Importing the Sonic Souvenir: issues of cross-cultural composition
Importing the Sonic Souvenir: issues of cross-cultural composition
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进口索尼克纪念品：跨文化创作问题
DOI：
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发表时间：
2011
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通讯作者：
Manuella Blackburn
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作者：
Manuella Blackburn
从遥远和国外的地方采购声音材料已经成为电声音乐作曲家从事的一种相对普遍和基本的实践。旅行的便利和频繁在一定程度上扩大了声音选择和收集的可用性，反过来又提供了一个巨大的“声音调色板，与环境本身一样宽广”。这种跨文化声音来源的实践可以通过我们对异国情调的吸引力来理解，并且可以产生纯粹的声音世界声音纪念品。对于电声音乐作曲家来说，原创性的需要可以通过这种方式寻找新的和独特的声音材料来解决。就术语而言，“声音纪念品”2是在真实的意义上进行讨论的，可能以其环境、乐器或口头起源为特征。它们的意义和与独特的地方或文化的联系定义了它们。本文试图区分难以捉摸的声音纪念品和更本地来源的声音材料，在作曲家附近随时可用。在许多方面，在假日挑选的纪念品纪念品的类比提供了一个出发点。纪念品是吸引人的纪念品，但也往往是大众销售的物品，象征着原始物品，缺乏真正的地位。它们提供了我们个人旅行历史的记忆或代表，作为我们完成环球旅行的战利品。虽然在实践中，将声音纪念品导入工作室与在我们家门口进行的普通录音工作保持不变，但这些材料的重要性可以在它们的整合，后果和完成作品的接收方面提出挑战。这些声音的使用以及将这些声音转化为音乐的艺术努力引发了一系列关于所有权、完整性和挪用的问题。在从自己的文化家园以外的地方寻找材料时，尊重的需要通常是作曲家的首要任务，但是尊重的借用需要什么呢？特定文化的内部人员和外部人员如何接受这种做法？这种混合形式的好处和积极成果是什么？这种做法与民族音乐学中常见的调查领域有什么关系？
Sourcing sound materials from distant and foreign locations has become a relatively common and elementary practice for the electroacoustic music composer to engage with. The ease and frequency of traveling has been responsible, in part, widening the availability of sound choice and collection and in turn providing a vast “acoustic palette as wide as that of the environment itself” 1 . This practice of cross-cultural sound sourcing may be understood by our attraction to the exotic, and the unadulterated soundworld sonic souvenirs can yield. The need for originality as a consideration for the electroacoustic music composer can be addressed through seeking out new and unique sound materials in this way. With reference to terminology, ‘sonic souvenirs’ 2 are discussed in an authentic sense and may be characterised by their environmental, instrumental or verbal origin. It is their significance and association with a unique place or culture that defines them. This paper attempts to make the distinction between elusive sonic souvenirs and more locally sourced sound materials, readily available within a composer’s vicinity. In many respects, the analogy of the keepsake souvenir picked up on a holiday presents a point of departure. Souvenirs are attractive mementos, but also tend to be mass marketed items, symbolic of an original object, lacking genuine status. They provide a memory or representation of our personal traveling history, acting as trophies of our accomplished globetrotting. While in practice, importing sonic souvenirs into the studio remains unchanged from ordinary recording work conducted around and on our immediate doorstep, the significance of those materials can present a challenge in terms of their integration, consequence and reception of the finished work. The use of these sounds and the artistic endeavors that transform and sculpt these sounds into music raises a number of issues ofownership, integrity and appropriation. The need to be respectful in sourcing materials from outside ones own cultural home is often high on the composer’s agenda, but what does respectful borrowing entail? How do insiders and outsides of a given culture receive this practice? What are the benefits and positive outcomes of this hybrid format? And how does this practice relate to common areas of investigation within ethnomusicology?