Soundscape

The musician R. Murray Schafer defines soundscape as a “sonic environment.” During the 1970’s, he had been actively engaged in environmental movements that focused on noise pollution. The 21st century happens to be the age of industrialization. Traffic, transportation and construction sounds play a major role in city life. Schafer believes that the industrial way of life has polluted nature’s soundscape. However, the ideas of soundscape have to be looked at more thoroughly.

Soundscape can be defined as an aural landscape. There are similarities between landscape and soundscape. They enable individuals to perceive their surrounding environment. They are both cultural constructions. A soundscape does not only consist of acoustical sounds, it also deals with physical objects that create and or impact various sounds. In addition, the way a person listens should be taken into consideration as well. For instance, a person associates sound with their cultural surroundings as well as their relationship to a particular space.

Both soundscape and landscape have more to do with areas of human activity than nature itself. Both are forever changing and are susceptible to human manipulation. Scientists and engineers have tried to find ways to manipulate sound in a given space. By utilizing the architectural medium, scientists and engineers can control the frequency and scale of sound among other things. The more a confined a space is, the more denser the sound and vice versa.

Works Cited

Thompson, Emily. The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening. New York: MIT Press, 2004.

A test on sound manipulation. I recorded the sound of airplanes and other mechanical objects. I then layered the recorded sounds on top of each other. It is interesting to see how sound manipulation can create a totally different environment.

Another test on sound manipulation. This time I recorded the sound of trains and layered it over a programmed beat.

Noise Pollution

There are many debates in regards to the affects of noise pollution. Noise pollution is stated to have a negative impact on a person’s health. For instance, it can cause sleep issues, anxiety, and hearing loss. The musician, R. Murray Schafer feels that the city’s soundscape is destroying the natural world. He associates natural sounds with nature. City life consists of traffic, airplane and construction sounds among other things. These sounds are said to have a negative affect on people as well as on nature’s soundscape.

However, what we deem as annoying may be determined by our cultural surroundings. Natural and artificial sounds are determined by individual perception. In most cases, our perception of sound may be influenced by pre-conceived notions. For example, the people of France embraced bell ringing because it would give them feelings of euphoria. The loss of such sound would have a polar affect by creating feelings of nostalgia. The frequent ringing of bells became a cultural tradition. In that sense, what may be celebrated in one part of the world, may not be the same in another location. The Eaton Centre banned the ringing of bells because people found the sound disturbing.

I for one live near an airport where planes fly by my apartment on a regular basis. Other people in the area describe the sound as annoying. My perception of the sound is different. I have become so accustomed to the sounds that they have become part of my everyday experience. Curiously, I wonder if there is a certain frequency or pitch that causes a person to feel physical discomfort.

Works Cited:

Botteldooren, D. “The Temporary Structure of Urban Soundscapes.” Journal of Sound and Vibration 292.1 (2006): 105-123.

Burns, William. Noise and Man. London: William Clowes, 1968.

Genaro, N. & A. Torija. “A Neural Network Based Model for Urban Noise Pollution.” The Journal of the Acoustical Society of America
128:1 (2010): 1738-1746.

For assignment 2, we had to construct architecture for and with sound. So our group decided to experiment with sound in order to evoke a psychological, emotional and even physical response in a person. By taking the ideas of soundscape and R.Murray Schafer's thoughts on noise pollution into consideration, we created a soundtrack by layering so called natural and artificial sound over each other. This would allow us to question whether our perception of sound or "annoying sounds" are indeed cultural constructions.

Aural Architecture

Architectural acoustics determine the sounds that people hear in a given space. For instance, architects and engineers will pay close attention to the physical formations of a space and the way it affects sound. Confined or open spaces aid in the various ways people perceive sound. For example, the more confined a space is, the more denser the sound. In the Village Bells article, the close knit communities of France experienced denser sounds of bell ringing. Architectural acoustics focuses on the way people react to specific sound in a particular space.

Architectural acoustics can be divided into two categories, wanted and unwanted sounds layered over background noise. Many of these fluctuate in frequency. If a sound is wanted, it should exceed the level of background noise. If a sound is unwanted, it should be below the level of background noise. Normally, background noise consists of traffic, construction and transportation sounds.

Architects and engineers control wanted and unwanted sounds in order to feed their purpose. In a concert hall, outside noise is filtered in order for the transmission of music or speech to reach the audience. In restaurants and hotels, people can sit in a particular place where there is the perception of reduced unwanted sounds. Other areas of the same room would have different affects. In many instances, the method of sound-insulation is used to to prevent airplanes and traffic sound from invading the interior parts of a space. It is quite fascinating to understand the ways (materials) in which a space can be manipulated in order to produce a specific sound environment.

Works Cited:

Lawrence, Anita. Architectural Acoustics. London: Elsevier, 1970.

Northwood, Thomas D. Architectural Acoustics. Pennsylvania: Dowden, 1977.

Bodily Perception

A question to ponder is how do our bodies perceive sound? Our bodies are considered a space “in which aural structures can develop.” The body is a framework that allows for the interaction of sound. Sound involves continuous reverberations, especially in an enclosed space. Similarly, the body can absorb vibrations and sensations of sound on a continuous basis (everyday activities). Another question that should be taken into consideration is if the hearing-impaired can perceive sound? Like architecture, the body feels sound through vibrational forces, regardless if it is obvious or not. Walking may seem natural, but the force of every step is absorbed by our bodies.

Frank Russo’s sound-chair is evidence of the physicality of sound. Each note gives a different feeling. Sound can evoke feelings of astonishment, excitement and even pain. The louder the frequency or pitch, the stronger the vibration. The softer the force, the gentler it is on the body. In my case, the softness is very soothing and feels like a massage.

In addition, music also evokes a physical reaction in a person; a person can feel music vibrating throughout their body. Furthermore, our bodies enable us to get a sense of our surrounding space or environment. Before participating in Janet Cardiff’s sound-walk, I didn’t realize the importance of the body in the perception of sound and space. I had to mimic the motions of her footsteps in order for the exercise to be successful. At one point, as I walked through grass, I knew that I had been on the right track because it matched the sound in the recording. I could feel the crunch of the grass with every step, even though, I couldn’t hear it directly.

Works Cited:

Ouzounian, Gascia. “Embodied Sound: Aural architectures and the body.” Contemporary Music Review 25.1 (2006): 69-79.

Veit Erlmann. “But What of the Ethnographic Ear? Anthropology, Sound and the Senses.” Hearing Cultures: Essays on Sound, Listening and Modernity. New York: Berg, 2004.

Hearing vs. Listening

Many assume that listening and hearing are one and the same, however, that is not the case. Hearing is very much like looking because it is a “detached registration and classification of external phenomena.” Hearing is detached from communication. Unless a person is deaf, hearing is unintentional. Sound is automatically transmitted through air and enters the ear. The sounds are then processed in the brain, which is very similar to the registration of language.

Listening is an intentional act. It involves active engagement. Where hearing is automatic, a person can choose to listen. Listening requires the effort of distinguishing between sounds and spoken words. It is a process that is culturally and socially structured. Listening involves the practice of communication where new symbols and signs are created. It aims to steadily prolong communication. Hearing is considered to be monological, whereas listening is dialogical. Listening requires more than one person in the communicating process.

David Lieberman discusses the fact that many people do not know how to listen. It is a process that needs practice. In many instances, people are not aware of the possibilities of sound. For instance, he asks that the class listen to the spaces between musical notes. He believes that space goes beyond mere physicality. Space can also be defined by timbre, tonality and movement. Sound in itself can define spacial parameters without physical markers.

Works Cited:

Carter Paul. “Ambiguous Traces, Mishearing, and Auditory Space.” Hearing Cultures: Essays on Sound, Listening and Modernity. Ed. Veit Erlmann. New York: Berg, 2004.

Muzak

The term Muzak refers to programmed music. Programmed music deliberately reaches the ears of millions of people throughout the world. The largest companies in the world use Muzak. Muzak involves pre-recorded music for commercial, business and industrial purposes. It is also known as background music. One research found that by starting off with bland music and then gradually increasing to more stimulating music, this would evoke a positive psychological response in workers. This would enable them to work more efficiently. That arrangement of music would give them a sense of progression or feelings of moving forward.

Fascinatingly, the arrangement of music is determined by four factors, which include: tempo, rhythm, instrumentation and orchestra size. After taking these factors into consideration, Muzak comes up with a number called the “Stimulus Quotient” for each arrangement of music. For example, a waltz has a low stimulus number than rhythmic, fast-paced Latin music. Secondly, string instruments will have a less stimulus affect than percussion instruments. Thirdly, a big orchestra of 32 will have a higher “Stimulus Quotient” than a small orchestra of 10 or 12.

Corporations can pick and choose which sequences to play in order to evoke a specific response. Muzak in malls tend to promote consumer buying because it causes feelings of relaxation and comfort. In an article, “The Condition of Muzak”, the author Nick Groom describes Muzak as being an “illusion of music.” It evokes feelings of relaxation as if in a dream like state. According to Marshal McLuhan, “Muzak programs the environment.” It establishes city spaces, creates architecture and has “engineered cities of sound.” The idea of silence is incomprehensible, especially in industrial areas where Muzak is common or prevalent.

Works Cited:

Groom, Nick. “The Condition of Muzak.” Popular Music and Society 20:3 (1996): 1-17.

Macleod, Bruce. “Facing the Muzak.” Popular Music and Society 7:1 (1979): 18-31.

Iannis Xenakis

The Greek composer and architect, Iannis Xenakis utilized statistical mathematics in his musical compositions. He combined mathematics with composition, one example being the probability of distributions. He named this “Stochastic Music” and experimented with its varying possibilities. There are many reasons for Xenakis’ interest in random functions of music. They gave him an understanding of serial music, which is defined by Princeton university as “20th century music that uses a definite order of notes as a thematic basis for musical composition.” In addition, stochastic music allowed him to create compositions using natural events such as rain, hail or even public gatherings. It allowed him to see logical structures and patterns in the composition of music all defined by probability and random functions.

In 1962, Xenakis started using computers in his stochastic compositions. Computers allowed him to synthesize various electronic sounds. At one point, Xenakis used the patterns of circles in his sound compositions. From what I understand, he also payed close attention to factors of repetition. He realized that as music moves toward complex noise, the more complicated it becomes to synthesize. It is quite fascinating to see the various methods used in the creation of sound. Xenakis used the randomness of natural events in order to synthesize music. By listening to an actual piece, it would be difficult to understand the complexities behind such compositions. It just goes to show how architects and engineers manipulate space in order to produce specific sound environments.

Works Cited:

Coburn, Robert. “Review.” Leonardo 33:1 (2002): 65.

Luque, Sergio. “The Stochastic Synthesis of Iannis Xenakis.” Leonardo Music Journal 19:1 (2009): 77-84.

Computerized Sound Art

Sound and Memory

Human existence is based on memory. It does not only define history but is a preservation of individual identity and construction. Re-collection of thoughts and memories are methods of self expression. Various forms of art tend to mimic human consciousness. Music in itself involves the repetition of memory. For instance, similarly to our perception of time, music allows us to move forward as well as take a step back into the past, “inviting us to recollect.” In many instances, it invites us to listen to the sounds or music of the past like that of Mozart and Beethoven.

In a cultural and social sense, repetition of sound seems to play an important role in memory. For example, in the village bells article, the persistent and repetitive bell sounds became embedded into the memory of the people. The continuous bell ringing became a tradition. Similarly, industrial sounds of traffic and construction are embedded into the minds of city dwellers. These sounds have become part of everyday life. The immediate silencing of such sounds would cause chaos and confusion.

I too have become accustomed to the sounds of planes. I noticed that these sounds tend to mimic rhythmic drones. If such sounds ceased to exist, I would be deeply confused because they have been embedded into my memory. It is interesting to know that corporations deliberately use the familiarity of Muzak to evoke a psychological response.

Works Cited:

Burnham, Scott. “Schubert and the Sound of Memory.” Music Quarterly 84:4 (2000): 655-663.

Binaural Technology

The recording of binaural sound involves a special approach in the reproduction of sound. Two microphones are placed directly into the ear in order to capture immediate sound. The sounds are then played back over headphones. The pre-recorded sounds appear to mimic the sound environments “as if listening to them live.” We do not only depend on our eardrums as a way to perceive sound, we also use our external ears (pinnae) “to locate sound.” The creases around the ears change the way we perceive sound (frequency content) whenever we move our heads. However, each person’s perception of sound is different due to “minor spectral disturbances.” In this case, the binaural experience is different for everyone. Although it may be different, it is a far more advanced form of recording sound as opposed to using stereo equipment. Binaural recording aims to recreate sounds captured by the ear.

Binaural recording hopes to reproduce the original sound of a particular space. It allows the person to experience the space without having to be there at that particular moment. It moves “the acoustic event to the listener.” In addition, binaural recordings allow artists to layer multiple soundtracks over each other. Once played back, these soundtracks give the impression that they are being blasted from theatre speakers. If a person is aware of what they are going to hear, that would somehow alter the binaural experience. It would seem like a construction of sound environments. As I participated in the Janet Cardiff sound-walk, I did not know what to expect even though I knew it involved pre-recorded sound. As I listened to the recordings, I could not pinpoint the location of certain sounds, if they had been coming from the recording or the from the outside world; this is due to binaural technology. In this regard, the experience turned out to be a successful one.

Works Cited:

Hanssen, Tina Rigby. “The Whispering Voice Materiality, aural qualities and the reconstruction of memories in the works of Janet Cardiff and George Bures Miller.” Music, Sound and the Moving Image 4:1 (2010): 39-54.

Music Therapy

People with psychological disorders like schizophrenia or other neurological issues suffer from cognitive dysfunctions. According to Princeton dictionary, cognition is “the psychological result of perception, learning and reasoning.” There are problems with individual perception and understanding, once the cognitive process is disrupted or hindered. There have been many studies on the positive affects of music therapy as a means to improve memory and neurological functions. Patients exposed to stimulating music resulted in positive improvements in neurological functions. Music therapy would stimulate their senses and this would improve their memory and other cognitive skills.

In addition, individuals with neuro-behavioural disorders caused by brain damage had problems with language reception. In many instances, music therapy can reduce anxiety and agitation by promoting positive reactions or behaviours. This brings to mind the power of sound manipulation in order to evoke a psychological response. If Muzak can affect behavioral patterns in workers and consumers, it is no surprise that music therapy can have positive psychological results in patients with neurological disorders. This concept of stimulating the senses is a fascinating one because it has the ability to evoke a positive reaction in patients with cognitive dysfunctions. Another interesting idea is that music plays in an important role in the recollection of memories to improve cognitive skills.