Influence of the semantic content of urban sounds in the identity of outer spaces

This paper shows the influence of the semantic content of urban sounds in the subjective evaluation of outer spaces. The study is based on the analysis conducted in three neighboring and integrated urban spaces with a different form of social ownership in the city of Cordoba, Argentina. It shows that the type of sound source present at each site influence, by its semantic content, in the user´s identification and permanence in the place. The noise present in a soundscape is able to have a high semantic content, and therefore the sound has a particular meaning for the perceiver. Every particular social group influences the production of their own sounds and how they perceive them. This allows to consider the sound as one of the factors that define the sense of "place" or "no place" of a certain urban space. Evidently the sounds, and their ability to evoke and characterize the environment, cannot be ignored in the construction and recovery of anthropological sites. This urban culture is unique and specific to every society. Thepublic spaces, with their soundscape, are part of the construction of the urban identity of a city. It is shown that for identical general sound levels present in each of the spaces, the level of annoyance or discomfort, in relation to the subjective acoustic quality, is different. This is the result of the influence of semantic content of the sounds present in each urban space. Coinciding with other similar research, the level of discomfort or annoyance decreases as the presence of natural sounds such as water, the wind in the trees or the birds singing increases, even when the objective values of noise level of natural sounds are higher.

Synthesis of Nature Sounds for Speech Masking

The introduction of open-plan offices in the 1960s with the intent of making the workplace more flexible, efficient, and team-oriented resulted in a higher noise floor level, which not only made concentrated work more difficult, but also caused physiological problems, such as increased stress, in addition to a loss of speech privacy. Irrelevant background human speech, in particular, has proven to be a major factor in disrupting concentration and lowering performance. Therefore, reducing the intelligibility of speech and has been a goal of increasing importance in recent years. One method employed to do so is the use of masking noises, which consists in emitting a continuous noise signal over a loudspeaker system that conceals the perturbing speech. Studies have shown that while effective, the maskers employed to date – normally filtered pink noise – are generally poorly accepted by users. The collaborative "Private Workspace" project, within the scope of which this thesis was carried out, attempts to develop a coupled, adaptive noise masking system along with a physical structure to be used for open-plan offices so as to combat these issues. There is evidence to suggest that nature sounds might be more accepted as masker, in part because they can have a visual object that acts as the source for the sound. Direct audio recordings are not recommended for various reasons, and thus the nature sounds must be synthesized. This work done consists of the synthesis of a sound texture to be used as a masker as well as its evaluation. The sound texture is composed of two parts: a wind-like noise synthesized with subtractive synthesis, and a leaf-like noise synthesized through granular synthesis. Different combinations of these two noises produced five variations of the masker, which were evaluated at different levels along with white noise and pink noise using a modified version of an Oldenburger Satztest to test for an affect on speech intelligibility and a questionnaire to asses its subjective acceptance. The goal was to find which of the synthesized noises works best as a speech masker. This thesis first uses a theoretical introduction to establish the basics of sound perception, psychoacoustic masking, and sound texture synthesis. The design of each of the noises, as well as their respective implementations in MATLAB, is explained, followed by the procedures used to evaluate the maskers. The results obtained in the evaluation are analyzed. Lastly, conclusions are drawn and future work is and modifications to the masker are proposed. RESUMEN. La introducción de las oficinas abiertas en los años 60 tenía como objeto flexibilizar el ambiente laboral, hacerlo más eficiente y que estuviera más orientado al trabajo en equipo. Como consecuencia, subió el nivel de ruido de fondo, que no sólo dificulta la concentración, sino que causa problemas fisiológicos, como el aumento del estrés, además de reducir la privacidad. Hay estudios que prueban que las conversaciones de fondo en particular tienen un efecto negativo en el nivel de concentración y disminuyen el rendimiento de los trabajadores. Por lo tanto, reducir la inteligibilidad del habla es uno de los principales objetivos en la actualidad. Un método empleado para hacerlo ha sido el uso de ruido enmascarante, que consiste en reproducir señales continuas de ruido a través de un sistema de altavoces que enmascare el habla. Aunque diversos estudios demuestran que es un método eficaz, los ruidos utilizados hasta la fecha (normalmente ruido rosa filtrado), no son muy bien aceptados por los usuarios. El proyecto colaborativo "Private Workspace", dentro del cual se engloba el trabajo realizado en este Proyecto Fin de Grado, tiene por objeto desarrollar un sistema de ruido enmascarador acoplado y adaptativo, además de una estructura física, para su uso en oficinas abiertas con el fin de combatir los problemas descritos anteriormente. Existen indicios de que los sonidos naturales son mejor aceptados, en parte porque pueden tener una estructura física que simule ser la fuente de los mismos. La utilización de grabaciones directas de estos sonidos no está recomendada por varios motivos, y por lo tanto los sonidos naturales deben ser sintetizados. El presente trabajo consiste en la síntesis de una textura de sonido (en inglés sound texture) para ser usada como ruido enmascarador, además de su evaluación. La textura está compuesta de dos partes: un sonido de viento sintetizado mediante síntesis sustractiva y un sonido de hojas sintetizado mediante síntesis granular. Diferentes combinaciones de estos dos sonidos producen cinco variaciones de ruido enmascarador. Estos cinco ruidos han sido evaluados a diferentes niveles, junto con ruido blanco y ruido rosa, mediante una versión modificada de un Oldenburger Satztest para comprobar cómo afectan a la inteligibilidad del habla, y mediante un cuestionario para una evaluación subjetiva de su aceptación. El objetivo era encontrar qué ruido de los que se han sintetizado funciona mejor como enmascarador del habla. El proyecto consiste en una introducción teórica que establece las bases de la percepción del sonido, el enmascaramiento psicoacústico, y la síntesis de texturas de sonido. Se explica a continuación el diseño de cada uno de los ruidos, así como su implementación en MATLAB. Posteriormente se detallan los procedimientos empleados para evaluarlos. Los resultados obtenidos se analizan y se extraen conclusiones. Por último, se propone un posible trabajo futuro y mejoras al ruido sintetizado.

Use of Biological Motion based Cues and Ecological Sounds in the Neurorehabilitation of Apraxia

Technological progress in the area of informatics and human interface platforms create a window of opportunities for the neurorehablitation of patients with motor impairments. The CogWatch project (www.cogwatch.eu) aims to create an intelligent assistance system to improve motor planning and execution in patients with apraxia during their daily activities. Due to the brain damage caused by cardiovascular incident these patients suffer from impairments in the ability to use tools, and to sequence actions during daily tasks (such as making breakfast). Based on the common coding theory (Hommel et al., 2001) and mirror neuron primate research (Rizzolatti et al., 2001) we aim to explore use of cues, which incorporate aspects of biological motion from healthy adults performing everyday tasks requiring tool use and ecological sounds linked to the action goal. We hypothesize that patients with apraxia will benefit from supplementary sensory information relevant to the task, which will reinforce the selection of the appropriate motor plan. Findings from this study determine the type of sensory guidance in the CogWatch interface. Rationale for the experimental design is presented and the relevant literature is discussed.

On cortical coding of vocal communication sounds in primates

Understanding how the brain processes vocal communication sounds is one of the most challenging problems in neuroscience. Our understanding of how the cortex accomplishes this unique task should greatly facilitate our understanding of cortical mechanisms in general. Perception of species-specific communication sounds is an important aspect of the auditory behavior of many animal species and is crucial for their social interactions, reproductive success, and survival. The principles of neural representations of these behaviorally important sounds in the cerebral cortex have direct implications for the neural mechanisms underlying human speech perception. Our progress in this area has been relatively slow, compared with our understanding of other auditory functions such as echolocation and sound localization. This article discusses previous and current studies in this field, with emphasis on nonhuman primates, and proposes a conceptual platform to further our exploration of this frontier. It is argued that the prerequisite condition for understanding cortical mechanisms underlying communication sound perception and production is an appropriate animal model. Three issues are central to this work: (i) neural encoding of statistical structure of communication sounds, (ii) the role of behavioral relevance in shaping cortical representations, and (iii) sensory–motor interactions between vocal production and perception systems.

Sights for Sounds: The Roles of Illuminated Initials in Italian Music Manuscripts

The scholarship on illuminated initials is substantial, yet there is a significant absence of information when discussing the initials found in music manuscripts specifically. In this paper, I endeavor to supplement the current scholarship by focusing my research on music manuscripts produced in Italy between 1250 and 1500 A.D. in order to provide examples of the relationships between image, music, and text in the context of use. I use mainly iconographic research methods, though a considerable amount of background information is reliant on the research of other authors in the field of medieval philosophy and theology. Through my research I have concluded that the use of illuminated initials in medieval Italian music manuscripts enhances the function of the manuscript by providing another layer of understanding which audience members could use to aid them in their meditation, prayer, and in the performance of the music.