Bora Scura field recordings in the PhD thesis Soundcastles: Play and process in field-recording composition, by Symeon Yovev, University of Leeds:
“The ten pieces on this record, called Actions, are soundscape compositions from field recordings Šerc made in February 2015 in the area of the town of Ajdovščina, Slovenia. Due to the challenging recording situation, most soundscapes are of fixed spatial perspective. Recording strong wind is a notoriously challenging undertaking, and the way Šerc managed to do it is by using DIY windshields and places of natural cover so that the microphones pick up sounds without being themselves overwhelmed by the wind. The intensity and variability of the sonic environment make for a dynamic and captivating sound that Šerc chose to leave without audible processing.
Both Simon Šerc: Bora Scura and Geir Jenssen: Cho You 8201m are on the phonographic end of the soundscape composition spectrum despite some extensive, yet transparent, editing work. The focus here is on the contextualised recorded material as it has the power, diversity, and urgency to facilitate a deeply immersive and engaged audition.”
Play and process in field-recording composition is a practice-led research in experimental music, which investigates the medium of field-recording as a contested vanguard between the listener and the listened; the self and the soundscape; the composer and the material. The research consists of a portfolio of nine field-recording compositions and a corresponding commentary exploring the ideas, approaches, and discourses behind.
Yovev, Symeon: Soundcastles
Play and process in field-recording composition
The University of Leeds
Faculty of Arts, Humanities and Cultures, School of Music