April 2014



Field Studies 2014
14-17 April 2014
Deadline approaching - few places left

6 July 2014
Bernie Krause, Richard Blackford and Chris Watson
Barbican, London

The New Soundtrack journal
Issue 4.1 published March 2014

MUSARC presents
Cours de poetique

Deadline approaching - very few places left


14-17 April 2014

Sam Auinger
Michael Klïen
Claudia Molitor
Akio Suzuki and Aki Onda
David Toop
Joseph Kohlmaier
Stefan Kraus
Melanie Pappenheim

Field Studies is a four-day masterclass led by acclaimed international artists and composers, complemented by a programme of workshops, evening lectures, screenings and performances. First taught in 2010 and originally conceived as a field-recording course exploring sound in the context of architecture and the city, Field Studies attracts students from many different backgrounds due to the course’s eccentric curriculum and the people who teach it.

Field Studies is organised by Musarc, a research and teaching programme led by Joseph Kohlmaier at The Cass Faculty of Art, Architecture and Design, London Metropolitan University. Musarc explores performance and composition in relation to the creative process; investigates listening in the context of architecture and the city; and has at its heart one of London’s most progressive amateur choirs.

For information: http://field-studies.org

Musarc, Sir John Cass Faculty of Art, Architecture and Design
London Metropolitan University




Sunday, 6 July 2014
2:00 - 5:30 PM
The Barbican, Cinema 1

In conversation

Richard Blackford
One of the pre-eminent concert and media composers of the UK writing extensively for orchestra, choir, opera, theatre, film and television.

Bernie Krause
Bioacoustician, musician, environmental sound recordist and sound ecologist, studying the composition and interplay of sounds in natural soundscapes.

Chris Watson
One of the world's leading recorders of wildlife and natural phenomena whose work extends from film, tv and radio to sonic installations and filmic narratives.

The sonic realm of the living world consists of three essential acoustic sources: non-biological natural, non-human organisms and human-generated sound. Together in any combination, these sources make up what is known as the soundscape. Human acoustic cultural expression historically draws from the first two of these and has evolved from its wild origins into both music and language. This programme investigates the converging spheres of sound and music, from outdoors into the concert hall and the gallery.

In 2012, Richard Blackford and Bernie Krause began collaboration on a symphonic piece titled The Great Animal Orchestra: Symphony for Orchestra and Wild Soundscapes. By weaving natural soundscapes recorded by Krause and colleagues into the fabric and textures of orchestral composition by Blackford, the team will have come full circle to embrace the ideas that inspired earliest formulations of organised sound – music.

Chris Watson is best known for his field recordings for film, television and radio and received a BAFTA award for his contribution to David Attenborough’s Frozen Planet series. But his work is heard just as often in galleries, museums and concert halls as installations and composed soundscapes. Last year, as part of Benjamin Britten’s centenary celebrations in Aldeburgh, Chris composed In Britten’s Footsteps, a soundscape depicting the sounds Britten heard on his daily walks around his Suffolk home, played in concert with the composer’s solo cello works. This year, he has created Inside the Circle of Fire, an immersive sound map of his hometown, Sheffield. In all his work, Chris urges his audience to listen - and not just hear.

In a conversation illustrated with both graphic and audio examples, Blackford, Krause and Watson will discuss the backgrounds to their recent works and explore the nature of sound - how it is organised and how we perceive it, in the wild and in music.

Curated by the School of Sound
Booking details to follow shortly

The Great Animal Orchestra will be performed on 12 July at the Cheltenham Music Festival and broadcast live on BBC Radio 3. It will be performed again at the Aberystwyth Festival on August 2nd.




Issue 4.1

Published in March 2014
Scoring Film: The New Soundtrack Interview with Neil Brand
Steven Spielberg’s Jurassic Park: Sounding Dinosaurs
by Heidi Wilkins:
The Sound of Agnès Varda
by Roger Crittenden:
"Emil und die Detektive": Early German sound cinema aesthetic
by Maike Helmers
The believability of redubs and post-synchronised voices: Merging new voices with existing audio-visuals
by Svein Høier:
The sounds of space: Social space and social listening (Part 2)
by Tom Lock Griffiths

Go to Journal for the table of contents and subscription and submission details.





SOUNDSCAPE: The School of Sound Lectures 1998-2001

SOUNDSCAPE is the first compendium of the event’s presentations that investigate the modern soundtrack and the ways sound combines with image in both art and entertainment. Directors, sound designers, composers, editors, artists and theorists, define and interpret their personal use of sound from both traditional approaches and radical new perspectives.

See The SOS Book for details