I det här arbetet undersöks ljudet och musiken i två svenska speltitlar vid namn Battlefield 1 och It Takes Two. Battlefield 1 från år 2016 är ett fps spel medans It Takes Two från år 2021 är ett action-äventyr spel. Det är en nivå från vardera spelsom det fokuseras på. Arbetet inleddes i form av en analys som gjordes av ljudmiljön i nivåerna för att identifiera viktiga egenskaper och ljud hos spelen. Nivåerna spelades igenom och spelades in för att vidare analyseras. I diskussionen så lyfts det även fram likheter och olikheter mellan de båda spelens ljudmiljöer för att finna samband. Undersökningen gjordes med betoning på Murray Schafers koncept “soundscape” med tillhörande begrepp “keynote”, “soundmark” och “signal” som grunden. Begrepp och verktyg från forskning inom filmmusik användes också, såsom “dieges” och “ledmotiv”. Anledningen till utförandet av arbetet är att öka förståelse och komma fram till hur ljud och musik kan berätta något i dator och tv-spel ensamt eller tillsammans med det visuella. Spridningen genremässigt på dessa två speltitlar ger också en bredare bild i hur det kan se ut iljudmiljön inom dator och tv-spel. En av den viktigaste punkten i analysen handlarom hur ljudet och musiken kan kommentera och berätta om situationer i spelen. Hur ljudet och musiken med andra ord bidrar till att bygga upp de virtuella världarna ensamt eller tillsammans med i huvudsak bilden.

This paper approaches The House of Fame through the emerging lens of sound studies and discusses how Chaucer used the developing sonic theories of his day and other literary works as a catalyst for his discussion of fame in his dream vision. Chaucer's poem shows the fragile and uncontrollable characteristics of lasting fame by comparing it to the Boethian metaphor of sound functioning similarly to rippling water. The construction of The House of Fame ultimately becomes an example of this medieval sonic theory as it engages with, incorporates, and echoes themes and ideas from other texts. In exploring the process of fame throughout the narrative and by engaging in that same process as he translates the works of Boethius, Virgil, Ovid and Dante, Chaucer steps into the precarious shoes of his own character, becoming the goddess Fame, by molding his literary predecessors into his own text.

<p><b></b>Passive acoustic monitoring (PAM) is a tool with immense potential to evaluate the response of wildlife to ecosystem disturbances. PAM allows to evaluate wildlife dynamics by means of acoustic indices that estimate the diversity or complexity of sounds in a recording, as well as to study ecological aspects at the species level by training machine learning-based automatic acoustic detector. In this study, five deep learning approaches for automatic song detection were evaluated of the near-threatened Bachman's Sparrow in data scarcity scenarios, and then used this classifier to study the response of this bird to the number of days following a prescribed burn in six subtropical habitats in central Florida. At the same time, the response of avifauna acoustic activity to prescribed burning was quantified by means of three of the most used acoustic indices used in the literature (Acoustic Complexity Index, Acoustic Diversity Index and Bioacoustic Index). I found that it is possible to construct competitive birdsong detectors with small datasets using pre-trained models regardless. Furthermore, the use of data augmentation can lead to a detriment of the detector performance, especially of lower quality recordings, and that increasing the dataset does not necessarily increase the generalizability of the model. On the other hand, I found that unlike Acoustic Diversity Index, the Bioacoustic and Acoustic Complexity indices are negatively correlated with time after a burn, the same trend that Bachman's Sparrow presence showed, even though it was more influenced by habitat type than by the effect of the prescribed burns. This study shows the potential of tools including automatic song detection and acoustic indices to model at different scales the dynamics of avifauna in response to ecosystem disturbances. Their development can provide efficient tools for the study and conservation of both threatened wildlife species and the ecosystems they inhabit.</p>

This Ph.D. thesis deals with the musical phenomenon Balkan music in Prague. The so- called Balkan music (in the sense of Shelemay's 2006 soundscape) is considered to be the result of social negotiating (counterpoint) between the agents, i.e., the Czech musicians and audience, and also those (musicians and audience) who originally come from the Balkan countries. Using the tools of ethnographic research, the thesis explores the nature of this relationship. Specifically, I focus on the very creation of the concept Balkan music in the Czech scene and the role the Balkan migration plays in its formation. It turns out that the very imagination of the 'Balkans' plays a key role in defining the phenomenon, and the form of music itself is the result of the imaginations of (an imaginary) milieu (i.e., stereotypes) that is perceived as culturally distant (Todorova 2009).

With spatialized audio being tools for developers to enhance the experience  of playing a game, how does the use of spatialized audio and different types of sounds affect the imagination and the feeling of being immersed in the sound environment? In this study, the use of spatialized audio and complete darkness explores the feelings and how someone perceives the different sounds being heard. / <p>Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.</p><p>There are other digital material (eg film, image or audio files) or models/artifacts that belongs to the thesis and need to be archived.</p>

Metaphor and Mimesis in an Animal Soundscape serves as a supplementary document for two pieces of contemporary concert music; HOWL, for viola, saxophone and fixed media, and Pastorale for viola and fixed media. Both works quote the second movement of Antonio Vivaldi's violin concerto, La Primavera. This quotation is used to support a musical program which explores the larger topic of metaphor in music. In addition, both pieces play with contemporary trends in music including, but not limited to, acoustic ecology and spectralism.

Hearing impairments are a sensitive component of our society. Lots of people are affected by them and considering this aspect in imagining and designing how the future will sound like is important. In this research project, a suggestion on a soundscape design tool to be used and manipulated by people affected by hearing disabilities is proposed. Together with this, it will be described as well how to implement and define a user interface with the scope of managing and manipulating these soundscapes. This project also faces the task of creating a setup oriented towards a museum setting: this carries with itself several variables to be kept in account, such as an unpredictable and quite broad users' range, and a special consideration for the lower-age range users. These have been found to be the most attending the museum environment, as far as it concerns Tekniska Museet. A three-phase experiment was then carried out. It involved a class of hearing-impaired pre-teenagers, the visitors of Tekniska and other hearing-impaired testers. Both qualitative and quantitative data about the interaction with the interface and the perceptual experience with the soundscapes were collected. The final assessments are that a focus on a playful aspect and the simplicity of shapes was the key for a suitable interface design focused on children, and that the contribution of the hearing impaired is relevant, at least in the later stage of the soundscape design process. / Hörselskador är en känslig del av vårt samhälle. Många människor påverkas av dem och det är viktigt att tänka på den aspekten då man föreställer sig och designar hur framtiden ska låta. Inom det här forskningsprojektet ska ett förslag på ett ljudlandskapsdesign-vektyg, ämnat att användas och hanteras av människor påverkade av hörselskador, framföras. Tillsammans med detta så beskrivs också hur ett användargränssnitt, med omfattningen att hantera och manipulera dessa ljudlandskap, fastställdes och implementerades inom systemet. Det här projektet möter dessutom utmaningen av att skapa ett system byggt för en museiutställning. Med detta tillkommer några variabler som måste hållas i åtanke, som en oförutsägbar och ganska bred användarskara. Speciellt stor omtanke läggs dock på yngre användare, som visade sig vara majoriteten av besökarna hos museet i fråga, nämligen Tekniska Museet. Ett experiment bestående av tre faser utförs, bestående av en skolklass av hörselskadade elever i tidiga tonårsåldern, Tekniska Museets besökare samt andra hörselskadade användare. Efter en insamling av både kvalitativa och kvantitativa data på interaktionen med gränssnittet samt den perceptuella upplevelsen av ljudlandskapen, dras slutsatsen att ett fokus på lekfullt utseende och enkelhet inom formerna är nyckeln för en lämplig gränssnitsdesign som har i åtanke barnens deltagande. Dessutom dras även slutsatsen att bidraget av hörselskadade individer är relevant, åtminstone i senare skeden av ljudlandskapsdesign-processen.

The licentiate thesis Designing with Urban Sound explores the constitution and qualitative characteristics of urban sonic space from a design-oriented and practice-based perspective. The act of lifting forth and illuminating the interaction between architecture, the creation of sound and a sonic experience aims to examine and develop useful tools and methods for the representation, communication and analysis of the exterior sonic environment in complex architectural spaces. The objective is to generate theoretical and practical knowledge within the field of urban sound planning and design by showing examples of different and complementary ways of communicating and analyzing sound than those which are commonly recognized. / Licentiatavhandlingen Designa med stadens ljud undersöker det urbana ljudrummets konstitution och kvalitativa egenskaper utifrån ett designorienterat och praktiknära perspektiv. Avsikten med arbetet är att utveckla verktyg och metoder för representation, kommunikation och analys av stadens exteriöra ljudmiljö genom att synliggöra interaktionen mellan arkitektur, ljudbildning och upplevelse. Genom att visa exempel på andra sätt att kommunicera och analysera ljud i staden än dagens vedertagna metoder, är syftet är att bidra till kunskapsutvecklingen inom fältet för urban ljudplanering- och design. / <p>QC 20181211</p>

Once a year over the week leading up to and including Labor Day, tens of thousands of people drive hours into Nevada’s barren Black Rock Desert to build an ephemeral city equal to “the size of downtown San Francisco.” This place, Black Rock City, home of the annual Burning Man event, only exists for a fraction of the year. For one week, participants gather together at Burning Man and operate under its ten guiding principles, including “radical self-reliance,” “communal effort,” “radical self-expression,” and “participation.” Everything, with the exception of porta-potties and ice, must be brought in and packed out by individuals. The decommodified, volunteer-run city is what its inhabitants make of it. At Burning Man, attendants are their own event planners, food providers, structure builders, gift givers, and activity coordinators. On the penultimate night of the event, an effigy of a forty-foot man is set aflame, a ritual left open for interpretation by participants. Two days later, the entirety of Black Rock City is torn down, leaving scarcely any trace that it ever even existed. Burning Man has gained social traction exponentially since its launch in 1986, leading to the formation of dozens of individually organized regional burns across the United States of America and internationally. Scholars from many disciplines have flocked to the event attempting to unpack its distinct subculture. While publications have analyzed Burning Man’s ethos, logistics, business organization, community, art, rituals, fire, and performances, only two have considered sound worthy of focus and few have addressed the regional burn network. “Aural Substance: An Ethnographic Exploration of Regional Burn Soundscapes” analyzes Burning Man’s regional network, expanding on sound artists Stephan Moore and Scott Smallwood’s brief initial study of the national event's sound by way of ethnography and field recording. From June 2016 through February 2017, I conducted fieldwork and collected fifty-five hours of field recordings at seven different regional burns. I employ ethnomusicologist Steven Feld’s concept of “acoustemology,” or “sound as a way of knowing.” Through my observation, analysis of recordings, and interviews, I consider how the sounds at regional burns can signify the time, date, and location to burn participants. Sound-studies scholar David Novak writes that “noise is a crucial element of communicational and cultural networks.” In this study, I analyze how noise at a burn is not solely a by-product of participants’ “anarchistic freedom,” but a key part of the burn that relays information about regional burn values, public and private spaces, and burners’ lived experience. / Music History / Accompanied by one compressed .zip file: Archive.zip

yes / The UK has recently recognized the importance of tranquil spaces in the National Planning Policy Framework, NPPF. This paper reports on applying the tranquillity rating prediction tool, TRAPT for predicting the perceived tranquillity of a place and using this tool to classify the levels of tranquillity in existing areas. The tool combines soundscape and landscape measures to produce a tranquillity rating on a 0-10 rating scales. For these purposes noise maps, spot noise level measurements, photographic surveys were used to predict tranquillity levels in 8 parks and open spaces in or near the city of Bradford in West Yorkshire in the UK. In addition interviews were conducted with visitors to validate these predictions. It was found that there was a reasonably close relationship between predicted and average assessments given by park visitors which confirmed the usefulness of the tranquillity rating prediction tool for planning and conservation purposes.