Sonification

Overview Taxonomy Listening Modes Technology


 * Key Readings**

Bovermann, T., Rohrhuber, J., & de Campo, A. (2011). Laboratory Methods for Experimental Sonification. In //The sonification handbook//. Berlin: Logos Verlag.

De Campo, A., Rohrhuber, J., Bovermann, T., & Frauenberger, C. (2011). Sonification and Auditory Display in SuperCollider. In //The SuperCollider Book//. Retrieved from http://pub.uni-bielefeld.de/publication/2018277

//Ballora, Mark. (2011) Opening Your Ears to Data//. //TEDxPSU// Retrieved from http://www.youtube.com/watch?v=aQJfQXGbWQ4&feature=youtube_gdata_player

De Campo, A. (2007). Toward a data sonification design space map. In //Proceedings of the International Conference on Auditory Display (ICAD)// (pp. 342–347). Retrieved from http://dev.icad.org/Proceedings/2007/deCampo2007.pdf

Grond, F., & Hermann, T. (2014). Interactive Sonification for Data Exploration: How listening modes and display purposes define design guidelines. //Organised Sound//, //19//(01), 41–51. doi:10.1017/S1355771813000393 Abstract: A brief history of sonification and its definition are reviewed outlining the dichotomies that have been used such as artistic/scientific, symbolic/analogic, and listening/hearing leading into the question of the role of aesthetics in auditory display. The five listening modes described by Schaeffer (1967) are compared to recent contributions by Vickers (2012) who proposes an extension of the direct listening modes in order to accommodate complementing modalities and interaction and Tuuri and Eerola (2012) who give an alternative embodied cognition-centred conceptualization of listening modes. "Musical" and "everyday" listening modes are described noting the role that "reduced listening" has in interactive sonification and a comparison of the different theoretical perspectives (Schaeffer, Gaver, and Tuuri) is provided. The described listening modes are then linked to display purposes related to descriptive and normative intentions promoting the taxonomy proposed by Tuuri and Eerola and reduced listening for descriptive sonifications. The role of repetition is described providing four guidelines relating to data, interaction, playback, and reproduction. This is followed by an overview of interaction with the "sound object" and listening modes being considered in relation to sound making and proposes a listening centered approach inspired my ergo audition and Schaeffers "musicianly listening" by suggesting sonic exploitation, sonic exploration, and sonic expression as 3 categories for sonic interaction.

Hermann, T., Hunt, A., & Neuhoff, J. G. (2011). //The sonification handbook//. Chapter 1 Introduction. Berlin: Logos Verlag. Annotation: The author describes Sonification as as subcategory of Auditory Display. "Auditory Display encompasses all aspects of a human-machine interaction system, including the setup, speakers or headphones,modes of interaction with the display system, and any technical solution for the gathering,processing, and computing necessary to obtain sound in response to the data. In contrast, Sonification is a core component of an auditory display: the technique of rendering sound in response to data and interactions." An overview of the fields that currently use auditory display include "chaos theory, bio-medicine, and interfaces for visually disabled people, to data mining, seismology, desktop computer interaction, and mobile devices, to name just a few" with the research disciplines that are required including Physics, Acoustics, Psychoacoustics,Perceptual Research, Sound Engineering, Computer Science as core disciplines with Psychology, Musicology, Cognitive Science, Linguistics, Pedagogies, Social Sciences and Philosophy also being necessary. The use of Auditory display benefits from the highly complexity, power, and flexibility of our auditory systems noting that at times the recent interactive aspects of sonifcation can be counter productive as our listening system requires time to adapt to the auditory display. The author concludes the chapter with an overview of the book.

Part I introduces the fundamentals of sonification, sound and perception. Theoretical foundations (chapter 2), psychoacoustics (chapter 3), perception research (chapter 4), Sonic Interaction Design (chapter 5), psychology and evaluation (chapter 6) and design (chapter 7). Part II moves towards the procedural aspects of sonification technology.The representation of data and statistical aspects of data (chapter 8), how sound is represented, generated or synthesized (chapter 9), suitable computer languages and programming systems (chapter 10), control and exploration of data using sound (chapter 11). The different Sonification Techniques are presented in Part III. Audification (chapter 12), Auditory Icons (chapter 13), Earcons (chapter 14), Parameter Mapping Sonification (chapter 15) and Model-Based Sonification (chapter 16). Part IV focuses on specific application fields for Sonification and Auditory Display. Assistive Technology (chapter 17), Process Monitoring (chapter 18), Intelligent Auditory Alarms (chapter 19), The use of sonification to assist navigation (chapter 20), and the Interactive representation of body movements by sonification, driven by the idea that sound can support skill learning and performance without the need to attend a located visual display (chapter 21). Hermann, T. (2008). Taxonomy And Definitions For Sonification And Auditory Display.

Hermann, T. (2008). Taxonomy And Definitions For Sonification And Auditory Display.

Song, H. J., & Beilharz, K. (2008). Aesthetic and Auditory Enhancements for Multi-stream Information Sonification. In //Proceedings of the 3rd International Conference on Digital Interactive Media in Entertainment and Arts// (pp. 224–231). New York, NY, USA: ACM. doi:10.1145/1413634.1413678 sonification.de. (n.d.). Retrieved from http://sonification.de/

Tuuri, K., & Eerola, T. (2012). Formulating a Revised Taxonomy for Modes of Listening. //Journal of New Music Research//, //41//(2), 137–152. doi:10.1080/09298215.2011.614951

Walker, B. N., & Nees, M. A. (2011). Theory of Sonification. Retrieved from http://sonify.psych.gatech.edu/~ben/references/nees_theory_of_sonification.pdf

Worrall, D. (2014). Can Micro-Gestural Inflections Be Used to Improve the Soniculatory Effectiveness of Parameter Mapping Sonifications? //Organised Sound//, //19//(01), 52–59. doi:10.1017/S135577181300040X

Ballora, M. (2014). Sonification, Science and Popular Music: In search of the “wow.” //Organised Sound//, //19//(01), 30–40. doi:10.1017/S1355771813000381 Barrass, S. (2005). A perceptual framework for the auditory display of scientific data. //ACM Transactions on Applied Perception (TAP)//, //2//(4), 389–402. Barrass, S., Whitelaw, M., & Bailes, F. (2006). Listening to the mind listening: an analysis of sonification reviews, designs and correspondences. //Leonardo Music Journal//, //16//, 13–19. Ben-Tal, O., & Berger, J. (2004). Creative aspects of sonification. //Leonardo//, //37//(3), 229–233. Chafe, C., & Leistikow, R. (2001). Levels of temporal resolution in sonification of network performance. In //Proceedings of the 2001 International Conference on Auditory Display//. Retrieved from http://blog.zhdk.ch/zmoduletelematic/files/2014/02/tempResNetPerf.pdf Dean, R. T., Whitelaw, M., Smith, H., & Worrall, D. (2006). The mirage of real-time algorithmic synaesthesia: Some compositional mechanisms and research agendas in computer music and sonification. //Contemporary Music Review//, //25//(4), 311–326. doi:10.1080/07494460600760981
 * Top Priority**

De Campo, A., Dayé, C., Frauenberger, C., Vogt, K., Wallisch, A., & Eckel, G. (2006). Sonification as an interdisciplinary working process. In //Proc. of the 12th International Conference on Auditory Display, London, UK//. Retrieved from http://iem.kug.ac.at/fileadmin/media/iem/altdaten/projekte/publications/paper/icad/icad.pdf Eigenfeldt, A., & Pasquier, P. (2010). Real-Time Timbral Organisation: Selecting samples based upon similarity. //Organised Sound//, //15//(02), 159–166. doi:10.1017/S1355771810000154 Fishwick, P. A. (2013). Aesthetic Computing. //The Encyclopedia of Human-Computer Interaction, 2nd Ed.// Retrieved from /encyclopedia/aesthetic_computing.html Frauenberger, C. (2007). Ears))): a methodological framework for auditory display design. In //CHI’07 extended abstracts on Human factors in computing systems// (pp. 1641–1644). ACM. Retrieved from http://dl.acm.org/citation.cfm?id=1240872 Gingrich, O., Renaud, A., Emets, E., & Xiao, Z. (2014). Transmission: A Telepresence Interface for Neural and Kinetic Interaction. //Leonardo//, //47//(4), 375–385. Grond, F., & Hermann, T. (2012). Aesthetic strategies in sonification. //AI & SOCIETY//, //27//(2), 213–222. doi:10.1007/s00146-011-0341-7

Hermann, T., & Hunt, A. (2005). An introduction to interactive sonification. //IEEE Multimedia//, 20–24. Hermann, T., Hunt, A., & Neuhoff. (2011a). Interactive Sonification. In //The sonification handbook//. Berlin: Logos Verlag. Hermann, T., Hunt, A., & Neuhoff, J. G. (2011b). Sonification Design and Aesthetics. In //The sonification handbook//. Berlin: Logos Verlag. Hermann, T., Hunt, A., & Neuhoff, J. G. (2011c). //The sonification handbook//. Berlin: Logos Verlag. Hermann, T., Niehus, C., & Ritter, H. (2003). Interactive visualization and sonification for monitoring complex processes. In //International Conference on Auditory Display// (pp. 247–250). Retrieved from http://www.icad.org/websiteV2.0/Conferences/ICAD2003/paper/60%20Hermann2-%20complex.pdf Hussein, K., Tilevich, E., Bukvic, I. I., & Kim, S. (2009). Sonification design guidelines to enhance program comprehension. In //Program Comprehension, 2009. ICPC’09. IEEE 17th International Conference on// (pp. 120–129). IEEE. Retrieved from http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=5090035 Introduction to Data Sonification - Oxford Handbooks. (n.d.). Retrieved October 23, 2014, from http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780199792030.001.0001/oxfordhb-9780199792030-e-016 Johannsen, G. (2004). Auditory Displays in Human-Machine Interfaces. //Proceedings of the IEEE//, //92//(4), 742–758. doi:10.1109/JPROC.2004.825905 Joy, J. (2012). What NMSAT says about sonification. //AI & SOCIETY//, //27//(2), 233–244. doi:10.1007/s00146-011-0343-5 Kramer, G., Walker, B., & Bargar, R. (1999). //Sonification report: Status of the field and research agenda//. International Community for Auditory Display. Retrieved from http://www.researchgate.net/publication/224927615_Sonification_report_Status_of_the_field_and_research_agenda/file/32bfe510a92dcbb8c7.pdf Lazar, J. (Ed.). (2007). //Universal usability: designing computer interfaces for diverse user populations//. Chichester ; Hoboken, NJ: John Wiley & Sons. McGee, R. (2009). //Auditory Displays and Sonification: Introduction and Overview//. press. Retrieved from http://spatialization.org/writing/Sonification_Auditory_Display.pdf Pauletto, S., & Hunt, A. (2004). A Toolkit for Interactive Sonification. In //ICAD//. Retrieved from http://www.icad.org/websiteV2.0/Conferences/ICAD2004/papers/pauletto_hunt.pdf Pelz-Sherman, M. (n.d.). Suggested Applications of Musical Improvisation Analysis to Sonification. Retrieved from http://interactive-sonification.org/ISon2007/proceedings/papers/Pelz-Sherman_ISon2007.pdf Schoon, A., & Dombois, F. (2009). Sonification in music. In //Copenhagen, Denmark. Re: New–Digital Arts Forum: Re: New–Digital Arts Forum//. Retrieved from http://www.icad.org/Proceedings/2009/SchoonDombois2009.pdf

Tuuri, K., Pirhonen, A., & Hoggan, E. (2009). Some severe deficiencies of the input-output HCI-paradigm and their influence on practical design. In //Proceedings of the European conference on Cognitive Ergonomics (ECCE 2009), Designing beyond the product–understanding activity and user experience in ubiquitous environments, Helsinki, Finland, September// (pp. 363–369). Retrieved from http://www.auditorysigns.com/kai/papers/Tuuri_etal_2009_Some_severe_deficiencies.pdf Vickers, P. (2005). Ars Informatica–Ars Electronica: Improving Sonification Aesthetics. Retrieved from http://nrl.northumbria.ac.uk/11296/ Walker, B. N., & Nees, M. A. (2011). 2 Theory of Sonification. Retrieved from http://sonify.psych.gatech.edu/~ben/references/nees_theory_of_sonification.pdf

Yeo, W. S., Berger, J., & Lee, Z. (2004). SonART: A framework for data sonification, visualization and networked multimedia applications. In //Proceedings of the Internaional Computer Music Conference//. Retrieved from https://ccrma.stanford.edu/~zune/sources/projects/sonart/sonart.files/icmc2004.pdf

Al Bregman’s Website. (n.d.). Retrieved September 11, 2014, from http://webpages.mcgill.ca/staff/Group2/abregm1/web/asaoutline.htm Ballora, M. (2014). Sonification, Science and Popular Music: In search of the “wow.” //Organised Sound//, //19//(01), 30–40. doi:10.1017/S1355771813000381 Barrass, S. (2005a). A comprehensive framework for auditory display: Comments on Barrass, ICAD 1994. //ACM Transactions on Applied Perception (TAP)//, //2//(4), 403–406. Barrass, S. (2005b). A perceptual framework for the auditory display of scientific data. //ACM Transactions on Applied Perception (TAP)//, //2//(4), 389–402. Barrass, S., & Kramer, G. (1999). Using sonification. //Multimedia Systems//, //7//(1), 23–31. Barrass, S., & Robertson, P. (1997). //Auditory information design//. Citeseer. Barrass, S., Whitelaw, M., & Bailes, F. (2006). Listening to the mind listening: an analysis of sonification reviews, designs and correspondences. //Leonardo Music Journal//, //16//, 13–19. Ben-Tal, O., & Berger, J. (2004). Creative aspects of sonification. //Leonardo//, //37//(3), 229–233. Bonebright, T. L., & Miner, N. E. (2005). Evaluation of auditory displays: Comments on Bonebright et al., ICAD 1998. //ACM Transactions on Applied Perception (TAP)//, //2//(4), 517–520. Cádiz, R. F. (2006). A fuzzy-logic mapper for audiovisual media. //Computer Music Journal//, //30//(1), 67–82. Chafe, C., & Leistikow, R. (2001). Levels of temporal resolution in sonification of network performance. In //Proceedings of the 2001 International Conference on Auditory Display//. Retrieved from http://blog.zhdk.ch/zmoduletelematic/files/2014/02/tempResNetPerf.pdf Collins, N. (2012). LMJ 22: Acoustics. //Leonardo Music Journal//, //22//(1), 1–2. Cullen, C., & Coyle, E. (2004). Analysis of data sets using trio sonification. Retrieved from http://digital-library.theiet.org/content/conferences/10.1049/cp_20040532 Dean, R. T. (Ed.). (2009). //The Oxford handbook of computer music//. Oxford ; New York: Oxford University Press. Dean, R. T., Whitelaw, M., Smith, H., & Worrall, D. (2006). The mirage of real-time algorithmic synaesthesia: Some compositional mechanisms and research agendas in computer music and sonification. //Contemporary Music Review//, //25//(4), 311–326. doi:10.1080/07494460600760981 De Campo, A., Dayé, C., Frauenberger, C., Vogt, K., Wallisch, A., & Eckel, G. (2006). Sonification as an interdisciplinary working process. In //Proc. of the 12th International Conference on Auditory Display, London, UK//. Retrieved from http://iem.kug.ac.at/fileadmin/media/iem/altdaten/projekte/publications/paper/icad/icad.pdf Eigenfeldt, A., & Pasquier, P. (2010). Real-Time Timbral Organisation: Selecting samples based upon similarity. //Organised Sound//, //15//(02), 159–166. doi:10.1017/S1355771810000154 Eldridge, A. (2006). Issues in auditory display. //Artificial Life//, //12//(2), 259–274. Fishwick, P. (2006). An introduction to aesthetic computing. //Aesthetic Computing//, 3–27. Fishwick, P., Diehl, S., Prophet, J., & Löwgren, J. (2005). Perspectives on Aesthetic Computing. //Leonardo//, //38//(2), 133–141. Frauenberger, C. (2007). Ears))): a methodological framework for auditory display design. In //CHI’07 extended abstracts on Human factors in computing systems// (pp. 1641–1644). ACM. Retrieved from http://dl.acm.org/citation.cfm?id=1240872 Frauenberger, C. (n.d.). //Auditory Display Design An Investigation of a Design Pattern Approach//. Retrieved from http://frauenberger.name/files/frauenbergerthesis.pdf Gingrich, O., Renaud, A., Emets, E., & Xiao, Z. (2014). Transmission: A Telepresence Interface for Neural and Kinetic Interaction. //Leonardo//, //47//(4), 375–385. Grond, F. (2013). //Listening-Mode-Centered Soni cation Design for Data Exploration//. Retrieved from http://pub.uni-bielefeld.de/luur/download?func=downloadFile&recordOId=2675399&fileOId=2675400 Grond, F., & Hermann, T. (2014). Interactive Sonification for Data Exploration: How listening modes and display purposes define design guidelines. //Organised Sound//, //19//(01), 41–51. doi:10.1017/S1355771813000393 Hermann, T. (2008). Taxonomy And Definitions For Sonification And Auditory Display. Hermann, T., & Hunt, A. (2005). An introduction to interactive sonification. //IEEE Multimedia//, 20–24. Hermann, T., Hunt, A., & Neuhoff, J. G. (2011). //The sonification handbook//. Berlin: Logos Verlag. Hermann, T., & Ritter, H. (2005). Model-based sonification revisited—authors’ comments on Hermann and Ritter, ICAD 2002. //ACM Transactions on Applied Perception (TAP)//, //2//(4), 559–563. Hoffman, M., & Cook, P. R. (2006). FEATURE-BASED SYNTHESIS FOR SONIFICATION AND. Retrieved from http://www.icad.org/Proceedings/2006/HoffmanCook2006.pdf Hussein, K., Tilevich, E., Bukvic, I. I., & Kim, S. (2009). Sonification design guidelines to enhance program comprehension. In //Program Comprehension, 2009. ICPC’09. IEEE 17th International Conference on// (pp. 120–129). IEEE. Retrieved from http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=5090035 Jekosch, U. (2005). Assigning Meaning to Sounds—Semiotics in the Context of Product-Sound Design. In //Communication Acoustics// (pp. 193–221). Springer. Retrieved from http://link.springer.com/chapter/10.1007/3-540-27437-5_8 Joy, J. (2012). What NMSAT says about sonification. //AI & SOCIETY//, //27//(2), 233–244. doi:10.1007/s00146-011-0343-5 Kramer, G. (1994). //Auditory Display: Sonification, Audification, And Auditory Interfaces//. (* E., Ed.). Reading, Mass: Westview Press. Kramer, G., Walker, B., & Bargar, R. (1999). //Sonification report: Status of the field and research agenda//. International Community for Auditory Display. Retrieved from http://www.researchgate.net/publication/224927615_Sonification_report_Status_of_the_field_and_research_agenda/file/32bfe510a92dcbb8c7.pdf Lazar, J. (Ed.). (2007). //Universal usability: designing computer interfaces for diverse user populations//. Chichester ; Hoboken, NJ: John Wiley & Sons. Lewis, J. W., Talkington, W. J., Tallaksen, K. C., & Frum, C. A. (2012). Auditory object salience: human cortical processing of non-biological action sounds and their acoustic signal attributes. //Frontiers in Systems Neuroscience//, //6//. doi:10.3389/fnsys.2012.00027 Lodha, S. K., Beahan, J., Heppe, T., Joseph, A., & Zane-Ulman, B. (1997). Muse: A musical data sonification toolkit. In //Proceedings of International Conference on Auditory Display (ICAD’97)//. Retrieved from http://www.icad.org/websiteV2.0/Conferences/ICAD97/Lodha.pdf Mandic, D. (2008). Signal Processing Techniques for Knowledge Extraction and Information Fusion. McGee, R. (2009). //Auditory Displays and Sonification: Introduction and Overview//. press. Retrieved from http://spatialization.org/writing/Sonification_Auditory_Display.pdf Miranda, E. 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Retrieved from http://worrall.avatar.com.au/papers/worrall_ACMA2010.pdf Worrall, D. (2014). Can Micro-Gestural Inflections Be Used to Improve the Soniculatory Effectiveness of Parameter Mapping Sonifications? //Organised Sound//, //19//(01), 52–59. doi:10.1017/S135577181300040X worrallThesis_Complete.pdf. (n.d.). Retrieved October 23, 2014, from http://www.avatar.com.au/papers/phd/worrallThesis_Complete.pdf Yeo, W. S., Berger, J., & Lee, Z. (2004). SonART: A framework for data sonification, visualization and networked multimedia applications. In //Proceedings of the Internaional Computer Music Conference//. Retrieved from https://ccrma.stanford.edu/~zune/sources/projects/sonart/sonart.files/icmc2004.pdf Ystad, S., & CMMR <6, 2009, København>, ICAD <15, 2009, København> (Eds.). (2010). //Auditory display: 6th international symposium ; revised papers//. Berlin; Heidelberg; New York, NY: Springer.
 * High Priority**

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 * Further Interest**


 * Potential Interest**

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