The Great Animal Orchestra

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by Krause, Bernie

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

 

 

 


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