Abstract
This article is a case study of amplification in Cape Breton fiddling, exploring its relationship to material culture, globalization, and aesthetics of place. Amplified performances create a high-volume, live aesthetic closely associated with local dance halls that differs significantly from acoustic performances. While the technology used in amplifying Cape Breton fiddles is standardized, it is subject to debate among musicians. These critiques pertain to discussions of technology that are part of longstanding discourses of modernism and romanticism. As such, this technoscape shapes the sound of Cape Breton as a place, through the consumption, negotiation, and production of global flows.- The author retains copyright over the work.
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