PRAGMATISM NOISE RISKS AND ORCHESTRAS
A WRIGHT REID · 2024
Almost ten years on from the Noise at Work Regulations, it is dif cult to nd a British orchestra that complies with the letter of the law, The situation in the rest of Europe seems no better, and information from North America is ambiguous, but there appears to be some activity in the Antipodes.with backing from the EU, the Association of British Orchestras [ABO] commissioned a project to construct a generic assessment of the noise risks in member orchestras, recommend measures to control noise risks, develop a package for training the players, and draft guidelines for managers, players, venues and others.As well as reviewing the published reports, the projed appealed to orchestras to release [in con dence] any relevant unpublished materials -these included assessments, reports on efforts to control noise [including re-building], audiograms [not UK], contacts with enforcing agencies.etc.This pooling of knowledge will be propagated as the project establishes a databank of exposure estimates and recommends the establishment of expert noise teams who compare notes.The project also 'sought the views of players, through a questionnaire administered via the Musicians Union -this element was underway at the time of writing.The A30 represents 63 symphony, opera, chamber and other orchestras, 37 opera and music theatre ensembles, and 80 other organisations ranging from conservatoires to composers and concert venues.Through ABO membership of PEARLE, the Performing Arts Employers League Europe, the project ndings will also be made available across the EU.From the outset.it was apparent that there are strong reasons for the lack of compliance.This paper explores the reasons for non-compliance.outlines the generic assessment, and describes the approach to controlling noise risks. REASONS FOR NON-COMPLIANCEReasons for non-compliance fall into three categories: [1] although noise is harmful to hearing, music is not; [2] thennOise levels in orchestras are not that high; [3] reducing noise levels in orchestras defeats the whole purpose of the exercise, is dif cult.and introduces other signi cant problems.The rst two apply strongly in some cases, and not at all in others, but the dif ctu of controlling exposure applies in all orchestras and demands a pragmatic approach.