Secondary Research

‘ In this regard, “hearing history” is a call for historians to consider sound as a source of historical evidence and to engage with auditory sources in a more nuanced way, just as they would with written texts, images, or material culture.’

Hearing History: A Reader, Mark M. Smith, 2004

It explores the idea of the soundscape, a term made popular by Canadian composer R. Murray Schafer. The entirety of the sounds in a particular setting, including ambient, man-made, and natural sounds, is referred to as the “soundscape.”

• According to Hearing History,
• We need to take into account how people heard as well as what they heard. Understanding how the body is involved in the physical sensation of listening might help one have a deeper understanding of past experiences.
• The work is consistent with the larger topic of sensory history, which investigates the historical understanding and experience of many senses, including sight, touch, taste, smell, and hearing. One of the most important sensory channels for comprehending people’s lived experiences is sound.

• According to Hearing History,
• Sound influences how people and groups perceive and comprehend their surroundings on a local and global level. Examples from various geographic and cultural contexts are included in the book to show how sound has been used by many societies to establish community, identity, and power.
  It challenges historians to consider sound in light of regional customs, international interactions, and their intricate interactions.

Secondary Research

‘ Recording is not just a way to capture the sounds of the wild; it’s a way to listen deeply, to observe with our ears, and to engage with the rhythms and cycles of the natural world. Every sound captured is a moment of connection that deepens our understanding of life around us. ‘

Recording Natural History Sounds, Richard Margoschis, 1977

‘ To truly understand nature, we must listen to it. Every sound captured tells a story of survival, adaptation, and interconnectedness. These recordings are not only archives of sound—they are calls to action, urging us to protect the very habitats from which these sounds arise. ‘

Recording Natural History Sounds, Richard Margoschis, 1977

• Sound as a Bridge to Nature?

One of the most direct and unmediated ways to encounter nature, according to Margoschis, is through sound. A powerful sense of presence can be evoked when you tune into the noises of a particular ecosystem, such as the rustle of leaves, the sound of a running river, or the voices of birds (for example).

‘ Through sound, we bridge the gap between ourselves and the wild. It’s as if nature speaks to us directly, not through words, but through the timeless language of sound. ‘

Recording Natural History Sounds, Richard Margoschis, 1977

Unlike visual observations, which can be fleeting or incomplete, sound offers a continuous, evolving record of the life happening in an environment. A field recording can transport listeners to a moment in time and space, providing a fuller, more layered sense of what it means to be in that natural setting.

Through sound, we are invited to listen more attentively and become more aware of the complex, often hidden, aspects of nature. As the artist Margoschis states, the sound recording not just as a technical or artistic activity but as an immersive experience — one that invites us to step into the natural world and experience it more fully.

In this way, sound acts as both a tool and a medium, enabling us to connect with the environment in a deeper, more meaningful way. It allows us to perceive the world in its full sonic richness, fostering an empathy and awareness that can be transformative, both personally and ecologically.

Second research

‘ Often, the most important sounds are those we don’t notice—the subtle, the distant, the quiet murmurs that define the rhythms of the natural world. ‘

Recording Natural History Sounds, Richard Margoschis, 1977

Margoschis emphasizes the value of sound as a vital aspect of the natural world, providing an auditory experience that complements visual observation. Sounds in nature, from animal calls to environmental noise, contribute significantly to our understanding of ecosystems and species behavior.

In addition to providing a historical and scientific record of locations that may be vanishing or changing as a result of climate change, human activity, or other factors, the book emphasizes the idea that sound recordings can assist chronicle changes in the natural environment throughout time and preserve a moment in time.

• Micro and Macro Perspectives?

Micro Sounds: These are sounds that exist on a tiny scale—like the movements of small animals, insects, or even the sound of leaves rustling in the wind. These micro sounds are often missed by the human ear because they are either too soft, too fleeting, or too complex. Through close-miking and other recording techniques, Margoschis highlights how we can capture and emphasize these tiny, yet significant, elements of a habitat.

Macro Sounds: On a bigger scale, we frequently don’t fully process the sounds that are happening in the background of an ecosystem. Rich layers of sound that are not often audible to us until we take the time to pay attention to them can be found in the subtle sounds of ecosystems, such as distant thunderstorms, weather patterns, or the general hum of an area (such as a forest or a marsh). We can better understand the environment and the complex balance of natural forces at action by documenting these noises.

Secondary Research

‘ The craft of sound recording lies in balancing the technical precision of the equipment with the emotional and artistic intent of the artist. It’s not just about how things sound, but how they make us feel. ‘

‘Sound Recording-the life story of a technology’, David L. Morton JR., 2006

One of the most important aspects of sound recording is its ability to move people emotionally. The listener doesn’t just hear the technical details—they feel the sound.

As Morton may indicated in this book, striking a balance between the art and science of sound recording involves realizing that sound’s technical and emotional aspects are equally significant. You risk losing control over the sound, clarity, and quality if you lack technical expertise. The technical work, however, may fall flat and fail to engage listeners on a deeper level if the recording’s artistic and emotional goals are not understood.

The Art of Sound Recording (Emotional and Artistic Intent)
‘ While the technical side ensures that a recording is clear, accurate, and of high quality, it’s the artistic side that gives sound recordings their emotional depth and impact. This is where the balance becomes more nuanced:

Capturing the “Feel” of a Performance: A key role of the recording engineer is to preserve the emotional expression of the artist. For example, if you’re recording a jazz band, the live, spontaneous interactions between the musicians should be captured as part of the atmosphere, not just the notes they’re playing. ‘

‘Sound Recording-the life story of a technology’, David L. Morton JR., 2006

My thoughts, Targets?

As far as I can see, the importance of recognising or confirming the certain targets when doing recordings is super considerate.

When I’m playing an audio to audiences, I have to think about the exact feelings or thoughts they had at the moment from this audio.

Therefore, it can be helpful if the artist or the sound engineer have tried to feel or touch the sound movements from the daily life at first. This is what I always believe actually, only if you believe what happened at first, then others will believe probably. As same as the field recording, I have to believe the targets I’m recording is literally the true species, age, gender, even the motions I want at first. Then I can consider these are the materials which are available used for the further works.