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What Does Art Sound Like? an Exploration of Art Through Sound
What does Art Sound Like? An exploration of Art through Sound. Developed by: Catherine Ewer Suggested Grade Level(s): 1 –3 Suggested Length of Class Time: One 60-minute class Subject Areas: Visual Art, Language Art Rationale When it comes to artwork, there is generally a lot of focus on “looking with our eyes” but much can be gained by entering further into the creative experience through sound. In this lesson students will study a piece of art and interpret it as an audio experience, adding a whole new creative layer. Children love creating Soundscapes and will enjoy the ingenuity and imagination necessary to “hear” a painting. This is truly a creative group experience in which everyone’s input is valuable. During the creation of the Soundscape there will be a lot of discussion around sounds using descriptive vocabulary, which the students can then draw upon as inspiration to create short written narratives. Logistics: Classroom setup – group class work, individual work at desks Materials – image of one or more paintings, large enough to look at as a class, sound recorder, or device capable of recording sound. Suggested resources/images – online image banks from various art gallery and museum sites; art reproduction posters, individual art postcards, etc. Some suggestions for types of images are landscapes, seascapes, crowd scenes or an image rich in action. Suggested Outcomes: Students will be expected to: - Explore a variety of sound sources - Work together in group music and art making - Experiment with language choices in imaginative writing and other ways of representing - Share writing or other representations with others and seek feedback - With assistance, experiment with technology in writing and other forms of representation - Select, organize, and combine (with assistance) relevant information to construct and communicate meaning Introduction: As a class, look closely at an image and examine every part. -
Soundscape Ecology
Soundscape Ecology “Over increasingly large areas of the United States, spring now comes unheralded by the return of the birds, and the early mornings are strangely silent where once they were filled with the beauty of bird song.” Rachel Carson – The Silent Spring 1962 Dr. Bryan Pijanowski Department of Forestry & Natural Resources Overview 1. What is a soundscape? 2. Play example soundscapes (5-8 recordings) 3. Describe how we measure soundscapes 4. Summarize some of our research surrounding Purdue University 5. Describe the role of engineers in research like this 1. WHAT IS A SOUNDSCAPE? Biophony – sounds created by biological Soundscapes organisms, mostly insects, amphibians, birds and mammals. Signals carry information and are thus complex. Geophony – sounds from the movement of wind and water. Driven mostly by climate. Running streams, rain and wind. Anthrophony – sounds by human-made objects such as machines, friction from road noise, bells, sirens. Definitions of Soundscapes • R. Murray Schafer (1994): “the soundscape is any acoustic field of study… We can isolate an acoustic environment as a field of study just as we can study the characteristics of a given landscape. However, it is less easy to formulate an exact impression of a soundscape than of a landscape” (p. 7). • Bernie Krause (1987, 2002): all of the sounds (biophony, geophony and anthrophony) present in an environment at a given time, soundscape as a finite resource-competing for spectral space (acoustic niche hypothesis). What it is not • Bioacoustics: traditionally focused on species specific traits or a single group of organisms – this is a 70 year old field of study • Noise research: examining how noise is created in human-dominated areas 2. -
Turntablism and Audio Art Study 2009
TURNTABLISM AND AUDIO ART STUDY 2009 May 2009 Radio Policy Broadcasting Directorate CRTC Catalogue No. BC92-71/2009E-PDF ISBN # 978-1-100-13186-3 Contents SUMMARY 1 HISTORY 1.1-Defintion: Turntablism 1.2-A Brief History of DJ Mixing 1.3-Evolution to Turntablism 1.4-Definition: Audio Art 1.5-Continuum: Overlapping definitions for DJs, Turntablists, and Audio Artists 1.6-Popularity of Turntablism and Audio Art 2 BACKGROUND: Campus Radio Policy Reviews, 1999-2000 3 SURVEY 2008 3.1-Method 3.2-Results: Patterns/Trends 3.3-Examples: Pre-recorded music 3.4-Examples: Live performance 4 SCOPE OF THE PROBLEM 4.1-Difficulty with using MAPL System to determine Canadian status 4.2- Canadian Content Regulations and turntablism/audio art CONCLUSION SUMMARY Turntablism and audio art are becoming more common forms of expression on community and campus stations. Turntablism refers to the use of turntables as musical instruments, essentially to alter and manipulate the sound of recorded music. Audio art refers to the arrangement of excerpts of musical selections, fragments of recorded speech, and ‘found sounds’ in unusual and original ways. The following paper outlines past and current difficulties in regulating these newer genres of music. It reports on an examination of programs from 22 community and campus stations across Canada. Given the abstract, experimental, and diverse nature of these programs, it may be difficult to incorporate them into the CRTC’s current music categories and the current MAPL system for Canadian Content. Nonetheless, turntablism and audio art reflect the diversity of Canada’s artistic community. -
The Psychophysiological Implications of Soundscape: a Systematic Review of Empirical Literature and a Research Agenda
International Journal of Environmental Research and Public Health Review The Psychophysiological Implications of Soundscape: A Systematic Review of Empirical Literature and a Research Agenda Mercede Erfanian * , Andrew J. Mitchell , Jian Kang * and Francesco Aletta UCL Institute for Environmental Design and Engineering, The Bartlett, University College London (UCL), Central House, 14 Upper Woburn Place, London WC1H 0NN, UK; [email protected] (A.J.M.); [email protected] (F.A.) * Correspondence: [email protected] (M.E.); [email protected] (J.K.); Tel.: +44-(0)20-3108-7338 (J.K.) Received: 16 September 2019; Accepted: 19 September 2019; Published: 21 September 2019 Abstract: The soundscape is defined by the International Standard Organization (ISO) 12913-1 as the human’s perception of the acoustic environment, in context, accompanying physiological and psychological responses. Previous research is synthesized with studies designed to investigate soundscape at the ‘unconscious’ level in an effort to more specifically conceptualize biomarkers of the soundscape. This review aims firstly, to investigate the consistency of methodologies applied for the investigation of physiological aspects of soundscape; secondly, to underline the feasibility of physiological markers as biomarkers of soundscape; and finally, to explore the association between the physiological responses and the well-founded psychological components of the soundscape which are continually advancing. For this review, Web of Science, PubMed, Scopus, and -
In Situ Listening: Soundscape, Site and Transphonia
In Situ Listening: Soundscape, Site and Transphonia Marcus Leadley Goldsmiths, University of London PhD Sonic Arts 2015 I hereby declare that the work in this thesis and the works presented in the accompanying portfolio are my own. I am responsible for the majority of photographic images used herein and I therefore own and control copyrights. Where necessary, permissions have been acquired, and credits assigned. Signed, Marcus Leadley © 2015 2 Abstract This enquiry represents an exploration of environmental sound and artistic practice from the perspectives of in situ listening and transphonia. The initial term, in situ listening, has been coined by the author in order to constellate a group of intellectual trajectories and artists’ practices that engage with recorded sound and share a common theme: that the listening context, the relationship between mediated sound and site, is an integral part of the engagement process. Heikki Uimonen (2005, p.63) defines transphonia as the, “mechanical, electroacoustical or digital recording, reproduction and relocating of sounds.” The term applies to sound that is relocated from one location to another, or sound that is recorded at a site and then mixed with the sound of the prevailing environment. The experience of the latter, which is a key concern for this thesis, may be encountered during the field recording process when one ‘listens back’ to recordings while on site or during the presentation of site-specific sound art work. Twelve sound installations, each based on field recordings, were produced in order to progress the investigation. Installations were created using a personally devised approach that was rigorous, informed, and iterative. -
1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
"Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979. -
Soundscape Emotions Categorization and Readjustment Based on Music Acoustical Parameters
Soundscape emotions categorization and readjustment based on music acoustical parameters Cheng, Stone1, Fei, Hsu2, Cheng-Kai Hsu3 National Chiao Tung University 1001 University Road, Hsinchu Taiwan ABSTRACT This study presents an approach to analyse the inherent emotional ingredients in the polyphonic music signals, and applied to the soundscape emotion analysis. The proposed real-time music emotion trajectory tracking systems are established by machine learning techniques, music signal processing, and the integration of two- dimensional emotion plane and taxonomy as emotion recognition model. Two sets of 192 emotion-predefined training data are collected, which are popular music and western classical music respectively. Music acoustical parameters of volume, onset density, mode, dissonance, and timbre are extracted as the characteristics of music signal. Experimental results verified that different sets of training data would lead to the variation of boundaries among two emotion recognition models. This study proposed an access to environmental sound designing based on emotion recognition and psychoacoustics, especially focusing on the needs of various fields for commercial purpose or auditory atmosphere creation. The soundscape study is conducted by evaluating the effectiveness of emotion locus variation of selected urban soundscape sets blending with music signals. The simulation of playing background music in authentic field makes good use of music emotional characteristics to help people alter the emotion states and the state of mind, and further affect human behaviour and decision-making. Keywords: Soundscape, Psychoacoustic, Emotions I-INCE Classification of Subject Number: 79 1. INTRODUCTION Emotional perception is the emotion expressed and conveyed by the source of the signal [1]. Discrete or basic emotional theory [2,3] focuses on persistent basic emotions, especially anger, fear, joy, disgust, sadness, and happiness. -
Acoustic Monitoring Reveals Diversity and Surprising Dynamics in Tropical Freshwater Soundscapes Benjamin L
Acoustic monitoring reveals diversity and surprising dynamics in tropical freshwater soundscapes Benjamin L. Gottesman, Dante Francomano, Zhao Zhao, Kristen Bellisario, Maryam Ghadiri, Taylor Broadhead, Amandine Gasc, Bryan Pijanowski To cite this version: Benjamin L. Gottesman, Dante Francomano, Zhao Zhao, Kristen Bellisario, Maryam Ghadiri, et al.. Acoustic monitoring reveals diversity and surprising dynamics in tropical freshwater soundscapes. Freshwater Biology, Wiley, 2020, Passive acoustics: a new addition to the freshwater monitoring toolbox, 65 (1), pp.117-132. 10.1111/fwb.13096. hal-02573429 HAL Id: hal-02573429 https://hal.archives-ouvertes.fr/hal-02573429 Submitted on 14 May 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Accepted: 9 February 2018 DOI: 10.1111/fwb.13096 SPECIAL ISSUE Acoustic monitoring reveals diversity and surprising dynamics in tropical freshwater soundscapes Benjamin L. Gottesman1 | Dante Francomano1 | Zhao Zhao1,2 | Kristen Bellisario1 | Maryam Ghadiri1 | Taylor Broadhead1 | Amandine Gasc1 | Bryan C. Pijanowski1 -
An Educational Guide to :Nature's Orchestra
An Educational Guide to: Generously supported by: Sounds in Nature Sound is a dynamic and ever-present component of all 1 landscapes . The sounds found in natural ecosystems have been linked to the health and environmental quality of those ecosystems since the publication of Rachel Carson’s 1 pioneering work Silent Spring in 1962 . What is a Soundscape? A “soundscape” is made up of all the sounds found 2 "Every soundscape we hear in a in a particular environment . wild habitat generates its own Those sounds are divided into three major 1 unique signature" - Bernie Krause categories : Biophany - sounds made by living things Check Out: Geophany - nonbiological sounds made by things like wind, rain and thunder The Center for Global Soundscapes www.centerforglobalsoundscapes.org Anthrophony - sounds caused by humans What is Soundscape Ecology? Soundscape ecology can be described as the combination of all sounds (including the biophany, geophany and anthropony) made within a specified landscape that together create sound patterns 1 unique to the time and place . What Can We Learn From Soundscape Ecology? 3 The structure of a landscape, is intricately connected to the soundscape it produces . That soundscape can help indicate not only the types of species present and their population sizes, but can also illustrate the impacts of human-produced sounds on the ecosystem3 . The monitoring of a specific soundscape over time can indicate ecosystem changes such as biodiversity loss, the introduction of new and invasive species, as well as changes in animal behaviours3 . References: 1. Pijanowski, B. C., & Farina, A. (2011). Introduction to the special issue on soundscape ecology. -
A Comparative Study of Restored Seabird Island Soundscapes
Title: Do soundscape indices predict landscape scale restoration outcomes? A comparative study of restored seabird island soundscapes. Running Head: Soundscapes of restored seabird islands Authors and Addresses: Abraham L. Borker Department of Ecology and Evolutionary Biology, University of California Santa Cruz, Center for Ocean Health, 115 McAllister Way, Santa Cruz, CA 95060, USA, [email protected] *corresponding author Rachel T. Buxton Department of Fish, Wildlife and Conservation Biology, Colorado State University, Fort Collins, CO 80523, USA, [email protected] Ian L. Jones Department of Biology, Memorial University of Newfoundland, St. John’s, NL A1B 3X9, Canada, [email protected] Heather L. Major Department of Biological Sciences, University of New Brunswick, P.O Box 5050, Saint John NB E2L 4L5, Canada, [email protected] Jeffrey C. Williams Alaska Maritime NWR, 95 Sterling Highway, Suite 1, Homer, Alaska 99603, USA, [email protected] Bernie R. Tershy Department of Ecology and Evolutionary Biology, University of California, Santa Cruz, Center for Ocean Health, 115 McAllister Way, Santa Cruz, CA 95060, USA, [email protected] This article has been accepted for publication and undergone full peer review but has not been through the copyediting, typesetting, pagination and proofreading process which may lead to differences between this version and the Version of Record. Please cite this article as doi: 10.1111/rec.13038 This article is protected by copyright. All rights reserved. Donald A. Croll Department of Ecology and Evolutionary Biology, University of California, Santa Cruz, Center for Ocean Health, 115 McAllister Way, Santa Cruz, CA 95060, USA, [email protected] Author Contributions: AB, RB conceived the idea of a soundscape analysis of existing recordings. -
Music and Environment: Registering Contemporary Convergences
JOURNAL OF OF RESEARCH ONLINE MusicA JOURNALA JOURNALOF THE MUSIC OF MUSICAUSTRALIA COUNCIL OF AUSTRALIA ■ Music and Environment: Registering Contemporary Convergences Introduction H O L L I S T A Y L O R & From the ancient Greek’s harmony of the spheres (Pont 2004) to a first millennium ANDREW HURLEY Babylonian treatise on birdsong (Lambert 1970), from the thirteenth-century round ‘Sumer Is Icumen In’ to Handel’s Water Music (Suites HWV 348–50, 1717), and ■ Faculty of Arts Macquarie University from Beethoven’s Pastoral Symphony (No. 6 in F major, Op. 68, 1808) to Randy North Ryde 2109 Newman’s ‘Burn On’ (Newman 1972), musicians of all stripes have long linked ‘music’ New South Wales Australia and ‘environment’. However, this gloss fails to capture the scope of recent activity by musicians and musicologists who are engaging with topics, concepts, and issues [email protected] ■ relating to the environment. Faculty of Arts and Social Sciences University of Technology Sydney Despite musicology’s historical preoccupation with autonomy, our register of musico- PO Box 123 Broadway 2007 environmental convergences indicates that the discipline is undergoing a sea change — New South Wales one underpinned in particular by the1980s and early 1990s work of New Musicologists Australia like Joseph Kerman, Susan McClary, Lawrence Kramer, and Philip Bohlman. Their [email protected] challenges to the belief that music is essentially self-referential provoked a shift in the discipline, prompting interdisciplinary partnerships to be struck and methodologies to be rethought. Much initial activity focused on the role that politics, gender, and identity play in music. -
A Synthesis of Health Benefits of Natural Sounds and Their Distribution in National Parks
A synthesis of health benefits of natural sounds and their distribution in national parks Rachel T. Buxtona,1,2, Amber L. Pearsonb,c,1, Claudia Alloud, Kurt Fristrupe, and George Wittemyerf aDepartment of Biology, Institute of Environmental and Interdisciplinary Science, Carleton University, Ottawa, ON K1S 5B6 Canada; bDepartment of Geography, Environment and Spatial Sciences, Michigan State University, East Lansing, MI 48823; cDepartment of Public Health, University of Otago, 6242 Wellington, New Zealand; dJames Madison College, Michigan State University, East Lansing, MI 48823; eNatural Sounds and Night Skies Division, National Park Service, Fort Collins, CO 80525; and fDepartment of Fish, Wildlife and Conservation Biology, Colorado State University, Fort Collins, CO 80523 Edited by Arun Agrawal, University of Michigan, Ann Arbor, MI, and approved February 5, 2021 (received for review June 24, 2020) Parks are important places to listen to natural sounds and avoid including hearing loss, nonauditory physiological effects, increased human-related noise, an increasingly rare combination. We first occurrence of hypertension and cardiovascular disease, and high explore whether and to what degree natural sounds influence levels of annoyance (7). Noise is present even in remote pro- health outcomes using a systematic literature review and meta- tected areas in the United States, and soundscape conservation is analysis. We identified 36 publications examining the health ben- a burgeoning priority (8). efits of natural sound. Meta-analyses of 18 of these publications The health benefits of exposure to nature are well docu- revealed aggregate evidence for decreased stress and annoyance mented (for a recent overview, see ref. 9). Here, we define hu- (g = −0.60, 95% CI = −0.97, −0.23) and improved health and pos- man health broadly, encompassing physiological outcomes (e.g., itive affective outcomes (g = 1.63, 95% CI = 0.09, 3.16).