Sound Levels Recorded Within the Symphony Orchestra and Risk Criteria for Hearing Loss

Jansson, Erik V.; Karlsson, K.

doi:10.3109/01050398309076249

Cited by 42 publications

(21 citation statements)

References 2 publications

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“…The study group comprised musicians playing violin (17), viola (8), cello (7), trombone (4), oboe (4), flute (3), trumpet (3), bassoon (2), double bass (2), clarinet (2), guitar (1), tube (1), harp (1), percussion (1) and horn (1).…”

Section: Subjectsmentioning

confidence: 99%

Hearing Ability in Orchestral Musicians

Pawlaczyk-Łuszczyńska¹,

Dudarewicz²,

Zamojska³

et al. 2010

Archives of Acoustics

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Pure-tone audiometry (PTA) and transient-evoked otoacoustic emissions (TEOAEs) were determined in 57 classical orchestral musicians along with a questionnaire inquiry using a modified Amsterdam Inventory for Auditory Disability and Handicap ((m)AIADH). Data on musicians' working experience and sound pressure levels produced by various groups of instruments were also collected. Measured hearing threshold levels (HTLs) were compared with the theoretical predictions calculated according to ISO 1999ISO :1990. High frequency notched audiograms typical for noise-induced hearing loss were found in 28% of the subjects. PTA and TEOAE consistently showed a tendency toward better hearing in females vs. males, younger vs. older subjects, and lower-vs. higher-exposed to orchestral noise subjects. Audiometric HTLs were better than theoretical predictions in the frequency range of 2000-4000 Hz. The (m)AIADH scores indicated some hearing difficulties in relation to intelligibility in noisy environment in 26% of the players. Our results indicated a need to implement a hearing conservation program for this professional group.

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Section: Subjectsmentioning

confidence: 99%

Hearing Ability in Orchestral Musicians

Pawlaczyk-Łuszczyńska¹,

Dudarewicz²,

Zamojska³

et al. 2010

Archives of Acoustics

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“…Their findings indicated that players of particular instruments such as percussion, timpani, trumpets, and horns were at greatest risk of exposure to excessive sustained and peak noise levels (see Table II-V from O'Brien et al, 2008). In addition, other researchers have documented that sound levels recorded during rehearsal and performances sometimes meet or exceed Occupational Safety and Health Administration (OSHA) limits (Axelsson & Lindgren, 1981;Jansson & Karlsson, 1983;Royster, Royster, & Killion, 1991).…”

mentioning

confidence: 99%

Hearing Conservation Program for Marching Band Members: A Risk for Noise-Induced Hearing Loss?

2013

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Purpose: To examine the risk for noise-induced hearing loss (NIHL) in university marching band members and to provide an overview of a hearing conservation program for a marching band. Method: Sound levels during band rehearsals were recorded and audiometric hearing thresholds and transient otoacoustic emission were measured over a 3-year period. Musician's earplugs and information about hearing loss were provided to the students. The hearing thresholds of other college students were tested as a partial control. Results: There were no significant differences in hearing thresholds between the two groups. During initial testing, more marching band members showed apparent highfrequency notches than control students. Follow-up hearing tests in a subsequent year for the marching band members showed that almost all notches disappeared. Persistent standard threshold shift (STS) across tests was not observed in the band members. Conclusion: Band members showed no evidence of STS or persistent notched audiograms. Because accepted procedures for measuring hearing showed a lack of precision in reliably detecting early NIHL in marching band members, it is recommended that signs of NIHL be sought in repeated measurements compared to baseline audiograms rather than in a single measure (a single notch). A hearing conservation program for this population is still recommended because of lengthy rehearsal times with high sound-level exposure during rehearsals.

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“…On the other hand, Figure 3 shows variability of exposure due to changes in repertoire. Several scientists studied musicians' exposure to sound [1,2,3,4,5,6,7,8]. Recently, O'Brien, Wilson and Bradley recorded noise levels within a professional orchestra over 3 years to provide a greater insight into the orchestral noise environment [7].…”

Section: Exposure To Orchestral Noisementioning

confidence: 99%

“…In particular, exposure to excessive sound (so-called orchestral noise) in professional orchestras has been studied. Professional orchestral musicians are often exposed to sounds at levels exceeding the upper ex posure action values from Directive 2003/10/EC [1,2,3,4,5,6,7,8,9]. Although industrial workers are at a higher risk of developing hearing loss, musicians can also develop noise-induced hearing loss (NIHL).…”

Section: Introductionmentioning

confidence: 99%

“…Although industrial workers are at a higher risk of developing hearing loss, musicians can also develop noise-induced hearing loss (NIHL). Furthermore, they can suffer from other hearing symptoms such as tinnitus, hyperacusis or diplacusis, which can affect their ability to work more severely than hearing loss [1,2,4,5,8,10,11,12,13,14,15].…”

Section: Introductionmentioning

confidence: 99%

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