This article discusses a range of self-reflexive tendencies in field recording, soundscape composition and studio production, and explores examples of sonic practices and works in which the personal listening experiences of the composer are a key contextual and compositional element. As broad areas for discussion, particular attention is given tosoundscape composition as self-narrative(exploring the representation of the recordist in soundscape works) and toproducing the hyperreal and the liminal(considering spatial characteristics of contemporary auditory experience and their consequences for sonic practice). The discussion then focuses on the specific application of autoethnographic research methods to the practice and the understanding of soundscape composition. Compositional strategies employed in two recent pieces by the author are considered in detail. The aim of this discussion is to link autoethnography to specific ideas about sound and listening, and to some tendencies in field recording, soundscape composition and studio production, while also providing context for the discussion of the author’s own practice and works. In drawing together this range of ideas, methods and work, sonic autoethnography is aligned with an emerging discourse around reflexive, embodied sound work.

中文翻译：

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Sonic Autoethnographies：个人聆听作为作曲背景

本文讨论了现场录音、音景作曲和工作室制作中的一系列自我反思倾向，并探讨了作曲家个人聆听体验是关键语境和作曲元素的声音实践和作品的例子。作为讨论的广泛领域，特别关注作为自我叙述的音景组合（探索录音师在音景作品中的表现）和产生超现实和阈限（考虑当代听觉体验的空间特征及其对声音练习的影响）。然后讨论集中在自民族志研究方法在实践中的具体应用和对音景构成的理解。作者在最近的两篇文章中采用的构图策略进行了详细考虑。本次讨论的目的是将自体民族志与关于声音和聆听的具体想法以及现场录音、音景创作和工作室制作的一些趋势联系起来，同时也为讨论作者自己的实践和作品提供背景。在将这一系列的想法、方法和工作结​​合在一起时，声音自我民族志与围绕反射性、具身声音工作的新兴话语保持一致。