Amanda M Black

Although there is increased understanding of language barriers in cross-language studies, the point at which language transformation processes are applied in research is inconsistently reported, or treated as a minor issue. Differences in translation timeframes raise methodological issues related to the material to be translated, as well as for the process of data analysis and interpretation. In this article we address methodological issues related to the timing of translation from Portuguese to English in two international cross-language collaborative research studies involving researchers from Brazil, Canada, and the United States. One study entailed late-phase translation of a research report, whereas the other study involved early phase translation of interview data. The timing of translation in interaction with the object of translation should be considered, in addition to the language, cultural, subject matter, and methodological competencies of research team members.

As a technique to excite students about the work of listening, to challenge musical ontologies, and to incite heightened environmental awareness, the soundwalk has become a canonic exercise in the undergraduate classroom. With the recent expansion and revision of music department cur-ricula and the institutionalization of sound studies across North American campuses, the environment-oriented immersive listening projects are often introduced as a neutral opening into learning how to hear-a twenty-first century alternative to ear training lab. Motivated by the ecocritical discourse that flows through ecomusicology, this essay pushes back against the assumption that soundwalks are transferable scores and impartial pedagogical tools. 1 If framed as normative (as if there is a best listening practice and some listeners are better than others) they have the potential to reinscribe differences among our students. Our reflection provides an opportunity to draw attention to the assumptions about students' mobility, social backgrounds, and hearing ability at the base of much classroom listening. 2 These are exacerbated by sound-walks with their ambulatory mode, generalized scripts, and emphasis on the "unheard. " The notion of the "unheard" has a particular and haunting resonance for our home campus, the University of North Carolina at Chapel Hill, which has a history steeped in racial violence, segregation, and silencing. In this essay, we explore whether soundwalks might offer an opportunity for us, as educators, to emplace audible pasts. Here we plunge you into the details of a project to encounter and uncover our own campus history. We present an example of 1. See for example the essays gathered as "textual directions" in Aaron Allen and Kevin Dawe,

San Miguel de Allende, a city of 171,857 located in the state of Guanajuato, Mexico, most often appears in media outlets in laudatory publicity, advertising this urban space as perfect for voluntary “lifestyle” immigration and tourism both foreign and national. This article addresses the social tensions, fissures, and paradoxes that emerge from specific auralities of San Miguel’s temporary residents. Their romanticized reception of traditional Indigenous danza performances contrasts sharply with the perceived noise of hip-hop in the town’s historic center. As more and more residents hailing from outside San Miguel search for their own versions of “small town Mexico,” the racialized experiences of young sanmiguelenses are invisibilized in the overwhelmingly positive reception of Indigenous danzas. The championing of mestizaje as the sole visage for Mexican modernity leaves a convenient space for transnational racism located at the nexus of racialized economic privilege and colonial imagination. In this purportedly post-racial ideological context, how can the analysis of settler-colonizer aurality uncover the racialized structures that undergird the nation-state’s management of cultural tourism?