Development and Initial Validation of the First Questionnaire to Evaluate Performance-related Pain Among Musicians with Different Backgrounds: Performance-related Pain Among Musicians Questionnaire (PPAM)

AIM

To develop and perform the expert's content validation and pretesting of the first questionnaire specifically designed to evaluate performance-related pain among musicians with different backgrounds.

METHODS

The development of the Performance-related Pain Among Musicians Questionnaire (PPAM) was carried out in 4 phases: (1) item generation, (2) experts' panel evaluation and content validation (3) pretesting, and (4) conceptualization of the final version. For item generation we conducted two systematic reviews to identify the existing tools evaluating similar constructs and the predictive factors of performance-related pain. Four expert panel meetings and three pilot tests were performed, with a total of 94 musicians.

RESULTS

From the 1154 articles initially found in the literature search, 153 were included (65 related to pain tools and 88 related to predictive factors) and a pool of 115 items were created. After expert panel evaluation and pretesting, a final self-report questionnaire was defined, comprising 33 core items to evaluate 3 constructs (pain intensity, pain interference in general activities and pain interference in performance), as well as 32 additional items (optional module - predictive factors).

CONCLUSIONS

The PPAM Questionnaire is specifically designed and validated for musicians and can be applied for all types of musicians (professional, amateur and music students), allowing the development of comparative studies between musicians. It is a new enriched tool, easy to respond and disseminate to large, multicentre, and international samples. PPAM is suitable for research and clinical practice purposes and will allow the improved assessment and monitoring of pain in this occupational context.

Online assessment of musical ability in 10 minutes: Development and validation of the Micro-PROMS

We describe the development and validation of a test battery to assess musical ability that taps into a broad range of music perception skills and can be administered in 10 minutes or less. In Study 1, we derived four very brief versions from the Profile of Music Perception Skills (PROMS) and examined their properties in a sample of 280 participants. In Study 2 (N = 109), we administered the version retained from Study 1-termed Micro-PROMS-with the full-length PROMS, finding a short-to-long-form correlation of r = .72. In Study 3 (N = 198), we removed redundant trials and examined test-retest reliability as well as convergent, discriminant, and criterion validity. Results showed adequate internal consistency ( ω ¯ = .73) and test-retest reliability (ICC = .83). Findings supported convergent validity of the Micro-PROMS (r = .59 with the MET, p < .01) as well as discriminant validity with short-term and working memory (r ≲ .20). Criterion-related validity was evidenced by significant correlations of the Micro-PROMS with external indicators of musical proficiency ( r ¯ = .37, ps < .01), and with Gold-MSI General Musical Sophistication (r = .51, p<.01). In virtue of its brevity, psychometric qualities, and suitability for online administration, the battery fills a gap in the tools available to objectively assess musical ability.

Generalization of auditory expertise in audio engineers and instrumental musicians

From auditory perception to general cognition, the ability to play a musical instrument has been associated with skills both related and unrelated to music. However, it is unclear if these effects are bound to the specific characteristics of musical instrument training, as little attention has been paid to other populations such as audio engineers and designers whose auditory expertise may match or surpass that of musicians in specific auditory tasks or more naturalistic acoustic scenarios. We explored this possibility by comparing students of audio engineering (n = 20) to matched conservatory-trained instrumentalists (n = 24) and to naive controls (n = 20) on measures of auditory discrimination, auditory scene analysis, and speech in noise perception. We found that audio engineers and performing musicians had generally lower psychophysical thresholds than controls, with pitch perception showing the largest effect size. Compared to controls, audio engineers could better memorise and recall auditory scenes composed of non-musical sounds, whereas instrumental musicians performed best in a sustained selective attention task with two competing streams of tones. Finally, in a diotic speech-in-babble task, musicians showed lower signal-to-noise-ratio thresholds than both controls and engineers; however, a follow-up online study did not replicate this musician advantage. We also observed differences in personality that might account for group-based self-selection biases. Overall, we showed that investigating a wider range of forms of auditory expertise can help us corroborate (or challenge) the specificity of the advantages previously associated with musical instrument training.

Music literacy improves reading skills via bilateral orthographic development

Considerable evidence suggests that musical education induces structural and functional neuroplasticity in the brain. This study aimed to explore the potential impact of such changes on word-reading proficiency. We investigated whether musical training promotes the development of uncharted orthographic regions in the right hemisphere leading to better reading abilities. A total of 60 healthy, right-handed culturally matched professional musicians and controls took part in this research. They were categorised as normo-typical readers based on their reading speed (syl/sec) and subdivided into two groups of relatively good and poor readers. High density EEG/ERPs were recorded while participants engaged in a note or letter detection task. Musicians were more fluent in word, non-word and text reading tests, and faster in detecting both notes and words. They also exhibited greater N170 and P300 responses, and target-non target differences for words than controls. Similarly, good readers showed larger N170 and P300 responses than poor readers. Increased reading skills were associated to a bilateral activation of the occipito/temporal cortex, during music and word reading. Source reconstruction also showed a reduced activation of the left fusiform gyrus, and of areas devoted to attentional/ocular shifting in poor vs. good readers, and in controls vs. musicians. Data suggest that music literacy acquired early in time can shape reading circuits by promoting the specialization of a right-sided reading area, whose activity was here associated with enhanced reading proficiency. In conclusion, music literacy induces measurable neuroplastic changes in the left and right OT cortex responsible for improved word reading ability.

Performance-Related Pain Among Musicians Questionnaire (PPAM): Multicenter Validation of the First Questionnaire to Evaluate Performance-Related Pain Among Musicians With Different Musical Backgrounds

We aim to present the first psychometric evaluation of the Performance-related Pain Among Musicians questionnaire (PPAM), the first questionnaire specifically designed to evaluate performance-related pain among musicians with different musical backgrounds, based on a multicenter validation study. The psychometric evaluation was performed in a validation sample of 458 musicians, at baseline and after seven days. We assessed the applicability, reliability, internal consistency, construct validity, and factor structure of the PPAM. The Cronbach's α coefficients for the 3 subdimensions of PPAM-"pain intensity", "pain interference in general", and "pain interference in performance"-were .834, .864, and .930, respectively, suggesting a high degree of internal consistency. Test-retest reliability coefficients were substantial for all subscales of the PPAM questionnaire. Exploratory factor analysis indicated a three-factor structure (pain intensity, interference in general activities, and interference in performance) that explained 62% of the variance. Both convergent and divergent validity were well demonstrated, confirming more than 95% of the previously defined hypotheses regarding correlations with other measures. PPAM is the first validated questionnaire to evaluate pain among musicians with different musical backgrounds. This online self-reported questionnaire is a valid and reliable tool suitable for both clinical research and clinical practice, with excellent psychometric properties, both in terms of internal consistency, test-retest reliability, factor analysis, and construct validity. It will allow the development of more robust studies on pain and disability among musicians, comparative studies between different subgroups of musicians and the evaluation of predictive factors of pain development. PERSPECTIVE: This article presents the psychometric properties of the first questionnaire to evaluate pain among musicians (in general), the "Performance-related Pain among Musicians Questionnaire" (PPAM). This valid and reliable tool, composed by three constructs (pain intensity, interference in general activities, and interference in performance), will improve the pain assessment among musicians.

Resting-state functional connectivity in an auditory network differs between aspiring professional and amateur musicians and correlates with performance

Auditory experience-dependent plasticity is often studied in the domain of musical expertise. Available evidence suggests that years of musical practice are associated with structural and functional changes in auditory cortex and related brain regions. Resting-state functional magnetic resonance imaging (MRI) can be used to investigate neural correlates of musical training and expertise beyond specific task influences. Here, we compared two groups of musicians with varying expertise: 24 aspiring professional musicians preparing for their entrance exam at Universities of Arts versus 17 amateur musicians without any such aspirations but who also performed music on a regular basis. We used an interval recognition task to define task-relevant brain regions and computed functional connectivity and graph-theoretical measures in this network on separately acquired resting-state data. Aspiring professionals performed significantly better on all behavioral indicators including interval recognition and also showed significantly greater network strength and global efficiency than amateur musicians. Critically, both average network strength and global efficiency were correlated with interval recognition task performance assessed in the scanner, and with an additional measure of interval identification ability. These findings demonstrate that task-informed resting-state fMRI can capture connectivity differences that correspond to expertise-related differences in behavior.

Differential advantages of musical backgrounds on binaural integration and interaction skills in instrumentalists, vocalists, and non-musicians

Background

Musical perception requires a host of skills. Instrumental musicians place greater emphasis on motor coordination, whereas vocal musicians rehearse vocal sounds. The study explored the differential advantages of musical background on binaural integration and interaction in musicians (instrumentalists, vocalists) and compared them with age-matched non-musicians.

Methods

Eight six participants aged 20-40 y with normal hearing sensitivity were subjected to binaural tests using a standard group comparison research design. The participants were segregated into three groups - Group 1 included instrumentalists (n = 26, mean age: 17.73 ± 2.83 y), while Group 2 and Group 3 consisted of vocalists (n = 30, mean age: 19.30 ± 2.47 y) and non-musicians (n = 30, mean age: 18.20 ± 3.02 y) respectively. The binaural processes namely integration (Dichotic syllable test, DST; and virtual acoustic space identification - VASI) and interaction (Interaural difference thresholds for time and level: ITD & ILD), were administered on all the participants.

Results

Statistical analyses showed the main effect of musicianship. Bonferroni pair-wise test revealed that the musicians (instrumentalists and vocalists) outperformed (p < 0.05) non-musicians in all the tests. The differential advantage of the musical background was seen on the binaural integration test with instrumentalists performing better in the VASI test compared to vocalists, and vice-versa for DST. No difference was observed in interaction tasks (ITD & ILD) between vocalists and instrumentalists (p > 0.05).

Conclusion

Musical background-induced differential advantages can be reasonably noted in the binaural skills of instrumentalists and vocalists (compared to non-musicians).

Assessing posture while playing in musicians - A systematic review

INTRODUCTION

Playing a musical instrument can potentially lead to musculoskeletal disorders. Postural loads are different considering the instrument they play; for example violin and flute require elevation from both upper limbs, asymmetrical postures are common and instrument weight can be significant. The aim was to explore how musicians' postures are investigated, and potentially if there is evidence of an association between postural impairments and pain.

METHODS

A systematic search was performed in several databases, combined with manual search. Study inclusion, data extraction and quality assessment were performed independently by two reviewers.

RESULTS

Twenty seven relevant studies were included in this review covering musicians with the full range of playing experience (professionals, students, teachers, amateurs). The main considered methods to investigate postures are visual assessment and three dimensional analysis using videography.

DISCUSSION

This review provides a synthesis of the different methods used to monitor posture in musicians and provides information in order to build protocols which will allow comparison with previous work.

Work satisfaction and job permanence in artistic careers: the case of musicians in Belo Horizonte, Brazil

Working conditions of musicians are marked by several specific characteristics that differ the occupation from most others in the labor market. For instance, non-pecuniary aspects of the profession may have a greater influence on the individuals who pursue musical activities than in most other occupations. Moreover, musicians are more susceptible to uncertainties in the short run and regarding the duration of their careers. Besides, informality and underemployment rates tend to be higher in the music industry when compared to the rest of the labor market. This paper aims to better understand musician's labor market participation using primary data. We conducted an online survey between February and December 2020, gathering data about working conditions, in particular job satisfaction and turnover, with all the musicians from Belo Horizonte who were registered and not were registered in musician's association. Belo Horizonte is known as a unique city and a highly heterogeneous environment for the development of the music industry. Thus, using work satisfaction indicators and Kaplan-Meier survival model, controlled by personal and work-position variables, this study highlights that most musicians were neither satisfied nor dissatisfied with their work. However, satisfaction was positively correlated with the following characteristics: being protected by social security, having a music career as main occupation, and holding a degree in music. These traits were also important for musicians to remain in the occupation throughout 2020, an atypical period due to the COVID-19 pandemic.

Patient-reported outcome measures of musculoskeletal symptoms and psychosocial factors in musicians: a systematic review of psychometric properties

PURPOSE

To systematically review patient-reported outcome measures (PROMs) of musicians' musculoskeletal symptoms (MSS) and psychosocial factors and their psychometric properties.

METHODS

Six databases were searched. Studies evaluating at least one psychometric property of a PROM developed for or adapted to adult musicians and measuring MSS or occupational psychosocial factors were included. Study quality was evaluated using mainly the COSMIN checklist.

RESULTS

Twenty-eight studies were included, yielding 27 PROMs. Most COSMIN scores are Doubtful or Inadequate. Validity and internal consistency are the most evaluated psychometric properties. Test-retest reliability was evaluated in five studies (all inadequate sample sizes), measurement error in one, and responsiveness in none. The English, German and Polish Musculoskeletal Pain Intensity and Interference Questionnaire for professional orchestra Musicians (MPIIQM), the 40-item English and Peruvian Spanish Kenny Music Performance Anxiety Inventory (KMPAI) and the Psychosocial Risks Questionnaire for Musicians (PRQM, Polish) are the most robust scales for their constructs. Their internal consistency is sufficient (Cronbach's α ≥ 0.70). Test-retest reliability and construct validity are only sufficient for the German MPIIQM (intraclass correlation coefficients ≥ 0.70). However, results are based on one study per PROM; all require further validation before validity, reliability and responsiveness can be confirmed.

CONCLUSION

Due to generally poor methodological quality and one study per PROM on average, none can be confirmed valid, reliable and responsive. Yet, preliminary validation recommends prudent use of some PROMs pending further validation. Robust PROM studies are needed to fill the important literature gap regarding musician-specific, validated PROMs.

Comparison of the effectiveness of a structured exercise program on nonspecific neck pain in string and woodwind players

To investigate the effect of a structured exercise training program on pain, functional status, physical function and quality of life (QoL) in string and woodwind players with nonspecific cervical pain. This study had a prospective cohort design and conducted on 40 musicians (26 male, 14 female) aged between 18 and 65 years with persistent nonspecific neck pain in the previous 3 months. Forty musicians were assigned to either violin (n = 20, median age; 26.5 year, height; 1.67 m, body mass; 65 kg, BMI; 23.04 kg/m²) or ney group (n = 20, median age; 27.5 year, height; 1.81 m, body mass; 75 kg, BMI; 23.35 kg/m²) and followed the same structured exercise program (3 days/per week for 8 weeks). The primary outcome was neck pain intensity and assessed on a visual analog scale (VAS). Secondary outcomes; cervical range of motion (ROM) was measured using a goniometer, the jaw-to-sternum and jaw-to-wall distances were used for the assessment of cervical mobility, neck, shoulder and back muscles strength were assessed with a hand-held dynamometer, the Northwick Park Neck Pain and Short Form 36 (SF-36) questionnaires were also used. Normality of data distribution was checked using the Kolmogorov-Smirnov test. For evaluating the training effectiveness on outcome measures, Mann-Whitney U and Wilcoxon test were used compare pre-test and post-test values with/within groups, respectively. The primary outcome (pain intensity) was lowered %33 in both groups. However, the mean change was found similar (median mean changes; -2 for both groups) (p > 0.05). The secondary outcomes; cervical mobility, cervical flexion ROM, disability and muscle strength of the left middle trapezius, left hand grip, anterior and middle parts of the right deltoid, and cervical flexors also significantly improved in both groups (p < 0.05). Only the mean changes of right serratus anterior, middle trapezius and cervical flexor muscles were higher in violin group than ney group (p < 0.05). There was no significant difference in the cervical extension, right rotation, left rotation, right lateral flexion and left lateral flexion after the treatment in both groups (p > 0.05). There was no significant difference between the groups after the exercise program in terms of pain, mobility, range of motion and SF-36 subdomains (p > 0.05). Specific exercise program had similar positive effects on pain, cervical mobility, cervical fexion ROM and disability in string and woodwind players. Although several muscles showed similar improvements in strength, some muscle groups recovered differently. Physical needs specific to the instrument and performance should be taken into account when prescribing exercises to musicians having the same problem, but playing different instruments.

MusicCohort: Pilot feasibility of a protocol to assess students' physical and mental health in a Canadian post-secondary school of music

Objective

Music-related physical and mental health conditions are common among post-secondary music students, with many studies reporting a prevalence greater than 70%. However, there is currently no consensus on appropriate, validated assessments for this population. The aim of this pilot study was to test the feasibility of an assessment protocol developed for a German longitudinal study with Canadian post-secondary music students, and to compare the health of music students to non-music students. Using a cross-sectional design, first-semester music and non-music control students were recruited at two campuses at the same university. Both groups completed questionnaires and physical testing, including range of motion, core strength, and pressure pain threshold. Nineteen music students and 50 non-music student controls participated in this study.

Results

The German protocol is feasible in a Canadian post-secondary setting. Canadian music students demonstrated similar health outcomes to those in the parent study. All participants demonstrated poorer mental and physical quality of life than the Canadian norms, though this was not statistically significant. The results of this study should be confirmed in a larger study. Future studies with larger sample sizes can provide further insight into the health of Canadian music students, providing a basis for prevention and intervention.

Supplementary Information

The online version contains supplementary material available at 10.1186/s13104-021-05829-9.

Musculoskeletal and psychological assessments used in quantitatively based studies about musicians' health in brass players: A systematic literature review

OBJECTIVE

Brass players are exposed to high musculoskeletal strains during their instrumental play. Various assessments can be used to measure these strains, whereby a targeted therapy can also be supported. The aim of this study was to review literature concerning assessments used in quantitatively based studies about the analysis of musculoskeletal loads of brass players.

DATA SOURCES

The Cochrane Library, PubMed, CINAHL, PEDro as well as the journal "Medical Problems of Performing Artists" were searched for relevant studies.

STUDY SELECTION

Two reviewers independently applied the inclusion and exclusion criteria to select potential studies. A third reviewer was involved in the case of discrepancies.

DATA EXTRACTION

Two reviewers independently extracted the data.

DATA SYNTHESIS

A total of 73 studies conducted between 2004 and 2019 were included. Within a total of 30 studies, 18 assessments could be found that collect 2-dimensional or 3-dimensional kinematic data using video- or image-based analysis of posture, sonographic, optoelectronic and various electromagnetic systems. In 7 studies kinetic data were measured by force-transducers, pressure platforms, stabilizer and dynamometer. Fifteen studies used clinical examinations and additional assessments to screen individual body regions and 9 studies derived electromyography measurements from a total of 25 muscles. Thirty-one partially validated questionnaires were used to record musculoskeletal pain of brass players.

CONCLUSIONS

A variety of assessments can be used to optimize analysis and treatment procedures in research and clinical work. Future studies should both examine quality criteria of the various assessment methods and validate clinical examinations and questionnaires.

The development and use of an anatomy-based retraining program (MusAARP) to assess and treat focal hand dystonia in musicians-A pilot study

BACKGROUND

Movement dysfunctions are commonly reported in musicians, and in extreme cases may result in a persisting loss of motor control. This condition, whereby motor control of the hand during previously highly trained movements on the instrument is lost, is termed focal hand dystonia. It is widely considered to be a consequence of prolonged repetitive daily practice, often in combination with exposure to a range of other risk factors. Current literature recommends retraining as a promising treatment intervention, although only scant scientific evidence exists on which components should be included in a retraining program, and how these may be best administered.

METHODS

A progressive muscle activation and movement exercise program was devised by one of the authors applying a series of anatomy-based off-instrument movement tasks. This series of fine motor control exercises, was used to both assess and retrain focal hand dystonia in a population of musicians. The standardized approach aimed to provide a systematic method of retraining musically relevant muscular synergies that could later be applied to the instrument, while still allowing individual modifications. Retraining sessions were mostly run online as a consequence of the coronavirus pandemic, although some early sessions were also able to be undertaken face to face. Both qualitative and quantitative measures were used in this case series to evaluate program efficacy, due to the typical heterogeneity of the focal hand dystonia participants. This included: blinded external neurological evaluation of video footage using the Tubiana grading system, written subjective feedback, exercise progressions, and performance outcomes.

RESULTS

Pilot testing of 4 patients indicated the utility of the program over approximately a 12- month time period. All subjects improved, 2 of whom have returned to pre-dystonia performance levels. These patients reported the importance of patience and persistence with daily exercise sessions in their recovery.

CONCLUSION

Using off-instrument playing-relevant exercises to enhance fine motor control and muscle activation can be effective in retraining focal hand dystonia, regardless of additional treatments or level of performance. They should be regularly practiced and progressed in order for effects to be best progressed to instrumental applications. Further research may elucidate whether there are optimal outcomes with single or particular combinations of treatment approaches.

Effect of Listening Biographies on Frequency Following Response Responses of Vocalists, Violinists, and Non-Musicians to Indian Carnatic Music Stimuli

Background and Objectives

The current study investigates pitch coding using frequency following response (FFR) among vocalists, violinists, and non-musicians for Indian Carnatic transition music stimuli and assesses whether their listening biographies strengthen their F0 neural encoding for these stimuli.

Subjects and Methods

Three participant groups in the age range of 18-45 years were included in the study. The first group of participants consisted of 20 trained Carnatic vocalists, the second group consisted of 13 trained violinists, and the third group consisted of 22 non-musicians. The stimuli consisted of three Indian Carnatic raga notes (/S-R2-G3/), which was sung by a trained vocalist and played by a trained violinist. For the purposes of this study, the two transitions between the notes T1=/S-R2/ and T2=/R2-G3/ were analyzed, and FFRs were recorded binaurally at 80 dB SPL using neuroscan equipment.

Results

Overall average responses of the participants were generated. To assess the participants’ pitch tracking to the Carnatic music stimuli, stimulus to response correlation (CC), pitch strength (PS), and pitch error (PE) were measured. Results revealed that both the vocalists and violinists had better CC and PS values with lower PE values, as compared to non-musicians, for both vocal and violin T1 and T2 transition stimuli. Between the musician groups, the vocalists were found to perform superiorly to the violinists for both vocal and violin T1 and T2 transition stimuli.

Conclusions

Listening biographies strengthened F0 neural coding, with respect to the vocalists for vocal stimulus at the brainstem level. The violinists, on the other hand, did not show such preference.

Wellbeing and flow in sports and music students during the COVID-19 pandemic

The aim of the study was to explore emotional and cognitive aspects of subjective wellbeing and flow in music and sports students during the lockdown imposed by the COVID-19 pandemic. Participants (314 higher education sports and music students) answered questions about measure of flow, satisfaction with life, satisfaction with studying, positive and negative affect, and COVID-19 impact. The results revealed differences in eight flow dimensions and a global flow score in favor of sports students. Differences were also found in affect: sports students experienced more positive affect and less negative affect than musicians. However, there were no significant differences with regard to satisfaction with life or satisfaction with study, and music and sports students perceived the COVID-19 impact equally. Gender differences were found for three flow dimensions and the global flow score (female students experienced flow less frequently than males) and satisfaction with studying (higher scores for female students). However, no gender differences were detected for satisfaction with life, positive and negative affect, or COVID-19 impact. The results of regression analyses showed that satisfaction with life and studying, positive and negative affect, and COVID-19 impact could all be predicted on the basis of flow dimensions.

Surface electromyography of forearm and shoulder muscles during violin playing

The aims of this study were to explore muscle activity levels during different violin repertoires, quantify the general levels bilaterally in upper extremity muscles, and evaluate associations between muscle activity and anthropometrics characteristics. In 18 skilled violin players surface EMG was recorded bilaterally from trapezius (UT), flexor digitorum superficialis (FDS), extensor carpi ulnaris (ECU), extensor digitorum cummunis (EDC), and extensor carpi radialis (ECR) during A and E major scales played in three octaves and Mozart's Violin Concerto no. 5. To compare side differences the static, median and peak levels of muscle activity were calculated from an amplitude probability distribution function (APDF). This study demonstrated that scales played as standardized tasks can be used to estimate the average muscle activity during violin playing. Comparing results from scales and the music piece revealed a similar muscle activity across all muscles in the music piece and E major scales. The static, median and peak EMG levels were higher in left than in right forearm muscles with left ECU presenting the highest peak load of 30 %MVE. Females demonstrated a higher muscle activity than males, but this was in accordance with differences in anthropometric measures.

Self-reported sleep bruxism among Finnish symphony orchestra musicians: Associations with perceived sleep-related problems and psychological stress

Objective: This study aimed to evaluate whether self-reported sleep bruxism among musicians is associated with sleep-related problems and/or psychological stress.Methods: Eight hundred-thirty-one Finnish orchestra musicians completed a questionnaire that covered, among others, indicators of sleep-related problems, possible sleep bruxism, and stress.Results: In total, 488 questionnaires were completed. The single variable ordinal logistic regression models revealed at least moderate associations between frequency of sleep bruxism and female gender, shorter sleep duration, longer sleep latency, problems in sleeping during concert season, feeling more often tired during the daytime, restless legs, a poor self-rated sleep quality, and more stress experience. The variables that remained in the final model were sleep duration, gender, and stress.Conclusion: Musicians who sleep 7 hours or less per night report more sleep bruxism, as compared to those who sleep 8 hours or more. Female gender and high-stress experience were associated with more sleep bruxism.

[Playing-related musculoskeletal disorders in the Valencian Community]

OBJECTIVES

There is a relationship between routinely playing an instrument and musculoskeletal disorders. The most important of these disorders is pain. Therefore, playing-related musculoskeletal disorders can be established as a specific occupational problem. The Valencian Community is a region with a well-known musical tradition, in which the health impact of playing an instrument has not been sufficiently identified. The aim of this study was to define the frequency of musculoskeletal pain in music students in our environment and to identify its localization according to the instrument played.

MATERIALS AND METHOD

This study included music students in the intermediate or advanced levels of the conservatoires of the Valencian Community. The variables were gathered through a health questionnaire completed by the students. To determine pain intensity, we calculated the mean VAS scores and the pain scores of the SRS-22 and CAVIDRA questionnaires, which have been validated for the Spanish population. Segmental pain localization was studied in the different groups of instruments.

RESULTS

A total of 268 questionnaires were gathered, of which 222 met the inclusion criteria. Playing-related pain or discomfort was reported by 68% of respondents. The most frequently affected system was the musculoskeletal system. The most frequently-reported playing-related symptoms were pain, muscular tension, spasm and fatigue.

CONCLUSIONS

A total of 68% of the musicians in this study reported some type of playing-related pain at some time during their studies. Study of the topography of instrument-related pain provides useful data for the design of prevention strategies.

Short-term memory capacity and sensitivity to language statistics in dyslexia and among musicians

Poor short-term memory (STM) capacity in individuals with dyslexia (IDDs) and enhanced STM capacity in musicians are well documented, yet their causes are disputed. Previous studies also found poor use of stimuli statistics by IDDs and enhanced use by musicians. We hypothesized that these observations are functionally related, as follows: Enhanced sensitivity to statistics facilitates musicians' benefit from each exposure, and reduced sensitivity to statistics hinders IDDs' benefit. Thus, larger group differences are expected for larger exposure: STM capacity, which is sensitive to item familiarity, will thus be larger among musicians, and smaller among IDDS, particularly for high-frequency items. Testing this hypothesis using syllable span, we found that musicians' advantage and IDDs' difficulty were indeed larger for high-frequency syllables than for low-frequency ones. By contrast, benefits from sequence repetition did not differ between musicians, controls and IDDs, suggesting that online sequence learning is based on a different mechanism. To test this dissociation we recruited, in addition to native Hebrew speakers, native English speakers, matched to the Hebrew-speaking controls. Their spans for high-frequency syllables in Hebrew, which do not have high frequency in English, were small - as expected from reduced exposure to these syllables. Yet, their benefit from sequence repetition was similar to that of the three Hebrew-speaking groups. Taken together, these experiments suggest that different sensitivities to item frequency explain some of the population-related variability in STM tasks. By contrast, benefits from sequence repetition do not depend on item familiarity, and do not differ between groups.

Heterogeneity of EEG resting-state brain networks in absolute pitch

The neural basis of absolute pitch (AP), the ability to effortlessly identify a musical tone without an external reference, is poorly understood. One of the key questions is whether perceptual or cognitive processes underlie the phenomenon, as both sensory and higher-order brain regions have been associated with AP. To integrate the perceptual and cognitive views on AP, here, we investigated joint contributions of sensory and higher-order brain regions to AP resting-state networks. We performed a comprehensive functional network analysis of source-level EEG in a large sample of AP musicians (n = 54) and non-AP musicians (n = 51), adopting two analysis approaches: First, we applied an ROI-based analysis to examine the connectivity between the auditory cortex and the dorsolateral prefrontal cortex (DLPFC) using several established functional connectivity measures. This analysis is a replication of a previous study which reported increased connectivity between these two regions in AP musicians. Second, we performed a whole-brain network-based analysis on the same functional connectivity measures to gain a more complete picture of the brain regions involved in a possibly large-scale network supporting AP ability. In our sample, the ROI-based analysis did not provide evidence for an AP-specific connectivity increase between the auditory cortex and the DLPFC. The whole-brain analysis revealed three networks with increased connectivity in AP musicians comprising nodes in frontal, temporal, subcortical, and occipital areas. Commonalities of the networks were found in both sensory and higher-order brain regions of the perisylvian area. Further research will be needed to confirm these exploratory results.

Overuse syndrome of the hand and wrist in musicians: a systematic review

We systematically searched medical publication databases for articles in English on upper extremity overuse syndrome in musicians. We focused on non-specific pain disorders, including diagnostic definitions, epidemiology, pathophysiology, risk factors, symptoms, treatment, and prevention. We included 42 out of 156 identified articles. The point prevalence of playing-related musculoskeletal disorders ranges from 37% to 47% in musicians with the hand and wrist among the most commonly affected areas, and the lifetime prevalence is reported as high as 89%. Leading symptoms are pain, weakness, stiffness, and loss of control. Intense repetitive use during practice, or before an audition or concert, recent changes in conductors or teachers, psychological stress, the effort of holding a weighty instrument, wrong technique, and joint laxity have all been identified as risk factors. The need for prevention is highlighted. Today's therapy is mostly based on individual rehabilitation programmes rather than on long-term rest. However, treatment remains predominantly based on beliefs rather than on evidence. The entire subject needs intensive future research.

Craniofacial morphology of wind and string instrument players: a cephalometric study

Background

Playing an instrument may promote a parafunctional behavior within the cranio-cervical-mandibular-complex with unknown repercussions. The aim of this study was to find any association between the dental inter-arch relationship and the practice of a wind or string instrument.

Methods

A sample of 77 musicians, divided in two groups of wind (n = 50) and string instrumentalists (n = 27), had a lateral cephalogram taken to compare six cephalometric parameters following the Rickett’s analysis (maxilla position, mandible position, facial type, skeletal class, upper incisor and lower incisor inclination). The Fisher test was performed to compare, with a 95% statistical confidence, if both groups have similar frequency distributions for each cephalometric parameter.

Results

No statistical differences were found for the maxilla position, mandible position, facial type, skeletal class and upper incisor inclination. Statistical differences were found for the lower incisor inclination (p = 0.011).

Conclusions

Playing a wind instrument showed to have little orthopaedic influence at the craniofacial morphology, on contrary it may influence the lower incisor inclination with its osseous base.

Musicians use speech-specific areas when processing tones: The key to their superior linguistic competence?

It is known that musicians compared to non-musicians have some superior speech and language competence, yet the mechanisms how musical training leads to this advantage are not well specified. This event-related fMRI study confirmed that musicians outperformed non-musicians in processing not only of musical tones but also syllables and identified a network differentiating musicians from non-musicians during processing of linguistic sounds. Within this network, the activation of bilateral superior temporal gyrus was shared with all subjects during processing of the acoustically well-matched musical and linguistic sounds, and with the activation distinguishing tones with a complex harmonic spectrum (bowed tone) from a simpler one (plucked tone). These results confirm that better speech processing in musicians relies on improved cross-domain spectral analysis. Activation of left posterior superior temporal sulcus (pSTS), premotor cortex, inferior frontal and fusiform gyrus (FG) also distinguishing musicians from non-musicians during syllable processing overlapped with the activation segregating linguistic from musical sounds in all subjects. Since these brain-regions were not involved during tone processing in non-musicians, they could code for functions which are specialized for speech. Musicians recruited pSTS and FG during tone processing, thus these speech-specialized brain-areas processed musical sounds in the presence of musical training. This study shows that the linguistic advantage of musicians is linked not only to improved cross-domain spectral analysis, but also to the functional adaptation of brain resources that are specialized for speech, but accessible to the domain of music in the presence of musical training.

Reading music and words: The anatomical connectivity of musicians' visual cortex

Musical score reading and word reading have much in common, from their historical origins to their cognitive foundations and neural correlates. In the ventral occipitotemporal cortex (VOT), the specialization of the so-called Visual Word Form Area for word reading has been linked to its privileged structural connectivity to distant language regions. Here we investigated how anatomical connectivity relates to the segregation of regions specialized for musical notation or words in the VOT. In a cohort of professional musicians and non-musicians, we used probabilistic tractography combined with task-related functional MRI to identify the connections of individually defined word- and music-selective left VOT regions. Despite their close proximity, these regions differed significantly in their structural connectivity, irrespective of musical expertise. The music-selective region was significantly more connected to posterior lateral temporal regions than the word-selective region, which, conversely, was significantly more connected to anterior ventral temporal cortex. Furthermore, musical expertise had a double impact on the connectivity of the music region. First, music tracts were significantly larger in musicians than in non-musicians, associated with marginally higher connectivity to perisylvian music-related areas. Second, the spatial similarity between music and word tracts was significantly increased in musicians, consistently with the increased overlap of language and music functional activations in musicians, as compared to non-musicians. These results support the view that, for music as for words, very specific anatomical connections influence the specialization of distinct VOT areas, and that reciprocally those connections are selectively enhanced by the expertise for word or music reading.

Experience-dependent neuroplasticity in trained musicians modulates the effects of chronic pain on insula-based networks - A resting-state fMRI study

Recent resting-state fMRI studies associated extensive musical training with increased insula-based connectivity in large-scale networks involved in salience, emotion, and higher-order cognitive processes. Similar changes have also been found in chronic pain patients, suggesting that both types of experiences can have comparable effects on insula circuitries. Based on these observations, the current study asked the question whether, and if so in what way, different forms of experience-dependent neuroplasticity may interact. Here we assessed insula-based connectivity during fMRI resting-state between musicians and non-musicians both with and without chronic pain, and correlated the results with clinical pain duration and intensity. As expected, insula connectivity was increased in chronic pain non-musicians relative to healthy non-musicians (with cingulate cortex and supplementary motor area), yet no differences were found between chronic pain non-musicians and healthy musicians. In contrast, musicians with chronic pain showed decreased insula connectivity relative to both healthy musicians (with sensorimotor and memory regions) and chronic pain non-musicians (with the hippocampus, inferior temporal gyrus, and orbitofrontal cortex), as well as lower pain-related inferences with daily activities. Pain duration correlated positively with insula connectivity only in non-musicians, whereas pain intensity exhibited distinct relationships across groups. We conclude that although music-related sensorimotor training and chronic pain, taken in isolation, can lead to increased insula-based connectivity, their combination may lead to higher-order plasticity (metaplasticity) in chronic pain musicians, engaging brain mechanisms that can modulate the consequences of maladaptive experience-dependent neural reorganization (i.e., pain chronification).

How do we assess musicians' musculoskeletal symptoms?: a review of outcomes and tools used

Recent reviews of musicians' musculoskeletal symptoms (MSS) have reported heterogeneity in the outcomes reported and data collection tools used, making it difficult to compare and synthesise findings. The purpose of this present review was to improve the consistency of future research, by documenting the outcomes reported in recent studies of musicians' MSS and the data collection tools used. All English language, peer-reviewed studies, published 2007-2016 that reported musicians' self-reported MSS outcomes were identified. Details of the types of outcomes reported and the tools used were extracted, and synthesised descriptively. A range of MSS outcomes were reported, including MSS with a temporal relationship to activities performed, and the consequences of symptoms. Only 24% of studies used standardised questionnaires, with the Nordic Musculoskeletal Questionnaire (NMQ) being the most commonly used. To improve the homogeneity of outcomes and data collection tools when investigating musicians' MSS, we recommend using the NMQ, where appropriate. Recall periods of 12-months and 7-d are the most appropriate for prevalence, and 7-d recall periods for ratings. Importantly, outcomes and the tools used to collect data should be reported in sufficient detail to ensure that the study can be replicated, critiqued, and accurately interpreted.

Prevalence of Noise-Induced Hearing Loss in Middle and High School Band Members: A Preliminary Study

OBJECTIVE

This study was aimed at determining the risk of developing noise-induced hearing loss (NIHL) in middle school band (MSB) and high school band (HSB) members.

METHOD

Between-group comparison of hearing thresholds. Eleven MSB members and 6 MSNB controls, 20 HSB members and 5 HSNB controls.

RESULTS

Sixty-four percent of school-age band members presented with 15 dB HL or greater notch at 4,000 or 6,000 Hz in at least one ear. The high school students were slightly more likely to present with a notch.

CONCLUSIONS

Results indicate that participation in band even as early as middle school increases the risk of developing NIHL, and that the longer the participation the higher the risk. Steps to insure hearing preservation in school-age band members are recommended.

Eating disorders in musicians: a survey investigating self-reported eating disorders of musicians

PURPOSE

This study aimed to estimate the prevalence of eating disorders (EDs) in musicians, and to evaluate their relation to perfectionism, stress, anxiety and depression.

METHODS

It examined: (1) the prevalence of EDs using the Eating Disorder Examination Questionnaire (EDE-Q), body mass index (BMI) and self-reports, (2) psychological risk factors using the Depression Anxiety Stress Scale (DASS-21) and perfectionism inventory and (3) demographic details, information about musical and career development, lifestyle, eating habits and health. A survey was distributed worldwide and a total of 301 English-speaking musicians aged 18 years and older participated.

RESULTS

Our screening tools for EDs showed a high prevalence of EDs in musicians: the EDE-Q Global Score (EDE-QGS) showed pathological values in 18.66% of the musicians and when questioned about lifetime prevalence, 32.3% of the musicians answered positively. The median BMI was within the normal range. Regarding general mental health, the DASS-21 showed that depression and stress were severe, anxiety was extremely severe and the perfectionism inventory composite score was 26.53. There was no significant difference on the EDE-QGS between musicians who perform different types of music, but music students, professionals, soloists and musicians travelling overseas had a higher percentage of pathological EDE-QGS. Perfectionism was higher in classical musicians and there was a low positive correlation between EDE-QGS and the risk factors: perfectionism, depression, anxiety, stress, peer pressure and social isolation.

CONCLUSION

EDs are prevalent in musicians and possible risk factors are their increased perfectionism, depression, anxiety and stress due to the demands of their job.

Autistic traits, resting-state connectivity, and absolute pitch in professional musicians: shared and distinct neural features

Background

Recent studies indicate increased autistic traits in musicians with absolute pitch and a higher proportion of absolute pitch in people with autism. Theoretical accounts connect both of these with shared neural principles of local hyper- and global hypoconnectivity, enhanced perceptual functioning, and a detail-focused cognitive style. This is the first study to investigate absolute pitch proficiency, autistic traits, and brain correlates in the same study.

Sample and methods

Graph theoretical analysis was conducted on resting-state (eyes closed and eyes open) EEG connectivity (wPLI, weighted phase lag index) matrices obtained from 31 absolute pitch (AP) and 33 relative pitch (RP) professional musicians. Small-worldness, global clustering coefficient, and average path length were related to autistic traits, passive (tone identification) and active (pitch adjustment) absolute pitch proficiency, and onset of musical training using Welch two-sample tests, correlations, and general linear models.

Results

Analyses revealed increased path length (delta 2–4 Hz), reduced clustering (beta 13–18 Hz), reduced small-worldness (gamma 30–60 Hz), and increased autistic traits for AP compared to RP. Only clustering values (beta 13–18 Hz) were predicted by both AP proficiency and autistic traits. Post hoc single connection permutation tests among raw wPLI matrices in the beta band (13–18 Hz) revealed widely reduced interhemispheric connectivity between bilateral auditory-related electrode positions along with higher connectivity between F7–F8 and F8–P9 for AP. Pitch-naming ability and pitch adjustment ability were predicted by path length, clustering, autistic traits, and onset of musical training (for pitch adjustment) explaining 44% and 38% of variance, respectively.

Conclusions

Results show both shared and distinct neural features between AP and autistic traits. Differences in the beta range were associated with higher autistic traits in the same population. In general, AP musicians exhibit a widely underconnected brain with reduced functional integration and reduced small-world property during resting state. This might be partly related to autism-specific brain connectivity, while differences in path length and small-worldness reflect other ability-specific influences. This is further evidenced for different pathways in the acquisition and development of absolute pitch, likely influenced by both genetic and environmental factors and their interaction.

Validation of clinical techniques for verification of uniform attenuation earplugs

OBJECTIVE

Uniform attenuation earplugs (UAE) theoretically provide near even attenuation across frequencies when built to a manufacturer's specifications. Unfortunately, there is no current research available confirming if custom-molded uniform attenuation earplugs (UAE) are made to specifications nor is there guidance available on clinical methods of measuring attenuation of uniform attenuation earplug (UAE) devices. The goal of this study was to evaluate different procedures for UAE verification and to determine the most accurate clinically accessible verification protocol.

DESIGN

Attenuation was measured using probe microphone techniques, as well as real-ear attenuation at threshold (REAT) measurements under circumaural earphones, soundfield speakers and supra-aural earphones. Comparisons were made to a reference system created in the laboratory.

STUDY SAMPLE

Seventeen adult participants, totaling 30 ears.

RESULTS

The results of this study demonstrate that the REAT measured in the soundfield using a narrowband noise stimulus with masking in the contralateral ear is currently the most accurate and widely available method of verifying UAEs.

CONCLUSIONS

Factoring in clinical efficiency, the authors of this study recommend verifying attenuation levels using a soundfield REAT procedure as best clinical practice. In addition, the data suggests that REAT measurements under circumaural earphones are an acceptable second choice method.

Fungal contamination of wind instruments: Immunological and clinical consequences for musicians

INTRODUCTION

Playing a wind instrument is an increasingly reported cause of hypersensitivity pneumonitis. However, current knowledge about contamination of wind instruments by fungi and specific fungal sensitization is scarce. Therefore, we aimed: (i) to assess the current prevalence and type of fungal contamination of wind instruments, (ii) to identify potential risk factors associated with instrument contamination, and (iii) to evaluate the prevalence of sensitization to these fungi among musicians.

MATERIAL AND METHODS

Musicians from music schools in eastern France and who played a wind instrument were prospectively recruited (NCT01487850). The mouthpiece and the reed of their instrument were sampled to quantify the magnitude and type of fungi. Each subject had a physical examination, a mycological analysis of saliva and a blood sample in search of serum precipitins against the most frequent fungi isolated from instruments. The results were compared with those of 40 healthy non-exposed controls.

RESULTS

Forty musicians playing a wind instrument (bassoon, clarinet, oboe, saxophone) were included. (i) 95% of wind instruments were colonized by fungi, mainly with Phoma spp., Penicillium spp. and Rhodotorula mucilaginosa; (ii) absence of systematic drying of the instrument was a main contributing factor; (iii) serum precipitins were significantly more present in the musicians' sera than in control sera and were consistent with the fungi present in their instrument.

CONCLUSION

This study reveals a constant and specific fungal contamination among wind reed instruments with a significant sensitization among musicians, pleading in favour of regular instrument cleaning. Physicians should be aware of this possible source of antigenic exposure.

Comparison of chairs based on HDsEMG of back muscles, biomechanical and comfort indices, for violin and viola players: A short-term study

This work investigates the effect of different seats on violin and viola players sitting postures using High-Density-surface-Electromyography techniques (HDsEMG), biomechanical and comfort indices. Five types of chairs were assessed on 18 violin and three viola players by comparing: (a) pelvic tilt and kyphosis and lordosis angles, (b) subjective comfort indices, and (c) EMG amplitude of erector spinae and trapezius. Sitting "as you like" on a standard orchestra chair is the condition with the highest subjective comfort (but not significantly different from other chairs). A saddle chair with low back support is associated to the lowest EMG of the erector spinae (p < 0.05) and a saddle stool is associated to the spinal angles closest to those of the standing posture. In 12 out of 21 (57%) musicians, the erector spinae was activated in an intermittent manner, regardless of the chair used. These findings justify further research on the selected chairs, on muscle fatigue and on the intermittent postural control strategy.

Awareness of musicians on ear protection and tinnitus: A preliminary study

Music induced hearing loss (MIHL) is linked to chronic, extended exposure, and progress at a rate proportionate to exposure conditions. The aim was to document hearing deterioration; awareness of ear protection devices (EPDs); presence of tinnitus, measurement of temporary threshold shift. Thirty-four musicians filled a questionnaire regarding: years of experience, instrument/splayed, hours of music exposure per week with/without amplification, through earphones and speakers, use of EPDs and tinnitus. Hearing screening in five subjects was done before and after one hour and ten minutes of practice session. Among the participants, 8.8% reported hearing deterioration subjectively and 38.2% reported unilateral intermittent tinnitus, 79.4% lacked awareness about EPDs and 21.6 % were aware but never used them. Mean for temporary threshold shift at 500 Hz and 1 KHz was 5dB HL and 10dBHL at 2 KHz. Musicians are at risk for hearing problems, but the awareness on auditory damage is limited, hence conservative measures must be taken for their well being.

Variation in occupational exposure associated with musculoskeletal complaints: a cross-sectional study among professional bassists

BACKGROUND

Variation in occupational exposure is assumed to have a protective effect against the development of musculoskeletal complaints (MSC), but this common assumption is not strongly supported by the literature. Among musicians, who have a high prevalence of MSC, many play more than one type of instrument (multi-instrumentalism) for many hours a day. Since multi-instrumentalism implies greater variation in ergonomic load of specific musculoskeletal areas than mono-instrumentalism, musicians are a suitable study population to test whether the above assumption is true.

PURPOSE

To investigate in a sample of professional bass players whether multi-instrumentalists are less likely to have MSC than mono-instrumentalists.

METHODS

Participants were 141 professional and professional student double bassists and bass guitarists. Demographic, MSC and exposure characteristics were collected online with self-constructed and existing questionnaires. Logistic regression analysis was used to test the association between multi- versus mono-instrumentalism and MSC, adjusted for confounders.

RESULTS

The prevalence of having MSC in the neck, back, right shoulder area and both wrist areas did not differ significantly between the two groups. Further analysis revealed that the likelihood of having MSC in the left shoulder area was higher in multi-instrumentalists compared to mono-instrumentalists (Odds ratio 0.30, 95% CI 0.119-0.753, p = 0.010).

CONCLUSION

In this sample of professional bass players, no protective effect of multi-instrumentalism against MSC was found. Multi-instrumentalism was associated with a higher prevalence of MSC in the left shoulder. This result challenges theoretical and clinical assumptions in occupational and pain medicine.

Prevalence and function of Heschl's gyrus morphotypes in musicians

Morphological variations of the first transverse Heschl's gyrus (HG) in the human auditory cortex (AC) are common, yet little is known about their functional implication. We investigated individual morphology and function of HG variations in the AC of 41 musicians, using structural and functional magnetic resonance imaging (fMRI) as well as magnetoencephalography (MEG). Four main morphotypes of HG were (i) single HG, (ii) common stem duplication (CSD), (iii) complete posterior duplication (CPD), and (iv) multiple duplications (MD). The vast majority of musicians (90%) exhibited HG multiplications (type ii-iv) in either one (39%) or both (51%) hemispheres. In 27% of musicians, MD with up to four gyri were found. To probe the functional contribution of HG multiplications to auditory processing we performed fMRI and MEG with auditory stimulation using analogous instrumental tone paradigms. Both methods pointed to the recruitment of all parts of HG during auditory stimulation, including multiplications if present. FMRI activations extended with the degree of HG gyrification. MEG source waveform patterns were distinct for the different types of HG: (i) hemispheres with single HG and (ii) CSD exhibited dominant N1 responses, whereas hemispheres with (iii) CPD and (iv) MD exhibited dominant P1 responses. N1 dipole amplitudes correlated with the localization of the first complete Heschl's sulcus (cHS), designating the most posterior anatomical border of HG. P2 amplitudes were significantly higher in professional as compared to amateur musicians. The results suggest that HG multiplications occur much more frequently in musicians than in the general population and constitute a functional unit with HG.

Analyze the beta waves of electroencephalogram signals from young musicians and non-musicians in major scale working memory task

Electroencephalograms can record wave variations in any brain activity. Beta waves are produced when an external stimulus induces logical thinking, computation, and reasoning during consciousness. This work uses the beta wave of major scale working memory N-back tasks to analyze the differences between young musicians and non-musicians. After the feature analysis uses signal filtering, Hilbert-Huang transformation, and feature extraction methods to identify differences, k-means clustering algorithm are used to group them into different clusters. The results of feature analysis showed that beta waves significantly differ between young musicians and non-musicians from the low memory load of working memory task.

Spatial distribution of surface EMG on trapezius and lumbar muscles of violin and cello players in single note playing

Musicians activate their muscles in different patterns, depending on their posture, the instrument being played, and their experience level. Bipolar surface electrodes have been used in the past to monitor such activity, but this method is highly sensitive to the location of the electrode pair. In this work, the spatial distribution of surface EMG (sEMG) of the right trapezius and right and left erector spinae muscles were studied in 16 violin players and 11 cello players. Musicians played their instrument one string at a time in sitting position with/without backrest support. A 64 sEMG electrode (16×4) grid, 10mm inter-electrode distance (IED), was placed over the middle and lower trapezius (MT and LT) of the bowing arm. Two 16×2 electrode grids (IED=10mm) were placed on the left and right erector spinae muscles. Subjects played each of the four strings of the instrument either in large (1bow/s) or detaché tip/tail (8bows/s) bowing in two sessions (two days). In each of two days, measurements were repeated after half an hour of exercise to see the effect of exercise on the muscle activity and signal stability. A "muscle activity index" (MAI) was defined as the spatial average of the segmented active region of the RMS map. Spatial maps were automatically segmented using the watershed algorithm and thresholding. Results showed that, for violin players, sliding the bow upward from the tip toward the tail results in a higher MAI for the trapezius muscle than a downward bow. On the contrary, in cello players, higher MAI is produced in the tail to tip movement. For both instruments, an increasing MAI in the trapezius was observed as the string position became increasingly lateral, from string 1 (most medial) toward string 4 (most lateral). Half an hour of performance did not cause significant differences between the signal quality and the MAI values measured before and after the exercise. The MAI of the left and right erector spinae was smaller in the case of backrest support, especially for violin players. Back muscles of violin and cello players were activated asymmetrically, specifically in fast movements (detaché tip/tail). These findings demonstrate the sensitivity and stability of the technique and justify more extensive investigation following this proof of concept.

Enhanced auditory evoked potentials in musicians: A review of recent findings

Auditory evoked potentials serve as an objective mode for assessment to check the functioning of the auditory system and neuroplasticity. Literature has reported enhanced electrophysiological responses in musicians, which shows neuroplasticity in musicians. Various databases including PubMed, Google, Google Scholar and Medline were searched for references related to auditory evoked potentials in musicians from 1994 till date. Different auditory evoked potentials in musicians have been summarized in the present article. The findings of various studies may support as evidences for music-induced neuroplasticity which can be used for the treatment of various clinical disorders. The search results showed enhanced auditory evoked potentials in musicians compared to non-musicians from brainstem to cortical levels. Also, the present review showed enhanced attentive and pre-attentive skills in musicians compared to non-musicians.

Sensorimotor integration is enhanced in dancers and musicians

Studying individuals with specialized training, such as dancers and musicians, provides an opportunity to investigate how intensive practice of sensorimotor skills affects behavioural performance across various domains. While several studies have found that musicians have improved motor, perceptual and sensorimotor integration skills compared to untrained controls, fewer studies have examined the effect of dance training on such skills. Moreover, no study has specifically compared the effects of dance versus music training on perceptual or sensorimotor performance. To this aim, in the present study, expert dancers, expert musicians and untrained controls were tested on a range of perceptual and sensorimotor tasks designed to discriminate performance profiles across groups. Dancers performed better than musicians and controls on a dance imitation task (involving whole-body movement), but musicians performed better than dancers and controls on a musical melody discrimination task as well as on a rhythm synchronization task (involving finger tapping). These results indicate that long-term intensive dance and music training are associated with distinct enhancements in sensorimotor skills. This novel work advances knowledge of the effects of long-term dance versus music training and has potential applications in therapies for motor disorders.

Focal Task-specific Dystonia among Professional Musicians in Latin America

In Response To: Frucht SJ. Focal task-specific dystonia-from early descriptions to a new, modern formulation. Tremor Other Hyperkinet Mov. 2014; 4. doi: 10.7916/D8VD6WHP.

Music training relates to the development of neural mechanisms of selective auditory attention

•

Does music training shape the development of neural mechanisms of auditory attention?

•

We compared cortical responses to attended speech in child and adult musicians and nonmusicians.

•

Musician children and adults had less prefrontal auditory response variability during attention.

Selective attention decreases trial-to-trial variability in cortical auditory-evoked activity. This effect increases over the course of maturation, potentially reflecting the gradual development of selective attention and inhibitory control. Work in adults indicates that music training may alter the development of this neural response characteristic, especially over brain regions associated with executive control: in adult musicians, attention decreases variability in auditory-evoked responses recorded over prefrontal cortex to a greater extent than in nonmusicians. We aimed to determine whether this musician-associated effect emerges during childhood, when selective attention and inhibitory control are under development. We compared cortical auditory-evoked variability to attended and ignored speech streams in musicians and nonmusicians across three age groups: preschoolers, school-aged children and young adults. Results reveal that childhood music training is associated with reduced auditory-evoked response variability recorded over prefrontal cortex during selective auditory attention in school-aged child and adult musicians. Preschoolers, on the other hand, demonstrate no impact of selective attention on cortical response variability and no musician distinctions. This finding is consistent with the gradual emergence of attention during this period and may suggest no pre-existing differences in this attention-related cortical metric between children who undergo music training and those who do not.

Psychological characteristics in musician׳s dystonia: a new diagnostic classification

Numerous studies suggest that dysfunctional basal ganglia-thalamo-cortical circuits are involved in both movement disorders and psychiatric impairments. The current exploratory investigation explored possible psychological differences, firstly between 24 healthy musicians (HM) and 24 musicians diagnosed with focal dystonia (FDM) (Study I), and secondly among 35 FDM patients only (Study II). Results revealed that FDM patients are six times more likely to exhibit elevated anxiety, perfectionistic and stress characteristics than HM. These psychological conditions might contribute as aggravating risk factors to the development of FDM. However, half of the FDM patients did not demonstrate any signs of anxiety, perfectionism or stress. The findings point to the clear existence of two different psychological profiles among FDM patients. We suggest that this psychological distinction might reflect two different mal-adaptive processes mediated via different circuits of the cortico-basal ganglia-thalamicloops. The new classification of FDM patients will contribute to the reinforcement of the diagnostic repertoire, necessary for the selection of more specific treatment methods.

Affective and inflammatory responses among orchestra musicians in performance situation

A number of studies have shown that mental challenge under controlled experimental conditions is associated with elevations in inflammatory markers such as interleukin-6 (IL-6) and C-reactive protein (CRP). However, relatively little work has been done on the effects of 'naturalistic' stressors on acute changes in inflammatory markers. The present study examined whether perceived arousal, valence and dominance in musicians are associated with pro-inflammatory and oxidative responses to a concert situation. Blood and salivary samples obtained from 48 members of a symphony orchestra on the day of rehearsal (i.e., control situation) and on the following day of premiere concert (i.e., test situation) were used to determine changes in salivary cortisol, pro-inflammatory markers (plasma myeloperoxidase, serum CRP, plasma IL-6), oxidative stress markers (paraoxonase1 activity and malondialdehyde), and homocysteine, a risk factor for vascular disease. Results of regression analyses showed a significant trend to increased myeloperoxidase (MPO) response in individuals with low valence score. Both affective states, valence and arousal, were identified as significant predictors of cortisol response during concert. In addition, control levels of plasma malondialdehyde were positively correlated with differences in IL-6 levels between premiere and rehearsal (r=.38, p=.012), pointing to higher oxidative stress in individuals with pronounced IL-6 response. Our results indicate that stress of public performance leads to increased concentrations of plasma MPO (20%), IL-6 (27%) and salivary cortisol (44%) in musicians. The decreasing effect of pleasantness on the MPO response was highly pronounced in non-smokers (r=-.60, p<.001), suggesting a significant role of emotional valence in stress-induced secretion of MPO. Additional studies are needed to assess the generalizability of these findings to other 'naturalistic' stress situations.

Performance anxiety in Brazilian musicians: prevalence and association with psychopathology indicators

BACKGROUND

Musical performance anxiety (MPA) refers to persistent and distressing apprehension associated with performing to an audience. Our objective was to assess the presence of MPA and other psychopathologies in musicians and find correlations between socio-demographic and clinical variables.

METHODS

We assessed 230 musicians using self-rated instruments whose results were statistically compared. The logistic regression was used to check for predictors of MPA.

RESULTS

24% of musicians had MPA indicators, 19% had indicators of social anxiety, and 20% of depression. These figures were even higher in the comparison between professional and amateur musicians, where the rates were doubled. In the logistic regression, gender and professional status did not predict MPA, but did predict social anxiety (OD=3.22; p=0.006) and depression (OD=3.87; p=0.003).

CONCLUSIONS

We conclude that there is a high rate of psychiatric indicators among musicians, who have been dealing not only with difficulties inherent to their occupation, but also with under-recognized comorbidities with the potential to affect their personal and professional life in specific, poorly investigated ways.

LIMITATIONS

It should be noted that our results must be interpreted with caution as we used screening and not diagnostic instruments, and because of the fact that our sample was restricted to the Brazilian context. Also, the role of temperamental features that could have a positive association with the condition of musician-and therefore minimize performance anxiety-could have been explored in order to provide a deeper understanding of the topic.

Musicians and non-musicians' different reliance of features in consonance perception: a behavioral and ERP study

OBJECTIVE

The aim of this study was to compare the different features that musicians and non-musicians rely upon when they discern consonant and dissonant intervals. Previous studies have addressed this issue from the perspective of either the frequency ratio (Western music theory) or the frequency difference (psychoacoustics), but have not considered both features in a single and balanced study.

METHODS

Twelve musicians and twelve non-musicians judged musical consonance at various 50-500 Hz intervals, orthogonally selected from across the "pitch interval" and "roughness" spectrum. Both behavioral and event-related potential (ERP) data were collected separately.

RESULTS

Behavioral results demonstrated that while musicians relied upon pitch intervals (between perfect fifths and tritones, with 95% accuracy), non-musicians performed around chance. The latter performance could, however, be sub-divided into "rough tritone and non-rough perfect-fifth" (70-80%) and "non-rough tritone and rough perfect-fifth" combinations (25-30%), suggesting non-musicians' reliance on the roughness dimension. ERP components revealed corresponding P2 (200-250 ms) amplitude differences in the Fz and Cz channels for the "tritones vs. perfect fifths" comparison in musicians, and by the "rough vs. non-rough" comparison in the non-musicians. In addition, N1 (∼100 ms) and N2 (300-400 ms) components also revealed difference in Fz, F3, F4, FCz, Cz and CPz electrodes for "tritones vs. perfect fifths" in musicians. In the non-musicians, a stronger negative N2 for rough than for non-rough stimuli was found at F4 and Cz.

CONCLUSION

Together, these results suggest that musicians and non-musicians rely upon pitch intervals and sensory roughness, respectively, for consonance/dissonance perception.

SIGNIFICANCE

To our knowledge, this is the first study to compare independently across the pitch interval and roughness spectrum. Our results further support the brain plasticity as a result of musical training in consonance perception.

Biological impact of preschool music classes on processing speech in noise

Musicians have increased resilience to the effects of noise on speech perception and its neural underpinnings. We do not know, however, how early in life these enhancements arise. We compared auditory brainstem responses to speech in noise in 32 preschool children, half of whom were engaged in music training. Thirteen children returned for testing one year later, permitting the first longitudinal assessment of subcortical auditory function with music training. Results indicate emerging neural enhancements in musically trained preschoolers for processing speech in noise. Longitudinal outcomes reveal that children enrolled in music classes experience further increased neural resilience to background noise following one year of continued training compared to nonmusician peers. Together, these data reveal enhanced development of neural mechanisms undergirding speech-in-noise perception in preschoolers undergoing music training and may indicate a biological impact of music training on auditory function during early childhood.