He has composed and improvised pieces, CD works, installations, radio programs and most recently focused research into bioacoustics and climate change, recording communication sounds of insects, for instance. One individual that has made many site-specific works, including autonomous surround installations in natural soundscapes is David Dunn (b.1953). Outdoor music does still exist in parades, open-air concerts, street musicians and 'muzak' from stores, and through some artists experimenting once again outdoors, in urban and natural acoustic spaces. Slowly and in parallel, musical instruments were developed to create increasingly louder sound: from the steel frame and strings of the piano to the Wagnerian orchestra and singers to loudspeakers for rock concerts. Researchers in the field of soundscape studies, such as Schafer and his colleagues, deduced that a likely cause for music relocating was the increasing human-caused sound in the outdoors, from transportation: carriages, to trains, to cars, to planes from technology: of clamoring factories in the Industrial Revolution and from urbanization etc.

Only in the last few centuries has music increasingly moved indoors. Humans have likely played music outdoors and in various social functions since the beginning of music. Outdoors, Live Soundscape, Live Instrument The concepts of place and live versus pre-recorded sound were interesting to investigate as well.Д¬atch and Release: Field Recordings as Source for Instrumental Composition. The research results are detailed in four chapters, вЂњAnalysis ToolsвЂќ, вЂњFive CategoriesвЂќ, and two chapters on original compositions. Using these analysis tools and categories, I investigated examples within roughly the past sixty years of pieces that use field recordings as source for instrumental music, be it for transcription, score, background, or for live interaction. To investigate the main approaches I proceeded to analyze and categorize music of field recordings with instruments. This research paper contains a short introduction to the historical context of mimesis in music (vocal/instrumental and electro-acoustic) to provide the connection of current trends to the past.

The process and results of this piece prompted me to think and read more about mimesis in music, and how the two worlds of electro-acoustic/soundscape and instrumental music can combine. The first method I personally applied was to transcribe a field recording by ear for a mixed ensemble for Train, which simultaneously played the transcription with the original audio. The richness and variety of sound in field recordings has inspired numerous electro-acoustic and soundscape compositions, but what about the traditional composition realm? Is there a way to translate for and combine soundscapes with another medium? вЂњHow can field recordings be used as a source for instrumental compositions?вЂќ is the main research question under investigation here, which developed out of my creative pursuits in composing for instruments and field recordings.

Two worlds 2 nexus