Category Archives: Resources

by | August 6, 2024 · 6:00 am

Lexikon Progressive Rock

Bernward Halbscheffel’s Lexikon Progressive Rock: Musiker, Bands, Instrumente, Begriffe provides more than 500 articles that feature not only classics of prog rock such as Procol Harum, The Nice, Yes, Emerson, Lake & Palmer, Genesis, and King Crimson, but also more recent groups like Dream Theater, Gazpacho, Glass Hammer, Porcupine Tree, Shining, Spock’s Beard, and Grand General. Representatives of progressive metal are also included, among them Opeth, Symphony X, and Epica. Although British and American prog mainstream is dominant, the lexicon also offers articles on obscure bands like Ozric Tentacles and The Legendary Pink Dots; progenitors of art rock like Roxy Music and 10cc; and the Canterbury scene with Delivery, Soft Machine, Henry Cow, and Caravan.

Entry on the band King Crimson in Lexikon Progressive Rock in RILM Music Encyclopedias.

Learn some tips for accessing multilingual content in RILM Music Encyclopedias by watching this video on the RILM Resources YouTube channel.

Halbscheffel features currents of retroprog, neoprog, and new artrock. The 2013 edition replaces some earlier articles on foundational musical terms with new articles that are specifically relevant for progressive rock, such as the entry on polyrhythmics. New articles focus on current bands like Nosound, Knight Area, and Flying Colors. Halbscheffel aptly summarizes this all-encompassing approach in the article Progressive rock, where he focuses on the history of the genre less as a stylistic history than as a history of a functionally oriented inventory of rock techniques and processes.

Learn more about this encyclopedia and many others at RILM Music Encyclopedias.

Two bands featured in the encyclopedia, the Legendary Pink Dots and Procol Harum, perform in the videos below.

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by | June 19, 2024 · 6:00 am

Preparing for concerts and competitions using RILM Abstracts of Music Literature with Full Text: A performer’s perspective

The Schoenfeld International String Competition is a prestigious event that challenges musicians to deliver exceptional performances, often requiring deep cultural and historical understanding of the pieces they play. One such piece, “陕北民歌-山丹丹开花红艳艳(编曲:薛澄潜;配器:朱彬 (Shǎn běi míngē-shān dān dān kāihuā hóngyànyàn biān qǔ: Xuēchéngqián; pèiq: Zhū bīn [Shanbei folk song–Red and bright lilies])”, arranged by Xue Chengqian and orchestrated by Zhu Bin for the 2023 violin competition, demands a nuanced interpretation rooted in the rich traditions of Chinese folk music. The song, as indicated by the competition, features a strong Chinese folk style, with sound effects imitating the morin huur (horse-head fiddle) and a timeless, beautiful melody. Using RILM Abstracts of Music Literature with Full Text can provide invaluable resources for better understanding and preparing this piece. 

Researching Shanbei folk music

To begin, it is crucial to understand the cultural and historical context of Shanbei folk music. Shanbei, or northern Shaanxi province, is known for its distinctive folk songs, characterized by unique melodic structures and singing techniques. Articles like “陕北民歌演唱技巧探究 (Shanbei min’ge yanchang jiqiao tanjiu [Singing technique in northern Shaanxi traditional song])” by Wang Xinhui (Yuefu xin sheng: Shenyang Yinyue Xueyuan xuebao/The new voice of yue-fu: The academic periodical of Shenyang Conservatory of Music 1:75 [spring 2002] 54-59; RILM Abstracts of Music Literature 2002-23054) provide an excellent starting point. The abstract indicates that the article delves into the vocal techniques specific to Shanbei folk songs, such as the use of pingqiang (平腔, “flat singing”) and gaoqiang (高腔, high-pitched singing), as well as the balance between true and falsetto voices. Accessing the full text allows for a deeper understanding of these techniques, which are essential for delivering an authentic performance.

Additionally,“从合唱<陕北民歌五首>看陕北民歌合唱队的历史影响 (Cong hechang “Shanbei min’ge wu shou” kan Shanbei Min’ge Hechangdui de lishi yingxiang [History and influences of Shanbei Min’ge Hechangdui: Shanbei min’ge wu shou as an example])” by Liao Jianbing Jiaoxiang: Xi’an Yinyue Xueyuan xuebao/Jiaoxiang: Journal of Xi’an Conservatory of Music 2:140 [summer 2013] 85-90; RILM Abstracts of Music Literature 2013-8124) offers insights into the historical significance and adaptation of Shanbei folk songs. The abstract and full text discuss how these songs were arranged for choral performances, providing context that can inform the interpretation of Shanbei folk song–Red and bright lilies.

Analyzing the composition and arrangement

Understanding the specific arrangement and orchestration by Xue and Zhu requires examining the compositional techniques they employed. Articles that discuss the arrangement and orchestration of similar pieces can offer valuable parallels. For example, examining how traditional elements are maintained or transformed in contemporary settings is crucial. 

The article “从陕北民歌同源变体关系看苦音宫调的构成 (Cong Shanbei min’ge tongyuan bianti guanxi kan kuyin gongdiao de goucheng [An exploration of the form of the kuyin mode in terms of the homologous variant relationship in northern Shaanxi folk songs])” by Yang Shanwu Jiaoxiang: Xi’an Yinyue Xueyuan xuebao/Jiaoxiang: Journal of Xi’an Conservatory of Music 3:137 [autumn 2012] 17-24; RILM Abstracts of Music Literature 2012-18701) is particularly relevant. It discusses the kuyin mode, a modal system characterized by slightly sharped fourth and flatted seventh degrees, which is prevalent in Shanbei folk music. This modal understanding can be directly applied to the analysis of Shanbei folk song–Red and bright lilies, aiding in grasping its melodic and harmonic structure.

Synthesizing information for performance

Having gathered detailed information on the cultural context, vocal techniques, and compositional structure, the next step is to synthesize this knowledge into a cohesive performance strategy. This involves integrating the historical and theoretical insights into practical applications during practice sessions.

For instance, incorporating the singing techniques discussed in“从合唱<陕北民歌五首>看陕北民歌合唱队的历史影响 (Shanbei min’ge yanchang jiqiao tanjiu)” can enhance the authenticity of the performance. Practicing the transitions between pingqiang and gaoqiang will help in achieving the characteristic sound of Shanbei folk music. Additionally, understanding the kuyin mode from the article by Yang Shanwu can guide the interpretation of the melodic lines, ensuring they resonate with the traditional Shanbei sound.

In a similar way, instrumental musicians and performers can leverage the extensive resources available through RILM Abstracts of Music Literature with Full Text to deepen their understanding of the pieces they play. By accessing scholarly articles that provide historical context, technical analysis, and cultural insights, musicians can enrich their interpretations and performances. This scholarly approach not only enhances their technical proficiency but also allows them to connect more deeply with the music’s heritage and artistic intentions, ultimately leading to more informed and compelling performances.

–Written by Laurentia Woo, a RILM intern and currently a junior at Columbia Preparatory School. Laurentia also studies violin with Professor Li Lin at the Pre-College division of the Juilliard School.

Below is a performance of Xue Chengqian’s Song of praise by South Korean violinist Bomsori Kim at the 2016 Schoenfeld International String Competition.

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by | May 14, 2024 · 6:00 am

A landmark resource in ethnomusicology

The Garland encyclopedia of world music was first issued between 1988 and 1994 by Garland Publishing as a ten-volume series of encyclopedias of world music, organized geographically by continent. An updated second edition appeared between 1998 and 2002. Widely regarded as an authoritative academic source for ethnomusicology, the series features contributions from top researchers in the field globally.

RILM Music Encyclopedias includes volumes from the series on Africa (edited by Ruth M. Stone), The United States and Canada (edited by Ellen Koskoff), Southeast Asia (edited by Terry E. Miller and Sean Williams), South Asia: The Indian Subcontinent (edited by Alison Arnold), The Middle East (edited by Virginia Danielson), East Asia: China, Japan, and Korea (edited by Robert Provine), and Australia and the Pacific Islands (edited by Adrienne L. Kaeppler). Each volume consists of three sections that cover the major topics of a region from broad general issues to specific music practices, introductions to each region, its culture, and its music as well as a survey of previous music scholarship and research; major issues and processes that link the regions musically, and detailed accounts of individual music cultures. The special tenth volume compiles reference tools, criteria for inclusion into the series, and information about the encyclopedia’s structure and organization.

The entries synthesize in-depth fieldwork conducted since the 1960s, as well as recordings, analysis, and documentation. The publication is generally considered a landmark achievement in ethnomusicology. While ethnomusicologists may appreciate The Garland for its critically designed components, non-ethnomusicologists can embrace the encyclopedia for its capacity to serve as a primer on world music.

Find the Garland encyclopedia of world music in RILM Music Encyclopedias.

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by | July 11, 2023 · 6:00 am

Lunch break in Ho Chi Minh City

“After being in Vietnam for over two weeks visiting all possible leads on musical instruments, I was struck with a mild case of musical instrument information overload. One day, I wandered into the central part of Hồ Chí Minh to buy something for my lunch. There, I spotted the Hồ Chí Minh City Museum.

I deliberated, will I or won’t I go in? I supposed they were probably going to close for the midday intermission soon but I decided to give it a quick look. Entering the gates I spotted the ticket office, enquired as to their operating hours, and asked if there were any musical instruments on display. Yes, they were open and yes, they had musical instruments on display. Hip hip!

Wandering around the museum, I found that most of the few musical instruments were already entered in my notes. Therefore, I was thrilled when I stumbled upon the mõ đình, a log slit drum. My last steps were to be the gift shop where I looked eagerly through the books, hoping that one may have information on musical instruments. I was disappointed to find most related to the Vietnam War. I did, however, procure two inexpensive musical instruments–a song loan and a sênh suứ.

Upon leaving, I was surprised to notice one last hidden room down a small hallway. I found two instruments I’d never seen, read of, or been told about before – the chordophones đàn măng đôlin (similar to the mandolin) and the đàn octavina (comparable to the steel string guitar). Both had been adapted from their western equivalent, with a ribbed fingerboard, like the lục huyền cầm (Vietnamese Guitar). I never did get lunch that day, opting instead to visit the Traditional Musical Instruments and Costume Showroom, two blocks away. Sadly this showroom has since closed down.”

The above excerpt is taken from Terry Moran’s Vietnamese musical instruments: A monographic lexicon. (2020). Find it in RILM Music Encyclopedias (RME), and read up on all the Vietnamese instruments he mentions here.

Above are two musicians performing in a coffee shop in Ho Chi Minh City. Below is a video of a musician playing the đàn măng đôlin, an Vietnamese instruments similar to the mandolin.

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by | March 16, 2023 · 6:00 am

RILM releases 3rd edition of How to Write About Music

On 10 March 2023 Répertoire International de Littérature Musicale (RILM) released the third edition of How to Write About Music: The RILM Manual of Style, edited by James R. Cowdery, as an ebook.

The manual addresses a multitude of special problems faced by writers on music—problems rarely solved by general writing guides. It applies an international perspective to matters often handled piecemeal and in ethnocentric fashion: work titles, manuscript sources, transliteration, non-Western theoretical systems, opus and catalogue numbers, and pitch and chord names, to name just a few. Detailed guidelines are provided for the bibliographic handling of standard print, audiovisual, and electronic sources, as well as specialized ones such as program notes, liner notes, and music videos. A chapter on indexing is also included. Throughout, abundant examples illustrate each point.

The first edition (2005) reflected many years of experience and thought, working with a wide variety of terms and concepts from around the world; the second edition (2006), roughly one-third larger than the first, included both revisions and new material. This third edition incorporates numerous updates, many of them reflecting developments in writing and publishing over the past 17 years—not least, those involving the online environment. Unlike the earlier printed editions, it is an electronic edition that will be continuously updated.

“Students, scholars, librarians, critics, and performers will find this third edition of the manual indispensable. It takes into account a bibliodiversity hardly found in similar such ventures and is reflective of RILM’s global mission,” writes RILM Executive Director Dr. Tina Frühauf.

How to Write About Music is available through EBSCO’s eBook Collection, on EBSCOhost. For questions and purchase, please contact information@ebsco.com or your EBSCO sales representative.

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by | July 30, 2022 · 6:00 am

The Caffè Lena Collection

Founded in Saratoga Springs by Bill and Lena Spencer in 1960, Caffè Lena is the longest continuously running folk coffeehouse in the United States. With its longstanding tradition of nurturing new talent, the venue hosted some of the first performances of Bob Dylan, Arlo Guthrie, and Ani DiFranco, as well as some of the last appearances of the legendary Delta bluesmen Skip James and Mississippi John Hurt.

In August 2009, just in time for its 50th anniversary, the Caffè Lena Collection arrived at the American Folklife Center. This collection—a collaborative effort of the Center, the Caffè Lena History Project, and the Saratoga Springs History Museum—includes vintage photographs, articles, and letters; rare reel-to-reel recordings of performances; and oral history recordings with musicians, patrons, and staff members. The Center is making plans for digitizing the materials.

This according to “Celebrating 50 years of American folk music history: The Caffè Lena Collection arrives at the Library of Congress” by Jocelyn Arem (Folklife Center news XXXII/1–2, pp. 3–6; RILM Abstracts of Music Literature 2010-8282). 

Above, Dylan, Suze Rotolo, Spencer, and Pasha, 1962. (All rights reserved by the Joe Alper Photo Collection LLC; may not be reproduced in any manner whatsoever without the written permission of the Joe Alper Photo Collection LLC.)

Below, Yasmin Williams performs at Caffè Lena in 2021.

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by | January 31, 2022 · 3:35 pm

RILM to publish DEUMM Online!

RILM has acquired the full rights to the Dizionario enciclopedico universale della musica e dei musicisti (DEUMM), published between 1983 and 2005 by the renowned Italian publisher of reference works UTET Grandi Opere under the editorship of Alberto Basso. With its three thematic sections (Le biografie; Il lessico; and I titoli e i personaggi) containing some 35,000 entries, DEUMM is the most important modern music dictionary in the Italian language. 

The content of the original printed edition, along with some updated and new entries, will be the starting point for DEUMM Online, to be offered as one of RILM’s suite of reference works. RILM plans to launch DEUMM Online in winter 2023 on RILM’s platform Egret, which offers advanced search and browse capabilities. DEUMM Online will be an essential electronic resource for music scholarship world-wide.

The founding editor of DEUMM, Dr. Alberto Basso, said “I feel particularly honored and therefore happy to have been included among the initiatives that RILM is proposing to the world in the context of scholarship and musical history. The fact that DEUMM has been taken into consideration satisfies me in a particular way and certainly would have satisfied the management of the former UTET that is unfortunately no longer present on the market. I hope that the work I have done creating DEUMM some forty years ago will continue and that DEUMM will be updated.” (The original interview with Dr. Basso may be heard below.)

Dr. Alberto Basso

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by | September 29, 2021 · 6:00 am

Responses in Music to Climate Change and Sources for Climate Change Research

From 4 to 8 October 2021, The Barry S. Brook Center for Music Research and Documentation hosts the virtual conference Responses in Music to Climate Change. The event brings together scholars, performers, composers, and activists, with the goal of exchanging ideas on musicians’ responses to changing ecosystems. It is one of the first academic conferences to consider how the arrival of Covid-19 has impacted musical practices already affected by anthropogenic climate change with the roundtable discussion Adaptations: Confronting Climate Change Amid Covd-19. The panel comprises scholars Aaron Allen (University of North Carolina at Greensboro), Mark Pedelty (University of Minnesota), Alexander Rehding (Harvard University),  Jeff Todd Titon (Brown University),  Denise von Glahn (Florida State University), and Holly Watkins (University of Rochester). 

The dramatic increase in climate pollution from global aviation has been well documented, fostering proposals by communities—scholarly and otherwise—to either curb or eliminate air travel, hold academic conferences less frequently, and include more options for remote participation. Accordingly, and in the interest of curbing the spread of Covid-19, the conference is completely virtual, comprising live and pre-recorded presentations and lectures—most followed by live-streamed Q&A. Registration is free and open to the public.

The conference’s keynote speaker is ethnomusicologist, visual/sound artist, and anthropologist Dr. Steven Feld (University of New Mexico). A MacArthur Fellowship recipient, Professor Feld’s work of the last 45 years in rainforest Papua New Guinea (Voices of the Rainforest [RILM Abstracts of Music Literature, 1995-7420], Sound and Sentiment [RILM Abstracts of Music Literature, 1982-5475]), Europe (The Time of Bells [RILM Abstracts of Music Literature, 2004-41971]), and urban West Africa (Jazz Cosmopolitanism in Accra, [RILM Abstracts of Music Literature, 2009-27214]) is published equally in sound, photographic/film, and textual media.

The opening day concludes with a pre-recorded talk by composer John Luther Adams, whose orchestral work Become Ocean was awarded the 2014 Pulitzer Prize for Music, as well as a Grammy award. Additionally, the conference features an interview with composer Christopher Tin (first to win a Grammy Award for a videogame score) on the afternoon of Tuesday, October 5. 

In anticipation of the conference, Lori Rothstein, Editor at RILM, has compiled a bibliography, discography, and webography of sources related to music and climate change, most of which can be found in RILM Abstracts of Music Literature. These sources are listed below, with the hope that they will serve as a point of departure for future research.

– Michael Lupo, Assistant Editor, RILM

Asterisks (*) identify authors/musicians who will take part in the Responses in Music to Climate Change conference.

Collections

*Allen, Aaron S. “Environmental changes and music”, Music in American life: An encyclopedia of the songs, styles, stars, and stories that shaped our culture, ed. by Jacqueline Edmondson (Santa Barbara: Greenwood, 2013) 418–421. [RILM Abstracts of Music Literature, 2013-50859]

Burtner, Matthew. “Sounding art climate change”, The Routledge companion to sounding art, ed. by Marcel Cobussen, Vincent Meelberg, and Barry Truax (New York: Routledge, 2016) 287–304. [RILM Abstracts of Music Literature, 2017-674]

Cooley, Timothy J. Cultural sustainabilities: Music, media, language, advocacy (Urbana: University of Illinois Press, 2019). [RILM Abstracts of Music Literature, 2019-5056]

*Feisst, Sabine. “Allô, ici la terre: Agency in ecological music composition, performance, and listening”, On active grounds: Agency and time in the environmental humanities, ed. Robert Boschman and Mario Trono. Environmental humanities (Calgary: Wilfrid Laurier University Press, 2019), 87–106. [RILM Abstracts of Music Literature, 2019-27030]

Post, Jennifer C. “Climate change, mobile pastoralism, and cultural heritage in Western Mongolia”, Cultural sustainabilities: Music, media, language, advocacy, ed Timothy J. Cooley (Urbana: University of Illinois Press, 2019), 75–86. [RILM Abstracts of Music Literature, 2019-5064]

Quinn, Marty. “Data as music: Why musically encoded sonification design offers a rich palette for information display”, Environmental sound artists: In their own words, ed. by Frederick W. Bianchi and V.J. Manzo (New York: Oxford University Press, 2016), pp. 92–101. [RILM Abstracts of Music Literature, 2016-5398]

*Titon, Jeff Todd. Toward a sound ecology: New and selected essays. Music, nature, place (Bloomington: Indiana University Press, 2020). [RILM Abstracts of Music Literature, 2020-60874]

_____. “Sustainability, resilience, and adaptive management for applied ethnomusicology”, The Oxford handbook of applied ethnomusicology, ed. by Svanibor Pettan and *Jeff Todd Titon (New York: Oxford University Press, 2015). [RILM Abstracts of Music Literature, 2015-6030]

Monographs

*Adams, John Luther. Silences so deep: Music, solitude, Alaska (New York: Farrar, Straus and Giroux, 2020). [RILM Abstracts of Music Literature, 2020-61095]

Ingram, David. The jukebox in the garden: Ecocriticism and American popular music since 1960. Nature, culture and literature (Amsterdam: Rodopi, 2010). [RILM Abstracts of Music Literature, 2010-50555]

Monacchi, David. Fragments of Extinction: An eco-acoustic music project on primary rainforest biodiversity (Urbino: Edizioni ME, 2014). [RILM Abstracts of Music Literature, 2014-87198]

*Pedelty, Mark. A song to save the Salish Sea: Musical performance as environmental activism.Music, nature, place (Bloomington: Indiana University Press, 2016). [RILM Abstracts of Music Literature, 2016-5269]

_____. Ecomusicology: Rock, folk, and the environment (Philadelphia: Temple University Press, 2012). [RILM Abstracts of Music Literature, 2012-6252]

*Watkins, Holly. Musical vitalities: Ventures in a biotic aesthetics of music. New material histories of music (Chicago: University of Chicago Press, 2018). [RILM Abstracts of Music Literature, 2018-45388]

Periodicals

*Abels, Birgit. “‘It’s only the water and the rocks that own the land’: Sound knowledge and environmental change in Palau, Western Micronesia”, Asian-European music research e-journal 2 (2018) 21–32. https://cdn-cms.f-static.com/uploads/1266233/normal_5c219f9c55b34.pdf. [RILM Abstracts of Music Literature, 2018-11433]

*Allen, Aaron S.  “A “stubbornly persistent illusion”? Climate crisis and the North, ecomusicology and academic discourse”, European Journal of Musicology, 18/1 (2020) 16–35. https://doi.org/10.5450/EJM.18.1.2019.16. [RILM Abstracts of Music Literature, 2019-20596]

_____, *Jeff Todd Titon, and *Denise Von Glahn. “Sustainability and sound: Ecomusicology inside and outside the academy”, Music and politics 8/2 (summer 2014) 83–108. https://doi.org/10.3998/mp.9460447.0008.205.[RILM Abstracts of Music Literature, 2014-66057]

Barclay, Leah. “Sonic ecologies: Exploring the agency of soundscapes in ecological crisis”, Soundscape: The journal of acoustic ecology, 12/1 (2013) 29–32. https://www.wfae.net/uploads/5/9/8/4/59849633/soundscape_volume12.pdf. [RILM Abstracts of Music Literature, 2013-46393]

Brennan, Matt and Kyle Devine. “The cost of music”, Popular Music 39/1 (February 2020) 43–65. https://doi.org/10.1017/S0261143019000552. [RILM Abstracts of Music Literature, 2020-1536]

Burtner, Matthew. “Climate change music: From environmental aesthetics to ecoacoustics”, South Atlantic quarterly 116/1 (1 January 2017), 145–161. https://doi.org/10.1215/00382876-3749392. [RILM Abstracts of Music Literature, 2017- 61156]

Chisholm, Dianne. “Shaping an ear for climate change: The silarjuapomorphizing music of Alaskan composer John Luther Adams”, Environmental humanities 8/2 (2016) 172–195. https://doi.org/10.1215/22011919-3664211. [RILM Abstracts of Music Literature, 2016-46641]

*Chung, Andrew. “Vibration, difference, and solidarity in the Anthropocene: Ethical difficulties of new materialist sound studies and some alternatives”, Resonance: The journal of sound and culture. 2/2 (2021) 218–241. https://doi.org/10.1525/res.2021.2.2.218. [RILM Abstracts of Music Literature, 2021-6586]

*Clark, Emily Hansell. “The ear of the Other: Colonialism and decolonial listening”, The quietus (23 January 2021) https://thequietus.com/articles/29445-sound-colonialism-and-decolonial-listening-focus-on-sound-emily-hansell-clark. [RILM Abstracts of Music Literature, 2021-6882]

Cline, Jake. “How one composer channels climate grief into orchestral pieces–And why John Luther Adams turned from activism to art”, Sierra: The magazine of the Sierra Club (30 December 2020) https://www.sierraclub.org/sierra/2021-1-january-february/mixed-media/how-one-composer-channels-climate-grief-orchestral-pieces-john-luther-adams. [RILM Abstracts of Music Literature, 2020-60871]

*Galloway, Kate. “Listening to and composing with the soundscapes of climate change”, Resilience: A journal of the environmental humanities 7/2-3 (spring–fall 2020) 81–105. [RILM Abstracts of Music Literature, 2020-60872]

_____. “The aurality of pipeline politics and listening for nacreous clouds: Voicing Indigenous ecological knowledge in Tanya Tagaq’s Animism and Retribution”, Popular music 39/1 (February 2020) 121–144. https://doi.org/10.1017/S026114301900059X. [RILM Abstracts of Music Literature, 2020-1537]

Gilmurray, Jonathan. “Ecological sound art: Steps towards a new field”, Organised sound, 22/1 (April 2017) 32–41. https://doi:10.1017/S1355771816000315. [RILM Abstracts of Music Literature, 2017-885]

_____. “Sounding the alarm: An introduction to ecological sound art”, Muzikološki zbornik/Musicological annual 52/2 (2016), 71–84. https://doi.org/10.4312/mz.52.2.71-84. [RILM Abstracts of Music Literature, 2016-22390]

Greene, Jayson. “What can music do during climate collapse?”, Pitchfork (22 April 2021) https://pitchfork.com/features/overtones/climate-change-music/. [RILM Abstracts of Music Literature, 2021-6841].

*Hawitt, Rowan Bayliss.“’It’s a part of me and I’m a part of it’: Ecological thinking in contemporary Scottish folk music”, Ethnomusicology forum 29/3 (2020) 333–355. https://doi.org/10.1080/17411912.2021.1897950. [RILM Abstracts of Music Literature, 2020-60873]

Kinnear, Tyler. “Voicing nature in John Luther Adams’s The place where you go to listen”, Organised sound 17/3 (December 2012), 230–239. https://doi.org/10.1017/S1355771811000434. [RILM Abstracts of Music Literature, 2012-11550]

Meyers, Rachel and Carolyn Philpott. “Listening to Antarctica: Cheryl E. Leonard’s eco-acoustic creative practice”, Fusion journal 19 (2021) 64–77. https://fusion-journal.com/wp-content/uploads/2021/03/Meyers-and-Philpot-Final-Listening-to-Antarctica.pdf. [RILM Abstracts of Music Literature, 2021-6587]

Monacchi, David. “Fragments of Extinction: Acoustic biodiversity of primary rainforest ecosystems”, Leonardo music journal 23 (2013) 23–25. https://doi.org/10.1162/LMJ_a_00148. [RILM Abstracts of Music Literature, 2013-10768]

Ochoa Gautier, Ana María. “Acoustic multinaturalism, the value of nature, and the nature of music in ecomusicology”, Boundary 2: An international journal of literature and culture 43/1 (February 2016) 107–141. https://doi.org/10.1215/01903659-3340661. [RILM Abstracts of Music Literature, 2016-44040]

*Parrotta, Priya. “When oceans meet: Musical diversity, environmentalism, and dialogue in a changing world”, Musiké: Revista del Conservatorio de Música de Puerto Rico, 7/1 (October 2019) 17–27. https://issuu.com/revistamusike/docs/musike_7_. [RILM Abstracts of Music Literature, 2019-9880]

*Pedelty, Mark, *Rebecca Dirksen, Tara Hatfield, *Yan Pang, and *Elja Roy. “Field to media: Applied ecomusicology in the Anthropocene”, Popular music 39/1 (February 2020) 22–42. https://doi.org/10.1017/S0261143019000540. [RILM Abstracts of Music Literature, 2020-1541]

Peterson, Marina L. and Vicki L. Brennan. “A sonic ethnography: Listening to and with climate change”, Resonance 1/4 (winter 2020): 371–375. https://doi.org/10.1525/res.2020.1.4.371. [RILM Abstracts of Music Literature, 2020-54115]

Philpott, Caroline. “Sonic explorations of the southernmost continent: Four composers’ responses to Antarctica and climate change in the twenty-first century”, Organised sound 21/1 (April 2016) 83–93. https://doi.org/10.1017/S1355771815000400. [RILM Abstracts of Music Literature, 2016-734]

Ramnarine, Tina K. “Music and northern forest cultures,” European journal of musicology 18/1 (2019) 111–127. https://doi.org/10.5450/EJM.18.1.2019.111. [RILM Abstracts of Music Literature, 2019/20602]

*Rehding, Alexander. “Ecomusicology between apocalypse and nostalgia”, Journal of the American Musicological Society 64/2 (summer 2011) 409–414. https://doi.org/10.1525/jams.2011.64.2.409. [RILM Abstracts of Music Literature, 2011-3936]

Ribac, François and Paul Harkins.”Popular music and the Anthropocene”, Popular music 39/1 (February 2020) 1–21. https://doi.org/10.1017/S0261143019000539. [RILM Abstracts of Music Literature, 2020-1557]

Ritts, Max and Karen Bakker. “New forms: Anthropocene Festivals and experimental environmental governance”, Environment and planning E: Nature and space (26 November 2019) https://doi.org/10.1177/2514848619886974. [RILM Abstracts of Music Literature, 2019-27032]

*Safran, Benjamin A. “’A gentle, angry people’: Music in a Quaker nonviolent direct-action campaign to power local green jobs,” Yale journal of music and religion 5/2 (2019) 82–102. https://doi.org/10.17132/2377-231X.1140. [RILM Abstracts of Music Literature, 2019-14114]

Sakakibara, Chie.”’No whale, no music’: Iñupiaq drumming and global warming”, Polar record: A journal of Arctic and Antarctic research 45/4 (October 2009) 289–303. https://doi.org/doi:10.1017/S0032247408008164. [RILM Abstracts of Music Literature, 2009-48488]

Seabrook, Deborah. “Music therapy in the era of climate crisis: Evolving to meet current needs”, The arts in psychotherapy 68 (March 2020) Article 101646, 8 p. https://doi.org/10.1016/j.aip.2020.101646. [RILM Abstracts of Music Literature, 2020-60875]

St. George, Scott, Daniel Crawford, Todd Reubold, and Elizabeth Giorgi. “Making climate data sing: Using music-like sonifications to convey a key climate record”, Bulletin of the American Meterological Society 98/1 (2017) 23–27. https://doi.org/10.1175/BAMS-D-15-00223.1. [RILM Abstracts of Music Literature, 2017-61069]

Sweers, Britta. “Environmental perception and activism through performance: Alpine song and sound impressions”, European journal of musicology 18/1 (2019) 138–159. https://doi.org/10.5450/EJM.18.1.2019.138. [RILM Abstracts of Music Literature, 2019-20604]

*Von Glahn, Denise R. “Sounds real and imagined: Libby Larsen’s Up where the air gets thin”, European journal of musicology 18/1 (2019) 99–110. https://doi.org/10.5450/EJM.18.1.2019.99. [RILM Abstracts of Music Literature, 2019-20601]

*Wodak, Josh. “If a seed falls in a forest: Sounding out seedbanks to sonify climate change”, Unlikely: Journal for creative arts 4 (2018) http://unlikely.net.au/issue-03/seed-in-space-sound-in-time. [RILM Abstracts of Music Literature, 2018-64229]

_____. “Popular music & depopulated species: Probing life at the limits in song and science”, Music and arts in action 6/3 (2018) 3–18. http://www.musicandartsinaction.net/index.php/maia/article/view/175. [RILM Abstracts of Music Literature, 2018-44013]

_____. “Shifting baselines: Conveying climate change in popular music”, Environmental communication 12 (2018) 58–70. http://dx.doi.org/10.1080/17524032.2017.1371051. [RILM Abstracts of Music Literature, 2018-54590]

Dissertations and Theses

Gervin, Kelly. Music and environmentalism in twenty-first century American popular culture (M.Mus. thesis, Bowling Green State University, 2017). http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1494162797534902. [RILM Abstracts of Music Literature, 2017-49202]

Gilmurray, Jonathan.Ecology and environmentalism in contemporary sound art (Ph.D. diss., University of the Arts London, 2018). https://ualresearchonline.arts.ac.uk/id/eprint/13705/. [RILM Abstracts of Music Literature, 2018-50689]

Hilgren, Bailey. The music of science: Environmentalist data sonifications, interdisciplinary art, and the narrative of climate change (M.Mus. thesis, Florida State University, 2019). http://purl.flvc.org/fsu/fd/2019_Spring_Hilgren_fsu_0071N_15127. [RILM Abstracts of Music Literature, 2019-27031]

Kasprzyk, Cory Ryan. Found composition: Ecological awareness and its impact on compositional authority in music employing electronics (DMA diss., Bowling Green State University, 2017). http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1510572689037113. [RILM Abstracts of Music Literature, 2017-49201]    

Online Essays, Podcasts, Websites, and Videos

Adamo, Mark. https://www.markadamo.com/.

*Adams, John Luther. “Global warming and art (2003)”, http://johnlutheradams.net/global-warming-and-art-essay/.

_____. “The end of winter”, https://www.newyorker.com/culture/culture-desk/the-end-of-winter.

Cape Farewell. https://capefarewell.com/.

Chain, Lydia. “Capturing the songs of a changing climate”, Undark, 48 (22 September 2020) https://undark.org/2020/09/22/podcast-48-acoustic-ecology/.

Climate Keys. http://www.climatekeys.com/.

ClimateMusic. https://climatemusic.org/.

Climate Stories Project. https://www.climatestoriesproject.org/climate-music.html.

Crawford, Daniel and Scott St. George. “Planetary bands, warming world”, https://planetbands.mystrikingly.com/.

Currin, Grayson Haver. “Music for our emergency”, NPR music (5 December 2019) https://www.npr.org/2019/12/05/784818349/songs-our-emergency-how-music-approaching-climate-change-crisis.

Dunn, David. http://davidddunn.com/ASL/Welcome.html.

Earthsound. https://www.earthsoundmusic.net.

Eureka Ensemble. “Rising Tides: Confronting the climate crisis through music”, https://www.eurekaensemble.org/rising-tides.

*Feld, Steven. http://www.stevenfeld.net/.

_____. and Panayotis Panopoulos. “Athens conversation: On ethnographic listening and comparative acoustemologies” (30 April 2015) https://static1.squarespace.com/static/545aad98e4b0f1f9150ad5c3/t/5543bb7de4b0b5d7d7bb3d58/1430502269571/Athens+Conversation.pdf.

_____. Iracema Dulley, Evanthia Patsiaoura, et. al. “Sounding anthropology: A jam session with Steven Feld” n.d. https://static1.squarespace.com/static/545aad98e4b0f1f9150ad5c3/t/5fbf1a54173fb5383b932d46/1606359637987/Sounding+Anthropology.pdf.

Fragments of Extinction. http://www.fragmentsofextinction.org/fragments-of-extinction/.

Harris, Yolande. https://www.yolandeharris.net/.

Howe, Cymene and Dominic Boyer. “Matthew Burtner”, Cultures of energy: The energy humanities podcast. 96 (19 October 2017) http://culturesofenergy.com/ep-96-matthew-burtner/.

Jones, Lucy. “The music of climate change”, Dr. Lucy Jones (15 May 2019) http://drlucyjones.com/the-music-of-climate-change/.

Legacies of the Enlightenment: Humanity, Nature, and Science in a Changing Climate.  https://legaciesoftheenlightenment.hcommons.org/.

Mauleverer, Charles. “Can music ever be green? An overview of the changing musical climate”, (12 April 2019) https://www.charlesmauleverer.com/post/2019/04/12/Can-Music-Ever-Be-Green-An-Overview-Of-The-Changing-Musical-Climate.

Miles, Emily. “Empathy through environmental music, Part 1”. In this climate (3 February 2020) https://www.stitcher.com/show/in-this-climate/episode/empathy-through-environmental-music-part-1-67058147.

_____. “Empathy through environmental music, Part 2”, In this climate (3 February 2020) https://www.stitcher.com/show/in-this-climate/episode/empathy-through-environmental-music-part-2-67062837.

Orchestra for the Earth. https://www.orchestrafortheearth.co.uk/.

*Perrin, Lola.http://www.lolaperrin.com/lolaperrin.

Quin, Douglas.http://www.douglasquin.com/.

Reubold, Todd. “A song of our warming planet”, Ensia (28 June 2013) https://ensia.com/videos/a-song-of-our-warming-planet/.

_____. “What global warming sounds like from the Amazon to the Arctic”, Ensia (7 May 2015) https://ensia.com/videos/what-climate-change-sounds-like-from-the-amazon-to-the-arctic/.

*Tin, Christopher. https://christophertin.com/.

*Titon, Jeff Todd.“Music in a changing climate”, Sustainable music (1 September 2015) https://sustainablemusic.blogspot.com/2015/09/music-in-changing-climate.html.

*Twedt, Judy. Connecting to climate change through music. (2018) https://tedxseattle.com/talks/connecting-to-climate-change-through-music/.

Westerkamp, Hildegard. “The disruptive nature of listening” (18 August 2015) https://www.hildegardwesterkamp.ca/writings/writingsby/?post_id=11&title=the-disruptive-nature-of-listening.

Yakutchik, MaryAlice. “Composer records beetles to mark climate change”, NPR music (10 March 2008). https://www.npr.org/templates/story/story.php?storyId=88074919.

Recordings

*Adams, John Luther, Become trilogy. CD (Canteloupe Music CA21161, 2020).

_____. Lines made by walking. CD (Cold Blue Music, CB 0058 (2020).

Burtner, Matthew. Auksalaq: Live at the Phillips Collection. DVD (EcoSono, 2013).

_____. Glacier music. CD (Ravello Records RR8001, 2019).

_____. Six ecoacoustic quintets/Avian telemetry (Ravello Records RR8040, 2020).

Sayre, Mike. Music for icebergs. CD (Teknofonic Recordings, 2017).

*Tin, Christopher. The drop that contained the sea. CD (DeccaGold, 2014).

Volsness, Kristin. The year without a summer. CD (New Focus Recordings DCR218, 2018).

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by | September 8, 2021 · 6:00 am

Antonín Dvořák, railfan

Dvořák had tremendous admiration for technical inventions, particularly locomotives—in the U.S. he might be called a railfan.

“It consists of many parts, of so many different parts, and each has its own importance, each has its own place,” he wrote. “Even the smallest screw is in place and holding something! Everything has its purpose and role and the result is amazing.”

“Such a locomotive is put on the tracks, they put in the coal and water, one person moves a small lever, the big levers start to move, and even though the cars weigh a few thousand metric cents, the locomotive runs with them like a rabbit. All of my symphonies I would give if I had invented the locomotive!”

This according to Antonín Dvořák: Komplexní zdroj informací o skladateli / A comprehensive information source on the composer, an Internet resource created by Ondřej Šupka. Many thanks to Jadranka Važanová for her discovery and translation of this wonderful quotation.

Today is Dvořák’s 180th birthday! Below, the EuroCity 77 “Antonin Dvorak” leaving Prague for Vienna.

Related article: Johannes Brahms, railfan

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by | August 15, 2021 · 6:00 am

Metaldata

In 2021 the Music Library Association and A-R Editions issued Metaldata: A bibliography of heavy metal resources, the first book-length bibliography of resources about heavy metal.

From its beginnings in the late 1960s and early 1970s, heavy metal has emerged as one of the most consistently popular and commercially successful music styles. Over the decades the style has changed and diversified, drawing attention from fans, critics, and scholars alike. Scholars, journalists, and musicians have generated a body of writing, films, and instructional materials that is substantial in quantity, diverse in approach, and intended for many types of audiences, resulting in a wealth of information about heavy metal. 

Metaldata (RILM Abstracts of Music Literature 2021-3687) provides a current and comprehensive bibliographic resource for researchers and fans of metal. This book also serves as a guide for librarians in their collection development decisions. Chapters focus on performers, musical instruction, discographies, metal subgenres, metal in specific places, and research relating metal to the humanities and sciences, and encompass archives, books, articles, videos, websites, and other resources by scholars, journalists, musicians, and fans of this vibrant musical style.

Below, YouTube’s Metal library.

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