Interactive Soundscape Mapping for 18th-Century Naples: A Historically Informed Approach

Abstract

This paper explores the application of a specialized end-to-end framework, crafted to study historical soundscapes, with a specific focus on 18th-century Naples. The framework combines historical research, natural language processing, architectural acoustics, and virtual acoustic modelling to achieve historically accurate and physically based soundscape reconstructions. Central to this study is the development of a Historically Informed Soundscape (HIS) map, which concentrates on the urban spaces of Largo di Palazzo and Via Toledo in Naples. Using virtual and audio-augmented reality, the HIS map provides 3D spatialized audio, offering an immersive experience of the acoustic environment of 18th-century Naples. This interdisciplinary approach not only contributes to the field of sound studies but also represents a significant methodological innovation in the analysis and interpretation of historical urban soundscapes. By incorporating historical maps as interactive graphical user interfaces, the project fosters a dynamic, multisensory engagement with the past, offering a valuable tool for scholars, educators, and the public to explore and understand historical sensory environments.

1. Introduction

This article presents an overview of an innovative historical soundscape reconstruction project on 18th-century Naples. Starting from digital humanities methods, like text analysis to automatically scan the period’s archival sources, together with a review of visual sources, it presents a historically informed approach to historical soundscape reconstructions. It employs 3D spatial audio to explore methods for reconstructing historical soundscapes, using the concept of the Historically Informed Soundscape (HIS) as its foundation. Drawing inspiration from the high level of immersion provided by spatial audio and the sense of bodily engagement enabled by 2D interactive maps, it examines these elements in tandem. HIS is evaluated as a general methodology, with an emphasis on developing a more theoretical understanding of the concept. The framework is applied to the soundscape of 18th-century Naples, a city renowned for its dynamic acoustic environment in the early modern period. Characterized by its lively public spaces, long-standing ceremonial traditions, vibrant theatrical performances, and rich musical culture, a compelling case for reimagining its soundscape. This paper anchors its auditory reconstruction on the 1790 map of Naples by Giovanni Antonio Rizzi Zannoni [1,2].

In recent decades, advancements in acoustic simulation software have enabled the precise calculation of indoor acoustic characteristics. Beyond its use in commercial architectural practices, this technology has been particularly applied to reconstructing the acoustic environments of historical buildings. It has been pivotal in advancing room acoustics research while recreating the sonic environments of lost or altered historical structures and reliving historical events through auralizations. These efforts often focus on significant architectural monuments such as churches [3,4,5,6,7,8,9,10,11], ancient [12,13,14] and baroque theaters [15], opera houses [16,17], and mosques [18,19]. Pioneering studies have analyzed the acoustics of opera houses [16] and Catholic churches [9] across Italy with the dual aims of restoration and preservation, or adapting these methodologies to repurpose ancient Roman theaters for modern use [12].

UNESCO’s recognition of acoustics as an element of intangible heritage has encouraged acoustic practitioners to adopt the concept of heritage in their studies [20,21]. Although, as noted by Firat [22], there are no explicit references to acoustic heritage in any of UNESCO’s heritage conventions, this recognition has brought increased attention to the acoustics of historical buildings. Beyond studies focused on individual monumental structures, large-scale projects have also been undertaken. For example, the ERATO project (Identification, Evaluation, and Revival of the Acoustical Heritage of Ancient Theatres and Odea) investigated the acoustics of ancient Greek and Roman theaters renowned for their acoustics [23,24,25]. Similarly, the CAHRISMA project (Conservation of the Acoustical Heritage by the Revival and Identification of Sinan’s Mosques’ Acoustics) explored the unique acoustic characteristics of Mimar Sinan’s mosques [26,27]. Afterwards, a research group at the University of York conducted a project to characterize the acoustic behavior of four English cathedrals through simulations and impulse response measurements [28]. In a related study, Firat analyzed the acoustic features of three Mevlevi lodges (dervish convents), showcasing how these 17th-century religious buildings influenced musical performances [29]. Similarly, Katz and his team applied these techniques to spaces such as the Théâtre de l’Athénée and the Palais du Trocadéro [28,29]. Their work on Notre Dame after the 2019 fire further highlighted the importance of studies in architectural acoustics heritage [7,30,31].

The literature contains numerous similar studies, each focusing on different cultural properties and aspects of architectural acoustic heritage, further underscoring the significance of this emerging field. Comprehensive multidisciplinary projects that integrate expertise from various fields also exemplify the depth of historical sound studies. Notable among these are Sound and Space in Renaissance Venice: Architecture, Music, Acoustics by Howard and Moretti [32] and Pentcheva’s The Sensual Icon: Space, Ritual, and the Senses in Byzantium [33]. These studies employ sensory history surveys, historically informed performance practices, and advanced contemporary technology to reconstruct and convey the complete soundscape of specific buildings during their respective periods.

Almost all these studies utilized static acoustic simulation software to reproduce historical room acoustics. However, studying sounds in urban settings requires a different approach. Earlier attempts to recreate past soundscapes indeed relied on these alternative methods. In most cases, scholars used traditional digital audio workstations (DAWs) with spatialization plug-ins and manipulations, but these were still channel-based audio approaches. For instance, Briatore’s research on a Baroque festival at Piazza Navona in Rome followed this methodology [34], as did Pardoen’s pioneering work on the Project Bretez, which represents an early example of historical soundscape reconstructions [35,36]. Other efforts focused on acoustics simulation-based reconstruction, such as Lopez’s doctoral research using CATT-Acoustics [37] or the work by Bijsterveld and her colleagues in collaboration with the Amsterdam Museum on a soundscape reconstruction exhibition. This project recreated how Dam Square sounded in 1895 and 1935. It combined binaural recordings, acoustic measurements, and analysis, utilizing software they called Miller & Hanson’s Soundscape Builder™ [38]. In addition to these academic efforts, notable contributions have also emerged in the realm of game audio design. The Assassin’s Creed series, led by game audio designer Andrews, is a prominent example. While these ambitious efforts aim to create realistic historical soundscapes with the assistance of historian consultants, they lack documentation that adheres to scientific standards and methodologies [39].

Beyond efforts from the audio design and acoustics field, musicologists have also explored novel methods to study historical soundscapes. Following general trends in similar urban history projects [40,41], geo-spatial analysis, often supported by GIS applications, has emerged as a key approach in this area. Notable pioneering research in historical soundscape studies includes Ruiz Jiménez’s work on major cities in Spain [42] or the Este Soundscape Project in Modena, led by Fiore and Belotti [43,44]. These studies utilized cartographic methods to examine the relationship between music, space, and history in urban contexts. Highlighting architectural settings such as conservatories, parish churches, ceremony locations, or opera houses, as well as mapping procession routes or events, has become a common and effective method for understanding historical sounds in the urban context.

As a result, the common approaches in sound studies—encompassing acoustics, sound design, and musicology—often relied on static auralizations or, let alone, visual representations, such as images, without incorporating actual sound. The reliance on channel-based audio has been a major limitation, as it hinders the accurate placement of sound sources and listeners within their actual physical environments and reduces the sense of immersion in spatialized soundscapes.

In contrast, our work aimed to explore how maps could be used to present 3D spatial audio, enabling listeners to disengage from the real world and fully immerse themselves in a virtual sonic environment through headphones or multi-channel speaker setups. Unlike traditional stereo-based audio production, virtual acoustics provides listeners with six degrees of freedom (6DOF)—allowing movement in all basic directions (forward/backward, up/down, and left/right) within a 3D space.

To achieve this, we investigated a widely adopted middleware platform designed for creating spatialized sound in game audio and virtual reality applications [45], which is also used in this study. For some time, this was the only accessible platform alongside earlier versions of a real-time auralization engine, EVERTims, developed by Katz et al. [46] and integrated with Blender. This toolkit remained the primary free and open-source solution until the release of the Virtual Acoustics (VA) framework—an open-source version of RAVEN—developed by the Institute of Technical Acoustics at RWTH Aachen University [47].

2. Method

The methods and the platform used in this historical soundscape project were previously investigated in an earlier study [45]. However, alongside the virtual acoustics and spatial audio issues, this work also required a methodological approach to address the unique challenges of working with past sounds. In this context, we found meaningful parallels between early music practices and historical soundscapes reconstructions. This observation led us to introduce the term Historically Informed Soundscape (HIS) design, inspired by the concept of Historically Informed Performance (HIP) in early music studies [48]. Pearse et al. were among the first to use the term “historically informed soundscape” in an artistic context [49]. However, our approach grounds the term more firmly in historical research. This framework emphasizes the necessity of multidisciplinary methods and interdisciplinary collaboration, bringing together historians, musicians, architectural historians, acousticians, and sound designers, each contributing distinct expertise. Within this framework, we introduced the role of the HIS scholar-sound designer, a figure distinct from the scholar-performer model in HIP. Unlike the HIP scholar-performer, whose focus is on historical performance, the HIS scholar-sound designer transforms historical research into reconstructed historical soundscapes using available digital tools.

While the parallels between early music practices and historical soundscapes studies are often discussed by musicologists, there remains a clear and valid critique of such reconstructions. As Carter and Rostagno caution, we cannot truly “go back in time” [50,51]. Nonetheless, we can recreate elements of the past in the present, with the scientific validity of such endeavors depending on a robust and critical connection between the historical reality and the reconstructed soundscapes. Historians are not tasked with physically recreating the world of the past; their role is to interpret it. As Rath argues, the assumption that historians cannot explore the roles of sound and oral tradition due to their intangible and ephemeral nature is both misleading and flawed. Instead, the historian’s responsibility lies in interpreting the past using all available means [52].

To support this work, we indeed sought to incorporate all available digital techniques to achieve a more refined and streamlined approach to historically informed soundscape design. This comprehensive approach ultimately led to the development of the framework illustrated in Figure 1.

As seen in Figure 1, the process begins with Historical Sources, where a corpus of related historical documents is identified through a literature review. As a result of this literature review, visual sources as sketches, drawings, and maps are passed to the Historical Map and Architectural Space and 3D Geometry stages for modeling a 3D virtual environment. Meanwhile, textual sources are compiled into a corpus to be analyzed in the Text Analysis section. In this phase, an information-retrieval-based natural language processing (NLP) application, designed to automatically detect sound sources and sound events in historical texts, runs on the corpus. The output is sent to Sound Source Information, where the automatically identified sources are evaluated within a specific narrative, and performance guidelines are prepared.

Following this, in Sampling, in situ recordings of necessary sounds are made, and in the Anechoic Stimulus phase, recordings are conducted in an Anechoic lab. In the Wwise phase, sound recordings and auralization setup are prepared using Wwise software (version 2018.1.10.6964), after which everything is merged in UE4 (version 4.23). In UE4, the integration of the transparent listening setup with the head-tracking system is also carried out

The acoustics-related part of this framework is further detailed in the following sections, and background information for the specific case study is presented in the Appendix.

3. Interactive Soundscape Mapping

3.1. Historical Soundscape Data Acquisition and Text Analysis

Gathering evidence for soundscape research is a complex and labor-intensive process. Especially, the objectives of a historical survey and reconstruction can vary significantly depending on the focus of the study. Unlike a reconstruction study, a historical survey may rely on broader traces to intelligently piece together a sensory-based narrative. To address these challenges, this study applied text analysis methods alongside a manual review of visual sources. A brief description of this analysis is provided in Appendix A.2.

This study employed text analysis methods to identify and classify sound sources in 18th-century Naples. As creating a large-scale database of historical records was beyond this project’s scope, a targeted analysis was applied to a selected corpus, demonstrating the applicability of Historically Informed Soundscape (HIS) methods. These included viceregal and royal ceremony records (cerimoniali) [53,54], a guidebook [55], a letter [56], and a book [57], along with two secondary sources: a book [58] and a thesis [59] focused on the daily life of 18th-century Naples. These sources were selected as a representative sample to justify the methodological approach.

The small corpus was analyzed using GATE, an open-source framework for text analysis and NLP. A historical soundscape gazetteer was created using a keyword-based approach, supported by a new taxonomy specifically designed for historical soundscape research. This taxonomy, organized into five main categories—Human, Nature, Mechanical, Music, and Acoustic Adjectives—was first developed in Italian and later adapted for broader use. It is included in the Supplementary Materials. Integrated into GATE, this structured gazetteer enabled efficient entity recognition and supported different phases of text analysis. Details of the implementation, including the default processing resources and the custom soundscape gazetteer, are illustrated in Figure 2 below.

As a result of this preliminary application, the selected corpus was annotated using our historical soundscape gazetteer, facilitating easy access to historical sources. We also conducted a word frequency analysis, illustrating the occurrence of key terms for Naples. This analysis focused on the sound sources of the entire period rather than a more detailed, place- and time-specific examination, as previously discussed. Notably, the terms ‘horse’ and ‘horse carriages’ emerged with higher frequencies. These results affirm the efficacy of our taxonomy and scanning process and highlight the significance of certain sounds in the historical soundscape. Such findings proved crucial, steering our next steps in the aural reconstruction journey and ensuring our endeavors are deeply rooted in historical authenticity.

3.2. Sound Source Information and Scenario Development

A scenario for reconstruction was developed using information from text and visual analysis, with its clarity being crucial for guiding the following steps, including recording sessions. Rather than reconstructing a specific event, the study focused on interpreting the daily soundscape of the square, offering insights into the ordinary acoustic environment. This approach, though more challenging due to limited archival sources, required a retrospective and interpretative method of scenario development.

Rather than attempting to reconstruct the entire historical soundscape, we chose to layer historical sounds onto the contemporary acoustic environment. This was made possible through transparent listening technology, which enables listeners to hear both the reconstructed historical sounds and the present-day soundscape (ambient sounds surrounding the listener) of Piazza del Plebiscito. This method aligns with the concept of augmented audio reality (AAR) and is comparable to other location-based AAR applications. Location and rotation tracking were implemented using a mobile application, as detailed in the gamification section.

A background noise recording was made at night to implement two different reconstruction strategies (AAR and VAR, the latter is Virtual Audio Reality), ensuring the absence of mechanical sounds for a full soundscape reconstruction (VAR). For the alternative approach—layering specific historical sounds (limited to human voices and horse-drawn carriages) onto the contemporary soundscape—background sound was excluded, and transparent listening headphones were used (AAR). The reconstruction scenario began with ambient animal sounds and seagulls, crows, birds, and dogs distributed throughout the square with randomized whistles, barks, and movement patterns. To create a realistic 3D sonic environment, key market points were designated for vendor cries, while churches were identified as locations for church bell sounds. Horses were dispersed throughout the square, with horse-drawn carriages directed toward the palace. Additionally, a group of singing individuals was placed at the corner of a street connected to Via Toledo. Human sounds, such as coughing and sneezing, were incorporated alongside the voices of street vendors. The selected vendors included a venditore di castagne infornate (roasted chestnut seller) and a venditore di pesce (fishmonger). Their vendor cries were revoiced based on the notations of Cesare Caravaglios from the late 19th century. Additionally, to enrich the historical atmosphere, we included a group of Neapolitans singing a traditional folk song, canto a figliola, in the street [60,61,62].

3.3. Sample Recording

The recording sessions consisted of two main phases: anechoic and in situ recordings. All human voices were recorded in the anechoic chamber of Università degli Studi della Campania “Luigi Vanvitelli” (RIAS Lab) with the assistance of theater artists and volunteers. The rest of the sounds, particularly animal sounds and background noise, were recorded in situ. A Zoom H6 portable recorder was used for field recordings, while a sound level meter Solo 01dB was employed to measure sound pressure levels (SPL) of sound sources and background noise. The microphones utilized in this study included the Soundfield SPS 200 and the Rode NTG-2 shotgun microphone. The Rode NTG-2 was specifically used for capturing highly localized sound sources, such as birds or fountains, due to its directional properties, which focus on sounds from a specific axis while minimizing ambient noise.

Since digital sound recordings and sound synthesis methods do not inherently preserve accurate SPL values, a sound level meter was used alongside the microphones to ensure precise measurements. This is particularly critical for physically based rendering (PBR) methods in Historically Informed Soundscape (HIS) design, where accurate sound levels are essential for maintaining authenticity in auditory reconstructions. Where on-site recording sessions were not feasible, existing online sound databases or previously recorded material were used. This was the case for certain sounds, such as dog barking and the performance of canto a figliola.

3.4. D Architectural Space Modelling

After identifying the sound sources, the next step involved modelling the architectural environment and implementing auralization. Given their historical and social significance, Via Toledo and Largo di Palazzo were selected as the primary areas for the interactive HIS Map study. The project utilized Giovanni Antonio Rizzi Zannoni’s (1736–1814) highly detailed map of Naples, which provides an intricate representation of the city. A simplified 3D geometric model of the selected region was constructed with Google’s SketchUp based on Zannoni’s map and contemporary building height data, and the 3D meshes were imported into the Unreal Engine 4 (UE4). Where historical data were unavailable, interpolations were applied to approximate architectural details.

3.5. Auralization—Spatialization

Audiokinetic’s Wwise middleware was used for auralization in conjunction with Odeon. The details of its implementation and acoustic performance are documented in [39]. In Wwise, sound propagation is divided into three distinct components: Direct Sound (DS), Early Reflections (ER), and Late Reflections (LR). To accurately simulate sound propagation according to this structure, three separate audio buses must be configured. Audio buses and auxiliary buses are utilized to manage the organization and delivery of the sound mix. Specifically, auxiliary buses enable the adjustment of volume, channel configuration, spatial positioning, and the application of effects, states, or mixer plugins. Each auxiliary bus is assigned different effects and plugins dedicated to simulating DS, ER, and LR individually. The master audio bus in the anechoic path carries only the Direct Sound’s attenuation effect. The function we implemented for physically based distance attenuation is provided in the Supplementary Materials. Late Reflection bus has the Wwise Convolution Reverb plug-in, and the Early Reflection auxiliary bus has the Wwise Reflect [39].

Wwise Reflect calculates the early reflections according to the architectural geometry of the space modelled in UE4, and Wwise Convolution Reverb enables to import of calculated or measured Impulse Response to VE. Although Wwise Convolution Reverb is straightforward to use, we tested its ecological validity across different setups. One of the case studies involved a simple large cubic box measuring 40 × 40 × 40 m, tested under two different absorption conditions. We analyzed the reverberation time (T30); the results are presented in Figure 3.

The results indicate that Wwise Convolution Reverb performs effectively for static reverberation, successfully convolving imported impulse responses (IRs) with sound sources. Although challenges persist in the low-frequency range—a common limitation in geometrical acoustics simulations—the divergence at high frequencies may be attributed to the inherent difficulty in rendering high-frequency sounds, despite both processes relying on the same IR. The decay curves obtained from Odeon and Wwise Convolution Reverb are still closely aligned, as expected.

While these outcomes suggest that employing identical impulse responses for auralization in VR audio tools is a strong starting point, further analysis is needed. Examining the echograms of each IR measurement and exploring the differences between early and late reflections will be essential. To support this investigation, C50 (dB) values were also analyzed, with the results presented in Figure 4.

The C50 results demonstrate that Wwise Convolution Reverb has limitations in accurately reproducing early reflections, particularly at higher frequencies. Wwise Reflect was developed to address this shortcoming by improving the modelling of early reflections and enabling dynamic, real-time acoustic simulation, all while maintaining low CPU usage. The late reflections, in contrast, continue to be handled through static convolution as seen in the Echograms in the following Figure 5.

Taking this into account during the implementation of the Largo di Palazzo case study, the IRs were computed using Odeon (version 11) geometric acoustics simulation software. Once imported into the 3D model through Wwise Convolution Reverb, early and late reflections were manually balanced for mobile sound sources, as Wwise does not provide an automated solution for this process [45,63]. This workflow allows for the continued use of IRs for late reverberation, while early reverberation is filtered out, and early reflections are generated in real-time by Wwise Reflect, ensuring a dynamic and responsive spatialization system.

3.6. Gamification

In the final phase of the reconstruction, as previously mentioned, two different use cases—VAR and AAR—were planned. While AAR targeted in situ use, VAR was intended for laboratory or controlled environments.

Aligned with the objectives of AAR, a location and rotation tracking sensor was integrated into the setup for in-situ use. Initially, a DIY head-tracking gadget was assembled using an Arduino, an IMU: MPU-6050, and a WAVGAT NEO-6M GPS sensor. However, for ease-of-use accessibility, iOS-based mobile phones were later used instead, utilizing the GyrOSC application. The data flowchart, illustrating the tracking of rotation and data transmission to the UE4, is presented in Figure 6 below.

A transparent listening headphone was incorporated for spatial awareness and the augmented audio reality scenario. This device allows for listening to the actual surrounding soundscape while enabling the real-time binaural listening of the simulated soundscape. We selected the Roland CS-10EM, a headphone compatible with plug-in power recorders. This concept gained popularity later in the industry, particularly with the introduction of the Apple AirPods Pro.

After finalizing the technological foundation of the reconstruction, a gamification strategy was implemented to enhance user engagement and to collect more effective data on the auralization system’s performance in sound source localization. Keeping the first-person character system of the reconstruction, Zannoni’s historical map was integrated as an overlay using widget blueprints, enabling the creation of graphical user interfaces (GUIs). The player’s position and points of interest (i.e., sound sources) were added as overlays, while the user’s movement and head orientation were represented by a player icon on the map, as seen in Figure 7.

To encourage spatial awareness and acoustic exploration, movement on the map was restricted to align with the player’s physical movement. This approach reinforced bodily navigation as a core element of the experience.

In the case of VAR, users first enable a virtual background sound through the settings in the Start Menu. They can then interact with the virtual environment using the W-A-S-D keys for movement, the scroll wheel to zoom in and out, and either the mouse to manually adjust head orientation or the integrated head-rotation tracking to control it automatically. The application was then expanded into a full-screen mode, incorporating a sound-seeking game designed to assess the auralization system’s localization accuracy. In this game, users attempt to locate historical sound sources purely by listening. When they believe they have reached the closest possible position to a sound source, they press the “F” key to confirm their location. Once activated, the sound source appears on the map, marking it as a “found” source, and the player-source distance is recorded to calculate game points.

Preliminary tests revealed that the smartphone’s GPS sensor (accuracy of 2–5 m in optimal conditions) was insufficient for conducting this study effectively. Consequently, GPS tracking was provided as an optional feature; however, structured testing for both AAR and VAR cases was ultimately hindered by COVID-19 restrictions, preventing full evaluation of either approach.

4. Results and Discussion

As a result, an interactive map, designed as a game, depicting the 18th-century historical soundscape of Naples, was developed. A short video demonstration of the VAR gameplay experience is available in [64].

The preliminary tests conducted with colleagues demonstrated that interactive HIS maps are an effective tool for studying historical soundscapes. Positioning sound sources within a three-dimensional Euclidean space not only enhances immersion in a historically grounded environment but also offers a more flexible and expressive way to present both spatialized and non-spatialized sound. Traditionally, the dominant approach to representing sounds and soundscapes has relied on visual depictions rather than incorporating actual sound. The limitations of channel-based audio and binaural recordings have made it difficult to accurately position sound sources within their environments and achieve a fully immersive spatialized experience. Consequently, many soundscapes mapping projects that include sound have relied on wave files, which users can play through an integrated sound player. In contrast, VR applications provide a significantly more immersive experience by placing the listener within an aurally realistic virtual environment. The 3D spatial audio approach used in this study proved highly interactive, while the gamification strategy further enhanced user engagement, fostering greater public awareness of historical soundscapes and their acoustic environments.

Furthermore, bodily movement—whether digital or real—is crucial in enhancing the sense of presence. As Atkinson, referencing Tim Ingold, emphasizes, way-finding is a fundamental means of understanding oneself in relation to others and a shared identity [65]. Beyond sound placement, interactive maps facilitate the integration of historical information, further enriching the user experience.

5. Conclusions and Future Work

Despite ongoing skepticism toward reconstruction studies in sensory history, this research highlights the rapid advancements in spatialization technology and its growing significance in Historically Informed Soundscape (HIS) design [66,67]. The increasing availability of user-friendly spatialization tools has made these technologies accessible even to non-experts, while text analysis and digital humanities methods provide new, efficient ways to analyze historical sources. The high adaptability of VR, supported by graphical coding and standard digital tools, expands the possibilities for future applications in historical sound studies, opening new avenues for engagement and interpretation.

These technological advancements not only benefit sound designers and aural historians but also make HIS research more methodologically robust. However, this study also reveals a pressing need for benchmarking in the field of virtual acoustics to effectively evaluate current and emerging spatialization tools, software, and reconstructions. Establishing standardized assessment frameworks would ensure greater accuracy, consistency, and reliability in 3D spatial audio reproductions, ultimately enhancing the credibility and effectiveness of historical soundscape reconstructions as well.

The source-oriented nature of HIS further enhances the effectiveness of text analysis methods, allowing for more precise and meaningful insights. Additionally, this study contributes to the field by introducing a historical soundscape taxonomy and the first edition of an HIS gazetteer for Italian. Building on this work, the first author’s postdoctoral research, supported by the MSCA YUFE4 postdocs, seeks to expand and refine this line of inquiry. In particular, preliminary efforts to develop a Historical Soundscape Explorer—an NLP-based application for HIS—will be further investigated through data modeling, natural language processing (NLP), auditory ontologies, and semantic web technologies.

From a technical perspective, while tools like Wwise are not yet designed to perform full acoustic simulations, they can serve as effective platforms for presenting immersive 3D sonic environments when supported by external methods, such as impulse response (IR) measurement or the use of static acoustic simulation software. A promising direction is the objective filtering of early reflections in imported IRs, allowing Wwise Reflect to handle those elements in real time, while static convolution is used for late reverberation. Increasing CPU resources allocated to real-time audio in game engines could significantly enhance future applications of virtual acoustics. Despite some limitations, the evolution of spatial audio middleware indicates a strong potential for more ecologically valid and computationally efficient aural reconstructions. Subjective testing for dynamic spatial audio systems, including perceptual validation of HIS experiences, will be an important step in evaluating and refining these approaches.

Regardless of its reception, HIS design has become an integral part of contemporary historical research, standing alongside visual reconstructions as a key tool for engaging with the past. This approach is already visible in museums worldwide, where sound design in historical films has played a pivotal role in shaping HIS production. As a distinct methodology for exploring auditory culture across different historical periods, HIS enables historically informed reconstructions that are both physically grounded and culturally meaningful.

While we may never be able to travel back in time, advancements in aural reconstruction are paving the way for new ways of experiencing and reinterpreting historical time through sound, offering unprecedented insights into past acoustic environments.