Sound production shows robust loudness constancy when visual cues of musical performance are available

2018 ◽  
Vol 47 (3) ◽  
pp. 436-443
Author(s):  
Akio Honda ◽  
Ayumi Yasukouchi ◽  
Yoichi Sugita
Keyword(s):  
Visual Cues ◽  
Sound Pressure ◽  
Sound Production ◽  
Musical Instrument ◽  
Sound Level ◽  
The Other ◽  
Musical Performance ◽  
Adjustment Method ◽  
Instrument Performance ◽  
Level Of Sound Pressure

We examined the degree of loudness constancy using two methods of adjustment. One was “sound production,” by which listeners played a musical instrument as loudly as a model player. The other was “sound level adjustment,” by which listeners adjusted the loudness of the sound produced by a loudspeaker. The target sound was produced by the actual musical instrument performance. Sound pressure levels of the stimuli were approximately 60, 75, and 86 dB(A). The distances between the performer and the participant were 2, 8, and 32 m. In both conditions, participants were asked to produce the level of sound pressure matching the stimulus. Results show that when visual cues of musical performance are available, sound production had more robust loudness constancy than the sound level adjustment method.

scholarly journals Analisis Reverberation Time Terhadap Kenyamanan Audial pada Ruang Auditorium Menara Pinisi UNM

2019 ◽  
Vol 22 (1) ◽  
pp. 49-56
Author(s):  
Zainatun Zainatun
Keyword(s):  
Qualitative Method ◽  
Quantitative Methods ◽  
Sound Pressure ◽  
Sound Level ◽  
Reverberation Time ◽  
Measuring Point ◽  
Qualitative And Quantitative Methods ◽  
Acoustic Comfort ◽  
Level Meter ◽  
Level Of Sound Pressure

Auditorium space is one of the building functions that must be supported will be acoustic comfort. This research aimed (1) to determine the condition of auditory comfort in the auditorium space according to the opinion of the space users; (2) to investigate the value of the existing reverberation time in the space. The research used two methods, namely the qualitative and quantitative methods; the qualitative method was conducted by distributing questionnaires, interviews and direct observation in the field. The results of the questionnaires were analyzed using SPSS version 22, while the quantitative method was conducted by measuring the sound pressure level using the Sound Level Meter (SLM) and calculation of the Reverbertion Time (RT) by using the Sabine Equation and the simulation was conducted using the Ecotect Software. The research results indicated that, based on the questionnaires distribution to the space user, and according to the seat position, 44.3% of the older users felt comfortable about the spread of sound in the space, while 41.3% did not feel comfortable with the position of the seats and the sound they received, and only 2.0% felt very comfortable with the distribution spread of sound in the space. Meanwhile,  the results of the measurement of the highest Level of Sound Pressure showed that at the measuring point of 31 was 94.0 dB and the lowest at point of 22 was 60.8 dB. The results of the  RT calculation at the auditorium when the auditorium was empty was about 0.45-0.40 seconds at the frequency of 500hz.

Interaction affordances in traditional instruments and tablet computers: A study of children’s musical group creativity

2019 ◽  
Vol 42 (1) ◽  
pp. 94-112
Author(s):  
Erkki Huovinen ◽  
Heli Rautanen
Keyword(s):  
Visual Cues ◽  
Sound Production ◽  
Group Processes ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Tablet Computers ◽  
Musical Play ◽  
Hands On ◽  
Musical Creativity ◽  
Group Flow

In order to promote children’s collaborative musical creativity in new digital environments, we need a better understanding not only of the sound production capabilities provided by the new digital tools, but also of the interaction affordances involved. This study focuses on the interactional patterns emerging in children’s musical creativity, comparing creative group processes on iPad tablet computers (with GarageBand software) to processes on traditional musical instruments. Both instrumentations were assigned to five groups of four 10–12-year-olds for creating sound landscapes for a “space” movie. The traditional instrument groups’ processes were characterized by peer teaching as well as multimodal, improvisatory negotiations with rapid exchanges between the participants, both kinds of processes involving the intertwining of deictic expressions with hands-on musical demonstrations, and clear signs of group flow. By contrast, the tablet groups relied on solitary, parallel planning processes where possible coordinations between the participants took on a more abstract, conceptual form, at a remove from the actual musical ideas and their interplay. Also, there were far fewer signs of group flow than in the traditional instrument groups. In sum, the tablets did not seem to match traditional musical instruments in terms of their interactional and creative affordances. This may be because the traditional instruments offer richer textures of gestural and tactile qualities, visual cues, and spatial anchoring points for facilitating concrete musical interaction, and because the GarageBand software actually requires some reliance on abstract conceptual labels, channelling the participants’ attention toward pre-planning rather than hands-on musical play. The results are problematized with a view to our decision to treat the tablet computer as akin to a musical instrument rather than as an action environment of its own.

scholarly journals Adding colour-realistic video images to audio playbacks increases stimulus engagement but does not enhance vocal learning in zebra finches

2021 ◽  
Author(s):  
Judith M. Varkevisser ◽  
Ralph Simon ◽  
Ezequiel Mendoza ◽  
Martin How ◽  
Idse van Hijlkema ◽  
...  
Keyword(s):  
Visual Cues ◽  
Sound Production ◽  
Visual Stimuli ◽  
Vocal Learning ◽  
Song Learning ◽  
Frame Rate ◽  
Zebra Finches ◽  
Video Content ◽  
Biologically Relevant ◽  
Video Images

AbstractBird song and human speech are learned early in life and for both cases engagement with live social tutors generally leads to better learning outcomes than passive audio-only exposure. Real-world tutor–tutee relations are normally not uni- but multimodal and observations suggest that visual cues related to sound production might enhance vocal learning. We tested this hypothesis by pairing appropriate, colour-realistic, high frame-rate videos of a singing adult male zebra finch tutor with song playbacks and presenting these stimuli to juvenile zebra finches (Taeniopygia guttata). Juveniles exposed to song playbacks combined with video presentation of a singing bird approached the stimulus more often and spent more time close to it than juveniles exposed to audio playback only or audio playback combined with pixelated and time-reversed videos. However, higher engagement with the realistic audio–visual stimuli was not predictive of better song learning. Thus, although multimodality increased stimulus engagement and biologically relevant video content was more salient than colour and movement equivalent videos, the higher engagement with the realistic audio–visual stimuli did not lead to enhanced vocal learning. Whether the lack of three-dimensionality of a video tutor and/or the lack of meaningful social interaction make them less suitable for facilitating song learning than audio–visual exposure to a live tutor remains to be tested.

Research of Possibilities of Using the Recycled Materials Based on Rubber and Textiles Combined with Vermiculite Material in the Area of ​​Noise Reduction

2014 ◽  
Vol 1001 ◽  
pp. 171-176 ◽  
Author(s):  
Pavol Liptai ◽  
Marek Moravec ◽  
Miroslav Badida
Keyword(s):  
Absorption Coefficient ◽  
Standing Wave ◽  
Sound Pressure Level ◽  
Sound Absorption ◽  
Sound Pressure ◽  
Sound Level ◽  
Pressure Level ◽  
Sound Absorption Coefficient ◽  
Physical Parameters ◽  
Materials Research

This paper describes possibilities in the use of recycled rubber granules and textile materials combined with vermiculite panel. The aim of the research is the application of materials that will be absorbing or reflecting sound energy. This objective is based on fundamental physical principles of materials research and acoustics. Method of measurement of sound absorption coefficient is based on the principle of standing wave in the impedance tube. With a sound level meter is measured maximum and minimum sound pressure level of standing wave. From the maximum and minimum sound pressure level of standing wave is calculated sound absorption coefficient αn, which can take values from 0 to 1. Determination of the sound absorption coefficient has been set in 1/3 octave band and in the frequency range from 50 Hz to 2000 Hz. In conclusion are proposed possibilities of application of these materials in terms of their mechanical and physical parameters.

Measurement of Noise inside the Compartment and Vibration on both Sides of Elastomeric Powertrain Mounts of Passenger Car

2013 ◽  
Vol 471 ◽  
pp. 59-63
Author(s):  
Mohd Noor Arib Rejab ◽  
Roslan Abd Rahman ◽  
Raja Ishak Raja Hamzah ◽  
Jawaid Iqbal Inayat Hussain ◽  
Nazirah Ahmad ◽  
...  
Keyword(s):  
Fast Response ◽  
Sound Level ◽  
Measurement Noise ◽  
The Other ◽  
Vibration Level ◽  
Test Conditions ◽  
Exhaust Noise ◽  
Run Up ◽  
Level Meter ◽  
High Level

This paper presents an evaluation on elastomeric mount used to isolate vibration from powertrain to chassis or structure vehicle. The assessments started with measurement of noise inside compartment, and exhaust noise. This is followed by the measurement of vibration on both sides of elastomeric mounts. The noise in the compartment and exhaust noise is measured according to BS 6086: 1981 and BS ISO 5130: 2007. The noise in the compartment and vibration is tested in three conditions. Firstly, engine is run-up with load (driving at second gear); secondly, without load; and thirdly, without load but hanging. A microphone is fixed at the ear of the mannequin. The fast response and A weighting sound level meter were used for measurement noise in the compartment and exhaust noise. The vibration is measured in terms of acceleration on both sides of each elastomeric powertrain mounts. Two accelerometer transducers are fixed on both sides of powertrain elastomeric mounts. One side was identified as a source of vibration and the other as receiver of vibrations. The results showed that the pattern of overall vibration level on source and receiver increased from 1050 RPM (idling) to 4000 RPM on all test conditions. Vibration transmitted to chassis or receiver structure was analyzed using transmissibility concept. By evaluating test condition of engine run-up without load, informed that the front and rear mounts showed a high level transmissibility contributing to structure-borne noise.

Design of a Biomimetic Directional Microphone Diaphragm

2000 ◽  
Author(s):  
C. Gibbons ◽  
R. N. Miles
Keyword(s):  
Sound Pressure ◽  
Capacitive Sensor ◽  
Sound Level ◽  
Pressure Level ◽  
The Self ◽  
Mode Shapes ◽  
Directional Hearing ◽  
The Finite Element Method ◽  
Mechanical Coupling ◽  
Directional Microphone

Abstract A miniature silicon condenser microphone diaphragm has been designed that exhibits good predicted directionality, sensitivity, and reliability. The design was based on the structure of a fly’s ear (Ormia ochracea) that has highly directional hearing through mechanical coupling of the eardrums. The diaphragm that is 1mm × 2mm × 20 microns is intended to be fabricated out of polysilicon through microelectromechanical micromachining. It was designed through the finite-element method in ANSYS in order to build the necessary mode shapes and frequencies into the mechanical behavior of the design. Through postprocessing of the ANSYS data, the diaphragm’s response to an arbitrary sound source, sensitivity, robustness, and Articulation Index - Directivity Index (AI-DI) were predicted. The design should yield a sensitivity as high as 100 mV/Pa, an AI-DI of 4.764 with Directivity Index as high as 6 between 1.5 and 5 kHz. The diaphragm structure was predicted be able to withstand a sound pressure level of 151.74 dB. The sound level that would result in collapse of the capacitive sensor is 129.9 dB.. The equivalent sound level due to the self-noise of the microphone is predicted to be 30.8 dBA.

Daily fluctuations in aircraft noise exposure around civil airports and military airfields in Japan

2021 ◽  
Vol 263 (1) ◽  
pp. 5154-5160
Author(s):  
Koichi Makino ◽  
Naoaki Shinohara
Keyword(s):  
Standard Deviation ◽  
Noise Exposure ◽  
Quality Standards ◽  
Sound Level ◽  
Aircraft Noise ◽  
The Other ◽  
Yearly Average ◽  
Daily Total ◽  
Airline Flight ◽  
Monitoring Stations

In Japan, yearly average of (day-evening-night sound level) as cumulative noise index has been adopted in national noise guideline of "Environmental Quality Standards for Aircraft Noise." Daily flight movements at civil airports are almost stable because of scheduled airline flight. On the other, daily total flight movements at military airfields greatly change day to day because of training flights, etc. Thus, noise exposure around the airport may change significantly from day to day due to change of flight movement. This paper shows examples of fluctuations, frequency distribution and deviation of daily using aircraft noise monitoring data around civil airports and military airfields. In the case of civil airports, standard deviation of daily was less than 5 dB at the monitoring stations where the yearly average of were about 55 dB or more. However, the standard deviation of daily increased 10 dB or more in some cases at points where yearly average of less than 55 dB. Furthermore, in the case of military airfields, the standard deviation of daily were 5 dB or more for all monitoring stations.

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