Search

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]

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]

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 normal-hearing (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.

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.

Several studies have established that Cochlear implant (CI) listeners rely on the tempo of music to judge the emotional content of music. However, a re-analysis of a study in which CI listeners judged the emotion conveyed by piano pieces on a scale from happy to sad revealed a weak correlation between tempo and emotion. The present study explored which temporal cues in music influence emotion judgments among normal hearing (NH) listeners, which might provide insights into the cues utilized by CI listeners. Experiment 1 was a replication of the Vannson et al. study with NH listeners using rhythmic patterns of piano created with congas. The temporal cues were preserved while the tonal ones were removed. The results showed (i) tempo was weakly correlated with emotion judgments, (ii) NH listeners' judgments for congas were similar to CI listeners' judgments for piano. In Experiment 2, two tasks were administered with congas played at three different tempi: emotion judgment and a tapping task to record listeners' perceived tempo. Perceived tempo was a better predictor than the tempo, but its physical correlate, mean onset-to-onset difference (MOOD), a measure of the average time between notes, yielded higher correlations with NH listeners' emotion judgments. This result suggests that instead of the tempo, listeners rely on the average time between consecutive notes to judge the emotional content of music. CI listeners could utilize this cue to judge the emotional content of music. [ABSTRACT FROM AUTHOR]

The study tests the hypothesis that vibrotactile stimulation can affect timbre perception. A multidimensional scaling experiment was conducted. Twenty listeners with normal hearing and nine cochlear implant users were asked to judge the dissimilarity of a set of synthetic sounds that varied in attack time and amplitude modulation depth. The listeners were simultaneously presented with vibrotactile stimuli, which varied also in attack time and amplitude modulation depth. The results showed that alterations to the temporal waveform of the tactile stimuli affected the listeners' dissimilarity judgments of the audio. A three-dimensional analysis revealed evidence of crossmodal processing where the audio and tactile equivalents combined accounted for their dissimilarity judgments. For the normal-hearing listeners, 86% of the first dimension was explained by audio impulsiveness and 14% by tactile impulsiveness; 75% of the second dimension was explained by the audio roughness or fast amplitude modulation, while its tactile counterpart explained 25%. Interestingly, the third dimension revealed a combination of 43% of audio impulsiveness and 57% of tactile amplitude modulation. For the CI listeners, the first dimension was mostly accounted for by the tactile roughness and the second by the audio impulsiveness. This experiment shows that the perception of timbre can be affected by tactile input and could lead to the developing of new audio-tactile devices for people with hearing impairment. [ABSTRACT FROM AUTHOR]

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]

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]

The electric stimulation provided by current cochlear implants (CI) is not power efficient. One underlying problem is the poor efficiency by which information from electric pulses is transformed into auditory nerve responses. A novel stimulation paradigm using ramped pulse shapes has recently been proposed to remedy this inefficiency. The primary motivation is a better biophysical fit to spiral ganglion neurons with ramped pulses compared to the rectangular pulses used in most contemporary CIs. Here, we tested the hypotheses that ramped pulses provide more efficient stimulation compared to rectangular pulses and that a rising ramp is more efficient than a declining ramp. Rectangular, rising ramped and declining ramped pulse shapes were compared in terms of charge efficiency and discriminability, and threshold variability in seven CI listeners. The tasks included single-channel threshold detection, loudness-balancing, discrimination of pulse shapes, and threshold measurement across the electrode array. Results showed that reduced charge, but increased peak current amplitudes, was required at threshold and most comfortable levels with ramped pulses relative to rectangular pulses. Furthermore, only one subject could reliably discriminate between equally-loud ramped and rectangular pulses, suggesting variations in neural activation patterns between pulse shapes in that participant. No significant difference was found between rising and declining ramped pulses across all tests. In summary, the present findings show some benefits of charge efficiency with ramped pulses relative to rectangular pulses, that the direction of a ramped slope is of less importance, and that most participants could not perceive a difference between pulse shapes. [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]

Keywords: music; cochlear implants; cognition; sensory deprivation; hearing restoration EN music cochlear implants cognition sensory deprivation hearing restoration 1 3 3 08/14/21 20210812 NES 210812 Cochlear implants (CI) rank as the most successful neural prostheses. Although most CI patients achieve some level of speech perception, many experience very poor music perception, both in terms of self-reported music enjoyment and objective perceptual abilities, which are significantly lower than in normal hearing subjects (Marozeau et al., [5]). The music cognition literature makes an important distinction between music perception and music appraisal, the former being about the objectively measured capacity to process certain sound features. [Extracted from the article]

Auditory stream segregation is a perceptual process by which the human auditory system groups sounds from different sources into perceptually meaningful elements (e.g., a voice or a melody). The perceptual segregation of sounds is important, for example, for the understanding of speech in noisy scenarios, a particularly challenging task for listeners with a cochlear implant (CI). It has been suggested that some aspects of stream segregation may be explained by relatively basic neural mechanisms at a cortical level. During the past decades, a variety of models have been proposed to account for the data from stream segregation experiments in normal-hearing (NH) listeners. However, little attention has been given to corresponding findings in CI listeners. The present study investigated whether a neural model of sequential stream segregation, proposed to describe the behavioral effects observed in NH listeners, can account for behavioral data from CI listeners. The model operates on the stimulus features at the cortical level and includes a competition stage between the neuronal units encoding the different percepts. The competition arises from a combination of mutual inhibition, adaptation, and additive noise. The model was found to capture the main trends in the behavioral data from CI listeners, such as the larger probability of a segregated percept with increasing the feature difference between the sounds as well as the build-up effect. Importantly, this was achieved without any modification to the model's competition stage, suggesting that stream segregation could be mediated by a similar mechanism in both groups of listeners. [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]

The role of the spatial separation between the stimulating electrodes (electrode separation) in sequential stream segregation was explored in cochlear implant (CI) listeners using a deviant detection task. Twelve CI listeners were instructed to attend to a series of target sounds in the presence of interleaved distractor sounds. A deviant was randomly introduced in the target stream either at the beginning, middle or end of each trial. The listeners were asked to detect sequences that contained a deviant and to report its location within the trial. The perceptual segregation of the streams should, therefore, improve deviant detection performance. The electrode range for the distractor sounds was varied, resulting in different amounts of overlap between the target and the distractor streams. For the largest electrode separation condition, event-related potentials (ERPs) were recorded under active and passive listening conditions. The listeners were asked to perform the behavioral task for the active listening condition and encouraged to watch a muted movie for the passive listening condition. Deviant detection performance improved with increasing electrode separation between the streams, suggesting that larger electrode differences facilitate the segregation of the streams. Deviant detection performance was best for deviants happening late in the sequence, indicating that a segregated percept builds up over time. The analysis of the ERP waveforms revealed that auditory selective attention modulates the ERP responses in CI listeners. Specifically, the responses to the target stream were, overall, larger in the active relative to the passive listening condition. Conversely, the ERP responses to the distractor stream were not affected by selective attention. However, no significant correlation was observed between the behavioral performance and the amount of attentional modulation. Overall, the findings from the present study suggest that CI listeners can use electrode separation to perceptually group sequential sounds. Moreover, selective attention can be deployed on the resulting auditory objects, as reflected by the attentional modulation of the ERPs at the group level. [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]

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]

It has been argued that a main limitation of the cochlear implant is the spread of current induced by each electrode, which activates an inappropriately large range of sensory neurons. To reduce this spread, an alternative stimulation mode, the all-polar mode, was tested with five participants. It was designed to activate all the electrodes simultaneously with appropriate current levels and polarities to recruit narrower regions of auditory nerves at specific intracochlear electrode positions (denoted all-polar electrodes). In this study, the all-polar mode was compared with the current commercial stimulation mode: the monopolar mode. The participants were asked to judge the sound dissimilarity between pairs of two-electrode pulse-train stimuli that differed in the electrode positions and were presented in either monopolar or all-polar mode with pulses on the two electrodes presented either sequentially or simultaneously. The dissimilarity ratings were analyzed using a multidimensional scaling technique and three-dimensional stimulus perceptual spaces were produced. For all the conditions (mode and simultaneity), the first perceptual dimension was highly correlated with the position of the most apical activated electrode of the electrical stimulation and the second dimension with the position of the most basal electrode. In both sequential and simultaneous conditions, the monopolar and all-polar stimuli were significantly separated by a third dimension, which may indicate that all-polar stimuli have a perceptual quality that differs from monopolar stimuli. Overall, the results suggest that both modes might successfully represent spectral information in a sound processing strategy. [ABSTRACT FROM AUTHOR]

Musical enjoyment for cochlear implant (CI) recipients is often reported to be unsatisfactory. Our goal was to determine whether the musical experience of postlingually deafened adult CI recipients could be enriched by presenting the bass and treble clef parts of short polyphonic piano pieces separately to each ear (dichotic). Dichotic presentation should artificially enhance the lateralization cues of each part and help the listeners to better segregate them and thus provide greater clarity. We also hypothesized that perception of the intended emotion of the pieces and their overall enjoyment would be enhanced in the dichotic mode compared with the monophonic (both parts in the same ear) and the diotic mode (both parts in both ears). Twenty-eight piano pieces specifically composed to induce sad or happy emotions were selected. The tempo of the pieces, which ranged from lento to presto covaried with the intended emotion (from sad to happy). Thirty participants (11 normal-hearing listeners, 11 bimodal CI and hearing-aid users, and 8 bilaterally implanted CI users) participated in this study. Participants were asked to rate the perceived clarity, the intended emotion, and their preference of each piece in different listening modes. Results indicated that dichotic presentation produced small significant improvements in subjective ratings based on perceived clarity. We also found that preference and clarity ratings were significantly higher for pieces with fast tempi compared with slow tempi. However, no significant differences between diotic and dichotic presentation were found for the participants' preference ratings, or their judgments of intended emotion. [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]

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]

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]

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 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]

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]

The role of temporal cues in sequential stream segregation was investigated in cochlear implant (CI) listeners using a delay detection task composed of a sequence of bursts of pulses (B) on a single electrode interleaved with a second sequence (A) presented on the same electrode with a different pulse rate. In half of the trials, a delay was added to the last burst of the otherwise regular B sequence and the listeners were asked to detect this delay. As a jitter was added to the period between consecutive A bursts, time judgments between the A and B sequences provided an unreliable cue to perform the task. Thus, the segregation of the A and B sequences should improve performance. The pulse rate difference and the duration of the sequences were varied between trials. The performance in the detection task improved by increasing both the pulse rate differences and the sequence duration. This suggests that CI listeners can use pulse rate differences to segregate sequential sounds and that a segregated percept builds up over time. In addition, the contribution of place versus temporal cues for voluntary stream segregation was assessed by combining the results from this study with those from our previous study, where the same paradigm was used to determine the role of place cues on stream segregation. Pitch height differences between the A and the B sounds accounted for the results from both studies, suggesting that stream segregation is related to the salience of the perceptual difference between the sounds. [ABSTRACT FROM AUTHOR]

Sequential stream segregation by cochlear implant (CI) listeners was investigated using a temporal delay detection task composed of a sequence of regularly presented bursts of pulses on a single electrode (B) interleaved with an irregular sequence (A) presented on a different electrode. In half of the trials, a delay was added to the last burst of the regular B sequence, and the listeners were asked to detect this delay. As a jitter was added to the period between consecutive A bursts, time judgments between the A and B sequences provided an unreliable cue to perform the task. Thus, the segregation of the A and B sequences should improve performance. In Experiment 1, the electrode separation and the sequence duration were varied to clarify whether place cues help CI listeners to voluntarily segregate sounds and whether a two-stream percept needs time to build up. Results suggested that place cues can facilitate the segregation of sequential sounds if enough time is provided to build up a two-stream percept. In Experiment 2, the duration of the sequence was fixed, and only the electrode separation was varied to estimate the fission boundary. Most listeners were able to segregate the sounds for separations of three or more electrodes, and some listeners could segregate sounds coming from adjacent electrodes. [ABSTRACT FROM AUTHOR]