Influenced by other disciplines such as ecocriticism, ecomusicology is primarily concerned with “how art reflects, relates to, or relies on nature” (Allen 2001, 391). Since “particular attention is given to music created explicitly with some ‘environmental’ or ‘ecological’ purpose or context” ecomusicology considers the relationship of natural sounds, their similarity to other sounds and how they are produced, transformed and create meaning (Harley 1996). Furthermore, ecomusicology “seeks to emphasize the dependence of musical creativity on the auditory environments” and this is “noticeable in cultures of low level of technological development, where people spend much time outdoors, listening and singing under an open sky” (Harley 1996, 6). With this in mind, what can be said of composers who intentionally incorporate sounds of the environment into their music? Those composers who are privileged to use technology to their advantage and are not necessarily spending their lifetime outdoors? What do their musical choices and compositions tell us? About their environment? About cultural thought? In an attempt to address these questions, I will examine Canadian composer, musician and producer Jon Grant’s compositional process. Having spent many years abroad, Grant now composes songs that depict the sonic realities he faced while living in Viet Nam. In his compositions or “musical postcards,” Grant recalls places and sounds by utilizing his electric guitar, drums, flutes and ambient sounds. The previous questions will be addressed in hopes of bridging the gap between music ecology’s focus “on the music’s connection to our planet’s life” (Harley 1996, 5). This will be accomplished through an ecological approach and “by recognizing mimetic imitation of elements of natural soundscapes in music, and by tracing inspirations with environmental processes and phenomena” (Harley 1996, 5).
Bibliography:
Allen, Aaron. 2011. “Ecomusicology: Ecocriticism and Musicology.” American Musicological Society 64 [2]: 391-394.
http://www.jstor.org/stable/10.1525/....
Harley, Maria Anna. 1996. “Notes on Music Ecology: As A New Research Paradigm.” World Forum for Acoustic Ecology.
http://wfae.proscenia.net/library/ar...
harly_paradigm.pdf (accessed March 15, 2013).
About the presenterRaj Shobha Singh
Raj Singh, PhD, is a music researcher in the Don Wright Faculty of Music at Western University. Her interests include critical Indigenous theory, Indigenous methodologies and Indigenous modernity. Her current work examines how Inuit musicians combine traditional and contemporary forms of music to include new realms of lived experiences. Moreover, her work with Inuit hip hoppers interrogates the intersections between gender, identity, and race as they relate to individual and communal notions of belonging.