Acoustics in the partial deaf student school music classrooms

Abstract

Music schools need some special acoustical design for better education. If this is also for disabilities children, the effect is more important. This research is about musical education for partially hearing disabled children (PHSC). At this point architectural acoustic design acquires importance. This is not only in the shape of the room but also in using covering materials and other solutions. The question is whether architectural acoustics solutions can effect the music education of PHSC or not. Here the first discussion is whether we need some additional components of good classroom acoustics for partially hearing disabled children in the American National Standards Institute, Standard S12.60 2002 for classroom acoustics, and the cost impact of the Standard. Childhood hearing loss is a wide speed problem with significant impact, an invisible condition resulting in communication problems that can ultimately interfere with learning and social development. Included are audios files that illustrate that even a mild hearing loss can have a significant impact on a child's ability to understand the teacher. Especially children with partial hearing loss need a more lively room to amplify the instrument sound for improved hearing capacity.

Teaching+Deaf+and+Hard-of-Hearing+Musicians

“…Even with the establishment that Deaf / HoH students wish to participate in music programs, making this a reality can be exceedingly difficult for music educators with no specific training on how to do so in their classrooms. A study in Turkey analyzing how architecture affects the perception of sound discovered that "noise, echoes, reverberation, and room modes typically interfere with the ability of listeners to understand speech and music," immediately making it more difficult for hearing-impaired students to process what is happening in the room (Kocyigit 2008). Additionally, ALDs are programmed for understanding speech, not music, so they will not detect the frequencies of all pitches and instruments (Watkins Wilver, 2017).…”