Potential link between playing wind instruments and vocal tract disorders. A literature review

Introduction and purpose: Currently, we can distinguish three basic groups of instruments. These are wind instruments, percussion instruments, and plucked instruments. In the case of wind instruments, the source of sound is a vibrating column of air, which is created by blowing by the player. It is suspected that such vibration may cause specific vocal and laryngeal symptoms. The aim of the study was to present the current state of knowledge regarding the potential relation between playing wind instruments and vocal tract disorders. Material and methods: The article reviews 19 publications available on the PubMed and Google Scholar, Web of Science databases meeting assumed criteria: published as a full text, without time limit and conducted on humans. The studies were found using initially established searching strategies as well as subsequent manual searching in order not to miss adequate articles. State of knowledge: Laryngeal symptoms may be combined with vocal symptoms. The main raised vocal manifestations among instrumentalists are dysphonia, hoarseness, and altered voice quality. Comparing a group that used wind instruments with control, VHI-10 (Voice Handicap Index) and F0 (fundamental frequency) and HNR (harmonics-to-noise ratio) were higher while jitter % and shimmer %, which are perturbation parameters, were lower in the study group. The majority of studies has a limitation because they were performed in a limited number of volunteers. Conclusions: The symptoms of the vocal tract related to playing wind instruments are characterized by a low frequency of occurrence and intensity. However, further research is needed to assess this relation.

Aerosol emission rates from playing wind instruments – Implications for COVID-19 transmission during music performance

BackgroundThe pandemic of COVID-19 led to exceeding restrictions especially in public life and music business. Airborne transmission of SARS-CoV-2 demands for risk assessment also in wind playing situations. Previous studies focused on short-range transmission, whereas long-range transmission has not been assessed so far.Methods and findingsWe measured resulting aerosol concentrations in a hermetically closed cabin of 20 m3 in an operating theatre from 20 minutes standardized wind instrument playing (19 flute, 11 oboe, 1 clarinet, 1 trumpet players). Based on the data, we calculated total aerosol emission rates showing uniform distribution for both instrument groups (flute, oboe). Aerosol emission from wind instruments playing ranged from 7 ± 327 particles/second (P/s) up to 2583 ± 236 P/s, average rate ± standard deviation. The analysis of the aerosol particle size distribution showed that about 70 − 80% of emitted particles had a size ≤ 0.4 µm and thus being alveolar. Masking the bell with a surgical mask did not reduce aerosol emission. Aerosol emission rates were higher from wind instruments playing than from speaking and breathing. Differences between instrumental groups could not be found, but high interindividual variance as expressed by uniform distribution of aerosol emission rates.ConclusionsOur findings indicate that aerosol emission depends on physiological factors and playing techniques rather than on the type of instrument, in contrast to some previous studies. Based on our results, we present risk calculations for long-range transmission of COVID-19 for three typical woodwind playing situations.

Constructing Contrast: Juxtaposition as a tool for formal construction in my own creative practice, explored through the music of Stravinsky and Donatoni

<p>Juxtaposition and Superimposition are two techniques that I have adopted as a core feature of my creative practice. This exegesis examines the origins of these techniques through the analysis of two 20th century works, Igor Stravinsky’s Symphonies of Wind Instruments (1920/1947) and Franco Donatoni’s Tema (1981), examining how the role all musical parameters, including timbre, pitch, rhythm and gesture, combine to create unique and perceptible shapes which can be purposefully juxtaposed, recombined and shuffled to create musical form. The influence and effect of these compositions is then discussed in relation to an analysis of the major work of my accompanying portfolio: Hot Coals for orchestra (2016/2017), demonstrating how ideas taken from the preceding analyses are developed further, and influence not just the resulting aesthetic, but also the construction and process of composition itself.</p>

Constructing Contrast: Juxtaposition as a tool for formal construction in my own creative practice, explored through the music of Stravinsky and Donatoni

<p>Juxtaposition and Superimposition are two techniques that I have adopted as a core feature of my creative practice. This exegesis examines the origins of these techniques through the analysis of two 20th century works, Igor Stravinsky’s Symphonies of Wind Instruments (1920/1947) and Franco Donatoni’s Tema (1981), examining how the role all musical parameters, including timbre, pitch, rhythm and gesture, combine to create unique and perceptible shapes which can be purposefully juxtaposed, recombined and shuffled to create musical form. The influence and effect of these compositions is then discussed in relation to an analysis of the major work of my accompanying portfolio: Hot Coals for orchestra (2016/2017), demonstrating how ideas taken from the preceding analyses are developed further, and influence not just the resulting aesthetic, but also the construction and process of composition itself.</p>

Flow. A Socially Responsible 3D Printed One-Handed Recorder

The recorder is one of the most common instruments used during primary school in the formal education system in the EU. However, there are a percentage of students with only one functional hand. The existing one-handed recorders available for them to be able to play and perform in the same way as their peers are expensive and difficult to use. This study’s purpose is to document the development of Flow—a low cost one-handed recorder as well as the user’s assessment of the psychosocial benefits of the recorder. The methods used for fabrication were 3D modelling and additive manufacturing (AM) technology or 3D printing using the technique of stereolithography, and for the assessment of the product, the Psychosocial Impact of Assistive Devices Scale (PIADS) questionnaire was distributed to 20 primary school users. The results show that the use of resins and Stereolithography is appropriate for wind instruments providing quality and strength at a fair price. Flow also proved to have a positive impact on the users and their inclusion in school. The main conclusions of this study underscore the adequacy of using AM for adaptations required for people with disabilities and the positive psychosocial benefits generated by the use of Flow in children.