Conference (4)
#1
THE SOUND LANDSCAPES OF ARCTIC
The aim of this study is to focus on the fundamental role of the natural environment
and geographical factors in the emergence and development of musical thinking, ideas and
intonation among the indigenous peoples of the Arctic. The study introduces the concept
of Sound Landscapes of Arctic as a novel methodological approach in the area of Siberian
studies for application in research fields such as ethnomusicology and arts history.
The concept of Sound Landscapes of Arctic has been developing since 2014 in Arctic State
Institute of Culture and Arts, Department of Art History by Yuriy Sheikin,
Oksana Dobzhanskaya, Vera Nikiforova, Tatiana Ignatieva and other ethnomusicologists.
Several books and many scientific articles have been devoted to the scientific discussion
of this concept. The Arctic is one of the quietest places on Earth, where the sound
sensitivity to the acoustics of nature has been always heightened. This is reflected in
the musical folklore of peoples inhabiting the Arctic. The authors explicate the concept
of sound landscape as a complex phenomenon comprised of several layers: the intonational
interaction with nature (i.e. the ways in which voices of nature are embedded in sounds
and understood in rites and folklore); the projection of human personality onto the outer
world (as reflected in epics or rituals); and the use of imitative phono-instruments.
The author argue that the approach elaborated enables researchers to see and examine the
elusive sonic aspects of culture that have often remained unnoticed.
Continue...
The aim of this study is to focus on the fundamental role of the natural environment and geographical factors in the emergence and development of musical thinking, ideas and intonation among the indigenous peoples of the Arctic. The study introduces the concept of Sound Landscapes of Arctic as a novel methodological approach in the area of Siberian studies for application in research fields such as ethnomusicology and arts history. The concept of Sound Landscapes of Arctic has been developing since 2014 in Arctic State Institute of Culture and Arts, Department of Art History by Yuriy Sheikin, Oksana Dobzhanskaya, Vera Nikiforova, Tatiana Ignatieva and other ethnomusicologists. Several books and many scientific articles have been devoted to the scientific discussion of this concept. The Arctic is one of the quietest places on Earth, where the sound sensitivity to the acoustics of nature has been always heightened. This is reflected in the musical folklore of peoples inhabiting the Arctic. The authors explicate the concept of sound landscape as a complex phenomenon comprised of several layers: the intonational interaction with nature (i.e. the ways in which voices of nature are embedded in sounds and understood in rites and folklore); the projection of human personality onto the outer world (as reflected in epics or rituals); and the use of imitative phono-instruments. The author argue that the approach elaborated enables researchers to see and examine the elusive sonic aspects of culture that have often remained unnoticed.
June, 11 2022 (Saturday) 11:45 (UTC+3)
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Zoom + Live on YouTube Channel of Hisarlı Ahmet Symposium
#2
GLOBAL ECOMUSICOLOGIES
Ecomusicology considers the varied connections between music, culture, and nature in a period of
environmental crisis. As an interdisciplinary field of scholarship that moves music and sound studies
away from an exclusionary anthropocentrism and towards a more embracing ecocentrism, ecomusicology can
be an activist, political endeavor as well as a poetic, intellectual one. There are many ways to connect
sonic, social, and environmental matters for various issues and topics. Rather than a discipline or methodology,
then, ecomusicology is best understood as a plurality: as ecomusicologies. But even with such an inclusive,
Earth-centered approach, ecomusicology risks becoming another problematic Occidental export — one that could
become as toxic as Western neoliberalism or wilderness-fetishizing environmentalism. After providing an overview
to ecomusicology, and with encouragement from “diverse environmentalisms,” I propose a “global ecomusicologies”
to allow the variegated and multiperspectival natures of ecomusicologies to flourish in different contexts — while
still being situated to help make a difference.
Continue...
Ecomusicology considers the varied connections between music, culture, and nature in a period of environmental crisis. As an interdisciplinary field of scholarship that moves music and sound studies away from an exclusionary anthropocentrism and towards a more embracing ecocentrism, ecomusicology can be an activist, political endeavor as well as a poetic, intellectual one. There are many ways to connect sonic, social, and environmental matters for various issues and topics. Rather than a discipline or methodology, then, ecomusicology is best understood as a plurality: as ecomusicologies. But even with such an inclusive, Earth-centered approach, ecomusicology risks becoming another problematic Occidental export — one that could become as toxic as Western neoliberalism or wilderness-fetishizing environmentalism. After providing an overview to ecomusicology, and with encouragement from “diverse environmentalisms,” I propose a “global ecomusicologies” to allow the variegated and multiperspectival natures of ecomusicologies to flourish in different contexts — while still being situated to help make a difference.
June, 9 2022 (Thursday) 21:00 (UTC+3)
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Zoom + Live on YouTube Channel of Hisarlı Ahmet Symposium