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Musicians and hearing

Karen Lonsdale, Ong Kuan Boon
UNLABELLED: Musicians from a wide range of backgrounds experience playing-related health problems including musculoskeletal disorders, hearing loss, and performance anxiety. Few studies have focused specifically on the health concerns of musicians in Malaysia. AIMS: This study aimed to investigate playing-related health problems among student musicians at a university in Malaysia as well as their knowledge and awareness of playing-related health problems. METHODS: Instrumental music students enrolled in undergraduate and post-graduate university music courses (n=98) participated in a self-report online survey which addressed aspects such as educational background, playing experience, knowledge and awareness of musicians' health issues, history of physical problems, lifestyle factors, and prevention and management strategies...
September 2016: Medical Problems of Performing Artists
Birgitta Cappelen, Anders-Petter Andersson
Everyone has a right to take part in cultural events and activities, such as music performances and music making. Enforcing that right, within Universal Design, is often limited to a focus on physical access to public areas, hearing aids etc., or groups of persons with special needs performing in traditional ways. The latter might be people with disabilities, being musicians playing traditional instruments, or actors playing theatre. In this paper we focus on the innovative potential of including people with special needs, when creating new cultural activities...
2016: Studies in Health Technology and Informatics
Débora Lüders, Cláudia Giglio de Oliveira Gonçalves, Adriana Bender Moreira de Lacerda, Luciana Santos Gerosino da Silva, Jair Mendes Marques, Valana Nicole Sperotto
INTRODUCTION: Tinnitus is one of the most reported auditory symptoms among musicians and can negatively influence their ability to work, sometimes even more severely than hearing loss. OBJECTIVES: To analyze the occurrence of tinnitus and other auditory symptoms in musicians who play different instruments. METHODS: One hundred musicians participated by answering a questionnaire on instrument played, practice time with the instrument, occurrence of tinnitus, hearing difficulties, and intolerance to loud sounds...
2016: International Tinnitus Journal
Kameron K Clayton, Jayaganesh Swaminathan, Arash Yazdanbakhsh, Jennifer Zuk, Aniruddh D Patel, Gerald Kidd
The goal of this study was to investigate how cognitive factors influence performance in a multi-talker, "cocktail-party" like environment in musicians and non-musicians. This was achieved by relating performance in a spatial hearing task to cognitive processing abilities assessed using measures of executive function (EF) and visual attention in musicians and non-musicians. For the spatial hearing task, a speech target was presented simultaneously with two intelligible speech maskers that were either colocated with the target (0° azimuth) or were symmetrically separated from the target in azimuth (at ±15°)...
2016: PloS One
Marianne A Stephan, Rachel Brown, Carlotta Lega, Virginia Penhune
The purpose of this study was to determine whether exposure to specific auditory sequences leads to the induction of new motor memories and to investigate the role of the dorsal premotor cortex (dPMC) in this crossmodal learning process. Fifty-two young healthy non-musicians were familiarized with the sound to key-press mapping on a computer keyboard and tested on their baseline motor performance. Each participant received subsequently either continuous theta burst stimulation (cTBS) or sham stimulation over the dPMC and was then asked to remember a 12-note melody without moving...
2016: Frontiers in Neuroscience
Carl Hopkins, Saúl Maté-Cid, Robert Fulford, Gary Seiffert, Jane Ginsborg
Presentation of music as vibration to the skin has the potential to facilitate interaction between musicians with hearing impairments and other musicians during group performance. Vibrotactile thresholds have been determined to assess the potential for vibrotactile presentation of music to the glabrous skin of the fingertip, forefoot and heel. No significant differences were found between the thresholds for sinusoids representing notes between C1 and C6 when presented to the fingertip of participants with normal hearing and with a severe or profound hearing loss...
2016: PloS One
Andrew Stuart, Emma R Daughtrey
BACKGROUND: The medial olivocochlear (MOC) efferent reflex that modulates outer hair cell function has been shown to be more robust in musicians versus nonmusicians as evidenced in greater contralateral suppression of transient-evoked otoacoustic emissions (TEOAEs). All previous research comparing musical ability and MOC efferent strength has defined musicianship dichotomously (i.e., high-level music students or professional classical musicians versus nonmusicians). PURPOSE: The objective of the study was to further explore contralateral suppression of TEOAEs among adults with a full spectrum of musicianship ranging from no history of musicianship to professional musicians...
April 2016: Journal of the American Academy of Audiology
Anna D Olson, Lori F Gooding, Fara Shikoh, Julie Graf
OBJECTIVE: College musicians exhibit greater declines in hearing than the general population and are at particular risk because they rehearse and perform daily in loud environments. Also, they engage in use of personal listening devices which increases the amount of "exposure" time. Despite increased risk, many do not use hearing protection devices (HPD). The purpose of this study was to (1) to identify the present level of education about hearing health, (2) identify the perceived advantages and disadvantages of using HPD, and (3) evaluate results among different musical instrument groups...
March 2016: Medical Problems of Performing Artists
Nilesh Jeevandas Washnik, Susan L Phillips, Sandra Teglas
Previous studies have shown that collegiate level music students are exposed to potentially hazardous sound levels. Compared to professional musicians, collegiate level music students typically do not perform as frequently, but they are exposed to intense sounds during practice and rehearsal sessions. The purpose of the study was to determine the full-day exposure dose including individual practice and ensemble rehearsals for collegiate student musicians. Sixty-seven college students of classical music were recruited representing 17 primary instruments...
March 2016: Noise & Health
Gavin M Bidelman, Caitlin Nelms, Shaum P Bhagat
The mammalian cochlea functions as a filter bank that performs a spectral, Fourier-like decomposition on the acoustic signal. While tuning can be compromised (e.g., broadened with hearing impairment), whether or not human cochlear frequency resolution can be sharpened through experiential factors (e.g., training or learning) has not yet been established. Previous studies have demonstrated sharper psychophysical tuning curves in trained musicians compared to nonmusicians, implying superior peripheral tuning...
May 2016: Hearing Research
Sho Otsuka, Minoru Tsuzaki, Junko Sonoda, Satomi Tanaka, Shigeto Furukawa
Previous studies have indicated that extended exposure to a high level of sound might increase the risk of hearing loss among professional symphony orchestra musicians. One of the major problems associated with musicians' hearing loss is difficulty in estimating its risk simply on the basis of the physical amount of exposure, i.e. the exposure level and duration. The aim of this study was to examine whether the measurement of the medial olivocochlear reflex (MOCR), which is assumed to protect the cochlear from acoustic damage, could enable us to assess the risk of hearing loss among musicians...
2016: PloS One
Carl Christian Lein Størmer, Einar Laukli, Erik Harry Høydal, Niels Christian Stenklev
Our focus in this study was to assess hearing thresholds and the prevalence and characteristics of tinnitus in a large group of rock musicians based in Norway. A further objective was to assess related factors such as exposure, instrument category, and the preventive effect of hearing protection. The study was a cross-sectional survey of rock musicians selected at random from a defined cohort of musicians. A random control group was included for comparison. We recruited 111 active musicians from the Oslo region, and a control group of 40 nonmusicians from the student population at the University of TromsØ...
November 2015: Noise & Health
Christine Barton, Amy McConkey Robbins
Musical experiences are a valuable part of the lives of children with cochlear implants (CIs). In addition to the pleasure, relationships and emotional outlet provided by music, it serves to enhance or 'jumpstart' other auditory and cognitive skills that are critical for development and learning throughout the lifespan. Musicians have been shown to be 'better listeners' than non-musicians with regard to how they perceive and process sound. A heuristic model of music therapy is reviewed, including six modulating factors that may account for the auditory advantages demonstrated by those who participate in music therapy...
September 2015: Cochlear Implants International
Meredith Caldwell, Summer K Rankin, Patpong Jiradejvong, Courtney Carver, Charles J Limb
OBJECTIVES: The purpose of this study was to investigate the extent to which cochlear implant (CI) users rely on tempo and mode in perception of musical emotion when compared with normal hearing (NH) individuals. METHODS: A test battery of novel four-bar melodies was created and adapted to four permutations with alterations of tonality (major vs. minor) and tempo (presto vs. largo), resulting in non-ambiguous (major key/fast tempo and minor key/slow tempo) and ambiguous (major key/slow tempo, and minor key/fast tempo) musical stimuli...
September 2015: Cochlear Implants International
Alexis T Roy, Michelle Vigeant, Tina Munjal, Courtney Carver, Patpong Jiradejvong, Charles J Limb
OBJECTIVE: Satisfactory musical sound quality remains a challenge for many cochlear implant (CI) users. In particular, questionnaires completed by CI users suggest that reverberation due to room acoustics can negatively impact their music listening experience. The objective of this study was to more specifically characterize of the effect of reverberation on musical sound quality in CI users, normal hearing (NH) non-musicians, and NH musicians using a previously designed assessment method, called Cochlear Implant-MUltiple Stimulus with Hidden Reference and Anchor (CI-MUSHRA)...
September 2015: Cochlear Implants International
Adam Dudarewicz, Małgorzata Pawlaczyk-Łuszczyńska, Małgorzata Zamojska-Daniszewska, Kamil Zaborowski
BACKGROUND: It has been shown that musicians are at risk of noise-induced hearing loss. The aim of the study has been to evaluate the temporary changes of hearing in the case of orchestral musicians after group rehearsals. MATERIAL AND METHODS: The study group comprised 18 orchestral musicians, aged 30-58 years old (mean: 40 years old) having 12-40 years (mean: 22 years) of professional experience. The temporary changes in hearing after group rehearsals were determined using transient-evoked otoacoustic emissions (TEOAEs)...
2015: Medycyna Pracy
Cindy Smith, Sharon Beamer, Shane Hall, Thomas Helfer, Timothy A Kluchinsky
Noise exposure is a known occupational health hazard to those serving in the military. Previous military epidemiology studies have identified military occupations at risk of noise induced hearing loss (NIHL); however, musicians have not been specifically mentioned. The focus of military NIHL studies is usually on those service members of the combat arms occupations. This project was a preliminary examination of Department of Defense (DoD) active duty military musicians in regard to their noise exposure, annual hearing test rates, and hearing injury rates using available data sources...
July 2015: U.S. Army Medical Department Journal
Annelies Bockstael, Hannah Keppler, Dick Botteldooren
Recreational music exposure is a potential risk factor for noise-induced hearing loss (NIHL). Augmented hearing protectors have been designed with modified attenuation characteristics to combine hearing protection and listening comfort. However, to date, only a few independent studies have assessed the performance of those augmented protectors in realistic exposure conditions. This study compares the listening experience and temporary effects on cochlear status with different types of earplugs after exposure to contemporary club music...
July 2015: Noise & Health
Matilde A Rodrigues, Marta Amorim, Manuela V Silva, Paula Neves, Aida Sousa, Octávio Inácio
It is well recognized that professional musicians are at risk of hearing damage due to the exposure to high sound pressure levels during music playing. However, it is important to recognize that the musicians' exposure may start early in the course of their training as students in the classroom and at home. Studies regarding sound exposure of music students and their hearing disorders are scarce and do not take into account important influencing variables. Therefore, this study aimed to describe sound level exposures of music students at different music styles, classes, and according to the instrument played...
2015: Journal of Toxicology and Environmental Health. Part A
Sandra M Prentiss, David R Friedland, John J Nash, Christina L Runge
BACKGROUND: Cochlear implants have shown vast improvements in speech understanding for those with severe to profound hearing loss; however, music perception remains a challenge for electric hearing. It is unclear whether the difficulties arise from limitations of sound processing, the nature of a damaged auditory system, or a combination of both. PURPOSE: To examine music perception performance with different acoustic and electric hearing configurations. RESEARCH DESIGN: Chord discrimination and timbre perception were tested in subjects representing four daily-use listening configurations: unilateral cochlear implant (CI), contralateral bimodal (CIHA), bilateral hearing aid (HAHA) and normal-hearing (NH) listeners...
May 2015: Journal of the American Academy of Audiology
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