Acoustic Trauma in Classical Music Players

Morais, D; Benito, J I; Almaraz, Ana

doi:10.1016/s2173-5735(07)70378-2

Cited by 12 publications

(16 citation statements)

References 14 publications

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“…According to another study (21) , the exposure to music at high levels, like in bands or symphonic orchestras, leads to hearing disorders similar to that found for workers exposed to the intense noise of industries. However, this study showed that the effects of music were more perceptible after a time of exposure longer than 21 years (19) . Regarding workers exposed to the intense noise of industries, hearing loss is observed after five to ten years of exposure to sound (10) .…”

Section: Discussioncontrasting

confidence: 52%

“…In a study with 329 music students (aged between 18 and 25 years), there was no evidence of hearing loss, but of acoustic notch in 45% of the students (78% of them presented acoustic notch in 6,000 Hz and 22% in 4,000 Hz) (17) . Other studies also found hearing disorders among musicians, but not at high proportions; however, they observed acoustic notch in the frequencies of 4,000 or 6,000 Hz, more often than expected when compared to non-musicians, considering the same age and gender (1,3,8,9,(18)(19)(20) . It was observed that hearing thresholds of musicians got worse with time of exposure to music and, in this assessed group, the longer the time of exposure (in years), the worse the hearing thresholds found in high-frequency audiometry (Table 1).…”

Section: Discussionmentioning

confidence: 86%

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Limiares auditivos em músicos militares: convencionais e altas frequências

Gonçalves

Zeigelboim

Marques

et al. 2013

CoDAS

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OBJETIVO: Analisar e caracterizar os limiares auditivos tonais entre 500 Hz e 16.000 Hz de músicos profissionais, integrantes de uma banda militar. MÉTODOS: Realizou-se um estudo de coorte histórico, que comparou um grupo de 50 músicos profissionais (banda militar) com um grupo sem histórico de exposição profissional a som intenso (44 sujeitos); e homogêneos (p<0,05) em relação ao gênero (masculino) e à idade (em torno de 35 anos). Foram realizados exames de audiometria tonal limiar convencional e de altas frequências (de 9.000 a 16.000 Hz). RESULTADOS: A exposição à música desencadeou alterações auditivas permanentes. Quanto aos limiares auditivos convencionais, no grupo exposto encontrou-se 32% dos músicos com alterações auditivas neurossensoriais e no grupo não exposto encontrou-se 2,27%. Os sujeitos expostos à música tiveram 14,54 vezes mais risco de adquirir alterações auditivas neurossensoriais do que o grupo não exposto. Após 20 anos de exposição à música foram observadas pioras significativas nos limiares auditivos, principalmente nas altas frequências, e ocorreram diferenças entre os grupos a partir de 30 anos de idade. CONCLUSÃO: A exposição à música desencadeou alterações auditivas permanentes, evidenciando diferenças em relação ao grupo não exposto à música, registradas na avaliação audiológica convencional e em altas frequências.

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Section: Discussioncontrasting

confidence: 52%

Section: Discussionmentioning

confidence: 86%

Limiares auditivos em músicos militares: convencionais e altas frequências

Gonçalves

Zeigelboim

Marques

et al. 2013

CoDAS

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“…The importance attributed to this disorder in terms of impacts for public health and society is that this term MIHL, resulting from the exposure to high loud music, is used to describe a condition similar to noiseinduced hearing loss (NIHL) (Morais et al, 2007). In fact, several studies showed that musicians are exposed to loud music in the course of orchestral ensembles (Laitinen et al, 2003;Lee et al, 2005;MacDonald et al, 2008;O'Brien et al, 2008;Jansen et al, 2009;Qian et al, 2011;Rodrigues et al, 2013Rodrigues et al, , 2014, individual pratice (O'Brien et al, 2013), and teaching activities (Behar et al, 2004), among other professional and nonprofessional musical activities .…”

mentioning

confidence: 99%

“…In fact, several studies showed that musicians are exposed to loud music in the course of orchestral ensembles (Laitinen et al, 2003;Lee et al, 2005;MacDonald et al, 2008;O'Brien et al, 2008;Jansen et al, 2009;Qian et al, 2011;Rodrigues et al, 2013Rodrigues et al, , 2014, individual pratice (O'Brien et al, 2013), and teaching activities (Behar et al, 2004), among other professional and nonprofessional musical activities . Exposure to these high sound levels was associated with hearing loss (Juman et al, 2004;Morais et al, 2007;Jansen et al, 2009;Schink et al, 2014), and other hearingloss-related symptoms such as tinnitus, hyperacusis, and diplacusis (Morais et al, 2007;Laitinen, 2005;Laitinen et al, 2008;Jansen et al, 2009). Because musicians are reliant upon optimal functioning of their auditory system (Kähäri et al, 2003), hearing impairment adversely affects musicians' performance, resulting in difficulties in musical perception (Royster et al, 1991).…”

mentioning

confidence: 99%

Sound Levels and Risk Perceptions of Music Students During Classes

Rodrigues

Amorim

Silva

et al. 2015

Journal of Toxicology and Environmental Health, Part A

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It is well recognized that professional musicians are at risk of hearing damage due to the exposure to high sound pressure levels during music playing. However, it is important to recognize that the musicians' exposure may start early in the course of their training as students in the classroom and at home. Studies regarding sound exposure of music students and their hearing disorders are scarce and do not take into account important influencing variables. Therefore, this study aimed to describe sound level exposures of music students at different music styles, classes, and according to the instrument played. Further, this investigation attempted to analyze the perceptions of students in relation to exposure to loud music and consequent health risks, as well as to characterize preventive behaviors. The results showed that music students are exposed to high sound levels in the course of their academic activity. This exposure is potentiated by practice outside the school and other external activities. Differences were found between music style, instruments, and classes. Tinnitus, hyperacusis, diplacusis, and sound distortion were reported by the students. However, students were not entirely aware of the health risks related to exposure to high sound pressure levels. These findings reflect the importance of starting intervention in relation to noise risk reduction at an early stage, when musicians are commencing their activity as students.

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“…It should be remembered that the sound pressure levels occurring during collective rehearsals of orchestras are relatively high especially in cases of wind instruments and percussion (Table 1). In the latter case, sound pressure levels may exceed the admissible values of A-weighted maximum sound level L Amax and C-weighted peak sound level L Cpeak for occupational noise [13].…”

Section: Discussionmentioning

confidence: 99%

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

Dudarewicz¹,

Pawlaczyk-Łuszczyńska²,

Zamojska-Daniszewska³

et al. 2015

Med Pr

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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]

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Acoustic Trauma in Classical Music Players

Cited by 12 publications

References 14 publications

Limiares auditivos em músicos militares: convencionais e altas frequências

Limiares auditivos em músicos militares: convencionais e altas frequências

Sound Levels and Risk Perceptions of Music Students During Classes

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

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