This recognition carries with it a heightened sense of awareness and responsibility. As in ethnography, recordists are now encouraged to be increasingly reflexive, and to address moral and ethical issues associated with recording and representation. The choices over what sounds one might record, where, when, how and crucially, why, all become much more significant factors.
For composers, these choices are artistically motivated editorial decisions. The act of recording in the field becomes part of the act of composing. Perhaps those doing it already implicitly understood this. However, are there rigorous attempts to understand the interrelationship between recordist and subject? Should there be?
This paper will examine both the act of field recording and the practice of composing with `appropriated' sound together. In doing so, the aim is to identify questions and considerations for further discussion, focussing on: