User:Duxieboy/sandbox
| Ecomusicology | |
|---|---|
| Stylistic origins | Ambient |
| Cultural origins | Late 1960s World |
| Typical instruments | Strings |
| Derivative forms | Contemporary |
| Other topics | |
| Ethnomusicology, Sociomusicology, Musicology, Anthropology Ecology Environmental Studies | |
Ecomusicology is an area of study that explores the relationships between music or sound, and the natural environment.[1] It is a study which encompasses a variety of academic disciplines including Musicology, Biology, Ecology and Anthropology. Ecomusicology combines these disciplines to explore how sound is produced by natural environments and, more broadly how cultural values and concerns about nature are expressed through sonic mediums.[1] Ecomusicology explores the ways that music is composed to replicate natural imagery, as well as how sounds produced within the natural environment are used within musical composition. Ecological studies of sounds produced by animals within their habitat are also considered to be part of the field of Ecomusicology. In the 21st century, studies within the field the Ecomusicology have also become increasingly interested in the sustainability of music production and performance.
Due to the broad scope of environmental and musicological concepts which the study encompasses, Ecomusicology can be considered, in its simplest form, as a type Musicology with a focus on Environmental studies and nature. Ecomusicology is regarded as a field of research rather than a specific academic discipline. Because Ecomusicology focuses on a vast variety of disciplines as well as areas of research, it can be imagined as a space in which studies of sound in relation with the environment are conducted.
Ecomusicology’s relevance to such a wide range of other research areas is exactly what makes it somewhat ambiguous. On one hand, Ecomusicology is a unique field of research which helps to make connections between a variety of sound and environmental studies. Yet, by functioning as a collective term, it is often difficult to frame Ecomusicology within a static set of descriptive definitions. Musicologist Aaron S. Allen, the author of multiple published works on Ecomusicology, defines Ecomusicology as “the study of music, culture, and nature in all the complexities of those terms. Ecomusicology considers musical and sonic issues, both textual and performative, related to ecology and the natural environment.”
History[edit]
Ecomusicology as a field of study is often traced back to musical composer and environmentalist R. Murray Schafer who used the term to explain the sonic nature of particular physical environments or soundscapes. The idea of sound or music as something which creates or captures a particular atmosphere, was initially professed by Murray R. Schafer through his coining of the term ''soundscape'' in the late 1960s. Schafer used this term to encompass the vast acoustic environment which constitutes all the varied sounds, audible to the human ear. A soundscape might entail for example, the all audible sounds heard within a specific area of land, such as a mountain range, a forest or field.
In October 2012, the first international Ecomusicology-conference took place in New Orleans.
Concepts / Concerns[edit]
Ecomusicology engages with the findings of a varied social, ecological and musical, disciplines. The distinctive fields of ethnomusicology, environmentalism, musicology and ecocriticism are all areas of notable research to the study Ecomusicology.
Sustainability / Environmental Ethics[edit]
See also Sociomusicology
Ecomusicology considers aspects of environmental sustainability within music production and performance. For example, the relationship between a demand for a certain musical instrument as well as the costs and impacts of its production, has been an area of interest for Ecomusicologists investigating the sustainability regarding the consumption and production of music or musical instruments. This includes the impact which the demand for musical instruments, merchandise or live experiences such as concerts has on the natural environment. Music-Journalist and Anthropologist Mark Pedelty, considers the Ecomusicological relationship between human musical activities and the health of the environment. Having written extensively on the pollutive impacts that international music touring often has on the environment, Pedelty explores Ecomusicological concerns of ethicality regarding the production of carbon emissions created by vehicles used to a move band members, instruments and/or any extensive staging or crew.
Part of Ecomusicology’s investigation of environmental ethics, are the ways in which discussions around projects of sustainability are positioned within popular music and media. In 2010, music magazine Rolling Stone compiled a list of a the “The 15 Most Eco-Friendly Rockers”, selecting artists based on various criteria which assessed their support or consideration for the environment. This included the amount of money donated to environmentally sustainable causes, or an artists effort to perform and act in carbon neutral ways. Some of the artists included Green Day for their work with the Natural Resources Defence Council, as well as Hip-Hop group The Roots for hosting multiple music events aimed at promoting social and environmental activism.
Environmental Activism / Ecocriticism[edit]
See also Ecocriticism
A key area of focus for studies within Ecomusicology are the ways in which sound and music is used to create or express concerns about the environment. Ecocriticism refers to the field of literature concerned with the environment in the face of a human-induced climate change. Jeff Titan has described Ecomusicology which focuses more on conceptual aspects of Ecocriticism as “the study of music, culture, sound and nature in a period of environmental crisis.” The appearance of live music events aimed at promoting awareness about environmental destruction and climate change is one area in which Ecomusicology continues to be engaged.
Numerous music events including Live Earth (2007) and, more recently, Make It Rain (Australia, 2020) among others, have either been involved in promoting climate-change awareness, or the raising of funds directed toward alleviating the effects of climate change on humans and animals. The investigation of eco-friendly organisations such as Reverb is also relevant to Ecomusicolocal inquiry. These organisations are often aimed at working with artists to reduce or offset the carbon footprint of their performance and touring emissions, as well as engaging audiences in environmental activism by reducing waste production at music events.
Ecomusicology also considers the relationships between music or sound, and the promotion of ideas surrounding environmental activism. Ecomusicologists may for example examine the conceptual basis of songs written specifically about environmental degradation or, consider how and to what effect the use of simple short, repetitive vocal chants may assist in voicing the environmental concerns central to projects of climate activism. The ways in which music has been used to prompt social and political action to protect the environment is of notable relevance to the focuses of Ecomusicology at large.
Representations of the natural world[edit]
Ecomusicology investigates the creation of music which attempts to reflect or capture feelings or experiences provoked by the natural environment. Experiences of nature which are often expressed through poetry or art, are frequently analysed within Ecomusicology to identify the cognitive and emotional impacts which specific sounds might have on humans.
Ecology[edit]
Ecomusicology is often closely paired with the study of Ecology, assisting in the analysis behavioural patterns of animals and ecosystems through the investigation of sound data. Ecological studies of birds and the characteristics of their song, have revealed ways in which sounds and spaces in their natural environment have shaped certain behaviours. Here, Ecomusicology applies concepts related to sound and music theory with research regarding animal behaviours to reveal information about how sound is manipulated by animals in relation to their environment.
By measuring musicological qualities such as volume, pitch and frequency within a particular bird’s song, Ecologists have discovered that certain birds will sing louder in noisier, built-environments compared to birds of the same species found in rural environments. Similarly, some birds may pitch their song differently in order to be heard across greater distances or more densely vegetative, and therefore more sound-absorbent environments. Other ecological studies on non-human animals include research on whale song as well as the acoustics of bat and insect communication otherwise known as Biophonics. These aurally-focused studies of ecology are particularly useful in understanding the interdisciplinary approach which Ecomusicology takes in creating connections between sound, music and the natural environment.
Research Methods[edit]
Ecomusicology utilises both qualitative and quantitative methods of data collection, however, the type of data as well as methods of data collection vary depending on what the subject of study may be. Ecomusicological research aimed at understanding aspects of social engagement with Ecocritism might for example primarily involve the collection of qualitative data through interviews and field research of particular social events. Conversely, research regarding the communicative behaviours of certain animal species would likely be pursued through a comparison of quantitative data collected through audio recordings of a specific environment.
Environment-Focused[edit]
Ecomusicological field research of animal behaviours within a particular environment often includes methods of passive recording/listening. This is usually undertaken with the use of multi-directional microphones which are often hidden and left within a species’ habitat to record the array of sounds created in its environment. Hydrophones (microphones that can be submerged beneath water) may also be used to collect sound data from marine environments. By replaying passive recordings, Ecologists are able to study the amount, frequency and variation of a particular sound within that environment to reveal insights about the population or behaviours of a particular animal species.
Human-Focused[edit]
See also Ethnomusicology
Human-focused studies in Ecomusicology are often conducted using similar field research methods to that of Anthropology or Sociology. This includes conducting interviews, collecting various numerical data, surveys as well as on-site observation. These varied methods of data collection are used to make a qualitative analysis of the ways in which sound and music may influence behaviours as well as systems of value and meaning within a particular social landscape.
Musical Theory / Instrumentation[edit]
Ecomusicology considers the ways in which instruments and other forms of sound manipulation are used to recreate or represent features of specific environments or soundscapes. Music produced within the conceptual spectrum of Ecomusicology often tries to replicate sounds found in the natural environment. This can include the use of orchestral instruments or vocal sounds to mimic sounds produced within the natural environment such as the melodic chirp of a bird’s song, or the rhythmic gushing of stream. Sound effects are also used in a variety of ways to recreate sound textures produced within particular environments. An example might be the application of sound effect or sound effect to an instrument to reproduce the distant echoing of sound as it rebounds off hard surfaces across a canyon or valley.
The work of composer and sound-artist Maggi Payne often features the creation and combination of sounds to convey natural processes or reflect elements of the natural environment. In her 2007 sound piece ‘Distant Thunder', Payne uses a combination of different sound sources including “boiling water, a resonant floor furnace, and unrolling adhesive tape” to recreate the distinctive soundscape of desert storm.
A common feature of musical compositions related to Ecomusicology, is the use of field recordings that capture the ambient sounds produced within a specific environment. Field recordings can originate from urban settings to rural or natural environments, or anywhere else where an audio recording device may be used to record the sounds produced within of a particular location. The creation and use field recordings form part of Ecomusicology’s analysis of soundscapes and the ways in which different environments may be experienced through their distinctive aural features. Also of interest to studies within Ecomusicology, are the ways in which sound is processed and manipulated through technological software to compose new soundscapes or sound environments.
musuc methods which involve music production software has allowed for music’s relationship with nature to be imagined in new ways, many of which are useful and relevant to Ecomusicological analysis.
Education[edit]
Since its presence among academic discourse in the 21st Century, a number of teaching methods have been devised to integrate the study Ecomusicology into school learning environments. Daniel J. Shevock, an academic of musicology whom has written extensively on Ecomusicological theory, has designed and taught a variety of lessons concerning ideas and practices of Ecomusicology which can be applied into primary/highschool learning environments.
In his book ‘Ecoliterate Music Pedagogy’, Shevock describes possible practice-based learning activities focused on informing students about environmental concerns central to the study of Ecomusicology. This includes tasks which involve the creation of songs or poems inspired by the natural environment or other social concerns about sustainability and the health of ecologies. Shevock has also devised a range of theoretical tasks which include listening to and discussing the conceptual and structural elements of nature-focused music.
As a field of study which encompasses more than one area of interest, both Allen and Shevock have discussed the potential advantages that studies of ecomusicology might have in extending an understanding of other subject areas taught within schools. For example, the teaching of some of Ecomusicology’s research methods and findings within the study of ecologies, may be useful in expanding students’ comprehension of some ideas taught within the subject of Biology.
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- ^ a b Current directions in ecomusicology : music, culture, nature. Allen, Aaron S., Dawe, Kevin. New York. ISBN 978-1-138-80458-6. OCLC 889167924.
{{cite book}}: CS1 maint: others (link)