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Beyond Universality: Cultural Diversity in Music and Its Implications for Sound Design and Sonification

Rubén García-Benito

TL;DR

Problem: the notion of music as a universal language obscures cultural variation in perception and aesthetics. Approach: cross-cultural analysis integrating historical musicology, ethnomusicology, and tuning studies, plus computational text analysis of conference proceedings to reveal discourse patterns. Contributions: demonstrates how cultural context shapes auditory perception, tuning, and design practices, and argues for culturally informed approaches to sound design and sonification. Impact: provides a framework for inclusive, diverse sonic design that resonates with global audiences and broadens research in sound studies.

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.

Beyond Universality: Cultural Diversity in Music and Its Implications for Sound Design and Sonification

TL;DR

Problem: the notion of music as a universal language obscures cultural variation in perception and aesthetics. Approach: cross-cultural analysis integrating historical musicology, ethnomusicology, and tuning studies, plus computational text analysis of conference proceedings to reveal discourse patterns. Contributions: demonstrates how cultural context shapes auditory perception, tuning, and design practices, and argues for culturally informed approaches to sound design and sonification. Impact: provides a framework for inclusive, diverse sonic design that resonates with global audiences and broadens research in sound studies.

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.

Paper Structure

This paper contains 14 sections, 1 figure.

Table of Contents

  1. Introduction
  2. Culture, Music, and its Universality
  3. Historical Musicology: Reconstructing Lost Soundscapes
  4. Ethnomusicology: Challenging the Myth of Musical Universals
  5. Tuning Systems and Temperaments: The Cultural Fabric of Sound
  6. Historical Development of Temperaments
  7. Global Perspectives on Tuning
  8. Cultural Adaptivity in Sound Design
  9. Discussion
  10. Cultural Bias in Music Theory and Technology
  11. Tradition and Representation in a Globalized Musical Landscape
  12. Implications for Sound Design and Sonification
  13. Conclusions
  14. Acknowledgments

Figures (1)

  • Figure 1: Side-by-side heatmaps displaying the frequency of selected words in the AM and ICAD proceedings from 2022 to 2024. The vertical axis lists the chosen words, ordered by their total count in AM across the three years; this same order is applied to the ICAD heatmap to facilitate direct comparison. The horizontal axis represents the years. Each cell is color-coded according to the word count using a logarithmic scale, with a shared normalization across both conferences to allow meaningful visual comparison. The corresponding count is displayed in each cell.