The term refers to a kind of electroacoustic work, much of which was initiated by members of the World Soundscape Project (WSP) at Simon Fraser University. Environmental sound recordings form both the source material and also inform the work at all its structural levels in the sense that the original context and associations of the material play a significant role in its creation and reception.

In other words, soundscape composition is context embedded, and even though it may incorporate seemingly abstract material from time to time, the piece never loses sight of what it is 'about'.

The principles of soundscape composition are:

1. listener recognisability of the source material is maintained, even if it subsequently undergoes transformation;

2. the listener's knowledge of the environmental and psychological context of the soundscape material is invoked and encouraged to complete the network of meanings ascribed to the music;

3. the composer's knowledge of the environment and psychological context of the soundscape material is allowed to influence the shape of the composition at every level, and ultimately the composition is inseparable from some or all aspects of that reality;

4. the work enhances our understanding of the world, and its influence carries over into everyday perceptual habits.

Thus, the real goal of the soundscape composition is the re-integration of the listener with the environment in a balanced ecological relationship. (Source - Reworking of Barry Truax (2000). The Aesthetics of Computer Music: a questionable concept reconsidered. Organised Sound Vol. 5, No. 3. Cambridge: Cambridge University Press and (1996) Soundscape, Acoustic Communication and Environmental Sound Composition. Contemporary Music Review Vol.15, Part 1. London: Harwood Academic Publishers.)

Ce terme désigne un genre d'œuvres électroacoustiques dont beaucoup ont été créées par les membres du World Soundscape Project (WSP) de l'université Simon Frazer. Dans ces œuvres, les sons environnementaux enregistrés constituent le matériau sonore. Mais ils ont aussi un rôle très important dans l'élaboration des différents niveaux de structure de la composition de telle manière que le contexte original des sons et leur agencement ont un rôle significatif dans la création et la réception de l'œuvre.

En d'autres termes, la création de paysage sonore nécessite la prise en compte du contexte des sons. Bien qu'elle fasse aussi appel de temps en temps à des matériaux abstraits, l'œuvre ne perd jamais de vue le sujet qui lui a été donné. Les principes de la création de paysages sonores sont :

1. la reconnaissance du matériau sonore par l'auditeur est toujours présente, même si celui-ci subit des transformations ;

2. la connaissance par l'auditeur du contexte environnemental et psychologique du matériau du paysage sonore est conseillée et encouragé afin de renforcer le réseau sémantique de l'œuvre ;

3. la connaissance par le compositeur du contexte environnemental et psychologique du matériau du paysage sonore est autorisée afin d'influer sur l'évolution à tous les niveaux de l'œuvre au point qu'elle devient inséparable d'un ou de tous les aspects de cette réalité ;

4. l'œuvre met en valeur notre connaissance du monde et influence chaque jour nos habitudes de perception.

Ainsi, l'objectif réel de la création de paysage sonore est la réintégration de l'auditeur dans une relation écologique équilibrée à l'environnement. (Source - à partir de Barry Truax (2000). "The Aesthetics of Computer Music: a questionable concept reconsidered". Organised Sound Vol. 5, No. 3. Cambridge: Cambridge University Press et (1996) "Soundscape, Acoustic Communication and Environmental Sound Composition". Contemporary Music Review Vol.15, Part 1. London: Harwood Academic Publishers.)

Termine riferito a un genere di lavori elettroacusci, molti dei quali sono stati creati dai membri del World Soundscape Project (WSP) alla Simon Fraser University. Alla base dei lavori vi sono registrazioni di suoni ambientali, che fungono sia da materiale sonoro, sia da elementi che influenzano i livelli strutturali; questo perché il contesto originale del materiale influisce in modo importante sulla creazione e sulla recezione di un'opera. In altre parole, la Soundscape Composition è fortemente radicata con il contesto, e anche se in alcuni casi può incorporare materiali che possono essere astratti, essa non perde mai di vista la sua caratteristica principale.

I principi della composizione di paesaggi sonori sono i seguenti:

• deve essere mantenuta, all'ascolto, la riconoscibilità della fonte, anche se questa può subire delle trasformazioni;
• viene incoraggiata la conoscenza, da parte dell'ascoltatore, del contesto ambientale e psicologico del materiale del pasaggio sonoro, in modo da rinforzare la rete di significati semantici ascritta alla musica;
• è autorizzata la conoscenza, da parte del compositore, del contesto ambientale e psicologico del materiale del paesaggio, in modo da influenzare la forma della composizione a tutti i livelli, cosicché essa diventa inseparabile da uno o tutti gli aspetti di questa realtà;
• l'opera valorizza la nostra conoscenza del mondo e influenza quotidianamente le nostre abitudini percettive.

Il vero obiettivo della Soundscape Composition è di re-integrare, in una relazione ecologica equilibrata, l'ascoltatore all'ambiente (Fonte – adattato da Barry Truax (2000). The Aesthetics of Computer Music: a questionable concept reconsidered. Organised Sound Vol. 5, No. 3. Cambridge: Cambridge University Press and (1996) Soundscape, Acoustic Communication and Environmental Sound Composition. Contemporary Music Review Vol.15, Part 1. London: Harwood Academic Publishers.)

The term refers to a kind of electroacoustic work, much of which was initiated by members of the World Soundscape Project (WSP) at Simon Fraser University. Environmental sound recordings form both the source material and also inform the work at all its structural levels in the sense that the original context and associations of the material play a significant role in its creation and reception.

In other words, soundscape composition is context embedded, and even though it may incorporate seemingly abstract material from time to time, the piece never loses sight of what it is 'about'.

The principles of soundscape composition are:

1. listener recognisability of the source material is maintained, even if it subsequently undergoes transformation;

2. the listener's knowledge of the environmental and psychological context of the soundscape material is invoked and encouraged to complete the network of meanings ascribed to the music;

3. the composer's knowledge of the environment and psychological context of the soundscape material is allowed to influence the shape of the composition at every level, and ultimately the composition is inseparable from some or all aspects of that reality;

4. the work enhances our understanding of the world, and its influence carries over into everyday perceptual habits.

Thus, the real goal of the soundscape composition is the re-integration of the listener with the environment in a balanced ecological relationship. (Source - Reworking of Barry Truax (2000). The Aesthetics of Computer Music: a questionable concept reconsidered. Organised Sound Vol. 5, No. 3. Cambridge: Cambridge University Press and (1996) Soundscape, Acoustic Communication and Environmental Sound Composition. Contemporary Music Review Vol.15, Part 1. London: Harwood Academic Publishers.)

Este término se refiere a un tipo de obra electroacústica que fue iniciado, en gran medida, por los miembros del World Soundscape Project (WSP) de la Simon Fraser University. Las grabaciones de sonido ambiental forman la material prima y también nutren a la obra en todos sus niveles estructurales, de forma tal que el contexto original y las vinculaciones del material tienen un rol significativo en su creación y recepción.

En otras palabras, la composición de paisajes sonoros está integrada al contexto, y aunque pueda llegar a incorporar de vez en cuando material aparentemente abstracto, la pieza nunca pierde de vista su tema principal.

Los principios de la composición de paisajes sonoros son:

1. Se mantiene el reconocimiento del material original por parte del escucha, aún cuando dicho material sea luego transformado;

2. Se requiere del conocimiento del escucha acerca del contexto ambiental y psicológico del material del paisaje sonoro para completar la red de significados que se le asignan a la música;

3. Se permite que el conocimiento del compositor sobre el contexto ambiental y psicológico del material del paisaje sonoro influya sobre la forma de la composición a todo nivel, y principalmente, la composición es inseparable de algunos o todos los aspectos de aquella realidad;

4. La obra refuerza nuestra comprensión del mundo, y su influencia se expande alcanzando nuestras formas de percepción cotidianas.

Entonces, el objetivo real de la composición de paisajes sonoros es la re-integración del escucha con su entorno, en una relación ecológica balanceada.

(Fuente: adaptado de Barry Truax (2000), The Aesthetics of Computer Music: a questionable concept reconsidered. Organised Sound Vol. 5, No. 3. Cambridge: Cambridge University Press, y de (1996) Soundscape, Acoustic Communication and Environmental Sound Composition. Contemporary Music Review Vol.15, Part 1. London: Harwood Academic Publishers)