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Traditionally, composers have attempted to emulate the sounds of nature through musical instruments, composition, and orchestral techniques. Vivaldi's Four Seasons (18th C.), Beethoven's Pastorale (19th C.) and Respighi Fountains of Rome (20th C.) are but a few examples. In the mid-20th C., when field recordings became a reality, composers saw the musical possibilities immediately. Pierre Schaeffer create a new musical form called musique concrete in 1948 when he edited bits and pieces of tape recordings made from studio electronic componets and urban sounds and edited them into cohesive compositions.
In 1968 Beaver and Krause used animal and environmental sounds recorded in the wilderness for their 1968 album, In A Wild Sanctuary. And the Paul Winter Consort has often used sea mammals and other animal sounds as the foundations of musical compostions. Now, Krause takes the tradition to the next step, using environmental sounds themselves as the basic components of scored orchestrations, and interweaving the compositions with musical textures realized on synthesizer. The field-recorded ambient sounds were scored in the same manner as one would score a film.
|  A Wild Christmas
|  Gorilla
|  Meridian
|  Rainforest Dreams
|  Bernie Krause: Nature
|  Rhythms of Africa
|  Ocean Odyssey
| |  Equator
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| | © 1968-2007 Wild Sanctuary, Inc. Produced by 30proof Media, LLC.
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