The Role of Soundscape in Nature-Based Rehabilitation: A Patient Perspective
Abstract
:1. Introduction
1.1. Soundscape Research
1.2. Nature-Based Rehabilitation and Stress
2. Methods
2.1. The Informants
2.2. The Venue and Nature-Based Rehabilitation Programme
2.3. Data Collection
2.4. Data Analysis
- Step 2: Identification of cross-theme dimensions emerging from the text.
- Step 3: Agreement on identified themes and categorisations, reached through discussions among the three researchers based on their individual findings.
- Step 4: In-depth analysis allocating meaning to the themes.
3. Results
3.1. Sonic Themes
3.1.1. Natural Sounds
“I chose it because of the bamboo behind it, where you… where I sat so I could see the pond and so. And bamboo rustles, well first of all it is green and then there is a sound in it all the time which I like, this thing... yes. It moves in the wind and there is a sound... and then there was… and looking at the water, I like that, and I think there were even little frogs in the water.”
“But you know that feeling of it just being you and nature and it’s completely quiet, what, you hear a stream trickle somewhere and you hear a bird that… you hear some slight rustling in the trees or whatever, just wonderful and it’s so incredibly beautiful that you just…”
“The feature I seem to recall most clearly are the birds. I mean, I have always enjoyed bird sounds and the same thing goes for the beach, the seagulls like when I lie out on the shore and out there in a house that, instead of calling a hovel, I have chosen to call a chateau.”
3.1.2. Technological Sounds
“It’s all that noise from cars and… town and... this is getting away from that, getting out, and then I think too that you discover your creativity again, that you kind of want to create, it’s the kind of environment where you feel more enthusiasm for doing things.”
“We had an exercise here where we had to go out and sit down and just be quiet and listen. And then we had to draw, a doodle or whatever we felt like. But I wasn’t able to do that because I could only hear cars, lorries. I heard an ambulance, I heard… and I don’t get that at home. At home it’s quiet.”
3.1.3. Human Sounds
“I don’t know actually. I think it has a lot to do with... with you could say the way Lena and the others spoke, they talk quietly and are very careful to say that...”
“And we were just sitting there in the “Growpoint” in a chair and really enjoying it and then one of the other people in the group felt bad and stood like and talked loudly with Lotta about in there, what. Well, then I was, I actually couldn’t really bear to listen, I got kind of unwillingly… involved in it and I got so fed up of that so I was really insensitive and I said something like suddenly when I couldn’t stand to hear it.”
“You can hear someone coming too, since there are these gravel paths in between. [...] That’s probably mainly the reason why I did not choose [to sit at] the rear side, because it has no gravel paths. So there you have no warning, I could just be sitting there and someone could come round the corner…”
3.2. Cross-Theme Dimensions
3.2.1. Sound in Relation to Overall Perception
“And then outside these, since there were no walls and that, there you could see how they [the trees] swayed a little and hear a slight rustle of the leaves, and it was a really lovely place that place.”
“Then I think it’s been lovely to walk because here it’s wood... the wooden plates. They have a special sound, exactly. Very special, a slightly soft sound, while they also remind you of walking on a jetty, it’s a bit of that sound too.”
“Yeah, since then it’s more like you can take in your experience more than when you’re sitting there and talking to someone or I just wanted to be by myself and just be able to relax in it, kind of…”
“Yes, I could stand and see the ripples and listen, it was able to take away the lorries... well the traffic... it took that away. And I listened to the rippling...”
3.2.2. Sound in Relation to Garden Usage
“Yes... I was sitting there once. One time we were given an exercise to go out and sit in the garden, on just one occasion. And I sat here beside the pond, or whatever you call it, that, and there was such a lovely sound of running water, so I actually just sat there, one time I sat there.”
“Mm and then I was here too because I was really, really disturbed by this. I am quite sensitive to sounds and this motorway noise, it was really stressful for me. And you could hear it least over here. Since I grew up in the country and in silence in a way, so for me that motorway noise, you can’t shut it out and it’s just a constant stressful sound that...”
“Yeah, but you still have a bit of an idea about what’s going on. But nobody comes up, there was another girl who smoked and often, we never went and smoked together but nobody goes up to smokers... You don’t do it. No, no you went and smoked, kept away, so it’s like perfect, because I was like... oasis and solitude as a smoker.”
“And this is also a social place. There were many who walked and gardened there… and it felt like people didn’t talk. When you went here there was not as much socialising in the same way as there was here, or here...”
3.2.3. Increased Susceptibility to Sound
“When I started feeling burnt out I found […] it was never quiet, all the traffic and all the voices and all the neighbours. Suddenly I became oversensitive to all sound […] I couldn’t bear many sounds at all. [...] No, not even the birds. So all that has come back through this learning to relax again. [...] You forget how to do it.”
“And now I’ve got so extremely sensitive to sound. In my flat I can hear sounds I never thought about before […] I have just complained to the warden about the neighbour above […] It’s just become a whole new level of noise, sort of.”
4. Discussion
4.1. Role of Sound in Nature-Based Rehabilitation
4.2. Increased Susceptibility
4.3. Design Considerations
5. Conclusions
Acknowledgments
Author Contributions
Conflicts of Interest
Appendix A
Swedish Thesaurus | English Approximation |
---|---|
ljud * (ljud, ljudet, billjud, ljudkänslig, motorvägsljudet, trafikljud) | sound * (sound, the sound, car sound, sound sensitivity, motorway sounds, traffic sounds) |
tyst * (tyst, tystnad) | quiet * (quiet, quietness) |
hör * (höra, hörs, hört, hörsel) | hear * (hear, heard, hearing) |
bull * (buller, bullrig) | noise * (noise, noisy) |
prat * (prat, pratar) | talk * (talk, talking) |
rassl * (prasslande, prassla, rassla, rasslande) | clutter * (rustle, rustling, rattle, rattling, clutter, cluttering) |
porl * (porla, porlande) | trickle * (tricking, rippling) |
kluck * (klucka) | lap * (lapping) |
brus * (brusa) | rush * (rushing) |
rinn * (rinna) | flow * (flowing) |
sus * (susa, susande) | rustle * (rustling) |
brum * (brummande) | throb * (throbbing) |
surr * (surra, surrande) | buzz * (buzzing) |
knast * (knastra, knastrat) | crunch * (crunching) |
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Cerwén, G.; Pedersen, E.; Pálsdóttir, A.-M. The Role of Soundscape in Nature-Based Rehabilitation: A Patient Perspective. Int. J. Environ. Res. Public Health 2016, 13, 1229. https://doi.org/10.3390/ijerph13121229
Cerwén G, Pedersen E, Pálsdóttir A-M. The Role of Soundscape in Nature-Based Rehabilitation: A Patient Perspective. International Journal of Environmental Research and Public Health. 2016; 13(12):1229. https://doi.org/10.3390/ijerph13121229
Chicago/Turabian StyleCerwén, Gunnar, Eja Pedersen, and Anna-María Pálsdóttir. 2016. "The Role of Soundscape in Nature-Based Rehabilitation: A Patient Perspective" International Journal of Environmental Research and Public Health 13, no. 12: 1229. https://doi.org/10.3390/ijerph13121229
APA StyleCerwén, G., Pedersen, E., & Pálsdóttir, A. -M. (2016). The Role of Soundscape in Nature-Based Rehabilitation: A Patient Perspective. International Journal of Environmental Research and Public Health, 13(12), 1229. https://doi.org/10.3390/ijerph13121229