Musical ecologies of place and placelessness

Journal of the American Musicological Society

Volumn 64, Issue 2, 2011, Pages 404-408

  Watkins, Holly ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 80051958808     PISSN: 00030139     EISSN: None     Source Type: Journal    
DOI: 10.1525/jams.2011.64.2.404     Document Type: Article

References (22)

1. Schumann, On Music and Musicians, 109-10.
2. Forman, The 'Hood Comes First, 2.
3. In addition to Forman's The 'Hood Comes First, see, for example, Biddle and Knights, Music, National Identity and the Politics of Location;
4. Whiteley, Bennett, and Hawkins, Music, Space and Place;
5. Connell and Gibson, Sound Tracks;
6. Bennett, Popular Music and Youth Culture;
7. Bennett and Peterson, Music Scenes;
8. Gerhard, Urbanization of Opera;
9. Von Glahn, Sounds of Place;
10. Levy, Frontier Figures;
11. and Watkins, "Schoenberg's Interior Designs."
12. Applegate, "Music in Place."
13. I borrow "narratives of locality" from Bennett, who applies it not to musical works but to young people's narrativization of place, in which music often plays a role; Popular Music and Youth Culture, 66.
14. Grimley, Grieg: Music, Landscape and Norwegian Identity, 57.
15. Clarke, Ways of Listening, 5.
16. See, for example, Hatten, "Musical Agency as Implied by Gesture and Emotion."
17. Wackenroder, "Characteristic Inner Nature of the Musical Art," 193.
18. Schafer, "Music and the Soundscape," 59.
19. Watkins, "The Pastoral After Environmentalism."
20. On the range of distinctions critics have made between place and space, see Forman, 'Hood Comes First, 25-31;
21. and Agnew, "Space: Place."
22. Westerkamp, "Speaking from Inside the Soundscape," 147.