A group can turn ambient environmental sounds into shared composition

Evidence

Collective Environmental Composition (1975) … Each participant explores an environment to find a listening place with something interesting to hear and listens for a while. … Each participant invites the other participants to hear their found listening place. There may be one or more places with contrasting sounds. … Each participant finds a way to enhance, nullify or otherwise interact with the sound or sounds that the group goes to hear. … Each participant finds a way to connect all the sounds, either literally, metaphorically or graphically. — Pauline Oliveros, Deep Listening, 291

Categorization

• SEED: This is a complete, usable workshop exercise for sound-artists, teachers, and mediators — a ready-made score for a group listening and sound-interaction session.
• DEFINE: Defines what Oliveros means by ‘collective environmental composition’ as a concrete method with four steps.
• corroborated: 2 independent passages support this claim — Pauline Oliveros, Deep Listening, 291
• XREF: connects to: Disparate sounds can be unified through relational listening — Pauline Oliveros, Deep Listening, 295; Listening together is an act of transforming shared space through sound — Pauline Oliveros, Deep Listening, 294; The world’s soundscape can be treated as a musical composition we co-author (+6 more)

Broader Connections

• A listening group can coordinate sharing what each member hears at a given moment #expands (0.80) — Pauline Oliveros, Deep Listening, 380
• The entire soundscape can be treated as one ongoing musical composition #corroborates (0.60) — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 669