Exposure to excessive sounds during orchestra rehearsals and temporary hearing changes in hearing among musicians

Abstract

Background: It has been shown that musicians are at risk of noise-induced hearing loss. The aim of the study has been to evaluate the temporary changes of hearing in the case of orchestral musicians after group rehearsals. Material and Methods: The study group comprised 18 orchestral musicians, aged 30-58 years old (mean: 40 years old) having 12-40 years (mean: 22 years) of professional experience. The temporary changes in hearing after group rehearsals were determined using transient-evoked otoacoustic emissions (TEOAEs). Noise exposures during group rehearsals were also evaluated. Results: Musicians' hearing threshold levels were higher (worse) than expected for the equivalent non-noise-exposed population. Moreover, the high frequency notched audiograms were observed in some of them. After rehearsals, during which musicians were exposed to orchestral noise at A-weighted equivalent-continuous sound pressure level (normalized to 8-h working day) varied from 75.6-83.1 dB (mean: 79.4 dB). The significant post-exposure reductions of TEOAE amplitudes (approx. 0.7 dB) both for the total response and frequency bands of 2000 and 3000 Hz were noted. However, there were no significant differences between pre-and postexposure reproducibility of TEOAE. Conclusions: Obtained results have confirmed that orchestral musicians are at risk of hearing loss due to their professional activities, even at exposures to orchestral noise less than the limit values for occupational noise. Med Pr 2015;66(4): [479][480][481][482][483][484][485][486]

Sound Exposure of Healthcare Professionals Working with a University Marching Band

“…earing impairment is a substantial and worsening health concern. Whereas it is an obvious problem, for example, in noise-laden industrial workers (Masterson et al, 2016) and rock musicians (Størmer et al, 2015), and when using personal listening devices (Kumar and Deepashree, 2016), it is also increasingly recognized in other types of musicians (Emmerich et al, 2008;Gopal et al, 2013;Rodrigues et al, 2014;Schmidt et al, 2014;Dudarewicz et al, 2015). Decibel levels with continuous noise equivalent (L eq ) values between 84 and 90 have been reported in orchestral music (O'Brien et al, 2008).…”

Perfil audiométrico de músicos profissionais: revisão sistemática

“…Ano País Campo musical Tamanho amostra (faixa etária) Stormer et al (7) 2015 Noruega Músicos de Rock 111 (16 e 52 anos) Gonçalves et al (12) 2007 Brasil Banda Militar 27 (22 e 50 anos) Samelli et al (13) 2012 Brasil Não especificado 16 (21 e 41 anos) Halevi-Katz et al (14) 2015 Suécia Músicos pop/rock/jazz 44 (não informada) Patil et al (15) 2013 Inglaterra Músicos do exército 84 (não informada) Toppila et al (16) 2011 Finlândia Músicos de orquestra 67 (não informada) Gonçalves et al (17) 2009 Brasil Banda militar do exército 50 (média de idade de 34,9 anos) Maia et al (18) 2008 Brasil Não especificado 23 (21 e 38 anos) Martins et al (19) 2008 Brasil Não especificado 21 (18 a 59 anos) Amorim et al (20) 2008 Brasil Não especificado 30 (18 s e 37 anos) Monteiro et al (21) 2010 Brasil Ritmistas de bateria de escola de samba 10 (20 e 31 anos) Azevedo et al (25) 2012 Brasil Violonistas 10 (17 a 69 anos) Dudarewicz et al (33) 2015 Polônia Músicos de orquestra 18 (30-58 anos) No Quadro II apreciam-se os dados da prevalência da perda auditiva induzida por ruído (PAIR) e método de avaliação audiológica. Observa-se que cinco estudos não informaram dados sobre a prevalência de perda auditiva.…”

“…Stormer et al (7) 37,8% Audiometria tonal, imitanciometria Gonçalves et al (12) 18,5% Audiometria tonal, audiometria vocal, imitanciometria e teste do limiar de desconforto sonoro Samelli et al (13) 100% Imitanciometria e audiometria tonal, EOAET e ABR e potencial cognitivo Halevi-Katz et al (14) NI Audiometria Patil et al (15) 14% Audiometria tonal e vocal Toppila et al (16) NI Audiometria tonal Gonçalves et al (17) 32% Imitanciometria e audiometria tonal Maia et al (18) NI Audiometria tonal, audiometria vocal, imitanciometria, EOAET e EOAPD Martins et al (19) 42,9% Audiometria Amorim et al (20) 17% Audiometria tonal, imitanciometria e EOAET e EOAPD Monteiro et al (21) 40% Audiometria tonal e vocal, imitanciometria Azevedo et al (25) NI Audiometria tonal, audiometria vocal, imitanciometria, EOAET e EOAPD Dudarewicz et al (33) NI EOAET EOAET: emissões otoacústicas evocadas transites; EOAPD: emissões otoacústicas evocadas por produto de distorção; ABR: potenciais auditivos evocados; NI: não informado.…”

Οι Επιδράσεις Του Ηχητικού Περιβάλλοντος Των Φιλαρμονικών Της Κέρκυρας Στους Μουσικούς

“…Συχνά, αυτό µπορεί να σχετίζεται µε τις τεχνικές που χρησιµοποιεί ο κάθε µουσικός και τις δυνατότητες του οργάνου που διαθέτει, ενώ άλλες φορές µπορεί να σχετίζεται µε θέµατα στιλιστικής ερµηνείας. Το ρεπερτόριο αποτελεί επίσης καθοριστικό παράγοντα για την ηχοέκθεση του κάθε µουσικού (Dudarewicz et al, 2015), καθώς και το είδος της συναυλίας.…”

“…3). Παρόλο που ο µηχανισµός που προκαλεί τις προσωρινές αλλαγές (µετατοπίσεις) είναι ακόµη άγνωστος, θεωρείται ότι οι επαναλαµβανόµενες προσωρινές αλλαγές µπορούν να οδηγήσουν σε µόνιµες µετατοπίσεις του ουδού ακοής(Dudarewicz et al, 2015).Ωστόσο, συνήθως, ανακτάται η ευαισθησία της ακοής ύστερα από ένα διάστηµα ξεκούρασης. Σύµφωνα µε τουςJaroszewski & Rakowski (1994) σε έρευνά τους υπολογίστηκε ότι αν στη διάρκεια µιας δεκαετίας κάποιος έχει υποστεί προσωρινή απώλεια ακοής πέντε φορές την εβδοµάδα, η βλάβη µπορεί να γίνει µόνιµη (στοPeters et al, 2005).…”