Sustainability in the Music Library

This innovative book and CD, assembled by the editors of the renowned periodical Terra Nova, is the first anthology published on the subject of music and nature. Lush and evocative, yoking together the simplicities and complexities of the world of natural sound and the music inspired by it, this collection includes essays, illustrations, and plenty of sounds and music. The Book of Music and Nature celebrates our relationship with natural soundscapes while posing stimulating questions about that very relationship. The book ranges widely, with the interplay of the texts and sounds creating a conversation that readers from all walks of life will find provocative and accessible. The anthology includes classic texts on music and nature by 20th century masters including John Cage, Hazrat Inrayat Khan, Pierre Schaeffer, Rainer Maria Rilke, and Toru Takemitsu. Innovative essays by Brian Eno, Pauline Oliveros, David Toop, Hildegard Westerkamp and Evan Eisenberg also appear. Interspersed throughout are short fictional excerpts by authors Rafi Zabor, Alejo Carpentier, and Junichiro Tanazaki. The compact disc includes fifteen tracks of music made out of, or reflective of, natural sounds, ranging from Babenzele Pygmy music to Australian butcherbirds, and from Pauline Oliveros to Brian Eno.

Can musicians really make the world more sustainable? Anthropologist Mark Pedelty, joined an eco-oriented band, the Hypoxic Punks, to find out. In his timely and exciting book, Ecomusicology, Pedelty explores the political ecology of rock, from local bands to global superstars. He examines the climate change controversies of U2's 360 Degrees stadium tour—deemed excessive by some—and the struggles of local folk singers who perform songs about the environment. In the process, he raises serious questions about the environmental effects and meanings on music.

Ecomusicology examines the global, national, regional, and historical contexts in which environmental pop is performed. Pedelty reveals the ecological potentials and pitfalls of contemporary popular music, in part through ethnographic fieldwork among performers, audiences, and activists. Ultimately, he explains how popular music dramatically reflects both the contradictions and dreams of communities searching for sustainability.

The soundscape--a term coined by the author--is our sonic environment, the ever-present array of noises with which we all live. Beginning with the primordial sounds of nature, we have experienced an ever-increasing complexity of our sonic surroundings. As civilization develops, new noises rise up around us: from the creaking wheel, the clang of the blacksmith's hammer, and the distant chugging of steam trains to the "sound imperialism" of airports, city streets, and factories. The author contends that we now suffer from an overabundance of acoustic information and a proportionate diminishing of our ability to hear the nuances and subtleties of sound. Our task, he maintains, is to listen, analyze, and make distinctions. As a society we have become more aware of the toxic wastes that can enter our bodies through the air we breathe and the water we drink. In fact, the pollution of our sonic environment is no less real. Schafer emphasizes the importance of discerning the sounds that enrich and feed us and using them to create healthier environments. To this end, he explains how to classify sounds, appreciating their beauty or ugliness, and provides exercises and "soundwalks" to help us become more discriminating and sensitive to the sounds around us. This book is a pioneering exploration of our acoustic environment, past and present, and an attempt to imagine what it might become in the future.

Sounds, Ecologies, Musics poses exciting challenges and provides fresh opportunities for scholars, scientists, environmental activists, musicians, and listeners to consider music and sound from ecological standpoints. Authors in Part I examine the natural and built environment and how music and sound are woven into it, how the environment enables music and sound, and how the natural and cultural production of music and sound in turn impact the environment. In Part II, contributors consider music and sound in relation to ecological knowledges that appear to conflict with, yet may be viewed as complementary to, Western science: traditional and Indigenous ecological and environmental knowledges. Part III features multidisciplinary and interdisciplinary approaches by scholars, scientists, and practitioners who probe the ecological imaginary regarding the complex ideas and contested keywords that characterize ecomusicology: sound, music, culture, society, environment, and nature. A common theme across the book is the idea of diverse ecologies. Once confined to the natural sciences, the word "ecology" is common today in the social sciences, humanities, and arts - yet its diverse uses have become imprecise and confusing. Engaging the conflicting and complementary meanings of "ecology" requires embracing a both/and approach. Diverse ecologies are illustrated in the methodological, terminological, and topical variety of the chapters as well as the contributors' choice of sources and their disciplinary backgrounds. In times of mounting human and planetary crises, Sounds, Ecologies, Musics challenges disciplinarity and broadens the interdisciplinary field of ecomusicologies. These theoretical and practical studies expand sonic, scholarly, and political activism from the diversity-equity-inclusion agenda of social justice to embrace the more diverse and inclusive agenda of ecocentric ecojustice.

Greening the College Curriculumprovides the tools college and university faculty need to meet personal and institutional goals for integrating environmental issues into the curriculum. Leading educators from a wide range of fields, including anthropology, biology, economics, geography, history, literature, journalism, philosophy, political science, and religion, describe their experience introducing environmental issues into their teaching.The book provides: a rationale for including material on the environment in the teaching of the basic concepts of each discipline guidelines for constructing a unit or a full course at the introductory level that makes use of environmental subjects sample plans for upper-level courses a compendium of annotated resources, both print and nonprint Contributors to the volume include David Orr, David G. Campbell, Lisa Naughton, Emily Young, John Opie, Holmes Rolston III, Michael E. Kraft, Steven Rockefeller, and others.

In an age when human depredation has severely damaged the earth and the delicate balance of life thereon, the task of poets writing about nature has become vastly more complex, fraught with the sometimes conflicting demands of aesthetics and of political and ethical responsibilities unimagined by their Romantic predecessors. In Greening the Lyre, David W. Gilcrest offers a richly insightful analysis of contemporary environmental poetry informed by a keen knowledge of psychology, linguistics, epistemology, rhetoric, and recent literary theory. If one of the roles of poetry is to make life better and understanding more profound, how is the poet to discuss the natural world in the face of environmental devastation and extraordinary rates of extinction? How can art alter the path of a culture bent on destruction? Using careful analyses of works by A. R. Ammons, Wallace Stevens, Adrienne Rich, Charles Wright, Robert Frost, and others as the foundation of his discussion, Gilcrest examines both the power of poetry to help humanity re-envision its relationship to the nonhuman world and its limitations in achieving this awesome role. Greening the Lyre is literary criticism at its most relevant, exploring the borderland between art and politics, between aesthetics and survival. Ultimately, Gilcrest suggests, a ""skeptical environmental poetics"" must develop an awareness of an evolving world that lies beyond the grasp of language, an understanding that language alone cannot fully define what is most precious in the world of wilderness, the ineluctable mystery of all living things.

On Active Grounds considers the themes of agency and time through the burgeoning, interdisciplinary field of the environmental humanities. Fourteen essays and a photo album cover topics such as environmental practices and history, temporal literacy, graphic novels, ecocinema, ecomusicology, animal studies, Indigeneity, wolf reintroduction, environmental history, green conservatism, and social-ecological systems change. The book also speaks to the growing concern regarding environmental issues in the aftermath of the 2015 Paris Climate Conference (COP21) and the election of Donald Trump in the United States. This collection is organized as a written and visual appeal to issues such as time (how much is left?) and agency (who is active? what can be done? what does and does not work?). It describes problems and suggests solutions. On Active Grounds is unique in its explicit and twinned emphasis on time and agency in the context of the Environmental Humanities and a requisite interdisciplinarity.

THE CLASSIC THAT LAUNCHED THE ENVIRONMENTAL MOVEMENT "Rachel Carson is a pivotal figure of the twentieth century...people who thought one way before her essential 1962 book Silent Spring thought another way after it."--Margaret Atwood Rarely does a single book alter the course of history, but Rachel Carson's Silent Spring did exactly that. The outcry that followed its publication in 1962 forced the banning of DDT and spurred revolutionary changes in the laws affecting our air, land, and water. Carson's passionate concern for the future of our planet reverberated powerfully throughout the world. As Carson reminds us, "In nature, nothing exists alone."  The introduction by the acclaimed biographer Linda Lear, author of Rachel Carson: Witness for Nature, tells the story of Carson's courageous defense of her truths in the face of a ruthless assault form the chemical industry following the publication of Silent Spring and before her untimely death. "Wonder and humility are just some of the gifts of Silent Spring. They remind us that we, like all other living creatures, are part of the vast ecosystems of the earth of the earth...this is a book to relish: not for the dark side of human nature, but for the promise of life's possibility." --from the Introduction

An indispensable study of the music of Altai-Sayan peoples Based on more than twenty years of collaborative research, Carole Pegg's long-awaited participatory ethnography explores how Indigenous nomadic peoples of Russia's southern Siberian republics (Altai, Khakassia, Tyva) sound multiphonies of place in a post-Soviet global world. Inspired by the mountain-steppe ecology and pathways of nomadism, soundscapes created in performative ritual events cross political and multiple-world boundaries in a shamanic-animist universe, enabling human and spirit actor interactions in a series of sensuous worlds. As with the "throat-singing" for which Indigenous Altai-Sayan peoples are famous, senses of place involve sonic relations, rootedness, movement, and plurality. Pegg echoes their drone-partials musical and ontological models in an innovative theoretical entwinement. Three strands form the book's multivocal drone, the partials of which sound in each chapter: ontological sonicality and musicality that enables emplacement and movement; the importance of shamanism-animism--at the core of Indigenous spiritual practices--for personhood and community; and the agency of sonic performances. Sounding place, Pegg demonstrates, is essential to the identities, ways of life, and very senses of being of Indigenous Altai-Sayan peoples.

A music researcher's quest to discover other musical species.Even those of us who can't play a musical instrument or lack a sense of rhythm can perceive and enjoy music. Research shows that all humans possess the trait of musicality. We are a musical species-but are we the only musical species? Is our musical predisposition unique, like our linguistic ability? In The Evolving Animal Orchestra, Henkjan Honing embarks upon a quest to discover if humans share the trait of musicality with other animals.Charles Darwin believed that musicality was a capacity of all animals, human and nonhuman, with a clear biological basis. Taking this as his starting point, Honing-a music cognition researcher-visits a series of biological research centers to observe the ways that animals respond to music. He has studied scientists' accounts of Snowball, the cockatoo who could dance to a musical beat, and of Ronan, the sea lion, who was trained to move her head to a beat. Now Honing will be able to make his own observations.Honing tests a rhesus monkey for beat perception via an EEG; performs a listening experiment with zebra finches; considers why birds sing, and if they intend their songs to be musical; explains why many animals have perfect pitch; and watches marine mammals respond to sounds. He reports on the unforeseen twists and turns, doubts, and oversights that are a part of any scientific research-and which point to as many questions as answers. But, as he shows us, science is closing in on the biological and evolutionary source of our musicality.