Soundscapes FAQ 

What is a soundscape?

Essentially, it is a single or collection of sounds which are uniquely created within a specific environment. 

What is the purpose of a soundscape?

To acoustically explore the ongoing dynamics that 'create' an enviornment or space. 

Now what specific audio archives should be part of a soundscape? Is there a “right” soundmark to choose?

There is no such thing as choosing the "right sound". For any audio archive, there is a specific importance not only to the location but the collector themselves. Everyone will have their own perception or ideas on what should be a part of the project , so with a soundmap aiming to be an inclusive, collaborative and community-based project it makes it easy to have a diversity of acoustic experiences! 

 

Some ways to go about soundscape collecting: 

- collect sounds from natural environments

a) created from living creatures

b) created from ecosystem (wind, water ect..) 

 

- collect sounds from human- made environments 

  • Resturaunts, parks and other public places 

What is a soundmap ?

A soundmap is a digital, geographical display of a location's sound environment. A soundmap uses audio archives (such as soundscapes) to collect data. 

Soundscape vs. Soundmap: What is the difference?

To break it down, soundscapes are a single or combination of sounds which make up a sonic environment. Soundscapes are collected, preserved pieces of audio archives that are utilized to create the data of a Soundmap. Soundmaps are the physical, geographical presentation of these soundscape archives. 

Reduced Listening 101:  A guide to achieving mindful hearing 

 

An overview of reduced listening: 

As Pierre Schaffer highlights within his analysis Three Modes of Listening (1994), “ reduced listening requires the listener to remove all context from the sound itself, independent of its cause and its meaning” (p.50). Unlike casual or semantic listening, this mode demands attentive mindfulness and a practiced sense of listening to sounds as they are. Put bluntly, reduced listening “disrupts established lazy habits and opens up a new world of previously unimagined questions for those who try it”. (Schaffer 1994, p.51). Because it requires unrelenting attention and devoting repetition, it can add new dimension or new attention to a sound experience we have grown tired of. For example, making a song you have listened to a thousand times feels like it’s the first. 

 

Some strategies and exercises: 

First off, a major component to reduced listening is to completely clear your brain of external distractions. Take a few breaths and a moment to centre yourself and feel grounded. Even closing your eyes and sitting down in a comfortable place is a tip I found helpful tip during my first few sessions.  When first practicing reduced listening I found focusing on acoustic elements (some listed below) is a key factor in understanding what you are listening to. 

 

Some acoustic environments worth paying attention to: 

  • Pitch (how high or low a sound is) 
  • Tempo (speed/ playback of sound) 
  • Dynamics (loudness or softness of a sound) 

 

 

A helpful tool:

Exercise from Pauline Oliveros’ Deep Listening (2005) 

 

Sometimes it can be tricky to get to that centred,  attuned state in your mind with all the world’s distractions. To help you achieve this goal, I included a key exercise from Pauline Oliveros’ guide to Deep listening  (2005).  This tool is not only simple and easy to do, but is a powerful way to achieve mindfulness in any environment. 

 

Instructions: Oliveros’ Extreme Slow Walk 

Moving slowly as possible and taking deep breaths, step toward with heel of foot to the ground, allowing weight to flow downward from small to big toe. As the weight fully signs with that foot then begin to transition of the shifting to the other foot. Small steps are recommended for the sake of maintaining balance. Try to keep good posture, with straight back, arms to sides and relaxed shoulders. 

 

Some variations to try: 

- Walk with music 

- eyes closed 

-  walking backwards 

- singing long tones, one per breath. 

 

(Excerpt from p.20 of Deep Listening, 2005). 

 

 

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