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            "note": "<p>Lyrics</p>\n<p> </p>\n<p>1. Get Out</p>\n<p>Get out<br />get out<br />get out<br />get out<br /><br />Get outside!</p>\n<p> </p>\n<p>2. I Want to Be Like a Tree</p>\n<p>I want to be like a tree<br />I want to dig down deep in the dirt<br />Make my home right here on Earth<br />That’s what I learned from a tree</p>\n<p>I want to be like a tree<br />In the sun and rain, sleet and snow<br />I give shelter to everyone I know<br />That’s what I learned from a tree</p>\n<p>Hey, look at me!<br />I’m wild and free, free, free<br />I’m reaching out, I’m rooted deep<br />Hey, I’m like a tree</p>\n<p>I want to be like a tree<br />With my brothers and sisters all around<br />Passing notes to each other underground<br />That’s what I learned from a tree</p>\n<p>I want to be like a tree<br />Changing colors right before your eyes<br />I might even photosynthesize<br />That’s what I learned from a tree</p>\n<p>Chorus</p>\n<p>I want to be like a tree<br />I can learn how to bend, how to sway<br />‘Cause I know that I’m stronger <br />that way<br />That’s what I learned from a tree</p>\n<p>I want to be like a tree<br />Even after I fall, after I’m gone<br />The seeds I made will keep living on<br />That’s what I learned from a tree</p>\n<p>Chorus</p>\n<p> </p>\n<p>3. Ask the Planet</p>\n<p>You got a problem?<br />Are you having doubts?<br />You got a question that you can’t figure out?<br />You’ll find an answer<br />Or two or four<br />All you got to do is step out your door and</p>\n<p>Ask the planet<br />Pose a question to a posy<br />Ask the planet<br />Don’t worry, it won’t think you’re nosey<br />Ask the planet<br />Ask the ocean or the prairie<br />Ask the planet<br />Something scaly, something hairy<br />Ask the planet<br />It’s been here a really long time<br />Yeah the planet can help you with<br />Whatever’s on your mind</p>\n<p>How do I stay warm in the cold <br />and the snow? (ask a snowshoe hare)<br />How can I travel over the Gulf of Mexico? <br />How can I build a house under the sea? (ask an abalone)<br />How do I get my friends to listen to me? <br />Ask the planet<br />Interview an ibex<br />Ask the planet<br />Take a lesson from a T-rex<br />Ask the planet<br />Ask the tundra or the desert<br />Ask the planet<br />Something slimy, something feathered<br />Ask the planet<br />It’s been here a really long time<br />Yeah the planet can help you with<br />Whatever’s on your mind</p>\n<p>I want to stand out<br />I want to blend in <br />I want some time alone<br />I want to make friends<br />I want everybody to learn how to get along<br />I want to sing my own special song</p>\n<p>Ask the planet<br />Get a lecture from a lemur<br />Ask the planet<br />Get subliminal messages from your femur</p>\n<p>Ask the planet<br />Ask the swampland or savanna<br />Ask the planet<br />Maybe something that eats bananas <br />Ask the planet<br />It’s been here a really long time<br />Yeah the planet can help you with<br />Whatever’s on your mind</p>\n<p> </p>\n<p>4. Keep Our Cool</p>\n<p>Hey there sunshine<br />Are you getting warmer?<br />Hey there glacier<br />You’re melting too soon<br />Hey there ocean<br />Are you getting higher?<br />Oh what can we do<br />To keep our cool, cool, cool</p>\n<p>Hey there songbird<br />We haven’t heard you singing<br />Hey there polar bear we’re worried about you<br />Hey there penguin<br />Is that a warning that you’re bringing?<br />Maybe it’s time to choose<br />To keep our cool, cool, cool</p>\n<p>La la la…</p>\n<p>Hey there sister<br />Looks like stormy weather<br />Hey there brother<br />Here’s a hand to hold onto<br />And hey everybody<br />We can make it together<br />But we need to choose<br />To keep our cool, cool, cool</p>\n<p>La la la...</p>\n<p>Hey there future<br />We’re singing for your seasons<br />Hey there creatures<br />We’re singing for you<br />Hey there children<br />Do we need another reason<br />Than our love of you<br />To keep our cool, cool, cool</p>\n<p>La la la…</p>\n<p>Hey there sunshine<br />Are you getting warmer?<br />Hey there glacier<br />You’re melting too soon<br />Hey there ocean<br />Are you getting higher?<br />There’s a lot we can do <br />To keep our cool, cool, cool</p>\n<p> </p>\n<p>5. School of the Wild</p>\n<p>There’s a school I know that’s kind of crazy<br />The principal is a chimpanzee<br />The teachers are turtles and tigers and storks<br />And some of my buddies have tongues that fork</p>\n<p>School of the wild<br />School of the wild<br />Everybody’s living in the school of the wild</p>\n<p>I never know what clothes to wear<br />‘Cause sometimes we have class <br />in the ozone layer<br />Then it’s into the ocean for gym <br />with the sharks<br />And music in the meadow <br />with the pines and the larks</p>\n<p>Chorus</p>\n<p>Have you ever asked a flea <br />how it jumps so high? <br />Or studied navigation with a butterfly?<br />Have you listened to a speech <br />given by a rock?<br />Or interviewed the insects <br />living on your block?</p>\n<p>Chorus</p>\n<p>Sometimes things get a little loud<br />What with the juncos and the <br />jaguars and the mandrill crowd<br />So the sea horse and the serval <br />and the rabbits say hush<br />You’ll scare us away <br />if you talk too much</p>\n<p>Chorus</p>\n<p>Like the birds and the bugs and <br />the big blue whales<br />The scallops and slugs and <br />everything with a tail<br />Be like them, get educated, child<br />Spend your days <br />in the school of the wild</p>\n<p>Chorus</p>\n<p> </p>\n<p>6. Riddle</p>\n<p>Sometimes I disappear right before your eyes<br />I fall down to the earth and float up to the sky<br />I can move mountains with enough time<br />I join places together<br />I am also a dividing line</p>\n<p>What am I? What am I?</p>\n<p>I look through your windows <br />and come into your home<br />I belong to no one<br />everyone can call me their own<br />I sit very still and I run over the ground<br />I have many voices but I don’t make a sound</p>\n<p>What am I? What am I?</p>\n<p>I was just born today, <br />I’m a billion years old<br />I live where it’s very warm <br />and where it’s terribly cold<br />When there is too much of me <br />I can make things tough<br />But you won’t last long <br />if I am not enough</p>\n<p>What am I? What am I?</p>\n<p>Every single living thing <br />depends on me<br />I’m over half of the planet<br />over half of your body<br />I know you will ask for me <br />when the days get hotter<br />Do you know my name? <br />Call me by my name<br />Do you know my name? <br />I am ___. I am ___. I am ___.</p>\n<p> </p>\n<p>7. Take Care</p>\n<p>Take care of the place that <br />will take care of your children*<br />Take care, take care.<br />Take care of the place that <br />will take care of your children</p>\n<p> </p>\n<p>8. Wise Like You</p>\n<p>Grandma, Grandma and Grandpa sing to me<br />Grandma, Grandma and Grandpa sing to me<br />I want to know how to grow wise like you</p>\n<p>Tuatara<br />You are a-mazing<br />You’ve been here for 200 million years<br />And you can hear without an ear<br />You’ve got three eyes <br />If we sit at your knee <br />will you tell us a story or two?</p>\n<p>Chorus</p>\n<p>And tortuga<br />I know you-a been swimming <br />In our beautiful seas <br />since dinosaur times<br />How do you find your way back home<br />After you roam the globe <br />If we sit at your knee <br />will you tell us a story or two?</p>\n<p>Chorus</p>\n<p>Oh ginkgo<br />I think you know a secret <br />One of your trees lives <br />for one hundred human generations<br />While our nations fall and rise<br />you have survived<br />If we sit at your knee <br />will you tell us a story or two?</p>\n<p>Chorus</p>\n<p> </p>\n<p>9. The Great TV Rebellion</p>\n<p>Have you heard the story<br />of the day the kids broke free<br />From the evil oppressor known as the TV <br />Yes, there used to be these boxes <br />inside every home<br />That melted kids brains and <br />turned them into drones <br />The kids they were helpless <br />in front of the tube<br />Whatever TV told them <br />they would go do<br />They never went outside <br />except to go to a store <br />And no matter how much stuff they bought they always wanted more <br />Until the great TV rebellion of 2010 <br />When all the kids turned off their TVs and never turned them on again <br />They said enough with <br />all this ya-hooey <br />I’m going out to play<br />And all the TVs could do was sit there and watch them walk away</p>\n<p>Well most kids were held captive <br />in this TV-induced haze <br />Except a few of the very wildest ones that no TV could tame<br />There was Britney of the Badlands<br />and Joshua of the Swamp <br />Maria of the Desert <br />and Mike of the Vacant Lot <br />This noble band joined forces with the pigeons and the squirrels <br />And sent a message of revolution <br />to every boy and girl:<br />“From the bondage of the black box let everyone be free <br />Kids of the world, rise up! <br />And turn off the TV!”</p>\n<p>Chorus</p>\n<p>It was planned for April 22nd, <br />4 o’clock in the afternoon Every kid in the whole world knew exactly what to do</p>\n<p>Act normal, just sit there <br />Like a lump on the couch <br />But the when the clock strikes four <br />Run for the door <br />And turn the TV OFF on the way out</p>\n<p>Oh the TVs tried to fight back<br />but they had been unplugged <br />And all the kids were out in the wilderness <br />with their toes in the mud<br />They were climbing trees and scraping knees <br />and making secret forts<br />They were collecting stones and bruising bones and making sculptures of all sorts<br />They were acting out their own stories<br />singing songs in their own style<br />After the great TV rebellion <br />Kids…went…WILD</p>\n<p>Chorus</p>\n<p> </p>\n<p>10. No Such Thing as Garbage</p>\n<p>Here we sit in primordial stew<br />Doing what bacteria like to do<br />Although there are billions and billions of us<br />You will notice we don’t make a muss, ‘cause</p>\n<p>There’s no such thing as garbage<br />It hasn’t been invented yet<br />There’s no such thing as trash you stash <br />and then try to forget<br />There’s no such thing as garbage<br />We make what we need and no more<br />One critter’s waste is another one’s <br />entrée du jour*</p>\n<p>We are mammals and insects <br />and amphibians<br />Birds and reptiles and fungi, man<br />We’ve no need for landfills <br />or stinky trash cans<br />‘Cause what one of us can’t use <br />another one can</p>\n<p>There’s no such thing as garbage<br />We’ve been recycling all of our lives<br />One species’ junk is another one’s lunch and then becomes fertilizer<br />There’s no such thing as garbage<br />We make what we need and no more<br />One critter’s waste is another one’s entrée du jour</p>\n<p>Oh remember when humans <br />were terribly plagued<br />By the syndrome called <br />“throweverythingusaway”<br />For a few hundred years there <br />they just didn’t think<br />Thank goodness that garbage <br />has now gone extinct</p>\n<p>There’s no such thing as garbage<br />We learned it just in time<br />Back when the planet <br />could hardly stand it <br />we started to learn this rhyme<br />There’s no such thing as garbage<br />We make what we need and no more<br />One critter’s waste is another one’s entrée du jour</p>\n<p> </p>\n<p>11. Thanks</p>\n<p>Thanks for the oxygen<br />Thanks for the frogs<br />Thanks for the fleas and thanks for the dogs<br />Thanks for the sunshine<br />Thanks for the ice<br />I gotta say the color scheme <br />you’re using here is really nice</p>\n<p>Thanks for the butterflies <br />Thanks for the laughs<br />Thanks for armadillos and thanks for giraffes<br />Thanks for the rain<br />Thanks for the wind<br />You’re so dang amazing gotta say it again<br />Thanks!<br />Yeah thanks!</p>\n<p>Thanks for the swoosh <br />Thanks for the plunk<br />Thanks for the stripes <br />on the back of the skunk<br />Thanks for volcanoes<br />Thanks for earthquakes<br />The motion of the ocean <br />and the music that it makes</p>\n<p>Thanks for the rainbows<br />Thanks for the stars<br />Thanks for what we was <br />and thanks for what we are<br />Thanks for my belly<br />Thanks for my heart<br />For giving every living thing <br />a special kind of smarts<br />Thanks!<br />Yeah thanks!</p>\n<p>Thanks for bacteria<br />Thanks for the rocks<br />Thanks for a little black cat <br />with white socks<br />Thanks for the geysers<br />Thanks for the bugs<br />When I look at all the beauty <br />oh my heart just fills with love</p>\n<p>Thanks for the continents<br />Thanks for the poles<br />Thanks for the mountains <br />and thanks for the moles<br />Thank you for gravity<br />Thank you for night<br />For weasels and wallabies <br />and eagles in flight<br />Thanks!<br />Yeah thanks!</p>\n<p>Thanks for the buffalo<br />Thanks for the tick<br />Thanks for the way <br />that the gecko feet stick<br />Thanks for the flippers<br />Thanks for the fins<br />The paws and the claws<br />the teeth and the chins</p>\n<p>Thanks for the puddles<br />Thanks for the sky<br />Thanks for the how and thanks for the why<br />Thanks for the honeybees<br />Thanks for the flowers<br />For cow’s milk and spider silk and termite towers<br />Thanks!<br />Yeah thanks!<br />Thanks!</p>\n<p> </p>\n<p>12. Do I Belong Here</p>\n<p>Do I belong here?<br />Where are my friends?<br />Who is my family?<br />Am I one of them?<br />Sometimes I look around<br />And I feel so alone<br />Sometimes I can’t find my way home</p>\n<p>Open your door<br />Come outside<br />Take a deep breath<br />Open your eyes<br />Every creature<br />every leaf, every stone<br />Is singing this, this is your home</p>\n<p>I am listening<br />I’m trying to see<br />A path I can walk down<br />And the lights to guide me<br />What I need is a stillness<br />So I can hear an old song<br />What I need is to know I belong</p>\n<p>Chorus</p>\n<p>My heart gets heavy<br />My mind gets tired<br />Everyone’s so busy<br />Everything’s so wired<br />Where can I lay down?<br />Where can I rest?<br />Where is my own safe little nest?</p>\n<p>Chorus</p>\n<p>I know I have gifts to bring<br />I can feel them growing inside me<br />But where do I go <br />To find my place in things<br />I need a path <br />and someone to walk beside me</p>\n<p>Open your door<br />Come outside<br />Take a deep breath<br />Open your eyes<br />Every creature, every leaf, every stone<br />Is singing this, this is our home<br />This is our home</p>\n<p>I know I have gifts to bring <br />I can feel them growing inside me</p>\n<p> </p>\n<p>13. Start from Here</p>\n<p>I know a place<br />Down by the creek<br />Where it’s messy and muddy and free<br />I sit real still<br />And drink my fill<br />Of the silence that speaks to me</p>\n<p>We can start from here<br />Through my hands and feet<br />I can feel the Earth’s heartbeat</p>\n<p>Start from here<br />Open my ears and my eyes<br />And I start to come alive</p>\n<p>I know a place<br />Like a table top<br />Where the sagebrush <br />and cactus bloom<br />I climb up<br />Like a coyote pup<br />And howl at the rising moon</p>\n<p>Chorus</p>\n<p>I have a dream of the human family<br />Living clean and healthy<br />All nations, all creeds and all races<br />Learning and loving our places</p>\n<p>I know a place<br />Down the block<br />Full of trash and weeds and junk <br />But a vacant lot<br />Could be a garden plot<br />So my friends and me<br />We’re cleaning it up</p>\n<p>Chorus</p>\n<p> </p>\n<p>14. What Kind of Animal Are You</p>\n<p>Roll up like a hedgehog<br />Flap your wings and fling yourself into the air <br />Like a duck or a goose<br />Go ahead and let loose<br />Quack quack quack quack, honk</p>\n<p>Sharpen your claws like a tiger<br />Wiggle and squirm <br />like a worm working hard in the dirt<br />Shake your fin and your tail<br />Like a humpback whale</p>\n<p>What kind of animal are you?<br />What does that animal do?<br />Where is that animal found?<br />How does that animal sound?</p>\n<p>Paddle around like a dugong<br />Kick the ground like a kiang<br />What’s a kiang? (I don’t know!)<br />We can find out though<br />Galah and galago<br />The world is full of critters <br />that you may not have considered</p>\n<p>Stick out your tongue like an echidna<br />Go for a run like a vicuña <br />en los montañas de Peru</p>\n<p>You’ll be a cutie<br />When you’re an agouti<br />Listening for the fruit <br />falling from the forest canopy</p>\n<p>Chorus</p>\n<p>Do a somersault like an otter<br />Or take a dive into the water <br />like an osprey catching fish<br />Or just hold really still<br />Like a wapiti will<br />When it happens to be trying <br />not to get noticed by a lion</p>\n<p>Read a book and play the banjo<br />Take a look through a telescope <br />at a distant star<br />Paint a picture of <br />something you really love<br />Throw the ball in the basket <br />Think of a question and ask it</p>\n<p>Chorus</p>\n<p> </p>\n<p>15. Punk Get Out</p>\n<p>Get out<br />get out<br />get out<br />get out<br /><br />Get outside!</p>\n<p> </p>\n<p>16. What's Biomimicry</p>\n<p>“Bios” means life <br />“Mimicry” means imitate</p>\n<p>Life runs on some basic principles<br />Deep patterns<br />Deep deep patterns <br />We can study and follow those rules<br />Change our tune<br />sing along to life’s beautiful song</p>\n<p>Chorus</p>\n<p>Every species that survives<br />Fits in here<br />Hey Homo sapiens <br />it’s our time<br />We might be young<br />but it can be done</p>\n<p>Chorus</p>\n<p>It’s our turn<br />We can learn<br />Life is all around us</p>\n<p>If we listen<br />To their wisdom <br />Teachers surround us</p>\n<p>Chorus</p>\n<p> </p>\n<p>17. We Are Not Alone</p>\n<p>Sometimes I get scared<br />And I need to cry<br />Problems of the world<br />Bearing on my mind<br />Pressure I can’t take<br />It’s too much for me<br />What if I make a mistake <br />or try to fake it and everyone sees</p>\n<p>We are not alone</p>\n<p>Everyone was born<br />Of someone before<br />It’s a fact of life<br />It’s a metaphor<br />A baby can’t survive<br />All by its little self<br />And neither can a species <br />We all need some help</p>\n<p>We are not alone</p>\n<p>I forget to look <br />I forget to ask<br />I forget to notice<br />Because I go so fast<br />It’s not all up to me<br />Guidance all around<br />Just gotta admit what I don’t know <br />I gotta humble down</p>\n<p>We are not alone</p>\n<p>It’s a miracle<br />A gift that we’ve been given<br />That we’re here at all<br />Singing breathing living<br />I can melt the walls<br />I make in my head<br />And remember that together is how it is – and how it’s always been</p>\n<p>We are not alone</p>\n<p>We have an effect<br />Everything we do<br />You matter to me<br />I matter to you<br />It’s called community<br />It’s called relationship<br />That’s why we clean up our mess <br />and treat each other with respect</p>\n<p>We are not alone</p>\n<p> </p>\n<p>18. Outside Get Out</p>\n<p>Get out<br />get out<br />get out<br />get out</p>\n<p>Get outside!</p>",
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            "note": "<h1>Let It Rain! (After the Music, of Course)</h1>\n<h6 class=\"byline\">By <a class=\"meta-per\" title=\"More Articles by Anthony Tommasini\" href=\"http://topics.nytimes.com/top/reference/timestopics/people/t/anthony_tommasini/index.html?inline=nyt-per\">ANTHONY TOMMASINI</a></h6>\n<p>Mother Nature must have been watching out for the <a class=\"meta-org\" title=\"More articles about the New York Philharmonic.\" href=\"http://topics.nytimes.com/top/reference/timestopics/organizations/n/new_york_philharmonic/index.html?inline=nyt-org\">New York Philharmonic</a> on Tuesday night when this summer’s <a title=\"Web page for the New York Philharmonic’s Concerts in the Park.\" href=\"http://nyphil.org/attend/summer/index.cfm\">Concerts in the Parks</a> series began on the Great Lawn at Central Park. For the first time in the 46-year history of this summer music tradition, the Philharmonic was sharing a parks program with a guest ensemble, the <a title=\"Web site of the Shanghai Symphony Orchestra.\" href=\"http://www.sh-symphony.com/en/\">Shanghai Symphony Orchestra</a>. All day Monday the forecasts were predicting a strong likelihood of thunderstorms.</p>\n<p>But the Philharmonic administration took a chance, as did some 30,000 people who showed up, according to <a class=\"meta-org\" title=\"More articles about the New York City Police Department.\" href=\"http://topics.nytimes.com/top/reference/timestopics/organizations/n/new_york_city_police_department/index.html?inline=nyt-org\">New York Police Department</a> estimates. The air was thick with humidity, but the skies were fairly clear, and the concert went on as planned. And not until 10:45, just as the ovation started at the end of the Philharmonic’s performance of Ravel’s “Boléro,” the final work on this long double program, did it start to rain. People scattered, and as had previously been announced, the postconcert fireworks display was skipped.</p>\n<p>The Philharmonic made one concession to the iffy weather predictions: the order of the program was switched, and the Shanghai Symphony played first, with the Philharmonic following after intermission. On one level this was the polite thing to do: guests first. But there was more to it.</p>\n<p>This leading Chinese orchestra was <a title=\"New York Times article on the Shanghai Philharmonic’s participation.\" href=\"http://www.nytimes.com/2010/07/13/arts/music/13orchestra.html\">in town, in part, to promote World Expo 2010</a>, taking place in Shanghai. By sharing this parks program, the Shanghai Symphony was basking in the Philharmonic’s renown and reaching new audiences.</p>\n<p>For the privilege, the Chinese orchestra helped defray the cost of the concert. So it was more essential to get in the performances by the visitors. There was no possibility of a rain date, since the Shanghai musicians were scheduled to leave New York on Wednesday.</p>\n<p>In any event, it was a pleasure to hear this impressive Chinese orchestra, which won standing ovations throughout its performances. You cannot really assess the sound, texture and balance of an orchestra from an outdoor amplified concert. Still, under their energetic conductor, <a title=\"New York Times profile of Long Yu.\" href=\"http://www.nytimes.com/2009/11/10/arts/music/10long.html\">Long Yu</a>, the Chinese players gave a lean, clear and dignified performance of Wagner’s Overture to “Tannhäuser.”</p>\n<p>The idea of following the Wagner with Figaro’s overperformed aria “Largo al factotum,” from Rossini’s “Barber of Seville,” seemed trite. As it turned out, Changyong Liao, <a title=\"YouTube video of Changyong Liao singing “Largo al factotum.“\" href=\"http://www.youtube.com/watch?v=-uyOwxMysxw\">the young Chinese baritone who sang it</a>, was really good. His voice is robust and agile, and he dispatched the Italian patter with verve and style. The crowd went crazy. The luminous, appealing soprano Ying Huang then gave a charming account of “Je veux vivre,” the waltzing party song from Gounod’s “Romeo and Juliet.”</p>\n<p>The two soloists joined for a sweetly lyrical performance of “Là ci darem la mano,” the duet from <a class=\"meta-per\" title=\"More articles about Wolfgang Amadeus Mozart.\" href=\"http://topics.nytimes.com/top/reference/timestopics/people/m/wolfgang_amadeus_mozart/index.html?inline=nyt-per\">Mozart</a>’s “Don Giovanni.” They were also featured in “Ode to the Expo” by Guang Zhao, a lush, soaring neo-Romantic crowd pleaser that made the composer seem a Chinese <a class=\"meta-per\" href=\"http://movies.nytimes.com/person/116170/Andrew-Lloyd-Webber?inline=nyt-per\">Andrew Lloyd Webber</a>.</p>\n<p><a class=\"meta-per\" title=\"More articles about Lang Lang.\" href=\"http://topics.nytimes.com/top/reference/timestopics/people/l/lang_lang/index.html?inline=nyt-per\">Lang Lang</a>, the superstar Chinese pianist, joined the Shanghai Symphony for its final work, Gershwin’s “Rhapsody in Blue.” As always, there were stunning aspects to Mr. Lang’s playing: uncanny control of inner voices; sensitivity to color and nuance that came across even through loudspeakers; impressive lightness in rustling passagework; chiseled tone for steely bursts of chords and octaves.</p>\n<p>He played the piece with jazzy vitality, as if he were improvising on the spot. But — also a Lang Lang trademark — he teased melodic lines for maximum expressiveness and jerked the music this way and that. The Chinese orchestra sounded quite at home in Gershwin, complete with bluesy wa-wa trumpet solos.</p>\n<p>During intermission the tech crew had to reset the stage for the Philharmonic. I cannot imagine why this task took 50 minutes. If two chairs and a shared music stand were sufficient for two Shanghai violinists, couldn’t a couple of Philharmonic players make do? Many people lost patience and streamed out; others began rhythmically clapping.</p>\n<p>Finally, Andrey Boreyko, the dynamic Russian conductor, led the Philharmonic in vibrant performances of the Polonaise from <a class=\"meta-per\" title=\"More articles about Peter Ilyich Tchaikovsky.\" href=\"http://topics.nytimes.com/top/reference/timestopics/people/t/peter_ilyich_tchaikovsky/index.html?inline=nyt-per\">Tchaikovsky</a>’s “Eugene Onegin,” Bernstein’s Symphonic Dances From “West Side Story,” and “Boléro.” As a concession to the weather, the Philharmonic players were dressed casually, some even in shorts and sandals, which was right in the spirit of the evening.</p>\n<p>&nbsp;</p>",
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            "note": "<p>The Music of Sound text</p>\n<p><strong>Bunkum!</strong> <br /> The notion that western composers were inspired by nature verges on blasphemy, at least according to musician and natural sound recordist Bernie Krause. Krause, who has recorded sounds in the Arctic, the Antarctic and many places in between, and who created sound for films like Apocalypse Now, says composers and other city people spend a lot of energy trying to tune out urban noises.</p>\n<p>That effort, he thinks, sabotages the innate ability to hear nature.</p>\n<p>Because so few Western composers have contact with nature, he says Western music has \"nothing\" in common with natural sounds: \"We have a tendency in Western culture to consider music those sounds we control. That's the limit of our experience.\"</p>\n<p>In reality, Krause, who has spent 30 years recording in nature and now runs the natural-sound business <a href=\"/../../../../zotero.jar%21/content/zotero/tinymce/note.html\">Wild Sanctuary</a>, admits that individual birds may have inspired Western composers, as Baptista contended. But Krause maintains that the only music really inspired by nature is made by those rare cultures that remain in intimate contact with nature.</p>\n<p><strong>Sound advice</strong> <br /> For example, he says the Kaluli in New Guinea play the flute to the accompaniment of an \"orchestra\" of frogs. And the Bayaka, pygmies in the Central African Republic, have a complex, polyphonic music inspired directly by their rain forests (see \"Bayaka...\" in the <a href=\"/../../../../zotero.jar%21/content/zotero/tinymce/note.html\">bibliography</a>).</p>\n<p>The Bayaka's music, set against the natural sounds of their forest, makes the point quite eloquently; these sound files are definitely worth downloading.</p>\n<p>Some native Americans remember the natural origins of their music, Krause says. About 30 years ago, a Nez Perce elder in Oregon demonstrated how his people learned to make music from reeds that resonated with the wind after being broken by wind or ice.</p>\n<p><strong>Nature's orchestra</strong> <br /> While Krause maintains that Westernized music is seldom based on nature, he finds plenty of music in nature itself. Indeed, he calls the entire spectrum of natural sounds in an unspoiled area a \"biophony,\" on the analogy of a symphony. \"All creatures in a given area of pristine or undisturbed habitat are vocalizing in relation to one another,\" he argues. \"Like instruments in an orchestra, each has a frequency, a rhythm, and a voice. They stay out of each other's way.\" Scientists say animals use their voices for specific reasons, warning of predators, marking territory and attracting mates. But the scientific focus on single animals rather than the entire spectrum of sound in nature is misleading, Krause maintains.</p>\n<p>Looking at the large picture is instructive, he adds. For example, in Venezuela, he acoustically mapped the territory of warblers and other songbirds that had migrated south from the U.S. East Coast. The birds, he says, \"Flew through the different grids of sound until they found a place where their voice would not be masked.\"</p>\n<p>In other words, the birds were not merely looking for a place lacking fellow species-mates, as the standard theory of territoriality would hold. Rather, they were looking for a place where their call would not be masked by any sounds, whether from fellow birds, toads or insects.</p>\n<p><strong>Nice niche</strong> <br /> The pattern is clear enough to establish what Krause calls a \"niche hypothesis ... In every unaltered habitat we have recorded, many birds, mammals and amphibians find and learn to vocalize in acoustical niches unimpeded by the voices of less mobile creatures such as near-ranging insects.\" That pattern is evident in this <a href=\"/../../../../zotero.jar%21/content/zotero/tinymce/note.html\"><strong>diagram</strong></a>.</p>\n<p>Although it's plausible that animals would find a niche where their voices are not drowned out, Krause, who has a Ph.D. in creative arts with an internship in bioacoustics from Union Institute in Cincinnati, admits that his <a href=\"/../../../../zotero.jar%21/content/zotero/tinymce/note.html\">niche hypothesis</a> is hard to prove to scientists. \"It's looked at with a lot of skepticism because it doesn't fit the paradigms of classroom natural science.\" A second problem, he admits, is that it's hard to quantify, due to the large number of variables.</p>\n<p>Although mainstream scientists would say that these noises are simply marking territory, Krause maintains the animals are actually engaged in a symbiotic vocal relationship with others in the forest.</p>\n<p><strong>Getting defensive</strong> <br /> Symbiosis appears, for example, in the collaborative use of sound for protection. During mating season, for example, the spadefoot toad at Mono Lake in eastern California, vocalizes in a chorus that swirls around the wetland. The sound apparently confuses predators trying to locate toads for the dinner plate: While recording at the lake, Krause once noticed the chorus being disrupted by the racket of a jet plane, upon which two coyotes and one great horned owl moved in for a savory snack of toothsome toad.</p>\n<p>That small example demonstrates the larger fact that development and \"progress\" are making natural soundscapes ever scarcer. Much as the dark sky is succumbing to \"<a href=\"/../../../../zotero.jar%21/content/zotero/tinymce/note.html\">progress</a>\" in the form of urban glare, Krause says it's getting a lot louder out there: After recording 15,000 creatures and 3,500 hours of marine and terrestrial habitats in the field, Krause says that 25 percent of the original recording locations have been destroyed as pristine environments. Thirty years ago, 10 hours of recording produced an hour of finished tape (with no artificial noise in the background), but in North America, at least, he must now tape 2,000 hours to get an hour of finished tape. (Krause describes his career in \"Into a Wild Sanctuary\" in the <a href=\"/../../../../zotero.jar%21/content/zotero/tinymce/note.html\">bibliography</a>.)</p>\n<p> </p>",
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            "note": "<h1>Capping Off Prokofiev With ‘New York, New York’</h1>\n<h6 class=\"byline\">By ALLAN KOZINN</h6>\n<p>Before <a title=\"Web page of the Pittsburgh Symphony Orchestra\" href=\"http://pso.culturaldistrict.org/pso_home\">the Pittsburgh Symphony Orchestra</a> appointed <a title=\"Web page for Manfred Honeck\" href=\"http://imgartists.com/artist/manfred_honeck\">Manfred Honeck</a> as its music director in 2008, it went through an unsettled period that included an experiment in which three conductors shared its podium. Mr. Honeck, an Austrian who spent more than a decade as a violinist in the Vienna Philharmonic, revitalized the ensemble quickly, and when he led his first New York performance with the orchestra, at <a title=\"New York Times review of the Pittsburgh Symphony Orchestra, by Anthony Tommasini\" href=\"http://nyti.ms/zChvje\">Carnegie Hall in 2010</a>, he had it sounding energized and polished. But his program — two big Germanic war horses, Mahler’s First Symphony and Brahms’s Violin Concerto — left listeners wondering about the breadth of his repertory.</p>\n<p>Mr. Honeck addressed that curiosity, to an extent, at Avery Fisher Hall on Sunday afternoon and built further on the reputation for vigor and ingenuity that he established during his earlier visit. He began with a new American work, <a title=\"Web page of Steven Stucky\" href=\"http://www.stevenstucky.com/\">Steven Stucky’s</a> “Silent Spring” (2011), written to commemorate the 50th anniversary of Rachel Carson’s cautionary ecological study.</p>\n<p>Evoking Carson’s argument for conservation in a musical score is a tall order. But Mr. Stucky, the Pittsburgh orchestra’s composer in residence (who also has a fine work, “Son et Lumière,” <a title=\"New York Times review, by Allan Kozinn\" href=\"http://nyti.ms/wyhQ5S\">on this week’s New York Philharmonic subscription program</a>), typically draws on a vast timbral palette to create vivid textures. And with the title as a prompt, it is easy to hear what he had in mind in this explosive, shape-shifting 17-minute tone poem.</p>\n<p>In his opening passages Mr. Stucky uses low-lying woodwinds and brasses to suggest a primordial soup from which a riot of activity gradually emerges. If the score, with its buzzing brass figures; slow-moving, melancholy string phrases; pillars of commanding, rich-hued chords; and chaotic, swirling woodwind lines had a visual analogue, it might be a Jackson Pollock painting.</p>\n<p>But just as you begin to think that this spring is anything but silent, Mr. Stucky strips away the brightest layers, and then the softer ones, leaving nothing but a repeating pianissimo bass tone. Mr. Honeck and his players seemed thoroughly comfortable with this complex work, and it would be hard to imagine a more thoughtful or virtuosic reading.</p>\n<p>The rest of the program explored two flavors of Russian music. In Prokofiev’s Violin Concerto No. 1, Mr. Honeck <a title=\"Web page of Hilary Hahn\" href=\"http://hilaryhahn.com/\">and Hilary Hahn</a>, his soloist, agreed on an essentially lyrical, soft-hued approach, and if at first you wished for slightly harder, sharper edges, Ms. Hahn’s warm tone and beautifully centered vibrato soon persuaded you to accept her more ethereal view. When she finally adopted a grittier tone, however briefly, the contrast seemed strikingly purposeful. As an encore, Ms. Hahn offered a serene reading of the Sarabande from Bach’s Partita No. 2.</p>\n<p>In both the Stucky and Prokofiev, Mr. Honeck made a point of using extreme dynamics, but they paled next to the dynamic breadth he brought to Tchaikovsky’s Fifth Symphony. Here, his pianissimos were nearly inaudible, and his fortissimos were thunderous (and at times a bit strident). A fluid approach to phrasing that gave the reading a personalized lilt, and magnificently precise playing, made this an unusually fresh, memorable performance.</p>\n<p>Mr. Honeck’s encore was a wild, fire-breathing rendition of the “Galop” from Khachaturian’s “Masquerade,” with a freewheeling clarinet cadenza that quoted both the Tchaikovsky Fifth and Leonard Bernstein’s “New York, New York.”</p>",
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            "note": "<h1>JUILLIARD ORCHESTRA</h1>\n<h6 class=\"byline\">By VIVIEN SCHWEITZER</h6>\n<p><em>Avery Fisher Hall</em></p>\n<p>In terms of sheer sonic decadence and visceral excitement, Strauss’s “Alpine Symphony,” <a title=\"New York Times article on the work by Daniel J. Wakin.\" href=\"http://www.nytimes.com/2012/04/15/arts/music/strausss-alpine-symphony-played-twice-in-one-night.html\">presented twice in New York</a> on Wednesday evening (see above), is richly rewarding for the listener, although it has not always been greeted without cavil. This sweeping, cinematic score — cowbells, wind machines and all — was given a colorful reading at Avery Fisher Hall on Wednesday by the Juilliard Orchestra, conducted by <a title=\"Web site of Mr. Villaume.\" href=\"http://www.emmanuelvillaume.com\">Emmanuel Villaume</a>.</p>\n<p>Both conductor and musicians clearly enjoyed performing the work, which was inspired both by a mountain climb Strauss took as a teenager and by Nietzsche’s “Antichrist.” The “worship of eternal, magnificent nature” that Strauss described in his diary is vividly realized in the 22 sections, which open with the murky rumblings of “Night,” followed by the glittering “Sunrise.”</p>\n<p>The Juilliard students offered a detailed, energetic and stirring rendition of the extravagantly sized score, vividly illuminating Strauss’s depictions of waterfalls, storms and pastures. The winds and brasses played cleanly, particularly during “On the Summit,” the triumphant climax.</p>\n<p>As for the rest of the program, the Prelude to Act I of Wagner’s “Lohengrin” is equally lustrous, with its shimmering, yearning string section performed beautifully here. And Berlioz was another master of sumptuous orchestration. He originally wrote his sensuous song cycle “Les nuits d’été” (“Summer Nights”), set to poems by Théophile Gautier, for tenor or mezzo-soprano with piano. He later adapted it for soprano and orchestrated it. Like Strauss, Berlioz indulges in vivid tone painting, his rich scoring for ensemble complementing the perfumed, romantic texts.</p>\n<p>The cycle was sung here, sometimes tentatively, by three promising singers: Lei Xu, a soprano; Nathalie Mittelbach, a mezzo-soprano; and Spencer Lang, a tenor.</p>",
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            "note": "<p>Welcome Page:</p>\n<p>Whether you're a long-time listener, or have just come across our work, welcome! In the twelve years since EarthEar released its first CDs, we've shifted from being a global retailer of over a hundred titles from many labels, to just focusing on our own diverse line of releases. Since 2006, I’ve been focusing on the Acoustic Ecology Institute (see link to left), though EarthEar has steadily co-released new CDs every year as well. In 2009 the EarthEar site was enhanced with way more audio, streamlined navigation, and a Sound Blog featuring aural musings from EarthEar artists and friends. Enjoy your visit!<br /> <br /> <em>- Jim Cummings, EarthEar founder</em></p>",
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            "note": "<p>FULL TEXT</p>\n<p class=\"dek\">When listening attentively, what we hear gives insight into the cultural, social and technological aspects of place and time. But are we turning a deaf ear to the information embedded in our acoustic environment?</p>\n<p class=\"byline\">By Teresa Goff</p>\n<p class=\"post-thumbnail\"><img class=\"attachment-article-feature-image wp-post-image\" title=\"The Soundtrack of Life\" src=\"/jar:file://mce_host/../../../../zotero.jar%21/content/zotero/tinymce/note.html\" alt=\"The Soundtrack of Life\" width=\"508\" height=\"200\" /></p>\n<p>Without soft furnishings or partition walls to create a sonic buffer, the trendy Gastown café where I meet Tyler Kinnear, a PhD student in Musicology at UBC, has the resonant effect of a blender. The clatter from the kitchen is competing with the cappuccino machine, which in turn is at war with the coffee grinder and rising conversation. Outside, sirens and tires screech.</p>\n<p>I had hoped to meet Kinnear in the Bell Tower of the Holy Rosary Cathedral, where he used to be a bell ringer, and could not get the romantic idea of the cathedral’s hushed foyer and harmonious church bells out of my mind’s ear. As a student of music, Kinnear is a practiced listener. He is fascinated by the acoustic environment – in particular, the musical compositions created from natural sounds such as water or pine bark beetles – and I’m meeting him to talk about a recent study he’s done to assess the current acoustic reach of the 1906 Holy Rosary bells in their 21<sup>st</sup> century skyscraper-dominated environment. The people seated around us may have found the noisy atmosphere of the café socially stimulating; I found it chaotic and discordant. But Kinnear probably found it informative.</p>\n<p>When listening attentively, what we hear gives insight into the cultural, social and technological aspects of place and time – think about what you would hear in the cathedral versus the café – yet until the fairly recent emergence of the field of acoustic ecology, sound’s capacity to reveal information has largely been ignored as a means to understand the world.</p>\n<blockquote>\n<p>There are reports of urban birds singing differently than their country counterparts because of the interference of downtown buildings.</p>\n</blockquote>\n<p>Acoustic ecology, or soundscape studies, dates back to the 70s, when a rising concern for ecological balance gave birth to environmentalism.&nbsp; Murray Schafer, a musician, composer and educator, wanted to analyse the changing historical and cultural configuration of soundscapes. He suggested an ecological framework to examine the growing problems of noise and the way we should design our environment. Acoustic ecology examines how living things create or affect their aural environment and how, in turn, that environment is having an effect on living things. Originally dominated by artists and academics in the humanities, the field of study has become of interest to a variety of disciplines.</p>\n<p>Sound-based studies are being done in many fields, including anthropology, engineering, psychology and geography. And for good reason.&nbsp; Noise-induced hearing loss is the leading occupational hazard worldwide and one in eight American children, about five million, has some noise-induced hearing loss. Modernization and development are affecting our urban soundscapes in many unanticipated ways – for example, there are reports of urban birds singing differently than their country counterparts because of the interference of downtown buildings – and sound affects us all in more ways than we think.</p>\n<p>In the café, had I been able to shut my <em>ear-lids (</em>one of many sound-related neologisms created by Schafer during the nascent stage of sound-based studies) my experience might have been informed by the aroma of fresh-baked bread and newly ground coffee, or perhaps my eye would have been drawn to the open-concept kitchen and well-dressed hipsters strewn about on stools. Yet my consciousness was held hostage almost entirely by what I could hear. I had to yell over the jumble of sound and found it difficult to concentrate on our conversation.</p>\n<div id=\"attachment_1450\" class=\"wp-caption alignleft\" style=\"width: 260px;\"><a rel=\"attachment wp-att-1450\" href=\"/jar:file://mce_host/../../../../zotero.jar%21/content/zotero/tinymce/note.html\"><img class=\"size-medium wp-image-1450\" src=\"/jar:file://mce_host/../../../../zotero.jar%21/content/zotero/tinymce/note.html\" alt=\"City streets\" width=\"250\" height=\"166\" /></a>\n<p class=\"wp-caption-text\">Modernization and development are affecting our urban soundscapes.</p>\n</div>\n<p>There is a dynamic, yet rarely recognized, interaction between listeners, their physical environment and the social situation where listening takes place. This relationship was explored through a UBC interdisciplinary acoustic ecology project conducted a few years ago, which demonstrated that the acoustic environment clearly affects communication strategies.</p>\n<p>One study focused on a restaurant and an elementary school classroom, drawing attention to noise interference from interior sources like fluorescent lighting as well as ventilation and heating systems. External noises included traffic and planes. The researchers discovered that continuous average noise levels in the classroom ranged from 68 to 74 decibels. As a result, students needed to speak louder so they could be heard. This caused sound levels to peak as high as 119 decibels, which is nine decibels louder than a chainsaw.</p>\n<p>The study found that resulting conversation strategies –&nbsp;used in both the noisy classroom and restaurant settings –&nbsp;were “similar to those used by people who are hard-of-hearing.” The strategies include but are not limited to: avoidance of talk, requests for clarification, repetition, less discussion on a shared topic, more topic shifts, and interruption as a device to take control of the conversation. These changes in communication strategies were measurable effects of the sound environment, not personal preference.</p>\n<p>While many consequences of modern-day soundscapes are unanticipated, sometimes sound has been purposely used to calculated effect. Take the gym, where loud, pumping music is played to get your adrenaline going. Now imagine yourself inside a Starbucks, where the sonic store experience is a carefully-crafted cone of brand identity. The visual parallel is that of painting a room blue, instead of red, so that everyone will stay calm.</p>\n<blockquote>\n<p>“If we dare to take off our headphones and just live in the world without listening to our own chosen soundtrack,” Westerkamp asks, “what do we hear?”</p>\n</blockquote>\n<p>Should you choose to paint the acoustic room red, so to speak, you may want to try blasting its occupants with the <em>Barney</em> theme song, the most popular sonic weapon in the “US torture toolkit,” according to George Foy’s recent book <em>Zero Decibels: The Quest for Absolute Silence</em>. Foy says pop music, like “Stayin’ Alive” by the Bee Gees and “Shoot to Thrill” by AC/DC, has been played at ear-crushing volume by American forces against Noriega in Panama, prisoners at Abu Ghraib jail in Iraq, and Guantanamo.</p>\n<p>A more subtle example of using sound to desired effect comes from The Muzak Corporation. Formed in 1934, they call &nbsp;themselves “specialists in the physiological and psychological effects and applications of music.”&nbsp; Initially, this <em>muzak</em> (or scientifically engineered sound) was played to industrial workers to increase productivity. After the war, the Muzak Corporation branched into providing music in stores. As the tagline went, they were creating “music not to be listened to.” In other words, the music was not provided as an active listening activity, like at a concert or in a cathedral, but for other purposes, such as encouraging more purchases by subliminally influencing the mood and mindset of customers.</p>\n<p>Acoustic ecologist Hildegard Westerkamp, an alumna who has been involved in the field since its beginnings and worked with Schafer on some landmark studies, says the Muzak Corporation and others were so successful in creating such pervasive in-store soundscapes that they trained us all into expecting a soundtrack to be a part of our lives. By the 80s, when the Walkman arrived, we had already come to accept that music should always be a background accompaniment to our lives. But should it? “If we dare to take off our headphones and just live in the world without listening to our own chosen soundtrack,” Westerkamp asks, “what do we hear?”</p>\n<blockquote>\n<p>Muzak (or scientifically engineered sound) has been played to industrial workers to increase productivity.</p>\n</blockquote>\n<p>Westerkamp’s colleague, Barry Truax, another UBC alumnus who figures prominently in the development of acoustic ecology, points out that the “sound arriving at the ear is the analogue of the current state of the physical environment.” Be it physical, social, cultural, geographical or historical, information about the environment is encoded in the soundscape. In Vancouver, hearing the hand-rung bells of the Holy Rosary Cathedral, tells you that you are in a Christian community. In Mecca, you would hear the Muslim call to prayer. If you knew nothing else about where you were, these sounds would give you information.</p>\n<div id=\"attachment_1409\" class=\"wp-caption alignright\" style=\"width: 260px;\"><a rel=\"attachment wp-att-1409\" href=\"/jar:file://mce_host/../../../../zotero.jar%21/content/zotero/tinymce/note.html\"><img class=\"size-medium wp-image-1409  \" src=\"/jar:file://mce_host/../../../../zotero.jar%21/content/zotero/tinymce/note.html\" alt=\"Acoustic Profile\" width=\"250\" height=\"132\" /></a>\n<p class=\"wp-caption-text\">Courtesy of Cambridge Street Publishing, from the Handbook for Acoustic Ecology, CD-ROM, 1999.</p>\n</div>\n<p>The landscape is always evolving and so is the soundscape. Consider the bells at the Holy Rosary Cathedral, one of only eight remaining hand-rung sets in Canada. Their acoustic resonance has been part of Vancouver’s sonic landscape since 1906, when they were first hung. Back then, before the erection of tall buildings created an acoustic buffer, the sound of the bells would have reached much further into the surrounding downtown area than they do today. When you think of this, it is easy to imagine sound as a window into history. You can almost imagine an invisible acoustic thread connecting the sound of one flint striking another to the contemporary orchestra of jet planes, back-up beeps and electronic hisses and hums.</p>\n<p>In July of 2011, Kinnear (who has spent the last year and a half learning the art of change ringing, a practice that emerged in England in the 17<sup>th</sup> century) recorded and mapped the acoustic range reached by the cathedral bells of the Holy Rosary Cathedral. <a href=\"/jar:file://mce_host/../../../../zotero.jar%21/content/zotero/tinymce/note.html\" target=\"_blank\">Listen to the Holy Rosary Cathedral recording, as well as 2011 recordings of three other hand-rung bell towers across Canada</a>.&nbsp;This mapping exercise was first done in 1973 by both Westerkamp and Truax (as part of&nbsp; a major international project to document the world’s soundscapes)&nbsp;and again in 1996. The reason was to both document and draw attention to the changing Vancouver soundscape.</p>\n<div class=\"alignleft wp-caption\" style=\"width: 300px;\">\n<h2 style=\"text-align: left;\">Listen to This</h2>\n<div class=\"podcast\">\n<p class=\"podcast-length\">Length: 4:20</p>\n<p class=\"podcast-download\"><a title=\"Download The Soundtrack of Life\" href=\"/jar:file://mce_host/../../../../zotero.jar%21/content/zotero/tinymce/note.html\">Download MP3</a></p>\n</div>\n<p class=\"wp-caption-text\">Tyler Kinnear says soundwalks are a great entry point for people unfamiliar with soundscape studies or listening practices in general.&nbsp;This excerpt was from a soundwalk exploring underground parking lots — it features a shopping cart being played by mallets.</p>\n</div>\n<p>“We are often so distracted by other things,” says Kinnear over the din of the café, “to choose to give your ears priority is a conscious practice.” He recently gave up change ringing to become chair of the Vancouver Soundwalk Collective, originally started by Hildegard Westerkamp. A soundwalk is a silent group walk led along a pre-planned route that is designed to draw attention to “a location’s ambiance and underlying rhythms.” Participants are invited to actively listen to “the complex orchestration that the environment is composing at all times.”</p>\n<p>Acoustic ecology asks us to acknowledge our role in the composition of the soundscape – because as that soundscape changes, so do we. The knowledge gained from sound-based studies might help us to design classrooms, offices and social spaces that minimize extraneous sound so that we can focus on consciously listening to what is salient. Although we may not be able to influence the course of modernization and development, or curb the increased mechanization and other new sounds to which we become exposed, we can at least remain aware and attentive to the nuances embedded in our soundscapes. With awareness comes the ability to act. This will be the next stage of acoustic ecology. Listen for it.</p>\n<div class=\"box\">\n<h2>Vancouver Soundwalks</h2>\n<p><a href=\"/jar:file://mce_host/../../../../zotero.jar%21/content/zotero/tinymce/note.html\">The Collective</a>&nbsp;holds a monthly improvised soundwalk and several Vancouver New Music-sponsored soundwalks annually. &nbsp;The best way to learn about these and other soundwalks is by joining their e-mail list (by contacting VNM). &nbsp;There are two VNM-sponsored soundwalks in April that may be of interest:</p>\n<p>“LEAVING FOOTPRINTS: Hearing the Sounds of Home”<br /> Led by Jenni Schine &amp; Cat Main<br /> Sunday 15 April, 2012; 2:00pm-3:30pm<br /> Meet at Commercial and 14<sup>th</sup></p>\n<p>“The Sounds of Sustainability”<br /> Led by Tyler Kinnear<br /> Sunday &nbsp;22 April, 2012; 2:00pm-3:30pm<br /> Meet at the main entrance to the Centre for Interactive Research on Sustainability,&nbsp;<a href=\"/jar:file://mce_host/../../../../zotero.jar%21/content/zotero/tinymce/note.html\">located on the UBC campus</a>.</p>\n</div>",
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            "note": "<p>Full Text: Introduction Page</p>\n<p class=\"paragraph_style_4\">Musicology seems an obvious word—how better to describe the study of music? However, as it became apparent that the field dealt almost exclusively with European art music, ethnomusicology was pressed into service. At first, it was an umbrella term charged with the task of surveying all the rest of the world’s music. Later, the field expanded, at least in some minds, to include even European art music.</p>\n<p class=\"paragraph_style_4\">&nbsp;</p>\n<p class=\"paragraph_style_4\">Ethnomusicological investigations into the music of the world and the ages prompted a search for musical universals, which were rarely found or agreed upon. The hunt for musical universals has largely shifted to the cognitive level. In addition to the topics of music cognition, perception, and processing, there has been an explosion of inquiries into a range of issues on the natureculture continuum, including music’s evolutionary origins and biological basis and the comparison of the faculties of music and language.</p>\n<p class=\"paragraph_style_4\">&nbsp;</p>\n<p class=\"paragraph_style_4\">Cognitive musicology ...biomusicology ...ecomusicology ...evolutionary musicology ...ornitho-musicology ...zoömusicology. A number of new words describe lively areas of research interest. Coined in 1983 by French composer François-Bernard Mâche, zoömusicology studies the musical aspects of animal sounds. According to Mâche, \"If it turns out that music is a widespread phenomenon in several living species apart from man, this will very much call into question the definition of music, and more widely that of man and his culture, as well as the idea we have of the animal itself” (1983/1992: 95).</p>\n<p class=\"paragraph_style_4\">&nbsp;</p>\n<p class=\"paragraph_style_4\">The discipline of zoömusicology is a pioneer enterprise that requires pulling together concerns and methods from a number of areas as well as real expertise in several others. Pre-existing case study models for such research are absent or at minimum insubstantial. The various tasks at hand include collection of extant recordings, observation and recording of animals in the field, sonographic examination, notation when feasible, and various types of musicological analyses. Such an approach contends with the methodological and conceptual issues that arise when music theory is applied to animal song and animal acoustics.</p>\n<p class=\"paragraph_style_4\">&nbsp;</p>\n<p class=\"paragraph_style_4\">Although birdsong is often held out as the most intriguing of all animal vocalizations, with a few notable exceptions (Craig, 1943; Sotavalta, 1956; Armstrong, 1973; Baptista and Keister, 2005), the studies of most ornithologists concern biological and evolutionary questions (the ontogeny and function of birdsong, for example), rather than musical ones. Whatever their preoccupations and methodological constraints, ornithologists are given to comments on the possible aesthetic use of sound by birds. The song complexity of passerines that appears to transcend biological requirements is the most frequent area of bewilderment.</p>\n<p class=\"paragraph_style_4\">&nbsp;</p>\n<p class=\"paragraph_style_4\">In a field known for its concise statements, consider just a few of these comments: “[it] leaves us to puzzle over the resulting richness and variety” (Catchpole and Slater, 1995: 191); “Sometimes it is clear that birds indulge in a process of improvisation, first memorizing and replicating a theme, and then subjecting it to a series of systematic transformations, as though assuaging an appetite for novelty” (Marler, 1981: 92); “but the far more complex songs of versatile songsters, the songs of songsters which possess large individual repertoires, sometime appear to be so variable as to dramatically violate the requirement of song invariance for species distinctiveness” (Boughey and Thompson, 1976: 5); and finally, from Thorpe: “In a number of cases among song birds, particularly those in which songs of unusual richness and variety are known, we frequently encounter what appears to be musical ‘invention’. This includes (1) re-arrangement of phrases, both innate and learnt, and (b) the invention of really ‘new’ material” (1966: 354).</p>\n<p class=\"paragraph_style_4\">&nbsp;</p>\n<p class=\"paragraph_style_4\">Jellis also makes the point that some birdsong far exceeds what is necessary for survival and reproduction:</p>\n<p class=\"paragraph_style_4\">&nbsp;</p>\n<p class=\"paragraph_style_5\">This is another feature of long-distance signalling: a change in the signal reawakens attention. But it is also a musical principle: tension followed by relaxation, changing rhythms and dynamics, dissonance and resolution. … But it is fair to ask whether these two principles, of redundancy and variety, are enough to account for the degree of elaboration and variation that has been found. It seems unlikely (1977: 196).</p>\n<p class=\"paragraph_style_4\">&nbsp;</p>\n<p class=\"paragraph_style_4\">Likewise, Klopfer addresses the possible presence of aesthetics in animals:</p>\n<p class=\"paragraph_style_4\">&nbsp;</p>\n<p class=\"paragraph_style_5\">If we consider esthetic preferences to mean a liking for objects or activities because they produce or induce particular neural inputs or emotional states, independently of overt reenforcers, can we attribute esthetics to animals other than man? The significance of an affirmative answer lies, of course, in the support this would lend to the belief that there is a biological basis to esthetics. And should our answer be affirmative, that animals can, for instance, have “art,” it will become important to enquire into the basis therefore: what are the historical or ultimate reasons for the development of an esthetic sense: by what mechanisms is the development of the species-characteristic preferences assumed? (1970: 399).</p>\n<p class=\"paragraph_style_4\">&nbsp;</p>\n<p class=\"paragraph_style_6\">Musicians have no barriers to discussing aesthetics in birdsong, whether under the rubric of zoömusicology or some other designation. Few studies of the aesthetics of animal sounds exist to compare and contrast solely within that system. Martinelli argues that zoömusicology “is too young to transcend human music as a point of reference” (2007: 133). He contends the field “has very little to do with admiring birdsong and considering it music simply for that reason. Zoomusicology is rather concerned with thinking that birds possess their own concept of music” (2002: 98).</p>\n<p class=\"paragraph_style_4\">&nbsp;</p>\n<p class=\"paragraph_style_4\">Mâche frames the issue differently, privileging those birds that sing best to his ear.</p>\n<p class=\"paragraph_style_4\">&nbsp;</p>\n<p class=\"paragraph_style_5\">Of some 8700 species of bird, around 4000 or 5000 are songbirds. Of these, 200 or 300 are of special interest to the musician through the variety of their signals. It may be said en passant that this is a ratio 50-100 times higher than that of professional musicians in relation to the total population of France (1983/1992: 96).</p>\n<p class=\"paragraph_style_7\">&nbsp;</p>\n<p class=\"paragraph_style_4\">He traces the natural musical archetypes and kinds of organization known in human music to various birdsong vocalizations in his book <span class=\"style_2\">Musique au singulier</span> (2001), suggesting that the origins of music have a fundamental basis in the biology of living things.</p>\n<p class=\"paragraph_style_4\">&nbsp;</p>\n<p class=\"paragraph_style_4\">Doolittle has emerged as another voice in the field. Her thesis investigating the relationship between human music and animal songs concludes that, while there are close connections, the relationship is analogous: “Though it is not impossible that the [common] reptilian ancestor could have been musical, no evidence suggests this” (2006: 168). She differs from Mâche, contending, “There is no single music,” but rather “many” (ibid.: 175).</p>\n<p class=\"paragraph_style_4\">&nbsp;</p>\n<p class=\"paragraph_style_4\">Music cognition is complex and problematical, with no simple fit between cultures individuals, or species. Intriguing work is beginning to be done in the field of zoömusicology, and interdisciplinary collaborations on birdsong have begun by those able to manoeuvre between the crumbling twin pillars of scepticism and romanticism.</p>\n<p class=\"paragraph_style_6\">&nbsp;</p>\n<p class=\"paragraph_style_6\">Biology and zoömusicology are not mutually exclusive; the field of zoömusicology could contain anyone who investigates the aesthetic use of sound in nonhuman animals. While the field’s decorum and range are still being formally set, we find activity dates back for decades. The American biologist Wallace Craig grapples with the aesthetic in his study of the song of the wood pewee (<span class=\"style_2\">Myiochanes virens Linnaeus</span>) as early as 1943:</p>\n<p class=\"paragraph_style_6\">&nbsp;</p>\n<p class=\"paragraph_style_8\">Our entire study leads to the conclusion that bird songs are true music, they are esthetic art and we believe that this is the essence of the concept, because it is the characteristic which is found in all bird songs and is not found in the other utterances of the bird; also, it is the characteristic which is found in highest degree in the best singers and in those songs which are most distinctly songs and not mere calls (169).</p>\n<p class=\"paragraph_style_6\">&nbsp;</p>\n<p class=\"paragraph_style_6\">In 1956, Sotavalta combines his training as a zoölogist with his gift of perfect pitch to notate and analyze the songs of two Sprosser nightingales (<span class=\"style_2\">Luscinia luscinia</span>). In 1962, Joan Hall-Craggs undertakes a classic study of the development of song in the blackbird, which pairs conventional transcriptions with sonograms, sometimes together and other times placed alone. Hungarian musicologist Peter Szöke writes on ornitomuzikológia in 1963. A decade later, British naturalist Edward A. Armstrong entitles a chapter “Bird Song as Art and Play” (1973: 231-245).</p>\n<p class=\"paragraph_style_6\">&nbsp;</p>\n<p class=\"paragraph_style_6\">Hartshorne compares birdsong to human music, proposes methods for describing and notating birdsongs, and analyses song structure following six dimensions he developed: loudness, complexity, continuity, tone, closure, and imitativeness (1973). He includes an elaborate formula for rating birds worldwide. Halafoff’s survey of birdsong, published in a respected ornithological journal, also displays a foothold in both biology and musicology (1968: 21-40). He employs sonograms and music notation, and he speaks of notes in terms of both frequencies (as he measures kilocycles per second in the range of various birds) and pitches (“A ‘pedaled triplet’ in the song of the same bird contains two intervals; Ab – E and C – E”) (ibid.: 24).</p>\n<p class=\"paragraph_style_6\">&nbsp;</p>\n<p class=\"paragraph_style_6\">In 1990, Hindley eschews a sonogram for his lengthy transcription of a nightingale; instead, he relies on his tape recorder slowed down to x4. He sees himself as a sort of aural detective. His supplemental text displays a connectivity to the fine nuances of the material. Consider this observation: “The timbre of the bird’s normal ‘voice’ is changed using a technique very similar to the way an organist adds a mixture [often a fourth], or nazard (a special organ stop) to a diapason, to provide an ‘edge’, a nasal quality” (1990: 30).</p>\n<p class=\"paragraph_style_6\">&nbsp;</p>\n<p class=\"paragraph_style_6\">Registers of birdsong-inspired compositions abound, making a repeat of such catalogues unnecessary. However, one cannot fail to notice that certain composers keep coming up: Janequin and Handel, Vivaldi and Messiaen, and also ‘Anonymous’—who penned many folk tunes based on birdsong, some still notable, many others probably lost. Works come up: the <span class=\"style_2\">Pastoral Symphony</span> (<span class=\"style_2\">Symphony No. 6 in F major</span>, Op. 68, by Beethoven, completed in 1808), <span class=\"style_2\">Oiseaux exotiques </span>(1956) and <span class=\"style_2\">Catalogue d'oiseaux</span> (1956-58) by Messiaen (two of the better-known from among his numerous works inspired by birdsong), and <span class=\"style_2\">Cantus Arcticus</span> (Opus 61), Rautavaara’s symphony for orchestra and taped birdsong from inside the Arctic Circle (1972). Recurring birds include, inter alia, the nightingale, canary, cuckoo, starling, mockingbird, skylark, and lyrebird. Native peoples are also mentioned with regularity: the Koyukon of Alaska (Nelson 1983); the Kaluli of Papua New Guinea (Feld 1990); and the Suya Indians of central Brazil (Seeger 1979).</p>\n<p class=\"paragraph_style_6\">&nbsp;</p>\n<p class=\"paragraph_style_6\">Philosopher and ethologist Dominique Lestel finds a strong analogy between birdsong and human music: “Compte tenu du fossé énorme qui sépare la vie de l’homme et celle de l’oiseau, une telle intelligibilité musicale entre les deux èspeces reste incontestablement étonnante” (2001: 219). Baptista and Keister explore the similarities of birdsong and human music, cataloguing the capabilities of birds as vocalists, instrumentalists, and composers, marveling: “As humans, we can never really achieve what the bird accomplishes, because part of the magic of its song is found in the miracle of the bird itself” (2005: 441).</p>\n<p class=\"paragraph_style_6\">&nbsp;</p>\n<p class=\"paragraph_style_6\">Herzog finds no fundamental difference between birdsong and human music:</p>\n<p class=\"paragraph_style_6\">&nbsp;</p>\n<p class=\"paragraph_style_9\">If music may be defined (excluding the functional aspect of the moment) as patterning of sound, then it can hardly be denied that animals and birds make music. Music is, of course, a particular type of sound patterning. It is said to depend on certain specific traits such as the use of fixed points in pitch—tones--, and transposition. …. From the purely formal point of view, there thus seems to be no reliable criterion that would establish a fundamental difference between animal and human expression in sound. … Until this problem of function becomes clarified, there seems to be no criterion for any theoretical separation of the vocal expression of animals from human music (1941: 4).</p>\n<p class=\"paragraph_style_6\">&nbsp;</p>\n<p class=\"paragraph_style_6\">Function is a stumbling block for many who reflect on birdsong, since the domain of music is closely guarded as a uniquely human capability—or is it an activity or a perhaps a product? Although Darwin credits birds “with strong affections, acute perception, and a taste for the beautiful” (1871/1981: Vol. II, 108), for others, crediting birdsong with aesthetics is a line that cannot be crossed until we have a theory of mind for animals. (No matter that Darwin also wrote that “the difference in mind between man and the higher animals, great as it is, is certainly one of degree and not of kind” (ibid.: 105).) Therefore, zoömusicologists should expect questions of function and not musicality to often dominate receptions of their work.</p>\n<p class=\"paragraph_style_6\">&nbsp;</p>\n<p class=\"paragraph_style_6\">As zoömusicologists begin to contemplate and illuminate other sonic cultures, both through studies of individual species and eventually inter-specific comparative investigations, they will tap a deep vein. Research benefits could be more than theoretical—with new knowledge, birdsong and other animal vocalizations might be integrated into human musical practice in heretofore-unimagined ways as we exploit their novel repertoires. Likewise, zoömusicological analyses might impact musicological methodology.</p>\n<p class=\"paragraph_style_6\">&nbsp;</p>\n<p class=\"paragraph_style_6\">Few species have been even partially studied. Any claims of human uniqueness in music (or other domains) must be considered provisional without animal research, and I predict such studies will yield substantial surprises. In the words of entomologist Edward O. Wilson, “Every species is a magic well” (1984: 19).—<span class=\"style_3\">Hollis Taylor, Paris, 2011.</span></p>\n<p class=\"paragraph_style_10\">&nbsp;</p>\n<p class=\"paragraph_style_11\">Some of the above first appeared in:</p>\n<p class=\"paragraph_style_12\">Taylor, Hollis. 2008. Towards a Species Songbook: Illuminating the Vocalisations of the Australian Pied Butcherbird (<span class=\"style_2\">Cracticus nigrogularis</span>). Doctor of Philosophy, University of Western Sydney.</p>\n<p class=\"paragraph_style_12\">Taylor, Hollis. 2008. Decoding the song of the pied butcherbird: An initial survey. Transcultural Music Review (12).</p>\n<p class=\"paragraph_style_12\">Taylor, Hollis. 2011. Composers’ appropriation of pied butcherbird song: Henry Tate’s ‘undersong of Australia’ comes of age. Journal of Music Research Online. <a title=\"http://www.jmro.org.au/index.php?journal=mca2&amp;page=issue&amp;op=current\" href=\"/jar:file://mce_host/jar:file://mce_host/../../../../zotero.jar%21/content/zotero/tinymce/note.html\">http://www.jmro.org.au/index.php?journal=mca2&amp;page=issue&amp;op=current</a></p>\n<p class=\"paragraph_style_4\">&nbsp;</p>\n<p class=\"paragraph_style_13\">Other References</p>\n<p class=\"paragraph_style_14\">Armstrong, Edward A. 1973. A Study of Bird Song. New York: Dover Publications.</p>\n<p class=\"paragraph_style_14\">Baptista, Luis F., and Robin A. Keister. 2005. Why birdsong is sometimes like music. Perspectives in Biology and Medicine 48 (3): 426-443.</p>\n<p class=\"paragraph_style_14\">Boughey, M. J., and N. S. Thompson. 1976. Species specificity and individual variation in the songs of the Brown Thrasher (Toxostoma rufum) and Catbird (Cumetella carolinensis). Behaviour 57 (1-2): 64-90.</p>\n<p class=\"paragraph_style_14\">Catchpole, C. K., and P. J. B. Slater. 1995. Bird Song: Biological themes and variations. Cambridge, U.K.: Cambridge University Press.</p>\n<p class=\"paragraph_style_14\">Craig, Wallace. 1943. The Song of the Wood Pewee <span class=\"style_2\">Myiochanes virens linnaeus</span>: a study of bird music. Vol. 334. Albany, New York: The University of the State of New York.</p>\n<p class=\"paragraph_style_14\">Darwin, Charles. 1871. The Descent of Man, and Selection in Relation to Sex. Reprint of the 1871 ed. published by J. Murray, London, 1981 ed. Princeton: Princeton University Press.</p>\n<p class=\"paragraph_style_14\">Doolittle, Emily L. 2006. Other Species' Counterpoint: An Investigation of the Relationship between Human Music and Animal Songs. Doctor of Philosophy, Princeton University.</p>\n<p class=\"paragraph_style_14\">Feld, Steven. 1990. Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression. Second ed. Philadelphia: University of Pennsylvania Press.</p>\n<p class=\"paragraph_style_14\">Halafoff, K. C. 1968. A survey of birds' music. Emu 68 (1): 21-40.</p>\n<p class=\"paragraph_style_14\">Hall-Craggs, Joan. 1962. The development of song in the blackbird. Ibis 104 (3): 277-300.</p>\n<p class=\"paragraph_style_14\">Herzog, George. 1941. Do animals have music? Bulletin of the American Musicological Society 5: 3-4.</p>\n<p class=\"paragraph_style_14\">Hindley, David. 1990. The music of birdsong. Wildlife Sound 6 (4): 25-33.</p>\n<p class=\"paragraph_style_14\">Jellis, Rosemary. 1977. Bird Sounds and Their Meaning. Ithaca, New York: Cornell University Press.</p>\n<p class=\"paragraph_style_14\">Klopfer, P. H. 1970. Sensory physiology and esthetics. American Scientist 58: 399-403.</p>\n<p class=\"paragraph_style_14\">Lestel, Dominique. 2001. Les origines animales de la culture. Paris: Flammarion.</p>\n<p class=\"paragraph_style_14\">Mâche, François-Bernard. 1983/1992. Music, Myth and Nature. Trans. Susan Delaney. Switzerland: Harwood Academic Publishers.</p>\n<p class=\"paragraph_style_14\">Marler, Peter. 1981. Birdsong: the acquisition of a learned motor skill. Trends in Neurosciences 4: 88-94.</p>\n<p class=\"paragraph_style_14\">Martinelli, Dario. 2002. How Musical Is a Whale?: Towards a Theory of Zoömusicology. Edited by E. Tarasti of Acta Semiotica Fennica: Approaches to Musical Semiotics. Hakapaino: International Semiotics Institute.</p>\n<p class=\"paragraph_style_14\">Martinelli, Dario. 2007. Zoosemiotics: Proposals for a Handbook. Imatra: International Semiotics Institute.</p>\n<p class=\"paragraph_style_14\">Nelson, Richard K. 1983. Make Prayers to the Raven: A Koyukon View of the Northern Forest. Chicago: University of Chicago Press.</p>\n<p class=\"paragraph_style_14\">Seeger, Anthony. 1979. What can we learn when they sing? Vocal genres of the Suya Indians of central Brazil. Ethnomusicology 23 (3): 373-394.</p>\n<p class=\"paragraph_style_14\">Sotavalta, Olavi. 1956. Analysis of the song patterns of two Sprosser nightingales, Luscinia luscinia. Annals of the Finnish Zoological Society \"Vanamo\" 17 (4): 1-31.</p>\n<p class=\"paragraph_style_14\">Szőke, Péter. 1963. Ornitomuzikológia. Magyar Tudomany 9: 592-607.</p>\n<p class=\"paragraph_style_14\">Thorpe, W. H. 1966. Ritualization in ontogeny. II Ritualization in the individual development of bird song. Philosophical Transactions of the Royal Society of London. Series B, Biological Sciences 251 (772): 351-358.</p>\n<p>Wilson, Edward O. 1984. Biophilia. Cambridge, Massachusetts: Harvard University Press.</p>",
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            "note": "<h2>References</h2>\n<ol class=\"citations\">\n<li>Acevedo MA, Villanueva-Rivera LJ (2006) Using automated digital recording systems as effective tools for the monitoring of birds and amphibians. Wildl Soc Bull 34:211–214</li>\n<li>Adams M, Cox T, Moore G, Croxford B, Refaee M, Sharples S (2006) Sustainable soundscapes: noise policy and urban experience. Urban Stud 43:2385–2398</li>\n<li>Ajzen I (1991) The theory of planned behavior. Organ Behav Hum Decis Process 50:179–211</li>\n<li>Barber JR, Crooks KR, Fristrup KM (2010) The costs of chronic noise exposure for terrestrial organisms. Trends Ecol Evol 25:180–189</li>\n<li>Berglund B, Lindvall T, Schwela DH (1999) Guidelines for community noise. World Health Organization, Geneva, p 20</li>\n<li>Bowles A, Schulte-Fortkamp B (2008) Noise as an indicator of quality of life: advances in measurement of noise and noise effects on humans and animals in the environment. 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No. 5, Handbook for Acoustic Ecology, 1978; reprinted as a CD-ROM, Cambridge Street Publishing, 1999</li>\n<li>Wu J (2008) Making the case for landscape ecology: an effective approach to urban sustainability. Landscape J 27:41–50</li>\n<li>Zonneveld IS (1988) Landscape ecology and its application. In: Moss M (ed) Landscape ecology and management. Polyscience Public, Montreal, QC, pp 3–15</li>\n<li>Zonneveld IS (1990) Scope and concepts of landscape ecology as an emerging science. In: Zonneveld IS, Forman RTT (eds) Changing landscape: an ecological perspective. Springer-Verlag, New York, pp 3–20</li>\n<li><a href=\"/jar:file://mce_host/jar:file://mce_host/../../../../zotero.jar%21/content/zotero/tinymce/note.html\">www.wfae.net</a>. Accessed 19 Aug 2011</li>\n</ol>Barrett GW (1985) A problem-solving approach to resource management. Bioscience 35:423–427</div>",
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            "note": "<div class=\"section\">\n<h2>References</h2>\n<ol class=\"citations\">\n<li>Barber JR, Crooks KR, Fristrup KM (2010) The costs of chronic noise exposure for terrestrial organisms. Trends Ecol Evol 25:180–189</li>\n<li>Barber JR, Burdett CL, Reed SE, Warner KA, Formichella C, Crooks KR, Theobald DM, Fristrup KM (in review) Scale and the ecological consequences of anthropogenic noise exposure. Landscape Ecol (Submitted)</li>\n<li>Beranek LL, Lang WW (2003) America needs a new national noise policy. Noise Control Eng J 51(3):123–130</li>\n<li>Berglund B, Lindvall T (1995) Community noise. World Health Organization, Stockholm</li>\n<li>Blomberg L, Schomer P, Wood E (2003) The interest of the general public in a national noise policy. Noise Control Eng J 51(3):172–175</li>\n<li>Bureau of Transporation Statistics (2010) Flight statistics. U.S. Department of Transportation, Research and Innovation Technology Administration, Washington, DC. 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Field Methods 18(1):59–82</li>\n<li>Haberl H, Erb KH, Krausmann F, Gaube V, Bondeau A, Plutzar C, Gingrich S, Lucht W, Fischer-Kowalski M (2007) Quantifying and mapping the human appropriation of net primary production in earth’s terrestrial ecosystems. Proc Natl Acad Sci 104:12942–12947</li>\n<li>Hardin G (1968) Tragedy of the commons. Science 162:1243–1248</li>\n<li>Holling CS, Meffe GK (1996) Command and control and the pathology of natural resource management. Conserv Biol 10(2):328–337</li>\n<li>Karlsson H (2000) The acoustic environment as a public domain. Soundscape: J Acoust Ecol 1(2):10–13</li>\n<li>Krause B (1987) Bioacoustics, habitat ambience in ecological balance. Whole Earth Rev 57:14–18</li>\n<li>Krause B, Gage S (2003) Testing biophony as an indicator of habitat fitness and dynamics. Report for SEKI Natural Soundscape Vital Signs Pilot Program. Sequoia National Park, National Park Service</li>\n<li>Lachapelle PR, McCool SF, Patterson ME (2003) Barriers to effective natural resource planning in a “messy” world. Soc Nat Resour 16:473–490</li>\n<li>Layzer JA (2006) The environmental case: translating values into policy, 2nd edn. CQ Press, Washington, DC</li>\n<li>Lynch E, Joyce D, Fristrup K (2011) An assessment of noise audibility and sound levels in U.S. National Parks. Landscape Ecol (Submitted)</li>\n<li>Manning RE (2007) Parks and carrying capacity: commons without tragedy. Island Press, Washington, DC</li>\n<li>(MEA) Millennium Ecosystem Assessment (2005) Ecosystems and human well-being: synthesis. Island Press, Washington, DC</li>\n<li>McCusker V, Cahill K (2010) Integrating soundscapes into National Park Service planning. Park Sci 26(3):37–41</li>\n<li>McGinnis MD, Ostrom E (2011) SES framework: initial changes and continuing challenges. To be submitted to Ecology and Society. Working Paper W11-6, Workshop in Political Theory and Policy Analysis, Indiana University, Bloomington</li>\n<li>Miller NP (2008) U.S. National Parks and management of park soundscapes: a review. Appl Acoust 69:77–92</li>\n<li>National Parks Air Tour Management Act (2000) 49 USC 40128. Public Law 106-81</li>\n<li>National Parks Overflights Act (1987) 16 USC 1a-1. Public Law 100-91</li>\n<li>National Park Service (1995) Report on the effects of aircraft overflights on the National Park System. U.S. Department of Interior, Denver, CO</li>\n<li>National Park Service (2000) Director’s order no. 47: soundscape preservation and noise management. U.S. Department of Interior, National Park Service, Washington, DC</li>\n<li>National Park Service (2006) Management policies 2006. U.S. Department of Interior, National Park Service, Washington, DC</li>\n<li>Noise Pollution and Abatement Act (1972) 42 USC 4901. Public Law 92-574</li>\n<li>O’Connor P (2008) The sound of silence: valuing acoustics in heritage conservation. Geogr Res 46(3):361–373</li>\n<li>Ostrom E (1990) Governing the commons: the evolution of institutions for collective action. Cambridge University Press, New York</li>\n<li>Ostrom E (2005) Understanding institutional diversity. Princeton University Press, Princeton, NJ</li>\n<li>Ostrom E (2007) A diagnostic approach for going beyond panaceas. Proc Natl Acad Sci 104(39):15181–15187</li>\n<li>Ostrom E (2009) A general framework for analyzing sustainability of social-ecological systems. Science 325:419–422</li>\n<li>Ostrom E, Burger J, Field CB, Norgaard RB, Policansky D (1999) Revisiting the commons: local lessons, global challenges. Science 284(5412):278–282</li>\n<li>Patricelli GL, Blickley JL (2006) Avian communication in urban noise: causes and consequences of vocal adjustment. Auk 123(3):639–649</li>\n<li>Pijanowski BC, Farina A, Gage SH, Dumyahn SL (2011a) What is <span class=\"searchword\">soundscape ecology</span>? Landscape Ecol. doi:<a href=\"/jar:file://mce_host/jar:file://mce_host/../../../../zotero.jar%21/content/zotero/tinymce/note.html\">10.1007/s10980-011-9600-8</a></li>\n<li>Pijanowski BC, Villanueva-Rivera LJ, Dumyahn SL, Farina A, Krause BL, Napoletano BM, Gage SH, Pieretti N (2011b) <span class=\"searchword\">Soundscape ecology</span>: the science of sound in the landscape. Bioscience 61:203–216</li>\n<li>Qi J, Gage SH, Joo W, Napoletano BN, Biswas S (2008) Soundscape characteristics of an environment: a new ecological indicator of ecosystem health. In: Ji W (ed) Wetland and water resource modeling and assessment. CRC Press, New York, NY, pp 201–211</li>\n<li>Rheindt FE (2003) The impact of roads on birds: does song frequency play a role in determining susceptibility to noise pollution? J Ornithol 144:295–306</li>\n<li>Riós-Chelén AA (2009) Bird song: the interplay between urban noise and sexual selection. Oecologia Brasiliensis 13:153–164</li>\n<li>Ryan GW, Bernard HR (2003) Techniques to identify themes. Field Methods 15(1):85–109</li>\n<li>Sagoff M (2004) Price, principle, and the environment. Cambridge University Press, Cambridge, UK</li>\n<li>Schafer RM (1994) The soundscape: our sonic environment and the tuning of the world. Destiny Books, Rochester, VT</li>\n<li>Schlager E, Ostrom E (1992) Property rights regimes and natural resources: a conceptual analysis. Land Econ 68(3):249–262</li>\n<li>Stansfeld S, Matheson MP (2003) Noise pollution: non-auditory effects on health. Br Med Bull 68:243–257</li>\n<li>Steins NA, Edwards VM (1999) Platforms for collective action in multiple-use common-pool resources. Agric Hum Values 16:241–255</li>\n<li>Sueur J, Pavoine S, Hamerlynck O, Duvail S (2008) Rapid acoustic survey for biodiversity appraisal. PLoS ONE 3:e4065</li>\n<li>Swaddle J, Page L (2007) Increased amplitude of environmental white noise erodes pair preferences in zebra finches: implications for noise pollution. Anim Behav 74:363–368</li>\n<li>Torigoe K (2003) Insights taken from three visited soundscapes in Japan. In: Proceedings of the world forum for acoustic ecology symposium, Melbourne, Australia, 19–23 March 2003</li>\n<li>Tranel MJ, Hall A (2003) Parks as battlegrounds: managing conflicting values. In: Harmon D, Putney AD (eds) The full value of parks: from economics to the intangible. Rowman and Littlefield Publishers, Inc., Lanham, MD, pp 253–267</li>\n<li>Truax B (1999) Handbook of acoustic ecology, 2nd edn. Cambridge Street Publishers, British Columbia</li>\n<li>Vail D, Heldt T (2004) Governing snowmobilers in multiple-use landscapes: Swedish and Main (USA) cases. Ecol Econ 48:469–483</li>\n<li>Voorhees PH, Krey L (1999) Prevalence, severity of overflights on U.S. National Parks: results of the survey of national park superintendents. Noise Control Eng J 47(3):107–111</li>\n<li>Warren PS, Katti M, Ermann M, Brazel A (2006) Urban bioacoustics: it’s not just noise. Anim Behav 71:491–502</li>\n<li>Wengraf T (2001) Qualitative research interviewing: biographic narrative and semi-structured methods. Sage Publications, Thousand Oaks, CA</li>\n<li>Wilderness Act (1964) 16 U.S.C. 1131–1136, PL 88-577</li>\n<li>Wood WE, Yezerinac SM (2006) Song sparrow (<em>Meospiza melodia</em>) song varies with urban noise. Auk 123(3):650–659</li>\n<li>Wrightson K (2000) An introduction to acoustic ecology. Soundscape: J Acoust Ecol 1(1):10–13</li>\n</ol></div>",
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            "note": "<p>Today the air is filled with discussion of commons as a democratic  principle of access, sharing and use, particularly the so-called  cultural commons<a id=\"_ednref1\" name=\"_ednref1\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_edn1\"><sup>1</sup></a> and the digital commons. I believe that it is also helpful to think in  terms of a sound commons, and that we ought to be managing it instead of  damaging it. Why? So that all creatures (ourselves included) may  communicate in our acoustic niches in the soundscape. It isn’t just  because all creatures have the right to life (and they—we—cannot live if  we’re prevented from communicating in our sound-worlds). I also make a  utilitarian argument concerning, as ecologists put it, the beneficial  consequences of sound communication to (1) biodiversity in ecosystems,  and to (2) ecosystem resilience in the face of disturbance—such as human  noise.</p>\n<p>In the far northern Canadian wilderness, noise from helicopters flown  by mineral explorers and from mining company construction confuses  caribou, upsets their communication and has caused them to change their  migration routes. Not only does the soundscape pollution impact the  caribou, but also human groups such as the Innu whose traditional  lifeways (food, clothing, shelter) were fully dependent on caribou  hunting—a practice they attempt to continue still, to maintain their  culture, even though these former nomads are now settled in villages.  And yes, the Innu have songs about caribou hunting. One of them  translates roughly as follows: “You [caribou] are so far away, I cannot  reach you. I’ll catch up with you and call my friends.”<a id=\"_ednref2\" name=\"_ednref2\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_edn2\"><sup>2</sup></a></p>\n<p>It’s all connected: music to sound, human to animal, culture to  nature. Just as sound is enveloped by environment, so is culture, by  both the human-built and natural environments.<a id=\"_ednref3\" name=\"_ednref3\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_edn3\"><sup>3</sup></a> When back in the 1950s and 1960s, Moses Asch published sound recordings  of New York City sound environments alongside recordings of sounds of  sea creatures singing in the ocean, sounds of the office and sounds of  steam locomotives, sounds of birds in the forest and frogs in the  desert, he must also have understood this. Work in cultural  sustainability—which Folkways and the Smithsonian’s Center of Folklife  and Cultural Heritage always has supported on the grounds of musical and  cultural equity—is intimately related to work in environmental  sustainability and cannot proceed successfully without it. A sound  commons, where all living beings enjoy a commonwealth of sound, embodies  the principle of sound equity, encouraging free and open sound  communication, and playing its important part in environmental, musical,  and cultural sustainability.</p>\n<p>Soundscape studies in one form or another have proliferated since the  mid-20th century when Moses Asch was most active in publishing Folkways  recordings of environmental sounds. Composers, sensitive to whole  soundscapes, mixed environmental and electronically-generated<a id=\"_ednref4\" name=\"_ednref4\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_edn4\"><sup>4</sup></a> sounds into 20th-century <em>musique concrète</em> well before the rise of ambient music and environmental sound art. Many  of these composers, such as Hildegard Westerkamp and John Luther Adams,  have not only composed music in direct relation to nature but have been  very articulate in advocating for a kind of sound activism in response  to human degradation of the environment.</p>\n<p>Pioneering sound collector Bernie Krause, whose early musical career  included a stint with The Weavers, and time spent as a  composer/performer of electronic music, has traveled to the remotest  parts of the world recording vanishing soundscapes and theorizing about  biophony (sounds made by animals), geophony (non-biological sounds made  by the earth, wind, thunder, rain, etc.), and anthrophony (sounds made  by humans). His revamped website is noteworthy,<a id=\"_ednref5\" name=\"_ednref5\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_edn5\"><sup>5</sup></a> &nbsp;while his recent book, <em>The Great Animal Orchestra</em><a id=\"_ednref6\" name=\"_ednref6\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_edn6\"><sup>6</sup></a> is required reading for anyone interested in the way human  environmental impact has affected animal sound communication and  contributed to the extinction of species.</p>\n<p>Rachel Carson titled her well-known book about DDT, the flow of  chemicals in the environment, and the extinction of animal species <em>Silent Spring</em> .<a id=\"_ednref7\" name=\"_ednref7\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_edn7\"><sup>7</sup></a> R. Murray Schafer, a Canadian composer, was concerned to re-orient  humans away from a sight-centered universe so as to have them attend to  sounds and to managing the soundscape. Pollution, he argued in <em>The Tuning of the World<a id=\"_ednref8\" name=\"_ednref8\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_edn8\"><sup>8</sup></a></em> was not only in the air we breathe but also in the sounds we hear.  Acoustic ecology, the branch of soundscape studies that followed from  Schafer’s work, centers on managing noise pollution in the human  environment.</p>\n<p>However, much more than noise pollution is involved in soundscape  ecology. I like to think of soundscape ecology as the study of the flow  of sound in the environment. Zoosemiotics, the multidisciplinary science  of animal communication, arose in the mid-20th century, with sound as  one of the three primary animal communicative pathways (smell and sight  are the others). Scientific study of bird song, of course, has been  underway ever since the advent of sound recording; the Cornell  University Laboratory of Ornithology encourages study of bird sounds<a id=\"_ednref9\" name=\"_ednref9\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_edn9\"><sup>9</sup></a> and one can find amateur nature recordists in the field with their  parabolic reflectors to concentrate the sounds into their mics, and also  chatting in online listservs.</p>\n<p>Long before the rise of soundscape ecology and its many tributaries,  Henry David Thoreau was paying careful attention to sound in the  environment. Human music, he thought, was but an echo of the music of  nature, which was primary. Music, he wrote, was the sound of circulation  in nature’s veins. Unlike word-bound speech and writing, sounds  communicate directly, in a language “without metaphor”.<a id=\"_ednref10\" name=\"_ednref10\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_edn10\"><sup>10</sup></a> He understood and wrote about echolocation (orienting yourself by  sound, as Native Americans did in the forests, or as bats do with their  sonar); he understood how sound signals presence; he developed a  proto-theory of ambient sound; and he paid very close attention to  animal communication, writing volumes in his <em>Journal</em> about what he heard on his daily walks as the seasons progressed.<a id=\"_ednref11\" name=\"_ednref11\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_edn11\"><sup>11</sup></a></p>\n<p>One of Thoreau’s most prescient observations concerned what today we  call acoustic niche theory: that species not only occupy ecological  niches but communicate with one another in their own particular acoustic  niches, according to sound frequency (some outside the range of human  hearing), time of day, timbre, and so forth—in order to avoid noise  interference. Can sounds lie? He also understood how animals could give  false or misleading signals (prey to predators). Thoreau sought sound  ecstasies and vibrated with the universe; he built an Aeolian harp and  kept it in his partially opened window. Sound was the source of  Thoreau’s deepest veneration of the natural world and a chief motivator  in his desire to preserve and protect it.</p>\n<p>The Smithsonian Folkways catalog has since the 1950s included  recordings of urban soundscapes, animal communication, and other sound  phenomena not normally considered music. Thoreau, who noticed and wrote  about the sounds children made when playing games outdoors, would have  been interested to hear <a href=\"http://www.folkways.si.edu/sounds-of-camp-a-documentary-study-of-a-childrens-camp/album/smithsonian\" target=\"_blank\"><em>Sounds of Camp: A Documentary Study of a Children’s Camp</em></a>.<a id=\"_ednref12\" name=\"_ednref12\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_edn12\"><sup>12</sup></a> Fascinated by animal communication, he would have been intrigued by <a href=\"http://www.folkways.si.edu/sounds-and-ultra-sounds-of-the-bottle-nose-dolphin/album/smithsonian\" target=\"_blank\"><em>Sounds and the Ultra-Sounds of the Bottle-Nose Dolphin</em></a>.<a id=\"_ednref13\" name=\"_ednref13\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_edn13\"><sup>13</sup></a> Understanding the close connection between sound and geographical  region, he would have been curious to hear environmental sounds from  areas he had never visited, such as the Southwest (<a href=\"http://www.folkways.si.edu/sounds-of-the-american-southwest/album/smithsonian\" target=\"_blank\"><em>Sounds of the American Southwest</em></a>).<a id=\"_ednref14\" name=\"_ednref14\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_edn14\"><sup>14</sup></a> And Thoreau, who had once vibrated ecstatically in a vernal pool filled  with copulating toads, would have been thrilled by Charles Bogert’s  scientific recordings of frogs, <a href=\"http://www.folkways.si.edu/sounds-of-north-american-frogs/science-nature/album/smithsonian\" target=\"_blank\"><em>Sounds of North American Frogs</em></a>.<a id=\"_ednref15\" name=\"_ednref15\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_edn15\"><sup>15</sup></a></p>\n<p>The folk music revival gave us the idea of musical and cultural  equity: that all groups of people have the right to express, maintain  and develop their musical and cultural traditions. I believe that a  related principle, sound equity, should be extended to all creatures. I  argue in my blog, Music and Sustainability, in favor of a commonwealth  of sound, a sound commons for all living beings.<a id=\"_ednref16\" name=\"_ednref16\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_edn16\"><sup>16</sup></a> A commons, or <em>res communes,</em> according to Roman law, was a thing (<em>res</em>)  that by its nature is incapable of being “captured” and thereby  possessed. A commons, then, is not owned by any individual; it is  shared. Roman law, which is the basis of Euro-American law, gave as its  usual examples of <em>res communes</em> the air mantle and the ocean. I  submit that the same is true of the soundscape: it belongs to the birds  and the crickets as much as to you and me.</p>\n<p style=\"margin-top: 40px;\"><em>Jeff Todd Titon is a professor of music at  Brown University, where for 25 years he directed the Ph.D. program in  ethnomusicology. Active as a musician, scholar, and applied  ethnomusicologist, his current research may be followed on his blog: <a href=\"http://sustainablemusic.blogspot.com\" target=\"_blank\">http://sustainablemusic.blogspot.com</a></em></p>\n<div class=\"top-forty\">\n<div id=\"edn1\">\n<p class=\"verdana-ten gray-type\"><a id=\"_edn1\" name=\"_edn1\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_ednref1\"><sup>1</sup></a> Lewis Hyde, <em>Common As Air</em>. New York: Farrar, Straus &amp; Giroux, 2010.</p>\n</div>\n<div id=\"edn2\">\n<p class=\"verdana-ten gray-type\"><a id=\"_edn2\" name=\"_edn2\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_ednref2\"><sup>2</sup></a> <a href=\"http://sustainablemusic.blogspot.com/2012/12/the-sound-world-of-innu.html\" target=\"_blank\">http://sustainablemusic.blogspot.com/2012/12/the-sound-world-of-innu.html</a></p>\n</div>\n<div id=\"edn3\">\n<p class=\"verdana-ten gray-type\"><a id=\"_edn3\" name=\"_edn3\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_ednref3\"><sup>3</sup></a> The emerging humanities field of <em>ecomusicology </em>(ecology  + music) has risen to address these issues. The field attracts  ethnomusicologists, musicologists and others interested in combining the  study of music, sound and nature with ecocriticism - itself a branch of  the humanities in which scholars study the relation between literature  and the environment in a time of environmental crisis.</p>\n</div>\n<div id=\"edn4\">\n<p class=\"verdana-ten gray-type\"><a id=\"_edn4\" name=\"_edn4\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_ednref4\"><sup>4</sup></a> Later, these would become primarily computer-generated sounds.</p>\n</div>\n<div id=\"edn5\">\n<p class=\"verdana-ten gray-type\"><a id=\"_edn5\" name=\"_edn5\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_ednref5\"><sup>5</sup></a> <a href=\"http://www.wildsanctuary.com/\" target=\"_blank\">http://www.wildsanctuary.com</a></p>\n</div>\n<div id=\"edn6\">\n<p class=\"verdana-ten gray-type\"><a id=\"_edn6\" name=\"_edn6\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_ednref6\"><sup>6</sup></a> Bernie Krause, <em>The Great Animal Orchestra</em>. New York: Little, Brown, 2012.</p>\n</div>\n<div id=\"edn7\">\n<p class=\"verdana-ten gray-type\"><a id=\"_edn7\" name=\"_edn7\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_ednref7\"><sup>7</sup></a> Rachel Carson, <em>Silent Spring</em>. Boston, MA: Houghton-Mifflin, 1962.</p>\n</div>\n<div id=\"edn8\">\n<p class=\"verdana-ten gray-type\"><a id=\"_edn8\" name=\"_edn8\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_ednref8\"><sup>8</sup></a> R. Murray Schafer, <em>The Tuning of the World</em>. Philadelphia: University of Pennsylvania Press, 1980.</p>\n</div>\n<div id=\"edn9\">\n<p class=\"verdana-ten gray-type\"><a id=\"_edn9\" name=\"_edn9\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_ednref9\"><sup>9</sup></a> <a href=\"http://www.birds.cornell.edu/AllAboutBirds/studying/birdsongs\" target=\"_blank\">http://www.birds.cornell.edu/AllAboutBirds/studying/birdsongs</a></p>\n</div>\n<div id=\"edn10\">\n<p class=\"verdana-ten gray-type\"><a id=\"_edn10\" name=\"_edn10\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_ednref10\"><sup>10</sup></a> Henry David Thoreau, <em>Walden, </em>ed. Robert Sayre<em>. </em>New York: Library of America, 1985, p. 411.</p>\n</div>\n<div id=\"edn11\">\n<p class=\"verdana-ten gray-type\"><a id=\"_edn11\" name=\"_edn11\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_ednref11\"><sup>11</sup></a> <em>The Journal of Henry David Thoreau</em>,  ed. Bradford Torrey and F. H. Allen. 14 vols. in 2. New York: Dover  Publications, 1962, a reprint of the original 1906 edition. A new  edition from Princeton University Press has been underway for decades  but remains incomplete.</p>\n</div>\n<div id=\"edn12\">\n<p class=\"verdana-ten gray-type\"><a id=\"_edn12\" name=\"_edn12\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_ednref12\"><sup>12</sup></a> 1959; FWO6105/FX 6105</p>\n</div>\n<div id=\"edn13\">\n<p class=\"verdana-ten gray-type\"><a id=\"_edn13\" name=\"_edn13\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_ednref13\"><sup>13</sup></a> 1973; FW06132 / FX 6132</p>\n</div>\n<div id=\"edn14\">\n<p class=\"verdana-ten gray-type\"><a id=\"_edn14\" name=\"_edn14\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_ednref14\"><sup>14</sup></a> 1954; SF FW06122</p>\n</div>\n<div id=\"edn15\">\n<p class=\"verdana-ten gray-type\"><a id=\"_edn15\" name=\"_edn15\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_ednref15\"><sup>15</sup></a> 1958 &amp; 1998; SF 45060</p>\n</div>\n<div id=\"edn16\">\n<p class=\"verdana-ten gray-type\"><a id=\"_edn16\" name=\"_edn16\" href=\"http://www.folkways.si.edu/magazine/2012_fall_winter/sounding_off.aspx#_ednref16\"><sup>16</sup></a> <a href=\"http://sustainablemusic.blogspot.com\" target=\"_blank\">http://sustainablemusic.blogspot.com</a></p>\n</div>\n</div>",
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            "abstractNote": "NATHAN CURRIER\n\nRenowned music critic Tim Page has described Nathan Currier's compositional style as “engaging, virtuosic and richly inventive music, realized with impeccable taste,” adding that while “Currier’s music is often wildly virtuosic,” it does not “fit into any of the pre-fabricated categories that have been set aside to describe composers...ultimately, Currier is an independent, with no seeming allegiance to any creed but the most valuable one of all -nathan currier image that of creating a succinct, personal, well-crafted music....”\n\nCurrier’s compositions have been heard at prestigious venues, from Avery Fisher Hall at Lincoln Center to the Philharmonie in Berlin, and he is a winner of many prizes and awards, such as the Rome Prize, Guggenheim, American Academy of Arts & Letters’ Academy Award, National Endowment for the Arts, Fulbright, NYFA, Fromm, Ives, Barlow, and ASCAP awards and prizes.\n\nRecent premieres include the 2012 premiere of his symphony, Hildegard’s Symphony, a forty minute work for orchestra with harp solo, premiered in Venezuela by the Simon Bolivar Orchestra and harpist Marie-Pierre Langlamet, Cesar Ivan Lara conducting. Other recent premieres include his Piano Concerto, commissioned as winner of the International Sackler Prize for Composition.\n\nThe topic of Currier's largest musical work is Gaia theory – which views the Earth as a single self-regulating entity – and his massive oratorio Gaian Variations was premiered at Avery Fisher Hall by the Brooklyn Philharmonic for Earth Day 2004. Currier has more recently become involved with Gaia theory itself, co-authoring with NASA scientist Paul D. Lowman (the first geologist to join NASA, and later a founder of comparative planetology), a chapter of the book Chimeras and Consciousness (MIT Press, 2011). When NASA celebrated the 50th year of its exobiology program, a passage from their chapter – called Life's Tectonics, and concerning the role of life and water on tectonics here on earth – was read in the opening keynote address.\n\nCurrier studied at Juilliard and Peabody, was the Leonard Bernstein Fellow in composition at Tanglewood, and also holds a Diploma with First Prize from the Royal Conservatory of Belgium. The diversity of his composition teachers – Joseph Schwantner, Frederic Rzweski, David Diamond, Bernard Rands and Steven Albert – reflects the encompassing palette of his music. He is also an accomplished pianist, having won the Silver Medal in the International Piano Recording Competition in his early twenties for a performance of Bach's Goldberg Variations.\n\nCurrier’s other important compositions include Possum Wakes from Playing Dead, commissioned by the Berlin Philharmonic, and his quintet Thirty Little Pictures of Time Passing, premiered as part of the Berlin Philharmonic’s chamber music series. His one act monodrama A Kafka Cantata was rated the #1 Musical Event of the Year in Pittsburgh by that city’s chief newspaper after its premiere there in 1992 with tenor Paul Sperry. His music has also been broadcast nationally in the U.S. on National Public Radio, with the Saint Paul Chamber Orchestra, and his very first commissioned work, a large set of variations for the Verdehr Trio, was hailed by the critic as a “piece of genius” upon its premiere in India.\n\nCurrier has also become actively involved with climate science. He has been a member of Al Gore’s Climate Project since 2007, and became Senior Climate Advisor and methane specialist for Public Policy Virginia. He has spoken at Columbia University, New York University, and UNICEF Headquarters at the United Nations, among many others, and has presented to about 1,000 people on climate change. Since last year he has been writing about climate issues for Huffington Post, and recently served as a panelist for a segment of Gore's “24 Hours of Reality” which live-streamed to a viewership of 8.5 million.\n\nHis music is recorded on Chandos, Crystal and New World Records, and is published by Theodore Presser Co. Currier has also frequently been granted residency awards, such as at the Bellagio Center in Italy and the Camargo Foundation in France, as well as the Hermitage, MacDowell, Yaddo, VCCA, Millay, Ucross, Ragdale, Blue Mountain Center, and Djerassi residency programs. He has been Composer-in-Residence at the Wintergreen festival and at Music on the Hill festival, and been heard on other festivals such as the Bergen International Festival in Norway and the Stresa Festival in Italy.\n\nCurrier taught for a decade at Juilliard, on their Evening Division and MAP faculties, and more recently served on the faculty of the University of Virginia for two years. He grew up in Providence, Rhode Island, and comes from a musical family.",
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            "note": "<p>There are currently fewer than 500 <a href=\"http://www.treehugger.com/natural-sciences/endangered-right-whales-found-in-north-atlantic-waters-where-they-were-thought-extinct.html\">right whales</a> remaining in the wild and boat collisions account for somewhere around  one-third of all known deaths of these whales. Whaling initially  devastated the species, but shipping is now their biggest threat.</p>\n<p>Luckily,  the endangered whales now have a high-tech line of defense against  boaters and other human-related threats. Underwater robots developed by  the <a href=\"http://www.whoi.edu/main/news-releases?tid=3622&amp;cid=159289\">Woods Hole Oceanographic Institute (WHOI)</a> can hear the calls of baleen whales and then send location data back to  researchers in real time. When researchers get back this information,  they can then take action to protect the whales.</p>\n<p>\"We can use this  information to very quickly draw a circle on the map and say, hey, we  know there are whales in this area, let's be careful about our  activities here. The government can then alert mariners and ask them to  reduce their speed and post a lookout,\" WHOI researcher Mark Baumgartner  told <a href=\"http://news.nationalgeographic.com/news/2013/130111-robot-detect-whales-ocean-technology-animals-science\">National Geographic News</a>.</p>\n<p>Just  last month, two of the six-foot, torpedo shaped gliders used their  digital acoustic monitoring equipment to detect nine North Atlantic  right whales in the Gulf of Maine. On December 5, the gliders enabled  NOAA's Fisheries Service to alert mariners of nearby whales in the Outer  Falls, MA area.</p>\n<p>The  gliders are programmed to recognize the calls of right, humpback, fin,  and sei whales, but more species could be added to allow these gliders  to detect all sorts of marine species. When the gliders hear the calls,  they process and classify the acoustic signatures. Then every two hours  the gliders come to the surface and transmit any data they've collected.</p>\n<p>In addition to the acoustic monitoring equipment, the gliders are also <a href=\"http://www.whoi.edu/main/news-releases?tid=3622&amp;cid=159289\">outfitted with environmental sensors</a> that collect data about things like temperature and salinity, and the  estimated algae population levels, which are at the base of the marine  food chain. Those levels give the researchers an idea of how much  zooplankton is around the area that the whales could feed on. All of  that data lets researchers not only see where the whales are, but why  they're there.</p>\n<p>The underwater robots boast a suite of  environmental sensors to record temperature and salinity, and to  estimate algae population levels at the base of the marine food chain.  \"They even have an instrument that gives us a crude sense of how much of  the zooplankton that right whales feed on is in the area,\" Baumgartner  said. \"So they have an enormous capacity to help us understand not only  where the whales are, but why they are there.\"</p>\n<p>The robots can also be <a href=\"http://www.whoi.edu/main/news-releases?tid=3622&amp;cid=159289\">easily updated with software</a> that has a larger \"call library\" so more whales can be identified by their calls as the sounds are collected and cataloged.</p>\n<p>The  best part of these new gliders has just been the huge improvement in  being able to spot these animals, which is the best way to protect them.  Before, NOAA and other groups would use ships and airplanes to go out  and look for whales, but those expeditions were limited by weather  conditions and what the human eye could see.</p>\n<p>\"I've worked on a  number of projects where we just had great difficulty even finding the  animals,\" Baumgartner said. \"So it's a great feeling to have a  capability like this that gives us some advance notice. Before we left  the dock we knew that right, humpback, and fin whales were in our study  area—and when we got there that's exactly what we found.\"</p>",
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            "note": "<h4>VRRRRRRRRRR</h4>\n<p>This has been brewing pretty much ever since the second generation  Toyota Prius started selling well: The NHTSA is proposing that electric  vehicles and hybrids make a minimum amount of noise at low speeds (under  18 miles per hour) to make sure that they can be heard by pedestrians -  especially the blind - and cyclists. At higher speeds this wouldn't be  necessary because the noise made by tires on the road is sufficient to  be heard, and even in most gasoline cars that's what you hear most, not  the engine.</p>\n<p>\"Our proposal would allow manufacturers the  flexibility to design different sounds for different makes and models  while still providing an opportunity for pedestrians, bicyclists and the  visually impaired to detect and recognize a vehicle and make a decision  about whether it is safe to cross the street,\" said NHTSA Administrator  David Strickland.</p>\n<p><br /><em class=\"credit\">© Toyota</em></p>\n<blockquote>\n<p>The  sounds would need to be detectable under a wide range of street noises  and other ambient background sounds when the vehicle is traveling under  18 miles per hour. At 18 miles per hour and above, vehicles make  sufficient noise to allow pedestrians and bicyclists to detect them  without added sound. Each automaker would have a significant range of  choices about the sounds it chooses for its vehicles, but the  characteristics of those sounds would need to meet certain minimum  requirements. In addition, each vehicle of the same make and model would  need to emit the same sound or set of sounds.</p>\n</blockquote>\n<p>Seems  like a common sense approach to me. It's not like it was a huge public  health issue, as right now there are millions of hybrids on the road  that can operate in electric-only mode at low speeds, and they aren't <em>that</em> much more dangerous than gas-powered cars as far as I can tell. But if  adding a little bit of noise at low speeds can make them safer for  everybody, that's a low-hanging fruit that is worth picking.</p>\n<blockquote>\n<p>NHTSA  estimates that if this proposal were implemented there would be 2,800  fewer pedestrian and pedalcyclist injuries over the life of each model  year of hybrid cars, trucks and vans and low speed vehicles, as compared  to vehicles without sound. (<a href=\"http://www.nhtsa.gov/About+NHTSA/Press+Releases/DOT+Proposes+New+Minimum+Sound+Requirements+for+Hybrid+and+Electric+Vehicles\">source</a>)</p>\n</blockquote>\n<p>As  long as they pick non-annoying sounds and don't allow people to use  their own (like ringtones). Can you imagine how maddening this could  get?</p>",
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            "note": "<p>Every year around this time, throngs of lively revelers descend upon Rio de Janeiro in celebration of the <a href=\"http://en.wikipedia.org/wiki/Brazilian_Carnival\">Brazilian Carnival</a>,  flooding the streets with colorful costumes, bumping music, dancing --  and, due to a shortage of public restroom facilities, a regrettable  amount of, ahem, <a href=\"https://www.google.com/url?q=http://www.treehugger.com/slideshows/bathroom-design/2012-year-pee-and-poop/&amp;sa=U&amp;ei=FoouUYXWJeWy0QGClIHoBw&amp;ved=0CAoQFjAB&amp;client=internal-uds-cse&amp;usg=AFQjCNHoEoc_QiLVCtHHOAgeD85Lb8IP1g\">liquid waste</a>.  But this year, thanks to the introduction of new turbine-equipped  urinals, full-bladdered merrymakers not only found a more appropriate  place to relieve themselves, they actually helped power the party with  their pee.</p>\n<p>Sanitation issues arising from a shortage of public  toilets has long led to stinky problems during Rio's world-famous  Carnival, with <a href=\"http://www.huffingtonpost.com/2013/02/06/brazil-pee-patrols-carnival-public-urination_n_2631945.html\">hundreds being cited for public urination each year</a>. With that in mind, one of the event's organizers, AfroReggae, teamed with the Brazilian publicity agency <a href=\"http://www.jwt.com/blog/the_work/afroreggae-and-jwt-brazil-give-power-to-the-pee/\">JWT</a> to install first-of-their-kind urinals that convert the flow of a  certain bodily fluid into energy -- which could then be used to  partially power their Carnival float.</p>\n<p>Designers of the unique  urinals, dubbed 'Electric Pee', say that energy is generated from the  flow of urine passing over turbines, <a href=\"http://www.jwt.com/blog/the_work/afroreggae-and-jwt-brazil-give-power-to-the-pee/\">much like a hydroelectric plant</a>. The power is then stored in batteries, which are then used to provide portable power to AfroReggae's sound system.</p>\n<p>While  there's no telling just how much electricity was actually produced by  people's pee at this year's Carnival, chances are that urine-turbines  did little to reduce the event's carbon footprint -- though it did help  keep things a bit cleaner on the streets.</p>\n<p>\"We thought we’d turn a  sore subject, which generated much controversy, into something lighter  and fun. We will reward those who can hold it in a little longer and pee  in the right place with lots of music,” <a href=\"http://www.jwt.com/blog/the_work/afroreggae-and-jwt-brazil-give-power-to-the-pee/\">says Ricardo John</a>, CCO of JWT Brazil.</p>\n<p>Sure,  the flow of urine over restroom turbines will likely never overtake  other renewables to meet our electricity needs -- but it's still  fascinating to consider how some potential energy sources may actually  be quite close at hand.</p>\n<p>Just don't forget to wash them.</p>",
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            "note": "<p>The <a href=\"http://www.studioweave.com/projects/the-lullaby-factory/\">Lullaby Factory</a> is a quirky and eccentric musical installation at a children's hospital  in London. Created in the useless space between a new and old part of  the hospital, music can be heard through the left-over pipes on the side  of the buildings.</p>\n<p>Designed by <a href=\"http://www.studioweave.com/\">Studio Weave</a>, architects known for their <a href=\"http://www.treehugger.com/green-architecture/ecology-colour-dartford-pavilion.html\">endearing</a> and <a href=\"http://www.treehugger.com/sustainable-product-design/have-a-seat-on-britains-longest-bench.html\">innovative</a> creations, it is meant to offer a secret musical world to children (and adults and staff) inside the hospital.</p>\n<p>The  installation is an interesting mix of the old industrial heritage of  the building plus the new musical instruments in the form of giant brass  horns. The architects chose to emphasize the existing elements of the  space: old and oddly shaped pipes and fixtures and the 1930's brick  wall, rather than hide them.</p>\n<p>They even include gauges reclaimed from a hospital boilerhouse that was in the process of being dismantled.</p>\n<p>The  creation covers the full 10 storeys in height and is 32 metres in  length. The architects did not want to block any of the existing light  in the tight space between the old and new building.</p>\n<p>They have created a magical <a href=\"http://www.studioweave.com/projects/the-lullaby-factory/#.USn4_Feep8F\">Lullaby Factory</a>. As they explain:</p>\n<blockquote>it  is manufacturing and releasing gentle, beautiful lullabies to create a  calming and uplifting environment for the young patients to recover in.<br /></blockquote>\n<p>The children can hear the music through giant bronze listening pipes or from the wards by tuning into a special radio station.</p>\n<p>So what about those lullabies? They were composed by a <a href=\"http://www.jessicacurry.co.uk/\">sound artist </a>who wrote a brand new lullaby especially for the project.</p>\n<p>It's <a href=\"http://www.studioweave.com/projects/the-lullaby-factory/#.USn4_Feep8F\">British eccentricity</a> at its best:</p>\n<blockquote><br />Before  any lullabies can be built, we need to collect the base ingredients.  The two main collection tools are the Whistful Fillment Filaments, and  the Satellite Lilters. The Whistful Fillment Filaments are very long  invisible grasses that reach up from the rooftops and comb the air for  wishes, the most important ingredients. The second tools are the Lilters  that lie high up in the sky and listen to the planetary music.  Planetary music is the undetectable basis for all music and dreams and  it was the invention of Lilters that allowed the earliest dream  factories to be set up. The Lilters can detect the planetary music and  communicate it down to the factory by a sort of singing with their  Lollips.</blockquote>",
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