A new systematic review and meta-analysis1 published in Otolaryngology–Head and Neck Surgery, the official journal of the American Academy of Otolaryngology–Head and Neck Surgery Foundation (AAO-HNSF), 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.
Reference:
1) https://aao-hnsfjournals.onlinelibrary.wiley.com/doi/10.1002/ohn.70094
(Newswise/HG)