Songwriting and Sound: a medium for connecting distant environments
This research investigates emerging field recording techniques and contemporary songwriting to communicate perspectives of site and sonic space for the bridging of distances. The use of music and sonic practice to frame affectual experiences invites a shifting between states of consciousness: fluctuating between a present-centred autobiographical awareness and phenomenal consciousness allows for multimodal works to mediate the subjectivities of the listener, de-automatise the habitual cognitive and sensory responses and to access alternate ways of being. This allows us as listeners to step back and to hear sites anew, in the interests of uncovering alternate perspectives, and to reconnect with the environments around us.
Through practice-led and practice-based research, the relationship between the awareness of sonic events and creative process, methods for communicating interpretations of site through multi-disciplinary practice and the merging of narratives between inner sonic spaces and outer geographic sound environments are investigated. The inner soundscape forms a ‘place’ where external sound sources are mirrored, unfolding and interacting; while through the process of immersion and development in sound, findings are revealed through the creative artifacts. The creative artifacts that result from these practices have the capacity to balance internal and external soundscapes, reality and imagination. Soundscape composition acts as an interface for the mediation of experiential narratives, heightens the sense of presence and belonging for the listener and composer, while artistically transmitting interpretations of environments and modes of perception.
To explore these themes, several field recording libraries were captured across seasons and diverse ecosystems within Lutruwita/Tasmania. These archives were utilized in several compositional contexts: soundscape albums, studio recordings, audio-visual works and live performance. Through iterative practice, insights into field capture techniques, studio processes and compositional perspectives were revealed. This highlighted the importance of listening with care, intention, and attention to the fine details of the sounding environment to encourage empathetic and relational connections between sites.
Soundscapes
Early Summer
Midwinter
“From the Moss”
“From the Moss” is composed of field recordings captured in Takayna/Tarkine temperate rainforest in North-West Lutruwita/Tasmania. Field recordings are captured with an ambisonic microphone to include the gentle details of birdsong, rain, and wind through trees.
Late Spring
“Summer Thunderstorm”
A summer thunderstorm recorded in the shelter of Kunanyi/Mount Wellington, Nipaluna/Hobart, Lutruwita/Tasmania.
Recordings
From the Porch
From the Porch explores memory and association to sound and sonic sites. A soft and quiet anchor-space woven from sounds heard, remembered, dreamt, imagined and re-presented.
Waratah Sessions
Recorded live in the Waratah Cottage in Queenstown, Lutruwita/Tasmania. Waratah Sessions features soundscapes and field recordings captured across the island of Lutruwita, played live on a rainy afternoon in the shelter of Mt Owen. The recordings feature harp improvisation by Tiff Norchick.
Forgotten Sweetness
Temperate
Temperate features a collection of soundscapes and field recordings across Lutruwita/Tasmania. The title track was composed from field recordings in Takayna/Tarkine as a part of the Bob Brown Foundation art for Takayna.
Stoveside
Stoveside was recorded live and mixed by Eliza Bird at Frying Pan studios in Nipaluna/Hobart. The album features new songs in addition to works from the releases From the Porch (2023), All at Once (2021), Rest Stop Rooibos (2020), and field recordings captured across Lutruwita/Tasmania.
“Sassafras”
“Sassafras” features field recordings from the threatened Styx Valley in Southern Lutruwita/Tasmania. The proposed logging coupe TN034G is featured in these recordings, with ancient old-growth myrtle, eucalypt and sassafras.
Sun Sun
Century Hollow
Audio-Visual
Temperate was composed as a part of the Bob Brown Foundation’s Art for Takayna: raising awareness for the protection of Takayna/Tarkine. The work features harpist Tiff Norchick.
Within; all the soundings that occur inside the body that are quietened by the forested environments. As the companion piece to the soundscape Temperate, the work aims to convey the inner world prompted by outer ecosystems to the listener; the relationships that are shaped by interactions with natural environments.
Live Performances
Field Recordings
Field recordings captured across Lutruwita/Tasmania:
Early Stages of Research:
Recorded on the East coast of Lutruwita.
Middle Stages of Research:
Recorded on the East and West coasts of Lutruwita, including Takayna/Tarkine
Late Stages of Research:
Recorded on the East and West coasts of Lutruwita, including Takayna/Tarkine and the Styx Forest
Journals and Documentation
Intuitive writing, audio and visual archival methods for the documentation of moments of listening across the PhD research project.