LEADER 03506nam 2200397 450 001 9910688302603321 005 20230623100535.0 035 $a(CKB)5400000000040337 035 $a(NjHacI)995400000000040337 035 $a(EXLCZ)995400000000040337 100 $a20230623d2021 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aAcoustemologies in Contact $esounding subjects and modes of listening in early modernity /$fEdited by Emily Wilbourne, Suzanne G. Cusick 210 1$aCambridge, UK :$cOpen Book Publishers,$d2021. 210 4$dİ2021 215 $a1 online resource (x, 333 pages) $cillustrations 311 $a1-80064-039-0 320 $aIncludes bibliographical references and index. 327 $aIntroduction / Emily Wilbourne and Suzanne G. Cusick 1. Listening as an Innu-French Contact Zone in the Jesuit Relations / Olivia Bloechl 2. Native Song and Dance Affect in Seventeenth-Century Christian Festivals in New Spain / Ireri E. Cha?vez Ba?rcenas 3. Performance in the Periphery: Colonial Encounters and Entertainments / Patricia Akhimie 4. 'Hideous Acclamations' / Glenda Goodman 5. Black Atlantic Acoustemologies and the Maritime Archive / Danielle Skeehan 6. Little Black Giovanni's Dream / Emily Wilbourne 7. A Global Phonographic Revolution / Zhuqing (Lester) S. Hu 8. 'La stiava dolente in suono di canto' / Suzanne G. Cusick 9. 'Now Despised, a Servant, Abandoned' / Nina Treadwell 10. 'Non basta il suono, e la voce' / Jane Tylus. 330 $a"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."--Publisher's website. 517 $aAcoustemologies in Contact 606 $aCivilization$xHistory 615 0$aCivilization$xHistory. 676 $a909 702 $aWilbourne$b Emily 702 $aCusick$b Suzanne G. 801 0$bNjHacI 801 1$bNjHacl 906 $aBOOK 912 $a9910688302603321 996 $aAcoustemologies in contact$92012179 997 $aUNINA