Musical Instrumental Practice Research Articles

‘How Would you Score Yourself?’: The Effect of Self-assessment Strategy Through Robots on Children’s Motivation and Performance in Piano Practice

This research examines how to design social robots to support self-regulated learning skills for piano practice. More specifically, a social robot is used to provide feedback to children and initiate self-assessment. To assess the impact of this approach on children’s motivation and performance, we conducted an experiment in a music school where 50 children practiced with both a self-assessment and a non-evaluative robot. Results showed that when the children interacted with the self-assessment robot they had higher motivation and better performance than when they interacted with the non-evaluative robot. Furthermore, interaction effects were found between the robot conditions, the children’s learning stages, and their gender regarding their motivation and rhythm performance. Overall, the study demonstrates a positive influence of robot-initiated self-assessment on children’s musical instrument practice and provided insights for personalized child-robot interaction design.

The impact of social robots' presence and roles on children's performance in musical instrument practice

AbstractResearch on the educational applications of social robots has shown how they can motivate children and help improve academic learning outcomes. Here, we examine how robots can support skill learning and, more specifically, musical instrument practice. Drawing from social facilitation theory and evaluation apprehension theory we expected that the robot's mere presence would impact children's performance and that this effect would be contingent upon the children expecting the robot to evaluate their performance. We report an experiment with children (N = 31) aged nine to twelve who practiced a familiar and new piece alone, in the presence of an evaluative robot, and in the presence of a non‐evaluative robot. We found that children performed better in terms of rhythm, pitch, and general impression in the presence of the non‐evaluative robot. These findings offer important insights for designing robot tutors for music learning. Practitioner notesWhat is already known about this topic Social robots have been applied in different educational scenarios (e.g., second language, math, and programming) and were proven to be beneficial for children's motivation. Musical instrument learning requires practice, perseverance, and social support to become successful. Social robots can be used as a provider of social support during musical instrument practice. Children tend to perform better on easy or well‐rehearsed tasks and worse on complex tasks or new ones with the presence of observers, but only when they believe the observer can evaluate them. What this paper adds Social robots are beneficial for children's performance in musical instrument learning. Limited evidence was found to prove that children tend to perform better on old melodies and worse on new melodies in the presence of a social robot. However, the results confirmed that the level of evaluative of the robot matters. Children tend to have better performance with the robot that did not provide evaluative comments when practicing a new melody (a difficult task) than alone and with the robot that offered evaluative comments. This study confirmed that social robots can provide support to children in practicing music, helping to improve their performance. Implications for practice and/or policy Social facilitation and evaluation apprehension effects need to be taken into consideration during the behaviour design of companion robots in learning scenarios. Robots, which were intended to motivate children in learning, should be designed to not provide evaluative comments.

An etude for post-pandemic practice: The impact of the COVID-19 pandemic on practice methods and instrumental technique.

This paper considers how the pandemic-related concert-free time affected musicians' practice, specifically in relation to technique. A semi-structured interview was carried out on 22 musicians based in Switzerland (11 males, 11 females; 7 students, 15 non-students; 11 with school-aged children, 11 without school-aged children; 16 with teaching duties and 6 non-teachers). The amount of practice during the pandemic-related concert-free time was reported as different to usual by 91% and usual for only 9% of participants (p = 0.002). Forty-one percent of participants reported reduced, and 41% "fluctuating" amounts of practice. The proportion of practice time spent on technique was reported by 55% of participants to have increased and by only 9% to have decreased (p = 0.019). Of those who reported an increase in technique practice, 75% agreed this had a positive impact on technique, and only 8% disagreed (p = 0.037). Moreover, 58% considered this work to have changed their current and future practice. Participants were statistically more likely to report "never" watching online tutorials than "often" (p = 0.014), but, of those that did watch such material, 75% agreed that it had a positive impact upon their practice. Most participants created digital content during this period; only 5% produced no such material. An increased use of digital tools was reported by 55% of participants, 92% of whom described this as having a positive effect upon practice and only 8% were unsure (p = 0.022). However, in the unstructured discussion, the use of digital tools appears to be associated with mixed outcomes. Men reported significantly more frequent use of digital tools (91% vs. 45% describing this use as often, p = 0.038) and spent a larger proportion of time on technique relative to their pre-pandemic habits than women (p = 0.065); moreover, a trend indicated that more women than men created digital content in the form of tutorials (p = 0.095). The exceptional situation musicians experienced during the pandemic, which introduced new aspects to musical instrument practice, and accelerated changes already underway, could lead to future work that improves practice under "normal" conditions, and exposes discrepancies between certain demographic groups.

Self-Regulation Behaviors of Music Education Students

This research aims to examine the self-regulation behaviors of the undergraduate students which they display in their music education process and the differentiation of these behaviors according to various variables as well as collecting the opinions of the students about the musical instrument practice behaviors. In this study, where mixed method was used, data were collected by questionnaire for the survey model and interview techniques for the factual part. For the quantitative part of the study the ‘Self-Regulation Behaviors of Music Students’ scale adapted into Turkish by Ersözlü and Miksza (2015) and was used The themes was acquired by coding the quantitative results obtained in the interviews conducted to discover the behaviors of the students in the instrument playing process. In the study group of the research, the quantitative part consists of 240 students (n=240) studying in music teaching undergraduate programs in Conservatories, Fine Arts, Art Design Faculties and Education Faculties located in different regions of Turkey and the qualitative part consists of (n=5) students. In the results, it was seen that there were significant differences between the 3rd and 4th grades in terms of Behavior dimension of the students. In the Method dimension, on the other hand, there were significant differences between the 1st and 3rd; 3rd and 4th grades in terms of the instrument study year. Furthermore, students have assumed that while they are not able to spare enough time for the study, they recording audios and listening to them again for self-control, evaluating themselves and using personal strategies such as taking notes.

The Precision of the Human Hand: Variability in Pinch Strength and Manual Dexterity

Changes in hand morphology throughout human evolution have facilitated the use of forceful pad-to-pad precision grips, contributing to the development of fine motor movement and dexterous manipulation typical of modern humans. Today, variation in human hand function may be affected by demographic and/or lifestyle factors, but these remain largely unexplored. We measured pinch grip strength and dexterity in a heterogeneous cross-sectional sample of human participants (n = 556) to test for the potential effects of sex, age, hand asymmetries, hand morphology, and frequently practiced manual activities across the lifespan. We found a significant effect of sex on pinch strength, dexterity, and different directional asymmetries, with the practice of manual musical instruments, significantly increasing female dexterity for both hands. Males and females with wider hands were also stronger, but not more precise, than those with longer hands, while the thumb-index ratio had no effect. Hand dominance asymmetry further had a significant effect on dexterity but not on pinch strength. These results indicate that different patterns of hand asymmetries and hand function are influenced in part by life experiences, improving our understanding of the link between hand form and function and offering a referential context for interpreting the evolution of human dexterity.

Temporal auditory processing in people exposed to musical instrument practice.

To investigate the influence of musical instrument practice on temporal auditory abilities and on the results of cortical potentials related to auditory events (P300) in a group of young musicians compared to individuals without experience in musical practice. This is a prospective cross-sectional observational study. In total, 34 individuals between 18 and 30 years old, of both sexes, took part and were divided in two groups: Group I (GI), composed of musicians (n=16), and Group II (GII), composed of non-musicians (n=18). All participants underwent behavioral evaluation of temporal auditory processing, composed of Duration Pattern Sequence Test (DPS), Pitch Pattern Sequence Test (PPS), Random Gap Detection Test (RGDT) and electrophysiological evaluation - Long Latency Auditory Evoked Potential - P300. GI also answered a specific questionnaire to characterize musical practice. We observed statistically significant differences with superior performance of GI compared with GII in all behavioral tests (p<0.001*). The groups' performance was similar regarding the latency and amplitude parameters analyzed from LLAEP-300 data (p>0.05). The findings show a positive influence of musical practice toward the improvement of auditory abilities of temporal ordering and resolution. All participants presented adequate cortical functioning of the central auditory nervous system, without significant differences between musicians and non-musicians when considering P300 amplitude and latency.

Processamento auditivo temporal em indivíduos expostos à prática musical instrumental

ABSTRACT Purpose To investigate the influence of musical instrument practice on temporal auditory abilities and on the results of cortical potentials related to auditory events (P300) in a group of young musicians compared to individuals without experience in musical practice. Methods This is a prospective cross-sectional observational study. In total, 34 individuals between 18 and 30 years old, of both sexes, took part and were divided in two groups: Group I (GI), composed of musicians (n=16), and Group II (GII), composed of non-musicians (n=18). All participants underwent behavioral evaluation of temporal auditory processing, composed of Duration Pattern Sequence Test (DPS), Pitch Pattern Sequence Test (PPS), Random Gap Detection Test (RGDT) and electrophysiological evaluation – Long Latency Auditory Evoked Potential – P300. GI also answered a specific questionnaire to characterize musical practice. Results We observed statistically significant differences with superior performance of GI compared with GII in all behavioral tests (p&lt;0.001*). The groups’ performance was similar regarding the latency and amplitude parameters analyzed from LLAEP-300 data (p&gt;0.05). Conclusion The findings show a positive influence of musical practice toward the improvement of auditory abilities of temporal ordering and resolution. All participants presented adequate cortical functioning of the central auditory nervous system, without significant differences between musicians and non-musicians when considering P300 amplitude and latency.

Pengembangan Modul Seni Musik Berbasis Experiential Learning untuk Meningkatkan Kemampuan Bermain Musik pada Mata Pelajaran Seni Budaya dan Prakarya Siswa Sekolah Dasar

The objectives of this study were (1) to analyze the needs of-based music modules experiential learning to improve the ability to play music in elementary school students, (2) to analyze the feasibility of the-based music art module module experiential learning to improve the ability to play music in elementary school students, (3) ) to analyze the effectiveness of the music art module based on experiential learning to improve the ability to play music in elementary school students. This research uses Research and Depelopment research methods referring to the 10 stages of Borg and Gall. Data collection used is the technique of observation, interviews, and performance of ability to play music. The analysis used in this research is quantitative and qualitative analysis, including the practice of musical instruments, learning observations, and validation of the musical arts module product. The product analysis of the musical arts module based on experiential learning to improve cultural arts and crafts in elementary schools includes 6 stages. Sources of data in this study were teachers and students of class VI SDN Magung 03 and SDN 04 Nagreg. The results of the development of the musical arts module based on experiential learning contain the need for a special module which includes basic learning and the stages of learning in detail, therefore the development of a music art module based on experiential learning is made. After being validated by the validator, it gets a score of 87.5 with category valid. Then the-based music art module is experiential learning applied to the experimental class and the calculation results using the t test are obtained sig 5%, meaning that there is an increase in the ability to play music using the-based music art module experiential learning then the N-gain is 0.4 in the moderate category. The effectiveness test in this study was carried out by comparing the performance results of the student's ability to play music in the control class and the experimental class. It is found that tcount is 6.9. From the results of this study, it can be concluded that the musical arts module based on experiential learning can be used in learning cultural arts and crafts in high classes. Hopefully it can inspire teachers to innovate in other learning.

Get a Grip: Variation in Human Hand Grip Strength and Implications for Human Evolution

Although hand grip strength is critical to the daily lives of humans and our arboreal great ape relatives, the human hand has changed in form and function throughout our evolution due to terrestrial bipedalism, tool use, and directional asymmetry (DA) such as handedness. Here we investigate how hand form and function interact in modern humans to gain an insight into our evolutionary past. We measured grip strength in a heterogeneous, cross-sectional sample of human participants (n = 662, 17 to 83 years old) to test the potential effects of age, sex, asymmetry (hand dominance and handedness), hand shape, occupation, and practice of sports and musical instruments that involve the hand(s). We found a significant effect of sex and hand dominance on grip strength, but not of handedness, while hand shape and age had a greater influence on female grip strength. Females were significantly weaker with age, but grip strength in females with large hands was less affected than those with long hands. Frequent engagement in hand sports significantly increased grip strength in the non-dominant hand in both sexes, while only males showed a significant effect of occupation, indicating different patterns of hand dominance asymmetries and hand function. These results improve our understanding of the link between form and function in both hands and offer an insight into the evolution of human laterality and dexterity.

Temporomandibular disorders among wind musical instrument players: an integrative review

Dysfunction of the stomatognathic apparatus is a disturbance of the biomechanics of the masticatory system and craniofacial structure, usually generated by tissue damage of its main components (temporomandibular, neuromuscular, and dental-occlusal system, besides in the craniocervical spine) when the morphofunctional adaptability is exceeded. Musical activity is well-known as one of the most complex activities executed by the human musculoskeletal system, as practitioners require to adopt a non-physiological posture. Therefore, by performing an integrative review of the available literature, this study aimed to investigate the potential relationship between temporomandibular disorders and the practice of wind musical instruments. We included peer-reviewed primary studies published in the last ten years, either in English, Portuguese, or Spanish, and with a full-text available. We searched four databases (PubMed, LILACS, Scielo, and Portal Capes), using a specific search strategy using the terms “wind instrument players”, “oral parafunction”, and “temporomandibular disorders”. We excluded articles published before 2011, studies that did not correlate temporomandibular disorders with wind music practice, as well as studies without a full text. Overall, the search retrieved ten primary studies, including 3,206 amateur and professional wind instrument players. Included studies were essentially cross-sectional studies (n= 8) and case-control studies (n= 2). The most common signs and symptoms of temporomandibular disorder and deleterious oral habits among wind players were crackling and popping sounds of the temporomandibular joint, headache, should and neck pain, mouth opening limitation, and temporomandibular joint pain. Three studies identified factors that were statistically associated with the development of temporomandibular disorders (presence of temporomandibular pain, mouthpiece pressure, and higher distance of mandible protrusion). Although we have observed a high prevalence of temporomandibular diseases among musicians who play wind musical instruments, further research is required to clarify better variables and risk factors associated with developing several systemic and oral-related diseases among these individuals.

Silence, Sound, and Affect

The present paper offers a subjective overview of approaches to affect. Research on affect accelerated in the last two decades within several disciplines, in response to different concerns and research questions, energized by new research in psychology and, more recently, neuroscience. But while affect studies scholars agree that emotions, amplified by the media, course through all social relations and electrify our entire bodies, scholars attracted to specific clusters of theories have little to say to each other. To remedy this situation, I attempt to bridge several seemingly incompatible strands of research on affects in psychology, cultural studies, and media studies, in order to bring out commonalities and patterns that may prove useful for reading literature and other cultural artifacts. Defining affects, I refer to the practice of tuning musical instruments to a specific pitch as an analogy for the way affects resonate from the macro to the micro levels of social life.

PELAKSANAAN PEMBENTUKAN KEGIATAN EKSTRAKURIKULER DRUM BAND SMP NEGERI 5 KERINCI

This study aims to identify and describe the implementation of Drum Band extracurricular activity at SMP Negeri 5 Kerinci. This is a qualitative research using descriptive method. The data were collected through literature study, observation, interview, and documentation. The research instrument used was the researcher itself. It was also supported by supporting instruments such as notebooks, stationaries, and a cellphone camera.From the results of the study, it can be described that there are some stages in the implementation of Drum Band Extracurricular activity at SMP Negeri 5 Kerinci. The stages start from selecting members, determining practice materials, determining practice schedules, doing rehearsals, and performing the Drum Band. To get maximum results, the coach creates two forms of training. One is the routine exercises carried out on Saturdays during self-development lessons, and another is the additional exercises carried out two weeks before participating in the competition. The first exercise begins with a group practice of musical instruments and is continued with a combined practice of all musical instruments. Keywords: Implementation, Extracurricular, Drum Band

Train the brain with music (TBM): brain plasticity and cognitive benefits induced by musical training in elderly people in Germany and Switzerland, a study protocol for an RCT comparing musical instrumental practice to sensitization to music

BackgroundRecent data suggest that musical practice prevents age-related cognitive decline. But experimental evidence remains sparse and no concise information on the neurophysiological bases exists, although cognitive decline represents a major impediment to healthy aging. A challenge in the field of aging is developing training regimens that stimulate neuroplasticity and delay or reverse symptoms of cognitive and cerebral decline. To be successful, these regimens should be easily integrated in daily life and intrinsically motivating. This study combines for the first-time protocolled music practice in elderly with cutting-edge neuroimaging and behavioral approaches, comparing two types of musical education.MethodsWe conduct a two-site Hannover-Geneva randomized intervention study in altogether 155 retired healthy elderly (64–78) years, (63 in Geneva, 92 in Hannover), offering either piano instruction (experimental group) or musical listening awareness (control group). Over 12 months all participants receive weekly training for 1 hour, and exercise at home for ~ 30 min daily. Both groups study different music styles. Participants are tested at 4 time points (0, 6, and 12 months & post-training (18 months)) on cognitive and perceptual-motor aptitudes as well as via wide-ranging functional and structural neuroimaging and blood sampling.DiscussionWe aim to demonstrate positive transfer effects for faculties traditionally described to decline with age, particularly in the piano group: executive functions, working memory, processing speed, abstract thinking and fine motor skills. Benefits in both groups may show for verbal memory, hearing in noise and subjective well-being. In association with these behavioral benefits we anticipate functional and structural brain plasticity in temporal (medial and lateral), prefrontal and parietal areas and the basal ganglia.We intend exhibiting for the first time that musical activities can provoke important societal impacts by diminishing cognitive and perceptual-motor decline supported by functional and structural brain plasticity.Trial registrationThe Ethikkomission of the Leibniz Universität Hannover approved the protocol on 14.08.17 (no. 3604–2017), the neuroimaging part and blood sampling was approved by the Hannover Medical School on 07.03.18. The full protocol was approved by the Commission cantonale d’éthique de la recherche de Genève (no. 2016–02224) on 27.02.18 and registered at clinicaltrials.gov on 17.09.18 (NCT03674931, no. 81185).

Formal String Instrument Training in a Class Setting Enhances Cognitive and Sensorimotor Development of Primary School Children.

This cluster randomized controlled trial provides evidence that focused musical instrumental practice, in comparison to traditional sensitization to music, provokes multiple transfer effects in the cognitive and sensorimotor domain. Over the last 2 years of primary school (10–12 years old), 69 children received group music instruction by professional musicians twice a week as part of the regular school curriculum. The intervention group learned to play string instruments, whereas the control group (i.e., peers in parallel classes) was sensitized to music via listening, theory and some practice. Broad benefits manifested in the intervention group as compared to the control group for working memory, attention, processing speed, cognitive flexibility, matrix reasoning, sensorimotor hand function, and bimanual coordination Apparently, learning to play a complex instrument in a dynamic group setting impacts development much stronger than classical sensitization to music. Our results therefore highlight the added value of intensive musical instrumental training in a group setting within the school curriculum. These results encourage general implementation of such training in public primary schools, thus better preparing children for secondary school and for daily living activities.

Mujeres compositoras: un enfoque pedagógico sobre cómo presentar al alumnado de secundaria referentes femeninos. El caso de Ethel Smyth.

In the past women have had few opportunities to develop personally and work within the field music. When we talk specifically about classical music, there are few female references in the field of composition, the interpretation of certain types of instrument families (fundamentally brass and percussion) and orchestral conducting. Throughout history, women were often allowed to train as amateur musicians but not as professionals. Although male sex has progressively assimilated the sharing of household chores over the last quarter-century, women continue to assume the main burden. For example, in the Renaissance period, women had to deal with a set of sexual stereotypes surrounding the practice of certain musical instruments. The following didactic proposal aims to introduce secondary school students to the figure of the female composer and conductor. This proposal will revolve around the figure of Ethel Smyth. For this purpose, an active and cooperative methodology has been used, as well as materials such as computers with an internet connection and tangible material. The results have been very positive, reaching competency and transversal activities and encouraging a critical spirit in the students.

Musical Instrument Practice Predicts White Matter Microstructure and Cognitive Abilities in Childhood.

Musical training has been associated with advantages in cognitive measures of IQ and verbal ability, as well as neural measures including white matter microstructural properties in the corpus callosum (CC) and the superior longitudinal fasciculus (SLF). We hypothesized that children who have musical training will have different microstructural properties in the SLF and CC. One hundred children aged 7.9–9.9 years (mean age 8.7) were surveyed for their musical activities, completed neuropsychological testing for general cognitive abilities, and underwent diffusion tensor imaging (DTI) as part of a larger study. Children who play a musical instrument for more than 0.5 h per week (n = 34) had higher scores on verbal ability and intellectual ability (standardized scores from the Woodcock-Johnson Tests of Cognitive Abilities), as well as higher axial diffusivity (AD) in the left SLF than those who did not play a musical instrument (n = 66). Furthermore, the intensity of musical practice, quantified as the number of hours of music practice per week, was correlated with axial diffusivity (AD) in the left SLF. Results are not explained by age, sex, socio-economic status, or physical fitness of the participants. The results suggest that the relationship between musical practice and intellectual ability is related to the maturation of white matter pathways in the auditory-motor system. The findings suggest that musical training may be a means of improving cognitive and brain health during development.

Examining perceived self-regulation beliefs of pre-service music teachers in musical instrument practice

The aim of this study is to investigate whether there are significant differences between perceived self-regulation beliefs of pre-service music teachers in their instrument practice and their genders, ages, universities, hours of daily practice, instruments and their career goals. Also under investigation is the correlation between perceived self-regulation beliefs of pre-service music teachers and their academic achievement scores of their principal instrument lessons. The study is a quantitative descriptive study. Participants of the study consisted of 249 pre-service music teachers (F=131; M=118). The participants were receiving education from the universities that are found in the western part of Turkey. Criterion sampling was used for the study. The Self-Regulation in Instrumental Practice Scale (Özmenteş, 2007) and a personal information form were used as data collection tools. The results showed that there are significant differences between levels of perceived self-regulation beliefs of participants and their career goals and the time they spent on instrument practice. Also discovered was a small positive significant correlation between perceived self-regulation beliefs of participants and their academic achievement scores on instrument practice/performance. The results were discussed in the light of the literature.

Influence of the excessive practice of musical wind instruments as an etiological factor of malocclusion

Objective To evaluate the influence of the excessive practice of wind musical instruments as an etiological factor of malocclusion The music generated by the wind instruments produces those who listen to different moods ranging from the mystical to the exhilarated However excessive practice of this type of instruments can lead to a number of alterations in the oral cavity in the musician who interprets them For optimum performance the instrumentalist must position the instrument in relation to the elements of the stomatognathic apparatus in a specific way which modifies the natural state of those elements Performing this action frequently from an early age and for an extended period of time creates a non physiological oral habit that is an etiological factor of malocclusions which can have harmful consequences including the risk of the musician being forced to end his career Conclusion After a review of the literature the main objective was achieved by determining that it is possible that the excessive practice of wind musical instruments is an etiological factor of malocclusion Also it becomes imperative the need to go deeper into this topic by designing new research nbsp

Musical interpretation: case study in musical instrument practice learning vocational high school

This study was intended to reveal: (1) the dimensions of musical interpretation taught; (2) the strategy used by teachers to introduce musical interpretation in instrument practice class; and (3) teacher’s ability or competence to teach musical interpretation. This research is case study, with the subjects were 12 teachers responsible for instrument practice class. They were selected using purposive sampling method. The data collection method used were in-depth interviews, passive participation observation, documentation and focus group discussion (FGD). The instrument of study was the researcher herself. Data validity was conduct triangulation by reviewing data acquired from a source. All data then were analyzed using interactive model which included data reduction, data presentation, and conclusion/verification. The results show that: (1) the dimensions of musical interpretation taught in every instrument practice class, were only dimensions of knowledge; (2) the strategy used by teachers when teaching musical interpretation was a direct strategy, teacher-centered learning approach, and used individual approach; and (3) teachers’ competence in teaching musical interpretation must be improved, both pedagogical and professional competences.

Is playing string or wind musical instruments a risk factor for temporomandibular dysfunction? A Systematic Review.

Aim. Medical problems specifically affecting professional musicians are commonly mentioned in the literature. The present study is aimed to evaluate, through a systematic review, the possible association between the practice of string with bow and wind musical instruments and the occurrence of Temporomandibular Dysfunction (TMD). Methods. The search for articles was conducted in PubMed/Medline, Web of Science, Scopus, Lilacs, Cochrane Library, and Open Gray databases, and there was no restriction on language or date of publication. The Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines were followed. The MeSH terms used were: music; temporomandibular joint; temporomandibular joint disorders; temporomandibular joint dysfunction syndrome; and occupational diseases. Cross-sectional studies, case-control, cohort and clinical trials were included that involved the practice of string with bow and wind musical instruments and the occurrence of Temporomandibular Dysfunction (TMD). Articles were previously selected by title and abstract. Qualitative evaluation was done through the Newcastle-Ottawa Scale. Results. The literature search identified 732 studies, of which 10 met the inclusion criteria, nine of them cross-sectional studies and one a clinical intervention study. The TMD prevalence ranged from 47.0% to 89.0%. Recruitment of participants took place in professional schools and orchestras, and in bands of professional musicians. All studies reported associations between TMD and the practice of musical instruments, and violinists presented higher prevalence rates when compared to other instrument groups. Conclusion. All studies pointed to a possible association between TMD and the practice of string and wind musical instruments. More longitudinal and clinical trials studies are needed to verify any possible interrelationship.