Protecting Nature's Song

Alexis Lamb (D.M.A. ’25) could not imagine strolling through the cool, dappled light of Michigan’s sandy jackpine forests without hearing the distinctive, repetitive “chip-chip-che-way-o” tune of the male Kirtland warbler. While federally delisted from the endangered species list in 2019, the warbler remains listed as a state-threatened species in Michigan—and is a sonic gift that Lamb would grieve should it disappear.

 “If we lost the song of the Kirtland warbler, we’d lose one of Michigan’s rarest voices. It’s a reminder that nature’s music matters, and it’s worth fighting for,” she says. 

A Rackham alumna, Lamb is the university programs manager at the University Musical Society (UMS), a composer, and the founder and artistic director of the Refugia Festival, a one-of-a-kind celebration blending music, environmental education, and community engagement. 

Inspired by Lamb’s doctoral research at the University of Michigan, the festival invites participants to explore the relationship between sound, place, and nature, using artistic expression as a tool for environmental conservation and preservation. With its roots in the concept of “refugia”—safe havens where biodiversity thrives—the festival aims to challenge audiences to listen deeply to their surroundings and rethink how the arts can shape meaningful movements toward sustainability. 

As Refugia Festival prepares for its third annual pay-what-you-can happening on Sunday, October 4, 2026, in Nichols Arboretum, Lamb’s pioneering work continues to demonstrate how creative practices can foster ecological stewardship and inspire collective action.

Attendees of the 2026 festival can expect performances that are both inspired by and collaborative with nature. Lamb’s dissertation composition, Resonant Gratitude, performed as the finale of the inaugural Refugia program in 2024, was scored for chamber orchestra and the Living Earth and required musicians to respond to the sounds of nature around them. “If there’s wind in the trees, they might echo it; if a bird calls, they might reply musically,” Lamb says. 

Another composition performed in 2024, Wild Beauty by Libby Meyer, invited audience participation via bird call whistles, prompting an unexpected avian collaboration with the performance. “Three huge birds suddenly circled overhead as we played,” Lamb says. “Maybe that meant we were doing something right—or at least respectful to our shared habitat.”

Additionally, partnerships with the nonprofit Seeds to Community Washtenaw, local artists, and educators provide hands-on stewardship and learning opportunities for attendees, with past activities including seed collection and preparing native plants for gardens in Washtenaw County neighborhoods and parks. 

Nichols Arboretum, the festival’s partner venue, provides a space where audiences can feel free to enjoy the performances and their natural surroundings in ways that feel most comfortable to them. 

“Some people walk around during the music, some bring picnic blankets or camping chairs, and some lay on the grass and listen with closed eyes,” Lamb says. 

Audience feedback surveys highlight the festival’s ability to invoke mindful experiences of the sonic landscape as a whole. Attendees fell in love with the sound of their own footsteps and confronted the loud disruption of planes passing overhead. 

“It’s about opening ears—and hearts—to everything around us,” Lamb says.

Lamb believes the arts, especially music, are vital to social change. “Music is a temporal art—it asks listeners to be present, and that’s what ecological awareness needs: presence,” she says. “Art is what people turn to in times of need or hope. Music lets people find optimism, connect, and celebrate community.”

She points out that sound is not always central in environmental discussions, but that paying attention can spark bigger conversations. “If we listen for threatened species, like the Kirtland’s warbler, it reminds us why we must preserve their habitats. Music can lead people deeper into curiosity and conservation efforts.”

The connection between music and conservation has been intrinsically linked since childhood for Lamb, with nature’s song serving as a deep well of inspiration. She recalls the crunch of fresh snow underfoot, the murmur of a slow-flowing river, and the pitapat of dripping water as creatively generative experiences for her.

 “I also love the sound of sandhill cranes,” she exclaims. “They sound like what pterodactyls might have sounded like since they haven’t evolved in two million years!”

Lamb urges everyone to “go for a walk without headphones—just listen.” The art of slowing down, finding a place to sit and listen for five minutes, jotting down the sounds you hear, and engaging in tactile listening can be calming and help people develop a stronger appreciation of their sonic environments. 

“Try it throughout the year—notice how soundscapes shift over seasons,” she suggests. “Listening isn’t just for your ears—it’s for your whole body.”

Learn more about the Refugia Festival.
Hear the song of the Kirtland warbler and learn more about the bird from the Kirtland’s Warbler Alliance.