The Experts below are selected from a list of 36318 Experts worldwide ranked by ideXlab platform
Jay T Rubinstein - One of the best experts on this subject based on the ideXlab platform.
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harmonic coherent demodulation for improving sound coding in cochlear implants
International Conference on Acoustics Speech and Signal Processing, 2010Co-Authors: Kaibao Nie, Les Atlas, Jay T RubinsteinAbstract:The paper presents a promising application of the coherent demodulation technique to improving hearing with cochlear implants. It has been a challenge to encode temporal fine structure (TFS) in cochlear implants for better speech and Music Perception. We propose a pitch-synchronized coherent demodulation strategy—Harmonic Single Sideband Encoder (HSSE)—to efficiently encode TFS cues. A dynamic carrier estimation approach based on harmonic detection was chosen to enhance temporal pitch coding in cochlear implants. Acoustic analysis results showed that the HSSE strategy preserves temporal fine structure cues including fundamental frequency (F0) information as well. The coding of temporal fine structure cues in cochlear implants could be potentially improved with the F0-synchronized coherent demodulation.
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development and validation of the university of washington clinical assessment of Music Perception test
Ear and Hearing, 2009Co-Authors: Robert S Kang, Grace L Nimmons, Ward R Drennan, Jeff Longnion, Chad Ruffin, Kaibao Nie, Jong Ho Won, Tina Worman, Bevan Yueh, Jay T RubinsteinAbstract:Objectives:Assessment of cochlear implant outcomes centers around speech discrimination. Despite dramatic improvements in speech Perception, Music Perception remains a challenge for most cochlear implant users. No standardized test exists to quantify Music Perception in a clinically practical manner
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Music Perception in cochlear implant users and its relationship with psychophysical capabilities
Journal of Rehabilitation Research and Development, 2008Co-Authors: Ward R Drennan, Jay T RubinsteinAbstract:This article describes issues concerning Music Perception with cochlear implants, discusses why Music Perception is usually poor in cochlear implant users, reviews relevant data, and describes approaches for improving Music Perception with cochlear implants. Pitch discrimination ability ranges from the ability to hear a one-semitone difference to a two-octave difference. The ability to hear rhythm and tone duration is near normal in implantees. Timbre Perception is usually poor, but about two-thirds of listeners can identify instruments in a closed set better than chance. Cochlear implant recipients typically have poor melody Perception but are aided with rhythm and lyrics. Without rhythm or lyrics, only about one-third of implantees can identify common melodies in a closed set better than chance. Correlations have been found between Music Perception ability and speech understanding in noisy environments. Thus, improving Music Perception might also provide broader clinical benefit. A number of approaches have been proposed to improve Music Perception with implant users, including encoding fundamental frequency with modulation, “current-steering,” MP3-like processing, and nerve “conditioning.” If successful, these approaches could improve the quality of life for implantees by improving communication and Musical and environmental awareness.
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clinical assessment of Music Perception in cochlear implant listeners
Otology & Neurotology, 2008Co-Authors: Grace L Nimmons, Robert S Kang, Ward R Drennan, Jeff Longnion, Chad Ruffin, Tina Worman, Bevan Yueh, Jay T RubinsteinAbstract:The cochlear implant (CI) restores substantial hearing in profoundly deafened adults and children. Cochlear implant signal processing strategies have been optimized for speech understanding in quiet, such that most postlingually deafened adults with implants can now recognize 70% to 80% of sentences presented in quiet (1). However, Music Perception and appraisal, although highly variable, remain generally poor for CI listeners (2–5). Still, many CI recipients have indicated that Music is an important part of their lives and auditory experience and have expressed a desire to enjoy Music again (6). The definition of Music differs among various cultures and social milieus. In addition, there are numerous subjective factors influencing enjoyment, including personal preferences for Musical genre and situational context, such as the listening environment and the listener’s mood. These subjective factors can all greatly affect Music appraisal and thereby render appraisal difficult to measure. Thus, many studies focus on the objective characteristics of sound, which can be described in terms of physical parameters of the acoustic signals (7). Several structural features of Music that have been examined with regard to Music Perception include rhythm, pitch, melody, and timbre. Timbre is the attribute of sound that enables one to differentiate between sounds having the same pitch, loudness, and duration, such as when distinguishing the same Musical note played on different instruments. Previous studies have shown that CI recipients have perceptual accuracy similar to normal-hearing adults for simple rhythms presented at a moderate tempo. However, CI recipients are significantly less accurate than normal-hearing adults on Perception of pitch, pitch patterns, melodies, and timbre (5–10). In one study on the cases of 49 CI listeners, Gfeller et al. (8) found complex pitch direction discrimination thresholds ranging from 1 semitone to 2 octaves (24 semitones), with a mean of 7.6 semitones. This can be interpreted to indicate that on average, CI users require complex tones to be more than 7 notes apart on the western Musical scale to correctly identify which one is higher in pitch. In comparison, normal-hearing listeners demonstrated a mean threshold of 1.1 semitones. Melody and timbre identification are similarly poor: in open-set recognition tasks, CI users scored an average of 12% correct in melodies and 47% correct in instrument recognition, compared with 55% and 91%, respectively, for normal-hearing listeners (8,10). Melody recognition was better for melodies with distinctive rhythms. Gfeller et al. (8) suggest that advanced age and greater length of profound deafness have a negative impact on melody recognition of implant recipients. Timbre recognition has a weak negative correlation with age, length of implant use, speech processing, and cognitive measures of sequential processing (10,11). Appraisal tests have shown that CI listeners give higher ratings to the lower-frequency instruments in each family; however, in identification tasks, CI listeners often mistake instruments from different families for the target item (10,11). No commercial strategy or device has been objectively demonstrated to be superior for Music Perception. Until recently, CI development has focused on improving speech recognition in quiet. Accordingly, implant technology has implemented a vocoder approach, which preserves the temporal envelope of frequency-specific bands but greatly limits the delivery of temporal fine-structure information important for perceiving Music (12). Such information is also important for the understanding of tonal languages (13), speech Perception in noise (14), and the Perception of interaural time differences for sound localization (15). The delivery of spectral information is also limited to about 6 to 8 functional frequency channels (1). Future technologies that improve the delivery of temporal or spectral information could enhance Music Perception, and a practical, valid, and reliable test is a necessary tool for evaluation. Because of the importance of Music and these related tasks, some tests of Music Perception have been developed. Gfeller et el. (2,9,16) began by adapting the Primary Measures of Music Audiation test and also developed the Musical Excerpt Recognition Test. These are lengthy tests of open-set recognition and Music appraisal, which can take many hours and require trained Musical personnel to code the responses. Many other groups have also assembled in-house tests to evaluate novel CI strategies and designs developed by their laboratories (14,17). These instruments used in these studies were designed to address specific research questions regarding Perception of different structural features of Music. The methodologies used are often similar, but they were not intended to be standardized tests and it is not possible to directly compare the results across laboratories. Thus, we have developed a short, computerized test, the University of Washington Clinical Assessment of Music Perception (CAMP), comprising pitch direction discrimination, melody identification, and timbre identification. In this study, we describe the test stimuli and protocol, discuss considerations in developing a test that is clinically practical, and report preliminary results.
Charles J. Limb - One of the best experts on this subject based on the ideXlab platform.
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technological biological and acoustical constraints to Music Perception in cochlear implant users
Hearing Research, 2014Co-Authors: Charles J. LimbAbstract:Abstract Despite advances in technology, the ability to perceive Music remains limited for many cochlear implant users. This paper reviews the technological, biological, and acoustical constraints that make Music an especially challenging stimulus for cochlear implant users, while highlighting recent research efforts to overcome these shortcomings. The limitations of cochlear implant devices, which have been optimized for speech comprehension, become evident when applied to Music, particularly with regards to inadequate spectral, fine-temporal, and dynamic range representation. Beyond the impoverished information transmitted by the device itself, both peripheral and central auditory nervous system deficits are seen in the presence of sensorineural hearing loss, such as auditory nerve degeneration and abnormal auditory cortex activation. These technological and biological constraints to effective Music Perception are further compounded by the complexity of the acoustical features of Music itself that require the perceptual integration of varying rhythmic, melodic, harmonic, and timbral elements of sound. Cochlear implant users not only have difficulty perceiving spectral components individually (leading to fundamental disruptions in Perception of pitch, melody, and harmony) but also display deficits with higher perceptual integration tasks required for Music Perception, such as auditory stream segregation. Despite these current limitations, focused Musical training programs, new assessment methods, and improvements in the representation and transmission of the complex acoustical features of Music through technological innovation offer the potential for significant advancements in cochlear implant-mediated Music Perception. This article is part of a Special Issue entitled .
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technological biological and acoustical constraints to Music Perception in cochlear implant users
Hearing Research, 2014Co-Authors: Charles J. Limb, Alexis T RoyAbstract:Despite advances in technology, the ability to perceive Music remains limited for many cochlear implant users. This paper reviews the technological, biological, and acoustical constraints that make Music an especially challenging stimulus for cochlear implant users, while highlighting recent research efforts to overcome these shortcomings. The limitations of cochlear implant devices, which have been optimized for speech comprehension, become evident when applied to Music, particularly with regards to inadequate spectral, fine-temporal, and dynamic range representation. Beyond the impoverished information transmitted by the device itself, both peripheral and central auditory nervous system deficits are seen in the presence of sensorineural hearing loss, such as auditory nerve degeneration and abnormal auditory cortex activation. These technological and biological constraints to effective Music Perception are further compounded by the complexity of the acoustical features of Music itself that require the perceptual integration of varying rhythmic, melodic, harmonic, and timbral elements of sound. Cochlear implant users not only have difficulty perceiving spectral components individually (leading to fundamental disruptions in Perception of pitch, melody, and harmony) but also display deficits with higher perceptual integration tasks required for Music Perception, such as auditory stream segregation. Despite these current limitations, focused Musical training programs, new assessment methods, and improvements in the representation and transmission of the complex acoustical features of Music through technological innovation offer the potential for significant advancements in cochlear implant-mediated Music Perception.
Barbara Tillmann - One of the best experts on this subject based on the ideXlab platform.
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altered intrinsic connectivity of the auditory cortex in congenital amusia
Journal of Neurophysiology, 2016Co-Authors: Yohana Lévêque, Philippe Albouy, Anne Caclin, Baptiste Fauvel, Mathilde Groussard, Herve Platel, Barbara TillmannAbstract:Congenital amusia, a neurodevelopmental disorder of Music Perception and production, has been associated with abnormal anatomical and functional connectivity in a right frontotemporal pathway. To investigate whether spontaneous connectivity in brain networks involving the auditory cortex is altered in the aMusic brain, we ran a seed-based connectivity analysis, contrasting at-rest functional MRI data of aMusic and matched control participants. Our results reveal reduced frontotemporal connectivity in amusia during resting state, as well as an overconnectivity between the auditory cortex and the default mode network (DMN). The findings suggest that the auditory cortex is intrinsically more engaged toward internal processes and less available to external stimuli in aMusics compared with controls. Beyond amusia, our findings provide new evidence for the link between cognitive deficits in pathology and abnormalities in the connectivity between sensory areas and the DMN at rest.
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Music cognition learning Perception expectations
Computer Music Modeling and Retrieval, 2008Co-Authors: Barbara TillmannAbstract:Research in Music cognition domain has shown that non Musician listeners have implicit knowledge about the Western tonal Musical system. This knowledge, acquired by mere exposure to Music in everyday life, influences Perception of Musical structures and allows developing expectations for future incoming events. Musical expectations play a role for Musical expressivity and influence event processing: Expected events are processed faster and more accurately than less-expected events and this influence extends to the processing of simultaneously presented visual information. Studying implicit learning of auditory material in the laboratory allows us to further understand this cognitive capacity (i.e., at the origin of tonal acculturation) and its potential application to the learning of new Musical systems and new Musical expectations. In addition to behavioral studies on cognitive processes in and around Music Perception, computational models allow simulating learning, representation and Perception of Music for non Musician listeners.
Ward R Drennan - One of the best experts on this subject based on the ideXlab platform.
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development and validation of the university of washington clinical assessment of Music Perception test
Ear and Hearing, 2009Co-Authors: Robert S Kang, Grace L Nimmons, Ward R Drennan, Jeff Longnion, Chad Ruffin, Kaibao Nie, Jong Ho Won, Tina Worman, Bevan Yueh, Jay T RubinsteinAbstract:Objectives:Assessment of cochlear implant outcomes centers around speech discrimination. Despite dramatic improvements in speech Perception, Music Perception remains a challenge for most cochlear implant users. No standardized test exists to quantify Music Perception in a clinically practical manner
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Music Perception in cochlear implant users and its relationship with psychophysical capabilities
Journal of Rehabilitation Research and Development, 2008Co-Authors: Ward R Drennan, Jay T RubinsteinAbstract:This article describes issues concerning Music Perception with cochlear implants, discusses why Music Perception is usually poor in cochlear implant users, reviews relevant data, and describes approaches for improving Music Perception with cochlear implants. Pitch discrimination ability ranges from the ability to hear a one-semitone difference to a two-octave difference. The ability to hear rhythm and tone duration is near normal in implantees. Timbre Perception is usually poor, but about two-thirds of listeners can identify instruments in a closed set better than chance. Cochlear implant recipients typically have poor melody Perception but are aided with rhythm and lyrics. Without rhythm or lyrics, only about one-third of implantees can identify common melodies in a closed set better than chance. Correlations have been found between Music Perception ability and speech understanding in noisy environments. Thus, improving Music Perception might also provide broader clinical benefit. A number of approaches have been proposed to improve Music Perception with implant users, including encoding fundamental frequency with modulation, “current-steering,” MP3-like processing, and nerve “conditioning.” If successful, these approaches could improve the quality of life for implantees by improving communication and Musical and environmental awareness.
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clinical assessment of Music Perception in cochlear implant listeners
Otology & Neurotology, 2008Co-Authors: Grace L Nimmons, Robert S Kang, Ward R Drennan, Jeff Longnion, Chad Ruffin, Tina Worman, Bevan Yueh, Jay T RubinsteinAbstract:The cochlear implant (CI) restores substantial hearing in profoundly deafened adults and children. Cochlear implant signal processing strategies have been optimized for speech understanding in quiet, such that most postlingually deafened adults with implants can now recognize 70% to 80% of sentences presented in quiet (1). However, Music Perception and appraisal, although highly variable, remain generally poor for CI listeners (2–5). Still, many CI recipients have indicated that Music is an important part of their lives and auditory experience and have expressed a desire to enjoy Music again (6). The definition of Music differs among various cultures and social milieus. In addition, there are numerous subjective factors influencing enjoyment, including personal preferences for Musical genre and situational context, such as the listening environment and the listener’s mood. These subjective factors can all greatly affect Music appraisal and thereby render appraisal difficult to measure. Thus, many studies focus on the objective characteristics of sound, which can be described in terms of physical parameters of the acoustic signals (7). Several structural features of Music that have been examined with regard to Music Perception include rhythm, pitch, melody, and timbre. Timbre is the attribute of sound that enables one to differentiate between sounds having the same pitch, loudness, and duration, such as when distinguishing the same Musical note played on different instruments. Previous studies have shown that CI recipients have perceptual accuracy similar to normal-hearing adults for simple rhythms presented at a moderate tempo. However, CI recipients are significantly less accurate than normal-hearing adults on Perception of pitch, pitch patterns, melodies, and timbre (5–10). In one study on the cases of 49 CI listeners, Gfeller et al. (8) found complex pitch direction discrimination thresholds ranging from 1 semitone to 2 octaves (24 semitones), with a mean of 7.6 semitones. This can be interpreted to indicate that on average, CI users require complex tones to be more than 7 notes apart on the western Musical scale to correctly identify which one is higher in pitch. In comparison, normal-hearing listeners demonstrated a mean threshold of 1.1 semitones. Melody and timbre identification are similarly poor: in open-set recognition tasks, CI users scored an average of 12% correct in melodies and 47% correct in instrument recognition, compared with 55% and 91%, respectively, for normal-hearing listeners (8,10). Melody recognition was better for melodies with distinctive rhythms. Gfeller et al. (8) suggest that advanced age and greater length of profound deafness have a negative impact on melody recognition of implant recipients. Timbre recognition has a weak negative correlation with age, length of implant use, speech processing, and cognitive measures of sequential processing (10,11). Appraisal tests have shown that CI listeners give higher ratings to the lower-frequency instruments in each family; however, in identification tasks, CI listeners often mistake instruments from different families for the target item (10,11). No commercial strategy or device has been objectively demonstrated to be superior for Music Perception. Until recently, CI development has focused on improving speech recognition in quiet. Accordingly, implant technology has implemented a vocoder approach, which preserves the temporal envelope of frequency-specific bands but greatly limits the delivery of temporal fine-structure information important for perceiving Music (12). Such information is also important for the understanding of tonal languages (13), speech Perception in noise (14), and the Perception of interaural time differences for sound localization (15). The delivery of spectral information is also limited to about 6 to 8 functional frequency channels (1). Future technologies that improve the delivery of temporal or spectral information could enhance Music Perception, and a practical, valid, and reliable test is a necessary tool for evaluation. Because of the importance of Music and these related tasks, some tests of Music Perception have been developed. Gfeller et el. (2,9,16) began by adapting the Primary Measures of Music Audiation test and also developed the Musical Excerpt Recognition Test. These are lengthy tests of open-set recognition and Music appraisal, which can take many hours and require trained Musical personnel to code the responses. Many other groups have also assembled in-house tests to evaluate novel CI strategies and designs developed by their laboratories (14,17). These instruments used in these studies were designed to address specific research questions regarding Perception of different structural features of Music. The methodologies used are often similar, but they were not intended to be standardized tests and it is not possible to directly compare the results across laboratories. Thus, we have developed a short, computerized test, the University of Washington Clinical Assessment of Music Perception (CAMP), comprising pitch direction discrimination, melody identification, and timbre identification. In this study, we describe the test stimuli and protocol, discuss considerations in developing a test that is clinically practical, and report preliminary results.
John J. Galvin - One of the best experts on this subject based on the ideXlab platform.
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The Benefits of Residual Hair Cell Function for Speech and Music Perception in Pediatric Bimodal Cochlear Implant Listeners
Hindawi Limited, 2018Co-Authors: Xiaoting Cheng, John J. Galvin, Yangwenyi Liu, Bing Wang, Yasheng Yuan, Yilai Shu, Bing ChenAbstract:Objective. The aim of this study was to investigate the benefits of residual hair cell function for speech and Music Perception in bimodal pediatric Mandarin-speaking cochlear implant (CI) listeners. Design. Speech and Music performance was measured in 35 Mandarin-speaking pediatric CI users for unilateral (CI-only) and bimodal listening. Mandarin speech Perception was measured for vowels, consonants, lexical tones, and sentences in quiet. Music Perception was measured for melodic contour identification (MCI). Results. Combined electric and acoustic hearing significantly improved MCI and Mandarin tone recognition performance, relative to CI-only performance. For MCI, performance was significantly better with bimodal listening for all semitone spacing conditions (p
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melodic pitch Perception and lexical tone Perception in mandarin speaking cochlear implant users
Ear and Hearing, 2015Co-Authors: Duoduo Tao, John J. Galvin, Rui Deng, Ye Jiang, Bing ChenAbstract:Objectives To examine the relationship between lexical tone Perception and melodic pitch Perception in Mandarin-speaking cochlear implant (CI) users and to investigate the influence of previous acoustic hearing on CI users' speech and Music Perception. Design Lexical tone Perception and melodic contour identification (MCI) were measured in 21 prelingual and 11 postlingual young (aged 6-26 years) Mandarin-speaking CI users. Lexical tone recognition was measured for four tonal patterns: tone 1 (flat F0), tone 2 (rising F0), tone 3 (falling-rising F0), and tone 4 (falling F0). MCI was measured using nine five-note melodic patterns that contained changes in pitch contour, as well as different semitone spacing between notes. Results Lexical tone recognition was generally good (overall mean = 81% correct), and there was no significant difference between subject groups. MCI performance was generally poor (mean = 23% correct). MCI performance was significantly better for postlingual (mean = 32% correct) than for prelingual CI participants (mean = 18% correct). After correcting for outliers, there was no significant correlation between lexical tone recognition and MCI performance for prelingual or postlingual CI participants. Age at deafness was significantly correlated with MCI performance only for postlingual participants. CI experience was significantly correlated with MCI performance for both prelingual and postlingual participants. Duration of deafness was significantly correlated with tone recognition only for prelingual participants. Conclusions Despite the prevalence of pitch cues in Mandarin, the present CI participants had great difficulty perceiving melodic pitch. The availability of amplitude and duration cues in lexical tones most likely compensated for the poor pitch Perception observed with these CI listeners. Previous acoustic hearing experience seemed to benefit postlingual CI users' melodic pitch Perception. Longer CI experience was associated with better MCI performance for both subject groups, suggesting that CI users' Music Perception may improve as they gain experience with their device.
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melodic contour identification by cochlear implant listeners
Ear and Hearing, 2007Co-Authors: John J. Galvin, Qian-jie Fu, Geraldine NogakiAbstract:Objective: While the cochlear implant provides many deaf patients with good speech understanding in quiet, Music Perception and appreciation with the cochlear implant remains a major challenge for most cochlear implant users. The present study investigated whether a closed-set melodic contour identification (MCI) task could be used to quantify cochlear implant users' ability to recognize Musical melodies and whether MCI performance could be improved with moderate auditory training. The present study also compared MCI performance with familiar melody identification (FMI) performance, with and without MCI training. Methods: For the MCI task, test stimuli were melodic contours composed of 5 notes of equal duration whose frequencies corresponded to Musical intervals. The interval between successive notes in each contour was varied between 1 and 5 semitones; the “root note” of the contours was also varied (A3, A4, and A5). Nine distinct Musical patterns were generated for each interval and root note condition, resulting in a total of 135 Musical contours. The identification of these melodic contours was measured in 11 cochlear implant users. FMI was also evaluated in the same subjects; recognition of 12 familiar melodies was tested with and without rhythm cues. MCI was also trained in 6 subjects, using custom software and melodic contours presented in a different frequency range from that used for testing. Results: Results showed that MCI recognition performance was highly variable among cochlear implant users, ranging from 14% to 91% correct. For most subjects, MCI performance improved as the number of semitones between successive notes was increased; performance was slightly lower for the A3 root note condition. Mean FMI performance was 58% correct when rhythm cues were preserved and 29% correct when rhythm cues were removed. Statistical analyses revealed no significant correlation between MCI performance and FMI performance (with or without rhythmic cues). However, MCI performance was significantly correlated with vowel recognition performance; FMI performance was not correlated with cochlear implant subjects' phoneme recognition performance. Preliminary results also showed that the MCI training improved all subjects' MCI performance; the improved MCI performance also generalized to improved FMI performance. Conclusions: Preliminary data indicate that the closed-set MCI task is a viable approach toward quantifying an important component of cochlear implant users' Music Perception. The improvement in MCI performance and generalization to FMI performance with training suggests that MCI training may be useful for improving cochlear implant users' Music Perception and appreciation; such training may be necessary to properly evaluate patient performance, as acute measures may underestimate the amount of Musical information transmitted by the cochlear implant device and received by cochlear implant listeners.
