Environment

Download The Jukebox in the Garden: Ecocriticism and American Popular by David Ingram PDF

By David Ingram

Because the upward thrust of the modern ecology stream within the Sixties, American songwriters and composers, from people singer Pete Seeger to jazz saxophonist Paul wintry weather, have lamented, and protested opposed to, environmental degradation and injustice. The Jukebox within the Garden is the 1st booklet to survey a variety of musical kinds, together with people, state, blues, rock, jazz, electronica and hip hop, to check the various ways that well known tune has explored American relationships among nature, expertise and environmental politics. It additionally investigates the starting to be hyperlink among song and philosophical notion, really below the effect of either deep ecology and New Age pondering, based on which song, among all of the arts, has a distinct affinity with ecological rules. This booklet is either an exploration and critique of such speculations at the position that track can play in elevating environmental knowledge. It combines description and research of yank well known track made through the period of recent environmentalism with a attention of its wider social, old and political contexts. will probably be of curiosity to undergraduates and post-graduates in tune, cultural reviews and environmental experiences, in addition to common readers drawn to well known song and the surroundings.

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Additional info for The Jukebox in the Garden: Ecocriticism and American Popular Music Since 1960

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Ethical naturalism has also informed much ecocriticism, which has tended to perpetuate the assumption that the natural world is superior to human culture, and consequently that a conscious return to nature is necessary for the betterment of human society. The British ecocritic Jonathan Bate writes approvingly that ‘the controlling myth’ of ecopoetics is ‘a Rousseauesque story about imagining a state of nature prior to the fall into property, into equality and into the city’ (2000: 266). Human culture is also a fall from nature for David Rothenberg, who 48 The Jukebox in the Garden writes that ‘while we are created from nature, we are somehow cast out by our wily, civilised ways.

However, he considered the revival of folk musics an evasion of the social and political conditions of the present; the return to traditional folk forms merely affirmed a conservative view of society. Although he rejected the radical potential of folk music in this way, Adorno’s point about the danger of viewing folk music as natural, and hence the need to acknowledge the historical specificity and cultural constructedness of musical forms, is an important one. The notion of ‘organic’ form is a related aesthetic consequence of ethical naturalism.

We may conclude, then, that the formal correspondences that the theorists discussed in this chapter find between music and particular social structures, or between music and particular concepts in environmental ethics, are ultimately matters of ethical and aesthetic preference, rather than of necessity. It is not that Bloch’s advocacy of linear teleology in music is less ‘ecological’ than McClary’s antipathy towards it. Nor is a particular guitar riff, drum pattern or vocal harmony more or less ecological than any other.

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