Table of Contents

JUNE 2026, Vol 41, No 2

ARTICLES

Hand-Arm Vibration Exposures in Male Drummers: A Cross-Sectional Study [Open Access]
Dylan Durward, Nadia R. Azar

Exposure to hand-arm vibration (HAV) is associated with the development of carpal tunnel syndrome (CTS), one of the most frequently reported playing-related musculoskeletal disorders (PRMDs) in drummers (i.e., percussionists who play the drum kit). Moderate levels of HAV exposure were previously reported for short durations of drumming (i.e., 3 minutes), but investigating HAV exposure under more realistic playing conditions is warranted. In this cross-sectional study, a triaxial accelerometer recorded HAV exposures while participants played three songs of their choosing (mean set duration: 12 ± 2 minutes). Daily vibration exposure 8-hour energy equivalent values [A(8)] were calculated as per the International Organization for Standardization 5349-1:2001 standard based on the participants’ self-reported typical daily playing time. These were compared to the American Conference of Governmental Industrial Hygienists action limit (AL: 2.5 m/s2) and threshold limit value (TLV: 5.0 m/s2) for HAV exposure. Twelve male drummers registered mean A(8) values that were significantly larger than both the AL and TLV (left hand: 8.5 m/s2; right hand: 10.1 m/s2; p ≤ 0.02). All participants’ A(8) values exceeded the AL in at least one hand; 11 of them exceeded it in both hands. Nine participants exceeded the TLV in both hands. HAV exposures of these magnitudes are likely to contribute to the development of CTS and other PRMDs. Further analyses incorporating more diverse playing scenarios, musical genres, sexes/genders, and drummer skill levels would further advance understanding of HAV exposure during drumming. This enhanced knowledge will promote greater understanding of the etiology of PRMDs in this population and will facilitate the development of strategies to reduce drummers’ risk of developing PRMDs associated with HAV exposure. [Open Access: Licensed under CC-BY-NC-ND 4.0 Int.]

Postural Strategies in Standing Violin Performance: An Observational Study [Open Access]
Anne-Violette Bruyneel, François Tharin, Clara E. James

OBJECTIVE: This study examined how standing violinists regulate postural balance when several conditions are varied, including playing posture, weight of the instrument, technical and physical difficulty of the musical piece, and presence or absence of a musical score. It also examined whether imagining playing an easy or difficult piece affects their postural control. METHODS: This observational study included 16 violin students from a music university (age 21 yrs, SD 4). Postural control was assessed using two stabilometric platforms (frequency 100 Hz). Nine conditions were tested: standard standing; violin posture without/with instrument; motor imagery of an easy and a difficult piece without/with instrument; playing of an easy and a difficult piece, with/without a music stand. Center of pressure (CoP) parameters were extracted, and weight distribution asymmetry was calculated. Depending on data characteristics, either parametric or non-parametric statistical tests were conducted to compare conditions. RESULTS: Compared with the standard standing position, the violin posture without the instrument and the posture with violin and bow showed a significant decrease in CoP sway area (p ≤ 0.010). All violin playing conditions induced a significant increase in CoP parameters (sway area, total, anteroposterior, and mediolateral displacements) compared with the other conditions (p ≤ 0.036). Postural demand was greater for the difficult piece than for the easy one. Motor imagery of violin playing did not increase postural control demands compared with non-playing conditions. CONCLUSION: Playing the violin, whether performing an easy or a difficult piece, places substantial demands on postural control. Preventive standing balance exercises for violinists may help reduce the risk of early fatigue and playing-related pain. In the presence of injury, motor imagery can be safely employed to maintain violin training, as it does not impose high demands on postural control. [Open Access: Licensed under CC-BY 4.0 Int.]

Surface Electromyography Measures of Muscle Activity in the Abdomen, Thorax, and Neck in Professional Trumpet Players [Open Access]
Alexandra Türk-Espitalier, Matthias Burzler

BACKGROUND: Trumpet playing requires precise embouchure, breath control, and postural support, engaging facial and respiratory muscles as well as muscles within the abdomen, thorax, and neck. Research on muscle activity during trumpet playing focuses mainly on embouchure and its involved facial muscles, whereas studies investigating torso muscles are scarce. METHODS: In this observational study, the activity of the abdominal, thoracal, and neck muscles of 24 male professional trumpet players between 20–45 years of age were measured with surface electromyography (sEMG) during playing. Electrodes were positioned on the m. rectus abdominis, m. obliquus externus, m. obliquus internus, mm. intercostales, m. pectoralis major, m. trapezius pars descendens, and m. sternocleidomastoideus. All participants played the same musical tasks. Markers were set at three representative places of expected low (G4) and high (B5 and C#6) activity. RESULTS: In the deep abdominal and intercostal muscles, activity was remarkably high during high and loud notes (m. obliquus internus: 94.91% (34.05) mean (SD), m. obliquus externus: 89.12% (36.74), mm. intercostales 85.24% (45.82) of MVIC during ff B5), whereas the m. rectus abdominis worked only with a medium effort of 57.99% (34.19) of MVIC during that same task. Muscle activity was significantly higher during high and loud notes than in low notes (p < 0.001). When comparing isolated with concatenated notes, smaller peak values of abdominal muscle activity were recorded in concatenated notes played in musical context than in isolated tones. Neck muscles also presented significant differences in activity between high and low notes, but with generally only a medium high activity throughout all measures and regardless of the playing task. CONCLUSION: This study provides valuable insights into the muscular demands of the torso and neck muscles during trumpet playing and can be beneficial for performers and trumpet pedagogues. [Open Access: Licensed under CC-BY-4.0 Int.]