4 Biologists Singing : Choral listening alongside frogs and their herpetologists

Biologists Singing

Jami Reimer

I became transfixed by frog vocalization during a particularly powerful amphibian chorusing event heard while riding my bicycle across the state of Wisconsin in May 2014. During this ride, I began making field recordings for the first time, and a new posture toward sound suddenly opened up to me. I noticed how I listened differently, how musical encounters could be manufactured by virtue of microphone placement, direction, timing, and monitoring. The networked organization of amphibian voice tickles the chorister in me. I perceive a kind of choral magic in frogs’ cyclical composition and recomposition of near-invisible, camouflaged bodies into choirs of staggering volume. Of course, my own disciplinary posture shaped by years of musical practice inflects my listening—each time I pull out my microphone and hit record, my epistemological upbringing seeps in.

In my compositional field recording practice, the microphone becomes an essential character, shaping and channelling, and indeed voicing, and not merely witnessing, a pre-existing or given sonic reality. I rely on voice as an acoustic surface to get closer to knowing another species. Obviously, there are limits to my mode of relation. I’m no biologist, but what about those biologists who, like me, can be found huddled around swamps with headphones and microphones? What might I learn about frog voice—about chorusing—from the listening worlds of biologists committed to amphibian conservation? Bioacoustics, with its own history of listening and its particular epistemological aims, carries both the orthodoxy of scientific method and the sensuous archival practices of musicology and media studies. I’ve become curious how bioacoustic listening and recording might intersect and participate within multi-species media assemblages—speculative sorts of multi-species choruses. I joined the Amphibian Natural History Lab with Dr. Felipe Toledo at the University of Campinas in Brazil during the 2022 mating season to listen in on biologists listening to frogs. Through interview, field recording, text, and video, the following audiovisual essay chronicles moments of this eavesdropping.

 

Listening score for mating season

Grayscale drawing of a frog neaf a microphone, with the text: "Find a comfortable place to listen near low lying water or wetland. With as much stillness as you can, notice how the sonic space adjusts to your presence. Hone your attention towards one voice, allowing a solo to emerge. Feel where this sound resonates in your body. Widen your listening field towards the chorus, imagining the whole sonic space as improvising, unified voice. Feel where the sound resonates in your body. Continue to dial your listening beween individual and group. Repeat the score fom beginning each time you shift position. Achieve a calling pattern in your memory. If desired, repeat score with a microphone, recorder, and headphones. Notice how the mediation of a recording device differs from the mediation of your ears.
“Listening Score for Mating Season” (2023) by Jami Reimer, licensed under a CC BY-ND (Attribution NoDerivatives) Licence.

Listening score for habitat loss [1]

Grayscale drawing of a frog with the text: "Find a comfortable place to listen where concrete has covered low lying water or wetland. Listen for voices that are buried underground. Bring to mind a vocal imprint from a wetland you have heard in the past. Audiate the (mis)remembered call. Widen your listening to take in all the sounds that now populate the space. Repeat."
“Listening Score for Mating Season” (2023) by Jami Reimer, licensed under a CC BY-ND (Attribution NoDerivatives) Licence.

 


  1. According to the International Union for the Protection of Nature, 41% of all 1 amphibians at this time are under threat of extinction. Amphibians represent the most at-risk vertebrates on the planet.

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