Soundscape

Wir leben in Klangwelten, die unser Erleben einer lebendigen Wirklichkeit prägen. Wir suchen nach außeralltäglichen Klangerlebnissen in aufwändig inszenierten Spiel-Räumen. Diese Spiel-Räume sind Räume der erlebten Interaktion, es sind fremde Räume, in denen wir zu uns selbst finden wollen und die als Heterotopien Zerstreuung vom Gewöhnlichen versprechen. Die in diesem Buch vorgenommene phänomenologische Untersuchung beschreibt die Ästhetisierung des Lebens anhand der Klangräume der Erlebnisgesellschaft. Es ist eine Aufforderung zum kritischen Hinhören und ein Plädoyer für die Planungsrelevanz klanggeographischer Lebenswirklichkeiten.

The book is a phenomenological study of the sonorous dimension of ludic spaces. Drawing mainly on introspection, the study approaches various heterotopias like theme parks, stadia, protest marches, rock concerts and religious places through listening. The author explores a broad range of phenomenological literature on sound and space, including conceptual works on atmospheres.

Sustainable sound planning has been drawing more attention as citizens are demanding higher levels of comfort and livable environment while keeping the convenient access to transportation and neighborhood in urban settings. Particularly in Hong Kong, we see a lot of innovative building designs, such as smart facades, are there improving the overall indoor sonic environment of the premises. Apparently, different situations and designs can result in varying levels of costs and benefits. How to balance these becomes a challenge for the acoustical designers and sound planners. This paper presents a case study revealing how virtual reality technology can be applied to let the relevant stakeholders "experience" the noise benefits that a particular smart facade design can bring by "perceiving" the sonic environment and having it associated with different design options and costs.

Si la trace humaine, au sens très large du terme, indélébile et souvent hégémonique est un marqueur de l'Anthropocène, pour le sonore, nous pouvons observer une position un peu différente. Trace immatérielle, éphémère, mouvante, le son, celui de l'Anthropocène est quelque part une métaphore d'une fragilité intrinsèque, celle de notre planète en l'occurrence. Le sonore ambiant nous révèle à la fois des carences, disparitions, paupérisations, notamment dans le règne animal, comme il met en avant des expansions chaotiques, des vacarmes incontrôlés, des magmas sonores qui nous empêchent de lire et de comprendre clairement le monde par l'oreille, ou tout simplement parfois de nous parler. Entreprendre de travailler sur une esthétique liée à la fragilité peut paraître une incongruité, voire un certain non-sens, et pourtant cette gageure me semble en accord avec notre époque, y compris avec les passionnants débats que nous avons eu durant les rencontres acousmatiques 2018. Esthétique Prenons les choses dans l'ordre, est esthétique ce qui recherche la beauté, sa ou ses différentes défnitions, ce qui tend à cerner la perception, si ce n'est la fabrication du beau, avec toutes les variations culturelles et subjectives de ces notions. Le beau, ou la notion du beau, tout subjectifs et culturels qu'ils sont, constituent de ce fait une notion intrinsèquement fragile. Fragilité Est fragile tout ce qui peut se rompre, s'altérer, voire se détruire, disparaître être anéanti. Sont donc fragiles autant les choses solides matérielles que les ressentis, sentiments, expériences humaines. L'esthétique de la fragilité cherche à construire une beauté pouvant, voire devant constamment être remise en question, sans canons académiques fgés, mais plutôt dans une inconstance constructive, dans un ressenti aussi mouvant que la marche elle-même par exemple. C'est d'ailleurs enfoncer une porte ouverte que de constater la fragilité des ressentis et sentiments humains. Il en est comme de l'état d'esprit, le moral comme on dit, d'un marcheur, qui variera au fl des dénivelés, kilomètres, embûches du terrain, conditions météorologiques, forme physique… Le marcheur peut-être fétu de paille dans la tempête, mais aussi, fort heureusement, roseau résiliant, plus tenace et coriace que jamais devant les diffcultés pour atteindre son but. La métaphore de la marche est bien évidemment liée à mes travaux de promeneur écoutant, paysagiste sonore et au fnal, metteur en écoute. Des PAS Parcours Audio Sensibles Ces derniers nous ramènent au promeneur écoutant, concentré sur des espaces et périodes où les sons prennent une place des plus importantes dans sa perception du paysage. Là encore, la non matérialité et non visibilité du sonore, comme une trace vibratoire d'action énergétique, nous ramène une fois de plus à la notion de fragilité, de caractère fugace, éphémère. Le parcours, fut-il tracé, balisé, cartographié, prolongé via différents média-supports, pourra lui aussi être dans une logique de cheminement non défnitif, chemin de traverse, soumis à de multiples contraintes, aléas, modifable à l'envi par d'innombrables variantes, ou variations, obstacles, égarements, détours, impasses, impraticabilités chroniques. Si on considère le PAS comme un geste collectif, ce qu'il est intrinsèquement pour moi, vient alors s'ajouter l'aventure humaine, avec toutes ses beautés justement, mais avec aussi tous les risques de ruptures, de non collectif ou de sa dissolution, d'écoutants

The global move toward reducing the usage of lead in electronics manufacturing industry is driving the industry to switch from tin-lead alloys to pure tin (Sn) for its component plating process. This transition has resulted in a reliability concern due to the formation of conductive Sn whiskers, which can grow from the component after the plating process within a few hours to months, with their length ranging from 10 micrometers up to several millimeters. The conductive Sn whiskers may cause current leakage or short circuits, leading to catastrophic failure in the field. This paper presents the results of an experimental study on Sn whisker formation based on the effects of annealing for 1 h at 150°C and environmental test conditions from the joint electron devices engineering council standards. This paper consisted of one temperature cycling test and two isothermal storage tests. The characterization results obtained confirm that temperature cycling and isothermal storage favor the formation of whiskers on Sn-plated copper lead frames. The average maximum length of the whiskers increased with the number of temperature cycles and duration of isothermal storage. It is also shown that annealing for 1 h at 150°C of the samples is effective in reducing the average maximum length of whiskers. Growth mechanisms of the Sn whiskers due to the effects of annealing and without annealing are also discussed.

Installer l'écoute Composer des paysages Cadre Paysages, environnements, milieux et territoires sonores, esthétiques et sociabilités Expériences-écrire/écrire/parcourir Le soundwalking, marcher, écouter Rapports kinesthésiques à l'espace sonore, jouer des postures d'écoute in situ et out situ Flux, ambiances et points d'ouïe remarquables, marqueurs auriculaires et signatures sonores Matières et matériaux de (re)composition Compositions Installations pérennes, mobiles, éphémères Écritures et traces radiophoniques Création sonore, performances et supports Écosophie sonore Murray Schafer, Max Neuhaus, audionaturalisme, éco-acoustique et bioacoustique. Arts environnementaux ? Expériences et échanges PAS-Parcours Audio Sensible, marche d'écoute, ressentis et commentaires Écoutes d'exemples sonores et vidéos commentés Des expériences désartsonnantes en exemples

Dans la série Et avec ton territoire, comment tu t'entends ? une proposition de résidence création Territoire(s) à l'oreille. Faire paysage, entre les deux oreilles exactement. Arpenter, seul, à deux, en groupe, pour s'immerger, écouter, prendre un bain de sons, repérer les MAPs (Marqueurs Audio Paysagers), échanger, prendre le pouls acoustique de la ville, du village, du quartier, des parcs et espaces naturels… Et plus si affnité Expérimenter des PAS-Parcours Audio sensibles en marchécoutes, des postures d'écoute, trouver les bons Points d'Ouïe, là où ça sonne bien, où on s'entend et se sent bien… Écouter, jeter une oreille curieuse et insatiable sur la ville, le quartier, la vie, de panoramiques en espaces intimes, scènes de la vie quotidienne ou événements festifs, paroles et ambiances les contours auriculaires se dessinent à l'écoute, avec toujours une participation autochtone active Collecter, (re)cueillir, enregistrer… Garder trace et emmagasiner des matières sonores à retravailler, celles qui seront des éléments de récits à venir, in progress, in situ, in cité Écrire, réécrire Écriture sonore, un nouveau paysage qui sonne, subjectif, comme tout paysage qui se respecteé Des paroles et ambiances tissées, entre repères et fctions, quotidiens triviaux et imaginaire déréalisanté Écritures multiples, sonores, textuelles, imagées, consignées en carnet de notes 123 d'un résident audio arpenteur Donner à entendre, écoutez un peu pour voir !é Une exposition audio-monstrative pour les oreilles, un parcours public effectué en live, des Points d'ouïe identifés, inaugurés 4 , cartographiés, signalisés… ? Un rendu contextualisé Pourquoi pas !

Relations qualitatives entre conditions environnementales, morphologie et organisation dans la production d'ambiances sonores par Edith Normandeau Faculté de l'aménagement Mémoire présenté à la Faculté des études supérieures en vue de l'obtention du grade de Maître ès sciences appliquées (M.Sc.A.

Taking the term soundscape as a starting point, this essay by José Manuel Berenguer addresses a number of concerns relevant to understanding the listening experience within art and everyday life. Tackling questions such as phenomenology, cognition, new media, aesthetics and the overlap between art and science, Berenguer engages in a critical analysis of recent sound art practices, using both significant historical examples and his own experience.

This is an exploration of a type of chanting that is not ordinarily considered music, but through “musical” parameters such as pitch, vocal style and intensity, it is often performed in settings in a musical way in order to create a vocal soundscape that surpasses that of everyday speech, although is distant from the singing voice in terms of its context and style of performance. This paper draws on Schafer’s work on soundscape in order to explore the ways the voice forms part of a meaningful sound environment (e.g., 1977, 1992, 1993). A performer who uses chanting, or a vocal style very close to this creates its soundscapes, or “voicescapes”, in order to position it within a particular social situation and context to command a position of intense affect. This exploration of the socially performed voice shows that in some contexts it clearly has musical traits—something that challenges the boundaries of what music is or is not—and that social performance is an important process allowing such vocal performances to carry meaning. The discussion presents several examples of the chanting voice as a performing instrument that is essential to many contexts of everyday life. It is an instrument that creates voicescapes in a multitude of social settings in order to, for example, capture the attention of listeners, add expression to a situation, or position the chanter vis-à-vis an audience. The contexts in which such vocal performances are found include auctions, horse races, sports commentaries, marches, and markets. In such contexts the voice is performed in a chant-like way in order to capture the attention of an audience or to express in an emotional way a scene or image. In each, the voice is usually raised in pitch, in intensity, and it chants.

In his Carnival of the Animals (1886), Camille Saint-Saëns imitates the sounds of the animal kingdom in all their variety. Over the course of fourteen movements, he imitates both the sublime and the lowly, ranging from the romantic and lyrical 'Swan' (XIII: Le Cygne) to the disruptive and discordant 'Characters with long ears' (VIII: Personnages à longues oreilles). Alongside numerous allusions to earlier works (most notoriously the slowed-down Galop infernal 'can-can' of the Tortoise: IV. Tortues), the Carnival draws on the myriad sounds of the natural world as a rich source of inspiration: the noise of each creature conveys different associations, sensations and even emotions. Besides the childish delights of the suite, however, Saint-Saëns appears to have included within it a polemical statement of his own aesthetics: scholars have long believed that the periphrastic title 'Personnages à longues oreilles' was designed to equate the composers' contemporary music critics with the bluster and heehaw of donkeys. The work thus not only celebrates the sounds of nature, but simultaneously uses them to mark out Saint-Saëns' own artistic space.

For students of Hellenistic Poetry, this is strikingly reminiscent of Callimachus' Aetia prologue, in which the poet not only echoes numerous literary predecessors, but also expresses his aesthetics through the metaphors and sounds of the animal kingdom: in just over 40 lines, the poet likens the grumbling of his critics (the 'Telchines') to cranes and donkeys, while aligning himself with the elegant acoustics of the nightingale, cicada and perhaps also the swan. The opposition is even reflected in the very sound of his poetry: as has long been noted, the prologue's sole spondeiazon occurs in its description of the donkey (ὀγκήσαιτο, Aet.fr.1.31), conveying the heavy and lumbering thud of the beast's bray. Like Saint-Saëns, Callimachus thus mobilises the sounds of the animal kingdom to his own ends, aurally defining and delineating his poetic style.

The animal acoustics of the prologue have, of course, been well studied by earlier scholars, and I will not simply echo their work in this paper. Instead, my main aims are twofold: first, I will explore the reverberations of the prologue's symphonic bestiary throughout Hellenistic poetry, examining how other authors rewrite or pre-empt Callimachus' aesthetics. We will explore, amongst others, Aratus' bullfrog and crow (Phaen.948-53), Theocritus' selection of singing critters (Id.7.138-140) and Callimachus' own expansion of the trope in his Aesopic second Iambus; the programmatic significance of animal sounds resonates throughout Hellenistic poetry. Secondly, I intend to expand my perspective and explore how these poetic metaphors intersect with other cultural uses of animal sounds in antiquity. In ancient thought, animals were often regarded as a key 'other' in the definition of mankind, and were often employed metaphorically to define different 'subgroups' of humanity, including foreigners and women. We might think of Semonides' yelping dog woman (fr.7.15 λέληκεν, 7.20 αὐονήν) or the Trojans of the Iliad, equated with bleating lambs (Il.4.433-8) and clangorous cranes (Il.3.1-7 κλαγγῇ, κλαγγή, κλαγγῇ). When Callimachus and his peers adopted the sounds of the animal kingdom for their programmatic poetics, therefore, these metaphors and images came with considerable cultural baggage: the 'Telchines' of the Aetia prologue are not just ignorant and unpoetic, but also alien, foreign and even unmanly. Callimachus' demarcation of his own aural poetic space is thus not simply an innocent case of poetic posturing, but engages directly in the continuing construction and articulation of Greek identity.

The thesis of this essay can be stated quite directly: Slavoj Žižek, despite having little to say about mashup and remixing in any direct way, engages this new media phenomena in both theory and practice, providing contemporary culture with both a conceptual understanding of the mashup and a carefully executed illustration of its methodology. The examination of this will proceed by way of two movements. The first investigates how Žižek's work, especially his general interest in "short circuiting," provides theoretical insight for understanding the mashup and its cultural significance. The second turns things around, demonstrating how the mashup explains and describes Žižek's own compositional practices. In other words, the first part explains the mashup by way of Žižek, while the second explains Žižek by way of the mashup.

Six bonnes raisons pour (se) construire des paysages sonores Du plaisir avant tout Dans une société où les tensions anxiogènes ne manquent pas, avoir du plaisir, à faire, à entendre, à écouter, est une chose plus que bénéfique, sinon vitale. Bien sûr, le monde est complexe, brouillon, bouillonnant, parfois au bord de la saturation, et tout n'y est pas, tant s'en faut, réjouissant, y compris dans les scènes et ambiances sonores au quotidien.

This paper focuses on cognitive mapping, a set of skills that everyone makes use of in everyday life aimed at helping us understand the spatial environment we live in. I will refer to texts by Roger M. Downs and David Stea, Fredric Jameson, and Kevin Lynch in order to set the basis for subsequent analysis of Laura Grace Ford’s drifting walks across London. The psychogeographical concept of the dérive will resonate throughout the essay, a method thanks to which urban dwellers create new spatial experiences by following different routes to their usual commute, a technique that Patrick Keiller employed while filming his Robinson series. Moreover, it will be shown how 1990s electronic music evoked in Mark Leckey’s video essay and Lee Gamble’s tracks along with the docudrama Twilight City are relevant to this study of the large-scale environment and its likeness constructed by our mental images. By analysing each of the aforementioned examples, I will attempt to demonstrate that these art practices are involved in mapping a socio-spatial totality of daily life, in other words achieving – even if partially and ideologically – what Jameson referred to as “an aesthetic of cognitive mapping.”

Soon after field recording was applied to anthropological work, animals became a favoured subject. This paper surveys the work of Cherry Kearton, Wilhelm Koch, Karl Reich, Albert Brand, and John Hutchinson. The emphasis is on the cultural context of these contributions, and how they in turn framed bird song (primarily) as a cultural product. The paper is supplemented with a timeline and multiple photographic illustrations.

Este texto acompaña el programa “Atravesando el paisaje sonoro de la protesta” (2019), compuesto de diferentes aproximaciones artísticas y documentales al paisaje sonoro de las movilizaciones y acciones de protesta en distintos países entre las décadas del 2000 y 2010, y de ciertas formas actuales de composición colectiva mediante el uso de la voz, el cuerpo, la tecnología y algunos instrumentos metálicos. https://archive.org/details/paisajesonorodelaprotesta

In the guidelines about the management of areas
of good environmental noise quality recently published by
the European Environment Agency (EEA) it is suggested
to combine different methodologies, like noise mapping,
sound level measurements and the soundscape approach.
Such a recommendation has started to be recognised by
a number of local authorities in Europe that are gradually
integrating a holistic concept into their environmental
noise policies. This research aimed to explore and demonstrate
the possibility to integrate conventional noise mapping
methods and soundscape methods in an actual urban
redevelopment project. A case study was made using
the Valley Gardens project in Brighton & Hove (UK). Different
scenarios of sound-pressure level distributions were
simulated for both traffic sound sources (i.e. noise maps)
and natural sound sources (i.e. sound maps). Additionally,
individual responses about the sound environment of
the place collected during an on-site question survey were
used to implement soundscape maps.
The overall picture revealed that the road traffic noise
should be reduced, but also it is feasible that preferred
sounds like water features or birdsong could be introduced
to make the sound environment more appropriate for the
place. Generally, within the framework of this research,
noise maps, sound maps and soundscape maps were used
together to "triangulate" different layers of information related
to the acoustic environment and the way it is perceived,
providing a possible working procedure to consider
for planners and policy-makers in the future

A person can see, feel and touch architecture, but what if he / she could hear it too? Imagine an architectural music in which the surfaces, materials, and forms of a space speak directly, alluring the observer even further into affirmation of spaciousness around them, invoking different memories and emotions. Innovative architects and designers across the world are finding inspiration in music to create sound-producing structures. This new composite living sound organisms, inspired by music, aim to heighten our senses and open our minds to the finer details that make up the world around us. As they come active, or alive they reveal their own tones. Now through digital expression / digital technologies, architecture can attain new heights of creative supremacy. The aim of this paper is to explore through an interdisciplinary thinking, connections between aural and architectural / musical and spatial, in order to achieve a better understanding of how space enhances our well-being. The question that arises is, how sound / music influences the atmosphere of space, while in the same time showing that every environment has an aural architecture.

התפרסם כפרק בספר: צליל, דימוי ומרחב: ליטורגיה ואמנויות כמעצבי זיכרון תרבותי בימי הביניים, בעריכת: שרית שלו-עיני גלית נגה-בנאי איריס שגריר יוסי מורי.
https://www.magnespress.co.il/book/Liturgy_and_Art_as_Constructors_of_Cultural_Memory_in_the_Middle_Ages-8225
*עותק לפני הגהה סופית

The complexity of human spatial experience is often taken for granted. According to Gibson, we perceive the world in a dynamic way (Gibson, 1979), thus, due to the phenomenon of movement, perception is not static. Moreover perception itself involves a variety of senses: hearing, touch, smell, taste, sight, the kinaesthetic system (the ability to perceive and coordinate movement) and the vestibular system (the sense of balance). It is clear that pictures do not provide a multi-sensory experience (no smell, no sound, no humidity). Nevertheless, one must say that most of human perception is based on visual information processing, through sight. At the same time, the language of planners, designers and engineers is a form of abstraction, made of images and means of spatial visualization (such as maps) that must convey information and sometimes generate emotions.

This paper provides an overview and outlook of research demonstrating the potential for using multisensory experience for the design, evaluation and assessment of landscape, facilitated by environmental simulation. Conventionally depicted visually, landscape is experienced as a multisensory phenomenon. Research has demonstrated that while visually dominated, all perception is multisensory. The most promising sensory modalities to investigate in combination are sound and vision. Simulation hardware, tools and techniques have reached the point where combining 3D landscape models and acoustic stimuli is achievable and affordable, with the potential to contribute significantly to the future of the planning and design process.

While existing analytical frameworks (Chion 1994, Coulter 2009) provide basic classification tools for experimental audiovisual works, they fall short in elaborating the variety of compositional possibilities falling within the notion of “synchresis” (Chion 1994). I propose to delineate the various shades of synchresis through a case study analysis of the somewhat simpler relations between light and sound in media installation works using luminosonic objects: objects which appear to emit both sound and light in an integrated manner.
I will suggest a graphical framework for the analysis and composition of audiovisual relations between sound media and self-illuminating light objects, detailing various forms of integrated audiovisual dynamics. The framework will relate the compositional concepts of vertical harmonicity and horizontal counterpoint (Chion 1994) to the perceptual notion of “cross- modal binding” (Whitelaw 2008), thus linking compositional dynamics to perceptual effects and affects.

The Auditory Setting introduces and investigates how narrative and a sense of place are constructed in film and media arts through the reproduction and mediation of site-specific environmental sounds, or ‘ambience’. Although this sonic backdrop acts as the acoustically mediated space where a story or event can take place, there has been little academic study of sound’s undervalued role in cinematic setting and production. Drawing on theories of narrative, diegesis, mimesis and presence, and following a varied number of relevant audio-visual works, this book is a ground-breaking exploration of human agency in mediating environmental sounds and the nature of the sonic experience in the Anthropocene.

The ubiquitous din of Paris’s street hawkers, known as the cris de Paris or the “cries of Paris,” has captured the Parisian imagination since the Middle Ages. During the 1850s and 1860s, however, urban demolition severely disturbed the everyday rhythms of street commerce. The proliferation of books, poetry, and musical works featuring the cris de Paris circa 1860 reveals that many in the Parisian literary community feared the eventual disappearance of the city’s iconic sights and sounds. These nostalgia discourses transpired into broader criticism of Georges-Eugène Haussmann and the discriminatory mode of urbanism that he practiced. Haussmannization irrevocably altered the Parisian soundscape by displacing, policing, and thus silencing the working-class communities that made their living with their voices. As an ideological device, nostalgia offered a counternarrative to Second Empire ideas of progress by suggesting that urbanization would vanquish any remaining image of what came to be known as le vieux Paris. An analysis of Jean-Georges Kastner’s symphonic cantata Les cris de Paris (1857) shows how representations of the urban soundscape articulated a distinctly Parisian notion of modernity: a skirmish between a utopian “capital of the nineteenth century” and a romanticized Old City.

Sanayi devrimi ile birlikte insanların içinde yaşadıkları çevre dönüşüme uğramıştır. Ekonomik büyüme ve üretim ekseninde insanların yaşamlarını sürdürdükleri kentlerin peyzajları hem görsel hem de işitsel olarak bir önceki yüzyıldan farklı olarak değişmiştir. Buhar motorlarının,
dökümhanelerin, fabrikaların ve otomobillerin çıkardıkları tüm sesler ile insanlar artık daha sesli bir ortamda yaşamaya başlamışlardır. Yaşam alanlarının değişen ses çevresi ile birlikte, insanın çevresini nasıl algıladığı da değişikliğe uğramıştır. Bu çalışma insanın çevresini sesler
üzerinden nasıl algıladığını ve tanımladığını inceleyerek gürültü kavramını açıklayacaktır. İşitsel peyzaj olarak gürültü kavramı, çağdaş sanat içinden gürültü kavramını ele alan üç güncel örnek üzerinden incelenerek açıklanacaktır.

In order to study the in¯uence of the interaction between visual and acoustic stimuli on perception of the environment, 36 sound and image combinations were presented to 75 subjects. The sounds and images used were of natural and semi-natural settings and urban green space. Affective response was measured in terms of pleasure. The results show a rank of preferences running from natural to man-made sounds, with the nuance of a potential alert or alarm-raising component of the sound. The potential for alert or alarm-raising may be related, over and above the information content or meaning, to the characteristics of the sound frequency spectrum, speci®cally to the existence of frequency bands whose sound levels impose themselves on the acoustic background. The congruence or coherence between sound and image in¯uences preferences. Coherent combinations are rated higher than the mean of the component stimuli. Results suggest that there is a need to identify places or settings where the conservation of the sound environment is essential, because of its salient informational content or due to the drastic impact of the loss of sound quality on observer appreciation, for example, in urban green spaces, natural spaces and cultural landscapes. #

"This wonderfully provocative book places the tradition of 'background music' or 'environmental music' such as Muzak into a distinctly modern perspective. A sharp interdisciplinary study that makes connections between the popular and the avant-garde."--Tim J. Anderson, author of Making Easy Listening: Material Culture and Postwar American Recording

« La décennie comprise entre 1910 et 1920 fut l'âge des ténèbres de la musique moderne américaine. Les rares lueurs d'activité étaient aussitôt éclipsées par une obsession quasi absolue envers le répertoire historique européen. » 7 C'est dans ce climat peu propice à la créativité que le pianiste Leo Ornstein (1893-2002) se démarque de la scène musicale new-yorkaise. Il interprète, lors d'une série de récitals, parmi des oeuvres de compositeurs européens tels que Schoenberg, Scriabine et Ravel, ses propres compositions. Les oeuvres de Ornstein, comme Wild Men's Dance, Impression of Notre-Dame, Dwarf Suite et A la Chinoise, partagent certains traits : titres à programme, clusters, 8 approche percussive du piano, langage harmonique postimpressionniste et structures fluides. Par son charisme, Ornstein donne un coup d'envoi à la musique moderne américaine : « Avec un don pour la flamboyance et la self-promotion, Ornstein apportait un premier modèle de la façon dont un compositeur de la modernité pouvait faire une carrière aux États-Unis. » 9 Le compositeur californien Henry Cowell (1897-1965), qui rencontre Ornstein à New York, compose Dynamic Motion (1916) et The tides of Manaunaun (1917), dans lesquels il demande à un pianiste de jouer des clusters en frappant les touches du clavier avec le poing, la paume de la main ou l'avant bras. Dans Aeolian Harp (1923), il demande de frapper, de balayer et de pincer les cordes à l'intérieur du piano. À partir des années 1920, une conscience musicale différente de celle de l'Europe commence à émerger, notamment à New York qui va devenir progressivement un centre majeur de création artistique. New York est une ville cosmopolite qui accueille, par vagues successives, de nombreux réfugiés et apatrides. La ville devient un véritable vivier intellectuel et artistique recevant sans a priori les idées nouvelles venues de l'Europe. Des organisations collectives pour la nouvelle musique américaine commencent à apparaître, telles que l'International Composers' Guild (1921-1927), le 7 Trad. : « The decade between 1910 and 1920 was the mysterious Paleolithic period of American modernist music. Occasional glints of activity were overshadowed by a near singleminded focus on historic European repertories.

Recent years have seen not just a revival, but a rebirth of the analogue record. More than merely a nostalgic craze, vinyl has become a cultural icon. As music consumption migrated to digital and online, this seemingly obsolete medium became the fastest-growing format in music sales. Whilst vinyl never ceased to be the favorite amongst many music lovers and DJs, from the late 1980s the recording industry regarded it as an outdated relic, consigned to dusty domestic corners and obscure record shops. So why is vinyl now experiencing a 'rebirth of its cool'?

Dominik Bartmanski and Ian Woodward explore this question by combining a cultural sociological approach with insights from material culture studies. Presenting vinyl as a multifaceted cultural object, they investigate the reasons behind its persistence within our technologically accelerated culture. Informed by media analysis, urban ethnography and the authors' interviews with musicians, DJs, sound engineers, record store owners, collectors and cutting-edge label chiefs from a range of metropolitan centres renowned for thriving music scenes including London, New York, Tokyo, Melbourne, and especially Berlin, what emerges is a story of a modern icon.

Endorsements & Reviews:

“Vinyl is a state-of-the-art treatment of an unforgettable object and medium that raises many of the issues central to contemporary anthropology. Its subject-matter should make it appealing to students and general audiences, while its theoretical sophistication makes it relevant to scholars of music, technology, popular culture, and cultural objects.” –  Jack David Eller, Anthropology Review Database

“Bartmanski and Woodward have created a masterpiece that any record lover should have on their shelves” –  Record Collector magazine

“Bartmanski and Woodward … provide meticulous detail as to how materiality matters … Bartmanski and Woodward divide their book into chapters that fervently trace various aspects of vinyl: its history, its functionality and use as a medium, its production and physical properties, and its consumption. In each chapter, they attend to the materially mediated cultural meanings within which vinyl is entangled.” –  Robin Bartram, Northwestern University, Qualitative Sociology

“Vinyl culture is back, and it’s even more vibrant than it was in its heyday, before digitalization. Bartmanski and Woodward take us to the epicentres of this revolution, and let those who are behind it tell us about their passions for this iconic medium. This is an exemplary study of the social and sensory life of things." - David Howes, Professor of Anthropology, Concordia University, Montreal, Canada

“In the age of the digital, with the ubiquitous smart phone and MP3 technologies providing consumers with instant access to global sounds irrespective of where they are, Vinyl explores the persistence of an old technology within the production and consumption of music. In doing so it demonstrates the complex ways in which material objects form a meaningful part of our everyday lives – not just through the sounds of vinyl but by how it feels and looks. The text is beautifully written, impassioned, yet critical. Welcome to the world of the post-digital.” –  Michael Bull, Professor of Sound Studies, University of Sussex, UK.

“A passionate ode to the analogue record, and testament to how vinyl embodies the content it mediates, with each record's unique journey etched into the material” –  Hillegonda C. Rietveld, The Times Higher Education

The use of “soundscape” is so prevalent at this point in writings on sound and music, literature, art, history, media, identity, the environment, engineering, commerce, and travel—Jonathan Sterne calls it “the most enduring spatial figure in sound studies”—that it seems odd to pause to reflect on it. Newbies to the field (you know who you are) likely have come across “soundscape” and perhaps even adopted it in their work, thinking its meaning was self-evident and stable and its connotations unremarkable. The purpose of this chapter is not entirely to disabuse anyone of these notions, since it is inevitable, as well as democratic, that niche vocabulary migrates from its local origins to more common parlance, and the progression of “soundscape” certainly follows that path. Rather, I intend to show that there is a longer history of soundscape than we might realize and to recount some of the ways soundscape has both evolved and stirred debate. For it is a term that, surprisingly to casual and even seasoned students of sound, has a habit of finding its way into new contexts and provoking strong responses. After reading this chapter, should you draw upon some version or variation of “soundscape” in your own writing or conversation about sonic matters, you should be able to do so better informed of its origins, development, and implications, and better prepared to engage with them if you so choose.

David Lynch’s sonic resonances echo through projects and media. Pulsating room tone, eerie acousmêtre, electronic wash, static drones, thwarted resolutions and remediated retro textures frequently trouble the image, while imploding lip-syncs violently tear sound from sight and disembodied noises lead attention beyond the edge of the screen. In this chapter, I argue that Lynch undoes our traditional understanding of transmedial flow by emphasising moments of audiovisual discontinuity. Significantly, many of Lynch’s soundscapes outstrip their visual containers without linking to anything that supports, explains or bolsters what we are seeing. In fact, audiovisual ruptures and disembodied sounds do not lead to substantiated worlds or knowledge but rather to greater uncertainty, hovering beyond the limit of sight, and reverberating between platforms, worlds and dreams. Here, I suggest that these moments of dissonant sonic disruption operate as audiovisual affect able to signify significant emotional or aesthetic upheaval that manifests transmedially, through and across different, seemingly unrelated, texts. By embracing audio and visual fissures, Lynch’s cross-project transmedia arises through absences and echoes; or what Mark Fischer has described as an “eerie absence”. Building on the idea of the eerie, I trace these moments of audiovisual disruption across Lynch’s films, TV shows, internet projects and music videos in an attempt to understand his undoing of conventional transmedial practice.

Bells, Pellet Bells and Bell Pendants: Listening to the Iron Age Finland

The thesis addresses the problem of Finnish Iron Age bells, pellet bells and bell pendants, previously unexplored musical artefacts from the 400–1200-centuries AD. The study, which contributes to the field of music archaeology, aims to provide a gateway to ancient soundworlds and ideas of music making. Research questions include: Where did these metal artefacts come from? How did they sound? How were they used? What did their sound mean to the Iron Age people?

The data collected at the National Museum of Finland and at several provincial museums covers a total of 486 bells, pellet bells and bell pendants. By means of a cluster analysis, each category can be divided into several subgroups. The subgroups, which all seem to have a different dating and geographical distribution, represent both local and internationally spread manufacturing traditions. According to an elemental analysis, the material varies from iron to copper-tin, copper-lead and copper-tin-lead alloys. Clappers, pellets and pebbles prove that the bells and pellet bells were indisputably instruments intended for sound production. Clusters of small bell pendants, however, could produce a sound by jingling against each other. Spectrogram plots reveal that the partials of the still audible sounds range from 1 000 to 19 850 Hz. On the basis of 129 inhumation graves, hoards, barrows and stray finds it seems evident that the bells, pellet bells and bell pendants were fastened to dresses and horse harnesses or carried in pouches and boxes. Resulting acoustic spaces could be employed in constructing social hierarchies, since the instruments usually appear in richly furnished graves. Furthermore, the instruments repeatedly occur with crosses, weapons and zoomorphic pendants that in the later Finnish-Karelian culture were regarded as prophylactic amulets. In the Iron Age as well as in the later folk culture, the bell sounds seem to have expressed territorial, social and cosmological boundaries.

UNIDAD XOCHIMILCO DIVISIÓN DE CIENCIAS SOCIALES Y HUMANIDADES DEPARTAMENTO DE EDUCACIÓN Y COMUNICACIÓN UNIVERSIDAD AUTÓNOMA METROPOLITANA 2 GRACIAS: Mamá, gracias por la vida y por enseñarme que ésta se vive más allá de lo que uno cree, Edwin, carnal ¿qué puedo decir? gracias por la música y las enseñanzas, Papá, donde quiera que estés te sigo escuchando, Ariadna... llegaste y esto no deja de ser un sueño, a la banda... los verdaderos cuates, en especial al H. Club de Toby, Pamita y Fabian. Lauro Zavala, hiciste que redescubriera el gusto por vivir y aprender, Alfredo Cid, por la enseñanza de lo que realmente se trata este asunto llamado vida, a Susana González, por escuchar a un perfecto desconocido y abrirle las puertas, al Seminario de Semiología Musical,

Archeologists find remains of circular earthworks with marks of timber palisades or stone circles in many parts of Europe. This article gives an overview of acoustic measurements made at two reconstructed timber circles in Central Germany. These measurements, combined with personal experiences, have been performed to explain the aural experiences at these sites. For determining the acoustic criteria for open-air monuments, textbook theories and practices were adapted. Most of the experiences in the circles can be explained by acoustic theory (such as: first reflection) but not all, since some aural interpretations are cultural. This made it difficult to determine the former aural usage of the prehistoric monuments. Since aural experiences are extremely important in present-day society, for pleasure and for religious reasons, just as they would likely have been for prehistoric people. The authors recommend utilising the acoustic properties of timber and stone monuments for future performances, to stimulate a better understanding of their acoustic and aural impact in the past and present.

El arte, en general, ha sido y sigue siendo una herramienta saciadora de necesidades tanto humanas como inhumanas. Su naturaleza también le permite servir al conocimiento, a la justicia y hasta a la felicidad. Es, básicamente, racional y emancipatoria. Es gracias a esa racionalidad que nos alejamos de las bestias, a pesar de que la definición de razón sea provisoria, dinámica y escurridiza; debemos buscarla, inventarla. El arte así pretende entregar sus razones, que sean reconocidas, aceptadas y/o rechazadas, en base a otras razones.