The Great Animal Orchestra
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Pythagoras, 19
Radiophonic Workshop, 122
rain forests
deserts compared to, 76
effect of weather in, 45–47, 133–34
recording sounds of, 11–12
sounds of, 9
types of, 75–76
rain sounds
effect of landscape on, 46–47
effect on human music, 133
as geophony, 39
in urban areas, 47
variations in, 46–47
and vegetation, 46–47, 133
rainsticks, 67, 133, 247–48
Rautavaara, Einojuhani, Cantus Arcticus, 145
recording equipment
for African water hole exhibit, 83–85
audiotape, 32–33, 185–86, 244
capsules, 52
digital recording systems, 33, 185–86, 204
geophones, 50–51
history of, 32–33, 211, 253
hydrophones, 41, 50, 59, 72, 95, 176, 177, 189
and listening, 15–16
and natural soundscapes, 31, 33
and noise, 159–60, 185
and sound fragmentation, 33–35, 248
and thunder, 46
and water sounds, 18, 41–42
and weather conditions, 48, 248
and wind sounds, 51–53
Reger, Max, 132
Reimann, Aribert, Lear, 149
reptiles, 5, 53, 63, 87, 98
reverberation
in cathedrals, 142–43
and echo, 29, 30
and landscape, 29, 37–38, 76
and noise, 166
of thunder, 46
Richtel, Matt, 221
Roché, Jean, 225
Rocky Mountain National Park, 196
Russell, Bertrand, 156
Russell Fjord, Alaska, 49–50
Sacks, Oliver, Musicophilia, 200
Sami people, 132–33
Samuel, Gerhard, 149
Sarno, Louis, 104, 130–32, 200, 235, 250
Savonarola, Girolamo, 141, 250
Schafer, R. Murray
on attraction to natural soundscapes, 219
graphic musical scores of, 87
on noise, 167–68, 169
Once on a Windy Night, 150
Patria series, 150
The Princess of the Stars, 150
“Snowforms” score, 88
on sound, 19
and soundscape as term, 26–27, 244
The Tuning of the World, 159
“Winter Diary,” 48–49
Schmidt, Bill, 195, 198
Scientific Research Program (SRP), 189–90
seasons, 27, 78, 210
Seeger, Pete, 109, 250
Selous Game Reserve, Tanzania, 95
Selvin, Joel, 123, 250
September 11, 2001, attacks, 171–72
Sequoia and King’s Canyon National Park, 183–84
Shepard, Paul, 219
shorelines, soundscape distinctness of, 41–45
Siberia, 213
signals
definition of, 65, 158
meaningfulness of, 161
signal exchange, 158
signal processing, 160
signal-to-noise ratio, 158
silence, 214–16
single-species method of recording, 33–35, 82, 86, 112, 137, 248
Sixth Extinction, 204–06
Sköldström, Björn, 162
Slabbekoorn, Hans, 191–92
Small, Christopher, 119
snapping shrimp, amplitude of sounds, 25, 96, 244
snow sounds, 47–49
Solomon, Derek, 28
sonar technology, 189
Sonoran Desert, 229
sound. See also acoustics
conceptualization of, 19–20
decoding, 64–65
definition of, 18–19
elements of, 19
sound-editing software, 18
sound fragmentation, 33–35, 248
sound-marks, 154
sound mirrors, 33–34
soundscape ecologists, 41–42, 249
soundscapes. See also natural soundscapes; spectrograms
baseline recordings for, 73–74
definition of, 26–27
of early humans, 125–28, 137
and ecological and musical literacy, 34–35
elements of, 39
fossil record of, 124–25
photographs compared to, 71–72
recording of, 28–30, 31, 33, 34–35
of shorelines, 41–45
totem soundscapes, 219
uniqueness of, 27–28
of urban areas, 122–23, 149, 174, 244
and weather changes, 68, 133–34, 210
and well-being, 219
Southern Sierra Miwoks, 144
Southworth, Michael, 244
species, extinction of, 201–06
spectrograms
and acoustic partitioning, 101–02, 249
and bandwidth of biophony, 94
of Borneo, 97–98, 98, 124, 212
of Costa Rica, 211, 213
effect of anthrophony shown in, 180–81, 180, 182, 188
as graphic musical scores, 87
of Kenya, 85–86, 86, 124, 248
of Lincoln Meadow, 69–71, 69, 71
Monacchi’s use of, 151–52
of Mono Lake, 178–79, 179, 180
of Sumatra, 211, 212
of Vanua Levu coral reef, 72–73, 72, 74
variations in structural biophonic density, 211, 212–13
Staines, Bill, 251
Stanley Park, Vancouver, 27
Stevens, Ted, 230–31, 254
Stewart, Martyn, 44, 225, 231
Stokowski, Leopold, 149
streams, soundscapes of, 45
Subotnick, Morton, 122
Sumatra, 60, 211, 212
synthesizers, 13, 22, 23, 109–10, 150, 218, 243
technology, engagement with, 221–22, 226
thermal mud pots, 50
Thomas, Michael Tilson, 149
Thompson, Emily, 253
Thompson, Howie, 197–98
thunder, 25, 46
Tilgner, Walter, 225
timbre, 18, 22, 23–24
tonal color, 26
totem soundscapes, 219, 225
tranquillity, 216–18, 226
tundra habitats, 76–77, 230–33
tuning forks, 21
Turnbull, Colin, 146
Turner, Jack, 214
Turner, William, 87
Tuvan throat singers, 133
ultrasound signals, 64
urban areas
acoustic noise in, 159, 173–74
rain sounds in, 47
soundscape of, 122–23, 149, 174, 244
U.S. Army Corps of Engineers, 40
U.S. Navy, 189–90
Ussachevsky, Vladimir, 122
Vanua Levu, Fiji
dying coral reef soundscape, 73, 74
live coral reef soundscape, 72–73, 72
vegetation
acoustics of, 27–28
corn-growing sounds, 58
and rain sounds, 46–47, 133
and reverberation, 38
vibrato, 103
Villa-Lobos, Heitor, Uirapurú, 145
Virunga Mountains, Rwanda, recording gorillas in, 54–56, 89, 113–14
visual cues, sound combined with, 18, 19, 160, 161, 167
visual noise, 170
Vitaphone, 34
Vivaldi, Antonio, 145
voice characteristics, 23
volcanic eruption, amplitude of, 25
Voyageurs National Park, 187
Wallin, Nils, 113, 244
Wallon, Henri, 126
Wallowa-Whitman National Forest, 36
water sounds
and acoustic feature of landscape, 41–44
and environmental changes, 44
as geophony, 39
and marine organisms, 5
–7, 39
in prehistoric time, 4
in rain forests, 76
recording of, 18, 41–42
replication of, 17–18
and white noise, 164, 165
Watson, Chris, 216–18, 225
Watt, James, 167–68, 191
weather changes
and acoustic features of landscape, 29–30, 45–48
effect on insects, 47, 250
and variations in soundscapes, 68, 133–34, 210
Weavers, 109, 249–50
whales
amplitude of sounds, 25
effect of anthrophony on, 188–91
hearing mechanisms of, 62
hearing range of, 22
moans and clicks of, 57
songs of, 30–31, 41, 115–17
ultrasound signals of, 64
White, Tim, 125
Whitehead, Alfred North, 156
white noise, 164–66
wildness
characteristics of, 214, 218
idealized notions of, 144–45
relationship to, 219–20, 223, 233, 234–35, 236
wild sound recording, in Muir Woods, 14–16
Wild Soundscapes in the National Parks, 197
Williams, Terry Tempest, Finding Beauty in a Broken World, 31
Wilson, Angus, 36–38, 208, 209
Wilson, Edward O., 204–05, 249
Wilson, Elizabeth, 207–09
wind sounds
in desert habitat, 76
as geophony, 39
and music, 133, 150
qualities of, 209
recording effects of, 51–53
in tundra habitat, 77
and white noise, 164, 165
Winter, Paul, Common Ground, 145
Woody, Elizabeth, 40–41
World Health Organization, 163, 252
World Listening Project, 225–26
World Science Festival, 204, 206
Wy-am tribe, 40–41, 165
Yanomami, 133
Yellowstone National Park, 30, 155, 187, 193–94, 196, 251
yoik, 133
Yosemite Valley, 144
Young, Don, 197, 198, 254
Yup’ik, 141
Zaire, 146
Zappa, Frank, 122, 123
Zheng, Weimin, 160–61, 251
Zimbabwe, 28–29
About the Author
Dr. Bernie Krause is both a musician and a naturalist. During the 1950s and ’60s, he devoted himself to music and replaced Pete Seeger as the guitarist for the Weavers. For more than forty years, Krause has traveled the world, recording and archiving the sounds of creatures and environments large and small. He has recorded more than fifteen thousand species and four thousand hours of wild soundscapes, over half of which no longer exist in nature, due to encroaching noise and human activity. Krause and his wife, Katherine, live in California.
The
GREAT ANIMAL
ORCHESTRA