588:'s ideas of the whole world as composition, soundscape researchers investigate people's attitudes to soundscapes as a whole rather than individual aspects – and look at how the entire environment can be changed to be more pleasing to the ear. This body of knowledge approaches the sonic environment subjectively as well, as in how some sounds are tolerated while others disdained, with still others preferred, as seen in Fong's 2016 research comparing the soundscapes of Bangkok, Thailand and Los Angeles, California. To respond to unwanted sounds, however, a typical application of this is the use of masking strategies, as in the use of water features to cover unwanted white noise from traffic. It has been shown that masking can work in some cases, but that the successful outcome is dependent on several factors, like sound pressure levels, orientation of the sources, and character of the water sound.
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304:, who indeed led much of the groundbreaking work on the subject from the 1960s and onwards. According to an interview with Schafer published in 2013, Schafer himself attributes the term to city planner Michael Southworth. 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.
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568:) and WHO (Burden of noise disease), the positive effects have as yet received less attention. The positive effects of nature sounds can be acknowledged in everyday planning of urban and rural environments, as well as in specific health treatment situations, like nature-based sound therapy and nature-based rehabilitation.
560:. Noise has been shown to correlate with health-related problems like stress, reduced sleep and cardiovascular disease. More recently however, it has also been shown that some sounds, like sounds of nature and music, can have positive effects on health, some of which might be explained by natural sounds increasing
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is the combination of all the acoustic resources within a given area – natural sounds and human-caused sounds – as modified by the environment. The acoustic environment includes sound vibrations made by geological processes, biological activity, and even sounds that are inaudible to most humans, such
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of a piece, not always audible ... the key might stray from the original, but it will return. The keynote sounds may not always be heard consciously, but they "outline the character of the people living there" (Schafer). They are created by nature (geography and climate): wind, water, forests,
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creates an opportunity to hear incidences from near and afar. In a lo-fi soundscape, signals are obscured by too many sounds, and perspective is lost within the broad-band of noises. In lo-fi soundscapes everything is very close and compact. A person can only listen to immediate encounters; in most
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Soundscaping as a method to reduce noise pollution incorporates natural elements rather than just man made elements. Soundscapes can be designed by urban planners and landscape architects. By incorporating knowledge of soundscapes in their work, certain sounds can be enhanced, while others can be
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Consisting of the prefix, geo (gr. earth), and phon (gr. sound), this refers to the soundscape sources that are generated by non-biological natural sources such as wind in the trees, water in a stream or waves at the ocean, and earth movement, the first sounds heard on earth by any sound-sentient
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reduced or controlled. It has been argued that there are three main ways in which soundscapes can be designed: localization of functions, reduction of unwanted sounds and introduction of wanted sounds, each of which should be considered to ensure a comprehensive approach to soundscape design.
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and
Hildegard Westerkamp. Schafer subsequently collected the findings from the world soundscape project and fleshed out the soundscape concept in more detail in his seminal work about the sound environment, "Tuning of the World". Schafer has also used the concept in music education.
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Saadatmand, V., Rejeh, N., Heravi-Karimooi, M., Tadrisi, S.D., Zayeri, F., Vaismoradi, M. & Jasper, M. (2013). "Effect of nature-based sounds' intervention on agitation, anxiety, and stress in patients under mechanical ventilator support: A randomised controlled trial".
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Papers on noise pollution are increasingly taking a holistic, soundscape approach to noise control. Whereas acoustics tends to rely on lab measurements and individual acoustic characteristics of cars and so on, soundscape takes a top-down approach. Drawing on
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Smalley, A. J., White, M. P., Sandiford, R., Desai, N., Watson, C., Smalley, N., Tuppen, J., Sakka, L., Fleming, L. E. (1 August 2023). "Soundscapes, music, and memories: Exploring the factors that influence emotional responses to virtual nature content".
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is the component of the acoustic environment that can be perceived and comprehended by the humans. The character and quality of the soundscape influence human perceptions of an area, providing a sense of place that differentiates it from other regions.
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Research has shown that variation is an important factor to consider, as a varied soundscape give people the possibility to seek out their favorite environment depending on preference, mood and other factors. One way to ensure variation is to work with
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Annerstedt, M., Jonsson, P., Wallergard, M., Johansson, G., Karlson, B., Grahn, P., Hansen, A.M. & Wahrborg, P.. (2013). "Inducing physiological stress recovery with sounds of nature in a virtual reality forest - Results from a pilot study".
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Biological mechanisms and neurophysiological responses to sensory impact from nature.In: Van den Bosch & M.Bird, W. (eds.) Oxford
Textbook of Nature and Public Health. Oxford: Oxford University Press
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2016 Fong, Jack "Making
Operative Concepts from Murray Schafer's Soundscapes Typology: A Qualitative and Comparative Analysis of Noise Pollution in Bangkok, Thailand and Los Angeles, California."
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of sounds heard as an environment: "how that environment is understood by those living within it" and therefore mediates their relations. The disruption of these acoustic environments results in
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are physical sound sources, including both natural sounds (wind, water, wildlife, vegetation) and cultural and historic sounds (battle reenactments, tribal ceremonies, quiet reverence). The
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Irvine, K. N.; Devine-Wright, P.; Payne, S. R.; Fuller, R. A.; Painter, B.; Gaston, K. J. (2009). "Green space, soundscape and urban sustainability: An interdisciplinary, empirical study".
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Music soundscapes can also be generated by automated software methods, such as the experimental TAPESTREA application, a framework for sound design and soundscape composition, and others.
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include opportunities for appropriate transmission of cultural and historic sounds that are fundamental components of the purposes and values for which the parks were established.
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2006, "Gebiete, Schichten und
Klanglandschaften in den Alpen. Zum Gebrauch einiger historischer Begriffe aus der Musikethnologie", Marcello Sorce Keller, in T. Nussbaumer (ed.),
1712:"Making Operative Concepts from Murray Schafer's Soundscapes Typology: A Qualitative and Comparative Analysis of Noise Pollution in Bangkok, Thailand and Los Angeles, California"
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596:" in urban situations. It has been suggested that people's opportunity to access quiet, natural places in urban areas can be enhanced by improving the ecological quality of
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Pijanowski, Bryan C.; Villanueva-Rivera, Luis J.; Dumyahn, Sarah L.; Farina, Almo; Krause, Bernie; Napoletano, Brian M.; Gage, Stuart H.; Pieretti, Nadia (March 2011).
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The
National Park Service Natural Sounds and Night Skies Division actively protects the soundscapes and acoustic environments in national parks across the country.
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Consisting of the prefix, bio (gr. life) and the suffix for sound, this term refers to all of the non-human, non-domestic biological soundscape sources of sound.
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refers to sound which is unwanted, either because of its effects on humans and wildlife, or its interference with the perception or detection of other sounds.
208:, and language, work, and sounds of mechanical origin resulting from use of industrial technology. Crucially, the term soundscape also includes the listener's
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231:(sounds derived from objects not standardly used for music) of an acoustic environment, either exclusively or in conjunction with musical performances.
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511:, naturalist and soundscape ecologist, redefined the sources of sound in terms of their three main components: geophony, biophony, and anthropophony.
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501:, Schafer wrote, "Once a Soundmark has been identified, it deserves to be protected, for soundmarks make the acoustic life of a community unique."
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is used to interpret the timbre of the soundscape. This timbre is mimicked and reproduced using the voice or rich harmonic producing instruments.
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In
Schafer's analysis, there are two distinct soundscapes, "hi-fi" and "lo-fi", created by the environment. A hi-fi system possesses a positive
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The origin of the term soundscape is somewhat ambiguous. It is often miscredited as having been coined by
Canadian composer and naturalist,
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All sounds are unique in nature. They occur at one time in one place and cannot be replicated. In fact, it is physically impossible for
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These are foreground sounds, which are listened to consciously; examples would be warning devices, bells, whistles, horns, sirens, etc.
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244:, defined the term "soundscape" as "All of the waveforms faithfully transmitted to our audio cortex by the ear and its mechanisms".
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397:(1969–79) consisted of 30-minute, uninterrupted environmental soundscapes and synthesized or processed versions of natural sound.
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is the combination of all the acoustic resources, natural and artificial, within a given area as modified by the environment. The
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2008 "Soundscape, postcolonial and music education: Experiencing the earliest grain of the body and music" - Tadahiko Imada in
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and feelings of calm, for example. While the negative effects of sound has been widely acknowledged by organizations like EU (
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of sounds that create the sensation of experiencing a particular acoustic environment, or compositions created using the
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Soundscapes from a computerized acoustic device with a camera may also offer synthetic vision to the blind, utilizing
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2005 "Acoustic
Ecology Considered as a Connotation: Semiotic, Post-Colonial and Educational Views of Soundscape" in
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1974 Soundscape studies: An introduction to the World
Soundscape Project. Truax, B. Numus-West, 5, pp. 36–39.
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Consisting of the prefix, anthro (gr. human), this term refers to all of the sound signatures generated by humans.
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2332:. Luca Maria Aiello, Rossano Schifanella, Daniele Quercia, Francesco Aletta (2016). Royal Society Open Science.
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Research has traditionally focused mostly on the negative effects of sound on human beings, as in exposure to
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127:. There is a varied history of the use of soundscape depending on discipline, ranging from urban design to
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Hägerhäll, C., Taylor, R., Cerwén, G., Watts, G., Van den Bosch, M., Press, D. & Minta, S. (2018).
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Basner, M., Babisch, W., Davis, A., Brink, M., Clark, C., Janssen, S. & Stansfeld, S. (2014).
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138:. An important distinction is to separate soundscape from the broader acoustic environment. The
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Acoustic
Competence: Investigating sonic empowerment in urban cultures. Berlin / Johannesburg
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2323:. Kang, J. & Schulte-Fortkamp, B. (eds.) (2016). Boca Raton: Taylor & Francis Group.
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plains, birds, insects, animals. In many urban areas, traffic has become the keynote sound.
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379:. The work landed on the ground of Titan in 2005 after traveling inside the spacecraft
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123:, in context. The term was originally coined by Michael Southworth, and popularized by
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Aiello, Luca Maria; Schifanella, Rossano; Quercia, Daniele; Aletta, Francesco (2016).
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Voices of the Wild: Animal Songs, Human Din, and the Call to Save Natural Soundscapes
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The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places,
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vocalizations, the collective habitat expression of which is now referred to as the
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The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places
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through targeted planning and design and that in turn has psychological benefits.
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2004 "Voicescapes: The (en)chanting voice & its performance soundscapes" in
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The soundscape is often the subject of mimicry in timbre-centered music such as
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to obstruct even the smallest disturbance. A rural landscape offers more hi-fi
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1600:"The role of soundscape in nature-based rehabilitation: A patient perspective"
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Around the same time as Southworth's project in Boston, Schafer initiated the
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Where Rivers and Mountains Sing, Sound, Music and Nomadism in Tuva and Beyond
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SonorCities: Learning Culture through City Soundscapes – An Educational Tool
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820:"Chatty maps: constructing sound maps of urban areas from social media data"
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Chatty maps: constructing sound maps of urban areas from social media data
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Brown, Lex (2004). "An approach to the acoustic design of outdoor space".
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1392:"Stress Recovery during Exposure to Nature Sound and Environmental Noise"
1208:. New York, NY: Continuum International Publishing Group. pp. 29–38.
963:"Electroacoustic Music and the Soundscape: The inner and the Outer World"
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497:. A soundmark is a sound which is unique to an area. In his 1977 book,
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The soundscape : our sonic environment and the tuning of the world
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Voices of the Wild: Human Din, and the Call to Save Natural Soundscapes
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35:
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According to Schafer there are three main elements of the soundscape:
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Music Education Policy and Implementation: International Perspectives
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has created soundscape compositions from the sounds of sky dome and
79:. Statements consisting only of original research should be removed.
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Qualitative Judgements of Urban Soundscapes: Questionning [
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Unwanted Wanted Sounds: Perception of Sounds from Water Structures
1275:
Krause, B (January–February 2008). "The Anatomy of a Soundscape".
424:
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Volksmusik in den Alpen: Interkulturelle Horizonte und Crossovers
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Site Soundscapes: Landscape architecture in the light of sound -
1942:
The Soundscape: Our Sonic Environment and the Tuning of the World
1604:
International Journal of Environmental Research and Public Health
1396:
International Journal of Environmental Research and Public Health
1221:
The Soundscape: Our Sonic Environment and the Tuning of the World
805:
The Soundscape: Our Sonic Environment and the Tuning of the World
499:
The Soundscape: Our Sonic Environment and the Tuning of the World
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The elements have been further defined as to essential sources:
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2338:
Sound in Landscape Architecture: A Soundscape Approach to Noise
1756:
Sound in Landscape Architecture: A Soundscape Approach to Noise
937:. Continuum International Publishing Group. pp. 198, 214.
758:
Southworth, Michael (1969). "The Sonic Environment of Cities".
359:(1970) is an early soundscape composition. Soundscape composer
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44:
27:
Audible characteristics, resonances of an acoustic environment
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National Park Service Natural Sounds and Night Skies Division
2074:
Swedish University of Agricultural Sciences. Diss. summary:
2019:
Wild Soundscapes: Discovering the Voice of the Natural World
1940:
These 2 works were adapted to become part of the 1993 book,
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over seven years and four billion kilometers through space.
249:
1897:
1296:"Soundscape Ecology: The Science of Sound in the Landscape"
1065:
The new soundscape: a handbook for the modern music teacher
451:
to reproduce any phoneme twice in exactly the same manner.
1954:
Five village soundscapes (Music of the environment series)
367:
and deep sea underwater recordings, and a work entitled "
2186:, Salzburg, Verlag Mueller-Speiser, 2006, pp. 9–18.
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68:
2387:
Web archive of the audio mapping of the city of Naples
1390:
Alvarsson, J.J., Wiens, S. & Nilsson, M.E (2010).
1329:"Auditory and non-auditory effects of noise on health"
1162:
Boodler ambient soundscape generator written in Python
331:
In music, soundscape compositions are often a form of
157:
or combination of sounds that forms or arises from an
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1197:
1195:
1079:"Soundscapes - Getting to Know Atish | Red Bull MEA"
172:. The idea of soundscape refers to both the natural
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2513:
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2148:, Acta Acustica united with Acustica 92(6), 929–937
2039:
Linking Soundscape Composition and Acoustic Ecology
1173:
fLOW ambient soundscape generator (Apple Macintosh)
575:, as is the goal of the seeing with sound project.
200:through a sub-set called controlled sound, such as
196:; and environmental sounds created by humans, the
192:and other natural elements, now referred to as the
1598:Cerwén, G., Pedersen, E. & Pálsdóttir (2016).
440:cases even ordinary sounds have to be exuberantly
339:. Composers who use soundscapes include real-time
30:For the study of the acoustic relationships, see
3096:Ultra-short baseline acoustic positioning system
2100:The Auditory Culture Reader (Sensory Formations)
1855:Journal of Environmental Planning and Management
371:" to be performed at the extreme environment of
423:. These settings make it possible for discrete
146:(ISO) standardized these definitions in 2014. (
1223:. Inner Traditions/Bear & Co. p. 10.
164:. The study of soundscape is the subject of
144:International Organization for Standardization
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2411:
8:
2251:- R. Murray Schafer & Tadahiko Imada (
1990:Acoustic Communication : Second Edition
1648:: CS1 maint: multiple names: authors list (
1580:: CS1 maint: multiple names: authors list (
1551:: CS1 maint: multiple names: authors list (
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2365:Soundscape: The Journal of Acoustic Ecology
2191:The West Meets the East in Acoustic Ecology
2119:Soundscape: The Journal of Acoustic Ecology
2086:Soundscape: The Journal of Acoustic Ecology
996:Deep Listening: A Composer's Sound Practice
935:Background Noise: Perspectives on Sound Art
466:This is a musical term that identifies the
219:The term "soundscape" can also refer to an
3071:Short baseline acoustic positioning system
2904:
2890:
2882:
2521:
2418:
2404:
2396:
3061:Long baseline acoustic positioning system
1874:
1625:
1615:
1417:
1407:
1352:
1311:
967:Companion to Contemporary Musical Thought
956:
954:
883:. Ablex Publishing Corporation. pp.
851:
779:
95:Learn how and when to remove this message
2142:] Questionnaires and Semantic Scales
1519:International Journal of Nursing Studies
1277:Journal of the Audio Engineering Society
1188:. Bloomington: Indiana University Press.
2359:World Forum for Acoustic Ecology (WFAE)
2302:- Felix Urban (Marburg: Tectum Verlag)
2295:) - book & links to audio examples
1206:Audio Culture: Readings in Modern Music
912:. Yale University Press. pp. all.
747:
18:Natural Sounds and Night Skies Division
3111:Underwater acoustic positioning system
2989:Surveillance Towed Array Sensor System
2269:Bernie Krause, Little Brown New York,
2202:Japanese Association for Sound Ecology
1641:
1573:
1544:
1491:
1433:
1368:
1041:
427:to be heard clearly since there is no
285:
2385:Napolisoundscape Urban Space Research
1749:
1747:
1745:
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1511:
1509:
1021:Avant-gardes Sonores en architecture
7:
2861:List of experimental music festivals
2321:Soundscape and the Built Environment
2008:Soundscapes: Essays on Vroom and Moo
1038:. Rochester, Vermont: Destiny Books.
753:
751:
1666:Journal of Environmental Psychology
319:One of Soundscape's co-founders is
188:, and, for instance, the sounds of
34:. For the PC sound card brand, see
2866:List of electronic music festivals
1783:. Stockholm: Stockholm University.
1570:. Oxford: Oxford University Press.
38:. For the Cedar Walton album, see
25:
3106:Underwater acoustic communication
3041:Acoustic Doppler current profiler
2088:Vol.5 No.2 - Henry Johnson 26-29
3012:
2033:) - book & QR link to audio
1111:. Cambridge: MIT Press. p.
286:Problems playing this file? See
265:
49:
3164:Hearing range of marine mammals
2800:Experimental musical instrument
2153:"Soundscapes / Paesaggi sonori"
608:In United States National Parks
579:Soundscapes and noise pollution
3046:Acoustic seabed classification
2871:List of experimental musicians
2014:- Department of Folk Tradition
1830:"Soundscaping | Sound Control"
1531:10.1016/j.ijnurstu.2012.11.018
491:This is derived from the term
311:together with colleagues like
1:
2845:Electroacoustic improvisation
1971:Handbook for Acoustic Ecology
1779:Rådsten Ekman, Maria (2015).
1470:10.1016/j.physbeh.2013.05.023
1345:10.1016/S0140-6736(13)61613-X
1023:. Dijon: Les Presses du Réel.
261:"Soundscape from Puerto Rico"
1138:"Mother Nature Goes Digital"
1034:Schafer, Murray, R. (1977).
2208:International Music Centre
1867:10.1080/0964056042000284857
1678:10.1016/j.jenvp.2023.102060
1219:Schafer, R. Murray (1993).
803:Schafer, R. Murray (1977).
621:as bat echolocation calls.
176:environment, consisting of
75:the claims made and adding
3267:
3129:Acoustic survey in fishing
1067:. Toronto: Berandol Music.
994:Oliveros, Pauline (2005).
965:. In Paynter, John (ed.).
824:Royal Society Open Science
772:10.1177/001391656900100104
29:
3066:Ocean acoustic tomography
3010:
2341:. Cerwén, G. Alnarp: SLU
1808:10.1080/13549830802522061
1458:Physiology & Behavior
998:. iUniverse. p. 18.
933:LaBelle, Brandon (2006).
36:Ensoniq § Soundscape
3169:Marine mammals and sonar
2994:Synthetic aperture sonar
2287:(Yale University Press,
2249:A Little Sound Education
2230:and Tadahiko Imada Eds,
2025:(Yale University Press,
1994:World Soundscape Project
1728:10.1177/0042098014562333
1250:. Little Brown. p.
1204:Schafer, Murray (2004).
1184:Levin, Theodore (2006).
760:Environment and Behavior
435:than a city because the
309:World Soundscape Project
3051:Acoustical oceanography
2621:Intelligent dance music
1956:- A.R.C. Publications (
1927:The Tuning of the World
1754:Cerwén, Gunnar (2017).
1313:10.1525/bio.2011.61.3.6
1244:Krause, Bernie (2012).
908:Krause, Bernie (2016).
2969:Scientific echosounder
1617:10.3390/ijerph13121229
1103:Roads, Curtis (2001).
969:. Routledge. pp.
879:Acoustic Communication
444:in order to be heard.
357:Presque rien, numéro 1
254:
3149:Deep scattering layer
2959:Multibeam echosounder
2954:GLORIA sidescan sonar
2159:(10). December 2008.
1944:- R. Murray Schafer (
1929:- R. Murray Schafer (
1409:10.3390/ijerph7031036
1063:Schafer, R.M (1969).
961:Truax, Barry (1992).
875:Truax, Barry (2001).
670:Environments (series)
562:cognitive restoration
421:signal-to-noise ratio
337:electroacoustic music
253:
3101:Underwater acoustics
3091:Sound velocity probe
3086:Sound speed gradient
3004:Upward looking sonar
2949:Fessenden oscillator
2805:Experimental luthier
2515:Experimental popular
2372:How Sound Affects Us
2057:Per Hedfors (Diss.:
2044:Hildegard Westerkamp
1992:- Barry Truax &
1834:soundcontroltech.com
735:Underwater acoustics
632:Cultural soundscapes
618:acoustic environment
405:Tuvan throat singing
349:Hildegard Westerkamp
242:electronic art music
140:acoustic environment
3210:Hydrographic survey
3159:Fisheries acoustics
3139:Animal echolocation
2934:Baffles (submarine)
2726:Extended techniques
2368:, published by WFAE
2232:Hirosaki University
2206:Hirosaki University
1710:Fong, Jack (2016).
1339:(9925): 1325–1332.
844:10.1098/rsos.150690
836:2016RSOS....350690A
558:environmental noise
394:Environments series
237:, composer of post-
202:musical composition
40:Soundscapes (album)
3241:Experimental music
3205:Geophysical MASINT
3190:Acoustic signature
2830:Sound installation
2677:Free improvisation
2569:Deconstructed club
2427:Experimental music
2055:Design Strategies,
1914:The New Soundscape
725:Soundscape ecology
710:Sound installation
614:Acoustic resources
598:urban green spaces
573:human echolocation
361:Petri Kuljuntausta
341:granular synthesis
296:Historical context
255:
170:soundscape ecology
153:A soundscape is a
60:possibly contains
32:Soundscape ecology
3228:
3227:
2999:Towed array sonar
2979:Sonar beamforming
2964:Passive acoustics
2879:
2878:
2815:Progressive music
2795:Data sonification
2720:
2719:
2579:Experimental rock
2537:Avant-garde metal
2347:978-91-7760-073-2
2308:978-3-8288-3683-9
2293:978-0-300-20631-9
2275:978-0-316-08687-5
2261:978-4-393-93539-2
2243:978-4-902774-39-9
2080:978-3-639-09413-8
2012:Jarviluoma, Helmi
1918:R. Murray Schafer
1796:Local Environment
1765:978-91-7760-073-2
1699:Seeing with Sound
1261:978-0-316-08687-5
1122:978-0-262-18215-7
1005:978-0-595-34365-2
980:978-0-415-07225-0
944:978-0-8264-1845-6
700:Sharawadji effect
437:natural landscape
409:Timbral Listening
407:. The process of
302:R. Murray Schafer
270:
125:R. Murray Schafer
105:
104:
97:
62:original research
16:(Redirected from
3258:
3121:Acoustic ecology
3036:Acoustic release
3031:Acoustic network
3016:
2929:Active acoustics
2906:
2899:
2892:
2883:
2854:Events and lists
2778:Related concepts
2702:Progressive jazz
2574:Experimental pop
2532:Avant-garde jazz
2522:
2493:Musique concrete
2476:Acousmatic music
2420:
2413:
2406:
2397:
2228:Lai Chi Rita Yip
2224:Chi Cheung Leung
2193:(Tadahiko Imada
2179:
2177:
2176:
2167:. Archived from
2146:Raimbault, Manon
1900:
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919:978-0-30020631-9
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685:Musique concrète
429:background noise
333:electronic music
272:
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235:Pauline Oliveros
166:acoustic ecology
148:ISO 12913-1:2014
136:computer science
111:is the acoustic
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2974:Side-scan sonar
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2835:Sound sculpture
2773:
2754:Prepared guitar
2739:Circuit bending
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2471:Electroacoustic
2442:
2439:classical music
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1907:Further reading
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2353:External links
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2317:
2316:53(1):173-192.
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2195:Kozo Hiramatsu
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2123:Tadahiko Imada
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1142:Atari Archives
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2314:Urban Studies
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2285:Bernie Krause
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2214:4-9903332-1-7
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2171:on 2009-07-26
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2023:Bernie Krause
2020:
2016:
2013:
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2002:1-56750-537-6
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1983:0-88985-011-9
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648:
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645:Ambient music
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541:Anthropophony
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509:Bernie Krause
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58:This article
56:
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3195:Bioacoustics
3134:Acoustic tag
2839:
2517:music genres
2437:contemporary
2364:
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2190:
2183:
2173:. Retrieved
2169:the original
2157:Lo Squaderno
2156:
2141:
2137:
2118:
2104:Michael Bull
2099:
2085:
2050:
2038:
2018:
2007:
1989:
1970:
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1926:
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1837:. Retrieved
1833:
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1610:(12): 1229.
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1547:cite journal
1522:
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1494:cite journal
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1145:. Retrieved
1141:
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1087:. Retrieved
1085:. 2017-07-17
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766:(1): 49–70.
763:
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665:Ecoacoustics
631:
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321:Nezar Kadhem
318:
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239:World War II
233:
229:found sounds
218:
209:
206:sound design
180:, including
152:
139:
108:
106:
91:
82:
59:
2769:Turntablism
2712:Witch house
2672:Drone metal
2461:Avant-garde
1975:Barry Truax
1464:: 240–250.
1147:18 November
730:Space music
594:quiet areas
566:END 2002/49
433:frequencies
353:Luc Ferrari
345:Barry Truax
313:Barry Truax
277:El Cloquido
225:performance
162:environment
113:environment
3235:Categories
3220:Soundscape
3174:Whale song
3154:Fishfinder
3076:Sofar bomb
3056:Hydrophone
2840:Soundscape
2764:Scordatura
2734:3rd bridge
2697:Industrial
2662:Avant-funk
2604:noise rock
2559:Avant-punk
2554:Avant-prog
2542:Post-metal
2481:Tape music
2175:2009-03-14
2031:0300218192
2017:2002/2016
1876:10072/5197
1839:2017-04-19
1802:(2): 155.
1672:: 102060.
1300:BioScience
1107:Microsound
1089:2024-08-07
742:References
623:Soundscape
389:Irv Teibel
288:media help
275:Shared by
210:perception
109:soundscape
69:improve it
3215:Noise map
2820:Sound art
2707:Punk jazz
2682:Free jazz
2614:post-rock
2609:post-punk
2589:math rock
2584:krautrock
2549:Avant-pop
2449:Aleatoric
2255:, Tokyo)
2253:Shunjusha
2165:1973-9141
2131:1607-3304
2094:1607-3304
2063:1401-6249
1686:0272-4944
1576:cite book
1044:cite book
790:130685505
715:Sound map
705:Sound art
690:Noise map
586:John Cage
523:organism.
486:Soundmark
442:amplified
159:immersive
117:perceived
85:July 2020
73:verifying
3200:Biophony
2984:Sonobuoy
2785:Cymatics
2692:Hyperpop
2657:Art rock
2652:Art punk
2594:neo-prog
2564:Biomusic
2525:By style
2435:Related
2378:talk by
2053:Sonotope
1952:) 1977
1885:55857646
1816:55692349
1736:30362727
1636:27973437
1539:23245705
1478:23688947
1428:20617017
1363:24183105
1083:Red Bull
862:27069661
680:Geophony
660:Biophony
655:Biomusic
638:See also
529:Biophony
516:Geophony
494:landmark
375:'s moon
355:, whose
343:pioneer
327:In music
194:geophony
186:biophony
174:acoustic
129:wildlife
3251:Hearing
2667:Ambient
2647:Art pop
2640:Related
2626:Neofolk
2599:no wave
2488:Minimal
2374:(8:18)—
2125:13-17 (
2010:, Eds:
1627:5201370
1486:4826491
1419:2872309
1354:3988259
971:374–398
853:4821272
832:Bibcode
459:Keynote
382:Huygens
190:weather
132:ecology
67:Please
2810:Fluxus
2687:Glitch
2503:Danger
2441:genres
2345:
2306:
2291:
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2259:
2241:
2212:
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2200:Eds),
2198:et al.
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2078:
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1981:
1960:
1948:
1933:
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1333:Lancet
1283:(1/2).
1258:
1227:
1119:
1002:
977:
941:
916:
891:
860:
850:
788:
461:sounds
449:nature
425:sounds
373:Saturn
351:, and
182:animal
121:humans
3246:Sound
2921:Sonar
2498:Noise
2466:Drone
2335:2017
2326:2016
2319:2016
2298:2016
2279:2015
2265:2012
2247:2009
2235:Press
2189:2006
2136:2006
2098:2004
2049:2003
2036:2002
2006:1994
1988:1985
1969:1978
1925:1977
1912:1969
1881:S2CID
1812:S2CID
1732:S2CID
1482:S2CID
786:S2CID
628:Noise
377:Titan
335:, or
155:sound
2790:Dada
2631:Wave
2343:ISBN
2304:ISBN
2289:ISBN
2271:ISBN
2257:ISBN
2239:ISBN
2210:ISBN
2161:ISSN
2127:ISSN
2108:ISBN
2090:ISSN
2076:ISBN
2066:ISBN
2059:ISSN
2027:ISBN
1998:ISBN
1979:ISBN
1958:ISBN
1946:ISBN
1931:ISBN
1760:ISBN
1682:ISSN
1650:link
1632:PMID
1582:link
1553:link
1535:PMID
1500:link
1474:PMID
1442:link
1424:PMID
1377:link
1359:PMID
1256:ISBN
1225:ISBN
1149:2015
1117:ISBN
1050:link
1000:ISBN
975:ISBN
939:ISBN
914:ISBN
889:ISBN
858:PMID
2376:TED
2140:sic
1871:hdl
1863:doi
1804:doi
1724:doi
1674:doi
1622:PMC
1612:doi
1527:doi
1466:doi
1462:118
1414:PMC
1404:doi
1349:PMC
1341:doi
1337:383
1308:doi
1252:278
1113:312
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840:doi
776:hdl
768:doi
468:key
391:'s
223:or
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