Medical problems of performing artists最新文献

Introduction: High workplace social capital (WSC) is associated with improved occupational health in the common occupational areas. However, little is known on WSC and its effect on the emotional demands and stress seen in the work of classical symphonic musicians.

Aim: To investigate whether WSC moderates the associations between emotional demands and stress in the professional musicians working in Danish symphony orchestras.

Methods: This cross-sectional study builds on existing data collected on a sample of 341 Danish classical symphonic musicians. An interaction model based on multiple regression with bias corrected boot-strapping was used to assess the moderating effect of low, medium and high levels of WSC on the association between emotional demands and perceived stress.

Results: WSC had a significant moderating effect on the association between emotional demands and perceived stress: b = -0.01, t(212) = -2.40, p = 0.018. At low levels of WSC the effect of emotional demands on stress was strongest, declining at higher levels of WSC in a dose response pattern: low-WSC, b = 0.23, t(212) 3.20, p = 0.002, medium-WSC, b = 0.11, t(212) = 2.40, p = 0.017, and high-WSC, b = 0.04, t(212) = 0.75, p = 0.455.

Conclusion: The study indicates a buffering effect of WSC on the association between emotional demands and stress in the work of orchestra musicians. Thus, enhancement of WSC could be a potential stress-preventing strategy in symphony orchestras and should be investigated in future studies on musicians' mental health.

Comparison of bow-side kinematics in violinists is hindered by the scarcity of studies available. This makes meta-analysis impossible. This paper assesses the effect of music-based variables (bow stroke, tempo, and string played) on intra- and inter-participant variability in joint kinematics. The joint kinematics of nine high-level violinists were acquired via a motion capture system while they played a standardized piece of music involving contrasting bow strokes and strings at different tempi. Results were compared using linear mixed models using the root mean square (RMS) for each joint. We found highly individualized patterns of play, deduced from a low intra- but high inter-musician variability (4.2° vs 13.1° of normalized RMS) in joint kinematics. String played and bow stroke had the greatest effect on joint kinematics. The string played had the greatest impact on shoulder kinematics, and the bow stroke had the greatest impact on elbow and wrist kinematics. Based on these results, we propose guidelines for future research designed to study bow kinematics in the field of biomechanics of violin movements. For ease of comparison between studies and to limit the time and resources required, our main suggestions are to use repeated measures designs with a legato reference condition and to choose pieces of music spanning multiple strings.

Background: This study aimed to determine the changes in psychological distress, anxiety, and depressive symptoms in students from the fine arts faculty in the first 2 years of their education in Turkey, in comparison with students from other faculties, and to reveal the causes of psychological distress, anxiety, and depression in fine arts students.

Methods: The General Health Questionnaire (GHQ-12), Beck Depression Inventory (BDI), and Spielberger State-Trait Anxiety Inventory (STAI) were applied to students from Faculty of Fine Arts and the Faculties of Economics and Sport Sciences (controls) in the first week of the 2017-2018 academic year. Students also completed a questionnaire measuring their possible stressful life events (at timepoint T1). The process was repeated for the same students in the second year (T2). The changes between the two time¬points were examined prospectively.

Results: A total of 96 fine arts students agreed to participate at T1 and 66 at T2 (68.8%); for the controls, it was 259 at T1 and 182 (70.3%) at T2. The fine arts students at T1 included 15 music majors, 45 cinema and television, and 36 handi¬crafts, sculpture, and painting. Their average age at T1 was 21.0 yrs (SD 5.8) and 54.2% were male; for the other students, it was 19.4 yrs (2.7) and 56.0% male. Fine arts students' GHQ-12 score averages increased significantly from T1 to T2 (11.7 to 14.3, p=0.002). Their BDI score averages increased from 10.3 to 12.3 (p=0.044). Moreover, their S-Anxiety score averages increased from 41.1 at T1 to 44.1 at T2 (p=0.008). However, the increase in T-Anxiety scores was not statistically significant. None of the control students' test scores varied between the two timepoints (p>0.05). At T2, for fine arts students, there was no significant difference between female and male students in terms of GHQ-12, BDI, and S-Anxiety scores. However, T-anxiety scores were higher in female students. By linear regression analysis, "worrying about the future (individual)" was found to be a determinant on all scale scores in fine arts students.

Conclusion: The psychological indicators increased significantly in fine arts students during the first year of their education.

Background: Recently, Wolf et al. proposed a novel, marker-based method to analyze the three-dimensional upper-body kinematics of high string players for clinical application. The method provides an objective evaluation of high string players' motor strategies, especially in the shoulder complex, by distinguishing between the scapulothoracic (ST) and glenohumeral (GH) joints, while minimizing skin movement artifacts, marker occlusions, and limitations due to instrument placement. Nevertheless, reproducibility of kinematic measurements is crucial for clinical applications. The aim of this study was to assess the method's reproducibility in terms of reliability and repeatability.

Methods: One healthy professional violinist underwent a total of nine bowing trials in three different laboratory sessions. Each trial was conducted by one of two different examiners. A biomechanical model was applied to motion capture data of the pelvis, thorax, spine, and head, as well as both upper limbs (consisting of the scapula, upper arm, forearm and hand). Reproducibility was assessed by calculating inter- and intra-tester, inter-session, and intra-subject measurement errors for each rotational degree of freedom in the upper-body segments and joints.

Findings: Small measurement errors were accepted to be good indicators for reproducibility. Intra- and inter-tester errors were found to be small (< 3° for the most part). Both inter-session and intra-subject repeatability were found to be larger (< 5° for the most part).

Interpretation: This study generally showed the novel, marker-based method to have good reproducibility for a healthy violinist. This indicates that the proposed method is a reliable tool for quantifying upper-body movements during violin playing across subjects, examiners, laboratories, and motion capture systems.

Increasingly, best practice in dance healthcare includes preseason screening. But do preseason screenings give us useful information? Can they provide assessment of injury risk? Can we use a common screen for all athletes or need ones specific to dancers? What is the purpose of screening and what tests are appropriate for adolescent dancers? In this editorial, I make recommendations based on over 20 years of experience screening pre-professional and professional dancers.

Objective: Pole dancing is a challenging physical activity. Prospective injury studies in pole dancing are lacking. The aim of this study was to describe the incidence, mechanisms, and characteristics of injuries in pole dancers.

Methods: A total of 66 pole dancers from 41 studios across Australia were prospectively followed over 12 months. An intake questionnaire was administered including items on pole dancers' demographics and training characteristics. Exposure was assessed using a daily online training diary. Self-reported injury data were collected via an incident report form and subsequently coded using the Orchard Sports Injury Classification System. Injuries occurring during pole-specific and pole-related activities were included in the analyses.

Results: The sample included 63 females and 3 males, mean age 32.3 ± 8.9 years and mean pole training experience 3.5 ± 2.8 years. 25 of 66 participants completed the full study. The 1-year incidence of all new injuries was 8.95/1,000 exposure hours (95% CI 6.94 - 10.96), 7.65/1,000 hrs (95% CI 5.79 - 9.51) for pole-specific injuries and 1.29/1,000 hrs (95% CI 0.53 - 2.06) for pole-related injuries. A total of 103 injuries occurred, 62.1% of which were sudden onset and 37.9% gradual onset. Mechanism of onset included 54.4% acute and 45.6% repetitive in nature. Shoulder (20.4%) and thigh (11.7%, majority ham¬string) were the most reported anatomic injury sites. Non-contact mechanisms accounted for the majority of injuries (57.3%). The most reported primary contributor to injury onset at the shoulder were manoeuvres characterised by loaded internal humeral rotation (33.3%), and at the hamstring were manoeuvres and postures involving front splits (100.0%).

Conclusion: The findings indicate that pole dancers are at high risk for injuries. Future research is needed to understand the biomechani¬cal demand of manoeuvres and training characteristics of pole dancing (e.g., workload and recovery) to guide the development of preventative interventions, particularly targeted toward the shoulder and hamstring.

Musician's focal dystonia (MFD) is a painless, task-specific neurological movement disorder that impairs fine motor control when playing an instrument. The pathophysiology is not fully understood, and while the available treatment strategies can help with improving motor control, they are rarely able to fully and reliably rehabilitate playing skills. Recent studies suggest that apart from genetic factors, maladaptive neuroplasticity, and the repetitive nature of the instrumental technique, psychosocial, psychological, and behavioural factors might also play a role in the onset of MFD. However, the presence of some of these risk factors is supported primarily by anecdotal evidence, with only a few aspects examined empirically. To explore this area further, 14 semi-structured interviews were conducted with a convenience sample of practitioners (8 medical professionals and 6 musician-coaches) who frequently treated MFD sufferers. Throughout their career, these participants are estimated to have interacted with more than 2,000 musicians with MFD, creating a large, indirect sample. A detailed patient profile emerged from the data with three main components: 1) the negative impact of social environments, including traumatic experiences and low quality of instrumental teaching; 2) a perfectionist, anxious, overly sensitive, and acquiescent personality type; and 3) obsessive, controlling, and inadequate practice behaviours. Participants stated MFD needs to be treated holistically and that neglecting these aspects during treatment could jeopardise rehabilitation. Further objective, controlled research trials are needed to describe these factors in detail, quantify their potential impact as risk factors, and understand how they might hinder therapy.

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.