Research into the ergonomics of musicians has, until recently, focussed mainly on orchestral musicians and the predominance of musculoskeletal disorders. Causes and treatment are well documented and awareness amongst musicians has increased so that postural and well-being classes are taught in many music conservatoires. However, there is relatively little research into different genres of music such as folk, rock and jazz.
Initially it could be supposed that orchestral data would apply to all types of music but consideration of the differences in styles, posture and environment indicate otherwise. The posture of jazz musicians, for example, can vary widely from orchestral musicians, even while playing the same instrument. The jazz environment is frequently less formal and a performance style that encourages movement and standing is typical. Musicians who stand or walk while playing are likely to display different musculoskeletal problems to those who remain seated. Performance arousal and the excitement and adrenaline associated with performance has been reported as assisting musicians to play through discomfort, pain and fatigue. This is reinforced by research that indicates positive high energy levels amongst jazz musicians during performances.
Recent research by Snadgren has investigated cross-genre differences in the practice habits, personality and self image of music students in Sweden. Students of classical music, folk, and jazz were assessed. The personality profiles and self-esteem assessment did not provide any noticeable differences between genres but did show robust self-esteem and emotional stability. However classical students spent the most total time in practice, an average of 28 hours per week, the majority of that time being devoted to individual practice, and 28% in a group/ensemble. Jazz students however, spent more than half of their time in group practice although their overall practice hours per week were less than the orchestral group.
In 1998, Chesky researched the medical problems of 4000 orchestral and jazz musicians in a web-based survey. The online questionnaire collected data on demographics, musculoskeletal problems, non-musculoskeletal medical problems and lifestyle. This data included 82 saxophonists representing both classical and non-classical instrumentalists (i.e. jazz, rock, blues, country-western and gospel).
In the saxophone research group, the main musculoskeletal problems identified were in the neck and right upper back, perhaps attributable to the suspension of the instrument from neck straps. The study showed significant cross-genre differences in the incidences of all physical problems (both muscular and non-muscular). The frequency of hearing loss was higher for non-classical saxophonists but reports of all other physical problems were higher for classical saxophonists.
Classical and non-classical saxophonists also reported differences in lifestyle. The non-classical group said that they felt in better health, both physically and mentally, than the classical group. This was in spite of an average higher age, more reported work-related stress and higher use of alcohol and tobacco. Much of the research about load distribution of instruments is focused on the supporting of weight on the back, frequently using a waist/hip belt, which is usually the most efficient solution. The need for weight bearing on the front of the torso and access to the load using the hands and mouth is found mainly in musicians playing large instruments while standing or walking, such as marching bands.
The saxophone was designed in 1844 primarily for military bands. It currently has an extensive repertoire but is not traditionally used in orchestras. However, contemporary composers include the saxophone in orchestral pieces and there are several saxophone concertos, for example those written by Glazunov and Ibert.
Standing balance is affected by size of the load, load position and base support. The lowest energy expenditure can be achieved by locating weight close to the body’s centre of gravity. A well designed waist/hip belt transfers load to the hip and leg muscles which can support more weight, and this in turn reduces pressure on the shoulders and neck. Research has demonstrated that users experience less discomfort when the load is supported mainly by the pelvis rather than the shoulders. However when load is applied to the back of the body, for example when using a backpack, the centre of mass of the body shifts backwards and the upper trunk and head compensate by leaning forward. Logically the reverse may be true with the trunk leaning back with a front load to compensate, increasing the lumbar curve.
A backpack is often promoted as the most practical solution for carrying loads, especially when the hands need to be free, but it has been shown that distribution of weight on the front and back of the body can have some advantages, presumably by bringing the load closer to the centre of gravity. For example, the use of front and back packs by children has shown both improved posture and correction of the forward head angle. Research into the design of rucksacks, carriage of military equipment, apple harvesting buckets and mailbags were all investigated to establish principles of supporting weight while walking or standing. These principles were used for designing an alternative method of supporting a bass saxophone and future research is planned to use these principles for designing support for other large or heavy musical instruments.
The main aims for redesigning the bass saxophone harness were to reduce pressure on the shoulders by transferring some of the weight to the hip area and to suspend the instrument so that the hips and shoulders were level. Supporting the instrument weight would also help to reduce the over-flexed lumbar curve and increase the flattened cervical curve of the musician. He reported that the harness was comfortable to wear. He also estimated that the waist/hip belt carried just over half the weight of the instrument with definite reduction of shoulder pressure.
Jazz performers appear to be less constrained by both their environment and audience expectations. Some of this may be associated with the environment of bars and clubs but also the consumption of alcohol by both performers and audience. How much this is a lifestyle attribute and how much is the performance environment would be worthy of further investigation.
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