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Using headphones may expose the listener to potentially harmful levels of sound. This study examines whether introducing tactile vibrations to the listening experience would encourage them to reduce their headphone volume. Fifteen participants adjusted their preferred listening levels for four diverse music tracks under audio-only and audiotactile conditions. Results indicated a significant decrease in preferred audio levels with added tactile stimulation. This effect was particularly significant in songs featuring a strong beat. In contrast, only a minimal effect was observed for genres such as classical music, which typically lack a pronounced beat, at higher vibration intensities. These findings suggest that integrating tactile feedback could be a viable strategy for lowering sound exposure risk.

Music is an art form that organizes and presents vibrations that travel to the ears through air conduction. The range of audible vibrations (20 Hz to 20 kHz) [1] partly overlaps with the range of perceivable tactile vibrations (10 Hz to 1 kHz) [2], making it possible to feel the vibration of music as a pleasant by-product. In this project, we designed a series of vibrotactile installations that respond to specific note ranges. Musicians were then asked to compose a piece of music specifically for this installation to create a piece that could be heard and felt. Each composition was performed in front of a live audience. After the concert, the audience filled out a questionnaire about their experience. The results clearly indicate the different efficiencies of each installation and will help in designing better devices to optimize the tactile musical experience.

Objective: 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. Design: 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. Study sample: 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. Results: 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. Conclusion: 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.

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.

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.

Acoustic simulation and auralization are important tools for predicting the acoustic environment before construction. Today we use two main approaches for simulating room acoustics, namely geometrical acoustics (GA) and wave-based methods (WBM). The often-favored GA methods show inaccuracy in small spaces at low frequencies where the wave-phenomena play a larger role. Solving the wave-equations using numerical WBM can provide more accurate results, but due to expensive computations it is often deselected. In an attempt to combine GA and WBM, we investigated the perceptual crossover frequency that has little to no audible difference between the two auralizations. We used ODEON for a GA method, and discontinuous Galerkin finite element method for WBM. A listening test was performed on 9 subjects whose task was to evaluate octave-band filtered speech and music stimuli in two rooms via a 3-alternative forced choice test: a small rectangular room and an L-shaped room. The results reveal that the monaural auralizations from the two simulation schemes are perceived differently although the reverberation time and clarity indices are within the just noticeable differences.

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.

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.

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.

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.