Storm Seneca A
Michigan State University College of Osteopathic Medicine, Department of Physical Medicine and Rehabilitation, B401 West Fee Hall, East Lansing, MI 48824, USA.
Phys Med Rehabil Clin N Am. 2006 Nov;17(4):893-903. doi: 10.1016/j.pmr.2006.08.003.
Awareness of the tasks required to play a particular instrument requires observation of technique and understanding of the dynamic and static loads placed on the musculoskeletal system to play a particular instrument. Anatomic differences, variation in hand size, gender, instrument choice, and maintainance of the instrument all may play a role in the development of playing-related complaints. Simply observing particular instruments, we can see a variety of positions that are required to play the instrument. Important to the discussion of overuse syndromes, we must evaluate the duration of practice sessions and warm-up and cool down periods, which may help minimize playing-related problems. Avoid absolute rest and opt for relative rest for playing-related problems. Immobilization for more than 3 to 4 weeks may lead to greater risk of injury when playing is resumed. Return to play schedules should start with simple, soft music, doubling minutes of playing every few days, dropping back if pain develops. Practical advice may include building up practice times gradually with 5- to 10-minute intervals in 60- to 90-minutes sessions. This recommendation is supported by the findings of Lutz and colleagues who showed decreased blood flow to the forearm after repetitive hand and wrist activities for 90 minutes. This decrease in blood flow normalized after 5 to 10 minutes of stretching exercises. Players with hypermobility should consider limiting practice sessions to 45 minutes allowing for rest breaks of 10 to 15 minutes. Fry suggested a shift in thinking of ergonomics as sa reactive strategy to one in which we anticipate and prevent problems before they become insidious or severe enough to limit the ability of the instrumentalist to play. Joint protection is important in all musicians, and although youth can be forgiving for many, we must remind our patients about joint protection as it applies to activities of daily living. Instrumentalists rely on their hands and finger joints to allow them to perform. Basic principles that apply to patients with all types of arthritis also apply to our patients when activities that worsen symptoms or place unnecessary stress on joints are identified. Using adaptive equipment to open jars is an obvious example. Overall, engaging the patient to observe routine behaviors may lead to the identification of modifiable activities, which might be aggravating or manifesting as a playing-related discomfort. Although some injury patterns can be associated with particular instruments, remember that your guitar-playing patient may be taking drum lessons on the side, Which could result in lateral epicondylitis that bothers him when he plays the guitar.
要意识到演奏特定乐器所需的任务,需要观察技巧,并了解演奏该乐器时肌肉骨骼系统所承受的动态和静态负荷。解剖学差异、手大小的变化、性别、乐器选择以及乐器的保养等因素都可能在与演奏相关的不适症状的发展中起作用。仅观察特定乐器,我们就能看到演奏该乐器所需的各种姿势。对于过度使用综合征的讨论而言,重要的是我们必须评估练习时段的时长以及热身和放松时段,这可能有助于将与演奏相关的问题降至最低。对于与演奏相关的问题,应避免绝对休息,选择相对休息。当恢复演奏时,固定超过3至4周可能会导致受伤风险增加。恢复演奏的计划应从简单、柔和的音乐开始,每隔几天增加演奏时间,如果出现疼痛则减少。实际建议可能包括在60至90分钟的时段内,以5至10分钟的间隔逐渐增加练习时间。Lutz及其同事的研究结果支持了这一建议,他们发现重复进行90分钟的手部和腕部活动后,前臂的血流量会减少。经过5至10分钟的伸展运动后,血流量减少的情况恢复正常。关节活动过度的演奏者应考虑将练习时段限制在45分钟,并安排10至15分钟的休息时间。Fry建议将人体工程学的思维方式从一种被动应对策略转变为一种我们在问题变得隐匿或严重到足以限制乐器演奏者演奏能力之前就进行预测和预防的策略。关节保护对所有音乐家都很重要,尽管年轻人在很多方面可能恢复得较好,但我们必须提醒患者注意关节保护,因为这适用于日常生活活动。乐器演奏者依靠他们的手和手指关节来进行表演。适用于所有类型关节炎患者的基本原则,在识别出会加重症状或给关节带来不必要压力的活动时,也同样适用于我们的患者。使用适应性设备打开罐子就是一个明显的例子。总体而言,让患者观察日常行为可能会发现可改变的活动,这些活动可能会加重症状或表现为与演奏相关的不适。尽管某些损伤模式可能与特定乐器有关,但要记住,你的吉他演奏患者可能还在兼职上鼓课,这可能会导致他在弹吉他时出现外侧上髁炎。