Voices, machines, the auditory phenomena of nature and cultural activity are familiar to the listener.
The argument might be made that we are more intimately acquainted with the sonic properties of recorded music and speech than with the aural qualities of our own environments, the unintended consequence of advancements in sound reproduction over the past century.
For listener and composer, such a proposition implies the necessity for contemplative experience with regard to perceptual awareness, and the need for listening, and hearing, with the inner ear.
The argument might be made that we are more intimately acquainted with the sonic properties of recorded music and speech than with the aural qualities of our own environments, the unintended consequence of advancements in sound reproduction over the past century.
For listener and composer, such a proposition implies the necessity for contemplative experience with regard to perceptual awareness, and the need for listening, and hearing, with the inner ear.
