Vidina Suarez-Rodriguez, Juan F Loro-Ferrer, David Rodriguez-Ruiz
Purpose: Considering the fascial continuity and its biomechanical characteristics, the purpose of this study was to assess the change in muscular stiffness (Dm) of the upper trapezius muscles after the application of myofascial induction therapy (MIT) to the masticatory muscles of musicians.
Methods: This was a pre-posttest design involving one treatment.
Subjects: The total sample was 33 subjects (n = 33). The experimental group comprised 18 violin, viola, and woodwind players, and the control group was comprised of 15 non-musicians. The outcome measures included pre-posttest measurements with tensiomyography of the upper trapezius (muscle stiffness, Dm), and baseline neck disability (Neck Disability Index), and pain (SF-36 questionnaire). The experimental group received MIT for 5 minutes on each side of the lateral pterygoid muscle. The control group assumed a supine position for 10 minutes.
Results: After the intervention, there was a significant difference in Time per Group (F = 2.896, p = 0.034, ƞ2p = 0.367, and w = 0.755). There were statistically significant differences in pre-post and side-by-side analyses for the Dm of the upper trapezius in the experimental group as well as between the two groups.
Conclusion: MIT of the lateral pterygoids is effective in decreasing upper trapezius stiffness as measured by an increase in the Dm measured by tensiomyography. The greatest change occurred in musicians with a lower percentage of Neck Disability Index at baseline.
目的:考虑到筋膜连续性及其生物力学特性，本研究的目的是评估音乐家咀嚼肌应用肌筋膜诱导疗法(MIT)后斜方肌上部肌肉僵硬度(Dm)的变化。方法:采用前后测试设计，只进行一次处理。受试者:共33名受试者(n = 33)。实验组由18名小提琴、中提琴和木管乐器演奏者组成，对照组由15名非音乐家组成。结果测量包括测试前后斜方肌上部张力图测量(肌肉僵硬度，Dm)，基线颈部残疾(颈部残疾指数)和疼痛(SF-36问卷)。实验组在翼状外侧肌每侧行MIT 5分钟。对照组为仰卧位10分钟。结果:干预后，两组患者的Time均有显著差异(F = 2.896, p = 0.034， ƞ2p = 0.367, w = 0.755)。实验组和两组斜方肌上部Dm的前后对比分析差异有统计学意义。结论:通过张力肌图测量的Dm增加来测量，外侧翼状肌的MIT可以有效地降低斜方肌上侧僵硬度。最大的变化发生在颈部残疾指数基线百分比较低的音乐家身上。
{"title":"Effect of Myofascial Induction Therapy in Pterygoid Muscles of Woodwinds and String Musicians on Muscular Stiffness of the Upper Trapezius.","authors":"Vidina Suarez-Rodriguez, Juan F Loro-Ferrer, David Rodriguez-Ruiz","doi":"10.21091/mppa.2022.3021","DOIUrl":"https://doi.org/10.21091/mppa.2022.3021","url":null,"abstract":"<p><strong>Purpose: </strong>Considering the fascial continuity and its biomechanical characteristics, the purpose of this study was to assess the change in muscular stiffness (Dm) of the upper trapezius muscles after the application of myofascial induction therapy (MIT) to the masticatory muscles of musicians.</p><p><strong>Methods: </strong>This was a pre-posttest design involving one treatment.</p><p><strong>Subjects: </strong>The total sample was 33 subjects (n = 33). The experimental group comprised 18 violin, viola, and woodwind players, and the control group was comprised of 15 non-musicians. The outcome measures included pre-posttest measurements with tensiomyography of the upper trapezius (muscle stiffness, Dm), and baseline neck disability (Neck Disability Index), and pain (SF-36 questionnaire). The experimental group received MIT for 5 minutes on each side of the lateral pterygoid muscle. The control group assumed a supine position for 10 minutes.</p><p><strong>Results: </strong>After the intervention, there was a significant difference in Time per Group (F = 2.896, p = 0.034, ƞ2p = 0.367, and w = 0.755). There were statistically significant differences in pre-post and side-by-side analyses for the Dm of the upper trapezius in the experimental group as well as between the two groups.</p><p><strong>Conclusion: </strong>MIT of the lateral pterygoids is effective in decreasing upper trapezius stiffness as measured by an increase in the Dm measured by tensiomyography. The greatest change occurred in musicians with a lower percentage of Neck Disability Index at baseline.</p>","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 3","pages":"143-150"},"PeriodicalIF":0.9,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"40343890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
M. Stuckey, Brittany Bruinooge, P. Aubertin, D. Kriellaars
OBJECTIVE To characterize clinical burden of injuries incurred by circus students enrolled in a 3-year college training program. METHODS Student (n=334) injury data derived from an in situ clinic was examined over a 7.5-year time frame from August 2009 to December 2016. Injury incidence rate (per 1,000 training hours) was calculated and clinical incidence (injuries/year) was examined in relation to year in program, sex, age, and circus discipline. Weekly and monthly injury incidence were plotted with respect to milestones in the scholastic training year. Clinical burden (injury incidence and duration) was examined according to anatomic location and circus discipline. RESULTS The overall injury incidence rate was 1.89 injuries/1,000 training hours and 0.94 injuries/1,000 training hours for injuries with a duration longer than 4 weeks. Clinical incidence decreased with year in program (p<0.05) and there were no sex or age differences. Temporal analysis demonstrated elevated weekly injury incidence for the 3 weeks following return from both summer and winter vacation (p<0.01) and for the weeks leading up to technical exams (p<0.01). According to anatomical location, shoulder injuries accounted for the greatest clinic burden followed by ankles and according to discipline, ground acrobat flyers followed by ground acrobats with equipment accounted for the greatest clinic burden. CONCLUSION Overall injury incidence rate in the circus training program was within the range reported by other circus training programs and similar artistic and athletic training programs. Resources should be designated for enhanced rehabilitation efficacy and prevention of shoulder and ankle injuries and for ground acrobats with equipment and flyers. Preventative strategies to improve safety upon return-to-training after vacations should be examined.
{"title":"Clinical Burden of Injuries in Students at a Professional Circus College: A 7.5-Year Longitudinal Study.","authors":"M. Stuckey, Brittany Bruinooge, P. Aubertin, D. Kriellaars","doi":"10.21091/mppa.2022.2015","DOIUrl":"https://doi.org/10.21091/mppa.2022.2015","url":null,"abstract":"OBJECTIVE\u0000To characterize clinical burden of injuries incurred by circus students enrolled in a 3-year college training program.\u0000\u0000\u0000METHODS\u0000Student (n=334) injury data derived from an in situ clinic was examined over a 7.5-year time frame from August 2009 to December 2016. Injury incidence rate (per 1,000 training hours) was calculated and clinical incidence (injuries/year) was examined in relation to year in program, sex, age, and circus discipline. Weekly and monthly injury incidence were plotted with respect to milestones in the scholastic training year. Clinical burden (injury incidence and duration) was examined according to anatomic location and circus discipline.\u0000\u0000\u0000RESULTS\u0000The overall injury incidence rate was 1.89 injuries/1,000 training hours and 0.94 injuries/1,000 training hours for injuries with a duration longer than 4 weeks. Clinical incidence decreased with year in program (p<0.05) and there were no sex or age differences. Temporal analysis demonstrated elevated weekly injury incidence for the 3 weeks following return from both summer and winter vacation (p<0.01) and for the weeks leading up to technical exams (p<0.01). According to anatomical location, shoulder injuries accounted for the greatest clinic burden followed by ankles and according to discipline, ground acrobat flyers followed by ground acrobats with equipment accounted for the greatest clinic burden.\u0000\u0000\u0000CONCLUSION\u0000Overall injury incidence rate in the circus training program was within the range reported by other circus training programs and similar artistic and athletic training programs. Resources should be designated for enhanced rehabilitation efficacy and prevention of shoulder and ankle injuries and for ground acrobats with equipment and flyers. Preventative strategies to improve safety upon return-to-training after vacations should be examined.","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 2 1","pages":"98-105"},"PeriodicalIF":0.9,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45389195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Among singers, stigma surrounding voice injury can affect self-esteem, self-efficacy, and self-worth and can lead to hesitancy to disclose vocal injuries for fear of damaging their career. In addition, stressors in the singer-physician relationship can work against positive interactions with physicians. To date, no study has documented the perspectives of singers about voice injury and their interactions with physicians through a qualitative approach. The purpose of this study was to a) examine the perspectives and experiences of college-aged singers regarding voice injury and visiting an ear, nose, and throat physician (ENT), and b) identify behaviors of singers and ENT physicians that establish a functional and healthy relationship with the other. Following an interpretive phenomenological design, 6 collegiate singers were interviewed using a semi-structured guide, and from the results of these interviews three emergent themes were generated: a) the emotional connection of a singer and their voice, b) the presence of stigma surrounding voice injury, and c) the barriers to effective relationships between a singer and an ENT physician.
{"title":"Perspectives and Experiences of College-Aged Singers Regarding Voice Injury and Visiting the ENT: A Phenomenological Approach.","authors":"Evan R Edwards","doi":"10.21091/mppa.2022.2018","DOIUrl":"https://doi.org/10.21091/mppa.2022.2018","url":null,"abstract":"Among singers, stigma surrounding voice injury can affect self-esteem, self-efficacy, and self-worth and can lead to hesitancy to disclose vocal injuries for fear of damaging their career. In addition, stressors in the singer-physician relationship can work against positive interactions with physicians. To date, no study has documented the perspectives of singers about voice injury and their interactions with physicians through a qualitative approach. The purpose of this study was to a) examine the perspectives and experiences of college-aged singers regarding voice injury and visiting an ear, nose, and throat physician (ENT), and b) identify behaviors of singers and ENT physicians that establish a functional and healthy relationship with the other. Following an interpretive phenomenological design, 6 collegiate singers were interviewed using a semi-structured guide, and from the results of these interviews three emergent themes were generated: a) the emotional connection of a singer and their voice, b) the presence of stigma surrounding voice injury, and c) the barriers to effective relationships between a singer and an ENT physician.","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 2 1","pages":"126-132"},"PeriodicalIF":0.9,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42479526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
High-fidelity premolded earplugs (HiFi HPDs) are designed to provide relatively uniform attenuation across frequencies. The primary goal of this study was to verify the amount and flatness of individual user attenuation. HiFi HPD attenuation was measured using real-ear attenuation at threshold (REAT) measurements under circumaural earphones. Participants were 16 adults tested using commercial HiFi HPDs marketed for use at recreational music events and/or for use by musicians. There was significant individual variation in attenuation both within and across HiFi HPD brands. In addition to significant differences in achieved attenuation, there were significant differences in the uniformity of the attenuation. These data suggest verification of attenuation is important in musicians who are at risk for music-induced hearing disorders even when using "over-the-counter" uniform-fit HPDs.
{"title":"Verification of Attenuation for Premolded Hearing Protection Devices Designed for Music.","authors":"Tess A Zaccardi, C. Portnuff, C. L. Le Prell","doi":"10.21091/mppa.2022.2013","DOIUrl":"https://doi.org/10.21091/mppa.2022.2013","url":null,"abstract":"High-fidelity premolded earplugs (HiFi HPDs) are designed to provide relatively uniform attenuation across frequencies. The primary goal of this study was to verify the amount and flatness of individual user attenuation. HiFi HPD attenuation was measured using real-ear attenuation at threshold (REAT) measurements under circumaural earphones. Participants were 16 adults tested using commercial HiFi HPDs marketed for use at recreational music events and/or for use by musicians. There was significant individual variation in attenuation both within and across HiFi HPD brands. In addition to significant differences in achieved attenuation, there were significant differences in the uniformity of the attenuation. These data suggest verification of attenuation is important in musicians who are at risk for music-induced hearing disorders even when using \"over-the-counter\" uniform-fit HPDs.","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 2 1","pages":"78-88"},"PeriodicalIF":0.9,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44353534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Marianna Dinyáné Szabó, Mark Seton, Ian Maxwell, M. Cunningham
BACKGROUND Anecdotal evidence and media reports suggest that actors and other performing artists experience high levels of depression, anxiety, and stress. However, no empirical study has examined the psychological well-being of this professional group. OBJECTIVE The Australian Actors' Wellbeing Study (AWS) was conducted to examine the general wellbeing of Australian actors and performing artists. The present paper, reporting on data from the AWS, focuses on two aspects of respondents' psychological well-being: life satisfaction and the experience of negative affect. METHODS An online survey including several questionnaires was distributed to the Equity Foundation membership representing Australian actors. We report results from the Satisfaction with Life Scale (SWLS) and the Depression Anxiety Stress Scales (DASS) and examine their associations with respondents' sociodemographic and occupational background, including their relationship status and any relationship stress, income from performing, and time taken away from performing. RESULTS A sample of 782 Australian actors responded to the survey, with 582 participants completing the DASS and 568 the SWLS. Participants reported lower levels of life satisfaction and higher levels of depression, anxiety, and stress than found in the Australian general population. Being in a relationship was associated with better psychological well-being; however, work stress often impacted negatively on relationships. Income had little association with psychological well-being, unless the respondent felt under financial stress. Respondents who took extended periods of time away from performing reported less life satisfaction and more depression than others. CONCLUSION Australian actors may be at a high risk for poor psychological health. Further research is necessary to establish causality among the variables we examined and to investigate protective factors that may increase well-being in the context of the performing arts industry.
{"title":"Psychological Well-Being of Australian Actors and Performing Artists: Life Satisfaction and Negative Affect.","authors":"Marianna Dinyáné Szabó, Mark Seton, Ian Maxwell, M. Cunningham","doi":"10.21091/mppa.2022.2016","DOIUrl":"https://doi.org/10.21091/mppa.2022.2016","url":null,"abstract":"BACKGROUND\u0000Anecdotal evidence and media reports suggest that actors and other performing artists experience high levels of depression, anxiety, and stress. However, no empirical study has examined the psychological well-being of this professional group.\u0000\u0000\u0000OBJECTIVE\u0000The Australian Actors' Wellbeing Study (AWS) was conducted to examine the general wellbeing of Australian actors and performing artists. The present paper, reporting on data from the AWS, focuses on two aspects of respondents' psychological well-being: life satisfaction and the experience of negative affect.\u0000\u0000\u0000METHODS\u0000An online survey including several questionnaires was distributed to the Equity Foundation membership representing Australian actors. We report results from the Satisfaction with Life Scale (SWLS) and the Depression Anxiety Stress Scales (DASS) and examine their associations with respondents' sociodemographic and occupational background, including their relationship status and any relationship stress, income from performing, and time taken away from performing.\u0000\u0000\u0000RESULTS\u0000A sample of 782 Australian actors responded to the survey, with 582 participants completing the DASS and 568 the SWLS. Participants reported lower levels of life satisfaction and higher levels of depression, anxiety, and stress than found in the Australian general population. Being in a relationship was associated with better psychological well-being; however, work stress often impacted negatively on relationships. Income had little association with psychological well-being, unless the respondent felt under financial stress. Respondents who took extended periods of time away from performing reported less life satisfaction and more depression than others.\u0000\u0000\u0000CONCLUSION\u0000Australian actors may be at a high risk for poor psychological health. Further research is necessary to establish causality among the variables we examined and to investigate protective factors that may increase well-being in the context of the performing arts industry.","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 2 1","pages":"106-117"},"PeriodicalIF":0.9,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48709951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
P. Iltis, J. Frahm, Dirk Voit, Danielle Wood, S. Taylor
OBJECTIVE Recent publications describing lingual movement strategies within the oral cavity of brass players have established the existence of efficient and predictable movement patterns in healthy performers for a variety of performance tasks. In this study we extend the research to include the playing of large interval slurs in horn players. METHODS Real-time MRI films at 40-msec resolution were simultaneously obtained in the sagittal and coronal planes in 9 professional horn players as they performed 2 repetitions each of 3 slur sequences spanning 1 octave, 1 octave + 3rd, and 1 octave + 5th at a mezzo forte dynamic level. Nine profile lines were overlaid on the images allowing the measurement of dorsal tongue edge movement using a customized MATLAB toolkit. Movement along lines representing the anterior, middle, and posterior oral cavity in the sagittal plane, as well as the vertical height of an air channel observed in the coronal plane, are reported. RESULTS Both 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. Additionally, the tongue position during notes tends to drift in the direction of the subsequent note in each sequence. We suggest that the observed movements may help to modulate air speed through the lips, possible attenuating embouchure muscle tension changes by assisting changes in lip vibration frequency.
{"title":"Oral Cavity Movements of the Tongue During Large Interval Slurs in High-Level Horn Players: A Descriptive Study.","authors":"P. Iltis, J. Frahm, Dirk Voit, Danielle Wood, S. Taylor","doi":"10.21091/mppa.2022.2014","DOIUrl":"https://doi.org/10.21091/mppa.2022.2014","url":null,"abstract":"OBJECTIVE\u0000Recent publications describing lingual movement strategies within the oral cavity of brass players have established the existence of efficient and predictable movement patterns in healthy performers for a variety of performance tasks. In this study we extend the research to include the playing of large interval slurs in horn players.\u0000\u0000\u0000METHODS\u0000Real-time MRI films at 40-msec resolution were simultaneously obtained in the sagittal and coronal planes in 9 professional horn players as they performed 2 repetitions each of 3 slur sequences spanning 1 octave, 1 octave + 3rd, and 1 octave + 5th at a mezzo forte dynamic level. Nine profile lines were overlaid on the images allowing the measurement of dorsal tongue edge movement using a customized MATLAB toolkit. Movement along lines representing the anterior, middle, and posterior oral cavity in the sagittal plane, as well as the vertical height of an air channel observed in the coronal plane, are reported.\u0000\u0000\u0000RESULTS\u0000Both 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. Additionally, the tongue position during notes tends to drift in the direction of the subsequent note in each sequence. We suggest that the observed movements may help to modulate air speed through the lips, possible attenuating embouchure muscle tension changes by assisting changes in lip vibration frequency.","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 2 1","pages":"89-97"},"PeriodicalIF":0.9,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42715062","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
OBJECTIVE Injury epidemiology and health-related quality of life (HRQOL) have not been researched in baton twirlers. This cross-sectional study described time-loss injuries sustained by competitive collegiate baton twirlers, identified the relationship between training volume and injuries, and established injury impact on HRQOL. METHODS An online survey was used to collect activity volume, number and characteristics of time-loss injuries experienced within a 12-month window, and HRQOL via the Short Form-36. Current injury status was addressed to place participants into categories: no injury history (No Injury), history of injury but no symptoms (Injury Hx, No Sx), and currently injured (Current Injury). RESULTS One hundred forty-two participants met the inclusion criteria. One hundred twenty-eight (90%) participants experienced a time-loss injury with 295 total reported injuries (2.1±1.4; range 1-9 injuries). Sixty-two percent of all reported injuries were still producing symptoms. There was a high average reported injury severity score (6.3±2.3). The most commonly affected area was the hip/thigh (30%), followed by the knee (15%) and ankle (14%). The Current Injury group had worse SF-36 bodily pain (p=0.003), vitality domains (p=0.001), and physical composite score (p=0.015) compared to the No Injury group. Both the No Injury and Injury Hx, No Sx groups performed better than the Current Injury group on physical function (p=0.007 and 0.02, respectively). CONCLUSION Competitive collegiate baton twirlers experience the majority of injuries in the lower extremity which cause prolonged physical and non-physical symptoms.
目的对旋棒者的损伤流行病学和健康相关生活质量(HRQOL)进行研究。本横断面研究描述了竞技大学生转棒运动员的时间损失损伤，确定了训练量与损伤之间的关系，并确定了损伤对HRQOL的影响。方法采用在线调查方法，收集12个月窗口内的活动量、时间损失损伤的数量和特征，并通过Short -36表收集HRQOL。目前的损伤状况被划分为以下几类:无损伤史(no injury)、损伤史但无症状(injury Hx, no Sx)和目前受伤(Current injury)。结果142例受试者符合纳入标准。128名(90%)参与者经历了时间损失性损伤，总共报告了295次损伤(2.1±1.4;范围1-9伤)。在所有报告的受伤中，有62%的人仍有症状。报告的平均损伤严重程度评分较高(6.3±2.3)。最常见的受累部位是臀部/大腿(30%)，其次是膝盖(15%)和脚踝(14%)。与无损伤组相比，当前损伤组的SF-36身体疼痛(p=0.003)、活力域(p=0.001)和身体综合评分(p=0.015)更差。无损伤组和损伤Hx、No Sx组在生理功能上均优于当前损伤组(p分别为0.007和0.02)。结论竞技大学生转接棒运动员下肢损伤最多，且损伤时间较长，引起身体和非身体症状。
{"title":"Self-Reported Injury History and Health-Related Quality of Life in Competitive, Collegiate Baton Twirlers.","authors":"Breanna Dufour, L. Vela, J. Hertel","doi":"10.21091/mppa.2022.2017","DOIUrl":"https://doi.org/10.21091/mppa.2022.2017","url":null,"abstract":"OBJECTIVE\u0000Injury epidemiology and health-related quality of life (HRQOL) have not been researched in baton twirlers. This cross-sectional study described time-loss injuries sustained by competitive collegiate baton twirlers, identified the relationship between training volume and injuries, and established injury impact on HRQOL.\u0000\u0000\u0000METHODS\u0000An online survey was used to collect activity volume, number and characteristics of time-loss injuries experienced within a 12-month window, and HRQOL via the Short Form-36. Current injury status was addressed to place participants into categories: no injury history (No Injury), history of injury but no symptoms (Injury Hx, No Sx), and currently injured (Current Injury).\u0000\u0000\u0000RESULTS\u0000One hundred forty-two participants met the inclusion criteria. One hundred twenty-eight (90%) participants experienced a time-loss injury with 295 total reported injuries (2.1±1.4; range 1-9 injuries). Sixty-two percent of all reported injuries were still producing symptoms. There was a high average reported injury severity score (6.3±2.3). The most commonly affected area was the hip/thigh (30%), followed by the knee (15%) and ankle (14%). The Current Injury group had worse SF-36 bodily pain (p=0.003), vitality domains (p=0.001), and physical composite score (p=0.015) compared to the No Injury group. Both the No Injury and Injury Hx, No Sx groups performed better than the Current Injury group on physical function (p=0.007 and 0.02, respectively).\u0000\u0000\u0000CONCLUSION\u0000Competitive collegiate baton twirlers experience the majority of injuries in the lower extremity which cause prolonged physical and non-physical symptoms.","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 2 1","pages":"118-125"},"PeriodicalIF":0.9,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41972205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ana Carla Lima Nunes, Luanna Andrade Mendes, L. A. Mota, P. Lima, G. Almeida
OBJECTIVE To identify the biopsychosocial factors that explain injuries in dancers through use of a Classification and Regression Tree (CART) analysis. METHODS Cross-sectional study performed with dancers over 18 years of age from dance schools in Brazil. Sociodemographic factors, pain intensity (numerical pain rating scale, NPRS), anxiety (Beck anxiety inventory, BAI), and functioning (WHO Disability Assessment Schedule 2.0, WHODAS) were assessed. We used a classification and regression tree (CART) analysis considering the occurrence of injury as a dependent variable, and the independent variables included age, training load, BAI, pain level, and WHODAS 2.0 score, adjusted for body mass index. RESULTS The sample included 61 dancers (ballet, jazz, contemporary, tap, and urban dance), and they were mainly women (72.1%) with a mean age of 25.6 (± 5.79) years. Thirty-three percent presented dance-related musculoskeletal injuries in the last 12 months. The CART analysis showed that training load was the main associated factor, explaining 52.4% of injuries in dancers with a workload > 11.5 hrs/wk (p=0.05). When NPRS > 6.5 is added to the high load of training, these two variables explain 100% of the cases of injury (p=0.02). Training load < 11.5 hrs/wk and WHODAS 2.0 score < 68.0 were associated factors for no injury in dancers (80%; p=0.03). CONCLUSIONS Our results demonstrated that training load, functioning, and pain intensity were factors associated with injury in dancers, and we established cutoff points. The inclusion of functioning in the algorithm suggests the influence of structure, function, activity, and social participation on injury in dancers and strengthens the patient-centered care.
{"title":"Training Load, Pain Intensity, and Functioning Can Explain Injuries in Dancers: A Classification and Regression Tree (CART) Analysis.","authors":"Ana Carla Lima Nunes, Luanna Andrade Mendes, L. A. Mota, P. Lima, G. Almeida","doi":"10.21091/mppa.2022.2012","DOIUrl":"https://doi.org/10.21091/mppa.2022.2012","url":null,"abstract":"OBJECTIVE\u0000To identify the biopsychosocial factors that explain injuries in dancers through use of a Classification and Regression Tree (CART) analysis.\u0000\u0000\u0000METHODS\u0000Cross-sectional study performed with dancers over 18 years of age from dance schools in Brazil. Sociodemographic factors, pain intensity (numerical pain rating scale, NPRS), anxiety (Beck anxiety inventory, BAI), and functioning (WHO Disability Assessment Schedule 2.0, WHODAS) were assessed. We used a classification and regression tree (CART) analysis considering the occurrence of injury as a dependent variable, and the independent variables included age, training load, BAI, pain level, and WHODAS 2.0 score, adjusted for body mass index.\u0000\u0000\u0000RESULTS\u0000The sample included 61 dancers (ballet, jazz, contemporary, tap, and urban dance), and they were mainly women (72.1%) with a mean age of 25.6 (± 5.79) years. Thirty-three percent presented dance-related musculoskeletal injuries in the last 12 months. The CART analysis showed that training load was the main associated factor, explaining 52.4% of injuries in dancers with a workload > 11.5 hrs/wk (p=0.05). When NPRS > 6.5 is added to the high load of training, these two variables explain 100% of the cases of injury (p=0.02). Training load < 11.5 hrs/wk and WHODAS 2.0 score < 68.0 were associated factors for no injury in dancers (80%; p=0.03).\u0000\u0000\u0000CONCLUSIONS\u0000Our results demonstrated that training load, functioning, and pain intensity were factors associated with injury in dancers, and we established cutoff points. The inclusion of functioning in the algorithm suggests the influence of structure, function, activity, and social participation on injury in dancers and strengthens the patient-centered care.","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 2 1","pages":"73-77"},"PeriodicalIF":0.9,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47786763","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Russia invaded the Ukraine on February 24, 2022. The atrocities perpetuated by invading Russian soldiers seized the world's attention in images captured by photojournalists on the ground in Bucha, Ukraine, in April 2022. We cannot look away. We must remember. Justice must prevail. … At the 2022 Grammy awards ceremony on April 3rd, President Zelensky introduced singer/songwriter John Legend, who performed with three Ukrainian artists. A masterful speech writer/performing artist in his own right, Zelensky began by saying "The War … what is more opposite to music? …".
{"title":"Ukrainian Performing Artists Inspire.","authors":"S. Bronner","doi":"10.21091/mppa.2022.2019","DOIUrl":"https://doi.org/10.21091/mppa.2022.2019","url":null,"abstract":"Russia invaded the Ukraine on February 24, 2022. The atrocities perpetuated by invading Russian soldiers seized the world's attention in images captured by photojournalists on the ground in Bucha, Ukraine, in April 2022. We cannot look away. We must remember. Justice must prevail. … At the 2022 Grammy awards ceremony on April 3rd, President Zelensky introduced singer/songwriter John Legend, who performed with three Ukrainian artists. A masterful speech writer/performing artist in his own right, Zelensky began by saying \"The War … what is more opposite to music? …\".","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 2 1","pages":"133"},"PeriodicalIF":0.9,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43926529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Huixuan An, Zhengquan Chen, Jianhua Lin, D. El-ansary, R. Adams, J. Witchalls, Jia Han
BACKGROUND Neck pain is common in dancers, especially female dancers, and the injury pattern varies in different genres of dance. Among dancesport performers, intensive neck left rotation is required in female International Standard dancers, but it is unknown whether neck pain is associated with neck rotation range of motion and proprioception. OBJECTIVES To explore the associations between neck pain, cervical rotation range of motion, and proprioception in female International Standard dancers. METHODS Twelve dancers with dance-related neck pain (age 19.9±1.9 yrs) volunteered, matched with 12 not reporting neck pain (age 22.2±2.4 yrs). A 100-mm visual analog scale (VAS) was used to record neck pain. Active rotation range of motion (AROM) of the cervical spine was measured using a tape measure. A cervical rotation reposition test that used a head-mounted laser projector on a linear scale was employed to measure the cervical spine proprioception, and the absolute error (AE) and variable error (VE) were calculated as proprioceptive acuity scores. RESULTS Nine of 12 participants in the group with neck pain declared left side pain, with 2 reporting pain on both sides. The group with neck pain had significantly lower left rotation AROM (p<0.05). For proprioceptive acuity, mixed model ANOVA only showed that repositioning of the right side of the neck is more accurate and consistent than that of the left (both AE and VE p<0.05). Linear regression analysis indicated that left rotation AROM was significantly influenced by left neck pain (t=3.061, p=0.006, adjusted R2 = 0.267, and Durbin-Watson value = 1.776). CONCLUSIONS Most participants in the group with neck pain showed left side pain, associated with decreased left rotation AROM. Early screening on cervical rotation mobility may be necessary to reduce future dance-related injury after the onset of neck pain. Proprioceptive acuity of the left side neck was significantly impaired compared with that of the right, indicating future proprioceptive intervention on the left side neck.
{"title":"Association Between Neck Pain, Range of Motion, and Proprioception in Elite Female International Standard Dancers: A Case-Control Study.","authors":"Huixuan An, Zhengquan Chen, Jianhua Lin, D. El-ansary, R. Adams, J. Witchalls, Jia Han","doi":"10.21091/mppa.2022.1004","DOIUrl":"https://doi.org/10.21091/mppa.2022.1004","url":null,"abstract":"BACKGROUND\u0000Neck pain is common in dancers, especially female dancers, and the injury pattern varies in different genres of dance. Among dancesport performers, intensive neck left rotation is required in female International Standard dancers, but it is unknown whether neck pain is associated with neck rotation range of motion and proprioception.\u0000\u0000\u0000OBJECTIVES\u0000To explore the associations between neck pain, cervical rotation range of motion, and proprioception in female International Standard dancers.\u0000\u0000\u0000METHODS\u0000Twelve dancers with dance-related neck pain (age 19.9±1.9 yrs) volunteered, matched with 12 not reporting neck pain (age 22.2±2.4 yrs). A 100-mm visual analog scale (VAS) was used to record neck pain. Active rotation range of motion (AROM) of the cervical spine was measured using a tape measure. A cervical rotation reposition test that used a head-mounted laser projector on a linear scale was employed to measure the cervical spine proprioception, and the absolute error (AE) and variable error (VE) were calculated as proprioceptive acuity scores.\u0000\u0000\u0000RESULTS\u0000Nine of 12 participants in the group with neck pain declared left side pain, with 2 reporting pain on both sides. The group with neck pain had significantly lower left rotation AROM (p<0.05). For proprioceptive acuity, mixed model ANOVA only showed that repositioning of the right side of the neck is more accurate and consistent than that of the left (both AE and VE p<0.05). Linear regression analysis indicated that left rotation AROM was significantly influenced by left neck pain (t=3.061, p=0.006, adjusted R2 = 0.267, and Durbin-Watson value = 1.776).\u0000\u0000\u0000CONCLUSIONS\u0000Most participants in the group with neck pain showed left side pain, associated with decreased left rotation AROM. Early screening on cervical rotation mobility may be necessary to reduce future dance-related injury after the onset of neck pain. Proprioceptive acuity of the left side neck was significantly impaired compared with that of the right, indicating future proprioceptive intervention on the left side neck.","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"37 1 1","pages":"30-36"},"PeriodicalIF":0.9,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41465101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
扫码关注我们
求助内容：
应助结果提醒方式：
京公网安备 11010802042870号