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    More: Music physiology

    Overview of the field of music physiology

    • History
    • Music medicine
    • Psychophysical disposition for professional life and the stage
    • Related literature

    History

    Musiciansโ€™ diseases were already mentioned sporadically in medical sources dating back four to five hundred years. From the middle of the 19th century, references are made to individual conditions in a handful of journal publications of emerging medical specialities. Up until the 1960s and 1970s, two monographs dominated the view of musiciansโ€™ diseases: Julius Fleschโ€™s โ€œOccupational Diseases of the Musicianโ€ (1925) and Kurt Singerโ€™s โ€œDiseases of the Music Professionโ€ (1926). However, these works garnered very little attention from the medical world as a whole, although musiciansโ€™ medicine already existed as an area of study around Kurt Singer in Berlin in the 1920s, before being destroyed with the rise of national socialism.
    After pioneering work starting in 1964 at the Max-Planck Institute for Occupational Physiology in Dortmund (Germany), Christoph Wagner was able to re-establish music physiology from Hanover (Germany) in the 1970s. In 2009, his Hand Laboratory for Musicians was transferred to the Zurich University of the Arts as a unique entity, expanded and modernized (www.zzm.ch). It contributes significantly to the scientific foundation of instrumental technique and health promotion tailored to individual physiological conditions. In the late 1980s, there was an upturn in music physiology and musiciansโ€™ medicine, which was largely caused by alarming studies on the health of professional musicians and music students. Epidemiological studies had a great impact worldwide and led to calls for preventive action to be taken already at the education stage.
    Applied music physiology, which is relevant for music educational practice, is closely connected in terms of development with the musico-physiological teaching, research and consultation offers that have been developed in Switzerland for around 30 years. In this context, scientific studies have been able to provide initial indications of the effectiveness of preventive courses at music universities.

    Music medicine

    Music medicine treats musiciansโ€™ diseases and often has to develop interdisciplinary solutions. Being preliminary stages of diseases, the most frequent functional problems for instrumentalists and singers can usually still be resolved with special exercises.
    The lionโ€™s share of the symptoms suffered by musicians were and still are caused by disorders of the locomotive organs associated with unfavourable muscle tension, i.e. musculofascial pain syndromes in the context of tension regulation disorders and psychosomatic stress situations, including excessive stage fright. A typical trigger is an imbalance between workload and resilience during intensive projects and phases of professional and private stress.
    Much can be achieved in preventive terms by teaching musicians to improve their self-organization early on (โ€œhelping them to help themselvesโ€). This can also help to counteract the general tendency towards pathologization, medicalization and commercialization when dealing with work-related complaints.

    Psychophysical disposition for professional life and the stage

    The development of an individual disposition as a psychophysical division of labour suitable for expression and the stage plays a key role in applied music physiology. Considering the complexity of the requirements when we make music, there must be diverse states of readiness in the brain, nervous system, respiratory and locomotor organs adapted to the respective goal of action rather than a single form of disposition. The division of work between the different muscle groups and the coordination of body position, breathing, movement and mental and emotional focus plays out on the stage, in an examination, in a competition or in a live television or radio broadcast at a level of energy and tension all of its own and requires a special type of balance. Moreover, under the stress of the performance situation, psychophysical self-organization also relates to the content of the presentation and to communication with the audience. Instead of general looseness/relaxation, therefore, the goal should be controlled tension in the right place in body regions that are positioned in a functionally favourable manner. However, musicians often describe their perceived physiologically optimal activity in colloquial terms as โ€œlooseโ€ or โ€œrelaxedโ€ to avoid using the traditionally negative word โ€œtensionโ€. Perceived competence on the stage with freedom for content-related artistic topics requires many of the aforementioned adjustments to largely be available unconsciously and automatically โ€“ in other words as reflexes. For example, the relationship between tone perception and an appropriate state of readiness is of crucial importance for instrumentalists and singers.
    In music physiology teaching, this requires the selection of profession-specific and individually suitable exercises and strategies from the wealth of body training and treatment methods available that are generally not designed specifically for musicians.

    Related literature

    • Candia, Victor / Kusserow, Martin / Margulies, Oliver / Hildebrandt, Horst (2023) โ€œRepeated Stage Exposure Reduces Music Performance Anxietyโ€œ.  In: Frontiers in Psychology, March 2023
    • Gutzwiller, Johanna (1997) Kรถrperklang - Klangkรถrper (Wege - Musikpรคdagogische Schriften, Band 9). Musikedition Nepomuk, Aarau  
    • Hildebrandt, Horst (2002) Musikstudium und Gesundheit. Aufbau und Wirksamkeit eines prรคventiven Lehrangebotes. Nachdruck der 2. Auflage 2015. Bern, Peter Lang
    • Hildebrandt, Horst / Mรผller, Alexandra (2004) Dispokinesis. Freies Verfรผgen รผber Haltung, Atmung, Bewegung und Ausdruck. In: Musikphysiologie und Musikermedizin 11 (1&2/2004), S. 55-59
    • Hildebrandt, Horst / Nรผbling, Matthias (2004) Providing Further Training in Musico-Physiology to Instrumental Teachers. Do Their Professional and Pre-Professional Students Derive Any Benefit?. In: Medical Problems of Performing Artists 19 (2004), S. 62-69
    • Hildebrandt, Horst / Nรผbling, Matthias (2006) รœben lernen auf physiologischer Grundlage. Ein Forschungsprojekt an der Hochschule fรผr Musik Basel. In: Musikphysiologie und Musikermedizin 13 (2/2006), S. 56-63
    • Hildebrandt, Horst (2006) รœben und Gesundheit. Ausgewรคhlte musikphysiologische Aspekte des รœbens und ihre besondere Bedeutung fรผr den Ausbildungs- und Berufsalltag. In: Mahlert, Ulrich (Hg.) Handbuch รœben. Grundlagen, Konzepte, Methoden. Wiesbaden, Breitkopf & Hรคrtel: 67-97
    • Hildebrandt, Horst (2009) Teaching Music Physiology and Motor Learning Processes at a University. Experience and Evaluation. In: Mornell, Adina (Hg.) Art in Motion. Musical and Athletic Motor Learning and Performance. Frankfurt, Peter Lang: 191โ€“222
    • Hildebrandt, Horst / Spahn, Claudia (2011) Spezifische kรถrperorientierte Ansรคtze. In: Spahn, Claudia / Richter, Bernhard / Altenmรผller, Eckart (Hg.) Musikermedizin. Diagnostik, Therapie und Prรคvention von musikerspezifischen Erkrankungen. Stuttgart, Schattauer: 30-45
    • Hildebrandt, Horst / Nรผbling, Matthias / Candia, Victor (2012) Increment of Fatigue, Depression, and Stage Fright During the First Year of High-Level Education in Music Students. In: Medical Problems of Performing Artists 27(1) (3/2012), S. 43-48
    • Hildebrandt, Horst (2015) Angewandte Musikphysiologie - Brรผcke zwischen Musikermedizin und musikalischer (Hochschul-)Ausbildungโ€œ. In: Kruse-Weber, Silke / Borovniak, Barbara (Hg.) Gesundes und motiviertes Musizieren. Ein Leben lang: Musikergesundheit zwischen Traum und Wirklichkeit (รœben & Musizieren). Mainz, Schott: 251-271
    • Hildebrandt, Horst (2018) Gelingen und Gesundheit im Instrumentalunterricht โ€“ Physiologische Aspekte von Bewegungslernen und Kรถrperwissen. In: Rรผdiger W (Hg.) Instrumentalpรคdagogik โ€“ wie und wozu? (รœben & Musizieren). Mainz, Schott: 187-206
    • Klashorst, Gerrit Onne van de (2002) The disposition of the musician. Amsterdam. Broekmans & van Poppel
    • Klein-Vogelbach, Susanne / Lahme, Albrecht / Spirgi-Gantert, Irene (2000) (Hg.) Musikinstrument und Kรถrperhaltung. Berlin, Springer: 108-140
    • Margulies, Oliver / Nรผbling, Matthias & Verheul, William / Hildebrandt, Wulf / Hildebrandt, Horst (2023) โ€œDetermining Factors for Compensatory Movements of the Left Arm and Shoulder in Violin Playingโ€œ. In: Frontiers in Psychology, January 2023, https://doi.org/10.3389/fpsyg.2022.1017039
    • Mornell, Adina (2009) (Hg.) Art in Motion. Musical and Athletic Motor Learning and Performance. Peter Lang, Frankfurt 
    • Spahn, Claudia / Richter, Bernhard / Altenmรผller, Eckart (2011) (Hg.) Musikermedizin. Diagnostik, Therapie und Prรคvention von musikerspezifischen Erkrankungen. Stuttgart,
    • Wagner, Christoph (2005) Hand und Instrument. Musikphysiologische Grundlagen, Praktische Konsequenzen. Breitkopf & Hรคrtel, Wiesbaden

    โ†’ Further music physiology publications