This paper takes an overall view of findings from the Positive Soundscape Project, a large inter-disciplinary soundscapes study. Qualitative fieldwork (soundwalks and focus groups) have found that soundscape perception is influenced by cognitive effects such as the meaning of a soundscape and its components, and how information is conveyed by a soundscape, for example on the behaviour of people within the soundscape. Three significant clusters were found in the language people use to describe soundscapes: sound sources, sound descriptors and soundscape descriptors.Results from listening tests and soundwalks have been integrated to show that the two principal dimensions of soundscape emotional response seem to be calmness and vibrancy. Further, vibrancy seems to have two aspects: organisation of sounds and changes over time. The possible application of the results to soundscape assessment and design are briefly discussed.

This paper explores how expectations of a place and its soundscape can affect our perception of that soundscape. Previous soundscape research has included expectation as one possible element of the context in which soundscape evaluation takes place.This work aimed to focus on expectation and unpack it to improve understanding of its different components and how it works. A combination of soundwalks, interviews, focus groups and an interactive soundscape simulation were used in the investigation.A linked series of locations in Manchester and London were studied. It was found that participants' perceptions of a soundscape, both real and simulated, were affected by expectation in several different ways. Participants expected certain types of sound to be present in a particular space. Participants distinguished between whether a sound was expected and whether it sounded pleasant. It was also possible to distinguish between the expectation of particular sound sources and the expectation of the soundscape as a whole. The latter was found to be driven significantly by prior experience of similar spaces and also by perceived loudness. Participants also had expectations about the type of activity they could undertake in a particular soundscape, the behaviour of other people as expressed in the soundscape, and the degree of control they might have over their own exposure to the sound. These findings suggest that expectations of a soundscape are based on prior experience in a way which is consistent with Truax's notion of soundscape competence. The results have been used to produce a new model for soundscape expectation which is expressed as a flowchart.

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The aims of this work were to investigate (i) whether soundscape perceptual dimensions are correctly reproduced by ambisonic loudspeaker playback, (ii) whether soundscape dimensional analysis is robust to changes of location and from the field to laboratory playback, and (iii) whether a simple soundscape synthesis can be used to interactively design a soundscape. The first two aims were addressed by an experiment which attempted to repeat To investigate the third aim, the ambisonic reproduction was extended to a system which allowed independent interactive control of sixteen foreground sounds set in an ambisonic background soundscape. Eight participants were able to use this system to successfully design a soundscape that expressed their intentions. It was found that the designed soundscapes seemed to be based more on participant expectation of typical urban soundscapes than on their preference for individual sounds. These results suggest that a more sophisticated soundscape synthesiser might be suitable for real design problems.