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 cult...
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- Éditeur : Open Book Publishers
- Collection : OBP collection
- Lieu d’édition : Cambridge
- Année d’édition : 2021
- Publication sur OpenEdition Books : 08 juin 2021
- EAN (Édition imprimée) : 9781800640351
- EAN électronique : 9791036570339
- Nombre de pages : x-337 p.
Captive Colonists, Forced Singing, and the Incorporation Imperatives of Mohawk Listeners
Black Authorship and the ‘Turks, and Dwarves, the Bad Christians’ of the Medici Court
Trans-Eurasian Resonances of Writing in Early Modern France and China
War, Slavery, and Difference in a Medici Court Entertainment
Wounded Italy, the Moresca, and the Performance of Alterity
Listening for Tasso’s Clorinda
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
Le texte seul est utilisable sous licence CC BY 4.0. Les autres éléments (illustrations, fichiers annexes importés) sont « Tous droits réservés », sauf mention contraire.