Ecomusicology

2. Dünya Savaşı sonrasında akademik alana hızla yayılan eleştirel düşünce, sosyal bilimler ve kültürel çalışmalar altında pek çok yeni çalışma alanının ortaya çıkmasını sağlamıştır. 1980'li yıllarda yaygın olarak gelişen edebiyat merkezli ekoeleştiri ve yine benzer dönemlerde gelişen eleştirel veya yeni müzikoloji çalışmaları, eleştirel yaklaşımlarıyla mevcut paradigmaları sarsmıştır. Ekoeleştiri düşüncesi ile müzikoloji disiplinini bir araya getiren ekomüzikoloji alanı ise müzik ve kültür arasındaki ilişkiye doğayı da katarak, çevre/doğa konusuna ses ve müzik açısından bakan yeni bir yaklaşım ortaya çıkarmıştır. Disiplinlerarası bir perspektifle çevre/doğa bağlamında birçok konuyla ilgilenen ekomüzikoloji çalışmaları, bilimsel ve aktivist bir çabadır. İnsan-doğa ilişkisini sorgulayan ve günümüzdeki çevre krizleri ile sürdürülebilirlik sorunlarına müzikolojinin sınırlarını genişleterek yanıtlar bulmaya çalışan ekomüzikoloji, 2000'li yıllardan itibaren tüm dünyada hızla gelişen bir alan olmuştur. Bu makalede, ekoeleştirel ve doğakültürel bir müzikoloji yaklaşımı olarak ekomüzikolojinin ortaya çıkışı, bu alanda yapılan çalışmalar ile alanla ilgili kavramsal ve yöntemsel tartışmalar konuyla ilgili temel kaynaklar üzerinden incelenmiştir. Bu makalenin, gelecekte Türkiye'de ekomüzikoloji alanında yapılacak araştırmalara yol gösterici olması hedeflenmiştir.
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After World War II, the rapid spread of critical theory led to the emergence of many new fields of study under the social sciences and cultural studies. The literary centered ecocriticism, which was developed in the 1980s, and the critical or new musicology studies that developed in similar periods, influenced the existing paradigms with their critical approaches. The field of ecomusicology, which brings together the idea of ecocriticism with the discipline of musicology, has brought a new approach to the environment/nature issues in terms of sound and music, adding nature to the relationship between music and culture. Ecomusicology studies dealing with many issues in the context of environment/nature from an interdisciplinary perspective is both a scientific and an activist effort. By questioning the human-nature relationship and trying to find answers to today's environmental crises and sustainability problems by expanding the boundaries of musicology, ecomusicology has been a rapidly developing field since the 2000s. In this article, the emergence of ecomusicology as an ecocritical and naturecultural musicology approach, as well as conceptual and methodological discussions concerning this field are examined through the main sources. This article is intended to be a guide to future research in the field of ecomusicology in Turkey.

We take stock of engagements occurring between ‘music’ and ‘environment’ and what this heralds for current and future music making and musicology. We consider  ve contemporary and emerging  elds of interest that variously connect these two keywords: 1) music as commemoration or evocation of place; 2) soundscape studies and sound art; 3) acoustic ecology, ecomusicology, and environmental activism; 4) environmental ethnomusicology, archaeomusicology, zoömusicology, and biomusicology; and 5) music and its technological environment. Intersections of the two concepts are on the increase, particularly as composers, performers, and musicologists attempt to respond to matters of climate change, sustainability, and environmental collapse in novel and meaningful ways.

Attempts to preserve music as cultural heritage put applied ethnomusicologists and public folklorists in a defensive posture of safeguarding property assets. By supporting the conservation of those assets with tourist commerce, heritage management is doomed to the paradox of constructing staged authenticities with music treated as a market commodity. Instead, best practices arise from partnerships among ethnomusicologists, folklorists and music culture insiders (community leaders, scholars, and musicians), with sustainability interventions aimed directly inside music cultures. These efforts should be guided by principles drawn from ecology, not economy; and specifically by four principles from the new conservation ecology-diversity, limits to growth, interconnectedness, and stewardship. First published in The World of Music in 2009, in a special issue on Music and Sustainability, it was reprinted in my book Toward a Sound Ecology: New and Selected Essays (Indiana University Press, 2020).

How much do all the activities surrounding music-making--production, delivery, and consumption--contribute to carbon dioxide in the atmosphere? This was a summary and discussion of current research (by others) on the topic, for a "Call and Response" section of Ethnomusicology published in 2020.

In December 2017, the Pacific Island nation of Palau changed its immigration policy in a globally unprecedented way. As of that month, tourist visas are only issued to visitors who upon entry sign the Palau Pledge, an eco-statement stamped into their passports. The pledge addresses the “children of Palau,” whose islands the inbound visitors personally commit to protecting as they take the pledge. To prepare inbound visitors prior to their arrival for this unusual visa procedure, and to get their message across more strongly, the campaign has also created a video spot, The Giant. This highly acclaimed clip is required inflight viewing for all inbound visitors to Palau. The clip begins with a traditional chesols. The lyrics of the recitation attribute ownership of the (Palauan) land exclusively to the water and the rocks. This chesols is used here to evoke a sense of deep connectedness with the land: an old, oceanic wisdom viscerally connected with the islands themselves, inscribed into traditional Palauan value structures and customs but apparently overrun by the speed and inequalities of both a long and burdensome colonial history and a present carrying the legacy of that history.
Exploring the nature of this wisdom, in this article, I take a closer look at the traditional performing arts in Palau as “sound knowledge.” I analyze chesols, a type of recitation, as a mode of knowledge that is substantive in nature and at the same time distinct to the qualities and affordance of its medium, i.e. sound. I pursue this idea by, first, conceptually exploring the notion of sound knowledge as a resource for Pacific Island cultures and loosely situating it within recent debates in phenomenology, the theory of knowledge as well as music studies. Following this, I will return to The Giant, PLP’s inflight video, looking at what can be gained from the idea that music offers a resource that may be key to survival in the complex environmental predicament of Palau, and by extension, Micronesia. What do Palauan musical practices know about sustainable ecologies and how do they know it? How does music-making make this knowledge operable and, consequentially, how do humans mobilize on this knowledge in coping with their changing life-world through music? Addressing these questions, I take a closer look at the musical genre employed in The Giant, chesols. In closing, I adumbrate the implications of the notion of sound knowledge for a Palau seeking to ensure its future livelihood.

Mitigating the impact of human activities on the environment is among the most pressing issues in modern society. As such, environmental education has become an interdisciplinary concern among many educators beyond their disciplinary boundaries. A main question I explore in this paper is how music and environmental education coexist and support each other. The nexus of music education and environmental education may promote much more than singing nature songs (Forgaty, 1996). Shevock (2015) argues that music can be a medium to enhance students' eco-literacy. I argue that music education should take one step further by placing what I would call " ecomusicality " at the center of its pedagogy. This task involves aligning the epistemologies of music and environmental education. Although the mission of music education is not the same as that of environmental education, educators have to ensure that the two are not against each other. This paper draws on the ecomusicology framework (Allen, 2013; Guy 2009; Pedelty, 2012; Titon, 2013). Two issues of ecomusicological studies are particularly relevant to the present inquiry. First, the discussion of material systems. Pedelty (2012) argues that ecomusical inquiry involves critique of material systems, including material economy, as well as the realm of aesthetics and meaning. No ecological analysis is complete without consideration of the material world (p. 11). Musical instruments are central to the material system of music, and thus the focus of the present paper. Second, relational epistemology is proposed in ecomusicology as a way to put forward a more sustainable concept of nature, music, and the environment. Titon (2013) argues that, " The problem of music and sustainability is not only a problem of politics but also of knowledge. It is an epistemological problem " (p. 8). Ecomusical researchers thus focus on a reliance on interconnectedness, interdependence, and relationships of ecosystems in which music plays a significant role. The paper aims to provide an ecocritical critique of music education by first reviewing the underlying assumption of music education. In particular, I address three problems to overcome, among many factors that hinder the alignment of music and environmental education. Then, using an indigenous music model, I propose eco-musicality as an ecological pedagogy of music.

It has been months since most of the world realized the gravity of the COVID-19 pandemic, and the privileged ones-who have the financial sources to maintain their lives without working outside-took shelter in their homes. With every passing day, we have a better understanding that what we are going through is not a short-term disaster, during which we will stay in our homes for a while and then go back to "normal." First and foremost, this worldwide phenomenon, with a sense of uncertainty surrounding the "defeat" of the virus, brings forth a unique dimension to our experience. As we feel closer to death and loss, we are also witnessing the deterioration of all the institutions, health systems being the most important, that we assume to be working along with the immutable nature of social inequalities "in sickness and in health." Furthermore, the already existing economic crisis will only deepen with unforeseeable consequences that increase worries about the future, even for those in the most privileged positions. We must also face the truth that the emergence of this pandemic cannot be considered independently from the current global climate crisis. We need to apprehend that our relationship with nature may pave the way for similar pandemics in the following years, perhaps leading to an age of viruses or other disasters. Thus, we cannot assume the current circumstance developed along with COVID-19 is an exception. Due to all these reasons, when the pandemic finally ends, we can only imagine "going back home" if we understand that "home is a place where you have never been," as poetically described by Ursula Le Guin in The Dispossessed (1994, 70). Even for those who, so far, has been safe and sound, the impact of this reality on daily life is indisputable.

Henry David Thoreau 's ideas about sound and music were 150 years ahead of their time. He developed a proto-theory of ambient sound, and expressed the concept of the acoustic niche. He understood sound as signaling presence, and he was especially interested in echolocation, as were some important American painters in the middle of the 19th century. Sound, he concluded, was the only language without metaphor. This article was published as a chapter in the book in Current Directions in Ecomusicology (Routledge), edited by Aaron S. Allen and Kevin Dawe, is an expanded version of a presentation I gave at the 2012 Ecomusicologies conference, in New Orleans.

ABSTRACT
In the thirteenth century the mass cycle became established as a sacred musical form. By the end of the twentieth century the politicised concert mass had overshadowed it. Surprisingly, despite becoming a significant contributor to the Western art music repertoire, the concert mass has never attracted serious scholarship. While individual concert masses have been the subject of some studies, the form itself has received only limited attention, and never been comprehensively defined. This anomaly is addressed here by investigating three main topic areas: the variety of attitudes to sacred music within the Roman Catholic Church, the changing social, political and religious nature of Western societies, and the text of the mass itself. Focusing particularly on the twentieth century, this study brings together selected sources that span eight centuries to show that at each stage of the transition of the liturgical mass to its politicised form it has reflected changing attitudes towards religion in Western societies. While analysis of elements of key transitional concert masses provides the most substantive evidence, as a work of historical musicology that deals with religious as well as musical changes, the research of historians, sociologists and religious studies scholars, among others, has also been drawn upon. In combination, these primary and secondary sources reveal that it was the convergence of a range of human-centred impulses that brought about the establishment of first the concert mass in the later eighteenth century and then the politicised concert mass in the twentieth century. Whereas Renaissance masses presented God to humankind, and concertised masses presented humankind to God, politicised concert masses present humankind to humankind.

Everyone knows to what extent language depends on norms agreed upon by men in a given linguistic community. It is also recognised that languages are highly influenced by exchange between different linguistic communities. But language also depends on its ability to translate into words life-sustaining information it receives from its natural environment. To find out how this happens, this paper takes an “ethnoecological” look at glossopoiesis in ancient Ireland. It focuses in particular on Poetic “nature study” arguing that this specialised ecological knowledge had the effect of synchronising the Gaelic tongue to the rhythms of the land the gaelophone community lived upon. But the influence of Poetic wisdom on ordinary language wasn’t direct. It operated via a special, extra-lexical speech (bérla fortchuide na filidh). This paper explores the ways this speech influenced and even constitutes the Gaelic language.

The intersections between music, society and nature are complex and differ greatly from one culture to another, but there is no doubt that all three form important aspects of our lives as humans. The world has always been filled with natural sounds and for early humans these would have been our earliest musical inspiration. This means the initial relationship between music and nature would have been very close, with both being intrinsic parts of each other. In many cultures this is still the case, however in our western culture we have been getting more and more disconnected from nature, and in cities our acoustic surroundings consist largely of man-made soundscapes, rather than natural ones. This leads to the question: what impact does the acoustic and natural environment have on music-making practises in different cultures? In this essay I aim to explore the ways in which music is used to interact with the environment and discuss how this reflects the relationship between societies and nature.

This essay analyzes the law of Ecomuseum in Sicily and in others regional legislations in Italy. In particular, the study examines the differences among the laws in each regional legislations and in second  point such as the laws arises in relation with the De Varine’s definition. In this case we operate with the comparative method. The analyze of each regional laws will make us understand the approach of the laws into the territories and how it dialogues with local populations. Will see like the legislation from Regione Piemonte (1995) to Regione Sicilia (2014) increased and evolved in each its form. At the end, we will ask if we are ready for an Italian law or European  in the field of Ecomuseum Institution.

An introduction to ethnography as a research method, both in general and specifically for studying people making religious and ceremonial music. It also surveys changes in theory and practice of ethnographic research since the early 1900s, and discusses modern and contemporary developments. Written in 2017, it is an invited chapter for a book entitled "Studying Congregational Music: Key Issues, Methods, and Theoretical Perspectives" edited by Andrew Mall, Jeffers Engelhardt, and Monique M. Ingalls (Routledge, 2021). This is a copy of the original typescript of the article before copyediting. My apologies for the typos. These are corrected in the book.

This dissertation concerns making music as a utopian ecological practice, skill, or method of associative communication where participants temporarily move towards idealized relationships between themselves and their environment. Live music making can bring people together in the collective present, creating limited states of unification. We are “taken” by music when utopia is performed and brought to the present. From rehearsal to rehearsal, band to band, year to year, musicking binds entire communities more closely together. I locate strategies for community solidarity like turn-taking, trust-building, gift-exchange, communication, fundraising, partying, education, and conflict resolution as plentiful within musical ensembles in any socially environmentally conscious community.

Based upon 10 months of fieldwork and 40 extended interviews, my theoretical assertions are grounded in immersive ethnographic research on Hornby Island, a 12-square-mile Gulf Island between mainland British Columbia and Vancouver Island, Canada. I describe how roughly 1000 Islanders struggle to achieve environmental resilience in a uniquely biodiverse region where fisheries collapsed, logging declined, and second-generation settler farms were replaced with vacation homes in the 20th century. Today, extreme gentrification complicates housing for the island’s vulnerable populations as more than half of island residents live below the poverty line. With demographics that reflect a median age of 62, young individuals, families, and children are squeezed out of the community, unable to reproduce Hornby’s alternative society.

This dissertation begins with theorization that connects music making to community and environmental thought. I then represent the challenges Islanders set for themselves and the struggles they face, like their desire for food sovereignty, off-grid energy, secure housing, protection of their aquifers, affordability of ferry transportation, ecological waste-cycles, and care for each other’s mental health. I bring attention to unique institutions that Islanders have created to better manage their needs and desires. In response to the island’s social and environmental dynamics of justice, I argue and demonstrate through ethnography that music making is an essential communal process that brings people together to dialogue about their needs and advance their goals to establish a more equitable and environmentally responsible community.

This is the proof of my contribution to the upcoming edited volume "Current Directions in Ecomusicology" (ed. Aaron S. Allen and Kevin Dawe; cf. http://www.taylorandfrancis.com/books/details/9781138804586/). I'm currently in the process of weaving these ideas into another project, and would love to hear feedback, especially of critical slant!

Critical theory is an endeavor born of crisis. In the historical materialist tradition, which emerged in response to nineteenth-century social crisis, the critical theorist begins by taking account of the material conditions and mode of production that enable society to reproduce itself. She then moves outward to interrogate both the institutions that preserve this mode of production and the cultural practices that dissemble its inequities. The contemporary ecocritical theorist faces an even more multilayered undertaking. Whereas historical materialism has long recognized social and ecological problems as intertwined effects of the “human metabolism with nature,” we have only recently come to realize the complexity and enormity of the “epochal crisis” that we have set in motion (Foster 2013). Ecomusicology is critical reflection upon music and sound, set against the backdrop of this epochal environmental crisis. My aim is to situate ecomusicology within the broader critical theory tradition, which I trace from the Frankfurt School to neo-materialist social theory and contemporary Marxian political ecology. In this essay, I explore intersections between these fields and recent work in ecomusicology, and I propose a hybrid mode of critical listening informed by my own research into listening practices in early modern Japan.

ABSTRACT

In the mid 1960s, almost 100,000 Egyptian Nubians, people Indigenous to the Nile River Valley, were removed from their ancestral homeland due to the creation of the Aswan High Dam. In the years surrounding their displacement, Nubian musicians in Cairo and villages in new settlement areas gathered traditional Nubian songs and composed new songs to form a distinctive Nubian musical repertoire. This thesis addresses contemporary Nubian musical performance and the role of these reclaimed and newly-written songs in maintaining and revitalizing not only Nubian languages and culture, but especially senses of self in relation to place and, above all, to the Nile River. Using frameworks of Arabization, settler colonialism and Bhaba’s concept of re-membering (1994), I show how songs re-create Nubian communal ways of knowing and being that reconnect Egyptian Nubians to the material homeland they left behind, or, in the case of so many young disenfranchised Nubians, have never even known.

Similar to ecomusicology, “ecochoreology” may contain various subfields. One of them is ecological activism, in other words catching the attention of people for environmental problems by using dance. Another would be the ecochoerographies where the landscape is considered as a container for choreography on the stage. On the other hand, the already existing choreographies can be analysed by looking at the “ecokinemes” they contain. In other words, the third one is the constructed dances imitating the “ecokinemes” of living and non-living nature. In this paper, the last field
will be discussed by using some examples in terms of dance as an ecosystem itself and within the ecosystem in order to seek a methodological approach for dance studies.

We are hearing climate change in the sounds of intensifying storms, and the changing sound mix of altered habitats. These honest signals are nature's alarm calls, warning all eavesdropping creatures of the impending changes. Written for a popular audience. Also reprinted, with a new introduction, in my book Toward a Sound Ecology: New and Selected Essays (Indiana University Press, 2020).

The sounds of the natural world have served as a key source of musical inspiration for composers throughout history; and for the last century, recording technology has enabled the utilisation of the sounds themselves as compositional material. The use of recorded environmental sound in musical works has become common practice for composers working in a plethora of different styles and genres, employing a wide variety of techniques; however, a comprehensive analysis and comparison of these different approaches has yet to been undertaken.

Aside from technical and stylistic considerations, the other vitally important question for such an analysis regards what this use of natural environmental sound as compositional material means, both to composers and listeners. In today’s society it is the increasingly significant socio-political issue of global climate change which dominantes contemporary thought regarding humankind’s relationship to the environment; and it is therefore inevitable that the resonances of this will be felt in any work which takes the sounds of the natural environment as its subject. The task of achieving a properly contemporary musicological analysis of such works therefore demands that they be considered from an ecomusicological perspective, which focuses on their socio-cultural significance in the light of contemporary environmental concerns.

In undertaking this ecomusicological analysis, stylistic traits become less important than the specific ways in which the environmental sound is used, the role that it plays within the composition, and the meanings that it generates. This paper will therefore propose a new critical framework for works which use natural environmental sound as compositional material, addressing a significant gap in ecomusicological scholarship and facilitating a new understanding of a common compositional practice which takes into account its new meaning to the ecologically-focussed society of the 21st century.

This thesis considers how emotion is conveyed through music in the Greek Epirote village of Parakalamos. It also looks at the relationship between musical ‘style’ and social space. Drawing upon theoretical literature that concerns emotion and place, this ethnographic study argues that musical meaning is contingent upon social interaction. In Parakalamos, the sound of the clarinet is associated with emotional experience and in this way it signifies place. In short, the ‘crying clarinet’ is created through the intersection between music, emotion, and place.

Acoustic dimensions of the environment have thus far received little consideration in discussions of such issues as climate change, industrial pollution, environmental justice, and habitat loss. An ecomusicological approach to the place of music and sound in the environment enables ethnomusicologists to contribute their knowledge to these ongoing discussions, while it also grounds environmental activism in scholarship.

Recent years have seen an exponential increase in the number of composers and sound artists directly responding to global environmental issues, such as biodiversity loss, pollution and climate change, through their creative practice. The philosophical concerns and practical methodologies of these composers and sound artists build on the established field of acoustic ecology, and the related genre of soundscape composition, but also venture well beyond them, setting them apart as a distinct new movement in music and sound art. However, as yet no new terminology has been found to define and describe this movement, either as an academic field of study or as an artistic genre.

Two composers who are at the forefront of this movement, David Monacchi and Matthew Burtner, have each independently adopted the term “ecoacoustic” in reference to their work: a term which this paper will propose as the most suitable to describe this contemporary movement of environmentally-concerned music and sound art. Although some significant differences exist between the artistic philosophies and creative practices of the two composers – which also, therefore, inevitably carry through into differences between their uses of the term – it will be argued that the similarities between them are significant enough for these differences to be regarded as variations upon a core set of principles and methodologies.

Through an investigation into what the term “ecoacoustic” means in the context of the work of Monacchi and Burtner, this paper will identify these core principles and methodologies, employing them as the basis for an initial “definition- in-progress” of ecoacoustic music and sound art. Finally, a selection of other composers and sound artists will be proposed whose work embodies the fundamental characteristics of this new field of “ecoacoustics”.

This thesis examines nature as both a concept and source material in contemporary music. Composers reinforce, revise, and challenge existing conceptualizations of nature through their engagement with natural settings, live or recorded environmental sounds, and/or non-sounding environmental information. How composers understand nature informs the ways in which they employ aspects of the physical world in their music. This study explores the interplay between nature-as-concept and nature-as-source-material in art-based walks, outdoor music, electroacoustic composition, and concert-hall pieces. Through analysis of works representative of these wide-ranging genres, this thesis offers a critical assessment of how nature is imagined in a contemporary musical context.

The concept of a continuum is used as both a structural and theoretical tool in this study. A gradual transition from real-world encounters with nature to an abstracted experience of it is made over the course of the thesis. The works discussed in Chapter Two exist as lightly edited recordings made by artists during an outdoor walk/improvisation. The outdoor theatre piece considered in Chapter Three takes place at a lake and draws on that environment in several ways during a performance. The two electroacoustic compositions investigated in Chapter Four combine unmodified and modified nature sounds. The natural world is still present in the concert-hall works discussed in Chapter Five, but recorded nature sounds are combined with live instrumental music based on environmental properties and processes. In addition, this thesis traces four themes across works. These are technology, human presence, myth, and the transformation of the environment.

The works under consideration demonstrate a range of approaches to composing with and conceptualizing nature. Some of the works comment on environmental issues, such as noise pollution and climate change. Others aim to drive understanding beyond the limits of human perception; that is, to open up new psychological spaces. In different ways, the works under focus illuminate the relationship between humans and the natural world. By stimulating discourse around how we think about nature, these pieces encourage critical thought regarding our place as humans in the physical environment.

This 7th volume of SIMP is dedicated to two large themes that were discussed in the last Study Group Symposium held online and arranged by the Music Faculty of the University of the Visual and Performing Arts in March 2021: "Re-Invention and Sustainability of Musical Instruments", and "Instrumental Music and Food".

In recent years, ecological issues have grown to become some of the most significant sociopolitical concerns of our time – something which has been reflected by an explosion in engagement with such issues across every area of arts and culture. Across most major art forms, this trend has been identified, analysed and promoted both by critical studies in the growing field of ecocriticism, and by the curatorial recognition of new ‘ecological’ genres; however, to date there has been no equivalent ecologically-focused engagement within sound art. This can be recognised as the product of two significant gaps in sound art scholarship: the first critical in nature, regarding the lack of ecocritical engagement with sound art; and the second curatorial, regarding the failure to recognise the growing number of ecologically-engaged works of sound art as a distinct genre in their own right.

The research detailed within this thesis will address each of these gaps by conducting a comprehensive investigation into ecology and environmentalism in contemporary sound art. The critical gap will be tackled by coupling a thorough analysis of the field of ecocriticism with an investigation into the ways in which ecological principles manifest within sound as a medium and listening as a means of engagement. This will then be used to develop a new ecocritical framework specifically designed for sound art, which will be employed to conduct ecocritical listenings to a selection of canonical and contemporary sound works. To address the curatorial gap, meanwhile, a new genre of ‘ecological sound art’ will be proposed, with a second set of ecocritical listenings focused upon a selection of ecological sound works in order to determine the precise nature of their ecological engagement, and to develop both a comprehensive definition and an initial catalogue of works for this important and timely contemporary movement.

There is probably no more pervasive music in Taiwan than the regular broadcast of garbage trucks as they wind their ways through urban and rural streets calling residents to dump their household waste. Missing the truck leaves residents unable to dispose of their garbage-a dire consequence on this semitropical island with robust cockroach and rat populations. Polish composer Bądarzewska-Baranowska's piano piece "The Maiden's Prayer" (少女的祈禱), which was first published in 1856, 1 has been the dominant melody since musical garbage trucks were introduced from Japan in 1968. In recent decades, Beethoven's "Für Elise" (給愛麗絲) also established itself in the garbage truck repertoire. 2 Over the past fifty years, the signature tune "The Maiden's Prayer" has met with multiple challenges. The motivations for these contestations have run the gamut from assertions of differing ethnic and political identities, to ideas about alternative uses for the garbage truck's broadcast system, to, perhaps, simply a need for relief from the tune that had come to signal more than simply removing material waste from one's home. 3 Here, I focus on garbage truck music as a sonic irritant, as an element in community building, and as a component in Taiwan's successful household waste reduction schemes. As an irritant, garbage truck tunes remind citizens of the necessity of managing waste, both at the personal level (as in removing trash from one's home) and at the island and even global levels. From the 1990s onward, newspaper reports and expressions found in a variety of cultural products show that the garbage pickup routine-and the music that is central to it-had even begun to signal, to some citizens, environmental degradation on a large, almost unimaginable, scale. In theorizing that the near-constant presence of the "The Maiden's Prayer" in the lives of Taiwan residents has contributed to a strong awareness of environmental degradation, I turn to two concepts current in the ecocritical literature: one is Nixon's notion of "slow violence" (2011), and the other is Morton's idea of "hyperobjects" (2013). For Nixon, slow violence unfolds gradually and largely out of sight. Slow violence "is neither spectacular nor instantaneous, but rather incremental and accretive, its calamitous repercussions playing out across a range of temporal scales" (2011, 2). Climate change, the radioactive aftermaths of wars, and deforestation are a few of

As the Association of Ethnomusicology-Turkey, we had to postpone the
organization we planned to organize in early June with the partnership of the Hungarian Cultural Center, due to the pandemic period, within the framework of our goals to organize a symposium every two years. However, after March, when we entered the pandemic period, we made our online symposium decision in April and made our call quickly. According to my screening, the call to the Society for Ethnomusicology and the date of the symposium took its place as the first study in this sense in the field of ethnomusicology, even in social sciences. We determined a unique form of communication by carrying out the uncertainty brought about by being the first, through the association's youtube channel and Instagram account. The fastest issue to be organized in order to pass this process, which many researchers, academics and students found themselves in the most effective and productive way, was also to read the process we were in with our own methods. Thus, " The Past, Present and Future of Ethnomusicology in the World and in Turkey" theme, the analysis of observations about the circulation of music, such as production and presentation, which has started to increase rapidly in our hands about past, current and future, with the tools included in the "new ethnography" in a similar way, suitable for the formation of a serious literature, became a field of discourse.
The global pandemic has changed aspects of daily life, as well as research
methodologies, which we never though would have changed. In this period
when we are experiencing new things, we had participants who made presentations on new approaches and concepts such as "buying experience" (Yağmur Güzle & Gonca Girgin), "delocation" (Ö. Ayça Boyacıoğlu), "independent musician" (Burçe Çuhadar Ulubilgin) during the symposium. It was due to the observation that before the pandemic process, the production and consumption patterns of music were already beginning to change. Likewise, the realization of the disconnection from nature during the Covid-19 pandemic period, the realization of the visible improvement of nature and environmental conditions as the working capacity of heavy industry had to decrease, and the current process in eco-musicology/ecoethno-musicology studies, which have been strongly involved in both musicology and ethnomusicology for a while drew the attention towards the studies carried out quickly and curiously. The topic that Prof. Dr. Jeff Todd TITON was invited to present as the guest speaker and whom made the opening speech was remarkable
in this context because it was a presentation focused on music,
sound and environment, which was about important findings in the field of
eco-musicology, ecoetnomusicology, and emphasized that this questioning
gained importance during the pandemic period. (As included in our full text
book, the Ethnomusicology Journal is in the 5th issue in article format, and the presentation video is on the youtube page of the Society for Ethnomusicology).
Fulya Açıkgöz was the owner of the presentation in which the subject of
“anthropocene” and the relationship of music was discussed in parallel with
Tito's inquiries. While this concept, which was introduced in the 1950s, examines the impact of human on the world in its simplest definition, the frame of the dimensions of the damage it causes emphasizes that it is increasing day by day. As Fulya Açıkgöz puts it, she strikingly explained the relationship between the concept of anthropocene and music, which is mostly found in the visual arts, in her paper, which was one of the new approaches to make sense of today's music and anthropocene dilemma. Thus, the ethnomusicologist has an active role in determining and documenting the voices or silence caused by the environmental crisis, what the modes of production are in changing lives.
Within the changing and differentiating field and field objects, the concept
of "field-case" has been questioned in the field of ethnomusicology for a long time, and sometimes criticized in its abstract dimension and sometimes within the real environments. During the symposium, we listened to the decentralization and the change of space with a different perspective in Özlem Ayça Boyacıoğlu's presentation. In fact, these issues were on our agenda even before the pandemic period. Because the observations made have shown that music listening practices have been moved to streaming listening environments in daily life outside of concert stages for a long time, but these platforms were the only way in this process. The use of technology has become a field that every musician should have experience in. The recordings made at home were combined, simulative environments were created as if performing at the same time, software requirements reached the line level. So much so that the sales of portable microphones that will be used while recording on the phone ran out the stocks of the supplier companies. The review of virtual festivals was important in this regard (The full article is in the 5th issue of the
Journal of Ethnomusicology, and the presentation video is on the YouTube page of the Society for Ethnomusicology).
Another paper was on the concept of "independent musician". Burçe Ulubilgin Çuhadar underlined this definition. However, the reality of the abovementioned ways of listening, producing, and the places where it is located has been on the agenda of music producers for a long time. However, being called  an independent musician stems from being able to exist in parallel with their own production requests through certain streaming music platforms, regardless of any company. In this case, it has been determined that tracking brings about another process that cannot be independent, such as increasing the
number of subscribers.
Attila Özdek, on the other hand, highlighted the importance of ethnomusicology in schools that educate teachers, in the first 30-40 years of the Republic, there were names such as Muzaffer Sarısözen and Halil Bedii director who were in the regions as a teacher and performed compilation works.
While Erhan Özdemir presented an evaluation of his recent field research in
terms of ethnomusicology, Nick Poulakis conducted research on art works
in the internet age and referred to digital archive and audio / visual culture,
pointing out the importance of the archive and new field work spaces. Mustafa Avcı pointed to the dark side of music while referring to new trends in ethnomusicology. Cemrenur Ünsür touched upon the concepts of "world music" and "orientalism", which should be known when it comes to ethnomusicology and on which there are many discussions, and after the discussion of the reflections of ethnomusicology, Flamenco music analysis, which is classified as world music by Şule Yıldız and Cenk Güray. In the last session, we gave presentations on both traditional fieldwork techniques and new trends. First of all, Duygu Ulusoy Yılmaz made a presentation including the data she recorded from the field on the "Rowic" culture, while Rumiana Margaritova and Nevene Gramatikova from Bulgaria shared with us the outputs of their project on the Alevi-Bektashi community, which has existed as a closed society in Bulgaria until recently. Adem Kaya shared with us the field data on how Siberian Tatars in Cihanbeyli –Böğrüdelik village maintain their musical identity.
Another invited speaker, Velika S. Serafimovka, one of the Macedonian
representatives of the UNESCO-Intangible Cultural Heritage Committee,
made a connection with ethnomusicology and touched upon the issue of cultural heritage. At this point, it has been stated in the declaration that the issue of protecting cultural heritage in ensuring the continuity of cultural elements brings along some criticisms in terms of functioning.
One of the issues discussed during the pandemic period was concerns
about how difficulties in going to the field would affect the work itself. Because ethnomusicology prioritizes fieldwork as a methodology. However,
for the ethnomusicologists, who started to develop reclexes in advance in accordance with the changing production and consumption patterns in the last decade, the application of digital ethnography and the emergence of areas called audio-visual ethnomusicology was an indicator of this situation. It should also be noted that the field has been a place for ethnomusicologists for a long time that is not only seen and shaped outside of the inhabited places.
In short, ethnomusicologists went after societies wherever and however they express themselves. They record the current moment and present. As a result, the adaptation of new forms of ethnography (digital ethnography, netrography, etc.) that we have begun to define for a while will be seen intensively.
As a result, during the online symposium where ideas on music production
were put forward, while the studies made with different perspectives
were discussed, we also watched presentations where new approaches were seen to expand the boundaries of "field" and methodology of ethnomusicology.
The presentations of notices analyzing the arrangement and transfer of
the new behavior and production forms of the pandemic period, which we
drew attention especially in the symposium call, were quite remarkable. In
addition to the notices made with traditional ethnographic techniques that
fall under the field of early ethnomusicology fieldwork, witnessing the studies in which the reflections of the new ethnography were seen and even discussed, was in accordance with the characteristic of the ethnomusicology discipline to record, observe and show rapid reflexes. The fact that the findings about the present are intense provided the update of the use of digital ethnography methods, which ethnomusicology has started to include in its studies for a while, through the symposium.
Prof. Dr. Özlem DOĞUŞ VARLI

In recent years, a number of sound artists have begun engaging with ecological issues through their work, forming a growing movement of ˝ecological sound art˝. This paper traces its development, examines its influences, and provides examples of the artists whose work is currently defining this important and timely new field.

Principali argomenti dall'Indice:

o La cultura del suono verso un nuovo umanesimo 
o SoundHology, il silenzio, cultura e poetica dell’infinito
o SoundHology, il silenzio tra natura, società, mistica e ricerca interdisciplinare
o Trance, verso un evoluzionismo traslazionale bio-ispirato
o Etnomusicologia & Etnopsichiatria dialogano. La Pizzica e l’Argia: I riti terapeutici coreutico-musicali (Puglia e Sardegna)
o Claude Debussy, sono per la libertà e per rendere solo ciò che sento
o Josef Zawinul, koinè musicale e poesia sonora senza tempo
o Luigi di Gianni, maestro di espressività cinematografica in promozione della cultura popo-lare
o Paolo Grassi, teatro, lirica, televisione, editoria e spettacolo
o Milano, musica glocale e l’esperienza internazionale degli Amici della Scala
o Scacciapensieri: strumenti musicali senza confini
o Giuseppe Mercurio: ricerca della poesia e della musica per valorizzare le culture locali 
o Leonardo da Vinci, la musica e gli strumenti musicali

È sconfinata la vastità degli argomenti riferibili al Suono, il quale atavicamente conserva un’aurea del mistero originale che ci appartiene, essendo connaturato all’inizio della vita nel nostro universo, le cui leggi stanno lentamente trovando umana spiegazione tramite studi di varia natura, scientifici, tecnologici, umanistici e artistici.
L’Autore considera la SoundHology una disciplina innovativa, che segue percorsi di ricerca olistici e interdisciplinari, proponendo articolate riflessioni sul Suono, che mirano a esplorare oltre il convenzionale approccio estetico e storico sulla musica, integrando collegamenti con diversi campi della conoscenza e prendendo principalmente spunto da studi biologici, neuro-fisiologici, storico-sociali, religiosi, antropologici, musicologici, scientifici, economici, botanici, chimici, alchemici, tecnologici, informatici, astronomici, organologici, mass mediologici, artistici, prestando particolare attenzione a quelli genetici, robotici e neuro computazionali. Opere correlate sono: Musica glocale (musica Expo 2015), Etnomusicologia, Etnorganologia, Folk revival (2017), MusicoHology (2018)

Guitars are amalgamations of different materials, from bones and guts to metals and plastics. Wood, though, has always been the guitar's primary building block. And for many guitar makers and players it is mahogany, in particular, that constitutes one of the most prized elements in a complicated mesh of sounds and meanings. Yet in thinking about guitar culture beyond the musician-instrument encounter, down to the historical and geographical layers that make it possible to produce sounds and meanings in the first place, other stories emerge. Understanding the infrastructural dimensions that define the production, circulation, and consumption of mahogany becomes an urgent area of inquiry in contexts where many inequalities are masked by the fetishisms of musical culture, where the regions in which this wood is cultivated are marked by colonial and neocolonial encounters, and where the trees themselves are threatened by overexploitation and extinction. Swietenia macrophylla is a species of tree that is indigenous to the Americas and conventionally known as Honduran mahogany. It became a desired tropical wood in colonial North America and Britain during the eighteenth and nineteenth centuries, favored as it was by shipbuilders, cabinetmakers, and furniture workers. 1 Such high demand led to the rapid demise of one of the main species of mahogany used for these purposes (Caribbean Swietenia mahagoni), and so the supply chain shifted to a type of Honduran mahogany that grows in a region stretching from southern Mexico to lowland South America. By the late twentieth century, this native mahogany was also in decline as a result of deforestation and illegal harvesting, which landed the tree on the Convention on International Trade in Endangered Species (CITES) list. Thus, at the dawn of the twenty-first century there emerged a new player in the timber market: mahogany grown on plantations in Fiji. This mahogany eventually became known as a particular global brand of wood: Fiji Pure Mahogany. Fiji Pure Mahogany thus arose not only as a supply chain substitute but as a deliberate marketing tool and a means of bypassing certain difficulties surrounding the exportation and international trade of endangered species.

Ecomusicology is an emerging subfield, which fuses the discipline of ecocriticism with musicology; it considers the interconnections between music, culture, and nature by exploring the cultural meaning of music in relation to nature and of nature in relation to music. Ecomusicology presents potential in raising awareness about critical environmental issues through music’s lens, bridging the many gaps between arts and sciences, nature and culture, human and nonhuman sound worlds, and considering music and sound in supporting sustainability through the concept of aesthetics.
The first step toward sustainability is to care for the world in which we live—a world full of beautiful landscapes that we want to preserve for both the present and future generations. Music has the ability to achieve this step though the aesthetics of a place’s spirit it tries to capture in the aural sphere. In essence, music can give meaning to a place by translating its uniqueness into sound either by imitating—in other words, representing a place’s natural sounds through instrumentation—or incorporating directly its sounds, such as whale songs for example. 
Philosophers of aesthetics have argued that instrumental music is not representational in the same way as words are. In his book Ecomusicology: Rock, Folk, and the Environment, author Mark Pedelty provides his stance on instrumental music, stating that symphonic compositions are less denotative in nature than popular music with lyrical content and therefore, can present more challenges when used to promote sustainability. This paper will argue that place-making instrumental music can be just as effective in raising ecological awareness as songs referencing environmental issues in their lyrics—and in some ways, more so. Compositions that imitate the sounds of nature with wind and string instruments such as Beethoven’s Pastoral Symphony and John Luther Adams’ Songbirdsongs, can evoke strong emotions in the listener, leaving ample space and time to access the imagination and draw from one’s individual and cultural memory, while the lyrics in place-making pieces such as Woodie Guthrie’s This Land is your Land and Pete Seeger’s Sailing up My Dirty Stream can be manipulated and interpreted in ways other than the artist’s intention, ultimately undermining environmental advocates’ efforts.

An exploration of connections between pinkillu flute music of the Bolivian Andes and recorders introduced from Europe in the sixteenth century. This case study explores how the sounds of pinkillu flutes are linked to those produced by llamas and how these sounds are in turn linked to contemporary and early colonial ideas llama fertility/reproduction.

This is a 2017 revision of my 2015 keynote address to the "Transforming Ethnomusicology" joint SEM-ICTM forum in Limerick, Ireland. A sound economy is characteristic of a sound community based in the co-presence of sound experience. A sound, well-integrated, egalitarian and participatory community will display a sound economy. A sound economy rests in interdependence, both embodied and represented in sound vibration, presence, co-presence, communication, and community. Here the common good is not the sum of private goods, but rather the emergent good of the social group and its environment as a whole, which requires balancing individual wants with group goods and at times requires that individuals refrain from maximizing personal wealth in order that the common wealth may increase.

Ethnomusicological institutions transform traditional Zimbabwean musics into
what is practiced in North America and understood by thousands as “Shona music.”
This process produces a false narrative within North America of endangered and
scarce traditional Zimbabwean musical practices, and these ends serve neocolonial
imaginings of the need and right for white stewardship over and charity towards
traditional Zimbabwean music(ians). Such a history strikingly reflects dominant
and reductive North American settler conceptions of the wilderness, national
parks and Indigenous peoples as ecologically vulnerable and in need of protection.
Though this process has also fostered a worthy musical bond between Africans and
North Americans, it has come at the expense of unfettered economic, artistic and
political agency for Zimbabwean musicians and instrument builders who transact
their traditional musics internationally. Working towards an anti-oppressive, ethnographic, ecocritical and ecomusicological approach to interpreting the phenomenon of North American Zimbabwean music, this article addresses the proposal that North America could be an archive for scarce authentic traditional Zimbabwean musics.

Les institutions ethnomusicologiques transforment les musiques traditionnelles
du Zimbabwe en ce qui est pratiqué et reconnu par des milliers, en Amérique du
Nord, comme « Musique Shona ». Ce processus produit, en Amérique du Nord,
un récit erroné des pratiques musicales traditionnelles du Zimbabwe en voie de
disparition et nourrit l’imaginaire néocolonial sur le besoin et la légitimité d’une
intendance blanche et de charité envers les musiciens et les musiques traditionnelles
du Zimbabwe. Une telle histoire souligne les conceptions dominantes et
réductives associées à la mentalité coloniale en Amérique du Nord. Les espaces
naturels et sauvages, les parcs nationaux et les peuples autochtones sont considérés
comme étant écologiquement vulnérables et ayant besoin d’être protégés. Bien que
ce processus ait créé un lien musical louable entre Africains et Nord-Américains, il
s’est développé au détriment du libre-arbitre économique artistique et politique des musiciens et des luthiers zimbabwéens qui ouvrent leurs musiques traditionnelles
à l’international. En développant une approche anti-oppressive, ethnographique,
écocritique et écomusicologique pour interpréter le phénomène de la musique zimbabwéenne nord-américaine, cet article aborde la question de la constitution d’une
archive des musiques authentiques traditionnelles rares du Zimbabwe, en Amérique
du Nord.

Nature has always inspired musicians and scholars. Through the imagery of nature, the basic issues of life and mental landscapes are explored and expressed. Music can reflect our experience of nature and create a sense of belonging to an environment or place. Naturalness has often served as an ideal in composing, and even the whole universe has been thought of to be composed of and reverberating musical ratios.

In the age of environmental crisis, the relationship between music and nature emerges in a new light. An environmental concern can be heard in music. The challenges of ecological sustainability are shaping music culture and music research.

This book explores these issues by studying the relationship between music/sound and nature from today’s perspective. Simultaneously the book presents the field of ecomusicology, i.e. ecocritical music research. The authors are Finnish scholars of music and culture.

ABSTRACT IN FINNISH

Luonto innoittaa musiikin tekijöitä ja tutkijoita. Luontokuvastolla ilmennetään elämän peruskysymyksiä ja sielunmaisemia. Musiikki voi kuvastaa luontokokemusta ja luoda tunteen ympäristöön tai paikkaan kuulumisesta. Luonnollisuus on usein ollut säveltämisen ihanne, ja onpa koko maailmankaikkeudenkin epäilty soivan musiikillisia lukusuhteita.

Ympäristökriisin aikakaudella musiikin ja luonnon suhde näyttäytyy uudessa valossa. Musiikissa kuuluu ympäristöhuoli. Ekologisen kestävyyden haasteet muokkaavat musiikkikulttuuria ja musiikintutkimusta.

Musiikki ja luonto paneutuu näihin kysymyksiin. Se pohtii musiikin ja äänen suhdetta luontoon nykypäivän näkökulmasta. Samalla se esittelee ekomusikologiaa eli ekokriittistä musiikintutkimusta. Kirjoittajat ovat musiikin ja kulttuurin tutkijoita.