Stream segregation revisited: Dynamic listening and influences of emotional context on stream perception and attention.

A classical experiment of auditory stream segregation is revisited, reconceptualising perceptual ambiguity in terms of affordances and musical engagement. Specifically, three experiments are reported that investigate how listeners' perception of auditory sequences change dynamically depending on emotional context. The experiments show that listeners adapt their attention to higher or lower pitched streams (Experiments 1 and 2) and the degree of auditory stream integration or segregation (Experiment 3) in accordance with the presented emotional context. Participants with and without formal musical training show this influence, although to differing degrees (Experiment 2). Contributing evidence to the literature on interactions between emotion and cognition, these experiments demonstrate how emotion is an intrinsic part of music perception and not merely a product of the listening experience.

Music listening and hearing aids: perspectives from audiologists and their patients.

Objective: Two studies explored hearing-aid user and audiologist experiences of hearing-aid use and fitting for music in the UK.Design and sample: One-hundred-seventy-six hearing-aid users (age range: 21-93 years; mean: 60.56 years) answered a 4-item questionnaire on music listening difficulties and discussions about music in clinic. 99 audiologists (age range: 22-71 years; mean: 39.18 years) answered a 36-item questionnaire on the frequency and type of discussions, training received, and strategies for optimizing hearing aids for music. Closed and open-ended questions were included.Results: Sixty seven percent of hearing-aid users reported some degree of difficulty listening to music with hearing aids, and 58% had never discussed music in clinic. 50% of audiologists surveyed asked 1 in 5 (or fewer) patients about music and 67% had never received music-specific training. Audiologist training on music was significantly associated with confidence in providing advice, confidence in programming hearing aids for music, and programming hearing aids for music for a greater number of patients.Conclusions: Hearing-aid users' and audiologists' experiences of music remain mixed. In the absence of formalised training in optimizing hearing aids for music, there is a need for systematic research relating fitting strategies to clinical outcomes and the development of guidelines for audiologist training.

Talking in Time: The development of a self-administered conversation analysis based training programme for cochlear implant users.

Objectives: Training software to facilitate participation in conversations where overlapping talk is common was to be developed with the involvement of Cochlear implant (CI) users. Methods: Examples of common types of overlap were extracted from a recorded corpus of 3.5 hours of British English conversation. In eight meetings, an expert panel of five CI users tried out ideas for a computer-based training programme addressing difficulties in turn-taking. Results: Based on feedback from the panel, a training programme was devised. The first module consists of introductory videos. The three remaining modules, implemented in interactive software, focus on non-overlapped turn-taking, competitive overlaps and accidental overlaps. Discussion: The development process is considered in light of feedback from panel members and from an end of project dissemination event. Benefits, limitations and challenges of the present approach to user involvement and to the design of self-administered communication training programmes are discussed. Conclusion: The project was characterized by two innovative features: the involvement of service users not only at its outset and conclusion but throughout its course; and the exclusive use of naturally occurring conversational speech in the training programme. While both present practical challenges, the project has demonstrated the potential for ecologically valid speech rehabilitation training.