The Year 1 class at St Barnabas were given a talk about active listening, and the difference between active and passive listening.
They were then shown a Sound Map of the World in which you can hear recorded sounds from around the globe. We listened to sounds (recordings) from various places in the world, and the pupils described what they could hear. Lastly, the pupils were then sent out in small groups to capture sounds with hand-held recording devices, with the idea of collecting material for their own Sound Map of St Barnabas School.
Click on the map pointers to hear where the sounds were recorded. Or play from the SoundCloud list below.
From looking at frogs, listening to taps, and jumping off steps the children seemed to be lost in a world of sound...I think the railings are my favourite!
Here are the sounds in a SoundCloud list:
Friday, 17 January 2014
Friday, 10 January 2014
St Barnabas Sound Map 02 (Year 5)
Year 5 at St Barnabas took their turn at recording and mapping sounds in their school towards the end of 2013. Many took to the idea of an 'archive' in rather touching ways, leaving spoken testaments to their friends and introducing spaces and people vocally when they were in charge of the microphone. Although these poignant eulogies will be archived as part of the whole project, most of the intentionally narrated spoken aspects have been left out, because initially the idea is that all sounds are 'secret' (i.e. we don't know who the recordist is..), and that we are listening to the natural ambience, and naturally occurring sounds...
You can also listen to the sounds (on their own or mixed with the locations above) in the SoundCloud list below...
You can also listen to the sounds (on their own or mixed with the locations above) in the SoundCloud list below...
Friday, 2 August 2013
Working on...
What is music when it is beyond 'professional', marketable, and industrial reach? How can we discover more about ourselves, and our surroundings, through sound, and the simple act of field recording? How many people realise that the ability to create, rather than simply consume music, is literally in their hands (or head)?
Tuesday, 26 June 2012
St Barnabas Sound Map 01
Six months ago I won a small grant from the Student Community Grant to operate a project called ‘Secret Sound’. This project sought to archive sounds from all over Oxfordshire by getting the local population to submit audio clips from their ‘acoustic territory’, or daily routine. What struck me as I sought to promote this ideal, was how difficult it was to get people to think in terms of sound: as communication of identity, of personality, of history. One of the aspects of the project was to involve schools in documenting sounds from their areas. I decided to start at this level, in the hope that some of these principles could be understood.
Using the money from the Student Community Fund, I bought four Zoom H1 wav recorders, and some basic windshields. I wrote out a lesson plan based around two concepts: listening and recording, with special reference towards doing the two of these in various locations. The main idea was to get children into the idea of listening as a skill and as a creative (and practical) tool and act, rather than as something of a 'passive' sense. Also, they would be involved in creating something: a recording, a sound document. These recordings would later form a sound map – a process which would involve them with issues of geography, citizenship, creativity, identity, and of environmental awareness.
The session ran in the following way: after a brief talk about listening, and a few brief concept of recording, the class was split up into four groups. Each group was given a WAV recorder, and was then to go to different locations in search of an acoustic space, or a specific sound, which they would record. Later on we would have to work out where they had been, or what sound they had found and ‘captured’.
What was noticeable from my group and the other groups, was that the children were highly motivated to create and find their own sounds. As well as capturing the passive ambience of a location, the children were actively interested in ‘playing’ a location; the objects, the space, the acoustic properties relevant to it. During this part the groups worked as a team in choosing a location, or in selecting a sound from the location to record. They also worked together in ‘performing’ aspects of the location (for example multiple fingers tapping on a hollow metal pole in the school kitchen area, or activating the space in the school hall by calling out “ECHO, ECHO!” as they danced around in a circle).
When we listened back, the children were extremely keen to play their own sounds, as well as hearing and deciphering everyone else’s. Lastly I re-capped on what we’d done, on how they had managed to deduce all information from the sound only, and how listening in this way creates a unique imagery of its own, potentially more interesting than video footage, or other forms of visual documentation. The whole session lasted an hour and a half. Later, I edited a selection of the sounds and put them into the sound map above.
When testing the site, I was pleasantly surprised at how ‘alive’ the map sounds. That is down to the children themselves: their invention, their imagination, their ability to express so clearly. In times of intense textual communication and networking, and an overly–stimulated visual cortex, we really can express so much about ourselves, our lives, our preoccupations, simply with sound.
The sound map is above (click on the location pointers for sounds) and the sounds are as a list below
St Barnabas' Sound Map 01 by Secret Sound
Using the money from the Student Community Fund, I bought four Zoom H1 wav recorders, and some basic windshields. I wrote out a lesson plan based around two concepts: listening and recording, with special reference towards doing the two of these in various locations. The main idea was to get children into the idea of listening as a skill and as a creative (and practical) tool and act, rather than as something of a 'passive' sense. Also, they would be involved in creating something: a recording, a sound document. These recordings would later form a sound map – a process which would involve them with issues of geography, citizenship, creativity, identity, and of environmental awareness.
The session ran in the following way: after a brief talk about listening, and a few brief concept of recording, the class was split up into four groups. Each group was given a WAV recorder, and was then to go to different locations in search of an acoustic space, or a specific sound, which they would record. Later on we would have to work out where they had been, or what sound they had found and ‘captured’.
What was noticeable from my group and the other groups, was that the children were highly motivated to create and find their own sounds. As well as capturing the passive ambience of a location, the children were actively interested in ‘playing’ a location; the objects, the space, the acoustic properties relevant to it. During this part the groups worked as a team in choosing a location, or in selecting a sound from the location to record. They also worked together in ‘performing’ aspects of the location (for example multiple fingers tapping on a hollow metal pole in the school kitchen area, or activating the space in the school hall by calling out “ECHO, ECHO!” as they danced around in a circle).
When we listened back, the children were extremely keen to play their own sounds, as well as hearing and deciphering everyone else’s. Lastly I re-capped on what we’d done, on how they had managed to deduce all information from the sound only, and how listening in this way creates a unique imagery of its own, potentially more interesting than video footage, or other forms of visual documentation. The whole session lasted an hour and a half. Later, I edited a selection of the sounds and put them into the sound map above.
When testing the site, I was pleasantly surprised at how ‘alive’ the map sounds. That is down to the children themselves: their invention, their imagination, their ability to express so clearly. In times of intense textual communication and networking, and an overly–stimulated visual cortex, we really can express so much about ourselves, our lives, our preoccupations, simply with sound.
The sound map is above (click on the location pointers for sounds) and the sounds are as a list below
St Barnabas' Sound Map 01 by Secret Sound
Wednesday, 13 June 2012
Frideswide Square Sound Map : 'How To Exhaust A Place'...
What is the chord of a place? It may be unanswerable, but in investigating this question, I made various field recordings on repeated visits to a particular location: a traffic 'island' called Frideswide Square, in Oxford.
Click on a red map locator below to launch a sound file.
You can mix the sounds and 'play' the location using the red map locators above, and the Soundcloud list below...
Explore the map locators and their associated sound files above, then try mixing one of the sounds above, with one from the SoundCloud list below...
Frideswide Square: Sound Map by Laurence Colbert
If you are a composer, why make a sound map? It seems so passive, so un-related to music and composition. But the planning, the recording, the editing, the interacting with the site, and the sharing of the results in a world-wide medium, are just examples of a very pro-active process. And ultimately in my choices of location, objects, and surfaces to record, I am 'composing' my own sound image of a particular site. For example: I chose also to include some of the electromagnetic topography of the site, certain areas 'underneath' the site, resonant surfaces within the site, and physical 'movements' and gestures specific to the site itself.
New technology allows for new forms of composition. Satellite imaging, the increasing integration of sound into the Internet, and ever developing computer technology bring us closer to a simulacrum or hyper-reality of the world we currently live in. Right now, it is still all up for grabs. I made this sound map, to arrange recordings in a logical and relevant fashion. If these were all on a CD one might hear them in a certain way; but in making a sound map, one can move around the location itself, and explore it on the way that one wants to. You can also mix your own version using different aspects captured. It is a sound diary of the time I spent documenting this place, but also mapped and documented as movement and investigation around a particular area.
Click on a red map locator below to launch a sound file.
You can mix the sounds and 'play' the location using the red map locators above, and the Soundcloud list below...
Explore the map locators and their associated sound files above, then try mixing one of the sounds above, with one from the SoundCloud list below...
Frideswide Square: Sound Map by Laurence Colbert
If you are a composer, why make a sound map? It seems so passive, so un-related to music and composition. But the planning, the recording, the editing, the interacting with the site, and the sharing of the results in a world-wide medium, are just examples of a very pro-active process. And ultimately in my choices of location, objects, and surfaces to record, I am 'composing' my own sound image of a particular site. For example: I chose also to include some of the electromagnetic topography of the site, certain areas 'underneath' the site, resonant surfaces within the site, and physical 'movements' and gestures specific to the site itself.
New technology allows for new forms of composition. Satellite imaging, the increasing integration of sound into the Internet, and ever developing computer technology bring us closer to a simulacrum or hyper-reality of the world we currently live in. Right now, it is still all up for grabs. I made this sound map, to arrange recordings in a logical and relevant fashion. If these were all on a CD one might hear them in a certain way; but in making a sound map, one can move around the location itself, and explore it on the way that one wants to. You can also mix your own version using different aspects captured. It is a sound diary of the time I spent documenting this place, but also mapped and documented as movement and investigation around a particular area.
Wednesday, 7 April 2010
Music! Architecture!
What if we made music out of modules, phrases, in an open-ended fashion, rather than in a 'through-composed', 'written' sense? I made six such modules for xylophone, vibraphone and piano, based on the first few drum-rudiments; the idea being that one unit lasts for one bar, the next lasts for two, the third takes three bars to 'resolve', and so on up until a six-bar pattern. Each unit is multi-purpose, perhaps shifting in role from providing accompaniment to supporting the composition structurally.
Each player had a card with their part, and these instructions:
• When playing: fade in, and fade out sections.
• Inside of these fades, repeat your section for at least a minute.
• While playing, allow timbres to shift in slow curves by moving your sticks around on the playing surface of your instrument, and vary dynamics slowly. The piano may use pedals for this effect.
• After fading out there can be a brief pause before beginning a new section.
• If returning to a section for the second time in a performance you may play
up or down the octave.
(Fig. 1: Early versions of 'score-cards')
Our lives are shaped by architecture; and because the architecture of buildings reflect the aspirations of a society, I was curious to apply such 'constructivist' aspirations to music. I say 'constructivist' because I always feel that if a building is made with people in mind, it succeeds; it succeeds if people maintain a use for it, so if I was to make anything then it would have to be with this in mind. The way I see it, we are currently using modular, flexible methods of construction to create multi-purpose buildings- hence the above.
There's also a link to a (better sounding) ten-minute version recorded at OCM Open, The North Wall, 27/03/2010 here, with a relevant review here
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