A key aspect of soundscape studies is the sensitisation of citizens to their acoustic surroundings and the educational imperative of assisting in the development of the individual’s listening skills. Soundwalks are an aspect of this, comprising periods of time when one listens with greater attention than usual to one’s sonic environment (i.e. soundscape). Soundwalkers may even let their ears determine the route of the walk. A soundwalker may at the same time be recording material for further use in Soundscape Composition.
See also:
Acoustic Ecology, Soundscape Composition, Soundscape StudiesBibliography: Corringham, Viv (2003). Vocal Strolls: Voicing the Soundscape
Corringham, Viv (2006). {Urban Song Paths}: place resounding
Dietze, Lena (2000). Learning is Living: Acoustic Ecology as Pedagogical Ground - A Report on Experience
Feld, Steven, Palombini, Carlos (2001). Thoughts on Recording Soundscapes
Kaltenecker, Martin (2005). L’en-delà du concret, notes pour une physionomie musicale de Michel Chion
Kolber, David (2002). Hildegard Westerkamp’s {Kits Beach Soundwalk}: Shifting Perspectives in real world music
Landy, Leigh (1994a). Experimental Music Notebooks
MacCormac, Sylvi (1999). Reflections on Hildegard Westerkamp’s Talking Rain
McCartney, Andra (1998a). Soundwalk in the Park with Hildegard Westerkamp
McCartney, Andra (2000a). Soundwalking Interactions
Werner, Hans U. (2002). {MetaSon #5 Skruv Stockholm}: Turning schizophonic sound into audiovirtual image
Westerkamp, Hildegard (2003). Soundwalking: Bridging Disciplines and Cultures?
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