Amerindia: Soundscape of Indigenous Brazil

R. Murray Schafer, in describing soundscapes, makes an analogy with visual perception using the terms figure and ground, stating: “the figure being that which is looked at while the ground exists only to give the figure its outline and mass” (Schafer 1993: 9). A soundscape, according to Schafer, contains three major features: “keynote sounds, signals and sound marks” (Schafer 1993: 9). The soundscape is coupled with the planetarium display, which provides re-enforcement by displaying visual cues to the audience through the use of graphic landscapes and cultural sky lore.

Keynote sounds

The keynote sounds are the ground in the soundscape—the fundamental tone or feel of the movement. Schafer states “keynote sounds of a landscape are those created by its geography or climate: water, wind, forests, plains, birds, insects and animals” (Schafer 1993: 10). In Amerindia, this is not only effected through the use of natural sounds, but also through the sounds of indigenous music and language obtained from ethnomusicology recordings of indigenous peoples of Brazil (Various 1954a; Various 1954b). There are two keynote types in the movement. The first type represents a terrestrial ambiance and is recognizable to the ear of the typical listener.  The second type represents a cosmic atmosphere and, although created from recordings of indigenous music, are not recognizable as such due to the synthesis techniques used.

The composition begins with an observation, from a terrestrial vantage point, of a time-lapsed sunrise in a primeval forest environment with ambient background sounds of the Amazon. While the sun is rising, Tukano constellations are displayed in the sky. Indigenous Social music (Various 1954a) recorded in the upper Amazon begins to sound in the distance followed by nearby Chavante whispering talk (Various 1954b). Keynote sounds are not necessarily consciously heard, and the fact that they are ubiquitous “suggests the possibility of a deep and pervasive influence on our behavior and moods” (Schafer 1993: 9). These keynote sounds and the indigenous sky lore bind the soundscape to a quintessential pre-European ground upon which I was able to place metaphoric figures. The cosmic keynote sounds are used in the main section of the work where the audience is transported from star to star. The sixteen stars in the movement are from three constellations: Scorpius, Triangulum Australe, and Crux. Each constellation uses a different indigenous music sample, which is been granularly synthesized and manipulated based on algorithmic treatment of the astronomical data retrieved from VizieR. The indigenous music samples, selected for their timbral quality, are Ceremonial chants from the Iwalapetí (Various 1954b), Animal and Bird Imitations from the Kayabí (Various 1954b) and Fiesta dance music from the Upper Amazon (Various 1954a).

Signals

Schafer describes signals as foreground sounds that are consciously recognized and are more figure than ground. He states that “[s]ome of these signals [...] must be listened to because they constitute acoustic warning devices” (Schafer 1993: 10, emphasis in original). The theme of the composition is the astronomy of the Flag of Brazil, so at precisely 15 November, 1889, 8:30 am, as represented within the astronomy show, the audience receives audible and visual signals of a significant change. First, the ground becomes completely invisible; only the sun and indigenous constellations remain visible. Next, a clear loud voice speaks in the Krahô language, at which point, the atmosphere is removed. The final signal is indigenous Traveling music (Various 1954a) that is processed through a granular synthesizer and gradually pitch-shifted to simulate travelling into the stars. At this point, the keynote changes, symbolizing that we have moved from being observers on Earth to explorers in outer space, travelling from star to star and state to state.

Soundmarks

Schafer states that the “term soundmark is derived from landmark and refers to a community sound which is unique or possesses qualities that make it specially regarded or noticed by the people in that community. Once a soundmark has been identified, it deserves to be protected” (Schafer 1993: 10). Each star on the flag symbolizes a specific political state. Moving to a particular star in the planetarium display therefore enacts a figurative visit to that particular state. A tourist or visitor would see landmarks that are indicative or emblematic of that region. Likewise, the visitor should also be afforded the opportunity to hear soundmarks as they visit each state. Logically, each soundmark was a spoken phrase from a regional language of the Brazilian state being visited. This language was chosen because fewer sounds are more indicative of a region than the language, dialects, and accents of the peoples who live there (Haugen 1966). More importantly, language was used to highlight the contribution indigenous peoples of Brazil have made, and continue to make, to the nation. The United Nations Educational, Scientific and Cultural Organization (UNESCO) notes:

Languages play a crucial role in the daily lives of people, not only as a tool for communication, education, social integration and development, but also as a repository for each person’s unique identity, cultural history, traditions and memory. But despite their immense value, languages around the world continue to disappear at an alarming rate. With this in mind, the UNESCO declared 2019 The Year of Indigenous Languages (IY2019) in order to raise awareness of them, not only to benefit the people who speak these languages, but also for others to appreciate the important contribution they make to our world’s rich cultural diversity (UNESCO 2018).

Each movement from one star to another displays the name of the state and scientific information, coupled with a pre-recorded indigenous phrase from that region. The names of the stars, the state, and the language that is reproduced are listed in the order they appear in the piece in Table 1.

Ironically, although Portuguese is the official language of Brazil, it is never spoken within the entire composition, emphasizing that “whilst still being called to participate in the larger society by learning a State’s official or majority language, [indigenous people] should be allowed to, and even assisted in, preserving their languages, customs, and culture.” (De Varennes 1996: 319).

Table 1: Mapping of Star, State and Language