Listening to Noise (Pollution): Performer and Audience Environments

聆听噪音（污染）：表演者和观众环境

• 批准号: 2148754
• 金额: --
• 依托单位: Bath Spa University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2018
• 资助国家: 英国
• 起止时间: 2018 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2148754
• 关键词: Listening; Noise; Pollution; Performer; Audience

The research project is focused on composition using sound recordings that allow listener-participants to reflect on noise pollution and develop new insight into its causes and ramifications, as well as demonstrating the subjective nature of noise. A portfolio of compositions will be produced focusing in the first two years on solo and small ensemble works, allowing the exploration of different approaches using noise, with the intention of writing a larger scale work in the final year. This study will include site-specific pieces using recordings from publicly accessible areas including local National Trust sites, creating installations using local noise polluting sounds. The accompanying commentary will document and critically reflect on the process - including the rehearsing and performing of works - and provide an overview of the theoretical concepts that stimulate the work and place it in context.We all have the ability to hear noise, but rather than just hearing noise, many composers have been interested in how we listen. Pieces such as, Hildegard Westerkamp's Kits Beach Soundwalk (1989), Peter Ablinger's Sitting and Hearing (1995), and Matthew Shlomowitz's Lecture About Listening To Music (2017) all deal with our perception of noise and challenge our listening methods. With depleting natural wildlife, now struggling against our sounding environment, we are mostly subjected to the monotonous din of traffic noise (Parris and Schneider 2009). Since the release of Rachel Carson's book Silent Spring (1962), which resulted in the development of the Environmental Protection Agency, the environmental crisis caused by human involvement has been at the forefront of debate(Paull 2013). Increasingly, composers are looking to environmental studies to evaluate the implications of human noise towards natural soundscapes. Of particular note is composer and theorist R. Murray Schafer's study of Acoustic Ecology, which seeks to find relationships between humans and a balanced soundscape or acoustic environment (Schafer 1977). Often, transportation is the most prominent cause of noise pollution (EEA 2009), with low-fidelity sounds removing variety and nuance from our soundscapes (Schafer 1977). Moreover, Guattari's 'The Three Ecologies' (1989) suggests that 'we have challenged the Earth enough and are now on the brink of ecocide (Pindar and Sutton 2000, pp. 3). Environmentalists are looking to sound art in demonstration of the resulting sound/silence of mass extinction. Landscape ecologist Bernie Krause uses field recordings, in The Great Animal Orchestra (2012), to show the quietening effect aeroplanes have when cruising over forests. We have also seen an emergence of composers who work with animal sounds, such as David Rothenberg (2005), who co-creates pieces with animals, exploring the importance of their communication.Theories on listening, such as Michel Chion's three listening modes (1990), causal listening (identifying sound sources), semantic listening (sociocultural reading of signs and messages) and reduced listening (sound as a purely sonorous phenomenon) and Eric Clarke's book Ways of Listening (2012), challenge our initial perceptions of noise. According to Attali (2014, pp. 26), 'noise is a resonance that interferes with the audition of a message in the process of emission'. This might suggest, in relation to Chion's semantic listening, that noise interferes with our ability to apprehend a given sound, creating a blockage in our ability to apprehend meaning.

该研究项目的重点是使用录音进行创作，让听众参与者反思噪音污染，对其原因和后果产生新的见解，并展示噪音的主观本质。前两年将制作一系列作品，重点关注独奏和小型合奏作品，允许探索使用噪音的不同方法，并打算在最后一年编写更大规模的作品。这项研究将包括使用来自公共区域（包括当地国家信托站点）的录音的特定地点的作品，使用当地噪音污染的声音创建装置。随附的评论将记录并批判性地反思整个过程 - 包括作品的排练和表演 - 并概述激发作品并将其置于背景中的理论概念。我们都有听到噪音的能力，但不仅仅是听到噪音，许多作曲家对我们如何聆听感兴趣。 Hildegard Westerkamp 的 Kits Beach Soundwalk (1989)、Peter Ablinger 的 Sitting and Hearing (1995) 和 Matthew Shlomowitz 的 Lecture About Listening To Music (2017) 等作品都涉及我们对噪音的感知并挑战我们的聆听方法。随着自然野生动物的枯竭，现在我们正与我们的声音环境作斗争，我们大多受到交通噪音的单调喧嚣的影响（Parris 和 Schneider 2009）。自从蕾切尔·卡森（Rachel Carson）的著作《寂静的春天》（Silent Spring，1962）出版并促成了环境保护局的发展以来，人类参与造成的环境危机一直处于争论的前沿（Paull 2013）。作曲家越来越多地寻求环境研究来评估人类噪音对自然音景的影响。特别值得注意的是作曲家和理论家 R. Murray Schafer 对声学生态学的研究，该研究旨在寻找人类与平衡的音景或声学环境之间的关系（Schafer 1977）。通常，交通是噪音污染的最主要原因（EEA 2009），低保真声音消除了我们音景的多样性和细微差别（Schafer 1977）。此外，Guattari 的“三种生态”（1989）表明“我们已经对地球提出了足够的挑战，现在正处于生态灭绝的边缘（Pindar 和 Sutton 2000，第 3 页）”。环保主义者正在寻求声音艺术来展示大规模灭绝所产生的声音/沉默。景观生态学家伯尼·克劳斯（Bernie Krause）在《伟大的动物管弦乐队》（The Great Animal Orchestra，2012）中使用现场录音来展示飞机在森林上空巡航时的安静效果。我们还看到了一些以动物声音为主题的作曲家的出现，例如大卫·罗森伯格（David Rothenberg，2005），他与动物共同创作作品，探索动物交流的重要性。关于聆听的理论，例如米歇尔·奇翁（Michel Chion）的三种聆听模式（1990）、因果聆听（识别声源）、语义聆听（对符号和信息的社会文化解读）和简化聆听（声音作为一种纯粹的响亮现象）和埃里克 克拉克的著作《聆听之道》（2012 年）挑战了我们对噪音的最初认知。根据 Attali (2014, pp. 26) 的说法，“噪音是一种共振，会在发射过程中干扰信息的聆听”。就奇昂的语义聆听而言，这可能表明噪音会干扰我们理解给定声音的能力，从而阻碍我们理解意义的能力。