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.

中文翻译：

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双簧管教育者对演奏相关伤害的看法，第一部分：围绕伤害的生活经历和看法


遭受演奏相关伤害 (PRI) 潜在破坏性影响的音乐学生通常首先向音乐老师寻求帮助。本文旨在记录音乐教师对 PRI 的生活经验和看法，并更好地了解教师目前如何支持学生的肌肉骨骼健康。采用定性描述方法，对 10 名双簧管教师（7 名男性，3 名女性）进行了深入访谈，记录了他们有或没有受伤的生活经历以及对 PRI 的看法。自认未受伤的参与者 (n = 5) 描述了与 PRI 相关和非 PRI 的问题，这些问题引起了对受伤音乐家的同情，以及有助于改善健康的自我反思实践。受伤的参与者描述了与疼痛的不同关系，包括疼痛作为内疚、痛苦、学习和成长的根源，并描述了不同的应对机制，包括物理治疗、药物治疗、正念和自我实验。参与者对 PRI 的观察和体验影响了他们的教学，一些参与者描述了寻求提高学生仪器设置和身体使用效率的方法。由于财务限制、缺乏意识、充满行话的语言和错误信息，受伤音乐家的资源被认为很难获得。这些结果表明，表演艺术健康专业人员需要开展更多外展活动，将音乐教师（通常是受伤学生的第一接触点）与支持学生福祉的优质资源联系起来。