On Soundscapes: Glimpses of the Issues in Play
By Jim Cummings
There are many ways to listen to the Great Conversation. Relaxed. . . with intent focus. . . analyzing. . . in
forgetfulness. Each has its rewards.
Do you tend to find pleasure more easily in natural sounds that are melodic,
or musical in a familiar sense? Do repeating drones, subtly shifting ambiences,
or scratchy voices seem less interesting to you? If so, you are not
alone; many Westerners, especially, have deeply engrained habits of listening,
and require some practice to open to other sorts of voicess in our planetary
symphony. (Ah, there it is again: the symphony as the ultimate beautiful
human music. What earth-based image might we use for the collection of voices
that includes the white noise of the wind, the chaos of the swamp, the sharpness
of echolocation, or silence broken in random bursts by unknown soundmakers?)
Most, if not all, nature sound recordings foster the illusion of healthy ecosystems; many times, even the location being
recorded is severely degraded, and only a combination of boundless patience in the field, careful editing out of human
noise, or overdubbing of field recordings can recreate the primal fullness.
The creation of environmental soundscape art, or audio productions based on
field recordings of nature or human environments, is one aspect of a larger
field of interest known as Acoustic Ecology. The term acoustic ecology
arose from the World Soundscape Project, based at Simon Fraser University in
British Columbia during the early 1970s. Founded by R. Murray Schafer, the
WSP studied acoustic environments in natural and human settings, and has
spawned numerous books and diverse careers in philosophy, urban design,
composition, and theater. Virtually all of the artists represented in this
greenmuseum.org sound art show have been fundamentally influenced by Schafer's
work. One of the key contributions of the WSP was to develop a vocabulary
for investigating and describing the functions, social context,
associations, and individual or community responses to various sorts of
sounds encountered in our daily lives.
Related to acoustic ecology is the academic discipline of Bioacoustics, or
the study of animal vocalizations and the perception of sound by animals,
and the recent BioMusic project, which explores the ways that some animal
songs bear melodic or structural resemblance to human musics, and so
suggests that music may pre-date and transcend human history.
In more recent years, acoustic ecology has taken a larger role in
environmental advocacy. Beginning with concerns about airplane overflights,
and expanding to include conflicts between motorized and quiet recreation,
protection of "soundscape resources" is becoming a part of the land
management equation. The National Park Service has led the way in this
regard, establishing a soundscape office that works to establish soundscape
resource surveys in parks nationwide. Most recently, ocean acoustics has
emerged as a "hot issue", centering on the effects of manmade noise on
whales and fish. Recent reports from the National Academies of Science,
Office of Naval Research, and non profit organizations have called for the
creation of ocean-wide sound maps and better research into the effects of
human noise on ocean wildlife.
The protection of "natural quiet" and awareness of our acoustic impacts are rapidly increasing concerns among both
grassroots activists and scientists. This movement can be seen in calls for regulation of airplane overflights and
other noise intrusions in wilderness areas and national parks, by increasing awareness of the need for urban sound
refuges, and in protests about the effects of extremely loud military experiments in the seas. (See
AcousticEcology.org for more on all of this.)
Notice how so many of the human sounds are mechanical, the voices not of us, but of our machines. How is it that we
have claimed the right to make so much noise, with so little thought?
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