There is a need for a model that identifies underlying dimensions of soundscape perception, and which may guide measurement and improvement of soundscape quality. With the purpose to develop such a model, a listening experiment was conducted. One hundred listeners measured 50 excerpts of binaural recordings of urban outdoor soundscapes on 116 attribute scales. The average attribute scale values were subjected to principal components analysis, resulting in three components: Pleasantness, eventfulness, and familiarity, explaining 50, 18 and 6% of the total variance, respectively. The principal-component scores were correlated with physical soundscape properties, including categories of dominant sounds and acoustic variables. Soundscape excerpts dominated by technological sounds were found to be unpleasant, whereas soundscape excerpts dominated by natural sounds were pleasant, and soundscape excerpts dominated by human sounds were eventful. These relationships remained after controlling for the overall soundscape loudness (Zwicker's N(10)), which shows that 'informational' properties are substantial contributors to the perception of soundscape. The proposed principal components model provides a framework for future soundscape research and practice. In particular, it suggests which basic dimensions are necessary to measure, how to measure them by a defined set of attribute scales, and how to promote high-quality soundscapes.

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Individual differences in preferences to photographs were explored based on an alternative framework. This framework predicts that the primary difference between individuals in this respect is their ability to process photographic information, which in turn influences their preferences. Chiefly, people with well-developed schemes in photography (e.g., photo professionals) should have a higher ability to process photographic information than people with less developed schemes (e.g., psychology students). Consequently, people with well-developed schemes in photography should prefer photographs that are relatively more demanding to process. Ten psychology students and 5 photo professionals assessed 32 photographs on six general concepts: Preference, Hedonic Tone, Expressiveness, Familiarity, Uncertainty, and Dynamics. As predicted, photo professionals had a higher ability to process photographic information and preferred photographs that were relatively uncertain and unfamiliar. These results are in concordance with previous research and give strong support to the utility of the present framework in experimental aesthetics.