Journal articles on the topic 'Sting (musician)'
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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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Moddi. "Songs that sting: A Norwegian musician on how hate mail about an Israeli concert sparked an album of censored music." Index on Censorship 45, no. 2 (June 29, 2016): 86–88. http://dx.doi.org/10.1177/0306422016657035.
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Stetskovych, O. "Style evolution of Sting’s creativity." Culture of Ukraine, no. 74 (December 20, 2021): 73–80. http://dx.doi.org/10.31516/2410-5325.074.12.
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The purpose of this article is to outline the evolutionary vector of the style evolution of G. M. T. Sumner’s (Sting) creativity.
The methodology. The study is based on the comprehensive use of systematic, historical and cultural approaches, as well as methods of periodization and genre-style analysis.
The results. The article analyzes the work of one of the recognized masters of world popular music — English musician G. M. T. Sumner, better known by the stage name Sting.
The topicality of the chosen topic is due to the artistic and socio-cultural significance and genre and stylistic diversity of Sting’s creative work, which in the research space of modern musicology still remain poorly understood.
The article considers the preconditions for the formation of Sting’s authorial style, reveals the key stylistic trends that shaped his individual authorial style, and highlights the personal and professional-artistic criteria of his creative activity. Embodying in one person the guise of a composer, poet, singer, guitarist and actor, G. M. T. Sumner (Sting) is a shining example of a modern universal artist. He illustrates by his own example typical genre-style metamorphoses of mass music of the late XX — early XXI century, revealing new paradigms of modern world music art.
The stylistic evolution of Sting’s creativity is substantiated in accordance with the proposed concept of periodization of his creative activity. The main periods of the artist’s creative activity are outlined: 1) early (1977–1990); 2) mature (1991–2012) and 3) late (since 2013). The stylistic priorities inherent in each of these periods are described. The uniqueness and originality of Sting’s authorial artistic style lies in the peculiarity of his artistic thinking, which to some extent is based on the concept of stylistic pluralism.
The stylistic evolution of Sting’s works represents his appeal to various stylistic models of modern mass music (rock, jazz, pop, reggae). At the same time, the artist’s stylistic search goes far beyond popular music, extending to the spheres of academic and ethnic musical traditions.
The scientific novelty of this article is that this study for the first time reveals the stylistic evolution of Sting’s works, its periodization and identifies the main stages, identifies the leading genre and style features of the artist’s works and the characteristics of his artistic thinking.
The practical significance of the article lies in the possibility of using its materials and conclusions in further research on this issue, in performing and pedagogical practice (in the courses “Music of the XX century”, “History and theory of modern music”, “History of rock music”, etc.).
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Butler, Katherine, and Ian Winspur. "Retrospective case review of time taken for 130 professional musicians to fully return to playing their instruments following hand surgery." Hand Therapy 14, no. 3 (September 2009): 69–74. http://dx.doi.org/10.1258/ht.2009.009019.
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Background. Surgery on musicians must be entered into cautiously and should be the only treatment option indicated after trialling all other appropriate ones. There are four main principles that must be carefully considered when operating on musicians: the exact location of incisions, anatomic repair and reconstruction, adjustment of any anticipated anatomic compromise to the musician's specific musical needs and the need for an early return to limited playing. The purpose of this case review was to identify which instrument and what medical condition require the most time for the musician to fully return to playing. This in turn can assist in realistic goal setting with individual patients according to these two categories. Methods. A retrospective review of a single surgeon's case series of 130 professional musicians was undertaken. Data regarding their medical condition, instrument played, length of time off the instrument following surgery and the time taken to return to full normal professional playing were recorded and analysed. Results. A total of 97.7 percent of the patients returned to full time playing and there was a 2.3% ‘failure’ rate. The results indicate that piano players appear to initially take the most time to return to their instrument and string players take the most time to fully rehabilitate. Trauma appears to be the most difficult condition from which to initially recover however, nerve decompressions (with the exception of carpal tunnel releases) take the most time to fully rehabilitate. The most common medical condition requiring surgical intervention was nerve compressions and the piano was the most common instrument played in the series. Conclusions. This case series highlights the importance of early return to playing and utilizing the musical instrument as a therapeutic tool in the rehabilitation programme of musicians.
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Bourne, Deanna, Amy Hallaran, and Jane Mackie. "The Lived Experience of Orchestral String Musicians with Playing Related Pain." Medical Problems of Performing Artists 34, no. 4 (December 1, 2019): 198–204. http://dx.doi.org/10.21091/mppa.2019.4031.
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OBJECTIVE: Rates of pain are high among musicians, and string musicians may be particularly at risk. The aim of the study was to investigate the lived experience of orchestral string musicians with playing-related pain. METHODS: The study used a Heideggerian phenomenological approach. Five professional and university-level string musicians were interviewed about their experience of playing-related pain, and transcriptions of their interviews were analysed using thematic analysis. RESULTS: Participants engaged in a variety of types of musical performance, however they described orchestral playing as contributing the most to their pain. Pain led to increased focus on the body and less engagement in the music. They experienced a sense of loss in multiple domains of their lives, yet also described personal growth as a result of their pain. Participants were more likely to disclose their pain in student orchestras than in professional ones. CONCLUSION: Pain impacts multiple domains of musician’s lives, and therefore must be addressed holistically by healthcare providers. While musicians are finding that it is becoming more acceptable to discuss their pain, pain is still not adequately addressed. Understanding the experience of musicians with playing-related pain could help healthcare professionals to better serve this unique population.
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Smithson, Elliot V., Elizabeth Reed Smith, Gary McIlvain, and Mark K. Timmons. "Effect of Arm Position on Width of the Subacromial Space of Upper String Musicians." Medical Problems of Performing Artists 32, no. 3 (September 1, 2017): 159–64. http://dx.doi.org/10.21091/mppa.2017.3026.
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OBJECTIVE: Musicians often end their musical career due to musculoskeletal injury. A leading source of shoulder pain in upper string musicians is rotator cuff disease (RCD). Multiple factors contribute to its development. Compressive overload of the soft tissues of the subacromial space resulting from a decrease in the width of the subacromial space has been identified as an extrinsic factor contributing to RCD development. The purpose of this study was to characterize the width of the subacromial space by measuring acromial-humeral distance (AHD) of upper string musicians, while their arms are in standard playing positions. METHODS: Experienced musicians (n=23) were recruited from local communities. Shoulder ultrasound images were collected using standard imaging techniques. Images were collected and the AHD measured while the musician’s arm was in positions associated with playing the violin. RESULTS: On the right side, the arm position main effect was significant (p<0.001): the AHD in the 4th string position (8.8±1.9 mm) was less than the 1st string (11.3±1.4 mm) and resting (11.7±1.3 mm) positions. There was no difference in AHD between resting (10.0±5.8 mm) and instrument-support positions (10.6±1.5 mm). The resting AHD was smaller (p=0.04) on the right side compared to the left (12.2±1.4 mm). There was not statistically significant difference (p=0.138) in the occupation ratio (supraspinatus tendon thickness/AHD) between the right (mean 0.543±0.80 mm) and left sides (mean 0.510±0.087 mm). CONCLUSIONS: The AHD measurement decreased in the playing positions compared to resting positions. Treatment interventions that help musicians maximize the width of their subacromial space might help reduce the prevalence of shoulder pain in this population.
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Wilke, Christiane, Julian Priebus, Bianca Biallas, and Ingo Froböse. "Motor Activity as a Way of Preventing Musculoskeletal Problems in String Musicians." Medical Problems of Performing Artists 26, no. 1 (March 1, 2011): 24–29. http://dx.doi.org/10.21091/mppa.2011.1003.
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The health status of performing artists, especially musicians, was not an issue for medical research until the 1980s. Musicians tend to suffer from health-related problems, as playing an instrument demands long and intensive practice. This paper provides a literature review of health problems of string players in particular. It analyzes whether their problems are playing-related or if various parameters potentially influence their health state, and it subsequently presents a concept of efficient training. Health disorders and diseases are individual. In order to ensure efficient prevention, a profile of qualification, including physical and psychological aspects as well as key skills, allows developing an individual training schedule and thus should be included in the process of prevention. Physical performance plays a decisive role and is more important than commonly thought. Strength, endurance, and flexibility in particular have an immense influence on the musician’s performance. Playing an instrument requires both physical and mental skills, and all too often this leads to excessive demands. It is necessary to highlight the possible causes and provide the musician with a therapeutic intervention and educational work. As the demand for preventative work in this field grows steadily, this paper draws a detailed concept of a therapeutic intervention.
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Tota, Anna Lisa. "Context as resource for constructing artistic value: cases of non-recognition." Social Science Information 37, no. 1 (March 1998): 45–78. http://dx.doi.org/10.1177/053901898037001003.
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This article sets out to document the plausibility of adopting a contextual conception of a work of art. Underlining the eminently social nature of the formation processes of artistic value, it illustrates how a work of art is also created by the local contexts in which it is produced and, above all, by those in which it is consumed. The first part of the article questions those romantic conceptions, according to which artistic value is normally attributed to a work of art exclusively on the basis of the author's talent, and tries to document the existence of a series of social factors that play a decisive role in establishing that a given object belongs to the “art system”. Different conceptions of the work of art are classified according to the way in which they solve the problem of genesis. Three main perspectives are identified: authorial, reception and contextual theories. It is argued that neither the authorial nor the reception theory is able to explain, on a sociological level, the process of artistic production and reception. In the second part, the different approaches to the genesis problem are connected with different interpretations of cases of non-recognition, those cases in which a “true” work of art is not recognized, for example, because it has been placed outside its own traditional reception context. It is argued that explanation of these cases of “non-recognition” is linked to the implied conception of artistic production. Three examples are considered: (a) the young Mozart; (b) Botticelli, who, held to be a mediocre painter up to the middle of the 19th century, becomes a talented artist thanks to the studies of Herbert Horne and Aby Warburg; and (c) Sting, who, in the Ladbroke Grove underground station in London, performed as a street musician.
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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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Trevor, Caitlyn, Johanna Devaney, and David Huron. "Musicians Can Reliably Discriminate Between String Register Locations on the Violoncello." Music Perception 40, no. 1 (September 1, 2022): 27–38. http://dx.doi.org/10.1525/mp.2022.40.1.27.
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Vocal range location is an important vocal affective signal. Humans use different areas of their vocal range to communicate emotional intensity. Consequently, humans are good at identifying where someone is speaking within their vocal range. Research on music and emotion has demonstrated that musical expressive behaviors often reflect or take inspiration from vocal expressive behaviors. Is it possible for musicians to utilize range-related signals on their instrument similarly to how humans use vocal range-related signals? Might musicians therefore be similarly sensitive to instrumental range location? We present two experiments that investigate musicians’ ability to hear instrumental range location, specifically string register location on the violoncello. Experiment 1 is a behavioral study that tests whether musicians can reliably distinguish between higher and lower string register locations. In Experiment 2, we analyze acoustic features that could be impacted by string register location. Our results support the conjecture that musicians can reliably discriminate between string register locations, although perhaps only when vibrato is utilized. Our results also suggest that higher string register locations have a darker timbre and possibly a wider and faster vibrato. Further research on whether musicians can effectively imitate vocal range location signals with their instruments is warranted.
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Dawson, William J. "Abstracts from the Literature." Medical Problems of Performing Artists 23, no. 1 (March 1, 2008): 33–35. http://dx.doi.org/10.21091/mppa.2008.1007.
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Once again, papers devoted to a single topic have recently appeared in several scientific and artistic periodicals. The papers are written by different authors, each with a specific focus and background. The first four papers abstracted in this issue's column are devoted to the instrument-musician interface; they present a variety of views and recommendations, and most have an emphasis on problems of string musicians.
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Pereira Filho, Evadio, and Junior Raimundo Da Silva. "Musculoskeletal disorders and risk factors in string musicians." Exacta 18, no. 1 (December 19, 2019): 16–36. http://dx.doi.org/10.5585/exactaep.v18n1.8885.
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Several workers suffer from musculoskeletal disorders and the situation is even more troubling for musicians, because it is common the musical activity do not be the main source of income. This study evaluated in which extent musculoskeletal disorders and risk factors affect string musicians. Evaluations were performed within groups defined by demographic and behavioural variables. Spearman and Mann-Whitney U tests were applied. A total of 97 string instrumentalists were questioned. Results indicated that bodily regions most affected were upper limbs and column. In turn, inadequate posture represented the element that most cooperated for the arise of musculoskeletal disjunctions. In general, there was no evidence to indicate that predictors of musculoskeletal disorders were similar or divergent among conglomerates. Musicians constantly suffered with complaints in upper limbs occasioned to maintain inappropriate postures during their activities.
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Gorniak, Stacey L., Evan D. Collins, Kimberly Goldie Staines, Forrest A. Brooks, and Ricardo V. Young. "The Impact of Musical Training on Hand Biomechanics in String Musicians." HAND 14, no. 6 (April 26, 2018): 823–29. http://dx.doi.org/10.1177/1558944718772388.
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Background: The effects of musical training on the body in professional musicians remain an understudied area, particularly in reference to understanding and managing orthopedic/neuromuscular deviations and injuries in this population. The purpose of this study was to evaluate hand/finger fine motor function in musicians via physical examination as well as laboratory-based evaluations. Methods: Thirteen healthy noninjured young elite string musicians participated in this study. Performance of musicians was compared with healthy age-matched, sex-matched, and handedness-matched nonmusician controls. Results: Musicians exhibited decreased intrinsic muscle strength compared with controls; however, no change in extrinsic muscle strength was found between groups. No between-group differences in overall force control were found; however, Group × Hand (right vs left) interactions were found in force control. Conclusions: These data suggest that musicians are a unique population with respect to: (1) fine motor control of the hand; and (2) exhibit changes in differential hand use. This suggests cortical reorganization of string musicians, such that this population should be studied separately from typical healthy controls with respect to hand function.
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Geringer, John M., and Clifford K. Madsen. "Musicians' Ratings of Good versus Bad Vocal and String Performances." Journal of Research in Music Education 46, no. 4 (December 1998): 522–34. http://dx.doi.org/10.2307/3345348.
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This study continues a line of research attempting to ascertain the focus of musicians' attention when listening to music. It is the fifth study in a series structured to determine whether musicians demonstrate consistent listening patterns across excerpts intentionally designed to be perceived as good and bad performances. Soprano, tenor, violin, and cello excerpts varied considerably in intonation and tone quality and, to a lesser extent, in other performance aspects. In this study, 48 music students were asked to rate excerpts on traditional performance evaluation rating scales (phrasing/expression, intonation, rhythm, dynamics, tone quality) and give an overall rating. Results indicated that musician listeners consistently discriminated between the good and bad performances across all rating scales. Intonation was identified as the element most in need of improvement in performances. Significant differences were found also between the four timbres and the accompaniment conditions. Results of acoustical analyses that portray a variety of differences in the performances are discussed in relation to listener ratings.
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Keefe, Douglas H., Edward M. Burns, and Phong Nguyen. "Vietnamese Modal Scales of the Dan Tranh." Music Perception 8, no. 4 (1991): 449–68. http://dx.doi.org/10.2307/40285522.
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The dan tranh is a Vietnamese 17-string zither tuned to pentatonic modal scales. Each modal scale, or dieu, encompasses a given tuning and a specific sentiment or modal nuance, and ornamentation using pitch bends is an important embellishment. The dan tranh was tuned entirely by ear, and the repetition rate of the lowest-pitched string varied from G₀ to E₃ in data obtained during a 6-month period from a single highly skilled Vietnamese musician. The modal scales lie in two major systems, bac and nam, and the frequency ratios of the tonal materials comprising the scales were measured. Using a standard categorization experimental paradigm, the musician was unable to categorize intervals in the absence of musical context. In a probe-tone rating experiment, the musician was asked to contemplate the sentiment associated with a particular modal scale, and evidence was found that was suggestive of an internalized hierarchy that differed between the two modal scales used as stimuli. Vietnamese modal scales make extensive use of a 166-cent scale step, which corresponds to $\frac{5}{3}$semitones.
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Marvin, Elizabeth West, and Alexander R. Brinkman. "The Effect of Key Color and Timbre on Absolute Pitch Recognition in Musical Contexts." Music Perception 18, no. 2 (2000): 111–37. http://dx.doi.org/10.2307/40285905.
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Previous research has shown that listeners with absolute pitch identify white-key pitches (as on the piano) more quickly and accurately than they identify black-key pitches. Related research has shown that the timbre of tones also affects pitch identification. Our experiments extend the investigation of color and timbre effects on pitch recognition from isolated pitches to more complex musical textures, using both musicians with absolute pitch and musicians without absolute pitch as participants. In Experiment 1, listeners named isolated pitches in synthesized violin or piano timbres; in Experiment 2, they named the tonal center of classical string quartets or piano solos; in Experiment 3, they identified the tonal center of the same musical excerpts by humming. We replicated the color effect for both groups of participants in the response times for all three experiments, but found a color effect on accuracy rates only in Experiment 2. Timbre effects were found only in Experiment 1, where response times were quicker for piano tones than string tones. Participants' instrumental training affected response times: string players identified isolated tones most quickly; keyboard players identified the keys of compositions most quickly.
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Demaree, Christopher J., Kevin Wang, and Peter H. Lin. "Thoracic outlet syndrome affecting high-performance musicians playing bowed string instruments." Vascular 25, no. 3 (September 30, 2016): 329–32. http://dx.doi.org/10.1177/1708538116671064.
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Thoracic outlet syndrome, a condition due to neurovascular compression in the upper shoulder region, can be caused by chronic repetitive activity of the upper extremities. Studies have linked upper extremity musculoskeletal disorders to high-performance musicians who play bowed string instruments such as the violin or viola. We report herein a case series of five elite musicians, including three violinists and two violaists, who developed neurogenic thoracic outlet syndrome following years of intense practice. Successful surgical treatment including first rib resection, scalenectomy, and brachial plexus neurolysis was performed in all patients. All patients were able to resume their musical career following surgical treatment. Our report represents the first description of thoracic outlet syndrome in high-performance bowed string instrumentalists. Clinicians should be aware of thoracic outlet syndrome as a differential diagnosis when treating string instrumentalists with upper extremity musculoskeletal ailments.
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Yan, Yang. "The formation of the Chinese orchestra of traditional instruments of a new type in the 1920s-1930s." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 165–80. http://dx.doi.org/10.34064/khnum1-50.12.
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Background. The history of the development of orchestral music for Chinese traditional instruments covers more than a thousand years. During this time, the traditional orchestra has undergone significant changes. In the article the modern stage of the development of the orchestra of a new type is considered starting from the 1920s, when its modification began and integration with the principles of the Western Symphony Orchestra. The modernization of the Chinese orchestra of traditional instruments began in the twentieth century after the overthrow of imperial rule and the emerging changes in Chinese society. Nevertheless, the process of integrating the Western musical traditions was carried out in China for several centuries, which prepared the ground for the qualitative changes that began in the 20th century in the field of national musical art. The development of orchestral music for Chinese traditional instruments is not sufficiently studied today in musicology. One of the little studied periods is the initial stage of the formation of the Chinese orchestra of folk instruments of a new type in the 1920s – 1930s. Objectives. The purpose of the article is to reveal the prerequisites and specifics of the formation of the Chinese orchestra of traditional instruments of a new type in the 1920s and 1930s, to determine the role of outstanding Chinese musicians in the process of modernizing the orchestra and creating the appropriate national repertoire. The methodology of research is based on musical-historical approach combined with musical-theoretical and performer analysis. Results. The first shifts in the integration of Western and national traditions in Chinese traditional orchestral music became possible thanks to the activities of the music society “Datong yuehui”, as well as the emergence of higher professional musical institutions in China and the training of Chinese musicians abroad. The most important role in the formation of the Chinese orchestra of traditional instruments of a new type was played by outstanding musicians Zheng Jinwen, Liu Tianhua, Zheng Tisi. Zheng Jinwen was the initiator of the creation of the society “Datong Yuhui” in 1920. He began the process of standardizing various Chinese instruments with the goal of unifying their sound tuning fork. This was necessary for a well-coordinated game in the orchestral ensemble. The musician modernized and developed new methods of tuning traditional instruments for flute dizi, multi-barrel sheng and expanded the orchestra to forty people. Zheng Jinwen adapted the national repertoire to a new type of orchestra, performing as an author of orchestral transcriptions of ancient music for traditional Chinese instruments. Liu Tianhua became the creator of the Society for the Development of National Music at Peking University (1927–1932). The musician reformed the old system of Chinese notation “gongchi” based on hieroglyphs, modernized it and adapted it to the Western musical notation. Substantial achievement of Liu Tianhua was a significant modification of the erhu with the replacement of strings by metal, changing the settings in accordance with the standards of Western stringed instruments. As a result, the erhu acquired the status of a leading or solo instrument in a new type of orchestra. The activity of the first modern Chinese orchestra of traditional instruments, the musical collective of the Broadcasting Company of China, created in Nanjing in 1935, had a great importance. In 1937, from the Second Sino-Japanese War, the orchestra was transferred to Chongqing, and after the victory of the Communists in 1949, he moved to Taiwan. One of the orchestral musicians, Zheng Tisi, played an outstanding role in the formation of this group. The musician carried out the reformation of this orchestra in the field of tuning instruments. The range of the orchestra was expanded by the introduction of additional wooden string instruments dahu and dihu, having a volumetric sound-board and tuned an octave below the violin erhu. Their purpose was to fill the lower register, alike to the cellos and double basses in Western orchestras. For the first time the post of conductor and his assistant was introduced by Zheng Tisi, which was also able to attract professional composers to create a multi-voiced orchestral national repertoire. The innovations of the outstanding musician made his orchestra a role model for all subsequent similar contemporary Chinese orchestras. Conclusions. The process of forming a Chinese orchestra of traditional instruments of a new type in the 1920s and 1930s made it possible to modernize Chinese traditional folk instruments and the ancient Chinese notation system in order to adapt Chinese orchestral music to the integrative processes in musical art. Orchestral music was reformed in accordance with the principles of Western European symphonic and conducting art. In this process, outstanding highly professional Chinese musicians who contributed to the development of orchestral music in their country and the creation of a corresponding national repertoire played the leading role.
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Brewer, Roy. "String musicians in the recording studios of Memphis, Tennessee." Popular Music 19, no. 2 (April 2000): 201–15. http://dx.doi.org/10.1017/s0261143000000118.
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ROY BREWERIntroductionFrom the mid-1960s to mid-1970s, Memphis, Tennessee was home of one of the most successful recording industries in the USA and its popular recorded releases began to rival those of Nashville, Los Angeles, New York and Detroit. Solo artists, song writers, session musicians and arrangers became overnight successes and a rebellious and influential upstart recording industry emerged. But the growth was too fast and, fuelled by zealous egos and competition, an infrastructure was never formed resulting in a musical and financial cataclysm from which the Memphis music community has yet to recover. This article is about those classically trained string musicians who were hired to play in the studios of Memphis during that era.
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Pluta, Marek Janusz, Daniel Tokarczyk, and Jerzy Wiciak. "Application of a Musical Robot for Adjusting Guitar String Re-Excitation Parameters in Sound Synthesis." Applied Sciences 12, no. 3 (February 5, 2022): 1659. http://dx.doi.org/10.3390/app12031659.
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Sound synthesis methods based on physical modelling of acoustic instruments depend on data that require measurements and recordings. If a musical instrument is operated by a human, a difficulty in filtering out variability is introduced due to a lack of repeatability in excitation parameters, or in varying physical contact between a musician and an instrument, resulting in the damping of vibrating elements. Musical robots can solve this problem. Their repeatability and controllability allows studying even subtle phenomena. This paper presents an application of a robot in studying the re-excitation of a string in an acoustic guitar. The obtained results are used to improve a simple synthesis model of a vibrating string, based on the finite difference method. The improved model reproduced the observed phenomena, such as the alteration of the signal spectrum, damping, and ringing, all of which can be perceived by a human, and add up to the final sound of an instrument. Moreover, as it was demonstrated by using two different string plucking mechanisms, musical robots can be redesigned to study other sound production phenomena and, thus, to further improve the behaviours of and sounds produced by models applied in sound synthesis.
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Cajamarca Cárdena, Wilson Bolívar, Karola del Rocío Álvarez Pesántez, Gabriela Nataly Ochoa Urgilés, Guido Esteban Abad Vicuña, and Erika Priscila Montaño Loja. "Hipoacusia laboral en ejecutantes de la Orquesta Sinfónica de Cuenca, 2019." Revista Médica del Hospital José Carrasco Arteaga 14, no. 1 (April 30, 2022): 13–18. http://dx.doi.org/10.14410/2022.14.1.ao.02.
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BACKGROUND: Noise-induced hearing loss (NHL) is the second leading cause of hearing loss, after presbycusis. It is considered an occupational disease and a public health problem. The aim of this study was to establish the prevalence of occupational noise-induced hearing loss and its association with other sociodemographic and occupational variables in performers of Cuenca’s Symphonic Orchestra in 2019. METHODS: This is an observational, analytical, cross-sectional study, whose universe was conformed by the professional musicians of Cuenca’s Symphonic Orchestra in 2019. We aimed to establish the risk of noise-induced hearing loss in association with variables such as age, sex, hours of daily practice, material of the instrument played, and years of exercise as a musician, throught Odds Ratio statistical test. The 45 musicians were surveyed and audiometric tests were performed. RESULTS: The universe consisted of 45 musicians: 38 males and 7 females. The average age was 40 years. 46.7% played a musical instrument profesionaly for more than ten years and 53.3% for up to ten years. 60% practiced more than 10 hours a day. 53.3% played string instruments, 20% woodwind instruments, 17.8% brass instruments and 8.9% percussion instruments. The prevalence of hearing loss was 17.8%: 13.3% bilateral and 4.4% unilateral. The prevalence of mild hearing loss was 8.9%; moderate in 6.7% and acoustic trauma occurred in 2.2%. Age (>30 years) and working time (>10 years) represented risks for hearing loss development. CONCLUSION: The prevalence of noise-induced hearing loss was 17.8%, mostly mild and bilateral. All those who were affected were male. The prevalence was higher among musicians who played wind-metal instruments; however, no statistically significant association was found. Being older than 30, and having played professionally for more than years are risk factors for noise-induce hearing loss.
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Madsen, Clifford K., John M. Geringer, and Katia Madsen. "Adolescent Musicians' Perceptions of Conductors Within Musical Context." Journal of Research in Music Education 57, no. 1 (April 2009): 16–25. http://dx.doi.org/10.1177/0022429409333352.
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Attention to subtle changes in music, whether inadvertent or purposeful, occupies a great deal of practice and rehearsal time for the performer. Regardless of the extremely subtle acoustic changes that have been found to be perceptible within almost all studies, it is the total overall effect that most occupies the individual listener. This study investigated perception of digitally edited performances of Johann Strauss's Blue Danube Waltz, all performed by the Vienna Philharmonic Orchestra with various conductors across an 18-year period. Two groups of string musicians in grades 7 through 12 participated ( N = 104). One group was an intact class; the second was a group of summer camp students. All participants listened to two conditions: (a) audio only and (b) audio-video combination. Results indicated that there were no significant differences between groups and that no one was able to identify correctly that there were five different conductors in the audio-only condition. Results were much the same as earlier research with college students. In addition, many students indicated that there were differences in the audio portions of the two conditions when in fact there were not.
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Sumner Lott, Marie. "At the Intersection of Public and Private Musical Life: Brahms's Op. 51 String Quartets." Journal of the Royal Musical Association 137, no. 2 (2012): 243–305. http://dx.doi.org/10.1080/02690403.2012.717468.
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AbstractBrahms's dedication of his op. 51 string quartets (1873) to the surgeon Theodor Billroth provides a window into Brahms's musico-political views in the 1870s that has hitherto been unexplored by music scholars. Analysis of correspondence, performance traditions and the scores of these two quartets demonstrates that Brahms chose to align himself and his works with the learned connoisseurs of the domestic chamber-music-making tradition, represented by Billroth and his frequent musical soirées. Brahms's music also shows the influence of Joseph Joachim, his oldest and dearest friend and Europe's premier chamber musician. Brahms's compositional choices in these two works combine public and private musical styles, to offer a touching memorial to earlier composers and friends, and to provide a teachable moment for the musical public.
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Nichols, Charles. "The vBow: a virtual violin bow controller for mapping gesture to synthesis with haptic feedback." Organised Sound 7, no. 2 (August 2002): 215–20. http://dx.doi.org/10.1017/s135577180200211x.
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The vBow, a virtual violin bow musical controller, has been designed to provide the computer musician with most of the gestural freedom of a bow on a violin string. Four cable and servomotor systems allow for four degrees of freedom, including the lateral motion of a bow stroke across a string, the rotational motion of a bow crossing strings, the vertical motion of a bow approaching and pushing into a string, and the longitudinal motion of a bow travelling along the length of a string. Encoders, attached to the shaft of the servomotors, sense the gesture of the performer, through the rotation of the servomotor shafts, turned by the motion of the cables. The data from each encoder is mapped to a parameter in synthesis software of a bowed-string physical model. The software also sends control voltages to the servomotors, engaging them and the cables attached to them with a haptic feedback simulation of friction, vibration, detents and elasticity.
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Gérard, Claire, and Catherine Auxiette. "The Processing of Musical Prosody by Musical and Nonmusical Children." Music Perception 10, no. 1 (1992): 93–125. http://dx.doi.org/10.2307/40285541.
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The surface structures of music and speech should coincide in musical prosody. Two processing systems have thus to be integrated, one devoted to the surface structure of speech, the other to that of music. This article is in two parts: a review of data on speech and music production and hearing, and two experimental studies on the synchronization between a rhythm and spoken sounds. In the first part, a comparison between some intensity and timing parameters that characterize the unfolding of spoken strings and of musical sequences is presented. Data from studies on performers (speakers, musicians) and listeners are compared with regard to spontaneous rates, location and duration of pauses, duration of sounds, and periodic occurrence of accents. In the second part, the ability to control the correspondence between taps and words is examined. Two experimental studies on 6-year-old children focus on the role of musical training. The reproductions of simple rhythms and simple sentences or onomatopoeias were analyzed as well as the coordination between a rhythmic sequence of taps and a spoken string. Young musicians succeeded better than nonmusicians of the same age in the synchronization between their verbal production and their motor accompaniment, mainly because they more markedly anticipated the musical string in which they integrated the spoken sounds subsequently. The results are discussed in relation to the acoustic, motor, and cognitive processes involved in the coordination of the two temporal strings.
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Wang, Junce, Ruijie Xu, Xiaolong Guo, Sijia Guo, Junchen Zhou, Jing Lu, and Dezhong Yao. "Different Music Training Modulates Theta Brain Oscillations Associated with Executive Function." Brain Sciences 12, no. 10 (September 27, 2022): 1304. http://dx.doi.org/10.3390/brainsci12101304.
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Different music training involves different hand coordination levels and may have a significant influence on brain oscillation for the executive function. However, few research has focused on the plasticity of executive function and the brain oscillation modulated by different musical instrument training modules. In this study, we recruited 18 string musicians, 20 pianists, and 19 non-musicians to perform a bimanual key pressing task during EEG recording. Behavioral results revealed that pianists have the highest accuracy and the shortest response time, followed by string musicians and non-musicians (p < 0.05). Time-frequency analyses of EEG revealed that pianists generated significantly greater theta power than the other groups from 500 ms to 800 ms post-stimulus in mid-central, frontal brain areas, and motor control areas. Functional connectivity analyses found that the pianists showed significantly greater connectivity in the frontal-parietal area in theta band based on phase-locking value analysis, which suggests that piano training improves executive function and enhances the connectivity between prefrontal and mid-central regions. These findings contribute to a better understanding of the effects of different music training on executive function.
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Sandu-Dediu, Valentina. "The Beginnings of Romanian Composition: Between Nationalism and the Obsession with Synchronizing with the West." Nineteenth-Century Music Review 14, no. 3 (December 2017): 315–37. http://dx.doi.org/10.1017/s1479409817000179.
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Romanian composition in the nineteenth century went through rapid changes, moving from a Greek-oriental sound world to a Western European one. It is interesting to examine, in this context, the musicians’ quest for a ‘national’ sound and identity. Analysis of piano miniatures or vaudeville, the favourite genre of the Romanian audience in the first half of the century, shows eclectic combinations of urban folk music with sources of inspiration borrowed from popular foreign melodies. The second half of the century seems to be marked in modern scholarship by premieres: some composers are included in Romanian history just for the merit of writing the first Romanian symphony, the first string quartet, the first opera, and so forth. Their work led towards the constitution of a ‘national language’ adapted to genres borrowed from contemporary Western European music.In addition to demonstrating these ideas in the work of a number of Romanian composers (Josef Herfner, Ioan Andrei Wachmann, Anton Pann, Alexandru Flechtenmacher, Ludwig Anton Wiest, Carol Miculi, George Stephănescu, Constantin Dimitrescu, Gavriil Musicescu, Eduard Caudella, George Dima, Ciprian Porumbescu, Iacob Mureşianu, Dumitru Georgescu Kiriac, Alfonso Castaldi, Eduard Wachmann), the present article also encompasses two case studies. The first is Franz Liszt’s tour through the Romanian Countries, which offers a clearer image of the popular ideas circulating within the musical scene of the time. Liszt’s initiative to emphasize the national spirit through folk quotations reworked in rhapsodies should have inspired Romanian musicians; we will see whether this actually happened. The second case study concerns the musical life of Bucharest around 1900, when the directions of Romanian modern music were being traced, and cautious and selective steps were made toward harmonizing with Europe began.
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Sobaskie, James William. "The ‘Problem’ of Schubert's String Quintet." Nineteenth-Century Music Review 2, no. 1 (June 2005): 57–92. http://dx.doi.org/10.1017/s1479409800001567.
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Eschewing the polemic surrounding Franz Schubert's private life, as well as the habit of judging his art by Beethovenian criteria, many musicians now have chosen to focus on unique aspects of the composer's œuvre in order to illuminate its distinctive aesthetic values. In particular, some have sought to isolate and explain contextual processes responsible for compelling perceptions of drama and unity in Schubert's later instrumental works. The objects of their inquiries consist of progressive sequences of internally defined musical elements, relations and events that confer effects of internal momentum and comprehensive coherence on Schubert's music. These contextual processes complement tonal, formal and thematic procedures in Schubert's compositions and reveal an ingenious artist engaged in a restless search for new ways of organizing music.
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Basu, Medha, SHANKHA SANYAL, Archi Banerjee, Kumardeb Banerjee, and Dipak Ghosh. "Does musical training affect neuro-cognition of emotions? An EEG study with instrumental Indian classical music." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A60. http://dx.doi.org/10.1121/10.0010655.
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Music across all genres evokes a variety of emotions, irrespective of its timbre and tempo. Indian classical music (ICM) is no exception. Although being biased towards vocal musical styles, instrumental music forms one broad section of ICM. In this study, we have tried to compare the neural responses of music practitioners and non-musicians towards different emotions using audio clips from two popular plucked string instruments used in ICM, Sitar and Sarod. From pre-recorded performances of two eminent maestros, 20 clips of approximately 30 s duration were selected from the Alaap sections (initial introductory section without any rhythmic accompaniment) of different Raagas played in the two instruments. From an audience response assessment of 100 participants, a total of eight clips having maximum arousal for happy and sad emotions were identified from the 20 clips, using which EEG (Electroencephalography) recordings were collected from five musicians and five non-musicians. Robust nonlinear Multifractal Detrended Fluctuation Analysis technique (MFDFA) was applied to quantitatively measure the brain-state changes in different lobes for both categories of participants. In essence, this study attempts to encapsulate if and how prior musical training influences the brain responses towards two basic musical emotions in ICM using two instruments of same family.
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Worschech, Florian, Michael Großbach, Bettina Bläsing, and Eckart Altenmüller. "Elevated Forearm Coactivation Levels and Higher Temporal Variability in String Players with Musicians’ Dystonia During Demanding Playing Conditions." Medical Problems of Performing Artists 35, no. 1 (March 1, 2020): 19–27. http://dx.doi.org/10.21091/mppa.2020.1003.
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AIMS: There is a lack of an objective measurement tool for evaluating the quality of bowing performance in string players. The present study aimed to assess kinematic features of bow strokes performed by violinists and violists affected by bow arm dystonia, compared to healthy controls. METHODS: Seven musicians with musician’s dystonia and 20 healthy controls participated in the study. A 3D motion capture system was used to record repetitive bowing on a single string at fixed velocities. Temporal variability, an indirect indicator for motor disturbances, was computed in order to evaluate the musicians’ performance during the repetitive movements. Simultaneously, muscular activity of essential flexors and extensors of the right arm was recorded using surface electromyography. Antagonistic muscular coactivation and temporal variability were analyzed in a multilevel linear model framework. RESULTS: The results revealed generally higher forearm coactivation during upstrokes as compared to downstrokes in both groups. Whereas coactivation levels of the upper arm did not significantly differ between groups, we found increased forearm coactivation in patients during the more demanding playing conditions. Increased coactivation may represent an adaptive motor control strategy that is applied in order to reduce noise entering the motor system. Furthermore, affected musicians executed bow strokes with higher temporal variability than healthy controls, especially during fast playing. CONCLUSIONS: Building on these results we introduce a novel approach using simple kinematic measures to quantifying dystonic symptoms in string players. Even though dystonia patients showed higher temporal variability and elevated forearm coactivation, both variables were not correlated. This finding is discussed with respect to the heterogeneity of musicians’ dystonia and its individual-specific manifestations in dystonic symptoms.
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Bosanquet, R. Caroline. "The Alexander Principle and its Importance to Music Education." British Journal of Music Education 4, no. 3 (November 1987): 229–42. http://dx.doi.org/10.1017/s0265051700006069.
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Although not developed specifically with musicians in mind, Alexander Technique has come to be associated with musical performers and with the problems of tension they may experience. In this article the author, a cellist and a cello teacher who has herself been helped by therapy based upon Alexander principles, acknowledges the special value that the technique has for musicians and demonstrates this by reference to the needs of string players. She goes on to show how other performers may benefit, and how F. M. Alexander's ideas can be particularly important for singers. She enlarges this view to take in a wider range of musical education and, arguing that singing has, of late, been sadly neglected in schools, illustrates the potential of the Alexander principles through a detailed account of how one child was helped to ‘find her voice’and how, in succeeding, she was able to increase her confidence in many other areas besides music.
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Moore, M., L. DeHaan, T. Ehrenberg, L. Gross, and C. Magembe. "Clinical Assessment of Shoulder Impingement Factors in Violin and Viola Players." Medical Problems of Performing Artists 23, no. 4 (December 1, 2008): 155–63. http://dx.doi.org/10.21091/mppa.2008.4032.
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Objective: To describe several clinical tests and predisposing factors for shoulder impingement syndrome in violin and viola players. Subjects: Ten musicians (7 females, 3 males) and 18 controls (8 females, 10 males), all college-aged. Methods: Subjects were interviewed about their music-playing history and shoulder pain. Four clinical assessment tests were performed on both shoulders: Neer impingement text (maximal flexion +/- pain), shoulder internal rotation with over-pressure (end-feel and +/- pain), lower trapezius muscle strength (ft-lbs of torque from manual dynamometer), and forward shoulder posture (height of acromion from plinth with subject supine). Analysis: Descriptive analysis of questionnaire data, plus two-sample t-tests for manual shoulder assessment tests in musicians versus controls. Also comparisons of music-playing history in musicians with and without shoulder impingement. Results: Seventy percent of musicians reported pain somewhere in the upper limb, with 50% in the left shoulder and 30% in the right shoulder. Thirty percent of musicians had a positive Neer impingement test, while 0% of controls did. There was a significant phi (Φ) correlation between being a musician and having a higher incidence of shoulder impingement (p<0.01 for bowing arm, p<0.05 for left arm). Those musicians with a positive impingement test also had pain with over-pressure in internal rotation, indicating a chronic condition. Musicians' mean playing time was 9.8 hr/wk, with 14 min/hr of rest. Musicians with impingement tended to play more hours per week, but differences in playing time and rest were not significant. t-Tests showed no significant difference in lower trapezius strength or degree of forward shoulder between musicians and controls. Conclusions: Upper string players are at increased risk for shoulder impingement.
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Lynch, Tosca. "‘Without Timotheus, Much of Our Melopoiia Would not Exist; But without Phrynis, There Wouldn’t Have Been Timotheus’." Greek and Roman Musical Studies 6, no. 2 (August 24, 2018): 290–327. http://dx.doi.org/10.1163/22129758-12341324.
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Abstract In this paper, I offer a close discussion of the musical innovations attributed to Phrynis, Timotheus and other ‘New Musicians’ mentioned in a famous fragment of Pherecrates’ Chiron, interpreting this fascinating passage in the light of the extant evidence about ancient harmonic theory and practice, as well as the latest research findings. More specifically, I shall advance a new hypothesis concerning the nature of Phrynis’ innovative ‘twister’ (strobilos): producing a special bending (kampē) of a semitone, this gadget allowed Phrynis to combine five different harmoniai (Dorian, Phrygian, Lydian, Iastian and ‘Loose Lydian’) in one and the same twelve-string tuning. Making a subtle modification to this device, Timotheus further expanded the harmonic palette of his twelve-string kithara, introducing the lamenting aulos-mode par excellence, the Mixolydian, into the realm of lyre music. Philoxenus increased this system by adding an extra string, reaching the 13-step arrangement that is at the heart of Aristoxenian harmonic theory.
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Bolshakova, T. V. "Formation of performance on string-plucked instruments in Kharkiv (based on periodicals of the mid-XIX — early XX centuries)." Culture of Ukraine, no. 76 (June 29, 2022): 126–38. http://dx.doi.org/10.31516/2410-5325.076.14.
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The purpose of this article is to learn the chronology of introduction in the musical-cultural way of life of Kharkiv of Western European and the Eastern European stringed instruments (zither, guitar, mandolin, balalaika, domra). The study of chronology is aimed at a more active introduction of the facts of use of string-plucked instruments in Kharkiv into the scientific circulation.
The methodology for writing this article is the combination of comparative, cultural and historical, musicological approaches and methods.
The result of scientific research of this article is demonstration of chronology of activities in Kharkiv of musicians-tourers, who were performers and teachers of play on the string-plucked instruments. The concert activity of amateur Kharkiv bands was analyzed. The mass implementation of ensembles and orchestras of guitarists — mandolinists — balalaika players in the early XX century is noted. Affinity of formation of such ensembles and orchestras in Kharkiv with Western European ensembles and orchestras is emphasized. The evolution of the development of amateur performance on string-plucked instruments in the largest cultural center of Slobozhanshchyna is traced. The number of names of musicians — tourers and local performers, teachers, heads of visiting professional and Kharkiv amateur groups of the late XIX and early XX centuries is entered into scientific circulation. The combination of Western European and local factors in the distribution and popularization of ensembles and orchestras of guitarists — mandolinists — balalaika players on the territory of Kharkiv was emphasized. Influence of Western European bands and tourers — performers on zither, guitar, mandolin on instillation and consolidation of local amateurs and, subsequently, the first professionals’ interest to the national folk string-plucked instruments is revealed. The increase in the popularity of string-plucked ensembles and orchestras among various social strata of Kharkiv society — apprenticeships, students, workers of various industries, Kharkiv intelligent environment is indicated. The mainly charitable activities of such string-plucked is emphasized. The repertoire of such groups is highlighted.
The scientific novelty. For the first time, a chronology of the activities of touring musicians — performers on zither, guitar, mandolin and teachers playing these and similar instruments is traced. The concert activity of amateur Kharkiv bands was highlighted and analyzed according to chronology, the mass implementation of ensembles and orchestras of guitarists — mandolinists — balalaika players in the early XX century is noted. The affinity of principles in the compositions of such collectives in Kharkiv with Western European ones is defined.
The practical significance of the article. The results of the study can be used in lecture courses on the history of folk instrumental performance, the history of the development of folk instruments in Slobozhanshchyna, the history of intercultural relations in the field of musical art.
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Chang, Andrew, Steven R. Livingstone, Dan J. Bosnyak, and Laurel J. Trainor. "Body sway reflects leadership in joint music performance." Proceedings of the National Academy of Sciences 114, no. 21 (May 8, 2017): E4134—E4141. http://dx.doi.org/10.1073/pnas.1617657114.
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The cultural and technological achievements of the human species depend on complex social interactions. Nonverbal interpersonal coordination, or joint action, is a crucial element of social interaction, but the dynamics of nonverbal information flow among people are not well understood. We used joint music making in string quartets, a complex, naturalistic nonverbal behavior, as a model system. Using motion capture, we recorded body sway simultaneously in four musicians, which reflected real-time interpersonal information sharing. We used Granger causality to analyze predictive relationships among the motion time series of the players to determine the magnitude and direction of information flow among the players. We experimentally manipulated which musician was the leader (followers were not informed who was leading) and whether they could see each other, to investigate how these variables affect information flow. We found that assigned leaders exerted significantly greater influence on others and were less influenced by others compared with followers. This effect was present, whether or not they could see each other, but was enhanced with visual information, indicating that visual as well as auditory information is used in musical coordination. Importantly, performers’ ratings of the “goodness” of their performances were positively correlated with the overall degree of body sway coupling, indicating that communication through body sway reflects perceived performance success. These results confirm that information sharing in a nonverbal joint action task occurs through both auditory and visual cues and that the dynamics of information flow are affected by changing group relationships.
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Vasic, Aleksandar. "Music critic Gustav Michel." Muzikologija, no. 4 (2004): 167–95. http://dx.doi.org/10.2298/muz0404167v.
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The writers whose real vocation was not music left significant traces in the history of Serbian music critics and essayism of the late 19th century and the first half of the 20th century. Numerous authors, literary historians theoreticians and critics, jurists and theatre historians, wrote successfully on music in Serbian daily newspapers, literary and other magazines, until the Second World War. This study is devoted to Gustav Michel (1868 - 1926), one of the music amateurs who ought to be remembered in the history of Serbian music critics. Gustav Michel was a pharmacist by vocation. He ran a private pharmacy in Belgrade all his life. But he was a musician as well. He played the viola in the second (in chronological order of foundation) Serbian String Quartet. The ensemble mostly consisted of amateurs, and it performed standard pieces of chamber music (W. A. Mozart L. v. Beethoven, F. Schubert, F. Mendelsohn-Bartholdy, A. Dvo?zak). These musicians had performed public concerts in Belgrade since 1900 up until Michel?s death. Belgrade music critics prised the performances of this string ensemble highly. Gustav Michel was also a music critic. Until now only seven articles, published by this author between 1894 and 1903, in Order (Red), Folk Newspaper (Narodne novine) and Serbian Literary Magazine (Srpski knjizevni glasnik) have been found. Michel?s preserved articles unambiguously prove that their author had a solid knowledge of music theory and history, the knowledge that exceeded amateurism. Nevertheless, Michel did not burden his first critics with expert language of musicology. Later on, in Serbian Literary Magazine, the magazine which left enough room for music, Michel penetrated more into musical terminology, thus educating slowly forming Serbian concert-going public. The analysis of Michel?s texts showed that he was not, in contrast to the majority of professional music critics, an opponent of virtuosity. Gentle and liberal, he did not oppose the National Theatre administrations when they decided to add operettas to its repertoire. Here he also differs from expert critics, for example Miloje Milojevic or Petar Krstic - who led a real crusade against operetta. Michel paid scrupulous attention to correct diction, as an important part of the vocal technique. As a critic, Gustav Michel was inclined to relatively modern music. He was not strict in his judgments of Serbian performers? and composers? achievements; he always took account of very difficult conditions under which the Serbian people, after many centuries of the Turkish occupation, started its cultural and musical emancipation in the 19th century. (He was especially considerate towards novice musicians) However his critical assessment of the genre status of the overture to the first Serbian opera, "Na uranku" ("At Dawn") by Stanislav Binicki, revealed an incisive critic. The weak side of his critic lies in too general language not exact enough for characteristics of musical interpretations. However Gustav Michel was a witty and ironic writer, and his few articles marked the beginning of an expert and modern music critic in Serbia.
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Lesser, Marcia. "The String Musician and Whole Body Consciousness." American String Teacher 61, no. 4 (November 2011): 28–29. http://dx.doi.org/10.1177/000313131106100405.
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Cicchini, G. M., R. Arrighi, L. Cecchetti, M. Giusti, and D. Burr. "Optimal coding of interval timing in expert drummers, string musicians and non-musical control subjects." Journal of Vision 11, no. 11 (September 23, 2011): 1229. http://dx.doi.org/10.1167/11.11.1229.
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Titcomb, Caldwell. "Black String Musicians: Ascending the Scale." Black Music Research Journal 10, no. 1 (1990): 107. http://dx.doi.org/10.2307/779543.
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Rendell, Stanley E. "Modified musical instrument string." Journal of the Acoustical Society of America 77, no. 5 (May 1985): 1980. http://dx.doi.org/10.1121/1.391795.
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Ręka, Gabriela, Piotr Machowiec, Marcela Maksymowicz, and Halina Piecewicz-Szczęsna. "Musicians’ medicine – potential health problems among violinists and violists caused by playing the string instrument – the review of the literature." Journal of Education, Health and Sport 11, no. 12 (December 22, 2021): 273–79. http://dx.doi.org/10.12775/jehs.2021.11.12.020.
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Introduction and purpose
Musicians' medicine has received increasing attention recently. It is known that listening to music or playing an instrument has beneficial effects on cognitive and neural functions. Playing the string instrument demands repetitive precise movements of fingers and arms in a non-ergonomic posture that might give rise to health problems.
The study aims to present the current state of knowledge regarding different potential health problems among violinists and violists. The article reviews the 24 newest scientific publications available on PubMed and Google Scholar.
A brief description of the state of knowledge
The literature review indicated several potential health consequences of excessive playing the violin or viola, as follows: Fiddler's neck and skin allergy, Garrod’s pads, temporomandibular disorders, carpal tunnel syndrome, cubital tunnel syndrome, tennis elbow, compression of the right ulnar nerve in the ulnar (Guyon's) canal, rotator cuff tendonitis, tenosynovitis, bursitis, focal dystonia, thoracic outlet syndrome, bone asymmetry, pain in the neck, cheeks, fingers, wrist, forearm, shoulder, waist, and the back.
Conclusions
Musicians should be aware of potential health problems that occur during prolonged playing the violin or the viola. An important issue is maintaining the accurate proportions between the amount of time spent playing the instrument and resting. The first signs of neurological or musculoskeletal changes should prompt the musician to seek professional medical help to prevent the disorder's progression.
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Gembris, Heiner, Andreas Heye, and Andreas Seifert. "Health problems of orchestral musicians from a life-span perspective." Music & Science 1 (January 1, 2018): 205920431773980. http://dx.doi.org/10.1177/2059204317739801.
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The profession of orchestral musician is often linked to musculoskeletal problems, hearing disorders, and struggles with stage fright. However, data on the prevalence of physical problems are very divergent because of different research methods and sampling procedures. It is to be expected that physical problems generally increase with age, but the literature on medical issues that affect musicians contains very few studies on this aspect. In light of this, the data produced by a cross-sectional study of 2,536 musicians from 133 professional symphony orchestras in Germany were analyzed with regard to a number of health aspects. The data from 894 female (36%) and 1,607 male (64%) professional orchestral musicians aged between 20 and 69 ( M = 45.5, SD = 9.52) were used to study physical problems, their duration and intensity, and psychological difficulties (such as pressure to perform in the orchestra and stage fright) in conjunction with variables such as age, gender, instrument family, position in the orchestra, and category of orchestra. The various health problems were also examined in relation to health behaviors, including preventative actions taken (nutrition, sleep, etc.). The results showed that more than one in two (55%) of the orchestral musicians who took part in the survey were suffering at the time from physical problems that affected their playing. The prevalence increased significantly with advancing age, and string players and harpists had an above-average frequency of experiencing physical problems. Interestingly, there was no significant correlation between the severity of problems and different health behaviors (including preventative action). Around half (49%) of the orchestral musicians said they felt the pressure to perform was intensifying, something that they partly attributed to an increase in artistic demands. The findings are discussed with reference to existing empirical results, potential methods of prevention and treatment, social aspects, and health-care policies.
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JOHANSSON, BARBRO B. "Music and brain plasticity." European Review 14, no. 1 (January 3, 2006): 49–64. http://dx.doi.org/10.1017/s1062798706000056.
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Complex and widespread activation in many brain areas is seen while performing, listening or mentally imaging music, activity that varies with training, previous exposure, personal preference, emotional involvement and many other factors. Playing a musical instrument demands extensive motor and cognitive abilities, and early musical learning results in plastic reorganization of the developing brain – one example being the increased cortical representation area for the left little finger in (right-handed) string-players, which correlates with age at the start of training. Even though the developing brain has the most pronounced changes, the adult healthy brain has a considerable plasticity. Conductors have superior spatial tuning compared with non-musicians and pianists. Attentive listening to music for as little as three hours can temporarily alter the auditory cortex. Interactions between genetic predisposition, environment and training play a role in music as in other areas. It has been proposed that musical training may improve other cognitive functions. There is some evidence that this may be the case but it is an area that needs further exploration.
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Lupone, Michelangelo, Laura Bianchini, Silvia Lanzalone, and Alessio Gabriele. "Research at Rome's Centro Ricerche Musicali on Interactive and Adaptive Installations and on Augmented Instruments." Computer Music Journal 44, no. 2-3 (2020): 133–58. http://dx.doi.org/10.1162/comj_a_00570.
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Abstract Established in 1988 by composers Laura Bianchini and Michelangelo Lupone, the Centro Ricerche Musicali (CRM) in Rome was officially recognized in 1990 as a Music Research Center by the Ministry for University Education and Scientific and Technological Research. The Center focuses on musical production in relation to new technologies, in order to create a continual interaction among musical language, scientific thought, and technological resources. The staff at CRM, comprising musicians, technicians, visual artists, architects, information technology specialists, engineers, and researchers, aim to promote study of the aesthetic, analytical, and scientific aspects of music. In the beginning, research at CRM concerned the design and development of specific hardware devices for live electronics and composition, such as the Fly10 (1983–1985) and Fly30 (1990) systems. Subsequent studies on a physical model for the bow-and-string system in 1997 gave rise to the development of virtual musical instruments. From 1999 onwards, other areas of research have included interactivity and adaptivity applied to musical forms, the development of specific technologies for sound art installations and sculptural–musical works, and augmented instruments such as the Feed-Drum, SkinAct, WindBack, and ResoFlute. This article presents a brief history of CRM and some artistic productions by composers working at the Center.
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Semergeev, Valery B., and Gennady K. Afanasiev. "TRADITIONS OF BALALAIKA ART IN OREL." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 197–202. http://dx.doi.org/10.17223/22220836/39/18.
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The role of a musical instrument in the development, preservation and revival of the native cul-ture, in the establishment of esthetic consciousness of multinational Russia’s peoples is difficult to overestimate. Balalaika has won the audience’s hearts, and today it is difficult to find balalaika admirers who are not familiar with performances of accomplished balalaika players – People’s Artist of the USSR, the laureate of state prize, Professor P.I. Necheporenco, People’s Artist of Russia, Pro-fessor E.G. Blinov, and their many students and followers. Orel is home of one of the oldest educational institutions in Russia – Orel Musical College, which, according to the archive documents of Orel and St. Petersburg, was founded in 1877. The good name of the College is supported by its today’s students and teachers. It is here where Orel’s balalaika education was established and developed. In August 1953, on the initiative of the Main Department for Arts of the Ministry of Culture of the Russian Federation, the graduate of the Department of String Musical Instruments of Oktyabrskaya Revolutsiya Music College (now “A.Schnittke Moscow State Institute of Music”) Vera Ivanovna Max-imova came to Orel. It was V.I. Maximova who took charge of creating the string folk music instru-ments class. She also taught domra and balalaika class and was the head of the folk music instruments orchestra of the College. She traveled a lot seeking out young talents in the districts of the Region. Lukonina Lubov Ivanovna, a famous teacher in Orel, combines her work in the ensemble “Or-lovski Suvenir” (“Orel Souvenir”) with educating younger generation of musicians and teachers of Orel. Following their teacher’s traditions, L.I. Lukonina’s students participate in various contests and become laureates. The graduate of Orel Music College, Nadezhda Mikhailovna Kovaleva carries on the work of A.V. Dorofeev and V.I. Maximova. In 1969 she enters the Tambov Branch of Moscow Institute of Culture. For family reasons she interrupts her studies and continues her education at the Orel Branch of Moscow Institute of Culture (now Orel State Institute of Culture). Alexander Alexandrovich Somov is one of the few balalaika players who, for many years, is demonstrating excellent performing skills, stability, brilliant virtuoso technique, impeccable musical taste, artistry. It is amazing how sonorous the voice of the balalaika becomes when it is in the hands of the virtuoso performer and propagandist of this Russian beauty. Stacatto dance tunes and brooding reverie, vigorous energy and strict simplicity fill the musician’s play. Graduating from V.S. Kalinnikov Music School in Orel, balalaika class of N.M. Kovaleva, he entered Orel Music College, the class of L.I. Lukonina. After the graduation A.A. Somov served his military service and entered Rostov State Music Institute (now Rostov State Conservatory. Rachmaninov). He was enrolled in the class of the famous balalaika player, Honored Artist of Russia, rector – А.S. Danilov. At the Institute he worked in the ensemble “Dontsi” (artistic director – Honored Worker of Culture of the Russian Federation, A.P. Kolontaev). Selina Galina Ivanovna is one of those prominent musicians-teachers who are capable of encouraging love for music in their students. She is sincerely involved in her work, which is aimed at bringing both professional skills and rich musical knowledge to students. In Orel there is a professional orchestra of folk music instruments, which is the first orchestra of this kind in the history of the Orel Region. It engages Orel’s best musicians and teachers. The first performance of the professional orchestra of folk music instruments took place in Orel on November 5, 1987. The orchestra was created on the basis of the Region’s musical society. In January 1991, by the decision of the administrative bodies of Orel, it received the status of the munici-pal orchestra. The founder and artistic director of the ensemble is Honoured Art Worker of Russia, Professor of the Orel State Institute of Culture, Viktor Kirianovich Suchoroslov. Orel’s educators are trying to revive and spread the native Russian traditions of instrumental per-formance and enrich them with high performing culture. Creative and pedagogical activities of balalai-ka players in the Orel Region convincingly show the high professional level of musicians. Teachers of modern children's art schools, College of Culture and Arts, Music College and Orel State Institute of Culture are highly qualified, competent and dedicated professionals who inspire their students. Crea-tive and pedagogical activities of balalaika players in Orel contribute to further preservation and development of this type of performing art.
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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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Möller, Dirk, Nikolaus Ballenberger, Bronwen Ackermann, and Christoff Zalpour. "Potential Relevance of Altered Muscle Activity and Fatigue in the Development of Performance-Related Musculoskeletal Injuries in High String Musicians." Medical Problems of Performing Artists 33, no. 3 (September 1, 2018): 147–55. http://dx.doi.org/10.21091/mppa.2018.3021.
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BACKGROUND: Muscle fatigue seems to be a risk factor in the development of performance-related musculoskeletal disorders (PRMDs) in musicians, but it is unclear how muscle activity characteristics change between musicians with and without PRMDs over a prolonged playing period. PURPOSE: To investigate muscle activity patterns in muscles of the arms, shoulder, and back of high string musicians during prolonged performance. METHODS: Fifteen professional or university high string musicians were divided into PRMD and non-PRMD groups. All musicians played a chromatic scale, then an individual “heavy” piece for 1 hr, and finally the chromatic scale again. Surface electromyography (sEMG) data were recorded from 16 muscles of the arm, shoulder, and trunk on both sides of the body. Two parameters were analyzed: the percentage load in relation to the respective maximum force during the chromatic scale, and the low-frequency spectrum to determine the fatigue behavior of muscles during the 1-hr play. RESULTS: Changes in muscle activation patterns were observed at the beginning and end of the trial duration; however, these varied depending on whether musicians had PRMDs or no PRMDs. In addition, low-frequency spectrum changes were observed after 1 hr of playing in the PRMD musicians, consistent with signs of muscular fatigue. CONCLUSION: Differences in muscle activity appear between high string musicians with and without PRMDs as well as altered frequency spectrum shifts, suggesting possible differential muscle fatigue effects between the groups. The applied sEMG analysis proved a suitable tool for detailed analysis of muscle activation characteristics over prolonged playing periods for musicians with and without PRMDs.
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Lee, Han-Sung, Ho Youn Park, Jun O. Yoon, Jin Sam Kim, Jae Myeung Chun, Iman W. Aminata, Won-Joon Cho, and In-Ho Jeon. "Musicians' Medicine: Musculoskeletal Problems in String Players." Clinics in Orthopedic Surgery 5, no. 3 (2013): 155. http://dx.doi.org/10.4055/cios.2013.5.3.155.
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AASLID, VILDE. "The Poetic Mingus and the Politics of Genre in String Quartet No. 1." Journal of the Society for American Music 9, no. 1 (February 2015): 1–25. http://dx.doi.org/10.1017/s1752196314000522.
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AbstractIn 1972, the Whitney Museum of American Art commissioned new musical settings of poems by Frank O'Hara for a concert honoring the late poet. Among pieces by Virgil Thomson and Ned Rorem, the program featured a new work by Charles Mingus: his String Quartet No. 1. Mingus's piece was performed only once, at that concert, and was never recorded. It survives only in manuscript form.String Quartet No. 1 thwarts nearly all expectations of a piece by Mingus. Scored for strings and voice, the work's modernist approach to rhythm and pitch is unprecedented for the composer. Mingus chafed at being categorized as a “jazz” composer, and String Quartet No. 1's style is both a bid for and an undermining of the prestige of the high art world. Faced with primitivist discourses that characterized jazz musicians as unschooled and nonverbal, Mingus deployed poetry as a mode of resistance. He worked with poetic texts throughout his life, often writing the poetry himself. Mingus's sensitive setting of O'Hara's text in String Quartet No. 1 points to the centrality of poetry to Mingus's artistic and political project, and suggests that the piece's anomalous style can be partially understood as his response to O'Hara's text.
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Jablonski, Vincent. "Mute for string musical instrument." Journal of the Acoustical Society of America 83, no. 1 (January 1988): 406. http://dx.doi.org/10.1121/1.396217.
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