Bibliografias temáticas / Sound in art

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Literatura científica selecionada sobre o tema "Sound in art"

Autor: Grafiati
Publicado: 4 de junho de 2021
Última modificação: 29 de julho de 2024

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Artigos de revistas sobre o assunto "Sound in art"

1

Kelly, Conor. "Sound Art: Seeing Sound". Circa, n.º 77 (1996): 29. http://dx.doi.org/10.2307/25563002.

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Fontana, Bill. "The Relocation of Ambient Sound: Urban Sound Sculpture". Leonardo 41, n.º 2 (abril de 2008): 154–58. http://dx.doi.org/10.1162/leon.2008.41.2.154.

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The author describes his sound sculptures which explore how various instances of sound possess musical form. He explains the sculptural qualities of sound and the aesthetic act of arranging sound into art. Detailed descriptions of three recent works illustrate how relocating sounds from one environment to another redefines them, giving them new acoustic meanings.
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Choi, Jeongeun. "Making Sound Art Sound: Contemporary Sound Art in the Post-Medium Condition". Journal of the Science and Practice of Music 47 (30 de abril de 2022): 151–93. http://dx.doi.org/10.36944/jspm.2022.04.47.151.

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Groth, Sanne Krogh, e Kristine Samson. "Sound Art Situations". Organised Sound 22, n.º 1 (7 de março de 2017): 101–11. http://dx.doi.org/10.1017/s1355771816000388.

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This article is an analysis of two sound art performances that took place in June 2015 in outdoor public spaces at the social housing areaUrbanplanenin Copenhagen, Denmark. The two performances wereOn the Productions of a Poor Acousticsby Brandon LaBelle andGreen Interactive Biofeedback Environments (GIBE)by Jeremy Woodruff. In order to investigate the complex situation that arises when sound art is staged in such contexts, the authors of this article suggest exploring the events through approaching them as ‘situations’ (Doherty 2009). With this approach it becomes possible to engage and combine theories from several fields. Aspects of sound art studies, performance studies and contemporary art studies are presented in order to theoretically explore the very diverse dimensions of the two sound art pieces. Visual, auditory, performative, social, spatial and durational dimensions become integrated within the analysis in our pursuit of the most comprehensive interpretation of the pieces possible.
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Fryberger, Annelies. "Sounds Unheard: Reading a Sound Art Exhibition Catalog". Curator: The Museum Journal 62, n.º 3 (julho de 2019): 415–23. http://dx.doi.org/10.1111/cura.12332.

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Khamdamova, Diloramkhоn. "Voice capabilities of the singer and her hygiene rules". Общество и инновации 4, n.º 2/S (20 de fevereiro de 2023): 206–10. http://dx.doi.org/10.47689/2181-1415-vol4-iss2/s-pp206-210.

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This article provides detailed information about the reforms in our country, the attention paid to the art of music, in particular, the development of the art of singing, the singer’s voice, sounds, sound waves, and types of sound.
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Gagne, Randy. "Sound Containers: Recent Sound Art in Toronto". Senses and Society 4, n.º 1 (março de 2009): 111–16. http://dx.doi.org/10.2752/174589309x388609.

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Dunn, Alan. "The sound of a sound art archive". Journal of Writing in Creative Practice 7, n.º 3 (1 de setembro de 2014): 459–70. http://dx.doi.org/10.1386/jwcp.7.3.459_1.

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Wang, Jing. "To Make Sounds inside a “Big Can”: Proposing a Proper Space for Works of Sound Art". Leonardo 49, n.º 1 (fevereiro de 2016): 38–47. http://dx.doi.org/10.1162/leon_a_00895.

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Creators of sound art consider sound as both a tangible reality and a conceptual term; sound art works rely on and use listening as their predominant mode of perception. The author contextualizes sound art in China and problematizes existing venues where sound art is performed and exhibited. She then suggests that a proper space is necessary to certain works of sound art, and she proposes the “big can” as an ideal venue, based upon previous experience with existing art spaces as well as the unique nature of sound art. Sound generates space; now it is time to make space for sound.
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Hudson, Martyn, e Tim Shaw. "Dead Logics and Worlds: Sound art and sonorous objects". Organised Sound 20, n.º 2 (7 de julho de 2015): 263–72. http://dx.doi.org/10.1017/s135577181500014x.

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From the early experimentation with specific sounds in musique concrète (Palombini 1999) to the ‘anecdotal’ music of Luc Ferrari (1996) and the ecological sound activism of Hildegard Westerkamp (2002), the collecting, composition and recomposition of sonorous objects has been central to sound practice. Some sound art has privileged a relationship with visual arts and the structuring of objects in curated spaces (Licht 2007), others with the sound worlds beyond the exhibition (Schafer 1994). By examining a specific sound art installation, Sound and Seclusion by Tim Shaw, this article reworks the idea of sonorous objects as artefacts displaying different kinds of representations, knowledges or data. This question of sonorous ‘knowledge-objects’ is particularly important as ‘collected sounds’ become incorporated into compositions away from their, often remote, spatio-temporal origin out there in the landscape. This article raises three areas for discussion. First, what can sonorous objects tell us about the pre-compositional world (Impett 2007)? Second, in what ways can we understand sonorous objects as they are reworked in compositions which re-narrate them? Third, how can we understand sonorous objects as traces and pieces of data as well as aesthetic productions? The article concludes with a case for reworking the very idea of a sonorous object in sound practices as a product of dead logics and dead worlds as it emerges in new ensembles of composition away from its origin.
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Teses / dissertações sobre o assunto "Sound in art"

1

Ouzounian, Gascia. "Sound art and spatial practices situating sound installation art since 1958 /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291983.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.
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2

Davies, Shaun, of Western Sydney Nepean University e 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)
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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
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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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Penrose, Joshua Adam. "Situating Sound". The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1282156333.

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Milano, Omar. "It's a Wonderful Business: The Art of Production Sound". Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68016/.

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It's a Wonderful Business: The Art of Production Sound is a documentary film that offers an inside look at what it takes to record the dialog of actors and diegetic sounds on a movie set. This is the job of the production sound crew, in charge of recording the voices of some of the most talented and prominent performers in the motion picture industry. The documentary features interviews with former and current production sound mixers and boom operators from some of the most acclaimed films in the history of cinema. The film also explores the personal demands, the working conditions, and the sacrifices sound crews have endured to succeed in the always challenging, but very exciting, world of film making.
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Taylor, Jonathan Milo. "ImMApp : an immersive database of sound art". Thesis, University of the Arts London, 2009. http://ualresearchonline.arts.ac.uk/5644/.

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The ImMApp (Immersive Mapping Application) thesis addresses contemporary and historical sound art from a position informed by, on one hand, post-structural critical theory, and on the other, a practice-based exploration of contemporary digital technologies (MySQL, XML, XSLT, X3D). It proposes a critical ontological schema derived from Michel Foucault's Archaeology of Knowledge (1972) and applies this to pre-existing information resources dealing with sound art. Firstly an analysis of print-based discourses (Sound by Artists. Lander and Lexier (1990), Noise, Water, Meat. Kahn (2001) and Background Noise: Perspectives on Sound Art. LaBelle (2006)) is carried out according to Foucauldian notions of genealogy, subject positions, the statement, institutional affordances and the productive nature of discursive formation. The discursive field (the archive) presented by these major canonical texts is then contrasted with a formulation derived from Giles Deleuze and Felix Guattari: that of a 'minor' history of sound art practices. This is then extended by media theory (McLuhan, Kittler, Manovich) into a critique of two digital sound art resources (The Australian Sound Design Project (Bandt and Paine (2005) and soundtoys.net Stanza (1998)). The divergences between the two forms of information technologies (print vs. digital) are discussed. The means by which such digitised methodologies may enhance Foucauldian discourse analysis points onwards towards the two practice-based elements of the thesis. Surface, the first iterative part, is a web-browser based database built on an Apache/MySQIlXML architecture. It is the most extensive mapping of sound art undertaken to date and extends the theoretical framework discussed above into the digital domain. Immersion, the second part, is a re-presentation of this material in an immersive digital environment, following the transformation of the source material via XSL-T into X3D. Immersion is a real-time, large format video, surround sound (5.ln.l) installation and the thesis concludes with a discussion of how this outcome has articulated Foucauldian archaeological method and unframed pre-existing notions of the nature of sound art.
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Behrendt, Frauke. "Mobile sound : media art in hybrid spaces". Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/6336/.

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The thesis explores the relationships between sound and mobility through an examination of sound art. The research engages with the intersection of sound, mobility and art through original empirical work and theoretically through a critical engagement with sound studies. In dialogue with the work of De Certeau, Lefebvre, Huhtamo and Habermas in terms of the poetics of walking, rhythms, media archeology and questions of publicness, I understand sound art as an experimental mobile and public space. The thesis establishes and situates the emerging field of mobile sound art by mapping three key traditions of mobile sound art - locative art, sound art and public art - and creates a taxonomy of mobile sound art by defining four categories: 'placing sounds', 'sound platforms', 'sonifying mobility' and 'musical instruments' (each represented by one case study). In doing so it develops a methodology that is attentive to the specifics of the sonic and mobile of media experience. I demonstrate how sonic interactions and embodied mobility are designed and experienced in specific ways in each of the four case studies - 'Aura' by Symons (UK), 'Pophorns' by Torstensson and Sandelin (Sweden), 'SmSage' by Redfern and Borland (US) and 'Core Sample' by Rueb (US) (all 2007). In tracing the topos of the musical telephone, discussing the making and breaking of relevant micro publics, accounting for the polyphonies of footsteps and unwrapping bundles of rhythms, this thesis contributes to understanding complex media experiences in hybrid spaces. In doing so it critically sheds light on the quality of sonic artistic experiences, the audience engagement with urban, public and networked spaces and the relationship between sound art and everyday media experience. My thesis provides valuable insight into auditory ways of mobilising and making public spaces, non-verbal and embodied media practices, and rhythms and scales of mobile media experiences.
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Gilmurray, Jonathan. "Ecology and environmentalism in contemporary sound art". Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13705/.

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In recent years, ecological issues have grown to become some of the most significant sociopolitical concerns of our time - something which has been reflected by an explosion in engagement with such issues across every area of arts and culture. Across most major art forms, this trend has been identified, analysed and promoted both by critical studies in the growing field of ecocriticism, and by the curatorial recognition of new 'ecological' genres; however, to date there has been no equivalent ecologically-focused engagement within sound art. This can be recognised as the product of two significant gaps in sound art scholarship: the first critical in nature, regarding the lack of ecocritical engagement with sound art; and the second curatorial, regarding the failure to recognise the growing number of ecologically-engaged works of sound art as a distinct genre in their own right. The research detailed within this thesis will address each of these gaps by conducting a comprehensive investigation into ecology and environmentalism in contemporary sound art. The critical gap will be tackled by coupling a thorough analysis of the field of ecocriticism with an investigation into the ways in which ecological principles manifest within sound as a medium and listening as a means of engagement. This will then be used to develop a new ecocritical framework specifically designed for sound art, which will be employed to conduct ecocritical listenings to a selection of canonical and contemporary sound works. To address the curatorial gap, meanwhile, a new genre of 'ecological sound art' will be proposed, with a second set of ecocritical listenings focused upon a selection of ecological sound works in order to determine the precise nature of their ecological engagement, and to develop both a comprehensive definition and an initial catalogue of works for this important and timely contemporary movement.
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Genevro, Brad. "The art of recording the American wind band". connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/genevro%5Fbradley/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 1997, July 17, 1997, Mar, 3, 1998, and Nov. 14, 2005. Includes bibliographical references (p. 40-41).
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Livros sobre o assunto "Sound in art"

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

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2

Celant, Germano. Art or sound. Milano: Fondazione Prada, 2014.

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3

Minard, Robin. Sound installation art. Graz, Austria: Institut für elektronische Musik, Hochschule für darstellende Kunst, 1996.

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4

Keylin, Vadim. Participatory Sound Art. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-6357-7.

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Auinger, Sam, e Erwin Stache. Bonn hoeren: Stadtklangkunst = urban sound art. Bonn: Beethovenstiftung, 2012.

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6

Ganter, Jo. Drawing sound. Woodstock, NY: Woodstock Byrdcliffe Guild, 2017.

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7

Film, a sound art. New York: Columbia University Press, 2009.

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8

Lander, Dan. Sound by artists. Etobicoke, Ont: Charivari Press, 2013.

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9

Woolman, Matt. Sonic graphics: Seeing sound. London: Thames & Hudson, 2000.

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10

Albrecht, Hartmut, e Rosina Huth. Lautsprecherei: Re, sound - art - design. Stuttgart: Merz & Solitude, 2007.

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Capítulos de livros sobre o assunto "Sound in art"

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Gammel, Marcus. "Sound Art". In Handbuch Sound, 80–84. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-05421-0_15.

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Carmona, Susana Jiménez, Carmen Pardo Salgado e Matthieu Saladin. "Sound Art". In Arts, Ecologies, Transitions, 173–75. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003455523-44.

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Nathanson, Alex. "Sound Art". In A History of Solar Power Art and Design, 118–36. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003030683-6.

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Holmes, Thom. "Captured Sound". In Sound Art, 55–68. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781315623047-6.

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Hullfish, Steve. "Sound". In Art of the Cut, 119–36. New York: Focal Press, 2024. http://dx.doi.org/10.4324/9781003410805-12.

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Holmes, Thom. "Sonification". In Sound Art, 98–104. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781315623047-10.

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Holmes, Thom. "Conservation and Documentation of Sound Art". In Sound Art, 112–20. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781315623047-12.

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Holmes, Thom. "Acoustic Spaces". In Sound Art, 90–97. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781315623047-9.

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Holmes, Thom. "The Sounding Object". In Sound Art, 81–89. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781315623047-8.

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Holmes, Thom. "Making Sound Art Accessible". In Sound Art, 121–23. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781315623047-13.

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Trabalhos de conferências sobre o assunto "Sound in art"

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TOOLE, FE. "ART AND SCIENCE IN THE CONTROL ROOM". In Reproduced Sound 2003. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/18184.

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DE VRIES, D., e MM BOONE. "WAVE FIELD SYNTHESIS AND ANALYSIS: THE STATE OF THE ART". In Reproduced Sound 2003. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/18189.

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RUMSEY, FJ. "DIRECT ACCESS RECORDING - A SURVEY OF THE STATE OF THE ART". In Reproduced Sound 1988. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/21872.

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Takashi, Ikegami, Oka Mizuki, Maruyama Norihiro, Watanabe Yu e Matsumoto Akihiko. "Sensing the sound web". In SIGGRAPH Asia 2012 Art Gallery. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2413076.2413084.

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Richards, John D. "Speculative Sound Circuits". In Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.33.

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Fehr, Jonas, e Cumhur Erkut. "Indirection between movement and sound in an interactive sound installation". In MOCO '15: Intersecting Art, Meaning, Cognition, Technology. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2790994.2791016.

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Felician, Rosca. "ORGAN MUSICAL ART AND ITS ELEARNING DIMENSION". In eLSE 2014. Editura Universitatii Nationale de Aparare "Carol I", 2014. http://dx.doi.org/10.12753/2066-026x-14-304.

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One of the most dynamic musical instruments in terms of electronic dimension is concerned and practical possibility to apply in eLearning systems is classical organ. The dynamics of this development started in the 1960s when, for the first time the classical organ in its jazz format was invented in America and then in Europe. Today. building electronic (digital) organs from transistor and lamps with sound generators organs to digital organ has become widely spread. Digital organs have reached extraordinary professional performances in which the sound diversity and natural sounds are copied and rendered with great fidelity. Famous makes from Europe and America have started to develop independent intonation and sound application systems. All these aspects as well as the practical applications in which acoustic research could be involved by applying digital systems that exist in Romanian research to organ music are likely to open new horizons for the application of research (and learning) to the field of electro-sound that could be naturally followed by the introduction of eLearning systems in musical education. Starting from this development principles in digital systems of classical organs, there are multiple learning variants through eLearning system.This is very effective, especcialy for disabled persons. The learning system can be eassily addapted to different methods, for example the situation in wich the teacher is fallowing from distance the student, or the situation of direct hearing memorization. All this things are possible because of the digital organ's abbilities to reproduce very easily musical scores, that can be memorised by persons with visual disabilities. Another interactiv system can be developed by using the research on sound, till the dimension in wich it resemples most with natural sound. Here interfeers the acoustic research. It is well known that visual disabled persons have superior hearing abbilities. They can distinguish different sonorities and qualities of the sounds. A basic research in this domain with qualified personnel and researchers speccialized in vizual dissabled persons is possible and can be applied in Romania.
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Georgakopoulou, Nefeli, Makrina Viola Kosti, Sotiris Diplaris, Maurice Benayoun, Antonio Camurri, Beatrice de Gelder, Melanie Wald-Fuhrmann et al. "ReSilence: Retune the Soundscape of future cities through art and science collaboration". In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-58-full-georgakopoulou-et-al-resilence.

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Advances in cognitive science, sensing technologies, the arts and creative industries are paving the way for a deeper understanding of the behaviour of individuals regarding the land/soundscape they live in. Through a symbiotic relationship between artists, scientists and technology experts ReSilence explores the borders between sound and silence in a changing world by producing sound awareness in urban spaces (not only reducing the intensity of noise, but also considering it as energy producer and designing positive sounds, sounds we want to preserve and multiply). More specifically ReSilence focuses in musical experience design centred on the active participation of citizens, in the new silence of mobility, in the acoustic perception of outdoor urban soundscapes and in enhancing experiences for people with hearing and vision impairments.
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Borucka, Justyna. "ART OF SPACE � ART IN SPACE, THE ROLE OF SOUND ART IN PUBLIC SPACE". In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s15.033.

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Chen, Xiaojie, Yuanchun Shi e Zhiyong Fu. "Echo Wall: A Sound-driven Media-art". In 2007 2nd International Conference on Pervasive Computing and Applications. IEEE, 2007. http://dx.doi.org/10.1109/icpca.2007.4365447.

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Relatórios de organizações sobre o assunto "Sound in art"

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Ryder, Marianne. Forming a New Art in the Pacific Northwest: Studio Glass in the Puget Sound Region, 1970-2003. Portland State University Library, janeiro de 2000. http://dx.doi.org/10.15760/etd.1096.

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Carlson, Thomas J. Use of Sound for Fish Protection at Power Facilities : A Historical Perspective of the State of the Art : Phase 1 Final Report. Office of Scientific and Technical Information (OSTI), novembro de 1994. http://dx.doi.org/10.2172/924146.

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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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Meyer, Erik. Cabrillo National Monument: Acoustic monitoring report, 2021. National Park Service, 2024. http://dx.doi.org/10.36967/2303446.

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This study arose from the Cabrillo National Monument (CABR) Resource Stewardship Strategy (RSS), which identified the need for baseline acoustic surveys in the park. One of the RSS stewardship goals was to minimize anthropogenic sounds outside and inside park boundaries to enhance the visitor experience. A Technical Assistance Request (TAR) for natural sounds inventory was submitted to the Natural Sounds and Night Skies Division. Therefore, in May 2021, the NSNSD gathered acoustic data at two sites in CABR to provide park managers with information about the acoustic environment, sources of noise, and the existing ambient sound levels within the park. On average, noise was present from 95 to 99 percent of the time across the two sites. The most common sources of noise were aircraft, motor sounds, and a foghorn. The maximum percent time audible for any detailed noise source was the foghorn at site CABR001, audible for 95% of a 24-hr period over 10 days of listening. Motor sounds were most audible at site CABR002, audible for 68% of the time. Overall, existing ambient sound levels (LA50) at sites at CABR were 39.5 and 43.1 dB during the day and 34.7 and 42.5 dB at night during the sampling period (CABR001 and CABR002, respectively). Natural ambient sound levels (LAnat) were 30.2 and 38.0 dB during the day and 26.6 and 38.4 dB at night for CABR001 and CABR002 respectively, although these measurements were likely influenced by the high prevalence of noise. As a supplement, a geospatial sound model predicts existing and natural ambient sound levels at CABR are 46.0 (dBA) and 31.4 (dBA), respectively.
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Meyer, Erik, e Cathleen Balantic. Minidoka National Historic Site: Acoustic monitoring report, 2022. National Park Service, 2024. http://dx.doi.org/10.36967/2303680.

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This study arose from the Minidoka National Historic Site (MIIN) Technical Assistance Request (TAR; #21332), which identified the need for baseline acoustic surveys to understand potential impacts to the acoustic environment from nearby proposed renewable energy development. From September through October 2022, the Natural Sounds and Night Skies Division (NSNSD) gathered acoustic data at one site in MIIN to provide park managers with baseline information about the acoustic environment, including existing ambient sound levels and time-above noise effect levels. Overall, existing median ambient sound levels (LA50) at MIIN were 30.0 dB during the day and 33.1 dB at night. In the ANS-weighted frequency range, the sound level 35 dB (LAeq, 1s), was exceeded 24.2% of the day and 18.2% of the night. All other key sound levels (i.e., 45 dB and above) during the day and night were exceeded less than 4% of the time. Due to an error in the acoustic recording schedule, some NSNSD metrics are not included. As a supplement, a geospatial sound model predicts existing and natural ambient sound levels at MIIN are 32.8 (dBA) and 23.5 (dBA), respectively.
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6

Job, Jacob. Mesa Verde National Park: Acoustic monitoring report. National Park Service, julho de 2021. http://dx.doi.org/10.36967/nrr-2286703.

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In 2015, the Natural Sounds and Night Skies Division (NSNSD) received a request to collect baseline acoustical data at Mesa Verde National Park (MEVE). Between July and August 2015, as well as February and March 2016, three acoustical monitoring systems were deployed throughout the park, however one site (MEVE002) stopped recording after a couple days during the summer due to wildlife interference. The goal of the study was to establish a baseline soundscape inventory of backcountry and frontcountry sites within the park. This inventory will be used to establish indicators and thresholds of soundscape quality that will support the park and NSNSD in developing a comprehensive approach to protecting the acoustic environment through soundscape management planning. Additionally, results of this study will help the park identify major sources of noise within the park, as well as provide a baseline understanding of the acoustical environment as a whole for use in potential future comparative studies. In this deployment, 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 μPa. 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 in order 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. Trained technicians calculated time audible metrics after monitoring was complete. See Methods section for protocol details, equipment specifications, and metric calculations. Median existing (LA50) and natural ambient (LAnat) metrics are also reported for daytime (7:00–19:00) and nighttime (19:00–7:00). Prominent noise sources at the two backcountry sites (MEVE001 and MEVE002) included vehicles and aircraft, while building and vehicle predominated at the frontcountry site (MEVE003). Table 1 displays time audible values for each of these noise sources during the monitoring period, as well as ambient sound levels. In determining the current conditions of an acoustical environment, it is informative to examine how often sound levels exceed certain values. Table 2 reports the percent of time that measured levels at the three monitoring locations were above four key values.
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Mills, Kathy, Elizabeth Heck, Alinta Brown, Patricia Funnell e Lesley Friend. Senses together : Multimodal literacy learning in primary education : Final project report. Institute for Learning Sciences and Teacher Education, Australian Catholic University, 2023. http://dx.doi.org/10.24268/acu.8zy8y.

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[Executive summary] Literacy studies have traditionally focussed on the seen. The other senses are typically under-recognised in literacy studies and research, where the visual sense has been previously prioritised. However, spoken and written language, images, gestures, touch, movement, and sound are part of everyday literacy practices. Communication is no longer focussed on visual texts but is a multisensory experience. Effective communication depends then on sensory orchestration, which unifies the body and its senses. Understanding sensory orchestration is crucial to literacy learning in the 21st century where the combination of multisensory practices is both digital and multimodal. Unfortunately, while multimodal literacy has become an increasing focus in school curriculum, research has still largely remained focussed on the visual. The Sensory Orchestration for Multimodal Literacy Learning in Primary Education project, led by ARC Future Fellow Professor Kathy Mills, sought to address this research deficit. In addressing this gap, the project built an evidence base for understanding how students become critical users of sensory techniques to communicate through digital, virtual, and augmented-reality texts. The project has contributed to the development of new multimodal literacy programs and a next-generation approach to multimodality through the utilisation of innovative sensorial education programs in various educational environments including primary schools, digital labs, and art museums.
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Rutledge, Annamarie, e Leslie (Leslie Alyson) Brandt. Puget Sound Region. Houghton, MI: USDA Northern Forests Climate, junho de 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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Valdes, James R., e Heather Furey. WHOI 260Hz Sound Source - Tuning and Assembly. Woods Hole Oceanographic Institution, abril de 2021. http://dx.doi.org/10.1575/1912/27173.

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Sound sources are designed to provide subsea tracking and re‐location of RAFOS floats and other Lagrangian drifters listening at 260Hz. More recently sweeps have been added to support FishChip tracking at 262Hz. These sources must be tuned to the water properties where they are to be deployed as they have a fairly narrow bandwidth. The high‐Q resonator’s bandwidth is about 4Hz. This report documents the tuning, and provides an overview of the sound source assembly.
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Meyer, Erik. Craters of the Moon National Monument and Preserve: Acoustic monitoring report, 2017. National Park Service, 2024. http://dx.doi.org/10.36967/2303262.

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This study arose from the Craters of the Moon National Monument and Preserve (CRMO) Resource Stewardship Strategy (RSS), which identified the need for baseline acoustic surveys in the park. Short-term natural soundscape RSS goals were to identify the condition of the acoustic resource, and the high priority stewardship activity associated with this goal was to collect baseline acoustic data. Therefore, from June?September 2017, the Natural Sounds and Night Skies Division (NSNSD) gathered acoustical data at six sites in CRMO to provide park managers with information about the acoustical environment, sources of noise, and the natural and existing ambient sound levels within the park. On average, noise was present from 7 to 85 percent of the time across the six sites. The most common sources of noise were vehicles, aircraft, and people. The maximum percent time audible for any detailed noise source was people at site CRMO004, audible for 81% of a 24-hr period. Aircraft was most audible at site CRMO005 (15%), and vehicles were most audible at site CRMO001 (20%). Overall, existing median ambient sound levels (LA50) at sites within CRMO ranged from 17.8?31.1 dB during the day and 15.6?34.0 dB at night during the sampling period. Natural ambient sound levels (LAnat) at sites within CRMO ranged from 16.4?30.0 dB during the day and 15.1?33.0 dB at night. The median impact, defined as the difference in dB between the LA50 and LAnat, was 1.4 dB. Noise impacts ranged from 1.1 dB at CRMO006 to 8.3 dB at CRMO004, where noise was audible for 100% of the time from 07:00 to 10:00.
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