Cambridge U nive rsit y Pre ss Index - Assets - Cambridge...

Index

aboriginal Canadians alcohol consumption, 243–5, 255alcohol-free events, 245–8civil twilight, 239–40, 251–6, colonial history, influence of, 244intimacies of country music events, 239,

241–4, 249–51, 255–6power and sound, 48public culture, 240–1, 245–8sociability, spaces of, 63–4, 255social imaginaries of country music events,

239, 240, 241–4, 249–51, 255–6sound installation art, 48, 52–3, 74, 87–9and the state, 48subjectivities, 44, 251–5

acousmatic listening, 172–3acousmatic music, 12–14 see also recorded

music and soundacoustemology

Feld’s concept of, 8in Mombasa Old Town, 187, 192–4

acoustical harassment, 43–4, 280–2acoustical punishment, 285–7acoustical sanctuary, 194–6acoustical surveillance, 276, 285, 288–9acoustics

auditory environment, management of, 158auditory perception of space, 92–5

Action for a Tower Room (Fox), 80adhan (Islamic call to prayer)

acoustemology of Islam, 192–3amplification of, 33–4, 188, 191, 196–7European soundscapes, 219, 220Mombasa soundscape, 187, 191public religion, emergence of, 210, 215public space, multiaccentuality of, 196–7

Adler, Guido, 231Adorno, Theodor W., 233, 298aesthetics, sonic, 123, 125–6affect

and entrainment, 44–7and subjectivity, 43–7

Africa, 35–7

Agamben, Georgio, 192, 300 aggregation of the affected, 35, 44–7Ahmed, Sara, 124Albania, 219alcohol

aboriginal Manitobans’ consumption of, 243–5

alcohol-free events, 245–8civil twilight of aboriginal Manitobans,

239–40, 251–5Algonquian cultures, 240–1, 254alterity

and music, 61–4and tonality, 227

Amacher, Maryanne, 83–4amplification

of Islamic call to prayer, 33–4, 188, 191, 196–7

of weekly Islamic sermons, 198–201analogue technologies, 302–5Anderson, Laurie, 83Ansdell, Gary, 259anthropological surrealism, 15anthropology of sound, 5–9antiphonal music, 226Apple Inc., 128, 130, 131–2, 142 see also iPodsArendt, Hannah, 39–40, 188n. 3Aristotle, 193art, sonoric landscapes, 27–8athletic capitalism

experiential marketing, 133–5Nike+ Sport Kit, 129–30, 145–8

athletics training, 135–8audience

concert hall recordings, 96–7concerts, 28–9interaction with sound installation art, 77–8music therapy participation, 260–2

Audio Engineering Society, 117–18, 121n. 18audio media

public/private boundaries, 26–7, 30–1subjectivity, mediation of, 40–7

audio surveillance, 276, 285, 288–9

344

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auditory awareness, 161–2auditory dimensions of space, 224–6auditory environment

hospital patients, 171–5office-based work settings, 154–8, 167

auditory perception, 10, 92–5Auslander, Philip, 33n. 34authenticity

analogue and digital technologies, 302–5blackface mask, performance in, 305–11hysterical nature of phonography, 300–2of the phonographic voice, 292–300, 305–11

Ayumee-aawach Oomama-mowan: Speaking to Their Mother (Belmore), 48, 52–3, 74, 87–9

Azerbaijan, 219

Bach, Johann Sebastian, 234–5Badiou, Alain, 295–7Baghdad, use of loud music at Camp Cropper,

280–2Bakari, Mtoro bin Mwinyi, 193ballads, 292–300, 306–8Bang and Olufsen, 122–3banlieue, France, 219–20Barber, Karin, 35–7, 42n. 50Barenboim, Daniel, 236–7Bataille, George, 309BBC radio, 33Beach, Chris, 247beats per minute (BPM), 141–3Bech, Søren, 122–3Beck, Ulrich, 40Beckles Willson, Rachel, 63n. 82Beer, David, 167Beethoven, Ludwig van

Symphony No. 3 ‘Eroica’, 227Symphony No. 9, 217‘Upon listening to a Beethoven symphony’

(Lami), 230–1Belmore, Rebecca, 48, 52–3, 74, 87–9Benjamin, Walter, 297–8Bergeron, Katherine, 11Berland, Jody, 30–1Berlioz, Hector, 53, 95, 96–7Bernard, Claude, 136Beuys, Joseph, 52, 80–1biocapitalism, 129–30, 134–5, 145–8biofeedback, 135–8Birnholtz, Jeremy P., 157Bishop, Claire, 18n. 19BitTorrent, 31Björk, 100

blackface mask, performance in, 305–11Blanchot, Maurice, 304blues music, 306–8Boccaccio, Giovanni, 207BODiBEAT, 142Bohlman, Philip V., x, 37, 61–2, 233Böhm, Paul, 213, 215Bonny Method of Guided Imagery and Music

(GIM), 273Borgo, David, 16n. 18Born, Georgina, x, 1, 121, 163Bösendorfer-Saal, Vienna, 232–3Bosi, Marina, 124, Bosnia-Herzegovina, 219Botstein, Leon, 232Boudreault-Fournier, Alexandrine, 50n. 80Boulez, Pierre, 9–10Bourdieu, Pierre, 26, 27, 193, 263, 273Bowen, John, 218Brant, Henry, 76Brecht, George, 77Bregman, Albert, 91Brennan, James R., 201–2Brennan, Teresa, 45, 46, 278BRIGHT music therapy sessions

BRIGHT centre, 259–60community through music, 273–4entrainment, 45–6, 262–5ethnography of, 260–2identity, negotiation of, 65–6musical event time phases, 269–72navigation of the musical space, 269–72performance of song and self, 262–5self, projection of, 265–7socio-musical space, healing in, 259,

272–4‘stands’ taken for illumination of identity,

267–9, 272–3Broughton, Steve, 224Brown, Earle, 76Bull, Michael, 41, 42, 57, 152, 156–7, 161, 162,

165, 166

Cabrera, Densil, 75Cage, John, 18, 76, 77call to prayer (adhan)

acoustemology of Islam, 192–3amplification of, 33–4, 188, 191, 196–7European soundscapes, 219, 220Mombasa soundscape, 187, 191public religion, emergence of, 210, 215public space, multiaccentuality of, 196–7

Callon, Michel, 49n. 79

Index 345






Cambridge University ‘defend education’ protest

music used in, 1–2 sonic publics of, 38

Camp Cropper, use of loud music, 280–2Campbell, Edward, 9–10Canada

aboriginal–state relations, 48‘casserole’ movement, 38–9radio’s contribution to plural spatialities,

30–1sound installation art, 48, 52–3, 74, 87–9see also aboriginal Canadians

Cannon, Walter, 136Cantigas de Santa Maria, 218Carpenter, Edmund, 6Carpenters, The, 224Casey, Edward S., 7n. 8cassettes, Islamic sermons on, 42Central Intelligence Agency (CIA)

interrogation techniques, 275–6, 279Certeau, Michel de, 15children’s audio media private environments, 33Chopin, Frédéric, 229Christensen, Thomas, 228Christianity

Enlightenment enunciation of secular Europe, 208

in Europe, 218naming in, 298private experience projected onto public

behaviour, 293public religion, emergence of, 212–13, 216

civil twilight of aboriginal drinking, 239–40, 251–6,

Clarke, Eric F., x, 53–4, 91classical music, 224, 229–38codecs, 115–25, Cologne, Germany, 213–15, 216commodification of listening

boundaries between public and private, 48–51

MP3 digital audio format, 48–9, 55communitarian privacy, 194–6, 201–2community, 229–38, 273–4composition and soundscapes, 5computer music, 11–14concentration, and music, 154–8conceptual metaphor theory, 53, 102–3concert hall recordings, 96–7Concerto for Audience by Audience (Vautier),

77concerts, 28–9

conflictual soundscapes, 33–4Connor, Steven, 3, 26, 299Conti, Bill, 143Cook, Nicholas, x, 5, 62–3, 264Cook, Stan, 247Corbin, Alain, 3n. 3country music

aboriginal country music events, 241–4aboriginal public culture, 240–1, 245–8alcohol consumption, 243–5, 255alcohol-free events, 245–8civil twilight of aboriginal Manitobans,

239–40, 251–6 detention, use in, 281and gospel music, 253–5intimacies of country music events, 239,

241–4, 249–51, 255–6power and sound, 48sociability, spaces of, 63–4, 255social imaginaries of country music events,

239, 240, 241–4, 249–51, 255–6subjectivities, 44, 251–5

Cree First Nation, 240–1, 246, 247, 248Culshaw, John, 96cultural intimacy, 251Cusick, Suzanne G., xi, 66–7, 169–70, 173, 184

Daly, Ross, 230Dammann, Guy, 233dance and the conceptualisation

of space, 21–2‘dark prison’, Kabul, 285–7Davis, Colin, 96–7de la Motte-Haber, Helga, 73Debord, Guy, 15–16, 16n. 17Decameron (Boccaccio), 207‘Deer Stop’, 53–4, 90, 104–9Deleuze, Gilles, 304–5Demers, Joanna, 15n. 16DeNora, Tia, xi, 40–1, 42, 65–6, 152, 154, 156,

158, 166–7Der Kaiser von Atlantis (Ullman), 209Derrida, Jacques, 296, 299, 302, 304, 308, 310detention, use of music and sound in

acoustical harassment, 43–4, 280–2acoustical punishment, 285–7audio surveillance, 276, 285, 288–9detainees’ accounts of, 276–7, 280–8entrainment, 46, 276, 278–80interrogation techniques, 282–5, 287–8power and sound, 47–8, 169–70, 289–91private/public boundaries, 184sounding human relations, 277–80

Index346






subjectivities, destruction of, 43, 66–7, 276, 289–91

sympathetic vibration, 276, 278–80techniques, 275–6

diagnostic listening, 135–8Dibben, Nicola, xi, 57–8, 98, 100, 102digital technologies, 138, 302–5distraction, and music, 154–8Dockwray, Ruth, 98Donley, Linda Wiley, 195Doppler ultrasound, 180–3Doyle, Peter, 99, 102, 106n. 17D:Ream, 224Dream House (Young), 78–9Drever, John, 19Drive-in Music (Neuhaus), 81–2Du Bois, W.E.B., 308Dueck, Byron, xi, 63–4Dvořák, Antonín, 231–2

echo, 99, 100–2echocardiography (cardiac ultrasound), 180–3‘Echoes’, 53, 100–2, 103–4ecological perceptual theory, 53, 91–2Egypt, 42Eisenberg, Andrew J., xi–xii, 59–60El Guindi, Fadwa, 194Elden, Stuart, 23electroacoustic music, 11–14electrocardiography (ECG), 179–80electronic music, 11–14Elektronische Musik, 75Elias, Norbert, 117Engh, Barbara, 68, 294, 305–6entrainment

aboriginal country music events, 250–1and affect, 44–7music therapy, 45–6, 262–5office-based work settings, 46, 154–8, 167prisoners, sympathetic vibration of, 46, 276,

278–80running to music, 46, 141–3Second Life shared experiences, 236subjectivity and, 44–7

Erlmann, Veit, 6, 7Esposito, Roberto, 304Etherington, Ben, 63n. 82ethical listeners, 42, 192–3Eurovision Song Contest, 219event, phonography as an, 295–7experiential marketing, 55–7, 129–30, 132–5,

146experimental music, 15, 34–5, 75–6

family romance, 293–4, 303‘Family Tree’, 243Farneth, David, 79Fast, Heidi, 52, 74, 85–7Feld, Steven, 6–9, 20, 46–7, 187Feldman, Morton, 76Ferrari, Luc, 12fidelity

analogue and digital technologies, 302–5blackface mask, performance in, 305–11hysterical nature of phonography, 300–2of the phonographic voice, 67–9, 292–300,

305–11fin-de-siècle Vienna, 231–3, 294Fisher, Cynthia D., 156Fluxus, 15, 52, 77–81Fluxus Instant Theater (Friedman), 77Fluxus Zone West, 80Foley, Suzanne, 79–80folk songs, 208–9Foucault, Michel, 1344’ 33” (Cage), 18Fox, Aaron, 245Fox, Terry, 52, 80–1France, 219–20Fraunhofer IIS, 113–14Freud, Sigmund, 298–9Friedman, Ken, 77Frith, Simon, 160, 293

Gal, Susan, 25Garland, Judy, 292, 296, 297, 299, 304Gatens, Moira, 45Gaver, William, 91–2geographical conceptualisation of space,

20–4Gerlach, Julia, 218German Student Party, 80Germany, 208–16, 231–2Gernsback, Hugo, 75Gesang der Jünglinge (Stockhausen), 75–6Gilroy, Paul, 306‘global war on terror’, 66, 169, 186, 200, 218,

275–91 see also detention, use of music and sound in

Goehr, Alexander, 10Goethe, Johann Wolfgang von, 226Goffman, Erving, 170, 262, 265, 267, 272Goldfrapp, 53–4, 90, 104–9Göle, Nilüfer, 187–8‘Gonna fly now’, 143Goodman, Steve, 46n. 70Gopinath, Sumanth, xii, 54, 55–7

Index 347






gospel music aboriginal alcohol-free events, 246–8and country music, 253–5

gramophones, 3Gross, Michael L., 283n. 12, 286n. 14Group Ongaku, 15Groupe de Recherches Musicales, 12Guantanamo Bay detention camp, use of loud

music, 282–5, 287–8Guilbault, Jocelyne, 38

Haake, Anneli B., xii, 57–8Habermas, Jürgen, 40, 207habitus, 193Hagia Sophia, Istanbul, 226Hallowell, A. Irving, 253Handphone Table (Anderson), 83happenings, 15, 272Hari Mata Hari, 219n. 9Hauser, Erik, 132headphones

auditory awareness, 161–2privacy in workplaces, 157–8public/private boundaries, 26–7running, popularity of, 138–40

healing see music therapyheart rate

beats per minute (BPM), 141–3monitors, 138, 141–2

Hegel, Georg, 305, 310Heidegger, Martin, 23, 123–4Henri, Pierre, 75Herder, Johann Gottfried, 208–9‘Here I Am, Drunk Again’, 248Herzfeld, Michael, 64, 251Hesmondhalgh, David, 51n. 81Higgins, Dick, 77Hilmes, Michele, 5Hirschkind, Charles, 42, 192–3, 219Holiday, Billie, 264, 266Holt, Fabian, 217Hosokawa, Shuhei, 230hospital soundscapes

auditory environment, control over, 171–5conversations about medical care, 175–8power and sound, 47, 169–70privacy and sound, 170–1, 172–5private made public, 58–9, 183–5private space, 169research background, 169sounds of the body, 171, 174–5, 178–83

‘How Long Has This Been Going On’, 292–300, 305

Howes, David, 7Hub, The 19‘Human Race’ global marketing event, 55–6,

128–31, 146Hungary, 210hymns, 246–8hysterical nature of phonography, 293–4,

300–2

Ichiyanagi, Toshi, 77identity

ethics of, 267–9and music, 158–62negotiation of, 158–62politics of, 61–4projecting self, 265–7

Ihde, Don, 13–14, 225–6, 227industrial production, and music, 151–2Ingold, Tim, 6–7n. 7, 44installation art, 15, 43 see also sound

installation artinstrumental sounds

spatial-musical effects, 100–2, 103–4subjectivity in spatial-musical effects, 105

Interdisciplinarity: Reconfigurations of the Social and Natural Sciences (Barry and Born), 1

intermediaries, 9n. 9internet-based music sharing, 26–7interrogation techniques, 282–5, 287–8intimacies of aboriginal country music events,

239, 241–4, 249–51, 255–6iPods

autonomy of music, 230–1children’s use of audio media, 33commodification of listening, 48–9Nike+ Sport Kit, 129, 131–2, 140popularity with runners, 139public/private boundaries, 26–7see also personal music players

Iras Cotis, 221Islam

acoustemology of, 187, 192–4communitarian privacy, 194–6, 201–2Enlightenment enunciation of secular

Europe, 208Eurovision Song Contest, 219minarets in Switzerland, 220–3public religion, emergence of, 209, 210,

213–16public space, multiaccentuality of, 186–8,

196–8sermons on cassettes, 42, 59–60

Index348






sonorous ontological politics, 197–201soundscapes, 59–60, 186–7, 190–2, 218–20Swahili context of Mombasa, 188–90see also call to prayer (adhan)

Isolation Unit (Beuys and Fox), 80–1Israeli–Palestinian conflict, 63, 236–7

Jameson, Fredric, 293Jankélévitch, Vladimir, 11‘Jesus Walks’, 143Johnson, James, 28, 33Johnson, Mark L., 53, 102Jolson, Al, 299Jones, Keith, 151Jones, Millicent, 234Jones, Simon C., 164Judaism

Enlightenment enunciation of secular Europe, 208

naming in, 298public religion, emergence of, 209, 210

justice, 310–11

Kabul ‘dark prison’, 285–7Kaluli people, 8, 46–7Kaprow, Allan, 77Karageorghis, Costas I., 140Karajan, Herbert von, 217Kenya see Mombasa, Kenyakhutbas (weekly Islamic public sermons),

198–201kiba music, 35–6Kidder, Rushworth M., 139Kikambala, Kenya, 196–7Kindy, Hyder, 193Kittler, Friedrich A., 3Klausen, Jytte, 218Kopfraüme (Headscapes) (Leitner), 84Korczynski, Marek, 151, 152, 164Krasner, Michael, 118Kresse, Kai, 186n. 1, 189Kristallnacht, 209Kubark interrogation manual, 275, 279

LaBelle, Brandon, 15–16, 17, 74Lacan, Jacques, 297, 298, 301, 303n. 14, 305–6Lacasse, Serge, 98, 102, 106Laing, Dave, 293Lakoff, George, 53, 102Lami, Eugene, 230–1Larson, Steve, 103Lastra, James, 29n. 30, 227n. 4Latin America, 37

Latour, Bruno, 9n. 9, 171Lauer, Josh, 134Le Corbusier, 75League of Automatic Composers, 19Lefebvre, Henri

concrete space, 188n. 3power and sound, 47production of space, 23, 26, 84–5rhythmanalysis, 21–2sound art, genealogy of, 15

leisure, music as a symbol of, 163–5Leitner, Bernhard, 84‘Lejla’, 219n. 9Leppert, Richard, 27–8, 33, 49Lessing, Gotthold Ephraim, 208, 217Leyshon, Andrew, 22lifeworlds, sound in, 57–60Lippard, Lucy R., 74, 88listening

acousmatic listening, 172–3auditory environment, 154–8, 167, 171–5body as site, 83–5commodification of, 48–51, 55diagnostic listening, 135–8expert listeners, 120–5headphone listening, 138–40Islamic call to prayer, 192–3listening test subjects, 120–5listening tests, 54, 112, 113–20MP3 digital audio format, 55participatory listening, 192–3political modulation through MP3 format,

111–13, 125–7public engagement in listening experiences,

82–3public performances, 28–9‘tuning’ the running experience, 130–1, 140–5

listening tests listening test subjects, 120–5political modulation of the listening experi-

ence, 111–13, 125–7procedures, 115–20purpose of, 54, 112, 114–15

live electronic music, 14–20Lloyd, Genevieve, 45Lott, Eric, 310love and the fidelity of the phonographic voice,

295–7, 300, 306–8Lucier, Alvin, 15

Mackenzie, Donald, 49n. 79Malaysia, 38Manilow method, 224

Index 349






Manitoban aboriginal soundscape alcohol consumption, 243–5, 255alcohol-free events, 245–8civil twilight, 239–40, 251–6, colonial history, influence of, 244country music events, 241–4intimacies of country music events, 239,

241–4, 249–51, 255–6public culture, 240–1, 245–8sociability, spaces of, 63–4, 255social imaginaries of country music events,

239, 240, 241–4, 249–51, 255–6subjectivities, 44, 251–5

manual labour, and music, 151Marioni, Tom, 79–80marketing, 55–7, 129–30, 132–5, 146Marx, Karl, 23, 298–9‘masking’ of sound, 114–15Massey, Doreen, 21Maxfield, Richard, 77–8Mayer, Jane, 275McCormack, Derek, 21–2McCormick, Lisa, 264McCoy, Alfred, 275Meade, Jack, 247Mechanical Fluxsconcert (Maxfield), 77–8mediation of music and sound

biofeedback, 135–8design of mediated music, 54, 55–7elements of, 19–20experiential marketing, 55–7, 129–30,

132–5, 146headphone listening, 138–40listening test subjects, 120–5listening tests, 54, 112, 113–20meaning of, 9n. 9MP3 digital audio format, 54–5, 111,

112–13, 125–6‘Music, Digitisation, Mediation: Towards

Interdisciplinary Music Studies’ (European Research Council), xiv

Nike+ Sport Kit, 54, 55–7, 128–32, political modulation of the listening

experience, 111–13, 125–7privacy, 3, 24–31publicness, 3, 24–31social mediation, 14, 31–5sonic-social-technological assemblages, 69and space, 14, 19–20and subjectivity, 40–7technological mediation, 24–31, 40–7, 69terms, 12–13‘tuning’ for corporate gain, 145–8

‘tuning’ the running experience, 130–1, 140–5

Meel, Juriaan van, 165Mendelssohn, Felix, 207–8Mendelssohn, Moses, 205–8Menow, Nelson, 246, 250–1mental health care

BRIGHT centre, 259–60community through music, 273–4ethnography of BRIGHT musical sessions,

260–2identity, negotiation of, 65–6musical event time phases, 269–72navigation of the musical space, 269–72performance of song and self, 262–5self, projection of, 265–7socio-musical space, healing in, 259, 272–4‘stands’ taken for illumination of identity,

267–9, 272–3Métis people, 240–1, 243, 247Middleton, Richard, xii, 67–9, 297, 299Miller, Neal, 135Milner, Greg, 305Minard, Robin, 73minimalist art, 15Mitchell, Juliet, 293, 303–4Mitchell, Timothy, 49, 51mobile music players see iPods; personal music

playersMohawk land dispute, 48, 52–3, 74, 87–9Mol, Annemarie, 59, 181Mombasa, Kenya

acoustemological disjuncture in, 186–8acoustemology of, 187, 192–4adhan, 187, 191, 196–7communitarian privacy, 194–6, 201–2khutbas, 198–201public space, multiaccentuality

of, 196–8sonorous ontological politics, 197–201soundscape of, 59–60, 190–2Swahili context, 188–90

Monias, Ernest, 247, 254Moore, Allan F., 98motion and music, 226–9Moving Picture Experts Group

(MPEG), 111n. 2, 112, 113–20MP3 digital audio format

characteristics of, 111, 112–13, 125–6commodification of listening, 48–9, 55listening test subjects, 120–5listening tests, 54, 112, 113–20mediated music, design of, 54–5

Index350






political modulation of the listening experience, 111–13, 125–7

Muniesa, Fabian, 49n. 79music

and alterity, 61–4auditory dimensions of space, 224–6auditory perception of space, 10, 92–5BitTorrent distribution of, 31entrainment, 44–7in everyday lifeworlds, 57–60fragments and movement between spaces,

216–18and identity, 61–4, 158–62interdisciplinary scholarship, 4–6leisure, symbol of, 163–5mediated music, design of, 51–7, mediation elements, 19–20phonographic voice, fidelity of, 67–9,

292–300, 305–11politics of space, 51–3, 61–4, 229–38power modalities, 47–51as private experience, 24–31protest, use in, 1–2, 38–40psychic space, 102–4as public experience, 24–31publics, 35–40score-based lineage, 5–6sharing, 50n. 80sociability, spaces of, 63–4, 255social mediation of, 31–5sonic-social-technological assemblages, 69sonic-spatial practices, 1–9and space, 9–20, 62–3, 74–7, 238space, geographical conceptualisation of,

20–4space in recorded music, 95–100spatiality of, 13, 226–9spatial-musical effects, 53–4, 90–2,

104–10subjectivity, mediation of, 40–7subjectivity in spatial-musical effects, 53–4,

90, 104–10see also country music; detention, use of

music and sound in; mediation of music and sound; music therapy; recorded music and sound; religious music; workplaces, music in

Music for Magnetic Tape Project, 76music sharing, 26–7music therapy

BRIGHT centre, 259–60community through music, 273–4entrainment, 45–6, 262–5

ethnography of BRIGHT musical sessions, 260–2

identity, negotiation of, 65–6musical event time phases, 269–72navigation of the musical space, 269–72performance of song and self, 262–5self, projection of, 265–7socio-musical space, healing in, 259,

272–4‘stands’ taken for illumination of identity,

267–9, 272–3musical assemblages, 31–5musical cartography, 63musical publics, 35–40musicians as expert listeners, 121n. 17musico-social-technological

assemblages, 69Musikverein, 226musique concrète, 75Muslims see Islam

nachträglichkeit, 304–5naming, and the fidelity of the phonographic

voice, 297–300Nancy, Jean-Luc, 3, 67, 69, 278, 290, 304, 310,

310n. 21Nathan, der Weise (Lessing), 208, 217naturalistic recordings, 19NCI FM radio station, 241–2nesting

of music and sound, 13of public and private, 25, 26, 57–8, 153,

163–5, 166–7, 230–1, 235–6Neuhaus, Max, 15, 52, 81–3Nightsong Action, A (Fast), 85–6Nike+ Sport Kit

antecedents of, 135–40commodification of listening, 48–9design of mediated music, 54, 55–7experiential marketing, 55–6, 128–31,

132–5, 146features of, 131–2‘Human Race’ global marketing event, 55–6,

128–31, 146‘tuning’ for corporate gain, 145–8‘tuning’ the running experience, 130–1,

140–5‘Nobody’, 306–11Norrington, Roger, 96–7Northern Ireland, 225Nyman, Michael, 15

‘Occupy’ movement, 39

Index 351






Ochoa Gautier, Ana María, 37Öffentlichkeit, 207 see also public spaceoffice-based work settings, music in

auditory awareness, 161–2auditory environment, management of,

154–8, 167colleagues, respect for, 159–60entrainment, 46, 154–8, 167history of, 151–2and identity, 158–62music choices, 165–6organisational considerations, 158–9, 167public/private boundaries in workplaces,

163–5, 166–7research background, 153role of, 57–8, 151, 152–3space reconfigured by music, 57–8, 152–3,

160, 166–8Ogg Vorbis, 114n. 3Ojibwe First Nation, 240–1, 247, 253Olmo, Walter, 16n. 17One Second Sculpture (Marioni), 79–80Ono, Yoko, 52, 78opera, 28–9Oranienburgerstraße Synagogue, Berlin, 210Otterman, Michael, 275Ouellette, Fernand, 75Ouzounian, Gascia, xii, 51–3

Parmegiani, Bernard, 12participatory audio events, 37–40patients’ experiences of hospital

auditory environment, control over, 171–5conversations about medical care, 175–8power and sound, 47, 169–70privacy and sound, 170–1, 172–5private made public, 58–9, 183–5private space, 169research background, 169sounds of the body, 171, 174–5, 178–83

Pearlman, Jeff, 142perceptual coding, 111, 114–25, performance

fidelity of the phonographic voice, 67–9, 292–300, 305–11

listening, 28–9music therapy, 262–5Society for Private Musical Performances

(SPMP), 63, 232–3sonic publics of, 37–40subjectivity, 43–4

personal music players autonomy of music, 230–1

commodification of listening, 48–9popularity of, 138–40public/private boundaries, 26–7, 48–51subjectivity, mediation of, 41, 43–4see also iPods

phenomenology and publicness/privacy of music, 24–31and social mediation, 33–4social phenomenology, 7–9see also Bourdieu, Pierre; Feld, Steven;

Schutz, Alfredphonographic voice

analogue and digital technologies, 302–5blackface mask, performance in, 305–11fidelity of, 67–9, 292–300, 305–11hysterical nature of phonography, 300–2

Piekut, Benjamin D., 15n. 16, 19n. 20, 26n. 28Pink Floyd, 53, 100–2, 103–4Pirate Bay, 31pitch space, 9–11place

as historical reminder, 189–90and space, 7n. 8, 229–31

Poème électronique (Varèse), 51–2, 74–5Poland, 229Polar, 138, 141–2political modulation of the listening

experience, 111–13, 125–7politics of space

auditory dimensions of space, 225and identity, 61–4mediated music and sound, design

of, 51–3musical autonomy, 229–38sonorous ontological politics, 197–201sound installation art, 73–4, 85–9

Polytopes (Xenakis), 17–18popular music, spatialisation in, 11–14power

hospitals, sound in, 47, 169–70prisons, use of music and sound in, 47–8,

169–70, 289–91public/private modalities of, 47–51

PowerSong, in the Nike+ Sport Kit, 132, 141, 142–3, 145

powwows, 241, 245pre-echo, 118–19Prestholdt, Jeremy, 202Priest, David Lee, 140prisons, use of music and sound in

acoustical harassment, 43–4, 280–2acoustical punishment, 285–7audio surveillance, 276, 285, 288–9

Index352






detainees’ accounts of, 276–7, 280–8entrainment, 46, 276, 278–80interrogation techniques, 282–5, 287–8power and sound, 47–8, 169–70, 289–91private/public boundaries, 184sounding human relations, 277–80subjectivities, destruction of, 43, 66–7, 276,

289–91sympathetic vibration, 276, 278–80techniques, 275–6

privacy Arab interpretation of, 195communitarian privacy, 194–6, 201–2headphone listening, 157–8social mediation of, 24–31

private experience categories, 24n. 25children’s use of audio media, 33commodification of listening, 49–51detention, private/public boundaries

in, 184, 279–80hospitals, private/public boundaries in,

29–30, 58–9, 169, 173–5, 183–5mediation of music and sound, 3, 24–31nesting of public and private, 25, 163–5,

166–7, 230–1, 235–6personal music players, 26–7, 48–51power modalities, 47–51private experience projected onto public

behaviour, 293–4recorded music, public/private boundaries

of, 29–30workplaces, private/public boundaries in,

163–5, 166–7private space

fragments and movement between spaces, 216–18

hospitals, 169public religion, emergence of, 208–16

professional musicians as expert listeners, 121n. 17

protest, 1–2, 38–40proxemics, 53, 103psychic space, 102–4psychoacoustics

auditory perception of space, 10, 92–5listening test subjects, 120–5perceptual coding, 111, 114–25, space and music, 10–11

public culture, 240–1, 251–5public experience

categories, 24n. 25commodification of listening, 49–51

detention, private/public boundaries in, 184, 279–80

hospitals, private/public boundaries in, 29–30, 58–9, 169, 173–5, 183–5

mediation of music and sound, 3, 24–31nesting of public and private, 25, 163–5,

166–7, 230–1, 235–6personal music players, 26–7, 48–51power modalities, 47–51private experience projected onto public

behaviour, 293–4recorded music, public/private boundaries

of, 29–30workplaces, private/public boundaries in,

163–5, 166–7public religion

emergence of, 208–16fragments and movement between spaces,

216–18inside vs. outside, 220–3soundscapes, 218–20

public space acoustemological disjuncture, 186–8acoustemology of Islam, 192–4communitarian privacy, 194–6, 201–2Enlightenment enunciation of secular

Europe, 208fragments and movement between spaces,

216–18inside vs. outside, 220–3multiaccentuality of, 186–8, 196–8public religion, emergence of, 208–16sonorous ontological politics, 197–201soundscapes, 59–60, 186–7, 190–2,

218–20publics

making of, 25n. 26musical and sonic publics, 35–40social mediation of, 35–40

punishment, acoustical, 285–7

radio aboriginal country music events, 241–2, 250factory workers in Second World War, 33office-based work settings, music in, 159public/private boundaries, 3, 30–1

Ranville, Stirling, 247rap music, 37, 143, 281Rebelo, Pedro, 16n. 18recorded music and sound

analogue technologies, 302–5auditory perception of space, 10, 92–5blackface mask, performance in, 305–11

Index 353






concert hall recordings, 96–7digital technologies, 302–5hysterical nature of phonography, 293–4,

300–2Islamic sermons on cassettes, 42, 59–60leakage from, 26n. 28perforation of, 26n. 28phonographic voice, fidelity of, 67–9,

292–300, 305–11place and, 229–31psychic space, 102–4public/private boundaries, 29–30space in, 95–100spatial-musical effects, 53–4, 90–2studio recordings, 96–7subjectivity in spatial-musical effects, 43,

90, 104–10virtual space, 53, 100–2, 103–4, 228–9

religious music, 43, 240, 246–8, 253–5religious worship

acoustemological disjuncture, 186–8acoustemology of, 187, 192–4communitarian privacy in the Islamic city,

194–6, 201–2Enlightenment enunciation of secular

Europe, 208fragments and movement between spaces,

216–18inside vs. outside, 220–3power and sound, 48public religion, emergence of, 208–16public space, multiaccentuality of, 186–8,

196–8religious vs. secular urban spaces, 61–2,

220–3sermons on cassettes, 42, 59–60sonorous ontological politics, 197–201soundscapes, 59–60, 186–7, 190–2, 218–20subjectivity and affect, 43urban soundscapes, 59–60, 61–2see also Christianity; Islam; Judaism

reverberation, 99, 100–2Revill, George, 22rhythm, 121Rice, Tom, xii–xiii, xiv, 58–9Richard, Cal, 243Richard, Cliff, 224Rickard, Jolene, 88Riemann, Hugo, 226ring parable (Nathan, der Weise), 208, 217Risset, Jean-Claude, 102n. 13Robertson, Emma, 151

rock music, 281, 283Rogers, Linda, 233, 234Rohrhuber, Julian, 18–19Rose, Nikolas, 134–5Roseman, Marina, 38Ross, David, 80Royal Liverpool Philharmonic Orchestra,

233–4running

entrainment in music, 46, 141–3experiential marketing of Nike+ Sport Kit,

55–6, 128–31, 132–5, 146‘Human Race’ global marketing event, 55–6,

128–31, 146Nike+ Sport Kit, features of, 131–2popularity of, 138–40‘tuning’ for corporate gain, 145–8‘tuning’ the running experience, 130–1,

140–5

Said, Edward, 236–7Salter, Christopher, 16n. 18sanctuary, acoustical, 194–6Sassatelli, Monica, 210–11Sawday, Jonathan, 183Schaeffer, Pierre, 12, 75, 173Schafer, R. Murray, 5, 6, 82, 304Schenker, Heinrich, 62, 63, 226–7, 231–2Schmitt, Bernd, 132Schoenberg, Arnold, 10, 63, 227, 232–3Schumacher, Thomas G., 164Schutz, Alfred, 26, 236, 265Scruton, Roger, 9, 95, 226sculpture, sound as, 79–81Second Life, 63, 225, 233–6, 237Second Viennese School, 10Sennett, Richard, 28–30, 68, 293–4, 306Seoul, South Korea, 229–30SERE (Survive–Evade–Resist–Escape) training

programme, 275–6sermons, 42, 59–60, 198–201 see also

religious worshipSerres, Michel, 21Shakur, Tupac, 143Shepard, Roger, 102n. 13Shore, Charles, 80siblinghood, 303–5Sime, Wesley, 136situationism, 15–16Smalley, Denis, 12–13, 14, 21, 25Smetana, Bedřich, 231–2Smith, Susan, 22–3soca performance, 38

recorded music and sound (cont.)

Index354






sociability alcohol consumption of aboriginal people,

243–5, 255alcohol-free events, 245–8civil twilight, 239–40, 251–6, intimacies of country music events, 239,

241–4, 249–51, 255–6public culture, 240–1, 245–8social imaginaries of country music events,

241–4, 249–51, 255–6spaces of, 63–4, 255

social bonds, 44–7social boundaries, 62–3, 229–38social imaginaries of aboriginal country music

events, 239, 240, 241–4, 249–51, 255–6social mediation

four planes of, 32of music, 31–5privacy, 24–31publicness, 24–31of publics, 35–40sociability, spaces of, 63–4, 255of sound, 14, 31–5subjectivity, 40–7

social phenomenology, 7–9 see also Bourdieu, Pierre; Feld, Steven; Schutz, Alfred

sociality, 69Society for Private Musical Performances

(SPMP), 63, 232–3socio-musical space

BRIGHT centre, 259–60community through music, 273–4ethnography of BRIGHT musical sessions,

260–2healing in, 259, 272–4identity, negotiation of, 65–6musical event time phases, 269–72navigation of the musical space, 269–72performance of song and self, 262–5self, projection of, 265–7‘stands’ taken for illumination of identity,

267–9, 272–3Song of the Dwellings (Fast), 86–7sonic aesthetics, 123, 125–6sonic assemblages, 31–5sonic publics, 35–40sonic-social-technological assemblages, 69sonography, 180–3sonoric landscapes, 27–8Sony Walkman, 138–9sound

acoustical punishment, 285–7auditory perception of space, 10, 92–5

of the body, 171, 174–5, 178–83design of, 51–7in everyday lifeworlds, 57–60interdisciplinary scholarship, 4‘masking’ of, 114–15mediation elements, 19–20ontological politics, 197–201power and sound, 47–8, 169–70, 289–91power modalities, 47–51as private experience, 24–31as public experience, 24–31, 58–9publics, 35–40social mediation of, 14, 31–5sonic-social-technological assemblages, 69sonic-spatial practices, 1–9sounding human relations, 277–80, 281–2,

286–7and space, 5–9subjectivity, mediation of, 40–7see also detention, use of music and sound

in; hospital soundscapes; mediation of music and sound; urban soundscapes

Sound Chair (Leitner), 84sound installation art

body as site of, 83–5emergence of, 81–3Fluxus and, 15, 52, 77–81literature on, 73n. 1Mohawk land dispute, 48, 52–3, 74, 87–9music projected into space, 74–7origins, 15sculpture, sound as, 79–81socially and politically constituted space,

51–3, 73–4, 85–9sonic publics of, 37–40spatialisation in, 14–20subjectivity and, 43

soundscapes composition of, 14–20Islamic soundscapes, 59–60, 186–7, 190–2,

218–20research, 5see also hospital soundscapes; urban

soundscapesSouth Korea, 229–30space

auditory dimensions of space, 224–6auditory perception of space, 10, 92–5concrete space, 188n. 3in everyday lifeworlds, 57–60geographical conceptualisation of, 20–4healing space, 259, 272–4interdisciplinary scholarship, 4

Index 355






mediation of, 14, 19–20and music, 5–6, 9–20, 62–3, 74–7, 238nesting of musical and sonic

spatialities, 13and place, 7n. 8, 229–31political construction via sound installation

art, 51–3, 73–4, 84–9production of space, 23, 26, 84–5psychic space, 102–4in recorded music, 95–100sociability, spaces of, 63–4, 255social construction via sound installation

art, 51–3, 73–4, 84–9sonic-social-technological assemblages, 69sonic-spatial practices, 1–9and sound, 5–9sound installation art, 14–20, 51–3, 74–85spatiality of music, 13, 226–9spatial-musical effects, 53–4, 90–2, 104–10subjectivity in spatial-musical effects, 53–4,

90, 104–10and time, 20–2topology of, 21, 263workplace music, 57–8, 152–3, 160, 166–8see also politics of space; private space;

public space; socio-musical space; virtual space

Space/Time/Sound: Conceptual Art in the San Francisco Bay Area, the 1970s, exhibition, 79–80

Spector, Phil, 229speech, 175–8Stanyek, Jason, xiii, 19n. 20, 26n. 28, 54,

55–7Stasiuk, Andrzej, 220, 223Steiner, George, 296Sterne, Jonathan, xiii, 25–6, 29–30, 33n. 34,

49–50, 54–5, 137n. 13, 160Stockhausen, Karlheinz, 75–6Strathern, Marilyn, 36stress management, 135–6structuralist aesthetic of music, 231–2studio recordings, 96–7subjectivity

aboriginal Manitobans, 44, 251–5acoustical harassment, 280–2acoustical punishment, 285–7and affect, 43–7detention, use of music in, 43, 66–7, 276,

280–8and entrainment, 44–7interrogation techniques, 282–5

,

287–8

music, mediation by, 40–7performance, 43–4personal music players, 41, 43–4power and sound, 289–91psychic space, 102–4recorded music, 43, 90, 104–10religious music, 43research needed, 41–2sensory reception and response, 277–80sonic-social-technological assemblages, 69sound installation art, 43sounding human relations, 277–80, 281–2,

286–7spatial-musical effects, 53–4, 90, 104–10technological mediation, 40–7and vibration, 278–80

Sundstrom, Eric, 157surveillance, acoustical, 276, 285, 288–9Swahili Muslims in Mombasa

communitarian privacy, 194–6context, 186–7, 188–90Islamic soundscape, 190–2

Swedish Radio, 121n. 18Switzerland, 220–3sympathetic vibration

acoustical harassment, 43–4, 280–2acoustical punishment, 285–7interrogation techniques, 282–5, 287–8music, effects of, 276, 278–80power and sound, 47–8, 169–70, 289–91and subjectivity, 278–80

Symphonie Fantastique (Berlioz), 53, 95, 96–7

Symphonie pour un homme seul (Schaeffer and Henri), 75

Symphony No. 3 ‘Eroica’ (Beethoven), 227Symphony No. 9 (Beethoven), 217

Tape Piece II: Room Piece (Ono), 78Tarde, Gabriel, 44–5Taylor, Frederick, 151Taylor, Timothy, 227technological determinism, 29technological mediation

publicness and privacy, 24–31sonic-social-technological assemblages, 69subjectivity, 40–7

teenagers, 224, 233–4, 278n. 5Temiar people, 38Thalheimer, Richard, 138Thorsén, Stig-Magnus, 152, 157, 165, 166Thrift, Nigel, 20–1timbre, 10–11

,

117–19

space (cont.)

Index356






time Second Life shared experiences, 236and space, 20–2

Times Square (Neuhaus), 83tonality, 62, 227–8, 231–2topology of space, 21, 263Townsend-Gault, Charlotte, 88–9Trinidad and Tobago, 38Truax, Barry, 5Tudor, David, 76Tueber, Oscar, 232–3tuning

Second Life shared experiences, 236‘tuning’ for corporate gain, 145–8‘tuning’ the running experience, 130–1,

140–5Tupac (Shakur), 143Turkey, 219

Ullmann, Viktor, 209United States (US), 37, 275–6, 279‘Upon listening to a Beethoven symphony’

(Lami), watercolour, 230–1urban soundscapes

acoustemological disjuncture, 186–8acoustemology of Islam, 192–4communitarian privacy, 194–6, 201–2public space, multiaccentuality of, 196–8and religious worship, 59–60, 61–2sonorous ontological politics, 197–201soundscapes, 59–60, 186–7, 190–2,

218–20

Valiquet, Patrick, 14Varèse, Edgard

organised sound, 15Poème électronique, 51–2, 74–5spatialisation in music, 1, 2, 21

Vautier, Ben, 77Venice, 226vibration

acoustical harassment, 43–4, 280–2acoustical punishment, 285–7interrogation techniques, 282–5, 287–8power and sound, 47–8, 169–70, 289–91and subjectivity, 278–80sympathetic vibration, 276, 278–80

Vienna as ‘city of music’, 229fin de siècle, 231–3, 294Ringstrasse, 226

Vienna Philharmonic Orchestra, 226Villa, Dana, 39

virtual space nature of, 95psychic space, 102–4recorded music, 53, 100–2, 103–4, 228–9subjectivity in spatial-musical effects,

104–10voice

analogue and digital technologies, 302–5blackface mask, performance in, 305–11hysterical nature of phonography, 300–2Nike+ Sport Kit, 131, 143–4phonographic voice, fidelity of, 67–9,

292–300, 305–11subjectivity and affect, 43subjectivity in spatial-musical effects,

104–9subjectivity through sounding human rela-

tions, 277–80, 281–2, 286–7Vološinov, Valentin N., 34, 59Vos, Paul, 165

Wagner, Richard, 209Wainwright, Rufus, 67–9, 292–300, 304, 305Waiting for the Turk (Stasiuk), play, 220, 223Warner, Michael, 25n. 26, 200Weintraub, Jeff, 24n. 25Wells, Kitty, 243, 250Wessel, David, 10–11West, Kanye, 143West–Eastern Divan Orchestra (WEDO), 63,

236–7Westerkamp, Hildegard, 5Whittall, Arnold, 10Williams, Bert, 67–9, 306–11Williams, Hank, 243, 250, 254Windsor, Luke, 98Wishart, Trevor, 12, 98Wolff, Christian, 15, 76Wood, Nichola, 22workplaces, music in

auditory awareness, 161–2auditory environment, management of,

154–8, 167colleagues, respect for, 159–60entrainment, 46, 154–8, 167history of, 151–2and identity, 158–62music choices, 165–6organisational considerations, 158–9, 167public/private boundaries in workplaces,

163–5, 166–7research background, 153role of, 57–8, 151, 152–3

Index 357






space reconfigured by music, 57–8, 152–3, 160, 166–8

world music, 230World Soundscape Project, 6, 82World War II, 33worship music, 246–8, 253–5 see also religious

musicWright, Rick, 100n. 11

Xenakis, Iannis, 17–18

Young, LaMonte, 15, 52, 78–9

Zak, Albin, 98Zazeela, Marian, 78Žižek, Slavoj, 293, 297, 304–5, 310zoned spaces, 13Zuckerkandl, Viktor, 6, 9

workplaces, music in (cont.)

Index358






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