Notes on a Young Deaf Musician

Cleall, Charles

doi:10.1177/0305735683112007

Cited by 4 publications

(3 citation statements)

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“…Hearing impaired since 12 years of age, Gleenie is a virtuosic percussionist who relies on vibration heavily. She claims to feel “most musical sounds through the lower parts of (her) legs, feet, lower arms, wrists, chest, throat, and upper parts of (her) legs” [ 77 ].…”

Section: Music In the Deaf Communitymentioning

confidence: 99%

Compensatory Plasticity in the Deaf Brain: Effects on Perception of Music

Good¹,

Reed²,

Russo³

2014

Brain Sciences

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When one sense is unavailable, sensory responsibilities shift and processing of the remaining modalities becomes enhanced to compensate for missing information. This shift, referred to as compensatory plasticity, results in a unique sensory experience for individuals who are deaf, including the manner in which music is perceived. This paper evaluates the neural, behavioural and cognitive evidence for compensatory plasticity following auditory deprivation and considers how this manifests in a unique experience of music that emphasizes visual and vibrotactile modalities.

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Section: Music In the Deaf Communitymentioning

confidence: 99%

Compensatory Plasticity in the Deaf Brain: Effects on Perception of Music

Good¹,

Reed²,

Russo³

2014

Brain Sciences

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“…This informs the development of vibrotactile technology to be used by musicians with hearing impairments to facilitate interaction with other musicians when improvising, rehearsing and performing together, as well as to open up new opportunities for people with hearing impairments to make music with other musicians. The research was inspired by Dame Evelyn Glennie, the highly-renowned solo percussionist who is classified as profoundly deaf with residual hearing at very high amplification [ 1 ]. Many of the percussion instruments that she plays cause the floor to vibrate and this vibration can be transmitted from the floor through her bare feet into her body.…”

Section: Introductionmentioning

confidence: 99%

Vibrotactile Presentation of Musical Notes to the Glabrous Skin for Adults with Normal Hearing or a Hearing Impairment: Thresholds, Dynamic Range and High-Frequency Perception

et al. 2016

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Presentation of music as vibration to the skin has the potential to facilitate interaction between musicians with hearing impairments and other musicians during group performance. Vibrotactile thresholds have been determined to assess the potential for vibrotactile presentation of music to the glabrous skin of the fingertip, forefoot and heel. No significant differences were found between the thresholds for sinusoids representing notes between C1 and C6 when presented to the fingertip of participants with normal hearing and with a severe or profound hearing loss. For participants with normal hearing, thresholds for notes between C1 and C6 showed the characteristic U-shape curve for the fingertip, but not for the forefoot and heel. Compared to the fingertip, the forefoot had lower thresholds between C1 and C3, and the heel had lower thresholds between C1 and G2; this is attributed to spatial summation from the Pacinian receptors over the larger contactor area used for the forefoot and heel. Participants with normal hearing assessed the perception of high-frequency vibration using 1s sinusoids presented to the fingertip and were found to be more aware of transient vibration at the beginning and/or end of notes between G4 and C6 when stimuli were presented 10dB above threshold, rather than at threshold. An average of 94% of these participants reported feeling continuous vibration between G4 and G5 with stimuli presented 10dB above threshold. Based on the experimental findings and consideration of health effects relating to vibration exposure, a suitable range of notes for vibrotactile presentation of music is identified as being from C1 to G5. This is more limited than for human hearing but the fundamental frequencies of the human voice, and the notes played by many instruments, lie within it. However, the dynamic range might require compression to avoid the negative effects of amplitude on pitch perception.

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“…There are also performers with hearing impairments; Evelyn Glennie is extremely well known as a solo percussionist and, thanks to a vast media exposure, also known for her deafness. Profoundly deaf from the age of 12 (Cleall 1983), Glennie reports that she experiences music by feeling the vibrations created by her instruments (Glennie 2010). This experience itself provided inspiration for the wider project of which the present study forms a part.…”

Section: Introductionmentioning

confidence: 99%

Learning not to listen: the experiences of musicians with hearing impairments

Fulford

Ginsborg

Goldbart

2011

Music Education Research

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The journey from playful musical exploration in childhood to an adult identity as a skilled musician is likely to be problematic for people with hearing impairments. Although a number of subjective accounts have been published, there is a lack of empirical research in the area. In this study, twelve musicians with hearing impairments were interviewed about their musical background, hearing loss and experiences of interactive music making. A thematic network analysis was performed on the verbatim transcripts. Musical families were shown to facilitate positive, early, influential experiences helping individuals to develop musical selfefficacy. These themes were found to operate independently of the challenges posed by a hearing impairment and in spite of negative music-making experiences. Dynamic listening styles were identified, ranging from full reliance on hearing to discriminate and even non-auditory attending. The development of listening styles was found to be crucial in negotiating problems in auditory perception caused by physiological changes in hearing level and the distorting effects of hearing aids.

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Notes on a Young Deaf Musician

Cited by 4 publications

References 0 publications

Compensatory Plasticity in the Deaf Brain: Effects on Perception of Music

Compensatory Plasticity in the Deaf Brain: Effects on Perception of Music

Vibrotactile Presentation of Musical Notes to the Glabrous Skin for Adults with Normal Hearing or a Hearing Impairment: Thresholds, Dynamic Range and High-Frequency Perception

Learning not to listen: the experiences of musicians with hearing impairments

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