Southworth, a former student of Kevin Lynch, led a project in Boston in the 1960s, and reported the findings in a paper entitled "The Sonic Environment of Cities", in 1969, where the term is used. According to an interview with Schafer published in 2013 Schafer himself attributes the term to city planner Michael Southworth. Murray Schafer, who indeed led much of the groundbreaking work on the subject from the 1960s and onwards. It is often miscredited as having been coined by Canadian composer and naturalist, R. The origin of the term soundscape is somewhat ambiguous. Problems playing this file? See media help. Pauline Oliveros, composer of post- World War II electronic art music, defined the term "soundscape" as "All of the waveforms faithfully transmitted to our audio cortex by the ear and its mechanisms". The term "soundscape" can also refer to an audio recording or performance of sounds that create the sensation of experiencing a particular acoustic environment, or compositions created using the found sounds of an acoustic environment, either exclusively or in conjunction with musical performances. The disruption of these acoustic environments results in noise pollution. Crucially, the term soundscape also includes the listener's perception of sounds heard as an environment: "how that environment is understood by those living within it" and therefore mediates their relations. The idea of soundscape refers to both the natural acoustic environment, consisting of natural sounds, including animal vocalizations, the collective habitat expression of which is now referred to as the biophony, and, for instance, the sounds of weather and other natural elements, now referred to as the geophony and environmental sounds created by humans, the anthropophony through a sub-set called controlled sound, such as musical composition, sound design, and language, work, and sounds of mechanical origin resulting from use of industrial technology. The study of soundscape is the subject of acoustic ecology or soundscape ecology.
#Keynote definition iso
( ISO 12913-1:2014)Ī soundscape is a sound or combination of sounds that forms or arises from an immersive environment. The International Organization for Standardization (ISO) standardized these definitions in 2014. The acoustic environment is the combination of all the acoustic resources, natural and artificial, within a given area as modified by the environment. An important distinction is to separate soundscape from the broader acoustic environment.
There is a varied history of the use of soundscape depending on discipline, ranging from urban design to wildlife ecology to computer science. The term was originally coined by Michael Southworth, and popularised by R. ( July 2020) ( Learn how and when to remove this template message)Ī soundscape is the acoustic environment as perceived by humans, in context. Statements consisting only of original research should be removed. Please improve it by verifying the claims made and adding inline citations. Sound Example : Corridor ambience with ventilation as a keynote sound in an office building.This article possibly contains original research. Sound Example : Electrical hum in a restaurant. They have accordingly been likened to the ground in the figure-ground relationship of visual perception.Ĭompare: AMBIENCE, BACKGROUND NOISE, DRONE, FUNDAMENTAL, REDUNDANCY, SOUND EVENT, SOUNDMARK. Often keynote sounds are not consciously perceived, but they act as conditioning agents in the perception of other SOUND SlGNAL s. Examples might be the sound of the sea for a maritime community or the sound of the internal combustion engine or HUM s in the modern city. In SOUNDSCAPE studies, keynote sounds are those which are heard by a particular society continuously or frequently enough to form a background against which other sounds are perceived. It provides the fundamental tone around which the composition may modulate but from which other tonalities take on a special relationship. In music, keynote identifies the key or tonality of a particular composition.
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