Listening to Noise (Pollution): Performer and Audience Environments

该研究项目的重点是使用录音进行创作，使听众-参与者能够反思噪音污染，并对其原因和后果产生新的见解，以及展示噪音的主观性质。将在头两年制作一系列作品，重点放在独奏和小型合奏作品上，允许探索使用噪音的不同方法，目的是在最后一年写出更大规模的作品。这项研究将包括特定地点的作品，使用来自公共可访问区域的录音，包括当地的国家信托基金地点，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这个过程--包括作品的排练和表演--并概述刺激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，但许多作曲家对我们如何倾听感兴趣。希尔德加德·韦斯特坎普的《海滩声道》(1989)、彼得·艾布林格的《坐与听》(1995)和马修·什洛莫维茨的《关于听音乐的演讲》(2017)等作品都涉及到我们对噪音的感知，并挑战我们的听力方法。随着自然野生动物的枯竭，现在我们正在与我们的探测环境作斗争，我们大多受到交通噪音的单调噪音的影响(Parris和Schneider 2009)。自从雷切尔·卡森的著作《寂静的春天》(1962)发布以来，环境保护局的发展，人类参与造成的环境危机一直处于争论的前沿(Paull 2013)。越来越多的作曲家希望通过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，该研究试图找到人与平衡的音景或声学环境之间的关系(Schafer 1977)。通常，交通是造成噪音污染的最主要原因(EEA，2009)，低保真度的声音使我们的声音环境失去了多样性和细微差别(Schafer 1977)。此外，Guattari的《三个生态》(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 and Sutton 2000，第3页)。环保主义者正在寻找声音艺术来展示由此导致的大规模灭绝的声音/沉默。景观生态学家伯尼·克劳斯在《大动物管弦乐团》(2012)中使用了现场录音，展示了飞机在森林上空巡航时的安静效果。我们也看到了与动物声音打交道的作曲家的出现，比如David Rothenberg(2005)，他与动物共同创作了作品，探索了动物交流的重要性。关于倾听的理论，如Michel Chion的三种倾听模式(1990)，因果倾听(识别声源)，语义倾听(对符号和信息的社会文化阅读)和减少倾听(声音是一种纯粹的声音现象)，以及Eric Clarke的著作《倾听的方式》(2012)，挑战了我们最初对噪音的看法。根据Attali(2014，pp.26)的说法，“噪声是一种在发射过程中干扰信息试听的共振”。这可能表明，就Chion的语义听力而言，噪音干扰了我们理解给定声音的能力，从而阻碍了我们理解意义的能力。

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.