Field Recordings

Field recordings refer to recordings made outside of the confines of a recording studio. This genre of music has a rich history, starting with the first recordings made in the field by wax cylinder in the late 19th century. In the early 1900s, a few pioneering companies began recording and selling thousands of records of rural and folk music, including field recordings. The recordings were made in remote areas of the United States using the now-outdated technology of the age. The most well-known of the early labels was the Library of Congress, which made a vast collection of field recordings. The recordings were a way to capture the music of unsung heroes before their songs were lost. Many of these musicians, who were often illiterate, worked on farms, couldn't read music, and passed down songs through an oral tradition. From the 1920s to the 1940s, the blues revolution led to the rise of rural blues recordings, with artists like Blind Lemon Jefferson, Lead Belly, and Muddy Waters all making significant contributions. These recordings were particularly significant because they helped to bring the music to the forefront, particularly for African American audiences. During the Great Depression, economic crises fueled a revival of traditional music, with people listening to and playing more folk tunes. At the same time, classical music was gaining more prominence, and composers like Charles Ives were using field recordings to create music inspired by banjo and fiddle tunes. In the 1950s and 1960s, the influence of field recordings continued to spread, with musicians like Bob Dylan and Joan Baez incorporating these sounds into their work. This period was also marked by the emergence of the field recording specialists, such as Alan Lomax, produced landmark recordings of traditional folk music from around the world. Later, field recordings started morphing into a sound collage of edited samples of environmental sounds made by practitioners often working in a modernist or experimental vein. The genre has since come a long way in the digital era. Whether it was accidental or by design, that “raw” aspect of field recordings has become a defining characteristic that has been embraced by artists of various musical stripes. Musicians game to records to capture the natural, sometimes endearingly rough ambiance of the surroundings they were recorded in, as well as the musicians' performances. The idea was to create an authentic sound, whether it was capturing an old banjo player on a front porch or recording livestock and vehicles. Today, field recordings have come full circle: we’re back to using them as a way to capture the natural world, our environment, and the sounds we interact with. Field recording has become an integral part of sound art and acoustic ecology, and its influence can be heard in a range of music genres—from ambient to noise to experimental and classical.

Chris Watson: With a background in sound recording for natural history programs, Chris Watson's field recordings are known for their clarity and vividness. His work has been featured in numerous films, including David Attenborough's documentaries. Annea Lockwood: Annea Lockwood is a pioneering figure in the world of field recordings, incorporating found sounds and natural elements in her musical compositions. Her most famous work, "Glass Concert", features the sounds of smashing glass bottles transformed into a mesmerizing music piece. Francisco López: López is a Spanish sound artist who has been recording field sounds since the 80s. His aim is to capture the essence of the natural world, particularly the sounds of insects and other small creatures. His work often takes the form of abstract soundscapes, and has been described as both haunting and immersive. Jana Winderen: The Norwegian artist Jana Winderen records the sounds of the ocean and undersea life. Her work is driven by a fascination with the hidden world of the deep, and her field recordings have been used in installations and performances around the world. Luc Ferrari: A pioneer in the field of musique concrète, Luc Ferrari frequently used field recordings in his compositions. His most famous piece, "Presque rien", consists almost entirely of the sounds of a small Italian village that he recorded in 1967. Douglas Quin: A composer and sound designer, Quin has spent years recording natural sounds in remote locations around the world. His work has been used in numerous documentaries, and his extensive library of recordings is frequently used by other sound artists and designers. Bernie Krause: Known as the "father of the soundscape," Krause has spent over 50 years recording natural sounds, particularly the sounds of animals. His recordings have been used in films, games, and even for scientific research. Hildegard Westerkamp: Another pioneer in the field of acoustic ecology, Westerkamp's work explores the intersection of sound and environment. Her compositions incorporate field recordings alongside more traditional musical elements to create complex and evocative sonic landscapes. David Dunn: A philosopher and composer, David Dunn has spent years recording the sounds of the desert Southwest. His work often focuses on the ways in which environmental sounds can be altered and manipulated to create new forms of music and art. Alan Lomax: An early figure in the field of ethnomusicology, Alan Lomax is best known for his extensive collection of field recordings of traditional music from around the world. His recordings are a vital historical document of the many musical traditions that have shaped contemporary music.

1. The Anthology of American Folk Music - Various Artists 2. The Sounds of Earth - Various Artists 3. Vox Balenae - George Crumb 4. The Texas-Jerusalem Crossroads - The Mountain Goats 5. Nonesuch Explorer Series - Various Artists 6. The Peking Opera - Various Artists 7. Inuit Throat Games and Songs - Various Artists 8. Songs of the Humpback Whale - Various Artists 9. Lomax Prison Recordings - Various Artists 10. The Tao of John Cage - Various Artists 11. The Complete Works of Charles Ives, Vol. 2 - Various Artists 12. Locust Music - Various Artists 13. A Cappella Archives - Various Artists 14. Sound Recordings of East African Music - Various Artists 15. Andean Music - Various Artists 16. Field Recordings from Madagascar - Various Artists 17. North Indian Music - Various Artists 18. Recordings of Mexican Indian Music - Various Artists 19. Sublime Frequencies - Various Artists 20. The Folk Music of Java - Various Artists 21. Authentic South Vietnamese Folk Music - Various Artists 22. Bulgarian Folk Music - Various Artists 23. Folk Music of the Amami Islands - Various Artists 24. Italian Folk Music - Various Artists 25. Australian Aboriginal Music - Various Artists

In his book, "The Art of Field Recording Vol. 1," Charlie Parrish defines field recordings as the practice of recording sounds from the environment, whether in the city, countryside, or other natural places. Parrish notes that field recordings are a way of capturing and preserving ordinary human experiences, such as the sounds of birdsongs or the waves of the ocean. Parrish also remarks that field recordings are an essential tool for sound researchers and musicians who seek to create more diverse and meaningful music. Meanwhile, in the book "The Field Recordings of Alan Lomax," John Szwed explores the life and work of the legendary ethnomusicologist who is credited with pioneering the field recording approach. Szwed notes that Lomax saw himself not only as a musicologist but also as an anthropologist interested in human culture. The author highlights the importance of Lomax's recordings in preserving and popularizing blues, gospel, and folk music in America. In "Sonic Warfare: Sound, Affect, and the Ecology of Fear," Steve Goodman examines the potential political implications of field recordings. Goodman highlights how field recordings can be used to create fear and anxiety in people. For instance, he notes how the sound of bombs dropping can be recorded and played back in a controlled environment to induce psychological trauma. Notable quotes on field recordings include that of sound artist and author Pauline Oliveros, who remarked that "field recordings hold a lot of information about a location and the people that live there." She went on to note that "with the help of technology, field recordings allow us to connect to nature and communities even if we are physically far apart." Similarly, composer and performer Brian Eno argues that "the difference between music and sound art is that in music, the sound is only a means to an end. In sound art, the sound is the end." Eno emphasizes the importance of capturing natural sounds and using them as a tool for music creation.

The emergence of field recordings is tied to the rise of ethnomusicology, the study of music in its cultural context. Ethnomusicologists began to realize the importance of preserving musical traditions, not just for documenting their existence but also for appreciating the richness of cultural diversity. With the advent of portable recording equipment, ethnomusicologists were able to capture and document musical performances from around the globe. They recorded everything from tribal dances to religious chants, and the resulting recordings served as a time capsule of sorts, preserving musical traditions that were on the verge of extinction. Record labels played a critical role in popularizing and distributing field recordings. The Folkways label, founded by Moses Asch in 1948, became a pioneering force in the field of field recordings. Folkways made a conscious effort to record and preserve music that was rapidly disappearing from the cultural landscape. The label's catalog included a wide range of music genres, from jazz and blues to folk and world music. Another notable figure in the history of field recordings is Alan Lomax. Lomax was an American ethnomusicologist and folklorist. He worked extensively on documenting American folk music, including the blues, work songs, and spirituals. Lomax's recordings played a significant role in shaping the development of the genre. He helped popularize and bring attention to the work of traditional folk musicians, who had previously received little or no recognition. Cultural context played a significant role in the rise of field recordings. The 1960s countercultural revolution contributed to the popularity of field recordings. The era was marked by a desire to explore and appreciate cultural diversity. As a result, field recordings gained popularity, as they provided a window into other cultures and musical traditions. Technological context also played a crucial role in the development of the field recording genre. The introduction of high-quality portable recording equipment made it possible to capture high-quality audio in the field. This allowed for more authentic and spontaneous performances to be recorded. The development of digital recording technology in the 70s and 80s further revolutionized the genre. It made it possible to record, edit and mix field recordings with greater ease and precision.