[AUDITORY] HearMus Seminar 2 (Kai Siedenburg, Sam couth) (Alinka Greasley )

Subject: [AUDITORY] HearMus Seminar 2 (Kai Siedenburg, Sam couth) From: Alinka Greasley <0000033f2edfad3c-dmarc-request@xxxxxxxx> Date: Fri, 22 Nov 2024 09:40:01 +0000 --_000_AM6PR03MB3576F4F25EDFA90F545FB1E88B232AM6PR03MB3576eurp_ Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable A reminder that the second seminar in the new HearMus series is taking plac= e next Tuesday at 2pm GMT (3pm CET) with Prof. Kai Siedenburg and Dr Sam Co= uth. ************************************************* HearMus Seminar 2 Time: Nov 26, 2024 14:00- 16:00 GMT (15:00-17:00 CET) Musical scene analysis of listeners with diverse hearing profiles: an updat= e Prof. Kai Siedenburg, Graz University of Technology Auditory perception does not supply a direct image of the acoustical world,= but it constructs auditory images by means of organizing principles that a= re collectively referred to as Auditory Scene Analysis (ASA). Diverse forms= of hearing impairments are shown to have detrimental effects on ASA, which= arguably takes its largest toll in the form of impaired speech intelligibi= lity in noisy environments. In recent work of my team, we have shown that h= earing impairments similarly degrade musical scene analysis (MSA). This tal= k will give an overview of these studies using excerpts of realistic classi= cal music, popular music, or artificially constructed examples. The MSA tas= ks typically tested the ability to hear out target sounds in multi-instrume= nt musical mixtures (e.g., "Was the target sound in the mix? Yes/No"). Surp= risingly, several drastic acoustical manipulations of multi-track mixes (e.= g., spatial separation, spectral filtering, hearing aid compression) showed= little effect on MSA tasks, but acoustical manipulations were clearly dist= inguishable in terms of audio quality ratings. This disparity suggests a mu= ltifaceted approach to portraying listening abilities and preferences of li= steners with diverse hearing profiles. Barriers and facilitators to providing audiology services for musicians: pe= rspectives from UK audiologists Dr Samuel Couth, University of Manchester Hearing disorders can threaten musicians' performance abilities, impact the= ir professional attainment and personal enjoyment, and can lead to a loss o= f profession. Therefore, it is vital that musicians take care of their hear= ing to ensure career longevity and general wellbeing. Audiologists are trai= ned to prevent, diagnose and treat hearing problems and are essential in su= pporting the ongoing hearing health of musicians. However, it is not clear = whether audiologists are equipped to address the conservation and rehabilit= ation needs of musicians; limited research shows that whilst some are confi= dent in their ability, others report a lack of confidence or even reluctanc= e to provide services for musicians. This talk describes the results of a r= ecent mixed-methods study which sought to understand the current practice o= f audiologists delivering services for musicians within the UK, and to use = the Capabilities, Opportunities, Motivations and Behaviour (COM-B) model to= help understand the barriers audiologists face in providing effective and = high-quality audiological care for musicians. Key findings from both survey= and interview data will be outlined, along with a summary of the main barr= iers and facilitators that provide essential insights for developing behavi= our change interventions. Topic: HearMus Seminar 2 (26.11.24) Time: Nov 26, 2024 14:00-16:00 GMT (15:00-17:00 CET) Join Zoom Meeting https://universityofleeds.zoom.us/j/85779638541 Meeting ID: 857 7963 8541 We look forward to seeing some of you there! Please pass on to anyone you f= eel would be interested. The HearMus seminar series provides a monthly forum for the discussion of a= broad array of topics around music and hearing health. The series aims to = yield a state of the art of research on music perception and hearing impair= ment, hearing aids and music, and individual differences in music perceptio= n and production. Besides presentations from experts in academia and indust= ry, the seminar series seeks to foster lively discussions and exchange of i= deas, with the joint goal of sustaining and enhancing access to music for p= eople with diverse hearing needs. You can find out more details and watch previous seminars here: https://mus= icandhearingaids.org/hearmus-seminars/ Prof. Alinka Greasley Professor of Music Psychology Director of Research and Innovation School of Music | University of Leeds | Leeds, LS2 9JT, UK Email: a.e.greasley@xxxxxxxx<mailto:a.e.greasley@xxxxxxxx> | Phone: += 44 113 343 4560 --_000_AM6PR03MB3576F4F25EDFA90F545FB1E88B232AM6PR03MB3576eurp_ Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable <html xmlns:v=3D"urn:schemas-microsoft-com:vml" xmlns:o=3D"urn:schemas-micr= osoft-com:office:office" xmlns:w=3D"urn:schemas-microsoft-com:office:word" = xmlns:m=3D"http://schemas.microsoft.com/office/2004/12/omml" xmlns=3D"http:= //www.w3.org/TR/REC-html40"> <head> <meta http-equiv=3D"Content-Type" content=3D"text/html; charset=3Dus-ascii"= > <meta name=3D"Generator" content=3D"Microsoft Word 15 (filtered medium)"> <style></style> </head> <body lang=3D"EN-GB" link=3D"#0563C1" vlink=3D"#954F72"> <div class=3D"WordSection1"> A reminder that the second seminar in the new HearMu= s series is taking place next Tuesday at 2pm GMT (3pm CET) with Prof. Kai S= iedenburg and Dr Sam Couth. <o:p></o:p> <o:p> </o:p> *************************************************<o:= p></o:p> HearMus Seminar 2 <o:p></o:p> Time: Nov 26, 2024 14:00- 16:00 GMT (15:00-17:00 CET= )<o:p></o:p>  <o:p></o:p> Musical scene analysis of listeners with diverse = hearing profiles: an update<o:p></o:p> Prof. Kai Siedenburg, Graz University of Technology<= o:p></o:p>  <o:p></o:p> Auditory perception does not supply a direct image o= f the acoustical world, but it constructs auditory images by means of organ= izing principles that are collectively referred to as Auditory Scene Analys= is (ASA). Diverse forms of hearing impairments are shown to have detrimental effects on ASA, which arguably t= akes its largest toll in the form of impaired speech intelligibility in noi= sy environments. In recent work of my team, we have shown that hearing impa= irments similarly degrade musical scene analysis (MSA). This talk will give an overview of these studies usi= ng excerpts of realistic classical music, popular music, or artificially co= nstructed examples. The MSA tasks typically tested the ability to hear out = target sounds in multi-instrument musical mixtures (e.g., “Was the target sound in the mix? Yes/No&#82= 21;). Surprisingly, several drastic acoustical manipulations of multi-track= mixes (e.g., spatial separation, spectral filtering, hearing aid compressi= on) showed little effect on MSA tasks, but acoustical manipulations were clearly distinguishable in terms of audio quality ratin= gs. This disparity suggests a multifaceted approach to portraying listening= abilities and preferences of listeners with diverse hearing profiles.<o:p>= </o:p>  <o:p></o:p> Barriers and facilitators to providing audiology = services for musicians: perspectives from UK audiologists<o:p></o:p></p= > Dr Samuel Couth, University of Manchester<o:p></o:p>= <o:p> </o:p> Hearing disorders can threaten musicians’ perf= ormance abilities, impact their professional attainment and personal enjoym= ent, and can lead to a loss of profession. Therefore, it is vital that= musicians take care of their hearing to ensure career longevity and general wellbeing. Audiologists are trained to preven= t, diagnose and treat hearing problems and are essential in supporting the = ongoing hearing health of musicians. However, it is not clear whether audio= logists are equipped to address the conservation and rehabilitation needs of musicians; limited research s= hows that whilst some are confident in their ability, others report a lack = of confidence or even reluctance to provide services for musicians. This ta= lk describes the results of a recent mixed-methods study which sought to understand the current practice of aud= iologists delivering services for musicians within the UK, and to use the C= apabilities, Opportunities, Motivations and Behaviour (COM-B) model to help= understand the barriers audiologists face in providing effective and high-quality audiological care for musicia= ns. Key findings from both survey and interview data will be outlined, alon= g with a summary of the main barriers and facilitators that provide essenti= al insights for developing behaviour change interventions.<o:p></o:p>  <o:p></o:p> Topic: HearMus Seminar 2 (26.11.24)<o:p></o:p> Time: Nov 26, 2024 14:00-16:00 GMT (15:00-17:00 CET)= <o:p></o:p> Join Zoom Meeting<o:p></o:p> <a href=3D"https://universityofleeds.zoom.us/j/85779= 638541">https://universityofleeds.zoom.us/j/85779638541</a><o:p></o:p> Meeting ID: 857 7963 8541<o:p></o:p>  <o:p></o:p> We look forward to seeing some of you there! Please = pass on to anyone you feel would be interested.<o:p></o:p> <o:p> </o:p> The HearMus seminar series provides a monthly= forum for the discussion of a broad array of topics around music and heari= ng health. The series aims to yield a state of the art of research on music= perception and hearing impairment, hearing aids and music, and individual differences in music perception and= production. Besides presentations from experts in academia and industry, t= he seminar series seeks to foster lively discussions and exchange of ideas,= with the joint goal of sustaining and enhancing access to music for people with diverse hearing needs. <o:p>= </o:p>  <o:p></o:p> You can find out more details and watch previous sem= inars here: <a href=3D"https://musicandhearingaids.org/hearmus-seminars/">https://music= andhearingaids.org/hearmus-seminars/</a><o:p></o:p> <o:p> </o:p> <o:p> </o:p> Prof. Alinka Greasley<o:p></o:p> Professor of Music Psychology<o:p></o:p> Director of Research and Innovation <o:p></o:p> School of Music | University of Leeds | Leeds, LS2 9J= T, UK <o:p></o:p> Email: <a href=3D"mailto:a.e.gre= asley@xxxxxxxx">a.e.greas= ley@xxxxxxxx</a> | Phone: + 44 113 343 4560<o:p></o:p></s= pan> </div> </body> </html> --_000_AM6PR03MB3576F4F25EDFA90F545FB1E88B232AM6PR03MB3576eurp_--

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