Doctoral artistic research · Estonian Academy of Music and Theatre

Environmental
sound as pitch.

How can the acoustic features of a real-world recording become a source of pitch material for new music?

This research develops a systematic way to listen to, analyse and compose with environmental sound. It follows particular recordings from the field into the concert work, bringing spectral analysis together with close listening and artistic judgement.

Thesis

Environmental Sound as Pitch: Developing a Systematic Method for Deriving Pitch Collections from Sound Recordings

The method

From listening
to composition.

  1. 01

    Listen

    Begin with a sound that holds artistic or personal significance, attending to its character and changing layers.

  2. 02

    Record

    Capture the sound in its environment. Distance, direction and listening position all shape the recording.

  3. 03

    Analyse

    Use spectral views to locate candidate frequencies, then assess their prominence, recurrence, stability and perceptual clarity.

  4. 04

    Select & compose

    Choose frequencies for their musical usefulness and form them into a pitch collection. The original frequency values remain intact rather than being rounded to equal temperament.

In the field

Listening to place.

Estonian landscapes provide the research’s central sound worlds: sustained flows, brief impacts and fragile, changing events.

01 / Pirita · 2025

River gorge

At Pirita River Gorge, a steady river bed meets recurring impacts as water breaks against rocks. The contrast between continuous and transient sound became a source of material for Feather’s Allure.

Field recording microphone placed at the edge of the flowing Pirita River
A close listening position
A broad view of the Pirita River running through a wooded gorge
The wider soundscape
02 / Pangodi

Pangodi’s Nightingale

This case attends to a nightingale’s song as environmental sound, listening for the shape and resonance of its changing phrases and their relation to the surrounding landscape.

Woodland landscape at Pangodi, the setting for the nightingale sound study
Pangodi field site
AI-generated visualisation of a nightingale singing among branches
AI-generated nightingale image
03 / Viimsi · Winter

Breaking branches

On the Tädu Nature Trail in Viimsi, a snow-covered woodland offers a different kind of event: the short, irregular sound of a breaking branch, never quite repeated in the same way. Each recording must be heard on its own terms.

Snow-covered broken branches in a winter woodland on the Viimsi nature trail
Branch study · 1
Doğaç İşbilen listening with headphones while making a field recording in a snowy Viimsi woodland
Field recording in the winter woodland
04 / Jägala · 2026

Waterfall

The dense, continuous rush at Jägala Waterfall offers a sustained sound field. The research observes how a change in recording or listening position shifts the balance of its perceived low and high frequency regions.

Doğaç İşbilen making a field recording beside Jägala Waterfall
Listening beside the falls
A microphone set up to record the flow of Jägala Waterfall
Recording the continuous flow

Featured case study · Composition

Concert image for Feather’s Allure, a work for soprano, electronics and visual media A work shaped by environmental sound Feather’s
Allure
A 35-minute, nine-movement work for solo soprano, electronics and visual media. Field recordings from Pirita River Gorge are transformed into pitch material and woven into the work’s later movements. Soprano Marta Ojasoo · Sound engineer Eren Kasapoğlu · Cinematography Burhan Hatinoğlu Watch the concert performance