Stephen Brewster
University of Glasgow
Introduction and a Brief History of Nonspeech Sound and Human–Computer Interaction
Why Use Nonspeech Sound in Human-Computer Interfaces?
Some Advantages Offered by Sound
Some Problems With Nonspeech Sound
Comparing Speech and Nonspeech Sounds for Interface Design
Avoiding Annoyance
Perception of Sound
Technology and Sound Production
A Brief Introduction to Sound Synthesis and MIDI
A Brief Introduction to Sampling
Sample Rate
Comparing MIDI Synthesis to Sampling for Auditory Interface Design
Three-Dimensional (3D)Sound
Nonspeech Sound Presentation Techniques
Auditory Icons
Earcons
Comparing Auditory Icons and Earcons
The Applications of Auditory Output
Sonic Enhancement and Graphic Replacement in Graphical User Interfaces
Sound for Users With Visual Impairments
Sound for Wearable and Mobile Computers
Conclusions
References
Figure 11.1: A sine wave.
Figure 11.2: A complex wave made up of three components with its fundamental at 100 Hz.
Figure 11.3: An interaction showing the deletion of a folder in the SonicFinder (from Gaver,1989).
Figure 11.4: Compound earcons: A shows the four audio elements create ,destroy ,?le ,and string .B shows the compound earcons create file and destroy string (Blattner et al.,1989).
Figure 11.5: A hierarchy of earcons representing errors (from Blattner et al.,1989).
Figure 11.6: The presentation continuum of auditory icons and earcons.
Figure 11.7: The visual feedback presented by a graphical button when selected. Figure 1 shows acorrect selection and 2 shows a slip-off (from Brewster,1998a).
Figure 11.8: Soundtrack’s main screen (from Edwards,1989)
Figure 11.9: The musical description of graphic shapes from Rigas and Alty (1997).
Figure 11.10: Screenshot of the 3Com Palm III interface used by Brewster (2002).