Aural Diversity addresses a fundamental methodological challenge in music and soundscape research by considering the nature of hearing as a spectrum of diverse experiences.
Bringing together an interdisciplinary array of contributors from the arts, humanities, and sciences, it challenges the idea of a normative listening experience and envisions how awareness of aural diversity can transform sonic arts, environments, and design and generate new creative listening practices.
With contributors from a wide range of fields including sound studies, music, hearing sciences, disability studies, acoustics, media studies, and psychology, Aural Diversity introduces a new and much-needed paradigm that is relevant to scholars, students, and practitioners engaging with sound, music, and hearing across disciplines.
Author(s): John L. Drever, Andrew Hugill
Publisher: Routledge
Year: 2022
Language: English
Pages: 252
City: London
Cover
Half Title
Title Page
Copyright Page
Dedication
Table of Contents
Figures
Tables
Acknowledgements
Contributors
1 Aural Diversity: General Introduction
What Is Aural Diversity?
The Aural Diversity Project
About This Book
Acoustic Environments and Soundscape
Music and Musicology
Conclusion
References
2 Aural Diversity: A Clinical Perspective
Introduction
Hearing: Anatomy, Physiology, Functionality
Hearing Well
Hearing Disorders
Diversity, Impairment, Or Loss?
Acknowledgement
References
Part I Acoustic Environments and Soundscape
3 Sound Before Birth: Foetal Hearing and the Auditory Environment of the Womb
Auditory Stress in Neonatal Wards
Current Interest in the Womb as Auditory Environment
The Foetal Auditory Environment
The Foetal Filter
Demonstrating Foetal Hearing With the Sonic Womb Orrb
Experimentation
Computational Modelling
Conclusion: Auditory Philosophy
Notes
References
4 Phonating Hand Dryers: Exploits in Product and Environmental Acoustics, and Aural Diverse Composition and Co-Composition
Introduction
An Auraltypical World
Important Subgroups in Toilet Research
Hand Washing Practice
High-Speed Hand Dryers
Infant Hearing
Noise Equals Power
Acoustic Privacy
Acoustic Testing of High-Speed Hand Dryers
Toilet Acoustics
Social Survey
Sharing the Findings
Sanitary Tones: Ayre #1 [Airblade]
Litany of the Hand Dryers
Sanitary Tones: Ayre #2 [Dan Dryer]
Sanitary Tones: Ayre #3 [Kelston]
Product Sound Design
Audio-Phonation
Conclusion
References
5 The Auditory Normate: Engaging Critically With Sound, Social Inclusion and Design
Introduction: An Idealised Sonic Citizen
A Note On Lived Experiences
The (Auditory) Normate Template
A Social Relational Model of Sonic Exclusion
Design and Systematically Distorted Communication
The Artificially Intelligent Idealised Ear
The Auditory Implications of the Built Environment
Temporal Norms
Legislating the ‘Normal’ Ear
The Social (Re)Production of Auditory Normalism
Conclusion
References
6 Listening With Deafblindness
Introduction
Listening Together
Imagination
Rhythms
Ways of Listening
Acknowledgements
References
7 Soundscapes of Code: Cochlear Implant as Soundscape Arranger
Walking With Helinä – Methodological Background
A Sense of Code/Space
The Sound Processor as a Listening Machine
Arranging the Soundscapes of Code
References
8
1
2
3
4
5
6
Notes
References
9 Autistic Listening
Introduction
A Model of Auditory Processing
Autistic Auditory Processing in the Literature
Loudness Perception
Pitch Perception
Speech in Noise
Speech Prosody
Perceptual Capacity
Auditory Attention
Anecdotal Reports
Using Structure
Pleasure
Detail Is Always There
Discussion
References
10 Fire, Drums and the Making of Place During a Correfoc
Place, Senses and Correfoc
Methodology
Correfoc: History and Name
Fire, Devils, and Clothing
The Senses and Protective Gear
Fire, Drums, Feelings, and Space
Emotions in Fire and Drums
Burning, Drumming, and Relating to Space
Discussion
Acknowledgements
References
11 Alphabetula
References
12 Textual Hearing Aids: How Reading About Sound Can Modify Sonic Experience
Textual Hearing Aids
Sonic Experience of the Family
Grains of Sound
Reading Ears
References
Part II Music and Musicology
13 The Show Must Go On: Understanding the Effects of Musicianship, Noise Exposure, Cognition, and Ageing On Real-World Hearing Abilities
Introduction
The Relationship Between Musicianship, Noise Exposure, and Hearing Problems
The Relationship Between Musicianship, Auditory and Cognitive Skills, and Hearing Abilities
The Relationship Between Age, Noise Exposure, Cognition, and Hearing Problems
The Show Must Go On
Acknowledgements
References
14 Diverse Music Listening Experiences: Insights From the Hearing Aids for Music Project
Introduction
Taking Stock
Asking Practitioners
In-depth Interviews
National Survey
Mapping the Complexities
Notes
References
15 Consequences of MÉniÈre’s Disease for Musicians, Their Music-Making, Hearing Care, and Technologies
Introduction
Method
Results
Medical Consequences
Treatments
Personal Consequences
Musical Consequences
Musical Perceptions
Hearing Consequences
Hearing Care
Hearing Technologies
Discussion
Acknowledgements
References
16 Socialising and Musicking With Mild Cognitive Impairment: A Case Study From Rural Cornwall
Introduction
Person-Centred Care and Acoustic Habitus
Trevor’s Social Auditory Space: Wednesday Wanderers
Trevor’s Barriers to Wednesday Wanderers Participation
Trevor’s Musicking
Trevor’s Barriers to Music Participation
Conclusion
Acknowledgements
Notes
References
17 Thomas Mace: A Hearing-Impaired Musician and Musical Thinker in the Seventeenth Century
Introduction
Mace and Disability
Mace and Trinity College
Musick’s Monument
Mace’s Response Hearing Loss – The Lute Dyphone
Inequality of Parts
Mace and Acoustical Space
Expression, ‘Humour’ and ‘Mood’
Conclusion: The Relevance of Mace Today
Notes
References
18 Do You Hear What I Hear?: Some Creative Approaches to Sharing and Simulating Diverse Hearing
Introduction
Context
The Initial Activities of Do You Hear What I Hear
Real-time Manipulation of Audio to Convey Varying Ways of Hearing
Individual Headphones for Audience Members
Audience Mobility
Dialogue With the Audience
Mediation of Audience Voices
Audience Control of Audio Settings
Potential Developments for Do You Hear What I Hear
Diverse Collaborators and Audiences
Hardware and Software
Interaction and Engagement
Summary
References
19 Sign in Human–Sound Interaction
Introduction
The Wood and the Water By Eleanor Turner
Signed Music and Human–Sound Interaction
Conclusions
References
20 The Aural Diversity Concerts: Multimodal Performance to an Aurally Diverse Audience
The First Concert: The Old Barn, Kelston Roundhill, 6 July 2019
The Second Concert: Attenborough Arts Centre, Leicester, 30 November 2019
Critical Reflections
Conclusion
Acknowledgements
Notes
References
21 Music-Making in Aurally Diverse Communities: An Artist Statement
Multisensory and Multimedia
Visually Listening and Music in the Mind
The Impact of Aural Diversity On Communities, Creativity, and Beyond
References
22 Attention Reframed: A Personal Account of Hearing Loss as a Catalyst for Intermedia Practice
Experimental Beginnings
Accessible Practice
23 Lost and Found: A Pianist’s Hearing Journey
More Loss
Found
Coda
24 Composing With Hearing Differences
Hearing
Autism
Composition
Thirty Minutes for Diplacusis Piano
Kelston Birdsong
Spectrum Sounds
25 Composing ‘Weird’ Music
Index
