![\"Animal](\"https:\/\/www.gruenrekorder.de\/Photos\/animal_music.jpg\" "\\"Animal")
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Animal Music – Sound & Song in the Natural World<\/strong> <\/p>\n DO ANIMALS SPEAK TO EACH OTHER? <\/p>\n Ever since the accidental discovery of whale song in 1967, the idea of complex animal sentience has been gaining strength within the scientific community. A growing number of researchers and academics are exploring the idea that animals enjoy music on a similar level to human beings.<\/p>\n <\/p>\n Animal Music is the first anthology to present an overview of the current state of this vital debate. Its authors have spoken to the leading scientists, researchers and musicians in the field to uncover hidden meanings and new perspectives. They visit the world\u2019s largest library of animal sounds, hack into the mysterious sonic world of shrimps, travel back in time to the point where animal and human songs diverged, and decode the latest neuroscientific findings about animal music and communication.<\/p>\n <\/p>\n The book includes exclusive interviews with Chris Watson, Jana Winderen, Yannick Dauby, Slavek Kwi and Geoff Sample as well as features on Bernie Krause, David Rothenberg and Olivier Messiaen and many more.<\/p>\n <\/p>\n Includes specially-compiled 60 minute CD of field recordings from the Gruenrekorder label.<\/p>\n <\/p>\n 01 Tikal Dawn \u2013 Andreas Bick, Germany <\/p>\n 17 Tracks (76\u203257\u2033) <\/p>\n <\/p>\n Strange Attractor<\/a> \/ PB 184 pp \/ 210mm x 148mm \/ ISBN:\u00a0 978-1-907222-34-4<\/p>\n <\/p>\n Field Recording Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Piers Warren | wildlife-film.com<\/a><\/strong> <\/p>\n This will be fascinating reading for anyone involved in wildlife and field recording. Chapters explore the people and institutions that record and study animal sounds, how animals produce sounds and how they hear, why animals sing, artists attempting dialogues with animals and a thought-provoking discussion trying to define music both in human and other-animal terms. In addition there is a section where a number of leading field recordists give their expert views on recording technology and equipment. By the time I’d finished reading the book, apart from anything else, I was itching to get outside into the wilds with my recorder!<\/p>\n <\/p>\n Also included, and worth the cover price alone, is a specially-compiled 60 minute CD of excellent field recordings from the Gruenrekorder label, many of them made by recordists featured in the book. The recorded subjects vary from owls, water scorpions and Amazonian river dolphins to wood ants, pilot whales and hermit crabs. <\/p>\n Jack Chuter | ATTN:Magazine<\/a><\/strong> <\/p>\n Their book\/CD package Animal Music is their first collaboration outside of Fifteen Questions. Through first-hand interviews and research, the pair dig deep within the practice of recording, researching and contemplating the sounds made by animals: the role these sounds play in everyday life, the implications as to animal sentience, the unearthed assumptions about the dynamic between animals and human beings. I was delighted to find that the fervent curiosity that powers Fifteen Questions also runs deep through Animal Music. Scientific analysis \u2013 such as the examination of the meows and purrs of cats \u2013 leads into accounts of sound artists making intrepid trips into oceans and jungles. Interviewees are quizzed on both their reasons for pursuing the sounds of animals and the technicalities of their equipment choices.<\/p>\n <\/p>\n I put a handful of questions to the writers and artists involved in the creation of Animal Music. The answers were more fascinating than I could have hoped for. Read on to find out how Jana Winderen bonded with a heron in the darkness, how Yannick Dauby\u2019s life was changed during one summer night in Taiwan back in 2004, and how Slavek Kwi suggests that we separate the listening experience from its contextual casing. […<\/a>] <\/p>\n Animal Music \u2013 Sound & Song in the Natural World @<\/strong> <\/p>\n Cheryl Tipp | Caught by the River<\/a><\/strong> <\/p>\n As you delve deeper into these collections you come across a huge variety of fascinating facts and anecdotes. Such is the knowledge packed into these pages that it can become almost overwhelming at times. This is definitely a good thing though. The majority of the book is presented in the typical essay style but this conformity is peppered with the occasional interview, spotlights on particular recordists and a collection of thoughts from some of the best known names in field recording. It\u2019s wonderful to see such a selection of musicians, scientists, field recordists and artists sit alongside each other, their voices, experiences and beliefs of equal value in this debate. When it comes to the possible existence of music and language in the animal kingdom, the authors haven\u2019t tried to influence their readers. They simply present the current state of affairs and let you decide for yourself.<\/p>\n <\/p>\n As if the contents of the pages were not enough to satisfy, the book also comes with a fantastic CD compilation of some of the best natural history field recordings, curated by the much-loved German label Gruenrekorder. From Pilot Whales and Red Deer to Wood Ants and Hoverflies, this selection takes the listener on an audio tour that jumps from the mountain ranges of central Mongolia to the depths of the Norwegian fjords. It\u2019s brilliant and could easily exist as a stand-alone publication. Luckily for us, the bright minds at Strange Attractor Press decided to combine the two together (round of applause please).<\/p>\n <\/p>\n I can probably count on one hand the number of books about sound that I\u2019ve honestly enjoyed. Too often the contents of these publications become entangled in academic jargon, resulting in a collection of dusty pages with all the joy and enthusiasm sucked out of them. Of course these texts have their place but sadly they don\u2019t float my boat. They never have. \u2018Animal Music\u2019 rides in on a wave of energy that fuses the worlds of science and art in an accessible and engaging way. A definite page turner if ever there was one. <\/p>\n \u0141ukasz Kom\u0142a | Nowamuzyka.pl<\/a><\/strong> <\/p>\n Czy zwierz\u0119ta rozmawiaj\u0105 ze sob\u0105? Co chc\u0105 nam powiedzie\u0107 poprzez swoje melodie? Czy kiedykolwiek b\u0119dziemy w stanie zrozumie\u0107 ich \u201emow\u0119\u201d? Chyba ka\u017cdy sobie zada\u0142 przynajmniej raz w \u017cyciu tak\u0105 seri\u0119 pyta\u0144, ale nie wielu z nas odwa\u017cy\u0142o si\u0119 zmierzy\u0107 z nimi na powa\u017cnie. Niew\u0105tpliwie wa\u017cny moment dla rozwoju tej dziedziny nauki nast\u0105pi\u0142 w 1967 roku, kiedy to zainteresowano si\u0119 odg\u0142osami wieloryb\u00f3w. Od tego czasu coraz wi\u0119ksza ilo\u015b\u0107 badaczy pozytywnie wypowiada si\u0119 na temat stwierdzenia, \u017ce zwierz\u0119ta s\u0105 w stanie cieszy\u0107 si\u0119 muzyk\u0105.<\/p>\n <\/p>\n Tobias Fischer i Lara Cory (oni realizuj\u0105 tak\u017ce wywiady na stronie \u201eFifteen Questions\u201d) swoj\u0105 publikacj\u0105 \u201eAnimal Music \u2013 Sound & Song in the Natural World\u201d uzupe\u0142niaj\u0105 powa\u017cn\u0105 dziur\u0119, je\u015bli chodzi o fachow\u0105 literatur\u0119 zajmuj\u0105c\u0105 si\u0119 \u015bwiatem zwierz\u0105t. Przeszukali najwi\u0119ksze na \u015bwiecie zbiory d\u017awi\u0119k\u00f3w zwierz\u0105t znajduj\u0105ce si\u0119 w Bibliotece Macauleya w Ithaca (stan Nowy Jork). Tam poznali np. d\u017awi\u0119ki wyp\u0142ywaj\u0105ce z wn\u0119trza krewetek. Ich ksi\u0105\u017cka zawiera r\u00f3wnie\u017c niezwykle ciekawe wywiady z takimi artystami jak Chris Watson, Jana Winderen, Yannick Dauby, Slavek Kwi i Geoff Sample, a tak\u017ce liczne wypowiedzi Bernie\u2019ego Krause\u2019a, Davida Rothenberga, Oliviera Messiaena i wielu innych. W \u015brodku pojawi\u0142y si\u0119 te\u017c dwa bardzo wci\u0105gaj\u0105ce artyku\u0142y Kate Carr.<\/p>\n <\/p>\n Jeden z wydawc\u00f3w (Gruenrekorder) do\u0142o\u017cy\u0142 tak\u017ce p\u0142yt\u0119 CD, na kt\u00f3rej mamy 17 r\u00f3\u017cnych nagra\u0144 terenowych (m.in. s\u0142yszymy tajwa\u0144skie \u017caby, pomruki dobiegaj\u0105ce z gwatemalskiej d\u017cungli, papugi z amazo\u0144skich las\u00f3w, wodne chrz\u0105szcze). Prace niekt\u00f3rych z tych artyst\u00f3w przybli\u017ca\u0142em ju\u017c na \u0142amach Nowej Muzyce (Rodolphe Alexis, Lasse Marc Riek, David Rothenberg).<\/p>\n <\/p>\n Lara Cory podkre\u015bla, i\u017c zwierz\u0119ta lubi\u0105 bawi\u0107 si\u0119 d\u017awi\u0119kami, a my ludzie mo\u017cemy jedynie ten stan podziwia\u0107, bez mo\u017cliwo\u015bci ingerowania w ich \u201emow\u0119\u201d. Fischer za\u015b dodaje, \u017ce skala d\u017awi\u0119k\u00f3w po jakiej poruszaj\u0105 si\u0119 ptaki przekracza ludzkie mo\u017cliwo\u015bci, poniewa\u017c ptaki s\u0105 zdolne do \u015bpiewania bez przerwy przez 95 sekund, produkuj\u0105c w tym samym czasie 1500 r\u00f3\u017cnych figur d\u017awi\u0119kowych. Chris Watson twierdzi, \u201e\u017ce byliby\u015bmy przera\u017ceni tym faktem, i\u017c mo\u017cemy komunikowa\u0107 si\u0119 ze zwierz\u0119tami\u201d. To tylko niewielka cz\u0119\u015b\u0107 poruszanych zagadnie\u0144.<\/p>\n Ksi\u0105\u017cka \u201eAnimal Music: Sound & Song in the Natural World\u201d jest zar\u00f3wno doskona\u0142\u0105 pozycj\u0105 dla tych, kt\u00f3rzy zaczynaj\u0105 swoj\u0105 przygod\u0119 z odkrywaniem tej materii, jak i dla tych bardziej zawansowanych czytelnik\u00f3w\/badaczy. W wielu miejscach Fischer i Cory, a tak\u017ce ich rozm\u00f3wcy, wr\u0119cz prowokuj\u0105 nas do intensywnego my\u015blenia\/zastanawiania si\u0119 nad problem istoty komunikacji w\u015br\u00f3d zwierz\u0105t. Nie spodziewajcie si\u0119, \u017ce znajdziecie odpowiedzi na wszystkie nurtuj\u0105ce was pytania (np. moje jest takie: czy w stosunku do \u201emowy\u201d zwierz\u0105t mo\u017cemy u\u017cywa\u0107 okre\u015blenia \u201ej\u0119zyk\u201d?). Pod\u0105\u017caj\u0105c za my\u015bl\u0105 tego pytania dochodz\u0119 do wniosku, \u017ce wszystko zale\u017cy w jaki spos\u00f3b definiujemy owe poj\u0119cie \u201ej\u0119zyka\u201d. W 1960 roku, ameryka\u0144ski j\u0119zykoznawca Charles Hockett przedstawi\u0142 siedem \u201ezasad\u201d j\u0119zyka. Jego sztywne normy kategorycznie wyrzuca\u0142y poza nawias \u015bwiat zwierz\u0105t. Ca\u0142e szcz\u0119\u015bcie dzi\u015b mamy naukowc\u00f3w o bardziej otwartych umys\u0142ach.<\/p>\n <\/p>\n Reasumuj\u0105c, autorzy staraj\u0105 si\u0119 poprzez liczne wywiady\/artyku\u0142y pokaza\u0107, jak obszerny i niezwyk\u0142y jest to temat. <\/p>\n Richard Allen | a closer listen<\/a><\/strong> <\/p>\n Last year, a main character in Jenny Offill\u2019s fine novel Dept. of Speculation was identified as a field recordist. Even though the character turned out to be a cad, the inclusion of his profession (which itself was not demeaned) demonstrates the way in which the subject has begun to poke its head into into popular culture. Field recordists typically call attention to sounds that are heard, yet not noticed; ironically the same is true of field recordists themselves.<\/p>\n <\/p>\n Animal Music aims to change all that, and is an excellent primer for aficionados and newcomers alike. Editors Tobias Fischer and Lara Cory are extremely humble, relegating credit for different chapters to the small print of the opening index. Kate Carr contributes two chapters, and the book ends with an extended interview with Slavek Kwi, but without the names front and center, the book flows smoothly as a whole. Site favorites are numerous: Yannick Dauby, Jana Winderen, David Velez, Chis Watson and many more. This may be the first prose collection that pays as much attention to recorded works as it does to the concepts behind the recording and the science behind the sounds. As such, it serves as a recommendation engine as well, although some of the works referenced (specifically, Dauby\u2019s Songs of the Frogs of Taiwan vol. 1) have sold out. This may be a good time to jump on some of the rest.<\/p>\n <\/p>\n The 77-minute companion CD, compiled by Lasse-Marc Riek, is a treasure unto itself, and makes a fine listening aid to the book, although the track order might have been shuffled a bit to match the reading order. The opening track (Andreas Bick\u2019s \u201cTikal Dawn\u201d), immerses the listener in the sounds of the Guatemalan jungle, a companion to the Costa Rican experiences of Rodolphe Alexis in the opening chapter. Alexis will appear two tracks later with \u201cAmazons & Parrots\u201d, but it would have been nice to launch with this track, as it would have been fitting to close with Slavek Kwi\u2019s river dolphin recordings (Track 6 on the CD). Still, few are the readers who are able to time the speed of their reading to match the length of different tracks, and as the book\/disc progresses, a tapestry of international natural sound is woven strand by strand until it is hard to separate the experience of the eyes and ears.<\/p>\n <\/p>\n With 17 tracks, there\u2019s something for everybody, although the full album comes across as unified as well. Most of the tracks are new, although a few are not; it\u2019s great to see new attention given to Daniel Blinkhorn\u2019s terra subfonica, one of our favorite collections of recent years; and an extract from Tom Lawrence\u2019s Water Beetles of Pollardstown Fen reminds us of how much the recording artist is missed. Marc Namblard\u2019s wild boars are a treat, as are Francisco L\u00f3pez\u2019 shearwaters (long-winged seabirds that sound like cats) and Jez Riley French\u2019s wood ants (that sound like vinyl static). As one can tell from such lists, the definition of \u201canimal\u201d is fluid.<\/p>\n <\/p>\n Cory defines animal music as \u201cthe sounds that animals make that go beyond basic communication.\u201d From grooming gorilla to purring feline, species have been known to utter sounds for other reasons. Animals like to play with sounds, quotes Cory, and we can\u2019t help but admire them for this. The peak capacity, as Fischer writes later, may be the utterances of certain birds, \u201ccapable of singing without interruption for 95 seconds, producing 1,500 different elements over that period.\u201d Try it yourself \u2013 I did. It\u2019s impossible for a human to match.<\/p>\n <\/p>\n Winderen insists on leaving the animal sounds untouched in her recordings, while others admit the impossibility of pristine capture. Krause famously observed that the sonic realm is less a collection of individual sounds than a symphony, while Watson worries about \u201ccutting up\u201d an animal song. (For all we know, a seemingly pristine, start-to-finish animal song enjoyed by humans may seem to the animal like the yanking of a needle from a record mid-track.) Researchers at the Macauley Library in Ithaca, New York are building a vast collection of natural sound in an attempt to understand it: not only the meaning of sound environments, but the preservation of species sounds. By comparing older and newer recordings, they are often able to identify changes in a sonic habitat.<\/p>\n <\/p>\n But not everyone cares, of course, which is why sonic environments are disappearing. The level of empathy ranges from nil (those who want frog ponds filled with concrete) to overboard (Yang Yi-Ru giving CPR to a frog). Geoff Sample may worry about the rush of humans celebrating International Dawn Chorus Day, but a lack of participation would be worse; at least those tromping out to enjoy an environment are paying some sort of attention. Fisher & Cory begin their project by trying to explain animal music, but end with a strong case for preservation. <\/p>\n Nathan Thomas | Fluid Radio<\/a><\/strong> <\/p>\n The book\u2019s core premise appears to be based on a number of categorical distinctions that are referred to time and time again: distinctions between nature and culture; animals and humans; biological necessity and emotion; utilitarian communications and music; and so on. Propositions commonly take the following form: \u201cWhat if an observed\/heard behaviour thought to belong to category a in fact belongs to category b?\u201d. Such propositions necessarily affirm the validity of the categorical distinctions they are based on. For example, Cory\u2019s question \u201cIf humans make music for practical and emotional reasons, then is it such a stretch to think that animals might too?\u201d (p.26) affirms the distinctions both between humans and animals and between biological necessity and emotion.<\/p>\n <\/p>\n Defining the terms used to make these distinctions is not attempted until the very final article, the discussion between Fischer and Kwi; examining the evidential basis for the distinctions and the reasons for their use isn\u2019t really attempted at all. How much of a problem this is depends on how much one is prepared to take as read; if the outcome of this judgement isn\u2019t \u201ca lot\u201d, then things quickly start to look pretty shaky. How might it be thought, for example, that both animals and humans make music for both practical and emotional reasons, if no conceptual means of separating musical events into those made for practical reasons and those made for emotional ones, or beings into animals and humans, has been established?<\/p>\n <\/p>\n Consider the following anecdote as a means of further elucidating this problem. I once took a class entitled \u2018Music and Cognition\u2019 convened by cognitive neuroscientist Henkjan Honing, who receives a citation in Fischer and Kwi\u2019s discussion. During one session, Honing played a YouTube clip of a live performance by the R\u2019n\u2019B musician D\u2019Angelo. The performance clearly demonstrated the difficulties in drawing any firm conclusions as to what this thing called \u2018music\u2019 is for: the artistry of D\u2019Angelo and his accompanying musicians was evident, but so too was the excitement of the live concert experience, its operation as a social gathering, as well as the (undeniable) function of the performance as a display of masculine virility. Honing, in his role as neuroscientist and lecturer, played us the clip in order to make an intellectual point and demonstrate particular theoretical problems; however, it was also evident how much he enjoyed the music (while perhaps not being completely oblivious to the implications of a white man drawing out a connection between black music and mating calls in the name of science).<\/p>\n <\/p>\n Where Animal Music reaffirms certain categories through acts of reclassification \u2014 principally, by reclassifying animal sounds as music \u2014 Honing\u2019s YouTube clip dissolves them. Is D\u2019Angelo\u2019s music (or that of Taylor Swift, or Rolando Villaz\u00f3n, or any charismatic and celebrated performer) emotional expression or social facilitation? Entertainment or evolutionary adaptation? High art or marker of sexual prowess? Yes. No wonder, then, that Honing\u2019s own research and that of many scientists working in similar fields focuses in on particular auditory attributes or capacities (for example beat perception) to see how widely distributed they are among beings. While Kwi argues that music \u201coffers something completely different from science\u201d that \u201cdefies the grasp of our intellectual faculties\u201d \u2014 note another unmarked distinction, between the intellect and musical appreciation \u2014 Honing and his colleagues may simply be characterised as starting with the basics: define your terms.<\/p>\n <\/p>\n If Fischer and Cory had set out to critically examine the conceptual framework governing what music and nature are assumed to be in the light of non-human uses and perceptions of sound, the result may have been more intriguing than it is. Instead, they seem content with an attempt to reorganise the existing terms within that framework. By re-ordering the cards to deal non-human animals a better hand in the transcendence stakes, they quietly underscore their privileged position as dealer. And there lies the rub: the aim of the game is to grant non-human beings access, not to music, but to transcendence \u2014 to the \u201csecret life\u201d, \u201cthe quest for wonder\u201d for which music is assumed to be an emblem, without ever examining or justifying this assumption. Would a humpback whale or a Nashville warbler even want a \u201csecret life\u201d? How would we know?<\/p>\n <\/p>\n The most striking part of the book is the response of sound artist and field recordist Chris Watson\u2019s response to being asked about the possibility of inter-species communication: \u201cI think we would be terrified if we could communicate with animals. It would all be over. I just can\u2019t imagine it and find it quite disturbing.\u201d His terror suggests an interesting question: what is it about animal sound that un-musics music? Animal Music – Sound & Song in the Natural World Edited by Tobias Fischer & Lara Cory Gruen 121 | Book & CD > [Sold Out] Reviews DO ANIMALS SPEAK TO EACH OTHER? WHAT DO THEIR SONGS MEAN? WILL WE EVER BE ABLE TO UNDERSTAND THEM AND TALK BACK? 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\nEdited by Tobias Fischer & Lara Cory
\nGruen 121 | Book & CD > [Sold Out<\/span>]
\nReviews<\/a><\/p>\n
\nWHAT DO THEIR SONGS MEAN?
\nWILL WE EVER BE ABLE TO UNDERSTAND THEM AND TALK BACK?<\/p>\n
\n02 hermetica \u2013 Daniel Blinkhorn, Australia
\nMP3<\/a>
\n03 Amazons & Parrots \u2013 Rodolphe Alexis, France
\n04 Grand Canal Springs (Excerpt) \u2013 Tom Lawrence, Ireland
\n05 seals \u2013 Martin Clarke, United Kingdom
\nMP3<\/a>
\n06 BOTO (extract) -ARTIFICIAL MEMORY TRACE, Ireland
\n07 Ad\u00e9lie_penguins (Excerpt) \u2013 Craig Vear, United Kingdom
\n08 Pilot Whales (Excerpt) \u2013 Heike Vester, Norway\/Germany
\nMP3<\/a>
\n09 Brame, septembre 2011 \u2013 Marc Namblard, France
\n10 formica aquilonia, sweden \u2013 Jez riley French, United Kingdom
\n11 Schwebfliegen \u2013 Lasse Marc Riek, Germany
\nMP3<\/a>
\n12 central mongolian high mountain range habitat \u2013 Patrick Franke, Germany
\n13 Otus spilocephalus \u2013 Yannik Dauby, France
\n14 untitled#292 \u2013 Francisco L\u00f3pez, Spain
\n15 Summer Sunset 01 \u2013 Eckhard Kuchenbecker, Germany
\n16 Waldkauz-Balz \u2013 Walter Tilgner, Germany
\nMP3<\/a>
\n17 WHAT BIRDS SING \u2013 David Rothenberg, United States of America<\/p>\n
\nBook & CD (2000 copies)<\/p>\n
\n
\nGruenrekorder \/ Germany \/ 2015 \/ Gruen 121 \/ LC 09488 \/ EAN 4050486926574<\/p>\n
\n
\nThere are precious few books about sounds from the natural world, and this new publication from Tobias Fischer and Lara Cory makes a very welcome addition. Animal Music : Sound and Song in the Natural World is an overview of the debate about the idea that animals enjoy music on a similar level to human beings. It includes exclusive interviews with Chris Watson<\/a>, Jana Winderen, Yannick Dauby, Slavek Kwi and Geoff Sample as well as features on Bernie Krause, Jez riley French<\/a> and many more.<\/p>\n
\nlink<\/a><\/p>\n
\nTobias Fischer and Lara Cory run the fantastic Fifteen Questions website, which (as the title suggests) compiles 15-question interviews with all manner of sound artists and musicians. The questions are always attentive yet open, catching that balance between a comprehension of the artist\u2019s work and a humble desire to explore the unknowns around artistic influence and creative process.<\/p>\n
\nlink<\/a><\/p>\n
\nSonic Terrain\u2019s Bookshelf: +200 Books on Sound
\nwww.sonic-terrain.com<\/a><\/p>\n
\nPurring cats, singing whales, echolocation, zoomusicology, Darwin and vocal learning in elephants. These are just a few of the topics discussed in a lively new book from Tobias Fischer and Lara Cory. Animal Music: Sound and Song in the Natural World is a comprehensive anthology that explores current thinking on whether animals create and enjoy music on a similar level to human beings. This hotly debated question has been around for centuries, yet only in the past fifty years or so has it really begun to develop into serious scientific pondering. A quick scan of the contents page would be enough to whet the appetite of anyone with an interest in the sonic activities of the natural world. Section headings such as Explorers with Microphones, The Mechanics of Music and Howling Back \u2013 why do animals sing? immediately grab your attention, leaving you in a quandary about what to do \u2013 do you go traditional and read from start to end or do you go renegade, throwing caution to the wind and diving in to the sections which interest you the most?<\/p>\n
\nlink<\/a><\/p>\n
\nNiemiecko-brytyjski duet przygotowa\u0142 fascynuj\u0105c\u0105 ksi\u0105\u017ck\u0119, w kt\u00f3rej znajdziemy aktualne wyniki bada\u0144 dotycz\u0105ce \u201emowy\u201d zwierz\u0105t.<\/p>\n
\nlink<\/a><\/p>\n
\nThis new book\/CD set, a joint release from Strange Attractor and Gruenrekorder, will have a treasured place on my shelf aside Bernie Krause\u2019s The Great Animal Orchestra, David Rothenberg\u2019s Thousand Mile Song and Cathy Lane & Angus Carlyle\u2019s In the Field: The Art of Field Recording, among others. It\u2019s a solid addition to a small yet growing canon of literature that opens our ears to the intricacies of our sonic environments.<\/p>\n
\nlink<\/a><\/p>\n
\nTobias Fischer and Lara Cory work together on the interview series 15 Questions, covering a wide range of musical genres and approaches. By contrast, their new book \u201cAnimal Music: Sound and Song in the Natural World\u201d focuses on a single line of enquiry: specifically, the text sets out to explore the making and perception of sounds by non-human animals, and grapples with the thorny question of whether such sounds could ever be considered \u2018music\u2019. This quest is undertaken mainly through short, journalistic articles, though an interview with Chris Watson and a discussion with Slavek Kwi are also included, as are two articles by Kate Carr.<\/p>\n
\nlink<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"