Transparent Listening: Soundscape Composition’s Objects of Study

Abstract

Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l'

Editorial

“…Other misconceptions about the WSP group itself have occurred. Most frequently we have been referred to as ‘students’ of Schafer, or less generously as a ‘clique’ (Demers 2010: 121) or ‘acolytes’ (Akiyama 2010: 59), instead of what we actually were: paid research assistants, obviously young, rather idealistic and not particularly well trained in environmental research. However, after the group disbanded when Schafer left SFU (1975) and a few years later funding was rather brutally terminated (Truax 1996b: 72), some of us developed the ideas further: Hildegard Westerkamp with soundwalking and composition (Westerkamp 2002), and myself in terms of acoustic communication and also composition.…”