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Hearing loss commonly causes difficulties in understanding speech in the presence of background noise. The benefits of hearing-aids in terms of speech intelligibility in challenging listening scenarios remain limited. The present study investigated if phoneme-in-noise discrimination training improves phoneme identification and sentence intelligibility in noise in hearing-aid users. Two groups of participants received either a two-week training program or a control intervention. Three phoneme categories were trained: onset consonants (C1), vowels (V) and post-vowel consonants (C2) in C1-V-C2-/i/ logatomes from the Danish nonsense word corpus (DANOK). Phoneme identification test and hearing in noise test (HINT) were administered before and after the respective interventions and, for the training group only, after three months. Twenty 63-to-79 years old individuals with a mild-to-moderate sensorineural hearing loss and at least one year of experience using hearing-aids. The training provided an improvement in phoneme identification scores for vowels and post-vowel consonants, which was retained over three months. No significant performance improvement in HINT was found. The study demonstrates that the training induced a robust refinement of auditory perception at a phoneme level but provides no evidence for the generalisation to an untrained sentence intelligibility task. [ABSTRACT FROM AUTHOR]

Auditory stream segregation, or separating sounds into their respective sources and tracking them over time, is a fundamental auditory ability. Previous research has separately explored the impacts of aging and musicianship on the ability to separate and follow auditory streams. The current study evaluated the simultaneous effects of age and musicianship on auditory streaming induced by three physical features: intensity, spectral envelope and temporal envelope. In the first study, older and younger musicians and non-musicians with normal hearing identified deviants in a four-note melody interleaved with distractors that were more or less similar to the melody in terms of intensity, spectral envelope and temporal envelope. In the second study, older and younger musicians and non-musicians participated in a dissimilarity rating paradigm with pairs of melodies that differed along the same three features. Results suggested that auditory streaming skills are maintained in older adults but that older adults rely on intensity more than younger adults while musicianship is associated with increased sensitivity to spectral and temporal envelope, acoustic features that are typically less effective for stream segregation, particularly in older adults. [ABSTRACT FROM AUTHOR]

Ten cochlear implant (CI) users with single-sided deafness were asked to vary the parameters of an acoustic sound played to their contralateral ear to characterize the perception evoked by a pure tone played through the direct audio input of their CI. Two frequencies, centered on an apical and a medial electrode, were tested. In six subjects, the electrode positions were estimated on CT scans. The study was divided in 3 experiments in which the parameters of the acoustic sound varied. The listeners had to vary the frequency of a pure tone (Exp.1), the center frequency and the bandwidth of a filter applied to a harmonic complex sound (Exp.2), and the frequency of the components and the inharmonicity factor of a complex sound (Exp.3). Two testing sessions were performed at 3 and 12 months after activation. The mean results of Exp. 1 showed that the frequency of the matched tone was significantly lower for the apical than for the medial stimulus. In Exp.2, the mean center frequencies of the filters were also significantly lower for the apical than for the medial stimulus. As this parameter modifies the energy ratio between the high and low-frequency components, this result suggests that the medial stimulus was perceived with a brighter timbre than the apical stimulus. In Exp.3, the mean frequencies of the components were not significantly different between the sounds resulting from the stimulation of the two electrodes, but were significantly lower at the12-month session compared to the 3-month visit. These results suggest that a change in place of excitation may be perceived as a change in timbre rather than a change in pitch, and that an effect of adaptation can be observed. [ABSTRACT FROM AUTHOR]

In all commercial cochlear implant (CI) devices, the electric stimulation is performed with a rectangular pulse that generally has two phases of opposite polarity. To date, developing new stimulation strategies has relied on the efficacy of this shape. Here, we investigate the potential of a novel stimulation paradigm that uses biophysically-inspired electrical ramped pulses. Using electrically-evoked auditory brainstem response (eABR) recordings in mice, we found that less charge, but higher current level amplitude, is needed to evoke responses with ramped shapes that are similar in amplitude to responses obtained with rectangular shapes. The most charge-efficient pulse shape had a rising ramp over both phases, supporting findings from previous in vitro studies. This was also true for longer phase durations. Our study presents the first physiological data on CI-stimulation with ramped pulse shapes. By reducing charge consumption ramped pulses have the potential to produce more battery-efficient CIs and may open new perspectives for designing other efficient neural implants in the future. [ABSTRACT FROM AUTHOR]

Binaural streaming by frequency-proximity was investigated without subjective listener-feedback by modifying the scale illusion of Deutsch [J. Acoust. Soc. Am. 57, 1156–1160 (1975)] into a detection-task. Nineteen listeners had to detect one deviation within a repeating melody stream, while simultaneously presented with a randomized distractor stream. Every second note in each stream was presented to the opposite ear, requiring binaural streaming to detect the deviant. Listeners performed well in this test but adding interaural delay or timbre-difference let the listeners group by lateralization instead. This confirms the grouping by frequency-proximity. The method could be used to investigate binaural streaming in hearing-impaired patients, where interaural percepts might differ. [ABSTRACT FROM AUTHOR]

The auditory system can theoretically encode frequencies by either the rate or place of stimulation within the cochlea. Previous work with cochlear implants has demonstrated that both changes in timing and place can be described as pitch changes but are perceptually orthogonal. Using multidimensional scaling, the present experiment extends the previous findings that timing and place changes are perceptually orthogonal into the cochlear apex using long 31-mm electrode arrays. However, temporal cues seem to be more reliable across subjects at the apex while place cues seem to be more reliable at the middle of the cochlea. [ABSTRACT FROM AUTHOR]

The symmetric biphasic pulses used in contemporary cochlear implants (CIs) consist of both cathodic and anodic currents, which may stimulate different sites on spiral ganglion neurons and, potentially, interact with each other. The effect on the order of anodic and cathodic stimulation on loudness at short inter-pulse intervals (IPIs; 0–800 μs) is investigated. Pairs of opposite-polarity pseudomonophasic (PS) pulses were used and the amplitude of each pulse was manipulated independently. In experiment 1 the two PS pulses differed in their current level in order to elicit the same loudness when presented separately. Six users of the Advanced Bionics CI (Valencia, CA) loudness-ranked trains of the pulse pairs using a midpoint-comparison procedure. Stimuli with anodic-leading polarity were louder than those with cathodic-leading polarity for IPIs shorter than 400 μs. This effect was small—about 0.3 dB—but consistent across listeners. When the same procedure was repeated with both PS pulses having the same current level (experiment 2), anodic-leading stimuli were still louder than cathodic-leading stimuli at very short intervals. However, when using symmetric biphasic pulses (experiment 3) the effect disappeared at short intervals and reversed at long intervals. Possible peripheral sources of such polarity interactions are discussed. [ABSTRACT FROM AUTHOR]

Up to medium intensities and in the 80–100-Hz region, the auditory steady-state response (ASSR) to a multi-tone carrier is commonly considered to be a linear sum of the dipoles from each tone specific ASSR generator. Here, this hypothesis was investigated when a unique modulation frequency is used for all carrier components. Listeners were presented with a co-modulated dual-frequency carrier (1 and 4 kHz), from which the modulator starting phase Φi of the 1-kHz component was systematically varied. The results support the hypothesis of a linear superposition of the dipoles originating from different frequency specific ASSR generators. [ABSTRACT FROM AUTHOR]

Difficulty perceiving music is often cited as one of the main problems facing hearing-impaired listeners. It has been suggested that musical enjoyment could be enhanced if sound information absent due to impairment is transmitted via other sensory modalities such as vision or touch. In this study, we test whether tactile cues can be used to segregate 2 interleaved melodies. Twelve musicians and 12 nonmusicians were asked to detect changes in a 4-note repeated melody interleaved with a random melody. In order to perform this task, the listener must be able to segregate the target melody from the random melody. Tactile cues were applied to the listener's fingers on half of the blocks. Results showed that tactile cues can significantly improve the melodic segregation ability in both musician and nonmusician groups in challenging listening conditions. Overall, the musician group performance was always better; however, the magnitude of improvement with the introduction of tactile cues was similar in both groups. This study suggests that hearing-impaired listeners could potentially benefit from a system transmitting such information via a tactile modality. [ABSTRACT FROM AUTHOR]

The cochlear implant is rightfully considered as one of the greatest success stories in Australian biomedical research and development. It provides sound sensation to hundreds of thousands of people around the world, many of whom are able to understand and produce speech. The device was developed in order to optimize speech perception, and parameters such as the choice of frequency bands and signal processing used were chosen in order to maximise perceptual differences between speech vowels. However, these settings are far from being suited for the perception of music, which might partly explain why many cochlear implant recipients cannot enjoy music through their implant. [ABSTRACT FROM AUTHOR]

This study investigated whether music specially written for people with cochlear implants (CIs) could be used to better pinpoint how the music listening experience for a CI was different to a normal hearing listener (NH). After the specially arranged live concert, focus groups were formed from audience volunteers (two groups each of CIs, NHs and a range of hearing assistant devices). The theme of musical features (MF) was reported most frequently for both NHs and CIs. Valence analysis identified no significant difference in positive comments about MF by CIs than NHs for the specially commissioned works. Spatialization, although reported infrequently, was considered important by some CI, NH and bimodal listeners (who use a cochlear implant and a hearing aid). Rhythm was enjoyed by both NH and CI groups, and percussion instruments liked more than other musical instruments, but more so by CIs. Bilateral and bimodal CIs expressed interest in optimizing the hearing assistance settings, but on several occasions, the optimization ended with turning the contralateral hearing aid off. The study identifies the possible critical role of familiarity in music enjoyment. [ABSTRACT FROM AUTHOR]

Background: Children with hearing impairments, especially those using hearing devices such as the cochlear implant (CI) or hearing aid (HA), are sometimes not encouraged to attend music classes, as they or their parents and teachers may be unsure whether the child can perform basic musical tasks. Purpose: The objective of the current study was to provide a baseline for the performance of children using CIs and HAs on standardized tests of rhythm and pitch perception as well as an instrument timbre identification task. An additional aim was to determine the effect of structured music training on these measures during the course of a school year. Research Design: The Intermediate Measures of Music Audiation (IMMA) Tonal and Rhythmic subtests were administered four times, with 6 wk between tests. All children in the study were also enrolled in "Music Club" teaching sessions. Measures were compared between groups and across the four testing sessions. Study Sample: Twenty children from a single school in Melbourne, Australia, were recruited. Eleven (four girls) had impaired hearing, including six with a unilateral CI or CI and HA together (two girls) and five with bilateral HAs (two girls). Nine were normally hearing, selected to match the age and gender of the hearing-impaired children. Ages ranged from 9--13 yr. Intervention: All children participated in a weekly Music Club -- a 45 min session of musical activities based around vocal play and the integration of aural, visual, and kinesthetic modes of learning. Data Collection and Analysis: Audiological data were collected from clinical files. IMMA scores were converted to percentile ranks using published norms. Between-group differences were tested using repeated-measures analysis of variance, and between-session differences were tested using a linear mixed model. Linear regression was used to model the effect of hearing loss on the test scores. Results: In the first session, normally hearing children had a mean percentile rank of ~50 in both the Tonal and Rhythmic subtests of the IMMA. Children using CIs showed trends toward lower scores in the Tonal, but not the Rhythmic, subtests. No significant improvements were found between sessions. In the timbre test, children generally made fewer errors within the set of percussive compared to nonpercussive instruments. The hearing loss level partially predicted performance in the Tonal, but not the Rhythmic, task, and predictions were more significant for nonpercussive compared to percussive instruments. Conclusions: The findings highlight the importance of temporal cues in the perception of music, and indicate that temporal cues may be used by children with CIs and HAs in the perception of not only rhythm, but also of some aspects of timbre. We were not able to link participation in the Music Club with increased scores on the Tonal, Rhythmic, and Timbre tests. However, anecdotal evidence from the children and their teachers suggested a wide range of benefits from participation in the Music Club that extended from increased engagement and interest in music classes into the children's social situations [ABSTRACT FROM AUTHOR]

Although the perception of music is generally poor in cochlear implant users, there are a few excellent performers. Objective: The aim of this study was the assessment of different aspects of music perception in one exceptional cochlear implant user. Design: The assessments included pitch direction discrimination, melody and timbre recognition, relative and absolute pitch judgment, and consonance rating of musical notes presented through the sound processor(s). Study sample: An adult cochlear implant user with musical background who lost her hearing postlingually, and five normally-hearing listeners with musical training participated in the study. Results: The CI user discriminated pitch direction for sounds differing by one semitone and recognized melody with nearly 100% accuracy. Her results in timbre recognition were better than average published data for cochlear implant users. Her consonance rating, and relative and absolute pitch perception were comparable to normally-hearing listeners with musical training. Conclusion: The results in this study showed that excellent performance is possible on musical perception tasks including pitch perception using present day cochlear implant technologies. Factors that may explain this user's exceptional performance are short duration of deafness, pre- and post-deafness musical training, and perfect pitch abilities before the onset of deafness. [ABSTRACT FROM AUTHOR]

The article discusses a research study on listeners' abilities to segregate melodies from distracting notes, focusing on the effects of timbre and loudness on listeners' musical judgments. The authors discuss the effects of musical training on listeners' ability to segregate melodies, and special attention is paid to the brain networks used by musicians and nonmusicians when processing melodies. Other topics include hearing impairment and cochlear implants.

Although cochlear implant (CI) users enjoy good speech understanding, music perception is still difficult or unpleasant for many. This study aimed to assess cognitive, engagement, and auditory responses to new music composed specifically for CI users. From 407 concertgoers who completed a questionnaire, responses from groups of normally hearing listeners (n = 44) and CI users (n = 44), matched in age and musical ability, were compared to determine whether specially commissioned works would elicit similar responses from both groups. No significant group differences were found on measures of interest, enjoyment, and musicality, whereas ratings of understanding and instrument localization and recognition were significantly lower for CI users. Overall, ratings of the music were typically higher for percussion pieces. The concert successfully elicited similar responses from both groups in terms of interest, enjoyment, and musicality, although technical aspects, such as understanding, localization, and instrument identification, continue to be problematic for CI users. [ABSTRACT FROM AUTHOR]

Background: Studies using vocoders as acoustic simulators of cochlear implants have generally focused on simulation of speech understanding, gender recognition, or music appreciation. The aim of the present experiment was to study the auditory sensation perceived by cochlear implant (CI) recipients with steady electrical stimulation on the most-apical electrode. Methodology/Principal Findings: Five unilateral CI users with contralateral residual hearing were asked to vary the parameters of an acoustic signal played to the non-implanted ear, in order to match its sensation to that of the electric stimulus. They also provided a rating of similarity between each acoustic sound they selected and the electric stimulus. On average across subjects, the sound rated as most similar was a complex signal with a concentration of energy around 523 Hz. This sound was inharmonic in 3 out of 5 subjects with a moderate, progressive increase in the spacing between the frequency components. Conclusions/Significance: For these subjects, the sound sensation created by steady electric stimulation on the most-apical electrode was neither a white noise nor a pure tone, but a complex signal with a progressive increase in the spacing between the frequency components in 3 out of 5 subjects. Knowing whether the inharmonic nature of the sound was related to the fact that the non-implanted ear was impaired has to be explored in single-sided deafened patients with a contralateral CI. These results may be used in the future to better understand peripheral and central auditory processing in relation to cochlear implants. [ABSTRACT FROM AUTHOR]

Background: Enjoyment of music is an important part of life that may be degraded for people with hearing impairments, especially those using cochlear implants. The ability to follow separate lines of melody is an important factor in music appreciation. This ability relies on effective auditory streaming, which is much reduced in people with hearing impairment, contributing to difficulties in music appreciation. The aim of this study was to assess whether visual cues could reduce the subjective difficulty of segregating a melody from interleaved background notes in normally hearing listeners, those using hearing aids, and those using cochlear implants. Methodology/Principal Findings: Normally hearing listeners (N = 20), hearing aid users (N = 10), and cochlear implant users (N = 11) were asked to rate the difficulty of segregating a repeating four-note melody from random interleaved distracter notes. The pitch of the background notes was gradually increased or decreased throughout blocks, providing a range of difficulty from easy (with a large pitch separation between melody and distracter) to impossible (with the melody and distracter completely overlapping). Visual cues were provided on half the blocks, and difficulty ratings for blocks with and without visual cues were compared between groups. Visual cues reduced the subjective difficulty of extracting the melody from the distracter notes for normally hearing listeners and cochlear implant users, but not hearing aid users. Conclusion/Significance: Simple visual cues may improve the ability of cochlear implant users to segregate lines of music, thus potentially increasing their enjoyment of music. More research is needed to determine what type of acoustic cues to encode visually in order to optimise the benefits they may provide. [ABSTRACT FROM AUTHOR]

Purpose: To estimate real-environment iPod listening levels for listeners in 4 environments to gain insight into whether average listeners receive dosages exceeding occupational noise exposure guidelines as a result of their listening habits. Method: The earbud outputs of iPods were connected directly into the inputs of a digital recorder to make recordings of listening levels. These recordings were used to estimate listening levels using reference recordings made in a real ear. Recordings were made in 4 environments with a wide range of background noises: (a) a library, (b) a student center, (c) busy streets, and (d) the subway. Results: None of the 64 listeners were estimated to exceed allowable occupational dosages, with a maximum dose of 7.57% based on Occupational Safety and Health Administration (OSHA; 1998) methods and 10.83% based on National Institute for Occupational Safety and Health (NIOSH; 1998) methods. Conclusions: All of the listeners surveyed were exposed to dosages well below OSHA and NIOSH occupational regulations. Although this does not guarantee individual safety, the results do not support the widespread concern regarding the safety of common iPod usage. However, measurements made in this study agree with the finding that iPod output can exceed safe levels and further support recommendations to monitor and limit listening volume and listening duration. [ABSTRACT FROM AUTHOR]

Background: The ability to separate two interleaved melodies is an important factor in music appreciation. This ability is greatly reduced in people with hearing impairment, contributing to difficulties in music appreciation. The aim of this study was to assess whether visual cues, musical training or musical context could have an effect on this ability, and potentially improve music appreciation for the hearing impaired. Methods: Musicians (N = 18) and non-musicians (N = 19) were asked to rate the difficulty of segregating a four-note repeating melody from interleaved random distracter notes. Visual cues were provided on half the blocks, and two musical contexts were tested, with the overlap between melody and distracter notes either gradually increasing or decreasing. Conclusions: Visual cues, musical training, and musical context all affected the difficulty of extracting the melody from a background of interleaved random distracter notes. Visual cues were effective in reducing the difficulty of segregating the melody from distracter notes, even in individuals with no musical training. These results are consistent with theories that indicate an important role for central (top-down) processes in auditory streaming mechanisms, and suggest that visual cues may help the hearing-impaired enjoy music. [ABSTRACT FROM AUTHOR]

The primary purpose of the present experiment was to test whether the binaural equal-loudness-ratio hypothesis (i.e., the loudness ratio between monaural and binaural tones presented at the same Sound Pressure Level, SPL, is independent of SPL) holds for hearing-impaired listeners with bilaterally symmetrical hearing losses. The outcome of this experiment provided a theoretical construct for modeling loudness-growth functions. A cross-modality matching task between string length and tones was used to measure three loudness functions for eight listeners: two monaural (left and right) and one binaural. A multiple linear regression was performed to test the significance of presentation mode (monaural vs binaural and left vs right), level, and their interaction. Results indicate that monaural loudness functions differ between the ears of two listeners. The interaction between presentation mode (binaural/monaural) and level was significant for one listener. Although significant, these differences were quite small. Generally, the binaural equal-loudness-ratio hypothesis appears to hold for hearing-impaired listeners. These data also indicate that loudness-growth functions in two ears of an individual are more similar than loudness-growth functions in ears from different listeners. Finally, it is demonstrated that loudness-growth functions can be constructed for individual listeners from binaural level difference for equal-loudness data. [ABSTRACT FROM AUTHOR]

The dependency of the brightness dimension of timbre on fundamental frequency (F0) was examined experimentally. Subjects compared the timbres of 24 synthetic stimuli, produced by the combination of six values of spectral centroid to obtain different values of expected brightness, and four F0’s, ranging over 18 semitones. Subjects were instructed to ignore pitch differences. Dissimilarity scores were analyzed by both ANOVA and multidimensional scaling (MDS). Results show that timbres can be compared between stimuli with different F0’s over the range tested, and that differences in F0 affect timbre dissimilarity in two ways. First, dissimilarity scores reveal a term proportional to F0 difference that shows up in the MDS solution as a dimension correlated with F0 and orthogonal to other timbre dimensions. Second, F0 affects systematically the timbre dimension (brightness) correlated with spectral centroid. Interestingly, both terms covaried with differences in F0 rather than chroma or consonance. The first term probably corresponds to pitch. The second can be eliminated if the formula for spectral centroid is modified by introducing a corrective factor dependent on F0. [ABSTRACT FROM AUTHOR]

It is well known that a tone presented binaurally is louder than the same tone presented monaurally. It is less clear how this loudness ratio changes as a function of level. The present experiment was designed to directly test the Binaural Equal-Loudness-Ratio hypothesis (BELRH), which states that the loudness ratio between equal-SPL monaural and binaural tones is independent of SPL. If true, the BELRH implies that monaural and binaural loudness functions are parallel when plotted on a log scale. Cross-modality matches between string length and loudness were used to directly measure binaural and monaural loudness functions for nine normal listeners. Stimuli were 1-kHz 200-ms tones ranging in level from 5 dB SL to 100 dB SPL. A two-way ANOVA showed significant effects of level and mode (binaural or monaural) on loudness, but no interaction between the level and mode. Consequently, no significant variations were found in the binaural-to-monaural loudness ratio across the range of levels tested. This finding supports the BELRH. In addition, the present data were found to closely match loudness functions derived from binaural level differences for equal loudness using the model proposed by Whilby et al. [J. Acoust. Soc. Am. 119, 3931–3939 (2006)]. [ABSTRACT FROM AUTHOR]

The dependency of the timbre of musical sounds on their fundamental frequency (F0) was examined in three experiments. In experiment I subjects compared the timbres of stimuli produced by a set of 12 musical instruments with equal F0, duration, and loudness. There were three sessions, each at a different F0. In experiment II the same stimuli were rearranged in pairs, each with the same difference in F0, and subjects had to ignore the constant difference in pitch. In experiment III, instruments were paired both with and without an F0 difference within the same session, and subjects had to ignore the variable differences in pitch. Experiment I yielded dissimilarity matrices that were similar at different F0's, suggesting that instruments kept their relative positions within timbre space. Experiment II found that subjects were able to ignore the salient pitch difference while rating timbre dissimilarity. Dissimilarity matrices were symmetrical, suggesting further that the absolute displacement of the set of instruments within timbre space was small. Experiment III extended this result to the case where the pitch difference varied from trial to trial. Multidimensional scaling (MDS) of dissimilarity scores produced solutions (timbre spaces) that varied little across conditions and experiments. MDS solutions were used to test the validity of signal-based predictors of timbre, and in particular their stability as a function of F0. Taken together, the results suggest that timbre differences are perceived independently from differences of pitch, at least for F0 differences smaller than an octave. Timbre differences can be measured between stimuli with different F0's. [ABSTRACT FROM AUTHOR]

Cochlear implant (CI) users often report being unsatisfied by music listening through their hearing device. Vibrotactile stimulation could help alleviate those challenges. Previous research has shown that musical stimuli was given higher preference ratings by normal-hearing listeners when concurrent vibrotactile stimulation was congruent in intensity and timing with the corresponding auditory signal compared to incongruent. However, it is not known whether this is also the case for CI users. Therefore, in this experiment, we presented 18 CI users and 24 normal-hearing listeners with five melodies and five different audio-to-tactile maps. Each map varied the congruence between the audio and tactile signals related to intensity, fundamental frequency, and timing. Participants were asked to rate the maps from zero to 100, based on preference. It was shown that almost all normal-hearing listeners, as well as a subset of the CI users, preferred tactile stimulation, which was congruent with the audio in intensity and timing. However, many CI users had no difference in preference between timing aligned and timing unaligned stimuli. The results provide evidence that vibrotactile music enjoyment enhancement could be a solution for some CI users; however, more research is needed to understand which CI users can benefit from it most. [ABSTRACT FROM AUTHOR]

AbstractObjectiveDesignStudy sampleResultsConclusionThe study investigated how auditory training affects effort exerted by hearing-impaired listeners in speech-in-noise task.Pupillometry was used to characterise listening effort during a hearing in noise test (HINT) before and after phoneme-in-noise identification training. Half of the study participants completed the training, while the other half formed an active control group.Twenty 63-to-79 years old experienced hearing-aid users.Higher peak pupil dilations (PPDs) were obtained at the end of the study compared to the beginning in both groups of the participants. The analysis of pupil dilation in an extended time window revealed, however, that the magnitude of pupillary response increased more in the training than in the control group. The effect of training on effort was observed in pupil responses even when no improvement in HINT was found.The results demonstrate that using a listening effort metric adds additional insights into the effectiveness of auditory training compared to the situation when only speech-in-noise performance is considered. Trends observed in pupil responses suggested increased effort—both after the training and the placebo intervention—most likely reflecting the effect of the individual’s motivation. [ABSTRACT FROM AUTHOR]

This study systematically investigated the effects of frequency, level, and spectral envelope on pitch matching in twelve bimodal cochlear implant (CI) users. The participants were asked to vary the frequency and level of a pure or complex tone (adjustable sounds) presented in the nonimplanted ear to match the pitch and loudness of different reference stimuli presented to the implanted ear. Three reference sounds were used: single electrode pulse trains, pure tones, and piano notes. The data showed a significant effect of the frequency and complexity of the reference sounds. No significant effect of the level of the reference sounds was found. The magnitude of effect of frequency was compressed in the implanted ear: on average a difference of seven semitones in the non-implanted ear induced the same pitch change as a difference of 19 to 24 semitones for a stimulus presented to the implanted ear. The spectral envelope of the adjustable sound presented to the non-implanted ear also had a significant effect. The matched frequencies were higher by an average of six semitones for the pure tone compared to a complex tone. Overall, the CI listeners might have matched the stimuli based on timbre characteristics such as brightness. [ABSTRACT FROM AUTHOR]

This letter reanalyzes data from the literature in order to test two loudness-growth models for listeners with hearing losses of primarily cochlear origin: rapid growth and softness imperception. Five different studies using different methods to obtain individual loudness functions were used: absolute magnitude estimation, cross-modality matching with string length, categorical loudness scaling, loudness functions derived from binaural loudness summation, and loudness functions derived from spectral summation of loudness. Results from each of the methods show large individual differences. Individual loudness-growth functions encompass a wide range of shapes from rapid growth to softness imperception. [ABSTRACT FROM AUTHOR]

A correction to the article "The dependency of timbre on fundamental frequency," by Jeremy Marozeau and his colleagues, featured in the "Journal of the Acoustical Society of America," is presented.

Music listening experiences can be enhanced with tactile vibrations. However, it is not known which parameters of the tactile vibration must be congruent with the music to enhance it. Devices that aim to enhance music with tactile vibrations often require coding an acoustic signal into a congruent vibrotactile signal. Therefore, understanding which of these audio-tactile congruences are important is crucial. Participants were presented with a simple sine wave melody through supra-aural headphones and a haptic actuator held between the thumb and forefinger. Incongruent versions of the stimuli were made by randomizing physical parameters of the tactile stimulus independently of the auditory stimulus. Participants were instructed to rate the stimuli against the incongruent stimuli based on preference. It was found making the intensity of the tactile stimulus incongruent with the intensity of the auditory stimulus, as well as misaligning the two modalities in time, had the biggest negative effect on ratings for the melody used. Future vibrotactile music enhancement devices can use time alignment and intensity congruence as a baseline coding strategy, which improved strategies can be tested against. [ABSTRACT FROM AUTHOR]

Purpose: The purpose of this study was to investigate musical timbre perception in cochlear-implant (CI) listeners using a multidimensional scaling technique to derive a timbre space. Methods: Sixteen stimuli that synthesized western musical instruments were used (McAdams, Winsberg, Donnadieu, De Soete, & Krimphoff, 1995). Eight CI listeners and 15 normalhearing (NH) listeners participated. Each listener made judgments of dissimilarity between stimulus pairs. Acoustical analyses that characterized the temporal and spectral characteristics of each stimulus were performed to examine the psychophysical nature of each perceptual dimension. Results: For NH listeners, the timbre space was best represented in three dimensions, one correlated with the temporal envelope (log-attack time) of the stimuli, one correlated with the spectral envelope (spectral centroid), and one correlated with the spectral fine structure (spectral irregularity) of the stimuli. The timbre space from CI listeners, however, was best represented by two dimensions, one correlated with temporal envelope features and the other weakly correlated with spectral envelope features of the stimuli. Conclusions: Temporal envelope was a dominant cue for timbre perception in CI listeners. Compared to NH listeners, CI listeners showed reduced reliance on both spectral envelope and spectral fine structure cues for timbre perception. [ABSTRACT FROM AUTHOR]

Purpose: The purpose of this study was to investigate musical timbre perception in cochlear-implant (CI) listeners using a multidimensional scaling technique to derive a timbre space. Methods: Sixteen stimuli that synthesized western musical instruments were used (McAdams, Winsberg, Donnadieu, De Soete, & Krimphoff, 1995). Eight CI listeners and 15 normalhearing (NH) listeners participated. Each listener made judgments of dissimilarity between stimulus pairs. Acoustical analyses that characterized the temporal and spectral characteristics of each stimulus were performed to examine the psychophysical nature of each perceptual dimension. Results: For NH listeners, the timbre space was best represented in three dimensions, one correlated with the temporal envelope (log-attack time) of the stimuli, one correlated with the spectral envelope (spectral centroid), and one correlated with the spectral fine structure (spectral irregularity) of the stimuli. The timbre space from CI listeners, however, was best represented by two dimensions, one correlated with temporal envelope features and the other weakly correlated with spectral envelope features of the stimuli. Conclusions: Temporal envelope was a dominant cue for timbre perception in CI listeners. Compared to NH listeners, CI listeners showed reduced reliance on both spectral envelope and spectral fine structure cues for timbre perception. [ABSTRACT FROM AUTHOR]

Speech recognition in noisy environments remains a challenge for cochlear implant (CI) recipients. Unwanted charge interactions between current pulses, both within and between electrode channels, are likely to impair performance. Here we investigate the effect of reducing the number of current pulses on speech perception. This was achieved by implementing a psychoacoustic temporal-masking model where current pulses in each channel were passed through a temporal integrator to identify and remove pulses that were less likely to be perceived by the recipient. The decision criterion of the temporal integrator was varied to control the percentage of pulses removed in each condition. In experiment 1, speech in quiet was processed with a standard Continuous Interleaved Sampling (CIS) strategy and with 25, 50 and 75% of pulses removed. In experiment 2, performance was measured for speech in noise with the CIS reference and with 50 and 75% of pulses removed. Speech intelligibility in quiet revealed no significant difference between reference and test conditions. For speech in noise, results showed a significant improvement of 2.4 dB when removing 50% of pulses and performance was not significantly different between the reference and when 75% of pulses were removed. Further, by reducing the overall amount of current pulses by 25, 50, and 75% but accounting for the increase in charge necessary to compensate for the decrease in loudness, estimated average power savings of 21.15, 40.95, and 63.45%, respectively, could be possible for this set of listeners. In conclusion, removing temporally masked pulses may improve speech perception in noise and result in substantial power savings. • The temporal integrator processing strategy (TIPS) is a processing strategy for CI users that removes masked pulses. • TIPS does not harm speech in quiet significantly. • TIPS 50% can improve speech perception in noise by 2.4 dB on average for the subjects tested here. • Particularly poor performers seem to benefit. • Estimated 40% saving in power consumption with TIPS 50%. [ABSTRACT FROM AUTHOR]

The difference in level required to match monaural and binaural loudness of 5- and 200-ms tones was measured for listeners with normal and impaired hearing. Stimuli were 1-kHz tones presented at levels ranging from 10 to 90 dB sensation level. Sixteen listeners (eight normal and eight with losses of primarily cochlear origin) made loudness matches between equal-duration monaural and binaural tones using an adaptive 2AFC procedure. The present results corroborate existing data for 200-ms tones in normal listeners and provide new data for 5-ms tones. On average, the binaural level difference required for equal loudness of monaural and binaural tones is about the same for 5- and 200-ms tones of equal level and changes as a function of level. The group data for normal and impaired listeners are in reasonable agreement with data in the literature. However, the data from some of the impaired listeners deviate markedly from the average, indicating that group data do not accurately represent the behavior of all impaired listeners. Derived loudness functions from the loudness-matching data are reasonably consistent with individual data in the literature. [ABSTRACT FROM AUTHOR]