The Hard of Hearing Child Programming for Learning

The purpose of this study is threefold: to gain a better understanding of the hard of hearing child, to become aware of methods of discovering the hard of hearing child and to become cognizant of the methods and the means whereby the needs of the hard of hearing child could best be met by the teacher in the regular classroom

The Sampling of Bodily Sound in Contemporary Composition: towards an embodied analysis

Full version unavailable due to 3rd party copyright restrictions.The listener’s experience as an embodied subject is at the centre of this work. Embodied experience forms the basis for analyses of three contemporary compositions that sample bodily sound, in order to question how such works represent and mediate the body. The possible applications of this embodied methodology are illustrated through three case studies: Crackers by Christof Migone (2001), A Chance to Cut is a Chance to Cure by Matmos (2001) and Ground Techniques (2009) by Neil Luck. The findings of each analysis are placed within discussion of critical and theoretical concerns related to the (re)presentation, mediation and manipulation of the body both as materiality and as social construct, using, in particular, work by Hansen (2004) and Wegenstein (2006). The sampling practices of these works lead to the fragmentation of the represented bodies, in which margins between bodily interiors and exteriors are frequently crossed, bringing about a reconfiguration of the musical subject. Furthermore, the celebration of the bodily origins of these works complicates notions of recorded sound as disembodied. The analytical methodology developed in this thesis derives from a consideration of approaches in a number of fields: feminist musicology, music psychology, embodied cognition, phenomenology, music and gesture and new media theory. The sensations and affective responses of the listening body are discussed alongside an examination of how listening is shaped by processes of technological mediation. This thesis attends to both the body that is listening and the body that is listened to. I argue that it is not adequate to understand the works studied as merely representing the body, but suggest it would be more appropriate to understand the relationship between work and body as multi-faceted, conceptualising the body and recorded sound as mutually framing. This uncovers not only technology as mediation, but also the body as mediation. Finally, the case studies are used to reflect upon the limits of the embodied analysis methodology and its potential for wider application.This study was part-financed with the aid of a studentship from University College Falmouth and a grant from The Sir Richard Stapley Educational Trust

Regional Sign Language Varieties in Contact: Investigating Patterns of Accommodation

Short-term linguistic accommodation has been observed in a number of spoken language studies. The first of its kind in sign language research, this study aims to investigate the effects of regional varieties in contact and lexical accommodation in British Sign Language (BSL). Twenty-five participants were recruited from Belfast, Glasgow, Manchester, and Newcastle and paired with the same conversational partner. Participants completed a “spot-the-difference” task which elicited a considerable amount of contrasting regionally specific sign data in the participant-confederate dyads. Accommodation was observed during the task with younger signers accommodating more than older signers. The results are interpreted with reference to the relationship between language contact and lexical accommodation in BSL, and address how further studies could help us better understand how contact and accommodation contribute to language change more generally

Perceptual and acoustic gender differences in the speech of 4 1/2 - 5 1/2 year old children.

The linguistic factors which identify a speaker as being either male or female are reasonably well understood and documented when we are considering adult speakers. Many of these factors become apparent at puberty when the sexes diverge along predictable anatomical and physiological paths. It might be expected, therefore, that prepubertal children should appear relatively undifferentiated in terms of gender and that young boys' and girls' speech should be sexually homogenous. This study has confirmed, however, that adult listeners can correctly identify the sex of a prepubertal child from samples of speech. Results of the present study yielded correct identification rates which varied between 66% (using isolated vowels as the sample) and 76% (using sentences as the sample) - all of these rates were significantly greater than chance. Girls were shown to be better identified by listeners than boys and female listeners tended to be more accurate at identifying gender than male listeners. During the acoustic phase of the study, a number of parameters were selected for measurement which were regarded as likely to be involved in the gender-identification process. Overall, there was a surprisingly large number of negative results, with only a very few parameters yielding significantly sex-different outcomes. No differences were found in Fo between the sexes and only 5 out of 18 comparisons of formant frequency showed significant differences. An investigation into vocal breathiness indicated that, on the basis of this parameter, children could be assigned into perceptual groupings ('most / least male-like') better than into biological sex groupings ('boy / girl'). The conclusion reached is that listeners may use different acoustic cues to identify children's sex from speech than adult's sex, alternatively or additionally, they may be able to focus their perceptive skills more finely on the small acoustic inequalities that exist. The concept of gender-specific speech is discussed in a general commentary of the various influences exerted in the formation of gendered-identities

Evaluation of product sound design within the context of emotion design and emotional branding

Thesis (Master)--Izmir Institute of Technology, Industrial Design, Izmir, 2005Includes bibliographical references (leaves: 111-122)Text in English; Abstract: Turkish and Englishxi, 127 leavesThe main purpose of this thesis is to set out the relationships between the work of product designers and the perceptions of costumers regarding the acceptability of product sounds. Product design that provides aesthetic appeal, pleasure and satisfaction can greatly influence success of a product. Sound as a cognitive artifact, plays a significant role in the cognition of product interaction and in shaping its identity. This thesis will review emotion theories end their application to sound design and sound quality modeling, the measurement of emotional responses to sound, and the relationship between psycho-acoustical sound descriptions and emotions. In addition to that, affects of sounds to emotionally significant brands will be evaluated so as to examine marketing values. One of the main purposes of chapter 2 is to prove knowledge about psychoacoustics; as product sound quality is a basic understanding of the underlying psychoacoustics phenomena. Perception; particularly sound perception and its elements are described during chapter 2. Starting with the description of sound wave and how our hear works, sound perception and auditory sensation is reviewed in continuation. In chapter 3, product sound quality concept and its evaluation principles are reviewed. Thus, in order to understand the coupling between the acoustic perception and the product design; knowledge of general principles for product sound quality are required. Chapter 4 can be considered as two main sections. .How does emotion act as a delighter in product design?. is examined to better understand customer and user experiences impacting pleasure-ability in first section. In the second section, emotion is evaluated through sound design. A qualitative evaluation is done so as to examine cognition and emotion in sound perception. Chapter 5 leads subject through emotional branding. Sounds that carry the brand.s identity are evaluated within. Sound design is re-evaluated as marketing strategy and examined with several instances. Keywords: Product sound design, psychoacoustics, product sound quality, emotion design, emotional branding