Class Syllabus

Syllabus for Roster(s):

Soundscapes Syllabus

MUSI 4519 – Soundscapes: music and the environment

Fall 2016

Mon Wed 13:00 – 14:15

Old Cabell Hall S008

Course instructor:

Noel Lobley, Assistant Professor of Music (Critical and Comparative Studies)

Contact: noel.lobley@virginia.edu

Office hours: Wednesdays 14:30 – 16:30 (or by appt.), Wilson 109 (434-297-6987)

SYLLABUS SUBJECT TO REVISION

Definitive version always on Collab

Course description:

Water drumming, desert songlines and honk-horn orchestras. Microphones, sound archives, and melting glaciers. Resonant rainforests, acoustic niche theory, and inter-species music-making. How do people, music and sound express, conserve and perform the environment? Combining interdisciplinary approaches from ecomusicology, soundscape ecology, sensory ethnography and composition, we will consider why studying contemporary and historical soundscapes through the lenses of heritage, conservation, sustainability and activism links us to some of the biggest threats to the environment today.

No prior musical experience is required.

Thematic Course Questions

Through a wide-ranging variety of literature, case studies, audio-visual sources and deep listening exercises our course will address the following three broad thematic areas of investigation:

Course questions  

• Does music and sound have a place?

• What are healthy and unhealthy music and sound environments?

• Can music and sound save environments?

Overview of Topics

I. Soundscapes, Musical Environments and Deep Listening

Week 1: Welcome and introduction: why study soundscapes?
Week 2: Sonic Environments, Noise, and Ear Cleaning
Week 3: Deep Listening and the Sounds of Silence

II. Ecomusicology and Musical Sustainability

Week 4: Music and Nature

Week 5: Ecomusicology, Environmental Studies and Sonic Heritage

Week 6: Salvaging Sounds: recording, broadcasting and remixing soundscapes

III. Composing Environmental Soundscapes

Week 7: Rainforest spirit soundscapes

Week 8: The songs and sounds of water

Week 9: The sounds of industry

IV. The Sounds of Inter-species Music Making

Week 10: Bird song as music

Week 11: Insect rhythms

Week 12: Wild voices and animal orchestras

V. Music and the Sound of Climate Change

Week 13: The Sounds of Deforestation and Desertification

Week 14: Melting Glacial Soundscapes

Week 15: Soundscape ecology, Environmental Sustainability and Deeper Listening

The Return and Onwards

Week 16: What are our future soundscapes?

COURSE MATERIALS

During the semester, we will read and be guided by the following key texts, some of which are available in full online, and all will remain on reserve at the Music library in Old Cabell Hall. I can also order copies of books to buy at the Bookstore according to demand.

Key Books (on reserve at the music library for 3 hour loans)

Feld, S. 1982. Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression. Philadelphia: University of Pennsylvania Press.

Rothenberg, D. 2013. 2013. Bug Music: How Insects Gave us Rhythm and Noise. New York: St. Martin’s Press.

–––––– 2005. Why Birds Sing. New York & London: Allen Lane (an imprint of Penguin)

Schafer, R. Murray. 1993. The Soundscape: our Sonic Environment and the Tuning of the World. Rochester, Vermont: Destiny Books.

Most other reading, listening and viewing materials will be available online, and

there is also a short extra general bibliography at the end of the syllabus. Wherever possible I have uploaded PDFs of relevant chapters or articles to the ‘resources section’ in our Collab site.

Available Online

Ingram, D. 2010. The Jukebox in the Garden: ecocriticism and American popular music since 1960. Amsterdam, New York: Rodopi.

Krause, B. 2016. Wild Soundscapes: discovering the voice of the natural world. New Haven, CT.: Yale University Press.

Pedelty, M. 2011. Ecomusicology: Rock, Folk and the Environment. Philadelphia, Pa.: Temple University Press.

Roseman, M. 1991. Healing Sounds from the Malaysian Rainforest: Temiar Music and Medicine. Berkeley & London: University of California Press.

Rothenberg, D. 2008. Thousand Mile Song: Whale Music in a Sea of Sound. New York: Basic Books.

Rothenberg, D. & M. Ulvaeus (eds.). 2009. The Book of Music and Nature: an anthology of sounds, words, thoughts. Middletown, CT. : Wesleyan University.

Sim, Stuart. 2007. Manifesto for Silence: confronting the politics and culture of noise. Edinburgh: Edinburgh University Press.

Voegelin, S. 2010. Listening to Noise and Silence: towards a philosophy of sound art. New York: Continuum.

Useful Journals

Journal of Sonic Studies

http://sonicstudies.org/

Organized Sound

http://journals.cambridge.org/action/displayJournal?jid=OSO

Soundscape: the journal of acoustic ecology

http://wfae.net/journal/

Sound Effects: an interdisciplinary journal of sound and sound experience

http://www.soundeffects.dk/

Sound Studies: an interdisciplinary journal

http://www.tandfonline.com/toc/rfso20/current

Sounding Out!

https://soundstudiesblog.com/

Useful Websites and Blogs

British Library Sounds

http://sounds.bl.uk/environment/soundscapes

Ecomusicology

http://www.ecomusicology.info/

Environmental Music

http://www.environmentalmusic.org

Sustainable Music

http://sustainablemusic.blogspot.co.uk/

The ClimateMusic Project

http://www.theclimatemusicproject.org/in-the-news/

Wild Sanctuary

http://www.wildsanctuary.com/

World Forum for Acoustic Ecology

http://wfae.net/

Assessments

This semester we will complete three assignments in a range of creative formats: [(i) a deep environmental listening journal, and (ii) a curated soundscape presentation, plus a final project built around your own preferred topics and interests.

The first two assignments should be approximately 2000 words in length. For the final project (approx. 3000 words, depending on the chosen format) you will be asked to identify a specific topic/ idea/ series of case studies that will enable you to explore some of the major themes of our course.

Please discuss your ideas for your final paper with me during early November – I will schedule short one to one meetings so we can update on progress and plan ahead individually and collectively. I encourage you all to propose possible alternative creative formats for your final paper, which need not be, but also certainly can be, a standard written paper. Collaborations with other students, for example, are always welcomed.

Course work will be assessed on the following basis:

30% Participation (including attendance, timeliness of submissions, and overall engagement)

30% Written assessments count as 15% each [(i) a deep listening journal, and (ii) a curated sound presentation]

40% Final project broadly addressing the question ‘What and how do soundscapes communicate about the environment?’ [due in the last week of the semester]

Key Assessment Deadlines

1. First Written Assignment [Week 5]: a deep environmental listening journal entry based on an identified sound environment, space or walk – due by 17:00 Friday 23^rd September [Approximately 2000 words]

2. Second Assignment [Week 10]: a curated soundscape presentation – due by 17:00 Friday 28^th October [Approximately 2000 words, depending on format.]

3. Third Written Assignment [Week 16]: Final Paper or project broadly answering the question ‘What and how do soundscapes communicate about our environments?’ – due by 17:00 Friday 9^thDecember [Approximately 3000 words, depending on the format]

Course attendance and participation

As this course is a 4000 level seminar, participation in class discussions will be particularly important. Attendance and respectful participation are expected. More than two unexcused absences from class will adversely affect the final grade.

Course policies

No late assignments will be accepted without very good reason. It is always best to advise me in advance if you anticipate any problems meeting deadlines.

Please remember to turn off all cell phones during class. In general, no emailing or social media use is allowed during class. However, in most seminars I will invite us all to conduct brief research in class using our devices.

Honor

I trust every student in this course to comply with all of the provisions of the UVA honor system. You must pledge and sign your three written assignments. Your signature on the papers affirms that they represent your original work, and that any sources you have quoted, paraphrased, or used extensively in preparing the paper have been properly credited in the footnotes or bibliography.

COURSE OUTLINE

I. SOUNDSCAPES, MUSICAL ENVIRONMENTS AND DEEP LISTENING

Week 1 : Welcome and introduction

Class 1: Wednesday 24^th August

Introduction – Scope of the course: what are soundscapes and musical environments?

Key questions:

i. Why study soundscapes?

ii. What methods can we use to study soundscapes?

iii. What, how and where do soundscapes communicate?

You Tube Playlist for Class 1

https://www.youtube.com/playlist?list=PLuoiSwM3103SUjkSC8qfF5qVVi5eG1rD2

Week 2: Sonic Environments, Noise, and Ear Cleaning

Classes 2-3: Monday 29^th & Wednesday 31^st August

Key Questions:

1. What are soundscapes and how do we experience them?

2. What is noise?

3. What is ear cleaning?

Required Preparation:

Schafer, R. Murray. 1993. The Soundscape: our Sonic Environment and the Tuning of the World. Rochester, Vermont: Destiny Books.

[Read ‘Introduction’ and ‘Part One – First Soundscapes’ (pp. 3-67)]

Voegelin, S. 2010. Listening to Noise and Silence: towards a philosophy of sound art. New York: Continuum. [available online via Virgo]

[Ch. 2 ‘Noise’ (pp. 41-76) and Chapter 3 ‘Silence’ (pp. 77- 121)

Recommended Resource

A lecture by Murray Schafer, including compositions

https://interfaz.cenart.gob.mx/video/conferencia-magistral-murray-schafer-paisaje-sonoro/

You Tube Playlist for Class 2

https://www.youtube.com/playlist?list=PLuoiSwM3103S-DZoe_gV5pukPRW-8aA_c

You Tube Playlist for Class 3

https://www.youtube.com/playlist?list=PLuoiSwM3103SEzbhHCpANSu9YdAzCdvp6

Week 3: Deep Listening and the Sounds of Silence

Class 4-5: Monday 5^th & Wednesday 7^th September

Key Questions:

1. What is the difference between hearing and listening?

2. What is deep listening?

3. Where is silence?

Required Preparation

Oliveros, P. 2016. ‘A giant of the avant-garde shows us how to listen’, Resident Advisor Exchange Podcast - EX293 (17^th March 2016).

https://www.residentadvisor.net/podcast-episode.aspx?exchange=293

Oliveros, P. 2015. ‘The difference between hearing and listening’, (TEDxIndianapolis, November 2015)

https://www.youtube.com/watch?v=_QHfOuRrJB8

http://paulineoliveros.us/

http://deeplistening.org

Sim, Stuart. 2007. Manifesto for Silence: confronting the politics and culture of noise. Edinburgh: Edinburgh University Press. [Available online via Virgo]

[‘Introduction: The Virtues of Silence: The Politics of Silence’ (pp. 1-16), & ‘Part 1: The Politics and Culture of Noise’ (pp. 19-60)]

You Tube Playlist for Class 4

https://www.youtube.com/playlist?list=PLuoiSwM3103STtg34R8iZhQAIj7VVhEtP

You Tube Playlist for Class 5

https://www.youtube.com/playlist?list=PLuoiSwM3103RsE0JWHd6eAHioSOnZuTF3

II. ECOMUSICOLOGY AND MUSICAL SUSTAINABILITY

Week 4: Music and Nature

Classes 6-7: Monday 12^th & Wednesday 14^th September

Key questions:

1. Does nature understand music?

2. Does music understand nature?

3. What are wild voices and echoes?

Required Reading:

Rothenberg, D. & M. Ulvaeus (eds.). 2009. The Book of Music and Nature: an anthology of sounds, words, thoughts. Middletown, CT. : Wesleyan University Press. [Available Online via Virgo]

[‘Introduction: does nature understand music? (pp. 1-10), plus please choose at least one entry from each of the four sections ‘I. Roots of Listening’, ‘II. Wild Echoes’, ‘III. The Landscape of Sound’ and 'IV. Many Natures, Many Cultures'.]

You Tube Playlist for Class 6 & 7

There is no You Tube Playlist for this week, but please see the resources section for 15 recordings on 'The Disc of Music and Nature' which accompany 'The Book of Music and Nature' by Rothenberg & Ulvaeus. Alernatively, please visit

http://wesscholar.wesleyan.edu/bookofmusicandnature_audio/

Week 5: Ecomusicology, Environmental Studies and Sonic Heritage

Classes 8-9: Monday 19^th & Wednesday 21^st September

Key questions:

1. What is ecomusicology?

2. Where are all the environmental pop songs?

3. Can we hear the ends of nature?

Required Reading:

Guy, N. 2009. ‘Flowing Down Taiwan's Tamsui River: Towards an Ecomusicology of the Environmental Imagination’ in Ethnomusicology 53(2): 218-248

Ingram, D. 2010. The Jukebox in the Garden: ecocriticism and American popular music since 1960. Amsterdam, New York: Rodopi. [Available online via Virgo]

[‘Introduction’ (pp. 11-20), ‘3. Popular Music and Nature’ (pp. 47-58), & ‘4. Ecolistening’ (pp. 59-72)]

Pedelty, M. 2011. Ecomusicology: rock, folk and the environment. Philadelphia, Pa.: Temple University Press. [Available online via Virgo]

[‘Introduction’ (pp. 1-12), & ‘Ch.1. Pop Goes the Planet: global music and the environmental crisis’ (pp. 13-48)]

Plus please browse:

http://www.ecomusicology.info/

You Tube Playlist for Class 8

https://www.youtube.com/playlist?list=PLuoiSwM3103ReTHtF7pWvC7hNVKqpv_Py

You Tube Playlist for Class 9

https://www.youtube.com/playlist?list=PLuoiSwM3103RA3JyWEQsVGIvydF-BGZxr

Week 6: Salvaging Soundscapes: recording, broadcasting and remixing soundscapes

Classes 10-11: Monday 26^th & Wednesday 28th September

Key questions:

1. How can we capture soundscapes?

2. What are sound surveys?

3. What does it mean to listen to, broadcast and archive remote soundscapes?

Required Reading:

Krause, B. 2016. Wild Soundscapes: discovering the voice of the natural world. New Haven, CT.: Yale University Press. [Available online]

[‘Introduction’, plus Chs. 1-5 (pp. 1-83)]

You Tube Playlist for Class 10

https://www.youtube.com/playlist?list=PLuoiSwM3103QcShKU8Wk5RnqtPfztL0GJ

You Tube Playlist for Class 11

https://www.youtube.com/playlist?list=PLuoiSwM3103RaQTntHzti6RtMP8g3Rn_A

III. COMPOSING ENVIRONMENTAL SOUNDSCAPES

Week 7: Rainforest spirit soundscapes

Class 12: Wednesday 5^th October

Key questions:

1. Is a rainforest like a cathedral?

2. What are the sources of rainforest music?

3. When do forest spirits dance?

Required Reading

Roseman, M. 1991. Healing sounds from the Malaysian Rainforest: Temiar music and medicine. Berkeley: University of California Press. [Available online via Virgo]

[Please read at least Chapters 1-3 (pp. 1-79) ['1. Introduction', '2. Concepts of Being', & '3. Becoming a Healer' , plus Ch. 7 'Songs of a Spirited World' (pp. 174-184). The whole book is valuable so feel free to read as far as you can beyond these foundations].

You Tube Playlist for Class 12

No playlist for this class.

Week 8: The songs and sounds of water

Classes 13-14: Monday 10^th &Wednesday 12^th October

Key questions:

1. Who composes with water?

2. Do rivers sing?

3. What does it sound like underwater?

Required Reading

On Monday we will think through some of the relationships between water, music, sound and composition (Q1).

I will give us an introduction to this topic with a wide range of examples.

Preliminary reading for Monday:

Kahn, Douglas. 2001. Noise, Water, Meat: a history sound in the arts. Cambridge, Ma.: The MIT Press.

- please read 'Ch. 9. A Short Art History of Water Sound' (pp. 242-259)

[The PDF is in our resources section on Collab, and whole book is available online via Virgo]

Please also spend some time thinking about where and how music and sound relate to water (there are many ways!), and try and bring two different examples each to contextualise and discuss. In the second half of the semester I will be asking you all to make short presentations on readings and case studies for different topics, so let's start this process this coming week with everyone volunteering their examples of water music/ sound music.

On Wednesday, to build on Monday's introduction we will explore some case studies in more depth (Qs 1, 2 & 3). Please read:

Pinch, T. & K. Bijsterveld (eds.). 2016. The Oxford Handbook of Sound Studies. Oxford: University Press.

- please read 'Underwater Music: tuning composition to the sounds of science' by Stefan Helmreich

[The PDF is in our resources section on Collab, and The Oxford Handbook of Sound Studies is all available online via Virgo]

Plus

Levin, T. 2011. Where Rivers and Mountains Sing: sound, music, and nomadism in Tuva and beyond. Bloomington & Indianapolis: Indiana University Press. [On reserve in the Music Library]

- please read 'Ch. 3. Listening the Tuvan Way' (pp. 45-72), and 'Ch.4. Sound Mimesis' (pp. 73-124)

The above two chapters link well with Marina Roseman's work and will lead us very nicely into the next few weeks as well.

You Tube Playlist for Class 13

https://www.youtube.com/playlist?list=PLuoiSwM3103T6dAY7_qxSzzZB77Pp85ea

You Tube Playlist for Class 14

https://www.youtube.com/playlist?list=PLuoiSwM3103S2ONxLbroX25yufR38lDrc

Week 9: The sounds of industry

Classes 15-16: Monday 17^th & Wednesday 19^th October

Key questions:

1. What are industrial soundscapes?

2. How have they impacted listening and music making?

3. Who controls noise pollution?

Required Preparation

There is no required reading for this week's classes. Please make sure you re-visit your notes, and our PowerPoints and You Tube Playlists as you think through your second assignment, the topic(s) and question(s) that you would like to respond to for your curated sound project. Further criteria for the assignment will be posted after class later this week, and at this stage I would like you to think through how you would like to present your emerging content (whether, for example, as recording, film, You Tube playlist, online blog post, composition or other).

You Tube Playlist for Class 15

https://www.youtube.com/playlist?list=PLuoiSwM3103Sb3d3s3v1qPjbGAUfN35KU

You Tube Playlist for Class 16

https://www.youtube.com/playlist?list=PLuoiSwM3103Rr4eIY3CPXHrDANxN4u_Bu

IV. THE SOUNDS OF INTER-SPECIES MUSIC MAKING

Week 10: Bird song as music?

Classes 17-18: Monday 24^th & Wednesday 26^th October

Key questions:

1. Why do birds sing?

2. Why compose with bird song?

3. Is bird song music?

Required Preparation:

Please watch the BBC Documentary 'Why Bird Sing' (2007) before Monday's class. The 80 minute documentary is available via You Tube (cut into six parts), and I have added it to a You Tube Playlist here:

https://www.youtube.com/playlist?list=PLuoiSwM3103QMnAwoqBBH8oPUiFY90DWD

For Wednesday's class, please read:

Rothenberg, D (et al.). 2013. 'Investigation of Musicality in Birdsong', Hearing Research 308: 71-83).

[Available online via Virgo, or the PDF is in 'Resources']
http://dx.doi.org/10.1016/j.heares.2013.08.016

The main text for this week is on reserve in the Music Library for anyone that has time to explore further. I will guide us through it with further context in class.

Rothenberg, D. 2005. Why Birds Sing. New York & London: Allen Lane (an imprint of Penguin)

You Tube Playlist for Class 17

https://www.youtube.com/playlist?list=PLuoiSwM3103QMnAwoqBBH8oPUiFY90DWD

You Tube Playlist for Class 18

https://www.youtube.com/playlist?list=PLuoiSwM3103TjDOnr15yxfkqmQ-oT0tib

Week 11: Insect rhythms

Classes 19-20: Monday 31^st October & Wednesday 2nd November

Key questions:

1. What are insect soundscapes?

2. Did bugs give us rhythm?

3. What is acoustic niche theory?

Required Preparation:

There is no reading or preparation required for today's class, other than to come with a mind fresh and open to the sounds of insect pulses. We will begin with a plan ahead for the last third of our semester as we head towards deeper listening.

You Tube Playlist for Class 19

https://www.youtube.com/playlist?list=PLuoiSwM3103T892dfU_LpH5n6Rg_HFaGd

You Tube Playlist for Class 20

https://www.youtube.com/playlist?list=PLuoiSwM3103Qghf1KbbVTYQ3jTppZkqXM

Week 12: Wild voices and animal orchestras

Classes 21-22: Monday 7^th & Wednesday 9^thNovember

Key questions:

1. What are geophonies?

2. What do wild voices sound like?

3. What is the great animal orchestra?

Required Preparation

For this week I would like to introduce Almo Farina's 2014 book Soundscape Ecology: principles, patterns, methods and applications which is available online via Virgo.

For Monday's class, please try to read Chapter 1 'Soundscape and Landscape Ecology' (pp. 1-28). A PDF is in resources in Collab in case you have any trouble at all accessing online.

We will talk more fully about the whole book, and then move towards linking this with Krause's ideas about animal orchestras and acoustic niche theories. I will divide up some of Krause's reading for us to look at on Wednesday and assign these on Monday.

You Tube Playlist for Class 21

https://www.youtube.com/playlist?list=PLuoiSwM3103RCjtFVJHvhKvGME6xsoELt

You Tube Playlist for Class 22

No separate playlist for today.

V. MUSIC AND THE SOUND OF CLIMATE CHANGE

Week 13: The Sounds of Deforestation and Desertification

Classes 23-24: Monday 14^th & Wednesday 16^thNovember

Key Questions:

What do deserts sound like?
How can music communicate about deforestation and desertification
How do we map, analyse and express sonic environmental changes?

[*** Please note that for Class 23 on Monday 14th November we will be joined by a special guest, Innocent Mvulayakata. Innocent is a broadcast journalist, ethnomusicologist and cultural researcher and we have collaborated on the Beating Heart remix project. ***]

Required Preparation for Class 24:

Keogh, B. 2013. 'On the Limitations of Music Ecology', The Journal of Music Research Online 4. [PDF in Collab]

Ottosson, A. 2010. 'Aborginal Music and Passion: interculturality and difference in Australian desert towns', Ethnos 75(3): 275-300. [PDF in Collab]

Stimeling, T. 2012. 'Music, Place, and Identity in the Central Appalachian Mountaintop Removal Mining Debate', American Music 30(1): 1-29

Could I please ask Abbe to read and present back in the Ottosson article and Kate to read and report back on the Keogh article.

If Abbe and Kate could plan to share ideas with us for around 10-15 minutes each that would be excellent. Feel free to bring further examples for us to watch and listen to.

You Tube Playlist for Class 23

No playlist for today.

You Tube Playlist for Class 24

No playlist for today.

Week 14: Melting Glacial Soundscapes

Class 25: Monday 21^st November

Key questions:

1. Can we hear glacial changes?

2. What did Barack Obama hear in Alaska?

3. How are sound artists sounding the alarm?

Required Preparation

Please can everyone read:

'Obama Takes on Climate Change: the Rolling Stone Interview' (September 23rd 2015)

http://www.rollingstone.com/politics/news/obama-takes-on-climate-change-the-rolling-stone-interview-20150923

Our other resources will be:

a) McKinnon, Dugal. 2013. 'Dead Silence: Ecological Silencing and Environmentally Engaged Sound Art', Leonardo Music Journal 23: 71-74 [Available online and as a PDF in Collab]

b) 'The Music of the Glaciers' - a With Good Reason Podcast (aired July 30th 2016). [The first 13m08s are about Matthew's work, but the whole podcast includes relevant stories. Please research more about Matthew Burtner's work].

http://withgoodreasonradio.org/episode/the-music-of-the-glaciers/

c) Philpott, C. 2016. 'Sonic Explorations of the Southernmost Contintent: Four Composers' Responses to Antarctica and climate change in the twenty-first century', Organised Sound 21(1): 83-93. [Available online and as a PDF in Collab]

Could I please ask:

Christia to focus on a), Sophia to focus on b), and Noah to focus on c).

Mary-Caroline - please let us know if you would like to present on Monday, or in Week 15 instead (Soundscape ecology, Environmental Sustainability and Deeper Listening).

Two other short tasks before Monday's class are:

1. Listen to 'Idioteque' by Radiohead (preferably in the dark, once just listening, then once following Thom Yorke's lyrics. Our question is, 'who is being othered in this song?'

https://www.youtube.com/watch?v=E7hvGPLexL0

2. Please think through the authors/ artists/ resources/ topics in our class that you feel most strongly about (whether positively or negatively), and come prepared to share these thoughts.

On Monday I will set out a suggested structure and scheme for our collaborative final project to lead us into the Thanksgiving Break and beyond.

You Tube Playlist for Class 25

No playlist for today.

Week 15: Soundscape ecology, Environmental Sustainability and Deeper Listening

Classes 26-27: Monday 28^th& Wednesday 30th November

Key questions:

What is soundscape ecology?
How does place sound?
What makes sustainable sound environments?

Required Preparation:

Before class on Monday 28th November please can everyone read

Pijanowski, B. et al. 2011. 'What is Soundscape Ecology? An Introduction and Overview of an Emerging New Science', Landscape Ecology 26(9): 1213-1232. [Available Online via Virgo and as a PDF in Collab]

Before class on Wednesday 30th November please can everyone read

Kang, J. et. al. 2016. 'Ten Questions on the Soundscape of the Built Environment', Building and Environment 108: 284-294.

[Available Online via Virgo and as a PDF in Collab]

Our Other Resources for Presenters on Wednesday Will Be:

a) Smith, J. & Pijanowski, B. 2014. 'Human and Policy Dimensions of Soundscape Ecology', Global Environmental Change 28: 63-74. [Available Online via Virgo and as a PDF in Collab]

b) Gaard, G. 2015. 'Ecofeminism and Climate Change', Women's Studies International Forum 49: 20-33.

[Available Online via Virgo and as a PDF in Collab]

c) Other resources identified by one of our presenters.

You Tube Playlist for Class 26

No playlist for today.

You Tube Playlist for Class 27

No playlist for today.

RETURN and ONWARDS

Week 16: What are our future soundscapes?

Class 28: Monday 5^th December

Key questions:

1. Why study soundscapes?

2. How do we study soundscapes?

3. What do you want future environments to sound like?

Required Preparation

We will use our last class on Monday to share some media and ideas related to your final project and our key questions. With this in mind, as your collaborations emerge, please can everyone contribute to this required preparation over the weekend:

Please can everyone choose a short sound item to share that suggests or tells us all something about the histories and futures of soundscape studies. Please add to this document a URL or embedded link or similar by 7pm on Sunday with any context or thoughts or ideas written up. Your choice can be related to your final project, or simply something that you feel strongly about. I will watch the Google Doc take shape over the weekend and then create a structure for Monday’s class from it that helps guide your collaboration

You Tube Playlist for Final Class (28)

https://www.youtube.com/playlist?list=PLuoiSwM3103Qay7XzMW7JpvTCdW4TZNbT

General Bibliography

Feld, S. & D. Brenneis. 2004. ‘Doing Anthropology in Sound,’ American Ethnologist 31: 461-74.

Hegarty, P. 2007. Noise/ Music: a History. London: Continuum.

Hendy, D. 2013. Noise: A Human History of Sound and Listening. London: Pine Books. [Please also see the accompanying 30-part BBC4 Radio Programme]

Kahn, D. 2013. Earth Sound, Earth Signal: energies and earth magnitude in the arts. Berkeley: University of California Press. [Available online]

Toop, D. 2005. Haunted Weather: Music, Silence and Memory. London: Serpent’s Tail.

–––––– 2001. Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds. London: Serpent’s Tail.

–––––– 1999. Exotica: Fabricated Soundscapes in a Real World. London: Serpent’s Tail.

STUDENT LIFE

I will work hard to encourage a safe and equitable learning environment in this course. But, what happens in the classroom will be just one element of your experience at UVA this semester. Although I may not always be able to address your questions and concerns, I will certainly be able to guide you towards all necessary support and resources, so please do not hesitate to contact me about any issues that may be affecting your experience of this class.

Additional resources that are available to you:

Resources for Addressing Sexual Violence:

The University’s central site is: http://www.virginia.edu/sexualviolence/.

You can also contact the Office of the Dean of Students: 434- 924-7133 (or after hours and weekends call 434-924-7166 for the University Police Department; ask them to refer the issue to the Dean on Call)

Sexual Assault Resources Agency (SARA) hotline: 434-977-7273 (24/7)

Shelter for Help in Emergency (SHE) hotline: 434-293-8509 (24/7);

UVA Women's Center: 435-982-2361; and

Student Health (CAPS).

Resources for Addressing Racial Violence or Other Instances of Harassment or Discrimination:

http://www.virginia.edu/justreportit/.

You can also contact the Office of the Dean of Students: 434-924-7133 (or after hours and weekends call 434-924-7166 for the University Police Department; ask them to refer the issue to the Dean on Call); and Student Health (CAPS).

In addition, the Center for Teaching Excellence (formerly the Teaching Resource Center) has assembled a wide-ranging list of sites and offices that can help respond to both academic and non-academic concerns.

You can find it at: http://trc.virginia.edu/resources/support-for-uva-faculty-and-students/.

Finally, if you have any questions about academic integrity or what counts as plagiarism, please let me know. The Honor Code applies to all assignments for this course. The Library also offers helpful information at:

http://guides.lib.virginia.edu/content.php?pid=385908&sid=3162708

Music Department Community & Safety

Please see below for recommended actions to prevent and respond to violence involving students, faculty and staff in the department. These guidelines aim to promote safety, community and awareness amongst students in classes and ensembles, musicians and other members of the department.

Syllabi statement

The McIntire Department of Music is committed to providing a safe and equitable learning environment for all students, and holds the following two values as critically important:

1. Power-based personal violence will not be tolerated.

2. Everyone has a responsibility to do their part to maintain a safe community on Grounds.

Please know that as a faculty member, I support a safe and violence-free campus. If you or someone you know has been affected by power-based personal violence, more information can be found on the UVA Sexual Violence website, which describes reporting options and the many available resources. A link is given for reporting misconduct through the university’s Title IX process.

If you have concerns or questions about any aspect of this, you can approach any faculty or staff member of the music department, or any of these offices:

- ODOS Dean on Call: (434) 924-7166; DeanofStudents@virginia.edu

- CAPS (individual counseling) :

§ Day time – (434) 243-5150

§ After hours – (434) 972-7004

- SARA 24-hr Sexual Assault Hotline: (434) 977-7273

- University Women’s Center: (434) 982-2774 or sdvs@virginia.edu

- Campus Police à Call 911 for emergencies or (434) 924-8843

Reporting misconduct

- Misconduct includes any type of power-based personal violence and any type of sexual conduct and / or sexual intercourse that occurs without effective consent; misconduct includes intimate partner violence, domestic violence and stalking, as well as sexual harassment, defined as unwelcome verbal, written, physical or other conduct that is sex or gender-based and creates a hostile environment

The Gigging Musicians’ Guide to Getting Home Safely

Arrange how you’re getting home before you go

- Don’t wait and see if you can hitch a ride home, get in touch with the people you know who will be there and figure out a car pool! Don’t be shy; getting to know your fellow musicians may even turn out to be a great networking opportunity to line up future gigs!

- If you need to walk or take transportation after all, map out a route along the busiest streets where you are least likely to be alone.

On your way home: STAY ALERT

- Know what is going on around you, even in unfamiliar situations.

- If you’re walking or taking public transportation:

Stay awake

Don’t let yourself get lost in your phone or a book

- If your surroundings become unsafe, you need to be able to react quickly.

“Keep your cards close”!

- Keep your phone, wallet, laptop and any other valuables out of sight

- Take off any valuable jewelry before you leave and put them out of sight

- Wear instrument cases and other bags strapped as closely as possible to you

- If anyone asks you any questions, be polite but don’t give them any information that makes you look vulnerable and just keep walking or otherwise move away, for example:

“Where are you headed so quickly?”

“My friends are expecting me; have a good night!”

“What do you have in that big bag? Is that an instrument?”

“Too much stuff! Have a good night!”

Preventative measures

- Contact Buddies on Call to accompany you home after rehearsals, concerts and other evening events Thursday – Sunday: (434) 260 -0545

- Contact Campus Police for safe rides home: (434) 242-1122

- Safe Ride (434) 924-4225

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END OF MUSI 4519 SYLLABUS (FALL 2016)

Syllabus for Roster(s):

Soundscapes Syllabus

Course Description (for SIS)