서브메뉴
검색
Listening Otherwise, Critical Musicking, and the Ethics of Engagement in the HONK! Street Band Movement
Listening Otherwise, Critical Musicking, and the Ethics of Engagement in the HONK! Street Band Movement
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20260202103658
- ISBN
- 9798314892206
- DDC
- 780
- 저자명
- Allen, Erin T.
- 서명/저자
- Listening Otherwise, Critical Musicking, and the Ethics of Engagement in the HONK! Street Band Movement
- 발행사항
- [Sl] : The Ohio State University, 2025
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2025
- 형태사항
- 274 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 86-11, Section: A.
- 주기사항
- Advisor: Skinner, Ryan T.
- 학위논문주기
- Thesis (Ph.D.)--The Ohio State University, 2025.
- 초록/해제
- 요약The HONK! Street Band Movement and its family of festivals ? participatory, grassroots, and non-commercial festivals featuring activist or community-based brass and percussion ensembles ? began in 2006 with the aim of gathering together street bands who share similar musical repertoires, performance practices, and political philosophies in order to share their music and facilitate dialogue about the roles and practices of brass bands in civic and political life. HONK! musicians use sound and music as a means for inviting people to assemble in public, in-person festivals in ways understood by participants as contesting hegemonic power and reclaiming public space. In addition to drawing on longer ludic and resistant histories of brass and festival traditions, HONK! bands draw on music and performance practices associated with the political street theatre of Vermont's Bread and Puppet Theatre and from activist brass bands in America and Europe, which developed as part of alter-globalization movements in the 1990s and antiwar movements in the early 2000s. In the years since the inaugural festival in Somerville, Massachusetts, HONK! musicians, music, and ideas have circulated between new HONK! festivals in other cities and have adapted to situated local dynamics and musical histories. Thus HONK! has become an emergent transnational movement with nearly two dozen festivals on five continents. HONK! musicians perform repertoires as diverse as punk, rock, and reggae; Balkan, Klezmer, and Romani influences from Eastern Europe; the Latin American sounds of samba, cumbia, banda, and salsa; and the New Orleans second line tradition. HONK! festivals include highly energetic, participatory performances in public spaces that aim to bridge distinctions between performers and audiences and foster feelings of inclusivity that may mobilize diverse participants to become (and stay) involved in the movement, as well as in social life more broadly.Based on collaborative, critically engaged ethnography and active participation as a trumpet player, this dissertation focuses on HONK! festivals in the United States and investigates the ethical, moral, and existential possibilities and risks for civically engaged and politically oriented performance. In song and dance, at public squares and in the streets, through the use of loud, acoustic, and mobile instruments, and through practices of listening and sounding, HONK! festivals have the performative potential for mobilizing bodies, affect, and ideas to facilitate civic and political engagement, to foster empathy, and to shape ethical practice and critical thought. Ultimately, I argue that socio-spatial, political, and educational practices grounded in the sonic sensibilities of empathetic sounding and listening otherwise are informed by, musically manifest in, and have the potential to critically transform a public realm characterized by its diversity, inequality, and shifting forms of identity and belonging.
- 일반주제명
- Music
- 일반주제명
- Cultural anthropology
- 일반주제명
- Gender studies
- 일반주제명
- American studies
- 일반주제명
- Music education
- 키워드
- Brass bands
- 키워드
- Street bands
- 키워드
- Activism
- 키워드
- Sound studies
- 키워드
- Ethnomusicology
- 기타저자
- The Ohio State University Music
- 기본자료저록
- Dissertations Abstracts International. 86-11A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
008260126s2025 us c eng d■001000017358198
■00520260202103658
■006m o d
■007cr#unu||||||||
■020 ▼a9798314892206
■035 ▼a(MiAaPQ)AAI32112007
■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a780
■1001 ▼aAllen, Erin T.
■24510▼aListening Otherwise, Critical Musicking, and the Ethics of Engagement in the HONK! Street Band Movement
■260 ▼a[Sl]▼bThe Ohio State University▼c2025
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2025
■300 ▼a274 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 86-11, Section: A.
■500 ▼aAdvisor: Skinner, Ryan T.
■5021 ▼aThesis (Ph.D.)--The Ohio State University, 2025.
■520 ▼aThe HONK! Street Band Movement and its family of festivals ? participatory, grassroots, and non-commercial festivals featuring activist or community-based brass and percussion ensembles ? began in 2006 with the aim of gathering together street bands who share similar musical repertoires, performance practices, and political philosophies in order to share their music and facilitate dialogue about the roles and practices of brass bands in civic and political life. HONK! musicians use sound and music as a means for inviting people to assemble in public, in-person festivals in ways understood by participants as contesting hegemonic power and reclaiming public space. In addition to drawing on longer ludic and resistant histories of brass and festival traditions, HONK! bands draw on music and performance practices associated with the political street theatre of Vermont's Bread and Puppet Theatre and from activist brass bands in America and Europe, which developed as part of alter-globalization movements in the 1990s and antiwar movements in the early 2000s. In the years since the inaugural festival in Somerville, Massachusetts, HONK! musicians, music, and ideas have circulated between new HONK! festivals in other cities and have adapted to situated local dynamics and musical histories. Thus HONK! has become an emergent transnational movement with nearly two dozen festivals on five continents. HONK! musicians perform repertoires as diverse as punk, rock, and reggae; Balkan, Klezmer, and Romani influences from Eastern Europe; the Latin American sounds of samba, cumbia, banda, and salsa; and the New Orleans second line tradition. HONK! festivals include highly energetic, participatory performances in public spaces that aim to bridge distinctions between performers and audiences and foster feelings of inclusivity that may mobilize diverse participants to become (and stay) involved in the movement, as well as in social life more broadly.Based on collaborative, critically engaged ethnography and active participation as a trumpet player, this dissertation focuses on HONK! festivals in the United States and investigates the ethical, moral, and existential possibilities and risks for civically engaged and politically oriented performance. In song and dance, at public squares and in the streets, through the use of loud, acoustic, and mobile instruments, and through practices of listening and sounding, HONK! festivals have the performative potential for mobilizing bodies, affect, and ideas to facilitate civic and political engagement, to foster empathy, and to shape ethical practice and critical thought. Ultimately, I argue that socio-spatial, political, and educational practices grounded in the sonic sensibilities of empathetic sounding and listening otherwise are informed by, musically manifest in, and have the potential to critically transform a public realm characterized by its diversity, inequality, and shifting forms of identity and belonging.
■590 ▼aSchool code: 0168.
■650 4▼aMusic
■650 4▼aCultural anthropology
■650 4▼aGender studies
■650 4▼aAmerican studies
■650 4▼aMusic education
■653 ▼aBrass bands
■653 ▼aStreet bands
■653 ▼aActivism
■653 ▼aCritical listening
■653 ▼aSound studies
■653 ▼aEthnomusicology
■653 ▼aCommunity engagement
■690 ▼a0323
■690 ▼a0522
■690 ▼a0326
■690 ▼a0733
■690 ▼a0413
■71020▼aThe Ohio State University▼bMusic.
■7730 ▼tDissertations Abstracts International▼g86-11A.
■790 ▼a0168
■791 ▼aPh.D.
■792 ▼a2025
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17358198▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
