Lower thresholds and stronger adaptation to pain in musicians reflect occupational-specific adaptations to contact heat stimulation.

Autor: Divarco R; Department of Neurology, University Medical Center Göttingen, Georg-August University, Göttingen, Germany., Sternkopf F; Institute for Music Physiology and Musicians' Medicine, University of Music, Theater and Media, Hannover, Germany., Lee A; Institute for Music Physiology and Musicians' Medicine, University of Music, Theater and Media, Hannover, Germany., Karst M; Hannover Medical School, Hannover, Germany., Ramasawmy P; Department of Neurology, University Medical Center Göttingen, Georg-August University, Göttingen, Germany., Antal A; Department of Neurology, University Medical Center Göttingen, Georg-August University, Göttingen, Germany., Altenmüller E; Institute for Music Physiology and Musicians' Medicine, University of Music, Theater and Media, Hannover, Germany.
Jazyk: angličtina
Zdroj: European journal of pain (London, England) [Eur J Pain] 2024 Oct 11. Date of Electronic Publication: 2024 Oct 11.
DOI: 10.1002/ejp.4738
Abstrakt: Background: Extensive audio-motor training and psychological stress can cause professional musicians acute overstrain-injury and chronic pain, resulting in damaged careers and diminished quality of life. It has also been previously shown that musicians might perceive pain differently than non-musicians. Therefore, the aim of our study was to quantify differences between musicians and non-musicians regarding their subjective responses to painful contact heat stimuli and assess how emotional traits might influence these responses.
Methods: Upon completing the StateTrait-Anxiety-Depression Inventory, 15 healthy musicians and 15 healthy non-musicians from German universities received 15 noxious contact heat stimuli at the dorsal side of each hand and foot. After each stimulation, participants were asked to provide a pain rating from 0 to 10.
Results: Musicians not only reported significantly higher pain ratings after the first stimulation but also showed a significantly higher degree of habituation compared to non-musicians. Additionally, musicians showed a significantly less pronounced difference regarding the pain rating of the hands compared to the feet than non-musicians. Trait anxiety and trait depression scores had no effect on the pain rating or the habituation.
Conclusion: The more pronounced habituation of musicians might hint at a neuroplastic nociceptive alteration in musicians. The lack of significance between the psychological traits and their effect on the pain ratings is surprising but could be a result of both participant groups having stressful careers.
Significance: The findings of this report justify musicians' repetitive sensorimotor training as an important model for plasticity and contribute to a better understanding of pain perception in musicians.
(© 2024 The Author(s). European Journal of Pain published by John Wiley & Sons Ltd on behalf of European Pain Federation ‐ EFIC ®.)
Databáze: MEDLINE
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