AFFECTIVE EVALUATIONS OF AND REACTIONS TO EXTERIOR AND INTERIOR VEHICLE AUDITORY QUALITY

Affective reactions to and evaluations of auditory stimuli are fundamental components of human perception. In three experiments, participants rated their affective reactions (how pleasant I feel) and preferences for these affective reactions (how much I like the way I feel) as well as affective evaluations (how pleasant the sound is) to interior and exterior binaurally recorded vehicle sounds varying in physical properties. Consistent with previous research, it was found that the orthogonal affect dimensions of valence (unpleasant-pleasant) and arousal or activation (deactivation-activation) discriminated between affective reactions induced by the different qualities of the sounds. Moreover, preference for affective reactions was related to both valence and activation. Affective evaluations (powerful-powerless/passive-active and unpleasant-pleasant) correlated significantly with affective reactions to the same sounds in both within-subjects and between-subjects designs. Standard sound quality metrics derived from the sounds correlated, however, poorly with the affective ratings of interior sounds and only moderately with affective ratings of exterior sounds. Taken together, the results suggest that affect is an important component in product auditory quality optimization.     

Regular patterns stabilize auditory streams

The auditory system continuously parses the acoustic environment into auditory objects, usually representing separate sound sources. Sound sources typically show characteristic emission patterns. These regular temporal sound patterns are possible cues for distinguishing sound sources. The present study was designed to test whether regular patterns are used as cues for source distinction and to specify the role that detecting these regularities may play in the process of auditory stream segregation. Participants were presented with tone sequences, and they were asked to continuously indicate whether they perceived the tones in terms of a single coherent sequence of sounds (integrated) or as two concurrent sound streams (segregated). Unknown to the participant, in some stimulus conditions, regular patterns were present in one or both putative streams. In all stimulus conditions, participants' perception switched back and forth between the two sound organizations. Importantly, regular patterns occurring in either one or both streams prolonged the mean duration of two-stream percepts, whereas the duration of one-stream percepts was unaffected. These results suggest that temporal regularities are utilized in auditory scene analysis. It appears that the role of this cue lies in stabilizing streams once they have been formed on the basis of simpler acoustic cues.     

Detection of extraneous abnormal sounds affecting road traffic noise by use of a necessary condition method

When measuring and/or recording road traffic sound levels during a long time interval, extraneous abnormal sounds will inevitably affect the road traffic sound levels of interest. Such sounds include those produced by horns, sirens, animals, construction sites, and the like. The detection and elimination of such extraneous sound requires much time and effort, but are necessary if noise indices such as L_eq, L_max, and L₁₀ are to be properly estimated. This paper proposes a practical detection method of these extraneous interfering sounds by deriving a necessary condition that road traffic sound levels must satisfy. The necessary condition provides an easy method of identifying sound levels not satisfying the condition, and distinguishes them as extraneous abnormal sounds, even in a large volume of observed data. The validity and usefulness of this method are confirmed by application to actually observed data.     

Stream ambient noise, spectrum and propagation of sounds in the goby Padogobius martensii: sound pressure and particle velocity

The most sensitive hearing and peak frequencies of courtship calls of the stream goby, Padogobius martensii, fall within a quiet window at around 100 Hz in the ambient noise spectrum. Acoustic pressure was previously measured although Padogobius likely responds to particle motion. In this study a combination pressure (p) and particle velocity (u) detector was utilized to describe ambient noise of the habitat, the characteristics of the goby's sounds and their attenuation with distance. The ambient noise (AN) spectrum is generally similar for p and u (including the quiet window at noisy locations), although the energy distribution of u spectrum is shifted up by 50-100 Hz. The energy distribution of the goby's sounds is similar for p and u spectra of the Tonal sound, whereas the pulse-train sound exhibits larger p-u differences. Transmission loss was high for sound p and u: energy decays 6-10 dB10 cm, and sound pu ratio does not change with distance from the source in the nearfield. The measurement of particle velocity of stream AN and P. martensii sounds indicates that this species is well adapted to communicate acoustically in a complex noisy shallow-water environment.     

Neural activity associated with distinguishing concurrent auditory objects

The neural processes underlying concurrent sound segregation were examined by using event-related brain potentials. Participants were presented with complex sounds comprised of multiple harmonics, one of which could be mistuned so that it was no longer an integer multiple of the fundamental. In separate blocks of trials, short-, middle-, and long-duration sounds were presented and participants indicated whether they heard one sound (i.e., buzz) or two sounds (i.e., buzz plus another sound with a pure-tone quality). The auditory stimuli were also presented while participants watched a silent movie in order to evaluate the extent to which the mistuned harmonic could be automatically detected. The perception of the mistuned harmonic as a separate sound was associated with a biphasic negative-positive potential that peaked at about 150 and 350 ms after sound onset, respectively. Long duration sounds also elicited a sustained potential that was greater in amplitude when the mistuned harmonic was perceptually segregated from the complex sound. The early negative wave, referred to as the object-related negativity (ORN), was present during both active and passive listening, whereas the positive wave and the mistuning-related changes in sustained potentials were present only when participants attended to the stimuli. These results are consistent with a two-stage model of auditory scene analysis in which the acoustic wave is automatically decomposed into perceptual groups that can be identified by higher executive functions. The ORN and the positive waves were little affected by sound duration, indicating that concurrent sound segregation depends on transient neural responses elicited by the discrepancy between the mistuned harmonic and the harmonic frequency expected based on the fundamental frequency of the incoming stimulus.     

Auditory stream segregation in monkey auditory cortex: effects of frequency separation, presentation rate, and tone duration

Auditory stream segregation refers to the organization of sequential sounds into "perceptual streams" reflecting individual environmental sound sources. In the present study, sequences of alternating high and low tones, "...ABAB...," similar to those used in psychoacoustic experiments on stream segregation, were presented to awake monkeys while neural activity was recorded in primary auditory cortex (A1). Tone frequency separation (AF), tone presentation rate (PR), and tone duration (TD) were systematically varied to examine whether neural responses correlate with effects of these variables on perceptual stream segregation. "A" tones were fixed at the best frequency of the recording site, while "B" tones were displaced in frequency from "A" tones by an amount = delta F. As PR increased, "B" tone responses decreased in amplitude to a greater extent than "A" tone responses, yielding neural response patterns dominated by "A" tone responses occurring at half the alternation rate. Increasing TD facilitated the differential attenuation of "B" tone responses. These findings parallel psychoacoustic data and suggest a physiological model of stream segregation whereby increasing delta F, PR, or TD enhances spatial differentiation of "A" tone and "B" tone responses along the tonotopic map in A1.     

Justification of standardized level differences in rating of airborne sound insulation between dwellings

It has long been recognized that single-number quantities R′_w, D_nT,w or D_n,w result in different conclusions in objective rating of airborne sound insulation between dwellings. The difference between the values of these single-number quantities (SNQ), however, does not prove which of them describes the sound transmission between rooms most correctly. The main object of this article was to study which SNQ correspond best with transmitted living sound levels in buildings when reverberation time, volume of receiving room and sound insulation are taken into account. Data of 100 field measurements of airborne sound insulation were collected as well as 207 reverberation times of furnished rooms. The transmitted sound levels of living sounds were evaluated on the basis of known living sound spectra and measured level differences D. The results show that the SNQs standardized to reference reverberation time of 0.5 s lead in all cases to best correlation between the SNQs and the sound levels of transmitted living sounds. It was also checked whether the rating by D_nT,w would lead to higher transmitted sound levels of living sounds in larger rooms, but this was not detected. The use of D_nT,w makes rooms of different volumes equal in regard to required sound insulation between them. It is thus justified to replace R′_w with D_nT,w as the SNQ for rating the airborne sound insulation. Widening the frequency range down to 50 Hz or up to 5000 Hz did not give noteworthy improvement in the correlation.     

Sleep disturbance caused by meaningful sounds and the effect of background noise

To study noise-induced sleep disturbance, a new procedure called “noise interrupted method”has been developed. The experiment is conducted in the bedroom of the house of each subject. The sounds are reproduced with a mini-disk player which has an automatic reverse function. If the sound is disturbing and subjects cannot sleep, they are allowed to switch off the sound 1 h after they start to try to sleep. This switch off (noise interrupted behavior) is an important index of sleep disturbance. Next morning they fill in a questionnaire in which quality of sleep, disturbance of sounds, the time when they switched off the sound, etc. are asked. The results showed a good relationship between L_Aeq and the percentages of the subjects who could not sleep in an hour and between L_Aeq and the disturbance reported in the questionnaire. This suggests that this method is a useful tool to measure the sleep disturbance caused by noise under well-controlled conditions.     

From everyday emotions to aesthetic emotions: Towards a unified theory of musical emotions

The sound of music may arouse profound emotions in listeners. But such experiences seem to involve a ‘paradox’, namely that music – an abstract form of art, which appears removed from our concerns in everyday life – can arouse emotions – biologically evolved reactions related to human survival. How are these (seemingly) non-commensurable phenomena linked together? Key is to understand the processes through which sounds are imbued with meaning. It can be argued that the survival of our ancient ancestors depended on their ability to detect patterns in sounds, derive meaning from them, and adjust their behavior accordingly. Such an ecological perspective on sound and emotion forms the basis of a recent multi-level framework that aims to explain emotional responses to music in terms of a large set of psychological mechanisms. The goal of this review is to offer an updated and expanded version of the framework that can explain both ‘everyday emotions’ and ‘aesthetic emotions’. The revised framework – referred to as BRECVEMA – includes eight mechanisms: Brain Stem Reflex, Rhythmic Entrainment, Evaluative Conditioning, Contagion, Visual Imagery, Episodic Memory, Musical Expectancy, and Aesthetic Judgment. In this review, it is argued that all of the above mechanisms may be directed at information that occurs in a ‘musical event’ (i.e., a specific constellation of music, listener, and context). Of particular significance is the addition of a mechanism corresponding to aesthetic judgments of the music, to better account for typical ‘appreciation emotions’ such as admiration and awe. Relationships between aesthetic judgments and other mechanisms are reviewed based on the revised framework. It is suggested that the framework may contribute to a long-needed reconciliation between previous approaches that have conceptualized music listeners? responses in terms of either ‘everyday emotions’ or ‘aesthetic emotions’.