Analyses of music and environment are proliferating, yet new conceptions are needed to make sense of growing ecological crisis in the Anthropocene. From an empirical project tracing guitars all the way back to the tree, I argue for deeper conceptual and empirical integration of music into the material and visceral processes that constitute ecological crisis itself. Musicians are not only inspired by environmental concerns for compositional or activist purposes. They are entangled in environmental crisis through material and embodied relations with ecosystems, especially via the musical instruments we depend upon. I foreground three ‘more-than-musical’ themes to make sense of unfurling forces: materiality, corporeality and volatility. Musical instruments are gateway objects that invite contemplation of material and corporal relations. Such relations bind together musicians and non-human others. Material and corporeal relations with increasingly threatened upstream forests, and endangered tree species, are being confronted and reconfigured. In the context of ecological crisis, guitars do much more than make pleasing acoustic sounds. Via guitars we co-generate, with non-human others, a sound track of crisis both melancholy and hopeful.

中文翻译：

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生态危机的原声带：从吉他一路追踪到树

对音乐和环境的分析正在激增，但需要新的概念来理解人类世日益严重的生态危机。从一个将吉他一直追溯到树的经验项目，我主张将音乐更深层次的概念和经验整合到构成生态危机本身的物质和内脏过程中。音乐家不仅受到作曲或激进主义目的的环境问题的启发。他们因与生态系统的物质和具体关系而陷入环境危机，尤其是通过我们所依赖的乐器。我突出了三个“不仅仅是音乐”的主题，以理解正在展开的力量：物质性、肉体性和波动性。乐器是引人思考物质和肉体关系的门户对象。这种关系将音乐家和非人类的其他人联系在一起。与日益受到威胁的上游森林和濒临灭绝的树种的物质和物质关系正在面临并重新配置。在生态危机的背景下，吉他不仅仅能发出悦耳的声音。通过吉他，我们与非人类的他人共同创造出一种既忧郁又充满希望的危机音轨。