Soundscape Research Put Into Practice: The Exploration of Soundwalks in the City of Bern
Keywords:
Bern, soundscape, urban fieldwork, applied ethnomusicology, affective economiesAbstract
This article discusses the possibilities and broader communal impact of applied ethnomusicological work related to soundscape research in a university-based context. Focusing on a seminar in which the findings of urban soundscape research in the city of Bern (Switzerland) were transformed into six different sound tours, the article analyses the different strategies and layers of impact within the broader community.
References
Ahmed, Sara (2004) “Affective Economies.” Social Text 22: 117–139.
Bänninger, Mirja, Krönkvist, Rodrigo, Mäder, Ueli (2014) Berner Reitschule – ein soziologischer Blick. Studie auf Anfrage des Gemeinderates der Stadt Bern. Basel: Universität Basel, Institut für Sozialplanung und Stadtentwicklung Seminar für Soziologie der Hochschule für Soziale Arbeit (FHNW).
Bellwald, Ueli (1983) Der Zytglogge in Bern. Schweizerische Kunstführer. Bern: Gesellschaft für Schweizerische Kunstgeschichte GSK.
Bürgi, Zarah (2016) “Heimatgefühle – Die Klangwelten vor unserer Haustür.” BrunneZytig ( June 17, 2016): 2– 5.
De Carpitani, François (1993) Musik in Bern. Bern: Historischer Verein des Kantons Bern.
Dutton, Denis (2003) “Authenticity in Art.” In: Jerrold Levinson (ed.), The Oxford Handbook of Authenticity. New York, Oxford: Oxford University Press, 258–274.
Feld, Steven (1990 [1983]) Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression. Durham, London: Duke University Press.
Feller, Richard (1946-1960) Geschichte Berns. 4 Vols. Bern: Herbert Lang.
Furrer, Bernhard, Gutscher, Charlotte, Roulet, Odette et al. (1997) Eglise française réformée de Berne. Schweizerische Kunstführer. Bern: Gesellschaft für Schweizerische Kunstgeschichte GSK.
Goodman, Steve (2010) Sonic Warfare. Sound, Affect, and the Ecology of Fear. Cambridge, Mass.: MIT Press.
Ingold, Tim (2007) “Against soundscape.” In: Angus Carlyle (ed.), Autumn Leaves: Sound and the Environment in Artistic Practice. Paris: Double Entendre, 10–13.
Kanngieser, Anja (2012) “A sonic geography of voice: Towards an affective politics.” Progress in Human Geography 36: 336–353.
Marti, Leonie (2016) “In Bern kann man die Geräusche noch auseinanderhalten.” Radio SRF 1 (2. 4. 2016, 17:30). https://www.srf.ch/news/regional/bern-freiburg-wallis/in-bern-kann-man-diegeraeusche-noch-auseinanderhalten.
Matti, Sheila (2016) “Bern klingt nach Landleben.” Der Bund (21. 3. 2016). http://www.bernerzeitung.ch/region/bern/Bern-klingt-nach-Landleben/story/23862875.
Rohner, Felix, Schärer, Sabine (2008) Hang. Bern: Hangbauhaus http://www.hangblog.org/panart/Booklet_deutsch_GzD1.pdf.
Titon, Jeff Todd (2015) “Applied Ethnomusicology: A Descriptive and Historical Account.” In: Svanibor Pettan and Jeff Todd Titon, The Oxford Handbook of Applied Ethnomusicology. Oxford, New York: Oxford University Press, 2–28.
Schafer, Raymond Murray (1977) The Tuning of the World. New York: Knopf.
Sweers, Britta (2015) “Music and Conflict Resolution: The Public Display of Migrants in national(ist) Conflict Situations in Europe: An Analytical Reflection on University-Based Ethnomusicological Activism.” In: Svanibor Pettan and Jeff Todd Titon, The Oxford Handbook of Applied Ethnomusicology. Oxford, New York: Oxford University Press, 511–552.
Wietlisbach, Julia (2013) Die Geschichte des Berner Fixerstübli. Master thesis. Bern: University of Bern.
Wrightson, Kendall (2000) “An Introduction to Acoustic Ecology.” In: Soundscape, The Journal of Acoustic Ecology, 1/1: 10–13.
Downloads
Published
Issue
Section
License
Copyright (c) 2017 MUZIKOLOGIJA-MUSICOLOGY

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported License.
You are free to:
- Share — copy and redistribute the material in any medium or format.
 The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
- 
Ауторство — You must give appropriate credit, provide a link to the license, and indicate if changes were made. 
 You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
- 
Некомерцијално — You may not use the material for commercial purposes. 
- 
NoDerivatives — If you remix, transform, or build upon the material, you may not distribute the modified material. 
- No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
