On February 1, 2017 it was my great pleasure to introduce the new issue of a newly formatted WFAE Quarterly News announcing the launch of the organization’s rebuilt website, an active blog, and the publication of the WFAE’s first digital journal, Soundscape: The Journal of Acoustic Ecology, Volume 15.
The April-June edition of World Forum for Acoustic Ecology (WFAE) News Quarterly is now online. My “President’s Report” updates readers about publication of the next Soundscape: The Journal of Acoustic Ecology, and previewed some of the many exciting events concerning artistic and technological responses to impending disasters concerning water and climate at the Balance-Unbalance 2015 conference in Tempe, Arizona.
My President’s Report for the year-end issue of the World Forum for Acoustic Ecology (WFAE) Quarterly News has been published. This issue includes “Teaching Sound and Listening: Auditory Experiments”, a feature article by Leonardo Cardoso and a research/project report “Mapping the Sounds of Collections: Listening to Museums and Archives” By John Kannenberg. My report provides a updates on this year’s WFAE conference in Canada and Portugal and the next issue the WFAE’s annual Soundscape: The Journal for Acoustic Ecology.
The WFAE Quarterly News is a supplement to Soundscape: The Journal for Acoustic Ecology, the annual print journal the WFAE publishes, and serves as a way to make available in a timely manner, news, events, opportunities, and announcements from the WFAE Board, WFAE Affiliates, and other sources of interest to those in the field of acoustic ecology. Please visit to learn what this diverse community and field of artistic, scientific, and educational activity is about.
This week I finished my President’s Report for the year-end issue of the World Forum for Acoustic Ecology (WFAE) Quarterly News. Please visit to learn what this diverse community and field of artistic, scientific, and educational activity is about.
This issue includes “Misconceptions of a Silent North”, a feature article by Carmen Braden and a research report, “Thoughts on Cinematic Silences and Visual Narratives” by Dr. Isabelle Delmotte.
This online newsletter is a supplement to Soundscape: The Journal for Acoustic Ecology, the annual print journal the WFAE publishes, and serves as a way to make available in a timely manner, news, events, opportunities, and announcements from the WFAE Board, WFAE Affiliates, and other sources of interest to those in the field of acoustic ecology.
It was a sweltering evening at The Church Restaurant, in Stratford, Ontario on 2013 World Listening Day, where my friend Sabine Breitsameter and I had the honor of joining R. Murray Schafer, his wife Eleanor, and a large group of a hundred people in celebration of and tribute to Schafer on his 80th birthday, at the Stratford Summer Music Festival.
Following a moving concert of six pieces from Schafer’s aesthetically diverse musical oeuvre, interspersed with speeches by Eleanor his close friends and colleagues, and an exquisite dinner, Sabine and I addressed the appreciative and attentive audience with a few words about Schafer’s importance in establishing the World Soundscape Project in the early-70s, which culminated in his seminal book, The Tuning of the World, published in 1977. (This book sparked international interest in “acoustic ecology.” Simply defined, this multidisciplinary field of study and action is concerned with the relationship of living creatures with their sound environment. For many it draws attention to the dynamic relationship between sound, listener, and environment.)
My long-time colleague and a fellow member of the World Forum for Acoustic Ecology (WFAE), Sabine Breitsameter and I presented the book we co-edited. It is entitled, Ways of Listening, Figures of Thought: A Festschrift for R. Murray Schafer on the Occasion of his 80th Birthday. Along with Schafer’s Festschrift we presented him with the latest issue of Soundscape: The Journal for Acoustic Ecology, Volume 12, just hot off the presses in Carbondale, Illinois.
The evening’s program included performances of six pieces of music that Schafer has composed since the early 60s. Many of these were from his Patria cycle. Overall, I learned and was impressed by how aesthetically diverse this sample was. From five decades of composing I now understand a little better why he is considered one of Canada’s most respected composers, while I’m left wondering why, 20 years after the founding of the World Forum for Acoustic Ecology, the significance of acoustic ecology remains little known in his homeland.
On the following day, I attended an early morning performance of Schafer’s Wilderness Lake, performed by four groups of trombonists situated around the small lake of a nearby park in Stratford. Soprano Brooke Dufton performed from a canoe that navigated around the islands from which we listened and watched. Ms. Dufton also performed wonderfully in one of the wilder music theater pieces at the tribute the night before.