Music, sound, or noise? Sonic culture in Ghana and its public health implications
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University of Cape Coast
Abstract
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25p
The sonic culture of any place is always locally specific. Yet, beyond cultural differences, there are more general health implications of sound production and exposure, particularly where high sound levels with potentially damaging effects to the inner ear are concerned. The purpose of this study was to investigate further into the socio-cultural, psychological, and physiological dimensions of sound production, exposure and perception in a Ghanaian context. Specifically, we aimed to examine how people who regularly deal with electronic sound equipment evaluate sound stimuli in different contexts. We used three different instruments: first, we measured ambient noise levels at live music events and during band rehearsals; we then conducted air conduction threshold tests to assess participants’ status of hearing; and, as a complementary instrument, we used a structured questionnaire to assess levels of sound exposure as well as participants’ evaluation of environmental noise. Our results revealed that amateur and professional musicians are indeed a high risk group with regard to potential hearing damage. We therefore concluded that awareness campaigns and counter-measures with regard to sound/noise pollution need to be designed more specifically for different target groups to address their respective needs.
The sonic culture of any place is always locally specific. Yet, beyond cultural differences, there are more general health implications of sound production and exposure, particularly where high sound levels with potentially damaging effects to the inner ear are concerned. The purpose of this study was to investigate further into the socio-cultural, psychological, and physiological dimensions of sound production, exposure and perception in a Ghanaian context. Specifically, we aimed to examine how people who regularly deal with electronic sound equipment evaluate sound stimuli in different contexts. We used three different instruments: first, we measured ambient noise levels at live music events and during band rehearsals; we then conducted air conduction threshold tests to assess participants’ status of hearing; and, as a complementary instrument, we used a structured questionnaire to assess levels of sound exposure as well as participants’ evaluation of environmental noise. Our results revealed that amateur and professional musicians are indeed a high risk group with regard to potential hearing damage. We therefore concluded that awareness campaigns and counter-measures with regard to sound/noise pollution need to be designed more specifically for different target groups to address their respective needs.
Keywords
sonic culture, sound exposure, noise, hearing loss, public health