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This book is a collection of studies providing a unique view on two central aspects of poetry: sounds and emotive qualities, with emphasis on their interactions. The book addresses various theoretical and methodological issues related to topics like sound symbolism, poetic prosody, and voice quality in recited poetry. The authors examine how these sound-related phenomena contribute to the generation of emotive qualities and how these qualities are perceived by readers and listeners. The book builds upon Reuven Tsur’s theoretical research and supplements it from an experimental angle. It also engages in methodological debates with prevalent scientific approaches. In particular, it emphasises the importance of proper theory in empirical literary studies and the role of the personal traits of the reader in literary analysis. The intended readership of this book consists mainly of literary scholars, but it might also appeal to researchers from disciplines such as linguistics, psychology, and brain science.
Whether social, cultural, or individual, the act of imagination always derives from a pre-existing context. For example, we can conjure an alien's scream from previously heard wildlife recordings or mentally rehearse a piece of music while waiting for a train. This process is no less true for the role of imagination in sonic events and artifacts. Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity or performance technique. In this two-volume Handbook, contributors shift the focus of imagination away from the visual by addressing the topic of sonic imagination and expanding the field beyond musical compositional creativity and performance technique into other aural arenas where the imagination holds similar power. Topics covered include auditory imagery and the neurology of sonic imagination; aural hallucination and illusion; use of metaphor in the recording studio; the projection of acoustic imagination in architectural design; and the design of sound artifacts for cinema and computer games.
Emotion research has become a mature branch of psychology, with its own standardized measures, induction procedures, data-analysis challenges, and sub-disciplines. During the last decade, a number of books addressing major questions in the study of emotion have been published in response to a rapidly increasing demand that has been fueled by an increasing number of psychologists whose research either focus on or involve the study of emotion. Very few of these books, however, have presented an explicit discussion of the tools for conducting research, despite the facts that the study of emotion frequently requires highly specialized procedures, instruments, and coding strategies, and that the field has reached a place where a large number of excellent elicitation procedures and assessment instruments have been developed and validated. Emotion Elicitation and Assessment corrects this oversight in the literature by organizing and detailing all the major approaches and instruments for the study of emotion. It is the most complete reference for methods and resources in the field, and will serve as a pragmatic resource for emotion researchers by providing easy access to a host of scales, stimuli, coding systems, assessment tools, and innovative methodologies. This handbook will help to advance research in emotion by encouraging researchers to take greater advantage of standard and well-researched approaches, which will increase both the productivity in the field and the speed and accuracy with which research can be communicated.
What does it mean to interact with sound? How does interactivity alter our experience as creators and listeners? What does the future hold for interactive musical and sonic experiences? This book answers these questions with newly-commissioned chapters that explore the full range of interactive audio in games, performance, design, and practice.
Affect and emotion play an important role in our everyday lives: They are present whatever we do, wherever we are, and wherever we go, without us being aware of them for much of the time. When it comes to interaction, be it with humans, technology, or humans via technology, we suddenly become more aware of emotion, either by seeing the other’s emotional expression, or by not getting an emotional response while anticipating one. Given this, it seems only sensible to explore affect and emotion in human-computer interaction, to investigate the underlying principles, to study the role they play, to develop methods to quantify them, and to finally build applications that make use of them. This is the research field for which, over ten years ago, Rosalind Picard coined the phrase "affective computing". The present book provides an account of the latest work on a variety of aspects related to affect and emotion in human-technology interaction. It covers theoretical issues, user experience and design aspects as well as sensing issues, and reports on a number of affective applications that have been developed in recent years.
Whether social, cultural, or individual, the act of imagination always derives from a pre-existing context. For example, we can conjure an alien's scream from previously heard wildlife recordings or mentally rehearse a piece of music while waiting for a train. This process is no less true for the role of imagination in sonic events and artifacts. Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity or performance technique. In this two-volume Handbook, contributors shift the focus of imagination away from the visual by addressing the topic of sonic imagination and expanding the field beyond musical compositional creativity and performance technique into other aural arenas where the imagination holds similar power. Topics covered include auditory imagery and the neurology of sonic imagination; aural hallucination and illusion; use of metaphor in the recording studio; the projection of acoustic imagination in architectural design; and the design of sound artifacts for cinema and computer games.
Providing a complete review of existing work in music emotion developed in psychology and engineering, Music Emotion Recognition explains how to account for the subjective nature of emotion perception in the development of automatic music emotion recognition (MER) systems. Among the first publications dedicated to automatic MER, it begins with
Sensory Evaluation of Sound provides a detailed review of the latest sensory evaluation techniques, specifically applied to the evaluation of sound and audio. This three-part book commences with an introduction to the fundamental role of sound and hearing, which is followed by an overview of sensory evaluation methods and associated univariate and multivariate statistical analysis techniques. The final part of the book provides several chapters with concrete real-world applications of sensory evaluation ranging from telecommunications, hearing aids design and binaural sound, via the latest research in concert hall acoustics through to audio-visual interaction. Aimed at the engineer, researcher, university student or manager the book gives insight into the advanced methods for the sensory evaluation with many application examples. Introduces the fundamental of hearing and the value of sound Provides a firm theoretical basis for advanced techniques in sensory evaluation of sound that are then illustrated with concrete examples from university research through to industrial product development Includes chapters on sensory evaluation practices and methods as well as univariate and multivariate statistical analysis Six application chapters covering a wide range of concrete sensory evaluation study examples including insight into audio-visual assessment Includes data analysis with several associated downloadable datasets Provides extensive references to the existing research literature, text books and standards
Sound Reproduction: The Acoustics and Psychoacoustics of Loudspeakers and Rooms, Third Edition explains the physical and perceptual processes that are involved in sound reproduction and demonstrates how to use the processes to create high-quality listening experiences in stereo and multichannel formats. Understanding the principles of sound production is necessary to achieve the goals of sound reproduction in spaces ranging from recording control rooms and home listening rooms to large cinemas. This revision brings new science-based perspectives on the performance of loudspeakers, room acoustics, measurements and equalization, all of which need to be appropriately used to ensure the accurate delivery of music and movie sound tracks from creators to listeners. The robust website (www.routledge.com/cw/toole) is the perfect companion to this necessary resource.