Feeling the Beat: Bouncing Synchronization to Vibrotactile Music in Hearing and Early Deaf People

Selected Acoustic Frequencies Have a Positive Impact on Behavioural and Physiological Welfare Indicators in Thoroughbred Racehorses

(1) Background: Since antiquity, it is considered that sounds influence human emotional states and health. Acoustic enrichment has also been proposed for domestic animals. However, in both humans and animals, effects vary according to the type of sound. Human studies suggest that frequencies, more than melodies, play a key role. Low and high frequencies, music tuning frequency and even EEG slow waves used for 'neurofeedback' produce effects. (2) Methods: We tested the possible impact of such pure frequencies on racehorses' behavior and physiology. A commercial non-audible acoustic stimulus, composed of an array of the above-mentioned frequencies, was broadcasted twice daily and for three weeks to 12 thoroughbred horses in their home stall. (3) Results: The results show a decrease in stereotypic behaviors and other indicators such as yawning or vacuum chewing, an increase in the time spent in recumbent resting and foraging, and better hematological measures during and after the playback phase for 4 of the 10 physiological parameters measured. (4) Conclusions: These results open new lines of research on possible ways of alleviating the stress related to housing and training conditions in racehorses and of improving physical recovery.

Cognition Assessment Technologies on Deaf People

In recent years there has been a growing interest in research about the different ways of processing and consolidating cognition in deaf people. It is known that hearing loss can lead to differences in some executive functions like control inhibitory or working memory. This literature review describes executive functions in deaf people and how they could be evaluated through technological devices complementing traditional assessments, like neuropsychological batteries. We identified biometric devices, digital and physical interfaces, and software from the literature, whose goal is to design or adapt technology to assess some cognition domains in several ways. The results of the review suggest the need to understand the cognitive phenomenon that significantly impacts the context of deaf people; moreover, it becomes relevant as a line of research in the Cognitive Science of Hearing. Using technologies to measure them and gain a better understanding of cognition in deaf people may provide possibilities for designing or adapting targeted educational or therapeutic strategies.

Emotion Elicitation through Vibrotactile Stimulation as an Alternative for Deaf and Hard of Hearing People: An EEG Study

Despite technological and accessibility advances, the performing arts and their cultural offerings remain inaccessible to many people. By using vibrotactile stimulation as an alternative channel, we explored a different way to enhance emotional processes produced while watching audiovisual media and, thus, elicit a greater emotional reaction in hearing-impaired people. We recorded the brain activity of 35 participants with normal hearing and 8 participants with severe and total hearing loss. The results showed activation in the same areas both in participants with normal hearing while watching a video, and in hearing-impaired participants while watching the same video with synchronized soft vibrotactile stimulation in both hands, based on a proprietary stimulation glove. These brain areas (bilateral middle frontal orbitofrontal, bilateral superior frontal gyrus, and left cingulum) have been reported as emotional and attentional areas. We conclude that vibrotactile stimulation can elicit the appropriate cortex activation while watching audiovisual media.

The benefits of underwater vibrostimulation in the rehabilitation of children with impaired hearing

INTRODUCTION

Early intervention is crucial for the optimal speech and language development of children with impaired hearing. Underwater vibrostimulation could help develop behavioural reactions to low-frequency stimuli immediately after diagnosis and facilitate aural rehabilitation after hearing aid (HA) or cochlear implant (CI) activation.

GOALS

To determine the limits of underwater vibrotactile stimuli perception and to measure the effect of vibrostimulation training on the aural rehabilitation of young children.

METHODS

Two adults and three children with congenital hearing loss participated in the first part of the study. Pure tones between 100 and 4000 Hz and natural broadband sounds were delivered under water while the participants were sitting in a pool. The lower thresholds of perception and the maximum comfortable levels were measured and the subjective sensations were recorded. In the second part of the study, 15 children <3 years old were presented with the same stimuli until they developed stable conditioned reactions to the stimuli. The time until the development of "hearing behaviour" and the number of fitting sessions after HA or CI activation were compared between the vibrostimulation group and a control group who did not receive such training.

RESULTS

In the first part of the study, participants were most sensitive to 100-400 Hz stimuli, while the stimuli >1000 Hz did not evoke any sensations. The vibrations were felt across all body parts and produced hearing-like sensations in the ear. In the second part of the study, children in the vibrostimulation group required fewer fitting sessions and developed "hearing behaviour" sooner than the control group.

CONCLUSIONS

Underwater vibrostimulation is a promising new method of early aural rehabilitation that could be recommended for implementation in paediatric audiology centres.

Audio-Tactile Rendering: A Review on Technology and Methods to Convey Musical Information through the Sense of Touch

Tactile rendering has been implemented in digital musical instruments (DMIs) to offer the musician haptic feedback that enhances his/her music playing experience. Recently, this implementation has expanded to the development of sensory substitution systems known as haptic music players (HMPs) to give the opportunity of experiencing music through touch to the hearing impaired. These devices may also be conceived as vibrotactile music players to enrich music listening activities. In this review, technology and methods to render musical information by means of vibrotactile stimuli are systematically studied. The methodology used to find out relevant literature is first outlined, and a preliminary classification of musical haptics is proposed. A comparison between different technologies and methods for vibrotactile rendering is performed to later organize the information according to the type of HMP. Limitations and advantages are highlighted to find out opportunities for future research. Likewise, methods for music audio-tactile rendering (ATR) are analyzed and, finally, strategies to compose for the sense of touch are summarized. This review is intended for researchers in the fields of haptics, assistive technologies, music, psychology, and human–computer interaction as well as artists that may make use of it as a reference to develop upcoming research on HMPs and ATR.

Can Haptic Stimulation Enhance Music Perception in Hearing-Impaired Listeners?

Cochlear implants (CIs) have been remarkably successful at restoring hearing in severely-to-profoundly hearing-impaired individuals. However, users often struggle to deconstruct complex auditory scenes with multiple simultaneous sounds, which can result in reduced music enjoyment and impaired speech understanding in background noise. Hearing aid users often have similar issues, though these are typically less acute. Several recent studies have shown that haptic stimulation can enhance CI listening by giving access to sound features that are poorly transmitted through the electrical CI signal. This “electro-haptic stimulation” improves melody recognition and pitch discrimination, as well as speech-in-noise performance and sound localization. The success of this approach suggests it could also enhance auditory perception in hearing-aid users and other hearing-impaired listeners. This review focuses on the use of haptic stimulation to enhance music perception in hearing-impaired listeners. Music is prevalent throughout everyday life, being critical to media such as film and video games, and often being central to events such as weddings and funerals. It represents the biggest challenge for signal processing, as it is typically an extremely complex acoustic signal, containing multiple simultaneous harmonic and inharmonic sounds. Signal-processing approaches developed for enhancing music perception could therefore have significant utility for other key issues faced by hearing-impaired listeners, such as understanding speech in noisy environments. This review first discusses the limits of music perception in hearing-impaired listeners and the limits of the tactile system. It then discusses the evidence around integration of audio and haptic stimulation in the brain. Next, the features, suitability, and success of current haptic devices for enhancing music perception are reviewed, as well as the signal-processing approaches that could be deployed in future haptic devices. Finally, the cutting-edge technologies that could be exploited for enhancing music perception with haptics are discussed. These include the latest micro motor and driver technology, low-power wireless technology, machine learning, big data, and cloud computing. New approaches for enhancing music perception in hearing-impaired listeners could substantially improve quality of life. Furthermore, effective haptic techniques for providing complex sound information could offer a non-invasive, affordable means for enhancing listening more broadly in hearing-impaired individuals.

Environmental Conditions of Dance Rooms and Its Impact on Dance Conservatories Teachers' Health (An Andalusian Study)

Dance teachers have to be in long hours dancing. That entails repetitive movements, loud live music, and as well as forcing their voices. These demands can implicate severe health problems and other kind of illness as discomfort, stress, etc. However, the Spanish Ministry of Health only recognize as professional disease for this line of work, the vocal nodules. For this reason, this research studies the health problems in dance teachers in Andalusia, correlating the results of a survey carried out in different conservatories from Andalusia with measurement of noise emissions levels, assessment of noise exposure, and assessment of thermal environment in the classes measuring the thermal environment variables. To the authors' knowledge, this is the first study where the influence of several sounds, such as tapping, castanets, and live music, on the health of dance teachers, musicians, and singers during flamenco classes has been researched. Results showed a correlation between some diseases, such as stress and the high level of sound in the classes. The sound levels were well above those established by European regulations reaching values higher than 85 dB(A) as equivalent continuous sound levels during the class time. This European regulation is stablished for an 8 h/day period, five days per week. The thermal environments are no adequate for this activity, mainly for high temperatures in Cordoba during summer. To improve the current working conditions, some recommendations were given to reduce the number of class hours and establish rest shifts, provide more information on health risks, or renovate the floor of some classrooms.

Neural and Behavioral Evidence for Vibrotactile Beat Perception and Bimodal Enhancement

The ability to synchronize movements to a rhythmic stimulus, referred to as sensorimotor synchronization (SMS), is a behavioral measure of beat perception. Although SMS is generally superior when rhythms are presented in the auditory modality, recent research has demonstrated near-equivalent SMS for vibrotactile presentations of isochronous rhythms [Ammirante, P., Patel, A. D., & Russo, F. A. Synchronizing to auditory and tactile metronomes: A test of the auditory-motor enhancement hypothesis. Psychonomic Bulletin & Review, 23, 1882-1890, 2016]. The current study aimed to replicate and extend this study by incorporating a neural measure of beat perception. Nonmusicians were asked to tap to rhythms or to listen passively while EEG data were collected. Rhythmic complexity (isochronous, nonisochronous) and presentation modality (auditory, vibrotactile, bimodal) were fully crossed. Tapping data were consistent with those observed by Ammirante et al. (2016), revealing near-equivalent SMS for isochronous rhythms across modality conditions and a drop-off in SMS for nonisochronous rhythms, especially in the vibrotactile condition. EEG data revealed a greater degree of neural entrainment for isochronous compared to nonisochronous trials as well as for auditory and bimodal compared to vibrotactile trials. These findings led us to three main conclusions. First, isochronous rhythms lead to higher levels of beat perception than nonisochronous rhythms across modalities. Second, beat perception is generally enhanced for auditory presentations of rhythm but still possible under vibrotactile presentation conditions. Finally, exploratory analysis of neural entrainment at harmonic frequencies suggests that beat perception may be enhanced for bimodal presentations of rhythm.

Musicians Show Better Auditory and Tactile Identification of Emotions in Music

Musicians are better at processing sensory information and at integrating multisensory information in detection and discrimination tasks, but whether these enhanced abilities extend to more complex processes is still unknown. Emotional appeal is a crucial part of musical experience, but whether musicians can better identify emotions in music throughout different sensory modalities has yet to be determined. The goal of the present study was to investigate the auditory, tactile and audiotactile identification of emotions in musicians. Melodies expressing happiness, sadness, fear/threat, and peacefulness were played and participants had to rate each excerpt on a 10-point scale for each of the four emotions. Stimuli were presented through headphones and/or a glove with haptic audio exciters. The data suggest that musicians and control are comparable in the identification of the most basic (happiness and sadness) emotions. However, in the most difficult unisensory identification conditions (fear/threat and peacefulness), significant differences emerge between groups, suggesting that musical training enhances the identification of emotions, in both the auditory and tactile domains. These results support the hypothesis that musical training has an impact at all hierarchical levels of sensory and cognitive processing.

Development of an Electrostatic Beat Module for Various Tactile Sensations in Touch Screen Devices

One of the most dominant factors in developing tactile modules is the ability to generate abundant vibrotactile sensation. This paper presents a new vibrotactile module which can stimulate two mechanoreceptors at the same time without any mechanical vibration motors. To realize that, we first design an electro-tactile beat module (an ETB module) consisting of a lower part, a connection part and an upper part. The two electrodes were designed in an interdigitated pattern and were applied to the upper part. By applying two voltage inputs with slightly different frequencies to two electrodes in the proposed ETB module, respectively, we can create beat-patterned vibration. Furthermore, we can create normal vibration with the proposed ETB module by applying same frequency to the two electrodes. Experiments were conducted to validate the haptic performance of the proposed prototype. The results show that the proposed ETB module can create not only beat-patterned vibration but also normal vibration. The results also show that it can generate strong enough vibration to stimulate mechanoreceptors in wide frequency ranges.

Does dance training influence beat sensorimotor synchronization? Differences in finger-tapping sensorimotor synchronization between competitive ballroom dancers and nondancers

Sensorimotor synchronization is the coordination of rhythmic movement with an external beat. Dancers often synchronize each beat of their motion with an external rhythm. Compared with social dancing, competitive ballroom dancing requires a higher level of sensorimotor ability. Although previous studies have found that dance experience may facilitate sensorimotor synchronization, they did not examine this in competitive ballroom dancers. Thus, the present study compared sensorimotor synchronization in 41 nondancers and 41 skilled, competitive ballroom dancers as they performed a simple beat synchronization finger-tapping task. All participants finger-tapped freely at their preferred tempo before the formal experiments. Participants were then required to synchronize their finger-tapping with auditory, visual, or combined audiovisual signals in separate experiments and at varying tempos. To assess sensorimotor plasticity, the participants then repeated the free-tapping task after completing all three finger-tapping experiments. Compared with nondancers, dancers showed more accurate and stable beat synchronization. Dancers tapped before onset of all three types of sensorimotor stimulation, indicating a significant negative mean asynchrony and had a tendency to anticipate (predict) the stimuli. Dancers tended to auditory stimulation for beat sensorimotor synchronization, whereas nondancers tended to visual stimuli. Dancers had a faster tempo preference in the initial free-tapping task; however, the preferred tapping tempo increased in all participants in the second free-tapping task, suggesting that beat induction is affected by practice. Together these findings suggest that dance experience enhances sensorimotor synchronization and sensorimotor plasticity, with ballroom dancers tending to auditory stimulation for beat induction.