Matching Items (4)
Description
Working memory and cognitive functions contribute to speech recognition in normal hearing and hearing impaired listeners. In this study, auditory and cognitive functions are measured in young adult normal hearing, elderly normal hearing, and elderly cochlear implant subjects. The effects of age and hearing on the different measures are investigated. The correlations between auditory/cognitive functions and speech/music recognition are examined. The results may demonstrate which factors can better explain the variable performance across elderly cochlear implant users.
ContributorsKolberg, Courtney Elizabeth (Author) / Luo, Xin (Thesis director) / Azuma, Tamiko (Committee member) / Department of Speech and Hearing Science (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
The poor spectral and temporal resolution of cochlear implants (CIs) limit their users’ music enjoyment. Remixing music by boosting vocals while attenuating spectrally complex instruments has been shown to benefit music enjoyment of postlingually deaf CI users. However, the effectiveness of music remixing in prelingually deaf CI users is still unknown. This study compared the music-remixing preferences of nine postlingually deaf, late-implanted CI users and seven prelingually deaf, early-implanted CI users, as well as their ratings of song familiarity and vocal pleasantness. Twelve songs were selected from the most streamed tracks on Spotify for testing. There were six remixed versions of each song: Original, Music-6 (6-dB attenuation of all instruments), Music-12 (12-dB attenuation of all instruments), Music-3-3-12 (3-dB attenuation of bass and drums and 12-dB attenuation of other instruments), Vocals-6 (6-dB attenuation of vocals), and Vocals-12 (12-dB attenuation of vocals). It was found that the prelingual group preferred the Music-6 and Original versions over the other versions, while the postlingual group preferred the Vocals-12 version over the Music-12 version. The prelingual group was more familiar with the songs than the postlingual group. However, the song familiarity rating did not significantly affect the patterns of preference ratings in each group. The prelingual group also had higher vocal pleasantness ratings than the postlingual group. For the prelingual group, higher vocal pleasantness led to higher preference ratings for the Music-12 version. For the postlingual group, their overall preference for the Vocals-12 version was driven by their preference ratings for songs with very unpleasant vocals. These results suggest that the patient factor of auditory experience and stimulus factor of vocal pleasantness may affect the music-remixing preferences of CI users. As such, the music-remixing strategy needs to be customized for individual patients and songs.
ContributorsVecellio, Amanda Paige (Author) / Luo, Xin (Thesis advisor) / Ringenbach, Shannon (Committee member) / Berisha, Visar (Committee member) / Zhou, Yi (Committee member) / Arizona State University (Publisher)
Created2024
Description
Instrumental music has been used to evoke natural environments and their qualities for centuries, and composers have employed a variety of methods in order to successfully invoke such sensations in their listeners. When composers and sound teams for video game soundtracks write pieces to accompany in-game settings, they may use a similar set of strategies. The nature of these tracks as an accompaniment to an interactive visual media and as a piece that must be able to indefinitely loop leads them to emphasize environment over emotion, and thus draws out or exaggerates these same techniques. This study seeks to understand the relationships between the acoustics of various setting backing tracks and the perceptual qualities of environments that listeners feel they evoke through the statistical method of multidimensional scaling. The relationships of three perceptual factors (coldness, brightness, wetness) and two acoustic factors (beats-per-minute, spectral envelope slope) are of greatest interest in this study.
ContributorsJackson, Jalen (Author) / Azuma, Tamiko (Thesis director) / Patten, Kristopher (Committee member) / Barrett, The Honors College (Contributor) / Speech & Hearing Science (Contributor)
Created2022-05
Description
Although many of the effects of the flute’s design and mechanisms have been previously studied, the flute’s stopper remains relatively unexplored. Stoppers are traditionally made of cork, are used to seal the upper end of the headjoint tubing, and determine the overall intonation of the flute. However, new stoppers made of different types of materials have been created to serve an additional purpose: to improve various aspects of player performance. These new non-cork stoppers vary in design and material, and claim to improve players’ projection, resonance, response, and other qualities.
This research project discusses the history of the flute’s stopper and its functions, usage, and effects to improve general stopper knowledge and assist flutists interested in trying or purchasing non-cork stoppers available today. Because only three small studies have been published on the stopper’s acoustic and perceived effects to date, two single-blind experiments were conducted to determine the stoppers’ potential acoustic and perceived effects on listener and player perception. Five of the most popular stoppers available today were tested: the Bigio Stopper, Celestine Rexonator, Seidman Flute Stopper Plug, Swap-Stopper, and the traditional cork stopper.
To determine the stopper’s acoustic effects, which can be quantified, an acoustic experiment was conducted to investigate the stoppers’ effect on intensity in decibels (which correlates with perceived loudness) and spectral centroid in hertz (which correlates with perceived tonal brightness). Perception tests were conducted to examine how both players and listeners perceive the stoppers’ effects on projection, response, tone quality, and timbre. The results of these experiments will help flutists better understand the effects of the stopper and navigate the stopper-makers’ claims about non-cork stoppers available for purchase today.
This research project discusses the history of the flute’s stopper and its functions, usage, and effects to improve general stopper knowledge and assist flutists interested in trying or purchasing non-cork stoppers available today. Because only three small studies have been published on the stopper’s acoustic and perceived effects to date, two single-blind experiments were conducted to determine the stoppers’ potential acoustic and perceived effects on listener and player perception. Five of the most popular stoppers available today were tested: the Bigio Stopper, Celestine Rexonator, Seidman Flute Stopper Plug, Swap-Stopper, and the traditional cork stopper.
To determine the stopper’s acoustic effects, which can be quantified, an acoustic experiment was conducted to investigate the stoppers’ effect on intensity in decibels (which correlates with perceived loudness) and spectral centroid in hertz (which correlates with perceived tonal brightness). Perception tests were conducted to examine how both players and listeners perceive the stoppers’ effects on projection, response, tone quality, and timbre. The results of these experiments will help flutists better understand the effects of the stopper and navigate the stopper-makers’ claims about non-cork stoppers available for purchase today.
ContributorsHoeckley, Stephanie (Author) / Buck, Elizabeth (Thesis advisor) / Gardner, Joshua (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2020