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rationale: Musculoskeletal problems are widespread in performing artists and are due to the special demands of instrument playing, singing or dancing. Additionally, various other factors might contribute to performance-related musculoskeletal problems. In order to provide a specific physiotherapeutic management for performing artists, it is important to gain information about the performing art, the individual (biomechanical) demands and contributing factors. The subjective examination is the basis of the clinical reasoning process and the hypothesis forming, which is important for goal setting in further clinical examination and biomechanical analysis. In the present protocol, the subjective examination consists of a questionnaire based section and an interview based section and is part of the evaluation process of the neuromusculoskeletal examination of a performing artist specific reference laboratory.
purpose: The aim of this study was to develop a standardized protocol for an interview based subjective examination of performing artists with musculoskeletal problems. The results of this section of the subjective examination will be combined with the results of the questionnaire based subjective examination , in order to gather as much relevant information as possible to specifically address the individual’s musculoskeletal health status.
methods: A common physiotherapeutic recording of findings which addresses the relevant questions of the subjective examination of musculoskeletal problems was used. In order to adapt the anamnesis to performing-related musculoskeletal problems, questions specific to instrument playing, singing and dancing were selected on the basis of a literature search and the expertise of the research group.
results: The protocol is based on the five aspects of clinical practice described by Maitland and the Musculoskeletal Clinical Translation Framework by Mitchell et al. (2017) .The performing art specific questions especially address (1) performing art specific considerations including style, genre, education and professional level, practice habits, repertoire, and external factors, e.g. concert conditions, (2) performing art specific physical and psychosocial contributing factors, and (3) performing art specific activities which trigger the musculoskeletal problems and help to form hypotheses for the following clinical examination. Individual tracks lead through the subjective examination so that irrelevant questions are skipped depending on the kind of musculoskeletal problem and the performing art practiced by the individual client.
conclusions: A pretest of this standardized anamnesis protocol is ongoing in a special physiotherapy clinic for performing artists since spring 2022. In an iterative approach, the protocol will be continuously improved based on patient feedback and clinical considerations.
Hintergrund und Zielsetzung:
Instrumentalistinnen und Instrumentalisten sind beim Spielen erheblichen psychischen und Instrument-spezifischen körperlichen Belastungen ausgesetzt. Häufig kommt es dabei zu Überlastungen des neuromuskuloskelettalen Systems, insbesondere der oberen Extremität. Welchen Beitrag kann eine musikerspezifische Physiotherapie zum Management von körperlichen spielbedingten Beschwerden leisten?
Methodik:
Es wurde eine Literaturrecherche zu Art und Prävalenz neuromuskuloskelettaler Beschwerden der oberen Extremität bei Instrumentalist/innen durchgeführt. Zusätzlich wurden retrospektiv Patient/innen-Akten aus einer physiotherapeutischen Musiker/innen-Sprechstunde gesichtet, um das Vorgehen bei der Untersuchung und Behandlung spielbedingter Beschwerden zu beschreiben.
Ergebnisse:
Studien berichten von einer Prävalenz spielbedingter neuromuskuloskelettaler Beschwerden der oberen Extremität bei Instrumentalist/innen von 47-52,8%. Häufige Ursachen sind Überlastungssyndrome durch wiederkehrende Belastung derselben anatomischen Strukturen, Hypo- oder Hypermobilität sowie (periphere) Neuropathien. Bei der physiotherapeutischen Anamnese bei Instrumentalist/innen spielen sowohl Beschwerde-bezogene Fragen als auch spezifische Fragen zum Instrument, zur Spielerfahrung und zum Übeverhalten eine wichtige Rolle. Insbesondere die funktionelle Demonstration der beschwerdeauslösenden Bewegung und die Haltungs-/Bewegungsanalyse am Instrument geben wichtige Hinweise für das weitere Vorgehen in der physiotherapeutischen Diagnostik und Behandlung. Die klinische Untersuchung kann durch eine apparative Untersuchung z.B. der Muskelaktivität und von Bewegungsabläufen ergänzt werden. Die physiotherapeutischen Behandlungsansätze beinhalten Manuelle Therapie, (Instrument-)spezifische therapeutische Übungen, Haltungs-/Bewegungsschulung am Instrument, neurodynamische Techniken und Patient/innen-Edukation sowie ergonomische Anpassungen des Instruments.
Schlussfolgerung:
Eine musikerspezifische physiotherapeutische Versorgung kann einen entscheidenden Beitrag zum multidisziplinären Management spielbedingter neuromuskuloskelettaler Beschwerden der oberen Extremität bei Instrumentalist/innen leisten.
Sängerinnen und Sänger gehören zu der Gruppe der sogenannten „Professional Voice User“ bzw. der BerufssprecherInnen. Diese Gruppe ist den höchsten Anforderungen hinsichtlich der Stimmqualität und der Stimmbelastung ausgesetzt. Deshalb haben SängerInnen ein hohes Risiko eine Stimmstörung zu entwickeln, die wiederum ihre Arbeitsfähigkeit und Lebensqualität beeinträchtigen kann. Neben Stimmstörungen mit organischen Ursachen gibt es funktionelle Stimmstörungen, die z.B. durch ein ungünstiges Atemmuster oder Hypertonus der Schulter-, Nacken- und Halsmuskulatur verursacht werden können. In diesem Vortrag werden die unterschiedlichen Risikofaktoren für die Entwicklung einer Stimmstörung bei SängerInnen aufgezeigt. Anschließend werden physiotherapeutische Behandlungsansätze vorgestellt, die als Teil eines multidisziplinären Managements von funktionellen Stimmstörungen bei SängerInnen eingesetzt werden können.
Ziel des Workshops ist es, das besondere Potential der Physiotherapie im multidisziplinären Management von Sängerinnen und Sängern mit funktionellen Stimmstörungen aufzuzeigen. Anhand eines Fallbeispiels aus der physiotherapeutischen Musikersprechstunde wird der physiotherapeutische Behandlungsansatz vorgestellt. Die Sängerin mit ärztlich diagnostizierter hyperfunktioneller Stimmstörung zeigte Symptome wie ein sternales Atemmuster und Hypertonus der Nacken-, Kiefer- und der äußeren Kehlkopf-Muskulatur. Basierend auf der aktuellen Evidenzlage und der Anatomie werden die theoretischen Überlegungen der klinischen Urteilsbildung erläutert. Das Vorgehen im Behandlungsprozess wird beschrieben und einige praktische Beispiele von Behandlungstechniken, z.B. manualtherapeutische Techniken am Kehlkopf, werden demonstriert.
Background: Singers belong to the group of professional voice users with the highest demands regarding voice quality and vocal load. Thus, they also have a high risk of developing a voice disorder, which in return has major impact on their ability to work. Besides voice disorders caused by organic changes, there are functional voice disorders caused by, e.g., a hypertonia of the larynx, shoulder and neck muscles or insufficient breathing patterns. In these cases, physiotherapy can be one component of a multidisciplinary approach to treatment.
The purpose of this presentation is, based on anatomical considerations and current evidence, to inform about and demonstrate physiotherapy techniques for treating singers with functional voice disorders.
Approach of Presentation: A case from a special physiotherapy outpatient clinic for vocalists will be described. Based on this example, information on the evidence of physiotherapy approaches for functional voice disorders will be provided. Afterwards, some practical hands-on techniques will be demonstrated for participants to try.
Content of Presentation: This workshop will focus on the physiotherapy treatment for a vocalist with functional voice disorders. The vocalist experienced changed pitch and hypertonia in both the muscles of the shoulder-neck region and the extrinsic laryngeal muscles. Paralaryngeal manual techniques, in addition to posture and breathing exercises, will be demonstrated with the purpose of mobilizing the larynx and relaxing the hypertonic muscles.
Conclusions and Practical Relevance: This workshop highlights the special potential of physical therapy in the treatment of functional voice disorders in singers.
background: Musculoskeletal problems (MP) are widespread in performing artists and are due to the special demands of instrument playing, singing or dancing. Additionally, various other factors might contribute to performance-related MP. To provide a specific physiotherapeutic management for performing artists it is important to gain information about the performing art, the individual demands and contributing factors. The subjective examination (SE) is the basis of the clinical reasoning process and the hypothesis forming for further clinical examination and biomechanical analysis. In the present protocol, the SE consists of a questionnaire-based section and an interview-based section and is part of the evaluation process of the neuromusculoskeletal examination of a performing artist specific reference laboratory.
purpose: To develop a standardized SE protocol divided into a questionnaire-based section (Part 1) via web application and an interview-based SE (Part 2) to address MP of performing artists.
methods: The questionnaires for part 1 were selected based on the expertise of the research group and the psychometric properties of each possible questionnaire. A common physiotherapeutic recording of findings which addresses the relevant questions of the SE of MP was used. To adapt the anamnesis to performing-associated MP questions specific to instrument playing, singing and dancing were selected on the basis of a literature search and the expertise of the research group.
summary of content/results: Part 1 consists of three topics. (1) information about the performing art, professional level and sociodemographic data, (2) information about pain and pain processing, and (3) the anatomical location of the main MP including a body region-specific questionnaire. Part 2 is based on the five aspects of clinical practice described by Maitland and the Musculoskeletal Clinical Translation Framework by Mitchell et al. The performing arts specific part is particularly focused on performing art specific considerations, physical and psychosocial contributing factors and art-specific activities.
significance: This standardized SE protocol should help clinicians evaluating the musculoskeletal health of performing artists in a standardized and specific way.
Background: Musculoskeletal problems (MP) are widespread in performing artists and are due to the special demands of instrument playing, singing or dancing. In order to specifically evaluate these problems, a reference laboratory is under development. The evaluation covers 4 steps: a subjective examination (SE) including (1) a questionnaire-based online survey and (2) an interview-based anamnesis. On the basis of the results of the SE, hypotheses are formed for (3) an individual musculoskeletal clinical examination and a (4) biomechanical analysis. Here, the focus is on the clinical examination.
Purpose: to develop a standardized protocol for a clinical examination addressing especially musculoskeletal problems in performing artists.
Methods: A common physiotherapeutic clinical examination should be supplemented with techniques, which are specific to performance-related musculoskeletal problems and/or their risk factors. The development was based on a literature search and the clinical expertise of the physiotherapeutic research group.
Summary of content/Results: The performing arts specific clinical examination includes the common analysis of posture as well as passive/active movement capacities and specific differentiating tests in relation to the signs and symptoms of the individual artist. The examination is supplemented by a functional demonstration focusing on the special demands of playing the respective instrument, while singing or dancing. Common overuse risk factors like hypermobility, special anthropometric data or an examination of the motor control of different body regions are addressed. Optional, the various parts of the examination process could be skipped, if not relevant for the individual artist.
Significance: This clinical examination protocol should help clinicians evaluating the musculoskeletal health of performing artists in a standardized and specific way.