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)

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

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.

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)

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)

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

Charles Taylor has argued that recognition is a vital human need. This essay discusses recognition as a philosophical concept, following a line of argumentation that can be traced back to Hegel’s early philosophy. An important premise of this tradition is that because a subject’s freedom is conditioned by other subjects, individual agency cannot develop without recognition. Moreover, recognition implies struggle, through which self-realization fulfills the conditions of ethical growth. I will examine the educational implications of these ideas in relation to (...) contemporary social philosophy and pedagogical theory, focusing especially on the potential of the theory of social recognition as a critique of calls for symmetric pedagogy. Using Axel Honneth’s work as a reflective surface, I will then draw some conclusions as to how to develop the concept of recognition within the contemporary philosophy of music education. (shrink)

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

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)

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)

Literature suggests that music performance anxiety (MPA) 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 (such as test taking and musical performance) 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)

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)

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.

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.

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)

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 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)

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.

Artists have always been appreciated for the artifacts they have produced and have been rewarded with some gifts as a result. In different periods of history, heads of the state have given awards to appreciate and reward the artifacts they have liked. These awards have been given names such as order, certificate, favor and medal The qualities of these gifts have varied according to the power of the state or the value it places on art. The Ottoman State, our field (...) of research, has also given awards according to the situation or person the sultan appreciated. Ottoman Sultans have given state orders, medals, titles, and awards to local or foreign people for situations worthy of appreciation in the eyes of the state. These awards given by the state have provided the recipient with both material and spiritual prestige. People have started competing in their fields to be honoured with these awards. This situation has become a kind of encouragement for art and artists. In this way, both the quality of the artifact the artist has produced increases and it has an encouraging quality for the artifacts the artist will make later. Musicians are also among the artists who were given the awards mentioned above. These awards, granted by the sultan for a piece they played, sang or composed, are of different degrees and characteristics. The recipients of the awards consist of local or foreign musicians. There have been people from all levels of the state in terms of position and rank and also artists who were deemed worthy of these awards due to the musical pieces they performed, even if they did not have an official duty. There are records of these awards given by the state in the archives. In this study, 138 documents related to the subject in the Directorate of State Archives/Ottoman Archives were identified, and the records of these documents are listed. Our research was limited to Ottoman archive documents. In addition, information and document examples about musicians mentioned in the papers are given without distinguishing between local and foreign. (shrink)

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

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

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.

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)

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)

This study compared professional and amateur classical musicians matched for age, gender, and education on reaction times during the Stroop color-word test, brainwaves during an auditory ERP task and during paired reaction-time tasks, responses on the Gibbs Sociomoral Reflection questionnaire, and self-reported frequencies of peak experiences. Professional musicians were characterized by: lower color-word interference effects , faster categorization of rare expected stimuli , and a trend for faster processing of rare unexpected stimuli , higher scores on the Sociomoral (...) Reflection questionnaire, and more frequent peak experiences during rest, tasks, and sleep. Both groups had high values on the Brain Integration Scale. These findings are interpreted in light of a Unified Theory of Performance, which posits that effectiveness in any area is influenced by one’s level of mind-brain development—emotional, cognitive, moral, ego and cortical development—with higher mind-brain development supporting greater effectiveness in any domain. (shrink)

In the past 2 years our world has experienced huge disruptions because of COVID-19. The performing arts has not been insulated from these tumultuous events with the entire music industry being thrown into a state of instability due to the paralyzing effects of the COVID-19 pandemic. In this study, we examined how classical professional musicians’ ability to cope with uncertainty, economic struggles, and work-life interplay during COVID-19 was influenced by various factors that affect a crucial part of the development (...) and sustainment of music careers: musicians’ practice. We analyzed responses to an online survey of 309 classical performing musicians from 41 countries in Europe and Latin America across three pandemic stages: immediately before the pandemic, during the pandemic, and when vaccines were being made available and lockdowns were being reduced or lifted. Structural equation modeling indicates relationships between perceptions of threat at the peak of the pandemic and the musicians Self- or External-Based Motivation for the three periods in which respondents were asked to reflect. Findings suggest that musicians who are more internally self-motivated seemed to be more resilient to the pandemic threats and more capable of managing their practicing routines, whereas more externally motivated musicians experienced a reduction in their dedicated time to practice during lockdown. We suggest pedagogical and policy implications, as well as future lines of research that are oriented toward supporting professional musicians in assessing and understanding their motivational drives so that they can cope with situations that disrupt their professional lives. (shrink)