Posted by Joe Earplugs on September 05, 2002 at 13:22:36:
Hearing Damage in Orchestras
By Keith Clarke
MusicalAmerica.com
September 5, 2002
LONDON - Mahler symphonies could come with a health warning in three
years' time when Europe-wide legislation drastically reduces permitted
noise levels within orchestras.
At present, U.K. legislation allows a limit of 90 decibels, although 95
and over is frequently heard on platforms. It doesn't sound like much of
a difference, but the way decibels are calculated, each three decibels
doubles the volume, "so it's like going from 30mph to 150mph," according
to safety specialist Alison Wright Reid. "On the loudest days orchestras
are breaking the law."
When the new directive is implemented, European orchestral players will
have to be offered ear protection at 80 decibels. "It's effectively a
drop of 80% in permissible noise levels," said Reid, who is author of an
Association of British Orchestras (ABO) report on the subject, "A Sound
Ear."
She was talking on Sept. 3 at the Royal Festival Hall during a day-long
ABO seminar on the issue of noise damage in orchestras. Under the new
legislation, orchestras will be required to provide health surveillance,
including regular hearing tests.
Among practical solutions, the use of ear plugs and mufflers and
acoustic screens has been met with mixed results, reported Reid. Putting
the brass section on high risers has been more effective. Ear devices
are only helpful if properly used, and screens can make the situation
worse, since they reflect the sound back onto the musicians, who then
play louder to compensate.
By raising the brass above the rest of the orchestra, sound is released
that otherwise would be absorbed by other players. "You're always
struggling against the wish of the brass to play as loudly as possible
all the time," said Reid. "The only reliable way is to make the brass
less powerful. Many brass players are aghast at that. Their experience
of narrow-bore instruments is period orchestras. But medium-bore brass
is surprisingly successful."
In addition to making the musicians player quieter, there is the
suggestion of "weekly averaging," wherein players are allowed to a
certain number of decibels over the course of a week, with quieter
pieces making up for the louder ones.
Taking it further, orchestral managers could be required to program
their seasons bearing in mind the noise levels of pieces, perhaps using
a grading system.
Changing attitudes of both managers and players is one of the chief
challenges. Brass players often have a macho disregard for complaints
about noise levels. Royal College of Music principal Dame Janet
Ritterman told delegates: "We've got to stop it being a wimps vs.
warriors issue. We have to help students take responsibility for their
own hearing over a lifetime of being a musician."
One problem is convincing musicians to undergo hearing tests. London
Sinfonietta principal bassoon John Orford said: "People are terrified to
admit to a problem because that's their career finished, whereas
elsewhere in Europe there's a system for dealing with the situation."
Musicians' Union assistant general secretary Bob Wearn said he thought
the reluctance was changing as awareness was raised. With new
legislation on the way, there was no escaping the consequences. "So far
we have taken no legal action against employers regarding hearing loss,
but it's coming. This is the time to act."
He added that other European orchestras work far shorter hours than
British ones. "All the effort from orchestras and the funding bodies
here is for getting more out of musicians. A 36-hour playing week is not
uncommon now. We're going to have to do something about reducing the
hours, and this is the thing that will make us do it."
Reid outlined a scheme whereby "noise teams" would be set up within
orchestras, with representatives from CEO level down, dealing with all
aspects of the noise damage issue, from ear protection to noise-friendly
season scheduling.
"Managers are going to have to take this seriously," she said.
By Keith Clarke
MusicalAmerica.com
September 5, 2002
LONDON - Mahler symphonies could come with a health warning in three
years' time when Europe-wide legislation drastically reduces permitted
noise levels within orchestras.
At present, U.K. legislation allows a limit of 90 decibels, although 95
and over is frequently heard on platforms. It doesn't sound like much of
a difference, but the way decibels are calculated, each three decibels
doubles the volume, "so it's like going from 30mph to 150mph," according
to safety specialist Alison Wright Reid. "On the loudest days orchestras
are breaking the law."
When the new directive is implemented, European orchestral players will
have to be offered ear protection at 80 decibels. "It's effectively a
drop of 80% in permissible noise levels," said Reid, who is author of an
Association of British Orchestras (ABO) report on the subject, "A Sound
Ear."
She was talking on Sept. 3 at the Royal Festival Hall during a day-long
ABO seminar on the issue of noise damage in orchestras. Under the new
legislation, orchestras will be required to provide health surveillance,
including regular hearing tests.
Among practical solutions, the use of ear plugs and mufflers and
acoustic screens has been met with mixed results, reported Reid. Putting
the brass section on high risers has been more effective. Ear devices
are only helpful if properly used, and screens can make the situation
worse, since they reflect the sound back onto the musicians, who then
play louder to compensate.
By raising the brass above the rest of the orchestra, sound is released
that otherwise would be absorbed by other players. "You're always
struggling against the wish of the brass to play as loudly as possible
all the time," said Reid. "The only reliable way is to make the brass
less powerful. Many brass players are aghast at that. Their experience
of narrow-bore instruments is period orchestras. But medium-bore brass
is surprisingly successful."
In addition to making the musicians player quieter, there is the
suggestion of "weekly averaging," wherein players are allowed to a
certain number of decibels over the course of a week, with quieter
pieces making up for the louder ones.
Taking it further, orchestral managers could be required to program
their seasons bearing in mind the noise levels of pieces, perhaps using
a grading system.
Changing attitudes of both managers and players is one of the chief
challenges. Brass players often have a macho disregard for complaints
about noise levels. Royal College of Music principal Dame Janet
Ritterman told delegates: "We've got to stop it being a wimps vs.
warriors issue. We have to help students take responsibility for their
own hearing over a lifetime of being a musician."
One problem is convincing musicians to undergo hearing tests. London
Sinfonietta principal bassoon John Orford said: "People are terrified to
admit to a problem because that's their career finished, whereas
elsewhere in Europe there's a system for dealing with the situation."
Musicians' Union assistant general secretary Bob Wearn said he thought
the reluctance was changing as awareness was raised. With new
legislation on the way, there was no escaping the consequences. "So far
we have taken no legal action against employers regarding hearing loss,
but it's coming. This is the time to act."
He added that other European orchestras work far shorter hours than
British ones. "All the effort from orchestras and the funding bodies
here is for getting more out of musicians. A 36-hour playing week is not
uncommon now. We're going to have to do something about reducing the
hours, and this is the thing that will make us do it."
Reid outlined a scheme whereby "noise teams" would be set up within
orchestras, with representatives from CEO level down, dealing with all
aspects of the noise damage issue, from ear protection to noise-friendly
season scheduling.
"Managers are going to have to take this seriously," she said.