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Sound Research WIKINDX

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Bregman, A. S. (1993). Auditory scene analysis: Hearing in complex environments. In S. McAdams & E. Bigand (Eds.), Thinking in Sound: The Cognitive Psychology of Human Audition. (pp. 10–36). Oxford: Clarendon Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 28/09/2005, 10:43
"...it is reasonable to conclude that the principles of grouping that were discovered and named by the Gestalt psychologists exist in order to perform the role of scene analysis."
The correct perception of sound "is probably as long as the system is operating in the rich natural environment in which it evolved." Sound in isolation or in anechoic chambers may produce illusions.
A useful anaology of a robot attempting to 'perceive' and separate multiple sound sources to illustrate the fact that there is more to the perception of sound than the theories supplied by physics.
Describes three methods that humans use to decompose complex sounds into perceptually recognisable units. The first two depend on experienced and learned sound schemas (i.e. memory) that are activated a) automatically (often the case when our name is spoken unexpectedly) or b) voluntarily as part of a voluntary attentive mode of listening (for example when we are listening out for flight announcements in a noisy airport. The third is used to distinguish audio components where there is no familiar schema to use. Bregman terms this primitive auditory scene analysis and it uses acoustic properties rather than familiar schemas.
Humans exploit acoustic regularity in order to analyse and synthesis the auditory scene into different perceptual units.
A long section in which several rules are supplied for primitive auditory scene analysis based on the detection of frequency, temporal and intensity regularity. 1. "Unrelated sounds seldom start or stop exactly at the same time." p.17 2. "Gradualness of change. a) A single sound tends to change its properties smoothly and slowly. b) A sequence of sounds from the same source tends to change its properties slowly." p.18 3. "When a body vibrates with a repetitive period, its vibrations give rise to an acoustic pattern in which the frequency components are multiples of a common fundamental." p.27 4. "Many changes that take place in an acoustic event will affect all the components of the resulting sound in the same way and at the same time." p.28
Suggests that humans do "not give absolute priority to the spatial cue" p.26 when separating sound in the audio scene because of the ability of sound to bend around corners, be attenuated by objects or to be reflected off objects. None of these affect the sound's fundamental frequency or add frequencies to the sound so it is reasonable to assume that frequency (as detected by the filtering effect of the pinnae) is a more reliable method of localisation.
Kramer, G. (1994). Some organizing principles for representing data with sound. In G. Kramer (Ed), Auditory Display: Sonification, Audification, and Auditory Interfaces. (pp. 185–221). Reading MA: Addison-Wesley.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 21/10/2005, 14:49
Sonification is defined as "[T]he use of data to control a sound generator for the purpose of monitoring and analysis of the data". This involves mapping of one or more parameters of the data set to the audio domain e.g. size ---> loudness.
"When a complex multivariate auditory stream is used to convey data, an important perceptual process comes into play. In addition to the system user's ability to scan his or her attention through the sound, relationships between variables and entire system states are perceived "at a glance." Which is to say, without attention-directed effort, all the auditory variables are perceived as a whole, or a "gestalt."
Audiation is the formation of "an imagined auditory image" and involves memory and recall. Little research has been done in this area. Sometimes called auralization, which itself is sometimes described as realistic sonic spatialization.
Defines audification: "A direct translation of a data waveform to the audible domain for purposes of monitoring and comprehension". As it is a direct translation, the data must exist in the form of a waveform (it is shifted to the audio domain) and no sound-generators are involved. Sometimes referred to as 0th-order sonification.
Discusses the use of metaphor to link abstract sounds to data sets where, for sonification purposes, no realistic sounds are available (e.g. stock market sonifications). When sonifying 'more' and 'less', metaphorical associations for 'more' might be: louder (larger objects, more sensory impact) brighter (more partials or more high-frequency energy) faster (more sound in the same time frame) higher pitch (more cycles per second) Affective associations relate to the feelings aroused by sound. For example desirable and undesirable qualities in the sonified data set may be mapped to sound ugliness, richness, in-tune/out of tune etc. There may be some interaction between metaphorical and affective mappings and subjectivity plays its part.
Provides two categories of human-computer interface sound: Realistic -- may be recorded or designed/synthesised to emulate 'real-world' sounds. Kramer includes natural sounds, animals, speech, machinery in this category. Abstract -- no obvious associations with 'real-world' sound. Includes Blattner's (1989) earcons, non-imitative synthetic sounds and acoustic musical instruments.
Lindley, C. A. (2002). Conditioning, learning and creation in games: Narrative, the gameplay gestalt and generative simulation. Retrieved May 24, 2004, from http://zerogame.tii.se/pdfs/NILE.pdf
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 26/09/2005, 11:12
Wertheimer, M., & Riezler, K. (1944). Gestalt theory. Social Research, 11(1), 78–99.
Added by: Mark Grimshaw-Aagaard 15/06/2024, 10:19
Williams, S. M. (1994). Perceptual principles in sound grouping. In G. Kramer (Ed), Auditory Display: Sonification, Audification, and Auditory Interfaces. (pp. 95–125). Reading MA: Addison-Wesley.
Added by: Mark Grimshaw-Aagaard 06/05/2008, 15:42
"Auditory grouping is the perceptual process by which the listener separates out the information from an acoustic signal into individual meaningful sounds."
An auditory stream is a perceptual object devised as a result of auditory grouping and "is a perceptual organisation with perceptual attributes that are not just the sum of the percepts of its components but are dependent upon the configuration of that stream. That is, a component such as a pure tone integrated into a simple stream may present a pitch and timbre directly related to its frequency value whereas, when integrated into a complex stream, with other co-occurring tones, it may only add to the perceptual richness of the synchronous tone group percept."
"...the ideal situation occurs when each source is associated with a stream that represents all the relevant information for the listener to identify the source accurately."
Using gestalt theory to formalise auditory grouping and quoting from Bregman: "A stream may be defined as a sequence of auditory events whose elements are related perceptually to one another, the stream being segregated perceptually from other co-occurring auditory events ... A source is a physical event. ... A stream, on the other hand, is a psychological organization whose function is to mentally represent acoustic activity of a single source over time+. ... Timbre seems to be a perceptual description of a stream, not an acoustic waveform." + Bregman, A. S. and J. Campbell. "Primary Auditory Stream Segregation and Perception of Order in Rapid Sequences of Tones" in Journal of Experimental Psychology* 98(2) (1971) pp.244-249 * Bregman, A. S. and S. Pinker. "Auditory Streaming and the Building of Timbre" in Canadian Journal of Psychology 32 (1978) pp.19-31
Provides a definition for sensation, perception and cognition as these (especially the first two) are confusingly and interchangeably used in the literature: "sensation refers to immediate and basic experiences generated by isolated, simple stimuli; perception involves the interpretation of those sensations, giving them meaning and organisation; and cognition involves the acquisition, storage, retrieval, and use of knowledge."
"Sounds are allocated to perceptual groups, or streams, depending on their perceived attributes rather than as a direct result of the attributes of the acoustic signal, so the resulting percept may depend on attentional factors or previous training or familiarity with other sounds".
A long section in which Gestalt principles of visual perception are applied to auditory perception. The examples provided are for musical tones rather than everyday sounds.
Identifies two modes of perception required to identify auditory streams. synthetic perception is the process whereby sounds are grouped or streamed together and is more general than analytic perception which is the process whereby individual components of the audio are identified. The two usually work together and the prioritising of one over the other can depend on training (e.g. the ability to hear individual notes in a musical chord).