Inizierà venerdì 22 al Castello di Beseno (Rovereto) il VII Simposio Internazionale FKL sul Paesaggio Sonoro.
Tag Archives: field_recording
Petite symphonie intuitive pour une paysage de printemps
Luc Ferrari – Petite symphonie intuitive pour une paysage de printemps (1973-74)
A review by Blue Gene Tyranny
A lovely work of electro-acoustic music by one of the French pioneers of musique concrète, “Petite Symphonie Intuitive Pour un Paysage de Printemps” (“Little Intuitive Symphony for a Spring Landscape”) recreates the composer’s experiences during a climb toward sunset on the Causse Méjean, a high plateau in the Massif Central, including his recollection of a shepherd’s flute and its reverberations across the landscape. The flute sounds and multiple echoes continue in changing musical modes throughout the piece (the tonic redefined by electronic drones), blending together with sounds of the countryside and conversational fragments from the human presence to create a beautiful sonic landscape of 25 minutes duration.
(((.foundsoundscape.)))
(((.foundsoundscape.))) is “a live radio collage of foundsound places to underscore your personal spaces”. It’s curated by Janek Schaefer and features 1000 different locations, by 100 different artists.
Foundsoundscape was inspired by the very first Digital Radio station in the UK, that simply played a recording of a rural location. Radio you could just leave running to add a peaceful ambience to your environment indoors. It heralded a new media paradigm, as digital broadcasting offered more capacity than requred for the first time, and that space needed filling. At the same time on TV, Channel 4 was broadcasting Big Brother live 24hours, and at night I loved to tune-in my analogue TV sets all over the house, and the shed, so I could hear the housemates gently sleeping as I worked through the night. Since then infomercials, and gambling TV have taken over, and I greatly miss that sense of real-time space, that does not demand your attention. Foundsoundscape quietly underscores your environment, by creating new ones from others.
Cities & Memory
Cities & Memory è l’ennesima mappa sonora dell’orbe terracqueo, ma è anche una delle più curate perché ha varie sezioni, ordinamenti e collezioni.
Cities and Memory is a global field recording & sound art work that presents both the present reality of a place, but also its imagined, alternative counterpart – remixing the world, one sound at at time.
Every faithful field recording document on the sound map is accompanied by a reworking, a processing or an interpretation that imagines that place and time as somewhere else, somewhere new. The listener can choose to explore locations through their actual sounds, or explore interpretations of what those places could be – or to flip between the two different sound worlds at leisure.
There are currently [dec 2014] more than 350 sounds featured on the sound map, spread over 23 countries.The sounds cover parts of the world as diverse as the hubbub of San Francisco’s main station, traditional fishing women’s songs in Lake Turkana, the sound of computer data centres in Birmingham, spiritual temple chanting in New Taipei City or the hum of the vaporetto engines in Venice.
The sonic reimaginings or reinterpretations can take any form, and include musical versions, slabs of ambient music, rhythm-driven electronica tracks, vocal cut-ups, abstract noise pieces, subtle EQing and effects, layering of different location sounds and much more.
The project is completely open to submissions from field recordists, sound artists, musicians or anyone with an interest in exploring sound worldwide – more than 60 contributors have got involved so far.
Cities and Memory takes its name and original inspiration from Italo Calvino’s book Invisible Cities, which explores how people can experience the same place in dramatically different ways.
Radio Aporee
Il progetto Radio Aporee ::: Mappe Sonore Collettive nasce nel 2006 con l’intento di sviluppare una cartografia sonora con geolocazione di suoni provenienti da vari ambienti, da quelli più o meno urbanizzati fino alla natura.
La mappa è qui. All’inizio si apre su un suono (cerchio rosso). Zoomate all’indietro fino a vedere altri cerchi rossi che indicano la locazione di altri suoni (vedi immagine sotto).
È possibile aggiungere altri suoni alla mappa cliccando sulla locazione dove si vuole piazzare il suono.
World Sound Mix
Il World Sound Mix mixa senza sosta suoni da tutto il mondo. I suoni provengono dall’archivio del FreeSound Project.
Organ of qwerty
Treasury of curiosities’ is a dream-state wandering through a sonic wunderkammer, a collection of curios, oddities, freaks, gems, and objects of wonder and beauty, a display intended to provide access to non-familiar listening experiences. Although divided into separate tracks, it is meant to be listened to as one continuous piece.
This is the work from the mind of John Hanes (composing, percussion) who is also a drummer when he’s not making electronic music. He also had the help of friends Cary Sheldon (voice) and John Schott (guitar) to produce this disconcerting and amusing album.
[notes from test tube]
Free download from Test Tube site.
Excerpt:
Suoni della natura su You Tube
You Tube si rivela ogni giorno più impressionante. C’è gente che carica ore e ore di field recording (che non pone nemmeno problemi di copyright).
Cercando “sounds of nature” (senza virgolette) questi video saltano fuori e se si mette anche la chiave -music (con il meno davanti), si eliminano tutte quelle sconcezze formate da suoni naturali con sopra nefanda musichetta ambient.
Occorre solo stare attenti alla frequenza di campionamento: alcuni, per risparmiare spazio e quindi tempo di caricamento, la riducono a 22050, ma altri riescono a tenerla a 44100 anche su video lunghi.
Visto il tempo di questi giorni, non ce sarebbe bisogno, comunque, a titolo di esempio, ecco 10 (dieci!) ore di pioggia e tuoni (magari l’estate prossima vi viene buono…)
Denoising Field Recordings
Interesting idea by Richard Reigner
Denoising Field Recordings documents an early attempt at using denoising-techniques in a creative and compositional manner. Instead of utilising noise-reduction-algorithms for their intended purpose (the restoration of damaged audio signals), these processes are applied to various field recordings of trains, streets, swimminghalls and public transport. Due to the fact that these recordings consist entirely of noises this operation transforms the originals into an uncanny hybrid of newly introduced processing artefacts, occasional silence and sporadically audible traces of the original field recordings. What kind of sound-aesthetics can emerge while denoising field recordings? Which audible parameters are able to resist this audio-erasement-process? How are these traces comparable to the visual remanences of Robert Rauschenberg’s erasure of a De Kooning drawing?
Denoising Field Recordings is released as a limited edition of see-through 12″ vinyl with an intruiging white-on-white cover designed by Hans Renzler. The digital version is available exlusively at Zero” (not free – must register to download).
Click here or here to listen to some results of applying noise reduction algorithms to noise.
Minimal States
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Thomas Carter has yet another musical project called Minimal States, where he explores ambient soundscapes based on collected samples and field recordings.
‘Like A Photograph‘ is the first set of a trilogy that Thomas intends to release on test tube.
This first work is heavily based on samples taken from the well known Fm3 Buddha Machine and CC field recordings taken from the Quiet American website. With 15 minutes spent with each piece – ‘Circadian Rhythms’ and ‘Stereopsis’ – Minimal States embraces the full spectrum of landscape generative ambient in its true form.
The second album in the trilogy is ‘Liberty Hoax’. Firmly based in the urban, developed and political world, far from the timelessness of the forest and natural world of the first album, it examines the vast, densely populated spaces of the inner-city and the physical and cultural wastelands that surround it.
Moreover, the album is concerned with the place of the individual amongst the masses, and with the concept of identity itself in a world where companies and the State have ever-increasing powers to access and regulate personal data. The album questions whether personal freedom is still a priority for governments and legislators, or if it is now merely a glass wall, a façade, or a mirage that will vanish when approached
Download the first part here and the second here.
Excerpts:
- from Like A Photograph
- from Liberty Hoax
Save Our Sounds
In a radio programme called Save Our Sounds, the BBC asked their listeners to upload sound recordings from where they live in order to create an audio map of the world.
Here is the call:
Help to create a snapshot of the world in sound!
We’re really excited about Save Our Sounds, but we need your help to create an audio map of the world. We’re especially keen to preserve endangered sounds for future generations.
You can get involved by sending us sounds from where you live, and then listen your way around the world with our interactive map.
Please upload your sounds onto our map.
Find out more about Save Our Sounds and follow our recording tips in order to collect the best quality sound.
So get recording and take us all on a journey through sound!
In this page you can listen to audio fragments from the whole world.
Ice sounds
Besides the ocean audio stream, the Alfred Wegener Institute has many recordings of underwater acoustic phenomena and ice sounds that you can listen from this page.
Among this materials, there are some sounds caused by the icebergs whose origin is not yet known. Click the image.
PALAOA
The hydrophones of German Alfred-Wegener-Institut transmitting live from the Ocean below the Antarctic Ice in the Atka Bay. This project is called PALAOA (PerenniAL Acoustic Observatory in the Antarctic Ocean) that means “whale” in Hawaiian.
Click here for mp3 audio stream.
Please note, this transmission is not optimized for easy listening, but for scientific research. It is highly compressed (24kBit Ogg-Vorbis), so sound quality is far from perfect. Additionally, animal voices may be very faint. Amplifier settings are a compromise between picking up distant animals and not overdriving the system by nearby calving icebergs. So you might need to pump up the volume – but beware of sudden extreamely loud events.
There is also a webcam showing images like this one (click to enlarge)
Symphonies of the Planets 1
In the August and September 1977, two Voyager spacecraft were launched to fly by and explore the great gaseous planets of Jupiter and Saturn.
Voyager I, after successful encounters with the two, was sent out of the plane of the ecliptic to investigate interstellar space.
Voyager II’s charter later came to include not only encounters with Jupiter (1979) and Saturn (1981), but also appointments with Uranus (1986) and Neptune (1989).
The Voyagers are controlled and their data returned through the Deep Space Network, a global spacecraft tracking and communications system operated by the JPL for NASA.
Although space is a virtual vacuum, this does not mean there is no sound in space. Sound does exist as electronic vibrations. The especially designed instruments on board of the Voyagers performed special experiments to pick up and record these vibrations, all within the range of human hearing.
These recordings come from a variety of different sound environments, e.g. the interaction of the solar wind with the planet’s magnetosphere; electromagnetic field noise; radio waves bouncing between the planet and the inner surface of the atmosphere, etc.
In 1993 NASA published excerpts from these recordings in a set of 5 CD (30 minutes each) called Symphonies of the Planets (now out of print).
This is the CD 1.
- Voyager recordings – Symphonies of the Planets 1
The Vancouver Soundscape
The World Soundscape Project (WSP) was established as an educational and research group by R. Murray Schafer at Simon Fraser University during the late 1960s and early 1970s. It grew out of Schafer’s initial attempt to draw attention to the sonic environment through a course in noise pollution, as well as from his personal distaste for the more raucous aspects of Vancouver’s rapidly changing soundscape. This work resulted in two small educational booklets, The New Soundscape and The Book of Noise, plus a compendium of Canadian noise bylaws. However, the negative approach that noise pollution inevitably fosters suggested that a more positive approach had to be found, the first attempt being an extended essay by Schafer (in 1973) called ‘The Music of the Environment’, in which he describes examples of acoustic design, good and bad, drawing largely on examples from literature.
Schafer’s call for the establishment of the WSP was answered by a group of highly motivated young composers and students, and, supported by The Donner Canadian Foundation, the group embarked first on a detailed study of the immediate locale, published as The Vancouver Soundscape, and in 1973, on a cross-Canada recording tour by Bruce Davis and Peter Huse, the recordings from which formed the basis of the CBC Ideas radio series Soundscapes of Canada. In 1975, Schafer led a larger group on a European tour that included lectures and workshops in several major cities, and a research project that made detailed investigations of the soundscape of five villages, one in each of Sweden, Germany, Italy, France and Scotland. The tour completed the WSP’s analogue tape library which includes more than 300 tapes recorded in Canada and Europe with a stereo Nagra. The work also produced two publications, a narrative account of the trip called European Sound Diary and a detailed soundscape analysis called Five Village Soundscapes. Schafer’s definitive soundscape text, The Tuning of the World published in 1977 [trad. it. “Il Paesaggio Sonoro”, Ricordi/Unicopli], and Barry Truax’s reference work for acoustic and soundscape terminology, the Handbook for Acoustic Ecology published in 1978, completed the publication phase of the original project.
Excerpts from The Vancouver Soundscape 1973:
The WSP group at SFU, 1973; left to right: R. M. Schafer, Bruce Davis, Peter Huse, Barry Truax, Howard Broomfield
Ocean & Cricket Music
Walter De Maria (nato ad Albany, in California, nel 1935) è uno dei principali esponenti della corrente artistica detta Land Art alla quale è passato dopo un’iniziale esperienza di scultore nell’ambito della Minimal Art (alcune sue opere di questo periodo, come “Balldrop” del 1961, si trovano al Guggenheim Museum di New York).
Tra gli anni ‘60 e ‘70 inizia a intervenire direttamente sul territorio con le sue monumentali earth sculptures: nel 1968, per esempio, disegna con la calce delle linee parallele all’interno del Mojave Desert, in California, mentre nel 1977, in occasione di documenta, la grande rassegna di arte contemporanea che si svolge a Kassel, in Germania, ogni cinque anni, fa penetrare nel terreno un’asta metallica per un chilometro.
La sua opera più famosa, però, rimane senza dubbio “The Lightning Field” (1977): in questa monumentale installazione posta in un angolo remoto del deserto del New Mexico De Maria cerca la complicità della natura per mettere in scena un evento sempre straordinario. Dopo aver conficcato in verticale nel terreno 400 pali metallici appuntiti su un’area di circa 3 chilometri quadrati, ne sfrutta l’effetto-parafulmine durante i temporali raccogliendo e moltiplicando la potenza dei fulmini a servizio di un grandioso spettacolo di luce (nell’immagine).
[da Wikipedia]
Non tutti sanno, però, che De Maria ha anche firmato alcune opere sonore in cui lui stesso suona la batteria e la mixa con field recording, ora disponibili su UbuWeb.
Sounds of Everglades
Sempre nel campo del field recording, ecco Sounds of the Everglades, una cassetta di circa 30 minuti registrata nelle paludi della Florida. Nel 1990 era in vendita a $3.99.
Tropical Rain Forest
Il titolo dice tutto. Quello che vi propongo oggi è un esempio di field recording che risale al 1986.
Si tratta di una registrazione di 22 minuti, effettuata in una foresta tropicale (dai suoni si direbbe localizzata in America del Sud, prob. Brasile), distribuita negli anni ’80 su cassetta da Moods Gateway Recording. Nessun trattamento, né montaggio sembra essere stato fatto. La qualità è quella dei registratori portatili a nastro dell’epoca, comunque buona, qui digitalizzata e convertita in mp3 a 128 kbps.
La varietà dei suoni e delle loro combinazioni è fantastica. La potete ascoltare in streaming o scaricare in mp3 (att.ne: è circa 21 Mb).
NB: attualmente esistono vari cd con questo titolo disponibili via internet. La registrazione non è questa. Questa non è più in distribuzione. Spesso quelle attuali sono registrazioni di sottofondo con musichetta applicata sopra, oppure sono divise in brani (uccelli, animali vari, indigeni, etc). Qui, invece, c’è la registrazione della foresta, pura e semplice, con la pioggia che va e viene, per 22 minuti.
Loci_
Loci_ is another audio-visual project by Blake Carrington.
“Loci_” is a series of prints generated by a custom sound-to-image visualizer. Audio field recordings are fed into the system, then manipulated into abstract imagery that brushes against architectural and topographic representation. The project deals with perceptual analogues to the conversion of audiovisual data, and is motivated by a statement from R. Murray Schafer: “All visual projections of sounds are arbitrary and fictitious”.
The author is currently working on re-writing the Max/MSP/Jitter patch to accommodate a much larger physical scale. The imagery is created in real-time and relies much on feedback loops of matrix data to create the forms. Possible developments for the future include vinyl mural prints and audiovisual performance with widescreen high-definition projection.
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Suomenlinna Ornithological Society
At the core of “Suomenlinna Ornithological Society” is the invention of new bird species with electronic birdsongs. The concrete sources of these birdsongs are samples taken from a Suomenlinna museum film about the history of the island. Explosions, cannonball whistles, and grisly vocal narrations are re-shaped into the rhythms, timbres and frequencies of birdsong. This transformation references the Electronic Voice Phenomenon (EVP), a supposedly paranormal occurrence where voices of the dead are heard via electronic technology.
The project has thus far been realized in three different forms:
- The Society’s Website archives the invented bird species as well as a number of real species found in Finland. A curious presence can also be detected by the inquisitive visitor.
- An “electro concrète” remix of the archive was commissioned by MUU Gallery for their net radio series Audio Autographs. This is an excerpt from the upcoming full-length album titled Ghost Cycle~, to be released under the moniker Suomenlinna Ornithological Society.
- Three small audio devices were created with the Arduino board + Waveshield by Adafruit Industries. These devices were placed in trees and gun shafts in the environment, playing the artificial birdsongs.
Project by Blake Carrington
Blake Carrington is an artist based in New York, exploring the interstices of geography and phenomenology. He recently completed residencies at HIAP in Helsinki and Atlantic Center for the Arts with Carsten Nicolai, and received an MFA in the Department of Transmedia at Syracuse University. With his two collaborators in the artist group Avalanche Collective, he co-founded Urban Video Project, a public arts initiative that used the post-industrial landscape of Syracuse as context for multimedia projections. Before coming to New York he lived in Japan for two years, working for the Japan Exchange and Teaching Programme.
View more work at http://blakecarrington.com
Vaporetti e orologi
Dopo una visita alla Biennale di Venezia, Andreas Bick ha composto un brano formato unicamente dai suoni dei vaporetti. I vaporetti sono una parte fondamentale del paesaggio sonoro veneziano e spesso sono vissuti con fastidio (io li chiamavo “grande sforzo, piccolo movimento”), ma qui diventano una sogente sonora ricca e interessante.
- Andreas Bick – Venice Vaporetti
David Fungi
Qualche novità dalla netlabel test tube. Per una volta c’è un italiano.
David Fungi, from Varese, Italy, is clearly inspired by nature. Field recordings pop up from the initial sounds of “aal_sentieri”, blended with synthetic and metallic electronic sounds which produce the kind of ambience one might recognize from William Basinski. It is this razor edge that defines the strong personality of this recording. Even though “Aal_sentieri” is ambient music, it is also restless, menacing, provokes the listener and gives him a sense of travelling through a mysterious and dark forest. As the piece unfolds through its 23 minutes, the sound layering becomes more complex, while one can only guess the origin of the animal noises underneath. When the path comes to an end, a climax appears in the last 4 minutes, first with a burst of industrial noise and finally an orchestral and cinematic climax, finishing the track. “aal_sentieri” leaves the listener in the company of silence, which in a strange kind of way almost works as a reverberation of the track. It is not easy to capture one’s imagination like this, but David Fungi has that skill to mix disparate sounds in a coherent manner, making “aal_sentieri” a fine and peculiar release.»
[César A. Laia]
L’album è liberamente scaricabile qui.
- David Fungi – aal_sentieri
Ornitologia e musica
Updated 20150604
Tanto per restare in campo ornitologico e ascoltare un po’ di di Messiaen, godetevi questa Grive-Musicienne tratta dai Petites esquisses d’oiseaux del 1985 per pianoforte solo (grive musicienne = Turdus philomelos, è il Tordo bottaccio; vive in tutta Europa, Asia, Africa del nord ai margini di boschi e foreste ed è chiamato philomelos non a caso; ecco il canto originale di cui potete vedere anche il sonogramma, entrambi tratti da xeno-canto).
È incredibile come i canti degli uccelli si possano sentire chiaramente in questo pezzo, come se fossero riprodotti pari pari e nello stesso tempo il brano sia costruito e sviluppato con grande coerenza.
Sentite come i brevissimi frammenti del canto del tordo vengano trattati come dei moduli tematici e sviluppati sia dal punto i vista melodico che ritmico.
Nathan Carterette, pianoforte.
Canti degli uccelli d’Europa (e non)
Updated 20150604
Come ultimo post del 2007, vi segnalo questi siti che contengono canti di uccelli europei e non, registrati sul campo.
I formati sono wav a 8 bit, SR 22050 e MP3.
I siti sono belli è contengono molto materiale, anche se, ad essere sincero, non capisco perché usare un formato come wav a 8 bit, SR 22050. Suppongo per risparmiare spazio, ma il fatto è che un mp3 a SR 44100 e 128 kbps è più piccolo e ha più banda.
Infine, tanto per fare qualche esempio, ecco qualche uccellaccio esotico: il canto della Sariama cristata, e quello, giustamente malinconico, del Passero marittimo (Ammodramus maritimus nigrescens, vedi figura) ormai estinto.
I siti sono:
Suoni e Canti degli uccelli d’Europa contiene anche i sonogrammi e una sezione dedicata agli uccelli rari
Al posto di quello sotto, che ora è dedicato all’osservazione ma non ospita più i canti, vi metto un altro sito molto ricco (segnalato da Simone B.):
Fuglelyder (birdsongs and calls; norvegese, ma con nome scientifico in latino; praticamente gli stessi file, ma in mp3)
Sonic Map of Battersea Park
The Sonic Map of Battersea Park is a Web based piece of audio art, created in search for new and innovative ways of using audio on the Web. It integrates the technology of Flash and a notion of soundscape navigable in a Web browser. It aims to transport an Internet user to the London park to experience its complexity, cosmopolitanism, vibrancy and sense of enjoyment, using sound clips and minimal graphics. It also challenges the user to explore new ways of navigating a web space, by using a sense of hearing instead of vision.
Realized by Gaya Gajewska
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Molto bella questa mappa sonora di Battersea Park (Londra). Bella perché di solito nella mappe sonore ci si limita a collegare delle registrazioni a dei punti su una mappa geografica per dare all’ascoltatore un’idea realistica dell’ambiente.
Qui, invece, non c’è alcun ambiente realisticamente ricostruito, se non sotto l’aspetto sonoro. Si sente quello che accade, ma non lo si vede. L’ascoltatore si muove in un ambiente buio da cui emerge una moltitudine di eventi sonori che suggeriscono l’atmosfera di un parco. Ma non si vede mai nulla e così l’ascoltatore è invitato a costruirsi un paesaggio mentale orientando il microfono verso le sorgenti sonore e camminando attraverso il parco.
Bello anche l’effetto stereo.
L’idea è analoga alla Dark Room realizzata dal sottoscritto, con l’aiuto di Lemi, per Verona Risuona 2006. Anche là una stanza buia in cui spuntavano suoni dal nulla, con gli ascoltatori invitati a “farsi il proprio film”.
Attenzione: quando la mappa si avvia, la prima cosa da fare è cliccare con il mouse nella finestra nera, perché a volte l’oggetto non si attiva da solo e bisogna farlo anche ogni volta che si rientra dopo avere eventualmente cambiato finestra.
I punti bianchi, fermi o in movimento, sono sorgenti sonore. Per muovere il cerchio rosso, che è il microfono, si usano le frecce, non il mouse. Le frecce sin/des (←→) orientano il microfono sul cerchio, mentre quelle alto/basso (↑↓) lo fanno avanzare nella direzione in cui è orientato (un po’ come guidare l’auto).
Altre info su questa realizzazione di Gaya Gajewska
Mappa sonora di Colonia
Questa mappa sonora di Colonia è appena iniziata (solo 3 samples attualmente), ma promette molto bene, grazie anche al collegamento con Google Maps che consente di vedere la locazione dei campionamenti.
This Soundmap of Cologne has just started (currently there are only 3 samples), but works well and embed Google Maps to show the sound samples locations.
SoundTransit
SoundTransit è un interessante sito che propone viaggi (ad occhi chiusi) attraverso concatenazione di file audio. Il sito si inserisce nel filone soundscape e raccoglie registrazioni di suoni ambientali sia esterni che interni inviate dagli utenti di tutto il mondo.
A questo punto si può sia frugare fra i file audio, tutti corredati di note, luogo e dati di registrazione (più di 700 alla data di questo post), che definire un percorso che collega due luoghi mediante il montaggio in dissolvenza di file sonori.
Un’idea carina che mostra come trarre qualcosa di originale da un semplice archivio.
Sound Seeker
Avete presente le webcam? Quelle simpatiche videocamere che ci permettono di vedere in tempo reale qualche luogo lontano combinando il fascino tecnologico del delirio da onnipresenza con il piacere del voyerismo?
Bene. Adesso, per iniziativa del World Forum for Acoustic Ecology (WFAE) e della sua sezione di New York (NYSAE), abbiamo anche un equivalente acustico. Il progetto Sound Seeker, per ora limitato alla città di New York, consiste in una serie di microfoni piazzati in vari punti della città che l’utente può selezionare ricevendo uno stream audio in presa diretta.
Il sistema è stato sviluppato in collaborazione con Google Maps le cui immagini vengono utilizzate come sfondo su cui sono posizionate le icone dei microfoni da selezionare.
Il WFAE esiste in forma di associazione non-profit dal 1993 e si occupa del monitoraggio dei paesaggi sonori del pianeta e dello studio dell’influenza umana su di essi. L’associazione nasce dallo sviluppo dell’ormai famoso WorldSoundscape Project che per primo si è sforzato di studiare a fondo gli ambienti acustici ed elevare il livello di attenzione sul loro stato.