Dimensional tradeoffs in the perception of complex tone sequences

This paper reviews a study of four complex tones and sound perception among the tones.

Game Audio in Audio Games : Towards a Theory on the Roles and Functions of Sound in Audio Games

For the past few decades, researchers have increased our understanding of how sound functions within various audio–visual media formats. With a different focus in mind, this study aims to identify the roles and functions of sound in relation to the game form Audio Games, in order to explore the potential of sound when acting as an autonomous narrative form. Because this is still a relatively unexplored research field, the main purpose of this study is to help establish a theoretical ground and stimulate further research within the field of audio games. By adopting an interdisciplinary approach to the topic, this research relies on theoretical studies, examinations of audio games and contact with the audio game community. In order to reveal the roles of sound, the gathered data is analyzed according to both a contextual and a functional perspective. The research shows that a distinction between the terms ‘function’ and ‘role’ is important when analyzing sound in digital games. The analysis therefore results in the identification of two analytical levels that help define the functions and roles of an entity within a social context, named the Functional and the Interfunctional levels. In addition to successfully identifying three main roles of sound within audio games—each describing the relationship between sound and the entities game system, player and virtual environment—many other issues are also addressed. Consequently, and in accordance with its purpose, this study provides a broad foundation for further research of sound in both audio games and video games.

“IT’S ALL RIGHT”. Multimodal rightward spatial bias modified by age and praxis

The general goal of the present work was to study whether spatial perceptual asymmetry initially observed in linguistic dichotic listening studies is related to the linguistic nature of the stimuli and/or is modality-specific, as well as to investigate whether the spatial perceptual/attentional asymmetry changes as a function of age and sensory deficit via praxis. Several dichotic listening studies with linguistic stimuli have shown that the inherent perceptual right ear advantage (REA), which presumably results from the left lateralized linguistic functions (bottom-up processes), can be modified with executive functions (top-down control). Executive functions mature slowly during childhood, are well developed in adulthood, and decline as a function of ageing. In Study I, the purpose was to investigate with a cross-sectional experiment from a lifespan perspective the age-related changes in top-down control of REA for linguistic stimuli in dichotic listening with a forced-attention paradigm (DL). In Study II, the aim was to determine whether the REA is linguistic-stimulus-specific or not, and whether the lifespan changes in perceptual asymmetry observed in dichotic listening would exist also in auditory spatial attention tasks that put load on attentional control. In Study III, using visual spatial attention tasks, mimicking the auditory tasks applied in Study II, it was investigated whether or not the stimulus-non-specific rightward spatial bias found in auditory modality is a multimodal phenomenon. Finally, as it has been suggested that the absence of visual input in blind participants leads to improved auditory spatial perceptual and cognitive skills, the aim in Study IV was to determine, whether blindness modifies the ear advantage in DL. Altogether 180-190 right-handed participants between 5 and 79 years of age were studied in Studies I to III, and in Study IV the performance of 14 blind individuals was compared with that of 129 normally sighted individuals. The results showed that only rightward spatial bias was observed in tasks with intensive attentional load, independent of the type of stimuli (linguistic vs. non-linguistic) or the modality (auditory vs. visual). This multimodal rightward spatial bias probably results from a complex interaction of asymmetrical perceptual, attentional, and/or motor mechanisms. Most importantly, the strength of the rightward spatial bias changed as a function of age and augmented praxis due to sensory deficit. The efficiency of the performance in spatial attention tasks and the ability to overcome the rightward spatial bias increased during childhood, was at its best in young adulthood, and decreased as a function of ageing. Between the ages of 5 and 11 years probably at first develops movement and impulse control, followed by the gradual development of abilities to inhibit distractions and disengage attention. The errors especially in bilateral stimulus conditions suggest that a mild phenomenon resembling extinction can be observed throughout the lifespan, but especially the ability to distribute attention to multiple targets simultaneously decreases in the course of ageing. Blindness enhances the processing of auditory bilateral linguistic stimuli, the ability to overcome a stimulus-driven laterality effect related to speech sound perception, and the ability to direct attention to an appropriate spatial location. It was concluded that the ability to voluntarily suppress and inhibit the multimodal rightward spatial bias changes as a function of age and praxis due to sensory deficit and probably reflects the developmental level of executive functions.

Expérience sonore des usagers dans l'espace public urbain: l'exemple du boulevard Saint-Laurent à Montréal.

La recherche sur le phénomène sonore, depuis les théorisations de Pierre Schaeffer entourant le concept de « l’objet sonore », a largement évolué nous permettant d’en saisir toute sa complexité. Poursuivant ce même dessein, nous proposons une approche compréhensive du phénomène sonore dans l’espace public urbain en nous penchant plus spécifiquement sur l’interprétation sonore des usagers empruntant les grandes rues commerciales de la ville et en l’occurrence, celles de Montréal. Au quotidien, le citadin déambule et chemine dans l’espace public en prenant conscience de son environnement à l’aide de ses sens. Outre l’aspect visuel, l’ensemble des autres sens sont, pour la plupart du temps, négligés par les designers de l’espace urbain. Il en résulte une conception du projet urbain relativement pauvre au niveau sonore. Dans ce mémoire, il sera question d’aborder le son sous l’angle de l’expérience subjective telle qu’elle est vécue par les usagers. L’objectif de nos travaux tend donc à approfondir la compréhension de l’expérience sonore de l’usager dans l’espace public urbain afin d’en intégrer les principes en amont du processus de conception. Les théories et méthodes issues du domaine de l’environnement sonore voient leur champ d’investigation élargi par l’anthropologie des sens. La richesse de cette approche permet de mieux saisir les multiples dimensions qui façonnent le vécu sonore des usagers. Le cadre de références puise également dans les pratiques artistiques. L’analyse de ces dernières fait émerger des dimensions utiles à la compréhension de l’expérience sonore. Cette expérimentation a été effectuée à l’aide de différentes méthodes de collecte de données permettant de recueillir un maximum de matière qualitative. Ainsi, des observations, des parcours d’écoute qualifiée, des parcours commentés et finalement des entretiens en profondeur ont été menés. Cette recherche a permis de mieux comprendre le dialogue existant entre le son, l’espace et l’usager en révélant les différentes dimensions de l’expérience sonore de la grande rue commerciale et notamment, celles entourant la culture des sens.

Villusions : construction spatiale de paysages sonores musicalisés

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).

Rhythmical training for deaf children

This paper examines rhythmic training of hearing impaired children and the relationship between a child’s rhythmical development and his/her speech, short-term memory, sound perception, and physical movement.

Questões acerca da percepção sonora de harmônicos: a função das variáveis sexo e aprendizagem

Este trabalho objetivou verificar o desempenho de homens e mulheres em uma tarefa de discriminação perceptiva de sons e o efeito de aprendizagem anterior sobre esta discriminação. O experimento foi realizado com 17 homens e 17 mulheres, submetidos individualmente a uma sessão de coleta de dados composta de questionário padronizado e de teste de discriminação com vinte tentativas gravadas em um CD-ROM. A análise estatística dos dados indicou diferenças de desempenho entre pessoas com e sem experiência musical prévia [F(1,33)=14,69, p<0,001]. Embora não significativo, as mulheres apresentaram melhor desempenho no grupo sem experiência prévia, e no grupo com experiência, os homens apresentaram melhor desempenho. Os dados indicam que, embora haja diferenças sexuais na percepção sonora, a experiência parece ser o fator mais importante neste tipo de discriminação.

A contribuição do canto para a voz falada do ator

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

3-D Audio in Mobile Communication Devices: Methods for Mobile Head-Tracking

Future generations of mobile communication devices will serve more and more as multimedia platforms capable of reproducing high quality audio. In order to achieve a 3-D sound perception the reproduction quality of audio via headphones can be significantly increased by applying binaural technology. To be independent of individual head-related transfer functions (HRTFs) and to guarantee a good performance for all listeners, an adaptation of the synthesized sound field to the listener's head movements is required. In this article several methods of head-tracking for mobile communication devices are presented and compared. A system for testing the identified methods is set up and experiments are performed to evaluate the prosand cons of each method. The implementation of such a device in a 3-D audio system is described and applications making use of such a system are identified and discussed.

Integrity and regeneration of mechanotransduction machinery regulate aminoglycoside entry and sensory cell death

Sound perception requires functional hair cell mechanotransduction (MET) machinery, including the MET channels and tip-link proteins. Prior work showed that uptake of ototoxic aminoglycosides (AG) into hair cells requires functional MET channels. In this study, we examined whether tip-link proteins, including Cadherin 23 (Cdh23), regulate AG entry into hair cells. Using time-lapse microscopy on cochlear explants, we found rapid uptake of gentamicin-conjugated Texas Red (GTTR) into hair cells from three-day-old Cdh23(+/+) and Cdh23(v2J/+) mice, but failed to detect GTTR uptake in Cdh23(v2J/v2J) hair cells. Pre-treatment of wildtype cochleae with the calcium chelator 1,2-bis(o-aminophenoxy) ethane-N,N,N',N'-tetraacetic acid (BAPTA) to disrupt tip-links also effectively reduced GTTR uptake into hair cells. Both Cdh23(v2J/v2J) and BAPTA-treated hair cells were protected from degeneration caused by gentamicin. Six hours after BAPTA treatment, GTTR uptake remained reduced in comparison to controls; by 24 hours, drug uptake was comparable between untreated and BAPTA-treated hair cells, which again became susceptible to cell death induced by gentamicin. Together, these results provide genetic and pharmacologic evidence that tip-links are required for AG uptake and toxicity in hair cells. Because tip-links can spontaneously regenerate, their temporary breakage offers a limited time window when hair cells are protected from AG toxicity.

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.

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.

Efectos y ambientes sonoros como herramientas del subtexto en una obra cinematográfica

Esta tesis tiene como objetivo analizar la relación del diseño de sonido cinematográfico con la creación del subtexto en las películas. Se ha procedido a deconstruir el diseño sonoro de una serie de secuencias de películas, para identificar sus diversos elementos –especialmente los efectos y ambientes- y comprender el aporte de estos a la creación del subtexto. Esta tesis realiza una indagación en la construcción sonora de las obras cinematográficas, especialmente de dos elementos: sonidos ambientales o ambientes y efectos de sonido. Estos dos elementos son utilizados comúnmente en la creación de las bandas sonoras, pero aquí se explora su capacidad de crear una relación particular con el espectador, para ayudarle a percibir el subtexto de la obra. La hipótesis que se propone demostrar o negar es que los efectos y ambientes, tienen la capacidad para crear sensaciones en el espectador al ser trabajadas al margen del plano consciente de la percepción sonora. Para hacer esta investigación se partió de una decodificación de varias secuencias de películas que han obtenido reconocimiento internacional por la calidad de su factura; posteriormente se contrastó este análisis con la lectura colectiva de los efectos y ambientes, mediante la realización de un grupo focal.

INVESTIGATION OF PATIENT PERCEPTION OF HOSPITAL NOISE AND SOUND LEVEL MEASUREMENTS: BEFORE, DURING, AND AFTER RENOVATIONS OF A HOSPITAL WING

Acoustic conditions in hospitals have been shown to influence a patient’s physical and psychological health. Noise levels in an Omaha, Nebraska, hospital were measured and compared between various times: before, during, and after renovations of a hospital wing. The renovations included cosmetic changes and the installation of new in-room patient audio-visual systems. Sound pressure levels were logged every 10-seconds over a four-day period in three different locations: at the nurses' station, in the hallway, and in a nearby patient’s room. The resulting data were analyzed in terms of the hourly A-weighted equivalent sound pressure levels (

Investigations into Velocity and Distance Perception Based on Different Types of Moving Sound Sources with Respect to Auditory Virtual Environments

The characteristics of moving sound sources have strong implications on the listener's distance perception and the estimation of velocity. Modifications of the typical sound emissions as they are currently occurring due to the tendency towards electromobility have an impact on the pedestrian's safety in road traffic. Thus, investigations of the relevant cues for velocity and distance perception of moving sound sources are not only of interest for the psychoacoustic community, but also for several applications, like e.g. virtual reality, noise pollution and safety aspects of road traffic. This article describes a series of psychoacoustic experiments in this field. Dichotic and diotic stimuli of a set of real-life recordings taken from a passing passenger car and a motorcycle were presented to test subjects who in turn were asked to determine the velocity of the object and its minimal distance from the listener. The results of these psychoacoustic experiments show that the estimated velocity is strongly linked to the object's distance. Furthermore, it could be shown that binaural cues contribute significantly to the perception of velocity. In a further experiment, it was shown that - independently of the type of the vehicle - the main parameter for distance determination is the maximum sound pressure level at the listener's position. The article suggests a system architecture for the adequate consideration of moving sound sources in virtual auditory environments. Virtual environments can thus be used to investigate the influence of new vehicle powertrain concepts and the related sound emissions of these vehicles on the pedestrians' ability to estimate the distance and velocity of moving objects.