Advertisement

Simulating the Soundscape through an Analysis/Resynthesis Methodology

  • Andrea Valle
  • Vincenzo Lombardo
  • Mattia Schirosa
Part of the Lecture Notes in Computer Science book series (LNCS, volume 5954)

Abstract

This paper presents a graph-based system for the dynamic generation of soundscapes and its implementation in an application that allows for an interactive, real-time exploration of the resulting soundscapes. The application can be used alone, as a pure sonic exploration device, but can also be integrated into a virtual reality engine. In this way, the soundcape can be acoustically integrated in the exploration of an architectonic/urbanistic landscape. The paper is organized as follows: after taking into account the literature on soundscape, we provide a formal definition of the concept; then, a model is introduced, and finally, we describe a software application together with a case-study.

Keywords

Sound Source Discretization Error Sound Event Radiation Area Graph Actants 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

References

  1. 1.
    Schirosa, M., Valle, A., Lombardo, V.: Un modello per la generazione dinamica di paesaggi sonori. In: Rocchesso, D., Orvieto, A., Vidolin, A. (eds.) Atti del XVII Colloquio di Informatica Musicale, Venezia (15–17 Ottobre ), pp. 35–41 (2008)Google Scholar
  2. 2.
    Valle, A., Lombardo, V., Schirosa, M.: A graph-based system for the dynamic generation of soundscapes. In: Aramaki, M., Kronland-Martinet, R., Ystad, S., Jensen, K. (eds.) Proceedings of the 15th International Conference on Auditory Display (ICAD 2009), Copenhagen, Denmark, May 18–21 (2009)Google Scholar
  3. 3.
    Valle, A., Lombardo, V., Schirosa, M.: A framework for soundscape analysis and re-synthesis. In: Gouyon, F., Barbosa, A., Serra, X. (eds.) Proceedings of the SMC 2009 - 6th Sound and Music Computing Conference, Porto, 23-25 July 2009, pp. 13–18 (2009)Google Scholar
  4. 4.
    Valle, A., Lombardo, V.: A two-level method to control granular synthesis. In: Bernardini, N., Giomi, F., Giosmin, N. (eds.) XIV CIM 2003. Computer Music: Past adn Future, Firenze, 8-10 May 2003, pp. 136–140 (2003)Google Scholar
  5. 5.
    Valle, A.: Geography: a real-time, graph-based composition environment. In: NIME 208: Proceedings, pp. 253–256 (2008)Google Scholar
  6. 6.
    Murray Schafer, R.: The Tuning of the World. In: Knopf, New York (1977)Google Scholar
  7. 7.
    Burtner, M.: Ecoacoustic and shamanic technologies for multimedia composition and performance. Organised Sound 10(1), 3–19 (2005)CrossRefGoogle Scholar
  8. 8.
    Fontana, F., Rocchesso, D., Ottaviani, L.: A structural approach to distance rendering in personal auditory displays. In: Proceedings of the International Conference on Multimodal Interfaces (ICMI 2002), Pittsburgh, PA, USA, 14-16 October (2002)Google Scholar
  9. 9.
    McGregor, I., Crerar, A., Benyon, D., Macaulay, C.: Sounfields and soundscapes: Reifying auditory communities. In: Proceedings of the 2002 International Conference on Auditory Display, Kyoto, Japan, July 2-5 (2002)Google Scholar
  10. 10.
    Rubin, B.U.: Audible information design in the new york city subway system: A case study. In: Proceedings of the International Conference on Auditory Display 1998, Glasgow (1998)Google Scholar
  11. 11.
    Droumeva, M., Wakkary, R.: The role of participatory workshops in investigating narrative and sound ecologies in the design of an ambient intelligence audio display. In: Proceedings of the 12th International Conference on Auditory Display, London (2006)Google Scholar
  12. 12.
    Friberg, J., Gärdenfors, D.: Audio games: New perspectives on game audio. In: Proceedings of the 2004 ACM SIGCHI International Conference on Advances in computer entertainment technology, pp. 148–154. ACM Press, New York (2004)CrossRefGoogle Scholar
  13. 13.
    Serafin, S.: Sound design to enhance presence in photorealistic virtual reality. In: Proceedings of the 2004 International Conference on Auditory Display, Sidney, Australia, July 6-9 (2004)Google Scholar
  14. 14.
    Hermann, T., Meinicke, P., Ritter, H.: Principal curve sonification. In: Proceedings of International Conference on Auditory Display (2000)Google Scholar
  15. 15.
    Butz, A., Jung, R.: Seamless user notification in ambient soundscapes. In: IUI 2005: Proceedings of the 10th international conference on Intelligent user interfaces. ACM Press, New York (2005)Google Scholar
  16. 16.
    Kilander, F., Lönnqvist, P.: A whisper in the woods - an ambient soundscape for peripheral awareness of remote processes. In: Proceedings of the 2002 International Conference on Auditory Display, Kyoto, Japan, July 2-5 (2002)Google Scholar
  17. 17.
    VV.AA.: The tech issue..to be continued. Soundscape 3(1) (July 2002)Google Scholar
  18. 18.
    VV.AA.: Acoustic design. Soundscape 5(1) (2004)Google Scholar
  19. 19.
    Westerkamp, H.: Linking soundscape composition and acoustic ecology. Organised Sound 7(1) (2002)Google Scholar
  20. 20.
    Mauney, B.S., Walker, B.N.: Designing systems for the creation and evaluation of dynamic peripheral soundscapes: a usability study. In: Proceedings of the Human Factors and Ergonomics Society 48th Annual Meeting 2004, New Orleans (2004)Google Scholar
  21. 21.
    Truax, B.: Acoustic Communication. Greenwood, Westport (1984)Google Scholar
  22. 22.
    Misra, A., Cook, P.R., Wang, G.: Musical Tapestry: Re-composing Natural Sounds. In: Proceedings of the International Computer Music Conference, ICMC (2006)Google Scholar
  23. 23.
    LaBelle, B.: Background noise: perspectives on sound art. Continuum, New York–London (2006)Google Scholar
  24. 24.
    Mayr, A. (ed.): Musica e suoni dell’ambiente. CLUEB, Bologna (2001)Google Scholar
  25. 25.
    Murch, W.: In the blink of an eye, 2nd edn. Silman-James Press, Los Angeles (2001)Google Scholar
  26. 26.
    Agostini, L.: Creare Paesaggi Sonori. Lulu.com (2007)Google Scholar
  27. 27.
    Augoyard, J.F., Torgue, H.: Repertorio degli effetti sonori. Lim, Lucca (2003)Google Scholar
  28. 28.
    Amphoux, P.: L’identité sonore des villes européennes, Guide méthodologique à l’usage des gestionnaires de la ville, des techniciens du son et des chercheurs en sciences sociales. publication IREC, EPF–Cresson, Lausanne–Grenoble (1993)Google Scholar
  29. 29.
    VV.AA.: Résumé de l’étude de conception et d’aménagement du paysage sonore du secteur de la Sucrerie - St. Cosmes. Technical report, Acirene–atelier de traitement culturel et esthétique de l’environnement sonore (2007)Google Scholar
  30. 30.
    Truax, B.: Models and strategies for acoustic design. In: Karlsson, H. (ed.) Hör upp! Stockholm, Hey Listen! - Papers presented at the conference on acoustic ecology, Stockholm (1998)Google Scholar
  31. 31.
    Rocchesso, D., Fontana, F. (eds.): The Sounding Object. Edizioni di Mondo Estremo, Firenze (2003)Google Scholar
  32. 32.
    Chion, M.: L’audiovision. Son et image au cinéma, Nathan, Paris (1990)Google Scholar
  33. 33.
    Schaeffer, P.: Traité des objets musicaux. Seuil, Paris (1966)Google Scholar
  34. 34.
    Chion, M.: Guide des objets sonores. Pierre Schaeffer et la recherche musicale. Buchet/Castel-INA, Paris (1983)Google Scholar
  35. 35.
    Lombardo, V., Valle, A.: Audio e multimedia, 3rd edn. Apogeo, Milano (2008)Google Scholar
  36. 36.
    Handel, S.: Listening. An Introduction to the Perception of Auditory Events. The MIT Press, Cambridge (1989)Google Scholar
  37. 37.
    Bregman, A.: Auditory Scene Analysis. The Perceptual Organization of Sound. The MIT Press, Cambridge (1990)Google Scholar
  38. 38.
    Böhme, G.: Atmosfere acustiche. Un contributo all’estetica ecologica. In: Ecologia della musica: Saggi sul paesaggio sonoro, Donzelli (2004)Google Scholar
  39. 39.
    Wishart, T.: The Language of Electroacoustic Music. In: The Language of Electroacoustic Music, pp. 41–60. MacMillan, London (1986)Google Scholar
  40. 40.
    Warusfel, O., Eckel, G.: LISTEN-Augmenting everyday environments through interactive soundscapes. Virtual Reality for Public Consumption, IEEE Virtual Reality 2004 Workshop, Chicago IL 27 (2004)Google Scholar
  41. 41.
    Roads, C.: The computer music tutorial. MIT Press, Cambridge (1996)Google Scholar
  42. 42.
    Lerdahl, F., Jackendoff, R.: A Generative Theory of Tonal Music. The MIT Press, Cambridge (1983)Google Scholar
  43. 43.
    Studio di Ingegneria ed Urbanistica Vittorio Cappato: 50 centesimi al kilo: La riqualificazione del mercato di Porta Palazzo dal progetto al cantiere. Technical report, Comune di Torino, Torino (2006)Google Scholar
  44. 44.
    Fontana, F., Rocchesso, D.: Synthesis of distance cues: modeling anda validation. In: The Sounding Object, pp. 205–220. Edizioni di Mondo Estremo, Firenze (2003)Google Scholar
  45. 45.
    Wilson, S., Cottle, D., Collins, N. (eds.): The SuperCollider Book. The MIT Press, Cambridge (2008)Google Scholar
  46. 46.
    Gansner, E., Koutsofios, E., North, S.: Drawing graphs with dot (2006)Google Scholar
  47. 47.
    Wright, M., Freed, A., Momeni, A.: Opensound control: State of the art 2003. In: Thibault, F. (ed.) Proceedings of the 2003 Conference on New Interfaces for Musical Expression, NIME 2003 (2003)Google Scholar
  48. 48.
    Cano, P., Fabig, L., Gouyon, F., Koppenberger, M., Loscos, A., Barbosa, A.: Semi-automatic ambiance generation. In: Proceedings of the International Conference of Digital Audio Effeccts (DAFx 2004), pp. 1–4 (2004)Google Scholar

Copyright information

© Springer-Verlag Berlin Heidelberg 2010

Authors and Affiliations

  • Andrea Valle
    • 1
  • Vincenzo Lombardo
    • 1
  • Mattia Schirosa
    • 1
    • 2
  1. 1.CIRMAUniversità di TorinoTorinoItaly
  2. 2.Music Technology GroupUniversitat Pompeu FabraBarcelonaSpain

Personalised recommendations