The prevalence of musculoskeletal complaints in professional musicians is higher compared to the general population (Odds ratio 2.3): point prevalences in the literature range between 9% and 68%;... Show moreThe prevalence of musculoskeletal complaints in professional musicians is higher compared to the general population (Odds ratio 2.3): point prevalences in the literature range between 9% and 68%; year prevalences range between 41% and 93%. Female gender is the most important risk factor. Also among amateur musicians musculoskeletal complaints are frequent, the year prevalence of playing-related is 68%. Female gender, a sudden increase in playing time and playing a string instrument were the main risk factors. Among professional musicians with musculoskeletal complaints, the impact of these complaints on daily functioning is appreciated as more severe, compared non-musicians with musculoskeletal complaints. Also, healthcare usage is higher among musicians with these complaints. Musicians with complaints report worse illness perceptions compared to non-musicians with musculoskeletal complaints. In the last part of this thesis biomechanical aspects of violin playing are evaluated: Violinists with complaints show more activity of the superficial neck and shoulder muscles while playing the instrument, which is hypothesized to be the result of co-contraction. From a biomechanical point of view, playing without a shoulder rest, or with a shoulder rest with minimal height seems favourable, the latter being subjectively most comfortable by the violinists. Show less
So-called "extended techniques" have suffered a consistent lack of understanding from a theoretical, historical and practical point of view. Although most of them __ e.g. playing directly on the... Show moreSo-called "extended techniques" have suffered a consistent lack of understanding from a theoretical, historical and practical point of view. Although most of them __ e.g. playing directly on the strings, cluster- and glissando-techniques __ exist in a substantial part of the repertoire for the piano and have done so for more than a couple of centuries now, the use of the techniques on stage still sparks off negative reactions by audiences, composers, performers and tuners as well as owners of pianos. Any one-sided approach towards appreciation has proven to be inadequate: academic analyses do not succeed in handling the matter satisfactorily, endeavors by musicians to teach and advise on the "proper" use of the techniques have come short of applying an in-depth and a historically informed perspective. A comprehensive and exhaustive survey of the extended techniques as a whole can serve to alleviate the risk that the relevant repertoire sinks into oblivion, contributing to a reassessment of the subject, in turn benefitting contemporary professional performance practice, concert programming, composers__ interest and musical as well as music-historical education. The subject and its related terminology are scrutinized and (re)defined where necessary. The acoustical properties of the techniques are explained from the perspective of the performer to ensure proper insight in the way they produce sound. Over 16.000 compositions have been considered to write the history of improper piano playing, comparing manuscripts with first and subsequent editions of solo as well as chamber and concerto music, original compositions as well as transcriptions, from the "classical" as well as the "entertainment" sector. Original preparations collected by John Cage were tracked down and described in minute detail so that alternatives can be considered on the basis of professional information. Historical recordings as well as personal experiences and interviews with composers are used to pinpoint historical performance practices. To help the pianist prepare for concerts with the relevant repertoire, measurements of the internal layout of the most common grand pianos are listed in order to anticipate possible problems in advance. Show less
