\s=b\Noise-induced hearing loss (NIHL) is well reported among devotees of rock 'n' roll music, but less attention has been focused on players of orchestral music.Sound pressure levels have been recorded from within orchestras during performances, and audiometry has been carried out on orchestral musicians. Short-lasting peaks of sound of high amplitude were found to occur, and some players had audiometric changes consistent with NIHL. However, in practice, there seemed to be no threat to the players' continued livelihood, although the additive effect of presbyacusis in later life poses a potential problem. The difficulties of prevention of NIHL and the attenuation of the high sound levels of orchestras do not seem to be completely soluble. (Arch Otolaryngol 1981;107:761-764) Much attention has been paid to the sound pressure levels (SPLs) generated by pop music and rock 'n' roll bands (particularly in the environment of discotheques) and to the effect this noise has on the hear¬ ing of both the performers and the audience. There has been relatively (Mr Westmore).little investigation into the noise lev¬ els generated by symphony orchestras or into the resultant incidence of noise-induced hearing loss (NIHL) in the individual players. We have mea¬ sured the SPLs and their duration and have also performed audiometry as a guide to the incidence of NIHL.
EQUIPMENT AND METHODSThe SPL measurements were under¬ taken using a sound level meter. The unit was fitted with a standard high-stability ceramic microphone and was mounted on a photographic tripod. For each recording, a suitable position in the orchestra was selected that, on most occasions, was adjacent to the woodwind section and sometimes near the conductor or among the string players. The height of the microphone was 1.0 ± 0.01 m above floor level, and all recordings were made using the fast-response option and weight¬ ing filter A. The output socket of the meter was connected to a battery-powered, lowvoltage rectifying circuit, the output of which was connected to a potentiometric recorder with a full-scale response time of 0.3 s. Before each recording, the system was calibrated using an acoustic calibrator delivering a SPL of 92 ± 0.5 dB at 1 kHz. By preselecting an appropriate sound level range on the meter, reliable recordings were obtained within the 70-to 120-dB range, although the recording scale was not linear. Continuous recordings of the SPLs were made during rehearsals of Bruckner's Symphony No. 8'inC minor, Mozart's Symphony No. 35 in D major (the Haffner), Ponce's Guitar Concerto, Bantock's Omar Khayyam Suite for full orchestra, soloists, and chorus, Britten's opera Billy Budd, and during a performance of Prokofiev's ballet Romeo and Juliet.Pure-tone audiometry was performed, and audiograms were constructed from readings taken at 0.25,0.5,1,2,4, and 8 kHz and obtained from 34 musicians. The age of the subject, instrument played, subject's usual location in the orchestra, and dura¬ tion of orchestral service were noted. Enquiry failed to establish ...
