Noise acceptance of acoustic sequences for indoor soundscape in transport hubs

Wang, Bin; Kang, Jian; Zhao, Wei

doi:10.1121/10.0000567

Cited by 8 publications

(7 citation statements)

References 26 publications

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“…Location 15 was selected as the sampling location for the positive-peak soundscape assessment, Location 8 for the negative-peak soundscape assessment, and Location 1 for the general soundscape assessment. ArtemiS SUITE 12.0 was used to edit the captured materials, namely, the positive (highest) or the negative (lowest) peak assessment of soundscape segments (PPAS/NPAS), and the general assessment of soundscape segment (GAS), into three types of clips, of 30 s each ( Wang et al, 2020 ).…”

Section: Methodsmentioning

confidence: 99%

“…Nevertheless, this effect does not seem to be significant when longer routes are assessed ( Aumond et al, 2017a ). Based on a laboratory study, Wang et al (2020) found that the perceptual extent of a specific sound source in a sound sequence would be reduced, compared to that of a simple sound source. This study predominantly focused on the effects of short-time sound sequences—or simple sound source—on sound sequence.…”

Section: Introductionmentioning

confidence: 99%

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Soundwalk path affecting soundscape assessment in urban parks

et al. 2023

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IntroductionPrevious soundscape studies focused on sound perception and acoustic comfort in sampled sites and ignored the characteristics of the experiential process along the paths. Therefore, the effects of soundwalk paths on soundscape assessment should be explored.MethodsIn this study, a typical urban park was selected as a case study. The differences, characteristics, and effects of soundwalk paths on the soundscapes were explored, based on a soundwalk survey and laboratory study.ResultsThe results are as follows: first, in the soundwalk, different soundwalk paths in the urban park had significant effects on the perceived extent of individual sound and soundscape assessment. Second, the soundscape assessment was consistent with the peak-end rule. In the laboratory experiments, the peak assessment of soundscape appeared at the end location of the soundwalk paths, it was critical to the overall soundscape assessment. Furthermore, in the soundwalk, the overall perceived extent of individual sound was strongly affected by the perceived extent of dominant sounds at the end location of the soundwalk paths. Third, in the soundwalk, the sound loudness contrast path (noise-quiet/quiet-noise) and sound source contrast path (natural-artificial sound/artificial-natural sound) were compared. In the noise-quiet path, the assessment of acoustic comfort was higher than that in the quiet-noise path, and the assessment of subjective loudness was lower than that in the quiet-noise path (p < 0.01). The subjective loudness of the artificial-natural sound path was lower than that in the natural-artificial sound path (p < 0.05).DiscussionThus, the design of the soundwalk paths was expected to enhance visitors’ soundscape assessment of urban parks.

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Section: Methodsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Soundwalk path affecting soundscape assessment in urban parks

et al. 2023

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“…Wang et al [46] took the recordings in 9 airports, 14 railway stations, 4 bus stations, and 7 subway stations (a total of 34) to explore the acoustic sequences on noise acceptance, that is, when the users were staying or walking in a transport hub, sequential sounds form sequence sounds sessions. The listening-test surveys, as an aspect of indoor soundscape research, extracted 209 sections of 30 s acoustic units.…”

Section: Transport Hubs/stationsmentioning

confidence: 99%

“…Most studies have confirmed certain associations between objective and subjective measures, although they were discussing sound levels and annoyance, or loudness. Some studies [29,46] started to consider user-related factors together, such as acoustic sequence in sound levels and users' directions. Some studies [26] pointed out that the effects of sound source content were more dominant than those of sound levels in perceptions of such spaces.…”

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confidence: 99%

Sound Environments in Large Public Buildings for Crowd Transit: A Systematic Review

2021

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Sound environments in large public buildings are likely to be different from those of performance spaces, as well as those not specifically designed for acoustic “performance”, but where sounds still play an important role because of the function they can promote (or disrupt). The aim of this study was identifying common strategies and empirical approaches researchers have been implementing for these acoustically complex enclosures and to provide some methodological indications for future studies on the topic. Studies conducted in three building types for crowd transit, such as museums/exhibition spaces, shopping malls, and transportation hubs/stations, which were collecting data about either physical outcomes or individual responses for such sound environments, were selected. The Scopus databases were searched for peer-reviewed journal papers published in English without time limitations. An additional manual search was performed on the reference lists of the retrieved items. The general consideration on inclusion was to meet the requirement that the case belonged to the three building types, and then the specific inclusion criteria were: (1) including at least an objective acoustic measure of the space; or (2) including at least a subjective measure of the space. The search returned 1060 results; after removing duplicates, two authors screened titles and abstracts and selected 117 papers for further analysis. Twenty-six studies were eventually included. Due to the limited number of items and differences in measures across studies, a quantitative meta-analysis could not be performed, and a qualitative approach was adopted instead. The most commonly used objective measures were SPL, and more specifically often considered as LAeq, and T. The intervals across studies were currently of inconsistency, and the selection is recommended to take space scale factor into account. The used subjective measures can be classified into four categories as annoyance, affective quality, room-acoustic quality, and acoustic spatiality. Four basic perceptual assessments concerning dynamic contents are accordingly suggested as “annoying-not annoying”, “crowded-uncrowded”, “long-short (reverberation)”, and “far away-nearby”. The other descriptors can be project-specific. The methodologies involve measurement, questionnaire/interview, listening test, and software simulation. It is necessary for the former two to consider temporal and spatial features of such spaces, and the adoption of the latter two will lead to better understanding of users’ exposure in such spaces, e.g., acoustic sequences and user amount. The outputs of investigations inform that background noise level, e.g., 90 dB in museum/exhibition spaces, and sound reverberation, e.g., 4.0 to 5.0 s in shopping malls and transportation hubs/station, are of fundamental importance to the design of such spaces. Sufficient acoustic comfort can be achieved with integrated design of indoor soundscape.

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“…For the building environment, Bruce and Davies 12 suggested that prior experiences of similar spaces and the perceived loudness affect the expectation of the soundscape through the soundwalks in urban environments. Through numerous listening tests, Wang et al 13 explored the noise acceptance by evaluating the recordings taken in transportation spaces with the acoustic sequence, i.e., when the listener was either stationary or walking in spaces where the sounds form sequences. The acoustic units were divided into strong, medium, and weak levels.…”

Section: Introductionmentioning

confidence: 99%

Perception difference for approaching and receding sound sources of a listener in motion in architectural sequential spaces

Yang

Kang

2022

The Journal of the Acoustical Society of America

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This study investigates the dynamic auditory perception in large sequential public spaces for listeners in motion with a stationary primary sound source. Virtual soundwalks, involving four music and voice sources and validated with in situ soundwalks, were conducted in an exhibition space. The perception differences between the approaching and receding sound sources were explored, and three major effects were found. The rising sound received a higher rating in each room with a greater perceived change in the loudness than the falling sound despite equal changes in both levels (approach effect). The difference was greater for the room connected to the source room. The loudness in the room connected to the source room receives a sharp drop (plummet effect) for the receding sound source, which was larger for music than for voice. The effect of the background sound impairing the perceptual priority of rising sound was profound in the receiving rooms. The loudness patterns could not be extended to other perceptual attributes, including reverberation. An increasing symmetry of the overall perception between the different sound source types was observed (convergence effect) either by the approaching or receding sound sources. The overall asymmetry of the directional aspects occurring with the noise and voice was not as distinguishable as with music.

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Noise acceptance of acoustic sequences for indoor soundscape in transport hubs

Cited by 8 publications

References 26 publications

Soundwalk path affecting soundscape assessment in urban parks

Soundwalk path affecting soundscape assessment in urban parks

Sound Environments in Large Public Buildings for Crowd Transit: A Systematic Review

Perception difference for approaching and receding sound sources of a listener in motion in architectural sequential spaces

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