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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 (5/6/08, 3:24 PM)   Last edited by: Mark Grimshaw-Aagaard (5/7/08, 12:43 PM)
Resource type: Proceedings Article
BibTeX citation key: Tuuri2007a
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 Categories: General
Keywords: Acousmatic sound, Listening modes
Creators: Mustonen, Pirhonen, Tuuri
Publisher: Fraunhofer Institute for Digital Media Technology
Collection: Audio Mostly 2007		 Views: 7/1024
Abstract
This paper is grounded on the multimodal listening hypothesis, which suggests that listening is a multi-focused process based on multiple distinct, environmentally shaped activating systems and listening strategies. Different modes of listening can operate concurrently complementing each other with different perceptual perspectives. In sound design, the potential of this hypothesis lies in its ability to account for the heterogeneity of different, even contradictory levels of interpretations, meanings and emotions evoked by the same listening experience. In this paper the theoretical basis of listening modes is further analysed and reflected upon in the context of sound design. We propose a comprehensive scheme of eight modes of listening (reflexive, connotative, causal, empathetic, functional, semantic, critical, and reduced) accompanied by examples of their significance in sound design for user-interfaces.
Added by: Mark Grimshaw-Aagaard  Last edited by: Mark Grimshaw-Aagaard
Notes
Proceedings PDF at:
http://www.audiomostly.com/amc2007/
Added by: Mark Grimshaw-Aagaard  
Quotes
p.14   "Reduced listening can be referred to as musical listening only when listening process [sic] is concerned with musically determined qualities and structures."   Added by: Mark Grimshaw-Aagaard
Keywords:   Listening modes
p.15, Paragraph 16   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?

  Added by: Mark Grimshaw-Aagaard
Keywords:   Listening modes