Hildegard Westerkamp

Many of her compositions deal with the acoustic environment and she often incorporates the medium of tape in conjunction with live instruments or voices, combining, manipulating and processing environmental sounds. She has been influenced by studying the works of composers like Pauline Oliveros, John Cage and Barry Truax.[1]

From 1973-80 Westerkamp worked as a research associate along with R. Murray Schafer at the World Soundscape Project at Simon Fraser University. This work fed into Schafer's book The Tuning of the World.[3] In 1974 she began working as a producer and host at CFRO (Vancouver Cooperative Radio). Through her work with Shafer and with radio, she developed a deep interest and concern for noise and the acoustic environment, which greatly influenced her style of composition. After this time, she began to experiment with recording, processing, and mixing environmental sounds in the recording studio.[2]

Westerkamp was involved in several other research projects on noise, acoustic ecology and music. From 1974 - 1975, she was a researcher with the Noise Abatement Project of the Society Promoting Environmental Conservation in Vancouver. In 1982, she was a researcher for the Women in Music project at Simon Fraser University.[2] She is also a founding member of the World Forum on Acoustic Ecology (WFAE).

In the 1980s, she developed an interest in music for live performance, and in creating installations and other "composed environments" (sometimes in collaboration) for specific sites.

After 1991, Westerkamp devoted herself to more fully to composing, lecturing, and writing, disseminating her compositions and ideas at concerts and conferences. She was editor of The Soundscape Newsletter[4] from 1991 - 1995 and joined the editorial committee of Soundscape: The Journal of Acoustic Ecology,[5] for the World Forum for Acoustic Ecology in 2000.

She has also composed soundtracks for radio dramas and film and her music has been featured in movies by Gus Van Sant including Elephant (2003) and Last Days (2005).[2] She collaborated with Jesse Zubot on the electronic score for Koneline (2016).[6]

• Whisper Study (1975–79)
• Familie mit Pfiff (Theme and Variations) (1976)
• Fantasie for Horns I (1978)
• Fantasie for Horns II (1979)
• A Walk Through the City (1981)
• Attending to Sacred Matters (2002)
• Cool Drool (1983)
• His Master's Voice (1985)
• Harbour Symphony (1986)
• Cricket Voice (1987)
• Moments of Laughter (1988)
• Kits Beach Soundwalk (1989)
• Breathing Room (1990)
• École polytechnique (1990)
• Beneath the Forest Floor (1992)
• India Sound Journal (1993)
• Sensitive Chaos" (1995)
• Dhvani (1996)
• Talking Rain (1997)
• Gently Penetrating beneath the sounding surfaces of another place (1997)
• Into the Labyrinth (2000)
• Attending to Sacred Matters (2002)
• Like a Memory (2002)
• Breaking News (2002)
• Für Dich-For You (2005)

• Cordillera (Music from the New Wilderness Festival, Western Front Gallery, Vancouver, Feb 1980)
• Zone of Silence Story, with Norbert Ruebsaat (Zone of Silence Project, Museum of Quebec, Quebec City, Dec 1985-Jan 1986
• Coon Bay (1988)
• Türen der Wahrnehmung (Ars Electronica '89, Linz, Austria, Sept 1989)
• Nada - An Experience in Sound, in collaboration with Savinder Anand, Mona Madan, and Veena Sharma (Mati Ghar, Indira Gandhi National Centre for the Arts Janpath, New Delhi, India, 10-25 Dec, 1998)
• At the Edge of Wilderness, in collaboration with photographer Florence Debeugny (Industrial Ear, Vancouver, Sept 8-16, 2000; Whyte Museum, Banff, 11 Oct, 2002-19 Jan, 2003; Victoria College of the Arts, Melbourne, 19–27 March 2003)
• Soniferous Garden, rev. of Part 4 of Nada (Engine 27, New York, 7-15 Nov, 2000; Sound Practice [first UKISC Conference on Sound Culture and Environments], Dartington College of Arts, UK, Feb 2001; CCNOA, Brussels, 2-9 Feb, 2003; x-tract Sculpture Musicale, Podewil, Berlin, 1-12 Apr, 2003)

• Chatelin, R. (1988). Hildegard Westerkamp: Wake-up and hear the crickets. Music Scene, 360, 7.
• Jordan, R. (2007). The work of Hildegard Westerkamp in the films of Gus Van Sant. Offscreen, 11(8-9). Retrieved from: http://offscreen.com/view/jordan_westerkamp
• Khazam, R. (2000). Soundscapes Be)for(e 2000—Amsterdam, Holland, 19–26 November 1999. Leonardo, 33(4), 338–39. doi:10.1162/leon.2000.33.4.338.
• McCartney, A. (1999). Sounding Places with Hildegard Westerkamp. (Doctoral dissertation). Retrieved from ProQuest Dissertations & Theses. (NQ46305).
• Labelle, B. (1999). The sound of music: Contemporary sound-art and the phenomenal world. Art Papers, 23(2), 36-39.
• Steenhuisen, P. (2009). Hildegard Westerkamp. In Sonic Mosaics: Conversations with Composers. Edmonton: University of Alberta Press.
• Werner, H. U. (1994). Hildegard Westerkamp: I am a composer, I recycle sound. Soundscape - Akustische Landschaften: Eine Klangoekologische Spurensuche
• Woloshyn, A. Playing with the voice and blurring boundaries in Hildegard Westerkamp’s "MotherVoiceTalk". eContact!", 14(4). Retrieved from: http://econtact.ca/14_4/woloshyn_westerkamp.html
• Young, G. (1984). Composing with environmental sound. Musicworks, 26, 4-8.
• Zapf, D. (1981). Inside the soundscape: the compositions of Hildegard Westerkamp. Musicworks, 15, 5-8.

• Official website
• Ear Room interview (Mark Peter Wright 6th July 2011)
• "Composer showcase: Hildegard Westerkamp" Canadian Music Centre
• "The signal of noise." Ideas: With Paul Kennedy. CBC Radio.
• Paula Gordon Show