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Soundscape ecology is a rising field in recent years as the effects of anthropogenic sound pollution are widely discussed. Nowadays, scientists are trying to find the best way to describe environmental health using quantitative acoustic measurements. In search of the best acoustic index/indices that can be used for real-time and long-term underwater acoustic monitoring, we tested five different acoustic indices for their effectiveness and suitability for distinguishing and differentiating various types of sounds. One dataset with anthropogenic noises (boat, ship, and diver noises), natural ambient sounds (wind, water turbulence, and reef background noises), and biotic sounds (damselfish Dascyllus reticulatus and snapping shrimps sounds) was analyzed using Raven Pro and R. Our results suggest that acoustic richness (AR) and acoustic complex index (ACI) are capable of separating sound types with the consistency of subjective impression. We also find a strong positive linear correlation between sound exposure level (SEL) and average power spectral density (PSD). The AR exhibits a polynomial relationship with the increase of SEL. Acoustic entropy (H) does not have a significant difference between the three types of sounds. These results agree with the previous studies that AR can be used for differentiating random noises and pure tones, and ACI is capable of quantifying sound complexity. / 2024-09-30T00:00:00Z

Detta kandidatarbete handlar om det spatiala ljudets vikt i en digital värld där det visuella alltsom oftast hamnar i framkant. För att utföra detta går denna text in på vad ett ljudligt narrativ är, människans lyssnade och interaktivt ljudberättande. Förståelse för alternativa koncept såsom ljud i olika kontexter, till exempel soundscapes och sound mapping presenteras med studier från R. Murray. Schafer (1994), Mark Nazemi och Diane Gromala(2012).Tillsammans med ny och gammal teknik kommer denna undersökning att försöka arbeta gentemot människans naturliga respons till ljud utan visuella referenspunkter. Detta undersöks med hjälp av spatialt ljud , ny lokaliseringsteknik; även känt som Pozyx som integrerats tillsammans med en virtuell miljö, skapat i spelmotorn Unity där användandet av ljudmotorn renderar spatialt ljud i realtid. Resultatet blev att deltagarna i denna undersökning skapade sitt egna personliga narrativ, där vi som designers skapade förutsättningarna till detta genom interaktiv teknik och selektivt lyssnande. / This bachelor thesis is about the importance of spatial sounds in a digital world where the visual most often comes to the forefront. To do this, this text goes on what a sound narrative is, the human listening and interactive sound narrative. Understanding of alternative concepts like sounds in different contexts, such as soundscapes and sound mapping, is presented withstudies by R. Murray. Schafer (1994), Mark Nazemi and Diane Gromala (2012). Along with new and old technology, this study will try to explain the human natural response to sound without visual reference points. This is investigated using spatial sound, new localization technology; also known as Pozyx, integrated with a virtual environment created in the Unity’s game engine, where the use of the audio engine delivers spatial sound in real time. As a result, the participants in this survey created their own personal narrative, where we as designers created the conditions for this, through interactive technology and selective listening.

Detta kandidatarbete undersöker de egenskaper det fysiska ljudlandskapet kan bidra med för att forma en virtuell värld. Med begrepp och teorier från omfattande studier inom fenomenet soundscape, undersöker vi hur detta kan appliceras i ett digitalt spel. Genom audiell analys av vår vardagliga miljö i en liten svensk stad, kan vi fördjupa kunskapen om hur ljudlandskapet är uppbyggt och kan appliceras i ett digitalt medie. Med ljudläggningen av ett digitalt spel kan vi testa att applicera funktioner och begrepp hämtade från det fysiska ljudlandskapet. / This bachelor thesis examines what the physical properties of the soundscape can contribute to form a virtual world. With concepts and theories from studies of soundscape, we examine how this can be applied in a digital game. Through a sound analysis of our everyday environment in a small Swedish town, we can improve our knowledge of how the soundscape is constructed and can be applied in a digital media. In the process of designing sounds to a digital game, we can test and apply the functions and concepts extracted from the physical soundscape.

La compréhension orale est une compétence primordiale dans l’apprentissage des langues étrangères. En classe, elle est généralement abordée à l’aide de supports audio, présentant souvent des dialogues qui rendent compte de la vie quotidienne des natifs de la langue cible. Ces supports peuvent présenter de la parole seule ou accompagnée de sons environnementaux contextuels. Toutefois, peu d’études proposent une formalisation de ces supports de cours complexes, tant au niveau de leur construction que de leur exploitation en classe. Notre étude repose donc sur les questions fondatrices suivantes : Quels mécanismes sont mis en œuvre dans une tâche de compréhension orale ? Comment construire des scènes sonores ad hoc, susceptibles d’aider les apprenants ? Quelles fonctions peuvent assumer ces sons environnementaux ? Comment évaluer leur impact sur la compréhension d’énoncés linguistiques ? Dans nos travaux nous évaluons la présence d’un contexte sonore complémentaire avec le message verbal : est-ce qu’il joue un rôle important dans sa compréhension en multipliant les indices porteurs de sens et en offrant un cadre à la construction d’une signification comme l’indiquent les travaux antérieurs dans ce domaine ? Dans cette optique nous avons mis en œuvre un plan d’expérimentation comportementale. Cette démarche repose sur l’élaboration de l’ensemble des supports de tests, ainsi que sur un protocole ad hoc, développé pour évaluer la compréhension des dialogues avec ou sans contexte sonore environnemental, par des locuteurs francophones et apprenants de FLE, (de niveau A). Nos résultats font apparaître une aide à la compréhension assurée par le contexte sonore environnemental pour des locuteurs non natifs, ce qui correspond aux résultats dans les études sur la charge cognitive. Enfin, ces travaux nous permettent de discuter diverses pistes didactiques qui vont dans le sens d’un enseignement stratégique de la compréhension orale. / Oral comprehension is a primary skill when learning foreign languages. In the classroom, it is generally ad-dressed by using dialogues usually depicting daily life situations of native speakers. These materials may include speech only or speech along with contextual environmental sounds. However few studies offer formalisation of these complex course materials, both in terms of their production and their educational use. Our study is based on the following questions: What mechanisms are at stake in a listening task? How ad hoc soundscapes, that may help learners, can be created? Which functions can these soundscapes stand for? How can their impact on understanding linguistic statements be assessed? In our work, we assess the role of a soundscape along with the verbal message: does it play an important part in the understanding of the message, multiplying meaningful cues and providing a frame for the construction of the meaning as previous studies in this field indicate? In this context, we implemented a behavioral experimental design. We elaborated all the test materials, as well as an ad hoc protocol developed in order to assess the understanding of the dialogues, with or without contextual soundscape, by native French speakers and learners of French as a foreign language (A level). Our results reveal that the contextual soundscape helps the comprehension for non-native speakers, which matches the results of the studies about cognitive load. Finally, this study allows us to discuss various didactic perspectives that are in line with a strategic teaching of oral comprehension.

This study explores the musical practice of designing a soundscape with the theoretical and methodological starting points of world building and soundscape ecology. Artistically, this exploration consists of the creation of three recordings each one portraying different narratives within the imagined and designed environment with theme of Human impact on the Swedish forest’s biodiversity. Methods and theories of world building elements are used to conceptualize the environment, while the approaches of soundscape ecology are used to portray this conceptualization during the recording process and when analyzing the results. The music was co-created in the studio through improvisation and the use of what I call multi- sensory material. The improvisational and material practice stemmed from my focus on the interrelationship between the conceptualized environment and the physical studio environment. A collaborative effort was made to portray and explore the sonic possibilities of the environment by evoking associations and reflections on the ecological interaction, meaning that between organisms and their environment. The purpose of this study is to examine the experience and value of designing a soundscape with world building and soundscape ecology as theoretical and methodological starting points. I believe many music creators hear their music as soundscapes and I want to contribute with knowledge to this phenomenon by theorizing the elements that compose a dynamic soundscape. The name of the thesis “Hearing the Forest for the Trees” is a reference to the idiomatic expression “seeing the forest for the trees”, meaning missing the greater picture by focusing too much on details. The expression relates to the knowledge gained in this project regarding the importance of conceptualizing the soundscape’s environment in order to create sound interaction with intention, and getting a wider perspective on how to design a rich sounding soundscape. / Denna uppsats utforskar den musikaliska praktiken i att designa ett ljudlandskap med teoretiska och metodologiska utgångspunkter från världsbyggande och ljudlandskapsekologi. Konstnärligt består detta utforskande av skapandet av tre inspelningar som var och en porträtterar olika berättelser inom den tänkta och designade miljön med temat: mänsklig påverkan på den svenska skogens biologiska mångfald. Metoder och teorier för världsbyggande används för att konceptualisera miljön, medan ljudlandskapsekologi används för att skildra denna konceptualisering under inspelning och senare analys. Musiken skapades tillsammans med musikerna genom improvisation och användandet av multisensoriskt material i studion. Improvisations- och materialpraktiken grundades ur mitt fokus på förhållandet mellan den konceptualiserade miljön och den fysiska studiomiljön. Genom samarbete skildrades och utforskades miljöns ljudmöjligheter genom att väcka associationer och reflektioner kring den ekologiska interaktionen, dvs den mellan organismer och deras miljö. Mitt huvudsakliga syfte i detta projekt är att utforska upplevelsen av och värdet i att designa ett ljudlandskap med världsbyggande och ljudlandskapsekologiska teorier och metoder som utgångspunkter. Jag tror att många musiker och producenter ser på sin musik som ljudlandskap och jag vill bidra med kunskap till detta fenomen genom att teoretisera de element som utgör ett ljudlandskap. Namnet på uppsatsen "Höra skogen för alla träd" är en referens till det idiomatiska uttrycket ”inte se skogen för alla träd”, vilket betyder att missa helhetsbilden genom att fokusera för mycket på detaljer. Uttrycket relaterar till den kunskap som erhållits i detta projekt om vikten av att konceptualisera ett ljudlandskaps miljö för att skapa ljudinteraktion med intention, och få ett bredare perspektiv på att designa ett rikt ljudlandskap.

Urbana grönområden med hälsofrämjande ljudmiljöer riskerar att försvinna eftersom det finns en trend att bygga tätare städer, vilket kan ge ökade bullerföroreningar. I svenska kommuner är ambitionen att skydda och behålla sådana ljudmiljöer. För denna undersökningen besöktes fyra områden i Malmö för att utvärdera deras ljudmiljöer. Metoderna som användes var ljudnivåmätningar, ljudlandskapsekologiska metoder (ljudupptagningar, spektrogram, akustiska index) och applicering av åtta parkkaraktärer översatta i ljudlandskapsterminologi. Användningen av de åtta karaktärerna i ljudlandskapterminologi kan vara ett effektivt sätt att utvärdera ljudmiljöer, men har troligen svårt att konkurrera med redan etablerade upplevelse- och hälsoeffektbaserade studietyper. Ljudlandskapsekologi kan utgöra en ny metod för vissa delar av utvärdering av ljudmiljöer, eftersom den har effektiva metoder för datainsamling, analys, och kartläggning, men kräver troligen ett utökat perspektiv i de bedömningsgrunder som finns i europeisk och svensk bullerlagstiftning. Ljudlandskap bör betraktas som resurser med ekologiska och sociala värden. / Urban green areas and their sound environments are linked to many health benefits. These areas are threatened to disappear with densifying cities and increasing noise pollution. In Swedish municipalities the aim is to preserve such areas. For this study four areas were visited in Malmö to evaluate their sound environments. The methods included sound measurements, soundscape ecology methods (sound recordings, spectrograms, acoustic indices) and the use of eight characteristics of green areas together with soundscape terminology. Using the eight characteristics together with soundscape terminology might be an effective way of evaluating sound environments, but will probably not compete with other perception-based and health impact assessment methods. On the other hand, soundscape ecology methods could play an important role in some parts of the quality assessment of sound environments, because of highly effective data collection, analysis and mapping, but requires an extension of the quality values in Swedish and European noise policy. Soundscapes should be viewed as resources with ecological and social values.

A l'heure actuelle, les seuls moyens d'informer les usagers de la ville de l'environnement sonore dans lequel ils vivent consistent en des indicateurs de niveaux sonores moyens et annuels obtenus par modélisation acoustique des principales infrastructures de transports. Or, ces indicateurs sont difficilement compris et de ce fait mal interprétés par les usagers de la ville car ils ne reflètent pas la signification des bruits perçus et la diversité des situations que les citadins rencontrent. Le but de ce travail de recherche est donc d'analyser la façon dont les usagers de la ville perçoivent le paysage sonore urbain afin de définir des indicateurs de qualité sonore qui pourront être à terme intégrés dans une représentation territoriale cartographique. Pour ce faire, il a tout d'abord été nécessaire de s'attacher à déterminer un pas temporel et spatial de mesure permettant de caractériser des ambiances urbaines d'un point de vue acoustique. A partir d'enregistrements longue durée (trois mois environs) en six points fixes à Paris, il a été possible de déterminer à travers des classifications ascendantes hiérarchiques de Ward associées à des cartes auto-organisatrices de Kohonen qu'une durée de dix minutes semble dans la plupart des cas être suffisante pour caractériser différentes ambiances sonores. Grâce aux mêmes méthodes de classification, l'analyse du maillage spatial a permis de définir quatre zones homogènes qui correspondent (1) au parc, (2) au boulevard, (3) à la rue piétonne puis (4) une zone que l'on qualifiera de zone de transition. La suite de l'étude s'est attachée à construire des modèles de prédiction de la qualité sonore. A partir d'enquêtes de terrain réalisées à Paris et à Lyon, il a été possible d'établir des modèles à la fois locaux (caractérisant le lieu même où le questionnaire a été évalué) et globaux basés d'une part sur des régressions linéaires multiples et d'autre part sur des réseaux de neurones artificiels. La comparaison de ces deux types de modèles a permis entre autre de mettre en évidence l'apport des réseaux de neurones artificiels devant les régressions linéaires multiples en termes de prédiction. Par ailleurs il est ressorti de ces modèles l'importance de variables telles que le silence, l'agrément visuel ou encore la présence de sources sonores particulières comme les véhicules légers pour expliquer la qualité sonore de l'environnement. / At present, the only ways to inform city dwellers about the sound environment in which they live are annual and average sound level indicators using acoustic modeling of main transport infrastructure. However, these indicators are difficult to understand and therefore misinterpreted by city dwellers because they do not reflect the significance of perceived noise and the diversity of the situations. The aim of this research is therefore to analyze how the city dwellers perceive the urban soundscape in order to characterize sound quality indicators which can be used into mapping. To do this, it was first of all necessary to determine a temporal and spatial resolution to characterize urban environment from an acoustic point of view. From long period recordings (almost three months) at six locations in Paris it was possible to determine through hierarchical ascendant Ward classifications combined with self-organizing Kohonen maps that duration of ten minutes for measurements seems to be enough to characterize in most cases different acoustic environments. Thanks to the same classification methods, spatial study made it possible to define four homogeneous areas which correspond (1) to the park, (2) to the boulevard, (3) to the pedestrian street and (4) to an area which can be considered as a transition one. Then this study focused on building sound quality predictive models. Thanks to field surveys in Paris and Lyon, it was possible to establish local models (characterizing the location where the questionnaire has been evaluated) and overall models based on one hand on multiple linear regressions and on the other hand on artificial neural networks. The comparison of both models highlighted the advantages of artificial neural networks compared to multiple linear regressions in terms of prediction. Moreover, according to these models, variables such as silence, the visual pleasantness or even the presence of specific sound sources as light vehicles explain the sound quality of the environment.

More and more attention of scientists and artists is paid to the effect of sound to human and ecosystems. Due to technology development and growing urgency of human impact new approaches are being formed. This thesis is based on concepts of acoustics ecology by R. M. Schafer. In addition to noise mapping, Czech geographical research does not reflect the growing urgency of sound environment issues. In this thesis I present terminology, concepts and some methods which are used in acoustic ecology or soundscape ecology. A literature search shows the application of these terminology, concepts and methods in a geographical research, specifically in urban and landscape planning, geography of tourism, leisure, health geography or landscape ecology. In an empirical part I followed a pioneering idea of acoustic landscape typology. I used qualitative research, listening walk and narrative conversation, to obtain data about soundscapes. Through these data I critically evaluated and compared acoustic typology of landscape by Hendrych and Hynek (2008). I used recording of soundscapes and spectrograms as secondary methods. Recordings and spectrograms are availabled in ArcGIS Online application. I found out the typology according to Hendrych and Hynek appropriately describes soundscapes from the perspective of...