Emotional Responses to Non-Speech Sounds for Hearing-aid and Bimodal Cochlear-Implant Listeners.

The purpose of this project was to evaluate differences between groups and device configurations for emotional responses to non-speech sounds. Three groups of adults participated: 1) listeners with normal hearing with no history of device use, 2) hearing aid candidates with or without hearing aid experience, and 3) bimodal cochlear-implant listeners with at least 6 months of implant use. Participants (n = 18 in each group) rated valence and arousal of pleasant, neutral, and unpleasant non-speech sounds. Listeners with normal hearing rated sounds without hearing devices. Hearing aid candidates rated sounds while using one or two hearing aids. Bimodal cochlear-implant listeners rated sounds while using a hearing aid alone, a cochlear implant alone, or the hearing aid and cochlear implant simultaneously. Analysis revealed significant differences between groups in ratings of pleasant and unpleasant stimuli; ratings from hearing aid candidates and bimodal cochlear-implant listeners were less extreme (less pleasant and less unpleasant) than were ratings from listeners with normal hearing. Hearing aid candidates' ratings were similar with one and two hearing aids. Bimodal cochlear-implant listeners' ratings of valence were higher (more pleasant) in the configuration without a hearing aid (implant only) than in the two configurations with a hearing aid (alone or with an implant). These data support the need for further investigation into hearing device optimization to improve emotional responses to non-speech sounds for adults with hearing loss.

Bimodal Benefit for Music Perception: Effect of Acoustic Bandwidth.

Purpose The challenges associated with cochlear implant (CI)-mediated listening are well documented; however, they can be mitigated through the provision of aided acoustic hearing in the contralateral ear-a configuration termed bimodal hearing. This study extends previous literature to examine the effect of acoustic bandwidth in the non-CI ear for music perception. The primary aim was to determine the minimum and optimum acoustic bandwidth necessary to obtain bimodal benefit for music perception and speech perception. Method Participants included 12 adult bimodal listeners and 12 adult control listeners with normal hearing. Music perception was assessed via measures of timbre perception and subjective sound quality of real-world music samples. Speech perception was assessed via monosyllabic word recognition in quiet. Acoustic stimuli were presented to the non-CI ear in the following filter conditions: < 125, < 250, < 500, and < 750 Hz, and wideband (full bandwidth). Results Generally, performance for all stimuli improved with increasing acoustic bandwidth; however, the bandwidth that is both minimally and optimally beneficial may be dependent upon stimulus type. On average, music sound quality required wideband amplification, whereas speech recognition with a male talker in quiet required a narrower acoustic bandwidth (< 250 Hz) for significant benefit. Still, average speech recognition performance continued to improve with increasing bandwidth. Conclusion Further research is warranted to examine optimal acoustic bandwidth for additional stimulus types; however, these findings indicate that wideband amplification is most appropriate for speech and music perception in individuals with bimodal hearing.

Tele-Audiology: Current State and Future Directions.

The importance of tele-audiology has been heightened by the current COVID-19 pandemic. The present article reviews the current state of tele-audiology practice while presenting its limitations and opportunities. Specifically, this review addresses: (1) barriers to hearing healthcare, (2) tele-audiology services, and (3) tele-audiology key issues, challenges, and future directions. Accumulating evidence suggests that tele-audiology is a viable service delivery model, as remote hearing screening, diagnostic testing, intervention, and rehabilitation can each be completed reliably and effectively. The benefits of tele-audiology include improved access to care, increased follow-up rates, and reduced travel time and costs. Still, significant logistical and technical challenges remain from ensuring a secure and robust internet connection to controlling ambient noise and meeting all state and federal licensure and reimbursement regulations. Future research and development, especially advancements in artificial intelligence, will continue to increase tele-audiology acceptance, expand remote care, and ultimately improve patient satisfaction.

Musical Emotion Perception in Bimodal Patients: Relative Weighting of Musical Mode and Tempo Cues.

Several cues are used to convey musical emotion, the two primary being musical mode and musical tempo. Specifically, major and minor modes tend to be associated with positive and negative valence, respectively, and songs at fast tempi have been associated with more positive valence compared to songs at slow tempi (Balkwill and Thompson, 1999; Webster and Weir, 2005). In Experiment I, we examined the relative weighting of musical tempo and musical mode among adult cochlear implant (CI) users combining electric and contralateral acoustic stimulation, or "bimodal" hearing. Our primary hypothesis was that bimodal listeners would utilize both tempo and mode cues in their musical emotion judgments in a manner similar to normal-hearing listeners. Our secondary hypothesis was that low-frequency (LF) spectral resolution in the non-implanted ear, as quantified via psychophysical tuning curves (PTCs) at 262 and 440 Hz, would be significantly correlated with degree of bimodal benefit for musical emotion perception. In Experiment II, we investigated across-channel spectral resolution using a spectral modulation detection (SMD) task and neural representation of temporal fine structure via the frequency following response (FFR) for a 170-ms /da/ stimulus. Results indicate that CI-alone performance was driven almost exclusively by tempo cues, whereas bimodal listening demonstrated use of both tempo and mode. Additionally, bimodal benefit for musical emotion perception may be correlated with spectral resolution in the non-implanted ear via SMD, as well as neural representation of F0 amplitude via FFR - though further study with a larger sample size is warranted. Thus, contralateral acoustic hearing can offer significant benefit for musical emotion perception, and the degree of benefit may be dependent upon spectral resolution of the non-implanted ear.

Musician and Nonmusician Hearing Aid Setting Preferences for Music and Speech Stimuli.

Purpose The purpose of this study was to evaluate potential group differences between musicians and nonmusicians in their self-adjusted (SA) gain and compression settings for both music and speech stimuli. Speech recognition, sound quality, and strength of preference for the SA settings and the original prescriptive (National Acoustic Laboratories-Nonlinear 2 [NAL-NL2]) settings were also compared. Method Participants included 12 musician ( M = 60 years) and 12 nonmusician ( M = 55 years) adult hearing aid users with mild-moderate hearing loss, on average. Self-adjustments were made to hearing aid gain and compression settings for 2 music stimuli and a speech stimulus. Speech recognition in quiet and noise, sound quality for 6 dimensions (clarity, pleasantness, naturalness, fullness, brightness, and overall impression), and strength of preference ratings using paired comparisons were then assessed at both the NAL-NL2 settings and the participants' SA settings. Results On average, self-adjustments made by both groups were quite small (< 5 dB for gain and < 0.5 for compression ratio). Furthermore, SA changes to gain and compression ratio were not significantly different for musicians versus nonmusicians or for music versus speech. Finally, speech perception performance and sound quality ratings did not differ for the SA settings versus the NAL-NL2 settings, with the exception of the naturalness sound quality dimension. Conclusions These data suggest that a gain-frequency response specific to musicians and/or music inputs may not be necessary. Thus, current, validated prescriptive methods continue to be well supported as an appropriate starting place for listeners with mild-moderate hearing loss using open hearing aid fittings.