Synthesizing the Literature on Stress Velopharyngeal Insufficiency in Musicians: Recommendations for Music Educators

Many musicians experience performance-related health problems (PRHPs), most of which are preventable. Music educators play a primary role in the prevention of PRHPs in the music classroom. Stress velopharyngeal insufficiency (SVPI) in wind musicians is a condition affecting soft palate closure, causing air to escape through the nose while blowing through the mouth into the instrument. Although SVPI is serious and potentially career ending for wind instrumentalists, there are limited resources for music educators on SVPI prevalence, causes, management, and prevention. Therefore, this synthesis of existing literature on SVPI in musicians provides music educators with awareness and understanding of SVPI. Information on SVPI symptoms, treatment pathways, prevention, and recommendations for practical solutions to manage SVPI in the music studio are given. A comprehensive understanding of terminology, symptoms, prevalence, and solutions may equip music educators to intervene more effectively in identifying SVPI in their classroom or studio.

Airflow and Air Velocity Measurements While Playing Wind Instruments, with Respect to Risk Assessment of a SARS-CoV-2 Infection

Due to airborne transmission of the coronavirus, the question arose as to how high the risk of spreading infectious particles can be while playing a wind instrument. To examine this question and to help clarify the possible risk, we analyzed 14 wind instruments, first qualitatively by making airflows visible while playing, and second quantitatively by measuring air velocity at three distances (1, 1.5, 2 m) in the direction of the instruments’ bells. Measurements took place with wind instrumentalists of the Bamberg Symphony in their concert hall. Our findings highlight that while playing, no airflows escaping from any of the wind instruments—from the bell with brass instruments or from the mouthpiece, keyholes or bell with woodwinds—were measurable beyond a distance of 1.5 m, regardless of volume, pitch or what was played. With that, air velocity while playing corresponded to the usual value of 1 m/s in hall-like rooms. For air-jet woodwinds, alto flute and piccolo, significant air movements were seen close to the mouthpiece, which escaped directly into the room.

Tooth Position in Wind Instrument Players: Dentofacial Cephalometric Analysis

Background: Specific dentofacial characteristics in wind instrumentalists should be taken in consideration when analyzing physiological and anatomical issues regarding the musician’s embouchure, posture, and biomechanics during musical performance. Objectives: To compare tooth cephalometric characteristics between wind instrument players and string players (overjet, overbite, lower facial height, facial convexity, lower incisor inclination, and interincisal angle). Methods: In total, 48 wind instrumentalists (67%) and 24 string instrumentalists (33%). These musicians performed lateral tele-radiography and the correspondent linear and angular measurements of the dentofacial cephalometric analysis. Statistical comparison of wind and string instrumentalists was made by using an independent t-test. Results: Small variations on the analyzed parameters were found between the wind and string instrument groups. Based on the cephalometric analysis the variable interincisal angle was statistically significant (p < 0.05), when comparing the wind and string instrument group. Conclusions: Knowledge of the overjet and overbite value permits a substantial analysis on the tooth position of wind instrument players, where both of these parameters are increased and greater than the norm value. The cephalometry was an added value on the interpretation of possible factors that lead to the position of the central incisors of wind instruments. Till some extent in this group of musicians the applied forces during the embouchure mechanism on the anterior teeth and the existing perioral forces promote an equilibrium on the vector of forces. This study findings demonstrate that when evaluating the two samples, wind and string instruments there are different dentofacial configurations, however the only statistically significant differences that were found are related to the interincisal angle (p < 0.05).

Airflow and air velocity measurements while playing wind instruments, with respect to risk assessment of a SARS-CoV-2 infection

Due to airborne transmission of infection with the coronavirus, the question arose as to how high the risk of spreading infectious particles can be while playing a wind instrument.To contribute to this question and to help clarify the possible risks, we analyzed 14 wind instruments, first qualitative by making airflows visible while playing and second quantitative by measuring air velocities at three distances (1m, 1.5m and 2m) in direction of the instrument’s bell.Measurements took place with wind instrumentalists of the Bamberg Symphony in their concert hall.Our findings highlight that while playing all wind instruments no airflow escaping from the instruments – from the bell with brass instruments, from the mouthpiece, keyholes and bell with woodwinds – was measured beyond a distance of 1.5m from the instruments’ bell, regardless of volume, pitch or what was played. With that, air velocity while playing corresponded to the usual value of hall-like rooms, of 0.1 m/s. For air-jet woodwinds, alto flute and piccolo, significant air movements were seen close to their mouthpieces, which escaped directly into the room without passing through the instrument and therefore generating directed air movements.

Is temporomandibular disfunction an occupational disease of flautists?

Wind instrumentalists are prone to a number of occupational hazards that can lead to occupational diseases. C. Zaza defined these diseases as playing-related musculoskeletal disorders (PRMD). Such occupational diseases are devastating for musicians in terms of psychological health and financial state. According to various epidemiological studies, 6286% of orchestra musicians experienced PRMD. Particularly the pressure of the mouthpiece on the lower incisors of wind instrumentalists leads to their movement and provoke periodontal diseases. Moreover, wind instrumentalists place themselves at risk of allergies and galvanism. Musicians do not seek for dental help due to the fear of spoiled embouchure (habitual position of the cheeks, tongue, and lips while playing) in spite of the range of specific oral pathologies. Flautists are of particular interest to dental practitioners because they are subjected to several risk factors; in addition to the mouthpiece pressure, they often hold instruments in an asymmetric posture, and in constrained spaces, being surrounded by the other orchestra musicians. To learn more about the occupational hazards of flautists, we searched for the relevant literature in the central research medical library and for articles in databases eLIBRARY, PubMed, and ResearchGate using the following keywords: wind instrumentalists, flute, temporomandibular disorders, and playing-related musculoskeletal disorders. Some studies claim that the asymmetric posture of flautist, especially in cramped conditions, affects the musicians health and leads to PRMD. Nevertheless, this research topic has been neglected, and published studies lack a strong methodology, explaining why they fail to show a strong association between TMD and flute playing. Therefore, further research is needed.

Orofacial Trauma on the Anterior Zone of a Trumpet’s Player Maxilla: Concept of the Oral Rehabilitation—A Case Report

Background: The occurrence of an orofacial trauma can originate health, social, economic and professional problems. A 13-year boy suffered the avulsion of tooth 11 and 21, lost at the scenario. Methods: Three intraoral appliances were manufactured: A Hawley appliance with a central expansion screw and two central incisors (1), trumpet edentulous anterior tooth appliance (2) and a customized splint (3) were designed as part of the rehabilitation procedure. Objectively assessing the sound quality of the trumpet player with these new devices in terms of its spectral, temporal, and spectro-temporal audio properties. A linear frequency response microphone was adopted for precision measurement of pitch, loudness, and timbre descriptors. Results: Pitch deviations may result from the different intra-oral appliances due to the alteration of the mouth cavity, respectively, the area occupied and modification/interaction with the anatomy. This investigation supports the findings that the intra-oral appliance which occupies less volume is the best solution in terms of sound quality. Conclusions: Young wind instrumentalists should have dental impressions of their teeth made, so their dentist has the most reliable anatomy of the natural teeth in case of an orofacial trauma. Likewise, the registration of their sound quality should be done regularly to have standard parameters for comparison.

Effects of Tonic Drone Accompaniments on the Intonation of Collegiate Wind Instrumentalists

The purpose of this study was to examine the effects of tonic drone accompaniments on the intonation of collegiate wind instrumentalists. Participants ( N = 68) played an excerpt of the melody “Long, Long Ago” in three conditions: a mono drone (tonic note only), dyad drone (tonic plus fifth), and a control condition (no drone). Results indicated no significant effects on intonation performance due to drone condition. However, participants’ ratings of their own intonation accuracy differed significantly based on drone condition. The majority of the performances of the melody aligned more closely with equal temperament ( n = 159), and fewer aligned more closely with just intonation ( n = 45). Most participants believed the dyad drone (59.74%) resulted in their best intonation accuracy, followed by the mono drone (28.57%) and the control condition (11.68%). In response to open-ended questions, participants cited reasons why they preferred particular drone conditions, with the most common themes being “easier to hear and match,” “multiple reference pitches,” and “focused/directed listening.” Given that participants expressed preferences regarding drone use in the absence of performance differences, music educators may consider the role of comfort and familiarity with these instructional tools.

Research to Resource: Evidence-Based Strategies for Improving Wind Intonation

Intonation is one of the most challenging performance elements for developing wind instrumentalists. There is a need to provide in-service band directors with evidence-based instructional strategies that can be used when teaching their students to perform with accurate intonation. The purposes of this research-to-resource article are to provide band directors with a concise summary of selected research focused on wind instrument intonation, and to provide instructional recommendations based on those research findings that can be used in ensemble rehearsals. Recommendations on full-ensemble tuning strategies, vocalization, tuner usage, and timbral instructions are provided.