Music and the Skillful Listener: American Women Compose the Natural World
Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
The recent “sonic turn” in environmental humanities embraces current interdisciplinary work in the fields of sound studies, sensory studies, and notably musicology and ethnomusicology, the home-fields within which Denise Von Glahn's Music and the Skillful Listener is situated. Von Glahn articulates the multifarious ways American women composers engage with the natural world, stating: “Music as a sounding, temporal art provides a sympathetic expressive mode for suggesting the essence of the natural world. It can get beyond words and offer a moving account denied [by] more static arts” (6). Music and the Skillful Listener is the first monograph in the series Music, Nature, Place, which is devoted to interdisciplinary scholarship that addresses the intersections of music, nature, and place. Von Glahn situates her compositional subjects alongside the rich tradition of female nature writers, ecofeminism, and environmental advocacy. Illustrating how American women composers contribute to and are influenced by the natural world, she outlines the ways American environs have shaped individual and national music identities. What results is a multilayered depiction of how women composers' sociocultural circumstances and exposure to intimately experienced—often “smaller”—nature has produced generations of “skillful listeners” whose personalized ecological consciousness shapes their aesthetic choices. Just as the terms “nature” and “environment” have no single definition in ecocriticism, no single compositional technique in music reflects the natural world. Von Glahn clearly conveys this sonic diversity through case studies of what seem to be demographically homogenous female composers, exemplifying how diversely these composers conceptualize nature, view themselves in relationship to the natural world and its nonhuman components, and compose music that reflects their sensory engagements with place. Chronologically organized, the book treats each composer—Amy Beach, Marion Bauer, Louise Talma, Pauline Oliveros, Joan Tower, Ellen Taaffe Zwilich, Victoria Bond, Libby Larsen, and Emily Doolittle—in detail, and Von Glahn sketches how the works of each reflect her time- and place-specific understanding of nature. Collectively, their output elucidates how their personal and societal environmental ethics and their environments shaped their aesthetics.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.005 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it