The availability of robust and cheaper hardware tools in recent years has allowed the possibility of effectively integrating spatial sound as an organic component of dance and music performance projects. Inspired by these recent developments, an original body-worn sound system was designed, implemented and acoustically optimized aiming to effectively integrate performers’ movements and amplified sounds on stage. An innovative acoustic measurement method was used in connection with tests and interviews with practitioners to assess various sonic and artistic features of the implemented sound vest prototype. Audience questionnaires were employed to assess the perceived acoustic performance of the system in a medium size dance studio. Survey results showed that the perceived acoustic performance of the sound vest is highly dependent on the types of sound materials radiated by the system, as well as on the position of the performer in a room. Future work will consider the implementation and assessment of an extended hybrid spatial system consisting of several mobile sound sources synchronized with a fixed multi-channel sound reproduction system.

We investigated whether the use of technological tools can effectively help in manipulating the increasing volume of audio data available through the use of long field recordings. We also explored whether we can address, by using these recordings and tools, audio data analysis, feature extraction and determine predominant patterns in the data. Similarly, we explored whether we can visualize feature clusters in the data and automatically detect sonic events. Our focus was primarily on enhancing the importance of natural-urban hybrid habitats within cities, which benefit communities in various ways, specifically through the natural soundscapes of these habitats that evoke memories and reinforce a sense of belonging for inhabitants. The loss of sonic heritage can be a precursor to the extinction of biodiversity within these habitats. By quantifying changes in the soundscape of these habitats over long periods of time, we can collect relevant information linked to this eventual loss. In this respect, we developed two approaches. The first was the comparison among habitats that progressively changed from natural to urban. The second was the optimization of the field recordings’ labeling process. This was performed with labels corresponding to the annotations of classes of sonic events and their respective start and end times, including events temporarily superimposed on one another. We compared three habitats over time by using their sonic characteristics collected in field conditions. Comparisons of sonic similarity or dissimilarity among patches were made based on the Jaccard coefficient and uniform manifold approximation and projection (UMAP). Our SEDnet model achieves a F1-score of 0.79 with error rate 0.377 and with the area under PSD-ROC curve of 71.0. In terms of computational efficiency, the model is able to detect sound events from an audio file in a time of 14.49 s. With these results, we confirm the usefulness of the methods used in this work for the process of labeling field recordings.

This article describes an innovative compositional method based on the use of a sonic time-lapse algorithm to create soundscape audio montages. The method is based on the superposition of short audio samples of 24-hour continuous field recordings carried out in various kinds of wildlife sonic environments. The optimisation of the algorithm focused on the enhancement of gradual crossfade transitions between recorded samples and the use of variable sample durations as a way of recreating a natural sense of evolution of sonic events in time. Future developments of the project will integrate virtual reality interfaces and environmental education projects as part of the time-lapse algorithm machine-learning techniques and also creative tools suitable for multimedia installations.

Sound localization is a key area of interest in auditory research, especially in complex acoustic environments. This study evaluates the impact of incorporating higher-order Ambisonics (HOA) with virtual reality (VR) and gamification tools on sound source localization. The research addresses the current limitations in VR audio systems, particularly the lack of native support for HOA in game engines like Unreal Engine (UE). A novel framework was developed, combining UE for VR graphics rendering and Max for HOA audio processing. Participants performed sound source localization tasks in two VR environments using a head-mounted display (HMD). The assessment included both horizontal and vertical plane localization. Gamification elements were introduced to improve engagement and task comprehension. Results showed significant improvements in horizontal localization accuracy, although challenges remained in back localization. The findings underscore the potential of VR and gamification to enhance auditory tests, reducing test duration and participant fatigue. This research contributes to the development of immersive and interactive audio experiences, highlighting the broader applications of VR beyond entertainment.

This article explores the pedagogical potential of soundscapes as creative learning tools for advancing environmental education in Chilean primary schools. Drawing on the Soundlapse project, we designed and implemented a school workshop that combined activity sheets, an online bird-sound repository, structured soundwalks, and immersive audio concerts with teachers and students in Valdivia. The study employed a qualitative, participatory design, analyzing teacher interviews through reflexive thematic analysis. Four themes emerged: (1) listening as pedagogical practice, (2) learning through place and the senses, (3) creativity and cross-disciplinarity, and (4) implementation challenges and opportunities. Teachers emphasized the transformative role of attentive listening, which reconfigured classroom dynamics through shared silence and cultivated students’ capacity for self-regulation. Soundwalks and sensory encounters with local wetlands positioned the environment as a ‘living laboratory,’ fostering ecological awareness, attachment to place, and intergenerational knowledge. Creative activities such as sound mapping legitimized symbolic and artistic modes of representation, while interdisciplinary collaborations between science and music expanded curricular possibilities. At the same time, institutional rigidity and lack of resources highlighted the importance of teacher agency, co-designed materials, and flexible frameworks to sustain these practices. We argue that soundscape-based education offers a timely opportunity to integrate sensory, creative, and ecological dimensions into school curricula, aligning with national and international calls for interdisciplinary sustainability education. By treating listening and creativity as core rather than peripheral, such approaches may open new pathways for cultivating ecological awareness, cultural belonging, and pedagogical innovation.

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