Abstract:
A tool to measure, diagnose and retrain post-lingually deafened cochlear implant recipients to enjoy sound and particularly musical sound. The tool includes audio and visual stimulus presentation apparatus, selected and stored musical scores, subject response apparatus, and a means to access the cochlear implant. These act in conjunction with: a Sound Enjoyment Assessment Tool (SEAT); a Perceptual Discrimination Assessment Tool (PDAT) including: a) a pitch discrimination assessment (PA) tool, and b) a timbre discrimination assessment (TA) tool. A Music Perception Ability Tool (MPAT) and a Timbre Perception Ability Retraining Tool (TPART). These components are used together initially as a composite Diagnostic Tool. The diagnostic tool produces a set of diagnostic scores of the patient&#39;s enjoyment of music. SEAT produces a musical enjoyment score. PDAT produces a pitch and timbre discrimination ability score. MPAT produces a profile of scores of the user&#39;s perceptual abilities related to music patterns and melodies.

Description:
[0001]    This is a continuation of application Ser. No. 12/917,807 filed Nov. 2, 2010. Application Ser. No. 12/917,807 claimed priority from U.S. Provisional Patent application No. 61/257,386 filed Nov. 2, 2009. Application numbers Ser. No. 12/917,807 and 61/257,386 are hereby incorporated by reference in their entireties. 
     
    
     BACKGROUND 
       [0002]    1. Field of the Invention 
         [0003]    The invention relates to the application of functional musical and sound technology to the diagnostic and rehabilitation requirements of deafened persons, particularly those who are profoundly deafened and wearing a cochlear Implant. 
         [0004]    2. Description of the Prior Art 
         [0005]    In most cases the CI is implanted in the patient and is electronically connected to an exterior processing unit worn behind the ear in the immediate vicinity of the CI. The processing unit includes a sound receiver, analog and digital processors, amplifiers and electronic outputs to the cochlear implant. The implant further processes the electronic signals and delivers stimulating electronic outputs directly to the patient&#39;s cochlea. The most recent improvements include an available direct connection between external processing apparatus and the processing unit as by a audio cable or USB connection. 
         [0006]    Perceptual difficulty in respect of music is related to rhythmic, tonal, and textural complexity levels. For CI recipients rhythmic processing is least impaired. 
         [0007]    Additionally, the attention demand level for individuals is related to music complexity levels. 
         [0008]    Much of the prior art has been directed to increasing the accuracy and density of the signals delivered by the CI device in the best place for processing by the user. This is in an effort to provide perfection of the input&#39;s representation of the actual ambient sounds. 
         [0009]    A significant variable in a cochlear implant recipient&#39;s potential to enjoy music is the ability to sustain attention and to employ selective, alternating, and divided attention in the context of musical perceptual processing. 
         [0010]    Most existing music in most styles involves greater complexity that is readily processed by CI users. 
       PRIOR ART 
       [0011]    Some advances in brain testing and rehabilitation are reported in the prior art listed below (not in order): 
         [0000]    1. 2002 0130 Music Attention Training Program—ONF final report Jan. 31, 2002
 
2. 2006 0626 Music Attention Training Program—P MT16Rogerclean re: brain damage
 
3. 2002 0305 U.S. Pat. No. 6,352,345 to ZOLTEN on rehabilitation of attention,
 
4. 2002 0820 U.S. Pat. No. 6,435,878 to REYNOLDS
 
5. 2005 0405 U.S. Pat. No. 6,875,181 to KEJIMOTO
 
       6. 2008 0214 USPPA 2008/0039902 to HARTLEY 
       [0012]    7. 2009 0903 USPPA 2009/0222064 to FALTYS re programmable implant
 
8. 2009 0804 U.S. Pat. No. 7,571,005 to SEGEL
 
9. 1997 0506 U.S. Pat. No. 5,626,629 to FALTYS
 
10. 2000 1205 U.S. Pat. No. 6,157,861 to FALTYS
 
11. 2001 1023 U.S. Pat. No. 6,308,102 to SIERACKI
 
12. 1998 0929 U.S. Pat. No. 5,813,862 to MERZENICH
 
13. 1999 0209 U.S. Pat. No. 5,868,683 to PROTOPAPAS
 
       14. 2002 0321 USPPA 2002/0034717 to JENKINS 
     15. 2002 0627 USPPA 2002/0078750 to WRIGHT 
     SUMMARY OF THE INVENTION 
       [0013]    Music for “practice” listening and potential enjoyment must be very carefully selected or probably contrived. Suitable musical complexity does not occur naturally in a taxonomic difficulty level form. 
         [0014]    Since accuracy of pitch perception in relation to pre-deafened experience or normal hearing standards is impaired in CI recipients (to presented fixed hertz relationships, e.g., A3=220 hertz and A4=440 hertz), the internally referenced discrimination of the invention (e.g., what is actually heard as same or different) operating in conjunction with the implant allows greater baseline success plus an adequate starting point for rehabiliation and progressive development. Easing and grading attention demand allows for greater success potential and progressive recovery. 
         [0015]    Music is cognitively processed in pattern “meaning units” rather than as individual pitches, and, since these are contour based and tonally relative, CI recipient internal referencing in conjunction with the CI and the invention can provide additional musical meaning. 
         [0016]    According to the invention a significant part of recovery of musical enjoyment ability in CI users is achieved through brain rehabilitation. The sound message is provided by the invention directly to the implanted CI (direct connect) or by means of sound production in a sound attenuated space and thence is received from the implant. In prior art methods audiological perfection is sought between ambient sounds and the sound signals output from the CI device into the brain. 
         [0017]    Systematic rehabilitation employing the invention&#39;s graded complexity levels of musical sounds in relation to attention demand levels is effective at restoring enough musical perception to improve enjoyment of music and, thereby, the utility and enjoyment of other ambient noises. Musical materials and methods enhance the rehabilitation of attention and memory deficits. 
         [0018]    Graded complexity levels provide for increasing contour perception, namely rising and/or falling patterns. Pitch patterns are provided in contours and the subjects pick out a particular pattern from the set. The invention starts with patterns that are composed of elements with a substantial frequency difference and then proceeds to narrower and narrower differences. This focuses both testing and rehabilitation on progressively more refined pitch differences. 
         [0019]    The internally referenced hedonic listening of the invention more likely results in “enjoyment” than critical comparative listening techniques of the prior art. Since perceptual difficulty taxonomy in music does not occur naturally it is 100 provided by the graded application of the invention. 
         [0020]    Repeated usage of the multi-stage testing process of the invention improves subject implant wearer&#39;s scores on tests that are good measures of brain function recovery more than those subjects who did not receive rehabilitation training from the invention. 
         [0021]    Preferably, the invention provides visual guidance as an adjunct to auditory perception and aural memory and success feedback as a motivational factor. 
         [0022]    The invention includes either a direct connection between the test and rehabilitation apparatus and the cochlear implant device or a sound attenuated space for subject interaction and means to deliver both musical sounds and visual images to the test subject through the implanted CI, such as audio equipment and video screens. Means are provided for the subject to respond to either or both of the musical sounds and/or the visual images perceived as a result of the CI processing. Responses are timed and graded. Preferably, means are provided for practice sessions at each level. Assessment and performance data are collected and processed before going on with assessment and/or rehabilitation. Musical sounds and visual images and the respective timing of assessment and/or rehabilitation steps are presented based upon advancing musical complexity and the subjects performance. The extent of repetition are based upon scoring improvements made in real time and/or subsequently processed. 
     
    
     
       DESCRIPTION OF THE FIGURES 
         [0023]      FIG. 1  is a schematic drawing of the Perceptual Retraining System of the Invention in respect of the Pitch Pattern section. The basic system functions in this fashion through 6 levels of difficulty in the preferred embodiment. 
           [0024]      FIG. 2  is a schematic drawing as in  FIG. 1  in respect of the Patterns in Melodies section. The basic system functions in this fashion through multiple melodies. 
           [0025]      FIGS. 3 and 4  are tables showing the test rating methodology of the preferred embodiment of the invention for the preferred SEAT, Music Enjoyment Assessment, and Pitch Discrimination Scoring in  FIG. 3  and Timbre Discrimination Scoring and Pattern and Melody Perception Scoring in  FIG. 4 , respectively. 
           [0026]      FIG. 5 through 61  inclusive show the individual steps in carrying out the the test and rehabilitation system in interacting with the subject by the sounds, visual symbols and guidelines generated by the preferred embodiment of the invention. 
           [0027]      FIGS. 62 through 70  inclusive are tables showing test results gathered from noted subjects in carrying out a pilot version of the invention as described. 
           [0028]      FIG. 71  is a schematic diagram of alternative preferred embodiments of the invention A and B. 
       
    
    
     DESCRIPTION OF THE INVENTION 
       [0029]    The preferred embodiment of the processing components of the system, procedure and method of the invention is shown in  FIGS. 1 through 61  inclusive. Pilot test results are shown in  FIGS. 62 through 70 . 
         [0030]    A schematic of the computer driven audio and visual stimulus presentation apparatus, computer driven processing apparatus, stored musical scores, subject response apparatus, and means to access the cochlear implant which act in conjunction with the 4 fundamental components is shown in  FIG. 71  in alternative forms A (direct connect) and B (attenuated sound space). In the preferred embodiments of  FIG. 71 , the directly connected preferred embodiment, alternative A, includes digital audio signal output by data cable  1  from the CPU device  2  (either locally or at a distance as by the internet as at  3 ) and to data cable  1  connected directly to the USB external connection  4  of the exterior processing unit  5  of the implant  6 . 
         [0031]    The implant  6  sends its signals to the patient or recipient  7  who responds to choices by keyboard  8  or input device  9 . Visual presentation screen  10  provides stimulus to the patient  7 . 
         [0032]    In alternative B, a data cable  100  provides sound singals to speaker  101  which then broadcasts the selected sounds  102  in attenuated space  103  to the implant external processing unit  5 . The patient responds as in alternative A. 
         [0033]    Preferably, the first component (SEAT) of the invention provides a Music Enjoyment Assessment Tool including 2 concepts interacting with cochlear  165  implant recipients&#39; response to music: namely musical style and textural complexity. 
         [0034]    For each style a preferably related texture level is selected and presented to the subject. Diagrammatically this is shown in Table A for each of ‘single line’, ‘2-part’, ‘multi-part’ and ‘complex’ textures of the music or sound. 
         [0000]    
       
         
               
               
               
             
               
               
               
               
               
             
           
               
                   
                 TABLE A 
               
             
             
               
                   
                   
               
               
                   
                 Texture Level 
                   
               
             
          
           
               
                 Style 
                 Single line 
                 Two part 
                 Multi-part 
                 Complex 
               
               
                   
               
               
                 Classical 
                   
                   
                   
                   
               
               
                 Popular 
               
               
                 Jazz 
               
               
                   
               
             
          
         
       
     
         [0035]    Twelve musical excerpts, for example, taken from Table B below for each level are provided as typical conservative exemplars of the style. Simple textures are essentially monophonic or with minimal accompanying lines. Two-part selections are basically single melodic lines with sparse accompaniment. Multi-part selections use several instruments but with linear clarity, little vertical density, and a clear melodic component. Complex textures have more than two lines with considerable “voice” interaction. Excerpts are about 30 seconds in length and are presented in random order. 
         [0000]    
       
         
               
             
               
               
             
               
             
               
               
             
               
             
               
               
             
           
               
                 TABLE B 
               
               
                   
               
               
                 Music Materials - 30 second selections from these sources 
               
               
                   
               
             
             
               
                 Jazz 
               
             
          
           
               
                 Level 1 
                 Artist: Brantford Marsalis Quartet 
               
               
                   
                 Piece: A Thousand Autumns, B. Marsalis, Steeplone Music, Inc. 
               
               
                   
                 Album: Requiem CK69655 Columbia, Sony Music Entertainment (1999). 
               
               
                 Level 2 
                 Artist: Ken Poplowski and Howard Alden 
               
               
                   
                 Piece: Fading Star, Willie “The Lion” Smith, EMI Mills Music, Inc. 
               
               
                   
                 Album: Encore. CCD4654, Concord Jazz (1995). 
               
               
                 Level 3 
                 Artist: The Brantford Marsalis Quartet 
               
               
                   
                 Piece: Mo&#39; Better Blues Bill Lee 
               
               
                   
                 Album: Music from Mo&#39; Better Blues CK 46792, CBS Records Inc. (1990). 
               
               
                 Level 4 
                 Artist: Rob McConnell &amp; The Boss Brass 
               
               
                   
                 Piece: Rockin&#39; in Rhythm, arr. Rob McConnell 
               
               
                   
                 Album: Don&#39;t&#39; Get Around Much Anymore CCD 4661, Concord Jazz (1995). 
               
             
          
           
               
                 Classical 
               
             
          
           
               
                 Level 1 
                 Artist: Yo Yo Ma 
               
               
                   
                 Piece: Simple Gifts (traditional) arr. Meyer 
               
               
                   
                 Album: Classic Yo-Yo, SK 89667, Sony Music Entertainment, (2001) 
               
               
                 Level 2 
                 Artist: Hungarian State Orchestra, Kerry Stratton conducting. 
               
               
                   
                 Piece: Liszt Fantasy on Beethoven&#39;s Ruins of Athens. 
               
               
                   
                 Album: Liszt, HCD 31525, Hungaroton Classic Ltd. (1994). 
               
               
                 Level 3 
                 Artist: New Philharmonia Orchestra, Edo DeWaart, Conductor, 
               
               
                   
                 Arthur Grumiaux, Violinist 
               
               
                   
                 Piece: Bach, Violin Concerto BWV 1041-1042 
               
               
                   
                 Album: Bach Violin Concertos, 420-700-2 Phillips Silver Line 
               
               
                 Level 4 
                 Artist: Boston Symphony Orchestra, Charles Munch, Conductor. 
               
               
                   
                 Berj Zamkochian, organ. 
               
               
                   
                 Piece: C. Saint-Saens, Symphony #3 in C Minor, Op. 78 “Organ.” Maestoso 
               
               
                   
                 Album: Living Stereo Audiophile Sampler, BMG Music, (1993) 
               
             
          
           
               
                 Pop 
               
             
          
           
               
                 Level 1 
                 Artist: Ute Lemper 
               
               
                   
                 Piece: The Rose, Amanda McBroom, Neue Welt Musikverlag/WB 
               
               
                   
                 Album: Life is a Cabaret, WMK 46049 CBS Records (1987). 
               
               
                 Level 2 
                 Artist: Neil Diamond 
               
               
                   
                 Piece: I am . . . I said 
               
               
                   
                 Album: The Best of Neil Diamond, MCAD 11947, MCA Records (1999). 
               
               
                 Level 3 
                 Artist: Bread 
               
               
                   
                 Piece: Baby I&#39;m a want you, Gates, WEA International Inc. 
               
               
                   
                 Album: Simple Living MDC20013 MDC Music Design &amp; Concepts (2000) 
               
               
                 Level 4 
                 Artist: Tom Jones &amp; Simply Red 
               
               
                   
                 Piece: Ain&#39;t that a lot of love, Willia Dean Parker and Homer Brooks, Rondor 
               
               
                   
                 Music Publishing Ltd. 
               
               
                   
                 Album: Reload. ACD1550 Gut Records Ltd. (1999). 
               
               
                   
               
             
          
         
       
     
         [0036]    The invention requires the subject to respond as in  FIG. 9  to each musical excerpt on the following 10 point rating scales as shown in  FIG. 12 : 
         [0000]    
       
         
               
               
               
             
           
               
                   
               
             
             
               
                 Not enjoyable 
                 1 2 3 4 5 6 7 8 9 10 
                 Very Enjoyable 
               
               
                 Doesn&#39;t sound like music 
                 1 2 3 4 5 6 7 8 9 10 
                 Sounds like music 
               
               
                 Like 
                 10 9 8 7 6 5 4 3 2 1 
                 Dislike 
               
               
                 Unpleasant 
                 1 2 3 4 5 6 7 8 9 10 
                 Pleasant 
               
               
                 Mechanical 
                 1 2 3 4 5 6 7 8 9 10 
                 Natural 
               
               
                 Clear 
                 10 9 8 7 6 5 4 3 2 1 
                 Fuzzy 
               
               
                 Easy to follow 
                 10 9 8 7 6 5 4 3 2 1 
                 Difficult to follow 
               
               
                   
               
             
          
         
       
     
         [0037]      FIG. 11  shows an individual excerpt application of the steps of  FIG. 9 . 
         [0038]    Following the completion ( FIG. 10 ) of the 12 musical excerpts, the subject is required to respond on the following rating scales: 
         [0000]    1. Before I lost my hearing as shown in  FIG. 12 :
 
(a) I generally liked jazz:
       Not at all 1 2 3 4 5 6 7 8 9 10 Very Much
 
(b) I generally liked classical music
   Not at all 1 2 3 4 5 6 7 8 9 10 Very Much
 
(c) I generally liked popular music
   Not at all 1 2 3 4 5 6 7 8 9 10 Very Much
 
2. After receiving the cochlear implant as shown in  FIG. 13 :
 
(a) I generally like jazz:
   Not at all 1 2 3 4 5 6 7 8 9 10 Very Much
 
(b) I generally like classical music
       
 
       (c) Not at all 1 2 3 4 5 6 7 8 9 10 Very Much 
       [0043]    (d) I generally like popular music 
       (e) Not at all 1 2 3 4 5 6 7 8 9 10 Very Much 
       [0044]    The invention provides data collection as in  FIGS. 5 to 14  on the subjects reactions by style scores, texture level scores, and overall scores on each subscale. Preference scores can be used as covariants with the style subscales  260  scores. 
         [0045]    Preferably, the 2 nd  Component of the invention provides a Perceptual Discrimination Assessment Tool (PDAT) which (1) identifies a target from a “line-up” of similar patterns; (2) provides graphic visual cuing for pitch relations, (3) provides visual feedback for response correctness, (4) targets response to a specific recurring motive in a melody, and (5) provides increasing perceptual complexity to correspond with attention levels, preferably comprising: 
         [0046]    Firstly, a Pitch Discrimination Assessment Tool (PA) including 32 interval tasks presented with a practice session and individual steps as shown in  FIGS. 15 to 17  to the subject for response of which: 
         [0000]    1. 4 are unisons—the same pitch.
 
2. 12 are intervals of 1 semitone to 4 semitones (3 occurrences of each),
 
3. 8 are 5-8 semitones,
 
4. 8 are 9-12 semitones.
 
5. Of these 32 pitch pairs:
 
(a) 11 start on c an octave above middle c (523 hz),
 
(b) 11 start on second line g (392 hz),
 
(c) 10 start on middle c (261 hz).
 
         [0047]    Of the 28 intervals (not counting the 4 unisons), about half go down from the first pitch half go up. 
         [0048]    The PAT pitches are presented in pairs and the subject is required to judge the second pitch higher, lower, or the same. 
         [0049]    Scores are calculated based upon each of the four pitch difference categories and for the total. 
         [0050]    Secondly, a Timbre Discrimination Assessment Tool (TA) includes 32 timbre pairs presented to the subjects for response as shown in  FIGS. 18 and 19 , alternatively with a practice session as in  FIG. 16 . The subject is required to judge the musical sounds as “same”, “different” or “not sure” and respond. 
         [0051]    Further preferably the timbres presented include: 
         [0000]    1. Plucked sounds—guitar, mandolin,
 
2. woodwind sounds—clarinet, oboe, sax, flute
 
3. Brass sounds—trombone, horn
 
4. String—Violin and the subject is not required to match an instrument name with a timbre pair, only to differentiate the actual timbres presented by the invention.
 
         [0052]    In the 3 rd  Component the invention provides a Music Perception Assessment Tool (MPAT) preferably comprising a plurality of progressive levels in both diagnostic and rehabilitation modes as shown in  FIGS. 20 to 61 . At each pitch pattern level in the MPAT the invention visually presents 5 boxes to the subject for reaction. 
         [0053]    At Level A of MPAT the invention includes sustained attention presentations and subject responses. 
       Level 1: 
       [0054]    At the first pitch pattern level, the invention visually and audiologically presents the subject with a different  3  note musical pitch pattern graphically portrayed preferably 
         [0000]    (1) ascending,
 
(2) descending,
 
(3) same pitch,
 
(4) low-high-low,
 
(5) high-low-high.
 
         [0055]    The range of pitch difference within each pattern as in  FIGS. 22 to 27  is an interval of a major sixth. No rhythmic variation is used. The five boxes are presented on screen. The subject may pre-audition and/or practice each of them by selection and playback of the selected musical sound. The assessment tool is then activated and one pattern is randomly selected as the target. A visual identifier associated with this target (icon) moves to the middle screen position. The musical sounds are presented pattern after pattern—but with breaks between them that allow time for subject differentiation. When the target is heard the subject is required respond, preferably by pressing a switch immediately after. When the response is correct the target icon lights green. When the response is not the target sound, the target icon associated with the sound actually presented lights red. 
       At Level 2: 
       [0056]    At the 2 nd  pitch pattern level the invention visually and audiologically presents the subject with 4 note patterns that include 2 musical directions for reaction as in  FIGS. 28 to 30 . For example: high-medium-low-high, or low-medium-low-high, etc. 
       At Level 3: 
       [0057]    At the 3 rd  pitch pattern level, the invention visually and audiologically presents the subject as in Level 1 but with narrower spaces between the musical tones as in  FIGS. 31 to 33 . 
       At Level 4: 
       [0058]    At the 4 th  pitch pattern level, the invention visually and audiologically presents the subject as in Level 2 but with narrower pitch gaps for reaction. 
       At a Further Level, 5: 
       [0059]    At the 5 th  pitch pattern level as in  FIGS. 34 to 36 , the invention visually and audiologically presents the subject with 3-note pitch patterns with 1 and 2 semi-tone gaps between pitches. 
         [0060]    At a Still Further Level, 6: 
         [0061]    At the 4 th  pitch pattern level, the invention visually and audiologically presents the subject with 3-note intervals presented with less rhythmic gap between patterns. 
         [0062]    At all of the first 6 levels above in the diagnostic mode, 3 targets per tasks are presented per level and 3 tasks per level. When used in the training and rehabilitation mode, 4 targets per task are presented per level and a 75% mastery level is required before the invention moves the subject to the next task. In training and rehabilitation mode the invention generates the targets randomly until mastery is reached. Preferably, the mastery level is calculated by subtracting incorrect hits from correct. 
       At Level 7: 
       [0063]    The invention presents Musical Sound Patterns in Single-line Melodies directed at the Selective Attention capacity of the subject as in  FIGS. 37 to 42 . 
         [0064]    At this level the invention plays a selected musical tune. A significant identifiable pattern segment from the melody is presented in an icon box as the target. The subject may listen to this target pattern repeatedly. When the subject is ready the melody is then played in a continuous form and the subject is expected to selectively respond every time the target pattern appears in the melody. Visual feedback is given by highlighting the target in green when the response is correct, or highlighting in red if it is incorrect. 
         [0065]    The pattern and melody sections preferably are used both in diagnostics and in a mastery training manner. In training mode, if a 100% correct response is not received for a melody, the program goes into practice mode and the subject can hear the target pattern again, can hear the melody in a series of patterns, and can then go back to the task. When the correct response is received on each melody, the subject is advanced to the next level of difficulty. 
       At Level 8: 
       [0066]    The invention presents Musical Sound Patterns in Two-line Melodies directed at the Alternating Attention capacity of the subject as in  FIGS. 43 to 46 . 
         [0067]    Two lines of music separated by an octave and featuring widely different timbres are presented simultaneously. They are represented visually by an upper line identifier and a lower line. A box appears over each line, each with a distinct identifiable pattern outline identifier (icon). The subject can select to hear the pattern. When the test is run, the invention shifts attention from one line to the other by lighting it up. The task is to attend to the line that lights up and to select when the target pattern is heard. The lines play at the same time but attention and scoring shifts from line to line according to the light. 
       At Level 9: 
       [0068]    The invention presents Musical Sound Patterns in Three-line Music Melodies also directed at the Alternating Attention capacity of the subject as in Level 8 as shown in  FIGS. 47 to 49 . The 3 rd  line of music is, preferably, a music line between the two adding perceptual complexity (e.g., the targets are in soprano and bass). 
         [0069]    At a further level, 10: The invention presents Musical Sound Patterns in Two-line Melodies directed at the Divided Attention capacity of the subject as shown for level 9. 
         [0070]    Two lines of music are presented simultaneously, each separated by an octave and featuring widely different timbres. They are represented by an upper line identifier and a lower line. A box appears over each line, each with a distinct identifiable pattern outline identifier (icon). The subject selects to hear the pattern. When the invention is directed to proceed, both lines of music are presented simultaneously. The subject is required to attend to both lines and to select when the target pattern is heard in each line. No visual cuing to shift attention is provided. 
       At a Further Level, 11: 
       [0071]    The invention presents Musical Sound Patterns in Three-line Melodies directed at the Divided Attention capacity of the subject. The patterns are presented as in Level 10 but with a third line of music. More These advanced tasks add a third line as a complexity distractor. Preferably the targets are in soprano and bass but with a third line between them to add perceptual complexity. 
         [0072]    In the 4 th  Component the invention provides a Timbre Perception Ability Retraining Tool (TPART) including (1) identifying a target from a “line-up” of similar patterns; (2) visual feedback for response correctness, and (3) a stepwise increasing perceptual difficulty based on timbre theory, preferably comprising a plurality of progressive levels in both diagnostic and rehabilitation modes with 3 levels. 
         [0073]    At Level A: At level A the invention presents 5 orchestral timbres that are at maximum timbral differentiation. Instruments associated are visually identified in a verbal label box (icon). Sounds can be heard by selecting each identifier before beginning the test. When start is selected, one of the timbres is randomly selected and the icon appears. The timbre of this instrument becomes the target. As the test runs, musical sounds are randomly played for a duration of 2 seconds. If the target timbre is played the subject is required to respond during or immediately after the musical sound. When the response is correct the target icon lights green. If the space bar is pressed when the response is not the correct target sound, the associated icon lights red. 
         [0074]    Timbral differentiation is based on Grey (1975, cited in Loy, 2006). Grey used a three dimensional hierarchical clustering analysis of subjects&#39; timbre  415  judgments to create a three dimensional mapping of timbre differences. The first dimension differentiating timbre in standard orchestral instruments is spectral energy distribution—many vs. fewer harmonics and how these are clustered or spread. The second dimension is the temporal energy distribution—how the harmonic partials (e.g., low vs. high harmonics) enter and exit the sound during attack and decay. This dimension accounts for most of the family of instrument timbre clustering. The third dimension also looks at temporal overtone patterns but particularly at high vs. low frequency and the amplitude at specific points during the sound. 
         [0075]    At Level B: At level B the invention presents 5 orchestral timbres that are less clearly differentiated timbres than at level A. 
         [0076]    At Level C: At level C the invention presents combined pitch patterns and timbre as in Level A as shown in  FIGS. 59-61 . The target pattern is set to be a particular note sequence and a particular timbre. When the subject hears combination a selection is made. For example, the target could be high-medium-low played by a flute. In the presentation sequence the pattern of high-medium-low might be presented played on an saxophone or other instrument. The screen presents two sets of boxes—the timbre choices and the pitch choices. The icons light up accordingly when the correct selection is made. 
         [0077]    While particular embodiments of the invention have been described, it will be understood that the invention is not limited thereto, and that many obvious modifications and variations can be made, and that such modifications and variations are intended to fall within the scope of the appended invention.