Dynamic Range Across Music Genres and the Perception of Dynamic Compression in Hearing-Impaired Listeners

Kirchberger, Martin; Russo, Frank A.

doi:10.1177/2331216516630549

Cited by 23 publications

(24 citation statements)

References 41 publications

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“…Based on the present results, the use of slow compression seems to be a “safe” option for music listening because several subjects showed relatively clear preferences for SLOW, while none showed a clear preference for FAST. This is consistent with the finding of Kirchberger and Russo (2016) that the quality of prerecorded music was rated higher when it was subjected to linear amplification than when it was subjected to fast-acting compression, as slow-acting compression is similar to linear amplification over short time scales. Thus, it seems reasonable to use slow compression as the default option for a “music” program in a hearing aid.…”

Section: Discussionsupporting

confidence: 90%

Preferred Compression Speed for Speech and Music and Its Relationship to Sensitivity to Temporal Fine Structure

Moore

Sęk

2016

Trends in Hearing

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Multichannel amplitude compression is widely used in hearing aids. The preferred compression speed varies across individuals. Moore (2008) suggested that reduced sensitivity to temporal fine structure (TFS) may be associated with preference for slow compression. This idea was tested using a simulated hearing aid. It was also assessed whether preferences for compression speed depend on the type of stimulus: speech or music. Twenty-two hearing-impaired subjects were tested, and the stimulated hearing aid was fitted individually using the CAM2A method. On each trial, a given segment of speech or music was presented twice. One segment was processed with fast compression and the other with slow compression, and the order was balanced across trials. The subject indicated which segment was preferred and by how much. On average, slow compression was preferred over fast compression, more so for music, but there were distinct individual differences, which were highly correlated for speech and music. Sensitivity to TFS was assessed using the difference limen for frequency at 2000 Hz and by two measures of sensitivity to interaural phase at low frequencies. The results for the difference limens for frequency, but not the measures of sensitivity to interaural phase, supported the suggestion that preference for compression speed is affected by sensitivity to TFS.

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Section: Discussionsupporting

confidence: 90%

Preferred Compression Speed for Speech and Music and Its Relationship to Sensitivity to Temporal Fine Structure

Moore

Sęk

2016

Trends in Hearing

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“…This finding made sense, as analog HAs provide mostly linear amplification. Linear or linear-like amplification has been found to improve music listening compared to the WDRC commonly provided in today's digital HAs (van Buuren et al, 1999;Arehart et al, 2011;Higgins et al, 2012;Croghan et al, 2014;Kirchberger and Russo, 2016).…”

Section: Consistency Across Other Literaturementioning

confidence: 99%

A Qualitative Study of the Effects of Hearing Loss and Hearing Aid Use on Music Perception in Performing Musicians

et al. 2019

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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.

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“…Fitting a music program for a child should be done with consideration of the genres of music the child listens to or the type of instrument the child plays. Music, unlike speech, is very heterogeneous in terms of frequency spectrum and dynamics (e.g., Kirchberger & Russo, 2016). Hearing aid settings appropriate for one genre of music or one type of instrument may not be appropriate for another.…”

Section: Discussionmentioning

confidence: 99%

“…Adult hearing aid users report that music is important to them and that they listen to music regularly, but they also report mixed benefit of hearing aid use and many problems with hearing aids during music listening (Feldmann & Kumpf, 1988;Leek, Molis, Kubli, & Tufts, 2008;Madsen & Moore, 2014). Mixed benefit of hearing aid use among adults for music listening is likely the result of many factors, including degree of hearing loss, duration of hearing loss, deficits in suprathreshold processing, and the limits of hearing aids for reproducing music with high fidelity (Arehart, Kates, & Anderson, 2011;Chasin, 2006Chasin, , 2012Chasin, , 2014Chasin & Hockley, 2014;Chasin & Russo, 2004;Croghan, Arehart, & Kates, 2012, 2014Hockley, Bahlmann, & Fulton, 2012;Kirchberger & Russo, 2016;Madsen & Moore, 2014;Madsen, Stone, McKinney, Fitz, & Moore, 2015;Moore, 2016;Mussoi & Bentler, 2015;Tan & Moore, 2008). Whether these findings extend to children who are HH and use hearing aids is unknown.…”

mentioning

confidence: 99%

Music Participation Among School-Aged Children Who Are Hard of Hearing

Jorgensen

Walker

2019

Am J Audiol

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Purpose Music is an important part of life for many people. Furthermore, music training has been shown to improve a variety of cognitive functions among children and adults. However, little research exists on how children who are hard of hearing (HH) perceive or participate in music. In particular, it is unknown whether hearing loss limits participation in music activities among school-aged children with mild-to-severe hearing loss. The purpose of this study was to determine whether hearing loss limits participation among children who are HH compared to children with normal hearing (NH). Method Participants were parents of 2 cohorts of children finishing 5th grade (approximately 11 years old). Parents were asked to complete a survey (online or paper) regarding the role of music in their child's life. A total of 88 surveys were completed (67 from parents of children who are HH and 21 from parents of children with NH, with an overall response rate of 74%). Results Hearing loss did not limit music participation among children. Children who are HH listened to recorded music, attended live concerts, and practiced an instrument at the same rates as children with NH. Listening to recorded and live music, practicing an instrument, and playing in an ensemble were equally as important to children who are HH as children with NH. Children who are HH were significantly more likely to regularly play in an ensemble than children with NH. Parent participation in music significantly influenced music participation for children who are HH but not children with NH. Descriptive data about music genres, instruments, and ensembles are also presented. Conclusions Children who are HH participate in music at the same or greater rates as children with NH. Parent participation in music may be particularly important for children who are HH. In light of this, music listening should be a consideration when fitting children with hearing aids.

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Dynamic Range Across Music Genres and the Perception of Dynamic Compression in Hearing-Impaired Listeners

Cited by 23 publications

References 41 publications

Preferred Compression Speed for Speech and Music and Its Relationship to Sensitivity to Temporal Fine Structure

Preferred Compression Speed for Speech and Music and Its Relationship to Sensitivity to Temporal Fine Structure

A Qualitative Study of the Effects of Hearing Loss and Hearing Aid Use on Music Perception in Performing Musicians

Music Participation Among School-Aged Children Who Are Hard of Hearing

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