Medical problems of performing artists最新文献

{"title":"Selenoprotein synthesis is not induced by hepatotoxic drugs.","authors":"Sumangala P Shetty, Dongming He, Paul R Copeland","doi":"10.1101/2023.05.12.540527","DOIUrl":"10.1101/2023.05.12.540527","url":null,"abstract":"<p><strong>Background and aims: </strong>Many of the proteins that contain the amino acid selenocysteine are required for optimal defense against cellular stress. As such, one might expect selenoprotein synthesis to persist or be induced upon cellular insult. Because selenocysteine is incorporated by a complex post-transcriptional mechanism, monitoring the transcription of selenoprotein genes is not adequate to understand the regulation of selenoprotein synthesis. We aimed to determine whether selenoprotein synthesis is regulated by the induction of hepatotoxic stress.</p><p><strong>Methods: </strong>We used hepatotropic clinically relevant drugs to evaluate the regulation of selenoprotein synthesis in human hepatocarcinoma cells.</p><p><strong>Results: </strong>We found that two drugs, benzbromarone and sorafenib, caused significant inhibition of selenoprotein synthesis. However, the loss of selenoprotein expression was not specific as total protein synthesis was similarly down-regulated only by benzbromarone and sorafenib.</p><p><strong>Conclusions: </strong>These results allow us to conclude that these hepatotoxins do not induce or preserve selenoprotein synthesis as a protective mechanism.</p><p><strong>Highlights: </strong>The treatment of liver cells with hepatotoxic and hepatotropic compounds does not result in increased synthesis of selenoproteins.Compounds that induced the canonical oxidative stress response that features NRF2 activation eliminated selenoprotein synthesis.The downregulation of selenoproteins was accompanied by general inhibition of protein synthesis.</p>","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"27 4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC11142112/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89904648","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Laterality in Body Coordination of Professional and Amateur Ballet Dancers While Performing a Single Pirouette with Pointe Shoes.","authors":"Yurina Tsubaki, Yui Kawano, Cheng-Feng Lin, Mayumi Kuno-Mizumura","doi":"10.21091/mppa.2024.1002","DOIUrl":"10.21091/mppa.2024.1002","url":null,"abstract":"<p><strong>Objective: </strong>Imbalances in muscle strength coordination owing to lateral preference may be a risk factor for injury in dancers. Postural control is essential for the basic turn in ballet (pirouette), owing to its lateral asymmetry. Since dance with pointe shoes demands greater range of motion, muscle strength, and balance control compared to dancing with flat shoes, pointe shoes may further add to the risk and cause an imbalance between the preferred and non-preferred legs during pirouette. In this study, we examined lateral differences in professional and experienced amateur ballet dancers during single pirouettes with pointe shoes to understand the multiple elements involved in lateral balance control in pirouettes.</p><p><strong>Methods: </strong>Eight female professionals and seven female amateur ballet dancers performed single pirouettes in pointe shoes on both the preferred and non-preferred sides. To understand the body coordination laterality in single pirouettes, statistical parametric mapping was performed for the trunk, hip, knee, ankle angle, and center of mass-center of pressure inclination angle timeframe data during the pirouette in three phases: turn with double-leg (Phase 1), single-leg (Phase 2), and finish turning with a single-leg (Phase 3). In addition, the hop-up time was calculated as the percentage when the foot is not in contact with the ground in Phases 2 and 3.</p><p><strong>Results: </strong>There were no lateral differences in trunk and lower limb angles in either group. Professional dancers showed slightly more inclination towards the stance leg during left rotation at the beginning of the movement (Phase 1) with longer hop-up time in Phase 2, whereas amateur dancers tended to tilt forward during the left turn (Phases 1 and 2) with longer hop-up time in Phase 3.</p><p><strong>Conclusion: </strong>It is notable that the COP-COM inclination angle was adjusted by hop-up and it caused the lateral differences in both professional and amateur dancers during a single pirouette with pointe shoes. This study highlights elements to consider in laterality when monitoring pirouette performance with pointe shoes.</p>","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"39 1","pages":"8-17"},"PeriodicalIF":0.9,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139983238","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Effect of Expiratory Muscle Strength Training on the Performance of Professional Male Trumpet Players.","authors":"Alexandra Türk-Espitalier, Matthias Bertsch, Isabelle Cossette","doi":"10.21091/mppa.2024.1003","DOIUrl":"10.21091/mppa.2024.1003","url":null,"abstract":"<p><strong>Background: </strong>Many trumpet players use breathing training devices in addition to their daily practice routine. Playing a brass instrument requires, besides many other skills, a controlled air stream to generate the necessary air pressures. On the trumpet, high intraoral pressures are needed, especially during high and loud notes. Therefore, it is not uncommon in trumpet pedagogy to teach that the use of breathing training devices enhances physical strength so that the required pressures can be produced with less effort. However, to date, no systematic assessment of the use of breathing training devices among trumpet players exists and their effect on playing performance is still unclear.</p><p><strong>Methods: </strong>In this a pre-post, within-subject repeated measure study, we investigated the influence of a 5-week expiratory muscle strength training (EMST) upon trumpet performance. Twenty-four male professional trumpet players were allocated to either a control or intervention group. The intervention group (n =13) trained with an EMST device against a set resistance of 55% of their maximum expiratory pressure (MEP) for 5 weeks on 5 days per week. The control group (n =11) did no intervention. All participants underwent the same measures (MEP and rate of perceived exertion [RPE]) and played the same tasks (maximum long note, maximum high note, maximum dynamics and phrasing in high register) prior to and after the 5 weeks.</p><p><strong>Results: </strong>After EMST, MEP increased significantly (13%, p = 0.049) in the intervention group, whereas no significant change was found in the control group. Performance parameters did not change in either of the groups, also after EMST. Despite the increase in MEP, we found no evidence that EMST has an influence on trumpet performance.</p><p><strong>Conclusion: </strong>We conclude that EMST seems unnecessary for the enhancement of trumpet playing, at least in a population of male professionals who already demonstrate excellent respiratory condition and control.</p>","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"39 1","pages":"18-26"},"PeriodicalIF":0.9,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139983237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Musculoskeletal Injury in Australian Professional Musical Theatre Shows: A 5-Year Retrospective Observation Study of 2,249 Medical Attention Injuries.","authors":"Charlotte Ganderton, Annie Strauch, Catherine Etty-Leal, Adrian Pranata","doi":"10.21091/mppa.2024.1001","DOIUrl":"10.21091/mppa.2024.1001","url":null,"abstract":"<p><strong>Objective: </strong>To investigate the frequency and trends of musculoskeletal medical attention injuries occurring in Australian professional musical theatre performers over two consecutive Australian city tours.</p><p><strong>Methods: </strong>Medical attention performance-related injuries were prospectively reported from 269 professional Australian music theatre performers across nine professional music theatre productions from 2015 to 2020. Medical attention injuries were defined as a presentation to physiotherapy for assessment or treatment of a body region that may or may not have resulted in time lost on stage.</p><p><strong>Results: </strong>844 injuries were reported in City 1 and 776 injuries were reported in the City 2. The proportion of performers reporting injuries in City 1 ranged from 39.5% to 96.4% and in City 2, from 15.4% to 92.9%. Cervical spine injuries (ncity1 = 194, ncity2 = 187) were the most prevalent musculoskeletal presentation to physiotherapy followed by lumbar spine (ncity1 = 124, ncity2 = 117) and thoracic spine (ncity1 = 124, ncity2 = 90). There were more acute injuries reported in City 1 than City 2 (adj residuals = -4.09, p < 0.001) and more persistent injuries in City 2 (adj residuals = 4.09, p < 0.001).</p><p><strong>Conclusion: </strong>Almost half of all injuries requiring medical attention in Australian professional music theatre performers were related to the cervical, thoracic and lumbar spine, with an increasing trend of cervical spine injury frequency across show durations. The study suggests a need for targeted injury prevention strategies in this population.</p>","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"39 1","pages":"1-7"},"PeriodicalIF":0.9,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139983291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"One-Year Injury History and Safe Dance Practices Among Female Highland Dancers in Canada.","authors":"Haley M McDougall, Amanda M Black, Lindsay Morrison, Cassandra J Brandford, Sarah J Kenny","doi":"10.21091/mppa.2024.1004","DOIUrl":"10.21091/mppa.2024.1004","url":null,"abstract":"<p><strong>Aims: </strong>Over 8,650 Highland dancers registered to compete in Royal Scottish Official Board of Highland Dancing events worldwide in 2019. While the burden of dance-related injuries is high among dancers, there are few studies examining Highland dance. The purpose of this study was to describe the prevalence of self-reported 1-year injury history and safe dance practices among female Highland dancers.</p><p><strong>Methods: </strong>Sixty-five female Canadian Highland dancers (median age 18; range 14-47) completed an anonymous online survey at the beginning of the 2019 championship season. Demographics (i.e., age, body mass index), exposure (e.g., months/year dancing), safe dance practices (e.g., environmental, physical, psychological), and 1-year injury history (i.e., yes/no) were self-reported. Three definitions of dance-related injury were used: 1) time-loss (missed ≥1 class, practice, performance, and/or competition); 2) medical attention (requiring professional medical care); and 3) any physical complaint that affected full participation.</p><p><strong>Results: </strong>Most participants were training at the elite standard/premier level (86%, 95%CI 75-93) and for ≥8 months/year (83%, 95%CI 75-93). The proportion of dancers reporting at least one physical complaint in the previous 1 year was 71% (95%CI 58-81). Sixty percent (95%CI 47-71) of dancers reported ≥1 medical attention and/or time-loss injury. All participants reported warming up regularly, with 59% (95%CI 46-70) participating in regular cool-downs.</p><p><strong>Conclusion: </strong>The prevalence of 1-year injury history among female Highland dancers is high. Education on the benefits of safe dance practice for Highland dancers may be useful. Prospective cohort studies are needed to understand the dynamic nature of dance injuries across a full competitive season.</p>","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"39 1","pages":"27-37"},"PeriodicalIF":0.9,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139983293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Musculoskeletal Pain Intensity and Interference Questionnaire for Musicians-Italian Version (MPIIQM-IT): Multicenter Validation, Translation and Cultural Adaptation.","authors":"Francescaroberta Panuccio, Gloria Marcellini, Anna Berardi, Marco Tofani, Martina Uboldi, Giovanni Galeoto","doi":"10.21091/mppa.2024.1005","DOIUrl":"10.21091/mppa.2024.1005","url":null,"abstract":"<p><strong>Objective: </strong>The study aimed to translate, culturally adapt, and test the psychometric properties of the Musculoskeletal Pain Intensity and Interference Questionnaire for Musicians (MPIIQM) in an Italian population of professional and amateur musicians.</p><p><strong>Methods: </strong>The translation and cultural adaptation process followed international guidelines, while the reliability and validity of the questionnaire were assessed against the COSMIN checklist. The internal consistency was calculated using Cronbach's alpha (a) coefficient. Construct validity was analyzed using exploratory factor analysis (EFA) with principal axis factoring (PAF) extraction. The sample adequacy and data suitability were assessed through the Kaiser-Meyer-Olkin (KMO) and Bartlett's sphericity tests, respectively. Concurrent validity was analyzed by assessing Pearson's correlation coefficient with the Italian version of the Musculoskeletal Health Questionnaire (MSK-HQ-I). Finally, the cross-cultural validity was investigated by analyzing score differences between amateur and professional musicians, and differences based on musical practice habits.</p><p><strong>Results: </strong>The tool was administered to 311 subjects recruited from across Italy. The MPIIQM-IT was found to have high levels of internal consistency for the entire tool and each of the two subscales (Cronbach's a = 0.875, 0.877, and 0.845, respectively). The recruited sample was found to be adequate (KMO = 0.810) and the data suitable (C2 = 341.040, p < 0.001) for factor analysis, which produced 9 items contained in two main factors. Pearson's correlation coefficients showed a positive, statistically significant correlation between the MSK-HQ-I and the two subscales of the MPIIQM-IT with p < 0.01. Analysis of Student's t-test for independent samples and the ANOVA test for continuous variables showed statistically significant differences between male and female, professional and non-professional musicians, and conservatory and non-conservatory students.</p><p><strong>Conclusions: </strong>The MPIIQM-IT is a valid and reliable tool, useful for investigating the presence of pain and playing-related musculoskeletal disorders (PRMDs) in both professional and non-professional musicians.</p>","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"39 1","pages":"38-48"},"PeriodicalIF":0.9,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139983292","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Preliminary Feasibility and Acceptability Examination of Using a Novel Ergonomic Chinrest with a Low Shoulder Rest by a Viola Player: A Case Report.","authors":"Stephanie Mann, Lotte Nygaard Andersen, Helene M Paarup","doi":"10.21091/mppa.2024.1006","DOIUrl":"10.21091/mppa.2024.1006","url":null,"abstract":"<p><strong>Background: </strong>High-string players, such as violinists and violists, are prone to neck problems. One factor can be their body posture, with often a rotated and flexed neck position with the jaw placed on a flat chinrest. The Kréddle chinrest (EC) was specifically designed to promote a more neutral neck position and prevent musculoskeletal problems among high-string players. This case report aims to evaluate the preliminary feasibility and acceptability of using the EC, with a low shoulder rest, in a pain-free professional high-string player. A secondary aim was to register newly developed pain and fatigue.</p><p><strong>Methods: </strong>A 32-year-old professional viola player was instructed to use the EC for most of her playing time during a 6-week trial period. Outcome measures such as compliance (% of use out of total playing time over the last 7 days), performance, comfort and acceptability were assessed at baseline and at the end of each trial week. The Rapid Upper Limb Assessment (RULA) tool was used to evaluate the body posture at baseline when using the EC versus her own chinrest and shoulder rest.</p><p><strong>Results: </strong>The initial trial period was interrupted after 2 days due to pain. A second 6-week period was completed. While compliance was high and there was positive feedback on how the EC affected her performance and comfort while holding the instrument, the case report identified a challenge with the complex instruction material, which made it difficult to install and adjust the product. The viola player was positive towards using EC in the end despite pain and fatigue during the trial period.</p><p><strong>Conclusion: </strong>This case report examined a professional viola player's 6-week experience with an EC. While positive outcomes were observed in posture, performance, and product acceptance, issues with complex instructions were noted. This study marks the first exploration of individual challenges with EC use.</p>","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"39 1","pages":"49-54"},"PeriodicalIF":0.9,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139983294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Bacteria Found in Brasswind Instruments: Analyses Using Culture-Dependent Method and Culture-Independent 16 S rRNA Amplicon Sequencing Method.","authors":"H Z Rusu, H B Mutlu, Volkan Kilic, Nilgun Poyraz, Halil Eryilmaz","doi":"10.21091/mppa.2023.4023","DOIUrl":"10.21091/mppa.2023.4023","url":null,"abstract":"<p><strong>Background: </strong>In wind instrument performance, there is a constant contact between the player and the instrument, during which microorganisms in the mouth flora of the player are transferred into the instrument. The inner surface of the brass instruments provides the perfect environment for microorganisms to grow. As a result, players repeatedly interact with these micro-organisms during playing. In previous studies, different kinds of microorganisms were detected in brass instruments, some of which can carry serious health hazards.</p><p><strong>Purpose: </strong>Revealing the common bacterial populations of brasswind instruments will be helpful in raising awareness among musicians and establishing their habits of cleaning/disinfecting their instruments.</p><p><strong>Methods: </strong>In this study, samples from 4 different areas of 14 brass instruments were collected and analyzed using culture-dependent and -independent (16 S rRNA amplicon sequencing) approaches. The bacterial loads in different parts of the instruments were compared.</p><p><strong>Results: </strong>The amount and variety of bacteria detected in the sampled instruments were unexpectedly large. While some of the found bacteria are harmless, others, such as Chryseobacterium and Elizabethkingia, may occasionally cause serious infections, especially in people with suppressed immune systems. Likewise, the Mycobacterium group includes a type that causes tuberculosis, and the Streptococcus group also shows pathogenic characteristics. The mouthpiece and leadpipe of the instruments had a much larger microbial load compared to the tuning and valve slides.</p><p><strong>Conclusion: </strong>According to the findings, brass instruments may harbor a wide variety of bacteria, some of which are potentially hazardous for the musicians' health, especially if their immune systems are compromised. These risks can be minimized by regularly cleaning and disinfecting the instrument, especially the mouthpiece and leadpipe, which are the areas harboring most of the microorganisms.</p>","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"38 4","pages":"189-199"},"PeriodicalIF":0.9,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138470491","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Intramuscular Oxygenation and Muscle Activity of Extensor Carpi Radialis Brevis During Piano Performance: An Observational Study.","authors":"Ron Clijsen, Jean-Pierre Baeyens, Rens Baeyens, Erich Hohenauer, Walter Daems, Katia Veekmans, Bruno Tassignon, Francis Van Glabbeek, Maggie Goossens","doi":"10.21091/mppa.2023.4026","DOIUrl":"10.21091/mppa.2023.4026","url":null,"abstract":"<p><strong>Background: </strong>Repetitive piano movements have been associated with playing-related musculoskeletal disorders (PRMDs) such as forearm myalgia and symptoms of lateral epicondylopathy. Despite the high prevalence of PRMDs among pianists, there is poor understanding regarding the underlying physiological mechanisms. Intramuscular oxygenation may play a role in the development of PRMDs. Therefore, this observational study aimed to explore the effect variability of playing piano repertoire on the oxygenation of the extensor carpi radialis brevis (ECRB).</p><p><strong>Methods: </strong>Surface electromyography (EMG) activity and intramuscular oxygenation data (using near-infrared spectroscopy, NIRS) of the left and right ECRB were recorded in 13 conservatory piano students (8 female, 5 male, mean age 23.54 ± 3.24 years) while playing piano repertoire (virtuoso piece or études) for 20 minutes. From the oxygenation data, relative changes (in the percentage of the baseline measurements at rest) were calculated.</p><p><strong>Results: </strong>For all participants, the oxygenated hemoglobin of the left ECRB over the piano play presented an averaged decline to the baseline resting value, with a sample mean for left ECRB of -7.48% and -11.88% for the right ECRB, ranging from -15.53% to -2.00% and -19.12% to -3.93%, respectively. The deoxygenated hemoglobin ranged in the left ECRB from -5.39% to 39.14% and from -9.37% to 54.01% in the right ECRB. The change in total hemoglobin ranged from -5.35% to 16.80% for the left ECRB and -12.10% to 10.37% for the right ECRB. EMG activity (in % maximal voluntary contraction) presented a mean of 16.85% (range 11.86 to 24.43) for the left ECRB and 23.65% (range 14.46 to 37.91) for the right ECRB. This pilot study presented a Pearson's r between the averaged oxygenated hemoglobin and EMG of -0.60 for the right ECRB and -0.48 for the left ECRB.</p><p><strong>Conclusion: </strong>Piano performance induced an average decline in oxygenated hemoglobin in the left and right ECRB, which differed largely between the specific pieces played. The EMG activity can partially explain these differences. Further research is needed to explore the impact of a 'dynamic index' reflecting the piece's dynamic characteristics and the individual oxygenation characteristics.</p>","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"38 4","pages":"214-223"},"PeriodicalIF":0.9,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138470494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Injuries and Factors Associated with Injuries Among U.S. Army Band Musicians.","authors":"Anna Schuh-Renner, Tyson L Grier, Catherine Rappole, Bruce H Jones, Kelsey McCoskey, Michelle Canham-Chervak","doi":"10.21091/mppa.2023.4027","DOIUrl":"10.21091/mppa.2023.4027","url":null,"abstract":"<p><p>The Department of Defense is the largest employer of full-time musicians. In the U.S. military, many musicians experience unique occupational exposures such as extended periods of standing, sitting, and marching for rehearsals and performances, static and non-neutral postures, and a variety of repetitive motions while playing instruments. These exposures are in addition to physical training and fitness standards required of U.S. Army soldiers.</p><p><strong>Methods: </strong>An electronic survey was administered to active-duty U.S. Army Band musicians. The survey collected demographics, personal characteristics, Army Physical Fitness Test performance, occupational demands, health behaviors, and injuries from October 2017 to December 2018. Survey responses were combined with medical and physical fitness performance records. Descriptive statistics were reported and factors associated with injuries were investigated.</p><p><strong>Results: </strong>There were 465 Army Band members in this population, with approximately half (49%) completing the survey. Most survey respondents (81%) reported an injury in the past year, which they predominantly attributed to overuse (54%). Leading reported activities resulting in injury included running for physical training (21%), repetitive movements while playing an instrument (11%), and standing while playing (11%). A majority of survey respondents (60%) also had a medical encounter for an injury. Factors significantly associated with injury among men were lower aerobic fitness and higher body fat percentage; additional unadjusted factors associated with injury among all Army Band soldiers included female sex, older age, and longer periods of marching and standing while playing.</p><p><strong>Conclusions: </strong>Injury prevention initiatives for Army Band musicians should focus on the reduction of overuse and repetitive motion injuries. Suggested prevention strategies include balanced physical training, ergonomic adjustments, rehearsal breaks, and leadership support for injury prevention efforts.</p>","PeriodicalId":18336,"journal":{"name":"Medical problems of performing artists","volume":"38 4","pages":"224-233"},"PeriodicalIF":0.9,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138470493","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}