HEARING IN POP ROCK MUSICIANS - A FOLLOW-UP-STUDY

In 1975, the threshold hearing levels (HLs) of 83 Swedish and British pop/rock musicians were examined with pure tone audiometry. At that ti me we found 13% of the musicians with a hearing loss > 20 dB HL at a h igh frequency pure tone average (3, 4, 6, and 8 kHz). The aim of the p resent investigation was to conduct an audiometric follow-up study of these musicians 16 years after the first examination. Fifty-three of t he 83 pop/rock musicians were retested in 1991 to 1992. They also fill ed in a questionnaire concerning occupational noise activities, leisur e noise activities, general health problems and subjective symptoms re lated to loud music exposure. The median pure tone audiogram was withi n 20 dB HL at all test frequencies. On an individual basis, 63% had no rmal high frequency pure tone average scores and another 15% had a ver y limited high frequency hearing loss (less than or equal to 25 dB HL) . It seems surprising that pop/rock musicians after performing for 26 years have such well-preserved hearing. There might be a protective ef fect by the generally positive attitude from the musicians toward thei r performance and their audience. Regarding the loud and more or less continuous sound levels over 85 dBA there might also be a protective e ffect from a continuous contraction of the stapedius muscle.