| Kommentar |
In this seminar we will investigate together the diverse articulations of music and/as violence, from a sound studies perspective. Starting with historical accounts and moving towards speculative scenarios, we will go through a range of examples from the effect of sound (and music) in the body to the construction of colonial/colonizing narratives on race, gender, sexuality, class, ability, conveyed through and with musical forms.
To do so we will engage with a body of knowledge – both in reading and in listening – stemmingfrom musicology to sound studies, from critical race studies to decolonial thought. We will unravel the uses of sound as direct, inflicted violence; the use of rhythm, noise, pitch, and timbre in colonial/modern accounts of violence; historical and contemporary forms of sonic surveillance; and the possible articulations of sonic violence in representations of the future. |
| Literatur |
* Anzaldúa, G., 1987. Borderlands/La Frontera: The New Mestiza, Third
Edition. ed. Aunt Lute Books.
* Birdsall, C., 2012. Nazi Soundscapes: Sound, Technology and Urban
Space in Germany, 1933-1945, 01 ed. Amsterdam University Press,
Amsterdam.
* Davis, A.Y., 2003. Are Prisons Obsolete? Seven Stories Press, New
York.
* Goodman, S., 2010. Sonic Warfare. Mit University Press Group Ltd.
* Hagood, M., 2019. Hush: Media and Sonic Self-Control (Sign, Storage,
Transmission). Duke Univ Pr, Durham.
* Kassabian, A., 2013.Ubiquitous Listening: Affect, Attention, and
Distributed Subjectivity, 1st ed. University of California Press.
* Sterne, J. (Ed.), The Sound Studies Reader. Routledge, New York.
(we’ll only use 1–2 essays from here)
* Stoever, J.L., 2016. The Sonic Color Line: Race and the Cultural
Politics of Listening. Postmillennial Pop, New York.
* Thompson, M., 2017. Beyond Unwanted Sound: Noise, Affect and
Aesthetic Moralism, Paperback. ed. Bloomsbury Publishing Plc, New York.
* Volcler, J., 2013. Extremely Loud: Sound as a Weapon, New. ed. The
New Press, pp.7–20.
* Weheliye, A.G., 2005. Phonographies: Grooves in Sonic Afro-Modernity.
Duke Univ Pr, Durham. |
