Journal articles on the topic 'Musicians'
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1
Grašytė, Toma. "Traditional Musician in the Nowadays Lithuanian Village or Small Town’s Community." Tautosakos darbai 52 (December 30, 2016): 213–30. http://dx.doi.org/10.51554/td.2016.28874.
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Folk musicians belonging to the older generations and playing various instruments have been subject to rather exhaustive research in Lithuania since the end of the 20th century until the present. Various aspects of their music making, including the repertoire, changes in the style of their performance, the musician’s image, role and place in the community have also received considerable attention. However, traditional musicians belonging to the younger generation and their music making have scarcely fallen into the focus of study so far. The modern ethnomusicologists researching and appreciating the traditional music making devote considerable attention to the perspectives of the musicians and their surrounding community. Such a two-fold research, taking into consideration both the musician’s and the community’s approach, enables evaluating the general situation of the traditional instrumental and vocal instrumental music making in the community. By comparing the expressed views of the Lithuanian traditional musicians belonging to the younger generation and the perspectives of the surrounding community, the author of the article attempts establishing the kind of musicians that is in demand in the Lithuanian villages and small towns of the end of the 20th – beginning of the 21st century. The author of the article combines qualitative research (the in-depth partly structured multiple interviews) with documentary and biographical methods.According to the analysis, not only the roles of the traditional musician and the community, but also their mutual relationship has suffered considerable shifts in the nowadays culture. The functions of the musician as bearer, promoter and reviver of the tradition have become much more prominent. By adapting to the altering wedding traditions, the musician does not decline performing not only the functions of the former main participants of the wedding, but also those of the presenter of the whole event. The individual musical faculties and skills do not bear such importance in the eyes of the community members, as they do to the musicians themselves. The community mostly appreciates the universal capacities of the traditional musician, also ascribing importance to his tight relationship with the local traditions. The latter quality is important to the musicians as well; it includes the inherent feeling of the local music and its appreciation (from instrumentation and familiarity with the traditional local repertoire, to the live music making, and to the knowledge of customs and rituals, which are particularly important during various festive events and weddings). Since the tradition of the ritual communal singing is increasingly in decline, the capacity of the musicians to sing well and to start the appropriate songs as means of preserving and supporting this tradition is especially meaningful. It is safe to maintain that traditional musicians are currently people sensitively reacting to the changes in the traditional musical culture and actively participating in the local musical life until nowadays. To the contrary, rejection of the musical innovations renders the traditional musician incapable of competing with the requirements of the modern musical market. In such case, the musician may even have to stop playing and surrender his place to the professional or semi-professional wedding musicians with virtually no knowledge of the local musical customs, or even to the sound recordings.
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King, Caleb J., Anya E. Shorey, Kelly L. Whiteford, and Christian E. Stilp. "Testing the role of primary musical instrument on context effects in music perception." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A132. http://dx.doi.org/10.1121/10.0015790.
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Musicians display numerous perceptual benefits versus nonmusicians, such as better pitch and melody perception (the “musician advantage”). Recently, Shorey et al. (2021 ASA) investigated whether this musician advantage extended to spectral contrast effects (SCEs; categorization shifts produced by acoustic properties of surrounding sounds) in musical instrument recognition. Musicians and nonmusicians listened to a context sound (filtered string quartet passage highlighting frequencies of the horn or saxophone), then categorized a target sound (tone from a six-step series varying from horn to saxophone). Although musicians displayed superior pitch discrimination, their SCEs did not differ from those of nonmusicians. Importantly, separate research has reported that a musician’s instrument of training heavily influences musical perception, potentially improving frequency discrimination and rhythm perception/production. However, in the Shorey et al. study, musicians were recruited without respect to their primary instrument. This follow-up study uses the same methodology as Shorey et al. but recruits only musicians who play horn or saxophone (the instruments used as target sounds) as their primary instrument. It is predicted that horn and saxophone players will display larger SCEs than nonmusicians due to their intimate familiarity with the instrument timbres. Preliminary data are trending in the predicted direction; full results will be discussed.
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Nörholm Lundin, Anna. "Maestro! Yrkesmusikers sociala praktik, relativa framgång och habitus." Praxeologi – Et kritisk refleksivt blikk på sosiale praktikker 1 (January 1, 2019): e1566. http://dx.doi.org/10.15845/praxeologi.v1i0.1566.
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Maestro! The social practice, relative success and habitus of professional musiciansIn art music the Maestro is an important figure. The Maestro is an outstanding musician and teacher at one of the prestigious music colleges in Sweden. To be admitted as a student of a Maestro is to be granted access to the atrium of music. However, this is no guarantee of actually succeeding as a musician. Who is the Maestro? Which social practice is the Maestro part of, and which social practice is he/she maintaining? Who achieves a position as an outstanding musician, and what is required to hold such a position? The empirical material consists of three in-depth interviews with central musicians and teachers at the prestigious music colleges, which is used to reconstruct their positions and dispositions. The relative success of the musicians is understood in relation to the concept of habitus and in relation to a profession in transformation. Keywords: Maestro, musicians, social practice, habitus, relative success
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Gafurova, Shokhida, and Munavara Abdullaeva. "How Important Is Physical Education For The State Conservatory Of Uzbekistan Students’ Successful Performing Activities." Eurasian music science journal, no. 2 (December 12, 2021): 44–53. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_2/68.
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Every musician’s profession assumes regular hours-long practices, long-term music performance training and concert activities. The music profession is hard work that involves continuous rehearsals, followed by performances at concerts. This negatively affects the state of their health. This becomes the reason for the manifestation of occupational diseases and the termination of performing activities. Therefore, the formation of the physical well-being of a musician seems to be extremely important for successful and long-term performing activity. Consequently, it is relevant to introduce various types of physical culture into the daily routine of every musician starting from the early years and further into higher education. This paper gives insights into the issues of sport and physical education at the state conservatory of Uzbekistan. Today musicians become well informed through the internet, publications, seminars, and books on how sport can have a positive influence on musician’s performance. The paper examines how to determine whether moderate-intensity activities can assist in playing an instrument and can be incorporated into the curriculum of the musical education for the benefit of the students- musicians.
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Son, Han-Na, and Seong-Joon Limb. "Indie Musicians Support System of the Naver Musician League." Dongguk Business Research Institute 44, no. 2 (August 30, 2022): 25–39. http://dx.doi.org/10.55685/bcr.2022.44.2.25.
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Despite the importance of indie music and musicians required in the music industry ecosystem, much research has not been conducted on the practical support method for fostering indie musicians. This study introduces the operation method of the 'Musician League' platform created to support indie musicians by the portal site Naver, and analyzes the cases of indie musicians who have grown up through it, in order to see if the same method as the Musician League could be a practical alternative for fostering indie musicians. Based on literature research and interviews with related parties, this study has concluded that Musician League indeed led indie musicians to the field and supported their success by providing various realistically necessary support such as music sharing and open markets, as well as supporting album production and distribution, and various exposure opportunities. This study is the first study to analyze the Naver Musicians League in-depth, and will help to develop effective support methods for fostering indie musicians.
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Jabusch, Hans-Christian, and Eckart Altenmüller. "Anxiety as an Aggravating Factor During Onset of Focal Dystonia in Musicians." Medical Problems of Performing Artists 19, no. 2 (June 1, 2004): 75–81. http://dx.doi.org/10.21091/mppa.2004.2012.
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Focal dystonia in musicians is a task-specific movement disorder that in many cases leads to the end of musical careers. In a recent study, perfectionism and anxious traits were found to be elevated in musicians with dystonia. Dynamics of different anxiety disorders and their possible role during the development of musician’s dystonia still are unclear. Dystonic musicians (n = 20) were investigated by means of self-estimation and compared with healthy musicians (n = 30) and musicians with chronic pain syndromes (n = 20). Participants completed a questionnaire focusing on different anxiety disorders, particularly with regard to their dynamics. Musicians with focal dystonia more often reported social phobia and specific phobias than healthy musicians. In the retrospective analysis, these differences already were present before onset of dystonia. Musicians who later developed focal dystonia more often suffered from specific phobias than musicians who later developed chronic pain. Musicians with chronic pain more often reported free-floating anxiety compared with healthy musicians. In the subscale stage fright, no significant differences were observed between the groups. The pattern of specific phobias and social phobia were reported to have been preexisting before the onset of dystonia. Anxiety and perfectionism may be aggravating factors during the development of musician’s dystonia.
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Rosset-Llobet, Jaume, Álvaro Pascual-Leone, and Sílvia Fàbregas-Molas. "Role of Female Reproductive Hormones in Musicians' Dystonia." Medical Problems of Performing Artists 27, no. 3 (September 1, 2012): 156–58. http://dx.doi.org/10.21091/mppa.2012.3027.
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Musicians’ dystonia is an occupational focal dystonia affecting men more often than women. METHODS: We identified all patients presenting with musicians’ dystonia and prospectively collected data on reproductive and menstrual history from the women with musician’s dystonia and female musicians without dystonia. RESULTS: 149 men and 23 women (13.37%) with musician’s dystonia where identified. We did not identify any effect of contraceptive hormones, pregnancy, or menstrual phases on dystonia symptoms, but as compared with women without dystonia, those with musician’s dystonia reported oligomenorrhea and menometrorrhagia significantly less frequently. CONCLUSIONS: Our data reinforce the relation between sex hormones variations and musicians’ dystonia. This link should be further explored to identify mechanisms and assess whether certain hormonal interventions might protect from the manifestation of dystonia.
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Altenmüller, Eckart, and Hans-Christian Jabusch. "Focal Dystonia in Musicians: Phenomenology, Pathophysiology, Triggering Factors, and Treatment." Medical Problems of Performing Artists 25, no. 1 (March 1, 2010): 3–9. http://dx.doi.org/10.21091/mppa.2010.1002.
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Musician’s dystonia is a task-specific movement disorder that manifests itself as a loss of voluntary motor control in extensively trained movements. Approximately 1% of all professional musicians develop musician’s dystonia, and in many cases, the disorder terminates the careers of affected musicians. The pathophysiology of the disorder is not completely clarified. Findings include 1) reduced inhibition at different levels of the central nervous system, 2) maladaptive plasticity and altered sensory perception, and 3) alterations in sensorimotor integration. Epidemiological data demonstrate a higher risk for those musicians who play instruments requiring maximal fine-motor skills. For instruments where workload differs across hands, focal dystonia appears more often in the more intensely used hand. In psychological studies, musicians with dystonia have more anxiety and perfectionist tendencies than healthy musicians. These findings strengthen the assumption that behavioral factors may be involved in the etiology of musician’s dystonia. Preliminary findings also suggest a genetic contribution to focal task-specific dystonia with phenotypic variations including musician’s dystonia. Treatment options include pharmacological interventions, such as trihexyphenidyl or botulinum toxin-A, as well as retraining programs and ergonomic changes in the instrument. Patient-tailored treatment strategies may significantly improve the situation of musicians with focal dystonia. Positive results after retraining and unmonitored technical exercises underline the benefit of an active involvement of patients in the treatment process. Only a minority of musicians, however, return to normal motor control using the currently available therapies.
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Weijkamp, Janne, and Makiko Sadakata. "Attention to affective audio-visual information: Comparison between musicians and non-musicians." Psychology of Music 45, no. 2 (July 7, 2016): 204–15. http://dx.doi.org/10.1177/0305735616654216.
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Individuals with more musical training repeatedly demonstrate enhanced auditory perception abilities. The current study examined how these enhanced auditory skills interact with attention to affective audio-visual stimuli. A total of 16 participants with more than 5 years of musical training (musician group) and 16 participants with less than 2 years of musical training (non-musician group) took part in a version of the audio-visual emotional Stroop test, using happy, neutral, and sad emotions. Participants were presented with congruent and incongruent combinations of face and voice stimuli while judging the emotion of either the face or the voice. As predicted, musicians were less susceptible to interference from visual information on auditory emotion judgments than non-musicians, as evidenced by musicians being more accurate when judging auditory emotions when presented with congruent and incongruent visual information. Musicians were also more accurate than non-musicians at identifying visual emotions when presented with concurrent auditory information. Thus, musicians were less influenced by congruent/incongruent information in a non-target modality compared to non-musicians. The results suggest that musical training influences audio-visual information processing.
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Nørholm Lundin, Anna. "Att bli och att vara framgångsrik musiker – socialisation och sortering genom livet." Educare - vetenskapliga skrifter, no. 1 (March 20, 2020): 82–108. http://dx.doi.org/10.24834/educare.2020.1.5.
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This article concerns learning, socialization and social sorting among successful musicians. The aim is to understand and problematize not only what it means to become a classical musician but also what it entails to be a successful classical musician. In what ways are musicians socialized through life? What approaches are formed among musicians, and what is the meaning of these when it comes to performance of work? Are their specific arenas and rituals of particular importance, when it comes to socializing and sorting among musicians? Interviews and documents about twelve musicians have been analyzed with the aid of Bourdieusian concepts, for example, practical sense and habitus, and research on elitist practices within music, arts and sports. The results indicate that there is a typical and similar career path for successful musicians, where young musicians are socialized into considering their careers in music as natural and given. The musicians are recognized as talented or wonder children at an early age, and they are accepted as students of a master teacher. Their careers are built by merits, such as a spectacular debut leading to an international career. These career steps function as both merits and as an opening of doors. Further, they contribute by strengthening the musicians´ identities and their roles as successful musicians and role models within the field.
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Wöllner, Clemens. "Call and response: Musical and bodily interactions in jazz improvisation duos." Musicae Scientiae 24, no. 1 (May 8, 2018): 44–59. http://dx.doi.org/10.1177/1029864918772004.
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When individuals coordinate their behaviour, they need to both anticipate actions and respond to each other in meaningful ways. Jazz musicians often encounter situations in jam sessions in which they interact with previously unknown musicians, allowing insights into spontaneous collaboration. The current study investigated call and response patterns in free jazz improvisations by analysing movement and musical characteristics of duos. Twelve jazz musicians were paired into six duos of an e-guitar and a saxophone. Balanced across duos, one musician was asked to play a series of improvisations expressing the emotions happy, sad or neutral. The second musician responded to each improvisation without knowing the emotional intention of the first musician. Call and response roles were then exchanged. While musicians improvised or listened to their duo partner, they were both recorded with an optical motion capture system. Results indicate correspondences between call and response musicians in movement variability and cumulative distance of head motion. There were marked differences between happy and sad emotional expressions both in movement parameters and musical features including mean intensity, mode, and, albeit to a lesser extent, tempo. Retrospective verbal decoding of the call musicians’ emotional intentions was correct in 76.5% of all cases. Independently of explicit decoding success and even for the first encounters, musicians spontaneously tuned into each other’s performances by means of their body movements and the musical characteristics of the improvisations.
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Kaczmarek, Stella. "MARIA MANTURZEWSKA AND HER STUDIES ON MUSICIANS’ PERSONALITIES." Notes Muzyczny 2, no. 18 (December 31, 2022): 129–44. http://dx.doi.org/10.5604/01.3001.0016.1109.
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The structure and nature of professional musicians’ personalities have been examined by numerous scholars. The issue of musicians’ personalities and the role of personality traits in their music activities is the subject of both reflective considerations and systematic research. The studies in the field of psychology of music analysed those personality traits that had a direct influence on the process of learning, creating, or performing music. When choosing a music profession, it is hard to be guided only by personality factors, without considering perception-related, technical, and intellectual aptitude. Being a musician is a combination of genetic and biological “package”, personality traits, as well as social and emotional support given during childhood and adolescence. Research on the personalities of professional musicians, conductors and composers started in the 19th century first attempted by Strumpf and then they were continued in the 20th century by Seashore, Teplov, Manturzewska, and later on by Bell and Cresswell, Kemp and Woody. It was conducted using musical aptitude tests, intelligence tests, and personality tests (by Castell, Eysenck, or the Big Five by Costa and McCrae). Maria Manturzewska’s research (also using the tests mentioned earlier) from 1960s and 1970s contributed to the popularization of knowledge about a professional musician’s personality. This article presents the most important results of these studies, which cast new light on the personality structure and the features (competencies, skills) which are necessary to become a successful musician.
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Daellenbach, Kate, Rachael Kusel, and Michel Rod. "The ties that bind? Online musicians and their fans." Asia Pacific Journal of Marketing and Logistics 27, no. 2 (April 13, 2015): 168–90. http://dx.doi.org/10.1108/apjml-08-2013-0095.
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Purpose – The purpose of this study is to examine the relationships between musician’s social network sites (SNS), the tie that fans may develop via these sites, and music acquisition, via legal and illegal means. Design/methodology/approach – A quantitative approach was taken, gathering 352 responses from young adults via an online survey. Findings – Perceptions of interactivity and sincerity on musicians’ SNS are found to lead to stronger ties, enhancing the fan’s feeling of closeness to the musician, the fan’s inclination to spread positive word-of-mouth, and the time a fan spends on the site. Pathways are found between the fan activity, sense of closeness and time spent on the SNS. In terms of acquisition, the tie strength indicator of time spent on the SNS holds a positive relationship with purchase intent. While a sense of closeness holds a negative relationship to illegal downloading activity, the fan’s activity recommending the musician has a positive influence on illegal downloading. Research limitations/implications – Limitations of this study include a limited amount of information on the musician and extent of fandom, suggesting future research to tease out the effects of SNS on fans with varying levels of existing commitment to musicians. Practical implications – Stronger ties between fans and musicians may be developed via interactive and sincere SNS. Activities which encourage the fan to give recommendations and spread positive word-of-mouth are especially influential in driving purchase intent. Originality/value – These results provide theoretical and practical implications in relation to how SNS may influence the online fan-celebrity “tie” and music acquisition – three elements which have not to date been examined.
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Perrenoud, Marc, and Pierre Bataille. "Being a Music Performer in French Speaking Switzerland: Relationships to Work and Employment." Swiss Journal of Sociology 43, no. 2 (July 1, 2017): 309–34. http://dx.doi.org/10.1515/sjs-2017-0017.
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Abstract Ordinary musicians are a relatively hard to find population. Based on the results of the research project Musicians’ LIVES carried out between 2012 and 2015, this article presents the working situation of performing musicians in French speaking Switzerland. We compare the social characteristics of the musicians with the active population. We then analyse musicians’ relationship to work and examine the composition of their income. Three main ways of being a musician in Western Switzerland are presented: the “craftsman,” the “teacher” and the “artist.”
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Zhang, J. Diana, Marco Susino, Gary E. McPherson, and Emery Schubert. "The definition of a musician in music psychology: A literature review and the six-year rule." Psychology of Music 48, no. 3 (October 22, 2018): 389–409. http://dx.doi.org/10.1177/0305735618804038.
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The aim of this paper was to investigate if a general consensus could be established for the term “musician.” Research papers ( N = 730) published between 2011 and 2017 were searched. Of these, 95 papers were identified as investigating relationships of any sort connected with a musician-like category ( e.g., comparison of musically trained vs. non-musically trained people), of which 39 papers detailing comparative studies exclusively between musicians and non-musicians were analyzed. Within this literature, a variety of musical expertise criteria were used to define musicians, with years of music training (51% of papers) and years of music lessons (13% of papers) being the most commonly used criteria. Findings confirm a general consensus in the literature, namely, that a musician, whether or not selected a priori, has at least six years of musical expertise (IQR = 4.0–10.0 years). Other factors such as practice time and recruiting location of musicians were also analyzed, as well as the implications of how this definition fits in relation to the complexities surrounding the construct of the musician. The “six-year rule,” however, was robust overall.
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Nygaard Andersen, Lotte, Kirsten K. Roessler, and Henning Eichberg. "Pain Among Professional Orchestral Musicians: A Case Study in Body Culture and Health Psychology." Medical Problems of Performing Artists 28, no. 3 (September 1, 2013): 124–30. http://dx.doi.org/10.21091/mppa.2013.3026.
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BACKGROUND: Professional musicians experience high rates of musculoskeletal pain, but only few studies have investigated how this pain is accepted by musicians. AIM: To investigate the culture of pain and to explore how professional musicians experience and cope with pain. METHODS: Ten semi-structured in-depth interviews were conducted; 8 with musicians and 2 with professional elite athletes. In addition, a concert and two rehearsals were observed. The audiotaped interviews were transcribed verbatim. Configurational analysis was used to interpret the material as a whole. RESULTS: Musicians often experience pain as a consequence of prolonged repetitive work early in their career. Such pain is compounded by the lack of breaks during concerts and rehearsals. Orchestras seldom give opportunities for adjustments required for individual instruments, breaks, or action to prevent pain. Musicians' strong sense of coherence and the experience of pain as integral to their identity have encouraged musicians to develop flexible coping strategies. Ignoring pain and potential damage is an accepted concomitant to striving for perfection. A musician does not focus on pain but on the music. CONCLUSION: For the musician, pain has a significance beyond being something that can simply be removed by a practitioner. Pain tells both an individual story and a cultural story that is crying out to be heard.
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Pratt, Emily, Henning Vauth, Gary McIlvain, and Mark K. Timmons. "Musicians Have Thicker Median Nerve Cross Sectional Area and More Symptoms of Carpal Tunnel Than Non-Musicians." Medical Problems of Performing Artists 35, no. 3 (September 1, 2020): 138–44. http://dx.doi.org/10.21091/mppa.2020.3023.
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AIMS: Musicians spend numerous hours perfecting their skills and art, often leading to overuse injuries of the hand; of specific concern to musicians is carpal tunnel syndrome (CTS). This study evaluated the median nerve cross-sectional area and hand function of musicians and made comparisons to non-musicians. METHODS: Seventy-six participants took part in the study, 38 music students and professors in the musician group and 38 participants in the control group. Participants completed patient-reported questionnaires to assess the level of pain and hand function. Ultrasound images were collected at the carpal tunnel inlet and outlet. The median nerve cross-sectional area and the depth of the carpal tunnel were measured on ultrasound images using software imbedded in the ultrasound unit. RESULTS: Musicians showed higher levels of hand dysfunction and CTS symptoms than the non-musicians. The median nerve cross-sectional area was greater in musicians than in the non-musician group on both the right (mean difference 1.5 mm2, p=0.002) and left sides (mean difference 0.9 mm2, p=0.036). The depth of the carpal tunnel at the carpal tunnel inlet and outlet did not differ between the groups (p>0.05). CONCLUSION: The current research identified between-group differences in median nerve cross-sectional area and the level of hand dysfunction. Understanding the interaction between the anatomy of the wrist and wrist and hand dysfunction will benefit clinicians when evaluating and treating musicians.
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Bultman, Bethany Ewald. "Do Ya Know What It Means to Miss New Orleans?: A Musicians' Clinic Creates Nimble Solutions to Keep Music Alive." Medical Problems of Performing Artists 22, no. 4 (December 1, 2007): 135–39. http://dx.doi.org/10.21091/mppa.2007.4030.
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The New Orleans Musicians Clinic (NOMC) was founded in 1998 to help sustain Louisiana's musicians in mind, body, and spirit by developing access to primary care, preventative health services, and social and occupational outreach. Before Katrina, an estimated 3500 professional musicians were living and performing in New Orleans, and the NOMC had 1,300 musician-patients treated by a volunteer network of more than 300 nurses and doctors within the LSU Medical School. Today, there are less than 1800 professional musicians, who now struggle to survive as part-time musicians, and the Clinic likewise has changed to meet new and increasing demands for its services.
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School, Veronika, and Amélie Zosso. "“You Cannot Perform Music Without Taking Care of Your Body”: A Qualitative Study on Musicians’ Representation of Body and Health." Medical Problems of Performing Artists 27, no. 3 (September 1, 2012): 129–36. http://dx.doi.org/10.21091/mppa.2012.3024.
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OBJECTIVE: To identify professional musicians’ representation of health and illness and to identify its perceived impact on musical performance. METHODS: A total of 11 professional musicians participated in this phenomenological study. Five of the musicians were healthy, and the others suffered debilitating physical health problems caused by playing their instruments. Semi-structured interviews were conducted, transcribed verbatim and analysed. Thematic analysis, including a six-step coding process, was performed (ATLAS-ti 6). RESULTS: Three major themes emerged from the data: music as art, the health of musicians, and learning through experience. The first theme, music as art, was discussed by both groups; they talked about such things as passion, joy, sense of identity, sensitivity, and a musician’s hard life. Discussions of the second theme, the health of musicians, revealed a complex link between health and performance, including the dramatic impact of potential or actual health problems on musical careers. Not surprisingly, musicians with health problems were more concerned with dysfunctional body parts (mostly the hand), whereas healthy musicians focused on maintaining the health of the entire person. The third theme, learning through experience, focused on the dynamic nature of health and included the life-long learning approach, not only in terms of using the body in musical performance but also in daily life. CONCLUSIONS: The centre of a musician’s life is making music in which the body plays an important part. Participants in this study evidenced a complex link between health and musical performance, and maintaining health was perceived by these musicians as a dynamic balance. Our results suggest that learning through experience might help musicians adapt to changes related to their bodies.
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Brandfonbrener, Alice G. "Advice from One Musician to Another: Beware of Friends Bearing Gifts." Medical Problems of Performing Artists 18, no. 3 (September 1, 2003): 89–90. http://dx.doi.org/10.21091/mppa.2003.3016.
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In my last editorial, in the June 2003 issue, I discussed the importance of accuracy in communications between performing arts medicine practitioners and their patients. In this editorial, I deal with an even more delicate subject, the nature of medical communications from one musician to another. Occasional musicians who have come for my medical evaluation will quote prior diagnostic opinions voiced by their stand-partners and other fellow musicians. However, this editorial was precipitated not by this observation but by the increasing number of books by musicians for musicians.
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van Fenema, Esther, Jolien E. Julsing, Ingrid V. Carlier, Martijn S. van Noorden, Erik J. Giltay, Nic J. van Wee, and Frans G. Zitman. "Musicians Seeking Psychiatric Help: A Preliminary Study of Psychiatric Characteristics." Medical Problems of Performing Artists 28, no. 1 (March 1, 2013): 9–18. http://dx.doi.org/10.21091/mppa.2013.1003.
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Musicians are at increased risk for mental disorders, in particular performance anxiety. Likely causes are high levels of occupational stress, special personality traits, and coping skills. In this cross-sectional study, routine outcome monitoring (ROM) data on clinical and psychosocial characteristics were collected from the first 50 musicians visiting our outpatient psychiatric clinic for performing artists and were compared to those of a large sample of psychiatric outpatients (n=1,498) and subjects from the general population. Of the musician outpatients, 82% (n=41) met the criteria of an Axis I psychiatric disorder. Performance anxiety could not be accurately diagnosed with the MINI-plus, and in a few cases it masked different psychiatric disorders. Musician outpatients scored significantly better on functional scales despite their Axis I disorder, with equal scores on scales measuring distress compared to general outpatients. Musicians displayed significantly higher mean scores on the DAPP-sf subscale measuring narcissistic personality traits than general outpatients and non-patient controls (p=0.001). Diagnostic challenges, in particular regarding performance anxiety, of musicians seeking psychiatric care are thoroughly discussed. Musicians with psychiatric disorders may constitute a group of patients with specific characteristics who may benefit from specialized psychiatric care, and health professionals should be aware of the high prevalence of psychiatric disorders in musicians.
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Mstislavskaya, Elena Vasil’evna. "Divergence as a Criterion of Musical Performance Quality." Pan-Art 2, no. 2 (May 31, 2022): 29–36. http://dx.doi.org/10.30853/pa20220008.
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The purpose of the study is to substantiate that divergence is a criterion of musical performance quality. The material presented in the paper is addressed to those musicians whose musical abilities do not manifest themselves in the obviously higher sides of the cognitive sphere, for example, in phenomenal memory, etc. The paper considers two aspects of a musician’s creative activities – the intellectual one and the emotional one; determines the roles of divergent qualities of a musician. The novelty of the study lies in a scientific substantiation of divergent thinking development in musical performance practice. As a result, the main issues of educating a modern performing musician have been identified. The comprehension of some of the scientific positions given in the paper can contribute to increasing the importance of intellectual work in musical performance and determining the individual trajectory of a musician’s professional development taking into account the specified factor.
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Shinde, Ketaki Vijay, and Pradeep Borkar. "Epidemiology of Musculoskeletal Disorders in Musicians - Systematic Review." International Journal of Health Sciences and Research 11, no. 12 (December 11, 2021): 114–27. http://dx.doi.org/10.52403/ijhsr.20211217.
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Musicians performing over an instrument demands repetitive, awkward postures and postural stress from prolonged sitting or standing. Musicians are found to be more prone to the development of Playing-Related Musculoskeletal Disorders (PRMDs) due to these factors. PRMDs are defined as ‘pain, weakness, numbness, tingling or other symptoms that interfere with their ability to play an instrument’. There is an increasing interest seen in the medical issues faced by the musicians performing over an instrument. There are different type of musicians playing different instruments which means different instrumentalists face different musculoskeletal disorders depending upon many factors. There are intrinsic and extrinsic factors involved which contribute to the development of PRMDs in musicians. Development of PRMDs is seen to be a cause of early termination of musician’s career. The purpose of study is to review the epidemiology of musculoskeletal disorders in musicians. Key words: Musculoskeletal disorders, Musculoskeletal problems, Prevalence of musculoskeletal injuries, Postural disorders, Playing-related strain in instrumentalists and musicians.
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VASILJEVIĆ, MAJA, and HARIS DAJČ. "BETWEEN COURTLY, CIVIL AND MILITARY SERVICE: MILITARY MUSICIANS IN THE PRINCIPALITY AND KINGDOM OF SERBIA." ИСТРАЖИВАЊА, no. 28 (December 27, 2017): 118–33. http://dx.doi.org/10.19090/i.2017.28.118-133.
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The Principality and later Kingdom of Serbia with its less pronounced class differences, with a thin layer of urban population and the dominance of rural population, was the perfect target for the military musicians that were coming from the Habsburg Empire. “Foreigners” as military musicians would progress into higher strata. Czech musicians were the most important and most numerous among the newcomers in Serbia and the role of Josif Schlesinger as the first important musician is essential for understanding their importance and influence. The educational and modernization process could be followed by the growth in the number of professional military musicians.
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Chesky, Kris, and Karendra Devroop. "The Effects of College Music Instruction, Gender, and Musician Type on Income from Performing Music." Medical Problems of Performing Artists 18, no. 2 (June 1, 2003): 72–77. http://dx.doi.org/10.21091/mppa.2003.2014.
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Studies in the social sciences imply a relationship between levels of employment and potential adverse effects on health. The lack of information regarding musicians makes it difficult to describe and prepare for the potential adverse relationships between musicians’ economic patterns and health. The purpose of this study was to characterize economic patterns of musicians and to investigate the relationships between income from performing music and college music instruction, age, and gender. A total of 4,017 subjects participated in an Internet-based musician survey. Data analysis included the use of descriptive statistics, analysis of covariance, and multiple regression analysis. Results support the view that many musicians hold multiple jobs and that income from music performance is often a secondary source of income. Musicians with ≥4 years of college music instruction earned higher levels of income from performing music compared with musicians with less college music instruction. This study recognizes the need to consider the economic patterns of musicians and how these patterns may affect health adversely.
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Chesky, Kris, and Miriam A. Henoch. "Instrument-specific Reports of Hearing Loss: Differences between Classical and Nonclassical Musicians." Medical Problems of Performing Artists 15, no. 1 (March 1, 2000): 35–38. http://dx.doi.org/10.21091/mppa.2000.1007.
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The purpose of this study was to examine the incidence of hearing problems reported from a heterogeneous group of musicians as a function of both primary performance area and primary instrument. Information for the investigation was obtained from the University of North Texas Musician Health Survey that allows musicians to report medical problems via the World Wide Web. Data were generated from a question regarding the presence or absence of hearing loss. The respondents were grouped according to primary performance area, according to primary instrument, and by primary instrument relative to whether they were classical or non-classical musicians. Results showed that 21.7% of the 3,292 musicians responding perceived having a problem with hearing. Findings showed the highest rate of occurrence was in rock/alternative musicians; in musicians who were included in the nonclassical grouping; and in musicians who played amplified instruments, drum-set, and primary brass instruments. Implications for further research and risk management are discussed.
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Choi, Chul-Hee, and Hea-Sung Cho. "Effect of Music Training on Auditory Brainstem and Middle Latency Responses." Audiology and Speech Research 16, no. 1 (January 31, 2020): 41–47. http://dx.doi.org/10.21848/asr.190098.
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Purpose: The auditory system has potentials to reorganize its structure and function in response to environmental changes such as training, experience, learning, injury, and disease. This is called neuroplasticity. A typical example of neuroplasticity is the music training, which demands cognitive and neural challenges resulting in enhanced auditory perception. This study investigated the effect of music training on auditory evoked responses, particularly auditory brainstem and middle latency responses. Methods: Forty college students consisting of twenty students with music training (musicians) and twenty students without music training (non-musicians) participated in the study. All participants have normal ranges in terms of pure tone audiometry, speech audiometry, and tympanometry. Auditory brainstem response (ABR) and auditory middle latency response (AMLR) from both ears were tested. Absolute latencies and amplitudes of waves in ABR and AMLR were obtained and analyzed.Results: The absolute latencies of wave I and V significantly differed between musicians and non-musicians. They were shorter for musicians than for non-musicians. Significant differences were found in the interpeak latencies of wave III-V and I-V between musicians and non-musicians. They were also shorter in musicians than for non-musicians. In addition, there were only significant differences in the latency of Na in AMLR between musicians and non-musicians. It was shorter for a musician than for non-musician.Conclusion: ABR was more sensitive to the efficacy of the music training.
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Bennett, Dawn. "Utopia for music performance graduates. Is it achievable, and how should it be defined?" British Journal of Music Education 24, no. 2 (July 2007): 179–89. http://dx.doi.org/10.1017/s0265051707007383.
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For the majority of undergraduate classical music performance students, ‘musotopia’ is a place where performance ambitions are realised with an international performance career. However, given that so few musicians achieve this ambition, should this ideal be redefined? This paper investigates instrumental musicians' careers by exploring the realities of professional practice. A detailed study which incorporated interviews, focus groups and a lengthy survey, revealed the multiplicity of roles in which most musicians engage in order to sustain their careers. The findings call into question the concept of a musician as a performer, positing that a musician is rather someone who practises within the profession of music in one or more specialist fields. The diversity of roles pursued by practising musicians is not reflected in the majority of conservatorium curricula, thus the enormous potential for the transfer of music graduate skills into the broad cultural industries setting remains largely unrealised. Acceptance of, and preparation for, a more holistic career will enable many more graduates to find their own musotopia.
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Ramírez-Moreno, Mauricio A., Jesús G. Cruz-Garza, Akanksha Acharya, Girija Chatufale, Woody Witt, Dan Gelok, Guillermo Reza, and José L. Contreras-Vidal. "Brain-to-brain communication during musical improvisation: a performance case study." F1000Research 11 (September 1, 2022): 989. http://dx.doi.org/10.12688/f1000research.123515.1.
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Understanding and predicting others' actions in ecological settings is an important research goal in social neuroscience. Here, we deployed a mobile brain-body imaging (MoBI) methodology to analyze inter-brain communication between professional musicians during a live jazz performance. Specifically, bispectral analysis was conducted to assess the synchronization of scalp electroencephalographic (EEG) signals from three expert musicians during a three-part 45 minute jazz performance, during which a new musician joined every five minutes. The bispectrum was estimated for all musician dyads, electrode combinations, and five frequency bands. The results showed higher bispectrum in the beta and gamma frequency bands (13-50 Hz) when more musicians performed together, and when they played a musical phrase synchronously. Positive bispectrum amplitude changes were found approximately three seconds prior to the identified synchronized performance events suggesting preparatory cortical activity predictive of concerted behavioral action. Moreover, a higher amount of synchronized EEG activity, across electrode regions, was observed as more musicians performed, with inter-brain synchronization between the temporal, parietal, and occipital regions the most frequent. Increased synchrony between the musicians' brain activity reflects shared multi-sensory processing and movement intention in a musical improvisation task.
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Ramírez-Moreno, Mauricio A., Jesús G. Cruz-Garza, Akanksha Acharya, Girija Chatufale, Woody Witt, Dan Gelok, Guillermo Reza, and José L. Contreras-Vidal. "Brain-to-brain communication during musical improvisation: a performance case study." F1000Research 11 (July 6, 2023): 989. http://dx.doi.org/10.12688/f1000research.123515.3.
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Understanding and predicting others' actions in ecological settings is an important research goal in social neuroscience. Here, we deployed a mobile brain-body imaging (MoBI) methodology to analyze inter-brain communication between professional musicians during a live jazz performance. Specifically, bispectral analysis was conducted to assess the synchronization of scalp electroencephalographic (EEG) signals from three expert musicians during a three-part 45 minute jazz performance, during which a new musician joined every five minutes. The bispectrum was estimated for all musician dyads, electrode combinations, and five frequency bands. The results showed higher bispectrum in the beta and gamma frequency bands (13-50 Hz) when more musicians performed together, and when they played a musical phrase synchronously. Positive bispectrum amplitude changes were found approximately three seconds prior to the identified synchronized performance events suggesting preparatory cortical activity predictive of concerted behavioral action. Moreover, a higher amount of synchronized EEG activity, across electrode regions, was observed as more musicians performed, with inter-brain synchronization between the temporal, parietal, and occipital regions the most frequent. Increased synchrony between the musicians' brain activity reflects shared multi-sensory processing and movement intention in a musical improvisation task.
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Ramírez-Moreno, Mauricio A., Jesús G. Cruz-Garza, Akanksha Acharya, Girija Chatufale, Woody Witt, Dan Gelok, Guillermo Reza, and José L. Contreras-Vidal. "Brain-to-brain communication during musical improvisation: a performance case study." F1000Research 11 (May 9, 2023): 989. http://dx.doi.org/10.12688/f1000research.123515.2.
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Understanding and predicting others' actions in ecological settings is an important research goal in social neuroscience. Here, we deployed a mobile brain-body imaging (MoBI) methodology to analyze inter-brain communication between professional musicians during a live jazz performance. Specifically, bispectral analysis was conducted to assess the synchronization of scalp electroencephalographic (EEG) signals from three expert musicians during a three-part 45 minute jazz performance, during which a new musician joined every five minutes. The bispectrum was estimated for all musician dyads, electrode combinations, and five frequency bands. The results showed higher bispectrum in the beta and gamma frequency bands (13-50 Hz) when more musicians performed together, and when they played a musical phrase synchronously. Positive bispectrum amplitude changes were found approximately three seconds prior to the identified synchronized performance events suggesting preparatory cortical activity predictive of concerted behavioral action. Moreover, a higher amount of synchronized EEG activity, across electrode regions, was observed as more musicians performed, with inter-brain synchronization between the temporal, parietal, and occipital regions the most frequent. Increased synchrony between the musicians' brain activity reflects shared multi-sensory processing and movement intention in a musical improvisation task.
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Ramírez-Moreno, Mauricio A., Jesús G. Cruz-Garza, Akanksha Acharya, Girija Chatufale, Woody Witt, Dan Gelok, Guillermo Reza, and José L. Contreras-Vidal. "Brain-to-brain communication during musical improvisation: a performance case study." F1000Research 11 (November 3, 2023): 989. http://dx.doi.org/10.12688/f1000research.123515.4.
Full textAbstract:
Understanding and predicting others' actions in ecological settings is an important research goal in social neuroscience. Here, we deployed a mobile brain-body imaging (MoBI) methodology to analyze inter-brain communication between professional musicians during a live jazz performance. Specifically, bispectral analysis was conducted to assess the synchronization of scalp electroencephalographic (EEG) signals from three expert musicians during a three-part 45 minute jazz performance, during which a new musician joined every five minutes. The bispectrum was estimated for all musician dyads, electrode combinations, and five frequency bands. The results showed higher bispectrum in the beta and gamma frequency bands (13-50 Hz) when more musicians performed together, and when they played a musical phrase synchronously. Positive bispectrum amplitude changes were found approximately three seconds prior to the identified synchronized performance events suggesting preparatory cortical activity predictive of concerted behavioral action. Moreover, a higher amount of synchronized EEG activity, across electrode regions, was observed as more musicians performed, with inter-brain synchronization between the temporal, parietal, and occipital regions the most frequent. Increased synchrony between the musicians' brain activity reflects shared multi-sensory processing and movement intention in a musical improvisation task.
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Ramadhan, Andi Muhammad Fauzi, Sudirman Karnay, and Andi Subhan Amir. "333 SOUNDCLOUD SEBAGAI MEDIA ALTERNATIF DISTRIBUSI KARYA MUSIK MUSISI INDIE KOTA MAKASSAR." KAREBA : Jurnal Ilmu Komunikasi 6, no. 2 (December 25, 2017): 333. http://dx.doi.org/10.31947/kjik.v6i2.5337.
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ABSTRACT The purpose of this research is: (1) To find motive of indie musicians on using Soundcloud as an alternative media distribution for musical pieces. (2) To find effort of indie musicians on using Soundcloud as an alternative media distribution for musical pieces. This research is in Makassar, on indie musicians who using Soundcloud. As for the method of this research used Descriptive Qualitative. The result of this research shows that indie musicians in Makassar have different motives on using Soundcloud as an alternative media distribution. The first, musicians used soundcloud to promote their works. The second, as an effort to distribute their works through the download feature. The third, Soundcloud is unsophisticated and very friendly media. The fourth, Soundcloud is utilized by musicians for the sake of protection feature for their uploaded works. The fifth, musicians used Soundcloud as a means of documentation for their works. The variety of Soundcloud uses been applied by indie musicians. The musician effort to utilize the feature not just confined by uploaded the works. Makassar indie musicians also integrated their Soundcloud account to another social media. Furthermore, they are providing download feature for their listeners, so they can download it for free. However, no musicians yet utilized description feature to describe the music context of their works.
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Fuhrmann, Anita, Suzanne Wijsman, Philip Weinstein, Darryl Poulsen, and Peter Franklin. "Asthma Among Musicians in Australia: Is There a Difference Between Wind/Brass and Other Players?" Medical Problems of Performing Artists 24, no. 4 (December 1, 2009): 170–74. http://dx.doi.org/10.21091/mppa.2009.4034.
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Control of respiration is important in wind/brass instrument playing. Although respiratory diseases, such as asthma, may affect breathing control, little is known about the prevalence of asthma among wind and brass musicians. The aim of this study was to compare the prevalence of self-reported asthma between wind/brass musicians and non-wind/brass musicians through different stages of experience. A total of 1960 musicians completed a respiratory health questionnaire. The participants were categorized into the following five subgroups: primary students, secondary students, tertiary students, community musicians, and professional musicians. Chi-squared and logistic regression analyses were used to compare asthma prevalence and related health outcomes between wind/brass and non-wind/brass musicians. There were no significant differences in current asthma prevalence between the wind/brass and other musicians in any of the subgroups, apart from tertiary students in whom the prevalence of asthma and related outcomes appeared to be higher among wind/brass musicians. Asthma prevalence among musicians in our survey was similar to that in the overall population. The results suggest that having asthma does not significantly affect participation in music, the choice of instrument to learn (wind/brass or other), or progression to elite levels as a musician.
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BRENNAN, MATT. "The rough guide to critics: musicians discuss the role of the music press." Popular Music 25, no. 2 (May 2006): 221–34. http://dx.doi.org/10.1017/s0261143006000870.
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This article explores the relationship between musicians and the music press from the musicians' point of view, based on a collection of recent interviews with musicians working in the pop and jazz fields. It will expose some of the concrete effects of the music press using examples from the everyday experiences of musicians, which include the influence of the press in record retail, genre labelling, and creating industry buzz. But while musicians may have a pragmatic understanding of the role of music criticism, their perspectives are emotionally heated in direct proportion to the influence the press holds over their own livelihoods. The interests of the working music critic often conflict with the interests of the working musician, and this article will conclude with a discussion of how the practical conflict of interests between musicians and critics is reflected in ideological differences between the two groups.
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Chanduszko-Salska, Jolanta, and Anna Młynarczyk. "Jak uczyć grać innych, nie gubiąc własnych nut. Wybrane zasoby osobiste a zespół wypalenia zawodowego u muzyków klasycznych." Acta Universitatis Lodziensis. Folia Psychologica, no. 16 (January 1, 2012): 89–102. http://dx.doi.org/10.18778/1427-969x.16.07.
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Stress in the workplace, personal resources and professional burnout concern many workers in the contemporary world. These are common problems also among two groups of musicians: teaching musician and non-teaching musicians. The purpose of the study was to establish the dependence between occupational stress and burnout syndrome in these groups. The studied groups consisted of 94 musicians. The Perceived Job Stress Questionnaire, Maslach Burnout Inventory, Generalized Self- Efficacy Scale, The Resiliency Assessment Scale were used in this study. The data obtained revealed significant differentiation in a level of stress in the workplace among teaching musicians and non- teaching musicians. Teaching musicians differs in comparison with non-teaching musicians in general level of stress and four its factors: psychical balance of work, lack of rewards, social contacts and uncertainty at work. The data obtained revealed significant intensity of stress feeling at work in evaluated group. However, there are no significant differences in personal resources. To conclude: higher intensity of occupational stress is connected with the greater intensification of burnout syndrome and lower intensification of sense of personal achievements in investigated group of teaching musicians.
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Kappen, P. R., J. van den Brink, J. Jeekel, C. M. F. Dirven, M. Klimek, M. Kamphuis, C. S. Docter-Kerkhof, et al. "P01.13.A The effect of musicality on language recovery after awake glioma surgery." Neuro-Oncology 24, Supplement_2 (September 1, 2022): ii26. http://dx.doi.org/10.1093/neuonc/noac174.085.
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Abstract Background Awake craniotomy is used to resect tumor while preserving language. However, differences between patients in post-operative speech/language outcome are observed despite careful intra-operative monitoring. Literature describes improved performance in language tasks during cognitive tests in musicians. Moreover increased white matter connectivity properties in the corpus callosum are described in musicians compared to non-musicians. We hypothesize better recovery of language in musical patients after awake glioma surgery, caused by higher connectivity properties from the corpus callosum. Material and Methods Adult patients undergoing resection for glioma with an awake resection procedure at two neurosurgical centers were prospectively included. Patients without standardized language tests at pre- and post-operative level, with a glioblastoma multiforme (WHO grade 4) or undergoing re-resection were excluded. Language was assessed with the Diagnostic Instrument for Mild Aphasia (DIMA) and corrected for age and education years from a healthy population. The patients’ musical skill was assessed through questionnaires, and divided in groups based on the Musical Expertise Criterion (MEC) which defines musicality based the duration and intensity of musical training. Volumetric measures of the corpus callosum, corrected for total brain volumes, was calculated of each included patient based on the pre-operative structural MRI. Results Forty-six patients, enrolled between June 2015 and September 2019, were followed-up (mean/SD; 240/174 days after craniotomy) and divided in: non-musician (41.3%, n = 19), amateur-musician (34.8%, n=16) and trained-musician (23.9%, n = 11). Overall a decrease in language was observed after craniotomy (mean/SD) of -0.361/0.771. Musical abilities correlated with less decrease in language (mean/SD) when comparing non-musicians (-0.543/0.683) to amateur (-0.272/0.910) and trained (-0.176/0.693) musicians. An increased but non-significant trend (p=0.28) between musicality and corpus callosum / brain ratio (mean/SD) was observed in non-musicians (0.763, 0.718;0.808), amateur musicians (0.792, 0.745;0.838) and trained musicians (0.835, 0.778;0.891). Conclusion Musicality seemed to improve language outcome after awake glioma surgery, possibly attributed due to a higher white matter connectivity in the corpus callosum. Future studies with larger sample sizes are needed to confirm our findings.
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Nogaj, Anna Antonina, Izabela Czarnecka, and Roman Ossowski. "Differences in the stress coping styles and social skills between classical and jazz musicians." Roczniki Psychologiczne 22, no. 4 (June 29, 2020): 337–52. http://dx.doi.org/10.18290/rpsych.2019.22.4-3.
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The musical milieu raises a number of challenges for artists. Coping with these depends not only on the level of musical abilities but also on a number of personal skills. The diverse styles of music education and the expectations set for musicians performing various music genres have inspired research exploring the differences between classical and jazz musicians. Of the psychological areas important for functioning effectively as a musician, stress management styles and social skills have been examined in this study. It was assumed that the genre of publicly performed music, and thus the different modes of music education in the field of classical and jazz music performance, can cause significant differences in the psychological functioning of musicians. Of the 73 musicians who participated in the study, 38 were classical musicians and 35 were jazz musicians. The jazz musicians revealed a significantly higher level of social competence in terms of social exposure compared to the classical musicians. There were no differences in the style of coping with stress between the two groups. The results of the study might inspire psychologists working with musicians to plan therapeutic programs aimed at psychological preparation for public performances, with the specificity of musical genres taken into account. Future research may investigate the extent temperament and personality of musicians representing different specialties influence their stress coping strategies and social skills.
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Molińska, Weronika, Joanna Rajchert, and Marta Bodecka-Zych. "Do Narcissists Play Solo? Differences in Self-Efficacy and Narcissism Among Band and Solo Musicians." Roczniki Psychologiczne 27, no. 1 (April 10, 2024): 91–101. http://dx.doi.org/10.18290/rpsych2024.0005.
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The following study focuses on individual differences between musicians who play solo (performing individually or as leaders), and musicians performing as part of a chamber ensemble, band, choir, orchestra, etc. We predicted that soloists would be higher on grandiose narcissism and self-efficacy. The results showed that soloists (n = 59) not only were higher on narcissism, but also had higher self-efficacy scores than musicians who perform in ensembles (n = 65). However, soloist and band players are not different in narcissism and self-efficacy when the other trait is controlled, which indicates that common features of both traits differentiate solo and band musicians. Results raise further questions on what factors affect the development of a musician’s career path.
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Calissendorff, Maria, and Haukur F. Hannesson. "Educating Orchestral Musicians." British Journal of Music Education 34, no. 2 (October 10, 2016): 217–23. http://dx.doi.org/10.1017/s0265051716000255.
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This article examines research on the specific training of musicians before they begin work as players in professional orchestras. Most of the research is in the area of education. The present article suggests that little research exists that is specific to the development of a traditional orchestra musician from an early age through the music education system, although considerable research exists on the development and broadening of the actual role of the professional musician in a changing world (portfolio careers).
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Kenny, Dianna T., Tim Driscoll, and Bronwen J. Ackermann. "Is Playing in the Pit Really the Pits? Pain, Strength, Music Performance Anxiety, and Workplace Satisfaction in Professional Musicians in Stage, Pit, and Combined Stage/Pit Orchestras." Medical Problems of Performing Artists 31, no. 1 (March 1, 2016): 1–7. http://dx.doi.org/10.21091/mppa.2016.1001.
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INTRODUCTION: Typically, Australian orchestral musicians perform on stage, in an orchestra pit, or in a combination of both workplaces. This study explored a range of physical and mental health indicators in musicians who played in these different orchestra types to ascertain whether orchestra environment was a risk factor affecting musician wellbeing. METHODS: Participants comprised 380 full-time orchestral musicians from the eight major state orchestras in Australia comprised of two dedicated pit orchestras, three stage-only symphonic orchestras, and three mixed stage/pit orchestras. Participants completed a physical assessment and a range of self-report measures assessing performance-related musculoskeletal disorders (PRMD), physical characteristics including strength and perceived exertion, and psychological health, including music performance anxiety (MPA), workplace satisfaction, and bullying. RESULTS: Physical characteristics and performance-related musculoskeletal profiles were similar for most factors on the detailed survey completed by orchestra members. The exceptions were that pit musicians demonstrated greater shoulder and elbow strength, while mixed-workload orchestra musicians had greater flexibility Significantly more exertion was reported by pit musicians when rehearsing and performing. Stage/pit musicians reported less physical exertion when performing in the pit compared with performing on stage. Severity of MPA was significantly greater in pit musicians than mixed orchestra musicians. Pit musicians also reported more frequent bullying and lower job satisfaction compared with stage musicians. DISCUSSION: There were few differences in the objective physical measures between musicians in the different orchestra types. However, pit musicians appear more psychologically vulnerable and less satisfied with their work than musicians from the other two orchestra types. The physical and psychological characteristics of musicians who perform in different orchestra types have not been adequately theorized or studied. We offer some preliminary thoughts that may account for the observed differences.
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Endo, Nozomi, Takayuki Ito, Katsumi Watanabe, and Kimitaka Nakazawa. "Enhancement of loudness discrimination acuity for self-generated sound is independent of musical experience." PLOS ONE 16, no. 12 (December 7, 2021): e0260859. http://dx.doi.org/10.1371/journal.pone.0260859.
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Musicians tend to have better auditory and motor performance than non-musicians because of their extensive musical experience. In a previous study, we established that loudness discrimination acuity is enhanced when sound is produced by a precise force generation task. In this study, we compared the enhancement effect between experienced pianists and non-musicians. Without the force generation task, loudness discrimination acuity was better in pianists than non-musicians in the condition. However, the force generation task enhanced loudness discrimination acuity similarly in both pianists and non-musicians. The reaction time was also reduced with the force control task, but only in the non-musician group. The results suggest that the enhancement of loudness discrimination acuity with the precise force generation task is independent of musical experience and is, therefore, a fundamental function in auditory-motor interaction.
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Vorobyova, Olga, and Oksana Deineko. "CHARACTER OF MUSICIAN IN KAZUO ISHIGURO’S SHORT STORIES AND THEIR UKRAINIAN TRANSLATIONS." Advanced Linguistics, no. 10 (November 30, 2022): 20–24. http://dx.doi.org/10.20535/2617-5339.2022.10.266627.
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This paper addresses the issue of musician’s character in the short stoires by Kazuo Ishiguor, a well-known British writer, and their translations into Ukrainian. The paper aims to define author-specific cognitive and stylistic features of construing the character of musician by depicting his verbal portrait, interpreting his behaviour, emotions, and actions through the lens of human personality. The analysis resulted in singling out and systematising a set of key concepts and conceptual metaphors, pertaining to the characters of musicians in Ishiguro’s five short stories included in “Nocturnes: Five Stories of Music and Nightfall”. Among these concepts are LIFE, LOVE, FRIENDSHIP, MARRIAGE, MUSIC, SUCCESS, CAREER, etc. Within the range of conceptual metaphors that find their manifestation in the texts under analysis prevail those, which are associated with various facets of life, love, and music. As a result, several kinds of conceptual metaphors were identified: global, e.g., LIFE IS MUSIC, conventionally used (local), e.g., MUSIC IS INSPIRATION, paradoxical, e.g., LOVE IS А FAREWELL, mirror-like, e.g., LIFE IS MUSIC– MUSIC IS LIFE, and the author’s (idiosyncrаtic) ones, e.g., MUSIC IS A NIGHTFALL. Though recreating literary characters by other languages should embrace all textual levels, the translation of musicians’ verbal portraits in the Ukrainian version of Ishiguro’s short stories under study is mostly affected by their syntax. The choice of syntactical constructions is to a great extent determined by the personages’ professional sphere as part of respective cultural context. Thus, with regards to musicians’ characters the stories under translation abound in grammatical transformations − transpositions: (і) word transposition; (іі) transposition of phrases and word-combinations; and (ііі) transposition of elements within a complex sentence − and substitutions. Кeywords: character of musician; conceptual metaphor; literary translation; verbal portrait; grammatical transformations.
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Strong, Jessica V., and Allison Midden. "Cognitive differences between older adult instrumental musicians: Benefits of continuing to play." Psychology of Music 48, no. 1 (July 20, 2018): 67–83. http://dx.doi.org/10.1177/0305735618785020.
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Previous research suggests that ongoing cognitive engagement in late life may help maintain cognitive functioning. We assessed cognition across all major domains in older adult instrumental musicians (active vs. former) and non-musicians using a standardized neuropsychological battery and collected self-report information on levels of physical activity, social activity, and overall health. We used ANCOVAs to determine if there were differences in cognitive test scores among groups. Results showed that all musicians (active and former) had higher scores on a test of language (Boston Naming Test) and of language and executive functioning (Controlled Oral Word Association) compared to non-musicians. However, active musicians scored higher than both non-musicians and former musicians on a version of the Stroop task (Delis-Kaplan Executive Function System: Color Word Interference). These findings suggest that, in some types of executive functions, there may be continued benefit to participating in musical activities later in life. However, in the domain of language, gains from playing an instrument are sustained even if a musician stops playing. We discuss these results in the contexts of cognitive reserve and crystallized and fluid intelligence, including cognitive benefits of early life music lessons that remain in late life.
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Schroeder, Scott R., Viorica Marian, Anthony Shook, and James Bartolotti. "Bilingualism and Musicianship Enhance Cognitive Control." Neural Plasticity 2016 (2016): 1–11. http://dx.doi.org/10.1155/2016/4058620.
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Learning how to speak a second language (i.e., becoming a bilingual) and learning how to play a musical instrument (i.e., becoming a musician) are both thought to increase executive control through experience-dependent plasticity. However, evidence supporting this effect is mixed for bilingualism and limited for musicianship. In addition, the combined effects of bilingualism and musicianship on executive control are unknown. To determine whether bilingualism, musicianship, and combined bilingualism and musicianship improve executive control, we tested 219 young adults belonging to one of four groups (bilinguals, musicians, bilingual musicians, and controls) on a nonlinguistic, nonmusical, visual-spatial Simon task that measured the ability to ignore an irrelevant and misinformative cue. Results revealed that bilinguals, musicians, and bilingual musicians showed an enhanced ability to ignore a distracting cue relative to controls, with similar levels of superior performance among bilinguals, musicians, and bilingual musicians. These results indicate that bilingualism and musicianship improve executive control and have implications for educational and rehabilitation programs that use music and foreign language instruction to boost cognitive performance.
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Park, Hye Young. "Finding meaning through musical growth: Life histories of visually impaired musicians." Musicae Scientiae 21, no. 4 (July 21, 2017): 405–17. http://dx.doi.org/10.1177/1029864917722385.
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The purpose of this study is to examine in depth the lives of visually impaired professional musicians via the life history method. The researcher conducted in-depth interviews with eight visually impaired professional musicians. The data analysis considered three facets of life history proposed by Mandelbaum: dimensions, turning points, and adaptations. The dimensions of life (families, schools, private music teachers, and performance groups) were analysed first. The turning points of life involve accepting and overcoming an impairment and choosing to major in music. Adaptations to life involve persevering in a harsh social environment, living as an impaired musician, aspiring to a successful career as a professional musician, and learning from vigorous musical activities. Most participants suggested that families and performance groups are the most important dimensions of their lives. With respect to turning points, choosing to major in music has enabled the participants to accept and overcome the difficulties associated with being visually impaired. Through adaptation, the participants appear to have found their value, role, and meaning both as members of society and as professional musicians. This implies both the importance of expanding performing opportunities for visually impaired musicians and the importance of acknowledging their professional activities, affording visually impaired musicians better livelihoods by offering them more fulfilling roles in the field of music along with significant, long-term public support.
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Schneider, Johann, Daniel S. Scholz, and Eckart Altenmüller. "Impact of Psychic Traumatization on the Development of Musicians’ Dystonia: Six Exploratory Case Studies." Medical Problems of Performing Artists 36, no. 1 (March 1, 2021): 1–9. http://dx.doi.org/10.21091/mppa.2021.1001.
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OBJECTIVE: Musician’s dystonia represents a special case of focal dystonia. It is described as a task-specific movement disorder which presents itself as muscular incoordination or loss of voluntary fine-motor control of extensively trained movements while a musician is playing the instrument. Several triggering factors have been identified, such as overuse, chronic pain, perfectionism, and anxiety disorders. As a common feature, dysfunctional self-management and stress-coping mechanisms are at the root of the aforementioned behaviors. Based on long-term experience from our musicians’ medicine outpatient clinic, we hypothesized that early psychic or somatic traumatization may be an underlying mechanism and therefore contribute essentially to focal dystonia. METHODS: In a qualitative study, we investigated the role of early traumatization as a potential cause of motor failures, such as musician’s dystonia, employing an episodic interview on a sample of six professional musicians (age 30–57 yrs, 5:1 M:F) suffering from musician’s dystonia. RESULTS: Using grounded theory methodology, we were able to derive one generalized etiological model describing contributing factors in the etiological understanding of focal dystonia from the six case studies. The qualitative interviews clearly revealed that all patients experienced early psychic traumatizations, including violence and parents’ substance abuse. CONCLUSIONS: In this small sample, we theorize that in-depth, early traumatization most probably led to a dysfunctional stress-coping mechanism. We therefore propose in our model that there are two types of motor failures, one linked to stressful experiences, dysfunctional coping behaviors, and increased muscle tone, and one linked to genetic susceptibility of the motor-system without psychological triggering factors.
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Gaser, Christian, and Gottfried Schlaug. "Brain structures differ between musicians and non-musician." NeuroImage 13, no. 6 (June 2001): 1168. http://dx.doi.org/10.1016/s1053-8119(01)92488-7.
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Ambler, Melanie, Andrew Janss, Randall S. Stafford, Bryant Lin, Aubrey Florom-Smith, and Augustine W. Kang. "Voices of Musicians: Virtual Live Bedside Music Concerts in Inpatient Care." Healthcare 11, no. 22 (November 9, 2023): 2929. http://dx.doi.org/10.3390/healthcare11222929.
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The COVID-19 pandemic presented unprecedented challenges to patients, family members, and healthcare staff that resulted in increased stress and isolation and decreased quality of life. We evaluate the impact of a novel virtual concert program, the Vital Sounds Initiative (VSI) of Project: Music Heals Us (PMHU), which began at the beginning of the pandemic to combat patient isolation and provide employment to professional musicians. Using a qualitative analysis of VSI data, we examined post-concert written responses by musicians. These responses were coded by independent coders via inductive coding and thematic analysis. Between 7 April 2020 and 20 July 2022, 192 musicians played 2203 h of music for 11,222 audience members in 39 care facilities nationwide. A total of 114 musicians submitted a total of 658 responses. Three main themes (with corresponding subthemes) arose: (1) Patient Experience; (2) Musician Experience; (3) Caregiver (family or staff) Experience. The responses offered valuable insight into the overwhelmingly positive aspects of the virtual concerts. Overall, we found that VSI favorably impacts individuals at every level, including the patients, musician, and caregivers. These findings provide preliminary evidence for the benefits of virtual music concerts. Upscaling similar virtual music interventions/programs should be considered.
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Burns-O’Connell, Georgina, David Stockdale, Oscar Cassidy, Victoria Knowles, and Derek J. Hoare. "Surrounded by Sound: The Impact of Tinnitus on Musicians." International Journal of Environmental Research and Public Health 18, no. 17 (August 27, 2021): 9036. http://dx.doi.org/10.3390/ijerph18179036.
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AIM: To investigate the impact of tinnitus on professional musicians in the UK. BACKGROUND: Tinnitus is the experience of sound when an external source is absent, primarily associated with the ageing process, hearing loss, and noise exposure. Amongst populations exposed to industrial noise, noise exposure and noise-induced hearing loss (NIHL) have been found to be the factors most associated with tinnitus. The risk of NIHL amongst professional musicians is greater than that amongst the general population, meaning they may be at increased risk of tinnitus. METHODS: Seventy-four professional musicians completed an online survey involving closed and open-ended questions, and completed the Tinnitus fuctional Index (TFI) questionnaire. Descriptive statistics and thematic analysis of open-ended qualitative responses were used to analyse the data. RESULTS: Three themes were generated from the analysis of the responses to the open-ended questions. These themes were: (1) the impact of tinnitus on the lives of professional musicians, (2) professional musician experience of tinnitus services, support, and hearing health and safety, and (3) the support professional musicians want. The mean global TFI score for professional musicians was 39.05, interpreted as tinnitus being a moderate problem. Comparisons with general population data revealed lower TFI scores for the TFI subscales of ‘sense of control’ and ‘intrusiveness’ for professional musicians and higher for auditory difficulties associated with tinnitus amongst professional musicians. CONCLUSION: Tinnitus can negatively impact on professional musicians’ lives. There is a need for bespoke self-help groups, awareness raising, and education to prevent tinnitus and promote hearing health among musicians.