Abstract:Many cochlear implant candidates express hopes of enjoying music following implantation. Our aim was to assess the appreciation of music after cochlear implantation in adult patients. Thirty-five out of 45 cochlear implantees (78%) from the North East Programme responded to a questionnaire. Only 16 out of 35 patients (46%) listened to music after implantation. Enjoyment of music on a self-assessment scale was graded a mean of 8.7/10 before deafness but only 2.6/10 after implantation. Listening to music after i… Show more
“…Empirical assessments of music perception in adult CI users have found that while perception of rhythm approaches levels of accuracy comparable to NH population, perception of pitch is particularly impaired (McDermott 2004; Galvin, Fu, & Nogaki 2007; Gfeller et al 2007; Cooper et al 2008). Given the importance of pitch in music, it is not surprising that many adults using CIs report low levels of music appreciation after implantation (Mirza et al 2003; but see Fuller et al 2013). …”
Objectives:Children who use cochlear implants (CIs) have characteristic pitch processing deficits leading to impairments in music perception and in understanding emotional intention in spoken language. Music training for normal-hearing children has previously been shown to benefit perception of emotional prosody. The purpose of the present study was to assess whether deaf children who use CIs obtain similar benefits from music training. We hypothesized that music training would lead to gains in auditory processing and that these gains would transfer to emotional speech prosody perception.Design:Study participants were 18 child CI users (ages 6 to 15). Participants received either 6 months of music training (i.e., individualized piano lessons) or 6 months of visual art training (i.e., individualized painting lessons). Measures of music perception and emotional speech prosody perception were obtained pre-, mid-, and post-training. The Montreal Battery for Evaluation of Musical Abilities was used to measure five different aspects of music perception (scale, contour, interval, rhythm, and incidental memory). The emotional speech prosody task required participants to identify the emotional intention of a semantically neutral sentence under audio-only and audiovisual conditions.Results:Music training led to improved performance on tasks requiring the discrimination of melodic contour and rhythm, as well as incidental memory for melodies. These improvements were predominantly found from mid- to post-training. Critically, music training also improved emotional speech prosody perception. Music training was most advantageous in audio-only conditions. Art training did not lead to the same improvements.Conclusions:Music training can lead to improvements in perception of music and emotional speech prosody, and thus may be an effective supplementary technique for supporting auditory rehabilitation following cochlear implantation.
“…Empirical assessments of music perception in adult CI users have found that while perception of rhythm approaches levels of accuracy comparable to NH population, perception of pitch is particularly impaired (McDermott 2004; Galvin, Fu, & Nogaki 2007; Gfeller et al 2007; Cooper et al 2008). Given the importance of pitch in music, it is not surprising that many adults using CIs report low levels of music appreciation after implantation (Mirza et al 2003; but see Fuller et al 2013). …”
Objectives:Children who use cochlear implants (CIs) have characteristic pitch processing deficits leading to impairments in music perception and in understanding emotional intention in spoken language. Music training for normal-hearing children has previously been shown to benefit perception of emotional prosody. The purpose of the present study was to assess whether deaf children who use CIs obtain similar benefits from music training. We hypothesized that music training would lead to gains in auditory processing and that these gains would transfer to emotional speech prosody perception.Design:Study participants were 18 child CI users (ages 6 to 15). Participants received either 6 months of music training (i.e., individualized piano lessons) or 6 months of visual art training (i.e., individualized painting lessons). Measures of music perception and emotional speech prosody perception were obtained pre-, mid-, and post-training. The Montreal Battery for Evaluation of Musical Abilities was used to measure five different aspects of music perception (scale, contour, interval, rhythm, and incidental memory). The emotional speech prosody task required participants to identify the emotional intention of a semantically neutral sentence under audio-only and audiovisual conditions.Results:Music training led to improved performance on tasks requiring the discrimination of melodic contour and rhythm, as well as incidental memory for melodies. These improvements were predominantly found from mid- to post-training. Critically, music training also improved emotional speech prosody perception. Music training was most advantageous in audio-only conditions. Art training did not lead to the same improvements.Conclusions:Music training can lead to improvements in perception of music and emotional speech prosody, and thus may be an effective supplementary technique for supporting auditory rehabilitation following cochlear implantation.
“…Four to eight spectral channels may be adequate for speech understanding in optimal listening conditions, but complex listening tasks such as speech understanding in noise, talker identification, and music perception require more than 32 channels to maintain good performance (Friesen et al 2001; Smith et al, 2002; Shannon et al 2004; Vongphoe and Zeng, 2005). Current CI technology does not provide sufficient information for complex pitch perception, which makes music perception and appreciation difficult for CI users (Smith et al 2002; Mirza et al 2003; Shannon et al 2004; Vandali et al 2005; Looi et al 2012). CIs also do not provide voice pitch cues important for perception of vocal emotion (Xin et al 2007), speech prosody (Chatterjee and Peng 2008), and lexical tones (Peng et al 2004; Morton et al 2008; Han et al 2009).…”
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 usersâ speech and music perception.
Design
Lexical tone perception and melodic contour identification (MCI) were measured in 21 prelingual and 11 postlingual young (age: 6â26 years old) 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 9 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 (18% correct). After correcting for outliers, there was no significant correlation between lexical tone recognition and MCI performance for prelingual or post-lingual 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 usersâ melodic pitch perception. Longer CI experience was associated with better MCI performance for both subject groups, suggesting that CI usersâ music perception may improve as they gain experience with their device.
“…Studies conducted in the 1990s already mentioned that CI users longed for pleasant music perception (3) . Others showed that less than one-third patients could perceive music with the CI (4,5) . The impact of music on the quality of life of CI users was investigated, and the authors observed that the levels of music appreciation were significantly lower after surgery when compared to the period before hearing loss (HL).…”
PURPOSE: To translate the Munich Music Questionnaire (MUMU) to Brazilian Portuguese, to adapt it culturally, and to describe the results obtained among adult users of cochlear implant (CI). METHODS: We translated the questionnaire to Brazilian Portuguese, reviewed the grammatical and idiomatic equivalences (back-translation), and adapted it from a linguistic and cultural perspective. The resulting version of this process was applied among adult CI users through direct interviews. RESULTS: The Brazilian Portuguese version of MUMU was applied to 19 adult CI users with postlingual hearing loss, who had been users of the device for at least one year. The answers to the questionnaire were analyzed by distribution of frequency and percentage of occurrence in each question. The results showed a decrease in the frequency of CI users that listen to music, comparing the period before hearing loss and after the CI. Regarding the role that music played in the life of each participant, the responses did not score change, so the music remained being an important factor in the life of the evaluated subjects, even after the CI. CONCLUSION: The subjective evaluation tool MUMU was translated and culturally adapted to the population studied. In Brazilian Portuguese, it was called QuestionĂĄrio de MĂșsica de Munique. The study showed its applicability in the daily monitoring of CI users, thus providing a profile of the activities related to music in everyday life.
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