A soundscape composition – an electroacoustic musical composition that creates a sound portrait of a sound environment. According to Schafer, there are three main elements of the soundscape: Although the notion of soundscape has led to much research into the acoustic environment and how it is designed and developed, this concept has also been widely questioned and sometimes strongly criticized. Some have criticized its anchoring in a traditional and naturalistic vision of landscape and in an aesthetic approach to the acoustic world (Lopez 1997). Carvalho, M. L., Davies, W. J., & Fazenda, B. (2019). „Investigation of emotional states in different urban soundscapes through laboratory reproductions of audiovisual 3D samples“, in Proceedings of the 14th International Postgraduate Research Conference in the Built Environment: Contemporary and Future Directions in the Built Environment, Salford. Forrest, T. G. (1994).
From transmitter to receiver: propagation and environmental influences on acoustic signals. 34, 644-654. doi: 10.1093/icb/34.6.644 The landscape as a natural panorama seen from afar, while remaining present in the expressions of ideology and marketing (Besse 2010), is today questioned both in terms of perceptions and representations and in terms of realities and projects (Berque 1990, 1996; Corbin, 2001; Luginbühl, 2007). Today, the landscape is considered not only from an aesthetic point of view (in terms of beauty), but also from an ecological, socio-economic and ecological point of view. The landscape now enjoys the status of a concept representative of the sensitive interactions of society with the surrounding living environment; It`s no longer just a vehicle or a visual backdrop. Similarly, the soundscape can no longer be considered solely for its remarkable aspects that need to be protected or its musical nature, but must be recognized for its social and anthropological dimensions. Moreover, by reformulating it in the light of recent developments in the general theory of landscape, it is better able to highlight the delicate relationships that man builds with his everyday acoustic environment, making it a concept, a tool and an object of design and planning that goes far beyond simple noise reduction. The next step is to develop the methods and tools needed to move from theory to action, and to make concrete use of the soundscapes around us (Geisler 2011). Truax, who coined the term „soundscape design,“ described it as: „Soundscape Design: A New Interdiscipline That Combines the Talents of Scientists, Social Scientists, and Artists (especially Musicians). Soundscape Design seeks to discover principles and develop techniques that can be used to improve the social, psychological, and aesthetic quality of the acoustic environment or soundscape. Soundscape design techniques are both educational and technical.
These include the elimination or restriction of certain sounds (noise reduction), the evaluation of new sounds before they are indiscriminately introduced into the environment, as well as the preservation of certain sounds (sound signals including sound marks, keynotes and sound events) and, above all, the imaginative combination and balance of sounds in attractive and stimulating acoustic environments. The design of soundscapes can also include the composition of real environments and, in this respect, it is borderline contemporary music compositions. [8] The reader may also be surprised to learn that Schafer`s soundscape was constructed in the same way as the visual landscape, based on the principles of Gestalt theory, introducing concepts such as background noise (as reason) and sound signals (as a figure) – here we have a construction that is very much related to pictorial and architectural traditions. Perspective ideas and compound scenes in which the subject is detached from the object, which is seen from an angle. But the aesthetic dimension of landscape also requires aisthesis – that is, people`s experiences and practices – and values of appropriation and ownership on a more familiar scale. As a result, the „ordinary landscape“ (Luginbühl 2007) focuses on a relationship „built on everyday life“, characterized by greater closeness and subjectivity (Bigando 2006). Yu, B., Kang, J. and Ma, H. (2016). Development of indicators for background noise in urban shopping streets. Acta Acust. United Acust.
102, 462-473. doi: 10.3813/AAA.918965 Farina, A., and Pieretti, N. (2012). Soundscape ecology: a new frontier in landscape research and its application to islands and coastal systems. J. Mar. Isl. Cult. 1, 21-26. doi: 10.1016/j.imic.2012.04.002 Schulte-Fortkamp, B., and Fiebig, A. (2016).
„Impact of soundscape in terms of perception,“ in Soundscape and the Built Environment, edited by J. Kang and B. Schulte-Fortkamp (Boca Raton, FL: CRC Press), 69–88. doi: 10.1201/b19145-5 Reading the passage above, you`ve probably heard the sounds described in your head, a process called audiation. Although my audibility may be different from that of my friend, the vivid mental sound images illustrate the power of sound as a means of communication. It can convey meaning, emotions, memories and facts through language, music and field recordings. Sound, when understood as an environment, is a soundscape: a powerful tool that helps people relate to their surroundings. They may be deliberately designed by an individual or group of individuals or be the by-product of historical, political and cultural circumstances.
These can be musical compositions, anthropological ethnographic field recordings, recordings of a rainforest taken by an ecologist, or ideas from a sound designer/historian reflecting on the sounds of the past. Hume, K., & Ahtamad, M. (2013). Physiological responses and subjective estimates of soundscape elements. Appl. Acoust. 74, 275-281. doi: 10.1016/j.apacoust.2011.10.009 Contributions to noise pollution are increasingly taking a holistic and sound imagery approach to noise reduction. While acoustics tend to be based on lab measurements and individual acoustic properties of cars, etc., Soundscape takes a top-down approach. Based on John Cage`s ideas from around the world as a composition, soundscape researchers study people`s attitudes toward soundscapes as a whole rather than individual aspects – and examine how the entire environment can be altered to be more pleasing to the ear. This knowledge also approaches the sound environment subjectively, as some sounds are tolerated while others are despised, with still others preferred, as shown in Fong`s 2016 research comparing soundscapes in Bangkok, Thailand and Los Angeles, California. [29] However, to address unwanted noise, a typical application is the use of masking strategies, such as the use of water features, to drown out unwanted traffic white noise.
It has been shown that masking can work in some cases, but the success of the result depends on several factors, such as the sound pressure level, the orientation of the sources and the character of the waterborne sound. [30] [31] Axelsson, Ö., Nilsson, M.
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