Features of Music That Affect Its Enjoyment following Cochlear Implantation
0
Citation
0
Reference
10
Related Paper
Abstract:
Objectives: Enjoyment of music remains an elusive goal following cochlear implantation (CI). We assessed the hypothesis that reducing the complexity of music has the potential to enhance the listening experience for the cochlear implantee. Methods: Normal hearing adults (n = 17) were asked to evaluate an original and modified 20‐second piece of country music for its musicality, pleasantness, and naturalness before and after it was processed through CI simulation software. The music was modified by removing the vocals and/or changing the type of musical instruments playing (rhythmic only, melodic only, or combined rhythmic and melodic). Linear regression analysis with analysis of variance was used to assess the impact of music variation on music appreciation. Results: Without CI simulation, music segments that included the vocals, melodic instruments only, or combined rhythmic and melodic instruments sounded more pleasant, natural, and musical. In contrast, music segments processed through the CI simulation sounded more pleasant, natural, and musical when the vocals were removed and when only rhythmic instruments were included (all P values < 0.005). Conclusions: Musical enjoyment with or without CI is influenced by the complexity of the original music. Our study offers preliminary evidence that reduction of music complexity has the potential to make listening more enjoyable for the CI listener. Thus, in addition to improvement in software and hardware, engineering of music specifically for a CI listener may be an alternative means to enhance their listening experience.Keywords:
Melody
Musicality
Affect
Musicality
Phenomenon
Cite
Citations (1)
We analysis how to describe the level of naturalness and pointed out that Barbieri and Giudice's the widely adopted sensitivity criteria of naturalness can not reflect the level of naturalness correctly, we analysis the problems of the sensitivity criteria and proposed a new criterion that can solve these problems, and also give a clear physical meaning to the naturalness cut-off level.
Cite
Citations (0)
The purpose of this study was to examine effects of rhythmic and melodic alterations on rhythmic perception. A 30-item Rhythmic Dissimilarities Evaluation was administered to undergraduate and graduate music students. For each item, a standard rhythmic pattern was paired with itself and with nine rhythmic alterations. Each rhythmic pattern was treated with three melodic alterations including monotony, M-shaped melody, and V-shaped melody. Results of the study demonstrated that various rhythmic alterations affect perception of rhythmic dissimilarity; that melody alters perception of rhythmic dissimilarity; that the simultaneous presentation of melody and rhythm may result in reduced attention to absolute rhythmic structures in music; and that a possible relationship exists between rhythmic alterations and the degree of perceived dissimilarity.
Melody
Cite
Citations (16)
An Investigation of Hemispheric Specialization for the Pitch and Rhythmic Aspects of Melodic Stimuli
This study's purpose was to investigate the phenomenon of hemispheric specialization for the pitch and rhythmic aspects of melody. Its research problems were to investigate the Influence of pitch, rhythm, and training on hemispheric specialization for pitch-plus-rhythm melodic fragments. A final problem was to examine the relationship between dlchotic ear scores and eye movements evidenced during melodic processing. Twenty musicians and twenty nonmuslcians, right-handed and equally divided as to gender, participated in the project. Accepted dlchotic testing and eye behavior indexing procedures were implemented to investigate each research problem. The dlchotic tape produced for the study contained five subtests In which pitch activity was variously greater than, less than, or equal to rhythmic activity.
Melody
Cite
Citations (0)
Salience (neuroscience)
Cite
Citations (33)
Crying is the earliest sound production of human infants on their long way toward language. Here, we argue that infants’ early crying contains melodic constituents for both musical and prosodic structures. This view is based on our findings that cry melodies become increasingly complex during the first months of life and, that complex cry melodies are composed of shape-specific melody arcs. We found that cry melodies contain frequency ratios that show a certain preference of musical intervals. We also observed that young infants are capable of uttering shape-similar melody arcs at different frequency levels, that means they have an aptitude for frequency transposition from birth on. Moreover, we observed that the production of phonatory breaks within single expiratory sounds generates rhythmical elements and points to a flexible time organization. Our data support the view that in crying elementary constituents of both musicality and language faculty are unfolding. The results may elucidate the relation between emotionally charged sounds and music respectively language and suggest direction for further research.
Melody
Musicality
Cite
Citations (61)
Cite
Citations (39)
We describe an approach to improving the naturalness of a social dialogue system, Talkie, by adding disfluencies and other content-independent enhancements to synthesized conversations. We investigated whether listeners perceive conversations with these improvements as natural (i.e., human-like) as human-human conversations. We also assessed their ability to correctly identify these conversations as between humans or computers. We find that these enhancements can improve the perceived naturalness of conversations for observers overhearing the dialogues.
Cite
Citations (14)
We examined effects of pitch and rhythm on the perceived emotional content of short melodies. We initially developed exemplars of melodies that were judged consistently to convey a single emotional category: happy, sad, or scary. We subsequently manipulated the pitch and rhythm parameters to derive three altered versions of each exemplar: a pitch-only version (pitch differences intact but all tones of equal duration), a rhythmonly version (durational differences intact but all tones of equal pitch), and a baseline version (all tones of equal duration and pitch). Listeners rated how well each exemplar and altered version conveyed its corresponding emotion. Effects of pitch and rhythm varied across melodies. In all cases, ratings were influenced more by differences in pitch than by differences in rhythm. Whenever rhythm affected ratings, it interacted with pitch.
Melody
Cite
Citations (128)