[microsound-announce] [framework radio] #771: 2021.10.03

Mon Oct 4 04:36:48 EDT 2021

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framework radio
phonography ::: field recording ::: the art of sound-hunting
open your ears and listen!

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#771: 2021.10.03
listen to this edition here:
https://frameworkradio.net/2021/10/771-2021-10-03/

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this edition of framework:afield has been produced in portugal by joão 
castro pinto. producer's notes:

“soundscape composition – between mimesis and abstraction”
by João Castro Pinto | www.agnosia.me | agnosiia at gmail.com

"This radio show is divided in 3 sections, the first dedicated to 
phonographic and environmental composers, the second to the 
electroacoustic music composers and the last to experimental composers / 
performers “freely” working with field recordings. The main purpose of 
this program is to present an itinerary of different possibilities of 
composing with field recordings, from the more mimetic to the more 
abstract points of view, ideally demonstrating that there are distinct 
approaches to soundscape composition and that the World Soundscape 
Project is just one of multiple ways to understand and artistically 
figuring the soundscape.

"The WSP was a pedagogical oriented research group harbored at Simon 
Fraser University, in Canada, founded in the late 60’s by Raymond Murray 
Schafer. The main interests of this interdisciplinary group were firstly 
centered in the ecological noise pollution issues and, afterwards, 
expanded to other activities, such as the creation of soundscape 
compositions. Their main interest was to study the soundscape, to 
document its sounds and to use soundscape composition as tool towards 
the development of a new listening, and ultimately to change the 
soundscape through an ecological perspective and policies, via acoustic 
design.

"For more in-depth info about the WSP check Keiko Torigoe Master Thesis, 
entitled: A Study of the World Soundscape Project, 1982, Graduate 
Program in Music, York University, Toronto, Ontario.

"Soundscape composition is a sub-genre of electroacoustic composition 
that is anchored in what Barry Truax defines as context-based 
composition. This key idea and the notion of sound event are the two 
main concepts from which all other subsidiary ideas are derived from, 
as: hi-fi and low-fi soundscapes; sound signals, keynote sounds, sound 
marks, schizophonia, etc. In the Tuning of the world, we can confirm 
these perspectives when Schafer states that:

"“[...] the event is not abstractable from the time-and-space continuum 
which gives its definition. The sound event, like the sound object, is 
defined by the human ear as the smallest self-contained particle of a 
Soundscape. It differs from the sound object in that the latter is an 
abstract acoustical object for study, while the sound event is a 
symbolic, semantic or structural object for study, and is therefore a 
non abstractable point of reference, related to a whole of greater 
magnitude than itself.” (SCHAFER 1977).

"Ultimately, according with Barry Truax, SC pieces should ideally 
provoke a real existential change of attitude / praxis of listener 
towards his sonic environment. This aim is clearly, as Truax admits, 
“[...] social and political, as well as artistic.” (TRUAX 2001).
We should observe that both previous assertions are perfectly accordant 
with the W.S.P. purposes and that, thence, serve the acoustic ecology’s 
pragmatic tasks in its first and more fundamental aim, i.e., the 
soundscape pieces intend, specially the first ones (with a phonographic 
approach) was, as Truax affirms:

"“[...] to document acoustic environments, both functional and 
dysfunctional, and to increase public awareness of the importance of the 
soundscape, particularly through individual listening sensitivity. [...] 
the goal of soundscape composition is to put ‘acoustic ecology’ on the 
environmental agenda.” (TRUAX 2008).

"According to the World Soundscape Project, soundscape composition and 
acoustic design are focused in the acoustic ecology purposes and, hence, 
as such, the practice of soundscape composition is a strategy towards 
the reintegration of the listener within a more ecological balanced 
sonic environment. From this intention results that the ecological 
change of the soundscape is mandatory and it implies to consider that 
some sounds are preferable to others, for example: bird sounds to 
noisier sounds from machinery / cars, etc., what Schafer calls 
high-redundancy sounds. This judgment makes sense in the ecological 
perspective, but not necessarily in a creative way, for all sounds 
should be possible to consider in terms of elements for a soundscape 
composition. Therefore, we do not reduce the soundscape composition to 
mere mimetic representations, as the existence of different approaches 
is considerable and multimodal, however, we do not fail to reiterate 
that the idea of context-based composition implies limitations in terms 
of musical resources and compositional practices.

"There are several epistemological approaches to the study and analysis 
of soundscape. These include research in the scope of human and social 
sciences (of an ethnomusicological, anthropological, ecological nature, 
etc.), but this fact does not subject us to any resulting 
determinations, as far as soundscape composition practices are 
concerned. The attempt to reintegrate the listener into the soundscape, 
defended by a notion of soundscape amplified by ecological concerns and 
translated into compositional principles, should not hinder creative 
potentials. The space of the composition does not correspond to the 
real/topological space of sound events, trying to make these two 
dimensions correspond is to intentionally subordinate one in relation to 
the other, ultimately dismantling the specificities and potential of both.

"The antithetical aesthetics of acousmatic music and soundscape 
composition are increasingly intertwined, which means that the fixed 
barriers, formerly established between both domains, are progressively 
being diluted. The release of the ecological paradigm allows a 
repositioning of the practices of soundscape composition in the light of 
aesthetics, which, in turn, guarantees the possibility of scrutinizing a 
range of different approaches, which are, however, closely related to 
the conceptual idea of soundscape composition.

"For further information about Hi-fi and Low-Fi Soundscapes / 
Schizophonia / Sound Marks / Sound Signals / Keynote sounds, etc. check 
Truax’s Handbook for Acoustic ecology:
https://www.sfu.ca/sonic-studio-webdav/handbook/index.html"
-joão castro pinto, 2021.09

again, we are always looking for new material, whether raw field 
recordings, field recording based composition, or introduction 
submissions. we are also now accepting proposals for full editions of 
our guest curated framework:afield series. send proposals or material, 
released or not, on any format, to the address at the bottom of this 
mail. if you have any questions, please don't hesitate to get in touch!

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[time  /  artist  /  track  /  release  /  year  /  label]

00:00 - 01:20 / framework:afield intro

01:20 – 03:26 / E. M. Nicholson & Ludwig Koch / Songs of Wild Birds / 
1936 / H. F. & G. Witherby Ltd.

02:54 – 06:32 / Walter Tilgner / Waldkauz-Balz / Animal Music - Sound 
and Song in the Natural World Book-CD - Edited by Tobias Fischer and 
Lara Cory / 2015 / Strange Attractor Press

06:13 – 09:29 / Bernie Krause / Amazon Nights / Notes From The Wild - 
The Nature Recording Expeditions of Bernie Krause / 1996 / Ellipsis Arts 
– Booklet – CD / NYC.

09:29 – 14:35/World Soundscape Project – Ray Murray Schafer / On 
Acoustic Design / The Vancouver Soundscape / 1973 / CRS recordings CSR- 
2CD - 9701

14:30 – 17:06 / Chris Watson / Stepping into the Dark / Bosque Seco: 
Santa Rosa National Park, Costa Rica / 1996 / Touch

16:51 – 20:42 /Hildegard Westerkamp / Kits Beach Soundwalk / 
Transformations / 1996 / Empreintes DIGITALes – IMED 9631

20:34 – 21:34 / Jana Winderen / The Noisiest Guys on the Planet / 2007 / 
Ash international. Ash 8.1
https://janawinderen.bandcamp.com/album/the-noisiest-guys-on-the-planet

21:34 – 24:34 / Jonty Harrison / Espaces Cachés / Voyages / 2016 / 
Empreintes DIGITALes - IMED 16139

24:26 – 28:16 / Christian Helm / Aporie 2012 / 2012
https://soundcloud.com/ginseng707/aporie2012

28:12 – 33:06 / Nikos Stavropoulos / Portrait V / 2016
https://soundcloud.com/binauralmedia/nikos-stavropoulos-portrait- 
v?in=binauralmedia/sets/sonic-explorations-of-a-rural-archive

33:00 – 38:00 / Apostolos Loufopoulos / Secret Coast / 2009
https://soundcloud.com/apostolos-loufopoulos/secret-coast

37:44 – 41:04 / Lionel Marchetti / Portrait D'Un Glacier (Alpes, 2173m) 
/ 2001 / Ground Fault Recordings
https://groundfault.bandcamp.com/album/portrait-dun-glacier-alpes-2173m

40:32 – 44:23 / Darius Ciuta / l2di-(3) / 2014 / Unfathomless – U21
https://unfathomless.bandcamp.com/album/l2di-3

44:04 – 49:05 / Eric La Casa + Eamon Sprod / Friche : transition 3 / 
Friche : transition / 2019
https://swarming.bandcamp.com/album/friche-transition

48:45 – 53:13 / Terje Paulsen / From a nearby bay / 2015 / Taâlem – alm 109
https://taalem.bandcamp.com/album/from-a-nearby-bay-alm-109

53:07 – 57:00 / João Castro Pinto / à-τόπος / The No Land Soundscape / 
2020 / Hemisphäreの空虚
https://hemispharenokukyo.bandcamp.com/album/the-no-land-soundscape

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framework intro submissions:

    1)    take yourself and an audio recorder to a location of your choice
    2)    record for AT LEAST 1 minute before you -
    3)    read aloud the following text (in english or translated):

welcome to framework. framework is a show consecrated to 
field-recording, and its use in composition.  field-recording, 
phonography, the art of sound hunting; open your ears and listen!

    4)    continue recording for AT LEAST 2 minutes after the text
    5)    post the 
recording to us on any format, or send us an mp3

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