College musicians encounter health risks not dissimilar to those of professional musicians. Fifteen collegiate instrumental musicians participated in the intervention program of yogic-breathing and muscle-strengthening and flexibility exercises for 8 weeks. Pre- and post-intervention data from the Health-Pain-Injury Inventory (HPI) and the Physical & Musical-Performance Efficacy Assessment Survey (PME) were analyzed for the effects of the program on the musicians' physical and musical-performance efficacy. HPI results showed that the majority of our sample had healthy lifestyles and minimal pain and injuries but irregular eating and exercise habits. The pre-intervention PME data showed a high level of musical efficacy (i.e., awareness of music technique, tone, and flow) but a low-level of physical efficacy (i.e., awareness of posture, tension, and movement flexibility). Post-intervention data showed that the program improved physical efficacy by increased awareness of posture and tension. In 2 volunteer musicians, kinematics motion analysis was conducted for exploratory purposes. Our cellist played the scale using a larger range of motion (ROM) in right shoulder flexion and abduction and slightly increased rotation while keeping decreased right elbow ROM after the intervention program. The flutist shifted the body weight from one foot to the other more in the second playing post-intervention. These changes can be attributed to the increased physical efficacy that allowed freedom to express musicality. Findings from these case scenarios provide empirically based hypotheses for further study. We share our experience so that others may use our model and instruments to develop studies with larger samples.

译文

大学音乐家遇到的健康风险与专业音乐家没有什么不同。15名大学乐器音乐家参加了为期8周的瑜伽呼吸,肌肉增强和柔韧性锻炼干预计划。分析了健康疼痛伤害量表 (HPI) 和身体与音乐表演功效评估调查 (PME) 的干预前后数据,以了解该计划对音乐家的身体和音乐表演功效的影响。HPI结果表明,我们的大多数样本具有健康的生活方式,最小的疼痛和伤害,但饮食和运动习惯不规律。干预前的PME数据显示出高水平的音乐功效 (即对音乐技巧,音调和流动的意识),但身体功效却很低 (即对姿势,张力和运动灵活性的意识)。干预后的数据表明,该计划通过提高对姿势和张力的认识来提高身体功效。在2名志愿音乐家中,出于探索目的进行了运动学运动分析。我们的大提琴手在右肩屈曲和外展中使用较大的运动范围 (ROM) 来演奏音阶,并在干预程序后保持右肘ROM降低的同时略微增加旋转。在第二次比赛中,长笛演奏家将体重从1英尺转移到另一个。这些变化可以归因于身体效能的提高,从而可以自由表达音乐性。这些案例的发现为进一步研究提供了基于经验的假设。我们分享我们的经验,以便其他人可以使用我们的模型和工具来开发具有更大样本的研究。

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