Music for the deaf
TORONTO (CUP) — By generating
different types of vibration, a
team of Ryerson University professors
has developed a number of
devices that allow the hard of hearing
to experience sound and music.
"It's looking at ways of making music accessible (and) experiencing music without sound," explained Frank Russo, director of the university's Science of Music, Auditory Research and Technology lab.
He's quick to point out that this isn't a new trend; Beethoven had the same idea when he began to lose his hearing, playing piano close to the ground so he could "feel" the notes vibrate through the floor.
What has changed, however, is how the technology is used to harness that sensation, resulting in a more effective experience for those unable to hear.
One of those devices is dubbed the Emoti-chair, and was first conceived over two years ago by Russo and two other Ryerson professors.
By applying vibrations of varying size and power to a user's back, the chair attempts to produce physical representations of rhythm and voice.
"The solution with the chair is to separate the low and the high, to put different frequency channels on different part of the bodies," explained Russo. "And that really is the essence of why this thing seems to work." The same theory has been applied to another one of Russo's devices, a modified foam pool noodle called a vibe worm.
By feeding wire through its hollow centre, the noodle can be turned into a makeshift speaker that transmits sound through "the skin instead of vibrations through the air."
What the team finds most impressive with these devices is not just the ability for deaf or hard-ofhearing users to detect change in tone or pitch, but differences between voices or instruments as well, all thanks to subtle variances in the pattern of vibration.
"There are certain gestures that work very well, like sweeps in frequencies that move up and down," explained Paul Swoger-Ruston, who composed some of the Emotichair's music.
"You have to kind of think in larger intervals than traditional music."
While the human ear is capable of hearing a very wide range of frequencies, those that can be interpreted through vibration are far less - only between 1 and 1000Hz, approximately.
That means composers like Swoger-Ruston must be particularly careful to compose pieces that translate well into a vibratory experience.
"Obviously, rhythmicallycharged stuff is most readily apparent, so anything with a regular pulse most obviously comes through," he said. "But it is quite remarkable that the deaf can actually discern differences in vocal tambour through vibrations, so it's richer than I ever expected."
So rich, in fact, that one of the chair's creators, Maria Karam, is currently working to produce a commercialized version of the chair that can be purchased by deaf users, or even musical enthusiasts like Swoger-Ruston.
The Emoti-chair was debuted to the public at Toronto's annual Nuit Blanche festival on October 2.
"What is particularly interesting about this performance, is the fact that no-one will be hearing the music," explained Gwen Dobie, a theatre professor at York University. Dobie is one of the deaf performers involved in the exhibition.
"The public will be placed in a position to feel the vibrations, to experience music as the deaf or hard of hearing."
"It's looking at ways of making music accessible (and) experiencing music without sound," explained Frank Russo, director of the university's Science of Music, Auditory Research and Technology lab.
He's quick to point out that this isn't a new trend; Beethoven had the same idea when he began to lose his hearing, playing piano close to the ground so he could "feel" the notes vibrate through the floor.
What has changed, however, is how the technology is used to harness that sensation, resulting in a more effective experience for those unable to hear.
One of those devices is dubbed the Emoti-chair, and was first conceived over two years ago by Russo and two other Ryerson professors.
By applying vibrations of varying size and power to a user's back, the chair attempts to produce physical representations of rhythm and voice.
"The solution with the chair is to separate the low and the high, to put different frequency channels on different part of the bodies," explained Russo. "And that really is the essence of why this thing seems to work." The same theory has been applied to another one of Russo's devices, a modified foam pool noodle called a vibe worm.
By feeding wire through its hollow centre, the noodle can be turned into a makeshift speaker that transmits sound through "the skin instead of vibrations through the air."
What the team finds most impressive with these devices is not just the ability for deaf or hard-ofhearing users to detect change in tone or pitch, but differences between voices or instruments as well, all thanks to subtle variances in the pattern of vibration.
"There are certain gestures that work very well, like sweeps in frequencies that move up and down," explained Paul Swoger-Ruston, who composed some of the Emotichair's music.
"You have to kind of think in larger intervals than traditional music."
While the human ear is capable of hearing a very wide range of frequencies, those that can be interpreted through vibration are far less - only between 1 and 1000Hz, approximately.
That means composers like Swoger-Ruston must be particularly careful to compose pieces that translate well into a vibratory experience.
"Obviously, rhythmicallycharged stuff is most readily apparent, so anything with a regular pulse most obviously comes through," he said. "But it is quite remarkable that the deaf can actually discern differences in vocal tambour through vibrations, so it's richer than I ever expected."
So rich, in fact, that one of the chair's creators, Maria Karam, is currently working to produce a commercialized version of the chair that can be purchased by deaf users, or even musical enthusiasts like Swoger-Ruston.
The Emoti-chair was debuted to the public at Toronto's annual Nuit Blanche festival on October 2.
"What is particularly interesting about this performance, is the fact that no-one will be hearing the music," explained Gwen Dobie, a theatre professor at York University. Dobie is one of the deaf performers involved in the exhibition.
"The public will be placed in a position to feel the vibrations, to experience music as the deaf or hard of hearing."
