BS ISO 12913-1-2014 Acoustics Soundscape Definition and conceptual framework《声学 音景 定义和概念框架》.pdf

1、BSI Standards PublicationBS ISO 12913-1:2014Acoustics SoundscapePart 1: Definition and conceptualframeworkBS ISO 12913-1:2014 BRITISH STANDARDNational forewordThis British Standard is the UK implementation of ISO 12913-1:2014.The UK participation in its preparation was entrusted to TechnicalCommitte

2、e EH/1/3, Residential and industrial noise.A list of organizations represented on this committee can beobtained on request to its secretary.This publication does not purport to include all the necessaryprovisions of a contract. Users are responsible for its correctapplication. The British Standards

3、Institution 2014. Published by BSI StandardsLimited 2014ISBN 978 0 580 78309 8ICS 17.140.01Compliance with a British Standard cannot confer immunity fromlegal obligations.This British Standard was published under the authority of theStandards Policy and Strategy Committee on 30 September 2014.Amendm

4、ents issued since publicationDate Text affectedBS ISO 12913-1:2014 ISO 2014Acoustics Soundscape Part 1: Definition and conceptual frameworkAcoustique Paysage sonore Partie 1: Dfinition et cadre conceptuelINTERNATIONAL STANDARDISO12913-1First edition2014-09-01Reference numberISO 12913-1:2014(E)BS ISO

5、 12913-1:2014ISO 12913-1:2014(E)ii ISO 2014 All rights reservedCOPYRIGHT PROTECTED DOCUMENT ISO 2014All rights reserved. Unless otherwise specified, no part of this publication may be reproduced or utilized otherwise in any form or by any means, electronic or mechanical, including photocopying, or p

6、osting on the internet or an intranet, without prior written permission. Permission can be requested from either ISO at the address below or ISOs member body in the country of the requester.ISO copyright officeCase postale 56 CH-1211 Geneva 20Tel. + 41 22 749 01 11Fax + 41 22 749 09 47E-mail copyrig

7、htiso.orgWeb www.iso.orgPublished in SwitzerlandBS ISO 12913-1:2014ISO 12913-1:2014(E) ISO 2014 All rights reserved iiiContents PageForeword ivIntroduction v1 Scope . 12 Terms and definitions . 13 Conceptual framework of soundscape. 13.1 General . 13.2 Context . 13.3 Sound sources 23.4 Acoustic envi

8、ronment . 23.5 Auditory sensation 23.6 Interpretation of auditory sensation . 23.7 Responses 33.8 Outcomes . 3Bibliography 4BS ISO 12913-1:2014ISO 12913-1:2014(E)ForewordISO (the International Organization for Standardization) is a worldwide federation of national standards bodies (ISO member bodies

9、). The work of preparing International Standards is normally carried out through ISO technical committees. Each member body interested in a subject for which a technical committee has been established has the right to be represented on that committee. International organizations, governmental and no

10、n-governmental, in liaison with ISO, also take part in the work. ISO collaborates closely with the International Electrotechnical Commission (IEC) on all matters of electrotechnical standardization.The procedures used to develop this document and those intended for its further maintenance are descri

11、bed in the ISO/IEC Directives, Part 1. In particular the different approval criteria needed for the different types of ISO documents should be noted. This document was drafted in accordance with the editorial rules of the ISO/IEC Directives, Part 2. www.iso.org/directivesAttention is drawn to the po

12、ssibility that some of the elements of this document may be the subject of patent rights. ISO shall not be held responsible for identifying any or all such patent rights. Details of any patent rights identified during the development of the document will be in the Introduction and/or on the ISO list

13、 of patent declarations received. www.iso.org/patentsAny trade name used in this document is information given for the convenience of users and does not constitute an endorsement.For an explanation on the meaning of ISO specific terms and expressions related to conformity assessment, as well as info

14、rmation about ISOs adherence to the WTO principles in the Technical Barriers to Trade (TBT), see the following URL: Foreword - Supplementary informationThe committee responsible for this document is ISO/TC 43, Acoustics, Subcommittee SC 1, Noise.ISO 12913 consists of the following parts, under the g

15、eneral title Acoustics Soundscape: Part 1: Definition and conceptual frameworkThe following part is under preparation: Part 2: Methods and measurementsiv ISO 2014 All rights reservedBS ISO 12913-1:2014ISO 12913-1:2014(E)IntroductionSoundscape studies have a rich tradition1,2,3,4,5. Because the field

16、 has evolved differently around the world, as well as across disciplines, there is a diversity of opinions about its definition and aims. Consequently, the use of the term soundscape has become idiosyncratic and ambiguous6.This International Standard aims to enable a broad international consensus on

17、 the definition of soundscape, to provide a foundation for communication across disciplines and professions with an interest in soundscape.There are similarities between the concepts of landscape7and soundscape; both are based on perception by people. For the purpose of this International Standard,

18、soundscape will be understood as a perceptual construct, related to a physical phenomenon. The standard distinguishes the perceptual construct (soundscape) from the physical phenomenon (acoustic environment), and clarifies that soundscape exists through human perception of the acoustic environment.

19、ISO 2014 All rights reserved vBS ISO 12913-1:2014BS ISO 12913-1:2014Acoustics Soundscape Part 1: Definition and conceptual framework1 ScopeThis International Standard provides a definition and a conceptual framework of soundscape. It explains factors relevant for measurement and reporting in soundsc

20、ape studies, as well as for planning, design and management of soundscape.2 Terms and definitionsFor the purposes of this document, the following terms and definitions apply2.1sound sourcessounds generated by nature or human activityNote 1 to entry: See Reference 6.2.2acoustic environmentsound at th

21、e receiver from all sound sources as modified by the environmentNote 1 to entry: Acoustic environment can be actual or simulated, outdoor or indoor, as experienced or in memory.2.3soundscapeacoustic environment as perceived or experienced and/or understood by a person or people, in context3 Conceptu

22、al framework of soundscape3.1 GeneralFigure 1 describes the process of perceiving or experiencing and/or understanding an acoustic environment, highlighting seven general concepts and their relationships: (1) context, (2) sound sources, (3) acoustic environment, (4) auditory sensation, (5) interpret

23、ation of auditory sensation, (6) responses, and (7) outcomes6,8,9,10.NOTE Figure 1 illustrates that soundscape is peoples perceptions or experiences and/or understanding of an acoustic environment. However, practical applications will tend to emphasize management or change in sound sources and the a

24、coustic environment. The principle is that measurement, assessment or evaluation of soundscape, in accordance with this International Standard, is through human perception of the acoustic environment.3.2 ContextThe context includes the interrelationships between person and activity and place, in spa

25、ce and time6,10,11. The context may influence soundscape through (1) the auditory sensation, (2) the interpretation of auditory sensation, and (3) the responses to the acoustic environment:a) Examples of factors that may influence auditory sensation, besides the acoustic environment, include meteoro

26、logical conditions (which vary by the season), hearing impairments and hearing aids;INTERNATIONAL STANDARD ISO 12913-1:2014(E) ISO 2014 All rights reserved 1BS ISO 12913-1:2014ISO 12913-1:2014(E)b) Examples of factors that may influence the interpretation of auditory sensation include attitude to th

27、e sound source and to the producer of the sound, experience and expectations (including cultural background, intentions or reason for being at a place), as well as other sensory factors, like visual impression and odour;c) Examples of factors that may influence the responses to an acoustic environme

28、nt include time of day, lighting and weather; emotional state, psychological and physiological resources to deal with the situation, perceived ability to control ones exposure to sounds, as well as personal activities and those of others.SoundsourcesAcousticenvironmentAuditorysensationInterpretation

29、of auditorysensationResponsesContextOutcomesFigure 1 Elements in the perceptual construct of soundscape3.3 Sound sourcesSoundscape originates in sound sources (e.g. road traffic, chirping birds, voices, footsteps, etc.) and their distribution in space and time.3.4 Acoustic environmentAs given in Def

30、inition 2.2 the acoustic environment is the sound from all sound sources as modified by the environment. Modification by the environment includes effects on sound propagation, resulting for example from meteorological conditions, absorption, diffraction, reverberation and reflection11,12,13.3.5 Audi

31、tory sensationAuditory sensation is a function of neurological processes that begin when auditory stimuli reach the receptors of the ear. This is the first stage in detecting and representing the acoustic environment. Auditory sensation is influenced by masking, spectral contents, temporal patterns

32、and spatial distribution of the sound sources (cf. psychoacoustics14,15).3.6 Interpretation of auditory sensationInterpretation of auditory sensation (auditory perception) refers to unconscious and conscious processing of the auditory signal to create useful information, which may lead to awareness

33、or understanding of the acoustic environment. Awareness of the acoustic environment, in context, represents an experience of the acoustic environment.NOTE An example of unconscious auditory perception is how sounds are processed during sleep.2 ISO 2014 All rights reservedBS ISO 12913-1:2014ISO 12913

34、-1:2014(E)3.7 ResponsesResponses include short-term reaction and emotion, as well as behaviour, which may change the context.EXAMPLE Person A sitting by a fountain in an urban park may respond with emotions of joy and relief because the fountain masks the surrounding road-traffic noise. As a result,

35、 Person A may choose to stay longer. Person B passing by the fountain on a walk through the park may respond with emotions of annoyance, and choose to leave immediately.3.8 OutcomesOutcomes are an overall, long-term consequence facilitated or enabled by the acoustic environment. Outcomes include att

36、itudes, beliefs, judgments, habits, visitor/user experiences (e.g. activities, actions and mental states), health, well-being and quality of life, as well as reduced social costs for society.EXAMPLE Person A (in the example of 3.7) may decide to return to the park the next weekend or “frequently”. P

37、erson B (in the example of 3.7) may decide to never return. ISO 2014 All rights reserved 3BS ISO 12913-1:2014ISO 12913-1:2014(E)Bibliography1 Truax B. ed. Handbook for Acoustic Ecology. Burnaby, B.C. ARC Publications, Canada, 19782 Truax B. ed. Handbook for acoustic ecology. 2nd ed. Vancouver, Canad

38、a: Cambridge Street Publishing, 1999. Available from: http:/www.sfu.ca/sonic-studio/handbook3 Schafer R.M. The Tuning of the World. Knopf, New York, 19774 Schafer R.M. The Soundscape: Our Sonic Environment and the Tuning of the World. Destiny Books, Rochester, VT, 19945 Hiramatsu K., Torigoe K., Dub

39、ois D., Schulte-Fortkamp B. The concepts of soundscape: Are there shallow soundscapes and deep soundscapes? In: J.S. BOLTON, B GOVER, and C BURROUGHS (Eds.), Inter-Noise 2009: Innovations in Practical Noise Control. Ottawa, Canada: The Institute of Noise Control Engineering of the USA, 2009, Paper I

40、N09_682. Available on CD6 Brown A.L., Kang J., Gjestland T. Towards standardization in soundscape preference assessment. Appl. Acoust. 2011, 72 (6) pp. 3873927 Council of Europe. European landscape convention. European Treaty Series, no. 176, 2000, pp. 19. Available from: http:/conventions.coe.int8

41、Schomer P., Brown A.L., De Coensel B., Genuit K., Gjestland T., Jeon J.Y. et al. On efforts to standardize a graphical description of the soundscape concept. In: O. ICIO (Ed.), Inter Noise 2010: Noise and Sustainability. Lisbon, Portugal: Portuguese Acoustical Society, 2010, Paper IN10_593. Availabl

42、e on CD9 Schulte-Fortkamp B., & Dubois D. eds. Recent advances in soundscape research. Acta Acustica united with Acustica, no. 6, 2006, pp. 857107610 Herranz-Pascual K., Aspuru I., Garca I. Proposed conceptual model of environmental experience as framework to study the soundscape. In: O. ICIO (Ed.),

43、 Inter Noise 2010: Noise and Sustainability. Lisbon, Portugal: Portuguese Acoustical Society, 2010, Paper IN10_445. Available on CD11 Kang J. Urban Sound Environment. Taylor & Francis, London, 200712 ISO 1996-1:2003, Acoustics Description, measurement and assessment of environmental noise Part 1: Ba

44、sic quantities and assessment procedures13 ISO 9613-2:1996, Acoustics Attenuation of sound during propagation outdoors Part 2: General method of calculation14 Fastl H., & Zwicker E. Psychoacoustics: Facts and Models. Springer, Berlin, Third Edition, 200715 Moore B.C.J. An Introduction to the Psychol

45、ogy of Hearing. Emerald, Bingley, UK, Sixth Edition, 20124 ISO 2014 All rights reservedBS ISO 12913-1:2014BS ISO 12913-1:2014ISO 12913-1:2014(E) ISO 2014 All rights reservedICS 17.140.01Price based on 4 pagesThis page deliberately left blankBSI is the national body responsible for preparing British

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