: This study aimed to assess pain in professional musicians playing various instruments, as well as to analyse the relationships between the intensity and frequency of pain and the duration of ...playing the instrument and somatic variables.
: A cross-sectional study was conducted between 60 professional musicians, who were divided into 3 groups: cellists, violinists, and musicians playing wind instruments. Pain intensity was assessed using the visual analogue scale (VAS). The respondents also assessed the frequency of musculoskeletal disorders, the location of pain, the number of hours of playing the instrument per week, and the playing experience in years. In addition, body weight and height were measured and the body mass index (BMI) was calculated.
: Musculoskeletal disorders occurred among 83.33% of musicians, including: cellists (n = 20; 100%), violinists (n = 18; 90%), and musicians playing wind instruments (n = 12; 60%). The pain was more often localised in the lumbar and cervical spine, and less frequently in the upper and lower limbs. Cellists and violinists experience the most intense pain (appropriately Me = 4.50, IQR = 4.00 and Me = 5.00, IQR = 3.50) and of greater frequency (appropriately Me = 3.00, IQR = 2.00 and Me = 3.00, IQR = 6.00) in contrast to musicians who play wind instruments (Me = 1.00, IQR = 2.00); p < 0.01.
: Musculoskeletal pain is very common among musicians, especially among string players. There is a need for greater awareness and knowledge among musicians of strategies to prevent pain and overload. Playing stringed instruments, including many hours of practice per week and a longer experience in playing the instrument, is conducive to greater intensity and frequency of pain in the musculoskeletal system.
Career-related injuries and disorders in professional musicians are prevalent across all their respective instruments and fields. They often endure long hours of intensive practice that demand high ...levels of precision, dexterity, and flexibility of their head, neck, hands, and upper extremities. Unlike the average patient, musicians are sensitive to even mild symptoms and deficits that can interfere with performance, which can potentially be career-threatening. Increasing attention to the care of musicians motivated performing arts medicine to tailor the practice to their individual and unique needs. Plastic surgeons are at the forefront of this practice; however, there are very limited reviews discussing plastic surgery management of the common injuries and disorders in musicians. This article reviews the most relevant literature of the past several decades regarding treatment modalities of the most common conditions endured by professional instrumentalists, with an emphasis on surgical considerations in the field of plastic surgery. A thorough literature search was performed for articles that encompass the interface between plastic surgery and musicians. We examined disorders of the head, ears, eyes, nose, throat, hands, and upper extremities including stress velopharyngeal incompetence, disruption of the embouchure, nerve entrapments, arthritis, traumatic injuries, focal dystonia, Linburg–Comstock syndrome, and overuse disorder. Overall, the goal of this review is to provide a summary of the existing and successful procedures performed to address prevalent musician conditions.
Effects of Music on Health: The Plight of the Piper Oluwaseyitan Adesegun; Olusegun Ojuola; Ayokunle Osonuga ...
Online journal of health & allied sciences : OJHAS,
10/2019, Volume:
18, Issue:
3
Journal Article
Peer reviewed
Open access
Music, an important tool of social and cultural value, has found relevance in healthcare and is being harnessed for therapeutic purposes. However, the art of producing music with musical instruments, ...has potential health benefits and hazards, which are often ignored. In this article, we review literature, and expound on the effects of playing wind instruments on the health of the player. Some authors have documented superior lung function and a lower risk of obstructive sleep apnea amongst wind instrumentalists. However, the list of health hazards associated with playing wind instruments exceed the potential benefits, with myriad cases of adverse events documented following wind instrument playing. Many of these adverse events are as a result of increased pressures (intra-thoracic, intra-abdominal, intra-ocular, intra-cranial etc.), especially with high resistance instruments, when delivering high pitches and volumes. It is recommended that wind instrument players be aware of the potential health benefits and risks associated with playing their instruments, avoid prolonged playing, ensure adequate rest intervals between playing, and avail themselves of regular (at least annual) medical fitness checks, with special attention paid to their otolaryngologic, cardiovascular, respiratory and ocular health.
In this pilot study, flexible high-speed video (HSV) technology with synchronized audio is used to visualize vocal fold behavior in a wind instrumentalist. Specifically, this study aims to contribute ...to describing the vocal fold behavior of a professional clarinet musician playing varying tones and melodies.
Vocal folds of a healthy 26-year-old professional clarinet musician were recorded utilizing a HSV camera coupled to a flexible endoscope, which allowed the synchronous recording of audio with vocal fold movement at the onset, playing, and offset of playing. Two raters experienced with analyzing vocal folds described vocal fold motion of each sample. Samples were processed through a software model to determine the vocal fold movement relative to their position at rest. Digital kymograms (DKGs) were additionally obtained to visualize vocal fold micromovements throughout each sample.
At the onset of playing, the raters observed the vocal folds moving to a paramedian position. Vocal fold adduction varied according to the task performed and ranged from 58% to 77% of the original resting glottis width. The calculated changes in glottis width and DKGs were consistent with the descriptions by the raters.
This study demonstrates the utility of flexible HSV in observing vocal fold motion before, during, and after events other than sustained phonation. The incomplete adducted vocal fold postures observed while playing the clarinet not only differ from phonation but also differ depending on task. These various postures may contribute to voice fatigue in wind instrumentalists or to various disorders experienced during their careers.
Space to play Reddington, Helen
Popular music history,
05/2021, Volume:
13, Issue:
3
Journal Article
Peer reviewed
British punk in the 1970s gave young women in the subculture the opportunity to play rock instruments that had previously been played by young men. They often learned to play through using reggae ...records, because the defined production made it easy to hear individual instruments. Much of 1970s reggae underlined Rastafarian principles regarding women’s behaviour, but these women ignored this aspect of the music and listened out for the sonic qualities of reggae. This article examines this apparent anomaly, noting a common purpose in the resistant musical activities of (especially women) punks and Rastas despite differences in culture and privilege between the two communities. New interviews by the author with Gina Birch from the Raincoats, and Tessa Pollitt from the Slits, are included to provide a retrospective viewpoint on this phenomenon.
In a musical wind instrument, sound is produced by vibration of air, typically created by the player blowing into the instrument. Many researchers believe that wind instrumentalists have vocal and ...laryngeal problems related to playing their instruments. In this study, wind instrumentalists were defined as those who had a history (1 year or more) of studying a wind instrument (flute, clarinet, saxophone, oboe, bassoon, trumpet, trombone, tuba, or French horn) at any time in their lives. Laryngeal electromyography (L EMG) had been obtained because vocal fold paresis was suspected clinically. Data analysis indicated that wind instrument players appear to experience greater levels of decreased nerve recruitment than non-instrumentalist singers do who present with paresis.
Voice patients who underwent laryngeal EMG for clinically suspected vocal fold paresis between 2019 and 2021 were included in the study. Subjects were divided into two groups depending on history of playing wind instruments. Only patients with insufficient information in their medical records were excluded. All data were reviewed retrospectively. Percentage of nerve recruitment, the recruitment rating scale used in previous studies, wind instrument played, gender, age, and laryngeal Myasthenia Gravis diagnosis were variables included in the descriptive statistics, correlational, and regression analyses used for statistical analysis.
Data analysis indicated that in the 103 subjects included (47 wind instrumentalists and 56 non-wind instrumentalists) that wind instrument players, past and present, experience levels of greater decreased nerve recruitment that non-instrumentalist singers do when presenting with paresis. Kind of wind instrument played was statistically significant but moderately correlated to the RRS (Recruitment Rating Scale) of the left PCA. Sex was correlated moderately and statistically significantly with right CT recruitment.
Playing wind instruments in voice patients diagnosed with paresis might be associated with increased severity of laryngeal nerve damage. Further research is needed to confirm or refute these findings.
Distributed multi-actuator systems can provide effective solutions for mitigating the vibrational response of large structures. In this paper, we present a computational strategy to design ...inerter-based multi-actuation systems for the seismic protection of adjacent structures. The proposed approach allows considering both interstory and interbuilding Tuned Mass-Inerter Damper (TMID) actuators, and aims at simultaneously reducing the vibrational response of the individual buildings and avoiding the interbuilding impacts. The tuning procedure is based on an H∞ cost-function and uses a constrained global-optimization solver to compute parameter configurations with high-performance characteristics. To illustrate the main features of this work, two different Tuned Inerter Damper (TID) multi-actuator schemes are considered for the seismic protection of a particular multi-story two-building system. A multi-actuator Tuned Mass Damper (TMD) system is also designed and is taken as a reference in the performance assessment. The obtained results demonstrate the flexibility and effectiveness of the proposed design methodology, and clearly show the superior performance and robustness of the TID actuation systems.
This article utilises insights developed by the Australian New Left during the 1970s to conceptualise the Australian capitalist state. The argument is composed of three parts. First, the debates ...between Ralph Miliband and Nicolas Poulantzas are reviewed in relation to the light they shed on instrumentalist and structuralist theories of the state. Second, instrumentalist state theory is analysed in the Australian context prior to the rise of New Left scholarship. Third, it is suggested that the Australian New Left challenged instrumentalist interpretations of the state by offering a structuralist critique. While Australian historian Humphrey McQueen claimed that the Australian state served as an extension of the British Empire, a quite different view developed locally by R W Connell and Terry Irving focused on how the structure of the state organised the existing social relations of Australian capitalism. Building on this basis, Connell and Irving subsequently developed a novel synthesis of instrumentalist and structuralist models which is of ongoing relevance to social theorists today. By clarifying the historical debates and what was at stake, we can thereby get a better understanding of the capitalist state in Australia.
This article utilises insights developed by the Australian New Left during the 1970s to conceptualise the Australian capitalist state. The argument is composed of three parts. First, the debates ...between Ralph Miliband and Nicolas Poulantzas are reviewed in relation to the light they shed on instrumentalist and structuralist theories of the state. Second, instrumentalist state theory is analysed in the Australian context prior to the rise of New Left scholarship. Third, it is suggested that the Australian New Left challenged instrumentalist interpretations of the state by offering a structuralist critique. While Australian historian Humphrey McQueen claimed that the Australian state served as an extension of the British Empire, a quite different view developed locally by R W Connell and Terry Irving focused on how the structure of the state organised the existing social relations of Australian capitalism. Building on this basis, Connell and Irving subsequently developed a novel synthesis of instrumentalist and structuralist models which is of ongoing relevance to social theorists today. By clarifying the historical debates and what was at stake, we can thereby get a better understanding of the capitalist state in Australia.
The aim was to investigate whether vocalists and instrumentalists (N = 108) would differ in personality traits, such as the Big five dimensions, competence-based self-esteem, and musical ...self-perceptions. The design involved both global and domain-specific features to more closely map similarities and differences between the groups. Results indicated that vocalists reported significantly higher levels of extraversion, agreeableness, and openness than the control group (p < .01–.05) but not musicians. The musical self-perceptions were explored using a qualitative method by asking the students to, in their own words, describe aspects of two categories of musical self-perceptions. For self-perceptions related to musical development, goal-orientation, personality, and expressivity were of most importance for both vocalists and instrumentalists, although personality ranked first among vocalists and third for instrumentalists. For self-perceptions related to musical expression in a performance, vocalists assigned most value to timbre, emotions, and musical ideas, whereas instrumentalists indicated dynamics, musical ideas, and timbre. In sum, global and objective measurements failed to discriminate well between vocalists and instrumentalists, whereas the qualitative study aimed at tapping domain-specific features was successful in embracing a large variety of musically related items and to differentiate between vocalists and instrumentalists.
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