Earlier studies have shown that musically trained individuals may have a benefit in adverse listening situations when compared to non-musicians, especially in speech-on-speech perception. However, the literature provides mostly conflicting results. In the current study, by employing different measures of spoken language processing, we aimed to test whether we could capture potential differences between musicians and non-musicians in speech-on-speech processing. We used an offline measure of speech perception, which reveals a post-task response, and online measures of real (...) time spoken language processing: gaze-tracking and pupillometry. We used stimuli of comparable complexity across both paradigms and tested the same groups of participants. In the sentence recall task, musicians recalled more words correctly than non-musicians. In the eye-tracking experiment, both groups showed reduced fixations to the target and competitor words’ images as the level of speech maskers increased. The time course of gaze fixations to the competitor did not differ between groups in the speech-in-quiet condition, while the time course dynamics did differ between groups as the two-talker masker was added to the target signal. As the level of two-talker masker increased, musicians showed reduced lexical competition as indicated by the gaze fixations to the competitor. The pupil dilation data showed differences mainly in one target-to-masker ratio. This does not allow to draw conclusions regarding potential differences in the use of cognitive resources between groups. Overall, the eye-tracking measure enabled us to observe that musicians may be using a different strategy than non-musicians to attain spoken word recognition as the noise level increased. However, further investigation with more fine-grained alignment between the processes captured by online and offline measures is necessary to establish whether musicians differ due to better cognitive control or sound processing. (shrink)

Our private perception of listening to an individualized playlist during a jog is very different from the interaction we might experience at a live concert. We do realize that music is not necessarily a performing art, such as dancing or theater, while our demands regarding musical performances are conflicting: We expect perfect sound quality and the thrill of the immediate. We want the artist to overwhelm us with her virtuosity and we want her to struggle, just like a human. We (...) want to engage with the musical expression and rely on visual and physical cues. Considering that the ears of today's listeners are used to technologically mediated music, in this paper I explore the unique qualities of musical live performances and examine if our conception allows for new mechatronic inventions, in particular robotic musicians, to participate in this art form. Some of Godlovitch's main thoughts expounded in his work on "musical performance" [11] serve as a reference and starting point for this investigation. His concept of `personalism', which deprives computer-/program-based musical performances from expressive potential and creative accomplishment is an issue that I want to challenge by pointing out new approaches arising from a reective discourse on technology, embodiment and expression. The enquiry conducted illustrates, how in reasoning about machine performers and algorithmic realization of music, we also examine the perceptual, physical and social aspects of human musicianship, reconceptualizing our understanding of a musical live performance. (shrink)

The virtues and vices examined in Prostitutes, Musicians, and Self-Respect pervade and govern daily life, refer to our own person, and involve strong emotions. Kupfer analyzes such character traits as humility, gratitude, envy and sentimentality and explores themes of self-knowledge and self-respect.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Musician and Teacher: An Orientation to Music EducationBrent GaultPatricia Shehan Campbell (with chapters contributed by Steven M. Demorest and Steven J. Morrison), Musician and Teacher: An Orientation to Music Education (New York, NY: W. W. Norton and Company, 2008)If one were to review the course content of undergraduate music education programs at various colleges and universities, an "Introduction to Music Education" or "Foundations of Music Education" course would (...) most likely be included. This course often serves a variety of functions for a given program. It can provide students with an overview of the various instructional settings found in the music education profession and introduce theoretical information regarding student development and learning. Foundation courses often review historical and philosophical information, allow students to develop their own justifications regarding why music should be part of a school program, and present information regarding practical issues in the music teaching profession including assessment, planning for instruction, use of technology, and working with diverse learning situations.Because the curricular content within given foundation courses can be quite varied, finding a text that is broad enough to cover the myriad of topics that might be addressed in this type of course yet detailed enough to make each topic meaningful is a true challenge. While no single text can truly meet all needs [End Page 213] that are unique to each instructional setting, Patricia Shehan Campbell's Musician and Teacher: An Orientation to Music Education is an example of a text that succeeds in both providing a broad view of the music education profession while also presenting specific and meaningful information related to each topic addressed within its pages.One of the unique aspects of this book is Campbell's attempt throughout the text to discuss music education from personal, theoretical, and global perspectives. Many of the chapters utilize case descriptions of music education students and practicing teachers to highlight the theoretical ideas discussed in the text. In addition, Campbell relates learning theories and instructional approaches not only to instructional settings within the United States but throughout the world so that the reader can see both similarities and differences in how music is experienced in each setting.The first six chapters of the text deal with general principles related to the music education profession. An opening chapter sets the stage by discussing the decision to become a music educator, relating this decision to the personal stories of five individuals, and describing the qualities that can lead to a successful career in music education. The second chapter, "Great Minds on Music Education," provides an overview of the philosophical arguments for music education. Campbell uses this chapter to relay the ideas of perennial figures commonly identified with music education philosophy including John Blacking, Christopher Small, Bennett Reimer, Keith Swanwick, David Elliott, and Estelle Jorgensen, and adds to this a description of the views of political leaders, scholars, and thinkers throughout the world. In addition to discussing the views of Plato, Aristotle, Boethius, and Lowell Mason, Campbell also includes the ideas of Hildegard von Bingen, Akbar the Great (India), Chulalongkorn (Thailand), and Nelson Mandela to provide a richer portrait of how members of cultural communities throughout the world experience and value music.Continuing with this global perspective, Campbell uses the third chapter to discuss the ways that communities transmit music via formal, nonformal, and natural learning. These three ways of transmitting knowledge are similar to the ideas she described related to Bateson (Learning I, II, and III) and Merriam (enculturation, training, and schooling) in Lessons from the World. 11 After defining these approaches to learning, Campbell describes several learning contexts both past (Medieval Europe) and present (West Africa) to illustrate how formal, nonformal, and/or natural learning is utilized. The cross cultural comparison continues in Chapter Four, as Campbell describes various systems of music education in Africa, Asia, Australia, Europe, North America, and South America to illustrate similarities and differences related to standards for education, goals for instruction, and allotment of instructional time and resources.After providing this global view related to approaches to learning and systems [End Page 214] of instruction, the fifth chapter attempts to personalize music education through vignettes of music programs... (shrink)

This article has interrogated the prophetic role of musicians in Zimbabwe’s political discourse with Winky D’s latest album Eureka Eureka (which was launched on 31 December 2022) being the case study. Two tracks (Dzimba Dzemabwe and Ibotso) have been singled out for analysis. The message of John the Baptist in Luke 3:7–14 has been used as the framework for understanding the prophetic phenomenon of the 1st century AD Palestinian environment. The article has employed the comparative methodology in comparing these (...) two distant figures. The fivefold process of selection, description, juxtaposition, redescription, and rectification and theory formation has been employed as steps in doing a comparative study. The study identified some notable similarities as well as some differences in the messages of Winky D and John the Baptist and concluded that Winky D’s message played a prophetic role in the Zimbabwean political discourse in a similar way that the message of John the Baptist in Luke 3:7–14 played in the 1st century AD Palestinian context. Contribution: The article concluded that Winky D in his album Eureka Eureka played well the prophetic role in the political landscape of Zimbabwe. (shrink)

Literature suggests that music performance anxiety is prevalent in adolescence, a developmental period with increased likelihood of experiencing anxiety under evaluative conditions. Evidence also indicate that individuals may respond to evaluative situations in distinct ways. Factors contributing to the individuality of responses in evaluative situations are not yet fully understood. This study investigated student typologies in adolescent instrumental learners. Participants included 410 learners who completed the Young Musicians’ Performance Questionnaire. K-Means cluster analysis revealed three typologies: Cluster 1 – moderately (...) anxious students evidencing lower levels of motivation and feeling ineffective but guarding their self-esteem; Cluster 2 – highly anxious students evidencing negative self-perceptions and being susceptible to experiencing maladaptive MPA; Cluster 3 – low anxious students evidencing high levels of motivation and confidence and inclined toward experiencing adaptive MPA. The 3-cluster solution effectiveness was validated with discriminant analysis. Significant associations between examination achievement and cluster membership revealed variations between clusters. Thematic analysis of qualitative data facilitated further understanding of their characteristics. This study adds to the body of MPA literature by exploring the different ways with which adolescent musicians interpret and respond to anxiety inducing situations. Findings have implications for clinical and educational practice. (shrink)

Introduction: The eloquent musician -- In the realm of the passions -- The principles of eloquence : the artist's toolbox -- Bach's expressive language -- Bach's inner world -- Enhancing eloquence in performance (elocutio) -- Figures spinning straw into gold -- The expressive gesture -- Kairos : expressive timing -- To kindle the heart : engagement in performance -- Analyzing expression in period recordings of Bach's cantatas.

By using multilevel mediation involving 322,589 posts made by 384 musicians over 104 weeks, we simultaneously analyze the short-term and long-term effects of charity-related signaling on sales, with social media engagement as the mediator. Specifically, we compare the effects of charity-related signals with those of two other types of signals: mission-related (i.e., promoting music and commercial products) and non-mission-related (i.e., other posts that do not relate to the other two categories). In the short term, the indirect effect of using (...) charity signaling on sales (through engagement) is positive, though smaller than the effects of mission-related and non-mission related signals. However, in the long term, the indirect effect of regularly using charity-related signaling on sales (through long-term engagement) is greater than for the effects involving the other types of signals. We derive from these findings three main implications for the business ethics literature. First, in the long term, the mutual economic benefits of charity signaling should encourage both entities (i.e., musicians and charities) to go beyond short-term, transactional philanthropy. Second, because it is profitable for musicians to partner with charities in the long-term, our research argues that charities have extensive bargaining power in such co-branding decisions. Third, our research highlights the importance of studying the longitudinal aspects of co-branding decisions involving non-profit organizations; the financial outlook of such decisions could greatly vary depending on the timeframe (i.e., short vs. long). (shrink)

The purpose of the study is to explore a new research methodology that will improve our understanding of “flow” through indicators of physiological and qualitative state. We examine indicators of “flow” experienced by musicians of a youth string quartet, two women (25, 29) and two men (23, 24). Electrocardiogram (ECG) equipment was used to record heart rate variability (HRV) data throughout the four movements in one and the same quartet performed during two concerts. Individual physiological indicators of flow were (...) supplemented by assessments of group “state flow” (means from standardized questionnaires) and a group interview in which the musicians provided qualitative data. A matrix was constructed for the characterization of different kinds of demands in the written music in each one of the four movements for each one of the musicians. HRV derived from ECG data showed non-significant trends for group state flow across the eight musical episodes. Individual-level analysis showed that compared to the other players the first violin player had the highest mean heart rate and the lowest increase in high frequency (HF) power in HRV during this particular movement, particularly during the second concert. The qualitative data illustrated how an interplay of synchronized social interactions between this player and their colleagues during the musical performance was associated with a feeling of group state flow and served to support the first violinist. The case illustrates that the proposed mixed methodology drawing on physiological and qualitative data, has the potential to provide meaningful information about experiences of a flow state, both at individual and group levels. Applications in future research are possible. (shrink)

To this day, the study of the substratum of thought and its implied mechanisms is rarely directly addressed. Nowadays, systemic approaches based on introspective methodologies are no longer fashionable and are often overlooked or ignored. Most frequently, reductionist approaches are followed for deciphering the neuronal circuits functionally associated with cognitive processes. However, we argue that systemic studies of individual thought may still contribute to a useful and complementary description of the multimodal nature of perception, because they can take into account (...) individual diversity while still identifying the common features of perceptual processes. We propose to address this question by looking at one possible task for recognition of a “signifying sound”, as an example of conceptual grasping of a perceptual response. By adopting a mixed approach combining qualitative analyses of interviews based on introspection with quantitative statistical analyses carried out on the resulting categorization, this study describes a variety of mental strategies used by musicians to identify notes’ pitch. Sixty-seven musicians (music students and professionals) were interviewed, revealing that musicians utilize intermediate steps during note identification by selecting or activating cognitive bricks that help construct and reach the correct decision. We named these elements “mental anchorpoints”. Although the anchorpoints are not universal, and differ between individuals, they can be grouped into categories related to three main sensory modalities – auditory, visual and kinesthetic. Such categorization enabled us to characterize the mental representations that allow musicians to name notes in relationship to eleven basic typologies of anchorpoints. We propose a conceptual framework which summarizes the process of note identification in five steps, starting from sensory detection and ending with the verbalization of the note pitch, passing through the pivotal role of mental anchorpoints and mental representations. We found that musicians use multiple strategies and select individual combinations of mental anchorpoints belonging to these three different sensory modalities both in isolation and in combination. (shrink)

Cultivated by Hand aligns the overlooked history of amateur musicians in the early years of the United States with little-understood practices of music book making. It reveals the pervasiveness of these practices, particularly among women, and their importance for the construction of gender, class, race, and nation.

New technologies, new musicians -- Aural awareness -- Organizing sound -- Creating music -- Performing -- Cultural context -- Critical engagement -- The digital musician -- Projects and performance.

Seeking to expand on previous theories, this paper explores the AIR (Applying Intelligence to the Reflexes) approach to expert performance previously outlined by Geeves, Christensen, Sutton and McIlwain (2008). Data gathered from a semi-structured interview investigating the performance experience of Jeremy Kelshaw (JK), a professional musician, is explored. Although JK’s experience of music performance contains inherently uncertain elements, his phenomenological description of an ideal performance is tied to notions of vibe, connection and environment. The dynamic nature of music performance advocated (...) by the AIR approach is illustrated by the strategies that JK implements during performance. Through executing these strategies, JK attempts to increase the likelihood of vibe and connection by selectively exercising agency over performance variables within his control. In order to achieve this, JK must engage in ongoing monitoring of his performance, whereby the spotlight of his attention pans across a vast array of disparate performance processes (and levels within these processes) in order to ascertain how he can most effectively meet the specific demands of a given performance situation. It is hoped that future research compiling data from numerous interviews and sources as well as using different research methodologies will further unlock the potential that the AIR approach holds for understanding expert performance. (shrink)

This study compared 30 older musicians and 30 age-matched non-musicians to investigate the association between lifelong musical instrument training and age-related cognitive decline and brain atrophy. Although previous research has demonstrated that young musicians have larger gray matter volume in the auditory-motor cortices and cerebellum than non-musicians, little is known about older musicians. Music imagery in young musicians is also known to share a neural underpinning [the supramarginal gyrus and cerebellum] with music performance. Thus, (...) we hypothesized that older musicians would show superiority to non-musicians in some of the abovementioned brain regions. Behavioral performance, GMV, and brain activity, including functional connectivity during melodic working memory tasks, were evaluated in both groups. Behaviorally, musicians exhibited a much higher tapping speed than non-musicians, and tapping speed was correlated with executive function in musicians. Structural analyses revealed larger GMVs in both sides of the cerebellum of musicians, and importantly, this was maintained until very old age. Task-related FC analyses revealed that musicians possessed greater cerebellar-hippocampal FC, which was correlated with tapping speed. Furthermore, musicians showed higher activation in the SMG during MWM tasks; this was correlated with earlier commencement of instrumental training. These results indicate advantages or heightened coupling in brain regions associated with music performance and imagery in musicians. We suggest that lifelong instrumental training highly predicts the structural maintenance of the cerebellum and related cognitive maintenance in old age. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Musician's Way: A Guide to Practice, Performance, and WellnessSusanna P. GarciaGerald Klickstein, The Musician's Way: A Guide to Practice, Performance, and Wellness (Oxford University Press: New York, 2009)Directed towards college music majors studying the Western classical tradition, The Musician's Way articulates both an artistic approach to attaining mastery of an instrument/voice and a practical approach to achieving professional goals. Its treatment of these topics is comprehensive, addressing, (...) in addition to practical needs, the physical and psychological demands of functioning as a professional musician. Gerald Klickstein, a classical guitarist and teacher at the University of North Carolina School of the Arts, says that he intends the book to be "a beacon on your journey towards limitless artistic growth" (p. vi).The Musician's Way is organized into three sections: "Artful Practice," "Fearless Performance," and "Lifelong Creativity." Klickstein treats these subjects, not as separate and unrelated topics, but as interdependent elements necessary for long-term musical success. The Musician's Way is uniquely holistic. It encourages aspiring musicians to approach their study as a process that will take place over the course of a lifetime. The Musician's Way is not a research-based text. It is rather a practical self-help manual, filled with the wisdom gained in Klickstein's thirty years in the performing and teaching professions.At the outset, I should state that I am writing this review from two perspectives: [End Page 100] as a professor of piano at a mid-size public university, and as an experienced performer with a touring piano-duo. These experiences inform my critique of Klickstein's book.In "Artful Practice," Klickstein takes on the heroic task of defining both the 'what' and the 'how' of practicing. Mastery of the art of practicing is a precondition for musical success, yet it is not uncommon for students to enter college poorly schooled in the habits they will need for success in school and the professional world. In my undergraduate piano studio, for example, much of a student's first semester or even a full year may be spent acquiring proper practice and repertoire management techniques. Many students are unaware that artistic performance requires more than correct notes and rhythms. The habit of empty repetitions—playing something over and over again without setting specific goals or applying any critique—is common. Some students do not possess the listening skills necessary to enable critical assessments about their performance. For others, memorization requirements pose a serious challenge. This is often exacerbated by a lack of knowledge of theory or poor general musicianship skills. Managing a large body of repertoire in preparation for juries and recitals is a new frontier. Many students are unaccustomed to a more demanding practice and rehearsal schedule. A sudden increase in time spent on their instrument may result in temporary injury or chronic pain. There are, of course, many other psychological and social issues that arise when students transition to university life.Klickstein understands this and he attempts to quantify every facet of practicing in painstaking detail. No element is too small to warrant inclusion in one of his many lists and subsequent discussions. Initially, I found this penchant tedious. However, there were always items on his list that I would not have thought to mention to a student. For example, Klickstein's advice on outfitting a practice room lists the obvious necessities: a suitable chair, music stand, metronome, and pencil. However, he also discusses equally essential yet sometimes overlooked items, such as a bottle of water, adequate lighting and climate control, and hearing protection. This mundane example is illustrative of the meticulousness of his approach throughout the book.One of the most useful proposals in The Musician's Way involves the organization of practice sessions. Many students habitually prepare for very short term goals: lessons, studio class performances—whatever is just around the next corner. Juries, in which students are expected to prepare a short program of compositions, are intended to be a step along the way to longer, more significant performances such as upper division barriers and junior and senior recitals. Students have difficulty managing their practice time to continuously cycle... (shrink)

The present study examines the prevalence, localization, frequency, and intensity of playing-related pain in a sample of high-performing young musicians. We also address coping behavior and communication about PRP between young musicians, teachers, parents, and other people, such as friends. The aim is to provide information on PRP among high-performing musicians in childhood and adolescence, which can serve as a basis for music education, practice, and prevention in the context of instrumental teaching and musicians’ health. The (...) study is part of a large-scale study with highly musically gifted participants at the national level of the “Jugend musiziert” contest. For data analyses, we used descriptive statistics, correlations, Chi2-tests, principal component analysis, Kruskal–WallisHtests, and multivariate regression. About three-quarters of the surveyed participants stated that they had experienced pain during or after playing their instrument. Female musicians were significantly more frequently affected than male musicians. With increasing age, the prevalence of PRP rises from 71 percent to 85 percent. Regarding localization of pain, results are in line with many other studies with musculoskeletal problems the most common. Furthermore, data show a clear relationship between the duration of practice and the prevalence of PRP. Our study found averages of 7:18 h/week, whereas mean values of the duration of practice vary considerably between different instruments. The variance in practice duration is very large within the different instruments. Thus, when researching PRP, it is necessary to consider both the differences between different groups of instruments in the average duration of practice as well as the very large inter-individual variation in the duration of practice within a given instrument group. While just over half of the young musicians felt they had been taken seriously, 32 percent felt that their complaints were not completely taken seriously, and 12 percent did not feel taken seriously at all. Therefore, it is necessary to improve communication and information about PRP to prevent PRP and counteract existing complaints. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume's Metaphysical Musicians E. W. Van Steenburgh Having argued to the possible existence ofmathematical points, Hume concedes that checking for their actual existence is difficult because of the minuteness. He writes: the points, which enter into the composition of any line or surface, whether perceiv'd by the sight or touch, are so minute and soconfoundedwith eachother, that'tis utterly impossible for the mind to compute their number.1 He concludesthat (...) theirminutenessrenderspoints uselessforpurposes ofmeasurement. "We are sensible, that the addition or removal ofone of these minute parts, is not discernible either in the appearance or measuring" (T 48). This objection to his points leads Hume to view measuring, not in terms ofpoints, but asjuxtaposition ofobjects one to another or to a common measure, correcting apparent equality by art and instruments. And, he argues, correcting comes to an end when one runs out of art and instruments, although correcting, once set in motion, may go on at the level offancying after art and instruments have announced an end to it. This holds true not only for equality of quantities but of qualities as well. A musician finding his ear become every day more delicate, and correcting himself by reflection and attention, proceeds with the same act ofthe mind, even when the subject failshim, and entertains a notion ofa compleat tierce or octave, without being able to tell whence he derives his standard. (T 48-49) The metaphysical musician, according to Hume, is unable "to tell whence he derives his standard." This objection by Hume looks like it ismissingthe mark. The metaphysical musician could tell from whence he derives his standard. It is derived from sensible appearances. It is derived from the undifferentiated case which, to ears subsequently more discriminating, turns out to be two different notes, not one. The source ofthe standard is specified. What, then, does Hume mean when he states that metaphysical musicians cannot tell us from whence they derive their standard? An apparent standard, if it functions as a standard, has objects forits terms. For the standard is neither equality Volume XVIII Number 2 151 E. W. VAN STEENBURGH itself, whatever that might mean, nor an object; rather, the standard is "being equal to this object," whatever the object might be—in this case a musical note. In other words, an unspecified standard—a standard that is neither this nor that—is not a standard. It becomes a standardifand only ifit is specified for some object. The question now shifts to the object without which no standard is specified. It could be actual. It could be imaginary. Either way, it is an object. Yet, the metaphysical musicians rules that no object satisfies the standard. The outcome is contradiction. If you don't specify the standard, you don't have a standard; and ifyou do, you contradict the ruling that no object satisfies the standard. Hume does not explicitly allege contradiction. However, the other sideofthecontradictioncoin is an unspecifiedstandard. AndthisHume does allege. Hume sometimes does speak as ifan imagined musical note—the object in this case—is itselfa note. He speaks this way out ofdeference to his general theory of ideas as copies of impressions. However, the claim to contradiction, to incomprehensibility, does not depend on Hume's special doctrine of ideas copying impressions. For when we imagine objects, the objects we imagine, if we are consistent, are possible objects. So what we are saying, ifwe say that we can imagine equal objects is this: equal objects are impossible. Either, then, the metaphysical musician's imaginary correction, the imaginary trek toward absolute equahty, is incomprehensible because there is no standard—no objects—by which "correction"makes sense; orelse there is such a standard—object equality is possible—and the general rule that object equality is impossible is contradicted. Suppose we downgrade the a priori necessary rule to a contingent generalization about ordinary objects. Now it is not impossible, only unlikely, that one will find equal actual objects. Given a candidate for prototypicality, one imagines that one is mistaken, that the objects one thinks are equal are not, after all, equal, and soon. Here the only equal objects are always possible objects, never actual ones. One simply refuses to use... (shrink)

Dancers and musicians are experts in spatial and temporal processing which allows them to coordinate movement with music. This high-level processing has been associated with structural and functional adaptation of the brain for high performance sensorimotor integration. For these integration processes, adaptation does not only take place in primary and secondary sensory and motor areas but tertiary brain areas, such as the lateral prefrontal cortex (lPFC) and the intraparietal sulcus (IPS), also provide vital resources for highly specialized performance. Here, (...) we review evidence for the role of these brain areas in multimodal training protocols and integrate these findings into a new model of sensorimotor processing in complex motor learning. (shrink)

High prevalence of musicians’ physical and mental performance-related health issues (PRHI) has been demonstrated over the last 30 years. To address this, health promotion strategies have been implemented at some post-secondary music institutions around the world, yet the high prevalence of PRHI has persisted. In 2018, an international group of researchers formed the Musicians’ Health Literacy Consortium to determine how best to decrease PRHI, and to examine the relationship between PRHI and health literacy. An outcome of the Consortium (...) was the development of a new health literacy tool for musicians, the MHL-Q19, which drew from the theoretical framework of the European health literacy suite of tools, HLS-EU. The aim of the current study was to evaluate the validity and reliability of the MHL-Q19. Participants completed a battery of questionnaires, including the HLS-EU-Q16 for the assessment of general health literacy; the Musculoskeletal Pain Intensity and Interference Questionnaire for Musicians (MPIIQM); the RAND-12 quality of life questionnaire; and the General Self-Efficacy scale (GSE). We hypothesized that the MHL-Q19 would have a weak correlation with the HLS-EU-Q16; moderate correlation with the physical component scale and weak correlation with the mental component scale of the RAND-12; moderate correlation with the GSE; and finally, moderate correlation with pain interference and weak correlation with pain intensity of the MPIIQM. A total of 549 post-secondary music students from six English-speaking countries completed the battery of questionnaires, and 328 of these participants provided valid responses to the MHL-Q19 alone 2 weeks later. The tool showed acceptable internal consistency and test–retest reliability. Three of our hypotheses were supported, although the strength of the correlations varied from what we had predicted. The fourth hypothesis was not supported; our findings indicate that lower health literacy scores were weakly related to higher MPIIQM pain intensity and interference scores. The results of this study support the notion that musicians’ health literacy is a distinct construct that cannot be fully evaluated with existing health literacy tools. Given that this is a new instrument, the evidence presented is positive and promising. Further studies will be needed to refine the tool. (shrink)

Most investigations of musical performance anxiety have employed quantitative methodologies. Whereas such methodologies can provide useful insights into the measurable aspects of the experience in a larger group of participants, the complexity, subtlety and individuality of the emotional experience and the importance of the individual’s interpretation of it are often overlooked. This study employed a phenomenological approach to investigate the lived, subjective experience of performance anxiety, as described in professional musicians’ narratives. Semistructured interviews with four professional musicians (two (...) males, two females) specializing in Western classical and jazz music genres were conducted and analyzed using Interpretative Phenomenological Analysis (IPA). The analysis revealed the presence of four overarching themes: (1) Intensity of performance anxiety experience, (2) perceived effects, (3) development of coping strategies and (4) achieving release from anxiety. Findings suggest that the lived experience of performance anxiety is multifaceted, characterized by a physical and a psychological dimension. Interpretative Phenomenological Analysis is a useful research tool that can facilitate our understanding of the subjective experience of performance anxiety (how it is felt and understood at an individual level) and can thus be useful in the development of tailor-made intervention programs for musicians. (shrink)

Musicians’ Focal Dystonia is a task-specific neurological movement disorder, affecting 1–2% of highly skilled musicians. The condition can impair motor function by creating involuntary movements, predominantly in the upper extremities or the embouchure. The pathophysiology of the disorder is not fully understood, and complete recovery is extremely rare. While most of the literature views the condition through a neurological lens, a handful of recent studies point out certain psychological traits and the presence of adverse playing-related experiences and preceding (...) trauma as possible contributors to the onset. The nature and the frequency of these factors, however, are under-researched. The present quasi-experimental study aimed to compare musicians with and without MFD in terms of the frequency of various adverse psychosocial and psychological factors to explore their contribution to the onset of the condition. Professional musicians with MFD and without MFD were recruited from online platforms, musicians’ unions, and organisations to fill out a survey. The survey was based on two previously conducted interview studies and included the Student-Instructor Relationship Scale, the Mistake Rumination Scale, the Trauma History Screen, and self-constructed questions about the received music education, early success, and personal experiences. To identify potential risk factors, independent samples t-tests were conducted and found that there are significant differences in musicians with and without MFD in terms of mistake rumination, early success, and the received music education. A logistic regression showed that six factors contributed to the construct to various extents; we observed a significant model [χ2 = 22.681, p < 0.001], which predicted 71.2% of the cases correctly. This exploratory study shows that psychological and psychosocial factors might play a role in the development of MFD. Understanding these in more detail could inform preventative strategies and complement the current therapeutic approaches to support this vulnerable population better. (shrink)

Dario Martinelli’s compact and enjoyable treatise on zoömusicology, _Of Birds, Whales and Other Musicians_ introduces musicologists, biologists, social scientists, and philosophers to a new theoretical model for studying how animal behavioral patterns relate to sound communication. Organized by musical trait rather than animal species, and drawing upon the work of such esteemed philosophers as Umberto Eco, Charles Sanders Peirce, and Thomas Sebeok, Martinelli’s analyses redefine the boundaries surrounding music and help readers—scholars and amateurs alike—to appreciate the relationship between animals and (...) musicological exchanges. (shrink)

Abstract:It is well-known that phronēsis is realized when people reflect on their actions (praxis) and act accordingly, but the question of how this concept of practical reasoning can serve both people who make music and at the same time the music they make has not yet been answered. This paper aims to reveal in what way phronēsis can lead to fulfillment in and through music and also to musical quality, especially when people make music with others. First, phronēsis will be (...) explored as it is interpreted in North America and Germany. Second, the German term aesthetic praxis is introduced, because it reveals that phronēsis is significant for this concept. The line of argument aims at showing that the notions of ‘acting ethically’ and ‘acting aesthetically’ do not stand in opposition to each other when people make music. On the contrary, phronēsis is a kind of knowledge that is relevant to an aesthetic praxis and therefore young people should be enabled to practice phronēsis when making music. If this process is intitiated, they are enabled to reflect on their own musical actions, as ethical and aesthetic practitioners. (shrink)

Since communication and expression are central aspects of music performance it is important to develop a systematic pedagogy of teaching children and teenagers expressiveness. Although research has been growing in this area a comprehensive literature review that unifies the different approaches to teaching young musicians expressiveness has been lacking. Therefore, the aim of this article is to provide an overview of literature related to teaching and learning of expressiveness from music psychology and music education research in order to build (...) a new theoretical framework for teaching and learning expressive music performance in instrumental music lessons with children and teenagers. The article will start with a brief discussion of interpretation and expression in music performance, before providing an overview of studies that investigated teaching and learning of performance expression in instrumental music education with adults and children. On the foundation of this research a theoretical framework for dialogic teaching and learning of expressive music performance will be proposed and the rationale explained. Dialogic teaching can be useful for scaffolding young musicians’ learning of expressivity as open questions can stimulate thinking about the interpretation and may serve to connect musical ideas to the embodied experience of the learner. A “toolkit” for teaching and learning of expressiveness will be presented for practical application in music lessons. In addition, a theoretical model will be proposed to further our understanding of teaching and learning of expressive music performance as a multifaceted and interactive process that is embedded in the context of tutors’ and learners’ experiences and environment. Finally, implications of this framework and suggestions for future research will be discussed. (shrink)

The introduction of social distancing, as part of efforts to try and curb the spread of the COVID-19 pandemic, has brought about drastic disruption to the world of the performing arts. In the UK the majority of professional orchestral musicians are freelance and therefore self-employed. These players, previously engaged in enjoyable, busy, successful, portfolio careers, are currently unable to earn a living carrying out their everyday work of performing music, and their future working lives are surrounded by great uncertainty. (...) The aim of the present study was to examine how established professional musicians are experiencing this period, and to look for similarities and differences between the experiences of musicians in the middle of their performing careers, with those of older players. Single semi-structured interviews were carried out over Zoom with 24 freelance, self-employed orchestral musicians; 12 mid-career musicians aged 35–45, and 12 seasoned musicians aged 53 and over. Thematic analysis identified themes common to both groups: the loss of a much-loved performing career, missing music making and colleagues, and anxiety about the future of the music profession. It also identified differences between the two groups: challenges to their identity as a musician, the extent of their anxiety about finances, the extent of their emotional distress, attitudes toward practicing and engaging in collaborative music making, and confusion over future career plans. Findings are discussed with reference to lifespan models of musicians' career development, the PERMA model of wellbeing, and the concept of resilience. (shrink)

Cognitive Science, Volume 46, Issue 5, May 2022.