Promoting Health in Post-Secondary Music Schools

2006 ◽  
Vol 21 (3) ◽  
pp. 95-96
Author(s):  
Ralph A Manchester

The Special Article in this issue of Medical Problems of Performing Artists has the potential to usher in a new era in improving the lives of musicians (and potentially other performing artists) around the world. The Health Promotion in Schools of Music conference that was held in Texas in the fall of 2004 brought together a rich mixture of music and performing arts medicine professionals. Stimulated by the new National Association of Schools of Music accreditation standard that requires undergraduate music students to receive instruction in injury prevention and occupational health promotion, participants in the conference worked diligently for 3 days to discuss what we know, what we don't know, and how to approach the vital yet immensely complex issue of health promotion and injury prevention for college-level music students. While the recommendations in the Special Article are intentionally broad and allow each school to develop its own program, they are based on a true state of the art analysis of the field.

2007 ◽  
Vol 22 (3) ◽  
pp. 116-119

The September 2006 issue of MPPA contained a Special Article and editorial on health promotion in schools of music, based on work done by the Performing Arts Medicine Association and the National Association of Schools of Music. Among the conclusions reached at the Health Promotion in Schools of Music Conference in 2004 was the recommendation to "develop and offer an undergraduate occupational health course for all music majors." This series of Special Articles in MPPA contains descriptions of courses that have been developed and offered for this purpose. This is the third and final part of the series.


2007 ◽  
Vol 22 (1) ◽  
pp. 26-29

The September 2006 issue of MPPA included a Special Article and an Editorial on health promotion in schools of music, based on work done by the Performing Arts Medicine Association (PAMA) and the National Association of Schools of Music (NASM). Consensus was reached on four declarations/recommendations at the Health Promotion in Schools of Music Conference in 2004. The second recommendation, reported in the Special Article, was to "develop and offer an undergraduate occupational health course for all music majors." The Editorial contained a call for descriptions of courses that have been developed and offered for this purpose. Below are the descriptions of five courses from music schools across the country. The courses are notable for their diversity in faculty, ranging from musician-educators to occupational and physical therapists to physicians. Readers will note some common areas of content among the courses. Student feedback is included in the first course description. Future work in this area should focus on evaluation of the impact of this type of coursework, which is now part of the NASM accreditation standards.


2008 ◽  
Vol 23 (2) ◽  
pp. 47-53 ◽  
Author(s):  
Rebecca Barton ◽  
Judy R Feinberg

The purpose of this program evaluation was to examine the effectiveness of an educational course in health promotion and injury prevention designed specifically for college music majors. Course content included the provision of information on medical problems commonly seen in musicians, effective health promotion and preventive strategies, and application of this knowledge to music playing and other daily occupations. Students were taught how to assess risk for potential injury for themselves and their future students. Course content and self-assessment questionnaires aimed at assessing the students' use of health and injury prevention measures were administered before the start of the course, immediately after course completion, and 6 weeks later. The outcomes indicated that students improved in their overall knowledge of the content covered in this educational module and that this increased knowledge was retained 6 weeks later. Interestingly, self-perceived application of health promotion and injury prevention strategies did not improve significantly at the completion of the course but did so 6 weeks later, possibly indicating that behavior change takes longer to incorporate into one's daily routine. Literature suggests that such education programs have benefited performing artists, and these results indicate the efficacy of this type of educational program within an academic curriculum for student musicians. In addition, this program illustrates the role of the occupational therapist as a consultant and educator in the practice of performing arts medicine.


2016 ◽  
Vol 31 (3) ◽  
pp. 185-186
Author(s):  
Donna Krasnow

<Abstract>It is undeniable that the research and clinical knowledge base in performing arts medicine continues to develop, as discussed in the June editorial in Medical Problems of Performing Artists. This growth in research is certainly evident in dance, as in other areas of the performing arts. The breadth of the research includes the studies of biomechanics, conditioning and supplementary training practices, injury prevention and rehabilitation, motor control, nutrition, physics, and psychology.


2006 ◽  
Vol 21 (1) ◽  
pp. 1-2
Author(s):  
Ralph A Manchester

To paraphrase the old saying, a sixteenth note of prevention is worth a whole note of cure. Unfortunately, in 2006 we have very few sixteenth notes of proven prevention to offer performing artists. Therefore, practitioners of performing arts medicine are mostly limited to offering injured artists whole notes of treatment, assuming that the artist is in an area where she or he can find some treatment and can afford to pay for it. Should we be concerned that we have so little to offer in the way of injury prevention in the third decade of the existence of the field? What follows are my thoughts on the subject, sparsely annotated, focusing mainly on the instrumental musician.


2006 ◽  
Vol 21 (2) ◽  
pp. 45-46
Author(s):  
Ralph A Manchester

As the diverse populations of the planet interact on a more frequent and intense basis, it becomes increasingly important for every individual and organization to examine its own approach to this vital issue. The field of performing arts medicine should pay particular attention to diversity for a number of reasons, some of which will help to advance our specialty and improve the lives of performing artists, while others may help save the world.


2016 ◽  
Vol 31 (2) ◽  
pp. 122-123
Author(s):  
Bronwen J Ackermann

There is no doubt that the field of performing arts medicine continues to grow at a rapid pace. While the consistently high rate of injuries reported by musicians and dancers internationally drives the need for better injury prevention and management strategies, the increasing research and clinical knowledge base provides a platform for further advancements.


2010 ◽  
Vol 25 (4) ◽  
pp. 139-140 ◽  
Author(s):  
Ralph A Manchester

As the body of knowledge that comprises the field of performing arts medicine has grown, it has simultaneously become more important and more difficult for everyone who is concerned about the health of performing artists to stay current with the state of the art. In this regard, performing arts medicine is no different from any other field, but we have a huge challenge as we try to meet the educational needs of the broad variety of professionals who treat, teach, manage and do research on musicians, dancers, and other performing artists. A panel discussion on this subject was part of the 2010 Aspen Symposium on the Healthcare of Performing Artists. ... I will try to summarize where our efforts to educate performing arts medicine professionals stand today and what our options are for the future.


Author(s):  
Paola Savvidou

This chapter provides an overview of wellness theories, along with a profile of the challenges facing music students today, and a brief background of performing arts medicine. The multidimensional nature of wellness is introduced as the basis for the explorations that follow in this book. The top impediments to academic performance faced by college students are identified and grounded in national surveys and research. Some of these challenges include stress, anxiety, sleep deprivation, and depression. A discussion specific to music students points to additional challenges, such as performance-related musculoskeletal injuries, isolation, competition, and performance anxiety. The toolkit at the end of the chapter provides eight assessments for each dimension of wellness.


2017 ◽  
Vol 32 (3) ◽  
pp. 183-184
Author(s):  
Bronwen J Ackermann

In modern medicine, approaches to healthcare no longer only encompass injury management, but increasingly focus on understanding the performance demands and health risk exposures faced by performing artists. Quantitative and qualitative scientific and health analyses by performing artists, clinicians, educators, and researchers are increasingly helping us to develop effective, targeted, and relevant health promotion and performance optimisation strategies worldwide. While such research increasingly identifies improved methods of preventing and managing potential psychological, audiological, or physical challenges faced by performing artists, we still need to work hard to address very important barriers to implementing appropriate health approaches. One of the challenges to better health management in performing arts populations relates to stigmatization.


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