Acoustemologies in Contact
Sounding Subjects and Modes of Listening in Early Modernity
In this fascinating collection of essays, an international group of scholars explores the sonic consequences of transcultural contact in the early modern period. They examine how cultural configurations of sound impacted communication, comprehension, and the categorisation of people. Addressing questions of identity, difference, sound, and subjectivity in global early modernity, these authors share the conviction that the body itself is the most intimate of contact zones, and that the cultural...
Éditeur : Open Book Publishers
Lieu d’édition : Cambridge
Publication sur OpenEdition Books : 8 juin 2021
ISBN numérique : 979-10-365-7033-9
Collection : OBP collection
Année d’édition : 2021
ISBN (Édition imprimée) : 978-1-80064-035-1
Nombre de pages : x-337
Emily Wilbourne et Suzanne G. Cusick
IntroductionIreri E. Chávez Bárcenas
2. Native Song and Dance Affect in Seventeenth-Century Christian Festivals in New SpainGlenda Goodman
4. ‘Hideous Acclamations’Captive Colonists, Forced Singing, and the Incorporation Imperatives of Mohawk Listeners
Danielle Skeehan
5. Black Atlantic Acoustemologies and the Maritime ArchiveEmily Wilbourne
6. Little Black Giovanni’s DreamBlack Authorship and the ‘Turks, and Dwarves, the Bad Christians’ of the Medici Court
Zhuqing (Lester) S. Hu
7. A Global Phonographic RevolutionTrans-Eurasian Resonances of Writing in Early Modern France and China
Suzanne G. Cusick
8. ‘La stiava dolente in suono di canto’War, Slavery, and Difference in a Medici Court Entertainment
Nina Treadwell
9. ‘Now Despised, a Servant, Abandoned’Wounded Italy, the Moresca, and the Performance of Alterity
In this fascinating collection of essays, an international group of scholars explores the sonic consequences of transcultural contact in the early modern period. They examine how cultural configurations of sound impacted communication, comprehension, and the categorisation of people. Addressing questions of identity, difference, sound, and subjectivity in global early modernity, these authors share the conviction that the body itself is the most intimate of contact zones, and that the culturally contingent systems by which sounds made sense could be foreign to early modern listeners and to present day scholars.
Drawing on a global range of archival evidence-from New France and New Spain, to the slave ships of the Middle Passage, to China. Europe, and the Mediterranean court environment-this collection challenges the privileged position of European acoustical practices within the discipline of global-historical musicology. The discussion of Black and non-European experiences demonstrates how the production of ’the canon’ in the cosmopolitan centres of colonial empires was underpinned by processes of human exploitation and extraction of resources. As such, this text is a timely response to calls within the discipline to decolonise music history and to contextualise the canonical works of the European past.
This volume is accessible to a wide and interdisciplinary audience, not only within musicology, but also to those interested in early modern global history, sound studies, race, and slavery.
As with all Open Book publications, this entire book is available to read for free on the publisher’s website. Printed and digital editions, together with supplementary digital material, can also be found at www.openbookpublishers.com
Is Associate Professor of Musicology at Queens College and the Graduate Center in the City University of New York, and (since 2017) Editor-in-Chief of Women & Music: A Journal of Gender and Culture. Her first book, Seventeenth-Century Opera and the Sound of the Commedia dell’Arte, was published in 2016 by University of Chicago Press, and an edited collection in honor of Suzanne G. Cusick appeared as a special issue of Women & Music in 2015. Wilbourne’s articles have appeared in the Journal of the American Musicological Society, Women & Music, Recercare, Teatro e storia,Italian Studies, Echo, and Workplace. In 2011, Wilbourne was awarded the Philip Brett Award for excellence in queer music scholarship for her article, ‘Amor nello specchio (1622): Mirroring, Masturbation, and Same-Sex Love’; in 2017–2018, she was the Francesco De Dombrowski Fellowship at the Harvard University Center for Renaissance Studies at Villa I Tatti in Florence.
Is Professor of Music on the Faculty of Arts and Science at New York University and Honorary Member of both the American Musicological Society and the Society for Ethnomusicology; she has published extensively on gender and sexuality in relation to the musical cultures of early modern Italy and of contemporary North America. Her 2009 book Francesca Caccini at the Medici Court: Music and the Circulation of Power received the ‘Best Book’ award for 2010 from the Society for the Study of Early Modern Women. More recently, she has studied the use of sound in detention and interrogation of prisoners held during the twenty-first century’s ‘war on terror’, work for which she won the Philip Brett Award of the American Musicological Society. Cusick is currently at work on a monograph on gendered, eroticized, and politicized modes of hearing in Medicean Florence. Cusick served as President of the American Musicological Society from 2018 to 2020.
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