Environmental sound is a phenomenon that attracted the attention of scientists and composers in the second half of the 20th century, when it began to be heard and listened to. Since then, it has become an object of research in sound ecology, a field of inspiration for electronic and instrumental new music, and, in the form of sound recordings, a material for creation. The study of environmental sounds explores the relationship between humans and their environment, as well as the impact of the sounds they create on the environment and its changes. Raymond Murray Schaffer's notion of soundscape describes all types of acoustic environments around us, from everyday urban noise to music in a concert hall or in our minds, and he proposes listening to all of these as a musical composition. Although we hear all sounds the same way through our hearing, depending on the type of sound and our relationship to it, we listen to and perceive them differently. Barry Truax identifies language, music and soundscape as acoustic communication systems. While speech and music can be called organised systems, soundscape seems unpredictable and random. However, by examining its structure and the regularity with which sound events occur, we can observe organised acoustic processes determined by man and nature.

These processes are akin to the structure and organisation of sound in a piece of music, often even surpassing it in complexity and timbral variety. The actions, pre-compositional and compositional strategies chosen in the process of music creation often reflect the composer's relationship to sound and his perception of its processuality. This research will therefore aim to reveal the relationships between sonic events in different acoustic environments and the teleology of their changes, thus forming a toolbox for music creation and analysis. Applying the creative principles developed in this research, the principles of sound change and dynamics will be applied to the musical work, rather than (only) the sounds in the soundscape. These can be reflected in the pre-compositional, compositional or even post-compositional stages. This research will help us to understand the reasons behind the organics of a piece of music and the similarities and differences in our relationship to the piece of music/soundscape.

THE PROCESSUALITY OF SOUNDSCAPE AND THE COMPOSITIONAL STRATEGIES BASED ON IT

Going to nowhere, an ongoing research-based project: