This piece was a very unique and well-structured piece to listen to. Most of the numbers on the album start abruptly with a loud sound which sets in the entire scenery of the piece. Like, the second piece, for example, is in this very typical rural setting. Once you hear the train come in, the listener is put in a different position than in the first piece. In the second piece, the listener is not inside the train, but outside. Whereas the first piece creates an image that the listener is in the train itself.
Also, I was trying to draw parallels of the names of the numbers with how they sounded. Particularly, track number 6, where there is no audible sound of Chihuahua. However, noticing the quality of sounds, I can draw some similarities. The sounds are small in terms of dynamics but intense in terms of the colour.
The piece also makes clever use of stereo-imaging which helps set up a virtual world for the listeners and they get a visual (even though just by auditory senses) idea of where things are in space.
While reading Westerkamp's Speaking From The Inside Soundscape, I found myself relating things to my Dance Lab class I took back in J-Term. I found the narrative of the piece and the visual imagery of the soundscape that the reading offers very similar to what out Dance instructor, Travis was trying to make us do. We worked on blurring out the fine line between experiencing and imagining in class, and one of the things we did in class was the womb experience, which Westerkamp describes in Tape 7: Baby's voice inside a watery, composed soundscape. I tried to replicate as much as possible, so I went to the library, put my headphones on and listened to the underwater soundscape, and recordings of people underwater while sitting on a very comfortable sofa.
I'll try to include some of these sounds in my sound bank, but the trick will to figure out a way to record them.
Also, I was trying to draw parallels of the names of the numbers with how they sounded. Particularly, track number 6, where there is no audible sound of Chihuahua. However, noticing the quality of sounds, I can draw some similarities. The sounds are small in terms of dynamics but intense in terms of the colour.
The piece also makes clever use of stereo-imaging which helps set up a virtual world for the listeners and they get a visual (even though just by auditory senses) idea of where things are in space.
While reading Westerkamp's Speaking From The Inside Soundscape, I found myself relating things to my Dance Lab class I took back in J-Term. I found the narrative of the piece and the visual imagery of the soundscape that the reading offers very similar to what out Dance instructor, Travis was trying to make us do. We worked on blurring out the fine line between experiencing and imagining in class, and one of the things we did in class was the womb experience, which Westerkamp describes in Tape 7: Baby's voice inside a watery, composed soundscape. I tried to replicate as much as possible, so I went to the library, put my headphones on and listened to the underwater soundscape, and recordings of people underwater while sitting on a very comfortable sofa.
I'll try to include some of these sounds in my sound bank, but the trick will to figure out a way to record them.
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