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The sense ensemble; An approach to music composition for deaf and hearing alike

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Figure 2.1. Audiogram (ASHA 2015). It’s worth noting that the HL classifications and their ranges are slightly different to the chart in Table 2.1, as well as the charts cited in Table 2.2
Figure 2.2. Frequency dependent loudness of certain of phonemes and environmental sounds (World Health Organisation; American Academy of Audiology)
Figure 2.3. Audiogram slopes (Lefler, 2011).
Figure 2.4 The Emoti-Chair; a vibrotactile chair designed at Ryerson University in Toronto (Russo, 2009)
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MUSIC AS A WHOLE-BODY PROCESS MUSIC AS A CROSSMODAL EXPERIENCE MUSIC AS AN INTERSUBJECTIVE PROCESS DEAF ENGAGEMENT WITH MUSIC AT A PROFESSIONAL THE SENSE ENSEMBLE, STUDY #3 RECONSIDERING COMPOSITION THE BUILDING BLOCKS OF MUSICAL MEANING; GESTURE BASED MOTIVE MULTIMODAL DEVELOPMENT; NARRATIVE HARMONY AND TECHNOLOGY IN CROSSMODAL

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