Brian C.J. Moore | |
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Born | London, England | February 10, 1946
Education | St Catharine's College, Cambridge |
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Brian C.J. Moore FMedSci, FRS (born 10 February 1946) is an Emeritus Professor of Auditory Perception in the University of Cambridge and an Emeritus Fellow of Wolfson College, Cambridge. His research focuses on psychoacoustics, audiology, and the development and assessment of hearing aids (signal processing and fitting methods).
Moore is a fellow of the Royal Society, the Academy of Medical Sciences, the Acoustical Society of America, the Audio Engineering Society, the British Society of Audiology, the Association for Psychological Science, and the Belgian Society of Audiology, and the British Society of Hearing Aid Audiologists. He has written or edited 21 books and over 750 scientific papers and book chapters.
Moore studied Natural Sciences at St Catharine's College, Cambridge, obtaining his BA in 1968. In 1971 he was awarded a Ph.D. in Experimental Psychology on the topic of Pitch Perception. [1]
This section of a biography of a living person does not include any references or sources .(June 2020) |
Moore was a Lecturer in Psychology at the University of Reading from 1971 to 1977, spending the year 1973-74 as a Fulbright-Hays Senior Scholar and Visiting Professor at the Department of Psychology, Brooklyn College of the City University of New York. In 1977 he was appointed University Lecturer in Experimental Psychology at the University of Cambridge where he was subsequently appointed Reader (1989) and Professor (1995). [2] He became Emeritus Professor in 2014. He was appointed as Fellow of Wolfson College in 1983 and is now an Emeritus Fellow. [3]
Moore has been an Associate Editor of the Journal of the Acoustical Society of America, Auditory Neuroscience, Hearing Research, The International Journal of Audiology, Otology and Neuro-Otology, and Trends in Hearing. He was President of the Association of Independent Hearing Healthcare Professionals (UK) from 1994-2021.
In his early career in the 1970s, Moore was mainly interested in fundamental research on loudness and pitch perception, masking effects, and speech recognition. [4] He started to consider the practical aspects and potential applications of this research in the 1980s with his work on a 2-channel compression hearing aid. [4] Other examples of practical applications include the development of a new loudness model that eventually became an international (ISO) standard, [5] and the implementation of models of sound quality applicable to mobile telephones and other devices with Nokia.
Moore has written or edited several influential books on hearing. His text book An Introduction to the Psychology of Hearing [6] has been cited over 5600 times and has been translated into Japanese, Polish, Korean, and Chinese. Other books include Cochlear hearing Loss [7] and Auditory Processing of Temporal Fine Structure: Effects of Age and Hearing Loss. [8]
Moore was one of the first researchers to present convincing evidence for the role of phase locking (the synchronization of nerve spikes to individual cycles of the filtered stimulus in the cochlea) in the perception of pitch. He showed that the ability of human listeners to detect small changes in frequency of brief tones was too good to be accounted for by a place mechanism of pitch for frequencies up to about 4 kHz. [9] Together with Stephan Ernst he later showed that the ability to detect small changes in frequency worsened with increasing frequency from 2 to 8 kHz, consistent with the roll-off in the precision of phase-locking information at high frequencies, and then reached a plateau, consistent with a transition to a place mechanism. [10] Together with Aleksander Sek he showed that phase locking to the temporal fine structure of complex tones contributes to the perception of pitch up to higher frequencies than previously assumed [11] and that the detection of frequency modulation for low modulation rates also probably depends on phase locking. [12]
Moore together with Brian Glasberg, Thomas Baer and Michael Stone developed a model for predicting the loudness of sounds [13] by extending and modifying the earlier models of Fletcher and Munson [14] and of Zwicker and Scharf. [15] The model proposed by Moore and co-workers formed the basis for an American National Standard [16] and an ISO standard. [5] An extension of the model to deal with time-varying sounds is under consideration as an ISO standard (ISO532-3, 2020). The loudness model of Moore and colleagues has been extended to predict loudness for people with hearing loss [17] and this has been used to develop methods of fitting hearing aids. [18]
Moore collaborated in the development and evaluation of multi-channel compression hearing aids intended to compensate for the loudness recruitment experienced by most hearing-impaired people. [19] [20] He and his colleagues developed a dual-time-constant automatic gain control system that has been widely used in hearing aids and cochlear implants. [21] [22]
Moore and colleagues developed the Threshold Equalizing Noise (TEN) test for diagnosing dead regions in the cochlea; these are regions with very few or no functioning inner hair cells, synapses or neurons. [23] The outcomes of the TEN test are relevant to the fitting of hearing aids and cochlear implants. [24] [25] The TEN test has been incorporated in the audiometers of several major manufacturers. Brian Moore also contributed to the development of tests for assessing monaural and binaural sensitivity to the temporal fine structure of sounds. [26] [27] These tests have been widely used in research and clinical studies. [28] [29]
Moore and colleagues were among the first to demonstrate the role of harmonicity in auditory scene analysis: simultaneous sinewaves that form a harmonic series are heard as a single sound object, but if a single sinewave is mistuned slightly from the harmonic series it “pops out” as a separate sound object. [30] [31] Moore and colleagues also showed that for rapid sequences of pure tones with alternating frequencies, the fission boundary (the frequency separation between successive tones at which they can no longer be heard as two separate streams) is constant across a wide range of centre frequencies when expressed on the ERBN-number scale developed in Moore's laboratory. [32] [33]
Moore and colleagues have conducted several studies examining the relationship between psychoacoustic abilities and speech perception by people with cochlear hearing loss and older people. They have shown that difficulties in speech perception are at least partly linked to reduced sensitivity to the temporal fine structure of sounds. [34] [35] [36] Deficits in the processing of temporal fine structure are associated with increasing age even when audiometric thresholds remain normal. [28]
Pitch is a perceptual property that allows sounds to be ordered on a frequency-related scale, or more commonly, pitch is the quality that makes it possible to judge sounds as "higher" and "lower" in the sense associated with musical melodies. Pitch is a major auditory attribute of musical tones, along with duration, loudness, and timbre.
The illusory continuity of tones is the auditory illusion caused when a tone is interrupted for a short time, during which a narrow band of noise is played. The noise has to be of a sufficiently high level to effectively mask the gap, unless it is a gap transfer illusion. Whether the tone is of constant, rising or decreasing pitch, the ear perceives the tone as continuous if the discontinuity is masked by noise. Because the human ear is very sensitive to sudden changes, however, it is necessary for the success of the illusion that the amplitude of the tone in the region of the discontinuity not decrease or increase too abruptly. While the inner mechanisms of this illusion is not well understood, there is evidence that supports activation of primarily the auditory cortex is present.
The auditory system is the sensory system for the sense of hearing. It includes both the sensory organs and the auditory parts of the sensory system.
Hyperacusis is an increased sensitivity to sound and a low tolerance for environmental noise. Definitions of hyperacusis can vary significantly; it often revolves around damage to or dysfunction of the stapes bone, stapedius muscle or tensor tympani (eardrum). It is often categorized into four subtypes: loudness, pain, annoyance, and fear. It can be a highly debilitating hearing disorder.
The tectoria membrane (TM) is one of two acellular membranes in the cochlea of the inner ear, the other being the basilar membrane (BM). "Tectorial" in anatomy means forming a cover. The TM is located above the spiral limbus and the spiral organ of Corti and extends along the longitudinal length of the cochlea parallel to the BM. Radially the TM is divided into three zones, the limbal, middle and marginal zones. Of these the limbal zone is the thinnest (transversally) and overlies the auditory teeth of Huschke with its inside edge attached to the spiral limbus. The marginal zone is the thickest (transversally) and is divided from the middle zone by Hensen's Stripe. It overlies the sensory inner hair cells and electrically-motile outer hair cells of the organ of Corti and during acoustic stimulation stimulates the inner hair cells through fluid coupling, and the outer hair cells via direct connection to their tallest stereocilia.
The auditory brainstem response (ABR), also called brainstem evoked response audiometry (BERA) or brainstem auditory evoked potentials (BAEPs) or brainstem auditory evoked responses (BAERs) is an auditory evoked potential extracted from ongoing electrical activity in the brain and recorded via electrodes placed on the scalp. The measured recording is a series of six to seven vertex positive waves of which I through V are evaluated. These waves, labeled with Roman numerals in Jewett and Williston convention, occur in the first 10 milliseconds after onset of an auditory stimulus. The ABR is considered an exogenous response because it is dependent upon external factors.
Listener fatigue is a phenomenon that occurs after prolonged exposure to an auditory stimulus. Symptoms include tiredness, discomfort, pain, and loss of sensitivity. Listener fatigue is not a clinically recognized state, but is a term used by many professionals. The cause for listener fatigue is still not yet fully understood it is thought to be an extension of the quantifiable psychological perception of sound. Common groups at risk of becoming victim to this phenomenon include avid listeners of music and others who listen or work with loud noise on a constant basis, such as musicians, construction workers and military personnel.
The ASA Silver Medal is an award presented by the Acoustical Society of America to individuals, without age limitation, for contributions to the advancement of science, engineering, or human welfare through the application of acoustic principles or through research accomplishments in acoustics. The medal is awarded in a number of categories depending on the technical committee responsible for making the nomination.
Diplacusis, also known as diplacusis binauralis, binauralis disharmonica or interaural pitch difference (IPD), is a hearing disorder whereby a single auditory stimulus is perceived as different pitches between ears. It is typically experienced as a secondary symptom of sensorineural hearing loss, although not all patients with sensorineural hearing loss experience diplacusis or tinnitus. The onset is usually spontaneous and can occur following an acoustic trauma, for example an explosive noise, or in the presence of an ear infection. Sufferers may experience the effect permanently, or it may resolve on its own. Diplacusis can be particularly disruptive to individuals working within fields requiring acute audition, such as musicians, sound engineers or performing artists.
Hearing, or auditory perception, is the ability to perceive sounds through an organ, such as an ear, by detecting vibrations as periodic changes in the pressure of a surrounding medium. The academic field concerned with hearing is auditory science.
Auditory fatigue is defined as a temporary loss of hearing after exposure to sound. This results in a temporary shift of the auditory threshold known as a temporary threshold shift (TTS). The damage can become permanent if sufficient recovery time is not allowed before continued sound exposure. When the hearing loss is rooted from a traumatic occurrence, it may be classified as noise-induced hearing loss, or NIHL.
The frequency following response (FFR), also referred to as frequency following potential (FFP) or envelope following response (EFR), is an evoked potential generated by periodic or nearly-periodic auditory stimuli. Part of the auditory brainstem response (ABR), the FFR reflects sustained neural activity integrated over a population of neural elements: "the brainstem response...can be divided into transient and sustained portions, namely the onset response and the frequency-following response (FFR)". It is often phase-locked to the individual cycles of the stimulus waveform and/or the envelope of the periodic stimuli. It has not been well studied with respect to its clinical utility, although it can be used as part of a test battery for helping to diagnose auditory neuropathy. This may be in conjunction with, or as a replacement for, otoacoustic emissions.
Monita Chatterjee is an auditory scientist and the Director of the Auditory Prostheses & Perception Laboratory at Boys Town National Research Hospital. She investigates the basic mechanisms underlying auditory processing by cochlear implant listeners.
Temporal envelope (ENV) and temporal fine structure (TFS) are changes in the amplitude and frequency of sound perceived by humans over time. These temporal changes are responsible for several aspects of auditory perception, including loudness, pitch and timbre perception and spatial hearing.
Auditory science or hearing science is a field of research and education concerning the perception of sounds by humans, animals, or machines. It is a heavily interdisciplinary field at the crossroad between acoustics, neuroscience, and psychology. It is often related to one or many of these other fields: psychophysics, psychoacoustics, audiology, physiology, otorhinolaryngology, speech science, automatic speech recognition, music psychology, linguistics, and psycholinguistics.
Christian Lorenzi is Professor of Experimental Psychology at École Normale Supérieure in Paris, France, where he has been Director of the Department of Cognitive Studies and Director of Scientific Studies until. Lorenzi works on auditory perception.
Deniz Başkent is a Turkish-born Dutch auditory scientist who works on auditory perception. As of 2018, she is Professor of Audiology at the University Medical Center Groningen, Netherlands.
Robert V. Shannon is Research Professor of Otolaryngology-Head & Neck Surgery and Affiliated Research Professor of Biomedical Engineering at University of Southern California, CA, USA. Shannon investigates the basic mechanisms underlying auditory neural processing by users of cochlear implants, auditory brainstem implants, and midbrain implants.
Quentin Summerfield is a British psychologist, specialising in hearing. He joined the Medical Research Council Institute of Hearing Research in 1977 and served as its deputy director from 1993 to 2004, before moving on to a chair in psychology at The University of York. He served as head of the Psychology department from 2011 to 2017 and retired in 2018, becoming an emeritus professor. From 2013 to 2018, he was a member of the University of York's Finance & Policy Committee. From 2015 to 2018, he was a member of York University's governing body, the Council.
Computational audiology is a branch of audiology that employs techniques from mathematics and computer science to improve clinical treatments and scientific understanding of the auditory system. Computational audiology is closely related to computational medicine, which uses quantitative models to develop improved methods for general disease diagnosis and treatment.
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