The relationship between basic audio quality and overall listening experience

2016 ◽  
Vol 140 (3) ◽  
pp. 2101-2112 ◽  
Author(s):  
Michael Schoeffler ◽  
Jürgen Herre
Keyword(s):  
Audio Quality ◽  
Listening Experience ◽  
The Relationship ◽  
Overall Listening Experience

On the validity of virtual reality-based auditory experiments: a case study about ratings of the overall listening experience

2015 ◽  
Vol 19 (3-4) ◽  
pp. 181-200 ◽  
Author(s):  
Michael Schoeffler ◽  
Jan Lukas Gernert ◽  
Maximilian Neumayer ◽  
Susanne Westphal ◽  
Jürgen Herre
Keyword(s):  
Virtual Reality ◽  
Listening Experience ◽  
Overall Listening Experience

Mediating and Disrupting the Flow

2020 ◽  
Vol 14 (2) ◽  
pp. 141-158
Author(s):  
EVELYN KREUTZER
Keyword(s):  
Media Studies ◽  
Classical Music ◽  
The Other ◽  
Student Writing ◽  
Moving Image ◽  
History Of ◽  
Listening Experience ◽  
The One ◽  
Nam June Paik ◽  
The Relationship

This essay explores the relationship between ‘highbrow’ classical music traditions and ‘lowbrow’ associations with television culture in the collaborative oeuvre of Charlotte Moorman and Nam June Paik. Contextualizing them within the history of classical music broadcasting conventions on TV on the one hand, and the countercultural avantgarde on the other, I argue that Moorman and Paik’s acts of disrupting and breaking with musical, performative, and/or televisual notions of flow prevent the immersive listening experience that had marked classical music and TV discourses, and in so doing empower the listener in an anti-authoritarian, participatory appeal. This article is the winner of the 2019 Claudia Gorbman Graduate Student Writing Award, selected by the Sound and Music Special Interest Group of the Society for Cinema and Media Studies in conjunction with Music, Sound, and the Moving Image.

scholarly journals The Interactive Audience: A Radio Experiment in Community-Building

2007 ◽  
Vol 122 (1) ◽  
pp. 174-185 ◽  
Author(s):  
Gail Phillips
Keyword(s):  
Local Community ◽  
Community Building ◽  
Community Level ◽  
The Internet ◽  
Social Good ◽  
Good Works ◽  
The Social ◽  
Listening Experience ◽  
One To One ◽  
The Relationship

The internet has provided us with a global laboratory to watch community-building in action. However, its role in the virtual universe is one that the more humble radio has had at the local community level since its inception. As soon as one-to-one communication gave way to one-to-many broadcasting, community-building began, based on the shared listening experience — ranging from families gathering around the wireless to local or national audiences tuning in simultaneously. Talkback made radio interactive by bringing the listener into the program, but it also gave program-makers the chance to gain first-hand experience of who was actually out there. This paper describes a radio talkback experiment which unexpectedly exposed the power of the relationship audiences can build with radio. Based on a ‘can you help’ formula, the program found passionate drivers within its audience members to belong, to bond, and to do good works that contribute to the social good.

Discovering How Accessible Electroacoustic Music Can Be: the Intention/Reception project

2006 ◽  
Vol 11 (2) ◽  
pp. 189-200 ◽  
Author(s):  
ROB WEALE
Keyword(s):  
Test Data ◽  
Real World ◽  
Art Music ◽  
Electroacoustic Music ◽  
Compositional Process ◽  
Doctoral Thesis ◽  
R Project ◽  
Listening Experience ◽  
The Relationship

The Intention/Reception (I/R) project concerns an investigation of the relationship between composer intention and listener response in electroacoustic (E/A) compositions. Phase one of the project focuses on E/A compositions that contain or are perceived to contain real-world sound references (RWE/A). The methodology involves introducing works that are unknown to the listening subjects and then evaluating their listening experience. Through repeated listening and the introduction of the composers' articulation of intent (through a work's title, inspiration, elements that the composer intends to be communicated, eventually elements of the compositional process itself – in short, the ‘dramaturgy’ of the work) listening responses are monitored. The purpose here is to investigate to what extent familiarity contributes to access and appreciation and to what extent intention and reception are meeting in this particular corpus of E/A art music.This paper offers an introduction to the I/R project outlining its background, its context and presenting pertinent points concerning the design and operation of its methodology. Following this, some of the key results discovered thus far, including the first presentation of test data that formed the basis of the conclusions of a recently completed doctoral thesis, will be shared.

Screen as Skin: The Somatechnics of Touchscreen Music Media

Somatechnics ◽  
2017 ◽  
Vol 7 (1) ◽  
pp. 142-165
Author(s):  
Laura Glitsos
Keyword(s):  
The Body ◽  
Computer Interface ◽  
Music Listening ◽  
Human Computer Interface ◽  
Mobile Music ◽  
Listening Experience ◽  
Intimate Relations ◽  
The Relationship ◽  
Affective Relations ◽  
Critical Site

In this article I explore the way mobile music devices with touchscreen technology produce new somatechnical figurations that reshape emotional dynamics of music listening. Using research drawn from a cyberethnography of online users from Reddit.com, I argue that the changing relationships between the human-computer interface result in new affective schemas that expand and reconfigure how it feels to listen to music in a mobile setting. In particular, I focus on skin-on-screen contact in order to suggest that the screen acts as a reflexive surface producing intimate relations for the mobile listener. Touchscreens imply the relationship between skin on skin—the skin of our body (in particular the hands) against the skin of the screen. It follows that mobile touchscreen devices suggest a degree of sensuality—in the coming together of bodies, fluids and other organic materials which ‘stick’ to the touchscreen. Reading the mobile touchscreen player as a somatechnical figuration therefore suggests that the listening experience is developing along with the technologies that mediate music to the body in ways that continue to challenge our understanding of bodily borders and in ways that redefine what it means to feel the music. Therefore, the touchscreen-skin is a critical site of affective relations that dramatically reshape what it means to listening to music in a mobile setting; a private and intimate encounter between the user and their counterpart.

scholarly journals Wrapped Into Sound: Development of the Immersive Audio Quality Inventory (IAQI)

2021 ◽  
Author(s):  
Yves Wycisk ◽  
Kilian Sander ◽  
Reinhard Kopiez ◽  
Friedrich Platz ◽  
Jakob Bergner ◽  
...  
Keyword(s):  
Virtual Reality ◽  
Computer Games ◽  
Three Dimensional ◽  
Psychometric Evaluation ◽  
Test Theory ◽  
Audio Quality ◽  
3D Audio ◽  
Item List ◽  
Listening Experience ◽  
Immersive Audio

Abstract Although virtual reality, video entertainment, and computer games are dependent on the three-dimensional reproduction of sound (including front, rear, and height channels), it remains unclear whether 3D-audio formats actually intensify the emotional listening experience. There is currently no valid inventory for the objective measurement of immersive listening experiences resulting from audio playback formats with decreasing degrees of immersion (from mono to stereo, 5.1, and 3D). The development of the Immersive Audio Quality Inventory (IAQI) could close this gap. An initial item list (N = 25) was derived from studies in virtual reality and spatial audio, supplemented by researcher-developed items and items extracted from historical descriptions. Psychometric evaluation was conducted by an online study (N = 222 valid cases). Based on controlled headphone playback, participants listened to four songs/pieces, each in the three formats of mono, stereo, and binaural 3D audio. The latent construct “immersive listening experience” was determined by probabilistic test theory (item response theory, IRT) and by means of the many-facet Rasch measurement (MFRM). As a result, the specified MFRM model showed good model fit (62.69% of explained variance). The final one-dimensional inventory consists of 10 items and will be made available in English and German.

Interstellar gas in the central region of the Galaxy

1967 ◽  
Vol 31 ◽  
pp. 239-251 ◽  
Author(s):  
F. J. Kerr
Keyword(s):  
Central Region ◽  
Galactic Plane ◽  
Neutral Hydrogen ◽  
Continuum Emission ◽  
Galactic Centre ◽  
Interstellar Gas ◽  
Hydrogen Recombination ◽  
The Galaxy ◽  
Centre Region ◽  
The Relationship

A review is given of information on the galactic-centre region obtained from recent observations of the 21-cm line from neutral hydrogen, the 18-cm group of OH lines, a hydrogen recombination line at 6 cm wavelength, and the continuum emission from ionized hydrogen.Both inward and outward motions are important in this region, in addition to rotation. Several types of observation indicate the presence of material in features inclined to the galactic plane. The relationship between the H and OH concentrations is not yet clear, but a rough picture of the central region can be proposed.

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