Preamble

A Study on the Soundscape of Qinhuai River Cultural Heritage Space
He Jiyang & Fan Xiaowei (Nanjing Media College, Nanjing, Jiangsu 211199)

Abstract

[Purpose] This study provides a guiding direction for research on soundscapes in Chinese cultural heritage spaces, exploring the local characteristics of China's cultural heritage space—the Qinhuai River—from an auditory dimension. As a symbol of Jiangnan water town culture in China, the Qinhuai River serves as both a carrier of tangible cultural heritage and an important component of intangible cultural heritage. In recent years, soundscape research has offered a new perspective for cultural heritage protection, revealing the unique value of sound elements in cultural spaces for cultural transmission by analyzing their characteristics.

[Method] Through field recording and literature review, this paper examines both contemporary and historical soundscapes of a place to uncover its sensory culture, sonic identity, and local aurality. From a soundscape perspective, this study investigates the composition and significance of natural sounds, artificial sounds, and historical sonic landscapes surrounding the Qinhuai River cultural heritage space.

[Results] The soundscape of the Qinhuai River cultural heritage space represents a harmonious symphony where nature and humanity intertwine, serving as an important medium for recording historical changes and cultural continuity. Research on its natural, artificial, and historical sounds enables a more comprehensive understanding of the Qinhuai River's multidimensional characteristics as a cultural landmark. However, the impacts of modern urbanization and tourism development on the soundscape cannot be ignored. The intrusion of modern sounds such as traffic noise and electronic sound effects poses a risk of gradually eroding traditional soundscapes. Therefore, employing technical methods like field recording and sound retrospection to document and protect these sonic resources is crucial for maintaining the cultural integrity and diversity of the Qinhuai River. Simultaneously, as part of intangible cultural heritage, soundscapes can provide richer cultural perceptions and enhance local identity and cultural pride through multimedia displays and immersive experiences.

[Conclusion] Research on the Qinhuai River's soundscape not only contributes to the protection of local cultural heritage but also offers new perspectives for exploring multisensory approaches to cultural heritage studies. Future efforts should further promote interdisciplinary research on soundscapes and integration with cultural tourism, incorporating sound protection into ecological restoration, cultural education, and community participation to build a sustainable heritage protection model, making "Qinhuai in Sound" a paradigm and innovative practice for cultural heritage protection in the new era.

Keywords: Soundscape; Ambisonics; Field Recording; Cultural Space Heritage; Digital Interactive Dissemination

1.1 Historical and Cultural Background of the Qinhuai River

The Qinhuai River, an important symbol of Nanjing's history and culture, has been known since ancient times as the "Golden Powder Land of Six Dynasties, Ten-Mile Qinhuai." It is not merely a river but a comprehensive space bearing rich cultural heritage. The river's cultural heritage value is manifested in its long history and rich cultural accumulation. The history of the Qinhuai River can be traced back to the Spring and Autumn and Warring States periods, when it served as an important water transport channel for the Wu State. During the Qin Dynasty, it was named "Qinhuai" because the river ran through Jinling City. From the Six Dynasties period onward, the Qinhuai River basin gradually became a political, economic, and cultural center, attracting numerous literati and scholars. The Tang Dynasty poet Du Mu's poem "Mooring at Qinhuai" depicts the river's water town charm and prosperous scene with the lines "Mist envelops the cold water, moonlight shrouds the sand, mooring at Qinhuai near a tavern at night." During the Ming and Qing dynasties, the Qinhuai River became one of the most prosperous commercial districts in southern China, with restaurants lining both banks and lantern boats cruising along, earning it the reputation of "Ten-Mile Pearl Curtains." At this time, the Qinhuai River was not only a center of economic activity but also hosted rich opera, folk customs, and literary activities, becoming one of the core areas of Nanjing's culture.

The Qinhuai River has not only shaped Nanjing's geographical pattern but also promoted urban economic development. During the Six Dynasties and Ming-Qing periods, both banks of the river became flourishing areas for commerce and cultural exchange, establishing Nanjing's status as a "cultural capital." Furthermore, the Qinhuai River has been essential for the daily life of Nanjing's residents, with its water resources providing crucial support for agricultural irrigation and urban water supply.

1.2 Characteristics and Value of Qinhuai River Cultural Heritage Space

As an important cultural landmark in China, the Qinhuai River cultural heritage space geographically traverses Nanjing's urban area, forming an essential component of the natural ecosystem while serving as an axis bearing numerous historical buildings and human activities. Whether it is the natural landscape of wetlands, forests, and vegetation distributed along the riverbanks, or representative architectural sites from different historical periods such as the Confucius Temple, Bailuzhou Park, and Li Xiangjun's Former Residence, this fusion of nature and humanity makes the Qinhuai River a concentrated embodiment of the "Jiangnan garden water town" imagery, endowing it with unique cultural spatial significance [1].

In terms of historical value, the Qinhuai River has witnessed Nanjing's development from the ancient capital of the Six Dynasties to the economic and cultural center of southern China during the Ming and Qing periods. The historical sites and architecture along its banks record urban construction and cultural characteristics across multiple historical periods. During the Ming and Qing dynasties, it became a center for commercial and cultural activities, with cruising lantern boats and melodious folk music reflecting the prosperity and cultural refinement of urban life at the time. These sites and documents have become important resources for studying Nanjing's history, regional economy, and cultural evolution.

Regarding cultural value, the Qinhuai River embodies the essence of local culture in Nanjing and even across China, manifested in literature, art, folk activities, and local opera. Since ancient times, the Qinhuai River has been repeatedly celebrated by literati and poets, from the melancholic elegance of Du Mu's "Mooring at Qinhuai" to the depiction of Qinhuai's romantic life in the late Ming Dynasty in "The Peach Blossom Fan," all demonstrating literature's rich portrayal of the Qinhuai River's cultural imagery. The Qinhuai Lantern Festival is an important intangible cultural heritage of Nanjing, integrating lantern craftsmanship, folk performances, and traditional festivals as a crucial carrier of regional cultural identity. Both banks of the Qinhuai River are the birthplace of Nanjing Pingtan and Kunqu Opera, with opera performances documenting the prosperity of urban culture during the Ming and Qing periods and leaving important artistic heritage for future generations.

2. Conceptual and Theoretical Framework of Soundscape

Soundscape, as an important concept in cultural geography and acoustic research, serves as a theoretical tool for exploring the interactive relationship between sound environments and human culture in specific spaces. In the study of the Qinhuai River cultural heritage space, soundscape theory provides a scientific framework for understanding and analyzing natural sounds, artificial sounds, and historical sounds [2].

2.1 Definition of Soundscape

The concept of soundscape was first proposed by Canadian composer Murray Schafer in his 1977 book The Soundscape: Our Sonic Environment and the Tuning of the World, where he defined it as "the collection of all sounds in a specific environment." This concept emphasizes not only the physical properties of sound itself but also human cultural perception and social significance of sound. Soundscape stresses the listener's perception and evaluation—in other words, it requires subjective human participation. For instance, the sound of ocean waves, forest birdsong, or wind and rain does not fall within the scope of soundscape research without human listening. Soundscape is composed of three elements: human, sound, and environment, with the human factor being the most complex. Human factors include both constant and variable elements. For example, a normal adult's auditory system remains relatively fixed over a long period and can be considered a constant factor, while the listener's psychology, life experiences, regional customs, ethnic characteristics, and language environment are variable factors.

Listening is not only an auditory capability but also a consciousness of sound. In the process of listening, we need to understand not only what enters our ears but also the social environment, cultural background, and meanings that the sounds convey. Therefore, listening requires conscious awareness, which needs to be cultivated. Listening emphasizes the reconstruction of sound and highlights the value of listening itself. Here, the boundary between musical sounds and noise has been broken down, and all sounds become objects of listening, especially natural and environmental sounds, which can all become subjects of research.

2.2 Basic Elements of Soundscape

Soundscape consists of three core elements [3]:
Sound Source: The sound source refers to background sounds that continuously appear in a specific space. For example, in the Qinhuai River, the sound of flowing water can be considered a key background sound that provides a foundational environment for other sounds.
Sound Signals: Sound signals are prominent sounds that attract attention and usually have clear functions. For instance, the hawking of vendors or the chanting of boatmen were typical sound signals in the daily life of the Qinhuai River during the Ming and Qing periods.
Sound Marks: Sound marks are unique sounds with local and cultural significance that can evoke memories and emotions of a specific space. For example, the sound of gongs and drums and opera performances during the Qinhuai Lantern Festival are sound marks.

2.3 Characteristics of Soundscape

In terms of temporality, sound is dynamic and evolves continuously over time. Spatially, sound propagation depends on the spatial environment, and the architectural layout and river channel morphology along the Qinhuai River both affect sound reflection and absorption. Culturally, soundscape is an expression of culture, reflecting social activities and local characteristics in a space. The Qinhuai River's soundscape includes both natural sounds and rich local cultural sounds [4].

3. Research on Natural Soundscape of Qinhuai River Cultural Heritage Space

Natural soundscape is an important component of the overall soundscape, forming the fundamental background of cultural space and reflecting the ecological environment. The natural soundscape of the Qinhuai River is unique and rich, primarily including water flow sounds, bird calls, and seasonal natural sounds. These natural sounds not only shape the overall atmosphere of the Qinhuai River cultural heritage space but also profoundly influence the formation and development of local culture [5].

3.1 Water Flow Sounds

The water flow sounds of the Qinhuai River exhibit diversity due to regional characteristics. In slow-flow areas, gentle water sounds near the Confucius Temple present continuous and low tones, as if whispering in one's ear. This water sound, complementing the historical buildings on both banks, creates a tranquil and distant atmosphere. In rapid-flow areas, turbulent water sounds near Bailuzhou form intense dynamic sounds due to the river's drop, accompanied by the sound of bubbling splashes, adding vitality to the surrounding wetland ecology and attracting egrets and other waterfowl. After rainfall, special water sounds occur as accumulated water along the banks flows into the Qinhuai River through drainage outlets, creating a unique symphony of "dripping" and "gurgling." Particularly near the ancient city walls, rainwater dripping through the gaps of blue bricks onto the river surface echoes in the space, as if narrating the city's historical changes.

3.2 Bird Calls

Bird calls are the lively elements of the Qinhuai River's natural soundscape, especially in areas like the Confucius Temple and Bailuzhou Park, where birds singing in different seasons and times add rich auditory experiences to the space. In the early morning, egrets flying up from the river wetlands emit light, short "caw-caw" sounds, forming a sharp contrast with the quiet river surface. This sound seems to be a greeting for the start of the day and has become a familiar background sound for local residents during morning exercises. In summer, the sound of cicadas on willow and elm trees along both banks of the Qinhuai River rises and falls, forming high-frequency, continuous sound patterns that complement the low-frequency components of water flow sounds. This sound often intertwines with the crisp chirping of sparrows. In autumn and winter, the calls of resident birds like orioles are low and gentle, often with long intervals, adding a layer of nostalgic atmosphere to the ancient buildings along the riverbanks.

3.3 Seasonal Natural Sounds

Seasonal natural sounds are important variations in the Qinhuai River's soundscape. In spring, the sound of rain on the Qinhuai River is most pleasant, especially near the Southern Tang Imperial Tombs, where the sound of raindrops lightly tapping the water surface intertwines with the swaying of willow branches, allowing one to feel the vibrant spring atmosphere of the Qinhuai River cultural heritage space. In midsummer, cicada calls dominate the sound field. At noon when sunlight is strongest, the cicada calls are high-pitched and dense, forming a striking auditory contrast with the particularly calm water flow sounds at this time. In autumn, the low and lingering wind sounds of the Qinhuai River, together with the "rustling" of fallen leaves, create a quiet and nostalgic spatial atmosphere. This soundscape is often used as background sound in film and television works to represent the autumn scene of the Qinhuai River, reinforcing the cultural perception of this season. In winter when snow occasionally falls, the sound of snow also becomes a special element of the natural soundscape. Snowflakes falling on the river surface produce slight "tapping" sounds, contrasting with the occasional "cracking" sounds from the frozen river channel. This sound is a rare memory of winters with little snow in Jiangnan, adding seasonal character to the Qinhuai River.

4. Research on Artificial Soundscape of Qinhuai River Cultural Heritage Space

Artificial soundscape refers to sounds produced by human activities, reflecting the characteristics of social life and forming an important component of cultural space. In the Qinhuai River cultural heritage space, the artificial soundscape consists of sounds from commerce, transportation, festivals, and music. These sounds not only reflect social activities in specific historical periods but also carry unique memories of local culture [6].

4.1 Commercial Sounds

Both banks of the Qinhuai River have been bustling commercial districts since ancient times, and their commercial sounds reflect the vitality and characteristics of urban life. Vendors along the Qinhuai River often used unique hawking sounds to attract customers, such as those selling candied haws, pastries, or handicrafts. These sounds, with their distinct rhythm and strong sense of melody, were an important component of commercial culture during the Ming and Qing periods. With the development of modern tourism, commercial sounds along the Qinhuai River have changed. Visitors can now hear restaurant staff calling out or recorded loudspeakers repeatedly playing promotional messages. Modern commercial sounds have gradually replaced traditional vendor hawking, demonstrating the evolution of the soundscape.

4.2 Transportation Sounds

The Qinhuai River has been an important water transport channel since ancient times, and transportation sounds constitute an important component of its artificial soundscape. During the Ming and Qing periods, busy merchant ships and fishing boats on the Qinhuai River created a soundscape characterized by the splashing of oars, the chanting of boatmen, and the loading and unloading of cargo. Modern transportation sounds have become part of the Qinhuai River's transportation soundscape, such as car horns from nearby roads and subway operation sounds. While these sounds reflect the process of urbanization, they have to some extent impacted traditional transportation soundscapes.

4.3 Festival Sounds

The Qinhuai Lantern Festival is the most representative festival activity of the Qinhuai River, and its festival sounds constitute a unique cultural expression. During the festival, the sounds of gongs and drums, fireworks, and folk opera performances fill the entire Qinhuai River area. For example, visitors watching lanterns often stop to listen to Kunqu opera actors' clear singing on stage, with its melodious tunes becoming a core element of the festival soundscape. With the modern festival's increased use of electronic equipment, such as speakers playing background music and dynamic lighting sound effects in lantern displays, these sounds blend with traditional gongs and drums. While enriching the auditory layers, they have also weakened the dominant position of traditional festival sounds.

4.4 Music and Opera Sounds

The Qinhuai River is an important birthplace of traditional Nanjing opera, and its music and opera soundscape holds great cultural value. The Qinhuai River was once an important venue for Kunqu opera performances, especially on lantern boats, where Kunqu shows with their melodious and graceful singing attracted countless literati and refined scholars. Pingtan, a characteristic opera form of Jiangnan, was also frequently performed in teahouses along the riverbanks, adding cultural flavor to urban life. With the development of cultural tourism, modern stage performances and pop music have gradually appeared in the Qinhuai River scenic area. While these new sounds attract younger tourists, they have also somewhat diluted the rich cultural atmosphere of traditional sounds [7].

5. Field Recording and Sound Retrospection in Qinhuai River Cultural Heritage Space

Field recording and sound retrospection are core methods in soundscape research. By recording and reconstructing sounds of specific places, researchers can more intuitively understand the relationship between sound, space, and culture. In the study of the Qinhuai River cultural heritage space, field recording helps capture the dynamic characteristics of modern soundscapes, while sound retrospection reconstructs past sound contexts based on historical documents and technical means, providing rich materials and new possibilities for cultural heritage protection [8].

5.1 Dynamic Sound Capture

A nighttime field recording project was conducted along the Confucius Temple to Bailuzhou section of the Qinhuai River to document sound characteristics during nighttime river tours. This river section is representative of the Qinhuai River's nighttime soundscape due to its dense tourism and cultural activities. The sound of water flow and lantern boats: At night, the river is relatively calm, with clear water flow sounds. The low-frequency "buzzing" of lantern boat engines intertwines with the "splashing" sounds of boatmen rowing. The recordings captured the subtle sounds of friction between lantern boats and the river water, considered a unique dynamic cultural background of the Qinhuai River. The sounds of visitors and vendors: The laughter and chatter of tourists along the river walkways, as well as the complete sounds of small vendors hawking snacks, were recorded. Performance sounds during the lantern festival: The gong and drum performances and Kunqu opera singing during the festival became highlights of the recording. These sounds demonstrated delicate sound quality when recorded at close range, and the sound effects of gongs and drums on the river surface were recorded using various omnidirectional microphone arrays, reflecting the Qinhuai River's unique acoustic space.

Application results: These sound data were used to map the nighttime soundscape of the Qinhuai River, helping researchers analyze the impact of tourism activities on the soundscape. Some audio was developed as part of an immersive sound experience for local cultural displays in Nanjing, enhancing visitors' perception of nighttime tour culture.

5.2 Establishment of Sound Archives: Sound Documentation of Qinhuai Lantern Festival

During the Qinhuai Lantern Festival, sounds from the festival activities were recorded to build a complete festival sound archive. The sound elements during the festival are extremely rich, representing a concentrated manifestation of the Qinhuai River's artificial soundscape. The sounds of gongs, drums, and dragon dance performances: The rhythm diversity and volume changes of gong and drum sounds during dragon dance performances were accurately captured in the recordings. Folk opera performance sounds: The recording team collected sounds of Kunqu opera and Pingtan performances. The clear singing of Kunqu opera actors and the accompaniment of musical instruments were delicately recorded, with Pingtan storytelling presenting local culture's vivid charm through a combination of narrative and melody. Fireworks and crowd sounds: The recordings also captured the "whooshing" sounds of fireworks being launched and the "booming" of explosions, along with audience exclamations and applause. By combining omnidirectional microphone arrays with surround sound microphone arrays, the spatial sense and rich layers of sound were preserved, providing multiple possibilities for post-production.

Application results: These sound archives were used as promotional materials for the lantern festival culture. Through analysis and processing of the collected sound data—including spectrum analysis, frequency analysis, sample noise reduction, sound feature extraction, and loudness balance—multimedia displays of the festival's auditory atmosphere were created. The recording materials also provide foundational data for the protection and reproduction of the lantern festival's soundscape in the future.

5.3 Sound Retrospection

Sound retrospection, as a method for reconstructing historical soundscapes, combines modern digital technology with historical document research to provide innovative pathways for multisensory experiences in cultural heritage spaces. In the study of the Qinhuai River cultural heritage space, the aim is to reproduce natural and artificial soundscapes from the Ming and Qing periods and even earlier times. Through sound design based on historical documents and digital audio synthesis technology, new approaches are provided for the dynamic protection and display of cultural heritage, allowing more people to rediscover the history and cultural charm of the Qinhuai River through hearing.

6. Soundscape and Digital Interactive Dissemination

As a unique auditory cultural expression, soundscape demonstrates broad application prospects in the field of digital interactive dissemination. With the rapid development of digital technologies such as Virtual Reality (VR), Augmented Reality (AR), and Artificial Intelligence (AI) [9], immersive sound technology has gradually become an important support for soundscape dissemination. Taking the Qinhuai River cultural heritage space as an example, by collecting rich soundscape content such as water flow sounds, Kunqu opera singing, and festival noises through field recording technology, and then processing and designing them with immersive sound technology, sound can be endowed with greater emotional impact and dissemination value. This soundscape content can be used not only for the restoration and display of historical culture but also as creative material for sound art, integrated into sound installations or immersive experience exhibitions, participating in the dissemination process in a dynamic and spatial manner to provide users with immersive, multisensory, and personalized interactive experiences. Meanwhile, combining the dissemination characteristics of social media platforms, soundscape content can be digitally recreated into short videos, sound collections, or interactive guide works. These contents attract the attention of younger audiences through innovative forms, not only enhancing the digital dissemination effect of Qinhuai River culture but also strengthening the audience's emotional identification with this cultural heritage [10].

Through the deep integration of soundscape and digital technology, we can not only protect and inherit the sound culture of the Qinhuai River but also enable it to gain new life in the modern dissemination environment, promoting the innovative development of intangible cultural heritage dissemination and the integration of culture and tourism.

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Author Information: He Jiyang (1995—), male, from Shanxi, master's degree, full-time teacher, teaching assistant, research direction: recording arts; Fan Xiaowei (1988—), male, from Jiangsu, master's degree, full-time teacher, associate professor, research direction: recording arts.
(Corresponding Editor: Li Yansong)