BS ISO 12913-1-2014

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 TechnicalCommittee 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 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.Amendments issued since publicationDate Text affectedBS ISO 12913-1:2014© ISO 2014Acoustics — Soundscape —Part 1: Definition and conceptual frameworkAcoustique — Paysage sonore —Partie 1: Définition et cadre conceptuelINTERNATIONAL STANDARDISO12913-1First edition2014-09-01Reference numberISO 12913-1:2014(E)BS ISO 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 posting on the internet or an intranet, without prior written permission. Permission can be requested from either ISO at the address below or ISO’s 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 [email protected] 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 environment . 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). 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 non-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 described 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 possibility 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 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 information about ISO’s 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 general 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 tradition[1],[2],[3],[4],[5]. Because the field 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 ambiguous[6].This International Standard aims to enable a broad international consensus on 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 ‘landscape’[7]and ‘soundscape’; both are based on perception by people. For the purpose of this International Standard, 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.© 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 soundscape 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 the 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 Conceptual 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) interpretation of auditory sensation, (6) responses, and (7) outcomes[6],[8],[9],[10].NOTE Figure 1 illustrates that soundscape is people’s 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 acoustic 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 space and time[6],[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 meteorological conditions (which vary by the season), hearing impairments and hearingaids;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 tothe sound source and to the producer of the sound, experience and expectations (including culturalbackground, intentions or reason for being at a place), as well as other sensory factors, like visualimpression and odour;c) Examples of factors that may influence the responses to an acoustic environment include time ofday, lighting and weather; emotional state, psychological and physiological resources to deal withthe situation, perceived ability to control one’s exposure to sounds, as well as personal activitiesand those of others.SoundsourcesAcousticenvironmentAuditorysensationInterpretationof 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 Definition 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 reflection[11],[12],[13].3.5 Auditory 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 and spatial distribution of the sound sources (cf. psychoacoustics[14],[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 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 12913-1:2014(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, 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 attitudes, 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”. Person 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)Bibliography[1] Truax B. ed. Handbook for Acoustic Ecology. Burnaby, B.C. ARC Publications, Canada, 1978[2] Truax B. ed. Handbook for acoustic ecology. 2nd ed. Vancouver, Canada: Cambridge Street Publishing, 1999. Available from: http://www.sfu.ca/sonic-studio/handbook[3] Schafer R.M. The Tuning of the World. Knopf, New York, 1977[4] Schafer R.M. The Soundscape: Our Sonic Environment and the Tuning of the World. Destiny Books, Rochester, VT, 1994[5] Hiramatsu K., Torigoe K., Dubois 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 IN09_682. [Available on CD][6] Brown A.L., Kang J., Gjestland T. Towards standardization in soundscape preference assessment. Appl. Acoust. 2011, 72 (6) pp. 387–392[7] Council of Europe. European landscape convention. European Treaty Series, no. 176, 2000, pp. 1–9. Available from: http://conventions.coe.int[8] Schomer P., Brown A.L., De Coensel B., Genuit K., Gjestland T., Jeon J.Y. et al. On efforts to standardize a graphical descript