Abstract
When one sense is unavailable, sensory responsibilities shift and processing of the remaining modalities becomes enhanced to compensate for missing information. This shift, referred to as compensatory plasticity, results in a unique sensory experience for individuals who are deaf, including the manner in which music is perceived. This paper evaluates the neural, behavioural and cognitive evidence for compensatory plasticity following auditory deprivation and considers how this manifests in a unique experience of music that emphasizes visual and vibrotactile modalities.
Highlights
A number of researchers have explored how sensory deprivation in one modality may affect the development of the remaining modalities
As the auditory sense is typically responsible for gathering information and monitoring events in the surrounding environment, deaf individuals tend to compensate with enhanced visual processing
Motion selective areas of the dorsal visual stream, such as the medial temporal (MT) and medial superior temporal (MST), are more activated in deaf individuals compared to hearing individuals when visual motion is presented to the peripheral field of view [31,32]
Summary
A number of researchers have explored how sensory deprivation in one modality may affect the development of the remaining modalities. Brain Sci. 2014, 4 for events in the peripheral field of vision [1,2,3,4] Enhancements such as these do not appear to be due to decreases in absolute sensory thresholds as much as changes in the manner in which the sensory information is processed [5]. Cited definitions of music, such as “organized sound” [6] or “an ordered arrangement of sounds and silences...” [7] emphasize the cultural supremacy of sound in the domain of music These definitions imply that the deaf population has limited access to music, as well as to the emotional aspects of speech, which tend to be musical (e.g., speech prosody, vocal timbre). The following two sections will review research from neural developmental and cognitive perspectives, in turn These sections are followed by a consideration of non-auditory elements in music that may be perceived differently following auditory deprivation
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