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)

Musical performance requires the ability to master a complex integration of highly specialized motor, cognitive and perceptual skills developed over years of practice. It often means also being able to deal with a large amount of pressure within dynamic environments. Consequently, many musicians suffer from health-related problems and have a large number of physical and psychological complaints. Research has shown that making music can present challenges for musicians’ wellbeing. Therefore, our research aims to evaluate and analyze the wellbeing of (...) two distinct groups of respondents, college music students compared with amateur musicians in the French-speaking part of Switzerland, this second group serving as our comparison group. This article presents the results of a sample of 126 musicians (mean age ± SD = 22.4 ± 4.5 years, 71 male). The wellbeing was assessed through the World Health Organization Quality of Life-BREF questionnaire evaluating two general measures, Quality of Life and General health, and four specific dimensions, Physical health, Psychological health, Social relationships and Environment. The respondents’ Quality of Life was high on each measure: median scores were higher than 4 for the first two measures and higher than 70 for the four specific dimensions. Among the dimensions, respondents had the highest mean score for Social relationships and Physical health (74.0 and 73.8, respectively) and, finally, on Psychological health (70.3). Our overview of musicians’ wellbeing in Western Switzerland underlines the importance of helping musicians to be aware of their health in order to take care of themselves. This research offers an important insight into musicians’ health and point out the importance of involving different actors (teachers, administrators or support staff) to promote their wellbeing and empower musicians. (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)

Here, we report on a quasi-experimental study to explore the applicability and perceived benefits of the CRAFT program, which is based on mindfulness, yoga, positive psychology, and emotional intelligence, to improve higher education student musicians’ health and well-being during the lockdown. A subset of student musicians at a Higher Conservatory of Music in Spain followed the CRAFT program during the academic year 2019/2020, 1 h per week as part of their curriculum. Students enrolled in CRAFT-based elective subjects formed the (...) CRAFT program group, while other students represented the control group. The onset of the national lockdown elicited by the COVID-19 pandemic occurred halfway through the program, which was subsequently delivered in an online format. We administered an online survey to explore the effect that the exposure to the CRAFT program had in terms of how participants dealt with various health and well-being concerns arising from the COVID-19 lockdown. There was a significantly higher proportion of proactive participants in the CRAFT program group, 92%, than in the control group, 58%, in terms of implementing practices to improve their health and well-being during the lockdown. Additionally, significantly more participants acknowledged perceived benefits from their practices in the CRAFT program group, 78%, than in the control group, 52%. Among proactive participants, yoga/meditation was the most implemented in the CRAFT program group, followed by exercise, and other yoga/meditation practices, whereas in the control group, exercise and Alexander technique-based practices were the most applied. In the CRAFT program group, the highest rate of perceived benefits was from yoga/meditation CRAFT-based practices, 51%, followed by exercise, 32%, and other yoga/meditation practices, 27%, whereas in the control group, benefits were reported by 29% of exercising participants and 16% for those having practiced the Alexander technique. A similar pattern was observed when excluding participants with previous yoga/meditation experience. This study revealed how participants can independently apply learned skills from the CRAFT program in response to a naturally occurring life event of unprecedented global impact, suggesting that previous exposure to mindfulness and yoga is likely to have a beneficial effect on how young adults react towards exceptionally stressful conditions. (shrink)

Context and AimsAlthough some exercise-based interventions have been associated with lower levels of pain and performance-related musculoskeletal disorders among musicians, the evidence is still mixed. Furthermore, little is known about musicians’ general engagement in physical activity, their knowledge of PA guidelines, or the relevant training they receive on pain prevention and the sources of such training. Similarly, little is known about the relationship between PA and PRMDs and other risk factors for PRMDs.MethodsFollowing a cross-sectional correlational study design, both standardized andad (...) hocmeasurements were used to investigate self-reported PA [International Physical Activity Questionnaire – Short Form ], knowledge of PA guidelines, and barriers to engaging in PA [Centers for Disease Control ; Determinants of Physical Activity Questionnaire ]; sedentary behavior [Sedentary Behavior Questionnaire ]; pain [36-Item Short Form Survey Instrument ] and PRMDs ; reported physical exertion ; anxiety [Hospital Anxiety and Depression Scale ]; practice behaviors ; and relevant training among conservatoire students in the United Kingdom. The entire set of questionnaires was administered both online and via hard copies between June 2017 and April 2018.ResultsDemographic information was obtained from 111 respondents, mostly undergraduate students from seven conservatoires. They reported high levels of engagement in PA, despite poor knowledge of PA guidelines. Teachers were the most frequently mentioned source of pain prevention information, and 62% agreed that they had received advice on why they should engage in cardio PA. Sedentary behavior was comparable to normative data. Levels of bodily pain and PRMDs were low, but 43% showed “abnormal” clinical anxiety and found playing their instruments “somewhat hard” on average. Bodily pain interfering with practice and performance was positively correlated with frequency and severity of PRMDs, anxiety, and RPE. Frequency and severity of PRMDs were also associated with sedentary behavior at the weekend. Anxiety was associated with RPE. No association was found between PA and PRMDs.ConclusionThe relationship between PA and PRMDs and pain remains unclear and needs further investigation. While health education needs to be improved, other pathways may need to be taken. Given the high levels of anxiety, the ideology of Western classical music itself may need to be challenged. (shrink)

Musicians, like athletes, daily face the stark reality of physical and psychological health issues that can negatively affect or end their careers. Research shows compelling reasons for making changes to the value systems and in the educational process under which musicians are trained to help alleviate these problems. Changes would include teaching from a person-centered approach, including a broader understanding of music and adding wellness training into the music curriculum. This article outlines the evidence from the literature, overviews the (...) resources available to assist with these changes, and discusses the important role that music educators can play in creating this healthy paradigm shift within the profession. (shrink)

Using mixed methods, we explored new music students’ concepts of wellbeing and success and their current state of wellbeing at a university music department in Switzerland. Music performance is a competitive and achievement-oriented career. Research suggests musicians face vocation-specific challenges to physical health and mental wellbeing but has yet to investigate music students’ beliefs about wellbeing and success. With a self-report questionnaire we investigated new music students’ quality of life and self-efficacy. Through qualitative workshops we explored students’ understanding of (...) the term “wellbeing,” and how this relates to “success.” Over half new music students believed the institution has 40–60% responsibility for their wellbeing. A simple linear regression showed that self-efficacy could predict better wellbeing, explaining 12% of the variance. Self-efficacy predicts wellbeing for new music students. The 17 flipcharts generated 121 inputs clustered into themes. Four themes solely described “wellbeing” and four separately depict “success”. Some themes intersected as elements of both constructs. Four further themes illustrated the relationship between the two. Music students believe responsibility for wellbeing is shared between themselves and their institution. As they scored low on both self-efficacy and wellbeing, these findings are an urgent call for action for school management and stakeholders of the music student population. (shrink)

Music education is one of human kind most universal forms of expression and communication, and it can be found in the daily lives of people of all ages and cultures all over the world. As university life is a time when students are exposed to a great deal of stress, it can have a negative impact on their mental health. Therefore, it is critical to intervene at this stage in their life so that they are prepared to deal with (...) the pressures they will face in the future. The aim of this study was to see how music education affects university students’ mental health, with emotional intelligence functioning as a moderator. The participants in this research were graduate students pursuing degrees in music education. Non probability convenience sampling technique was used to collect and evaluate the data from 265 students studying in different public and private Chinese universities. The data was gathered at a time, and therefore, the study is cross-sectional. The data was collected from January 2022 till the end of March 2022. Many universities have been closed because to COVID-19, therefore data was also gathered online through emails. The data was analyzed quantitatively using the partial least squares –structural equation modeling technique. The findings backed up the hypotheses. The results revealed that there is a significant effect of music education on student’s mental health. Also, emotional intelligence as a moderator significantly and positively moderates the relationship between music education and students’ mental health. Music has numerous physiological aspects, and listening to it on a daily basis may be beneficial to your general health and well-being. Furthermore, musicians and music students with a high level of emotional intelligence have a better chance of not just performing well in school, college and university or in the music industry, but also of maintaining mental health and improving it. (shrink)

Positive Psychology has turned its attention to the study of emotions in a scientific and rigorous way. Particularly, to how emotions influence people’s health, performance, or their overall life satisfaction. Within this trend, Flow theory has established a theoretical framework that helps to promote the Flow experience. Flow state, or optimal experience, is a mental state of high concentration and enjoyment that, due to its characteristics, has been considered desirable for the development of the performing activity of performing musicians. (...) Musicians are a population prone to health problems, both psychological and physical, owing to different stressors of their training and professional activity. One of the most common problems is Musical Performance Anxiety. In this investigation, an electronic intervention program was carried out for the development of psychological self-regulation skills whose main objective was to trigger the Flow response in performing musicians and the coping mechanism for Musical Performance Anxiety. A quasi-experimental design was used with a control group in which pre- and post-measures of Flow State, Musical Performance Anxiety and, also, Social Skills were taken. Sixty-two performing musicians from different music colleges in Spain participated in the program. Results indicated that the intervention significantly improved Flow State, and Sense of Control, and decreased Music Performance Anxiety, and self-consciousness of the participants in the EG but not CG. The changes in the EG after the program showed the inverse relationship between Flow and Anxiety. Two important theoretical factors of both variables, such as worry and the feeling of lack of control, could be involved. The results are under discussion and future lines of research are proposed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.2 (2004) 126-138 [Access article in PDF] Music Education for the Twenty-First Century A Philosophical View of the General Education Core Anthony J. Palmer Boston University We are all one species with one brain and neural system, yet consciousness about our existence is highly contextual. Any culturally transcendent view will still be limited to one's personal experience, analytical capabilities, and cultural shaping. Nevertheless, looking (...) beyond our narrow perspectives is essential if we are to find commonality and compatibility with all humankind.Therefore, I find it incumbent that we, as college/university professors, examine our present culture-national and global-to ascertain current conditions and what positive roles each citizen may be able to play on the larger stage of world affairs. Musician-teachers, who are the products of the curriculum, should not be exempt from the responsibilities of contributing solutions. Rather, they should produce a program that is sensitive to the larger context in which we all reside. To be sure, we have no direct control over global events. We do, however, exercise at least a modicum of control over the kind of person emerging from our courses of study.In light of the foregoing, this paper will examine (1) the present global conditions with which we are confronted, (2) responsibilities of the college/university [End Page 126] faculties toward developing students with greater awareness, (3) examination of the general education that all baccalaureate students must satisfy for the degree, (4) the education within the general education courses with a focus on the music education student, and (5) a proposal on general education. The Present Context Today we are at a juncture where no one can predict the future with any assurance of accuracy. The world in the twenty-first century has taken an unexpected turn toward greater chaos and has the potential to end life as we have known it in previous centuries. Although earlier generations experienced many changes and watershed moments, the conditions were never potentially as cataclysmic as they are today because of the explosive power of our so-called defensive weapons. In addition, fed by technology, the pace of change is extremely rapid and multiplies exponentially. Robert Wright states in this regard, Neither biological evolution nor human history is a smooth, steady process. Both pass through thresholds.... To some people, the current era has the aura of a threshold; it has that unsettling, out-of-control feeling that can portend a major shift. Technological, geopolitical, and economic change seem ominously fast, and the fabric of society seems somehow tenuous.1He goes on to say, World currency markets are rocked by the turbulent force of electronically lubricated financial speculation. Weapons of mass destruction are cultivated by rogue regimes and New Age cults. Nations seem less cohesive than before, afflicted by ethnic or religious or cultural friction. Health officials seriously discuss the prospect of a worldwide plague-the unspeakably gruesome Ebola virus, perhaps, or some microbe we don't yet know about, spread around the world by jet-propelled travelers. Even tropical storms seem to have grown more intense in recent decades, arguably a result of global warming.2The foregoing was written in 2000, well before the devastating events of September 11 and subsequent human-initiated disasters, yet it still rings true. Where are we heading? What is our future with a world torn by terror, the continual development of more destructive weapons, and a seeming lack of desire to ameliorate our differences in a peaceful manner? Add to these the inexorable advance of technology that seems to know no end. It is most likely that the world in 2050-perhaps even as early as 2025-will not be recognized by our present population, assuming that we do survive as a civilized world.Of course, the outlook is not exclusively bleak and the continued development of technology is not all on the debit side of the ledger. Advances made in [End Page 127] medicine portend the re-growing of brain cells, repair... (shrink)

In many countries, life expectancy has increased considerably in past years, and the importance of finding ways to ensure good levels of wellbeing through aging has become more important than ever. Arts based interventions are promising in this respect, and the literature suggests that musical activities can reduce isolation and anxiety and foster feelings of achievement and self-confidence. The present study examined the effects of group music making programs on the health and wellbeing of nursing home residents in Southern (...) Switzerland. A team of professional and student musicians delivered 10 weekly music sessions in four nursing homes, focusing on singing, rhythm-based activities with percussion instruments, and listening to short, live performances. 22 participants were recruited to take part in the study and were interviewed after the last music session. The data were analyzed with thematic analysis to investigate how residents experienced group music making and its effects. The findings show that the music programs were beneficial for residents’ wellbeing. Music plays an important role in their lives, both in their pasts and presently, and being involved in musical activities offers engagement and novelty in daily life, providing learning opportunities and facilitating interpersonal relationships. Moreover, these results were due to interactions with the musicians involved. Residents particularly appreciated the opportunity to listen to live performances as part of the sessions. This study suggests that nursing home residents value music and that music based interventions play an important and direct role in enhancing their wellbeing. (shrink)

In the previous issue of this journal I detailed a programme for building mental health ethics literacy with a regular column dedicated to critical discussions of mental health ethics issues in i lm. The i rst section of this commentary provides background on the problems of stigma attached to schizophrenia and how i lm can be used to i ght stigma by providing a point of para-personal contact between the general public and narrative accounts of persons living with (...) schizophrenia. The next section provides a critical review of The Soloist, a recent feature i lm that tells the true story ) of how journalist Steve Lopez befriended and wrote a series of columns in the Los Angeles Times about Nathaniel Ayers, a talented musician living with schizophrenia on the streets of Skid Row. The last section explains some of the prevalent socio-economic disadvantages faced by persons living with schizophrenia and concludes with the hope that this movie will be taken up critically to build a greater sense of social responsibility for those in our society living with schizophrenia. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Memoriam: Eleanor V. Stubley (1960–2017)Roberta LambIt is dusk in the desert—that bewitching hour when the intensity of today’s unrelenting heat suddenly lifts with the hint of a breeze and a promise of darkness. Worn and weary with dust trailing my every movement, I am inexorably drawn forward by the distant sounds of drums and community. I am curious to see what lies ahead, but for one brief minute (...) I look back from where I have come. A single window penetrates the gloom. It opens on a small room, cluttered with mementos celebrating a long history of great artistry. I feel the weight of this history, even at this distance; but what captures my attention is the music making in the only uncluttered corner of the room where four musicians are poring over a recently discovered score of a late Beethoven string quartet. While the music making appears to be motivated and bound by the score, it is as if the musicians are searching for something that lies beyond the score. At times, the searching seems to question the shape or presence of a particular note or melodic motive; other times, it appears to be a quest for “the work,” the string quartet written by Beethoven. As I continue to eavesdrop, I am struck by the way in which the searching in both instances ultimately seems to evolve into a question of ensemble. It is as if the musicians are not only trying to discover the music implied by [End Page 203]the score notations, but also trying to find themselves, trying to get a sense of who they are in relationship to this music. It is a phenomenon that I have encountered frequently in my travels, and I wonder, as the sounds in the distance reenter my consciousness, why of all possibilities the window of my mind opened on this particular room.1Thus, Eleanor V. Stubley began a moving evocation of body, sound, and shifting identities in philosophical argument. It remains my favorite opening of any philosophical essay I have ever read, even though her skill and artistry grew immensely in the subsequent nineteen years. To be honest, the connection with this particular essay comes from my bond with Eleanor at a particular time and particular place, when each of us was establishing our career in a recognized university. We shared a lot through extensive phone calls and my visits to Montreal. While Eleanor was able to travel, we also shared conference spaces together, when I often functioned as her advocate as well as her friend. As I re-read this essay and the others, I remember fondly particular conversations where we discussed ideas and feelings about music, teaching, and life. We shared our health challenges and their effects on our lives and work. We talked about being female in the academy; she shared issues around disability; I around homophobia. I see sources in the endnotes for this essay resulting from those conversations and the ideas Eleanor worked out as we chatted. I find similar memories in her other philosophical essays. I am happy to have contributed to the thinking that came out of this heady time. We were slaying dragons!Eleanor (and I must be personal because we were friends) contributed an original and strongly philosophical base to music education within a handful of articles. She never wrote the book she intended in those earlier years. Instead, she refocused her career outside of music education, partly because she realized she had much to say, do, and create within a limited lifespan and partly because music education did not have room for such brilliance and creativity. In fact, music education gave Eleanor a not so gentle shove. She worked nearly all of the last two decades of her life in the departments of musicology and performance. In addition, she served McGill’s students as Associate Dean of Graduate Studies. She knew she had no time to slay music education’s dragons. Even so, Eleanor continued to contribute philosophical columns to the Canadian Music Educator. She wrote regularly for volumes 42–44 (2001–2003) and intermittently before and after those years. These thirteen columns... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 130-140 [Access article in PDF] Western Classical Music and General Education Estelle R. Jorgensen Indiana University Thinking about transforming music, I address issues relating to the role of musicians in higher education and Western classical music in general education. I am concerned about this music because it is marginalized in general education and the civic spaces of public life. Where once it (...) held a privileged place, it seems now to have acquired (in some quarters at least) a negative connotation as a bastion of elitism and privilege. Instead, popular musics (with a nod to musics of other cultures) have pride of place in much elementary and secondary music education and in many university and college offerings designed for students whose principal fields of study lie outside music. An all-too-common musical illiteracy or, at best, elementary level of musical literacy and aurality renders Western classical music inaccessible to the general public just as the pervasiveness of popular music renders it inaudible and invisible. Bridges to past, less accessible, and esoteric traditions are also too few or in disrepair. Julian Johnson laments the diminished stature of Western classical music and argues for its values in today's world. 1Music teachers of all stripes urgently need to address this marginalization of Western classical music as a matter of public policy. If caring for and fostering [End Page 130] diversity in the natural world is a good, then it is reasonable to expect that fostering diversity in the cultural world is likewise a good. If preventing the extinction of natural species is a matter of public policy, then surely preventing the extinction of musics among other cultural traditions is at least as important. Social transformation has within it the seeds of conservation, or the preserving of past traditions, just as it also suggests profound and ongoing planned and unintended change. When any music such as Western classical music is sidelined, music education policy makers need to ask, Is this multi-cultural, multi-ethnic, multi-faceted music important to keep, foster, and change? What does it have to contribute in the present world? Is it being cared for sufficiently? If it needs to change, how ought it be changed? What principles can be helpful to music teachers in caring for, fostering, and changing it? These are compelling public policy questions for our time. A Quarrel and Its Aftermath In 1963, participants in the Yale Seminar asked some of these very difficult questions of music education policy makers. MENC leaders took exception to the seminar and its conclusions; although some outstanding music teachers were participants, the organization had not been invited and the seminar was not its idea. 2 Instead of addressing directly some of the important criticisms of school music education and music teacher education raised in the seminar, the MENC mounted its own rival Tanglewood Symposium in 1967. Participants in this symposium faulted music in higher education for its failure to admit "talented and capable high school music students [to] the privilege of advanced study," the "[c]ompartmentalization and lack of communication between various segments of the music field," its lack of relation to "the musical heritage of American culture," and its failure to ensure arts courses in general education. 3 The symposium contributed to a populist stance focused on the myriad vernacular traditions of the world, thereby diminishing the role and presence of Western classical music and highlighting popular and vernacular musics at MENC conferences and in the elementary and secondary schools in the United States. Subsequent attempts to renew the Western classical tradition and raise the musical expectations of teachers and their students in the nation's schools exemplified in the Juilliard Repertory, Manhattanville Music Curriculum Project, and Comprehensive Musicianship Program seem not to have made a lasting impact. And the differing criticisms and visions of the Yale Seminar and Tanglewood Symposium have yet to be critically engaged.Summarizing criticisms made of school music repertoire in the report of the Yale Seminar to the Office of Education, U.S. Department of Health, Education, and... (shrink)

This article documents experiences of Glasgow Improvisers Orchestra’s virtual, synchronous improvisation sessions during COVID-19 pandemic via interviews with 29 participants. Sessions included an international, gender balanced, and cross generational group of over 70 musicians all of whom were living under conditions of social distancing. All sessions were recorded using Zoom software. After 3 months of twice weekly improvisation sessions, 29 interviews with participants were undertaken, recorded, transcribed, and analyzed. Key themes include how the sessions provided opportunities for artistic development, enhanced (...) mood, reduced feelings of isolation, and sustained and developed community. Particular attention is placed upon how improvisation as a universal, real time, social, and collaborative process facilitates interaction, allowing the technological affordances of software (latencies, sound quality, and gallery/speaker view) and hardware (laptop, tablet, instruments, microphones, headphones, and objects in room) to become emergent properties of artistic collaborations. The extent to which this process affects new perceptual and conceptual breakthroughs for practitioners is discussed as is the crucial and innovative relationship between audio and visual elements. Analysis of edited films of the sessions highlight artistic and theoretical and conceptual issues discussed. Emphasis is given to how the domestic environment merges with technologies to createThe Theatre of Home. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 130-140 [Access article in PDF] Western Classical Music and General Education Estelle R. Jorgensen Indiana University Thinking about transforming music, I address issues relating to the role of musicians in higher education and Western classical music in general education. I am concerned about this music because it is marginalized in general education and the civic spaces of public life. Where once it (...) held a privileged place, it seems now to have acquired (in some quarters at least) a negative connotation as a bastion of elitism and privilege. Instead, popular musics (with a nod to musics of other cultures) have pride of place in much elementary and secondary music education and in many university and college offerings designed for students whose principal fields of study lie outside music. An all-too-common musical illiteracy or, at best, elementary level of musical literacy and aurality renders Western classical music inaccessible to the general public just as the pervasiveness of popular music renders it inaudible and invisible. Bridges to past, less accessible, and esoteric traditions are also too few or in disrepair. Julian Johnson laments the diminished stature of Western classical music and argues for its values in today's world. 1Music teachers of all stripes urgently need to address this marginalization of Western classical music as a matter of public policy. If caring for and fostering [End Page 130] diversity in the natural world is a good, then it is reasonable to expect that fostering diversity in the cultural world is likewise a good. If preventing the extinction of natural species is a matter of public policy, then surely preventing the extinction of musics among other cultural traditions is at least as important. Social transformation has within it the seeds of conservation, or the preserving of past traditions, just as it also suggests profound and ongoing planned and unintended change. When any music such as Western classical music is sidelined, music education policy makers need to ask, Is this multi-cultural, multi-ethnic, multi-faceted music important to keep, foster, and change? What does it have to contribute in the present world? Is it being cared for sufficiently? If it needs to change, how ought it be changed? What principles can be helpful to music teachers in caring for, fostering, and changing it? These are compelling public policy questions for our time. A Quarrel and Its Aftermath In 1963, participants in the Yale Seminar asked some of these very difficult questions of music education policy makers. MENC leaders took exception to the seminar and its conclusions; although some outstanding music teachers were participants, the organization had not been invited and the seminar was not its idea. 2 Instead of addressing directly some of the important criticisms of school music education and music teacher education raised in the seminar, the MENC mounted its own rival Tanglewood Symposium in 1967. Participants in this symposium faulted music in higher education for its failure to admit "talented and capable high school music students [to] the privilege of advanced study," the "[c]ompartmentalization and lack of communication between various segments of the music field," its lack of relation to "the musical heritage of American culture," and its failure to ensure arts courses in general education. 3 The symposium contributed to a populist stance focused on the myriad vernacular traditions of the world, thereby diminishing the role and presence of Western classical music and highlighting popular and vernacular musics at MENC conferences and in the elementary and secondary schools in the United States. Subsequent attempts to renew the Western classical tradition and raise the musical expectations of teachers and their students in the nation's schools exemplified in the Juilliard Repertory, Manhattanville Music Curriculum Project, and Comprehensive Musicianship Program seem not to have made a lasting impact. And the differing criticisms and visions of the Yale Seminar and Tanglewood Symposium have yet to be critically engaged.Summarizing criticisms made of school music repertoire in the report of the Yale Seminar to the Office of Education, U.S. Department of Health, Education, and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.2 (2004) 126-138 [Access article in PDF] Music Education for the Twenty-First Century A Philosophical View of the General Education Core Anthony J. Palmer Boston University We are all one species with one brain and neural system, yet consciousness about our existence is highly contextual. Any culturally transcendent view will still be limited to one's personal experience, analytical capabilities, and cultural shaping. Nevertheless, looking (...) beyond our narrow perspectives is essential if we are to find commonality and compatibility with all humankind.Therefore, I find it incumbent that we, as college/university professors, examine our present culture-national and global-to ascertain current conditions and what positive roles each citizen may be able to play on the larger stage of world affairs. Musician-teachers, who are the products of the curriculum, should not be exempt from the responsibilities of contributing solutions. Rather, they should produce a program that is sensitive to the larger context in which we all reside. To be sure, we have no direct control over global events. We do, however, exercise at least a modicum of control over the kind of person emerging from our courses of study.In light of the foregoing, this paper will examine (1) the present global conditions with which we are confronted, (2) responsibilities of the college/university [End Page 126] faculties toward developing students with greater awareness, (3) examination of the general education that all baccalaureate students must satisfy for the degree, (4) the education within the general education courses with a focus on the music education student, and (5) a proposal on general education. The Present Context Today we are at a juncture where no one can predict the future with any assurance of accuracy. The world in the twenty-first century has taken an unexpected turn toward greater chaos and has the potential to end life as we have known it in previous centuries. Although earlier generations experienced many changes and watershed moments, the conditions were never potentially as cataclysmic as they are today because of the explosive power of our so-called defensive weapons. In addition, fed by technology, the pace of change is extremely rapid and multiplies exponentially. Robert Wright states in this regard, Neither biological evolution nor human history is a smooth, steady process. Both pass through thresholds.... To some people, the current era has the aura of a threshold; it has that unsettling, out-of-control feeling that can portend a major shift. Technological, geopolitical, and economic change seem ominously fast, and the fabric of society seems somehow tenuous.1He goes on to say, World currency markets are rocked by the turbulent force of electronically lubricated financial speculation. Weapons of mass destruction are cultivated by rogue regimes and New Age cults. Nations seem less cohesive than before, afflicted by ethnic or religious or cultural friction. Health officials seriously discuss the prospect of a worldwide plague-the unspeakably gruesome Ebola virus, perhaps, or some microbe we don't yet know about, spread around the world by jet-propelled travelers. Even tropical storms seem to have grown more intense in recent decades, arguably a result of global warming.2The foregoing was written in 2000, well before the devastating events of September 11 and subsequent human-initiated disasters, yet it still rings true. Where are we heading? What is our future with a world torn by terror, the continual development of more destructive weapons, and a seeming lack of desire to ameliorate our differences in a peaceful manner? Add to these the inexorable advance of technology that seems to know no end. It is most likely that the world in 2050-perhaps even as early as 2025-will not be recognized by our present population, assuming that we do survive as a civilized world.Of course, the outlook is not exclusively bleak and the continued development of technology is not all on the debit side of the ledger. Advances made in [End Page 127] medicine portend the re-growing of brain cells, repair... (shrink)

When Maggie Hall died on March 3, 1999, CQ lost a valued friend and irreplaceable editorial consultant. Maggie, with her musician's gift for the sound of the written word, left her mark on every issue of the journal; and, with gratitude, this volume is dedicated to her memory. We asked Henrik Blum, Emeritus Professor in the School of Public Health, University of California, Berkeley, who worked with her over many years, to share some of his memories of Maggie.

In lieu of an abstract, here is a brief excerpt of the content:A Reconception of Performance Study in the Philosophy of Music EducationValerie L. TrollingerThe actual place of performance in music education has been the subject of numerous debates over the years. Most debates have revolved within the paradigm of the performance ability of the teacher and consequently the performance ability of the students. Is the level to be attained that of a winning concert band/marching band/choir? Or, is the level (...) to be attained the level at which the students and teacher feel the most comfortable and pleased? Most of this debate, along with the development of various assessments (including the Watkins-Farnum Test) and various rubrics to score music performance competitions, has emphasized characteristics of performance pertaining to accuracy of notes, precision of rhythm, and attendance to musicianship, style, and interpretation. On the other hand, the aesthetic value of performance has also been questioned in that the value of music in the schools should not be assessed solely by the importance placed on the attainment of performance skills by the students, suggesting that it is only through performance that one may know music. For example, in a recent article in the Music Educator's Journal,1 Bennett Reimer promotes the [End Page 193] position that time spent in either performance studies and active performance in music education (both at the K-12 and college teacher training levels) is not vital to the reconception of the National Standards (USA) for music education and, by extension, the field of music education itself. In the MEJ article, Reimer wrote:there is no reason to believe that highly developed performers make the best general music teachers, just as there is no reason to believe the reverse. We must get over the outdated and unrealistic assumption that performance is the one, singular, royal road to being musical and being an effective music educator.... [T]eachers cannot be expected to do what performance specialists do, and their teacher education curriculum must reflect that fact.2This position has also been recently supported by sociological publications3 and the following statement—echoed by several colleagues of mine—by a music teacher-training specialist,There is one big misconception among many music education students. Many graduates view themselves as musicians who are going into teaching. I attribute my own success to the realization that I am a teacher at heart. My first responsibility is teaching children. The vehicle through which I connect to them is music.4It is likely within the previous paradigm in which these respected authors positioned their arguments for the place of performance in the music curriculum and in that regard these assertions are unquestionably valid. What this particular paradigm concerns is the quantity and quality of performance based on purely musical attributes. The omission is that it does not include the quality of performance in relationship to health-based music education, a growing area of concern in the performing arts medicine field and, by extension, music educators who are concerned about this particular aspect of performance.5 The reason for the concern and hence this paper calling to the philosophical community to re-think the place and quality of performance in music education is that these viewpoints have had a great impact upon the validity of music education, in that they ignore a growing body of research from the performance and medical fields. While it must be made clear for the purposes of this paper that the writers of the above quotes have framed their ideas gracefully within their individual philosophical structures of music education, it must be pointed out that current research and knowledge in performance arts, in its conception as a physical human activity, needs to be incorporated into a revised philosophy of music education and curriculum. Music performance in music education has traditionally been viewed as a cognitive and emotional experience. However, it [End Page 194] is also a psychomotor experience, involving all sorts of soft body tissues, bones, and cartilages, which can enhance or detract from the total musical experience. Many music educators do not get enough instruction in college on how to teach voice or instruments healthfully and this is the reason for the concern... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Reconception of Performance Study in the Philosophy of Music EducationValerie L. TrollingerThe actual place of performance in music education has been the subject of numerous debates over the years. Most debates have revolved within the paradigm of the performance ability of the teacher and consequently the performance ability of the students. Is the level to be attained that of a winning concert band/marching band/choir? Or, is the level (...) to be attained the level at which the students and teacher feel the most comfortable and pleased? Most of this debate, along with the development of various assessments (including the Watkins-Farnum Test) and various rubrics to score music performance competitions, has emphasized characteristics of performance pertaining to accuracy of notes, precision of rhythm, and attendance to musicianship, style, and interpretation. On the other hand, the aesthetic value of performance has also been questioned in that the value of music in the schools should not be assessed solely by the importance placed on the attainment of performance skills by the students, suggesting that it is only through performance that one may know music. For example, in a recent article in the Music Educator's Journal,1 Bennett Reimer promotes the [End Page 193] position that time spent in either performance studies and active performance in music education (both at the K-12 and college teacher training levels) is not vital to the reconception of the National Standards (USA) for music education and, by extension, the field of music education itself. In the MEJ article, Reimer wrote:there is no reason to believe that highly developed performers make the best general music teachers, just as there is no reason to believe the reverse. We must get over the outdated and unrealistic assumption that performance is the one, singular, royal road to being musical and being an effective music educator.... [T]eachers cannot be expected to do what performance specialists do, and their teacher education curriculum must reflect that fact.2This position has also been recently supported by sociological publications3 and the following statement—echoed by several colleagues of mine—by a music teacher-training specialist,There is one big misconception among many music education students. Many graduates view themselves as musicians who are going into teaching. I attribute my own success to the realization that I am a teacher at heart. My first responsibility is teaching children. The vehicle through which I connect to them is music.4It is likely within the previous paradigm in which these respected authors positioned their arguments for the place of performance in the music curriculum and in that regard these assertions are unquestionably valid. What this particular paradigm concerns is the quantity and quality of performance based on purely musical attributes. The omission is that it does not include the quality of performance in relationship to health-based music education, a growing area of concern in the performing arts medicine field and, by extension, music educators who are concerned about this particular aspect of performance.5 The reason for the concern and hence this paper calling to the philosophical community to re-think the place and quality of performance in music education is that these viewpoints have had a great impact upon the validity of music education, in that they ignore a growing body of research from the performance and medical fields. While it must be made clear for the purposes of this paper that the writers of the above quotes have framed their ideas gracefully within their individual philosophical structures of music education, it must be pointed out that current research and knowledge in performance arts, in its conception as a physical human activity, needs to be incorporated into a revised philosophy of music education and curriculum. Music performance in music education has traditionally been viewed as a cognitive and emotional experience. However, it [End Page 194] is also a psychomotor experience, involving all sorts of soft body tissues, bones, and cartilages, which can enhance or detract from the total musical experience. Many music educators do not get enough instruction in college on how to teach voice or instruments healthfully and this is the reason for the concern... (shrink)

Historically associated with military service, conscientious objection has become a significant phenomenon in health care. Mark Wicclair offers a comprehensive ethical analysis of conscientious objection in three representative health care professions: medicine, nursing and pharmacy. He critically examines two extreme positions: the 'incompatibility thesis', that it is contrary to the professional obligations of practitioners to refuse provision of any service within the scope of their professional competence; and 'conscience absolutism', that they should be exempted from performing any action (...) contrary to their conscience. He argues for a compromise approach that accommodates conscience-based refusals within the limits of specified ethical constraints. He also explores conscientious objection by students in each of the three professions, discusses conscience protection legislation and conscience-based refusals by pharmacies and hospitals, and analyzes several cases. His book is a valuable resource for scholars, professionals, trainees, students, and anyone interested in this increasingly important aspect of health care. (shrink)

Critics of mass culture often identify 1950s-style status competition as one of the central forces driving consumerism. Thomas Frank has challenged this view, arguing that countercultural rebellion now provides the primary source of consumerism in our society, and that ‘cool’ has become its central ideological expression. This paper provides a rearticulation and defense of Frank's thesis, first identifying consumerism as a type of collective action problem, then showing how the ‘hip consumer’ is one who adopts a free-rider strategy in this (...) context. (shrink)

This book offers cutting edge research on the modifications and disruptions of bodily experience in the context of anxiety, depression, trauma, chronic illness, pain, and aging. It presents original contributions in applied phenomenology, biomedical ethics, and the use of medical technologies.

Medicine and its allied health sciences have for too long been peripherally involved in work on human rights. Fifty years ago, the door to greater involvement was opened by Article 25 of the Universal Declaration of Human Rights, which underlined social and economic rights: “Everyone has the right to a standard of living adequate for the health and well-being of himself and his family, including food, clothing, housing, and medical care and necessary social services, and the right to (...) security in the event of unemployment, sickness, disability, widowhood, old age or other lack of livelihood in circumstances beyond his control.”. (shrink)

Moral distress is now being recognized as a frequent experience for many health care providers, and there's good evidence that it has a negative impact on the health care work environment. However, contemporary discussions of moral distress have several problems. First, they tend to rely on inadequate characterizations of moral distress. As a result, subsequent investigations regarding the frequency and consequences of moral distress often proceed without a clear understanding of the phenomenon being discussed, and thereby risk substantially (...) misrepresenting the nature, frequency, and possible consequences of moral distress. These discussions also minimize the intrinsically harmful aspects of moral distress. This is a serious omission. Moral distress doesn't just have a negative impact on the health care work environment; it also directly harms the one who experiences it. In this paper, I claim that these problems can be addressed by first clarifying our understanding of moral distress, and then identifying what makes moral distress intrinsically harmful. I begin by identifying three common mistakes that characterizations of moral distress tend to make, and explaining why these mistakes are problematic. Next, I offer an account of moral distress that avoids these mistakes. Then, I defend the claim that moral distress is intrinsically harmful to the subject who experiences it. I conclude by explaining how acknowledging this aspect of moral distress should reshape our discussions about how best to deal with this phenomenon. (shrink)

Background Despite the growth of biomedical research in South Africa, there are few insights into the operation of Research Ethics Committees (RECs) in this setting. We investigated the composition, operations and training needs of health RECs in South Africa against the backdrop of national and international guidelines. Methods The 12 major health RECs in South Africa were surveyed using semi-structured questionnaires that investigated the composition and functions of each REC as well as the operational issues facing committees. Results (...) Health RECs in SA have an average of 16 members and REC members are predominantly male and white. Overall, there was a large discrepancy in findings between under-resourced RECs and well resourced RECs. The majority of members (56%) are scientists or clinicians who are typically affiliated to the same institution as the health REC. Community representatives account for only 8% of membership. Training needs for health REC members varied widely. Conclusion Most major health RECs in South Africa are well organized given the resource constraints that exist in relation to research ethics in developing countries. However, the gender, racial and occupational diversity of most of these RECs is suboptimal, and most RECs are not constituted in accordance with South African guidelines. Variability in the operations and training needs of RECs is a reflection of apartheid-entrenched influences in tertiary education in SA. While legislation now exists to enforce standardization of research ethics review systems, no provision has been made for resources or capacity development, especially to support historically-disadvantaged institutions. Perpetuation of this legacy of apartheid represents a violation of the principles of justice and equity. (shrink)

Food Sovereignty is a vibrant discourse in academic and activist circles, yet despite the many shared characteristics between issues surrounding food and public health, the two are often analysed in separate frameworks and the insights from Food Sovereignty are not sufficiently brought to bear on the problems in the public health discourse. In this paper, I will introduce the concept of 'self-organised community viability' as a way to link food and health, and to argue that what I (...) call the 'Health Security' paradigm requires a 'Health Sovereignty' response modelled on Food Sovereignty. (shrink)

Executive Summary There is a general perception that biomedical research has not given the same attention to the health problems of women that it has given ...

The conjunction of wireless computing, ubiquitous Internet access, and the miniaturisation of sensors have opened the door for technological applications that can monitor health and well-being outside of formal healthcare systems. The health-related Internet of Things (H-IoT) increasingly plays a key role in health management by providing real-time tele-monitoring of patients, testing of treatments, actuation of medical devices, and fitness and well-being monitoring. Given its numerous applications and proposed benefits, adoption by medical and social care institutions and (...) consumers may be rapid. However, a host of ethical concerns are also raised that must be addressed. The inherent sensitivity of health-related data being generated and latent risks of Internet-enabled devices pose serious challenges. Users, already in a vulnerable position as patients, face a seemingly impossible task to retain control over their data due to the scale, scope and complexity of systems that create, aggregate, and analyse personal health data. In response, the H-IoT must be designed to be technologically robust and scientifically reliable, while also remaining ethically responsible, trustworthy, and respectful of user rights and interests. To assist developers of the H-IoT, this paper describes nine principles and nine guidelines for ethical design of H-IoT devices and data protocols. (shrink)

We are never illness or disease, but, rather, always their sum in the world of day-to-day experience. Disease and illness are not closed systems, but mutually constitutive and continuously interacting worlds. In the patient’s case it is always experience as well. Pain, sickness and death help make that particular experienced identity unavoidable, and at some level ultimately inaccessible to medicine’s changing understanding of disease and tools for managing it. Health—rather than cost containment, specific conditions, or technologies—should be the central (...) focus for health care and health-care reform. A compelling reason to focus on health comes from the observation that the prevalence of disease over the .. (shrink)

Source [1] Andrew E. P. Mitchell, Federica Galli, Sondra Butterworth. (2023). Editorial: Equality, diversity and inclusive research for diverse rare disease communities. Front. Psychol., vol. 14. doi:10.3389/fpsyg.2023.1285774. "It is also important to recognize that certain mental health disorders are classified as rare conditions and have their own cultural concepts of distress, as defined in the DSM-5 (American Psychiatric Association, 2013)" and require “equal attention and support for individuals and their families, both physically and emotionally”. [1].

Postmodernism and health economics are both concerned with questions about choices and values, risk and uncertainty. Postmodernists seek to respond to such questions in the context of a world of uncoordinated and often contradictory chances, a world devoid of clear-cut standards. Health economics seeks to respond using the constructs of modernity, including the application of reason to generate better order. In this article we present two sorts of voice. First we introduce postmodernism and those seeking to contribute to (...) economics from a postmodern perspective. Second, we consider critics of a prevalent neo-classicism within health economics both from outside that paradigm and from those more closely associated with it. It is increasingly evident that (health) economics, as presently constituted, is failing both in its descriptive powers and its prescriptive possibilities. Postmodernism offers not just an alternative theoretical approach but the possibility of both expanding the scope of health economics and grounding it more appropriately in the everyday experience of those engaging with health systems. (shrink)

For organizational development that is future-oriented, enterprises increasingly need qualified, motivated and efficient workers who are able and willing to contribute actively to technical and organizational innovations. Furthermore, customers and consumers are increasingly interested in healthy products and services. Therefore, health has become a (potential) business value of strategic importance. In interaction with all relevant stakeholders, an approach was developed for companies that want to manage their health impact in a proactive and preventive manner. The approach was termed (...) Integral Health Management (IHM). IHM forms a strategic approach for reducing the costs of sickness absence and working disability, while the productivity and resilience of the company and its employees are increased. This brings the company direct economic benefits. Finally, it is of prime interest for employees to remain physically and mentally healthy and employable. The IHM approach distinguishes seven lines of development: (1) health as a strategic company interest; (2) the realization of a healthy primary process; (3) a safe and sound physical (work) environment; (4) an inspiring social (work) environment; (5) vital people; (6) a sound relationship with the immediate organizational environment and local community, and (7) healthy products and/or services. The inter-relationships between the seven development lines are essential for combining an improvement of the business impact on health with a strategic interest of companies and organizations. The seven lines of IHM development can easily be linked to the European Foundation for Quality Management''s European Excellence Model. (shrink)

The recent confirmation of the constitutionality of the Obama administration’s Patient Protection and Affordable Care Act (PPACA) by the US Supreme Court has brought to the fore long-standing debates over individual liberty and religious freedom. Advocates of personal liberty are often critical, particularly in the USA, of public health measures which they deem to be overly restrictive of personal choice. In addition to the alleged restrictions of individual freedom of choice when it comes to the question of whether or (...) not to purchase health insurance, opponents to the PPACA also argue that certain requirements of the Act violate the right to freedom of conscience by mandating support for services deemed immoral by religious groups. These issues continue the long running debate surrounding the demands of religious groups for special consideration in the realm of health care provision. In this paper I examine the requirements of the PPACA, and the impacts that religious, and other ideological, exemptions can have on public health, and argue that the exemptions provided for by the PPACA do not in fact impose unreasonable restrictions on religious freedom, but rather concede too much and in so doing endanger public health and some important individual liberties. (shrink)

Social theory has much to gain from taking up the challenges of conceptualizing ‘mental health’. Such an approach to the stunting of human mental life in conditions of adversity requires us to open up the black box of ‘environment’, and to develop a vitalist biosocial science, informed by and in conversation with the life sciences and the neurosciences. In this paper we draw on both classical and contemporary social theory to begin this task. We explore human inhabitation – how (...) humans inhabit their ‘ecological niches’ – and examine a number of conceptual developments that ‘deconstruct’ the binary distinction between organism and environment. We argue that we must understand the neurological, ecological and social pathways and mechanisms that shape human (mental) life if we are to address the central concerns of our discipline with inequity and injustice as these are inscribed into the bodies and souls of human beings. (shrink)