Listening and soundmaking : a study of music-as-environment
Hildegard Westerkamp · Summit (Simon Fraser University) · 1988
The thesis argues that the existing delicate balance between listening and soundmaking in quiet environments is vulnerable to the influx of externally imposed "voices".It proposes that "music-as-environment"that is, music designed not to be listened to (traditionally called background music or Muzak), but piped into a location to accompany other, normally commercial activitiesis such a voice, and encourages "distracted" listening habits and silences our own voices.Proceeding from the soundscape and acoustic communication perspectives developed by R. Murray Schafer and Barry Truax, it argues that music-as-environment has a "schizophonic" effect on the human soundmaker/listener and thus dislocates him/her from the physical present and the self.A personal case study at the centre of the thesis demonstrates how during my own childhood music constituted an imposed voice that prevented the development of confidence in my listening and soundmaking capacity and later influenced the way in which I experienced music-as-environment and myself as soundrnaker/musician.The thesis builds on the writings of Attali (political economy) and Adorno (critical theory), both of whom provide a perspective on music in its social context.It also builds on the work of Deleuze and Kristeva who discuss culture and creative process from philosophical, psychoanalytic and serniological perspectives.The thesis argues that a balance between listening and soundmaking (sound input and sound output) is essential to the health of the human acoustic psyche, and that the perceptive immediacy of childhood and the cultural work of artists offer strategies by which such a balance can be regainedeven as contemporgry urban soundscapes attempt increasingly to erode it.It is suggested that the creative process is a balancing agent against an overload of sound input, and that one's own sound output or creative expression not only lessens the authority of externally imposed voices, but also offers a new voice of vitality and energy.iii frustrations with language and for giving me helpful editorial advice.My daughter Sonja has perhaps been my most important inspiration and source of information for this thesis.She has brought me in touch with an openness of perception, uninhibited expressiveness and physical presence that I had long forgotten.I have learned from her simply by living in her presence.Murray Schafer was the first person who taught me to trust my ears and inspired me to become deeply involved in the world of sound.I am grateful for having had the opportunity to work with him many years ago.My friend and colleague Barry Truax has never ceased to support me in continuing to work in the field of soundscape studies.His trust in my abilities has provided me with many opportunities at the university as well as in the cultural arena.As my supervisor for this thesis he has offered much valued support and encouragement I would also like to thank Martin Laba for keeping me "on my toes" by continually challenging my perceptions of music and sound.There have been a number of women friends who have had a healing, calming, and inspiring influence on me during this process.I would like to thank Susan Benson for showing me what it means to be present and to really listen.My voice instructor Dale Genge gave