This is the case with concert halls, designed for their acoustic properties. Corsin Vogel produces sonic installations in which sound is one of the dimensions of the working space. The methodological principle of this sound artist is that sound is always a condition for the perception of space: on the one hand he makes the social dimension of the sonic environment visible in his work, on the other hand he makes us rethink our own relation with space as sonically determined.
She presents churches as particularly symbolically-charged places referring to the cultural background of the Quebeckers secularization of the society and uncertainty of the future of these places. This is where social interaction, the interconnection between space, sound and memories becomes evident. Such performances may reveal also the identity-generating potential of place. The ways in which sounds become integrated or dominate over places correspond to socio-political power-relationships.
This becomes evident if we consider, for example, the purified soundscapes or silences in borderlands, spaces of intense cultural contestation. But also in urban settings acoustic politics of space have been increasingly implemented. At the same time, sounds may play a subversive role in relation to the politics of sonic purification. Sounds may contest the space in which they occur.
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Sounds, in this sense, already participate in making more flexible our notions of locality, authenticity, belonging, identity and nationality. Sounds increasingly detach from their place of production. Moreover, our contemporary world of mobility has proven that sound-space relations are and always have been cultural ones.
Sound-space relations have been continuously reconfigured throughout history as they are socially conditioned. This de-spatialization of sounds has become increasingly accelerated by media. Such phenomena must be considered in the context of a wider set of cultural politics and heritage politics, which provide regional and local goods with an aura of purity and authenticity. This often goes hand in hand with politically relevant processes of homogenisation and purification of entire musical landscapes.
This becomes particularly evident if we consider the crucial role sounds play as identifiers of belonging and homeliness in processes of de-territorialization, uprooting and displacement.
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Indeed, in an increasingly mobile contemporary world sounds also are continuously on the move. In its sonic form, places, homes and origins travel with the people in their hand luggage, transcending movement. The sonic memory of an imagined and often fictive home remains present in its medialized form, even in the remotest corner of the Diaspora.
De-territorialization forms the fertile ground for musical creativity and for a growing diasporic music industry, which strategically uses spatial and social nostalgia encoded in sound. They make a commercial use of the fact that music evokes a distant home for the migrant more effectively than everything else e. Pistrick ; Isnart Unamplified sounds before were attributable to a certain physical and social space: they were intended to fill a certain space outside like the wedding music of the Albanian-Macedonian zurna-daulle Ensemble or the interior of a domestic space like in the case of Bulgarian sedjanka songs.
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The amplified sounds of contemporary popular music practice go beyond this dichotomised relation of inside and outside spaces, and they extend far beyond the physical space. Electronic effects and amplification have lead to a disconnection between a physical but inaudible space and an invisible but sonically omnipresent space.
As many other artistic practices dealing with space and using a kind of splitting effect, the result is a superposition of the real place of performance and a virtual place. The resulting dynamics of political ideologies, the interests of supra-national actors such as UNESCO , or local movements of re-traditionalization act as agencies of power, knowledge and desire.
They have reformulated the relation between sound and place profoundly. The nation as a spatial point of reference for sonic practice is recently being reconsidered as a mediator between the larger global and the smaller local Biddle and Knights Such musics play an important role in the way people define their relationships with local, everyday surroundings, at different scales, even in a globalized world.
Local musics are understood by different cultural groups as being anchored in their sense of community, belonging, referring to a commonly shared past. In this dossier, Katell Morand gives us such an example in her sensitive and intimate ethnomusicological case study about an Ethiopian group of herdkeepers.
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Music playing, as it is the case in many pastoral cultures, can be seen as a specific and respected capacity of the herders, relating themselves to the herd during long periods of loneliness while on the pastures. They build their spatial knowledge essentially on sonic perceptions of their environment, dealing with loneliness, wild animals and brigands in the liminal parts of the forest.
But they also populate, occupy their environment with their own musical creations. Morand argues that the relation herdkeepers establish with their surrounding environment is essentially a sonic one. They try to exert control over this in-between space through sonic techniques which make them both connoisseurs and performers of highly localised and distinct soundscapes. What factors determine the re recognisability of soundscapes? As Labelle has pointed out, the temporal and evanescent nature of sounds imparts great flexibility and uncertainty to the stability of space Labelle xxi.
Whether the local meanings of sounds will regain their importance or whether the processes of de-territorialization and hybridization will lead to the disappearance of the local significance of sounds and see the creation of new spatial references is still uncertain. New York, Berghahn Books. Newcastle, Cambridge Scholars Publishers.
Lanham, Ashgate. Between the Global and the Local. Oxford, Berg. Philadelphia, University of Pennsylvania Press. Oxford and New York, Berg, New York, Random House.
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Oxford, Clarendon Press, Toronto, University of Toronto Press. Carlyle ed.
Paris, Double Entendre, London, Routledge. New York and London, Continuum Books. Paris, Anthropos. Lanham, Scarecrow Press. Not what you don't.
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