Ecocentrism

This article critiques the entrenched ideology of human exceptionalism in music by examining how ideological boundaries establish and reinforce hierarchies between humans and non-human animals, as well as the environment. Drawing on a range of interdisciplinary studies, we aim to further challenge the anthropocentric foundation of ethno/musicology, which historically positions music as exclusively human. This definition, rooted in a Eurocentric and colonialist cultural framework, marginalizes the role that non-human musicality has within human musicking, and reinforces hierarchical distinctions between humans and non-humans. We ask, can the focus of eco/ethno/musicological work move beyond genre, instrumentation, and sonic production, while entirely focusing on the impact that human and non-human musicking has in counteracting the environmental crises? Through case studies such as soundwalks and concerts in natural parks, and the transformation of human-whale connections stemming from the discovery of humpback whale songs in the mid 1960s, we highlight the ecological and cultural interconnections fostered by sonic exchanges beyond humans. In fact, our aim is to share examples that illustrate how music and sound-based activities promote environmental awareness and challenge dominant anthropocentric ideologies of human exceptionalism. Ultimately, this article challenges music exceptionalism and calls for a change in music studies, increasingly moving towards ecocentric approaches where music is understood as part of a broader network of relationships that transcend human centered narratives.