東華大學圖書館 |

Acoustics and Copresence: Towards Effective Auditory Virtual Environments for Distributed Music Performances /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Acoustics and Copresence: Towards Effective Auditory Virtual Environments for Distributed Music Performances // Andrea Felice Genovese.
Author:	Genovese, Andrea Felice,
Description:	1 electronic resource (328 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 84-11, Section: B.
Contained By:	Dissertations Abstracts International84-11B.
Subject:	Acoustics. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30318466
ISBN:	9798379549039

Acoustics and Copresence: Towards Effective Auditory Virtual Environments for Distributed Music Performances /
Genovese, Andrea Felice,

Acoustics and Copresence: Towards Effective Auditory Virtual Environments for Distributed Music Performances /Andrea Felice Genovese. - 1 electronic resource (328 pages)

Source: Dissertations Abstracts International, Volume: 84-11, Section: B.

The work addressed in this doctoral thesis concerns the use of immersive audio techniques within the application of Networked Music Performances (NMP). The core question postulated asks whether immersive audio technology improves the quality of a distributed network performance. In its larger scope, this research aims to guide the drafting of multidisciplinary study methodologies that adequately consider the multitude of aspects that come into play when determining whether an immersive system is beneficial in a given context. The illustrated investigation aims to shine a light on the relationship between Immersive Quality and other quality metrics within NMPs, making a case for the introduction of interaction-design strategies inspired by Virtual- and Mixed- reality applications.The first part of this work is concerned with presenting the implementation of novel proof-of-concept applications that illustrate the merging of real-time distributed music performance networks with Virtual- and Augmented reality environments. A critical analysis of the work incurred in literature and by the author, during the doctoral program, presents the challenges faced by audio engineers working to implement immersive experiences for audiences and musicians.The second, and larger part, of the dissertation, gives a central focus to a new empirical study designed to provide insight into the roles of latency and auralization, and their interactions, in eliciting the psychological construct of Auditory Copresence, intended as an extension of social telepresence, and explored in its relation towards subjective or objective measures of the quality of experience. In more detail, the study consists of a simulation of a music performance over the Internet using asymmetric node locations, in which remotely placed musicians are digitally connected between rooms that are different in acoustic character while being presented with different rendering strategies of virtual acoustic environments. Several layers of evaluation are investigated by collecting and analyzing data from in-session questionnaires, listening evaluation tests, and digital signal analysis.Results derived from mixed-effects regression models show that latency was the biggest factor in degrading quality metrics across all observed layers, while the auralization strategies were partially identified as positive contributors to subjective dimensions of evaluation, including "copresence", but not toward objective metrics relating to tempo stability and beat synchronization. Secondary effects related to "learning effects", or "time within a system", and individual biases were also found to significantly contribute to explaining variability in the response. A correlation analysis among the response layers suggests that different dimensions of evaluation are not correlated, implying that improving the "immersive experience" in NMPs does not necessarily translate to improvements in the musical outcome.When put into the context of future VR/AR NMP applications for traditional music performance, the results indicate that the engineering cost of creating an immersive experience for musicians may not always be a worthwhile contributor to the audience experience as the introduction of auralization and spatialization methods did not improve the objective musical outcome of performances. However, the subjective experience of performers can improve to a significant degree, provided that latency is kept within the established thresholds for time-critical music performance. The effects of auralization strategies on the musical outcome were found to be room-dependent, prompting further discussion on the interactions between the local acoustic character of a listening room and the acoustic character of an auralized virtual environment. Future work is directed toward a more parameterized investigation of artificial reverb and its interaction with local acoustics, dynamic 3DoF auditory displays, and multimodal immersive displays involving virtual or mixed-reality headsets.The findings provided by this work have important validation and discovery value for connecting the factors affecting perceptual experience to the technical limitations of distributed systems in regard to signal latency and immersive displays. Furthermore, for the larger community, the data will be made available through a novel public dataset of distributed music performances. The gained insights can contribute to the larger conversation about the design of NMPs and help with the management of specific system-dependent "latency budget" according to the priorities set by applications.

English

ISBN: 9798379549039Subjects--Topical Terms:

879105
Acoustics.
Subjects--Index Terms:

Auralization

Acoustics and Copresence: Towards Effective Auditory Virtual Environments for Distributed Music Performances /
LDR:06205nmm a22004573i 4500 001 2430423
005 20250527055016.5
006 m o d
007 cr|nu||||||||
008 261011s2023 miu||||||m |||||||eng d
020 $a 9798379549039
035 $a (MiAaPQD)AAI30318466
035 $a AAI30318466
040 $a MiAaPQD $b eng $c MiAaPQD $e rda
100 1 $a Genovese, Andrea Felice, $e author. $3 3818728
245 1 0 $a Acoustics and Copresence: Towards Effective Auditory Virtual Environments for Distributed Music Performances / $c Andrea Felice Genovese.
264 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2023
300 $a 1 electronic resource (328 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 84-11, Section: B.
500 $a Includes supplementary digital materials.
500 $a Advisors: Roginska, Agnieszka Committee members: Farbood, Morwaread; Jot, Jean-Marc.
502 $b Ph.D. $c New York University $d 2023.
520 $a The work addressed in this doctoral thesis concerns the use of immersive audio techniques within the application of Networked Music Performances (NMP). The core question postulated asks whether immersive audio technology improves the quality of a distributed network performance. In its larger scope, this research aims to guide the drafting of multidisciplinary study methodologies that adequately consider the multitude of aspects that come into play when determining whether an immersive system is beneficial in a given context. The illustrated investigation aims to shine a light on the relationship between Immersive Quality and other quality metrics within NMPs, making a case for the introduction of interaction-design strategies inspired by Virtual- and Mixed- reality applications.The first part of this work is concerned with presenting the implementation of novel proof-of-concept applications that illustrate the merging of real-time distributed music performance networks with Virtual- and Augmented reality environments. A critical analysis of the work incurred in literature and by the author, during the doctoral program, presents the challenges faced by audio engineers working to implement immersive experiences for audiences and musicians.The second, and larger part, of the dissertation, gives a central focus to a new empirical study designed to provide insight into the roles of latency and auralization, and their interactions, in eliciting the psychological construct of Auditory Copresence, intended as an extension of social telepresence, and explored in its relation towards subjective or objective measures of the quality of experience. In more detail, the study consists of a simulation of a music performance over the Internet using asymmetric node locations, in which remotely placed musicians are digitally connected between rooms that are different in acoustic character while being presented with different rendering strategies of virtual acoustic environments. Several layers of evaluation are investigated by collecting and analyzing data from in-session questionnaires, listening evaluation tests, and digital signal analysis.Results derived from mixed-effects regression models show that latency was the biggest factor in degrading quality metrics across all observed layers, while the auralization strategies were partially identified as positive contributors to subjective dimensions of evaluation, including "copresence", but not toward objective metrics relating to tempo stability and beat synchronization. Secondary effects related to "learning effects", or "time within a system", and individual biases were also found to significantly contribute to explaining variability in the response. A correlation analysis among the response layers suggests that different dimensions of evaluation are not correlated, implying that improving the "immersive experience" in NMPs does not necessarily translate to improvements in the musical outcome.When put into the context of future VR/AR NMP applications for traditional music performance, the results indicate that the engineering cost of creating an immersive experience for musicians may not always be a worthwhile contributor to the audience experience as the introduction of auralization and spatialization methods did not improve the objective musical outcome of performances. However, the subjective experience of performers can improve to a significant degree, provided that latency is kept within the established thresholds for time-critical music performance. The effects of auralization strategies on the musical outcome were found to be room-dependent, prompting further discussion on the interactions between the local acoustic character of a listening room and the acoustic character of an auralized virtual environment. Future work is directed toward a more parameterized investigation of artificial reverb and its interaction with local acoustics, dynamic 3DoF auditory displays, and multimodal immersive displays involving virtual or mixed-reality headsets.The findings provided by this work have important validation and discovery value for connecting the factors affecting perceptual experience to the technical limitations of distributed systems in regard to signal latency and immersive displays. Furthermore, for the larger community, the data will be made available through a novel public dataset of distributed music performances. The gained insights can contribute to the larger conversation about the design of NMPs and help with the management of specific system-dependent "latency budget" according to the priorities set by applications.
546 $a English
590 $a School code: 0146
650 4 $a Acoustics. $3 879105
650 4 $a Multimedia communications. $3 590562
650 4 $a Performing arts. $3 523119
650 4 $a Musical performances. $3 3175508
653 $a Auralization
653 $a Copresence
653 $a Distributed music
653 $a Immersion audio
653 $a Network music performance
690 $a 0986
690 $a 0558
690 $a 0641
690 $a 0943
710 2 $a New York University. $b Music and Performing Arts Professions. $e degree granting institution. $3 3818729
720 1 $a Roginska, Agnieszka $e degree supervisor.
773 0 $t Dissertations Abstracts International $g 84-11B.
790 $a 0146
791 $a Ph.D.
792 $a 2023
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30318466