Summary: For many musicians, the price of making music is a lifelong sentence of ringing ears. A massive new meta-analysis involving over 28,000 musicians across 21 countries has revealed that auditory disorders are an occupational epidemic in the music industry. The study found that 42.6% of musicians experience tinnitus—more than triple the rate of the general population.
Additionally, musicians are significantly more likely to suffer from hearing loss and hyperacusis (extreme sensitivity to everyday sounds). Surprisingly, the research debunked the myth that rock musicians are at higher risk than classical ones; the auditory danger is consistent across all genres, suggesting that instrument type, seating position, and long-term exposure are the true drivers of damage.
Key Facts
- Triple the Risk: 42.6% of musicians report tinnitus, compared to just 13.2% of non-musicians.
- Hyperacusis Surge: Over 37% of musicians suffer from hyperacusis, making normal daily sounds feel painfully loud.
- Genre Neutrality: There is no significant difference in hearing damage between classical orchestra members and pop/rock musicians.
- Hidden Hearing Loss: Only about 37% of musicians with hearing loss were diagnosed through objective tests; the rest are living with self-reported, often unmanaged symptoms.
- Environmental Drivers: Risk is dictated more by seating position (e.g., being in front of the brass section), room acoustics, and personal protective habits than by the style of music played.
Source: AAO
A new systematic review and meta-analysis published in Otolaryngology–Head and Neck Surgery reveals that musicians face substantially higher rates of tinnitus, hearing loss, and hyperacusis compared to non-musicians.
The study, which pooled data from 67 studies encompassing more than 28,000 musicians across 21 countries.
The research found that 42.6% of musicians reported tinnitus (ringing in the ears), compared to just 13.2% in control populations. Hearing loss affected 25.7% of musicians versus 11.6% of controls, and hyperacusis — an increased sensitivity to everyday sounds — was reported by 37.3% of musicians compared to 15.3% of non-musicians.
“Many musicians quietly live with ringing ears, sound sensitivity, or hearing loss, no matter whether they play in a symphony hall or a small club. Yet the research we have is still imperfect, often based on self-reported symptoms and missing details about things like other loud hobbies, specific instruments, and how consistently people use hearing protection.
“What we really need now is more personal, musician-entered risk profiling so we can offer practical, tailored advice that helps artists protect their hearing without sacrificing the music they love,” said Shaun A. Nguyen, MD, Professor in the Department of Otolaryngology–Head and Neck Surgery at the Medical University of South Carolina.
Among musicians who experienced tinnitus, the majority (76.3%) described their symptoms as occasional, while 15.6% reported permanent tinnitus. Among musicians with hearing loss, approximately 63% of cases were based on subjective self-report, with only about 37% confirmed through objective audiometric testing — suggesting the true prevalence may be even higher than reported.
Notably, the study found no significant difference in the prevalence of hearing loss, hyperacusis, or tinnitus between classical and pop/rock musicians. This challenges previous assumptions and suggests that auditory risk extends across musical genres.
The authors note that individual factors such as instrument type, seating position within an ensemble, room acoustics, and attitudes toward hearing protection may play a more critical role in auditory risk than genre alone.
Key Question Answered:
A: While rock concerts are loud, classical musicians often spend decades in high-decibel environments like rehearsal halls and pits. Being seated directly in front of trumpets or percussion in an orchestra can deliver sound levels comparable to a rock stage, often for many more hours per week.
A: Hyperacusis is an increased sensitivity to sound. For these individuals, the clink of a fork or a vacuum cleaner can feel physically painful. It happens when the brain “turns up the volume” to compensate for hearing damage, making the world uncomfortably loud.
A: High-fidelity earplugs help, but many musicians avoid them because they change the “feel” and frequency balance of the music. The study emphasizes the need for tailored, musician-centric protection that preserves sound quality while lowering volume.
Editorial Notes:
- This article was edited by a Neuroscience News editor.
- Journal paper reviewed in full.
- Additional context added by our staff.
About this auditory neuroscience research news
Author: Tina Maggio
Source: AAO
Contact: Tina Maggio – AAO
Image: The image is credited to Neuroscience News
Original Research: Open access.
“Auditory Symptoms Among Musicians: A Systematic Review and Meta-analysis” by McCray, L.R., Ripp, A.T., Nguyen, S.A., Pelic, J.C., Labadie, R.F. and Meyer, T.A. Otolaryngology Head & Neck Surgery
DOI:10.1002/ohn.70094
Abstract
Auditory Symptoms Among Musicians: A Systematic Review and Meta-analysis
Objective
To assess the prevalence of auditory symptoms among recreational and professional musicians.
Data Sources
CINAHL, Cochrane Library, PubMed, and SCOPUS were searched for English-language studies published from inception through November 19, 2024.
Review Methods
We included cohort and cross-sectional studies reporting auditory symptom prevalence among recreational or professional musicians at least 18 years old. Studies involving children or noise exposure data only were excluded. Data were extracted independently by two authors, with disagreements resolved by discussion. Risk of bias was assessed using the Risk Of Bias In Nonrandomized Studies – of Exposure for prospective cohort studies, the Joanna Briggs Institute (JBI) checklist for retrospective cohort and cross-sectional studies, and the Risk of Bias 2 tool for randomized controlled trials. Primary outcome measures included continuous measures (mean) and proportions (%) with 95% confidence intervals.
Results
Sixty-seven studies (n = 28,311) on auditory symptoms among musicians were included. The mean age was 34.7 years for the musicians and 30.2 years for the control group. Musicians experienced a significantly higher prevalence of tinnitus (42.6% vs 13.2%), hearing loss (25.7% vs 11.6%), and hyperacusis (37.3% vs 15.3%) compared to the control population. However, there was no significant difference in the prevalence of hearing loss, hyperacusis, and tinnitus between classical and pop/rock musicians.
Conclusion
At least one in three musicians reports tinnitus or hyperacusis, while approximately one in four has hearing loss. This evidence suggests otolaryngologists treating musicians should consider routine auditory assessments and preventive counseling.
