An investigation was made on the relationship between music practice and musculo-skeletal disorders among piano students, with the main aim of developing health education programmes that would improve the performance and health of the students. The investigation covered three areas: (a) Analysis of study organization and main musculo-skeletal complaints achieved by a questionnaire distributed to all piano students at the Milan Conservatory. (b) Vocational electromyographic analysis of the effort exerted by the various muscle groups of the trunk, of the shoulder and shoulder blade girdle, and of the arm during performance of a standard set of piano exercises, an unseen passage and a passage of maximum difficulty. This analysis was made on a sample of six subjects. (c) A series of preventive measures was developed on the basis of a critical assessment of the results (38% of the students practised for excessively long periods without breaks; 62% had from 1 to 5 complaints, the most affected sites being the spine and the trapezius muscles). These consisted largely of a health education programme aimed at helping the students to suitably organize practice and rest periods and in instructing them in appropriate exercises for relaxation and stretching of overused muscle groups and strengthening the supporting muscle groups. Changes in lifestyle were also suggested.
Abstract-We demonstrated a method for enhancing the tenodesis grip in individuals with sustained tetraplegia with spinal cord lesion at the C6-C7 neurological level. Subjects used the myoelectric activity from wrist extensor muscles to directly control the electrical stimulation of the extrinsic finger and thumb flexors (flexor pollicis longus and flexor digitorum superficialis/profondus) with the use of a specially designed system, Myoelectrically Controlled Functional Electrical Stimulation (MeCFES). We screened 20 medical records and selected 9 subjects. Of the nine subjects, five showed a positive response to the surface stimulation and could test the system; the other four failed to achieve functional finger flexion because of skin sensitivity or inadequate movement. We evaluated hand function, with and without the MeCFES system, using tests involving three everyday objects: manipulating a videocassette with the key grip, drinking from a bottle with the palmar grasp, and writing with a pen using the tripod grip. Without the system, none of the five subjects could complete all three tasks; but, when assisted with MeCFES, all subjects completed all the tasks. The system proved simple and intuitively easy to use, and no training was needed for subjects to obtain immediate functionality. We will need further research to evaluate the usefulness of the system in activities of daily living.
Playing a musical instrument is a constrained motor activity; the instrument has a fixed geometry and playing technique that the performer must accommodate. Although the performer progressively adapts to the instrument during years of education, few options are available for adapting
the instrument to the performer. The present work is intended to quantitatively describe the effects of using different setups of the violin shoulder rest during performance. Three conditions were considered, the maximum and minimum heights allowed by the shoulder rest and the absence of the
shoulder rest. The setups allowed a height variation of <40 mm. Fifteen skilled violin players performed a three-octave scale in G with the three rest setups. An optoelectronic motion capture system measured the positions of passive markers placed on the player's body and on the violin
and bow, in order to compute, by means of mathematical models, the kinematics of the body, violin, and bow. The increase in rest height was significantly related to a reduction in head rotation (–7.0°), left shoulder rotation (–8.5°), and left acromion elevation (–17.2
mm) and to an increase in left shoulder flexion (+8.2°) and left forearm pronation (+8.8°). In general, the results demonstrate that a skilled player is able to adapt to any shoulder rest setup and can maintain the quality of sound, and that the adaptations are primarily those of the
anatomical systems involved in holding the violin and not in holding the bow. Moreover, adjustment of the shoulder rest setup appears to be the individual's search for a tradeoff position, which possibly may be alleviated by adopting objective assessment and innovative shoulder rests.
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