‘Like Pots and Pans Falling Down the Stairs’. Experience of Music Composed for Listeners with Cochlear Implants in a Live Concert Setting

Abstract

This study investigated whether music specially written for people with cochlear implants (CIs) could be used to better pinpoint how the music listening experience for a CI was different to a normal hearing listener (NH). After the specially arranged live concert, focus groups were formed from audience volunteers (two groups each of CIs, NHs and a range of hearing assistant devices). The theme of musical features (MF) was reported most frequently for both NHs and CIs. Valence analysis identified no significant difference in positive comments about MF by CIs than NHs for the specially commissioned works. Spatialization, although reported infrequently, was considered important by some CI, NH and bimodal listeners (who use a cochlear implant and a hearing aid). Rhythm was enjoyed by both NH and CI groups, and percussion instruments liked more than other musical instruments, but more so by CIs. Bilateral and bimodal CIs expressed interest in optimizing the hearing assistance settings, but on several occasions, the optimization ended with turning the contralateral hearing aid off. The study identifies the possible critical role of familiarity in music enjoyment.

Keywords:

• cochlear implant
• perception
• aesthetics
• composition
• live music

Acknowledgements

Thanks are due to Robin Fox, Rohan Drape, Ben Harper, Natasha Anderson, James Rushford, and Eugene Ughetti—the composers who contributed much of their time and effort to the project. Musical director Robin Fox was also involved in the project development. Many thanks to all the participants of this study, particularly to those cochlear implant users who volunteered their time to give feedback to the composers in the sound-testing phase. Special thanks to Dr Tom Francart, Mr Kyle Slater, Dr Dean Freestone, Ms Aimee Clague, and Ms Rebecca Argent who helped with wrangling surveys and data collection on the night of the concert.

Notes

1 The triad of numbers that is shown in subsequent parentheticals corresponds to the number of data units in total, the number of CI data units, and the number of NH data units respectively for the theme being reported. The difference between the CI plus NH tallies (the last two numbers) and the Total (the first number) is the tally of the other data units (HA), and is not shown in the parenthesis.

2 The code for the identity of the individual behind the data unit reported is Group type Group number—Within group participant number—nature of hearing assistance. When a group contains different kinds of hearing assistance, it is referred to as GMIX. As an example, in the quote shown GMIX1-4-HA indicated a participant in one of the mixed focus groups that took place after the first concert (groups 1, 2 and 3), hence GMIX1 (G[roup] ‘MIX’ number 1), the person speaking being participant 4 in that group who used a hearing aid only for hearing assistance (4-HA). The other focus groups were one of the two Cochlear Implant groups (CI), or one of the two Normal Hearing (NH) groups (see Table 1). Individuals were coded separately in the last characters of the code to indicate the nature of the group member to her/his constituents.

The authors gratefully acknowledge the financial support of the Music Board of the Australia Council for the Arts, Arts Victoria, the Arts Centre Melbourne, Blamey & Saunders Hearing, Arts Access Australia, the Cochlear Foundation, the Australian Research Council and the Bionics Institute. The Bionics Institute acknowledges the support it receives from the Victorian Government through its Operational Infrastructure Support Program.

Supplemental data for this article can be accessed [http://dx.doi.org/10.1080/09298215.2014.910235].

Rohan Drape – Another in Another Dark, Natasha Anderson Study for the Bionic Ear #1, Ben Harper – This is all I need, James Rushford – Tussilage, Robin Fox – Three Studies for the Bionic Ear and Eugene Ughetti – Syncretism A.

The excerpts are from ABC classic FM’s recording of the live performance of the Interior Design, http://musicalbionics.wordpress.com/2013/10/17/interior-design-listen-to-the-abc-podcasts-of-the-concert/. The pieces performed live or with live accompaniment were performed by Speak Percussion and Golden Fur.