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Journal articles on the topic 'Everyday sound'
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1
Kidd, Gary R., and Charles S. Watson. "Sound quality judgments of everyday sounds." Journal of the Acoustical Society of America 106, no. 4 (October 1999): 2267. http://dx.doi.org/10.1121/1.427740.
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Ballas, James A., and Mark E. Barnes. "Everyday Sound Perception and Aging." Proceedings of the Human Factors Society Annual Meeting 32, no. 3 (October 1988): 194–97. http://dx.doi.org/10.1177/154193128803200305.
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Age related hearing loss is extensively documented in both longitudinal and cross-sectional studies but there are no direct studies of the ability of older persons to perceive everyday sounds. There is evidence suggesting some impairment. Vanderveer (1979) observed that older listeners had difficulty interpreting environmental sounds but did not report any performance data. Demands imposed by the stimulus properties of this type of sound and by the perceptual and cognitive processes found to mediate perception of this sound in college-aged listeners may present difficulty for older listeners. Forty-seven members of a retired organization were given a subset of sounds that had been used in previous identification studies. Identification data for the same set of sounds had been previously obtained from high school and college students (Ballas, Dick, & Groshek, 1987). The ability of the aged group to identify this set of sounds was not significantly different from the ability of a student group. In fact, uncertainties were closely matched except for a few sounds. Directions for future research are discussed.
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Hollerweger, Florian. "Sound Installation 24/7: Aestheticizing Everyday Sound and Rhythm." Leonardo Music Journal 23 (December 2013): 21. http://dx.doi.org/10.1162/lmj_a_00147.
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Featuring a set of microphones inside a dummy head situated within a gallery space, the author's installation 24/7 first records and later replays sounds sourced from within the space, representing past moments in time.
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Uimonen, Heikki. "Everyday Sounds Revealed: Acoustic communication and environmental recordings." Organised Sound 16, no. 3 (November 15, 2011): 256–63. http://dx.doi.org/10.1017/s1355771811000264.
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Environmental sounds give information to individuals who have learned to interpret them as members of their acoustic communities. Those living within a soundscape not only receive the acoustic information passively, but also construct their surroundings by their activities.A lot of acoustic information escapes our conscious attention partly for perceptual psychological reasons, partly because of the amount of acoustic information. A method called sound/listening walk has been applied to enhance these everyday meanings connected to sounds and to emphasise the cultural and historical layers related to them.The article introduces earlier research and methodology on the subject, applies the recording of acoustic environments to sound/listening walks and then proposes a preliminary method called recorded listening walk for acoustic communication research and soundscape education. The article draws theoretically on acoustic communication and acoustemology.
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Penna, Xristina. "Uncovered – Performing everyday clothes." Scene 2, no. 1 (October 1, 2014): 9–14. http://dx.doi.org/10.1386/scene.2.1-2.9_1.
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Uncovered is an interactive installation based on a simple yet complex performance system that uses the participants’ clothes as a springboard for devising material for the show ad hoc. Everyday clothes are performing in Uncovered and consist the material for the show. They are the objects that tranverse from a ‘silent existence’ to an ‘oral state’ open to appropriation (Barthes [1957] 2009: 131). Gaston Bachelard would argue that ‘immensity is an intimate dimension’ (Bachelard [1958] 1994: 194) and also that ‘immensity is a philosophical category of a daydream’ ([1958] 1994: 183). During an interview session the audience/participant encounters the projected image of one of his or her clothes and re-thinks, rejects, remembers, reflects, resists with this image. The artist makes a rough copy of the garment using white fabric while the sound designer picks up sound from the clothes and composes a short sound piece. The team of three (performer, sound designer and the artist) with the use of projection, live camera feed, sound, the body of the performer and the piece of clothing itself, present a two-minute improvisation to each one of the audience/participants. The audience are invited in an intimate space to daydream and reflect by looking at the image of one of their clothes. In this visual essay I will use the metaphor of zooming in the network-like-texture of a fabric in an attempt to communicate the experience of Uncovered: the layers and immense weaving of thoughts, emotions, memories that was triggered by the delimiting image of the participants’ clothes.
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Droumeva, Milena, and Iain McGregor. "Sound Stories: A Context-Based Study of Everyday Listening to Augmented Soundscapes." Interacting with Computers 31, no. 3 (May 1, 2019): 336–47. http://dx.doi.org/10.1093/iwc/iwz024.
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Abstract With an increasing number of everyday operations and communications becoming both automated and autonomous, ambient intelligent soundscapes are transforming to accommodate additional sonic feedback, and with it, new frameworks of listening. While this type of research and design of audio augmented technology is not new, the impact pre-existing acoustic environments upon listeners’ sense-making activities is rarely considered holistically. Much of the study into the design of effective auditory displays focuses on perceptual acuity and correct source identification, often at the expense of understanding the context of meaning-making. This paper presents a study involving 70 participants who listened to unidentified audio recordings of two archetypal everyday urban sound environments naturally containing artificial signals as well as typical sounds. Using a ThinkAloud protocol we investigated listeners’ approaches to meaning-making in both semantic and temporal dimensions. Through a semantic content analysis, we articulate five aspects of sonic meaning-making: spatial, descriptive, experiential, associational and narrative. We further analyse the use of these perceptual elements on a temporal plane, in order to investigate how listeners construct a narrative of what they hear in real-time, naturally evolving as each subsequent sound event is interpreted. Results suggest that while listeners attend to sound events and spatial characteristics of a sound environment at the beginning of a new listening situation, as the soundscape unfolds they utilize associations and familiarity in order to place individual sounds into increasingly coherent narratives. Finally, we suggest that this approach could provide sound designers and human–computer interaction specialists with a model for investigating the context aspects of a soundscape more holistically, allowing them to evaluate the effect of any new designed sounds prior to introduction into real-world environments.
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Susini, Patrick, Olivier Houix, and Nicolas Misdariis. "Sound design: an applied, experimental framework to study the perception of everyday sounds." New Soundtrack 4, no. 2 (September 2014): 103–21. http://dx.doi.org/10.3366/sound.2014.0057.
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Mcgregor, Milena Droumeva Iain. "Sound Stories." ITNOW 62, no. 1 (February 17, 2020): 66. http://dx.doi.org/10.1093/itnow/bwaa031.
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Abstract The paper ‘Sound Stories: A Context-Based Study of Everyday Listening to Augmented Soundscapes’ by Milena Droumeva and Iain McGregor published in Interacting with Computers, Volume 31, Issue 3, May 2019, explores how soundscapes are transforming to accommodate additional sonic feedback.
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Hall, Tom, Brett Lashua, and Amanda Coffey. "Sound and the Everyday in Qualitative Research." Qualitative Inquiry 14, no. 6 (June 27, 2008): 1019–40. http://dx.doi.org/10.1177/1077800407312054.
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Christensen, Jeppe, Klaudia Andersson, and Tobias Neher. "Distinct influence of everyday noise on cardiovascular stress." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 265, no. 7 (February 1, 2023): 242–47. http://dx.doi.org/10.3397/in_2022_0038.
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High-intensity environmental noise is known to be detrimental to cardiovascular health. However, individual differences have not been considered, and reported effects cannot be generalized to noise levels reflecting everyday life. Here, we explore the relationship between daily-life sound exposure and heart rate with longitudinal data from ten individuals across three weeks. We analyze the daily short-term covariation between changes in heart rate and sound intensity using multi-level regression and Granger analysis. We find strong evidence that everyday sound exposure is related to heart rate in all participants. Sound intensity is linearly and positively related to heart rate, while the ambient signal-to-noise ratio has a negative association to heart rate in louder environments. Across participants we establish a distinct temporal pattern of Granger causality with stronger influence of the sound environment on heart rate from 6:00 hrs to 16:00 hrs than for the rest of the afternoon/evening. We propose that sound sensitivity measures represent a combination of the amount of effort asserted to listen under noisy conditions during the active periods of a day and the direct physiological sound-induced stress reaction. A thorough understanding of both factors is necessary to determine the full extent to which everyday noise influence long-term health.
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Houix, Olivier, Guillaume Lemaitre, Nicolas Misdariis, and Patrick Susini. "Classification of everyday sounds: Influence of the degree of sound source identification." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3414. http://dx.doi.org/10.1121/1.2934143.
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Vogt, Patrik, and Lutz Frank Kasper. "The missing fundamental tone in everyday life and in experiments." Physics Teacher 61, no. 3 (March 2023): 228–29. http://dx.doi.org/10.1119/5.0142178.
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Learning about sounds in physics, it is usually addressed that although the overtone spectrum has an effect on the observed timbre, the perceived pitch is determined only by the fundamental. But why do we assign the frequency of its fundamental to a sound, and why do we do so if the fundamental is not even present in the frequency spectrum?
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Kreutzfeldt, Jacob. "Thinking the city through sound." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 1, no. 1 (December 2, 2011): 139–42. http://dx.doi.org/10.7146/se.v1i1.5719.
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Lewis, Camilla. "Listening to community: The aural dimensions of neighbouring." Sociological Review 68, no. 1 (May 29, 2019): 94–109. http://dx.doi.org/10.1177/0038026119853944.
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This article examines the multisensory nature of everyday life and the ways in which sound shapes experiences of community, presenting findings from a research project, ‘Place and belonging: What can we learn from Claremont Court housing scheme?’ Whilst acknowledging the multisensory nature of perception, the discussion focuses on sound in particular, exploring the different ways that sound (or lack of it) informed residents’ neighbouring practices and sense of community. Despite general fears of ‘loss of community’ due to increasing individualisation, the findings show the continued importance of neighbouring relations, which point to varied types of community attachment. Cases are presented from the data focusing on the themes of nostalgia, uncertainty and feelings of difference. These themes provide telling insights into the ways in which community is experienced and how people living in the same housing scheme interpret sounds differently. All residents were exposed to similar sound ecologies, but their significance and meanings were understood in vastly different ways. The article offers an original contribution by arguing that sound is an important dimension of everyday life in urban settings, which is related to affective and emotional dimensions of community, which have, as yet, been glossed over in the sociological literature.
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Jacobs, Annelies. "Sound in Amsterdam During the Late Nineteenth and Early Twentieth Centuries." International Journal for History, Culture and Modernity 7, no. 1 (November 2, 2019): 538–46. http://dx.doi.org/10.18352/hcm.571.
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This paper deals with sound as part of everyday urban life, based on Amsterdam during the late nineteenth and early twentieth centuries. Although it is commonly held that modern cities have grown noisier as a result of their expansion and the growth of industry and technology, we actually know very little about the urban sounds of the past. We know even less about the manner in which it was perceived and valued by contemporaries. This article poses three questions. Which sounds were produced in Amsterdam in the past? Which meanings did contemporaries attribute to these sounds? And which the role did particular sounds play in the debate on city life? To answer these questions, the article makes use of an analytical framework that allows us to look at soundscapes from the point of view of the ecology of sound, the semiotics of sound and the politics of sound.
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Reber, Elisabeth, and Elizabeth Couper-Kuhlen. "On “Whistle” Sound Objects in English Everyday Conversation." Research on Language and Social Interaction 53, no. 1 (January 2, 2020): 164–87. http://dx.doi.org/10.1080/08351813.2020.1712966.
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Chapman, Owen. "The Icebreaker: Soundscape works as everyday sound art." Organised Sound 14, no. 01 (March 26, 2009): 83. http://dx.doi.org/10.1017/s1355771809000120.
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Pezanoski-Browne, Alison. "The Tragic Art of Eco-Sound." Leonardo Music Journal 25 (December 2015): 9–13. http://dx.doi.org/10.1162/lmj_a_00925.
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In this article, the author analyzes the work of two artists, Miki Yui and Jana Winderen, who respond to unprecedented ecological change by using nature field recordings as the foundational element of their compositions and installations. Their works replicate environmental dissolution and dislodge listeners from the habits and assumptions of everyday life. The author draws upon the work of sociologist Henri Lefebvre, defining rhythmanalysis, the everyday, and, in Lefebvre’s words, the “dialectical dynamic between tragedy and daily life.”
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Gregová, Renáta. "Onomatopoeic Words in Slovak: Everyday Use and Stylistic Function." Slavistica Vilnensis 67, no. 2 (December 30, 2022): 69–79. http://dx.doi.org/10.15388/slavviln.2022.67(2).96.
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Onomatopoeias — words that echo sounds from the extra-linguistic reality — are usually understood as units representing direct relationship between form and meaning. Lexical onomatopoeias are part of a language system and their meaning can be found in dictionaries. It is assumed that onomatopoeias are crucial in communication by and to infants and are also considered important stylistic devices in poetry. However, they seem to be only marginal in adults’ speech. This paper presents the results of an analysis of the understanding of Slovak onomatopoeias in everyday communication as well as of the stylistic dimension of these expressions in poetry. First, attention was paid to the comprehension of sound-imitating words in context by the sample of 30 native Slovak language speakers. Then, a sample of ten Slovak poems, well-known due to their usage of various sound-symbolic elements (onomatopoeias included) as stylistic devices, was examined to verify the supposed stylistic dimension of onomatopoeias in poetry. The results indicate that the understanding of the real meaning of lexical onomatopoeias depends on the specifics of the context and that onomatopoeias play a less important role in poetry than expected.
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Jääskeläinen, Anni. "Mimetic schemas and shared perception through imitatives." Nordic Journal of Linguistics 39, no. 2 (September 27, 2016): 159–83. http://dx.doi.org/10.1017/s0332586516000147.
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This article examines the interplay between certain depictions of sound and certain mimetic schemas (intersubjectively shared, body-based image schemas that concern basic processes and activities). The research contributes to the study of ideophones and also demonstrates that it is beneficial to study these types of words in written everyday interaction, as well as in spoken everyday interaction. Two Finnish sound words (ideophones, imitatives),naps‘snap, pop’ andhumps(the sound of relatively soft falling) are examined and their different meanings are analysed. Some research questions of this analysis are: What causes the sound described by eithernapsorhumps? What kind of movement is described and to what mimetic schema is the sound linked? And also: What concrete, spatial processes might motivate the words’ more abstract uses? The examination indicates thatnapsandhumpsare used as concrete depictions of sounds and movements, but also more abstractly, as depictions of cognitive and emotional processes without any spatial movement or audible sound. The motivations for these more abstract uses are studied: It is argued that the basic uses ofnapsandhumpsare tied to certain bodily processes as their sounds or impressions, and that the more abstract uses ofnapsandhumpsreflect metaphorical mappings that map the mimetic schemas of these basic, bodily experiences to more abstract experiences. Grounds for this kind of use is the unique construal of imitatives: they present an imagistic, iconic depiction of a sensation and thus evoke imagery that is shared on a direct bodily level. Thus they aid in identifying with others and their experiences on a level that is directly accessible.
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Walden, Therese C., Brian E. Walden, Van Summers, and Ken W. Grant. "A Naturalistic Approach to Assessing Hearing Aid Candidacy and Motivating Hearing Aid Use." Journal of the American Academy of Audiology 20, no. 10 (November 2009): 607–20. http://dx.doi.org/10.3766/jaaa.20.10.3.
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Background: Although the benefits of amplification for persons with impaired hearing are well established, many potential candidates do not obtain and use hearing aids. In some cases, this is because the individual is not convinced that amplification will be of sufficient benefit in those everyday listening situations where he or she is experiencing difficulties. Purpose: To describe the development of a naturalistic approach to assessing hearing aid candidacy and motivating hearing aid use based on patient preferences for unamplified and amplified sound samples typical of those encountered in everyday living and to assess the validity of these preference ratings to predict hearing aid candidacy. Research Design: Prospective experimental study comparing preference ratings for unamplified and amplified sound samples of patients with a clinical recommendation for hearing aid use and patients for whom amplification was not prescribed. Study Sample: Forty-eight adults self-referred to the Army Audiology and Speech Center for a hearing evaluation. Data Collection and Analysis: Unamplified and amplified sound samples were presented to potential hearing aid candidates using a three-alternative forced-choice paradigm. Participants were free to switch at will among the three processing options (no gain, mild gain, moderate gain) until the preferred option was determined. Following this task, each participant was seen for a diagnostic hearing evaluation by one of eight staff audiologists with no knowledge of the preference data. Patient preferences for the three processing options were used to predict the attending audiologists' recommendations for amplification based on traditional audiometric measures. Results: Hearing aid candidacy was predicted with moderate accuracy from the patients' preferences for amplified sounds typical of those encountered in everyday living, although the predictive validity of the various sound samples varied widely. Conclusions: Preferences for amplified sounds were generally predictive of hearing aid candidacy. However, the predictive validity of the preference ratings was not sufficient to replace traditional clinical determinations of hearing aid candidacy in individual patients. Because the sound samples are common to patients' everyday listening experiences, they provide a quick and intuitive method of demonstrating the potential benefit of amplification to patients who might otherwise not accept a prescription for hearing aids.
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Kraus, Nina, and Travis White-Schwoch. "Neurobiology of Everyday Communication: What Have We Learned From Music?" Neuroscientist 23, no. 3 (June 9, 2016): 287–98. http://dx.doi.org/10.1177/1073858416653593.
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Sound is an invisible but powerful force that is central to everyday life. Studies in the neurobiology of everyday communication seek to elucidate the neural mechanisms underlying sound processing, their stability, their plasticity, and their links to language abilities and disabilities. This sound processing lies at the nexus of cognitive, sensorimotor, and reward networks. Music provides a powerful experimental model to understand these biological foundations of communication, especially with regard to auditory learning. We review studies of music training that employ a biological approach to reveal the integrity of sound processing in the brain, the bearing these mechanisms have on everyday communication, and how these processes are shaped by experience. Together, these experiments illustrate that music works in synergistic partnerships with language skills and the ability to make sense of speech in complex, everyday listening environments. The active, repeated engagement with sound demanded by music making augments the neural processing of speech, eventually cascading to listening and language. This generalization from music to everyday communications illustrates both that these auditory brain mechanisms have a profound potential for plasticity and that sound processing is biologically intertwined with listening and language skills. A new wave of studies has pushed neuroscience beyond the traditional laboratory by revealing the effects of community music training in underserved populations. These community-based studies reinforce laboratory work highlight how the auditory system achieves a remarkable balance between stability and flexibility in processing speech. Moreover, these community studies have the potential to inform health care, education, and social policy by lending a neurobiological perspective to their efficacy.
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Greubel, Carla. "Caring through Sound and Silence: Technology and the Sound of Everyday Life in Homes for the Elderly." Anthropology & Aging 41, no. 1 (March 4, 2020): 69–82. http://dx.doi.org/10.5195/aa.2020.229.
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Literature on sounds inside institutions has shown that sounds are indispensable to the working of hospitals, schools, prisons, and other institutional environments. Drawing on ethnographic fieldwork in three eldercare homes in Germany this article suggests that the more permanent care context of institutional homes for the elderly compared to a hospital setting is decisive for people’s interpretation of and engagement with sounds. This is true at multiple levels, such as “monitory listening,” the use of “music as a technology of self,” or sounds as a tool of care. In fact, in this long-term care context even silences prompt action. Based on their experience with individual residents, for example, caregivers can direct their monitory listening not only to existing sounds, but also to the silence of expected but absent sounds. Throughout the article, additional consideration is given to the role of the technologies that produce the sounds, showing how in their design and functioning they shape, complement or prevent people’s attention to sound and silence. Finally, I propose that research is needed that goes beyond an understanding of silence as a healing environment for the vulnerable and sick and instead attends to the complexity of this acoustic event within the context of eldercare homes.
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., Umar. "Proses Pelesepan Fonologi Pada Leksikon Bahasa Sumbawa Dialek Sumbawa Besar." Pustaka : Jurnal Ilmu-Ilmu Budaya 18, no. 1 (February 28, 2018): 20. http://dx.doi.org/10.24843/pjiib.2018.v18.i01.p03.
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The users of Sumbawa’s Besar dialect was used by many people in Sumbawa Regency. Almost Sumbawa region utilized Sumbawa’s Besar dialect in getting communication. In a general way, this language is utilized word-of-mouth deep gab everyday among the users in the society member whereas in writing form is still found sparse. In this study used qualitative method. Meanwhile, the result of data analysis which is sound disappearance pprocess that happening in Sumbawa’s Besar Dialect is Aferesis (sound disappearance on course startup), Sinkope (sound disappearance on course mean), and Apokope (sound disappearance on course final). This process happening on segment that do not accentual and in particular on homorgan’s sounds. And there is factor even its happening causative sound disappearance are divided as two which are non-linguistics and linguistics factor.
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Galloway, Kate. "The sonic strategies and technologies of listening alone together in The World According to Sound’s Outside In: A Communal Listening Series." Radio Journal: International Studies in Broadcast & Audio Media 20, no. 1 (April 1, 2022): 85–103. http://dx.doi.org/10.1386/rjao_00057_1.
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This article examines three dimensions of Chris Hoff and Sam Harnett’s practices for producing, sharing and listening to audio in collective and social ways for The World According to Sound’s Outside In: the sonic strategies and soundscape design used to engage communal and collective listening, how Outside In adapts and transforms traditional paradigms using the broadcast medium of the podcast to aesthetically engage with liveness and the corporeality of sound, and how the COVID-19 pandemic afforded space for ‘unpopular’ soundwork based on everyday aural architectures (e.g., field recordings, ambient music, experimental music based on everyday sounds, soundscape collages) that are popular, as in, of the community. Using varied examples drawn from The World According to Sound’s soundwork, I illustrate a particular set of sonic strategies to imagine sonic space, listen relationally to sound events, and enact a sociality of collective listening.
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Vasilev, Martin R., Fabrice BR Parmentier, Bernhard Angele, and Julie A. Kirkby. "Distraction by deviant sounds during reading: An eye-movement study." Quarterly Journal of Experimental Psychology 72, no. 7 (January 13, 2019): 1863–75. http://dx.doi.org/10.1177/1747021818820816.
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Oddball studies have shown that sounds unexpectedly deviating from an otherwise repeated sequence capture attention away from the task at hand. While such distraction is typically regarded as potentially important in everyday life, previous work has so far not examined how deviant sounds affect performance on more complex daily tasks. In this study, we developed a new method to examine whether deviant sounds can disrupt reading performance by recording participants’ eye movements. Participants read single sentences in silence and while listening to task-irrelevant sounds. In the latter condition, a 50-ms sound was played contingent on the fixation of five target words in the sentence. On most occasions, the same tone was presented (standard sound), whereas on rare and unexpected occasions it was replaced by white noise (deviant sound). The deviant sound resulted in significantly longer fixation durations on the target words relative to the standard sound. A time-course analysis showed that the deviant sound began to affect fixation durations around 180 ms after fixation onset. Furthermore, deviance distraction was not modulated by the lexical frequency of target words. In summary, fixation durations on the target words were longer immediately after the presentation of the deviant sound, but there was no evidence that it interfered with the lexical processing of these words. The present results are in line with the recent proposition that deviant sounds yield a temporary motor suppression and suggest that deviant sounds likely inhibit the programming of the next saccade.
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Möslang, Norbert. "How Does a Bicycle Light Sound?: Cracked Everyday Electronics." Leonardo Music Journal 14 (December 2004): 83. http://dx.doi.org/10.1162/0961121043067389.
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McCartney, Andra. "Alien intimacies: hearing science fiction narratives in Hildegard Westerkamp's Cricket Voice (or ‘I don't like the country, the crickets make me nervous’)." Organised Sound 7, no. 1 (April 2002): 45–49. http://dx.doi.org/10.1017/s1355771802001073.
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This paper discusses listener responses to a contemporary soundscape composition based on the sound of a cricket. Soundscape composers make works based on everyday sounds and sound environments, usually recorded by themselves (Truax 1984, 1996). While the composer of this piece aims to bring listeners closer to the sounds around them by creating audio pieces based on these sounds (Westerkamp 1988), some listeners feel fear and anxiety rather than the heightened closeness and understanding that she wishes listeners to experience. I compare the sound structure of Cricket Voice with close listening to excerpts of the film soundtrack of Ridley Scott's Alien as well as a short excerpt from the soundtrack of the X Files, discussing how science fiction film and television soundtracks index sonic intimacy with different intent from that of Westerkamp, and raising questions about how such approaches to intimacy might simultaneously reflect and intensify urban anxieties about the sounds of ‘alien’ species that are associated with wilderness environments.
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Hargrave, Claire. "Sound sensitivity in dogs: protecting emotional welfare and the human–pet bond." Companion Animal 27, no. 9 (July 2, 2022): 143–49. http://dx.doi.org/10.12968/coan.2022.0021.
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The dog's auditory system is designed in such a way that it will be aware of sounds that are sudden or presented in an unusual manner, and it is reasonable to suggest that sound sensitivity is adaptive in dogs. Studies of sound sensitivity in dogs have mainly focused on intense but occasional sounds, such as fireworks, thunder and gunshots; these studies suggest that almost half of the domestic canine population suffer a depletion in emotional welfare when exposed to such sounds. A dog's early learning period is largely intended to ensure that it learns to ignore stimuli that are inconsequential to its safety. However, both the environment within and outside human homes can be intensely noisy and unpredictable, regularly exposing many dogs to inescapable sounds that they did not meet during their early developmental period, which can initiate emotional responses of anxiety, fear and frustration and a motivation for avoiding sound-producing stimuli. This article discusses the issue of sound sensitivity in dogs, and considers the extent to which sensitivity to everyday soundscapes will become an increasing emotional health problem in the domestic canine population.
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Shafiro, Valeriy, Stanley Sheft, Sejal Kuvadia, and Brian Gygi. "Environmental Sound Training in Cochlear Implant Users." Journal of Speech, Language, and Hearing Research 58, no. 2 (April 2015): 509–19. http://dx.doi.org/10.1044/2015_jslhr-h-14-0312.
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Purpose The study investigated the effect of a short computer-based environmental sound training regimen on the perception of environmental sounds and speech in experienced cochlear implant (CI) patients. Method Fourteen CI patients with the average of 5 years of CI experience participated. The protocol consisted of 2 pretests, 1 week apart, followed by 4 environmental sound training sessions conducted on separate days in 1 week, and concluded with 2 posttest sessions, separated by another week without training. Each testing session included an environmental sound test, which consisted of 40 familiar everyday sounds, each represented by 4 different tokens, as well as the Consonant Nucleus Consonant (CNC) word test, and Revised Speech Perception in Noise (SPIN-R) sentence test. Results Environmental sounds scores were lower than for either of the speech tests. Following training, there was a significant average improvement of 15.8 points in environmental sound perception, which persisted 1 week later after training was discontinued. No significant improvements were observed for either speech test. Conclusions The findings demonstrate that environmental sound perception, which remains problematic even for experienced CI patients, can be improved with a home-based computer training regimen. Such computer-based training may thus provide an effective low-cost approach to rehabilitation for CI users, and potentially, other hearing impaired populations.
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Johnston, Nessa. "Beneath sci-fi sound." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 49–63. http://dx.doi.org/10.33178/alpha.3.04.
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Primer is a very low budget science-fiction film that deals with the subject of time travel; however, it looks and sounds quite distinctively different from other films associated with the genre. While Hollywood blockbuster sci-fi relies on “sound spectacle” as a key attraction, in contrast Primer sounds “lo-fi” and screen-centred, mixed to two channel stereo rather than the now industry-standard 5.1 surround sound. Although this is partly a consequence of the economics of its production, the aesthetic approach to the soundtrack is what makes Primer formally distinctive. Including a brief exploration of the role of sound design in science-fiction cinema more broadly, I analyse aspects of Primer’s soundtrack and sound-image relations to demonstrate how the soundplays around with time rather than space, substituting the spatial playfulness of big-budget Hollywood sci-fi blockbuster sound with temporal playfulness, in keeping with its time-travel theme. I argue that Primer’s aesthetic approach to the soundtrack is “anti-spectacle”, working with its mise-en-scène to emphasise the mundane and everyday instead of the fantastical, in an attempt to lend credibility and “realism” to its time-travel conceit. Finally, with reference to scholarship on American independent cinema, I will demonstrate how Primer’s stylistic approach to the soundtrack is configured as a marketable identifier of its “indie”-ness.
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Keller, Damián. "Compositional Processes from an Ecological Perspective." Leonardo Music Journal 10 (December 2000): 55–60. http://dx.doi.org/10.1162/096112100570459.
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The author discusses the conceptual basis of an ecological approach to music composition, considering the epistemological and compositional concepts involved. The author's text-and-tape piece, touch'n'go/toco y me voy, is presented as an example of an ecologically based musical work, in which the sound event functions as the basic unit of multilevel musical structures. Digital resynthesis techniques are integrated in the compositional process by means of environmental sound models. Ecological models establish formal relationships without obscuring the recognizability of everyday sounds. Materials, techniques, perceptual constraints and references to social issues are integrated in a consistent compositional method.
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Schmidt, Uta C. "Soundscape of the Ruhr: Sensitive Sounds. Between Documentation, Composition and Historical Research." Prace Kulturoznawcze 26, no. 1 (July 22, 2022): 99–118. http://dx.doi.org/10.19195/0860-6668.26.1.6.
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The following article discusses the Sound Archive of the Ruhr. Our project touches upon a set of questions that are of interest to sound studies. They concern intention and modes of archiving sound, working for museums, exhibitions, film, theatre productions, education and science, recordings as testimony as well as cultural heritage. Working on and with the archive made us sensitive to the aurality of the confined space and to the horizons of meaning that people attributed (and still attribute) to the acoustic dimensions of their everyday life. As a result, we began to conceptualize history based on the sensual constitution of reality and thus were able to take a different view of social transformations. The sounds in the Sound Archive of the Ruhr are not “sensitive” like surveillance tapes that document state repression and blackmail, uncover political scandals or are used for propaganda purposes. These sounds are sensitive because they are endangered and therefore should be recorded with respect for cultural heritage. Moreover, they raise questions about the political power, which defines when and how sound is considered noise in a changing social order.
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Pastore, M. Torben, William A. Yost, and Yi Zhou. "Is acoustic space “learned” in the buildup of the precedence effect?" Journal of the Acoustical Society of America 151, no. 4 (April 2022): A162. http://dx.doi.org/10.1121/10.0010978.
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Most of what is known about sound source localization in reverberant environments rests upon knowledge of how the auditory system processes a pair of brief stimuli presented over headphones that simulate a direct sound and a single reflection. In everyday environments, however, sound sources often emit relatively continuous sounds or repeat them often in succession—for example, speech. Also, listeners often move. Dynamic changes in source/listener positions may present a unique opportunity to investigate the effects of “learning” that seem to result in the “buildup of the precedence effect—listeners' ability to effectively localize reverberant sounds after repeated presentation that would be poorly localized after only one presentation. The implicated learning may constitute learning of the spatial acoustics of the environment or learning of the temporal order and timing of reflections (or both). In this study, we sought to disambiguate these two possible learning strategies by comparing listener behavior in response to presentation of repeated pairs of lead/lag noise stimuli presented in a soundfield. Listeners’ perceived sound-source localization and the rate of fusion were measured.
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NOH, SHIHUN. "A Study on the Soundscape of Resistance Appeared in Bruegel's Religious Paintings." Korean Society of Culture and Convergence 44, no. 10 (October 31, 2022): 421–35. http://dx.doi.org/10.33645/cnc.2022.10.44.10.421.
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The purpose of this study is to examine how Pieter Bruegel de Oude uses sound in his work to secretly and effectively lead his own resistance to the foreign powers of Spain and Catholicism through the analysis of the soundscape of resistance in his religious paintings. Of the total of 45 paintings by this artist, 20 are religious paintings, of which 10 are allusive to the subject of resistance. First, in these paintings, he achieves the purpose of covert resistance through art by marginalizing the “sacred noise” by letting the secular sounds of everyday life bury the noise in it. He also effectively uses sacred noise and secular sounds of everyday life to mask or reinforce the subject of resistance by appropriately placing them in the “figure” or “ground.”
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Filipovic, Andrija. "Noise and noise: The micropolitics of sound in everyday life." New Sound, no. 39-1 (2012): 15–29. http://dx.doi.org/10.5937/newso1201015f.
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Vasileva, Daria A., and Daniil A. Lermontov. "Between sound and noise: Features of urban soundscapes formation." Vestnik of Saint Petersburg University. Sociology 15, no. 3 (2022): 270–84. http://dx.doi.org/10.21638/spbu12.2022.306.
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Soundscapes of a city as a cultural-symbolic space mediating our perception of sounds and noises are dynamic, changeable and heterogeneous. The way of everyday life, cultural experience, audio-visual texts are consumed outline different trajectories of interaction with sonic environment and make the border between sound and noise quite fluid. This article presents ethnographic data, important for understanding the process of formation of urban soundscapes. The research of St Petersburg soundscapes was conducted by the authors in 2016–2021 demon strated the possibilities of using such methods as “sound diary” and “sound walk”. The article is based on the analysis of 380 hours of observations made by 38 citizens, data from 19 interviewswalks with people living in 15 different microdistricts are presented. As the results the article represents the specificity of sounds and noises categorization, as well as the role of sonic experience in the formation of patterns of interaction between St Petersburg citizens and the urban environment. The research provides tools for analysing the social and cultural superstructure of the perception of urban sounds and noises, which is possible be of interest to sociologists, urbanists, urban anthropologists, ecologists, and researchers of local communities.
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MARRY, Solène. "Ordinary sonic public space. Sound perception parameters in urban public spaces and sonic representations associated with urban forms." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 1 (April 13, 2012): 171–96. http://dx.doi.org/10.7146/se.v2i1.5231.
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The research referred to in the article concerns the factors influencing the perception of ordinary sonic public space and everyday sounds. Sound perception parameters, such as vegetation or sound sources, are analysed in urban public spaces. This research, which is based on my PhD project, tries to understand how urban people perceive their sonic environment and try to contribute to sonic ambiance knowledge. The research is based on a qualitative investigation conducted among 29 people. It is, on the one hand, based on questionnaires and focus groups in situ and, on the other hand, on individual interviews (in-depth interviews, sonic mind maps), and it illustrates different parameters (temporal, spatial, sensitive and individual) that influence a person’s assessment of the sound environment. This qualitative investigation is correlated with acoustic measures in two seasons. The results show, among other things, the impact of vegetation and urban fittings on sonic perception, and they underline the influence of city planning and urban fittings on sound perception in public urban spaces.
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Jääskeläinen, Iiro P., and Jyrki Ahveninen. "Auditory-Cortex Short-Term Plasticity Induced by Selective Attention." Neural Plasticity 2014 (2014): 1–11. http://dx.doi.org/10.1155/2014/216731.
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The ability to concentrate on relevant sounds in the acoustic environment is crucial for everyday function and communication. Converging lines of evidence suggests that transient functional changes in auditory-cortex neurons, “short-term plasticity”, might explain this fundamental function. Under conditions of strongly focused attention, enhanced processing of attended sounds can take place at very early latencies (~50 ms from sound onset) in primary auditory cortex and possibly even at earlier latencies in subcortical structures. More robust selective-attention short-term plasticity is manifested as modulation of responses peaking at ~100 ms from sound onset in functionally specialized nonprimary auditory-cortical areas by way of stimulus-specific reshaping of neuronal receptive fields that supports filtering of selectively attended sound features from task-irrelevant ones. Such effects have been shown to take effect in ~seconds following shifting of attentional focus. There are findings suggesting that the reshaping of neuronal receptive fields is even stronger at longer auditory-cortex response latencies (~300 ms from sound onset). These longer-latency short-term plasticity effects seem to build up more gradually, within tens of seconds after shifting the focus of attention. Importantly, some of the auditory-cortical short-term plasticity effects observed during selective attention predict enhancements in behaviorally measured sound discrimination performance.
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Mcauliffe, Sam. "Studying Sonorous Objects to Develop Frameworks for Improvisation." Organised Sound 22, no. 3 (November 24, 2017): 369–77. http://dx.doi.org/10.1017/s135577181700053x.
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French musique concrète artist Pierre Schaeffer pioneered new ways of listening to and studying sound. His study and manipulation of recorded sounds to create music changed the way contemporary musicians, from a multitude of disciplines, approach making music. Additionally, Schaeffer’s treatise on acousmatic listening to sonorous objects has deeply influenced contemporary sound studies. In this article, I elucidate how musique concrète has informed my practice-led research project,Looking Awry– from which I will discuss two case studies. I outline how acousmatic listening to field recordings from everyday environments informed the development of performance strategies that guide improvised musical performance; a malleable practice that can be applied to a variety of performance settings.
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Lentjes, Rebecca, Amy E. Alterman, and Whitney Arey. "“The Ripping Apart of Silence”." Resonance 1, no. 4 (2020): 422–42. http://dx.doi.org/10.1525/res.2020.1.4.422.
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This article explores the gendered sound world of anti-abortion protests outside U.S. abortion clinics. These clinics are spaces of dissent where, on a daily basis, protesters congregate to vocalize their opposition to abortion. We employ the concept of sonic patriarchy, the sonic counterpart to the male gaze, to explore how anti-abortion protesting dominates the aural space surrounding abortion clinics and is used as a vehicle for controlling gendered bodies. Protesters use megaphones, speakers, and yelling to infuse the soundscape of the abortion clinic with an overwhelming cacophony that people must enter to receive care. This article reconceptualizes how we think about sound and violence by emphasizing how the everyday sounds of anti-abortion protesting are perceived and experienced as violence by people seeking abortion services. This domination of the sound world engenders a form of nonconsensual listening, in which it becomes difficult, if not impossible, to ignore the sonic performances of protesters. We also discuss the additional labor that clinic staff and volunteers must provide to shield patients against this volume of sound, as well as the affective and physical consequences of entering this sound world to receive healthcare. Furthermore, we describe the inherent difficulties in regulating sound and the importance of understanding the intent and context of sound-making in identifying certain sounds as violent. We argue for a more rigorous regulation of sound-making outside of clinics, as it perpetuates not only abortion stigma but also gendered sonic violence on all people who enter abortion clinics.
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KANEDA, MIKI. "Acoustics of the Everyday: Between Growth and Conflict in 1960s Japan." Twentieth-Century Music 12, no. 1 (January 28, 2015): 71–96. http://dx.doi.org/10.1017/s1478572214000188.
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AbstractFocusing on a multimedia practice labelled ‘intermedia art’, this article shows how experimental musical practices complicate popular characterizations of the idea of politics in 1960s Japan that are polarized by their focus on extraordinary economic growth, on the one hand, and radical protest, on the other. Like their counterparts in art, experimental musicians and artists such as Shiomi Mieko, Kosugi Takehisa, and Yuasa Jōji took an interest in everyday sounds, spaces, and technologies as sites for artistic exploration. However, their musical approaches did not share the overtly political engagement with the scenes of protest playing out in the public sphere that played a central role in the visual arts. Through an investigation of the notion of ambiguity in the acoustics of intermedia, the article seeks to re-examine understandings about the role of sound in shifting perceptions about political participation.
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Adiloglu, Kamil, Robert Annies, Elio Wahlen, Hendrik Purwins, and Klaus Obermayer. "A Graphical Representation and Dissimilarity Measure for Basic Everyday Sound Events." IEEE Transactions on Audio, Speech, and Language Processing 20, no. 5 (July 2012): 1542–52. http://dx.doi.org/10.1109/tasl.2012.2184752.
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Pink, Sarah, Minna Ruckenstein, Robert Willim, and Melisa Duque. "Broken data: Conceptualising data in an emerging world." Big Data & Society 5, no. 1 (January 2018): 205395171775322. http://dx.doi.org/10.1177/2053951717753228.
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In this article, we introduce and demonstrate the concept-metaphor of broken data. In doing so, we advance critical discussions of digital data by accounting for how data might be in processes of decay, making, repair, re-making and growth, which are inextricable from the ongoing forms of creativity that stem from everyday contingencies and improvisatory human activity. We build and demonstrate our argument through three examples drawn from mundane everyday activity: the incompleteness, inaccuracy and dispersed nature of personal self-tracking data; the data cleaning and repair processes of Big Data analysis and how data can turn into noise and vice versa when they are transduced into sound within practices of music production and sound art. This, we argue is a necessary step for considering the meaning and implications of data as it is increasingly mobilised in ways that impact society and our everyday worlds.
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Wolters, Florian, Karolina Smeds, Erik Schmidt, Eva Kümmel Christensen, and Christian Norup. "Common Sound Scenarios: A Context-Driven Categorization of Everyday Sound Environments for Application in Hearing-Device Research." Journal of the American Academy of Audiology 27, no. 07 (July 2016): 527–40. http://dx.doi.org/10.3766/jaaa.15105.
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Background: Evaluation of hearing-device signal-processing features is performed for research and development purposes, but also in clinical settings. Most people agree that the benefit experienced in a hearing-device user’s daily life is most important, but laboratory tests are popular since they can be performed uniformly for all participants in a study using sensitive outcome measures. In order to design laboratory tests that have the potential of indicating real-life benefit, there is a need for more information about the acoustic environments and listening situations encountered by hearing-device users as well as by normal-hearing people. Purpose: To investigate the acoustic environments and listening situations people encounter, and to provide a structured framework of common sound scenarios (CoSS) that can be used for instance when designing realistic laboratory tests. Research Design: A literature search was conducted. Extracted acoustic environments and listening situations were categorized using a context-based approach. A set of common sound scenarios was established based on the findings from the literature. Data Collection: A number of publications providing data on encountered acoustic environments and listening situations were identified. Focus was on studies including informants who reported or recorded information in field trials. Nine relevant references were found. In combination with data collected at our laboratory, 187 examples of acoustic environments or listening situations were found. Results: Based on the extracted data, a categorization approach based on context (intentions and tasks) was used when creating CoSS. Three intention categories, “speech communication,” “focused listening,” and “nonspecific” were divided into seven task categories. In each task category, two sound scenarios were described, creating in total 14 common sound scenarios. The literature search showed a general lack of studies investigating acoustic environments and listening situations, in particular studies where normal-hearing informants are included and studies performed outside North America and Western Europe. Conclusions: A structured framework was developed. Intentions and tasks constitute the main categories in the framework, and 14 common sound scenarios were selected and described. The framework can for instance be used when developing hearing-device signal-processing features, in the evaluation of such features in realistic laboratory tests, and for demonstration of feature effects to hearing-device wearers.
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Sarbadhikary, Sukanya. "Shankh-er Shongshar, Afterlife Everyday: Religious Experience of the Evening Conch and Goddesses in Bengali Hindu Homes." Religions 10, no. 1 (January 15, 2019): 53. http://dx.doi.org/10.3390/rel10010053.
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This essay brings together critical archetypes of Bengali Hindu home-experience: the sound of the evening shankh (conch), the goddess Lakshmi, and the female snake-deity, Manasa. It analyzes the everyday phenomenology of the home, not simply through the European category of the ‘domestic’, but conceptually more elastic vernacular religious discourse of shongshar, which means both home and world. The conch is studied as a direct material embodiment of the sacred domestic. Its materiality and sound-ontology evoke a religious experience fused with this-worldly wellbeing (mongol) and afterlife stillness. Further, (contrary) worship ontologies of Lakshmi, the life-goddess of mongol, and Manasa, the death-and-resuscitation goddess, are discussed, and the twists of these ambivalent imaginings are shown to be engraved in the conch’s body and audition. Bringing goddesses and conch-aesthetics together, shongshar is thus presented as a religious everyday dwelling, where the ‘home’ and ‘world’ are connected through spiraling experiences of life, death, and resuscitation. Problematizing the monolithic idea of the secular home as a protecting domain from the outside world, I argue that everyday religious experience of the Bengali domestic, as especially encountered and narrated by female householders, essentially includes both Lakshmi/life/fertility and Manasa/death/renunciation. Exploring the analogy of the spirals of shankh and shongshar, spatial and temporal experiences of the sacred domestic are also complicated. Based on ritual texts, fieldwork among Lakshmi and Manasa worshippers, conch-collectors, craftsmen and specialists, and immersion in the everyday religious world, I foreground a new aesthetic phenomenology at the interface of the metaphysics of sound, moralities of goddess-devotions, and the Bengali home’s experience of afterlife everyday.
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Lyon, Richard F., Martin Rehn, Samy Bengio, Thomas C. Walters, and Gal Chechik. "Sound Retrieval and Ranking Using Sparse Auditory Representations." Neural Computation 22, no. 9 (September 2010): 2390–416. http://dx.doi.org/10.1162/neco_a_00011.
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To create systems that understand the sounds that humans are exposed to in everyday life, we need to represent sounds with features that can discriminate among many different sound classes. Here, we use a sound-ranking framework to quantitatively evaluate such representations in a large-scale task. We have adapted a machine-vision method, the passive-aggressive model for image retrieval (PAMIR), which efficiently learns a linear mapping from a very large sparse feature space to a large query-term space. Using this approach, we compare different auditory front ends and different ways of extracting sparse features from high-dimensional auditory images. We tested auditory models that use an adaptive pole–zero filter cascade (PZFC) auditory filter bank and sparse-code feature extraction from stabilized auditory images with multiple vector quantizers. In addition to auditory image models, we compare a family of more conventional mel-frequency cepstral coefficient (MFCC) front ends. The experimental results show a significant advantage for the auditory models over vector-quantized MFCCs. When thousands of sound files with a query vocabulary of thousands of words were ranked, the best precision at top-1 was 73% and the average precision was 35%, reflecting a 18% improvement over the best competing MFCC front end.
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Liu, Wei, and Ling Song He. "Research and Application of Moore’s Time-Varying Loudness Model." Advanced Materials Research 301-303 (July 2011): 1231–36. http://dx.doi.org/10.4028/www.scientific.net/amr.301-303.1231.
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Loudness is one of the most important parameters of psychoacoustics. In the past, most loudness models were applicable only to steady sounds. However, most everyday sounds are time-varying. Moore and coworkers described a time-varying loudness model based on Moore’s Loudness model. In this paper, a detailed calculation of Moore’s time-varying loudness model is given. The model using the time waveform of a sound which is picked up by the microphone as its input is implemented in Visual C++. The results which are compared with LabVIEW and ANSI show that the system is feasible.
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Kuchina, Tayjana G. "«FILLING IN THE GAP BETWEEN SOUND AND WORD»: ACOUSTIC IMAGE-MAKING IN B. AKHMADULINA’S LYRICAL POETRY." Verhnevolzhski Philological Bulletin 22, no. 3 (2020): 61–67. http://dx.doi.org/10.20323/2499-9679-2020-3-22-60-66.
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The article analyzes relations between the sound and the word in the image-bearing system of B. Akhmadulina’s lyrical poetry. Among the acoustic objects in the poetess’ works one may discover sounds of natural environmental phenomena, as those of rain, of dripping water, cock’s crowing, etc., as well as the audible strata of culture (sounds of music, singing, or gramophone play). Meaningfully, the audible natural world is often expressed by either comparing it with music, or metaphorically, associating it with human speech, or, ultimately, with a prophetic or even sacred word. Sounds of everyday life, as the click of an electric switch, or the squeak of an opening door, as a rule, lose their direct material meaning and acquire metaphorical and symbolic connotations. The acoustic background of everyday life in Akhmadulina’s lyrical contents is turned into the «speech» of ordinary objects and can be juxtaposed with the poetess’ word, the poet being responsible to endow space with a voice. Paradoxically, it cannot be achieved by music. For all the high density of Akhmadulina’s musical associations, she seldom describes them, more often than not in the majority of musical fragments there appears «the silent movie effect», when acoustic means of the performed music is represented via its visual analogs, while musical instruments are needed only metaphorically or as means of comparison. Real sounds, those that will acquire actual meaning serve as blood emphatic accents which turn into ‘bleeding speech’. It is only then that the gap between the sound and the word dies away. The process of extracting the sound is hard and almost always painful. Still, that is the only way of overcoming the existing noise which claims the word’s space, and thus saves the object from namelessness. It is only the poet’s living voice that is able to give speech its identity and credibility. It is only by extreme effort that one can give name to the existing matter. Only by saying it aloud can you come into contact with Truth.
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Gershon, Walter S. "Policing Normalcy: Men of Color Speak Back at a Ridiculously White Institution." Cultural Studies ↔ Critical Methodologies 20, no. 1 (December 18, 2019): 52–62. http://dx.doi.org/10.1177/1532708619884969.
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This article serves as supplemental information for a performative presentation of what the author calls sound arts–based research (SABR) and how it can function as sounded scholarship and sound art for social justice in education. Utilizing a combination of sound and text, this article documents everyday experiences of policing for young men of color at a Ridiculously White Institution (RWI). Focusing on processes of intention, attention, expression, and reception, this article also seeks to more clearly parse the often subtle, nuanced ethical differences between more artistic sound-making and (qualitative) sounded scholarship.