelty, University of Minnesota
Chairs: Justin Burton, Rider University, Michael Baumgartner, Cleveland State University*Sponsored by Popular Music Section
Laurie Allman, Bell Museum of Natural History of Minnesota
Amanda Belantara, independent artist
Krista Dragomer, independent artist
Craig Eley, Penn State University
Jared Fowler, Los Angeles Harbor College
Rebekah Farrugia, Oakland University
Kellie Hay, Oakland University
Ali Colleen Neff, University of North Carolina and The Baay Fall Order of Mouride Sufi Islam
Peter McMurray, Harvard University
Hannah Lewis, Harvard University
Experimentalism in Latin America, Indiana Ballroom – F [LIVE VIDEO STREAMING]
Chair: Alejandro Madrid, Cornell University
*Sponsored by Latin American and Caribbean Section
“From Sounds of the Cosmos to Neo-Indigenist Happenings: The Reinvention of Sonido 13, at the End of the 20th Century,” Alejandro Madrid, Cornell University
“Transgressing the Streets of Mexico City: The “Renovative Destruction” of Collective Improvisation,” Ana R Alonso-Minutti, University of New Mexico
“From Tango Nuevo to Avant-Garde: Disenchantment with the Fringes of Music Making,” Eduardo Herrera, Rutgers, The State University of New Jersey
Discussant: Benjamin Piekut, Cornell University
4:00 – 5:30
Technologies and Remixes, Indiana Ballroom – F [LIVE VIDEO STREAMING]
Chair: Rene Lysloff, University of California, Riverside
“Where Does this Cable Go?: Guitar Amplifiers, Instrumentality, and Sonic Ecology,” David VanderHamm, University of North Carolina, Chapel Hill
“A Tribe Called Red: Reversing Stereotypes Through Remix,” Christina Giacona, University of Oklahoma
“Remix<->Culture: A “Fair Trade” Approach to Remixing Field Recordings,” Daniel Sharp, Tulane University
8:00 – 9:30
Religion, Music, and Sound Section, Marriott Ballroom 4
Thursday Individual Papers of Interest
9:00 The Boundaries of Butoh: Sound, Music, and Nation, Kelly Foreman, Wayne State University, 1E Lincoln
11:45 “At Risk Music”: Embedded Nahua Cosmopolitanism, Mexicanness and Soundscapes at El Festival de la Huasteca, Kim Carter Muñoz, University of Washington, 2I
1:45 From Sounds of the Cosmos to Neo-Indigenist Happenings: The Reinvention of Sonido 13 at the End of the 20th Century, Alejandro Madrid, Cornell University, 3A Indiana Ballroom F
Friday, November 15
Chair: Christopher Witulski, University of Florida
“The Beautiful Voice Will Bring Them Home: Sufi Devotional Music and the Creation of Islamic Subjectivities,” Philip Murphy, Jr., University of California, Santa Barbara
“Jedba for the Nation: Embodied Listening and the Ethics of Politics in Moroccan Hip Hop,” Kendra Salois, University of Maryland
“Ritual and Entertainment: Permeable Ethics and Aesthetics at the Pilgrimage at Sidi Ali Morocco,” Christopher Witulski, University of Florida
Discussant: Philip Schuyler, University of Washington
10:45 am – 12:15 pm
SEM President’s Roundtable: “Phenomenological Approaches to Ethnomusicology and the Study of Expressive Culture“, Mariot Ballroom 5
Chair: Harris M. Berger, Texas A&M University [LIVE VIDEO STREAMING]
Deborah Justice, Yale University
Deborah Kapchan, New York University
Matt Rahaim, University of Minnesota
Timothy Rice, University of California, Los Angeles
Ruth Stone, Indiana University
Jeff Todd Titon, Brown University
Deborah Wong, University of California, Riverside
Chair: Noriko Manabe, Princeton University
*Sponsored by Popular Music Section, Japanese Music Special Interest Group, and Society for Asian Music
“The Spaces We’ll Go: The Evolving Roles of Music in Antinuclear Demonstrations and Concerts in Post-Fukushima Japan,” Noriko Manabe, Princeton University
“Sounding Against Nuclear Power in Post-Tsunami Japan,” Marie Abe, Boston University
“Project Fukushima! Music, Sound, Noise, and the Public Perception of Nuclear Power in Post-3.11 Japan,” David Novak, University of California, Santa Barbara
“Songs of Complaint and Speeches of Protest in a Grassroots Movement of South Korean Radiation Sufferers,” Joshua Pilzer, University of Toronto
8D Sounding the Homeland, Indiana Ballroom C-D
Chair: R. Anderson Sutton, University of Hawai‛i at Mānoa
“The Sounds of a Dynamic Korea,” Katherine Lee, University of California, Davis
“‘This is the Music of Contemporary China’s Ethnic Unity’: Sounding Configurations of Difference in Postsocialist China,”Adam Kielman, Columbia University
“Sonic Expressions of Home and Returning in the Chinese Diaspora of Toronto,” Yun Emily Wang, University of Toronto
8F Auto Sound in the Urban Space: Taipei, São Paulo, Bangkok, 8F Sante Fe
Chair: Leonardo Cardoso, University of Texas at Austin *Sponsored by Sound Studies Special Interest Group
“Sound-politics in São Paulo, Brazil: Youth and “Pancadões,” Leonardo Cardoso, University of Texas at Austin
“Filtered Soundscapes: The Translation of Sound into Urban Noise in Taipei, Taiwan,” Jennifer Chia-Lynn Hsieh, Stanford University
“Audiophilia, Ideology, and the Automobile: Sound Installation Garages in Bangkok,” Benjamin Tausig, New York University
Discussant (and questions/comments), David Novak, University of California, Santa Barbara
Stevenson Prize Concert with SEM Orchestra
Indiana Ballroom E
Friday Individual Papers of Interest
9:30 “Build Your Own Plague: Biological Modeling, Sound Technologies, and Experimental Musical Instruments,” Lauren Flood, Columbia University
Saturday November 16, 2013
10A Indigenous Movement, Sound Activism , Indiana Ballroom F [LIVE VIDEO STREAMING]
Chair: Dylan Robinson, Royal Holloway, University of London *Sponsored by Indigenous Music Special Interest Group
“The Sensory Politics of Hope and Shame: Being Idle No More,” Dylan Robinson, Royal Holloway, University of London
“The Round Dance as Spiritual and Political Vortex,” Elyse Carter Vosen, The College Of St Scholastica
“Ear Cleaning and Throat Clearing: Aurality and Indigenous Activism in Canada,” Lee Veeraraghavan, University of Pennsylvania
Chair: Jennifer Post, University of Western Australia
“Parks as Musical Playgrounds: Co-Performance, Ecotourism, and the Sonic Geographies of National Parks Arts Initiatives,” Kate Galloway, Memorial University
“Thoreau’s Ear,” Jeff Titon, Brown University
“Walking to Tsuglagkhang: Exploring the Function of a Tibetan Soundscape in Northern India,” Danielle Adomaitis, independent scholar
Sunday, November 17
11F Inside Voice/Outside Voice: Disjunctures of Embodiment in Singing , Santa Fe
Chair: Katherine Meizel, Bowling Green State University *Sponsored by Voice Studies Special Interest Group
“Familiar Voices in Unexpected Bodies: New Dimensions of Celebrity Impersonation,” Katherine Meizel, Bowling Green State University
“‘I Shall Get Home Someday’: Black Countertenors, Bio- Musicality, and Gendered Gospel Performance,”Alisha Jones, University of Chicago
“You Need Equal Measures of Extreme Joy and ‘Don’t Fuck With Me’”: An Embodied Approach to the Ethnography of Singing,” Nadia Chana, University of Chicago
“Unspoken yet Heard: Navigating Outsider/Insider Voice Roles in the Study of Turkish Classical Genres,” Eve McPherson, Kent State University at Trumbull
11H For More than One Field: Ethnomusicology and Voice Studies , Marriott Ballroom 2
Chair: Gianpaolo Chiriaco, University of Salento *Sponsored by Voice Studies Special Interest Group
Gianpaolo Chiriaco, University of Salento
Amanda Weidman, Bryn Mawr College
Nina Eidsheim, University of California, Los Angeles
Susan Thomas, University of Georgia
Featured Image: “Statue outside 5/3 Bank in Indianapolis,” by Flickr User Kay Schlumpf