Problems Of Musicians Research Articles

Exercise as a means of preventing musculoskeletal problems in musicians, a systematic review

Abstract Introduction The lifetime prevalence of performance related musculoskeletal disorders in musicians is reported to reach a very high rate (93%) and many times affect the music performance, playing efficacy, the quality of their work or their career progression. It can also have a significant financial burden on the musicians as well as on the organizations/orchestras. Purpose This systematic review summarizes the evidence available from randomized clinical trials investigating the effect of exercise in the prevention of musculoskeletal disorders in musicians. Methods The search was performed in the PubMed database and the specialized Journal of Medical Problems of Performing Artists, Science & Medicine, Inc. until March 2022. The keywords used were decided by Mesh terms. Studies that had titles and abstracts related to exercise or prevention programs in musicians to reduce or treat PRMDs were selected for detailed analysis. Exclusion and inclusion criteria were used for the final outcome. A qualitative assessment was also carried out with the PEDro scale. Results Of the 1050 articles found, 138 were selected by title for relevance and their abstracts were studied. Of these 22 randomized studies were selected for full reading. The criteria of the systematic review were met by 7 articles, which were examined in detail. Parallel searches were conducted with different combinations of keywords to cross-reference the selected randomized studies. Three clinical studies showed a reduction in the frequency of musculoskeletal disorders and a reduction in pain and symptom intensity with a statistically significant difference. Two clinical studies have had a positive effect on physical effectiveness. A control group in one study showed significant statistical significance in aerobic capacity. The same clinical study had a positive effect on the playing performance of the instrument. Another clinical study showed reduced inability related to music performance in both groups. Three clinical studies had an educational intervention together with the exercise intervention. No clinical research was found to assess the health costs of musculoskeletal disorders in musicians. Conclusions This systematic review provided evidence for the effect of exercise training in preventing musculoskeletal disorders in musicians. Prevention programs with exercise intervention had significant clinical value such as reducing the occurrence of musculoskeletal disorders in intensity, frequency and pain as well as improving their functional capacity and their quality of musical performance. Additional clinical randomized control studies are necessary with a larger number of participants and duration of follow-up of the results to confirm the above findings.

Musculoskeletal pain in musicians: prevalence and risk factors – a systematic review

Objectives. This study aimed to determine the prevalence and regions of the body in which musculoskeletal injuries occur in musicians, as well as to identify risk factors related to their occurrence. Methods. A search was carried out in the PubMed, Scopus, Web of Science and Cinahl databases for publications between 2006 and 2020. Observational studies on the prevalence of musculoskeletal injuries or their risk factors in musicians aged 18–65 years were eligible for inclusion, and the methodological quality and risk of bias were assessed. Results. In total, 31 studies on multiple instruments and 17 studies on individual instruments were included. Quality was rated as high in 65% of the studies. Lifetime prevalence of injuries ranged from 46 to 90% and current prevalence from 9 to 63%. The most common region of pain was the neck, being present in all instrument families. Being female is a predisposing factor to the appearance of musculoskeletal problems in musicians. Conclusions. Musicians frequently suffer musculoskeletal injuries. The most common regions of the body in which these injuries occur are the neck and shoulders. Numerous risk factors were found to be predisposing to musculoskeletal injuries. We note that there are fewer studies on specific instruments.

Стили родительского воспитания и их влияние на личностные качества и успешность сценической исполнительской деятельности будущего музыканта

This article is devoted to the relevant issue of correlation between the style of parenting and the prerequisites of professional difficulties that music students may have. The research of professional and personal problems of musicians, its causes and effects as well as prevention opportunities is relevant to consistently actual issues of musical education psychology. Wide public debate about authoritarianism problems and violence signs in musical pedagogy indicate importance and depth of the problem of choosing an optimal educational style, that is proved by the results of many current domestic psychological research as well. The analysis of experimental data available allows to suggest there is an ambivalence of parenting and teaching style effect on emotional wellbeing and professional success of young musicians. This article shows the generalized theoretical view on the nature of irrational setting and neurotic perfectionism of young musicians as well as peculiarity of forming self­identity in conditions of different parenting styles. The results of empiric research of parenting styles and their relation to scenic stress suggest the correlation between parental authoritarianism and scenic stress level. The research has been conducted in 2019 among students of Academic music college at Tchaikovsky Moscow state conservatory and the students of world music culture faculty of Maimonides Academy.

A study to find prevalence of upper limb problems in Musicians

A study to find prevalence of upper limb problems in Musicians

Minding the Body: An interdisciplinary theory of optimal posture for musicians

Posture influences music technique, and poor posture is associated with performance-related problems in musicians. Student musicians rely on music teachers, physiotherapists, and Alexander Technique teachers for advice about posture and performance-related problems. However, it is unknown whether these professional groups share a common understanding of optimal posture, or if posture management strategies align with performance goals. The aim of this study was to develop an interdisciplinary theory of posture to support musicians’ health and performance. This qualitative study used constructivist grounded theory as its methodological framework. Purposive sampling recruited four heads of university instrumental departments, three university physiotherapy lecturers and three heads of Alexander Technique teacher training schools to participate in semi-structured interviews. Interview transcripts were analyzed using grounded theory, and results were discussed applying the Theory of Planned Behaviour. The overarching theory of posture for musicians was Minding the Body, suggesting mind-body coordination. Subprocesses included rebalancing the self with the instrument and performance environment (Finding balance); minimizing effort (Maintaining ease); addressing adverse habits (Challenging habits); overcoming traditional perspectives to optimize performance (Expanding the framework), and addressing barriers to optimal posture (Barriers to change). This interdisciplinary theory presents posture as dynamic mind-body coordination to facilitate health and performance.

Anxiety and Optimal Piano Performance: A Pilot Study on the Application of the Individual Zone of Optimal Functioning (IZOF) Model

<p>Music Performance Anxiety (MPA) is a common problem for musicians. Many musicians struggle with performance anxiety and rely on traditional de-arousal interventions to reduce performance anxiety before public performance. However, research in sports psychology suggests that anxiety reduction may not be the most appropriate strategy for intervention (Chamberlain & Hale, 2007). According to the Individual Zone of Optimal Functioning (IZOF) model proposed by Hanin, an athlete’s performance is successful when his or her pre-competition anxiety is within or near the individual’s optimal zone (Hanin, 2000). Based on the application of the IZOF theory in the context of piano performance, anxiety plays an important role in optimizing performance in music as well. This pilot study identified participants’ IZOFs with the Competitive State Anxiety Inventory (CSAI-2). Support was found for Hanin’s IZOF theory with respect to the SA (somatic anxiety) and SC (self-confidence) dimensions for both of the participating pianists, as well as the CA (cognitive anxiety) dimension of pianist A but not for the CA dimension of pianist B. Piano performances associated with anxiety of an intensity that fell within the IZOF were observed to be significantly better than piano performances associated with anxiety intensity outside the IZOF. All the peak performances were presented within the IZOFs. The study verified that the IZOF model can be applied in MPA management and may help pianists be more aware of in-zone/out-zone states and rethink their attitudes toward performance anxiety. With this pilot study as a foundation, larger scale research can be conducted to clarify the correlation between anxiety and optimal piano performance.</p>

Embouchure Dysfunction in Air Force Band Brass Musicians.

Occupational injuries and medical problems in musicians are well described, but relatively less attention has been paid to orofacial and embouchure-related problems in professional brass players. This study addressed embouchure-related problems in Air Force Band members, a population of musicians with an intense practice and performance schedule. A survey was developed and distributed via the Air Force Survey Office to 599 active-duty Air Force Band members and 201 Air National Guard members. The survey assessed practice patterns, practice and performance venues, and presence of symptoms suggesting embouchure dysfunction. Responses were obtained from 167 Air Force Band brass players. Of the 157 responding to the question about embouchure dysfunction, 42% reported having experienced an embouchure problem at some point in the past, and 53% of those respondents reported that they were currently experiencing an embouchure problem. Forty-one percent of those with embouchure problems cited practice venues that were not conducive to effective and efficient practice at the time their embouchure problems began, and 48% of those with embouchure problems reported having to overblow in rehearsal at the time their problems began. Embouchure disorders were reported in a large proportion of Air Force Band brass survey respondents, and specific concerns related to practice venues and the need to overblow in practice settings suggest factors suitable to remediation and preventive strategies.

Performance-Related Medical Problems of University Jazz Studies Majors

ABSTRACTOver the past 30 to 40 years there has been a growing body of research on the medical problems of musicians and the broader arts community. This highly specialized and innovative field has garnered international recognition with the establishment of clinical settings that address musician health in several countries, institutions focusing on research and education and an expanding body of research studies. While several studies have looked at specific populations such as classical musicians, non-classical musicians, professional musicians and student musicians, no studies were found that specifically targeted university jazz studies majors. Accordingly, the purpose of this study was to investigate the performance related medical problems of university level jazz studies majors. Results indicated that a little over a quarter of the responding group indicated they experienced performance related medical problems with a mean pain-severity level of 3.58 (SD = 2.68) on a range of 1 to 10. Performance related medical problems appeared to be higher for younger musicians and tended to decrease with age. Medical problems were specific to the various instrument types under investigation.

NEUROMUSCULOSKELETAL PROBLEMS OF UPPER EXTREMITIES IN MUSICIANS-A LITERATURE REVIEW

ABSTRACT Background & Objectives Music, though, considered as a safe occupation but like other professions musicians too can experience variety of health problems due to high physical and psychological demands inherent to their profession. Musicians suffer different set of work related musculoskeletal problems which have been designated with special term known as Playing Related Musculoskeletal Disorders(PRMDs) which include range of problems such as tendinitis, overuse syndrome, focal dystonia and deQuervain tenosynovitis, muscle tendon syndrome, hypermobility syndrome, compressive neuropathy. The purpose of present study was to carry out review of existing literature about the injury profile, types and pattern of injuries sustained by musicians Methodology - An English language literature search on Medline, PubMed and Google Scholar was carried out by typing following words and sentences- neuromusculoskeletal problems in musicians, soft tissue injuries in musicians, overuse injuries in musicians, medical problems in musician. Results- Total 18 studies could be located and retrieved from different search engines.14 studies were included in literature review. Conclusion- Literature review suggests musicians sustain various neuromusculoskeletal injuries during their career which have been attributed to poor posture, long hours of practice, excessive force, static loading of instruments. There is need to generate awareness amongst musicians about types of injuries they are predisposed to so that appropriate preventive measures could be taken to preclude these injuries. Keywords-Soft tissue injuries, Musicians, Neuromusculoskeletal problems, Overuse injury.

Profiles in Performing Arts Medicine Courage--A Tribute to Dr. Alice Brandfonbrener.

I was honored and privileged to join Dr. Robert Sataloff in delivering a tribute to Dr. Alice Brandfonbrener at the 2015 Symposium on the Medical Problems of Performing Artists in Snowmass, Colorado. As virtually everyone who reads this journal knows, Dr. Brandfonbrener organized the first symposium (then focused on the medical problems of musicians), was the founding editor of Medical Problems of Performing Artists, and was the first president of the Performing Arts Medicine Association. She died in 2014, just prior to last year's symposium. This year, after Dr. Sataloff presented a very engaging overview of Alice's career and impressive accomplishments, I gave a short address that was based on some of the editorials Alice wrote in this journal during her 20 year tenure as editor. I have chosen a few examples of how the courage that she demonstrated in launching an international medical conference, a peer-reviewed medical journal, and a professional association continued to present itself in her writing.

Alice G. Brandfonbrener, MD-A personal remembrance.

Alice Brandfonbrener died peacefully at home on May 31, 2014, after a protracted illness. For all of us involved in performing arts medicine, she was the inspiration and guiding spirit. She will be missed. [Alice Brandfonbrener was one of the founding members of the field of performing arts medicine, perhaps the most critical founding member. In 1983, she organized the first "Conference on the Medical Problems of Musicians" in Aspen, Colorado, and co-directed these for the next 20 years. These symposia led to the formation of the Performing Arts Medicine Association, of which Dr. Brandfonbrener was the first president, and in 1986, establishment of the first journal in the field--this journal, Medical Problems of Performing Artists--for which she served as Editor for 20 years. At her performing arts clinic in Chicago, she saw and treated thousands of musicians, from young students to world-renowned professionals, and mentored many students and professionals who would extend research and practice in performing arts medicine.].

Musicians' Medicine: Musculoskeletal Problems in String Players

There is increasing attention to medical problems of musicians. Many studies find a high prevalence of work-related musculoskeletal disorders in musicians, ranging from 73.4% to 87.7%, and string players have the highest prevalence of musculoskeletal problems. This paper examines the various positions and movements of the upper extremities in string players: 1) basic postures for holding instruments, 2) movements of left upper extremity: fingering, forearm posture, high position and vibrato, 3) movements of right upper extremity: bowing, bow angles, pizzicato and other bowing techniques. These isotonic and isometric movements can lead to musculoskeletal problems in musicians. We reviewed orthopedic disorders that are specific to string players: overuse syndrome, muscle-tendon syndrome, focal dystonia, hypermobility syndrome, and compressive neuropathy. Symptoms, interrelationships with musical performances, diagnosis and treatment of these problems were then discussed.

Orofacial Problems in Musicians: A Review of the Literature

The objective of our study was to review the different pathologies of the stomatognathic system that can present in musicians as a result of playing their instruments. The National Library of Medicine's PubMed database was searched to identify all peer-reviewed articles in the English literature dealing with orofacial problems in musicians, using both subject headings such as MeSH terms (PubMed) and free text words in combination (oral, musician, violin, wind instruments, vocalists, orthodontic, tooth, temporomandibular disorders [TMD]). The identified studies were assessed independently by two authors. We included any instruments that involved the orofacial area: i.e., wind and brass instruments, vocalists, and violins and violas. Thirty-two articles were selected that were of many different types (clinical reviews, longitudinal and transverse studies of therapeutic procedures, case-control studies). Among orofacial problems, the most common disorders that affect musicians are TMDs, herpes simplex virus infections, orthodontic problems, and problems with perioral musculature. Musicians may suffer from pathological conditions that are worsened by their occupation due to excessive practice and stress. These conditions can cause permanent injuries that subsequently prevent the musicians from playing. Depending on the characteristics of the musical instrument and the way it is played, professional musicians generally show a propensity for buccodental problems.

Toward a Performing Arts Medicine Definition of Performing Arts

As the Performing Arts Medicine Association (PAMA) celebrates its 20th anniversary this year, it seems to be a good time to discuss a definition of what the field includes—and, by extension, what it doesn't include. Some may think that this might not be the best use of our time, since we have done pretty well so far without a written definition of the performing arts. However, a presentation at the 27th Annual Symposium on the Medical Problems of Musicians & Dancers on health issues of circus performers and some recent articles in Medical Problems of Performing Artists on artistic and rhythmic gymnasts have helped us broaden the scope of our field. While I find this exciting and another indication that performing arts medicine is a vibrant, essential specialty within the universe of health care, it also makes me wonder what else ought to be included in the field and what shouldn't.

The challenge of diagnosing focal hand dystonia in musicians

To most clinicians, medical problems in musicians, particularly those concerning focal hand dystonia, constitute an unfamiliar domain difficult to manage. The latter can importantly influence diagnostics and the course of treatment. The purpose of this study was to enlighten the issue and to identify possible problems in diagnosing musicians' cramp within the Spanish medical community. We used a brief questions' catalog and clinical histories of 665 musicians seen at our clinic for performing artists. We analyzed patients' diagnosis records in 87 cases of focal hand dystonia (13.1%). In so doing, we surveyed previous diagnoses and diverse treatments prescriptions prior to referral to our clinic. Referrals came primarily from orthopaedists and neurologists. The 52.9% arrived at our clinic without a diagnosis or a suspicion of suffering from focal dystonia. The most frequently attempted diagnoses other than musicians' dystonia included nerve compression, tendonitis and trigger fingers. Commonly prescribed treatments included rest, various surgical procedures, physiotherapy and oral anti-inflammatory medication. This data depicts the diagnostic challenges of medical professionals may encounter when confronted with musician's focal dystonia.

Solutions to Two Difficult Surgical Problems in Musicians: Modified Surgical Techniques for Basal Thumb Arthritis and Trigger Finger

Basal thumb joint arthritis and trigger finger are problems encountered in musicians. Routine surgical procedures to treat these disorders in the general population yield predictable results with good functional outcome. However, in piano players, routine arthroplasty of the thumb carpometacarpal (CMC) joint cannot meet the specific demands of full opposition/rotation and extension/span. In guitar players and string players, standard release of the A1 pulley for trigger finger can compromise fine distal control of the fingertip in extreme flexion. In this paper, we describe modifications of these procedures tailored to meet the functional demands of pianists, violinists, and guitarists.

Biomedical Ethics in Performing Arts Medicine Research

As the field of performing arts medicine continues to advance, it is essential that we maintain the trust that has been built over the last quarter century with the dancers, musicians, and other performing artists we serve. Trust is a precious commodity that is built over time, largely between individual health care professionals and the patients for whom they care. However, other things we do (or don't do) can have a major influence on the trust and confidence that others place in us. One of these is research and the way we conduct research, especially when it involves human subjects. The public's confidence in medical researchers has been shaken in the last few years as the result of a few well-publicized “bad outcomes” in clinical studies being done at leading academic medical centers in the U.S. and elsewhere. While we are unlikely to do gene-transfer or new drug development studies in an effort to address the health problems of musicians and dancers, we should still hold ourselves to the same ethical standards that apply to the rest of the healthcare world.

Japanese Symposium of Performing Art Medicine, Kawasaki, July 19, 2004

It has been more than 20 years since the first symposium on performing arts medicine was held in Aspen, and last year, the European Congress of Musicians Medicine had their 10th meeting in Turku, Finland. However, there has never been a conference or symposium on performing arts medicine held in Japan, despite the large numbers of professional musicians and dancers in that country. This past July, Dr. Naotaka Sakai and four other physicians who have been treating the medical problems of musicians, as well as a manager who has been taking care of musicians’ medical and life insurance, organized the first Japanese Symposium of Performing Art Medicine.

20 Years of Unique Aspen Meetings

The 20th Annual Symposium on the Medical Problems of Musicians and Dancers took place in Aspen, Colorado, from June 20 to 23, 2002. When the first meeting was proposed back in 1982, it was without realizing that interest in musicians’ injuries was a rising national and international phenomenon. No one would have predicted that these meetings would continue at all, let alone for 20 years. This was clearly an example of an idea for which the time was ripe, and had the meeting not occurred in Aspen, it would likely have happened elsewhere. But it did happen in Aspen and it has been exciting to witness the growth and maturation of this meeting so far exceeding the original modest intent. However, from the onset these meetings have had special qualities that set them apart from other medical meetings and justify this attempt to describe them for MPPA’s readers, many but not all of whom have themselves attended.

Upper-extremity Problems in Musicians Related to Age

This is a review of 140 musicians referred to a specialist hand therapy department in London, England. Musicians are referred from different sources and represent a fair cross-section. The musicians were analyzed in three different age groups: under 25 years of age, 25–40 years of age, and over 40 years of age; and by three different pathological groups: “trauma,” “degenerative,” and “non-specific arm and hand pain.” The results highlight three points: 1) Musicians of all ages are injured in coincidental accidents (“trauma”). 2) As musicians age, they are more likely to develop “degenerative” upper limb conditions such as Dupuytren’s contracture, nerve compression syndromes, or degenerative arthrosis in critical joints. 3) Non-specific arm and hand pain is overwhelmingly prevalent in young musicians and music students but is much less prevalent in the older age groups. This last point is the most worrisome statistic and perhaps the most preventable.