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- Fakultät WiSo (108) (remove)
Hintergrund: Instrumentalisten leiden häufig unter spielbedingten (neuro-) muskuloskelettalen Erkrankungen. Diese zeigen sich bei Streichern, wie Violinisten, Bratschisten und Cellisten, am häufigsten in Form von Beschwerden im Oberkörper – insbesondere im Schulter-Nacken-Bereich. Die apparative Bewegungsanalyse hat sich bereits als hilfreich bei der Beurteilung von muskuloskelettalen Erkrankungen und schädlichen Bewegungsmustern erwiesen und wird für die Diagnostik bei funktionellen Störungen empfohlen. Es wurde bereits gezeigt, dass die apparative biomechanische Bewegungsanalyse ein valides und klinisch praktikables Werkzeug für die genaue und objektive Untersuchung von Bewegungen bei Streichern ist, jedoch ist ihr Einsatz in der klinischen Konsultation immer noch sehr unüblich. Aus diesem Grund existiert ein Mangel an gut etablierten Bewegungsanalyse-Protokollen zur Untersuchung funktioneller Störungen bei Streichern unter Einsatz biomechanischer Instrumente in einem klinischen Umfeld wie der Physiotherapie.
Ziel ist es daher, die Entwicklung und Anwendung eines solchen Protokolls vorzustellen für die Beurteilung der funktionellen Spielbewegungen des Oberkörpers bei sowohl hohen als auch tiefen Streichern in einem physiotherapeutischen Umfeld.
Methode: Zunächst wurden auf Basis einer klinischen Fragestellung relevante Symptombereiche und Messparameter bestimmt. Anschließend wurden beteiligte Segmente, Gelenke und Muskeln selektiert. Darauf basierend wurde ein umfassendes (mechanisches) Modell des Oberkörpers sowie die dazugehörigen Koordinatensysteme und Rotationssequenzen definiert. Dies lenkte sowohl die Spezifikation eines speziell angefertigten Marker-Sets sowie fortgeschrittener Ansätze wie zur funktionellen Bestimmung von Gelenkzentren und -achsen, als auch die Auswahl und Platzierung von Oberflächenelektroden. Schließlich wurden Aktivitäten zur Kalibrierung und Untersuchung der Bewegungsfunktion sowie relevante Analyseparameter und deren Darstellungsformen festgelegt.
Die Protokolldurchführung beinhaltet zunächst die Auswahl der zu untersuchenden Segmente, Gelenke und Muskeln ausgehend von einer oder mehreren klinischen (Arbeits-)Hypothesen bzw. von den spezifischen Symptombereichen. Darauf basierend werden die benötigten Marker und Oberflächenelektroden konfiguriert und platziert. Anschließend werden die festgelegten Kalibrierungsmessungen und Bewegungsaufgaben durchgeführt. Schließlich werden die relevanten Ergebnisparameter zur Überprüfung der Hypothesen extrahiert.
Der klinische Einsatz der Methode wird exemplarisch anhand einer Violinistin mit spielbedingten Schmerzen erläutert.
Klinische Implikationen: Die potenzielle Anwendung des vorgestellten Vorgehens ist die intra-individuelle Evaluation von gleichzeitig der Gelenk- als auch der Muskelfunktion bei hohen und tiefen Streichern während der physiotherapeutischen Konsultation. Dies soll sowohl zur Diagnose funktioneller Erkrankungen des Bewegungsapparates in Form einer objektiven, umfassenden und dennoch klinisch praktikablen diagnostischen Untersuchung als auch zum prä-post-interventionellen Vergleich beitragen.
Rationale
Playing the trombone can lead to playing-related musculoskeletal disorders (PRMD). Previous research suggests that professional trombonists predominantly struggle with PRMD on the left body side. An increasing volume leads to an increasing contact pressure on the mouthpiece of the trombone, but it is still unclear how the muscle activity relates to this and whether it differs in musicians with PRMD from those without PRMD.
Purpose
The purpose of this study was to investigate the relationship between the activity of different muscles of the left body side, the contact pressure on the mouthpiece and the volume level in healthy trombonists.
Methods
Six male healthy tenor trombonists were included in this study and run through a standardized protocol which consisted of playing a b-flat major scale with three different volume levels (pianissimo, mezzoforte, fortissimo). Analyzed parameters were (1) the activity of several muscles of the left body side (measured with surface electromyography), (2) the contact pressure on the mouthpiece (measured with a force sensor) and (3) the different volume levels.
Results
Analysis of variance reveals significant differences of the muscle activity for the three volume levels. Depending on the volume level and the selected muscle, results show very weak to moderate correlations between contact pressure on the mouthpiece and muscle activity (Spearman´s rho between .11 and .58). The strongest correlation across all muscles occurs during fortissimo playing.
Conclusions
These results show a relationship in healthy trombonists between volume level, contact pressure on the mouthpiece and muscle activity when playing a b-flat major scale. Future research should include trombonists with PRMD to enable comparison between PRMD and non-PRMD musicians.
Educational Objectives:
At the end of the presentation, the participants will be able to…
1. understand the relationship between muscle activity, contact pressure on the mouthpiece and volume when playing the trombone
2. recognize that there are different muscle activity patterns on the left body side when playing the trombone
3. understand that a comprehensive functional diagnosis is important in the management of musicians
Obwohl sich die Anforderungen im Sport und dem Musizieren ähneln, ist die Musikerphysiotherapie längst nicht so entwickelt wie die Sportphysiotherapie. Dabei lassen sich die sogenannten „Performance-Related Musculoskeletal Disorders“ erfolgreich mit Manueller Therapie oder Physiotherapie, z. B. mit Hilfe einer Bewegungsanalyse, therapieren. Prof. Dr. med. Christoff Zalpour gibt einen Überblick über das Feld der Musikerphysiotherapie, deren Potenzial noch lange nicht vollends erschlossen ist.
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.
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.