Dear Colleague,
Now that we have the technology available to record natural sounds, we can
preserve our soundscapes, which parallels the century old tradition of
paintings and photographs. Cave art captured an image of ancient
environments. Only now can we do the same for aural environments. However,
recording a soundscape, which includes spatial acoustics as well as natural
sounds is not trivial or even possible. Those that have been recording musi=
c
in concert halls during the last century are well aware that spatial
acoustics is extremely important and extremely difficult to record.
What we experience when we walk through a forest listening to the sounds of
birds includes nature's acoustic geography. Forests have there own unique
reverberation, including sonic turbulence, thermal inversion sound channels=
,
diffused reflections, and so on.
During my 5 years of research into auditory spatial awareness, which is
discussed in my book Spaces Speak, Are You Listening? Experiencing Aural
Architecture, I considered the importance of the aural properties of spaces
within which the sound source and listener exist. There is strong, but
speculative, evidence that most species are very aware of nature's aural
architecture.
My book established the foundation for cultural earcons but I need help in
advancing the discussion. Additional information about the book can be foun=
d
at the MIT Press web site:
http://mitpress.mit.edu/catalog/item/default.asp?ttype=3D2&tid=3D10947 and =
I
will send a copy of the Introduction and Table of Contents to anyone who
requests them.
I would be delighted to open a dialog on how those who are recording natura=
l
sounds are dealing with the issue of natural acoustics.
Barry Blesser (former MIT Prof)
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