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„Pejzażu Dźwiękowego” (Soundscape)

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„Pejzażu Dźwiękowego” (Soundscape) Uniwersytet Warszawski Wydzia! Historyczny Instytut Muzykologii MAKSYMILIAN KAPELA!SKI nr albumu: 154 666 KONCEPCJA „PEJZA!U D"WI#KOWEGO” (SOUNDSCAPE) W PISMACH R. MURRAY’A SCHAFERA. Praca magisterska napisana w Zak!adzie Teorii i Estetyki Muzyki pod kierunkiem prof. dr. hab. Macieja Go!"ba Warszawa 1999 © Copyright, 1999, by Maksymilian Kapela#ski Spis tre!ci: Uwaga: paginacja w wersji elektronicznej pracy ró!ni si" od tej w wersji fizycznej dokumentu. CZ"#$ I: ZAGADNIENIA METODOLOGICZNE Rozdzia# 1. Przedmiot bada$, zakres chronologiczny, cele analizy 7 Rozdzia# 2. Prezentacja R. Murray’a Schafera 10 2.1. Biografia Schafera 10 2.2. Schafera koncepcja pejza!u d%wi"kowego i idee pochodne 12 2.3. Koncepcja pejza!u d%wi"kowego w kontek&cie g#ównych zakresów dzia#alno&ci Schafera 14 2.4. Rozpowszechnienie koncepcji pejza!u d%wi"kowego i rozwój ruchu ekologii akustycznej 20 Rozdzia# 3. Literatura %ród#owa, stan bada$ 25 3.1. Podstawowa literatura %ród#owa – ogólna charakterystyka 25 3.2. Wykaz i filiacje %róde# stanowi'cych przedmiot bada$ 27 3.3. (ród#owa literatura porównawcza 55 3.4. Literatura przedmiotu, stan bada$ 56 3.5. Literatura pomocnicza 58 Rozdzia# 4. Od metodologicznej problematyki interdyscyplinarno&ci do modelu analizy tekstu 59 4.1. Interdyscyplinarno&) w &wietle nowych nauk 59 4.2. Interdyscyplinarno&) w &wietle starszych nauk 63 4.3. Interdyscyplinarno&) a synteza i analiza 66 4.4. Propozycja modelu analitycznego 69 4.5. Podsumowanie 79 CZ"#$ II: ANALIZA PISM: KONCEPCJA PEJZA%U D&WI"KOWEGO R. MURRAY’A SCHAFERA W #WIETLE KATEGORII DZIEDZINOWYCH Rozdzia# 1. Kryteria wyodr"bnienia dziedzin i implementacja analizy 82 Rozdzia# 2. Filozofia 88 2.1. Ogólna problematyka aksjologiczna 89 2.2. Ekofilozofia i etyka ekologiczna 91 2.3. Ontologia 96 2 2.4. Kosmologia 99 2.5. Teologia 106 2.6. Podsumowanie: wyznaczniki zakresu zagadnie$ filozoficznych 108 Rozdzia# 3. Teoria 109 3.1. Teoretyczno-analityczne kategorie pejza!u d%wi"kowego 110 3.2. Metodyka systematycznych bada$ pejza!u d%wi"kowego 114 3.3. Notacja 115 3.4. Podsumowanie: wyznaczniki zakresu zagadnie$ teoretycznych 118 Rozdzia# 4. Akustyka i nauki pokrewne 119 4.1. Materia# d%wi"kowy – cechy i postawy fizykalne 121 4.2. Akustyka &rodowiskowa (environmental acoustics) 122 4.3. Akustyka pomieszcze$ 123 4.4. Zapis i pomiar d%wi"ku 123 4.5. Elektroakustyka 125 4.6. Fizjologia s#yszenia 127 4.7. Psychoakustyka 128 4.8. Podsumowanie: wyznaczniki zakresu zagadnie$ akustycznych 130 Rozdzia# 5. Psychologia 132 5.1. Percepcja i podstawowe kategorie poznawcze 131 5.2. Kulturowe i spo#eczne determinanty percepcji i ekspresji 133 5.3. Emocjonalne oddzia#ywanie g#"bokich kategorii psychicznych 135 5.4. Podsumowanie: wyznaczniki zakresu zagadnie$ psychologicznych 138 Rozdzia# 6. Estetyka 140 6.1. Filozofia pi"kna 140 6.2. Problematyka doznania: estetyka a „anestetyka” 141 6.3. Psychologiczne determinanty doznania estetycznego 143 6.4. Kulturowe determinanty doznania estetycznego 144 6.5. Estetyczne przes#anki i kryteria wzornictwa akustycznego 145 6.6. Podsumowanie: wyznaczniki zakresu zagadnie$ estetycznych 146 Rozdzia# 7. Socjologia 147 7.1. Teoria: klasyfikacja, definicja spo#ecze$stwa i rola jednostki 147 7.2. Metodyka i badania empiryczne 151 7.3. Filozofia socjologii 152 7.4. Podsumowanie: wyznaczniki zakresu zagadnie$ socjologicznych 153 Rozdzia# 8. Pedagogika 155 8.1. Koncepcyjne za#o!enia i cele pedagogiki 155 8.2. Metodyka 168 8.3. Materia# zaj") – d%wi"k a muzyka 159 3 8.4. Nauczanie dzieci i m#odzie!y a nauczanie ludzi doros#ych 161 8.5. Podsumowanie: wyznaczniki zakresu zagadnie$ pedagogicznych 163 Rozdzia# 9. Nauka o komunikacji (communication studies) 164 9.1. Teoria nauki o komunikacji 164 9.2. Spo#eczne i kulturowe aspekty komunikacji 165 9.3. Wzornictwo systemów komunikacyjnych (systems design) 167 9.4. Badania mediów i reklamy 168 9.5. Technologiczne aspekty komunikacji 170 9.6. Podsumowanie: wyznaczniki zakresu zagadnie$ komunikacyjnych 171 Rozdzia# 10. Wzornictwo akustyczne (acoustic design) 172 10.1. Filozofia wzornictwa akustycznego 172 10.2. Pedagogiczne podstawy i funkcje wzornictwa akustycznego 175 10.3. Teoretyczne podstawy wzornictwa akustycznego 176 10.4. Wzornictwo stosowane 177 10.5. Podsumowanie: wyznaczniki zakresu zagadnie$ wzornictwa akustycznego 180 Rozdzia# 11. Historia i historiozofia 180 11.1. Metodologia bada$ historycznych 180 11.2. Faktografia 183 11.3. Historia filozofii 183 11.4. Historia estetyki 185 11.5. Historia komunikacji 186 11.6. Historia i historiozofia psychologii 187 11.7. Historia i historiozofia socjologii 190 11.8. Historia wzornictwa akustycznego 195 11.9. Podsumowanie: wyznaczniki zakresu problematyki historycznej 196 Rozdzia# 12. Nauki kulturologiczne 198 12.1. Religioznawstwo 198 12.2. Etnografia i etnologia 203 12.3. Antropologia kulturowa 205 12.4. Podsumowanie: wyznaczniki zakresu problematyki kulturologicznej 212 Rozdzia# 13. Interpretacja wyników analizy, podsumowanie 214 13.1. Interpretacja wyników analizy 214 13.2. Podsumowanie 219 BIBLIOGRAFIA 223 A. Literatura %ród#owa – podstawowa 223 B. Literatura %ród#owa – pomocnicza 225 4 C. Wywiady i rozmowy 229 D. Literatura przedmiotowa 232 E. Literatura ogólno-pomocnicza 233 WYKAZ PLANSZ [Dotyczy jedynie fizycznych egzemplarzy pracy] 236 5 CZ!"# I ZAGADNIENIA METODOLOGICZNE 6 Rozdzia! 1. Przedmiot bada", zakres chronologiczny, cele analizy. Przedmiotem niniejszej pracy s! pisma R. Murray’a Schafera dotycz!ce koncepcji pejza"u d#wi$kowego (soundscape) i %ci%le z ni! powi!zanych dziedzin postulowanych przez Schafera: nauki o pejza"u d#wi$kowym (soundscape studies) i wzornictwa akustycznego (acoustic design), jak równie" centralnego dla nich obszaru ideologicznego tzw. ekologii d#wi$kowej (acoustic ecology). W zakres przedmiotu bada& w'!czone zosta'y równie" pisma powsta'e pod redakcj! R. Murray’a Schafera w ramach kierowanego przeze& Przedsi$wzi$cia Pejza"u D#wi$kowego (wiata (World Soundscape Project); teksty te pozostaj! w %cis'ym zwi!zku z wymienionymi zakresami ideowymi i zawieraj! znaczny wk'ad ideowy, pisarski i redaktorski omawianego autora. Szczególne cechy literatury #ród'owej stanowi!cej przedmiot bada& niniejszej pracy – gatunkowa ró"norodno%), stosunkowo du"a ilo%) pism, kilkakrotnie wyst$puj!cy problem autorstwa zbiorowego, skrajna heteronomia dziedzinowa, wreszcie nierówna ilo%) odno%ników do koncepcji pejza"u d#wi$kowego i zró"nicowanie znaczenia poszczególnych pism – sk'adaj! si$ na z'o"ony przedmiot bada&, charakteryzuj!cy si$ raczej p'ynnymi granicami ni" ostrymi podzia'ami. Istnienie czynników dyfuzyjnych (autorstwo zbiorowe, nierówny przebieg odniesie& do koncepcji pejza"u d#wi$kowego) wymaga, aby próba okre%lenia relacji mi$dzy przedmiotem bada& (jakim s! okre%lone pisma Schafera) a ideow! postaci! omawianej koncepcji Schafera nie polega'a na prostym prze'o"eniu tre%ci z jednego poziomu na drugi, lecz koncentrowa'a si$ na '!czeniu punktów najwi$kszego skupienia tre%ci odnosz!cych si$ do koncepcji pejza"u d#wi$kowego, przy równoczesnym usuni$ciu w cie& dyfuzyjnych obszarów pism. Dolna granica zakresu chronologicznego przedmiotu bada& jest identyczna z dat! pojawienia si$ pierwszego z tych pism Schafera, których tre%) mo"na odnie%) do koncepcji pejza"u d#wi$kowego (1965), natomiast jej górny pu'ap jest wyznaczony przez jeden z ostatnio opublikowanych tekstów Schafera (1998). Podj$te zosta'y starania, by w ramach wyznaczonego zakresu chronologicznego obj!) mo"liwie najbardziej kompletny zestaw pism Schafera odnosz!cych si$ do koncepcji pejza"u d#wi$kowego. Szereg celów przy%wieca' podj$ciu tematu pracy i analizy tekstów. W 1993 roku, po zako&czonej mi$dzynarodowej konferencji na rzecz ekologii d#wi$kowej, 7 Schafer móg' retrospektywnie stwierdzi), "e badania pejza"u d#wi$kowego rozwijaj! si$ „szczególnie we Francji, Pó'nocnej Europie i Japonii”1. Rosn!ce zainteresowanie podejmowaniem bada& i refleksji w duchu omawianego nurtu nie znajduje jednak wystarczaj!cego odpowiednika w opracowaniach samego nurtu my%li pejza"u d#wi$kowego. Obszar literatury pejza"u d#wi$kowego jest zatem niemal"e ca'kowicie zajmowany przez literatur$ #ród'ow! (na niekorzy%) literatury przedmiotowej), która rozwija omawian! koncepcj$, referuje próby praktycznego jej zastosowania, i subiektywnie j! komentuje. Jedn! z podstawowych funkcji niniejszej pracy jest wi$c przyczynienie si$ do wype'niania braków – szczególnie wyra#nych w pi%miennictwie polskim – w literaturze przedmiotu. Oznacza to, i" musi ona podj!) szereg podstawowych zada&, do których nale"y przede wszystkim przedstawienie problematyki pejza"u d#wi$kowego i systematyczne omówienie pogl!dów R. Murray‘a Schafera. Nast$pnym zadaniem jest stworzenie mo"liwie najpe'niejszego obrazu #róde' stanowi!cych przedmiot bada&, co stwarza baz$ informacyjno- opisow!, u'atwiaj!c! podstawowe etapy dalszych bada&. Poniewa" t'umaczenia pism Schafera na j$zyk polski ograniczaj! si$ do kilku krótszych tekstów, liczne przek'ady cytatów zamieszczone w niniejszej pracy przyczyni) si$ mog! do wyrobienia szerszej znajomo%ci tre%ci i stylu analizowanych pism2. Omówienie literatury #ród'owej nie b$d!cej przedmiotem bezpo%redniej analizy, lecz wpisuj!cej si$ w wyznaczony przez Schafera nurt koncepcji pejza"u d#wi$kowego równie" stanowi cz$%) zakre%lonego tu zadania. Na niejako wy"szym etapie pracy badawczej sytuuj! si$ dwa dalsze cele obrane w niniejszej pracy. Oba podj$te zosta'y na podstawie analitycznej konfrontacji kategorii dziedzinowych z heterogeniczn! pod tym wzgl$dem tre%ci! pism Schafera. Po pierwsze, propozycja metody analizy pism
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