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.
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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