Proposta de programa de prevenção de perdas auditivas para músicos

Munhoz, Graziella Simeão

doi:10.11606/d.25.2016.tde-17052016-103142

Cited by 3 publications

(5 citation statements)

References 11 publications

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“…Then one could affirm what [16] posited, «Technology and music, why not join them?» (p. 13). Because of this question, does music education have to first be visualized from another perspective in which the use of technology as an essential educational tool is included in its teaching?…”

Section: Introductionmentioning

confidence: 79%

“…In fact, ref. [16] already inquired about the unification of both subjects for knowledge acquisition. At present, it can be said that there are many studies that corroborate music learning using technology.…”

Section: Discussionmentioning

confidence: 99%

“…Consequently, it is affirmed and thanks to the contributions of various authors, that there are several skills and abilities that can be developed through the study of Music Education and Edtech, given that, as the student can learn music autonomously and selftaught, they also learn with technology, and most importantly of all, in an educational way; as these tools should be conceived as educational elements to facilitate their training process. Furthermore, with the integration of technology, students are experiencing new ways of learning in education, as expressed by several authors [11,[16][17][18]23,25,34,45,50,58], among others.…”

Section: Discussionmentioning

confidence: 99%

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Conceptual Cartography for the Systematic Study of Music Education Based on ICT or EdTech

2022

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Music and its study have always been present among people. Its learning is significant, as it provides benefits and helps in the acquisition of many abilities and skills. However, didactic, methodological, and pedagogical changes have begun to appear that nurture and provide new challenges to their learning. Fully adapting to the 21st century and abiding by the great demand for technologies, we have seen the rise of ICT (Information and Communication Technologies), which have also been conceived as educational technology (EdTech), when applied to education. Due to these reasons, the need to conduct a systematic literature review in four databases has arisen to find out whether the use of technology in music education helps to facilitate the teaching-learning process of students. Evidence from this research has been collected using concept mapping to organize the training process. Finally, it is relevant to comment that evidence has been found and verified that the use of Edtech helps in the learning of Music Education; given that, in various documents, it is observed that they increase motivation, musical-technological thinking, critical thinking, creativity, musical practice, and musical improvisation and that they give rise to fun, playful, enjoyable, and stimulating learning.

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Section: Introductionmentioning

confidence: 79%

Section: Discussionmentioning

confidence: 99%

Section: Discussionmentioning

confidence: 99%

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Conceptual Cartography for the Systematic Study of Music Education Based on ICT or EdTech

2022

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“…Concerning auditory health, this professional has been vulnerable to developing auditory alterations due to the frequent exposure to high sound pressure levels. Another aggravating factor is the resistance on the part of some musicians to the use of hearing protection devices [3][4][5] .…”

Section: Introductionmentioning

confidence: 99%

Audiological profile of professional disc jockeys

et al. 2019

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Purpose: to describe the audiological profile of professional disc jockeys acting in cities of the Brazilian Federal District. Methods: audiometry, tympanometry, transient evoked emissions, and distortion product evoked emissions exams were conducted, as well as interviews, in order to identify auditory symptoms. Appropriate statistical tests were applied, adopting a significance level lower than 0.05. Results: a total of 21 disc jockeys, aged between 20 and 45 years, were evaluated. The most cited auditory complaints were feeling of ear fullness (86%) and tinnitus (57%). Auditory thresholds remained predominantly within normal range (90%), but thresholds were increased in frequencies from 3 KHz to 6 KHz (38%). Only 42% of the sample presented a pass response in transient evoked emissions, and 81% in distortion product evoked emissions, in both ears. Conclusion: the research identified auditory thresholds predominantly within standards of normality, though with increased high frequencies, that may be associated with noise exposure. The otoacoustic emissions presented alterations both in the transient ones and in the distortion product.

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“….............................................................................................. Tabela 18 -Associação entre as respostas da questão 10 do questionário aplicado em músicos nos momentos pré e pós acesso ao website. ............................................................................................ Existe uma variabilidade quanto a exposição a níveis de pressão sonora, que dependerá do local de apresentação, estilo de música, posição do músico dentro da banda, instrumento que o mesmo toca, dentre outros (MUNHOZ;LOPES, 2016). A longa exposição a níveis elevados de pressão sonora pode causar danos à saúde auditiva, no entanto, as curtas exposições a níveis sonoros excessivamente elevados, como em consertos de rock, também podem causar danos como perda auditiva e zumbido (MAIA; RUSSO, 2008).…”

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Avaliação e validação de um >i<website>/i< sobre saúde auditiva para profissionais da música

Carvalho¹

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Evaluation and validation of a website on hearing health for musicians Music professionals are exposed to a variety of risks, including high sound intensities for a long time considering rehearsals and shows. It is known that high sound pressure levels can cause problems in general health, as well as hearing loss. In view of these considerations, these professionals deserve special attention. In this way, it was verified the need to make available through the website information related to listening to music professionals. This study aimed to evaluate and validate a website entitled "Auditory Health for musicians-Bauru (SAMB)" and to conduct a survey of the scientific dissemination in the media about hearing alterations in music professionals. For study 1, two groups were constituted: G1 and G2. The G1 was composed by 12 webdesigners, who validated the website through the "Website Evaluation Tool: Computer Professionals" recruited through a web search. For the composition of the G2, 47 musicians who were not aware of the content related to the website were invited. A specific questionnaire, containing 10 questions, exclusively related to the content of the website was applied, this questionnaire was answered again 15 days after the first access to the website and also responded to the "Website Evaluation Tool: musicians". The website was validated by the G1 and after validation modifications were made to the website in order to promote a better G2 experience. It was positively evaluated and validated for content by G2, obtaining a General Content Validation Index of 0.86.

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Proposta de programa de prevenção de perdas auditivas para músicos

Cited by 3 publications

References 11 publications

Conceptual Cartography for the Systematic Study of Music Education Based on ICT or EdTech

Conceptual Cartography for the Systematic Study of Music Education Based on ICT or EdTech

Audiological profile of professional disc jockeys

Avaliação e validação de um >i<website>/i< sobre saúde auditiva para profissionais da música

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