The Found Sound Symphony

Subject Area

Despite our noisy environment, most of us are unconscious of sound. Sound, as a major source of physical stimulation, has a strong impact on all life. Students will execute a variety of activities designed to increase awareness of the nature of sound and its social and environmental significance. Students must have an awareness of how both sound and noise affect our lives. Through this activity, students will observe, interpret and manipulate sounds. Finally, students will demonstrate their understanding of sound in two ways: through the composition of oral concrete poetry, and through musical pieces based on musical instruments of their own design created from ‘found’ materials. This activity can be applied to curricula in any of the following areas: science, music, sculpture (art), and language (sound poetry and concrete poetry).

Learning Outcomes

Teaching, learning and evaluation will focus on the student’s ability to:

• Compare and contrast the importance and impact of the various types of sound that impact upon the student’s personal environment;
  
• Evaluate the physical and psychological impacts of sound on humans;
  
• Build and experiment with new ‘instruments’ based on a new understanding of the nature of sound;
  
• Create original compositions using original sound sources.

Classroom Development

1. Silence should also be studied to help students see the nature of silence, how it is produced, and its effects on the human body. Many of us are not capable of spending even a minute without some form of activity or noise. You may, as a prelude to the activity, wish to try to exercise student’s silence. Start with a minute and then extend it up to five minutes over a week or so. Perhaps penalize students a penny if they break the silence, or have the class choose a task as a symbolic penalty. Ideally, students should reflect on the experience of silence in their writing folders, so this part of the activity may be best conducted in the English, French or E.S.L. class.
   
   
2. This activity should start with a description of the nature of sound. Have students define the terms sound, noise, and music, and then describe the point at which one becomes the other. For example, when does noise become music? Make sure that issues of personal aesthetics and the physical properties of sound are considered. In music or physics classes, the terms that are applied to sound and music may be introduced.
   
   
3. Then examine the nature of sound, what it looks like (wave patterns in oscilloscopes), and how it affects us. Emphasis should be on students developing a physical understanding of the various manifestations of sound. They should actually “feel” the sound, and in this way also develop a sense of their own physicality.
   
   
4. Explore and catalogue sound sources in the school environment. Continue this study to include the response of the classroom and school building itself to sound (echoes and sound dampening). Have students suggest reasons for their responses.
   
   
5. Determine, through group discussion what is necessary for sound to become music. Then prepare experiments in music using the results of the previous step. That is, examine what parts of the school environment are best suited for the creation of music, or are useful as sources of interesting sounds.
   
   
6. Students can use what they have learned about sound (resonance, sound-creating materials, means of controlling sound, etc.) to design and create a musical instrument of their own. This could be constructed of objects which they have found in the environment of their school, and thus be a reflection of the community.
   
   
7. The final step of this activity is for students or groups of students to compose sound-scapes using whatever sound sources they choose, excepting traditional sound sources. These can be recorded or performed live.

Background

The key references for this activity can be found in the music of John Cage and Steve Reich; artists who make sound sculpture using instruments such as steel drums, power tools, and hoses; and a variety of music under the heading “industrial music,” Einstürzende Neubauten, and perhaps Skinny Puppy, Negativeland and Front 242. You may have to rely on students for this information, or contact your local university radio station.

Timing

Two 40 min periods should be set aside for listening, discussion, and planning. Time for composition depends on whether it will be done in class or on the student’s own time.

Cross-disciplinary Links

This activity is cross-disciplinary in nature, however it is possible for a teacher to “go it alone” if necessary. Complementary units can be found in the Environmental Science, Science, Music and Visual Arts curricula.

This may sound crazy, but...

This activity is going to make you look at sound in a way that you have never heard it before. Instead of just considering sound in science class, you are going to have the chance to also consider sound in society, as noise, and as music.

To be successful in this activity, you need only three things: a willingness to try something that looks stupid at first, an understanding that what is noise to you may be music to me, and the curiosity to see if you can make your own music without having to copy popular musicians.

Summary

Despite our noisy environment, most of us are unconscious of sound. Sound, as a major source of physical stimulation, has a strong impact on all life. You will execute a variety of activities designed to increase awareness of the nature of sound and its social and environmental significance. You will observe, interpret and manipulate sounds. Finally, you will demonstrate your understanding of sound through the composition of musical pieces based on musical instruments of their own design created from found materials.

How is this going to get done?

1. The first thing you’ll probably do is to discuss the aesthetics of sound. Do you really know when noise becomes music? I mean, beyond the personal opinions of you and your friends. Reach a consensus answer to this question, and record it for future reference.
   
2. Next: What is silence? Why do we all hide from it behind walls of noise? What happens in our minds when we are quiet? AND, how long can you go without making noise? Discuss possible answers to these questions, record them, and then try to see how long you can actually maintain silence. Record the number of minutes you are able to maintain silence.
   
3. In science or environmental science class you will probably look at noise from a more technical perspective. Noise and sound can be soothing or damaging. Take a look. As you learn why sound effects us, you can see how to control it in your music.
   
4. In Visual Arts class, or wood shop, or another class where your teacher is flexible enough to let you try new things, design and create a musical instrument of your own. This could be constructed of objects which you have found in the environment of your school, and therefore be a reflection of the community.
   
5. Finally, get together with a group of students and create a piece of music (not noise) using the instruments that you have made and your own voices. You don’t get points for sounding like pop stars, but you get points for putting the skills and experiences you have gained in this activity to good use.

Timing

You will probably get a period or two to listen to this music, plan your own music, and discuss instrument design. The creative part and the construction of instruments is for you to do on your own. You will have to negotiate with your teacher regarding recording your work.

Resources

Your teacher may need material from your record collection, if you have a taste for Industrial music. Making your own music will require you to find ‘sound sources.’ Auto-shop, the garage, or old electronic components from the junk pile may need to be scrounged for sounds.