Categorization of environmental sounds.

Guastavino, Catherine

doi:10.1037/cjep2007006

Cited by 91 publications

(51 citation statements)

References 25 publications

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“…The interpretation of the third perceptual dimension is less clear, but it appears to relate to the presence of people with non-diegetic music and effects at one extreme of the dimension, and dialogue and crowd reactions appearing at the other extreme. This is consistent with findings in soundscapes research [19] and research into the perception of complex audiovisual scenes [22].…”

Section: Interpretation Of Perceptual Dimensionssupporting

confidence: 79%

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Categorization of Broadcast Audio Objects in Complex Auditory Scenes

Woodcock¹,

Davies²,

Cox³

et al. 2016

J. Audio Eng. Soc.

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This paper presents a series of experiments to determine a categorization framework for broadcast audio objects. Object-based audio is becoming an evermore important paradigm for the representation of complex sound scenes. However, there is a lack of knowledge regarding object level perception and cognitive processing of complex broadcast audio scenes. As categorization is a fundamental strategy in reducing cognitive load, knowledge of the categories utilized by listeners in the perception of complex scenes will be beneficial to the development of perceptually based representations and rendering strategies for object-based audio. In this study expert and non-expert listeners took part in a free card sorting task using audio objects from a variety of different types of program material. Hierarchical agglomerative clustering suggests that there are seven general categories, which relate to sounds indicating actions and movement, continuous and transient background sound, clear speech, non-diegetic music and effects, sounds indicating the presence of people, and prominent attention grabbing transient sounds. A three-dimensional perceptual space calculated via multidimensional scaling suggests that these categories vary along dimensions related to the semantic content of the objects, the temporal extent of the objects, and whether the object indicates the presence of people.

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Section: Interpretation Of Perceptual Dimensionssupporting

confidence: 79%

“…A study into auditory categories for environmental sounds in complex auditory scenes revealed two main categories relating to the presence or absence of human activity [19], and common categories for auditory events in soundscapes include "natural," "human," and "mechanical" [see Payne et al…”

Section: Papers Categorization Of Broadcast Audio Objects In Complex mentioning

confidence: 99%

Categorization of Broadcast Audio Objects in Complex Auditory Scenes

Woodcock¹,

Davies²,

Cox³

et al. 2016

J. Audio Eng. Soc.

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show abstract

“…Further to this, the event also overrided context and location [Gygi et al 2007], and overrided any shared physical properties when participants focused on the mental image generated by each stimulus [Scavone et al 2002]. When sounds were more complex like sequences of environmental sounds, the categorization was more closely related to global judgment like the absence or presence of human activity [Guastavino 2007]. The primary category was composed of traffic noise, and the latter one of subcategories of sounds corresponding to interactions with the environment through socialized activities.…”

Section: Introductionmentioning

confidence: 99%

The Role of Sound Source Perception in Gestural Sound Description

Caramiaux

Bevilacqua

Bianco

et al. 2014

ACM Trans. Appl. Percept.

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We investigated gesture description of sound stimuli performed during a listening task. Our hypothesis is that the strategies in gestural responses depend on the level of identification of the sound source, and specifically on the identification of the action causing the sound. To validate our hypothesis, we conducted two experiments. In the first experiment, we built two corpora of sounds. The first corpus contains sounds with identifiable causal actions. The second contains sounds where no causal actions could be identified. These corpora properties were validated through a listening test. In the second experiment, participants performed arm and hand gestures synchronously while listening to sounds taken from these corpora. Afterwards, we conducted interviews asking participants to verbalize their experience, watching their own video recordings. They were questioned on their perception of the listened sounds and on their gestural strategies. We showed that for the sounds where causal action can be identified, participants mainly mimic the action that has produced the sound. In the other case, when no action can be associated to the sound, participants trace contours related to sound acoustic features. We also found that the inter-participants gesture variability is higher for causal sounds compared to non-causal sounds. Variability demonstrates that in the first case, participants have several ways of producing the same action whereas in the second case, the sound features tend to make the gesture responses consistent.

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“…In general, these more cognitively-oriented studies seem to indicate that environmental sounds are remembered differently and less well than speech. Whereas speech, and to a lesser extent music, can be abstracted away from the auditory stimulus to a generative symbolic system, retaining largely the semantic content (perhaps because for both classes of sounds there exist a standardized notation system), it seems that memory for environmental sounds is grounded in the nature of the events that produced the sounds [30,43,44], which enables faster learning of auditory icons that refer directly to meaningful events [45].…”

Section: Cognitive Processing Of Environmental Soundsmentioning

confidence: 99%