You can hear more sounds from Sutton Courtenay Recreation Ground here and here.
The Sound Diaries advent calendar returns this December with twenty four sounds of 24″ duration from our growing archive of audio documentation of grassroots football.
Expect white-line marking; lawn mowing; apoplectic coaches; gale force winds; reversing trucks; despairing goalkeepers; disinterested spectators; rattling dugouts; lacklustre rounds of applause; and football not happenning!
On the 11th April this year I visited Sutton Courtenay FC for an evening match in the North Berks League Division Two against Westminster FC who eventually ran out as runners-up in the League. I have already posted sounds from the match and considered the ebb and flow of the game as a sounding event that articulates the playing area, the recreation ground, and the fields and lanes that surround it.
As I have spent more time on football pitches in Oxfordshire – and around – with both the presence and absence of football I have found that two of the most dominant sounds are those of the wind in trees, hedgerows and grasses; and of birdsong. Both are complex and detailed sound worlds. When describing the sound of wind activating leaves, branches and grasses there are so many factors that impact on what we hear – the size and structure of the leaves; their density; whether they are fresh and supple, beginning to dry, or brittle; the strength and direction of the wind and whether it is moving whole branches or just gently shifting the position of individual leaves; and whether the leaves are coming into contact with each other or nearby objects such as fenceposts, wires, boundary walls and so on. The wind is never regular in speed, direction or pressure and so one of the real joys of listening to its impact on trees and hedgerows is the way that it shifts and moves its attention so that at one moment the leaves in the higher branches of the trees are sounding and then at the next they are silent whilst a gust is sounding the smaller leaves in a hedgerow twenty metres away – it is a shifting, ephemeral soundscape. Thomas Hardy’s account – from The Return of the native – of an Aeolian experience on heathland provides a musical analogue:
It might reasonably have been supposed that she was listening to the wind, which rose somewhat as the night advanced, and laid hold of the attention. The wind, indeed, seemed made for the scene, as the scene seemed made for the hour. Part of its tone was quite special; what was heard there could be heard nowhere else. Gusts in innumerable series followed each other from the northwest, and when each one of them raced past the sound of its progress resolved into three. Treble, tenor, and bass notes were to be found therein. The general ricochet of the whole over pits and prominences had the gravest pitch of the chime. Next there could be heard the baritone buzz of a holly tree. Below these in force, above them in pitch, a dwindled voice strove hard at a husky tune, which was the peculiar local sound alluded to. Thinner and less immediately traceable than the other two, it was far more impressive than either. In it lay what may be called the linguistic peculiarity of the heath; and being audible nowhere on earth off a heath, it afforded a shadow of reason for the woman’s tenseness, which continued as unbroken as ever.
Throughout the blowing of these plaintive November winds that note bore a great resemblance to the ruins of human song which remain to the throat of fourscore and ten. It was a worn whisper, dry and papery, and it brushed so distinctly across the ear that, by the accustomed, the material minutiae in which it originated could be realized as by touch. It was the united products of infinitesimal vegetable causes, and these were neither stems, leaves, fruit, blades, prickles, lichen, nor moss.
The Return of the Native (Hardy: 1878)
Alongside the sound of the wind the sound of birdsong is – as mentioned – one of the most dominant aspects of the soundscapes that I have experienced during the project. Up until this stage I haven’t really attempted to go beyond the description of the phenomenon as just that – birdsong. There has been no attempt to identify species or consider whether the song is coming from a long distance, from the treetops or from the hedgerows. I began to think that I should seek to rectify this but have precious little knowledge of bird calls beyond the most common participants, the Chaffinch, Blackbird, Jackdaw and Wood Pigeon. In order to begin to decode the birdsong in the recording featured below I enlisted the help of ChirpOMatic – an app that automatically identifies bird calls. It was developed by computer scientist Alex Wilson and biologist Hilary Lind. In 11″ episodes I applied the app to the recording. ChirpOMatic provides three top matches and two runners up for each recording it makes. I have included the top matches in the transcription below.
What soon became clear was that ChirpOMatic was perhaps hearing birdsong that wasn’t there – possibly as a result of the multiple sounds present – and was also missing some birdsong as a result of it being too distant or obscured by other more dominant sounds. For example, there is a constant chirp of Sparrows in the background of the recording and these are not picked up by ChirpOMatic and the call of the Peacock also fails to register. The combination of birdsong, shouts from players and managers and other sounds in the soundscape make ChirpOMatic‘s task a tough one. The Mallard identified at 1’50” is almost certainly the result of one of the substitutes walking to the carpark to get the mud off his boots by knocking their soles together; whilst the Lapwing’s alarm call identified on several occasions is probably the result of – amongst other things – a player calling hey! hey! hey! hey! at 2’45”. What I did establish through reference to the identifications of ChirpOMatic and my own research was that there were almost certainly calls from the Chaffinch, Blackbird, Wren, Robin, Peacock and Sparrow plus some that remain unidentified. Despite ChirpOMatic‘s insistence the presence of the Curlew, Green Woodpecker, Starling, Song Thrush, Pheasant and Mallard is unlikely on this occasion!
The recording in question was made on the threshold of the car park next to the gate post:
(0’00”- 0’11” ChirpOMatic)
Song Thrush; Curlew; Green Woodpecker
The drone of distant traffic can be heard from the A34 to the West and the A475 Abingdon Road to the North. There are occasional sounds of local traffic on the High Road.