The non-verbal narrative of soundscape and music
Haku Sungho & Vincent Chomaz
18:30 @ GlogauAIR
Life on Earth cannot possibly exist without sound. Every element (whether living or inanimate) has the potential to produce noise, since it is inherent to the physical matter of their bodies and their natural interaction with their context.Therefore, sound can be understood as an underlying condition of life, an inescapable by-product of being alive.
Attending to this fact, the term soundscape was first coined in 1977 by the Canadian composer and environmentalist Murrey Schafer, referring to all of the different sounds that can be heard in any given environment. Later on, Bernard L. Krause identified three terms to define the general sources of sound that occur within a soundscape – biophony (biological sounds from microscopic to megafauna), geophony (sounds generated by non-biological natural sources such as wind or running water) and antropophony (sounds generated by humans).
Natural soundscapes are key to understanding human environment and cultural development, with regards to languages, physical expressions such as dance and most importantly - music.
Being not only a part of the very construction and interpretation of social and conceptual relationships and an important component of modern-day soundscapes, music has also always been part of the fabric of everyday life, much like soundscape.
Although the concepts of soundscape and music have been tendentially seen by academics as clearly separated, contemporary artistic and musical practices have been fostering this interconnectedness. Binding them together is not so much the technique, rather than the potential to express a given identity by means of a non-verbal narrative, offering the audience the universal opportunity to feel solely by hearing.
Vincent Chomaz is a Berlin-based interdisciplinary artist working primarily with audio, installation, and text as a base for social commentary and immersive experiments. His artistic practice ties together history, fiction, and language to explore elements of the collective and individual unconscious.
Haku Sungho practices music composition and visual art projects, and has been trying to find his proposition with others in new dimensions suggested by his ontological existence. In the process of practicing his performances in Tokyo, Yokohama, Seoul, Busan, Hong Kong, London and other cities, he has perceived his identity as a drifter and felt ambiguous station without firm emotional roots to his origin thus being distanced from the community and people he encounters.
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