Acoustemologies in Contact

Emily Wilbourne, Suzanne G. Cusick

Description

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.

Informations

• Publié par: Open Book Publishers
• Date de parution: 19 janvier 2021
• Nombre de lectures: 0
• EAN13: 9781800640382
• Langue: English
• Poids de l'ouvrage: 5 Mo

Extrait

ACOUSTEMOLOGIES IN CONTACT

ACOUSTEMOLOGIES IN CONTACT
Sounding Subjects and Modes of Listening in Early Modernity
Edited by Emily Wilbourne and Suzanne G. Cusick






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© 2021 Emily Wilbourne and Suzanne G. Cusick. Copyright of individual chapters is maintained by the chapters’ authors.




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Emily Wilbourne and Suzanne G. Cusick (eds), Acoustemologies in Contact: Sounding Subjects and Modes of Listening in Early Modernity . Cambridge, UK: Open Book Publishers, 2021, https://doi.org/10.11647/OBP.0226
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ISBN Paperback: 978-1-80064-035-1
ISBN Hardback: 978-1-80064-036-8
ISBN Digital (PDF): 978-1-80064-037-5
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DOI: 10.11647/OBP.0226
Cover Image: ‘The manner in which the Mexicans dance’, in Juan de Tovar, Historia de la venida de los indios (Ms., ca. 1585), f. 58r. Courtesy of the John Carter Brown Library, CC BY-SA 4.0. Cover Design by Anna Gatti.

Contents
Notes on Contributors
vii
Introduction
1
SECTION I: Colonial Contact
1.
Listening as an Innu-French Contact Zone in the Jesuit Relations
Olivia Bloechl
13
2.
Native Song and Dance Affect in Seventeenth-Century Christian Festivals in New Spain
Ireri E. Chávez Bárcenas
37
3.
Performance in the Periphery: Colonial Encounters and Entertainments
Patricia Akhimie
65
SECTION II: Contact and Captivity
4.
‘Hideous Acclamations’: Captive Colonists, Forced Singing, and the Incorporation Imperatives of Mohawk Listeners
Glenda Goodman
83
5.
Black Atlantic Acoustemologies and the Maritime Archive
Danielle Skeehan
107
6.
Little Black Giovanni’s Dream: Black Authorship and the ‘Turks, and Dwarves, the Bad Christians’ of the Medici Court
Emily Wilbourne
135
SECTION III: Textual Contact
7.
A Global Phonographic Revolution: Trans-Eurasian Resonances of Writing in Early Modern France and China
Zhuqing (Lester) S. Hu
167
SECTION IV: Mediterranean Contact
8.
‘La stiava dolente in suono di canto’: War, Slavery, and Difference in a Medici Court Entertainment
Suzanne G. Cusick
201
9.
‘Now Despised, a Servant, Abandoned’: Wounded Italy, the Moresca , and the Performance of Alterity
Nina Treadwell
239
10.
‘Non basta il suono, e la voce’: Listening for Tasso’s Clorinda
Jane Tylus
265
Bibliography
289
List of illustrations
323
Index
327

Notes on Contributors
Patricia Akhimie is Associate Professor of English at Rutgers University — Newark. She is the author of Shakespeare and the Cultivation of Difference: Race and Conduct in the Early Modern World (2018), and co-editor of Travel and Travail: Early Modern Women, English Drama, and the Wider World (with Bernadette Andrea, 2019). Her research has been supported by the National Endowment for the Humanities, the Folger Shakespeare Library, the Ford Foundation, the National Sporting Library, and the John Carter Brown Library.
Olivia Bloechl is Professor of Music at the University of Pittsburgh, with research interests in the early modern Atlantic world, French Baroque opera, postcolonialism, feminist ethics, and global music history. She is the author of Native American Song at the Frontiers of Early Modern Music (2008) and Opera and the Political Imaginary in Old Regime France (2017), and co-editor of Rethinking Difference in Music Scholarship (with M. Lowe and J. Kallberg, 2015). A longtime advocate of postcolonial and global approaches to music history, she is a founding convener of the Global Music History Study Group of the AMS.
Ireri E. Chávez Bárcenas is Assistant Professor of Music at Bowdoin College. She received her doctoral degree in musicology from Princeton University and a master’s degree in religion and music from Yale University. Her work analyzes the performance of villancicos within the institutional and social fabric of Puebla de los Ángeles and develops a new methodology for the study of function, meaning, and transmission of the vernacular song tradition in the Spanish empire. She has published studies on the villancico in early seventeenth-century New Spain and on Vivaldi’s opera Motezuma and the adaptation of conflicting historiographical interpretation about the Conquest of Mexico in Early Modern Italy.
Suzanne G. Cusick 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.
Glenda Goodman is Assistant Professor of Music at the University of Pennsylvania. She works on the history of early American music. Her first book, Cultivated by Hand: Amateur Musicians in the Early American Republic (2020), considers the material and social practice of amateur music-making. She also researches music, Indigeneity, and colonial encounter, and is currently working on a new book about sacred music and Native American Christian conversion in colonial New England and New York. She is also working on a collaborative project, American Contact: Intercultural Encounter and the History of the Book , which will result in a volume and digital project. Her articles have appeared in the Journal of the American Musicological Society , the Journal of the Society for American Music , the William and Mary Quarterly , Eighteenth-Century Studies, and the Journal of the Royal Musical Association .
Zhuqing (Lester) S. Hu is Assistant Professor in Musicology at the University of California, Berkeley. He holds a Ph.D. in Music History and Theory from the University of Chicago, where his dissertation was recognized with a Dean’s Distinguished Dissertation Award of the Humanities Division in 2020. He is a former recipient of the Howard Mayer Brown Fellowship from the American Musicological Society, the Mellon Dissertation Research Fellowship from the Council for Library and Information Resources, and the Chateaubriand Fellowship from the French Embassy in the US. His research focuses on global histories of music in the early modern era, particularly intersections between music and empire-building in Eurasia and comparative studies between the Qing Empire (1636–1912) and the European-Atlantic world. His works have appeared in Early Music and Opera Quarterly , and he is currently working on a monograph based on the ‘Phonographic Revolution’ hypothesis he develops in his contribution to this volume.
Danielle Skeehan is Associate Professor in English at Oberlin College, where she specializes in early and nineteenth-century American literature. Her work has appeared in The Eighteenth Century: Theory and Interpretation, The Appendix, The Journal of the Early Republic, Commonplace, and Early American Studies. Her first book, The Fabric of Empire: Material and Literary Cultures of the Global Atlantic, 1650–1850 (2020), provides a new model for thinking about the different media, languages, literacies, and textualities in the early Atlantic world.
Nina Treadwell is Professor of Music at the University of California, Santa Cruz. She is a music historian and a performer on Renaissance and Baroque plucked-string instruments. She particularly enjoys playing basso continuo in baroque operas, especi