Municipalities typically seek to control the production and distribution of sound through noise and zoning ordinances. By virtue of sound’s inherent properties, however, such ordinances also regulate public space, though the spaces in question belie clearly demarcated boundaries. This article considers the cultural discourse surrounding contemporary debates about musical performance in public spaces, paying particular attention to the ways in which the politicization and regulation of acoustic space can be levied to curtail and potentially marginalize cultural expression and labor. I take New Orleans as a case study in light of that city’s ongoing debates surrounding musical performance and the regulation of sound. New Orleans provides a uniquely compelling example, as overzealous policing of the soundscape at times conflicts with the role that live music plays in that city’s broader cultural economy. Ultimately, I assess the stakes of these debates while recognizing the contentious and inherently political dynamics at play.

中文翻译：

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音乐与太空政治：新奥尔良的声学地区

市政当局通常试图通过噪声和分区条例来控制声音的产生和分配。然而，凭借声音的固有属性，这些条例也规范了公共空间，尽管所讨论的空间明显地划定了边界。本文考虑了围绕公共场所音乐表演的当代辩论所涉及的文化话语，并特别关注了可以通过哪些方式来对声学空间进行政治化和调节来减少和潜在地边缘化文化表现形式和劳动。考虑到该市围绕音乐演奏和声音调节的不断辩论，我以新奥尔良为例。新奥尔良提供了一个独特而引人注目的例子，由于对音景的过度狂热维护有时与现场音乐在该城市更广泛的文化经济中所扮演的角色相冲突。最终，我在认识到争议性和固有的政治动力的同时，评估了这些辩论的利益。