Music for People and Thingamajigs
Submitted by Guest on April 14, 2016 - 7:16am
Travis D. Stimeling, West Virginia University
Saro Lynch-Thomason, Blair Pathways, Asheville, NC
Nate May, College-Conservatory of Music, University of Cincinnati
Historians have, in the last decade or so, expanded their approach to the past to include sensory experiences. Sounds and ways of listening to them—what people heard, what sounds had meaning to them—have been established as an important way to understand the past (Johnson 1995; Picker 2003; Smith 2000; Sterne 2003; Thompson 2002). The senses are at, indeed form the very foundation of, the unstable intersection of nature
Hearing Landscape Critically:
8-11 September 2013, Stellenbosch University, South Africa
Editor's Note: In this short piece, composer Nathan Currier responds to an article by Mark Perlman that appeared in a prior issue of the Ecomusicology Newsletter and previews a longer article of his own, "Classical Music in the Anthropocene," which appeared in a later issue of that publication and can be read
What is made of wood, animal gut, horsehair, flaxseed oil, and sometimes a bit of toad or lizard skin? It sounds like a base for a magic potion, but in fact it is the ingredients for the most valuable musical instrument today: the violin and its bow. Although many of its materials are now considered exotic, the violin and many other “professional” instruments had humble beginnings.
As humans, we are intimately connected to the world around us. Similarly music intimately connects us individually. It makes perfect sense that there would be a field studying the connection between the two. Without knowing it, I began my journey to ecomusicology as a child.
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