Intraocular pressure fluctuations and the role of the Valsalva maneuver in young professional musicians.

Purpose To develop and to confirm an effectiveness of TRX functional loops technology for increasing the music specialities male students’ functional, physical fitness and physical development indicators in the process of specialized physical training. Materials and methods The study involved male students of “Musical Art” junior bachelor’s educational program (n=21), aged (M±SD) 15.42±0.51 years old. They specialized with orchestral wind instruments (bassoon, clarinet, flute, horn, oboe, saxophone, trombone, trumpet, tube), percussion instruments and folk instruments (accordion, bandura, bayan, domra, guitar). Studied students were randomly divided into control (n=10) and experimental (n=11) groups according to the functional, physical fitness and physical development indicators at the beginning of pedagogical experiment. The developed TRX functional loops technology was implemented for 9 month of pedagogical experiment in the process of specialized physical training of the experimental group. The dynamics of physical fitness indicators (pull-ups test, sit‑ups test), physical development indicators (vital index, strenghth index) and functional indicators (Robinson index, Ruffier index) of studied students during the pedagogical experiment were the criteria of the developed technology effectiveness. The results were processed by statistical analysis. Results There are an improvement of the experimental group students’ cardiovascular system and aerobic capacity indicators in the range of 3.7-8.6 % according to the Robinson index (p<0.050) and Ruffier index (р<0.010), an increase of the upper limbs and abdominal muscles’ strength endurance in the range of 6.7‑11.6 % according to the pull-ups (p<0.050) and sit-ups (p<0.010) indicators, as well as the positive dynamics of physical development indicators in the range of 2.7-4.2 % according to the strength index (p>0.050) and vital index (р<0.050) after pedagogical experiment. Conclusions The TRX functional loops circular exercise sets with differentiated approach according to the physical fitness level of studied students were implemented for developing the professional important physical qualities of future musicians. The stretching exercise sets were suggested for increasing the mobility of mainly involved with musician instruments joints as well as Yevminov’s prophylactic exercise sets were developed for voluntarily relaxes of most loaded muscles. The phythmic gymnastics exercise sets were developed for improvement of rhythm sense and spatial and power movement parameters managing as well as respiratory gymnastic exercise sets were developed for improvement of different respiratory muscles’ groups. The autogenic training exercise sets were used to relive the psycho-emotional tension. The effectiveness of the developed technology is confirmed by the statistically significant improvement of most functional, physical fitness and physical development indicators of the studied young men of the experimental group in the range of 3.7‑11.6 % (р<0.050).

This study investigates the material recycling potential of discarded wind instrument reeds (Arundo donax), which are conventionally incinerated, by compounding them with thermoplastics (thermoplastic polyolefin, TPO; polybutylene succinate, PBS). After recovered reeds were pulverized and injection-molded at 10 and 30 wt% concentrations, their mechanical and interfacial properties were evaluated. Experimentally obtained results indicate that waste reeds function as effective reinforcing agents, particularly when combined with biodegradable PBS. Incorporating 30 wt% reed flour into PBS enhanced flexural strength by approximately 1.7 times and flexural modulus by 2.8 times compared to the neat resin. This superior performance relative to TPO composites is attributed to robust interfacial hydrogen bonding among PBS carbonyl groups and the hydroxyl groups on the reed surface. Additionally, thermal and spectroscopic analyses revealed that these strong interactions elevate the crystallization temperature and generate a “Rigid Amorphous Phase” (RAF) that facilitates efficient stress transfer. These research findings demonstrate the feasibility of creating high-quality, bio-based composites, offering a sustainable method to reduce petroleum reliance and carbon dioxide emissions by upcycling musical waste.

Flow-driven sound generation in fipple-type instruments arises from complex coupling between a jet, a sharp edge, and an acoustic resonator. In this work, we experimentally investigate the flow-dependent acoustic behavior of a Kaps-style whistle driven by nitrogen gas over a wide range of volumetric flow rates. Spectral measurements reveal four distinct regimes. At low-flow rates (3–4.6 l/min), the system exhibits passive resonance excitation governed by the fundamental pipe mode. As the flow increases, the oscillation transitions to a Strouhal-controlled edge-tone regime characterized by St≈0.6. At intermediate flow rates (9–30 l/min), a pronounced resonance lock-in occurs, where the oscillation frequency becomes weakly dependent on the flow rate, while acoustic amplitude continues to grow, indicating strong jet–resonator coupling. Beyond a critical flow rate, an abrupt transition to second-harmonic dominance is observed, accompanied by a reduction of the effective Strouhal number to approximately 0.36. Two-dimensional numerical simulations are used to visualize jet deflection and recirculation patterns, providing a physical interpretation of the regime transitions. The results demonstrate that flow-dependent coupling governs frequency selection, as described by a flow-corrected resonance relation, resonance locking, and harmonic mode switching in fipple-type aeroacoustic systems, offering insight into nonlinear acoustic mode selection in wind instruments.

Wind instrument performance requires sustained and repetitive increases in intrathoracic and pharyngeal pressures, which may lead to rare but clinically relevant anatomical alterations of the upper aerodigestive tract. We report the case of a 46-year-old male semi-professional wind instrument player who developed massive hypopharyngeal dilatation and cervical lung herniation as a consequence of long-term, high-pressure musical activity. Dynamic imaging performed during instrument playing demonstrated marked hypopharyngeal expansion and herniation of the lung apices into the cervical region, highlighting the importance of individualized diagnostic strategies that replicate patient-specific triggers. Multidisciplinary evaluation integrating otorhinolaryngology, thoracic surgery, radiology, and pulmonology led to a personalized risk assessment and the recommendation to cease wind instrument performance in order to prevent potentially life-threatening complications, such as pneumothorax. This case illustrates how personalized diagnostic approaches and tailored clinical decision-making are essential in managing rare occupational conditions. A comprehensive review of the literature is provided, with a focus on individualized risk factors, diagnostic strategies, and personalized treatment concepts relevant to precision medicine.

Pulmonary diseases of musicians who play wind instruments that may be caused by microbial contamination of the instruments tend to be underestimated. The aerosols and microdroplets from the respiratory tract that enter the wind instrument when playing music contain both non-pathogenic and pathogenic microbes. Microbiological studies have shown a higher contamination of vital bacteria, fungi, and/or yeast in woodwind instruments compared to metal instruments.Although there are some signs of increased incidence of respiratory diseases in wind instrument players, the detection of potential pathogens in wind instruments does not necessarily mean that these microbes lead to manifest lung infections.Any type of wind instrument can be contaminated with microbes associated with Hypersensitivity Pneumonitis (HP). A series of case reports have been published dealing with HP, in particular in saxophone players ("Sax lung") and bagpipe players ("Bagpipe lung"). HP is more common among musicians playing wind instruments than previously thought. Therefore, in cases of HP of unclear cause, the medical history should be extended to include playing wind instruments and, if necessary, material taken from the instruments should be examined microbiologically.It is recommended that musicians regularly not only clean but also disinfect their wind instruments.

The article considers the current problem of integrating theoretical knowledge and performance skills in the process of teaching ensemble playing on wind instruments. Ensemble playing is defined as a complex type of musical activity that requires performers to have high technical mastery and thorough knowledge in the field of music theory, harmony, stylistics and analysis of musical forms. The authors analyze pedagogical approaches and methodological strategies that ensure an effective combination of theoretical and practical components in the process of musical and professional training of students of art educational institutions. Thanks to the use of general scientific and special research methods, in particular the analysis of scientific literature, pedagogical observation, modeling of educational situations and generalization of pedagogical experience, the pedagogical conditions for the successful integration of knowledge and skills have been clarified and systematized. Specific methodological techniques have been proposed that contribute to the conscious interpretation of musical material and the formation of professional ensemble interaction of wind instruments performers.

Modernization and technological development have reduced the living space of traditional arts, including the wind instrument Tkud in the social life and musical traditions of the Dano Lamo Village community in Jambi. This study aimed to analyze the preservation and development of Tkud amid these dynamics of social change. A qualitative approach with an ethnographic method was employed to understand Tkud as a cultural practice in context through field observations, interviews with artists and customary leaders, and documentation. The findings indicate a shift in the function and contextual use of Tkud in the community’s social life, which has weakened traditional intergenerational transmission patterns. Preservation and development efforts have been carried out through strategies of innovation and adaptation, particularly by collaborating Tkud with modern musical instruments, which has contributed to expanding performance spaces, increasing the appeal of traditional arts, and opening opportunities for the regeneration of artists. Nevertheless, low interest among the younger generation due to the dominance of digital media remains a major challenge for sustaining the tradition. These findings affirm that Tkud as a traditional art form constitutes a dynamic and adaptive cultural practice, in which transformations of form and function serve as key strategies for preservation without eroding the local cultural identity of the Dano Lamo community.

This study examines the cross-regional dissemination pathways of the hulusi (a traditional Chinese wind instrument) within the educational systems of Lianghe County, Yunnan Province, and cities in Guangdong Province. It explores how this intangible cultural heritage transitions from “source-based culture” to “educational resource,” thereby achieving the collaborative construction of local identity and national cultural consensus. Through a combination of literature analysis and field research, this study systematically presents Lianghe County's rural practice mechanism for building cultural confidence based on the “intangible cultural heritage + tourism + education” pathway, alongside Guangdong's institutionalized teaching and dissemination transformation of cross-regional Hulusi under the policy guidance of “incorporating intangible cultural heritage into classrooms.” By comparing the similarities and differences between the two regions in terms of hulusi resource integration mechanisms, educational adaptation pathways, and cultural identity formation, the author argues that the cross-regional dissemination of intangible cultural heritage is not merely a spatial migration but a complex process involving social reproduction and institutional coordination. The study concludes that establishing a “local-remote” collaborative mechanism that balances cultural consciousness and dissemination adaptability is a key pathway for promoting the sustainable development of intangible cultural heritage.

Statement of the problem. Since M. Moszkowski’s musical output is associated primarily with piano music, his chamber works have unfairly remained in the shadows. This is confirmed by the analysis of scientific sources, which convinces that the main attention of researchers is focused on the composer’s piano heritage. The article attempts to establish the role of chamber music in the composer’s work, as the musician created many ensemble works for string or wind instruments and piano. Objectives, methods, and novelty of the research. The purpose of the article is to determine the value of M. Moszkowski’s chamber music and its role in modern ensemble performance. Research methods – historical and biographical, phenomenological, genre and stylistic; repertoire and performance, and textological approaches – determine the cultural context of M. Moszkowski’s chamber music. The scientific novelty of the article lies in the study of M. Moszkowski’s chamber music as a little-studied layer of his work. Research results. The following chamber pieces by M. Moszkowski are analyzed: Piece for Violin and Piano without opus (1865–1869), Piano Quintet (1872), Spanish Dance op. 12a, No. 1 for clarinet and piano (1876), Two Concert Pieces for Violin and Piano op. 16 and “Melody” op. 18a, No. 1 for cello and piano (1878), Three Pieces for Cello and Piano op. 29 (1882), “Guitar” op. 45a, No. 2 for cello and piano and op. 45b, No. 2 for violin and piano (1888), “Pres du Berceau” op. 58a, No. 3 for violin and piano (1896), Waltz op. 15b, No. 5 for cello and piano (1902), Suite for two violins and piano op. 71 (1903), “Quatre Morceaux” for violin and piano op. 82 (1909). It has been established that most chamber works originated as ensemble versions of the author’s solo or orchestral works. Since M. Moszkowski was not only a pianist, but also a violinist and conductor, his chamber music most clearly shows the interpretation of the piano part as an ensemble of instruments, which confirms the division of voices according to “timbre layers” due to techniques inspired by string instruments. It is in chamber music that these “string” features are particularly prominent: next to real strings, one can clearly hear how the piano imitates their orchestral and ensemble expressive specifics. Conclusion. During the study, it was found that most of M. Moszkowski’s chamber works originated as an ensemble version of his solo or orchestral works. Thus, the ensemble genre became a kind of creative laboratory for the composer, where he experimented primarily with the composition of instruments, improving the timbre and texture of his own works. In this regard, it can be assumed that the master’s ensemble works constitute an “improved” version of his original works. In the field of modern performance practice, the significance of M. Moszkowski’s chamber work is manifested primarily in the repertoire dimension. Against the background of established, often “canonized” programs with excessive concentration on a limited range of works (primarily “great” sonatas, concertos and cycles), his music offers an alternative path: the inclusion in solo and chamber programs of works that combine high artistic quality with relative compactness of form and accessibility of technical level.

Nadaswaram is a double-reed wind instrument used in auspicious functions and festivals in South India, as well as in some parts of Sri Lanka. This instrument, which is also called the Raja Vadhiyam, has been mastered by many stalwarts, one of whom is Dharmapuram A. Govindarajan. This paper showcases his life, music affinity and notable compositions.

Although the aulos was one of the most important musical instruments of the ancient Graeco-Roman world and has a rich history of research, certain significant archaeological finds have only recently become the subject of extensive music-archaeological study. This article, together with Gunvor Lindström’s and Stefan Hagel’s contributions to this volume, present the results of the latest research carried out on an exceptional set of Hellenistic wind instrument fragments from the Oxus temple in Takht-i Sangin, Tajikistan. This contribution gives a summary of the previous and current research on the Oxus find, as well as an introduction to constructional aspects, including a classification of the preserved instrumental sections. It also provides a complete catalogue of all individual Oxus fragments with photographic documentation, detailed measurements, and a brief description.

This article examines the archaeological context of the Oxus Auloi, ancient wind instruments unearthed at the Oxus Temple in Takht-i Sangin, Tajikistan. Based on excavation records, the instruments were likely produced in the 3rd or early 2nd century BCE and deposited around the mid-2nd century BCE. Their spatial distribution in Corridor 6 – a space used for storing damaged or retired votive offerings – provides clues about their ritual treatment and fragmentation. The article situates these instruments within broader traditions of votive practice and ritual sound in Hellenistic Bactria, arguing that although they exhibit Greek stylistic traits, they were likely produced locally, reflecting cross-cultural entanglements in the region.

Wind instruments such as saxophone, clarinet, trumpet, and others possess unique characteristics in terms of frequency, amplitude, and waveform, serving as distinct acoustic signatures for each instrument. In the digital era, the classification of musical instruments for composition and arrangement is often still carried out manually, which can lead to inefficiencies and potential errors in the music production workflow. Automating this process can significantly enhance the speed, accuracy, and consistency of instrument sound classification, especially for large-scale or real-time applications. This study aims to develop a classification system for wind instrument sounds using the Recurrent Neural Network (RNN) method, leveraging acoustic features such as Mel-Frequency Cepstral Coefficients (MFCC) and spectrograms. The RNN architectures employed in this research are Long Short-Term Memory (LSTM) and Gated Recurrent Unit (GRU), chosen for their ability to capture temporal dependencies in sequential data such as audio signals, making them well-suited for sound-based classification tasks. The dataset consists of 1,200 audio files (.wav) comprising four wind instrument classes: trumpet, baritone, mellophone, and tuba, with 300 samples each. Experimental results show that the LSTM model achieved an accuracy of 95%, while the GRU model reached 99%. Compared to previous studies that reported lower accuracy or focused on broader instrument categories, this research demonstrates a significant improvement in wind instrument classification. The results highlight the effectiveness of RNN-based models in learning the temporal dynamics of audio signals, offering a reliable solution for automated instrument classification in digital music systems.

The vibrational behavior of reeds in wind instruments is highly sensitive to their moisture content, yet the underlying hydration dynamics and their relationship to ageing remain poorly understood. In this study, we employ in situ neutron radiography to visualize and quantify internal water distribution in clarinet reeds at three stages of use: pristine, broken-in, and aged. Reeds were subjected to controlled wetting durations followed by drying under ambient conditions to enable time-resolved analysis of moisture uptake and retention. Neutron imaging revealed that water preferentially accumulates in the vamp region due to longitudinally exposed vascular structures, while the stock remains largely dry. Ageing significantly reduces both water uptake and retention capacity. Pristine reeds absorbed water rapidly and uniformly, whereas aged reeds exhibited faster drying; asymmetric moisture distribution; and non-uniform swelling and shrinkage, consistent with structural fatigue. These results demonstrate how repeated use alters hydration behavior and underscore the governing role of anatomical features, such as exposed vascular bundles and parenchyma cells. This study presents the first application of neutron imaging to clarinet reeds, providing spatially resolved insight into internal moisture dynamics. The findings establish a scientific basis for understanding reed break-in and ageing, with implications for performance optimization, reed design, and maintenance practices. Moreover, this work pioneers a novel application of neutron imaging in the study of woodwind instruments, where moisture control critically influences playability and longevity.

Playing wind instruments may promote neck, arm, or shoulder pain, as well as temporomandibular pain. The cervical and orofacial regions are associated, due to their proximity and the influence they both have on body posture. In wind musicians, the mouth is responsible for producing the sound. Any alteration in the characteristics of the orofacial system can affect the embouchure when playing a wind instrument. To observe demographic and physical characteristics in the cervicomandibular region in a sample of university wind students. An observational descriptive cross-sectional study was carried out with wind students in the two higher conservatories of the region of Galicia, Spain. We studied the posture of the head and neck, the range of cervical movement and mouth opening, the presence of trigger points in the upper trapezius and masseter, as well as their algometry and electromyographic value. 30 woodwind and 19 brass students were evaluated, 51% of whom were female. A tendency towards a forward position of the head and protraction of the shoulders was observed, maintaining horizontality in the frontal plane in both the head and shoulders. Cervical movements were diminished, while the mouth opening was greater than standard. In this sample, a relatively high prevalence of trigger points in the upper trapezius was observed, while the masseters showed greater sensitivity to pain and greater activation during trapezius contraction. Musicians in this study presented an anteriorized position of the head and shoulders in the sagittal plane, with a decrease in cervical range of motion particularly in the transverse plane.

Purpose The study aimed to assess dry eye symptomatology among young professional musicians, with particular attention to instrument type and practice-related variables. Methods A comparative cross-sectional study was conducted including two groups: young professional musicians (experimental group) and non-music students (control group). Descriptive data such as age, sex, and instrument played were collected. Additionally, musician-specific variables were recorded, including age of instrument commencement, daily practice duration, and the number of weekly practice days. Dry eye symptoms were assessed using the Ocular Surface Disease Index (OSDI) and its subscales: Vision-Related Functioning (VRF), Ocular Symptoms (OS), and Environmental Triggers (ET). OSDI scores were classified into four severity levels. Results Females exhibited higher scores on the ET subscale (p = 0.049). Among musicians, 41% reported dry eye symptoms, whereas only 26% of participants in the control group reported positive symptomatology. Statistically significant differences were observed in the total OSDI score (p = 0.023) and the ET subscale score (p = 0.005) when comparing young professional musicians with control participants. VRF (p = 0.048) and ET (p = 0.028) subscales scores were significantly higher among musicians who began playing their instrument before the age of 9. Among wind instrument players, a significant negative correlation was identified between the number of years playing the instrument and the OS subscale (r = −0.432, p = 0.015). Conclusion This study suggests that an earlier onset of musical training is associated with increased dry eye symptomatology, particularly related to environmental factors. Among wind instrument players, more years of practice appear to be linked to fewer ocular discomfort symptoms. These findings highlight the complex relationship between musical practice and ocular surface complaints in young professionals.

The Solar Wind and Pickup Ion (SWAPI) instrument onboard the Interstellar Mapping and Acceleration Probe (IMAP) is a top-hat electrostatic analyzer designed to measure energy-per-charge distributions of solar wind protons (H+), alpha particles (He2+), and interstellar pickup ions (PUIs; combined H+ and He+) across a range of 0.1 to 20 keV/q. These measurements are essential for advancing understanding of the solar wind dynamics, particle acceleration, and physical processes governing the heliosphere. SWAPI builds on the heritage of the Solar Wind Around Pluto (SWAP) instrument on New Horizons, with enhancements tailored for continuous operation at 1 au. A key innovation is its grounded aperture grid assembly, which passively attenuates solar wind flux by approximately three orders of magnitude while preserving a large geometric factor for PUIs. The instrument’s electro-optics include an electrostatic analyzer, a field-free flight path, and a coincidence detector system employing an ultrathin carbon foil and dual Channel Electron Multipliers (CEMs), enabling effective background suppression with some species discrimination. These capabilities support detailed studies of solar wind transients, pickup ion distributions, and the interaction between the solar wind and the interstellar medium. SWAPI also contributes to IMAP’s space weather system, extending ACE-like solar wind monitoring with enhanced time and energy resolution, and provides real-time data for heliospheric modeling and forecasting.

The theatre art of the Azerbaijani people constitutes a significant part of their centuries-old and rich cultural heritage. As an integral element of the nation’s spiritual wealth, this art form has evolved, enriched by a variety of ceremonies, games, and performances. The present article specifically investigates the types of Azerbaijani folk theatre and the role of music employed in these performances. The primary aim of the study is to analyze the characteristics and functions of music within Azerbaijani folk theatre. This theatrical tradition serves as a vivid reflection of both national culture and musical folklore. Particularly in folk performances, the musical pieces are typically short, repetitive, lively, energetic, and sometimes combative. These melodies are usually performed on the traditional wind instrument zurna. Each piece often begins with a repeated motif that functions as an intrada—a call to attention—directing the audience’s focus toward the forthcoming performance. Furthermore, turning points and significant moments in the play find vivid expression through music. Thus, folk performances are inconceivable without musical accompaniment. The research methodology is based on analysis, comparison, and empirical observation. Musical samples used in games and performances held during festivals and ceremonies across various regions were collected, transcribed into musical notation, and analyzed. The findings of the study underscore the importance of selecting music in Azerbaijani folk theatre by stage conditions and artistic requirements.

To compare and evaluate intraocular pressure (IOP) during and after playing Thai traditional (TT), Thai folk (TF), and Western (WT) wind instruments. Three types of wind instruments were used: Thai traditional, Thai folk, and Western, played by three groups of players according to an identical set of notes for 120 seconds. Five IOP measurements were performed before, during (37 and 101 seconds), and after (150 and 240 seconds) playing the instruments. Primary outcomes were differences in IOP between groups during the performance. Secondary outcomes were differences in IOP between groups after the performance. A mixed-effect model for repeated measures (MMRM) was used for statistical analysis. Thirty eyes from 15 participants were included, with mean (SD) baseline IOP of 13.3 (2.7), 12.3 (1.5), and 14.5 (2.4) mmHg in WT, TT, and TF groups (P = 0.53). No significant differences in overall IOP change were observed between TT (coefficient -1.2 mmHg; 95% CI -3.5 to 1.1, P = 0.40) or TF (0.3; -2.1 to 2.8, 0.82) compared to WT group. During the performance (from baseline to 101 seconds), IOP increased significantly in WT (3.1, 0.6 to 5.7, 0.007) and TT groups (2.8, 0.2 to 5.3, 0.02), while TF group did not show a significant increase. However, no significant differences were found when comparing among the three groups. After the performance (150 seconds), mean IOP differences between groups were small and were not significantly different. The three types of wind instruments demonstrated no significant differences in IOP elevation during or after performance. While a transient increase in IOP was observed during playing in all groups, IOP returned to baseline within 30 seconds after the performance.