Schafer contends that we suffer from an overabundance of acoustic information, and explores ways to restore our ability to hear the nuances of sounds around us.

In this article, I theorize the soundscape of Dene “myth”—stories and songs that are both philosophically and literally true—by defining an interpretive template for listening actively to these ecologically and spiritually powerful expressions. I offer two central and interlinked concepts for figuring the soundscape: (1) narrative revitalization and (2) animal grammar. Together these concepts describe the power of animal stories to live: and to enable life. As a key premise of my analysis, I accept Dene “myth” as true.

The coronavirus disease 2019 lockdown meant a greatly reduced social and economic activity. Sound is of major importance to people’s perception of the environment, and some remarked that the soundscape was changing for the better. But are these anecdotal reports based in truth? Has traffic noise from cars and airplanes really gone down, so that more birdsong can be heard? Have socially distanced people quietened down? This article presents a case study of the human perception of environmental sounds in (...) an urban neighborhood in the Basque Country between 15 March and 25 May 2020. The social restrictions imposed through national legislation divided the 69-day period into three phases. We collected observations, field audio recordings, photography, and diary notes on 50 days. Experts in soundscape and architecture were presented with the recordings, in randomized order, and made two separate perceptual analyses. One group rated the recordings for pleasantness and eventfulness using an adapted version of the Swedish Soundscape Quality Protocol, and a partly overlapping group annotated perceived sound events with free-form semantic labels. The labels were systematically classified into a four-level Taxonomy of Sound Sources, allowing an estimation of the relative amounts of Natural, Human, and Technological sounds. Loudness and three descriptors developed for bioacoustics were extracted computationally. Analysis showed that Eventfulness, Acoustic Complexity, and Acoustic Richness increased significantly over the time period, while the amount of Technological sounds decreased. These observations were interpreted as reflecting changes in people’s outdoor activities and behavior over the whole 69-day period, evidenced in an increased presence of Human sounds of voices and walking, and a significant shift from motorized vehicles toward personal mobility devices, again evidenced by perceived sounds. Quantitative results provided a backdrop against which qualitative analyses of diary notes and observations were interpreted in relation to the restrictions and the architectural specifics of the site. An integrated analysis of all sources pointed at the temporary suspension of human outdoor activity as the main reason for such a change. In the third phase, the progressive return of street life and the usage of personal mobility vehicles seemed to be responsible for a clear increase in Eventfulness and Loudness even in the context of an overall decrease of Technological sounds. Indoor human activity shared through open windows and an increased presence of birdsong emerge as a novel characteristic element of the local urban soundscape. We discuss how such changes in the acoustic environment of the site, in acoustic measurements and as perceived by humans, point toward the soundscape being a crucial component of a comprehensive urban design strategy that aims to improve health and quality of life for increasingly large and dense populations in the future. (shrink)

Cities of the past enjoyed rich soundscapes full of organic sounds. Such sounds can be hard to hear, even for those that are listening, in many of today’s cities and neighborhoods. Evaluating the sounds of life in urban neighborhoods can be one method of determining the health and vibrancy of an area. A silent neighborhood, one not devoid of sound or noise, but rather missing the sounds of human and animal life, can be detrimental to the community and its residents. (...) This paper both investigates the history of and loss of the diverse urban soundscape and how it can be reclaimed in modern cities. (shrink)

Sound and listening are intrinsically linked to how we experience and engage with places and communities. This guide invites landscape architects and urban designers to become soundscape architects and offers practical advice on sound and listening applicable to each stage of a design project: from reading the environment to intervening on it. This book foregrounds listening as an affective mediator between subjects and multispecies environments, and a vehicle to think and conceptualise environmental design beyond prevailing visual and human-centred modes. (...) The guide expands landscape architects' and urban designers' tools and skills to assess existing soundscapes, predict how those soundscapes will be altered through their designs, consider sound as a creative and active part of the design process, and envisage how users might perceive and be affected by those soundscapes as they evolve in time. The volume sits in the interface of research and practice, and incorporates theoretical, methodological and creative contributions from acoustic ecology, ecoacoustics, bioacoustics and sound art. Each of the design stages is illustrated through project examples that demonstrate the many advantages of incorporating attentive listening and sound into Landscape Architecture and Urban Design Practice. The book shows how incorporating listening and sounding as part of the design process promotes slow and subtle ways of practice, adds social and ecological value through the reduction of noise pollution and by monitoring the health of habitats, and enables the design of soundscapes that complement the character and design intent of a scheme and elicit joy and wonder. The book will be of interest to landscape architects, together with other design professionals such as urban designers, architects, geographers and engineers, who play a primary role in the composition of the soundscape. (shrink)

In Balcony in the Forest, Julien Gracq composes a soundscape in four dimensions: he establishes an undulating background by involving spatial events; he forms temporal figures by involving material affects—spatial events and material affects extracted from depths before being enveloped by a resonant place. Each of the four dimensions has a particular relationship to the sounds of power and the power of sound, and it is up to the reader to decide whether the soundscape composed in and by (...) the writing makes this double... (shrink)

A vibrant history of acoustical technology and aural culture in early-twentieth-century America.

Arguments do not occur against silent backdrops. From the drone of televisions to the music in a retail space to the symphony of combustion engines on the street, we are perpetually immersed in sound. We live in a noisy world. The combined sounds of these environments, or soundscapes, provide the very conditions of social interaction. Charles Hirschkind remarked that soundscapes are as necessary "to politics and public reason as are markets, associations, formal institutions, and information networks". These soundscapes are far (...) from neutral and can be designed to promote desired outcomes: soothing tones as you board an airplane to alleviate fear, a blaring voice over the loudspeaker to compel... (shrink)

This essay examines two distinct modes of sonic disjunction in Rosanna Bruno and Anne Carson’s The Trojan Women: A Comic and Carson’s H of H Playbook. The Trojan Women shows how noticing sounds that are dislocated from expectations exposes hard truths about reality. H of H interrogates our “regular” mode of hearing other people and implies that there is a gap in how we can know others and know ourselves. Thus, though both are graphic texts, their power and effect are (...) nonetheless garnered also through the sounds they describe and conjure in the minds of their readers. (shrink)

Dedicated to the late Gerard Béhague, this anthology offers perspectives on the evolving legacy of performance ethnography in socio-musical analysis and reflects the heritage but also contemporary trajectories of Béhague’s scholarly concerns. Prefaced by an essay outlining key developments in the ethnography of performance paradigm, the volume’s seven case studies portray snapshots of musical life in representative communities of the Americas, including the southwestern and Pacific United States, Puerto Rico, Bolivia, Chile, Cuba, and Ecuador. These studies pose anthropological inquiries into (...) the ontology of performance practice, the social power of poetic performativity, and the experience and embodiment of sound in place. (shrink)

The spaces between the modernist categories of human and nonhuman, or nature and culture, are collapsing in the Anthropocene. As human technological influence continues become evidenced as a global geologic force, ‘liminal spaces’ expand. Liminal spaces are spaces at the intersections and aggregations of human- and nonhuman-animal umwelten mediated by technology. Soundscapes, the collection of human and nonhuman created sounds of a particular place and time, give us unique access to the semiotic exchanges that constitute those spaces. Soundscape ecology, (...) the study of ecosystemic relations through sound, is a method by which to engage and understand those liminal spaces. Understanding liminal spaces in this context of soundscape ecology offers insights into new ways in which organisms relate to and within their environments through sign exchange; or, new ways animals engage complex worlds of experience. In this paper I articulate this argument and define ‘sonic liminality’ as a biosemiotic process of the creation and engagement in hybrid natures. I examine umwelt engagement through a specific case study: analysis of soundscapes at a local zoological park in the southeastern United States. I argue that the digital technology-driven empirical work of soundscape ecology gives semioticians access to informational ecosystems, and therefore to the ways in which information transforms the boundaries between individual organisms and their built and natural environments. (shrink)

Acoustic experiences of nature represent a growing area in restorative environments research and are explored in this narrative literature review. First, the work surveyed indicates that nature is broadly characterized by the sounds of birdsong, wind, and water, and these sounds can enhance positive perceptions of natural environments presented through visual means. Second, isolated from other sensory modalities these sounds are often, although not always, positively affectively appraised and perceived as restorative. Third, after stress and/or fatigue nature sounds and soundscapes (...) can lead to subjectively and objectively improved mood and cognitive performance, as well as reductions in arousal, although some inconsistencies in findings are observed. Fourth, theoretical frameworks of restorative environments would benefit from inclusion of acoustic environmental properties such as sound intensity or frequency. Fifth, findings regarding positive, learned semantic associations with nature have arisen as a result of recent work on sounds and restoration. This represents another important area of potential theoretical development for broader restorative environments research. (shrink)

Much insect sounding is beyond the limits of typical human hearing ability. This sonic separation is exacerbated by a socialized narrative of fear and avoidance of insects in many western societies. With the use of audio technologies to expand our senses, we can embrace opportunities to get to know sensory and communicative insect sound-worlds beyond our own. Ecological sound art – sound art that has an environmentalist intent – is a tangible and accessible means of listening to these sounds. In (...) the series Built Hidden Soundscapes, the primary author (Schonberg) composes imagined soundscapes existing solely of sounds that are beyond the limits of typical human hearing ability. In this article we introduce two compositions in this series, Reserva Florestal Adolpho Ducke and Pipeline Road. These compositions offer a temporary expansion of our aural senses that can increase listeners’ awareness of cryptic insect existences/ecologies. We suggest that this listening practice might prompt future auralization (sounding or hearing in the mind) of insect sound for the listener. (shrink)

The award-winning novel Convenience Store Woman by Sayaka Murata, first published in 2016 as コンビニ人間 (Konbini ningen), has received a lot of media attention from readers of both the original Japanese version and the English translation. For some, the novel depicts the wonder and vulnerability of a culture of convenience and conformity, while others have suggested that it highlights the gender discrimination faced by women in contemporary Japan. Yet the novel is ripe for analyses from other perspectives. This paper presents (...) one such new approach to analysing Murata’s Convenience Store Woman: its social-cum-auditory aesthetic. The theory of social aesthetics, developed by Arnold Berleant, essentially holds that there are perceptive values to be found not only in objects but also in social situations. The paper will argue that the convenience store’s environment – the social interactions, and soundscape presented in the novel – invokes and evokes a variety of aesthetic qualities, among them ‘acceptance’, ‘sensuousness’, and ‘reciprocity’. Combining a re-reading methodology and an application of Berleant’s social aesthetics theory, I will show how these sensibilities can be observed through the experiences of Keiko Furukawa, a life-long convenience store worker and the novel’s protagonist. Specifically, the focus will be on Keiko’s auditory sensibilities. (shrink)

Soundscapes affect people’s health and wellbeing and contribute to the perception of environments as restorative. This paper continues the validation process of a previously developed Perceived Restorativeness Soundscape Scale (PRSS). The study takes a novel methodological approach to explore the PRSS face and construct validity by examining the qualitative reasons for participants’ numerical responses to the PRSS items. The structure and framing of items are first examined, to produce 44 items which are assessed on a seven-point Likert agreement scale, (...) followed by a free format justification. Ten English speaking participants completed the PRSS interpretation questionnaire in two cafes in Montréal, Canada. Interpretation of participant free format responses led to six themes, which related to either the individual (personal attributes, personal outcomes), the environment (physical environment attributes, soundscape design) or an interaction of the two (behaviour setting, normality and typicality). The themes are discussed in relation to each Attention Restoration Theory (ART) component, namely Fascination, Being-Away, Compatibility, and Extent. The paper concludes by discussing the face and construct validity of the PRSS, as well as the wider methodological and theoretical implications for soundscape and attention restoration research, including the terminology importance in items measuring ART components and the value of all four components in assessing perceived restorativeness. (shrink)

Acoustic codes assure the intra and interspecific communication of vocal animals. They are composed by a sequence of nominal entities and by magnitude modulation confirming in such a way contemporarily a behavioural and ecological nature. The acoustic codes find evidence in the acoustic niche hypothesis by which species in order to reduce interspecific competition occupy a restricted portion of the available frequencies modulating very precise acoustic cues . Their evolution, like other aspect of biology, is under control of the environmental (...) conditions assuming the more favourable configurations. These nominal entities respond also to the amount of energy by which are emitted allowing to the eavesdropping individuals to range the distance at which a potential competitor is broadcasting a signal. Environmental alterations, especially if of anthropogenic origin, can produce severe consequence of the acoustic codes that in turn may affect the prey–predator balance and the complexity of communities. In fact acoustic codes under an environmental constraint like human noise intrusion can be modified in order to reduce a masking effect, demonstrating their phenological plasticity. The new ecological discipline of soundscape ecology offers the possibility to investigate the nature and the evolution of the acoustic codes in different environmental conditions. (shrink)

How do we listen to the earth? That is the central question posed in Geosonics: Bodies, Instruments, Interfaces. Through sound studies, media theory, and environmental media studies, Josh Dittrich studies explores who is considered "we" and what is the "earth," as well what counts as sound and the climate implications at play when mediating the environment. In an epoch of climate crisis, environment is no longer a neutral background, site or a simple "surrounding": environment is immanently implicated in the chains (...) of mediation that make up the material and imaginative infrastructure of our lives. (shrink)

This work presents a semiotic perspective of aspects of a soundscape evaluation of the city, Supino located in the Province of Frosinone in the Italian region of Lazio. The data and sound sample collection was accomplished through the soundwalk technique undertaken by students of Çankaya University, School of Architecture during the ‘Third International Summer School in Supino’ 17–24 August 2014. For the soundscape evaluation, three zones were identified in Supino as urban, suburban, and intersection. A total of nine (...) samples across three zones were collected during three different times in a day by soundwalks from the areas located in the identified zones. A theoretical model of semiotic interpretations of soundscapes has been proposed and applied for the analysis of Supino’s soundscape. The results showed that the soundscape of Supino differs according to its cultural, habitual, and anthropological tendencies. In addition, the semantic analysis shows that the soundscape composition of the sound sources in the three zones varies by the change of time, sound composition and sources, topography, and settlement of the city. (shrink)

The soundscape, which is defined as the entire acoustic environment of an area, is a relevant biosemiotic ingredient of environmental complexity. It is composed of geophonies, anthrophonies, and biophonies where, in temperate biomes, birds are the major producers of the latter. The soundscape is heterogeneous in terms of space and time, and is affected by landscape features such as vegetation cover. It also operates as a communication network in which intra- and inter-specific interactions create a complex, eavesdropping-broadcasting network, (...) namely, the soundtope. This acoustic context provides public information for tracking resources like territory, mates, food, safety, and roosting sites and it can be considered a multifunctional eco-field. The Acoustic Complexity Index is a new metric that is used to efficiently process the sound files that, when collected by sampling matrixes, return by interpolation the spatial distribution of a soundscape. High quality soundscapes are sought to guarantee the biosemiotic mechanisms among species, but polluted conditions degrade and mask biophonies, thus reducing communication efficiency, with severe consequences for both individual and collective fitness. Preserving high quality soundscapes is therefore an important conservation issue and a target to aim for if we are to assure animal and human wellbeing. (shrink)

In contemporary society, mental health issues have received increasing attention. Moreover, how people perceive the acoustic environment affects mental health. In religious places, the unique religious soundscape, composed of the acoustic environment and sounds, has an obvious effect on mental health. In China, Han Chinese Buddhism has a long history and is currently the religion with the largest number of believers. The soundscape of temples has always been an important component of creating a Buddhist atmosphere. For this study, (...) questionnaires were distributed to believers and tourists inside and outside several well-known Han Chinese Buddhist temples in China to analyse the relationship between evaluations of temple soundscapes and mental health and the role of religious belief-related factors in this relationship. The results indicated that for the respondents, the overall acoustic environment of Buddhist temples was significantly correlated with mental health and that a preference for three sounds in Buddhist temples, i.e., bells, wind chimes and chanting sounds, was significantly correlated with mental health. Among religious belief-related factors, attitudes toward Buddhist thought, frequency of temple visitation and purpose for visiting temples can affect the correlation between personal evaluations of temple soundscapes and mental health. For people who partially believe in Buddhist thought, people who visit Buddhist temples twice or less per year, or people who visit temples for tourism purposes, the correlations between evaluations of the overall acoustic environment and mental health are higher than for people without these religious characteristics. For people who fully believe in Buddhist thought or who visit temples neither to worship Buddha nor for tourism purposes, the correlations between the preferences for bells and wind chimes and mental health are higher than for people without these religious characteristics. For people who partially believe in Buddhist thought, the correlation between the preference for chanting and mental health is higher than for people with other attitudes toward Buddhist thought. (shrink)

Likert scales are useful for collecting data on attitudes and perceptions from large samples of people. In particular, they have become a well-established tool in soundscape studies for conducting in situ surveys to determine how people experience urban public spaces. However, it is still unclear whether the metrics of the scales are consistently interpreted during a typical assessment task. The current work aims at identifying some general trends in the interpretation of Likert scale metrics and introducing a procedure for (...) the derivation of metric corrections by analyzing a case study dataset of 984 soundscape assessments across 11 urban locations in London. According to ISO/TS 12913-2:2018, soundscapes can be assessed through the scaling of 8 dimensions: pleasant, annoying, vibrant, monotonous, eventful, uneventful, calm, and chaotic. The hypothesis underlying this study is that a link exists between correlations across the percentage of assessments falling in each Likert scale category and a dilation/compression factor affecting the interpretation of the scales metric. The outcome of this metric correction value derivation is introduced for soundscape, and a new projection of the London soundscapes according to the corrected circumplex space is compared with the initial ISO circumplex space. The overall results show a general non-equidistant interpretation of the scales, particularly on the vibrant-monotonous direction. The implications of this correction have been demonstrated through a Linear Ridge Classifier task for predicting the London soundscape responses using objective acoustic parameters, which shows significant improvement when applied to the corrected data. The results suggest that the corrected values account for the non-equidistant interpretation of the Likert metrics, thereby allowing mathematical operations to be viable when applied to the data. (shrink)

Initially proposing working definitions of the terms ‘soundscape’ and ‘soundspace’, the article examines brief excerpts from the writings of François Rabelais and Victor Hugo, as well as a striking 2005 ‘completion’ of the Mozart Requiem by the contemporary Austrian composer Georg Friedrich Haas. All of the works examined deploy, in their way, the idea of a post-mortem soundscape. The evocation of the sounds of a world beyond our knowing suggests awe at the idea of transcending death but also (...) lays bare some of the ideological pitfalls of memorialization. (shrink)

This article proposes approaching the phenomenon of sound as a fabric of relationships. Critiquing the notion of a sound object as it has become defined thanks to the fixity enabled by sound recording, it focuses on the characteristics of sound that converge towards a relational approach and suggests that there is an inextricable link between the vibrating object, the milieu in which the vibration spreads and the subject who listens. It is probably for this reason that current research — whether (...) in music, sound art or other disciplines that centre on sound, from sound studies to environmental ecology — implicitly seeks to move beyond the concept of sound alone in favour of compounds that combine sound with other elements. While the notions of sound ‘spaces’ and sound ‘environments’ appear as the default options here, three other compounds in particular highlight, in their own way, the relational approach: ‘soundscapes’, ‘sound milieus’, and sound ‘ambiances’ and ‘atmospheres’. (shrink)

The acoustic environments of small, central urban parks are often dominated by traffic sounds. Water sounds can be used to mitigate the negative impacts of unwanted sounds through masking. Studies comparing the effects of different water sounds are typically conducted using recordings in laboratory settings where ecological validity is limited. An urban redesign project in Montreal took the innovative approach of trying three sequential temporary designs of a new public square, each of which included a distinct water feature that produced (...) a lightly-audible mist. Here we report on a field experiment evaluating the effect of the water feature in each of the three designs. Respondents evaluated their experience with the three different designs using questionnaires including soundscape and restorativeness scales, and perceived loudness. The results indicate a significant interaction effect between the water feature and the design of the space, particularly on ratings of chaotic and loud. While two water feature designs had an overall “positive” effect on soundscape assessment, the third water feature design produced the opposite effect. These findings hold even after accounting for ambient temperature. This opportunity to test multiple water features in the same space revealed that water features do not automatically improve soundscape assessments. The visual design, function of the space and environmental conditions should be carefully considered and calls for more field studies. We discuss consequences and considerations for the use of water features in public spaces as well as the implications in terms of ecological validity of soundscape studies. (shrink)

Abstract:Whatever the technology, whatever the age, geophonic, biophonic, and anthro-pophonic soundscapes are a wholesale part of the sensory experience of warfare, and this essay considers how representations of sound in the Iliad attempt to capture through attunement to aural sensory perception the extreme phenomenological experiences of warfare for individuals, communities, landscapes, and nations. Much attention has been given to the visual imagery in the Iliad, some attention to the acoustic poetics of the Iliad, but very little to representations of sound (...) as they relate to both the physical environment and the phenomenological experience of war. I argue here that representations of geophonic and biophonic sound in the Iliad frequently serve to contrast both anthrophony and the devastational impact of anthropogenic agency, and that this impact extends to the environmental. (shrink)

Human beings respond to their immediate environments in a variety of ways, with emotion playing a cardinal role. In evolutionary theories, emotions are thought to prepare an organism for action. The interplay of acoustic environments, emotions, and evolutionary needs are currently subject to discussion in soundscape research. Universal definitions of emotion and its nature are currently missing, but there seems to be a fundamental consensus that emotions are internal, evanescent, mostly conscious, relational, manifest in different forms, and serve a (...) purpose. Research in this area is expanding, particularly in regards to the context-related, affective, and emotional processing of environmental stimuli. A number of studies present ways to determine the nature of emotions elicited by a soundscape and to measure these reliably. Yet the crucial question—which basic and complex emotions are triggered and how they relate to affective appraisal—has still not been conclusively answered. To help frame research on this topic, an overview of the theoretical background is presented that applies emotion theory to soundscape. Two latent fundamental dimensions are often found at the center of theoretical concepts of emotion: valence and arousal. These established universal dimensions can also be applied in the context of emotions that are elicited by soundscapes. Another, and perhaps more familiar, parallel is found between emotion and music. However, acoustic environments are more subtle than musical arrangements, rarely applying the compositional and artistic considerations frequently used in music. That said, the measurement of emotion in the context of soundscape studies is only of additional value if some fundamental inquiries are sufficiently answered: To what extent does the reporting act itself alter emotional responses? Are all important affective qualities consciously accessible and directly measurable by self-reports? How can emotion related to the environment be separated from affective predisposition? By means of a conceptual analysis of relevant soundscape publications, the consensus and conflicts on these fundamental questions in the light of soundscape theory are highlighted and needed research actions are framed. The overview closes with a proposed modification to an existing, standardized framework to include the meaning of emotion in the design of soundscapes. (shrink)