A brief observation of morphological and behavioral similarities between the Ichneumonidae wasp Cryptanura sp. and its presumed mimic, Holymenia clavigera (Heteroptera: Coreidae), in Brazil

Some insects use wasps as a model to mimic and previous studies showed cases of Batesian mimicry involving this insect group. However, this relation is poorly known between phytophagous bugs, such as coreids, and Cryptinae ichneumonids. We found in a seasonal secondary forest in Brazil two similar insects representing different orders. The mimic seems to be Holymenia clavigera (Herbst) (Heteroptera: Coreidae) and its model, Cryptanura sp. (Hymenoptera: Ichneumonidae). This study therefore investigated similarities in morphological and behavioural aspects between H. clavigera and the wasp Cryptanura sp. Holymenia clavigera and its ichneumonid model are impressively similar in colour, size, foraging behaviour and sympatric range. The spanning movements of antennae by the coreid bug, which strongly resemble the foraging behaviour of the wasp, were observed frequently. The findings indicate strong evidences that H. clavigera is a mimic of the Ichneumonidae wasp, Cryptanura sp

A brief observation of morphological and behavioral similarities between the Ichneumonidae wasp Cryptanura sp. and its presumed mimic, Holymenia clavigera (Heteroptera: Coreidae), in Brazil

Some insects use wasps as a model to mimic and previous studies showed cases of Batesian mimicry involving this insect group. However, this relation is poorly known between phytophagous bugs, such as coreids, and Cryptinae ichneumonids. We found in a seasonal secondary forest in Brazil two similar insects representing different orders. The mimic seems to be Holymenia clavigera (Herbst) (Heteroptera: Coreidae) and its model, Cryptanura sp. (Hymenoptera: Ichneumonidae). This study therefore investigated similarities in morphological and behavioural aspects between H. clavigera and the wasp Cryptanura sp. Holymenia clavigera and its ichneumonid model are impressively similar in colour, size, foraging behaviour and sympatric range. The spanning movements of antennae by the coreid bug, which strongly resemble the foraging behaviour of the wasp, were observed frequently. The findings indicate strong evidences that H. clavigera is a mimic of the Ichneumonidae wasp, Cryptanura sp

Intercorrência audiológica em músicas após um show de rock Hearing incidents in musicians after a rock concert

OBJETIVO: verificar mudança temporária do limiar de audição de músicos, após exposição a níveis de pressão sonora elevados de um show de rock. MÉTODOS: foi utilizada uma amostra com seis músicos componentes da banda. Foram feitos: anamnese ocupacional, determinação dos níveis mínimos de audição e reflexos acústicos, antes e após o show de rock. A mensuração do ruído da sala do exame e do palco foi realizada por meio de um dosímetro. Os resultados foram comparados e analisados estatisticamente, utilizando-se o teste t Student, com critério para determinação de significância de p maior do que 0,05. RESULTADOS: para a dosimetria, foi encontrada a exposição ao ruído do show com valor de LAVG igual a 98,5 dB. Dentre os aspectos comportamentais relacionados ao ruído, o zumbido foi a queixa mais presente entre os integrantes. Na audiometria tonal, as maiores diferenças pré e pós-exposição, foram encontradas nas freqüências altas, sendo a orelha direita a que apresentou maiores mudanças temporárias de limiar. Os resultados foram significantes nas freqüências de 2000, 3000, 4000 e 6000 Hz, na orelha direita (p=2,7; p=2,59; p=3,7 e p=2,86) e, na freqüência de 4000 Hz, na orelha esquerda (p=2,87). Na medida do reflexo acústico após o show, a orelha direita obteve o maior índice de ausência de reflexo, com o índice de 40%; entretanto, foram encontradas diferenças estatisticamente significantes, na presença de reflexo acústico na comparação pré e pós-exposição, apenas na orelha esquerda (p=3,64). CONCLUSÃO: músicos expostos a níveis de pressão sonora intensos apresentaram alteração temporária do limiar e alteração do reflexo acústico.<br>PURPOSE: verifying the temporary threshold shift in musicians after a high sound pressure level music exposure in a rock concert. METHODS: the sample has been made up of six band's musicians, who underwent an occupational anamnesis, pure tone audiometry and acoustic reflex measurements, before and after the rock concert. The noise levels of the room and the stage were determined by means of a dosimeter. The results were compared and statically analyzed using the t Student test with significance criterion of p> 0.05. the noise level found in the room and stage during the concert was 98.5 dB. As for the behavioral aspects related to the noise, tinnitus was the most prevalent complaint among the subjects. In pure tone audiometry, statistically significant differences were found in the hearing thresholds, before and after exposure, mostly in the right ear for the high frequencies. The results were also statistically significant at the frequencies between 2000Hz and 6000Hz, for the right ear (p=2.7; p=2.59; p=3.7 e p=2.86), and at the frequency of 4000Hz, for the left ear (p=2.87). The right ear's acoustic reflex has shown the highest index of absence (40%); however, we found statistically significant differences in the presence of the acoustic reflex, before and after exposure, only for the left ear (p=3.64). CONCLUSION: musicians exposed to high sound pressure levels in rock concerts have shown temporary threshold shift at the pure tone audiometry and acoustic reflex measurements

Hiperacusia em músicos de banda militar Hyperacusis in military band musicians

OBJETIVO: Identificar a presença de hiperacusia e investigar as características dos sons desconfortáveis e os comportamentos desencadeados pelo desconforto, em músicos de uma Banda Militar. MÉTODOS: Foram estudados 27 músicos da Banda Militar da Base Aérea de Santa Maria (RS), com idades entre 22 e 50 anos, com tempo de serviço militar entre quatro e 26 anos e com exposição diária ao ruído de trabalho de duas a oito horas. Todos foram submetidos à avaliação audiológica básica, teste do limiar de desconforto sonoro e aplicação de um questionário. Considerou-se presença de hiperacusia, quando a média dos valores obtidos no teste do limiar de desconforto em 250, 500, 1000, 2000, 4000 Hertz foi menor ou igual a 90 decibéis, associado à queixa de desconforto auditivo. RESULTADOS: Verificou-se hiperacusia em 37% dos músicos. Destes, 50% apresentaram audição normal e 50% apresentaram audição normal com presença de entalhe; 80% sentiam o desconforto diariamente e 20% após o trabalho com a banda de música; 70% já evitaram realizar alguma atividade, por acreditarem que o ruído ambiental é desconfortável; 70% faziam uso de protetor auricular regularmente e 90% referiram zumbido. Os sons considerados desconfortáveis pelos hiperacúsicos foram, predominantemente, os de forte intensidade. As reações emocionais mais citadas mediante um som considerado desagradável foram: tensão, ansiedade e necessidade de afastar-se do som. CONCLUSÃO: Com os critérios utilizados neste estudo, 37% dos indivíduos estudados foram classificados como hiperacúsicos, os quais consideraram desagradáveis os sons de forte intensidade, predominantemente. As principais reações emocionais mediante esses sons foram: tensão, ansiedade e necessidade de afastar-se do som. As características comuns entre os sujeitos classificados como hiperacúsicos foram: audição normal, uso de protetor auricular, evitar atividade por considerar o ruído ambiental incômodo e presença de zumbido.<br>PURPOSE: To identify the presence of hyperacusis and to investigate the characteristics of uncomfortable sounds, as well as the behaviors triggered by the discomfort in musicians of a Military Band. METHODS: Twenty seven musicians of the Military Band of the Santa Maria Airbase (RS) were studied. Their ages ranged from 22 to 50 years old and military work time from four to 26 years, with daily occupational noise exposure time from two to eight hours. All subjects were submitted to a basic audiological evaluation, sound discomfort threshold test and application of a questionnaire. It was considered presence of hyperacusis when the average of the obtained values on the discomfort threshold in 250, 500, 1000, 2000, 4000 Hertz was less than or equal to 90 decibels, associated with hearing discomfort complaint. RESULTS: It was verified presence of hyperacusis in 37% of the musicians. From these, 50% presented normal hearing and 50% had normal hearing with notch; 80% of them felt the discomfort daily and 20% only after band practice; 70% of the musicians had already avoided some activities, believing that the activity noise would be distressing; 70% of them used ear plugs regularly and 90% referred presence of tinnitus. The sounds that were considered to be distressing by hyperacusics were, predominantly, high intensity sounds. The most common emotional responses towards a distressing sound were tension, anxiety and the urge of repelling from it. CONCLUSION: According to the criteria used in this study, 37% of the studied individuals were classified as hyperacusics, which considered predominantly high intensity sounds to be unpleasant. The main emotional responses before these sounds were: tension, anxiety and the need to repel from the sound. The common characteristics among the subjects classified as hyperacusics were: normal hearing, use of ear plugs, avoidance of activities fearing the discomfort caused by the noise, and the presence of tinnitus