Study of the Hearing Threshold of Dance Teachers

Nehring, Cristiane; Bauer, Magda Aline; Teixeira, Adriane Ribeiro

doi:10.1055/s-0035-1547519

Cited by 4 publications

(11 citation statements)

References 11 publications

(15 reference statements)

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“…However, in the Brazilian study, no statistically significant differences in hearing loss between the participants exposed and those not exposed to occupational noise were found at any frequency (except for 9000 Hz, which was not measured in our study). This finding may have been affected by the small sample size (32 cases and 32 controls) [18] .…”

Section: Discussionmentioning

confidence: 95%

Hearing Loss in Persons Exposed and not Exposed to Occupational Noise

Kovaľová

Mrázková²,

Sachova³

et al. 2016

Int Adv Otol

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OBJECTIVE:This study aimed to compare hearing loss in individuals at risk and those not at risk for occupational noise and to compare working loss by gender. MATERIALS and METHODS:The analysis used data from a current Czech Ministry of Health grant project called Epidemiological and Genetic Study of the Frequency of Hearing Loss (2011Loss ( to 2015 NT12246-5/2011). The analyzed sample comprised 4988 participants. Hearing was tested using pure-tone threshold audiometry, tympanometry, and measurement of the stapedius reflex. RESULTS:Females at risk and those not at risk for occupational noise who were younger than 44 years and older than 75 years were found to have no statistically significant differences at any pure-tone threshold audiometry frequency. In females aged 45 to 74 years, statistically significant differences were found. In males, hearing loss was observed as early as 18 years of age. When comparing males and females at no risk for occupational noise, there were no statistically significant differences at any of the frequencies in those younger than 29 years. In females aged 30 years or older, statistically significant differences were observed at various frequencies in all age groups. When comparing males and females at risk for occupational noise, statistically significant differences were more frequent than in employees not exposed to noise. CONCLUSION:Hearing loss in females does not significantly vary depending on occupational exposure. The opposite is true for males. However, the maximum differences in mean levels did not exceed 10 dB. It is therefore clear that noise is a preventable factor, and the use of personal protective equipment is warranted.

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Section: Discussionmentioning

confidence: 95%

Hearing Loss in Persons Exposed and not Exposed to Occupational Noise

Kovaľová

Mrázková²,

Sachova³

et al. 2016

Int Adv Otol

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“…Eight were conducted in the United States, 9,[34][35][36]39,41,42,46 four in Israel, 7,38,48,49 three in Germany, 44,45,53 two in the United Kingdom, 20,33 and nine other countries were represented by single studies. 19,37,40,43,47,50,52,54 One study utilized an online survey, but it is unclear whether this was global or restricted to a particular geographic area. 51 Most studies (n = 23) focused on dance students only, 7,9,19,20,[33][34][35][36][37][38][39][40][41][42][43]45,46,[48][49][50]52,54 three included only dance teachers, 47,…”

Section: Study Characteristicsmentioning

confidence: 99%

“…19,37,40,43,47,50,52,54 One study utilized an online survey, but it is unclear whether this was global or restricted to a particular geographic area. 51 Most studies (n = 23) focused on dance students only, 7,9,19,20,[33][34][35][36][37][38][39][40][41][42][43]45,46,[48][49][50]52,54 three included only dance teachers, 47,51,53 and one study included both. 44 Altogether, the study samples included 4,632 dance students (3,902 female, 730 male) and 430 dance teachers (281 female, 49 male).…”

Section: Study Characteristicsmentioning

confidence: 99%

“…Dance students were, on average, 18.8 years old whereas dance teachers had a mean age of 39.4 years. The most common research settings were either dance schools and academies (n = 12) 9,19,20,37,38,40,43,45,[47][48][49]54 or university dance programs (n = 8), [33][34][35][36]39,42,50 but studies also took place in community-based samples (n = 2) 7,46 and arts schools (n = 2). 9,41 In two cases, the setting was not described.…”

Section: Study Characteristicsmentioning

confidence: 99%

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Injury Rates and Characteristics Associated with Participation in Organized Dance Education: A Systematic Review

Critchley¹,

Kenny²,

Ritchie³

et al. 2022

j dance med sci

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Introduction: Several studies and recent systematic reviews have investigated injury in dance settings and have largely focused on specific concert dance genres (i.e., ballet, contemporary) and elite levels (i.e., pre-professional, professional) of dance. Less is known about the health of those who participate in dance education settings, namely teachers and students from private dance studios. Given that these individuals constitute a large proportion of the dance community, greater clarity of risks in the dance training environment could benefit an underserved majority by informing the development of effective injury prevention strategies. Objective: The primary objective was to describe injury rates and characteristics associated with participation in organized dance education settings.Methods: Six electronic databases were searched to April 2021 (Medline, EMBASE, SportDiscus, CINAHL, SCOPUS, Cochrane). Selected studies met a priori inclusion criteria that required original data from dance teacher and student samples within formal dance education settings. All genres of dance were eligible. Studies were excluded if no injury outcomes or estimates of dance exposure were reported, if injuries occurred during rehearsal and performance, or if dance was used as a therapeutic intervention or exercise. Two reviewers independently assessed each paper for inclusion at abstract and full text screening stages. The quality of included studies was assessed using the Joanna Briggs Institute Level of Evidence tool. Results: The initial database search identified 1,424 potentially relevant records, 26 were included and scored. Most studies (n = 22) focused on dance students only, three included only dance teachers, and one study included both. Among both dance students and teachers, the majority of injuries reported were overuse or chronic and involved the lower limb. For studies that reported injury rates (n = 14), estimates ranged from 0.8 to 4.7 injuries per 1,000 dance hours, 4.86 per 1,000 dancer-days, and 0.21 to 0.34 per 1,000 dance exposures. Conclusions: Based on the current research, dance students and teachers experience a similar rate of injury to concert and professional dancers, and their injuries are most commonly overuse injuries involving the lower extremity. There have been few high-quality investigations of injury specific to the dance training environment. Therefore, consensus around the burden of injury in the dance education settings remains difficult. Future dance epidemiological investigations that examine the burden of injury among dance teachers and students, include operational injury and exposure definitions, and utilize prospective designs are warranted.

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“…Despite the many studies on musicians and the parallels between music and dance, little is known of the auditory abilities of dancers outside of a few recent studies (da Silva et al., 2015; Joseph et al., 2019; Nehring et al., 2015; Pisharody et al., 2016). Historically the focus has been on the sensorimotor and artistic abilities of dancers, with more recent attention directed toward the neural correlates of dance training, both as an independent art form and in comparison to music (reviewed in Karpati et al., 2015).…”

Section: Introductionmentioning

confidence: 99%

Auditory Temporal Processing in Dancers

Skoe

Scarpati

McVeety³

2021

Percept Mot Skills

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While many studies have examined the auditory abilities of musicians, this study uniquely asks whether dance training, a similar yet understudied type of early-life training, also benefits auditory abilities. We focused this investigation on temporal resolution, given the importance of subtle temporal cues in synchronizing movement. We found that, compared to untrained controls, novice adult dancers who have trained continuously since childhood had enhanced temporal resolution, measured with a gap detection task. In an analysis involving current and former dancers, total years of training was a significant predictor of temporal resolution thresholds. The association between dance experience and improved auditory skills has implications for current theories of experience-dependent auditory plasticity and the design of sound-based educational and rehabilitation activities.

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Study of the Hearing Threshold of Dance Teachers

Cited by 4 publications

References 11 publications

Hearing Loss in Persons Exposed and not Exposed to Occupational Noise

Hearing Loss in Persons Exposed and not Exposed to Occupational Noise

Injury Rates and Characteristics Associated with Participation in Organized Dance Education: A Systematic Review

Auditory Temporal Processing in Dancers

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