Canadian Acoustics

Why publish in Canadian Acoustics?

2024-09-10T13:56:36-07:00

Call for Papers: Special Issue on "Education in Acoustics"

2024-09-10T13:42:49-07:00

Acoustics is a vast and multidisciplinary field, employing hundreds of professionals across Canada in areas such as teaching, research, consulting, and more. To highlight the diverse work within this community, Canadian Acoustics has been publishing special journal issues for over 40 years, focusing on various thematic topics related to acoustics.

In this spirit, Canadian Acoustics invites submissions for an upcoming special issue, scheduled for March 2025, with a focus on education in acoustics. Manuscripts submitted for this issue may explore (but are not limited to) the following topics:

Innovative teaching methods in acoustics
Curriculum design and development in acoustic education
Integration of acoustics in STEM programs
Case studies on acoustic education in different sectors (higher education, technical schools, industry)
Use of technology and digital tools in teaching acoustics
Educational outreach and public engagement in acoustics

HOW TO PARTICIPATE?

To contribute to this special issue on "education in acoustics," authors are invited to submit their manuscripts through the online system at http://jcaa.caa-aca.ca, under the “Special Issue” section, by December 1st, 2024.

All submissions will be reviewed by the Canadian Acoustics Editorial Board, following the journal's publication policies (e.g., original content, non-commercialism). For further details, please refer to the Journal Policies section online.

WHY YOU SHOULD SUBMIT

This special issue will serve as a comprehensive resource on education in acoustics across Canada. It will be distributed in hard copies to all national and international members of the Canadian Acoustical Association (CAA), with electronic versions available in open-access on the journal website. Articles will be indexed and searchable through major search engines, including Google and Bing. Authors are encouraged to choose their keywords carefully to maximize the visibility of their work.

For any questions, please contact Mr. Olivier Robin at olivier.robin@usherbrooke.ca.

This is a unique opportunity that only comes around every 7 to 9 years—don’t miss out!

A New Chapter for Canadian Acoustics

2024-09-08T13:07:06-07:00

Comparaison des aides auditives de classe I et II auprès de sujets atteints de surdité sévère

2024-08-26T09:00:41-07:00

In France, with the “100% santé” reform, the sales of hearing aids were multiplied by 4.5 between 2019 and 2021. Multiple comparisons between class I (100% covered by healthcare) and II hearing aid devices were already conducted for mild to moderate hearing loss but none of them investigated the severe degree of hearing loss. Therefore, for the purpose of this study, 18 adults with a severe hearing loss and already equipped with hearing aids were recruited. They were randomly divided into two groups and underwent 3 assessments in 3 times (with 15 days interval): 1) fit with a class I or II hearing device, 2) Fitting with the other class of hearing aid, APHAB and hearing assessments and 3) APHAB and final hearing assessments. Overall results did not show any statistical differences between class I and II for patients with severe heating loss.

The sounds are not alone if we care about their meaning: sensory organ and socio-bio-ecosystemic music

2024-06-06T12:21:52-07:00

A marginal instrument such as the orgue sensoriel (OS), created for disabled people, invites us to interrogate the meaning of musical practices by situating them in their respective contexts of production and reproduction, determined in their material, imaginary and symbolic reality. The eco-logical perspective is chosen for its analytical and descriptive virtues, rather than for its normative implications. In presenting the life and origins of the OS, three concepts exogenous to the field of music are introduced: ecological niche, microbiome and musiculture. As metaphors – figuratively, heuristically and pedagogically rich
– they enable the placement of the sounds of OS, and their meaning, in the socio-bio-ecosystems of each (set of) situation(s).
Analysts, artists and educators can work creatively and sensitively on those three dimensions to restore complexity and variability to the meaning of musical practices, and to orient new experiences