Nadiia Bondarets
National Academy of Culture and Arts Management, Kyiv
ORCID ID 0000-0002-6716-0995
Oleksii Nosenko
National Academy of Culture and Arts Management, Kyiv
ORCID ID 0009-0005-3374-2283
DOI:
Keywords: sound image, sound production, sonic image, auditory perception, immersiveness, spatial audio, mixing.
Abstract. The study substantiates the categories of the sound image in contemporary musical art. A terminological distinction is made between the concepts of sound image, sonic image, auditory image, and sound imagery, which makes it possible to clarify their correlation with the Ukrainian conceptual field. The article proposes an authorial definition of the sound image as an artistic and perceptual integrity of sound that emerges through the interaction of sound material, performative or sound production intention, technical and technological means of recording, processing, reproduction, and listener perception. It is determined that the sound image is actualized only in the act of auditory experience or creation. The aesthetic, emotional, technical, and spatial aspects of its formation are identified. It is demonstrated that the artistic persuasiveness of sound depends on the coherence of timbral and textural organization, emotional dramaturgy, technological processing, and spatial modelling. The methodological principles for evaluating the sound image in the practice of sound production are formulated.
Authors’ biographies.
Nadiia Bondarets, senior lecturer, Kyiv National University of Culture and Arts,
Ph.D. student, National Academy of Culture and Arts Management, Member of the Union of Sound Engineers of Ukraine, Kyiv
nadegdaleonidovna@gmail.com
Oleksii Nosenko, lecturer, Kyiv National University of Culture and Arts, Ph.D. student, National Academy of Culture and Arts Management, Member of the Union of Sound Engineers of Ukraine, Kyiv
inbox@oleksiinosenko.com
References:
Barreiro, D. L. (2010). Sonic Image and Acousmatic Listening. Organised Sound, 15(1), 35–42.
Blauert, J. (1983). Spatial hearing: The psychophysics of human sound localization. MIT Press.
Blesser, B., & Salter, L.-R. (2006). Spaces speak, are you listening? Experiencing aural architecture. The MIT Press. https://www.agosto-foundation.org/sites/default/files/upload/spaces_speak_are_you_listening.pdf
Bregman, A. S. (1990). Auditory scene analysis: The perceptual organization of sound. The MIT Press. DOI: https://doi.org/10.7551/mitpress/1486.001.0001
Chion, M. (1994). Audio-Vision: Sound on Screen. Columbia University Press. https://pzacad.pitzer.edu/~mma/teaching/ms52/readings/audio-vision3-13.pdf
Dudschig, C., Mackenzie, I. G., Strozyk, J., Kaup, B., & Leuthold, H. (2016). The Sounds of Sentences: Differentiating the Influence of Physical Sound, Sound Imagery, and Linguistically Implied Sounds on Physical Sound Processing. Cognitive, Affective, & Behavioral Neuroscience, 16, 940–961.
Gabrielsson, A., & Lindström, E. (2010). The role of structure in the musical expression of emotions. Handbook of Music and Emotion: Theory, Research, Applications. Oxford University Press, 367–400. DOI: https://doi.org/10.1093/acprof:oso/9780199230143.003.0014
Hubbard, T. L. (2010). Auditory Imagery: Empirical Findings. Psychological Bulletin, 136(2), 302–329.
Huron, D. (2006). Sweet anticipation: Music and the psychology of expectation. The MIT Press. DOI: https://doi.org/10.7551/mitpress/6575.001.0001
Lacasse, S. (2005). Persona, emotions and technology: the phonographic staging of the popular voice. https://charm.cch.kcl.ac.uk/redist/pdf/s2Lacasse.pdf
Lysenko, Ya., & Khudiienko, Yu. (2022). Osoblyvosti profesiinoi vzaiemodii kontsertmeistera ta vokalista u stvorenni muzychno-khudozhnoho obrazu [The features of professional interaction between anaccompanistand a vocalist in musicallyartistic image creation]. Musicological Thought of Dnipropetrovsk Region, (23), 114–123. DOI: https://doi.org/10.33287/222239 (in Ukrainian)
Moylan, W. (2014). Understanding and Crafting the Mix: The Art of Recording (3rd ed.). Routledge. DOI: https://doi.org/10.4324/9780203758410
Nakamura, F., & Iida, K. (2025). Cue for rear sound image localization in head-related transfer function below 4 kHz. Applied Acoustics, 229, 110370. DOI: https://doi.org/10.1016/j.apacoust.2024.110370
Persanova, I. (2025). Interpretatsiia vokalnoho obrazu yak element aktorskoi maisternosti: do postanovky pytannia [Interpretation of vocal image as an element of acting skill : to the question]. Ukrainian culture: the past, modern ways of development, (51), 159–163. DOI: https://doi.org/10.35619/ucpmk.51.1039 (in Ukrainian)
Riabukha, N. O. (2015). Zvukoobraz yak katehoriia muzychnoho myslennia: ontolohichnyi ta hnoseolohichnyi aspekty [Sound-image as a category of the musical thinking: ontological and gnoseological aspects]. International journal culturology. Philology. Musicology, (2), 181–187. (in Ukrainian)
Rumsey, F. (2001). Spatial audio (1st ed.). Routledge. DOI: https://doi.org/10.4324/9780080498195
Wang, Y. (2024). Virtual sound image reconstruction method for multi-objective optimization of folk music based on evolutionary algorithm. ACM Transactions on Asian and Low-Resource Language Information Processing, 23(6), 86, 1–15. DOI: https://doi.org/10.1145/3604614
Zagorski-Thomas, S. (2014). The Musicology of Record Production. Cambridge: Cambridge University Press. DOI: https://doi.org/10.1017/CBO9781139871846
The article was received by the editorial office on 05.05.2026.
The article was accepted for publication after review on 15.06.2026.
The article was published on 30.06.2026.
Vol 29 No 1 (2026)
Section: APPLIED CULTURAL STUDIES AND CULTURAL PRACTICES.