Evaluation of Auditory Stream Segregation in Musicians and Nonmusicians

Abstract Introduction One of the major cues that help in auditory stream segregation is spectral profiling. Musicians are trained to perceive a fine structural variation in the acoustic stimuli and have enhanced temporal perception and speech perception in noise. Objective To analyze the differences in spectral profile thresholds in musicians and nonmusicians. Methods The spectral profile analysis threshold was compared between 2 groups (musicians and nonmusicians) in the age range between 15 and 30 years old. The stimuli had 5 harmonics, all at the same amplitude (f0 = 330 Hz, mi4). The third (variable tone) has a similar harmonic structure; however, the amplitude of the third harmonic component was higher, producing a different timbre in comparison with the standards. The subject had to identify the odd timbre tone. The testing was performed at 60 dB HL in a sound-treated room. Results The results of the study showed that the profile analysis thresholds were significantly better in musicians compared with nonmusicians. The result of the study also showed that the profile analysis thresholds were better with an increase in the duration of music training. Thus, improved auditory processing in musicians could have resulted in a better profile analysis threshold. Conclusions Auditory stream segregation was found to be better in musicians compared with nonmusicians, and the performance improved with an increase in several years of training. However, further studies are essential on a larger group with more variables for validation of the results.

Orofacial myofunctional changes and electromyographic activity of the orbicularis oris muscle in trombonists / Alterações miofuncionais orofaciais e atividade eletromiográfica do músculo orbicular da boca em trombonistas

ABSTRACT Objective: to analyze whether trombonists present orofacial myofunctional changes and compare the electrical activity of the orbicularis oris muscle before and after playing their instrument. Methods: an observational, descriptive, and cross-sectional study. The sample consisted of 20 university trombonists. Data collection involved three steps: application of a questionnaire investigating some peculiarities of trombonists (Orofacial Myofunctional Evaluation with Expanded Scores - OMES-E), and electromyographic analysis of the orbicularis oris muscle before and after performing a piece with the trombone. The mean, standard deviation, frequency, and percentage were calculated, and the paired Student's t test was used to compare the means of the electromyographic records before and after playing the trombone, at a 5% significance. Results: seventy per cent of trombonists reported some symptom of orofacial myofunctional alteration, namely, muscle compensations, tension, and pain. The myofunctional evaluation showed a mild change in cheek volume (90%) and labial commissure asymmetry (60%). The electrical activity of the lower orbicularis oris muscle decreased significantly after the trombone practice (p = 0.04), while that of the superior orbicularis oris muscle remained unchanged. Conclusion:trombonists show clinical and self-reported oromyofunctional changes as well as decreased electrical activity of the lower orbicularis oris muscle, after playing the trombone.

RESUMO Objetivos: analisar se existem alterações miofuncionais orofaciais clínicas e autorreferidas em trombonistas, assim como comparar a atividade elétrica do músculo orbicular da boca antes e após o uso do trombone. Métodos: estudo transversal e observacional, cuja amostra foi composta por 20 universitários trombonistas. Foi utilizado um questionário que investiga algumas particularidades sobre o instrumentista, da Avaliação Miofuncional Orofacial Com Escores Ampliados - AMIOFE-A e análise eletromiográfica do músculo orbicular da boca antes e após execução de uma tarefa com o trombone. Foram calculadas: média, desvio padrão, frequência e porcentagem e utilizou-se o teste t-Student pareado na comparação das médias dos registros eletromiográficos pré e pós-execução do trombone, significância=5%. Resultados: setenta por centro dos trombonistas relataram algum sintoma de alteração miofuncional orofacial, sendo compensações musculares, tensão e dor. Na avaliação miofuncional encontrou-se alteração leve no volume de bochechas (90%) e comissuras labiais com assimetria (60%). Houve redução significante da atividade elétrica do músculo orbicular inferior após a execução de tarefa com trombone (p=0,04), enquanto a do superior permaneceu inalterada. Conclusão: trombonistas apresentam alterações oromiofuncionais clínicas e autorreferidas e diminuição da atividade elétrica do músculo orbicular inferior da boca após uso do trombone.

Diferencias en la reserva neural en relación al entrenamiento musical / Differences in the neural reserve in relation to music training

La reserva neural es un subcomponente de la reserva cognitiva y refiere a las diferencias en los paradigmas cognitivos que subyacen al desempeño de tareas en un cerebro sano. Puede darse por diferencias innatas (inteligencia, edad) o ambientales, como el entrenamiento musical. Éste está relacionado con diferencias cerebrales y cognitivas. El objetivo del presente estudio es realizar una revisión bibliográfica de investigaciones que evaluaron rendimiento cognitivo en músicos como no músicos, y establecer diferencias en la reserva cognitiva y, más específicamente, el subcomponente de reserva neural, entre ambos grupos. Se parte de la suposición de que los músicos poseen un rendimiento superior en tareas cognitivas con respecto a los no músicos y que esto está relacionado con una mayor reserva neural debido al entrenamiento musical. Los resultados son contradictorios. Se encontraron algunas diferencias en dominios cercanos a la práctica musical en adultos jóvenes, y en diversos dominios en adultos mayores. Las diferencias entre grupos, que no diferían en inteligencia, podrían ser atribuibles a una mayor reserva cognitiva. También hay relaciones con el tipo de instrumento, los años y la edad de comienzo de la práctica musical. Se sugiere replicar los hallazgos controlando diversas variables(AU)

Neural reserve is a subcomponent of cognitive reserve and refers to the differences in cognitive paradigms that underlie task performance in a healthy brain. It can occur due to innate (intelligence, age) or environmental differences, such as musical training. This is related to brain and cognitive differences. The aim of the present study is to carry out a bibliographic review of investigations that evaluated cognitive performance in musicians as well as non-musicians, and to establish differences in cognitive reserve and, more specifically, the neural reserve subcomponent, between both groups. It is assumed that musicians have superior cognitive tasks performance compared to non-musicians and that this is related to a greater neural reserve due to musical training. The results are contradictory. Some differences were found in domains close to musical practice in young adults, and in various domains in older adults. The differences between groups, which did not differ in intelligence, could be attributable to a greater cognitive reserve. There are also relationships with the type of instrument, the years and the age of beginning of the musical practice. It is suggested to replicate the findings controlling for various variables(AU)

Music performance anxiety: perceived causes, coping strategies and clinical profiles of Brazilian musicians / Ansiedade de performance musical: causas percebidas, estratégias de enfrentamento e perfil clínico de músicos brasileiros

Abstract Introduction Music performance anxiety (MPA) is characterized by long-lasting, high intensity apprehension associated with performing music in public. At extreme levels, MPA can impair the career and quality of life. Our goal is to describe the clinical profile, perceived causes and coping strategies associated with MPA. Methods In this cross-sectional study, several self-assessment instruments were administered to a sample of 214 Brazilian musicians (68% male, 53.3% classical/46.7% popular musicians). Data were analyzed using descriptive and parametric statistics, based on the variables of musical training and level of MPA. Results Percentages of indicators of pathology were high (40% high MPA levels, 37% social anxiety, 12.5% depression, 13.5% alcohol abuse), and musicians with high MPA levels were the most affected. A wide variety of situations were associated with MPA, especially those related to the individual (pressure from self/concern about audience). Emotion-focused coping and internal resources were prominent among the resources used for coping with MPA (breathing, increased practice, familiarization with performance venue), although they were not always effective. It was relatively uncommon for musicians to seek specialized resources and treatments. Conclusions The results demonstrate the vulnerability of the targeted professional groups and the need for preventive strategies and behavioral, environmental, educational, and pharmacological interventions to change this scenario.

Resumo Introdução Ansiedade de performance musical (APM) é definida como uma condição de apreensão duradoura e intensa, associada ao desempenho musical em público. Em níveis extremos é prejudicial à carreira e qualidade de vida do músico. Objetiva-se descrever o perfil clínico, as causas percebidas e estratégias de enfrentamento da APM. Métodos Neste estudo transversal, vários instrumentos de autoavaliação foram administrados a 214 músicos brasileiros (68% do sexo masculino, 53,3% clássicos/ 46,7% populares). Os dados foram analisados por estatística descritiva e paramétrica, com base nas variáveis formação musical e nível de APM. Resultados Encontrou-se um percentual elevado de indicadores de psicopatologia (40% altos níveis de APM, 37% ansiedade social, 12,5% depressão, 13,5% abuso de álcool), sendo os músicos com altos níveis de APM aqueles com maior comprometimento. Uma ampla variedade de situações foi associada à APM, com destaque para aquelas relacionadas ao próprio indivíduo (pressão de si próprio/preocupação com a plateia). Entre os recursos utilizados para enfrentamento da APM destacaram-se aqueles focados na regulação emocional e no uso de recursos internos dos músicos (respiração, aumento do treino, familiarização com a prática no local da apresentação), embora nem sempre tenham sido eficazes. Mostrou-se pouco comum a busca por recursos e tratamentos especializados. Conclusões Evidencia-se a condição de vulnerabilidade desse grupo profissional e a necessidade de estratégias preventivas e intervenções comportamentais, ambientais, educativas e farmacológicas que permitam mudanças neste cenário.

A painful symphony: the presence of overuse syndrome in professional classical musicians / Una sinfonía dolorosa: la presencia del síndrome de uso excesivo en músicos clásicos profesionales

Musculoskeletal problems are common in instrumental musicians. Little is known about the factors that place musicians at risk, and the ways in which musicians can prevent these problems. Overuse syndrome is the most reported diagnosis among instrumental musicians suffering from playing related musculoskeletal injuries. The study group comprised 50 musicians employed in Symphony Orchestra of the Serbian National Theatre of Novi Sad. Out of the 50 musicians, 30 (60 %) are male and 20 (40 %) female. Higher frequencies of the presence of musculoskeletal symptoms were neck, region of trapezius, back, shoulder, wrist, hand and arm. A larger number of musicians (81.8 %) had perception of high demand of the profession. This investigation with professional classical musicians should show the music-medical interest.

Los problemas musculo-esqueléticos son comunes en los músicos instrumentales. Poco se sabe sobre los factores que ponen en riesgo a los músicos y las formas en que los ellos pueden prevenir estos problemas. El síndrome de uso excesivo es el diagnóstico más informado entre los músicos instrumentales que sufren lesiones musculo-esqueléticas relacionadas al uso de instrumentos musicales. El grupo de estudio estuvo compuesto por 50 músicos de la Orquesta Sinfónica del Teatro Nacional Serbio de Novi Sad. De los 50 músicos, 30 (60 %) eran hombres y 20 (40 %) mujeres. La frecuencia más alta de presencia de síntomas musculoesqueléticos se produjo en el cuello, músculo trapecio, espalda, hombro, muñeca, mano y brazo. Un mayor número de músicos (81,8 %) tuvo una percepción de alta demanda de la profesión. Esta investigación con músicos clásicos profesionales debería ser de interés médico-musical.

Irrelevant sound interference on phonological and tonal working memory in musicians and nonmusicians

Abstract Background: Working memory refers to the cognitive system responsible for the temporary storage and maintenance of information, but it remains controversial whether overlapping processes underlie the temporary retention of verbal and musical information such as words and tones. Methods: Participants with little or no musical training (n = 22) and professional musicians (n = 21) were administered four memory tasks. Two tasks (tone sequence recognition and pseudoword sequence recall) aimed at comparing groups' performance for tonal or phonological material separately. Other two memory tasks investigated pseudoword and tone recognition under three conditions during the retention interval (silence, irrelevant words, or irrelevant tones). Results: Musicians were better than nonmusicians in tone sequence recognition but not in pseudoword sequence recall. There were no interference effects of irrelevant tones or words on pseudoword recognition, and only irrelevant tones significantly interfered with tone recognition. Conclusions: Our results offer further support that tone recognition is specifically impaired by irrelevant tones, but irrelevant words did not disrupt pseudoword or tone recognition. Although these results do not reflect a double-dissociation pattern between phonological and tonal working memory, they provide evidence that temporary retention of tonal information is subject to specific tonal interference, indicating that working memory for tones involves specific processes.

Music performance anxiety: a critical review of etiological aspects, perceived causes, coping strategies and treatment

Abstract Background Music performance anxiety (MPA) is understood as a sub-type of social anxiety and is characterised by fears of a musical presentation. Objective To carry out a critical literature review on clinical and etiological aspects, perceived causes, coping strategies and treatment of MPA. Methods Electronic databases PubMed, PsycINFO and Lilacs as well as specific periodicals were used based on the key-words symptoms, diagnosis, aetiology, perceived causes, coping strategies and treatment. Results MPA is highly prevalent among musicians (> 16%), regardless of culture and formation. Cognitive, behavioural and physiological factors are associated with the aetiology of MPA, including biological and psychological predispositions. In addition, one should highlight factors related to the individual, aspects related to tasks and musical situation as perceived causes and/or predictor variables of MPA. As for the coping strategies, one can also highlight the use of breathing/relaxing techniques, increased musical practice, use of homeopathy and substances without medical prescription. Discussion MPA is impacting in the musician's life. Despite the increasing interest in its study, it is necessary to better understand this complex phenomenon, mainly in the therapeutic context, in addition to the publicising and offering of services for prevention and treatment of MPA.

Degree of chronic orofacial pain associated to the practice of musical instruments in orchestra's participants.

Objective: The practice of playing musical instruments can affect structures of the head, neck, mouth, and the masticatory system. The aim of this study was to obtain information regarding the prevalence of orofacial pain in musicians according to the type of instrument they play, by applying a specific questionnaire. Materials and Methods: One hundred and seventeen musicians of Sao Paulo state's orchestras participated in this study. They answered an anamnesis questionnaire with 20 questions regarding their personal data, type of instrument played, hours of daily practice, and presence or absence of orofacial pain according to the Chronic Pain Grade Classification (CPGC). Musicians were divided into two groups in accordance with the risk of affecting TMJ: RG (risk group, including violin, viola, vocalist, trombone, tuba, clarinet and saxophone); CG (control group, other instruments). They received an informative brochure about the subject. Data obtained from the questionnaire were submitted to descriptive statistics, Pearson's correlation analysis and Z-test for difference between two proportions. Results: The participants were from 15 to 62 years old. Pain degree showed positive correlation for reported symptoms (P = 0.002) and hour/day practice (P = 0.030). Regarding the prevalence of pain degree, data were, for RG: Grade 0 (54.5%), Grade 1 (30.3%), and Grade ≥2 (15.1%). For CG, Grade 0 (84.4%), Grade 1 (8.9%), and Grade ≥2 (6.6%). Z-test showed positive difference between groups (P = 0.0001). Conclusion: It was concluded that the musicians of risk group presented higher prevalence of orofacial pain than control (non-risk) group.

Distonia focal da mão em músicos: implicações para a reabilitação / Focal Hand Dystonia in Musicians: Implications for Rehabilitation

A profissão do músico exige muito esforço psíquico e físico. Há várias situações em que o músico tem pouco tempo para preparar repertórios de alto nível que exigem muita flexibilidade, coordenação e motricidade fina, aumentando, portanto suas horas de estudo, podendo causar problemas como a distonia. A distonia focal da mão é uma desordem neurológica, geralmente específica da tarefa, frequente nesta população. O quadro clínico consiste em contrações musculares involuntárias com consequentes dificuldades e erros na execução musical. O objetivo deste estudo foi revisar a literatura sobre a distonia focal no músico, abordando causas, quadro clínico, prevenção e tratamentos existentes. A patogênese da distonia é multifatorial e diversas abordagens terapêuticas foram encontradas, incluindo reajuste sensório-motor; reeducação de postura e movimentos; reeducação sensorial; uso de toxina botulínica e reajustes ergonômicos. Para diagnosticar e elaborar um tratamento eficaz para o músico é necessário amplo conhecimento da patogênese e quadro clínico da distonia, do instrumento e técnica musical, postura e situação de trabalho do músico, requerendo uma abordagem individualizada.

The professional musician requires a great mental and physical effort. There are several situations in which the musician has a very short time to prepare high- -level repertoires that require a lot of flexibility, coordination and fine motor skills, thereby increasing their hours of study, may cause problems as focal dystonia. The focal hand dystonia is a neurological disorder, usually specific task, often in musicians. The clinical presentation consists of involuntary muscle contractions with resulting difficulties and errors in performance. The purpose of this study was a bibliographic review on focal dystonia in the musician approaching the causes, clinical features, prevention and treatments. The pathogenesis of dystonia is multifactorial and different therapeutic approaches have been found, including sensorimotor adjustment; rehabilitation of posture and movements; sensory reeducation; botulinum toxin and ergonomic adjustments. To diagnose and develop an effective treatment for the musician is necessary an extensive knowledge of the pathogenesis and clinical features of dystonia, instrument and musical technique, posture and work situation musician, with an individual approach.

Teste de Raciocínio Auditivo Musical (RAu): estudo inicial por meio da Teoria de Reposta ao Item / Auditory Musical Reasoning Test: an initial study with Item Response Theory / Test de Raciocinio Auditivo Musical (RAu): estudio inicial a través de la Teoría de Repuesta al Ítem

A presente pesquisa tem como objetivo buscar evidências de validade com base na estrutura interna e de critério para um instrumento de avaliação do processamento auditivo das habilidades musicais (Teste de Processamento Auditivo com Estímulos Musicais, RAu). Para tanto, foram avaliadas 162 pessoas de ambos os sexos, sendo 56,8% homens, com faixa etária entre 15 e 59 anos (M=27,5; DP=9,01). Os participantes foram divididos entre músicos (N=24), amadores (N=62) e leigos (N=76), de acordo com o nível de conhecimento em música. Por meio da análise Full Information Factor Analysis, verificou-se a dimensionalidade do instrumento, e também as propriedades dos itens, por meio da Teoria de Resposta ao Item (TRI). Além disso, buscou-se identificar a capacidade de discriminação entre os grupos de músicos e não-músicos. Os dados encontrados apontam evidências de que os itens medem uma dimensão principal (alfa=0,92) com alta capacidade para diferenciar os grupos de músicos profissionais, amadores e leigos, obtendo-se um coeficiente de validade de critério de r=0,68. Os resultado indicam evidências positivas de precisão e validade para o RAu.

This study investigated internal structure and criterion validity of a test that aims at assessing auditory processing of musical ability (Auditory Musical Reasoning Test, RAu). 162 people of both sexes were evaluated, 56.8% men, aged between 15 and 59 years of age (M=27.5; SD=9.01). Participants were divided among musicians (N=24), amateurs (N=62) and lay people (N=76) according to the extension of their knowledge in music. Full Information Item Factor Analysis verified the dimensionality of the instrument and also the properties of the items via Item Response Theory (IRT). Furthermore, we sought to identify the ability to discriminate between professional musicians, amateurs and lay people. Data showed evidence that the items measure a major dimension (alpha=.92) with high ability to differentiate groups of musicians, amateurs and lay people giving a criterion validity coefficient of r=.68. The results indicate positive evidence of reliability and validity for RAu test.

La presente investigación tiene como objetivo buscar evidencias de validez basadas en la estructura interna y de criterio para un instrumento de evaluación del procesamiento auditivo de las habilidades musicales (Test de Procesamiento Auditivo con Estímulos Musicales, RAu). Para eso, fueron evaluadas 162 personas de ambos los sexos, siendo 56,8% hombres, con rango de edad entre 15 y 59 años (M=27,5; DP=9,01). Los participantes fueron divididos entre músicos (N=24), aficionados (N=62) y laicos (N=76) de acuerdo con el nivel de conocimiento en música. Por medio del análisis Full Information Factor Analysis se verificó la dimensionalidad del instrumento y también las propiedades de los ítems a través de la Teoría de Respuesta al Ítem (TRI). Además, se buscó identificar la capacidad de discriminación entre los grupos de músicos y no músicos. Los datos encontrados apuntan evidencias de que los ítems miden una dimensión principal (alfa=0,92) con alta capacidad para diferenciar los grupos de músicos profesionales, aficionados y laicos obteniéndose un coeficiente de validez de criterio de r=0,68. Los resultados indican evidencias positivas de precisión y validez para el RAu.

Projeto de vida no discurso de jovens músicos / Life project in the speech of young musicians / Proyecto de vida en el discurso de los jóvenes músicos

Investiga-se o que é a música para jovens músicos de São João Del Rei, cidade da região do Campo das Vertentes, Minas Gerais, que convive cotidianamente com bandas e orquestras bicentenárias e onde o fazer musical é forte referência na vida das pessoas, especialmente na de crianças e adolescentes. Tendo-se como referencial teórico a psicossociologia e suas noções de imaginário social, projeto de vida e grupo como sistema cultural, simbólico e imaginário, foram entrevistados 21 jovens vinculados a corporações musicais da cidade. As entrevistas transcritas passaram por procedimentos derivados da análise arqueológica do discurso. Buscou-se explicitar o papel da atividade musical na construção de projetos de vida dos jovens, isso é , nas modalidades de inserção social desses sujeitos no contexto de sua realidade, suas formas de projetar o futuro e lançar-se em busca de algo a ser realizado.

It was searched what music is for young musicians in São João del Rei , a city in the region of Campo das Vertentes , Minas Gerais , that daily lives with brass bands and bicentennial orchestras and where the musical activities are a strong reference in peoples lives, specially among children and teenagers. Adopting the psycho-sociological theory and its notions of social imaginary, life project and group as a cultural, symbolic and imaginary system, 21 young people from musical corporations in the city were interviewed. The transcribed interviews were submitted to procedures derived from archeological discourse analysis. It was tried to make explicit the role of musical activity in the youth's life project building, that is, the modalities of social insertion of these subjects in their reality, their ways of projecting the future and of throwing themselves in the search of something to be realized.

Se ha investigado lo que es la música para jóvenes músicos de São João Del Rei, ciudad de la región de Campo das Vertentes, Minas Gerais, que convive cotidianamente con bandas y orquestas bicentenarias y donde el hacer musical es una fuerte referencia en la vida de las personas, especialmente de los niños y adolescentes. Teniendo como referencial teórico la psico sociologia y sus conceptos de imaginario social, proyecto de vida y grupo como sistema cultural, simbólico e imaginario, han sido entrevistados 21 jóvenes vinculados a las corporaciones musicales de la ciudad. Las entrevistas transcritas han sido sometidas a procedimientos derivados del análisis arqueológico del discurso. Se ha buscado explicitar el papel de la actividad musical en la construcción de proyectos de vida de los jóvenes, es decir, en las modalidades de inserción social de estos sujetos en el contexto de su realidad, sus formas de proyectaren el futuro y de se lanzaren en busca de algo a ser realizado.

A saúde dos músicos: dor na prática profissional de músicos de orquestra no ABCD paulista / Musicians' health: pain resulting from playing musical instruments among members of orchestras of the ABCD region, São Paulo, Brazil

Esta pesquisa averiguou a ocorrência de queixas dolorosas musculoesqueléticas relacionadas à prática de instrumento musical entre músicos de orquestras da região do ABCD paulista em 2008. Sessenta e nove músicos responderam ao Questionário Nórdico de Sintomas Osteomusculares (QNSO), complementado por um levantamento sociodemográfico. Foram levantadas as queixas nos últimos doze meses e nos últimos sete dias e os afastamentos das atividades habituais provocados por dor. Os dados foram tratados estatisticamente para uma descrição da amostra e análise da severidade dos casos. Os músicos pesquisados, 55 homens e 14 mulheres, constituíram um grupo jovem 77% abaixo de 35 anos com um predomínio de instrumentistas de cordas, dos quais a maioria (72%) tem dois ou mais vínculos de emprego. As queixas dolorosas atingem 65 dos 69 participantes, acometendo com maior severidade o tronco (regiõeslombar e dorsal) e o punho: estas regiões, seguidas pelo pescoço, provocaram o maior número de afastamentos das atividades normais. Os resultados indicam que a dor "faz parte do negócio" entre os músicos. A dor dos músicos, como de outros trabalhadores, coloca na pauta a reflexão sobre como prevenir queixas dolorosas na perspectiva de uma atuação primária de promoção de saúde. Com relação à prevenção secundária, esta deveria ser feita em serviços de saúde preparados para lidar com as peculiaridades do trabalho do músico.

This study investigated the occurrence of musculoskeletal pain among orchestra musicians from the region of ABCD (constituted by four industrial towns named Santo André, São Bernardo, São Caetano, and Diadema), in São Paulo state, Brazil, in 2008. Sixty-nine musicians filled the Nordic Musculoskeletal Questionnaire (NMQ) and gave information on demographic and professional aspects. Their complaints during the last 12 months and the last 7 days were registered, as well as their absence from professional activities due to pain. Data were treated statistically to describe the sample and assess severityof complaints. The assessed group 55 men and 14 women, 77% under 35 years was mostly formed by string musicians, 72% working for at least two orchestras. Sixty five of them reported pain that was more severe in the torso (lumbar or dorsal regions) and the wrist. These areas, followed by the neck, caused most of their absences from work. Results showed that pain is part of musicians job. The musicians pain, as well as other workers, raises the discussion on how it should be prevented in order to promote their health. Concerning secondary prevention, health services should be prepared to deal with musicians occupational specificities.

Percepção de qualidade do sono e da qualidade de vida de músicos de orquestra / Sleep quality and quality of life perception in orchestra musicians

CONTEXTO: As condições de saúde e trabalho de músicos profissionais têm sido pouco investigadas. OBJETIVOS: Identificar a frequência de baixa qualidade de sono em um grupo de músicos de orquestra, bem como analisar possíveis associações com as variáveis de percepção da qualidade de vida geral. MÉTODO: A qualidade do sono, o cronotipo e a qualidade de vida geral foram avaliados por meio dos questionários de Pittsburgh, Horne-Ostberg e WHOQOL-bref, respectivamente, em 22 músicos (17 homens e cinco mulheres) de uma orquestra. RESULTADOS: A baixa qualidade do sono foi identificada em 71 por cento. As dimensões mais associadas à qualidade de sono foram a capacidade para desempenhar as atividades do dia a dia (p = 0,003) e do trabalho (p = 0,004), dor e desconforto (p = 0,006), satisfação com as relações pessoais (p = 0,007) e capacidade de aproveitar a vida (p = 0,008). O domínio físico na análise da qualidade de vida foi o que apresentou maior poder explicativo para a qualidade do sono (34 por cento). O cronotipo e as horas de sono não apresentam associação com a qualidade do sono. CONCLUSÕES: Identificou-se uma alta frequência de baixa qualidade de sono. Medidas para a promoção da qualidade do sono nesta população devem priorizar as variáveis relacionadas à qualidade de vida em seu aspecto físico.

BACKGROUND: The health and work conditions of professional musicians have been little investigated. OBJECTIVES: Identify the frequency of poor sleep quality in a group of orchestra musicians and examine possible associations with the variables of perception of overall quality of life. METHOD: The sleep quality, the chronotype and overall quality of life were evaluated by mean questionnaire of Pittsburgh, Horne-Ostberg e WHOQOL-bref, respectively, at 22 musicians (17 men and five women) in an orchestra. RESULTS: The prevalence of poor sleep quality was 71 percent. The dimensions most associated with quality of sleep were the ability to perform activities of day-to-day (p = 0.003) and labor (p = 0.004), pain and discomfort (p = 0.006), satisfaction with personal relationships (p = 0.007) and the ability to enjoy life (p = 0.008). The physical analysis of quality of life was the greatest explanatory power for the sleep quality (34 percent). The chronotype and hours of sleep do not show association with the quality of sleep. DISCUSSION: We found a high frequency of poor sleep quality among orchestra musicians. Measures to promote sleep quality in this population should prioritize the variables related to quality of life in its physical aspect.

Aceitação de protetores auditivos pelos componentes de banda instrumental e vocal / Acceptance of hearing protection aids in members of an instrumental and voice music band

Existem barreiras para a efetiva proteção auditiva entre músicos. OBJETIVO: Verificar a aceitação de protetor auditivo pelos componentes de banda instrumental e vocal. MATERIAL E MÉTODO: Estudo prospectivo realizado com a Banda Municipal de Indaial, em 2005. O grupo de estudo consistiu de 34 componentes. Os níveis de pressão sonora foram mensurados durante um ensaio. Os sujeitos responderam questionários e realizaram audiometria tonal. Os limiares tonais dos componentes da banda foram comparados a um grupo controle. Ministrado palestra e distribuído protetores auditivos por 3 meses. RESULTADOS: Os níveis de pressão sonora variaram de 96,4 dB(A) a 106,9 dB(A). As maiores queixas foram: incômodo a sons 58,8 por cento e zumbido 47 por cento. Ao compararmos a mediana dos limiares auditivos dos músicos com o grupo controle observou-se diferença significativa à direita nas freqüências de 4 e 6 kHz, e à esquerda nas freqüências de 3, 4 e 6 kHz. 77,1 por cento referiram que a música pode ocasionar prejuízo auditivo. 56,2 por cento referiram não ter gostado do protetor, 43,7 por cento referiram ter gostado. CONCLUSÃO: Os sujeitos têm a informação sobre o risco, mas não há prevenção em relação aos efeitos auditivos, sugerindo a necessidade de campanhas periódicas e legislação específica aos profissionais ligados à música.

There are barriers to effective hearing protection among musicians. AIM: To investigate the acceptance of hearing protection aids in members of an instrumental and voice music band. MATERIAL AND METHOD: A prospective study of 34 members of the Municipal Indaial Band. Sound pressure levels were measured during a rehearsal, indicating mean levels ranging from 96.4 dB(A) to 106.9 dB(A). Subjects answered questionnaires and underwent audiometry. They attended a lecture in which folders and hearing protection aids were provided; subjects were asked to try using the protectors for 3 months. RESULTS: At the end of the study period, 56.2 percent reported not liking hearing protection, while 43.7 percent accepted such protection. The most common complaints were discomfort with sounds (58.8 percent) and tinnitus (47 percent). 77.1 percent said that music might cause hearing impairment. A statistically significant difference was observed in the right ear at 4 and 6 kHz and at the left ear in 3, 4 and 6 kHz when median thresholds were compared with those from unexposed controls. CONCLUSION: Although most subjects seemed aware of the risk, few took preventive measures against hearing loss. This suggests the need for periodic educational campaigns and specific legislation tailored to music professionals.

Queixas musculoesqueléticas em músicos: prevalência e fatores de risco / Playing-related musculoskeletal complaints among musicians: prevalence and risk factors

Disfunções musculoesqueléticas relacionadas à prática instrumental são freqüentes entre músicos, atingindo acima de 70 por cento dos componentes de orquestras. O exercício da música como profissão requer ampla diferenciação e produtividade de capacidades tanto psicológicas, mentais, como também físicas. Muitos fatores de risco contribuem para o surgimento de queixas musculoesqueléticas durante a prática musical, entre eles: a técnica individual, as condições físicas do músico e o instrumento em si. Podem ocorrer distúrbios reumatológicos, neurológicos, dermatológicos e psicológicos, assim como problemas de visão e audição e do complexo orofacial. As queixas no aparelho motor manifestam-se, muitas vezes, como dor, fraqueza ou tensão. Os diagnósticos do membro superior mais freqüentemente estabelecidos são as tendinopatias, mialgias e a síndrome do superuso. O médico e o terapeuta responsáveis devem conhecer as atividades e cargas do músico profissional, para que sejam proporcionadas avaliação e estratégia terapêutica adequadas.

Playing-related musculoskeletal complaints are often found among musicians, taking a toll in more than 70 percent of professional musicians in orchestras. Professional musical performance requires a high level of differenciation and efficiency of psychological, mental and physical skills. Many risk factors can contribute to the development of musculoskeletal conditions in this special population, like the individual technique, physical fitness of the musician and the instrument itself. Many rheumatic, neurological, dermatological, and psychiatric problems are reported, as well as dysfunctions of the visual, auditive and oral system. The musculoskeletal complaints often manifest as pain, weakness or tension, and the most common diagnoses of the upper limb are tendinopathies, myalgia and overuse syndromes. It is necessary for the skilfull physician and physical therapist to have a thorough knowledge about potential problems of the performing artist, in order to provide adequate medical examination and treatment to this very special patient.