Abstract View
Aerosol Generation and Transmission from Performing Singing and Wind Instruments
JUN WANG, Tiina Reponen, Sergey A. Grinshpun, John Singletary, Michael Yermakov, University of Cincinnati
Abstract Number: 569
Working Group: The Role of Aerosol Science in the Understanding of the Spread and Control of COVID-19 and Other Infectious Diseases
Abstract
During the COVID-19 pandemic, concerns were raised with potential airborne virus transmission during musical performances, particularly during singing and playing wind instruments. Past studies suggest aerosol emissions from singing with magnitudes varying by person and vocal pitches. Aerosol emissions from wind instruments remain unclear. The objective of this study is to examine the spatial and temporal changes of aerosol concentration in a musical performing environment when singing and wind instruments are involved. College-Conservatory of Music (CCM) at University of Cincinnati hosts various music education programs, where the lecturer and students have to be face-to-face in a teaching room. Four condensation particle counters were strategically placed throughout the teaching room. Besides singing, six instruments (trumpet, trombone, horn, clarinet, saxophone, and flute) were performed by professionals at CCM. Two types of tests were conducted for each instrument: 10 minutes of playing; 10 minutes of combined playing and talking to mimic the teaching session. The results showed singing elevated aerosol concentration as high as 3.9×103 cm-3 at the performing point, more than three times of the background (1.2×103 cm-3). Most instruments acted as an interceptor of aerosols, with aerosols presumably impacted in the complex airway inside the instrument. Some instruments, such as flute, which leaks air by design, contributed to aerosol emission, but not as much as singing and talking. Particle concentrations away from the performing point stayed relatively the same during the test, while aerosol concentration at performing point reduced quickly after the test with adequate ventilation (around 12 air changes per hour). Future studies include measuring aerosol emissions in a controlled low-background chamber so instrument differences will be easier to detect, as well investigations a larger setting such as an orchestra hall. The results will be used to devise corresponding administrative strategies and control techniques at performance sites.