Hearing Loss Magazine: 2012 Recap

28 11 2012

The last issue in 2012 of the Hearing Loss Magazine (HLM), published by the Hearing Loss Association of America (HLAA), just arrived in member mailboxes last week. I design the bimonthly magazine and provide photography services to HLAA. Here is a recap of the issues published in 2012.

Tina and Tom Hamblin were the cover feature for the January/February 2012 issue. Tina contacted me in fall 2010 after seeing the wedding photos I shot for Todd and Abbie Hlavacek in September 2010. Todd and Abbie are also members of HLAA and Abbie wrote her cover story for the May/June 2008 issue (recapped here). Cover photo © Cindy Dyer

I first met Tina and Tom when they arrived for their engagement photo session at my favorite location to shoot, Green Spring Gardens, in Alexandria, VA in spring 2011. After we did our portraits around the garden, Tom started doing cartwheels (he’s a gymnastics coach) and I captured him in full motion—making it the first time I’ve ever photographed someone doing anything gymnastic. I captured him in his wedding finery doing some handstands and cartwheels on his wedding day as well! My colleague Ed and I photographed Tina and Tom’s wedding on October 8, 2011 in Kurtz Beach, Maryland.

I asked Tina and Tom if they would write a sort of “his and her” story for the magazine about their respective hearing loss, how they met, and how they support each other. The title of their article, “Taking the plunge,” refers to both the turning point in their friendship and their recent marriage. You can find Tina blog’s here and Tom’s all-things-gymnastic blog here. Their cover story is available in pdf format here: Tom&TinaHamblin Feature

Also in this issue: Audiologist Brad Ingrao focused on the best practices for hearing assessment and hearing aid fitting in Getting it Right the First Time: Best Practices in Hearing Aid Fitting; Gael Hannon showed us a practical look at information that would be helpful to those who have hearing loss in What the Professionals Should Tell Us; Michael Ann Bower discussed what people with hearing loss can do to avoid the misdiagnosis of dementia when hearing loss is the issue in Hearing Loss and Dementia; and Barbara Kelley interviewed young jazz singer Mandy Harvey in Musically Inclined.

The March/April issue featured the host city for the upcoming Convention 2012—Providence, Rhode Island. HLAA’s Director of Marketing and Events, Nancy Macklin, presented a comprehensive guide to the upcoming convention in this issue.

Also in this issue: Audiologist Brad Ingrao discussed cochlear implants in Plugged in for Sound: Cochlear Implants Today; Scott Bally outlined the Five Most Effective Speechreading Strategies; Renowned audiologist Mark Ross talked about hi HealthInnovations Hearing Aid Dispensing Program; Meredith Low, a pro at planning and making sure that the communication environment is arranged so she can enjoy the party as much as her guests, offered great tips in Welcome! Easy Entertaining for People with Hearing Loss; Pamela Selker Rak shared her experiences with hearing loss in Lost in Translation: How a “Lost and Found” Friendship Opened My Eyes to Hearing Loss; Lise Hamlin focused on HLAA’s efforts in Advocacy: A Few Hot Issues, and HLAA member Netegene Fitzpatrick crafted a special Word Search puzzle for her fellow members to solve.

Richard Einhorn, award-winning composer, was the cover feature for the May/June 2012 issue. In his article, Einhorn wrote about his sudden hearing loss and how, with his clever uses of existing technology, he continues to work and live well with hearing loss. You can read excerpts on my blog post here. For the full article, click on this link: Richard Einhorn

I had the honor and pleasure of photographing Richard in March 2012. Barbara Kelley (HLM’s editor-in-chief) and I met up with him at the Peabody Conservatory in Baltimore. After a great photo session, we dropped Richard off at his hotel and picked him up later to take him to the Meyerhoff, where his work, Voices of Light, was being performed by the Baltimore Symphony Orchestra, with Marin Alsop conducting. Einhorn composed the piece in 1994, inspired by the 1928 silent film, The Passion of Joan of Arc, directed by Carl Theodor Dreyer. Live performances accompany a screening of the film.

Voices of Light has been performed more than 200 times by major orchestras all over the world. It has been called “a great masterpiece of contemporary music” and “a work of meticulous genius.” The libretto is based on excerpts from a variety of ancient writings, most of it from Medieval female mystics, and scored for a small orchestra, chorus and soloists. For me, the performance was a haunting, incredibly moving and very profound visual and aural experience. You can learn more about Richard Einhorn on his website here. Cover photo © Cindy Dyer

Also in this issue: Barbara Kelley interviewed Richard Einhorn to learn more about his work and future projects; Therese Walden, president of the American Academy on Audiology, discussed the UnitedHealthcare® hi HealthInnovations hearing device benefit program in Self-Diagnosis, Self-Treatment: The Wave of the Future?; Brad Ingrao wrote about water-resistant hearing aids and cochlear implants in Jump Right In! Water-Resistant Hearing Technology; Lise Hamlin revisited the Americans with Disabilities Act 22 years later in Accessible Design for People with Hearing Loss; and Yoona Ha revealed the special bond with her grandmother in My Six-Million-Dollar Grandmother.

Laurie Pullins was the cover feature for the July/August 2012 issue. Back in February, right before my photography exhibit (Garden Muse: A Botanical Portfolio) opened at Green Spring Gardens, Laurie sent me a message that she would love to come see it in person (she’s been a big supporter and fan of my work for a few years now) and she was trying to coordinate a time when she could accompany her husband to the Washington, D.C. area on a business trip. It so happens that I had been catching up with her blog, Dance with Sound, and had just suggested to Barbara that we entice Laurie to write for the magazine. I pitched the idea to Laurie and said that if she could come up to see my show anytime in March or April, I could shoot the portraits of her for the feature then. We wanted to keep it a secret from even her closest friends so that she could surprise them; only her husband and children knew about it. Cover photo © Cindy Dyer

Laurie is as beautiful on the inside as she is on the outside and I am thrilled that she has a spotlight in the magazine with beautiful photos and her honest and inspiring writing. See Laurie’s feature on my blog post here or download the pdf here: Laurie Pullins Feature

Also in this issue: Brad Ingrao helps you understand your hearing loss and what you need to hear better in Beyond the Beeps: Needs Assessments and Outcome Measures; Lisa and Des Brownlie shared their experiences of their babies born with hearing loss in Two Children, Two Hearing Losses; Sam Trychin discussed research that has uncovered information about another built-in, inherited type of pain that also has survival value—social pain—in Hearing Loss and Social Pain; Lisa Tseng of hi HealthInnovations shows the company’s model for how to reach those who need hearing help in Accessible and Affordable Hearing Health Care; HLAA’s Director of Public Policy, Lise Hamlin, reveaks her personal experiences resulting from the fruits of HLAA’s labor in Newborn Hearing Screening: A Success Story; and Viola LaBounty expresses her improved hearing loss through her poem, Digital Technology: My World Alive.

Melissa Puleo Adams, a former San Diego Chargers cheerleader, was our cover feature for the September/October 2012 issue. I had the opportunity to meet and photograph Melissa when she was visiting her family here in Virginia in May. The title of her feature, Sixth Time’s a Charm, is in reference to her trying out six times to be a Charger Girl cheerleader. She persevered despite the rejections and made it on the sixth try. Her fellow Charger Girls were very supportive of her and her hearing loss. Melissa owns her own web and graphic design firm in California. You can see her web design work hereCover photo © Cindy Dyer  (Read Melissa’s full feature in my blog post here.)

Also in this issue: Audiologist Brad Ingrao provided an in-depth look at three alternative hearing systems in Middle Ear Implants and Bone Conduction Hearing Devices; HLAA’s Director of Marketing and Events, Nancy Macklin, revealed highlights in her Convention 2012 Wrap-up; Susan Clutterbuck wrote about the results of the EARtrak survey and if they reveal whether or not consumers’ opinions are being heard by their hearing health care providers in Improving Health Care—Make Your Voice Heard!; Ronnie Adler shared great stores about how Walk4Hearing Funds are put to good use in local communities in Rewarding Great Ideas—The Benefits of the Walk4Hearing; and Scott J. Bally showed how NVRC is changing lives in the community in NVRC: A Model Community Center Improving Communication.

Marisa Sarto was the cover feature for the November/December 2012 issue. I met Marisa in Providence, R.I. this past June during HLAA Convention 2012. I was going to profile her for our Seen & Heard column but after learning about her photo book project, we decided to make her autobiographical story a main feature for the magazine. I photographed her one afternoon in a park near the hotel. Cover photo © Cindy Dyer

Marisa’s inspiration for her book-in-progress, Hear Nor There: Images of an Invisible Disability, came from her experiences as a woman growing up with a hearing loss that made her feel self-conscious and set apart from others. The project will be a documentary monograph, showcasing photographs and stories of individuals of varying ages, ethnicities and genders and their challenges of living with a hearing loss. Learn more about the project on her website here and sample images and narratives here. Download and read her feature article here: Marisa Sarto Feature

Also in this issue: Audiologist Brad Ingrao’s article, Better Hearing, Better Health, explored the relationship between hearing loss and health-related quality of life; HLAA’s Director of Marketing and Events, Nancy Macklin, showed us why It’s Time to Head West! with her Convention 2013 Sneak Preview; Hayleigh Scott, owner of Hayleigh’s Cherished Charms, and Netegene Fitzpatrick proved there isn’t a generation gap among people with hearing loss in their feature, A Unlikely Friendship; HLAA’s Director of Public Policy, Lise Hamlin, reported good news in Shopping for Phones; long-time HLAA member Vern Thayer explained why he is Lucky that he discovered HLAA in 1983; and HLAA members George Kosovich and Marisa Sarto were both profiled in Seen & Heard.

 

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No Compromise: Richard Einhorn, Composer

14 05 2012

Richard Einhorn, award-winning composer, wrote the cover feature for the May/June 2012 issue of Hearing Loss Magazine, which I design and produce bimonthly for the Hearing Loss Association of America. In his article, Einhorn writes about his sudden hearing loss and how, with his clever uses of existing technology, he continues to work and live well with hearing loss. For the full article, click on this link: Richard Einhorn

Learn more about Richard Einhorn on his website here and the fascinating details about how Voices of Light came to fruition here. To learn more about Joan of Arc, view his program notes here.

I found it especially moving that Einhorn recorded the church bells ringing in Joan’s birthplace and included them in the production. In his program notes, he writes: Just prior to writing Voices of Light, I traveled to France to visit some of the important Joan of Arc historical sites. I went to Orleans where she won her first battle and also to Rouen, where I was deeply moved by the ruins of the castles where Joan was held and the cross erected at the site of her martyrdom. I also traveled to the little village of Domremy, Joan’s birthplace in the southeast, where her house and church, much restored, still stand. I took along a portable DAT recorder and recorded the sound of the Domremy church bell and later incorporated it into my score. I felt that Joan, who so loved church bells, whose voices seemed to speak to her whenever they were ringing, would appreciate the effort.

Excerpted from his website: 

Einhorn has written opera, orchestral and chamber music, song cycles, film music, and dance scores. Among his many projects is the wildly popular Red Angels for New York City Ballet, set to Einhorn’s music with choreography by Ulysses Dove, which had its television premiere on Live From Lincoln Center (PBS) in May of 2002. His film credits include the Academy Award-winning documentary short, Educating Peter (HBO) and Arthur Penn’s thriller Dead of Winter (MGM), starring Mary Steenbugen; and Fire-Eater directed by Pirjo Honkasalo, for which Einhorn won the Jussi (Finnish Academy Award) for Best Musical Score.

Born in 1952, Richard Einhorn graduated summa cum laude in music from Columbia University. Before turning his attention exclusively to composition, Einhorn worked as a record producer for such artists as Meredith Monk and The New York Philharmonic. His production of the Bach Cello Suites with Yo-Yo Ma won a Grammy for Best Instrumental Performance.

Recent works include The Spires, The City, The Field, a 9/11 memorial premiered by the Albany Symphony. A Carnival of Miracles, a piece written for Anonymous 4, premiered to a sold-out crowd at New Sounds Live and broadcasted live over WNYC-FM. My Many Colored Days is an orchestral commission from the Minnesota Orchestra. He lives in New York City with his wife Amy Singer and their daughter Miranda.

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I had the honor and pleasure of photographing Richard for Hearing Loss Magazine (HLM) in March. Barbara Kelley (HLM’s editor-in-chief) and I met up with him at the Peabody Conservatory in Baltimore. After a great photo session, we dropped Richard off at his hotel and picked him up later to take him to the Meyerhoff, where his work, Voices of Light, was being performed by the Baltimore Symphony Orchestra, with Marin Alsop conducting. Einhorn composed the piece in 1994, inspired by the 1928 silent film, The Passion of Joan of Arc, directed by Carl Theodor Dreyer. Live performances accompany a screening of the film. The libretto is based on excerpts from a variety of ancient writings, most of it from Medieval female mystics, and scored for a small orchestra, chorus and soloists. For me, the performance was a haunting, incredibly moving and very profound visual and aural experience. To get a feel for the combination of this powerful film and Einhorn’s remarkable composition, view the 10-minute video segment below. The film is captioned in both French and English.

Barbara interviewed Richard for a companion piece to his article. This interview is included in its entirety below.


BEHIND THE SCENES: Composer Richard Einhorn and Voices of Light

by Barbara Kelley

Richard Einhorn’s acclaimed Voices of Light has been called “a great masterpiece of contemporary music” and “a work of meticulous genius.” Voices of Light is an oratorio set to Carl Theodor Dreyer’s 1928 silent film The Passion of Joan of Arc. Voices of Light has been performed more than 200 times by major orchestras all over the world, including two recent performances with Baltimore Symphony Orchestra, Marin Alsop conducting.

Einhorn, who has composed many film scores and concert works, had been interested in writing a large work on a religious subject. In 1988, he finally discovered what he would do. As he wrote in the liner notes for the Sony Classical recording of Voices of Light, “Imagine walking down an ordinary street in an ordinary city on an ordinary day. You turn the corner and suddenly without warning, you find yourself staring at the Taj Mahal. It was with that same sense of utter amazement and wonder that I watched Carl Theodor Dreyer’s The Passion of Joan of Arc for the first time.

“That was back in January 1988. I was idly poking around the film archives of New York’s Museum of Modern Art, looking at short avant-garde films, when I happened across a still from Joan in the silent film catalog. …some 81 minutes later, I walked out of the screening room shattered, having unexpectedly seen one of the most extraordinary works of art that I know.”

The film is lauded as one of the top ten films of all time. Richard’s original score took six years to put together. He says about Voices, “[It] explores the patchwork of emotions and thoughts that get stitched together into the notion of a female hero.”

Marin Alsop, music director of the Baltimore Symphony Orchestra, said, “I don’t think anyone will be able to leave this performance unaffected.” Right: Richard Einhorn rehearses with soloists at the Peabody Conservatory of Music in Baltimore; from left: Stephen Campbell, Phoenix, AZ; Rachel Grider, Modesto, CA; and Nola Richardson, Sydney, Australia

Another oratorio by Einhorn, The Origin, recently received audience and critical acclaim for its European premiere in Bremen, Germany. Richard also devotes his time to advocacy for people with hearing loss and has been featured in The New York Times and elsewhere. Read The New York Times article about Richard, “A Hearing Aid That Cuts Out All the Clatter,” by John Tierney at http://bit.ly/EinhornNYTimes

A Hearing Loop Installed for Voices of Light Performance
On March 2 this year, Einhorn’s Voices of Light was performed at the Joseph Meyerhoff Symphony Hall by the Baltimore Symphony Orchestra. This was a special event because Richard was able to hear his own composition. Thanks to Ampetronic and their U.S. distributor, Fred Palm of AssistiveAudio, Inc., as well as the Meyerhoff, a hearing loop was installed in the concert hall for the weekend performances.

Audience members with hearing loss using cochlear implants or telecoil-equipped hearing aids were able to enjoy the performance by accessing sound transmitted electromagnetically by a hearing loop—a wire that circles the room and is connected to the sound system.

After the performance, Barbara Kelley, editor-in-chief of Hearing Loss Magazine, interviewed Richard to learn more about his career.

You were 15 when you began composing. Did you play a musical instrument? I first learned to compose entirely on my own, by experimenting with tape recorders and improvising. I played drums in a rock band when I was a kid, but quickly became interested in writing my own music. I was involved with an avant-garde multimedia ensemble in high school and, as an experiment, wrote a piece for some friends of mine who were modern dancers. The moment I saw my friends dance to my music I knew there was nothing else I wanted to do with my life except compose.

Above: Barbara Kelley, Richard Einhorn and Brenda Battat (Executive Director of Hearing Loss Association of America) after the performance of Voices of Light at the Meyerhoff 

After a year or so, I realized I needed to study formally and I went to Columbia University where I majored in music, studying ultimately with electronic music pioneer Vladimir Ussachevsky and opera composer Jack Beeson. I graduated in 1975 summa cum laude, Phi Beta Kappa, then worked as a record producer for Columbia Masterworks for five years, before pursuing composition full time.

Do you come from a musical family? Nobody in my immediate family is musical. However, my great-aunt Hattie was a concert pianist in the early 20th century. My grandfather was an inventor and worked in East Orange, New Jersey when Thomas Edison was in West Orange. Somewhere in the family, there is correspondence between them! Probably, I got my interest in technology from my grandfather and my musicality from my great-great grandparents.

How did you know you had this aptitude at a young age? I don’t know if I have any aptitude. I have a lot of interest in composing music and I have a lot of ideas. I am also extremely persistent and won’t let go. I work very hard at composing but it’s enjoyable work and I love it. I am thrilled that other people often seem to enjoy it as much as I enjoy composing it.

What inspires you? Sound inspires me the most of all. I live for sound and my primary experience of the world, especially the world of emotions, is through sound, not sight or another sense. I am also inspired by great stories, such as Joan of Arc’s and Charles Darwin’s. I find them both amazing human beings in many different ways.

What projects are you working on now? I have a new piece for Brooklyn Academy of Music’s Next Wave Festival, a collaboration with the great filmmaker Bill Morrison. It will be an interactive piece called Shooting Gallery, with laser beams, six projectors and an hour of interactive music. I haven’t done anything like it since high school and I’m very excited!

I’m also writing a new piece for dance for two great musicians I’ve worked with quite a bit, violinist Mary Rowell and pianist Judith Gordon. The work will premiere in fall 2013. Further off is a large piece for orchestra and film, again with Bill Morrison. All I can say at the moment about it is that Bill, the conductor, the orchestra, and I are extremely excited about it.

Are there any projects you would like to work on? What is your dream project? I am a dramatic and lyrical composer. I’ve lived many of my dreams. I always wanted to work with Bill Morrison, and already have on the Darwin piece, The Origin. I have always wanted to work on an opera, and it looks like I will. I’ve composed scores for some truly wonderful movies and I’ve worked with some of my favorite musicians—and some of my favorite people.

I feel very lucky to have been able to do so and doubly lucky that my family has fully understood that this is an unusual life, but in many ways a rewarding one for all of us. I want to continue to compose the best music I can for the best musicians I can, for the most exciting projects I can find, and collaborate with artists from other disciplines whom I admire. I’ve met some amazing people along the way, and that has made the hard work and long hours it takes to compose all the more worthwhile!

Special thanks to the Peabody Institute of the Johns Hopkins University in Baltimore for permitting us to take photographs of Richard Einhorn in the Peabody Conservatory of Music.

All photos © Cindy Dyer. All rights reserved.