BACKGROUND: To date only a few studies have evaluated the long-term influence of smoking and smoking cessation on periodontal health. The present study, therefore, was undertaken with the aim to prospectively investigate the influence of smoking exposure over time on the periodontal health condition in a targeted population before and after a follow-up interval of 10 years. METHODS: The primary study base consisted of a population of occupational musicians that was investigated the first time in 1982 and scheduled for reinvestigation in 1992 and 2002. The 1992 investigation included 101 individuals from the baseline study constituting a prospective cohort including 16 smokers, who had continued to smoke throughout the entire length of the 10-year period; 28 former smokers who had ceased smoking an average of approximately 9 years before the commencement of the baseline study; 40 non-smokers, who denied ever having smoked tobacco; and 17 individuals whose smoking pattern changed or for whom incomplete data were available. The clinical and radiographic variables used for the assessment of the periodontal health condition of the individual were frequency of periodontally diseased sites (probing depth > or =4 mm), gingival bleeding (%), and periodontal bone height (%). The oral hygiene standard was evaluated by means of a standard plaque index. RESULTS: The changes over the 10 years with respect to frequency of diseased sites indicated an increased frequency in continuous smokers versus decreased frequencies in former smokers and non-smokers. Controlling for age and frequency of diseased sites at baseline, the 10-year change was significantly associated with smoking (P
The nightclub as a space is presented as a free and hedonistic place for pleasure. This space is also part of a wider socio-spatial-economic framework in which various forms of regulation apply to clubbers and the cultivation of affects. This paper researches marginal and contested forms of experiences within a club as a way of understanding the complexities of pleasure. The study does so by addressing experiences through the concept of affects, which is situated within a framework of a non-representational theory of space. Anxiety, pride, anger, shame and embarrassment are embodied simultaneously with the affects of love, joy, sympathy and so on. Alcohol, illicit drugs, bouncers, music and other human or non-human actants are part of the place. It is within this heterogeneous assemblage that affects become embodied. The data consists of 273 cases from a large Copenhagen nightclub where guests have complained about being rejected or being given quarantine. The paper suggests that if the space of the club is approached as being more than a mono-affectual space of either risk or pleasure, then it would be possible to reduce conflicts and produce more inclusive spaces.
Comment In: Int J Drug Policy. 2013 May;24(3):167-7223352332
The similarity between psychotic symptoms and aspects of mystical experiences is well known. It has long been recognized that there are similarities between mystical and spiritual and psychotic experiences. The content of an experience alone usually does not determine whether an individual is psychotic. The Russian composer Scriabin (1872-1915) was among the most famous artists of his time. Scriabin infused his music with mysticism, evolving a modernistic idiom through which he created a musical counterpart to the Symbolist literature of that period. In this paper, we discuss the question that arises from perusing Scriabin's life is whether the composer was a mystic genius or whether he suffered from affective psychopathology with psychotic features.
1,031 Norwegian physicians were questioned about their attendance at various musical events, and whether they played an instrument or were active in an orchestra or a choir. 36% of the physicians had been to the opera or the ballet during the last year, and 64% to at least one classical concert. 39% had been to a pop, rock or jazz concert. For the first two categories the figures are higher than in a group of Norwegian university graduates. 55% of the physicians can play an instrument, and 18% do so actively. These figures are also higher than in the university graduate group. Participation in an orchestra or choir is highest among general practitioners and public health physicians.
The aim of this study was to assess hearing and hearing disorders among rock/jazz musicians. One hundred and thirty-nine (43 women and 96 men) musicians participated. The results are based on pure-tone audiometry and questionnaire responses. According to our definition of hearing loss, tinnitus, hyperacusis, distortion and/or diplacusis as hearing disorders, we found disorders in 74%, of the rock/jazz musicians studied. Hearing loss, tinnitus and hyperacusis were most common, and the latter two were found significantly more frequently than in different reference populations. The women showed bilateral, significantly better hearing thresholds at 3-6 kHz than the men. Hyperacusis, and the combination of both hyperacusis and tinnitus, were found to be significantly more frequent among women than among men. Hearing loss and tinnitus were significantly more common among men than among women. It is important to evaluate all kinds of hearing problems (other than hearing loss) in musicians, since they represent an occupational group especially dependent on optimal, functional hearing. On the basis of our results, we suggest that hearing problems such as tinnitus, hyperacusis, distortion and/or diplacusis should, in addition to hearing loss, be defined as hearing disorders.
This article summarizes the results for a total of 189 female and 63 male university students (mean age 23 and 26 years, respectively) from the following vocal capacity tests: measurement of (1) vital capacity, (2) average airflow in phonation (on [o:]), (3) maximum duration of sustained blowing, (4) maximum phonation time (on [o:, z:]), (5) maximum duration of [s:], (6) the ratio of the duration of [s:] to [z:] (s/z ratio), (7) phonation quotient (the ratio between vital capacity and maximum phonation time), (8) the lowest possible tone, (9) mean fundamental frequency (F0) in normal and loud text reading and in shouting, (10) difference between the lowest tone and mean F0 in text reading and in shouting, (11) F0 range in text reading, (12) equivalent sound level of normal and loud reading and of shouting in maximum loudness, (13) phonetogram (voice range profile) and (14) long-term average spectrum of text reading. Voice quality is also evaluated perceptually, and additionally, data on subjects' self-reported vocal fatigue symptoms in general or after a vocally loading task were collected. The value of these measurements from the point of view of assessment of vocal capacity will be discussed.
Although artistic work is in transition, the occupational wellbeing of artists has been less studied than wellbeing among other workers. This study aimed to explore the relationship between work characteristics and occupational (psychosocial) wellbeing of artists.
A national questionnaire was sent to all artists (theatre artists, writers, and visual artists) reached by four major labor unions in Finland. Type of employment (permanent full-time work vs other), working field (own field of art vs other), regularity of working hours (regular vs irregular), and control of workload were assessed. The wellbeing outcomes were work engagement, recovery from work, and experience of stress and low mood.
Full-time permanent employment, regular working hours, and working in one's own field of art were positively associated with work engagement. Furthermore, regular working hours were positively associated with recovery and negatively associated with subjective report of low mood. Ability to control workload was positively associated with recovery and negatively associated with stress and low mood. Higher age was associated with lower stress and better recovery.
Artists with regular working hours, secure employment, ability to control workload, working in one's own field of art, and higher age reported better wellbeing in this study. The late stages of career appear to guarantee more stability and wellbeing than the more insecure beginning of a career.
After intensive, long-term musical training, the auditory system of a musician is specifically tuned to perceive musical sounds. We wished to find out whether a musician's auditory system also develops increased sensitivity to any sound of everyday life, experiencing them as noise. For this purpose, an online survey, including questionnaires on noise sensitivity, musical background, and listening tests for assessing musical aptitude, was administered to 197 participants in Finland and Italy. Subjective noise sensitivity (assessed with the Weinstein's Noise Sensitivity Scale) was analyzed for associations with musicianship, musical aptitude, weekly time spent listening to music, and the importance of music in each person's life (or music importance). Subjects were divided into three groups according to their musical expertise: Nonmusicians (N = 103), amateur musicians (N = 44), and professional musicians (N = 50). The results showed that noise sensitivity did not depend on musical expertise or performance on musicality tests or the amount of active (attentive) listening to music. In contrast, it was associated with daily passive listening to music, so that individuals with higher noise sensitivity spent less time in passive (background) listening to music than those with lower sensitivity to noise. Furthermore, noise-sensitive respondents rated music as less important in their life than did individuals with lower sensitivity to noise. The results demonstrate that the special sensitivity of the auditory system derived from musical training does not lead to increased irritability from unwanted sounds. However, the disposition to tolerate contingent musical backgrounds in everyday life depends on the individual's noise sensitivity.
Music is listened in all cultures. We hypothesize that willingness to produce and perceive sound and music is social communication that needs musical aptitude. Here, listening to music was surveyed using a web-based questionnaire and musical aptitude using the auditory structuring ability test (Karma Music test) and Carl Seashores tests for pitch and for time. Three highly polymorphic microsatellite markers (RS3, RS1 and AVR) of the arginine vasopressin receptor 1A (AVPR1A) gene, previously associated with social communication and attachment, were genotyped and analyzed in 31 Finnish families (n=437 members) using family-based association analysis. A positive association between the AVPR1A haplotype (RS1 and AVR) and active current listening to music (permuted P=0.0019) was observed. Other AVPR1A haplotype (RS3 and AVR) showed association with lifelong active listening to music (permuted P=0.0022). In addition to AVPR1A, two polymorphisms (5-HTTLPR and variable number of tandem repeat) of human serotonin transporter gene (SLC6A4), a candidate gene for many neuropsychiatric disorders and previously associated with emotional processing, were analyzed. No association between listening to music and the polymorphisms of SLC6A4 were detected. The results suggest that willingness to listen to music is related to neurobiological pathways affecting social affiliation and communication.