This article considers the place of William W. H. ‘Bill’ Gunn in the history of electroacoustic music with a focus on one of his earliest creative forays, the 1955 production ofA Day in Algonquin Park, a composition in the genre of what the authors have dubbed thecircadian audio portrait. In exploring Gunn’s compositional decisions and the political and creative contexts which surrounded them, we detail his sonic practice and make the argument that Gunn was a soundscape composer before the term was coined, a forerunner of the genre indebted to composers connected with the World Soundscape Project. In doing so, we must acknowledge the ways in which the album’s creation and reception play out paradoxical aspects of the wilderness myth, while feeding into the construction of a popular and idealised Canadian identity. We also find his modernist ecological sensibility struggling to articulate a place for human visitorswithinnature: in this, Gunn’s outlook and concerns were not very different from some contemporary soundscape composers. However, this study goes beyond acknowledging a previously ‘unknown father’ of familiar sounds and debates; in contextualising his work with environmental sound as a contribution to the genre of thecircadian audio portrait, we highlight an alternative genealogy for contemporary soundscape composition.

中文翻译：

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阿冈昆公园的一天：William WH Gunn 和昼夜节律音频肖像

本文考虑了 William WH 'Bill' Gunn 在电声音乐史上的地位，重点介绍了他最早的创作尝试之一，即 1955 年制作的阿冈昆公园的一天，一首属于作者所称的体裁的作品昼夜音频肖像. 在探索 Gunn 的作曲决定以及围绕他们的政治和创作背景时，我们详细介绍了他的声音实践，并论证 Gunn 在创造这个词之前是一位音景作曲家，是该流派的先驱，这要归功于与世界音景项目有关的作曲家. 在这样做的过程中，我们必须承认这张专辑的创作和接受方式展现了荒野神话的矛盾方面，同时融入了流行和理想化的加拿大身份的构建。我们还发现他的现代主义生态敏感性正在努力为人类游客阐明一个地方之内自然：在这方面，Gunn 的观点和关注点与一些当代音景作曲家并无太大区别。然而，这项研究超越了承认熟悉声音和辩论的以前“未知之父”；将他的作品与环境声音联系起来，作为对音乐类型的贡献昼夜音频肖像，我们强调了当代音景组合的另一种谱系。