1. EXPLORING THE CONNECTION

The term soundscape composition did not exist when I started composing with environmental sounds in the mid-1970s. Through a variety of fortunate circumstances and because of what the 1970s were in Vancouver and Canada - artistically inspiring and moneys were available for adventurous and culturally, socially, politically progressive projects - I had discovered that environmental sounds were the perfect compositional ‘language’ for me. I had learnt much while working with the World Soundscape Project at Simon Fraser University, about listening, about the properties of sound, about noise, the issues we face regarding the quality of the sound environment and much more. This in combination with learning to record and to work with analog technology in the sonic studio allowed me to speak with sound in a way I found irresistible. In addition, the start-up of Vancouver Co-operative Radio gave us the - at that time rare - opportunity to broadcast our work. It was a place where cultural exploration and political activism could meet. It was from within this exciting context of ecological concern for the soundscape and the availability of an alternate media outlet that my compositional work - now often called soundscape composition - emerged. And it came as a surprise to me, as I had never thought of composing nor of broadcasting as a professional choice in my life.