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Статті в журналах з теми "Sound ambiances"
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Laplace, Josée, and Catherine Guastavino. "Evaluating the restorative potential of church buildings." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 265, no. 2 (February 1, 2023): 5206–18. http://dx.doi.org/10.3397/in_2022_0758.
Повний текст джерелаАнотація:
We report the preliminary results of a study on the experience of soundscape and architectural ambiances of church buildings, with an emphasis on their restorative qualities. Through questionnaires, soundwalks and interviews with 16 diverse participants, we aim to characterize the sensory qualities of 2 contrasting church buildings in Montreal. Our data collection instruments operationalize concepts at the intersection of different research fields: soundscapes, attention restoration, quiet areas, architectural ambiances and heritage (including religious) places. As such, it encompasses a broad range of descriptors and outcomes. At a methodological level, we discuss the relative contributions of the different methods used and how they complement one another to provide a better understanding of experiences of church interiors. At a theoretical level, we report the main findings in term of experiences of space, sound, ambiance and associated benefits. In particular, we discuss the restorative potential of church building(s) and questions raised in relation to the particular context of this field work.
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Solomos, Makis. "From Sound to Sound Space, Sound Environment, Soundscape, Sound Milieu or Ambiance …" Paragraph 41, no. 1 (March 2018): 95–109. http://dx.doi.org/10.3366/para.2018.0253.
Повний текст джерелаАнотація:
This article proposes approaching the phenomenon of sound as a fabric of relationships. Critiquing the notion of a sound object as it has become defined thanks to the fixity enabled by sound recording, it focuses on the characteristics of sound that converge towards a relational approach and suggests that there is an inextricable link between the vibrating object, the milieu in which the vibration spreads and the subject who listens. It is probably for this reason that current research — whether in music, sound art or other disciplines that centre on sound, from sound studies to environmental ecology — implicitly seeks to move beyond the concept of sound alone in favour of compounds that combine sound with other elements. While the notions of sound ‘spaces’ and sound ‘environments’ appear as the default options here, three other compounds in particular highlight, in their own way, the relational approach: ‘soundscapes’, ‘sound milieus’, and sound ‘ambiances’ and ‘atmospheres’.
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Lescop, Laurent, and Anetta Kępczyńska-Walczak. "Envisioning ambiances: Representing (past,present and future) atmospheres for architecture and the built environment." SHS Web of Conferences 64 (2019): 00002. http://dx.doi.org/10.1051/shsconf/20196400002.
Повний текст джерелаАнотація:
The concept of “ambiance” has been shaped over the years by questioning the interactions between three attractors: architecture and the city, climatic and sound phenomena, uses and perception. Studied in pairs, each of these attractors refers to very different disciplinary fields; architecture and phenomena concern the physics of the city, architecture and uses interest sociology and uses and phenomena are rather turned to comfort. Studies concerning ambiances are therefore highly interdisciplinary and raise many questions: living spaces, urban renewal and heritage, urban prospective and the city as a stage. For this, many conceptual and technical tools are mobilized: digital tools for simulation and immersion, investigation, surveys and storytelling, prototyping, field action. What may be new in the field of academic studies is the awareness of artistic creation as a resource for the use of digital tools, storytelling and the representation of complexity through original means.
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Talantikite, Soundouss I., and Meriama Bencherif. "Effect of Spatial Ambiances on the Patient Satisfaction and Well-Being in Hospitals: The Case of UHC Ibn Sina Annaba and UHC Benbadis Constantine—Algeria." HERD: Health Environments Research & Design Journal 14, no. 3 (February 8, 2021): 83–107. http://dx.doi.org/10.1177/1937586720986106.
Повний текст джерелаАнотація:
Objectives: In this work, we aim to have a better understanding of the impact of the architectural ambiance on patient well-being, by exploring patient’s perception of physical ambiantal factors in their rooms. Background: Perception of ambiantal factors is beginning to be relatively documented in space psychology, including health. There is no research in this field in Algeria; therefore, we would like to fill this gap and draw attention to the importance of the ambiantal physical factors in our hospitals. Methods: We conducted a practical study via a 19-item questionnaire at the neurology hospitalization department of two hospitals. This is complemented by in situ observations and reactivated observations. Descriptive, principal component analysis and statistical tests were applied on the responses. Results: Thirteen ambiantal physical items studied were all classified relatively medium with mean scores ranging between −0.55 < mean < 1.34, with SD 0.765, on a scale of −2 to 2. Patients therefore consider the room ambiance medium. Patients’ satisfaction and well-being results meet with findings about ambiantal physical factors. Neurological diseases affect patient cognition, which increase the importance of space-sensitive perception. The bad general condition of the building is negatively pointed in all testimonies of the questioned, especially spatial organization with multiple occupation room. Conclusion: The results indicate that reflection should be oriented on the design of single or double rooms, taking into account the emotional (sensitive) state of the patient, by integrating ambiantal physical factors (natural lighting variable, sound variable, thermal variable, olfactory variable), to contribute significantly to their well-being.
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FILIMON, ROSINA CATERINA. "Syncretism and synaesthesia in music – unification of arts and perceptions." ARTES. JOURNAL OF MUSICOLOGY 27, no. 27-28 (July 2, 2023): 167–84. http://dx.doi.org/10.35218/ajm-2023-0010.
Повний текст джерелаАнотація:
Archaeological and ethnological research has revealed that, since antiquity, music had a syncretic nature. Music, dance, and poetry made up a single whole, aiming at expressing human feelings, sensations and perceptions through melody, rhythm, words, and gestures, and accompanying everyday activities that had various functions. Artistic syncretism is doubled by another structural principle – synaesthesia. The brain process that unifies senses and perceptions, synaesthesia is defined as the spontaneous association of several senses and sensations, in response to the action of a single stimulus. People with the so-called colorful hearing associate auditory reception with the perception of colorful images. Many artists had this ability that was reflected in their artistic creation. Initially the fusion of music and color was researched by theorists, who tried to create musical instruments that would be able to radiate colours during the musical interpretation. The syncretic and synaesthetic relationship between sound and image is individualized at the beginning of the twentieth century. Starting with the Dadaist and futuristic trends, artists seek and discover new forms of expression that unite the audible and the visual in a single form of representation. At present, the interaction between arts is seen as a fact, common also due to multimedia technology that allows the creation of synthetic, syncretic and synaesthetic ambiances, in which perception takes place at a multisensory level, changing the listener's one-sided perception. The art of sounds plays an essential role in syncretism and synaesthesia in music: in the first case, music participates in defining complex forms of artistic manifestation, and in the second, music generates sensations at the level of several senses. The listener benefits from new forms of artistic expression through which the transfer of the states and feelings of the artist to the listener occurs.
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MARRY, Solène. "Ordinary sonic public space. Sound perception parameters in urban public spaces and sonic representations associated with urban forms." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 1 (April 13, 2012): 171–96. http://dx.doi.org/10.7146/se.v2i1.5231.
Повний текст джерелаАнотація:
The research referred to in the article concerns the factors influencing the perception of ordinary sonic public space and everyday sounds. Sound perception parameters, such as vegetation or sound sources, are analysed in urban public spaces. This research, which is based on my PhD project, tries to understand how urban people perceive their sonic environment and try to contribute to sonic ambiance knowledge. The research is based on a qualitative investigation conducted among 29 people. It is, on the one hand, based on questionnaires and focus groups in situ and, on the other hand, on individual interviews (in-depth interviews, sonic mind maps), and it illustrates different parameters (temporal, spatial, sensitive and individual) that influence a person’s assessment of the sound environment. This qualitative investigation is correlated with acoustic measures in two seasons. The results show, among other things, the impact of vegetation and urban fittings on sonic perception, and they underline the influence of city planning and urban fittings on sound perception in public urban spaces.
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DATCU, Raluca, Andreea MIHALACHE, Andreea MUCIBABICI, and Andreea STAN. "Călătorind printr-o harpă – amenajarea unui portic." Argument. Spațiul construit. Concept și expresie, no. 10 (2018): 261–72. http://dx.doi.org/10.54508/argument.10.15.
Повний текст джерелаАнотація:
As far as today’s civilization development environment is concerned, man is living in an uninterrupted sound environment. Everywhere he is accompanied by a multitude of sounds and noises of varying intensity, having more or less violent effects on his hearing and his health. We can define noise as a representation of the sound vibration, not having a systematic attribute that is transmitted through various environments (air, water etc.) and that sensitizes the human ear negatively. In the Larousse dictionary, noise is a harmless sound system. Scientists with a specialization in physics characterize noise as a chaotic overlap with different frequencies and intensities, and physiologists appreciate the noise as any disturbing sound that causes an unpleasant sensation. It is proposed to revitalize the portico on street Ion Câmpineanu number 25, which hosts the entrance to a music shop. At present, it is a non-hostile and dark space dominated by massive pillars and shades of gray. Intervention involves the creation of a dynamic and interactive space in which the passageway is stimulated visually, tactile and auditory. With this solution, we want the public space in the studied area to develop a particular ambiance and vibration, allowing passers-by, hearing a harp melody, or even creating one’s own.
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Viaud-Delmon, Isabelle, Jane Mason, Karim Haddad, Markus Noisternig, Frédéric Bevilacqua, and Olivier Warusfel. "A Sounding Body in a Sounding Space: the Building of Space in Choreography – Focus on Auditory-motor Interactions." Dance Research 29, supplement (November 2011): 433–49. http://dx.doi.org/10.3366/drs.2011.0027.
Повний текст джерелаАнотація:
In the last 4 years, we have developed a partnership between dance and neuroscience to study the relationships between body space in dance and the surrounding space, and the link between movement and audition as experienced by the dancer. The opportunity to work with a dancer/choreographer, an expert in movement, gives neuroscientists better access to the significance of the auditory-motor loop and its role in perception of the surrounding space. Given that a dancer has a very strong sense of body ownership (probably through a very accurate dynamic body schema) ( Walsh et al. 2011 ), she is an ideal subject to investigate the feeling of controlling one's own body movements, and, through them, events in the external environment ( Moore et al. 2009 , Jola et al in press). We conducted several work sessions, which brought together a choreographer/dancer, a neuroscientist, a composer, and two researchers in acoustics and audio signal processing. These sessions were held at IRCAM (Institute for Research and Coordination Acoustic/Music, Paris) in a variable-acoustics concert hall equipped with a Wave Field Synthesis (WFS) sound reproduction system and infrared cameras for motion capture. During these work sessions, we concentrated on two specific questions: 1) is it possible to extend the body space of the dancer through auditory feedback ( Maravita and Iriki 2004 )? and 2) can we alter the dancer's perception of space by altering perceptions associated with movements? We used an interactive setup in which a collection of pre-composed sound events (individual sounds or musical sentences) could be transformed and rendered in real time according to the movements and the position of the dancer, that were sensed by markers on her body and detected by a motion tracking system. The transformations applied to the different sound components through the dancer's movement and position concerned not only musical parameters such as intensity, timbre, etc. but also the spatial parameters of the sounds. The technology we used allowed us to control their trajectory in space, apparent distance and the sound reverberation ambiance. We elaborated a catalogue of interaction modes with auditory settings that changed according to the dancer's movements. An interaction mode is defined by different mappings of position, posture or gesture of the dancer to musical and spatial parameters. For instance, a sound event may be triggered if the dancer is within a certain region or if she performs a predefined gesture. More elaborated modes involved the modulation of musical parameters by continuous movements of the dancer. The pertinence at a perceptive and cognitive level of the catalogue of interactions has been tested throughout the sessions. We observed that the detachable markers could be used to create a perception of extended body space, and that the performer perceived the stage space differently according to the auditory feedback of her action. The dancer reported that each experience with the technology shed light on her need for greater awareness and exploration of her relationships with space. Real-time interactivity with sound heightened her physical awareness – as though the stage itself took on a role and became another character.
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Catania, Pietro, and Mariangela Vallone. "Application of A Precision Apiculture System to Monitor Honey Daily Production." Sensors 20, no. 7 (April 3, 2020): 2012. http://dx.doi.org/10.3390/s20072012.
Повний текст джерелаАнотація:
Precision beekeeping or precision apiculture is an apiary management strategy based on the monitoring of individual bee colonies to minimize resource consumption and maximize the productivity of bees. Bees play a fundamental role in ensuring pollination; they can also be considered as indicators of the state of pollution and are used as bio monitors. Beekeeping needs continuous monitoring of the animals and can benefit from advanced intelligent ambiance technologies. The aim of this study was the design of a precision apiculture system (PAS) platform for monitoring and controlling the following environmental parameters: wind, temperature, and relative humidity inside and outside the hive, in order to assess their influence on honey production. PAS is based on an Arduino board with an Atmel microcontroller, and the connection of a load cell for recording the weight of the hive, relative humidity and temperature sensor inside the hive, and relative humidity and temperature sensor outside the hive using an anemometer. PAS was installed in common hives and placed in an open field in a French honeysuckle plot; the system was developed to operate in continuous mode, monitoring the period of 24 April–1 June 2019. Temperature was constant in the monitored period, around 35 °C, inside the hive, proving that no criticalities occurred regarding swarming or absconding. In the period between 24 and 28 May, a lack of honey production was recorded, attributed to a lowering of the external temperature. PAS was useful to point out the eventual reduction in honey production due to wind; several peaks of windiness exceeding 5 m s−1 were recorded, noting that honey production decreases with the peaks in wind. Therefore, the data recorded by PAS platform provided a valid decisional support to the operator. It can be implemented by inserting additional sensors for detecting other parameters, such as rain or sound.
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bundtzen, lynda k. "Lucent Figs and Suave Veal Chops: Sylvia Plath and Food." Gastronomica 10, no. 1 (2010): 79–90. http://dx.doi.org/10.1525/gfc.2010.10.1.79.
Повний текст джерелаАнотація:
In popular mythology, poet Sylvia Plath is regarded as a tragic suicide and/or a feminist martyr. If you read her journals and letters, though, you learn that she loved to cook, loved to eat, and often devoted as much time to preparing meals for her husband Ted Hughes as she did to her writing. Cooking was, in fact, often a convenient distraction when she had writer's block, or did not want to prepare classes for teaching, or when she was pregnant and longed for no more intellectual challenge than reading recipes from her beloved Joy of Cooking or The Ladies’’ Home Journal. Plath's huge appetite and enjoyment of food and eating are evident in her sensuous descriptions of meals that sometimes resemble Keats's poetry for their voluptuous appreciation of textures, shapes, colors, tastes, and ambiance. Plath's investment in the role of domestic goddess came to an abrupt end with the breakup of her marriage. The final pages of the article explore Plath's underlying skepticism toward the traditional role of women she had outwardly seemed to embrace so enthusiastically. The Bell Jar's heroine, Esther Greenwood, has a jaundiced view of love and marriage and falls ill of food-poisoning at a banquet prepared by Food Testing Kitchens at a magazine that sounds suspiciously like The Ladies’’ Home Journal. Poems in Ariel portray cooking as dangerous and kitchens as either scary or suffocating for women. In conclusion, the article looks at what we know about Plath's final days, where testimony confirming her hearty appetite seems oddly incongruous with evidence about the depth of her despair.
Дисертації з теми "Sound ambiances"
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Miranda, Santos Marta. "La terre crue à l'épreuve des ambiances sonores. : Un dialogue entre la mesure physique et les expériences sensibles." Electronic Thesis or Diss., Ecole centrale de Nantes, 2022. http://www.theses.fr/2022ECDN0064.
Повний текст джерелаАнотація:
La terre crue présente des valeursenvironnementales fortes, notamment une faibleénergie grise, une réduction des émissions degaz à effet de serre et une réversibilité infinie.De nos jours, ces avantages suscitent un intérêtcroissant pour les constructions en terre crueafin de contribuer à relever un des plus grandsdéfis actuels de nos sociétés qu’est « l’urgenceclimatique ». En outre, la terre crue présente denombreux avantages qui peuvent contribuer auconfort intérieur des bâtiments et c’est dans cechamp-là que ce travail de thèse va trouver sondéfi.Pour cela, nous étudions un champ encore peuexploré dans la recherche scientifique sur la terrecrue que sont les ambiances et en particulier lesambiances sonores. L’investigation sous le prismedes ambiances nous a permis de capturer plusfidèlement la complexité des modes représentés,perçus et vécus des espaces construits en terrecrue, ainsi qu’approfondir sur dialogue à établirentre la donnée physique et la donnée sensible.Cela avec l’objectif final d’évaluer les effets, àla fois physiques et sensibles, qu’un matériaunaturel comme la terre crue peut avoir sur laqualité de vie des usagers.Pour répondre à nos questionnements, nousavons travaillé simultanément avec des donnéesphysiques, principalement des donnéesacoustiques, et des données sensibles, dansdeux contextes. Un premier basé sur l’étude decas des établissements scolaires existants avecdifférents profils d’usagers et différentes mises enoeuvre de la terre crue, et un deuxième focalisésur la comparaison d’un même environnementavec et sans terre crueRaw earth provides importantenvironmental benefits, such as low embodiedenergy, lower greenhouse gas emissions, andinfinite reversibility. Today, these already wellknownbenefits are boosting interest in rawearthconstruction to help overcome one of oursocieties’ most pressing challenges: the «climateemergency». Yet, earth can further contribute tobuilding interior comfort in many ways. The studyof these other advantages is where this thesisfinds its field of research.To do this, we inquire about atmospheres, inthe field of sound atmospheres in particular,which tends to receive little attention in scientificresearch on raw earth. Through the lens ofambiences, this study allows us to more faithfullycapture the complexity of the represented,perceived, and lived modes of raw earth spaces.It also contributes to deepening the yet-to-bestrengtheneddialogue among physical data andsensitive data. This is done with the ultimate goalof evaluating the physical and sensitive effectsthat a natural material like raw earth can bring tousers’ quality of life.To find answers to our questions, we studyphysical data, mainly acoustic data, and sensitivedata in two contexts at the same time. Being thefirst of them based on a case study on existingschools with various user profiles and a set of rawearth implementations. The second compares thesame environment with and without raw earth
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Grobert, Julien. "L'effet de la congruence avec l'image d'une entreprise de deux facteurs atmosphériques (parfum et musique), sur la satisfaction et les réponses comportementales des individus : application au secteur bancaire." Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENG001/document.
Повний текст джерелаАнотація:
Alors que l'univers bancaire va connaître ces prochaines années, de profonds changements liés à une restructuration de son modèle, il nous semble pertinent de comprendre si le marketing sensoriel peut créer de la valeur ajoutée pour le client et les entreprises dans ce contexte. Le fait de diffuser un parfum et/ou une musique doit néanmoins faire l'objet de certaines recommandations. En effet, un parfum, ou une musique, fortement congruent avec l'image d'une entreprise aura-t'il des effets différents (et plus ou moins forts) qu'un parfum (ou qu'une musique) faiblement congruent avec l'image de l'entreprise, sur la satisfaction et les réponses comportementales des individus ? Cette thèse a pour objectif d'étudier cette thématique. Deux phases de recherches ont été mises en oeuvre. Tout d'abord, une phase qualitative qui a permis de faire ressortir les marqueurs de l'identité de la marque, permettant la création de deux types de parfums (fortement congruent vs. faiblement congruent) et de deux types de musiques (fortement congruente vs. faiblement congruente). La deuxième phase, quantitative a été réalisée in situ. Les résultats montrent qu'une diffusion de parfum faiblement congruent avec l'image de l'entreprise conduit à des réponses plus favorables de l'individu sur la perception des éléments physiques et in fine sur sa satisfaction et ses réponses comportementales. A contrario, une diffusion de musique produit globalement des effets négatifsWhile the bank sector will be the center of huge changes, during next years, due to a restructuration of its model. It seems relevant to understand whether the sensory marketing can create added value for the customer and companies in this context A scent and/or a music diffusion must nevertheless be the object of recommandations. Indeed, will a scent or/a music with high level of congruency with brand image have differents effects(and stronger or lower) than a scent (or a music) with a low level of congruency on the satisfaction and behavioral responses of consumer ? This doctoral research aims to investigate this issue. Two diffents stages have been realised. First of all, a qualitative study allowed to show brand's identity markers allowing the creation of two types of scents (high congruency vs.low congruency) and two types of musics (high congruency vs. low congruency). The second stage, quantitative, has been realised in situ. Results showed that diffusion of a perfume with low congruency with the brand image leads to more favorable responses of physical elements and in fine on the satisfaction and on the behavioral responses. Conversely,a music's diffusion overall leads to negatives effects
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Hung-Lin, Chao, and 林昭宏. "Corresponding Sounds with Situational Ambiance." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/09415302268847383171.
Повний текст джерелаАнотація:
碩士中原大學
室內設計研究所
98
While enjoying today’s modern society and appreciating wonderful lives, we realize that space makes us obtain extra satisfactions if we are able to enrich our sense organs, such as the sense of sight, smell, and hearing. The sense of hearing is the second largest sense organs related to receive information other than the sense of sight. We can advertently choose to ignore images but we find it hard to muffle the sounds that surround us. The sense of hearing is strongly linked to our daily lives. Furthermore, our lives are full of distinct euphonies and noises, depending on the sounds from natural environment, business space, and background music.., and so on. We can readily judge whether the sounds are harmonious or discordant from different perspectives based on our personal experiences, but apparently it seems that we are short of a common measurement to assess sounds objectively. In the past, senses are mainly associated with noise measurement method; however, based on the sense of organs, noises are absolutely not the only way to gauge the collocation between sound and space. In this research paper, the relationship between the sound and the space from the viewpoint of senses is explored. We analyze the structure relating the sound and the space by reviewing the related literature and we make the correlation analysis to different cases and create the standard of the sound and space by this research result. We found that we should reduce the complexity of sole type and the overall type. Instead, We can rely on the main of the sounds , imagination and harmony as the consideration factors about space and sound so that we can achieve great experience about the combination between them.
Книги з теми "Sound ambiances"
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Le sonore, l'imaginaire et la ville: De la fabrique artistique aux ambiances urbaines. Paris: Harmattan, 2012.
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Boutin, Aimée. Blason Sonore. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039218.003.0003.
Повний текст джерелаАнотація:
Street cries had long defined the ambiance of Paris in the nineteenth century. From the Middle Ages through to the nineteenth and early twentieth centuries, street cries were used by hawkers to publicize announcements or news and to sell merchandise of all kinds. Each trade had a distinctive cry, a combination of words and a characteristic tune, such that buyers could identify each peddler by a sound marker. The peddling sounds of the streets constituted shared memories that evoked childhood and fostered a sense of place for Parisians. A nostalgic longing for better days combined with the antiquarian's interest in Old Paris also motivated efforts to document and preserve traces of sounds perceived as having survived through the ages, but now at risk of disappearing. This chapter traces street criers' functions as noisemakers, place-makers, and “sound souvenirs,” in the musical, graphic, and textual traditions of the Cris de Paris.
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Toop, David. Ocean of Sound : Musiques ambiantes, mondes imaginaires et autres voix de l'éther. Eclat, 2000.
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Cobussen, Marcel. "3 The Familiarity of Everyday Sounds." In Engaging with Everyday Sounds, 38–57. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0288.03.
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In this chapter, sonic environments are described as characteristic traits of a place, which are perceived but not noticed, to the listener’s pleasure or annoyance. Under the topic of ‘annoyance’, misophonia and ‘the Hum’ are discussed, while under ‘pleasure’, Autonomous Sensory Meridian Response (ASMR) comes into play. Everyday sounds are described as comparable to music, rather than inferior to it. There is a discussion of “disciplining sounds”, where sounds guide, control, and manipulate us. The use of sound in this way shows us the extent to which we do actually monitor what is going on around us aurally, even without consciously paying attention. Finally, the chapter covers windows and doors, and the way in which they carry out sound management, preventing unwanted sounds from entering the house as best they can. As a result, windows and doors are argued to have a social, political, and ethical role which is closely connected to the sonic ambiance.
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Trevor Jamerson, William, and Anthony Kwame Harrison. "Sound and the moving tourist bubble in Harlem tourism." In Ambiance, Tourism and the City, 224–37. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003207207-20.
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Di Croce, Nicola. "Sounds like an authentic tourist experience! Listening to tourism-led transformations in the atmosphere of a Southern Mediterranean city." In Ambiance, Tourism and the City, 209–23. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003207207-19.
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"AMBIANCE (ALSO AMBIENCE)." In Encyclopedia of Recorded Sound, 60. Routledge, 2004. http://dx.doi.org/10.4324/9780203484272-23.
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"11. Presence, Absence, and the Ambiguities of Ambiance: Theological Discourse and the Move to Sound in Pärt Studies." In Arvo Pärt, 197–207. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823289783-011.
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