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In consulation with the Module Tutor, design, propose and implement a project based on one or more of the ideas behind bioacoustics. The nature of the project can be ecological as well as aesthetic, and should in any case include an ecological element - that is, a study of a certain acoustic soundscape and the interplay of sounds and sound-making objects within that enviroment.
It's important that you understand the range of opportunity here. On one level, there are forms of'pure' bioacoustics. These are based on ideas by Murray Schafer and Bernie Krause. Pure bioacoustics (my own term) is the archival and analysis of very specific ecological environments. In many instances there is a sense of urgency, as some of these environments are disappearing fast. Many have commented on the disappearance of the rain forests of South America, for example, but few have taken into account that the acoustic environments of these areas are disappearing too.
Bernie Krause, in particular, has noted how in natural undisturbed environments different groups of creatures come to inhabit particular sonic bands. If unnatural sonic disturbances occur, these bands are disrupted and if the disturbance continues for a time, the ecology suffers and changes as a direct result. There are examples where species have left a region due to chain-saw, or aeroplane sound, etc.
In general, the balance should be towards undisturbed recording and analysis of soundscapes, although a degree of creativity with regard to this presentation/analysis is fine. Examples might include a contrast between different soundscapes, an experiment in the moving of one soundscape into another (the sound of a wide open space into a busy area)...
The content and form of the audio part of the submission will vary according to its focus, but in general you might think of submitting some extended field recordings if appropriate and in addition a shorter, five minute version including a few key moments. So, for instance, Richard Lerman in Within Ear-reach, includes a three minute track itself made up of three minute-long excerpts from recordings made from different trees.
A written analysis should be included with your recording analysing and commenting on the following issues:
The written element should be approximately 300 words in length (you need to balance this figure with other written material submitted for other parts of the module submission, but remember that video and audio submitted do not contribute to the word count).
25%
Krause, B. L. (1998). Into a wild sanctuary : a life in music & natural sound. Berkeley, Calif., Heyday Books. Foley, R. Humans before humanity : an evolutionary perspective, Oxford : Blackwell, 1995 ([1997 printing]). Rothenberg, D. and M. Ulvaeus (2001). The book of music and nature : an anthology of sounds, words, thoughts. Middletown, Conn., Wesleyan University Press. Schafer, R. M. (1980). The tuning of the world : toward a theory of soundscape design. Philadelphia, University of Pennsylvania Press. Dunn, D. (1999). Why do whales and children sing? : a guide to listening in nature. Santa Fe, Earth Ear. Marler, P. and H. Slabbekoorn (2004). Nature's music : the science of birdsong. London, Academic. Schafer, R Murray The Music of the environment Schafer, R. M. (1967). Ear Cleaning notes for an experimental music course. [S.l.], Universal edition. Clarke, E. F. (2005). Ways of listening : an ecological approach to the perception of musical meaning. New York ; Oxford, Oxford University Press.
Good luck!