Syntagms and paradigms in zoomusicology

Mâche, François-Bernard

doi:10.1080/07494469700640191

Cited by 5 publications

(3 citation statements)

References 1 publication

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“…Understanding music as a widespread phenomenon in several living species outside of the human, Mâche calls into question the definition of music, and more broadly of culture, as well as the idea that we have of the animal itself (F. B. Mâche 1997). There is of course the question whether sonic utterances are really "music", in the sense of entertainment, play, aesthetical pleasure, or some kind of "communication" code, posited by evolutionary biologists (Titon 2019).…”

Section: Interdisciplinary Considerations For Music Ecologiesmentioning

confidence: 99%

The soundscape of Anthropocene

Talianni¹

2020

airea

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Recently, much attention has been paid to the many different forms of collaborative or participatory practice both within, and out with the academy; from practice-based research to theoretical contributions and artistic experimentations. In terms of acoustemology as described by Steven Feld, the creative processes of collaborative soundscaping practices, developed as dialogic editing, produce theories of sound as knowledge production. Within this trend of doing anthropology in sound, sound art works aim to reconnect communities to the environment and indicate the emergence and presence of an ecological and aesthetic co-evolution. Such projects, in fostering interdisciplinary approaches, allow the development of hybrid types of knowledge through dialogic exchanges, and engage multiple agents by developing audile techniques. They also raise interesting questions within collaborative and interdisciplinary creative practice, in relation to the critical examination of the instrumentality of collaboration. By focusing on field recordings and soundscape compositions this paper discusses ecological sound art works that use collaborative creativity, new technologies, and phenomenological listening, to produce dialogic and collaborative forms of epistemic and material equity. These sound art works are the result of complex expressions of creative processes that involve multiple agents, while successfully voice their authorial presence. The interdisciplinary, collaborative and open-ended nature of these projects brings forward the social and political dimension of sound and listening, which could figure in more collaborative forms of knowledge production and inspire climate action.

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Section: Interdisciplinary Considerations For Music Ecologiesmentioning

confidence: 99%

The soundscape of Anthropocene

Talianni¹

2020

airea

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“…Currently active zoomusicologists include Martinelli (2002Martinelli ( , 2008, who draws on his background as a musicologist and semiotician to develop zoomusicological methodologies; Taylor (2011Taylor ( , 2013Taylor ( , 2017, who brings her experience as a composer and performer to a long-term study of the song of the pied butcherbird (Cracticus nigrogularis), and of animal musicality in general; Rothenberg (2005Rothenberg ( , 2010Rothenberg ( , 2013Rothenberg ( , 2016Rothenberg ( , 2019, who explores the connection between non-human animal songs and human music through philosophical writing and performance (Rothenberg et al, 2014); and South (2020), who combines musical and scientific approaches to the study of humpback whale (Megaptera novaeangliae) song. Introductions to zoomusicology as a field include texts and online resources by Mâche (1997), Martinelli (2001), Taylor (2012a,b), Keller (2012), and Doolittle and Gingras (2015). Related research may also sometimes be described as "biomusicology" (Wallin et al, 1999), "ecomusicology" (Allen, 2011), or "multispecies ethnomusicology" (Silvers, 2020), or conducted under the auspices of more traditional academic fields.…”

Section: Zoomusicologymentioning

confidence: 99%

“Hearken to the Hermit-Thrush”1: A Case Study in Interdisciplinary Listening

Doolittle

2020

Front. Psychol.

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Birdsong is widely analysed and discussed by people coming from both musical and scientific backgrounds. Both approaches provide valuable insight, but I argue that it is only through combining musical and scientific points of view, as well as perspectives from more tangentially related fields, that we can obtain the best possible understanding of birdsong. In this paper, I discuss how my own training as a musician, and in particular as a composer, affects how I listen to and parse birdsong. I identify nine areas of overlap between human music and birdsong, which may serve as starting points both for musical and scientific analysis, as well as for interdisciplinary analysis as practiced in the developing field of “zoomusicology.” Using the hermit thrush (Catharus guttatus) as an example, I discuss how the song of a single species has been described by writers from a variety of disciplines, including music, literature, and the sciences, as well as how we can contextualise these varied perspectives in terms of broader cultural thought trends. I end with discussion of how combining approaches from multiple fields can help us to figure out new questions to ask, can help us identify how our own cultural biases may affect how we hear birdsong, and ultimately can help us develop richer and more nuanced understandings of the songs themselves.

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“…He referred to his own use of the technique as 'phonography' . 110 In contrast to Murail's 'indirect' use of natural sounds that intentionally does not preserve recognizability, 111 Mâche emphasizes the mimetic aspects of his engagement with natural sounds, and states that 'by abandoning the cult of notation in order to enjoy a reunion with sound, one must be careful not to substitute a new acoustic formalism for the old formalism of signs' . 112 Here Mâche identifies himself as being more concerned with 'sounds of nature' rather than the 'nature of sound' .…”

Section: Mimetic Instrumental Resynthesis and François-bernard Mâchementioning

confidence: 99%

Spectral Music and the Appeal to Nature

O'callaghan¹

2018

Twentieth-Century Music

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Discourse surrounding spectral music frequently makes reference to nature and related language. Practitioners, theorists, and musicologists have discussed different aspects and perspectives on the idea of nature in the relation to this music and it is not always clear that these terms are used in the same way. This article examines the different meanings of ‘nature’ applied to various concepts and techniques in spectral music, the extent to which these descriptors may be misleading, and the cultural context and possible motivations for the use of this kind of rhetoric. Through a discussion of the derivation structure in spectral music, a focus on human perception, metaphorical references to nature, the rhetoric surrounding the harmonic series and instrumental (re)synthesis, and finally mimetic references to nature in music using spectral techniques (including a discussion of the music of François-Bernard Mâche), the article endeavours to provide a thorough survey of the subject.

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Syntagms and paradigms in zoomusicology

Cited by 5 publications

References 1 publication

The soundscape of Anthropocene

The soundscape of Anthropocene

“Hearken to the Hermit-Thrush”1: A Case Study in Interdisciplinary Listening

Spectral Music and the Appeal to Nature

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