Mus Ed 3855 Intro & Chapter 1 readings

Andrew Devoy

Shelemay, K. K. (2006). Soundscapes: Exploring Music in a Changing World. Retrieved from

https://digital.wwnorton.com/soundscapes3

The introduction to the Soundscapes text focuses on: identifying what soundscapes are by
definition, the circumstances which qualify soundscapes, and the notion that music is a
geographic traveller both regionally and culturally. The section that stood out to me in this
chapter was R. Murray Schafers World Soundscapes Project. I found the description of his
ambitious task inspiring and daunting at the same time. A massive goal to take on! I also enjoyed
David Hykes Harmonic Chant listening the most out of both the introduction and first
chapters. I had to listen to it twice to isolate the overtone drone being sung with a breathy,
whistle-like tone.
The first chapter to the Soundscapes text focuses on: the meaningful organization of
sound as music, the importance of culture in relation to the four main characteristics of sound,
and the live dynamic effects that musicians can manipulate during performances. I found the
listening Katajjaq on the syllable Hamma rather stressful to listen to. It sounded like
hyperventilation and it seems more exhausting than entertaining. The voiceless sounds from the
rapid breathing sounded almost percussive, like a Guiro or a washboard. I felt that this chapter
would be an excellent primer for a non-music audience because many of the terms and concepts

are recognized as fundamental to musicians. It was very easy to follow and understand, and
served as an effective review of basic rudiments.
Questions:

Which of the listenings did you enjoy best? Why?

Which of the listenings did you least enjoy? Did any of them bother you like the Katajjaq

for me? Why?

What other information can soundscapes give besides local sounds? What can certain
sounds tell us about the culture(s) in that area?