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交响乐团音乐家的噪声性听力损失及其他听力问题

Noise induced hearing loss and other hearing complaints among musicians of symphony orchestras.

作者信息

Jansen E J M, Helleman H W, Dreschler W A, de Laat J A P M

机构信息

ENT-Audiology, Academic Medical Center Amsterdam, Amsterdam, AZ, Netherlands.

出版信息

Int Arch Occup Environ Health. 2009 Jan;82(2):153-64. doi: 10.1007/s00420-008-0317-1. Epub 2008 Apr 11.

Abstract

OBJECTIVES

An investigation of the hearing status of musicians of professional symphony orchestras. Main questions are: (1) Should musicians be treated as a special group with regard to hearing, noise, and noise related hearing problems (2) Do patterns of hearing damage differ for different instrument types (3) Do OAE have an added value in the diagnosis of noise induced hearing loss (NIHL) in musicians.

METHODS

241 professional musicians, aged between 23-64 participated. A brief medical history and the subjective judgment of their hearing and hearing problems were assessed. Musicians were subjected to an extensive audiological test battery, which contained testing of audiometric thresholds, loudness perception, diplacusis, tinnitus, speech perception in noise, and otoacoustic emissions.

RESULTS

Most musicians could be categorized as normal hearing, but their audiograms show notches at 6 kHz, a frequency that is associated with NIHL. Musicians often complained about tinnitus and hyperacusis, while diplacusis was generally not reported as a problem. Tinnitus was most often localized utmost left and this could not be related to the instrument. It was usually perceived in high frequency areas, associated with NIHL. In general, musicians scored very well on the speech-in-noise test. The results of the loudness perception test were within normal limits. Otoacoustic emissions were more intense with better pure-tone thresholds, but due to large individual differences it can still not be used as an objective test for early detection of NIHL.

CONCLUSIONS

Musicians show more noise induced hearing loss than could be expected on the basis of age and gender. Other indicators, such as complaints and prevalence of tinnitus, complaints about hyperacusis and prevalence of diplacusis suggest that musicians' ears are at risk. Continuing education about the risks of intensive sound exposure to musicians, with the emphasis on the possible development of tinnitus and hyperacusis and the need for good hearing protection is warranted.

摘要

目的

调查专业交响乐团音乐家的听力状况。主要问题包括:(1)在听力、噪声及与噪声相关的听力问题方面,音乐家是否应被视为特殊群体?(2)不同乐器类型的听力损伤模式是否存在差异?(3)耳声发射(OAE)在音乐家噪声性听力损失(NIHL)的诊断中是否具有附加价值?

方法

241名年龄在23至64岁之间的专业音乐家参与了研究。评估了简短的病史以及他们对听力和听力问题的主观判断。音乐家们接受了一系列广泛的听力学测试,包括听力阈值测试、响度感知测试、双耳听觉不平衡测试、耳鸣测试、噪声中的言语感知测试以及耳声发射测试。

结果

大多数音乐家可归类为听力正常,但他们的听力图在6 kHz处有切迹,该频率与噪声性听力损失相关。音乐家经常抱怨耳鸣和听觉过敏,而双耳听觉不平衡通常未被报告为问题。耳鸣最常出现在最左侧,这与乐器无关。它通常在高频区域被感知到,与噪声性听力损失相关。总体而言,音乐家在噪声中的言语测试中得分很高。响度感知测试结果在正常范围内。耳声发射在纯音阈值较好时更为强烈,但由于个体差异较大,它仍不能用作早期检测噪声性听力损失的客观测试。

结论

与基于年龄和性别的预期相比,音乐家表现出更多的噪声性听力损失。其他指标,如耳鸣的主诉和患病率、听觉过敏的主诉以及双耳听觉不平衡的患病率表明,音乐家的耳朵面临风险。有必要对音乐家进行关于高强度声音暴露风险的继续教育,重点是耳鸣和听觉过敏的可能发展以及良好听力保护的必要性。

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