An environment of SOUND (or sonic environment) with emphasis on the way it is perceived and understood by the individual, or by a society. It thus depends on the relationship between the individual and any such environment. That will determine what constitutes a significant sound event or a musical sound and what is heard as noise.
The term may refer to actual environments, or to abstract constructions such as musical compositions and tape montages, particularly when considered as an artificial environment.
The study of the systematic relationships between humans and sonic environments is called SOUNDSCAPE ECOLOGY, whereas the creation, improvement or modelling of any such environment is a matter of SOUNDSCAPE DESIGN. All aspects of soundscape studies have been the concern of the WORLD SOUNDSCAPE PROJECT. Soundwalk: A form of active participation in the Soundscape. Though the variations are many, the essential purpose of the soundwalk is to encourage the participant to listen discriminatively, and moreover, to make critical judgments about the sounds heard and their contribution to the balance or imbalance of the sonic environment.
The definitions for Soundwalk and Soundscape are taken from "The Handbook for Acoustic Ecology", Barry Truax, published by A.R.C Publications,©1978
See definition at http://www.realambient.de/notlinking-e.html
Three five-minute unedited clips from recordings of contrasting soundscapes - for example, city centre/suburb/ countryside; One five-minute edited/mixed sequence condensing a longer period from one of the above; a written analysis of three respondents' interpretations of a soundscape recording; one of the following:
A recreation of a sound memory of (a) their own and (b) another person, with written analysis and discussion of an account of personal sound memories, especially in relation to community identity and personal sense of belonging
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