The Sounding City: Soundscapes and Urban Modernity in Amit Chaudhuri’s Fiction

Hoene, Christin

doi:10.1163/9789004328761_023

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“…To understand the impact of the cellist's performance on Sarajevan citizens, we must have an understanding of the aural experience of living in a city under siege. While the novel is a silent medium compared to film or television, Galloway creates a soundscape for the novel like those identified by Stephen Adams (1989), David Toop (2011), and Christin Hoene (2016), and Galloway extends this theme of sound perception to our experience of music alongside warfare, as we as readers never hear the sound of the cellist's music, nor do we hear it as it is perceived, but instead read what that listening experience is like, separating us further from the "original" sound. 11 A clear example of the soundscape is Galloway's use of "earwitness accounts," Raymond Murray Schafer's term for the "aural illusion" of warfare demonstrated through literary means, such as in Erich Maria Remarque's (1929) All Quiet on the Western Front: "As the shells were travelling at super-sonic speeds they arrived in advance of the sounds of their original detonations" (Schafer, 1994: 8-9).…”

Section: The Soundscape Of the Cellist Of Sarajevomentioning

confidence: 99%

Listening to survive: Classical music and conflict in the musico-literary novel

Harling-Lee

2020

Violence: An International Journal

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This article addresses the possibility that Western classical music might be used as a source of hope for a post-conflict future by considering a literary depiction of music and conflict resolution. As a case study, Steven Galloway’s The Cellist of Sarajevo is identified as a “musico-literary novel,” and established within the framework of Stephen Benson’s “literary music” and Hazel Smith’s methodological development of musico-literary studies through extended interdisciplinarity. The novel features three Sarajevan citizens who hear a cellist play in the rubble-strewn streets, and their music-listening experiences motivate them to work toward a post-conflict future. To consider the potential insights and blind spots surrounding ideas about music’s potential power in this narrative, the soundscape of the novel is identified to establish the significance of sound, music, and active listening in the text; parallels are highlighted between the ending of The Cellist of Sarajevo and Michael Walzer’s Just and Unjust Wars, revealing music as an active moral force; and similarities between Galloway’s novel and Craig Robertson’s “Music and conflict transformation in Bosnia” are illustrated, demonstrating how interdisciplinary analysis of a musico-literary novel can offer a valid contribution to discussions surrounding the use of music to exit violence.

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Section: The Soundscape Of the Cellist Of Sarajevomentioning

confidence: 99%

Listening to survive: Classical music and conflict in the musico-literary novel

Harling-Lee

2020

Violence: An International Journal

View full text Add to dashboard Cite

show abstract

The Sounding City: Soundscapes and Urban Modernity in Amit Chaudhuri’s Fiction

Cited by 1 publication

References 0 publications

Listening to survive: Classical music and conflict in the musico-literary novel

Listening to survive: Classical music and conflict in the musico-literary novel

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