The effect of acoustic screens on orchestra musicians

La Directiva 2003/10/CE del Parlamento Europeo y del Consejo, del 6 de febrero de 2003, específica con arreglo al apartado 1 del artículo 16 de la Directiva 89/391/CEE las disposiciones mínimas de seguridad y de salud relativas a la exposición de los trabajadores a los riesgos derivados de los agentes físicos (ruido). En la industria musical, y en concreto en los músicos de orquesta, una exposición de más de ocho horas al día a un nivel de presión sonora de 80dB(A) o más es algo muy común. Esta situación puede causar a los trabajadores daños auditivos como la hiperacusia, hipoacusia, tinitus o ruptura de la membrana basilar entre otros. Esto significa que deben tomarse medidas para implementar las regulaciones de la forma más razonable posible para que la interpretación del músico, la dinámica y el concepto musical que se quiere transmitir al público se vea lo menos afectada posible. Para reducir la carga auditiva de los músicos de orquesta frente a fuertes impactos sonoros provenientes de los instrumentos vecinos, se está investigando sobre el uso de unos paneles acústicos que colocados en puntos estratégicos de la orquesta pueden llegar a reducir el impacto sonoro sobre el oído hasta 20dB. Los instrumentos de viento metal y de percusión son los responsables de la mayor emisión de presión sonora. Para proteger el oído de los músicos frente a estos impactos, se colocan los paneles en forma de barrera entre dichos instrumentos y los músicos colocados frente a ellos. De esta forma se protege el oído de los músicos más afectados. Para ver el efecto práctico que producen estos paneles en un conjunto orquestal, se realizan varias grabaciones en los ensayos y conciertos de varias orquestas. Los micrófonos se sitúan a la altura del oído y a una distancia de no más de 10cm de la oreja de varios de los músicos más afectados y de los músicos responsables de la fuerte emisión sonora. De este modo se puede hacer una comparación de los niveles de presión sonora que percibe cada músico y evaluar las diferencias de nivel existentes entre ambos. Así mismo se utilizan configuraciones variables de los paneles para comparar las diferencias de presión sonora que existen entre las distintas posibilidades de colocarlos y decidir así sobre la mejor ubicación y configuración de los mismos. A continuación, una vez obtenidos las muestras de audio y los diferentes archivos de datos medidos con un analizador de audio en distintas posiciones de la orquesta, todo ello se calibra y analiza utilizando un programa desarrollado en Matlab, para evaluar el efecto de los paneles sobre la percepción auditiva de los músicos, haciendo especial hincapié en el análisis de las diferencias de nivel de presión sonora (SPL). Mediante el cálculo de la envolvente de las diferencias de nivel, se evalúa de un modo estadístico el efecto de atenuación de los paneles acústicos en los músicos de orquesta. El método está basado en la probabilidad estadística de varias muestras musicales ya que al tratarse de música tocada en directo, la dinámica y la sincronización entre los músicos varía según el momento en que se toque. Estos factores junto con el hecho de que la partitura de cada músico es diferente dificulta la comparación entre dos señales grabadas en diferentes puntos de la orquesta. Se necesita por lo tanto de varias muestras musicales para evaluar el efecto de atenuación de los paneles en las distintas configuraciones mencionadas anteriormente. El estudio completo del efecto de los paneles como entorno que influye en los músicos de orquesta cuando están sobre el escenario, tiene como objetivo la mejora de sus condiciones de trabajo. Abstract For several years, the European Union has been adopting many laws and regulations to protect and give more security to people who are exposed to some risk in their job. Being exposed to a loud sound pressure level during many hours in the job runs the risk of hearing damage. Particularly in the field of music, the ear is the most important working tool. Not taking care of the ear can cause some damage such as hearing loss, tinnitus, hyperacusis, diplacusis, etc. This could have an impact on the efficiency and satisfaction of the musicians when they are playing, which could also cause stress problems. Orchestra musicians, as many other workers in this sector, are usually exposed to a sound level of 80dB(A) or more during more than eight hours per day. It means that they must satisfy the law and their legal obligations to avoid health problems proceeding from their job. Putting into practice the new regulations is a challenge for orchestras. They must make sure that the repertoire, with its dynamic, balance and feeling, is not affected by the reduction of sound levels imposed by the law. This study tries to investigate the benefits and disadvantages of using shields as a hearing protector during rehearsals and orchestral concerts.

A Multingual Web-based Educational System for Professional Musicians

This paper presents the main results of the eContent HARMOS project. The project has developed a webbased educational system for professional musicians. The main idea of the project consists of recording master classes taught by highly recognised maestros and annotate this multimedia material using an educational musical taxonomy and automatic annotation tools. Users of the system access a multi-criteria search engine that allows them to find and play video segments according to a combination of criteria, which include instrument, teacher, composer, composition, movement and pedagogical concept. In order to preserve teachers and students rights, a DRM and protection system has been developed. The system is being publicly exploited. This model preserves musical heritage, since these valuable master classes are usually not recorded and it also provides a sustainable model for musical institutions.

Unconformity-bounded stratigraphic units (UBSUs) in an italian alluvial-plain area: recognizing and dating

We studied the coastal zone of the Tavoliere di Puglia plain, (Puglia region, southern Italy) with the aim to recognize the main unconformities, and therefore, the unconformity-bounded stratigraphic units (UBSUs; Salvador 1987, 1994) forming its Quaternary sedimentary fill. Recognizing unconformities is particularly problematic in an alluvial plain, due to the difficulties in distinguishing the unconformities that bound the UBSUs. So far, the recognition of UBSUs in buried successions has been made mostly by using seismic profiles. Instead, in our case, the unavailability of the latter has prompted us to address the problem by developing a methodological protocol consisting of the following steps: I) geological survey in the field; II) draft of a preliminary geological setting based on the field-survey results; III) dating of 102 samples coming from a large number of boreholes and some outcropping sections by means of the amino acid racemization (AAR) method applied to ostracod shells and 14C dating, filtering of the ages and the selection of valid ages; IV) correction of the preliminary geological setting in the light of the numerical ages; definition of the final geological setting with UBSUs; identification of a ‘‘hypothetical’’ or ‘‘attributed time range’’ (HTR or ATR) for each UBSU, the former very wide and subject to a subsequent modification, the latter definitive; V) cross-checking between the numerical ages and/or other characteristics of the sedimentary bodies and/or the sea-level curves (with their effects on the sedimentary processes) in order to restrict also the hypothetical time ranges in the attributed time ranges. The successful application of AAR geochronology to ostracod shells relies on the fact that the ability of ostracods to colonize almost all environments constitutes a tool for correlation, and also allow the inclusion in the same unit of coeval sediments that differ lithologically and paleoenvironmentally. The treatment of the numerical ages obtained using the AAR method required special attention. The first filtering step was made by the laboratory (rejection criteria a and b). Then, the second filtering step was made by testing in the field the remaining ages. Among these, in fact, we never compared an age with a single preceding and/or following age; instead, we identified homogeneous groups of numerical ages consistent with their reciprocal stratigraphic position. This operation led to the rejection of further numerical ages that deviate erratically from a larger, homogeneous age population which fits well with its stratigraphic position (rejection criterion c). After all of the filtering steps, the valid ages that remained were used for the subdivision of the sedimentary sequences into UBSUs together with the lithological and paleoenvironmental criteria. The numerical ages allowed us, in the first instance, to recognize all of the age gaps between two consecutive samples. Next, we identified the level, in the sedimentary thickness that is between these two samples, that may represent the most suitable UBSU boundary based on its lithology and/or the paleoenvironment. The recognized units are: I) Coppa Nevigata sands (NEA), HTR: MIS 20–14, ATR: MIS 17–16; II) Argille subappennine (ASP), HTR: MIS 15–11, ATR: MIS 15–13; III) Coppa Nevigata synthem (NVI), HTR: MIS 13–8, ATR: MIS 12–11; IV) Sabbie di Torre Quarto (STQ), HTR: MIS 13–9.1, ATR: MIS 11; V) Amendola subsynthem (MLM1), HTR: MIS 12–10, ATR: MIS 11; VI) Undifferentiated continental unit (UCI), HTR: MIS 11–6.2, ATR: MIS 9.3–7.1; VII) Foggia synthem (TGF), ATR: MIS 6; VIII) Masseria Finamondo synthem (TPF), ATR: Upper Pleistocene; IX) Carapelle and Cervaro streams synthem (RPL), subdivided into: IXa) Incoronata subsynthem (RPL1), HTR: MIS 6–3; ATR: MIS 5–3; IXb) Marane La Pidocchiosa–Castello subsynthem (RPL3), ATR: Holocene; X) Masseria Inacquata synthem (NAQ), ATR: Holocene. The possibility of recognizing and dating Quaternary units in an alluvial plain to the scale of a marine isotope stage constitutes a clear step forward compared with similar studies regarding other alluvial-plain areas, where Quaternary units were dated almost exclusively using their stratigraphic position. As a result, they were generically associated with a geological sub-epoch. Instead, our method allowed a higher detail in the timing of the sedimentary processes: for example, MIS 11 and MIS 5.5 deposits have been recognized and characterized for the first time in the study area, highlighting their importance as phases of sedimentation.

Mia Magazzino of Italian Art, Garrison (New York), 2011

MIA MAGAZZINO OF ITALIAN ART, GARRISON (NEW YORK), 2011 [Proyecto]