Constructing Urban Space With Sounds and Music by Ricciarda Belgiojoso

By Ricciarda Belgiojoso

Whereas we're used to having a look round us, we're much less used to hearing what occurs round us. And but, the noises we produce show our lifestyle, and studying to grasp them is a need. This publication goals at drawing the reader's awareness to the sound of the city setting. the subject is through its very nature complicated, because it includes sounds and noises, city area and social actions. utilizing an interdisciplinary method, it examines an incongruous collection of experimentations from the domain names of song, paintings and structure. major case reviews of items of song, public paintings works and clinical learn within the box of city making plans are analyzed, investigating the equipment which have been followed and the aural approaches which have been generated. It then makes use of the findings to reconstruct the underlying theories and practices and to teach what should be drawn from those strategies utilized to city making plans. the final aim is to benefit to construct and increase house with sound, arguing that there's a have to re-evaluate structure and concrete making plans past the in simple terms actual, and to seem to the realm of the humanities and different disciplines. In doing so, the publication publications the reader towards a sensorial structure, and extra typically towards consciously developing environmental structure that is sustainable and connects with paintings and which diffuses a tradition of sound.

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It may be reproduced, without being varied, an infinite number of times. Compared to traditional, abstract music, conceived and written according to predetermined theories and then performed with musical instruments, concrete 1 Pierre Henry, Journal de mes sons (Arles: Actes Sud, 2004). 28 Constructing Urban Space with Sounds and Music music employs everyday sounds and noises, editing them with construction proceedings that are free from rules related to the ordinary notation system. In traditional music the idea comes first, then its expression and lastly its performance, going from an abstract idea to concrete realization.

5 This map may be easily read by professionals of different fields: architects, urban planners, sociologists, psychologists and musicians. It is in fact a form of representation suitable for an interdisciplinary language. , p. 131. M. Schafer, The Tuning of the World (New York: Knopf, 1977), p. 264. Used by permission of Random House, Inc. Another way to represent environmental sounds had been already been experimented by Michael Southworth in “The Sonic Environment of Cities”:6 a group of observers was asked to explore an open-air area and report the sounds they heard.

Paying attention to the sound of something and finding its source or cause, treating the sound as an indication of the cause that produces it. Ouïr refers to our perception through our ears, meaning the sound that reaches our ear. Entendre means manifesting an intention to listen, selecting what interests us. 5 3 The term acousmatics dates back to Pythagoras, who tutored his students from behind a screen, so as not to let his presence distract them from the content of his lectures. 4 Pierre Schaeffer, Traité des objets musicaux (Paris: Seuil, 1966).

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