Sound Experience Research Articles

The Study on Prerequisites for Operating Losses in the Airline Activity

Methods for analyzing the economic activity of airlines and forecasting the prerequisites for bankruptcy of airlines is becoming an important task for development of the industry. In past years, there were examples of a sound negative experience related to bankruptcy of airlines. At the same time, the main volume indicators of the airlines concerned had got positive dynamics shortly before the bankruptcy and were considered by BCG matrix as evident «stars» in terms of growth in production volumes and in the share of the air transportation market. In Russia that was the case of Sibir airlines which in 2007–2008 barely avoided bankruptcy, as well as of Transaero Airlines that has left the air transportation market forever. The first lowcost airlines, Skyexpress and Avianova, went bankrupt amid high growth in the number of passengers transported. The task of the research was to create a model that allows to simulate the situation associated with the airline overcoming the so-called «second break-even point». To forecast the possible time period for the airline to receive an operating loss against the background of growing volume indicators, production and financial indicators of one of the leading Russian airlines were used. The method of research is modelling of volume and financial indicators of the airline activity. The model is proposed to be built not on the study of future changes in the growth of volume and financial indicators, but on the study of dynamics of the rate of change of those indicators. The study is based on the fact that the dynamics of air transportation has a cyclical basis, which is invisible when directly analyzing changes in production and financial indicators, and which is on the contrary clearly visible when studying the dynamics of the rates of those indicators, which makes it possible to simulate a situation when the airline will have an operational loss in the future.

Oficina De Criatividade Sonora: Concepts About Music, Images and Sounds in a Collaborative Experimental Podcast in Northern Brazil

What is sound experience? How does it relate to our interpretation and perception of art and daily life? Oficina de Criatividade Sonora – Sound Creativity Workshop – is a collaborative experimental podcast created by composer Heitor Martins Oliveira, from Brazil, in order to generate online content and interact with his students, other artists, and the community, during the global pandemic of 2020. Musician and visual artist Leonardo Luigi Perotto joined as a close collaborator. Every week, from April to June, they released an image/score on social media and received audio files – created and sent mostly via smartphones – from followers. The audio – including singing, talking, instruments, and soundscapes – was edited by Oliveira to create sound compositions or narratives. Some contributors were asked to comment on their reading of the scores. The weekly podcast episodes featured commentaries and the resulting sound experiment. Since contributors are free to interpret the images/scores, they construct their own criteria and structural principles for sound creation. Their choices are related with their life experiences in music, other arts, or any other fields. These sound experiments reveal how contributors think about images and their relation to sound and music, their cultural, political and educational significance.

The sound insulation and directivity of the sound radiation from double glazed windows.

The sound insulation and directivity of the radiated sound from double glazed windows have been measured by different researchers. Previously, airborne sound insulation models have been used to predict the associated measurement results with limited success. In this paper, the importance of accounting for the structure borne sound transmission between two glazing elements via the window frame on the prediction results is demonstrated. The decreased stiffness of the wall cavity as the depth is increased is the reason why sound transmission via the window frame needs to be considered. The reciprocity argument provided by Davy for the prediction of the directivity of sound radiating into a room is validated and it is shown that once the structure borne transmission is considered, an additional weighting term is not needed to compensate for the extra wall collisions which the sound experiences when radiated at grazing incidence.

Atom music: Acoustical realizations of the atomic world through sonification

Atom Music is an experimental music project that uses music synthesis techniques to create sonifications of atomic structure. It was first presented at the 178th meeting of ASA in San Diego, CA. Several realizations of atom music as it applies to science and to art have occurred with collaborations using both the atom tones and atom scales. Atom Music has become a unique way for people to learn about atoms and molecules. The idea of creating tones unique to each element as well as musical scales also based on each element has inspired people from many disciplines. This talk will focus on two separate collaborative endeavors. The first is an artistic collaboration that began as an interactive educational experience and resulted in six separate sound experiences. The second collaboration resulted in the creation of unique tones for each element, which can then be used as an acoustical periodic chart. The uses for this are varied. Several examples of how the acoustical periodic chart can be used will be discussed.

The Impressionistic Study of English /tʃ/ and /ʃ/ in Initial Position by L2 Thai Learners

Although studies on English sound learning by L2 Thai learners have been widely examined, there have been no studies on the production of the English /tʃ/ and /ʃ/ sounds in the initial position by L2 Thai learners with consideration of vowel contexts, the experience of L2 learners and target sounds. The aim of this study is to examine the production of the English /tʃ/ and /ʃ/ sounds in the initial position while taking the aforementioned factors into account. The data was from 48 L2 Thai learners, and the subjects were divided into two groups of university students: English-majors and non-English-majors. The two target sounds: English /tʃ/ and /ʃ/ together with the Thai /tɕʰ/ sound were tested in 27 words (9 words for each target sound). The subjects produced the target sounds five times, and their production was transcribed by two British transcribers. The results showed that the subjects had high target-like production when producing /ʃ/ but low target-like production when producing /tʃ/. In finding the correlation between the factors and the target-like production, neither the vowel contexts nor the experience could account for the production. The only factor that relates to the production of English /tʃ/ and /ʃ/ was the target sounds, i.e. the number of the productions that was deemed non-target-like was significantly higher when the target sound was /tʃ/ than when it was /ʃ/. This suggests that the target sounds, rather than the L2 experience and the vowel contexts, play a significant role in L2 speech production.

The Experience of Sound: An Interview with Thomas DeLio

Abstract Thomas DeLio is a composer and theorist of international renown in both fields and especially noted for his work in computer music. In this conversation he discusses his musical thinking with over 40 years in the field. His compositions have been performed worldwide and are recorded on numerous labels. Neuma recordings has recently released five volumes of his recorded compositions in an ongoing series of his collected works. The interview itself, conducted over a series of phone conversations in the summer of 2020, begins with a look at his early student years at the New England Conservatory of Music in the late 1960s and early 1970s and navigates through to his current work and thinking today. Numerous aspects of his compositional approach and aesthetics are discussed, including his early influences, his illuminating thoughts on time and silence in his music, his applications of various technologies, and spatial projection, particularly at it relates to his work with sound installations.

Proximal Binaural Sound Can Induce Subjective Frisson.

Auditory frisson is the experience of feeling of cold or shivering related to sound in the absence of a physical cold stimulus. Multiple examples of frisson-inducing sounds have been reported, but the mechanism of auditory frisson remains elusive. Typical frisson-inducing sounds may contain a looming effect, in which a sound appears to approach the listener's peripersonal space. Previous studies on sound in peripersonal space have provided objective measurements of sound-inducing effects, but few have investigated the subjective experience of frisson-inducing sounds. Here we explored whether it is possible to produce subjective feelings of frisson by moving a noise sound (white noise, rolling beads noise, or frictional noise produced by rubbing a plastic bag) stimulus around a listener's head. Our results demonstrated that sound-induced frisson can be experienced stronger when auditory stimuli are rotated around the head (binaural moving sounds) than the one without the rotation (monaural static sounds), regardless of the source of the noise sound. Pearson's correlation analysis showed that several acoustic features of auditory stimuli, such as variance of interaural level difference (ILD), loudness, and sharpness, were correlated with the magnitude of subjective frisson. We had also observed that the subjective feelings of frisson by moving a musical sound had increased comparing with a static musical sound.

The Future of Hospital Sound: Transforming Healthcare Through Sound Experience

Several years ago, a classically trained electronic musician got sick and spent many hours in hospitals. Being a musician, sensitive to sound, she was disturbed by the noise around her: people talking and screaming, doors getting slammed, phones and pagers ringing non-stop, overhead speakers announcing emergencies… and the cacophony of alarms beeping in the dissonance of tritones. Since then, she and her husband (co-author and innovation policy researcher) have embarked on a mission to transform sound experience in hospitals, in collaboration with Johns Hopkins Sibley Memorial Hospital, Stanford Medicine X, TEDMED, and medical device companies. When we listen to people talking about sound, their stories are always more than about sound; they reveal what it means to be a human during the most vulnerable times of their lives. In this article, we explore noise as a symptom of culture, how sound reveals the importance of caring for caregivers, the future of auditory alarm design, and the aesthetic realm in palliative care. These perspectives result from a human-centric (rather than technology-centric) approach to innovation, and how transforming the sound of healthcare means focusing on people and their experiences.

Improving the High-Frequency Response of PEI-Based Earphone with Sodium Copper Chlorophyllin.

The polyetherimide diaphragm, sodium copper chlorophyllin (SCC), and copper ion coating composite used on earphones were observed to improve the high-frequency (10k–14k Hz) performance. This reinforcement phenomenon was expected to make the sound experience brighter and more diverse. By SEM observation, the mixed coating of SCC/Cu2+ on the polyethylenimine (PEI) diaphragm exhibited a planar blocky structure and was tightly bonded to the surface of the PEI polymer without the aid of colloids. The endothermic process of SCC and metal ion complexation was analyzed by isothermal titration calorimetry. The association ratios of SCC/Cu2+ and SCC/Ni2+ were 4/1 and 6/1, respectively, and the SCC/Cu2+ association yielded a stronger binding constant and more free energy. It was expected that the SCC/Cu2+(4/1) mixed liquid would be immobilized on the PEI polymer by multivalent interaction, including hydrogen-bonding networks between carboxyl groups of SCC and amine groups of PEI, and cross-linking of bridging copper ions. We used dimethylethylenediamine (DME) monomer instead of PEI polymer to analyze this multivalent interaction and observed a two-stage exothermic association of SCC/Cu2+(4/1) and DME with a total Gibbs free energy of 15.15 kcal/mol. We observed that the binding energy could be used to explain that the SCC/Cu2+ mixed formulation could be fixed on the surface of the PEI polymer and could enhance the strength of the PEI film. Compared with graphene films, which can continuously improve the performance of high and ultrasonic frequencies, this study was devoted to and was initiated for the purpose of applying porphyrin compounds to improve music performance.

Development of Mainline Electric Locomotive Engineering in Ukraine (on the Example of Diversification of Production Activity of OJSC "Luhanskteplovoz")

The article attempts to investigate the economic preconditions for the formation of the main electric locomotive industry in Ukraine on the example of diversification of production activities of the State Holding Company «Luhanskteplovoz». It is determined that in the late 1980`s, in the absence of convertible currency for the import of traction rolling stock, Luhanskteplovoz received an order from the USSR Ministry of Railways for the development and production of electric freight and passenger locomotives of its own design. However, after 1991, due to the strategy of the Ministry of Railways of the Russian Federation to support the domestic market of main electric locomotives, and especially the lobbying of the renewed Cabinet of Ministers of Ukraine regarding the direction of investments to create a state monopoly corporation on the basis of low-power SPA «Dnipropetrovsk locomotive plant», diversification of production activities of OJSC «Luhanskteplovos» focused on a less promising direction of development of production of railcars for social purposes. It is argued that due to the low quality of products caused by the lack of sustainable funding and sound experience in the development of mainline equipment, the order of electric locomotives of SPC «Elektrovozobuduvannia» (SPA«DEVZ») was stopped. Instead, the localization and further development of industrial production at the facilities of HC «Luhanskteplovoz» of new generation freight electric locomotives, created on the basis of design and technological products of LLC «Novocherkassk electric locomotive plant», allowed the company in a short time to significantly increase the growth rate of production and expand cooperation with «Ukrzaliznytsia».

ОБҐРУНТУВАННЯ ПОТРЕБИ І ВРАХУВАННЯ ГЕНДЕРНОГО АСПЕКТУ В СИСТЕМІ СПОРТИВНОЇ ПІДГОТОВКИ

Introduction. The issue of gender equality in sport is multidimensional, requiring a variety of research, drafting relevant legislation and regulations, and training professionals to work at different levels, educated on gender issues. Meanwhile, the key issue for the topic of the formation of a modern system of training athletes, taking into account the culture of gender relations remains insufficiently elaborated at the level of theory in Ukraine, although it must preempt, direct the actions of various practitioners who are otherwise compelled to act, based on foreign experience and sound experience. Research purpose. Substantiation of the need and consideration of gender in the system of sports training in Ukraine. Research methods and materials. The complex of methods of theoretical research (generalization of literature, materials from the Internet, content of previous own scientific developments, abstraction, idealization, analysis and synthesis, induction and deduction), as well as questioning on the developed author's questionnaire were used. As a result of the coaches' survey, 62 correctly completed questionnaires were obtained. Results. The stage of gender socialization in adulthood facilitates the revision of norms and patterns of genderrelated behavior and some adjustment of personality traits, but the formation of personality traits in a particular activity continues. In adulthood, masculine sports contribute to increasing courage, firmness, and self-control in women; increasing dominance, self-control, and reducing anxiety in men. Feminine species contribute to women's decline in dominance, increasing anxiety, non-conformism, increasing stereotypical views on qualities inherent in men and women in society; whereas men develop straightforwardness and emotional stability. It is known that the general fundamentals of sports training, presented by the theory of sport, are common to men and women. However, some factors, such as socio-psychological, as well as the characteristics of women's body make some conditioning in their training. It is therefore very important, when preparing national and regional programs aimed at the development of physical culture and sports, to take into account not only age, but also gender, as a guarantee of ensuring the prerequisites for creating equal opportunities for access to sports and fair distribution of public funds for this sphere of life society. Conclusions. 1. The gender components of sport theory, which carry information about the real processes of socio-sexual relations in the field of sport, are now the result of extrapolation of the basic provisions of general gender science to sport theory and thus are included in the structure of sport theory. However, the problem of the direct transposition of gender perspectives into the field of sport only indicates that there is an objective need to gain new knowledge at the frontier of general gender and to study gender-specific sport issues. 2. Due to the variety of forms of exercise, the sport sector needs further exploration for optimal implementation of the gender approach, including conducting gender studies to address existing social and socio-psychological problems. Yes, there is a gender disparity issue with gender roles chosen by women in sports, and this can create conflicting life situations that go beyond the professional responsibilities of coaches. The principle of taking into account the sociogender identity of a person is poorly taken into account in sport, as evidenced by the opening up of opportunities for women to engage in almost all masculine sports, because at present the concepts of implementation of this principle in sport have not been developed or implemented. 3. Therefore, there is a societal need, both for continued research and for qualified specialists trained in the gender components of sports theory and practice, who are able to apply this knowledge to the development of the sports movement, as well as to improve the level of knowledge of students in specialized higher education institutions that complicated by the practical lack of software and methodological support of the educational process at the level of systematic integration of the principles of sports theory and gender in the field of sports. 4. Based on the above, in the current context, it is possible to recommend to the broad practice, which should be specified by the available exceptions (conscious personal preferences and needs of boys and girls to the selected sport), classes that are more suitable for the sex. Keywords: gender, athlete's personality, gender aspect in the system of sports training, masculinity, femininity, antagonistic sports, synergistic sports, autonomous sports.

Noise acceptance of acoustic sequences for indoor soundscape in transport hubs.

Noise acceptance is an aspect of indoor soundscape research. While staying or walking in a transport hub, sequential sounds form sequence sounds sessions, which are referred to as an acoustic sequence. The basic phenomenon and effects of acoustic sequences on acceptance evaluations have been explored. A total of 209 sections of 30 s acoustic units were extracted before performing acceptance evaluations. The acoustic units were divided into strong, medium, and weak levels, and compiled into 37 pieces of acoustic sequences, which were then subjected to four tests for acceptance evaluation: sound content, acceptance level, and effects of weak and strong acceptance units. One piece of an acoustic sequence consists of 20 acoustic units. The results show that all acoustic sequences exhibit "attenuation effects"-as for any acoustic unit that makes up the sequence, general acceptance decreases with time. The lower the acceptance, the faster the decay in score. High acceptance units have an "enhancement effect," and the acceptance increases after a high acceptance unit. Low acceptance units have a "boost effect," and the acceptance increases after a low-level acceptance. Both enhancement and boost effects could improve the acceptance evaluation of acoustic sequences and sound experiences in transport hubs.

3D Room Geometry Inference Using a Linear Loudspeaker Array and a Single Microphone

Sound reproduction systems may highly benefit from detailed knowledge of the acoustic space to enhance the spatial sound experience. This article presents a room geometry inference method based on identification of reflective boundaries using a high-resolution direction-of-arrival map produced via room impulse responses (RIRs) measured with a linear loudspeaker array and a single microphone. Exploiting the sparse nature of the early part of the RIRs, Elastic Net regularization is applied to obtain a 2D polar-coordinate map, on which the direct path and early reflections appear as distinct peaks, described by their propagation distance and direction of arrival. Assuming a separable room geometry with four side-walls perpendicular to the floor and ceiling, and imposing pre-defined geometrical constraints on the walls, the 2D-map is segmented into six regions, each corresponding to a particular wall. The salient peaks within each region are selected as candidates for the first-order wall reflections, and a set of potential room geometries is formed by considering all possible combinations of the associated peaks. The room geometry is then inferred using a cost function evaluated on the higher-order reflections computed via beam tracing. The proposed method is tested with both simulated and measured data.

Evaluation and Analysis of the Algerian Oases Soundscape: Case of El Kantara and Sidi Okba

The present research focuses on the soundscapes of two localities representative of the oasis cities of southeast Algeria, Sidi Okba and El Kantara, in order to define the nature of the soundscapes and the impact that road traffic can have on them. In this paper, the method of sound walks has been used in order to record the sound experience of city dwellers in pre-selected routes. The processing of these sound recordings with the S_TOOLS-STx software shows the diversity and the denaturation of the soundscapes in these two localities. The current nature of sounds and the exposure levels, especially in new urban centers, and the extinction of these oases could have a negative impact on the general comfort and health of the inhabitants and on the sensitive natural biodiversity of these fragile human settlements, increasing the risk of the syndrome of sick cities.

My Practice of Live Performance of Spatial Electronic Dance Music

In this commentary I will discuss the technical implementation of sound spatialisation in EDM (electronic dance music) performance practice and outline my compositional approaches involving these techniques. The use of space as a musical parameter in EDM is becoming more common as the accessibility of the technology increases. The technical means of performance and the sonic material combine to create a unique musical aesthetic and listening experience in EDM culture. An historical overview of compositions using spatial considerations as a main musical parameter will situate my work within this artistic practice. Different implementations and propositions of sound spatialisation, as well as the principal locations dedicated to this form of activity will be discussed to contextualise my work. A fundamental part of my research concerns the use of spatialisation tools and techniques to enhance EDM through an immersive sound experience. Concepts and notions of musical 'flow’ and live improvisation have shaped this research and the compositional and performance aesthetics that have come to underpin my creative practice. Furthermore, the idea of immersivity and the sublime have informed my compositional thinking, and this will be assessed in relation to my objective to create an enhanced listening experience in my live performances. A discussion of the blurred roles of composer/producer/performer will demonstrate how I consider my live performance practice to redefine what a composer of EDM can be. Thus, I consider this research to propose a viable model for modern EDM composers.

Correlation between acoustic immersion index and other objective parameters in concert halls

Concert halls’ geometry and volume, impact or shape listeners’ room acoustic experience. The current recommended procedure within ISO3382 in calculation or measurement of the room acoustic parameters or current indexes used by designers do not fully represent the listeners’ audio experiences. In this paper measured and simulated parameters for room acoustic are analyzed in time and frequency domains for a selected number of well-known halls. Computer simulation and room acoustic measurements using beamforming techniques are used to examine the sound quality and acoustic sense of immersion within these uniquely shaped halls. Halls with the audience facing the stage as compared to the audience’s seating surrounding the stage have a noticeable impact on the high-frequency absorption of direct and reflected sounds in each space given the presence of the audience. Correlation between immersion index and other acoustic parameters or indexes such as reverberation time, sound strength, sound texture, listeners’ envelopment, early decay and center time, clarity-definition for speech and music, are explored and used to show contributions of acoustical features or key architectural elements within these selected halls. The practical application of these new indexes associated with space geometry for room acoustic design calculations contributes to the high quality of sound experience in concert halls.Concert halls’ geometry and volume, impact or shape listeners’ room acoustic experience. The current recommended procedure within ISO3382 in calculation or measurement of the room acoustic parameters or current indexes used by designers do not fully represent the listeners’ audio experiences. In this paper measured and simulated parameters for room acoustic are analyzed in time and frequency domains for a selected number of well-known halls. Computer simulation and room acoustic measurements using beamforming techniques are used to examine the sound quality and acoustic sense of immersion within these uniquely shaped halls. Halls with the audience facing the stage as compared to the audience’s seating surrounding the stage have a noticeable impact on the high-frequency absorption of direct and reflected sounds in each space given the presence of the audience. Correlation between immersion index and other acoustic parameters or indexes such as reverberation time, sound strength, sound texture, listeners’ e...

Sonoqualia 2.0: imágenes mentales e imaginación sonora

<p>La finalidad de esta comunicación es narrar las motivaciones, metodología, desarrollo y conclusiones de la segunda versión del proyecto Sonoqualia. que tiene como objetivo fundamental la creación por parte de personas con discapacidad visual, de experiencias artísticas sonoras vinculadas a obras pictóricas albergadas en museos de la ciudad de Madrid. El nombre (Sono-qualia) hace referencia a las cualidades subjetivas de los sonidos que sentimos y percibimos cada uno de nosotros, por lo que su intención está alejada de criterios objetivos traductores del material visual en material sonoro. Las obras pictóricas son los marcos de referencia a partir de los cuales se crean los espacios y experiencias sonoras. Las audio-descripciones ofrecidas por los museos, entendidas como relatos descriptivos de los elementos puestos en relación en los cuadros, son el punto de partida del proyecto, concebido en forma de taller de 5 semanas de duración en el que los participantes trabajan en grupos, asistidos por técnicos que facilitan el acceso a softwares de composición sonora. Sonoqualia se centra en la construcción, enriquecimiento y comunicación de las imágenes mentales de las participantes, generadas a partir de estos relatos descriptivos, entendidas como representaciones internas formadas a partir de nuestras experiencias multimodales: en las que intervienen todos los sentidos. Se utilizan para ello diversos elementos, como valores simbólicos y significados emocionales de los sonidos utilizados diariamente en nuestras relaciones interpersonales y con el entorno; la imaginación sonora, que tiene capacidad de desarrollo, sofisticación y complejidad; experiencias sonoras previas o “cultura sonora”, variable en cada participante, pero que se enriquece al ser compartida y puesta en común; material sonoro escogido simplemente por “como suena”, es decir, por criterios estéticos… El resultado es la creación de piezas sonoras con una duración en torno a los 2 minutos. Dicho proyecto ha sido beneficiario de una Ayuda para la Creación artística del Ayuntamiento de Madrid 2017 y hasta el momento se han realizado dos ediciones de él.</p>

Marketing sonic thinking with creative visualization: getting decision-makers to listen

ABSTRACT Sound artists and musicians understand sound’s impact on health and well-being; their knowledge can make a difference in the planning and construction of healthy cities. As immersive sound experience designers at Charles Morrow Productions LLC, the authors have created numerous installations for health and well-being throughout the world. In our professional experience, however, communicating our knowledge about the importance of sound to visually-oriented professionals who design and manage urban spaces can be a challenge. In this article, we outline our learnings in order to develop principles for visualizing sonic environments that can help decision-makers to listen to and with us. We speculate that such visualizations may aid other sound artists and designers to generate interest for sound among diverse stakeholders.

Cross-modal representations in early visual and auditory cortices revealed by multi-voxel pattern analysis.

Primary sensory cortices can respond not only to their defined sensory modality but also to cross-modal information. In addition to the observed cross-modal phenomenon, it is valuable to research further whether cross-modal information can be valuable for categorizing stimuli and what effect other factors, such as experience and imagination, may have on cross-modal processing. In this study, we researched cross-modal information processing in the early visual cortex (EVC, including the visual area 1, 2, and 3 (V1, V2, and V3)) and auditory cortex (primary (A1) and secondary (A2) auditory cortex). Images and sound clips were presented to participants separately in two experiments in which participants' imagination and expectations were restricted by an orthogonal fixation task and the data were collected by functional magnetic resonance imaging (fMRI). We successfully decoded categories of the cross-modal stimuli in the ROIs except for V1 by multi-voxel pattern analysis (MVPA). It was further shown that familiar sounds had the advantage of classification accuracies in V2 and V3 when compared with unfamiliar sounds. The results of the cross-classification analysis showed that there was no significant similarity between the activity patterns induced by different stimulus modalities. Even though the cross-modal representation is robust when considering the restriction of top-down expectations and mental imagery in our experiments, the sound experience showed effects on cross-modal representation in V2 and V3. In addition, primary sensory cortices may receive information from different modalities in different ways, so the activity patterns between two modalities were not similar enough to complete the cross-classification successfully.

Fractionating auditory priors: A neural dissociation between active and passive experience of musical sounds.

Learning, attention and action play a crucial role in determining how stimulus predictions are formed, stored, and updated. Years-long experience with the specific repertoires of sounds of one or more musical styles is what characterizes professional musicians. Here we contrasted active experience with sounds, namely long-lasting motor practice, theoretical study and engaged listening to the acoustic features characterizing a musical style of choice in professional musicians with mainly passive experience of sounds in laypersons. We hypothesized that long-term active experience of sounds would influence the neural predictions of the stylistic features in professional musicians in a distinct way from the mainly passive experience of sounds in laypersons. Participants with different musical backgrounds were recruited: professional jazz and classical musicians, amateur musicians and non-musicians. They were presented with a musical multi-feature paradigm eliciting mismatch negativity (MMN), a prediction error signal to changes in six sound features for only 12 minutes of electroencephalography (EEG) and magnetoencephalography (MEG) recordings. We observed a generally larger MMN amplitudes–indicative of stronger automatic neural signals to violated priors–in jazz musicians (but not in classical musicians) as compared to non-musicians and amateurs. The specific MMN enhancements were found for spectral features (timbre, pitch, slide) and sound intensity. In participants who were not musicians, the higher preference for jazz music was associated with reduced MMN to pitch slide (a feature common in jazz music style). Our results suggest that long-lasting, active experience of a musical style is associated with accurate neural priors for the sound features of the preferred style, in contrast to passive listening.