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    SenseHub Admin

    The Sense-Hub team wishes to use this information to develop a series of vignettes as case studies for discussion and analysis including feasibility; pratical application; ethical, legal, and social implication considerations.

    Creating a growth cycle and a wide range of learning spaces to explore of current and emerging technologies relevant to assisting and augmenting human performance in many domains.
    If you’d like to make any suggestion or participate in any way feel free!

    SenseHub Admin

    Beethoven’s Ode to Joy

    The role of haptic feedback in a musical context.

    After 1822, he gave up seeking treatment for his hearing. He tried a range of hearing aids, such as special hearing trumpets.

    Beethoven’s housekeepers remembered that, as his hearing got worse, he would sit at the piano, put a pencil in his mouth, touching the other end of it to the soundboard of the instrument, to feel the vibration of the note.

    His massive Ninth Symphony perhaps is an example of the using haptic feedback to give us music that we can really feel.

    Commissioned in 1817, the sublime work was only completed in 1824. By that time, its composer was completely and totally deaf. At the first performance, Beethoven did not notice that the massive final choral movement had ended, and one of the musicians had to turn him around to acknowledge the audience.

    No amount of rational explanation can explain away our astonishment that the man who wrote the unfailingly powerful, awesomely dynamic “Ode to Joy” finale, couldn’t actually hear any of the music.

    How then might it have been possible for the composer to create such enduringly thrilling, rapturous works of aural art?

    The use of haptic feedback, perhaps?!

    SenseHub Admin

    I Think Beethoven Encoded His Deafness in His Music

    Gabriela Lena Frank, a composer born with high-moderate/near-profound hearing loss, describes her creative experience.

    Gabriela Lena Frank, a composer and pianist and the founder of the Gabriela Lena Frank Creative Academy of Music, which aims to foster diverse compositional voices and artist-citizens, was born with a neurosensory high-moderate/near-profound hearing loss.

    In an interview with Corinna da Fonseca-Wollheim, she described her creative practice and her exploration of the music of Beethoven, who gradually lost his hearing and by his 40s was almost totally deaf.

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