Why orchestral musicians are bound to wear earplugs: About the ineffectiveness of physical measures to reduce sound exposure

Symphony orchestra musicians are exposed to noise levels that put them at risk of developing hearing damage. This study evaluates the potential effectivity of common control measures used in orchestras on open stages with a typical symphonic setup. A validated acoustic prediction model is used that calculates binaural sound exposure levels at the ears of all musicians in the orchestra. The model calculates the equivalent sound levels for a performance of the first 2 min of the 4th movement of Mahler's 1st symphony, which can be considered representative for loud orchestral music. Calculated results indicate that risers, available space, and screens at typical positions do not significantly influence sound exposure. A hypothetical scenario with surround screens shows that, even when shielding all direct sound from others, sound exposure is reduced moderately with the largest effect on players in loud sections. In contrast, a dramatic change in room acoustic conditions only leads to considerable reductions for soft players. It can be concluded that significant reductions are only reached with extreme measures that are unrealistic. It seems impossible for the studied physical measures to be effective enough to replace hearing protection devices such as ear plugs

Stage acoustics and sound exposure in performance and rehearsal spaces for orchestras:methods for physical measurements

Earplugs unavoidable for musicians in the orchestra and at hom

A sound level distribution model for symphony orchestras: possibilities and limitations

Musicians in a symphony orchestra rely on the direct and reflected sound on a concert hall stage to be able to hear each other. Besides ensemble conditions, members and directors of symphony orchestras are concerned about the noise levels musicians are exposed to. However, the actual contribution of the \u3cbr/\u3edifferent parts of the sound field cannot be derived from sound level measurements in orchestras. In this article, a prediction model is presented that can be used to investigate the distribution of the direct, early reflected, and late reflected sound from all musicians to the total sound level at a single musician’s\u3cbr/\u3eposition. It is shown that the contributions of each different aspect to the total sound level are in the same order of magnitude. In some cases, the direct sound dominates, while in other cases, the early or late reflected sound does. Considerable variations in sound levels are found between a concert hall, rehearsal room, and orchestra pit, due to the difference in room acoustical properties. An example is presented of calculated sound levels for a violin’s position in the orchestra for the 3 halls. The results from the example show that the model has potential for studying the influence of architectural as well as acoustical aspects on the sound levels that occur in a symphonic orchestra, both from a health and musical point of view