Relevant bibliographies by topics / Sound

Academic literature on the topic 'Sound'

Author: Grafiati
Published: 4 June 2021
Last updated: 22 June 2024

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Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Journal articles on the topic "Sound":

1

Mini, Darshana Sreedhar. "‘Un-sound’ Sounds." Music, Sound, and the Moving Image 13, no. 1 (July 2019): 3–30. http://dx.doi.org/10.3828/msmi.2019.2.

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2

Regina, Frilia Shantika. "BUNYI SERTAAN PADA PELAFALAN PENYANYI YURA YUNITA: PEMANFAATAN KAJIAN FONETIK SEBAGAI BAHAN AJAR MATA KULIAH FONOLOGI." Semantik 9, no. 2 (September 14, 2020): 77–84. http://dx.doi.org/10.22460/semantik.v9i2.p77-84.

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One type of phonetic study is the accompanying sound. The sound of inclusion indaily life is often not recognized. This is becouse the accompanying sound is produced accidentally by the speaker. Assessment of speech sound can improve the ability of students to listen and identify one type of phonetic study, teh sound of inclusion. The research method used is a qualitative research method with descriptive analysis research type. The data in this study were divided into primary data in the from of songs sung by singer Yura Yunita and secondary data in the from of books, journals, and articles. Data analysis is done by collecting all the notes in the fiels, then reducing the data in the form of sound, after that present it into a pattern that is formed, to produce conclusions. Based on the results of an analysis of two songs entitled “Malam Sunyi” and “ Harus Bahagia” found thirtteen accompanying sounds. The thirteen accompanying sounds are included in teh types of sounds including labisation, palatalization, retroflexion, glottalization, aspiration, and nasalization. Thus, teh song spoken by Yura Yunita can be used as an alternative teaching materials for phonology courses, especially in the accompanying soun materials.
3

Méchoulan, Eric, and David F. Bell. "Are Sounds Sound? For an Enthusiastic Study of Sound Studies." SubStance 49, no. 2 (2020): 3–29. http://dx.doi.org/10.1353/sub.2020.0007.

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4

Isodarus, Praptomo Baryadi. "Facilitating Sounds in Indonesian." Journal of Language and Literature 18, no. 2 (September 12, 2018): 102–10. http://dx.doi.org/10.24071/joll.v18i2.1566.

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This article presents the research result of facilitating sounds in Indonesian. Facilitating sound is a sound which facilitates the pronunciation of a sound sequence in a word. Based on the data analysis, the facilitating sounds in Indonesian are [?], [y], [w], [?], [m], [n], [?], [?] and [??]. Sound [?] facilitates the consonant cluster pronunciation in a word. Sound [y] facilitates the pronunciation of the sound sequences [ia] and [aia] among syllables and morphemes. Sound [w] facilitates the pronunciation of sound sequence [ua] among syllables and morphemes and the sound sequence of [oa] and [aua] among morphemes. Sound [?] facilitates the sound sequence [aa] among syllables and morphemes and the sound sequence [oa] among syllables. Sound [m] facilitates the pronunciation of nasal sound sequence [N] in prefixes me(N) or pe(N)- whose morpheme base begins with sounds [b, p, f, v]. Sound [n] facilitates the pronunciation of sound sequences [d] and [t] in the beginning of the morpheme base. Sound [?] facilitates the pronunciation of sound sequence [N] in prefixes me(N) or pe(N)- whose morpheme base begins with the vowels [a, i, u, e, ?, ?, o, ?], [g], [h] and [k]. Sound [?] facilitates the pronunciation of sound sequence [N] in prefixes me(N) or pe(N)- whose morpheme base begins with sounds of [j, c, s]. Sound [??] facilitates the pronunciation of words which are formed by prefixes me(N) or pe(N)- with one syllable morpheme base.Keywords: facilitating sound, phonology, Indonesian
5

paine, garth. "endangered sounds: a sound project." Organised Sound 10, no. 2 (August 2005): 149–62. http://dx.doi.org/10.1017/s1355771805000804.

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endangered sounds is a project that focuses on the exploration of sound marks (trade-marked sounds). the initial stage of this project was funded by arts victoria, and comprised legal searches that resulted in the listings of sound marks registered in australasia and the united states of america. this list was published on the internet with a call for volunteers to collect samples of the listed sounds internationally. the volunteer was sent a specimen tube with label and cap, and asked to collect the sound by placing the specimen tube close to the source (thereby capturing the air through which the sound travelled), securing the cap and then completing the label, documenting the time, place and nature of the sound (sound mark reg. no., sound mark description, time of capture, date of capture, location, etc.). these specimen tubes were collected and displayed in chemistry racks in the exhibition in the biennale of electronic arts, perth in 2004, illustrating the frequency and diversity of the environment into which these ‘private’, protected sounds have been released. the exhibition project consisted of:(1) a web portal listing all the sound marks listed in australasia and the usa, and negotiations are underway to expand that to include the eu.(2) a collection of sound marks in specimen tubes with caps and labels gathered internationally by people who volunteered to collect samples of sound marks in their environment.(3) a number of glass vacuum desiccator vessels containing a small loudspeaker and sound reproduction chip suspended in a vacuum, reproducing sound marks in the vacuum, notionally breaking the law, but as sound does not travel in a vacuum the gallery visitor hears no sound – what then is the jurisdiction of the sound mark?(4) a card index register of lost and deceased sounds.this project questions the legitimacy of privatising and protecting sounds that are released at random in public spaces. if i own a multi-million dollar penthouse in a city, and work night shifts, i have no recourse against the loud harley davidson or australian football league (afl) siren that wakes me from my precious sleep – both sounds are privately protected, making their recording, reproduction and broadcast illegal.while there are legal mechanisms for protection against repeat offenders, and many of us are committed to a culturally conditioned moral obligation re sound dispersion, there are no legal limits – i can call the police, but the football siren is already within legal standards and still permeates the private domain of city dwellings. the noise abatement legislation is only applicable to regular breaches of the law, and takes some time to sort out, but it does not apply to singular occurrences which, although within legislated limits, still disturb. additionally, the laws are based on amplitude and do not really address the issue of propagation. the ownership of the sound is not addressed in these legislative mechanisms – it should be; if the sound is an emblem of corporate identity, we should be able to choose not to be exposed to it, in the same way that we can place a ‘no junk mail’ sign on our letter boxes. acknowledgement of the private domain is sacrosanct in other areas of legislation, in fact heavily policed, but not addressed in discussions of the acoustic environment beyond amplitude limitations.
6

Dudschig, Carolin, Ian Grant Mackenzie, Jessica Strozyk, Barbara Kaup, and Hartmut Leuthold. "The Sounds of Sentences: Differentiating the Influence of Physical Sound, Sound Imagery, and Linguistically Implied Sounds on Physical Sound Processing." Cognitive, Affective, & Behavioral Neuroscience 16, no. 5 (July 29, 2016): 940–61. http://dx.doi.org/10.3758/s13415-016-0444-1.

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7

Yu, Boya, Jie Bai, Linjie Wen, and Yuying Chai. "Psychophysiological Impacts of Traffic Sounds in Urban Green Spaces." Forests 13, no. 6 (June 19, 2022): 960. http://dx.doi.org/10.3390/f13060960.

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The goal of this study is to investigate the psychophysiological effects of traffic sounds in urban green spaces. In a laboratory experiment, psychological and physiological responses to four traffic sounds were measured, including road, conventional train, high-speed train, and tram. The findings demonstrated that traffic sounds had significant detrimental psychological and physiological effects. In terms of psychological responses, the peak sound level outperformed the equivalent sound level in determining the psychological impact of traffic sounds. The physiological effects of traffic sounds were shown to be significantly influenced by sound type and sound level. The physiological response to the high-speed train sound differed significantly from the other three traffic sounds. The physiological effects of road traffic sounds were found to be unrelated to the sound level. On the contrary, as for the railway sounds, the change in sound level was observed to have a significant impact on the participants’ physiological indicators.
8

Imamori, Kanta, Atsuya Yoshiga, and Junji Yoshida. "Sound quality evaluation for luxury refrigerator door closing sound." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 5 (August 1, 2021): 1845–54. http://dx.doi.org/10.3397/in-2021-1968.

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In this study, we carried out subjective evaluation tests employing 19 refrigerator door closing sounds to quantify the luxury feeling. By applying factor analysis to the subjective evaluation results, the sound quality of the refrigerator door closing sound was found to be expressed by the following two factors: overall loudness and the pitch of the sound. Subsequently, luxury feeling evaluation model was obtained through multiple regression analysis. As the result, the luxury feeling of the door closing sound was evaluated to be high when the sound was softer and had lower pitch. Then, we prepared several luxury door closing sounds according to the obtained evaluation model through a filter processing and conducted subjective evaluation tests again to verify the evaluation model. The result shows that the amplitude increased sound at low frequency band under 100 Hz, which was calculated to be high luxury by the evaluation model, was actually evaluated as the best among the presented sounds through the subjective test. And the luxury sound quality evaluation method was confirmed to be useful to quantify and estimate the sound quality of the refrigerator door closing sound.
9

Yu, Boya, Linjie Wen, Jie Bai, and Yuying Chai. "Effect of Road and Railway Sound on Psychological and Physiological Responses in an Office Environment." Buildings 12, no. 1 (December 22, 2021): 6. http://dx.doi.org/10.3390/buildings12010006.

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The present study aims to explore the psychophysiological impact of different traffic sounds in office spaces. In this experiment, 30 subjects were recruited and exposed to different traffic sounds in a virtual reality (VR) office scene. The road traffic sound and three railway sounds (conventional train, high-speed train, and tram) with three sound levels (45, 55, and 65 dB) were used as the acoustic stimuli. Physiological responses, electrodermal activity (EDA) and heart rate (HR) were monitored throughout the experiment. Psychological evaluations under each acoustic stimulus were also measured using scales within the VR system. The results showed that both the psychological and the physiological responses were significantly affected by the traffic sounds. As for psychological responses, considerable adverse effects of traffic sounds were observed, which constantly increased with the increase in the sound level. The peak sound level was found to have a better performance than the equivalent sound level in the assessment of the psychological impact of traffic sounds. As for the physiological responses, significant effects of both the acoustic factors (sound type and sound level) and the non-acoustic factors (gender and exposure time) were observed. The relationship between sound level and physiological parameters varied among different sound groups. The variation in sound level hardly affected the participants’ HR and EDA when exposed to the conventional train and tram sounds. In contrast, HR and EDA were significantly affected by the levels of road traffic sound and high-speed train sound. Through a correlation analysis, a relatively weak correlation between the psychological evaluations and HR was found.
10

Oszczapinska, Urszula, Bridget Nance, Seojun Jang, and Laurie M. Heller. "Typical sound level in environmental sound representations." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A162. http://dx.doi.org/10.1121/10.0018517.

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Although the sound level reaching a listener’s ear depends upon the sound source level and the environment, a stable source level can be perceived (McDermott et al., 2021). Nonetheless, variation in sound level can disrupt recognition in a short-term old/new task (Susini et al., 2019). We asked whether there is evidence of long-term memory of the typical level of everyday sounds. First, we found that listeners can report the level at which they typically hear a sound. Next, we compared sound judgements over headphones (ESC-50 dataset) across two conditions: (1) “typical”: levels set to produce the loudness experienced as “typical” for each sound (as determined by pilot studies); and (2) “equal”: levels at 70 dB SPL. Recognition, familiarity, and pleasantness were judged. There was no significant difference in recognition accuracy between level conditions and no interaction with whether sounds were louder or softer than their typical levels. In addition, recognition increased as sound familiarity increased, but this did not interact with level condition. Furthermore, consistent with past findings, sound pleasantness decreased as loudness increased, but this effect did not depend upon the condition. [Work supported by REAM.]
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You might also be interested in the extended bibliographies on the topic 'Sound' for particular source types:
Journal articles Dissertations / Theses Books

Dissertations / Theses on the topic "Sound":

1

Di, Bona Elvira. "Sound and sound sources." Paris, EHESS, 2013. http://www.theses.fr/2013EHES0058.

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Dans cette thèse je vais proposer une théorie de la perception auditive selon laquelle les sons sont strictement attachés aux objets matériels qui sont leurs sources. Dans le Chapitre l, je propose une taxonomie des théories du son. Ma taxonomie range les théories du son dans quatre catégories : le groupe minimaliste, le groupe modéré, le groupe maximaliste et le groupe plus-que-maximaliste. Dans le Chapitre II, je fais deux choses: je traite des questions sur l'a-spatialité de la perception auditive, et ensuite, je caractérise la relation entre les sources sonores et les sons. Par ailleurs, mon intention est de justifier le point de vue maximaliste en défendant une nouvelle théorie du son comme événement vibratoire qui arrive aux sources sonores. Dans le Chapitre III e IV je m'occupe des qualités sonores du son qui sont la hauteur, l'intensité, le timbre, la durée et la location. En générale, je vais montrer que non seulement les qualités sonores peuvent être considérées comme des contreparties perceptibles des propriétés physiques des ondes sonores dans un milieu, mais qu'elles sont aussi en corrélation avec les propriétés physiques de la vibration de l'objet sonore. L'objectif du Chapitre V est d'aborder le problème de la perception directe du son et des sources sonores. En particulier, je vais prétendre que mon analyse des qualités sonores -qui prête une attention particulière au timbre -et la caractérisation du son comme événement source nous permet de conclure que nous pouvons entendre directement les sources sonores -et que nous pouvons, donc, justifier la vue maximaliste. Dans l'Excursus j'évalue la possibilité auditive de percevoir la causalité
Ln this dissertation I defend two theses: the "identity view" and the "maximalist view". According to the first thesis, when we hear sounds, we hear also events and happenings which occur at the sources where sounds have been produced. According to the second thesis, our auditory landscape is constituted by sounds which not only are identical to the audible events occurring at sound sources, but they are also the tools which help us to recover information about the material objects which generate sound. This dissertation is composed by five chapters and an Excursus. In Chapter 1, I propose a taxonomy of sound theories. My taxonomy organises sound theories into four groups: the minimalist group, the moderate group, the maximalist group and the overmaximalist group. In Chapter Il, I deal with issues on the a-spatiality of auditory perception, in the attempt to demonstrate that we hear sound as co-Iocated with sound sources. Furthermore, I define the relation between sound sources and their sounds and justify the identity view by virtue of the distinction between two aspects of sound sources -the thing source (such as bells or violins) and the event source (such as collisions or vibratory events at the object). In Chapters III and IV, I tackle the problem of the audible qualities of sound (pitch, loudness, timbre, duration and location) in the light of the characterization of sound as event source. The objective of the last chapter is the problem of the direct perception of sound and sound sources in the light of the considerations made in the previous chapters. I add an Excursus in which I evaluate the possibility of perceiving causality by audition
2

Liao, Wei-Hsiang. "Modelling and transformation of sound textures and environmental sounds." Thesis, Paris 6, 2015. http://www.theses.fr/2015PA066725/document.

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Le traitement et la synthèse des sons environnementaux sont devenue un sujet important. Une classe des sons, qui est très important pour la constitution d'environnements sonore, est la classe des textures sonores. Les textures sonores sont décrit par des relations stochastiques et qui contient des composantes non-sinusoïdales à caractère fortement bruité. Il a été montré récemment que la reconnaissance de textures sonores est basée sur des mesures statistiques caractérisant les enveloppes dans les bandes critiques. Il y actuellement très peu d'algorithmes qui permettent à imposer des propriétés statistiques de façon explicite lors de la synthèse de sons. L'algorithme qui impose l'ensemble de statistique qui est perceptivement relevant pour les textures sonore est très couteuse en temps de calcul. Nous proposons une nouvelle approche d'analyse-synthèse qui permet une analyse des statistiques relevant et un mécanisme efficace d'imposer ces statistiques dans le domaine temps-fréquence. La représentation temps-fréquence étudié dans cette thèse est la transformée de Fourier à court terme. Les méthodes proposées par contre sont plus générale et peuvent être généralisé à d'autres représentations temps-fréquence reposant sur des banques de filtres si certaines contraintes sont respectées. L'algorithme proposé dans cette thèse ouvre plusieurs perspectives. Il pourrait être utilisé pour générer des textures sonores à partir d'une description statistique créée artificiellement. Il pourrait servir de base pour des transformations avancées comme le morphing, et on pourrait aussi imaginer à utiliser le modèle pour développer un contrôle sémantique de textures sonores
The processing of environmental sounds has become an important topic in various areas. Environmental sounds are mostly constituted of a kind of sounds called sound textures. Sound textures are usually non-sinusoidal, noisy and stochastic. Several researches have stated that human recognizes sound textures with statistics that characterizing the envelopes of auditory critical bands. Existing synthesis algorithms can impose some statistical properties to a certain extent, but most of them are computational intensive. We propose a new analysis-synthesis framework that contains a statistical description that consists of perceptually important statistics and an efficient mechanism to adapt statistics in the time-frequency domain. The quality of resynthesised sound is at least as good as state-of-the-art but more efficient in terms of computation time. The statistic description is based on the STFT. If certain conditions are met, it can also adapt to other filter bank based time-frequency representations (TFR). The adaptation of statistics is achieved by using the connection between the statistics on TFR and the spectra of time-frequency domain coefficients. It is possible to adapt only a part of cross-correlation functions. This allows the synthesis process to focus on important statistics and ignore the irrelevant parts, which provides extra flexibility. The proposed algorithm has several perspectives. It could possibly be used to generate unseen sound textures from artificially created statistical descriptions. It could also serve as a basis for transformations like stretching or morphing. One could also expect to use the model to explore semantic control of sound textures
3

Liao, Wei-Hsiang. "Modelling and transformation of sound textures and environmental sounds." Electronic Thesis or Diss., Paris 6, 2015. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2015PA066725.pdf.

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Le traitement et la synthèse des sons environnementaux sont devenue un sujet important. Une classe des sons, qui est très important pour la constitution d'environnements sonore, est la classe des textures sonores. Les textures sonores sont décrit par des relations stochastiques et qui contient des composantes non-sinusoïdales à caractère fortement bruité. Il a été montré récemment que la reconnaissance de textures sonores est basée sur des mesures statistiques caractérisant les enveloppes dans les bandes critiques. Il y actuellement très peu d'algorithmes qui permettent à imposer des propriétés statistiques de façon explicite lors de la synthèse de sons. L'algorithme qui impose l'ensemble de statistique qui est perceptivement relevant pour les textures sonore est très couteuse en temps de calcul. Nous proposons une nouvelle approche d'analyse-synthèse qui permet une analyse des statistiques relevant et un mécanisme efficace d'imposer ces statistiques dans le domaine temps-fréquence. La représentation temps-fréquence étudié dans cette thèse est la transformée de Fourier à court terme. Les méthodes proposées par contre sont plus générale et peuvent être généralisé à d'autres représentations temps-fréquence reposant sur des banques de filtres si certaines contraintes sont respectées. L'algorithme proposé dans cette thèse ouvre plusieurs perspectives. Il pourrait être utilisé pour générer des textures sonores à partir d'une description statistique créée artificiellement. Il pourrait servir de base pour des transformations avancées comme le morphing, et on pourrait aussi imaginer à utiliser le modèle pour développer un contrôle sémantique de textures sonores
The processing of environmental sounds has become an important topic in various areas. Environmental sounds are mostly constituted of a kind of sounds called sound textures. Sound textures are usually non-sinusoidal, noisy and stochastic. Several researches have stated that human recognizes sound textures with statistics that characterizing the envelopes of auditory critical bands. Existing synthesis algorithms can impose some statistical properties to a certain extent, but most of them are computational intensive. We propose a new analysis-synthesis framework that contains a statistical description that consists of perceptually important statistics and an efficient mechanism to adapt statistics in the time-frequency domain. The quality of resynthesised sound is at least as good as state-of-the-art but more efficient in terms of computation time. The statistic description is based on the STFT. If certain conditions are met, it can also adapt to other filter bank based time-frequency representations (TFR). The adaptation of statistics is achieved by using the connection between the statistics on TFR and the spectra of time-frequency domain coefficients. It is possible to adapt only a part of cross-correlation functions. This allows the synthesis process to focus on important statistics and ignore the irrelevant parts, which provides extra flexibility. The proposed algorithm has several perspectives. It could possibly be used to generate unseen sound textures from artificially created statistical descriptions. It could also serve as a basis for transformations like stretching or morphing. One could also expect to use the model to explore semantic control of sound textures
4

Davies, Shaun, of Western Sydney Nepean University, and Faculty of Visual and Performing Arts. "Sound art and the annihilation of sound." THESIS_FVPA_XXX_Davies_S.xml, 1995. http://handle.uws.edu.au:8081/1959.7/402.

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This thesis describes the way in which sound is taken up and subsequently suppressed within the visual arts. The idealisation and development of sound as a plastic material is able to be traced within the modernist trajectory, which, reflecting a set of cultural practices and having developed its own specific terminologies, comes to regard any material, or anything conceived of as material, as appropriate and adequate to the expression of its distinctive and guiding concepts and metaphors. These concepts and metaphors are discussed as already having at their bases strongly visualist biases, the genealogies of which are traced within traditional or formal philosophies. Here, the marginalising tendency of ocularcentrism is exposed, but the very nature and contingency of marginalisation is found to work for the sound artist (where the perpetuation of the mythologised 'outsider' figure is desired) but against sound which is positioned in a purely differential and negative relation. In this epistemological and ontological reduction, sound becomes simply a visual metaphor or metonymic contraction which forecloses the possibility of producing other ways of articulating its experience or of producing any markedly alternative 'readings'. Rather than simply attempting to reverse the hierarchisation of the visual over the aural, or of prefacing sound within a range of artistic practices (each which would keep the negative tradition going) sound's ambiguous relation to the binarism of presence/absence, system and margin, is, however oddly, elaborated. The strategy which attempts to suspend sound primarily within and under the mark of the concept is interrogated and its limits exposed. The sound artist, the 'margin surfer' is revealed as a perhaps deeply conservative figure who may in the end desire the suppression of sound, and who, actually rejecting any destabilising and threatening notion of 'radical alterity' anxiously clings to the 'marginalised' modernist pretence. It is the main contention of this thesis that the marginalisation of sound obscures the more pressing question of its ambiguous relation to notions of sameness and difference, and that its conceptualisation suppresses the question of the ethical. That the ethical question should (and always does) take 'precedence' over purely epistemological and ontological considerations, and that more genuinely open attitudes should be assumed with respect to sound studies are forwarded in this thesis
Master of Arts (Hons)
5

Davies, Shaun. "Sound art and the annihilation of sound." Thesis, View thesis, 1995. http://handle.uws.edu.au:8081/1959.7/402.

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This thesis describes the way in which sound is taken up and subsequently suppressed within the visual arts. The idealisation and development of sound as a plastic material is able to be traced within the modernist trajectory, which, reflecting a set of cultural practices and having developed its own specific terminologies, comes to regard any material, or anything conceived of as material, as appropriate and adequate to the expression of its distinctive and guiding concepts and metaphors. These concepts and metaphors are discussed as already having at their bases strongly visualist biases, the genealogies of which are traced within traditional or formal philosophies. Here, the marginalising tendency of ocularcentrism is exposed, but the very nature and contingency of marginalisation is found to work for the sound artist (where the perpetuation of the mythologised 'outsider' figure is desired) but against sound which is positioned in a purely differential and negative relation. In this epistemological and ontological reduction, sound becomes simply a visual metaphor or metonymic contraction which forecloses the possibility of producing other ways of articulating its experience or of producing any markedly alternative 'readings'. Rather than simply attempting to reverse the hierarchisation of the visual over the aural, or of prefacing sound within a range of artistic practices (each which would keep the negative tradition going) sound's ambiguous relation to the binarism of presence/absence, system and margin, is, however oddly, elaborated. The strategy which attempts to suspend sound primarily within and under the mark of the concept is interrogated and its limits exposed. The sound artist, the 'margin surfer' is revealed as a perhaps deeply conservative figure who may in the end desire the suppression of sound, and who, actually rejecting any destabilising and threatening notion of 'radical alterity' anxiously clings to the 'marginalised' modernist pretence. It is the main contention of this thesis that the marginalisation of sound obscures the more pressing question of its ambiguous relation to notions of sameness and difference, and that its conceptualisation suppresses the question of the ethical. That the ethical question should (and always does) take 'precedence' over purely epistemological and ontological considerations, and that more genuinely open attitudes should be assumed with respect to sound studies are forwarded in this thesis
6

Davies, Shaun. "Sound art and the annihilation of sound /." View thesis, 1995. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030902.141711/index.html.

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7

Chapman, David P. "Playing with sounds : a spatial solution for computer sound synthesis." Thesis, University of Bath, 1996. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307047.

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8

Browne, Vicky Kay. "Images of sound and the sound of images." Thesis, The University of Sydney, 2010. https://hdl.handle.net/2123/24589.

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'The line between art and life should be kept as fluid, and perhaps indistinct, as possible' Allan Kaprow1 Shortly before beginning this paper I moved into a new house, under the house was my office a humble room to write in. For over ten years I had been stock piling articles and papers these were placed in boxes on the floor ready to be unpacked and incorporated into my paper. Away we went on holiday so I could return, refreshed to start writing. While we were away everything flooded. I returned to a floating soup of Derrida and Deleuze, a sodden mash of Virilio and Baudrillard. Floating down the drain was ten years of collected French theory and art writings. It was like my brain had gone soggy along with my office and all its contents. However, as everything began to dry out so too did my methodology and writing plan. Sometimes it takes a flood to reveal the old and come up with the new. I began to ask why was I doing a masters degree and what kind of paper would my practice benefit from. I decided that trawling though academic theories in art and using artists as illustrations for these theories was not going to inform my practice. After considerable thought I concluded the main things that influenced my work was the stuff of life, the theories and ideas floating around my brain. Walking the dog, living in the mountains, the radio station I listen to, are the things that have influenced and moulded both my work and therefore the choice material and the method of writing this paper. Along the way it is hoped that I can contextualise my work, where it sits in the art world, what the materials I use mean, and the wider environmental and political comments I am trying to make. The paper floats much like the articles in the flood; there is no hypothesis, no monumental conclusion; no light bulb moment. This mirrors my work, where meaning is often open ended and contradictory, scale is out of whack, technique is shonky and materials are used in an ad hoc way. There exists a kind of philosophical approach to the position of art and life, a blurring. It is this blurring that is the catalyst for this paper. I do not dismiss art theory or theorists, indeed the paper references Virilio, Bachelard and Deleuze to name a few, but they are not the driving force behind the paper. The forces that drive the paper are the tangents, the intersections, the trains of thought that occur when out walking or taking a shower. These are the trails that are played out, investigated and recorded in this paper. Chapter one by way of introduction looks at sound devices and music culture ('pop' culture) that informs my work. It also considers how I use these devices and the wider meanings and implications arising from this use. I additionally investigate different techniques and influences in my practice such as humour, theatrics and songs. These materials, techniques and influences give the work meaning which is grounded in the realm of domestic life and social structures. Chapter two discusses my practice in relation to the wider art world. It is a meditation both on art movements that have influenced my work and on one way of reading those art movements; namely Virilio's theories regarding trauma and the catastrophe. The chapter traces some modernist movements from the futurists to 1960's video and sound artists through to presentday installations, via Virilio's writings on trauma; it considers the trauma of war and the impact on art at the time. Then the chapter considers possible traumas existing in the 1960's and the present day and their impact on art. The chapter concludes with an examination of the impact of perceived traumas and catastrophes in contemporary society and how they manifest themselves in my practice. The remainder of the paper looks at specific things that have informed my practice; namely; iPods, housing, radio, scale and craft. I try to contextualise these things within my practice and also give them a wider context via an investigation into their inherent meanings and politics. The things I have chosen to consider are by no means the only things that inform my work, nor are they finite. The things that inform my practice today may easily be rejected tomorrow; rather it is the meditations and considerations behind writing about iPods or radios that are important. It is the construction of a framework, the casting out of a wider net. I am hoping to capture meaning and information that works towards contextualising, informing and clarifying my practice, yet in a method which does not pin it down or estrange it from other possibilities and directions. In a way this paper could work like a recording of my practice, the Dictaphone could record another story and lay-down another track but right now, you have this one to read...........
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Wennebjörk, Turdell Johan. "Sound Fence." Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-92054.

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To fence in pastures for sheep today is a major cost, especially because of the time required when using current methods. What takes most time is starting to fence off a new area, but to maintain a fence is also a continuous effort. The main function is to keep the sheep at the field.! ! By interviewing and observing sheep farmers on how they work with fence today and what their problems was, I got a better understanding of the problem. Also looking at a number of other things like the context, statistics on sheep farming, laws and competition mapping gave a wider image. But the most important part in my research occurred when I talked to experts about sheep behavior. The main characteristic is the flocking behavior which the final result is based on. ! By stressing a sheep with a sound as it is on its way out of the given area the sheep will, cos of flocking behavior, stop and move back to the other sheep.
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Stone, Anne. "De'ath sound." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ29515.pdf.

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Books on the topic "Sound":

1

Sadler, Wendy. Sound. Oxford: Raintree, 2006.

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1945-, Altman Rick, ed. Sound theory, sound practice. New York: Routledge, 1992.

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Sadler, Wendy. Sound: Listen up! Oxford: Raintree, 2006.

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Puget Sound Partnership (Wash.) and Puget Sound Action Team, eds. Sound health, Sound future: Protecting and restoring Puget Sound, Puget Sound Partnership Recommendations. [Olympia, WA]: Puget Sound Partnership, 2006.

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Partnership, Puget Sound, and Puget Sound Action Team (Wash.), eds. Sound health, sound future: Protecting and restoring Puget Sound, Puget Sound Partnership recommendations. [Olympia, WA]: Puget Sound Partnership, 2006.

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Puget Sound Partnership (Wash.) and Puget Sound Action Team, eds. Sound health, Sound future: Protecting and restoring Puget Sound, Puget Sound Partnership Recommendations. [Olympia, WA]: Puget Sound Partnership, 2006.

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Puget Sound Partnership (Wash.) and Puget Sound Action Team (Wash.), eds. Sound health, Sound future: Protecting and restoring Puget Sound, Puget Sound Partnership Recommendations. [Olympia, WA]: Puget Sound Partnership, 2006.

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Oxlade, Chris. Experiments with sound: explaining sound. Chicago, Ill: Heinemann Library, 2008.

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Minoru, Hatanaka, and Nozaki Takeo, eds. Sound art: Sound as media. Tokyo: Yoshida Hajimu, 2000.

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Sorrentino, Christopher. Sound on sound: A novel. Normal, Ill: Dalkey Archive Press, 1995.

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Book chapters on the topic "Sound":

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Solomos, Makis. "Sound and Sound Milieus *." In Arts, Ecologies, Transitions, 168–72. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003455523-43.

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Kalpidou, Maria. "Sound Body, Sound Mind." In The Development of Children’s Happiness and Success, 79–95. New York: Routledge, 2023. http://dx.doi.org/10.4324/9780429356414-7.

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Böhringer, Joachim, Peter Bühler, Patrick Schlaich, and Hanns-Jürgen Ziegler. "Sound." In X.media.press, 119–55. Berlin, Heidelberg: Springer Berlin Heidelberg, 2001. http://dx.doi.org/10.1007/978-3-642-59522-6_4.

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Keighley, H. J. P., F. R. McKim, A. Clark, and M. J. Harrison. "Sound." In Mastering Physics, 173–79. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-86062-3_19.

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Keighley, H. J. P., F. R. McKim, A. Clark, and M. J. Harrison. "Sound." In Mastering Physics, 173–79. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08849-2_19.

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Watkiss, Stewart. "Sound." In Beginning Game Programming with Pygame Zero, 181–205. Berkeley, CA: Apress, 2020. http://dx.doi.org/10.1007/978-1-4842-5650-3_8.

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kydd, Elspeth. "Sound." In The Critical Practice of Film, 166–84. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34527-0_8.

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de Rosen, Laurence. "Sound." In Encyclopedia of Psychology and Religion, 2240. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24348-7_656.

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Skantze, P. A. "Sound." In Shakespeare and the Making of Theatre, 180–98. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-1-137-28493-8_11.

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Vistnes, Arnt Inge. "Sound." In Physics of Oscillations and Waves, 163–212. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72314-3_7.

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Conference papers on the topic "Sound":

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Rocha, Rosimária. "Backyard Sounds, An Immersive Sound Experience." In ARTECH 2019: 9th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3359852.3359943.

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WHITTAKER, R. "MULTIDIMENSIONAL SOUND IN SOUND REINFORCEMENT FOR THEATRE." In Reproduced Sound 2000. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/18678.

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GUY, RW, and A. DE MEY. "SOUND INTENSITY MEASUREMENT OF SOUND TRANSMISSION LOSS." In Reproduced Sound 1985. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/22525.

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WRIGHT, JR. "SEEING SOUND." In Reproduced Sound 1998. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/18931.

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MAPP, P., and S. KATZ. "LAYERED SOUND - A NEW APPROACH TO SOUND REPRODUCTION." In Reproduced Sound 2003. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/18174.

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NEWELL, PR, and SM KATZ. "DISCRETE LAYERED SOUND." In Reproduced Sound 2006. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/17860.

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FELLGETT, PB. "AMBISONIC SURROUND SOUND." In Reproduced Sound 1985. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/22520.

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Liston, K., and I. M. Wiggins. "SOUND PRESSURE LEVELS IN CLOSE PROXIMITY TO SOUND REINFORCEMENT LOUDSPEAKERS." In Reproduced Sound 2021. Institute of Acoustics, 2021. http://dx.doi.org/10.25144/13800.

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Wang, Fangzhou, Hidehisa Nagano, Kunio Kashino, and Takeo Igarashi. "Visualizing video sounds with sound word animation." In 2015 IEEE International Conference on Multimedia and Expo (ICME). IEEE, 2015. http://dx.doi.org/10.1109/icme.2015.7177422.

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Johnson, David Linton, T. J. Plona, and H. Kojima. "Probing porous media with 1st sound, 2nd sound, 4th sound, and 3rd sound." In AIP Conference Proceedings Vol. 154. AIP, 1987. http://dx.doi.org/10.1063/1.36398.

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Reports on the topic "Sound":

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Carpenter, Grace. Shenandoah National Park: Acoustic monitoring report, 2016?2017. National Park Service, 2023. http://dx.doi.org/10.36967/2300465.

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This report presents acoustical data gathered by the Natural Sounds and Night Skies Division (NSNSD) at Shenandoah National Park (SHEN) in August?September of 2016 and January?March of 2017. Data were collected at four sites (Figure 1) to provide park managers with information about the acoustical environment, sources of noise , and the existing ambient sound levels within the park. In these deployments, sound pressure level (SPL) was measured continuously every second by a calibrated sound level meter. Other equipment included an anemometer to collect wind speed and a digital audio recorder collecting continuous recordings to document sound sources. In this document, ?sound pressure level? refers to broadband (12.5 Hz?20 kHz), A-weighted, 1-second time averaged sound level (LAeq, 1s), and hereafter referred to as ?sound level.? Sound levels are measured on a logarithmic scale relative to the reference sound pressure for atmospheric sources, 20 ?Pa. The logarithmic scale is a useful way to express the wide range of sound pressures perceived by the human ear. Sound levels are reported in decibels (dB). A-weighting is applied to sound levels to account for the response of the human ear (Harris, 1998). To approximate human hearing sensitivity, A-weighting discounts sounds below 1 kHz and above 6 kHz.
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Dickerson, Kelly, Jeremy R. Gaston, and Savannah McCarty-Gibson. Parameterizing Sound: Design Considerations for an Environmental Sound Database. Fort Belvoir, VA: Defense Technical Information Center, April 2015. http://dx.doi.org/10.21236/ada616644.

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ABERDEEN TEST CENTER MD SOLDIER SYSTEMS DIV. Sound Level Measurements. Fort Belvoir, VA: Defense Technical Information Center, August 2011. http://dx.doi.org/10.21236/ada550455.

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Rutledge, Annamarie, and Leslie (Leslie Alyson) Brandt. Puget Sound Region. Houghton, MI: USDA Northern Forests Climate, June 2023. http://dx.doi.org/10.32747/2023.8054016.ch.

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As the climate changes over the 21st century, the Puget Sound region's urban forest will be impacted by changing temperatures and precipitation regimes, leading to implications for the people who depend on its ecosystem services. This report summarizes climate change projections for the Puget Sound region and provides an assessment of tree species vulnerability in the region. We used projected shifts in plant hardiness and heat zones to understand how tree species of interest are projected to tolerate future conditions. We also assessed the adaptability of planted trees to stressors such as drought, flooding, wind damage, and air pollution, as well as environmental conditions such as shade, soils, and restricted rooting using "modification factors"--an adaptability scoring system for planted environments. The region has been warming at a rate of about 0.4°F per decade since 1960, and the average temperature is projected to increase by 5.0°F to 8.6°F by the end of the century compared with the 1971-2000 historical average. Precipitation in the region has been increasing by over 0.5 inches per decade since 1960 and is projected to increase by 2.1 to 3.2 inches by the end of the century compared with the 1971-2000 historical average. By the end of the century, the Puget Sound region is projected to shift from hardiness zones 8-9 to zone 9 completely, and from heat zone 2 to heat zone 3 (RCP4.5) or 6 (RCP8.5), depending on the climate change scenario. Of the evaluated tree species, 27% were rated as having high adaptability, 59% were rated as having medium adaptability, and 14% were rated as having low adaptability. Given that the hardiness zone range is projected to remain within the historical (1980-2009) range, we considered both heat zones alone as well as heat and hardiness zones. Considering heat zones only, most of the assessed tree species fell into the low-moderate vulnerability category (57%), followed by low vulnerability (26%) and moderate vulnerability (17%) under both low and high climate change scenarios. The vulnerability ratings remain the same between low and high climate change scenarios because all assessed tree species are considered suitable under both sets (low and high) of heat zone projections through the end of the century. Considering both heat and hardiness zones, most of the assessed tree species fell into the moderate-high vulnerability category (34%), followed by low-moderate (25%), moderate (18%), low (14%), and high (9%). The vulnerability ratings are the same between low and high climate change scenarios because the projected hardiness zone is the same under both scenarios through the end of the century. The vulnerability of individual species is not the only factor to consider when making urban forestry decisions, and this assessment also contains species diversity and human health as additional factors. These projected changes in climate and their associated impacts and vulnerabilities will have important implications for urban forest management, including the planting and maintenance of street and park trees, equity and environmental justice efforts, and long-term planning from partnerships to green infrastructure.
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Krause, Timothy. Sound Effects: Age, Gender, and Sound Symbolism in American English. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2301.

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Chillara, Vamshi. Powering Implants Using Sound. Office of Scientific and Technical Information (OSTI), July 2017. http://dx.doi.org/10.2172/1369168.

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Harrison, Richard W., Walter M. Madigosky, and Basil Vassos. Sound Absorbing Acoustic Horns. Fort Belvoir, VA: Defense Technical Information Center, March 1986. http://dx.doi.org/10.21236/ada212831.

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Watkins, William A. Marine Mammal Sound Archive. Fort Belvoir, VA: Defense Technical Information Center, August 2003. http://dx.doi.org/10.21236/ada417094.

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Gaughen, C. D. Quantifying Sound Coating Adhesion. Fort Belvoir, VA: Defense Technical Information Center, March 2000. http://dx.doi.org/10.21236/ada380878.

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Kriete, Birgit. Orcas in Puget Sound. Fort Belvoir, VA: Defense Technical Information Center, January 2007. http://dx.doi.org/10.21236/ada477509.

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