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Aural Diversity addresses a fundamental methodological challenge in music and soundscape research by considering the nature of hearing as a spectrum of diverse experiences.
Bringing together an interdisciplinary array of contributors from the arts, humanities, and sciences, it challenges the idea of a normative listening experience and envisions how awareness of aural diversity can transform sonic arts, environments, and design and generate new creative listening practices.
With contributors from a wide range of fields including sound studies, music, hearing sciences, disability studies, acoustics, media studies, and psychology, Aural Diversity introduces a new and much-needed paradigm that is relevant to scholars, students, and practitioners engaging with sound, music, and hearing across disciplines.
Sommario
List of Figures
List of Tables
Acknowledgements
List of Contributors
- John L. Drever and Andrew Hugill: Aural Diversity: General introduction
- David M. Baguley: Aural Diversity: A clinical perspective
PART I: ACOUSTIC ENVIRONMENTS AND SOUNDSCAPE
- Julian Henriques, Eric Jauniaux, Aude Thibaut de Maisieres, and Pierre Gélat: Sound Before Birth: Foetal hearing and the auditory environment of the womb
- John L. Drever: Phonating Hand Dryers: exploits in product and environmental acoustics, and aural diverse composition and co-composition
- William Renel: The Auditory Normate: Engaging critically with sound, social inclusion and design
- Matt Lewis: Listening with Deafblindness
- Meri Kytö: Soundscapes of Code: Cochlear implant as soundscape arranger
- Patrick Farmer:
- William J. Davies: Autistic Listening
- Karla Berrens: Fire, Drums and the Making of Place During a Correfoc
- Josephine Dickinson: Alphabetula
- Ed Garland: Textual Hearing Aids: How reading about sound can improve sonic experience
PART II: MUSIC AND MUSICOLOGY
- Samuel Couth: The Show Must Go On: Understanding the effects of musicianship, noise exposure, cognition, and ageing on real-world hearing abilities
- Alinka Greasley: Diverse Music Listening Experiences: Insights from the hearing aids for music project
- Andrew Hugill: Consequences of Ménière's Disease for Musicians, Their Music-Making, Hearing Care, and Technologies
- Chris. J. H. Cook: Socialising and Musicking with Mild Cognitive Impairment: A case study from rural Cornwall
- Matthew Spring: Thomas Mace: A hearing-impaired musician and musical thinker in the seventeenth Century
- John D'Arcy: Do You Hear What I Hear? Some creative approaches to sharing and simulating diverse hearing
- Balandino Di Donato: Sign in Human-Sound Interaction
- Duncan Chapman: The Aural Diversity Concerts: Multimodal performance to an aurally diverse audience
- Jay Afrisando: Music-Making in Aurally Diverse Communities: An artist statement
- Simon Allen: Attention Reframed: A personal account of hearing loss as a catalyst for intermedia practice
- David Holzman: Lost and Found: A pianist's hearing journey
- Andrew Hugill: Composing with Hearing Differences
- Anya Ustaszewski: Composing 'Weird' Music
Index
Riassunto
Aural Diversity addresses a fundamental methodological challenge in music and soundscape research by considering the nature of hearing as a spectrum of diverse experiences.
