This cross-sectional study aimed to investigate if woodwind and brass instrumentalists show differences in orofacial body awareness compared to non-musicians. Furthermore, differences of instrumentalists with orofacial problems compared to those without orofacial problems were investigated.
Study participants were 18-65 years of age. Musicians played a woodwind or brass instrument, and participants of the control group should not have any singing or instrumental experience. Exclusion criteria were orofacial interventions such as dental surgery prior to the study, any persistent pain for more than three months, mental disorders or disorders of the central nervous system and regular medication, especially psycho-emotional or pain modulating.
Study participants were then devided into three groups: musicians without orofacial problems (M-OFP), musicians with orofacial problems (+OFP) and a healthy non-musician control group (CG). A physical examination in accordance with the Diagnostic Criteria for Temporomandibular Disorders axis I protocol, and the Craniofacial Pain and Disability Index was performed for all participants. Demographic data was obtained from all participants and additional instrument-specific information obtained from musicians.
Primary outcome was objective body awareness measured by different assessments including Two Point Discrimination, Facial Emotion Recognition, Lateralisation and the Tongue and Mouth Imagery Questionnaire (TMIQ). Secondary outcomes include subjective perception, psycho-emotional factors and pain and were assessed using colored Body Drawings, the Central Sensitization Inventory (CSI) and the Musculoskeletal Pain Intensity and Interference Questionnaire for Musicians. To investigate between group differences, a one-way ANOVA analysis was performed using a Bonferroni post-hoc test. Body drawings were manually analysed with a simple grid as well as scaled and labelled color code.
Seventy-five participants were included in the study (M-OFP: n=32, M+OFP: n=15, CG: n=28). Statistically significant differences were found in TMIQ kinaesthetic subscale (M+OFP: 14.47 ± 5.64, M-OFP: 18.44 ± 4.57, p=0.004) and TMIQ overall score (M+OFP: 32.27 ± 9.01, M-OFP: 38.84 ± 7.25, p=0.028). Also, CSI scores for M+OFP (27.13 ± 8.03) were significantly higher compared to M-OFP (17.88 ± 9.11, p=0.004) and CG (20.00 ± 9.03, p=0.043).
In M+OFP, motor imagery scores were significantly lower compared to M-OFP. No statistically significant differences were found between M-OFP and CG.
A thorough examination of the orofacial area in musicians is important as no reference values have been available to date. Therefore, continuing research is wanted to establish these. Subsequently, specific treatment protocols could be developed. For example, studying the effects of motor control exercises to increase motor imagery as well as relieve pain in M+OFP may be of interest. Beneficiaries may not only be instrumentalists, but the general population might also profit from in-depth knowledge and evidence-informed assessment and/or treatments.
body awareness
assessment
