Objective Noise-induced hearing loss (NIHL) is a worldwide health problem and a growing concern among young people. Although some people appear to be more susceptible to NIHL, genetic association studies lack a specific phenotype. We tested the feasibility of a bilateral 4000–6000 Hz audiometric notch as a phenotype for identifying genetic contributions to hearing loss in young adults. Design A case-control-control study was conducted to examine selected SNPs in 52 genes previously associated with hearing loss and/or expressed in the cochlea. A notch was defined as a minimum of a 15-dB drop at 4000–6000 Hz from the previous best threshold with a 5-dB ‘recovery’ at 8000 Hz. Study sample Participants were 252 individuals of European descent taken from a population of 640 young adults who are students of classical music. Participants were grouped as No-notch (NN), Unilateral Notch (UN), or Bilateral Notch (BN). Results The strongest evidence of a genetic association with the 4000–6000 Hz notch was a nonsynonymous SNP variant in the ESRR? gene (rs61742642:C>T, P386S). Carriers of the minor allele accounted for 26% of all bilateral losses. Conclusion This study indicates that the 4000–6000 Hz bilateral notch is a feasible phenotype for identifying genetic susceptibility to hearing loss.
Previous studies have shown that collegiate level music students are exposed to potentially hazardous sound levels. Compared to professional musicians, collegiate level music students typically do not perform as frequently, but they are exposed to intense sounds during practice and rehearsal sessions. The purpose of the study was to determine the full-day exposure dose including individual practice and ensemble rehearsals for collegiate student musicians. Sixty-seven college students of classical music were recruited representing 17 primary instruments. Of these students, 57 completed 2 days of noise dose measurements using Cirrus doseBadge programed according to the National Institute for Occupational Safety and Health criterion. Sound exposure was measured for 2 days from morning to evening, ranging from 7 to 9 h. Twenty-eight out of 57 (49%) student musicians exceeded a 100% daily noise dose on at least 1 day of the two measurement days. Eleven student musicians (19%) exceeded 100% daily noise dose on both days. Fourteen students exceeded 100% dose during large ensemble rehearsals and eight students exceeded 100% dose during individual practice sessions. Approximately, half of the student musicians exceeded 100% noise dose on a typical college schedule. This finding indicates that a large proportion of collegiate student musicians are at risk of developing noise-induced hearing loss due to hazardous sound levels. Considering the current finding, there is a need to conduct hearing conservation programs in all music schools, and to educate student musicians about the use and importance of hearing protection devices for their hearing.
BACKGROUND: Does wearing musicians’ earplugs while performing affect the quality of the performance? Can listeners perceive a difference in sound when musicians are performing with or without earplugs? The risk of hearing loss is a concern for musicians, but some are reluctant to wear hearing protection due to factors such as an inability to hear their own instrument properly and the possibility of decreased sound quality for listeners. OBJECTIVE: The purpose of this study was to determine the effect of musicians’ earplugs on instrumental pitch accuracy and the perception of tone quality, intonation, and dynamic contrast, as perceived by musicians and listeners. METHODS: Ten university studio faculty teachers were recorded performing single pitches and lyrical and technical passages, first without earplugs and then immediately after with earplugs. A sample of 8 studio faculty teachers and 88 undergraduate music education students completed a researcher-created music perception test of tone quality, intonation, and dynamic contrast. RESULTS: Objective analyses of the single pitch recordings made by faculty with and without earplugs indicate that pitch accuracy did not favor either condition consistently. Results from the perception test indicate that although both faculty and student listeners perceived some differences, the most frequent perception was that the audio pair was equal, and there was no clear difference between performing with and without earplugs in terms of tone quality, intonation, or dynamic contrast. CONCLUSION: These findings suggest that musicians should feel confident that wearing musicians’ earplugs while performing does not adversely affect pitch accuracy or listeners’ perceptions of their timbre and dynamic control.
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