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Martin Daughtry

Associate Professor of Music; Affiliated Associate Professor, Russian and Slavic Studies; Affiliated Associate Professor, NYU Abu Dhabi
B.A., New College of Florida M.A., Ph.D., UCLA

Email:

Areas of Research/Interest
ethnomusicology; acoustic violence; music of the Russian-speaking world; music and politics; voice; listening; sound studies

Fellowships/Honors
Association of American Publishers PROSE award for best monograph in the Music and Performing Arts; runner-up for the overall Humanities category (2016); Golden Dozen Award for excellence in undergraduate teaching (2012); NYU Humanities Initiative Fellow (2009-2010); Social Science Research Council Dissertation Fellowship (2006); Fulbright-Hays fellow (2003)

Select Publications:

2016          "Vox Libris: A Review Essay." In 20th Century Music 13, no.1: 153-165.

2015          Listening to War: Sound, Music, Trauma, and Survival in Wartime Iraq. (New York: Oxford University Press).

2014         "Thanatosonics: Ontologies of Acoustic Violence." Social Text 119, 32, no. 2: 25-51. Click here to read  

2014         "Aural Armor: Charting the Militarization of the iPod in Operation Iraqi Freedom." In The Oxford Handbook of Mobile
                Music Studies
, ed. Jason Stanyek and Sumanth Gopinath, 221-258. New York: Oxford University Press.
                Click here to read
               
2013         "Acoustic Palimpsests and the Politics of Listening." Music and Politics 7, no.1 (winter 2013) Click here to read

2013         "Virtual Reality as a Tool for Delivering PTSD Exposure Therapy." By Rizzo, A.A.; J. Difede; B. Rothbaum; J.M.
                Daughtry; and G. Reger. In Post-Traumatic Stress Disorder: Future Directions in Prevention, Diagnosis,
                and Treatment
, ed. M. Safir; H. Wallach, and A.A. Rozzo. New York: Springer, Inc. Click here to read

2012         "Afterword: From Voice to Violence and Back Again." In Music, Politics, and Violence, ed. Kip Pegley and Susan Fast,
                243-264. Middletown, CT: Wesleyan University Press.

2012         "Belliphonic Sounds and Indoctrinated Ears: The Dynamics of Military Listening in Wartime Iraq." In Pop When the
                World Falls Apart: Music in the Shadow of Doubt
, ed. Eric Weisbard, 111-144. Durham: Duke University Press.

2010         "Sounding Sincerity: Thoughts on One Recitation and Two Musical Settings of Boris Ryzhhi's Verse." Russian
                Literature
67 no.1: 31-56.

2009         "'Sonic Samizdat': Situating Unofficial Recording in the Post-Stalinist Soviet Union. Poetics Today 30(1) no.1:
                27-65. Click here to read

2007         "Charting Courses through Terror's Wake: An Introduction." In Music in the Post-9/11 World, ed. Jonathan Ritter
                and J. Martin Daughtry, xix-xxxi. New York: Routledge.

2006         "Russia's New Anthem and the Negotiation of National Identity." [Revised.] In Ethnomusicology: A Contemporary
                Reader,
ed. Jennifer Post, 243-260. New York: Routledge.

As editor:

2011         "Thinking Through Violence," a dossier of essays by Arvind Rajagopal, Banu Bargu, Allen Feldman, Drucilla Cornell,
                and Mary Louise Pratt, ed. Elena Bellina, J. Martin Daughtry, Crystal Parikh, and Arvind Rajagopal. In Social Text:
                Periscope
Click here to read

2007         Music in the Post-9/11 World, ed. Jonathan Ritter and J. Martin Daughtry. New York: Routledge.

Research Description:


Over the past several years I have been exploring the social dynamics of sound and listening in different contexts. The work I do draws from ethnomusicology, sound studies, the anthropology of the senses, and the ethnographic study of violence. My core research projects -- on the sonic dimension of the Iraq war, Soviet and post-Soviet musical practices, music in the post-9/11 world, and the multifaceted significance of voice and vocality --share a common thread: they all explore the capacities and limits of sonic cultures in a complex world of often-violent change. The focus on violence, implicit in my early work, has intensified in recent years, as has my engagement with sound studies. But the emphasis on (a) the efficacy and fragility of cultural processes, (b) the phenomenology of listening, and (c) the persistence and transformation of sonic practices in the wake of social disruption has remained fairly consistent throughout.

My students and I wrestle with a lot of the same issues in the classroom. We ask questions like: what kind of work does your voice do when you project it out into the world? What are the cultural factors that shape the way you listen to music, or to non-music? (And how do you decide which is which, anyway?). How does sound create social space? How do spaces inflect your perceptions of sounds? What happens when music becomes weaponized? How can music participate in the processes of reconciliation? How does listening relate to looking, smelling, touching? How can music alter your perception of time? When you hear music in your head, how does it get there, and what does it sound like? What music gives you goosebumps, and why? We explore these and other questions by reading, talking, writing, listening, singing, and composing together.

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