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Mustonen, M.-S. (2007). Introducing timbre to design of semi-abstract earcons: The role of timbre in meaning creation of non-speech interface sounds. Saarbrücken: VDM Verlag Dr. Mueller.   
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 06/05/2013, 18:35
Tuuri, K., Mustonen, M.-S., & Pirhonen, A. 2007, September 27–28. Same sound — different meanings: A novel scheme for different modes of listening. Paper presented at Audio Mostly 2007.    
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 07/05/2008, 12:43
"Reduced listening can be referred to as musical listening only when listening process [sic] is concerned with musically determined qualities and structures."  
The authors propose 8 modes of listening as below (ordered from low to high levels of cognitive abstraction):

  • Pre-conscious modes

    • Reflexive Did you notice any reflexive responses triggered by sound?
    • Connotative Can you describe what kind of freely formed associations listening immediately evoked?

  • Source-orientated modes

    • Causal What could have caused the sound?
    • Empathetic Does it feel that sound signals someone’s state of mind or intentions?

  • Context-orientated modes

    • Functional What was the purpose of the sound? What function does the context indicate?
    • Semantic Does the sound seem to represent any symbolic/ conventional meanings?
    • Critical Was the sound suitable for the situation? Did you understand it correctly?

  • Quality-orientated modes

    • Reduced Can you describe the properties of the sound itself as objectively as possible?
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