The influence of music lessons on the socio-emotional wellbeing of children with cleft lip and/or palate.

Introduction There is a dearth of psychological interventions for patients with cleft lip and/or palate (CL/P).Objective To evaluate the influence of music lessons on the socio-emotional wellbeing of children with CL/P.Setting This study was conducted at Asociación San Lucas (Moyobamba, Peru), which has a multidisciplinary programme for children with CL/P. Recorder lessons are offered to all patients aged 6-8 years. From age eight, the children can switch to flute, clarinet, violin, viola or cello.Materials and methods The Glasgow Benefit Inventory (GBI), a post-intervention questionnaire, was administered to all 26 children participating in the music programme.Results Mean GBI scores per question ranged from 59.62 (SD: 31.68) to 92.31 (SD: 23.21), showing an overall positive effect of the music lessons on the patients' socio-emotional wellbeing. Playing a musical instrument gave the children satisfaction and self-confidence. The children lost much of their shame, became less shy, and participated more in social activities. In a non-significant numerical trend, boys, flute/clarinet players and orchestra players had higher mean GBI scores than, respectively, girls, string players and children who did not play in the orchestra.Conclusions Quantitative and qualitative analysis indicated a positive influence of music lessons on the patients' socio-emotional wellbeing.

A case series of wind instrument players with cleft lip and/or palate.

It might be more difficult for patients with cleft lip and/or palate (CL/P) to generate sufficient muscle tension of the upper lip and intraoral air pressure to play a wind instrument. We aimed to explore and describe the key aspects of wind instrument playing with a repaired cleft. An in-depth interview was conducted among ten patients with CL/P and one with a functionally comparable problem and we found that: individuals with CL/P can achieve a professional level on a wind instrument; the oboe and trumpet may be less suitable for patients with CL/P because of the high lip muscle tension and intraoral air pressure that must be generated; air leakage through a fistula, unrepaired alveolus or velopharyngeal insufficiency can be troublesome; and for people with CL/P, a brass instrument with a large mouthpiece is easier than a small mouthpiece. While dentists, doctors and music teachers should discuss the probability that wind instrument playing might be more difficult for patients with CL/P, they should not discourage it.

Is orthognathic surgery indicated for wind instrument players? A multiple case study.

Introduction For the ambitious wind instrument player with severe malocclusion, the decision to undergo orthognathic surgery can be difficult.Aim To qualitatively explore and reveal key aspects of considerations for and outcomes of orthognathic surgery by interviewing a group of advanced and professional wind instrumentalists.Materials and methods One investigator, using a standardised questionnaire, interviewed seven cases. The interviews were analysed by two investigators who are knowledgeable about embouchure.Outcomes An ideal jaw relationship is not a prerequisite to achieving a professional career in music. Complete embouchure loss after surgery can be experienced due to changes in the position of incisors, lip relationship and tongue position relative to the shape of the oral cavity and as a result of neurosensory changes. Neurosensory recovery and 'wind instrument rehabilitation' takes at least six months, which was achieved in three out of five cases. The following temporary or permanent difficulties during playing after surgery were reported: onset of notes, high notes, leaps and intervals, and stable and well-tuned sound.Conclusion In view of the risks involved, orthognathic surgery in wind instrumentalists should only be considered when there is an (oral) health indication.

The effect of playing a wind instrument or singing on risk of sleep apnea: a systematic review and meta-analysis.

STUDY OBJECTIVES: To systematically survey the scientific literature concerning the effect of playing a wind instrument or singing on sleep, snoring, and/or obstructive sleep apnea. METHODS: The PubMed, EMBASE, and Cochrane databases were searched up to December 2019. Observational studies and (Randomized) Controlled Clinical Trials that assessed sleep, snoring, or obstructive sleep apnea as clinical outcome or via a questionnaire were included. For the individual studies, the potential risk of bias was scored. Data between oral musicians and control participants were extracted. Descriptive analysis and meta-analysis were performed. RESULTS: Six eligible studies (5 cross-sectional, 1 randomized controlled trial) were retrieved, with an estimated potential bias ranking from low to high. The sample sizes ranged from 25 to 1,105 participants. Descriptive analysis indicated that players of a double-reed instrument have a lower risk of obstructive sleep apnea and that singers snore less compared with control participants. Playing a didgeridoo showed a positive effect on apnea-hypopnea index, daytime sleepiness, and partner's rating for sleep disturbance. The descriptive analysis could not be substantiated in the meta-analysis. The magnitude of the effect was zero to small, and the generalizability was limited because of long (professional) rehearsal time or small sample size. CONCLUSIONS: Playing a wind instrument and singing may have a small but positive effect on sleep disorders. Considering the practicality and investment of (rehearsal) time, didgeridoo and singing are the most promising interventions to reduce obstructive sleep apnea and snoring, respectively. However, the results of this review are based on few studies and the synthesis of the evidence is graded to have low certainty.