Advertisement

Expert Care of the Performing Artist

  • Howard A. Bird
Chapter

Abstract

Although it is not always realised, the demands placed on the musculoskeletal system of performing artists at least resemble the demands placed upon elite athletes [1]. Moreover, the performer is driven according to the demands of the composer or choreographer, in turn interpreted by the conductor or artistic director to achieve a performance that delivers a profit for management. This contrasts with the world of sport where, to some extent, athletes can pace themselves in their training and events. Whilst dance requires athleticism of the whole body, musicians are largely athletes of the arms whilst singers and actors are athletes of the throat and larynx, though in some art forms such as physical theatre and circus, these boundaries are crossed. Arguably, the psychological demands on the performer are greater than those of the athlete, with stage fright always a potential concern.

Keywords

Psychological Demand Artistic Director Symphony Orchestra Stringed Instrument Slow Twitch Muscle Fibre 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

References

  1. 1.
    Bird HA. Editorial: the performing artist as an elite athlete. Rheumatology. 2009;48:1469–70.CrossRefPubMedGoogle Scholar
  2. 2.
    Tubiana R, Amadio PC, editors. Medical problems of the instrumental musician. London: Martin Dunitz Ltd; 2000 (626 pages).Google Scholar
  3. 3.
    Greer JM, Panush RS. Musculoskeletal problems of performing artists. Baillieres Clin Rheumatol. 1994;8:103–35.CrossRefPubMedGoogle Scholar
  4. 4.
    Winspur I, Wynn Parry CB. The musician’s hand: a clinical guide. London: Martin Dunitz Ltd; 1998 (201 pages).Google Scholar
  5. 5.
    Washington EL. Musculoskeletal injuries in theatrical dancers: site, frequency, and severity. Am J Sports Med. 1978;6:75–98.CrossRefPubMedGoogle Scholar
  6. 6.
    Bowling A. Injuries to dancers: prevalence, treatment, and perceptions of causes. Br Med J. 1989;298:731–4.CrossRefGoogle Scholar
  7. 7.
    Steele VA. Injury amongst female Olympic style competitive gymnasts. MSc thesis, Physical Education Section/University of Salford; 1984.Google Scholar
  8. 8.
    Howse J. Dance technique and injury prevention. 3rd ed. London: A & C Black; 2000 (212 pages).Google Scholar
  9. 9.
    Schweitzer G. Laxity of metacarpophalangeal joints of fingers and interphalangeal joint of the thumb: a comparative inter-racial study. S Afr Med J. 1970;44:246–9.PubMedGoogle Scholar
  10. 10.
    Wordsworth P, Ogilvie D, Smith R, Sykes B. Joint mobility with particular reference to racial variation and inherited connective tissue disorders. Br J Rheumatol. 1987;26:9–12.CrossRefPubMedGoogle Scholar
  11. 11.
    Bird HA, Walker A, Newton J. A controlled study of joint laxity and injury in gymnasts. J Orthop Rheumatol. 1988;1:139–45.Google Scholar
  12. 12.
    Bird HA. Hypermobility in the performing arts and sport. In: Beighton P, Grahame R, Bird H, editors. Hypermobility of joints. 3rd ed. London: Springer; 1999. p. 125–45.Google Scholar
  13. 13.
    Williamon A. Musical excellence: strategies and techniques to enhance performance. Oxford: Oxford University Press; 2004. p. 1–299.CrossRefGoogle Scholar
  14. 14.
    Watson AHD. The biology of musical performance and performance-related injury. Lanham: Scarecrow Press Inc; 2009 (367 pages).Google Scholar

Copyright information

© Springer International Publishing Switzerland 2016

Authors and Affiliations

  • Howard A. Bird
    • 1
  1. 1.University College LondonLondonUK

Personalised recommendations