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Hearing loss in relation to sound exposure of professional symphony orchestra musicians

机译:与专业交响乐团音乐家的声音暴露有关的听力损失

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摘要

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.
机译:目的:这项研究的目的是:(1)估计古典交响乐团音乐家的听力状况,以及(2)研究假设,交响乐团音乐家的职业声音暴露会导致听力阈值升高。设计:研究对象包括来自五个交响乐团的所有音乐家。 337名受试者填写了问卷,其中212名受试者进行了听力测试。对于一组182位音乐家(363耳),对听觉测验的结果进行了与个人暴露相关的分析,该结果是基于声音测量和有关暴露时间的问卷数据进行估算的。根据年龄和性别校正的3、4和6 kHz频率的平均听力阈值被用作结果。结果:与暴露最低的238只耳朵相比,暴露最高的音乐家耳朵(363个中的29个)具有6.3 dB的额外阈值偏移。与根据ISO1999预测的噪音引起的永久阈值漂移(NIPTS)相比,观察到的音乐家的听力损失较小。可以观察到ISO7029年龄校正后的剩余年龄混杂效应,以解释观测到的NIPTS和预测的NIPTS的差异。但是,观察到的音乐家左耳和右耳之间的听力损失差异为2.5 dB(95%置信区间1.5-3.6),与根据ISO1999预测的NIPTS相似。大多数音乐家的年龄在3、4和6 kHz时的听力比预期的要好,但是29只耳朵的最高暴露水平高于90.4 dBA,平均暴露时间为41.7年,听力阈值明显升高。与其他音乐家相比,小号演奏家和第一小提琴手的左耳听力阈值明显升高。结论:大多数交响乐团的音乐家的听力都比预期的好,但是他们有与工作相关的风险,会产生更多的噪声引起的听力损失。根据累积的声音暴露量和ISO1999,左耳与右耳相比NITPS处于预期水平,这表明演奏音乐可能会引起与工业噪音相同程度的听力损失。

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