Musicians’ noise exposure in orchestra pit

Lee, Jason; Behar, Alberto; Kunov, Hans; Wong, Willy

doi:10.1016/j.apacoust.2004.11.009

Cited by 25 publications

(30 citation statements)

References 3 publications

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“…These findings are in agreement with previous studies in school settings (Phillips and Mace, 2008). Further, the sound pressure levels found in this study are comparable to the sound levels observed for professional musicians for rehearsals and performances (Laitinen et al, 2003;Lee et al, 2005;MacDonald et al, 2008;O'Brien et al, 2008;Rodrigues et al, 2013;. Other important factors for exposure include dependence on level of exposure of the instrument played, type of class, and music style.…”

Section: Sound Level Exposuresupporting

confidence: 65%

“…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 . 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).…”

mentioning

confidence: 99%

“…Despite previous findings with music students, these studies do not consider all the important variables that might influence students' exposure levels, particularly the effectof music style and class typology. These are two important factors that need to be considered in conjunction with instrument type (Lee et al, 2005;Hoffman et al, 2006;O'Brien et al, 2008O'Brien et al, , 2013. Considering all the relevant aspects, this study aimed to examine sound pressure level exposure of music students with different music styles, classes, and according to the instrument played.…”

mentioning

confidence: 99%

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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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Section: Sound Level Exposuresupporting

confidence: 65%

mentioning

confidence: 99%

mentioning

confidence: 99%

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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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“…The direct sound level can be controlled to some degree by allowing a certain physical separation between the players, but the area available on stage often forces some players to sit close to the loud instruments. For this reason some orchestras have started using screens in front of the loud instruments to protect the nearby players against excess sound levels, as described among others by Lee et al (2005), with the aim of both improving ensemble conditions and reducing risk of hearing impairment.…”

Section: Competing Sound From the Instruments At The Back Of The Stagementioning

confidence: 99%

Stage acoustics for symphony orchestras in concert halls

Dammerud

2010

The Journal of the Acoustical Society of America

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The main goals for this study were to better understand what are the acoustic conditions physically within a symphony orchestra on concert hall stages, how these physical conditions affect the players and ultimately how to design venues suitable for symphony orchestras. This was investigated through questionnaire surveys and dialogue with musicians, scale and computer modelling and measurements of existing stages. The results from the orchestra collaborations indicate that the impressions of acoustic conditions are related to complex perceptual effects. When relating these effects to acoustic conditions, a narrow and high stage enclosure with the stage highly exposed to the main auditorium appears most beneficial. Existing methods for assessing the stage acoustically by use of omnidirectional transducers without the orchestra present were found to have only limited relevance to perceived conditions. New methods and objective architectural measures have been proposed. The architectural measures successfully discriminate the most preferred from the least preferred stages of purpose-built concert halls. The results from judgements of existing stages support the finding of a narrow and high stage enclosure with a highly exposed stage being most beneficial. How to improve the assessment of acoustic conditions on stage is discussed. Copies of the thesis written in English can be obtained from Jens Jo/rgen Dammerud. E-mail address: jjdamm@gmail.com. 4

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“…Although other studies mentioned in the literature review (5,18,19,20) also measured sound pressure levels in symphony orchestras, the assessment methodology was scarcely defined or different from the one used in this study, however, they also show enough high intensities to impair musicians' hearing.…”

Section: Discussionmentioning

confidence: 82%

Audição e qualidade de vida de músicos de uma orquestra sinfônica brasileira

Lüders

Gonçalves

Schettini

et al. 2016

Audiol., Commun. Res.

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Purpose:To analyze the impact of exposure to music in the hearing process and quality of life in musicians of a symphony orchestra. Methods: This is a descriptive, cross-cut, quantitative study on the aspects of hearing health in 30 musicians of the symphony orchestra of Paraná, ages between 33 and 54 years. The sound pressure levels that musicians are exposed to were measured during the orchestra rehearsal, and participants answered a questionnaire about the musical practice as well as the SF-36 questionnaire, which investigates the quality of life. Conventional audiometry and high-frequency audiometry were applied. Results: During the orchestra rehearsal, hazardous sound pressure levels to musicians' hearing health were observed. The commonest symptoms reported were tinnitus and intolerance to intense sounds. In the conventional audiometry test, more than half of the musicians featured sensorineural hearing loss, and the worst results were found in high frequencies. In the high -frequency audiometry test, higher auditory thresholds were also found in higher frequencies. As for quality of life, there was significant correlation for musicians with hearing loss in the domain "limitation due to emotional aspects". Conclusion: the sound pressure levels that musicians are exposed to are excessive and represent a risk to hearing health. Hearing loss and other auditory symptoms can interfere in their quality of life, once hearing is essential to this professional category.Keywords: Music; Occupational exposure; Hearing; Hearing loss; Quality of life RESUMO Objetivo: Analisar o impacto da exposição à música na audição e na qualidade de vida de músicos de uma orquestra sinfônica brasileira. Métodos: Trata-se de um estudo quantitativo transversal, descritivo, sobre os aspectos da saúde auditiva de 30 músicos da orquestra sinfôni-ca do Paraná, com idade entre 33 e 54 anos. Foram medidos os níveis de pressão sonora a que os músicos estão expostos durante um ensaio da orquestra e os participantes responderam a um questionário sobre a prática musical e o questionário SF-36, que investiga a qualidade de vida. Foi realizada audiometria convencional e de altas frequências. Resultados: Durante o ensaio da orquestra, foram observados níveis de pressão sonora que colocam a audição dos músicos em risco. Os sintomas auditivos mais relatados foram zumbido e intolerância a sons intensos. Na audiometria convencional, mais da metade dos músicos apresentou perda auditiva neurossensorial, com piores resultados nas frequências mais altas. Na audiometria de altas frequências, também foram encontrados limiares auditivos mais elevados nas frequências mais altas. Quanto à qualidade de vida, houve correlação significativa para os músicos com perda auditiva no domínio "limitação por aspectos emocionais". Conclusão: Os níveis de pressão sonora a que os músicos estão expostos são excessivos, colocando em risco a sua audição. A perda auditiva, juntamente com outros sintomas auditivos, pode interferir na qualidade de vida, uma vez que a aud...

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Musicians’ noise exposure in orchestra pit

Cited by 25 publications

References 3 publications

Sound Levels and Risk Perceptions of Music Students During Classes

Sound Levels and Risk Perceptions of Music Students During Classes

Stage acoustics for symphony orchestras in concert halls

Audição e qualidade de vida de músicos de uma orquestra sinfônica brasileira

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