Group 2- Sarah, Lucas, Adrian, Danielle, Mason

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.

arcadeWe 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.



Group 4 – Finn, Danny, Joe, and Euan

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.Huddersfield_Parish_Church_009

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.

Day 1 (26.01.2016)

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, SonicMapsSonicMaps_light.jpg
  • 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.

Workshop Schedule 


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 TruaxHandbook for Acoustic Ecology, 1978)

Soundscape Artists

  1. 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

More information about Intonarumori


2. World Soundscape Project (WSP)

  • 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 WesterkampCanadian Composer, radio artist, teacher and sound ecologist


Kits Beach Soundwalk (1989) by Hildegard Westerkamp


3. Luc Ferrari (1929-2005) -a French composer, cofounded the Groupe de Recherches Musicales (GRM) with Pierre Schaeffer and François-Bernard Mâche.


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

(Read Soundwalking (1974, revised 2001) By Hildegard Westerkamp)


Linda O’Keeffe

  • Autoethnographic Soundwalks

(Read Thinking Through New Methodologies. Sounding Out the City With Teenagers (2015) by Linda O’Keeffe)


Tansy Spinks

  • 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.


  1. The Station Area


2. Market Area


3. Town Alley + Parish Church Yard



Recreating sonic environment using SonicMaps

  • Historic / Futuristic
  • Imaginary
  • Musical


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