1 Hearing Loss Prevention for Musicians and Introduction to the Problem BY MARSHALL CHASIN   INDUSTRIAL NOISE AND MUSIC Music and industrial noise have many similarities and some interesting differences. Depending on the musical instrument, the spectral shape and concentration of energy can be quite similar to those of an industrial noise spectrum. This is true of stringed, vocal, brass, and woodwind instruments. It is not true, however, of percussive instruments such as the drums or cymbals-thi -- 2 Overview of Anatomy and Physiology of the Peripheral Auditory System BY RICHARD J. SALVI, EDWARD LOBARINAS, AND WEI SUN   Musicians possess a remarkable array of instruments and vocal styles that can appeal to diverse musical interests ranging from classical and operatic on the one hand to jazz, rock, and rap at the other end of the continuum. Regardless of the musical proclivity of the listener, the melodies, consisting of sound waves, must be transferred from the external ear through the mid -- 3 The Medical Aspects of Otologic Damage from Noise in Musicians BY KENNETH EINHORN   Every day in the United States, an otolaryngologist encounters a patient with hearing loss that is caused in part or in whole by loud noise exposure. Approximately 10 million Americans suffer from hearing loss attributed to damage from excessive noise exposure (National Institutes of Health [NIH], 1990). The physician is also familiar with some (but maybe not all) of the other adverse medical conditions that ca.

4 Tinnitus, Hyperacusis, and Music BY RICHARD S. TYLER, SON-A CHANG, PAN TAO, STEPHANIE GOGEL, AND ANNE K. GEHRINGER   WHAT IS TINNITUS? Tinnitus is the perception of sound in the absence of an external sound. It is commonly associated with noise induced hearing loss. There are two broad types of tinnitus. Middle-ear tinnitus is a result of abnormal blood vessels or muscle twitching in the middle ear cavity behind the eardrum. Sensorineural tinnitus involves the cochlea and/or auditory nervous s -- 5 Do Headphones Cause Hearing Loss? Risk of Music Induced Hearing Loss for the Music Consumer BY BRIAN J. FLIGOR   NATURE OF THE PROBLEM Increasing population densities and human encroachment in previously uninhabited areas have served to continually increase sound levels in society. Noise is now virtually everywhere. According to Berger (2003), 40% of the European community is continuously exposed to transportation noise of 55 dBA (similar to a normal voice in the background) and 20% are expose -- 6 Uniform Hearing Protection for Musicians BY PATRICIA A. NIQUETTE   INTRODUCTION Use of hearing protection by musicians and music industry professionals can dramatically reduce auditory risk -- however, standard hearing protectors are generally unacceptable because they provide too much attenuation and they alter the frequency response, making music sound muddy and unclear. Flat-response moderate attenuation earplugs, available in custom and noncustom styles, are the preferred choice for amateur.

7 Personal In-the-Ear Monitoring: The Audiologist's Role BY MICHAEL SANTUCCI   During live performances, musicians need to hear themselves on stage over a myriad of competing sound sources. The PA system, crowd noise, and high on-stage volume levels from other band members trying to hear themselves all add to the difficulty in hearing one's own instrument or voice during a live performance. As a result, escalating on-stage sound levels have become a constant problem for musicians, their sound en -- 8 Room and Stage Acoustics for Optimal Listening and Playing BY WILLIAM J. GASTMEIER   Typically, the focus of the design of a performance arts facility is to achieve a superior acoustical experience for the audience. Considerations of sound propagation, sound quality, reverberation, even audience coverage, low background noise, sufficient direct sound, and sufficient early reflected energy seem to take precedence over the needs of the musician. In this chapter, we deal with acoustical design as -- 9 Inexpensive Environmental Modifications BY MARSHALL CHASIN   EDITOR'S NOTE This chapter has been written primarily for musicians and laypersons rather than for hearing health care professionals. The suggestions and modifications that are discussed may be straightforwardly implemented by anyone including musicians, teachers, or concerned parents. In addition to hearing protection, which is covered in Chapter 6, there are other strategies aimed at minimizing the potentially hazardous effects tha.

10 Hearing Aids and Music BY MARSHALL CHASIN   INTRODUCTION As an auditory stimulus, music presents some challenging problems to both hearing aid design engineers and hearing health care professionals. The following discussion equally concerns the issues involved in fitting hearing aids to musicians as well as nonmusicians who are music enthusiasts. In many cases, as will be seen, success will not hinge upon deriving an ideal set of elctroacoustic parameters, but rather on whether hearing aid ma -- 11 Cochlear Implants and Music BY HUGH J. McDERMOTT   Over 25 years ago, when commercial development of electronic devices intended to restore hearing to deaf people commenced, it would have seemed unlikely that such devices would ever be the topic of a chapter in a book concerned mainly with music. However, recent technological advances are showing some promise for improving the representation of musical sounds in patterns of electrical nerve stimulation. Early devices were designed to stimulat -- 12 Music for the Audiologist BY MARSHALL CHASIN AND DORAN HAYES   Without explicitly recognizing it, audiologists have all of the tools for the understanding and analysis of music. In some cases any limitation can be traced to lack of application of a concept and in other cases it is merely terminology. The musical notes versus the frequency in Hz is one such area. LETTERS AND FREQUENCIES Musicians use the letters A, Bb, C, whereas audiologists would say 440 Hz, 466 Hz, and 524 Hz. According to.

13 Human Performance Approach to Prevention: Occupational Darwinism BY JOHN CHONG   INTRODUCTION The last decade of neurobiological research has elucidated the mechanisms of musical perception, sensorimotor integration, and movement control, and the deleterious effects of traumatic stress (van der Kolk & McFarlane, 2006). The application of this knowledge in the treatment of musicians and the prevention of hearing loss is profound. The effect on hearing of overexposure to noise is well understoo -- 14 Towards a Functional Hearing Test for Musicians: The Probe Tone Method BY FRANK A. RUSSO   The relationship between hearing outcomes in the real world and hearing thresholds obtained by pure-tone audiometry has long been recognized as weak (Davis, 1947 -- Hirsch, 1952). This fact presents a problem for hearing aid fitting and will continue to do so as long as people wish to use hearing in their day-to-day living. Over the last few decades, the problem has been alleviated to some extent by what.