Recent work from our lab illustrates amplitude envelope’s crucial role in both perceptual (Schutz, 2009) and cognitive (Schutz & Stefanucci, 2010) processing. Consequently, we surveyed the amplitude envelopes of sounds used in Music Perception, categorizing them as either flat (i.e., trapezoidal shape), percussive (aka “damped” or “decaying”), other, or undefined. Curiously, the undefined category represented the largest percentage of sounds observed, with 35% lacking definition of this important property (approximately 27% were percussive, 27% flat, and 11% other). This omission of relevant information was not indicative of general inattention to methodological detail. Studies using tones with undefined amplitude envelopes generally defined other properties such as spectral structure (85%), duration (80%), and even model of headphones/speakers (65%) at high rates. Consequently, this targeted omission is intriguing, and suggests amplitude envelope is an area ripe for future research.

Hearing aids (HAs) are important for the rehabilitation of individuals with hearing loss. Although the rehabilitation of speech communication is well understood, less attention has been devoted to understanding hearing-impaired instrumentalists’ needs to actively participate in music. Despite efforts to adjust HA settings for music acoustics, there lacks an understanding of instrumentalists’ needs and if those HA adjustments satisfy their needs.The purpose of the current study was to explore the challenges that adult HA-wearing instrumentalists face, which prevent them from listening, responding to, and performing music.A qualitative methodology was employed with the use of semistructured interviews conducted with adult amateur instrumentalists.Twelve HA users who were amateur ensemble instrumentalists (playing instruments from the percussion, wind, reed, brass, and string families) and between the ages of 55 and 83 years (seven men and five women) provided data for analysis in this study. Amateur in this context was defined as one who engaged mindfully in pursuit of an activity.Semistructured interviews were conducted using an open-ended interview guide. Interviews were recorded and transcribed verbatim. Transcripts were analyzed using conventional qualitative content analysis.Three categories emerged from the data: (1) participatory needs, (2) effects of HA use, and (3) effects of hearing loss. Participants primarily used HAs to hear the conductor’s instructions to meaningfully participate in music rehearsals. Effects of HA use fell within two subcategories: HA music sound quality and use of an HA music program. The effects of hearing loss fell within three subcategories: inability to identify missing information, affected music components, and nonauditory music perception strategies.Not surprisingly, hearing-impaired instrumentalists face challenges participating in their music activities. However, although participants articulated ways in which HAs and hearing loss affect music perception, which in turn revealed perspectives toward listening using the auditory system and other sensory systems, the primary motivation for their HA use was the need to hear the conductor’s directions. These findings suggest that providing hearing-impaired instrumentalists access to musical experience via participation should be prioritized above restoring the perception of musical descriptors. Future research is needed with instrumentalists who no longer listen to or perform music because of hearing loss, so that the relationship between musical auditory deficiencies and participation can be better explored.

Objective: To determine sound quality for extended bandwidth amplification using a direct drive hearing device. Study Design: Prospective double-blind within-subjects repeated measures study. Setting: University hearing research laboratories. Patients: Fifteen experienced hearing aid users with symmetric mild-sloping-to-severe sensorineural hearing loss. Intervention(s): Sound quality ratings of speech and music passages were obtained using the Multiple Stimulus with Hidden References and Anchors (MUSHRA) protocol after wearing a direct drive hearing aid for at least 4 weeks. Passages were processed to filter out low-frequency (below 123 and 313 Hz) and high-frequency (above 4455, 5583, 6987, and 10,869 Hz) energy. Main Outcome Measure(s): Comparison of sound quality ratings for speech and music between low and high-pass filter frequencies measured from 0 to 100, where 0 represents “bad” and 100 represents “excellent.” Results: Wider bandwidth stimuli received higher sound quality ratings compared with narrower bandwidth stimuli. Conditions with more low-frequency energy (full-band and 123 Hz cut-off) were rated as having higher sound quality. More low-frequency energy in the 123 Hz condition was rated as having higher sound versus the 313 Hz condition (mean difference: 11.2%, p = 0.001). Full-band conditions with more low- and high-frequency energy were higher than the other high-frequency cutoff conditions (mean difference range: 12.9–15%, p < 0.001). Conclusions: The direct drive system provides higher sound quality of both speech and music compared to narrowband conditions. Sound quality improvements were mainly attributable to low-frequency sound, but stimuli with specific high-frequency content were rated with higher sound quality when additional high-frequency energy was present.

Clinically feasible 28 mm probe tube insertions reliably measured up to 8 kHz and predicted intensities up to 10 kHz measured at the 30 mm insertion depth more accurately than did shallower insertion depths. Signal analysis bandwidth may not be an important clinical issue at least for one-third and one-twenty-fourth octave band analyses.