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RISS 인기검색어
- 검색키워드
- 저자 : Sewald, Ronda L (검색결과 1 건)
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The darker side of sound: Conflicts over the use of soundscapes for musical performances
Sewald, Ronda L Indiana University 2009 해외박사(DDOD)
Musical performances have been a source of complaint and conflict throughout human history. Drawing on Irving Goffman's theory of frame breaks and Mary Douglas' idea of "dirt as matter out of place" (i.e., "noise as sound out of place"), the author proposes that these conflicts often arise when a sonic performance deemed appropriate for one social or cultural context crosses over into another where it is perceived as disruptive, or even harmful. Sonic characteristics, cultural constructs, and physical and/or psychological conditions that are likely to exacerbate these conflicts are also examined. After exploring how scholars and laymen have defined music and noise, the author presents previous research on the beneficial and detrimental effects of sound on human psychology and physiology, including Victorian beliefs regarding neurasthenia and noise as a cause of illness. The author then examines the unfolding of social conflicts over the use of private and public soundscapes for musical performances in the United States and England from approximately the 1840s through the 1940s. Four types of performance practice are explored, namely street music, amateur music-making, musical advertising, and political and religious campaigning. Although these categories share commonalities, legislative and judicial bodies have often distinguished between them when crafting regulations or resolving disputes, which in turn has shaped the nature and intensity of the resulting conflicts. The associated musical traditions examined include the use of barrel-organs by street musicians, pianos and cornets by amateur musicians, radios in storefront windows and public transportation for advertising, sound trucks for political campaigning, and Salvation Army bands for proselytizing. One outcome of this research is an expansion of Attali's model of noise regulation as a form of repression carried out by an empowered hegemony against marginalized populations. Rather than accepting Attali's model, which rests specifically on musicians as representing the disempowered, the new model takes into account conflicts between individuals from similar demographic backgrounds and cases where music is used as either a form of aggression or a means of forcing the attention of unwilling listeners. The author also discusses the value of historical ethnomusicology to understanding human musical behavior.
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