On this episode of Free Range, Michael Livermore speaks with Matthew Burtner, a Professor of Compositions and Computer Technologies in the music department at the University of Virginia. Burtner’s work explores ecology and the aesthetic link between human expression and environmental systems. His latest album is Ice Field.

Burtner begins by discussion how his music tries to decenter humans. (0:51-2:29) After listeners hear a snippet from the title track, Livermore inquires about the physical logistics of how he recorded this track. (3:58 – 8:13) Burtner recalls the improvisation he did while on the ice field and describes how environmental music appreciating a new kind of beauty. (8:21 – 11:55) He goes on to explains his commitment to understanding these natural systems as independent forms of aesthetics. (12:00 – 17:30)

Burtner describes how he uses sonification to translate environmental data into sounds. He describes how sonification allows us to listen to sounds new kind of sounds, like light reflecting off waves, and to transpose temporality by taking decades worth of data and turning it into a musical phrase we can perceive. On Ice Field, two of his works use sonification, “Ice Prints” which uses ice extent data from the Arctic and is mapped into piano music and “Sonification of an Arctic Lagoon.” (17:32 – 21:20) A snippet of his track “Sonification of an Arctic Lagoon” is played. This piece takes different layers of data and creates musical sounds, this 4-minute piece is 1-year worth of data mapped into musical form. (21:21 – 23:29)

Livermore and Burtner discuss the differences between sonification and a more common impressionism approach to relating music to the natural environment. Burtner explains how data is not always what he may want it to sound like and may not be satisfying as music. He explains that you can either try to change the data, which won’t represent the system anymore, or listen to it and find the beauty. (23:31 – 29:05)

Burtner discusses different approaches to eco-acoustic music: presenting environmental data as sound (sonification), field recording natural sounds (soundscaping), and using natural features as instruments in human-environment interactions. Livermore and Burtner discuss the different technologies used in these techniques and how they are theorized. (29:15 – 36:44)

Burtner delves into his favorite examples of soundscape field recording that he has done, playing snippets of both. (36:46 – 41:53) Burtner explains that these recordings transpose our listening outside of our human centered perception. (42:00 – 46:26)

Livermore poses a question about aesthetics theory and how the relationship between the deep tradition we inherit affects our way of appreciating these types of music. Burtner explains that knowledge helps open up the world to different dimensions of aesthetics; that it becomes richer the more he learns. (46:30 – 51:26) Burtner discusses how environmental politics has unintentionally played a role with his music and that he appreciates that his music can be a part of that type of discourse. (51:27 – 55:43)

With climate change already happening, Livermore asks how much of Burtner’s work is coming to terms with these inevitable changes; Is it mourning, celebration, or are they entangled? Burtner describes that art has always given us a place to deal with tragedy, that music gives us a space to mourn. He explains that inside all of these tragedies are modes of sustainability and restoration; they don’t always have to be about loss. (55:44 – 1:00:57)

Livermore ends the episode inquiring about how listeners should approach and interact with these conceptual pieces at different layers. Burtner describes that the music is designed to be understood on its own and on another level as conceptual art. He hopes that it can be a multifaceted experience of listening. (1:01:03 – 1:05:43)