Musical experience influences socio-emotional functioning in behavioural variant frontotemporal dementia

Objectives

On phenotypic and neuroanatomical grounds, music exposure might potentially affect the clinical expression of behavioural variant frontotemporal dementia (bvFTD). However, this has not been clarified.

Methods

14 consecutive patients with bvFTD fulfilling consensus diagnostic criteria were recruited via a specialist cognitive clinic. Earlier life musical experience, current musical listening habits and general socio-emotional behaviours were scored using a bespoke semi-quantitative musical survey and standardised functional scales, completed with the assistance of patients' primary caregivers. Associations of musical scores with behavioural scales were assessed using a linear regression model adjusted for age, sex, educational attainment and level of executive and general cognitive impairment.

Results

Greater earlier life musical experience was associated with significantly lower Cambridge Behavioural Inventory (Revised) scores (β ± SE = -17.2 ± 5.2; p = 0.01) and higher Modified Interpersonal Reactivity Index (MIRI) perspective-taking scores (β ± SE = 2.8 ± 1.1; p = 0.03), after adjusting for general cognitive ability. Number of hours each week currently spent listening to music was associated with higher MIRI empathic concern (β ± SE = 0.7 ± 0.21; p = 0.015) and MIRI total scores (β ± SE = 1.1 ± 0.34; p = 0.014).

Discussion

Musical experience in earlier life and potentially ongoing regular music listening may ameliorate socio-emotional functioning in bvFTD. Future work in larger cohorts is required to substantiate the robustness of this association, establish its mechanism and evaluate its clinical potential.

Musculoskeletal pain in musicians: does playing more than one instrument have more effect?

Objectives. Repeated instrumental practice represents a risk factor for the appearance of playing-related musculoskeletal disorders (PRMDs). This study aimed to compare the prevalence and characteristics of PRMDs based on location, pain characteristics and number of hours of instrumental practice, in musicians who play one or more musical instruments.Methods. An observational study was conducted with music university students in Spain using a questionnaire.Results: A total of 178 musicians (41%) played a second instrument. Musicians who played only one instrument had a slightly lower mean number of pain sites (M 3.25, SD 1.93; M 3.44, SD 2.27). On the contrary, pain intensity (M 2.72, SD 2.03; M 2.23, SD 1.78 points), pain interference on mood, quality of life and instrumental practice (M 3.04, SD 2.29; M 2.80, SD 2.24 points) as well as the number of hours devoted to instrumental practice (M 21.18, SD 10.47; M 20.03, SD 12.54 h/week) is slightly higher in musicians playing a single instrument.Conclusions. Pain intensity is the only variable of those analysed that presents statistically significant differences when comparing musicians who play a single instrument with those who play a second instrument, being higher in mono-instrumental musicians.

Corrigendum: Effect of manual therapy on music students with playing-related musculoskeletal disorders: a prospective study

[This corrects the article DOI: 10.3389/fpain.2023.1151886.].

Resilient Behaviors in Music Students: Relationship with Perfectionism and Self-Efficacy

Self-efficacy and perfectionism play an important role in high-performance activities. This cross-sectional study analyzes the relationship between these constructs and resilience in a sample of 145 music students (57.9% female) with a mean age of 27.77 years. Perfectionism was assessed using the Multidimensional Inventory of Perfectionism in Sport; resilience, using the Resilience Scale; and self-efficacy, using the General Self-Efficacy Scale. Females, compared to males, are more perfectionist, both on the adaptive (Cohen's d = 0.41) and maladaptive scales (Cohen's d = 0.70). However, no gender differences were found in self-efficacy or resilience scores. Music students categorized as highly resilient obtained significantly higher self-efficacy scores (Cohen's d = 1.30). However, no differences were found between high- and low-resilience students in perfectionism scores, the total scale scores, or its adaptive or functional factor (striving for perfection). Differences were found for the maladaptive factor, negative reactions to imperfection, where low-resilience students scored higher on negative reactions to imperfection (Cohen's d = 0.49). Self-efficacy shows significant predictive power for resilience (β = 0.525, p < 0.001). Although functional perfectionism did not significantly predict resilience, a marginal negative relationship was found between dysfunctional perfectionism and resilience (β = -0.156, p = 0.063). The results are discussed concerning their implications for music pedagogy and teacher intervention.

Effect of manual therapy on music students with playing-related musculoskeletal disorders: a prospective study

Playing Related Musculoskeletal Disorders (PRMD) belong to the most prevalent medical ailments affecting musicians' health and career. This study documents the effect of a physiotherapeutic treatment as well as functional impairments of PRMD on the musculoskeletal system. In total, 32 music students suffering from PRMD were examined in Hanover Medical School (MHH) before and after they received twelve physiotherapeutic treatments, which were carried out over 20 min each over 6 weeks. Additionally, 32 healthy music students, matched by age and gender, were examined at one time point in the MHH to explore which musculoskeletal restrictions are associated with PRMD. The examination included the evaluation of the pain on the Visual Analogue Scale for pain (VAS), a body composition, and body posture measurement, the finger-to-floor distance, the range of motion of the cervical spine, the pressure pain and muscular hypertension examination, the temporomandibular joint-test, the Beighton score screening test, and the testing of the widespread pain score (WSP). After analyzing the data of the patient group (PG) a significant reduction of pain level on the VAS from an average pain of 6.31 to 3.53 was found (large effect). Additionally, a significant reduction of the pressure pain of the M. levator scapulae, the M. rhomboideus, the M. sternocleidomastoideus on the left side and the paravertebral muscles of the cervical spine on the right side after the treatment of the patients could be detected. Regarding the WSP, the positive testing significantly differed, showing a 28% positive testing in the patient group vs. a positive testing of 9% in the control group (CG). As hypermobility is a common phenomenon in musicians, the percentage of those being diagnosed with generalized hypermobility by using the Beighton score in both groups (PG: 37.5%; CG: 25%) was remarkably higher compared to previous studies. In this study, a short course of manual therapy, client tailored for each musician's specific problem, was shown to reduce pain levels in musicians with PRMD.

Symptoms of and coping strategies for music performance anxiety through different time periods

Music performance anxiety (MPA) manifests itself at mental, physiological, and behavioral levels. The present study investigated how the experience of the three levels of symptoms changes over time, and how musicians cope with these temporal changes in MPA symptoms. To this end, we conducted a questionnaire survey in which 38 student musicians freely commented on their experiences of mental and physical changes, as well as their coping strategies for these changes. This was examined during five different time periods around public performance, extending from the beginning of the preparation for a public performance until shortly before the next public performance. The free-text comments obtained from the questionnaire were analyzed thematically and classified into different response themes. We then examined the temporal changes in the frequency of comments on each response theme. We further conducted a semi-structured interview involving eight musicians to explore the responses to the questionnaire in greater detail. We analyzed the contents of the free-text comments obtained from the questionnaire and the interview for each response theme, focusing on the most frequently mentioned sub-themes. The results indicate that musicians started to experience mental MPA symptoms (e.g., negative feelings) as soon as they began to prepare for public performance. To cope with mental symptoms, musicians employed mental strategies such as positive thinking/self-talk and concentration both before and during public performance. The experience of physiological MPA symptoms (e.g., increased heart rate) peaked shortly before public performance and remained throughout performance. To cope with a variety of physiological symptoms, musicians employed physical strategies, especially deep breathing and exercise, shortly before public performance. In contrast, behavioral MPA symptoms (e.g., tremor) were experienced mostly during public performance. Some musicians also reported experiencing the actual impairment of performance quality. To avoid this, musicians employed a variety of practicing techniques (e.g., playing at a slower tempo) during the preparation for public performance and performing techniques (e.g., paying attention to expressions) during public performance. Together, the present findings indicate that mental, physiological, and behavioral symptoms of MPA exhibit differential timelines and that musicians effectively utilize different coping strategies according to the temporal changes in MPA symptoms.

COVID-19 pandemic: Does musicianship matter?

The COVID-19 pandemic negatively influenced mental health and the music industry. The present study examined the relationship of between personality traits and emotional regulation with emotional problems and compared this relationship across three groups of individuals living in Türkiye during the COVID-19 pandemic. The sample consisted of 542 participants (238 musicians, 97 artists excluding musicians, and 207 participants who engaged in no form of art). The Depression, Anxiety and Stress Scale (DASS-21), Difficulties in Emotion Regulation Scale-Brief Form (DERS-16), and Basic Personality Traits Inventory were used. Findings showed that difficulties in emotion regulation were positively associated with stress, depression, and anxiety in all groups. The pattern of the relationship between personality traits and outcome measures was similar across musicians and participants who engaged in no form of art, whereas that of difficulties in emotional regulation with personality traits was almost the same across the three groups. Except for the personality traits of extraversion and openness, group comparisons showed no differences across different measures. These findings suggest that difficulties in emotional regulation need to be a target for psychological interventions to reduce emotional problems for all three groups. Being a musician did not make any difference in terms of emotional regulation or the experience of psychological problems.

Case Report: Dental treatment for an oboist: Post-trauma prosthetic rehabilitation and evaluation of musical performance

Introduction

The condition of teeth and function of the oral organs are important when playing wind or brass instruments. Although there are some reports on dental treatment for musicians, few studies have investigated their acoustic performance following treatment. This report describes the prosthodontic rehabilitation provided for an oboist who had lost a tooth as a result of trauma and includes an evaluation of her subsequent musical performance using acoustic analyzes.

Case description

The patient was a 63-year-old professional oboe player who fractured the upper and lower alveolar bone and avulsed the upper right central incisor during a fall due to epileptic seizure. While the alveolar fracture was healing, she sought maxillofacial rehabilitation for the missing tooth to maintain her ability to play the oboe. Her rehabilitation consisted of a provisional removable prosthesis with an acrylic base and clasps followed by a fixed implant prosthesis. A recording of her musical performance was objectively analyzed at each stage of treatment. Rhythm analysis confirmed the stability of notes played rapidly. Her performance dynamics were analyzed by psychoacoustic measurements. Her satisfaction with the prosthesis was assessed by a self-reported questionnaire. The results of the acoustic evaluation helped to adjust the provisional prosthesis so that it was suitable for playing the oboe and the final prosthesis was designed accordingly.

Conclusion

Prosthetic dental treatment for this patient included both subjective and objective evaluations that helped to ensure that she could continue playing the oboe at her previous performance level.

A fully capable pianist with a congenital bilateral agenesis of extensor pollicis brevis muscle

A 28-year-old male musical student has been presented with visible inability of active abduction and extension of the thumbs in both hands beyond the neutral position. The student has not been previously diagnosed and claimed no history of trauma or surgical procedures in the area of hands and no family history of such disabilities. The student remained capable of playing on keyboard instruments on high level due to compensation by hyperextension of the interphalangeal joint of both thumbs and showed no increased frequency of the injuries or playing-related disorders. The ultrasound and magnetic resonance imaging showed complete bilateral agenesis of extensor pollicis brevis muscles and was classified as isolated congenital clasped thumb syndrome. Due to the age of the student and the agenesis of the muscles the conservative treatment was deemed inadequate and due to high functionality of the student as a musician and unforeseeable results it might have on a musician's career, surgical treatment has been disadvised.

Are music students at 'high-risk' of experiencing musculoskeletal symptom outcomes compared with other students?

Musicians have been described as a 'high-risk' group for experiencing musculoskeletal symptoms (MSSs), yet few studies have tested this assumption. We aimed to determine whether the prevalence and profile of MSS outcomes differed between university music students and a reference group (science students). A survey was conducted with university music and science students. Reported MSS outcomes among the two groups were compared using regression analyses. The majority of participants in both groups reported experiencing MSSs in the last 12 months and 7 days. Music students reported a higher prevalence of wrist/ hand MSSs compared with science students. Compared with symptomatic science students, music students reported a higher emotional impact of MSSs. We recommend prioritising research into interventions for music students that address MSSs in the wrist/ hand region, and the emotional impact of MSSs. Addressing these MSS outcomes could reduce the MSS burden for musicians during and beyond their studies.

Musculoskeletal pain in musicians: prevalence and risk factors. A systematic review

OBJECTIVE

: to determine the prevalence and regions of the body in which musculoskeletal injuries occur in musicians, as well as to identify risk factors related to their occurrence.

METHODOLOGY

: A search was carried out in the Pubmed, Scopus, Web of Science and Cinahl databases for publications between 2006 and 2020. Observational studies on the prevalence of musculoskeletal injuries or their risk factors in musicians aged 18-65 years were eligible for inclusion, and the methodological quality and risk of bias were assessed.

RESULTS

: 31 studies on multiple instruments and 17 on individual instruments were included. Quality was rated as high in 65% of the studies. Lifetime prevalence of injuries ranged from 46-90% and current prevalence from 9-63%. The most common region of pain was the neck, being present in all instrument families. Being female is a predisposing factor to the appearance of musculoskeletal problems in musicians.

CONCLUSIONS

: Musicians suffer frequently musculoskeletal injuries. The most common regions of the body in which these injuries occur are the neck and shoulders. Numerous risk factors were found to be predisposing to musculoskeletal injuries. We note that there are fewer studies on specific instruments.

Playing-Related Musculoskeletal Disorders, Risk Factors, and Treatment Efficacy in a Large Sample of Oboists

OBJECTIVES

During their lifetimes, a majority of musicians experience playing-related musculoskeletal disorders (PRMD). PRMD prevalence is tied to instrument choice, yet most studies examine heterogeneous groups of musicians, leaving some high-risk groups such as oboists understudied. This paper aims to (1) ascertain the prevalence and nature of PRMDs in oboists, (2) determine relevant risk factors, and (3) evaluate the efficacy of treatment methods in preventing and remedying injuries in oboe players.

METHODS

A 10-question online questionnaire on PRMDs and their treatments was completed by 223 oboists. PRMDs were compared across gender, weekly playing hours, career level, age, and years of playing experience.

RESULTS

Of all respondents, 74.9% (167/223) reported having had at least one PRMD in their lifetime. A majority of these injuries (61.9% of all respondents) were of moderate to extreme severity (5 or higher on a scale of 1 to 10). Females (mean = 5.88) reported significantly more severe injuries than males. No significant effects of career level (i.e., professional vs. student vs. amateur), age, or years of playing experience were observed. We found significant non-linear relationships between weekly playing hours and PRMD prevalence and severity. Injuries were most commonly on the right side of the body, with the right thumb, wrist, hand, and forearm being most affected in frequency and severity. Of those injuries for which recovery information was provided, only 26.1% of injuries were "completely recovered." The perceived effectiveness of a few treatments (physical therapy, rest, stretching, occupational therapy, massage) tended to be ranked more highly than others.

CONCLUSION

The oboists in this study experienced high rates of PRMD, particularly in the right upper extremities. Females and those playing 7-9 and 16-18 h per week reported a significantly higher severity of injuries than other groups.

Diotic and Dichotic Mechanisms of Discrimination Threshold in Musicians and Non-Musicians

The perception of harmonic complexes provides important information for musical and vocal communication. Numerous studies have shown that musical training and expertise are associated with better processing of harmonic complexes, however, it is unclear whether the perceptual improvement associated with musical training is universal to different pitch models. The current study addresses this issue by measuring discrimination thresholds of musicians (n = 20) and non-musicians (n = 18) to diotic (same sound to both ears) and dichotic (different sounds to each ear) sounds of four stimulus types: (1) pure sinusoidal tones, PT; (2) four-harmonic complex tones, CT; (3) iterated rippled noise, IRN; and (4) interaurally correlated broadband noise, called the "Huggins" or "dichotic" pitch, DP. Frequency difference limens (DLF) for each stimulus type were obtained via a three-alternative-forced-choice adaptive task requiring selection of the interval with the highest pitch, yielding the smallest perceptible fundamental frequency (F0) distance (in Hz) between two sounds. Music skill was measured by an online test of musical pitch, melody and timing maintained by the International Laboratory for Brain Music and Sound Research. Musicianship, length of music experience and self-evaluation of musical skill were assessed by questionnaire. Results showed musicians had smaller DLFs in all four conditions with the largest group difference in the dichotic condition. DLF thresholds were related to both subjective and objective musical ability. In addition, subjective self-report of musical ability was shown to be a significant variable in group classification. Taken together, the results suggest that music-related plasticity benefits multiple mechanisms of pitch encoding and that self-evaluation of musicality can be reliably associated with objective measures of perception.

Raynaud's phenomenon in a drummer player: Microvascular disorder and nailfold video capillaroscopic findings

Drummers are usually exposed to intensive physical stress and occupational diseases that have been only partially investigated. The majority of studies focus on musculoskeletal problems while microvascular abnormalities have been less considered. We report on a case of a 19-year-old drummer affected by Raynaud's phenomenon. The patient underwent nailfold video capillaroscopy that showed a non-specific pattern, with granular flow, dyshomogeneous capillary morphology, increased efferent/afferent loop ratio and many enlarged capillaries. The continuous exposition to vibration in drummers could determinate microvascular abnormalities with related cold induced disorders and Raynaud's phenomenon. Nailfold video capillaroscopy is a tool that allows to detect the alterations of the microcirculation and to carry out the follow-up of the patients with low cost, non-invasiveness, repeatability, high sensibility and specificity.

Chinese and Western Musical Training Impacts the Circuit in Auditory and Reward Systems

Previous studies have provided evidence about the brain plasticity effects of musical training, however, the issue of how expertise in music styles induced by Chinese or Western musical training affects neuroplasticity and reward responses has been less considered, especially for subjects of Chinese origin. In this work, 16 musicians who trained in the Western music style (Western-trained musicians) and 18 musicians who trained in the Chinese music style (Chinese-trained musicians) were recruited as the musician group for the experiment, while 15 non-musicians were recruited as the control group. Using a paradigm that consisted of listening to Chinese and Western music and measurements using functional magnetic resonance imaging (fMRI) technology, we found that Chinese-trained musicians activated the bilateral superior temporal gyrus (STG) when listening to music, while Western-trained musicians activated the left STG. In addition, under the condition of listening to music with Chinese style, Chinese-trained musicians have a stronger functional connection in the circuit of the auditory and reward system than Western-trained musicians. The finding is opposite under the condition of listening to music with Western style. Interestingly, it seems that the circuit of Chinese-trained musicians is partial to the right STG, while Western-trained musicians show the opposite, i.e., a tendency toward the left STG. The influence of different music styles on experienced musicians is reflected by the functional activities and connections between the auditory system and the reward system. This outcome indicates that training in Chinese music style or Western music style affects the strategies of musicians when listening to music. Musical characteristics such as rhythm, melody and cultural attributes play an important role in this process. These findings, which provide evidence for functional neuroplasticity based on musical training, can enrich our insights into the musical brain.

Cancer incidence among musicians: 45 years of follow-up in four Nordic countries

BACKGROUND

There are studies suggesting that participation in musical activities may protect from cancer. On the other hand, some musicians have a lifestyle that might increase the risk of cancer. The objective of this study was to assess the cancer pattern of musicians in four Nordic countries.

MATERIAL AND METHODS

This study combines census and cancer registry data from 1961 to 2005 for 13 million people from Finland, Iceland, Norway, and Sweden. Standardized incidence ratio (SIR) analyses were conducted with the cancer incidence rates for entire national populations used as reference rates.

RESULTS

There were 11,401 male and 3105 female musicians with 2039 cancer cases. The SIR for all sites combined was 1.02 (95% confidence interval 0.97-1.07) in men and 1.04 (0.94-1.15) in women. In male musicians, there were statistically significant excesses in oropharyngeal cancer (4.36, 2.73-6.60), esophageal cancer (2.08, 1.51-2.81), liver cancer (1.81, 1.26-2.52), and skin melanoma (1.40, 1.10-1.75). The risk was decreased in lip cancer (0.13, 0.02-0.48), stomach cancer (0.66, 0.50-0.82), and lung cancer (0.77, 0.65-0.90). In female musicians, there were no statistically significant SIRs in any of the cancer types studied, but the risk of breast cancer was significantly elevated in the age category of 70+ (1.52, 1.04-2.15). The overall SIR was stable over the 45 year period of observation, but strong decreases were observed in the SIRs of esophageal cancer, liver cancer, laryngeal cancer, and skin melanoma.

CONCLUSION

Musicians have characteristics of indoor workers such as low incidence of lip cancer and high incidence of skin melanoma. The low incidence of lung cancer suggests that the prevalence of smoking among musicians is lower than in the general population while the elevated risk of alcohol-related cancer types suggest that drinking is likely more common among musicians. The cancer risk for all sites combined is still similar to that of the general population in the four countries studied.

A qualitative study exploring the implementation determinants of rehabilitation and global wellness programs for orchestral musicians

OBJECTIVE

To explore the facilitators and barriers to implementation of a pilot workplace rehabilitation and global wellness program for orchestral musicians.

DESIGN

Qualitative study comprising focus groups and interviews.Setting: Workplace of conservatory and orchestral musicians and administrators.

PARTICIPANTS

Musicians, administrators and a conductor from two professional orchestras; tertiary-level orchestral students and an administrator from a conservatory of music.

INTERVENTIONS

We held four focus groups and two interviews to document the perspectives of the participants concerning the implementation determinants of a pilot workplace rehabilitation and wellness program (exercises and health-related education). Meetings consisted of questions based on the Consolidated Framework for Implementation Research. Thematic content analysis was conducted using this same framework, with subcoding according to the Theoretical Domains Framework.

RESULTS

Fourteen musicians and five administrators participated. Results suggest that the implementation determinants for the pilot and future programs rely mainly on the Inner Setting, that is, what musicians refer to as 'the music world', specifically cultural elements such as pain beliefs (e.g. no pain no gain) and lack of resources and time (barriers). Characteristics of Individuals such as social influences amongst colleagues and beliefs about the consequences of self-care or lack thereof, and Intervention Characteristics such as complexity can be facilitators or barriers. All emerging themes have an undercurrent that lies in the Inner Setting.

CONCLUSION

Musicians' culture, currently a barrier, is a crucial determinant of rehabilitation and wellness program implementation in the orchestral musicians' workplace. A focus on musicians' workplace environment is necessary to optimise implementation and intervention impacts.

Assessment of occupational personal sound exposures for music instructors

Daily activities performed by music instructors generate high sound levels that could potentially lead to overexposure. Adverse outcomes associated with high-exposure to sound, such as hearing loss and tinnitus, can be especially devastating to music instructors as hearing is essential to both job performance and career reward. The primary objective of this study was to compare sound exposures of music instructors to recommended exposure limits. Secondary objectives were to identify high-exposure activities and to evaluate potential similar exposure groups by examining between- and within-worker exposure variability. Personal sound exposure measurements from music instructors were collected using dosimeters during full workdays for up to 4 weeks over multiple semesters at a university's school of music. Study participants completed an activity log to record work-related activities throughout each day of sampling. Dosimeters logged 1-sec sound equivalent levels in A-weighted decibels. These data were used to calculate 8-hr time-weighted averages, daily dose, and activity-specific contributions to that dose to determine if daily exposures exceeded the recommended limit of 85 dBA and to identify high-exposure activities that could be targeted for future intervention. Seventeen participants were sampled for a total of 200 days. Approximately one-third of daily exposures exceeded recommended limits. The groups with the highest exposures were brass and conducting instructors. Conductors experienced the highest between-day variability in daily exposures. Activities that contributed the most to daily dose included group rehearsals, personal practice sessions, and performances, while classes and administrative work did not substantially contribute to daily dose. Daily exposures were highly variable, ranging from 60-95 dBA (mean = 81 dBA, sd = 8 dBA), and were influenced by instructional area and musical activity. Future exposure assessments for music instructors should include sampling for multiple days, and those above-recommended limits should be placed into hearing conservation programs.

The effect of strategies to prevent and manage musicians' musculoskeletal symptoms: A systematic review

The objective of this systematic review was to determine the safety and effectiveness of any public health intervention designed to prevent and/or manage musculoskeletal symptoms (MSSs) in any type of musician. A total of 14 studies were included. Studies investigated exercise and/or education programs, and changes to equipment, with a range of musicians. There was some evidence to suggest that smaller piano keyboards, and exercise programs may be effective. Studies suggesting a benefit of exercise programs typically had lower level designs and higher risk of methodological bias, compared with those that reported no benefit. Future research should use more robust methods to reduce bias and come to definitive conclusions regarding the safety and effectiveness of interventions prior to implementation, to reduce the burden of MSSs for musicians.

Impact of Exercises and Chair Massage on Musculoskeletal Pain of Young Musicians

Due to the occurrence among musicians of musculoskeletal problems associated with playing a musical instrument, it is necessary to use prophylaxis. The aim of the study was to compare the effectiveness of two physioprophylaxis methods: chair massage and an original set of exercises. The study lasted four weeks and consisted of eight 15-min meetings (chair massage/exercises). The study was conducted on 44 music students assigned to three groups (chair massage/exercise program/control group). The algometric measurements and questionnaire were conducted. Health problems associated with playing an instrument was reported by 86.4% of the participants. The largest changes in pain threshold concerned the trigger points of the muscles with the highest pain sensitivity, i.e., upper part of trapezius ones, and reached 25-34% in relation to the initial values. For the trigger points of the levator scapulae and lower part of trapezius, the increase in the pain threshold was between 20 and 28%. Raising the pain threshold was observed both after each session and meeting by meeting, and these differences were most visible in the massage group. This effect was particularly visible from the fourth treatment. Chair massage and exercise should be used regularly, and significant results can be obtained after two weeks.

Morphology of sesamoid bones in keyboard musicians

BACKGROUND

The sesamoid bones are small, usually oval bone structures often found in joints and under the tendons. Although their precise function is not fully understood, it is agreed upon that they protect the joints and make movements faster and less energy consuming. Sesamoid bones are found in hands, especially around first, second and fifth metacarpophalangeal joint and the interphalangeal joint of the thumb.

MATERIALS AND METHODS

This study compares a group of 32 young musicians to 30 non-musicians of similar age and posture. The hands of the subjects were examined by ultrasound imaging for the presence of sesamoid bones. The results were noted and observed sesamoids were measured.

RESULTS

The results seem to prove that although there are no difference in the amount or the location of the sesamoid bones between the musicians and the non-musicians, there is statistically significant tendency for the musicians to have bigger sum of the sesamoid's volume per hand (Fisher's test p-value = 0.034 < 0.05).

CONCLUSIONS

There was also observed an unusually shaped "Bactrian" sesamoid bone at the interphalangeal joint of the thumb in 8 cases in the musicians' group and 1 case in the control group. All participants with the aforementioned structure were female.

Sound Exposure of Choristers

Choir singing is a very popular activity with 4.5% of the European population regularly participating. London South Bank University was approached in January 2019 by St Paul’s Cathedral to undertake noise dosimetry for the Music Department. Rehearsals and performances were identified and measured using acoustic instrumentation to determine if the choristers, adult choir, choir master or organist were compliant with the Control of Noise at Work Regulations 2005. These data were then matched to the daily and weekly work schedules of the musicians and the sound exposure estimated. The adult choir, organist and choir master were found to be under the set daily limits, 85 dBA (L_EP,d). The most exposed chorister was above this limit. However, when adjusted for their shorter working year and using the weekly noise exposure limit of 87 dBA (L_EP,w), the estimated exposure was compliant with the regulations. Recommendations were presented to the Music Department focusing on management techniques to reduce the weekly exposure of the choristers without effecting the spirit, tradition or musicality of the performance. It was also strongly suggested to reduce the number of performances for the boys by introducing a second choir.

Should musicians play in pain?

Musculoskeletal symptoms, including pain, are often experienced by musicians at all levels. These symptoms may have a detrimental impact on musicians' personal and work lives, and may also impact upon the ensembles they work within. Providing musicians with appropriate, evidence-based advice regarding pain management is therefore paramount. In this review, we aim to improve the advice given to musicians regarding playing when in pain, by answering the question 'should musicians play in pain?'. This multidisciplinary narrative review draws upon contemporary pain science, including factors associated with poorer prognoses for those in pain, as well as the reported experiences of musicians with pain (including those who have taken time off from playing). Our current understanding of pain science provides further support for the potential for consequences related to avoiding activities due to pain. Pain is modulated by a number of neuro-immunological processes and is influenced by a range of psychosocial factors. Taking time off from playing might therefore not have any benefit. Importantly, one of the leading causes of a transition from acute to chronic pain is fear-avoidance behaviour (e.g. not playing when in pain); hence, encouraging such behaviour cannot be supported. Musicians who have taken time off from playing due to pain have experienced a range of consequences, including emotional and financial consequences. These experiences indicate that there are potential negative consequences related to taking time off from playing which need to be weighed against any benefits. We conclude that musicians should not necessarily be advised to take time off from playing to manage their pain, in keeping with current best practice for pain management. Instead, we recommend that musicians be educated on contemporary pain science and when to seek treatment from a health professional for individualised advice to reduce the burden of musicians' pain.

Attractiveness Ratings for Musicians and Non-musicians: An Evolutionary-Psychology Perspective

From an evolutionary perspective, musical behavior such as playing an instrument can be considered as part of an individual's courting behavior. Playing a musical instrument or singing might fulfill a function similar to that of a bird's colored feathers: attracting attention. Therefore, musicians may be rated as more attractive than non-musicians. In an online survey, 137 volunteers (95 female) with ages ranging from 16 to 39 years rated the attractiveness of fictitious persons of the opposite sex described in short verbal profiles. These profiles differed with respect to whether the described person made music or not. Additionally, the musicians' profiles varied with regard to whether the described person played music or sang in public or in private only. Results show that musicians' profiles were not generally rated as more attractive than non-musicians', but attractiveness did vary according to setting: private musicians were rated as most attractive, followed by non-musicians and public musicians. Furthermore, results indicate that participants who played a musical instrument or sang themselves gave higher ratings to profiles of musicians. But for participants who do not make music themselves, higher attractiveness ratings for musicians playing instruments or sing in private settings were found. These results indicate that the impression of sharing a common interest (making music) and furthermore making music in private instrumental settings seems to make people attractive to other people. No additional support for the sexual selection hypotheses for the evolution of music was provided by the current results. The musical status of the rater affected his or her judgements, with musicians rating other people as more attractive if they share the common interest in making music. Not the display of being a musician seems to be critical for attractiveness ratings but the perceived or imagined similarity by the rater created by information on musicality, fostering the theoretical significance of the communication aspect of music.

Temporomandibular disorders, pain in the neck and shoulder area, and headache among musicians

Background

Uncertainties still exist about the role of playing musical instruments on the report of musculoskeletal complaints and headache.

Objectives

To evaluate the prevalence of and risk indicators for symptoms of temporomandibular disorders, pain in the neck or shoulder, and headache among musicians.

Methods

A questionnaire was distributed among 50 Dutch music ensembles.

Results

The questionnaire was completed by 1470 musicians (response rate 77.0%). Of these, 371 musicians were categorised as woodwind players, 300 as brass players, 276 as upper strings players, 306 as vocalists and 208 as controls; nine musicians had not noted their main instrument. The mean age was 41.6 years (standard deviation [SD] 17.2), and 46.5% were male. Irrespective of instrumentalist group, 18.3% of the musicians reported TMD pain, 52.5% reported pain in the neck and shoulder area, and 42.5% reported headache. Of the functional complaints, 18.3% of the musicians reported TMJ sounds, whereas a jaw lock or catch on opening or on closing was reported by 7.1% and 2.4%, respectively. TMD pain was associated with playing a woodwind instrument, whereas pain in the neck and shoulder was associated with playing the violin or viola. For each complaint, oral behaviours were found as risk indicator, supplemented by specific risk indicators for the various complaints.

Conclusions

The current finding that pain‐related symptoms varied widely between instrumentalist groups seems to reflect the impact of different instrument playing techniques. Playing a musical instrument appears not the primary aetiologic factor in precipitating a functional temporomandibular joint problem.

Oro-facial pain experience among symphony orchestra musicians in Finland is associated with reported stress, sleep bruxism and disrupted sleep-Independent of the instrument group

BACKGROUND

To evaluate whether oro-facial pain experience was related to the type of musical instrument and to learn more about the roles of sleep and sleep-related issues in the pain among professional musicians.

OBJECTIVES

A standard questionnaire was sent to all Finnish symphony orchestras (n = 19), with altogether 1005 professional musicians and other personnel.

METHODS

The questionnaire covered descriptive data, instrument group, items on perceived quality of sleep, possible sleep bruxism, stress experience and oro-facial pain experience during the past 30 days.

RESULTS

In the present study, which included the musicians only, the response rate was 58.7% (n = 488). All orchestras participated in the study, and there was no significant difference in the response rate between the orchestras. The mean age of men (52.3%) was 47.7 (SD 10.3) and of women (47.7%) was 43.4 (SD 9.8) years (P < 0.001). Overall, current pain in the oro-facial area was reported by 28.9%, frequent bruxism by 12.1% and frequent stress by 20.8%. According to Somers' d, there were statistically significant but moderate correlations between overall pain reports in the oro-facial area and disrupted sleep (d = 0.127, P = 0.001), sleep bruxism (d = 0.241, P < 0.001) and stress experiences (d = 0.193, P < 0.001). Logistic regression revealed, independent of the instrument group (string, woodwind, brass wind, percussion), that current oro-facial pain experience was significantly associated with disrupted sleep (P = 0.001), frequent sleep bruxism (P < 0.001) and frequent stress (P = 0.002) experiences.

CONCLUSIONS

Among symphony orchestra musicians, oro-facial pain experience seems to be related to perceptions of stress, sleep bruxism and disrupted sleep rather than the instrument group.

The Relationship Between Occupational Demands and Well-Being of Performing Artists: A Systematic Review

Background: Performing artists are exposed to a range of occupational demands from organisational, interpersonal and intrapersonal sources, which may impact their well-being. The aim of this systematic review was to evaluate and synthesise the literature where researchers have considered the relationship between occupational demands and well-being in performing artists. Methods: A mixed-methods systematic review was conducted including professional and student performing artists. Quantitative, qualitative and mixed-methods study designs were eligible for inclusion in the review. A total of 14 databases were searched from their inception through to October 2017, including MEDLINE, EMBASE, and Scopus. Critical appraisal was conducted using the Mixed-Methods Appraisal Tool and results presented as a narrative synthesis. Results: A total of 20 studies were included in the review, comprising of quantitative (n = 7), qualitative (n = 9) and mixed-methods (n = 4) study designs. Several frameworks of occupational stress and well-being were explored in relation to the results. Organisational, social and emotional demands were associated with lower well-being. Conversely, music-making, performance activities and social support were reported to be resources and were related to higher well-being. Conclusion: This systematic review highlights the need for researchers in this field to adopt methodologically robust study designs, which are informed by appropriate theoretical frameworks. The paucity of high quality and theoretically informed research in this area is a hindrance to the development of evidence-based interventions for this population.

Treatment of an Upper Extremity Chronic Repetitive Strain Injury of 28 Years Duration in a Professional Jazz Saxophonist Using 5% Dextrose

The treatment of chronic repetitive strain injury is a frustrating discourse of potential pathoanatomical causes and their treatments. This case describes an overlooked pathoanatomical cause and successful treatment for a chronic and debilitating repetitive strain injury of the upper extremities that lasted for 28 years and was resistant to a variety of conventional and alternative treatments in a professional jazz saxophone player. A series of fascial tissue infiltrations using 5% dextrose was used to successfully downregulate c-fiber activity within the upper extremities. This treatment resulted in the complete resolution of upper extremity pain and dysfunction with a full return to normal instrument practice and performance that has been sustained without recurrence for four years following treatment.

Effects of Musical Tempo on Musicians' and Non-musicians' Emotional Experience When Listening to Music

Tempo is an important musical element that affects human’s emotional processes when listening to music. However, it remains unclear how tempo and training affect individuals’ emotional experience of music. To explore the neural underpinnings of the effects of tempo on music-evoked emotion, music with fast, medium, and slow tempi were collected to compare differences in emotional responses using functional magnetic resonance imaging (fMRI) of neural activity between musicians and non-musicians. Behaviorally, musicians perceived higher valence in fast music than did non-musicians. The main effects of musicians and non-musicians and tempo were significant, and a near significant interaction between group and tempo was found. In the arousal dimension, the mean score of medium-tempo music was the highest among the three kinds; in the valence dimension, the mean scores decreased in order from fast music, medium music, to slow music. Functional analyses revealed that the neural activation of musicians was stronger than those of non-musicians in the left inferior parietal lobe (IPL). A comparison of tempi showed a stronger activation from fast music than slow music in the bilateral superior temporal gyrus (STG), which provided corresponding neural evidence for the highest valence reported by participants for fast music. Medium music showed stronger activation than slow music in the right Heschl’s gyrus (HG), right middle temporal gyrus (MTG), right posterior cingulate cortex (PCC), right precuneus, right IPL, and left STG. Importantly, this study confirmed and explained the connection between music tempo and emotional experiences, and their interaction with individuals’ musical training.

Musculus Palmaris Longus: Influence on Playing Capability of Keyboard Musicians - Preliminary Report

Musculus Palmaris Longus (PL) is one of the most variable anatomical structures in the human body. Despite being biomechanically active, it is vastly considered to have no impact on the functionality of the upper extremity in the general population. The aim of this study is to examine the relation between playing capability of young musicians and morphology of Musculus PL and to compare it with the relation between manual capability of non-musicians and morphology of their Musculus PL. 42 forearms of 21 healthy individuals (11 musicians and 10 non-musicians) were subjected to Shaeffer's test and ultrasound imaging and tested by dynamometer for hand grip strength and the first and fifth finger opposition before and after exertion. No difference in morphology pattern was observed between the groups. In the musicians, a substantial loss of a hand grip strength of the left hand compared to the right hand after exertion, regardless of lateralization, was observed. A disproportion in exhaustion of the musician's hands with unilateral absence of PL was observed - the difference in grip strength between the dominant and non-dominant hand before and after exertion increased over eight times more than in the musicians with bilateral presence. There is no difference in PL morphology between either the musicians or non-musicians. Regardless of lateralization, the musician's left hand in musicians seems weaker and therefore more prone to misuse related injuries. PL may play a role in musicians in balancing muscular exhaustion.

Creative Processes in the Shaping of a Musical Interpretation: A Study of Nine Professional Musicians

Various studies have been conducted to understand the role of mental representation when musicians practice or perform music (Lehman and Ericsson, 1997; Sloboda, 2005) and the work steps required for a musician to prepare a concert (Chaffin et al., 2003). More recent studies examine creativity in the shaping of a musical interpretation (Lisboa et al., 2011; Payne, 2016; Barros et al., 2017; Wise et al., 2017). However, none of these studies answers the following questions: Why do expert musicians working from the same score create different musical interpretations? During individual practice sessions, what happens that allows each musician to produce significantly different interpretive results? To answer these questions, we instructed nine expert musicians to record their individual practice sessions, verbalize their actions and thoughts, and answer a self-reflection questionnaire. A third-party observer also described what happened during the practice sessions. We conducted interviews in order to gather additional information about the contents of the individual practice sessions; the musicians' usual work habits; and their beliefs, values, and ideas regarding the role of the musician in the creative process. Based on the methodology of Analyse par théorisation ancrée¹ (Paillé, 1994), we were able to take into account a diverse data set and identify aspects of the creative process that were specific to each individual as well as elements that all musicians shared. We found that the context in which the creative process takes place—the musician (e.g., his or her values and knowledge); the musical work (e.g., style, technical aspects, etc.); and the external constraints (e.g., deadlines, public expectations, etc.)—impacted the strategies used. The participants used reflection, extramusical supports, emotions, body reactions, intuition, and other tools to generate new musical ideas and evaluate the accuracy of their musical interpretations. We identified elements related to those already discussed in the literature, including the creative process as an alternation between divergent and convergent thinking (Guilford, 1950), creative associations (Lubart, 2015), and artistic appropriation (Héroux and Fortier, 2014; Héroux, 2016).

"It's Your Problem. Deal with It." Performers' Experiences of Psychological Challenges in Music

Musicians need to deal with a range of challenges during their performance career and in response to these have reported a number of conditions that impact on their performance. Although social support from peers and teachers has been identified as part of the process of dealing with these challenges, little is understood about musicians' coping methods, beliefs and their attitudes toward support. Therefore, this study aimed to explore (a) performers' previous experiences of psychological challenges, (b) the types of support they used and, (c) how this might inform future support programs in learning environments. Fifteen interviews were conducted with pre-elite (n = 5) transitioning elite (n = 3) and established elite performers (n = 7) in order to elicit data on psychological challenges, coping, beliefs and preferences for support. Inductive content analysis suggested that elite performers in this sample reported positive health habits, philosophical views of performance, health and life, positive anxiety reappraisal, and use of various psychological strategies, albeit without being explicitly aware of it. The need for various professional skills (e.g., communication, business, self-management, and organizational skills) was emphasized by all participants. Transition into conservatoire was marked by severe psychological challenges, disorders and trauma. Primary sources of support included friends, family and self-help literature. Professional help was predominantly sought for physical problems. The impact of teachers was paramount, yet securing good teachers was considered a matter of “luck.” The most negative aspects recounted included abusive teachers, unsupportive environments, social comparison, competition, and disillusionment after entering the profession. Participants believed that talent could be developed and also valued wellbeing in relation to performance. Positive effects of late specialization on social development and professional skills were also mentioned. Implications and suggestions are discussed.

A Prospective Evaluation of Duplex Ultrasound for Thoracic Outlet Syndrome in High-Performance Musicians Playing Bowed String Instruments

Thoracic outlet syndrome (TOS) is a neurovascular condition involving the upper extremity, which is known to occur in individuals who perform chronic repetitive upper extremity activities. We prospectively evaluate the incidence of TOS in high-performance musicians who played bowed string musicians. Sixty-four high-performance string instrument musicians from orchestras and professional musical bands were included in the study. Fifty-two healthy volunteers formed an age-matched control group. Bilateral upper extremity duplex scanning for subclavian vessel compression was performed in all subjects. Provocative maneuvers including Elevated Arm Stress Test (EAST) and Upper Limb Tension Test (ULTT) were performed. Abnormal ultrasound finding is defined by greater than 50% subclavian vessel compression with arm abduction, diminished venous waveforms, or arterial photoplethysmography (PPG) tracing with arm abduction. Bowed string instruments performed by musicians in our study included violin (41%), viola (33%), and cello (27%). Positive EAST or ULTT test in the musician group and control group were 44%, and 3%, respectively (p = 0.03). Abnormal ultrasound scan with vascular compression was detected in 69% of musicians, in contrast to 15% of control subjects (p = 0.03). TOS is a common phenomenon among high-performance bowed string instrumentalists. Musicians who perform bowed string instruments should be aware of this condition and its associated musculoskeletal symptoms.

Cathodal Transcranial Direct Current Stimulation Improves Focal Hand Dystonia in Musicians: A Two-Case Study

Focal hand dystonia (FHD) in musicians is a movement disorder causing abnormal movements and irregularities in playing. Since weak electrical currents applied to the brain induce persistent excitability changes in humans, cathodal tDCS was proposed as a possible non-invasive approach for modulating cortical excitability in patients with FHD. However, the optimal targets and modalities have still to be determined. In this pilot study, we delivered cathodal (2 mA), anodal (2 mA) and sham tDCS over the motor areas bilaterally for 20 min daily for five consecutive days in two musicians with FHD. After cathodal tDCS, both patients reported a sensation of general wellness and improved symptoms of FHD. In conclusion, our pilot results suggest that cathodal tDCS delivered bilaterally over motor-premotor (M-PM) cortex for 5 consecutive days may be effective in improving symptoms in FHD.

The prevalence of chronic pain in orchestra musicians

Background: The study investigated the incidence of chronic pain as well as causes and mechanisms of pain chronification in orchestra musicians. Aims: Chronic pain is a serious problem in the study group due to very specific playing techniques and body positions while playing, with a high impact on professional and private life. Methods: 8,645 professional musicians from 132 German cultural orchestras were contacted and asked about chronic pain via an online questionnaire. The study group comprised orchestra musicians suffering from pain. The control group consisted of musicians playing the same type of instruments (same working conditions) who reported to be free of pain. Results: The response rate was 8.6% (740 musicians). 66.2% (n=490) out of 740 musicians who completed the questionnaire reported chronic pain. The most frequently reported localizations of pain were the body parts which are mostly involved in instrumental playing such as back (70%), shoulders (67.8%), neck (64.1%), hands and wrists (39.8%). 27.4% of the investigated musicians suffered from pain with a high degree of impairment. Conclusions: These results appear conclusive and indicate a need to continue research into chronic pain in musicians.

Changes in resting-state connectivity in musicians with embouchure dystonia

OBJECTIVE

Embouchure dystonia is a highly disabling task-specific dystonia in professional brass musicians leading to spasms of perioral muscles while playing the instrument. As they are asymptomatic at rest, resting-state functional magnetic resonance imaging in these patients can reveal changes in functional connectivity within and between brain networks independent from dystonic symptoms.

METHODS

We therefore compared embouchure dystonia patients to healthy musicians with resting-state functional magnetic resonance imaging in combination with independent component analyses.

RESULTS

Patients showed increased functional connectivity of the bilateral sensorimotor mouth area and right secondary somatosensory cortex, but reduced functional connectivity of the bilateral sensorimotor hand representation, left inferior parietal cortex, and mesial premotor cortex within the lateral motor function network. Within the auditory function network, the functional connectivity of bilateral secondary auditory cortices, right posterior parietal cortex and left sensorimotor hand area was increased, the functional connectivity of right primary auditory cortex, right secondary somatosensory cortex, right sensorimotor mouth representation, bilateral thalamus, and anterior cingulate cortex was reduced. Negative functional connectivity between the cerebellar and lateral motor function network and positive functional connectivity between the cerebellar and primary visual network were reduced.

CONCLUSIONS

Abnormal resting-state functional connectivity of sensorimotor representations of affected and unaffected body parts suggests a pathophysiological predisposition for abnormal sensorimotor and audiomotor integration in embouchure dystonia. Altered connectivity to the cerebellar network highlights the important role of the cerebellum in this disease. © 2016 International Parkinson and Movement Disorder Society.

Thoracic outlet syndrome affecting high-performance musicians playing bowed string instruments

Thoracic outlet syndrome, a condition due to neurovascular compression in the upper shoulder region, can be caused by chronic repetitive activity of the upper extremities. Studies have linked upper extremity musculoskeletal disorders to high-performance musicians who play bowed string instruments such as the violin or viola. We report herein a case series of five elite musicians, including three violinists and two violaists, who developed neurogenic thoracic outlet syndrome following years of intense practice. Successful surgical treatment including first rib resection, scalenectomy, and brachial plexus neurolysis was performed in all patients. All patients were able to resume their musical career following surgical treatment. Our report represents the first description of thoracic outlet syndrome in high-performance bowed string instrumentalists. Clinicians should be aware of thoracic outlet syndrome as a differential diagnosis when treating string instrumentalists with upper extremity musculoskeletal ailments.

Evaluation of embouchure dysfunction: Experience of 139 patients at a single center

OBJECTIVES/HYPOTHESIS

Our aims are to 1) illustrate the complexity and phenomenological richness of the embouchure; 2) delineate the main clinical features of non-dystonic embouchure problems (NED) versus embouchure dystonia (ED); and 3) provide a practical framework for physicians who may encounter a patient with embouchure dysfunction.

STUDY DESIGN

We performed retrospective chart and video review and report 139 instrumentalists with embouchure dysfunction evaluated over a 15-year period.

RESULTS

Included in this group are 109 ED patients (20 newly reported and 89 previously published) and 30 NED patients. Non-dystonic embouchure problems included the overuse syndrome, infraorbital neuropathy, and orbicularis oris tears, among others.

CONCLUSIONS

Based on this experience, the largest series presented to date, we propose a practical guide to help evaluate patients with embouchure dysfunction in the office.

LEVEL OF EVIDENCE

4. Laryngoscope, 126:1327-1333, 2016.

Movement induced tremor in musicians and non-musicians reflects adaptive brain plasticity

Evidence exists that motor dexterity is associated with a higher tremor amplitude of physiological tremor. Likewise, lower frequencies are associated with motor control. So far only case reports of a higher amplitude of physiological tremor in musicians exist. Moreover, no study has investigated lower frequencies during a finger movement task in musicians who can be regarded as a model of motor expertise. We developed a model and derived three hypotheses which we investigated in this study: (1) Tremor amplitude is higher in the range of physiological tremor and (2) higher for frequency ranges of dystonic tremor in musicians compared to non-musicians; (3) there is no difference in tremor amplitude at frequencies below 4 Hz. We measured tremor during a finger flexion-extension movement in 19 musicians (age 26.5 ± 8.2 years) and 24 age matched non-musicians (age 26.5 ± 8.7). By using empirical mode decomposition in combination with a Hilbert transform we obtained the instantaneous frequency and amplitude, allowing to compare tremor amplitudes throughout the movement at various frequency ranges. We found a significantly higher tremor amplitude in musicians for physiological tremor and a tendency toward a higher amplitude during most of the movement in the frequency range of 4-8 Hz, which, however, was not significant. No difference was found in the frequency range below 4 Hz for the flexion and for almost the entire extension movement. Our results corroborate findings that the 8-12 Hz oscillatory activity plays a role in motor dexterity. However, our results do not allow for the conclusion that tremor at the frequency range of 4-8 Hz is related to either plasticity induced changes that are beneficial for motor skill development nor to maladaptive changes as, e.g., focal dystonia.

Characteristics of Task-specific Tremor in String Instrument Players

BACKGROUND

In recent studies primary bowing tremor has been described; however, tremor frequency has never been quantitatively assessed. In addition to describing phenomenological aspects of tremor we thus aimed at assessing tremor frequency. Our hypothesis was that primary bowing tremor is similar to the phenomenological aspects and frequency of primary writing tremor.

METHODS

WE QUANTIFIED PRIMARY BOWING TREMOR IN FOUR VIOLINISTS UNDER TWO CONDITIONS: open strings and a G major scale. Data were analyzed using empirical mode decomposition because it takes into account non-stationarity and non-linearity of signals. For each patient we further described tremor phenomenology and assessed symptom onset, risk factors, medication, and family history with a structured anamnesis. We compare the findings to previous findings for primary bowing tremor and primary writing tremor.

RESULTS

We mainly found a flexion-extension tremor of the wrist with a frequency range of 4.7-6.7 Hz. There was no significant difference between the conditions. Mean onset age was 43±2.4 years. Medication included trihexyphenidyl, propranolol, primidone, and botulinum toxin. We found a positive family history in two patients and an injury prior to symptom onset in another two patients. Comparison of onset age, frequency range, family history, and injuries prior to onset revealed that our findings are very similar to previous findings on primary bowing tremor and primary writing tremor.

DISCUSSION

Our findings confirmed our hypothesis that primary bowing tremor is similar to primary writing tremor, with regard to phenomenology and epidemiology as well as tremor frequency. There was no difference in tremor frequency between conditions, suggesting that tremor is not influenced by bimanual coordination or bowing speed. Our findings thus provide new phenomenological aspects and may contribute to a better understanding of primary bowing tremor.

Focal Task-specific Dystonia-From Early Descriptions to a New, Modern Formulation

BACKGROUND

Vivid descriptions of the phenomenology of focal task-specific dystonia (FTSD) date back to the late nineteenth century.

METHODS

In this review, I summarize the natural history, phenomenology, and treatment of FTSD, focusing on nineteenth-century neurologists' descriptions of the phenomenology, etiology, treatment, and mechanism.

RESULTS

Examining these texts through a twenty-first-century lens, the "modern" ideas of a dystonic endophenotype, disordered physiology, and dystonic metabolic networks actually appeared in these texts more than a century ago.

DISCUSSION

By incorporating these ideas with recent investigations, I present a new conceptual model for understanding this mysterious malady.

University woodwind students' experiences with playing-related injuries and their management: a pilot study

BACKGROUND

This study aimed to determine the experiences of university classical woodwind students with playing-related injuries (PRIs), the impact of these PRIs, the management selected by students with PRIs, and the perceived effectiveness of this management.

MATERIALS AND METHODS

All classical woodwind students enrolled in vocational education training or undergraduate courses at a university were sent an email with a link to an online survey. Only those aged 18 years and older were eligible. The survey obtained data regarding demographic information, details of PRI experienced (location, if they lasted for more than 3 months, and if they were current), and the impact of these, as well as the types of management strategies tried and their perceived effectiveness. Data were analyzed using descriptive statistics, and comments were reported descriptively.

RESULTS

Fourteen students returned the survey; however, one of these only completed the questions regarding demographics, and was therefore excluded. A total of 62% of participants reported having experienced a PRI. Common locations for PRI were the wrist/hand/fingers, lower back, and neck. Reducing practice time by half and missing playing commitments were the most commonly reported consequences of PRIs. Playing-related management strategies were most frequently trialed, with these and passive nonplaying-related strategies perceived to be the most effective.

CONCLUSION

PRIs are common in this population, with a range of consequences reported. While it is encouraging that students had tried and found effective playing-related management strategies, active nonplaying-related strategies should be encouraged, particularly in preference to passive nonplaying-related strategies. This was a small-scale study, and the results are only applicable to the institution investigated; therefore, similar larger-scale studies are recommended to determine the generalizability of these findings.

Fixed dystonia of the left hand in a violinist: a rare functional disorder

BACKGROUND

Fixed dystonia leads to an immobile abnormal posturing of the affected limb. There is an ongoing debate whether this condition is psychogenic in origin.

CASE REPORT

We present a 21-year-old violinist with fixed dystonia after an acute overuse injury with a transient cyanosis but no signs for psychological trauma. After Incobotulinumtoxin injection, symptoms subsided within 8 hours.

DISCUSSION

Our case corroborates the notion that fixed dystonias after minor injuries are functional disorders. It underlines the necessity of a biopsychosocial approach to functional disorders, considering the possibility of an overlay between organic and non-organic disorders.

The influence of chronotype on making music: circadian fluctuations in pianists' fine motor skills

Making music on a professional level requires a maximum of sensorimotor precision. Chronotype-dependent fluctuations of sensorimotor precision in the course of the day may prove a challenge for musicians because public performances or recordings are usually scheduled at fixed times of the day. We investigated pianists' sensorimotor timing precision in a scale playing task performed in the morning and in the evening. Participants' chronotype was established through the Munich Chrono-Type Questionnaire, where mid-sleep time served as a marker for the individual chronotypes. Twenty-one piano students were included in the study. Timing precision was decomposed into consistent within-trial variability (irregularity) and residual, between-trial variability (instability). The timing patterns of late chronotype pianists were more stable in the evening than in the morning, whereas early chronotype pianists did not show a difference between the two recording timepoints. In sum, the present results indicate that even highly complex sensorimotor tasks such as music playing are affected by interactions between chronotype and the time of day. Thus, even long-term, massed practice of these expert musicians has not been able to wash out circadian fluctuations in performance.

Motor and Sensory Dysfunction in Musician's Dystonia

Musicians’ dystonia is a task-specific and painless loss of motor control in a previously well-executed task. It is increasingly recognized in the medical and musical community. Recent advances in neuroimaging, transcranial magnetic stimulation and novel techniques in electroencephalography have shed light on its underlying pathophysiology. To date, a deranged cortical plasticity leading to abnormal sensorimotor integration, combined with reduced inhibition across several levels of the motor pathway are likely mechanisms.This paper reviews the various phenomenology of musician’s dystonia across keyboard, string, brass, flute and drum players. Treatment is often challenging. Medical therapies like botulinum toxin injection and rehabilitation method with sensorimotor training offer symptomatic relief and return to baseline performance to some musicians.

Brain structures differ between musicians and non-musicians

From an early age, musicians learn complex motor and auditory skills (e.g., the translation of visually perceived musical symbols into motor commands with simultaneous auditory monitoring of output), which they practice extensively from childhood throughout their entire careers. Using a voxel-by-voxel morphometric technique, we found gray matter volume differences in motor, auditory, and visual-spatial brain regions when comparing professional musicians (keyboard players) with a matched group of amateur musicians and non-musicians. Although some of these multiregional differences could be attributable to innate predisposition, we believe they may represent structural adaptations in response to long-term skill acquisition and the repetitive rehearsal of those skills. This hypothesis is supported by the strong association we found between structural differences, musician status, and practice intensity, as well as the wealth of supporting animal data showing structural changes in response to long-term motor training. However, only future experiments can determine the relative contribution of predisposition and practice.