Search results

1

DIFFERENT PATTERN OF AUDITORY PROCESSING LATERALIZATION IN MUSICIANS AND NON-MUSICIANS

100%

Krzyżak A.

Acta Neuropsychologica

|

2021

|

vol. 19(1)

105-119

EN

The aim of the study was an evaluation of different pattern of auditory processing lateralization in musicians and non-musicians. 41 people aged 20-46 participated in the experiment, from which two research groups were selected: musicians ‒ instrumentalists professionally active (N: 21) and non-musicians (N: 20). All of them were right-handed. The dichotic listening test (Kurkowski 2007) was used to assess the laterality of external stimuli. The examination showed the superiority of right-ear perception or binaural speech processing. In the study of non-focused attention, musicians achieved a similar rate of correct responses for the left and right ear, which indicates binaural processing, where they gave more correct responses for the left ear and fewer correct responses for the right ear than non-musicians. The difference between the groups is statistically significant. In the study focused on the right ear, both groups obtained similar high scores. In the left-ear study the musicians gave more correct responses from the perception of stimuli to the left ear than non-musicians. This research confirmed different pattern of auditory processing lateralization in musicians and non-musicians. ------------------------------------------------------------------------------------------------------------------------------------

2

Hearing Ability in Orchestral Musicians

86%

Pawlaczyk-Łuszczyńska M., Dudarewicz A., Zamojska M., Śliwińska-Kowalska M.

Archives of Acoustics

|

2010

|

vol. 35

|

issue 4

3

Hearing damage caused by noise in classical musicians

86%

Zbysińska M., Lachowska M.

Polski Przegląd Otorynolaryngologiczny

|

2020

|

vol. 9(2)

41-53

EN

In this paper, we discuss the issue of hearing damage caused by noise in classical musicians. Long-term exposure to highintensity sounds leads to degenerative changes at the level of the cochlea and then in the higher parts of the auditory canal. This is particularly unfavorable for musicians because an efficient hearing organ is necessary for them to perform their daily work. The risk of hearing damage depends on noise parameters and intrinsic factors referred to as individual noise sensitivity. Not all musicians are exposed to sounds that exceed the acceptable level. However, most of them work at noise levels that are close to or above the acceptable safety limit, thus posing a health threat. In addition to hearing threshold elevation, tinnitus, hyperacusis, and diplacusis may result following many years of exposure to high-intensity acoustic stimuli. Although the differences between the hearing thresholds for instrumentalists and members of the unexposed population are not large, researchers emphasize the need to recognize musicians as a risk group and to apply appropriate prevention. One of the methods to prevent hearing damage is to use ear protectors, which, although effectively reduce exposure, are not widely used by instrumentalists as they impede auditory control over the sounds produced by the instrument. In addition, multifaceted prevention programs and various techniques to minimize exposure are used, such as the proper placement of loud instruments in an orchestra.

Refine search results

1 Acta Neuropsychologica

1 Archives of Acoustics

1 Polski Przegląd Otorynolaryngologiczny

1 2021

1 2020

1 2010

1 Dudarewicz A.

1 Krzyżak A.

1 Lachowska M.

1 Pawlaczyk-Łuszczyńska M.

1 Zamojska M.

1 Zbysińska M.

1 Śliwińska-Kowalska M.

DIFFERENT PATTERN OF AUDITORY PROCESSING LATERALIZATION IN MUSICIANS AND NON-MUSICIANS

Hearing Ability in Orchestral Musicians

Hearing damage caused by noise in classical musicians