Like every other work of art, music has become the stuff of social research: it has been interrogated for its economy, its politics, and its role in elaborating human life. Music has its geographies too: its cultural landscapes; its positioning in a soundworld; its embodiment; its materiality. But, intriguingly, until recently musical methodologies have remained half formed, fragmentary, hidden, elusive, out of sight, beyond words. This is partly a result of disciplinary histories and an unhelpful division of intellectual labour; it is partly an expression of what music is. This paper is a performance enacted to assemble the field of musical methodologies: to enlarge its scope; to engage with its strengths and limitations; to animate the soundworld; to participate in the art of doing and being (geographies of) music.
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