近年來,以聲音景觀的角度檢視環境音的方式逐漸得到相當多的重視。在過去的 研究中,聲音景觀的概念並沒有一個制式的定義,本研究視音景為環境中涵蓋的所有 聲音,且強調個人的覺察、社會的感官與認同和環境的聲音彼此之間是互相影響的。

為了要進一步地聊解台灣的聲音景觀,本研究主要針對台南市中西區進行調查, 其原因為台南市中西區範圍內擁有許多歷史建築、傳統信仰的宗教儀式和民俗活動, 且尚未有研究調查其範圍內的聲音景觀地圖。本研究欲透過音訊收集以建構此歷史街 區的聲音景觀地圖,再現其文化音景藉此重構台南中西區的聲音經驗。

首先,本研究著手於聲音景觀調查與音訊錄製,接著透過以人、活動與空間為導 向的區位三角形分類方式,探討聲音景觀背後的意涵與區域文化。再者,建構區域內 的音景地圖,呈現所錄製聲音景觀的明確地理位置,接著藉由訪談台南市中西區的居 民了解個人對聲音景觀的覺察與聲音景觀、空間與個人之間的相互關係。最後,選出 此四大文化園區具代表性的文化音景,規劃一系列的聲音創新體驗,欲藉此觸發民眾 對於周遭音景的覺察與個人過往經驗的回想。
本研究主要描述聲音景觀背後的文化價值與由文化音景重構之聲音經驗的初步 設計,其內容可作為未來聲音經驗與相關音景研究之參考。

During the last several decades, the concept of soundscapes as an alternative viewpoint on environmental sound has been gaining considerable attention. There is no single agreed definition of soundscapes, but a working definition is soundscapes are the totality of all sounds within a location with an emphasis in the relationship between individual’s or society’s perception of, understanding of and interaction with the sonic environment.
Furthermore, this study focused on the selected four cultural zones in West Central District in the City of Tainan that is the most historical district and is filled with the historical buildings, ritual ceremonies of traditional religion and folk activities. However, the soundmap of this district has not yet been investigated. For the purpose of constructing soundmap and reconstructing the soundscape toward an innovative sound experience, exploratory study to this historical district are conducted.
First of all, soundscape investigation and recording was carried out in this district. Categorizing the soundscapes into people-oriented, activity-oriented and space–oriented, and revealing the profound meaning and regional culture behind the soundscape. Secondly, construction the soundmap of the four culture zones in West Central district in the city of Tainan was conducted to indicate where the soundscape recordings were collected. Furthermore, interviewing with the residents to explore the individuals’ perception towards the soundscape and the interrelationship between individuals, soundscape and place was carried out. Finally, this research selected the representative cultural soundscape recordings from the four culture zones, and found a way to share them with people. It is expected that this sound experience could trigger audience to aware the soundscape around the location and make the reflections about what audience experienced in the past.
In this study, the cultural value behind soundscape and an experimental setting of representing the cultural soundscape were described. It is expected that as a reference for soundscape and sound experience research in the future.

1. Introduction 1
1.1 Research background 1
1.2 Research motivation 2
1.3 Research purpose 3
1.4 Research Question 3
1.5 Research objective and Research scope 4
2. Literature review 5
2.1 Literature map 5
2.2 Embodiment 6
2.3 Soundscape 8
2.3.1 The definition of soundscape 9
2.3.2 Soundscape research in different field 11
2.4 Soundscape project in other countries 22
2.5 Soundscape research and project in Taiwan 26
2.6 Sound experience 28
3. Methodology 37
3.1 Research Design and Procedure 37
3.2 Research subject 38
3.3 Research method 41
3.3.1 Data collection 42
3.3.2 Direct observation 42
3.3.3 Unstructured interview 43
3.3.4 Semi-structured interview 43
3.3.5 Grounded theory 44
3.4 Data Analysis 45
4. Data generation and finding 47
4.1 Soundmap construction 47
4.1.1 Soundscape recording 47
4.1.2 Categorization of soundscape 49
4.1.3 The soundmap of the four culture zones 59
4.2 The perception and interrelationship between individuals and soundscape 64
4.2.1 Sampling frame of the interview 64
4.2.2 Sampling test soundscape recordings 65
4.2.3 Interview with the residents 67
4.2.4 Grounded theory process: using NVivo analysis the content 68
4.2.5 Interrelationship between individuals, soundscape and place 70
4.2.6 Individuals’ perception towards the soundscape 73
5. Reconstruction of cultural soundscape toward a sound experience 75
5.1 The representative cultural soundscape recordings 75
5.2 A series of sound experience pattern 81
6. Discussion and recommendation 101
6.1 Conclusion 101
6.2 Research limitation and suggestions for further study 103
Reference 105

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