Soundscape 02

DESIGNER / ViVo Creative Design Team.
Soundscape 為聲音加上景觀(風景)的合成字,翻成中文可稱之為「聲音景觀」或「聲音風景」簡稱為「音景」,在 1960 年代末期 1970 年代初期由加拿大作曲家 R . Murray Schafer創立了一個以教育以及研究為主的「世界音景計畫(The World Soundscape Project; W.S.P.)團體」,其主要目的為企圓描繪環境中噪音污染之情況,但藉由聲音的分析發現,除了負面的噪音衝擊的影響外,還發現其實環境中存在的聲音有些尚具正面的價值,例如:自然的聲音、文化的聲音等, Schafer更將這些聲音稱之為「環境的音樂( The Music of the Environment) ( Schafer,1973 ; 1977a )。

Soundscape is a composite word of sound plus landscape (landscape). Translated into Chinese, it can be called "sound landscape" or "sound landscape" simply called "soundscape". It was written by Canadian composer R. Murray in the late 1960s and early 1970s. Schafer founded a "World Soundscape Project (The World Soundscape Project; WSP) group" focusing on education and research. Its main purpose is to describe the noise pollution in the environment. However, through sound analysis, In addition to the impact of negative noise impacts, it was also discovered that the sounds in the environment have positive values, such as natural sounds, cultural sounds, etc. Schafer called these sounds "The Music of the Environment" of the Environment) (Schafer, 1973; 1977a).

1973年加拿大的音景調查持續進行,同年出版了"The Vancouver Soundscape"一書,詳細介紹音景的研究(Schafer and Westerkamp ,1973 )。1975 年針對瑞士、德國、義大利、法國、以及蘇格蘭等五個地區展開「五村音景調查」,並將其分析結果於 1977 年出版" Five Village Souodscape(五村音景)”一書,為音景研究的經典之作 ( Schafer,1977 )。由該書中可知音景不但包括人工音及自然音,更進而包括了「歷史的記憶」,亦即探索了「本世紀初同樣的鐘聲其可聽範圍」,現在和歷史的兩條不同「等音線」,也可能是用來界定教堂「祭杷圈」的重要指標,因此音景也涵蓋了「記憶音」、「意像音」、「文化音」及「社會音」。

In 1973, the Canadian soundscape survey continued. In the same year, the book "The Vancouver Soundscape" was published, which introduced the study of soundscape in detail (Schafer and Westerkamp, 1973). In 1975, the "Five Village Soundscape Survey" was launched in five regions including Switzerland, Germany, Italy, France, and Scotland. The analysis results were published in the book "Five Village Souodscape" in 1977. It is a classic of soundscape research (Schafer, 1977 ). It can be seen from the book that the soundscape includes not only artificial sounds and natural sounds, but also "historical memory", that is, an exploration of "the audible range of the same bell at the beginning of this century." There are two differences between now and history. "Isophonic line" may also be an important indicator used to define the "sacrifice circle" of the church, so the soundscape also covers "memory sound", "image sound", "cultural sound" and "social sound".