Musicians can be a hearing care professional’s worst nightmare and, on occasion, their greatest teacher. The Hearing Review’s August edition guest editors Douglas Beck, AuD, & Marshall Chasin, AuD, provide an overview of this fascinating and challenging area of hearing healthcare.
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Hearing Review Editor-in-Chief Karl Strom takes a look at second quarter hearing aid sales in this month’s Staff Standpoint.
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Why is the number 1.059 important in audiology and music? Besides being the twelfth root of 2, it is also the number you multiply by in order to find the next key on a piano keyboard (in Hertz). Marshall Chasin, AuD, explains why this knowledge might come in handy.
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For the first time the hippocampus has been observed to be active in response to recurring musical phrases while listening to music.
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Singing roads and highway melodies, Marshall Chasin, AuD, examines the music of speed.
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This month’s blog, by frequent Hearing Review columnist Marshall Chasin, AuD, looks at musical roads: highways that “play a song” when you drive over them at a certain speed.
Read MoreProfessional musicians are almost 4 times as likely to develop noise induced hearing loss as the general public and are 57% more likely to develop tinnitus, says research.
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It is almost as if music has something in common with everything—psychology, physiology, acoustics, engineering, most areas of the arts, and now the lowly spondee.
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Loudness is a subjective attribute of sound that allows us to place it on a scale going from soft to loud without relation to any physical measure. As such, loudness can be affected by background noise, the nature of the noise or music spectrum, the degree of vibro-tactic response, and even your mood.
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Modern hearing aid technology has the capability to be responsive to varying levels of inputs.
Read MoreA perspective from years of testing hearing aids on their performance in music and commentary about Marshall Chasin’s January 2014 HR Tech Topic article about the Widex Dream device.
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The data from this study indicate that the raising the A/D converter bridge is a valid strategy that has been shown to be useful in both laboratory and real-life listening environments.
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Most of the musical features included in the study could be reliably predicted from the brain data, and areas outside of the auditory cortex—including motor, limbic, and frontal areas—had to be included in the models to obtain reliable predictions.
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In the first study of its kind, two researchers have used popular music to help severely brain-injured patients recall personal memories.
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“With cochlear implants, we’ve always been oriented more toward speech sounds,” says Jay Rubinstein, MD. “This strategy represents a different way of thinking about signal processing for music.”
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