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)

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)

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)

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)

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)

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)

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.

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)

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)

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)

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)

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)

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.

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

At the heart of the dialog between the art piece and the world, the artist works at communicating his sensations. For Gauguin, this work involves a self-claimed philosophical bent, as he considers his paintings as the result of a philosophical refoundation of color. His idea is that the artist’s sensations don’t stem from his contact with the empirical world but rather with the metaphysical one. This is due to the fact that the painter competes with nature: his imitation is inventive (...) and his truth is creative. An artist-philosopher, who is also a thinking subject, thus reasserts the pragmatic necessity of the perception. Being diverse, the color is an instrument by which the artist expresses his thinking. There is an arrangement that reveals the inner musical harmony of things and beings – by which the painter thinks out from words, within the symphony of pure colors. (shrink)

Do we acquire culture through other minds, or do we get access to other minds through culture? Music culture is a practice as well as the people involved. Sounding music works as a script guiding action, as do, to varying degrees, many rituals and customs. Collective co-performance of the script enables inter-subjectivity, which arguably contributes to the formation of subcultures. Shared-emotional experiences give material to the narrative of who we are.

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)