ABSTRACT
To speak about music as creating room, whether by furnishing or through removal, is also to speak about musically inflected space. Some of the most powerful work to date on the concept of space has come from music sociology and sound studies, in particular as those fields have examined the situated uses of sound technologies. A number of recent works have considered how musical and sonic media enable individuals and collectivities to redraw the boundaries between public and private spheres (Bijkersveld and Pinch 2011; Born 2012; Cook et al. 2009; Gopinath and Stanyek forthcoming; Rice 2010). Music and sound can change the relationship between public and private experience, and they can change the locations available for this experience. The iconic image of this change is the urban dweller, using a public transport system while privately cocooned in an iPod-facilitated, individualized sonic space wherein the private is nested in the public (Bull 2007). But music, and more generally sound, has always been used to inflect space. It was always possible for example, to whistle while you work, to sing a lullaby or a protest song. While the voice may be the mobile musical device par excellence (it is the instrument that is built in to the human body), armies have marched to the beat of a drum for centuries. So too the more general medium of sound or quasi-music such as bells, foghorns or sirens used to inflect and signify, to warn and to remind.
