Main feature of auditory processing abilities is temporal processing including temporal resolution, temporal ordering, temporal integration and temporal masking. Many studies have shown the superiority of musicians in temporal discrimination over non-musicians. In this study we compared temporal processing in musicians and non-musician controls via Gap in Noise (GIN) test. This cohort study was conducted on 24 musicians with mean age of 25.3 years and 24 normal hearing non-musician controls with mean age of 24.5 years, in Faculty of Rehabilitation of Tehran University of Medical Sciences. GIN test results (approximate threshold and percent of corrected answers) obtained and analyzed by Mann-Whitney non-parametric statistical test. There was significant difference between approximate threshold and percent of corrected answers between musicians and non-musician group (p<0.001), while no sex difference was observed between both groups (p>0.05). the lower approximate threshold and the more corrected answers in GIN test by musician group indicate rapid auditory temporal processing ability of this group rather than non-musicians group. This might be related to effects of musical training on central auditory processing.

One of the most important capabilities of central auditory nervous system is dichotic listening processing, which undergoes changes with aging, similar to peripheral hearing. The results of the studies about comparison of functional asymmetry of cerebral hemispheres between musician and non-musician elderlies reveal advantages of musician old age in dichotic listening processing. In the present investigation, functional asymmetry of cerebral hemispheres is investigated in dichotic listening musician and non-musician elderlies with normal hearing using dichotic digit test.
Material and The current cross-sectional study was performed on 40 right-handed musician (N= 20) and non-musician (N= 20) elderlies aged 60 to 80 years with normal hearing using the Persian version of the dichotic digit test. Data was analyzed running independent t test and man-whitny test. Finally, the results of right and left ears were compared in Non-Forced Attention (NF), Forced Right (FR), and Forced Left (FL) attention conditions.
Comparison of dichotic digit test results in divided attention condition showed significant difference between the two groups (p-value The results of the present study confirmed better function in musician elderlies compared with non-musician elderlies in divided attention and competitive environment particularly in FL attention condition. In fact, musician elderlie's desire to acquire information through both ears in noisy places, unlike their non-musician counterparts. Finally, musician elderlies showed lower hemispheric asymmetries with higher scores obtained in dichotic digit test.

Playing a musical instrument requires a high motor coordination, sensory integration, and cooperation among different areas of the brain, which affects the cognitive functions. The aims of this study were to evaluate the neurocognitive executive functioning in musicians and non-musician individuals.
This is a descriptive and causal-comparative (ex post facto) study. 120 people were selected through purposeful sampling method and were divided into two groups; musicians (n = 60) and non-musicians (n = 60). All subjects completed the Barkley Deficits in executive functioning scale test (BDEFS) and cognitive flexibility (CFI).
Our results revealed that non-musicians had poorer flexibility and executive functioning compared to musicians. In addition, the musicians who practiced for a longer period and began their training at early ages had higher scores in cognitive flexibility and executive functioning.
These data suggest that music education and training can play an important role in promoting the levels of neurological functions.

Kule-farah area or Narsyna Temple, in the north of Ize, consisted of 6 stone relieves since about 2500 to 500 (BC) new Elam periods. Religious ceremony theme with music is one of the most important issues of stone relieves in Kule-farah, I, III and IV that shows a group of musicians and the largest documented collection of musical instrument of Elam Era. This study aimed to understand the evolution and application of two main factors in instrument and position of musicians in these three stone relieves. This study analyses pictures of 3 stone relieves of 6 available stone relieves in Kule-farah area and used relevant information and library studies and field investigations. We took some photos of Kule-farah and recorded movies in this area. The results have been compared with previous studies. Finally, the dimensions of each stone relief (Length, width, height, figures) and their issue would be presented. To analyses the stone relief of musicians, the similarities and differences (type of orchestration, dress, hair, social status, location and position of them) among three stone relieves are mentioned. In conclusion, musicians should be considered as main members of temple that have played a major role in advance the rituals of worship. Their position in the scene reflects the importance of their role during the religious ceremony. In the stone relieves I and III, musicians are presented during the religious rituals and beside animal sacrifice, but in the stone relief IV we can see a General Banquet whose guests are eating. Numbers and figures of musical instrument in the Elam period had the evolutionary process. Diversity and increasing number of instruments increases the doubts about historical continuity and interconnected with the evolutionary process of musical instrument in the Elam period. Orchestra of III is consisted of three harpers vertical, Orchestra of IV consisted of one conductor that is in front of 6 musicians -they have two kind of stringed instrument (horizontal and vertical grip). Structure of orchestra of I is most orchestra diverse -it has three musical instruments for three musicians: two stringed instruments, a harp and vertical and horizontal harp percussion square. Musicians’ clothing, hair and the faces without beard shows gender differences in male and female. In stone relieves IV and III, musicians are dressed in short robe and in stone relief I they are dressed in long robe. In these three stone relieves musicians have fastened their hair and have no beard. Symbols are used to show feminine of musical instruments: harp and drums, long robe, hair tucked behind and the faces with no beard. According to the long robe, musicians of Kule-farah I that historically is more recently than III and IV, emphasis two points: 1. The possibility of presentation of the female musicians in Elam court land, 2. The increasing social status of musicians in Elam court.

The prevalence of varicocele in employees of musician and transport units of AJA University of medical sciences was evaluated. In a cross-sectional study 42 musician and 31 individuals from transport unit of AJA University of medical sciences enrolled. The varicocele was evaluated in left and right testis. The prevalence and grad of varicocele were analysed by χ 2 and P<0. 05 was statistically considered significant. The results showed that the prevalence of varicocele in the musician unit (31%) was significantly higher than in the transport unit (10%) (P=0. 032)، and in the left testis was significantly higher than the right testis. The grad of varicocele in the musician unit was also significantly higher than the transport unit. It seems that the prevalence and grad of varicocele in the left testis are higher than in the right testis and are also high in musicians who their activities are accompany with valsalva manoeuvre.

String musicians have the highest number of musculoskeletal disorders among different groups of musicians. Few studies have investigated the risk of work-related musculoskeletal disorders and postural abnormalities in these people comparing to non-musicians. Therefore, the aim of this study was to determine the risk of work-related musculoskeletal disorders and postural abnormalities in professional dulcimer and violin players and to compare them to non-musicians. This is a descriptive comparative study. Seventy professional male dulcimer and violin players aged 18 to 40 years, and 35 male non-musicians were participated in this study. Flexible ruler and forward head goniometer were used to measure kyphosis, lordosis and forward head posture. Scoliosis were assessed with photogrammetry. Risk of musculoskeletal disorders for upper limb assessed using photogrammetry and RULA method. For the statistical analysis, the Shapiro-Wilk and U Mann-Whitney tests were used in SPSS version22 with the significance level of 0.05. The results showed that risk of work related musculoskeletal disorders, kyphosis, lordosis, forward head posture and scoliosis were significantly higher in dulcimer players comparing to non-musicians. In violin players, the risk of work related musculoskeletal disorders, kyphosis, lordosis and forward head posture were significantly higher comparing to non-musicians as well, but no significant difference were in their scoliosis. According to the findings of the study, it can be said that the dulcimer and violin players are more vulnerable to work related musculoskeletal disorders and postural abnormalities compared to non-musicians and the corrective strategies are suggested for these disorders.

So far, no systematic study has been conducted in our country to inform about the prevalence of pain and complaints, according to gender, different instrumental groups and body parts. Therefore, the aim of the present review was to investigate musculoskeletal pain and complaints in musicians. Studies on musculoskeletal pain and complaints of musicians from 2010 to 2021 have been collected and reviewed. These articles were found by searching the websites of Web of science, Google scholar, science Direct, Scopus, PubMed, SID, ISC, MAGIRAN, IRANDOC, IRAN MEDEX, MEDLIB with the keywords of pain and musculoskeletal complaints in musicians, pain in musicians, and prevalence of problems and musculoskeletal pain in musicians in Persian and English equivalents. 477 articles were found in different sources that after adapting to the inclusion criteria, finally 26 studies were reviewed. The review of articles showed that the prevalence of musculoskeletal pains and complaints in musicians on average has increased with increasing playing experience and professional musicians face a higher rate of dissatisfaction. In other words, persistence in playing and not paying attention to the position of the body position while playing can show its effect in the long-term in the form of musculoskeletal pain, complaints, as well as dissatisfaction with playing the instrument as desired. In addition to this factor, it seems that components such as playing history, playing practice hours during the week, type of instrument, hand position while playing, dominant or non-dominant hand, daily activities non related to playing, physical fitness in the incidence of musculoskeletal pain and complaints caused by playing is effective.

So far no systematic study has been conducted in our country to inform about the prevalence of pain and complaints, according to gender, different instrumental groups and body parts.Therefore, the aim of the present review was to investigate musculoskeletal pain and complaints in musicians.Studies on musculoskeletal pain and complaints of musicians from 2010 to 2021 have been collected and reviewed. These articles were found by searching the websites of Web of science, Google scholar, science Direct, Scopus, PubMed, SID,ISC, MAGIRAN, IRANDOC, IRAN MEDEX, MEDLIB with the keywords of pain and musculoskeletal complaints in musicians, pain in musicians and prevalence of problems and musculoskeletal pain in musicians in Persian and English equivalents.477 articles were found in different sources that after adapting to the inclusion criteria, finally 26 studies were reviewed.The review of articles showed that the prevalence of musculoskeletal pains and complaints in musicians on average has increased with increasing playing experience and professional musicians face a higher rate of dissatisfaction.In other words, persistence in playing and not paying attention to the position of the body position while playing can show its effect in the long-term in the form of musculoskeletal pain, complaints, as well as dissatisfaction with playing the instrument as desired. In addition to this factor, it seems that components such as playing history, playing practice hours during the week, type of instrument, hand position while playing daily activities non related to playing in the incidence of musculoskeletal pain and complaints caused by playing is effective.

The civilization of Iran in the Sassanid period (224-650 AD), reached its peak of prosperity in many ways and the art of this period is of special value and importance compared to other periods of ancient Iran. One of these arts is music, which can be searchable based on archaeological findings.This research tries to analyze the motifs of Sassanid musicians on metal utensils based on the following questions: A) The motifs of Sassanid musicians on which species of metal utensils is seen more and what is the reason? B. How do metal utensils with motifs of Sasanian period musicians help to understand the music of this period? In this research, it studied 147 metal utensils belonging to the Sassanid period and finally found 24 utensils with the theme of the motifs of sasanid musicians belonging to this period.. The method of conducting this research is descriptive-analytical and the collecting of information is based on library studies and virtual visit of works in museums of the world. The purpose of this research is the typology of Metal utensils with the motif of musicians, determining the species with the most motifs of musicians and also determine the types of instruments used on metal utensils in the Sassanid era. The results of the research show that Plates have the most motifs of musicians and the reason is the flat surface of the plates and having more uniform space to depict scenes and show some details than other species of utensils and the purpose of making plates can be more Be political rather than their practical use. Among the instruments depicted on metal utensils of the Sassanid period, Sorna with 7 works and then lute, horn and pan flute each have 6 works.

The civilization of Iran in the Sassanid period (224-650 AD), reached its peak of prosperity in many ways and the art of this period is of special value and importance compared to other periods of ancient Iran. One of these arts is music, which can be searchable based on archaeological findings.This research tries to analyze the motifs of Sassanid musicians on metal utensils based on the following questions: A) The motifs of Sassanid musicians on which species of metal utensils is seen more and what is the reason? B. How do metal utensils with motifs of Sasanian period musicians help to understand the music of this period? In this research, it studied 147 metal utensils belonging to the Sassanid period and finally found 24 utensils with the theme of the motifs of sasanid musicians belonging to this period.. The method of conducting this research is descriptive-analytical and the collecting of information is based on library studies and virtual visit of works in museums of the world. The purpose of this research is the typology of Metal utensils with the motif of musicians, determining the species with the most motifs of musicians and also determine the types of instruments used on metal utensils in the Sassanid era. The results of the research show that Plates have the most motifs of musicians and the reason is the flat surface of the plates and having more uniform space to depict scenes and show some details than other species of utensils and the purpose of making plates can be more Be political rather than their practical use. Among the instruments depicted on metal utensils of the Sassanid period, Sorna with 7 works and then lute, horn and pan flute each have 6 works.