Table 2 Analysis of semantic coding based on grounded theory: open, axial, and selective coding

Can you describe an ideal historic district? ‘The block is the harmony of sound with style and human environment. I think there can also be programs and activities to restore historical scenes. It is best to have some distinctive sounds, that naturally introduce the history and culture. Then in the historic district, some residents still live there, and some more native life scenes can add authenticity.’

What do you hope to do in this district? Or what else is going on in it?

‘I might be inclined to go somewhere myself. It’s a little less crowded, a little out of the way. Hearing a less commercial, sound may enhance the authenticity.’

a1 The sound is related to the construction era of the district, and the original sound of the year is often set

a2 Human sounds such as chatting, walking, and playing have authenticity

a3 The sound generated by the original lifestyle reflects the backwardness of the historic district and can increase its authenticity

a4 The district has some historical and cultural sounds

a5 Special, iconic sounds can be heard during the tour

a6 The construction of an acoustic environment helps listeners pay attention to the expression of texture, which can trigger a change in people’s emotions

a7 Sound is the medium for expressing the regional character

a8 Overly modern sounds in the district in the district reduce the authenticity.

a9 Different from other urban spaces, the businesses in historic districts reflect negative feelings such as mystery, obsolescence, and apathy

a10 Sounds should be set with attention to detail, for example, dialect families should match regional characteristics

aa1 The sounds in the block are authentic and reflect the historical landscape. (a89, a201, a255 and a270).

aa2 People are more historical than native sounds, such as footsteps and children playing.

aa3 Backward things make the district more historical, such as using primitive means of production (cooking by fire, washing clothes by hand) (a114, a183, a197)

aa4 The sound is distinctive and reflects the imprint of history (a128,a147,a239).

aa5 The district should have iconic sounds to enhance the memory of the history and culture (a137)

aa6 The quality of the acoustic environment in the historic district is important (a272)

aa7 One can feel the regional characteristics through the sound, and some more extensive information points (a142,a171,a205)

aa8 Reduce machine sounds, increase natural sounds, remove modern sounds to make people feel more historical(a155,a189,a213)

A1 Background sound should be set to reflect the original sound of the block (aa1 to aa3)

A2 The role of some of the sounds in the district is to reinforce historical memory, which is usually satisfied by foreground sounds (aa4)

A3 Sound sign reflects the unique cultural identity of the block (aa5)

A4 The sound of the district elicits positive comments and emotions (aa6,aa7)

A5 Some sounds in the block trigger neutral reviews and emotions (aa8)

A6 Some sounds in the district trigger negative reviews and emotions (aa9 to aa11)

A7 Sound is a dimension of time (aa12)

A8 The authenticity comes from the change of time (aa13)

A9 Hearing is an important part of the environmental perception (aa14 to aa16)

A10 Visitors get to know regional characteristics by participating in sound activities (aa17,aa18)

AA1

Aim of soundscape construction

AA2

Sound selection and control

AA3

Soundscape sensing route

AA4

Soundscape historical atmosphere construction

AA1 Aim of soundscape construction

(1) Define the division of soundscape composition

(2) Enhance the transformation of time in soundscape

(3) Increase interaction with sound

AA2 Sound selection and control

(1) Sound characteristics

(2) Sound and cultural connotation

AA3 Soundscape sensing route

(1) Use soundscapes to increase emotional change

(2) Reproduce historical soundscapes

AA4 Soundscape historical atmosphere construction

(1) The influence of spatial morphological features on soundscape design

(2) The influence of spatial functional features on soundscape design