Journal articles on the topic 'Sonic Spaces'
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1
Marry, Solène. "Assessment of Urban Soundscapes." Organised Sound 16, no. 3 (November 15, 2011): 245–55. http://dx.doi.org/10.1017/s1355771811000252.
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This article presents the different tools for assessing soundscapes within urban public spaces and develops in particular the use of the sonic mind map. We will successively define the notions of sonic perception and representation, and sonic and spatial evaluation; we will approach the concept of soundscape and finally give details about the sonic mind-map tool. Through this tool, the soundscape of urban public spaces can be understood, not through speech analysis, but through spatial representations of memorised sonic ambiances.Investigation results based among other things on sonic mind-map analyses explain the significance of sonic spatialisation and of the sound source distance in urban soundscape assessment. Using the sonic mind map to analyse the sonic representations associated with certain urban spaces seems to be relevant for researchers in space sciences or even for urban planners.
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Bellia, Angela. "Towards a Digital Approach to the Listening to Ancient Places." Heritage 4, no. 3 (September 15, 2021): 2470–81. http://dx.doi.org/10.3390/heritage4030139.
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This paper aims to investigate digital heritage and acoustical techniques for exploring sonic heritage of archaeological sites and performative spaces. Through the analysis of case studies in Greece and in Italy, this paper intends to highlight a new approach to the development of the relationship between space, sound, and environment and a novel method in deciphering the sonic heritage of ancient spaces thanks to digital technology.
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Odland, Bruce, and Sam Auinger. "Reflections on the Sonic Commons." Leonardo Music Journal 19 (December 2009): 63–68. http://dx.doi.org/10.1162/lmj.2009.19.63.
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MARRY, Solène. "Ordinary sonic public space. Sound perception parameters in urban public spaces and sonic representations associated with urban forms." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 1 (April 13, 2012): 171–96. http://dx.doi.org/10.7146/se.v2i1.5231.
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The research referred to in the article concerns the factors influencing the perception of ordinary sonic public space and everyday sounds. Sound perception parameters, such as vegetation or sound sources, are analysed in urban public spaces. This research, which is based on my PhD project, tries to understand how urban people perceive their sonic environment and try to contribute to sonic ambiance knowledge. The research is based on a qualitative investigation conducted among 29 people. It is, on the one hand, based on questionnaires and focus groups in situ and, on the other hand, on individual interviews (in-depth interviews, sonic mind maps), and it illustrates different parameters (temporal, spatial, sensitive and individual) that influence a person’s assessment of the sound environment. This qualitative investigation is correlated with acoustic measures in two seasons. The results show, among other things, the impact of vegetation and urban fittings on sonic perception, and they underline the influence of city planning and urban fittings on sound perception in public urban spaces.
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Traperas, Dimitrios, Andreas Floros, and Nikolaos Kanellopoulos. "Sonic representations in hyper-spaces: A creative approach." Technoetic Arts 15, no. 2 (June 1, 2017): 221–28. http://dx.doi.org/10.1386/tear.15.2.221_1.
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Otondo, Felipe. "Creating Sonic Spaces: An Interview with Natasha Barrett." Computer Music Journal 31, no. 2 (June 2007): 10–19. http://dx.doi.org/10.1162/comj.2007.31.2.10.
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Silverstein, Shayna M. "Mourning the Nightingale’s Song: The Audibility of Networked Performances in Protests and Funerals of the Arab Revolutions." Performance Matters 6, no. 2 (March 16, 2021): 94–111. http://dx.doi.org/10.7202/1075803ar.
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Given the salient role of embodied tactics in contemporary networked protests in performance, in this essay I listen for how the embodied sonic praxis of protests during the Arab revolutions translates into the audio, visual, and text modalities of digital media. I propose audibility, or the appearance and perceptibility of sound objects, as that which translates the “live” sound that occurs in physical spaces into representational spaces, and, in so doing, alters the temporality and spatiality of the sonic experience. Interrogating who and what are rendered audible as part of the political contestations that drive protest actions, I demonstrate how audibility is a technological condition, sensory force, and social process through which affective publics emerge in networked spaces. I begin with social media posts from the first months of non-violent protest actions in 2011, in Egypt and Syria, analyzing the translation of sonic objects into written texts that narrativize the subjects and spaces of the Arab revolutions. I then shift to the sonic praxis of revolutionary mourning in a discussion of the audibility of the crowd in footage of protest funerals that reclaimed martyrs of the Syrian revolution in 2018 and 2019, interrogating how the sounds of the crowd enable the mythologization of the martyrs’ bodies and help mobilize the cause for which they died. Both approaches to audibility – as expressing voice and documenting sounds – underscore how audibility, I argue, is crucial for understanding the affect-rich intensities that drive networked protest performances, and that forge political possibilities as imaginable, sensible, and perceptible.
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Emmerson, Simon. "New spaces / new places: a Sound House for the performance of electroacoustic music and sonic art." Organised Sound 6, no. 2 (August 2001): 103–5. http://dx.doi.org/10.1017/s1355771801002047.
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The author has written articles and papers on the possibilities of differentiated spaces in the composition of electroacoustic music (Emmerson 1994, 1998). He extends this into a more practical discussion on the spaces used for the presentation of electroacoustic music (acousmatic music and ‘live electronic’ music), sound installations and other sonic art. The move into more informal ‘club’ environments is not without controversy. The ‘sampling’ approach to the very act of listening and ‘consuming’ sonic art has challenged traditional concert hall presentation. This paper brings various possibilities into plans (at once conceptual but also intended to have practical application) for a multi-space ‘Sound House’: a centre for the performance of the sonic arts. This centre is socially embedded within interpersonal human interaction and is not to be found in the current performance possibilities of the Internet – though it may be connected to others of its kind through this means.
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van der Heide, Edwin. "Radioscape: Into Electromagnetic Space." Leonardo Music Journal 23 (December 2013): 15–16. http://dx.doi.org/10.1162/lmj_a_00143.
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Kerr, David. "Experiments in sound: generating sonic landscapes in online spaces." Journal of African Cultural Studies 32, no. 1 (May 30, 2019): 24–41. http://dx.doi.org/10.1080/13696815.2019.1615419.
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Rönnberg, Niklas, and Jonas Löwgren. "Designing the user experience of musical sonification in public and semi-public spaces." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 10, no. 1 (January 15, 2021): 125–41. http://dx.doi.org/10.7146/se.v10i1.124202.
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Sonification refers to sonic expression of data or information. It is often thought of as an auditory complement, providing additional information about data which can reveal patterns and facilitate interpretation and understanding of the data. Hence, the listening space created by a sonifi cation is always a hybrid where auditory augmentation complements other information modalities and, in some cases, also spatial qualities. In this work, we focus on sonifi cation in public and semi-public spaces, and specifi cally on musical sonifi cation – the use of musical sounds to create a sonic environment, augmenting or complementing a physical shared space. We draw upon established approaches in interaction design to focus our work on the user experience of musical sonifi cation in public and semi-public spaces. Specifi cally, we fi rst identify the experiential qualities of sonic atmosphere and performativity as important aspects of sonifi cation in public and semi-public spaces, then use those experiential qualities generatively in the speculative design of a musical sonifi cation sketch. The design sketch comprises a dynamic musical sonifi cation of air quality data, intending to give citizens an awareness and an enhanced individual and interpersonal understanding of air quality in their city.
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Bild, Edda, Daniel Steele, and Catherine Guastavino. "Revisiting Public Space Transformations from a Sonic Perspective during the COVID-19 Pandemic." Built Environment 48, no. 2 (August 1, 2022): 244–63. http://dx.doi.org/10.2148/benv.48.2.244.
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The COVID-19 pandemic has changed how people relate to and use outdoor spaces, particularly in densely populated areas. We investigate the transformations that took place during the 2020 lockdown and the first post-lockdown summer, with an emphasis on changes to the sound environment, in the context of a mixed-use central neighbourhood in Montreal (Plateau-Mont-Royal), Canada. Semi-structured interviews with thirteen residents, conducted in autumn 2020, showed how restrictions on the use of indoor spaces, including a ban on indoor gatherings, coupled with the transformation of home environments into work, study, and relaxation spaces drove Montreal residents to engage more with outdoor public spaces in their neighbourhoods. This resulted in extended uses in terms of area, activities, duration of stay and even time of use, and in new uses for activities once restricted to indoor spaces (e.g. family meals, celebrations). Sound played a critical role in these public space transformations, as the diversity of uses and activities brought back the sounds of human activity and even encouraged a sense of 'normality': a safe and shared form of coming together that had been lost following the COVID-19 lockdown. The study highlighted the diverse, extended roles that (outdoor) public spaces can play in everyday urban life, beyond just providing access to quiet and the sonic consequences of this use in reinforcing previously paused forms of public life. Furthermore, intentional forms of transformations of spaces, like pedestrianizations, offer flexible amenities, impromptu musical performances and organized socializing space and ful filled roles previously satisfied by third places and effectively became temporary 'fourth places'. These findings provide grounds for reimagining the future of public spaces – not only in urban practice but also in the social imaginary, especially in relation to temporary interventions and programming, as well as promoting positive sound outcomes in public spaces.
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Truax, Barry. "Genres and techniques of soundscape composition as developed at Simon Fraser University." Organised Sound 7, no. 1 (April 2002): 5–14. http://dx.doi.org/10.1017/s1355771802001024.
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The soundscape composition, as pioneered at Simon Fraser University since the early 1970s, has evolved rapidly to explore a full range of approaches from the ‘found sound’ representation of acoustic environments through to the incorporation of highly abstracted sonic transformations. The structural approaches similarly range from being analogues of real-world experience, such as listening from a fixed spatial perspective or moving through a connected series of acoustic spaces, to those that mirror both nonlinear mental experiences of memory recall, dreams, and free association, as well as artificial sonic constructs made familiar and possible by modern ‘schizophonic’ audio techniques of sonic layering and embedding. The octophonic surround-sound playback format as used in contemporary soundscape presentations has achieved a remarkable sense of immersion in a recreated or imaginary sonic environment. Specific works realised at SFU are analysed that illustrate each of these approaches.
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Ahern, Kati Fargo. "Soundscaping Learning Spaces: Online Synchronicity and Composing Multiple Sonic Worlds." Postdigital Science and Education 4, no. 1 (October 28, 2021): 160–76. http://dx.doi.org/10.1007/s42438-021-00261-5.
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Feiereisen, Florence, and Erin Sassin. "Sounding Out the Symptoms of Gentrification in Berlin." Resonance 2, no. 1 (2021): 27–51. http://dx.doi.org/10.1525/res.2021.2.1.27.
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Scholars of gentrification often study the visual results of socioeconomic structural change in urban environments, including graffiti removal and historical reconstructions of façades, turning “ugly” factory ruins into charming residential loft spaces, etc. This article examines the gentrification of Berlin’s former working-class neighborhood Prenzlauer Berg in terms of sound. We present the Knaack Klub as a sonic case study symbolizing the erasure of the voices and culture of Berlin’s long-term residents and argue that contestations over sound, brought on by West German migrants in what can be considered a “hostile takeover” of parts of East Berlin, are a key driver of gentrification. Mining visual material including photographs, police reports, court verdicts, real estate advertisements, and street maps for acoustic clues, we are able to synthesize sight and sound, ultimately allowing us to move beyond the surface—in this case, building façades—to study the visual and sonic penetration of a gentrifying neighborhood’s intersecting public and private spaces. The study of the sonic heritage of neighborhoods or even single buildings helps us to move beyond Wilhelmine façades and the surface of courtyard living to reevaluate the relationship between urban space and community, between architectural history and policy.
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Schroeder, Franziska. "Museum City: Improvisation and the narratives of space." Organised Sound 21, no. 3 (November 11, 2016): 249–59. http://dx.doi.org/10.1017/s1355771816000224.
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This article provides four viewpoints on the narratives of space, allowing us to think about possible relations between sites and sounds and reflecting on how places might tell stories, or how practitioners embed themselves in a place in order to shape cultural, social and/or political narratives through the use of sound. I propose four viewpoints that investigate the relationship between sites and sounds, where narratives are shaped and made through the exploration of specific sonic activities. These are: sonic narrative of space, sonic activism, sonic preservation and sonic participatory action.I examine each of these ideas, initially focusing in more detail on the first viewpoint, which provides the context for discussing and analysing a recent site-specific music improvisation project entitled ‘Museum City’, a work that aligns most closely with my proposal for a ‘sonic narrative of space’, while also bearing aspects of each of the other proposed viewpoints.The work ‘Museum City’ by Pedro Rebelo, Franziska Schroeder, Ricardo Jacinto and André Cepeda specifically enables me to reflect on how derelict and/or transitional spaces might be re-examined through the use of sound, particularly by means of live music improvisation. The spaces examined as part of ‘Museum City’ constitute either deserted sites or sites about to undergo changes in their architectural layout, their use and sonic make-up. The practice in ‘Museum City’ was born out of a performative engagement with(in) those sites, but specifically out of an intimate listening relationship by three improvisers situated within those spaces.The theoretical grounding for this article is situated within a wider context of practising and cognising musical spatiality, as proposed by Georgina Born (2013), particularly her proposition for three distinct lineages that provide an understanding of space in/and music. Born’s third lineage, which links more closely with practices of sound art and challenges a Euclidean orientation of pitch and timbre space, makes way for a heightened consideration of listening and ‘the place’ of sound. This lineage is particularly crucial for my discussion, since it positions music in relation to social experiences and the everyday, which the work ‘Museum City’ endeavoured to embrace.
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Ouzounian, Gascia. "Recomposing the City: A Survey of Recent Sound Art in Belfast." Leonardo Music Journal 23 (December 2013): 47–54. http://dx.doi.org/10.1162/lmj_a_00154.
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This article introduces examples of recent sound art in Belfast, a city that has undergone radical transformation over the past decade and is home to a burgeoning community of sound artists. The text investigates the ways in which sonic art can redraw boundaries in a city historically marked by myriad political, socioeconomic, religious and sectarian divisions. The article focuses on sound works that reimagine a “post-conflict” Belfast. These include site-specific sound installations in urban and public spaces, soundwalks, sculptures, locative and online works, and experimental sonic performances that draw upon traditional Irish song and music.
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Ayyaz Bhunnoo, Seth. "Reconfiguring the Islamic Sonic-Social in the Bird Ghost at the Zaouia by Seth Ayyaz." Organised Sound 16, no. 3 (November 15, 2011): 220–29. http://dx.doi.org/10.1017/s1355771811000227.
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The paper examines issues emergent from the construction of my work the bird ghost at the zaouia, which transliterates recorded experience and memory of time and place. Islamic ritual and public spaces were recorded, reworked, re-routed and re-sited in a work that references, comments upon and potentially reconfigures the Islamic sonic-social. Tracing my own stance, the paper foregrounds emergent issues in the recording and use of highly culturally freighted sounds. I trace three broad areas: 1. Sonic Orientalism – the use of sound that carries ‘Eastern’ cultural and religious significance in order to signal a certain kind of alterity; 2. The development of a compositional strategy that seeks a middle-path between acousmatic and acoustic-ecological debates; and 3. A cross-cultural comparison between modes of listening. In addition I discuss the contexts of debates on the permissibility of music within Islam, and also world-musics that trade on the romanticised alterity of sonic tourism. I draw parallels between an ‘ethically responsive sensorium’ characteristic of Islamic aural disciplines and the ‘aesthetically attuned sensorium’ engaged by sonic arts. I argue for an approach that is inclusive of the sonic and the full spectrum of vibration through ramified networks of memory and meaning.Audio excerpts available at: www.sethayyaz.com/sound-works/bird-ghost-at-the-zaouia
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Dernikos, Bessie Patricia. "Tuning into rebellious matter: affective literacies as more-than-human sonic bodies." English Teaching: Practice & Critique 19, no. 4 (July 22, 2020): 417–32. http://dx.doi.org/10.1108/etpc-11-2019-0155.
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Purpose The purpose of this paper is to explore the sonic vibrations, infectious rhythms and alternative frequencies that are often unheard and overlooked within mainstream educational spaces, that is, perceptually coded out of legibility by those who read/see/hear the world through “whiteness.” Design/methodology/approach “Plugging into” (Jackson and Mazzei, 2012) posthuman theories of affect (Deleuze and Guattari, 1987; Henriques, 2010) and assemblage (Weheliye, 2014), the author argues that “literate bodies,” along with all forms of matter, continually vibrate, move, swell and rebel (Deleuze, 1990), creating momentum that is often difficult not to get tangled up in. Findings This paper maps out how a specific sociohistorical concept of sound works to affectively orient bodies and impact student becomings, namely, by producing students as un/successful readers and in/human subjects. At the same time, the author attends to the subtle ways by which first graders rebelliously move (d) with alternative sonic frequencies to resist/disrupt mandated literacy curricula and white, patriarchal ways of knowing, being and doing. Originality/value This paper highlights the political nature of sound and how, within mainstream educational spaces, certain sonic frequencies become coded out of white supremacist models for knowledge transmission, which re/produce racialized (gendered, classist, etc.) habits and practices of listening/hearing. Literacy educators are invited to “(re)hear” the social in more just ways (James, 2020) by sensing the affects and effects of more-than-human “sonic bodies” (Henriques, 2011), which redirect us to alternative rhythms, rationalities, habits and practices that challenge normative conceptions of what counts as literacy and who counts as successfully literate.
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Wolfe, Jocelyn, Vanessa Tomlinson, and Karin Schaupp. "The Immersive Guitar Project: Imagining Possibilities for Enriching Audience Experience through Architectural Innovation." Leonardo 54, no. 4 (2021): 446–47. http://dx.doi.org/10.1162/leon_a_02078.
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Abstract This article introduces The Immersive Guitar (TIG) Project, a proposed sonic performance installation that doubles as an intimate acoustic venue. The TIG Project responds to several needs, highlighting relations between place and performance, music and architecture. The needs concern a rarity of suitable, intimate spaces for acoustic performance and an appeal for more creative solutions in the provision of such spaces, which would afford novel ways of accessing performing arts experiences. This article introduces the proposition and provides project background and rationale.
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van der Mei, H. C., M. Rustema-Abbing, G. M. Bruinsma, B. Gottenbos, and H. J. Busscher. "Sequence of Oral Bacterial Co-adhesion and Non-contact Brushing." Journal of Dental Research 86, no. 5 (May 2007): 421–25. http://dx.doi.org/10.1177/154405910708600506.
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Non-contact plaque removal offers advantages in interproximal spaces, fissures, and pockets. It requires the generation of strong fluid flows and the inclusion of air bubbles to become effective. A pair of co-adhering streptococci and actinomyces has been used previously to demonstrate non-contact removal by sonic brushing. Here we determined the influence of the sequence of co-adhesion of streptococci and actinomyces on non-contact removal from a salivary pellicle by rotary and sonic brushing. After bacterial adhesion, pellicles were brushed in a wet and immersed state, with a distance up to 4 mm to the bristle tips. Bacteria adhering to pellicles from the sequence streptococci followed by actinomyces appeared more difficult to remove and left more large co-aggregates than from the sequence actinomyces followed by streptococci. At contact, rotary and sonic brushing performed equally well in bacterial removal, while at 4 mm, both had lost some efficacy.
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CHAPMAN, DALE. "“That Ill, Tight Sound”: Telepresence and Biopolitics in Post-Timbaland Rap Production." Journal of the Society for American Music 2, no. 2 (May 2008): 155–75. http://dx.doi.org/10.1017/s175219630808005x.
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AbstractThis article investigates the music created by current rap and R&B producers such as Timbaland and Pharrell Williams in order to understand how their works evoke certain constructions of sonic space. The opaque, spare, two-dimensional qualities of the virtual spaces assembled by these artists serve as a useful window onto broader cultural forces, such as the peculiar short circuit of space and temporality that Paul Virilio evokes in his concept of “telepresence.” The author argues that the sonic construction of telepresence allows contemporary black music to comment upon the notion of “biopolitics,” the reduction of the political to the horizon of the body.
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Steinken, Woodrow. "Norwegian black metal, transgression and sonic abjection." Metal Music Studies 5, no. 1 (March 1, 2019): 21–33. http://dx.doi.org/10.1386/mms.5.1.21_1.
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This article explores the music and transgressions of Norwegian black metal in the early 1990s. Facial and vocal masking, emblematic in corpsepaint and screaming, lay at the intersection between these two modes of existence, musical and criminal. Masking in black metal leads to the creation of a new persona, what I call the ‘black metal double’. This double enacts a splitting of subjectivity between personal and public personas, and the vocal scream comes to navigate the space between these personas. This bifurcated existence predicates an alternate, abject mode of being for black metal performers. Masking becomes a theoretical means for living two lives: one as private citizens and the other as black metal musicians who transgress criminal and musical limits. By collapsing the boundaries between abjection and subjection, black metal musicians create new spaces of political and cultural meaning-making through masking.
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Hahn, Daniela. "Performing Public Spaces, Staging Collective Memory: 50 Kilometres of Files by Rimini Protokoll." TDR/The Drama Review 58, no. 3 (September 2014): 27–38. http://dx.doi.org/10.1162/dram_a_00371.
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Since the 1960s, walking through urban spaces as an explorative artistic practice has become a manifestation of the blurring boundaries between theatre and what is called “public space.” Rimini Protokoll’s 50 Kilometres of Files turns an urban environment into a sonic space in which the city’s past and present converge, resonating with each walker’s step.
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Camilleri, Lelio. "Shaping sounds, shaping spaces." Popular Music 29, no. 2 (May 2010): 199–211. http://dx.doi.org/10.1017/s0261143010000036.
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AbstractThe recorded format is the medium through which popular music is diffused. Since the advent of multi-track recording, the studio has become a compositional tool in which musical ideas are formed into sounding matter. Direct access to the manipulation of sound layers and the possibility of mixing different sources and moving them in the stereo window become not only technical options but musical and compositional properties. In fact, the organization of the recording space reflects more and more the structural organization of the music itself; the sound of the record is a sort of sonicprint (sounding fingerprint) of the music of an artist in a particular period. This paper develops the idea of sonic space, a multi-dimensional representation of the recording space in which spatial, morphological and spectral spaces interact in order to form the structure on which the sounding matter of the piece is developed. Through the analysis of the properties of each space and their relationships, it is possible to point out normative behaviours, well defined associations between more musical aspects like motives, harmony, melodies and their organization in the sounding structure.
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Palmer, John. "SPACES AND PLACES: AN INTERVIEW WITH SIMON EMMERSON." Tempo 63, no. 247 (January 2009): 19–23. http://dx.doi.org/10.1017/s0040298209000023.
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Since November 2004 Simon Emmerson has been Professor of Music, Technology and Innovation at De Montfort University, Leicester, following 28 years as Director of the Electroacoustic Music studios at City University, London. As a composer he works mostly with live electronics; he has also completed purely electroacoustic commissions from the IMEB (Bourges) and the GRM (Paris). In addition to extensive writings on the subject, he was founder Secretary of EMAS (The Electroacoustic Music Association of Great Britain) in 1979, and served on the Board of Sonic Arts Network from its inception until 2004. He is a Trustee of its successor organisation ‘Sound and Music’. This interview took place in July 2008.
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LOTIS, THEODOROS. "The creation and projection of ambiophonic and geometrical sonic spaces with reference to Denis Smalley's Base Metals." Organised Sound 8, no. 3 (December 2003): 257–67. http://dx.doi.org/10.1017/s1355771803000232.
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This article suggests a framework for the articulation of ambiophonic and geometrical spaces in electroacoustic composition and performance. Space-ambiophony explores the global perception of space, which is derived from the archetypal perception of surrounding environments. The term applies to usually large-scale observation but it can also include shifts in the listener's attention from gestalt perception to micro-structural observation. A spatial analysis of Smalley's Base Metals demonstrates the methods by which space-ambiophony is integrated into the composition. In space-geometry, relations and analogies are established between composed sonic events and principles of geometry and stereometry. Three primordial geometrical elements, drawn from Wassily Kandinsky's theoretical work on painting, serve as metaphorical cells for the construction and projection of this type of space: the point, the line and the plane.The interaction between the acoustic qualities of listening spaces, the configuration of loudspeakers, the composed space (sonic trajectories, background, foreground) and its projection by the interpreter in a concert, are all issues that occupy parts of the article.
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Lum, Chee-Hoo, and Patricia Shehan Campbell. "The Sonic Surrounds of an Elementary School." Journal of Research in Music Education 55, no. 1 (April 2007): 31–47. http://dx.doi.org/10.1177/002242940705500104.
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In this ethnographic study, we examined the musicking behaviors of schoolchildren at one American elementary school. The aim was to gain an understanding of the nature and context of rhythmic and melodic expressions made and heard by children, emanating from other children, as well as adults within the school environment. Time, place, and function figured as contextual considerations in the investigation of the sonic surrounds of the school; knowing when, where, and why the music occurred added meaningful dimensions to the description of children's soundscapes. The open-ended sociability of music and its pervasiveness at play and in learning were reminders of music's role in serving human functions, finding its way into private spaces, and webbing within social interactions. Also intriguing were the variety of forms of children's expressions, ranging from rhythmic play and melodic utterances to familiar songs and their parodies, and the way teachers used music for social signaling and facilitating learning.
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Munarriz, Alberto. "Hybridization and the Creation of “Third Spaces”: an Analysis of Two Works by Tomás Gubitsch." Articles 30, no. 2 (November 18, 2011): 75–100. http://dx.doi.org/10.7202/1006379ar.
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Tango’s recent resurgence has greatly intensified the momentum of a long process of “international dissemination” that began with the genre’s arrival in Paris during the first decade of the twentieth century. The many dialogues promoted by this renewed popularity have set the stage for an unprecedented period of development marked by artistic collaboration, experimentation, and hybridization. As a result, the genre is undergoing numerous changes; among the most striking are the new sonic shapes it is assuming. Through the detailed analysis of two compositions by Argentine guitarist and composer Tomás Gubitsch, who since the 1970s—the time of the country’s notorious and brutal “Dirty War”—has resided in Paris, this paper examines some of the processes currently shaping the sonic form of some of tango’s numerous variants. This work hopes to shed light on Gubitsch the composer and on the current tango phenomenon itself, as well as to contribute to a better understanding of the ways musical hybrids are constructed.
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Zien, Katherine, and Jason Lazarus. "Carving a Sonic Path through Stratified Spaces: The Michael Jackson Memorial Procession." Journal of Popular Music Studies 23, no. 1 (March 2011): 85–93. http://dx.doi.org/10.1111/j.1533-1598.2010.01267.x.
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Woods, Orlando. "Sonic spaces, spiritual bodies: The affective experience of the roots reggae soundsystem." Transactions of the Institute of British Geographers 44, no. 1 (September 19, 2018): 181–94. http://dx.doi.org/10.1111/tran.12270.
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Garcia, Antero, Stephanie M. Robillard, Miroslav Suzara, and Jorge E. Garcia. "Bus riding leitmotifs: making multimodal meaning with elementary youth on a public school bus." English Teaching: Practice & Critique 20, no. 3 (August 16, 2021): 398–412. http://dx.doi.org/10.1108/etpc-07-2020-0080.
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Purpose This study explores student sensemaking based on the creation and interpretation of sound on a public school bus, operating as a result of a desegregation settlement. To understand these multimodal literacy practices, the authors examined students’ journeys, sonically as passengers in mobile and adult-constructed space. Design/methodology/approach As a qualitative study, the authors used ethnographic methods for data collection. Additionally, the authors used a design-based research approach to work alongside students to capture and interpret sound levels on the bus. Findings Findings from this study illustrate how students used sounds as a means to create community, engage in agentic choices and make meaning of their surroundings. Moreover, students used sound as a way around the pervasive drone of the bus itself. Research limitations/implications Research implications from this study speak to the need for research approaches that extend beyond visual observation. Sonic interpretation can offer researchers greater understanding into student learning as they spend time in interstitial spaces. Practical implications This manuscript illustrates possibilities that emerge if educators attune to the sounds that shape a learner’s day and the ways in which attention to sonic design can create more equitable spaces that are conducive to students’ learning and literacy needs. Originality/value This study demonstrates the use of sound as a means of sensemaking, calling attention to new ways of understanding student experiences in adult-governed spaces.
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Devito, A. M. "Sonic Sentimentality and the Unification of the Listening Space: Exploring the intersections of oral history and sonic art." Organised Sound 26, no. 2 (August 2021): 275–83. http://dx.doi.org/10.1017/s1355771821000315.
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This article aims to explore how the theoretical and pedagogical intersections of sonic art and creative oral history may work together to enhance the public response of socially engaged, interdisciplinary artwork. The main topics of discussion will include Panos Amelides’s paper ‘Acousmatic Storytelling’, the socio theoretical approach suggested by Salome Voegelin in her paper ‘Sonic Memory Material as “Pathetic Trigger”’, the behavioral study from the oral history sound installation by Dr Luis Sotelo Castro called Not Being Able to Speak is Torture, and the Deep Listening and Sonic Meditation practices and teachings of Pauline Oliveros, as well as compositions by Yves Daoust, Hildegard Westerkamp and Trevor Wishart. One consistent theme revealed through these investigations was that socially engaged, aurally focused artwork informed and woven by familiar and documented ‘life’ sounds or nostalgic sound events increases emotional triggers for the audience, creating a deeper engagement with the art piece or performance. Furthermore, an informed and host-led directive encouraging participatory and attentive listening through either meditation or discussion increases audience reception and takeaway, thus inspiring and unifying mass group empathy. This article suggests that the application of these techniques by electroacoustic composers, sonic artists, oral historians and interdisciplinary artists will create informed, passionate and empathetic listening spaces that live beyond the insular, creative experience itself.
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Droumeva, Milena. "Soundscapes of Productivity." Resonance 2, no. 3 (2021): 377–94. http://dx.doi.org/10.1525/res.2021.2.3.377.
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Using the urban portmanteau terms “coffice” and “coffitivity” as a starting point, this paper examines ideas around sound and productivity with a focus on coffee shop ambiences. The project considers café soundscapes “soundscapes of productivity” reflective of changing attention spans, work process, and stress management that invoke cultural histories of Muzak, personalized sonic spaces, and the sonic management of everyday life. A result of over six years of ethnographic observations, recordings, and decibel measurements, Soundscapes of Productivity has also been compiled into a Story Map as a kind of soundwork collage of different coffee shop ambiences in Vancouver, Canada. Vancouver is used here for its local specificity, including a rapidly gentrifying urban infrastructure and a creative freelance haven with aspirations to be the Canadian Silicon Valley. The project presents an opportunity to link scientific discourses of the stimulus response model of sonic productivity historically and politically with the modern practice of productivity playlists, and bridge them together with acoustic environments seemingly replicating former factory production—environments such as the urban coffee shop.
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Park, Sang Bum. "Developing a virtual reality application for cultural heritage and room acoustics education." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A274. http://dx.doi.org/10.1121/10.0016250.
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We tend to use visual factors, such as architectural styles, features, specific decorations, historical contexts, etc., to characterize cultural heritage. Sound is a transient, ethereal phenomenon that tends to be neglected in historical records. While photographs and drawings can preserve the visual aspect of a building or scene, documenting the sonic impact of the spaces is more complicated. In particular, the historic places used for sonic activities, such as music halls, performance halls, and worship spaces, are essential to document and preserve the acoustic qualities. An immersive experience using virtual reality (VR) technology effectively promotes public awareness about cultural heritage's importance. It simulates the room acoustics using spatial audio technology. It also can make the VR environment interactive to manipulate architectural features that change the room acoustics, such as room volume, finish materials, reverberation time, sound barrier, etc. The main goal of this paper is to develop a VR application that can be used as a template to create a VR environment where 3rd to 8th-grade students navigate and learn about the history and architectural features of cultural heritage and the basics of room acoustics using a Quest headset.
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Zelenka, Jiří. "Hearing and Listening in the Context of Passivity and Activity." Open Philosophy 4, no. 1 (January 1, 2021): 190–97. http://dx.doi.org/10.1515/opphil-2020-0176.
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Abstract The aim of this article is to demonstrate the phenomenologically grounded dynamics of hearing and listening as a possible approach to our sonic experience. Its starting point is the studies of contemporary urban spaces devoted to their sonic experience. The results of these studies and their interpretation will serve as a starting point for the introduction of dynamics of hearing and listening. In the next part of this article, I will focus on the elaboration of this relationship with regard to the critique of Husserl’s concept of activity and passivity in his late work Experience and Judgment and Merleau-Ponty’s concept of being-in-the-world. Based on this, in the end, certain common features will be shown, connecting the thematization of activity and passivity with the relationship of hearing and listening.
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Stanyon, Miranda. "Second Nature and the Sonic Sublime." Eighteenth-Century Life 45, no. 3 (September 1, 2021): 178–96. http://dx.doi.org/10.1215/00982601-9273041.
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Like other spaces of the Enlightenment, the sublime was what Michel de Certeau might have called “a practiced place.” Its rhetorical commonplaces, philosophical terrains, and associated physical environments were cultivated, shaped, and framed by human action and habit. But can the sublime—epiphanic, quasi-spiritual, unmasterable, extraordinary—ever really become a habit? Is it possible, even natural, to become habituated to sublimity? Taking as its point of departure the Aristotelian claim that “habit is a second nature,” this article explores the counterintuitive relationship between habit and the sublime. It focuses not on that eighteenth-century “cultivar,” the natural sublime, but on sonic sublimity, exploring on one hand overwhelming sounds, and on the other a conceptualization of sound itself as a sublime phenomenon stretching beyond audibility to fill all space. As this exploration shows, both the sublime and habit were seen as capable of creating a second nature, and prominent writers connected habit, practice, or repetition to the sublime. Equally, however, there are points of friction between the aesthetic of the sublime and philosophies of habit, especially in the idea that habit dulls or removes sensation. This is a prominent idea in Félix Ravaisson's landmark De l'habitude (1838), a text currently enjoying renewed attention, and one that apparently stems from Enlightenment attempts to explain sensation, consciousness, and freedom. Similar concerns inform the eighteenth-century sublime, yet the logic behind the sublime is at odds with the dulling of sensation. The article closes by touching on the reemergence of “second nature” in contemporary art oriented toward the sublime, and on the revisions of Enlightenment nature this involves.
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Rabah, Derbal Cobis. "Noise dimension in the design of urban spaces: Sonic instrumentation of public places." Journal of the Acoustical Society of America 111, no. 5 (2002): 2350. http://dx.doi.org/10.1121/1.4777882.
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Busa, Lucia, Michele Goretti, Claudia Guattari, and Paola Pulella. "Extra-auditory effects of noise exposure in Italian schools: noise levels in external areas." Noise Mapping 9, no. 1 (January 1, 2022): 227–33. http://dx.doi.org/10.1515/noise-2022-0160.
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Abstract Schools in urban areas are often located in areas with high traffic and noise pollution that affect the overall and sonic quality of the external spaces. Due to this, teachers and students are exposed to high noise levels, this condition could have an impact on the perceptive-cognitive and neurobehavioral aspects, determining auditory and extra-auditory effects from exposure to noise. The BRiC - ID14 project, funded by INAIL, investigates the extra-auditory effects of noise exposure on primary and secondary school teachers and students. In this study, the assessment of sonic, acoustic and overall environment of the external area of three kindergartens, three primary schools and three secondary ones located in Rome, Florence and Perugia was carried out. The external areas were investigated and discussed by analyzing the acoustic, psychoacoustic and subjective data collected. The results obtained by the acoustic measurements campaign under non-occupied conditions were compared with the soundscape measurements outcomes, under occupied conditions. The two measurements campaign revealed that the obtained values are comparable in terms of objective and subjective responses. The differences observed in the perception of the sonic and overall environment are ascribable to different noise sources located close to the schools.
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Packham, Jonathan. "SCORING THE JOURNEY: LISTENING TO CLAUDIA MOLITOR'S SONORAMA." Tempo 76, no. 299 (December 15, 2021): 44–56. http://dx.doi.org/10.1017/s0040298221000644.
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AbstractSonorama is a 2015 sonic artwork by Claudia Molitor, consisting of a number of audio files designed for listening on a train journey between London St Pancras and Margate, and a graphic score based on the composer's own ‘reading’ of this journey. This article analyses the relationship between the sonic and the spatial in the work, exploring how Molitor's site-specific composition interacts with its environment on multiple scales. By drawing on the strategy of ‘situated listening’ developed by Gascia Ouzounian, as well as urbanist language introduced by Richard Sennett, this article seeks to elucidate the relationship between a number of ‘nested’ spaces, present across varying realisations, and the political agenda that energises the work. Written in the midst of summer 2015's European refugee crisis, the work brings into sharp focus themes of British exceptionalism, immigration and inclusion.
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Cooper, Ed. "Listening from the in-between." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 10, no. 1 (January 15, 2021): 91–106. http://dx.doi.org/10.7146/se.v10i1.124200.
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With homelessness being prevalent across the United Kingdom and showing no sign of decreasing, it is imperative to better understand the experiences of individuals who fall into these diffi cult circumstances. A previously unexplored aspect of homelessness is engagement with sound. This article addresses this lacuna by investigating how the understanding of sonic space is related to individuals’ experiences of homelessness. The article considers homelessness through the analytical lens of ‘liminality’—a period when an individual or space has neither a former nor future identity, whilst simultaneously, paradoxically, possessing both (van Gennep, 1960). Taking a phenomenological approach, interviews were undertaken with residents of a halfway house in Leeds, UK, whose circumstances are between ‘literal homelessness’ and social housing. The study demonstrates the ways in which participants actively engage with sound and liminality in day-to-day life, regularly curating inhabited sonic environments which are often seen by members of ‘mainstream’ society as ‘non-places’. A distinction is made between quietness and silence: whereas quietness offered the participants an escape, the prospect of silence—being left alone with one’s thoughts—was often worrisome. Further differentiation is made between actively ‘listening to’ and ‘hearing’ (Oliveros, 2005) these individual sonic spaces—the participants’ focus is positioned between external sonic stimuli and their own internal thoughts, highlighting a betweenness of consciousness. Overall, the article fi nds that interactions with sound are key components of the liminal experience of homelessness.
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Adkins, Tucker. "Open Fields, Stinking Bodies, and Loud Voices: Britishness and Religious Awakenings in Eighteenth-Century Scotland." Scottish Church History 51, no. 2 (October 2022): 85–110. http://dx.doi.org/10.3366/sch.2022.0072.
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This article interprets the Scottish awakenings through spaces, sounds, and bodies. As southwestern Scots filled late-night, open-air services and repeatedly experienced swooning, screaming, and spectral hauntings, they entered the same ‘work’ seen throughout the North Atlantic. But the events at Cambuslang and Kilsyth were not commonplace replicas of the outpourings seen elsewhere. The spatial, sonic, and corporeal contexts underlying Scotland’s revivals show that the awakeners of northern Britain stridently upended the social expectations indispensable to eighteenth-century ‘Britishness’. They specifically did so by seizing and retooling long-held stereotypes regarding Scottish bodies and spaces. In doing so, Scotland’s born-again clergy and laypeople joined their co-laborers in thoroughly democratising Protestantism across the British Atlantic.
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Lentjes, Rebecca, Amy E. Alterman, and Whitney Arey. "“The Ripping Apart of Silence”." Resonance 1, no. 4 (2020): 422–42. http://dx.doi.org/10.1525/res.2020.1.4.422.
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This article explores the gendered sound world of anti-abortion protests outside U.S. abortion clinics. These clinics are spaces of dissent where, on a daily basis, protesters congregate to vocalize their opposition to abortion. We employ the concept of sonic patriarchy, the sonic counterpart to the male gaze, to explore how anti-abortion protesting dominates the aural space surrounding abortion clinics and is used as a vehicle for controlling gendered bodies. Protesters use megaphones, speakers, and yelling to infuse the soundscape of the abortion clinic with an overwhelming cacophony that people must enter to receive care. This article reconceptualizes how we think about sound and violence by emphasizing how the everyday sounds of anti-abortion protesting are perceived and experienced as violence by people seeking abortion services. This domination of the sound world engenders a form of nonconsensual listening, in which it becomes difficult, if not impossible, to ignore the sonic performances of protesters. We also discuss the additional labor that clinic staff and volunteers must provide to shield patients against this volume of sound, as well as the affective and physical consequences of entering this sound world to receive healthcare. Furthermore, we describe the inherent difficulties in regulating sound and the importance of understanding the intent and context of sound-making in identifying certain sounds as violent. We argue for a more rigorous regulation of sound-making outside of clinics, as it perpetuates not only abortion stigma but also gendered sonic violence on all people who enter abortion clinics.
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Feyen, Jesse. "Sonic Spaces of the Karoo: The Sacred Music of a South African Coloured Community." Popular Music and Society 35, no. 3 (July 2012): 451–53. http://dx.doi.org/10.1080/03007766.2012.655452.
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Okigbo, Austin C. "Sonic Spaces of the Karoo: The Sacred Music of a South African Coloured Community." Safundi 13, no. 3-4 (July 2012): 433–35. http://dx.doi.org/10.1080/17533171.2012.716931.
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Delport, Stephane. "Sonic Spaces of the Karoo: The Sacred Music of a South African Coloured Community." Journal of the Musical Arts in Africa 11, no. 1 (January 2014): 121–24. http://dx.doi.org/10.2989/18121004.2014.995442.
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Emmett, Ilana R. "Feeling at home: Sound, affect and domesticity on radio soap operas." Radio Journal:International Studies in Broadcast & Audio Media 19, no. 1 (April 1, 2021): 23–39. http://dx.doi.org/10.1386/rjao_00032_1.
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This article introduces the concept of ‘the everyday implausible’, asserting that, between 1930 and 1960, US radio serial aesthetics produced a tug-of-war between the familiar and the unfamiliar that was simultaneously radical and reactionary. This aesthetic created a space for the listener to place new versions of herself within the narrative, inviting the imagined woman-at-home to re-envisioning the possibilities of reality. However, re-envisioning reality produced its own set of limitations. The sonic features of the radio serial soundscape created imaginary spaces within the home, but these imaginary spaces were ‐ as often as not ‐ also homes, making the potential of escape wholly illusory. In giving attention to the specific aesthetic features of these programmes, this article interrogates the meaningful work produced by a sparse soundscape, alongside an emphasis on domesticity and emotional conversation.
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Trębacz, Ewa. "Depth Modulation: Composing motion in immersive audiovisual spaces." Organised Sound 17, no. 2 (July 19, 2012): 156–62. http://dx.doi.org/10.1017/s1355771812000088.
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The field of electroacoustic music has witnessed years of extensive exploration of aural spatial perception and an abundance of spatialisation techniques. Today the growing ubiquity of visual 3D technologies gives artists a similar opportunity in the realm of visual music. With the use of stereoscopic video we now have the ability to compose individual depth cues independently. The process of continuous change of the perceived depth of the audiovisual space over time is being referred to as depth modulation, and can only be fully appreciated through motion.What can be achieved through the separation and manipulation of visual and sonic spatial cues? What can we learn about the way we perceive space if the basic components building our understanding of the surrounding environment are artificially split and re-arranged?Visual music appears to be a perfect field for such experimentation. Strata of visual and aural depth cues can be used to create audiovisual counterpoints in three-dimensional spaces. The choice of abstract imagery and the lack of obvious narrative storylines allow us to focus our perception on the evolution of the immersive audiovisual space itself. A new language of an immersive audiovisual medium should emerge as a delicate, ever-changing balance between all previously separated and altered components.
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Milo, Alessia. "Reflecting on sonic environments through a structured questionnaire: Grounded theory analysis of situated interviews with musicians." Building Acoustics 27, no. 3 (March 23, 2020): 203–33. http://dx.doi.org/10.1177/1351010x20911066.
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Eight participants with a musical background were asked to reflect in depth on their experience of sonic environments through a structured questionnaire answered in either oral or written form. Six of these interviews took place at the Zentrum für Kunst und Medien in Karlsruhe, and two in London, to provide contrasting comparison terms. The questionnaire invited the participants to progress in their reasoning from the description of the present sonic environment to the formulation of thoughts on the acoustic design of spaces, the educational potential of soundwalking practices and the elicitation of places with aural character from their memory. The interview transcripts were qualitatively analysed through the grounded theory method with the aim to detail the underlying mechanisms towards the appraisal or criticism for an acoustic environment. Acoustic and psychoacoustic indicators were extracted from the binaural measurements of the interview settings to provide objective grounds for comparison. Five concurrent factors were identified as involved in the quality attribution process: purpose affordance, affective impact, memory, ecological awareness and acoustic design.
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Lacey, Jordan. "Sonic Placemaking: Three approaches and ten attributes for the creation of enduring urban sound art installations." Organised Sound 21, no. 2 (June 30, 2016): 147–59. http://dx.doi.org/10.1017/s1355771816000078.
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This article investigates the approaches and attributes of publicly situated sound installations which have achieved the status of permanency, and have attracted ongoing local, and even international, visitors. The article draws on international fieldwork in 2015 that documented several enduring sound installations in the United States, UK and Europe. Through an inductive process including listening exercises, sound recordings, observations and interviews, the analysis identifies three approaches to creating sound installations and ten attributes of operative sound installations. It is argued that by encouraging public listening, the discussed sound installations successfully establish a sensory connection between people and their environments. By extension, it is argued that this emergent sense of place is commensurate with the installations’ capacity to augment a pre-existing ‘spirit of place’. These findings culminate in a sonic placemaking tool for situating sound art installations in urban spaces. It is suggested that urban planners and designers can apply the presented sonic placemaking tool to augment a site’s spirit of place, thereby affecting new experiences in everyday urban life.