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Bernie Krause

Soundscape Ecologist

A Generation to Cool the Earth
6 May. 21:00 – 22:00.

Bernie Krause

Since 1968, Bernie has travelled the world, recording and archiving the sounds of creatures and environments, large and small. Working at the research sites of Jane Goodall (Gombe, Tanzania), Biruté Galdikas (Camp Leakey, Borneo), and Dian Fossey (Karisoke, Rwanda), he identified the concepts of the Acoustic Niche Hypothesis (ANH), and biophony – the collective and organized acoustic output as each species establishes a unique frequency and/or temporal bandwidth, within a given habitat.

Bernie is a founder of the new ecological discipline, ‘soundscape ecology’. In the world of fine art, Krause has produced over 50 natural soundscape CDs and designed interactive, non-repetitive environmental sound sculptures for museums and other public spaces worldwide.

As a professional studio musician, Krause filled the late Pete Seeger’s slot in The Weavers during their final year (1963). With his late music partner, Paul Beaver, he helped introduce the Moog synthesizer to pop music and film on the West Coast in the mid-1960s. The team’s work can be heard on over 250 albums, including those of Mick Jagger, Van Morrison, Peter Gabriel, Brian Eno and David Byrne, George Harrison, the Doors, and 135 feature films released since 1967, including Apocalypse Now, Performance, Rosemary’s Baby, Shipping News, and Castaway.

Krause holds a Phd in Creative Arts with an internship in Bioacoustics, and was a key figure in implementing natural soundscapes as a resource for the U.S.A. National Park Service. His book, The Great Animal Orchestra: Finding the Origins of Music in the World’s Wild Places, has been translated into eight languages. His art and science exhibition, Le Grand Orchestre des Animaux, commissioned by Fondation Cartier pour l’Art Contemporain, showed to international acclaim in Paris in 2016. The piece has since been exhibited at the Seoul Museum of Art in S. Korea, Shanghai, China, and opened MoMA’s (NY) Triennale in Milan in 2019.

Krause lives with his wife and partner, Katherine, in Sonoma, California


Title of talk:
The Future Belongs to Those Who Can Hear It Coming

This presentation underscores the significance of natural soundscapes as the defining vocalisation of biodiversity. All organisms produce a sound signature. Dr Krause will introduce, through both audio and complementary visual illustrations, the multiple ways in which the collective organic sound produced in a given habitat – its biophony – conveys a narrative of time, place, and fitness of habitats, and speaks directly to issues of global warming.

Specifically, he will explore new ways of listening to the bioacoustic consequences of selective logging and clear-cutting, to living and dying coral reefs, to the bioacoustic consequences of drought on birdsong in the spring, and to the notable decrease in insect, bird, and amphibian vocalisations as a result of radical climate changes, worldwide.


My energies, these days, are dedicated to the transformation of field data into works of fine art. With that in mind, my idea of sound art is to create performances of wonder I most want others to hear and see manifest in the world.”
Bernie Krause

A Generation to Cool the Earth

with Leeds Beckett University

Bernie Krause

Soundscape Ecologist

A Generation to Cool the Earth
6 May. 21:00 – 22:00.

Bernie Krause

Since 1968, Bernie has travelled the world, recording and archiving the sounds of creatures and environments, large and small. Working at the research sites of Jane Goodall (Gombe, Tanzania), Biruté Galdikas (Camp Leakey, Borneo), and Dian Fossey (Karisoke, Rwanda), he identified the concepts of the Acoustic Niche Hypothesis (ANH), and biophony – the collective and organized acoustic output as each species establishes a unique frequency and/or temporal bandwidth, within a given habitat.

Bernie is a founder of the new ecological discipline, ‘soundscape ecology’. In the world of fine art, Krause has produced over 50 natural soundscape CDs and designed interactive, non-repetitive environmental sound sculptures for museums and other public spaces worldwide.

As a professional studio musician, Krause filled the late Pete Seeger’s slot in The Weavers during their final year (1963). With his late music partner, Paul Beaver, he helped introduce the Moog synthesizer to pop music and film on the West Coast in the mid-1960s. The team’s work can be heard on over 250 albums, including those of Mick Jagger, Van Morrison, Peter Gabriel, Brian Eno and David Byrne, George Harrison, the Doors, and 135 feature films released since 1967, including Apocalypse Now, Performance, Rosemary’s Baby, Shipping News, and Castaway.

Krause holds a Phd in Creative Arts with an internship in Bioacoustics, and was a key figure in implementing natural soundscapes as a resource for the U.S.A. National Park Service. His book, The Great Animal Orchestra: Finding the Origins of Music in the World’s Wild Places, has been translated into eight languages. His art and science exhibition, Le Grand Orchestre des Animaux, commissioned by Fondation Cartier pour l’Art Contemporain, showed to international acclaim in Paris in 2016. The piece has since been exhibited at the Seoul Museum of Art in S. Korea, Shanghai, China, and opened MoMA’s (NY) Triennale in Milan in 2019.

Krause lives with his wife and partner, Katherine, in Sonoma, California


Title of talk:
The Future Belongs to Those Who Can Hear It Coming

This presentation underscores the significance of natural soundscapes as the defining vocalisation of biodiversity. All organisms produce a sound signature. Dr Krause will introduce, through both audio and complementary visual illustrations, the multiple ways in which the collective organic sound produced in a given habitat – its biophony – conveys a narrative of time, place, and fitness of habitats, and speaks directly to issues of global warming.

Specifically, he will explore new ways of listening to the bioacoustic consequences of selective logging and clear-cutting, to living and dying coral reefs, to the bioacoustic consequences of drought on birdsong in the spring, and to the notable decrease in insect, bird, and amphibian vocalisations as a result of radical climate changes, worldwide.


My energies, these days, are dedicated to the transformation of field data into works of fine art. With that in mind, my idea of sound art is to create performances of wonder I most want others to hear and see manifest in the world.”