24.02.2020 Views

Volume 25 Issue 6 - March 2020

FEATURED: Music & Health writer Vivien Fellegi explores music, blindness & the plasticity of perception; David Jaeger digs into Gustavo Gimeno's plans for new music in his upcoming first season as music director at TSO; pianist James Rhodes, here for an early March recital, speaks his mind in a Q&A with Paul Ennis; and Lydia Perovic talks music and more with rising Turkish-Canadian mezzo Beste Kalender. Also, among our columns, Peggy Baker Dance Projects headlines Wende Bartley's In with the New; Steve Wallace's Jazz Notes rushes in definitionally where many fear to tread; ... and more.

FEATURED: Music & Health writer Vivien Fellegi explores music, blindness & the plasticity of perception; David Jaeger digs into Gustavo Gimeno's plans for new music in his upcoming first season as music director at TSO; pianist James Rhodes, here for an early March recital, speaks his mind in a Q&A with Paul Ennis; and Lydia Perovic talks music and more with rising Turkish-Canadian mezzo Beste Kalender. Also, among our columns, Peggy Baker Dance Projects headlines Wende Bartley's In with the New; Steve Wallace's Jazz Notes rushes in definitionally where many fear to tread; ... and more.

SHOW MORE
SHOW LESS

Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.

Michael Arnowitt<br />

PHOTO COURTESY AMI<br />

This affiliation has now been thoroughly documented. One of<br />

the first researchers to link the two qualities was Adam Ockelford,<br />

professor of music at England’s Roehampton University. Ockelford<br />

found that an astonishing 40 percent of the blind children in his<br />

studies had perfect pitch, (compared to only one in 10,000 people in<br />

the regular population). This capacity springs from the youngsters’<br />

lifelong reliance on auditory data to make sense of their world, says<br />

Ockelford. Right from birth, the blind children paid more attention<br />

to everyday noises than their sighted peers, and their attunement to<br />

aural input reinforced their sensitivity to sound.<br />

Ockelford’s theory of brain adaptation has been validated by a host<br />

of evidence. The hearing of blind people surpasses that of the sighted<br />

in in several modalities – they are better at discriminating between<br />

different pitches, localizing sounds in space, and processing speech.<br />

Their sense of touch is also more refined and they’re able to detect<br />

finer-grained differences in the feel of objects.<br />

The brain’s ability to compensate<br />

for visual loss with enhanced<br />

perception in other domains, is<br />

adaptive, says McGill University’s<br />

research associate Patrice Voss.<br />

If you’re born without vision, or<br />

you lose it early in life (when the<br />

brain is especially mouldable),<br />

the sight-processing centre in the<br />

brain (the visual cortex), does not<br />

receive input from the eyes. In<br />

response to these absent signals,<br />

the unused visual cortex gets<br />

repurposed to process sound and touch stimuli instead.<br />

Anatomical changes accompany this transformation. Imaging<br />

studies have shown that the visual cortex is thicker than normal<br />

among those who become blind early in life. This growth results from<br />

new pathways springing from the sound and touch processing centres,<br />

connecting these to the transformed visual cortex, reorganized to<br />

interpret signals from the ears and skin.<br />

While amplified sound sensitivity is more prominent amongst those<br />

who are born blind or lose their sight early on, recent research shows<br />

that the brain can adjust to vision loss at any stage in life. In one study,<br />

mice were blinded temporarily after being shut in the dark. Afterwards,<br />

researchers played tones of varying frequencies and measured the electrical<br />

activity of cells in their brains’ sound processing centre (auditory<br />

cortex). After just one week of light deprivation, these cells fired faster<br />

and more powerfully, enabling the blind mice to detect quieter noises<br />

and distinguish between pitches much better than the sighted mice.<br />

Lead researcher Hey-Kyoung Lee, professor of neuroscience at<br />

Baltimore’s Johns Hopkins University, attributes these impressive results<br />

to strengthened connections between nerve cells carrying sound data<br />

from the environment and those neurons which translate the signals<br />

into conscious sound experience in the auditory cortex. These alterations<br />

dial up the volume of external sound to increase its impact in the<br />

brain, says Lee, who was surprised by the extent of the animals’ adaptation.<br />

“We didn’t expect that level of change…(it) was pretty amazing.”<br />

Violinist McCleary illustrates this plasticity of perception. She was<br />

born with Leber’s congenital amaurosis, which damages the lightsensing<br />

tissue in the eyes (the retina). But the fiddler makes up in<br />

her hearing what she lacks in vision. She can detect noises at lower<br />

volumes than her sighted friends. “If someone’s phone’s going off I<br />

can hear that better than anyone else,” she says. McCleary also has<br />

perfect pitch, which enables her to transform everyday noises, from a<br />

beeping microwave to a fork hitting the table, into musical notes.<br />

Those without sight depend on<br />

An astonishing 40 percent of the<br />

blind children in [Adam Ockelford’s]<br />

studies had perfect pitch (compared<br />

to only one in 10,000 people in the<br />

regular population).<br />

their acoustic acumen for survival,<br />

says Voss. Their supranormal ability<br />

to map space using sound helps<br />

them get around. “They can’t rely<br />

on sight to cross the street, and<br />

need to (depend) ... on hearing to<br />

recognize where traffic is,” he says.<br />

The same faculty is also critical<br />

for conversing, says registered<br />

psychotherapist and neurologic<br />

music therapist Amy Di Nino, who<br />

runs her own business, ADD Music<br />

Wellness (addmusicwellness.com), in Cambridge, Ontario. The timbre<br />

of a particular voice identifies the speaker, while qualities such as<br />

tone, rhythm, and pitch convey nuances of meaning. In the absence<br />

of visual cues like body language, the blind draw on their listening<br />

skills to intuit emotions in others – a rapid pace of speech can signal<br />

anxiety, while loudness can convey anger, for example.<br />

McCleary has always depended on her heightened hearing to make<br />

sense of her world. The sound of a television in a familiar house guides<br />

her to the living room, while a squeaky noise signals the washroom<br />

door in her home. She’s also adept at extracting information from<br />

voices, and readily picks up on her mother’s feelings. “If she freaks out<br />

about something…she changes to a high voice,” says her daughter.<br />

McCleary’s exceptional ear ultimately led to her career as a violinist.<br />

The musician showed an affinity for tunes right from infancy. “(Music)<br />

was a way in,” says her mother, a pianist and music professor, who<br />

calmed her daughter with soothing Renaissance polyphony. “She was<br />

20 | <strong>March</strong> <strong>2020</strong> thewholenote.com

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!