Sound descriptions are trustworthy only when the writer heard them directly

Evidence

I have always attempted to go directly to sources. Thus, a writer is trustworthy only when writing about sounds directly experienced and intimately known. Writing about other places and times usually results in counterfeit descriptions. — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 30

Categorization

• SEED: The ‘earwitness’ criterion offers an angle for a piece on how to judge the reliability of historical and travel sound descriptions.
• corroborated: 2 independent passages support this claim — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 30
• XREF: connects to: Verbal facility allows writers to sound knowledgeable without deep understanding — Hilary Mantel, A Memoir of My Former Self- A Life in…, 26; Listeners verify perception by reproducing sounds, not narrating them — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 505; Silence cannot be imagined but only heard firsthand — Gordon Hempton, John Grossmann, One Square Inch of Silence- One Man’s…, 26 (+2 more)

Broader Connections

• A writer can render un-witnessed events with sensuous precision #contradicts (0.90) — Hilary Mantel, A Memoir of My Former Self- A Life in…, 563
• Silence cannot be imagined but only heard firsthand #corroborates (0.75) — Gordon Hempton, John Grossmann, One Square Inch of Silence- One Man’s…, 26
• Listeners verify perception by reproducing sounds, not narrating them #complicates (0.60) — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 505