Symphonic Pastorals

Allen, Aaron S.

doi:10.1080/14688417.2011.10589089

Cited by 5 publications

(4 citation statements)

References 17 publications

(6 reference statements)

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“…Nor does it usually make calls to concrete environmental action or activism. Other ecomusicological approaches analyse how the pastoral (Allen 2011) or the utopian (Ingram 2010, 40) are figured in music. Yet black metal is not pastoral, nor is it anti-pastoral; it is neither utopian nor dystopian, though it contains aspects of each.…”

Section: Conclusion: Transcendence and Transportationmentioning

confidence: 99%

Ecology, Estrangement and Enchantment in Black Metal’s Dark Haven

Coggins

2021

Green Letters

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investigating ambiguity, controversy and marginal religiosity in black metal music. Previous research has explored configurations of noise and religion in extreme music, particularly in relation to audience discourses and practices. Owen's book, Mysticism, Ritual and Religion in Drone Metal (Bloomsbury Academic 2018) was awarded the IASPM Book Prize, and he co-runs Oaken Palace, a record label and registered charity that raises money for endangered species through releasing drone music.

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Section: Conclusion: Transcendence and Transportationmentioning

confidence: 99%

Ecology, Estrangement and Enchantment in Black Metal’s Dark Haven

Coggins

2021

Green Letters

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“…"abstract") genre of the symphony, and even the popular press of nineteenth-century Italian opera journals found an outlet in connecting music, culture, and nature. 48 In 2009, the Ecocriticism Study Group of the American Musicological Society (of which I was a co-founder in 2008 and was then chair) held a session with an overflow crowd at the annual meeting in Philadelphia. The occasion was the 75 th Anniversary of the Society, and the topic could not have been more explicit: "Why Now is the Time for Ecomusicology."…”

Section: The Past Present and Future Of Ecomusicological Discoursementioning

confidence: 99%

A "Stubbornly Persistent Illusion"?:

Allen

2020

EJM

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The climate crisis impacts the northern polar regions in disproportionate ways, and ecomusicology is an academic discourse. In bringing these two seemingly unrelated pairs together, I argue for academic discourse in ecomusicology that makes connections with the climate crisis in music and sound studies. What can ecomusicology offer humanity as we face climate catastrophe? While not a panacea, ecomusicology can serve to further collapse the unfortunate nature-culture dichotomy that is at the root of so many social and environmental problems. Academic discourse always should have a place for titillation, but we must not avoid the climate crisis in music scholarship, for that only enables climate change denialism. I elaborate on an ecomusicology that is both new and not new, providing examples of climate connections in ecomusicological discourse. Ultimately, we must make such connections and do something about the problems we face as a civilization.

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“…something to utilize or exploit, is necessary if humankind and nature's diversity are to be persevered. (Grimley 2006;Välimäki 2009;Allen 2011a;Torvinen 2019; Välimäki [forthcoming a]), theoretical and methodological questions of ecocritical music research 25 (Allen 2011b;Allen 2012;Grimley 2011;Torvinen 2012), place and locality (Guy 2009;Ramnarine 2009;Watkins 2011;Feisst 2012), gender (von Glahn 2013, and audiovisual media (Välimäki 2015). 5 Using place as a critical category has also caused some confusion, at least when it has been associated with nationalist ideologies.…”

Section: Vadénmentioning

confidence: 99%

Music as Atmosphere

Riedel

Torvinen²

2019

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Historically speaking, only love, death and religion can compete with nature as the most common topic in European music (see Toliver 2011, 8). 1 In the context of current environmental crises, this close relationship between music and nature has been given a novel twist. On the one hand, explicitly ecocritical musical practices are today more frequent than ever. On the other, while "being under crisis" is a fundamental condition of today's environment, any contemporary nature-related music can be seen and heard as a site for negotiations about ecological concerns and human-nature relationships regardless of the level of conspicuousness of music's possible ecocritical message. Environmental concerns transform also the way we hear nature-related music made before the current era of major ecological problems. For example, the centuries-old topic of the pastoral in music can be perceived nowadays with ecocritical ears. (Allen 2011a;

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Symphonic Pastorals

Cited by 5 publications

References 17 publications

Ecology, Estrangement and Enchantment in Black Metal’s Dark Haven

Ecology, Estrangement and Enchantment in Black Metal’s Dark Haven

A "Stubbornly Persistent Illusion"?:

Music as Atmosphere

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