The activities took place between April 10th and 14th, and were based on a general overview of what the title itself suggests: “The Soundscape we live in”. In order to highlight the sonic potential of everyday objects and introduce the participants in the activities that would follow, the first day of the meeting was developed by exploring the sonority of such objects and the sounds produced by the pronunciation of the participants’ names, in an activity that would make a connection with the work developed with children in the project “Drinnn! Come Suona La Mia Scuola?”, developed with children aged 6 to 8 years. The dynamics of conducting activities were preceded by relaxation and breathing exercises conducted by Benedetta Manriani.
After the general presentation, which took place on the first day, the group of participants was divided into shifts (morning and afternoon) to follow activities similar to those developed the day before, but now applied to the children in the project “Drinnn! Does Suona Eat The Mia Scuola?”. It was possible to observe the way children react to the same activities and to compare the impact of the development of awareness activities and exploration of diverse sonorities at an early age. In addition to the demonstration and exploration of the sonorous potential of objects, a simple form of notation was also adopted, easy and quick to understand, based on association with drawings, that is, a type of graphic score where the notation is basically formed by “what“ and “similar to”, for example: “bottle”, “knock”.
The third day of activities took place in the Oasis WWF project area, developed by biologist Carlo Scoccianti and there was a soundwalk guided by Francesco Giomi, from Tempo Reale. The Oasis project seeks to reproduce elements of a natural area in an area close to the city, now protected by environmental preservation laws. For this activity, it was evidenced the fact of the coexistence between sounds coming from the urban landscape and sounds of an artificially created wild environment. The participants were able to observe this relationship and record for later observation.
Almost all the activities were inserted in distinct and unrelated projects, followed by the observation of secondary sonorities or that are not in focus in the main activity. On the fourth day, the participants were able to observe the work done with inmates of Casa Circondariale di Sollicciano, conducted in partnership with Tempo Reale. Analogously to the soundwalk, the detainees participating in this social project use elements brought from their own reality to the composition of music that is later presented inside and outside the prison environment. Among these elements can be cited more directly the object of speech, as the description of events and life reports, as well as the sonority of the language of each participant, since they are individuals of different origins. The group we met had participants from Italy, Peru, Nigeria and Tunisia. After demonstrating the activities developed by the social project, it was granted a moment of explanation and interview with one of the organizers, and also the opportunity to know some of the facilities and environments.
The closing activity was on behalf of the Japanese artist Ryoko Akama and took place at the TRK Sound Club. The concert was based on the use of objects such as balloons, papers, bottles, bowls, among others, in an exploratory attitude of sounds and space, using real time video of the sound material used.
In general, although independent and with its own characteristics, all activities were linked by the theme of the unusual, either by the sonority itself, by the location or the way in which they happened. Such approaches allowed the use of what was demonstrated and developed, both by participants who were not very used to soundwalk and other forms of observation and manipulation of sounds, and artists and professionals in the field of music and education.
Report by Túlio Augusto, musician and composer.