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‘For me, it all comes down to listening’ : the role of new music in climate change activism
Kai Honey
Classical Composition, MA
Conservatorium van Amsterdam, 2018
Abstract
Kai Honey considers the different ways in which contemporary composers can engage with climate change in their work. They cover concert hall music, music used in non-violent civil disobedience and music used in performance art in political spaces (e.g. inside museums and concert halls sponsored by the fossil fuel industry, or outside fossil fuel industry headquarters). Honey discusses the relevance of politically engaged music from the 60s and 70s for politically engaged music today (working on the assumption that climate change is a political issue), and also draws inspiration from the pioneers of deep listening and acoustic ecology.
Honey also discusses music that engages with community groups (particularly choral music), with the understanding that music that builds community is inherently political. Honey discusses the choice of texts, and the advantages or drawbacks of text of timeless appeal (e.g. spiritual or nature-themed poetry) and text that only has contemporary relevance e.g. scientific papers to do with climate change, or Castro’s Second Declaration of Havana. Drawing from music of the past, and climate activism today, Honey concludes with ideas for new pieces about climate change.
