Medical problems of performing artists最新文献

Objective: Dexterity is one of the abilities required for different types of work and is divided into manual and finger dexterity. The aim of this study was to examine whether there was a difference in manual and finger dexterity between musicians and nonmusicians, and between musicians divided by instrument groups and nonmusicians.

Methods: The study included 128 participants (96 musicians, 32 nonmusicians). Musicians were divided into three groups as wind, string, and keyboard instrument players. The Minnesota Manual Dexterity Test (MMDT) for manual dexterity and Purdue Pegboard Test (PPT) for finger dexterity were used. Independent samples t-test and Mann-Whitney U test were used for MMDT, and the Mann-Whitney U test was used for PPT between musicians and nonmusicians. The Kruskal-Wallis H test and one-way ANOVA were used for comparisons of the MMDT and PPT between nonmusicians and musicians divided by instrument groups.

Results: There were no differences between musicians and nonmusicians in terms of MMDT and PPT (p>0.05). When musicians were divided by instrument groups, there was a statistically significant difference in only the left-hand subtest of PPT (p=0.038). In pairwise comparisons, significant differences were found between wind and string instrument players (p=0.036), keyboard and string players (p=0.012), and nonmusicians and string players (p=0.015). Wind and keyboard players and nonmusicians were more successful than string players in terms of left-hand finger dexterity.

Conclusion: Future studies can be designed that investigate the effects of bilateral asymmetrical-symmetrical training on finger dexterity of the left hand and evaluate the performances of musicians in areas other than music.

Objective: Musculoskeletal pain is a common problem among professional musicians as well as music students. Studies have emphasized the effectiveness of music-specific physiotherapy for affected musicians. This study was designed to evaluate if physiotherapy treatment of pain-affected music students had an impact on pain perception as well as psychological well-being. To explore the possible development of musculoskeletal pain, depression, and anxiety, a second sample of pain-free music students, matched for age and gender, was examined twice at identical time intervals.

Methods: A convenience sample of 31 university music students with moderate to severe musculoskeletal pain and 31 pain-free music students, matched in age and gender, were included in the study. Both groups were examined physically and completed biographical, music-related, and psychological questionnaires. Perceived pain intensity was assessed with a visual-analogue scale (VAS), and depression and anxiety symptoms were assessed with the Beck Depression Inventory II (BDI-II) and the Hospital Anxiety and Depression Scale (HAD). Music students with pain received a series of 12 sessions of musician-specific physiotherapy, while controls waited for the same amount of time for retesting.

Results: On the 10-cm VAS, music students with pain reported an average improvement in pain intensity from a baseline of 6.25 (SD 1.95) to 2.7 (2.03) after the intervention, while the controls (music students without pain) did not change. Furthermore, music students with pain indicated higher depression and anxiety scores as compared to the control group before and after therapy. After intervention, music students with pain with higher BDI-II scores demonstrated clinical improvement concerning depression, but no significant improvement in mental health was found in the pain group taken as a whole.

Conclusion: Physiotherapy was effective in reducing pain symptoms in music students affected by chronic musculoskeletal pain. However, physiotherapy did not improve mental health in pain-affected music students. Additional psychotherapeutic interventions may be needed to support music students with psychological comorbidities such as depression and anxiety.

Introduction: As soon as COVID-19 spread around the world, prevention and control measures were taken, such as masking and physical distancing, which changed people's routines, including musical practice among professional and amateur musicians.

Objective: This descriptive questionnaire study was designed to: 1) investigate how the pandemic affected musical practice among musicians; 2) determine how musicians remained motivated in their new routine; 3) identify the presence of pre-COVID musculoskeletal symptoms; and 4) analyze whether musculoskeletal symptoms decreased, maintained, or increased during the COVID-19 pandemic.

Methods: A total of 89 musicians from Brazil participated in an online survey, from August 2020 to January 2021. The survey form included questions about motivation, musical practice frequency, and the presence and characterization of musculoskeletal symptoms (adapted from the Nordic Musculoskeletal Questionnaire, NMQ). Musicians were asked to consider the periods before and during the pandemic to answer the questions.

Results: During the pandemic, the frequency of musical practice decreased (p<0.01), and it could be associated with the individual's perceptions of motivation. Musculoskeletal symptoms in the previous 12 months were reported by 58%. When comparing the period before the pandemic to the present, 35.3% of musicians reported their musculoskeletal symptoms had not changed, while 33.3% reported that they had increased. Wrists and hands, lower and upper back, shoulders, and neck were the body sites with most frequent complaints.

Conclusion: The COVID-19 pandemic had a negative impact on the frequency of musical practice of the musicians assessed in this study, with a significant decrease in practice time. Musculoskeletal symptoms were present in this population prior to the pandemic, and these symptoms were mostly maintained or worsened.

It is widely believed that posture and balance stressors are factors in playing-related pain for musicians using hand-held musical instruments. This purpose of this scoping review was to assess the available literature relative to the effects of posture and balance in musicians with neuromusculoskeletal injuries. A search of Medline, Web of Science, and SportDiscus seeking articles combining posture and balance considerations with pain in performing artists was performed. From 1,403 articles initially identified by the search parameters, the further abstract/title review for relevance and inclusiveness of pain and posture/balance variables in performing artists resulted in the retention of 29 articles for this full-text scoping review. The full-text analysis assessed publication type, study design, participant population, methodology, statistical methods, main results, and whether the study evaluated the relationship between posture/balance and pain in musicians. Overall, most of the studies including musicians were observational or descriptive. Although, in recent years, there has been an increase in the number of interventional studies regarding posture, balance and pain in musicians, there is still minimal evidence about the contribution of posture and balance characteristics to pain in musician performers. To reliably establish a predictable relationship with injury symptomatology experienced by musicians, it is essential to integrate standardized, validated measurements of posture and balance in the evaluation of all musicians who report to a health professional with neuromusculoskeletal pain. This will not only allow researchers to determine the effect of postural righting dysfunction on neuromusculoskeletal injuries in musicians, but also may provide a foundation for clinicians to develop effective interventions.

Background: Performing artists are often confronted with job insecurity and insufficient health coverage. As a result, artists may not have access to non-publicly funded health services that are essential to their well-being. A health centre in Canada that specializes in providing healthcare to artists offers eligible artists subsidized health services, with the aim to treat acute health issues that impact an artists' ability to engage in their artistic practice.

Purpose: We evaluated the use of the subsidized health services and explored the subsidy recipients' and the selection committee's perspectives on the impact of these services on the health of performing artists.

Methods: We applied an interpretive descriptive approach to our qualitative inquiry. We conducted individual, semi-structured interviews with recipients of the subsidy and a focus group with the selection committee that selected recipients of the subsidy. Data were analyzed using thematic analysis.

Results: A total of 14 artists and all members of the selection committee (n=3) participated. Recipients and selection committee perceived that subsidized health services were critical in enabling consistent and timely diagnosis and treatment. Several themes emerged from the data: 1) need for universal health benefits to restore equity and offset healthcare insecurity, 2) the critical role of subsidies in accessing health services, 3) risks of abruptly ending health services when subsidy runs out, 4) barriers in applying for and accessing subsidies, 5) mental health challenges, and 6) importance of the subsidy in the context of the COVID-19 pandemic. All recipients saw noticeable improvement in health outcomes that they believed would have been otherwise unattainable if they did not have timely access to care.

Conclusions: Subsidized health services play an important role in ensuring that performing artists have access to care for injuries and health conditions that are related to their profession. Future research can examine the long-term impact of subsidized services on the recipients' health and employment outcomes.

The prevention and control of the spread of COVID-19 has become a major challenge and concern globally. Since the COVID-19 pandemic is still ongoing, sufficient knowledge and practices of people toward COVID-19 is necessary. Thai classical dancers are one of the groups affected by the pandemic. Health literacy in dancers has been shown to be crucial for their health and performance. Hence, this study aimed to assess Thai classical dancers' knowledge and perception about COVID-19. A cross-sectional 25-item online survey was conducted between March and October 2021. Content validity was performed through the index of Item-Objective Congruence (IOC). Descriptive statistics were applied to represent Thai classical dancer characteristics, knowledge, and perception. The Thai version of the questionnaire had 2 modified items and 2 additional items from the original questionnaire, and the IOC was 1.0. Of the 323 participants who completed the survey, most had adequate knowledge about COVID-19, while 23.84% correctly answered about symptoms of severe COVID-19. Thai classical dancers showed a good perception on COVID-19 prevention and control. Basic understanding about COVID-19 among Thai classical dancers based on their available resources is important. Hence, providing more valid sources of information and health literacy to Thai classical dancers should be considered. More studies on COVID-19 in other dancers should also be explored.

Objective: The circus professionalization process entails extensive training to mitigate the high-risk demands which increase stress in artists. In high-risk professions, everyday hassles (challenges) contribute greatly to overall stress. To capture the impact of daily challenges on student-artists, the aim of the current study was to describe the magnitude and pattern of daily challenges as well as their relationships with perceived coping, anxiety, fatigue, and psychological distress.

Methods: Ninety-two students at École Nationale de Cirque (ENC), in Montreal, Canada, completed the Circus Daily Challenges Questionnaire (CDCQ) and scales assessing perceived coping, state anxiety, and fatigue at four time points over 1 school year. The Kessler 6 Non-Specific Psychological Distress Scale (K6) was implemented at one time point.

Results: Findings revealed significant fluctuations in challenge level and management of challenges throughout the school year, with schedule, technical development, artistic expression, physical preparation, and sleep reported as high during the two examination periods. The lowest challenge-level scores were achieved following the extended breaks in the annual calendar. Daily challenge positively correlated to state anxiety and fatigue, and negatively correlated with perceived coping. The student-artists reported higher prevalence of moderate psychological distress to general populations.

Conclusion: Befitting the Stress Process Model, a strong interplay between variables was observed, and the life challenges assessment provides a basis for interventions based upon commonalities across the group, as well as individually tailored.

Background: Music performance anxiety (MPA) is an issue concerning musicians from all levels but is still a rather neglected topic in the education and employment of musicians. This study investigated the link between self-esteem, MPA, and depression within a German-speaking sample of musicians of different professions. The underlying question of this study was generated during psychotherapy treatment of musicians with depression and MPA. Thus, we investigated whether musicians with low self-esteem had MPA or depression.

Methods: An online questionnaire on self-esteem, performance anxiety, and depression was sent to a sample (n=295) of German musicians of different professions and levels of education. The assessment tools in the online questionnaire included the Rosenberg-Self-Esteem-Scale, the Kenny Music-Performance-Anxiety-Inventory, and the Beck-Depression-Inventory.

Results: Music students had a significantly lower self-esteem scores compared to employed professionals and amateurs and a higher MPA compared to employed musicians. Regression analyses showed a significant prediction of depression by self-esteem and MPA. Specifically, low self-esteem and the cognitive and behavioral aspects of MPA were significant predictors of depression. Partial mediation by MPA between self-esteem and depression was found.

Conclusion: Low self-esteem and MPA could predict depression. The scores of the entire sample of musicians regarding their MPA and depression were higher than in the general German population. These results highlight the importance of education and removal of negativity regarding performance anxiety in order to improve psychotherapy methods and ensure musicians' health in general.

Objectives: This case-series investigated energy expenditure, cardiovascular responses, and psychosocial outcomes during two wheelchair dancing routines with different tempos.

Methods: Three individuals with chronic, non-traumatic spinal cord injuries [males, mean age 42 (13) years, C3-T12, AIS D, schwannoma=1, poliomyelitis=1, ependymoma=1] performed slow (rumba, 80 bpm) and fast (salsa, 170 bpm) wheelchair dance routines. Physiological [heart rate, blood pressure, relative oxygen consumption (VO2), metabolic task equivalent] and psychosocial parameters [ratings of perceived exertion, enjoyment and Brunel Mood Score] were measured pre, during, and post-dancing.

Results: All participants showed an elevation in heart rate and relative VO2 from rest to dancing with a subsequent decrease in these parameters post-dance for both routines. Relative to the slow dance routine, two out of three participants demonstrated greater heart rate, relative VO2, ratings of perceived exertion, and enjoyment during the fast dance routine. For all three participants, metabolic task equivalents ranged from 1.7-2.4 (slow) and 2.1-3.8 (fast), suggesting the intervention was of light to moderate intensity for slow and fast dance routines, respectively. Enjoyment ratings ranged from "quite a bit" to "extremely." No differences in Brunel mood subscales were observed.

Conclusion: This case-series offers a preliminary understanding of the acute cardiometabolic and psychosocial responses to wheelchair dance routines of differing intensities per¬formed by individuals with spinal cord injury. Responsiveness observed among these participants suggests the potential use of wheelchair dance for promoting physical activity and improving psychological well-being.

Background: In recent years, the number of university drummers and percussionists in Brazil has been increasing. Extensive instrumental practice and repetitive rehearsals are related to the presence of musculoskeletal symptoms among many of these percussion instrumentalists (e.g., repique, tambourine, agogô, rattle, surdo, and snare drums). Musculoskeletal injuries increase the costs of medical exams and treatment in percussionists.

Objective: The present study aimed to analyze the prevalence of musculoskeletal symptoms in Brazilian university drummers and percussionists.

Method: An electronic survey addressing demographic features and musculoskeletal signs and symptoms was distributed via social media to university drummers and percussionists in Brazil from July to November 2021. The target sample included university drummers and percussionists over age 18 years, with no gender restrictions, more than 6 months of instrumental practice, and either enrolled in undergraduate studies for more than 1 year or completed undergraduate studies less than 1 year ago. The prevalence and severity of musculoskeletal signs and symptoms were analyzed by body region using the adapted Nordic Musculoskeletal Questionnaire.

Results: A total of 103 responses were collected from 2,640 emails sent (3.9% response rate with a 99% completion rate). Sixty participants were female (58.25%). A high frequency of pain and discomfort was reported among the students when participating in battery activities (85.58%). In the last 6 months, wrist/hand was the most involved region (50%), followed by the lower back (45.19%) and shoulders (39.42%). In the last 7 days, the three areas most affected areas when participants were active on the drums were the wrists/hands (75%), shoulders (51.92%), and upper back (33.65%).

Conclusion: Most Brazilian university drummers and percussionists had experienced musculoskeletal pain. This pain may be related to repetitive movements, inadequate postures, or use of excessive force during performance and practice.