The Ear Has To Travel #5 – Revisiting The Soundscape with KitKat
16 June 2016
“Imagine radio that, instead of numbing us to sound, strengthens our imagination and creativity; instead of manipulating us into faster work and more purchasing, it inspires us to invent; instead of overloading us with irrelevant information and fatiguing us, it refreshes our acoustic sensitivity; instead of moving us to ignore thoughts and surroundings, it stimulates listening; instead of broadcasting the same things over and over again, it does not repeat; instead of silencing us, it encourages us to sing or to speak, to make radio ourselves; instead of merely broadcasting at us, we listen through it.” (Hildegard Westerkamp in The Soundscape on Radio)
This special edition of The Ear Has To Travel aims to connect to the tradition of community radio and the work of the World Soundscape Project while also critiquing and updating ideas about what the concept of the soundscape means and the practices soundscape composition encompasses.
Matteo Spanò – Cashmere Radio Ambience
Marco Lampis – Radio Atlantide
BirdWorld (Adam Teixeira and Gregor Riddell) – Valuri
Basil Theodorou – Sunday (field recording)
Stephen Sereda – Jafex
Martyna Poznańska – From here the feeder looks like a small, startled red man
C-DRIK – multiples des uns
Gregor Riddell – Zither
Stephen Sereda – Christmas Industry
Sven Lütgen – Sound Diary (18 January 2016)
Alexandre Joly – Dhruva Hovering in the Berlin Sky
A Seated Craft – Field Recordings
Gregor Riddell – Med fjør i hatten
Jacob Eriksen - Meta Voices 1
Martyna Poznańska - Pneuma/ Respiratory Processes
Jacob Eriksen - Meta Voices 2
Jasmine Guffond - Navigator
Jacob Eriksen - Meta Voices 3
Gregor Pfeffer - (Singing) Stone Cold Steve Austin
Jacob Eriksen - Meta Voices 4
Lukas Grundmann - Trade Wind Pattern
Johnny Haway – Scape
Basil Theodorou – Sunday (composition)
Stephen Sereda – Mama Goes Shaloopin’
Gilles Aubry – Under the Ahwach Moon
John Oparyk – Anais Nin Blushed
Gregor Riddell – Hiraeth Dream Sequence
Manuel Senfft/ ESA – A Singing Comet
sea, radio, atlantis, sardinia, soundscape, field recording, underwater
Watch the video for ’Valuri’ from Ioana Sisea’s ‘Present Continuous’ series, with electronic score by BirdWorld (Gregor Riddell & Adam Teixeira):
„On a Sunday morning I went out to a rather busy neighborhood in Berlin. It was raining and there were strong winds. I sat outside of a café drinking coffee, observing and recording. Rain was falling around me but people passing by were relaxed and I endeavored to listen to their tranquility after a stressful week.“ (Basil Theodorou)
multiples des uns
C-DRIK present a mix of various field recordings made between january and june across asia.
A sort of cinema for the ears made of various soundscapes taken in urban areas, transports, fields, parks, etc.
Dhruva Hovering in the Berlin Sky
A sound exploration of the city.
At different points of the city is sought interaction between
the sound generated by electronic shrutibox and the acoustics of architecture and / or the every day life in the city.
Shrutibox: is a small wooden instrument that traditionally works on a system of bellows and it is used as an accompaniment to other instruments.
As a nod to The Ear Has to Travel being a show about songwriting most of the time, this is from the album „Of Birds“ by singer-songwriter A Seated Craft
Under the Ahwach Moon
one, two, one, two!
this is my instrument, this is my sound.
one, two, one, two,
three! this is my space now.
just making sure
everything is fine, one more time, technique seems ok…
one, two, three,
let the music
begin… under the ahwach moon!
This piece is a sound-collage made of various sound-check recordings in morocco. together with zouheir atbane, we spent several weeks travelling the country in 2013 for our project “an anthology of ears preservation”, researching about listening practices and the sonic materialities of traditional music. the sound-check is interesting as it is not yet a music ‘spectacle’, but rather a necessary preparation for it, in which all the elements are tuned together: instruments, amplification technique, musicians’ minds and space. the recording of sound-check situations reveal thus the social, material and spatial dimensions of music.
In this piece you can hear music instruments mostly from berbere (amazigh) regions including the lutar, the rebab, the bendir, the zamar, the raita, the qsbah, voices, as well as excerpts from the paul bowles collection of traditional moroccan music from 1959. You can also hear myself, zouheir atbane and robert millis rehearsing with this material for a performance which took place in marrakech in april 2014.
Originally conceived as a sound installation for
Madeira Micro Film Festival, Ponta do Sol, Portugal 2014 [4 Channels, 8 Loudspeaker]
Created on location at Ponta do Sol for Madeira Micro International Film Festival. Using field recordings made on site in and around Madeira, five individual works were composed from the same source sounds. Speakers were installed, hidden from public view at three locations embedded within the architecture of the 1930’s Cine Sol building. Working with the reflections of the surrounding architecture resulted in a diffused sound that was not just something to listen to but something to be immersed in. Inspired by the singing stones from Antonioni’s ‘The Red Desert’ and the ocean as a living consciousness as depicted in Tarkovsky’s ‘Solaris’ the project explored the ocean (and its wind, tides, and surrounding nature) as an ubiquitous ambience and meter of time. Focus was on the perceptual experience of time passing as narrated by the ocean. Referencing the narrative form in cinema the installation presented a real time sonic cinema.
On Meta Voices:
Voices from field recordings
The aim of field recording is often to find and record sounds in nature or urban areas, and thus is any sound made by the recordist or the recording equipment unwanted to maintain the optimal transparency. Though during the process of field recording unwanted sounds will inevitably occur.
In the making of the field recordings to the installation Singing Stones on Madeira a lot of speech was accidentally recorded. Normally you would cut out those part of the the recordings, but instead of doing so I chose to work with that as a material. Much of the speaking was about the process of the recording itself and others were just random conversations happening while the recorder was still running.
A Singing Comet
Rosetta’s Plasma Consortium (RPC) has uncovered a mysterious ‘song’ that Comet 67P/Churyumov-Gerasimenko is singing into space. The comet seems to be emitting a ‘song’ in the form of oscillations in the magnetic field in the comet’s environment. It is being sung at 40-50 millihertz, far below human hearing, which typically picks up sound between 20 Hz and 20 kHz. To make the music audible to the human ear, the frequencies have been increased in this recording. This sonification of the RPC-Mag data was compiled by German composer Manuel Senfft (www.tagirijus.de). Read full details in ESA’s Rosetta blog: wp.me/p46DHN-Li
UPDATE (20 Aug 2015): What made the comet sing? Scientists working on Rosetta’s RPC instrument have found out why 67P/C-G was singing. Via wp.me/p46DHN-1nN