If we cannot use the Huddersfield Parish Church as our location for the soundscape, another location we could use is the Huddersfield Train Station. It has quite a history behind it, but the main attraction is the types of sound we would get when recording there. Train engines, brakes screeching, hydraulic doors – All would make a nice array to fill a soundscape with, especially because you would be able to recognise most of the sounds found there.
The place we have chosen to make a soundscape of is the train station (second choice is that square by mc donalds) due to it being central to people coming in and out of Huddersfield. It is a melting pot of cultures and ethnicities. We will splice together sounds of footsteps, talking, trains, announcements and people eating to tell the story of all the travellers coming into Huddersfield. The station was designed by James Pritchett and built by Joseph Kaye’s firm in 1946-1950.
We have chosen to use the space outside Huddersfield St. Peters Church because there is a variety of different sonic entities including the sounds of cars, footsteps, people, bells, wind and a lot more that we can utilise and express.
This church has a rich history which could be used to our advantage to create a story with these sounds. One idea is to re-create it getting built up in 1834, with the sounds of construction and the historical environment.
History Of The Parish Church
The first church was built by Walter de Laci was a wealthy nobleman who held a great deal of land in Yorkshire, including the manors of Huddersfield and Almondbury. The story of how the church was built was that Walter got thrown from his horse into a swampy marsh, and vowed that if he was spared that he would go on to build a church. He kept to this promise and founded the Huddersfield Parish Church in 1090 to 1100. In 1503-1506 the church was rebuilt into the ‘perpendicular’ style. Another restoration project was held which raised the floor by eight feet and constructed a crypt, extended the nave by thirty feet to the west, and built the tower much higher to 120 feet. This work was completed in 1836 and the church keeps mainly the same design as back then. There is a lot of history to be explored with the Parish church and many ideas come to mind when thinking of designing soundscapes and sound walks.
The place that we thought we would like to use was Byram arcade, because it is a cavernous space that could either be very quiet or very loud at any given moment, which gives us a big range of sounds to use, which we thought would be interesting.
We had a few different ideas whilst we were in the building that could show a lot of potential:
- Representing the passing of time as you walk from one end of the hall to the other, early in the morning when things are slow, afternoons when it is very busy and then in the evening when it is all quiet again.
- Making use of the great reverb by dropping things such as pebbles from the balcony (making sure not to damage the floor!) and creating things from the sounds they make.
- During quiet times you would hear quieter sounds, so we could emphasize some high frequency sounds such as buzzing lights, chairs scraping and doors opening.
We have chosen to utilise the space outside Huddersfield St. Peters Church. We feel like this would be the perfect place as there is phenomenal amounts of history in this location. As it is in a church there are so many noises we could pick up; church bells, clocks, weddings, funerals, as well as non religious events such as maypole.
While doing research, we discovered the church was originally built when Walter De Lacy fell from his horse into a swamp. We could potentially create the sounds of this incident which inspired the the church to be built. During the course of the churches history, there has been many repairs, which could also be recreated with building sounds. The church was built in the 1000’s which means we could create sounds from major events from the world wars, as well as more recent events such as the large ‘sound system’ reggae scene that hit huddersfield in the late 20th century.
As well as the church itself, there was a diverse range of living things there, ranging from ourselves, to business men, to pigeons to the homeless. We also believe there is a large amount of sound we can gain from this.
Welcome to Sound Imagining Workshop
Workshop Leader: Jung In Jung
Undergraduate Volunteers: Ching-Fang Wu, Felipe Gutierrez, Matthew Hayes, Mike Czerniak, Mortimer Pavlitski
Supported by: Elizabeth Dobson, Simon Jacobs, Eleanor Samson
What is Sound Imagining Workshop about?
- Creating imaginary soundscape in Huddersfield using geolocative app, SonicMaps
- There will be 4 workshops total (26th Jan, 2nd / 9th / 23rd Feb) at University of Huddersfield and 1 public event (25th Feb) at Bates Mill.
What is Soundscape?
“An environment of sound (or sonic environment) with emphasis on the way it is perceived and understood by the individual, or by a society. It thus depends on the relationship between the individual and any such environment. The term may refer to actual environments, or to abstract constructions such as musical compositions and tape montages, particularly when considered as an artificial environment.
Since a soundscape is shaped by both the conscious and subliminal perceptions of the listener, soundscape analysis is based on perceptual and cognitive attributes such as foreground, background, contour, rhythm, silence, density, space and volume…”
(Edited by Barry Truax, Handbook for Acoustic Ecology, 1978)
- Luigi Russolo (1885-1947) – Italian Futurist painter / composer
The Art of Noises: Futurist Manifesto (Read full text here)
“Ancient life was all silence. In the 19th Century, with the invention of machines, Noise was born. Today, Noise is triumphant and reigns sovereign over the sensibility of men.”
“This evolution of music is comparable to the multiplication of machines, which everywhere collaborate with man.”
“We must break out of this limited circle of sounds and conquer the infinite variety of noise-sounds.”
Luigi Russolo’s Intonarumori – experimental musical instruments
- Established as an educational and research group by R. Murray Schafer at Simon Fraser University during the late 1960s and early 1970s
- Draw attention to the sonic environment through noise pollution – ecological approach
Hildegard Westerkamp – Canadian Composer, radio artist, teacher and sound ecologist
Kits Beach Soundwalk (1989) by Hildegard Westerkamp
Presque rien No.1 (1970) by Luc Ferrari – a day-long recording of environmental sounds at a Yugoslavian beach composed as a piece for 21 minutes.
3. Chris Watson -an English musician and sound recordist specialising in natural history
A life in Sound – selection of programmes by BBC Radio 4
Inside the Circle of Fire: A Sheffield Sound Map
BBC Radio 4 – In Britten’s Footsteps: Chris Watson followed in the footsteps of the composer, presenting a soundscape based on the daily walks which Britten took around Aldeburgh to reflect on his morning’s work.
4. Francisco López – a Spanish avant-garde experimental musician and sound artist
The connection between the rainforest soundscape and Pierre Schaeffer’s concept of “acousmatic listening”
Why do we go for a soundwalk?
- an excursion whose main purpose is listening to the environment
Practice and Method
Hildegard Westerkamp (Developed from the Murray Schafer’s research in the 1960s)
- Attentive listening: Start by listening to the closest sounds ex. our own body movement (establishing the first dialogue between you and the environment) > Listen to the sounds nearby > continuous sound / rhythms / regular beats / the highest & the lowest pitch / Intermittent or discrete sounds > Reassemble individual entities and listen to them as if to a piece of music played by many different instruments
- Soundwalk Composition: Physical participatory soundwalk
- The Sound of Wind
- Study space to create musical performances according to acoustic environment (rhythms, pitches, resonances, etc.)
- Experimenting with Geography : Thinking through new methods of collaboration between art and geography practices.
- The Station Area
2. Market Area
3. Town Alley + Parish Church Yard
Recreating sonic environment using SonicMaps
- Historic / Futuristic
Resources for Huddersfield history
Examples of works
Malaga 2013 – Locative Audio (Featured project of SonicMaps)
Augmented Sonic Environment of 17th Century Royal Mile by Sound Design students from University of Edinburgh
URBAPHONIX | A Décor Sonore production by
Download SonicMaps Player (http://sonicmaps.org/)
There are two different ways of using SonicMaps Player
- WIFI preload mode (To save mobile internet data, this setting is recommended)
- Progressive downloading during a walk using a 3G/4G data network.
WIFI preload setting
- Stand at WIFI hotspot and open SonicMaps Player – Click ‘Browse’ to search your project or enter URL directly if you know your project link.
2. When you click browse, it will connect to SonicMaps Project page – Find your project and click ‘get link’ – Copy the project link and paste the URL on SonicMaps Player.
** The Projects made by Greenhead College Students are below. Copy those links and paste in the URL box.
Group 1 – A Step in Time (Market Place Area)
Group 2 – Night At The Arcade (Byram Arcade)
Group 3 – Off The Rails (The Train Station)
Group 4 – Downstreet Echo (Wood Street)
Group 5 – Steel (Parish Church Yard)
3. Click Load and make sure the WIFI preload mode is selected.
4. It will start downloading the project.
5. You will see located sound files on your map now.
When the Circle is:
Green: Sound file is ready to play.
Yellow: Sound file is still loading
Red: Sound file is not available
Black: Out of GPS available Zone
To use SonicMaps, we need:
- Download SonicMaps Editor and SonicMaps Player onto your GPS tool (http://sonicmaps.org/)
- We need audio files with public links on the Internet (Hudscape SoundMap)
Preparing Audio Files
- Upload all audio files you want to use on Hudscape SoundMap first. This is to get public links for all your audio files.
- Once you uploaded all your sound files on SoundMap, you need to save all the public links for your audio files.
Click on your audio file on the map – When you see your audio window pop up, do right click the sound player- select COPY VIDEO ADDRESS. Now your audio link is copied on the clipboard.
Open a notepad (any word processing program) and paste the link.
Do this step for every audio file you want to use for SonicMaps.
3. When you copied all audio links, send the list of links to your email so that you can access the link from your GPS tool.
- Open SonicMaps App. It will spend some Internet data to load the map if you are not connected to WI-FI.
** The map shows the areas where you are standing with your GPS tool ONLY. **
2. Click on the location where you want to locate your audio file – select New Area – You will see your area is ready.
3. Click on the area gain to see ‘Sound Properties’ window.
4. Go to your email or where you saved your audio file links. Copy your audio link and paste it onto the sound properties window.
* Make sure all your audio file links finish with audio file format extension such as .mp3 *
5. Adjust audio playback settings as you wish.
2D sound – it plays the audio file with even volume for the circled area
3D sound – it increases audio volume as a user comes closer to the centre of circled area.
The slide below is to change the volume of the audio playback.
Hit Update button every time when you change the setting.
6. Don’t forget to save your project frequently!!
Press ‘Save’ on the bottom of your screen, and you will see this page.
Fill up your project information and hit save.
7. When you located all your sound files, you need to publish your project to make it available for other users.
Press ‘Save’ menu to go to the same page above, and press ‘Publish’.
You need to put your user authentication to publish. If you don’t have an account for SonicMaps, you can create one.
Now your project is published! You will see your project is listed on SonicMaps Website.
There is a tutorial video on SonicMaps website too.