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Alam, Usman. "Music in Motion - Smart Soundscapes." Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-39880.
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Yang, Ming. "Natural and urban sounds in soundscapes." Thesis, University of Sheffield, 2013. http://etheses.whiterose.ac.uk/6468/.
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Among various sounds in the environment, natural sounds, such as water sounds and birdsongs, have proven to be highly preferred by humans, but the reasons for these preferences are not yet completely understood. This research study explores the differences between various natural and urban environmental sounds from the viewpoint of objective measures. Moreover, since numerous studies of soundscape perception and evaluation have revealed that besides the conventional parameters, e.g., A-weighted sound pressure level, additional parameters are necessary for soundscape measurement, in this study more possible parameters are explored. From alternative algorithms of the features proposed in literature for both perception of the auditory system and practical application in music and speech, the algorithms applicable for environmental sound are searched through comparison. The sound samples used in this study include the recordings of single sound source categories of water, wind, birdsongs, and urban sounds including street music, mechanical sounds and traffic noise. The samples are analysed with a number of objective parameters in three aspects, which include psychoacoustic parameters that have been recommended in previous soundscape researches, additional psychoacoustically related parameters that have previously mainly been applied in music perception, and 1/f noise dynamic that has been observed in music, speech, and soundscapes. Based on one-way analysis of variance, hierarchical cluster, and principal components analyses of the calculated results, a series of differences are shown among different sound types in terms of key parameters, which include fluctuation strength, pitch, loudness, and 1/f noise. Generally, both water and wind sounds have low fluctuation strength, pitch values, and pitch strengths; birdsongs have high fluctuation strength, pitch values, and pitch strength, low loudness, and exhibit generally 1/f behaviour of loudness in short and medium time intervals; and urban sounds have low pitch values, high loudness, and relatively wide ranges of other parameters. With the parameters, furthermore, the sound categories of recordings are automatically identified/classified using discriminant function analysis and artificial neural networks. With the artificial neural networks, which have better performance than the discriminant functions for the identification, based on all the psychoacoustic, music, and 1/f noise indices, the prediction accuracies are above about 99% for the three natural sound categories, i.e., of water, wind, birdsongs, and about 90% for the urban sound category.
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Payne, Sarah Ruth. "Soundscapes within urban parks : their restorative value." Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508500.
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Bunting, Oliver. "Sparse separation of sources in 3D soundscapes." Thesis, University of York, 2010. http://etheses.whiterose.ac.uk/1505/.
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A novel blind source separation algorithm applicable to extracting sources from within 3D soundscapes is presented. The algorithm is based on constructing a binary mask based on directional information. The validity of filtering using binary masked based on the ω-disjoint assumption is examined for several typical scenarios. Results for these test environments show an improvement by an order of magnitude when compared to similar work using speech mixtures. Also presented is the novel application of a dual-tree complex wavelet transform to sparse source separation, providing an alternative transformation to the short-time Fourier transform often used in this area. Results are presented showing compara- ble signal-to-interference performance, and significantly improved signal-to-distortion performance when compared against the short time Fourier transform. Results presented for the separation algorithm include quantitative measures of the separation performance for robust comparison against other separation algorithms. Consideration is given to the related problem of localising sources within 3D sound- scapes. Two novel methods are presented, the first using a peak estimation on a spherical histogram constructed using a geodesic grid, the second by adapting a self learning plastic self-organising map to operate on the surface of a unit sphere. It is concluded that the separation algorithm presented is effective for soundscapes comprising ecological or zoological sources. Specific areas for further work are recog- nised, both in terms of isolated technologies and towards the integration of this work into an instrument for soundscape recognition, evaluation and identification.
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Turner, Anthony. "Woodland soundscapes : investigating new methods for monitoring landscapes." Thesis, University of Kent, 2018. https://kar.kent.ac.uk/67421/.
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Biodiversity is an important provider of ecosystem services. There is a sense of urgency running through the scientific community regarding its protection and conservation. This urgency is fuelled by a wealth of research into the effects of habitat destruction, intensive agriculture, destructive industries (such as mining and oil exploration) and the insidious threat of climate change. It might reasonably be suggested that the biodiversity crisis we are facing today is in large part due to a lack of regulation around human-activities with regard to biodiversity impacts. In order to impose regulations, protecting biodiversity has been incentivised through various governmental and non-profit private-sector certification initiatives that aim to minimise the negative impacts that industry can have on the environment. Agri-environment schemes are largely governmental initiatives that aim to enhance the biodiversity and societal values of farmland. Timber certification initiatives, such as the Forest Stewardship Council, promote woodland management that takes into account the economic, environmental and social aspects of forestry with equal measure. Protection and enhancement of biodiversity is integral to achieving the environmental aims of certification. However, several studies have highlighted that many schemes (notably agri-environment schemes and some timber certification schemes) ultimately fall short of their projected targets, which is often due to a lack of suitable monitoring with regard to biodiversity. This is unsurprising since biodiversity monitoring is not a straightforward process. Many considerations need to be made when choosing suitable indicators of ecosystem health such as whether to measure species diversity or functional diversity. But perhaps one of the biggest issues is the ability of landowners and managers to contribute to efficient, objective, standardised data collection. Acoustic monitoring offers a means of producing unbiased data that can be analysed objectively and stored indefinitely. With significant advances in hardware and software technologies, the proliferation of acoustic monitoring is evident in the scientific literature. The field of soundscape ecology was in many respects borne out of these technological advances. It has since been usurped by the newer field of ecoacoustics (I use these two terms interchangeably throughout this thesis). Ecoacoustics offers a range of soundscape analytical techniques that aim to understand the spectral and temporal composition of the soundscape. As such a number of acoustic indices can be used to measure different facets of acoustic diversity. This study offers an overview of the current literature in bioacoustics and ecoacoustics. It applies several of these indices to studying the soundscape of Forest Stewardship Council certified plantation forests in the UK. Specifically it investigates the soundscape in relation to habitat and landscape metrics and explores temporal variation in acoustic activity. It offers insights into the relationship between man-made/machine noise (technophony) and biological sounds (biophony) and suggests future directions for research and large-scale monitoring of habitats. Finally it provides a set of instructions on how to build an automated recording unit using readily available parts and provides links to necessary software and guidance on types of hardware available. The key findings indicate that the use of acoustic indices for monitoring landscapes could be a useful tool. Clear relationships were observed between forest structure and stand age, and vegetation structure, with acoustic diversity in Thetford forest over two consecutive years. Although these relationships were not clear in Bedgebury forest, the effects of landscape structure were statistically significant, particularly when using automated recording units. Road proximity had a strong influence on the soundscape in all study sites. And the use of ecoacoustic methods to explore this offers an insight into a new means of investigating the impact of roads on acoustic biodiversity. The development of a low-cost automated recording unit is a significant contribution to the field of soundscape ecology in terms of encouraging participation by the non-governmental organisation (NGO) sector. Likewise, the use of a handheld recording unit and the application of traditional ecological survey methods provide evidence that soundscape/ecoacoustic studies that yield interesting, informative and biologically meaningful results can be done on a relatively low budget. As such this thesis offers a significant contribution to the field of soundscape ecology in terms of both data and logistics. It may be particularly relevant to researchers on a limited budget and/or the NGO and citizen science sector.
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Hedfors, Per. "Site soundscapes : landscape architecture in the light of sound /." Uppsala : Dept. of Landscape Planning Ultuna, Swedish Univ. of Agricultural Sciences, 2003. http://epsilon.slu.se/a407.pdf.
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Bruce, Neil Spencer. "The effects of expectation on the perception of soundscapes." Thesis, University of Salford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539153.
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Barbosa, Alvaro. "Displaced soundscapes computer supported cooperative work for music applications." Saarbrücken VDM Verlag Dr. Müller, 2006. http://d-nb.info/991339223/04.
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Tseng, Yu-Chung 1960. "Five Soundscapes for Acoustic Instruments and Taped Computer Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935784/.
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Inspired by Chinese poems, the overall characteristics of the work reflect the assimilation of several non-Western musical and philosophical influences such as the use of pentatonic scale patterns, the principle of embellishing a single note, and the application of the I-Ching in dealing with active instrumental passages over a long-sustained computer music drone. Traditional Western compositional techniques such as aleatory counterpoint, serialism, and moment form are also employed in the treatment of thematic material, developmental processes and formal design.
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Rosenbloom, Rebecca Elyse. "AURAL SUBSTANCE: AN ETHNOGRAPHIC EXPLORATION OF REGIONAL BURN SOUNDSCAPES." Master's thesis, Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/452764.
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Music History<br>M.M.<br>Once a year over the week leading up to and including Labor Day, tens of thousands of people drive hours into Nevada’s barren Black Rock Desert to build an ephemeral city equal to “the size of downtown San Francisco.” This place, Black Rock City, home of the annual Burning Man event, only exists for a fraction of the year. For one week, participants gather together at Burning Man and operate under its ten guiding principles, including “radical self-reliance,” “communal effort,” “radical self-expression,” and “participation.” Everything, with the exception of porta-potties and ice, must be brought in and packed out by individuals. The decommodified, volunteer-run city is what its inhabitants make of it. At Burning Man, attendants are their own event planners, food providers, structure builders, gift givers, and activity coordinators. On the penultimate night of the event, an effigy of a forty-foot man is set aflame, a ritual left open for interpretation by participants. Two days later, the entirety of Black Rock City is torn down, leaving scarcely any trace that it ever even existed. Burning Man has gained social traction exponentially since its launch in 1986, leading to the formation of dozens of individually organized regional burns across the United States of America and internationally. Scholars from many disciplines have flocked to the event attempting to unpack its distinct subculture. While publications have analyzed Burning Man’s ethos, logistics, business organization, community, art, rituals, fire, and performances, only two have considered sound worthy of focus and few have addressed the regional burn network. “Aural Substance: An Ethnographic Exploration of Regional Burn Soundscapes” analyzes Burning Man’s regional network, expanding on sound artists Stephan Moore and Scott Smallwood’s brief initial study of the national event's sound by way of ethnography and field recording. From June 2016 through February 2017, I conducted fieldwork and collected fifty-five hours of field recordings at seven different regional burns. I employ ethnomusicologist Steven Feld’s concept of “acoustemology,” or “sound as a way of knowing.” Through my observation, analysis of recordings, and interviews, I consider how the sounds at regional burns can signify the time, date, and location to burn participants. Sound-studies scholar David Novak writes that “noise is a crucial element of communicational and cultural networks.” In this study, I analyze how noise at a burn is not solely a by-product of participants’ “anarchistic freedom,” but a key part of the burn that relays information about regional burn values, public and private spaces, and burners’ lived experience.<br>Temple University--Theses
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Kaplan, Maxwell Bernard. "Coral reef soundscapes: spatiotemporal variability and links to species assemblages." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/109060.
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Thesis: Ph. D., Joint Program in Oceanography/Applied Ocean Science and Engineering (Massachusetts Institute of Technology, Department of Biology; and the Woods Hole Oceanographic Institution), 2017.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (pages 131-143).<br>Coral reefs are biodiverse ecosystems that are at risk of degradation as a result of environmental changes. Reefs are constantly in a state of flux: the resident species assemblages vary considerably in space and time. However, the drivers of this variability are poorly understood. Tracking these changes and studying how coral reefs respond to natural and anthropogenic disturbance can be challenging and costly, particularly for reefs that are located in remote areas. Because many reef animals produce and use sound, recording the ambient soundscape of a reef might be one way to efficiently study these habitats from afar. In this thesis, I develop and apply a suite of acoustics-based tools to characterize the biological and anthropogenic acoustic activity that largely comprises marine soundscapes. First, I investigate links between reef fauna and reef-specific acoustic signatures on coral reefs located in the U.S. Virgin Islands. Second, I compare those findings to a more expansive study that I conducted in Maui, Hawaii, in which the drivers of bioacoustic differences among reefs are explored. Third, I investigate the distances over which sounds of biological origin may travel away from the reef and consider the range within which these acoustic cues might be usable by pelagic larvae in search of a suitable adult habitat. Fourth, I assess the extent to which the presence of vessel noise in shallow-water habitats changes the ambient soundscape. Finally, I present the results of a modeling exercise that questions how ocean noise levels might change over the next two decades as a result of major projected increases in the number and size of and distance traveled by commercial ships. The acoustics-based tools presented here help provide insight into ecosystem function and the extent of human activity in a given habitat. Additionally, these tools can be used to inform an effective regulatory regime to improve coral reef ecosystem management.<br>by Maxwell Bernard Kaplan.<br>Ph. D.
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Chen, Tsai-Wei. "Mapping Sojourners soundscapes : Listening experiences of Taipei Soujourners in London." Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517895.
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Okcu, Selen. "Developing evidence based design metrics and methods for improving healthcare soundscapes." Diss., Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/43695.
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Healing and clinical work requires a complex choreography of architectural acoustic design in healthcare settings. In most healthcare settings, medical staff members conduct vital tasks that may have life-and-death implications. Patients visit the hospitals to heal. Their expectations include fast recovery, restful sleep, and privacy (i.e., speech privacy). However, sound environment qualities of the care settings often fall far from supporting the mission of hospitals. There is strong and growing evidence showing that effective soundscapes in healthcare settings potentially impact errors, healing and stress for patients, families and staff but it is still not clear what measures of the sound environment best predict key healthcare outcomes and what design strategies best impact those measures. By using a multi-method approach (i.e., objective and subjective noise level measurements, in-situ impulse response measurements, heuristic design analysis, theoretical studies, acoustic simulations and statistical analysis), this study aims to develop evidence based design strategies by statistically defining the relationships between three types of variables: (1) architectural floor-plate design metrics, (2) acoustic metrics, and (3) occupant response.
The research is conducted in three phases. The first phase of the study compared the objective and subjective qualities of the hospital sound environments with different architectural designs, assessed the effectiveness of a newer acoustic metrics in capturing caregiver perceptions, and evaluated the impact of particular noise sources on caregiver outcomes. The second phase of the study tested the validity of an acoustic simulation tool in estimating the acoustic qualities of the healthcare soundscapes. The third phase of the study systematically explored the relationship between floor-plate design and acoustics of complex inter-connected nursing unit corridors. Even though the relationship between design and acoustics of proportional spaces (a.k.a. rooms with more traditional dimensions) has been well documented, the number of studies linking design and acoustics of complex non-proportional spaces such as inter-connected corridors still remains limited.
The findings of the first phase show that critical care sound environments with different designs can vary drastically and impact caregivers` perceived wellbeing and task performance (e.g., patient auditory monitoring). Despite their extensive use, traditional noise metrics sometimes may not be effective in capturing unique characteristics of healthcare sound environments. This study validated the effectiveness of a new more detailed noise metric, "occurrence rate", in capturing the differences between acoustic characteristics of healthcare sound environments. Moreover, particular noise sources such as impulsive noises are likely to dominate the ICU sound environments and interfere with perceived caregiver health and performance. The findings of the second phase suggest the potential effectiveness of acoustic simulation tools (with hybrid prediction programs) in estimating the acoustic qualities of complex inter-connected hospital corridors. The findings of the third phase suggest the potential significant impact of design features of particular hallways (e.g., number of turns, corridor length, and number of branches) and overall floor-shape characteristics of inter-connected corridors (i.e., relative grid distance, and visual fragmentation) on reverberation time. Overall, in the units with shorter, more compact, fragmented corridors with multiple number of branching hallways, reverberation times are likely to be less. Moreover receivers located at the corridors with less number of turns from the sound source also potentially experience lower reverberation times. According to previous research, the human auditory system`s ability to monitor auditory cues is likely to be higher in the less reverberant sound environments.
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Hilder, Thomas Richard. "Sami soundscapes : Muisic and the politics of indigeneity in Arctic Europe." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529799.
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Rådsten, Ekman Maria. "Unwanted wanted sounds : Perception of sounds from water structures in urban soundscapes." Doctoral thesis, Stockholms universitet, Psykologiska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-119362.
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Water structures, for example, fountains, are common design elements in urban open public spaces. Their popularity is probably explained by their visual attractiveness. Less is known about how the sounds of water struc-tures influence the urban soundscape. This thesis explores the potential ef-fects of water sounds on urban soundscapes based on the character of water sounds. Three psychoacoustic studies were conducted in which listeners rated the perceptual properties of various water sounds. Study I found that water sounds had a limited ability to mask traffic noise, as the frequency composition of the sounds resulted in road-traffic noise masking fountain sounds more than the reverse. A partial loudness model of peripheral audito-ry processes overestimated the observed masking effect of water sound on road-traffic noise, and it was suggested that this was related to central pro-cesses, in particular, target/masker confusion. In Study II, water sounds of different degrees of perceived pleasantness were mixed with road-traffic noise to explore the overall effect on soundscape quality. The overall pleas-antness was increased substantially by adding a highly pleasant water sound; however, less pleasant water sounds had no effect or even reduced overall pleasantness. This result suggests that the perceptual properties of water-generated sounds should be taken into consideration in soundscape design. In Study III, this was explored by analyzing a large set of recordings of sounds of water fountains in urban open spaces. A multidimensional scaling analysis of similarity sortings of sounds revealed distinct groups of percep-tually different fountain sounds. The group of pleasant fountain sounds was characterized by relatively low loudness and high fluctuation strength and tonality, generating purling and rippling sounds. The group of unpleasant fountain sounds was characterized by high loudness and low fluctuation strength and tonality, generating a steady-state like noisy sound.. A joint result of all three studies is that sounds from water structures with a high flow rate (i.e., a large jet and basin in Study I, a waterfall in Study II, and large fountains in Study III) generating a steady-state noisy sound should be avoided in soundscape design. Instead, soundscape design might better focus on more fluctuating water sounds, which were considered more pleasant in both studies II and III. A general conclusion from this thesis is that water-generated sounds may be used to improve the soundscape, but that great care must be taken in selecting the type of water sound to use.<br><p>At the time of the doctoral defense, the following paper was unpublished and had a status as follows: Paper 3: Manuscript.</p>
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Farrar, Ruth. "Creating soundscapes : a creative, technological and theoretical investigation of binaural technology usage." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17557.
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Through its portfolio of practical case studies and its engagement with critical thinking from a range of disciplines, the PhD investigates the following key question: what are the technical, aesthetic and conceptual impacts of using binaural technology to create a soundscape? ‘Using binaural technology’ implies users and users are essentially at the heart of this impact because users mediate the technical and aesthetic aspects of binaural technology and also inherently shape the theoretical ideology of this technology. By analysing users’ interactions with binaural technology from a social constructivist perspective, this thesis gains rich insights into the impact of using binaural technology when creating soundscapes. Chapter One explores sound artists’ and field recordists’ work that use binaural technology for the shared purpose of documenting urban soundwalks. The first case study “Audio Postcards” is also informed by questions drawn from acoustic ecology, socio-political theories on the practices of everyday life and the challenges that arise in finding, recording and preserving ‘soundmarks’. Chapter Two outlines practitioners’ applications of binaural technology to create an intimate connection to an art piece such as theatre director David Rosenberg’s productions. Peter Salvatore Petralia’s concept of headspace is applied to the chapter’s case study: “From Austria To America” to further understand binaural technology’s psychoacoustic effects. Chapter Three studies the impact of social groups who use binaural technology to record classical music performances. Traditional stereo and binaural classical music recording conventions are shaped in a new direction in two case studies: “Point of Audition” and “From Page to Stage”. Questions of ‘fidelity’ also arise from this creative practice. The outcomes of this reflective binaural practice unearth deep layers of understanding. This thesis discovers the impact of binaural technology moves beyond the effect it has on a listener to realise this recording practice also impacts a recordist’s decisions in the field and a sound artist’s creative choices when crafting soundscapes. The beneficial impact of binaural technology including its inconspicuous nature, the ability to imprint an artist’s subjective signature on recordings and its lifelike immersive qualities in playback are revealed through practice and reflection. Representing the real, the role of artist and point of audition are also themes explored throughout each chapter. Ultimately, insights gained are woven together as a means of constructing an original theoretical framework for an under-theorised subject: understanding how social user groups shape the impact of using binaural technology when creating soundscapes.
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O'Keeffe, Linda. "Spaces of reproduction : how teenagers co-construct post industrial soundscapes in Smithfield, Dublin." Thesis, Lancaster University, 2014. http://eprints.lancs.ac.uk/71987/.
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Sounds are specific to space, yet much of the critique of urban space within social theory fails to address the social and cultural significance of sound in the shaping of spatial practices. This thesis provides an in-depth argument for the inclusion of sound as formative in the social construction and shaping of urban spaces, and mobile mediation practices within the urban. This thesis: (1) advances theories of sound within sociology; (2) contributes new data on sound in urban development and spatial use; (3) interrogates the role of mobile mediation in navigating spaces of regeneration, and (4) explores these concepts with young teenagers. This research examines sound and the urban using Lefebvre’s theory of space, particularly his theorization of symbolic spaces. It also offers a critique of the politicizing and policing of noise within the EU, as well as Ireland’s adoption of quantitative models to measure sound. The study examines the Smithfield area in Dublin, Ireland by using a triadic methodological approach (combining sound mapping, soundwalking and focus groups) to explore the urban soundscape of young teenagers. The outcome of this sociological investigation is that: teenagers employ mobile technologies to enhance their experiences within silent spaces, urban spaces are defined as participatory and engaging only if they contain the sounds of consumption, and that silence, within a city, is defined as problematic and dangerous - a symptom of poverty and the current recession.
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Hill, Edwin C. "Black soundscapes, white stages the meaning of sound in the black francophone Atlantic /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495958691&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Argo, Jessica. "Immersive soundscapes to elicit anxiety in exposure therapy : physical desensitization and mental catharsis." Thesis, Glasgow School of Art, 2017. http://radar.gsa.ac.uk/5330/.
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There is a wide range of sensory therapies using sound, music and visual stimuli. Some of these established therapies focus on soothing or distracting stimuli as an analgesic (such as natural sounds or classical music), while other approaches emphasize active performance methods of producing music as therapeutic. Instead, this thesis proposes immersive soundscape exposure therapy, inviting people suffering from anxiety disorders to react to densely detailed ambisonic composition. In this work, soundscapes are composed to include the users’ own idiosyncratic anxiety triggers to facilitate habituation, and to provoke psychological catharsis, as a non-verbal, visceral and enveloping exposure. In this research, the participants’ vital signs are recorded during exposure, to accurately pinpoint the most effective sounds that alter the participant’s resting state, which informs an optimal construction of future soundscapes. Across psychology and neuroscience literature, it is widely agreed that sound is a major trigger of anxiety, and auditory hypersensitivity is an extremely problematic symptom. In this project, it is hypothesized that these dense, anxiety-eliciting soundscapes will progress future immersive therapies for various psychological conditions. Results from this study indicate that exposure to stress-inducing sounds can free anxiety sufferers from entrenched avoidance behaviors, teaching physiological coping strategies whilst simultaneously encouraging resolution of the repressed psychological issues agitated by the sound.
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Sewald, Ronda L. "The darker side of sound conflicts over the use of soundscapes for musical performances /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3380130.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2009.<br>Title from PDF t.p. (viewed on Jul 14, 2010). Source: Dissertation Abstracts International, Volume: 70-12, Section: A, page: 4519. Adviser: Ruth M. Stone.
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Mydlarz, C. A. "Application of mobile and Internet technologies for the investigation of human relationships with soundscapes." Thesis, University of Salford, 2013. http://usir.salford.ac.uk/29411/.
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This thesis presents a methodology for soundscape research, utilising consumer mobile and internet technologies. This has been used to gather objective environmental data, as well as subjective data from participants in-situ. A total of 323 untrained members of the public have submitted soundscape recordings from around the world. For the first time, participant choice has been factored into soundscape research, where members of the public decide which sound environments are investigated. Human relationships with their sound environments have been investigated, with a number of findings corresponding with those of other studies utilising entirely different methodologies. In addition, a number of new findings have been made to contribute to the field. The two extracted subjective principal components of ’Appreciation’ and ’Dynamics’ has shown a solid validation of the project’s methodology, due to their similarities with a number of other studies utilising different techniques of data retrieval. The distinctive groupings of the different soundscape types within this factor space defined by the extracted components reveals the perceptual differences between the soundscape categories: urban, rural, urban public space and urban park. The activity a person is involved in while making their submission has shown to be influential in soundscape appraisal, with relaxation and recreation situations resulting in increased soundscape appreciation. The reasons behind a soundscape submission have revealed significant differences in subjective response. The positive interpretation of the term soundscape has resulted in a majority of positive reasons for participation. Soundscapes that arise from a participant’s daily routine are generally less appreciated than soundscapes containing a particular sound source focus. The highest levels of appreciation were observed in soundscapes whose focus is on a specific activity that the participant is involved in. The interest that a participant has on their soundscape is seen to result in raised levels of appreciation.
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McClure, Rachel. "Auditory geographies of Northern Ireland : a practical and theoretical exploration of composing with soundscapes." Thesis, University of Ulster, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.568766.
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Prior to the undertaking of a PhD, previous academic study consisted of a traditional music degree and a Masters in Design. Out of this experience I began to become exposed to the compositional works of experimental and minimalist composers, such as John Cage, La Monte Young, Terry Riley and Steve Reich. The listening, articulating and theorisation of such works caused me to arrive at a crisis point during my period of study, questioning the meaning, purpose and consistency of sound. What is sound? What does sound consist of? How do we differentiate the various labels given to sound? What does it mean to listen to a sound? Through attentive listening to compositions which have a wider conception of sound's role than that in most previous Western music, it became evident that sound must be isolated (differentiating sound from standard musical compositions) in order to study and analyse its meaning and importance, ascertaining that sound should be placed in a field of itself. Such realisation led to a personal interest in the role and cultural relationship of sound, in the construction, preservation and maintenance of our everyday lived experience. This continued relationship takes place in a context where, technologically, the space is being transformed, due to the continuing development of innovative ways of presenting sound-based work to a wider public audience. The aim of this thesis is therefore threefold: 1. To interrogate the origins of new media technologies, in order to determine if there are implications in relation to sound technology. 2. To record and archive the sonic ethnography of Northern Ireland. 3. To establish a relevant form of creative exhibition best suited for public exposure of this kind of work and the possibilities for commercialisation. An analysis of sound in a coherent, logical and multidisciplinary approach will be undertaken, as it is intellectually unthinkable to investigate and deliberate each of the above aims individually. It is impossible to think of these aims as separate units and components. As a result, we are unable to consider a discrete aim, without taking into account the research aims as a whole. In this way each aim acts as a single side of a triangle, coming together to make this sonic whole.
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Plank, Dana Marie. "Bodies in Play: Representations of Disability in 8- and 16-bit Video Game Soundscapes." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1543506274730883.
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McWilliam, Jamie Neish. "Coral reef soundscapes: The use of passive acoustic monitoring for long-term ecological survey." Thesis, Curtin University, 2018. http://hdl.handle.net/20.500.11937/66550.
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Ecosystem health assessment relies on effective long-term survey techniques. Passive acoustics offers an alternative approach to long-term monitoring of coral reefs, yet its full management applicability remains undetermined. This thesis investigates several coral reef soundscape topics, with Australia’s Great Barrier Reef as an example, including categorising biological reef sounds, identifying and explaining fish choruses temporal patterns, quantifying the contribution of anthropogenic noise, and determining how large disturbance events may influence coral reef soundscapes over time.
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Decker, Emilia. "Ecoacoustics as a sustainable tool to characterize, investigate and monitor freshwater streams." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/405193.
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Freshwater systems are dramatically transformed by human activities and are in need of effective monitoring to halt the decline of ecosystem health. Ecoacoustics presents a new cost effective way to monitor changes in ecosystems by investigating sounds and their relationships with the environment. However, while ecoacoustics has been explored as a monitoring tool in terrestrial and marine realms, it only gained traction in recent years in freshwater systems.
In this thesis, I investigate ecoacoustics as a monitoring tool for freshwater systems. By investigating spatial-temporal variation in soundscapes of this realm (Chapter 2), examining the main biological drivers of these soundscapes (Chapter 3) and relating acoustic properties to environmental parameters (Chapter 4), I provide comprehensive studies on how freshwater soundscapes change and how ecoacoustics can be used as a monitoring tool.
In the first study (Chapter 2), I characterize soundscapes across multiple freshwater streams, classify these streams according to their soundscape and use acoustic indices to describe spatial-temporal variation of freshwater soundscapes. The results demonstrate that soundscapes in 12 freshwater streams can be highly variable in both space and time. Even among similar streams in the same region, soundscapes differ greatly. Further all 12 streams used in this thesis have a unique soundscape with most differences between soundscapes being observed during the daytime.
For the second study, I manually annotated biological sounds from the 12 freshwater streams analysed in the previous study. Results demonstrate high level of spatial and temporal variation in sound composition between streams with each stream containing a unique sound composition. The sound composition in each stream exhibits a daily cycle with site-specific sequences of sonic activity. Further, sound types are partitioned into temporal, frequency and spatial niches which aligns with the acoustic niche hypothesis.
In my last study I relate acoustic properties of 12 freshwater streams to their environmental parameters. In particular, I explore the relationship between acoustic indices from Chapter 2, annotated biological sounds from Chapter 3 and environmental parameters of each stream. Further I investigate 1) the capacity of acoustic indices to detect biological sounds and 2) biological sounds and acoustic indices as potential monitoring tool for environmental parameters in freshwater streams. Results demonstrate that flow, depth and macrophyte cover are the key drivers of sound composition and that acoustic indices can be used to detect biological sounds and reflect environmental parameters in freshwater streams.
Very few studies have explored soundscapes of freshwater bodies over a broad spatial and temporal scale. Overall, my thesis represents an important first step towards monitoring and analysing freshwater soundscapes. Soundscapes of freshwater streams exhibit spatial-temporal variation and are unique in their sound composition. This suggests that there is a great potential for ecoacoustics to provide a monitoring tool for freshwater systems, especially through easy and efficient use of acoustic indices. However, more research should investigate automated process to extract more acoustic information by using machine learning. My research expands our knowledge of freshwater acoustics and ecoacoustics as a cost effective long-term monitoring tool.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>School of Environment and Sc<br>Science, Environment, Engineering and Technology<br>Full Text
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Silverblank, Hannah. "Monstrous soundscapes : listening to the voice of the monster in Greek epic, lyric, and tragedy." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:f66a7bb1-de17-46f2-b79f-c671c149c366.
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Although mythological monsters have rarely been examined in any collective and comprehensive manner, they constitute an important cosmic presence in archaic and classical Greek poetry. This thesis brings together insights from the scholarly areas of 'monster studies' and the 'sensory turn' in order to offer readings of the sounds made by monsters. I argue that the figure of the monster in Greek poetry, although it has positive attributes, does not have a fixed definition or position within the cosmos. Instead of using definitions of monstrosity to think about the role and status of Greek monsters, this thesis demonstrates that by listening to the sounds of the monster's voice, it is possible to chart its position in the cosmos. Monsters with incomprehensible, cacophonous, or dangerous voices pose greater threats to cosmic order; those whose voices are semiotic and anthropomorphic typically pose less serious threats. The thesis explores the shifting depictions of monsters according to genre and author. In Chapter 1, 'Hesiod's Theogony: The Role of Monstrosity in the Cosmos', I consider Hesiod's genealogies of monsters that circulate and threaten in the nonhuman realm, while the universe is still undergoing processes of organisation. Chapter 2, 'Homer's Odyssey: Mingling with Monsters', discusses the monster whom Odysseus encounters and even imitates in order to survive his exchanges with them. In Chapter 3, 'Monsters in Greek Lyric Poetry: Voices of Defeat', I examine Stesichorus' Geryoneis and the presence of Centaurs, Typhon, and Gorgons in Pindar's Pythian 1, 2, 3, and 12. In lyric, we find that these monsters are typically presented in terms of the monster's experience of defeat at the hands of a hero or a god. This discussion is followed by two chapters that explore the presence of the monster in Greek tragedy, entitled 'Centripetal Monsters in Aeschylus' Prometheus Bound and Oresteia' and 'Centrifugal Monsters in Greek Tragedy: Euripides and Sophocles.' Here, I argue that in tragedy the monster, or the abstractly 'monstrous', is located within the figure of the human being and within the polis. The coda, 'Monstrous Mimesis and the Power of Sound', considers not only monstrous voices, but monstrous music, examining the mythology surrounding the aulos and looking at the sonic developments generated by the New Musicians.
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Ackroyd, T. A. "Comparisons on the perceptions of reproduced urban soundfields and urban soundscapes : a mixed model approach." Thesis, University of Salford, 2015. http://usir.salford.ac.uk/35675/.
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Soundfield reproduction has a vast array of applications, yet the ecological validity – and external validity – has been little researched beyond the narrow limits of the physical approach. This mixed model research explored the differing perception of reproduced urban soundfields and urban soundscapes. The methodology analysed the influences of: auralisation technique; soundscape; place affordances; time; space; and memory – subject agency and expertise. Three methods of data collection and analysis were employed: a semantic differential analysis and two psycholinguistic methods – one existing and one novel. The semantic differentials’ soundscape dimensions of the public’s response from in situ listening were replicated by participants’ responses from ambisonic reproduction but not binaural. A generalised soundscape dimension model was proposed that integrates the structural model of appraisal theory with the interpretation of motivation-affordance fit and mediation dimensions. Different soundscapes were evaluated differently and stimulated differing processes of perception, which in turn effected reproducibility. A focus group was used as well as members of the public and laboratory participants. It was found that experts responded more in terms of source identification. Existing methods found no significant difference between in situ and ambisonic listening. The novel method found the ambisonic soundfield was described in terms of objects in motion or sound objects whilst the binaural soundfield and in situ soundscape were described in terms of sources or activity. As an assessment of external validity, the novel psycholinguistic method found that binaural reproduction held validity over ambisonic reproduction. An in situ real-time binaural reproduction test sought to isolate the ‘electroacoustic ear’ – the findings were consolidated and discussed in terms of embodiment and ventriloquism. The novel psycholinguistic analysis provided a more accurate representation of the cognitive process of soundscape perception and is offered as a tool for the external validity assessment of urban soundfield reproduction.
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Pontén, Emeli. "Acoustic Design in Urban Development : analysis of urban soundscapes and acoustic ecology research in New York City." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4836.
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The world is urbanizing rapidly with more than half of the global population now living in cities. Improving urban environments for the well-being of the increasing number of urban citizens is becoming one of the most important challenges of the 21st century. Even though it is common that city planners have visions of a ’good urban milieu’, those visions are concerning visual aesthetics or practical matters. The qualitative perspective of sound, such as sonic diversity and acoustic ecology are neglected aspects in architectural design. Urban planners and politicians are therefore largely unaware of the importance of sounds for the intrinsic quality of a place. Whenever environmental acoustics is on the agenda, the topic is noise abatement or noise legislation – a quantitative attenuation of sounds. Some architects may involve acoustical aspects in their work but sound design or acoustic design has yet to develop to a distinct discipline and be incorporated in urban planning.My aim was to investigate to what extent the urban soundscape is likely to improve if modern architectural techniques merge with principles of acoustics. This is an important, yet unexplored, research area. My study explores and analyses the acoustical aspects in urban development and includes interviews with practitioners in the field of urban acoustics, situated in New York City. My conclusion is that to achieve a better understanding of the human living conditions in mega-cities, there is a need to include sonic components into the holistic sense of urban development.
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Stanev, Mariane. "On Record: Soundscapes as Metaphor and Physical Manifestation of Memory in Early Holocaust Novels and Contemporary Criticism." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1907.
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This thesis compares two perspectives on the production of Holocaust memory: a novel that leads up to The Holocaust in Britain and one that reflects the hindsight perspective of a liberator in the Soviet Union. The novels are Virginia Woolf’s BETWEEN THE ACTS and Vasily Grossman’s LIFE AND FATE. The analysis offers a locus of analysis for the diasporic literary energy created by the catastrophe in the 20th and 21st centuries. The project offers a theorized standpoint on the role of literature on official historical archives. Proposing a method through which contemporary readers can engage the diasporic event of The Holocaust, the project adopts both the extended metaphor and literal expression of soundscapes. Soundscapes encompass the immaterial processes of memorialization and the literal sonic textures developed in Holocaust novels. The critical perspective incorporates contemporary notions of narratology, archival practices, and cultural manifestations of language into the notion of literary ethnomusicology.
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Goodyear, John. "Musikstädte as real and imaginary soundscapes : urban musical images as literary motifs in twentieth-century German modernism." Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/2505.
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This study examines German literary images of musical life as part of the wider sound identity of the modern German city at the turn of the twentieth century. Focussing on a forty-year period from 1890 to 1930, synonymous with the emergence of the modern German metropolis as an aesthetic object, the project assesses, compares and contrasts how musical life in the Musikstädte was perceived and portrayed by writers in an increasingly noisy urban environment. How does urban musical life influence and condition city writings? What are the differences and similarities between the writings on various musical cities? Can an urban textual sound identity be derived from these differences and similarities? The approach employed to answer these questions is a new, cross-disciplinary one to urban sound in literature, moving beyond reading the key sounds of the urban soundscape using urban musicology, sensorial anthropology and cultural poetics towards a literary contextualisation of the urban aural experience. The literary motifs of the symphony, the gramophone and urban noise are put under the spotlight through the analysis of a wide range of modernist works by authors who have a special relationship with music. At the centre of this analysis are the Kaffeehausliteratur authors Hermann Bahr, Alfred Polgar and Peter Altenberg, the then Munich-based author Thomas Mann and the lesser known René Schickele. The analysis of these particular works is framed in the music-geographical context of the Musikstadt and literary underpinnings of this topos, ranging from Ingeborg Bachmann to Hans Mayer and, once again, Thomas Mann. In analysing these texts, the methodological approach devised by Strohm, who identifies the blending of a range of urban sounds as a definition of urban space and identity, is applied. His ideas combine historical literary analysis, musical history and urban sociology. They are rarely used in the analysis of the auditory environment.
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Sheldrake, Pauline. "Weaving worlds : multimedia and space in contemporary theatre." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16336/1/Pauline_Sheldrake_Thesis.pdf.
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This play, Weaving Worlds, and the accompanying case study of its use of multimedia examine how multimedia can complexify space in theatre. The case study explores the process of writing a play that has multimedia elements scripted into it. Space in theatre can be defined in terms of its function as well as its location, its representational ideas and as an area used to present an argument, otherwise known as the fictional space. This is achieved through the narrative (that is presented traditionally in theatre through movement, gesture, and text). Multimedia has complexified this fictional space by expanding its location and being able to deliver multiple narratives within it. Multimedia has complexified the time and the space continuum of the narrative through its ability to present mediated images from the stage to the audience at the same time as traditional live performance. This challenges the definition of live performance.
The multimedia elements in the play are soundscapes, virtual characters composed of multimedia animations captured on pre-recorded digital video, and live video displays of performance. The world of the play exists in an augmented reality of the memories of the two main characters, Bev and Ben. The addition of multimedia assisted me as a playwright to present my idea of augmented reality in the world of the play, as well as a means of presenting the underpinning themes of the play being disassociation and recorded memory, violence as a means of control, and issues on change. Twentieth century theatre theorists, including Erwin Piscator and Bertolt Brecht, pioneered the use of multimedia in the theatre. In some way they contributed to a contemporary theatre that has evolved in tandem with multimedia. Correspondingly, multimedia requires its own skill sets and equipment and brings with it new aesthetic possibilities as well as becoming an agent of narrative. Multimedia creates opportunities for improvisation. This means that despite the pre-recorded nature of multimedia elements each presentation of multimedia that involves live actors can still create a unique performance experience. The exchange of touch is removed between virtual characters created by multimedia technology and live actors. At the same time the idea of live performance is challenged by the inclusion of multimedia elements. New audiences understand the narrative presented by multimedia because their world is filled with technologies that contain multimedia applications. Playwrights, who are aware of the spatial implications of multimedia, can utilise these new elements to create narratives to alter the structure of their work, and to create new ways of presenting characters, soundscapes and thematic digital displays to enhance and support the performance of their plays.
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Sheldrake, Pauline. "Weaving worlds : multimedia and space in contemporary theatre." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16336/.
Full textAbstract:
This play, Weaving Worlds, and the accompanying case study of its use of multimedia examine how multimedia can complexify space in theatre. The case study explores the process of writing a play that has multimedia elements scripted into it. Space in theatre can be defined in terms of its function as well as its location, its representational ideas and as an area used to present an argument, otherwise known as the fictional space. This is achieved through the narrative (that is presented traditionally in theatre through movement, gesture, and text). Multimedia has complexified this fictional space by expanding its location and being able to deliver multiple narratives within it. Multimedia has complexified the time and the space continuum of the narrative through its ability to present mediated images from the stage to the audience at the same time as traditional live performance. This challenges the definition of live performance. The multimedia elements in the play are soundscapes, virtual characters composed of multimedia animations captured on pre-recorded digital video, and live video displays of performance. The world of the play exists in an augmented reality of the memories of the two main characters, Bev and Ben. The addition of multimedia assisted me as a playwright to present my idea of augmented reality in the world of the play, as well as a means of presenting the underpinning themes of the play being disassociation and recorded memory, violence as a means of control, and issues on change. Twentieth century theatre theorists, including Erwin Piscator and Bertolt Brecht, pioneered the use of multimedia in the theatre. In some way they contributed to a contemporary theatre that has evolved in tandem with multimedia. Correspondingly, multimedia requires its own skill sets and equipment and brings with it new aesthetic possibilities as well as becoming an agent of narrative. Multimedia creates opportunities for improvisation. This means that despite the pre-recorded nature of multimedia elements each presentation of multimedia that involves live actors can still create a unique performance experience. The exchange of touch is removed between virtual characters created by multimedia technology and live actors. At the same time the idea of live performance is challenged by the inclusion of multimedia elements. New audiences understand the narrative presented by multimedia because their world is filled with technologies that contain multimedia applications. Playwrights, who are aware of the spatial implications of multimedia, can utilise these new elements to create narratives to alter the structure of their work, and to create new ways of presenting characters, soundscapes and thematic digital displays to enhance and support the performance of their plays.
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Watson, Julia. "Where the desert meets the sea: A fusion and reimagining of Venetian and Ottoman soundscapes for the contemporary violin." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2109.
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This project examines the music of Baroque Venice, along with the musical cultures of the Ottoman Empire, in a bid to explore the possibility that there existed a convergence of these musical styles in Venice during the Baroque era. A variety of methodologies including historical research, assimilation of specialist playing styles and improvisation, along with practice-led research methodology, are used to explore the musical intersections between the Italian Baroque, in particular Venetian violin playing, and the soundscapes of the Ottoman Empire. Through a process of collaboration and self-enquiry the project explores the current context of disparate musical cultures, cross-cultural collaboration, and the use of improvisation as a means of facilitating human connection. Two recitals are presented - Where the Desert Meets the Sea, and 1001 Nights in the Harem - which seek to bring the worlds of Baroque Venice and Persian, Arabic, and Turkish musical traditions together
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Fay, Poppy. "Sounds of industry : reactions to music and noise in nineteenth-century Manchester : ...on the lips, in the halls , on the streets /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/3593.
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Manchester, in the first half of the nineteenth century, held great fascination to many as an example of a town being remade and transformed by the technological developments of the Industrial Revolution. The transformations experienced included the rapid physical expansion of the town and its population and the reordering of its society from a traditional, rigid class structure, involving a powerful aristocracy and working-class citizens, to a new social hierarchy with a numerous and influential middle class—an emerging ‘urban aristocracy’ of people involved in manufacturing, commerce and other professions. As these changes took place, the rest of England (and the Western world) looked on—horrified, shocked, awed, fascinated. It was a different world, and the rapid changes taking place in society created in observers a sense of urgency in describing the effects of those changes—particularly the social problems, which had been shaped by industrial life.<br>A trend in describing Manchester’s residents as ‘philistines’ and the town, generally, as a ‘cultural wasteland’ took hold at this time and has been perpetuated until fairly recently. This thesis explores this trend—Manchester’s nineteenth-century image—and the impact of contemporary opinion on constructions of social hierarchies and cultural reputations. It also aims to show that there was more to Manchester’s cultural life in the nineteenth century than is widely acknowledged, either by contemporaries from the period or by some scholars today, and that the pursuit and experience of music and certain noises was genuinely wanted by the manufacturing class for a number of key reasons.<br>Delving further, into studies of soundscapes and ‘noise,’ it becomes ever clearer that sound, and how individuals and societies interact with it and interpret it, acts as an important—though frequently overlooked—signifier of class relations and civic identity. Finally, this thesis aims to reconstruct how Manchester sounded in three principal regions of the town to show how a study of soundscapes helps to articulate how the town was psychologically constructed in the minds of inhabitants and visitors, and how it was sensed and experienced.
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Bünger, Maja. "Janet Cardiff : Portholes into other Worlds." Thesis, Södertörn University College, The School of Culture and Communication, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-2068.
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<p>This essay is about the relationship between the spatial reality and the imaginary reality in the auditory artwork The Missing Voice (case study b) by Janet Cardiff. The analysis is based on a semiotic model that differentiate between two types of signifieds; a denotative signified and a connotative signified. Those terms, with focus on connotation, is used in relation to sound and linguistic signs in the auditory reality of the artwork.</p><p>The first chapter “Den okroppsliga rösten” discusses the relationship between the several voices of fiction and the spatial reality in The Missing Voice (case study b). There are four versions of the voice of cardiff and two other masculine voices that reach out, through the auditory reality, to the participant of the artwork. The participant throws therefore between the spatial reality and the reality of fiction. </p><p>The second chapter “Den akustiska upplevelsen” discusses what happens when the aucoustic reality is in and out of sync with the spatial reality in The Missing Voice (case study b). When the two soundscapes, the real and the auditory, synchronize it’s difficult for the participant to separate between reality and fiction. Those recorded sounds originate from the spatial reality and therefore connotes this reality. Sometimes Cardiff refers to sounds that are invisible in the spatial reality, the soundscapes are then not in sync with each other, but still the sounds are so close to the spatial reality that they feel real.</p><p>The last chapter “Det imaginära rummet” is about the meeting between the real spatiality and the imaginäry. On many occations in the artwork the voice of Cardiff transforms the real room to a room from the past. Then her words connotations reinforces the experience of the presence of the imaginäry room in the real room.</p>
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Axelsson, Östen. "Aesthetic Appreciation Explicated." Doctoral thesis, Stockholms universitet, Psykologiska institutionen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-53385.
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The present doctoral thesis outlines a new model in psychological aesthetics, named the Information-Load Model. This model asserts that aesthetic appreciation is grounded in the relationship between the amount of information of stimuli and people’s capacity to process this information. This relationship results in information load, which in turn creates emotional responses to stimuli. Aesthetic appreciation corresponds to an optimal degree of information load. Initially, the optimal degree is relatively low. As an individual learns to master information in a domain (e.g., photography), the degree of information load, which corresponds to aesthetic appreciation, increases. The present doctoral thesis is based on three empirical papers that explored what factors determine aesthetic appreciation of photographs and soundscapes. Experiment 1 of Paper I involved 34 psychology undergraduates and 564 photographs of various motifs. It resulted in a set of 189 adjectives related to the degree of aesthetic appreciation of photographs. The subsequent experiments employed attribute scales that were derived from this set of adjectives. In Experiment 2 of Paper I, 100 university students scaled 50 photographs on 141 attribute scales. Similarly, in Paper II, 100 university students scaled 50 soundscapes on 116 attribute scales. In Paper III, 10 psychology undergraduates and 5 photo professionals scaled 32 photographs on 27 attribute scales. To explore the underlying structure of the data sets, they were subjected to Multidimensional Scaling and Principal Components Analyses. Four general components, related to aesthetic appreciation, were found: Familiarity, Hedonic Tone, Expressiveness, and Uncertainty. These components result from the higher-order latent factor Information Load that underlies aesthetic appreciation.
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Sutton, Matthew D. "’We Had Heard about Freedom: The Soundscape in The Autobiography of Miss Jane Pittman." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2364.
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Quadros, Marta Campos de. "Tá ligado?! : práticas de escuta de jovens urbanos contemporâneos e panoramas sonoros na metrópole, uma pauta para a educação." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/69923.
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Esta tese – Tá Ligado?! Práticas de escuta de jovens urbanos contemporâneos e panoramas sonoros na metrópole, uma pauta para a Educação – tem como objetivo mostrar e compreender a produtividade das práticas de escuta de jovens urbanos contemporâneos a partir de artefatos sonoros portáteis na construção de identidades e culturas juvenis. Neste sentido busco caracterizar as práticas de escuta, mais do que a ação física de ouvir a partir de artefatos sonoros portáteis, praticada pelos garotos e garotas que circulam pelo espaço urbano, caracterizar a escuta como prática social, prática de significação, portanto, prática cultural. Este estudo está inscrito no campo dos Estudos Culturais, adotando a etnografia pós-moderna e fotoetnografia como instrumentos teórico-metodológicos, operacionalizados através de observação e registros de conversas, diários de campo, diários fotográficos e acompanhamento de produtos midiáticos em circulação durante o período da sua produção. O trabalho de observação no campo foi desenvolvido em Porto Alegre (RS), de julho de 2007 a julho de 2011. Também foram realizadas oito entrevistas etnográficas com garotos e garotas que permaneceram ao longo do processo de pesquisa como colaboradores mais constantes, considerando a pluralidade do universo investigado. A análise desenvolvida mostra a produtividade das práticas de escuta a partir de artefatos sonoros portáteis sobre a produção de determinadas identidades juvenis e de um estilo de vida que tem a conectividade como característica mais forte.<br>This thesis – Tá Ligado?! Práticas de Escuta de Jovens Urbanos Contemporâneos e Panoramas Sonoros na Metrópole, uma Pauta para a Educação – aims to show and to understand the productivity of the contemporary uban youth listening practices from portable sound devices i te construction of youth identities and cultures. In this sense I seek to characterize the listening practices in this research, rather than the physical act of listening from such portable sound devices, practiced by boys and girls moving through the Porto Alegre city spaces, I characterize the listening practices as social practice, practice of signification, therefore, a cultural practice. The theoretical support of this study is found in the field of Cultural Studies, adopting the postmodern ethnography and photoethnography as theoretical and methodological tools. It had been operacionalized through field observation and conversations records, field notes, photographic narratives, and monitoring of media products in circulation during th period of the research production. The field observation had taken place in Porto Alegre (RS) from July 2007 to July 2011. I had also conducted ethnographic interviews with eight boys and girls who stayed throughout the research process as more constant collaborators, considering the plurality of the universe investigated. The analyzes show the productivity of the listening practices from portable sound devices on certain youth identities and cultures, and e production of a lifestyle that has connectivity as he strongest characteristic.
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Steinberg, Mirian. "O catador e sua carroça sonora : uma performance no cotidiano /." São Paulo, 2019. http://hdl.handle.net/11449/183232.
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Orientador(a): Milton Terumitsu Sogabe<br>Banca: Lilian Campesato Custódio da Silva<br>Banca: José Paiani Spaniol<br>Resumo: O trabalho realiza pesquisa na área de cartografia sonora. Tem a proposição de escutar a paisagem sonora da cidade de São Paulo, focando em um catador de resíduos sólidos recicláveis com sua carroça, com as vozes das narrativas e as situações criadas no seu entorno. Lucena, o catador, equipou sua carroça com diversos equipamentos sonoros e visuais, transformando em uma carroça multimídia. A carroça, além de carregar os materiais recicláveis, é também sua moradia. A pesquisa foi organizada e inspirada no formato do caleidoscópio, com três faces espelhadas que apresentam diferentes combinações dos aspectos observados: a) apresentação do catador e sua carroça sonora, b) questões do trabalho do catador e morador de rua, c) multiplicidade do objeto carroça como instrumento de trabalho, símbolo cultural, simbólico e artístico, permeados pelo modos de habitar dos moradores em situação de rua. Esses aspectos foram analisados no contexto de uma performance no cotidiano. Desdobrando em projetos artísticos elaborados como resultado na apresentação do trabalho final: a) projeto de vídeo caleidoscópio, b) performance com proposição, c) intervenções em fotografias e d) peças em cerâmicas. O caleidoscópio é um objeto e um brinquedo, um jogo de ver vários caquinhos coloridos, soltos, de diferentes tamanhos e formas dentro de um prisma triangular espelhado, através de um orifício, um visor em um dos lados do prisma. Ao girar o prisma, novas configurações desses caquinhos surgem criando formas... (Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract: The present work achieves a research in the sound cartography area. It aims to listening to the soundscape of the city of São Paulo and it focus on a recyclable solid waste picker, its wagon and the voices of the narratives and situations created in their surroundings. Lucena, the scavenger, equipped his wagon with various sound and visual equipment, so it became a multimedia wagon. The wagon, in addition to carrying the recyclable materials, is also his home. This research was organized inspired by the kaleidoscope format, with three mirrored faces that present different combinations of the observed aspects: a) presentation of the collector and his sound carriage, b) questions about the work of the collector and the homeless person, c) multiplicity of the wagon object as an instrument of work, cultural and poetic symbol, permeated by the ways of inhabiting the homeless people. These aspects were analyzed in the context of a daily performance with the proposition of listening: the sound landscape, the narratives and the situations created in their surroundings. Departing in artistic projects elaborated as a result of the presentation of the final work: a) kaleidoscope video project, b) performance with proposition, c) interventions in photographs and d) ceramics pieces. The kaleidoscope is an object and a toy, a game of seeing several colorful, loose, colored pieces of different sizes and shapes inside a mirrored triangular prism through a hole, a display on one side of the... (Complete abstract click electronic access below)<br>Mestre
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Aguiar, Marcio Lima de. "Paisagens sonoras: a experiência composicional nas redes de sons do entorno do sambódromo de Manaus." Universidade Federal do Amazonas, 2013. http://tede.ufam.edu.br/handle/tede/2284.
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Previous issue date: 2013-10-24<br>The present work argues about the perceptions used about the soundscapes and how musical composite experience can use new creative possibilities with this element that we have in our days. For this research, it was used, as study camp, the round of de Sambodromo of Manaus which is localized in the urban perimeter of this city. This happened with the general objective in investigate the soundscapes of our studied ambient and it uses in compositional experiences. We developed the specific objectives investigating the systems of sounds that compose the soundscapes, doing an attempt hearing crossing the diversificated sounds realizing composite sound experiences.
It was captures a lot of systems of sounds in this place, like words. sounds of cars, e singing of frogs and birds that can be used as musical material. It was made rearing of this sounds and their variations, doing compositions with acoustics and electroacoustic sources with the intent of showing the very kind of ambient with the more meanings as possible. With this we porpoise some ideas that can help in the study of musical compositions using the soundscapes as a creative element.<br>O presente trabalho discute as percepções lançadas sobre as paisagens sonoras e de como a experiência compositivo musical pode ter novas possibilidades de criação ao se utilizar desse elemento presente em nosso dia a dia. Para esta pesquisa, foi utilizado, como campo de estudo, o entorno do Sambódromo de Manaus que está localizado dentro do perímetro urbano desta cidade. Isso se deu com o objetivo geral de investigar as paisagens sonoras de nosso ambiente de estudo e seu uso em experiências composicionais. Desenvolvemos os objetivos específicos, investigando as redes de sons que compõe as paisagens sonoras, realizando uma escuta atenta e associando-as de forma a desenvolver experiências composicionais com os sons deste ambiente.
Para isso captamos os mais diversos tipos redes sonoras ali presentes, tais como falas, sons de carros, coaxar de sapos e cantos de pássaros de forma que pudessem servir como material musical. Foram realizadas escutas destes sons e de suas variações realizando composições por meios acústicos e eletroacústicos, de forma a se considerar e caracterizar os ambientes através de diversas maneiras. Com isso apresentamos ideias que possam contribuir para o estudo de composições musicais tendo as paisagens sonoras como elemento de criação.
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Toriseva, Jenni. "Biofonia : A citizen science service to monitor biodiversity." Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-155160.
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An increasing amount of both physical and mental layers keep distancing urban dwellers from the biophysical envi- ronment that we often call nature. Environmental psycholo- gists have coined the term ‘extinction of experience’ to de- scribe the decreasing amount of encounters urban dwellers have with the natural environment. With the depletion of these experiences we have less relation to the natural world. And what we cannot relate to, we find hard to value. The intent has been to explore new ways urban dwelling adults could interact with the natural environment in order to help them relate to the abstract notion of biodiversity. The final concept is inspired by expert and user insights gathered through ethnographic research methods. The resulting design concept is a service and product eco- system that is based in the field of soundscape ecology.
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Kolcunová, Pavlína. "Soundscape, Lom Hády." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2012. http://www.nusl.cz/ntk/nusl-215886.
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The concept of the thesis is based on the phenomenon of Soundscape. This term was defined during the late 1960s at the occasion of The World Soundscape Project. The image of the acoustic comfort was redefined - from the level of noise pollution to the question of the sonic environment. The contribution of the project lies in the rehabilitation of the importance of sound as a cultural and social phenomenon, which shapes the identity of the place. Since the area of sound research is very large, the theoretical part of the thesis focuses on the description of the auditory perception from the psychological and physical aspects. It's a description of objective and subjective "events", that on the one hand, it appears as a set of physical quantities, on the other side as auditory scene, which provokes the questions how are the different sounds connected, which meanings are associated by the perceived sound, etc. Sources of inspiration, drawing from nonarchitectonic overlaps ( such as poetic acoustic locators or sound installations ) are another starting point for exploring the properties of sounds. The work on a specific issue was preceded by the searching of the accurate place, that is essentially acontextual to the surrounding environment. Landscape character of the quarry Hady reminds a desert, it has a few specified sites, it‘s monotonous land with varying degrees of openness and closeness. The environment of the quarry generates diverse "soundcapes" and also reflects the sound milieu of the surrounding landscape, which becomes the object of manipulation. situation Quarry Hady is one of the dominant landmarks of Brno - scarred face of the hilll and broadcasting tower are visible from miles around, and after mining mechanisms quit, the quarry is turning back to nature. There is a natural reservation Velka Klajdovka and Kavky in close proximity - thanks to the fact grows up to thirty kinds of endangered plants in the lower part of quarry called Růženin lom. The location is easily accessible on foot or by bike ( hiking trail Velká Klajdovka - Šumbera goes through the quarry) or with public transportation within walking distance of 800m. The parking lot with 25 spaces is situated near to turn-off Kanice towards quarry area.
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Ribeiro, Milena de Castro. "RÃdio poste da quadra: a participaÃÃo dos moradores e as disputas sonoras em uma comunidade em Fortaleza." Universidade Federal do CearÃ, 2016. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=17003.
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Esta pesquisa se propÃe a compreender as relaÃÃes participativas e de convivÃncia entre os moradores da comunidade SÃo Vicente de Paulo (Quadra) e a rÃdio poste Centro de ComunicaÃÃo Alternativa, localizada no bairro Aldeota, em Fortaleza (CearÃ). A partir da pesquisa participante (BrandÃo, 1984; 2006) como metodologia, foi possÃvel investigar a histÃria de criaÃÃo da rÃdio poste, refletir sobre as diversas formas de participaÃÃo (Bordenave, 1983) de dois grupos de moradores da Quadra, jovens catÃlicos e mulheres evangÃlicas, e compreender a relaÃÃo deles com a rÃdio dentro da convivÃncia com as paisagens sonoras (Schafer, 2011) da comunidade. Entre as consideraÃÃes finais, foi possÃvel entender que a participaÃÃo de jovens e mulheres religiosos na rÃdio deu-se atravÃs da mobilizaÃÃo dos prÃprios grupos religiosos. Por fim, o campo ainda proporcionou momentos interventivos, durante o aniversÃrio do programa âRecordar à Viverâ e participaÃÃo no projeto de reforma da rÃdio. Este percurso de pesquisa tambÃm me fez perceber que a intervenÃÃo esteve presente desde minhas primeiras aproximaÃÃes com a Quadra. PorÃm, antes, pesquisa e intervenÃÃo pareciam se distanciar. Agora, concluo que as metodologias participativas unem esses processos.<br>This research aims to understand the participatory coexistence and relations between the residents of SÃo Vicente de Paulo community (Quadra) and the radio post Centro de ComunicaÃÃo Alternativa, located in Aldeota district, in Fortaleza (CearÃ). From the participatory research (BrandÃo, 1984; 2006) as a methodology, it was possible to investigate the history of creation of the post radio, consider about the various forms of participation (Bordenave, 1983) of two groups of residents of Quadra, young Catholics and evangelical women, and understand their relationship within the radio in the living with soundscapes (Schafer, 2011) community. Among the final comments, it was possible to understand that the participation of young women and religious radio was given by mobilizing of their own religious groups. Finally, the course of this research also provided interventional times during the anniversary of the program "Remembering is living" and participation in the radio reform. This search path also made me realize that the intervention has been present since my first contact with Quadraâs community. However at first, research and intervention seemed to be distance. I concluded that the participatory methodologies unite these processes.
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Sudarsono, A. S. "Soundscape composition and relationship between sound objects and soundscape dimensions of an urban area." Thesis, University of Salford, 2017. http://usir.salford.ac.uk/41530/.
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Previous studies of soundscape have tried to understand the relationship between sound objects and soundscape rating, resulting in the categorisation of general sound objects according to positive or negative perceptions. This study tries to determine the relationship and interaction between specific sound objects in a soundscape and the soundscape dimensions. This study is divided into four steps: testing the validity of soundscape study in the laboratory, the application of soundscape recording, the development of a soundscape environment simulator, and the determination of the relationship between specific sound objects and soundscape dimensions according to expectations and preferences regarding sound objects. The first step confirms three reliable soundscape dimensions from in situ and laboratory experiments (measured using the same semantic scales for both): Relaxation, Dynamics and Communication. It also confirms the validity of laboratory experiments compared with in situ ones. Furthermore, the effect of sound level adjustment on soundscape reproduction in the laboratory is investigated. The second step, using soundscape recording, confirms that the common method of analysing the relationship between sound objects and soundscape rating (in situ experiment and soundscape reproduction) is not adequate due to limitations in the selection of sound objects and control over their parameters. A different method is proposed to deal with these limitations: using a soundscape environment simulator. A soundscape environment simulator is therefore developed to understand the relationship and interaction between sound objects in a soundscape and the perception of the soundscape. The soundscape environment simulator can be used to compose complex soundscapes. Furthermore, semantic differential analysis confirms that soundscape composition can represent an actual soundscape. Finally, two experiments are conducted using the soundscape environment simulator to study expectations and preferences of sound objects in a soundscape. The study succeeds in explaining the relationship and interaction between specific sound objects and the rating of soundscape. Furthermore, a perception model regarding the preference of sound objects used in the soundscape environment simulator and the soundscape dimensions is developed and implemented in the soundscape environment simulator. This implementation allows the simulator to predict perceptions of the soundscapes composed by the simulator.
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Villeneuve, Cassidy. "The Soundscape of the Self." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1034.
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This work explores soundscape and histories of sound technologies as they relate to the formation of subjectivity. It proposes voice as a cultural practice and a means for theorizing one’s own subjectivity. What is modernity in sonic terms? What does it mean to listen deeply in an industrialized society? What does it mean to be a socialized listener, a revolutionized listener? How might voice be taken as an avatar of the self? How does the auditory realm allow for embodied theorizing that responds to systems of power and oppressed subjectivities?
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Maspers, Felix, and Vilius Zukauskas. "Fotosyntes - ett intra-aktivt soundscape." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-20033.
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Utifrån ett posthumanistiskt synsätt, och tillsammans med Karen Barads teori kring agentiell realism och performativitet, vill vi i det här kandidatarbetet bjuda in vår omvärlds fysiska fenomen som medskapare i vår designprocess. Med hjälp av dessa fenomen vill vi utmana och ifrågasätta den antropocentriska designerrollen genom att belysa materialitetens performativa förmåga till kunskapsproduktion och meningsskapande i designprocessen. Vi undersöker hur designprocessen och dess involverade val och handlingar uppstår genom mötet av både mänskliga och icke-mänskliga aktörer; vi beviljas ett inifrånperspektiv som placerar oss mitt i vår världs trassel av intra-aktioner och blir därmed en del i dess tillblivelse. Genom att tillämpa detta förhållningssätt i experiment som utforskar relationen mellan den analoga världen och den digitala, undersöker vi hur dessa möten kan bidra till utformandet av en gestaltande ljudinstallation.<br>With a posthumanist approach and based on the theory of agential realism and performativity by Karen Barad, we want, in this Bachelor Thesis, to invite the physical phenomena of our surrounding world as co-creators of our design process. With help from these phenomena we would like to challenge and question the anthropocentric designer role by illustrating the performative ability of materiality for producing knowledge and creating meaning in the design process. We explore how the design process and its involved choices and actions emerge through the concurrence of both human and non-human actors; we are granted a from-within perspective that places us in the midst of the entanglement of our world’s intra-actions and therefore become a part of its genesis. By applying this approach to experiments which delve into the relationship between the analog world and the digital, we explore how these concurrences can contribute to the designing of a sound installation.
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Ferris, Seth Alexander. "Soundscape of the Factory Floor." Thesis, University of California, San Diego, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10286251.
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<p> This thesis compares the structures within industrial production, specifically related to time and the perception of it to the reciprocal resistances and responses within post-war art works. Specifically sound, its relationship to both the human quantification of labor and its exploitation in factory. Suggesting that these – the conditions of human work time – are the material by which artists who work with sound construct ulterior time frames either through processes ranging from deep listening the the co-productive activities surrounding electronic dance music.</p><p>
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McGregor, Iain. "Soundscape mapping : comparing listening experiences." Thesis, Edinburgh Napier University, 2010. http://researchrepository.napier.ac.uk/Output/4284.
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The perceived auditory environment is an increasingly important part of people's everyday interactive experiences. While sound design is an established discipline in media such as video games and cinema, this is not the case in Human-Computer Interaction (HCI). HCI designers are rarely trained in sound design, and may not make the most effective use of sound in the design of interactions. Even when sound is at the centre of a design it is rarely evaluated to compare the experiences of designers and listeners. This dissertation reports work conducted to develop a way of comparing sound designers' intentions for a sound design with the experiences of listeners. Literature on methods of measuring, classifying and visualising sound was reviewed, as well as approaches to sound design in different forms of media and computing. A published method for representing auditory environments was selected for preliminary studies. The four studies addressed to the difficulties of describing auditory environments and how they might be visualised. Two surveys were conducted in order to identify attributes of sound that would be meaningful to 75 audio professionals and 40 listeners. A way of classifying and visualising sound events and their distribution in physical environments was developed and evaluated. The soundscape mapping tool (SMT) was trialled with sound designs from a range of fields within media and computing. The experiences of both the designer and listeners were captured for each of the designs using the SMT. This work demonstrated that the SMT was suitable for capturing the intentions of 10 sound designers and the experiences of 100 listeners. The trial also provided information about how the SMT could be developed further. The dissertation contributes evidence that auditory environments can be abstracted and visualised in a manner that allows designers to represent their designs, and listeners to record their experiences.
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Mahlangu, Nkosinathi Ernest. "Urban Soundscape: Music centre in Langa." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/19085.
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This dissertation is borne out of an interest I have in music as an expression of culture and being, its influence on social spaces and its effectiveness as a tool that transcends across cultures. The dissertation explores the nexus of sound and space, body and space and their present experiential co-existence. It seeks to explore different possibilities that would bring about a sensory and cohesive spatial phenomenon that starts to cross genres of music and performance spaces, ultimately crossing and merging cultures. When one describes music, it is within broader cultural contexts. The project makes references to both music and culture, not as separate entities, but as a unified symbiotic relationship existing between the two together with their existence and interactivity with architecture. Music, being an art form whose medium is sound, and culture, being the totality of socially transmitted behaviour patterns, beliefs, institutions, and all other products of human work and thought. Music has formed an important part of our cultures throughout history and is still to this day, part of the centre of our societies. Studying the concept of sound and space, one begins to deduct the notion that; sound and space mutually reinforce one another in our perception, in that the qualities of a space affect how we perceive a sound and those of a sound affect how we perceive space. Thus, one can safely imagine sound and space to be inextricably linked in our experience of what it is to exist in the world. The structured order of the built environment has imposed upon us ways of thinking and doing which reinforce existing patterns of our social and cultural lives. The project explores and unmasks layers that make-up these patterns by looking at music as another form of cultural expression, in a spatially conscious sphere. Essentially the paper takes on an explorative journey in unpacking relationships inherent in sound and body, body and space, space and form, form and material, and the functioning of the system as a whole.
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Madhusudhana, Shyam Kumar. "Automatic Detectors for Underwater Soundscape Measurements." Thesis, Curtin University, 2015. http://hdl.handle.net/20.500.11937/649.
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Environmental impact regulations require that marine industrial operators quantify their contribution to underwater noise scenes. Automation of such assessments becomes feasible with the successful categorisation of sounds into broader classes based on source types – biological, anthropogenic and physical. Previous approaches to passive acoustic monitoring have mostly been limited to a few specific sources of interest. In this study, source-independent signal detectors are developed and a framework is presented for the automatic categorisation of underwater sounds into the aforementioned classes.