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Protection Guidelines

Health & Safety

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Provided by the National Association of Schools of Music Performing Arts Medicine Association

The following information is generic and advisory in nature. It is not a substitute for professional, medical judgments. It should not be used as a basis for medical treatment. If you are concerned about your hearing or think you may have suffered hearing loss, consult a licensed medical professional.

Health & Saftey Introduction

The California State University, Fullerton Department of Music, as required by the National Association of Schools of Music, is obligated to inform students and faculty of health and safety issues, hazards, and procedures inherent in practice, performance, teaching, and listening in general and as applicable to their specific specializations. This includes, but is not limited to, information regarding hearing, vocal and musculoskeletal health, injury prevention, and the use, proper handling, and operation of potentially dangerous materials, equipment, and technology. The School of Music has developed policies, protocols, and operational procedures to guard against injury and illness in the study and practice of music, as well as to raise the awareness among our students and faculty of the connections between musicians' health, the suitability and safety of equipment and technology, and the acoustic and other health-related conditions in the University's practice, rehearsal, and performance facilities.

It is important to note that health and safety depends largely on personal decisions made by informed individuals. CSUF has health and safety responsibilities, but fulfillment of these responsibilities cannot and will not ensure any individual's health and safety. Too many factors beyond the University's control are involved. Each individual is personally responsible for avoiding risk and preventing injuries to themselves before, during, and after study or employment at CSUF. The policies, protocols, and operational procedures developed by the School do not alter or cancel any individual's personal responsibility, or in any way shift personal responsibility for the results of any individual's personal decisions or actions in any instance or over time to the University.

Performance Injuries

Anyone who practices, rehearses or performs instrumental or vocal music has the potential to suffer injury related to that activity. Instrumental musicians are at risk for repetitive motion injuries. Sizable percentages of them develop physical problems related to playing their instruments; and if they are also computer users, their risks are compounded. Instrumental injuries often include carpal tunnel syndrome, tendonitis, and bursitis. Incorrect posture, non-ergonomic technique, excessive force, overuse, stress, and insufficient rest contribute to chronic injuries that can cause great pain, disability, and the end of careers.

Information for Instrumentalists 

The following information is courtesy of the Associated Board of the Royal Schools of Music and the Canadian Network for Health in the Arts:

  • Evaluate your technique. Reduce force, keep joints in the middle of their range of motion, use large muscle groups when possible, and avoid fixed, tense positions.
  • Always warm up. As an athlete would not begin a vigorous physical activity without warming up, a musician must warm up carefully before practice or performance.
  • Take breaks to stretch and relax. Take short breaks every few minutes and longer breaks each hour. Two or more shorter rehearsals each day are more productive than marathon single sessions. Even in performance, find those opportunities to relax a hand, arm, or embouchure to restore circulation.
  • Pace yourself. No pain, no gain is a potentially catastrophic philosophy for a musician. Know when enough is enough, and learn to say 'no' to certain performances or lengths of performing that might result in injury.
  • Check out your instrument. Does your instrument place undue stress on your body? Is your instrument set up optimally for you to relieve pressure on hands, joints, etc.? Is there a strap, carrier, or stand available to relieve the stress?
  • Evaluate other activities. Pains and injuries affecting your music making could be caused by other activities in your daily life. Computer use is notorious for causing afflictions including carpal tunnel syndrome and tendinitis.
  • Pay attention to your body. Pain is the mechanism by which your body tells you that something is wrong. Listen to your body; if it hurts, stop what you are doing.
  • Get medical attention. Do not delay in seeing a doctor. A physician may prescribe a minor adjustment or, in worst-case scenarios, stipulate not performing for a period of time. As drastic as this may sound, a few months of rest is better than suffering a permanent, career ending injury. Likewise, the demands placed on singers' voices are immense. Hardly a month goes by where a top singer is not forced to interrupt a tour, take a break, or undergo a medical procedure due to problems with their voice. Medical professionals are making the case that the demands put on one's voice when singing one to three hours is as intense as those made on an Olympic marathon runner's body. Additional factors such as nutrition, smoking, drug use, noisy environments, and proper voice training (or the lack of it) all play a role in a singer's ability to perform at her/his best.

Information for Singers

The following information is courtesy of the Singer's Resource, the Texas Voice Center, Houston, and the University of Michigan Vocal Health Center:

  • Maintain good general health. Get adequate rest to minimize fatigue. If you do become ill, avoid "talking over your laryngitis." See your physician and rest your voice.
  • Exercise regularly.
  • Eat a balanced diet; include vegetables, fruit and whole grains, and avoid caffeinated drinks (coffee, tea, and soft drinks) and alcohol. Avoid spicy, acidic, and dairy foods if you are sensitive to them.
  • Maintain body hydration; drink two quarts of water daily.
  • Avoid dry, artificial interior climates. A humidifier at night might compensate for the dryness.
  • Limit the use of your voice. High-ceilinged restaurants, noisy parties, cars and planes are especially damaging to the voice. If necessary, use amplification for vocal projection.
  • Avoid throat clearing and voiced coughing.
  • Don't  yell, and avoid hard vocal attacks on initial vowel words.
  • Adjust the speaking pitch level of your voice. Use the pitch level in the same range where you say, "Umm-hmm?"
  • Speak in phrases rather than in paragraphs. Breathe slightly before each phrase.
  • Reduce demands on your voice – don't do all the talking!
  • Learn to breathe silently to activate your breath support muscles and reduce neck tension.
  • Take full advantage of the two free elements of vocal fold healing: water and air.
  • Vocal athletes must treat their musculoskeletal system as do other types of athletes; therefore, vocal warm-ups should always be used prior to singing. Vocal cool-downs are also essential to keep the singing voice healthy.
  • Singers who engage is physical training that includes weight lifting or bursts of high intensity (like kick boxing) should always exhale when they lift or during a burst of force. Holding your breath and/or "grunting" can damage the vocal folds.
  • Singers should also be very aware that medications can have an adverse effect on the voice. View a list of common medications and the potential side effects from the  National Center for Voice and Speech

Tips and Links for All Musicians 

  • Stay informed. Awareness is the key. Like many health-related issues, prevention is much easier and less expensive than cures. Take time to read available information concerning injuries associated with your art.
  • Musicians might find the following books helpful (copies of these and many other print resources are on display in the Performance Science Centre Lab): 
    • Conable, Barbara. What Every Musician Needs to Know About the Body (GIA Publications,2000)
    • Klickstein, Gerald. The Musician's Way: A Guide to Practice, Performance, and Wellness (Oxford, 2009)
    • Norris, Richard N. The Musician's Survival Manual (International Conference of Symphony and Opera Musicians, 1993)
  • Make one appointment each semester in the Performance Science Centre Lab (PSCL) in CPAC 261 to be evaluated for excessive muscular tension buildup as you play, sing, or conduct. Review the results with your applied music instructor.

Other links:

Associated Board of the Royal Schools of Music (ABRSM)

Performing Arts Medicine Association (PAMA)

Texas Voice Center

National Center for Voice and Speech (NCVS)

Vocal Health Center, University of Michigan Health System

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Protecting Your Hearing

Introduction

Whatever your plans after graduation, you owe it to yourself and your fellow musicians to do all you can to protect your hearing. Certain behaviors and your exposure to certain sounds can, over time, damage your hearing. In most cases, noise-related hearing loss doesn’t develop overnight but happens gradually.

If you’re serious about pursuing a career in music, you need to protect your hearing. The way you hear music, recognize and differentiate pitch, and play music are all directly connected to your hearing. 

Noise-induced Permanent Hearing Loss

The ear is made up of three sections, the outer, middle, and inner ear. Sounds must pass through all three sections before signals are sent to the brain. When a loud noise enters the ear, it poses a risk to the ear’s inner workings. A very loud sound can actually dislodge the tiny bones in the middle ear causing conductive hearing loss, which involves a reduction in the sound level experienced by the listener and a reduction in the listener’s ability to hear faint sounds.

Loud noises can send excessive sound levels into the inner ear, or cochlea, where tiny hair cells transmit sound waves to the brain. When a loud noise enters the inner ear, it can damage these hair cells, impairing their ability to send neural impulses to the brain causing permanent hearing damage. 

The severity of noise-induced hearing loss depends on the severity of the damage to these hair cells and is related to the length and frequency of a person’s exposure to loud sounds over time. Because noise-induced hearing loss is painless, you may not realize that it is happening at first, but your hearing loss may eventually affect your ability to perceive both speech sounds and music. These hair cells in your inner ear cannot regenerate; any damage done to them is permanent. 

According to the American Academy of Audiology, approximately 36 million Americans have hearing loss. One in three developed their hearing loss as a result of exposure to noise.

Noise-induced Temporary Hearing Loss

It is important to note that not all noise-induced hearing loss is permanent. Sometimes, after continuous, prolonged exposure to a loud noise, we may experience what’s called “noise-induced temporary hearing loss.”

During temporary hearing loss, known as Temporary Threshold Shift (TTS), hearing ability is reduced. Outside noises may sound fuzzy or muted. Normally, this lasts no more than 16 to 18 hours, at which point your hearing levels will return to normal. Often during this Temporary Threshold Shift, people will experience tinnitus – a medical condition characterized by a ringing, buzzing, or roaring in the ears – that may minutes but it can also span several hours (or, in extreme instances, last indefinitely). If you experience a series of temporary hearing losses, you experience permanent hearing damage in the future.

Noise Levels and Risk

Most experts agree that prolonged exposure to any noise or sound over 85 decibels (dB)* can cause hearing loss. The longer you are exposed to a loud noise, the greater the potential for hearing loss. Additionally, the closer you are to the source of a loud noise, the greater the risk  that you’ll experience some damage to your hearing mechanisms.

For more information on Noise-induced Hearing Loss, visit the NIOSH website.

FACT: Approximately 50% of musicians have experienced some degree of hearing loss.

Mindful listening

It’s important to think about the impact noise can have on your hearing health when you:

  • Attend concerts.
  • Play your instrument.
  • Adjust the volume of your car stereo.
  • Listen to ampplified music.

Here are some simple ways to test if the music is too loud. It’s too loud (and too dangerous) when:

  • You have to raise your voice to be heard.
  • You can’t hear someone who’s three feet away from you.
  • The speech around you sounds muffled or dull after you leave a noisy area.
  • You experience tinnitus after you leave a noisy area.

Basic Hearing Protection for Musicians

As musicians, it’s vital that you protect your hearing whenever possible. Here are some simple ways to reduce your risk of hearing loss: 

  • When possible, avoid situations that put your hearing health at risk.
  • Refrain from behaviors which could compromise your hearing health and the health of others.
  • If you’re planning to be in a noisy environment for any significant amount of time, try to maintain a reasonable distance from the source of the sound or noise.
  • When attending loud concerts, be mindful of the location of your seats. Try to avoid sitting or standing too close to the stage or to the speakers, and use earplugs.
  • Keep the volume of your music and your listening devices at a safe level.
  • Remember to take breaks during a rehearsal. Your ears will appreciate the quiet time.
  • Use earplugs or other protective devices in noisy environments and when using noisy equipment.
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Instrument Hygiene & Cleaning

The School of Music (SoM) maintains a collection of instruments for checkout/use by SoM faculty and students.

Musical instruments must be cared for properly and cleaned regularly. Each instrument in the SoM's collection receives a thorough inspection at the conclusion of the academic year.

For information on how to checkout instruments, contact Chris Searight.

Antiseptic Cleanliness

Once a sterile instrument has been handled or exposed to room air it is no longer considered to be sterile. It will however remain antiseptically clean until used. Most viruses cannot live on hard surfaces for a prolonged period of time. Some die simply with exposure to air. Therefore, musicians must be concerned with instrument hygiene. Users of school owned and rented musical equipment might be more susceptible to infections from instruments that are not cleaned and maintained properly. If the cleaning process is thorough, however, musical instruments will be antiseptically clean. 

Infectious Disease Risk

Sharing musical instruments is a widespread, accepted practice in the profession. However, recent discussion in the profession has included concern regarding shared musical instruments and infectious disease, especially HIV. The Centers for Disease Control (CDC), has confirmed that there is no risk of transmission of HIV (the virus that causes AIDS), or Hepatitis B (HBV) through shared musical instruments. 

While the possibility of transmission of HIV and HBV is not a real consideration, there should be a hygiene protocol to mitigate the transmission of other bacteria and viruses. In our discussion with our consultants, certain basic considerations and recommendations for standard operating procedures regarding shared instruments were recommended as follows:

  1. All musicians or students should have their own instrument and mouthpiece if possible.
  2. Students and faculty sharing reed instruments MUST have their own individual reeds. Reeds should NEVER be shared.
  3. If instruments must be shared in class, alcohol wipes or Sterisol germicide solution (both available from the School of Music) should be available for use between different people.
  4. When renting or using a School-owned musical instrument, each user must understand that regular cleaning of these musical instruments is required in order to practice proper hygiene.

Mouthpieces

The mouthpiece (flute headjoint), English Horn and bassoon bocal, and saxophone neck crook) are essential parts of wind instruments. As the only parts of these instruments placed either in or close to the musician's mouth, research has concluded that these parts (and reeds) harbor the greatest quantities of bacteria. Adhering to the following procedures will ensure that these instrumental parts will remain antiseptically clean for the healthy and safe use of our students and faculty.

Cleaning the Flute Head Joint

  1. Using a cotton swab saturated with denatured, isopropyl alcohol, carefully clean around the embouchure hole.
  2. Use alcohol wipes on the flute's lip plate to kill germs if the flute shared by several players.
  3. A soft, lint-free silk cloth can be inserted into the cleaning rod to clean the inside of the headjoint.

Cleaning Hard Rubber (Ebony) Mouthpieces 

Mouthpieces should be swabbed after each playing and cleaned weekly.

  1. Select a small (to use less liquid) container that will accommodate the mouthpiece and place the mouthpiece tip down in the container.
  2. Fill the container to where the ligature would begin with a solution of half water and half white vinegar (50% water and 50% hydrogen peroxide works too). Protect clarinet mouthpiece corked tenons from moisture.
  3. After a short time, use an appropriately sized mouthpiece brush to remove any calcium deposits or other residue from inside and outside surfaces. This step may need to be repeated if the mouthpiece is excessively dirty.
  4. Rinse the mouthpiece thoroughly and then saturate with Sterisol germicide solution. Place on paper towel and wait one minute.
  5. Wipe dry with paper towel.

Note: Metal saxophone mouthpieces clean up well with hot water, mild dish soap (not dishwasher detergent), and a mouthpiece brush. Sterisol germicide solution is also safe for metal mouthpieces.

Bocals

Bocals should be cleaned every month with a bocal brush, mild soap solution, and running water. English Horn bocals can be cleaned with a pipe cleaner, mild soap solution, and running water. Be careful not to scratch the inside of the bocal with the exposed wire ends of the pipe cleaner.

Saxophone Necks

Swabs and pad-savers are available to clean the inside of the saxophone neck. However, most saxophonists use a flexible bottlebrush and toothbrush to accomplish the same results.

If the instrument is played daily, the saxophone neck should be cleaned weekly (and swabbed out each day after playing).

  1. Use the bottlebrush and mild, soapy water to clean the inside of the neck.
  2. Rinse under running water.
  3. Sterisol germicide solution may be used on the inside of the neck at this time, if desired (not necessary). Place on paper towel for one minute.
  4. Rinse again under running water, dry, and place in the case.
  5. If using pad-savers, do not leave the pad-saver inside the neck when packed away.

Brass Mouthpieces

Mouthpieces should be cleaned monthly

  1. Using a cloth soaked in warm, soapy water, clean the outside of the mouthpiece.
  2. Use a mouthpiece brush and warm, soapy water to clean the inside.
  3. Rinse the mouthpiece and dry thoroughly.
  4. Sterisol germicide solution may be used on the mouthpiece at this time. Place on paper towel for one minute.
  5. Wipe dry with paper towel.

Other Instruments

String, percussion, and keyboard instruments present few hygienic issues. Musician should wash their hands before and after use.

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Performance Science Centre Lab

Location, Contacts, and Hours

Location: CPAC 261

Phone: (657) 278- 8679

Directors:   Dr. Rob Watson and Alison Edwards

Hours:

Mondays: 11 AM–12:30 PM
Wednesday: 10–11 AM; 3–4 PM
Thursdays: 3–4 PM
Fridays: 11 AM–12:30 PM

Additional hours available by appointment with Dr. Rob Watson.

  • Appointments are designed for individuals or pairs.
  • Please complete an intake form prior to your appointment (visit the PSCL in CPAC 261)

 

PSC Lab Description and Mission

The Performance Science Centre (PSC) Lab in the School of Music, California State University, Fullerton, is an applied research facility whose mission is dedicated to improving musical performance efficiency and pedagogical efficacy by and for students and faculty members of the School of Music.

This uniquely innovative facility sets our School of Music apart from all other conservatories, schools of music, and music departments at undergraduate or graduate music programs in the state of California, according to a recent accreditation review by NASM.

We currently use the PSC lab for helping our students find more efficient ways of making music and becoming more aware of how their body and mind function during performance.  While our focus is upon music making and musicality, our approach is based on scientific principles and research methodologies. 

Each semester, we either conduct an applied research study of our own, or work in tandem with student and faculty researchers from other departments, or other institutions. We are currently comparing the performance effects of an ergonomically designed orchestral musician’s chair with the standard chairs used in our major ensembles. This will have ramifications not only for musicians, but also for those who administer music performance ensembles, schools, and venues.

Our ProFormaVision technology allows us to record musical performance (video and audio) and muscle tension-release patterns (graphic displays) simultaneously, with stop motion or in real time.  This carries tremendous pedagogical value, as it allows one to optimize the use of one’s body during performance and find previously unknown sources of muscular inefficiency. The use of our HeartMath HRV monitors likewise is useful in training musicians how to increase coherence of the sympathetic and parasympathetic nervous systems which can influence cognitive performance and emotional experience. Invaluable for teaching and performing musicians.

Music faculty members are encouraged to use the lab with their studios, either in the private setting or during a studio workshop.  We are happy to provide personnel to facilitate or to train in the use of the technology. 

Workshops by presenters from a variety of disciplines and foci occur throughout the academic year.

Services

  • ProFormaVision – Surface electromyography (sEMG) biofeedback for performance and pedagogical improvement (instrumental, vocal, keyboard, conducting).
  • HeartMath Monitors – Heartrate variability monitors (HRV) for performance and pedagogical improvement, and emotional – cognitive coherence for all musicians.
  • VoceVista – Electroglottograph for performance and pedagogical improvement for singers.
  • Workshops – Presentations for applied music studios or classes relating to movement disciplines, neuroscience in practice and performance of music, body mapping, avoiding injury and returning from non-practicing, mental clarity and acuity, music performance anxiety, ergonomics, etc. 
  • Consultations – Individual or small group questions regarding practical matters, peak performance, research study development.
  • Independent Study – Based on curricula developed in 3 areas (1. Applied Psychology for Peak Musical Performance; 2. Applied Anatomy & Physiology for Musicians; 3. Musicians’ Performance Wellness & Health), or other areas of student interest.
  • Training for CSUF students and faculty, use of technology in the PSC Lab, and other resources, for analyzing performance and pedagogy.
  • Guest Presenters – The PSC Lab has been the location and impetus for guest presenters such as Dr. Kathleen Riley, Jerald Schwiebert, Dr. Lynn Helding (USC), Dr. Molly Gebrian (NEC), Dr. Janice Ying (DPT, Colburn School / USC-Keck), Lynn Charlton (Alexander Technique), Benj Kanters (“Hear Tomorrow” musicians’ audiological health), Dr. Barbara Lister-Sink (Salem College), Kay S. Hooper (body mapping), Dr. Barbara Fast (Univ. of Oklahoma), etc.

Lab Components and Requirements

Lab Components: We are fortunate to have the first type of facility like this on the west coast.  Our current setup consists of a Yamaha N1 Avant Grand, Proformavision, VoceVista, an Infiniti System for measuring heart rate and breathing, a number of anatomical models, posters and books, and a 50” flat screen to project real-time results during class demonstration settings.

Our extensive and ever-growing library is full of resources that cover everything from Alexander Technique to human anatomy, to performance techniques for a variety of instruments.

Important Additional Links:

Surface electromyography (sEMG) Requirements
: Wear comfortable, loose-fitting clothing, so that electrodes can be placed on the trapezius muscle group area, as well as flexors or extensors of the forearms (instrumentalists, conductors and keyboard players).  If you are an instrumentalist, we ask that you bring your instrument with you to the session.

Visit our campus!

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