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Background:
Cardiac surgery patients represent a high-risk cohort in intensive care units (ICUs). Central venous pressure (CVP) measurement seems to remain an integral part in hemodynamic monitoring, especially in cardio-surgical ICUs. However, its value as a prognostic marker for organ failure is still unclear. Therefore, we analyzed postoperative CVP values after adult cardiac surgery in a large cohort with regard to its prognostic value for morbidity and mortality.
Methods:
All adult patients admitted to our ICUs between 2006 and 2019 after cardiac surgery were eligible for inclusion in the study (n = 11,198). We calculated the median initial CVP (miCVP) after admission to the ICU, which returned valid values for 9802 patients. An ROC curve analysis for optimal cut-off miCVP to predict ICU mortality was conducted with consecutive patient allocation into a (a) low miCVP (LCVP) group (≤11 mmHg) and (b) high miCVP (HCVP) group (>11 mmHg). We analyzed the impact of high miCVP on morbidity and mortality by propensity score matching (PSM) and logistic regression.
Results:
ICU mortality was increased in HCVP patients. In addition, patients in the HCVP group required longer mechanical ventilation, had a higher incidence of acute kidney injury, were more frequently treated with renal replacement therapy, and showed a higher risk for postoperative liver dysfunction, parametrized by a postoperative rise of ≥ 10 in MELD Score. Multiple regression analysis confirmed HCVP has an effect on postoperative ICU-mortality and intrahospital mortality, which seems to be independent.
Conclusions:
A high initial CVP in the early postoperative ICU course after cardiac surgery is associated with worse patient outcome. Whether or not CVP, as a readily and constantly available hemodynamic parameter, should promote clinical efforts regarding diagnostics and/or treatment, warrants further investigations.
OBJECTIVE: The aim of the study was to identify and systematically categorize musculoskeletal assessments used in quantitatively based studies about posture and movement in musicians playing high string instruments (violin, viola) in order to inform further research and help to identify gaps in knowledge.
METHODS: A systematic literature search was conducted in the databases Cochrane, CINAHL, and PubMed as well as the journal Medical Problems of Performing Artists. Additional studies were searched within the reference lists of relevant articles. Sixty-four studies conducted since 1999 until May 2017 were included according to predefined inclusion criteria.
RESULTS: Various biomechanical measurement instruments were used in 24 of the selected studies in order to collect two- and three-dimensional kinematic data: optoelectronic systems with active and passive markers, electromagnetic systems, ultrasonic motion analysis systems, and image-based analysis of posture. In 11 studies, kinetics were measured by optoelectronic systems, force sensors, and a posturographic device. Further studies used electromyography to evaluate muscle activity (19 studies) as well as instruments to measure range of motion (2 studies). Additionally, a broad range of clinical examination techniques (35 studies) and self-reports (36 studies) were used to assess the musculoskeletal system of high string players.
CONCLUSION: The identified assessments could be used both in further research and in practical work in order to evaluate posture and movement in high string players. For future research, qualitatively based studies as well as psychometrically tested quantitatively based self-report assessments are required.
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.