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sai-national.org • Winter 2026 19 NIOSH released a guide on how to reduce risk of hearing problems among musicians, which has valuable information but is geared more towards amplified than acoustic music- making. 1 For NIOSH, the recommended exposure limit is 85dB for eight hours, with the time being reduced by half for every increase of three dB. Studies have measured the noise levels of different instruments, finding many routinely in the danger zone. Among instrument families, brass can produce the highest levels of sound, followed in descending order by woodwinds, percussion, voice, and strings. 2 One study of sound levels in orchestras found that the average level for most instruments is 87dB, with horn and trumpet averaging up to 92dB. The average loudest peak measurements for most instruments is 124dB. 3 Dr. Costlow offered these best practices for musicians: Allow twelve hours of auditory rest between playing sessions. Defined as a period without experiencing sounds over 80dB, this enables the ear to recover from noise exposure. Use musician ear filters/plugs, at least during practice and rehearsal. Musician filters can be custom-made to fit the ear canal by an audiologist, who makes molds of the ears. They are made of silicone and hold interchangeable filters to choose the level of sound attenuation (noise reduction). Musician filters reduce sound evenly across the spectrum of frequencies, whereas traditional ear plugs reduce low more than high frequencies. There are also non-custom options for musician filters. Use a sound level measurement app to test and be aware of exposure levels in different settings, such as NIOSH's Sound Level Meter App. Protect hearing when not playing or teaching, such as in loud traffic or attending events or concerts with amplified music. Exercise caution when listening to music through headphones or ear buds. Have a baseline hearing test, with subsequent annual testing, and consult an audiologist or ENT physician if you notice a change in hearing. Thank you to Drs. Ally Costlow and Udayan Shah; Juliana Stillman for doing sound level testing; Dr. Ronni L. Gordon, PhD for reading; and Boyer College/Temple University personnel Dr. Patricia Cornett, DMA, George Hemcher, Dean Robert Stroker, and Jason Horst. References: 1. https://www.cdc.gov/niosh/docs/wp- solutions 2015-184/pdfs/2015-184.pdf 2. Phillips, S. L. and Mace, S. (2008). Sound level measurements in music practice rooms. Music Performance Research 2: 36-47 3. https://www.akutek.info/Presentations/ MS_OrchestraMusician_Sound-Levels_Pres.pdf Mimi Stillman is an internationally acclaimed soloist, chamber musician, teacher, recording artist, media host, and founding Artistic Director of Dolco Suono Ensemble. She has appeared as a soloist on flute with orchestras including The Philadelphia Orchestra, Marine Chamber Orchestra of "The President's Own" United States Marine Band, and with groups across Europe and Latin America. Mimi is an SAI Honorary Member initiated by the Philadelphia Alumnae Chapter. Music Education COMPOSER continued from page 17 On the day of my arrival, a huge truck delivered the only Steinway Concert Grand that had survived the 1995 Kobe earthquake. After my performance, a recorded video was sent to all the precincts in Japan, which included over three thousand members. Immediately after my performance, an unknown man contributed $80,000 toward a 150-Anniversary Grotien Steinway Grand, to be dedicated to me. I could not refuse this honor, so within six months, I returned to Japan to perform on this piano. After the last note of my performance, the hall resonated with a rousing cheer when they announced all the members had contributed enough to raise the needed $40,000 to complete the pagoda in Kalmykia. That was wonderful news, but the next was even more so: they asked me to perform for the Grand Opening on July 15, 2004. That meant I was going to Russia, which was a dangerous, forbidden territory as a foreigner traveling alone. But it was historical and exciting to me. On the day of the event, it felt like the culmination of the reverend's goal to unite Christianity and Buddhism. With photos of Jesus, Buddha, and all the saints placed in the shrine, all faiths could now freely offer their prayers. What a magnificent reason for taking the unusual path I did! I cannot finish without mentioning a most moving moment in Kalmykia. An older lady came to me with tears in her eyes, expressing appreciation for the concert. I understood completely. A village, so poor that they didn't have running water, would not be a place an artist would have chosen to perform. An old upright was the only available instrument, but my duty was to make it resonate expressively to touch this special lady. This is my personal story which made me feel a heightened respect for my journey in MUSIC. Mary Jane Tashiro is a member of the SAI Composers Bureau. Visit her website at mjtashiromusic.com. Three-dimensional tonotopic mapping Three-dimensional tonotopic mapping of the cochlea, based on synchrotron radiation of the cochlea, based on synchrotron radiation phase-contrast imaging (doi.org) phase-contrast imaging (doi.org)

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