How to record a soundscape and the ways of using that sonic material in practise is in the focus of this study. The basic question is: how to benefit from sound-scape studies for sound design? The uses of sonic elements in narrative are not in relation to their acoustic dimensions. Sounds are interpreted, constructed, and understood by individuals in communities. Accordingly, local knowledge about cultural and social meanings related to sounds should be taken into consideration. The question for the sound designer is thus: how can he connect with the acoustic community in order to achieve soundscape competence? The concept describes the knowledge that the listening individual has about the structure of the sound environment and the qualifications that give each sound a meaning. One of the achievements of the Finnish soundscape studies this far has been collecting descriptions and observations about the soundscapes from the people. The aim has been to explore the diversity of soundscapes connected to everyday life, work or holiday, different seasons, in urban and rural areas: our acoustic heritage. As a result there is a vast compilation of information not only about sound sources and soundscapes but also from their meanings and influences. The material for this study was collected during the One Hundred Finnish Soundscapes research project. Analyzing the data, different descriptions was found from sonic phenomena like wind, rain, thunder and habitats. The subjective perception defines the experience, not just the acoustic quality of the sound source - as there is a difference between wind, sea breeze, airstream or zephyr, as well as between gust and a whirlwind. The sense to define hues is important for a sound designer in editing process and in order to communicate with the others during the artistic process. The method that has been used is practice-based and practice-led research. This study consists of two productions which I have done together with a student group. These works should not been considered as independent artistic productions, but as material for the practise-based study. The first one is a representation of the historical soundscape of Viipuri in 1939. The theoretical part of the study sets forth the use of the characteristics of the sounds of a place. The other case is Hyperkuulo – a mobile radio play, which can be listened following a gps-route. During the soundwalk the participant is able to listen to soundscapes from the past, present and future. With a story, virtual and real places could be combined. The study concludes that gaining soundscape competence a sound designer gets a wider scope to edit his material, create different moods for atmospheres, transitions and acoustic spaces. With this competence the communication during the work flow gets easier.
|Translated title of the contribution||Maiseman äänittäminen. Äänimaisematutkimus äänisuunnittelun tukena|
|Publication status||Published - 2018|
|MoE publication type||G4 Doctoral dissertation (monograph)|
- sound design
- sound narrative
- sonic perception
- practice-led research