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.
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 Méničre'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 HumanSound Interaction
Duncan Chapman: The Aural Diversity Concerts: Multimodal performance to an
aurally diverse audience
Jay Afrisando: MusicMaking 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
John L. Drever operates at the intersection of acoustics, audiology, urban design, sound art, soundscape studies, and experimental music. He is Professor of Acoustic Ecology and Sound Art at Goldsmiths, University of London, where he co-leads the Unit for Sound Practice Research (SPR). He has a special interest in soundscape methods, in particular field recording and soundwalking.
Andrew Hugill is Professor of Creative Computing at the University of Leicester. He is also a Professor of Music and his principal research areas are composition, musicology, and creative technologies. His publications include: The Digital Musician (Routledge), now in its third edition. He founded the Aural Diversity project.
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