In this blog i am going to be analysing Rashad becker’s “Dances VII” track incorporating Schafer’s soundscape terminology and techniques. becker’s Dances VII at first glance is a complex piece that shows his unique way of exploring synthetic sound.The track is built up of broken microtonal melodies that differ from the standard semitones we hear in popular music, along with a journey of ever-evolving textures which Schafer might describe as “sound objects” (1994, p.5). All These parts mesh together produce a surreal soundscape, fractured but meaningful.
Sharp, almost bug like sounds, chirping and pulsating at irregular intervals are layered above this which define the base of the soundscape. These”signals” attract active listening and focus, further emphasizing Schafer’s idea of figure and ground in auditory perception (1994, p. 10).The track’s key sounds are made up of low-frequency oscillations and textures, which create an underlying eerie tone that Schafer describes as grounding for the sonic environment (1994, p. 9).
Signification” is the process by which sounds or songs have meanings beyond what they sound like. These meanings are often cultural, emotional, or symbolic (Tagg, 2013) Unlike standard popular traditional music, which relies on standard musical timing and semitones,“Dances VII” goes against the listener’s pre-judgment of musical understanding. Becker’s Track provides unorthodox patterns that cant immediately be categorized into standard musical genres. It goes against Schafer’s idea of the “Soundmark,” which is a sound identity connected to a place or group (1994, p. 10).
Tagg, P.(2013) Music’s Meanings: A Modern Musicology for Non Musos.New York: Mass Media Music Scholars’ Press.
Schafer, R. M.(1994) The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester, VT: Destiny Books.
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