Sound Landscape Research Articles

Reshaping the Sound Landscape: The Application and Development of AI in the Sound Creation of Chinese Podcasts in the Era of Intelligent Media

With the rapid development of intelligent media technology, AI has greatly enriched the creation means and expression forms of Chinese podcasts and reshaped the diversity and personalization of speech synthesis, audio editing and content generation, through the diversity and personalization of sound landscape. Through the specific application cases of AI in the creation of Chinese podcast voice, this paper analyzes its positive effects in improving the efficiency of creation, optimizing user experience and promoting the development of the industry, and looks forward to the future development trend and challenges, aiming to provide valuable reference and inspiration for the development of the field of Chinese podcast

Effects of different natural soundscapes on human psychophysiology in national forest park

Most of the current soundscape research content is limited to the discussion of the restoration effect of single-element soundscapes, but it is the combination of sounds that is common in outdoor activities, and there is no evidence that the restoration of natural soundscapes is better with multi-element combinations. In this study, the Zhangjiajie National Forest Park in China was used as the research object, and the physiological indices of the subjects were collected through electroencephalogram signals, and the POMS short-form psychological scale was used to understand the subjective psychological responses of the subjects to the soundscape. The results showed that (1) The psychophysiological restorative ability of the natural soundscape of the National Forest Park was confirmed, and the subjects’ psychological and physiological indices changed significantly and positively after listening to each section of the natural soundscape (p = 0.001). (2) The restorative effect of the multi-natural sound combination was ranked first in the overall ranking of the five natural soundscapes, and the multi-natural sound combination did indeed provide better restorative effects than the single-element sounds. (3) Gender does not usually have a significant effect on the restoration effect, and only Windy Sound among the four single-element nature sound landscapes and one multi-element combination of nature sound landscapes showed a significant gender difference, so in general, the effect of gender on the restoration effect of nature sound landscapes is not significant. In terms of research methodology, this study used cluster analysis to cluster the five types of natural soundscapes according to psychological and physiological recovery ability, and used ridge regression to construct mathematical models of the psychological and physiological recovery of each of the four natural soundscapes. The study of human physiological and psychological recovery from different types of natural soundscapes in China’s national forest parks will provide a basis for soundscape planning, design, and policy formulation in national forest parks.

Wspólnota dźwięków – wspólnotą kultury. Dźwięk w sytuacjach społecznych

This paper proposes a look at the community of culture from the viewpoint of the community of sounds, which is its immanent part. The sound environment is a significant element which builds a feeling of national, local, group, generational, and other affiliation and identity. Sounds may function as symbols, be a part of rituals, and carry values. Treating the audiosphere as an indicator of a community opens us to a new dimension of reflecting on the meaning of the sound landscape, understood, after R. M. Schafer, as the whole or a part of the sound environment with its perceptual, social, and historical-social context. Sound is the reflection of social organization systems created by people; therefore, social changes are reflected in the sound environment. In the analysis of this issue, I have used field recordings and their descriptions made by pedagogy students from the University of Lodz. The students’ observations confirm that it is worth reflecting on the sound in the ocularcentric world, which seems more than before dominated by sight, considered a sense of distancing by Wolfgang Welsch.

Research on Soundscape Design Strategies for Public Spaces in Dong Village, Dali

Soundscape reflects the ecological, cultural and social characteristics of regions and ethnic groups and is an important part of the public environment. Because in the past environmental design, the breadth and depth of the design that considers the human settlement environment system as a large framework should be included and involved. Therefore, this article analyzes the existing public space and landscape nodes of the public environment of Dali Dong Village, and uses the knowledge of environmental science, sociology, landscape science and other related disciplines to explore the Dong village public environment as the design practice object. It hopes to provide a useful reference for the research on sound landscape design of traditional ethnic minority settlements in my country.

A tradução de espaços e as paisagens sonoras na escrita de Ruy Duarte de Carvalho

This paper objectives to explore one of the main aspects of the poetry of Ruy Duarte de Carvalho, that is the space, consisting of visual and sound landscapes of the Angolan nation. The spaces translated in the poetry of Ruy Duarte present not only the marks of colonization, but also of your anthropologic observation, that always search for diferents territories and to learn with the transited spaces. Some theoric appointments will substantiate this reflection, as Poética e filosofia da paisagem (2013), by Michel Collot; A tarefa do tradutor (2013), by Walter Benjamin and Metamorfoses do corpo (1997), by José Gil.

Research on a New Soundscape Evaluation Method Suitable for Scenic Areas

Existing studies have focused mainly on the environmental quality of scenic spots, such as sufficient oxygen content in the air and a high concentration of negative oxygen ions. The perceptions of soundscape in scenic areas are generally good, but there are few reports on the quantitative evaluation of soundscape quality in scenic areas. In this study, we analysed existing methods for evaluating the soundscape of a landscape, evaluated the soundscape comfort of scenic spots, analysed and refined the natural environmental factors affecting the soundscape, and proposed for the first time to use physical environmental indicators such as the air temperature difference, relative humidity, natural illuminance ratio and wind speed as environmental evaluation variables. A quantitative method was used to calculate the soundscape comfort index (SSI) of the landscape. The physical environmental indicators related to famous scenic spots in China, namely, Qingcheng mountain field testing and a subjective soundscape of tourist satisfaction survey, were used to calculate the corresponding soundscape comfort index values, and a quantitative analysis of soundscape comfort and differences in temperature, relative humidity, the illumination ratio, and the correlation between the equivalent sound level A was performed. The measured values of the temperature difference and light ratio were significantly correlated with the soundscape comfort index. The distribution of sound landscape comfort was given by a GIS map, and soundscape comfort was evaluated scientifically. The correlations between soundscape comfort and landscape patch number (PN), landscape patch density (PD), diversity index (Shannon), and landscape shape index (LSI) were quantitatively analysed, which confirmed that the perception of soundscape comfort was affected by landscape space to different degrees. This study has scientific significance and application value for the soundscape evaluation of scenic areas and has significance for soundscape evaluation and design strategies for urban landscapes.

Research on Sound Landscape Design and Shaping in Movies

Research on Sound Landscape Design and Shaping in Movies

ANALYSIS OF THE SOUNDSCAPE OF SKI RESORTS IN BAD HOFGASTEIN (AUSTRIA) AND BIAŁKA TATRZAŃSKA (POLAND)

Aim of the study: Firstly, due to the different sizes and spatial organization of ski resorts, it is important to determine whether there is a local differentiation of the sound landscape within one resort. Secondly, due to the continuous expansion of the ski infrastructure, it is essential to develop methods for improving the quality of the acoustic environment. It is therefore necessary to determine whether there are acoustic differences between the different ski resorts. Material and methods: The research we conducted consisted in measuring the sound levels, and inventorying various types of acoustic events. The examined ski resorts, despite the difference in size of the areas they occupy and the numbers of users, are in many aspects comparable to each other. Results and conclusions: Ski resorts occupying a relatively small area but with a high concentration of infrastructure and skiers may exert a stronger environmental impact than resorts with a larger area and lesser density of infrastructure as well as a lower number of users per area. The skiers themselves, their manners, and their environmental consciousness have a great impact on the quality of the sound landscape.

“Great food, but the noise?”: Relationship between perceived sound quality survey and non acoustical factors in one hotel restaurant in Italy

The empirical assessment of the quality of the sound landscape in restaurants and how it affects the overall customer experience has only recently begun to be addressed. Noise from recreational activities, such as discos, restaurants, bars, hotels, etc., characterizes the soundscape of tourist centers, where there is a need to ensure the coexistence of noisy commercial activities and the right to rest of citizens customers of accommodation facilities, often already compromised by traffic. Although there is a renewed sensitivity to the issue of noise, restaurants are often characterized by poor acoustics and a poor multi-sensory perception of comfort. This article examines the noise levels of a hotel’s dining room in an Italian tourist resort during lunch and dinner hours. The study included aspects related to the acoustics, lighting, and quality of the location, also for the assessment of the perception of comfort obtained was given to customers a questionnaire of satisfaction during the meal, every day for a week. Considering the correlation between the three components of the soundscape, namely people, sound, and the environment under consideration, this study aims to explore the effects of the soundscape on sound restoration for accommodation facilities in tourist resorts.

La voix de l’Autre. Singularités et altérités vocales dans les contacts entre Byzantins et leurs voisins occidentaux (IXe-XIIe s.)

AbstractEven though our sources globally make it difficult to hear the voices of individuals during the mid-Byzantine period, some of them give us a few insights, notably when Byzantine authorities are confronted with Western neighbours. Indeed, Byzantine singing and liturgic practices are frequently mentioned in Latin sources. They are often associated with other aspects of what one may call a “sound landscape”, and they are presented in a positive manner. But laughter and pronunciation are vocal variations that are usually more criticized in the perception ‘Latins’ and Byzantines have of each other. Furthermore, when political and military tensions arise, variations in the tone of voice of the Other can be severely judged and condemned. Finally, very often, voices heard within the context of encounters between ‘Latins’ and ‘Greeks’ may be associated with questions of order and disorder according to Byzantine authors.

The “subjective microphone” technique in M. Khutsiev’s film “I am Twenty”

The object of research in this article is the actor speech in the cinema of the "Khrushchev Thaw" period. The subject of the research is the artistic specifics of the recorded speech in the film "I am Twenty." The article analyzes the use of "subjective microphone" technique in the sound landscape of the film "I Am Twenty" by Marlen Khutsiev. The aesthetic and technical aspects of the use of the above technique have been analyzed in detail. "Subjective microphone" is considered by the author as part of the updated speech style that appeared in Soviet cinema in the era of the " Khrushchev Thaw." The author pays special attention to the influence of the updated speech aesthetics of cinema of the 1950s and 1960s on theatrical art and acting. The novelty of this research lies in the study of the phenomenon of acting speech in the cinema of the "thaw" from an aesthetic and technical standpoint. The term "subjective microphone" was first introduced into scientific circulation in application to sounding speech in screen arts. The term "cross-diegesis" is proposed for inclusion in scientific circulation to determine a special sound space formed in screen arts when using the technique of a "subjective microphone." The article scientifically substantiates a special place that is occupied by the "subjective microphone" technique in the concept of dividing the sound space of the film into diegetic, non-diegetic and methadiegetic layers. Separately, the author dwells on the inclusion of the reception of the "subjective microphone" in the general documentary-poetic artistic style of Marlen Khutsiev. In conclusion, the author says that the appearance of magnetic sound recording in the 1950s had a powerful effect on the aesthetics of film monography and, in particular, the sound of acting speech.

Application of the SVM algorithm for the development of a model classification of the visual and sound landscape

To ensure adequate management of the soundscape in urban environments, urban planning authorities need a range of tools that enable them to perform this condition. Analyzing and classifying a soundscape is necessary to adapt it to the expectations of the people who inhabit it. The term Soundscape is associated with three different research areas: ecology / anthropology, music / sound design and architecture / urbanism. In particular, in this paper, the third research area will be investigated, finding a correlation model between auditory and visual sensations of the urban landscape of the port of Ancona. The classification model that is used is the Support Vector Machines SVM which is proposed as a tool for a global assessment of the urban sound landscape. In this case study the algorithm is intended for the automatic classification of the sound landscape of the port of Ancona to understand how much the sound perception affects the visual one. The main results obtained are illustrated: - 75 participants were selected who, after spending time in the indicated place, filled out a questionnaire consisting of 20 questions for the evaluation of the visual environment and 20 questions for the evaluation of the sound environment. - The training set (train \ _data) will consist of 1500 samples for images and 1500 samples for sounds. - By applying the fitcsvm (SMO) algorithm, the value of each parameter used for the implementation algorithm was obtained and a random partition of the data was performed for a k-Fold cross-validation. -Finally, the hyperplane equation of our specific system was calculated.

Listen to ‘Mila’, Listen to the Hong Kong's Social Soundscape on the Contemporary Opera Stage (Review)

The creation and performance of contemporary opera in the 21st century reflect the main ideas of contemporary humanistic trend of thought. Contemporary opera is increasingly deepening in international cooperation, cross- cultural artistic expression, global exploration of local social issues, and artists' social participation. Today is a new humanistic era for contemporary opera and other art forms. The artistic and humanistic languages of different nationalities and cultures communicate and dialogue on more diverse artistic platforms. Therefore, the creation of realistic opera which reflects the diversity of Chinese humanistic values and the real development of Chinese society is particularly important today. The creation and performance of contemporary opera in Hong Kong is also a representative of the development of Chinese opera with remarkable regional characteristics. Taking ‘Mila’’, an opera commissioned by the Asia Society Hong Kong Center, as an example, this article analyzes the realistic librettural themes, the music composition of contemporary scenes, and the dramatic presentation of life materials in the work, so as to discover Hong Kong's social sound landscape on the contemporary opera stage.

Design and application of soundscape in urban park

Based on the modern city is full of noisy sound, people lack inner peace. This paper intends to explore the design elements and methods of sound landscape, introduce the concept of sound landscape in urban park design, and expounds and analyzes the characteristics of sound landscape design. In order to make the landscape design of modern city park more humanized, the author puts forward that the sound landscape can relieve the psychological pressure of modern people.

Soundscape Approach in the Seaport of Ancona: A Case Study

Today, the art of knowing how to listen is more urgent than ever. The perceptive sound system of the human being is stimulated daily by countless artificial sounds that dominate natural ones. When it comes to the idea of the soundscape, the terminology was initially referred to by composer and environmentalist Raymond Murray Shafer, who defined “soundscape” as a relationship between the ear, humans, built environments, and society. This paper aims to apply the sound landscape approach in the seaport area of Ancona (Italy); a large area, frequented daily by many people, which is divided into passenger and ferry terminals, container terminals, plants for solid bulk, and commercial and recreational activities. The purpose of the study was to evaluate the perception that a human has of the urban layout of the port area by correlating the parameters of traditional acoustics with psychoacoustics. To evaluate the subjective parameters, a questionnaire was developed and applied, enabling the analysis of demographic and behavioral factors such as age, visit frequency, and length of stay of the participants in the clusters of the seaport. This way, it was possible to give an indication of the sound quality of the different clusters of the port area, from an acoustic and emotional point of view, and this information could be particularly helpful in the planning phase of new attractions for the Ancona seaport.

Ballet “Chasing Two Hares” by Yuri Shevchenko: Intertextual and Intermedial Contexts

The relevance of research. The ballet “Chasing Two Hares” was first investigated from the point of view of intertextual and intermedia connections. Also, for the first time, the analysis of the musical component of the film "Chasing Two Hares" directed by V. Ivanov and composer B. Gomolyaka has been carried out. The parameters of interaction between the ballet “Chasing Two Hares” and the film of the same name at different levels are derived: plot, genre, intonation and drama.
 Main objective of the study is to determine the intertextual and intermedia contexts of Y. Shevchenko’s ballet “Chasing Two Hares”.
 Research methodology. In the article, the following methods of historical and theoretical musicology were used: historical — to clarify the circumstances of the creation of musical works, comparative — to compare the musical series of the film “Chasing Two Hares” and Y. Shevchenko’s ballet, the method of intertextual analysis — to identify the qualitative indicators of connections between different musical texts, the method of genre-intonation analysis — for the detection of immanent intonational specific features of the named opuses.
 The results and conclusions of the study. The concepts of “intertextuality” and “intermediality” in the context of the genre of ballet are defined. The ballet “Chasing Two Hares” by Y. Shevchenko is analyzed from the point of view of its genre and intonation specifics, intertextual and intermedia connections with the film “Chasing Two Hares” directed by V. Ivanov. The musical component of the film, the author of which was V. Gomolyaka, is considered. The main methods of V. Gomolyaka’s work are determined when he creates intonation characteristics of the main characters of the film (Golokhvostov, Pronya) by means of musical expressiveness. Golokhvostov has two contrasting leit-themes, Pronya — one leit-theme, which undergoes intonation changes at the end of the film. The genre and intonation coordinates of the sound landscape of the city of Kyiv have been determined, which V. Gomolyaka reproduces the motley picture of the city of the late 19th and early 20th centuries (church bells, urban folklore, klezmer music, etc.). The intonation and literary genesis of the ballet “Chasing Two Hares” by Y. Shevchenko has been clarified. The parameters of interaction of the film “Chasing Two Hares” with Y. Shevchenko’s ballet are derived: plot (introduction of the heroine Madame), genre (involving the semantics of genres: waltz, march, song, couplets, etc.), intonation (rethinking of sound models by Y. Shevchenko and ideas of V. Gomolyaka). The intertextual and intermedia connections of Y. Shevchenko’s ballet with other literary texts are traced: M Starytsky’s play “Gentleman lip without teeth, or Chasing Two Hares”, I. Nechuy-Levitsky’s play “On Kozhemyaki” and the film “Chasing Two Hares” directed by V. Ivanov and composer V. Gomolyaka. The individual author’s style of the composer is comprehended from the point of view of work in the genre of ballet.

Agroforestry in the Czech Republic: What Hampers the Comeback of a Once Traditional Land Use System?

The interest in re-implementing agroforestry (AF) in European agriculture due to its environmental benefits has been growing exponentially. We reviewed the historical background and the current state (extent, farmers’ perception, legislative support, and barriers) to evaluate the future perspectives of AF in Czechia by identifying the key factors hampering further extension. Our results confirmed that AF almost disappeared after the middle of the 19th century due to agricultural intensification and collectivization. Currently, AF is not defined in the Czech legislation and no modern AF has been encountered by this study. Areas falling into AF definition recently comprise only traditional AF (less than 1% of agricultural area remaining) represented only by silvopastoral AF. The results of a farmers’ survey indicated that despite relatively high interest in AF, excessive bureaucratization, high costs of establishment and uncertain profitability are severe concerns among farmers. We therefore conclude that there is a lack of legal recognition and marginalization of AF as the key obstacles of low adoption rates. We suggest that systematic support beyond subsidies should include raising awareness, research, policy, legislation changes, training, and advisory service, as a cornerstone for progressive development of AF and thus conservation and creation of economically and environmentally sound landscapes throughout Czechia.

Dramaturgia muzyczna

In her paper, Ewa Wąchocka examines the phenomenon of recent dramatic works becoming increasingly more ‘musical’ and the terminological shift it brought about, i.e. the inclusion of the term ‘musical dramaturgy’ in writing for the stage. The author argues that far from being limited to the sounds of speech and language in general, musicality also encompasses a variety of non-musical sounds, the unravelling of the play’s narrative and the psychological makeup of its characters; it also penetrates deeply into the structure of the text. In the analysis of plays by W. Murek, A. Grzegorzewska, and S. Bogacz, the author demonstrates how essential the inspirations sourced from musical culture are for recent dramatic works: the 20th-century experiments with music, the discovery of how potent sound expression can be, or the most technologically advanced methods of sound reproduction. By presenting the many and varied dramatic strategies, the author shows that contemporary playwrights not only use musicality to represent the sound landscape of the world but, first and foremost, to create the ontology of an internally conflicted world.

Sensory landscape of the Russian empire in “The Letters from Russia” (1856–1857) by Juan Valera

The article considers new perspectives in working with travel notes as a historical source. Through the careful reading of “The Letters from Russia” (1856-1857) by Spanish diplomat and writer Juan Valera (1824-1905), the article examines the role of sensory impressions and their place in constructing Russia’s image. Particular attention focuses on the analysis of methods and approaches of sensory history. By applying content analysis, it was possible to identify four topics addressed by the Spanish diplomat: colours, tastes, sounds, and smells. Thanks to the interdisciplinary approach, we reconstructed the author’s percep- tion of Russia’s visual and sound landscape, his attitude to the Russian elite’s and the ordinary people’s tastes (food and drinks), the smells that he encountered during the trip. For example, the Russian empire seemed to the Spanish author brilliant, golden and silver, and its sound perception was characterized by the loud sound of local bells and melodic singing of church choirs. At the same time, a Spanish diplomat was openly disappointed with the common people’s food and its smell, and the Russian countryside, in general, seems colourless to him. The Spaniard’s idea of Russia was established under the influence of his native environment and by the St. Petersburg elite. Given the fact that the author spent most of his time in the company of the Russian elite, he managed to recreate Russia’s holistic sensual landscape only in the context of its sounds and smells. In the case of Russian food and colours, readers can observe an unfinished image that only partially reproduces the author’s vision of “folk” and “parade” Russia. For example, due to the author’s limited mobility, the text contains almost no information about the color palette of a Russian city or village. Despite this, the study of these phenomena not only revealed the basic features of the then Russian everyday life but also allowed a better understanding of the personality of Juan Valera and the way of forming his ideas.

Artificial intelligence in artistic practices

The article considers methods of involving artificial intelligence in artistic practices. Based on the analysis of ways to use this technology in visual arts and music, the basic principles of working with artificial intelligence technology are identified, including: imitation of historical art, implemented in projects The Next Rembrandt and Choral; generative art, which is found in the works “Hyperbolic Composition І” and “Hyperbolic Composition ІІ” of S. Eaton and also in the AIVA program (Artificial Intelligence Virtual Artist). The importance of the mechanisms of neurobiology in the process of working with artificial intelligence on the example of the project “Neural Zoo” of S. Crespo, Iamus program, in which the development of musical material is based on the principle of evolution, is stated. In the application Endel and in the opera “Emotionally intelligent” Artificially Intelligent Brainwave Opera» of E. Perlman, a neural network is used to read information about the human condition and its further processing for modification into a sound landscape or image. The development of artificial intelligence and its use in artistic practices opens up new opportunities, expanding both the field of authors of artistic content and attracting new audience. This phenomenon provokes many issues, including: the ability to think artificially of artificial intelligence, the ability to create works of art without human intervention, as well as issues related to copyright.