La Medicina del lavoro · 2026
Self-Reported Non-Auditory Effects of High Sound Pressure Levels Exposure in Academic Musicians in Uruguay.
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González Alice Elizabeth, Tomasina Fernando, Ortiz Umaña Julián D, Ramírez Lady Carolina, Tellechea Bettina, Pisani Adriana
Аннотация
BACKGROUND: While hearing loss is the most emblematic effect of exposure to high sound pressure levels, it is not neither the first nor the only one. This article explores self-reported effects of exposure to high sound pressure levels among a population of 306 academic musicians (singers, choir members and instrumentalists) in Uruguay.
METHODS: A special anamnesis form was prepared for use in interviews of each of the participants. The collected information was anonymized and processed. Some interesting results were found, both through direct processing and PCA analysis.
RESULTS: Most participants reported several non-auditory effects. These were classified by sex, age, and role (singer or instrumentalist, voice type, or played instrument).
CONCLUSIONS: Among the reported effects, the most prevalent were muscle contractures, fatigue/tiredness, difficulty sleeping, and noise sensitivity, followed by arthralgia and headaches. The most frequent effects in women were muscle contracture (86%), followed by tiredness/fatigue, noise susceptibility, and tinnitus. The most frequent effects in men were muscle contracture (68%), followed by tinnitus, noise susceptibility, and irritability after musical activity. It was possible to establish some "effects profiles" according to instrument and gender. For example, woodwind players experience muscle contracture, tinnitus, post-musical activity irritability, noise susceptibility, and decreased performance, while soprano singers have a higher prevalence of muscle contracture, tiredness/fatigue, noise sensitivity, difficulty sleeping, arthralgia, digestive disorders, headache, tinnitus, and vertigo. They are the second most affected category of musicians, according to their effect profile.
METHODS: A special anamnesis form was prepared for use in interviews of each of the participants. The collected information was anonymized and processed. Some interesting results were found, both through direct processing and PCA analysis.
RESULTS: Most participants reported several non-auditory effects. These were classified by sex, age, and role (singer or instrumentalist, voice type, or played instrument).
CONCLUSIONS: Among the reported effects, the most prevalent were muscle contractures, fatigue/tiredness, difficulty sleeping, and noise sensitivity, followed by arthralgia and headaches. The most frequent effects in women were muscle contracture (86%), followed by tiredness/fatigue, noise susceptibility, and tinnitus. The most frequent effects in men were muscle contracture (68%), followed by tinnitus, noise susceptibility, and irritability after musical activity. It was possible to establish some "effects profiles" according to instrument and gender. For example, woodwind players experience muscle contracture, tinnitus, post-musical activity irritability, noise susceptibility, and decreased performance, while soprano singers have a higher prevalence of muscle contracture, tiredness/fatigue, noise sensitivity, difficulty sleeping, arthralgia, digestive disorders, headache, tinnitus, and vertigo. They are the second most affected category of musicians, according to their effect profile.