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)

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)

This paper analyses the paradigms of interpretation and the evolution of the creative processes in music and law. Whether it is matter of a score or a law, the text is reborn through the work of the interpreter who, in dealing with the epistemological problem of the understanding, has to harmonize the purity of the philological reconstruction of the object with the need to actualize its sense. Moving from the creative character of every interpretation—neither the musician can be reduced to (...) a mere executor of a concatenation of musical symbols on the staff as Stravinsky wanted nor the judge may be conceived as a bouche de la loi according to Montesquieu’s theory—this work, after having discussed Gadamer and Betti’s hermeneutical approaches to music and law, focuses on the issue of the limits to the interpreters’ freedom. The interpretation here proposed revolves around improvisation, seen as a typical cultural practice of the aesthetic dimension of music. Improvisation, which from baroque to jazz does not correspond to the realm of absolute freedom, is used as a trait d’union in order to make a comparison with legal experience. This is particularly true with the development of case law, which becomes increasingly problematic especially in the light of “liquid modernity”, where the “polytheism of values” has been gaining strength. Seen from this perspective, the comparison between the judge and the musician in their activity as interpreters of a formalized system of signs highlights the controversial relationship between form and creativity, the accuracy of the text and the requisites deriving from the social context, certainty and justice. (shrink)

In this study we evaluated heart rate variability changes in a pianist, playing in a laboratory, to investigate whether HRV changes are guided by music temporal features or by technical difficulty and/or subjective factors. The pianist was equipped with a wearable telemetry device for ECG recording during the execution of 4 classical and 5 jazz pieces. From ECG we derived the RR intervals series, and, for each piece, analyzed HRV in the time and frequency domains and performed non-linear analysis. We (...) also studied the correlation between the time course of music volume envelope and tachogram. Results showed a general reduction of parasympathetic and an increase of sympathetic activity, with the greatest changes during the classical pieces execution, the pianist appraised as more demanding than the jazz ones. The most marked changes occurred during the most technically/emotionally demanding piece, and correlation analysis revealed a negative association between music volume envelope time course and tachogram only for this piece, suggesting a modulation of the limbic system on the synchronization between heart rhythm and music temporal features. Classical music was also associated with the increase of entropy with respect to rest, indicating its effectiveness in driving flexible, healthy, heart dynamics. In conclusion, HRV seems modulated not only by the music temporal features, but also by the pianist’s emotional involvement, which is greatly influenced, in a non-trivial manner, by the technical demands and musician expertise. (shrink)

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

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

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

Involvement of a modern performer in the dialogue of concepts of recompense and biocentrism regulates its experimentation with bio and recorded music by awakening a sense of responsibility at the level of the epigenetic rule. Therefore, the purpose of this article is to substantiate a pedagogical model of bioethical education of a musician-performer - creation of a favourable environment to motivate them to comprehend the value of what serves as confirmation of God-like dignity of a person and the general weal (...) for the glory of the Creator. The essence of the proposed pedagogical model is the concept of musical performance as a workroom of soul. Its leading idea is metaphorization of the intonated sense of emotional revelation as an anthropological discourse. Specifically, the basis of the proposed model appears the connectivism theory of metaphorical interpretation. The direction of such performative activity is determined by the strategy of creative clustering, which involves playing out of music scenarios of the value-based choice on the path to “creative innocence” or “the path of the heart”. The regulatory function in implementation of the mentioned strategy performs the methodology of pedagogical and metaphorical creativity. The technology of performative improvisation and the contextual approach to the game are factors in activating the mental resources of the musician-performer. The effectiveness of implementation of the proposed pedagogical model provides creation of a special event platform in the art laboratory. (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)

The authors consider the important problem of creative expression of a musician-teacher for modern musical pedagogy. Based on the analysis of research literature, the content and functions of creative expression in musical and performing activities are revealed. It is characterized by the aesthetic nature of creative self-expression, internal harmony of will, emotional and intellectual intents of self-expression.

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)

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 some musical genres, professional performers play live shows many times a week. Arduous touring schedules bring encounters with wildly diverse audiences across many different performance ecologies. We investigate the kinds of creativity involved in such repeated live performance, kinds of creativity that are quite unlike songwriting and recording, and examine the central factors that influence musicians’ wellbeing over the course of a tour. The perspective of the professional musician has been underrepresented in research on relations between music and (...) wellbeing, with little attention given to the experience of touring. In this case study, we investigate influences on positive and negative performance experiences for the four professional musicians of Australian pop/rock band Cloud Control. Geeves conducted intensive cognitive ethnographic fieldwork with Cloud Control members over a two-week national Australian tour for their second album, Dream Cave (2013). Adapting a Grounded Theory approach to data analysis, we found the level of wellbeing musicians reported and displayed on tour to be intimately linked to their creative performance experiences through the two emergent, overarching and interdependent themes of Performance Headspace (PH) and Connection with Audience (CA). We explore these themes in detail and provide examples to demonstrate how PH and CA can feed off each other in virtuous ways that positively shape musicians’ wellbeing, or loop in vicious ways that negatively shape musicians’ wellbeing. We argue that their creative practice, in thus re-enacting musical performance afresh in each venue’s distinctive setting, emerges within unique constraints each night, and is in a sense a co-creation of the crowd and the band. (shrink)

It is important to create a framework in the education of professional musicians, whether these musicians are students of music education, performance, composition, musicology, ethnomusicology, or conducting, in which the political dimensions of their lives can be critically examined. Lise Vaugeois argues that creating such a framework would enhance their capacity to thrive as musicians and to function responsibly and pro-actively as citizens in a democracy. By exploring issues pertaining to musicians as workers, teachers, and cultural (...) producers, she examines materiality, ideology, and power in the lives of university and conservatory educated musicians. These examples are followed by an introduction to critical pedagogy, in particular, the work of Paulo Freire, and some of the tools and premises critical pedagogy brings to questions raised in the paper. Strategies and resources that could support a shift in the culture of professional music schools conclude the paper. (shrink)

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

The authors of the article consider one of the directions of musical pedagogy - the use of art pedagogy in the process of training a musician-performer. Based on the analysis of the research literature and experience describes the possibility of using psychological reserves of music and performing activities, in particular, reception of musical color modeling of the emotional and figurative content of music, are revealed.

This study examines the representation of male and female musicians in world-class symphony orchestras. Personnel of 40 orchestras of three regions, UK, Europe and the USA and distributions of men and women across the four orchestral departments: strings, woodwind, brass and percussion are compared. Significant differences in representation between orchestras of the three regions are reported. Practices adopted by orchestras when appointing musicians to vacant positions are reviewed and numbers of males and females appointed to rank-and-file and Section (...) Principals are compared. Career patterns of male and female musicians are also compared. Increases in numbers of women appointed to orchestral posts in the last three decades are compared with increases in the proportion of women in the general workforce. The data of orchestral membership are then compared with the numbers of young people receiving tuition on orchestral instruments retrieved from a large national database (n = 391,000 students). Implications for the future of male and female representation in orchestral personnel are then considered. (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)

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.

By way of dialogues, Michael Krausz offers philosophical reflections about his life as a philosopher, artist, and musician. After providing biographical accounts of his years of experience in these areas, he rehearses his views about relativism, interpretation, creativity, and self-realization.

Music training is associated with enhanced executive function but little is known about the extent to which harmonic aspects of musical training are associated with components of executive function. In the current study, an array of cognitive tests associated with one or more components of executive function, was administered to young adult musicians and non-musicians. To investigate how harmonic aspects of musical training relate to executive function, a test of the ability to compose a four-part harmony was developed (...) and administered to musicians. We tested the working hypothesis that musicians would outperform non-musicians on measures of executive function, and that among musicians, the ability to harmonize would correlate positively with measures of executive function. Results indicate that musicians outperformed non-musicians on the Tower of London task, a measure of planning and problem-solving. Group differences were not detected on tasks more selective for inhibitory control, conflict resolution, or working memory. Among musicians, scores on the harmony assessment were positively correlated with performance of the Tower of London task. Taken together, the current results support a strong relationship between musicianship and planning and problem solving abilities, and indicate that the ability to harmonize is associated with components of executive function contributing to planning and problem solving. (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.

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)

Training can influence behavioral performance and lead to brain reorganization. In particular, training in one modality, for example, auditory, can improve performance in another modality, for example, visual. Previous research suggests that one of the mechanisms behind this phenomenon could be the cross-modal recruitment of the sensory areas, for example, the auditory cortex. Studying expert musicians offers a chance to explore this process. Rhythm is an aspect of music that can be presented in various modalities. We designed an fMRI (...) experiment in which professional pianists and non-musicians discriminated between two sequences of rhythms presented auditorily or visually. Behavioral results showed that musicians performed in both visual and auditory rhythmic tasks better than non-musicians. We found no significant between-group differences in fMRI activations within the auditory cortex. However, we observed that musicians had increased activation in the right Inferior Parietal Lobe when compared to non-musicians. We conclude that the musicians’ superior visual rhythm discrimination is not related to cross-modal recruitment of the auditory cortex; instead, it could be related to activation in higher-level, multimodal areas in the cortex. (shrink)