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Exposures and hearing thresholds in music students due to training sessions

100%

Jaroszewski A. , Fidecki T. , Rogowski P.

Archives of Acoustics

1999

tom Vol. 24, no. 2

111-118

Measurements of SPL's in sound emission from some wind instruments during training sessions of music students show all in excess of LAmax 110dB and reach LAmax 132dB in some cases. Long time average spectra in 1/3-octave bands and cumulative distribution functions show that e.g. sound pressure levels LA 50 are often around 100-110dB and in most instruments the spectra cover substantial range of frequencies. Resting hearing thresholds in many students show dips of various depths at 6kHz, which in some cases reach over 30dB. TTS2 measured at 6kHz following 4-hrs training session reach 40dB.

Hearing damage from exposure to music

100%

Jaroszewski A. , Fidecki T. , Rogowski P.

Archives of Acoustics

1998

tom Vol. 23, no. 1

3--31

Sound pressure levels and exposures in discotheques and youth clubs and during training sessions of music students were measured and analysed. Effects of exposure in the form of permanent and temporary threshold shift were determined in the samples of young discotheque attendants and in music students. The consequences of the threshold shift in the perception of pitch, loudness, and time are discussed.

Concert Hall Sound Clarity: A Comparison of Auditory Judgments and Objective Measures

88%

Miśkiewicz A. , Rogala T. , Rościszewska T. , Rudzki T. , Fidecki T.

Archives of Acoustics

2012

tom Vol. 37, No. 1

41-46

The purpose of the study was to compare auditory judgments of sound clarity of music examples recorded in a concert hall with predictions of clarity made from the impulse response signal recorded in the same hall. Auditory judgments were made with the use of two methods: by rating sound clarity on a numerical scale with two endpoints, and by absolute magnitude estimation. Results obtained by both methods were then compared against the values of clarity indices, C80 and C50, determined from the impulse response of the concert hall, measured in places in which the microphone was located during recording of music examples. Results show that auditory judgments of sound clarity and predictions made from the C80 index yield a similar rank order of data, but the relation between the C80 scale and perceived sound clarity is nonlinear. The data also show that the values of C80 and C50 indices are in very close agreement.