Literatura académica sobre el tema "Electric-acoustic compositions"

Abstract We present the second iteration of a Touch-Responsive Augmented Violin Interface System, called TRAVIS II, and two compositions that demonstrate its expressivity. TRAVIS II is an augmented acoustic violin with touch sensors integrated into its 3-D printed fingerboard that track left-hand finger gestures in real time. The fingerboard has four strips of conductive PLA filament that produce an electric signal when fingers press down on each string. Although these sensors are physically robust, they are mechanically assembled and thus easy to replace if damaged. The performer can also trigger presets via four sensors attached to the body of the violin. The instrument is completely wireless, giving the performer the freedom to move throughout the performance space. Although the sensing fingerboard is installed in place of the traditional fingerboard, all other electronics can be removed from the augmented instrument, maintaining the aesthetics of a traditional violin. Our design allows violinists to naturally create music for interactive performance and improvisation without requiring new instrumental techniques. The first author composed two compositions to highlight TRAVIS II: “Dream State” and “Kindred Dichotomy.” Both of these compositions involve improvisation in their creative process and include interactive visuals. In this article we describe the design of the instrument, experiments leading to the sensing fingerboard, performative applications of the instrument, and compositional considerations for the resultant pieces.

Preliminary studies have shown that the optical absorption spectra of radiation-colored glasses correspond to the spectral behavior of the scattering losses of an optically inhomogeneous medium. The reasons for the same optical changes in glasses of different compositions are the radiation-induced electric charge separation in the structurally nano-inhomogeneous glass volume, polarization and formation of nanometer optical inhomogeneities. The authors of this work prove that the radiation changes in the mechanical and optical properties of silicate glasses are of the same nature. The performed estimates indicate that the electric charge separation in the glasses occurs up to absorbed doses of about 1 MGy. The local electric charge separation due to the appearance of Coulomb forces leads to radiation hardening of the glasses. The estimated Coulomb hardening of the quartz glasses was ~ 107 Pa. The theoretical results were experimentally confirmed by measuring the mechanical properties of the glasses under high intensity proton irradiation as well as by testing the mechanical strength of a composite material based on quartz glass. Under proton irradiation with a dose rate of 5×103 Gy/s (energy of 8 MeV) up to threshold doses of ~ (1 – 5) ×106 Gy in the KU-1 quartz glasses, the decrement of acoustic vibrations decreased due to Coulomb hardening. After gamma irradiation with 1.34×105 Gy, the tensile strength of the composite material based on quartz glass increased by up to 20 MPa. This value is in the range of estimates of Coulomb hardening of quartz glasses. It is also shown that ionizing radiation does not affect the elastic modulus of materials based on SiO2.

Using the Sagdeev pseudopotential method, the properties of negative dust-acoustic supersolitons are investigated in a plasma comprising cold negative dust and Boltzmann and Cairns non-thermal positive ions. Supersolitons have electric field profiles with additional wiggles on traditional bipolar structures, and their existence requires pseudopotentials having two sub-wells before a root is reached. Once the existence ranges are determined in parameter space, typical pseudopotential, supersoliton and electric field profiles can be easily generated. Their characteristics are very robust and yield dust and dust-ion-acoustic supersolitons in a wide range of compositional models and parameter ranges.

The problem of sound emission is considered by a system formed from cylindrical piezoceramic radiators with internal acoustically soft screens. Longitudinal axis of emitters lie in one plane. This system is characterized by the interaction of electric, mechanical and acoustic fields in the process of conversion electrical energy to acoustical energy and acoustic fields in the process of forming them in the environments. The purpose of the work is to determine the peculiarities of the electromechanical acoustic transformation of energy by cylindrical piezoceramic radiators with internal screens in the composition of flat systems, taking into account all types of interaction.The research was carried out by the method of bound fields in multiply connected domains with the use of addition theorems for the cylindrical wave functions. The physical fields arising from the emission of sound by such a system are determined by the joint solution of the system of differential equations: the wave equation; equations of motion of thin piezoceramic shells with circular polarization in displacements; the equations of forced electrostatics for piezoceramics at given boundary conditions, the conditions of conjugation of fields at the boundaries of the division of domains and electric conditions.The solution of the problem is reduced to the solution of an infinite system of linear algebraic equations with respect to unknown coefficients of field expansions.An analysis of the results of numerical calculations, performed on the basis of the obtained analytical relations, called to establish a number of features in the electromechanical acoustic transformation of energy by emitters in the composition of flat systems. They include: the role of acoustic interaction in the process of energy conversion; determination of the mechanism of quantitative assessment of the influence of interaction on these processes; the dependence of the degree of violation of the radial symmetry of the acoustic loading of the emitters on the amount of acoustic interaction; the appearance of multimodality of the mechanical field of emitters in the structure of the plane system and the dependence of the redistribution of energy between all modes on the degree of disturbance of the radial symmetry of the acoustic loading of the emitters.

My introduction to the emerging field of disability studies (DS) was not by accident, but by injury. A professor of music composition and theory who uses piano and computer keyboards extensively, performs on acoustic guitar, electric bass, and mandolin, and handwrites a great deal, I have coped with pain and functional limitations from spinal and upper limb injuries for years. In 1999, on disability leave, recovering from neurosurgery for cervical disk herniation, I read a call for papers on disability and the performing arts. Intrigued, I immersed myself in DS literature, and began to participate in the Society for Disability Studies and to engage in research, teaching, and creative projects on disability topics.

The magnetoresistivity (MR) is theoretically calculated in a compositional semiconductor superlattice (CSSL), subjected to a crossed DC electric field and magnetic field, in the presence of an intense electromagnetic wave (EMW). The magnetic field is oriented along the growth direction of the CSSL and the electron–acoustic phonon interaction is taken into account at low temperature. Numerical results for the GaN/AlGaN CSSL show the Shubnikov–de Haas (SdH) oscillations in the MR whose period does not depend on the temperature and amplitude decreases with increasing temperature. The temperature dependence of the relative amplitude of these oscillations is in good agreement with other theories and experiments in some two-dimensional (2D) electron systems. The influence of the EMW as well as superlattice structure on the MR is discussed and compared with available theoretical and experimental results.

Electromagnetic modes with the electric vector of the wave lying in the plane defined by the wave vector and the external d.c. electric field are studied theoretically in weakly ionized plasmas with several sorts of ions. The corresponding instability criteria are also given. The analysis is based on kinetic equations with BGK model collision integrais for the one-particle distribution functions of the charged constituents (electrons and all sorts of ions). The linear theory of perturbation is applied. Special attention is given to the long-wave domain (modal wavelengths much larger than the electron mean free path): it is in this domain that the instabilities are found to set in first as the electron drift is gradually increased. The increments of these instabilities are, however, smaller than in the short-wave domain which was mainly studied before. Apart from the modes which exist in weakly ionized plasmas with only one ion species, and which re-appear in the case studied here with somewhat altered characteristics, a new slow mode, specifie for multi-species weakly ionized plasmas, is found. Its phase velocity is below the electron thermal velocity, and its existence, as well as the conditions of excitation of the corresponding instability, depend on the plasma composition and non-isothermality (viz. the ratio Te/Ti). In some situations, two such modes are possible. The analysis of the instabilities is completed by a brief description of two (sometimes three) branches of ion acoustic instability, specific for the multi-species plasmas and propagating strictly along the direction of the external electric field.

Abstract. The optical detection of auroral subarcs a few tens of m wide as well as the direct observation of shears several m/s per m over km to sub km scales by rocket instrumentation both indicate that violent and highly localized electrodynamics can occur at times in the auroral ionosphere over scales 100 m or less in width. These observations as well as the detection of unstable ion-acoustic waves observed by incoherent radars along the geomagnetic field lines has motivated us to develop a detailed time-dependent two-dimensional model of short-scale auroral electrodynamics that uses current continuity, Ohm's law, and 8-moment transport equations for the ions and electrons in the presence of large ambient electric fields to describe wide auroral arcs with sharp edges in response to sharp cut-offs in precipitation (even though it may be possible to describe thin arcs and ultra-thin arcs with our model, we have left such a study for future work). We present the essential elements of this new model and illustrate the model's usefulness with a sample run for which the ambient electric field is 100 mV/m away from the arc and for which electron precipitation cuts off over a region 100 m wide. The sample run demonstrates that parallel current densities of the order of several hundred µA m-2 can be triggered in these circumstances, together with shears several m/s per m in magnitude and parallel electric fields of the order of 0.1 mV/m around 130 km altitude. It also illustrates that the local ionospheric properties like densities, temperature and composition can strongly be affected by the violent localized electrodynamics and vice-versa.Key words: Ionosphere (auroral ionosphere, electric fields and currents, ionosphere-magnetosphere interactions)

The authors of the Test Loop of the JSC “VNIIZhT” had conducted tests of mainline electric locomotives intended for handling freight trains on sections of the road electrified with alternating current at a voltage of 25 kV (electric locomotives of an alternating current). Tests were conducted in terms of the level of external noise at the standing time. The results of tests of AC electric locomotive, which was in a stationary mode, are presented in terms of the external noise index, and a methodology for performing these tests is described. As a result of the conducted researches, the article establish the main sources of external noise in the operation of AC electric locomotives (fans intended for cooling electrical equipment and traction motors, air compressors, traction transformers, etc.), its actual values, as well as the nature of the sound field around electric locomotives. The analysis of the obtained sound field made it possible to identify the points where the excess of the standard noise values (more than 65 dBA) is observed. It is proposed to bring the technical condition of the equipment, such as traction transformer, converter and cooling module of the traction engine of the power compartment of an electric locomotive in accordance with the normative documentation. The repeated measurements of the external noise level after technical completion did not reveal the excess of its normative values in accordance with the regulatory documentation. In order to provide a normative margin in terms of the external noise of an electric locomotive, it is proposed to use sound-absorbing material in the construction of its body. It is recommended to perform an experimental study of the spectral composition of the noise of the equipment of an electric locomotive operating at the standing time and the resulting external noise at points located outside and around the locomotive in order to calculate the acoustic characteristics of sound-absorbing materials. Sound absorbing material is expedient to be selected depending on the frequency range in which the greatest excess is observed above the maximum permissible values using known empirical and semi-empirical dependences, on the basis of which it is possible to preliminary determine its sound-absorbing properties in the frequency range established by regulatory documents. After equipping the power compartment of the locomotive with soundproof materials, tests on the evaluation of the external noise of an electric locomotive at standing should be repeated.

Background. Today, jazz transcriptions of works by George Gershwin can be heard around the world. Works such as “The Man I Love”, “I Got Rhythm”, “Summertime”, “Liza”, “Fascinating Rhythm”, “Somebody Loves Me”, “Swanee”, included in the collection “Gershwin songs”, and also “Seven virtuoso etudes on the themes of G. Gershwin” by E. Wilde are performed by modern academic musicians. Thus, widely known performance versions of piano transcriptions “Gershwin songs” by M.-A. Hamelin, the song “The Man I Love” performed by A. Tharaud, P. Barton, and others famous performers. The evidence of growing interest of classical performers in the music of the American composer is the successful holding of the IV G. Gershvin International Music Competition in New York (on November 7–10, 2019). Director and main organizer of the competition, Michael Bulychev-Okser, is the American pianist, the main winner of many international competitions in the United States, Italy, Andorra, Spain and Mexico. How does a musician of academic direction, whose inner professional intentions and way of thinking are brought up on the classical repertoire, perceive Gershwin’s jazz compositions? What is the specificity of modern reading of his music? In which cultural traditions should we look for the key to understanding Gershwin’s musical language, its rhythmic and intonational specifics? Finally, can a jazz pianist consider himself completely free from the culture of the academic tradition by playing Gershwin? The search for answers to all these questions has identified the problematic perspective of this article. The purpose of the article is to reveal the characteristic features of the performance of G. Gershwin’s transcriptions by modern academic pianists using specific examples and to determine the interpretational tasks of the performer. The research methodology is based on a comprehensive genre andstyle approach to the study of musical material, and also includes a comparative method used for concidering different performance versions of the same work. The main results of the study. Jazz and the culture of academic music work closely together in the style of G. Gershwin. Indicative in this sense was the idea of a concert eloquently called “Reunion of Classics and Jazz” (1924), for which the “Rhapsody in Blue” was created and where it was first performed by the author with the orchestra of Paul Whiteman. G. Gershwin, more than any other composer of his time, communicated with African-American musicians: he knew Will Voderi, Lucky Roberts, Duke Ellington; heard New York pianists play downtown and often visited the “Cotton Club” and other places in Harlem to hear the bands of Duke Ellington, Cab Calloway and other jazz musicians. But not only jazz was the area of interest and creative acquaintances of Gershwin. Along with jazz culture, there were many other musical styles. In the works of G. Gershwin, Ch. Ives, A. Copland in the early 1920s – mid 1940s there is an original combination of deep folk intonation with the composer’s technique of the XX century, up to the use of dodecaphonic-serial technique (Copland). The fusion of jazz and academic branches in Gershwin’s music, above all, takes place at the level of form. “I took the blues and put it in a larger and more serious form”, said the composer (as quoted by Schneider, 1999: 67). As a pianist, Gershwin did not receive a systematic professional education as a child, although he later had enough teachers. But that didn’t stop him from becoming a real pianist-virtuoso and a brilliant improviser. One should listen to archival recordings of Gershwin’s performance to get an idea of his performance style. Samples of his piano performances have been partially preserved: some acoustic and electric recordings, radio recordings, two sound films and a large number of piano videos (Gibbons, 2002). The studio recording of “Rhapsody in Blue” demonstrates Gershwin’s completely “academic” pianism – with clear, well-founded articulation, bright sonic fullness, thoughtful agogics of expressive declamation, which is only emphasized by the well-organized metric pulsation and dynamics by active rhythmic movement – and his true virtuoso skill. Should a modern pianist, performing Gershwin’s works, follow the example of a balanced and rather “academic” performance, as in his studio recording “Rhapsody in Blue”, or follow Gershvin’s interpretation, which can be observed in the transcription “I Got Rhythm”, where he clearly prefers the jazz element? It makes sense to compare different examples of Gershwin’s popular piano transcription of “The Man I Love”. The performance version of the English pianist Paul Barton is an attempt to imitate the specifics of the freedom of sound of instrumental jazz styles, however, as one can hear, the musical intonation is not always convincing, the breath is a bit torn, the agogics of chord melodic constructions performance the agogics of chord melodic constructions (upper layers of texture) is greatly exaggerated and the performing is practically “released” from calculation and feeling of time. As an undoubted plus of this version it is necessary to note huge attention to harmony as such, to vertical and balance within a chord – Barton’s harmony “breathes” and moves. This approach can be justified, because the harmony of Gershwin’s songs is always diverse, bright and inventive. The record of Gershwin’s 1959 “Songbook” by Ella Fitzgerald is available today. The composition “The Man I Love” in her performance can be one of the possible orienting points in the intonation of the main melodic voice, the calculation of its unfolding in time, the display of interval “tensions” and melodic intentions in Gershwin’s music. E. Fitzgerald’s vocal-jazz style presupposes a different temporal organization of the melody, different from the one suggested by P. Barton – the movement of its vocal recitation-intonation and improvisational vocals is accelerated, then somewhat slowed down, thus creating “compensated time” of a musical work, and it is with soft, relaxed, naturally light breathing. The modern media space presents the album of French pianist Alexandre Tharaud “Swing in Paris”, which includes two compositions by Gershwin: “The Man I Love” and “Do it Again!”. Three different interpretations of “The Man I Love” are popular on the You Tube website, where each video is original in its own way. These performings are variants, but the concept of details – melodic constructions, organization of rhythmic accents, as well as a sense of Gershwin’s style, is preserved. The sophistication of the Parisian salon is what distinguishes the game of Tharaud. The musician has a sense of proportion and uses the full range of expressive means of academic pianism. At the same time, the development of the melodic line takes place organically and effortlessly, alluding to vocal genre examples, to free breathing and “blues” articulation of jazz vocalists; rhythmic accentuation is unobtrusive but clearly felt. Summing up, we note that the “Tharaud approach” is certainly the closest to the reference. Conclusions. Proceeding from the synthetic nature of G. Gershwin’s music, comprehension of its stylistic and cultural origins, analysis of listened musical samples, let us single out the interpretation constants that must be taken into account by the performer of his compositions. Among them – the inheritance of agogics, articulation, “light” breathing, inherent in the vocal jazz manner, in the intonation of the melody; “Breathing” harmony with a colorful timbre filling of chords and subvoices united into a movable vertical-horizontal complex; understanding of rhythm as an independent expressive sphere that has ethnic roots in the music of the African American tradition.

У дисертаційній роботі вирішуються актуальні питання геофізичного контролю процесу вилучення вуглеводнів з продуктивних пластів представлених породами складної будови. Доведено можливість уніфікації методики визначення коефіцієнта проникності за геофізичною інформацією на основі ідентифікації порід за структурою порового простору. Встановлено, що показники степеневої функції параметра збільшення електричного опору колектора і коефіцієнта водонасичення залежать від фільтраційних властивостей порід-колекторів. Доведено, що за результатами гранулометричного аналізу порід можна проводити класифікацію порід за ідентичністю зв’язку параметрів розподілу діаметра зерен скелета з фільтраційними властивостями. Удосконалено методику визначення поточного коефіцієнта насичення методом імпульсного нейтронного каротажу на основі просторових схем розподілу часу життя теплових нейтронів у скелеті породи. Розроблено нову технологію використання методу нейтронного каротажу для спостереження за ефективністю закачування і відбору газу з природних сховищ. Створено нову технологію оцінки впливу цементу та мінералогічної неоднорідності скелета на інтервальний час проходження пружної хвилі. Розроблено фільтраційну модель Пролетарського родовища газу, яка дала змогу раціонально вибрати свердловини, що знаходяться у сприятливих умовах для подальшої експлуатації родовища.
В диссертации решаются актуальные вопросы геофизического контроля процесса извлечения углеводородов из продуктивных пластов представленных породами сложного строения. Доказана возможность унификации методики определения коэффициента проницаемости по геофизической информации на основании идентификации пород по структуре порового пространства. Установлено, что показатель степенной функции параметра увеличения электрического сопротивления коллектора и коэффициента водонасыщенности зависит от фильтрационных свойств пород-коллекторов. Доказано, что по результатам гранулометрического анализа пород можно проводить классификацию пород по идентичности связи параметров распределения диаметра зерен скелета с фильтрационными свойствами. Усовершенствована методика определения текущего коэффициента насыщения методом импульсного нейтронного каротажа на основе пространственных схем распределения времени жизни тепловых нейтронов в скелете породы. Разработана новая технология использования метода нейтронного каротажа для контроля за эффективностью закачки и отбора газа с природных хранилищ. Создана новая ехнология оценки влияния цемента и минералогической неоднородности скелета на интервальное время пробега упругой волны. Разработана фильтрационная модель Пролетарского месторождения газа, что позволило рационально выбрать скважины, которые находятся в благоприятных условиях для продолжения эксплуатации месторождения.
In thesis the topical questions of geophysical control of hydrocarbon recovery from the productive for matious in the oil and gas fields of the Dnieper-Donets Depression, represented by the rocks of complex structure, are solved. Heterogeneity of mineral composition of the reservoir-rock skeleton and the variety of interstitial space stipulates the inadequacy of filtration and capacity properties indication in geophysical fields. The geophysical simulation of filtration properties and neutron characteristic of reservoir rocks of complex structure enabled us to study the specific features of inadequacy of geological and physical parameters relationship. It is pointed out that for the productive deposits of complex structure of the Dnieper-Donets Depression lateral heterogeneity of filtration and capacity properties, the structure of interstitial space and the mineral composition of rocks skeleton are the basic factors which affect the authenticity of the use of geophysical methods. It has been proved foe the first time that the high relative error of penneability coefficient determination according to geophysical data is caused by the use of integral characteristics in description reservoir rock interstitial space (void ratio, final water saturation). It has been proved that the parameters of interstitial space structure are dominant factors that affect the differentiation of reservoir rock filtration properties under the condition of similar porous volume. It has been established that the indices of power function parameter of reservoir rock electric resistance increase and the coefficient of water saturation depend on the distribution of reservoir rock filtration properties. Marked regularity of the nature of reservoir rock electric resistance gradient change has been revealed due to porous structure and geometry in increasing pressure fluid extraction from the interstitial space. It enables to carry out the systematization of core sample collection into groups according to the structure of interstitial space. It has also been proved that it is possible to classify rocks due to the identical relationship of skeleton grain diameter parameters distribution with filtration properties. The simulation of neutron characteristics of the reservoir rocks of the complex structure enabled to define the main obstacles of saturation coefficient determination and to prove the necessity of space sehemes development for the distribution of the mal neutrons time of existence for productive horizons taking into account mineralogical and lithological features. The technique of saturation current coefficient determination by applying impulsive neutron surveying has been improved. A new method of using neutron surveying has been developed for tracing gas pumping and extraction efficiency from natural storages on the basis of checking the influence of borehole condition on the impulsive neutron surveying data. A new evaluation technique of cement and mineral heterogeneity skeleton influence on the elastic wave time of transit was created for interval porosity coefficient determination by using acoustic surveying. The technique of creating a new filtration model is improved and it is done on the basis of rock identification due to the porous space structure features sedimentation logging analysis and the results of permeability coefficient determination according to geophysical data. A developed differential model of productive deposits filtration properties of proletarian gas-condensate field enabled to carry out the analysis of filtration properties of productive rocks, to reveal the areas of increased filtration and reservoir properties and to approach to efficient wells selection at the final stage of gas favorable conditions for further field operation.

The PhD consists of a portfolio of electric-acoustic compositions and is accompanied by a scholarly dissertation. The portfolio of works explores the development of real time electro-acoustic composition techniques using microphone-captured audio. The portfolio focuses particularly on the voice as a sound source and aims to bring together the author’s background as a popular vocalist with her ‘music-concrete’ influenced electro-acoustic compositional work. The portfolio culminates in the development of a HCI (Human Computer Interface) called the eMic (eMic extended Mic-stand interface controller) which allows the performer to control sound parameters in real-time via common music performance gestures.
Doctor of Philosophy (PhD)

The PhD consists of a portfolio of electric-acoustic compositions and is accompanied by a scholarly dissertation. The portfolio of works explores the development of real time electro-acoustic composition techniques using microphone-captured audio. The portfolio focuses particularly on the voice as a sound source and aims to bring together the author’s background as a popular vocalist with her ‘music-concrete’ influenced electro-acoustic compositional work. The portfolio culminates in the development of a HCI (Human Computer Interface) called the eMic (eMic extended Mic-stand interface controller) which allows the performer to control sound parameters in real-time via common music performance gestures.

Methods and techniques in music therapy are distinct from approaches and models which provide theoretical principles to guide action. Methods and techniques are music-based ways in which the service user or client is engaged musically. The techniques used are based on improvisational, compositional, and music listening opportunities that music therapists engage with clients. Music therapists can use music-based techniques with any combination of acoustic, electric, or electronic instrumentation, and the use of vocalization or singing is also offered. Anyone with musical skills can play music for another person; a person who is tired, in pain, or has a chronic illness or disability. Music therapy is distinguished from other ways of using music to support people in health care by both the training of the clinician, and the use of theoretical thinking to guide the use of techniques and principles in making helpful, effective, and evidence-based responses to needs.

In-situ monitoring of combustion phenomena is a critical need for optimal operation and control of advanced gas turbine combustion systems. The concept described in this paper is based on naturally occurring flame ionization processes that accompany the combustion of hydrocarbon fuels. Previous work has shown that flame ionization techniques may be applied to detect flashback, lean blowout, and some aspects of thermo-acoustic combustion instabilities. Previous work has focused on application of DC electric fields. By application of time-varying electric fields, significant improvements to sensor capabilities have been observed. These data have been collected in a lean premixed combustion test rig operating at 0.51–0.76 MPa (5–7.5 atm) with air preheated to 588 K (600°F). Five percent of the total fuel flow is injected through the centerbody tip as a diffusion pilot. The fuel composition is varied independently by blending approximately 5% (volume) propane with the pipeline natural gas. The reference velocity through the premixing annulus is kept constant for all conditions at a nominal value of 70 m/s. The fuel-air equivalence ratio is varied independently from 0.46 – 0.58. Relative to the DC field version, the time-varying combustion control and diagnostic sensor (TV-CCADS) shows a significant improvement in the correlation between the measured flame ionization current and local fuel-air equivalence ratio. In testing with different fuel compositions, the triangle wave data show the most distinct change in flame ionization current in response to an increase in propane content. Continued development of this sensor technology will improve the capability to control advanced gas turbine combustion systems, and help address issues associated with variations in fuel supplies.

As electric vehicles are moving in on the automobile market, safety relating to acoustic perception is an important issue. It is a growing concern, particularly with respect to pedestrians, cyclists or visually impaired people. This can be addressed by adding sounds to the vehicle whilst at low speed. However, adding artificial sounds to an electric vehicle begs the question as to what kind of sound is appropriate. Appropriateness concerns technical specifications and is also linked to affective reactions of recipients of such a sound. Emotional reactions to 17 artificial exterior sounds for electric vehicles were investigated in an experimental setting with a total of 40 participants, 34 novice users and six sound experts. Word association was used to elicit emotional reactions to the different sounds. Novice users employ more character-related terms to describe the sounds, while experts use more composition-based words. Analysis of variance and conjoint analysis was used to analyze participants’ assessments of sounds according to two semantic scales (pleasantness and appropriateness). Considerable inter-individual differences in the ratings of pleasantness and appropriateness indicate a great diversity of opinion about the sounds. Novice users indicate their preference for the sound of the traditional combustion engine as a possible proposition. Whilst participants saw the necessity, there was generally little enthusiasm for adding sounds to electric vehicles. The contribution of the paper concerns the methodology to analyze the results of the experiment and implications for the design of sounds for electric vehicles.