Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 3 of 3 |
| Coward, S. W., & Stevens, C. J. (2004). Extracting meaning from sound: Nomic mappings, everyday listening, and perceiving object size from frequency. The Psychological Record, 54(3), 349–364. |
  
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 24/02/2006, 11:40 | |
| Discussing the results of the experiment: "nomic mappings were recognized more readily than symbolic mappings, but the advantage was restricted to the initial phase of the everyday listening group ... the difference in recognition of nomic and symbolic mappings was evident only during the first block of the everyday listening condition. This finding endorses the notion that mapping structures are more readily available in the nomic condition." | |
| Hint that the results of their experiment may "form the basis for intuitive mappings to artificial events ... The major benefit of using auditory icons may be to reacquaint humans with a phylogenetically familiar environment." | |
| Gaver, W. W. (1993). What in the world do we hear? An ecological approach to auditory perception. Ecological Psychology, 5(1), 1–29. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 14/10/2008, 00:12 | |
| Points out that "concatenating the creak of a heavy door closing slowly with the slap of a light door slammed shut would be likely to sound quite unnatural." This is an example of higher level attributes of sound events not usually studied by acousticians. | |
Notes that sound FX CDs usually categorize by context although there is usually some further description of sound objects' hierarchy and physical properties. "A hierarchical framework that describes sounds' attributes and dimensions thus seems more likely to be generative, to delineate a space of possible sounds, rather than context-based classifications." p.21A simple hierarchy might be:  p.22while a more complex hierarchy might be:  p.24Notes that his preliminary categorisation into solid, liquid and gaseous sound does not cover all eventualities. What about fire? |
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Distinguishes between musical listening (perception of a sound based on its pitch, loudness, temporal change, timbre and masking) and everyday listening (perception of the sound event itself and its environment). This is an experiential distinction or a perceptual one since any sound can be listened to in either listening mode. cf. Chion (1994, pp.25–34) etc. |
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| A reminder that because the scientific study of sound springs from research into musical acoustics (pitch, loudness etc.), little is known of other modes of auditory perception (e.g. how do we know if someone is walking up or down stairs?). The traditional approach argues that the knowledge about a sound event (ie. everyday listening) relies on experience and memory. | |
| If radiant/direct sound is sensed it arrives at the ear before reflected/reverberant sound. For this reason is is possible to separate information about the sound from information about the environment. Additionally, the medium itself affects sound (e.g. high frequency loss in air) and changes in loudness and/or frequency usually indicate shifting sound (Doppler effect etc.). | |
| If an object's size is changed, the frequency of sound it emits changes too - frequency being the most significant factor of change among others. Therefore, a change in frequency is usually perceived as a change in size of the sound object. | |
| Recounting a third-party experiment, Gaver notes that most participants could distinguish between and estimate the size of objects dropped into water. | |
| Warren, W. H., & Verbrugge, R. R. (1984). Auditory perception of breaking and bouncing events: A case study in ecological acoustics. Journal of Experimental Psychology: Human Perception and Performance, 10(5), 704–712. |
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| Added by: Mark Grimshaw-Aagaard 26/04/2013, 09:53 | |
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Reviewing previous work in the field: "These results support the general claim that sound in isolation permits accurate identification of classes of sound-producing events when the temporal structure of the sound is specific to the mechanical activity of the source (Gibson, 1966; Schubert, 1974)."* * |
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Quoting Schubert*: "Schubert (1974) put this succinctly in his source identification principle for auditory perception: "Identification of sound sources, and the behavior of those sources, is the primary task of the [auditory] system" (p.126)." * (Schubert 1975) |