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Journal articles on the topic 'Instrumentalists'
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Matthews, Wendy K., and Anastasia Kitsantas. "Group Cohesion, Collective Efficacy, and Motivational Climate as Predictors of Conductor Support in Music Ensembles." Journal of Research in Music Education 55, no. 1 (April 2007): 6–17. http://dx.doi.org/10.1177/002242940705500102.
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In the present study, we examined whether collective efficacy, group cohesion (task and social), and perceived motivational climate (task-involving and ego-involving orientations) in a music ensemble predict instrumentalists' perceived conductor support. Ninety-one (N = 91) skilled high school instrumentalists participated in the study. To assess the variables, participants responded to a number of surveys during rehearsals. It was hypothesized that instrumentalists' perceptions of collective efficacy, group cohesion, and a task-involving motivational climate cultivated by the conductor would predict conductor support. Results showed that, collectively, these variables accounted for 46% of the variance in instrumentalist perceptions of a supportive conductor. Findings of this study may provide guidance on how conductors can create learning environments that instill a strong sense of support for their instrumentalists.
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Thiebaud, Robert S., Takashi Abe, W. Matt Denning, Jeremy P. Loenneke, Micah J. Okerlund, Joe S. J. Ryan, Whitney Boyce, Maggie McBride, and Jared Hernandez. "To Play or Not to Play: Can an Instrument Really Impact Lip and Tongue Performance?" Cosmetics 7, no. 2 (June 24, 2020): 50. http://dx.doi.org/10.3390/cosmetics7020050.
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(1) Background: Increasing tongue and lip strength may help improve various speech and swallowing disorders, but it is unclear if instrumentalists who use these muscle groups for long periods of time have greater strength and endurance compared to controls. It is also unclear if instrumentalists can more accurately estimate various exercise intensities. The purpose of this study was to determine differences in lip and tongue strength and endurance between instrumentalists and non-instrumentalists (controls). A secondary purpose was to assess differences in ability to estimate various exercise intensities between the two groups. (2) Methods: Instrumentalists and controls’ maximum strength and endurance were measured using the IOPI Pro medical device. In addition, 40%, 60% and 80% of maximum strength were estimated in a randomized order. (3) Results: No significant differences were found between instrumentalists and controls in strength or endurance or the ability to estimate various intensities. Overall, participants were better at estimating tongue strength at moderate intensities and lip strength at higher intensities. (4) Conclusion: Tongue and lip strength and endurance and the ability to estimate exercise intensities are not impacted by years of instrumentalist training compared to healthy controls.
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Brinkmann, Matthias. "Indirect Instrumentalism about Political Legitimacy." Moral Philosophy and Politics 6, no. 1 (May 27, 2019): 175–202. http://dx.doi.org/10.1515/mopp-2018-0024.
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Abstract Political instrumentalism claims that the right to rule should be distributed such that justice is promoted best. Building on a distinction made by consequentialists in moral philosophy, I argue that instrumentalists should distinguish two levels of normative thinking about legitimacy, the critical and applied level. An indirect instrumentalism which acknowledges this distinction has significant advantages over simpler forms of instrumentalism that do not.
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Matherne, Matthew. "The Value of Socratic Inquiry in the Apology." Ancient Philosophy 43, no. 2 (2023): 337–55. http://dx.doi.org/10.5840/ancientphil202343220.
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What makes Socratic inquiry valuable? A standard response is what I term instrumentalism: Socratic inquiry is merely instrumentally valuable; it is valuable only because it produces valuable results. This paper challenges instrumentalism. First, I present two value puzzles for instrumentalists and argue that these puzzles are best solved by denying instrumentalism. Then, I survey passages in the Apology that point to the source of Socratic inquiry’s non-instrumental value.
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Kuebel, Christa R. "The Journey From Instrumental to Elementary General Music Education: How to Succeed in a New Specialization." General Music Today 32, no. 1 (May 2, 2018): 13–17. http://dx.doi.org/10.1177/1048371318773366.
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For various reasons, instrumentalist music education majors may find themselves teaching in an elementary general music classroom. Based on research and experience, this article will discuss why the transition from instrumental to elementary general music education may occur as well as offer suggestions to support instrumentalists new to the elementary general music classroom.
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Jovicevic, Jasna. "Gender perspectives of instrumental jazz performers in southeastern Europe." Muzikologija, no. 30 (2021): 149–64. http://dx.doi.org/10.2298/muz2130149j.
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I investigate constructed social platforms for female jazz instrumentalist, with a particular emphasis on the Balkan cultural space of Southeastern Europe (former Yugoslav countries). In this region, female jazz instrumentalists are confronted with multiple systems of rejection, facing double standards of the Balkan social-ideological patterns, typical for the patriarchal tradition, reproduced and incorporated within a micro context of the already gendered music genre. I analyze the image of female jazz instrumentalist in the public cultural space where jazz is created and consumed. This study presents autoethnographic testimonies as a subjective point of view.
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Pak, Chong H., and Kris Chesky. "Prevalence of Hand, Finger, and Wrist Musculoskeletal Problems in Keyboard Instrumentalists: The University of North Texas Musician Health Survey." Medical Problems of Performing Artists 16, no. 1 (March 1, 2001): 17–23. http://dx.doi.org/10.21091/mppa.2001.1004.
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Musculoskeletal problems are considered significant health factors for performing artists, especially instrumentalists. Although numerous studies exist that document the extent to which musicians experience these problems, serious consideration has not been given to musicians who play the keyboard, or the type of music played by each instrumentalist. Furthermore, although the Internet is an emerging tool for research, epidemiologists have been surprisingly slow in adapting to this novel way to conduct surveys. Using data derived from the University of North Texas Musician Health Survey (UNT-MHS) conducted over the Internet, this study assessed the prevalence of upper-extremity musculoskeletal problems among 455 keyboard instrumentalists and the association with musician type, daily playing time, gender, and age. Age and gender were found to be significant risk factors, while musician type and daily playing time did not show statistical significance.
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Webb, John, and Kenneth Mobbs. "Australian Instrumentalists." Galpin Society Journal 49 (March 1996): 280. http://dx.doi.org/10.2307/842436.
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Nair, Rahul, Chihiro Tanikawa, and Joao N. Ferreira. "Orofacial Pain, Musical Performance and Associated Coping Behaviors, Psychological Distress and Disability among Asian Young Adults." Journal of Clinical Medicine 12, no. 4 (February 6, 2023): 1271. http://dx.doi.org/10.3390/jcm12041271.
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Musicians often report orofacial pain (OFP) and performance-related psychological distress related to occupational neuromuscular overuse, but to date, no study has been performed in Asian musicians to assess these factors. This study evaluated OFP, psychological distress, coping behaviors, and disability among Asian musical performers. A total of 201 participants in Singaporean music ensembles were surveyed from which 159 met the inclusion criteria for vocalists or instrumentalist musicians (mean age 20.26 ± 2.20 years). Self-administered questionnaires assessed musical practices, jaw/neck pre-conditioning exercises, pain-related temporomandibular disorders (TMD), OFP descriptors, pain chronicity and disability, coping behaviors and psychological distress. Univariate and multi-variate analyses were carried out. OFP, while performing, was more than two-fold higher in instrumentalists when compared to vocalists (41.4–48% vs. 17.2%, p = 0.002). A similar trend occurred for OFP that progresses while playing (p = 0.035) and for persistent OFP that reduces playing (p = 0.001). There were no differences in psychological distress, pain coping and disability between groups. Vocalists were found to practice jaw/neck pre-conditioning exercises more frequently (75% vs. 4–12.9% in instrumentalists, p < 0.0001). While performing, Asian vocalists reported less OFP when compared to instrumentalists. Future prospective studies are needed to confirm if pre-conditioning exercises play a protective role against OFP in vocalists.
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Newberry, Byron. "Are engineers instrumentalists?" Technology in Society 29, no. 1 (January 2007): 107–19. http://dx.doi.org/10.1016/j.techsoc.2006.10.004.
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Kassner, Kirk. "Motivation for instrumentalists." Music Educators Journal 73, no. 9 (May 1987): 51. http://dx.doi.org/10.1177/002743218707300904.
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Wallace, Katherine. "When instrumentalists sing." International Journal of Music Education 32, no. 4 (February 12, 2014): 499–513. http://dx.doi.org/10.1177/0255761413519052.
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Liashenko, Olga, and Olga Ekonomova. "PECULIARITIES OF THE PROFESSIONAL TRAINING OF INSTRUMENTALISTS-PERFORMERS AT A CLASSICAL UNIVERSITY." Academic Notes Series Pedagogical Science 1, no. 204 (June 2022): 196–200. http://dx.doi.org/10.36550/2415-7988-2022-1-204-196-200.
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The article studies the content and specificity of professional training of students of «Music Art (Instrumental Performance)» speciality in a classical university in Ukraine. The study is based on the complex application of methods – theoretical (analysis, generalization, systematization) and empirical (pedagogical observation, questioning and interview). The author determines the expediency of application of scientific-methodical and practical experience of instrumental performance and pedagogy in teaching instrumental-performance disciplines. The author analyzes training and educational programs, content of instrumental-performance and methodical training of university students. The aim of professional training of instrumentalists-performers at the classical university is formulated: preparation of competitive highly professional specialists possessing skills of concert-performance and pedagogical activity in the sphere of musical art. The specifics of pedagogical and concert-performance practice are described. The results of students' self-assessment of their readiness for pedagogical and concert-performing activities are summarised. The professional priorities of instrumentalist students are revealed. The principles and methods (general scientific, didactic, special musical) of formation of performing skills, stage culture and experience of future instrumentalists in institutions of higher education are outlined. The peculiarities of professional training of instrumentalists-performers at the classical university are determined: the observance of scientific and pedagogical principles and traditions of national instrumental performance in the organisation of the learning process in instrumental performance classes; orientation of professional training of instrumental students towards pedagogical and concert-performance activities; priority of practical individual forms of instrumental training of students; conducting in-service pedagogical and concert-performance practice; public exposure of students' academic achievements in academic reporting.
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Clemente, Miguel P., André Moreira, Joaquim Mendes, Afonso P. Ferreira, and José M. Amarante. "Wind Instrumentalist Embouchure and the Applied Forces on the Perioral Structures." Open Dentistry Journal 13, no. 1 (March 28, 2019): 107–14. http://dx.doi.org/10.2174/1874210601913010107.
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Introduction:The wind instrumentalist embouchure is probably one of the most demanding tasks that occurs during their musical performance. It is important to quantify the forces that are applied during the wind instrumentalist embouchure on the perioral structures.Objective:Quantify the force on the perioral structures involved during the embouchure mechanism of wind instrumentalists.Methods:Piezoresistive sensors of FlexiForceTMwere placed on the mouthpiece of 28 different wind instrumentalists, in order to obtain the applied forces transmitted to the upper lip or the lower lip. The application of the sensors were done according to the particular characteristics of the different types of wind instruments, single reed, double reed or metal. Each participant performed three times three different notes at different pitches: high, medium and low. The average medium and maximum pressure was obtained from the nine essays. The sensors were connected to a data acquisition board from National Instruments and the results displayed in LabVIEW 2011.Results:Measurement values were obtained for the different groups of wind instruments. In an ascending order, the pressures registered where for the bassoon (6g-31g), the oboe (17g-125g), the saxophone (39g-120g), the clarinet (54g-106g), the trumpet, (63g-172g), the bisel flute (73g-245g), the French horn (56g-305g), the transversal flute (220g-305g) and the trombone (201g-325g).Conclusion:Metal instrumentalists seem to apply greater forces than woodwind musicians when performing the embouchure mechanism, being in this specific case the trombone the instrument from the metal group to exert more force, while on the contrary, the bassoon registered the lower values.
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Fisher, Ryan A., Aubrey R. Hoult, and W. Steven Tucker. "A Comparison of Facial Muscle Activation for Vocalists and Instrumentalists." Journal of Music Teacher Education 30, no. 1 (August 5, 2020): 53–64. http://dx.doi.org/10.1177/1057083720947412.
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The purpose of this study was to compare the muscle activation of singers and instrumentalists while performing simple vocal exercises. Volunteer participants ( N = 28) were undergraduate music majors and minors, with an equal number being vocalists and instrumentalists. Participants performed five vowel sounds (ah, eh, ee, oh, oo), while electromyography of the zygomaticus and masseter muscles was sampled at 1,000 Hz. A statistically significant multivariate analysis of variance effect was obtained and follow-up analyses of variance showed instrumentalists had more masseter muscle activation than vocalists when performing “eh” and “ee.” Instrumentalists also had more zygomaticus muscle activation than vocalists when performing the “eh” vowel, but vocalists had more zygomaticus muscle activation when performing the “ah” vowel.
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Nikolić, Hrvoje. "Bohmian mechanics for instrumentalists." International Journal of Quantum Information 17, no. 08 (May 23, 2019): 1950029. http://dx.doi.org/10.1142/s0219749919500291.
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We formulate Bohmian mechanics (BM) such that the main objects of concern are macroscopic phenomena, while microscopic particle trajectories only play an auxiliary role. Such a formulation makes it easy to understand why BM always makes the same measurable predictions as standard quantum mechanics (QM), irrespective of the details of microscopic trajectories. Relativistic quantum field theory (QFT) is interpreted as an effective long-distance theory that at smaller distances must be replaced by some more fundamental theory. Analogy with condensed-matter physics suggests that this more fundamental theory could have a form of nonrelativistic QM, offering a simple generic resolution of an apparent conflict between BM and relativistic QFT.
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Ali, Faisal R., and Firas Al-Niaimi. "Occupational Dermatitis in Instrumentalists." Dermatitis 27, no. 3 (2016): 151–52. http://dx.doi.org/10.1097/der.0000000000000185.
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Mills, Janet. "Gifted instrumentalists: how can we recognise them?" British Journal of Music Education 2, no. 1 (March 1985): 39–49. http://dx.doi.org/10.1017/s0265051700004599.
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The popular view that ‘the gifted can look after themselves’ is considered with reference to the identification of gifted orchestral instrumentalists. Among agroup of professional orchestral musicians, a substantial number are found to have started lessons on their principal instrument not on their own initiative, but on that of their school. The absence of a ‘method’ for the identification of gifted instrumentalists is considered, and some ways whereby the music teacher may develop an environment in which more gifted instrumentalists identify themselves are suggested.
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Edirisooriya, E. M. Indrani. "Female Instrumentalists’ Contribution to the Music Industry in Sri Lanka." Journal of Research in Music 1, no. 1 (October 25, 2023): 45–54. http://dx.doi.org/10.4038/jrm.v1i1.5.
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In every field, starting from land to space, both females and males have contributed to its development. However, it can be seen that due to each society’s unique set of cultural, and religious attitudes, women are subjected to certain restrictions that vary across the globe. This study was done to explore such issues faced by women in Sri Lanka, particularly, those who are instrumentalists in the field of music. The research was based on the problem that even though there are many talented2 female instrumentalists in the country, there is fewer number of female music instrumentalists in the music industry of Sri Lanka. Thus, the main purpose of the study was to discover what factors have resulted in Sri Lankan female instrumentalists’ limited contribution or their absence in the music industry. This study analyzed the responses of the chosen participants regarding the difficulties they have faced during their contribution to an occasion related to music. The participants included in the study were selected using the convenience sampling technique. To collect the primary data, a questionnaire was distributed among 17 female musicians that play at least one musical instrument. The questions included open-ended and closed-ended questions. The responses that the participants gave included issues related to male dominance and societal attitudes toward female musical instrumentalists, and the role they have to play in the family as a wife and mother. Additionally, it was evident that females are more reluctant to pursue music from secondary school onwards due to the issues mentioned previously. It could be stated that based on the findings, female musical instrumentalists contribute less to the music business due to the above-mentioned factors.
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Mehrparvar, Amir H., Mehrdad Mostaghaci, and Raman F. Gerami. "Musculoskeletal Disorders Among Iranian Instrumentalists." Medical Problems of Performing Artists 27, no. 4 (December 1, 2012): 193–96. http://dx.doi.org/10.21091/mppa.2012.4036.
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Musicians as an occupational group are exposed to various ergonomic exposures which may lead to musculoskeletal problems. In this study we assessed the frequency of musculoskeletal disorders (MSDs) among Iranian instrumentalists (using traditional Iranian and western instruments). Methods: In a cross-sectional study we assessed the frequency of MSDs in 356 Iranian instrumentalists by standardized Nordic musculoskeletal questionnaire according to age group, type of instrument, duration of playing, and playing/sitting position. Data were analyzed using chi-squared, t-test and ANOVA. Results: Overall, 158 of 356 subjects (44.4%) experienced MSDs, mostly with mild or moderate symptoms. Frequency of MSDs was significantly higher in females but it was not significantly related to body mass index, duration of employment, and duration of playing or teaching. Conclusion: Our study showed a high frequency of MSDs among Iranian instrumentalists, so paying attention to the ergonomic exposures of instrumentalists as an occupational group is important. To the best of our knowledge, this is the first study on players of different Iranian instruments to have considered ergonomic risk factors.
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Dawson, William J. "Upper Extremity Overuse in Instrumentalists." Medical Problems of Performing Artists 16, no. 2 (June 1, 2001): 66–71. http://dx.doi.org/10.21091/mppa.2001.2011.
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Upper extremity problems related to overuse continue to plague instrumentalists and remain a staple of performing arts medicine practices. The author reports his 15-year experience with these problems, both music-related and from other causes. The criteria for inclusion include adherence to a specific definition of overuse. The 329 patients reviewed for this series ranged in age from 9 to 89 years and included 48.6% males. Keyboard instruments and strings were the primary instruments of 79.6%. There were 63.7% who were professionals, conservatory or collegiate music students, or dedicated amateurs; these were described as high-level performers. Strains of the muscle–tendon unit and inflammatory conditions were the most common diagnoses made, each comprising about 43% of the total series. Neurologic diagnoses were made in only 6.8% of patients. Music was the cause of problems in 44.7% of the entire group; prevalence rates were higher in females, especially those from ages 10 to 13 years. Making music also was implicated in causing 62.9% of muscle strains, but only 26.3% of inflammatory diagnoses. Treatment generally followed conservative principles; only 10.3% of all overuse-related problems necessitated surgical care, mostly for release of inflamed tendons or compressed nerves in the hand and wrist. The demographics of this group reflect those of a typical hand surgical practice.
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Lederman, Richard J. "Embouchure Problems in Brass Instrumentalists." Medical Problems of Performing Artists 16, no. 2 (June 1, 2001): 53–57. http://dx.doi.org/10.21091/mppa.2001.2009.
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In a series of 81 brass instrumentalists personally evaluated over the past 16 years, 43 had problems with embouchure. The 31 men and 12 women ranged in age from 16 to 74 years, averaging 35. Twenty-seven were professional performers at the onset of the embouchure problem and 12 others were students, all but one in college or graduate-level music programs. There were 17 who played the French horn, 15 trombone, ten trumpet, and one tuba. Symptom duration varied from as little as one day to as long as 14 years. A diagnosis of dystonia involving the muscles of embouchure was made in 18 cases. Symptoms in this group primarily consisted of impairment in lip control, problems of articulation or tone quality, and loss of seal. Eleven patients were diagnosed as having overuse phenomena and an additional six had evidence of soft-tissue injury. These patients reported predominance of pain, swelling, or discoloration. Four patients had a sensory or motor disturbance of a lip segment, implying focal nerve injury. Treatment generally consisted of a period of rest followed by lip rehabilitation, including buzzing and gradual return to playing. Change in technique was often required to prevent recurrence. In patients with dystonia, technical retraining appeared to be the preferred treatment method but remained unsatisfactory in most cases.
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Carter, Mia, and Leslie Gourse. "Madame Jazz: Contemporary Women Instrumentalists." Notes 52, no. 4 (June 1996): 1145. http://dx.doi.org/10.2307/898380.
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Bieber, Arnold B. "Arranging World Music for Instrumentalists." Music Educators Journal 85, no. 5 (March 1999): 17–38. http://dx.doi.org/10.2307/3399542.
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Caramiaux, Baptiste, Marcelo M. Wanderley, and Frédéric Bevilacqua. "Segmenting and Parsing Instrumentalists' Gestures." Journal of New Music Research 41, no. 1 (March 2012): 13–29. http://dx.doi.org/10.1080/09298215.2011.643314.
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Jones, Matthew L. "How We Became Instrumentalists (Again)." Historical Studies in the Natural Sciences 48, no. 5 (November 1, 2018): 673–84. http://dx.doi.org/10.1525/hsns.2018.48.5.673.
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In the last two decades, a highly instrumentalist form of statistical and machine learning has achieved an extraordinary success as the computational heart of the phenomenon glossed as “predictive analytics,” “data mining,” or “data science.” This instrumentalist culture of prediction emerged from subfields within applied statistics, artificial intelligence, and database management. This essay looks at representative developments within computational statistics and pattern recognition from the 1950s onward, in the United States and beyond, central to the explosion of algorithms, techniques, and epistemic values that ultimately came together in the data sciences of today. This essay is part of a special issue entitled Histories of Data and the Database edited by Soraya de Chadarevian and Theodore M. Porter.
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Lederman, Richard J. "Peripheral nerve disorders in instrumentalists." Annals of Neurology 26, no. 5 (November 1989): 640–46. http://dx.doi.org/10.1002/ana.410260509.
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Vaisberg, Jonathan M., Ashley T. Martindale, Paula Folkeard, and Cathy Benedict. "A Qualitative Study of the Effects of Hearing Loss and Hearing Aid Use on Music Perception in Performing Musicians." Journal of the American Academy of Audiology 30, no. 10 (November 2019): 856–70. http://dx.doi.org/10.3766/jaaa.17019.
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AbstractHearing aids (HAs) are important for the rehabilitation of individuals with hearing loss. Although the rehabilitation of speech communication is well understood, less attention has been devoted to understanding hearing-impaired instrumentalists’ needs to actively participate in music. Despite efforts to adjust HA settings for music acoustics, there lacks an understanding of instrumentalists’ needs and if those HA adjustments satisfy their needs.The purpose of the current study was to explore the challenges that adult HA-wearing instrumentalists face, which prevent them from listening, responding to, and performing music.A qualitative methodology was employed with the use of semistructured interviews conducted with adult amateur instrumentalists.Twelve HA users who were amateur ensemble instrumentalists (playing instruments from the percussion, wind, reed, brass, and string families) and between the ages of 55 and 83 years (seven men and five women) provided data for analysis in this study. Amateur in this context was defined as one who engaged mindfully in pursuit of an activity.Semistructured interviews were conducted using an open-ended interview guide. Interviews were recorded and transcribed verbatim. Transcripts were analyzed using conventional qualitative content analysis.Three categories emerged from the data: (1) participatory needs, (2) effects of HA use, and (3) effects of hearing loss. Participants primarily used HAs to hear the conductor’s instructions to meaningfully participate in music rehearsals. Effects of HA use fell within two subcategories: HA music sound quality and use of an HA music program. The effects of hearing loss fell within three subcategories: inability to identify missing information, affected music components, and nonauditory music perception strategies.Not surprisingly, hearing-impaired instrumentalists face challenges participating in their music activities. However, although participants articulated ways in which HAs and hearing loss affect music perception, which in turn revealed perspectives toward listening using the auditory system and other sensory systems, the primary motivation for their HA use was the need to hear the conductor’s directions. These findings suggest that providing hearing-impaired instrumentalists access to musical experience via participation should be prioritized above restoring the perception of musical descriptors. Future research is needed with instrumentalists who no longer listen to or perform music because of hearing loss, so that the relationship between musical auditory deficiencies and participation can be better explored.
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Vinci, Stefano, Anne Smith, and Sonia Ranelli. "Selected Physical Characteristics and Playing-Related Musculoskeletal Problems in Adolescent String Instrumentalists." Medical Problems of Performing Artists 30, no. 3 (September 1, 2015): 143–51. http://dx.doi.org/10.21091/mppa.2015.3028.
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PURPOSE: Music research has investigated the prevalence of playing-related musculoskeletal problems in adults and children, but the prevalence in adolescents has not been established. String instrumentalists report high problem rates, though it is unclear whether rates vary between upper and lower strings in adolescent instrumentalists. Further, there is limited evidence for the association between physical characteristics and playing problems in this group of musicians. METHODS: Seventy-six adolescent string musicians from the West Australian Youth Orchestras were surveyed. Their experience of playing problems, both symptoms (PRMS) and disorders (PRMD), within the last month and measurements of body mass index, hand span, and joint mobility (Beighton scale) were obtained. Prevalence rates were calculated and compared between upper and lower string instrumentalists using a chi-squared test. Logistic regression examined the association of physical measures with playing problems, adjusting for confounding factors. RESULTS: Within the last month, 73.5% participants reported experiencing a PRMS and 26.5% reported experiencing a PRMD. There was no significant difference between the problem rates in upper and lower string instrumentalists. After adjusting for potential confounders, an increasing count of hypermobile joints remained significantly associated with problems (OR 1.76, CI 1.02 to 3.04, p=0.042). CONCLUSIONS: This study found playing problems are common in adolescent string instrumentalists, though rates did not differ between upper and lower string players. Joint hypermobility was associated with playing-related problems in adolescent musicians. Early identification of problems in this group of maturing musicians may help prevent disabling disorders and maximize performance.
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Khouja, Nihel, Emna Bechrifa, Saloua Ismail, Emna Baraketi, Naourez Ben Fatma, Amira Belkahla, Yosra Guitouni, Jihen Hsinet, and Aida Benzarti. "P-243 OCCUPATIONAL EXPOSURE AND IMPACT OF MUSCULOSKELETAL DISORDERS ON OPERATING ROOM INSTRUMENTALISTS." Occupational Medicine 74, Supplement_1 (July 1, 2024): 0. http://dx.doi.org/10.1093/occmed/kqae023.0815.
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Abstract Introduction Operating rooms (ORs) Instrumentalists are confronted with biomechanical and psycho-organizational constraints at work, exposing them to a high risk of musculoskeletal disorders (MSDs). Aims: To describe the specific occupational exposure of ORs instrumentalists to MSDs risk factors, and assess their impact on the health of these workers. Methods Descriptive cross-sectional study examined instrumentalists in various ORs using a pre-established self administered questionnaire, in February 2023. Results One hundred and ninety instrumentalists, predominantly female (sex ratio=0.28), with an average age of 32.25±8.51years and professional seniority of 7.91years, completed the questionnaire. They commonly performed repetitive (48.4%), gestures at a fast pace (73.7%), requiring high precision (92.1%) and great attention (95.3%). The work tasks were described as complex (79%), demanding high muscle strength (72.7%), and prolonged standing (62.6%). Additionally, they reported their work as stressful(67.3%), monotonous(35%), and unmotivating(31%), with a lack of autonomy(78%) and remuneration(81%). Physical constraints in the workplace were reported as cold(82.1%), insufficient lighting(25%) and vibrations(13%). In the last year, they experienced pain in various body areas: lower back (62.1%), shoulders (53.2%), neck (50%), wrists (17.9%), elbows (13.2%), and fingers (8.9%). The pain was attributed to work (76.8%), leading to medical treatment (38.4%) and sick leave (28.4%), impacting professional activity for 13.7% of employees and 28.4% of employees taking temporary leave. Discussion Instrumentalists are confronted to face gestural and postural constraints that can cause work-related musculoskeletal disorders (MSDs), affecting their health and work-fitness. Conclusion The findings underscore the necessity of implementing proactive measures to safeguard the well-being and productivity of the ORs staff.
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Turavets, Natalia Romanovna, Elena Sergeevna Vasilenko, and Zagira Abdulkhakovna Tsukanova. "Formation of the readiness of students-instrumentalists for the artistic interpretation of a musical work." KANT 39, no. 2 (June 15, 2021): 432–36. http://dx.doi.org/10.24923/2222-243x.2021-39.76.
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The article deals with the problems of forming the readiness of students-instrumentalists to create an artistic interpretation of a musical work, defines the most important competencies (style analysis, the ability to figurative perception, dialogue, variable thinking, etc.). The purpose of forming this readiness is to develop the ability to convincing interpretation, to historical authenticity. The formation of the interpretation abilities of students-instrumentalists determines the approach to the organization of training, based on the principles of individualization, personality-oriented orientation on the development of stylistic features in the process of working on a musical work. The scientific novelty of this direction in music pedagogy is determined by the significance of purposeful selection of funds, taking into account the specifics and peculiarities of the professional activity of students-instrumentalists. As a result, students form the necessary interpretation skills that allow them to acquire an individual style for creative self-realization.
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Kajanová, Yvetta. "Slovakian Female Composers and Rock Instrumentalists." Zbornik radova Filozofskog fakulteta u Splitu, no. 16 (December 21, 2023): 137–53. http://dx.doi.org/10.38003/zrffs.16.8.
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The paper discusses gender issues and the reception of female musicians in Slovakia. Using historical analysis, the author examines the establishment of, and behaviour towards, females in various genres from classical to jazz, alternative rock and electronic music. Whilst the acceptance of classical female composers began forty years ago, their jazz and rock counterparts were disadvantaged by a twenty-year delay. It was not until 2000 that female instrumentalists started to gain attention from audiences as drummers, bassists, or guitarists. Based on the evaluation of a survey of Slovakian alternative rock players, a study of their careers, and a comparison of selected artists, the writer analyses issues relating to the acceptance of female composers and instrumentalists in Slovakia. The vast majority of research participants, who are musically educated, identified market size as one of the barriers for female musicians. With regard to audience perception of females on stage, half of the respondents stated that gender predominates, and the rest, on the other hand, believed that the quality of music-making had a greater significance.
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Green, Helen. "Defining the City ‘Trumpeter’: German Civic Identity and the Employment of Brass Instrumentalists, c.1500." Journal of the Royal Musical Association 136, no. 1 (2011): 1–31. http://dx.doi.org/10.1080/02690403.2011.562714.
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This article examines the employment of brass instrumentalists in German cities around 1500, as a reflection of the political circumstances of the epoch, where rivalry between the distinct components of the social hierarchy encouraged the assertion of power and status through musical patronage. Archival records and contemporary chronicles provide invaluable insights into the performances of civic brass instrumentalists, whether in the provision of signals (by the city watchmen or those who played alongside the cities’ troops) or for the entertainment of the citizens and their guests (within the civic instrumental ensembles – the Stadtpfeifer (‘town pipers’)). Although the use of ambiguous nomenclature in contemporary records can hinder a definitive understanding of the instruments used by these musicians, the musicians different duties within the city walls can often be inferred. Important insights can thereby be gained into the extent of the patronage of these civic brass instrumentalists, their roles within everyday city life, and their resultant contribution to the communication of civic strength to the populace and their guests.
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Kim, Min-Ji, and Dae-Young Kim. "Effects of a music-based exercise program on the postural balance and emotions of instrumentalists." Journal of Exercise Rehabilitation 19, no. 6 (December 26, 2023): 339–44. http://dx.doi.org/10.12965/jer.2346494.247.
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This study aimed to verify the effects of a music-based exercise program on postural balance and emotional factors among instrumentalists. We recruited 11 instrumentalists aged 25–45 years who were asked to perform a music-based exercise program for 60 min per session, three sessions weekly, for 8 weeks. The anterior balance and lateral alignment of the participants were determined using a body posture analyzer. To assess the emotional factors, the World Health Organization Quality of Life, stress response inventory, and Rosenberg self-esteem scale were used. This study did not reveal a statistically significant difference in anterior postural imbalance and lateral misalignment. In contrast, emotional factors, including quality of life, stress response, and the self-esteem subcategories, exhibited significant differences. The music-based exercise program in this study significantly improved the emotional factors. Nevertheless, a more structured and long-term program should be developed to ensure the improvement of postural imbalance among instrumentalists.
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McPherson, Gary E., Michael Bailey, and Kenneth E. Sinclair. "Path Analysis of a Theoretical Model to Describe the Relationship among Five Types of Musical Performance." Journal of Research in Music Education 45, no. 1 (April 1997): 103–29. http://dx.doi.org/10.2307/3345469.
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Path analysis was used to test a model designed to encapsulate the flow of influences theorized to exist between five types of musical performance and four factors derived from a researcher-administered questionnaire. Results, using a sample of 101 high school wind instrumentalists, reveal major differences in the pattern of influences leading to the re-creative skill of performing a repertoire of rehearsed music for a formal music examination, compared to the creative ability of improvising. Performing a repertoire of rehearsed music was found to be influenced most by an ability to sight-read, together with a factor consisting of variables concerned with the length of time a subject had been studying his or her instrument and taking lessons. In sharp contrast, an ability to improvise was most markedly influenced by an ability to play by ear. Results for this sample of instrumentalists exposed to a “traditional” style of teaching also suggest that instrumentalists' ability to sight-read may be influenced by how well they are able to play by ear.
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Parunov, V. A., Tatiana M. Fedotova, and I. Y. Lebedenko. "Is temporomandibular disfunction an occupational disease of flautists?" Russian Journal of Dentistry 24, no. 4 (December 16, 2020): 266–72. http://dx.doi.org/10.17816/1728-2802-2020-24-4-266-272.
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Wind instrumentalists are prone to a number of occupational hazards that can lead to occupational diseases. C. Zaza defined these diseases as playing-related musculoskeletal disorders (PRMD). Such occupational diseases are devastating for musicians in terms of psychological health and financial state.
According to various epidemiological studies, 6286% of orchestra musicians experienced PRMD. Particularly the pressure of the mouthpiece on the lower incisors of wind instrumentalists leads to their movement and provoke periodontal diseases. Moreover, wind instrumentalists place themselves at risk of allergies and galvanism. Musicians do not seek for dental help due to the fear of spoiled embouchure (habitual position of the cheeks, tongue, and lips while playing) in spite of the range of specific oral pathologies. Flautists are of particular interest to dental practitioners because they are subjected to several risk factors; in addition to the mouthpiece pressure, they often hold instruments in an asymmetric posture, and in constrained spaces, being surrounded by the other orchestra musicians.
To learn more about the occupational hazards of flautists, we searched for the relevant literature in the central research medical library and for articles in databases eLIBRARY, PubMed, and ResearchGate using the following keywords: wind instrumentalists, flute, temporomandibular disorders, and playing-related musculoskeletal disorders.
Some studies claim that the asymmetric posture of flautist, especially in cramped conditions, affects the musicians health and leads to PRMD. Nevertheless, this research topic has been neglected, and published studies lack a strong methodology, explaining why they fail to show a strong association between TMD and flute playing. Therefore, further research is needed.
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Rizwan Zeb. "What the Instrumentalists Got Wrong? Ethnopolitical Violence, Ethnic Leadership and Ethnopolitical Conflicts." Progressive Research Journal of Arts & Humanities (PRJAH) 3, no. 2 (November 30, 2021): 64–75. http://dx.doi.org/10.51872/prjah.vol3.iss2.168.
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As per the instrumentalists, ethnic identity is not primordial and is based on ethnic elite’s political and social construction. They argue that only because there are differences and inequality among the groups is not a sufficient reason for the emergence of a conflict between them. An ethnopolitical conflict would emerge when the elite of a particular ethnic group would make a concentrated effort to highlight this difference and rally the masses on it. The paper argues that Instrumentalist theory fails to explain the timing of politicization and mobilization of ethnicities. Questions such as how significant is the role of history? Could collective memory or history of past injustices generate ethnic mobilization? Why the masses believe and follow the ethnic elite? And why only at a certain time, the efforts of the ethnic elite to mobilize the masses are successful? Are raised and addressed using two case studies of ethnopolitical conflicts: Tamil-Sinhalese conflict, and the Rohingyia-Buddhist conflict. The key finding is that it is the ethnic elite that play the most significant role in shaping the conflict and whether it would get violent using a grievance based narrative and a sparking event
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López Morales, Daniel, and Fanny Valencia Legarda. "Riesgo biomecánico ocupacional en músicos instrumentistas profesionales." Revista de Investigación e Innovación en Ciencias de la Salud 1, no. 2 (December 31, 2019): 22–31. http://dx.doi.org/10.46634/riics.19.
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Los desórdenes osteomusculares son un problema generalizado en la población laboralmente activa, sin embargo se diferencian dependiendo del trabajo realizado. De acuerdo con Santasmarinas Viñao (1) “Mineros, dentistas, pintores, jugadores de fútbol o empleados de banca, da lo mismo, cualquier profesión desempeñada durante muchas horas, día tras día, durante años, condiciona la forma de vida de la persona; la forma de sentarse, andar, respirar, ver, oír y pensar. El trabajo diario va modelando al ser humano, le da satisfacciones, pero también le somete al riesgo de sufrir determinadas afecciones.” En este caso, la población de interés son los músicos instrumentistas profesionales, los cuales deben mantener horarios de práctica y ensayos muy exigentes en cuanto a frecuencia e intensidad, además se le agrega a lo anterior las presentaciones y conciertos constantes, relacionados como situaciones estresantes, que en conjunto, pueden llegar a provocar grandes estragos en el organismo, principalmente a nivel del sistema osteomuscular, como consecuencia del sobreuso de los segmentos corporales y el alto riesgo biomecánico al que están sometidos permanentemente. Colombia pese a ser un país con un aumento creciente en los últimos años frente a la práctica musical, carece de centros especializados en la atención a profesionales instrumentistas.
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Clemente, Miguel Pais, André Moreira, Catarina Morais, José Manuel Amarante, Afonso Pinhão Ferreira, and Joaquim Mendes. "Tooth Position in Wind Instrument Players: Dentofacial Cephalometric Analysis." International Journal of Environmental Research and Public Health 18, no. 8 (April 19, 2021): 4306. http://dx.doi.org/10.3390/ijerph18084306.
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Background: Specific dentofacial characteristics in wind instrumentalists should be taken in consideration when analyzing physiological and anatomical issues regarding the musician’s embouchure, posture, and biomechanics during musical performance. Objectives: To compare tooth cephalometric characteristics between wind instrument players and string players (overjet, overbite, lower facial height, facial convexity, lower incisor inclination, and interincisal angle). Methods: In total, 48 wind instrumentalists (67%) and 24 string instrumentalists (33%). These musicians performed lateral tele-radiography and the correspondent linear and angular measurements of the dentofacial cephalometric analysis. Statistical comparison of wind and string instrumentalists was made by using an independent t-test. Results: Small variations on the analyzed parameters were found between the wind and string instrument groups. Based on the cephalometric analysis the variable interincisal angle was statistically significant (p < 0.05), when comparing the wind and string instrument group. Conclusions: Knowledge of the overjet and overbite value permits a substantial analysis on the tooth position of wind instrument players, where both of these parameters are increased and greater than the norm value. The cephalometry was an added value on the interpretation of possible factors that lead to the position of the central incisors of wind instruments. Till some extent in this group of musicians the applied forces during the embouchure mechanism on the anterior teeth and the existing perioral forces promote an equilibrium on the vector of forces. This study findings demonstrate that when evaluating the two samples, wind and string instruments there are different dentofacial configurations, however the only statistically significant differences that were found are related to the interincisal angle (p < 0.05).
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Buckley, Taylor, and Ralph Manchester. "Overuse Injuries in Non-Classical Recreational Instrumentalists." Medical Problems of Performing Artists 21, no. 2 (June 1, 2006): 80–87. http://dx.doi.org/10.21091/mppa.2006.2015.
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Purpose: Performing arts medicine has traditionally focused on the medical problems of classical musicians. Unfortunately, there is a paucity of data regarding differential incidence or prevalence of injury in nonclassical musicians. The present study analyzed the baseline prevalence, new onset of injury following a substantial increase in playing time at a music camp, and any possible correlation with technical and postural deficits in a population of amateur folk instrumentalists. Methods: Preliminary and follow-up questionnaires were used to gather background and new incidence data, respectively. A subset of subjects was recorded on video, which was independently analyzed for technical deficits at a later time. Results: Lifetime prevalence is 54% for a previous injury attributed to playing a musical instrument and point prevalence is 19%. Following the camp, prevalence increased to 44% (p = 0.001), and incidence of new injury was 31%, including individuals with more than one active injury. A higher rate of injury correlated with a greater increase in absolute playing time, relative playing time above baseline, and absolute time above baseline during the camp, although these did not reach statistical significance. The limited technical analysis qualitatively correlated a technical deficit to an injury at the same anatomical location in 15 of 47 cases using only a single-view video for analysis. Conclusion: Lifetime and point prevalence is similar to that reported in several studies of classical musicians. Further inquiry into technical and postural analysis may help to identify the cause of, and potentially prevent, overuse injuries in folk and classical musicians.
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Hewitt, Michael P. "Self-Evaluation Tendencies of Junior High Instrumentalists." Journal of Research in Music Education 50, no. 3 (2002): 215. http://dx.doi.org/10.2307/3345799.
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King, Austin I., Jon Ashby, and Charles Nelson. "Laryngeal function in wind instrumentalists: The woodwinds." Journal of Voice 1, no. 4 (January 1988): 365–67. http://dx.doi.org/10.1016/s0892-1997(88)80013-4.
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Power, Anne M., and Sarah J. Powell. "Engaging young string players in metacognition." International Journal of Music Education 36, no. 4 (May 3, 2018): 659–70. http://dx.doi.org/10.1177/0255761418771989.
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This article is about one focus of a two-year project researching the Penrith (NSW Australia) Youth Music Program offered at the Joan Sutherland Performing Arts Centre. The Penrith Youth Music Program has been designed to encourage young string players through a program of guided rehearsals and tutorials with mentoring by performers from the Australian Chamber Orchestra. This article focuses on a part of the research that has engaged the young string players in reflection on their own progress. Eight young string players are the focus here, drawn from the whole study that encompasses 27 instrumentalists. In focus groups they were asked at intervals (at the end of each session of three ensemble rehearsals, spaced approximately 6 weeks apart) about their learning and about their practice strategies. This article presents the voices of the eight instrumentalists as they talk about technical issues, ensemble cuing, issues of balance and dynamic control. It also provides data that benefits in performance were achieved without an increase in the reported time given to practice but rather through thoughtful attention by the instrumentalists to their practice and to the proximity of the expert mentors as role models.
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Aschheim, Victoria. "THE DEMOCRATIC EXPERIENCE OF TIMBRE IN TYSHAWN SOREY'S AUTOSCHEDIASMS." Tempo 77, no. 303 (January 2023): 22–32. http://dx.doi.org/10.1017/s004029822200078x.
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AbstractAutoschediasms, the American composer and multi-instrumentalist Tyshawn Sorey's conception of spontaneous composition, casts the participants as equals. The decision-making power is balanced between Sorey and the instrumentalists. Focusing on the 2020 performance of Autoschediasms by Sorey and the contemporary-music ensemble Alarm Will Sound, presented as part of the ensemble's Video Chat Variations series, this article limns the experience of Autoschediasms and asks: what is the sensory counterpart to Sorey's democratic ethos? In Autoschediasms, I argue, it is timbre that synchronises the performers’ interactions, in all their care and openness, with the pressures and freedoms of listening. Timbre activates absorbing, unforeseen, manifold variation in the composition. This sonic impression of democratic music-making around and across difference comes to reflect the conditions of radical humanity and vulnerability inherent in spontaneity. Through close listening, and in dialogue with critical improvisation studies and timbre theory, I suggest that Autoschediasms illuminates the ethical dimension of timbre: what timbre can do for the aspiration towards musical inclusivity.
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Clemente, Miguel Pais, José Manuel Amarante, André Moreira, Afonso Pinhão Ferreira, Ricardo Vardasca, and Joaquim Mendes. "The Functional Interdependence of Wind Instrumentalists’ Embouchure and Their Craniofacial Features." International Journal of Online and Biomedical Engineering (iJOE) 15, no. 13 (September 30, 2019): 17. http://dx.doi.org/10.3991/ijoe.v15i13.10961.
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<p class="xp2">The criteria of performing a correct embouchure can differ according to particular craniofacial features. Different teaching techniques can also lead to specific patterns of a musician embouchure, where playing in a relaxed position is one of the major indications. In order to understand if there is a “perfect embouchure”, several techniques were used on the analysis of the embouchure of three different wind instrumentalists. Force sensing resistors were applied to the mouthpiece of a clarinet, infrared thermography was performed to a brass player, while a bassoon player underwent two lateral cephalograms. The examinations techniques were chosen to take advantage of the possible information that could be taken from each musician, on addition to the evidence of the intra-oral exam. The force analysis showed that the clarinetist had an asymmetrical force distribution among the two central incisors. The infrared thermography showed that the tuba player had thermal asymmetry at the region correspondent to the masseters muscles possibly related to the teeth position. The lateral cephalograms showed a 10° posterior rotation of the mandible during the embouchure of the bassoon player. Therefore, understanding the anatomical limitations of the orofacial region, which may lead to an asymmetrical embouchure, is fundamental to analyze and treat a wind instrumentalist within a dental appointment.</p>
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Nawrocka, Agnieszka, Wladyslaw Mynarski, Aneta Powerska-Didkowska, Malgorzata Grabara, and Wieslaw Garbaciak. "Musculoskeletal Pain Among Polish Music School Students." Medical Problems of Performing Artists 29, no. 2 (June 1, 2014): 64–69. http://dx.doi.org/10.21091/mppa.2014.2015.
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OBJECTIVE: To assess the prevalence and intensity of musculoskeletal pain and to estimate probability of developing playing-related musculoskeletal disorders, depending on risk factors, including gender, years of playing the musical instrument, frequency of practice (number of days per week), average daily practice time, and habitual physical activity level, in young instrumentalists. METHODS: A total of 225 instrumentalists aged 10–18 years, including 107 string-players, 64 keyboardists, and 54 wind-players, were investigated. The Nordic Musculoskeletal Questionnaire (NMQ) together with a numerical visual-analogue pain intensity scale (VAS) was used to assess the participants’ musculoskeletal pain. RESULTS: The young instrumentalists most often complained of pain located in the neck (60.4%), wrists (44.4%), and upper (41.7%) and lower back (38.2%) areas. Girls complained of musculoskeletal pain significantly more often than the boys. A probability of the pain symptoms was increased with each consecutive year of practice (OR 1.135; 95%CI 1.021–1.261). CONCLUSIONS: Musculoskeletal pain in various body parts had already commenced at a young age in our sample of music students, and there was a gender difference (girls were more often affected). Results of our study suggest that an early prophylaxis of playing-related musculoskeletal disorders is needed among young musicians playing the various instruments.
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Erdemir, Aysu, and John J. Rieser. "Singing Without Hearing." Music Perception 33, no. 5 (June 1, 2016): 546–60. http://dx.doi.org/10.1525/mp.2016.33.5.546.
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Singing is a universal form of music expression. However, the extent of skill in carrying a tune and maintaining correct timing varies across people. Differences have been reported between professional singers and non-singers; however, whether singing accuracy depends on specialized vocal training or more general types of music training has not been investigated before. In this study, singers, instrumentalists, and nonmusicians sang Happy Birthday under conditions where they could or could not hear themselves singing. The main purpose of the study was to determine the influence of vocal versus instrumental training on pitch and timing accuracy when singing with and without auditory feedback. The results for pitch and tempo showed that singers depended on auditory feedback less than nonmusicians and instrumentalists alike, and were better able to use kinesthetic feedback in the absence of auditory feedback. Instrumentalists have had considerable ear and instrumental practice with feedback, but this did not transfer to pitch control when singing without auditory feedback, suggesting the ability to use kinesthesia for singing is enhanced through the kinds of practice/training singers receive. Rhythmic stability across all conditions and groups suggested that rhythmic calculations do not depend on music training or on use of auditory feedback.
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Harris-Warrick, Rebecca. "Magnificence in motion: Stage musicians in Lully's ballets and operas." Cambridge Opera Journal 6, no. 3 (November 1994): 189–203. http://dx.doi.org/10.1017/s0954586700004298.
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Those fortunate enough to have seen the recent production of Jean-Baptiste Lully's Atys mounted by Les Arts Florissants will remember the sumptuously staged realm of sleep in Act III, during which costumed lute and recorder players appeared alongside the singers and dancers. Although conductor William Christie and director Jean-Marie Villégier made no attempt to reproduce the original seventeenth-century staging, they did adhere to Quinault's instructions for this scene to the extent of making musicians prominently visible. Atys is not exceptional in calling for stage musicians: Lully regularly included instrumentalists among the dramatis personae of his tragédies en musique, the genre on which he lavished most of his creative energies after 1672, and the practice is even more evident in the thirty or so ballets he composed for Louis XIV's court during the preceding two decades. The phenomenon of on-stage instrumentalists – much more extensive than the use of the banda in nineteenth-century Italian opera – has been studied only for the information it affords about the development of Lolly's orchestra or the iconography of French Baroque opera. This article is concerned rather with why instrumentalists appeared on stage at all, what they represented, how they functioned as characters, and the impact they had on the visual spectacle.
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Nedelcut, Sebastian, Daniel-Corneliu Leucuta, and Dan Lucian Dumitrascu. "OVERLAPPING OF FUNCTIONAL ESOPHAGEAL DISORDERS AND IRRITABLE BOWEL SYNDROME, IN MUSICIANS AND ATHLETES." Revista Brasileira de Medicina do Esporte 24, no. 1 (January 2018): 69–72. http://dx.doi.org/10.1590/1517-869220182401169835.
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ABSTRACT Introduction: Functional gastrointestinal disorders (FGIDs) are the most common disorders in the general population. These disorders can overlap, decreasing the quality of life. Objective: We analyzed the prevalence of functional esophageal disorders (FED) and irritable bowel disease (IBS), and their overlapping and associated factors in musicians and athletes. Methods: A cross-sectional study was conducted using FGID and associated factors questionnaires administered to four groups: instrumentalists, singers, athletes, and a control group of healthy volunteers. Results: Of the 161 subjects, 62 (38.51%) had only FED, 76 (47.2%) had only IBS, and 23 (14.29%) had FED-IBS overlap. Subjects with FED-IBS overlap had more severe symptoms of IBS, especially hard and lumpy stools and constipation, compared to those with IBS alone. IBS subtype was more frequent in the overlap group, while not specified IBS type was less frequent. Regarding FED, we found that subjects with FED-IBS overlap had more functional heartburn and less functional dysphagia symptoms. There was a higher risk of overlap in instrumentalists and smokers. Conclusions: FED and IBS are frequently encountered in musicians and athletes. Subjects with FED-IBS overlap presented more frequent and severe symptoms. Instrumentalists and smokers are at higher risk of overlap. Level of Evidence IV; Case series.
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IOAN, Cristina-Mioara. "Methodology of training music education in children and young people with the help of wind and percussion instruments, in the fanfare ensemble." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 131–40. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.14.
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The artistic phenomenon of fanfare music for ensembles made up of children and youth has seen a large development in the NV region of the country in recent years, through the enthusiasm of some musicians, teachers or conductors, but also through the openness to culture of some local communities. The assimilation of musical and instrumental notions was done through individual study coordinated by teachers or conductors, and the musical product was assembled in the band, to be presented in concerts and parades. The teaching methods used in the training of these instrumentalists are the methods used in vocational art education, although they studied the instrument as amateurs. The artistic results made the individual products (instrumentalists) become a nursery for music faculties and academies in Transylvania.