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Musicians’ daily sound exposure assessed by full-day dosimetry

Pietrzak Agnieszka Paula

Vibrations in Physical Systems

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2019

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Vol. 30, nr 1

art. no. 2019101

EN

In day-to-day life student musicians are often exposed to high-level sounds, that may be damaging for their hearing. At music universities, there are various obligatory activities, such as playing in the symphony or wind orchestra, playing in chamber ensembles or a Big Band. Many hours of individual practice is also mandatory. In every one of these activities, sound pressure levels are often high and the daily sound exposure levels often exceed the permissible limit of 85 dB. In this study, the exemplary results of the daily sound exposure are shown for a group of music students. In contrast to other studies, the measurements were carried out throughout the entire duration of the typical workday, so the calculated daily sound exposure level (LEX,8h) is based on factual data, not estimations. Data concerning the A-weighted equivalent continuous sound pressure level in the function of time are presented for musicians playing the flute, clarinet, double-bass, percussion, trombone, trumpet and French horn, for every activity (e.g. lesson, rehearsal, concert). The daily sound exposure level values (LEX,8h) are determined for each instrument.

2

Using e-business tools by musicians

Stępniak A., Stasiak-Betlejewska R.

Archiwum Wiedzy Inżynierskiej

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2016

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T. 1, Nr 1

19--22

EN

The aim of the article is to show how the e-business tools are used by Polish professional musicians both in their vocational and private live. The base was a research made by the author for purpose of diploma thesis in 2014. There were several research methods used: panel discussions, overview of a different literature, interviews and finally a questionnaire filled by 50 students and graduated from different Polish music academies, e.g. from Łódź, Bydgoszcz, Kraków, Katowice, Warszawa, Wrocław and Poznań. By the research the author is to check which e-business tools are used by professional musicians, in which way, for which purposes and how do this tool influence the vocational and private life of respondents. By the questionnaire was investigated what is a consideration of possibilities and interest of e-business tools of professional musicians. Based on this research there are presented some conclusions and perspectives both for a professional musician and the cultural managers.

PL

Celem artykułu jest ukazanie, w jaki sposób narzędzia e-biznesowe są wykorzystywane przez polskich zawodowych muzyków zarówno w celach zawodowych, jak i prywatnych. Podstawą artykułu są badania przeprowadzone w 2014 roku na potrzeby pracy dyplomowej. Wśród metod badawczych zastosowano między innymi dyskusje panelowe, wywiady, przegląd literatury oraz kwestionariusz wypełniony przez 50 studentów i absolwentów polskich akademii muzycznych z Łodzi, Bydgoszczy, Krakowa, Katowic, Warszawy i Poznania. Badania ukazują, które narzędzia e-biznesowe znajdują zastosowanie wśród zawodowych muzyków, w jaki sposób są wykorzystywane i jaki jest ich wpływ zarówno na zawodowe, jak i prywatne życie artystów. Poprzez kwestionariusz zbadany został sposób postrzegania oraz poziom zainteresowania narzędziami e-biznesowymi wśród profesjonalnych muzyków. Na tej podstawie zostały wyciągnięte wnioski i zaprezentowane potencjalne perspektywy zarówno dla zawodowych muzyków, jak i managerów kultury.

3

Evaluation of Sound Exposure and Risk of Hearing Impairment in Orchestral Musicians

Pawlaczyk-Łuszczyńska M., Dudarewicz A., Zamojska M., Śliwinska-Kowalska M.

International Journal of Occupational Safety and Ergonomics

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2011

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Vol. 17, No. 3

255--269

EN

This study aimed to assess exposure to sound and the risk of noise-induced hearing loss (NIHL) in orchestral musicians. Sound pressure level was measured in 1 opera and 3 symphony orchestras; questionnaires were filled in. On the basis of that data, the risk of NIHL was assessed according to Standard No. ISO 1999:1990. Classical orchestral musicians are usually exposed to sound at equivalent continuous A-weighted sound pressure levels of 81−90 dB (10th−90th percentiles), for 20−45 h (10th−90th percentiles) per week. Occupational exposure to such sound levels over 40 years of employment might cause hearing loss (expressed as a mean hearing threshold level at 2, 3, 4 kHz exceeding 35 dB) of up to 26%. Playing the horn, trumpet, tuba and percussion carries the highest risk (over 20%).

4

Effect of Musician’s Earplugs on Sound Level and Spectrum During Musical Performances

Kozłowski E., Żera J., Młyński R.

International Journal of Occupational Safety and Ergonomics

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2011

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Vol. 17, No. 3

249--254

EN

In this study, change in A-weighted and 1/3-octave sound pressure levels (SPLs) was used to assess the influence of wearing earplugs by musicians on their musical performances. Seven soloists and 3 music assembles performed 4 pieces of music with musician’s earplugs donned and doffed. They used silicon custom moulded earplugs with acoustic filters designed to attenuate sound by 9, 15 or 25 dB. Results showed that the use of earplugs affected the sound level and the spectrum of played sounds. This effect was the greatest for brass players. The difference between SPLs in high-frequency 1/3-octave bands and A-weighted SPLs with and without earplugs exceeded 5 and 15 dB, respectively. Similar changes for woodwind, percussion and string instruments were less noticeable than for brass instruments; they were more than 5 dB for 1/3-octave spectra and no more than 2 dB for A-weighted SPL.

5

Hearing Ability in Orchestral Musicians

Pawlaczyk-Łuszczyńska M., Dudarewicz A., Zamojska M., Śliwińska-Kowalska M.

Archives of Acoustics

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2010

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Vol. 35, No. 4

579-594

EN

Pure-tone audiometry (PTA) and transient-evoked otoacoustic emissions (TEOAEs) were determined in 57 classical orchestral musicians along with a questionnaire inquiry using a modified Amsterdam Inventory for Auditory Disability and Handicap ((m)AIADH). Data on musicians’ working experience and sound pressure levels produced by various groups of instruments were also collected. Measured hearing threshold levels (HTLs) were compared with the theoretical predictions calculated according to ISO 1999:1990. High frequency notched audiograms typical for noise-induced hearing loss were found in 28% of the subjects. PTA and TEOAE consistently showed a tendency toward better hearing in females vs. males, younger vs. older subjects, and lower- vs. higher-exposed to orchestral noise subjects. Audiometric HTLs were better than theoretical predictions in the frequency range of 2000–4000 Hz. The (m)AIADH scores indicated some hearing difficulties in relation to intelligibility in noisy environment in 26% of the players. Our results indicated a need to implement a hearing conservation program for this professional group.