Hear The Music

This is from an August 14, 2011 article written by Mike Kepka of the San Francisco Chronicle in his column “The City Exposed”…. Dr. Ephraim Engleman takes out the hearing aid in his left ear. He slides his bow down the thickest string of his beloved violin. A faint smile moves over his face as his eyes dance over the

When fitting hearing aids with music in mind, one has to have music in mind. Of the many differences between speech as an input to a hearing aid, and music as an input to a hearing aid, is the crest factor.  Assuming that you have selected the hearing aid appropriately in order to ensure that overly intense music does not

Dr. Joe Smaldino put me on to some apps that can be downloaded onto your iPhone, iPod touch, or iPad.  For those of you who don’t know Joe, think “room acoustics”.  He, along with Drs. Carol Flexer and Carl Crandell wrote the seminal book on room acoustics for hard of hearing children. Normally I would simply reach up and pull

Recently the Performing Arts Medicine Association (www.artsmed.org) and the National Association of Schools of Music (NASM) have collaborated on hearing health for the performing artists.  These documents have just been placed on the NASM web site for administrators, faculty and students.  This is an important step in the communication of evidence-based health care topics relevant to musicians from students to

If you look through the literature, there are literally tons (or in Canada, tonnes) of articles about the noise levels measured in an orchestra.  I am certainly guilty of this and have been doing this since the mid-1980s.  But, am I wasting my time? Does it really matter whether the sound level in a large string section is 104 dBA

I received this comment to an earlier blog on Weber’s Law from Dr. Brian Moore in the UK…. ‘Reducing the stereo volume from 60 dB to 55 dB may be quite noticeable, but barely noticeable if one were to reduce the stereo volume from 90 dB to 85 dB.’  … This is a mis-interpretation of Weber’s law. A reduction in

A performance stage is an amazing piece of architectural and acoustic design.  All locations on the stage need to be visualized from as many points in the audience as possible, and the sound level emanating from every part of the stage needs to have similar characteristics.  Very soft “pianissimo” sounds need to be audible, and very loud “fortissimo” sounds needs

The Weber Law (pronounced VEY-ber) has been around for about 175 years.  Also called the Weber-Fechner (pronounce FEK-ner) Law after one of his students gave it its mathematical underpinning, this is a law that attempts to summarize some of our perceptual attributes, such as loudness.  Simply put, the Weber Law states that the just noticeable difference is a constant ratio

The ER-15 earplug was the first to have uniform attenuation and it has been commercially available since 1988.  Its sister earplug, the ER-25 which is more appropriate for drummers and other percussionists reached the marketplace in 1992.   Since that time, the ER-15 earplugs have become the mainstay of hearing loss prevention for those in the performing arts.  More recently other

Every rocker I have ever met (and I go back to the 60s) says that rock and roll needs to be loud.  They are absolutely correct.  To truly enjoy rock music one needs to involve all parts of the brain that respond to the visceral rush of loud music- this ranges from the Amygdala, to the Cerebellum, from the hypo-campus