A SOUND EAR II - Association of British Orchestras

A SOUND EAR II
• your noise policy and consultation arrangements;
• where and how people can obtain personal hearing protection (or a direction that freelancers bring their own);
• how to report defects in personal hearing protection and other controls;
• the employee’s duties;
• the arrangements for health surveillance;
• symptoms to look out for, who to report to and how;
• managers must also understand how to carry out assessments, select and implement noise controls, monitor
compliance and progress, etc.
Clearly, some of this is generic material which belongs in training sessions, while some is session-specific information to
be provided when booked, or on the day.
Why train?
• Because noise control will be a major change for orchestras and musicians, and will founder if people are not
convinced of the need – ie. the threat to their hearing and thus of their livelihood and pleasure.
• Because noise control is not simple, and people need to understand the pros and cons of the various options available.
• Because noise control is not optional, and people need to understand their responsibilities.
• Because managers need to understand how to make it all work, and go on working.
In terms of providing information, orchestras are:
• placing papers on music stands;
• putting notices by the stage;
• providing verbal announcements at the beginning of the session;
• including information in schedules;
• emailing everyone on their list;
• and more.
As with health surveillance, a national scheme may emerge. In the meantime, the essentially full-time orchestras might
be expected to lead on rolling-out player training. Freelancers should not be drenched in training, and employers may
choose to require (in time) that a player provide proof of having received appropriate training within the previous
three years. Note that Health & Safety training normally has a three-year shelf-life.
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Conductors
Regular conductors should be incorporated as far as you can manage – the more they understand, the more they are
likely to engage with or initiate experiments in noise control. Orchestras which have trained their conductors have
received enthusiastic support. Orchestras which have explained the situation (eg. by writing to all their conductors)
have met general acquiescence.
Consultation
Health and Safety is founded on consultation with employees or their representatives.
Where there is an established safety committee, it should be consulted on how best to develop the management and
monitoring of noise control. The committee may choose to establish a sub-committee to deal with noise. Conversely,
a noise committee may form the nucleus of an as yet unformed safety committee. Primarily freelance orchestras may
identify a stable core of players who could be consulted in the course of routine meetings, or in time between adjacent
sessions, or by email etc, and may liaise with any MU rep.
As well as players, you may need input from people such as responsible managers, conductors, resident composers,
safety and occupational health advisers, and representatives from frequently visited venues.