Piyano Çalmaya Bağlı Sakatlanmaların Önlenmesi: Sanatlar Tıbbı, Fizyolojik Bilgilenme, Destekleyici Teknikler Ve Kişisel Tutum. Türkiye'deki Piyanistlerle Bir Çalışma
Tez Türü: Doktora
Tezin Yürütüldüğü Kurum: İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, DR. EROL ÜÇER MÜZİK ARAŞTIRMALARI MERKEZİ, Türkiye
Tez Danışmanı: Prof. Ş. Şehvar Beşiroğlu
Tezin Onay Tarihi: 2010
Tezin Dili: İngilizce
Desteklendiği Program: Öğretim Üyesi Yetiştirme Programı (ÖYP)
Özet:
xvPREVENTION OF PIANISTIC INJURIES: PERFORMING ARTS MEDICINE, PHYSIOLOGICAL KNOWLEDGE, SUPPORTIVE TECHNIQUES AND PERSONAL ATTITUDE. A SURVEY WITH TURKISH PIANISTS SUMMARY In the last thirty years, arts medicine has developed rapidly in the United States and Europe. Early in the 1980s, two famed pianists – Leon Fleisher and Gary Graffman – courageously shared with the public injuries that negatively impacted their careers. This was only the tip of the iceberg. Dozens of musicians who concealed their injuries due to career concerns emerged and the medicine community began to conduct special studies with this patient group. Research, publications, conferences and joint projects began to offer solutions on protection and treatment to musicians. Overall , the greatest emphasis has been given to injury prevention. This dissertation includes a review of print and visual literature and focuses on recent developments in Turkey and abroad. Although it is not yet possible to talk of arts medicine as an organized field in Turkey, planning of projects in the field is currently underway. The participants in this study are musicians, in particular, pianists. 60 professional pianists in Turkey have been asked to complete a qualitative survey with questions about their knowledge and skills in injury prevention techniques, perceptions of their own training in this subject, ‘diagnosed’ injuries in the past (if any), access to medical specialists, types of exercises they commonly use and their practice habits. The survey revealed that of the sixty pianists selected based on the level of training and professional status, twenty four pianists have experienced one or more diagnosed injuries. The study showed that both injured and uninjured pianists were forced to take precautions, including change of technique, cancellation of a planned performance-related activity (concert, rehearsal, audition, lesson), refraining from playing for a period of over a month, and restriction of repertoire, that would affect their professional careers. In a majority of the cases, the injured pianists were treated by physicians unfamiliar with the special case of musical injuries, and the treatment concluded before patients were given any postural or somatic training. In most cases, the injuries recurred. In terms of training, a majority of the participants believed that piano instructors in general and their past instructors aren’t sufficiently effective in injury-prevention. In contrast, they expressed that they conveyed this knowledge to their own students. In light of the findings, it is clear that there is a need for better-planned informational and behavioral training as part of piano studies. From the beginning of studies, the instructor should encourage the student to play in a healthy manner. As is apparent, once established, faulty playing habits may result in roadblocks in future years.
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xvPREVENTION OF PIANISTIC INJURIES: PERFORMING ARTS MEDICINE, PHYSIOLOGICAL KNOWLEDGE, SUPPORTIVE TECHNIQUES AND PERSONAL ATTITUDE. A SURVEY WITH TURKISH PIANISTS SUMMARY In the last thirty years, arts medicine has developed rapidly in the United States and Europe. Early in the 1980s, two famed pianists – Leon Fleisher and Gary Graffman – courageously shared with the public injuries that negatively impacted their careers. This was only the tip of the iceberg. Dozens of musicians who concealed their injuries due to career concerns emerged and the medicine community began to conduct special studies with this patient group. Research, publications, conferences and joint projects began to offer solutions on protection and treatment to musicians. Overall , the greatest emphasis has been given to injury prevention. This dissertation includes a review of print and visual literature and focuses on recent developments in Turkey and abroad. Although it is not yet possible to talk of arts medicine as an organized field in Turkey, planning of projects in the field is currently underway. The participants in this study are musicians, in particular, pianists. 60 professional pianists in Turkey have been asked to complete a qualitative survey with questions about their knowledge and skills in injury prevention techniques, perceptions of their own training in this subject, ‘diagnosed’ injuries in the past (if any), access to medical specialists, types of exercises they commonly use and their practice habits. The survey revealed that of the sixty pianists selected based on the level of training and professional status, twenty four pianists have experienced one or more diagnosed injuries. The study showed that both injured and uninjured pianists were forced to take precautions, including change of technique, cancellation of a planned performance-related activity (concert, rehearsal, audition, lesson), refraining from playing for a period of over a month, and restriction of repertoire, that would affect their professional careers. In a majority of the cases, the injured pianists were treated by physicians unfamiliar with the special case of musical injuries, and the treatment concluded before patients were given any postural or somatic training. In most cases, the injuries recurred. In terms of training, a majority of the participants believed that piano instructors in general and their past instructors aren’t sufficiently effective in injury-prevention. In contrast, they expressed that they conveyed this knowledge to their own students. In light of the findings, it is clear that there is a need for better-planned informational and behavioral training as part of piano studies. From the beginning of studies, the instructor should encourage the student to play in a healthy manner. As is apparent, once established, faulty playing habits may result in roadblocks in future years.
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xvPREVENTION OF PIANISTIC INJURIES: PERFORMING ARTS MEDICINE, PHYSIOLOGICAL KNOWLEDGE, SUPPORTIVE TECHNIQUES AND PERSONAL ATTITUDE. A SURVEY WITH TURKISH PIANISTS SUMMARY In the last thirty years, arts medicine has developed rapidly in the United States and Europe. Early in the 1980s, two famed pianists – Leon Fleisher and Gary Graffman – courageously shared with the public injuries that negatively impacted their careers. This was only the tip of the iceberg. Dozens of musicians who concealed their injuries due to career concerns emerged and the medicine community began to conduct special studies with this patient group. Research, publications, conferences and joint projects began to offer solutions on protection and treatment to musicians. Overall , the greatest emphasis has been given to injury prevention. This dissertation includes a review of print and visual literature and focuses on recent developments in Turkey and abroad. Although it is not yet possible to talk of arts medicine as an organized field in Turkey, planning of projects in the field is currently underway. The participants in this study are musicians, in particular, pianists. 60 professional pianists in Turkey have been asked to complete a qualitative survey with questions about their knowledge and skills in injury prevention techniques, perceptions of their own training in this subject, ‘diagnosed’ injuries in the past (if any), access to medical specialists, types of exercises they commonly use and their practice habits. The survey revealed that of the sixty pianists selected based on the level of training and professional status, twenty four pianists have experienced one or more diagnosed injuries. The study showed that both injured and uninjured pianists were forced to take precautions, including change of technique, cancellation of a planned performance-related activity (concert, rehearsal, audition, lesson), refraining from playing for a period of over a month, and restriction of repertoire, that would affect their professional careers. In a majority of the cases, the injured pianists were treated by physicians unfamiliar with the special case of musical injuries, and the treatment concluded before patients were given any postural or somatic training. In most cases, the injuries recurred. In terms of training, a majority of the participants believed that piano instructors in general and their past instructors aren’t sufficiently effective in injury-prevention. In contrast, they expressed that they conveyed this knowledge to their own students. In light of the findings, it is clear that there is a need for better-planned informational and behavioral training as part of piano studies. From the beginning of studies, the instructor should encourage the student to play in a healthy manner. As is apparent, once established, faulty playing habits may result in roadblocks in future years.
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xviAs in the case of the United States and Europe, establishing an organic tie between the medical community and performing artists will be of value to both parties. This way, musicians can have easy access to specialists when in need of advice; informational seminars, workshops can be organized, and the medical community
an organic tie between the medical community and performing artists will be of value to both parties. This way, musicians can have easy access to specialists when in need of advice; informational seminars, workshops can be organized, and the medical community
an organic tie between the medical community and performing artists will be of value to both parties. This way, musicians can have easy access to specialists when in need of advice; informational seminars, workshops can be organized, and the medical community can benefit from a new field of practice of increasing popularity.