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The development of the ISO 12913 has led to the creation of standardized methodologies for collecting and analyzing individual responses regarding acoustic environments in context, with the aim of enabling comparability, replicability, and the development of modelling algorithms in soundscape prediction and design tasks. The development of methods to represent and explore soundscape data has the potential to facilitate deeper insights into different datasets. Although it is unlikely that any single method will sufficiently capture all information in empirical studies, attempts are worthwhile to facilitate advancements in this realm. Therefore, we propose a web application that fosters an interactive exploration of datasets based on the ISO 12913. The application facilitates a comprehensive soundscape search using the 8 items of the standard, 8 features characterizing the soundscape (e.g., intensities of natural, human, and technical sound sources heard), and 10 distinct acoustic features. The search encompasses all possible combinations of these components, thus facilitating detailed exploration, offering an in-depth dataset overview, and enabling the comparison of different datasets. Further functionalities include text searching and the option to download, save, and load selected soundscapes, enhancing control and flexibility in the design of empirical studies and supporting urban planners in understanding various soundscape items.
The present study explores the development and evaluation of a mixed reality music visualization for a live music performance. Real-time audio analysis and crossmodal correspondences were used as design guidelines for creating the visualization, which was presented through a head-mounted-display. To assess the impact of the music visualization on the audience’s aesthetic experience, a baseline visualization was designed, featuring the same visual elements but with random changes of color and movement. The audience’s aesthetic experience of the two conditions (i.e., listening to the same song with different visualizations) was assessed using the Aesthetic Emotions Scale (AESTHEMOS) questionnaire. Additionally, participants answered questions regarding the perceived audiovisual congruence of the stimuli and questionnaires about individual musicality and aesthetic receptivity. The results show that the visualization controlled by real-time audio analysis was associated with a slightly enhanced aesthetic experience of the audiovisual composition compared to the randomized visualization, thereby supporting similar findings reported in the literature. Furthermore, the tested personal characteristics of the participants did not significantly affect aesthetic experience. Significant correlations between these characteristics and the aesthetic experience were observed only when the ratings were averaged across conditions. An open interview provided deeper insights into the participants’ overall experiences of the live music performance. The results of the study offer insights into the development of real-time music visualization in mixed reality, examines how the specific audiovisual stimuli employed influence the aesthetic experience, and provides potential technical guidelines for creating new concert formats.
