Essay 3 - The Hearing Triptych applied to low-frequency sound
- Art of Hearing | Dyon Scheijen
- 17 hours ago
- 3 min read
LFG Handbook
Essay 3
The Hearing Triptych applied to low-frequency sound
In the preceding essays, it was described how research into low-frequency sound often begins with measurements and analysis of the physical sound signal. At the same time, practice shows that measurements do not always fully explain why certain sounds are perceived by people as bothersome.
This distinction between sound as a physical signal and sound as a human experience forms an important starting point for a broader perspective on sound perception.
To better understand this relationship, this handbook uses a simple conceptual model: The Hearing Triptych (Scheijen, 2026) .
This model describes sound perception as the result of the interaction between three domains:
sound – brain – human experience
These three dimensions together form a framework for understanding how sound is perceived and experienced.
Sound: the physical signal
The first dimension concerns the physical sound signal .
This concerns properties such as:
• frequency
• intensity
• time variation
• source characteristics
• spatial distribution
Specific physical properties play an important role in low-frequency sound. Low frequencies can propagate over greater distances, are less attenuated by structures, and can cause complex resonance patterns in buildings.
Research into these properties has yielded important insights into how low-frequency sound can manifest itself in the environment (Leventhall, 2004).
This physical analysis forms an essential part of every study into sound.
However, it does not always fully explain why a sound is perceived strongly by some people while others barely notice it.
Brain: the processing of sound
The second dimension concerns the neurophysiological processing of sound .
Sound is not only registered by the ear. The auditory system is closely connected to other networks in the brain, including systems involved in attention, emotion, and meaning.
The neurophysiological model of tinnitus describes how sound signals are processed not only via auditory pathways, but also via connections with the limbic system and the autonomic nervous system (Jastreboff, 1990).
This means that sound is not only an auditory signal, but also a signal that is interpreted by the brain .
Attention and emotional significance can therefore play an important role in the way a sound presents itself in perception.
Human experience: meaning and context
The third dimension concerns the human experience .
No one experiences sound apart from his or her context. Factors such as:
• attention
• expectation
• stress
• sleep
• insecurity
• personal meaning
can all influence how a sound is perceived.
Research into tinnitus has shown that psychological processes such as attention and interpretation can play an important role in the perceived burden of sound (Cima et al., 2012).
In addition, the fear-avoidance model describes how attention, anxiety, and avoidance behavior can reinforce physical or sensory experiences (Vlaeyen & Linton, 2000).
This does not mean that sound experiences must be explained exclusively psychologically. It does show, however, that sound experience always takes place within a human context .
The interaction between the three dimensions
The Hearing Triptych model shows that sound perception arises from the interaction between these three dimensions.
When these three perspectives are considered together, a more complete picture of sound perception emerges.
A relatively weak physical signal can cause a strong experience under certain circumstances when the brain pays close attention to it and it takes on great significance within a person's life.
Conversely, a stronger sound signal can sometimes be barely noticed when the brain classifies it as unimportant.
This means that sound perception cannot be understood from one dimension alone.
Significance for understanding low-frequency sound
This interaction often becomes clearly visible in reports of low-frequency noise.
Technical measurements can provide valuable information about possible sound signals and sources. At the same time, the processing of sound in the brain and the personal context of residents also play a role in how sound is experienced.
Considering these three dimensions together creates a broader framework for understanding low-frequency sound.
The goal of this model is not to replace technical analysis, but to connect different perspectives.
For professionals, this can help approach low-frequency sound as an issue in which acoustics, perception, and human experience complement each other .
The following essays further explore how these dimensions converge in the practice of reporting low-frequency noise.
Literature
Leventhall, H.G. (2004). Low frequency noise and annoyance. Noise & Health.
Jastreboff, P. J. (1990). Phantom auditory perception (tinnitus): mechanisms of generation and perception. Neuroscience Research.
Cima, RFF, et al. (2012). Specialized treatment based on cognitive behavioral therapy versus usual care for tinnitus. The Lancet.
Vlaeyen, JWS, & Linton, SJ (2000). Fear-avoidance and its consequences in chronic pain. Pain.
Scheijen, D. (2026). The Hearing Triptych: Sound, Brain and Human Experience.
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