A musical perception test for people with hearing loss: Turkish adaptation and normalization of the Music Perception Test (MPT)

2019 ◽  
Vol 22 (12) ◽  
pp. 1669
Author(s):  
AS Sahli ◽  
E Belgin ◽  
M Uys
Keyword(s):  
Hearing Loss ◽  
Music Perception ◽  
Musical Perception

scholarly journals Music perception: No strong evidence to reject innate biases

2017 ◽  
Author(s):  
Patrick E. Savage ◽  
Thomas E. Currie
Keyword(s):  
Music Perception ◽  
Cognitive Biases ◽  
Group Performance ◽  
Global Analysis ◽  
Cross Cultural ◽  
South American ◽  
Musical Perception ◽  
Indigenous Group ◽  
Nature And Nurture ◽  
Cultural Evolutionary

McDermott et al. (Nature 535, 547–550; 2016) used a cross-cultural experiment to show that an isolated South American indigenous group, the Tsimane', exhibit indifference to musical dissonance. The study acts as an important counterweight to common beliefs that musical preferences reflect universal, mathematically based harmonic relationships that are biologically determined by low-level perceptual mechanisms. While we applaud their cross-cultural approach, the limited number of populations studied (n=5) makes it difficult to draw strong conclusions about causal processes. In particular, the conclusion that consonance is thus "unlikely to reflect innate biases" seems too strong, as innateness does not require complete universality. Exceptions are always found in any phenomenon as complex as human music. Indeed, our own global analysis of traditional music found dozens of aspects of music that were common cross-culturally, but none that were absolutely universal without exception (Savage et al. Proc. Natl. Acad. Sci. USA 112, 8987-8992; 2015). We showed a consistent tendency to avoid dissonance, yet we still found many examples of sustained dissonance in Western and non-Western music (e.g., Eastern European harvest songs, Papua New Guinean lullabies).Such trends and exceptions are not necessarily indicative of the degree of innateness of aspects of music (which, like other domains of culture, likely reflects some combination of nature and nurture). For example, humans and other animals display an innate aversion to bitter and sour foods, but these can be overridden by cultural conventions and developmental experience (Chandrashekar et al. Nature 444, 288-293; 2006). Diversity in musical perception and production could emerge in the context of weak cognitive biases or relaxation in selective pressures (such as the unusual absence of group performance among the Tsimane'). Broader cross-cultural studies of both perception and production of music and other aspects of human behavior (including cultural evolutionary and developmental frameworks) will be needed to clarify the roles of nature and nurture in shaping human diversity.

Profiles of Processing: Eye Movements during Sightreading

1994 ◽  
Vol 12 (1) ◽  
pp. 97-123 ◽  
Author(s):  
Thomas W. Goolsby
Keyword(s):  
Eye Movement ◽  
Music Perception ◽  
Performance Support ◽  
Music Notation ◽  
Skilled Reader ◽  
Perceptual Span ◽  
Visual Detail ◽  
Musical Perception ◽  
Visual Notation ◽  
Processing Language

Temporal and sequential components of the eye movement used by a skilled and a less-skilled sightreader were used to construct six profiles of processing. Each subject read three melodies of varying levels of concentration of visual detail. The profiles indicates the order, duration, and location of each fixation while the subjects sightread the melodies. Results indicate that music readers do not fixate on note stems or the bar lines that connect eighth notes when sightreading. The less-skilled music reader progressed through the melody virtually note-by-note using long fixations, whereas the skilled sightreader directed fixations to all areas of the notation (using more regressions than the less-skilled reader) to perform the music accurately. Results support earlier findings that skilled sightreaders look farther ahead in the notation, then back to the point of performance (Goolsby, 1994), and have a larger perceptual span than less-skilled sightreaders. Findings support Slobodans (1984) contention that music reading (i. e., sightreading) is indeed music perception, because music notation is processed before performance. Support was found for Sloboda's (1977, 1984, 1985, 1988) hypotheses on the effects of physical and structural boundaries on visual musical perception. The profiles indicate a number of differences between music perception from processing visual notation and perception resulting from language reading. These differences include: (1) opposite trends in the control of eye movement (i. e., the better music reader fixates in blank areas of the visual stimuli and not directly on each item of the information that was performed), (2) a perceptual span that is vertical as well as horizontal, (3) more eye movement associated with the better reader, and (4) greater attention used for processing language than for music, although the latter task requires an "exact realization."

scholarly journals Musical Sophistication and Speech Auditory-Motor Coupling: Easy Tests for Quick Answers

2022 ◽  
Vol 15 ◽  
Author(s):  
Johanna M. Rimmele ◽  
Pius Kern ◽  
Christina Lubinus ◽  
Klaus Frieler ◽  
David Poeppel ◽  
...  
Keyword(s):  
Motor Cortex ◽  
Coupling Strength ◽  
Music Perception ◽  
Musical Training ◽  
Spontaneous Speech ◽  
Indirect Measure ◽  
Musical Perception ◽  
German Speaking ◽  
English Speaking ◽  
Highly Correlated

Musical training enhances auditory-motor cortex coupling, which in turn facilitates music and speech perception. How tightly the temporal processing of music and speech are intertwined is a topic of current research. We investigated the relationship between musical sophistication (Goldsmiths Musical Sophistication index, Gold-MSI) and spontaneous speech-to-speech synchronization behavior as an indirect measure of speech auditory-motor cortex coupling strength. In a group of participants (n = 196), we tested whether the outcome of the spontaneous speech-to-speech synchronization test (SSS-test) can be inferred from self-reported musical sophistication. Participants were classified as high (HIGHs) or low (LOWs) synchronizers according to the SSS-test. HIGHs scored higher than LOWs on all Gold-MSI subscales (General Score, Active Engagement, Musical Perception, Musical Training, Singing Skills), but the Emotional Attachment scale. More specifically, compared to a previously reported German-speaking sample, HIGHs overall scored higher and LOWs lower. Compared to an estimated distribution of the English-speaking general population, our sample overall scored lower, with the scores of LOWs significantly differing from the normal distribution, with scores in the ∼30th percentile. While HIGHs more often reported musical training compared to LOWs, the distribution of training instruments did not vary across groups. Importantly, even after the highly correlated subscores of the Gold-MSI were decorrelated, particularly the subscales Musical Perception and Musical Training allowed to infer the speech-to-speech synchronization behavior. The differential effects of musical perception and training were observed, with training predicting audio-motor synchronization in both groups, but perception only in the HIGHs. Our findings suggest that speech auditory-motor cortex coupling strength can be inferred from training and perceptual aspects of musical sophistication, suggesting shared mechanisms involved in speech and music perception.

Musicians’ Earplugs: Do They Affect Performance or Listeners’ Perceptions?

2020 ◽  
Vol 35 (4) ◽  
pp. 188-195
Author(s):  
Karen S. Thomas ◽  
Raychl Smith ◽  
Sandra Teglas ◽  
Donald A. Hodges
Keyword(s):  
Hearing Loss ◽  
Music Education ◽  
Music Perception ◽  
Dynamic Control ◽  
Sound Quality ◽  
Education Students ◽  
Pitch Accuracy ◽  
Tone Quality ◽  
Faculty Teachers

BACKGROUND: Does wearing musicians’ earplugs while performing affect the quality of the performance? Can listeners perceive a difference in sound when musicians are performing with or without earplugs? The risk of hearing loss is a concern for musicians, but some are reluctant to wear hearing protection due to factors such as an inability to hear their own instrument properly and the possibility of decreased sound quality for listeners. OBJECTIVE: The purpose of this study was to determine the effect of musicians’ earplugs on instrumental pitch accuracy and the perception of tone quality, intonation, and dynamic contrast, as perceived by musicians and listeners. METHODS: Ten university studio faculty teachers were recorded performing single pitches and lyrical and technical passages, first without earplugs and then immediately after with earplugs. A sample of 8 studio faculty teachers and 88 undergraduate music education students completed a researcher-created music perception test of tone quality, intonation, and dynamic contrast. RESULTS: Objective analyses of the single pitch recordings made by faculty with and without earplugs indicate that pitch accuracy did not favor either condition consistently. Results from the perception test indicate that although both faculty and student listeners perceived some differences, the most frequent perception was that the audio pair was equal, and there was no clear difference between performing with and without earplugs in terms of tone quality, intonation, or dynamic contrast. CONCLUSION: These findings suggest that musicians should feel confident that wearing musicians’ earplugs while performing does not adversely affect pitch accuracy or listeners’ perceptions of their timbre and dynamic control.

scholarly journals Synesthesia and music perception

2015 ◽  
Vol 9 (1) ◽  
pp. 16-23 ◽  
Author(s):  
Guilherme Francisco F. Bragança ◽  
João Gabriel Marques Fonseca ◽  
Paulo Caramelli
Keyword(s):  
Music Perception ◽  
Present Review ◽  
Musical Meaning ◽  
Neural Basis ◽  
Developmental Factors ◽  
Physiological Processes ◽  
Musical Perception ◽  
The Cross

The present review examined the cross-modal association of sensations and their relationship to musical perception. Initially, the study focuses on synesthesia, its definition, incidence, forms, and genetic and developmental factors. The theories of the neural basis of synesthesia were also addressed by comparing theories emphasizing the anatomical aspect against others reinforcing the importance of physiological processes. Secondly, cross-modal sensory associations, their role in perception, and relationship to synesthesia were analyzed. We propose the existence of a lower, unconscious degree of synesthesia in non-synesthetes. This latent synesthesia (without explicit sensory manifestations) would be functional, aiding the construction of abstract associations between different perceptual fields. Musical meaning might be constructed largely by synesthetic processes, where the sensory associations from sound activate memories, images, and emotions.

scholarly journals Influence of Implantable Hearing Aids and Neuroprosthesison Music Perception

2012 ◽  
Vol 2012 ◽  
pp. 1-7 ◽  
Author(s):  
Torsten Rahne ◽  
Lars Böhme ◽  
Gerrit Götze
Keyword(s):  
Hearing Loss ◽  
Hearing Aids ◽  
Music Perception ◽  
Normal Hearing ◽  
Just Noticeable Difference ◽  
Contributing Factors ◽  
Profound Hearing Loss ◽  
Complex Sounds ◽  
The Individual ◽  
Timbre Discrimination

The identification and discrimination of timbre are essential features of music perception. One dominating parameter within the multidimensional timbre space is the spectral shape of complex sounds. As hearing loss interferes with the perception and enjoyment of music, we approach the individual timbre discrimination skills in individuals with severe to profound hearing loss using a cochlear implant (CI) and normal hearing individuals using a bone-anchored hearing aid (Baha). With a recent developed behavioral test relying on synthetically sounds forming a spectral continuum, the timbre difference was changed adaptively to measure the individual just noticeable difference (JND) in a forced-choice paradigm. To explore the differences in timbre perception abilities caused by the hearing mode, the sound stimuli were varied in their fundamental frequency, thus generating different spectra which are not completely covered by a CI or Baha system. The resulting JNDs demonstrate differences in timbre perception between normal hearing individuals, Baha users, and CI users. Beside the physiological reasons, also technical limitations appear as the main contributing factors.

Music Education to Train Hearing Abilities in Children with Cochlear Implants

2018 ◽  
Vol 105 (2) ◽  
pp. 57-63
Author(s):  
James L. Reifinger
Keyword(s):  
Hearing Loss ◽  
Music Education ◽  
Cochlear Implants ◽  
Music Perception ◽  
Music Educators ◽  
Impaired Hearing ◽  
Hearing Acuity ◽  
Children With Hearing Loss ◽  
Hearing Abilities ◽  
Music Activities

Music education is being explored by researchers as a means of improving hearing acuity for children with hearing loss, particularly those with cochlear implants. Music educators are uniquely positioned to contribute to this important endeavor. This article describes normal and impaired hearing and how music perception is affected for students with cochlear implants. Current research is discussed, and guidance is provided for planning and leading music activities for students with cochlear implants.

Musical Perception Assessment of People With Hearing Impairment: A Systematic Review and Meta-Analysis

2021 ◽  
pp. 1-16
Author(s):  
Pierangela Nota Simões ◽  
Debora Lüders ◽  
Maria Renata José ◽  
Guilherme Romanelli ◽  
Valéria Lüders ◽  
...  
Keyword(s):  
Systematic Review ◽  
Hearing Impairment ◽  
Latin American ◽  
Hearing Aids ◽  
Music Perception ◽  
Meta Analysis ◽  
Control Group ◽  
Average Intensity ◽  
Test Environment ◽  
Musical Perception

Purpose People with hearing impairment (HI) face numerous challenges that can be minimized with the use of hearing aids and cochlear implants. Despite technological advances in these assistive hearing devices, musical perception remains difficult for these people. Tests and protocols developed to assess the musical perception of this audience were the target of this systematic review, whose objective was to investigate how assessments of musical perception in people with HI are carried out. Method Searches for primary articles were carried out in the PubMed/MEDLINE, Scopus, Web of Science, Latin American and Caribbean Health Sciences Literature, and ASHAWire databases. Search results were managed using EndNote X9 software, and analysis was performed according to the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) Statement. Results The 16 cross-sectional included studies analyzed music perception data from people with HI compared to a control group of participants with normal hearing. Among these, four studies were selected to be included in a meta-analysis, performed with timbre and melody. Variability was observed in the tests and between the levels of auditory perception skills analyzed in relation to the components of music. With respect to the tests, sound stimuli generated by synthesizers were the most used stimuli; with the exception of timbre evaluation, the most frequent test environment was a booth with sound attenuation, and the average intensity for presenting sound stimuli was 70 dB SPL. The most evaluated sound component was pitch, followed by rhythm and timbre, with a pattern of responses based on adaptive and psychoacoustic methods. Conclusions The heterogeneity of the musical parameters and the auditory abilities evaluated by the tests is a fact that can compromise evidence found in this area of study. It is worth considering the quality of samples that were recorded with real musical instruments and digitized afterward, in comparison with synthesized samples that do not seem to accurately represent real instruments. The need to minimize semantic parallelism that involves the auditory skills and elements of music involved in the assessment of musical perception is highlighted.

scholarly journals The influence of non-linear frequency compression on the perception of music by adults with a moderate to severe hearing loss: Subjective impressions

2012 ◽  
Vol 59 (1) ◽  
Author(s):  
Marinda Uys ◽  
Lidia Pottas ◽  
Bart Vinck ◽  
Catherine Van Dijk
Keyword(s):  
Quality Of Life ◽  
Hearing Loss ◽  
Speech Perception ◽  
Hearing Aid ◽  
Severe Hearing Loss ◽  
Frequency Compression ◽  
Linear Frequency ◽  
Musical Perception ◽  
Non Linear

Objective: To date, the main direction in frequency-lowering hearing aid studies has been in relation to speech perception abilities. With improvements in hearing aid technology, interest in musical perception as a dimension that could improve hearing aid users’ quality of life has grown. The purpose of this study was to determine the influence of non-linear frequency compression (NFC) on hearing aid users’ subjective impressions of listening to music. Design & sample: A survey research design was implemented to elicit participants’ (N=40) subjective impressions of musical stimuli with and without NFC. Results: The use of NFC significantly improved hearing aid users’ perception of the musical qualities of overall fidelity, tinniness and reverberance. Although participants preferred to listen to the loudness, fullness, crispness, naturalness and pleasantness of music with the use of NFC, these benefits were not significant. Conclusion: The use of NFC can increase hearing aid users’ enjoyment and appreciation of music. Given that a relatively large percentage of hearing aid users express a loss of enjoyment of music, audiologists should not ignore the possible benefits of NFC, especially if one takes into account that previous research indicates speech perception benefits with this technology.

Music Perception and Musical Communities

1994 ◽  
Vol 11 (3) ◽  
pp. 307-320 ◽  
Author(s):  
Joseph P. Swain
Keyword(s):  
Music Theory ◽  
Music Perception ◽  
Statistical Significance ◽  
Experimental Results ◽  
Musical Culture ◽  
Small Minority ◽  
Perceptual Object ◽  
Negative Results ◽  
Musical Perception ◽  
The Status

Should certain negative results cause music theory to abandon its dependence on perception studies for the corroboration of its key principles? Recent experiments in music perception that have failed to confirm certain important principles of music theory are reviewed from the perspective of musical communities. A musical community is defined to be those listeners for whom a given musical perception is real and useful. It is argued that (1) the significance of experimental results should be interpreted not only according to traditional criteria of statistical significance but also according to the status of relevant musical communities; (2) a perceptual object that is real for only a small minority of listeners may yet be deemed significant if that minority performs some crucial activity in the musical culture; (3) important perceptual objects can be explicitly taught by advanced musical communities; (4) although this perspective calls into question the objectivity of theoretical principles, music theory must continue to incorporate the results of experiments in music perception.

Sign in / Sign up

Export Citation Format

Share Document