Sonification in practice/en - Revision history

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	The aspects below shape the relationship between educational needs and the concept of sound along with its structured arrangement over time—that is, the concept of music.		The aspects below shape the relationship between educational needs and the concept of sound along with its structured arrangement over time—that is, the concept of music.


	==Aspects of teaching with Sonification as a musical practice==		==Aspects of teaching with Sonification as a musical practice==
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	Thus, we can reasonably distinguish the concept of sonification for educational purposes into three basic approaches:		Thus, we can reasonably distinguish the concept of sonification for educational purposes into three basic approaches:


	'''• The symbolic'''		'''• The symbolic'''
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	'''• The adaptive'''		'''• The adaptive'''

			==Symbolic Sonification==

	~~==Symbolic Sonification==~~
	The reproduction of sound characteristics, namely: pitch, intensity, timbre, repetition rate (if any), and duration—which are linked to scientific concepts, terms, and quantities without being logically mapped to a data-set (data-mapping)— constitutes the subject of symbolic sonification.		The reproduction of sound characteristics, namely: pitch, intensity, timbre, repetition rate (if any), and duration—which are linked to scientific concepts, terms, and quantities without being logically mapped to a data-set (data-mapping)— constitutes the subject of symbolic sonification.

	A simple example would be to “sound-paint” a gray cloud using low-frequency noise and a white cloud using high-frequency noise. Another example would be a class of students representing the sound of rain by randomly tapping their fingernails on their desks. Another example that relates composition with music representation is the leitmotif. A leitmotif is a short melodic theme consisting of a few specific notes which, as a unique motif (pattern), is associated with a character in an opera and played by the orchestra, particularly in Wagner’s operas. A character’s leitmotif brings the character to mind throughout the entire work, whether the character is on stage or not! Translating this to a data series, such a leitmotif could replace the expected sound of a prominent low or high value (or a specific value or even a range of values) without having any coherence or arising from the neighboring data.		A simple example would be to “sound-paint” a gray cloud using low-frequency noise and a white cloud using high-frequency noise. Another example would be a class of students representing the sound of rain by randomly tapping their fingernails on their desks. Another example that relates composition with music representation is the leitmotif. A leitmotif is a short melodic theme consisting of a few specific notes which, as a unique motif (pattern), is associated with a character in an opera and played by the orchestra, particularly in Wagner’s operas. A character’s leitmotif brings the character to mind throughout the entire work, whether the character is on stage or not! Translating this to a data series, such a leitmotif could replace the expected sound of a prominent low or high value (or a specific value or even a range of values) without having any coherence or arising from the neighboring data.

			==Mathematical Sonification==

	~~==Mathematical Sonification==~~
	When pitch, intensity, timbre, rhythm (if any), and duration as sound-characteristics, runs through a series of data-measurements connected to a physical term, or a scientific concept, they form a logical map of one or more parts of that series (direct data-mapping). The sounding result of this match is mathematical sonification.		When pitch, intensity, timbre, rhythm (if any), and duration as sound-characteristics, runs through a series of data-measurements connected to a physical term, or a scientific concept, they form a logical map of one or more parts of that series (direct data-mapping). The sounding result of this match is mathematical sonification.

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	To understand the difference between symbolic and mathematical representation, we can adapt the previous examples as “unplugged activities” in a classroom. Mathematical sonification in the cloud example would occur if we defined a color threshold for white or gray and represented the droplets that make up the clouds with millions of frequency particles of minimal duration (sound nebulae) the droplets of which clouds are composed. In the example of rain, we would have a mathematical sonification if students represented with absolute precision, one by one, every raindrop at a specific time and surface area. Finally, in the example of “parking,” we would have symbolic representation if the students’ eyes took on the role of the sensor, where data would be estimated visually without absolute mathematical measurement.		To understand the difference between symbolic and mathematical representation, we can adapt the previous examples as “unplugged activities” in a classroom. Mathematical sonification in the cloud example would occur if we defined a color threshold for white or gray and represented the droplets that make up the clouds with millions of frequency particles of minimal duration (sound nebulae) the droplets of which clouds are composed. In the example of rain, we would have a mathematical sonification if students represented with absolute precision, one by one, every raindrop at a specific time and surface area. Finally, in the example of “parking,” we would have symbolic representation if the students’ eyes took on the role of the sensor, where data would be estimated visually without absolute mathematical measurement.

			==Adaptive Sonification==

	~~==Adaptive Sonification==~~
	It is a sound design or musical composition (by expanding this notion), resulting from mathematical sonification in which, however, methods of aesthetic sound-rendering are creatively utilized to meet teaching objectives in describing learning concepts.		It is a sound design or musical composition (by expanding this notion), resulting from mathematical sonification in which, however, methods of aesthetic sound-rendering are creatively utilized to meet teaching objectives in describing learning concepts.

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	==THE MIDI protocol. Why is it useful for sonification in school?==		==THE MIDI protocol. Why is it useful for sonification in school?==

	MIDI Protocol stands for Musical Instrument Digital Interface and was introduced in early ’80s as machine language allowing analog and later digital instruments interconnection. This language interprets several aspects of music performance and notation in an electronic format.		MIDI Protocol stands for Musical Instrument Digital Interface and was introduced in early ’80s as machine language allowing analog and later digital instruments interconnection. This language interprets several aspects of music performance and notation in an electronic format.

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	==Sonification components==		==Sonification components==

	A sonification activity consists in the design and building of a sonification system. A sonification system can be accomplished in many different ways but 3 components must always be considered:		A sonification activity consists in the design and building of a sonification system. A sonification system can be accomplished in many different ways but 3 components must always be considered:

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	== Audio Output ==		== Audio Output ==



	The output sound of the system will be the first characteristic to be perceived by a user. It is its signature, its flavor. It will interact with the user’s taste and we must be aware of that. It is the auditive wrapping to be perceived by an audience and, as studies on sound perception show, it will immediately and unconsciously provoke a good or bad sensation to the listener. We should therefore get used to producing “nice” sound outputs with the device that will be used, be it a microcontroller buzzer or a pc virtual synthesizer or a DAW (Digital Audio Workstation) connected to speakers. We should practice some music, or at least make some noise!		The output sound of the system will be the first characteristic to be perceived by a user. It is its signature, its flavor. It will interact with the user’s taste and we must be aware of that. It is the auditive wrapping to be perceived by an audience and, as studies on sound perception show, it will immediately and unconsciously provoke a good or bad sensation to the listener. We should therefore get used to producing “nice” sound outputs with the device that will be used, be it a microcontroller buzzer or a pc virtual synthesizer or a DAW (Digital Audio Workstation) connected to speakers. We should practice some music, or at least make some noise!
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	However, Soundscapes project encourages every approach on sonification if it satisfies the creator's inspiration or cultural demands as well as the aesthetical or informative needs of the audience, or the target group it is addressed to.		However, Soundscapes project encourages every approach on sonification if it satisfies the creator's inspiration or cultural demands as well as the aesthetical or informative needs of the audience, or the target group it is addressed to.

	~~<!--T:23-->~~		In the following pages, practical ways to implement the above approaches with or without handling data sets coming either from measurements or from sensors, are entitled as: '''[[Special:MyLanguage/Unplugged activities\|Unplugged activities]], [[Special:MyLanguage/Real-time sonification\|Real-time sonification]] and [[Special:MyLanguage/''a posteriori'' sonification\|''a posteriori'' sonification]]'''.

	In the following pages, practical ways to implement the above approaches with or without handling data sets coming either from measurements or from sensors, are entitled as: '''[[Unplugged activities]], [[Real-time sonification]] and [[''a posteriori'' sonification]]'''.

	==References==		==References==

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	Usually the tendency is to map a single feature of the data to a single parameter of output sound but we humans are generally more capable of perceiving differences in sound if such differences manifest concurrently through different properties. So it is not a bad idea to map the same variable onto different psychoacoustic properties of a sound (pitch and volume as an example of the most evident) if we want to emphasize its change and dynamics.		Usually the tendency is to map a single feature of the data to a single parameter of output sound but we humans are generally more capable of perceiving differences in sound if such differences manifest concurrently through different properties. So it is not a bad idea to map the same variable onto different psychoacoustic properties of a sound (pitch and volume as an example of the most evident) if we want to emphasize its change and dynamics.

	Our sense of hearing is able to focus on a particular sound in between many others (see the “cocktail party effect”) (Arons, B., ~~1992~~) based on timbre. Our auditory system can process information at a far higher rate than our visual system. For example, while video typically updates at 60 frames per second (60 Hz), standard audio is sampled at 44,100 times per second (44.1 kHz). This means that even a single, brief spike in an audio signal—lasting just one sample—is instantly perceived as a distinct "click." As a result, hearing allows us to monitor multiple layers of information simultaneously, often more efficiently than through visual perception alone~~. (~~Kramer, G. et al., ~~1999~~).		Our sense of hearing is able to focus on a particular sound in between many others (see the “cocktail party effect”) <ref>Arons, B. (1992). A review of the cocktail party effect. Journal of the American Voice I/O society, 12(7), 35-50.</ref> based on timbre. Our auditory system can process information at a far higher rate than our visual system. For example, while video typically updates at 60 frames per second (60 Hz), standard audio is sampled at 44,100 times per second (44.1 kHz). This means that even a single, brief spike in an audio signal—lasting just one sample—is instantly perceived as a distinct "click." As a result, hearing allows us to monitor multiple layers of information simultaneously, often more efficiently than through visual perception alone <ref>Kramer, G., Walker, B. N., Bonebright, T., Cook, P., Flowers, J., Miner, N., et al. (1999). The Sonification Report: Status of the Field and Research Agenda. Report prepared for the National Science Foundation by members of the International Community for Auditory Display. Santa Fe, NM: International Community for Auditory Display (ICAD).</ref>.

	== Audio Output ==		== Audio Output ==

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	Furthermore, the analysis of data-mapping methods in conjunction with the diatonic scale opens up a fruitful field for exploring teaching tools that allow sound to be processed in terms of musical composition. The use of MIDI for sound processing or the highlighting of musical motifs—which can serve as a starting point for creating musical compositions—perfectly extends adaptive sonification. In fact, the graphical representation of data (graphical display) can be creatively transformed into sound by treating the display as a two-dimensional scheme, or even a photograph as a three-dimensional image. The result is referred to as “schematic sonification”.		Furthermore, the analysis of data-mapping methods in conjunction with the diatonic scale opens up a fruitful field for exploring teaching tools that allow sound to be processed in terms of musical composition. The use of MIDI for sound processing or the highlighting of musical motifs—which can serve as a starting point for creating musical compositions—perfectly extends adaptive sonification. In fact, the graphical representation of data (graphical display) can be creatively transformed into sound by treating the display as a two-dimensional scheme, or even a photograph as a three-dimensional image. The result is referred to as “schematic sonification”.

	This adaptable approach broadens access to the auditory outcome of data sonification across a wide range of age groups and grade levels, inviting educators from other disciplines—such as Art, Theater, and Music, to actively participate in interdisciplinary teaching. An example of this approach has been implemented in the ~~“Sounds~~ of the ~~Stars”~~ scenario.		This adaptable approach broadens access to the auditory outcome of data sonification across a wide range of age groups and grade levels, inviting educators from other disciplines—such as Art, Theater, and Music, to actively participate in interdisciplinary teaching. An example of this approach has been implemented in the "Sounds of the Stars" scenario <ref>https://soundscapes.nuclio.org/wp-content/uploads/2026/03/Sounds-of-the-Stars-A-SoundScapes-Scenario.pdf</ref> in collaboration with the National Observatory of Athens (community: Ήχοι των Άστρων<ref>https://www.schoolofthefuture.eu/en/community/oi-ihoi-ton-astron</ref>). The scenario is part of the SoundScapes learning scenarios repository <ref>https://soundscapes.nuclio.org/index.php/344-2/</ref>.

	In the following pages, practical ways to implement the above approaches with or without handling data sets coming either from measurements or from sensors, are entitled as: '''[[Unplugged activities]], [[Real-time sonification]] and [[''a posteriori'' sonification]]'''.		In the following pages, practical ways to implement the above approaches with or without handling data sets coming either from measurements or from sensors, are entitled as: '''[[Unplugged activities]], [[Real-time sonification]] and [[''a posteriori'' sonification]]'''.
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	MIDI enables the user to receive, transmit, store and edit electronically produced signals that correspond to several aspects of music. Main parameters of these aspects include note-on, note-off, velocity, timbre and pitch. All these parameters can be stored as code in timeline fashion within a MIDI file. A MIDI file resembles the “program” in the form of a revolving cylinder or perforated paper used in late 18th c. music boxes or early 20th c. “pianolas”, which are musical automata. It is this characteristic that can be proved enormously useful for educational purposes, as numerous midi applications, sensors and programs are widely spread throughout the internet.		MIDI enables the user to receive, transmit, store and edit electronically produced signals that correspond to several aspects of music. Main parameters of these aspects include note-on, note-off, velocity, timbre and pitch. All these parameters can be stored as code in timeline fashion within a MIDI file. A MIDI file resembles the “program” in the form of a revolving cylinder or perforated paper used in late 18th c. music boxes or early 20th c. “pianolas”, which are musical automata. It is this characteristic that can be proved enormously useful for educational purposes, as numerous midi applications, sensors and programs are widely spread throughout the internet.
	However, it is the ability to edit the output as a musical score or as a part of a polyphonic composition that makes MIDI an exceptionally powerful educational tool. Within the present WIKI pages sensors using MIDI in particular, are widely displayed.		However, it is the ability to edit the output as a musical score or as a part of a polyphonic composition that makes MIDI an exceptionally powerful educational tool. Within the present WIKI pages sensors using MIDI in particular, are widely displayed.





	==Sonification components==		==Sonification components==
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	[[''a posteriori'' sonification]]		[[''a posteriori'' sonification]]

			<!--T:23-->
			==References==

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	This adaptable approach broadens access to the auditory outcome of data sonification across a wide range of age groups and grade levels, inviting educators from other disciplines—such as Art, Theater, and Music, to actively participate in interdisciplinary teaching. An example of this approach has been implemented in the “Sounds of the Stars” scenario.		This adaptable approach broadens access to the auditory outcome of data sonification across a wide range of age groups and grade levels, inviting educators from other disciplines—such as Art, Theater, and Music, to actively participate in interdisciplinary teaching. An example of this approach has been implemented in the “Sounds of the Stars” scenario.

			In the following pages, practical ways to implement the above approaches with or without handling data sets coming either from measurements or from sensors, are entitled as: '''[[Unplugged activities]], [[Real-time sonification]] and [[''a posteriori'' sonification]]'''.

	==THE MIDI protocol. Why is it useful for sonification in school?==		==THE MIDI protocol. Why is it useful for sonification in school?==
	MIDI Protocol stands for Musical Instrument Digital Interface and was introduced in early ’80s as machine language allowing analog and later digital instruments interconnection. This language interprets several aspects of music performance and notation in an electronic format.		MIDI Protocol stands for Musical Instrument Digital Interface and was introduced in early ’80s as machine language allowing analog and later digital instruments interconnection. This language interprets several aspects of music performance and notation in an electronic format.

	MIDI enables the user to receive, transmit, store and edit electronically produced signals that correspond to several aspects of music. Main parameters of these aspects include note-on, note-off, velocity, timbre and pitch. All these parameters can be stored as code in timeline fashion within a MIDI file. A MIDI file resembles the “program” in the form of a revolving cylinder or perforated paper used in late 18th c. music boxes or early 20th c. “pianolas”, which are musical automata. It is this characteristic that can be proved enormously useful for educational purposes, as numerous midi applications, sensors and programs are widely spread throughout the internet. Within the present WIKI pages sensors using MIDI in particular, are widely displayed.		MIDI enables the user to receive, transmit, store and edit electronically produced signals that correspond to several aspects of music. Main parameters of these aspects include note-on, note-off, velocity, timbre and pitch. All these parameters can be stored as code in timeline fashion within a MIDI file. A MIDI file resembles the “program” in the form of a revolving cylinder or perforated paper used in late 18th c. music boxes or early 20th c. “pianolas”, which are musical automata. It is this characteristic that can be proved enormously useful for educational purposes, as numerous midi applications, sensors and programs are widely spread throughout the internet.
			However, it is the ability to edit the output as a musical score or as a part of a polyphonic composition that makes MIDI an exceptionally powerful educational tool. Within the present WIKI pages sensors using MIDI in particular, are widely displayed.
	In the following pages, practical ways to handle data sets coming either from measurements or from sensors are described as: [[Unplugged activities]], [[Real-time sonification]] and [[''a posteriori'' sonification]].


			==Sonification components==
	A sonification activity consists in the design and building of a sonification system. A sonification system can be accomplished in many different ways but 3 components must always be considered:		A sonification activity consists in the design and building of a sonification system. A sonification system can be accomplished in many different ways but 3 components must always be considered:
	1) INPUT DATA;		1) INPUT DATA;

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	A sonification activity ~~consistes~~ in the design and ~~buidling~~ of a sonification system. A sonification system can be accomplished in many different ways but 3 components must always be considered:		A sonification activity consists in the design and building of a sonification system. A sonification system can be accomplished in many different ways but 3 components must always be considered:
	1) INPUT DATA;		1) INPUT DATA;
	2) MAPPING PROTOCOL;		2) MAPPING PROTOCOL;

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 <languages/>
 A sonification activity consistes in the design and buidling of a sonification system. A sonification system can be accomplished in many different ways but 3 components must always be considered:
 ) INPUT DATA;

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<languages/>
A sonification activity consistes in the design and buidling of a sonification system. A sonification system can be accomplished in many different ways but 3 components must always be considered:
1) INPUT DATA;
2) MAPPING PROTOCOL;
3) AUDIO OUTPUT;

== Data Input ==

== Mapping Protocol ==

== Audio Output ==

[[Unplugged activities]]

[[Real-time sonification]]

[[''a posteriori'' sonification]]