Medical problems of performing artists最新文献

Developing occupational identity is crucial for college students as it influences their career trajectories, mental health, and well-being. Music students, particularly, may experience challenges consistent with behaviors derived from their musician identity, such as prioritizing musical peruse over academic obligations and experiencing identity shifts during transitions in their musical training. However, existing research lacks consistency in defining musician identity. The lack of a well-defined conceptual framework for musician identity hinders the assessment of its changeability and the comparison of research findings. To address this issue, the present study aims to establish a conceptualization of musician identity through the validation of the Musician Identity Measurement Scale (MIMS) and the assessment of its factor structure. The study utilizes data from previous studies encompassing responses from 1,440 musicians (1,028 music majors and 412 non-music majors). The validation process included examining the MIMS' psychometric properties through exploratory structural equation modeling with robust weighted least squares estimation and evaluating measurement invariance by comparing configural and scalar models across sex and musician groups. Results support the MIMS as a valid 3-factor, reliable measure of musician identity and provide evidence for strong measurement invariance. The identified factor structure provides a foundation for future research exploring the musician identity, including how the three MIMS domains relate to various external correlates.

Background: An increased concern for injury risk is associated with the rising popularity in street dance. Stunting movements in street dance are comparable to movements in aesthetic sports with documented high risks of concussions (e.g., cheerleading and gymnastics). Limited literature comments on street dance-related injuries and concussions in youth.

Purpose: To assess dance-related injury risk among youth street dancers aged 11-19 years across a 6-month term in Calgary, Canada.

Methods: This prospective cohort study is a substudy of the national Surveillance in High Schools to Reduce Concussions study (SHRed Concussions). Dancers aged 11-19 years and registered in at least one street dance class/week in the 2021-2022 season were recruited from private dance studios and high school dance teams in Calgary. Team designates completed weekly exposure forms detailing street dance style, participation (full, partial), and injury circumstance (dance/non-dance injury). Suspected self-reported physical complaint injuries/concussions were referred to sport medicine physicians/therapists for follow-up. Analysis included descriptive statistics (participant demographics, injury characteristics), injury incidence rate (no. of new injuries/1,000 dance-hours, 95%CI), and prevalence (%, 95%CI).

Results: Forty dancers (20 female) with a median age of 16.2 years (range 11.1-19.8) participated and reported 19 dance-related injuries. Proportion of dancers reporting at least 1 physical complaint was 37.5% and the estimated injury incidence rate was 4.5 injuries/1,000 dance-hours (95%CI: 4.4, 7.5). Injuries occurred most frequently in the knee (47.4%) and during breaking (44.4%). Most injuries were acute onset (57.9%) and classified as joint/ligament sprains (33.3%) and muscle strains (33.3%). One concussion was reported.

Conclusion: The prevalence and incidence of physical complaint injuries in youth street dancers is high with the majority categorized as acute and occurring in the knee. Further epidemiological research in youth street dance is needed to identify potential risk factors and inform risk reduction strategies in this unique dancer population.

Objective: Pirouettes are often first taught from the "fourth position," which is a preparatory distance generally close to 100% of the dancer's foot length. However, the optimal preparation distance has not yet been studied. This study investigated the impact of stance configurations (preparatory distances) on postural control in ballet turns (pirouettes) between both experienced and novice dancers.

Methods: Thirteen experienced and 13 novice ballet dancers were recruited for this study. They performed one-revolution ballet turns at different preparatory distances (PD), including 50%, 100%, and 150% of foot length and self-selected distance (PDss). The instantaneous rotation axis of the torso was calculated using the weighted least squares method by torso landmarks. The average angles of inclination of the instantaneous rotation axis in relation to the vertical axis during the early single-leg support phase were determined. A smaller inclination angle of the rotation axis indicated a reduced postural sway. Foot displacement throughout the task was defined as the distance between the starting and ending positions of the foot on the supporting leg. A shorter foot displacement indicated greater stability of the supporting leg during the pirouette.

Results: A significant main effect of PD was observed in the average inclination angle of the rotation axis in the experienced dancers (p=0.006), with a smaller angle in PDss than PD50% (p<0.001). In the novice group, a significant main effect of PD was found in the foot displacement (p=0.003), with a smaller foot displacement in PD50% than in PD150% (p=0.006).

Conclusions: Experienced dancers performed better when using a self-selected preparatory distance in the pirouette, whereas novice dancers demonstrated better performance when utilizing a PD equal to 0.5 times the length of their foot compared to other distances.

Touring presents significant physical and logistical challenges for performing artists, often leading companies to seek healthcare support. This paper outlines a physiotherapy care model developed by a performing arts clinic for a touring puppet company during a 38-city US tour. The model addressed common issues, such as lack of continuity of care, by establishing standard operating procedures (SOPs), pre-tour assessments, and the use of a unified electronic medical records (EMR) system. This ensured efficient communication among healthcare providers and improved the quality of care. Post-tour exit interviews revealed that the continuity and structure of care positively impacted both physical and mental well-being, leading to more effective treatment sessions. The absence of time-loss injuries throughout the tour further underscored the model's success. The paper concludes by recommending further research to explore the long-term effects of such care models and their potential to become standard practice for touring productions.

Objective: We have previously described patterns of oral cavity movement in advanced French horn players during the performance of large interval slurs. The current study expands upon that work by reporting comparisons between horn, trumpet, and trombone players performing similar large interval exercises.

Methods: Real-time MRI (RT-MRI) films at 20 msec resolution were simultaneously obtained in the sagittal and coronal planes in 10 trumpet players, 9 horn players, and 10 trombone players as they performed 2 repetitions each of slur sequences spanning 1 octave and 1 octave + 3rd (interval of a tenth) at a mezzo forte dynamic level. Nine profile lines were overlaid on the sagittal images allowing the measurement of dorsal tongue edge movement using a customized MATLAB toolkit. Image J (FIJI) was utilized to measure the cross-sectional area formed between the dorsal edge of the tongue and the hard palate as depicted in coronal images.

Results: In horn and trumpet players, but not in trombone players, sagittal and coronal views demonstrate patterned tongue movements that narrow and widen the air channel during ascending and descending slurs, respectively. The magnitude of these movements is greater during larger intervals, though not perfectly consistent within each slur sequence. The sagittal views revealed these patterns to be most prominent in the anterior oral cavity rather than the middle and posterior oral cavity across all instruments.

Conclusion: Conformational changes of the oral cavity (vocal-tract tuning) during large interval slurs in the upper register may assist performance in trumpet and horn players. Trombone players may also employ these strategies when the extreme upper register is involved, but future study must verify this.

Background: Many adult dancers suffer from low back pain (LBP), which interferes with their movement strategies. A group that merits further attention are adolescent dancers as high levels of physical activity are associated with a higher risk to develop LBP.

Objective: The aims of this cross-sectional study were (i) to investigate if delayed bone maturation and aberrant menstrual cycle were present in pre-professional female adolescent dancers and (ii) whether these ailments or other physical impairments could be related to LBP.

Outcome measures: Bone maturation, menstrual cycle, hypermobility, scoliosis, and LBP.

Methods: Eligible female dancers were recruited among dancers aged 14-18 yrs in a secondary school specialized in dance. One-way ANOVA was used for the variables to determine significant differences between groups and the repeated measures ANOVA test was used to determine the significant differences within groups. Significance level was determined at 0.05.

Results: Fifteen out of 50 dancers reported a history of LBP. Significant differences were observed between calendar age and skeletal age in adolescent dancers (p<0.05). A considerable proportion of dancers showed delayed bone maturation (32%) or an aberrant menstrual cycle (53%), but this was not related to LBP (p>0.05). Scoliosis and generalized joint hypermobility were also not related to LBP (p>0.05). However, dancers with a history of LBP started dancing 2 years earlier (p<0.01), had significantly less hip internal rotation (p<0.05), and showed asymmetrical hip ROM (p<0.05).

Conclusion: Based on the results of current study, delayed bone maturation and menstrual cycle disorders are common in pre-professional female dancers, but this was not related to LBP. Additionally, out of 27 variables, only starting dance activities under age 6 years old, showing hip asymmetry, and showing less internal hip rotation may be contributing factors for the development of LBP in pre-professional dancers.

Objective: While anecdotal reports of the use of performance-enhancing medications to curb anxiety in performing artists abound, there has been no research to date assessing the prevalence of usage and attitudes towards use amongst the artists themselves. The objective of this study was to evaluate the perceptions, acquisition, and use of potentially performance-enhancing medications (benzodiazepines, beta-blockers, and cannabinoids) in the performing artist community to clarify the use of these medications to improve patient counseling and patient safety.

Design: Cross-sectional survey.

Setting: Anonymous survey administered through an online platform (REDCap).

Interventions: None.

Participants: Musicians who are members of or perform in member groups of the American Federation of Musicians, National Association of Schools of Music, Regional Orchestra Players Association, and the International Conference of Symphony and Opera Musicians.

Outcome measures: Prevalence of medication usage, subject perceptions of usage, and subject acquisition of medications.

Results: A total of 311 subjects participated in the study. The mean age was 45.6 years, 52% male and 47% female. Forty percent are full-time ensemble musicians, with most being orchestral musicians in a stand-alone orchestra. Fifty-seven percent of subjects take beta-blockers when auditioning for a job, 51% take beta-blockers for performances, and 19% for solo situations. Fewer musicians take benzodiazepines and cannabis products to help with anxiety. Thirty-two percent, 22%, and 17% felt beta-blockers, benzodiazepines, and cannabis were performance-enhancing respectively, but less than 10% felt use was unethical.

Conclusions: The results of this study demonstrate current use patterns of beta-blockers, benzodiazepines, and cannabis-containing products in the musician population. Beta-blockers appear to be well tolerated and most frequently used for performance anxiety.

This case report is about a 15-year-old male trumpet player. The boy's teacher noticed that he contorted his face when playing high notes and thought that this could be due to his protruded upper front teeth; therefore, the teacher advised him to consult an orthodontist. The orthodontist diagnosed an Angle Class II Division 1 malocclusion with a disto-occlusion of 1/4 premolar width, enlarged overjet, palatal bite, spacing of the upper front teeth, and mild crowding of the lower front teeth. The young trumpet player was orthodontically treated with aligners. During the treatment, he did not experience any discomfort or interference with his embouchure. He experienced a marked improvement in his trumpet performance, particularly after his enlarged overjet was corrected. This treatment approach is promising for other brass players, although not all malocclusions can be easily treated with aligners.

Objective: To compare quality of life (QoL) between specialized and non-specialized young female dancers.

Methods: A cross-sectional survey design was used. Young female dancers between the ages of 8-17 years completed the validated pediatric QoL inventory (PedsQL 4.0) and answered the following sport specialization questions: 1) Do you solely perform dance?, 2) Did you quit other sports to focus on dance?, and 3) Do you participate in dance more than 8 months per year? Dancers who responded "yes" to all 3 questions were classified as specialized, while dancers who answered "no" to any of the 3 questions were classified as non-specialized. PedsQL 4.0 subscales (physical, psychosocial, emotional, social, and school) and total scores were compared between specialized and non-specialized dancers using the Mann-Whitney U test with p<0.05 considered statistically significant. As subgroup analyses, the comparisons were repeated with dancers under 12 years (≤12 years) and over 13 years (≥13 years) old.

Results: A total of 72 young female dancers were included in the final analysis. The mean age was 12.5 (SD 2.5) years. No QoL differences were found in any subscale or total scores when comparing specialized and non-specialized dancers. However, differences were detected in subgroup analyses. In the dancers ≤12 years, psychosocial and total scores were higher in specialized dancers (57.9%, n=22) compared to non-specialized dancers (42.1%, n=16) (psychosocial p=0.045; total p=0.035). Conversely, in the dancers ≥13 years, psychosocial, emotional, and total scores were lower for specialized dancers (88.2%, n=30) compared to non-specialized dancers (11.8%, n=4) (psychosocial p=0.024; emotional p=0.049; total p=0.024).

Conclusion: Our study found that QoL did not differ by sport specialization status when the entire sample was analyzed. However, in subgroup analysis, QoL was higher in specialized dancers in the ≤12 years than non-specialized dancers. Conversely, specialized dancers ≥13 years showed lower QoL than non-specialized dancers. Further studies are necessary to further investigate the difference in QoL when comparing younger to relatively older adolescent female dancers.

Background: It is well established that high-intensity interval training (HIIT) is effective in enhancing athletes' performance and improving the health of recreational exercisers. However, there is a dearth of comprehensive recommendations regarding the integration of HIIT into the exercise routines of flamenco dancers. Therefore, this study aimed to evaluate how three different 10-week training programs--including traditional flamenco training (control group, CG) alone or combined with HIIT or muscular strength and endurance training (MSET)--impact the cardiovascular fitness (maximal oxygen consumption, VO2max) of female flamenco dancers, specifically focusing on the effectiveness of additional training methods.

Methods: A group of 33 trained female flamenco dancers was randomly divided into three groups: HIIT (n=11), MSET (n=11), and a control group (CG, n=11). VO2max was assessed through breath-by-breath gas analysis during an incremental treadmill test. All participants, including the control group, engaged in uniform choreography sessions at moderate intensity (55-60% of reserve heart rate [HRR], 50 min/day, twice a week). In addition, the HIIT and MSET groups underwent supplementary training sessions twice a week (40 min/day) for 10 weeks, utilizing different techniques and intensities (HIIT: 80-90% of HRmax; MSET: 55-75% of HRmax).

Results: A statistically significant 19.7% improvement in aerobic capacity (VO2max) was observed in the HIIT group (p≤0.05), with large effect sizes (ES) compared to MSET (p=0.011; ES=2.423) and CG (p=0.034; ES=1.664).

Conclusion: These findings indicate that HIIT training, when integrated with dance lessons, enhances aerobic capacity more effectively compared to traditional dance training alone or traditional dance training supplemented with MSET. Therefore, integrating HIIT into dance training programs as supplementary training may be particularly effective in improving aerobic capacity for female flamenco dancers.