Music, Sound and Space

Music, Sound and Space is the first collection to integrate research from musicology and sound studies on music and sound as they mediate everyday life. Music and sound exert an inescapable influence on the contemporary world, from the ubiquity of MP3 players to the controversial use of sound as an instrument of torture. In this book, leading scholars explore the spatialisation of music and sound, their capacity to engender modes of publicness and privacy, their constitution of subjectivity, and the politics of sound and space. Chapters discuss music and sound in relation to distinctive genres, technologies and settings, including sound installation art, popular music recordings, offices and hospitals, and music therapy. With international examples, from the Islamic soundscape of the Kenyan coast, to religious music in Europe, to First Nation musical sociability in Canada, this book offers a new global perspective on how music and sound and their spatialising capacities transform the nature of public and private experience.

Georgina Born is Professor of Music and Anthropology at the University of Oxford. Formerly Professor of Sociology, Anthropology and Music at the University of Cambridge, she is currently directing the international research programme ‘Music, Digitisation, Mediation: Towards Interdisciplinary Music Studies’, funded by the European Research Council. Her publications include Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (1995), Western Music and Its Others: Difference, Representation, and Appropriation in Music (edited with D. Hesmondhalgh 2000), Uncertain Vision: Birt, Dyke and the Reinvention of the BBC (2005) and the forthcoming Interdisciplinarity: Reconfigurations of the Social and Natural Sciences (edited with A. Barry).

Georgina Born

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First published 2013
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Contents

Figures

Tables

Music examples

Contributors

Philip V. Bohlman FBA, is the Mary Werkman Distinguished Service Professor of the Humanities and of Music at the University of Chicago, Honorary Professor at the Hochschule für Musik, Theater und Medien, Hannover and Artistic Director of the New Budapest Orpheum Society. His publications include World Music: A Very Short Introduction (2002), The Music of European Nationalism: Cultural Identity and Modern History (2004), Jewish Music and Modernity (2008) and Focus: Music, Nationalism, and the Making of the New Europe (2010).

Georgina Born is Professor of Music and Anthropology at the University of Oxford. She is the author of Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (1995) and Uncertain Vision: Birt, Dyke and the Reinvention of the BBC (2005), and co-editor of Western Music and Its Others (with David Hesmondhalgh 2000) and Interdisciplinarity: Reconfigurations of the Social and Natural Sciences (with Andrew Barry forthcoming). She directs the research programme ‘Music, Digitisation, Mediation: Towards Interdisciplinary Music Studies’, funded by the European Research Council.

Eric F. Clarke, FBA is Heather Professor of Music at the University of Oxford. He is the author of Ways of Listening: An Ecological Approach to the Perception of Musical Meaning (2005) and co-author of Music and Mind in Everyday Life (with Nicola Dibben and Stephanie Pitts 2010). He is co-editor of Empirical Musicology: Aims, Methods, Prospects (with Nicholas Cook 2004) and Music and Consciousness: Philosophical, Psychological and Cultural Perspectives (with David Clarke 2011).

Nicholas Cook is 1684 Professor of Music at the University of Cambridge and former Director of the AHRC Research Centre for the History and Analysis of Recorded Music (CHARM). His books include Music: A Very Short Introduction (1998), which has appeared in fourteen languages, and The Schenker Project: Culture, Race, and Music Theory in Fin-de-siècle Vienna (2007), which won the Society for Music Theory’s 2010 Wallace Berry Award. He is a Fellow of the British Academy and of Academia Europaea.

Suzanne G. Cusick is Professor of Music at New York University. Her writings appear in such journals as Early Music, Musical Quarterly, Perspectives of New Music and Journal of the Society for American Music. Francesca Caccini at the Medici Court: Music and the Circulation of Power (2009) received the 2010 book prize of the Society for the Study of Early Modern Women. Her current work addresses the use of noise and music for interrogation in the ‘war on terror’, work for which she received in 2007 the Philip Brett Award of the LGBTQ Study Group of the American Musicological Society.

Tia DeNora is Professor of Sociology of Music at the University of Exeter. Her books are Beethoven and the Construction of Genius (1995), Music in Everyday Life (2000), After Adorno: Rethinking Music Sociology (2003) and Music in Action: Selected Essays in Sonic Ecology (2011). She recently completed a longitudinal research project on music and mental health and, with Dr Gary Ansdell, is preparing a three volume ‘Triptych’ on this work. With Gary Ansdell, she co-edits the Ashgate Series on Music & Change.

Nicola Dibben is Senior Lecturer in Music at the University of Sheffield and joint co-ordinating editor of Popular Music (Cambridge University Press). Her research addresses music, mind and culture, with a focus on the science and psychology of music and on popular music studies. She has published over forty journal articles and book chapters, is the author of Björk (2009) and co-author of Music and Mind in Everyday Life (2010). She also collaborated with Björk on the artist’s multimedia app album Biophilia (2011).

Byron Dueck is Lecturer in Music at the Open University. His research has encompassed indigenous music and dance in Canada, popular music in Cameroon and jazz performance in the UK; it is crossed by several themes including musical public cultures and the social implications of rhythm and metre. He is co-editor of Migrating Music (with Jason Toynbee 2011) and Experience and Meaning in Music Performance (with Martin Clayton and Laura Leante, forthcoming); and a monograph, Musical Intimacies and Indigenous Imaginaries, is forthcoming.

Andrew J. Eisenberg is Postdoctoral Research Associate in the Faculty of Music at the University of Oxford, where he is working on an ethnography of the Kenyan music industry as part of the European Research Council-funded ‘Music, Digitisation, Mediation’ research programme directed by Georgina Born. He holds concurrently a three-year Junior Research Fellowship at St Catherine’s College, University of Oxford. He has an article on youth music on the Kenyan coast forthcoming in the journal Africa.

Sumanth Gopinath is Assistant Professor of Music Theory at the University of Minnesota. He is currently working on two book projects, one on the global ringtone industry and another on the politics of race in the music of Steve Reich. He has also edited, with Jason Stanyek, the forthcoming Oxford Handbook of Mobile Music Studies. His other research interests include post-Second World War (American) art and popular musics, cultural theory (especially Marxism), intersections of politics and music (or culture generally), and the globalisation of cultural production.

Anneli B. Haake is a researcher and music psychology consultant on music-listening. Her doctoral research into music in workplaces has been presented at international conferences and published in the journal Musicae Scientiae (2011). She has been awarded the ESCOM/ICMPC Young Researcher Award (YRA) and is also a reviewer for the Psychology of Music.

Richard Middleton FBA, is Emeritus Professor of Music at Newcastle University. He is the author of Pop Music and the Blues (1972), Studying Popular Music (1990), Voicing the Popular (2006) and Musical Belongings: Selected Essays (2009), editor of Reading Pop: Approaches to Textual Analysis in Popular Music (2000) and co-editor (with Martin Clayton and Trevor Herbert) of The Cultural Study of Music: A Critical Introduction (2003; revised edition 2012). He was a Founding Editor of the Cambridge University Press journal, Popular Music.

Gascia Ouzounian is Lecturer in the School of Creative Arts at Queen’s University Belfast. She is a musicologist, composer and violinist, and has performed in North America and Europe with such ensembles as the Silk Road Ensemble, Sinfonia Toronto and Theatre of Eternal Music Strings Ensemble. Her research focuses on experimental music and sound art, with particular interests in site-specific sound, sound installation art and intermedia composition. Her writings are published in Journal of the Society for American Music, Journal of Visual Culture, Computer Music Journal and Organised Sound.

Tom Rice is Lecturer in Social Anthropology at the University of Exeter. He held an ESRC Postdoctoral Research Fellowship at the University of Cambridge, during which time he co-organised the 2008 conference ‘Music, Sound, and the Reconfiguration of Public and Private Space’ from which this volume derives. His publications on ‘auditory anthropology’ appear in the Journal of the Royal Anthropological Institute, Journal of Material Culture, The Senses and Society and The Sound Studies Handbook. His book Hearing the Hospital: Sound, Listening, Knowledge and Experience is forthcoming. His future research addresses the nature of prison soundscapes.

Jason Stanyek is University Lecturer in Ethnomusicology at the University of Oxford, where he is also Fellow and Tutor in Music at St John’s College. He is the author of numerous articles and of a forthcoming book on music and dance in the Brazilian diaspora. He co-edited The Oxford Handbook of Mobile Music Studies (with Sumanth Gopinath) and Brazil’s Northern Wave: Fifty Years of Bossa Nova in the United States (with Frederick Moehn), both forthcoming.

Jonathan Sterne teaches in the Department of Art History and Communication Studies at McGill University. His research focuses on sound and music, media technologies and the politics of culture. He is author of The Audible Past: Cultural Origins of Sound Reproduction (2003), MP3: The Meaning of a Format (2012) and numerous articles in such journals as Social Text, New Media and Society, Ethnomusicology and Media, Culture and Society. He is the editor of The Sound Studies Reader (2012). Visit his website at http://sterneworks.org.