Mechanisms of music perception and its changes in hearing impaired people

Development of an adaptive test of musical scene analysis abilities for normal-hearing and hearing-impaired listeners

Auditory scene analysis (ASA) is the process through which the auditory system makes sense of complex acoustic environments by organising sound mixtures into meaningful events and streams. Although music psychology has acknowledged the fundamental role of ASA in shaping music perception, no efficient test to quantify listeners' ASA abilities in realistic musical scenarios has yet been published. This study presents a new tool for testing ASA abilities in the context of music, suitable for both normal-hearing (NH) and hearing-impaired (HI) individuals: the adaptive Musical Scene Analysis (MSA) test. The test uses a simple 'yes-no' task paradigm to determine whether the sound from a single target instrument is heard in a mixture of popular music. During the online calibration phase, 525 NH and 131 HI listeners were recruited. The level ratio between the target instrument and the mixture, choice of target instrument, and number of instruments in the mixture were found to be important factors affecting item difficulty, whereas the influence of the stereo width (induced by inter-aural level differences) only had a minor effect. Based on a Bayesian logistic mixed-effects model, an adaptive version of the MSA test was developed. In a subsequent validation experiment with 74 listeners (20 HI), MSA scores showed acceptable test-retest reliability and moderate correlations with other music-related tests, pure-tone-average audiograms, age, musical sophistication, and working memory capacities. The MSA test is a user-friendly and efficient open-source tool for evaluating musical ASA abilities and is suitable for profiling the effects of hearing impairment on music perception.

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

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.

Music listening and hearing aids: perspectives from audiologists and their patients

Objective: Two studies explored hearing-aid user and audiologist experiences of hearing-aid use and fitting for music in the UK.Design and sample: One-hundred-seventy-six hearing-aid users (age range: 21-93 years; mean: 60.56 years) answered a 4-item questionnaire on music listening difficulties and discussions about music in clinic. 99 audiologists (age range: 22-71 years; mean: 39.18 years) answered a 36-item questionnaire on the frequency and type of discussions, training received, and strategies for optimizing hearing aids for music. Closed and open-ended questions were included.Results: Sixty seven percent of hearing-aid users reported some degree of difficulty listening to music with hearing aids, and 58% had never discussed music in clinic. 50% of audiologists surveyed asked 1 in 5 (or fewer) patients about music and 67% had never received music-specific training. Audiologist training on music was significantly associated with confidence in providing advice, confidence in programming hearing aids for music, and programming hearing aids for music for a greater number of patients.Conclusions: Hearing-aid users' and audiologists' experiences of music remain mixed. In the absence of formalised training in optimizing hearing aids for music, there is a need for systematic research relating fitting strategies to clinical outcomes and the development of guidelines for audiologist training.