The Soundscape Our Sonic Environment and the Tuning of the World.pdf

The Soundscape Our Sonic Environment and the Tuning of the World.pdf

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Thispageintentionallyleftblank.IHISOUNDSCAPI,./OurSonicEnvironmentandTH（SOUNDSCIP（theTuningoftheWorldR.MURRAYStHAflRBOOKSDestinyBooksRochester,rmontDestinyBooksOneParkStreetRochester,Vermont05767Copyright1977,1994byR.MurraySchaferPublishedbyarrangementwithAlfredKnopf,Inc.Allrightsreserved.Nopartofthisbookmaybereproducedorutilizedinanyformorbyanymeans,electronicormechanical,includingphotocopying,recording,orbyanyinformationstorageandretrievalsystem,withoutpermissioninwritingfromthepublisher.LibraryofCongressCataloging-in-PublicationDataSchafer,R.Murray.TuningoftheWorldThesoundscape:

oursonicenvironmentandthetuningoftheworld/R.MurraySchafer.p.em.Originallypublished:

Thetuningoftheworld.NewYork:

Knopf,1977.Includesbibliographicalreferencesandindex.ISBN0-89281-455-11.Music-Acousticsandphysics.2.Sound.3.Music-Philosophyandaesthetics.I.Title.ML3805.S31994781.2-dc2093-6392CIPMNPrintedandboundintheUnitedStates10987DestinyBooksisadivisionofInnerTraditionsInternationalGratefulacknowledgmentismadetothefollowingforpermissiontoreprintpreviouslypublishedmaterial:

E.J.Brill:

ChartfromliTheSpectographicAnalysisofSoundSignalsoftheDomesticFowlbyN.ColliasandM.Joos,originallypublishedinBehaviour,V.CambridgeUniversityPress:

ChartfromBird-SongbyW.H.Thorpe,copyright1961,p.63.Also,sixlinesfromTheocritus,editedandtranslatedbyA.S.F.Gow,copyright1950,Vol.1,Idyll1.DestinyBooksOneParkStreetRochester,Vermont05767Copyright1977,1994byR.MurraySchaferPublishedbyarrangementwithAlfredKnopf,Inc.Allrightsreserved.Nopartofthisbookmaybereproducedorutilizedinanyformorbyanymeans,electronicormechanical,includingphotocopying,recording,orbyanyinformationstorageandretrievalsystem,withoutpermissioninwritingfromthepublisher.LibraryofCongressCataloging-in-PublicationDataSchafer,R.Murray.TuningoftheWorldThesoundscape:

oursonicenvironmentandthetuningoftheworld/R.MurraySchafer.p.em.Originallypublished:

Thetuningoftheworld.NewYork:

Knopf,1977.Includesbibliographicalreferencesandindex.eISBN978-1-59477-668-7ISBN0-89281-455-11.Music-Acousticsandphysics.2.Sound.3.Music-Philosophyandaesthetics.I.Title.ML3805.S31994781.2-dc2093-6392CIPMNPrintedandboundintheUnitedStates10987DestinyBooksisadivisionofInnerTraditionsInternationalGratefulacknowledgmentismadetothefollowingforpermissiontoreprintpreviouslypublishedmaterial:

E.J.Brill:

ChartfromliTheSpectographicAnalysisofSoundSignalsoftheDomesticFowlbyN.ColliasandM.Joos,originallypublishedinBehaviour,V.CambridgeUniversityPress:

ChartfromBird-SongbyW.H.Thorpe,copyright1961,p.63.Also,sixlinesfromTheocritus,editedandtranslatedbyA.S.F.Gow,copyright1950,Vol.1,IdyllI.Thispageintentionallyleftblank.Tomyco-workersontheWorldSoundscapeProjectThispageintentionallyleftblank.ContentsPrefacexiIntroduction3PARTONE:

FIRSTSOUNDSCAPESONE:

TheNaturalSoundscape15TWO:

TheSoundsofLife29THREE:

TheRuralSoundscape43FOUR:

FromTowntoCity53PARTTwo:

THEPOST-INDUSTRIALSOUNDSCAPEFIVE:

TheIndustrialRevolution71SIX:

TheElectricRevolution88INTERLUDESEVEN:

Music,theSoundscapeandChangingPerceptions103PARTTHREE:

ANALYSISEIGHT:

Notation123NINE:

Classification133TEN:

Perception151ELEVEN:

Morphology161ixXCONTENTSTWELVE:

Symbolism169THIRTEEN:

Noise181PARTFOUR:

TOWARDACOUSTICDESIGNFOURTEEN:

Listening205FIFTEEN:

TheAcousticCommunity214SIXTEEN:

RhythmandTempointheSoundscape226SEVENTEEN:

TheAcousticDesigner237EIGHTEEN:

TheSoniferousGarden246NINETEEN:

Silence253EPILOGUE:

TheMusicBeyond260Appendix1SampleSoundNotationSystems264Appendix11InternationalSoundPreferenceSurvey268GlossaryofSoundscapeTerms271Notes277Index297PrefaceEversinceIbeganstudyingtheacousticenvironment,ithasbeenmyhopetogathermyworktogetherintoonebookwhichmightserveasaguideforfutureresearch.Thisbookaccordinglyborrowsextensivelyfrommanyofmypreviouspublications,inparticularthebookletsTheNewSoundscapeandTheBookofNoiseandtheseveraldocumentsoftheWorldSoundscapeProject,especiallytheessayTheMusicoftheEnvironmentandourfirstcomprehensivefieldstudy,TheVancouverSoundscape.Butittriestobuildthisfugitivematerialintoamorecarefularrangement.AsevidencehascomeinfrommoredistantsourcesandasIhavereflectedfurtherorbeenprovokedbymyfellowresearchers,manyearlyassumptionshavebeenrevisedorabandoned.Thepresentbookisasdefinitiveasitcanbeatthepresenttime,butsinceonlyGodknowsforsure,itmuststillberegardedastentative.Muchofthematerialofthisbookwasrevealedthroughaninterna-tionalstudyentitledtheWorldSoundscapeProject,whichmanyagencieshelpedtofund.Tomyimmediateco-workersontheProjectloweagreatdebtofgratitudeforcountlessstimulatingmeetingsanddiscussions.Itisasmuchtheirbookasitismine,fortheyreadit,criticizeditandprovidedbothfactsandencouragement.InparticularIwishtothankHildegardWesterkamp,HowardBroomfield,BruceDavis,PeterHuseandBarryTruax.JeanReed,nowmywife,wasaspecialhelpincheckingsources,readingnumerousdraftsandtoleratingthemanymoodsoftheauthor.Numerousscholarsindifferentdisciplineshaveencouragedsound-scapestudies.Manyhavereadportionsofthisbookandhaveprovidedhelpfulcommentaries.Othershavesuggestednewanglesofinvestigationorhavesentmaterialfromabroadwhichcouldnototherwisehavebeenobtained.InparticularIwishtothankthefollowingscholars:

ProfessorxixiiPREFACEKurtBlaukopfandDr.DesmondMarkoftheInstituteforMusic,DanceandTheatre,Vienna;G.S.MetrauxandAnnyMalrouxofUNESCO,Paris;Dr.PhilipDickinson,DepartmentofBioengineering,UniversityofUtah;ProfessorJohnLarge,InstituteofSoundandVibrationResearch,Univer-sityofSouthampton;Dr.DavidLowenthal,DepartmentofGeography,UniversityCollege,London;Dr.PeterOstwald,LangleyPorterNeuropsy-chiatricInstitute,UniversityofCalifornia;MarshallMcLuhan,CentreforCultureandTechnology,UniversityofToronto;MichelP.Philippot,lln-stitutNationaldeIAudiovisuel,Paris;Dr.CatherineEllis,UniversityofAdelaide;ProfessorJohnPaynter,UniversityofYork;ProfessorJean-JacquesNattiez,lUniversitedeMontreal;andProfessorPatShand,Uni-versityofToronto.IamespeciallyindebtedtoYehudiMenuhinforhisconstantencour-agementofsoundscaperesearchandtoDr.OttoLaskeforhisvaluablecommentariesonmytext.TheWorldSoundscapeProjectcouldlaynoclaimtoitstitlewithoutnumerousreportsandverificationsfrommanycountries.Forsupplyingspecialinformation,orforhelpingtotranslateit,Ithank:

DavidAhern,CarlosAraujo,RenataBraun,JunkoCarothers,MiekoIkegame,RogerLenzi,BeverleyMatsu,JudithMaxie,AlbertMayr,MarcMetraux,WalterOtoya,JohnRimmer,ThorkellSigurbjornsson,TurgutVarandYngveWirkander.NickReeddeservesspecialthanksforvaluablelibraryre-search.FortypingnumerousdraftsofthemanuscriptIamthankfultoPatTait,JanetKnudsonandLindaClark.Whenanauthorkeepschanginghismind,typistshavethehardestjobofall.R.MURRAYSCHAFERVancouver,August,1976TH（SOUNDSCAP（Thispageintentionallyleftblank.IntroductionNowIwilldonothingbutlisten.Ihearallsoundsrunningtogether,combined,fusedorfollowing,Soundsofthecityandsoundsoutofthecity,soundsofthedayandnight.WALTWHITMAN,SongofMyselfThesoundscapeoftheworldischanging.Modernmanisbeginningtoinhabitaworldwithanacousticenvironmentradicallydifferentfromanyhehashithertoknown.Thesenewsounds,whichdifferinqualityandintensityfromthoseofthepast,havealertedmanyresearcherstothedangersofanindis.riminateandimperialisticspreadofmoreandlargersoundsintoeverycornerofmanslife.Noisepollutionisnowaworldproblem.Itwouldseemthattheworldsoundscapehasreachedanapexofvulgarityinourtime,andmanyexpertshavepredicteduniversaldeafnessas.theultimateconsequenceunlesstheproblemcanbebroughtquicklyundercontrol.Invariouspartsoftheworldimportantresearchisbeingundertakeninmanyindependentareasofsonicstudies:

acoustics,psychoacoustics,otology,internationalnoiseabatementpracticesandprocedures,commu-nicationsandsoundrecordingengineering（electroacousticsandelectronic.music）,auralpatternperceptionandthestructuralanalysisoflanguageandmusic.Theseresearchesarerelated;eachdealswithaspectsoftheworldsoundscape.Inonewayoranotherresearchersengagedonthesevariousthemesareaskingthesamequestion:

whatistherelationshipbetweenmanandthesoundsofhisenvironmentandwhathappenswhen34THESOUNDSCAPEthosesoundschange?

Soundscapestudiesattempttounifythesevariousresearches.Noisepollutionresultswhenmandoesnotlistencarefully.Noisesarethesoundswehavelearnedtoignore.Noisepollutiontodayisbeingresistedbynoiseabatement.Thisisanegativeapproach.Wemustseekawaytomakeenvironmentalacousticsapositivestudyprogram.Whichsoundsdowewanttopreserve,encourage,multiply?

Whenweknowthis,theboringordestructivesoundswillbeconspicuousenoughandwewillknowwhywemusteliminatethem.Onlyatotalappreciationoftheacousticenvironmentcangiveustheresourcesforimprovingtheorches-trationoftheworldsoundscape.FormanyyearsIhavebeenfightingforearcleaninginschoolstoeliminateaudiometryinfactories.Clairaudiencenotearmuffs.ItisanideaoverwhichIdonotwishtoexercisepermanentownership.*Thehometerritoryofsoundscapestudieswillbethemiddlegroundbetweenscience,societyandthearts.Fromacousticsandpsychoacousticswewilllearnaboutthephysicalpropertiesofsoundandthewaysoundisinterpretedbythehumanbrain.Fromsocietywewilllearnhowmanbehaveswithsoundsandhowsoundsaffectandchangehisbehavior.Fromthearts,particularlymusic,wewilllearnhowmancreatesidealsound-scapesforthatotherlife,thelifeoftheimaginationandpsychicreflection.Fromthesestudieswewillbegintolaythefoundationsofanewinterdisci-pline-acousticdesign.FromIndustrialDesigntoAcousticDesignThemostim-portantrevolutionisaestheticeducationinthetwentiethcenturywasthataccomplishedbytheBauhaus,thatcelebratedGermanschoolofthetwe