Conclusions

Following this process of developing a more integrated programming and performing style towards environmentalism has been a rewarding, albeit challenging experience. By examining the existing and historical context of environmental art, alongside the practices of cultures that have musical practices integrated into their environments, it is clear that modern civilizations and cities struggle to offer a consistent relationship to people with the natural world.  As a result of industrialization, lack of accountability, and in many cases greed, environments are now at a point of endangerment, and artists and activists alike are attempting to make it known this cannot continue. 

In my own attempts to find my own voice in this matter through the methodology I developed, I have discovered a deeper appreciation for the qualities of sound I can use in performances. One of the main aspects of this comes from pieces like Natural Resources and Child of Tree, both of which utilize non-musical sounds in musical ways, but also in a way that is accessible to people who may not be musicians. In this light, finding avenues where music and environmentalist ideas overlap becomes easier. Perhaps in the way one performs or engages with an audience, one is more able to promote environmentalism. This would be supported by the findings especially from a piece like Natural Resources with responses from the audience who placed the objects on the mats which demonstrated a clear enjoyment of both the performance method, but also the sounds and objects that were used made them react in surprise at times. By more methodically applying an idea like this to objects that are linked more to a specific local place or to a broader idea, perhaps performers are able to become more composition-based to direct a focus on environmentalism. 

Composition was an admittedly large focus of this research, and less time was spent on the performative practice of these pieces. Still, in this regard, perhaps the performer from this research is encouraged to engage with these compositional bases, as a means to become more environmentally focused. As with pieces like Secondhand and the Ecoacoustic Quintets, the compositional intention has to be present throughout for the pieces to be successful as environmentally engaged works. Programming a piece that is environmentally engaged is one step, but to enact change within an audience or at least the spark of change, it is clear the performer must do more than program one piece about climate change. 

In this way, perhaps it is essential for a performer who wishes to engage with environmentalism and promote it, to become a local activist-musician, not in the sense that they partake in protests necessarily, but that they create spaces where local communities can engage with their local environments, performing pieces like Natural Resources or Child of Tree. Or perhaps they can ideas from these pieces and create brand new original performances that allow a larger opportunity and access for people to engage with music and their environment. This research then suggests that through a performance of utilizing found objects and environmental materials, a performer could create more engaging and more effective forms of environmental awareness than with only using pre-composed repertoire in unique locations or with alterations, and this also can become engrained into a more personal and marketable artistic practice. Over time, this practice may also help promote more intentional listening while also developing a stronger sense of community. As seen in my Pilot, the effects of using natural materials and having a connection 

If the goal of this research was initially to promote environmentalism, perhaps it is more appropriate to adjust the goal to promote more active listening. While it would be impressive to have a transformation of an audience into environmentalists, it is unrealistic to expect people to come out of a performance changed to that extent. As an artist, my reach is only to the ears of the listener, and following that it is up to the listener to decide what is important or meaningful to them. One could however help an audience engage with active listening as a tool to learn about their environment. Then over time, this practice of active listening can become more powerful in regards to environmentalism, and even in other aspects of daily life. 

More research would need to be done to understand the full impact of an artistic practice centered around this, and also more information on the effectiveness of audience engagement as a tool to disperse information. Ultimately I do believe the addition of discussion and non-musical information such as program notes or explicit descriptions of the environmental issues at hand go a long way in enhancing a musical performance, and this was one aspect I believe is confirmed by this research. Extra-musical parts of a performance should not be avoided to help an audience understand unless it directly impacts the performance or expectations of the music being performed. Using videos, program notes, and other media is another method of accessing a wider audience to engage with the same material as discussed in Natural Resources. 

Admittedly, this research used a methodology not particularly suited to performers outside of percussion. That being said, both musicians and non-musicians could take inspiration and ideas from these pieces or pieces within their own repertoire. These ideas are not material that needs to be realized by a trained musician necessarily, as even Burtner creating his Ambient Extensions scores presents a way in which untrained audience members can partake in using natural materials as instruments, actively being part of the ecoacoustic pieces. These could be performed in conferences, outdoor participatory events, or even in a home or small shared space, and offer an opportunity for individuals to connect with sound and their environment more. 

In the end, this research is a step towards an aspiration that audiences and fellow musicians alike share more appreciation for the living beings around us, and for good reason as the climate crisis continues to be a strong force in our lives. Becoming inspired by natural processes, and how other musicians and artists are translating these is an opportunity for us to explore our own creativity and ways in which we can share our appreciation for the environment and spaces around us. In time, hopefully, practices like this can become avenues for more empathetic and actively listening audiences and communities which can sustain and support themselves, and become more inclusive and appreciative of both the abundant creativity within them and the environments that surround and support them, human and non-human alike. 

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