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For anyone who get tonsillitis often (more than 5 to 7 times during a 12-month period) or 3 episodes per year for 2 years in a row or tonsillitis does not respond to antibiotic therapy, your doctor might recommend a tonsillectomy to remove the tonsils. None of the mainstream political parties seem to be open to debate about the dangers to health of wind turbines.
One of the main complaints against wind turbines is that their noise causes a range of problems for certain individuals. One of the earliest publicised cases in the UK was that of the Davis Family from Spalding who had a wind site built 930m from their farmhouse.
There are many more examples from people all over the world, and many of the symptoms seem to be triggered from aerodynamic or amplitude modulation created by the noise form the wind turbine array.
Auditory risk assessment of college music students in jazz band-based instructional activity.
The influence of genetic variation in oxidative stress genes on human noise susceptibility. Is the audiologic status of professional musicians a reflection of the noise exposure in classical orchestral music? Noise exposure and hearing loss among student employees working in university entertainment venues. A Sound Ear II: The Control of Noise at Work Regulations 2005 and Their Impact on Orchestras. Noise induced hearing loss in dance music disc jockeys and an examination of sound levels in nightclubs. The relation between temporary threshold shift and permanent threshold shift in rhesus monkeys exposed to impulse noise.
However with the huge subsidies, paid via our electricity bills, wind developers are increasingly trying to find new areas in which to build their turbines.
They are resisting any moratorium on the building of new turbine sites whilst up-to-date research on their effects is carried out. Some turbine noise is caused by the blades passing through the air at the speed of a light aircraft, whilst other audible noises emanate from the gearbox and generator. The family had no objections whatsoever to the wind site being constructed, however after the site was completed in 2007 they found the noise intolerable and were forced to abandon their home.
What role do they play in our body system?They act as “policeman” and help to form antibodies to “germs” that invade the nose, mouth and throat. This is not a democratic approach and there is an urgent need for in-depth scientific research. They also give out low frequency noises that cannot be heard, but are often sensed, referred to as infrasound.
Outgrowing Your TonsilsSome of you may be asking, if the tonsils are an important part of the immune system, why take them out? Whilst there is an advisory limit of 2000 metres between turbines and homes, this is often ignored, as is the case with the Airriequhillart site.
There is, however, a growing concern regarding hearing impairment from music exposure, especially in musicians, music students, and professionals in the music industry, as they represent an occupational group that is very dependent on the optimal functioning of the auditory system. The surgery is done under general anesthesia and this procedure is usually done as a day procedure. Several studies have shown that classical musicians are exposed to 83-112 dBA levels during practice and rehearsal session. 3 Common Causes of Tonsillitis:Group A streptococcus – common bacteria that cause throat infections in 1 in 5 patients including adults.
Theoperation is done via the oral cavity therefore no incision will be made on the nose or face.
What are the latest techniques for removing the tonsils or adenoids?Specialised instruments such as coblation, radiofrequency and microdebrider are used to improve healing and reduce the side effect of pain after surgery.What should I take note prior to my surgery? If the patient has fever on the day prior to the surgery date, the doctor should be informed as thesurgery might be postponed if the patient is found unfit for surgery. It should also be brought to thedoctor’s attention if the patient has any history or family history of bleeding disorder or has any problem with previous anesthetic event.

Furthermore, Transient-evoked otoacoustic emission (TEOAE) responses in these young college adults showed overall weaker responses compared to students with less exposure to music. Before the surgery, you may be asked to stop all anti-coagulants (“blood thinners” such as warfarinand heparin) Taking aspirin, vitamin E, fish E could affect blood clotting especially if taken on a longterm, should not be taken 7 days before surgery.
Normal eating habitsshould be resumed and this is greatly encouraged to prevent debris from accumulating and will alsoaids in the recovery process.
Although there is no universal widespread consensus on the one-to-one relationship between TTS and permanent threshold shift (PTS), it is well established that repeated exposure to high levels of noise usually leads to PTS.
Pain killer that has been prescribed to the patient must be taken tominimize any throat discomfort and the entire course of antibiotics should be completed.
Since it is hard to induce or track PTS, TTS has been widely used in scientific research to study acute effects of noise knowing that TTS can in time become PTS. There maybe a whitish coating at the back of the throat at the tonsillar beds during the first few days of recovery, this is a normal phenomenon of a healing wound in throat.
Is there any diet restrictions post surgery?No, there is no diet restriction post surgery and normal diet is greatly encouraged.
Aftertonsillectomy, the patient is usually put on soft diet for a day or two.Is there anything I should avoid post surgery?During the first week post surgery, it is encouraged that the patient should avoid contact with people suffering from coughs, colds or other infections. The experimental group consisted of 14 male students, majoring in music, routinely participating in jazz band-based practice sessions.
The control group consisted of 11 male non-music major college students, who routinely attend regular classroom sessions.
Is there any follow up with the doctor post surgery?Post surgery follow-up date will be given upon discharge from the hospital. Questions on the case history included identification information, hearing health queries such as possible hearing loss, ear aches, tinnitus and difficulty understanding speech. The case history form was updated if there were any changes following the classroom session. Pre-exposure auditory evaluations All subjects underwent audiological testing that consisted of otoscopy, tympanometry, pure tone audiometry and otoacoustic emission (OAE) testing, specifically the TEOAEs. These test results, referred to as pre-exposure measures, were obtained from all subjects following a 24-h rest period which consisted of no exposure to loud noise of any kind, including music. A GSI-17 audiometer was used to obtain pure tone air conduction thresholds from 250 kHz to 8 kHz.
Response criterion adopted included reproducibility of greater than 50%, and amplitude response of greater than 3 dB SPL.
Microphones with wind screens were positioned half way between neck and shoulder, and aimed up. The microphone wire was positioned behind and down the back so as not to interfere with movement associated with performing musical instruments. Dosimeters and microphones were positioned on the right side of each subject except for trombonists because this instrument is positioned on the right shoulder. The calibrated dosimeters were programmed for continuous automatic recording for 50 min with a threshold detection level of 40 dB SPL.
The NIOSH (1998) recommended 3 dB exchange rate was used for calculation of equivalent sound level (L eq ).
This reading gave the accumulated noise dose in percentage over a period of 50 min.The noise recordings were made during routine 50 min jazz ensemble-based instructional activities. Like all ensemble-based instructional activities, the Professor facilitates learning through various means of communication that include verbal dialogue along with physical gestures. The timing, duration, and intensity level of verbal interaction are related to many factors including the daily and long term learning objectives and the instructional style of the professor. While verbal interactions may have occurred before, during, and following musical production, we measured the overall sound levels generated during class time. Our measurements only reflect all sounds generated during instruction and are not sufficient to determine details regarding the influence of dialogue on L eq or dose. Variability is expected across classes and instructors; hence, recordings were made at least twice per subject and averaged across the two sessions. Post-exposure auditory evaluations Following the 50-min class session (band-based instructional activity or regular classroom session), all subjects underwent another round of auditory evaluation within 10 min. Any change in the condition, such as tinnitus, during the post-evaluation period was recorded in the case history form.

Tympanometry, pure tone audiometry and TEOAEs were repeated using the same equipment and soundproof booth as before. Statistical comparisons were made between pre-exposure measures and post-exposure measures for pure tone air conduction thresholds at 4 kHz and total TEOAE amplitude responses. The same procedures used in the first round of testing were adopted for the 2 nd round of testing. None of the subjects complained of ear aches, ear discharge or difficulty understanding speech. As shown in [Table 1], the experimental group (E1-E14) consisted of 1 drummer, 2 trumpet players, 4 saxophone players, and 7 trombone players. Case history information indicated that nine experimental subjects reported tinnitus, which did not change after post-exposure.
No new occurrences of tinnitus were reported after the classroom session or for the 2 nd round of testing. The personal dosimeter worn by subjects measured sound levels continuously during the class session for 50 min. Conversion of the exposure levels to NIOSH daily dosage in percentage (displayed on the dosimeter) indicated that the experimental subjects had exceeded the daily dosage as a result of the noise levels generated in just one 50-min ensemble class session.
As seen from the graph, the experimental group exposure level from the averaged (across two sessions) 50-min practice event ranged from 100.1% to 825%, clearly exceeding the 100% daily dosage limit.
No significant relationships were found between sound exposure level and pre- and post-session hearing threshold shifts or TEOAE changes (correlation not significant at the 0.05 level, 2-tailed). The study quantified equivalent noise levels generated during jazz ensemble-based instructional activity and regular classroom activity in a university setting.
The average L eq exposure level measured during the ensemble class was 99.5 dBA, which is comparable with several earlier studies that have reported equivalent noise exposure levels in musicians and DJs. This is similar to the results published in earlier studies that have reported sound levels ranging from 83 dBA to 112 dBA during music practice and rehearsal sessions by classical musicians. In actual fact, the mean pre-exposure pure tone thresholds for right and left ears at 4 kHz were better for the experimental group compared to the control group. Likewise, the mean pre-exposure TEAOEs in the experimental group were comparable or stronger than the mean pre-exposure TEOAEs from the control group. However, post-exposure measures indicated significant shift of pure tone thresholds in right and left ear at 4 kHz for the experimental group. This shift in threshold is thought to be temporary in nature, since follow-up testing done a week later in half of the group did not show the shift (data not shown).
The total TEOAE measures were significantly weaker (lower) following the 50-min ensemble-based practice sessions for the experimental group.Tinnitus is often associated with noise-induced hearing, [28] and in our study the incidence of tinnitus in the experimental group was much higher than in the control group. Of the 14 subjects in the experimental group, nine subjects (64%) reported of tinnitus at pre-exposure testing condition. None of the subjects in the control group had tinnitus before or after their classroom sessions.Exposure to noise, even temporarily, can lead to physical changes in cellular system in the cochlea and auditory neurons resulting in TTS. The main mechanisms of TTS include direct mechanical trauma to the organ of corti that houses the hair cells and metabolic stress due to increased oxidative mechanism.
Sustained exposures to these levels could place these students at a greater risk for permanent sensorineural hearing loss.
The significant TTS at 4 kHz and a decrease in total TEAOEs suggest subclinical damage to the auditory system from just 50 min of routine ensemble-practice sessions.
While the daily doses measured in this study ranged from 100.1% to 825%, the study design was not sufficient to generalize these levels to the specific course, other classes within the same semester, or the instructors involved.
Pervious research with concert band instructional activities showed that exposure levels do fluctuate from day-to-day, are different across instructors, and are related to pedagogic factors. Basic criteria for accreditation by the NASM require that schools of music offer instruction in and opportunities for ensemble participation. This study showed that exposure levels generated during a jazz ensemble instruction activity can exceed the daily dose limit and those participating students' exhibit small but significant temporary changes in basic auditory measures, which can potentially lead to permanent hearing loss over a period of time.
It is strongly recommended that music educators increase their efforts to understand the specific sound levels generated during ensemble instruction, fully inform students of risk levels, and to apply teaching strategies designed to prevent or minimize the risk of hearing loss on behalf of students.

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