Composición del paisaje-sonoro: escuchando lo real y surreal
DOI:
https://doi.org/10.11606/rm.v23i2.217203Palabras clave:
Interdisciplina, Paisaje-sonoro, TecnologíaResumen
Acercamientos creativos e interdisciplinarios entorno al paisaje sonoro son presentados señalando diversos diseños compositivos con finalidades estéticas y científicas. Variado y venturosos trabajos enseñan el papel de la tecnología en su aplicación artística o científica. Este articulo discute diferentes acercamientos compositivos relacionados al paisaje sonoro y su empleo tecnológico. El cual crea un cuerpo de trabajos de especialistas que conectan con múltiples disciplinas encontrando al paisaje sonoro como herramienta de desarrollo como el reconocimiento aural de la fauna. Como ejemplo se puede observar colaboraciones que lidian con censo de la fauna entre biólogos especialistas y artistas expertos en tecnología. Todo esto ha llevado a redefinir diferentes conceptos encontrados dentro de la disciplina de la composición que trabajan con el paisaje sonoro. Composiciones como Verdant de David Dunn, o Shadow por Max Richter nos ayudan a definir “paisaje sonoro surreal”. Estas composiciones combinan sonidos naturales junto con sintetizados. Por otro lado, trabajos de Murray Schafer and Bernie Krause ejemplifican practicas compositivas mientras se graban “paisaje sonoros naturales,” los cuales son descritos en el trabajo. Sin embargo, nos concentramos en las diferentes posibilidades y estrategias implementadas por practicantes interesados en contribuir a diferentes desafíos medioambientales.
Descargas
Referencias
ACEVEDO, Miguel. A; CORRADA-BRAVO, Carlos. J; CORRADA-BRAVO, Héctor; VILLANUEVA-RIVERA, Luis. J; & AIDE, Mitchel. Automated classification of bird and amphibian calls using machine learning: A comparison of methods. Ecological Informatics. 4(4), 206–214. doi:10.1016/j.ecoinf.2009.06.005., 2009.
ATKINSON, Niall. The Republic of Sound: Listening to Florence at the Threshold of the Renaissance. I Tatti Studies in the Italian Renaissance, 16(1/2), 57–84. https://doi.org/10.1086/673411, 2013.
BARCLAY, Leah. Biosphere Soundscapes. Leonardo, 47(5), 496–497. https://doi-org.pbidi.unam.mx:2443/10.1162/Leon_a_00820, 2014.
BAPTISTA, Luis. F; & Gaunt, Sanda. L. Advances in studies of avian sound communication. The Condor, 96(3), 817-830., 1994.
BLUMSTEIN, Daniel. T; MENNILL, Daniel. J; CLEMINS, Patrick; GIROD, Lewis; YAO, Kung; PATRICELLI, Gail; Deppe, Jill. L; KRAKAUER, Alan. H; CLARK, Christopher; CORTOPASSI, Kathryn. A; HANSER, Sean. F; MCCOWAN, Brenda; ALI, Andreas. M; and KIRSCHEL, Alexander. N. G. Acoustic monitoring in terrestrial environments using microphone arrays: applications, technological considerations and prospectus. Journal of Applied Ecology, 48: 758-767. https://doi.org/10.1111/j.1365-2664.2011.01993.x. 2011.
BRÜGGEMANN, Leonhard; SCHÜTZ Bertram; and ASCHENBRUCK, Nils. "Ornithology meets the IoT: Automatic Bird Identification, Census, and Localization,". IEEE 7th World Forum on Internet of Things (WF-IoT), New Orleans, LA, USA, 2021, pp. 765-770, doi: 10.1109/WF-IoT51360.2021.9595401., 2021.
CELIS-MURILLO, Antonio; DEPPE, Jill. L; & ALLEN, Michael. F. Using Soundscape Recordings to Estimate Bird Species Abundance, Richness, and Composition. Journal of Field Ornithology, 80(1), 64–78. https://doi-org.pbidi.unam.mx:2443/10.1111/j.1557-9263.2009.00206.x. 2009.
DAVIES, William. J; ADAMS, Mags. D; BRUCE, Neil. S; CAIN, Rebecca; CARLYLE, Angus; CUSACK, Peter; HALL, Deborah. A; HUME, Ken. I; IRWIN, Amy; JENNINGS, Paul; MARSELLE, Melissa; PLACK Christopher. J; and POXON, John. Perception of soundscapes: An interdisciplinary approach. Applied Acoustics, 74(2), 224–231. doi:10.1016/j.apacoust.2012.05.010. 2013.
DUNN, David. Why Do Whales and Children Sing? A Guide to Listening in Nature, Santa Fe, NM: EarthEar, book and compact disc. 1999.
DUNN, David., & VAN PEER, René. Music, Language and Environment. Leonardo Music Journal, 9, 63-67. 1999.
GALE, T., Ednie, A; and BEEKTINK, Karen. Toward Healthier Parks and People through Integrated Soundscape Research: Applying the International Organization for Standardization Acoustic Environment Taxonomy across Contexts. Society & Natural Resources, 35(9), 973–992. https://doi-org.pbidi.unam.mx:2443/10.1080/08941920.2022.2085350. 2022.
GILES, Jim. Beetle Mania. Atlantic, 305(1), 19–20. 2010.
GRAY, Patricia. “What Is BioMusic? Toward Understanding Music-Making and Its Role in Life.” Journal of Biomusical Engineering, (Vol. 2, Issue 1):1, DOI: 10.4712/2090-2719.1000e105. 2014.
FAGERLUND, Seppo. Bird species recognition using support vector machines
EURASIP Journal of Advances in Signal Processing. pp. 1-8. 2007.
FARINA, Almo; LATTANZI, Emanuele; MALAVASI, Rachele; PIERETTI, Nadia; and PICCIOLI, Luigi. Avian soundscapes and cognitive landscapes: theory, application and ecological perspectives. Landscape ecology, 26, 1257-1267. 2011
FROMMOLT, Karl. H. Information obtained from long-term acoustic recordings: applying bioacoustic techniques for monitoring wetland birds during breeding season. Journal of Ornithology, 158, 659-668. 2017.
FROMMOLT, Karl. H; and TAUCHERT, Klaus. H. Applying bioacoustic methods for long-term monitoring of a nocturnal wetland bird. Ecological Informatics, 21, 4-12. 2014.
HARRIS, Yolande. Scorescapes: On Sound, Environment and Sonic Consciousness. Leonardo, 48(2), 117–123. http://www.jstor.org/stable/43835212. 2015.
HEDLEY, Richard. W; HUANG, Yiwei; and YAO, Kung. Direction-of-arrival estimation of animal vocalizations for monitoring animal behavior and improving estimates of abundance. Avian Conservation and Ecology 12(1):6. https://doi.org/10.5751/ACE-00963-120106. 2017.
INGRAM, David. ‘A balance that you can hear’: deep ecology, ‘serious listening’ and the soundscape recordings of David Dunn. European Journal of American Culture, 25(2), 123–138. https://doi-org.pbidi.unam.mx:2443/10.1386/ejac.25.2.123/1. 2006.
KRAUSE, Bernie. The Great Animal Orchestra . The Great Animal Orchestra. https://www.legrandorchestredesanimaux.com/en. 2016.
KRAUSE, Bernie. The Loss of Natural Soundscapes. Earth Island Journal, 17(1), 27-29. Retrieved July 3, 2021, from http://www.jstor.org/stable/43879008. 2002.
KRAUSE, Bernie. “Transcript of ‘The Voice of the Natural World.’” TED,
www.ted.com/talks/bernie_krause_the_voice_of_the_natural_world/transcript#t-156303.(last accessed May 31st 2023). 2014.
LANDY, Leigh. MIT Press. Arts Meets Daily Life: Listening to Real-World Sounds in an Artistic Context. In Understanding the art of Sound Organization. 2007.
LIU, Kaiqian; and XIE, Bosun. "A Timbre Equalization Scheme for Spatial Ambisonics Reproduction," IEEE 6th International Conference on Signal and Image Processing (ICSIP), Nanjing, China, 2021, pp. 1260-1265, doi: 10.1109/ICSIP52628.2021.9689017. 2021.
MALHAM, David. G; and MYATT, Anthony. 3-D Sound Spatialization using Ambisonic Techniques. Computer Music Journal, 19(4), 58–70. https://doi.org/10.2307/368099. 1995.
MARTIN, Brona. Soundscape Composition: Enhancing our understanding of changing soundscapes. Organised Sound, 23(1), 20-28. doi:10.1017/S1355771817000243. (2018).
MENNILL, Daniel. J; BATTISTON, Matthew; WILSON, David. R; FOOTE, Jennifer. R; and DOUCET, Stéphanie. M. Field test of an affordable, portable, wireless microphone array for spatial monitoring of animal ecology and behavior. Methods in Ecology and Evolution,3, 704–712. 2012.
OWEN, Kürsti; MENNILL, Daniel. J; CAMPOS, Fernando. A; FEDIGAN, Linda. M; GILLESPIE, Thomas. W; and MELIN, Amanda. D. Bioacoustic analyses reveal that bird communities recover with forest succession in tropical dry forests. Avian Conservation and Ecology 15(1):25. https://doi.org/10.5751/ACE-01615-150125. 2020.
PIJANOWSKI, Bryan. C. VILLANUEVA-RIVERA, Luis. J; DUMYAHN, Sarah. L; FARINA, Almo; KRAUSE, Bernie. L; NAPOLETANO, Brian. M; GAGE, Stuart. H; and PIERETTI, Nadia. Soundscape Ecology: The Science of Sound in the Landscape. BioScience, 61(3), 203–216. https://doi.org/10.1525/bio.2011.61.3.6. 2011.
PRIYADARSHANI, Nirosha; MARSLAND, Stephen; and CASTRO, Isabel. Automated birdsong recognition in complex acoustic environments: a review. Journal of Avian Biology, 49, jav–01447. 2018a.
RALPH, John. C; GEUPEL, Geoffrey. R; PYLE, Peter; MILÁ, Borja; MARTIN, Thomas E; DESANTE, David. F. Manual de métodos de campo para el monitoreo de aves terrestres. US Department of Agriculture, Forest Service, Pacific Southwest Research Station. (Vol. 159). 1996.
RAPPAPORT, Scott. Music professor receives patent to help fight bark beetles ravaging western forests. UC Santa Cruz News. https://news.ucsc.edu/2017/02/bark-beetles-dunn.html. 2017.
RICHTER, Max. Recomposed by Max Richter: Vivaldi, The Four Seasons [Album]. Deutsche Grammophon. 2012.
Rubio, Tania. L. Biomúsica: estudio interdisciplinario del paisaje sonoro para la creación de música nueva. Cuadernos de Análisis y Debate Sobre Músicas Latinoamericanas Contemporáneas, 3, 103–130. ISSN 2618-4583. 2020.
SCHAFER, Murray. R. The Soundscape: Our Sonic Environment and the Tuning of the World. Alfred Knopf. 1977.
SCHAFER, Murray; BROOMFIELD, Howard; DAVIS, Bruce; HUSE, Peter; TRUAX, Barry; and WOOG, Adam. Soundscapes of Canada. https://www.sfu.ca/sonic-studio-webdav/WSP/canada.html. 1974.
SIMMONDS John. E; ARMSTRONG F; and COPLAND Philip. J. Species identification using wideband backscatter with neural network and discriminant analysis. ICES Journal of Marine Science, 53 pp. 189-195. 1996.
STATTNER, Erick; HUNEL, Philippe; VIDOT, Nicolas; and COLLARD, Martine. "Acoustic scheme to count bird songs with wireless sensor networks,". IEEE International Symposium on a World of Wireless, Mobile and Multimedia Networks, Lucca, Italy, 2011, pp. 1-3, doi: 10.1109/WoWMoM.2011.5986215. 2011.
STONE-DAVIS, F. J. Vivaldi Recomposed: An Interview with Max Richter. Contemporary Music Review, 34(1), 44–53. https://doi-org.pbidi.unam.mx:2443/10.1080/07494467.2015.1077565. 2015.
STOWELL, Dan; and PLUMBLEY, Mark. D. Automatic large-scale classification of bird sounds is strongly improved by unsupervised feature learning. PeerJ, 2, e488. 2014.
SUMITANI, Shinji; SUZUKI, Reiji; MATSUBAYASHI, Shiho; ARITA, Takaya; NAKADAI, Kazuhiro; and OKUNO, Hiroshi. G. Fine‐scale observations of spatio‐spectro‐temporal dynamics of bird vocalizations using robot audition techniques. Remote Sensing in Ecology and Conservation, 7(1), 18–35. https://doi.org/10.1002/rse2.152. 2020.
TRUAX, Barry. Speech, music, soundscape and listening: interdisciplinary explorations. Interdisciplinary Science Reviews, 47(2), 279-293–293. https://doi-org.pbidi.unam.mx:2443/10.1080/03080188.2022.2035103. 2022.
TRUAX, Barry. Soundscape Composition as Global Music: Electroacoustic music as soundscape. Organised Sound, 13, pp 103-109 doi:10.1017/S1355771808000149. 2008.
TRUAX, Barry. Sound, Listening and Place: The aesthetic dilemma. Organised Sound, 17, pp 193-201 doi:10.1017/ S1355771811000380. 2012.
WESTERKAMP, Hildegard. Linking soundscape composition and acoustic ecology. Organised Sound, 7(1), 51-56. doi:10.1017/S1355771802001085. 2002.
WHYTOCK, Robin. C; and CHRISTIE, James. Solo: an open-source, customizable and inexpensive audio recorder for bioacoustic research. Methods in Ecology and Evolution, 8(3), 308-312. 2017.
Descargas
Publicado
Número
Sección
Licencia
Derechos de autor 2023 Pablo Rubio Vargas, Jorge Rodrigo Sigal Sefchovich
Esta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-CompartirIgual 4.0.
Autores que publicam nesta revista concordam com os seguintes termos:
- Autores mantém os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a CC Attribution-NonCommercial-ShareAlike 4.0 que permite o compartilhamento do trabalho com reconhecimento da autoria e publicação inicial nesta revista.
- Autores têm autorização para assumir contratos adicionais separadamente, para distribuição não-exclusiva da versão do trabalho publicada nesta revista (ex.: publicar em repositório institucional ou como capítulo de livro), com reconhecimento de autoria e publicação inicial nesta revista.
- Autores têm permissão e são estimulados a publicar e distribuir seu trabalho online (ex.: em repositórios institucionais ou na sua página pessoal) a qualquer ponto antes ou durante o processo editorial, já que isso pode gerar alterações produtivas, bem como aumentar o impacto e a citação do trabalho publicado (Veja O Efeito do Acesso Livre).
