Medical problems of performing artists最新文献

Aims: Musculoskeletal (MSK) pain represents a major health problem facing music students worldwide. There is some evidence that posture education could be effective in reducing pain and disability among music students. The aim of this study was to assess the effective¬ness of E-learning for posture education in music students (El-Poems) on the presence of MSK pain, MSK pain intensity, as well as postural behavior.

Methods: This was a matched-pair, two-arm parallel randomized controlled trial. Participants were music students (aged 12-18 yrs), randomized to intervention (n=134) and control (n=133) groups. The education program included four online sessions of the risks of incorrect posture and the necessary skill for correct postural behavior. A numeric rating scale (NRS) and the Nordic body map were used to evaluate the primary outcomes (MSK pain intensity, presence of MSK pain, and location). A secondary outcome (postural behavior) was assessed using the Rapid Entire Body Assessment checklist. Data were collected at two points, baseline and 6-month follow-up. ANOVA and Wilcoxon tests were performed to assess the time x group interaction effect.

Results: A total of 267 music students participated this study. Of these, 150 (56.2%) reported at least one symptomatic region over the previous week. A significant reduction was found from baseline to 6-month follow-up in mean scores in the intervention group for MSK pain prevalence (from 55.2% to 43.3%, Z=-2.71, P=0.004, etap2=0.07), MSK pain intensity (from 2.21±2.51 to 1.94±2.47, F263=32.27, P<0.001, etap2 = 0.11), and postural behavior (from 6.99±2.97 to 6.65±2.72, F263=27.35, P<0.001, etap2=0.09).

Conclusion: The results demonstrated that the E-learning postural education program was associated with a decrease in the prevalence of MSK pain, a reduction in pain intensity, and improved postural behavior. Iranian Registry of Clinical Trials: reg. no. IRCT20180528039885N2, Nov-09-2021.

Objectives: Pole dancing is an extreme form of performance physical activity, combining considerable feats of muscular strength, flexibility, dancing and acrobatics on a vertical metal apparatus. Despite rapid growth in the artform, many pole dancers continue to participate without fulfilling physical requirements to withstand the forces and physicality required. The aim of this systematic review was to determine the incidence, prevalence and characteristics of injuries sustained by pole dancing participants reported in published studies.

Methods: Five databases were comprehensively searched in February 2023. Authors independently screened titles and abstracts, with full copies of eligible studies reviewed using specific inclusion/exclusion criteria. Studies were included if they referenced pole dancing, were in English language and Level I-III-3 in accordance with the Australian National Health and Medical Research Council, with case reports considered if included 10 or more participants. The National Institute of Health quality assessment tool for observational cohort and cross-sectional studies was used to review the quality of reporting of selected studies.

Results: Eleven articles were retrieved based on searches, with five studies meeting full inclusion/exclusion criteria, published between 2020-2022. In total 787 study participants were identified, with 623 sustaining a total of 1,803 pole dancing injuries. Data from all studies in injury profiles reported 42.4% of injuries sustained to the upper limb, 44.8% lower limb, 10.5% trunk, 0.02% associated with the head and neck, and several injuries affecting multiple regions. Acute injuries comprised 51.6% of reported injuries compared to 48.4% chronic. Injury characteristics were varied due to inconsistencies in reporting across studies.

Conclusions: This systematic review highlights a paucity of knowledge regarding injuries in pole dancing, perhaps expected with a relatively young sport. Improvement in reporting is required to aid in identification of injuries and opportunities for development of injury risk reduction strategies. PROSPERO Registration no. CRD42023401012.

Objective: Popular musicians are exposed to many occupational stressors, including unpredictable work schedules, touring and economic precarity, that have been associated in prior studies with psychological ill health. This study sought to identify occupational stressors most strongly associated with depression, anxiety, and alcohol misuse in popular musicians.

Methods: An online survey was completed by 317 popular musicians that included the Musician Occupational Stress Scale (MOSS), a validated measure of occupational stress in popular musicians. An exploratory principle-factor analysis (EFA) investigated the dimensions of response pat¬terns in the items comprising the MOSS.

Results: Four factors were identified that predicted 50% of musician occupational stress: Work Insecurity Stress, Tour Stress, Performance Stress, and Professional Relationship Stress. In addition to financial distress, each factor was significantly associated with depression and anxiety and Tour Stress also was associated with alcohol misuse. After adjusting for all other factors and financial distress, only Work Insecurity Stress remained associated with depression (odds ratio [OR]= 5.42; 95% confidence interval [CI] = 3.23-9.09) and anxiety (OR=5.95; 95% CI = 3.51-10.11). Tour Stress became inversely associated with depression (OR= 0.59; 95% CI = 0.40-0.89) and anxiety (OR=0.60; 95% CI = 0.40-0.89). After adjustment, alcohol misuse was associated with Professional Relationship Stress (OR=1.66; 95% CI = 1.04-2.65) but inversely correlated with Performance Stress (OR=0.60; 95% CI = 0.40-0.91).

Conclusions: The four-factor model was shown to reliably simplify driving associations of occupational stressors that negatively impact psychological functioning in popular musicians. Dissemination of these findings could have practical implications in developing effective outreach messaging to promote psychological resilience and guide psychotherapeutic intervention strategies for this high-risk occupational group.

Background and aims: Many of the proteins that contain the amino acid selenocysteine are required for optimal defense against cellular stress. As such, one might expect selenoprotein synthesis to persist or be induced upon cellular insult. Because selenocysteine is incorporated by a complex post-transcriptional mechanism, monitoring the transcription of selenoprotein genes is not adequate to understand the regulation of selenoprotein synthesis. We aimed to determine whether selenoprotein synthesis is regulated by the induction of hepatotoxic stress.

Methods: We used hepatotropic clinically relevant drugs to evaluate the regulation of selenoprotein synthesis in human hepatocarcinoma cells.

Results: We found that two drugs, benzbromarone and sorafenib, caused significant inhibition of selenoprotein synthesis. However, the loss of selenoprotein expression was not specific as total protein synthesis was similarly down-regulated only by benzbromarone and sorafenib.

Conclusions: These results allow us to conclude that these hepatotoxins do not induce or preserve selenoprotein synthesis as a protective mechanism.

Highlights: The treatment of liver cells with hepatotoxic and hepatotropic compounds does not result in increased synthesis of selenoproteins.Compounds that induced the canonical oxidative stress response that features NRF2 activation eliminated selenoprotein synthesis.The downregulation of selenoproteins was accompanied by general inhibition of protein synthesis.

Objective: Imbalances in muscle strength coordination owing to lateral preference may be a risk factor for injury in dancers. Postural control is essential for the basic turn in ballet (pirouette), owing to its lateral asymmetry. Since dance with pointe shoes demands greater range of motion, muscle strength, and balance control compared to dancing with flat shoes, pointe shoes may further add to the risk and cause an imbalance between the preferred and non-preferred legs during pirouette. In this study, we examined lateral differences in professional and experienced amateur ballet dancers during single pirouettes with pointe shoes to understand the multiple elements involved in lateral balance control in pirouettes.

Methods: Eight female professionals and seven female amateur ballet dancers performed single pirouettes in pointe shoes on both the preferred and non-preferred sides. To understand the body coordination laterality in single pirouettes, statistical parametric mapping was performed for the trunk, hip, knee, ankle angle, and center of mass-center of pressure inclination angle timeframe data during the pirouette in three phases: turn with double-leg (Phase 1), single-leg (Phase 2), and finish turning with a single-leg (Phase 3). In addition, the hop-up time was calculated as the percentage when the foot is not in contact with the ground in Phases 2 and 3.

Results: There were no lateral differences in trunk and lower limb angles in either group. Professional dancers showed slightly more inclination towards the stance leg during left rotation at the beginning of the movement (Phase 1) with longer hop-up time in Phase 2, whereas amateur dancers tended to tilt forward during the left turn (Phases 1 and 2) with longer hop-up time in Phase 3.

Conclusion: It is notable that the COP-COM inclination angle was adjusted by hop-up and it caused the lateral differences in both professional and amateur dancers during a single pirouette with pointe shoes. This study highlights elements to consider in laterality when monitoring pirouette performance with pointe shoes.

Background: Many trumpet players use breathing training devices in addition to their daily practice routine. Playing a brass instrument requires, besides many other skills, a controlled air stream to generate the necessary air pressures. On the trumpet, high intraoral pressures are needed, especially during high and loud notes. Therefore, it is not uncommon in trumpet pedagogy to teach that the use of breathing training devices enhances physical strength so that the required pressures can be produced with less effort. However, to date, no systematic assessment of the use of breathing training devices among trumpet players exists and their effect on playing performance is still unclear.

Methods: In this a pre-post, within-subject repeated measure study, we investigated the influence of a 5-week expiratory muscle strength training (EMST) upon trumpet performance. Twenty-four male professional trumpet players were allocated to either a control or intervention group. The intervention group (n =13) trained with an EMST device against a set resistance of 55% of their maximum expiratory pressure (MEP) for 5 weeks on 5 days per week. The control group (n =11) did no intervention. All participants underwent the same measures (MEP and rate of perceived exertion [RPE]) and played the same tasks (maximum long note, maximum high note, maximum dynamics and phrasing in high register) prior to and after the 5 weeks.

Results: After EMST, MEP increased significantly (13%, p = 0.049) in the intervention group, whereas no significant change was found in the control group. Performance parameters did not change in either of the groups, also after EMST. Despite the increase in MEP, we found no evidence that EMST has an influence on trumpet performance.

Conclusion: We conclude that EMST seems unnecessary for the enhancement of trumpet playing, at least in a population of male professionals who already demonstrate excellent respiratory condition and control.

Objective: To investigate the frequency and trends of musculoskeletal medical attention injuries occurring in Australian professional musical theatre performers over two consecutive Australian city tours.

Methods: Medical attention performance-related injuries were prospectively reported from 269 professional Australian music theatre performers across nine professional music theatre productions from 2015 to 2020. Medical attention injuries were defined as a presentation to physiotherapy for assessment or treatment of a body region that may or may not have resulted in time lost on stage.

Results: 844 injuries were reported in City 1 and 776 injuries were reported in the City 2. The proportion of performers reporting injuries in City 1 ranged from 39.5% to 96.4% and in City 2, from 15.4% to 92.9%. Cervical spine injuries (ncity1 = 194, ncity2 = 187) were the most prevalent musculoskeletal presentation to physiotherapy followed by lumbar spine (ncity1 = 124, ncity2 = 117) and thoracic spine (ncity1 = 124, ncity2 = 90). There were more acute injuries reported in City 1 than City 2 (adj residuals = -4.09, p < 0.001) and more persistent injuries in City 2 (adj residuals = 4.09, p < 0.001).

Conclusion: Almost half of all injuries requiring medical attention in Australian professional music theatre performers were related to the cervical, thoracic and lumbar spine, with an increasing trend of cervical spine injury frequency across show durations. The study suggests a need for targeted injury prevention strategies in this population.

Aims: Over 8,650 Highland dancers registered to compete in Royal Scottish Official Board of Highland Dancing events worldwide in 2019. While the burden of dance-related injuries is high among dancers, there are few studies examining Highland dance. The purpose of this study was to describe the prevalence of self-reported 1-year injury history and safe dance practices among female Highland dancers.

Methods: Sixty-five female Canadian Highland dancers (median age 18; range 14-47) completed an anonymous online survey at the beginning of the 2019 championship season. Demographics (i.e., age, body mass index), exposure (e.g., months/year dancing), safe dance practices (e.g., environmental, physical, psychological), and 1-year injury history (i.e., yes/no) were self-reported. Three definitions of dance-related injury were used: 1) time-loss (missed ≥1 class, practice, performance, and/or competition); 2) medical attention (requiring professional medical care); and 3) any physical complaint that affected full participation.

Results: Most participants were training at the elite standard/premier level (86%, 95%CI 75-93) and for ≥8 months/year (83%, 95%CI 75-93). The proportion of dancers reporting at least one physical complaint in the previous 1 year was 71% (95%CI 58-81). Sixty percent (95%CI 47-71) of dancers reported ≥1 medical attention and/or time-loss injury. All participants reported warming up regularly, with 59% (95%CI 46-70) participating in regular cool-downs.

Conclusion: The prevalence of 1-year injury history among female Highland dancers is high. Education on the benefits of safe dance practice for Highland dancers may be useful. Prospective cohort studies are needed to understand the dynamic nature of dance injuries across a full competitive season.

Objective: The study aimed to translate, culturally adapt, and test the psychometric properties of the Musculoskeletal Pain Intensity and Interference Questionnaire for Musicians (MPIIQM) in an Italian population of professional and amateur musicians.

Methods: The translation and cultural adaptation process followed international guidelines, while the reliability and validity of the questionnaire were assessed against the COSMIN checklist. The internal consistency was calculated using Cronbach's alpha (a) coefficient. Construct validity was analyzed using exploratory factor analysis (EFA) with principal axis factoring (PAF) extraction. The sample adequacy and data suitability were assessed through the Kaiser-Meyer-Olkin (KMO) and Bartlett's sphericity tests, respectively. Concurrent validity was analyzed by assessing Pearson's correlation coefficient with the Italian version of the Musculoskeletal Health Questionnaire (MSK-HQ-I). Finally, the cross-cultural validity was investigated by analyzing score differences between amateur and professional musicians, and differences based on musical practice habits.

Results: The tool was administered to 311 subjects recruited from across Italy. The MPIIQM-IT was found to have high levels of internal consistency for the entire tool and each of the two subscales (Cronbach's a = 0.875, 0.877, and 0.845, respectively). The recruited sample was found to be adequate (KMO = 0.810) and the data suitable (C2 = 341.040, p < 0.001) for factor analysis, which produced 9 items contained in two main factors. Pearson's correlation coefficients showed a positive, statistically significant correlation between the MSK-HQ-I and the two subscales of the MPIIQM-IT with p < 0.01. Analysis of Student's t-test for independent samples and the ANOVA test for continuous variables showed statistically significant differences between male and female, professional and non-professional musicians, and conservatory and non-conservatory students.

Conclusions: The MPIIQM-IT is a valid and reliable tool, useful for investigating the presence of pain and playing-related musculoskeletal disorders (PRMDs) in both professional and non-professional musicians.

Background: High-string players, such as violinists and violists, are prone to neck problems. One factor can be their body posture, with often a rotated and flexed neck position with the jaw placed on a flat chinrest. The Kréddle chinrest (EC) was specifically designed to promote a more neutral neck position and prevent musculoskeletal problems among high-string players. This case report aims to evaluate the preliminary feasibility and acceptability of using the EC, with a low shoulder rest, in a pain-free professional high-string player. A secondary aim was to register newly developed pain and fatigue.

Methods: A 32-year-old professional viola player was instructed to use the EC for most of her playing time during a 6-week trial period. Outcome measures such as compliance (% of use out of total playing time over the last 7 days), performance, comfort and acceptability were assessed at baseline and at the end of each trial week. The Rapid Upper Limb Assessment (RULA) tool was used to evaluate the body posture at baseline when using the EC versus her own chinrest and shoulder rest.

Results: The initial trial period was interrupted after 2 days due to pain. A second 6-week period was completed. While compliance was high and there was positive feedback on how the EC affected her performance and comfort while holding the instrument, the case report identified a challenge with the complex instruction material, which made it difficult to install and adjust the product. The viola player was positive towards using EC in the end despite pain and fatigue during the trial period.

Conclusion: This case report examined a professional viola player's 6-week experience with an EC. While positive outcomes were observed in posture, performance, and product acceptance, issues with complex instructions were noted. This study marks the first exploration of individual challenges with EC use.