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DESCRIBING THE CONTEMPORARY SOUND ENVIRONMENT: AN ANALYSIS OF THREE APPROACHES, THEIR SYNTHESIS, AND A CASE STUDY OF COMMERCIAL DRIVE, VANCOUVER, BC. David Paquette B.A. (Communication Studies), Concordia University, 2002 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS In the School of Communication O David Paquette 2004 SIMON FRASER UNIVERSITY June 2004 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. Approval Name: David Paquette Degree: Master of Arts Title of Thesis: Describing the Contemporary Sound Environment: An Analysis of Three Approaches, Their Synthesis and a Case Study of Commercial Drive, Vancouver, British Columbia Examining Committee: Chair: Professor Zoe Druick Prof. Barry Truax Senior Supervisor School of Communication, SFU Prof. Alison Beale Supervisor School of Communication, SFU Prof. Len Evenden Examiner, Department of Geography Date Approved: Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without the author's written permission. The original Partial Copyright Licence attesting to these terms, and signed by this author, may be found in the original bound copy of this work, retained in the Simon Fraser University Archive. Bennett Library Simon Fraser University Burnaby, BC, Canada ABSTRACT The thesis presents and analyses three approaches to the subjective approach of the everyday sound environment: The World Soundscape Project descriptive model, Barry Truax's information based Acoustic Communication model, and the perceptual and phenomenological work of French researchers Jean-Franqois Augoyard and Pascal Amphoux. These models are then combined in a methodological and analytical framework to study listeners' relationships to contemporary urban environments. The methodology is applied to a case study-the soundscape of Commercial Drive in Vancouver BC, Canada-in order to explore the various models and provide a practical analysis of the soundscape of Commercial Drive. The methodology used consists of a series of interviews that proceed from the general to the specific, and finally move back to a macro analysis of the soundscape. First, short surveys and "sonic mind maps" were conducted with people chosen randomly on the street. Then, recorded interviews with long-term inhabitants provided more specific information about potential locations to study and various themes of inquiry. Three contrasting locations were selected and recorded, and these recording were used in "reactivated listening sessions" with participants who possess a particular aural knowledge. These subjective accounts and other quantitative information gathered throughout the are analysed based on a communicational approach to the soundscape and with the help of Amphoux's qualitative criteria. The results of the case study suggest the presence of a strong acoustic community maintained through active outdoor soundmaking practices, the omnipresence of non- mediated, vocal interactions and a blurring of traditional indoorlprivate and outdoor/public boundaries. The study has also helped in demonstrating how Amphoux's qualitative criteria can be used in the context of an acoustic communicational inquiry of the sound environment. ACKNOWLEDGEMENTS The writing of this thesis has been not only an intellectual journey, but also a fabulous life experience, made possible by several people around me. First, I would like to thank Dr. Andra McCartney, who helped me find my passion and encouraged me to pursue it here, in Vancouver. I am also gratefully indebted to Prof. Barry Truax, my Senior Supervisor and greatest inspiration for the last two years. He consistently supported me through my sometimes fast-paced intellectual inquiries, and helped me to unravel all these cultural and linguistic subtleties with which I still struggle. I must also thank Dr. Alison Beale for taking on the role of the Second Supervisor for a somewhat 'extravagant' thesis topic, and for providing me with valuable advice and constant support. Dr. Len Evenden, my Internal Examiner, allowed me to appreciate the complementary nature of geography and soundscape studies, and by the same way helped me to clarify my thoughts about sound and space. Finally, I want to thank my parents and family, without whom I would probably not be where I am now-although that means far away from them. My last thanks, I keep for Karine, my partner and greatest supporter through this fantastic adventure. TABLE OF CONTENTS .. Approval ........................................................................................................................11 ... Abstract ........................................................................................................................ 111 Acknowledgements ........................................................................................................v Table of Contents ......................................................................................................... vi ... List of Tables ..............................................................................................................vlu Chapter 1 Introduction ........................................................................................... 1 Chapter 2 Analysis of the Models .......................................................................... 5 2.1 Aims and Fields of Application ................................................................5 2.2 Epistemological Approach of the Three Models .....................................11 2.2.1 Acoustic Ecology and Acoustic Design ..................................................17 2.3 Main Concepts. Models. Terms ..............................................................20 2.3.1 The Soundscape .....................................................................................20 2.3.2 Features of the Sound Environment ........................................................23 2.3.3 The Acoustic and Electroacoustic Community .......................................25 2.3.4 The Sound Effect ...................................................................................30 2.3.5 Schizophonia and Electroacoustic Communication ................................32 2.3.6 Types of Listening .................................................................................33 2.3.7 Acoustic and Electroacoustic Design ...............................................38 Chapter 3 Methodologies ..................................................................................... 43 3.1 Methodologies Associated with Each Model ..........................................43 3.1.1 Methodological Framework Development .............................................43 3.1.2 Examples of Application of the Methodology ........................................56 3.2 The Synthesis......................................................................................... 61 3.2.1 Objectives of the Synthesis ....................................................................61 3.2.2 Objectives of the Case Study ..................................................................64 3.2.3 Presentation of the Methodology and Analytical Framework ..................66 Chapter 4 Case Study .Commercial Drive. BC .................................................. 70 4.1 Summary of the Research Components ..................................................70 4.2 The Three Representative Locations and their Analysis .........................78 4.2.1 Selection Process ...................................................................................78 4.2.2 The Recordings ......................................................................................80 4.2.3 Reactivated listening sessions ................................................................84 4.2.4 The Sonic Identity Chart ........................................................................85 4.3 The Acoustic Community of Commercial Drive ................................... 99 4.3.1 Acoustic Definition and Sound Signals ................................................101 4.3.2 Rhythms and Cycles ............................................................................105 4.3.3 Indoor and Outdoor Communities ........................................................106 4.3.4 The Sonic Balance of Commercial Drive ............................................. 109 Chapter 5 Conclusion .......................................................................................... 114 5.1 From Knowledge to Practice. and Vice Versa ...................................... 114 5.1.1 The Interplay of Sound. Listeners and the Environment ....................... 115 5.1.2 From Soundscape Performance to Soundscape Competence ................ 118 5.2 Towards a Global Appreciation of the Soundscape ..............................120

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