Professional Violinists Research Articles

Relationship between playing-related factors and occupational balance in professional violinists.

Playing performance of musicians may affect their occupational balance. The violin is one of the riskiest string instruments for the musculoskeletal health. To show the effect of socio-demographics, playing posture, pain, and functionality on occupational balance in professional violinists in Istanbul. Forty-five violinists aged 29.1±10.6 years were included. The Personal Information Form, the Edinburgh Handedness Inventory, the Wong-Baker Faces Pain Rating Scale, the Disability of Arm, Shoulder and Hand - Sports/Musicians (DASH-SM), the Rapid Upper Limb Assessment, and the 11-item revised version of the Occupational Balance Questionnaire (OBQ11 - T) were used. Spearman correlation analysis was performed to examine the relationship between the variables and occupational balance. The only significant correlation was found between doing regular exercise and occupational balance (r = 0.539, p < 0.001) with those having an exercise habit reporting higher occupational balance scores. The mean pain score of the violinists increased from a pre-performing mean of 1.6±2.3 to a post-performance mean of 3.91±2.4. Musicians indicate that they practice physical exercise regularly. A strong methodological limitation of this study is that variables like exercise were evaluated with a self-reported survey which limited the analysis and so we hardly find any relationships between them. To the best of our knowledge, this is the first study to evaluate the relationship between playing-related factors and occupational balance in violinists. There may be other factors affecting occupational balance in violinists and also in the other musicians. Similar studies are needed in other countries also using different assessments specific to musicians.

The user experience of violinists playing with a novel ergonomic chinrest: An evaluation on motivation, usage behaviour, usability and acceptance.

This study focuses on the user experience of a novel developed ergonomic chinrest (EC), customised to accommodate the individual violinist's anthropometry and playing style. The EC was recently tested for biomechanical effect, but the violin player's motivation, usage behaviour, usability and acceptability may be equally important. To explore the user experience of violinists who used the novel EC with a low shoulder rest for two weeks. Through that experience, we wanted to learn about the potential user barriers and facilitators related to their motivation, usage behaviour, usability, and acceptability, when trying a new product. Thirty-eight professional violinists participated and evaluated motivation, user behaviour, usability and acceptance using a 5-point Likert scale and open-ended questions. Participants showed high motivation hoping to improve posture, reduce muscle tension and enhance performance. Usage behaviour was also high, while product appearance, adjustment time, and sound impact were negatively evaluated. However, 37% planned to continue to use EC after the study. Participants showed high motivation and usage behaviour but faced challenges with product appearance, adjustment time, and sound impact compared to their usual chinrest. Incorporating user feedback and addressing design and usability challenges can enhance the user experience.

“My Mind Varied Its Focus Quite a Bit”: A Thematic Analysis of the Attentional Focus of Aspiring Professional Violinists and Violists During Performance

Knowledge about musicians’ attentional focus may shed more light on why some succeed in demonstrating their optimal performance under pressure while others fail to do so. In previous research, attentional focus has not been investigated directly after performance. The aim of this study was to extend and deepen our understanding of the “what” and “how” of musicians’ attentional focus during performance under pressure. Qualitative data provided by 46 violinists and violists in open-format questionnaires immediately after they performed audition excerpts under low- and high-pressure conditions were analyzed using thematic analysis within a constructivist framework. Findings revealed that the focus of upper string players during “real-life” performance may be more dynamic and multifaceted than previous research might suggest. In particular, when participants reported a music-related focus, they referred to the level of formal and technical elements and to the level of interpretation and character, but also to prioritizing between the two levels. They focused on the navigation of these music-related aspects, their physical and emotional performance experience, critical thoughts and attempts at control, and the quality and dynamic of their focus. Furthermore, they described ways of managing their focus in a positive and adaptive sense but also reported negative thoughts, feelings, and sensations. Staying in the present moment and enjoying the music was thus a desirable focus. Approaches based on mindfulness and acceptance may be particularly suited to supporting musicians in maintaining a beneficial attentional focus during performance.

Subjective time perception in musical imagery: An fMRI study on musicians.

The cognitive preparation of an operation without overt motor execution is referred to as imagery (of any kind). Over the last two decades of progress in brain timing studies, the timing of imagery has received little focus. This study compared the time perception of ten professional violinists' actual and imagery performances to see if such an analysis could offer a different model of timing in musicians' imagery skills. When comparing the timing profiles of the musicians between the two situations (actual and imagery), we found a significant correlation in overestimation of time in the imagery. In our fMRI analysis, we found high activation in the left cerebellum. This finding seems consistent with dedicated models of timing such as the cerebellar timing hypothesis, which assigns a "specialized clock" for tasks. In addition, the present findings might provide empirical data concerning imagery, creativity, and time. Maintaining imagery over time is one of the foundations of creativity, and understanding the underlying temporal neuronal mechanism might help us to apprehend the machinery of creativity per se.

Muscle fatigue during assisted violin performance

Muscle fatigue is a primary risk factor in developing musculoskeletal disorders, which affect up to 93% musicians, especially violinists. Devices providing dynamic assistive support (DAS) to the violin-holding arm can lessen fatigue. The objective was to assess DAS effects on electromyography median frequency and joint kinematics during a fatiguing violin-playing task. Fifteen university-level and professional violinists were equipped with electromyography sensors and reflective markers to record upper-body muscle activity and kinematics. They played G scales with and without DAS until exhaustion. Paired t-tests assessed DAS effects on delta (final–initial) electromyography median frequencies and joint kinematics. DAS prevented the median frequency decrease of left supraspinatus, superior trapezius, and right medial deltoid, and increases in trunk rotation, left-wrist abduction, and right arm-elevation plane. DAS effects on kinematics were marginal due to retention of musical performance despite fatigue. However, DAS reduced fatigue of several muscles, which is promising for injury prevention. Practitioner summary: Violinists are greatly affected by musculoskeletal disorders. Effects of a mobility assistive device on muscle fatigue during violin playing was investigated. The assistive technology slowed down the development of fatigue for three neck/shoulder muscles, making assisted musical performance a promising avenue to prevent violinists’ injuries.

Lived experiences of musicians with pain: an interpretative phenomenological analysis of performance-related pain of professional violinists

ABSTRACT The purpose of this interpretative phenomenological analysis (IPA) is to explore how five professional South African violinists make sense of their lived experiences of performance-related pain. The research problem this study investigates is multifaceted. It includes examining the career implications for violinists who play despite experiencing pain and are afraid to speak up because of the stigma associated with being injured. There is a lack of support and understanding from fellow musicians, doctors and other specialists when faced with diagnosing injuries and recommending treatment options. In South Africa, there is limited research on these aspects. In this IPA study, the data were collected through semi-structured interviews with five professional South African violinists with performance-related pain. The six subordinate themes that emerged from the data analysis were: (i) Playing through the pain; (ii) Lack of identity; (iii) Depression when unable to play because of pain; (iv) Growth through faith and spirituality; (v) Support and lack of support from family, friends, management, doctors and other experts; and (vi) Lack of awareness and understanding of performance-related injuries. Heightened awareness of musicians’ lived experience of performance-related pain could bring about much-needed change and support advocacy for pain-prevention initiatives and assistance for violinists.

The effects of an ergonomic chinrest among professional violin players. A biomechanical investigation in a randomised crossover design

This study aimed to compare violinists' upper body kinematics and muscle activity while playing with different supportive equipment: their usual chinrest (UC) or an ergonomic chinrest (EC), each mounted on the violin. Three-dimensional motion capture and electromyographic data were acquired from the upper body while 38 pain-free professional violinists performed an excerpt of a music piece. There were only minor differences between the two set-ups tested. The EC resulted in less left rotation of the head (3.3°), slightly more neck extension (1.3°) and less muscle activity (0.5–1.0 %MVE). However, the overall high static muscle activity (4–10 %MVE across all muscles) was maintained using EC. For both setups, the head posture was left-rotated >15°, ≤6° flexed and left-bent 90% of the time. The EC did not produce a substantial difference in biomechanical load. Instead, future studies may focus on aspects other than chinrest design to lower the static workload demands.

Follow the sound of my violin: Granger causality reflects information flow in sound.

Recent research into how musicians coordinate their expressive timing, phrasing, articulation, dynamics, and other stylistic characteristics during performances has highlighted the role of predictive processes, as musicians must anticipate how their partners will play in order to be together. Several studies have used information flow techniques such as Granger causality to show that upcoming movements of a musician can be predicted from immediate past movements of fellow musicians. Although musicians must move to play their instruments, a major goal of music making is to create a joint interpretation through the sounds they produce. Yet, information flow techniques have not been applied previously to examine the role that fellow musicians' sound output plays in these predictive processes and whether this changes as they learn to play together. In the present experiment, we asked professional violinists to play along with recordings of two folk pieces, each eight times in succession, and compared the amplitude envelopes of their performances with those of the recordings using Granger causality to measure information flow and cross-correlation to measure similarity and synchronization. In line with our hypotheses, our measure of information flow was higher from the recordings to the performances than vice versa, and decreased as the violinists became more familiar with the recordings over trials. This decline in information flow is consistent with a gradual shift from relying on auditory cues to predict the recording to relying on an internally-based (learned) model built through repetition. There was also evidence that violinists became more synchronized with the recordings over trials. These results shed light on the planning and learning processes involved in the aligning of expressive intentions in group music performance and lay the groundwork for the application of Granger causality to investigate information flow through sound in more complex musical interactions.

Multiple Factors Influencing Healthy Performance for Pre-professional and Professional Classical Violinists: An Exploratory Study Focusing on Physical Health.

Musculoskeletal complaints are common in pre-professional and professional classical violinists and these complaints can affect violinists’ performance. Therefore, it is important to identify the factors that contribute to healthy performance in this population. Qualitative studies with a variety of stakeholders are able to provide insights from different perspectives into factors influencing healthy performance for the pre-professional and professional classical violinist. In the current small-scale, exploratory study, semi-structured interviews were conducted with various stakeholders; two classical violin students, one classical violin teacher, a physiotherapist, a professional classical violinist, who is also a performance coach, and a health specialist who also graduated as a professional classical violist. Thematic analysis was conducted using Atlas.ti 9. We identified six themes that were indicated as important by the participants in terms of ensuring healthy performance for the pre-professional and professional classical violinist. The themes were: (1) physical aspects (involved in playing the violin); (2) practice routine and techniques; (3) interaction between physical and mental aspects; (4) culture; (5) role of the main subject teacher; and (6) preventive measures. Furthermore, when asked specifically about the development of a physical screening tool, the participants indicated that such a tool should include multiple factors covering various regions of the body, the inclusion of a questionnaire on risk-factors, and follow-up measurements. Also, collaborations between health professionals and main subject teachers were recommended as part of the screening tool to increase commitment of participating students. The results of the current study are based on the opinions, attitudes, and ideas of a small, selected group of participants only and cannot be generalized to a wider group of violinists. More research is needed regarding factors influencing healthy performance, before conservatoires and professional orchestras can develop programs for a healthy playing environment for pre-professional and professional violinists.

Effects of Remote Physiotherapy on Neck Pain, Functionality, Fatigue and Sleep Quality in Violinist

Background. Due to the high physical and psychological demands of their work, musicians face a variety of musculoskeletal disorders that negatively affect both quality of life and musical performance. The main risk factor for these disorders is poor posture of the violinist. Targeted physiotherapy reduces muscle imbalance and pain, thus improving posture and quality of life. Studies have shown that remote physiotherapy may be effective in musculoskeletal disorders but is not commonly used. Thus, the effects of remote physiotherapy on neck pain, functional status, fatigue, and sleep quality in violinist are still unclear.&#x0D; Aim. To determine the effect of remote physiotherapy on neck pain, functional status, fatigue, and sleep quality in violinist.&#x0D; Methods. The study included 9 women professional violinists. Physiotherapy was applied for 6 weeks, 4 days a week. Pre and post intervention, the subjects were assessed for pain using the visual analogue scale, and the neck disability index, for sleep quality with the Pittsburgh sleep quality index, and for fatigue with the fatigue index.&#x0D; Results. There was a reduction in pain (p &lt;0.001), physical fatigue (p = 0.004) and functional impairment (p = 0.013) after applying physiotherapy. Activity increased (p = 0.016) and sleep quality improved (p = 0.002) after intervention.&#x0D; Conclusion. Remotely-used physiotherapy reduced the pain and fatigue felt by professional violinists and improved functional status and sleep quality.&#x0D; Keywords: posture, telerehabilitation, quality of life, musicians

Effect of Bow Camber and Mass Distribution on Violinists' Preferences and Performance.

Little is known about how bow mechanical characteristics objectively and quantitatively influence violinists' preferences and performance. Hypothesizing that the bow shape (i.e., camber) and mass distribution modifications would alter both violinists' appreciations of a bow and objective assessments of their performance, we recruited 10 professional violinists to play their own violin using 18 versions of a single bow, modified by combining three cambers and six mass distributions, in random order. A musical phrase, composed for this study, was played legato and spiccato at three octaves and two tempi. Each violinist scored all 18 bows. Then, experts assessed the recorded performances according to criteria inspired by basic musical analysis. Finally, 12 audio-descriptors were calculated on the same note from each trial, to objectivise potential acoustic differences. Statistical analysis (ANOVA) reveals that bow camber impacted the violinists' appreciations (p < 0.05), and that heavier bow tips gave lower scores for spiccato playing (p < 0.05). The expert evaluations reveal that playing with a lighter bow (tip or frog), or with a bow whose camber's maximum curvature is close to the frog, had a positive impact on some violinists' performance (NS to p < 0.001). The “camber-participant” interaction had significant effects on the violinists' appreciations (p < 0.01 to p < 0.001), on the expert's evaluation and on almost all the audio-descriptors (NS to p < 0.001). While trends were identified, multiple camber-participant interactions suggest that bow makers should provide a variety of cambers to satisfy different violinists.

The effectiveness of Kinesio taping on playing-related pain, function and muscle strength in violin players: A randomized controlled clinical trial

ObjectivesThis study aimed to investigate the effectiveness of Kinesio taping (KT) on playing-related pain, upper extremity and hand function, grip and pinch strength in violin players. DesignRandomized controlled trial. SettingFaculty of health sciences. ParticipantsOne hundred seventeen participants who were professional violinists for at least two years (82 women; mean age, 22.76 ± 3.87 years) were randomized to receive either therapeutic tape application (KT group), a sham tape application (placebo group), or no application (control group) for one week. Outcome measuresThe primary outcome was the Disabilities of the Arm, Shoulder and Hand (DASH) in one week. The secondary outcomes were the Visual Analogue Scale (VAS), the Purdue Pegboard Test, grip and pinch strength. Outcome measures were performed at baseline, immediately after the intervention, and one week later (follow-up). Participants were asked to play the “Violin Concerto No.2, Op.35 (Rieding, Oskar)”; pre-and post-performance pain and grip and pinch strength were assessed. ResultsThe overall group-by-time interaction was not significant for DASH, but the improvement in the mean VAS-playing was slightly better in the KT group than in others (p < 0.05). The mean post-performance VAS-playing remained similar in the KT group while slightly increasing in the other groups (p < 0.05). In addition, a decrease in the mean post-performance grip strength of the left hand was significantly lower in the KT group than in the other groups (p < 0.05). ConclusionsViolin players receiving an application of KT represented minor improvements in playing-related pain, and post-performance pain intensity and grip strength of the left hand slightly remained after 1 week kT application. The possible post-performance effect of the tape on the pain intensity and grip strength must also be considered because KT can be used during the performance.

Understanding Violin Players\u2019 Skill Level Based on Motion Capture: a Data-Driven Perspective

Learning to play and perform a music instrument is a complex cognitive task, requiring high conscious control and coordination of an impressive number of cognitive and sensorimotor skills. For professional violinists, there exists a physical connection with the instrument allowing the player to continuously manage the sound through sophisticated bowing techniques and fine hand movements. Hence, it is not surprising that great importance in violin training is given to right hand techniques, responsible for most of the sound produced. In this paper, our aim is to understand which motion features can be used to efficiently and effectively distinguish a professional performance from that of a student without exploiting sound-based features. We collected and made freely available a dataset consisting of motion capture recordings of different violinists with different skills performing different exercises covering different pedagogical and technical aspects. We then engineered peculiar features and trained a data-driven classifier to distinguish among two different levels of violinist experience, namely beginners and experts. In accordance with the hierarchy present in the dataset, we study two different scenarios: extrapolation with respect to different exercises and violinists. Furthermore, we study which features are the most predictive ones of the quality of a violinist to corroborate the significance of the results. The results, both in terms of accuracy and insight on the cognitive problem, support the proposal and support the use of the proposed technique as a support tool for students to monitor and enhance their home study and practice.

Comparison of Strength and Dexterity in Professional and Student Violinists: Setting Foundations to Guide Rehabilitation.

The musician's hand represents a complex system, which requires important motor skills. Although several studies have already investigated rehabilitation outcomes and techniques in musicians after hand lesions, none have been addressed specifically to objectively quantifiable functional parameters. The purpose of our study was to study hand functionality in violinists in order to provide foundations on which to establish and develop more appropriate rehabilitation protocols. An observational cross-sectional cohort study consisting of 34 subjects, including 23 students and 11 professional violinists who were either studying or working at a conservatory. Results were compared to a data set of a non-musician control group. Nine-hole peg test and hand test system (HTS) were used to perform the study. A hand-held dynamometer was used to measure hand grip and tripod pinch maximal isometric voluntary contraction of both hands. Hand strength did not significantly differ on either side between professional and student violinists. A significant difference was seen when comparing violinists as a whole versus the non-musician control group. HTS highlighted significant differences in dexterity. Violinists develop better overall motor performances of the left hand, and their performance is better than normal "non-musician" controls. Dexterity and precision of execution positively correlate to years of practice. We conclude that rehabilitation of a violinist's hand should be aimed at enhancing motor performance of the left hand and should be focused to maximize dexterity of both hands.

Alterations in Violinists’ Practice Behaviors in Response to Differing Technical Demands in the Material

The pedagogical literature strongly suggests that when a musician works on a specific piece of repertoire, one should choose practice strategies tailored to the challenges presented by that material. Such a behavioral choice could represent an instantiation of focused and deliberate practice, a critical aspect of the relationship between experience and the acquisition of expertise. However, most of the literature investigating individual practice has used a single stimulus for all participants, or else has employed surveys or other proxy measures of practicing behavior. In this study, participants of three different experience levels (high school, collegiate, or professional violinists) practiced three excerpts, each featuring a different signature challenge. Results suggest that practice is highly idiosyncratic, that participants do adjust their approaches to the challenges of the material, but that individuals of differing experience levels identify remarkably similar problems within the material.

Marker-Based Method for Analyzing the Three-Dimensional Upper Body Kinematics of Violinists and Violists: Development and Clinical Feasibility.

High string players (violin and viola) often suffer from musculoskeletal disorders. Although 3D motion analysis has proved helpful in diagnosing different musculoskeletal syndromes and identifying injurious movement patterns in violin and viola performance, more detailed analyses of upper body movement strategies and especially of the shoulder complex have not yet been recorded. The use of spherical surface markers on some anatomical landmarks is, however, inappropriate when an instrument is being played. The aim of this study was to develop and evaluate a novel marker-based method for analyzing upper body kinematics of high string players using conditions specific to violin and viola playing. A custom upper body marker set was developed and a biomechanical model applied to 3D motion capture data of the pelvis, thorax, spine, head, and both upper limbs (scapula, upper arm, forearm, hand) of 12 professional violinists, to assess its clinical feasibility. Lumbar and thoracic spine, thorax, neck, and left upper limb were quite static, while extensive motion occurred in the right upper limb. Most rotation angles showed a reasonable intersubject variability except for glenohumeral and wrist joints. Significant differences were observed between G- and D-string bowing, especially in the left wrist and right shoulder joints. This study suggests that the proposed method is a valid tool for quantifying upper body movements in violin and viola performance. With the extended upper body model, it will improve understanding of the motor strategies adopted by high string players and may contribute to injury prevention, diagnosis, and treatment.

Use of a Shoulder Rest for Playing the Violin Revisited: An Analysis of the Effect of Shoulder Rest Height on Muscle Activity, Violin Fixation Force, and Player Comfort.

For violinists, the shoulder rest is an ergonomic adaptation to reduce musculoskeletal load. In this study, we aimed to evaluate how the height of the shoulder rest affects the violin fixation force and electromyographic (EMG) activity of the superficial neck and shoulder muscles. In professional violinists, four different shoulder rest heights during five playing conditions were evaluated. Outcome variables included the jaw-shoulder violin fixation force and bilateral surface EMG of the upper trapezius (mTP), sternocleidomastoid (mSCM), and left anterior part of the left deltoid muscle (mDTA). Playing comfort was subjectively rated on a visual analogue scale (VAS). Linear regression models were estimated to investigate the influence of the shoulder rest height on muscle activity and violin fixation force as well as the muscle activity of the five evaluated muscles on violin fixation force. 20 professional violinists (4 males, 16 females, mean age 29.4 yrs) participated in this study. The shoulder rest condition had a significant effect on playing comfort (p<0.001), with higher shoulder rest conditions associated with decreased subjective playing comfort. The mean violin fixation force for each shoulder rest condition ranged between 2.92 and 3.39 N; higher shoulder rests were related to a higher violin fixation force (p<0.001). In this study, violin fixation force and muscle activity of the left mDTA increased while playing with an increasing height of the shoulder rest. As the shoulder rest influences muscle activity patterns and violin fixation force, adjustment of the shoulder rest and positioning of the violin need to be carefully optimized.

FNIRS Responses in Professional Violinists While Playing Duets: Evidence for Distinct Leader and Follower Roles at the Brain Level.

Music played in ensembles is a naturalistic model to study joint action and leader-follower relationships. Recently, the investigation of the brain underpinnings of joint musical actions has gained attention; however, the cerebral correlates underlying the roles of leader and follower in music performance remain elusive. The present study addressed this question by simultaneously measuring the hemodynamic correlates of functional neural activity elicited during naturalistic violin duet performance using fNIRS. Findings revealed distinct patterns of functional brain activation when musicians played the Violin 2 (follower) than the Violin 1 part (leader) in duets, both compared to solo performance. More specifically, results indicated that musicians playing the Violin 2 part had greater oxy-Hb activation in temporo-parietal (p = 0.02) and somatomotor (p = 0.04) regions during the duo condition in relation to the solo. On the other hand, there were no significant differences in the activation of these areas between duo/solo conditions during the execution of the Violin 1 part (p’s > 0.05). These findings suggest that ensemble cohesion during a musical performance may impose particular demands when musicians play the follower position, especially in brain areas associated with the processing of dynamic social information and motor simulation. This study is the first to use fNIRS hyperscanning technology to simultaneously measure the brain activity of two musicians during naturalistic music ensemble performance, opening new avenues for the investigation of brain correlates underlying joint musical actions with multiple subjects in a naturalistic environment.

Effect of Instrument Structure Alterations on Violin Performance.

Extensive training with a musical instrument results in the automatization of the bodily operations needed to manipulate the instrument: the performer no longer has to consciously think about the instrument while playing. The ability of the performer to automate operations on the instrument is due to sensorimotor mechanisms that can predict changes in the state of the body and the instrument in response to motor commands. But how strong are these mechanisms? To what extent can we alter the structure of the instrument before they disappear? We performed an exploratory study to understand whether and how sensorimotor predictions survive instrument modification. We asked seven professional violinists to perform repertoire pieces and sight-reading exercises on four different violins: their own, a cheap violin, a small violin, and a violin whose strings had been put on in reverse order. We performed a series of quantitative investigations on performance intonation and duration, and on bowing gestures and errors. The analysis revealed that participants struggled adapting to the altered instruments, suggesting that prediction mechanisms are a function of instrument configuration. In particular, the analysis of bowing errors, intonation, and of performance duration suggested that the performance with the reverse violin was much less fluent and precise than the performer's own instrument; the performance with the small violin was also sub-standard though to a lesser extent. We also observed that violinists were differently affected by instrument modifications, suggesting that the capability to adapt to a new instrument is highly personal.

Comparison between the musician-specific seating position of high string bow players and their habitual seating position \u2013 a video raster stereographic study of the dorsal upper body posture

BackgroundEffects of playing high stringed bow instruments on the upper body posture have not been analysed so far. The instrument-specific seating position when playing in an orchestra is compared to the habitual seating position.MethodsThree dimensional back scans were performed in 13 professional violinists and viola players of a radio orchestra (8 f / 5 m). Trunk position in their habitual seating position and in the instrument- specific seating position imitating playing was compared. Statistical differences were calculated using Wilcoxon Matched Pairs Test with Bonferroni Holm correction.ResultsSignificant differences were found between the seated position with instrument and without (p < 0.001, 0.03, 0.02 or 0.01) in the spine (trunk length, sagittal trunk decline, lumbar bending angle, maximal rotation, standard deviation rotation, lumbar lordosis), the shoulder (scapula distance, scapula rotation, scapula angle right) and pelvis distance.ConclusionsPlaying an instrument changes the static seating position by increased rotation of the spine and specific shoulder adaptations holding the instrument (left arm) and the bow (right arm), with minor effects on the pelvis. This forced position may result in chronic health effects. The method used in this study is an approach to better understand the involved muscular structures and possible resulting health damages.