Participatory design of a music aural rehabilitation programme

Abstract

The participatory design approach used in developing the IMAP was fundamental in ensuring its relevance, and regular feedback from end users in each phase of development proved valuable for early identification of issues. Observations and feedback from end users supported a holistic approach to music aural rehabilitation.

Development of the Musi-CI Training, A Musical Listening Training for Cochlear Implant Users: A Participatory Action Research Approach

“…The intrinsic value of music lies in its power to connect people in social situations (whether joyful, sorrowful, angry or peaceful) and at several levels of interaction, leading to increased interconnectedness and strengthened interpersonal bonds ( Cross, 2009 ). In this way music contributes to our psychological and social sense of well-being ( Dritsakis et al, 2017 ; Hutter et al, 2016 ; Magele et al, 2022 ; Riley et al, 2018 ; van Besouw et al, 2015 ).…”

“…Reported studies indicate a diversity in training formats, ranging from approximately 4 weeks ( Chari et al, 2020 ; Driscoll, 2012 ; Fuller et al, 2018 ) to approximately 16 weeks of sessions ( Looi & She, 2010 ; Magele et al, 2022 ; Vandali et al, 2015 ) and varying from in-person lessons ( Hutter et al, 2016 ; Magele et al, 2022 ; Plant, 2015 ) to online computer-based exercises ( Driscoll et al, 2009 ; Jiam et al, 2019 ; Smith et al, 2017 ; van Besouw et al, 2015 ; Vandali et al, 2015 ; Vickers et al, 2021 ). The literature recommends a variety of exercises to contribute to greater music enjoyment, such as practising with simple arrangements of familiar, monophonic music in a slow tempo, subsequently expanding in complexity ( Prevoteau et al, 2018 ), adding visual cues ( Chari et al, 2020 ; Plant, 2015 ; Vickers et al, 2021), working with the timbre of instruments ( Driscoll, 2012 ), and practising with melodic contours ( Chari et al, 2020 ; Fuller et al, 2018 ).…”

“… Gfeller et al (2015) described an analytic approach (listening for increasingly difficult contrasts in pitch and timbre) and a holistic approach (listening to complete songs) as versatile methods for musical listening training. The literature on music perception with CIs generally shows broad agreement that timbre and pitch are the most challenging aspects of music perception ( Driscoll et al, 2009 ; Hsiao & Gfeller, 2012 ; Jiam et al, 2018; Petersen et al, 2009 ; Riley et al, 2018 ; Vandali et al, 2015 ; van Besouw et al, 2015 ). It also illustrates the advantage of in-person training, i.e.…”

“…the opportunity to bring CI users in contact with their peers to discuss acceptance of the new sound of the CI ( Hutter et al, 2016 ) and to promote social interaction ( Fuller et al, 2018 ). Computer-based training programmes are generally considered as supportive tools, facilitating practice outside the clinical context (Jiam et al, 2019; Smith et al, 2017 ; van Besouw et al, 2015 ).…”

The effect of dopamine on the comprehension of spectrally-shifted noise-vocoded speech: a pilot study

“…Several factors have been found to affect performance with a CI, including, amongst others, duration of hearing loss, age, duration of CI experience, percentage of active electrodes and cognitive skills (Blamey et al, 2013;Green et al, 2007;Holden et al, 2013;Lazard et al, 2012). Different interventions aimed at improving outcomes have been tested, including computer-based auditory and speech training (Fu & Galvin, 2007;Oba et al, 2011Henshaw & Ferguson, 2013Zhang, Miller, & Campbell, 2014), group therapy (Heydebrand, Mauze, Tye-Murray, Binzer, & Skinner, 2005), and musical training (Smith, Bartel, Joglekar, & Chen, 2017;van Besouw, Oliver, Hodkinson, Polfreman, & Grasmeder, 2015). Again, all of these show variable outcomes, with some participants improving only in trained tasks, some showing benefits also in untrained tasks, and others showing little difference in performance after training for any of the measures (Henshaw and Ferguson, 2013).…”