Sam Auinger. Composer and installation artist, Auinger co-founded O+A with Bruce Odland in 1989 to create installations that transform city sounds into music. O+A has participated in several Ear to the Earth festivals.
Joel Chadabe. Composer, author, pioneer in developing interactive musical instruments, Chadabe founded Ear to the Earth and composed One World 1 for the first Ear to the Earth festival in October 2006.
Alvin Curran. Democratic, irreverent and traditionally experimental as composer and performer, Curran performed a live collage of New York sounds in Ear to the Earth 08.
Philip Dadson. Instrument inventor, performer, sound and video artist, Dadson performed and presented his Polar Projects at Ear to the Earth in October 2006.
David Dunn. Composer, sound artist, Dunn's recent projects include the bioacoustics of bark beetles, and ultrasonic audio phenomena in both the natural and human environments.
Steven Feld. Musician, writer, ethnomusicologist, Feld presented a program of his documentary sound works from the Bosavi rainforest region in Papua New Guinea, Japan, Norway, and Ghana at Ear to the Earth in October 2006.
Luc Ferrari. Composer of instrumental and electronic music, Ferrari coined the term "anecdotal music" to describe music that tells a story. His Presque Rien No. 2 and Far West News were presented in Ear to the Earth in October 2006.
Thomas Gerwin. Performer, composer, musicologist, installation artist, Gerwin's Acoustic World Atlas is permanently installed at ZKM Karlsruhe.
Joe Gilmore. Gilmore does music, video, internet art, and live performance. He presented N., a collaboration with Andrea Polli, at Ear to the Earth in October 2006.
Bernie Krause. Musician, naturalist, environmental recording artist, Krause records natural habitats, lectures on bioacoustics, consults, and presents installations of his work.
Joan La Barbara. Composer, vocalist, La Barbara composes for electronics, voice, and instruments. She collaborated on Suspended Sounds at Ear to the Earth in October 2006.
Cécile Le Prado. Composer, installation artist, Le Prado works primarily with environmental sounds in concerts and installations. She presented Le Triangle d'Incertitude at Ear to the Earth in October 2006.
Annea Lockwood. Known for her explorations of natural sounds and environments, Lockwood's works include sound art and installations. She presented A Sound Map of the Danube at Ear to the Earth in October 2006.
Pierre Mariétan. Composer of works in a wide range of mediums, Mariétan is known for his interest in environmental sound. He presented his work Hanoi, Cité Musique at Ear to the Earth in October 2006
Steven M. Miller.Composer, performer, educator, audio engineer, and producer, Miller's primary musical interests are in electroacoustic and computer music, improvisation, world music, and acoustic ecology/acoustic communication.
David Monacchi. Composer, researcher, Monacchi's primary activity is recording natural environments. His Fragments of Extinction was presented at Ear to the Earth in October 2006.
Bruce Odland. Sonic thinker, composer, sound artist, Odland co-founded O+A with Sam Auinger in 1989. He presented Elevated Harmonies for Ear to the Earth in October 2006.
Maggi Payne. Kknown for her multimedia works and coloristic approach to sound, Payne's music is based on location recordings. She presented her work Apparent Horizon at Ear to the Earth in October 2006.
Andrea Polli. Digital media artist whose work addresses issues related to science and technology in contemporary society, Polli presented N., a collaboration with Joe Gilmore, at Ear to the Earth in October 2006.
Jean-Claude Risset. Researcher, composer, pioneer in computer music in the 1960s, Risset presented his work Sud at Ear to the Earth in October 2006.
Robert Rowe. Composer, author, researcher, Rowe's primary research concern is interaction between computers and musicians. He composed Freesound Mix for Ear to the Earth in October 2006.
Laurie Spiegel. Composer, software designer, electronic music pioneer, Spiegel presented her installation Ferals at Ear to the Earth in October 2006.
Barry Truax. Known for his innovative technology-based research, pioneer in the World Soundscape Project, Truax preseted his work at Ear to the Earth 2006.
Hildegard Westerkamp. Composer of musical soundscapes, pioneer in the World Soundscape Project, Westerkamp presented her work at Ear to the Earth 2006.
There are three ascending levels of engagement with the environment.
Level 1: Listen to the world around you. As you become more aware of the sounds of the environment, you'll become more sensitive to the state of the environment.
Level 2: Listen to the world through the ears of composers and sound artists. The artists listed to the left have participated or will participate in Ear to the Earth.
Level 3: Become a sound artist yourself. This book will help you do it.
In 1984, Krause visited the Jivaro tribe in the Amazon basin. Note: The term biophony refers to the sounds of nature, as in biology+sound. On discriminating listening, he writes:
"One evening I was invited to join the men of the tribe on a traditional hunt. We traveled under the forest canopy without flashlights, torches, starlight or moonlight. There was nothing to direct us except the sound. Guilded only by the delicate fabric of the biophony, the symbiotic relationship of sound made by birds, mammals, insects and amphibians as they vocalized together, we made our way through unseeable territory. At first all I heard was a din. To the Jivaro, however, the forest habitat seemed exquisitely defined ..."
On natural soundscapes:
"Pure natural soundcapes, places where no human is present, often feature a glorious symphony of creature and non-creature voices. As human clamor increases and habitats shrink, non-human sounds have become doifficult to hear or have been muted altogether. Animal survival often depends on the numerous ways in which the cratures vocalize in their particular habitats ..."
On techno-fear:
"If you can take a picture with a still or video camera, if you can use a remote control to turn your TV on or off, if you can warm up coffee in your microwave oven, if you can retrieve email on your computer, if you can start a fire, feed your cat, scratch your head, you will have no problem recordings natural sound. It's that easy ..."
The following quick clips are a few sound excerpts from the CD that accompanies the book:
Yuba Pass
Alaska Biophony
Big Sur
Buy this book at CDeMusic
Level 1: Listen to the world around you. As you become more aware of the sounds of the environment, you'll become more sensitive to the state of the environment.
Level 2: Listen to the world through the ears of composers and sound artists. The artists listed to the left have participated or will participate in Ear to the Earth.
Level 3: Become a sound artist yourself. This book will help you do it.
Bernie Krause
Wild Soundscapes
In 1984, Krause visited the Jivaro tribe in the Amazon basin. Note: The term biophony refers to the sounds of nature, as in biology+sound. On discriminating listening, he writes:
"One evening I was invited to join the men of the tribe on a traditional hunt. We traveled under the forest canopy without flashlights, torches, starlight or moonlight. There was nothing to direct us except the sound. Guilded only by the delicate fabric of the biophony, the symbiotic relationship of sound made by birds, mammals, insects and amphibians as they vocalized together, we made our way through unseeable territory. At first all I heard was a din. To the Jivaro, however, the forest habitat seemed exquisitely defined ..."
On natural soundscapes:
"Pure natural soundcapes, places where no human is present, often feature a glorious symphony of creature and non-creature voices. As human clamor increases and habitats shrink, non-human sounds have become doifficult to hear or have been muted altogether. Animal survival often depends on the numerous ways in which the cratures vocalize in their particular habitats ..."
On techno-fear:
"If you can take a picture with a still or video camera, if you can use a remote control to turn your TV on or off, if you can warm up coffee in your microwave oven, if you can retrieve email on your computer, if you can start a fire, feed your cat, scratch your head, you will have no problem recordings natural sound. It's that easy ..."
The following quick clips are a few sound excerpts from the CD that accompanies the book:
Yuba Pass
Alaska Biophony
Big Sur
Buy this book at CDeMusic
SITES
EMF :: Arts Electric :: EMF Productions :: Ear to the Earth :: CDeMusic :: EMF Media :: EMF Institute