ࡱ> wyvq Rbjbjt+t+ LAAL!]bbbb8N$r,>X   $`)^)bb  |b8 8 bbbbj Jq)jR The A Sound Ear report, published in August 2001 by the Association of British Orchestras (ABO), investigates how loud an orchestra really is, what damage it does to players hearing, and what can be done to reduce the risks. It correlates information from existing research, private and unpublished reports, anecdotes and statistics from a players' survey. A Sound Ear is an on-going project and information is still being collected for the research. The aim of this research is to take care of our musicians today and to ensure they are still able to function in the future hearing damage is not just about deafness, problems with tone discrimination or tinnitus for example can make it impossible for a musician to work effectively. Hearing damage in orchestral musicians It is a fact that orchestras are loud and on some days they do break the law. The legal limit for noise exposure is currently 90dB and orchestras have been measured as high as 98dB. This is not as small a leap as it seems, it correlates to a difference in speed between 30mph and 150mph. The Decibel scale is logarithmic, thus for every three decibels the sound level rises, the danger is in fact multiplied by two. The result of being exposed to such high noise levels is not just deafness, sufferers could experience damaged Frequency Discrimination, Diplacusis, Recruitment, Tinnitus, Localisation, the Cocktail Party Effect, or Hyperacusis (full definitions are available in the A Sound Ear report). If the noise level reaches 140dB this will result in immediate and irreversible damage. Percussionists are at risk from their own instruments as they do receive, on occasion, readings of 140dB. It is true to say that the less stressed you are the easier it is for your body to repair the damage caused by loud noises, therefore music that you dont like does you more damage than music that you enjoy playing, and something a player does not like will sound louder to them. A Sound Ear shows that 1 in 5 woodwind/brass players are spending half their time playing music that they do not like. The stress of having someone play loudly behind you increases your risk of damage as it can shock, making people tense or angry. There is guilt associated with being a player who makes an excessive amount of noise, as well as the physical stress of actually producing the sound. Musicians are much less aware of noise from their own instrument because that particular sound is so important to them, and contrary to popular belief, a players own instrument is responsible for more than half their daily noise dosage, and this is true of all instruments. There are of course external risks to ones hearing DIY, wearing personal headphones and research shows that smoking doubles the chance of developing tinnitus. There are many other things to be considered Students often play in worse conditions that professional players There is a 2 or 3dB difference for orchestras that play in the pit Noise levels when teaching are theoretically much lower than when in performance but still significant Pieces that have an acceptable decibel level on a comfortable stage become a risk on a smaller stage If a chorus is used in a concert then this often means that the orchestra are on the flat which increases their risk of damage from each other, as well as the actual noise created by the choir The ear needs quiet time to repair itself, and long days will create more damage. It is well known that UK orchestras work longer days, with fewer days off than most of our European counterparts. This problem is particularly enhanced with freelance players who need a full schedule in order to make enough money to live, they do not have the luxury of turning down work because they have reached their noise exposure limit for one week. It is difficult to establish accurate weekly averaging for a freelance musician. Their biggest exposure is from their own instrument practice at home and private teaching cannot be monitored by the orchestra as an employer. Noise in recording sessions is also a problem the type of headphones used in the studios should be a concern. To establish the musicians' weekly exposure to noise all their freelance work should be considered. The fundamental thing to decide at this point is how much of the weekly allowance belongs to the orchestra, and how much to the individual player for other commitments? What we can do to reduce the risks There are many straight forward solutions that can be easily achieved by most orchestras; raise the brass, reduce the amount of noisy repertoire, chose lighter repertoire for smaller venues, have sectional rehearsals where possible, establish the (correct) use of ear plugs and/or screens, never double rank the brass when its noisy repertoire. For pit orchestras the options are limited but a lot of the risk could be reduced by redesigning the pits in which they have to work. Orchestras must work with venues - when venues are being refurbished noise risk to players should be taken into account as design issues at this stage can greatly reduce any risk to the orchestra. There are of course problems associated with the solutions themselves steep raking carries its own health & safety risk for the players for example. The aim is to reduce noise levels at source, but as a last resort you might implement the use of either protective screens or earplugs. Both of these solutions have draw back however: a) Screens often these screens do more harm than good, bouncing sound back onto the player that produced it, or distorting the sound heard by the protected musician affecting their tuning. Screens can only be effective if they are close to the players head someone who sits on the edge of their seat will not benefit from a screen being placed behind their chair. The misuse of screens in very easy. b) Ear plugs brass and woodwind players in particular have difficulty playing with ear plugs in and again, misuse is easy. Players must be provided with plugs that fit them properly and be taught how to use them effectively. There are many works that have big contrasts between very loud and very quiet passages where there is no time to remove or fit ear plugs. Regular hearing tests would enable orchestra managers to see if methods of protection are failing, and to know if extra efforts have to be made to protect an especially vulnerable group. [NB, hearing test results are confidential unless the musician gives written consent]. Players are apprehensive about having a hearing test as they think that any damage picked up might jeopardise their career. As a recent example, free hearing tests were offered to all the Philharmonia players and only one person came forward. All these things will help to bring the noise level down a decibel or two, but the only reliable way to keep the noise levels down is to make the brass (and therefore, by default, everyone else) unable to play louder - to still get the same excitement from the piece, but at a less dangerous level. The average audience member will not notice if a performance is 3dB quieter. Although it has been mooted that orchestras could start to play on medium-bore instruments it was noted that actual period instrument performance is a great deal harder than performing on regular instruments and therefore puts additional stress on the musicians. Orchestras cannot fundamentally change what they do, and instruments are getting louder. Spnm promoting new music intend to run workshops for composers making them aware of the noise problems in orchestras and coaching them to write more appropriate music reflecting this. The employers' duty of care can only be relevant when the musician is playing in your orchestra. Freelance dancers in Europe have a passport which shows employers where they have been and what they have been doing. Perhaps a similar system would work as well for freelance orchestral players? The new EU directive what it will mean for orchestras In the new EU directive the legal limit for sound exposure which currently stands at 90dB will be reduced to 85dB, making it even harder for orchestras to comply with the law. It is stated that at 80dB employers must offer their employees protection, at 85dB they must ensure that their employees use this protection. EPILOGUE Following months of lobbying, attempts to have different legislation for the Music Industry failed. The new Noise Directive will apply to performing musicians, though special guidance will be developed. The new directive will bring about other changes as well. Orchestras will have to introduce Health Surveillance for all musicians, in particular regular hearing tests (at least every 2 years) to enable employers to identify those people who are suffering from severe noise damage. This testing is usually anonymous, but could, for example, draw attention to methods of protection that may not be working properly. Hearing tests after a particularly loud work would indicate any temporary damage which can either provide musicians with persuasive evidence, or unduly alarm people attending for tests with tired ears. The new Directive will make weekly averaging of exposure a reality as it will be a right, rather than an impossible exception. Of course, this will not help orchestras working more than five days a week, or with very similar performances, and orchestras will need as now to realise that exposures during performance will be louder than during rehearsal. Pearle* (Performing Arts Employers League of Europe) have been involved on the social dialogue committee with the European Entertainment Committee with regards to an amendment to the noise directive. They supported the proposal that this sector be excluded from the directive. The amendment was not accepted, however Pearle* continue to lobby for the exclusion of musicians performing live as opposed to the entire entertainment industry. In the UK The Health & Safety Commission (HSC) are consulted by ministers before Health & Safety decisions are made at Government level. The Health & Safety Commission (HSC) is the public body that proposes standards for Health & Safety. The HSE is the enforcing body, along with local government. The HSE employ specialist inspectors to establish the exposure of employees to noise and vibration. Noise at work regulations require the employer to assess the risks effectively, and the HSE inspectors negotiate and work in an advisory capacity, establishing the level of competency of the employer. Following an inspection it could be that you are written to with suggestions of what you might do to improve things for your employees, and it could be that they insist that you make certain changes within a given timeframe. Orchestral musicians are a special case, because music is the product of orchestras, it is not a bi-product of something else that we do. Lobbying in Brussels will continue for the special nature of the music business to be considered. The only reason that the HSE is in favour of any deferment is that it gives employers time to take action and put in place the protection that is necessary for their employees. Despite the fact that the new directive will not be established in the UK for the next three years, it is vital that this time is used to prepare us for the changes that it will bring. There is not yet a case of an orchestral musician taking action against his or her employer for hearing damage or loss, although a peripatetic brass teacher was successful in a case against his local authority for hearing damage which was apparently caused by working in small practice rooms. The new noise levels will directly affect a great deal of our orchestral repertoire, much more so that the old directive. It will be interesting to establish how other orchestral organisations across Europe have dealt with this situation. There is a higher rotation of players in other European orchestras so players working hours are theoretically less. And at one time Chicago SO players had just 16 hours exposure per week. Individual pieces will cause problems for individual instruments in some cases they will deliver the maximum exposure for a week in one go. It was suggested that there should there be a code of practice endorsed by the industry, this would take into account that regulations are occasionally broken, but that as employers as much as possible is being done to protect the players. The Noise Team Where possible, orchestras should establish a Noise Team. Ideally this will include the chief executive, concert manager, conductor, MU representative, orchestra manager, principal players, venue liaison, platform assistant, a representative from AMABO. The objective of the Noise Team is to be able to approximate noise risks within the orchestra. Each member of the team needs to have read A Sound Ear, understand the law relating to noise at work, have an understanding of decibels and decibel calculation, and a detailed understanding of noise damage and hearing protection. Case Study: The Royal Opera House The Royal Opera House (ROH) assessed the risk of hearing damage and launched a large project to improve life for its musicians. Their aim was to make the players place of work more comfortable - something which was made much more achievable by being integral in the redesign of the Opera House this included seating changes, and the purchase of acoustic panelling similar to that used in theatres in Germany. Their contracts for the orchestra have just changed to reduce the number of hours for players, and bring in an element of self-scheduling. A year ago they started their noise conservation programme. It was vital that the players understood the problems and the reasons behind the programme. Players were trained in how the ear works, what is noise and how noise damages the ear. Fear stops players going for hearing tests, it is important that they realise that it is not a disciplinary matter. The ROH have a take up rate of 25% at the moment for tests which is a lot higher than other orchestras. They invested in a noise meter and representatives from the orchestra were trained to use it. They used it to get an average figure for each work that they were rehearsing during the period. The meter was put in particularly noisy areas of the orchestra during the rehearsals to build up a noise-map for each particular opera. These readings would not be able to give them figures for a weeks worth of exposure for one individual, but now the ROH has its own grading system for each production which should be beneficial in the long-term planning of the orchestras work. They will be able to inform musicians of high risk weeks to help them balance that in their lives outside the pit. Sound meter measurements can be incredibly inaccurate in orchestras, the sound actually at the point of entry into someones ear cannot be accurately measured by a sound meter as it will not be positioned close enough. The readings taken at the ROH were not done at ear, although the noise meter was located as near to someones ear as was possible. The BBC are aiming, with new equipment, to be able to take readings closer to the ear. In ear readings are possible but only with expert equipment and help. While sound meter readings underestimate exposure, collar worn dosimeters can over-estimate exposure. Player Training It is vital that players are made aware of the risks and solutions. As the employer you should make sure that they understand not only the risks but the legal background and implications. Tell them what is being done, make them aware of other significant noise risks, impress on them the importance of having hearing tests, having their ear canals checked [you must do this before using ear plugs], and using ear protection effectively. Musicians need to understand how to estimate their exposure, and how to take responsibility for their own hearing. [This is not to suggest the employers responsibility is any less]. Musicians who are currently students will be playing well into the second half of this century, they need to be made aware of hearing damage and that there are other things that put them at risk as well as their orchestral playing. The conservatoires have a vital role to play in this, and not just with instrumentalists as they are able to make potential conductors, composers and orchestra managers equally as aware of the problems. This can start as early as seven, taking into consideration those who attend their junior departments. The fear element of hearing tests should be erased at this level. The Royal College of Music (RCM) is linked with other conservatoires across Europe which will hopefully add to the A Sound Ear research. The RCM concert hall has been redesigned to improve the stage area and for all orchestral concerts the brass and woodwind are now on risers. And finally Orchestras as an employer need to have the ability to estimate what risks any given day/week/season is going pose to its employees. We need useable methods of control. We need to share experiences with each other to establish what does and does not work. The players must be educated and given adequate information, instruction and training so that they understand the risks, how to use ear protection [and other precautions] effectively, and how to help themselves when they are outside our employment. There needs to be an attitude adjustment, but not only in players, there are attitudes towards deafness in society that need to be adjusted too. Some organisations will be able to facilitate this faster than others, the ABO will continue to communicate further results and implications effectively to all its members. After the event, Simon Crookall Chairman, ABO and Chief Executive, Royal Scottish National Orchestra said: "The ABO is committed to continuing the work initiated by the publication of the report and to working closely with the Musicians' Union, Musicians' Benevolent Fund and other bodies and keeping this issue firmly on the agenda." ACKNOWLEDGEMENTS The ABO is grateful to the speakers highlighted below and to the many delegates from across the music industry who attended and contributed to the event: Leo Beirne HM Principal Specialist Inspector of Health and Safety, Operations Directorate, Health & Safety Executive Simon Crookall Chairman, ABO and Chief Executive, Royal Scottish National Orchestra Lisbethe Dejonge Executive Officer, Pearle* (Performing Arts Employers Associations League Europe) Simon Hallett Double Bass and Health & Safety Rep, Orchestra of the Royal Opera House Paul Hughes General Manager, BBC Symphony Orchestra Hazel Province Orchestra and Concerts Manager, Royal Opera House Dame Janet Ritterman Director, Royal College of Music Mike Shepherd Head of Physical Agents Policy Unit, Health & Safety Executive Bob Wearn Assistant General Secretary, Musicians' Union Alison Wright Reid Author, A Sound Ear and Health and Safety specialist Thank you also to Alison White for compiling this report of the seminar FURTHER INFORMATION To contribute to this on-going research programme, for further information, or to order a copy of A Sound Ear, please contact: Association of British Orchestras, 8 Gerrard Street, London W1D 5PJ, UK Tel +44 20 7287 0333 Fax +44 20 7287 0444 E-mail info@abo.org.uk Web www.abo.org.uk Alison Wright Reid can be contacted at the above address or by e-mail to sound.ear@virgin.net PAGE  A SOUND EAR | REPORT PAGE  PAGE 2 of  NUMPAGES 1 A Sound Ear A ONE-DAY SEMINAR FOR MUSIC INDUSTRY PROFESSIONALS TACKLING THE ISSUES OF NOISE DAMAGE IN ORCHESTRAS  3 september 2002 | Royal Festival Hall, London A SOUND EAR | REPORT PAGE  PAGE 1 of  NUMPAGES 1 SEMINAR REPORT  JN[]^ $"N#O##$$4+>+_,a,.."5#5253646@@@@@@CEFFJ'J5J9JlJUKVKWKӧӧ𗍗5CJOJQJ6CJOJQJhCJOJQJh7CJOJQJ5;CJOJQJ6CJOJQJ;CJOJQJ;CJOJQJ56CJOJQJ5CJOJQJ5;>*CJOJQJ5>*CJOJQJ CJOJQJ5CJOJQJ3 [\.pAB]$h$ & F$$$!!#"$"N#O##$$$%%((x)y)z)3+4+>+`,a,q.r.00111424"5#5253646|7}7799::;;T>U>@@@?C@CEEFFFXIYIVKWKhKLxLL1MMMN7NNNOOPOQOeO,PPPPQQ Q!QQQQQRRRR`}!!#"$"N#O##$$$%%((x)y)z)3+4+>+`,$$ 9r $`,a,q.r.00111424"5#5253646|7}7799::;;T>U>@@@?C$$?C@CEEFFFXIYIVKWKhKLxLL1MMMN7NNNOOPOQOeO,PP$$WKhKKLLL^LwLxLLLLLLL1M@MLMPMMMMMMMMMNN7NFNNNNNNNNOOO'OOOQOeOOOPPPPPPPPPPQ٧ CJOJQJ0J j0JU6CJOJQJ6CJOJQJ CJOJQJ6CJOJQJh6CJOJQJh6CJOJQJ CJOJQJCJOJQJh CJOJQJ5CJOJQJ9PPPPPP#Q$Q1QdQQQQQRRRRRRRRR$$h&`#$$QQ QQQQQQQ Q!Q"Q$Q%Q1QdQeQQQQQQQQQQQQQQQQQQQRRRRĻ}vvj5B*CJ$OJQJfH CJOJQJ:;@CJOJQJ;CJOJQJ5;CJOJQJj5;CJOJQJUmH@CJOJQJ jUmH@CJOJQJ5;CJMOJQJj5;CJMOJQJUmH0JCJOJQJmH0JCJOJQJj0JCJOJQJU&RRRR6CJOJQJ' 01h. 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