ROCK AND ROLL MUSIC AND ITS EFFECTS
UPON HUMAN HEARING ‘

Thesis for the Degree of M. A.

MICHIGAN STATE" UNIVERSITY

WILLIAM MICHAEL JOHNSON
1975

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ABSTRACT
ROCK AND ROLL MUSIC AND ITS
EFFECTS UPON HUMAN HEARING
By

William Michael Johnson

This study consisted of four parts: (1) an acoustical
analysis of ten rock and roll groups and four marching bands;
(2) threshold measurements on six musicians exposed to rock
and roll music for a period of approximately seven years:

(3) temporary threshold shift (TTS) measurements of five
musicians after playing rock and roll music for an entire
evening; and (4) an evaluation of attitudes of two groups
of 25 young adults towards loudly played rock and roll music.

Results from the first part of this study showed that
the mean SPL of the rock and roll music was 10h.6 dB Linear,
103.5 dBC, and 98.1 dBA. The spectral distribution was
fairly flat from the low to mid frequency region, 2000 Hz,
with a reduction in the higher frequencies.' The marching
bands produced a mean SPL of 92.7 dB Linear, 91.9 dBC, and
84.8 dBA.

Pure-tone air-conduction thresholds at 125, 250, 500,
1000, 2000, 3000, #000, and 8000 Hz were determined for the
six rock and roll musicians. Measurements revealed no

substantial changes in the auditory thresholds in five

William Michael Johnson
out of six musicians from thresholds measured approximately
seven years earlier.

Pure-tone air-conduction thresholds at octave inter-
vals from 250 through 8000 Hz with the half octave of 3000 Hz
demonstrated no greater than 10 dB of TTS in the group of
five rock and roll musicians after completing an evening of
performance.

Results from the fourth part of this study revealed
group differences concerning opinions on the loudness of
rock and roll music. The majority of group one, consisting
of musicians and young adults attending a rock concert, felt
rock music to be just right in loudness while the majority
of the second group, which consisted of students attending
a college lecture, stated rock and roll music was too loud.
The remaining questions given showed no substantial differences

between the two groups.

Accepted by the faculty of the Department of
Audiology and Speech Sciences, College of Communication
Arts, Michigan State University, in partial fulfillment

of the requirements for the Master of Arts degree.

Director of ThESis

Guidance Committee: é£:é25‘“‘w:f;./ 4; --«a«+n~,.
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ROCK AND ROLL MUSIC AND
ITS EFFECTS UPON
HUMAN HEARING

By
William Michael Johnson

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements

for the degree of

MASTER OF ARTS

Department of Audiology and Speech Sciences

1975

ACKNOWLEDGEMENTS

My thanks to the members of my committee, Dr. Daniel S.
Beasley and Dr. Linda L. Smith who gave their time on my
behalf. Special thanks to my thesis director, Dr. William F.

Rintelmann, for his efforts, time, ideas, and encouragement;

ii

TABLE OF CONTENTS

LIST OF TABLES. . . . . . . . . . . . . . . .
LIST OF FIGURES . . . . . . . . . . . . . . . .
INTRODUCTION. . . . . . . . . . . . . . . . . .
Purpose of Study . . . . . . . . . . . . .
REVIEW OF LITERATURE. . . . . . . . . . . . .

Historical Summary of Noise Effects. . . .
Some Proposed Damage Risk Criteria . . . .
Studies Concerning Rock and Roll Music . .

EXERIMNTM' PROCEDURE 0 O O O O O O O O O O O 0

Acoustic Analysis of Rock Groups and High
School Marching Bands . . . . . . . . . .
Measurements of Possible Noise—Induced
Hearing Losses Present in Musicians . . .
Threshold Measurements to Determine Amount
of Temporary Threshold Shift. . . . . . .
Attitudes Towards Loudly Played Music. . .

RESULTS AND DISCUSSION 0 O O O O O O I O O O O I

Part One: Acoustical Analysis . .
Part Two: Longitudinal Thresholds

Part Three: TTS Measurements. . . I :
Part Four: Listener Attitudes . . . . .
DiSCUSSion O I O O O I O O I I O C O O 0

SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS .

Summary. . . . . . . . . . . . . . . . . .
Conclusions. . . . . . . . . . . . . . .
Recommendations. . . . . . . . . . . . . .

iii

Page
. v

.vii

UnOJ-‘FNH

. 26
. 29

33
5o
55

65

75

APPENDICES I I I I I I I I I I I I I I I I I I I I I I I I 77

A. INDIVIDUAL THRESHOLDS OF EACH MUSICIAN IN
1968, 1971, AND 1979 SHOWN BOTH IN TABULAR

AND IN AUDIOIETRIC mRMI I I I I I I I I I I I I 77
B. AMBIENT NOISE LEVELS MEASURED IN THE TEST
ROOM FOR THE TTS INVESTIGATION . . . . . . . . . 89

LIST OF‘REEERENCES. . . . . . . . . . . . . . . . . . . . 90

iv

LIST OF TABLES

Table

II

10.

Recommended allowable exposure to broad band noise

according to the Sub-Committee on Noise of the

Amegican Academy of Opthalmology and Otolaryngology
19 I I I I I I I I I I I I I I I I I I I I I I I I

Recommended allowable exposure to noise (dBA)
according to the Occupational Safety and Health
Administration, United States Department of Labor

(1971). o o o o o o o o o o o o o o o o o o o o 0
Questions employed to elicit attitudes regarding
rock and roll music . . . . . . . . . . . . . . . . .

Sound pressure levels (dBA) of rock and roll music
at distances ranging from five to 60 feet from the
sound source. (N=10 rock and roll-groups). . . . . .

Sound pressure levels (dBC) of rock and roll music
at distances ranging from five to 60 feet from the
sound source. (N=10 rock and roll groups). . . . . .

Sound pressure levels (dB Linear) of rock and roll
music at distances ranging from five to 60 feet from
the sound source. (N=10 rock and roll groups). . . .

Sound pressure levels (dBA, C, and Linear) of
marching band music at distances ranging from five
to 60 feet from the sound source. . . . . . . . . .

Amount of individual threshold difference for each
subject between the years 1968 - 1974 for each of
the frequencies tested. The right ear thresholds
are plotted in the upper portion of the table and
the left ear in the lower portion . . . . . . . .

Amount of tem orary threshold shift (7-25 minutes
post-exposure resulting from playing rock and roll
music for an evening. (N=5 musicians). . . . . . .

Responses of 50 individuals to five questions re-
garding their attitudes towards loudly played music .

Page

12

1h

32

3h

35

52

58

Table
A-1.

A-3.

A-4.

A—6.

B-1 0

Page

Subject 1 - Pure-tone air-conduction thresholds

in dB Hearing Level (1968, 1971,1974) for right

and left ears of a 28 year old male rock and roll
musician who played woodwinds in a band for a

period of 10 years. Bone-conduction thresholds

are not shown but were interweaving with the air-
conduction thresholds. . . . . . . . . . . . . . . . 77

Subject 2 — Pure-tone air-conduction thresholds

in dB Hearing Level (1968, 1971,1974) for right

and left ears of a 26 year old male rock and

roll musician who played guitar (lead and bass)

for a period of seven years. Bone—conduction
thresholds are not shown but were interweaving

with the air-conduction thresholds . . . . . . . . . 79

Subject!) - Pure-tone air-conduction thresholds

in dB Hearing Level (1968, 1971,1974) for right and
left ears of a 26 year old male rock and roll

musician who played guitar (rhythm, lead, bass,

and drums), for a period of seven years. Bone-
conduction thresholds are not shown but were
interweaving with the air-conduction thresholds. . . 81

 

Subject 4 - Pure-tone air-conduction thresholds

in dB Hearing Level (1968, 1971,1974) for right

and left ears of a 26 year old male rock and roll
musician who played the drums in a band for a period

of nine years. Bone—conduction thresholds are

not shown but were interweaving with the air-
conduction thresholds. . . . . . . . . . . . . . . . 83

Subject_5 - Pure-tone air-conduction thresholds

in dB Hearing Level (1968, 1971,1974) for right

and left ears of a 25 year old male rock and roll
musician who played bass guitar for a period of
five years. Bone-conduction thresholds are not
shown but were interweaving with the air-conduction
thresholds . . . . . . . . . . . . . . . . . . . . .

Subject 6 - Pure-tone air-conduction thresholds in
dB Hearing Level (1968, 1971,1974) for right and
left ears of a 25 year old male rock and roll
musician who played lead guitar for a period of

six years. Bone-conduction thresholds are not
shown but were interweaving with the air-conduction
thresholds . . . . . . . . . . . . . . . . . . . . .

 

Means and ranges of the overall sound pressure levels
and octave bands in decibels of the ambient noise
measured in the test room for the TTS investigation
prior to and following the rock performance. The
number of measurements made is shown in parantheses 89

vi

Figure

1.

LIST OF FIGURES

Page

Recommended allowable exposure time for intermittent
1101860 I I I I I I I I I I I I I I I I I I I I I I I I 13

Octave band analysis in dB SPL (re 0.0002 microbar)

of music played by ten rock and roll groups at a
distance of five to 10 feet from the sound source.

Also shown are the spectra of ambient noise at a
distance of five to 10 feet from the stage. The

shaded areas represent data for nine of the ten

analyses (music and noise). The tenth group and
associated ambient noise were considerably below the
range and were plotted separately. . . . . . . . . . . 38

Octave band analysis in dB SPL (re 0.0002 microbar)

of music played by ten rock and roll groups at a
distance of 11 to 20 feet from the sound source.

Also shown are the spectra of ambient noise at a
distance of 11 to 20 feet from the stage. The

shaded areas represent data for nine of the ten

analyses (music and noise). The tenth group and
associated ambient noise were considerably below the
range and were plotted separately. . . . . . . . . . . 39

Octave band analysis in dB SPL (re 0.0002 microbar)

of music played by ten rock and roll groups at a
distance of O to 60 feet from the sound source.

Also shown are the spectra of ambient noise at a
distance of 40 to 60 feet from the stage. The

shaded areas represent data for nine of the ten

analyses (music and noise). The tenth group and
associated ambient noise were considerably below the
range and were plotted separately. . . . . . . . . . .40

The mean and range of the octave band analysis in dB

SPL (re 0.0002 microbar) of rock and roll music

played by ten rock groups. The number of measurements
for each octave band is 294. . . . . . . . . . . . . .42

vii

Figure

6.

10.

11.

12.

Page

Octave band analysis in dB SPL (re 0.0002 microbar)

of music played by four marching bands at a

distance of five to 10 feet from the sound source.

Also shown are the spectra of ambient noise at a

distance of five to 10 feet from the band. The

shaded areas represent data from the four bands

analyses (music and noise). . . . . . . . . . . . . . .45

Octave band analysis in dB SPL (re 0.0002 microbar)

of music played by four marching bands at a

distance of 11 to 20 feet from the sound source.

Also shown are the spectra of ambient noise at a

distance of 11 to 20 feet from the band. The

shaded areas represent data from the four bands

analyses (music and noise). . . . . . . . . . . . . . .46

Octave band analysis in dB SPL (re 0.0002 microbar)

of music played by four marching bands at a

distance of O to 60 feet from the sound source.

Also shown are the spectra of ambient noise at a

distance of 40 to 60 feet from the band. The

shaded areas represent data from the four bands

analyses (music and noise). . . . . . . . . . . . . . .47

The mean and range of the octave band analysis in
dB SPL of music played by four marching bands. The
number of measurements for each octave band is 60 . . .49

(A) A comparison of the mean pure-tone air-

conduction audiograms from 1968 to 1974, rounded

to the nearest five decibels, for the six musicians'
right ears. . . . . . . . . . . . . . . . . . . . . . .51

(B) A comparison of the mean pure—tone air-

conduction audiograms from 1968 to 1974, rounded

to the nearest five decibels, for the six musicians'

left ears . . . . . . . . . . . . . . . . . . . . . . .51

Pure—tone air-conduction thresholds for right and

left ears of a 26 year old male rock and roll

musician who played drums in a band for a period of

nine years. Bone—conduction thresholds are not shown

but were interweaving with the air-conduction

thresholds. . . . . . . . . . . . . . . . . . . . . . .54

Amount of average tem orary threshold shift (7-25

minutes post-exposure resulting from playing rock.
and roll music for an evening. (N=5 musicians) . . . .56

viii

Figure

A-1. Subject
A-2. Subject
A—3. Subject
A-4. Subject
A-5. Subject
A-6. Subject

mm-P'wNH

ix

.78
.80
.82
.84
.86
.88

INTRODUCTION

There have been many suppositions that rock and roll
music performed at high intensity levels produces a noise-
induced hearing loss. Yet, relatively few studies have
been accomplished to determine the effects of loud music on
the human hearing mechanism. The majority of these specula-
tions have been based upon damage risk criteria applied to
steady state noiseiin an industrial setting.

Though many of these speculations were made in recent
years, Lebo et al. (1967), Lebo and Oliphant (1968), Downs
et al. (1969), Lipscomb (1969), Flugrath (1969), Rupp and
Koch (1969), Dey (1970), and Jerger and Jerger (1970), there
is still a considerable amount of interest concerning rock
and roll music played at high intensity levels.

Considerable attention has been focused on rock and
roll music performed at high intensity levels and its effects
on the human hearing mechanism when performed at high
intensity levels. Numerous newspaper and magazine articles

have been published regarding these effects. One such

 

1Kryter defined steady state noise as follows: the
spectrum of sound is complex (i.e., does not consist of merely
a single or even solely several pure tones) and that in the
time domain its over—all intensity, measured by a typical sound—
level meter, is stead within a few decibels for at least one
minute (1963, p. 1516?.

1

2

article was published in The State Journal (1968) where a
researcher from Memphis State University stated that we may
be raising a nation of teenagers who will become hard of
hearing due to rock and roll music. Contrary to this,
Rintelmann and Borus (1968) noted that the concern over

the harmful effects of rock and roll music on the hearing
of young people appears to be unwarranted.

Since the Rintelmann and Borus investigation, it has
been speculated that hearing loss might occur from loudly
played music but such a loss might not be manifested until
several years have lapsed. To determine the long—term
effects of loud music, pure-tone thresholds were measured
on a small sample of musicians over an approximate seven
year period. Short term effects of rock and roll music were
also assessed by obtaining thresholds of musicians prior to
and immediately following a performance of a rock and roll
group. Finally, an effort was made to obtain current
opinions from rock and roll musicians and listeners regard-

ing their attitudes toward rock and roll music.

PURPOSE OF THE STUDY

The primary purpose of this study was to investigate
the acoustic aspects of rock and roll music and music played
by marching bands.

Secondary purposes were to evaluate the effects of

rock and roll music on long-term pure—tone thresholds among

3

musicians, temporary threshold shifts among musicians, and

finally attitudes of young adults toward loudly played rock

and roll music.

With reference to the purposes stated, answers were

sought to the following specific questions:

1.)

2.)

3.)

4-)

5-)

Are there differences in the acoustic
analysis obtained in the present study
from those obtained in previous studies?

Is there a substantial difference between
rock and roll music and marching band music
when analyzed acoustically?

Is there a change in auditory thresholds

of musicians who have been in contact with
rock and roll music over a period of several
years?

How much temporary threshold shift (TTS)
results from playing in a rock and roll
group for an entire evening?

What are the attitudes of individuals
attending a rock concert towards loudly
played music, and further, do these attitudes
differ from individuals who are not attending
the concert?

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REVIEW OF THE LITERATURE

Encompassed within this section is a review of the
literature focusing upon three primary factors: (1) a
historical account of noise and its possible effects upon
the hearing mechanism; (2) a description of some proposed
damage risk criteria; and (3) a review of research regarding
rock and roll music and its possible effects upon the hearing

mechanism.

Historical Summary of Noise Effects:

A historical survey of studies dealing with occupational
deafness was presented by Bunch (1937). Results of histo-
logical and audiometric studies were also given. Several
studies demonstrated that hearing losses concentrated in
the high frequency region occurred when workers were exposed
to various types of noise. Interest in noise and its effects
on hearing was demonstrated as far back as the early 1800's.
Fosbroke, cited by Bunch (1937, p. 618) was the first to
disclose the problems of hearing as they related to noises
within the working environment with the description of
"blacksmith's deafness", in 1831. The working environment
of boilermakers was examined in 1872 by Dalby, (Bunch, 1937,
p. 619) who theorized that hearing losses resulted from

5

working under these conditions. Hartman in 1887 (Bunch, 1937,
p. 619) looked into this even further by attempting to
characterize the type of hearing loss common among
boilermakers. He stated that bone conduction is substan-
tially reduced with the two highest tones not being heard
at all. Thus, he deducted that injurious action of the
noises in boiler shops is primarily focused upon those
portions of the hearing mechanism which serve for the
perception of the higher tones.

Larsen (1939) examined the hearing losses among
workers in the Danish shipyard and machine factories.

His findings disclosed that the degree of hearing loss
was enhanced substantially with increasing duration of
work and progressing age. He also found that the most
extensive hearing loss was established around 4000, 6000,
and 8000 Hz in boilermakers who had been unprotected from
these intense low—frequency noises for more than fifteen
years.

Another study dealing with occupational deafness
considered employees of a metal working plant. McCoy
(1944) found that after workers were exposed to the noise
for twelve months the hearing loss was somewhat greater
than when exposed for only one month.

Cox, Mansur.and Williams (1953) investigated weaving
room employees of a cotton textile plant in regards to the
pattern of hearing loss. They found that losses occurred

at 2000 and 4000 Hz and that when these employees were

6

removed from these noisy conditions for at least 40 hours
there was partial recovery of hearing loss. Goldner (1953),
also concerned with the pattern of hearing losses, studied
600 employees of a shipyard. He found that hearing losses
primarily occurred at 4000 and 8000 Hz. He also found that
the degree of deafness increased considerably with advancing
age and increasing duration of work.

A report concerning the effects of noise exposure on
hearing was published by a sub-committee of the American
Standards Association in 1954. This report signified that
intermittent and continuous exposure to noise yielded losses
of hearing that centered primarily at 4000 Hz with slightly
less hearing loss at 2000 and 8000 Hz. It was also noted
that for those individuals exposed to continuous noise, there
appeared to be a greater loss in hearing sensitivity.

Webster (1954) conducted a study involving aviation
overhaul and repair shop personnel. He tested the hearing
of these workers and found that hearing losses occurred
primarily in the higher frequencies and that the amount
of hearing loss increased with the advancing age of the
worker.

Rosenwinkel and Stewart (1957) directed a study where
they related the audiograms of two types of workers to the
amount of time they worked on the job. The two types of
workers used were 290 office workers and 270 workers in a
large machine shop. To control the age factor they used

workers with the same distribution of ages. They found that

differences between the hearing losses of the machine shop
workers and the office workers at 4000 Hz illustrated that
exposure to steady-state noise exceeding 80 dB can bring
about a measureable reduction in hearing sensitivity over a
normal working life span.

A study conducted concerning exposure to noise in prison
industries was reported by Yaffe and Jones (1961). This
study demonstrated that a pronounced hearing loss at 3000,
4000, and 6000 Hz could result from noise exposure within the
prison industry.

In general, the preceeding studies concerned with both
configuration of hearing loss and the age factor have demon-
strated that hearing losses were found primarily in the higher
frequencies and the amount of loss increased with advancing
age.

Noise Induced Permanent Threshold Shifts and Noise
Induced Temporary Threshold Shifts were correlated in a study
by Glorig, Ward, and Nixon (1961a). They submitted: "We
have assumed, on the basis of limited PTS evidence but con-
siderable TTS data, that if no more than 12 dB TTS at 2000 cps
accumulates during a work day, no significant PTS will occur
during a work life" (1961a, p. 423). They further stated
that, "We believe that when TTS is allowed to recover be-
fore further exposure, there will be no significant PTS over
a usual work life" (1961a, p. 422). Glorig, Ward, and
Nixon (1961b) examined the problem of noise exposure and its
effects upon TTS. They noted that when continually exposed

to octave bands of noise of 75 to 78 dBA for a period of

8
eight hours, no significant TTS in hearing was present at
4000 Hz, the frequency most prone to noise-induced hearing
loss.

The Committee on the Problem of Noise (1963) examined
noise within social or domestic locations. This committee
concluded that noise within these situations did not produce
any measureable effects other than occasional aggravation
from the average person or continuous complaining from excep—
tional individuals. These exceptional individuals who con-
tinuously complain about noise are according to Borsky "hyper-
sensitive cranks who represent at most 1 - 2% of the popula-
tion" (1969, p. 190). These individuals complain about a
variety of things such as the "state of city sewers". In
other words, for some people little can be done to rectify
the situation.

Rosen, Plester, El-Mofty and Rosen (1964) compared the
hearing of individuals making-up "modern society" to the
hearing of those in a primitive society. They demonstrated
that members of a primitive culture who were free of signifi-
cant noise sources had superior hearing sensitivity compared
to the so called "normal" hearing members of the modern
culture.

Taylor and Williams (1966) compared the hearing status
of sport hunters who had used assorted shot guns, rifles, and
handguns to the hearing status of a control group who had
limited exposure to intense noise. They found that the sport
hunters revealed poorer hearing, as averaged across all ages,

than the control group.

9

Passchier-Vermeer (1968) examined a vast amount of data
that was taken from a large number of noise and hearing sur-
veys in the industrial environment. He found that 75% of
the workers exposed to 75 dBA of noise eight hours per day
for ten years or more, showed less than six dB change in hear—
ing sensitivity for the frequencies from 3000 to 8000 Hz.

A study comparing the effects of brief noise versus
continuous noise was completed by Sataloff, Vassallo, and
Menduke (1969). They demonstrated that when brief noises
occurred 40 times per day in otherwise quiet conditions
there would be the same type of hearing impairment as that
caused by a continuous noise that was 15 to 20 dBA lower in
intensity.

Through the previous historical account of noise and
its possible effects upon the hearing mechanism, it can be
stated that, in general, when an individual is exposed to
intense levels of noise for a relatively prolonged period of
time he will eventually incur a loss in hearing sensitivity.
This loss will primarily involve the higher frequencies, and
will be greater if the noise is continuous as opposed to in-

termittent.

Some Proposed Damage Risk Criteria:
Since numerous studies have used damage risk criteria
in an attempt to predict permanent hearing loss, it is ap-

propriate to review some of the proposed criteria.

10

Kryter (1950) investigated problems of safe and unsafe
noise conditions, or damage risk criteria, (intensity limits
of noise that can be tolerated without serious risk of per-
manent hearing loss). He suggested a maximum sound pressure
level that would be considered a safe noise condition.

Kryter stated:
A fair, perhaps conservative, evaluation of the labor-
atory and industrial studies on stimulation deafness
would seem to be that for long and intermittent ex-
posures any frequency of sound (or narrow band not
exceeding the critical width) that is 85 dB or less
above 0.0002 dyne/cmZ will not cause any temporary or
permanent deafness (1950, p. 36).

The United States Air Force (1956) published a regula-
tion delimiting the allowable limits of noise exposure. The
permissible lifetime limit (25 years) for an eight hour day
exposure to broad band noise with the ears unprotected was
defined as a maximum sound pressure level of 85 dB at each
of four octave bands: 300 to 600, 600 to 1200, 1200 to 2400,
and 2400 to 4800 Hz. Recommendations were established in
which the Air Force suggested that ear protectors should be
worn when the band pressure level in any of the bands ex-
ceeded 85 dB. The Air Force report further stated that when—
ever the band pressure levels in any of the bands reach 95 dB,
then it will be mandatory that ear protectors be worn.

With the intent of deterring noise—induced hearing losses,

the Sub-Committee on Noise of the American Academy of

Ophthalmology and Otolaryngology proposed the following:

11

1.) When exposure to broad band noise is
continuous during the working day (5
hours or more), the average of the
levels at BOO-600, 600-1200, 1200-2400
Hz should not exceed 85 dB.

2.) When exposure to broad band noise is
habitual and the noise is continuous
for less than 5 hours per day, Table
(1) should be consulted for recommended
allowable exposures.

3.) When exposure to broad band noise is
intermittently on during the work day,
the recommended allowable exposure time
may be determined by consulting Figure 1.
This shows the relationship between the
duration of the on-time between the noise
burst (ordinate) and the allowable average
of the 300-600, 600-1200, and 1200-2400 Hz
bands. The broken contours show the number
of permitted exposure cycles (on-time, off-
time combinations per day) calculated
for a working day of 480 minutes (AAOO
1961+, p0 13-1“).

Recently, a damage risk criterion was put into effect
by the Occupational Safety and Health Administration (OSHA,
1971) of the United States Department of Labor. The OSHA
noise regulations consist of basically two categories: (1)
the maximum levels of industrial noise to which an employee
may be exposed, and (2) what action the employer must take
if these noise levels are exceeded.

The fundamental section of the OSHA standard is a
table giving permissible noise exposures. This table has
been reproduced as Table 2 which shows the recommended length
of time that an individual may be exposed to various levels
of sound. These exposures are considered to be the upper
limits of daily doses that will not produce disabling
hearing losses in more than 20% of a population exposed

through a lifetime of work consisting of 35 years.

Table 1.

12

Recommended allowable exposure to

broad band noise according to the
Sub-Committee on Noise of the

American Academy of Opthalmology and

Otolaryngology (1964).

 

Average Levels of 300-600,
600-1200. 1200-2400 Hz Bands

1.)
2.)
3.)
A.)
5.)
6.)
7.)
8.)

85 dB
90 dB
95 dB
100 dB
105 dB
110 dB
115 dB
120 dB

)
)
)
-)
)
)
)
)

(”\1 O\U\ the N

less
less
less
less
less
less
less

less

than
than
than
than
than
than
than
than

On-Time—Per Day
In.M;nutes

300
120
50
25
16
12
8

13

RECOMMENDED EXPOSIRE TIME- FOR INTERMITTENT NOISE

 

    

 

 

   

 

 

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200 m ~—-—. _____
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0,60 2: 7.h___ . .-
2! ID Levelof avorogo““~-— --__
:40 o 0 300-600,600-I200, ~~~‘\
g E IZOD-2400 cps
:5 !: 1Q}. ‘"‘ .. ‘~ bands
.2. 5 ‘~ \
III-l a: ‘\\\
220 2., x
P,
u- 23
u.
C) 30
I0
40
8
5
6
60
4 \
\ \
\
\ M
O 5 IO I5 20 25 30

9;! TIME IN MINUTES

Figure 1. Recommended allowable exposure time for inter-
mittent noise. (AAOO, 1964, p. 15)

14

Table 2. Recommended allowable exposure to
noise (dBA) according to the
Occupational Safety and Health
Administration, United States
Department of Labor (1971).

 

DURATION PER DAY: HOURS SOUND LEVEL dBA, SLOW

 

90
92
95
97
100

toxoo

102

rub-

HHNm

105
110
i or less 115
(Federal Register 1971, p.10518)

NIH

 

 

15

Since many of the industries exceed the sound levels
set by OSHA, the regulation states what must be done in
three basic steps: (1) Reducing the noise at its source
through engineering controls. The standard states that
when employees are subjected to sound levels exceeding those
listed, feasible administrative or engineering controls
shall be utilized: (2) Providing hearing protection.
Where engineering controls fail to reduce sound levels within
the specified limits, the standard states that personal
protective equipment shall be provided and used: and (3)
Carrying out a program of hearing conservation. The OSHA
act recommends that in all cases where the sound levels
exceed the specified limits, a continuing, effective hearing

conservation program shall be administered. (OSHA, 1971)

Studies Concerning Rock and Roll Music:

Prior to the 1960's, concern over noise exposure was
primarily focused on occupational noise. This included
noise encountered while working on the job such as the type
machine shop laborers and drop forge operators would experience.
Interest concerning these types of noise brought about some
alterations in these hazardous environments in an effort to
make them safe for the hearing of exposed workers. After the
1960's, interest in noise exposure began to expand and
encompass recreational noise. Noises of this nature include
sounds experienced by individuals during some sort of amuse-

ment or pasttime such as hunting, snowmobiling, and rock and

roll music.

16

The remainder of this section will concentrate on
this particular type of high-level acoustic stimulus.

Studies that have focused upon rock and roll music and its
possible effects upon the hearing mechanism are reviewed.

One of the first studies involving rock and roll music
was conducted by Lebo, Oliphant, and Garret (1967). After
making recordings of 50 to 100 seconds in length, at various
locations within two different dance halls, they found that
the octave band levels surpassed the Damage Risk Criterion
established by the State of California in 1962. They stated:
"We believe that we have demonstrated that the noise levels
produced by some live rock and roll bands with the aid of
high amplification unmistakably exceed those considered safe
for prolonged exposure" (1967, p. 380).

In 1968 a three-part study concerning rock and roll
music was conducted by Rintelmann and Borus: (1) They
obtained acoustic analyses of the music played by six
rock and roll groups: (2) They determined whether 42
musicians suffered a noise-induced hearing loss as a result
of this music: and (3) They procured listeners' reactions
to rock and roll music. In the first part of this study, they
found the mean sound pressure level of rock and roll music to
be 105 dB overall SPL with the acoustic spectrum being fairly
flat from the low to middle-frequency region with a progressive
reduction in the higher frequencies beyond 2000 Hz. In the
second part of the study, they measured the pure—tone thresh-

olds of 42 rock and roll musicians who were exposed to

17
approximately 105 dB SPL of music for an average 11.4 hours
per week for 2.9 years. They found that 95% of them did not
have hearing losses as measured by conventional pure-tone
air- and bone-conduction audiometry. In the final part of
the study, they asked college students whether or not rock
and roll music was "too loud". They found that the majority
of the students felt that the music was too loud, but felt
it was a necessary part of the music. In conclusion,
Rintelmann and Borus stated: "Taking into account the
limitations of this study, concern over the harmful effects
of rock and roll music on the hearing of young people appears
to be unwarranted" (1968, p. 65).

A study that compared octave band spectral measurements
of rock and roll music to the measurements of fortissimo
symphonic music was conducted by Lebo and Oliphant (1968).
They found the measurements to be quite different between the
two and concluded that fortissimo symphonic music was below
the damage risk level, whereas rock and roll music was not.

Speaks and Nelson (1968) investigated the effects of TTS
following an evening of exposure to rock and roll music. By
measuring pure-tone thresholds of 25 musicians before and
after an evening of exposure, with approximately 30 minutes
between measurements and exposure, they found less than five dB
of TTS in most cases. However, there were a few subjects with
greater than 15 dB of TTS recorded. There were no musicians

that manifested a shift of more than 25 dB.

18

Downs et al., (1969) compared the hearing sensitivity
of 24 high school age rock and roll musicians to a control
group. After obtaining threshold measurements of these in-
dividuals they found that 75% of the rock and roll musicians
had high frequency hearing thresholds that were poorer at one
or more frequencies than the control group subjects who were
not exposed to the music. Differences between these groups,
however, were not remarkable since most of the musicians were
able to pass a pure-tone screening test at a level of 25 dB 1
(ISO 1964) that ranged in frequencies from 500 to 8000 Hz.

Lipscomb (1969) studied histologically the structural
changes of a guinea pig cochlea resulting from rock music ex-
posure. He exposed a guinea pig to rock and roll music for a
period of 88 hours over a two month period. This music was
played at a level of 122 dB SPL average peak. During the
first 65 hours of exposure one ear was protected through the
use of a plug. Upon observation of this ear there was no
apparent cytologic alteration. However, there was observable
sensory cell damage to the unprotected ear. He concluded
that since rock music resulted in marked sensory cell damage
in the cochlea of the guinea pig, a program of hearing con-
servation should be initiated so that the dangers of excessive
exposure to these sounds will be made clear to those partici—
pating in such activities.

Flugrath (1969) did an acoustical analysis of the sound
levels recorded from rock and roll music and found the average

sound pressure level to be 104 dB. Based on his findings,

19
Flugrath felt that rock and roll music should be considered
potentially damaging to the hearing mechanism.

Another acoustical analysis was performed in a rock and
roll bands' rehearsal room by Rupp and Koch (1969). Overall
sound pressure levels of 120 to 130 dBC were reported by these
investigators. Individuals that were exposed to these levels
of music were tested for TTS. They found threshold shifts to
vary as a function of frequency. For 250, 500, and 1000 Hz,
they reported minimal mean threshold shifts of 5 dB. Larger
shifts were noted as the frequency increased with a 15 dB
shift at 2000 Hz, a 25 dB shift at 4000 Hz, and a 20 dB
threshold shift at 6000 Hz. As a result of this investigation,
the authors stated that long exposure to rock and roll music
'is a possible health hazard.

Dey (1970) studied the effects of rock and roll music
on the hearing of young adults. In this study, exposure did
not take place at a discotheque but rather within the labor-
atory where Dey produced the acoustic conditions of rock and
roll music. He exposed young adults to this type of music at
sound pressure levels of 100 and 110 SPL for five to 120
minutes. He found that two out of 100 people would recover
more slowly than typically expected when exposed to 100 dB
for 120 minutes. Further he suggested that as much as 16%
of the population could be permanently affected when exposed
for 120 minutes to levels of 110 dB.

Jerger and Jerger (1970) reported on two groups of rock
and roll musicians. They found these bands to be playing for

an entire evening in an acoustic environment of 108 dB to

20

116 dB SPL. Eight of nine musicians demonstrated threshold
shifts greater than 15 dB for at least one frequency in the
range of 2000 to 8000 Hz.

Under controlled laboratory conditions Smitley and
Rintelmann (1971) compared intermittent exposures of rock
and roll music to continuous exposures with regards to TTS.
The continuous presentation consisted of music recorded with-
out any pauses or interruptions between selections while the
intermittent presentation consisted of identical selections
with four to six minute on-times followed by 30 second off—
times. Two groups of subjects were exposed for 60 minutes
at an average peak intensity of 110 dB SPL. One group re-
ceived the intermittent exposure while the other group re-
ceived the continuous exposure. They found significant
differences in the TTS between continuous and intermittent
exposures at each of the following frequencies: 250, 500,
2000, and 3000 Hz. The largest threshold shift under both
conditions was found at 4000 Hz. There were no significant
differences, however, between male and female threshold
shifts.

Rintelmann, Lindberg, and Smitley (1972) conducted
another laboratory study comparing exposure to intermittent
versus continuous music. However, this time the use of dis-
cotheque ambient noise provided the "break times" instead of
silence as in the previous study and the off-time (break time)
was changed from 30 seconds to one minute between musical

selections. They found that again temporary threshold shift

21

was significantly less in the intermittent condition than in
the continuous condition at frequencies of 2000, 3000, 4000,
and 8000 Hz. They also found that whether subjects were ex-
posed to the intermittent or the continuous conditions, the

recovery times were similar.

Reddell and Lebo (1972) tested 43 rock and roll musicians
and two listeners. They found the average pure-tone thresholds
of the musicians to be normal from 250 to 8000 Hz, but with a
characteristic "notch" at 4000 and 6000 Hz. They also present-
ed the range of pure-tone thresholds for their sample of
musicians with the poorest thresholds exceeding normal hearing
especially in the high-frequency region. Unfortunately, these
authors did not indicate how many musicians had thresholds
which exceeded the normal limits. Further, the notch at
6000 Hz, which they interpreted as a noise-induced hearing
loss, can probably be attributed to two other factors. First,
some of the subjects were tested shortly after performing,
hence, their thresholds undoubtedly contained some high-
frequency TTS. Secondly, according to the findings of Harris
(1971) a high-frequency notch can be attributed to the ear-
phone enclosure (aural domes). Therefore, the significance
of this high—frequency "notch", which was within the normal
hearing range, can be questioned. In this same investigation
Reddell and Lebo tested seven of the 43 musicians for TTS.
They found that the greatest shift (20 dB) occurred at 6000 Hz.
Also, ten subjects were administered the Short Increment

Sensitivity Index test resulting in a mean score of 82%,

22

suggesting cochlear pathology. Based on this study they
suggested that the amplification should be attenuated to a
safe level that would substantially reduce the risk of
hearing damage to the audience and performers.

One of the most recent articles concerning rock and roll
music and its possible effects upon the hearing mechanism was
by Rupp, Banchowski, and Kiselwich (1974). They made measure-
ments of four rock and roll groups and found the mean sound
pressure level to be 105.2 dBA, and the range from 90 to
115 dBA. They also reported that these mean levels exceeded
the "safe levels" proposed by Cohen, Anticaglia, and Jones
(1970) by 25 dB when the guideline of 80 dBA for a four hour
exposure was employed. From these results they proposed
that "...protective guidelines be employed to regulate music
levels and to protect the hearing of listeners" (1974, p. 24).

From this review of the effects of noise on the hearing
mechanism it is apparent that concern over noise had begun
more than 140 years ago. Moreover, this problem has in-
creased substantially in recent years. There have been num—
erous studies resulting in various conclusions and sometimes
contradicting results. In summary, the following conclusions
appear warranted: (1) Exposure to extremely loud noise will
result in damage to the hearing mechanism. Exactly what the
levels of this noise have to be to cause damage, however, is
not agreed upon by all experts; (2) Exposure to noise for
brief periods of time is less damaging than exposure to

noise for longer periods of time; (3) Also, exposure to

23

noise intermittently is less damaging to hearing than ex-

posure to noise continuously.

EXPERIMENTAL PROCEDURE

This section is concerned with the following:
1.) Acoustically analyze the music of rock groups
and high school marching bands.
2.) Determine the existence of noise-induced
hearing loss present in rock musicians.
3.) Acquire threshold measurements of a group of
rock musicians to determine the existence of
TTS.
4.) And determine attitudes towards loudly played
music.
Procedures for the above four investigations will be

discussed in the order listed above.

Acoustic Analysis of Rock Groups and High School Marching
Bands:

Ten rock and roll groups and four high school marching
bands were analyzed and comparisons were made between these
two types of music. The marching bands consisted of approxi-
mately 80 to 110 instruments in each band. Five overall SPL
measurements were made for each marching band and ten measure-
ments were obtained for each rock group with the exception

of one group in which 20 measurements were made. Each of

24

25

these measurements were obtained utilizing the linear scale,
A-weighted, and C-weighted scales at each of three distances
(ranging 5 - 10 feet, 11 - 20 feet, 40 - 60 feet) from the
sound source. Measurements were made on randomly chosen
musical selections. The A scale was used since the damage
risk criterion utilized in the United States Department of
Labor's Occupational Safety and Health Act is based on this
scale. Also, five octave band measurements from each march-
ing band and ten octave band measurements from each rock
group were obtained with the exception of one group in which
eight measurements were made. Measurements were obtained
for each of the center frequencies including 31.5, 63, 125,
250, 500, 1000, 2000, 4000, 8000, and 16000 Hz. These
octave band measurements were recorded in all instances
where overall SPL measurements were made utilizing the A,
C, and linear scales.

To obtain the sound pressure level readings a Bruel
and Kjaer sound level meter (type 2204) using a Bruel and
Kjaer one-inch sound field condensor microphone (type 4145)
with a Bruel and.Kjaer random incidence corrector was em-
ployed. For analysis of the octave bands a Bruel and Kjaer
octave band filter (type 1613) was attached to the sound
level meter. The entire system was calibrated before and
after each measurement session on the rock groups and march-
ing bands through the use of a Bruel and Kjaer pistonphone
(type 4220) which emits a 250 Hz tone at 124 dB SPL re

0.0002 microbar. The condition of the batteries for the

26

sound level meter were checked throughout the measurements.
The K-factor of the microphone was also periodically checked

so that accurate readings could be obtained.

Measurements of Possible Noise-Induced Hearing Losses Present
in Musicians:
Subjects

Six musicians who received audiological tests were taken
from a group of musicians who took part in the Rintelmann and
Borus study in 1968. However, due to problems of changing
their places of residence, different interests, etc., only
six of the musicians out of the original 42 could be contact-
ed. These six male subjects ranged in age from 25 to 28
years with a mean age of 26 years. In order to participate
in the study each of these musicians were required to meet
the following criteria originally established by Rintelmann
and Borus: (1) no history of a hearing loss or chronic mid-
dle ear pathology, (2) never worked in a noisy environment
such as a factory where high intensity levels existed, (3)
never shot guns frequently such as in the armed forces or
while hunting, (4) no familial history of a hearing loss,
and (5) not listened to or played loud music for a period of
at least 24 hours prior to being tested.

Regarding their exposure to rock music as musicians,
these six individuals had performed with rock and roll groups
for periods ranging from 5.4 to 9.9 years. The mean length

of affiliation with rock and roll groups was 7.3 years and

27

the median was 7.5 years. In regards to the amount of time
these musicians spent playing per week, the time was divided
between performing with the group and performing alone. It
should be noted, however, that regardless of whether perform-
ing with the group or alone, an amplifier associated with the
instrument was typically used. The average time spent play-
ing rock and roll music was 18.5 hours per week performing
with the group, and four hours per week performing alone, for
an average total of 22.5 hours per week. The total amount of
playing time for the six musicians ranged from 10 to 34 hours
per week.
Test Administration and Instrumentation.Employed

Pure—tone air- and bone—conduction thresholds were ob-
tained using a Grason Stadler 1701 audiometer. Air-conduction
thresholds were obtained via TDH-49 earphones mounted in MX-
4l/AR cushions. Bone-conduction thresholds were measured
using a Radioear B-70-A white dot bone-conduction oscillator.
Masking of the non-test ear took place on all bone-conduction
threshold measurements with the use of narrow band white noise
generated by the Grason Stadler audiometer. The minimum ef-
fective masking level used was 30 dB. Air-conduction thresh-
olds were obtained at octave frequencies from 125 through
8000 Hz with the half octave of 3000 Hz. Bone—conduction
thresholds were measured at octave intervals from 250 through
4000 Hz plus the half octave of 3000 Hz. Both air-conduction
and bone-conduction thresholds were measured using the Hughson-

Westlake ascending technique as described by Carhart and

Jerger (1959).

28

Calibration of the air-conduction system was made daily
prior to and following threshold measurements using a Bruel
and Kjaer artificial ear assembly (type 4152) and a Bruel and
Kjaer condensor microphone (type 4144) with the associated
sound level meter (type 2204) and a Bruel and Kjaer octave
band filter network (type 1613). The bone-conduction system
was also calibrated during the course of the investigation.
The calibration equipment utilized consisted of a Beltone
artificial mastoid (M5A), a Beltone mastoid amplifier (M5A),
and a Bruel and Kjaer microphone amplifier (Model 2603).

Testing took place in a two-room testing suite with the
tester in a pre-fabricated single-walled IAC control chamber
and the subject in a pre-fabricated double-walled IAC room.
The ambient noise level within the test room was measured
with a Bruel and Kjaer sound level meter (type 2204) using
a Bruel and Kjaer one-inch sound field condensor microphone
(type 4145) with a Bruel and Kjaer random incidence corrector
to determine whether the ambient noise would interfere with
the measuring of thresholds. The ambient noise level within
this room was 43 dB on the C scale of a Bruel and Kjaer sound
level meter.

The thresholds obtained from each of the subjects tested
were analyzed and compared to the thresholds from data on the
same subjects gathered in the Rintelmann and Borus (1968)
study, and also with a second set of thresholds obtained
by Rintelmann and Smitley (1971). These three sets of measure-

ments covered a span of seven years. Since the thresholds

29

gathered in 1968 were measured prior to the publication of
the ANSI (1969) standards, the appropriate adjustment was
made for the TDH-39 earphones. (see Melnick, 1971)

Threshold Measurements to Determine Amount of Temporary
Threshold Shift:
Subjects

A group of five rock and roll musicians that were per-
forming at a local discotheque received pure-tone threshold
tests prior to and immediately upon the completion of their
performance. This group consisted of one female and four
males ranging in age from 22 to 26 years with a mean age of
24.8 years. A comparison of pre- and post-performance threshé
olds revealed the amount of temporary threshold shift present
after an evening of exposure to rock and roll music.
Test Administration and Instrumentation Employed

Pure-tone air—conduction thresholds were obtained using
a Beltone (10D) and a Maico (2B) portable audiometer with
TDH-39 earphones mounted in MX-4l/AR cushions. Bone—conduction
thresholds were measured using Radioear B-70-A white dot bone-
conduction oscillators. Air-conduction thresholds were ob-
tained at octave intervals 250 through 8000 Hz with the half
octave of 3000 Hz. Bone-conduction thresholds were measured
at octave intervals from 250 through 4000 Hz plus the half
octave of 3000 Hz. Both air- and bone-conduction thresholds
were measured utilizing the Hughson-Westlake ascending tech-

nique as described by Carhart and Jerger (1959).

30

Calibration of the air- and bone-conduction systems was
made prior to and following threshold measurements using the
same calibration systems described earlier.

The test room was located on the second floor directly
above the discotheque. This room was approximately 1800
square feet in size and consisted of plaster walls, tile
ceiling and a hard-wood floor. The ambient noise level within
this room was measured to determine if the ambient noise
would interfere with the measuring of thresholds. The results
of these measurements, presented in Appendix B, revealed that
ambient noise levels for the audiometric frequencies used,
except 250 Hz, were sufficiently low so as not to interfere
with threshold measurements. (ANSI 1960)

The thresholds of these five musicians were obtained
within a time period of seven to 25 minutes upon the com-
pletion of their performance. The order of presentation of
the test frequencies was as follows: 1000, 2000, 3000, 4000,

8000, 500, and 250 Hz.

Attitudes Towards Loudly Played Music:

Five questions were presented to 50 young adults who
were divided into two groups of 25 each. Group one consisted
of musicians and audience members at a local discotheque.
Within this group there were 19 males and six females ranging
in age from 17 to 37 years with a mean age of 23.2 years.
Group two was made up of students attending a college lecture.
Within this group there were six males and 19 females ranging

in age from 19 to 34 years with a mean age of 22.2 years.

31

Since group one consisted of 19 males and six females and
group two consisted of 19 females and six males it is possible
that group differences could simply be attributed to a sex
difference. Thus, the two groups were equated for sex by
merely drawing at random six from the 19 in each group so
that both groups one and two were composed of six males and
six females. These revised groups (N=12) were then compared
to determine their attitude consistency with the larger groups
(N=25)-

The five questions, shown in Table 3, were given to
group one at a location where rock and roll music was being
played. To rule out the possible biasing effect of environ—
ment these questions were also given to group two in an en-
vironment where rock and roll music was not being played.
Hence, this group served as a control. The answers to the
five questions were recorded and analyzed to determine the

responses most frequently given.

32

Table 3. Questions employed to elicit

1a.)

b.)

2.)

3.)

4.)

5.)

attitudes regarding rock and
roll music.

Estimate the percentage of time, out of
your total music listening experience, you
listen to liyg rock music.

Estimate the percentage of time.out of
your total music listening experience, you
listen to recorded rock music.

Do you feel that rock music needs to be loud
in order to enjoy it? If so, why?

Do you think your hearing is being damaged
from exposure to this type of music?

Do you feel that rock music is typically
too loud, too soft, or just about right?
If it were a known fact that rock and roll
music was damaging to your hearing, would
you continue to voluntarily expose your

hearing to this type of hazard?

RESULTS AND DISCUSSION

PART ONE: ACOUSTICAL ANALYSIS

The first part of this study consisted of acoustically
analyzing various musical selections played by ten different
rock groups and four different marching bands. A portion of
this analysis is presented in Table 4 revealing A-weighted
sound levels, reported in dB, of ten rock and roll groups
at distances ranging from five to 60 feet from the source
of the music. All ten groups were local groups from the
Mid—Michigan area and the measurements were obtained in
discotheques except groups nine and ten. Measurements for
these two groups were gathered at outdoor concerts. The
mean sound level of the ten rock groups for 330 measurements,
regardless of distance from the source, was 98.1 dBA. The
range was 75 to 111 dBA. Table 5 summarizes the C-weighted
sound levels of the same rock groups reported in dB. The
mean sound level of the same ten groups for 330 measurements,
regardless of the distances from the source, was 103.5 dBC.
The range was 84 to 115 dBC. Table 6 shows the mean Linear
reading of all ten groups for 330 observations, regardless
of distance from the source, to be 104.6 dB SPL. The range
of observations varied from 88 to 115 dB SPL. Also presented

33

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37

in Tables 4, 5, and 6 are the means for each range of dis-
tance measured (5 - 10 feet, 11 ~ 20 feet, and 40 - 60 feet).
It can be seen with each weighting scale that the sound
pressure level decreases as the distance increases.

In addition to obtaining A-, C—, and Linear- weighted
sound levels, octave band measurements were also gathered.
The center frequencies of these bands were: 31.5, 63, 125,
250, 500, 1000, 2000, 4000, 8000, and 16000 Hz. The results
of these measurements made at a distance of five to 10 feet
from the sound source are shown in Figure 2. This figure
presents the average peak readings of the ten octave bands
for the ten rock and roll groups. Figure 3 presents the
measurements made at a distance of 11 to 20 feet from the sound
source and Figure 4 shows the readings made at a distance of
40 to 60 feet from the sound source. All measurements, re-
gardless of distance from the source, are shown as average
peak readings. Each of the three figures show that, for the
most part, the greatest amount of acoustical energy lies within
the range of 63 to 2000 Hz and that the spectral distribution
within this range is relatively flat. Also presented in Figures
2, 3, and 4 are the spectral distributions of ambient noise
levels. These measurements were obtained at the same locations
and distances that the sound level measurements were gathered
for the music. By comparing the octave band levels for the
music with the ambient noise levels it can be seen that the
ambient noise was well below the sound levels of the music.

It should be noted in Figures 2, 3, and to a lesser extent

38

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41

in Figure 4, the spectral distributions of the music and
ambient noise levels of group ten are considerably lower
than for the other groups presented. The reason for this is
that the analysis of group ten's music took place at an out-
door concert in which only approximately 25 people attended.
Because of the small audience size, they performed at a
relatively quiet level, thus, producing the results shown in
these figures.

Figure 5 presents the combined mean and range for all
of the octave band measurements obtained at the various
locations and distances from the sound source. The mean
shows the greatest amount of energy to be 98.9 dB at 125 Hz.
The figure also demonstrates that the mean spectral distri-
bution is relatively flat over a broad frequency range, 63
to 2000 Hz, with a gradual drop-off for the higher frequen—
cies.

The findings of these acoustical analyses were compared
with previous studies and will be discussed later.

Also included within the first part of this study is
the acoustical analysis of musical selections played by four
different high school marching bands. Table 7 shows the A-,
C-, and Linear—weighted sound levels of the four marching
bands at distances ranging from five to 60 feet from the
source of the music. The music of all four marching bands
was acoustically analyzed outdoors. The mean A—weighted
sound level of the marching bands for 60 measurements,

averaged across distances from the source, was 84.8 dBA.

42

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44
The range was 77 to 93 dBA. The mean C-weighted sound level
of all four bands for 60 measurements, regardless of the dis-
tance from the source, was 91.9 dBC. The range of the ob-
servations were 84 to 101 dBC. Also presented in Table 7
is the mean linear reading of all four bands which was 92.7 dB
SPL (re 0.0002 microbar). Again, this level is taken from 60
readings, regardless of the distance from the source. The
range was 87 to 103 dB SPL. The means for each range of dis-
tance (5 - 10 feet, 11 - 20 feet, and 40 - 60 feet) are also
presented in Table 7. It can be seen with the A, C, and
Linear weightings that the sound pressure level decreases
as the distance increases.

In addition to gathering A-, C-, and Linear-weighted
sound levels, octave band measurements were also obtained.
The center frequencies of these bands were identical to
the center frequencies used in the measurements of the rock
and roll bands. The measurements made at a distance of
five to 10 feet from the sound source are presented in
Figure 6. Figure 7 presents the measurements made at a
distance of 11 to 20 feet from the sound source and Figure 8
shows the measurements made at a distance of 40 to 60 feet
from the sound source. These measurements are presented as
average peak readings for each of the four marching bands.
Each of these figures reveals that the greatest amount of
acoustical energy lies within the range of 125 to 500 Hz.
Beyond this range there is a gradual sloping into the higher

frequencies.

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Also presented in Figures 6, 7, and 8 are the spectral
distributions for the ambient noise levels. The levels were
obtained at the same location and distance that the sound
levels of the music were measured. It can be seen that again
the ambient noise levels were well below the music sound
level.

Figure 9 shows the combined mean and range for all of
the octave band measurements obtained at the various distances
from the sound source. The mean shows the greatest amount
of energy to be about 86 dB SPL at 250 Hz. It is also apparent
that the greater energy lies within a frequency range of i25 to
500 Hz with a gradual reduction of acoustic energy for the
higher frequencies.

Regarding differences between the music produced by rock
and roll groups and marching bands, these distinctions were

examined and will be discussed later.

49

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PART TWO: LONGITUDINAL THRESHOLDS

The second portion of this study consisted of obtaining
pure-tone air— and bone—conduction thresholds from six
musicians who took part in the Rintelmann and Borus (1968)
study and also in a study by Rintelmann and Smitley (1971).
All measurements were made within a pre-fabricated double-
walled IAC room. Since the pure-tone air- and bone-conduction
thresholds were found to be interweaving (i 5 dB), only the
air-conduction thresholds are presented. Figure 10(A)
presents a comparison of the mean audiograms for 1968, 1971,
and 1974, rounded to the nearest five decibels, for the right
ear of each of the six musicians. Figure 10(B) presents the
same data for the left ear. Both of these figures demon-
strate that there are no substantial (greater than 10 dB)
differences between the musicians thresholds obtained in
1968, 1971, and 1974. It is also shown that the mean thresh-
olds were within normal limits at each test session.

In order to demonstrate individual threshold differences
between threshold measurements made of the six musicians in
1968 and in l97h, Table 8 is provided. This table shows the
amount of individual threshold difference between the years
1968 and 1974 for each of the frequencies tested. For example,
three musicians had a —10 dB difference in the right ear for
the frequency of 125 Hz. That is, the individual's thresh-

olds were more sensitive by 10 dB in 197M compared to 1968.
50

51

 

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est five decibels, for the six musicians' right

 

 

 

 

 

 

 

 

 

 

 

 

 

 

ears.

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Figure 10(B). A comparison of the mean pure-tone air-conduction
audiograms from 1968 to 1974, rounded to the near- .
est five decibels, for the six musicians' left
ears.

52

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53
The differences plotted on this table were computed by sub-
tracting the thresholds obtained in 1968 from the thresholds
obtained in 1974 for each of the six musicians. It can be
seen in this table that the majority of musicians demonstrated
no substantial deterioration in thresholds, however, there
were one or two subjects who demonstrated 15 dB or greater
losses at 3000 Hz and at 4000 Hz in both ears. The musician
who showed the largest change, a difference of 35 dB at
3000 Hz, was the only individual of those tested that demon-
strated hearing outside normal limits.

Figure 11 shows the pure—tone air-conduction thresholds
of this 26 year old male, who had played drums in a rock and
roll band for a period of nine years but who had ceased
playing for approximately one year prior to the time of his
last audiometric test in 1974. As can be seen in the figure,
this individual shows a classic noise-induced type of audio-
metric configuration. Based on the subject's history there
was no apparent explanation to account for this hearing loss
other than exposure to high intensity levels of rock music.

Since one musician demonstrated a loss in hearing, it
can be said that the present study supports the notion that
there are some individuals who are seemingly highly suscep-
tible to a noise-induced hearing loss. However, it appears
that the majority of individuals can be exposed to high levels
of rock music, approximately 109 dB SPL, (or 103 dBA) for a
period of 7.3 years consisting of an average of 22.5 hours
per week without suffering substantial changes in their

auditory thresholds.

 

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FREQUENCY (Hz)

Figure 11. Pure-tone aireconduction thresholds for right and
’ left ears of a.26 year old male rock and roll
musician Who played drums in a band for a period of
nine years. Bone-conduction thresholds are not
.shown but were interweaving with the air-conduction
thresholds.

PART THREE: TTS MEASUREMENTS

The third part of this study consisted of obtaining
threshold measurements from a group of five rock and roll
musicians to determine temporary threshold shifts (TTS).
Pure-tone air- and bone-conduction thresholds were measured
on all five musicians approximately one-half hour prior to
their performance that evening. The amount of time that had
elapsed between this test and their most recent performance
was approximately 19 hours.

Appendix B shows the ambient noise levels of the test
room used for this portion of the study. According to the
ANSI standards for background noise in audiometer rooms
(ANSI, 1960), the ambient noise had possibly interferred
with the lower frequency threshold of 250 Hz. However, the
high-frequency region which is more susceptible to TTS
appears to be free from interferring ambient noise.

After the group had played four 40 minute "sets" and
one 30 minute "set", with 20 minute breaks in between each
"set", at overall intensity levels of approximately 108 dB SPL
(or 102.2 dBA), pure-tone air- and bone—conduction threshold
measurements were obtained. These measurements were made
within seven to 25 minutes of the end of their performance.
Figure 12 presents the average TTS for the five musicians as

a function of frequency for both righ and left ears. This

55

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MEAN TEMPORARY THRESHOLD SHIFT IN (IS
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250 500 IK 2K 3K 4K 8K
FREQUENCYIN HERTZ

Figure 12. Amount of average temporary threshold shift
.(7 - 25 minutes post-exposure) resulting from
playing rock and roll music for an evening.
(N=5 musicians)

57

demonstrates that with the exception of the left ear at
4000 Hz, the mean TTS was five dB or less at all test
frequencies. Thus a minimal amount of TTS was found.

The TTS exhibited by each subject as a function of
frequency is shown in Table 9. This table reveals that in
no instance did any musician receive more than 10 dB of TTS
at any frequency. In fact, except for the left ear at
4000 Hz, most musicians demonstrated five decibels or less
TTS. It should be noted that these findings differ some-
what (show less TTS) from the results of previous studies.

These differences will be discussed later.

58

Table 9. Amount of tem orary threshold shift (7—25 minutes
post—exposure resultin from playing rock and roll
music for an evening. N=5 musicians).

TTS in dB Frequency in Hertz

RIGHT EAR 250 500 1000 2000 3000 4000 8000

 

 

 

 

 

 

 

 

 

 

 

-10 1*
- 5 1 1
0 4 4 3 1 2 2
+ 5 1 2 3 2 5 1
+10 1 1
MEAN TTS: -2 +1 +2 +2 +4 +5 +2
LEFT EAR 250 500 1000 2000 3000 4000 8000
-10
_ 5 1
0 4 2 2 2 2 1
+ 5 1 3 3 1 2 2 3
+10 ' 2 1 3
MEAN TTS: +1 +3 +3 +5 +4 +8 +2

*The number indicates how many subjects displayed a given
amount of TTS.

PART FOUR: LISTENER ATTITUDES

The fourth and final portion of this study consisted of
obtaining attitudes towards loudly played music from 50 in-
dividuals. These 50 individuals were divided into two
groups of 25. The first group consisted of rock musicians
and individuals who were present where rock music was being
played. The second group was composed of students who were
attending a lecture on a college campus when the questions
were given. Both groups were given a questionnaire asking
the following five questions: 1.) "Estimate the percentage
of time, out of your total music listening experience, you
listen to 1139 rock music", and "Estimate the percentage of
time, out of your total music listening experience, you lis-
ten to recorded rock music". 2.) "Do you feel that rock
music needs to be loud in order to enjoy it? If so, why?"
3.) "Do you think your hearing is being damaged from exposure
to this type of music?" 4.) "Do you feel that rock music is
typically too loud, too soft, or just about right?" 5.) "If
it were a known fact that rock and roll music was damaging
to your hearing would you continue to voluntarily expose
your hearing to this type of hazard?" The answers obtained
to these five questions are presented in Table 10.

In regards to question number one, the mean percentage

of time the individuals in group one said they listened to

59

60

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61

'lixg rock music was 21.4%. The mean percentage of time,
stated by this group, spent listening to recorded rock music
was 75%. The remaining 3.6% of the time was spent listening
to music other than rock. Group two answered with a mean
percentage of 11% concerning the time spent listening to
113; rock music and a mean percentage of 61.6% listening to
recorded rock music. Again, the remaining 27.4% of time was
devoted listening to music other than rock.

With question number two, twenty-two (88%) of the in-
dividuals from group one felt that rock music did not need
to be loud in order to enjoy while two people felt that it
needed to be loud. The reason one of these individuals gave
for answering yes was that "it's something about the vibro—
tact experience that adds to it." The other individual an-
swered that his attitude would fluctuate from day to day in
regards to whether or not rock music should be loud. In the
second group twentyeone (84%) of the people felt that rock
music did not need to be loud in order to enjoy it and two
people felt that loudness was necessary. One person's com-
ment was when the music is loud, its easier to get into a
"relaxed mood of enjoyment." Two people in the second group
responded that rock music sounds good loud, but then, it can
also sound great when its quieter, depending on their par-
ticular mood.

The first group answered question number three with ten
(40%) of the people stating that they believed their hearing

was being damaged from exposure to rock music, fourteen (56%)

62

of the people disagreeing with that and one person "not
knowing nor caring". Group two answered this question with
nine (36%) of the people thinking their hearing was being
damaged from exposure to rock music and sixteen (64%)
disagreeing with this.

Twenty (80%) of the individuals in group one responded to
question number four by saying that rock music is typically
just about right in loudness while five (20%) of the people
felt that it was typically too loud. Group two had almost
the opposite response of group one. Eighteen (72%) of the
people felt that rock music was typically too loud while only
seven (28%) of the people thought it was just about right.

It should be noted that the possibility existed that differ—
ences between these two groups responses were attributed to

sex differences. Therefore, the groups were revised into two
smaller groups of 12 each equated by sex, six males and six
females. A comparison was then made between the revised groups
one and two. Ten (83%) of the individuals in group one
responded by saying that rock music is typically just about
right in loudness while two persons felt that it was typically
too loud. Again, group two had the opposite response. Nine
(75%) of the people felt that rock music was typically too

loud while only three people felt that it was just about right.
Thus, the differences between groups one and two regarding their
responses to question four did not change when these groups were

equated for sex.

63

The answers to question number five fell into three
categories. The majority of individuals, 20 (80%) in group
one and 17 (68%) in group two, responded by saying they would
not continue to voluntarily expose their hearing to rock music
if it was known to be hazardous. One person in group one said
he would continue to listen to rock music, but not as frequently.
In group two, four people said they would also listen to rock
music, but not as frequently. In both groups one and two,
four individuals responded to this question by saying that they
would voluntarily continue listening to this type of music.
Although five of these people did not give a reason for this
response, two individuals in group one related this possible
hazard to the known hazard of smoking. They said even though
smoking is hazardous to ones health they still continue to smoke
and rock music would be treated in the same fashion if indeed
it was proven to be hazardous to ones hearing. One person in
group two responded by saying that loud rock music serves as
such a great "psychological stimulant" that it would be worth
taking the chance of possible damage to the auditory system.

In general, the majority of subjects in both groups one
and two listened to a great deal of rock music that was
primarily recorded versus live, felt that rock music did not
need to be loud in order to enjoy it, felt that their hearing
was not being damaged by rock music, but said they would not
continue to voluntarily listen to this type of music if it
were known to be hazardous. The two groups, however, did vary

in their answering of question number four. The majority of

 

64

group one felt that rock music was typically just about
right, while the majority of group two felt that it was
typically too loud.

DISCUSSION

Acoustic Analysis of Rock Groups and Marching Bands:

According to Table 6 the results of the first portion
of this investigation do not show substantial differences in
the average overall sound pressure level in dB of rock groups
from the majority of previous studies (Lebo et a1. (1967),
Rintelmann and Borus (1968), Speaks and Nelson (1968),
Rintelmann (1969), Flugrath (1969), and Lipscomb (1969)).
Rintelmann (1970) reviewed the results of these six indepen-
dent studies and found the average intensity of rock music
measured with the linear scale of a sound level meter to be
approximately 104 to 111 dB SPL (re 0.0002 microbar). The
measuring distances ranged from one to 20 feet from the
stage. Results of the present investigation show the average
intensity measured with the linear scale to be 108.9 dB SPL
(re 0.0002 microbar) at five to 10 feet from the stage and
104.5 dB SPL at 11 to 20 feet from the stage.

According to Table 4, with the A scale of a sound level
meter, the average intensity of the rock music was 98.1 dBA
for distances ranging from five to 60 feet from the stage.
Further, there seems to be little variation in the octave
band sound pressure levels obtained in this study from those
obtained in previous studies by Rintelmann and Borus (1968)

and Rupp et a1. (1974).
65

66

Thus, the results of this study support the notion that
the sound pressure levels of rock groups are not as intense
as some investigators have indicated (Lipscomb, 1969). Also,
it appears that the intensity levels of "live" rock music
have not changed appreciably within the past few years. Thus,
the notion that "live" rock music has become more intense in
recent years due to the availability of more powerful ampli-
fying systems, is not supported by the results of the present
study.

When applying the guidelines proposed by Cohen, Anticaglia,
and Jones (1970) concerning the safe levels for noise exposure
in non-occupational environments, the average sound level
obtained in this study (98.1 dBA) is 13 dB higher than the
safe damage risk criterion level proposed by Cohen et al..
This is assuming an individual listened to rock music for a
period of two hours continuously. The proposed guidelines of

Cohen et al. (1970) are reviewed below:

LIMITING DAILY EXPOSURE TIMES FOR SOUND LEVEL
NON-OCCUPATIONAL NOISE CONDITIONS IN dBA
Less than 2 minutes. . . . . . . . . . . . I . . . 115 dB
Less than 4 minutes. . . . . . . . . . . . . . . . 110 dB
Less than 8 minutes. . . . . . . . . . . . . . . . 105 dB
15 minutes . . . . . . . . . . . . . . . . . . . . 100 dB
1/2 hour . . . . . . . . . . . . . . . . . . . . . 95 dB
1 hour . . . . . . . . . . . . . . I . . . . . . . 90 dB
2 hours. . . . . . . . . . . . . . . . . . . . . . 85 dB
4 hours. . . . . . . . . . I . . . . . . . . . . . 80 dB
8 hours. . . . . . . . . . . . . . . . . . . . . . 75 dB
16 - 24 hours. . . . . . . . . . . . . . . . . . . 70 dB

Cohen et al. (1970, p. 13)

67

According to these guidelines an individual could listen
to rock music at levels obtained in this study (98.1 dBA) for
a period of 15 to 20 minutes without concern of damage to the
hearing mechanism as a result of the music.

If applying the damage risk criterion put into effect by
the Occupational Safety and Health Administration (1971), a
person could listen to rock music at a level of 98.1 dBA for
a period of nearly three hours, safely. However, since OSHA
guidelines are primarily concerned with occupational noise,
the guidelines of Cohen et al. (1970) concerning non-occupational
noise appear more stringent and most likely safer.

The above statements primarily apply to audience members
whereas the musicians are exposed to a somewhat higher level
(an average of 103 dBA). Because of this, a greater amount of
risk is involved. In order to be safely exposed to rock music
at this level, an individual's exposure should be for a period
of less than eight minutes, according to the criterion
proposed by Cohen et al. (1970). However, if applying the
OSHA (1971) standards, an individual could tolerate rock music
at levels obtained in this study (an average of 103 dBA) for a
period of nearly 1% hours continuously.

The second segment of the acoustical analysis dealing
with music produced by four marching bands is reviewed in
Table 7. It is clear from these results that there is a
substantial difference between rock music and music produced
by marching bands. Not only is the average overall intensity

considerably less for marching bands than for rock music,

68

but the octave band SPL's are also substantially different.
For example, when comparing the dBA results in Tables 4 and
7 there is a notable difference in the grand means (nearly
14 dB) between the music produced by marching bands and the
music produced by rock groups (84.8 dBA and 98.1 dBA respec-
tively). It should be noted that all measurements of the
marching bands were made outdoors whereas measurements for
eight of the ten rock groups were gathered in an enclosed
environment. Hence, reverberation contributed to the higher
SPL output for the rock music compared to the marching bands.
When the damage risk criterion proposed by Cohen et al. is
applied to the marching band music, it is apparent that an
individual could listen to this music for a period of two
hours. The OSHA guidelines, on the other hand, state that an
individual could listen to marching band music at a level of
84.8 dBA for a period greater than eight hours without concern
of damage to the hearing mechanism. These statements, however,
primarily pertain to audience members while the musicians of
these bands would be exposed to a more intense level (89.3 dBA)
of music. When applying this level to the guidelines proposed
by Cohen et a1. (1970) it can be seen that an individual could
be exposed to this music for one hour, safely. However, if
the OSHA (1971) guidelines are employed a person could perform
in a marching band for an eight—hour period.

With the completion of this analysis, it is apparent that
music produced by the marching bands is also a hazard for the
musicians, but not as hazardous as that music produced by the

rock bands analyzed in this study.

69

Measurements of Possible Noise-Induced Hearing Losses Present
in Musicians:

According to Figures 10 (A) and 10 (B), the six rock
musicians of the present study, when averaged as a group,
revealed no substantial hearing loss over slightly more than
a seven year period. During this time the musicians spent
an average of 22.5 hours performing per week. However, when
these musicians are reviewed separately as in Table 8, one
individual out of six had incurred a mild noise-induced
hearing loss. Thus, the present study supports the supposition
that there are some individuals who are apparently more
susceptible to noise-induced hearing losses than others. More
importantly, this study demonstrated that the majority of
individuals can be exposed to levels of rock music of approxi-
mately 109 dB SPL without producing deterioration in pure-
tone thresholds. This longitudinal investigation on a small
sample of rock and roll musicians lends support to the earlier
findings of Rintelmann and Borus (1968), namely, that exposure
to rock music does not represent an undue hazard to hearing

for the majority of individuals exposed.

Threshold Measurements to Determine Amount of Temporary
Threshold Shift:

The amount of temporary threshold shift found in the
group of rock and roll musicians who had performed for an
entire evening in an acoustic environment of approximately

108 dB SPL was minimal (see Figure 12 and Table 9). In most

70
cases less than five dB of TTS was found. There were, however,
temporary threshold shifts greater than five dB in four of
the five musicians but there were no musicians that revealed
a shift of more than 10 dB. This finding was not unforeseen
and agrees somewhat with a previous study completed by Speaks
and Nelson (1968). In contrast, however, Jerger and Jerger
(1970) stated that out of nine musicians, eight showed
temporary threshold shifts in excess of 15 dB for at least
one frequency between 2000 and 8000 Hz within one hour of the
concert's termination. According to the Committee on Hearing,
Bioacoustics and Biomechanics (CHABA) Working Group 46,
Kryter et al. (1966), noise is considered hazardous if it
produces more than 20 dB TTS2 at 4000 Hz during a work day
over a period of years. Since the above cited damage risk
criterion is based on TTS measured two minutes post-exposure,
direct comparison with the results of the present study (TTS
measured within seven to 25 minutes post-exposure) is somewhat
difficult. However, Rintelmann et al. (1972) have demonstrated
that recovery patterns for both continuous and intermittent
music follow the logarithm of time rule. They found at
4000 Hz, an average TTS of approximately 25 dB two minutes
post+exposure and approximately 13 dB at 30 minutes post-
exposure. Applying the above Rintelmann et al. (1972)
extrapolation and the CHABA (1966) Damage Risk Criterion
to the present study, it appears that the musicians did not
receive sufficient TTS at 4000 Hz to be regarded as hazardous.

Hence, based upon the amount of temporary threshold shift

I III. III III ‘I .II
III III

71
found, one would predict only a minor risk, or perhaps even
no risk, to the musicians auditory mechanisms as a result of

exposure to the rock music.

Attitudes Regarding Loudly Played Rock Music:

The attitudes of two separate groups towards loudly
played rock music were obtained. Group one consisted of
musicians and people attending a rock concert and group two
was made up of people attending a college lecture. There
were not large differences between the two groups with respect
to four of the five questions. The majority of both groups
listened to a greater amount of recorded rock music versus
.ligg_rock music, felt rock music did not need to be loud
in order to enjoy it, did not believe their hearing was being
damaged from exposure to rock music, and would not continue
to voluntarily expose their hearing to this type of music
if proven hazardous. However, there were differences
manifested when given the question regarding whether rock
music is typically too loud, just about right, or too soft.
The majority of group one felt that rock music was just
about right while the majority of group two felt that it was
typically too loud. Though the feelings of group one re-
garding this question were somewhat unexpected, the opinions
of group two were not surprising and tend to agree with those

obtained in a 1968 study by Rintelmann and Borus.

SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS

This study consisted of four parts: (1) an acoustical
analysis of ten rock and roll groups and four marching bands;
(2) threshold measurements on six musicians exposed to rock
and roll music for a period of approximately seven years:

(3) temporary threshold shift (TTS) measurements of five
musicians after playing for an entire evening: and (4) an
evaluation of attitudes of two groups of 25 young adults

towards loudly played rock and roll music.

SUMMARY

Music played by ten rock and roll groups and four high
school marching bands was acoustically analyzed. Measure-
ments of intensity of the dBA, dBC, and Linear scale, plus
octave band analyses were obtained on each group.

Rested (non-noise fatigued) pure-tone air-conduction
thresholds from six musicians exposed to loud rock and roll
music for approximately seven years were determined at octave
intervals of 125 through 8000 Hz with the half octave of
3000 Hz. Pure-tone bone—conduction thresholds were deter—
mined at octaves 250 through 4000 Hz plus the half octave of

3000 HZ.

72

73

For purposes of determining the amount of temporary
threshold shift, pure-tone air-conduction thresholds at
octaves 250 through 8000 Hz with the half octave of 3000 Hz
were obtained from a group of five rock and roll musicians
prior to and immediately following an evening of performing.
Their performance consisted of four 40 minute "sets" and
one 30 minute "set" with 20 minute breaks between each "set".

Fifty young adults, divided into two groups, were given
five questions to be answered in regards to their attitudes
towards loud rock and roll music. Group one consisted of
musicians and audience members at a local discotheque and

group two consisted of students attending a college lecture.

CONCLUSIONS

Within the limitations of this study, the following
conclusions appear warrantedI

1.) There were no substantial differences in the acous-
tical analyses of "live" rock and roll music ob-
tained in the present study from the majority of
measurements obtained in previous studies. Within
a range of five to 60 feet from the sound source,
average measurements were 98.1 dBA and 104.6 dB
(Linear) SPL (re 0.0002 microbar).

2.) There were substantial differences, in both overall
intensity levels and spectral distribution, between

rock and roll music and music produced by marching

3.)

4.)

5.)

74
bands. Music produced by the marching bands, within
a range of five to 60 feet from the sound source
averaged 84.8 dBA and 92.7 dB (Linear) SPL (re
0.0002 microbar). This difference in overall in-
tensity level of approximately 13 and 12 dB re-
pectively between marching band music and rock
music demonstrated that rock groups produce sub-
stantially more intense music than do high school
marching bands.
Generally, there were no substantial (greater than
10 dB) changes in the pure—tone thresholds in five
out of six musicians who had been in contact with
loud rock and roll music for a period of approxi-
mately seven years. Hence, when musicians were
followed over a period of approximately seven
years, deterioration of auditory thresholds was
not found
There was no sizeable amount (most cases five dB
or less) of TTS present in a group of five rock
and roll musicians after an evening of playing.
When the attitudes of a group of musicians and
spectators in a discotheque were compared to the
attitudes of a group of college students in a class-
room, the majority of musicians and spectators felt
that rock music is just right while the majority
of the second group felt that rock music is too

loud.

6.)

1.)

2.)

75
There were no substantial differences among the
four remaining questions between the two groups
concerning their opinions towards loudly played
rock and roll music. Specifically, these young
adults stated:

a.) they listened to a greater amount of
recorded music versus 1119 rock music.

b.) rock music did not need to be loud in
order to enjoy it.

c.) they felt that their hearing was not
being damaged from exposure to rock
music.

d.) they would not continue to voluntarily
expose their hearing to this type of

music if proven hazardous.

RECOMMENDATIONS

The overall sound pressure levels of music played
by rock and roll bands should be measured in one
to two years to determine whether the intensity
levels of this type of music is remaining stable,
increasing or decreasing.

Music produced by marching bands both in enclosed
and outdoor environments should be acoustically
analyzed and compared to determine whether there

are substantial differences resulting from these

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76

two types of environments. If the SPL output is
increased in an enclosed environment (e.g. music
practice room), the potential damage risk must be
re-evaluated.

In order to continue to determine long-term effects
of rock and roll music, a group of musicians should
be tested annually (if possible) for at least ten
years. During this period the results from pure—
tone, speech, and various site of lesion tests (e.g.
tone decay) should be gathered. This would permit
a detailed evaluation of the potential effects

upon the auditory system.

The present TTS study should be replicated with the
following changes. Threshold measurements from
both musicians and listeners should be obtained
periodically during the course of an evening to
determine possible cumulative TTS. Therefore, post-
exposure threshold measurements should be obtained
following each "set" so that differences throughout

the evening can be measured.

APPENDI CE S

APPENDIX A

INDIVIDUAL THRESHOLDS OF‘EACH MUSICIAN IN 1968, 1971,
AND 1974 SHOWN BOTH IN TABULAR AND IN AUDIOMETRIC FORM.

77

APPENDIX A

INDIVIDUAL THRESHOLDS OF EACH MUSICIAN IN 1968, 1971,

AND 1974 SHOWN BOTH IN TABULAR AND IN AUDIOMETRIC FORM.

Table A-1.

Subject 1 - Pure-tone air-conduction thresholds
in dB Hearing Level (1968, 1971, 1974) for right
and left ears of a 28 year old male rock and roll
musician who played woodwinds in a band for a
period of 10 years. Bone-conduction thresholds
are not shown but were interweaving with the air-
conduction thresholds.

 

 

 

 

 

 

 

31221 LEFT

1.2.. 122212211222 126212211222
125 20 -- 10 20 -- 10
250 20 15 10 15 10 5
500 20 10 5 . 10 10 5
1000 0 0 0 -5 0 0
2000 0 0 -5 5 5 0
3000 10 -- 10 0 -- 5
4000 30 25 25 o 0 15
8000 45 10 35 20 15 10

 

 

 

 

 

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79

Table A—2. Subject 2 - Pure-tone air-conduction thresholds
in dB Hearing Level (1968, 1971, 1974) for right
and left ears of a 26 year old male rock and
roll musician who played guitar (lead and bass)
for a period of seven years. Bone-conduction
thresholds are not shown but were interweaving
with the air-conduction thresholds.

 

 

 

 

 

 

 

 

RIGHT 1131

HE 1222 1221. 1222. 1222. 1221. 1222
125 5 5 o 15 10 -5
250 15 5 0 15 o -5
500 10 5 0 10 5 -5
1000 0 5 5 10 5 5
2000 0 1o 5 5 0 5
3000 5 15 15 5 5 5
4000 15 20 20 10 5 10
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Table A-3. Subject 3 — Pure-tone air-conduction thresholds
in dB Hearing Level (1968, 1971, 1974) for right
and left ears of a 26 year old male rock and roll
musician who played guitar (rhythm, lead, bass,
and drums), for a period of seven years. Bone-
conduction thresholds are not shown but were
interweaving with the air-conduction thresholds.

 

 

 

 

 

 

 

 

RIGHT 11131

22 126.2 1221 1222 1222 1221 1272
125 15 15 5 15 15 0
250 15 10 0 10 15 -5
500 5 0 0 5 0 0
1000 0 0 5 5 0 . 10
2000 0 o 5 0 -5 5
3000 0 0 5 o 0 -5
4000 0 0 0 5 0 5
8000 0 0 0 5 -10 5

 

 

 

 

 

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Table A-4. Subject 4 - Pure-tone air—conduction thresholds
in dB Hearing Level (1968, 1971, 1974) for right
and left ears of a 26 year old male rock and roll
musician who played the drums in a band for a
period of nine years. Bone-conduction thresholds
are not shown but were interweaving with the air-
conduction thresholds.

 

 

 

 

 

 

 

 

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22 1222. .1221 1222 1222 1 1 1222
125 10 .5 5 20 5 10
250 10 0 5 20 0 5
500 5 0 10 10 o 5
1000 5 0 15 0 0 10
2000 10 5 15 15 5 20
3000 0 5 35 20 10 45
4000 10 0 40 20 5 35
8000 0 5 15 20 10 25

 

 

 

 

 

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Table A-5. Subject15 - Pure-tone air-conduction thresholds
in dB Hearing Level (1968, 1971, 1974) for right
and left ears of a 25 year old male rock and roll
musician who played bass guitar for a period of
five years. Bone-conduction thresholds are not
shown but were interweaving with the air-conduction

 

 

 

 

 

 

 

 

thresholds.
RIGHT 1121

2.2. 1228. 122.1. 1222 1222 1 1 1222
125 10 0 0 10 0 o
250 10 0 5 5 0 0
500 5 0 5 0 0 0
1000 5 0 5 0 0 0
2000 10 5 5 10 0 5
3000 5 5 10 5 O 5
4000 10 0 10 25 5 15
8000 10 0 0 5 5 0

 

 

 

 

 

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Table A—6. Subject 6 - Pure-tone air—conduction thresholds
in dB Hearing Level (1968, 1971, 1974) for right
and left ears of a 25 year old male rock and roll
musician who played lead guitar for a period of
six years. Bone-conduction thresholds are not
shown but were interweaving with the air-conduction

 

 

 

 

 

 

 

 

thresholds.
RIGHT 11:1

2.2. 126212211222 126212711222
125 15 1o 10 10 10 0
250 10 5 5 10 0 0
500 5 5 0 0 0 0
1000 o 0 5 -5 0 0
2000 -5 0 0 -5 0 0
3000 —5 0 5 0 0 5
4000 5 0 20 5 5 0
8000 10 0 10 15 0 10

 

 

 

 

 

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APPENDIX B

AMBIENT NOISE LEVELS MEASURED IN THE TEST
ROOM FOR THE TTS INVESTIGATION.

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