In the late 1960s, composers and sound engineers began to regularly step out of the recording studio. The street sounds and nature sounds they collected, processed, and produced as records and radio broadcasts were intended to be functional. That is, for individuals such as Tony Schwartz, Irv Teibel, and members of the World Soundscape Project, the compositions were expected to generate specific effects, from socio-political change, to altered moods, to environmental conservation. Though part of the sonic counterculture, their efforts also fit into an arc of functional background music from Edison, to industrial music systems, to Muzak, to foreground music and, presently, streaming audio. Using the methodological framework of the history of the field sciences that focuses on collecting practices as well as storage, analysis, and the importance of the specificity of location (versus the universality of the laboratory or studio), recorded musical and non-musical sounds came to be understood as mobile; collectible. I trace the implications of these mobile recorded sound for the way people understood their environment and, in turn, naturalised their built spaces.

在1960年代后期，作曲家和声音工程师开始定期离开录音棚。他们收集，处理和制作为唱片和广播的街道声音和自然声音旨在发挥作用。也就是说，对于诸如Tony Schwartz，Irv Teibel和World Soundscape Project成员的个人，这些作品有望产生特定的影响，从社会政治变化，情绪变化到环境保护。尽管属于声音反文化的一部分，但他们的努力也融入了一系列实用的背景音乐，从爱迪生到工业音乐系统再到Muzak，以播放前景音乐，以及当前播放流音频。使用专注于收集实践以及存储，分析和位置特殊性的重要性（相对于实验室或工作室的普遍性）的领域科学历史的方法框架，记录了音乐和非音乐声音被理解为可移动的；收藏品。我追踪了这些移动录制的声音对人们了解环境的方式的含义，进而使建筑空间自然化。