Technologically-mediated auditory experience: Split horizons

2021 ◽  
Author(s):  
Ivan Gutierrez
Keyword(s):  
Auditory Experience

Why Are Children with Cochlear Implants at Risk for Executive Functioning Delays?

2020 ◽  
pp. 247-267
Author(s):  
William G. Kronenberger ◽  
David B. Pisoni
Keyword(s):  
Executive Functioning ◽  
Cochlear Implants ◽  
Family Environment ◽  
Fluid Intelligence ◽  
Deaf Children ◽  
Data Set ◽  
Theoretical Approaches ◽  
Model Research ◽  
Psychosocial Influences ◽  
Auditory Experience

Prelingually deaf children with cochlear implants (CIs) have about 2 to 5 times more risk for delays in specific domains of executive functioning (EF) than normal-hearing (NH) children, with about 25% to 40% of children with CIs showing delays in specific EF subdomains. This chapter reviews the rationale and evidence for two theoretical approaches to explaining this elevated risk for EF delay: language-focused approaches and biopsychosocial systems theories, such as the auditory neurocognitive model. Research supporting language-focused approaches, which attribute risk of EF delays entirely to language delays, has significant limitations. Furthermore, results from an extensive data set of EF outcomes in CI users are inconsistent with language-focused approaches. In contrast, biopsychosocial systems theories, which attribute risk for EF delay to a system of factors, including auditory experience, language, family environment/experiences, fluid intelligence, and psychosocial influences, provide the strongest evidence and potential for explaining EF delays and outcomes in children with CIs.

Empirical Musical Imagery beyond the “Mind’s Ear”

2019 ◽  
pp. 444-463
Author(s):  
Freya Bailes
Keyword(s):  
Embodied Cognition ◽  
Empirical Studies ◽  
Auditory Imagery ◽  
Future Directions ◽  
Musical Imagery ◽  
Motor Processing ◽  
Sensory Motor ◽  
Auditory Experience ◽  
Kinesthetic Imagery

Freya Bailes deals with the topic of musical imagery, and she uses embodied cognition as a framework to argue that musical imagery is a multimodal experience. Existing empirical studies of musical imagery are reviewed and Bailes points to future directions for the study of musical imagery as an embodied-cognition phenomenon. Arguing that musical imagery can never be fully disembodied, Bailes moves beyond the idea of auditory imagery as merely a simulation of auditory experience by “the mind’s ear.” Instead, she outlines how imagining sounds involves kinesthetic imagery and she concludes that sound and music are always connected to sensory motor processing.

scholarly journals Orientation dependence of spatial memory acquired from auditory experience

2009 ◽  
Vol 16 (2) ◽  
pp. 301-305 ◽  
Author(s):  
Naohide Yamamoto ◽  
Amy L. Shelton
Keyword(s):  
Spatial Memory ◽  
Orientation Dependence ◽  
Auditory Experience

Modulation of isochronous movements in a flexible environment: links between motion and auditory experience

2014 ◽  
Vol 232 (6) ◽  
pp. 1663-1675 ◽  
Author(s):  
Riccardo Bravi ◽  
Claudia Del Tongo ◽  
Erez James Cohen ◽  
Gabriele Dalle Mura ◽  
Alessandro Tognetti ◽  
...  
Keyword(s):  
Auditory Experience ◽  
Isochronous Movements

Recurring auditory experience in the 28- to 34-week-old fetus

2004 ◽  
Vol 27 (4) ◽  
pp. 537-543 ◽  
Author(s):  
Charlene Krueger ◽  
Diane Holditch-Davis ◽  
Stephen Quint ◽  
Anthony DeCasper
Keyword(s):  
Auditory Experience

The impact of the acoustic environment on human emotion and experience: A case study of worship spaces

2022 ◽  
pp. 1351010X2110688
Author(s):  
Alaa Algargoosh ◽  
Babak Soleimani ◽  
Sile O’Modhrain ◽  
Mojtaba Navvab
Keyword(s):  
Deep Understanding ◽  
Well Being ◽  
Self Report ◽  
Response Analysis ◽  
Emotional Impact ◽  
Acoustic Characteristics ◽  
Acoustic Environment ◽  
Auditory Experience ◽  
The Impact

People’s interactions with the environment shape their experiences. Thus, understanding these interactions is critical to enhancing human well-being. Aural attributes play a significant role in shaping the perception of space in addition to visual attributes. It is well known that sounds evoke an emotional response, but less is known about how the acoustic characteristics of environments reinforce such an emotional impact. By adopting virtual reality as a platform for recreating 3D sounds and 360° visuals of built environments of worship spaces as case studies, this study aims to investigate the influence of the acoustic environment considering audiovisual congruency on enhancing the human experience through self-report and physiological response analysis. It also examines the role of cultural background in terms of familiarity with the acoustic environment. The convergent mixed-methods approach, merging both quantitative and qualitative analysis, provides a deep understanding of the role of the acoustic environment in enhancing the auditory experience. The results show that the acoustic environment and audiovisual congruency amplify the intensity of the emotional impact, and the amplification of the impact can vary depending on the acoustic environment of the building. They also reveal that familiarity with sound and acoustic characteristics can increase this impact.

Comparative analysis of the evolution of scientific and pedagogical knowledge in the field of education of the culture of piano performance and intonation

2020 ◽  
pp. 147-156
Author(s):  
Anastasiya Y. Maryatch
Keyword(s):  
Comparative Analysis ◽  
Professional Competence ◽  
Pedagogical Knowledge ◽  
Future Teacher ◽  
Piano Performance ◽  
Priority Vector ◽  
Theoretical Substantiation ◽  
The Future ◽  
Auditory Experience ◽  
The Individual

We examine and study the category “Culture of piano performance and intonation”, an important component of the education of professional competence and skill of the future teacher-musician. The subject of the research is the process of educating the culture of piano performance-intonation. The purpose of the research is a scientific and theoretical substantiation of the concept of education of the piano intonation culture. The relevance of the research is that there is a need to study the features of the process of educating the culture of piano performance and intonation. It is established that the content aspects of educating the culture of piano performance and intonation depend on the target setting for the development of a competent personality of the future teacher-musician and, in this regard, the priority vector of development is not only the development of professional musical and pedagogical knowledge, skills and abilities, but also personal qualities. The research methodology is based on the use of comparative analysis and systematization of scientific-theoretical and musical-pedagogical knowledge on the research topic; cultural approach to the problem of studying the phenomenon of piano performance and intonation; hermeneutical approach to the interpretation of the concepts under study; pedagogical experience gained in the course of teaching students in the discipline “Musical and Instrumental Training” at pedagogical university. As a result of this research, the concept of educating the culture of piano performance and intonation is formulated. It is concluded that the culture of piano performance and intonation – is a complex integrative property of the personality, based on the individual style – intonation auditory experience of the individual. The field of application of the obtained results is the practical activity of a teacher-musician.

The Ambiguous Ethics of Music’s Ineffability: A Brief Reflection on the Recent Thought of Michael Gallope and Carolyn Abbate

2020 ◽  
Vol 145 (1) ◽  
pp. 229-250
Author(s):  
MARTIN SCHERZINGER
Keyword(s):  
Eleventh Century ◽  
Music History ◽  
Greek Philosophy ◽  
Ancient Greek ◽  
Ernst Bloch ◽  
Ancient Greek Philosophy ◽  
Depth Study ◽  
The Face ◽  
Auditory Experience ◽  
Synergistic Relationship

Michael Gallope’s book Deep Refrains is an in-depth study of the ineffable core of musical experience.4 But it engages ineffability without eliminating the pragmatic material of music’s economic, technological and even ethical mediations; and it posits a synergistic relationship between these realms. Gallope casts equal doubt on the determinism that construes music’s ineffability as wholly absorbed in mediation and on the vitalism that construes it as radically open. Framed by and theoretically grounded in the thinking of four twentieth-century philosophers (Ernst Bloch, Theodor W. Adorno, Vladimir Jankélévitch and Gilles Deleuze), the book deftly steers between the Scylla of music’s irreducible sensuous materiality (and its attendant invitation to decipherment) and the Charybdis of its elusive ineffability (and its attendant vanishing act in the face of decipherment). The book begins by reflecting on the fascinations and prohibitions of the harmoniaia in ancient Greek philosophy. Already here, Gallope revises the standard interpretation of these founding texts, demonstrating the ways in which Socrates, Glaucon, Aristotle and others in fact consider music as at once deeply mysterious and also strictly rule-governed. This conception of music’sperplexing precision is shown to be shared in ‘global’ contexts less available to music history, including (for example) the Ikhwan Al-Safa, an eleventh-century priesthood of Islamic scholars. At the same time, Gallope draws attention to the continuity between simplified taxonomies of the ancients and the instrumentalization of their axioms for contemporary engagements with affect, so rampant in the era of emerging neuromedia. Instead of recoiling from music’s indeterminacy (retreating to silence, say, or insisting on music’s unspeakable mystery), Gallope attempts to unpack the critical potential at the heart of auditory experience. On the other hand, he argues, such potential is not harnessed by marking the movements of music’s conceptual nomenclatures alone. Noting that music ‘never speaks like a language, nor is it entirely nonlinguistic’, Gallope seeks to account for the specificity of its ‘vague impact’.5 In other words, while there is a residue of conceptual mediation at work in all sonic encounter, music’s ‘sensory impact’ cannot be subsumed by that residue.

Sign in / Sign up

Export Citation Format

Share Document