Junho 2017 vol. 3 num. 11 - 16° USIHC – Congresso Internacional de Ergonomia e Usabilidade de Interfaces Humano Computador

Artigo Completo - Open Access.

Idioma principal | Segundo idioma

TRILHA SONORA DA INTERFACE: DIÁLOGO, AMBIÊNCIA E EFEITOS SONOROS

INTERFACE SOUNDTRACK: DIALOGUE, AMBIENCE, AND SOUND EFFECTS

Carvalho, Luiz Roberto ; Pereira, Alice Theresinha Cybis ;

Artigo Completo:

O conjunto dos sons percebidos pelo ouvido humano numa apresentação multimídia pode ser definido como trilha sonora. Tradicionalmente utilizada no design de som de filmes e de games, a trilha sonora possui três categorias: diálogo, ambiência, e efeitos sonoros. Nos ambientes interativos, mais especificamente no ambiente web, a aplicação dos conceitos pertinentes à trilha sonora encontra dificuldades, tendo em vista a vasta subutilização e desvalorização dos elementos sonoros nessas plataformas. Para que se possa iniciar o desenvolvimento de um entendimento formal dos parâmetros que constituem o design de som nas IHC, o presente estudo objetiva expor as principais aplicações do som na interface, no que diz respeito às suas características de conteúdo, forma e função, que são manifestados através da utilização de diálogo, ambiência e efeitos sonoros. Dessa forma, busca-se sistematizar e simplificar o processo de criação, produção e implementação de sons nas interfaces.

Artigo Completo:

The set of sounds perceived by the human ear in a multimedia presentation can be defined as a soundtrack. Traditionally used in sound design for movies and games, the soundtrack has three categories: dialogue, ambience, and sound effects. In interactive environments, more specifically in the web environment, the application of concepts pertinent to the soundtrack encounters difficulties, due to the vast underutilization and devaluation of the sound elements in these platforms. In order to begin the development of a formal understanding of the parameters that constitute sound design in HCI, this study aims to expose the main applications of sound in interfaces, due to its characteristics of content, form and function, which are manifested through the use of dialogue, ambience and sound effects. This approach seeks to systematize and simplify the process of creation, production and implementation of sounds in interfaces.

Download (PDF)

Palavras-chave: Design de Interface, Trilha Sonora, Áudio Dinâmico,

Palavras-chave: Interface Design, Soundtrack, Dynamic Audio,

DOI: 10.5151/16ergodesign-0223

Referências bibliográficas
  • [1] BLATTNER, M.; SUMIKAWA, D.; GREENBERG, R. Earcons and icons: Their structure and common design principles. Human Computer Interaction, 4(1), pp. 11-44, 1989.
  • [2] BREWSTER, Stephen Anthony. Providing a Structured Method for Integrating Non-Speech Audio into Human-Computer Interfaces. Submitted for the degree of Doctor of Philosophy. University of York, Human-Computer Interaction Group, Department of Computer Science. August, 1994.
  • [3] CANCELLARO, Joseph. Exploring Sound Design for Interactive Media. Delmar Cengage Learning; 1 ed., 2006. Clifton Park, NY.
  • [4] CARVALHO, Luiz Roberto; PEREIRA, Alice Theresinha Cybis. O Som Dinâmico em Interfaces Hipermídia: Áudio Interativo Direto e Áudio Adaptativo Indireto. In: IDEMi Integração para a Inovação - Artigos Selecionados: II Conferência Internacional de Integração do Design, Engenharia e Gestão para Inovação. Albertina Medeiros; Marcelo Gitirana. (Org.). 01ed. Florianópolis: Fundação Universidade do Estado de Santa Catarina, v. 01, p. 246-261, 2012.
  • [5] COLLINS, Karen. Game Sound: an introduction to the history, theory, and practice of video game music and sound design. Massachusetts, USA: MIT Press, 2008.
  • [6] COLLINS, Karen. Making Gamers Cry: Mirror Neurons and Embodied Interaction with Game Sound. AudioMostly 2011, September 7–9, 2011, Coimbra, Portugal.
  • [7] FOLLETT, Jonathan. Audio and the user experience. Disponível em: http://www.uxmatters.com/mt/archives/2007/06/audio-and-the-user-experience.php June 18, 200 Acesso em 17 set. 2015.
  • [8] GAVER, W. Auditory Icons: Using sound in computer interfaces. Human Computer Interaction, 2(2), pp. 167-177, 1986.
  • [9] GAVER, W. Synthesizing auditory icons. In S. Ashlund, K. Mullet, A. Henderson, E. Hollnagel, & T. White (Ed.), INTERCHI’93, Amsterdam: ACM Press, Addison-Wesley, pp. 228-235, 1993.
  • [10] GAVER, W. The SonicFinder: An interface that uses auditory icons. Human Computer Interaction, 4(1), pp. 67-94, 1989.
  • [11] GAVER, W. Using and creating auditory icons. In G. Kramer (Ed.), Auditory Display, sonification, audification and auditory interfaces. The Proceedings of the First International Conference on Auditory Display, Santa Fé Institute, Santa Fé: Addison-Wesley, pp. 417-446, 1992.
  • [12] GAVER, William W. What in the World Do We Hear? An Ecological Approach to Auditory Event Perception. Ecological Psychology 5/1: 1-29, 1993b.
  • [13] HUG, D. New wine in new skins: Sketching the future of game sound design. In: Grimshaw, M. (Ed.), Game sound technology and player interaction: Concepts and developments. Hershey, PA: IGI Global, 2011.
  • [14] ILARI, Beatriz. Música, comportamento social e relações interpessoais. In: Psicologia em Estudo. vol.11 no.1 Maringá Jan./Apr. 2006
  • [15] JØRGENSEN, K. Time for new terminology? Diegetic and non-diegetic sounds in computer games revisited . In: Grimshaw, M. (Ed.), Game sound technology and player interaction: Concepts and developments. Hershey, PA: IGI Global, 2011.
  • [16] KAUSHANSKY, Karen. Designing With Audio: What Is Sound Good For? Diponível em: http://www.smashingmagazine.com/2012/04/designing-with-audio-what-is-sound-good-for/ April 18th, 2012. Acesso em 17 set. 2015.
  • [17] KAUSHANSKY, Karen. Guidelines for designing with audio. Disponível em:
  • [18] http://www.smashingmagazine.com/2012/09/guide lines-for-designing-with-audio/ September 14th, 2012b. Acesso em 17 set. 2015.
  • [19] KEEFFE, Linda O’. Sound is Not a Simulation: Methodologies for Examining the Experience of Soundscapes. In: Grimshaw, M. (Ed.), Game sound technology and player interaction: Concepts and developments. Hershey, PA: IGI Global, 2011.
  • [20] KONDO, Koji (2007). Painting an Interactive Musical Landscape. The Annual Game Developer’s Conference, San Francisco, March 4–9.
  • [21] KUTAY, Steve. The Game Audio Explosion - A Guide to Great Game Sound Part I: Preproduction and Sound Design. Mar, 2006. Disponível em: http://ezinearticles.com/?The-Game-Audio-Explosion---A-Guide-to-Great-Game-Sound-Part-I:-Pre-production-and-Sound-Design&id=158383 Acesso em: 25 ago. 2015.
  • [22] LILJEDAHL, Mats. Sound for Fantasy and Freedom. In: Grimshaw, M. (Ed.), Game sound technology and player interaction: Concepts and developments. Hershey, PA: IGI Global, 2011.
  • [23] MOSES, Laura. Sound Design. EventDV. Vol. 23, Issue 1, p37, Jan/Feb2010.
  • [24] PARKER, J. R; HEEREMA, John. Audio Interaction in Computer Mediated Games. International Journal of Computer Games Technology. vol. 2008, Article ID 178923, 8 pages. Hindawi Publishing Corporation, 2008.
  • [25] ROCCHESSO, Davide et al. Sonic Interaction Design: Sound, Information and Experience. Conference on Human Factors in Computing Systems: CHI '08 extended abstracts on Human factors in computing systems. ACM Association for Computing Machinery, New York, NY, USA, 2008.
  • [26] SANTOS, Eduardo Toledo. O uso de Metáfora Concreta e Manipulação Direta na Interface do Risko. In: Hipermídia: desafios da atualidade/ Vânia Ribas Ulbricht, Alice Theresinha Cybis Pereira (orgs.) – Florianópolis: Pandion, 2009.
  • [27] SERAFIN, Stefania. Sound Design to Enhance Presence in Photorealistic Virtual Reality. Proceedings of the 2004 International Conference on Auditory Display. Sidney, Australia, July 6-9, 2004.
  • [28] SHNEIDERMAN, Ben; PLAISANT, Catherine. Designing the User Interface: Strategies for Effective Human-Computer Interaction. 5a. ed., Prentice Hall, mar., 2009.
  • [29] SONNENSCHEIN, David. Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. Michael Wiese Productions, 2001.
  • [30] STEVENS, Richard; RAYBOULD, Dave. The Game Audio Tutorial: A Practical Guide to Sound and Music for Interactive Games. Elsevier Inc. 2011.
  • [31] SUMIKAWA, D.A. Guidelines for the integration of audio cues into computer user interfaces (Technical Report No. UCRL 53656). Lawrence Livermore National Laboratory, 1985.
  • [32] SUMIKAWA, D., BLATTNER, M., JOY, K. & GREENBERG, R. Guidelines for the syntactic design of audio cues in computer interfaces (Technical Report No. UCRL 92925). Lawrence Livermore National Laboratory, 1986.
  • [33] SUNDBERG, J. Acoustic and psychoacoustic aspects of vocal vibrato. KTH Computer Science and Comunication. Department of Speech, Music and Hearing. STL-QPSR, vol. 35, n. 2-3, pg. 045- 068. Stockolm, Sweden, 1994.
  • [34] VAN LEEUWEN, Theo. Speech, music, sound. London, UK: Macmillan, 1999.
  • [35] WICKENS, Chris; HOLLANDS, Justin G.; BANBURY, Simon; PARASURAMAN, Raja. Engineering psychology and human performance. Upper Saddle River, NJ: Pearson; 4rd ed., 2012.
  • [36] WILHELMSSON, U., & WALLÉN, J. A combined model for the structuring of game audio . In: Grimshaw, M. (Ed.), Game sound technology and player interaction: Concepts and developments. Hershey, PA: IGI Global, 2011.
Como citar:

Carvalho, Luiz Roberto; Pereira, Alice Theresinha Cybis; "TRILHA SONORA DA INTERFACE: DIÁLOGO, AMBIÊNCIA E EFEITOS SONOROS", p. 2144-2155 . In: . São Paulo: Blucher, 2017.
ISSN 2318-6968, DOI 10.5151/16ergodesign-0223

últimos 30 dias | último ano | desde a publicação


downloads


visualizações


indexações