Soundage : a practice-led approach to Gertrude Stein, sound, and generative language

In this practice-led research project I work to show how a re-reading and a particular form of listening to the sound-riddled nature of Gertrude Stein's work, Two: Gertrude Stein and her Brother, presents us with a contemporary theory of sound in language. This theory, though in its infancy, is a particular enjambment of sounded language that presents itself as an event, engaged with meaning, with its own inherent voice. It displays a propensity through engagement with the 'other' to erupt into love. In this thesis these qualities are reverberated further through the work of Seth Kim-Cohen's notion of the non-cochlear, Simon Jarvis's notion of musical thinking, Jean-Jacques Lecercle's notion of délire or nonsense, Luce Irigaray's notion of jouissant love and the Bracha Ettinger's notion of the generative matrixial border space. This reading then is simultaneously paired with my own work of scoring and creating a digital opera from Stein's work, thereby testing and performing Stein's theory. In this I show how a re-reading and relistening to Stein's work can be significant to feminist ethical language frames, contemporary philosophy, sonic art theory and digital language frames. Further significance of this study is that when the reverberation of Stein's engagements with language through sound can be listened to, a pattern emerges, one that encouragingly problematizes subjectivity and interweaves genres/methods and means, creating a new frame for sound in language, one with its own voice that I call soundage.

Spatial hearing and sound perception in musical composition

This thesis explores the possibilities of spatial hearing in relation to sound perception, and presents three acousmatic compositions based on a musical aesthetic that emphasizes this relation in musical discourse. The first important characteristic of these compositions is the exclusive use of sine waves and other time invariant sound signals. Even though these types of sound signals present no variations in time, it is possible to perceive pitch, loudness, and tone color variations as soon as they move in space due to acoustic processes involved in spatial hearing. To emphasize the perception of such variations, this thesis proposes to divide a tone in multiple sound units and spread them in space using several loudspeakers arranged around the listener. In addition to the perception of sound attribute variations, it is also possible to create rhythm and texture variations that depend on how sound units are arranged in space. This strategy permits to overcome the so called "sound surrogacy" implicit in acousmatic music, as it is possible to establish cause-effect relations between sound movement and the perception of sound attribute, rhythm, and texture variations. Another important consequence of using sound fragmentation together with sound spatialization is the possibility to produce diffuse sound fields independently from the levels of reverberation of the room, and to create sound spaces with a certain spatial depth without using any kind of artificial sound delay or reverberation.

Steady-spectrum contexts and perceptual compensation for reverberation in speech identification

Perceptual compensation for reverberation was measured by embedding test words in contexts that were either spoken phrases or processed versions of this speech. The processing gave steady-spectrum contexts with no changes in the shape of the short-term spectral envelope over time, but with fluctuations in the temporal envelope. Test words were from a continuum between "sir" and "stir." When the amount of reverberation in test words was increased, to a level above the amount in the context, they sounded more like "sir." However, when the amount of reverberation in the context was also increased, to the level present in the test word, there was perceptual compensation in some conditions so that test words sounded more like "stir" again. Experiments here found compensation with speech contexts and with some steady-spectrum contexts, indicating that fluctuations in the context's temporal envelope can be sufficient for compensation. Other results suggest that the effectiveness of speech contexts is partly due to the narrow-band "frequency-channels" of the auditory periphery, where temporal-envelope fluctuations can be more pronounced than they are in the sound's broadband temporal envelope. Further results indicate that for compensation to influence speech, the context needs to be in a broad range of frequency channels. (c) 2007 Acoustical Society of America.

Perceptual compensation for reverberation in speech identification: effects of single-band, multiple-band and wideband noise contexts

Perceptual effects of room reverberation on a "sir" or "stir" test-word can be observed when the level of reverberation in the word is increased, while the reverberation in a surrounding 'context I utterance remains at a minimal level. The result is that listeners make more "sit" identifications. When the context's reverberation is also increased, to approach the level in the test word, extrinsic perceptual compensation is observed, so that the number of listeners' "sir" identifications reduces to a value similar to that found with minimal reverberation. Thus far, compensation effects have only been observed with speech or speech-like contexts in which the short-term spectrum changes as the speaker's articulators move. The results reported here show that some noise contexts with static short-term spectra can also give rise to compensation. From these experiments it would appear that compensation requires a context with a temporal envelope that fluctuates to some extent, so that parts of it resemble offsets. These findings are consistent with a rather general kind of perceptual compensation mechanism; one that is informed by the 'tails' that reverberation adds at offsets. Other results reported here show that narrow-band contexts do not bring about compensation, even when their temporal-envelopes are the same as those of the more effective wideband contexts. These results suggest that compensation is confined to the frequency range occupied by the context, and that in a wideband sound it might operate in a 'band by band' manner.

Perceptual compensation for effects of reverberation in speech identification

Listeners were asked to identify modified recordings of the words "sir" and "stir," which were spoken by an adult male British-English speaker. Steps along a continuum between the words were obtained by a pointwise interpolation of their temporal-envelopes. These test words were embedded in a longer "context" utterance, and played with different amounts of reverberation. Increasing only the test-word's reverberation shifts the listener's category boundary so that more "sir"-identifications are made. This effect reduces when the context's reverberation is also increased, indicating perceptual compensation that is informed by the context. Experiment I finds that compensation is more prominent in rapid speech, that it varies between rooms, that it is more prominent when the test-word's reverberation is high, and that it increases with the context's reverberation. Further experiments show that compensation persists when the room is switched between the context and the test word, when presentation is monaural, and when the context is reversed. However, compensation reduces when the context's reverberation pattern is reversed, as well as when noise-versions of the context are used. "Tails" that reverberation introduces at the ends of sounds and at spectral transitions may inform the compensation mechanism about the amount of reflected sound in the signal. (c) 2005 Acoustical Society of America.

Perceptual compensation for effects of echo and of reverberation on speech identification

In an ideal "reverberant" room, the energy of the impulse responses decays smoothly, at a constant rate of dB/s, so that gradually-decaying tails are added at the ends of sounds. Conversely, a single echo gives a flat energy-decay up to the echo's arrival time, which then drops abruptly, so that sounds with only echoes lack the decaying-tail feature of reverberation. The perceptual effects of these types of reflection pattern were measured with test-words from a continuum of steps between "sir" and "stir", which were each embedded in a carrier phrase. When the proportion of reflected sound in test-words is increased, to a level above the amount in the carrier, the test words sound more like "sir". However, when the proportion of reflected sound in the carrier is also increased, to match the amount in the test word, there can be a perceptual compensation where test words sound more like "stir" again. A reference condition used real-room reverberation from recordings at different source to receiver distances. In a synthetic-reverberation condition, the reflection pattern was from a "colorless" impulse response, comprising exponentially-decaying reflections that were spaced at intervals. In a synthetic-echo condition, the reflection pattern was obtained from the synthetic reverberation by removing the intervals between reflections before delaying the resulting cluster relative to the direct sound. Compensation occurred in the reference condition and in different types of synthetic reverberation, but not in synthetic-echo conditions. This result indicates that the presence of tails from reverberation informs the compensation mechanism.

Perceptual constancy, reverberation, and grouping: within-band effects

Perceptual constancy effects are observed when differing amounts of reverberation are applied to a context sentence and a test‐word embedded in it. Adding reverberation to members of a “sir”‐“stir” test‐word continuum causes temporal‐envelope distortion, which has the effect of eliciting more sir responses from listeners. If the same amount of reverberation is also applied to the context sentence, the number of sir responses decreases again, indicating an “extrinsic” compensation for the effects of reverberation. Such a mechanism would effect perceptual constancy of phonetic perception when temporal envelopes vary in reverberation. This experiment asks whether such effects precede or follow grouping. Eight auditory‐filter shaped noise‐bands were modulated with the temporal envelopes that arise when speech is played through these filters. The resulting “gestalt” percept is the appropriate speech rather than the sound of noise‐bands, presumably due to across‐channel “grouping.” These sounds were played to listeners in “matched” conditions, where reverberation was present in the same bands in both context and test‐word, and in “mismatched” conditions, where the bands in which reverberation was added differed between context and test‐word. Constancy effects were obtained in matched conditions, but not in mismatched conditions, indicating that this type of constancy in hearing precedes across‐channel grouping.

Children's recall of words spoken in their first and second language : Effects of Signal-to-Noise Ratio and Reverberation Time

Speech perception runs smoothly and automatically when there is silence in the background, but when the speech signal is degraded by background noise or by reverberation, effortful cognitive processing is needed to compensate for the signal distortion. Previous research has typically investigated the effects of signal-to-noise ratio (SNR) and reverberation time in isolation, whilst few have looked at their interaction. In this study, we probed how reverberation time and SNR influence recall of words presented in participants' first- (L1) and second-language (L2). A total of 72 children (10 years old) participated in this study. The to-be-recalled wordlists were played back with two different reverberation times (0.3 and 1.2 s) crossed with two different SNRs (+3 dBA and +12 dBA). Children recalled fewer words when the spoken words were presented in L2 in comparison with recall of spoken words presented in L1. Words that were presented with a high SNR (+12 dBA) improved recall compared to a low SNR (+3 dBA). Reverberation time interacted with SNR to the effect that at +12 dB the shorter reverberation time improved recall, but at +3 dB it impaired recall. The effects of the physical sound variables (SNR and reverberation time) did not interact with language. © 2016 Hurtig, Keus van de Poll, Pekkola, Hygge, Ljung and Sörqvist.

The impact of eliminating extraneous sound and light on students' achievement: An empirical study

The impact of eliminating extraneous sound and light on students’ achievement was investigated under four conditions: Light and Sound controlled, Sound Only controlled, Light Only controlled and neither Light nor Sound controlled. Group, age and gender were the control variables. Four randomly selected groups of high school freshmen students with different backgrounds were the participants in this study. Academic achievement was the dependent variable measured on a pretest, a posttest and a post-posttest, each separated by an interval of 15 days. ANOVA was used to test the various hypotheses related to the impact of eliminating sound and light on student learning. Independent sample T tests on the effect of gender indicated a significant effect while age was non- significant. Follow up analysis indicated that sound and light are not potential sources of extraneous load when tested individually. However, the combined effect of sound and light seems to be a potential source of extrinsic load. The findings revealed that the performance of the Sound and Light controlled group was greater during the posttest and post-posttest. The overall performance of boys was greater than that of girls. Results indicated a significant interaction effect between group and gender on treatment subjects. However gender alone was non-significant. Performance of group by age had no significant interaction and age alone was non-significant in the posttest and post-posttest. Based on the results obtained sound and light combined seemed to be the potential sources of extraneous load in this type of learning environment. This finding supports previous research on the effect of sound and light on learning. The findings of this study show that extraneous sound and light have an impact on learning. These findings can be used to design better learning environments. Such environments can be achieved with different electric lighting and sound systems that provide optimal color rendering, low glare, low flicker, low noise and reverberation. These environments will help people avoid unwanted distraction, drowsiness, and photosensitive behavior.

Sound radiation characteristics of a box-type structure

The finite element and boundary element methods are employed in this study to investigate the sound radiation characteristics of a box-type structure. It has been shown [T.R. Lin, J. Pan, Vibration characteristics of a box-type structure, Journal of Vibration and Acoustics, Transactions of ASME 131 (2009) 031004-1–031004-9] that modes of natural vibration of a box-type structure can be classified into six groups according to the symmetry properties of the three panel pairs forming the box. In this paper, we demonstrate that such properties also reveal information about sound radiation effectiveness of each group of modes. The changes of radiation efficiencies and directivity patterns with the wavenumber ratio (the ratio between the acoustic and the plate bending wavenumbers) are examined for typical modes from each group. Similar characteristics of modal radiation efficiencies between a box structure and a corresponding simply supported panel are observed. The change of sound radiation patterns as a function of the wavenumber ratio is also illustrated. It is found that the sound radiation directivity of each box mode can be correlated to that of elementary sound sources (monopole, dipole, etc.) at frequencies well below the critical frequency of the plates of the box. The sound radiation pattern on the box surface also closely related to the vibration amplitude distribution of the box structure at frequencies above the critical frequency. In the medium frequency range, the radiated sound field is dominated by the edge vibration pattern of the box. The radiation efficiency of all box modes reaches a peak at frequencies above the critical frequency, and gradually approaches unity at higher frequencies.

Beyond the sound barrier

Freeway barriers used to be just great slabs of concrete that lined the road to tr and protect nearby residents from the constant rumble of the traffic. But in recent years, their visual appeal has become as important as their practical purpose with architects and designers clamouring to show off their ideas to the vast traveling public. Melbourne's Craigieburn Bypass is the latest to be recognised for its dual appeal winning the Urban Design Award at the recent Victorian Architecture Awards.

Aural auteur : sound in the films of Rolf de Heer

An interpretative methodology for understanding meaning in cinema since the 1950s, auteur analysis is an approach to film studies in which an individual, usually the director, is studied as the author of her or his films. The principal argument of this thesis is that proponents of auteurism have privileged examination of the visual components in a film-maker’s body of work, neglecting the potentially significant role played by sound. The thesis seeks to address this problematic imbalance by interrogating the creative use of sound in the films written and directed by Rolf de Heer, asking the question, “Does his use of sound make Rolf de Heer an aural auteur?” In so far as the term ‘aural’ encompasses everything in the film that is heard by the audience, the analysis seeks to discover if de Heer has, as Peter Wollen suggests of the auteur and her or his directing of the visual components (1968, 1972 and 1998), unconsciously left a detectable aural signature on his films. The thesis delivers an innovative outcome by demonstrating that auteur analysis that goes beyond the mise-en-scène (i.e. visuals) is productive and worthwhile as an interpretive response to film. De Heer’s use of the aural point of view and binaural sound recording, his interest in providing a ‘voice’ for marginalised people, his self-penned song lyrics, his close and early collaboration with composer Graham Tardif and sound designer Jim Currie, his ‘hands-on’ approach to sound recording and sound editing and his predilection for making films about sound are all shown to be examples of de Heer’s aural auteurism. As well as the three published (or accepted for publication) interviews with de Heer, Tardif and Currie, the dissertation consists of seven papers refereed and published (or accepted for publication) in journals and international conference proceedings, a literature review and a unifying essay. The papers presented are close textual analyses of de Heer’s films which, when considered as a whole, support the thesis’ overall argument and serve as a comprehensive auteur analysis, the first such sustained study of his work, and the first with an emphasis on the aural.