Testimonials

Our work as puppeteers has been a pleasure for us for many years, but when the curtain comes down... golfer's elbow, carpal tunnel, scratchy necks,... an ailment for every show!

I really appreciate being informed, clearly and in an understandable way, about the problem I am suffering from and the solutions that can be sought. At the Institute I have found this information together with very personalized attention and a very high level of professionalism from the team.

For my profession I need my body in top condition. After a double trauma to my wrists where I had to undergo two operations to reconstruct the scaphoid ligament, optimal recovery was essential for me to continue practicing my profession.

As a dancer I have suffered quite a few injuries, which I usually try to heal with my limited knowledge.

At the Institute I have found complete, professional and personal, medical and physiotherapeutic care as well as respect and understanding for art and the artist.

Proper knowledge of dance technique is very important when it comes to preventing injuries. But the routine of dancers involves using the human body at such intense levels, that it is often not enough.

At the center I found very careful attention to detail so that you respect the dancers, the artists,...

The fact that the Institute specializes in the diagnosis and treatment of specific injuries to dancers means that the solution to a pathology is not simply "stop dancing" as I have heard at other centers.

I felt a small blockage in my right thumb. I didn't pay much attention to it. I considered it a lack of technique, so I spent more time practicing. Not only did it not work, it got worse.

I thank the Art Institute for helping me save my passion and expel the demons of dystonia.

I have been having strange sensations for 2 years and they are getting worse and worse. I even thought about leaving the tube. I had a hard time because my work is my passion.

In 1990 I had to abandon the idea of dedicating myself professionally to the piano due to a mysterious mobility problem in finger 2 of my left hand that no doctor was able to diagnose or, much less treat.

They have a deep knowledge of the nature, effectiveness and high performance of the locomotor movement used to play a musical instrument.

The first symptoms appeared in 2002. There was no perception of pain and they consisted of a gradual loss of motor skills observable only on the instrument.

Precisely the night before being diagnosed with Focal Dystonia, I was lucky enough to find out about the Institute of Physiology and Medicine of Art on the internet.

I was diagnosed with focal dystonia in my right hand in May 2006. It affected several activities of daily living, such as typing on the computer or shaving, and completely disabled me from playing the piano.

The first time I entered the Institute I was very scared. I don't know why, but I knew it would possibly be the last card I had left to play.

Today I'm playing again with the Unió Musical del Bages and I have better technique than when it all started.

The kind and warm welcome at your center and your sincere support are very important during the time necessary for healing.

I arrived at the clinic desperate, with my hand paralyzed, not knowing what was happening to me.

We have reached the Goal. After almost four years of intense work, we can say that dystonia has been banished, perhaps to a faint memory, perhaps to nothingness.

I am fully recovered from my embouchure dystonia with amazing sensations.

In 2017 I began to feel a motor problem in the fourth and fifth fingers of my right hand that gradually increased.

The Institute offers great professionalism, competence, ability to solve problems and sincerity with the patient.

Now, 7 years after that day, and 2 and a half years after starting treatment, I can say that I am cured, I can say goodbye to what was a nightmare for a long time.

I had never considered injury as a possibility in my career as a musician, until it happened to me.

The most important thing is the presence of Dr. Jaume Rosset. He has deep knowledge in the field of medicine specializing in injuries that characterize musicians.

In April 2012 I had surgery for a benign tumor in the parotid gland. Everything went very well and the recovery followed its process correctly. After three months, I saw that at the level of articulation (which is where it affected me to be able to sing), I was not progressing since the muscles were very tense and when it came to vocalizing and starting to sing it hurt.

The Institute's team has always offered me personalized and specific attention at the time.

I couldn't be in better hands, 100% recommended!

An excellent operation is worthless without excellent rehabilitation. And that is what the Institute offers to every musician.

I have seen many types of pathologies treated there, from small problems to very complicated recovery treatments.

At the Institute they understand what any small problem that would be of no importance to someone else can mean to us.

When I have been treated in other centers, I have found a lack of specific attention to the cause of the origin of the problem, which meant that the solutions offered to me were not appropriate.

At the Institute I have found a welcoming and positive atmosphere that undoubtedly contributes to therapeutic recovery.

The Institute of Physiology and Medicine of Art in Terrassa is synonymous with excellence in the treatment of the various pathologies of musicians.

At the Institute, I finally found, and after a long time, someone who listened to me, understood the language I spoke and didn't think that the things I was telling him were from an unbalanced person or someone who didn't want to go to work.

After a complex surgical intervention on my face for a facial tumor and having been unable to touch me for 8 months, the surgeons who had operated on me could not help me with how to proceed with my rehabilitation.

The Institute is a space where you feel comfortable, where you feel understood, where you know that you will be understood.

I consulted the Institute of Art Medicine after having spent more than 10 months without being able to play, going from specialist to specialist, without any of them being able to explain the problem and its solution to me.

They have offered me specialized care in the field of music, personalized treatment and the integration of the work into the therapy itself.

At the center I found a professionalism and understanding of the use of the body (at a muscular and neurological level) and in artistic activity that I had never found anywhere else.

One of the main advantages of the Institute of Art Medicine is the accuracy of diagnosis, since this is based on in-depth knowledge of the techniques that musicians use to play our instruments.

I have found a lot of professional rigor when treating an injury, excellent human quality, both on the medical side and from the physiotherapists, and very personalized attention that has always made me feel calm regarding the evolution of the injuries treated.

I want to share a personal experience that I hope may be useful.

Between 2002 and 2003 I had the immense fortune of being immersed in a great tour that took me to play all over the country and also in America. It was something I had dreamed of since I was a child. Playing live, traveling and making music my life.

At the Institute they know how to fully understand the situation each person is in, especially in the musical field, which is what I know.

The Institute is a center specializing in professional diseases of music and dance that provides a medical response to specific problems of our profession.

Being able to go to a place where they know what they're talking about is perfect! There's no need to try to explain what it means to do creative, gestural, visual theater... but basically act!

A few years ago, the ring finger on my left hand became deformed, which increasingly hindered my ability to play a string instrument.