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Abstract
Whereas it is a commonplace in Western Art Music, particularly since the mid-nineteenth century, to imagine music representing landscape, the notion that landscape is in some respects formed by and/or through music is relatively untheorised. With reference to music by Vaughan Williams and Webern, this essay investigates the ways in which music plays a role in forming landscape, understood from a contemporary geographical perspective as a site where nature and culture encounter and produce one another (rather than as a site privileging one over the other). Drawing on ideas of Lefebvre, Smalley, and Appleton some theorisations of the broader epistemological and ideological tropes organising the landscape–music relationship are proposed. That landscape and music are both mediated in embodied ways positions the active, embodied, creative experience as an articulation of nature-culture through which these tropes are played out.
Disclosure Statement
No potential conflict of interest was reported by the author.
Notes
[1] This aspect of the project was strongly informed by the work on epistemology in Ingold (Citation2000), Merleau-Ponty (Citation1962), and Morton (Citation2007).
[2] These different zones of listening form part of Smalley's typography of sound-spaces—the prospective, panoramic, and circumspace which will be discussed later in this paper (Smalley, Citation2007, pp. 48–52).
[3] The critical role that memory, memorialisation, and remembrance play in the construction of landscape as a cultural space are discussed extensively in Appleton (Citation1996), Ingold (Citation2000), Stephens (Citation2000), Thompson (Citation2009), and Wiley (Citation2007).