Acoustic Monitoring Reveals Diversity and Surprising Dynamics in Tropical Freshwater Soundscapes Benjamin L
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What Does Art Sound Like? an Exploration of Art Through Sound
What does Art Sound Like? An exploration of Art through Sound. Developed by: Catherine Ewer Suggested Grade Level(s): 1 –3 Suggested Length of Class Time: One 60-minute class Subject Areas: Visual Art, Language Art Rationale When it comes to artwork, there is generally a lot of focus on “looking with our eyes” but much can be gained by entering further into the creative experience through sound. In this lesson students will study a piece of art and interpret it as an audio experience, adding a whole new creative layer. Children love creating Soundscapes and will enjoy the ingenuity and imagination necessary to “hear” a painting. This is truly a creative group experience in which everyone’s input is valuable. During the creation of the Soundscape there will be a lot of discussion around sounds using descriptive vocabulary, which the students can then draw upon as inspiration to create short written narratives. Logistics: Classroom setup – group class work, individual work at desks Materials – image of one or more paintings, large enough to look at as a class, sound recorder, or device capable of recording sound. Suggested resources/images – online image banks from various art gallery and museum sites; art reproduction posters, individual art postcards, etc. Some suggestions for types of images are landscapes, seascapes, crowd scenes or an image rich in action. Suggested Outcomes: Students will be expected to: - Explore a variety of sound sources - Work together in group music and art making - Experiment with language choices in imaginative writing and other ways of representing - Share writing or other representations with others and seek feedback - With assistance, experiment with technology in writing and other forms of representation - Select, organize, and combine (with assistance) relevant information to construct and communicate meaning Introduction: As a class, look closely at an image and examine every part. -
Turntablism and Audio Art Study 2009
TURNTABLISM AND AUDIO ART STUDY 2009 May 2009 Radio Policy Broadcasting Directorate CRTC Catalogue No. BC92-71/2009E-PDF ISBN # 978-1-100-13186-3 Contents SUMMARY 1 HISTORY 1.1-Defintion: Turntablism 1.2-A Brief History of DJ Mixing 1.3-Evolution to Turntablism 1.4-Definition: Audio Art 1.5-Continuum: Overlapping definitions for DJs, Turntablists, and Audio Artists 1.6-Popularity of Turntablism and Audio Art 2 BACKGROUND: Campus Radio Policy Reviews, 1999-2000 3 SURVEY 2008 3.1-Method 3.2-Results: Patterns/Trends 3.3-Examples: Pre-recorded music 3.4-Examples: Live performance 4 SCOPE OF THE PROBLEM 4.1-Difficulty with using MAPL System to determine Canadian status 4.2- Canadian Content Regulations and turntablism/audio art CONCLUSION SUMMARY Turntablism and audio art are becoming more common forms of expression on community and campus stations. Turntablism refers to the use of turntables as musical instruments, essentially to alter and manipulate the sound of recorded music. Audio art refers to the arrangement of excerpts of musical selections, fragments of recorded speech, and ‘found sounds’ in unusual and original ways. The following paper outlines past and current difficulties in regulating these newer genres of music. It reports on an examination of programs from 22 community and campus stations across Canada. Given the abstract, experimental, and diverse nature of these programs, it may be difficult to incorporate them into the CRTC’s current music categories and the current MAPL system for Canadian Content. Nonetheless, turntablism and audio art reflect the diversity of Canada’s artistic community. -
The Psychophysiological Implications of Soundscape: a Systematic Review of Empirical Literature and a Research Agenda
International Journal of Environmental Research and Public Health Review The Psychophysiological Implications of Soundscape: A Systematic Review of Empirical Literature and a Research Agenda Mercede Erfanian * , Andrew J. Mitchell , Jian Kang * and Francesco Aletta UCL Institute for Environmental Design and Engineering, The Bartlett, University College London (UCL), Central House, 14 Upper Woburn Place, London WC1H 0NN, UK; [email protected] (A.J.M.); [email protected] (F.A.) * Correspondence: [email protected] (M.E.); [email protected] (J.K.); Tel.: +44-(0)20-3108-7338 (J.K.) Received: 16 September 2019; Accepted: 19 September 2019; Published: 21 September 2019 Abstract: The soundscape is defined by the International Standard Organization (ISO) 12913-1 as the human’s perception of the acoustic environment, in context, accompanying physiological and psychological responses. Previous research is synthesized with studies designed to investigate soundscape at the ‘unconscious’ level in an effort to more specifically conceptualize biomarkers of the soundscape. This review aims firstly, to investigate the consistency of methodologies applied for the investigation of physiological aspects of soundscape; secondly, to underline the feasibility of physiological markers as biomarkers of soundscape; and finally, to explore the association between the physiological responses and the well-founded psychological components of the soundscape which are continually advancing. For this review, Web of Science, PubMed, Scopus, and -
In Situ Listening: Soundscape, Site and Transphonia
In Situ Listening: Soundscape, Site and Transphonia Marcus Leadley Goldsmiths, University of London PhD Sonic Arts 2015 I hereby declare that the work in this thesis and the works presented in the accompanying portfolio are my own. I am responsible for the majority of photographic images used herein and I therefore own and control copyrights. Where necessary, permissions have been acquired, and credits assigned. Signed, Marcus Leadley © 2015 2 Abstract This enquiry represents an exploration of environmental sound and artistic practice from the perspectives of in situ listening and transphonia. The initial term, in situ listening, has been coined by the author in order to constellate a group of intellectual trajectories and artists’ practices that engage with recorded sound and share a common theme: that the listening context, the relationship between mediated sound and site, is an integral part of the engagement process. Heikki Uimonen (2005, p.63) defines transphonia as the, “mechanical, electroacoustical or digital recording, reproduction and relocating of sounds.” The term applies to sound that is relocated from one location to another, or sound that is recorded at a site and then mixed with the sound of the prevailing environment. The experience of the latter, which is a key concern for this thesis, may be encountered during the field recording process when one ‘listens back’ to recordings while on site or during the presentation of site-specific sound art work. Twelve sound installations, each based on field recordings, were produced in order to progress the investigation. Installations were created using a personally devised approach that was rigorous, informed, and iterative. -
1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
"Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979. -
Report of the Ad-Hoc Group on the Impacts of Sonar on Cetaceans and Fish (AGISC) (2Nd Edition)
ICES AGISC 2005 ICES Advisory Committee on Ecosystems ICES CM 2005/ACE:06 Report of the Ad-hoc Group on the Impacts of Sonar on Cetaceans and Fish (AGISC) (2nd edition) By correspondence International Council for the Exploration of the Sea Conseil International pour l’Exploration de la Mer H.C. Andersens Boulevard 44-46 DK-1553 Copenhagen V Denmark Telephone (+45) 33 38 67 00 Telefax (+45) 33 93 42 15 www.ices.dk [email protected] Recommended format for purposes of citation: ICES. 2005. Report of the Ad-hoc Group on Impacts of Sonar on Cetaceans and Fish (AGISC) CM 2006/ACE:06 25pp. For permission to reproduce material from this publication, please apply to the General Secretary. The document is a report of an Expert Group under the auspices of the International Council for the Exploration of the Sea and does not necessarily represent the views of the Council. © 2005 International Council for the Exploration of the Sea ICES AGISC report 2005, 2nd edition | i Contents 1 Introduction ................................................................................................................................... 1 1.1 Participation........................................................................................................................... 1 1.2 Terms of Reference ............................................................................................................... 1 1.3 Justification of Terms of Reference....................................................................................... 1 1.4 Framework for response -
Soundscape Emotions Categorization and Readjustment Based on Music Acoustical Parameters
Soundscape emotions categorization and readjustment based on music acoustical parameters Cheng, Stone1, Fei, Hsu2, Cheng-Kai Hsu3 National Chiao Tung University 1001 University Road, Hsinchu Taiwan ABSTRACT This study presents an approach to analyse the inherent emotional ingredients in the polyphonic music signals, and applied to the soundscape emotion analysis. The proposed real-time music emotion trajectory tracking systems are established by machine learning techniques, music signal processing, and the integration of two- dimensional emotion plane and taxonomy as emotion recognition model. Two sets of 192 emotion-predefined training data are collected, which are popular music and western classical music respectively. Music acoustical parameters of volume, onset density, mode, dissonance, and timbre are extracted as the characteristics of music signal. Experimental results verified that different sets of training data would lead to the variation of boundaries among two emotion recognition models. This study proposed an access to environmental sound designing based on emotion recognition and psychoacoustics, especially focusing on the needs of various fields for commercial purpose or auditory atmosphere creation. The soundscape study is conducted by evaluating the effectiveness of emotion locus variation of selected urban soundscape sets blending with music signals. The simulation of playing background music in authentic field makes good use of music emotional characteristics to help people alter the emotion states and the state of mind, and further affect human behaviour and decision-making. Keywords: Soundscape, Psychoacoustic, Emotions I-INCE Classification of Subject Number: 79 1. INTRODUCTION Emotional perception is the emotion expressed and conveyed by the source of the signal [1]. Discrete or basic emotional theory [2,3] focuses on persistent basic emotions, especially anger, fear, joy, disgust, sadness, and happiness. -
Passive Acoustics for Monitoring Marine Animals - Progress and Challenges
Proceedings of ACOUSTICS 2006 20-22 November 2006, Christchurch, New Zealand Passive acoustics for monitoring marine animals - progress and challenges Douglas Cato (1), Robert McCauley (2), Tracey Rogers (3) and Michael Noad (4) (1) Defence Science and Technology Organisation and University of Sydney Institute of Marine Science, Sydney, Australia (2) Centre for Marine Science and Technology, Curtin University, Perth, Western Australia (3) Australian Marine Mammal Research Centre, Zoological Parks Board of NSW and University of Sydney, Sydney, Australia (4) School of Veterinary Science, University of Queensland, Brisbane, Australia ABSTRACT Pioneering recordings of underwater sounds off New Zealand showed a wide range of high level sounds from marine animals, particularly whales [Kibblewhite et al, J. Acoust. Soc. Am. 41, 644-655, 1967]. Almost 40 years later, a much greater amount of data is available on marine animal sounds and there is now considerable interest in using the sounds to monitor the animals for studies of abundance, migrations and behaviour. Passive acoustic monitoring shows much promise because the animal vocalisations are usually detectable over long distances, allowing a large area to be surveyed. Marine mammals are detectable acoustically at much greater distances than they are visible and passive acoustics has the potential to fill in the gaps in open ocean surveying. There are however challenges, and this paper discusses progress and the steps needed to develop robust methods of surveying the abundance and migrations of marine animals, illustrated by studies in our region. Effective use of passive monitoring requires an understanding of the acoustic behaviour of the animals, a knowledge of the acoustic propagation and ambient noise at the time of the survey and a rigorous statistical analysis. -
Music and Environment: Registering Contemporary Convergences
JOURNAL OF OF RESEARCH ONLINE MusicA JOURNALA JOURNALOF THE MUSIC OF MUSICAUSTRALIA COUNCIL OF AUSTRALIA ■ Music and Environment: Registering Contemporary Convergences Introduction H O L L I S T A Y L O R & From the ancient Greek’s harmony of the spheres (Pont 2004) to a first millennium ANDREW HURLEY Babylonian treatise on birdsong (Lambert 1970), from the thirteenth-century round ‘Sumer Is Icumen In’ to Handel’s Water Music (Suites HWV 348–50, 1717), and ■ Faculty of Arts Macquarie University from Beethoven’s Pastoral Symphony (No. 6 in F major, Op. 68, 1808) to Randy North Ryde 2109 Newman’s ‘Burn On’ (Newman 1972), musicians of all stripes have long linked ‘music’ New South Wales Australia and ‘environment’. However, this gloss fails to capture the scope of recent activity by musicians and musicologists who are engaging with topics, concepts, and issues [email protected] ■ relating to the environment. Faculty of Arts and Social Sciences University of Technology Sydney Despite musicology’s historical preoccupation with autonomy, our register of musico- PO Box 123 Broadway 2007 environmental convergences indicates that the discipline is undergoing a sea change — New South Wales one underpinned in particular by the1980s and early 1990s work of New Musicologists Australia like Joseph Kerman, Susan McClary, Lawrence Kramer, and Philip Bohlman. Their [email protected] challenges to the belief that music is essentially self-referential provoked a shift in the discipline, prompting interdisciplinary partnerships to be struck and methodologies to be rethought. Much initial activity focused on the role that politics, gender, and identity play in music. -
Ocean Noise 2009 Science, Policy, Legal Developments
45 Cougar Canyon Santa Fe NM 87508 acousticecology.org [email protected] AEI Special Report: Ocean Noise 2009 Science, Policy, Legal Developments Contents 2 Introduction 4 Naval active sonars Navy continues to roll out EISs for training ranges New instrumented range off Florida faces challenges 12 Seismic surveys Academic surveys trigger oversized outrage Oil and gas industry surveys continue unfettered; increasing environmental focus from industry 18 Shipping noise AEI Resource Collection: Shipping noise symposia and reports, 2005-2009 26 The revolution in passive acoustic monitoring New research opportunities, new questions that can be asked AEI Resource Collection: Platforms for remote recording 35 Research briefs, 2009 42 What to keep an eye (ear) on in 2010 45 About the Acoustic Ecology Institute Photos: Scripps HARP autonomous recorder: Sean Wiggins Seaglider: University of Washington Ocean observatory schematic: NOAA In this, AEI’s fourth annual overview of ocean noise, we take a simpler approach than in the last couple of years. This time, we include brief overviews of two ongoing areas of attention — seismic surveys and active sonars — as well as a recap of the most interesting research from 2009. For the first time, we feature in-depth “AEI Resource Collections” on two key topics, shipping noise and passive acoustic research platforms. For those of you new to ocean noise issues, I’d recommend reading this recap along with the 2008 version, which has more detail in some key areas that are given only a brief look this year. As ever, the Acoustic Ecology Institute’s primary mission is to “translate” complex science and regulatory developments for the general public. -
11 MUS302 Drones Noises Grains Glitch and Conclusion 2017
DR BRIAN BRIDGES [email protected] MUS302 WEEK 11 FROM DRONES AND NOISE(S) TO GRAINS AND GLITCH/FROM NOISE TO SEQUENCE AND BACK! PRECURSOR: SOUND AND CATEGORISATION ▸ What are the various ways you could categorise this sound recording? PRECURSOR: SOUND AND CATEGORISATION ▸ What are the various ways you could categorise this sound recording? CATEGORISING SOUND Luigi Russolo (1913) (1) Roars/Claps/Dripping Water/Bellows (energetic transients? TBH I’m at a loss with this category!) (2) Whistles/snores/snorts (human noises, with harmonic content?) (3) Whispers, mutterings, grumbles, grunts, gurgles (transient noises?) (4) Shrill sounds, cracks, buzzings, jingles, shuffles (high freqeuncy sounds from small sounding objects/small efforts?) (5) Percussive noises using various struck materials (sound gestures which tell us a lot about their materials?) (6) Animal and human voices (source-recognition becoming a factor?) CATEGORISING SOUND Based on timbral theories? (1) High versus low frequency? Resonant peaks or bell-like sounds? (harmonics/partials ‘ringing out’?) (2) Synchronised versus ‘loose’ sound–gesture combinations (3) Obvious transient detail versus smooth drones? CATEGORISING SOUND ▸ By Material? ▸ (Wood/Metal/Water/Plastic) ▸ By form of articulation (struck, rubbed, plucked, bowed, scratched)? ▸ By Source? (Human, animal, nature, technology, with subdivisions)? ▸ By Medium? (e.g. the sound of old records, old tape recordings, low-fi digital, transistor radio, old speaker, etc.) ▸ By acoustic space or location? By social space/activity? -
Passive Acoustic Monitoring Projects and Sound Sources in the Gulf of Mexico
OCS Study BOEM 2020-009 Literature Synthesis: Passive Acoustic Monitoring Projects and Sound Sources in the Gulf of Mexico U.S. Department of the Interior Bureau of Ocean Energy Management New Orleans Office OCS Study BOEM 2020-009 Literature Synthesis: Passive Acoustic Monitoring Projects and Sounds Sources in the Gulf of Mexico Authors Jennifer N. Latusek-Nabholz Amy D. Whitt Dagmar Fertl Dennis R. Gallien Anwar A. Khan Natalia Sidorovskaia Prepared under BOEM Contract M17PC00001 by HDR, Inc. 300 N. Madison Street Athens, Georgia 35611 Published by U.S. Department of the Interior New Orleans, LA Bureau of Ocean Energy Management January 2020 New Orleans Office DISCLAIMER Study concept, oversight, and funding were provided by the US Department of the Interior, Bureau of Ocean Energy Management, Environmental Studies Program, Washington, DC, under Contract Number M17PC00001, Task Order No. M17PD00011. This report has been technically reviewed by BOEM, and it has been approved for publication. The views and conclusions contained in this document are those of the authors and should not be interpreted as representing the opinions or policies of the U.S. government, nor does mention of trade names or commercial products constitute endorsement or recommendation for use. REPORT AVAILABILITY To download a PDF file of this report, go to the US Department of the Interior, Bureau of Ocean Energy Management Data and Information Systems webpage (http://www.boem.gov/Environmental-Studies- EnvData/), click on the link for the Environmental Studies Program Information System (ESPIS), and search on 2020-009. The report is also available at the National Technical Reports Library at https://ntrl.ntis.gov/NTRL/.