{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2026,7,13]],"date-time":"2026-07-13T07:07:08Z","timestamp":1783926428554,"version":"3.55.0"},"reference-count":62,"publisher":"Frontiers Media SA","license":[{"start":{"date-parts":[[2026,7,13]],"date-time":"2026-07-13T00:00:00Z","timestamp":1783900800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by\/4.0\/"}],"content-domain":{"domain":["frontiersin.org"],"crossmark-restriction":true},"short-container-title":["Front. Psychol."],"abstract":"<jats:sec>\n                    <jats:title>Introduction<\/jats:title>\n                    <jats:p>Musicians playing asymmetrically held instruments are particularly susceptible to playing-related musculoskeletal disorders (PRMD). But a sustained asymmetrical posture is unavoidable, making it essential for musicians to manage the demands that this asymmetry places on their body. Standard PRMD prevention includes education on physical competence, healthy practice habits, and tailored exercises. However, the author hypothesizes that musicians could also benefit from a nature-inspired approach alongside established preventive measures.<\/jats:p>\n                  <\/jats:sec>\n                  <jats:sec>\n                    <jats:title>Aim<\/jats:title>\n                    <jats:p>This perspective article aims to present how natural patterns of balance and harmony seen in animal movement and plant structures can be transferred and embodied into ergonomic approaches and postural adjustments for musicians.<\/jats:p>\n                  <\/jats:sec>\n                  <jats:sec>\n                    <jats:title>Methods<\/jats:title>\n                    <jats:p>The perspective emphasizes the pedagogical process of transferring knowledge from nature to music. To translate principles from physics, biomechanics, biology, and design from the natural world to instrumental posture, established learning concepts\u2014using lectures, self-study and study groups\u2014can be applied. The process begins with factual knowledge about nature, followed by conceptual knowledge, where similarities between principles in nature and music are discovered. Procedural knowledge then transforms the \u201cwhat\u201d into \u201chow\u201d, using images, visualization, and body awareness exercises to embody new movements and ideas. Finally, metacognitive knowledge involves self-reflection and critical awareness about the implementation process and its outcomes.<\/jats:p>\n                  <\/jats:sec>\n                  <jats:sec>\n                    <jats:title>Conclusion<\/jats:title>\n                    <jats:p>This proposal should be seen as an inspiration for musicians playing asymmetrically held instruments to open their minds to a world where symmetry and asymmetry coexist seamlessly. Nature can serve as a source of such inspiration, offering countless examples in which form adapts flexibly to functional demands.<\/jats:p>\n                  <\/jats:sec>","DOI":"10.3389\/fpsyg.2026.1736186","type":"journal-article","created":{"date-parts":[[2026,7,13]],"date-time":"2026-07-13T06:23:10Z","timestamp":1783923790000},"update-policy":"https:\/\/doi.org\/10.3389\/crossmark-policy","source":"Crossref","is-referenced-by-count":0,"title":["Lessons from nature: achieving postural balance inspired by biomechanics and natural (a)symmetry. 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