High sound levels from music, effects on hearing and prevention. Topics to brief today. Sound Levels from Music. Kim Kähäri, Ph.D, Sen.

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1 High sound levels from music, effects on hearing and prevention Kim Kähäri, Ph.D, Sen. lecturer School of Health and Medical sciences, Örebro University & The Swedish Institute for Disability Research HEAD Summer Workshop 9 June 28 Topics to brief today Sound Levels from Music Effects on Hearing Preventiv actions and studies Sound Levels from Music Dose meter measurements done before the intervention I. Hearing assessment of classical orchestral musicians A cross sectional and descriptive study Study group 14 Classical musicians från Göteborg, Sweden: 42 f/ 98 m. Mean age: 4 y (23-64 y); f: 37y/ m: 42y Control group: ISO instrument groups: large (n: 24) and small strings (n: 64), wood winds (n: 24); brass winds (n: 2); percussions: (n: 5); others (n: 3) Hearing assessment of classical orchestral musicians (Kähäri et al., ScandAud. 21) Female musicians, n khz Fig. 1 a Male musicians, n khz 1 37 y 42 y Fig. 1 b 1

2 III. Assessment of hearing and hearing disorders in rock/jazz musicians A cross sectional and descriptive study III. Assessment of hearing and hearing disorders in rock/jazz musicians Study group 139 Rock/jazz musicians > 5 years of proffessional work from the Swedish west coast. f: (n: 43)/ m: (n: 96) Mean age: f: 36y / m: 38y, range: y Control groups Tinnitus: Coles, 1984; Axelsson & Ringdahl, 1989 Hyperacusis: Fabijanska et al., W. n= y khz M. n= y khz Tinnitus among adolcens Has often or always tinnitus 1991: 7,5 % 2 y (Holgers, GU) 21: 16% 9-16 y (Holgers, GU) 22: 15% y (AMMOT) 23: 1% y (Holgers, Pettersson) 25: 8,7% (Widén/Erlandsson) Other studies 25% of 626 of Swedish music teachers report to have tinnitus Agerberg 2 58% of professional and 42% of amateur percussionists of 315 amateur percussionists had tinnitus often always Hoffman et Al, 26 37% among 5 classical orchestras i Finland Laitinen % of the Tamperere Classical musicians has permanent tinnitus 41 % report temporary tinnitus after group rehearsals Toppila, Pykkö, 25 An ongoing Mp3 study at Ahlséns hearing research lab, Örebro 139 Rock/Jazzmusicians / 14 Classical / Reference Tinnitus 43%* 19% 6-2% Hyperakusis 39% 39% 15% Distortion 17% 23%*? Diplakusis 3%?? Kähäri,et Al. 21, 22 Refmtrl: Coles 1984, 1995, Axelsson& Ringdahl 1989, * Sign. difference Fabijanska, 1999 Purpose: To get knowledge about 16-17y. normal hearing and hearing impaired adolences listening habits Aim: To learn if normal use of Mp3 is any risk factor and if so, to develop a Hearing Health program 2

3 Mp3 s and sound levels Freestyle /Mp3 s: L Aeq = db (Hodgetts, Rieger & Szarko, 27) L Aeq = 8 db (Williams, 25) L Aeq = 97 db (= max 3min) (Hellström, 21) L Aeq = 82 db (Airo, Pekkarinen % Olkinuora, 1996) L Aeq = 83.4 db (6 fp) (Rice, Breslin & Roper, 1987) The National Institute for Working Life Artists & Musicians Against Tinnitus The National Board of Health & Wellfare The Ministry of Health & Social Affairs The Health & Safety Office, Göteborg The Swedish Event Organisers Association The Board of Culture, Göteborg The National Concert Organizer, Sweden The Swedish Work Environment Authority The Swedish Musicians Union Musicians, Sound technichians, Acoustichians 23: 1 db LAeq? No way! That s just impossible! Explorativ, intervention study The main purpose To create a healthy work- and music environment The main aim To lower the sound levels to a safe limit, without reducing the musicians free artistic expression or the musical experience General, specific problem areas at smaller music clubs Typical factors that influences Distance stage-audience= direct sound Distance stage-audience= amplified sound Bad acoustics Lack of risk awareness & knowledge Work organisation Bad sound technique and conservative way of management Bad economy 3

4 Typical factors that influences Typical factors that influences Metods A computerised simulation technique (CATT) Sound level measurements Questionnaire (before and after the intervention employees, musicians and audience) Before Dose meter measurements After Result An educated and well motivated sound technichian J. Harström 4

5 The hearing & risks versus the artistic goals and demands The aim is to produce sound according to artistic sound ideals - To comply with the legislation of high sound levels High sound levels - Need of hearing protection Great demands on perception and sound quality - Difficulties to use hearing protections Difficulties to reduce sound levels at in door venues, pits etc. Other factors thats influences risk taking behavour Youth and music culture Alcohol and drug intake Group pressure Gender differences Knowledge about positive benefits vs. risks (Bjurström, 1997, Widén, 25) The EU Directive 23/1/EC Physical Agents, Noise Every member state has to draw up a code of conduct providíng practical guidelines to help the music and entertainment sectors to meet the legal obligations as laid down in the Directive by the 15th of February 28 by the latest Arlinger S, Kjellberg A, Hagerman B, Landström U, Poulsen T & Kähäri K (Swedish work environment authority) 5