The aim of the present study was to examine whether the workload, expressed in oxygen uptake and heart rate, during dance class and rehearsal prepared the dancer for performance. Previous research on the demands of class and performance has been affected by equipment limitations and could only provide limited insight into the physiological demands placed on the dancer. The present study noted that dance performance had significantly greater mean oxygen uptake and heart rate than noted in both class and rehearsal (p < 0.05). Further analysis noted that, during class and rehearsal, heart rates were rarely within the aerobic training zone (60-90%HRmax, where HRmax is the maximum heart rate). Dance performance placed a greater demand on the aerobic and anaerobic glycolytic energy systems than seen during class and rehearsal, which placed a greater emphasis on the adenosine triphosphate-creatine phosphate system. Practical implications suggest the need to supplement training within dance companies to overcome this deficit in training demand.

Making music at the highest international standards can be rewarding, but it is also challenging, with research highlighting pernicious ways in which practicing and performing can affect performers’ health and wellbeing. Several studies indicate that music students’ perceptions, attitudes, and behaviors toward health and healthy living are less than optimal, especially considering the multiple physical and psychological demands of their day-to-day work. This article presents the results of a comprehensive screening protocol that investigated lifestyle and health-related attitudes and behaviors among 483 undergraduate and postgraduate students (mean age = 21.29 years ± 3.64; 59% women) from ten conservatoires. The protocol included questionnaires measuring wellbeing, general health, health-promoting behaviors, perfectionism, coping, sleep quality, and fatigue. On each measure, the data were compared with existing published data from similar age groups. The results indicate that music students have higher levels of wellbeing and lower fatigue than comparable samples outside of music. However, they also reveal potentially harmful perceptions, attitudes, and behaviors toward health. Specifically, engagement in health responsibility and stress management was low, which along with high perfectionistic strivings, limited use of coping strategies, poor sleep quality, and low self-rated health, paints a troubling picture both for the music students and for those who support their training. The findings point to the need for more (and more effective) health education and promotion initiatives within music education; in particular, musicians should be better equipped with mental skills to cope with constant pressure to excel and high stress levels. In part, this calls for musicians themselves to engage in healthier lifestyles, take greater responsibility for their own health, and be aware of and act upon health information in order to achieve and sustain successful practice and performance. For that to happen, however, music educators, administrators, and policy makers must play an active role in providing supportive environments where health and wellbeing is considered integral to expert music training.

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ABSTRACT. Wyon, M., and E. Redding. Physiological monitoring of cardiorespiratory adaptations during rehearsal and performance of contemporary dance. J. Strength Cond. Res. 19(3):000-000. 2005.-Previous research has shown that dance class and rehearsal stress different cardiorespiratory energy systems than dance performance. The aim of the present study was to monitor the physiological parameters of a number of dancers during a 12-week rehearsal period and an 8-week performance schedule. Seventeen dancers (8 men and 9 women) from 2 companies undertook the multistage dance specific aerobic fitness test before the rehearsal period, before the performance period, and after the performance period. Heart rate data were collected throughout the test; the mean heart rate during stage 5 and blood lactate levels were measured at the end of the test. No significant changes in heart rate or lactate parameters were noted between the prerehearsal and preperformance tests, but significant decreases during the preperformance and postperformance tests were shown in both parameters (p Ͻ 0.01 and p Ͻ 0.01, respectively), which suggests an increase in the subjects' aerobic capacities during the performance period. Implications from the present study suggest that dancers are not adequately physiologically prepared to perform to the same degree to which their skills are honed. The study suggests that supplemental training is required to bridge this physical gap and better prepare the dancer for performance.

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