Purpose: Building upon the current gaps in rehabilitation paradigms, this study aims to comprehensively compare the therapeutic efficacy of a targeted corrective exercise program integrated with music versus one combined with laughter therapy. Specifically, this trial investigates their distinct impacts on postural malalignments associated with Upper Crossed Syndrome (UCS) and the neuromuscular adaptations quantified via surface electromyographic (sEMG) activity of key synergists and antagonists implicated in cervicoscapular dyskinesis.

Methods:

This quasi-experimental study involved 36 female employees aged 30–40 years diagnosed with UCS. Participants were selected through purposive and convenience sampling and were randomly allocated into two equal-sized experimental groups: Group 1 (Corrective Exercises with Music) with a mean age of 34.24 years, and Group 2 (Corrective Exercises with Laughter Therapy) with a mean age of 35.72 years. Both groups engaged in their respective exercise protocols for eight weeks, with three sessions per week. Forward Head Posture angle, Rounded Shoulder Angle, and kyphosis severity were assessed using photographic methods. Muscle electrical activity of the sternocleidomastoid, trapezius, pectoralis major, serratus anterior, and latissimus dorsi was measured via sEMG. Data were analyzed using a repeated-measures Analysis of Variance (ANOVA) at a significance level of P ≤ 0.05. All analyses were performed using SPSS software, version 27.

Results: Both music-based and laughter-based corrective training groups demonstrated significant improvements in kyphosis, forward head and shoulder angles, and muscle electrical activity compared to baseline (P<0.05). However, between-group analysis revealed that a significant difference was observed solely in the kyphosis variable (P<0.001).

Discussion: While both music-augmented and laughter-enhanced corrective exercise protocols yielded significant intra-group improvements in postural alignment and EMG parameters, the lack of a standalone corrective exercise control group precludes the determination of the specific additive effects of these auditory modalities. Consequently, it remains unclear whether the observed improvements were uniquely attributable to the music or laughter, or simply a reflection of the corrective exercises themselves.