Index

Full Table of Contents

Four Worlds: A Sound Entry.             1
    i) Origins: The Sounding Museum Begins   3
    ii) Components: The Sounding Museum Box of Treasures   5
    iii) The Totem Pole: Book Structure and Digital Media   6
    iv) Addendum: Raven Tales   11

Raven and Mink Go Bear Hunting   15
World One: Hearing Heritage.   17
  0 Bells   17
  I Historic Soundscapes   20
    I.1 Sound History 21
    I.2 The Meaning of Sound to Culture from the Historic Point of View   22
    I.3 Historic Accounts of the Notion of Sound   31
  II Captured Sound   36
    II.1 A Brief History of Sound Recording   37
    II.2 The Sound Hunters and the World Soundscape Project   39
    II.3 Field Recording in Music   45
  III Studying the Soundscape 46
    III.1 Basic Features   47
    III.2 Figure and Ground   54
    III.3 The Distinct Soundscape   56
    III.4 Listening Types   61
    III.5 Acoustic Communication   62
  IV Aisthetic Atmospheres   65
    IV.1 Acoustic Atmospheres   70
    IV.2 Museum Atmospheres   76
  V Intangible Cultural Heritage   80
    V.1 A new Historic Consciousness   81
    V.2 Folklore and Nationalism: Birth of the Intangible   83
    V.3 Rise of the Intangible   84
    V.4 Intangible Heritage today 86 
  Chapter Summary and Outlook I   92

How Raven Stole the Sun	93
World Two: Into the Sonic Wild.	97

    0)	Prelude	97 
  0:00'00"
  Exposition: Coming to in Alert Bay	100
    i)	The Composition	102
    ii) Field Recording	106
    iii) Heavy Machines	108
    iv) The Music of the Coast: The Piece	112
    v)	Being a Visitor	116
    vi) Aftermath: When the Music’s Over	117 
    April to September 2009
    How, of all the Jerkwater Towns on Earth, did I Happen to End up
    in Alert Bay?   118

  0:02'00"
  1st Movement: The Natural Soundscape   120
    vii) Caught between the Rockies and the Pacific   123
    October 2nd
    Ecological Park: Wind and Water, Owls and Ravens, and the 
    Crows    127
  0:06'20"
  2nd Movement: The Artificial Soundscape   129
  viii) Peoples of the Coast   131
  ix)	Alert Bay   134
  September 29th 
  The Carvers   135
  0:11'23"
3rd Movement: The Human Soundscape   141
    x)	Residential School   144
    September 28th to October 9th
    U’mista Cultural Centre: New Acquaintances   147

  0:20'00''
  Intermission: The Wa Experience   152
    xi) The Grease Trail   153
    October 2nd/3rd
    A Night at Woss Lake   155
  0:22'30''
  4th Movement: The Cultural Soundscape   158
  xii) Potlatch–To dance a Mask   163
  xiii) Being a Tourist in Kwaki-Country: Methodological 
  Considerations   167
  0:33'45''
  Touristy Interlude & Reprise: Down to Earth   169
    Winter 2011/2012
    Alert Bay Revisited   170
  Chapter Summary and Outlook II   173

Prologue   175

Between the Worlds: How to make a Good Soundscape Composition and the Session Musician Approach.   177
    a) What is a Good Cultural Soundscape Composition?   177
    b) The Session Musician’s Approach and its Precursors 181
    c) Coeval Collaboration and the Bandleader Oxymoron 191
    d) Schizophonic Effects of Dislocated Cultural Sound   194
    e) Final Remarks   196
Raven and the First Men   199
World Three: The Ethnographer’s Ear.   201
  0 Point of Departure   201
    0.1a) Objective and Chapter Structure   202
    0.1b) Synopsis Anthropology   204
    0.1c) Questions   207
    0.2 The Savage and the Civilised   209
  I Conquista Histórica: Encounters   216
    I.1 Pictures of an Exhibition: Primitive Art   222
  II Conquista Antropológica: The Classical Age of Anthropology and its
  Repercussions   229
    II.1 Currents: The Founding Fathers of Anthropology and their 
    Diadochi   230
    II.2 Time and the Orient: Modern Critique of Classical Anthropology   235
    II.3 Feldwork: A Musician of my Taste   243
  III Conquista Particular: Anthropological Subjects Related to “Two Weeks in Alert Bay”   246
    III.1 The Common Anthropoid: Generalisation Issues   246
    III.2 “Indianer!”: Popular Books 250
    III.3 Wikitalk: Naming the Other 252
    III.4 The Apple Tree: Protocol and Copyright Schizophonia and
     Presentation Formats   255
  IV Conquista Igual: First Voices   260
    IV.1 Napoleonic Law   261
    IV.2 Simon’s Story   263
    IV.3 A Boy who Cuts Paper into the Shape of his Face   266
  V Conquista Personal (Reconquista)   271
    V.1 My Story: Essentially Communication   272
    V.2 Only A Sith Deals in Absolutes   278
    V.3 Participant Observation Ain’t no Rock’n’Roll   281
    V.4 Finally...   283
  Chapter Summary and Outlook III   284

Raven and Fog Woman   287
World Four: Acoustic Experiences at the Lake.   289
  I Museum: Origin, History, Purpose   291
    I.1 History of the Museum   292
    I.2 Aura and Constructed Meaning   296
    I.3 Anthropology and Museum   299
    I.4 Museum and Media: Intermediary Reassessment ICOM
    Definition   302
  II Sound in the Museum   306
    II.1 Audioguide   306
    II.2 Loudspeaker-Based Applications   309
    II.3 Sound as the Central Medium   312
  III NONAM/Sound Chamber   315
    III.1 Two Weeks in the Museum   319
    III.2 The Documenter and the Documentary   322
    III.3 Workshop   325
    III.3.1 Stage One: A Sound Education   327
    III.3.2 Stage Two: Indian in a Box   338
    III.3.2.1 The Permanent Exhibition   342
    III.3.2.2 The Sound Chamber   342
    III.3.2.3 Soundwalking   343
    III.3.3 Raven Revisited   348
    III.3.4 Conclusion   352
  IV Coeval Museum Didactics   356
  Chapter Summary and Outlook IV   364

The Two Ravens   365
Next World: The Way of the Mask.   368
    i) Looking Back: Mission Accomplished?   369
    ii) Expanding: Different Formats and Contexts   370
    iii) The Future: First Voices and Sensory Holism?   373
    iv) Towards an Auditory Anthropology   376
    v) Applied Auditory Anthropology: Four Worlds Consolidated   382
    xx) The Glocal Community: A whole World of Communication   385

Resources   387
    a) Bibliography   387
    b) Websites   395
    c) Other   397

Notes on Audio Media   398
About the Author   402