canberra’s urban soundscape

Alastair Swayn Alastair Swayn InternshipInternship

Canberra’s Urban Canberra’s Urban SoundscapeSoundscape

Identifying and reviewing the regulatory environment and mapping the existing Identifying and reviewing the regulatory environment and mapping the existing Canberran urban soundscape to create visualisation tools to define acoustic uses Canberran urban soundscape to create visualisation tools to define acoustic uses and planning for the futureand planning for the future

By Daniel SchornBy Daniel Schorn

The Alastair Swayn Internship 2019: The Alastair Swayn Internship Program is a joint initiative between the Alastair Swayn Foundation, the ACT Government and the University of Canberra

Corresponding author: Daniel Schorn Competing interests: No competing interests were disclosed. Grant information: This research was supported by the Alastair Swayn Foundation, the ACT Government and the University of Canberra through the Alastair Swayn Internship Program. The funders had no role in study design, data collection and analysis or preparation of the manuscript. Copyright: ©2020 Schorn. This is an open access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. How to cite: Schorn, D., ‘Canberra’s Urban Soundscape: Identifying and reviewing the regulatory

environment and mapping the existing Canberran urban soundscape to create visualisation

tools to define acoustic uses and planning for the future’, Swayn Open Research, 2020 First

published: 15 May 2020

http://creativecommons.org/licenses/by/4.0/

Alastair Swayn Internship | Canberra’s Urban Soundscape

1

Table of Contents

Introduction 2

Urban Noise 3

The Soundscape 3

Impacts 3

Legislation 5

Example 6

Case Study 7

Method 9

Assumptions 10

Results 10

Improvements 12

Summary 12

Acknowledgements 14

Literature List 15

End Notes 16

Bibliography 17

Appendices 19


2

“Identifying and reviewing the regulatory environment and mapping the existing Canberran urban

soundscape to create visualisation tools to define acoustic uses and planning for the future.”

The unique environment that encompasses Canberra holds a distinct place for those who immerse

themselves in the urban fabric of the city. Surrounded by an intermeshed landscape thoughtfully

planned by the Griffins, a journey through Canberra can reveal dense bushland to the west and a

growing Civic centre to the east, with moments of immersion in-between. The variance of scale

between the urban and suburban provides a dynamic backdrop to the future densification of the city.

As mixed-use areas become more prevalent within city planning, the urban soundscape becomes a

key driver in identifying environmental noise and unearthing Canberra’s dissident sense of agency.

“The soundscape is our sonic environment, the ever-present array of noises with which we all live”

– R. Murray Schafer1

A cities soundscape gives the user a subjective experience of the quality of place, influencing health,

satisfaction and other cognitive functions. For these reasons the acceptable levels of noise within a

city must be regulated by Government, however, must be carefully balanced to still hold the auditory

identity of the city.

The ACT controls these values by outlining limits of noise through the decibel system, allowing for a

variety of levels between certain days and certain hours, depending on specific zoning. Whilst these

laws may seem clear, as the name of mixed-use suggests, affected people may have different

perceptions and experiences of noise, especially within dense urban environments.

This research paper looks at the engagement of the urban soundscape to be a visualisation tool to

further understand the characteristics of the noise experience. Understanding the balance of noise

impacts through the consideration of the properties of acoustic materials, screening, masking,

architectural conditions and programmatic layering will give Canberrans a better insight into the

future implementation and densification of the regulatory environment.


3

Urban Noise

The Soundscape

The soundscape was a term used by R. Murray Schafer to describe “an environment of sound with

emphasis on the way it is perceived and understood by the individual, or by a society.”2 He popularised

the term in 1993 whilst challenging the new sonic environment that was quickly becoming radically

different from that of the past. Noise pollution was rising as new technologies began to redefine

intensities and durations of sound. The soundscape consists of objects heard, rather than objects

seen.3 Unlike an architect’s drawings, soundscapes capture the sound of a landscape, a means of

description that will never be understood in the same way by two people. Schafer framed the

soundscape as something that needed to be protected from the invading new-age of unwanted

noises.

Urban noise has come to the forefront of city planning as Canberra looks to further densify urban

centres through programmatic mixed-use.4 With the integration of mixed residences and businesses

comes the realities of a varying level of noise acceptance.

Whilst the soundscape has been used as a tool for condoning unwanted noise, it can also be used as

a way of interrogating and understanding noise. Sight, sound, smell, taste and touch are the five

human senses, working together giving feedback as to how one feels. Much like having a pizza in Italy,

experiencing a soundscape can give an urban user a perceived sense of one’s city’s cultural and artistic

agency – something that should be encouraged and protected.

Impacts

The definition of noise is “unwanted sound,” implying that there is an observer to a level of noise and

that person then makes an adjudication whether it is a good or bad sound.5 More Canberrans are

choosing to live within the urban centres of the city where both businesses and residences coexist.6

The impacts of noise have both positive and negative connotations, impacting lifestyle, health and

general welfare. The challenging element of noise and its impact is that everyone perceives their

2 3 4

S 6


4

sound experience slightly differently, hence the difficulty of agreeance in mixed-use conditions. For

some, unwanted noise is an annoyance whilst others find safety in the comfort of atmospheric safety.

Excessive noise is considered as ‘environmental pollution’ due to the adverse health effects it can have

on an affected person.7

Noise is measured by a figure of decibels which relates a sound to a similar weighting to how the

human ear perceives it. The dB(A) is calculated on a logarithmic scale of sound pressure against a

reference pressure, with apparent loudness doubling with every increase of 8-10dB. This

measurement is how the Government can mandate and quantify what may be too loud. Refer to figure

1 for an indicative guide to decibel levels and what action they may correlate to.

Figure 1: Indicative guide to decibel levels8

Bolt and Ingard outlay the basic principles of controlling the effects of noise and vibration, through

the Source, Path and Receiver method.9

• Source – noise power

• Path – direct and indirect noise

• Receiver – affected human

7 8


5

All three of these elements can be controlled by legislation, limiting the output of noise (source),

mandating physical barriers (path) and setting an expected restriction of decibels to the affected

person (receiver). Through these measures, the Government can find a balance of acceptable noise

levels to ensure that urban activity can flourish with a positive view of urban sounds.

Legislation

Urban noise in the ACT is controlled by legislation that outlines acceptable limits according to noise

zones (refer figure 2). These noise zones are outlined by the territory plan and regulated by the:

• Environment Protection Act 1997

• Environment Protection Regulation 2005

Figure 2: Noise Zones and Noise Standards10

In the ACT “Noise standards haven’t changed since they were introduced in 1998, but the city has

changed, particularly with population growth, development and changes in land uses in and around

our urban centres.”11

The ACT Government is currently undergoing a review of the noise legislation following the increase

in mixed-use areas (Kingston Foreshore and the upcoming Kingston Arts Precinct) and an agenda to

increase density in places such as around town and group centres and along major transport routes.12

Acknowledging this shift of the programmatic environment, the ACT Government held a Live

Entertainment Roundtable and Workshop on Friday 27th September 2019 which heavily focussed on

10

11 12


6

the live entertainment and night-time economy of Canberra. This not only included the City centre

and town centres but also incorporating the urban spread of group centres, local centres and

residential zones as well as reviewing current time limits on noise standards. It was made clear by

stakeholders throughout this meeting that the effect of noise legislation on both the city culture and

the artistic industry was vital to maintain an active expression within Canberra’s sense of agency. The

full results of this workshop were published in the October 2019 Entertainment Action Plan produced

by the Environment, Planning and Sustainable Development Directorate (EPSDD).13 This action plan

outlines directions and resolutions to support a framework for the future of ACT noise legislation.

Example

Comparative examples provide further context to the issue of urban noise and explore how other

states and territories approach the topic. Fortitude Valley in Brisbane is Australia’s first designated

Special Entertainment Precinct that aims to ensure the long-term future of the music-based

entertainment industry.14 Whilst the urban issue of noise in mixed-use areas of Canberra focusses on

a ‘zoning’ plan, Brisbane and the Queensland Government have governed Fortitude Valley on a

‘precinct’ size scale. The noise legislation of the precinct supports the entertainment and cultural value

of the area, falling under the regulations of:

• Brisbane City Plan 2014 – 7.2.6.4 Fortitude Valley neighbourhood plan code

• Local Government Act 2009

• Amplified Music Venues Local Law 2006

These laws delineate the rules of the precinct, allowing for up to 90dB of amplified music noise (refer

to Appendix 1) in the Precinct Core Area A. Comparatively to the ACT, this is a substantial increase

from the maximum of 60dB(A) in the City centre, taking into consideration the measurement of

decibels on a logarithmic scale.

With the increasing density of architecture focussing on a mixed-use program through the Brisbane's

urban renewal,15 Fortitude Valley also acknowledges the need for correct building attenuation and

13

14

15


7

performance values to better block noise aiding potential residential developments.16 This puts the

onus on the building developer to properly recognise and deliver a result that maintains the cultural

value of the precinct. This becomes a ‘buying-in’ strategy for residents to support and partake in the

lifestyle of the area whilst also offering a framework of noise performance to adhere to safe levels of

exposure.

Brisbane sees this special entertainment precinct as a successful way to implement a balanced mixed-

use location catering for residents, backpacker and hotel accommodation, nightclubs, live music

venues, cafes, restaurants and retail businesses.17

Case Study

As Canberra continues to grow and challenge noise awareness, a case study encompassing a variety

of mixed-use functions was chosen to identify and visualise the current urban noise condition. West

and East Row through to Garema Place in the City (refer figure 3) was selected as a suitable site as it

captures not only a variety of programmatic use but also a selection of both new and old building

attenuation as well as indoor and outdoor usage. An image of each of the specific locations can be

found in Appendix 2. This location falls under ‘City centre and town centres’ of the ‘Noise Zones and

Noise Standards’ (refer figure 2) allowing for:

• 60dB(A) Monday – Saturday 7am to 10pm / Sunday and Public Holidays 8am to 10pm

• 50dB(A) Monday – Saturday 10pm to 7am / Sunday and Public Holidays 10pm to 8am

The aim of this study was to compile the data to develop an informed understanding of how noise is

currently perceived in its existing condition. This would identify the noise peaks and troughs

throughout the chosen timeslots to uncover how urban activity operates within the case study

location(s).

16

17


8

Figure 3: Canberra City plan locations

1

2

3

4

5

6

7

8

9

10


9

Method

Using the West and East Row through to Garema Place case study, noise data has been collected

capturing the urban soundscape, specifically at the dotted locations as shown in figure 3. At these ten

points, the decibel dB(A) meterage has been measured for a sample time of approximately 60 seconds

to record the average ambient noise of the selected location(s). This average figure will then be used

to compile a visual comparison to evaluate sound activity at different times and days against the other

specific locations along the case study route encompassing the variety of noise variables.

This designed method will be conducted at the following times, at the chosen locations on

Wednesday, Friday, Saturday and Sunday at three-hour time periods as outlined in figure 4.

Time Activity

9:00 am Breakfast / Peak hour traffic

12:00 pm (noon) Lunch

3:00 pm Mid-afternoon

6:00 pm Dinner / Peak hour traffic

9:00 pm Late Dinner / Early Nightlife

12:00 am (midnight) Nightlife

Figure 4: Time period schedule

Throughout these timeslots it was expected that several variables were inevitable, however, these

variables also offered a real-life framework to what Canberra’s urban soundscape might entail. These

variables included weather conditions, people speaking, irregular traffic and manufactured noises

such as the beep on a pedestrian crossing or the siren of an emergency vehicle.

The tool used to capture this data was an audio noise spectrum analyser on an iPhone 8, specifically

“Decibel : dB sound level meter Pro” by Vlad Polyanskiy.18 Whilst this may not be the most accurate

measuring tool, it does give a representation of audio noise to indicatively represent the visualisation

of the Canberran soundscape.

The data collected has not been done according to the Environment Protection (Noise Measurement

Manual) Approval 2009 ACT legislation, and uses the method as described above as opposed to the

LA10/LA90 methods mandated by law. This data does not incriminate any premises, instead intending

to focus on the contextual urban soundscape and how this correlates with the active engagement of

the city.

18


10

Assumptions

Whilst outlining the method of the case study, certain elements were designed to try and gather both

the peaks and troughs of public activity to appropriately glimpse the routine of the city and how its

soundscape may visually shift. Wednesday was chosen to capture the mid-work week, Friday and

Saturday were expected to see peak nightlife activity whilst Sunday was considered a quiet day that

may see a decrease in public activity. These assumptions will be tested against the results.

Each location might also be used as an indicator to see whether certain methods of architectural

attenuation are more effective than others. This doesn’t just include the external or internal

attenuation of a building, but also the difference of programmatic layering which might exhibit the

difference between indoor and outdoor venues. The assumption would be that an indoor venue might

capture noise, minimising leakage, whilst an outdoor venue might be more resonant. This assumption

hopes to clarify whether these architectural elements have a positive or negative impact on the

spillage of noise:

o acoustic materials

o screening and masking

o architectural condition

o programmatic layering

Results

From the collected data (refer Appendix 3), an indicative visualisation has been produced depicting

experienced noise dB(A) levels throughout the outlined times and locations (refer Appendix 4). The

visualisation shows five different coloured and sized bubbles to depict a varying result of dB(A) level.

The size of the bubbles is not an equation of noise dispersion, but merely an indicative size of the noise

level (refer figure 5) to represent quieter and louder dB(A) averages.

Noise dB(A) level: Colour Indicative guide of noise*

40-49 Blue Library

50-59 Green Washing machine

60-69 Yellow Vacuum cleaner

70-79 Orange Lawn mower

80+ Red Food blender – 90 dB(A)

Figure 5: Video Visualisation Key * Refer figure 1


11

Considering the entirety of the urban ambient condition, it can be concluded that a sizable amount of

data shows the noise level is above the legal limit of 60dB(A) except for times of minimal human

activity. With a major public transport route passing through the case study, it becomes clear that the

urban soundscape becomes at times consumed by traffic noise. However, this becomes a constant

throughout the study and the clear peak and quiet times are still well represented.

• The variation of intensity at certain points throughout the day(s) show how the activity of the

city fluctuates to accommodate certain peak times such as lunch, dinner and nightlife. The

case study sought to identify these points and understand how these peaks and troughs can

lead to better planning in the future.

• The architectural street condition was able to substantially alter the final noise outcome as

the covered alleyway at location 9 consistently read a higher reading than its counterparts

due to noise reverberation. When compared to location 8 which was situated in a more open

position, this constant becomes clear.

• Outdoor seating also sees an increase in noise reading not due to the venue(s) music or

entertainment directly, but due to the activity of human presence.

• Wherever an external-facing speaker was located, the noise dB(A) spiked heavily. This is

evident in locations 9 and 10 during night hours on a Friday and Saturday.

• Comparatively observing Friday 12:00 pm (noon) against Friday 12:00 am (midnight), the

variation in noise levels almost flip between locations 1 and 10 and this is due to the

availability of nightlife locations that attract human presence.

• Comparing a Sunday night to a Friday/Saturday night sees a noise flip, not due to the presence

of nightlife but instead recognising the night before a workday instead of a weekend.

• The internalisation of program produced a definite quieter noise figure despite a variety of

activity partaking in the indoor environment.

• The city limit of 60dB(A) is consistently being broken, especially throughout busy times.

It becomes a stable reality that noise follows dense activity. Whether it be during peak hour lunch or

bustling nightlife, wherever a strong sense of human interaction was the noise followed.


12

Improvements

Throughout this experimental case study, it is without a doubt that further research could be attained

to further exemplify the results from these initial findings. From this, a variety of consequent studies

could take place to garner a wider array of information to better detail the Canberran Urban

Soundscape. This could include:

• Collecting data multiple times on for that day/time slot to conclude a constant level of noise

for that location. This will minimise anomalies.

• Seeking the assumed high and low points of the Canberran event schedule. For example,

taking data whilst the National Multicultural Festival takes place in Garema Place and the City

Walk.

• Taking data throughout different conditional seasons (spring, summer, winter, autumn).

These would all lead to a more defined result that could better identify how activity in this specific

Canberran urban area is used and how the impacts of noise can be facilitated by the built environment

of the city.

Summary

Using the soundscape visualisation as a device for future planning, it is understood that the sonic

intensity of the city is something that comes and goes much like a tide at a beach. The case study was

not set out to test exact methods of noise mitigation of one location against the other, but instead to

further understand how noise currently permeates through the city and how this relates to activity

within the urban realm of Canberra.

Whether an entertainment precinct like Fortitude Valley is a planning recommendation is unclear, as

there is apparent value in more ‘spontaneous’ locations after discussion in the Live Entertainment

Roundtable and Workshop on Friday 27th September 2019. The data shown also might suggest that

the constantly varying density of use may not support a single location of activity.

The correlation between human activity and noise is one that cannot be ignored and pursuing the

correct balance of wanted and unwanted noise is something that needs to be discerned by Canberra

as a city. As the transition of architectural densification in the city grows, the variance of scale between

the urban locations and suburbia pose a dynamic question of how noise is treated over the wider

context of Canberra. This idea of the urban soundscape and how sounds form an auditory identity of


13

the city is a quality that cannot be lost. If this sense of agency is gone it will be to the detriment of the

sound-based arts and culture that Canberra so readily celebrates.

In the short-term, the soundscape data suggests that the limit of 60dB(A) is too low when considering

the high amount of human activity within the city. The ACT Government is currently reviewing the

laws to possibly raise this limit to 65dB(A) until midnight on Fridays and Saturdays. This result would

better suit the existing auditory environment,

It becomes clear that the programmatic outlay of the city may have the strongest impact on how noise

is perceived. Having a layered approach of more finite zoning that details noise levels and building

attenuation performance could give the possibility to properly counteract the ebbs and flows of the

current regulatory environment.


14

Acknowledgements

I would like to acknowledge the University of Canberra, ACT Government and the Alastair Swayn

Foundation for their collaboration to pursue research that will enhance and add to the body of

knowledge of architecture in the Canberra region.

The support of people within all three organisations and the acoustic consultants has been fantastic

and I thank them for their involvement through the process of this research paper:

Adam Azzopardi

Rebecca Bamford

Steve Basson

Michael Jasper

Zhang Lai

Panama Leaver

Jerremy Lofts

Alisa Moss

Ben Ponton

Cameron Price

Catherine Townsend


15

Literature List

Department of the Environment, Climate Change, Energy and Water. 2010. "Noise Environment

Protection Policy". Australian Capital Territory: ACT Government.

Department of Health. 2018. "The Health Effects Of Environmental Noise". Canberra:

Commonwealth of Australia.

Environment and Sustainable Development. 2018. "Commercial Zones Development Code".

Australian Capital Territory: ACT Government.

Environment Protection Act 1997. 1997. Australian Capital Territory: ACT Government.

Environment Protection (Noise Measurement Manual) Approval 2009 (No 1). 2009. Australian Capital

Territory: Department of the Environment, Climate Change, Energy and Water.


Environment, Planning and Sustainable Development Directorate. 2018. "ACT Planning Strategy

2018". Australian Capital Territory: ACT Government.

Environment, Planning and Sustainable Development Directorate. "Licensed Premises". Australian

Capital Territory: ACT Government.

Environment, Planning and Sustainable Development Directorate. "Noise Awareness for Businesses

in Mixed-Use Areas". Australian Capital Territory: ACT Government.

Environment, Planning and Sustainable Development Directorate. "Noise Awareness for Residents in

Mixed-Use Areas". Australian Capital Territory: ACT Government.

Environment, Planning and Sustainable Development Directorate. 2016. "Urban Sounds Discussion

Paper". Australian Capital Territory: ACT Government.

Environment, Planning and Sustainable Development Directorate. 2019. "Urban Sounds Outcomes:

Volume 1". Australian Capital Territory: ACT Government.




16

Endnotes

1. R. Murray Schafer, The Soundscape, (Rochester: Destiny Books, 1994), Preface.

2. R. Murray Schafer, The Soundscape, (Rochester: Destiny Books, 1994), 6.

3. Schafer, The Soundscape, 13.

4. Environment, Planning and Sustainable Development Directorate, ACT Planning Strategy 2018, (Australian

Capital Territory: ACT Government, 2018), 5.

5. Thomas D. Rossing, Springer Handbook Of Acoustics, (New York: Springer, 2014), 962.

6. Environment, Planning and Sustainable Development Directorate, Noise Awareness for Businesses in Mixed-

Use Areas, (Australian Capital Territory: ACT Government), 1.

7. Department of Health, The Health Effects Of Environmental Noise, (Canberra: Commonwealth of Australia,

2018), V.

8. Environment, Planning and Sustainable Development Directorate, Noise Awareness for Businesses in Mixed-

Use Areas, (Australian Capital Territory: ACT Government), 1.

9. R. H. Bolt and K. U. Ingard, System Considerations in Noise Control Problems, “Handbook of Noise Control,”

C. M. Harris, (McGraw-Hill, New York: 1957), Chapter 22.

10. Environment, Planning and Sustainable Development Directorate, Noise Awareness for Businesses in

Mixed-Use Areas, (Australian Capital Territory: ACT Government), 2.

11. ACT Government, “Why are we doing this?”, Your Say, (2019), https://www.yoursay.act.gov.au/urban-

sounds/why-are-we-doing

12. Environment, Planning and Sustainable Development Directorate, ACT Planning Strategy 2018, (Australian

Capital Territory: ACT Government, 2018), 5.

13. Environment, Planning and Sustainable Development Directorate, Entertainment Action Plan, ‘October

2019,’ (Australian Capital Territory: ACT Government, 2019).

14. Brisbane City Council, “About the Valley Special Entertainment Precinct", Brisbane City Council, (2019),

https://www.brisbane.qld.gov.au/planning-and-building/planning-guidelines-and-tools/other-plans-and-

projects/valley-special-entertainment-precinct/about-the-valley-special-entertainment-precinct.

15. Brisbane City Council, “Centre, mixed and specialised centre zones,” Brisbane City Council, (2019),

https://www.brisbane.qld.gov.au/planning-and-building/planning-guidelines-and-tools/brisbane-city-plan-

2014/fact-sheets/centre-mixed-use-and-specialised-centre-zones

16. Brisbane City Council, “About the Valley Special Entertainment Precinct."

17. Brisbane City Council, “Valley Entertainment Precinct Background,” Brisbane City Council, (2019),

https://www.brisbane.qld.gov.au/planning-and-building/planning-guidelines-and-tools/other-plans-and-

projects/valley-special-entertainment-precinct/valley-entertainment-precinct-background

18. Vlad Polyanskiy, Decibel : Db Sound Level Meter Pro, (Version 5.0: 2019), Apple iOS 11.0.


17

Bibliography

ACT Government. 2019. "Why Are We Doing This?". Your Say ACT.

https://www.yoursay.act.gov.au/urban-sounds/why-are-we-doing.

Borgeaud, David. 2005. "Noise Mapping an Entertainment Precinct". Busselton.

Brisbane City Council. 2019. "About The Valley Special Entertainment Precinct". Brisbane City

Council. https://www.brisbane.qld.gov.au/planning-and-building/planning-guidelines-and-

tools/other-plans-and-projects/valley-special-entertainment-precinct/about-the-valley-special-

entertainment-precinct.

Brisbane City Council. 2019. "Centre, Mixed-use and specialised centre zones". Brisbane City Council.

https://www.brisbane.qld.gov.au/planning-and-building/planning-guidelines-and-tools/brisbane-

city-plan-2014/fact-sheets/centre-mixed-use-and-specialised-centre-zones.

Brisbane City Council. 2019. "Valley Entertainment Precinct Background". Brisbane City Council.

https://www.brisbane.qld.gov.au/planning-and-building/planning-guidelines-and-tools/other-plans-

and-projects/valley-special-entertainment-precinct/valley-entertainment-precinct-background.

Department of Health. 2018. "The Health Effects Of Environmental Noise". Canberra:

Commonwealth of Australia.


Environment Protection (Noise Measurement Manual) Approval 2009 (No 1). 2009. Australian Capital

Territory: Department of the Environment, Climate Change, Energy and Water.


Environment, Planning and Sustainable Development Directorate. 2018. "ACT Planning Strategy

2018". Australian Capital Territory: ACT Government.

Environment, Planning and Sustainable Development Directorate. "Noise Awareness for Businesses

in Mixed-Use Areas". Australian Capital Territory: ACT Government.

Environment, Planning and Sustainable Development Directorate. 2016. "Urban Sounds Discussion

Paper". Australian Capital Territory: ACT Government.




18



Harris, Cyril M. 1979. Handbook Of Noise Control. New York: McGraw-Hill.

Henry, Frank D., and Ken C. S. Mackenzie. 2004. "Managing Noise Impacts In Brisbane's Fortitude

Valley Entertainment Precinct". Gold Coast.

Polyanskiy, Vlad. 2019. Decibel : Db Sound Level Meter Pro (version 5.0). Apple iOS 11.0.

Rossing, Thomas D. 2014. Springer Handbook Of Acoustics. New York, NY: Springer.

Schafer, Raymond Murray. 1994. The Soundscape. Rochester: Destiny Books.


19

Appendices

Appendix 1 – Criteria for external emission of noise from amplified music19

19 Amplified Music Venues Local Law 2006 Page 18


20

Appendix 2 – Images of locations of noise data collection

1 2

3 4


21

5 6

7 8


22

9 10


23

Appendix 3 – Noise Data Average (In order of locations 1-10)

Wednesday 9 am Wednesday 12 pm (noon) Wednesday 3 pm

Wednesday 6 pm Wednesday 9 pm Wednesday 12 am (midnight)


24

Friday 9 am Friday 12 pm (noon) Friday 3 pm

Friday 6 pm Friday 9 pm Friday 12 am (midnight)


25

Saturday 9 am Saturday 12 pm (noon) Saturday 3 pm

Saturday 6 pm Saturday 9 pm Saturday 12 am (midnight)


26

Sunday 9 am Sunday 12 pm (noon) Sunday 3 pm

Sunday 6 pm Sunday 9 pm Sunday 12 am (midnight)

Appendix 4 – Noise Data Visualisations

Wednesday 9:00am

Wednesday 12:00pm (noon)

Wednesday 3:00pm

Wednesday 6:00pm

Wednesday 9:00pm

Wednesday 12:00am (midnight)

Friday 9:00am

Friday 12:00pm (noon)


1

Friday 3:00pm

Friday 6:00pm

Friday 9:00pm

Friday 12:00am (midnight)

Saturday 9:00am

Saturday 12:00pm (noon)

Saturday 3:00pm

Saturday 6:00pm


2

Saturday 9:00pm

Saturday 12:00am (midnight)

Sunday 9:00am

Sunday 12:00pm (noon)

Sunday 3:00pm

Sunday 6:00pm

Sunday 9:00pm

Sunday 12:00am (midnight)

canberra’s urban soundscape

Documents