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As the number of professional and amateur guitarists continues to grow, there is a need to summarize the clinical evidence on the prevalence and treatment of this population. This systematic review aimed to provide an overview of the diseases and symptoms affecting guitarists and the available treatments. Published clinical studies, ranging from case reports to systematic reviews, addressing medical problems among guitarists were systematically searched in PubMed, EMBASE, and the Cochrane Library up to June 2025. A proportion meta-analysis was conducted to estimate the prevalence of these conditions, and the treatment evidence was summarized. Among 1,001 publications identified from the literature search, a total of 42 clinical studies were included in this review, including case studies, observational studies, and randomized controlled trials. Guitarists were found to have a high prevalence of musculoskeletal pain (0.56, 95% confidence interval [0.26 to 0.84]) and psychological problems. Guitarists' musculoskeletal pain was potentially related to the long practice duration and inappropriate posture while playing. Various invasive and noninvasive treatment options are available for dystonia in guitarists, but clinical evidence of their effectiveness and safety has not yet been established. Moreover, there were some publications on rare conditions, which should be assessed from the perspective of therapeutic options and prevention in future research. Guitarists are at notable risk of physical and psychological conditions. Therefore, preventative education and train¬ing are necessary. In addition, clinical evidence for treating these diseases remains inconclusive, and well-designed clinical studies for various interventions are necessary in the future. [Protocol: INPLASY202560088].

Playing guitar involves several physical demands, most inclusive of which are long hours of practice, which can make musculoskeletal symptoms common. To determine the epidemiology of neuromuscular injuries in guitar players residing in Portugal and risk factors. The sample consisted of 105 guitar players, being 103 (98.10%) men, aged between 30-75 years (29,83±10,23). The measurement instrument used was a digital survey, shared by email, on social networks and in person. Fifty-six (53.30%) guitar players had injuries throughout their musical practice, totaling 132 injuries, 13 (12.40%) guitar players were injured at the time of assessment and 31 (29.5%) guitar players had injuries in the last 12 months, totaling 63 injuries. The value of injury proportion was 0.29 (CI 95% : 0.14-0.44) and the injury rate was 0.42 injuries per 1,000 hours of music practice. The most common types of injury were: tendinopathy (22; 34.92%) and low back pain (9; 14.29%). The most affected anatomical sites were: wrist (18; 28.57%) and lumbar spine (10; 15.87%). Repetitive movement was the injury mechanism most mentioned by guitar players (24; 35.29%) followed by maintaining postures for a prolonged period of time (15; 22.06%). Guitar players who did not warm up before practicing were 0.33 (CI: 0.13-0.79; p = 0.013) more likely to have an injury. There was a high percentage of injuries in guitar players and failure to warm up was a risk factor for the development of injuries. This type of study can help in creating injury prevention strategies in this type of population.

In this study, we investigate the influence of the thickness profile of the top plate and bracing pattern on the vibrational and acoustic properties of archtop guitars through finite element simulations. Starting from a laser scan of a real archtop guitar, we develop a fully parametric three-dimensional model of the guitar body. The thickness profile is parametrically controlled by adjusting the lower surface while maintaining the fixed upper surface. Both geometric and numerical modeling techniques are used to analyze the mechanical behavior of the guitar, including modal analysis, and acoustic behavior, focusing on sound intensity, and directivity. Our simulations reveal that variations in the thickness profile significantly affect the modal response and sound radiation patterns. In particular, we highlight the relationship between the vibrational modes and radiation patterns, demonstrating that changes in thickness lead to shifts in eigenfrequencies and variations in radiated sound pressure levels. The models and simulation code are made openly available to facilitate further research in the acoustics of archtop guitars.

Music, a universal language and cultural cornerstone, continues to shape and enhance human expression and connection across diverse societies. This study introduces SpectroFusionNet, a comprehensive deep learning framework for the automated recognition of electric guitar playing techniques. The proposed approach first extracts various spectrograms, including Mel-Frequency Cepstral Coefficients (MFCC), Continuous Wavelet Transform (CWT), and Gammatone spectrograms, to capture the intricate audio features. These spectrograms are then individually processed using lightweight models (MobileNetV2, InceptionV3, ResNet50) to extract discriminative features of different guitar sounds, with ResNet50 yielding better performance. To further enhance the classification performance across nine distinct guitar sound classes, two types of fusion strategies are adopted to provide rich feature representation: One is early fusion where the spectrograms are combined before the feature extraction and the other one is late fusion approach where the independent features from spectrograms are concatenated via three approaches: weighted averaging, max-voting and simple concatenation. Then, the fused features are subsequently fed into nine machine learning classifiers, including Support Vector Machine (SVM), Multilayer Perceptron (MLP), Logistic Regression, Random Forest etc., for final classification. Experimental results demonstrate that MFCC-Gammatone late fusion provided the best classification performance, achieving 99.12% accuracy, 100% precision, and 100% recall across 9 distinct guitar sound classes. To further assess the SpectroFusionNet's generalization ability, real-time audio dataset is evaluated, demonstrating an accuracy of 70.9%, indicating its applicability in real world scenarios.

An intuitive model of classical guitar intonation is presented that includes the effects of the resonant length of the fretted string, linear mass density, tension, and bending stiffness. An expression is derived for the vibration frequencies of a stiff string using asymmetric boundary conditions at the saddle and the fret. Based on logarithmic frequency differences ("cents") that decouple these physical effects, Taylor series expansions are introduced that exhibit clearly the origins of frequency deviations of fretted notes from the corresponding 12-tone equal temperament (12-TET) values. A simple in situ technique is demonstrated for measurement of the changes in frequency of open strings arising from small adjustments in length, and a simple procedure is proposed that any interested guitarist can use to estimate the corresponding frequency shifts due to tension and bending stiffness for their own guitars and string sets. Based on these results, a least-squares fit method is employed to select values of saddle and nut setbacks that map fretted frequencies-for a particular string set and guitar-almost perfectly onto their 12-TET targets. A general approach to tempering an "off-the-shelf" guitar is shown to further reduce the tonal errors inherent in any fretted musical instrument.

In classical guitar acoustic spectra, the lowest frequency body mode's amplitude often significantly surpasses that of the string overtones. However, the characteristics of the body mode have not been systematically utilized to quantitatively represent the timbre of classical guitars. In this study, we propose a quantitative method for describing the body mode, which can effectively differentiate the timbre of classical guitars. Our approach involves three key parameters presented in a three-dimensional space, as follows: the frequency and quality factors of the body mode, along with the amplitude ratio of the plucked string note to the body mode in the soundboard's vibration spectrum. This representation allows for the visualization, quantitative comparison, and classification of the body mode note and damping properties across classical guitars. The differences in body mode among guitars can be analyzed quantitatively using Euclidean distance.

Designing the soundboards of guitars based on an acoustical and structural approach would ideally allow for the realization of instruments with reproducible acoustical properties and structural stability. This task is challenging because wood, the most common material used for this purpose, is a natural material with variable properties and building instruments using strict geometrical tolerances alone does not ensure reproducible results. Several approaches have been developed so far, some based on tradition and, more recently, on measurement of material properties and computer optimization. In this article, some approaches used to design classical guitar soundboards are reviewed and evaluated. An original builder-friendly method, based on simple definitions of mass and stiffness, is also considered. Finite element analysis is used to evaluate their robustness against variability in wood density and orthotropic stiffness by using the experimentally measured properties of 29 spruce specimens. The results are assessed by comparing the coefficient of variation of acoustically relevant parameters (eigenmodes, eigenfrequencies, mass, and monopole mobility) as well as structurally significant ones (mechanical stiffness of the soundboard and bridge rotation angle). Additionally, the correlation between sound radiation coefficient and monopole mobility is examined. Finally, the practical applicability of these methods is evaluated and discussed.

The aim of our work was to investigate how electric guitar strings wear out. There are many myths about string wear. We decided to investigate what the wear process looks like in real life. In our work, sound processing methods such as DTFT and spectrogram were used. However, the most important research method is the use of time-frequency analysis to study the sound of the string and its wear process. Another key method used in our work is the application of a phenomenon known from psychoacoustics, pitch. In our work, we have been able to show that the use of pitch in combination with time-frequency analysis makes it possible to demonstrate string wear. This was not achievable for previously known methods. We have also shown that the string yield limit is exceeded immediately when the strings are placed on the guitar neck. This affects the sound equation of the string. In this work, we have proposed a transformation of the classical string equation so that it correctly describes the sound of the string as it is worn. The research method we have developed, combining pitch and time-frequency analysis, could presumably be used in the future to study the wear and tear of other vibrating systems, such as bridges and viaducts.

This study focuses on the analysis of the displacements generated in 3D-printed acoustic guitar tops. Specifically, the influence of 3D printing direction parameters on the vibrational behavior of a guitar top designed for polylactic acid (PLA) by analyzing five points of the top surface at a reduced scale. For this purpose, finite element tests and laboratory experiments have been carried out to support the study. After analyzing the results, it can be affirmed that the vibrational response in reduced-scale top plates can be modified and controlled by varying the printing direction angle in additive manufacturing, providing relevant information about the displacement in the vibrational response of PLA acoustic guitars. Furthermore, this work shows that the behavior of a specific acoustic guitar design can be characterized according to a specific need.

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Ensemble music performance is a highly coordinated form of social behavior requiring not only precise motor actions but also synchronization of different neural processes both within and between the brains of ensemble players. In previous analyses, which were restricted to within-frequency coupling (WFC), we showed that different frequencies participate in intra- and inter-brain coordination, exhibiting distinct network topology dynamics that underlie coordinated actions and interactions. However, many of the couplings both within and between brains are likely to operate across frequencies. Hence, to obtain a more complete picture of hyper-brain interaction when musicians play the guitar in a quartet, cross-frequency coupling (CFC) has to be considered as well. Furthermore, WFC and CFC can be used to construct hyper-brain hyper-frequency networks (HB-HFNs) integrating all the information flows between different oscillation frequencies, providing important details about ensemble interaction in terms of network topology dynamics (NTD). Here, we reanalyzed EEG (electroencephalogram) data obtained from four guitarists playing together in quartet to explore changes in HB-HFN topology dynamics and their relation to acoustic signals of the music. Our findings demonstrate that low-frequency oscillations (e.g., delta, theta, and alpha) play an integrative or pacemaker role in such complex networks and that HFN topology dynamics are specifically related to the guitar quartet playing dynamics assessed by sound properties. Simulations by link removal showed that the HB-HFN is relatively robust against loss of connections, especially when the strongest connections are preserved and when the loss of connections only affects the brain of one guitarist. We conclude that HB-HFNs capture neural mechanisms that support interpersonally coordinated action and behavioral synchrony.

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The DeVega annuloplasty procedure involves a double-running suture line along the circumference of the tricuspid annulus, encircling the anterior and posterior leaflets. A rare mechanical complication of this technique is the detachment of the suturing from the annulus, which can be referred to as the "bowstring sign" or "guitar string sign."

To determine the effects of guitar lessons (intervention group) in comparison to conventional occupational therapy (OT) sessions (control group) on hand function of chronic stroke patients with unilateral hand impairment. This randomized controlled trial enrolled 34 chronic stroke patients with unilateral hand impairment. Participants were grouped randomly into intervention (guitar lessons) and control (conventional occupational therapy) groups. Each group participant underwent a total of eight consecutive therapy sessions, twice weekly for an hour each session, at the designated treatment rooms in the Department of Rehabilitation Medicine of the Philippine General Hospital. Pre- and post-treatment evaluations were done to assess range of motion, grip and pinch strength, and hand functions. Satisfaction surveys were answered at the end of the 8-therapy session. Improvements in hand function were assessed through measurement of range of motion (ROM), grip and pinch strength, and with the use of Beery-Buktenica Developmental Test of Visual-Motor Integration, Jebsen-Taylor Hand Function test, and Purdue Pegboard Test of Manual Dexterity. In this study, the comparison of actual change of passive range of motion (ROM) of the impaired hand from pre- to post-treatment between control and intervention groups showed no statistically significant difference. No statistically significant difference between groups were also observed for the active ROM of the impaired hand. Comparison of function of the impaired hand pre- and post-treatment between control and intervention groups showed no statistically significant difference except for an observed greater improvement with the control group in motor coordination (median [IQR] 0 [-1 to 0] vs 1 [1 to 5], p = 0.004), tip (median [IQR] 0.33 [0 to 0.75] vs 1 [0.58 to 1.5], p = 0.006), and 3-jaw (median [IQR] 0.5 [0 to 0.92] vs 1.08 [0.41 to 2], p = 0.043) pinch strength.In evaluating the satisfaction of participants in both groups, higher mean scores were observed in the control group. No statistically significant difference in most of the questions in the satisfaction survey in both groups.All participants in both groups displayed 100% compliance in attending onsite treatments. Despite not showing statistically significant difference between groups (p = 0.721), an 11.8% tendency for better compliance is found in the intervention group. The specific guitar lesson created and performed in this study as used by 17 participants of the intervention group have brought about improvement in hand function that is comparable with those who underwent traditional occupational therapy. This may be most helpful in areas with limited access to rehabilitation facilities and occupational therapy services. This may also be used as a continuing activity of chronic stroke patients at home to help improve hand function.

This study presents a comparative performance analysis of three sensor technologies-microphone, magnetic pickup, and laser Doppler vibrometer-for capturing string vibration under varied excitation conditions: striking, plectrum plucking, and wire plucking. Two different magnetic pickups are included in the comparison. Measurements were taken at multiple excitation levels on a simplified electric guitar mounted on a stable platform with repeatable excitation mechanisms. The analysis focuses on each sensor's capacity to resolve fine-scale waveform features during the initial attack while also taking into account its capability to measure general changes in instrument dynamics and timbre. We evaluate their ability to distinguish vibro-acoustic phenomena resulting from changes in excitation method and strength as well as measurement location. Our findings highlight the significant influence of sensor choice on observable string vibration. While the microphone captures the overall radiated sound, it lacks the required spatial selectivity and offers poor SNR performance 34 dB lower then other methods. Magnetic pickups enable precise string-specific measurements, offering a compelling balance of accuracy and cost-effectiveness. Results show that their low-pass frequency characteristic limits temporal fidelity and must be accounted for when analysing general sound timbre. Laser Doppler vibrometers provide superior micro-temporal fidelity, which can have critical implications for physical modeling, instrument design, and advanced audio signal processing, but have severe practical limitations. Critically, we demonstrate that the required optical target, even when weighing as little as 0.1% of the string's mass, alters the string's vibratory characteristics by influencing RMS energy and spectral content.

To attain a direct MIDI output from an electric guitar, we devised and implemented a sophisticated laser sensor system capable of measuring finger positions. This sensor operates on the principle of optical triangulation, employing six lasers and seven position-sensing detectors that are time-multiplexed. The speed and precision of this sensor system meet the necessary criteria for creating an electric guitar with a direct digital output, perfectly satisfying the application's requirements.

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This work was conducted to establish the efficiency of an impressed current cathodic protection system for musical instruments' steel strings in protecting them from corrosion caused by human sweat. To conduct this research, the harmonic content degradation of a guitar string subjected to different corrosion stages by artificial human sweat, with and without cathodic protection by an impressed current, was studied. String corrosion is characterised by not only the electrochemical technique of polarisation resistance, but also by weight loss by gravimetric measurements and FESEM microscopy. From the correlation between the acoustic and electrochemical results, it can be concluded that harmonic content degradation of guitar strings increases corrosion but is less significant in the strings protected by impressed current.