The Soundscape Our Sonic Environment and the Tuning of the World.pdf

1、This page intentionally left blank.IHISOUNDSCAPI,./OurSonicEnvironmentandTH(SOUNDSCIP(theTuningoftheWorldR.MURRAYStHAfl RBOOKSDestiny BooksRochester,rmontDestinyBooksOneParkStreetRochester,Vermont 05767Copyright1977,1994byR.MurraySchaferPublishedbyarrangementwithAlfred Knopf,Inc.Allrightsreserved.No

2、partof thisbookmaybereproducedorutilizedinanyformorbyanymeans,electronicormechanical,includingphotocopying,recording,orbyanyinformationstorageandretrievalsystem,withoutpermissioninwritingfromthepublisher.LibraryofCongressCataloging-in-PublicationDataSchafer,R.Murray.TuningoftheWorldThesoundscape:our

3、sonicenvironmentandthetuningoftheworld/R.MurraySchafer.p.em.Originally published:Thetuningoftheworld.NewYork:Knopf,1977.Includes bibliographical referencesandindex.ISBN 0-89281-455-11.Music-Acousticsandphysics.2.Sound.3.Music-Philosophyandaesthetics.I.Title.ML3805.S3 1994781.2-dc2093-6392CIPMNPrinte

4、dandboundintheUnited States10 9 8 7DestinyBooks is a divisionofInnerTraditions InternationalGrateful acknowledgment ismadetothefollowing for permissiontoreprintpreviously published material:E.J.Brill:Chartfrom liThe Spectographic AnalysisofSoundSignalsoftheDomestic FowlbyN.ColliasandM.Joos,originall

5、y published inBehaviour,V.Cambridge University Press:ChartfromBird-SongbyW.H.Thorpe,copyright1961,p.63.Also,six lines fromTheocritus,editedandtranslatedbyA.S.F.Gow,copyright 1950,Vol.1,Idyll1.DestinyBooksOneParkStreetRochester,Vermont05767Copyright1977,1994byR.MurraySchaferPublishedbyarrangementwith

6、Alfred Knopf,Inc.Allrightsreserved.Nopartofthisbookmaybereproducedorutilizedinanyformorbyanymeans,electronicormechanical,includingphotocopying,recording,orbyanyinformationstorageandretrievalsystem,withoutpermissioninwritingfromthepublisher.LibraryofCongressCataloging-in-PublicationDataSchafer,R.Murr

7、ay.TuningoftheWorldThesoundscape:oursonicenvironmentandthetuningoftheworld/R.MurraySchafer.p.em.Originallypublished:Thetuningoftheworld.NewYork:Knopf,1977.Includesbibliographicalreferencesandindex.eISBN978-1-59477-668-7ISBN 0-89281-455-11.Music-Acousticsandphysics.2.Sound.3.Music-Philosophyandaesthe

8、tics.I.Title.ML3805.S3 1994781.2-dc2093-6392CIPMNPrintedandboundintheUnitedStates10 9 87DestinyBooks is adivisionofInnerTraditionsInternationalGratefulacknowledgmentismadetothefollowing forpermissiontoreprintpreviouslypublishedmaterial:E.J.Brill:Chartfrom liThe Spectographic AnalysisofSoundSignalsof

9、theDomestic FowlbyN.ColliasandM.Joos,originallypublishedinBehaviour,V.CambridgeUniversity Press:ChartfromBird-SongbyW.H.Thorpe,copyright1961,p.63.Also,six lines fromTheocritus,editedandtranslatedbyA.S.F.Gow,copyright1950,Vol.1,IdyllI.This page intentionally left blank.Tomyco-workersontheWorldSoundsc

10、apeProjectThis page intentionally left blank.ContentsPrefacexiIntroduction3PARTONE:FIRSTSOUNDSCAPESONE:TheNatural Soundscape15TWO:TheSoundsofLife29THREE:TheRural Soundscape43FOUR:FromTowntoCity53PARTTwo:THEPOST-INDUSTRIALSOUNDSCAPEFIVE:TheIndustrial Revolution71SIX:TheElectric Revolution88INTERLUDES

11、EVEN:Music,theSoundscapeandChanging Perceptions103PARTTHREE:ANALYSISEIGHT:Notation123NINE:Classification133TEN:Perception151ELEVEN:Morphology161ixXCONTENTSTWELVE:Symbolism169THIRTEEN:Noise181PARTFOUR:TOWARDACOUSTICDESIGNFOURTEEN:Listening205FIFTEEN:TheAcousticCommunity214SIXTEEN:RhythmandTempointheS

12、oundscape226SEVENTEEN:TheAcoustic Designer237EIGHTEEN:TheSoniferous Garden246NINETEEN:Silence253EPILOGUE:TheMusic Beyond260Appendix1Sample Sound Notation Systems264Appendix11International SoundPreference Survey268GlossaryofSoundscape Terms271Notes277Index297PrefaceEver since Ibegan studying the acou

13、stic environment,it has beenmyhopeto gather my work together into onebookwhich might serve as a guidefor future research.This book accordingly borrows extensively from manyofmyprevious publications,in particular the bookletsTheNewSoundscapeandTheBookofNoiseand the several documents of the World Soun

14、dscapeProject,especially the essayTheMusic oftheEnvironmentandour firstcomprehensive field study,TheVancouverSoundscape.But it tries to buildthis fugitive material into a more careful arrangement.As evidence has come in from more distant sourcesandas I havereflected further or been provokedbymyfello

15、w researchers,manyearlyassumptions have been revised or abandoned.Thepresent book is asdefinitive as it can be at the present time,butsince only God knows forsure,it must still be regarded as tentative.Muchofthe material of this book was revealed throughaninterna-tionalstudyentitled the World Sounds

16、cape Project,whichmanyagencieshelped to fund.Tomyimmediate co-workersonthe Projectlowea greatdebtof gratitude for countless stimulating meetings and discussions.It isas much their book as it is mine,fortheyread it,criticized itandprovidedbothfactsandencouragement.In particular I wish tothankHildegar

17、dWesterkamp,Howard Broomfield,Bruce Davis,Peter Huse and BarryTruax.Jean Reed,nowmy wife,was a special help in checking sources,reading numerous draftsandtoleratingthemanymoods of the author.Numerous scholars in different disciplines have encouraged sound-scape studies.Many have read portions of thi

18、s book and have providedhelpful commentaries.Others have suggested new anglesofinvestigationor have sent material from abroad which couldnototherwise have beenobtained.In particular I wish tothankthe following scholars:ProfessorxixiiPREFACEKurt Blaukopf and Dr.Desmond Markofthe Institute for Music,D

19、anceand Theatre,Vienna;G.S.MetrauxandAnnyMalroux ofUNESCO,Paris;Dr.Philip Dickinson,Department of Bioengineering,University of Utah;Professor John Large,Institute of SoundandVibration Research,Univer-sityofSouthampton;Dr.David Lowenthal,Department of Geography,University College,London;Dr.Peter Ostw

20、ald,Langley Porter Neuropsy-chiatric Institute,University of California;Marshall McLuhan,Centre forCulture and Technology,University of Toronto;MichelP.Philippot,lln-stitut National de IAudiovisuel,Paris;Dr.Catherine Ellis,University ofAdelaide;Professor John Paynter,University of York;Professor Jea

21、n-Jacques Nattiez,lUniversite de Montreal;andProfessor Pat Shand,Uni-versity of Toronto.I am especially indebted to YehudiMenuhinfor his constant encour-agement of soundscape research and to Dr.OttoLaske for his valuablecommentariesonmytext.TheWorld Soundscape Project could laynoclaim to its titlewi

22、thoutnumerous reports and verifications frommanycountries.For supplyingspecial information,or for helping to translate it,I thank:David Ahern,Carlos Araujo,Renata Braun,Junko Carothers,Mieko Ikegame,RogerLenzi,Beverley Matsu,Judith Maxie,Albert Mayr,Marc Metraux,WalterOtoya,John Rimmer,Thorkell Sigu

23、rbjornsson,Turgut Var and YngveWirkander.Nick Reed deserves special thanks for valuable library re-search.For typing numerous drafts of the manuscript I am thankful to PatTait,Janet Knudson and Linda Clark.Whenan author keeps changing hismind,typists have the hardest job of all.R.MURRAYSCHAFERVancou

24、ver,August,1976TH(SOUNDSCAP(This page intentionally left blank.IntroductionNow I will do nothingbutlisten.I hear all sounds running together,combined,fused or following,Sounds of the city and soundsoutof the city,soundsof the day and night.WALTWHITMAN,SongofMyselfThe soundscape of the world is chang

25、ing.Modern man is beginning toinhabit a world with an acoustic environment radically different from anyhe has hitherto known.These new sounds,which differ in quality andintensity from those of the past,have alerted many researchers to thedangers of anindis.riminateandimperialistic spreadofmore and l

26、argersounds into every corner of mans life.Noise pollution is now a worldproblem.It would seem that the world soundscape has reached an apexofvulgarity in our time,and many experts have predicted universal deafnessas.the ultimate consequence unless the problem can be brought quicklyunder control.In

27、various parts of the world important research is being undertakenin many independent areasofsonic studies:acoustics,psychoacoustics,otology,international noise abatement practices and procedures,commu-nications and sound recording engineering(electroacoustics and electronic.music),aural pattern perc

28、eption and the structural analysis of languageandmusic.These researches are related;each deals with aspects of theworld soundscape.In onewayor another researchers engagedonthesevarious themes are asking the same question:whatis the relationshipbetween man and the soundsofhis environmentandwhathappen

29、swhen34THESOUNDSCAPEthose sounds change?Soundscape studies attempt to unify these variousresearches.Noise pollution resultswhenman doesnotlisten carefully.Noises arethe soundswehave learned to ignore.Noise pollution today is beingresistedbynoise abatement.This is a negative approach.Wemust seek away

30、 to make environmental acoustics apositivestudy program.Whichsounds do wewantto preserve,encourage,multiply?Whenwe know this,the boring or destructive sounds will be conspicuous enough and we willknowwhywe must eliminate them.Onlya total appreciationoftheacoustic environment can give us the resource

31、s for improving the orches-tration of the world soundscape.Formanyyears I have been fighting forear cleaning in schools to eliminate audiometry in factories.Clairaudiencenotear muffs.It is an idea over which I donotwish to exercise permanentownership.*The home territory of soundscape studies will be

32、 the middle groundbetween science,society and the arts.From acoustics and psychoacousticswe will learn about the physical propertiesofsound and thewaysoundis interpretedbythe human brain.From society we will learnhowmanbehaveswithsounds andhowsounds affectandchange his behavior.Fromthe arts,particul

33、arly music,we will learnhowman creates ideal sound-scapes forthatother life,the lifeofthe imagination and psychic reflection.From these studies we will begin to lay the foundationsofanewinterdisci-pline-acousticdesign.FromIndustrialDesigntoAcousticDesignThemost im-portant revolution is aesthetic education inthetwentieth century wasthataccomplishedbythe Bauhaus,thatcelebrated German schoolofthe twe