by r. murray schafer our sonic environment … · by r. murray schafer the firstresearch and the...

THE HAPPENINGS1 HECTARE OF SOUNDS

A.A. 2015/2016

Politecnico di MilanoFaculty of ArchitectureMaster in Architecture

Advisor Prof. Antonio A. LongoProf. Salvadeo Pierluigi

StudentNapasorn Opassuksatit

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SOUNDSCAPE BY R. MURRAY SCHAFER

The first research and the conceptofsoundscapecanbeattributedtoaCanadiancomposerandtheorist,R.MurraySchaferfromhis well-known book called “TheTunning oftheworld”publishedin1977.Hebeganthesestudies inVancouver,at theendofTheSixtieswitharesearchteamofsoundecologyCanadianschool.ThetargetofSchaferwastostudytherelationshipbetweenmanandambientsounds.He considered the contributions of different

DEVELOPMENT OF SOUNDSCAPE

disciplines;scientific,social,artisticandintendedto unify different approaches for dealing withthe physical properties of sounds, human’sperception and human’s behavior base ontheir sound signals. He proposed to establisha framework of interdisciplinary study thatwouldcollectvariouscontributions,creatingthedefinition of soundscape studies to form thebasis of a new interdisciplinary“The acousticdesign.”

NATURE

HUMAN

WATER

gutter fountain

trickling

roarpond

leaves

snarl

meow

barkingyelp

chripsqueak

scream

flutter

blow

whinny

clog

buzzingflicker

quacking

howl

slamming bridges

ship

conversations whisperings

scream

crying

breathing steps

chewingrumble

smacking

rustlesqueaking clatte

beating

wheel of the trolley

slams

strolleys’ wheels

creaking

ringing

tinkle

uncorkapplause

heart beat

spit

cracking soundburp

kissswallow

calling

singing

coughing

tires on the asphalt motors

humwhirl thuds

squeak

whistle

puff

chirps

creakingrustle

beats

radio television

music player

ads

telephone

background music

sirens

announcementalarms

horns

ringtones

bip

video playerburst

ring

laughingsneez

moan

whizz

rain storm

puddle

AIR ANIMALS

BODYVOICE

CITYMACHINESOUNDS

ARTIFICIALSOUNDS

SYNTHETICSOUNDS

PERSONALEFFECTS

Five Village Soundscapes, Cembra,Italy

Sound map by Michele Southworth

Five Village Soundscapes, BruceblowinghishornonHadrian’sWall

Five Village Soundscapes, No.3CoveroftheMusicoftheenvironmentseries Five Village Soundscapes, No.5CoveroftheMusicoftheenvironmentseries

Sound map by Murry Shafter.

Five Village Soundscapes, Snow-covered streets, Cembra,Italy

The WSP group in the churchyard, Dollar (Scotland), 1975. Left to right: R. M. Schafer, Jean Reed, Bruce Davis (standing), Peter Huse, Howard Broomfield.vvcvv``v

Five Village Soundscapes, Lesconilharbour,France

Five Village Soundscapes, Cembra,Italy

Five Village Soundscapes, Slaughteringapig,Bissingen,GermanyFive Village Soundscapes, DollarBurn,Scotland

THE WORLD SOUNDSCAPE PROJECT

EarlyresearchbeganwiththefoundingoftheWorldSoundscapeProjectattheendofthe sixties, startedbySchafer atSimonFraserUniversityinCanada.Schafer,concernedaboutnoisepollutionVancouver,decidedtoorganizethegroupforadetailedstudyofthesoundscapeofthecity.Thepublication,calledTheVancouverSoundscape,1973,containedtherecordingsofthe harbor sounds, sirens, whistles, traffic andcommentary narrated by Schafer indicatingwhatweregoodorbadexamplesof acousticdesign, and in which it provided some basicsaboutthescienceofbuildingsoundscapes.ThiswasthefirstofmanyinitiativespromotedbytheWorldSoundscapeProject,toraiseawarenessin thegeneralpublic towards the issueof therelationship between man and the sounds ofthe environment.They were performed aftertheVancouverexperience,otherfieldresearch,as thecharacterof thediscipline, in its infancy,requiring a continuous collection of data andexperiences to be compared to work outa theoretical support to spread educational

purposes. It was also promoted the creationof a sound archive based on recordings andin literary and artistic works for groped toreconstruct a history of the evolution of thesoundscapeascompleteaspossible.

In 1975, Five Village Soundscapesresearched : a comparative study of thesoundscape of five European villages witha goal of extrapolating from the analysis ofsoundscapes, focused on sound mapping,collection of testimonies inhabitants on thesoundsofthepastandreportsofwalksbasedonlistening,informationonthesocioeconomiccharacteristicsofagivensettlement.Thisstudyallowed to compare the sounds of differentcountries to understand how a soundscapecould be part of the cultural heritage of acommunity. The World Soundscape Projectclosed in 1975 but the research conductedbythegroupweregatheredbySchafer intenyears inwhat isconsideredthetextonwhichtheacousticecologydisciplineisfounded:

The soundscape is the conceptfocusing on the entire research of Schafer.A soundscape is a dynamic sound of natureon the contrary of a landscapewith which aphotographcanberepresented,asoundscape,takingplaceover time, cannotbeconsideredinasingleinstantbutnecessarytoevaluatethesum of multiple factors that make it up.Thesoundfactorscanbepossiblydefinedthroughtherecords:themicrophonescapturethedetailswhicharethenassembled.However,nothingcan

SOUNDSCAPE

matchtheimpressionimmediatelythatcanbegivenbyaphotograph.Toprovideaconvincingpictureofasoundscapetakesalotofpatienceandgreatskill,youhavetomakethousandsofrecordings and measurements. This complexsituation is also a close relationship with thesubjective factor of human perception, whichfurther increases the difficulty of treatmentof thesubject.Asoundscape is thusawebofinteractions between geographical, cultural,social,economicspecificsofacontext.

Schaferdefinedthefeatureofsoundscapeintothreemaincategories,KeynoteSound,Signal,andSoundmarkreferredtothesound’spresenceorcharacterwhichispredominantinanenvironment.

FEATURES OF SOUNDSCAPE

KEYNOTE

Keynote is a musical term; it isthe note that identifies the key of a musiccomposition. Keynotes do not have to belistened to consciously; they represent thebackground that emphasizes the figure as invisual perception. The keynote sounds of alandscape are those created by its geographyand climate: water, wind, forests and animalswhichmaypossessarchetypalsignificance.Theycanaffectourbehavior,lifestyleandourstateoftheminddeeply.

SIGNALS

Signals are foreground sounds thatunderline the ordinary events in the society.Sound signals are the opposite of Keynotesounds like a figure and background. Soundsignals are any sounds that can be heardconsciouslyandbecomesosignal.Soundsignalsmayoftenbeorganizedintoquitecomplicatedcodes permitting messages of considerablecomplexity to be transmitted to those whocaninterpretthem.Forinstance,trainandshipwhistles,thesoundofthecarandsirens.

SOUNDMARKS

Soundmark is derived from alandmark.Itisa uniquesoundspecifyingtoacertainplace.Thesoundmarkspossesscertainqualitiesthatmakethemspecialandnoticeablebypeopleinthatcommunity.

Once soundmarks which make theacoustic life of the community unique havebeen identified, theydeserve tobeprotected.From Schafer’s distinction, it is not clear thedifferentbetweensignalsandsoundmarks,sincethesignalsareprecisesounds,andtheyalsogivean impression of the community.The case ofthebellsinoursociety,whichtheirsignalfeatureoverlapthesoundmarks.

HI-FI AND LO-FI SOUNDSCAPE

soundthesoundisnolongertiedtoitsoriginspace while the phonograph was no morerelatedtotime. Schafer introduced two evaluativetermsdescribingthequalityoftheacousticspace:hi-fisoundscape(high-fidelity,highfidelity)andlo-fi(low-fidelity,lowfidelity).

According to Schafer discussion, thesoundscapechangesthroughtheages,especiallyinthe“pre”and“post”industrialrevolution.Itcanbe described as a progressive transformationfromahi-filo-fi.

In a soundscape hi-fi is the acousticquality with the low ambient noise level. Itallowsyoutohearclearlytheindividualsounds.Thelo-fisoundscapeisoneinwhichindividualtones are lost in a superabundant sonicpresence.The sounds disappear in a generalbroadband noise. In ancient times, there wasa hi-fi soundscape, while a lo-fi soundscapecharacterizesmodernones.Ingeneral,therural

landscape environment is a high-fidelity andurban is a low-fidelity, as well as a landscapeduring the night, is a higher fidelity.We mayrefertoculturalplacessuchhi-fienvironments,suchaslibraries,museums,theatersorconcerthalls,andplaceswithlo-fienvironmentssuchasshopping centers, supermarkets, hotel lobbies,etc. Prospect characterizes a hi-fi soundscape;we can distinguish sounds by different levels,thereisafirstandasubstrate,andthesoundscanbeheardevenaconsiderabledistance, asin avisualperspective.The lo-fi soundscape isinsteadcomposedofoverlappingandconfusedsounds,isitdifficulttodistinguishbetweenoneandtheother,thereisnodepthandisheardonlywhatwhich is near ; the interference betweenthesoundscreatesasoundleveling,uniformitywhichpreventssoundstobeperceived.Thelo-fienvironmentissopoorininformation,inthesensethatitissosaturatedthatthetransmittedmessages are difficult to understand. For thisweneedtoamplifythem,furtherincreasingthe

HI-FI SOUNDSCAPE

Where-Incountryside-Culturalarea

When-Pre-Industrialrevolution-InAncienttime-Atnight

Characters- Presence view, can distinguish a figure /background

-CommunicativeEnvironment(soundmarked stand out compared to thetonic)

-Youcanfeelthesenseofdistancedepthofhearingrange

-DiscretedSounds

LO-FI SOUNDSCAPE

Where-Inthecities-Commmercialarea

When-Post-Industrialrevolution-InModerntime-Atdaytime

Characters-Absenceview,unclearfigure/background

-UncommunicativeEnvironment(soundmarkedmixedwithtonic)

-Absenceofhearingrange

-Continuouslysound

Body

Shotgun Blasts

Ventilator

Electrical Hum

Diesel Engine Exhaust

Combine HarvesterAttack

Time

Body Transient Decay

The sound is public, and everyoneshould be strictly responsible for it. Schaferconsidered the immense of a musicalcomposition, of which we have always beenlisteners, performers and composers, andtherefore we have the duty to give shapes,beautyandcareforit.Schafersaidthatduetothequestioningoftheconceptofmusicbythemusicianstothemselves.Ithasledustodefinethemusic is simply as sounds. “All sounds can now become a part of the territory, the domain of music. Here is the new orchestra: the sonic universe! Moreover, here is his new musicians: anyone and anything to know to make a sound!” [2]

In the first two parts of Schafer’sbook, explained the evolution of soundscapethroughout the history of natural landscapesinbothruralandurbanones,beforeandafter

TUNINGOFTHEWORLDOUR SONIC ENVIRONMENT AND THE SOUNDSCAPE BY R. M. SCHAFER

the industrial and electrical revolutions. Thisdevelopment allowed Schafer to highlight thebreak occurred with the industrial revolutionand suggested a relationship between thedeterioration of soundscape quality and theevolutionof the technique,whichallowed thereproduction of sounds and caused the cutbetween the original sound and its electronicreproduction.

In the third part of Schafter’s bookoutlinescriteriaforanalysisofsoundscapesandstudying various possible systems of notation,classification,perceptionandinterpretationandcriteriaofthemeaningofsounds.Finally,inthefourthpartexplained the conceptof acousticdesignandtheformulationofnewinterdiscipline,acousticdesign,andacousticecology,whicharebeenabletodesignthesoundenvironment.

HISTORY OF THE SOUNDSCAPE

“The soundscape of the world is changing. Modern man is beginning to inhabit a world with an acoustic environment radically different from any he has hitherto known. These new sounds, which differ in quality and intensity from those of the past, have alerted many researchers to the dangers of indiscriminate and imperialistic speed of ore and large sounds into very corner of man’s life. Noise pollution is now a world problem. It would seem that the world soundscape has reached an apex of vulgarity in our time, and many experts have predicted universal deafness as the ultimate consequence unless the problem can be brought quickly under control.” [3]

Murray Schafer traced the mainstages of a transformation of the soundscapethrough a historical survey, in-depth researchof literary sources and legislation on noiseand throughdata andcollectedaspectsof lifeandsocietywhichremainhiddenintheofficialhistories.

“The tonic of all seafaring civilization, It consists of the sea, which is also a breeding sound archetype. All roads us back to the water. We will return to the sea.”[4]

R.MurraySchafer,1973

Schaferexplainedthatthefirstsoundthatwasheardisthenaturalsound;thevoicesofthesea,windsounds,themovementsoftheearth phenomena and the verses of animalsespecially birds, thatmake a fascinated sound.Thementioned sounds have generatedmanyaspects of the first communications and thenthelanguage.

THE FIRST SOUNDSCAPE

THE POST-INDUSTRIAL SOUNDSCAPE

From the research of the mainnoise-related sound signals of past societies,themost important sounds are those relatedto twomoments of life; war and religion. InShafter’sopinion,thesesoundsaretheonlytwosignificant acoustical events in a person’s lifeand usually accompanied by a sense of quiet.In ancient battles, those who are still fightingmelee, noise is a part of themilitary strategywithwhich to frighten the enemy.The ringingsummons in religion instead performs thefunction of collecting the faithful to prayerconnected to the God, with the help of thesoundpoweroftheorganinachurch.

Theindustrialrevolutionbetweentheeighteenthandnineteenthcenturiesintroducedmanynewsounds. Theadventof the factorystoppedthenaturalandruralsoundscape.Thecacophony of the rampant iron invaded thecity and the countryside, the railway’s noisesreplacedthosetheancientworks’sounds.Manysoundsofnaturearenowlostandthenoiseofthemachinesproducedatonedbackgroundasakindofdrone.Themachinesproducedsoundsandcontinueunchanged.

The introduction of electricity andthe machine within the production chaindetermined the opening of a big differencebetweenthesoundscenarios.Thesoundscapeofthe factorybecameverydifferent fromthetraditional living room.The electric revolutionled the wider range of sound disseminationthrough the amplification. It transformed theslow society where the noise was discretizedinto a fast-paced society in which noise arecontinuous.Withthetelephoneandtheradio

The third part is devoted to the analysis andcontainsasetofcriteriathatSchaferproposedforthestudyofsoundscapes,whichincludethe

“This isobel map of Stanley Park in Vancouver, British Columbia, shows average sound levels in different locations. Sound level measurements were taken on the footpaths at intervals of about 100 yards, between the hours of 10 a.m. and 4 p.m. on several successive Wednesdays during May, June and July of 1973. The weather each day was similar : clear and bright with temperatures in the middle 69s and 70s F. At each point three readings were taken, ten seconds apart, and later the averaged together for the construction of the isobels.” (Schafer,1977)[5]

possible systemsofnotation, classification, andperceptionofthesoundscapeandinterpretationcriteriaofthemeaningofsounds.

SOUNDELEMENTANALYSISNOTATION, CLASSIFICATION, PERCEPTION, MORPHOLOGY, SYMBOLISM, NOISE

Schafer considered the transcript ofthe sounds in graphic signs which is essentialand challenging due to the dynamic andintangible nature of sound. The notation ofacoustic phenomena is recent anddates backto the twentiethcentury. It isused inacousticsystems to indicate themechanical propertiesof sound; intensity, frequency, time which arecapable of representing only two parametersat a time. Shafter insteadwanted to considersimultaneously multiple parameters forevaluatingasoundphenomenonasawhole.Thesound spectrograph, an instrument developedattheBellTelephonesLaboratoriesinPrinceton,New Jersy, incorporates all three dimensionsofasound,with intensity indicatedbyshading.However,thisrepresentationissuitableonlyforindividualsoundswithshortduration. Thesystemsofnotationneedtobedevelopedtobeabletoreadandunderstandbypeoplewhoworkindifferentfields.Schafer’sproposed solution was the aerial sonographywhichisderivedfromalandscapemapping.Theaerialsonographyallowsdepictingthevaluesof

intensityofsoundbycontourlines,delimitingtheareas of equal intensity.The aerial sonographyappearedtobeanefficientandappropriatewaytotheneedsofaninterdisciplinarylanguage. AfterSchaferexaminedtheconceptof the sound object developed by PierreSchaeffer, which we will discuss in the nextchapter, proposed the notion of sound event.Starting from the definition of the event, assomethingthatoccursinaspecificplaceduringaparticulartime.Schaferdeducedthatasoundeventisalsolikethatwhenitisinsertedinspace-time.Thesoundeventcanbeconsideredasthesmallest standalone particle of a soundscape,thesamewayofasoundobject. Wecandistinguish the soundeventfromSchaeffer’ssoundobjectthatsoundeventhasitssymbolicvalues,semanticandstructuralrelationship with the soundscape, there for itneedsacontext.ThesoundobjectofSchaefferis an isolatedsoundwhile the soundeventofSchaferistheideaofasoundthatsurroundsthepeople.

In addition to the possible formsof representationof sounds, Schafer studiedanumberofmethodstostudythesimilaritiesandcontrasts between sound events and creativepurposes, to build a collection of soundsavailable.Soundeventsareclassifiedaccordingto several criteria: according to their physicalcharacteristics, according to the principles ofacoustics based on how they are perceived,according to their function and theirmeaning,accordingtoaestheticcriteria.

The study of the soundscape isnecessary to considernot so just thephysicalcharacteristics of a sound but rather howsoundisperceived.Schaferadaptedthetheoryof Schaeffer to the presence of a context byincluding other factors: distance betweensound and listener, relationshipwith a hi-fi or

lo-fi environment, environmental conditionssuchasreverberation.Heclassifiedthesoundsaccording to the visual aspects such as plansto study function andmeaning. Schafer usedthisclassificationsystemforsomeoftheWorldSoundscape Project research to consider allcollections, descriptions and recommended asasupporttoolforlisteningexercises.

A classification system can dividethe sounds into categories according to theiraesthetic qualities based on the list of viewscollected through surveys. The difference ofthe culture and climate in each society canbe a great impact of classifying the sounds,as well as the context in which the soundis heard. For instance, sounds that have thesame characteristics according to the physicalparameterscanbemoreorlessacceptable.

The white noise (white noise) is atype of sound produced by the combinationof all frequencies, so that the spectrogramshowing flat, without suffering variations ofamplitude. It is calledwhiteby analogywith asimilar electromagnetic radiation spectrumwithin the range of visible lightwould appeartothehumaneyeaswhitelight.Thesearethesounds produced from household appliancessuchashairdryer, vacuumcleaner, the fansofthePC,thewashingmachine,orthenoisethatisperceived inthepassengercompartmentofanairplane.

White noise, like a continuous hissor puff, is considered soothing. Since whitenoise contains all frequencies is employed as

a masking to cover the background noise inindoorenvironmentsortopromoterelaxation.The pink noise (pink noise), which is morestructured than the white and more pleasingto the ear, is defined as sound in which thelow-frequency components have greaterpower, unlike the white noise in which theamplitudeisequaltoanyfrequency.Inthistypeof acoustic noise is structured to compensatefor the reduced sensitivity of the human earto the low frequencies. Some indications ofpsychoacoustics detected that listening to thisnoise is extremely relaxing, why not have adefined and predictable structure, but fractalandsimilartonaturalsoundslikerain,awaterfallorastream.

If I have not yet shown a great enthusiasm towards the visualization of sound, it is simply

because I wanted the reader to become aware of the fact that any projection in visual terms of a sound is arbitrary and counterfeit. It immediately becomes

explicit if you ask a group of people in real time without the possibility of illustrating and reflecting some of the sounds heard on tape. In tests of this

kind musicians or acoustic experts often comply with the conventions of the sliding time from left to right, and top and bottom for the frequencies, while the reactions of people without this type of studies are more independent. For the latter, a sound can start

from any point of sheet, can wrap around itself spiral or scatter in all directions.

(Schafer,1977)

The tonic of all seafaring civilizationIt consists of the sea, which is also a breeding sound

archetype. All roads us back to the water. We will return to the sea.

(Schafer,1977)

The wind catches the ear forcefully.His feeling is both tactile and acoustic.

It is strange and almost supernatural impression listening to the wind at a distance, without perceiving itthe sea.

(Schafer,1977)

Probably we will never explain similar acoustic illusions. But maybe it’s better that way, because an explanation of this phenomenon would reduce the great power of attraction

and the symbolic value of these sounds.(Schafer,1977)

how and why there are different ways of listening to individuals and companies belonging to different historical

periods.(Schafer,1977)

01 BACKGROUNDOFSOUNDSCAPE


A.A. 2015/2016




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LUIGIRUSSOLOL’ARTE DEI RUMORI

Luigi Russolo was the first noiseartist.In1913,hemanifested,L’ArtedeiRumori,translatedasTheArtofNoises,describedthatthe industrial revolutionmademodernmenabetter capacity to appreciate more complexsounds.Russolofoundtraditionalmelodicmusicconfining,andheenvisionednoisemusicasitsfuturereplacement.

Russolo designed and constructednoise-generating devices named asIntonarumori,andassembledanoiseorchestratoperformwith them.HisperformanceGranConcerto Futuristico (1917) was met withstrong disapproval and violence from theaudience,asRussolohadpredicted.

Luigi’s brother and another italianFuturist composerAntonioRussolo,produced“The phonograph recording” a recording oftwoworks featuring theoriginal Intonarumorimade in1921, which combined conventionalorchestral music set against the sound ofthe noise machines. It is the only survivingcontemporaneous sound recording of LuigiRussolo’snoisemusic.[11]

Russolo and Filippo TommasoMarinetti gave the first concert of Futuristmusic, complete with intonarumori, in April1914, causing a riot.The program comprisedfour “networks of noises” with the followingtitles:

Awakening of a City Meeting of cars and airplanes Dining on the terrace of the Casino Skirmish in the oasis.

SomeofRussolo’s instrumentsweredestroyed inWorldWar II; others have beenlost.Replicasoftheinstrumentshavesincebeenbuilt.

A french music composer Varèse conceivedthe termof“Organizedsound”andused it inreferencetohisownmusicalaesthetic.Varèse’smusic emphasizes timbre and rhythm andhis conception of music reflected his idea of“Soundaslivingmatter”andof“Musicalspaceas open rather than bounded.”The term of“sound-masses” became one of the mainelementinVarèse’smusic.Hethoughtthat“to stubbornly conditioned ears, anything new in music has always been called noise”, and he posed the question, “what is music but organized noises?”[12]

Although his complete survivingworksonlylastaboutthreehours,hehasbeenrecognized as an influence by several majorcomposersofthelate20thcentury.Varèsesawpotentialinusingelectronicmediumsforsoundproduction,andhisuseofnewinstrumentsandelectronicresourcesledtohisbeingknownasthe“Father of Electronic Music” while HenryMiller described him as “The stratosphericColossusofSound”.

EDGARDVARÈSETHE PERCURSOR OF ELECTRONIC MUSIC

Varèse, like Russolo, focuses on thequestionofthesound-noise-musicrelationshipandexceedstherigidbarriersofthetraditionalconceptofmusic:“Idonotmakethedistinctionbetweensoundandnoise.Whenyousaynoise(asopposed tomusical sound)youoperatearejectionofapsychologicalnature:therejectionof everything that distracts from pleasantness,frombeingrocked.Itisarejectionthatexpressesa preference The listener that operates thisrefusaldemonstratesapreferenceforwhatthebelittleswhatdriveshim.”

The common goal of Russolo andVarèsewas“to include sound in the idea thatworldofacousticeventsuntilthenexcludedasannoying, vulgar and therefore inadequate tothesacrednessofthemusic[...],andtocontrolthesenewsonorities.Hencetheneedtocreatetools to make it easy to shape these newsounds,bendingtothewillofthecomposer.“

Schaeffer is most widely andcurrently recognized for his accomplishmentsin electronic and experimental music, [15] atthecoreofwhich standshis roleas thechiefdeveloperofauniqueandearlyformofavant-gardemusicknownasmusiqueconcrète.[16] The genreemergedinEuropefromtheutilizationofnewmusic technologydeveloped in thepost-Nazi Germany era, following the advance ofelectroacousticandacousmaticmusic.

Today, Schaeffer is consideredone of the most influential experimental,electroacoustic and subsequently electronicmusicians, having been the first composer toutilize a number of contemporary recordingand sampling techniques that are now usedworldwide by nearly all record productioncompanies. His collaborative endeavors areconsidered milestones in the histories ofelectronicandexperimentalmusic. Another step forward in breakingthe conceptual barrier between music andnoise is due to Pierre Schaeffer, an engineerand technicianof soundof theFrenchRadio-

PIERRESCHAEFFERCONCRETE MUSIC

television.TheintentofSchaefferwastocreatemusic using mainly sounds taken from anexistingenvironment,aswasdoneintheFuturistconcerts,buttakingadvantageofnewrecordingtechnologiesthatwerebeingdevelopedatthetime.

In this way the traditional shape oftheperformerdisappearsbecausethepieceisproducedbymakingrecordedsounds,andcanalso be reproduced in an unchanged infinitetimes.

“What is the purpose of writing music? One is, of course, not dealing with purposes but dealing with sounds. Or the answer must take the form of a paradox: a purposeful purposeless or a purposeless play. This play, however, is an affirmation of life--not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living, which is so excellent once one gets one’s mind and one’s desires out of its way and lets it act of its own accord.”(JohnCage,1961)[19]

“Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. The sound of a truck at fifty miles per hour. Static between the stations. Rain. We want to capture and control these sounds, to use them not as sound effects but as a musical instrument.” (JohnCage,1977)[20]

JOHNCAGEINDETERMINACY MUSIC & SILENCE

John Cage is considered by manytobe thedefining voiceof avant-gardemusicthroughoutthe20thcentury.Fusingphilosophywith composition, he reinvented the faceof modern music, leading composer ArnoldSchoenberg. For Cage, the 1950s brought aseries of critical events that both refined hismessage as a composer and brought himgreat fame,or infamy to some.His interest inEasternZenphilosophyblossomedthroughouttheearlypartof thedecade, a subject that isactively pursued and reinforced in all of hisfollowing musical works. Cage’s involvementat Black Mountain College during this periodcontributed remarkable development to hismusic and ideas that defined the rest of hisworks.The1950swerethedefiningdecadeforthecareerofphilosopherandcomposer, JohnCage.

From the historical overview ofthe music and noise from the post-industrialrevolution brought us from the first attemptsbyLuigiRussolowhoimitatedthesoundsofthecity through thenoisemakers, then JohnCageconceivedtolistentothesoundsasamusicalmaterial in its natural stage and to cancel thefigureofthetraditionalmusiccomposition.

Iftheinclusionofthesoundscapeofsounds coming from various human activities,It can be considered part of the soundscape.The integration ratio, overlap, camouflage orcancellation of the musical project with theenvironmental background noise is thereforeanaspecttobetakenintocarefulconsideration.Yourmusic is always supposed to be listenedto,andpreferablyinplacesusedtoafavorablelistening conditions. Consider how music canintegrate with the existing soundscape was aprerogative of a few daring composers, able

CAMOUFLAGEA BACKGROUND MUSIC

toputasidetheiregosandshiftattentionfromtheir skills to the surrounding environment.RobertoFavarodefinesthewaysinwhichmusicinteractswiththesoundscape,becomingpart,asapracticeofcamouflage.Thetermcamouflageistheabilitytoblendinwiththeirsurroundings,tobecomeinvisible,orinourcase,talkingaboutmusic,inaudible.Themainelementsinthegameare themusic as organized sound, and extra-music,thesoundscapeingeneral. “These two fields are fluidlycommunicating, are one inside theother.”Theenvironment inhabited by musical camouflageturns, the redesign furnishing it sounds thespaceasanyotherelementspresentinaplace.Itisthereforeamusicthatyouhearbutdonotlisten,itmustbedeniedtoexist,itspresence.

Erik Satie, an early twentieth-century Frenchcomposer used dadaist-inspired explorationstocreateanearlyformofambientbackgroundmusicthathecalled“furnituremusic”(Musiqued’ameublement).Hedescribedthatthiskindofmusiccancreateabackgroundatmospherefortheactivityratherthanservingasthefocusofattention.He said “a music...which will be part of thenoises of the environment, will take theminto consideration. I think of it as melodious,softening the noises of the knives and forksat dinner, not dominating them, not imposingitself. Itwouldfillupthoseheavysilences thatsometime fallbetween friendsdiningtogether.It would spare them the trouble of payingattention to their own banal remarks.And atthe same time it would neutralize the streetnoiseswhichsoindiscreetlyenterintotheplayofconversation.Tomakesuchmusicwouldbetorespondtoaneed.”[9]

ERIKSATIETHE FURNITURE MUSIC

Brian Eno also got interested by this kindof a music, the way the music blended withthe natural sounds in away thatmade it notdistinctly apparent. Eno set out to createcompositions that worked in a comparableway“TheDiscreetMusic”suggestingthatitbelistened to at“comparatively low levels, eventotheextentthat it frequently fallsbelowthethresholdofaudibility”referringtoSatie’squoteabouthismusiqued’ameublement.

Marino Zuccheri and Luigi Nono – courtesy of Fondazione Archivio Luciano Berio

Maderna and BerioRAI Studio of Phonology

Synthesizer

02 THEPROTAGONISTS

“Getting an absolute silence isimpossible.” The 1950s also brought therevelation for Cage that sound is inherentlypresent in all of us when he entered ananechoicchamberatHarvardUniversity.Cageexpressed that “ I entered one at HarvardUniversity several years ago and heard twosounds,onehighandonelow.WhenIdescribedthemtotheengineerincharge,heinformedmethat the high onewasmy nervous system inoperation,thelowonemybloodincirculation.Until I die therewill be sounds.And theywillcontinue following my death. One need notfear about the future ofmusic.”25 After thisexperience, his thought underwent a turningpoint:“Silenceissimplythechangeinmymind.Itisanacceptanceofthesoundsthatexistratherthanadesiretochooseandimposetheirmusic.Sincethen,thishasalwaysbeenthefocusofmywork.WhenIdevotemyselftoapieceofmusic,I try to do it in a way whereby it essentiallydoesnotdisturbthesilencethatalreadyexist.“26Thismanifestedinhisworkasthefamous“silent”piece4’33”

“The Institute of Musical Phonology is the outcome of the matching between music and the possible new means of analyzing and processing that sound has”–LucianoBerio

LucianoBeriowasanitaliancomposer.He was well known from his experimentalworks,pioneeringtheinelectronicmusic.

After the birth of analog magneticbands music recording, in 1933. In 2008, atthe Castello Sforzesco Museum of MusicInstruments inMilan, Rai’s Institute ofMusicalPhonologywasinaugurated,“musicalinstrumentof the XXth Century, extension of humanthought”.Thisistheveryfirstplanofrecovery,storing and refurbishing electrophonicmusicalinstruments.

Duringthatyear,Milanbecameamainpoint of international electroacoustic music,through a new expressive language, synthesisof the concrete and eletronic experienceshappeninginEurope.

Luciano Berio was co-founding theStudio di fonologia musicale, an electronicmusic studio inMilan,withBrunoMaderna in1955.TheStudioofPhonolgy(inthewordsofLuciano Berio) is the result of an encounterbetween the music and the possibilities of

RAISTUDIOOFPHONOLOGYLUCIANO BERIO, BRUNO MADERNA & LUIGI NONO

new media analysis and sound processing,and stands as a synthesis between differentand often conflicting experiences among thepracticalneedsofradioandtelevisionandfilmproduction and the expressive needs of themusician who wants to broaden the field ofmusicalexperience through thepossibilitiesofthenewsoundmedia.

Musicians such as Luciano Berio,BrunoMaderna,LuigiNono, JohnCage,HenriPousseur, Niccolò Castiglioni, Aldo Clementi,Franco Donatoni, Giacomo Manzoni, CamilloTogni,ArmandoGentilucci,arejustsomeoftheleading names that have helped place theRaiStudioofPhonologyof themostauthoritativetesting centers in contemporary electronicmusic.

TheStudio, a technologicpatrimonyfundamental for the understanding ofelectroacoustic music writing, during itsbeginning period has been experienced bythecomposersasameantoemancipatefromtraditionalinstruments,withits9oscillators,thenoise generators, different modulators, filtersand theTempophon (a device with rotatingheadsthatallowedtovarythedurationofthereproduction of a previously recorded sound,maintainingtheoriginalpitch).

Thebirthofambientmusic’sinventionbySatie’s“Furniture Music”, which considered non-artisticworkwasbroughtbackintotheworldoftheartsbyBritishcomposerBrianEno,astheambientmusic.

AmbientMusicManifestoBrianEno,inSeptember1978thetextcontentsofthealbum#Ambient1:MusicforAirports.The concept of music specifically designatedaspartofthebackgroundintheenvironment.The connotations that this term leads areparticularlyassociatedwiththetypeofmaterial,familiar tunes arranged and orchestrated intoa lightandderivativeway.Understandably, thishasledmostdiscerninglistenerstocompletelyleaveasidetheconceptofenvironmentalmusicasanideaworthyofattention.

Over the last three years, Enowas interestedin the use of music like the atmosphere andbelievedthatitispossibletoproducematerial

BRIANENOTHE AMBIENTE MUSIC

thatcanbeusedwithoutbeingcompromised.Tocreateadistinctionbetweenhisexperimentsandtheproductsofthevariousmusicprovidersreproducedonmagneticmedia,hebeganusingthetermAmbientMusic.

Anenvironmentisdefinedasanatmosphereoraninfluencethatsurrounds:atint.Hisintentionistoproduceoriginalpiecesostensibly(butnotexclusively) to moments and situations, withtheideatobuildasmallbutversatilecatalogofenvironmentalmusicsuitedtoawidevarietyofmoodsandatmospheres.

Ambient music is a genre of music that putsan emphasis on tone and atmosphere overtraditionalmusicalstructureorrhythm.Ambientmusic is said to evoke an “atmospheric”,“visual,”[2]or“unobtrusive”quality.[3]AccordingtoBrianEno,oneofitspioneers.

1920

INDUSTRIALREVOLUTION

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1913

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1936

At first the art of music sought purity, limpidity and sweetness of sound.

Then different sounds were amalgamated, care being taken, however, to caress the

ear with gentle harmonies. Today music, as it becomes continually more complicated, strives to amalgamate the most dissonant, strange and harsh sounds. In this way we

come ever closer to noise-sound.

(Russolo,1913)

To be interested in Satie one must be disinterested to begin with, accept that a

sound is a sound and a man is a man, give up illusions about ideas of order, expressions of sentiment, and all the rest of our inherited

aesthetic claptrap.

(JohnCage,1946)

Ambientmusicmustbeabletoaccommodatemanylevelsoflisteningattentionwithoutenforcingonein

particular ;itmustbeasignorableasitisinteresting.

(Eno,1990)

“The Institute of Musical Phonology is the outcome of the matching between music

and the possible new means of analyzing and processing that sound has”

(LucianoBerio,1970)

Idonotmakethedistinctionbetweensoundandnoise.Whenyousaynoise(asopposedtomusicalsound)youoperatearejectionofapsychologicalnature:therejectionofeverythingthatdistractsfrompleasantness,frombeingrocked.ItisarejectionthatexpressesapreferenceThelistenerthatoperatesthisrefusaldemonstratesapreferenceforwhatthebelittleswhatdriveshim.

(Varese,1930)

Take a sound from whatever source, a note on a violin, a scream, a moan, a creaking door, and there is always this

symmetry between the sound basis, which is complex and has numerous characteristics

which emerge through a process of comparison within our perception.

(Schaeffer,1951)

Wherever we are, what we hear is mostly noise. When we ignore it, it

disturbs us. When we listen to it, we find it fascinating. The sound of a truck at fifty miles per hour. Static between the stations. Rain. We want to capture and control these sounds, to use them not as sound effects but

as a musical instrument.

(Cage,1936)

Fontana Mix, Cage composed in 1958, Milano RAI

Piece for Piano and Sonata, composed by Cage


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TRANSMISSIONABSORPTIONREFLECTIONDIFFUSION

40 % 30 % 30 % 70 %


70 % 15 % 80 % 20 %


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Auditor

Plants

Thegroundsupsanddowns

Noise

Functionarea Greenarea Noisyarea

For the area that has less noiseintensity,itisenoughforusingplantscombinedwith the terrain, to afforest the isolationresistance.Plantsthroughconfiguration,strewnatrandomdiscretionsupplement(FIG.2-1,2-2),canbeformedintheperipheryofthespaceofnoisebarriers,low-levelnoiseeffectivelyisolatenoisereductioneffect.

The basis of noise reduction is tocreate a good environment for the sound,followed by the need to do is to deal withotheracousticelementsinspace.Thevoiceofthespaceenvironment isavarietyofacousticelementsworktogetherformtheoverall,judgetheactoroflowqualityofasoundenvironmenthave a clear standard: first of all, good soundenvironment has a complete sound system,tone of voice, sound outlook and markingsound distinct;Then, the relationship betweenthe acoustic elements reasonably clear,promote each other when they can deliver

ACOUSTICCONTROLMETHOD OF BUILD AND CONTROL ACOUSTIC ATMOSPHERE

the acoustic elements arranged in the samespace, can cover each other, or don’t bring agoodfeelingofacousticelementswithdistancebetween each other to prevent interference;The last item, is to speakon the timelinessofthoughtful consideration, for the steady statewithappreciationvaluesourceprovidesenoughspacetoattractpeoplereside;Foraffectedbyseasonsortimetochangethedynamicsourceprovidesflexibilitytothelawofthevoice.

On the handling of acousticelements, natural sound, the soundof life andhistoryhavedifferentcontrolmethods:naturalsound can let a person feel relaxed, generallyfrom psychological to the big noise maskingeffect, so you need tomaximize use; Life hasa strong timeliness, the placeof voice directlyinfluenced by spatial configuration, the samesound in different situation canbring differentpsychological feeling, so need to reasonableplanningof space, lead vocal conforms to theperson’s mood change;And history of soundreproduction requires corresponding spaceformandsocialbasis, sonotall thehistoryofacoustic for reduction, need to be filtered inaccordancewiththereality.

ISOLATE NOISE

DIFFERENT CONTROL

2-3Onthesectionshowthenaturalsoundofcountryenvironment

Theabodeofbirdsandcicada

Theabodeofamphibian

Theabodeofinsects

Theabodeoflittleanimal

Nests

Nests

Theabodeofinsects

Theabodeofamphibian

Theabodeofbirdsandcicada

Frametoattractbirds

2-4Onthesectionshowsthenaturalsoundofthecity’senvironment

03 ACOUSTICPROPOTIESANDCONTROLS

SOUNDPROPERTIESOFMATERIALSACOUSTIC & INSTRUMENTAL PROPERTIES

Twowaystodistinguishthematerial’susage for sound are by acoustic materialproperties and its instrumental properties.The acoustic property is a performance ofthe material related to sound transmission,distortion, reflection and attenuation whichgives user’s an audio spatial characteristic.Wecanfindtheapplicationsofacousticpropertiesinalmostallaspectsofmodernsociety;audiosignal processing, architectural acoustics,environmental noise, musical acoustics, noisecontrol, psychoacoustics, speech, ultrasound,underwateracoustics,andvibration.Incontrast,theinstrumentalpropertyisasoundproducingperformance considering sound performancefactors, soundmeasuring results thatgives thestyletothesound.Theinstrumentalpropertiesare useful for a music instrument industry

INTRODUCTION

deciding an efficient material for theinstrument. In the sound environmentconstruction, the knowledge ofmaterialpropertiesrelatedtosoundisimportant,tosetouttheappropriatedsoundswhichcanapplytoallaspectsofdesign,fromthecityscaletoahumanscale.

Acousticpropertiesofthematerialareusedfordecidingthematerialapplicationssuchasthesoundtransmitter,preventeroreliminator.Themolecularstructureofthematerial is directly related to soundattenuation.Tobe able to compare andunderstand its performance, soundtransmission distance, sound reflection,and absorption coefficient are theimportantfactorstobeconcerned.

2-1Greensoundisolationresistnaceplane

Externalsoundenvironment

Thenoisysoundenvironment

Thequietsoundenvironment

WOOD METALRUBBER GRAVEL

Transmission distance of sound isthedistancetraveledperunittimebyasoundwavepropagating.“In dry air at 20 °C (68 °F), the speed of sound is 343.2 metres per second (1,126 ft/s; 1,236 km/h; 768 mph; 667 km), or a kilometre in 2.914 s or a mile in 4.689 s.”[1]Fromthefigureontheleft,Thegreatsoundresistancematerial has a shorter transmission distancesuchasrubberandcork,whereasamaterialwithlongerlengthsuchasglassandmetalamplifythesoundinsteadofresistit.Resin,hardwoodandbrickarethefrequentlyusedmaterialforspaceconstruction because they have an excellentbalance between sound resistance and soundtransmission.Thetransmissionfactorsimpactonthesoundreflectionandabsorption,thegreatertransmission distance materials reflect soundmore while the materials with less distanceabsorbmore.

TRANSMISSION DISTANCE

Sound VelocityTable2004

Sound Wave

Thereflectionofsoundwavesworkasthesamephysicallawaslightreflection,whenthesoundwavestrikesasurfacethedirectionoftravelischangedbycastingbackfromasurface.Here is how F.Alton Everest explained in hisbook, Master Handbook of Acoustics aboutthe sound reflection’s idea mentioning abouttheHertz(Hz):asoundfrequencymeasurebythenumberofcyclesofthevibrationwavepersecond.

“Sound is reflected from objects that are large compared to the wavelength of the impinging sound. Below 300–400 Hz, sound is best considered as waves. Sound above 300–400 Hz is best considered as traveling in rays. A ray of sound may undergo many reflections as it bounces around a room. The energy lost at each reflection results in the eventual demise of that ray. The mid/high audible frequencies have been called the specular frequencies because sound in this range acts like light rays on a mirror. Sound follows the same rule as light: The angle of incidence is equal to the angle of reflection.”[2]

Everyreflectionofthesoundraythatpasses through the air or material dissipatessome of its energy.We use the material losscoefficient or absorption coefficient to knowtheabilityofdissipatingsound.Theabsorptioncoefficient is themeasure of the efficiency ofthesurfaceormaterialinabsorbingsounds.If15percentsoftheincidentsoundisabsorbed,thecoefficient is 0.15.The absorption coefficientof the material varies with the frequency ofthe sound.The figure below from the bookcalledMusicalAcousticsbyD.E.Hall(p.552) [3] showsthecomparisonof thereflection factoramongdifferentmaterials.Thefibrousmaterialssuchascarpetanddrapesprovideasignificantabsorptionabove500Hz,buthave lesseffecton lower frequencies, whereas window, glassand drywall can absorbwell bass frequencies,butareveryreflectiveforabove500Hz.Thematerialthathasahighernumberofreflectionabsorbslesssound,whereaslesspercentageofreflectionmaterialhasabetterabilityofsoundabsorption.

REFLECTION & ABSORPTION

Acoustic AbsorptivityD.E,HallMusicalacoustic2002

Instrumental properties study isto understand the possibility of producingsoundsofthematerialconcerningthefactorsof sound frequency, intensity, sound radiationand loss coefficient.The sound frequency isthe number of cycles of the vibration wavepersecond(orhertz).Ahumancanhearthesound frequency from the range20hertz to20,000hertz.Thefrequencyofasoundwaveiscalledpitch.High-frequencysoundsarecalledhigh pitched, and low-frequency sounds aresaid low pitched. For example, the tv testertonehasasoundfrequencyof440hertz,thehighestnoteofthesopranosingerhasasoundfrequencyaround2000hertz.The intensity isasoundpowerperunitareaanddescribesas

INSTRUMENTAL PROPERTY

Statistics forthe DecibelMarshallChasin

2001

theloudnessofthesoundbyalogarithmicwayofdescribingratioUnit,decibel(dB).Ahumancanhearsoundsbetween0-140decibels,but0decibelsdoesnotmeanthatthereisnosound,merelythatwecannothearit.FromStatisticsfortheDecibel(Loudness)ComparisonChartwere taken from a study byMarshallChasin,Centre for Human Performance & Health,Ontario,Canada[4] showstheideaofarangeofdecibelinthegeneralenvironmentandmusicuse.Fromthechart,thelevelofdecibelwhichcangivethepaintothehumanearisover125(painthreshold).

From the research above, fourmaterials have a different characteristic inboth acoustical and instrumental aspects arewood,metal,rubber,andgravel.Acomparisonchartbelowshowstheacousticalcapacityandsoundproducing adequacyof thementionedmaterials. In the acoustical aspect, metal hasthelargestnumberofthespeedofthesoundandthebiggestpercentageofsoundreflectionmeaning that metal has a great potentialof transferring and reflecting the sounds,therefore it suits for the place that needs asoundamplifier.Therubber,incontrast,hasthesmallestfigureofthesoundtransferspeedandthelowestpercentageofsoundreflection,soitabsorbssoundmorethanamplifiesit.Woodhasagoodbalanceofbeingasoundreflectorand

absorber,butthisadequacyalsodependsonthetypeofwoodwhichwillbeexplainedinmoredetailinanextchapter.Gravelhasafascinatingpropertyofacoustic.Theshapeofgravelcanmakeaparticularsoundwhenitstrikesandatthesametime,itcanbeagoodsoundreflector.From the instrumental aspect, wood has thewidestrangeoffrequencyproductionbecauseofitsmechanicalpropertieswhichdescribesinchapter2.1

From the chart below, rubber canproducelesssoundanditisanexcellentsoundpreventerwhereas,ahighdensityasmetalcanmakeaveryloudvoiceandhighfrequency.Thenextpartwilldescribemoreindetailofeachmaterialsproperties.

Thefigurebelowshowsaparticularcharacter and term of the material usage in2 conditions: environmental and instrumentalusage. Woodandmetal arecommonlyusedasasoundreflectorwallintheinternalspaceandasamaterialformusicinstrumentwithaparticularformandmethodwhichwilldescribein the followingchapters.While rubberhasadistinctcharacterofpreventingsound,so it is

usedasamuteforthemusicinstrumentandafloorforthepublicareatoavoidnoisefromthefootsteps.Theuseofgravelinlandscapedesignispopular,apart fromitsaestheticaspectandwaterpurificationproperty,inanorientalwayofusing, gravel cangivean imitatingeffect toattract the attention from the people by itsmechanicalsoundasapreludeoftheplace.

CONCLUSION

Figure 2.1.1 on the left side is amaterial property chart, plotting Young’smodulus against the density of the woodscommonly used for different types ofinstruments.Thematerialsare representedasbubblesandgroupedbycolours,whichindicatethetraditionaluseofamaterial.FigurecreatedusingtheNaturalMaterialsSelectorbyWegst,(2004)[11] .Thechartshowsthatsoundboardsaremadefromlow-densitywoods,whichhavearelativelyhighYoung’smodulus,aswoodsforwind instruments and xylophone bars whichhaveahighdensity.WoodsforviolinbowshavebothanexceptionallyhighdensityandahighYoung’smodulus to keep the desired horse-hairstraightforabettersoundcontrol.

Density-Young’smodulus

ofwood

Soundboard is a surface of a stringinstrument that the strings vibrate against thebridge, the small piece of wood that hold thestring,seeapicturebelow(Harold,2004).[9]Piano,guitar,banjoandmanyotherstringedinstrumentsincorporatesoundboard.Theresonancepropertiesofthesoundboardandtheinternalspaceinsidetheinstrument increase the loudnessof thevibration

SOUNDBOARD

WOOD FOR INSTRUMENT METAL FOR INSTRUMENT

Principalsketchofthepiano,

designatingthemaincomponents.

string.[10]Soundboardoperatesbytheprincipleofforcedvibration from the strings.Thegreater thesurfaceareaoftheboardmovesthelargervolumeof the air which makes the sound louder. Thesoftwoodscommonlyusedforsoundboards,suchas spruce and maple. They are low impedancewoodsthatbeneficial forsoundtransmission intotheair.

Not only musical instrumentsproducesoundsandnoises.Buildingsalsodo.Everyone has heard the sounds of woodenfloorsandstairs thatactassoundboardsandamplify rather than dampen the sound ofwalking.Toabuilding’susers,theycanbebothanaudienceorabuilding’smusician.Probablythebest-knownexampleofafloordeliberately

SOUND IN ARCHITECTURE

NightingaleFloordeåtail

designedtoproduceanoise,foraddedsecurity,istheNightingaleFloorlaidinNijoCastle,Kyoto,Japan. Itssound isaverypleasantone,similartothecheepingofanightingale.Itisproducedwhen thenailsonwhich thefloorboards arefreelysuspendedabovetheframerubagainstthe floorboardswhenwalked upon (YokochiandYoshimoto,2004).[17]

Inbuildingconstruction,constructorsusemetal as a structuralbeamand reinforceconcretetires.Inspatialdesign,adesignerusesametalsheetinstallingonadeterminedanglewith an air gap for a lecture room, concerthall or some space that need to emphasisethemainsoundandabsorbthelow-frequencynoise. A metal sheet is an excellent soundreflector. It almost entirely reflects a high

SPATIAL DESIGN

Soundabsorptioncoefficientsvs

frequency,forglassfibermaterialsofdifferentthickness.

frequency sounds such as music sounds orsoundfromanamplifier.Simultaneouslytheairgapwithaporousbackingactsastheperfectsound absorber attenuating sounds such aspeoplespeakingnoise,buildingHVACsystemsound. A perforated metal panel with softbackingwascreatedforthispurposereducingthecomplexionof theacousticalmetal sheetcalculation.

Fromthefigure2.2.1(Ashby,2009)[18],PlottingYoung’smodulusagainstthedensityofthematerialswhicharecommonlyusedinamassproductionindustry.Comparingtowood’sfigureillustratedingreen,metals,inpurplehavea higher range in bothYoung’s modulus anddensity, which means metals have less roomfor sound to get absorbed, but allow soundtovibratemore.Thedensermetalsproduceabrighterandsharpersoundcomparetootherporous material.The use of brass and nickelis favoured for music instrument productionbecauseof their satisfiablevibrationpropertyandaffordableprices

The elastic principle when therubberlinesarestretchedandthenpluckedorboweditwillcreateavibrationthensoundsasitworksforstringsoraguitarwire.Thetoneoftherubberstringcanmanagebystretchingtherubbertochangetherubber’sdensity.Rubberhasalowdensityandverylowsoundradiationcoefficientmeansthatithasalotofroomforsound damping, and it can produce bettersound in lower tones. Some sound inventorsuserubberconnectingwithanelectricalsoundmixer tohaveanewsoundthroughasoundgenerator.

Amusicalroadisaroadorapartofaroad.Bydrivingoverthisroadcreatesatactilevibration and audible rumbling transmittedthroughtherubberwheels intothecarbodyasamusicaltune.Musicalroadsareknowntoexist in six countries: Denmark, Japan, SouthKorea, theUnited States ofAmerica,MexicoandSanMarino.

ThefirstknownmusicalroadiscalledtheAsphaltophone, was created in October1995 in Gylling,Østjylland, Denmark, by twoDanishartists,SteenKrarupJensen,andJakobFreud-Magnus. [21]The artists used a seriesofraisedpavementmarkers,similartoBotts’dots,spaced out at irregular intervals so when a

EXPERIMENTAL INSTRUMENT

MUSIC ROAD

Rubberwire

Musicroad vehicledrivesoverthemarkers,thevibrationscausedbythewheelscanbeheardinsidethecar. InJapan,ShizuoShinoda,anJapaneseartistdiscoveredthatitwaspossibletocreatetunesdependingonthedepthandspacingofthegrooves.[22] In2007,theHokkaidoNationalIndustrialResearch Institute, refinedShinoda’sdesigns to create theMelodyRoad.They cutgrooves into the concrete at determinedintervals.The closer groove space, the higherthe pitch of the sound; while grooves whicharespacedfartherapartcreatelowerpitchedsounds.[23]

Gravel is commonly used inlandscape design especially for Zen gardens,rather than sand because it is more durablefrom the rain and wind. Japanese create awave-like form by using gravel with a rake

SPATIAL DESIGN

representingtheirbeliefofreligion.Gravelscanreflect the sound of thewater dripping, treeshakingandemphasisethesurroundingvoices.Theyrepresenttheintimateessenceofnature.

A rattle is a type of percussioninstrumentwhichproducesasoundbyshaking.Gravelisoneofthematerialsthatpeopleliketoputinsidetherattle.

A striking gravels can producesounds.Somelandscapedesignersapplygravelintoalandcreatinganinterludeareatobringbacktheuserconsciousnessbeforearrivingatthemainarea.

RATTLE

LANDSCAPE

Thisdiscussionhasshownthecloseconnectionthathasalwaysexistedbetweentheaestheticidealofamusicalinstrumentandthematerialsfromwhichitismade,togetherwiththerelatedconnectionbetween thenecessary fabricationprocessesand thematerials thatmake thesepossible.Insomecases,thechoiceofmaterialhasclearacousticconsequences,whileinothercases the choice of material mentions and surface finished is adjustable. Developments inmaterial and fabrication processes continually open up newpossibilities, but thesemust bebalancedagainstbothtraditionandaestheticconsiderations.Thisdiscussionwillbedevelopedintoalargerscale,thelandscape.


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ProjectsiteYanawaTempleBTSSpantaksin(Metro)LiLongSengSkyscraperCharoenKrungRoadRajamangalaUniversityCommercialareaPrivatepierFishmarketChaoPhrayaRiverTheCourtSuthiwataramTempleTaipeiEconomicBuildingTheGrandSathonCondominiumKosonSchoolKlongKlauyMarketSintapaSchoolWorachayawatTempleSawetchatPierBangkokLandBuildingHotelsAreaSawetchatTemplePrivategardenKhlongthonDrainageGateResidentialareaChaloemPhrakiatForestParkCharoenNakhonStreetKrungthonStreetTaksinpierShangrilaHotel

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Informativesounds Backgroundsounds

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Copyright © Free Vector Maps.com

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ResponsivespaceallowingsonicinvolvementDullvisualandsonicsequences

Districtwellrelatedtothecitybymeansofsound

Districtorelementwithwekvisualbutstrongsonicidentity

Districtorelementwithvisualbutsonicidentity

MainEntranceDock1(Drydock)Dock2(Normaldock)PondBoatAssembleHouseSupplyHouse1SupplyHouse2ExistingBuilding1ExistingBuilding2SquarehouseCardropoffWaterfrontarea1Waterfrontarea2Waterfrontarea3RiverChareonkrungRoadCommercialAreaRachapatUniversityYanawaSchoolYanawaTempleBTSSpantaksin(Metro)&HighwayBoatFishmarket

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by r. murray schafer our sonic environment … · by r. murray schafer the firstresearch and the...

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