A lexical analysis of environmental sound categories.

Houix, Olivier; Lemaître, Guillaume; Misdariis, Nicolas; Susini, Patrick; Urdapilleta, Isabel

doi:10.1037/a0026240

Cited by 68 publications

(71 citation statements)

References 70 publications

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“…It is likely if living sounds were based on symbolic information which are more consistently coded. In the same way, it could be hypothesized that for causal sounds, actions are more consistently coded than objects or material which is coherent with recent results, in the one hand, by [Lemaitre and Heller 2012] showing that listeners are faster at identifying the action than the material, and on the other hand, by [Houix et al 2012] showing that listeners use sound information related to physical actions across different objects to sort causal sounds in different sub clusters.…”

Section: Aspects Related To Auditory Cognition and Neurocognitionsupporting

confidence: 80%

“…The causal level referred to the sound cause and the acoustic level referred to the sound quality. Following [Lemaitre et al 2010;Houix et al 2012], both levels were divided into sub-categories as follows: -causal level: action and object (that produced the sound) -acoustic level: temporal description, profile and timbre The interviews were analyzed by three independent experts that filled the grid of analysis while listening to the interviews; two of the experts are co-authors of this paper. On purpose, the last expert was not aware of the goal of the study.…”

Section: Discussionmentioning

confidence: 99%

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The Role of Sound Source Perception in Gestural Sound Description

Caramiaux

Bevilacqua

Bianco

et al. 2014

ACM Trans. Appl. Percept.

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We investigated gesture description of sound stimuli performed during a listening task. Our hypothesis is that the strategies in gestural responses depend on the level of identification of the sound source, and specifically on the identification of the action causing the sound. To validate our hypothesis, we conducted two experiments. In the first experiment, we built two corpora of sounds. The first corpus contains sounds with identifiable causal actions. The second contains sounds where no causal actions could be identified. These corpora properties were validated through a listening test. In the second experiment, participants performed arm and hand gestures synchronously while listening to sounds taken from these corpora. Afterwards, we conducted interviews asking participants to verbalize their experience, watching their own video recordings. They were questioned on their perception of the listened sounds and on their gestural strategies. We showed that for the sounds where causal action can be identified, participants mainly mimic the action that has produced the sound. In the other case, when no action can be associated to the sound, participants trace contours related to sound acoustic features. We also found that the inter-participants gesture variability is higher for causal sounds compared to non-causal sounds. Variability demonstrates that in the first case, participants have several ways of producing the same action whereas in the second case, the sound features tend to make the gesture responses consistent.

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Section: Aspects Related To Auditory Cognition and Neurocognitionsupporting

confidence: 80%

Section: Discussionmentioning

confidence: 99%

The Role of Sound Source Perception in Gestural Sound Description

Caramiaux

Bevilacqua

Bianco

et al. 2014

ACM Trans. Appl. Percept.

View full text Add to dashboard Cite

show abstract

“…The classes could also be put in correspondence with the categories of electricals, gases/liquids, and solids, as they emerged from categorization of kitchen sounds and of their imitations [12,15].…”

Section: Clusteringmentioning

confidence: 99%

“…Categorization via manual grouping was done for everyday sounds in selected contexts, such as cars [20]. For recorded kitchen sounds [12], the four main categories of solids, electricals, gases, and liquids were found, and they were largely confirmed when subjects were requested to sort imitations of such sounds [15]. The organization of sound material into spatial layouts for performance control was also investigated [21], and mixtures of Gaussians were proposed to achieve continuous interpolation in the sonic space.…”

Section: Introductionmentioning

confidence: 99%

Organizing a sonic space through vocal imitations

Rocchesso¹,

Mauro²,

Drioli³

2016

J. Audio Eng. Soc.

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A two-dimensional space is proposed for exploration and interactive design in the sonic space of a sound model. A number of reference items, positioned as landmarks in the space, contain both a synthetic sound and its vocal imitation, and the space is geometrically arranged based on the acoustic features of these imitations. The designer may specify new points in the space either by geometric interpolation or by direct vocalization. In order to understand how the vast and complex space of the human voice could be organized in two dimensions, we collected a database of short excerpts of vocal imitations. By clustering the sound samples on a space whose dimensionality has been reduced to the two principal components, it has been experimentally checked how meaningful the resulting clusters are for humans. The procedure of dimensionality reduction and clustering is demonstrated in the case of imitations of engine sounds, giving access to the sonic space of a motor sound model. INTRODUCTIONIn a sense, the human voice has for acoustic communication a role similar to what the hand and pencil have for visual communication. Humans use their voice for verbal communication as well as for non-verbal acoustic expression, similar to the hand which is used both for writing and for drawing. Just as the hand and pencil are extensively used for visual sketching, the voice has potential to be exploited for sketching or imitating sounds. Indeed, sketching comes before verbal-oral or written-expression in development of both the human species and the human individuals [4]. Recent research has shown that vocal imitations can be more effective than verbalizations at representing and communicating sounds [16]. Such natural capabilities are being exploited for sound retrieval and synthesis [3]. The European project SkAT-VG is investigating the use of voice and gesture as intuitive means for the selection and control of sound models in sonic interaction design [25].In this article we investigate how the vocal mimicking capabilities of humans may be exploited to access and explore a given sonic space. In this context, a sonic space is the space where the sounds produced by a given sound model can be distributed. Essentially, the multidimensional range of possibilities of a sound generator defines its sonic space.The driving idea of this work is that a collection of exemplar sounds produced by the sound model could be coupled to corresponding vocal imitations, thus providing landmarks to navigate the sonic space. The spatial organization of the exemplars should result in a low-dimensional layout where such landmarks can prompt exploration by vocal imitation or by geometric interpolation.The construction and use of a two-dimensional space is explained in Sec. 1, where the synthesis-analysisresynthesis loop involving human imitations is introduced. Since vocal imitations would be used to orient the user in a low-dimensional space of sounds, it is interesting to understand what is the span of the space of vocal imitations at large and to chec...

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“…Sounds, as many others things, can be described in many ways. Environmental sounds in particular may be designated by their source (a car door), the action of that source (the slamming of a car door) or their environment (slamming a car door in a garage) [8,13,2]. Designing an effective keyword-based search system requires an accurate description of each sound, which has to be suited to the sound representation of the user to be effective.…”

Section: Introductionmentioning

confidence: 99%