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Jesper Baelum - One of the best experts on this subject based on the ideXlab platform.
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hearing loss in relation to sound exposure of professional Symphony Orchestra musicians
Ear and Hearing, 2014Co-Authors: Jesper Hvass Schmidt, Helene M Paarup, Ellen Raben Pedersen, Jakob Christensendalsgaard, Ture Andersen, Torben Poulsen, Jesper BaelumAbstract:OBJECTIVES The objectives of this study were to: (1) estimate the hearing status of classical Symphony Orchestra musicians and (2) investigate the hypothesis that occupational sound exposure of Symphony Orchestra musicians leads to elevated hearing thresholds. DESIGN The study population comprised all the musicians from five Symphony Orchestras. Questionnaires were filled in by 337 subjects, and 212 subjects performed an audiometric test. For a group of 182 musicians (363 ears) the results of the audiometry was analyzed in relation to the individual exposure, which was estimated on the basis of sound measurements and questionnaire data regarding the exposure time. The mean hearing threshold at the frequencies 3, 4, and 6 kHz, corrected for age and sex, was used as outcome. RESULTS The musician ears with the highest exposure (29 of 363) had an additional threshold shift of 6.3 dB compared with the 238 ears with lowest exposure. The observed hearing loss of musicians was smaller compared with the noise-induced permanent threshold shift (NIPTS) predicted from ISO1999. A remaining confounding effect of age after ISO7029 age corrections could be observed to explain the difference in observed and predicted NIPTS. However, the observed hearing loss difference between the left and the right ear of musicians was 2.5 dB (95% confidence interval 1.5-3.6), which was similar to the NIPTS predicted from ISO1999. Most of the musicians had better hearing at 3, 4, and 6 kHz for age than expected, however, 29 ears with the highest exposure above 90.4 dBA with a mean exposure time of 41.7 years had significantly elevated hearing thresholds. Trumpet players and the left ear of first violinists had significantly elevated hearing thresholds compared with other musicians. CONCLUSION Most of the Symphony Orchestra musicians had better hearing than expected but they had a work-related risk of developing additional noise-induced hearing loss. The additional NITPS of the left ear compared with the right ear was at the expected level based on the cumulated sound exposure and ISO1999, indicating that performing music may induce hearing loss to the same extent as industrial noise.
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a cross sectional study of psychosocial work environment and stress in the danish Symphony Orchestras
International Archives of Occupational and Environmental Health, 2012Co-Authors: Gitte Juel Holst, Helene M Paarup, Jesper BaelumAbstract:Purpose To investigate psychosocial work environment and stress in Danish Symphony Orchestra musicians.
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prevalence and consequences of musculoskeletal symptoms in Symphony Orchestra musicians vary by gender a cross sectional study
BMC Musculoskeletal Disorders, 2011Co-Authors: Helene M Paarup, Jesper Baelum, Jonas W Holm, Claus Manniche, Niels WedderkoppAbstract:Musculoskeletal symptoms are common in the neck, back, and upper limbs amongst musicians. Playing-related musculoskeletal disorders have been found to range from 32% to 87% with a tendency for female musicians to have more problems than males. Studies of musculoskeletal problems in instrumentalists have generally involved pre-professional musicians or populations comprising musicians of different levels. The objective of this study was therefore to investigate the prevalence, duration and consequences of musculoskeletal symptoms in professional Symphony Orchestra musicians. A cross-sectional questionnaire study. The study population comprised of 441 musicians from six Danish Symphony Orchestras; 342 (78%) completed the questionnaire. During the last year 97% of the women and 83% of the men experienced symptoms in at least one of nine anatomic regions (neck, upper and lower back, shoulders, elbows, and hands and wrists). 86% of the women and 67% of the men experienced symptoms for more than seven days, while 63% of the women and 49% of the men had symptoms for more than 30 days. Woodwind players had a lower risk for musculoskeletal symptoms and a lower risk for the consequences. Among consequences were changed way of playing, reported by 73% of the musicians, difficulty in daily activities at home, reported by 55%, and difficulty in sleeping, reported by 49%. Their health behaviour included taking paracetamol as the most used analgesic, while physiotherapists and general practitioners were reported as the most consulted health care professionals concerning musculoskeletal problems. Results regarding symptoms in six anatomic regions were compared to results for a sample of the general Danish workforce. Symptoms were more frequent in musicians and lasted longer than in the general workforce. This applied to both genders. Within the last year most Symphony Orchestra musicians experienced musculoskeletal symptoms in the neck, back or upper extremities. The symptoms impacted on their level of function in and outside work and were reflected in their health behaviour. Generally women had a higher risk than men and woodwind players a lower risk than other instrumentalists. Finally, symptoms were more frequent and lasted longer in the musicians than in the general workforce.
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sound exposure of Symphony Orchestra musicians
Annals of Occupational Hygiene, 2011Co-Authors: Jesper Hvass Schmidt, Ellen Raben Pedersen, Jakob Christensendalsgaard, Ture Andersen, Torben Poulsen, Peter Moller Juhl, Jesper BaelumAbstract:Background: Assessment of sound exposure by noise dosimetry can be challenging especially when measuring the exposure of classical Orchestra musicians where sound originate from many different instruments. A new measurement method of bilateral sound exposure of classical musicians was developed and used to characterize sound exposure of the left and right ear simultaneously in two different Symphony Orchestras. Objectives: To measure binaural sound exposure of professional classical musicians and to identify possible exposure risk factors of specific musicians. Methods: Sound exposure was measured with microphones mounted on the musician’s ears and recorded digitally. The recorded sound was analysed and the specific sound exposure of the left and the right ear was determined for the musicians. A total of 114 measurements covering 106 h were recorded in two Symphony Orchestras. Results: Sound exposure depends significantly on the specific instrument and the repertoire played by the exposed musician. Concerts, group rehearsals and individual practice were all significant contributors to the sound exposure. The highest LAeq of 86 –98 dB was found among the brass players. High string players were exposed from 82 to 98 dBA and their left ear was exposed 4.6 dB more than the right ear. Percussionists were exposed to high sound peaks >115 dBC but less continuous sound exposure was observed in this group. Musicians were exposed up to LAeq8h of 92 dB and a majority of musicians were exposed to sound levels exceeding LAeq8h of 85 dB. Conclusions: Binaural recording of the individual sound exposure showed that Orchestra musicians could be exposed differently to the left and right ear and that they were primarily exposed from their own instruments. Specific repertoires as well as the specific instrument determine the level of exposure.
Torben Poulsen - One of the best experts on this subject based on the ideXlab platform.
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hearing loss in relation to sound exposure of professional Symphony Orchestra musicians
Ear and Hearing, 2014Co-Authors: Jesper Hvass Schmidt, Helene M Paarup, Ellen Raben Pedersen, Jakob Christensendalsgaard, Ture Andersen, Torben Poulsen, Jesper BaelumAbstract:OBJECTIVES The objectives of this study were to: (1) estimate the hearing status of classical Symphony Orchestra musicians and (2) investigate the hypothesis that occupational sound exposure of Symphony Orchestra musicians leads to elevated hearing thresholds. DESIGN The study population comprised all the musicians from five Symphony Orchestras. Questionnaires were filled in by 337 subjects, and 212 subjects performed an audiometric test. For a group of 182 musicians (363 ears) the results of the audiometry was analyzed in relation to the individual exposure, which was estimated on the basis of sound measurements and questionnaire data regarding the exposure time. The mean hearing threshold at the frequencies 3, 4, and 6 kHz, corrected for age and sex, was used as outcome. RESULTS The musician ears with the highest exposure (29 of 363) had an additional threshold shift of 6.3 dB compared with the 238 ears with lowest exposure. The observed hearing loss of musicians was smaller compared with the noise-induced permanent threshold shift (NIPTS) predicted from ISO1999. A remaining confounding effect of age after ISO7029 age corrections could be observed to explain the difference in observed and predicted NIPTS. However, the observed hearing loss difference between the left and the right ear of musicians was 2.5 dB (95% confidence interval 1.5-3.6), which was similar to the NIPTS predicted from ISO1999. Most of the musicians had better hearing at 3, 4, and 6 kHz for age than expected, however, 29 ears with the highest exposure above 90.4 dBA with a mean exposure time of 41.7 years had significantly elevated hearing thresholds. Trumpet players and the left ear of first violinists had significantly elevated hearing thresholds compared with other musicians. CONCLUSION Most of the Symphony Orchestra musicians had better hearing than expected but they had a work-related risk of developing additional noise-induced hearing loss. The additional NITPS of the left ear compared with the right ear was at the expected level based on the cumulated sound exposure and ISO1999, indicating that performing music may induce hearing loss to the same extent as industrial noise.
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sound exposure of Symphony Orchestra musicians
Annals of Occupational Hygiene, 2011Co-Authors: Jesper Hvass Schmidt, Ellen Raben Pedersen, Jakob Christensendalsgaard, Ture Andersen, Torben Poulsen, Peter Moller Juhl, Jesper BaelumAbstract:Background: Assessment of sound exposure by noise dosimetry can be challenging especially when measuring the exposure of classical Orchestra musicians where sound originate from many different instruments. A new measurement method of bilateral sound exposure of classical musicians was developed and used to characterize sound exposure of the left and right ear simultaneously in two different Symphony Orchestras. Objectives: To measure binaural sound exposure of professional classical musicians and to identify possible exposure risk factors of specific musicians. Methods: Sound exposure was measured with microphones mounted on the musician’s ears and recorded digitally. The recorded sound was analysed and the specific sound exposure of the left and the right ear was determined for the musicians. A total of 114 measurements covering 106 h were recorded in two Symphony Orchestras. Results: Sound exposure depends significantly on the specific instrument and the repertoire played by the exposed musician. Concerts, group rehearsals and individual practice were all significant contributors to the sound exposure. The highest LAeq of 86 –98 dB was found among the brass players. High string players were exposed from 82 to 98 dBA and their left ear was exposed 4.6 dB more than the right ear. Percussionists were exposed to high sound peaks >115 dBC but less continuous sound exposure was observed in this group. Musicians were exposed up to LAeq8h of 92 dB and a majority of musicians were exposed to sound levels exceeding LAeq8h of 85 dB. Conclusions: Binaural recording of the individual sound exposure showed that Orchestra musicians could be exposed differently to the left and right ear and that they were primarily exposed from their own instruments. Specific repertoires as well as the specific instrument determine the level of exposure.
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hearing ability in danish Symphony Orchestra musicians
Noise & Health, 1999Co-Authors: Lise Obeling, Torben PoulsenAbstract:The audiograms of fifty-seven musicians from four Danish Symphony Orchestras were determined in connection with an interview about their working experience. Measurements of sound levels and noise dose were performed during rehearsal and during concerts in the four Orchestras with the measurement equipment placed in various instrument groups. The average audiogram showed a decrease at higher frequencies similar to an age-related hearing loss. Each audiogram was corrected for the age of the person by means of the median from ISO 7029 and the average audiogram from these age-corrected individual audiograms showed no signs of hearing loss. The audiograms were also compared to the expected audiograms from ISO 1999, which takes account of the number of years at work, the number of playing hours per week, and the average sound level in the Orchestra for the instrument group. In almost all cases the measured audiograms looked better than the predictions from ISO 1999. It may be concluded from this investigation that musicians cannot be expected to get pronounced audiometric hearing losses from playing in a Symphony Orchestra. It should be noted, though, that the data material is limited, and that the subjects have not been selected in a systematically or representative way.
Jesper Hvass Schmidt - One of the best experts on this subject based on the ideXlab platform.
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hearing loss in relation to sound exposure of professional Symphony Orchestra musicians
Ear and Hearing, 2014Co-Authors: Jesper Hvass Schmidt, Helene M Paarup, Ellen Raben Pedersen, Jakob Christensendalsgaard, Ture Andersen, Torben Poulsen, Jesper BaelumAbstract:OBJECTIVES The objectives of this study were to: (1) estimate the hearing status of classical Symphony Orchestra musicians and (2) investigate the hypothesis that occupational sound exposure of Symphony Orchestra musicians leads to elevated hearing thresholds. DESIGN The study population comprised all the musicians from five Symphony Orchestras. Questionnaires were filled in by 337 subjects, and 212 subjects performed an audiometric test. For a group of 182 musicians (363 ears) the results of the audiometry was analyzed in relation to the individual exposure, which was estimated on the basis of sound measurements and questionnaire data regarding the exposure time. The mean hearing threshold at the frequencies 3, 4, and 6 kHz, corrected for age and sex, was used as outcome. RESULTS The musician ears with the highest exposure (29 of 363) had an additional threshold shift of 6.3 dB compared with the 238 ears with lowest exposure. The observed hearing loss of musicians was smaller compared with the noise-induced permanent threshold shift (NIPTS) predicted from ISO1999. A remaining confounding effect of age after ISO7029 age corrections could be observed to explain the difference in observed and predicted NIPTS. However, the observed hearing loss difference between the left and the right ear of musicians was 2.5 dB (95% confidence interval 1.5-3.6), which was similar to the NIPTS predicted from ISO1999. Most of the musicians had better hearing at 3, 4, and 6 kHz for age than expected, however, 29 ears with the highest exposure above 90.4 dBA with a mean exposure time of 41.7 years had significantly elevated hearing thresholds. Trumpet players and the left ear of first violinists had significantly elevated hearing thresholds compared with other musicians. CONCLUSION Most of the Symphony Orchestra musicians had better hearing than expected but they had a work-related risk of developing additional noise-induced hearing loss. The additional NITPS of the left ear compared with the right ear was at the expected level based on the cumulated sound exposure and ISO1999, indicating that performing music may induce hearing loss to the same extent as industrial noise.
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sound exposure of Symphony Orchestra musicians
Annals of Occupational Hygiene, 2011Co-Authors: Jesper Hvass Schmidt, Ellen Raben Pedersen, Jakob Christensendalsgaard, Ture Andersen, Torben Poulsen, Peter Moller Juhl, Jesper BaelumAbstract:Background: Assessment of sound exposure by noise dosimetry can be challenging especially when measuring the exposure of classical Orchestra musicians where sound originate from many different instruments. A new measurement method of bilateral sound exposure of classical musicians was developed and used to characterize sound exposure of the left and right ear simultaneously in two different Symphony Orchestras. Objectives: To measure binaural sound exposure of professional classical musicians and to identify possible exposure risk factors of specific musicians. Methods: Sound exposure was measured with microphones mounted on the musician’s ears and recorded digitally. The recorded sound was analysed and the specific sound exposure of the left and the right ear was determined for the musicians. A total of 114 measurements covering 106 h were recorded in two Symphony Orchestras. Results: Sound exposure depends significantly on the specific instrument and the repertoire played by the exposed musician. Concerts, group rehearsals and individual practice were all significant contributors to the sound exposure. The highest LAeq of 86 –98 dB was found among the brass players. High string players were exposed from 82 to 98 dBA and their left ear was exposed 4.6 dB more than the right ear. Percussionists were exposed to high sound peaks >115 dBC but less continuous sound exposure was observed in this group. Musicians were exposed up to LAeq8h of 92 dB and a majority of musicians were exposed to sound levels exceeding LAeq8h of 85 dB. Conclusions: Binaural recording of the individual sound exposure showed that Orchestra musicians could be exposed differently to the left and right ear and that they were primarily exposed from their own instruments. Specific repertoires as well as the specific instrument determine the level of exposure.
Helene M Paarup - One of the best experts on this subject based on the ideXlab platform.
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hearing loss in relation to sound exposure of professional Symphony Orchestra musicians
Ear and Hearing, 2014Co-Authors: Jesper Hvass Schmidt, Helene M Paarup, Ellen Raben Pedersen, Jakob Christensendalsgaard, Ture Andersen, Torben Poulsen, Jesper BaelumAbstract:OBJECTIVES The objectives of this study were to: (1) estimate the hearing status of classical Symphony Orchestra musicians and (2) investigate the hypothesis that occupational sound exposure of Symphony Orchestra musicians leads to elevated hearing thresholds. DESIGN The study population comprised all the musicians from five Symphony Orchestras. Questionnaires were filled in by 337 subjects, and 212 subjects performed an audiometric test. For a group of 182 musicians (363 ears) the results of the audiometry was analyzed in relation to the individual exposure, which was estimated on the basis of sound measurements and questionnaire data regarding the exposure time. The mean hearing threshold at the frequencies 3, 4, and 6 kHz, corrected for age and sex, was used as outcome. RESULTS The musician ears with the highest exposure (29 of 363) had an additional threshold shift of 6.3 dB compared with the 238 ears with lowest exposure. The observed hearing loss of musicians was smaller compared with the noise-induced permanent threshold shift (NIPTS) predicted from ISO1999. A remaining confounding effect of age after ISO7029 age corrections could be observed to explain the difference in observed and predicted NIPTS. However, the observed hearing loss difference between the left and the right ear of musicians was 2.5 dB (95% confidence interval 1.5-3.6), which was similar to the NIPTS predicted from ISO1999. Most of the musicians had better hearing at 3, 4, and 6 kHz for age than expected, however, 29 ears with the highest exposure above 90.4 dBA with a mean exposure time of 41.7 years had significantly elevated hearing thresholds. Trumpet players and the left ear of first violinists had significantly elevated hearing thresholds compared with other musicians. CONCLUSION Most of the Symphony Orchestra musicians had better hearing than expected but they had a work-related risk of developing additional noise-induced hearing loss. The additional NITPS of the left ear compared with the right ear was at the expected level based on the cumulated sound exposure and ISO1999, indicating that performing music may induce hearing loss to the same extent as industrial noise.
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a cross sectional study of psychosocial work environment and stress in the danish Symphony Orchestras
International Archives of Occupational and Environmental Health, 2012Co-Authors: Gitte Juel Holst, Helene M Paarup, Jesper BaelumAbstract:Purpose To investigate psychosocial work environment and stress in Danish Symphony Orchestra musicians.
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prevalence and consequences of musculoskeletal symptoms in Symphony Orchestra musicians vary by gender a cross sectional study
BMC Musculoskeletal Disorders, 2011Co-Authors: Helene M Paarup, Jesper Baelum, Jonas W Holm, Claus Manniche, Niels WedderkoppAbstract:Musculoskeletal symptoms are common in the neck, back, and upper limbs amongst musicians. Playing-related musculoskeletal disorders have been found to range from 32% to 87% with a tendency for female musicians to have more problems than males. Studies of musculoskeletal problems in instrumentalists have generally involved pre-professional musicians or populations comprising musicians of different levels. The objective of this study was therefore to investigate the prevalence, duration and consequences of musculoskeletal symptoms in professional Symphony Orchestra musicians. A cross-sectional questionnaire study. The study population comprised of 441 musicians from six Danish Symphony Orchestras; 342 (78%) completed the questionnaire. During the last year 97% of the women and 83% of the men experienced symptoms in at least one of nine anatomic regions (neck, upper and lower back, shoulders, elbows, and hands and wrists). 86% of the women and 67% of the men experienced symptoms for more than seven days, while 63% of the women and 49% of the men had symptoms for more than 30 days. Woodwind players had a lower risk for musculoskeletal symptoms and a lower risk for the consequences. Among consequences were changed way of playing, reported by 73% of the musicians, difficulty in daily activities at home, reported by 55%, and difficulty in sleeping, reported by 49%. Their health behaviour included taking paracetamol as the most used analgesic, while physiotherapists and general practitioners were reported as the most consulted health care professionals concerning musculoskeletal problems. Results regarding symptoms in six anatomic regions were compared to results for a sample of the general Danish workforce. Symptoms were more frequent in musicians and lasted longer than in the general workforce. This applied to both genders. Within the last year most Symphony Orchestra musicians experienced musculoskeletal symptoms in the neck, back or upper extremities. The symptoms impacted on their level of function in and outside work and were reflected in their health behaviour. Generally women had a higher risk than men and woodwind players a lower risk than other instrumentalists. Finally, symptoms were more frequent and lasted longer in the musicians than in the general workforce.
Bronwen J Ackermann - One of the best experts on this subject based on the ideXlab platform.
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description and evaluation of a hearing conservation program in use in a professional Symphony Orchestra
Annals of Occupational Hygiene, 2015Co-Authors: Ian Obrien, Tim Driscoll, Bronwen J AckermannAbstract:Professional Orchestral musicians risk permanent hearing loss while playing their instruments. Protecting the hearing of these musicians in the workplace is critical to their ongoing ability to play their instruments, but typical workplace hearing conservation measures can have very damaging effects on the product (music) and the musicians' abilities to hear one another sufficiently. To enable effective intervention, Orchestras as employers must encourage engagement with hearing protection programs and implement controls while preserving the integrity of the music. To achieve this, typical approaches used in other industries must be redesigned to suit this unique workplace. In response to these challenges, the Queensland Symphony Orchestra (Brisbane, Australia) introduced a comprehensive hearing conservation strategy in 2005 based upon best practice at the time. This strategy-which has been regularly refined-continues to be implemented on a daily basis. This investigation aimed to assess the successes, difficulties, and practical viability of the program. To achieve this a process evaluation was carried out, incorporating archival analyses, player and management focus groups, and an interview with the program's administrator. Results show the program has successfully become integrated into the Orchestra's and the musicians' daily operations and significantly contributes to managing the risk of hearing loss in this population. While there is room for improvement in the Orchestra's approach-particularly regarding usable personal protective devices and improved education and training, results are encouraging. This study provides a basis for those wishing to implement or evaluate similar paradigms.
