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.

Chemical compositions of monomineral fractions from Fe-Mn crusts and of their host rocks, seamounts of the Sea of Japan

It has been established (with use of analytical electron microscopy) that Fe-Mn crusts from two seamounts of the Sea of Japan consist predominantly of an association of birnessite minerals including Ca-birnessite and clinobirnessite. The latter is represented by twins, which form regular integrowths with 14 Å Ca-birnessite. Ore material from the third seamount (Tarasov submarine volcano) consists only of fibrous todorokite, which forms spherulitic nodules, blocks, and laminar formations. Its chemical composition is close to that of todorokite from the Galapagos rift zone.

Grain size distribution analysis of prominent beds on Southern Central Chilean seamounts

Gravity cores obtained from isolated seamounts located within, and rising up to 300 m from the sediment-filled Peru-Chile Trench off Southern Central Chile (36°S-39°S) contain numerous turbidite layers which are much coarser than the hemipelagic background sedimentation. The mineralogical composition of some of the beds indicates a mixed origin from various source terrains while the faunal assemblage of benthic foraminifera in one of the turbidite layers shows a mixed origin from upper shelfal to middle-lower bathyal depths which could indicate a multi-source origin and therefore indicate an earthquake triggering of the causing turbidity currents. The bathymetric setting and the grain size distribution of the sampled layers, together with swath echosounder and sediment echosounder data which monitor the distribution of turbidites on the elevated Nazca Plate allow some estimates on the flow direction, flow velocity and height of the causing turbidity currents. We discuss two alternative models of deposition, both of which imply high (175-450 m) turbidity currents and we suggest a channelized transport process as the general mode of turbidite deposition. Whether these turbidites are suspension fallout products of thick turbiditic flows or bedload deposits from sheet-like turbidity currents overwhelming elevated structures cannot be decided upon using our sedimentological data, but the specific morphology of the seamounts rather argues for the first option. Oxygen isotope stratigraphy of one of the cores indicates that the turbiditic sequences were deposited during the last Glacial period and during the following transition period and turbiditic deposition stopped during the Holocene. This climatic coupling seems to be dominant, while the occurrence of megathrust earthquakes provides a trigger mechanism. This seismic triggering takes effect only during times of very high sediment supply to the shelf and slope.

Geochemistry of Fe-Mn crusts at seamounts in the Northwest Pacific

Hydrogenetic ferromanganese crusts were dredged from four seamounts in the western Pacific, OSM7, OSM2, Lomilik, and Lemkein, aligned in a NW-SE direction parallel to Pacific Plate movement. The crusts consist of four well-defined layers with distinct textural and geochemical properties. The topmost layer 1 is relatively enriched in Mn, Co, Ni, and Mo compared to the underlying layer 2, which is relatively enriched in Al, Ti, K, and Rb and Cu, Zn, and excess Ba. Textural and geochemical properties of layer 2 suggest growth conditions under high biogenic and detrital flux. Such conditions are met in the equatorial Pacific (i.e., between the Intertropical Convergence Zone (ITCZ) and equatorial high-productivity zone). Layer 2 likely formed when each seamount was beneath the equatorial Pacific along its back track path. On the other hand, layer 1 probably started to grow after seamounts moved northwest from the ITCZ. This interpretation is consistent with the thickness of layer 1 across the four crusts, which increases to the northwest. Ages of the layer 1-layer 2 boundary in each crust, a potential proxy for northern margin of the ITCZ, also increase to the northwest at 17, 11, 8, and 5 Ma for OSM7, OSM2, Lomilik, and Lemkein, respectively. Assuming Pacific Plate motion of 0.3°/Myr, the seamounts were located at 12°N, 11°N, 9°N, and 8°N at the time of boundary formation. This result suggests that the north edge of the ITCZ has shifted south since the middle Miocene in the western Pacific, which agrees with information from the eastern Pacific.

Modern music and musicians /

"Philharmonic edition."

Modern music and musicians ... /

[pt. 1] Compositions for piano -- [pt. 2] Encyclopedic. v.2-3 The great composers: critical and biographical sketches.

Modern music and musicians. [music] : compositions for piano /

Vol. 5 does not have "compositions for piano" on the title page by includes it on the spine.

Modern music and musicians.

Head and tail pieces.

Modern music and musicians.

Vol. [8]-[10] have binder's title: Modern music and musicians. Encyclopedic. I-III.