School of Architecture, Rensselaer Polytechnic Institute, TROY, New York, 12180, United States
Samuel R.V. Chabot – Rensselaer Polytechnic Institute
Jonas Braasch – Rensselaer Polytechnic Institute
Popular version of 4aAA8 – Effects of sounds on the visitors’ experience in museums
Presented at the 185th ASA Meeting
Read the abstract at https://doi.org/10.1121/10.0023459
Please keep in mind that the research described in this Lay Language Paper may not have yet been peer reviewed.
Have you ever wondered how a museum’s subtle backdrop of sound affects your experience? Are you drawn to the tranquility of silence, the ambiance of exhibition-congruent sounds, or perhaps the hum of people chatting and footsteps echoing through the halls?
Museums increasingly realize that acoustics are crucial in shaping a visitor’s experience. There are acoustic challenges in museum environments, such as finding the right balance between speech intelligibility and privacy, particularly in spaces with open-plan exhibition halls, coupled rooms, high volumes, and highly reflective surfaces.
Addressing the Challenge
Our proposal focuses on using sound masking systems to tackle these challenges. Sound masking is a proven and widely used technique in diverse settings, from offices to public spaces. Conventionally, it involves introducing low-level broadband noise to mask or diminish unwanted sounds, reducing distractions.
Context is Key
In recognizing the pivotal role of context in shaping human perception, strategically integrating sounds as design elements emerges as a powerful tool for enhancing visitor experiences. In line with this, we propose using sounds congruent with the museum environment more effectively than conventional masking sounds like low-level broadband noise. This approach reduces background noise distractions and enhances artwork engagement, creating a more immersive and comprehensive museum experience.
Evaluating the Effects: The Cognitive Immersive Room (CIR)
We assessed these effects using the Cognitive Immersive Room at Rensselaer Polytechnic Institute. This cutting-edge space features a 360° visual display and an eight-channel loudspeaker system for spatial audio rendering. We projected panoramic photographs and ambisonic audio recordings from 16 exhibitions across five relevant museums — MASS MoCA, New York State Museum, Williams College Museum of Art, UAlbany Art Museum, and Hessel Museum of Art.
The Study Setup
Each participant experienced four soundscape scenarios: the original recorded soundscape in each exhibition, the recorded soundscape combined with a conventional sound masker, the recorded soundscape combined with a congruent sound masker, and “silence” which does not involve any recording, comprising the ambient room noise of 41 dB. Figure 1 shows one of the displays used in the experiment and below the presented sound stimulus.
Figure1: Birds of New York exhibition – New York State Museum. The author took the photo with the permission of the museum’s Director of Exhibitions.
Scenario 1: originally recorded soundscape in situ. Scenario 2: recorded soundscape combined with a conventional sound masker. Scenario 3: the recorded soundscape combined with a congruent sound masker.
After each sound stimulus, they responded to a questionnaire. It was applied through a program developed for this research where participants could interact and answer the questions using an iPad. After experiencing the four soundscapes, a final question was asked regarding the participants’ soundscape preference within the exhibition context. Figure 2 shows the experiment design.
Figure 2
Key Findings
The statistically significant results showed a clear preference for congruent sounds, significantly reducing distractions, enhancing focus, and fostering comprehensive and immersive experiences. A majority of 58% of participants preferred the congruent sound scenario, followed by silence at 20%, original soundscape at 14%, and conventional maskers at 8%.
Centre for Marine Science and Technology, Curtin University, Bentley, Western Australia, 6102, Australia
Benjamin Saunders
School of Molecular and Life Sciences
Curtin University
Bentley, Western Australia, Australia
Christine Erbe, Iain Parnum, Chong Wei, and Robert McCauley
Centre for Marine Science and Technology
Curtin University
Bentley, Western Australia, Australia
Popular version of 5aAB6 – The search to identify the fish species chorusing along the southern Australian continental shelf
Presented at the 185 ASA Meeting
Read the abstract at https://doi.org/10.1121/10.0023649
Please keep in mind that the research described in this Lay Language Paper may not have yet been peer reviewed.
Unknown fish species are singing in large aggregations along almost the entire southern Australian continental shelf on a daily basis, yet we still have little idea of what species these fish are or what this means to them. These singing aggregations are known as fish choruses, they occur when many individuals call continuously for a prolonged period, producing a cacophony of sound that can be detected kilometres away. It is difficult to identify fish species that chorus in offshore marine environments. The current scientific understanding of the sound-producing abilities of all fish species is limited and offshore marine environments are challenging to access. This project aimed to undertake a pilot study which attempted to identify the source species of three fish chorus types (shown below) detected along the southern Australian continental shelf off Bremer Bay in Western Australia from previously collected acoustic recordings.
Each fish chorus type occurred over the hours of sunset, dominating the soundscape within unique frequency bands. Have a listen to the audio file below to get a feeling for how noisy the waters off Bremer Bay become as the sun goes down and the fish start singing. The activity of each fish chorus type changed over time, indicating seasonality in presence and intensity. Chorus I and II demonstrated a peak in calling presence and intensity over late winter to early summer, while Chorus III demonstrated peak calling over late winter to late spring. This informed the sampling methodology of the pilot study, and in December 2019, underwater acoustic recorders and unbaited video recorders were deployed simultaneously on the seafloor along the continental shelf off Bremer Bay to attempt to collect evidence of any large aggregations of fish species present during the production of the fish choruses. Chorus I and the start of Chorus II were detected on the acoustic recordings, corresponding with video recordings of large aggregations of Red Snapper (Centroberyx gerrardi) and Deep Sea Perch (Nemadactylus macropterus). A spectrogram of the acoustic recordings and snapshots from the corresponding underwater video recordings are shown below.
The presence of large aggregations of Red Snapper present while Chorus I was also present was of particular interest to the authors. Previous dissections of this species had revealed that Red Snapper possessed anatomical features that could support sound production through the vibration of their swimbladder using specialised muscles. To explore this further, computerized tomography (CT) scans of several Red Snapper specimens were undertaken. We are currently undertaking 3D modelling of the sound-producing mechanisms of this species to compute the resonance frequency of the fish to better understand if this species could be producing Chorus I.
Listening to fish choruses can tell us about where these fish live, what habitats they use, their spawning behaviour, their feeding behaviour, can indicate their biodiversity, and in certain circumstances, can determine the local abundance of a fish population. For this information to be applied to marine spatial planning and fish species management, it is necessary to identify which fish species are producing these choruses. This pilot study was the first step in an attempt to develop an effective methodology that could be used to address the challenging task of identifying the source species of fish choruses present in offshore environments. We recommend that future studies take an integrated approach to species identification, including the use of arrays of hydrophones paired with underwater video recorders.
Macao Polytechnic University, R. de Luís Gonzaga Gomes, Macao, Macao, 00000, Macao
Andy Chung
Popular version of 3aNSb – Noise Dynamics in City Nightlife: Assessing Impact and Potential Solutions for Residential Proximity to Pubs and Bars
Presented at the 185 ASA Meeting
Read the abstract at https://doi.org/10.1121/10.0023229
Please keep in mind that the research described in this Lay Language Paper may not have yet been peer reviewed.
Picture a typical evening in the heart of a bustling city: pubs and bars come alive, echoing with laughter, music, and the clink of glasses. These hubs of social life create a vibrant tapestry of sounds. But what happens when this symphony overshadows the tranquility of those living just around the corner?
Image courtesy of Kvikoo, Singapore
Our journey begins in the lively interiors of these establishments. In countries rich in nightlife, you’ll find a high concentration of pubs and bars – sometimes up to 150 per 100,000 people. Inside a pub in Hong Kong, for instance, noise levels can soar to 80 decibels during peak hours, akin to the din of city traffic. Even during ‘happy hours,’ the decibel count hovers around 75, still significant.
But let’s step outside these walls. Here, the story takes a different turn. In residential areas adjacent to these nightspots, the evening air is often filled with an unintended soundtrack: the persistent hum of nightlife. In a study from Macedonia, for instance, residents experienced noise levels of about 67 decibels in the evening – a consistent background murmur disrupting the peace of homes.
This issue isn’t just about sound; it’s about the voices of those affected. Residents’ complaints about noise pollution have become a chorus in many parts of the world, including the United Kingdom, Hong Kong, and Australia. These complaints highlight a pressing question: How can we maintain the lively spirit of our cities while respecting the need for quiet?
Governments and communities are tuning into this challenge. Their responses, colored by cultural and historical factors, range from strict regulations to innovative solutions. For example, in Hong Kong, efforts to control noise at its source, as detailed in a government booklet, showcase one way of striking a balance.
This is a story of harmony – finding a middle ground where the joyous buzz of pubs and bars coexists with the serene rhythm of residential life. It’s about understanding that in the symphony of city life, every note, from the loudest cheer to the softest whisper, plays a crucial role.
NUWC Division Newport, NAVSEA, Newport, RI, 02841, United States
Dr. Lauren A. Freeman, Dr. Daniel Duane, Dr. Ian Rooney from NUWC Division Newport and
Dr. Simon E. Freeman from ARPA-E
Popular version of 1aAB1 – Passive Acoustic Monitoring of Biological Soundscapes in a Changing Climate
Presented at the 184 ASA Meeting
Read the abstract at https://doi.org/10.1121/10.0018023
Climate change is impacting our oceans and marine ecosystems across the globe. Passive acoustic monitoring of marine ecosystems has been shown to provide a window into the heartbeat of an ecosystem, its relative health, and even information such as how many whales or fish are present in a given day or month. By studying marine soundscapes, we collate all of the ambient noise at an underwater location and attribute parts of the soundscape to wind and waves, to boats, and to different types of biology. Long term biological soundscape studies allow us to track changes in ecosystems with a single, small, instrument called a hydrophone. I’ve been studying coral reef soundscapes for nearly a decade now, and am starting to have time series long enough to begin to see how climate change affects soundscapes. Some of the most immediate and pronounced impacts of climate change on shallow ocean soundscapes are evident in varying levels of ambient biological sound. We found a ubiquitous trend at research sites in both the tropical Pacific (Hawaii) and sub-tropical Atlantic (Bermuda) that warmer water tends to be associated with higher ambient noise levels. Different frequency bands provide information about different ecological processes (such as fish calls, invertebrate activity, and algal photosynthesis). The response of each of these processes to temperature changes is not uniform, however each type of ambient noise increases in warmer water. At some point, ocean warming and acidification will fundamentally change the ecological structure of a shallow water environment. This would also be reflected in a fundamentally different soundscape, as described by peak frequencies and sound intensity. While I have not monitored the phase shift of an ecosystem at a single site, I have documented and shown that healthy coral reefs with high levels of parrotfish and reef fish have fundamentally different soundscapes, as reflected in their acoustic signature at different frequency bands, than coral reefs that are degraded and overgrown with fleshy macroalgae. This suggests that long term soundscape monitoring could also track these ecological phase shifts under climate stress and other impacts to marine ecosystems such as overfishing.
A healthy coral reef research site in Hawaii with vibrant corals, many reef fish, and copious nooks and crannies for marine invertebrates to make their homes.
Soundscape segmented into three frequency bands capturing fish vocalizations (blue), parrotfish scrapes (red), and invertebrate clicks along with algal photosynthesis bubbles (yellow). All features show an increase in ambient noise level (PSD, y-axis) with increasing ocean temperature at each site studied in Hawaii.
Department of Interior Architecture and Environmental Design, Bilkent University, Ankara, Turkey, 06800, Turkey
Ela Fasllija, Enkela Alimadhi, Zekiye Şahin, Elif Mercan, Donya Dalirnaghadeh
Popular version of 5aPP9 – A Corpus-based Approach to Define Turkish Soundscape Attributes
Presented at the 184 ASA Meeting
Read the abstract at https://doi.org/10.1121/10.0019179
We hear sound wherever we are, on buses, in streets, in cafeterias, museums, universities, halls, churches, mosques, and so forth. How we describe sound environments (soundscapes) changes according to the different experiences we have throughout our lives. Based on this, we wonder how people delineate sound environments and, thus how they perceive them.
There are reasons to believe there may be variances in how soundscape affective attributes are called in a Turkish context. Considering the historical and cultural differences countries have, we thought that it would be important to assess the sound environment by asking individuals of different ages all over Turkey. For our aim, we used the Corpus-driven approach (CDA), an approach found in Cognitive Linguistics. This allowed us to collect data from laypersons to effectively identify soundscapes based on adjective usage.
In this study, the aim is to discover linguistically and culturally appropriate equivalents of Turkish soundscape attributes. The study involved two phases. In the first phase, an online questionnaire was distributed to native Turkish speakers proficient in English, seeking adjective descriptions of their auditory environment and English-to-Turkish translations. This CDA phase yielded 79 adjectives.
Figure 1 Example public spaces; a library and a restaurant
In the second phase, a semantic-scale questionnaire was used to evaluate recordings of different acoustic environments in public spaces. The set of environments comprised seven distinct types of public spaces, including cafes, restaurants, concert halls, masjids, libraries, study areas, and design studios. These recordings were collected at various times of the day to ensure they also contained different crowdedness and specific features. A total of 24 audio recordings were evaluated for validity; each listened to 10 times by different participants. In total, 240 audio clips were randomly assessed, with participants rating 79 adjectives per recording on a five-point Likert scale.
Figure 2 The research process and results
The results of the study were analyzed using a principal component analysis (PCA), which showed that there are two main components of soundscape attributes: Pleasantness and Eventfulness. The components were organized in a two-dimensional model, where each is associated with a main orthogonal axis such as annoying-comfortable and dynamic-uneventful. This circular organization of soundscape attributes is supported by two additional axes, namely chaotic-calm and monotonous-enjoyable. It was also observed that in the Turkish circumplex, the Pleasantness axis was formed by adjectives derived from verbs in a causative form, explaining the emotion the space causes the user to feel. It was discovered that Turkish has a different lexical composition of words compared to many other languages, where several suffixes are added to the root term to impose different meanings. For instance, the translation of tranquilizer in Turkish is sakin-leş (reciprocal suffix) -tir (causative suffix)- ici (adjective suffix).
The study demonstrates how cultural differences impact sound perception and language’s role in expression. Its method extends beyond soundscape research and may benefit other translation projects. Further investigations could probe parallel cultures and undertake cross-cultural analyses.
Figure1: Birds of New York exhibition – New York State Museum. The author took the photo with the permission of the museum’s Director of Exhibitions.
Figure1: Birds of New York exhibition – New York State Museum. The author took the photo with the permission of the museum’s Director of Exhibitions.
Figure 2
Figure 2
Each fish chorus type occurred over the hours of sunset, dominating the soundscape within unique frequency bands. Have a listen to the audio file below to get a feeling for how noisy the waters off Bremer Bay become as the sun goes down and the fish start singing. The activity of each fish chorus type changed over time, indicating seasonality in presence and intensity. Chorus I and II demonstrated a peak in calling presence and intensity over late winter to early summer, while Chorus III demonstrated peak calling over late winter to late spring. This informed the sampling methodology of the pilot study, and in December 2019, underwater acoustic recorders and unbaited video recorders were deployed simultaneously on the seafloor along the continental shelf off Bremer Bay to attempt to collect evidence of any large aggregations of fish species present during the production of the fish choruses. Chorus I and the start of Chorus II were detected on the acoustic recordings, corresponding with video recordings of large aggregations of Red Snapper (Centroberyx gerrardi) and Deep Sea Perch (Nemadactylus macropterus). A spectrogram of the acoustic recordings and snapshots from the corresponding underwater video recordings are shown below.
Image courtesy of Kvikoo, Singapore
A healthy coral reef research site in Hawaii with vibrant corals, many reef fish, and copious nooks and crannies for marine invertebrates to make their homes.
Soundscape segmented into three frequency bands capturing fish vocalizations (blue), parrotfish scrapes (red), and invertebrate clicks along with algal photosynthesis bubbles (yellow). All features show an increase in ambient noise level (PSD, y-axis) with increasing ocean temperature at each site studied in Hawaii.
