| 1. |
- Lindborg, PerMagnus, 1968-
(författare)
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A taxonomy of sound sources in restaurants
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Ingår i: Applied Acoustics. - 0003-682X .- 1872-910X.
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Tidskriftsartikel (refereegranskat)abstract
- Restaurants are complex environments where all our senses are engaged. Physical and psychoacoustic factors have been shown to be associated with perceived environmental quality in restaurants. More or less designable sound sources such as background music, voices, and kitchen noises are believed to be important in relation to the overall perception of the soundscape. Previous research publications have suggested typologies and other structured descriptions of sound sources for some environmental contexts, such as urban parks and offices, but there is no detailed account that is relevant to restaurants. While existing classification schemes might be extendable, an empirical approach was taken in the present work. We collected on-site data in 40 restaurants (n = 393), including perceptual ratings, free-form annotations of characteristic sounds and whether they were liked or not, and free-form descriptive words for the environment as a whole. The annotations were subjected to analysis using a cladistic approach and yielded a multi-level taxonomy of perceived sound sources in restaurants. Ten different classification taxa were evaluated by comparing the respondents' Liking of sound sources, by categories defined in the taxonomy, and their Pleasantness rating of the environment as a whole. Correlation analysis revealed that a four-level clade was efficient and outperformed alternatives. Internal validation of the Pleasantness construct was made through separate ratings (n = 7) of on-site free-form descriptions of the environment. External validation was made with ratings from a separate listening experiment (n = 48). The two validations demonstrated that the four-level Sound Sources in Restaurants (SSR) clade had good construct validity and external robustness. Analysis of the data revealed two findings. Voice-related characteristic sounds including a ‘people’ specifier were more liked than those without such a specifier (d = 0.14 SD), possibly due to an emotional crossmodal association mechanism. Liking of characteristic sounds differed between the first and last annotations that the respondents had made (d = 0.21 SD), which might be due to an initially positive bias being countered by exposure to a task inducing a mode of critical listening. We believe that the SSR taxonomy will be useful for field research and simulation design. The empirical findings might inform theory, specifically research charting the perception of sound sources in multimodal environments.
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| 2. |
- Lindborg, PerMagnus, 1968-
(författare)
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About TreeTorika : Rhetoric, CAAC and Mao
- 2008
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Ingår i: OM Composer’s Book #2. - Paris, France : Éditions Delatour France / IRCAM - Centre Pompidou. - 9782844263995 - 2752100515 ; , s. 95-116
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Bokkapitel (refereegranskat)abstract
- This chapter examines computer assisted analysis and composition (CAAC) techniquesin relation to the composition of my piece TreeTorika for chamber orchestra. I describemethods for analysing the musical features of a recording of a speech by Mao Zedong,in order to extract compositional material such as global form, melody, harmony andrhythm, and for developing rhythmic material. The first part focuses on large scalesegmentation, melody transcription, quantification and quantization. Automatic tran-scription of the voice was discarded in favour of an aural method using tools in Amadeusand Max/MSP. The data was processed in OpenMusic to optimise the accuracy and read-ability of the notation. The harmonic context was derived from the transcribed melodyand from AudioSculpt partial tracking and chord-sequence analyses. The second partof this chapter describes one aspect of computer assisted composition, that is the useof the rhythm constraint library in OpenMusic to develop polyrhythmic textures. Theflexibility of these techniques allowed the computer to assist me in all but the final phasesof the work. In addition, attention is given to the artistic and political implications ofusing recordings of such a disputed public figure as Mao.
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| 3. |
- Lindborg, PerMagnus, 1968-, et al.
(författare)
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Audio Quality Moderates Localisation Accuracy: Two Distinct Perceptual Effects
- 2015
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Ingår i: Proc. 138th Convention of the Audio Engineering Society. - Warsaw, Poland : Audio Engineering Society, Inc..
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Konferensbidrag (refereegranskat)abstract
- Audio quality is known to cross-modally influence reaction speed, sense of presence, and visual quality. We designed an experiment to test the effect of audio quality on source localisation. Stimuli with different MP3 compression rates, as a proxy for audio quality, were generated from drum samples. Participants (n = 18) estimated the position of a snare drum target while compression rate, masker, and target position were systematically manipulated in a full-factorial repeated-measures experiment design. Analysis of variance revealed that location accuracy was better in wide target positions than in narrow, with a medium effect size; and that the effect of target position was moderated by compression rate in different directions for wide and narrow targets. The results suggest that there might be two perceptual effects at play: one, whereby increased audio quality causes a widening of the soundstage, possibly via a SMARC-like mechanism, and two, whereby it enables higher localisation accuracy. In the narrow target positions in this experiment, the two effects acted in opposite directions and largely cancelled each other out. In the wide target presentations, their effects were compounded and led to significant correlations between compression rate and localisation error.
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| 4. |
- Lindborg, PerMagnus, 1968-, et al.
(författare)
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Colour Association with Music is Mediated by Emotion : Evidence from an Experiment using a CIE Lab Interface and Interviews
- 2015
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Ingår i: PLOS ONE. - : PLOS. - 1932-6203. ; 10:12
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Tidskriftsartikel (refereegranskat)abstract
- Crossmodal associations may arise at neurological, perceptual, cognitive, or emotional levels of brain processing. Higher-level modal correspondences between musical timbre and visual colour have been previously investigated, though with limited sets of colour. We developed a novel response method that employs a tablet interface to navigate the CIE Lab colour space. The method was used in an experiment where 27 film music excerpts were presented to participants (n = 22) who continuously manipulated the colour and size of an on-screen patch to match the music. Analysis of the data replicated and extended earlier research, for example, that happy music was associated with yellow, music expressing anger with large red colour patches, and sad music with smaller patches towards dark blue. Correlation analysis suggested patterns of relationships between audio features and colour patch parameters. Using partial least squares regression, we tested models for predicting colour patch responses from audio features and ratings of perceived emotion in the music. Parsimonious models that included emotion robustly explained between 60% and 75% of the variation in each of the colour patch parameters, as measured by cross-validated R2. To illuminate the quantitative findings, we performed a content analysis of structured spoken interviews with the participants. This provided further evidence of a significant emotion mediation mechanism, whereby people tended to match colour association with the perceived emotion in the music. The mixed method approach of our study gives strong evidence that emotion can mediate crossmodal association between music and visual colour. The CIE Lab interface promises to be a useful tool in perceptual ratings of music and other sounds.
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| 5. |
- Lindborg, PerMagnus, 1968-
(författare)
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Editorial - Special Issue on Sound Art and Interactivity in Singapore: SI13 and More
- 2014
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Ingår i: eContact!. - 1910-4650. ; 16:2
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- The SI13 NTU/ADM Symposium on Sound and Interactivity in Singapore provided a meeting point for local researchers, artists, scholars and students working creatively with sound and interactivity, as well as the foundation for an issue exploring sound and interactivity in the Southeast Asian country.Figure 1. Snapshots from the SI13 exhibition, which could be visited throughout the symposium from 14–16 November 2013. [Click image to enlarge] The School of Art Design Media of Singapore’s Nanyang Technological University hosted the Symposium on Sound and Interactivity from 14–16 November 2013. A total of 15 artworks and 14 papers were selected by a review committee for presentation by 24 active participants during the three-day symposium. While all but four of the participants are residents of the island, they represent seventeen different countries, thus reflecting the cosmopolitan nature of Singapore in general and of sound artists and researchers in particular. 1[1. See the SI13 website for more information.]Thanks to funding from Nanyang’s CLASS conference scheme, Roger T. Dean (MARCS Institute, University of New South Wales, Australia) and Diemo Schwarz (IRCAM, France) could be invited as Keynote Speakers; they also performed in the concert that opened the symposium, and contributed to the exhibition.It is a pleasure to collaborate with eContact! in presenting a broad collection of articles emanating from this event, and to use these as a basis for an overview of sound art and related activities in Singapore. Eleven texts from the SI13 Proceedings have been edited for this issue. Joining them are two texts originally written for the catalogue of the “Sound: Latitudes and Attitudes” exhibition held at Singapore’s Institute of Contemporary Arts (7 February – 16 March 2014). Finally, in the guise of a “community report” on sound art activities in Singapore, I have contributed a “constructed multilogue” created from interviews with three sound art colleagues.
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| 6. |
- Lindborg, PerMagnus, 1968-
(författare)
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Interactive Sonification of Weather Data for The Locust Wrath, a Multimedia Dance Performance
- 2016
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Ingår i: Leonardo. - : MIT Press. - 0024-094X .- 1530-9282.
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Tidskriftsartikel (refereegranskat)abstract
- To work flexibly with the sound design for The Locust Wrath, a multimedia dance performance on the topic of climate change, we developed a software for interactive sonification of climate data. An open-ended approach to parameter mapping allowed tweaking and improvisation during rehearsals, resulting in a large range of musical expression. The sonifications represented weather systems pushing through South-East Asia in complex patterns. The climate was rendered as a piece of electroacoustic music, whose compositional form - gesture, timbre, intensity, harmony, spatiality - was determined by the data. The article discusses aspects of aesthetic sonification, reports the process of developing the present work, and contextualises the design decisions within theories of crossmodal perception and listening modes.
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| 7. |
- Lindborg, PerMagnus, 1968-
(författare)
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Le dialogue musicien-machine : Aspects des systèmes d'interactivité musicale
- 2003
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Ce texte a comme sujet la confluence entre la création musicale et les sciences cognitives. Le but principal du travail a été de faire de la reconnaissance sur le terrain. Le présent texte est donc forcément incomplet, et ne servira que de point de départ pour une recherche substantielle.J’ai choisi comme thématique l’interactivité musicale, qui sera définie comme le dialogue musicien–machine. Je vais tenter d’approcher ce phénomène par multiples chemins, qui se superposent. Le thème restera au centre, et autour de lui, j’esquisserai sa relation avec plusieurs faits et phénomènes liés, en particulier : les langages naturels et formels, la question de l’interface à la création, l’intelligence artificielle, et les notions de mémoire et de sens. Ces approches mises ensemble constitueront l’étude des aspects des systèmes d’interactivité. Le vaste sujet de l’interactivité musicale est incrusté dans l’histoire de la musique d’ordinateur, une histoire qui date déjà d’un demi-siècle au moins. Par conséquent il sera nécessaire de cerner le cœur du sujet et de parcourir des cercles concentriques ou en spirale, pour gagner des connaissances qui nous permettent de comprendre mieux le phénomène. La procédure est un peu comme quand on observe une étoile avec l’œil nu : si on la regarde tout droit elle disparaît… La rétine est plus sensible à la lumière dans les côtés. Le texte est donc fatalement un collage consistant de plusieurs études d’envergure limitée. Malgré cela, il faut respecter les aspects importants propres au sujet, essayer d’esquiver le superflu et faire le plus possible de liens. La recherche est guidée par trois thématiques. Quelle est la matière, en d’autres termes, les composants et les processus qui constituent le système de proprement dit, utilisé dans la situation de performance musicale ? Deuxièmement, quelle est la relation entre recherche cognitive et outils technologiques à disposition ? Troisièmement, quelles implications est-ce que les technologies ont eues et auront d’autant plus à l’avenir sur la créativité musicale ?Depuis plusieurs années, les concepts qui sous-tiennent ce texte ont influencé mon travail de compositeur et performeur. J’ai fait des expériences en la matière au travers d’œuvres employant des dispositifs électroacoustiques de configuration variable : “Beda+” (1995), “Tusalava” (1999), “Leçons pour un apprenti sourd-muet” (1998-9), “gin/gub” (2000), “Manifest”[1] (2000), “Project Time”[2] (2001), “sxfxs” (2001), “Extra Quality” (2001-2), ”D!sturbances 350–500”[3]… Ces morceaux de musique sont nés d'une curiosité pour le fondement théorique de la cognition et le fonctionnement du cerveau humain. En particulier, je me suis consacré à analyser la situation de jeu dans laquelle a lieu un échange d’informations et d’initiatives musicales entre musicien et machine, qui agissent sur un degré équivalent de participation dans un système complexe. J’éprouve que cette situation ludique peut également servir d’outil de recherche ; elle est un peu comme un laboratoire, ou un banc d’essai, pour tester des hypothèses, qu’elles soient des propos limités à la musique, ou bien plus étendues, élargissant vers des terrains inhabituels.Étant compositeur, j’ai essayé de rendre l’étude ni trop limitée, ni strictement descriptive. J’ai ressenti le besoin d’analyser des travaux contemporains, ayant des composants scientifiques : les trois projets étudiés sont effectivement en cours de développement. Il s’agissait dans cette étude de capter plutôt leur raison d’être que de montrer leurs formes respectives dans un état finalisé, qui de toute façon n’est pas leur destin. Si la musicologie se contentait de démontrer des structures dans des œuvres de répertoire connues depuis longtemps, ou si elle s’enfermait dans un académisme technocrate développant des modèles n’expliquant que des choses qui sont évidentes pour les musiciens, alors elle souffrirait d’anémie. En proposant une hypothèse, elle doit comporter des aspects prédictifs. Ce serait encore mieux si des modèles développés en support à l’hypothèse étaient facilement accessibles et pouvaient servir au développement de nouveaux outils innovants. Cela est souhaitable, non seulement pour stimuler la production créative, mais également pour aider à mieux comprendre le fonctionnement de la créativité lui-même.L’activité musicale, au sens général, pour ceux qui la produisent autant que pour ceux qui l’apprécient, est un exercice essentiellement non-verbal dont le but est l’émergence d'une compréhension de la créativité humaine d’un ordre autre que verbal ou écrit. En étudiant la créativité, et surtout sa formalisation, ne risquerait-on pas de la dénaturer ? Peut-être la créativité ne risque-t-elle pas de s’effondrer dans la recherche ? Que restera-t-il de la création musicale le jour où une machine aura composé une œuvre capable d’émouvoir les auditeurs ignorant tout de son mode de fabrication ? Néanmoins, en suivant l’appel de William Faulkner, “kill your darlings”, espérons transcender la créativité telle qu’on la connaît et aller vers des pays musicaux inouïs.
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| 8. |
- Lindborg, PerMagnus, 1968-
(författare)
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Leçons : an Approach to a System for Machine Learning, Improvisation and Music Performance
- 2003
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Ingår i: Computer Music Modeling and Retreival. - : Springer-Verlag New York. - 3540209220
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Bokkapitel (refereegranskat)abstract
- This paper aims at describing an approach to the music performancesituation as a laboratory for investigating interactivity. I would like to present“Leçons pour un apprenti sourd-muet” 1, where the basic idea isthat of two improvisers, a saxophonist and a computer, engaged in a seriesof musical questions and responses. The situation is inspired fromthe Japanese shakuhachi tradition, where imitating the master performeris a prime element in the apprentice’s learning process. Through listeningand imitation, the computer’s responses get closer to that of its master foreach turn. In this sense, the computer’s playing emanates from the saxophonist’sphrases and the interactivity in “Leçons” takes place on thelevel of the composition.
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| 9. |
- Lindborg, PerMagnus, 1968-
(författare)
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Physiological measures regress onto acoustic and perceptual features of soundscapes
- 2013
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Ingår i: Proceedings of the 3rd International Conference on Music Emotion (ICME3). - University of Jyväskylä. - 9789513952501
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Konferensbidrag (refereegranskat)abstract
- There is no exact model for the relationship between the autonomic nervous system (ANS) and evoked or perceived emotion. Music has long been a privileged field for exploration, while the contribution of soundscape research is more recent. It is known that health is influenced by the sonic environment, and the study here presented aimed to investigate the nature and strength of relationships between soundscape features and physiological responses linked to relaxation or stress. In a controlled experiment, seventeen healthy volunteers moved freely inside a physical installation listening to soundscape recordings of nature, urban parks, eateries, and shops, reproduced using 3D ambisonic techniques. Physiological responses were continuously captured, then detrended, downsampled, and analysed with multivariate linear regression onto orthogonal acoustic and perceptual stimuli features that had been previously determined. Measures of Peripheral Temperature regressed onto SoundMass, an acoustic feature, and onto Calm-to-Chaotic, a perceptual feature, in each case with a moderately sized effect. A smaller effect was found for Heart Rate onto VariabilityFocus, an acoustic feature, and for Skin Conductance onto the interaction between the acoustic features. These relationships could be coherently accounted for by neurophysiological theory of how ANS activation leads to emotional relaxation or stress. We discuss limitations of the present study and considerations for future soundscape emotion research, as well as more immediate practical implications.
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| 10. |
- Lindborg, PerMagnus, 1968-
(författare)
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Psychoacoustic, physical, and perceptual features of restaurants : A field survey in Singapore
- 2015
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Ingår i: Applied Acoustics. - : Elsevier BV. - 0003-682X .- 1872-910X. ; 92, s. 47-60
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Tidskriftsartikel (refereegranskat)abstract
- Sound is a multi-faceted phenomenon and a critical modality in all kinds of sevicescapes. At restaurants, our senses are intensively stimulated. They are social places that depend on acoustic design for their success. Considering the large economic interests, surprisingly little empirical research on the psychoacoustics of restaurants is available. Contributing to theory building, this article proposes a typology of designed and non-designed sonic elements in restaurants. Results from a survey of 112 restaurants in Singapore are presented, with a focus on one element of the typology, namely interior design materials. The collected data included on-site sound level, audio recordings from which psychoacoustic descriptors such as Loudness and Sharpness were calculated, perceptual ratings using the Swedish Soundscape Quality protocol, and annotations of physical features such as Occupancy. We have introduced a measure, Priciness, to compare menu cost levels between the surveyed restaurants. Correlation analysis revealed several patterns: for example, that Priciness was negatively correlated with Loudness. Analysis of annotations of interior design materials supported a classification of the restaurants in categories of Design Style and Food Style. These were investigated with MANOVA, revealing significant differences in psychoacoustic, physical, and perceptual features between categories among the surveyed restaurants: for example, that restaurants serving Chinese food had the highest prevalence of stone materials, and that Western-menu places were the least loud. Some implications for managers, acoustic designers, and researchers are discussed. (C) 2015 Elsevier Ltd. All rights reserved.
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