These music excerpts are provide by Joel Chadabe of Ear to the Earth one of the institutions supporting the conference.
They were all part of the 100xJohn Collection in 2012, except the last two works which were part of the Ear to the Earth festival in the fall of 2010, the theme of which was water. We thank Ear to the Earth for providing these works and the composers for their generosity. The power of sound to raise awareness is an important consideration as we engage the challenges of climate change.
One of these music works will be played to begin each paper sessions through the conference.
1. Scene from Staten Island. This is one sound of many recorded by Joseph Kubera and Joel Chadabe in October 2011 throughout Staten Island, New York City.
2: Wet. Maggi Payne. March 2012. “The sounds are of water … dry ice bubbling in water, hydrophone recordings from the shallows of Tomales Bay, in northern California, percussive rain falling on an inverted galvanized steel bucket, a faulty washer in a faucet …”
3: Grande Ronde River. David Drexler, May 13, 2012. “This is the sound of the Grande Ronde River in eastern Oregon, recorded at Red Bridge State Park.”
4: Clearwater In Motion. Tom Beyer, October 8, 2010. “A short recording on the Clearwater Sloop during a sail in the Hudson River.”
5: Under The Delaware. Paul Geluso, 2012. “Here is a sound recording made from capturing the sound of the Delaware River at its headwaters in Delaware County, New York State. I used 2 mono-hydrophone microphones for left and right channels. Nothing more.”
6: Galgibaga Beach. Stephen Saldanha, June 2012. “The recording I’ve uploaded here is a short clip of a beach I visited on vacation to Goa, India, known as Galgibaga Beach. At the time all I had with me was my H4 handheld recorder, the waves were crashing onto the rocks that were close to the shore, I had climb up on them and get my recorder low as I could without getting any splashes so my recorder wouldn’t get ruined. It was just before sunset and was nice to end the day recording a lovely collection of sounds and then being able to watch the sunset as we walked back to our accommodation.”
7: Housatonic River. Annea Lockwood, 2008. “This is an excerpt from ‘A Sound Map of the Housatonic River’, an installation tracing the course of the Housatonic River from the sources in the Berkshire mountains to the river’s mouth at Milford, Long Island Sound. The excerpt starts in Connecticut at the confluence of the Pootatuck River and the Housatonic, Sandy Hook, and moves to Jackson Cove, underwater. I recorded at the surface and underwater, not from boats but along the riverbanks at many sites, thus mirroring the changing river-created environment. The energy flow of a river can be sensed very directly through the
sounds created by the friction between current and riverbanks, current and riverbed.”
8: A Poetic Microcosm. David Monacchi, 2012. “This recording was made in my recent trip to Borneo, the third phase of my long-term environmental sound-art project ‘Fragments of Extinction – Acoustic Biodiversity of World’s Primary Equatorial Rainforests’. This excerpt, presented as a pure unaltered recording, features the microcosm of a small pond — insects and seven species of frogs — in the balanced behaviour of its ecosystem. Note the intra-specific reciprocal calls of individuals and the inter-specific counterpoint of species.”
9: Alaska Biophony. Bernie Krause, 2006. Since 1968, Bernie Krause has traveled worldwide recording and archiving the sounds of creatures and environments large and small. Working at the research sites of Jane Goodall (Gombe, Tanzania), Biruté Galdikas (Camp Leakey, Borneo), and Dian Fossey (Karisoke, Rwanda), he identified the concept of biophony based on the relationships of individual creatures to the total biological soundscape within a given habitat. The image below is from the Arctic Soundscape Project, a field- recording trip in the late spring of 2006, initiated and led by Bernie Krause to document in sound the National Wildlife Refuge. This particular recording, titled Alaska Biophony, was done across from Glacier Bay. The sounds include Swainson’s thrushes, bald eagles, gulls, wolves, humpback whale breaths, and other creatures.
10: Confluence. Leah Barclay, May 2011. After exploring rivers around the world, Leah Barclay returned to Australia venturing deep into the ocean near the Colored Sands on the Cooloola Coast of Australia. This work revolves around Wolf Rock, one of Australia’s most distinctive and diverse aquatic landscapes and home to a large population of endangered Grey Nurse sharks. Richard Haynes plays bass clarinet.
11. Beagle Cove. Jo Hutton, 2010. “This is a natural recording of wild water, a cave filling up as the tide comes in. You can hear the change in acoustic which becomes tighter as the space grows smaller. There are loads of different textures of water, swooshing, swirling and gurgling through the tunnels at the back of the cave, slapping against its walls, and you can hear the open sea in the distance, the dramatic build up of a wave as it approaches and crashes through the mouth of the cave into the rocks inside, followed by quiet lapping, bubbling and broiling percussive riffs that appear as the wave recedes.”
12. Green Island. Joel Chadabe, 2005. “We were visiting a small island just off shore from Stonington, Maine, when I heard this sound of waves hitting a rock pattern and dropping down between rocks, creating what I thought was a fascinating water sound. So I recorded it. The low bass sound is from lobster boats far and near.