Abstract
The Audio Mostly (AM) conference has long been a platform for exploring the intersection of sound, technology, and culture. Despite growing interest in sonic cultures, discussions on the role of cultural diversity in sound design and sonification remain limited. This paper investigates the implicit biases and gaps within the discourse on music and sound aesthetics, challenging the notion of music as a 'universal language'. Through a historical and cross-cultural analysis of musicology and ethnomusicology, the profound influence of cultural context on auditory perception and aesthetic appraisal is highlighted. By drawing parallels between historical music practices and contemporary sound design, the paper advocates for a more inclusive approach that recognizes the diversity of sonic traditions. Using music as a case study, we underscore broader implications for sound design and sonification, emphasizing the need to integrate cultural perspectives into auditory design practices. A reevaluation of existing frameworks in sound design and sonification is proposed, emphasizing the necessity of culturally informed practices that resonate with global audiences. Ultimately, embracing cultural diversity in sound design is suggested to lead to richer, more meaningful auditory experiences and to foster greater inclusivity within the field.
Abstract (translated)
长期以来，《音频为主》（Audio Mostly，简称AM）会议一直是探讨声音、技术和文化交汇点的重要平台。尽管对声学文化的兴趣日益增长，但关于文化多样性在声音设计和声音转换中所起作用的讨论仍然有限。本文通过历史与跨文化分析音乐学和民族音乐学，调查了有关音乐和音响美学中存在的隐含偏见和知识空白，并质疑“音乐是通用语言”的概念。文章强调了文化背景对听觉感知和审美评价的深远影响。 通过对历史上音乐实践与现代声音设计之间的类比探讨，本文提倡一种更具包容性的方法，承认声学传统多样性的重要性。通过以音乐作为案例研究来突出更广泛的声音设计和声音转换的重要意义，并强调将文化视角整合到听觉设计实践中是必要的。 因此，建议对现有的声音设计和声音转换框架进行重新评估，重点在于需要采取基于文化的实践，这些实践能够与全球听众产生共鸣。最终结论指出，在声音设计中接纳文化多样性将有助于创造更为丰富、更有意义的听觉体验，并促进该领域的更大包容性。
URL
https://arxiv.org/abs/2506.14877
