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Abstract

Music students experiencing the potentially debilitating effects of playing-related injury (PRI) often first turn to their music teachers for help. This paper aims to document music instructors’ lived experience and perceptions surrounding PRI and better understand how teachers currently support students’ musculoskeletal health. Using a qualitative description approach, in-depth interviews with 10 oboe teachers (7 male, 3 female) documented their lived experience with or without injury and perceptions of PRI. Self-identified uninjured participants (n = 5) described PRI-adjacent and non-PRI problems which elicited empathy for injured musicians, and self-reflective practices that contributed to better health. Injured participants described varied relationships to their pain, including pain as a source of guilt, distress, learning, and growth, and described diverse coping mechanisms including physical therapy, medication, mindfulness, and self-experimentation. Participants’ observations and experiences of PRI influenced their teaching, and several described seeking greater efficiency in students’ instrument set-up and body use. Resources for injured musicians were perceived to be difficult to access due to financial constraints, unawareness, jargon-filled language, and misinformation. These results suggest a need for more outreach from performing arts health professionals connecting music teachers, often the first point of contact for injured students, with high-quality resources which support student wellbeing.

Keywords

Injury prevention music education musicians’ health oboe pedagogy playing-related injury woodwind pedagogy

Introduction

Background

Most musicians experience injuries related to their musical craft during their lifetimes (Kok et al., 2016; Rotter et al., 2020; Silva et al., 2015; Zaza, 1998). Meanwhile, a cultural penchant for playing through pain worsens these injuries, wreaking havoc in the mental, emotional, and social lives of musicians (Britsch, 2005; Guptill, 2011; Rickert et al., 2014a). Playing-related injuries (PRI) are typically defined as “any pain, weakness, numbness, tingling, or other symptoms which interfere with your ability to play your instrument at the level you are accustomed to” (Zaza & Farewell, 1997). PRI are highly prevalent among music students (Ballenberger et al., 2018, 2023; Cruder et al., 2020; Ranelli et al., 2011), and younger age has been found to be a predictive factor for PRI among university-aged amateur musicians (Kok et al., 2018). Instrument played also influences rates of PRI, with woodwind and bowed string players most likely to report an injury (Stanek et al., 2017). Oboists, for example, have a relatively high prevalence of PRI at 74.9%, largely due to static loading of the right thumb which can lead to issues on the right side of the body (Banzhoff et al., 2017; Macdonald et al., 2022; Thrasher & Chesky, 2001). Injured students most often first turn to their private music teachers for help and advice (Norton & Greasley, 2014; Stanek et al., 2017; Williamon & Thompson, 2006), making educators uniquely positioned to support students and direct them to the professional medical help they need. Unfortunately, private music instructors’ training rarely covers wellness topics, and teachers and students alike frequently espouse the belief that teachers are ill-equipped to deal with student PRI (Rickert et al., 2015; Wijsman & Ackermann, 2019). Teaching practices are often profoundly influenced by personal experience (Carrillo et al., 2015). Because there is no standardized training for private music instructors, educational approaches to injury prevention and healthy musicianship are therefore almost entirely dependent on teachers’ personal lived experience with or without PRI.

There is a growing body of literature addressing the need for qualitative research examining the lived experience and perspectives of performers dealing with injury (Bragge et al., 2006; Guptill, 2011; Rickert et al., 2014b; Schoeb & Zosso, 2012), and several works have explored music students’ experience and perspectives on dealing with injury and wellness initiatives in the context of their educational institutions and healthcare systems (Edwards, 2022; Park et al., 2007; Perkins et al., 2017; Rickert et al., 2015). A recent study asked K-12 (i.e. school students aged 4–18) music teachers about their perceptions of healthy musicianship (Salas-Ruiz et al., 2023), however no known studies have specifically focused on the lived experiences of private music instructors, despite their documented role as first point of contact for many injured students.

Research question

This paper is the first in a two-part series examining oboe teachers’ perspectives on PRI. The quantity of detailed qualitative data obtained in this study necessitated splitting the paper into two sections. The goal of the present paper (Part I) is to document music teachers’ lived experience and perceptions on the causes and remedies of PRI. Part II will document teachers’ perceived barriers and solutions to health promotion among students as well as current preventive and remedial teaching practices. For optimal comparability of results, we focus on a single group of musicians vulnerable to PRI: oboists, who experience relatively high rates of PRI (Stanek et al., 2017). This paper aims to document oboe teachers’ (1) lived experience with or without injury and (2) perceptions of playing-related injury.

Methods

IRB approval

This project was approved by the University of Toronto Research Ethics Board (Protocol #42197).

Participants

Participants were selected based on their experience and reputation teaching and coaching young and early-career oboe players (see sections 3.2.1 and 3.2.2 for inclusion/exclusion criteria). A purposeful snowball sampling technique was used to identify and recruit participants. To ensure a range of lived experience and perspectives, participants both with and without prior experience of injury (self-identified) were included in the study. It was determined that a sample size of 10 participants would provide a sufficient diversity of characteristics (see Table 1) to produce a rich and detailed dataset. This sample size is in line with previous work on musicians using qualitative description methodology (n = 6, Salas-Ruiz et al., 2023), and other qualitative work on musicians’ health (n = 12, Guptill, 2011; n = 10, Rickert et al., 2013).

Table 1.

Participant characteristics.

Characteristic	Number of participants per category
Gender distribution	7 male (Tyler, Lucas, Blake, Joshua, Jerry, Matthew, Gabriel)
Gender distribution	3 female (Kayla, Ellie, Olivia)
Injury status (self-identified)	5 with history of PRI (Tyler, Lucas, Kayla, Ellie, Blake)
Injury status (self-identified)	5 with no history of PRI (Joshua, Olivia, Jerry, Matthew, Gabriel)
Primary musical work	8 orchestral (current) (Tyler, Lucas, Kayla, Ellie, Joshua, Olivia, Jerry, Gabriel)
	1 orchestral (retired) (Matthew)
	1 freelance (Blake)
Primary teaching setting	5 university/conservatory (Joshua, Olivia, Jerry, Ellie, Kayla)
	1 university/conservatory (retired) (Matthew)
	4 private studio (Lucas, Tyler, Blake, Gabriel)

Ten participants (7 male, 3 female, 5 with personal history of injury) participated in the interviews. All were professional oboists and educators whose primary income source was performing and/or teaching on the oboe and/or English horn. Participants lived and worked in English-speaking countries in North America and Oceania. Eight of 10 participants were currently employed as members of professional orchestras, one was recently retired from a professional orchestra, and one freelanced with major orchestras. In terms of teaching, four taught primarily out of their private studios, five taught primarily as faculty at a university and/or conservatory, and one was recently retired from a faculty position at a university. See Table 1 for a summary of participant characteristics.

Inclusion criteria

Participants were included if they had: (1) a professional career as an oboist/English horn player and teacher (e.g. performs with a professional orchestra, teaches oboe at a university, or equivalent experience) and (2) extensive experience (e.g. a decade or more of professional experience) teaching/coaching young/early career oboe players.

Exclusion criteria

Participants were excluded if they were: (1) primarily performers with minimal teaching/coaching experience and (2) specialists in instruments other than the oboe.

Recruitment

Participants were recruited by the PI via email. Participants provided written, informed consent and were able to withdraw their information at any point prior to publication.

Interview questions and process

Semi-structured individual interviews were conducted with 10 participants by the first author via Zoom. The interviews consisted of a series of open-ended questions about (1) their lived experience with or without playing-related injury, (2) their perception of musicians’ injuries and the culture surrounding musicians’ health, and (3) their teaching or mentoring philosophy as it relates to musicians’ health. Interview lengths ranged from 30 to 75 min. Please see the Supplemental Material for the full interview guide. Interviewees were encouraged to elaborate on their answers and narrate stories of their personal experience that have contributed to their perceptions and practices. The Zoom recordings of the interviews were transcribed verbatim using the transcription software Whisper and the resulting transcripts were reviewed and edited for accuracy by the first author. A rich and detailed description of participants’ experiences was compiled from these transcripts. Data were anonymized, with pseudonyms used for all participants and any institutions referenced in the interview dialog.

In the interviews, PRI was defined using Zaza and Farewell’s (1997) definition (“any pain, weakness, numbness, tingling, or other symptoms that interfere with your ability to play your instrument at the level you are accustomed to”). The term “playing-related injury” (PRI) was used as opposed to “playing-related musculoskeletal disorder” (PRMD) as it was anticipated that the language would be more accessible to a general musician audience.

Analysis

Data were analyzed using a qualitative description approach (Neergaard et al., 2009; Sandelowski, 2000, 2010). This low-inference approach has been used extensively to answer questions of why/how and to complement the abundance of quantitative research that asks how much/when. While no research is ever free of bias and interpretation, qualitative description methodology stays true to the data as much as possible, directly communicating the participants’ experiences to the reader while minimizing interpretation by the researcher. This data-near approach has been used in previous work analyzing music teacher’s perceptions of healthy musicianship (Salas-Ruiz et al., 2023).

A combination of deductive and inductive coding was used to analyze the data. The first author compiled data in a spreadsheet organized into larger categories arising from the questionnaire and research questions (e.g. “Lived experience with injury”). These categories are indicated in section headings in the Results and Discussion sections. Sub-themes, indicated within the text of the Results and Discussion sections in boldface, arose inductively from the initial sorting of data as patterns emerged (e.g. relationships with pain).

Results

Lived experience with or without injury

Participants described a wide range of experiences with or without injury. Five self-identified as not having been injured during their careers (Joshua, Olivia, Jerry, Matthew, Gabriel; all pseudonyms), while the other 5 (Tyler, Lucas, Kayla, Ellie, Blake; all pseudonyms) had dealt with injuries that were, at times, debilitating.

Uninjured participants

A few of the self-identified uninjured participants described sensations that, while not interfering with their playing ability, would creep into their playing under certain circumstances. For example, Olivia described a tingling sensation in her right arm on a weekly or monthly basis that for her serves as a reminder to check in with proper alignment and breath support. The tingling sensation goes away as soon as she realigns her posture and practices good breath support. Similarly, Jerry described some pain in the upper shoulder which he is able to avoid by playing with an upright posture, bringing the oboe to his mouth rather than craning the neck forward to bring the head to the oboe. Gabriel described some pain in his right shoulder that would crop up only when playing long opera or ballet rehearsals eight times a week, but this pain was not debilitating, nor would it occur under normal circumstances.

Some of the uninjured participants attributed their lack of injury to luck (Joshua, Gabriel), and one attributed his lack of injury to being highly physically active as a child (Matthew). Joshua described playing with a great deal of tension early on in his career, and mused that with all that tension, it was likely a matter of time before he would have been injured if he hadn’t addressed it early on.

Some of the uninjured participants narrated stories of self-reflective and self-aware practices that they surmise may have helped them avoid injury. Joshua was inspired by a remarkable transformation of a cello student in an Alexander Technique masterclass, and by the seemingly effortless playing of oboists such as Heinz Holliger and Richard Woodhams, and embarked on a quest to remove tension and find efficiency and ease in his playing. He eventually proceeded to undertake training to become certified in a somatic technique. Matthew described seeing a photo of himself holding the oboe with his wrist in a contorted position which he immediately recognized as a potentially harmful habit and worked to unlearn it.

Several participants brought up playing-related issues other than PRI that they had experienced. Jerry stated that his “greatest injuries have been emotional rather than physical.” Matthew, who is approaching 70 years old, described encountering challenges related to aging in playing the oboe, including arthritis in the hands, difficulties in fast articulations, and trouble reading music fluidly. Gabriel described both a tremor related to performance anxiety, and the non-painful issue of his neck swelling (pharyngocele) when he plays the oboe. The neck swelling caused some former teachers and mentors to say that he should abandon a career with the oboe.

Injured participants

Participants who identified as having had an injury described a diverse range of problems including tendonitis (Kayla), carpal tunnel (Ellie), back pain leading to embouchure issues (Blake), pain in embouchure, jaw, migraines, shoulders, hernia, hands, elbow and more (Tyler), and focal dystonia (Lucas).

For some participants, the pain started early. Tyler started experiencing major problems and pain at 16 years old, and has had it continuously every time he plays oboe ever since then. Kayla as a child experienced chronic arm pain playing the oboe, which she thought was normal. Blake’s pain also started young and has been ongoing for 25 years. Lucas, on the contrary, began having focal dystonia symptoms in his hand after having established a professional career in the oboe, and he was forced to put his career on hold as he explored ways to cope.

Participants described a variety of relationships with their pain. Tyler said that his embouchure pain in particular is a guiding light that lets him know what he needs to change about his reeds. He aims to strike a balance between finding help, being sympathetic to oneself when dealing with pain, and with “just getting on with it.” He finds that focusing on the pain brings him nothing but more pain, and his best approach is to get a better reed and do his best to forget about it, knowing from experience that this solution will work for him and he will be alright (he does not recommend this approach to someone who has not yet figured out how to deal with their pain). Lucas described a nagging feeling that he had brought his focal dystonia upon himself despite the insistence of his doctors to the contrary, and a worry that he would teach his students “the wrong way” and that they would get it too. He also described a feeling of “living a double life”—on one hand, the life of an injured musician, and on the other, the public persona where he “goes out that door and smiles at everybody and plays.” Kayla described the emotional effect of her pain: “I was in tears so much of the time because of my arm. I remember if I forgot my neckstrap or something – oh, I was just sobbing after an 8 minute quintet piece once in school just because it was so, so painful.” When dealing with back issues, Blake used to be able to ignore the pain by taking painkillers and continuing to play. Then he started having embouchure issues, which he had no control over and which he could no longer ignore.

Coping mechanisms were as diverse as the range of injuries. Tyler’s process of working through his injuries has involved seeing lots of specialists, reading many books, listening to interviews, attending therapy, and taking many kinds of medication. Blake uses mindfulness meditation techniques to deal with his pain. Kayla started physical therapy while studying at university when she realized playing through the pain was neither normal nor sustainable. Lucas uses a variety of methods including botox injections and instrument modifications. These solutions arose out of many years consulting with doctors and “being [his] own doctor” and experimenting with possible solutions. Colleagues didn’t always seem to understand the effort involved in overcoming injury: Ellie has had colleagues come up to her and say, “wow, you always look so relaxed when you play,” and her response is “well I work hard at that!”

Participants’ observations of others

Participants discussed their observations of students and colleagues dealing with injury, as well as the conclusions they came to as a result of these observations.

Some participants’ observations of their students dealing with injury influenced their approach to teaching. For example, Gabriel had a student with embouchure injuries, which made him especially interested in making sure his students are playing on very efficient set-ups, so that they can easily play up to pitch without having to bite down on their reed. Ellie observed a student with an injury for whom she recommended taking a break from the oboe. Two weeks later, the student was fine. Ellie wondered if the injury stemmed from the reeds that the student had purchased, as it seemed they were too flat for her and compensating for that flatness seemed to be the source of tension. Ellie said that observations of students and colleagues dealing with injuries has made her even more diligent in ensuring that her students look physically relaxed and at ease, using their bodies in a way that will benefit and enhance their ability at their instrument. Joshua’s observations of his students with injuries were a big reason why he decided to pursue somatic training.

A few participants made observations about who seems to get injured most often in their experience. Matthew observed that more of his female students have dealt with injury such as carpal tunnel or tendonitis than his male students. He also observed that string players in his orchestra tended to get repetitive strain issues far more frequently than wind players, noting that when his orchestra first allowed the administrative staff to book more than eight services per week for the principal players, the string players started having many physical problems. Kayla is noticing more pain in the up-and-coming generation of musicians rather than in her professional colleagues. She thinks that those in a professional orchestra setting have already had the chance to figure out coping mechanisms for any past issues, while younger musicians have not yet had that chance. Tyler has observed many people dropping out of the music business in their 20s because they already have problems: “These days a lot of students are having problems and [. . .] are under a tremendous amount of pressure before they even get out into the real world of performing.”

Some participants commented on an apparent psychological aspect to the physical injuries they had seen. Blake noticed that some issues appear to be “contagious” in a way—several of the people he confided in about his injuries later started having the same issues. He thinks that these injuries are stress trying to get one’s attention: “These injuries don’t happen when you’re chilling out playing an easy gig. [. . .] It usually happens when there’s too much, when you’re overloaded.” Ellie described a very self-aware and analytical student dealing with focal dystonia. “I can’t help but think that some of this - that the psychological destruction, knowing that you’ve been diagnosed with a focal dystonia, that you’re fighting that. And then the anxiety that that causes – the fear of it affecting your ability to play. And then you’re living with that and thinking that this could, you know, derail you from your next Beethoven Symphony. [. . .] All of that must manifest itself physically.”

Some participants observed students or colleagues using instrument supports and modifications. Jerry described experiencing feelings of concern and distress when observing a young player who relies on a neckstrap to play the oboe, “because if you’re injured at age 19, how will you possibly still be playing at age 40?” Ellie and Matthew both favorably described colleagues who dealt with their injuries using instrument modifications and supports.

Perceptions on availability of resources

Participants shared their thoughts on the availability of resources for injured musicians. They expressed mixed opinions on whether these resources were adequate.

Several participants expressed their belief that there are many resources out there for injured musicians, but cited inadequacies or barriers preventing universal access to these resources (see Figure 1). For example, Joshua thinks that over the last few years, many more resources have become available to musicians, however not all this information is available in accessible language (e.g. without medical jargon) appropriate for the general musician audience. Kayla expressed concern that for young professionals, resources may not be accessible due to financial constraints. Gabriel thinks that there is not enough awareness among musicians about the resources that do exist. Joshua and Tyler discussed misinformation in the musicians’ health world, with Joshua describing encounters with music teachers preaching outdated and harmful concepts to their students, and Tyler describing the difficulty in the internet age of sifting through the junk to find good information. Olivia finds that resources available to students have not kept pace with the increased demands on music students and that although there is increased access to mental health specialists in conservatories, injury prevention is not there yet. Tyler described a survivorship bias, in that those who make it to the top of the music field are often the most physically and psychologically strong to begin with, and may not necessarily be able to relate to the struggles of their students. Jerry thinks there are lots of great resources available, but cautioned against jumping to injury rehabilitation resources before ensuring that the basics are taken care of (e.g. that the oboe and reed are in good working order). Kayla believes there are many amazing resources out there on injury prevention and musculoskeletal health, but is not aware of very many that are specific to musicians, and Ellie thinks that there could always be more resources available to musicians.

Figure 1.

Participants’ perceived barriers to accessing resources.

Many participants referenced specific resources that they either have used themselves or that they recommend to students. These resources included practices such as Alexander Technique (Jerry), physical therapy and massage therapy (Matthew); books on focal dystonia (Lucas), growth mindset, postural health, and weight training (Kayla), and mindfulness (Blake); online forums and apps (Kayla, Blake); and local and international specialists and clinics (Olivia, Gabriel, Tyler, Blake).

Discussion

Lived experience with or without injury

Several self-identified uninjured participants described non-PRI issues and self-reflective practices that underlined an understanding and empathy for what injured students and colleagues might be going through. Similar self-reflective practices on the part of healthy musicians were documented in a study comparing healthy and injured musicians’ perceptions on health and illness and musical performance, in which healthy musician participants tended to approach their health from a whole-body perspective (Schoeb & Zosso, 2012). While it is possible that a higher level of empathy for injured musicians was a factor in these participants’ decision to participate in these interviews on PRI in the first place, this is nonetheless a hopeful result, demonstrating that those in mentorship positions are likely to be empathetic toward their injured students and colleagues.

The many non-PRI issues described by the self-identified “uninjured” participants, including sensations that could be interpreted as pre-injury symptoms, demonstrate that injury exists on a spectrum from mild and manageable to severe and debilitating. Future research could gain valuable insights into injury prevention through in-depth analysis of the experiences of musicians with pre-injury symptoms that do not develop into full-blown PRI (i.e. interfering with their ability to play, as per Zaza & Farewell, 1997).

Injured participants described a variety of relationships with their pain—pain as a guiding light, worry about passing injuries on to students, the feeling of living a double life, pain’s emotional effect, and attempts to ignore pain. Previous qualitative work has documented still other relationships with pain: a hyper-focus on the painful body part (Schoeb & Zosso, 2012), concealment until the injury can no longer be concealed (Rickert et al., 2014b), and a suspension of awareness of pain while playing music (Guptill, 2011). What is striking, in this variety of relationships to pain, is that injured musicians’ experiences can be negative, neutral, or even constructive.

Interviewees who had been injured described a range of coping mechanisms which were as diverse as their diagnoses, and often involved a combination of multiple treatments or resources. This points to a lack of a one-size-fits-all treatment for injured musicians, indicating that interventional programs would benefit from offering multiple avenues of support in order to help musicians find the solutions that work best in their particular situation.

Participants’ observations of others

Participants discussed their observations about PRI, and described ways in which their observations had influenced their teaching. Some observations had to do with who in their experience was more likely to get injured—namely women and younger musicians. Indeed, most studies have found that female musicians are at a higher risk of PRI, which is variously attributed to females’ on average lower upper body strength and smaller body size, or differing psychosocial mechanisms and pain behaviors (Berque et al., 2016; Brusky, 2010). The literature is mixed as to whether younger players are more or less likely to experience PRI, with some studies finding a link (Kok et al., 2018), and others finding no relationship (Macdonald et al., 2022). Regardless of whether the participants of the present study were observing a real correlation, the rate of PRI could have appeared more pronounced among younger players due to a number of reasons including differing social norms across generations in terms of disclosure of struggles, a survivorship bias in which older musicians who are still playing are less likely to have been injured in the first place, or a greater ability on the part of older musicians to conceal their struggles with PRI.

Several participants commented on an apparent two-way connection between psychological stress and PRI, in which psychological stress can lead to physical tension and injury, and PRI in turn can lead to greater psychological stress. Professional cellists in a previous qualitative study described a similar connection between the psychological and the physical, describing an emotional and psychological trauma as the result of their injuries (Rickert et al., 2014b). This suggests that when treating PRI in musicians, a holistic approach which also takes into account mental health may be beneficial. A recent qualitative study on the treatment practices of musicians’ focal dystonia found that both medical professionals and musician-coaches favored just such a holistic approach, addressing psychological and emotional needs in tandem with the physical (Détári, 2023).

Some participants commented on their observations of colleagues and students using instrument supports and modifications. While some participants viewed these adaptations favorably, one participant (Jerry) described feelings of distress when seeing young people using instrument modifications. Although Jerry’s feelings of apprehension surrounding instrument supports clearly stemmed from a deep sense of concern and care for his students’ wellbeing, it is worth noting that in some cases, students may feel dissuaded from using instrument supports if they sense that their teacher has a negative perception of these supports. Further normalization and de-stigmatization of the use of instrument supports could be beneficial to musicians struggling with PRI as they seek out solutions for overcoming their injuries.

Perceptions: Availability of resources

Participants had mixed perceptions on the availability of resources, with some citing financial issues, inaccessible language (scientific jargon), misinformation, and lack of awareness as barriers preventing injured musicians from accessing information about PRI. Similar issues with resource availability have been found in other studies (Roos et al., 2021). Several of the participants admitted a lack of awareness of what resources are available to musicians dealing with injury, indicating that the musicians’ health community could do more in terms of outreach to ensure that resources are both easily accessible and widely known.

Scope, limitations

As with all qualitative studies, results from this study are not necessarily generalizable to other oboists or musicians. The value of studies such as this lie in the nuance and detail of the participants’ perspectives, which can lead to valuable insight with a potential to improve how we approach musicians’ health with student musicians. It is possible that a selection bias influenced the results: those who were willing to participate in these interviews may be the teachers who already think a great deal about injury and health and may not be reflective of the perspectives of music teachers in general. We attempted to mitigate this potential for selection bias by including participants both with and without a history of PRI, to ensure a diverse range of lived experience and perspectives.

Conclusion: Applications and future directions

Music educators are typically the first line of defense for students dealing with PRI, yet little is known about how their lived experience and perspectives inform their approach to student wellness. This is the first known study to specifically document the lived experiences and perspectives of music educators as they pertain to PRI. In conclusion, here are some main takeaways from the present research:

Interviewees demonstrated a great deal of empathy for and a desire to help injured students regardless of their personal history with or without injury.

There is a need for further de-stigmatization of instrument supports and modifications.

Availability, accessibility, and knowledge of resources for musicians dealing with PRI is lacking, and more outreach efforts should attempt to reach music teachers to increase awareness.

To build on these results, the second article in this series will examine perceived barriers preventing musicians from seeking help, as well as teachers’ current approaches to wellness topics with their students. Future research into how performing arts medicine outreach efforts might more effectively reach music teachers is also warranted.

Supplemental Material

sj-docx-1-ijm-10.1177_02557614241279723 – Supplemental material for Oboe educators’ perspectives on playing-related injury, Part I: Lived experience and perceptions surrounding injury

Supplemental material, sj-docx-1-ijm-10.1177_02557614241279723 for Oboe educators’ perspectives on playing-related injury, Part I: Lived experience and perceptions surrounding injury by Heather M Macdonald and Christine Guptill in International Journal of Music Education

Footnotes

Author’s note

Prior presentation: Results from this study have previously been presented at the following conferences: the Performing Arts Medicine Association, the Music and Health Research Collaboratory, the International Society for Performance Science, and the University of Toronto Music Graduate Student Conference.

Author contribution(s)

Heather M Macdonald: Conceptualization; Data curation; Formal analysis; Investigation; Methodology; Project administration; Writing – original draft; Writing – review & editing.

Christine Guptill: Conceptualization; Methodology; Supervision; Writing – review & editing.

Declaration of conflicting interests

The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Funding

The author(s) received no financial support for the research, authorship, and/or publication of this article.

ORCID iD

Heather M Macdonald

Supplemental material

Supplemental material for this article is available online.

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Supplementary Material

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Oboe educators’ perspectives on playing-related injury,Part I: Lived experience and perceptions surrounding injury

Abstract

Keywords

Introduction

Background

Research question

Methods

IRB approval

Participants

Inclusion criteria

Exclusion criteria

Recruitment

Interview questions and process

Analysis

Results

Lived experience with or without injury

Uninjured participants

Injured participants

Participants’ observations of others

Perceptions on availability of resources

Discussion

Lived experience with or without injury

Participants’ observations of others

Perceptions: Availability of resources

Scope, limitations

Conclusion: Applications and future directions

Supplemental Material

sj-docx-1-ijm-10.1177_02557614241279723 – Supplemental material for Oboe educators’ perspectives on playing-related injury, Part I: Lived experience and perceptions surrounding injury

Footnotes

Author’s note

Author contribution(s)

Declaration of conflicting interests

Funding

ORCID iD

Supplemental material

References

Supplementary Material