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Upper extremity disorders in performing artists - cont.
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(dysesthesia), weakness,loss of dexterity, and a sense of"swelling or perked circulation." Duration of symptoms varies from several days to years and may be continuous or intermittent. In chronic cases, trophic changes in the hand and ann may result in frank muscle atrophy and complete loss of movement Discomfort usually begins at a specific site and may radiate proximally and distally on the arm. Multiple nerves may become involved, ora single nerve may be compressed in more than one location (double crush syndrome). Compression of a peripheral nerve in one location may sensitize it, making it more susceptible to compression at another site.20 |
Treatment of nerve entrapment syndromes Once a clinical diagnosis is made, a period of relative rest and splinting is followed by rehabilitation. A therapist may desensitize the hand and ann with various modalities and facilitate nerve gliding with special exercises. Tendon and ligament stretching exercises are followed by a musc1e- strengthening program. Special instructions are given to facilitate activities of daily living. Performance and practice modifications are discussed, and a specific plan for return to play is instituted. Night splinting can continue for several months if needed. Most patients respond well to this protocol. For some, more aggressive treatment may be needed. Other conservative modalities include nonsteroidal anti-inflammatories and oral or injected steroids. With the latter, care must be taken to avoid intratendonous or intraneural injection, which may cause permanent damage. Thoracic outlet syndrome is usually treated with a vigorous program of stretching and strengthening the anterior and posterior shoulder girdle muscle and paraspinal musculature. Surgery is almost never recommended in thoracic outlet syndrome. Role of surgery in the treatment of performing artists Many consider surgery a last resort. Musicians usually present late in the course for surgical treatment. I believe there are several reasons for this: . Every music teacher or nonsurgical arts medicine practitioner has at least one horror story about a poorly indicated or badly performed operation that resulted in a crippling, career-ending outcome. . There is general ignorance about potential benefits of well-performed surgery . . Patients have a fear of being out of control during surgery and think they will never be the same after the operation. In 1992, Dawson21 outlined indications for surgical treatment of musicians. They include the release of refractory stenosed tenosynovitis in wrists or digital tendons--deQuervain's syndrome or trigger digits and compressive neuropathy not responsive to conservative measures, Nonperformance-related conditions may have an impact on performance and may be amenable to surgical correction. I recently treated a pianist for a crippling digital osteoarthritis of the proximal interphalangeal joints with arthrodesis. In a short time, she returned to playing comfortably. She had come to me after several years of playing with significant pain. Prominent music educators told her the problem was poor playing technique and to avoid surgery at all cost. Other conditions, such as Dupuytren 's contracture, have no nonsurgical treatment and, if allowed to progress unimpeded will end the instrumental musician's career. In many upper extremity trauma or tumor situations, surgery is the conservative approach. It allows earlier joint mobilization and muscle retraining, facilitating an early return to performing. Surgery is a valuable adjunct in our armamentarium. While it should be used judiciously to achieve maximal benefit, it should never be dismissed. |
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Maryland Medical Journal March 1993
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259
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