Sound design,Soundscape Ecology,Soundscape Composition

Dieser Beitrag zeigt auf, dass sich Sound Design gegenwärtig
nicht mehr nur auf die Produktion von Filmmusik oder Popmusik beschränkt, sondern dass die klangliche Gestaltung von Alltagsgegenständen seit längerem in den Fokus von Produktdesignern gerückt ist. Dies wird am Beispiel des Klangdesigns
von Elektro-Autos deutlich, durch das zugleich die urbanen Soundscapes der Zukunft mit geprägt werden. Unter Rückgriff auf die Idee von gemeinschaftlichem Arbeiten und Gestalten des Bauhaus-Gründers Walter Gropius plädiere ich für kooperative Gestaltungsprozesse und eine produktive Durchdringung von industriellen Produktionsmechanismen
und künstlerischer Individualität.

Taking the term soundscape as a starting point, this essay by José Manuel Berenguer addresses a number of concerns relevant to understanding the listening experience within art and everyday life. Tackling questions such as phenomenology, cognition, new media, aesthetics and the overlap between art and science, Berenguer engages in a critical analysis of recent sound art practices, using both significant historical examples and his own experience.

Having to arrive late, I miss the usual rituals of conference registration. A volunteer greets me and another lost latecomer with smiles, and directs us to Murray Schafer's outdoor workshop. It's a nice way to begin-a short walk in the morning sun with a new acquaintance and then a chance to listen. The venue is in a shady garden beside a café, overlooking the sea. The air is still cool-in that way that won't last. The workshop participants are local children, and still running around in all directions, chattering and squealing. A trio of small boys peers over the wall to the beach below, giggling at an amply endowed lady who is struggling to make progress against the waves. Their teacher and I exchange a rueful, raised-eyebrows smile. No words necessary. A couple of young girls, enjoying being purposeful and responsible, move chairs into a circle. They lift them carefully to avoid scraping the metal legs against the paving stones. The woman who works in the café behind answers a call and walks out of earshot, rotating on one heel as she talks and listens. She fixes an unfocused gaze on the mid distance in that way people sometimes do when using a mobile phone, suspended in two places at once. Life is a mass of activity, and we are more aware of sound than we might imagine.

In film and media production, ambient sound is a standard term that denotes the site-specific background sound component providing locational atmospheres and spatial information of public places. In this article, the specific role of ambient sound to create the context for the spatial experience in film and media production has been thoroughly examined in the light of Sound Studies. The article investigates the capacity of ambient sounds to sculpt the presence of a site by producing an embodied experience of the site. The article brings in a much-needed focus on the complex relationship between sound and site by examining the spatial environments recorded, mediated, and reconstructed by sound practice. Guided by the production studies of sound, the article draws on the theories of diegesis, mimesis, and presence to reformulate the notion of the soundscape while keeping a conceptual base in phenomenology of sound in analyzing the spatial and atmospheric listening experience. The article cites examples from representative Indian films and few of my own sound artworks as case studies to make critical listening and analysis of the processes through which ambient sound practice enhances the spatial and atmospheric sensations. The article draws insights from prominent sound practitioners in the form of long interviews conducted by me over several years and self-reflective insights on my own work. The practice-led inputs make the empirical basis of the article shedding light on the production processes providing links between certain techniques available to specific phases of sound production and aesthetic principles shaped by the respective phases of practice with ambient sounds. The article locates a distinct shift occurring through these trajectories of sound practice and relates this shift to the recent “spatial turn” in Sound Studies, making valuable contributions to the field interested to inquire about the emerging spatiality and public-ness in sound artworks.

The sounds of the natural world have served as a key source of musical inspiration for composers throughout history; and for the last century, recording technology has enabled the utilisation of the sounds themselves as compositional material. The use of recorded environmental sound in musical works has become common practice for composers working in a plethora of different styles and genres, employing a wide variety of techniques; however, a comprehensive analysis and comparison of these different approaches has yet to been undertaken.

Aside from technical and stylistic considerations, the other vitally important question for such an analysis regards what this use of natural environmental sound as compositional material means, both to composers and listeners. In today’s society it is the increasingly significant socio-political issue of global climate change which dominantes contemporary thought regarding humankind’s relationship to the environment; and it is therefore inevitable that the resonances of this will be felt in any work which takes the sounds of the natural environment as its subject. The task of achieving a properly contemporary musicological analysis of such works therefore demands that they be considered from an ecomusicological perspective, which focuses on their socio-cultural significance in the light of contemporary environmental concerns.

In undertaking this ecomusicological analysis, stylistic traits become less important than the specific ways in which the environmental sound is used, the role that it plays within the composition, and the meanings that it generates. This paper will therefore propose a new critical framework for works which use natural environmental sound as compositional material, addressing a significant gap in ecomusicological scholarship and facilitating a new understanding of a common compositional practice which takes into account its new meaning to the ecologically-focussed society of the 21st century.

Recent years have seen an exponential increase in the number of composers and sound artists directly responding to global environmental issues, such as biodiversity loss, pollution and climate change, through their creative practice. The philosophical concerns and practical methodologies of these composers and sound artists build on the established field of acoustic ecology, and the related genre of soundscape composition, but also venture well beyond them, setting them apart as a distinct new movement in music and sound art. However, as yet no new terminology has been found to define and describe this movement, either as an academic field of study or as an artistic genre.

Two composers who are at the forefront of this movement, David Monacchi and Matthew Burtner, have each independently adopted the term “ecoacoustic” in reference to their work: a term which this paper will propose as the most suitable to describe this contemporary movement of environmentally-concerned music and sound art. Although some significant differences exist between the artistic philosophies and creative practices of the two composers – which also, therefore, inevitably carry through into differences between their uses of the term – it will be argued that the similarities between them are significant enough for these differences to be regarded as variations upon a core set of principles and methodologies.

Through an investigation into what the term “ecoacoustic” means in the context of the work of Monacchi and Burtner, this paper will identify these core principles and methodologies, employing them as the basis for an initial “definition- in-progress” of ecoacoustic music and sound art. Finally, a selection of other composers and sound artists will be proposed whose work embodies the fundamental characteristics of this new field of “ecoacoustics”.

Landscape planning and design involve decisions that have far-reaching effects, positive and negative, on the soundscape. However, landscape architecture and related disciplines have not fully recognised the possibilities of considering sound issues in design projects. This is problematic, considering that sound influences health and wellbeing and is an important factor in environmental experience.

This thesis examines how soundscape thinking can be facilitated in landscape architecture. The work is based on a mixed-method approach and it is practice-orientated in the sense that it studies how landscape architects currently work with sound and how they could work with sound in the future. The soundscape concept is used to emphasise the experiential characteristics of the sonic environment and to discuss the role of sound in landscape architecture, particularly in noise-exposed situations. Applications of soundscape design are raised in several examples, including construction of a design intervention as a reference project involving noise masking.

The understandings obtained are used to formulate a set of strategies and tools for the profession as a soundscape approach to noise, in which problems and possibilities are given consideration to ensure a varied and purposeful environment. A model based on three categories is presented to evaluate and facilitate such a comprehensive approach, where each of the three categories (localisation of functions, reduction of unwanted sounds and introduction of wanted sounds) represents a central consideration that can be taken in landscape architecture.

An extended version of the comprehensive model is also presented. It comprises a list of 23 ‘soundscape actions’, each of which represents a concrete, general strategy that can be adopted to improve soundscapes, particularly focusing on noise-exposed situations. To increase applicability, the soundscape actions were developed in collaboration with professional landscape architects, Master’s students, acousticians, artists and other experts.

The findings are discussed in relation to contemporary challenges in the profession, particularly focusing on the sustainability discourse and covering issues such as green structures, densification and the notion of ‘quiet areas’.

The aim of this paper is to present the research activities I have participated in and organised at the University of Edinburgh during the second semester of the academic year 2015/2016. The following examples can be understood and studied in the logic of the " parasites" or "third spaces" as has been suggested by Marcus (2012).

I am a human being. I am also an artist, and as such, my work entails an understanding of how to feel and interpret things. The planet on which I was born will radically change within my lifetime, and the decline of the entire biosphere is now unavoidable. Mankind is responsible for the massive changes that are happening, which will affect the survival of the majority of creatures in all of Earth's biomes. This ecocide is progressively damaging the magnificent choirs of natural sound, 'eco-symphonies' we have not even heard, much less recorded. About 15 years ago, I felt compelled to invest my life in a sound-art project, which would promote public awareness on the most silent catastrophe of our times: the Sixth Mass Extinction. According to the Millennium Ecosystem Assessment (signed by some 1360 world scientists and released by the United Nations in 2005), the current global extinction rate is between 100 and 1,000 times higher than it would naturally be. Immediate projections for the future indicated that this rate may reach 12,000 within our lifetime 1. As a result of the direct human pressure on ecosystems (mostly deforestation and overexploitation) and the effects of human impact on the biosphere (as invasive species-triggering and pollution) an exponentially growing number of the planet's recently estimated 8.7 million living species are going extinct. The rate of 30,000 species per year was already predicted in 1993 by Harvard biologist E.O. Wilson (estimates which order of magnitude has since been revealed correct by most current studies), which equals to some 3 species going extinct every hour. Current estimates do not even include climate change. This is all the more shocking if we consider that, at present, only 1.9 million species have been described, most of which have barely been studied, if at all. Of all known species, one in four mammals, one in eight birds, and 41% of amphibians now appear on the IUCN Red List of threatened species 2. We are facing the collapse of life itself. From an ontological point of view, our species is only one among others on Earth's network of interconnected ecosystems. Every single species, the smallest microorganism and the largest mammals, all thrive and conduct their lives without any external support device to survive and propagate their own genetic heritage. Rare individuals of the same species meet in vast spaces and mate through no force but their own natural communications. I am speechless as to how these coordinated and interdependent mechanisms can happen at every scale of life, within extremely complex processes of natural selection and co-evolution, and how these cycles have slowly refined themselves over the last 65 millions of years. I wish I could regain the perspective of a guest and in-depth observer of this highly evolved web of life. The time has come to reverse the anthropocentric view of evolution and to envision a new inner space for a deeper understanding of the complex, now vanishing equilibrium of the natural world. To achieve these aims, I have used environmental sound of ecosystems as the object of investigation and conservation, as the model for compositional creation, and as the entity for designing worlds of perception for diverse audiences.

Forests, deserts, rivers, and oceans
are filled with animal vocalizations
and geological sounds. We postulate
that climate change is changing
the Earth’s natural acoustic fabric.
In particular, we identify shifts in
acoustic structure that all soundsensitive
organisms, marine and
terrestrial, may experience. Only
upstream solutions might mitigate
these acoustic changes.

The sonic transparency of their community makes of their village a concert hall, the seasonal organization of songs makes of their year a concert series (or a single piece of music), and their rites of passage make of their live a process punctuated with transformations achieved through long periods of song.« (Anthony Seeger 1987: xiv) Aufbauend auf der wegweisenden Forschung Anthony Seegers (1987) über die Suyá (Kisêdjê) bewegt mich die Frage, wie es möglich sein soll, eine solche »Konzerthalle« mit »jährlicher Konzertreihe« in die Ausstellungsräume und Konzeptionen der westlichen Welt zu bringen. Eine Frage, die auf eine Fülle an Konzeptionen zu Alterität, Übersetzung und den damit einhergehenden Formen der Simplifizierung verweist, zumeist mit dem Ziel, spezifisches und häufig sehr komplexes Wissen in sogenanntes allgemeines oder allgemeinverständliches Wissen zu transformieren. Für indigene Kulturen wird diese Arbeit im Museum vor allem von Ethnolog/-innen erwartet, womit ein Pol auf einer Skala benannt wäre. Der zweite Pol bezieht sich auf den derzeitigen Marketingtrend von ›Kunst‹ im Museum. Menschen, die sich dem Rollenprinzip ›Künstlerin‹ unterwerfen, arbeiten weniger mit Übersetzung und Simplifizierung von Alterität, als mit Inszenierungen ihres persönlichen Prozesses der Auseinandersetzung mit den Dingen unter der höheren Absicht des Erreichens eines einzigartigen Ausdrucks an Individualität. Aus poststrukturalistischer Sicht wird also eine Art »Fundamentalnaturalismus« produziert, wobei zur Verteidigung des Trends eingefügt werden muss, dass ein gewisser Grad an Perzeption und Vermittlung von

This paper reviews current approaches to designing virtual environments and investigates aspects of influence in designing auditory spaces to support novel forms of interaction in virtual places. Initial research on human imagined sounds from places has identified ‘expectation’ as an important psychological construct, which must be considered when designing sounds for virtual places. The research work continues to provide evidence that there are differences between sounds people expect to hear in places and sounds recorded in real life places. Instead of designing realistic virtual spaces, the paper suggests a user’s sense of presence as a measure of the user’s experience in virtual environment. The results indicate that using highly expected sounds increases users’ sense of presence. As such, it is to propose that designing auditory spaces using expectations as perceived affordance is perhaps a minimal way to design auditory spaces that support sense of place, hence provoke the emergence of virtual communities.
Future work of the project is discussed.

Entre el 18 y el 24 de Julio de 2011, José Manuel Berenguer fue invitado por la Embajada de España en Venezuela a dictar un seminario de Arte Sonoro en el contexto del festival Parlante. Aprovechando la presencia de este integrante de la Orquesta del Caos en Venezuela, la Universidad Nacional Experimental del Yaracuy le propuso la participación como ponente en el Primer Encuentro Experimental de Paisajes Sonoros organizado con la participación del grupo ECOUS y como observador en el proyecto de catalogación del paisaje sonoro de la Hacienda Guáquira.

Dans son travail artistique, le compositeur d'origine californienne David Dunn fait dialoguer l'étrangeté de langages non-humains avec les ressources sonores d'un monde où les effets de l'activité humaine sont omniprésents 1 . En documentant les riches interactions sonores produites par des dytiques au fond d'un étang 2 , les crissements de scolytes du bois dans leurs galeries de pin 3 , les lourds grognements nocturnes d'un lion au milieu d'un concert de criquets 4 , les coassements de grenouilles qui soudain se taisent au bruyant passage d'un corbeau, le va-et-vient entre des bruits de rue et le vacarme obsédant d'une salle d'arcade sur la jetée de Santa Monica en Californie, ou encore les modulations sonores du parler en langue d'une communauté pentecôtiste dans le village de Kalanga au Zimbabwe au moment d'une transe collective 5 , David Dunn tente de recartographier l'espace par le biais de son écoute. En donnant au langage visuel et à son extraordinaire réservoir de métaphores un contrepoint sonore, il vise à interroger la grammaire même de notre expérience du monde.

O objetivo deste artigo é investigar uma alternativa metodológica para as práticas ecocomposicionais através da utilização da sistemática da comprovisação. Procurando embasamento nas perspectivas filosóficas, em manifestos e nos produtos artísticos vinculados à comprovisação, analisamos esse enfoque como mecanismo capaz de contribuir para a produção e elucidação dos conceitos de composição e improvisação desde a perspectiva ecocomposicional.

The concept of phonosphere is presented and considered. The study of a soundscape or any conceptual sonic space is based on an understanding of its structure and specificity. We consider the definition and implementation of the concept in relation to music, soundscape studies, and as a universal tool for analysis of any physical or conceptual sonic space or sphere. The discussion connects the concept of the phonosphere with some of the terms adopted in soundscape ecology, thus creating a new perspective for considering it.

Strata Sequence is a body of work comprising a range of creative outputs, including compositions and installations. The work represents a series of collaborations with museums and festivals related by the theme of geology. The first created work, Living Waves, is a multi-channel composition interweaving field recordings from the Lake District with readings from the writings of John Ruskin alongside recordings of a specially created lithophone (the Brantwood Musical Stones) played by Dame Evelyn Glennie. An interactive audiovisual installation, Strata, was subsequently created utilizing the Xbox Kinect sensor with custom software created in Max/MSP. This allows participants to play a virtual version of the Brantwood Musical Stones via hand movements in front of a video screen, and is designed for touring. An on-line geological soundmap of Cumbria is also being created to represent sounds above and below the ground. The final part of the sequence is the recreation of a Jurassic soundscape entitled Re-imagining the Jurassic. This was created for a 16 month exhibition at Scarborough's Rotunda Museum called Scarborough's Lost Dinosaurs.

In recent years, is establishing a cooperation between secondary schools and universities for the development of methodologies that encourage pupils to comprehend their acoustic environment and incorporate it in creative projects 1. These methodologies are often based mainly or partly on two pillars: the theory of Pierre Schaeffer on the sound objects and the seven criteria for describing them, and the practical approach of Murray Schafer regarding the observations on the acoustic ecology and the soundscapes. These two pillars provide a set of basic criteria with which the pupils can comprehend and describe their surrounding sonic environment, using them, at the same time, in group improvisation and music composition. The seven criteria elucidated by soundscape paradigms can be a helpful tool in our effort to develop the pupils' power of observation through empiricism.

5o μάθημα. 08ΤΒ10 ΕΠΙΛΟΓΕΣ: Ο ΗΧΟΣ ΣΤΗΝ ΑΡΧΙΤΕΚΤΟΝΙΚΗ Αναγνώριση ήχων (πηγές, φαινόμενα, ηχοτοπία). Ηχοδιαδρομή μέσα στο απθ, ηχογράφηση πεδίου, λογισμικό επεξεργασίας ηχογράφησης και φασμάτων (audacity), σύνθεση ηχοτοπίων, αντιστοίχηση ηχοτοπίων και αρχιτεκτονικών χώρων.

B I O M I M I C R Y
" Doing it nature's way has the potential to change the way we grow food, make materials, harness energy, heal ourselves, store information, and conduct business. " — ​ Janine Benyus

The Biomimicry Institute defines biomimicry as the art and science of seeking sustainable innovation by emulating nature's time­tested patterns and strategies. It's a new approach to product design that gives rise to what Janine Benyus calls the Biomimicry Revolution: " ... ​ an era based not on what we can extract from nature, but on what we can learn from her. " ​

Whether Fractal Entrainment (FE) can be considered applied biomimicry or not, natural patterns are certainly at the core of this bio­inspired and novel technology, conceived to further harness the transformative power of sound energy.

From the air we breathe, to the patterns of light in the screen that enable us to write and read this, everything in the universe—including the wind, the foliage that reveals its shape­shifting patterns, the image of a starry night and all it might contain and convey, even a heart, pumping in reverence at the wonder of being alive—is said to be composed of vibrating filaments and membranes of energy. Life is an ongoing succession of ups and downs, comings and goings, twists and turns, yet embracing this is not always easy. We are constantly drifting between states of flow and resistance and experiencing the many possible degrees of balance between those two poles. If consciousness unfolds through the countless intercommunications that our inner and outer " environments " establish, moment by moment, it is quite probable that efficiency in information flow might have biological advantages.

This is why Fractal Entrainment aims at replicating some of the ways in which nature favors the flow of energy, and the seemingly endless succession of

El río Baker nace del desagüe del lago Bertran, que se encuentra al sudoeste del mucho mayor Lago General Carrera, el segundo más grande de Sudamérica. Desde ese punto hasta su desembocadura, el trayecto tiene 175 km, si bien se considera que la longitud total del río es de 370 km, contabilizados a partir el lugar más alejado del que proviene, es decir, la desembocadura del río Fenix Chico en el lago General Carrera. Su régimen es pluvio-nival, de manera que las crecidas más importantes se dan en los meses de verano, como consecuencia del deshielo de los glaciares de la zona, entre los que destaca el Campo de Hielo Patagónico Norte.

In this paper I will present some aesthetic and technical aspects of my work related to real-time composition of sound environments (soundscapes and vocalscapes) through two recent works: “Geografia Sonora”, a sound and video installation on the theme of the Mediterranean sea, a navigation in an archipelago of “sound islands” of singing/speaking voices, sound signals, natural and me-chanical sounds; “Vocalscapes on Walt Whitman”, an electroacoustic composition exploring the idea of “poetry as vocalscape” and as “geography” of voices and perfor-mances based in the recordings of fifteen talkers.
The works have been composed and spatialized in real time by a “sound navigation map”, a virtual score within Max/MSP, the Spatialisateur and Antescofo.
Through these two works I will show: 1) by which means a vast sound material can be organized and pro-cessed/composed automatically in order to beget a sound environment in real-time through a coherent open virtual score; 2) how such a sound environment may be seen simultaneously as a sound composition, as the trace of a shared experience, as the record of poetry and vocal per-formance or as the soundmark of a community and of a land.

The emerging field of soundscape ecology views ecosystems in terms of biophony, geophony and anthrophony. Soundscape ecology considers the effects of sound on fauna, and this research focuses on anuran breeding lek soundscapes. The sensitivity of anuran breeding leks to acoustic disturbances makes breeding leks an important
venue for a comparative soundscape study. We made long-term (> 24 h) sound recordings in three representative
wetlands and short-term (< 30 min) recordings in ten sites in the Pannonian Biogeographical Region of Hungary and
around the Hungary and Slovakia border. Long-term soundscapes of the floodplain stretch, where there is relatively minor anthrophonical disturbance, showed an obvious circadian change in sound intensities. The site with moderate sound contamination exhibited a disturbed pattern of circadian sound variation, while the site with heavy traffic noise displayed an apparently random temporal soundscape. At different amphibian breeding sites during mating season, our short-term recordings were dominated by anuran calls, bird songs and wind noises, while insect calls and rain were
present to a lesser degree. Our study indicates that vehicle traffic noise is a severe imposition to the natural soundscape,
and suggests that soundscape monitoring can provide a reliable and sensitive index of environmental change for both
short-term and long-term periods.

Sound Art has become a new genre of Art in today. What we so called "sound art" now is closely related to the avant-garde art movement since the 20th century, and also has a lot of overlap with modern music, experimental music and other creative practices about sound. In recent years, the institute, art gallery, and other research and creative institutions have been concerned a lot about sound art. The progress of computer technology including real-time, interactive techniques will also bring some new performance inspiration. Sound artists also make their influence through art exhibitions, live performances, and published their works on the Internet.
"Sound art" naturally takes "sound" as the main expression of its work, and the carrier of sound works itself presents a trend of diversity with the development of technology today. In addition, with the continuous accumulation of the sound art text, the sound art works also carry a variety of creative ideas in thought. Therefore, it is difficult to give a precise and comprehensive definition of what sound art is. The difficulty of definition leaves a lot of room for debate among researchers. By sorting out the historical context and summarizing the rules of works, we can discover the development and changes of "sound art" that wander between music and sound, between art and technology, and between individuals and society.
After World War II, Japanese postwar sound art has been through a unique stage of development. Under the influence of the political-economic and social background, the postwar Japanese artists not only participated in the historical process of the development of sound art Actively, but also combined with the cultural elements of their own country to develop a unique sound art style in practice. A lot of works of Japanese artists have been accumulated over the decades, which coule be an excellent target for us to analyze the development of sound art.
For introduction, the first chapter of this paper will introduce the origin and definition of the word "sound art", as well as the basic situation of the avant-garde and western music in Japan before the war. The second chapter will talk about "Jikken Kobo(Experimental Workshop)", "The Laboratory of Twentieth Century Music" and John.Cage's tour of Japan ,which triggered the "John Cage Shock". The third chapter mainly discusses the unique development form of sound art in Japan since the period of rapid economic growth from 1960s to the 1990s. Analyzing the background force of pushing sound art forward, including the left-wing movement and anti-war movement caused by the domestic and international political and economic environment. The influence of rock and jazz on the young generation in Japan. And the practice in Japanese avant-garde art, such as Fluxus. Finally those Cultural Element causing a unique musical scene which is called "Japanoise". The fourth chapter will take the "soundscape" and "sound installation" since the 1990s as examples to explore the new Japanese sound art form in this period under the new technology and artistic concept.
This article is not intended to review all the details of Japanese post-war avant-garde art history and music history .I hope to find out the background development logic of Japanese sound art with  reviewing the history, analyzing  the representative Japanese sound art works. It’s my honor to bring some new research ideas for other researchers and creators.

KEYWORDS: Japan, Post-War, Sound Art, Contemporary Art, Development Research.

The effecting factors of soundscape perception and space experience have a very close relationship. This study aims to synthesize the diversity of soundscape classifications and schemes and unify such factorial variations in order to develop an integrated framework for soundscape perception and spatial experience within a systematic review of recent progress and by adapting post-occupancy evaluation methodology. First, factors under soundscape perception and space experience are reviewed in detail and merged to form conceptual classification models. Six soundscape perception factors are formed as (1) sonic, (2) spatial, (3) temporal, (4) psychological, (5) behavioural and (6) personal. Similarly, five space experience factors are formed as (1) user, (2) usage, (3) architectural design, (4) social context and (5) physical environment. All related items in the literature are presented and the sub-items under each factor are exemplified. Second, factors under the merged conceptual models are integrated by considering occupants' experience of space regarding their variance in perception of soundscapes through acoustical post-occupancy evaluation. An adapted study design is proposed under indicative, investigative and diagnostic stages of the post-occupancy evaluation by presenting the methods, data types and factorial correlations for each stage.

The essays collected here draw on diverse archival source materials and provide a variety of methodological approaches, ranging from microhistories, sonic archaeologies, spatial mapping, Geertzian thick descriptions, and sensory histories, to deepen understandings of the aural experiences and acoustemologies of preindustrial Europe. The co-constitutive and entangled architectonics of sound and space and the evental politics of urban musical performances are key elements in this collection. The volume invites us to better distinguish between registers of early modern urban sound, such as music, speech, and human/nonhuman noise, and to further explore distinctions between practices of hearing and listening. It does powerfully demonstrates that any consideration of early modern musical cultures must also include the performative spaces and social practices related to or shaped by sound, as well as the experiences of those who listened to or heard those sounds.

Este artículo explora el desarrollo del concepto de mapa sonoro ligado al de paisaje sonoro. Este género se presenta como un cruce entre la militancia contra la contaminación acústica y la creación artística desde el ámbito de la ecología del sonido, o ecomusicología. La escucha atenta que implica la confección de un mapa sonoro está en contradicción con el empleo de música de ambiente. Desde los primeros equipos de investigación surgidos en los años 1970 en Canadá, como el Word Soundscape Project o el World Forum for Acoustic Ecology, se proclamaba como objetivo principal la salvaguarda de los paisajes sonoros naturales, desprovistos en la mayor medida posible de sonidos generados por el hombre. A través de los sonidos naturales de cada lugar, se llegaría pues a encontrar la identidad sonora de cada espacio. Gracias a esta vía de interpretación se abre un camino hacia un nuevo tipo de turismo de sonidos; los mapas sonoros ofrecen la posibilidad de conocer lugares lejanos desde la inmediatez de Internet. Ésta es una de las claves de su popularidad, pues la creación de mapas sonoros es un arte gratuito y accesible para todos. Internet posibilita la configuración de una red horizontal en la que colaborar a distancia con otras personas en términos de igualdad. Un mapa sonoro es también una declaración identitaria, aspecto puesto en relieve por los mapas  creados en España, como SoinuMapa, Escoitar o MapaSonoru. País Vasco, Galicia y Asturias fueron algunas de las primeras comunidades en poner en marcha sus proyecto. La división del territorio sonoro según las fronteras administrativas no fue uno de los planteamientos originales de los setenta sino que es un aspecto marcadamente español. ¿Se puede, pues, crear un vínculo entre los mapas sonoros y las reivindicaciones regionales?


This article explores the evolution of the concept of sound map, closely linked to that of soundscape. This genre is a middle ground between an active fight against sound pollution and the creation of artistic work from the field of sound ecology or ecomusicology. The alert listening implicit in soundmap making is in clear opposition to the use of ambient music. The first research teams created around this idea in Canada in the 1970s focused on the preservation of natural soundscapes, devoid of sounds created by mankind. Exploration of a place’s natural sounds would allow the comprehension of its sound identity. This interpretation path has opened new perspectives on sound tourism; soundmaps grant us knowledge of distant places through the immediacy of the Internet. Here lies one of the keys of the popularity of soundmaps, for they enable the creation of a horizontal network where everyone may collaborate on equal terms. A soundmap is also an identity statement, especially highlighted by maps created in Spain such as SoinuMapa, Escoitar or MapaSonoru. The Basque Country, Galicia and Asturias were among the first autonomous regions to develop their own map. Division of the sound field according to administrative borders was an idea absent from of the 1970s but has been powerfully embraced in Spain. Could we claim a link between soundmap making and regional demands?

Sound is an integrated part of our urban society. This thesis focuses on urban soundcapes in the fields of landscape architecture and urban planning. It is based on notions that the acoustic aspects of the space in urban areas should be more subject to the design and planning as in the same way are the visual dimensions. Aspects of the overexposure of unwanted sounds (noise) are usually included in the environmental impact assessment of planning proposals and often tackled after it occurs in an old fashioned way. The soundscape approach, which is considering sound sources as a resource can be therefore very effective when applied on an early stage in the urban planning process.

Presentation of some “tactile sonic sculptures” and “tactile sonic interventions” in the (semi) public space and the use of a www.soundmap during community sound art - projects.
Introduction of my ongoing artistic research about what I call “the multi sensorial hearing perspective” and raising some questions about the multi modal aspects of hearing and a hearing perspective. Example of community sound art - project.