Alexandrine Boudreault-Fournier

A walk through time and place with a basket of meaning. Gratitude to Christine Seymour for the story and to Christopher and Wilfred Thomas of the Kwantlen Nation for the song.

The sounds we hear throughout our day may affect more than we know. Certain sounds, or collections of sounds come and go throughout our day unnoticed.

A compilation of sounds accumulated on bicycles, by bicycles and for bicycles.

My soundscape is inspired by the homestead exhibit, as well as by my own family's history. I have attempted to recreate the sounds and emotions of what my ancestors experienced in the late 18th century, after losing their home, as well as many loved ones, in the Scottish Isles, and starting a new life in Bruce County, Ontario.

This soundscape aims to provide an audible representation of an average evening in the life of a man. A man who enjoyed collecting exotic items --centered around a Mosque lamp that would be on display on a desk, or on display in a museum.

This composition serves as the Nintendo Entertainment System (NES) original soundtrack of my youth. It is a compilation of my favorite, most played (though not necessarily completed), NES video games scores and sounds. Listen to some of my most fond gaming memories, frantic button presses, and failures!

While videogames are an even more prevalent aspect of everyday life today than they were when the Nintendo Entertainment System made its north American debut in 1985, there are particular sounds, social dynamics and rituals that used to take place around video games that are slowly dying out as technology becomes more advanced.

For this Chinatown track we decided to portray a modern soundscape of our experience walking around Victoria's Chinatown. As the scenery has changed dramatically over the years, the sonic experience is constantly being reshaped and made anew.

My goal with this composition is to explore layers: layers of sight, layers of sound, layers of meaning. The repetitive nature of the water wheel and the ever-changing outcome of its cycle inspired me to use subtle variations within my soundscape while maintaining a constant, pulsing foundation.

The goal of my soundscape was to recreate the sonic environment that might resemble what a pioneer logger would have heard, and contributed to, at a timber rafting site like the one depicted in he diorama. I was important for me to put the listener "on the ground" so to speak, and I tried, to the best of mys ability, to create a spatial atmosphere

Tea travel is a composition of cultural and historical context of teas journey from its origins straight to your cup. From the field it was grown to the boats docking in North America, tea becomes a traveler of sea and land. From every slurp of tea, a feeling of warmth and comfort can be experienced in all cultures.

Aboard is a short soundscape depicting what life may have been like aboard the HMS Discovery and the HMS Chatham. My goal was to create both a natural and metaphorical aural landscape of Captain Vancouver’s voyage, through the use of both edited and raw sounds.

An audio journey into an audit to examine the inner workings of a mining operation. Using mainly industrial noises this audio track represents a journey through the portal, deep into the workings and ends at the new diggings. Many of these sounds were mined from an industrial setting to enhance the experience.

My soundscape composition is focused on the history of the Canadian Navy, and its effect on our country's natural and social environment. I have taken a special interest in the BC Navy's effect on the West Coast. My goal in this composition is to create a send of natural peacefulness and harmony, which transitions into chaos and destruction.

The soundscape was inspired by the fur trade exhibit, and more specifically, the mural of the mountain range behind it. Mountains seem to convery a sense of stoic, timelessness that continue on after everything else had come and gone.

Imagine you find yourself standing in a field of wheat...

The free people are in a market close to the harbour, buying and selling when a ship arrives with more free people. Everyone rejoices because of this new people.

My soundscape includes two different exhibits from the RBCM's Old Town exhibition: the blacksmith as well as the country home are combined with various different sound clips obtained from Freesound.org website to create my project. Last breath is a story formed out of my interest in implementing visual stories through auditory means.

I present you a soundscape with all the noise I made when I listen to music. So you have an idea what my parents used to hear. This sound clip is original, it was all recorded and edited by myself.

When approaching this soundscape, I focused on sounds both inside and outside the shop. The car, tools being used, music being played in the background, the mechanic walking about his shop, and the city going on with his daily routine. As points the sound is pleasant in nature while at other points it is almost too loud and hard to listen to.

Fishing for some is a way to escape from the outside world. I am hoping that the peaceful and recognizable sounds will bring people back to that happy place.

Based on Nanaimo's Royal Hotel (1890), our soundscape highlights the haunted past of Vancouver Island. Immerse yourself into our historic tea party in "Tea Party After Dark". Listen for the chime of the ancient grandfather clock, he clanking of bone china, and the final haunting notes of the old piano.

The soundscape follows the travels of a Japanese glass float after it has broken free from its bindings and moves its way across the ocean to the shores of British Columbia. As it travels, it bobs in and out of many different cultures and music, but it always keeps the hum of the Ocean.

Using sounds of metals and furs being traded, rowing canoes and waving masts of ships, the discovery of British Columbia by Captain Cook and his men are recreated in a soundscape using household items.

Our soundscape focused on The Grand Hotel lobby based on Nanaimo's Royal Hotel in 1890 The old town reflects the late 1800's growth of British Columbia's economy and society We wanted our soundscape to reflect the sopciety and general ambience that could be found inside the hotel during this time period.

Listening to the sounds of the mountain diorama

Visitors at the Early Shift on November 27, 2015, listening to a soundscape produced by one of the Anthropology of Sound students.

This soundscape creates a journey through a workshop that starts with the entrance into the space, and ends with the listeners' exit. In the background is the sound of handheld tools being used. The story played overtop reflects the tradition of passing tools down within families. By Amy Ayer.

Soundscape inspired by the white snowy owl in the climate change section. By Wes Carroll.

Soundscape inspired by the Tremblay homestead diorama. By Lianne Chang.

In this soundscape, you can hear the rain, deer sounds, a crow and crunching leaves. I recorded all the rain and walking sounds myself. I wanted to perfectly capture the calming yet mystifying sounds that a boreal forest can convey in Canada, especially BC. By Fraser Hamilton.

Inspired by the view of the parliament buildings... It was during the election that I chose this spot. It inspired me to think about the words we say and the sides we pick. By Ava Hoegl.

Soundscape inspired by the petroglyphs in the First Nations area. By Brandy Kosiancic.

Soundscape inspired by the sly dog Inn on a dark rainy night. By John McIver.

When you see the miniature people building Fort Victoria in a glass case at the museum, you get a sense of how small our city really was. Using all original recordings of the modern areas of the old Fort Victoria, I show how far we have come. By Ally Poniedzielnik.

Soundscape inspired by the turtle heads in the submarine section. By Robin Ricard.

Soundscape inspired by the fossil of a salmon in the natural history section. By Emily Sargent.

For the Tremblay Homestead I wanted to create a backdrop of sound. I imagined the exhibit coming to life and thought about the ambiance, and what you would be able to hear if you were out in the countryside. By Martine van der Heever.

Soundscape inspired by the ticket booth outside of the old town's matinee theatre. By Rachel William.

Soundscape inspired by the mountain range from the explorer's exhibit. This is a soundscape that attempts to put visual into the listeners' mind by the sounds they hear. By Thomas Tse.

Soundscape of the life of a deer, inspired by the West Coast forest diorama. By Vanessa Tallarico and Jenny Ho.

Soundscape inspired by the seashore diorama. By Joshua Bishop.

If all of space and time were available for one to witness simultaneously or in any order, a kitchen might actually sound like this. This rhythmic recipe, comprised of various kitchen sounds, will save you salivating! By Sam McNally.

For me, the sounds illustrate a rainy Spring day at a west coast beach, where you can almost feel the salt-heavy air around you and the sounds of waves crashing become a backdrop to all else. By Erica Rimmer.

Soundscape inspired by the mine section of the modern exhibition. By Kirk Borger and Craig Penner.

My hope with this soundscape was to use calming sounds to give listeners a few minutes of peace and to help them reconnect with a feeling of connectedness with the present.  By Lydia Toorenburgh.

Soundscape inspired by the tidal pool in front of the ocean diorama. By Jacob Lee.

A soundscape that contrasts industrial sounds, or noise as some may perceive it, by playing with the rhythms and layers of machinery. It then transitions into the peaceful sounds of being by the ocean side. By Colleen Lacey.

The soundscape was inpspired by an old computer in one of the exhibits in the Royal BC Museum. The exhibit is home to a number of display cabinets, each one has items from a different era throughout history. By Kaileen McCulloh.

Soundscape inspired by the bear in the West Coast forest diorama. By Matt Branagh.

My soundscape reflects the museum diorama of a BC coastal seashore. The segments used are a combination of 'natural' and human sounds, using 3 human auditory metaphors. By Monica Nelson.

Mountains have no exact sound. So the environment around them is what gives them their sound; whether that be snow, the wind, the rain or the people interacting with the mountain. By Anna Wilke.

For my piece, I was inspired by the era and the technologies associated with the office located in the old town area. I used chronological sequence of my own recorded sounds to tell a story that fits the scene of a mortgage broker office from the early 20th century. By Stephen Caravan.

Soundscape inspired by deers in forest diorama. By Robert Johnston.