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Soundscape Assessment View all 11 Articles. Understanding the relationship between people and their soundscapes in an urban context of innumerable and diverse sensory stimulations is a difficult endeavor.
While the interaction between the auditory experience and activity is a topic gaining momentum in soundscape research, capturing the complexity of this relationship in context remains a multifaceted challenge. To this end, we employ a mixed methods design, combining quantitative, qualitative and spatial analyses to analyze how users of three public spaces in Amsterdam evaluate their soundscapes in relation to their activities. We provide a methodological contribution adding to existing soundscape evaluation methodologies , an empirical contribution providing insight on how users explain their soundscape evaluations in relation to their activities and a policy and design-related contribution, offering additional insight on a transferable methodology and process that practitioners can employ in their work on the built environment to address the multisensory experience of public spaces.
Research shows that urban sound affects the health and well-being of urbanites in a significant manner, at the same time influencing the use and appreciation of public spaces Mehta, ; Van Kempen et al. Given this demonstrated importance of sound as part of the urban experience, scientists and practitioners alike have sought to develop strategies to research and influence the relationship between urbanites and their soundscapes, on the one hand to minimize the potential negative effects of sound on urban life, and on the other hand to maximize the opportunities for enjoyment or relaxation that urban sound offers.
Whilst extensive attention has been paid to aspects of soundscape evaluation that could potentially feed into effective urban sound policies Andringa et al. The challenge has both methodological and empirical dimensions, as well as policy and design implications. Strategies focused on how users of various urban spaces evaluate their soundscapes are relatively common in both soundscape research as well as urban policy or practice-related initiatives see e.
However, the conventional methods and tools to study those evaluations are limited in their scope. For example, with regards to public spaces, evaluations are currently mostly collected using questionnaires, largely disregarding other potentially less invasive methods that can contribute to a more holistic understanding of the relationship between public space users and their soundscapes, in context.
The challenge has implications for sound-related urban practice and design initiatives, as it affects the adequate and comprehensive collection and implementation of soundscape knowledge in everyday projects. With this in mind, this paper aims to understand the factors that can influence and moderate, both separately and together, how users of three different public spaces evaluate their soundscapes in relation to their on-site activities.
The evaluation of soundscapes is at the center of efforts of scientists from disciplines as diverse as psychology or anthropology, particularly of those working at the intersection of theoretical and applied research, as they aim to understand how users of various urban public and private spaces engage with and relate to what they hear, and how that influences the quality of their experience.
In this section, we review the scientific literature key to the evaluation of soundscapes and develop the analytical model described below guiding the empirical research Figure 1.
Finally, we use the concept of affordance to understand how users of public spaces bring their soundscapes into use through their engagement with and activities performed in their public spaces Ingold, ; Steenson and Rodger, Most of these research projects arise from more practice-oriented questions, either dealing with specific soundscape interventions with some form of behavioral control in mind see Lavia et al.
Consequently, many questions remain on how best to define and operationalize activity in empirical studies and what methods are suited for researching the relationship between soundscape evaluations and activities in an ecologically valid manner Guastavino et al.
For example, one laboratory study demonstrated that various soundscape recordings were evaluated as being appropriate 2 for different imagined activities by participants in a listening experiment Nielbo et al. In other words, to what extent does whether users are alone or with others influence how they evaluate their soundscapes in relation to what they were doing e.
Filipan et al. Along similar lines, Bruce et al. Axelsson found that variance in familiarity ratings tends to be low for urban respondents sharing a similar cultural framework, thus implying a limited applicability of the feature for design initiatives Axelsson et al.
Considering the activity-centered approach we take in this paper, we integrate the concept of auditory affordances in a public space context. Turvey , p. Affordances have been discussed and used previously in auditory research particularly in relation to music, in reference to what music can afford to a listener see DeNora, ; Clarke, ; Reybrouck, , inter alios.
There have also been proposals and strategies for integrating the concept in soundscape research Thibaud, ; Pecqueux, ; Nielbo et al. We build on the work of Pecqueux , who expands on the idea of affordances elicited by sounds in urban settings p. The analytical model informs our mixed methods approach to the evaluation of soundscapes in relation to activity detailed in the next section. They are conducive to a more nuanced, situated and integrated exploration of the relationship between users of public spaces and their soundscapes, in context see also Knigge and Cope, with respect to the integration of qualitative and quantitative data.
In our research, we relied on a combination of on-site data collection methods, including self-completion questionnaires with randomly selected public space users, and non-participant observation of activities performed in the selected public spaces. In the following sections, we first describe the data collection, including the research design, fieldwork locations and data collection methods, and then elaborate on the data analysis methods.
We employed a mixed methods research design relying on parallel data gathering. Building on previous pilot studies Steele et al.
The fieldwork was conducted in various areas of three different locations Figure 2 : two traditional urban parks Oosterpak and Sarphatipark and one smaller square-park hybrid Frederiksplein. The spaces are located in central Amsterdam and were selected due to their heavy use for leisure purposes. They represent typical Dutch urban public spaces that can be split in smaller areas bordered by paths and greenery, and are designed with diverse amenities encouraging mixed use and users see Table 1 below.
Fieldwork locations. Questionnaires used in previous research on soundscape evaluations tend to address experiences of spaces in relation to perceptions of pleasantness or eventfulness e. These lines of questioning usually rely on semantic scales and seldom employ additional open-ended questions asking respondents to expand on their evaluations, effectively limiting their applicability in practice Raimbault, ; Nielbo et al.
Current standardized protocols e. TABLE 2. Questions in the order in which they were asked in the questionnaire. Additionally, as indicated by literature, we also explored the potential effect of age and gender to influence auditory experiences and potentially the aforementioned evaluations see e. To understand whether their soundscapes afforded their on-site activities, we asked users to evaluate their soundscapes from three perspectives: in terms of disruption, stimulation and overall suitability; we afterwards asked for detailed explanations of their evaluations see Table 2 below.
Stimulation is a common term used in relation to soundscapes and particularly in soundscape evaluation usually used as an adjective Axelsson et al. We approached park users who were usually seated not in transit , and were willing to engage with the data collector and complete the questionnaire; the questionnaires were completed by native Dutch speakers.
Park users were handed clipboards and pens, and were invited to fill out the questionnaires themselves.
The data collector offered clarifications when needed. We gathered questionnaires in the three fieldwork locations Oosterpark: 81 questionnaires, Sarphatipark: 83, Frederiksplein: 24 , as part of two data collection sessions per location one in the weekend and one during the week. Field observation Aletta et al. Documenting public space use is crucial for on-site studies, as it shows how users relate to and behave in their physical built environments and how this relationship can further connect with their soundscape evaluations.
By spatially mapping and situating the evaluations of users and their engagement with its amenities and with each other, we can explore how their physical environments and their soundscapes may interact to influence their urban experience in relation to their activities. In this paper, using a behavioral mapping application 4 , we gathered data on the level of social interaction of activities performed by public space users individual, in pairs or in groups , in parallel with the collection of questionnaires, as part of hour-long sessions throughout the research period.
The behavioral mapping resulted in a total of distinct data points, referring to both individual users and users in groups in all three locations, in selected areas of each location. Contextual maps marking the activities observed based on level of social interaction; questionnaires completed in the area also marked. Sarphatipark, Frederiksplein, and Oosterpark.
To answer our two research questions, we analyzed the questionnaire data using a sequential approach, first statistically analyzing the responses to the closed-ended questions and afterwards qualitatively analyzing the responses to the open-ended questions. The quantitative analysis served to establish potential patterns in the ways in which solitary and socially interactive respondents evaluate their soundscapes in relation to their activities and the role of, e.
The variables used in the quantitative analysis are described in Table 3 below. The three dependent variables in the analysis — disruption, stimulation and suitability were measured on a 5-point ordinal scale and in our data were non-normally distributed, so we relied on two non-parametric tests for our analysis Ruxton, First, using the Kruskal—Wallis test, we tested whether there are statistically significant differences between the categories of the independent variables on each of the three soundscape evaluations.
Second, we applied the Mann—Whitney U test to investigate whether soundscape evaluations differed significantly between activity types solitary or socially interactive according to frequency of use, familiarity with what is heard, location, age and gender.
The quantitative analysis was performed with the help of statistics software SPSS version We also analyzed how respondents articulated their auditory expectations and whether they were met during their time in the space. We contrasted the answers of respondents performing solitary activities with those performing socially interactive activities. We visualized the data collected through behavioral mapping for the three fieldwork locations using GIS-based methods to situate the data on soundscape evaluation in a spatial setting.
We begin with the analysis of the maps resulting from the behavioral mapping process Figure 3 as they play a descriptive role, that is, to illustrate the larger context in which the questionnaires were filled out in terms of patterns of use based on the level of social interaction of the activities performed. The maps for each public space are an aggregation of the data collected during the two sessions per space and visualize the use of space exclusively in the areas where the behavioral mapping was carried out marked with light gray in the resulting maps ; the other areas have not been observed due to practical reasons, yet they were also consistently frequented by users.
The maps clearly show that socially interactive users are dominant in the space, throughout all three locations.
The main observed physical factors influencing the distribution of use and subsequent concentration of users were: the surface materials i. The less dense, more spread out occupancy of the large open area in, e. We observed the clustering of users both in Eastern Oosterpark and throughout Frederiksplein. This could be due to the lack of grass where users could sit on and the dominance of various seating amenities users, mostly socially interactive, also sat on the side of the fountain in Frederiksplein, and on round, elevated built structures in Oosterpark.
The users closest to the body of water in Easter Oosterpark, largely performing socially interactive activities, were facing the water while sitting on grass, whereas solitary users mostly faced the water from a larger distance, while sitting on benches. The clear dominance and clustering of socially interactive users in the NE section of Sarphatipark was due to three separate birthday celebrations taking place at the same time, bringing together large groups of users.
The location of the completed questionnaires document in Figure 3 demonstrates that the sample of users approached to complete our questionnaires is representative for the distribution of users in space in the timeframe and the locations where we conducted our research, with socially interactive users dominant across spaces, usually occupying the larger grass fields generally in the sun , and solitary users equally distributed between the open fields and seating amenities closer to the paths the latter generally in the shade.
Most of the respondents were participating in socially interactive activities. TABLE 4. Distribution of valid responses by variable used in quantitative analyses. The distribution of soundscape ratings split by level of social interaction is presented in Figure 4.
The Kruskal—Wallis test was conducted to evaluate the differences between the categories of the five independent variables level of social interaction, frequency of use of space, familiarity with what is heard, location and age on the three soundscape evaluations disruption, stimulation and suitability. The results Table 5 showed that there was a significant difference in suitability rating for all independent variables, albeit a weak significance for level of social interaction; there was also a significant difference in disruption ratings between the three locations.
Overall, the tests showed that the independent variables included in this research are related mainly with suitability ratings and minimally disruption ratings. The independent variables do not significantly relate with stimulation ratings. TABLE 5. Results for the Kruskal—Wallis test to compare the soundscape evaluations between categories of independent variables. TABLE 6. Results of the Mann—Whitney U test: comparison of soundscape evaluations between users according to level of social interaction.
A possible explanation could be that the locations researched here are more geared toward group activities. Groups were especially dominant in those spaces on sunny days, usually engaged in various — likely audible — interactive activities throughout the observed areas as seen in the contextual maps in Figure 3. This suggests that Sarphatipark is uniquely perceived as affording socially interactive activities rather than solitary ones in a significant manner, when compared to the other two locations.
Finally, no significant differences between socially interactive users and solitary ones were found for males and females. The location in which the research was conducted was also identified as having an effect on soundscape ratings, particularly for Sarphatipark.
However, no particular differences were observed, so below we report only on the aggregated data from the three spaces. The main source of disruption was, for both solitary and socially interactive respondents, the sounds of others in the space, especially the sounds of loud conversations and of children crying; surprisingly, the sounds of traffic and public transportation were mentioned only in passing as a source of disruption, the focus remaining on other public space users and their sound-producing activities.
Solitary respondents also tended to cite more holistic reasons for their disturbance e. While for sources of disruption, there was quite some consensus on which sources are considered disrupting see above and a relatively small number of sounds were listed, there was a comparatively larger array of sources of stimulation mentioned by both categories of users.
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Skip Lievsay is one of the most talented men in Hollywood. He has created audioscapes for Martin Scorsese and is the only sound man the Coen brothers go to. But the key to this work is more than clever effects, it is understanding the human mind. S kip Lievsay, an unassuming-looking guy in his mids with highly trained ears, stood before the stacks of speakers and giant movie screen in his office, fussing quietly. On this midwinter afternoon, he was meeting with one of his effects editors, a similarly soft-spoken young man named Larry Zipf, about a film they had been hired to work on: Miles Ahead, a forthcoming Miles Davis biopic directed by and starring Don Cheadle.
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This article discusses the role of rock musicking as a medium for family relationships. Drawing on qualitative data from interviews with women who self - identify as rock music lovers, it analyses intergenerational rock musicking processes and informal learning. Music, together with other activities, aesthetic materials, technologies and narratives, is an essential element in family relationships and part of the parenting cultural toolkit, both for fathers, as the daughters remember and describe them, and for the mothers themselves. Taking two dyadic family relationships father - daughter; mother - children , I argue that family and domestic spaces are relevant when analyzing everyday rock musicking. Received on Based on research conducted in Portugal and drawing on in - depth interviews with women, this paper explores the role of rock musicking in two dyadic family relationships father - daughter; mother - children. As these women grow older, a whole set of musical items — songs, records, guitars — is appropriated as part of the family legacy.
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