Affective Evaluations of and Reactions to Exterior and Interior Vehicle Auditory Quality

Västfjäll, Daniel; Gulbol, M.-A.; Kleiner, Mendel; Gärling, Tommy

doi:10.1006/jsvi.2001.4166

Cited by 51 publications

(25 citation statements)

References 19 publications

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“…The same applies to some of the interior cabin sound studies (Västfjäll et al, 2002(Västfjäll et al, , 2003Yoon et al, 2012). Other environmental or atmospheric brand-sound research include an experimental study by Sayin et al (2015) documenting a positive effect (i.e.…”

Section: Non-musical Sound Brandingmentioning

confidence: 99%

“…Whereas some studies focus on exterior sounds, including the sounds of engines (Altinsoy, 2015;de Oliveira et al, 2010;Özcan, 2014;Sapherstein, 1998;Västfjäll et al, 2002), silent electric cars Belschner, 2011, 2014;D'Amico and Lenzi, 2011) and car doors (Fastl, 2005;Kuwano et al, 2006), others concentrate on interior sounds, such as engine sounds heard from inside the cabin of cars (Humphreys et al, 2009(Humphreys et al, , 2011Yoon et al, 2012) and aircrafts (Västfjäll et al, 2002(Västfjäll et al, , 2003, indication, operational and feedback sounds Haverkamp, 2007) or, more specifically, on turn-indicator sounds (Wagner and Kallus, 2015) and the sounds of in-car switch buttons (Gaspar et al, 2016). Finally, nonverbal feedback sound is also a core issue in the field of sonic interaction design of artefacts and services, being proposed theoretically by Susini et al (2014) and applied by Erkut et al (2015) for teaching university students.…”

Section: Non-musical Sound Brandingmentioning

confidence: 99%

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Non-musical sound branding – a conceptualization and research overview

Graakjær

Bonde

2018

EJM

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Purpose The purpose of this paper is to advance the understanding of sound branding by developing a new conceptual framework and providing an overview of the research literature on non-musical sound. Design/methodology/approach Using four mutually exclusive and collectively exhaustive types of non-musical sound, the paper assesses and synthesizes 99 significant studies across various scholarly fields. Findings The overview reveals two areas in which more research may be warranted, that is, non-musical atmospherics and non-musical sonic logos. Moreover, future sound-branding research should examine in further detail the potentials of developed versus annexed object sounds, and mediated versus unmediated brand sounds. Research limitations/implications The paper provides important insights into critical issues that suggest directions for further research on non-musical sound branding. Practical implications The paper identifies an unexploited terrain of possibilities for the use of sound in marketing and branding. Originality/value The paper identifies a subfield within sound-branding research that has received little attention despite its inevitability and potential significance.

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Section: Non-musical Sound Brandingmentioning

confidence: 99%

Section: Non-musical Sound Brandingmentioning

confidence: 99%

Non-musical sound branding – a conceptualization and research overview

Graakjær

Bonde

2018

EJM

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“…Next, these variables were regressed onto ratings of valence, activation and preference. 5 Note that the valence and activation dimensions, as expected, only had a weak correlation (-.13), thus allowing separate analyses.…”

Section: Linking Sensory Profiles and Emotional Reactionsmentioning

confidence: 91%

“…Judgments of sound quality were obtained by assessing listenersʼ emotional reactions to the sound 5 and their liking-disliking (preference) ratings. The use of sensory profiles is now common practice in PSQ research and development, 6 but measurements of emotional reactions and preference is relatively seldom used.…”

Section: The Concept Of Product Sound Qualitymentioning

confidence: 99%

Wow, what car is that?: Perception of exterior vehicle sound quality

Västfjäll¹,

Kleiner²

2003

Noise Control Eng. J.

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Up until now most research and application in vehicle sound quality has been directed at describing interior vehicle sound quality. Even though the interior sound of a vehicle is a major component of the perceived sound quality, exterior sound is audible both to potential users and bystanders. It may be argued that interior vehicle sound quality is concerned with meeting the buyerʼs expectation, whereas exterior sound quality concerns a) attracting attention and positive responses of potential customers and b) minimizing negative responses in the general public. It may therefore be argued that optimizing exterior sound quality will benefit both consumers and the community. This article describes an approach to perceived exterior vehicle sound quality. To attain an understanding of exterior sound, we investigate both the semantic descriptions that are elicited when different exterior sounds are heard and specific situations (i.e. a given sound/vehicle in a given environment). Across different sounds and driving conditions we find four subjective dimensions: loudness/annoyance, perceived quality, low-frequency content, and temporal variations. This factor structure allows discriminating the sound quality of a variety of modern cars. In more specific tests we find that participants both discriminate between different vehicles and different environments (free field conditions, urban driving conditions as well as different street shapes). These results indicate that designing and predicting exterior sound quality is a multidimensional task that requires different approaches than those traditionally used for interior sound quality. © 2003 Institute of Noise Control Engineering.

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“…They may, e. g., concentrate on different aspects when associating meaning with a specific product sound. As for their reaction, sounds can be classified according to cognitive activity, affect, and motor activity [57,58].…”

Section: Patterns Of Semiosis That Create Contextmentioning

confidence: 99%

Assigning Meaning to Sounds — Semiotics in the Context of Product-Sound Design

Jekosch

Communication Acoustics

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Summary. Sound design constructs audibility of the world. Sounds carry information about the world. When listening to sounds, communication takes place. These are well-known facts for speech sounds, but it is also true for other types of sounds such as music or product sounds. In principle, each acoustic event can be perceived as a sign carrier through which information about the world is communicated. In its ultimate sense, sound designers are engineers of communication. To be successful, they have to take design decisions on the basis of how listeners perceive sounds and of what kind of communication takes place during this event. Suitable sound design requires a special view on acoustic/auditory communication. Among other sciences, semiotics deals with this field. IntroductionSemiotics is a scientific discipline which deals with signs. Generally speaking, a sign is a mental unit which is processed as standing for something other than itself, as pointing at something else. Well-known items which are treated as signs are, e. g., traffic lights, number codes, national flags and speech. In each of these cases recipients need background knowledge of the perceived physical objects, i. e. they must know the relation between the primary object of perception and the concept that it is going to denote.From a functional point of view, the sign is an element of communication. Using signs means to communicate, it means to send or receive information about "the world". There are highly complex sign systems such as oral speech which utilize acoustic waves to communicate thoughts, ideas, and facts. Such sign systems have to be learned, as the relation between the acoustic forms and their content is arbitrary to a high extent, i. e. it is based on conventions. This means that communication will fail if the relation between the primary perceptual object and the intended concept is not known to the recipients. This holds also true for simpler sign systems, e. g., traffic signs. If the convention is not known the colour red, e. g., will not lead to the action to stop.Apart from signs where there is an arbitrary relation between perceived form and denoted content, i. e. the case of a "symbol", there are other types where the relation is based either on similarity, "icon", or on causality, "index". These sign systems do not have to be learned in the same way as arbi-194 U. Jekosch trary systems, yet their meaning is acquired through experience, i. e. through perception and operation [29].Basically, all physical/perceptual events can be approached from the perspective of semiotics. Consequently, the perception of product sounds can be analyzed from the point of view of sign theory as well. Moreover, from what has been said so far it also follows that the perception of product sounds is a communicative event. This perspective is taken in this chapter. Acoustic/auditory items taken from the field of engineering acoustics will be discussed -with special emphasis being put on product sounds. Product Sound and SemioticsDuring the last de...

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Affective Evaluations of and Reactions to Exterior and Interior Vehicle Auditory Quality

Cited by 51 publications

References 19 publications

Non-musical sound branding – a conceptualization and research overview

Non-musical sound branding – a conceptualization and research overview

Wow, what car is that?: Perception of exterior vehicle sound quality

Assigning Meaning to Sounds — Semiotics in the Context of Product-Sound Design

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