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Capstone on campus management address order healthcare informatics capstone project ideas for money anarchism and other essays published play I know to talk about landscape I think it's a journalist we'll go there later and chew acts provides a pretty useful set of basic working characteristics of the approach to making music and Zelda listener recognizability of the source material is maintained listeners knowledge of the environmental and psychological context is invoked composers knowledge of the environmental and psychological contents it influenced us to shape the composition at every level and the work enhances our understanding of the world and carries on doing so I think as a good place to start but not to end it's as far as it goes and evidently the composer and the listener matters and but that's not fair enough i think when it comes to analysis of music in terms of the soundscape properties when tense i think some results are disappointing the way we go about it can be either superficially descriptive as sound or it's analytically unrevealing of intent treating the work as a standalone piece abstract sound construction perhaps a cases are wrong or at least inadequate tools for the job both approaches can generate results but they won't necessarily produce much illumination I think that's because soundscape composition has very little to do with sound like many people here i'm sure i use the word with a slight discomfort as a useful shortcut I have a love-hate relationship with it now my parents have one of those stupid humorous signs hanging in the hallway it says beware of the dog and the cat isn't too friendly either and that's a bit how I feel about the word soundscape sound and escaped scape two things crammed together in a rather uncomfortable relationship so I'm going to start with the dog and the hope I can have enough time to move on later to the problematic cat so found much work there might be or is called soundscape is made from phonographic recordings from the natural world natural tending to refer to either candid and staged footage or specifically to recorded oral footage of environments that are somehow untainted by human behavior so I think the difference in defining natural there is already and striking and immediately one extra sonic thing to attend to in analyzing such work and then those works which are appropriated pre-existing sound sources are to my mind again fundamentally different from those where the maker or composer has been there recorded them got the t-shirt but why and I think because sound is not what it's about experience place and memory often is what it's about as is the makers subjective firsthand interpretations and investment in the time and place recorded listen through my ears and through my subjectivity soundscape are though aesthetically a universe away is I think experienced somewhat in the same manner as a first-person sheet up game the listeners somehow placed in the driving seat being there so what's the point then of analyzing the sonic content of such work and it often reveals very little to my mind instead investigate the reasons and meanings behind what the sonic vestiges of time and place represent and what the maker is using them to convey people politics places times memories the tools for analyzing the social realm the social ontology of listening experience ly equal e in the fields of anthropology sociology philosophy narrative studies human geography forget about how we put together sound remember how we put together listening and I think that's where we might be looking for tools so that's the dog quietened for a moment and I'm now going to go on to the cat escaped now that's another problematic one because of the common misunderstanding that it's either that it's referred to some kind of scope which is an erroneous etymology or that there's an allusion to landscape painting indeed composers especially Truax actually refer to framing the soundscape with their compositions and in to my mind a slightly problematic even colonial approach to recording time and place and making art and exoticism has already been mentioned by someone else in a slightly different contexts landscape painting is a parvenu of early flowering really in the 17th century landscape itself however when originally intended and is still in part to refer to land which has been formed amazing to place through human activity the scape root in landscape comes from the dutch german shut ship the same ship is in fellowship thank you and friendship a community are coming together of people in place to my mind soundscape should focus its concern on the ship bit the people making place and our tools can come from disciplines that think about that but it does sometimes veer off into trying to return us to an idyllic Arcadian a vision of nature a touching painting of an artificial reality either songz human presence altogether or populated with mythical or exotic beings landscape painting is not a representation of the real world although it's an easy mistake to make Claude's paintings you're seeing one coming out there are made up of vistas populated with mix and match mythical figures trees castles waterfalls wonderful things derived from nature but artificial composed and equivocal whereas the view from my own bedroom window in the suburban area of ethics which you're also seeing come in and out of this little mix is a complex thing with a complex social identity and it's worth attending to that complexity but it requires analyzing it differently from well might one might analyzer painting the two views that landscape can be easily confused you're seeing that right before your very eyes but then a responsible composer or someone looking at the work needs to attempt the messages that this kind of conscious into breeding of relationships communicates so escape is problematic just as much as the sound for me and yet we make do with these haphazard words to get along and finally I just like to mention the word as a whole as an approach timming gold as expressed concerns it sounds gay in his essay against soundscape but its main reasons perhaps concerned a desire to avoid the objectification of sound that he sees paralleled in the objectification of the visual object in visual culture I'm more concerned that soundscape is in danger of becoming a cause of stagnation as a word an approach locked into continual references to the influential but fundamentally small unlimited body of writing by Marie Schaefer and the small coterie surrounding him it's a thinking that we visited thumbed and poured over pulled and teased and rarely challenged I feel but in any field of endeavor excuse me an over-reliance on particular schools of thoughts becomes a move towards veneration where it becomes sacrilegious to critique or move away we need new tools when veneration becomes conservatism there's no means to expand and engage and what develops is a resistant unyielding doctrine but one of the functions of analysis and approaches to discussing a particular kind of approach or aesthetic is to advance knowledge and to build growth expansion and changes in thought so that's my final and I think more urgent concern with what soundscape analysis needs to dress we need to expand the discourse and we need to draw on a wider range of truly interdisciplinary tools you what is meaning of capstone City College of New York.