Samuel Duarte Quest Academy Dacono, Colorado 80514

Transcription

Should
Great Highland
Bagpipe Players
Wear Earplugs?
Samuel Duarte
Quest Academy
Dacono, Colorado 80514
Table of Contents
Abstract………………………..………………...….……….. 1
Research Plan…………………………………..…………… 2
Research Question…………………….………….…….…… 4
Purpose Statement………………….…………..……….…… 4
Hypothesis……………………………..………….…..….…. 4
Review of Literature……………..…….…………..…………5
Materials……………………………………………...……..17
Procedure……………………………….……..…………… 17
Results…………………………………….……………..…. 20
Conclusion………………………………………….….……29
Next Steps………………………………………………….. 31
Bibliography……………………………………….………..32
Acknowledgements………..….……………...…..………… 37
2
Abstract
Should Great Highland Bagpipe players use ear protection when practicing, to avoid hearing loss
and/or damage? Compared to other instruments there is little research published on bagpipe decibel
(dBA) levels and the risk of noise-related hearing loss for pipers. My research on noise related hearing
loss in pipers has the potential to provide information not readily available, as well as provide information
that can be applicable to other musicians, and even other professions and activities.
I used a decibel meter to measure dBA levels at pipe band events and practices. I measured
individual sound levels, group sound levels, and the sound levels of pipers and drummers together. I also
measured sound levels on practice chanters in addition to full bagpipes. The purpose of this data
collection was not to determine which band is the loudest, compare indoor and outdoor sound levels, or
find the absolute loudest sound a bagpipe can make, but rather to determine a range of noise levels
players might be exposed to during practice and/or performance.
Two different US governmental agencies, Occupational Safety and Health Administration
(OSHA) and the National Institute for Occupational Safety and Health (NIOSH) both provide sound level
guidelines to avoid hearing loss; NIOSH has the more conservative recommendations. The guidelines are
dependent on both sound level and duration. I discovered that the sound levels produced by individual
pipers on full bagpipes and pipe bands exceed safe levels according to both organizations, considering the
duration of typical practice times. Pipers should use earplugs. However, for musicians the correct type of
earplug is extremely important. Musicians earplugs should have flat attenuation, equal at all frequencies,
and not too much overall attenuation, so that the sounds heard are uncompromised.
1
Research Plan
I will use a BAFX Products - Decibel Meter / Sound Level Reader to measure the decibel
level produced by full Great Highland Bagpipes, bagpipe practice chanters, bagpipe goose and
full pipe bands (multiple players) to see if they exceed recommended levels for the frequencies
produced. Measurement will be made both at the distance of spectators, and at the point of the
bagpipe player (or center point of a pipe band). I will then compare these decibel levels to tables
with frequency and exposure time to see at what duration of exposure at tested levels ear
protection would be recommended.
I will make my tests in several venues. I will visit the Longs Peak Scottish-Irish
Highland Festival in Estes Park to take readings from a variety of different spectator areas. I will
also visit practices of local pipe bands to measure the levels of the entire band playing together,
and of individual pipers when they play alone. I will measure the decibel levels of the band and
individuals on both the practice chanters and full bagpipes, because both are regularly used at
practices. Testing different pipers and testing in more than one venue will provide more reliable
results and take into account the possibility of individual variation.
I will not be directly testing human subjects in any way, only testing decibel levels at
already existing practices and performances open to public access. I will not be testing humans
for hearing loss, ask them to perform tasks they are not already performing and regularly
perform at practices and performances, survey them regarding symptoms of, or opinions on,
hearing loss, and will collect absolutely no personal information of any kind. All data collected
will be the available to any impartial observer, although at smaller venues there may be
unintentional interaction (possibly questions on their part) initiated by the pipers playing the
bagpipes I will be testing.
2
I will test the decibel level of my own bagpipe, practice chanter and bagpipe goose during
my regular daily practice, and will not do any tasks I don’t already perform on a daily basis, or
do those tasks any longer than I regularly do them. I will be monitored by my parents during
data collection and I will have earplugs available if at any time the noise level produces sound
levels above Penn State’s "Rule of Thumb" for determining the need for hearing protection (“A
good "rule of thumb" for determining if your work area or activity requires hearing protection is
as follows. If you have difficulty hearing or understanding a "normal" tone of voice at a distance
of about three feet, noise levels are probably exceeding safe levels and you should be using
hearing protection”) or above levels indicated on the decibel charts for safe exposure. I have
consulted an audiologist about my plan and she has approved it and will be supplying
appropriate earplugs in my correct size, in case they are needed. All activities at which I will
take measurements are activities normally open to public access. In addition, the exposure to
sound will be brief, and OSHA guidelines allow greater decibel levels when the exposure is for
shorter times. I will be doing my testing for short periods, not entire band practices. Finally, I
will not test the sound levels of any pipe bands or pipers while they are playing in bars or pubs or
any other venue unsuitable for a 12 year old.
3
Research Question
Should Great Highland Bagpipe players use ear protection when practicing, to avoid
hearing loss and/or damage?
Purpose Statement
Hearing well is important for communication and quality of life, but it is especially
important for musicians. I am learning to play the bagpipes, a difficult instrument that requires
hours of practice, and I would like to know if my hearing (and that of other pipers) should be
protected during practice and performances. I will determine not only what level bagpipes and
pipe bands perform and practice at, I will then research to discover if and how long exposure to
those levels is safe. I will be able to compare my findings to other instruments with published
decibel levels to apply my findings to those instruments as well. My research will not only be
relevant to pipers, but to other musicians and also to the listening public, and even has
application for people who work in noisy environments or have noisy pastimes, law enforcement
and military personnel.
Hypothesis
I predict that the sound output from Great Highland Bagpipes will reach a decibel level
above the level at which ear protection is recommended by Occupational Safety & Health
Administration (OSHA) and/or National Institute for Occupational Safety and Health (NIOSH)
for the periods of exposure during practice.
4
Review of Literature
The Great Highland bagpipe is an instrument played by an estimated 50,000 pipers
worldwide. While it is most associated with Scotland it is played in many countries around the
world, especially those such as the United States, Canada, New Zealand, England, Australia and
South Africa, with large Scottish emigrant populations, as well as in many countries that were
formerly part of the British Empire. Different types of bagpipes have been around for 1000’s of
years and are seen in the history and art of the Middle East, Italy and other parts of Europe.
Highland Bagpipes have been documented in Scotland since around 1400, although there are
people who argue they were used in Scotland in the 1300’s. Great Highland Bagpipes are
associated with the British military. They are an instrument that is known for being very loud
and rousing, and is traditionally often played
outdoors.
Bagpipes are a very unique woodwind
instrument and present playing challenges not present
in other woodwinds. A modern bagpipe has a bag, a
chanter, a blowpipe, two tenor drones, and one bass
drone. It has a total of four reeds, a single reed in
each drone and a double reed in the chanter. It also
differs from other reed instruments because all of the
reeds are enclosed in the instrument and the player
cannot change the sound by tonguing or changing
mouth position. Also, as air flow to the reeds from the
1
Bagpipe diagram1
Lenz, Andrew. Andrew's Bagpipes Tips: Bagpipes Parts. Digital image. Bagpipejourney.com. N.p., 2011. Web. 29
Sept. 2014.
5
bag is continuous, notes cannot be stopped by stopping airflow. Because of this, grace notes, or
series of grace notes called embellishments, must be used to separate the notes of the melody.
These quick and complicated sets of embellishment notes include: doublings, leumluaths,
taorluaths, throws, grips, and birls, with special embellishments for pìobaireachd tunes such as
the dare, vedare, chedare, darado, and crunluath. The difficulty of the instrument means pipers
often start at a young age and spend many hours practicing. The sound produced during
practices and performances has the potential to impact hearing.
Sound enters the outer ear
and then impacts the ear drum,
causing vibrations. In the middle
ear, three bones, malleus, incus,
stapes, amplify and transmit the
vibrations to the inner ear. In the
inner ear there is a spiral, fluid-filled
Diagram of the Ear2
structure called the cochlea. This
structure is lined with thousands of cells with very fine hairs which move with the sound
vibrations. These fine hairs in the hair cells change the vibrations into electrical impulses carried
to the brain by the nerves.
Sound can be caused by almost anything that can vibrate. Sound is created when energy
travels as waves of pressure. The particles of the liquid, gas or solid that it travels through don’t
move far, but the energy can be transferred very quickly. Sound travels at approximately 1223
kilometers per hour (340 meters per second). The sound waves are longitudinal pressure waves.
Loudness of the sound comes from the pressure differences within the sound wave, the greater
2
Diagram of the Ear. Digital image. Dangerous Decibels. Oregon Health & Science University, 2014. Web. 29 Sept.
2014.
6
the difference the louder the sound. Pitch depends on the frequency of the vibrations; quicker
vibrations produce a higher sounding pitch. The unit of measure for sound, or rather sound
pressure levels, is the Decibel (dB), named for Alexander Graham Bell. It is used not only as a
measurement of sound but also of in electronics and optics. A decibel is a logarithmic unit
which is well related to human perception of sound and allows for effective representation of a
large range of numbers.
For over 100 years the relationship between loud noises and hearing loss has been
recognized. Noise Induced Hearing Damage (NIHD) can be caused by single exposures to a
very loud sound or cumulative exposure to loud sounds over a period of time. The two factors
that cause hearing damage are time and loudness. Damage actually happens to the hair cells
found inside the cochlea. Hearing loss results when a high enough number of the cells are
damaged. Outer parts of the hair cells recover after noise exposure but the basal region of the
Effect of Loud Noise on Hair Cells3
cochlea does not, and damage may not be apparent for months or even years. Hearing loss is
usually gradual and happens over many years so that people don’t initially notice. Temporary
hearing can eventually accumulate and become permanent hearing loss. Noise related hearing
3
Effect of Loud Noise on Hair Cells. Digital image. Dangerous Decibels. Oregon Health & Science University, 2014.
Web. 29 Sept. 2014.
7
loss is one of the most common work-related health concerns in the US. Noise related hearing
loss often impairs the ability to hear high frequency sounds and impacts understanding speech
and communication. There are three categories of hearing loss: Mild which is a loss of up to
40dB, Moderate a loss of 40-60dB, and Severe-loss of over 60dB. Tinnitus is a buzzing or
ringing in the ears caused by damage to the ear or brain, most commonly by exposure to loud
sounds. Signs of hearing damage include ringing or humming in the ears and/or temporary
hearing loss. 12 million people in the US suffer from tinnitus and at least 10 million adults in the
US suffer from noise induced hearing loss. Both hearing loss and tinnitus can be found in
children. In the US 5.2 million children experience noise induced hearing loss. Both noise
induced hearing loss and tinnitus are common but serious health concerns in the United States.
Because of their relationship to overexposure to noise is well known, preventive measures can be
taken.
Sound exposure
Decibel Exposure Time Guidelines4
guidelines depend on both
loudness and duration.
However, more than one
organization provides
sound exposure guidelines
and regulations in the
United States. The
Occupational Safety and
Health Administration
(OSHA) provided guidelines for occupation noise exposure in 1983. OSHA is part of the US
4
Decibel Exposure Time Guidelines-How Loud Is Too Loud? Digital Image. Dangerous Decibels. Oregon Health &
Science University, 2014. Web. 29 Sept. 2014.
8
Department of Labor and enforces workplace safety and health regulations with laws employers
must obey. The National Institute for Occupational Safety and Health (NIOSH) established
guidelines in 1998. NIOSH is part of the Centers for Disease Control (CDC) a part of the US
Department of Health and Human Service. NIOSH carries out research and provides
recommendations, education and training, but does not have the power to enforce its
recommendations. Both OSHA and NIOSH were formed due to the Occupational Safety and
Health Act of 1970. The recommendations by the two organizations are not the same; OSHA
allows for much greater levels of noise exposure. “The NIOSH Recommended Exposure Limit
(REL) is based on scientific data relating to noise-induced permanent threshold shift (NIPTS) to
the level and duration of noise exposures (NIOSH, 1998). In contrast, the OSHA Permissible
Exposure Limit (PEL) was the result of debate and compromises that are part of enacting any
legislation (OSHA, 1983).”5 For example, the OSHA PEL allows sixteen hours of exposure at
the 85 dB level while the NIOSH REL recommends only eight hours at the 85 dB level. At the
100 dB level OSHA allows two hours of exposure while NIOSH recommends only 15 minutes.
OSHA has a 5 dB tradeoff , which means that for every 5 dB increase in noise exposure the
amount of permitted exposure time decreases by half. NIOSH uses a 3dB trade off and the
amount of time of recommended exposure decrease by half for every 3 dB of increase in sound
levels. NIOSH has the more conservative recommendations, based on scientific studies relating
noise exposure, while the OSHA regulations are based on a compromise between the noise
reduction required to prevent hearing loss and the cost to the employer of implementing hearing
protection.
3
Niquette, Patricia A. "Noise Exposure: Explanation of OSHA and NIOSH Safe Exposure Limits and the Importance
of Noise Dosimetry." Etymotic Research, Inc. (2009): n. pag. Etymotic.com. Web. 2 Sept. 2014.
9
NIOSH (US Center for Disease Control)
OSHA (US Department of Labor)
Based on scientific data on noise induced hearing loss
Based on a compromise between safety and cost
Continuous
dBA
85 dB
88 dB
91 dB
94 dB
97 dB
100 dB
103 dB
106 dB
109 dB
112 dB
115 dB
Recommended Exposure
Limit
8 hours
4 hours
2 hours
1 hour
30 minutes
15 minutes
7.5 minutes
˂ 4 minutes
˂ 2 minutes
≈ 1 minute
≈ 30 seconds
Continuous
dBA
85 dB
90 dB
92 dB
95 dB
97 dB
100 dB
102 dB
105 dB
110 dB
Permissible Exposure
Limit
16 hours
8 hours
6 hours
4 hours
3 hours
2 hours
1.5 hours
1 hour
30 minutes
115 dB
˂ 15 minutes
Most countries in the world follow recommendations of 85 dB in 8 hours with an exchange rate
of 3 dB, similar to the NIOSH recommendations.
The A-weighted scale (dBA) has become popular in the assessment of overall noise
hazard because it is thought to provide a rating that indicates the damaging effects of noise on
human hearing. The A-weighted sound level has
Equivalent A Weighted Sound Table6
been adopted as the measurement for assessing
noise exposure by OSHA. This chart takes into
account that higher frequencies can cause more
damage to the hair cells in the ear. It can be
important to take into consideration not only the
loudness of the sound, but also the frequency.
105 dB at a frequency of 105 Hz and 86 dB at a
frequency of 4000 Hz would have the same
6
Equivalent A Weighted Sound Table. Digital image. Occupational Safety and Health Standards. United States
Department of Labor, n.d. Web. 1 Sept. 2014.
10
Equivalent A weighted sound level of 90 dB. Musical instruments usually play a mix of notes
within their given frequency range, but instruments with a higher average frequency have the
potential to cause more damage for their decibel level.
People are exposed to a variety of different decibel levels in their daily life. The charts
below represent some of the reported decibel levels of both common sounds and musical
instruments.
Decibel Levels of Common Sounds
Shotgun
165
Fireworks
145
Jet Plane Takeoff
130
Ambulance/Jackhammer
120
Chainsaw/Snowmobile
109
Hand Drill
98
Tractor
94
Lawnmower
91
Hair Dryer
90
Traffic/Noisy Restaurant
85
Washing Machine
75
Toilet Flushing
75
Shower
70
Talking
65
Rainfall
55
Whisper
30
Rustling Leaves
20
Pin Drop
10
Softest Sound You Can Hear
0
Decibel Levels of Musical Instruments
Rock Music Peak
150
Symphonic Orchestra Peak
120-137
Amplified Rock Music at 4-6 ft.
120
Cymbals
118
Tuba
110-117
Alto Sax
110-113
Trombone
106-113
Snare Drum
102-113
Bass Drum
100-122
Flute
100-112
Clarinet
93-119
French Horn
92-104
Bag Pipe (opinions from forums) 92-111
Violin
85-105
Cello
85-111
Piano Fortissimo
84-103
Bassoon
80-93
Oboe
74-102
Piano Practice
60-70
While the bagpipe is not reported in common tables of musical decibel levels, pipers on a
popular bagpipe forum reported decibel levels ranging from 92 to 111 dB.
The bagpipe can
play nine notes from low G to high A. The frequency of bagpipe notes range between 416 Hz
and 950 Hz.
11
One reported formula for determining the decibel level of a group of pipers playing
together is: Total dB of group = dB of Bagpipe + 10 x Log (N) if N is the number of equal
strength pipes. According to this formula, if each bagpipe in a group of pipers is playing at the 100
dB level, 2 bagpipes would be predicted to register 103 dB, 4 bagpipes would register 106 dB, 8
would register a 109 dB level, 16 pipers would create 112 dB, and 40 players 116 dB. Each time
the number of pipers doubles the sound goes up by 3 dB. However, as players are added, they
would become more spread out decreasing the level of decibels an individual experiences. Also
depending upon if the pipers are indoors or outdoors the level could change because there is
reported to be more sound reflection indoors. Another factor is whether or not the pipers are
playing with drums (as is often the case) as the drums reach higher dB levels than the reported
levels for pipes, and the proximity of the piper to the drummers would impact noise exposure. At
any rate, while bagpipes produce lower levels of sound than some other common band and
orchestra musical instruments, they do have the potential to exceed recommended levels depending
on the duration of the exposure time.
Noise induced hearing loss is a serious risk for musicians. In a study of 3 million adults,
the prevalence noise-induced hearing loss in musicians was 4 times greater than in non-musicians.
The prevalence of tinnitus in musicians was 57% more likely compared to non-musicians. The
sound levels experienced by a musician during a musical performance aren’t only caused by the
instrument the performer is playing, but also by the instruments around them. Classical musicians
have been found to have greater hearing loss than rock musicians, due to the long hours of
practice, group practices, giving and receiving lessons and the number of performances. (Also
with the recent developments performers of amplified music now tend to use in-the-ear monitors
which provide their sound mix and control the sound level input). The highest level of hearing
loss was among brass players. A study by Music Performance Research measuring decibel
12
exposure in music practice rooms found exposure levels exceeded by college musicians of string,
brass, woodwind, and percussion instruments, with brass and percussion instruments having the
highest levels of overexposure based on NIOSH guidelines. A number of studies of classical
musicians have been found to have varying levels of hearing loss as summarized below.7
Study Locations
Swedish Classical Musicians (Axelsson, 1981)
Danish Orchestral Musicians (Ostri, 1989)
Chicago Symphony Orchestra (Royster , 1991)
Music College in Michigan
Year
Tested
1981
1989
1991
2008
Number
Tested
139
96
59
18
Percent with
Hearing Loss
37%
58%
71%
39%
In the words of one musician, “Any ringing is a sign of damage and when the ring stops it
doesn’t mean everything is okay. The damage is still there and it is cumulative. After 39 years of
directing high school concert and marching bands, tinnitus (ringing in the ear) is a constant
companion. By the end of my first year of teaching, the ring ringing would last through the day
but by the next day it was gone. Then the ringing would stop only on the weekend. Then it took
longer breaks such as two weeks for Christmas and the week for Easter to stop. Eventually it
would stop about a month into the summer break, and then the inevitable, it never stops.” 8
Recommendations for reducing noise induced hearing loss include, turning down the
sound, moving away from the sound, or using ear protection. When it comes to practicing musical
instruments, the first two are not an option; hearing protection is the only feasible choice. In 2006
the Army Medical Directorate environmental health team came up with new regulations for British
Military pipers (and drummers). The rules were enacted to avoid litigation and protect soldiers.
The new regulations allowed pipers on full pipes to practice only 24 minutes a day outdoors and
only 15 minutes a day indoors without ear protection. In the study carried out to determine these
5
"Hearing Loss in the Orchestra." Now Hear This.. Volume 11, No. 4 (Winter 2009): n. pag. Print. Michigan State
University-College of Human Medicine.
8
"Bagpipes Decibel Level ? - Bob Dunsire Bagpipe Forums." Bob Dunsire Bagpipe Forums RSS. bobdunsire.com, 05
Mar. 2012. Web. 01 Sept. 2014.
13
recommendations, outdoor piping decibel levels reached as high as 111 outdoors, and indoors in a
small tiled men’s restroom the levels reached 116. Many pipers were not in favor of the new
regulations, feeling that they were either unnecessary, a break with tradition, or that ear protection
would keep them for hearing their instruments properly.
Being able to hear their instrument correctly is very important to musicians. In this regard,
all ear protection is not created equal! There are many types of earplugs, all with basically the
same purpose of decreasing the decibel levels reaching the ear. However, some of the earplugs
designed for gunfire or loud work environments are not really suitable for musicians because they
don’t give musicians the sound quality they need. Foam earplugs, while cheap, make sounds too
muffled to be approved of by most musicians. This type of hearing protection provides extra
attenuation at higher frequencies and decreases the clarity and quality of the music heard. They
also often provide a decrease in sound level that is greater than what is needed to protect hearing.
These two deficits make this type of earplug unsuitable for most musicians. There however are a
number of high fidelity, or attenuator, earplugs of different brands, specifically designed for
musicians. These earplugs decrease the noise energy, or attenuation, equally across frequencies so
that sound is perceived with the same clarity and tone as natural sound. With attenuated (also
called high fidelity, flat or uniform) earplugs, the music is quieter but without sounding muffled.
There are custom-molded versions of attenuated earplugs, for example Musician’s High
Fidelity Earplugs, that reduce sound levels so that they are not muffled, and with different
attenuator filters for 3 different levels of sound reduction: 9 dB, 15 dB and 25 dB depending on
the situation. Because they are custom made these earplugs tend to be the most comfortable and
have the best fit. The different attenuator filters allow them to be used in different situations
when different levels of sound reduction are required (or the two ears can be adjusted separately).
Many musicians say that they hear their own instruments better, and also hear the balance with
14
those around them well. Also, because they extend deeper into the ear canal than non-custom
plugs, they avoid problems with air pressure in the ear canal. According to the comments on a
bagpipe forum, these are some of the most popular earplugs used by bagpipe players, and most
pipers who had them felt they were worth the investment. These are expensive because they must
be molded and custom fit by an audiologist. However, many insurance plans will pay for all or a
large part of the cost of earplugs from an audiologist, something few people realize. They also
come with a 90 day option to remold if the fit is not comfortable or correct. These custom
earplugs are a very functional and comfortable option for musicians.
High fidelity silicone non-custom earplugs are a low cost option for musicians and
available from different companies. They reduce most noise to safe levels while maintaining the
clarity of speech and the tones of music. These plugs are also designed to replicate the natural
response of the ear canal so that when sound enters the earplug, it is reproduced exactly the same
as the ear would hear it, only quieter. ETY-20 plugs are of this type, and were the other type of
ear plugs most popular with pipers on the bagpipe forum. At less than twenty dollars a pair they
are very affordable and yet still provide clear sound.
Another type of musician’s earplugs that are not custom made, are electronic earplugs that
use a small diaphragm to automatically change incoming sound as external sound levels change.
These earplugs allow natural hearing until sound levels increase to a level that is unsafe. As
sound levels increase, earplugs gradually provide a reduction in sound and can be set for a 9 or 15
dB total level of reduction. Natural hearing returns when sound input returns to safe levels.
Some musicians really like these but a few pipers comment on a bagpipe forum dislike the
changing levels of protection. These cost about $300.00 a pair. They are ideal for situations
when the sound levels are constantly changing, for example with sound levels alternate between
loud music and conversation.
15
Wearing earplugs reduces the decibel of the sound the player is exposed to and therefore
increases that amount of time they can be exposed to the sound without hearing damage. For
example, according to NIOSH guides 103 dB of exposure is safe for 7.5 min, with 9 dB
attenuation it is safe for 1 hour, with 15 dB of attenuation this same level is safe for 4 hours and
with 25 dB of attenuation it is safe for 24 hours. Continued ability to hear well is extremely
important to musicians and ear protection provides a safe way for musicians to be able to both
practice their instruments for the time periods they need to, and preserve this very important
ability.
Noise induced hearing loss is a serious concern and experienced by millions of people.
This type of hearing loss is caused by excessive noise exposure in terms of level or duration of
the noise. The noise damages the sensitive hair cells in the cochlea that transmit sound to the
brain, and damage is cumulative. Musicians are at risk due to the hours spent practicing and
performing that often exceed both NIOSH and OSHA guidelines. This is of particular concern
because musicians are a group that greatly depends on acute hearing. Earplugs offer a viable
solution for reducing sound exposure to safe levels, but it is important the musicians choose
earplugs without too much reduction in sound levels and with equal attenuation across
frequencies so that the quality of the sound they hear is not compromised.
16
Materials
1. BAFX Products - Decibel Meter
2. 1 writing utensil
3. 1 Data Notebook
4. Bagpipe
5. Bagpipe Goose
6. Bagpipe Practice Chanter
7. ETY Earplugs
Procedure
1. Use a decibel meter at the Longs Peak Highland games to measure the decibel levels at a
variety of locations available for public access. Measure the peak decibel level of
individual bands with both pipers and drummers from the spectator areas. Measure the
decibel level of the massed bands from the spectator level. Measure individual
performers from the spectator areas of the individual competitions. Also measure the
decibel level of pipers and drummers close to individual instruments or at ear level to
determine the loudness of the individual instruments. Record all data in the data
notebook.
2. Visit the practices of several area pipe bands. Take decibel of practice chanters, full
pipes and pipes combined with drums. Take readings on individuals at ear level, the
entire group from the center of the group, and from ear level of various players in the
group. Record decibel levels in the data notebook.
17
3. Record the decibel levels of my own practice chanter, goose, drones (and full pipes if I
advance to that level before science fair) both indoors and outdoors. Record all data
readings in the data notebook.
4. Analyze data to get a good idea of the different decibel levels pipers are exposed to.
5. Compare decibel levels which pipers are exposed during their different types of activities,
to the time exposure guidelines by NIOSH and OSHA to determine if the noise exposure
levels exceed the recommendations, and could lead to hearing damage without ear
protection.
Bagpipe Goose
Full Bagpipe
Practice Chanter
Custom ER-15 Earplugs
18
Data Collection
19
Results
Data:
Longs Peak Scottish-Irish Highland Festival, Estes Park Fairgrounds,
Estes Park, CO
Longs Peak Scottish-Irish Highland Festival, Estes Park - Data From Main Stage Spectator Areas
Date
Location
Description
Approximate Distance
dBA
reading
09/07/14
Estes Park Highland Games
Scots Guards, 7 pipers, 6
drummers
Spectator area, 5 m
90.2
peak
09/07/14
N. Colorado Caledonia
Pipe Band, 9 pipers 4
drummers
Spectator area, 5 m
92.1
peak
09/07/14
Queen City Pipe Band, 8
pipers, 11 drummers
Spectator area, 5 m
90.1
peak
09/07/14
Spectator area, 5 m
96.5
peak
09/07/14
Marine Corps Brass
Band
Marine Corps Brass
Band with pipers, 5
players
Spectator area, 5 m
95.8
peak
09/07/14
Shriners Pipe Band, 6
pipers, 2 drummers
Spectator area, 5 m
91.2
peak
09/07/14
Massed Bands, ≈ 120
pipers, 85 drummers
Spectator area, 5 m
98.3
peak
09/08/14
Elders, amplified Celtic
music concert
Pubic seating (not dance
area closer to speakers)
98.2136.8
Longs Peak Scottish-Irish Highland Festival, Estes Park - Data From Solo Competition Spectator Areas
09/07/14
Solo Piper
Competition area, 6 m
09/07/14
Solo Piper
09/07/14
Solo Piper
09/07/14
Solo Piper
09/07/14
Solo Piper
76
peak
87
peak
91
peak
75
peak
87
peak
Longs Peak Scottish-Irish Highland Festival, Estes Park - Data From Practice Areas
09/07/14
Solo Piper
Practice area, piper ear
level
09/07/14
Solo Piper
Practice area, by drones
09/07/14
Solo Piper
Practice area, by chanter
20
92
peak
91
peak
102
peak
09/07/14
Solo Piper
level
09/07/14
Solo Piper
Practice area, by chanter
92 peak
102
peak
09/07/14
Solo Piper
level
97 peak
09/07/14
Solo Piper
Practice area, against
chanter hole (piper trying
for loudest sound)
09/07/14
Snare Drum
Practice area, near drum
09/07/14
Snare Drum
09/07/14
Tenor Drum
practice area, 1 m
09/07/14
Tenor Drum
practice area, 2m
09/07/14
Bass Drum
126
peak
106
peak
101
peak
96
peak
90
peak
102
peak
Northern Colorado Caledonian Pipe Band, Central Presbyterian
Church, Longmont, CO
Northern Colorado Caledonian Pipe Band, Longmont, CO - Practice Chanters - Indoors in rooms w/ low ceilings
Date
Location
Description
dBA
reading
10/12/14
NCCPB Practice, Central
Presbyterian Church, Longmont
8 pipers on practice
chanters
piper ear level
73.5
peak
10/12/14
chanters
piper ear level
77.3
peak
10/12/14
chanters
piper ear level
71.4
peak
10/12/14
chanters
piper ear level
76 peak
10/12/14
chanters
piper ear level
78.3
peak
10/12/14
chanters
piper ear level
70.4
peak
10/12/14
chanters
piper ear level
76.1
peak
10/12/14
chanters
center of group
82.3
peak
10/12/14
chanters
center of group
80.7
peak
10/12/14
1 piper on practice
chanter
piper ear level (8 tested)
72.677.4
21
Northern Colorado Caledonian Pipe Band, Longmont, CO - Full Pipes - Indoors in rooms with low ceilings
10/12/14
1 piper on full pipes
piper ear level
98.7105.3
10/12/14
piper ear level
100.7106.2
10/12/14
piper ear level
103.5106.7
10/12/14
piper ear level
99.7106.4
10/12/14
piper ear level
99.5103.4
10/12/14
piper ear level
99.6103.4
10/12/14
piper ear level
100.5105.3
10/12/14
piper ear level
98.6104.3
10/12/14
1 piper on full pipes Low A
In front of piper
102.4
10/12/14
1 piper on full pipes High A
In front of piper
103.3
10/12/14
8 pipers on full pipes
center of group circle
103.4109.5
10/12/14
106109.0
10/12/14
94.2101.8
Denver and District Pipe Band, St. James Episcopal Church, Wheat
Ridge, CO
Denver and District Pipe Band, Wheat Ridge, CO - Indoors in room with high ceilings - Pipers only
Date
Location
Description
dBA
reading
10/20/14
Denver and District Pipe Band, St
James Episcopal Church, Wheat
Ridge, CO
103106.4
10/20/14
Ridge, CO
97.2105.8
10/20/14
Ridge, CO
piper ear level
103105.6
10/20/14
Ridge, CO
piper ear level
99.2104.8
22
10/20/14
Ridge, CO
piper ear level
101.7104.0
10/20/14
Ridge, CO
piper ear level
100.6104.7
10/20/14
Ridge, CO
piper ear level
102.7104.3
10/20/14
Ridge, CO
piper ear level
102.6103.8
10/20/14
Ridge, CO
102.4105.8
10/20/14
Ridge, CO
101.2105.4
10/20/14
Ridge, CO
102.4106.9
10/20/14
Ridge, CO
101.2104.5
10/20/14
Ridge, CO
102.4108.1
10/20/14
Ridge, CO
103.4106.1
10/20/14
Ridge, CO
104.2106.4
Denver and District Pipe Band, Wheat Ridge, CO - Indoors in room with high ceilings - Single Piper
10/20/14
Ridge, CO
1 piper
ear level
94.397.1
10/20/14
Ridge, CO
1 piper
ear level
97.199.4
10/20/14
Ridge, CO
1 piper
ear level
96.3102.4
10/20/14
Ridge, CO
1 piper
ear level
95.7103.1
23
10/20/14
Ridge, CO
1 piper
ear level
97.4102.0
10/20/14
Ridge, CO
1 piper
ear level
96.6101.3
10/20/14
Ridge, CO
1 piper
ear level
95.198.5
10/20/14
Ridge, CO
1 piper
ear level
93.498.7
Denver and District Pipe Band, Wheat Ridge, CO - Indoors in small hallway - Single Piper
10/20/14
Ridge, CO
1 piper Low G
In front of piper (small
hallway)
103.5104.9
10/20/14
Ridge, CO
1 piper Low A
hallway)
104.0105.7
10/20/14
Ridge, CO
1 piper B
hallway)
102.1103.5
10/20/14
Ridge, CO
1 piper F
hallway)
103.1106.5
10/20/14
Ridge, CO
1 piper High g
hallway)
107.2108.3
10/20/14
Ridge, CO
1 piper High A
hallway)
102.2107.4
10/20/14
Ridge, CO
1 piper
ear level (small hallway)
96.2100
10/20/14
Ridge, CO
1 piper
97.3100.9
10/20/14
Ridge, CO
1 piper
98.7101.3
Denver and District Pipe Band, Wheat Ridge, CO - Indoors in room with high ceilings -Full band
10/20/14
Ridge, CO
8 pipers and 7
drummers (2t, 4s, 1b)
24
103.4108.6
10/20/14
Ridge, CO
8 pipers and 7
105-4107.9
10/20/14
Ridge, CO
8 pipers and 7
104.9107.5
10/20/14
Ridge, CO
8 pipers and 7
103.9108.1
10/20/14
Ridge, CO
8 pipers and 7
102.5108.3
10/20/14
Ridge, CO
8 pipers and 7
102.6108.6
10/20/14
Ridge, CO
8 pipers and 7
behind tenor drums
101.0103.4
10/20/14
Ridge, CO
8 pipers and 7
behind snare drums
103.1102.4
10/20/14
Ridge, CO
8 pipers and 7
behind bass drum
101.5106.2
10/20/14
Ridge, CO
8 pipers and 7
behind a piper
101.9103.4
10/20/14
Ridge, CO
8 pipers and 7
behind a piper
102.8104.7
10/20/14
Ridge, CO
8 pipers and 7
behind a piper
102.1105.1
10/20/14
Ridge, CO
8 pipers and 7
behind a piper
101.2104.7
10/20/14
Ridge, CO
8 pipers and 7
behind a piper
102.4104.4
10/20/14
Ridge, CO
8 pipers and 7
behind a piper
101.6103.1
10/20/14
Ridge, CO
1 snare drum
beside drum
108.2109.1
25
10/20/14
Ridge, CO
1 tenor drum
beside drum
85.187.9
10/20/14
Ridge, CO
1 bass drum
beside drum
91.497.8
My Individual Data
Date
Location
Description
dBA
reading
11/24/14
Indoors - Large Room
Practice Chanter
Ear Level
68.3 78.4
11/24/14
Indoors - Small Room (bathroom)
Practice Chanter
Ear Level
70.6 80.1
11/24/14
Outdoors
Practice Chanter
Ear Level
62.1 78.6
11/24/14
Practice Goose
Ear Level
68.0 75.3
11/24/14
Practice Goose
Ear Level
71.3 80.1
11/24/14
Outdoors
Practice Goose
Ear Level
11/25/14
Bagpipes
Ear Level
11/25/14
Bagpipes
Ear Level
11/25/14
Outdoors
Bagpipes
Ear Level
26
66.3 76.5
92.8 –
98.2
93.6 –
102.8
87.9 –
96.7
Data Summary
Summary of Measured Decibel Levels
Instrument Description
Individual Practice Chanter
Group Practice Chanter
Individual Goose
Individual Bagpipe
Group Bagpipes
Pipes and Drums
Massed Bands (from spectator distance only)
Bass Drum
Tenor Drum
Snare Drum
Amplified Celtic Music Concert
27
dBA levels
62.1 - 81.6
70.4 - 82.3
66.3 - 82.4
94.3 - 108.3
94.2 - 109.0
101.0 - 108.6
98.3 peak
91.4 - 102
85.1 - 97.9
101.0 - 109.1
98.2 - 136.8
Observations:
The purpose of this data collection was not to determine which band is the loudest, make
a comparison between indoor and outdoor sound levels, or find the absolute loudest sound a
bagpipe can make, but rather to determine a range of noise levels players might be exposed to
during practice and/or performance.
Data was recorded using a BAFX Products - Decibel Meter which displayed digital
readings of the decibel levels. I recorded the range of sound levels in a written data notebook at
the time. It was somewhat difficult to do because the readings constantly fluctuated. Reading
usually fluctuated near the high end of their range, dipping at pauses in the music. Initially I
recorded the highest number in the range, but then added the lowest number is as well.
All data collected on full bands and massed bands at the Longs Peak Highland Festival
were taken from spectator areas, and readings were therefore likely at a lower level than what
was experienced by players. Data on individual pipers and drummers were recorded from
spectator areas at the solo competitions but from near the ear or instrument in the practice areas.
At the band practices I attended I collected data on both individual players as well as the
players playing together as a group. I collected individual data at ear level and the group data
from the center of the circle at ear level and also by circling around the group from the outside
and holding my decibel meter at ear level. If data was taken from a different point, it is indicated
in the data charts. I wore earplugs when collecting data on full pipes and pipes and drums
combined.
28
Conclusion
Yes, Great Highland Bagpipe players should use ear protection when practicing, to
avoid hearing loss and/or damage. The data supports my hypothesis. According to my data
individual pipers on full pipes played at decibel levels of 94.3 - 108.3, groups of pipers 94.2 109.0 and pipers and drummers together were 101.0-108.6 decibels. These numbers would
obviously be somewhat higher for larger bands. NIOSH and OSHA have different
recommendations and regulations as mentioned in my review of literature section. The more
conservative NIOSH recommendations for prevention of hearing loss allow for only 15 minutes
at 100 dB and less than 2 minutes at 109 dB. OSHA regulations, the more lenient workplace
regulations, allow for 2 hours at 100 dB, 1 hour at 105 and only 30 minutes at 110. Because the
sound level fluctuates up and down continuously towards the upper end of that range a 2 to 3
hour band practice exceeds both organizations’ recommendations. Band practices can vary
greatly depending upon whether or not they are working on new material or preparing for a
performance. At certain times of year they may spend more than half the time on practice
chanters and at other times of year the full 3 hours may be spent on full pipes with most of that
time the with the full band including drums. Two to three hours practicing as a group, often on
full pipes or with both pipes and drums is not unusual.
The bands on practice chanters were recorded at the 72.6 - 77.4 for individuals and 70.4 82.3 for the group. According NIOSH 85 dB are safe for 8 hours and according to OSHA this
level is safe for 16 hours. Groups of pipers do not need to wear earplugs while practicing on
practice chanters (or the practice goose children often use).
29
An individual piper practicing on their own would also not need earplugs when practicing
on the practice chanter but should use earplugs when using their full bagpipes. There was
slightly less risk outdoors, but most pipers choose to practice indoors to avoid conflicts people in
the surrounding areas. Ear plugs with only 9 or 15 dB of attenuation can greatly increase the
amount of time pipers can safely practice. For example, according to NIOSH guides 103 dB of
unprotected exposure is safe for 7.5 min, with 9 dB attenuation it is safe for 1 hour, and with 15
dB of attenuation this same dB level is safe for 4 hours. Ear plugs with flat or equal
attenuation across frequencies, and low enough levels of overall attenuation, can provide
clear and natural sounding hearing and significantly increase the practice time a piper can
practice without damage. Noise exposure is cumulative so those who have been in high noise
environments for other parts of their day can safely be exposed to even less noise or exposed for
shorter time periods.
As far a safety for spectators listening to bagpipes at the highland games, the levels were
relatively safe considering the short duration of the performances and limited performance time
of the massed bands. The public address system was actually louder than the bands. Spectator
safety was of much great concern at the amplified concerts where dBA levels reached 136.8 (a
level not safe by any standard) and the concerts continued for much longer periods of time than
the pipe bands.. Because noise exposure is cumulative, the safety of any activity or event
depends on the total noise exposure during the time period so safety depends on the entire scope
of activities not just the piping events.
Hearing is extremely important for pipers, and all musicians, so protecting hearing from
noise induced hearing loss should be a priority. Earplugs allow pipers to do the practice they
need while preserving their very important hearing ability.
30
Next Steps
My next steps are twofold. I need to both share this information with pipers, and
continue and improve my research. Many of the pipers I met through this process were very
interested in the results so I have sent my results to the pipe bands involved, as well as others
interested. I am also sharing my information with audiology organizations because there is so
little published information on bagpipes and hearing loss. Hopefully the research I’ve done this
year can provide useful information and make a difference.
I’m excited about improving the experiment through the use of noise dosimetry. Noise
dosimetry would involve pipers wearing small dosimeters to provide much more accurate data,
and calculate then noise dose %
exposure based on the data
collected. A sample of
dosimetry data collected from a
middle school band teacher can
be seen to the right. The
dosimeters can be set for either
NIOSH or OSHA guidelines.
They would record decibel
levels for the entire practice or performance, take readings every 220 milliseconds, calculatea an
average every 3.75 minutes and save data 16 times per hour. The data would be more accurate,
and it would require less interaction on my part and therefore less possibility for influencing the
data. Not only would the data collection be better, but researchers at Etmotic Research have
offered to look over and help me with my next experimental design and help me share my results
through their connections and contacts.
31
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Acknowledgements
Thank you to Audiologist Michelle Gross, of Columbine Hearing, who acted as my
Qualified Scientist, reviewed my plan, provided me with information and advice, and fitted my
custom ER-15 Musician’s Earplugs. Thank you to Research Audiologist Patty Johnson at
Etymōtic Research who provided me with a white paper on NIOSH vs. OSHA guidelines,
encouragement, sample silicone ETY earplugs, Music Pro High Fidelity Electronic Musician’s
earplugs, dosimeters for future research, and offers for future help and project review. A special
thank you to the Northern Colorado Caledonia Pipe Band and Denver and District Pipe Band,
especially Pipe Major Phil Burk, Pipe Major Lise Nelson and Pipe Sergeant Dave Wallace, who
allowed me to attend their practices and take sound level readings. Thank you to the musicians
at the Longs Peak Highland Festival for allowing me to take readings and offering all kinds of
interesting information and advice. Thank you to my piping instructor Dennis Wilson, without
whom I wouldn’t be learning to play the bagpipe or have any interest in the topic. Thanks to my
mother, Carol Duarte who helped me with typing, formatting, taking photographs and kept
asking me a lot of questions.
37

Samuel Duarte Quest Academy Dacono, Colorado 80514

Transcription

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