natgillin/translations-raw huggingface dataset:
•A decrease in frequency selectivity, difficulties in perceiving time-related sound variations and an increase in masking make it difficult to detect, identify and localise sound sources.
•Zmanjšanje frekvenčne selektivnosti, težave pri zaznavanju s časom povezanih sprememb zvoka in povečanje prekrivanja zvokov otežujejo zaznavanje, prepoznavanje in določanje položaja zvočnih virov.
Ringing in the ears (Tinnitus)
Šumenje v ušesih (tinitus)
Noise levels may affect safety because they are likely to interfere with warning information:
Ravni hrupa lahko vplivajo na varnost, ker lahko motijo opozorilne informacije.
•Danger signals may be masked.•Information provided by a colleague or loudspeaker may become incomprehensible.
•Znaki za nevarnost se lahko prekrijejo.•Informacija, ki jo je posredoval sodelavec ali je bila sporočena po zvočniku, je lahko nerazumljiva.
•People with impaired hearing may experience ringing in their ears (tinnitus).
•Ljudje s poškodovanim sluhom lahko trpijo zaradi šumenja v ušesih (tinitusa).
This condition is caused by localised damage to inner ear structures, thereby altering auditory nerve activity.
To stanje povzroča lokalizirana poškodba delov notranjega ušesa, zaradi česar se spremeni aktivnost slušnega živca.
This means that sound is perceived, when none is being conveyed to the ear.
To pomeni, da človek zaznava zvok, čeprav se zvok ne prenaša do ušesa.
Tinnitus is experienced through ringing noises and tones at mid- or high frequencies.
Tinitus pomeni slušno zaznavanje šumenja in tonov s srednjimi in visokimi frekvencami.
Air and bone conduction
Prevajanje po zraku in kosteh
In extreme cases, subjective noise may last 24 hours a day, 7 days a week.
V izjemnih primerih lahko subjektivni hrup traja 24 ur na dan, 7 dni na teden.
Around 20 % of the population experience tinnitus to some degree, and 4 % experience this disorder permanently.
Približno 20 % prebivalstva izkusi tinitus samo do določene mere, pri 4 % pa je ta motnja trajna.
EXTRAAURAL EFFECTS OF NOISE
VPLIVI HRUPA, KI NISO POVEZANI S SLUHOM
Many undesirable effects of noise may be produced even at noise levels and exposures innocuous to the inner ear.
Veliko nezaželenih učinkov hrupa nastopi celo pri ravneh hrupa in izpostavljenostih, ki so neškodljive za notranje uho.
These include the following:
Ti vključujejo naslednje:
•Audiometric testing in a soundproof room is conducted on a worker, who has not been recently exposed to noise.•The quiet rest period before testing shall last for at least 12 hours.•Audiometric testing is conducted for a number of tone frequencies in the 125 – 8000 Hz range.•Standard testing is carried out using an earphone (air conduction), corresponding to the normal method of sound conveyance to the ear.
•Avdiometrični preizkus v zvočno izolirani sobi se izvede na delavcu, ki v zadnjem času ni bil izpostavljen hrupu. •Tiho obdobje počitka pred preizkusom traja najmanj 12 ur. •Avdiometrični preizkus se izvede za različne zvočne frekvence v razponu od 125 do 8 000 Hz. •Standardni preizkus se izvede z uporabo slušalke (prevajanje po zraku), ki ustreza običajni metodi prenosa zvoka do ušesa.
Another testing method involves using a bone vibrator (bone conduction), from which the sound is conveyed to the ear through skull tissues and bones.•Comparing bone conduction with air conduction enables us to check the condition of the inner ear.
Druga metoda preizkušanja vključuje uporabo kostnega vibratorja (prevajanje po kosteh), od katerega se zvok prenese do ušesa skozi tkiva lobanje in kosti. •Primerjava prevajanja po zraku in prevajanja po kosteh nam omogoča preverjanje stanja notranjega ušesa.
Speech audiometry
Govorna avdiometrija
•Interference with speech communication (misunderstanding leading to wrong decisions).•Interference with task performance (decrease).•Annoyance.•Stress.•Difficulty in detecting and recognising danger and warning signals.•Interference with sleep and reduced sleep quality.
Če je ugotovljena znatna izguba sluha, se lahko izvedejo dodatni preizkusi, na primer prepoznavanje govora.
If significant hearing loss is detected, additional tests, such as speech recognition, may be conducted.
Pojav vznemirjenja in stresa je med posamezniki lahko različen, odvisno od subjektivnih okoliščin.
•Their role is to assess the ability of the person with impaired hearing to maintain normal social contact though speech.•Difficulty in verbal communication usually occurs when hearing loss exceeds 40 dB.
•Njihova naloga je oceniti zmožnost človeka s slabšim sluhom, da ohrani socialne stike prek govora. •Težave v govornem sporazumevanju se običajno pojavijo, ko izguba sluha preseže 40 dB.
Appearance of irritation and stress can vary between individuals depending on subjective conditions.
Ravni hrupa lahko povzročijo tudi nekatere psihološke spremembe, vključno z naslednjim:
Schedule for audiometric testing
Časovni razpored avdiometričnih preizkusov
Noise levels may also produce certain physiological changes, including the following:
•povečan srčni utrip; •povečan krvni tlak;•zoženje krvnih žil (vazokonstrikcija); •širjenje očesnih zenic; •izločanje adrenalina;•prestrašenost.
People employed in environments in which there is a risk of hearing damage, shall be audiometrically tested (Article 10 of Directive 2003/10/EC), when starting employment and at suitable intervals during their working lives.
Ljudje, zaposleni v okoljih, kjer obstaja tveganje za okvaro sluha, morajo opraviti avdiometrični preizkus (člen 10 Direktive 2003/10/ES), in sicer ob nastopu delovnega razmerja in v ustreznih časovnih razmikih v času delovnega razmerja.
Premature hearing loss
Prezgodnja izguba sluha
•Hearing shall also be checked every time sudden hearing damage could occur, e.g. after explosions.
•Običajno se ta preizkus ponovi po prvih 12 mesecih, da se ugotovi, ali je posameznik močno dojemljiv za hrup; nato se preizkus ponovno izvede vsake tri leta.•Sluh se preveri tudi vsakič, ko bi se lahko pojavila nenadna okvara sluha, npr. po eksplozijah.
The frequency of the audiometric testing can be adjusted to the level of the exposure.
Pogostost avdiometričnih preizkusov lahko prilagodimo ravni izpostavljenosti.
•In the early stages, hearing loss due to noise develops at frequencies of 4 – 6 kHz.
•V zgodnjih fazah se izguba sluha zaradi hrupa razvije pri frekvencah 4 do 6 kHz.
Common practice therefore involves curtailing costs by recommending an audiometric test in a limited 1 – 6 kHz frequency range. •Hearing loss greater than 40 dB HL usually requires medical treatment.•Hearing loss greater than 60 dB HL is considered severe and the person will require a hearing aid for verbal communication.
Splošna praksa zato vključuje omejitev stroškov s predlaganjem avdiometričnega preizkusa v omejenem frekvenčnem območju 1 do 6 kHz. •Izguba sluha, večja od 40 dB HL, običajno zahteva medicinsko zdravljenje. •Izguba sluha, večja od 60 dB HL, se šteje za hudo in prizadeta oseba potrebuje za govorno sporazumevanje slušni aparat.
Indication of an impairment of hearing or an incipient amblyacousia
Znak za okvaro sluha ali slabši sluh v začetni fazi
As a general rule, amblyacousia develops slowly extending over several years.
Praviloma se slabši sluh razvija več let.
Furthermore, the process of hearing is very complex and to a certain extent weaknesses of the sense organ ‘ear‘ to transform audible signals into corresponding stimuli of the nerves can be compensated by the subsequent intelligent converting.
Poleg tega je proces slušnega zaznavanja zelo zapleten in težave čutilnega organa „ušesa“ pri preoblikovanju slišnih signalov v ustrezne živčne dražljaje je do določene mere mogoče nadomestiti z naknadnim inteligentnim preoblikovanjem.
Therefore, at the beginning, the development of amblyacousia normally proceeds unnoticed.
Zato v začetku razvoj slabšega sluha običajno ni opazen.
Further indications of an impairment of hearing or an incipient amblyacousia could be:
Če nekdo s težavo spremlja posamezen pogovor, na primer na zabavi, kjer hkrati poteka več pogovorov, je to lahko znak slabšega sluha v začetni fazi, čeprav oseba nima težav s poslušanjem pogovora, ko ta poteka samostojno.
Figure 7.8 Age-related hearing loss and noise-induced hearing loss
Slika 7.8 Izguba sluha, povezana s starostjo, in izguba sluha zaradi hrupa
Percentage hearing loss
KAZALCI IZGUBE SLUHA
•A percentage hearing loss is calculated for financial compensation purposes.
•Izguba sluha v odstotkih se izračuna za namene finančnega nadomestila.
Various methods exist, based on average hearing loss in dB HL for audiometric frequencies of 500, 1000 and 2000 Hz, which are usually applied to the better ear, but can be used for both ears.
Obstajajo različne metode, ki temeljijo na povprečni izgubi sluha v dB HL za avdiometrične frekvence 500, 1 000 in 2 000 Hz, ki se običajno uporabijo na ušesu z boljšim sluhom, mogoče pa jih je uporabiti tudi na obeh ušesih.
The above three frequencies are selected because of the significant influence of hearing loss on speech recognition in the frequency 500 – 2000 Hz frequency range.
Zgornje tri frekvence so izbrane zaradi pomembnega vpliva izgube sluha na prepoznavanje govora v frekvenčnem območju 500 do 2 000 Hz.
•In clinical standards and practice, hearing loss is expressed in decibels HL (hearing level), which indicates the elevation of hearing threshold above normal hearing, a value determined for young healthy people.•For instance, a hearing level of 40 dB HL at a frequency of 2,000 Hz means that the worker’s hearing threshold is 40 dB higher than normal for this frequency.
•V kliničnih standardih in praksi se izguba sluha izraža v decibelih HL (raven sluha), ki kaže dvig slišnega praga nad normalen sluh, vrednost, ki je določena za zdrave mlade ljudi. •Raven sluha 40 dB HL pri frekvenci 2 000 Hz na primer pomeni, da je slišni prag delavca za 40 dB višji od normalnega za to frekvenco.
CHAPTER 8 The Music and Entertainment Sectors
POGLAVJE 8: Glasbeni sektor in razvedrilni sektor
DIRECTIVE REQUIREMENTS .................................................................................................................................................. 122
ZAHTEVE DIREKTIVE............................................................................................................................................................... 122
OTHER CONSIDERATIONS ..................................................................................................................................................... 122
DRUGI PREMISLEKI .................................................................................................................................................................122 122
INTRODUCTION: WHY A SEPARATE CHAPTER?
UVOD – ZAKAJ LOČENO POGLAVJE?
SPECIFIC RISKS AND PROBLEMS ............................................ 122
POSEBNA TVEGANJA IN TEŽAVE .............................................................. 122
A LIST OF WORKERS LIKELY TO BE AFFECTED IN THE MUSIC AND ENTERTAINMENT SECTORS ................. 122
SEZNAM DELAVCEV, KI SO LAHKO OGROŽENI, V GLASBENEM IN RAZVEDRILNEM SEKTORJU ................122 122
WHO MAY BE AT RISK? ........................................................................................................................................................... 124
KDO JE LAHKO OGROŽEN .................................................................................................................................................... 124
STRATEGIES FOR REDUCING NOISE EXPOSURE LEVELS ............................................................................................ 124
STRATEGIJE OMEJEVANJA IZPOSTAVLJENOSTI ............................................................................................................ 124
Strategy 1: Employers – Venue operator ........................................................................................................................ 125
Strategija 1: Delodajalci – upravitelji prostora .............................................................................................................. 125
Strategy 2: Employers – Entertainment providers ...................................................................................................... 127
Strategija 2: Delodajalci – ponudniki zabave ................................................................................................................ 127
Strategy 3: Employers of service staff .............................................................................................................................. 130
Strategija 3: Delodajalci pomožnega osebja ................................................................................................................ 130
Strategy 4: Employers – Providers or operators of sound amplification equipment. ................................... 130
Strategija 4: Delodajalci – Ponudniki ali upravljavci ozvočenja .............................................................................130 130
Strategy 5: Workers ................................................................................................................................................................. 132
Strategija 5: Delavci ...............................................................................................................................................................132 132
CHAPTER 8: THE MUSIC AND ENTERTAINMENT SECTORS
POGLAVJE 8: GLASBENI SEKTOR IN RAZVEDRILNI SEKTOR
INTRODUCTION: WHY A SEPARATE CHAPTER?
UVOD: ZAKAJ LOČENO POGLAVJE?
SPECIFIC RISKS AND PROBLEMS
POSEBNA TVEGANJA IN TEŽAVE
The music and entertainment sectors are unique in that high sound levels and special effects loud enough to cause hearing damage are often regarded as elements essential to performance.
Člen 14 Direktive 2003/10/ES42 zahteva: „V okviru uporabe te direktive države članice v posvetovanju s socialnimi partnerji in v skladu z nacionalno zakonodajo in prakso pripravijo pravila o ravnanju, ki dajejo praktične smernice in pomagajo delavcem in delodajalcem v glasbenem in razvedrilnem sektorju, da izpolnijo njihove pravne obveznosti, določene s to direktivo.“
Article 14 of Directive 2003/10/EC42 requests: ‘In the context of the application of this Directive Member States shall draw up in consultation with the social partners, in accordance with national law and practice, a code of conduct providing for practical guidelines to help workers and employers in the music and entertainment sectors to meet their legal obligations as laid down in this Directive.’
Glasbeni in razvedrilni sektor sta edinstvena, saj se visoke ravni zvoka in posebni učinki, dovolj glasni, da povzročijo okvaro sluha, pogosto štejejo za bistvene elemente predstave.
The speciality of sounds both live and recorded in this sector is that it is in essence the very own product that may be harmful.
Posebnost zvokov v teh sektorjih, tako zvokov v živo kot posnetih, je ta, da so v bistvu namensko proizvedeni, vendar pa so hkrati lahko škodljivi.
Relevant sound levels are not an unwanted secondary effect but to some degree are expected by the audience.
Ravni zvoka, ki pri tem nastanejo, niso nezaželen sekundarni učinek, temveč jih do neke mere občinstvo pričakuje.
Nevertheless, this special working product can directly put a risk on workers’ and performers’ most important tools – their ears.
Kljub temu pa lahko ta posebni proizvod neposredno ogroža najpomembnejše orodje delavcev in izvajalcev – njihova ušesa.
It should be underlined that Directive 2003/10/EC lays down minimum health and safety requirements regarding the exposure of workers to the risks arising from noise within the meaning of Article 3 ‘Definitions’ of the Framework Directive 89/391/EEC43:(a) ‘Worker’: any person employed by an employer, including trainees and apprentices but excluding domestic servants’ and(b) ‘Employer’: any natural or legal person who has an employment relationship with the worker and has responsibility for the undertaking and/or establishment.’
Treba je poudariti, da Direktiva 2003/10/ES določa minimalne varnostne in zdravstvene zahteve glede izpostavljenosti delavcev tveganjem, ki izhajajo iz hrupa v smislu člena 3 „Opredelitve pojmov“ Okvirne direktive 89/391/EGS43:(a) „delavec“: vsaka oseba, ki jo zaposli delodajalec, vključno s pripravniki in vajenci, pri čemer je izključena domača služinčad“;in(b) „delodajalec“: vsaka fizična ali pravna oseba, ki z delavcem sklene zaposlitveno razmerje, in je odgovorna za podjetje in/ali obrat“.
The Noise Directive 2003/10/EC specifies the minimum requirements for the protection of workers from the risk to their health and safety arising, or likely to arise from exposure to noise at work.
Direktiva o hrupu 2003/10/ES določa minimalne zahteve za varovanje delavcev pred tveganjem za njihovo varnost in zdravje, ki so ali bi lahko bili posledica izpostavljenosti hrupu pri delu.
Risk assessments of the work activity should identify those workers who may be exposed; these will include musicians and other performers, technical staff and others working directly in the music and entertainment sectors (see Table 8.1).
Ocena tveganja delovne aktivnosti mora opredeliti tiste delavce, ki so lahko izpostavljeni; to so glasbeniki in drugi izvajalci, tehnično osebje in drugi, ki delajo neposredno v glasbenem in razvedrilnem sektorju (glej preglednico 8.1).
For example, ushers, security, front of house and catering staff, etc., depending on their location and length of time spent in the noisy entertainment.
Na primer, vratarji, varnostniki, osebje pred zgradbo, gostinsko osebje itd., odvisno o njihovega položaja in časa, ki ga preživijo v hrupnem okolju.
Due to the particular specificities of the music and entertainment sectors, many musicians/crew members work as freelance staff and can consider themselves self-employed.
Zaradi posebnosti glasbenega in razvedrilnega sektorja veliko glasbenikov/članov osebja dela samostojno in se lahko štejejo za samozaposlene.
This group of workers are not covered by the Directive 2003/10/EC but Council Recommendation 2003/134/EC44concerning the improvement of the protection of the health and safety at work of the self-employed workers should be applicable to them.
Ta skupina delavcev ni zajeta v Direktivi 2003/10/ES, zanje bi moralo veljati Priporočilo Sveta 2003/134/ES44o izboljšanju zaščite varnosti in zdravja pri delu samozaposlenih delavcev.
In this case the hereunder suggested measures can also be considered.
V tem primeru je mogoče upoštevati tudi tukaj predlagane ukrepe.
A LIST OF WORKERS LIKELY TO BE AFFECTED IN THE MUSIC AND ENTERTAINMENT SECTORS
SEZNAM DELAVCEV, KI SO LAHKO OGROŽENI, V GLASBENEM IN RAZVEDRILNEM SEKTORJU
Directive 2003/10/EC of the European Parliament and of the Council of 6 February 2003, on the minimum health and safety requirements regarding the exposure of works to the risks arising from physical agents (noise), O.J. n° L 42 of 15.02.2003, page 38.
Direktiva 2003/10/ES Evropskega parlamenta in Sveta z dne 6. februarja 2003 o minimalnih zahtevah za varnost in zdravje v zvezi z izpostavljenostjo delavcev fizikalnim dejavnikom (hrup), UL L 42, 15.2.2003, str. 38.
2003/134/EC Council Recommendation of 18 February 2003, concerning the improvement of the protection of the health and safety at work of self-employed workers, O.J. n° L 53 of 28.02.2003, page 45.
Priporočilo Sveta 2003/134/ES z dne 18. februarja 2003 o izboljšanju zaščite varnosti in zdravja pri delu samozaposlenih delavcev, UL L 53, 28.2.2003, str. 45.
CHAPTER 8: THE MUSIC AND ENTERTAINMENT SECTORS predominantly desired and expected by the audience.
POGLAVJE 8: GLASBENI SEKTOR IN RAZVEDRILNI SEKTOR
As a result significant on stage sound levels are commonplace.
Zato so visoke ravni zvoka na odru običajne.
Sound pressure levels for rock and pop musicians are in the range of 95-110 dB(A).
Ravni zvočnega tlaka za rock in pop glasbenike so v območju med 95 in 110 dB(A).
•In the case of jazz and folk musicians:For musicians in the genre of jazz and folk music the sound pressure levels are usually a bit lower within a span of 90-98 dB(A).
•pri izvajalcih jazza in ljudske glasbe: Pri glasbenikih, ki izvajajo jazz in ljudsko glasbo, so ravni zvočnega tlaka nekoliko nižje, in sicer med 90 in 98 dB(A).
•In the case of other workers:Similar noise exposures have been measured for sound engineers, security or other service staff at live concerts.
Če želimo najti najboljšo pot za preprečevanje ali zmanjševanje ravni izpostavljenosti zvoku v posebnih okoliščinah, v katerih smo se znašli, je lahko potrebna kombinacija različnih ukrepov.
A combination of different measures may be required in order to find the best way to avoid or reduce sound exposure levels in the particular circumstances being encountered.
Pri preučevanju možnih ukrepov je treba upoštevati dejavnike, kot so vrste glasbenih inštrumentov, število in položaj izvajalcev, uporaba ojačevalcev, ali so delavci tisti dan že delali kje drugje (doma, v studiu, poučevali v razredu itd.), akustika prostorov in hrup, povezan s posebnimi učinki.
When examining possible measures factors such as types of instruments being played, the number and positions of players, whether amplification is being used, whether workers are or have been working already at other premises that day (at home, in a rehearsal studio, teaching in class, etc.), the acoustics of the venues and the noise associated with stunts and effects should all be considered.
Morda bo treba preizkusiti več različnih vrst nadzora ali s kombinacijo ukrepov najti najboljši način za preprečitev ali zmanjševanje ravni izpostavljenosti zvoku, saj lahko vsak ukrep vpliva na druge na več različnih načinov.
Several different controls or a combination of measures may have to be tried to find the best way to avoid or reduce sound exposure levels as each measure may itself have implications for others in a variety of ways.
•pri drugih delavcih:Podobne ravni izpostavljenosti hrupu so bile izmerjene za tonske mojstre, varnostnike ali drugo pomožno osebje na koncertih v živo.
•Serious risks of hearing damage exist for workers in the music and entertainment sectors who regularly have to work in noisy environments such as clubs, discotheques or at live concerts.
•Resna tveganja za okvaro sluha obstajajo za delavce v glasbenem in razvedrilnem sektorju, ki morajo redno delati v hrupnih okoljih, na primer v klubih, diskotekah ali na koncertih v živo.
The scope of affected workers concerned include musicians and other performers, disc jockeys (DJs), service staff, technical staff, security staff, first-aid workers, cashiers and others.
Med ogrožene delavce spadajo glasbeniki in drugi izvajalci, didžeji, pomožno osebje, tehnično osebje, varnostniki, delavci prve pomoči, blagajniki in drugi.
•In the case of workers of discotheque and disk jockeys (DJs):The employees of discotheques or comparable live events are exposed to high sound levels as well.
•pri delavcih v diskotekah in didžejih: Zaposleni v diskotekah ali na primerljivih prireditvah v živo so prav tako izpostavljeni visokim ravnem zvoka.
The sound pressure levels on dance floors are often over 100 dB(A).
Ravni zvočnega tlaka na plesiščih pogosto presegajo 100 dB(A).
While disk jockeys (DJs) are exposed to levels of 95-100 dB(A), the sound pressure levels of the service staff are 90-95 dB(A).
Medtem ko so didžeji izpostavljeni ravnem med 95 in 100 dB(A), je pomožno osebje izpostavljeno ravnem zvočnega tlaka med 90 in 95 dB(A).
Despite working times of less than 20 hours per week, exposure levels of 96 dB(A) for DJs and 92 dB(A) for service staff have been assessed.
Čeprav ti delavci delajo manj kot 20 ur tedensko, so bile ravni izpostavljenosti za didžeje ocenjene na 96 dB(A), za pomožno osebje pa na 92 dB(A).
These workers are often exposed to sound levels exceeding the ‘exposure limit values’ indicated in Article 3 of Directive 2003/10/EC.
Ti delavci so pogosto izpostavljeni ravnem zvoka, ki presegajo „mejne vrednosti izpostavljenosti“, navedene v členu 3 Direktive 2003/10/ES.