Soundscape composition: hearing the real and surreal

Abstract

Creative and interdisciplinary approaches to soundscape are introduced pointing out diverse compositional designs of aesthetic or scientific outcome. Different and adventurous works reveal the role of technology and its utilization either for artistic or scientific task. This article discusses different compositional approaches related to soundscape and its technological application. It creates an entire body of original works from specialists that connect with multiple disciples that find soundscapes as a useful tool for research like aural fauna identification. As an example, it can be seen the collaboration dealing with fauna census among specialist biologists and artists enhanced by technology. All these have led to redefining different concepts found within the disciple of composition, working with soundscape. Compositions like Verdant by David Dunn, and Shadow by Max Richter help us to define ‘surreal’ soundscape. These compositions combine natural sounds along with synthesized ones. On the other hand, works by Murray Schafer and Bernie Krause exemplify compositional practices while recording ‘natural’ soundscapes, which is described during the work. Nevertheless, we focus on the different possibilities and strategies implemented by practitioners interested in contributing to current environmental issues.