What is a Soundscape Composition
What is a Soundscape Composition
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什么是音景作品
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发表时间：
2012
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通讯作者：
J. C. Pinto
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作者：
J. C. Pinto
Soundscape作曲是电声音乐的一种流派，它在70年代末蓬勃发展，这是加拿大西蒙·弗雷泽大学的一个以教学为导向的研究小组世界Soundscape项目的直接结果。这个跨学科小组的主要兴趣首先集中在生态噪音污染问题上，然后扩展到其他活动，如创作声景作品。对声景构图主题的研究意味着对电声构图这一特定领域的论辩决定和构成要素的分析。在整篇文章中，我们将一方面展示这种构图艺术的基本原则，从历史的角度对它们进行语境分析，另一方面揭示与声景构图理论和实践相关的概念性问题。首先，我们将对声音景观的概念进行语境化，综合揭示这一流派的起源，同时强调其创始人在世界声音景观项目背景下的作用。其次，我们将明确区分世界声景项目和Schafer提出的声景概念的分析基础(其特征和目标)，以及Barry Truax创造的关于声景构图概念的假设。上述区别主要是指知觉(作为倾听)、环境(作为相互关系的媒介)和声音(作为主体与环境之间的中介)的作用和定义。最后，我们将探讨与声景构图原则有关的一些概念限制，并指出这种构图的理论和实践所受的明显的生态、伦理和社会特性，揭示了这种特性可能导致的审美和创作的局限性。
Soundscape composition is a genre of electroacoustic music that flourished during the late seventies as a direct consequence of the World Soundscape Project, a pedagogical oriented research group harbored at Simon Fraser University, in Canada. The main interests of this interdisciplinary group were firstly centered in the ecological noise pollution issues and, afterwards, expanded to other activities, such as the creation of soundscape compositions. The study of the soundscape composition thematic implies an analysis of the argumentative determinations and constituent elements of this particular area of electroacoustic composition. Throughout this paper we will seek to show, on the one hand, the basic principles of this compositional art, historically contextualizing them and, on the other hand, revealing conceptual issues relating both to theory and practice of soundscape composition. Firstly, we will contextualize the soundscape concept, synthetically revealing the genesis of this genre, while highlighting the role of its founders, in the World Soundscape Project context. Secondly, we will present a clear distinction between the analytical foundations of the soundscape concept (its features and goals) as suggested by the World Soundscape Project and Schafer, and the postulates coined by Barry Truax regarding the soundscape composition concept. The aforementioned distinction will mainly refer to the roles and definitions of perception (as listening), environment (as a medium of interrelationships) and sound (as the mediator between subject and environment). Finally, we will examine some conceptual constraints concerning the principles of soundscape composition, pointing as well to the explicitly ecological, ethical and social character to which the theory and practice of this kind of composition is subjected, exposing the aesthetical and creative limitations which can result from this character.