| 1. |
- Kähäri, Kim R., 1957, et al.
(författare)
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Hearing assessment of classical orchestral musicians.
- 2001
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Ingår i: Scandinavian audiology. - 0105-0397. ; 30:1, s. 13-23
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Tidskriftsartikel (refereegranskat)abstract
- Pure-tone audiometry was performed on 140 classical orchestral musicians employed at the Gothenburg Symphony Orchestra and the Gothenburg Opera in Sweden. This report is based on the results from hearing threshold measurements, presented as median audiograms according to gender, age group and instrument group. The results did not show severe hearing losses that could be attributed to exposure to musical noise. However, the study reflects the subjects' present hearing ability status and does not give an answer to the question of future hearing dysfunction. Female musicians were shown to have significantly better hearing thresholds in the high-frequency area than did male musicians. Furthermore, the median pure-tone hearing thresholds for the male musicians displayed a notch configuration at 6 kHz in the left ear, similar that of to noise-induced hearing loss. A small, but in general not significant, difference was detected when comparing the median hearing thresholds between each instrument group. Percussion and woodwind players displayed slightly worse hearing thresholds than did other musicians. Players of large string instruments had the best hearing threshold values. When comparing age groups and gender it was noted that the median hearing thresholds were stable and within 20 dB HL up to the age group of 40-49 years for both females and males.
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| 2. |
- Kähäri, Kim R., 1957, et al.
(författare)
-
Hearing development in classical orchestral musicians. A follow-up study.
- 2001
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Ingår i: Scandinavian audiology. - 0105-0397. ; 30:3, s. 141-9
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Tidskriftsartikel (refereegranskat)abstract
- Using pure tone audiometry in 1995, a hearing reassessment was made in 56 classical musicians who participated in Axelsson & Lindgren's study 16 years earlier, in 1979. This study focuses on hearing development in these classical orchestra musicians, active in Göteborg, Sweden. The aim of the study is to evaluate the risk of progressive hearing loss during work in a classical orchestra. Another aim is to study possible hearing differences in females and males and to compare the high frequency pure-tone average values found in the study with two normal materials. The main findings were that the male, compared to the female musicians, showed a tendency toward a more pronounced, although not significant, hearing reduction in the high frequency region and higher threshold distribution within the 90th percentile than the females. This was found most often in the left ear. The median audiogram for all females showed a notch configuration at 6 kHz, compared to the males who had a high-tone sloping configuration. When comparing high frequency pure-tone average (HFPTA) values with ISO 7029, the females are distributed around the ISO 7029 median and well within the 90th percentile. The average among the males was equal with the median. Comparison with Davis normal population "all the sample, overall occupational group" showed a more even distribution of the HFPTA values around the median for both females and males on both occasions. This follow-up study showed no extended negative progress of the pure-tone hearing threshold values in spite of an additional 16 years of musical noise exposure.
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| 3. |
- Kähäri, Kim R., 1957
(författare)
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The influence of music on hearing. A study in classical and rock/jazz musicians
- 2002
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this thesis was to assess hearing and hearing disorders among classical and rock/jazz musicians. Pure tone audiometry was performed in 140 classical and 139 rock/jazz musicians. The rock/jazz musicians answered a questionnaire concerning hearing disorders (hearing loss, tinnitus, hyperacusis, distortion, diplacusis) and psycho-social exposure (demands, control, support, stress and energy).All results were compared to age appropriate reference materials.The results showed overall well-preserved hearing thresholds in both classical and rock/jazz musicians, considering the periodically high sound levels exposure. The female musicians were shown to have significantly better hearing thresholds in the high frequency area than the male musicians. Among classical musicians, the brass players displayed slightly worse hearing thresholds than the other musicians. Rock/jazz musicians showed slight worse hearing thresholds as compared to classical musicians. Hearing thresholds showed a notch configuration indicating the inclusion of high sound levels in both classical and rock/jazz musicians. When assessing hearing disorders (hearing loss, tinnitus, hyperacusis, distortion, diplacusis) a large number of rock/jazz musicians were shown to suffer from different hearing disorders (74%). Hearing loss, tinnitus and hyperacusis were the most common disorders and found to be significantly more frequent in comparison with different reference populations. A 16 years follow-up study was done in classical musicians to evaluate the risk of progressive hearing loss. Males showed a slightly more pronounced, although not significant, hearing reduction in the high frequency region and a higher threshold distribution within the 90th percentile than the females. No extended negative progress of the pure tone hearing threshold values was found in spite of the continued 16 years of musical noise exposure. Psychosocial exposure (demand, control and support) as measured in the 139 rock/jazz musicians showed no convincing evidence for associations between psychosocial factors at work and hearing disorders in general. The rock/jazz musicians reported low stress (negative valued) and high degree of energy (positive valued) and on the average, the rock/jazz musicians reported higher control, lower stress and higher energy than did a reference material of white-collar workers. Random sound level measurements during rock/jazz performances showed sound levels well exceeding recommended maximum levels.Musicians are dependent on a very well functioning auditory system. A sensorineural or cochlear hearing loss may be devastating, creating difficulties with sound recognition, localisation, and reduced auditory dynamic range and loudness recruitment. It may further imply difficulties with perception of pitch, loudness, duration and timbre. Tinnitus, hyperacusis, distortion and diplacusis are among musicians considered to be an even greater handicap than a moderate high tone loss. Thus it is vital that hearing disorders among musicians include tinnitus, hyperacusis, distortion and diplacusis.
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