May 4, 2022
3.00pm - 4.30pm
Starts at Gorman Arts Centre (Ainslie Avenue entrance), 55 Ainslie Avenue
Finishes at Glebe Park Rotunda
Acoustic ecologists have conducted soundwalks since the 1970s. In the classic formula, their aim is to sensitise participants to the wealth and problems of the sonic environment, so that the audience, thus equipped with a new awareness, would change the soundscape for the better: restore the balance of the senses, reduce noise, protect sonic diversity and appreciate acoustic design.
All these ideas were developed in the early 1970s in Vancouver by the interdisciplinary research team of the World Soundscape Project led by the Canadian composer R. Murray Schafer.
Its most famous proponent became Hildegard Westerkamp. Her walks, often armed with recording equipment, became pieces such as A Walk through the City (1981) or Kits Beach Soundwalk (1989). Hildegard’s main observation was political: if music designed not to be listened to (muzak) had become a commercial tool, then listening itself must be a politically empowering act.
Since then, soundwalks have constantly been evolving. They might now as well involve performance artists, composers, field recording authors, visual artists, even itinerant magicians, and grant hunters.
Yet, the essence of the sound walk remains the listening experience. To that purpose, the walk is led by a guide, in order to encourage active listening, differentiate human voices from other sounds and be open to any type of sound – from rumbling stomachs to sudden car horns, or the sound of birds…
Sound Walk II starts at Gorman Arts Centre, Ainslie Avenue entrance, and finishes at Glebe Park Rotunda.
Guided by Kelly Corner with Solomon Frank.
ARTIST Learn more about the artist
Artist Roland Peelman AM - Director
Artist Alma Moodie Quartet
Artist Anna Fraser
Artist Ausdance ACT
Artist Australian Haydn Ensemble
Artist Alexander Gavrylyuk
Artist Andrew Goodwin
|Andrew Goodwin has appeared with opera companies and orchestras in Europe, Asia and Australia including the Bolshoi Opera, Gran Theatre Liceu Barcelona, Teatro Real Madrid, La Scala Milan, Opera Australia, Pinchgut Opera, Sydney Chamber Opera, St. Petersburg Philharmonic, Auckland Philharmonia, New Zealand, Sydney, Melbourne, Queensland, Adelaide and Tasmanian Symphony Orchestras, Moscow and Melbourne Chamber Orchestras, and in recital with pianist Daniel de Borah at Wigmore Hall, the Oxford Lieder, Port Fairy and Canberra International Music Festivals. In 2022, Andrew returned to the Canberra International Music Festival and Australian Haydn Ensemble in Haydn’s The Creation, the Queensland Symphony Orchestra for Mozart’s Requiem, and the Canberra Symphony Orchestra for Messiah. Still to come this year, Andrew will perform Messiah with the Melbourne Symphony Orchestra, Mozart’s Requiem with Tasmanian Symphony Orchestra, feature at the Tyalgum, Albury Chamber Music and Sanguine Estate festivals, and tour with the new vocal ensemble, AVÉ. Recent engagements include Lysander, A Midsummer Night’s Dream (Adelaide Festival); Jacquino, Fidelio (West Australian Symphony Orchestra); Nadir, The Pearlfishers (State Opera South Australia); Diary of one who disappeared and Rape of Lucretia (Sydney Chamber Opera); Artaxerxes title role (Pinchgut Opera); Mozart Requiem (MSO); Brett Dean’s The Last Days of Socrates (SSO); Messiah (NZSO, QSO and MSO); and performances at the Australian Festival of Chamber Music, Townsville.|