The effect of sound level on perception of reproduced soundscapes

The aim of this work was to investigate the perception of soundscape reproduced by an ambisonic reproduction system on a horizontal plane, how the experience of space affected the perception of soundscape reproduction, and how the sound level adjustment on soundscape reproduction affected the perception of soundscape compared with actual conditions. There were three experiments conducted: a soundwalk in situ in Manchester (United Kingdom) city centre, listening tests in Salford (United Kingdom), and listening tests in Bandung (Indonesia). The listening tests used material recorded from four locations on the soundwalk route in Manchester. The Salford listening tests were performed at the in-situ measured sound level, and the participants were asked to adjust the sound level to the level that represents actual locations. The listening test in Bandung was conducted to understand the effect of participants who never come to the actual location to the perception of soundscape and the sound level adjustment. The listening tests in Bandung were conducted at the in situ sound level, at 9.5 dB below the in situ sound level (based on the preference sound level from the experiment in Salford), and the participants were also requested to adjust the sound level to the level that represents the actual space (to examine the consistency with the experiment in Salford). In each case, soundscape perception was measured on 19 semantic differential scales. Analysis of the semantic differential results showed that the ambisonic reproduction produced a similar subjective experience to the in situ soundwalk when the reproduction sound level was 9.5 dB lower than the actual sound level in situ. Reproduction at the actual sound level in situ produced a different dimensional space. The study shows that the sound level adjustment of soundscape reproduction in laboratory experiment produces more ecologically valid results compared to the reproduction at the actual sound level in situ.     

Über die gewünschte hörerlautstärke bei kammermusik

One of the acoustic criteria that have a major influence on the auditory experience during a concert is that of volume. This is something that is not always felt to be satisfactory, especially among chamber music audiences. It is not yet known, however, which volume levels listeners of chamber music pieces consider to be desirable. By means of suitable listening experiments, an attempt was made to find an answer to this question.In a medium-sized auditorium, comparable in size to a small chamber music hall, individual listeners were played excerpts from various pieces of chamber music. Each listener was requested to adjust the volume to what he or she felt to be the optimal level. The following values were then measured for each excerpt: the equivalent continuous sound level L_eq, the mean maximum level L_1% and the lower limiting level L_95%. The measurements, which covered a sample of 24 people, show that:

1. 1.1.|There are clear upper and lower limits for acceptable sound volume levels.
2. 2.2.|The preferred volume levels can differ considerably within these limits.
3. 3.3.|There is an individual volume range for each individual listener.
4. 4.4.|A volume with an equivalent continuous sound level L_eq around 70 dB(A) is the single most satisfactory level for listeners overall.

     

Subjective study of preferred listening conditions in Italian Catholic churches

The paper describes the results of research aimed at investigating the preferred subjective listening conditions inside churches. The effect of different musical motifs (spanning Gregorian chants to symphonic music) was investigated and regression analysis was performed in order to point out the relationship between subjective ratings and acoustical parameters. In order to present realistic listening conditions to the subjects a small subset of nine churches was selected among a larger set of acoustic data collected in several Italian churches during a widespread on-site survey. The subset represented different architectural styles and shapes, and was characterized by average listening conditions. For each church a single source–receiver combination with fixed relative positions was chosen. Measured binaural impulse responses were cross-talk cancelled and then convolved with five anechoic motifs. Paired comparisons were finally performed, asking a trained panel of subjects their preference. Factor analysis pointed out a substantially common underlying pattern characterizing subjective responses. The results show that preferred listening conditions vary as a function of the musical motif, depending on early decay time for choral music and on a combination of initial time delay and lateral energy for instrumental music.     

Acoustic analysis and mood classification of pain-relieving music

Listening to preferred music (that which is chosen by the participant) has been shown to be effective in mitigating the effects of pain when compared to silence and a variety of distraction techniques. The wide range of genre, tempo, and structure in music chosen by participants in studies utilizing experimentally induced pain has led to the assertion that structure does not play a significant role, rather listening to preferred music renders the music "functionally equivalent" as regards its effect upon pain perception. This study addresses this assumption and performs detailed analysis of a selection of music chosen from three pain studies. Music analysis showed significant correlation between timbral and tonal aspects of music and measurements of pain tolerance and perceived pain intensity. Mood classification was performed using a hierarchical Gaussian Mixture Model, which indicated the majority of the chosen music expressed contentment. The results suggest that in addition to personal preference, associations with music and the listening context, emotion expressed by music, as defined by its acoustical content, is important to enhancing emotional engagement with music and therefore enhances the level of pain reduction and tolerance.     

Distortion product otoacoustic emission input/output functions in normal-hearing and hearing-impaired human ears.

DPOAE input/output (I/O) functions were measured at 7f2 frequencies (1 to 8 kHz; f2/f1 = 1.22) over a range of levels (-5 to 95 dB SPL) in normal-hearing and hearing-impaired human ears. L1-L2 was level dependent in order to produce the largest 2f1-f2 responses in normal ears. System distortion was determined by collecting DP data in six different acoustic cavities. These data were used to derive a multiple linear regression model to predict system distortion levels. The model was tested on cochlear-implant users and used to estimate system distortion in all other ears. At most but not all f2's, measurements in cochlear implant ears were consistent with model predictions. At all f2 frequencies, the ears with normal auditory thresholds produced I/O functions characterized by compressive nonlinear regions at moderate levels, with more rapid growth at low and high stimulus levels. As auditory threshold increased, DPOAE threshold increased, accompanied by DPOAE amplitude reductions, notably over the range of levels where normal ears showed compression. The slope of the I/O function was steeper in impaired ears. The data from normal-hearing ears resembled direct measurements of basilar membrane displacement in lower animals. Data from ears with hearing loss showed that the compressive region was affected by cochlear damage; however, responses at high levels of stimulation resembled those observed in normal ears.     

Spatio-Temporal Dynamics of Entropy in EEGS during Music Stimulation of Alzheimer’s Disease Patients with Different Degrees of Dementia

Music has become a common adjunctive treatment for Alzheimer’s disease (AD) in recent years. Because Alzheimer’s disease can be classified into different degrees of dementia according to its severity (mild, moderate, severe), this study is to investigate whether there are differences in brain response to music stimulation in AD patients with different degrees of dementia. Seventeen patients with mild-to-moderate dementia, sixteen patients with severe dementia, and sixteen healthy elderly participants were selected as experimental subjects. The nonlinear characteristics of electroencephalogram (EEG) signals were extracted from 64-channel EEG signals acquired before, during, and after music stimulation. The results showed the following. (1) At the temporal level, both at the whole brain area and sub-brain area levels, the EEG responses of the mild-to-moderate patients showed statistical differences from those of the severe patients (p < 0.05). The nonlinear characteristics during music stimulus, including permutation entropy (PmEn), sample entropy (SampEn), and Lempel–Ziv complexity (LZC), were significantly higher in both mild-to-moderate patients and healthy controls compared to pre-stimulation, while it was significantly lower in severe patients. (2) At the spatial level, the EEG responses of the mild-to-moderate patients and the severe patients showed statistical differences (p < 0.05), showing that as the degree of dementia progressed, fewer pairs of EEG characteristic showed significant differences among brain regions under music stimulation. In this paper, we found that AD patients with different degrees of dementia had different EEG responses to music stimulation. Our study provides a possible explanation for this discrepancy in terms of the pathological progression of AD and music cognitive hierarchy theory. Our study has adjunctive implications for clinical music therapy in AD., potentially allowing for more targeted treatment. Meanwhile, the variations in the brains of Alzheimer’s patients in response to music stimulation might be a model for investigating the neural mechanism of music perception.     

Characteristics of noise-canceling headphones to reduce the hearing hazard for MP3 users

Three pairs of headphones [standard iPod ear buds and two noise-canceling headphones (NCHs)] were chosen to investigate frequency characteristics of noise reduction, together with their attenuation effects on preferred listening levels (PLLs) in the presence of various types of background noise. Twenty-six subjects with normal hearing chose their PLLs in quiet, street noise, and subway noise using the three headphones and with the noise-canceling system on/off. Both sets of NCHs reduced noise levels at mid- and high-frequencies. Further noise reductions occurred in low frequencies with the noise canceling system switched on. In street noise, both NCHs had similar noise reduction effects. In subway noise, better noise reduction effects were found in the expensive NCH and with noise-canceling on. A two way repeated measures analysis of variance showed that both listening conditions and headphone styles were significant influencing factors on the PLLs. Subjects tended to increase their PLLs as the background noise level increased. Compared with ear buds, PLLs obtained from NCHs-on in the presence of background noise were reduced up to 4 dB. Therefore, proper selection and use of NCHs appears beneficial in reducing the risk of hearing damage caused by high music listening levels in the presence of background noise.     

Use of stimulus-frequency otoacoustic emission latency and level to investigate cochlear mechanics in human ears

Stimulus frequency otoacoustic emission (SFOAE) sound pressure level (SPL) and latency were measured at probe frequencies from 500 to 4000 Hz and probe levels from 40 to 70 dB SPL in 16 normal-hearing adult ears. The main goal was to use SFOAE latency estimates to better understand possible source mechanisms such as linear coherent reflection, nonlinear distortion, and reverse transmission via the cochlear fluid, and how those sources might change as a function of stimulus level. Another goal was to use SFOAE latencies to noninvasively estimate cochlear tuning. SFOAEs were dominated by the reflection source at low stimulus levels, consistent with previous research, but neither nonlinear distortion nor fluid compression become the dominant source even at the highest stimulus level. At each stimulus level, the SFOAE latency was an approximately constant number of periods from 1000 to 4000 Hz, consistent with cochlear scaling symmetry. SFOAE latency decreased with increasing stimulus level in an approximately frequency-independent manner. Tuning estimates were constant above 1000 Hz, consistent with simultaneous masking data, but in contrast to previous estimates from SFOAEs.     

Phoneme boundaries in normal and hearing-impaired ears

Two experiments are reported which explore variables that may complicate the interpretation of phoneme boundary data from hearing-impaired listeners. Fourteen synthetic consonant-vowel syllables comprising a/ba-da-ga/ continuum were used as stimuli. The first experiment examined the influence of presentation level and ear of presentation in normal-hearing subjects. Only small differences in the phoneme boundaries and labeling functions were observed between ears and across presentation levels. Thus monaural presentation and relatively high signal level do not appear to be complicating factors in research with hearing-impaired listeners, at least for these stimuli. The second experiment described a test procedure for obtaining phoneme boundaries in some hearing-impaired listeners that controlled for between-subject sources of variation unrelated to hearing impairment and delineated the effects of spectral shaping imposed by the hearing impairment on the labeling functions. Labeling data were obtained from unilaterally hearing-impaired listeners under three test conditions: in the normal ear without any signal distortion; in the normal ear listening through a spectrum shaper that was set to match the subject's suprathreshold audiometric configuration; and in the impaired ear. The reduction in the audibility of the distinctive acoustic/phonetic cues seemed to explain all or part of the effects of the hearing impairment on the labeling functions of some subjects. For many other subjects, however, other forms of distortion in addition to reduced audibility seemed to affect their labeling behavior.     

Listening difficulty as a subjective measure for evaluation of speech transmission performance in public spaces

Listening difficulty ratings, using words with high word familiarity, are proposed as a new subjective measure for the evaluation of speech transmission in public spaces to provide realistic and objective results. Two listening tests were performed to examine their validity, compared with intelligibility scores. The tests included a reverberant signal and noise as detrimental sounds. The subject was asked to repeat each word and simultaneously to rate the listening difficulty into one of four categories: (1) not difficult, (2) a little difficult, (3) fairly difficult, and (4) extremely difficult. After the tests, the four categories were reclassified into, not difficult [response (1)] and some level of difficulty, (the other 3 responses). Listening difficulty is defined as the percentage of the total number of responses indicating some level of difficulty [i.e. not (1)]. The results of two listening tests demonstrated that listening difficulty ratings can evaluate speech transmission performance more accurately and sensitively than intelligibility scores for sound fields with higher speech transmission performance.     

Acceptable range of speech level for both young and aged listeners in reverberant and quiet sound fields

The speech level of verbal information in public spaces should be determined to make it acceptable to as many listeners as possible, while simultaneously maintaining maximum intelligibility and considering the variation in the hearing levels of listeners. In the present study, the universally acceptable range of speech level in reverberant and quiet sound fields for both young listeners with normal hearing and aged listeners with hearing loss due to aging was investigated. Word intelligibility scores and listening difficulty ratings as a function of speech level were obtained by listening tests. The results of the listening tests clarified that (1) the universally acceptable ranges of speech level are from 60 to 70 dBA, from 56 to 61 dBA, from 52 to 67 dBA and from 58 to 63 dBA for the test sound fields with the reverberation times of 0.0, 0.5, 1.0 and 2.0 s, respectively, and (2) there is a speech level that falls within all of the universally acceptable ranges of speech level obtained in the present study; that speech level is around 60 dBA.     

Evaluation of speech transmission in open public spaces affected by combined noises

In the present study, the effects of interference from combined noises on speech transmission were investigated in a simulated open public space. Sound fields for dominant noises were predicted using a typical urban square model surrounded by buildings. Then road traffic noise and two types of construction noises, corresponding to stationary and impulsive noises, were selected as background noises. Listening tests were performed on a group of adults, and the quality of speech transmission was evaluated using listening difficulty as well as intelligibility scores. During the listening tests, two factors that affect speech transmission performance were considered: (1) temporal characteristics of construction noise (stationary or impulsive) and (2) the levels of the construction and road traffic noises. The results indicated that word intelligibility scores and listening difficulty ratings were affected by the temporal characteristics of construction noise due to fluctuations in the background noise level. It was also observed that listening difficulty is unable to describe the speech transmission in noisy open public spaces showing larger variation than did word intelligibility scores.     

Squared error as a measure of perceived phase distortion

Based on two well-known auditory models, it is investigated whether the squared error between an original signal and a phase-distorted signal is a perceptually relevant measure for distortions in the Fourier phase spectrum of periodic signals obtained from speech. Both the performance of phase vector quantizers and the direct relationship between the squared error and two perceptual distortion measures are studied. The results indicate that for small values the squared error correlates well to the perceptual measures. However, for large errors, an increase in squared error does not, on average, lead to an increase in the perceptual measures. Empirical rate-perceptual distortion curves and listening tests confirm that, for low to medium codebook sizes, the average perceived distortion does not decrease with increasing codebook size when the squared error is used as encoding criterion.     

Acceptable range of speech level in noisy sound fields for young adults and elderly persons

The acceptable range of speech level as a function of background noise level was investigated on the basis of word intelligibility scores and listening difficulty ratings. In the present study, the acceptable range is defined as the range that maximizes word intelligibility scores and simultaneously does not cause a significant increase in listening difficulty ratings from the minimum ratings. Listening tests with young adult and elderly listeners demonstrated the following. (1) The acceptable range of speech level for elderly listeners overlapped that for young listeners. (2) The lower limit of the acceptable speech level for both young and elderly listeners was 65 dB (A-weighted) for noise levels of 40 and 45 dB (A-weighted), a level with a speech-to-noise ratio of +15 dB for noise levels of 50 and 55 dB, and a level with a speech-to-noise ratio of +10 dB for noise levels from 60 to 70 dB. (3) The upper limit of the acceptable speech level for both young and elderly listeners was 80 dB for noise levels from 40 to 55 dB and 85 dB or above for noise levels from 55 to 70 dB.     

平衡衔铁受话器的非线性特性与失真仿真模型

平衡衔铁受话器(BAR)具有尺寸小、电声转换效率高和灵敏度高等特点。在大振幅振动时, BAR存在显著的非线性,并导致较严重的失真。利用磁路的集总参数模型(LPM)深入研究BAR的非线性,确立可表征其非线性特性的4个非线性参数,采用迭代计算方法研究平衡衔铁磁阻对非线性特性的重要影响。基于所提出的网格移动和旋转等效的有限元模型(FEM),考虑平衡衔铁磁阻的非线性,准确仿真计算得到非线性参数,再将它们代入到非线性LPM模型中,最终建立FEM与LPM相结合的失真仿真模型。实验结果表明,该失真仿真模型可比较准确地预测BAR在不同加载电压时的总谐波失真以及二次和三次谐波失真。     

Amplified music as a noise nuisance

A survey of complaints received by local authorities in Scotland has shown that complaints about amplified music are increasing and constitute about 25% of the total number of complaints concerning noise. These complaints are mainly about discotheque noise. Five different criteria are used by local authorities for determining whether or not the noise which prompted the complaint is, in fact, a nuisance.Subjective tests involving 40 householders and an analysis of the past records of Edinburgh District Council show that fulfilling the present criteria often does not lead to satisfaction.From the survey results, it is clear that music can be heard, and cause a nuisance, when the music level (L_eq) is very close to or even equal to the general background noise level. This makes objective measurements difficult.     

Music,empathy and cultural understanding

In the age of the Internet and with the dramatic proliferation of mobile listening technologies, music has unprecedented global distribution and embeddedness in people's lives. It is a source of intense experiences of both the most intimate and solitary, and public and collective, kinds – from an individual with their smartphone and headphones, to large-scale live events and global simulcasts; and it increasingly brings together a huge range of cultures and histories, through developments in world music, sampling, the re-issue of historical recordings, and the explosion of informal and home music-making that circulates via YouTube. For many people, involvement with music can be among the most powerful and potentially transforming experiences in their lives. At the same time, there has been increasing interest in music's communicative and affective capacities, and its potential to act as an agent of social bonding and affiliation. This review critically discusses a considerable body of research and scholarship, across disciplines ranging from the neuroscience and psychology of music to cultural musicology and the sociology and anthropology of music, that provides evidence for music's capacity to promote empathy and social/cultural understanding through powerful affective, cognitive and social factors; and explores ways in which to connect and make sense of this disparate evidence (and counter-evidence). It reports the outcome of an empirical study that tests one aspect of those claims, demonstrating that ‘passive’ listening to the music of an unfamiliar culture can significantly change the cultural attitudes of listeners with high dispositional empathy; presents a model that brings together the primary components of the music and empathy research into a single framework; and considers both some of the applications, and some of the shortcomings and problems, of understanding music from the perspective of empathy.     

SUBJECTIVE PREFERENCE FOR SOUND SOURCES LOCATED ON THE STAGE AND IN THE ORCHESTRA PIT OF AN OPERA HOUSE

The present study investigates whether the subjective preference theory can be applied to the sound field in an opera house. Paired-comparison tests were conducted to obtain scale values of subjective preference. As the source locations of the music on the stage and in the orchestra pit were moved, listeners were asked to give their acoustical preference. The acoustical factors at each listening position were obtained from the interaural cross-correlation function and binaural impulse responses measured at each listening position. The relationship between the scale values of subjective preference and orthogonal acoustical factors (LL, IACC, τ_IACC, Δt₁ for the pit source, Δt₁ for the stage, T_sub for the pit source, and T_sub for the stage source) was determined by using factor analysis, which shows that the preference theory is applicable. Total scores obtained from factor analysis and measured scale values are in good agreement.     

Evidence for the distortion product frequency place as a source of distortion product otoacoustic emission (DPOAE) fine structure in humans. I. Fine structure and higher-order DPOAE as a function of the frequency ratio f2/f1

Critical experiments were performed in order to validate the two-source hypothesis of distortion product otoacoustic emissions (DPOAE) generation. Measurements of the spectral fine structure of DPOAE in response to stimulation with two sinusoids have been performed with normal-hearing subjects. The dependence of fine-structure patterns on the frequency ratio f2/f1 was investigated by changing f1 or f2 only (fixed f2 or fixed f1 paradigm, respectively), and by changing both primaries at a fixed ratio and looking at different order DPOAE. When f2/f1 is varied in the fixed ratio paradigm, the patterns of 2 f1-f2 fine structure vary considerably more if plotted as a function of f2 than as a function of fDP. Different order distortion products located at the same characteristic place on the basilar membrane (BM) show similar patterns for both, the fixed-f2 and fDP paradigms. Fluctuations in DPOAE level up to 20 dB can be observed. In contrast, the results from a fixed-fDP paradigm do not show any fine structure but only an overall dependence of DP level on the frequency ratio, with a maximum for 2f1-f2 at f2/f1 close to 1.2. Similar stimulus configurations used in the experiments have also been used for computer simulations of DPOAE in a nonlinear and active model of the cochlea. Experimental results and model simulations give strong evidence for a two-source model of DPOAE generation: The first source is the initial nonlinear interaction of the primaries close to the f2 place. The second source is caused by coherent reflection from a re-emission site at the characteristic place of the distortion product frequency. The spectral fine structure of DPOAE observed in the ear canal reflects the interaction of both these sources.